One of the ideas of F.M. Dostoevsky's “Crime and Punishment” is the idea that in everyone, even in the most downtrodden person, disgraced and criminal, one can find high and honest feelings. These feelings, which can be found in almost every character in the novel by F.M. Dostoevsky "Crime and Punishment". For example, Razumikhin is a small, insignificant person, a poor student, but he sincerely and passionately loves his loved ones and is always ready to help them. Marmeladov loves his family and helps everyone. Another idea of Dostoevsky is the idea that love for people can elevate a person and help him find a real purpose in life. Dostoevsky's love is a selfless, honest, Christian love for people, a desire to save, understand and help without demanding anything in return. Such love is characteristic of many heroes of F.M.’s novels. Dostoevsky. In “Crime and Punishment” these are Dunya and Sonechka; I want to dwell on the image of the latter: it is in her to the greatest extent Christian love for people is concentrated. Having fallen to the bottom of her life to save her family, she did not harden her heart and retained a reverent love for her loved ones and for people in general. “Sonechka, eternal Sonechka, as long as the world stands.” Sonechka is Marmeladov’s daughter, she lives in yellow ticket. “I didn’t receive any education,” we learn from the story of her father, an official at Marmeladov. What distinguishes Sonya from other characters is her insatiable compassion, that she no longer pays attention to her own suffering: “there is no place for them in her heart.” It is Sonechka who will confess to Raskolnikov for the murder of the old pawnbroker and Lizaveta, although he and Sonechka have completely different views on the main issues. Raskolnikov’s theory is incomprehensible to Sonya; she cannot understand it: “How can it happen that this depends on my decision? And who made me the judge here: who should live and who should not live?” “Is this man a louse?” - Sonya will exclaim. In her opinion, only the Almighty can be the judge of a person and his actions. It is Sonechka who will open the way to salvation for Raskolnikov. She tells him to repent: “Get up (She grabbed him by the shoulder; he stood up, looking at her almost in amazement.) “Go now, this very minute, stand at the crossroads, bow, first kiss the ground that you have desecrated, and then bow all over the world, in all four directions, and tell everyone, out loud: “I killed!” Then God will send you life again. Will you go? Will you go?" “she asks him, trembling all over, as if in a fit, grabbing him by both hands, squeezing them tightly in her hands and looking at him with a fiery gaze.” Here we can talk about the firmness of Sonechka’s Christian convictions, that these convictions are eternal. Unlike Raskolnikov, Sonechka lives “a feeling of a full and powerful life.” This helps her not only not to break, to survive, but also to become the only salvation for her loved ones; for Raskolnikov, for Sonya, such feelings as complicity, mercy and compassion are very important: “And how many, how many times have I brought her to tears! Yes, just last week! Oh me! Just a week before his death. I acted cruelly! And how many, how many times have I done this? Oh, how now, it was painful to remember all day!” - Sonya will say this about Katerina Ivanovna, who is endlessly guilty before her stepdaughter. It is the feeling of insatiable compassion that elevates Sonya in the eyes of the hero, despite her lifestyle: “Lizaveta, Sonya,” Raskolnikov thinks, “Poor, meek, with gentle eyes... Darlings! Why are they crying? Why are they moaning? They give everything, look meekly, quietly...Sonya, Sonya! Quiet Sonya! And Marmeladov will say about her: “She is unrequited, and her voice is so meek... she is fair, her face is always pale, thin.” However, it is precisely this meekness that helps quiet Sonya to perform feats that require extraordinary fortitude and moral courage. She has, as it were, “a core inside her that none of the characters have. She believes. Faith helps her live, suffer, forgetting about herself.” "IN moral fortitude and “insatiable compassion” is the whole meaning of Sonya’s life, her happiness, her joy, says the critic Tyunkin. I completely agree with his words. Sonya saves Raskolnikov and sacrifices herself for the sake of her family. The family accepts Sonechka’s sacrifice, sees her suffering, but will take advantage of it, and nothing will change. In the end, Marmeladov dies, Katerina Ivanovna dies, and Svidrigailov will help the children. Raskolnikov himself sought salvation. Maybe the sacrifice is in vain? Why suffer so much? Sonya’s sacrifice and suffering are correlated with the suffering and sacrifice of Christ, “bringing light, truth, truth, and those moral principles on which the world is based." The image of Sonya is associated with the idea of searching for salvation from immorality, inhumanity, as well as the idea of love for a person in general: “... it is impossible to love people as they are. And yet it should. And therefore do good to them, strengthening your feelings. Bear evil from them, do not be angry with them if possible, remembering that you are also a human being.” Those who are unable to perceive these goals can