The image of Svidrigailov in the novel "Crime and Punishment". Svidrigailov in the novel "Crime and Punishment" (the image of Svidrigailov) In which part is the description of Svidrigailov

The landowner Svidrigailov sets off Raskolnikov. He has what Raskolnikov lacks - the strength of nature, which allows him to cross the line fearlessly. Svidrigailov sets off Raskolnikov's weakness and bookishness, his theorizing, which excludes the very possibility of that immediate strong desire, which determines the ability to overstep the line. Having fallen in love with Dunya, Svidrigailov does not stop before the murder of his wife and remains unpunished. In contrast to Raskolnikov, after the crime Svidrigailov turns out to be viable, he continues to seek Dunya's love, and only when he is convinced of the complete hopelessness of his feelings, he kills himself.
Svidrngailov is a strong, rich nature, able to combine crime and generosity, possessing a large reserve of will. Svidrigailov is exactly the kind of person who can calmly dare to cross the line of morality. Next to him, Raskolnikov is a weak-willed theorist, unable to cope with his own idea.

Svidrigailov began his life career as a cavalry officer, but since the most attractive side of this service is ambition, the observance of certain rules of honor, camaraderie, due to his inability to have all these feelings, he quits the service; for him, there were only one of its negative sides: constraint, compulsory labor, etc. After that, he begins to live only sensual pleasures, which have the usual outcome - ruin and satiety. It is clear that such a person does not think about choosing ways to receive money - he becomes a cheater; the question never arose in his mind whether this occupation was moral; the only thing he considers it necessary to say about this period of his life is that he was beaten for cheating. He is even somewhat proud of this: according to his concepts, only the beaten have a good manner. Finally, he becomes a beggar, a resident of the Vyazemsky house, but even such a fall does not bother him at all; he does not feel the humiliation of such a position, not even the shame that is characteristic of all those who have sunk so low in life; in a word, the dirt, in the literal and figurative sense, of the Vyazemsky house does not get on his nerves, although it is obvious that for a person of his upbringing such a life should be extremely difficult.

But then fate squeezed ass over him: a rich woman pays his debts, with the help of money she covers up his case of rape, makes him her husband. Svidrigailov cynically arrogates to himself the right to take her maids as concubines and widely uses this right, so he vegetates in the village for several years. He is tired of everything, nothing interests him, nothing excites him; he is completely indifferent to his wife, children; he does not understand the social obligations of the landowner, because the moral feelings underlying them do not exist for him. Life becomes a burden; in vain his good-natured wife took him abroad: due to the lack of aesthetic feelings, interest in public life, he was just as bored there as at home.
However, during this time he does not do anything bad. Some are even ready to consider him a kind person; but how foreign to him sympathy for his neighbor is evident from the fact that, for entertainment, he persecuted his lackey to such an extent, laughing at his convictions that
drove the latter to suicide. Of course, Svidrigailov is not to blame for the death of this lackey: after all, he did not feel and did not understand what cherished convictions could mean for a person, because he himself could not have convictions, there was nothing cherished, dear. But here he meets a girl who arouses attraction in him, but his courtship remains unsuccessful; Svidrigailov thinks that the girl does not give herself to him because he is married. Doubts that if he could marry her, then she, like a poor woman, would agree to his proposal, do not arise in his brain; he does not allow the thought that he can arouse disgust, since the consciousness of his own vileness and the assessment of the moral charms of this girl are inaccessible to him.
Then he removes the only, in his opinion, obstacle - his wife, the woman who saved him from a debt prison and hard labor, who loved him and cared for him, leaves the children and goes after Dunya Raskolnikova; but here he discovers the final impossibility of achieving his goal.
It may seem that some kind of moral feeling was revived in him when he did not take advantage of Dunya's helpless position, but another explanation is simpler and more accurate - Svidrigailov, like a refined libertine, wanted reciprocity, but was convinced that Dunya had a physical disgust for him. Sated Svidrigailov did not find exactly what he was looking for; the satisfaction of animal passion for him, as an exhausted person, did not have a special price; so that the seeming generosity of Svidrigailov was simply the result of his satiety. Svidrigailov scatters money and dies, not even remembering his children in his dying moments; only pictures of his personal life flash in his head, he does not remember a single friend, not a single close person; he has no one to say goodbye to, no one to regret. He dies indifferent to everything, even to himself; in turn, no one will regret him, he left nothing, no one's interests suffered from his death.

Meanwhile, Svidrigailov was educated, educated, rich, handsome; he had every right to a happy life, but moral blindness made his life difficult, drove him to suicide - a natural way to end the satiety of life, since there was nothing left to bind to it: no desires, no interests, nothing in the future .

Back in the 1880s, the psychiatrist researcher V. Chizh recognized the figure of Svidrigailov as “the best in all Dostoevsky’s works”: “Perhaps, of all the types created by Dostoevsky,
Svidrigailov alone will remain immortal.” This great artistic achievement was due to the general system of constructing the images of the novel, sharpened by the social topical era. “Of course, it is decently dressed and I am not considered a poor person,” Svidrigailov is recommended, “after all, the peasant reform bypassed us: forests and flood meadows, income is not lost, but ...”.

