The system of doubles in F. M. Dostoevsky’s novel “Crime and Punishment” (using the example of Raskolnikov, Svidrigailov, Luzhin)
Double heroes are a kind of author's device, the essence of which is that the author offers the reader a way to understand the main character through other characters who are similar to him. This technique is aimed at allowing the reader to get a more complete psychological characteristics hero, as well as comprehensively learn the character of the main actor works.
Dostoevsky in this case can be called a successor of Lermontov’s traditions: it was M. Yu. Lermontov who was the first in his novel “A Hero of Our Time” (1840) to resort to such an author’s technique as the use of double heroes in order to reveal the image of the main character - Pechorin - as fully as possible and comprehensively.
Speaking about the system of double heroes in Dostoevsky’s novel Crime and Punishment, it makes sense to first of all keep in mind the chain of Raskolnikov - Svidrigailov - Luzhin. Each of them is a separate side of Raskolnikov’s theory, but they are both incredibly disgusting to the hero. Luzhin rejects Christian morality and believes that progress and religion absolutely cannot coexist together. He believes that selfish benefit is in favor of the public good. This is evidenced by his “caftan theory”. Discussing what it means to “love” from the point of view of religion, he says: “I tore the caftan in half, shared it with my neighbor, and both of us were left half naked, according to the Russian proverb: “You will follow several hares at once and you will not achieve a single one.” " Speaking about “love” from the point of view of science, he emphasizes: “Science says: love yourself first, first of all, for everything in the world is based on personal interest. If you love yourself alone, then you will manage your affairs properly, and your caftan will remain intact. Economic truth adds that the more private affairs and, so to speak, entire caftans are organized in a society, the more solid foundations there are for it and the more common affairs are organized in it.” Raskolnikov absolutely disagrees with Luzhin’s theory. He believes that if it is developed, then “it will turn out that people can be cut.” The author also polemicizes with Luzhin: he contrasts theory with life not according to science, but according to the soul. At the end of the novel, when the author describes the hero’s state after the verdict was announced, he notes that “instead of dialectics, life came, and something completely different should have developed in the consciousness.”
Thus, Dostoevsky, on the pages of his novel, polemicized with the theory of “reasonable egoism” of N. G. Chernyshevsky and N. A. Dobrolyubov, which was formed largely under the influence of the teachings of D. Mill and G. Spencer. Dostoevsky believed that this theory, “due to its rationalistic character, denies the role of direct moral impulse” (literary critic G. M. Friedlander).
Svidrigailov becomes for Raskolnikov a real personification of human abomination, but at the same time Raskolnikov feels an incomprehensible closeness with Svidrigailov. Svidrigailov says about himself that he is “a depraved and idle man,” and briefly describes his biography as follows: “a nobleman, served for two years in the cavalry, then hung around here in St. Petersburg, then got married.” His whole life is aimless, it comes down only to the search for pleasure, and his main theory is the theory of permissiveness. But when Raskolnikov’s sister Dunya appears in Svidrigailov’s life, the reader sees the hero’s transformation, the struggle of opposing principles. This is especially clear in the scene from the fifth chapter of the sixth part: Svidrigailov invites Dunya to visit, and then tries to force her love. But seeing that Dunya does not love him, and realizing that she will never love him, he, having experienced “a moment of terrible, silent struggle in his soul,” lets her go. Thus, Dostoevsky shows readers how Svidrigailov’s theory of permissiveness collapses.
In the novel, Dostoevsky argues with Raskolnikov’s theory with the help of double heroes, showing the inconsistency of the hero’s belief system against the background of the theories of his doubles. The author does not dare to say his last authorial word, he does not reveal his knowledge until the very end, he gives the opportunity to each ideologist to bring the idea to the end, but it is clear that Dostoevsky’s disagreement with Raskolnikov’s theory and polemics with it runs through the entire novel.
It is considered quite complex. At the center of the novel is the image of Rodion Raskolnikov and his theory. As the story progresses, other characters appear. Raskolnikov's doubles are of particular importance in the work "Crime and Punishment". Why does Dostoevsky introduce them into the plot? How are Raskolnikov and his doubles similar? How are they different? What are their ideas? What are Raskolnikov's doubles - Luzhin and Svidrigailov? More on this later in the article.
Pyotr Petrovich Luzhin - Raskolnikov's double
The author characterizes him quite negatively. Luzhin is rich and a brilliant businessman. He came to St. Petersburg to establish his career. “Having become one of the people,” Peter highly valued his own mind, his abilities, and was accustomed to admiring himself and enjoying it. His main dream was to get married. Peter sought to benefit some girl, elevating her to himself. She certainly had to be educated and beautiful. He knew that in St. Petersburg one could “win a lot with women.” His painful narcissism, all his dreams speak of a certain imbalance in his character, of the presence of cynicism in him. With the help of money, “having broken through from insignificance,” he remained low inside. Next, we will find out what indicates that Luzhin and Raskolnikov are doubles.
