And "the reception of antithesis is widely used; a system of characters is built on it. Each of the heroes surrounding, to one degree or another, reveals a certain trait of the main one. Parallels are drawn between Raskolnikov and other characters, creating a kind of system of doubles. Raskolnikov's twins are, first of all, Luzhin and Svidrigailov. For them, "everything is permitted", although for different reasons.
Arkady Ivanovich Svidrigailov a nobleman, served two years in the cavalry, then lived in St. Petersburg. This is a "well-preserved" fifty years old. The face is like 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 determine and unpredictable, non-standard for a scoundrel, for such a sinister character as he looks 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 philosophical idea, which is as follows. Under the influence of certain circumstances, a moral feeling may disappear in a person, but the general moral law this will not disappear. Svidrigailov put himself outside of morality, he has no pangs of conscience, and, unlike Raskolnikov, he does not understand that his actions and deeds are immoral. So, 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 offended” by him committed suicide, the footman Philip strangled himself. It is characteristic that Svidrigailov finds “some kind of common point” between himself and Raskolnikov, says to Raskolnikov: “We are the same field of berries.” Svidrigailov embodies one of the possibilities for implementing the ideas of the protagonist. Like a moral cynic, he - mirror reflection ideological cynic Raskolnikov. The permissiveness of Svidrigailov becomes scary in the end and Raskolnikov. Svidrigailov is also terrible to himself. He takes his own life.
Raskolnikov's double is 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 morbidity.
There was something "really unpleasant and repulsive" in his "cautious and peevish" face. Home life value for Luzhin they represent money obtained by "all sorts of means", since thanks to money he can equalize with people who borrow more than high position in society. IN moral attitude 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 one must love oneself first of all, "for everything in the world is based on personal interest." All 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. Pyotr Petrovich Luzhin serves as a living example of what he could come to by gradually implementing his principle of omnipotence and might, “Bonapartism”. The difference between Raskolnikov and Luzhin lies in the fact that Raskolnikov's views were formed as a result of solving humanistic problems, and the views of his double serve as an excuse for extreme selfishness, are based on calculation and benefit.
Such a technique as the creation of systems of twins is used by the author to reveal Raskolnikov, a comprehensive analysis and debunking of his theory.
Need a cheat sheet? Then save it - "Doubles of Raskolnikov Luzhin and Svidrigailov. Literary writings!Dostoevsky's novel "Crime and Punishment" is a breakthrough in literature - it is one of the first works in which the opposition of ideologies is presented. Almost the entire novel is aimed at debunking Raskolnikov's theory. The author creates twin characters in order to methodically and visually build a refutation of the theory of "creatures trembling and having the right."
Pyotr Petrovich Luzhin is just one of these characters. The hero lives in accordance with his principle of the "whole caftan", which, at first glance, looks less dangerous than Raskolnikov's theory.
But, then the reader understands that people like Luzhin are practically incorrigible people, they have neither remorse (I suspect - as conscience itself), nor the ability to introspection, like, for example, the same Raskolnikov or Marmeladov. The hero is a scoundrel (the case with Sonya and money) and an egoist (his theory about poor wives), he does a lot of bad deeds and never regrets it. Luzhin is disgusting to Raskolnikov, Rodion sees similarities between him and himself and understands that Pyotr Petrovich is the person he himself can turn into if he does not take any measures.
Arkady Ivanovich Svidrigailov is also considered a double of Raskolnikov. Svidrigailov, like main character, adheres to the belief that evil in the name of a good cause is permissible.
Svidrigailov essentially supports Raskolnikov's theory. The hero, in fact, like Rodion, can commit both good deeds and crimes, but for Svidrigailov there is no clear line between these concepts, he is quite capable of crimes (there are hints in the novel that he was involved in the death of his wife), but and can do good deeds (for example, help Sonya financially). Arkady Petrovich, in fact, looks like possible variant the development of Raskolnikov's personality (which is why when Rodion, while in the police station, learns about Svidrigailov's suicide, he experiences such excitement)
Heroes - doubles, with which Dostoevsky surrounded his hero, help the author gradually bring Raskolnikov to repentance.