only be pitied. What to do with Luzhin and Svidrigailov? Luzhin will undermine Sonechka’s faith in selflessness and love: “...to avoid trouble by everyone.” Her disappointment was too heavy. She, of course, could endure everything with patience and almost resignedly - even this. But in the first minute it became too hard. Despite her triumph and her justification - when the first fear and first tetanus passed, when she understood and understood everything clearly - a feeling of helplessness and resentment painfully oppressed her heart.” Yes, we must admit that Sonya is unable to defend herself with meekness in front of people like Luzhin. Can Sonya be considered a strong, free woman? Yes, having fallen so low for the sake of her family, she is morally superior to many, including leading a pious lifestyle. Having experienced so much, Sonechka remained a child at heart, with pure, bright faith in man. For this alone she is worthy of love. But not everyone can understand this. You rarely see such Sonechkas, but they exist and will always exist, the world rests on them. Humanity suffers from the fact that there are too few Sonechkas in this world. “Sonechka, eternal Sonechka, while the world stands!” Review The writing is heterogeneous: there are excellent thoughts that speak of a deep understanding of the author’s intention in the novel, but there are not very successful statements (there are speech and grammatical errors associated with the construction of sentences and word usage). We remind you that the work is assessed as a whole, and not in fragments. The author has demonstrated good knowledge of the text. But quotes do not always accurately confirm the thoughts expressed in creative work(quotes should be concise and self-sufficient). Insufficient appeal to literary criticism, to the controversy surrounding the problem identified in the topic of the essay.
One of the central characters in the novel “Crime and Punishment” is Sonya Marmeladova.
This girl with difficult fate. Sonya's mother passed away early, her father married another woman who has her own children. Need forced Sonya to earn money in a low way: she was forced to go to work. It would seem that after such an act Sonya should have become angry with her stepmother, because she practically forced Sonya to earn money in this way. But Sonya forgave her, moreover, every month she brings money to the house in which she no longer lives. Sonya has changed outwardly, but her soul remains the same: crystal clear. Sonya is ready to sacrifice herself for the sake of others, and not everyone can do this. She could live “in spirit and mind,” but she must feed her family. And this act proves her selflessness. Sonya did not condemn people for their actions, did not condemn either her father or Raskolnikov. The death of her father left a deep mark on Sonya’s soul: “From under this... hat a thin, pale and frightened face with an open mouth and eyes motionless with horror looked out.” Sonya loved her father, despite all his shortcomings. That's why unexpected death his was a great loss in Sonya's life.
She understands and experiences their pain with people. So, she did not condemn Raskolnikov when he confessed to her committed crime: “She suddenly took him by both hands and bowed her head to his shoulder. This short gesture even struck Raskolnikov with bewilderment, it was even strange: how? not the slightest disgust, not the slightest disgust towards him, not the slightest shudder in her hand! Sonya realized that by killing the old pawnbroker, Raskolnikov also killed himself. His theory has collapsed, and he is at a loss. Sonechka, who sincerely believes in God, advises him to pray, repent, and bow to the ground. Raskolnikov understands that Sonya is an exceptional person: “The holy fool, the holy fool!” To which Sonya replies: “But I’m... dishonest... I’m a great sinner.” She has no one to rely on, no one to expect help from, so she believes in God. In prayer, Sonya finds the peace her soul so needs. She does not judge people, since only God has the right to do so. But she does not force faith. She wants Raskolnikov to come to this himself. Although Sonya instructs and asks him: “Cross yourself, pray at least once.” She loves this man and is ready to go with him even to hard labor, because she believes: Raskolnikov will understand his guilt, repent, and begin new life. Life with her, with Sonya. Love and faith give her strength in any trials and difficulties. And it was her endless patience, quiet love, faith and the desire to help a loved one - all this together made it possible for Raskolnikov to start a new life. For Sonya and for Dostoevsky himself, human-to-human sympathy is characteristic. Raskolnikov teaches Sonya courage and masculinity. Sonya teaches him mercy and love, forgiveness and empathy. She helps him find the path to the resurrection of his soul, but Raskolnikov himself strives for this. Only in hard labor does he understand and accept Sonya’s faith and love: “Can her convictions not now be my convictions? Her feelings, her aspirations at least...” Realizing this, Raskolnikov becomes happy and makes Sonya happy: “He knew with what endless love he would now atone for all her suffering.” Sonya is given happiness as a reward for her suffering.