Before us is a large landowner, already limited by the "peasant reform" in his material wealth and personal power, although "forests and flood meadows" remained behind him. Dostoevsky introduces into his biography an episode of the torture of a courtyard man, led to suicide by his master's "system of persecution and punishment".

According to draft notes, the slave-owning instincts of the hero turned out to be even sharper; "he spotted the serfs" and "used the innocence" of his peasant women. Dostoevsky accurately dates the fact of bringing him to the noose of the courtyard Philipp by the end of the 1850s: “It happened about six years ago, back in the days of serfdom.” It is worth remembering that just before the writing of Crime and Punishment, a peasant reform was carried out. Announced in the manifesto of 1861, it was carried out in 1863, when more than 80 percent of the serfs were "placed in finally defined relations with their former landowners."
The transitional biennium did little to change the manners of the landlords, and Dostoevsky's journals contain a number of testimonies of the continuing cruel traditions of serfdom, especially in relation to the long-suffering courtyard people.

Dostoevsky's journal, which noted that "the peasant question is a question of the nobility," cited on its pages a number of characteristic cases of modern chronicle: about the cruel treatment of the landowner with the Tsvorov people; about the ugly act of a landowner of the Miussky district with a girl who had lived in his family for more than six years as a governess [an attempt to beat her with a “double chubuk”, the girl’s flight, etc.); the whole episode is strongly reminiscent of Dunechka's departure from the Svidrigailov estate in a peasant cart in the pouring rain; finally, the suicide of a thirteen-year-old peasant girl, who hanged herself in a room on a belt tied to a pole, is reminiscent of the case of Resslich's niece, who strangled herself in the attic after she was "cruelly offended by Svitsrigaipov." This motif of the “offended girl” is heard several times in Crime and Punishment [a drunken girl on K-m Boulevard, Razumikhin's dispute with Porfiry, Svidrigailov's nightmare before suicide].

Subsequently, this motif was developed in full in "Demons" ["Confessions of Stavrogin"], but already in the era of "Crime and Punishment" this theme attracted the author's close attention. According to Sofia Kovalevskaya, in the spring of 1865, Dostoevsky told her and her sister A. Korvin-Krukovskaya a scene from a novel he had planned about how “a landowner hero, middle-aged, very well and finely educated,” recalls, “how once, after a wild night and encouraged by drunken comrades, he raped a ten-year-old girl.

The intriguing vitality of Svidrigailov's image is also explained by his real sources. The hero, on the instructions of Dostoevsky, was written off from his comrade in Omsk penal servitude Aristov. In the drafts of the novel, he appears under this name. A young nobleman, not devoid of education, handsome and intelligent, with an eternal mocking smile on his lips, he represented
a complete type of moral monster, "monster, moral Kwaimodo". Aristov "was some kind of piece of meat, with teeth and a stomach, and with an unquenchable thirst for the grossest, most brutal bodily pleasures, and for the satisfaction of the smallest and most whimsical of these
pleasures, he was able to kill in cold blood, slaughter, in a word, anything, if only the ends were hidden in the water ... This was an example of what one bodily side of a person could reach, not internally restrained by any norm, by any legality, ”

Svidrigailov was conceived as a certain fifty-year-old Aristov and retained in his appearance and characteristics a number of distinct features of the prototype. But in the process of artistic development, the image was softened and even received some features of moral nobility (taking care of Sonya, the little Marmeladovs, the rejection of Dunya). Dostoevsky resorted here to a special experiment: he placed the type of life that struck him in a different environment and took it at a different age, retaining all the originality of an extraordinary human individual.

One of the main characters of the novel is Arkady Ivanovich Svidrigailov. He is a nobleman about fifty years old, a calm and well-mannered person. The story of Svidrigailov is very interesting: being a lover of wild life, he “walked” around St. Petersburg until he married Marfa Petrovna. She took him to the village, wanting to pacify her husband's voluptuousness, but even there our hero falls in love with Dunya. He also uses the wealth of his wife, and even when she dies, Svidrigailov immediately goes back to St. Petersburg for Dunya.

In St. Petersburg, Arkady Ivanovich finds Raskolnikov and asks him to arrange a meeting with his beloved. Seeing that Svidrigailov is a vicious, rude person who values ​​only debauchery in life, Rodion refuses him. Because of the hopelessness of his situation, Svidrigailov is overly frank with Raskolnikov, he even finds special pleasure in this. By chance, in St. Petersburg, Svidrigailov settled next to Sonya Marmeladova. He heard the conversation between Sonya and Raskolnikov, when Rodion confessed to the murder of an old pawnbroker. Svidrigailov told Raskolnikov that he knew everything, but promised to remain silent. After meeting with Rodion, Arkady Ivanovich lures Dunya to his apartment, where she almost kills him with a revolver. Realizing that his love is doomed, Svidrigailov commits suicide.

