"Twins" of the hero and his "ideas" in the novel "Crime and Punishment"

The image of Rodion Raskolnikov, perhaps, would not have been so fully revealed without the help of two other images of young people who personified the young, promising and progressive beginning of society. These are Lebezyatnikov and Razumikhin. They act as an alternative to Raskolnikov's behavior. They are also in search of an idea, and just like Raskolnikov, they are defeated in this search.

The name Lebezyatnikov appears on the very first pages of the novel - in Marmeladov's drunken, humiliated and pathetic confession. Marmeladov talks about Lebezyatnikov, not really understanding what he is, not having a clear enough idea of ​​​​differentiation public directions. Marmeladov grabs only the tips of the facts, but these facts characterize Lebezyatnikov in a very unflattering way. Lebezyatnikov is a “nihilist”, he follows “new thoughts”, he refuses to lend money to Marmeladov for vodka, not because he doesn’t have them (and he really doesn’t have them, and Dostoevsky will talk about this at the end of the novel), but because "science", according to the requirements of "political economy".

He brings Sonechka "Physiology" by Lewis (a very popular popularization of the natural sciences in the sixties) with secret thoughts not only to enlighten, but also to "use" the propagandized Sonechka. Lebezyatnikov failed, but when Sonya went down her forced, mournful path, he turned away from her, offended and jealous, and demanded, together with the procuress, that she leave noah's ark where they all lived. Lebezyatnikov is petty in his passions - he “hand-handedly” beat Katerina Ivanovna, who tried to protect Sonya, beat the defenseless when her husband was lying “drunk, sir.”

Such is the introduction of the hero into the novel. Lebezyatnikov's characterization goes even further down. He turns out to be a "young friend" of Pyotr Petrovich Luzhin. When Luzhin sets out his creed already known to us, he seems to be repeating the same thing that Marmeladov heard from Lebezyatnikov when he asked him for a loan.

In the subsequent presentation, in the scandalous and tragic scene of the commemoration, Lebeziatnikov takes on a very significant role in the development of the plot of Crime and Punishment. In this regard, Dostoevsky clarifies his characterization, but at the same time limits his significance as an image or type of nihilist. “This Andrei Semenovich,” we read in the novel, “was a thin and scrofulous man, of small stature, who served somewhere and was strangely blond, with sideburns, in the form of cutlets, of which he was very proud ... His heart was rather soft , but the speech is very self-confident, and sometimes even extremely arrogant - which, in comparison with his figure, almost always came out funny. Andrei Semenovich "was stupid." “He was one of that innumerable and diverse legion of vulgar people, dead bastards and petty tyrants who have not studied everything, who instantly stick to the most fashionable walking idea in order to immediately vulgarize it, in order to instantly caricature everything that they sometimes serve in the most sincere way.” Pereverzev V. Creativity of Dostoevsky. - M.: Gosizdat, 1922. - P.68.

According to Dostoevsky himself, Lebeziatnikov did not belong to the breed of the Bazarovs, but to the breed of the Eudoxie Kukshins. He was from among the vulgarizers, and not from the followers who professed the ideas of the direction in their full content.

Dostoevsky emphatically separates Lebezyatnikov from the main cadres of the movement, to put it modern language. Lebezyatnikov knew everything by hearsay, from the third voice. And what he heard or even read, he could not understand and, naturally, could not express articulately.

Lebezyatnikov, as the novel directly says about him, “maybe he doesn’t know enough about his propaganda business, because something is too confusing ...”. Lebezyatnikov brought his natural stupidity into the “propaganda business” - he attributed to Luzhin a readiness to contribute to the future and soon establishment of a new “commune”, he believed that Dunechka would have lovers from the very first month of marriage, would not baptize children, and so on. and so on. He constantly strays, gets confused - and "so where was he to be an accuser."

Lebezyatnikov was conceived not only as a parody. The seriousness of the writer's intentions is evidenced by an important change in the characterization of the type made in the novel in comparison with magazine controversy 1862-1863. Then, three years ago, Dostoevsky accused the "dead bastards" and half-educated nihilists of greed, of careerism, of whistling for "bread", he coined the nickname "bread whistlers" for them. Now, after the defeat, when life has shown that adherence to the left camp brings only whips and scorpions, he notes that Lebeziatnikov was a "nihilist" by conviction, by passion. Lebezyatnikov lived in tidy poverty, he "never had almost any money," his passion for "nihilism" did not bring him any "bread" results.