Petr Petrovich's theory
Luzhin is presented as a business man, who values money more than anything else, which is obtained “by all means and labor.” He considers himself smart, working for the benefit of people, progressive and has great respect for himself. Pyotr Petrovich has his own own theory, which he develops with great pleasure in front of Rodion Raskolnikov. His idea of “reasonable egoism” presupposes love, first of all, for oneself, since everything that happens in the world is based, in his opinion, on one’s own interest. If all people acted according to his theory, society would have many more prosperous citizens. Thus, a person, acquiring everything exclusively for himself, works for the benefit of the whole society and in the name of economic progress. In life, Luzhin is guided by this theory. The dream of marrying Avdotya pleases his vanity. Moreover, this marriage can contribute to his future career. Raskolnikov, meanwhile, is against this marriage. But Pyotr Petrovich quickly finds a way to correct the situation. In order to denigrate Rodion in front of his family and regain Dunya’s favor, he plants a banknote on Sonya and accuses her of theft.
Why is Luzhin Raskolnikov's double?
When analyzing the theory of Pyotr Petrovich, one can find many analogies with Rodion’s idea. In both the first and second, one’s own, personal interest remains a priority. Raskolnikov claims that “Napoleons are allowed everything.” According to Pyotr Petrovich, Rodion’s idea is also designed to save humanity from evil and is aimed at achieving progress in development. Only people who are capable of destroying the present for the benefit of the future can move the world and lead it to its goal.
Similarity of opinions is the cause of hatred
It should be said, however, that Raskolnikov really did not like Luzhin’s idea. Probably, on an intuitive level, Rodion felt similarities with his ideas and thoughts. He points out to Pyotr Petrovich that according to his “Luzhinsky” theory, it is allowed to “cut people.” Apparently, the similarity in thoughts and vision of the situation in the world determines Rodion’s unaccountable hatred of Pyotr Petrovich. As a result, a certain “vulgarity” of Raskolnikov’s theory appears. Pyotr Petrovich offers an “economic” version of it, one that, in his opinion, is applicable in life and is aimed at achieving goals mainly by material means. Thus, we can conclude that Luzhin is Raskolnikov’s double in everyday life.
Another character with a similar theory
As the story progresses, another hero appears - Arkady Ivanovich Svidrigailov. This rather complex character expresses a certain “non-uniformity” with his entire being. He is “not single-line anywhere,” but in his image one can trace the philosophical context of the expression of Rodion’s idea. Thanks to the actions of Svidrigailov (it was he who revealed the true state of affairs to Marfa Petrovna), the good name of Raskolnikov’s sister is restored. Arkady Ivanovich also provides assistance to the Marmeladov family, organizing the funeral of the deceased Katerina Ivanovna and placing orphaned young children in an orphanage. He also helps Sonya, providing her with funds for her trip to Siberia.
Brief description of Arkady Ivanovich
This person is smart, insightful, he has his own special “subtlety”. He has the ability to understand people very well. Thanks to this skill, he was immediately able to determine what Luzhin was like. Arkady Ivanovich decides to prevent Pyotr Petrovich from marrying Avdotya. According to some authors, Svidrigailov potentially appears to be a man of great strength and conscience. However, all these inclinations of his are ruined by Russian social foundations and way of life. The hero does not have any ideals, there is no clear moral guideline. Among other things, Arkady Ivanovich by nature has a vice, which he not only cannot fight, but also does not want to fight. Speech in in this case is about his penchant for debauchery. The hero's life proceeds in submission to his own passions.
What are the similarities between Rodion and Arkady Ivanovich?
Svidrigailov, when meeting with Raskolnikov, notes some “common point” between them, saying that they are “berries of the same field.” Dostoevsky himself, to a certain extent, brings these characters closer together, portraying them, developing one motive - childish innocence, purity. The image of Raskolnikov contains the features of a child - he has a “childish smile”, and in his first dream he appears as a seven-year-old boy. In Sonya, with whom Rodion is becoming increasingly close, traits of innocence and purity can also be traced. She reminds Raskolnikov of a child. There was also a childish expression on Lizaveta’s face at the moment when Rodion attacked her. For Arkady Ivanovich, meanwhile, children are a reminder of the atrocities he committed, coming to him in nightmares. It is this common motive, the very fact of his presence that allows us to say that Svidrigailov and Raskolnikov are doubles.
Differences in the images of Arkady Ivanovich and Rodion
As the story progresses, the differences between the characters become more and more obvious. The crime that Raskolnikov committed was a kind of symbol of protest against the cruelty and injustice of the world around him, the unbearable living conditions. The secondary motive is the plight of the family and himself. In addition, he sought to test his theory. However, after the crime, Rodion is no longer able to live differently, as if he had “cut himself off from everyone with scissors.” Now he has nothing to talk about with those around him, and he is overcome by a feeling of painful alienation from all people. Despite this, before and after the crime, ideals are preserved in the image of Raskolnikov - the concepts of evil and good are very significant for him. So, after the crime, he helps the Marmeladovs, giving the last 20 rubles to organize the funeral of Semyon Zakharovich. Nothing of the kind appears in the image of Svidrigailov. Arkady Ivanovich appears completely devastated and spiritually dead man. In him, unbelief and cynicism coexist with a subtle mind, self-sufficiency, life experience. He is so “dead” that even feelings for Dunya are unable to revive him.