In the novel, Svidrigailov is Raskolnikov's double. He personifies debauchery, lust and idleness of life. But unlike Raskolnikov, Svidrigailov is a weak person, because he cannot withstand all the difficulties and chooses suicide. It is possible that Arkady Ivanovich could have gone astray if his feelings were mutual, because he often feels remorse and sees the ghost of Marfa Petrovna.

Svidrigailov is an ordinary person who hides his demons under the guise of benevolence. He commits many sins, but never comes to the right path. His mysteriousness and secrecy disappear at the moments of his revelations and “uncoverings”, and his demonic nature turns out to be ordinary voluptuousness.

The 19th century is deservedly called the "Golden Age" of Russian literature. During this period, it reaches unprecedented heights and gives us many famous masters of the word. One of them - Fyodor Mikhailovich Dostoevsky - a sophisticated preparator of the darkest corners of the human soul. He is the author of five great novels: "Poor People", "Demons", "The Brothers Karamazov", "The Idiot", "Crime and Punishment". In the last of them, the writer plunges us into the deep inner world of the characters, into their thoughts and experiences.

Option 2

In Dostoevsky's polyphonic novel Crime and Punishment, one of the voices belongs to the hero, whose villainy and baseness, it seems, cannot be doubted. His secondary role, however, determines one of the leading lines of the novel, connected with the motif of duality and the resurrection of Raskolnikov.

The novel story of Svidrigailov is full of all sorts of disgusting events: cheating, a debt hole, driving a deaf-mute girl and Philip to suicide, Marfa Petrovna's torment, Dunya's persecution, and, finally, Svidrigailov kills himself.

The hero consistently and cynically destroys his soul, not at all embarrassed by his behavior. But Dostoevsky could not create just a flat image of a corrupting hero, and only the volume of the character becomes obvious when he falls in love with Dunya and becomes a witness to Raskolnikov's confession of a crime before Sonya. There is no logic in his throwing and attempts to change when he declares to Raskolnikov that they are “of the same field”, and when he almost threatens Duna, blackmailing her and trying to achieve her love.

But in these throwing and strange actions, an attempt to find at least some way out of the terrible situation in which Svidrigailov found himself, thinking that he could not feel the pangs of conscience, but it turned out that this was not so, because the image is the ghost of his late wife, so who did a lot for him and died untimely, perhaps through his fault, haunts him relentlessly.

There are a lot of descriptions of Svidrigailov's appearance in the novel, but one of the portrait details speaks a lot: his face, framed by blond, slightly graying hair, scarlet lips, sparkling eyes - all this resembles a mask. It is the mask of Svidrigailov that is the component of his demonic nature, even when he tries to remove it by donating money to Sonya and Dunya, for example, he does not succeed - his delusion is so great to get rid of him at a time. But Svidrigailov's nature is weak, and the demons inside him are victorious, the mask will become a mask, and Svidrigailov will forever go "to America", as he calls his suicide.

Svidrigailov is called the double of Raskolnikov, this is no coincidence. As in a mirror, Raskolnikov is destined to see what happens to a person who imagines himself having the right to decide the fate of other people and manage their lives. In one of his conversations with Raskolnikov, Svidrigailov suggests that eternity is a bath with spiders, these spiders are his demons, his vices, passions, with which he will remain, laying his hands on himself and not allowing his soul to be cleansed of filth.

Svidrigailov's love for Dunya does not save, because through coercion, and not through humility and patience, he goes to this love, but the old methods do not work, it is not the circumstances that Svidrigailov needs to change, but himself in the circumstances. A meeting with a five-year-old girl before her death becomes a symbol of hopelessness for the hero, since he sees the unredeemed suffering of a child as a sign of the complete imperfection of the world, in which, in his opinion, he no longer has a place. This fatal mistake of the hero becomes his sentence.

Composition on the theme of Arkady Svidrigailov

In F.M. Dostoevsky's novel "Crime and Punishment" attention is focused on the inner component of the characters, and not on their actions. One of the heroes of this work is a wealthy nobleman Arkady Svidrigailov. He and Luzhin are the moral twins of the protagonist Rodion Raskolnikov. Svidrigailov implements Rodion's theory. He gets what he wants, in every possible way. This leads his Arkady to moral devastation and spiritual degradation.

Although the hero does not look his age, he is about fifty years old. He is short, broad-shouldered, and dresses rather dapper. Thick hair and a beard complemented the image, and blue eyes gave a cold look with a share of disdain. For Raskolnikov, there was something threatening in this seemingly attractive image, because Svidrigailov was used to achieving his goals by any means.

There was a lot of talk and rumors around the figure of Svidrigailov. It was said of him that he was to blame for the death of his wife, since he himself had poisoned her. They also attributed to Svidrigailov that he had driven his servant to suicide. Even Dunya, whom Arkady is in love with, feels the danger posed by this man. Svidrigailov himself does not deny that he does everything only of his own free will and desire. At the same time, he does not try to justify his behavior, as Raskolnikov and Luzhin do.

Svidrigailov is the image that Raskolnikov could have become if he had crossed moral boundaries. Arkady has a cold restraint and does not feel remorse, unlike Rodion. Svidrigailov is not tormented by past sins or recent crimes.