In Lebezyatnikov, Dostoevsky wanted to give a satire on "nihilism" and "nihilists", but he constantly strays into a caricature, and a rather superficial one at that. Lebezyatnikov constantly, neither to the village nor to the city, uses the words “protest”, “protest”, he regrets that his father and mother died, otherwise he would “heated them with protest!”, He assures that in the future society the role the woman will be the one who has now fallen to the lot of Sonechka Marmeladova, and that it is with this "training" of hers that she must enter the commune.

Dostoevsky loses the freedom of artistic imagination. Everything that he puts into Lebezyatnikov's mouth is taken from criticism hostile to the revolutionary-democratic camp, he forms an image according to the views of "anti-nihilists". He fervently repeats all the base slanders that the conservative-liberal street attributed to Chernyshevsky, his What Is to Be Done?, Fourier, Feuerbach. Lebezyatnikov is tactless to everything else. He does not notice that his vulgar conversations do not fit in with the noble and tragically Sony.

Lebezyatnikov joins Pisarev in his chatter, not noticing the difference that exists between philosophical and aesthetic views Chernyshevsky and Pisarev. To justify the extremes of the caricature, Dostoevsky suddenly puts into Lebezyatnikov's mouth words borrowed almost, if not directly, from Pisarev's articles: “We have gone further in our convictions. We are in denial! If Dobrolyubov had risen from the coffin, I would have argued with him. And Belinsky would have rolled up.

Lebezyatnkov fawns over everything that bears the authority of "progress" without being able to figure out what progress is. He went, stupid - and naive. He tries to seduce Sonya, not understanding what he is doing, wishing her well. He does not attach any importance to a living personality, to a person. “It all depends,” he assures, “in what situation and in what environment a person is. Everything is from the environment, and the person himself is nothing. Neither Chernyshevsky, nor Dobrolyubov, nor Pisarev attached fatalistic significance to the milieu. Lebeziatnikov is vulgarizing again.

If Lebezyatnikov were to be exhausted by Dostoevsky's measurements, then the image would turn out to be a complete failure. Moreover, he would become one of the manifestations of that terrible and unrighteous world against which Raskolnikov rebelled and the fullest expression of which in the novel is Luzhin. But Dostoevsky was too great artist to be limited to bare bias. Dostoevsky carefully draws a line between Lebezyatnikov and Luzhin. Luzhin belongs to the social anthropophagy, Lebeziatnikov dangles like a chip on the surface of the disturbed public sea, harming no one. Luzhin is cynical, Lebezyatnikov, who promotes Lewis' Physiology, is not cynical. Surprising as it may seem, Lebezyatnikov's attitude towards Sonya reveals both dignity and humanity. Perhaps he is even in love with her. Luzhin advises Lebezyatnikov to buy Sonya's love - after all, such is her profession! Lebezyatnikov's answer shows that not only is he not Luzhin, but that he is an alternative to Luzhin.

The dense stupidity of Lebezyatnikov recedes into the shadows, and his characteristic attitude towards the existing as a perverted reality comes to the fore, in which the fact of prostitution turns out to be not a prototype of a foolishly imagined future, but an evil reproach to the conditions in which a person is forced to act contrary to his nature. “N-you don’t understand anything, I told you! he repeats. - It is, of course, such is her position, but that's another question! completely different! You just despise her. Seeing a fact that you mistakenly consider worthy of contempt, you are already denying a human being a humane look at him. You still don't know what kind of nature it is! “You still don’t know what kind of nature it is!” - this could be said, perhaps, and Raskol-nikov.

Lebezyatnikov believes in man, he even believes in Luzhin, he believes that even the stingy Luzhin can lend a hand to one who is dying in the abyss of life, and even with tact and delicacy. He did not understand that this was a provocation. And when I understood, then, without hesitation, I stood up for Sonya.

Lebezyatnikov is funny, but he does not belong to scary world, which Raskolnikov refuses. He is stupid, he is trying to plant a good seed in the flinty soul of Luzhin, whom Raskolnikov comprehended from the first word, from the first step. Lebezyatnikov's ideas are based on a different concept of the world than Raskolnikov's, but when it is necessary to lend a hand to the Marmeladov family, he acts together with Raskolnikov.

Started as a caricature, the image of Lebezyatnikov turned out to be inconsistent with the canons of the anti-nihilistic novel. Despite the stupidity of his speeches, it is nevertheless impossible not to note that Lebeziatnikov read Chernyshevsky, Pisarev, Wagner.