Love for her awakened noble impulses and manifestations of true humanity in Arkady Ivanovich only for a short moment. Svidrigailov is bored with life, he doesn’t believe in anything, nothing occupies his heart and mind. At the same time, he indulges his desires: both good and bad. Arkady Ivanovich does not feel remorse for killing a very young girl. And only once does her image appear to him in a nightmare - on the night before his death. At the same time, the idea is created that this crime of his is not the only atrocity of the hero: there are many rumors and gossip about him. However, the character himself is very indifferent to them and, in fact, does not consider his actions to be anything out of the ordinary.
The embodiment of Rodion's theory in the image of Arkady Ivanovich
Speaking about the fact that Svidrigailov is Raskolnikov’s double, we should pay attention to their personal relationship. At first, it seems to Rodion that Arkady Ivanovich has some kind of power over him. Raskolnikov is drawn to Svidrigailov. But subsequently Rodion feels some kind of “heaviness”; he becomes “stifling” from this closeness. Gradually, Raskolnikov begins to believe that Svidrigailov is the most insignificant and emptiest villain on earth. Arkady Ivanovich, meanwhile, goes much further than Rodion along the path of evil. In this regard, there is even some symbolism of the name Arkady. It has Greek origin and literally translates as “shepherd”. IN Orthodox culture this word was used in the meaning of “shepherd” - a leader, mentor, teacher in spiritual life. In a way, Svidrigailov is like that for Raskolnikov: in his lack of faith and cynicism, he surpasses Rodion in many ways. Arkady Ivanovich constantly demonstrates his “masterful”, to a certain extent “higher” mastery of Rodion’s theory, practically embodying it.
The meaning of the characters in the work
Raskolnikov's doubles are close to him in spirit, but have different purposes. Each of them embodies Rodion's theory in their own way. With their own internal appearance, Raskolnikov's doubles in the novel discredit his ideas. The image of Pyotr Petrovich seems to be a primitive embodiment of the theory at the everyday level. Arkady Ivanovich is a deeper character. Svidrigailov's application of Raskolnikov's theory is more profound. He embodies it on a philosophical level. When you analyze the image and actions of Arkady Ivanovich, in some way the bottom of the abyss is revealed, where the “individualistic” idea of the protagonist leads.
Sonya Marmeladova
If the characters described above are Raskolnikov’s spiritual doubles, then this heroine is similar to Rodion solely in terms of her “life situation.” At least that's what I thought main character works. She, like the other characters, was able to cross the line beyond which morality ends. Being an active and active person, Sofya Semyonovna tries to save her family from death. In her actions, she is primarily guided by faith, kindness, and meekness. Sonya attracts Rodion, he begins to identify her with himself. However, like Raskolnikov’s other doubles, Marmeladova soon becomes completely different from him. Rodion notices that he ceases to understand her, she even seems “foolish” and strange to him. Subsequently, the differences between them become more pronounced.
"Atrocity" by Sonya Marmeladova
It should be said that her “crime” differs from Raskolnikov’s actions. By turning into a prostitute, saving children from starvation, she harms herself. While the rest of the heroes also inflict it on others, ruining other people’s lives. Rodion can freely choose between evil and good. Sonya is initially deprived of this choice. Her act is unequal, but justified in some way by motive. Unlike other characters, Sonya's soul is filled with love, faith, mercy, she is “alive” and feels unity with those around her.
Conclusion
On the pages of the work, quite a lot of personalities appear before the reader. All of them, to one degree or another, are similar to the main character - Raskolnikov. Of course, this similarity is not accidental. Rodion's theory is so nightmarish that a simple description of his life was not enough. Otherwise, the depiction of his fate and the collapse of his ideas would have been reduced to a simple description of a crime story about a half-crazed student. In his work, Dostoevsky tried to show that this theory is not so new and is quite implementable. Its development and refraction permeates human destinies, people's lives. As a result, an understanding emerges that it is necessary to fight against this evil. To counter immorality, everyone has their own means. At the same time, we should not forget that fighting the enemy with the help of his own weapons becomes meaningless, since it returns again to the same path of immorality.
Mirror image of the hero
In Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment, Raskolnikov's doubles are a whole series heroes. Reading a work for the first time, we cannot understand all the nuances and subtleties of the content. Detective story completely captures our imagination. A closer look at the writer's intentions raises a number of questions. It seems incomprehensible that some personalities appear on the pages of the book, whose history and fate are far from the life of the main character. In fact, Dostoevsky does not have a single extra character. Each of the characters carries its own meaning and serves to more fully reveal the personality of the main character. The theme of duality in the novel “Crime and Punishment” is very important.
Of course, at the center of the novel is the gloomy figure of Rodion Raskolnikov. It is no coincidence that the author endowed his hero a telling surname. Personality young man contradictory and, like a mosaic, consists of disparate, seemingly unconnected parts. Each of them has its own mirror image in the novel in the form of a separate hero. Let's get to know them in more detail.
Doubles of Rodion Raskolnikov
Only friend
According to the plot of the story, the first of the hero's doubles is Dmitry Razumikhin. The young man is the opposite of the main character. He is active, sociable and cheerful. The student endures the blows of fate, makes plans and does not fall into despair. His friend, on the contrary, is gloomy and taciturn, and does not know how to cope with life's problems. Against the background of Razumikhin’s optimism, Raskolnikov’s apathy becomes brighter and more understandable to the reader. “Scoundrel man! And the one who considers him a scoundrel is a scoundrel!” - the young man is convinced. F. M. Dostoevsky also points out the similarities of the heroes. They are young and smart, decent and noble. Both dream of a great future, but they choose different paths to achieve their goals. Razumikhin works tirelessly, trying to cope with poverty, and the impatient Raskolnikov commits a crime for the sake of an idea.
