You can be great in humility.
F. M. Dostoevsky
The image of Sonechka Marmeladova in the novel “Crime and Punishment” is for Dostoevsky the embodiment of eternal humility and suffering female soul with her compassion for loved ones, love for people and boundless self-sacrifice. The meek and quiet Sonechka Marmeladova, weak, timid, unrequited, in order to save her family and relatives from hunger, decides to do something terrible for a woman. We understand that her decision is an inevitable, inexorable result of the conditions in which she lives, but at the same time it is an example of active action in the name of saving the perishing. She has nothing but her body, and therefore the only possible way for her to save the little Marmeladovs from starvation is to engage in prostitution. Seventeen-year-old Sonya made her own choice, decided on her own, chose the path herself, feeling neither resentment nor anger towards Katerina Ivanovna, whose words were the final push that brought Sonya to the panel. Therefore, her soul did not become bitter, did not hate the world hostile to her, the dirt street life didn't touch her soul. Her endless love for humanity saves her. Sonechka's whole life is an eternal sacrifice, a selfless and endless sacrifice. But for Sonya this is the meaning of life, her happiness, her joy, she cannot live otherwise. Her love for people, like an eternal spring, nourishes her tormented soul, gives her strength to walk thorny path, which is her whole life. She even thought about suicide to get rid of shame and torment. Raskolnikov also believed that “it would be fairer and wiser to dive straight into the water and end it all at once!” But suicide for Sonya would be too selfish an option, and she thought about “them” - the hungry children, and therefore consciously and humbly accepted the fate prepared for her. Humility, submission, Christian forgiving love towards people, self-denial is the main thing in Sonya’s character.
Raskolnikov believes that Sonya’s sacrifice was in vain, that she did not save anyone, but only “ruined” herself. But life refutes these words of Raskolnikov. It is to Sonya that Raskolnikov comes to confess his sin - the murder he committed. It is she who forces Raskolnikov to confess to the crime, proving that the true meaning of life is repentance and suffering. She believes that no person has the right to take the life of another: “And who made me a judge: who should live, who should die?” Raskolnikov's beliefs terrify her, but she does not push him away from her. Great compassion makes her strive to convince, to morally cleanse Raskolnikov’s ruined soul. Sonya saves Raskolnikov, her love resurrects him to life.
Love helped Sonya understand that he was unhappy, that, despite all his visible pride, he needed help and support. Love helped to overcome such an obstacle as a double murder in order to try to resurrect and save the killer. Sonya goes to get Raskolnikov to hard labor. Sonya's love and sacrifice cleanse her from her shameful and sad past. Sacrifice in love is an eternal trait characteristic of Russian women.
Sonya finds salvation for herself and for Raskolnikov in faith in God. Her faith in God is her last self-affirmation, giving her the opportunity to do good in the name of those to whom she sacrifices herself, her argument in favor of the fact that her sacrifice will not be useless, that life will soon find its outcome in universal justice. Hence her inner strength and resilience, which help her to go through the “circles of hell” of her joyless and tragic life. A lot can be said about Sonya. One can consider her a heroine or an eternal martyr, but one cannot admire her courage, her inner strength, her patience is simply impossible.
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.
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 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 go for 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, 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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Fyodor Mikhailovich Dostoevsky’s novel “Crime and Punishment” is one of the most complex works of Russian literature, in which the author told about the story of the death of the soul of the main character after he committed a crime, about the alienation of Rodion Raskolnikov from the whole world, from the people closest to him - his mother, sister, friend.
Reading the novel, you realize how deeply the author penetrated into the souls and hearts of his characters, how he comprehended human character, and with what genius he told about the moral upheavals of the main character. The central figure of the novel is, of course, Rodion Raskolnikov. But there are many others in Crime and Punishment characters. These are Razumikhin, Avdotya Romanovna and Pulcheria Alexandrovna, the Raskolnikovs, Pyotr Petrovich Luzhin, the Marmeladovs. The Marmeladov family plays special role in the novel. After all, it was to Sonechka Marmeladova, her faith and selfless love that Raskolnikov owed his spiritual rebirth.
She was a girl of about eighteen, small in stature, thin, but quite pretty, blonde with wonderful blue eyes.
Her great love, a tormented but pure soul, capable of seeing a person even in a murderer, empathizing with him, suffering with him, saved Raskolnikov.
Yes, Sonya is a “harlot,” as Dostoevsky writes about her, but she was forced to sell herself in order to save her stepmother’s children from starvation. Even in her terrible situation, Sonya managed to remain human; drunkenness and debauchery did not affect her. But in front of her was shining example a fallen father, completely crushed by poverty and his own powerlessness to change anything in his life. Patience of Sonya and her life force largely stem from her faith. She believes in God, in justice with all her heart, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is “a few books of romantic content,” seeing around her only drunken quarrels, illness, debauchery and human grief?
For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. A sin remains a sin, no matter who commits it and for what purpose. Personal happiness cannot be a goal. A person has no right to selfish happiness, he must endure, and through suffering he achieves true, non-selfish happiness.
Reading the legend of the resurrection of Lazarus to Raskolnikov, Sonya awakens faith, love and repentance in his soul. “They were resurrected by love, the heart of one contained endless sources of life for the heart of the other.” Rodion came to what Sonya called him to, he overestimated life and its essence, as evidenced by his words: “Can her beliefs now not be my beliefs? Her feelings, her aspirations, at least...”