Sonya is Dostoevsky's ideal. Because only a highly moral person, sincere and loving, can be an ideal. Sonya brings with her the light of hope and faith, love and sympathy, tenderness and understanding - this is how a person should be, according to Dostoevsky. And I completely agree with him.
A special place in the novel “Crime and Punishment” is occupied by female images. Dostoevsky paints the girls of poor St. Petersburg with a deep sense of compassion. “Eternal Sonya,” Raskolnikov called the heroine, meaning those who would sacrifice themselves for the sake of others. In the system of images of the novel, these are Sonya Marmeladova, and Lizaveta, the younger sister of the old moneylender Alena Ivanovna, and Dunya, Raskolnikov’s sister. “Sonechka, eternal Sonechka, while the world stands” - these words can serve as an epigraph to the story about the fate of girls from poor families in Dostoevsky’s novel.
Sonya Marmeladova, daughter from her first marriage of Semyon Marmeladov, an official who became an alcoholic and lost his job. Tormented by the reproaches of her stepmother, Katerina Ivanovna, distraught from poverty and consumption, Sonya is forced to go to work to support her father and his family. The author portrays her as a naive, bright-hearted, weak, helpless child: “She seemed almost like a girl, much younger than her years, almost a child at all...”. But “...despite her eighteen years,” Sonya violated the commandment “thou shalt not commit adultery.” “You also transgressed... you were able to transgress. You committed suicide, you ruined your life... yours,” says Raskolnikov. But Sonya sells her body, not her soul, she sacrificed herself for the sake of others, and not for herself. Compassion for her loved ones and humble faith in the mercy of God never left her. Dostoevsky does not show Sonya “having a living,” but nevertheless we know how she gets money to feed Katerina Ivanovna’s hungry children. And this glaring contrast between her pure spiritual appearance and her dirty profession, the terrible fate of this girl-child is the most compelling evidence of the criminality of society. Raskolnikov bows before Sonya and kisses her feet: “I didn’t bow to you, but to all human suffering.” Sonya is always ready to help. Raskolnikov, having severed all relations with people, comes to Sonya to learn from her love for people, the ability to accept his fate and “carry his cross.”
Dunya Raskolnikova is a version of the same Sonya: even to save herself from death, she will not sell herself, but will sell herself for her brother, for her mother. Mother and sister loved Rodion Raskolnikov passionately. To support her brother, Dunya became a governess in the Svidrigailov family, taking one hundred rubles in advance. She sent seventy of them to Roda.
Svidrigailov encroached on Dunya’s innocence, and she was forced to leave her place in disgrace. Her purity and rightness were soon recognized, but she still could not find a practical way out: poverty was still at the doorstep for her and her mother, and she was still unable to help her brother in any way. In her hopeless situation, Dunya accepted the offer of Luzhin, who almost openly bought her, and even with humiliating, insulting conditions. But Dunya is ready to marry Luzhin for the sake of her brother, selling her peace of mind, freedom, conscience, body without hesitation, without grumbling, without a single complaint. Raskolnikov clearly understands this: “...Sonechkin’s lot is no worse than the lot with Mr. Luzhin.”
Duna does not have the Christian humility inherent in Sonya; she is decisive and desperate (she refused Luzhin, she was ready to shoot Svidrigailov). And at the same time, her soul is as full of love for her neighbor as Sonya’s soul.
Lizaveta appears briefly on the pages of the novel. A student talks about her in a tavern, we see her in the murder scene, after the murder Sonya talks about her, Raskolnikov thinks. Gradually, the appearance of a kind, downtrodden creature, meek, similar to a big child, emerges. Lizaveta is the submissive slave of her sister Alena. The author notes: “So quiet, meek, unresponsive, agreeable, agreeing to everything.”