Honorable groom
In the mirror image of the main character, we will notice another double. This is the happy chosen one of Sister Raskolnikov, Pyotr Petrovich Luzhin. Hypocritical man who tries to appear honest and noble, actually has a mean and deceitful nature. What character trait of our hero is clearly depicted in this image? Luzhin, going towards his goal, is guided by the principle: “All means are good.” He takes advantage of Dunya’s plight, slanderes Sonya, caring only about his own well-being. Raskolnikov, testing his theory, acts in the same way. The image of Pyotr Petrovich Luzhin helps to understand the egoistic essence of the main character's idea.
Gloomy Svidrigailov
The mysterious figure of Svidrigailov evokes hostility from the reader. This is a vicious person for whom there are no laws of morality and ethics. He is capable of murder, molesting young children, cheating on his wife and other disgusting acts. But his phrase: “We are birds of a feather,” addressed to Raskolnikov, makes us understand that the heroes have similar traits. Rodion Raskolnikov, just like the mysterious Mr. Svidrigailov, commits a crime. People are dying because of him, but he feels no remorse. Such behavior makes him similar to this negative character. The figure of Svidrigailov is full of contradictions, just like the image of the main character. He is capable of noble deeds: helps Marmeladov’s orphaned children, gives money to Sonya Marmeladova. But this does not change his disgusting essence. Getting to know him shows what dire consequences can lead to denial of the commandments of Christianity and impunity.
Lebezyatnikov Andrey Semenovich
This hero, according to the author, in a grotesque form reflects the passion of young people for new theories. He is a parody of Raskolnikov's obsession with his theory. Lebezyatnikov is stupid, but kind and harmless. Luzhin's meanness is as unpleasant to him as to Rodion Raskolnikov.
Wise investigator
Porfiry Petrovich, to some extent, can also be classified as a double of the main character. A person with experience and experience understands the confused student and sincerely sympathizes with him. He himself managed to stop in time and understand the fashionable modern theories and now he’s trying to save Raskolnikov: “Become the sun, everyone will see you! The sun, first of all, must be the sun!”
Female counterparts of the hero
Certain character traits of the young man are reflected in the heroines of the story. Describing Avdotya Romanovna Raskolnikova, the writer points to her external resemblance with his brother, draws attention to their soul mates. The girl is smart, proud and independent, just like her brother. But unlike him, these character traits help her choose the right path in life, understand people and not make fatal mistakes.
The most important person in the hero’s life is Sofya Semyonovna Marmeladova. Believers in God good Sonya different from Raskolnikov. But they also have something in common: both committed a crime, broke the law, became outcasts. Only Sonya considers herself a sinner and longs to accept suffering in order to atone for her guilt, while Rodion Raskolnikov is confident that he is right. In the image of Sonya F.M. Dostoevsky tried to convey to the reader the main idea of the work and finally debunk Raskolnikov’s inhuman theory.
The role of doubles in the novel
Raskolnikov's doubles in Dostoevsky's novel Crime and Punishment help to understand the complex character of the main character, to examine individual character traits, as if through a magnifying glass. Thanks to this technique, we understand the motives of actions and realize the inevitability of punishment for the crime committed.
Work test
In the novel “Crime and Punishment” by F. M. Dostoevsky, the device of antithesis is widely used; the system of characters is built on it. Each of the characters surrounding Raskolnikov, to one degree or another, reveals a certain trait of the main character. Parallels are drawn between Raskolnikov and other characters, creating a unique system of doubles. Raskolnikov's doubles are, first of all, Luzhin and Svidrigailov. For them, “everything is permitted,” although for different reasons.
Arkady Ivanovich Svidrigailov was a nobleman, served for two years in the cavalry, then lived in St. Petersburg. This is a “perfectly preserved man” about fifty years old. The face resembles a mask and strikes with something “terribly unpleasant.” The look of Svidrigailov’s bright blue eyes is “somehow too heavy and motionless.” In the novel, he is the most mysterious figure: his past is not fully clarified, his intentions and actions are difficult to define and unpredictable, non-standard for a scoundrel, for such a sinister character as he appears at first (for example, in a letter to Raskolnikov’s mother). The image of Svidrigailov, placed next to the image of Raskolnikov, reveals one of the sides of the philosophical idea, which is as follows. Under the influence of certain circumstances, a person’s moral sense may disappear, but the general moral law will not disappear because of this. Svidrigailov has placed himself outside of morality, he has no pangs of conscience, and, unlike Raskolnikov, he does not understand that his actions and deeds are immoral. For example, rumors about Svidrigailov’s involvement in several crimes are repeated in various interpretations; it is clear that they are not unfounded. A deaf-mute girl “cruelly insulted” by him committed suicide, and the footman Philip hanged himself. It is characteristic that Svidrigailov finds “some common point” between himself and Raskolnikov; he says to Raskolnikov: “We are birds of a feather.” Svidrigailov embodies one of the possibilities of realizing the main character's idea. As a moral cynic, he is a mirror image of the ideological cynic Raskolnikov. Svidrigailov's permissiveness eventually becomes scary to Raskolnikov. Svidrigailov is terrible even to himself. He takes his own life.