The similarity of the characters is first noted by Svidrigailov, but there is one difference. For Arkady Ivanovich, who got rid of moral principles, the equality of good and evil has become a vital truth. At the same time, all this drives Raskolnikov into a state of panic. Despite his position in life, Svidrigailov does a lot of good deeds.

The tragic split personality of the hero leads to the fact that he begins to feel disgust for life and emptiness. Svidrigailov becomes a warning to Raskolnikov, shows his possible future.

Svidrigailov

The name of Svidrigailov appears early in the novel - in a letter to his mother, which so excited Rodion Raskolnikov and played such a big role in the finalization of his terrible plan. Pulcheria Alexandrovna talks about Svidrigailov as a rude and voluptuous despot, as a vile debauchee who tried to seduce and disgrace Dunya. For Raskolnikov, the name Svidrigailov became a household name - when faced with a tipsy, lustful dandy chasing a teenage girl on the boulevard, he called him Svidrigailov: this nickname seemed to him sharper and more accurate than all the other words used in such cases.

It would seem that all the information and rumors that preceded the real appearance of Svidrigailov among the characters in the novel confirm his so definite and at the same time primitive negative characterization. They said about him that he poisoned his wife Marfa Petrovna, that he tortured and drove his servant Philip to suicide, that he severely insulted the girl, that he was a dirty slut, a cheat, that there is no such vice that would not nest in him. Pulcheria Alexandrovna saw him only twice - and he seemed to her "terrible, terrible!" The most exhaustive negative characterization is given to Svidrigailov by Pyotr Petrovich Luzhin: “This is the most depraved and perished in vices of a person, of all this kind of people,” but with some shade of incomplete reliability of what he talks about. Luzhin neither confirms nor refutes Pulcheria Alexandrovna's belief that Svidrigailov is the cause of Marfa Petrovna's death. It is Luzhin who reports that the deaf-mute fourteen-year-old girl, who lived with the German procuress Resslich, who tortured her, was severely insulted by Svidrigailov and hanged herself, that the footman Philip died from the beatings of his master, back in the days of serfdom.

The fact that the information disgracing Svidrigailov comes from Luzhin should have alerted, but meanwhile, almost everyone perceives them as indisputable facts expressing the opinion of the writer himself about the character. The researchers were not alarmed by the fragility of Luzhin's stories, formulated in such a way that they could be denied in case of emergency.

And a strange thing - it is Dunya, who in the novel is the center of Svidrigailov's desires and should have been especially resolute in judging him, undermines the impression of the reliability of Luzhin's stories, softens and even refutes them: “Are you telling the truth that you have accurate information about this?” - she interrupts Luzhin "sternly and impressively". “On the contrary, I heard,” she continues, “... that this Philip was some kind of hypochondriac, some kind of domestic philosopher, people said, “he read out”, and that he hung himself more from ridicule, and not from the beating of Mr. Svidrigailov. And he treated people well with me, and people even loved him, although they really also blamed him for Philip's death ”(6; 215).

Luzhin was even offended: “I see that you, Avdotya Romanovna, somehow suddenly became inclined to justify him,” he remarked, twisting his mouth into an ambiguous smile, and predicts a rather vulgar prospect for Svidrigailov: “disappearance” in the debt department . Dunya, unlike Luzhin, foresees a formidable tragedy in the fate of Svidrigailov. "He's up to something terrible! she said almost in a whisper to herself, almost shuddering.

And Svidrigailov's bride, an innocent teenager whom bad parents sell to him, senses something unusual and not at all criminal in her fiancé - in her eyes "a serious dumb question", surprised and a little sad.

A villain, a libertine and a cynic, Svidrigailov does a lot of good deeds throughout the novel, more than all the other characters combined. Already from the ingenuous letter of Pulcheria Alexandrovna, who only knew how to love her children, but did not understand anything complicated, we learn that it was he who saved Dunya from shame and restored her good name, Svidrigailov, the one who was the cause of her cruel troubles: “.. .by the mercy of God, our torment was reduced: Mr. Svidrigailov ... probably taking pity on Dunya, presented Marfa Petrovna with complete and obvious evidence of all Dunechkin's innocence ... "(6; 51).

Svidrigailov did not want and did not tolerate false gossip sullying Dunya's name.

Going on a tragic “voyage”, Svidrigailov secured the future of his children financially and morally by placing them with his aunt: “They are rich, but I personally do not need them. And what a father I am!” (6; 310).

Svidrigailov came to St. Petersburg mainly to help Duna get rid of Luzhin. At the same time, it turns out that the last and fatal quarrel for Marfa Petrovna occurred with him precisely because of his unwillingness to agree to a shameful marriage deal that his wife cooked up. “Before the voyage, which, perhaps, will come true,” he says to Raskolnikov, “I want to put an end to Mr. Luzhin. It’s not that I really couldn’t stand him, but through him, however, this quarrel between me and Marfa Petrovna came out when I found out that she had concocted this wedding. I wish now to see Avdotya Romanovna, through your intermediary, and, perhaps, in your own presence, to explain to her, firstly, that Mr. Luzhin will not only not bring her the slightest benefit, but even probably there will be obvious damage. Then, having asked her to apologize for all these recent troubles, I would ask permission to offer her ten thousand rubles and thus ease the break with Mr. Luzhin ... "(6; 219).