Updated: 2018-02-11
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Dostoevsky, by contrasting the characters of the Marmeladovs and Luzhin, Raskolnikov and Razumikhin, Svidrigailov and Dunechka Raskolnikova, emphasizes the contrasts of contemporary reality with her social inequality, oppression of some and wealth, permissiveness of others.
Dostoevsky saw the main task of his work in looking for a person in a person. The works of the humanist writer are permeated with pain and compassion for the “humiliated and offended”. The novel "Crime and Punishment" was written during the "difficult time" of the late 60s, when Russia was in a state of economic and social crisis. The peasant reform of 1861 not only did not smooth out, but even aggravated social contradictions. Growing in society spiritual crisis. Connections with centuries-old traditions were lost, ideas about good and evil were mixed up. Where to go? What to look for? What truths to hold on to? Nobody believes in anything. The law of force and the power of money, the cynical owners of the Svidrigailovs and puddles, become the masters of the situation. Most of the people are reduced to the level of poverty.
The murder of an old pawnbroker is Raskolnikov's challenge " strong of the world this”, the desire to prove that “he is not a trembling creature”, but “the right has the right to change the order with one decisive action”: “Break what needs to be done once and for all, and only.” It is fair and understandable to me that Raskolnikov's desire to punish evil, to rise up against violence. Can the happiness of many people be based on the blood of one? Even the smallest being. This is inhumane. Dostoevsky could never agree that justice can be achieved through violence. That is why all the ideas of Raskolnikov collapse when trying to bring them to life. He cannot calmly and cold-bloodedly kill the old woman. The bottom line is that any violence gives rise to only violence. Deciding to kill, Raskolnikov asserts the right " strong personality"" on the blood of conscience ". He believes that there are no laws that could condemn him. But what makes him suffer after the murder? Repentance? After all, Raskolnikov's idea does not immediately fail. He cannot accept a world built on blood, tears, and come to this world with repentance. Contradictions between thoughts and actions lead our hero to a moral impasse. “I should have known this,” he thought with a bitter smile, “and how dare I, knowing myself, anticipating myself, take an ax and bleed. I had to know in advance... Eh! But I already knew in advance! .. ”- he whispered in despair.
The protagonist of "Crime and Punishment" already understands that he is by no means Napoleon, that, unlike his idol, who calmly sacrificed the lives of tens of thousands of people, he is unable to cope with his feelings after the murder of one "nasty old woman." Raskolnikov feels that his crime, in contrast to the bloody deeds of Napoleon, is shameful, unaesthetic. Later, in the novel "Demons", Dostoevsky developed the theme of "ugly crime" - there it is committed by Stavrogin, a character related to Svidrigailov in "Crime and Punishment". Raskolnikov is trying to determine where he made a mistake: “The old woman is nonsense! he thought hotly and impetuously, “the old woman is perhaps a mistake, that’s not the point! The old woman was only a disease... I wanted to cross over as soon as possible... I didn't kill a man, I killed a principle! I killed the principle, but I didn’t cross over, I remained on this side ... I only managed to kill. And he didn’t manage to do that, it turns out. ”
In the images of Luzhin and Svidrigailov, Dostoevsky shows two paths that await Raskolnikov. Svidrigailov completely rejects moral and ethical standards, this is a disease from which the smart but cynical Svidrigailov suffers. For Raskolnikov, the path of suicide is unacceptable. The resurrection of Raskolnikov takes place in the name of Christ, thanks to the human that he saved and what he did in the past: he kept a sick student, saved children from the fire, helps the Marmeladovs.
It is considered quite difficult. In the center of the novel is the image of Rodion Raskolnikov and his theory. Other characters appear as the story progresses. Special meaning have in the work "Crime and Punishment" Raskolnikov's doubles. Why does Dostoevsky introduce them into the plot? How are Raskolnikov and his counterparts similar? What is the difference? What are their ideas? What are the twins of Raskolnikov - Luzhin and Svidrigailov? More on this later in the article.
Pyotr Petrovich Luzhin - Raskolnikov's double
The author characterizes it rather negatively. Luzhin is rich and a brilliant businessman. He came to St. Petersburg to arrange his career. "Having made it into the people," Peter highly valued his own mind, his abilities, he was used to admiring himself and enjoying it. main dream his was to marry. Peter sought to do good to some girl, elevating her to himself. She certainly had to be educated and beautiful. He knew that in Petersburg one could "win a lot with women." His painful narcissism, all his dreams speak of a certain imbalance in character, of the presence of cynicism in him. With the help of money, "breaking out of nothingness", he remained low inside. Next, we find out what indicates that Luzhin and Raskolnikov are twins.