Raskolnikov’s double is also Pyotr Petrovich Luzhin, a relative of Svidrigailov’s wife. Luzhin has a very high opinion of himself. Vanity and narcissism are developed in him to the point of painfulness. There was something “really unpleasant and repulsive” in his face, “cautious and grumpy.” The main life value for Luzhin is money obtained by “all sorts of means,” since thanks to money he can become equal to people who borrow more high position in society. IN morally he was guided by the theory of the “whole caftan.” According to this theory, Christian morality leads to the fact that a person, fulfilling the commandment to love his neighbor, tears his caftan, shares it with his neighbor, and as a result, both people remain “half naked.” Luzhin’s opinion is that you must love yourself first, “for everything in the world is based on personal interest.” All of Luzhin's actions are a direct consequence of his theory. According to Raskolnikov, it follows from Luzhin’s theory that “people can be cut” for their own benefit. The image of Pyotr Petrovich Luzhin serves as a living example of what Raskolnikov could have come to, gradually realizing his principle of omnipotence and power, “Bonapartism.” The difference between Raskolnikov and Luzhin is that Raskolnikov’s views were formed as a result of solving humanistic problems, and the views of his double serve as a justification for extreme selfishness, based on calculation and benefit.
Such a technique as the creation of systems of doubles is used by the author to reveal the image of Raskolnikov, comprehensively analyze and debunk his theory.
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Used CMD: General education program. Literature for grades 5-11, edited by V.Ya. Korovina, Moscow, “Enlightenment”, 2005.
Textbook “Russian literature XIX century" (Moscow "Enlightenment")
Equipment: computer, screen, projector, computer presentation, graphic images, handouts, supporting notes.
Goals: consolidate basic knowledge, skills, and analysis skills of a work of art;
- find out who Rodion Raskolnikov’s “doubles” and “antipodes” are and how they help reveal the character of the main character;
- lead to an understanding of the main conflict of the novel - the conflict between Raskolnikov and the world he denies;
- expand students’ understanding of the characters in the novel;
- to achieve an understanding that the world in which Dostoevsky’s heroes live is a world of “the lost and perishing”;
- to cultivate such spiritual and moral qualities as a sense of compassion for the “humiliated and offended”, mercy;
- develop students' critical thinking and interest in research work.
Tasks:
- Analyze the theories presented in the novel.
- Form on literary material philosophical significance of the theory of superman, strong personality.
- Develop students' conceptual ability logical thinking, development of such qualities of thinking as evidence-based reasoning.
What am I guilty of before them?..
They themselves harass millions of people,
and they are also revered for virtue.
Rodion Raskolnikov.
Lesson progress
1. Opening remarks teachers(Slides 1–4):
– So, we know the main character well, we know the moral and philosophical principles on which Raskolnikov relied when creating his theory. Many researchers, in particular M. Bakhtin, noted that at the center of any of Dostoevsky’s novels, constituting its compositional basis, is the life of an idea and the character - the bearer of this idea. Thus, in the center of the novel “Crime and Punishment” is Raskolnikov and his “Napoleonic” theory about the division of people into two categories and the right of a strong personality to neglect laws, legal and ethical, in order to achieve his goal. The writer shows us the origin of this idea in the mind of the character, its implementation, gradual elimination and final collapse. Therefore, the entire system of images of the novel is constructed in such a way as to comprehensively outline Raskolnikov’s thought, to show it not only in an abstract form, but also, so to speak, in practical refraction, and at the same time convince the reader of its inconsistency. As a result of this central characters The novels are interesting to us not only in themselves, but also in their unconditional correlation with Raskolnikov - precisely as with the embodied existence of an idea. Raskolnikov is in this sense, as it were, common denominator for all characters. A natural compositional technique with such a plan is the creation of spiritual doubles and antipodes of the main character, designed to show the disastrousness of the theory - to show both the reader and the hero himself. Originality of construction artistic image in Dostoevsky, according to the thesis of M. M. Bakhtin, is that the hero is not an object of the author’s consciousness, but a subject with an independent outlook, and, therefore, the system of characters is a system of consciousnesses revealed in contact.
The author surrounds Raskolnikov with people who vary in their minds certain thoughts of the protagonist, while the negative elements of his “theory” are reflected by the so-called “doubles”, and the positive ones – by antipodes.
– Who can be included in the first group?
– Raskolnikov’s spiritual doubles are Luzhin, Lebezyatnikov, Svidrigailov.
- Prove it.
2. Study of “doubles”:
-Who is Luzhin? What do we know about him? (Slide 5)
– Raskolnikov claims that Luzhin’s views are close to his theory (“and bring to the consequences what you preached just now, and it will turn out that people can be killed...”. Do you agree with him? (1. 2, ch. 5)
– Which arguments from your mother’s letter about Luzhin attracted Raskolnikov’s special attention? What thoughts and feelings do they give rise to in Raskolnikov, and why?
– What impression do you get about Luzhin after reading your mother’s letter?
(“Clever and, it seems, kind,” “decided to take an honest girl, but without a dowry and certainly one who had already experienced a difficult situation,” and “a husband should not owe anything to his wife, and it is much better if the wife considers her husband your benefactor."