In Raskolnikov’s mind, the image of Lizaveta merges with the image of Sonya. Half-delirious, he thinks: “Faithful Lizaveta! Why did she turn up here? Sonya! Poor, meek, with meek eyes...” This feeling of spiritual kinship between Sonya and Lizaveta is especially acute in the confession scene: “He looked at her and suddenly in her face he seemed to see Lizaveta’s face.” Lizaveta became “Sonya”, just as kind and sympathetic, who died innocently and senselessly.
And Sonya Marmeladova, and Dunya Raskolnikova, and Lizaveta, complementing each other, embody in the novel the idea of love, mercy, compassion, and self-sacrifice.
I. The theme of self-sacrifice in Dostoevsky’s novel “Crime and Punishment.”
II. Female images of the novel “Crime and Punishment”.
1. Sonya Marmeladova.
2. Dunya Raskolnikova.
3. The image of Lizaveta.
III. The role of female characters in the novel.
Female characters occupy a special place in the novel “Crime and Punishment”. Dostoevsky paints the girls of poor St. Petersburg with a deep sense of compassion. “Eternal Sonya,” Raskolnikov called the heroine, meaning those who would sacrifice themselves for the sake of others. In the system of images of the novel, these are Sonya Marmeladova, and Lizaveta, the younger sister of the old moneylender Alena Ivanovna, and Dunya, Raskolnikov’s sister. “Sonechka, eternal Sonechka, while the world stands” - these words can serve as an epigraph to the story about the fate of girls from poor families in Dostoevsky’s novel.
Sonya Marmeladova, daughter from her first marriage of Semyon Marmeladov, an official who became an alcoholic and lost his job. Tormented by the reproaches of her stepmother, Katerina Ivanovna, distraught from poverty and consumption, Sonya is forced to go to work to support her father and his family. The author portrays her as a naive, bright-hearted, weak, helpless child: “She seemed almost like a girl, much younger than her years, almost a child at all...”. But “...despite her eighteen years,” Sonya violated the commandment “thou shalt not commit adultery.” “You also committed a crime... was able to cross. You committed suicide, you ruined your life... yours,” says Raskolnikov. But Sonya sells her body, not her soul, she sacrificed herself for the sake of others, and not for herself. Compassion for loved ones and humble faith in the mercy of God never left her. Dostoevsky does not show Sonya “having a living,” but nevertheless we know how she gets money to feed Katerina Ivanovna’s hungry children. And this glaring contrast between her pure spiritual appearance and her dirty profession, the terrible fate of this girl-child is the most compelling evidence of the criminality of society. Raskolnikov bows before Sonya and kisses her feet: “I did not bow to you, but to all human suffering.” Sonya is always ready to help. Raskolnikov, having severed all relations with people, comes to Sonya to learn from her love for people, the ability to accept his fate and “carry his cross.”
Dunya Raskolnikova is a version of the same Sonya: she will not sell herself even to save herself from death, but will sell herself for her brother, for her mother. Mother and sister loved Rodion Raskolnikov passionately. To support her brother, Dunya became a governess in the Svidrigailov family, taking one hundred rubles in advance. She sent seventy of them to Roda.
Svidrigailov encroached on Dunya’s innocence, and she was forced to leave her place in disgrace. Her purity and rightness were soon recognized, but she still could not find a practical way out: poverty was still at the doorstep for her and her mother, and she was still unable to help her brother in any way. In her hopeless situation, Dunya accepted the offer of Luzhin, who almost openly bought her, and even with humiliating, insulting conditions. But Dunya is ready to marry Luzhin for the sake of her brother, selling her peace of mind, freedom, conscience, body without hesitation, without grumbling, without a single complaint. Raskolnikov clearly understands this: “...Sonya’s lot is no worse than the lot with Mr. Luzhin.”
Duna does not have the Christian humility inherent in Sonya; she is decisive and desperate (she refused Luzhin, she was ready to shoot Svidrigailov). And at the same time, her soul is as full of love for her neighbor as Sonya’s soul.
Lizaveta appears briefly on the pages of the novel. A student talks about her in a tavern, we see her in the murder scene, after the murder Sonya talks about her, Raskolnikov thinks. Gradually the appearance of a kind, downtrodden creature, meek, like a big child, emerges. Lizaveta is the obedient slave of her sister Alena. The author notes: “So quiet, meek, unrequited, agreeable, agreeing to everything.”