Svidrigailov adequately and convincingly reassures Raskolnikov, who suspects ulterior and offensive intentions in his generosity.

“... My conscience is completely calm, I propose without any calculations ... - he explains. - The thing is that I really brought a few troubles and troubles to your esteemed sister; therefore, feeling sincere repentance, I sincerely wish - not to pay off, not to pay for the trouble, but simply to do something beneficial for her, on the grounds that I really did not take the privilege to do only evil.

The last words put by Dostoevsky into the mouth of Svidrigailov are quite remarkable. Svidrigailov understands what his reputation is, but he himself does not agree with it. He does not consider himself only a demon of evil, he sees in himself the ability to do good.

Dunya did not accept the money, Svidrigailov used it in a different way, for another good and, perhaps, even more urgent purpose. He took over the organization of the orphaned Marmeladov family, starting with youngsters and ending with Sonya herself.

“All this fuss, that is, funerals and so on, I take upon myself ... - he said. “I’ll put these two chicks and this Polechka in some better orphanage institutions and put each, until adulthood, one thousand five hundred rubles in capital, so that Sofya Semyonovna is completely at peace. Yes, and I’ll pull her out of the pool, because she’s a good girl, isn’t she? Well, so you tell Avdotya Romanovna that I used her ten thousand like this ”(6; 319).

Raskolnikov cannot possibly comprehend how capable Svidrigailov is of disinterested good; he is always looking for secret evil intent in his intentions. Svidrigailov then, in a kind of ironic turn, enters into a controversy with the satanic philosophy of Raskolnikov himself:

“Eh! The man is incredulous! Svidrigailov laughed. - After all, I said that I have extra money. Well, but simply, according to humanity, you don’t allow it, or what? After all, she was not a “louse” (he pointed his finger at the corner where the deceased was), like some old pawnbroker. Well, you'll agree... "Is Luzhin, in fact, to live and do abominations, or should she die?" And I don’t help, because “Polenka, for example, will go there, along that road ...”.

He said this with an air of some kind of winking, merry cheating, without taking his eyes off Raskolnikov" (6; 320).

In this tirade there is something from Rameau's nephew, but it does not sound like a justification for the relativity of good, but as a justification for the relativity of evil.

Indeed, Svidrigailov found a patroness lady who took on the duties and chores of disposing of the capital bequeathed to the Marmeladov family, of educating and arranging the future of both Polechka and her brother and sister. So that the lady would not change her mind and not give up somewhere halfway, he donated money to those orphanages in which she was patroness.

Svidrigailov and Raskolnikov offer funds to escape to America. Concentrated on the thought of his “voyage” (that is, on the intention to shoot himself), he nevertheless carefully collects the documents necessary for the children, hands them to Sonya, and Sonya herself leaves an additional three thousand. Svidrigailov arranges the fate of the humiliated, almost already crushed by life, with the greatest delicacy and tact, without seeking either gratitude or a good memory of himself. He convinces the modest and disinterested Sonechka:

“To you, to you, Sofya Semyonovna, and please, without much talk, because even I have no time. And you will need. Rodion Romanovich has two roads: either a bullet in the forehead, or along Vladimirka ... Well, how will Vladimirka get out - he goes along it, and you follow him? It is so? It is so? Well, if so, it means that money will be needed here. He will need it, you understand? Giving you, I don’t care what I give him” (6; 352).

Svidrigailov makes a good contribution to the preparation of conditions that should return Raskolnikov to a normal track in the future.

Svidrigailov understands people well, and he uses the last days and even hours of his life in order to direct the fate of those around him in a good direction. He not only makes possible the upcoming, following Raskolnikov, Sonya's trip to Siberia, he guesses and goes towards her other desire: to pay off the debts of Katerina Ivanovna.

Svidrigailov is practically kind until the very last minute, not only in relation to Sonya, Dunya, a young bride, but also in relation to the first comers. On his final mournful journey, he wandered into a cheap pleasure garden. The clerks quarreled there with some other clerks. He reconciled them and paid for the missing spoon, which was the cause of contention.

But Svidrigailov does not see the guiding star, he does not know the goal to which one must strive, he understands that Raskolnikov also mistook an unfaithful and wandering fire for a star. Conscious of his "non-genius", Svidrigailov extrapolates his inner state to the society that gave birth to him, but the society that gave birth to him - unlike what he thinks - is not a people. Yes, and he himself ends his tirade: “I myself am a white-handed woman, and this is what I adhere to ...”.

Despite all his physical strength, health and courage, Svidrigailov has no foundations for life. Svidrigailov is a subtle person in his own way and can understand a lot. It is amazing that Dostoevsky entrusted some of his hidden thoughts to him. Svidrigailov talks about St. Petersburg exactly like Dostoevsky in some of his "soil" articles, and exactly like in the author's text of his novels. Talking badly about his bride (he is fifty, and she is not even sixteen), Svidrigailov suddenly remarks: “You know, she has a face in the genus of the Raphael Madonna. After all, the Sistine Madonna has a fantastic face, the face of a mournful holy fool, didn’t it catch your eye? (6; 318).