Raskolnikov’s reasoning about Luzhin’s “kindness”, which allows that “the bride and mother of a peasant are contracting, in a cart covered with matting! Nothing! Only ninety miles...”, strengthen the impression that is formed about Luzhin as a callous, dry, indifferent, calculating person, and awaken a feeling of hostility towards this hero.)
– The impression of Luzhin is deepened when analyzing the scene. “explanations” between him and Dunya. Compare the behavior of Luzhin and Dunya in the scene of their explanation. What thoughts does this comparison give rise to in you?
(Luzhin’s behavior in this scene reveals his petty, selfish, low soul, lack of sincerity, true love u respect for his bride, readiness to insult and humiliate Dunya. Prove it with text. In Dunya’s behavior there is sincerity, a great sense of tact, nobility, “the desire to judge impartially: “... if the brother is guilty, then he must and will ask you for forgiveness,” respect for the person to whom the “great promise” was given, pride and feeling self-esteem).
– What did Luzhin value above all else in life? And why was he annoyed by the break with Dunya?
(“More than anything in the world, he loved and valued his money, obtained by labor and by all means: it equated him with everything that was higher than him.” Luzhin was irritated by the break with Dunya because it destroyed his dream of a being who “would be slavishly grateful to him all his life... and he will have unlimited... dominion"...)
- Luzhin cannot come to terms with this and makes a decision that, in his opinion, could bring Dunya back. How did Luzhin carry out his decision? (Scene with Sonya at the Marmeladovs’ wake.)
(Luzhin, in order to achieve his egoistic goal, “for himself alone,” is ready to “transcend all obstacles,” lives according to the principle “everything is allowed.” In this, his theory is close to Raskolnikov’s theory. The only god for Luzhin is money.
Remorse and compassion are unfamiliar to him. We see in him a lack of deep human feelings, vanity, callousness, bordering on meanness. And we hear Dostoevsky’s thought about the inhumanity of egoistic self-affirmation at the expense of others.)
– In what ways are Raskolnikov and Luzhin similar and different?
– Luzhin absorbs the theory of “reasonable egoism”, which underlies Raskolnikov’s “arithmetic” constructions. Being an adherent of “economic truth,” this bourgeois businessman very rationally rejects sacrifice for the common good, asserts the uselessness of “individual generosity” and believes that concern for one’s own well-being is also concern for “general prosperity.” In Luzhin’s calculations, the intonations of Raskolnikov’s voice are quite perceptible, who, like his double, is not satisfied with “single” help that does not solve anything in general (in this case, to his family). Both of them “reasonably” find a victim to achieve their goals and at the same time theoretically justify their choice: a worthless old woman. As Raskolnikov believes, he will die anyway, and the fallen Sonya, according to Luzhin, will still steal sooner or later. True, Luzhin’s idea freezes at the point of reasoning and does not lead him to the axe, while Raskolnikov, who has gone through such a path in reality, easily completes the building to the foundation of the concept of his double: “And bring to the consequences what you preached just now, and it will turn out that people can cut".
Having borrowed the rationalistic foundations of Raskolnikov's theory, Luzhin turns them into an ideological justification for his predatory aspirations. Just like the main character of the novel, he reserves the right to decide the fate of another person, for example, Sonya, but clears Raskolnikov’s “arithmetic” of active compassion and ultimately altruistic orientation.
– How do Raskolnikov and Luzhin coincide?
- Luzhin is an average entrepreneur, he is a “little man” who has become rich, who really wants to become a “big man”, to turn from a slave into the master of life. These are the roots of his “Napoleonism,” but how similar they are to the social roots of Raskolnikov’s idea, its pathos of social protest of an oppressed individual in a world of the humiliated and insulted! After all, Raskolnikov is a poor student who also wants to rise above his social status. But it is much more important for him to see himself as a person superior to society in moral and intellectual terms, despite his social status. This is how the theory of two categories appears; both of them can only check their belonging to the highest category. Thus, Raskolnikov and Luzhin coincide precisely in their desire to rise above the position assigned to them by the laws social life, and thereby rise above people. Raskolnikov arrogates to himself the right to kill the moneylender, and Luzhin to destroy Sonya, since they both proceed from the incorrect premise that they are better than other people, in particular those who become their victims. Only Luzhin’s understanding of the problem itself and methods are much more vulgar than Raskolnikov’s. But that's the only difference between them. Luzhin vulgarizes and thereby discredits the theory of “reasonable egoism.” In his opinion, it is better to wish the good for oneself than for others, one must strive for this good by any means, and everyone should do the same - then, having each achieved their own good, people will form a happy society. And it turns out that Luzhin “helps” Dunechka with the best intentions, considering his behavior impeccable. But Luzhin’s behavior and his entire figure are so vulgar that he becomes not only a double, but also the antipode of Raskolnikov.