Theory of Petr Petrovich
Luzhin is presented as a businesslike person, who values money more than anything else, which is obtained by "all sorts of means and labor." He considers himself smart, working for the benefit of people, progressive and respects himself very much. Pyotr Petrovich has his own own theory, which he develops with great pleasure in front of Rodion Raskolnikov. His idea" reasonable selfishness"involves love, first of all, for oneself, since everything that happens in the world is based, in his opinion, on his own interest. If all people act according to his theory, there will be much more successful citizens in society. Thus, a person, acquiring everything exclusively 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 amuses his pride. In addition, this marriage can contribute to his further career. Raskolnikov, meanwhile, is against this marriage. But Petr Petrovich quickly finds a way to rectify the situation. In order to denigrate Rodion in front of his relatives and return the favor of Dunya, he puts a banknote on Sonya and accuses her of theft.
Why is Luzhin a double of Raskolnikov?
Analyzing the theory of Pyotr Petrovich, one can find many analogies with the idea of Rodion. Both in the first and in the second, the priority remains one's own, personal interest. Raskolnikov claims that "everything is allowed to the Napoleons." According to Petr 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 good of the future can move the world and lead it to its goal.
Similarity of opinion is the cause of hatred
It should, meanwhile, be said that Raskolnikov did not like Luzhin's idea very much. Probably, on an intuitive level, Rodion felt similarities with his ideas and thoughts. He points out to Pyotr Petrovich that, according to his "Luzhin's" 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 for Pyotr Petrovich. As a result, a certain "vulgarity" of Raskolnikov's theory appears. Petr Petrovich offers its "economic" version, one that, in his opinion, is applicable in life and is aimed at achieving goals by material means, mainly. Thus, we can conclude that Luzhin is Raskolnikov's double in everyday life.
Another character with a similar theory
In the course of the story, another hero appears - Arkady Ivanovich Svidrigailov. This one is enough complex character with his whole being expresses a certain "non-uniformity". He is "not one-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 Raskolnikov's sisters. 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, supplying her with funds for a 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 of his, he was immediately able to determine what Luzhin was. Arkady Ivanovich decides to prevent Pyotr Petrovich from marrying Avdotya. According to some authors, Svidrigailov potentially appears as a man of great strength and conscience. However, all these inclinations of his are ruined by Russian social foundations, a way of life. The hero does not have any ideals, there is no clear moral guide. Among other things, Arkady Ivanovich naturally has a vice, which he not only cannot, but does not want to fight. In this case, we are talking about his propensity for debauchery. The life of the hero proceeds in submission to his own passions.
What is the similarity between Rodion and Arkady Ivanovich?
Svidrigailov, when meeting with Raskolnikov, notes a certain "common point" between them, saying that they are "berries of the same field." Dostoevsky himself, to a certain extent, brings these characters closer, portraying them, developing one motive - childish innocence, purity. In the image of Raskolnikov there are features of a child - he has a "childish smile", and in his first dream he appears before himself as a seven-year-old boy. In Sonya, with whom Rodion is getting closer, traits of innocence and purity are also 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 committed by him, 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 twins.
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 plight of the family and himself acts as a secondary motive. In addition, he sought to test his theory. However, after the crime, Rodion is no longer able to live differently, as if he "cut himself off from everyone with scissors." Now he has nothing to talk about with those around him, and he is seized 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 atrocity, he helps the Marmeladovs, gives 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 it, unbelief and cynicism coexist with a subtle mind, self-sufficiency, and life experience. He is so "dead" that even feelings for Dunya are not able to revive him.