In Raskolnikov’s mind, the image of Lizaveta merges with the image of Sonya. Half-delirious, he thinks: “Faithful Lizaveta! Why did she turn up here? Sonya! Poor, meek, with meek eyes...” This feeling of spiritual kinship between Sonya and Lizaveta is especially acute in the confession scene: “He looked at her and suddenly in her face he seemed to see Lizaveta’s face.” Lizaveta became “Sonya,” just as kind, sympathetic, and died innocently and senselessly.
And Sonya Marmeladova, and Dunya Raskolnikova, and Lizaveta, complementing each other, embody in the novel the idea of love, mercy, compassion, and self-sacrifice.
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I didn't bow to you, I bowed to everything
bowed down to human suffering.
F. Dostoevsky. Crime and Punishment
F. M. Dostoevsky describes Sonya warmly and cordially: “She was a modestly and even poorly dressed girl, very young, almost like a girl, with a modest and decent manner, with a clear, but seemingly somewhat intimidated face. She was wearing a very simple house dress, and on her head was an old hat of the same style.”
Like all the St. Petersburg poor, the Marmeladov family lives in terrible poverty: the perpetually drunk Marmeladov, resigned to a humiliating and unfair life, the degenerate Marmeladov, the consumptive Katerina Ivanovna, and the small helpless children. Seventeen-year-old Sonya finds the only way to save her family from starvation - she goes out onto the street to sell her own body. For a deeply religious girl, such an act is a terrible sin, since by violating Christian commandments, she destroys her soul, dooming it to torment during life and to eternal suffering after death. And yet she sacrifices herself for the sake of her father’s children, for the sake of her stepmother. Merciful, selfless Sonya finds the strength not to become bitter, not to fall into the mud that surrounds her in street life, to preserve endless love for humanity and faith in the power of the human person, despite the fact that he causes irreparable harm to his soul and conscience.
That is why Raskolnikov, who has broken all ties with people close to him, comes to Sonya in his most difficult moments, bringing her his pain, his crime. According to Rodion, Sonya committed a crime no less serious than him, and perhaps even more terrible, since she sacrifices not someone, but herself, and this sacrifice is in vain. The girl is well aware of the guilt that lies on her conscience, because she even thought about suicide, which could save her from shame and torment in this life. But the thought of the poor and helpless hungry children made her resign herself and forget about her suffering.
Believing that Sonya didn’t really save anyone, but only “ruined” herself, Raskolnikov tries to convert her to his “faith” and asks her an insidious question: what is better - for a scoundrel to “live and do abominations” or for an honest person to die? And he receives an exhaustive answer from Sonya: “But I can’t know God’s providence... And who made me the judge here: who should live and who should not live?” Rodion Raskolnikov never managed to convince a girl who was firmly convinced that he was right: sacrificing oneself for the good of loved ones is one thing, but depriving the lives of others in the name of this good is a completely different matter. Therefore, all Sonya’s efforts are aimed at destroying the inhuman theory of Raskolnikov, who is “terribly, infinitely unhappy.”
Defenseless, but strong in her humility, capable of self-denial, the “eternal Sonechka” is ready to sacrifice herself for the sake of others, therefore, in her actions, life itself blurs the boundaries between good and evil. Without sparing herself, the girl saved the Marmeladov family, and just as selflessly she rushes to save Raskolnikov, feeling that he needs him. According to Sonya, the way out lies in humility and acceptance of basic Christian norms, which help not only to repent of one’s sins, but also to cleanse oneself of everything evil and destructive to one’s life. human soul. It is religion that helps a girl survive this scary world and gives hope for the future.
Thanks to Sonya, Raskolnikov understands and recognizes the unviability and inhumanity of his theory, opening his heart to new feelings, and his mind to new thoughts that only love for people and faith in them can save a person. It is from this that the moral rebirth of the hero begins, who, thanks to the strength of Sonya’s love and her ability to endure any torment, overcomes himself and takes his first step towards resurrection.
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 " dark side» life, St. Petersburg: outskirts...
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Raskolnikova Dunya (Avdotya Romanovna) is Raskolnikov’s sister. A proud and noble girl. “She is remarkably good-looking - tall, amazingly slender, strong, self-confident, which was expressed in every gesture of hers and which, however, did not take away from her movements...