– Lebezyatnikov…..What can you say about him? (Slide 6)
The next double, the “progressive” Lebezyatnikov, in his life attitude varies Raskolnikov’s nihilistic attitude towards the existing world order, moral and social foundations. Enthusiastically speaking out against such “prejudices” as “chastity and female modesty,” calling for the creation of communes, advocating the destruction of marriage bonds, Lebezyatnikov emasculates and disfigures the ideas of the revolutionary democratic movement, the meaning of which he reduces to “warming with protest.” Russian life: “We have gone further in our beliefs. We are in denial no more!” Rebelling against the unjust structure of the world, Raskolnikov’s rebellious element turns into Lebezyatnikov’s thin stream of meaningless and vulgar denials. This double is attached as a caricatured shadow to the main character, who wants to “simply grab everything by the tail and shake it to hell.” The cult of protest, which in Lebezyatnikov takes the form of militant stupidity, compromises the rebellious path chosen by Raskolnikov for reorganizing the world, in which he sees the possibility of self-affirmation.
Self-aggrandizement and the need to test oneself by killing - these secret aspirations of the protagonist’s personality are debunked in contact from the outside with the life attitudes of the pitiful “heirs” of his thought and in his painful statement. own insolvency (“louse”, “trembling creature”).
– The results of the experiment conducted on himself, which destroyed Raskolnikov’s illusions regarding himself as an “extraordinary” person, nevertheless did not shake the powerful walls of the theory that pushed him to commit a crime. Disappointed in himself, he does not renounce her. But in the reader’s mind, the towers of ideas firmly built by Raskolnikov turn into ruins, thanks to the dark shadow of the third double.
– It is no coincidence that Svidrigailov appears on the arena of the great interpenetration of worlds after his two predecessors, who, having taken away individual parts of a self-sufficient idea, were able, due to their insignificance, to split its core. For this, an extraordinary personality was needed, “breaking out” from the ranks of “ordinary” people, establishing for himself the right of permissiveness (“Svidrigailov is a mystery,” Raskolnikov thinks of him).
– Who is Svidrigailov? How do you characterize his first information in the novel? (Slides 7, 8)
(The first information in the novel about Svidrigailov characterizes him... as a villain, a libertine. They say that he was involved in the case of “murder,” that he was guilty of the suicide of the serf lackey Philip, that he cruelly insulted the girl, poisoned his wife Marfa Petrovna, that he was a sharper, that he was not such a vice that would not nest in his soul. At the same time, throughout the entire novel he performs a number of good deeds: he saved Dunya from shame, restored her good name, wants to help Dunya get rid of Luzhin, took upon himself the fate of the orphaned Marmeladov family. )
– He has a conscience by nature, but he does good and evil out of boredom. This is a person without convictions and without activity. A real person cannot live without beliefs and without activity. Svidrigailov realized this and executed himself, having lost his “last goal - to achieve Dunya’s favor). This hero goes further than anyone else: by stepping over other people’s lives, he also steps over his own conscience, i.e., he fully corresponds to Raskolnikov’s idea of strong personalities. But instead the expected, from his point of view, triumph of the idea in the dislocated world of Svidrigailov, it suffers a complete collapse. “Arithmetic”, according to which you can kill one “harmful” old woman, and then, having done a hundred good deeds, atone for this sin, is refuted by Svidrigailov’s “experiments”: he has more good deeds to his name than all the other heroes of the novel, but, firstly, the good he has done cannot in any way justify the crimes of the past, and, secondly, it is not capable of reviving his sick soul, driven into the subconscious. conscience is eventually released and bursts into the sphere of consciousness, giving rise to suffocating nightmares in which reality and unreality fantastically continue into each other and merge into a single continuous hallucination. Svidrigailov is the chosen one who “overstepped”, and “overstepped” more than once, and without moral torment (here is Raskolnikov’s ideal!), but at the same time did not become Napoleon. The life outcome of Svidrigailov is not only his suicide, but also the death of Raskolnikov’s idea, revealing the monstrous self-deception of the protagonist.
– Is Svidrigailov right when he asserts that he and Raskolnikov are “of the same breed”, that there is a “common point” between them?
(We see Svidrigailov as a person devoid of all moral principles, who does not recognize any moral prohibitions; he lives according to the principle “everything is permitted.” Raskolnikov, allowing himself “blood according to his conscience,” also denies moral responsibility strong man for your actions; moral standards, in his opinion. exist only for the lowest category of people - “trembling creatures”. The truth that Raskolnikov came to as a result of long reflection is used by Luzhin and Svidrigailov as a guide to action.)
– What is the meaning of comparing Raskolnikov with Luzhin and Svidrigailov? Your versions.
– When you compare these images, it becomes clear that Luzhin and Svidrigailov lived, in general, according to Raskolnikov’s theory. He, communicating with “ strongmen of the world this,” cannot accept their life, although he tries to rank himself among the “powers of this world”; He doesn’t like people who live according to his “theory.” This juxtaposition subverts the theorist in the hero and elevates the man in him.
- For everyone - Raskolnikov, Luzhin, Svidrigailov - the inhumanity of individualism, selfish self-affirmation at the expense of others. By pitting these heroes against each other, the author refutes Raskolnikov’s theory and reveals its inhumane, inhumane essence. At the same time, Raskolnikov’s attitude towards Luzhin and Svidrigailov convinces that he is disgusted with the “powers of this world, he cannot accept the world of people who do not live according to his theory. This is Raskolnikov’s strength and what elevates him above the “powers of this world.”