Love for her awakened noble impulses and a manifestation of true humanity in Arkady Ivanovich only for a short moment. Svidrigailov is bored with life, he does not believe in anything, nothing occupies his heart and mind. Along with this, he indulges his desires: both bad and good. Arkady Ivanovich does not feel remorse for killing a very young girl. And only once her image appears to him in a nightmare - on the dying night. At the same time, the impression is created that this is his crime - not the only crime 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 something 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, one 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 "stuffy" from this proximity. Gradually, Raskolnikov begins to believe that Svidrigailov is the most insignificant and empty villain on earth. Arkady Ivanovich, meanwhile, goes much further than Rodion along the path of evil. In this regard, even some symbolism of the name Arkady can be traced. It has Greek origin and literally translates as "shepherd". IN Orthodox culture this word was used in the meaning of "pastor" - a leader, mentor, teacher in the spiritual life. In some way, Svidrigailov for Raskolnikov is such: in his unbelief 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 twins are close to him in spirit, but have different purposes. Each of them embodies the theory of Rodion in its 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 the "Raskolnikov" theory is different greater depth. 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 exposed, where the "individualistic" idea of the protagonist leads.
Sonya Marmeladova
If the characters described above are Raskolnikov's spiritual twins, then this heroine is similar to Rodion solely in her "life situation". In any case, the protagonist of the work thought so. She, like the rest of the 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, meekness. Sonya attracts Rodion, he begins to identify her with himself. However, like other doubles of Raskolnikov, Marmeladova soon becomes completely different from him. Rodion notices that he ceases to understand her, she even seems to him "holy fool" and strange. Subsequently, the differences between them become more pronounced.
"Atrocity" by Sonya Marmeladova
It should be said that her "crime" is different from the actions of Raskolnikov. Turning into a prostitute, saving children from starvation, she harms herself. While the rest of the heroes 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 immoral, but justified in some way by a motive. Unlike other characters, Sonya's soul is filled with love, faith, mercy, she is "alive" and feels her unity with others.
Conclusion
On the pages of the work, a lot of personalities appear before the reader. All of them are more or less 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-mad student. In his work, Dostoevsky tried to show that this theory is not so new and is quite feasible. Its development and refraction permeates human fates, people's lives. As a result, an understanding is born that it is necessary to fight against this evil. To counter immorality, everyone has their own means. At the same time, one should not forget that the fight against the enemy with the help of his own weapons becomes meaningless, since he returns again to the same path of immorality.
In F. M. Dostoevsky's novel "Crime and Punishment", the antithesis technique is widely used; a system of characters is built on it. Each of the characters surrounding Raskolnikov, to one degree or another, reveals a certain trait of the protagonist. Parallels are drawn between Raskolnikov and other characters, creating a kind of system of doubles. Raskolnikov's twins are, first of all, Luzhin and Svidrigailov. For them, "everything is permitted", although for different reasons.
Arkady Ivanovich Svidrigailov a nobleman, served two years in the cavalry, then lived in St. Petersburg. This is a "well-preserved man" of about fifty. The face is like 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 determine and unpredictable, non-standard for a scoundrel, for such a sinister character as he looks 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 moral feeling may disappear in a person, but the general moral law will not disappear from this. Svidrigailov put himself outside of morality, he has no pangs of conscience, and, unlike Raskolnikov, he does not understand that his actions and deeds are immoral. So, for example, rumors about Svidrigailov's involvement in several crimes are repeated in various interpretations; it is clear that they are not unfounded. The deaf-mute girl “cruelly offended” by him committed suicide, the footman Philip strangled himself. It is characteristic that Svidrigailov finds “some kind of common point” between himself and Raskolnikov, says to Raskolnikov: “We are the same field of berries.” Svidrigailov embodies one of the possibilities for implementing the ideas of the protagonist. As a moral cynic, he is a mirror image of Raskolnikov's ideological cynic. The permissiveness of Svidrigailov becomes scary in the end and Raskolnikov. Svidrigailov is also terrible to himself. He takes his own life.
Raskolnikov's double is 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 morbidity. There was something "really unpleasant and repulsive" in his "cautious and peevish" face. The main life value for Luzhin is money obtained by "all sorts of means", since thanks to money he can equalize with people occupying a higher position in society. In moral terms, 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 one must love oneself first of all, "for everything in the world is based on personal interest." All 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 implementing his principle of omnipotence and power, “Bonapartism”. The difference between Raskolnikov and Luzhin lies in the fact that Raskolnikov's views were formed as a result of solving humanistic problems, and the views of his double serve as an excuse for extreme selfishness, are based on calculation and benefit.
Such a technique as the creation of systems of twins is used by the author to reveal the image of Raskolnikov, a comprehensive analysis and debunking of his theory.