In the novel, Dostoevsky entrusted the refutation of the fundamental principles of the theories distorted by Lebezyatnikov to Razumikhin, who often acts as the mouthpiece of Dostoevsky's own "soil" views.

Lebezyatnikov is a negative image, Razumikhin is a positive image, Lebezyatnikov, according to the novel, is a lackey of other people's thoughts, Razumikhin, according to the novel, thinks independently. Lebeziatnikov is a parody, Razumikhin dominates himself, and yet he is no less polemical than Lebeziatnikov.

In the draft notes for the novel, Dostoevsky in one place wrote "Rakhmetov" instead of "Razumikhin". This is a typo, but the typo is not accidental. Creating the image of Razumikhin, Dostoevsky remembered Rakhmetov from What Is To Be Done? Chernyshevsky. According to the author's plan, Razumikhin was supposed to be that saving hero, like in "What is to be done?" Rakhmetov speaks. Razumikhin, like Rakhmetov, is a type of modern Russian "bogatyr", something like the non-revolutionary Nikitushka Lomov. Rakhmetov stops the runaway horse by grabbing the rear axle of the charaban, Razumikhin knocks down the giant policeman with one blow. Chernyshevsky resorts to hyperbolic descriptions, Dostoevsky, whose artistic style excluded quantitative exaggeration, introduces Razumikhin into the circle of characters that are normal in appearance. But in outline his portrait is strongly felt signs, selected from Chernyshevsky. Razumikhin, like Rakhmetov, is a student. “Razumikhin was still the same: kind, tall ... sometimes he was rowdy and was known as a strong man ... Razumikhin was also remarkable because he could not eat at all for some unknown time and endure the unusual cold as if nothing had happened. Once he did not heat his room at all for a whole winter and said that he slept even better that way.

Chernyshevsky's Rakhmetov comes from a well-born and wealthy environment, he accustoms himself to patience, preparing for the difficult conditions of the revolutionary underground. Razumikhin is poor, he supported himself by doing odd jobs, Rakhmetov limits his needs and even tortures himself from the experiment, Razumikhin - out of need. But he is no less enduring than the character of Chernyshevsky who specially trained himself. In the final text, it sounds like this: “Razumikhin was also remarkable because no failures ever embarrassed him and no bad circumstances, it seemed, could crush him. He could lodge even on the roof, endure hellish hunger and unusual cold.

Dostoevsky possessed an extraordinary gift to transform someone else's into his own, for the most part for polemical purposes, giving "foreign" a different meaning than that which the original author found in it. Dostoevsky assimilated alien with own experience, with their own observations and findings. To depict Razumikhin's riotousness, drunkenness, indiscipline, scattered liberty and somewhat destructive licentiousness, Dostoevsky, perhaps, also used the features of Apollon Grigoriev, his colleague in the magazines Vremya and Epoch, one of the leaders of Dostoevsky’s “pochvennichestvo” founded by Dostoevsky. Razumikhin could “drink ad infinitum, but he might not drink at all”, he could play pranks “even unacceptably, but he might not be mischievous at all”, “sometimes he was rowdy,” Dostoevsky repeats.

These features did not contradict the psychological nature of Rakhmetov, they were laid down in the nature of the latter, but the hero of "What is to be done?" took them under control and suppressed them in the name of the revolutionary schema imposed on itself.

But this is where the polemical opposition of Razumikhin to Rakhmetov begins. Razumikhin is an enemy of any theory, and even more so of an exclusive, all-consuming and all-suppressing theory. Rakhmetov goes only to those circles that he needs for business, he converges only with those people who share his principles. Razumikhin goes to Laviza's, easily starts novels, quickly becomes close to the most diverse people, with the common people, with police officials. He attaches more importance to man than to his principles.

He is against doctrinairism, against "theorists", in the same sense in which Dostoevsky himself, the author of the article "Two Camps of Theorists", was against it.

It may seem that Razumikhin is a pragmatist. Actually it is not. His denial of the theory, in turn, is based on a theory - the theory of "pochvennichestvo", preached by Dostoevsky's journals. This circumstance introduces an element of the scheme into the image of Razumikhin, which cannot be smoothed out even by the exceptional skill of Dostoevsky.