Svidrigailov does not have a religious attitude to eternity, but not the same as Raskolnikov's. Raskolnikov does not believe in God, he is outraged by the course of earthly affairs, but he is looking for "consolation", looking, albeit in an erroneous and criminal way, for justice, for the realization of the ideal. The aspirations for the ideal and eternity are conjugated, so he retains an exalted idea of ​​infinity, of eternity. Svidrigailov is disappointed to the bottom, he does not believe in God, nor in the devil, nor in people, nor in the ideal, for him the whole world is a deterministic absurdity - why shouldn't this absurdity appear in the form of a village bathhouse with spiders?

Svidrigailov is nowhere single-lined, he is not so uniformly black as it seems at first glance. For all his difference from Dmitry Karamazov, in him, like the hero of The Brothers Karamazov, not yet written at that time, “two abysses” are laid, two ideals live, the ideal of the Madonna and the ideal of Sodom. “... Another person, even higher in heart and with a lofty mind, begins with the ideal of the Madonna, and ends with the ideal of Sodom. It is even more terrible, who already with the ideal of Sodom in his soul does not deny the ideal of the Madonna, and his heart burns from him and truly, truly burns ... No, a man is wide, too wide, I would narrow it down ”- these words of Dmitry Karamazov can be applied to a certain extent to Svidrigailov. And although Sodom had already almost completely absorbed Svidrigailov, he still could not extinguish the charm of beauty in him, as the highest symbol of femininity and humanity.

Dunya knows that Svidrigailov is not just a villain, and at the same time understands that everything can be expected from him. In the name of his brother, Svidrigailov lures her into an empty apartment, into his rooms, from which no one will hear anything: “Although I know that you are a man ... without honor, I am not at all afraid of you. Go ahead,” she said, apparently calmly, but her face was very pale.

The interpreters of Crime and Punishment in the Nietzschean spirit did not notice that with a purely Napoleonic interpretation of Raskolnikov's idea, they agree with Svidrigailov, although Svidrigailov's opinions should be treated with caution: Svidrigailov cannot really understand Raskolnikov. It was Svidrigailov who reduced Raskolnikov completely to the Napoleonic idea, with the prospect of a tempting devilish, personal, selfish career that it opens up. It was Svidrigailov who saw in Raskolnikov a homegrown Napoleon who did not dare to follow his own path to the end.

“There was also one theory of its own here - a so-so theory - according to which people are divided, you see, into material and into special people, that is, into such people for whom, according to their high position, the law is not written, but, on the contrary , who themselves compose laws for the rest of the people, for the material, for the rubbish. Nothing, so-so theory: une théorie comme une autre. Napoleon fascinated him terribly, that is, he was actually fascinated by the fact that so many brilliant people did not look at a single evil, but stepped through without thinking ... ”(6; 362).

Svidrigailov reduces everything, he is not able to penetrate into the innermost essence of Raskolnikov's idea and, sorting through one after another the possible motivations for Rodion's crime, he finally stops at the figure of Napoleon.

Svidrigailov has all arithmetic, and Raskolnikov has higher mathematics. Svidrigailov is the first to explain the crime of Rodion Raskolnikov pluralistically, by adding up many different reasons and motives: poverty, character, irritation, awareness of the “beauty of one’s social position”, the desire to help relatives, the desire for wealth, for a career.

Svidrigailov does not blame Raskolnikov at all. He is only trying to explain to Duna, in whose disposition he is interested, how Raskolnikov reached his villainy, and, realizing that his sister adores her brother, he finally chooses the most profitable version - Raskolnikov started to catch up with the brilliant Napoleon, without being brilliant himself.

The Napoleonic motif was indeed part of Raskolnikov's idea and its terrible realization. Raskolnikov really saw before him the example of Napoleon, he really wanted to check whether he was capable of becoming Napoleon, whether he was capable of withstanding dictatorial, tyrannical power over all of humanity and the entire universe.

However, when Raskolnikov's understanding of power and dominion is limited to simply the Napoleonic idea in itself, curious shifts occur in his mind - both in thinking and in psychology. At these moments, he forgets that he killed not only Alena, but also Lizaveta, the named sister of Sonya Marmeladova. “Why do I not feel sorry for Lizaveta. Poor creature!"

He killed only one louse, "the most useless of all lice." When he hears the word "crime", he shouts furiously in response: "Crime? What crime?.. that I killed a nasty, malicious louse, an old pawnbroker who is of no use to anyone, who will be forgiven for forty sins to kill, who sucked the juice out of the poor, and this is a crime? I don’t think about it and I don’t think about washing it off.