– Who is the antipode of Raskolnikov? (Slide 10)
– His sister also becomes the antipode and to some extent Raskolnikov’s double. She does not consider herself a being of a higher rank than her brother, and Raskolnikov, making a sacrifice, precisely in this sense feels superior to those for whom he sacrifices himself. Dunechka, on the contrary, not only does not consider herself superior to her brother, she recognizes him as a being of a higher kind. Raskolnikov understands this well, which is why he so decisively rejects his sister’s sacrifice. In their attitude towards people, Dunya and her brother are antipodes. Even Svidrigailova Dunya does not consider herself inferior; she overcomes this temptation, being unable to shoot at a person, because in Svidrigailov she sees a person. Raskolnikov is ready to see a person only in himself.
– This is how Raskolnikov’s satellites appear in the cosmos of the novel: revolving around him, they reflect and refract the cataclysms of his world, their interaction creates a negative atmosphere around the central character. However, the phenomenon of Raskolnikov’s personality is much more redundant than the system of his doubles and is by no means exhausted by it alone. Raskolnikov's voice resonates in a space filled not only with the consciousnesses of his doubles, but also with the consciousnesses of their ideological antagonists, played by Razumikhin, Porfiry Petrovich and Sonya Marmeladova. (Slide 11–16)
These heroes are usually called Raskolnikov’s antipodes, but this definition requires clarification. They not only deny the self-will and individualism that lead Raskolnikov to crime, but also continue within themselves the “messianic” principles of his ideas. Consequently, these characters are contrasted not so much with Raskolnikov, with whom they have common ground, but with his doubles. Let me give you some evidence.
Raskolnikov, risking his life, saves children from the fire; being a poor student, he supports the sick father of a deceased friend; twice he leaves his last money to the Marmeladovs. Aren’t all these actions on a par with the actions of the altruist Razumikhin?... Raskolnikov denies the “Napoleons” the right to grumble against the existing world order - Porfiry Petrovich also opposes rebellion. Having committed a crime, the hero cannot step over his conscience, and in this he becomes close to Sonya, who is forced to sell her body, but not her soul. And if Svidrigailov claims to be “kinship” with Raskolnikov (“We are of the same breed”), then with Sonya Raskolnikov is going to go “on the same road” (“We are cursed together, together we will go”). This is how a gallery of lightened reflections of the main character is built. It is interesting that the number of doubles and their “reversals” (antipodes) coincides. This suggests the existence of connections between them.
Having isolated the components of Raskolnikov’s idea, reflected in the consciousnesses of doubles and antipodes, we can imagine a system of images of heroes in the form of three pairs. Moreover, in each of them the central place will be occupied by that part of Raskolnikov’s idea that combines certain opposing principles. (Slide 11)
– What is the significance of the image system? (Slide 17–19)
– As a result, the system of images is divided into three series with negative (Luzhin, Lebezyatnikov, Svidrigailov) and positive (Razumikhin, Porfiry Petrovich, Sonya) subsystems. The antagonistic heroes enter into a dialogue through Raskolnikov’s consciousness, while “it can go beyond the world of the protagonist and be realized in direct contact between the double and the antipode. For example, ideas about “percentage”, supposedly inevitable victims for society (Luzhin’s principle) struggle in Raskolnikov with the desire to stop the fall of the just deceived girl, to do a specific, albeit “individual”, and not “all-human”, good deed (Razumikhin’s beginning). At the same time, the confrontation of “reasonable egoism” with “individual good”, occurring in the soul of the central hero. , Dostoevsky also projects outwardly - onto a system of images, pitting the bearers of these principles in direct communication: Luzhin’s calculations about “whole caftans” are emotionally (in a dispute) and practically (in life) opposed by Razumikhin.
Through Raskolnikov's consciousness, as through a transparent door, the heroes can look into each other.
Conclusion:
– Raskolnikov, a conscientious and noble man, cannot evoke only hostility in the reader, the attitude towards him is complex (you rarely see an unambiguous assessment in Dostoevsky), but the writer’s verdict is merciless: no one has the right to commit a crime! Rodion Raskolnikov comes to this conclusion long and hard, and Dostoevsky leads him, confronting him with various people and ideas. All slim and logical system The images in the novel are subordinated to precisely this goal. Showing the inhumanity of bourgeois society and its structure, Dostoevsky still did not see it as the reason for the “disintegration of the connection of times.” The writer looks for answers to “damned” questions not around a person, but inside him. And this is the distinctive feature of Dostoevsky the psychologist.
Homework.
1. Retelling: Part 3, Chapter 5 (Raskolnikov’s first meeting with Porfiry Petrovich),
part 4, ch. 5 (second meeting with the investigator),
Part 3, Ch. 6 (reflections after a meeting with a tradesman),
part 4, ch. 7 (conversation with Dunya about the crime), epilogue.
3. Answer the questions:
– Does Raskolnikov repent of his crime? What does he reproach himself for?
- Why is Porfiry Petrovich sure that Raskolnikov will “turn himself in”?
4. Brief retelling episodes: Raskolnikov's first day after the murder.
(Part 2, Chapter I-2);
wandering around St. Petersburg on the first day after illness (part 2, chapter 6);
conversation with mother and Dunya (part 3, chapter 3).
5. Answer the question: why did the hero “turn himself in”?
Presentation.
Appendix 2. Cards for independent work.