Touched by Sonya’s sympathy, Rodion “goes to her as if he were a close friend, he himself confesses to her the murder, and tries, confused about the reasons, to explain
asks her why he did this, asks her not to leave him in misfortune and receives an order from her: to go to the square,
kiss the ground and repent before all the people.” In this advice from Sonya, the voice of the author himself seems to be heard,
striving to bring his hero to suffering, and through suffering - to atonement. Sacrifice, faith,
love and chastity are the qualities that the author embodied in Sonya. Surrounded by vice, forced
sacrifice her dignity, Sonya retained the purity of her soul and the belief that “there is no happiness in comfort, happiness
is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always
suffering." And here is Sonya, who also “transgressed” and lost her soul, “a person of high spirit”, of the same “class”
with Raskolnikov, condemns him for his contempt for people and does not accept his “rebellion”, his “axe”, which, as
It seemed to Raskolnikov that it was raised in her name. The heroine, according to Dostoevsky, embodies the people's principle,
Russian element: patience and humility, immeasurable love for man and God. Therefore, the clash between Raskolnikov and
Sonya, whose worldviews are opposed to each other, is very important. The idea of Rodion’s “rebellion”, according to thought
Dostoevsky's aristocratic idea, the idea of the “chosen one” is unacceptable to Sonya. Only the people represented by Sonya
can condemn Raskolnikov’s “Napoleonic” rebellion, force him to submit to such a court and go to hard labor -
“accept suffering.” Sonya hopes for God, for a miracle. Raskolnikov, with his angry, well-honed skepticism, is sure that
There is no God, and there will be no miracle. Rodion mercilessly reveals to Sonya the futility of her illusions. Little of,
Raskolnikov even tells Sonya about the uselessness of her compassion, about the futility of her sacrifices. Not shameful
her profession makes Sonya a sinner, and the futility of her sacrifice and her feat. “And that you are a great sinner, that’s true,
- he added almost enthusiastically, - and most of all, you are a sinner because you killed and betrayed yourself in vain. More
wouldn’t it be terrible... that you live in this filth, which you hate so much, and at the same time you know, yourself, that no one
You’re not helping and you’re not saving anyone from anything!” Raskolnikov judges Sonya with different scales in his hands than
prevailing morality. He judges her from a different point of view than she does herself. The hero's heart is pierced by the same pain that
and Sonya’s heart, only he is a thinking person who generalizes everything. Raskolnikov bows before Sonya and kisses her
her legs. “I didn’t bow to you, I bowed to all human suffering,” he said somehow wildly and walked away to the window. Driven by life into the last and already completely hopeless corner, Sonya tries to do something in the face of death. She, like
Raskolnikov acts according to the law of free choice. But, unlike Rodion, Sonya did not lose faith in people,
it does not need examples to establish that people are by nature good and deserve a fair share.
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. Sonya was faced with the question of suicide; she thought about it and chose an answer. Suicide, in her situation, would be too selfish a way out - it would save her from shame, from torment, it would rescue her from a fetid pit. “...After all, it would be fairer,” Raskolnikov exclaims, “it would be a thousand times fairer and more reasonable to directly
head into the water and finish at once! - What will happen to them? - Sonya asked weakly, looking painfully at
him, but at the same time, as if not at all surprised by his proposal.”
What kept her from drinking water was not so much the thought of sin as “about them, our own.” For Sonya, debauchery was worse than death.
In the developing romance between Raskolnikov and Sonya, mutual respect and mutual cordial delicacy play a huge role, so sharply different from the mores of that society. Rodion was able to confess to Sonya about the murder because he loved her and knew that she loved him too.
Thus, in the novel “Crime and Punishment,” love is not a duel of outcasts, brought together by fate into a single union and choosing which path to go towards a common goal - a duel of two truths.
The presence of lines of contact and lines of unity made
Sonya’s struggle with Raskolnikov is not hopeless, and if Sonya in the novel itself, before its epilogue, did not win and
reborn Raskolnikov, then she, in any case, contributed to the final collapse of his inhuman
ideas.
In the epilogue of the novel we read: “Their
resurrected love..." A person, if he is a person, feels responsible not only for his own actions, but
and for every evil that is happening in the world. This is why Sonya feels that she is also to blame for the crime
Raskolnikov, that’s why she takes this crime so close to her heart and shares it with
“those who have transgressed” his fate, she agrees to bear his cross, to help him come to the truth through suffering. We have no doubt about her words; the reader is sure that Sonya will follow Raskolnikov everywhere, everywhere and will always be with him. Why, why does she need this? Go to Siberia, live in poverty, suffer for the sake of a person who is dry, cold with you, and rejects you. Only she, the “eternal Sonechka”, could do this. kind hearted And selfless love to people.
Dostoevsky wrote: “Sonya is a hope, the most unrealizable.”
By creating the image of Sonya Marmeladova, Dostoevsky created an antipode to Raskolnikov and his theory (goodness, mercy opposing evil). Life position The girl reflects the views of the writer himself, his belief in goodness, justice, forgiveness and humility, but, above all, love for a person, no matter what he may be.
One of central characters novel “Crime and Punishment” - 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.
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, because 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. The merciful, selfless Sonya finds the strength not to become bitter, not to fall into the mud that surrounds her in street life, to maintain endless love for humanity and faith in the power of the human person, despite the fact that she causes irreparable harm to her 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 a comprehensive 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...
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...
F. M. Dostoevsky - “ great artist ideas" (M. M. Bakhtin). The idea determines the personality of his heroes, who “do not need millions, but need to resolve the thought.” The novel “Crime and Punishment” is a debunking of the theory of Rodion Raskolnikov, a condemnation of the principle...
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...