The ideological position and ideological views of Razumikhin are completely "soil". He is critical of the pre-reform order, of pre-reform jurisprudence, Luzhin and the Luzhins inspire him with disgust. He smells cannibalistic smell coming from their "convictions" from a mile away. Razumikhin occupies a special place in the social upsurge of the sixties. He fancies himself outside of Western and Slavophil trends, he wants to stand above all existing camps.

However, Razumikhin does not step aside at all. He wants to unite all the best and all the best in the outspread wings of the Russian public on one and, moreover, his own platform. He loves the new youth, he himself goes to her and gathers them at his place, "all local and all almost new" people.

Razumikhin preaches the primacy of life over theory, he believes that materialists and utopians kill life, mortify the human soul.

Razumikhin treats socialists exactly like Dostoevsky's magazines Vremya and Epoch. This attitude is negative, but it differs from the outright hatred and fear characteristic of Katkov, in whose magazine Crime and Punishment was published.

In Razumikhin, Dostoevsky, the artist, summed up the “soilism”, for the promotion of which he spent so much effort in his short-lived journals. The instinct of truth opened the veil of the future to Dostoevsky, he understood who his hero would become, bearing such a binding surname. great story about the Napoleonic dream. About atrocity, suffering and torment, Raskolnikov could not end with the happy fate of a book dealer. Belov S.V. Roman F.M. Dostoevsky "Crime and Punishment": Comment / Ed. D.S. Likhachev. 2nd ed., rev. and additional - M.: Enlightenment, 1984. -S.83.

Thus, Lebezyatnikov and Razumikhin are, as it were, Raskolnikov's "doubles", options for the development of events, the choice of the protagonist. The author uses their images to show the impasse of the situation.

Lebezyatnikov Andrei Semenovich - ministerial official. “... A thin and scrofulous little man, small in stature, who served somewhere and strangely blond, with sideburns in the form of cutlets, of which he was very proud. On top of that, his eyes hurt almost constantly. His heart was rather soft, but his speech was very self-confident, and sometimes even extremely arrogant, which, in comparison with his figure, almost always came out funny. The author says about him that he "...was one of that countless and diverse legion of vulgarities, dead bastards and petty tyrants who have not studied everything, who instantly stick to the most fashionable walking idea in order to immediately vulgarize it, in order to instantly caricature everything that they sometimes serve in the most sincere way.” Luzhin, trying to join the latest ideological trends, actually chooses L. as his "mentor" and sets out his views. L. is incompetent, but kind in character and honest in his own way: when Luzhin puts a hundred rubles in Sonya's pocket to accuse her of stealing, L. exposes him. The image is somewhat caricatured.

In the center of F. M. Dostoevsky's novel "Crime and Punishment" is the character of the hero of the sixties of the nineteenth century, a poor student Rodion Raskolnikov. Raskolnikov commits a crime: he kills an old woman - a pawnbroker and her sister, harmless, ...

The central place in the novel by F. M. Dostoevsky is occupied by the image of Sonya Marmeladova, a heroine whose fate arouses our sympathy and respect. The more we learn about her, the more we are convinced of her purity and nobility, the more we begin to think ...

Society played an important role in the fate of Rodion Raskolnikov. Not everyone can decide to kill, but only those who are undoubtedly sure of the necessity and infallibility of this atrocity. And Raskolnikov was really sure of this. Thought...

You yourself are your God, you yourself are your neighbor, Oh, be your own Creator, Be the abyss above, be the abyss below, Your beginning and end. D. S. Merezhkovsky The novel “Crime and Punishment” shows two completely opposite ...

The novel "Crime and Punishment" was written by Dostoevsky after hard labor, when the writer's convictions took on a religious connotation. The search for truth, the denunciation of the unjust order of the world, the dream of the “happiness of mankind” are combined in Dostoevsky with disbelief ...

Lebeziatnikov is introduced into the book "Crime and Punishment" as a caricature of heroes. In the hero's reasoning about the commune and the social structure, one can discern a parody of the dialogues that the characters of the novel "What to do?"

The first appearance of Lebezyatnikov takes place in chapter I of the fifth part of the novel, although the first mention of the hero is found at the beginning of the novel in the dialogue between Marmeladov and.

"Crime and Punishment"

Full name character - Andrey Semenovich Lebezyatnikov. The hero serves as an official in a certain ministry under the command of Mr. Luzhin. This is a young man vertically challenged, thin and sickly in appearance, with blond hair and ridiculous sideburns that looked like meatballs. Lebezyatnikov has poor eyesight and constantly hurts his eyes.