Yes, in other “minutes” Raskolnikov regrets that he did not manage to become Napoleon or Mohammed, did not seize power for the sake of power, no matter how bloody and dirty applications its retention required: “Oh, vulgarity! oh, meanness! .. Oh, as I understand the "prophet", with a saber, on a horse. Allah commands, and obey the “trembling” creature ... the “prophet” is right when he puts a good battery somewhere across the street and blows on the right and the guilty, without even deigning to explain himself! Obey, trembling creature, and - do not wish, therefore - this is none of your business! .. Oh, for nothing, for nothing I will forgive the old woman! (6; 211).

However, the Napoleonic idea in its purest form, power for the sake of power, is treason and betrayal in relation to something more important, where it enters only as a part or as a means. This happens often: a part that replaces the whole, a means turned into an end, begin to contradict the whole, begin to displace the end. He knew that Dunya should not marry Luzhin, that her proposed marriage was the same prostitution: “Here's what, Dunya,” he turns to his sister, “... I consider it a duty to remind you again that I do not deviate from my main thing. Either I, or Luzhin. Let me be a scoundrel, but you shouldn't. One somebody. If you marry Luzhin, I immediately stop considering you a sister, "- in his" main "Raskolnikov stands on the same basis as Razumikhin.

Svidrigailov's death is absurd, meaningless, ugly, it is the end, a complete metaphysical end, a transition to a bathhouse with spiders.

Neither man, nor society, nor humanity can live without a goal, without an ideal. Svidrigailov is dead in his existence, he does not see a star, even a deceptive one - his dead indifference is stronger than the instinct of life, stronger than the fear of non-existence. Non-existence is better than indifference, which makes it impossible to cling to anything, even if only to kill time. This is the reason for the death of Svidrigailov, the basis of the sentence pronounced by Dostoevsky. After all, whether he is a hopeless villain and a hopeless lecher is unclear, ambiguous, with two ends, depends on the point of view, on rumors, on rumors, and not on categorically established facts.

Svidrigailov, who touched the mountain heights and plunged from there into a stinking swamp, cannot live without faith in truth and goodness, he understood this. He executed himself.

In the final text of the novel, the name Svidrigailov appears initially as a synonym for a well-fed, vulgar and dissolute dandy pursuing a defenseless girl. The contradictions inherent in it, the magnitude and intensity of the forces destroyed in it, are revealed gradually. And only at the end, in Svidrigailov's suicide, Dostoevsky's moral and philosophical plan is fully realized, in brilliant perfection. Dostoevsky himself understood that he succeeded in the image. “It will be great,” he wrote in rough sketches.

Having created the image of an “ordinary,” albeit terrible, villain, Dostoevsky would not have experienced such a creative upsurge and the consciousness of such a creative victory.

Consider the image of Svidrigailov Arkady Ivanovich. This hero is one of the main characters in the psychological novel "Crime and Punishment" by F. M. Dostoevsky (the author's portrait is presented in the article). Fyodor Mikhailovich published this work in 1866. It was published in the Russian Bulletin magazine. And this work was created in the period from 1865 to 1866.

The image of Luzhin and Svidrigailov is united by the fact that both of these heroes - moral Arkady Ivanovich personifies the decline of the personality and spiritual degradation, which leads to the implementation of Rodion's philosophy, his view of the world.

External characteristic of Svidrigailov

Considering the image of Svidrigailov, we first describe his external features. In the work, Arkady Ivanovich is already over 50 years old, but he looks much younger than his years. This is a broad-shouldered man of medium height, who dressed smartly and looked like a "dignified gentleman." Arkady has a fresh, pleasant face, his beard and hair are still very thick, and his blue eyes look with a fixed, cold look. However, after some time, Raskolnikov found something terrible and unpleasant in this seemingly pretty face. Svidrigailov is a well-connected nobleman who is used to setting a goal and achieving it by any means. Such is the image of Svidrigailov at the first acquaintance with this hero. However, it is actually much more complicated, as you will see by reading this article to the end.

Arkady Ivanovich

Continuing to describe the image of Svidrigailov, let's turn to his inner world. A lot of gossip surrounds this hero, one worse than the other. Society blames him for the death of his wife Martha. He allegedly poisoned his wife, and also tortured and, ultimately, drove Philip, his servant, to suicide, beat the girl.

The danger emanating from this person is also felt by Dunya, the sister of Rodion, with whom this nobleman is in love. Svidrigailov says about himself that he is a person devoid of norms and principles, who acts according to his own will and will. He does not build excuse theories to hide his actions, like Luzhin. Arkady Ivanovich directly says that he is a "depraved and idle" person.

Comparative characteristics of two heroes - Svidrigailov and Raskolnikov

The image of Svidrigailov, briefly described above, is largely revealed by comparing him with Rodion Raskolnikov. Thanks to his abilities, experience, money, Arkady Ivanovich already has what Rodion can only dream of - "independence from people and absolute freedom." This hero was able to step over murder, debauchery, deceit for a long time. Raskolnikov could envy the cold prudence and restraint of Svidrigailov during the crime, since Arkady Ivanovich never makes stupid mistakes, he does not lend himself to sentimentality. And the student suffers from all this. Rodion is tormented in his soul, he gathers all his moral strength in order to silence his conscience. For a long time Arkady Ivanovich had no longer felt even a hint of guilt and tormenting conscience. He does not care about past sins, as well as the dirty deeds he has recently committed. All this complements his image. Svidrigailov Arkady Ivanovich is used to living various crimes, enjoying his own meanness.