Lebezyatnikov has an arrogant character and manners of a self-confident person. Such behavior in the eyes of other characters looks ridiculous, because it does not match the appearance of the hero. Luzhin calls Lebezyatnikov a nice young man. Lebezyatnikov - "kind", with a soft heart.

Lebezyatnikov himself considers himself an enlightened and educated gentleman, but at the same time he does not own foreign languages. The character does not know how to speak clearly even in Russian, and the work of a lawyer is not suitable for him. In fact, the hero is simple and even stupid, prone to lies and vulgarity. The hero rarely has money, Lebeziatnikov does not have connections in society, although he tries to demonstrate the opposite. considers Lebezyatnikov a "nasty bastard" and a "vile flatterer."

The hero tries to look “relevant” and make an impression, therefore he exposes himself as a supporter of trends that are fashionable among progressive youth, a nihilist, a supporter of progress and a “denunciator”. Lebezyatnikov believes that he is capable of promoting progressive ideas. But in fact, the views of the hero do not belong to him, and he is bad at “promoting” new ideas.

The hero's favorite theme is the creation of some new "commune" in society. Lebezyatnikov also promotes a sober lifestyle and does not drink himself. The landlady considers Lebezyatnikov a decent person, because he regularly pays for housing. The place where the hero promotes "fashionable" ideas is the house where he lives. In his "protest" activity, the hero is limited to letting neighbors read "free-thinking" books, for example,. In practice, the hero is not even capable of besieging his own friend Luzhin and only seems to be an independent person.

When Sonya begins to earn a living by prostitution, Lebeziatnikov begins to molest her, but is refused. After that, the character loses his temper, declares that he is not going to live "with such" in the same apartment, and "survives" Sonya from the house. As a result, the heroine moves to another place. The hero shows complete indifference to the fact that he made the girl's life more difficult, and even declares that he treats Sonya "with respect."

Lebezyatnikov adheres to a mass of "progressive" theories. For example, he believes that cleaning garbage pits is “more useful” than the work of an artist, that society does not need art. The hero puts forward other ideas. He opposes the institution of marriage, believing that marriage deprives a person of freedom, and advocates “free relationships”, when spouses openly start hobbies on the side. The hero claims that he himself would have brought a lover to his wife if she had not taken him.

The life principles of the hero include ideas about the ideal society that will come in the future - about a kind of communism. At the same time, the character believes that there should be no compassion in society, and charity is harmful, and wealthy people should not help the poor.

Between the hero and Katerina Marmeladova happened unpleasant incident. The character treated the woman rudely, she rushed at him, unable to bear the insult, and Lebezyatnikov beat her in response. The hero justifies his own behavior by the fact that he is a supporter of the idea of ​​equality between a man and a woman, who should be equal in a fight.

Lebezyatnikov is called the "double" of Raskolnikov, the protagonist of the novel, due to the fact that both commit immoral acts under the influence of their own ideas.

Lebezyatnikov's speaking surname, which indicates that the character fawns over fashionable ideas, wanting to look like an advanced person in his own eyes.

Screen adaptations

In 1969 Lev Kulidzhanov's drama "Crime and Punishment" was released. The role of Lebezyatnikov in this film was played by actor Yuri Medvedev. Later, in 1980, the actor played the role of an assistant bailiff in the biographical drama Twenty-six Days in the Life of Dostoevsky.

Another film adaptation - "Crime and Punishment" directed by Dmitry Svyatozarov - was released in 2007. It is a drama series of eight 50-minute episodes. The image of Lebezyatnikov was embodied here by the actor Sergei Bekhterev.

Quotes

“What is “nobler”? I do not understand such expressions in the sense of defining human activity. "Nobler", "more generous" - all this is nonsense, absurdities, old prejudiced words, which I deny! I understand only one word: useful!”

“Horns are only a natural consequence of any legal marriage, so to speak, an amendment to it, a protest, so that in this sense they are not even at all humiliating.”

Lebezyatnikov- one of the other characters in the novel "Zlochin and Punishment" by Dostoevsky.

“Zlochin and Kara” characteristic of Lebezyatnikov

Andriy Semenovich Lebezyatnikov is a young man, a friend of Pan Luzhin. Tse people of progressive glances, servicemen “in the ministry”. Vіn follow the rest of the trends in Europe, new trends and ideas.

“... A thin and scrofulous little man, of small stature, who served somewhere and is strangely blond, with sideburns in the form of cutlets, of which he was very proud. On top of that, his eyes hurt almost constantly. His heart was rather soft, but his speech was very self-confident, and sometimes even extremely arrogant, which, in comparison with his figure, almost always came out funny.

Lebeziatnikov generously shares his political views with his views on the sides of the novel. As a result, Lebezyatnikova cannot be called either a negative hero or a positive one. Vіn boyaguz, cynical, but if you want to fight for your ideals, vіn is ready to fight and protest. Zagalom, wine can be worn and gentry, as if it supports political persecutions.

History of Lebezyatnikov

Lebezyatnikov, having shown courage and having acted on the zahist, if he had washed її on the day of commemoration of її dad,. Luzhin called Sonya in steal 100 rubles. The first time Lebezyatnikov was delivered, Sonya brought her innocence to light. Lebezyatnikov, as if he knew a novel, gave books to Sonya, as if she had read earlier, but in the rest of the hour she stopped taking them. Lebezyatnikov was trying to “enlighten” God and guide communism on the paths. Sonya, by virtue of her mild nature, might have discussed some speeches with him, but she did not hurry to enroll in the commune.

Lebezyatnikov also said that Sonya is like a maiden and appreciates human qualities. Behind Lebezyatnikov's words, he behaved with her more decently, less than a lot of people. Sonya herself is effectively put kindly before Lebezyatnikov - I want Sonya to be kindly placed before all people.

Now it can't help but evoke sympathy. And in the novel, Ivanovna forgets all the sheaf of resentment and all her hostility towards him.

"- Andrey Semenovich! I got you wrong! she says. Protect her! One you for her! She is an orphan, God sent you, Andrei Semenovich, my dear, father!

And Raskolnikov explains to Sonya that she eluded Luzhin's networks only thanks to Lebezyatnikov, that he and Lebezyatnikov saved her from immediate prison.

Lebezyatnikov was the first to be alarmed by Katerina Ivanovna’s crazy idea to seek justice on the streets of St. Petersburg, he is sincerely excited, he hurries to help, he is looking for Raskolnikov and again, together with Raskolnikov, is trying to do something for the bloody, unfortunate woman who does not remember herself. Even the compassionate policeman and official turn to Lebezyatnikov and Raskolnikov, both together, as the persons most interested in the fate of the dying Katerina Ivanovna.

Lebeziatnikov is ridiculous, but he does not belong to the terrible world that Raskolnikov refuses. He is stupid, he is trying to plant a good seed into the flinty soul of Luzhin, whom Raskolnikov comprehended from the very first word, from the very first step. Lebezyatnikov's ideas are based on a different concept of the world than Raskolnikov's, but when you need to lend a hand to the Marmeladov family, he acts together with Raskolnikov. Realizing his mistake, he immediately spat with Luzhin, he drove Luzhin away, as Dunya had driven him away before. “So that your spirit is not immediately in my room,” he turns to him, if you please, move out, and everything between us is over. And when I think that I was getting out of my skin, I expounded to him ... for two whole weeks! .. "

Started as a caricature, the image of Lebezyatnikov turned out to be inconsistent with the canons of the anti-nihilistic novel, even in its highest manifestations, by Pisemsky, Leskov, Goncharov. Lebeziatnikov does not take loans without return, does not steal, does not seduce girls. He is kind, courageous and even delicate, despite. on the incidentally and inopportunely slipped him "Physiology" Lewis.

Despite the stupidity of his speeches, it should still be noted that Lebeziatnikov read Chernyshevsky, Pisarev, Piderit and Wagner's "General conclusion of the positive method".

Perhaps Dostoevsky exacerbated the caricature features in Lebezyatnikov because of Katkov, in whose journal the novel was published and through whose narrow gates - he knew - it would not be so easy for him to pass all his own without concessions and discounts. No wonder Dostoevsky found it necessary to hint that not all Progressives are "the same fools" as Lebeziatnikov. But as soon as Lebezyatnikov begins to play in the novel a noble and important plot role, Dostoevsky can no longer treat him only as a caricature, only as a parody. In draft notebooks, Raskolnikov tells Sonya about Lebezyatnikov: “But this is one of the stupid ones; eat much smarter; do not judge by one ... "The image of Lebezyatnikov becomes more significant meaning, he becomes an alternative to Raskolnikov. Lebezyatnikov, Dostoevsky showed why the path lurking behind him was unacceptable to Raskolnikov, and moreover, he focused the latter even more on his own idea.