Arkady Ivanovich has long crossed moral boundaries, the abyss of the spiritual fall of this hero is truly great. The only one is to ruthlessly pluck the "flowers of pleasure" and then throw them "into the roadside ditch." Arkady is the first to notice that he has a lot in common with Rodion. However, there is one important difference - Svidrigailov erased the boundaries between sin and morality, but Rodion did not. The student panics about the fact that evil and good are the same. And for Svidrigailov, this is a vital truth.

Positive aspects of Svidrigailov

Depicting his immoral image, Dostoevsky at the same time attaches great importance to the good deeds he committed. Their Svidrigailov does even more than all the positive characters combined. After all, Arkady ensured the future not only for his children, but also for the orphans of the Marmeladovs. He longs to arrange the fate of Sonya, to pull her out of this "whirlpool".

Svidrigailov offers Raskolnikov money to escape to America. He also promises to pay Katerina Ivanovna's debts. The bright side of this hero in relations with Dunya also takes over. After all, Arkady Ivanovich, after the girl had harshly refused him, no longer sought a meeting with her, did not harm Sonya. The "broad" nature of Svidrigailov is endowed with a strange ability to be noble and vile at the same time. In his soul there is no clear boundary between evil and good.

The tragic duality of the inner world of Arkady Ivanovich

The life position of Arkady Ivanovich is explained in the work to some extent by the tragic split of his personality. He, like Rodion, painfully perceives the imperfection of this world, its orders, based on injustice and falsehood. But Svidrigailov's rebellion, on the other hand, has no positive charge.

He does good deeds only "out of boredom", since he does not require any infringement in his desires, nor suffering material assistance to people. Only to emptiness, and not to self-realization, does the hero's theory of "strong personality" lead him.

Aversion to life and suicide

Arkady Ivanovich, despite the complete absence of moral principles in him, feels disgust for life. This hero wants to escape from this, he takes risks, kills, after which he sits in prison, then agrees to escape to America or fly in a balloon. However, the severity of existence, devoid of meaning, puts pressure on the shoulders, depresses. He is haunted everywhere by vulgarity, "bath with spiders" is frightened by eternity. It is not surprising, therefore, that Svidrigailov, fed up with life, decides to commit suicide. His soul is practically dead, so the shot from the revolver was logical.

What does the fate of Svidrigailov teach?

An important role in the work is played by the image of Svidrigailov. "Crime and Punishment" is a novel that teaches us that permissiveness, absolute freedom does not lead to emancipation, as Rodion secretly hoped, but, on the contrary, to devastation, a feeling of narrowing of living space.

A warning to Raskolnikov is the fate of Arkady Ivanovich. The characterization of the image of Svidrigailov shows that the path he has chosen is false. It only leads to spiritual emptiness. The fate of this hero teaches with a negative example the truth that Sonya adheres to - you need to accept Christ and be cleansed in order to become truly free.

Luzhin and Svidrigailov

Luzhin and Svidrigailov in Dostoevsky's novel "Crime and Punishment" The novel "Crime and Punishment" was conceived by Dostoevsky while still in hard labor. Then it was called "Drunken", but gradually the idea of ​​the novel was transformed into a "psychological account of one crime." Dostoevsky in his novel depicts the collision of theory with the logic of life. According to the writer, a living life process, that is, the logic of life, always refutes, renders insolvent any theory - both the most advanced, revolutionary, and the most criminal. So, it is impossible to make life according to theory. And therefore, the main philosophical idea of ​​the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person obsessed with an extremely criminal theory, with life processes that refute this theory.

Raskolnikov is surrounded in the novel by characters who are, as it were, his "twins": in them, some side of the protagonist's personality is reduced, parodied or shaded. Thanks to this, the novel turns out to be not so much a trial of a crime as (and this is the main thing) a trial of a person's personality, character, psychology, which reflected the features of Russian reality of the 60s of the last century: the search for truth, truth, heroic aspirations, "staggering" , "delusions".

Rodion Raskolnikov is associated with many people in the work. One of them is Luzhin and Svidrigailov, who are the "twins" of the protagonist, because they created theories similar to the theory of the "chosen ones" and "trembling creatures". "We are one field of berries," Svidrigailov says to Rodion, emphasizing their similarities. Svidrigailov, one of the most complex images of Dostoevsky, is in captivity of a false theory. He, like Raskolnikov, rejected public morality and wasted his life on entertainment. Svidrigailov, guilty of the death of several people, forced his conscience to be silent for a long time, and only a meeting with Dunya awakened some feelings in his soul. But repentance, unlike Raskolnikov, came to him too late. He even helped Sonya, his fiancee, the children of Katerina Ivanovna, in order to drown out remorse. But there is neither time nor strength to cope with himself and he puts a bullet in his forehead.

Svidrigailov - a man without conscience and honor - is like a warning to Raskolnikov if he does not obey the voice of his own conscience and wants to live with a crime in his soul that has not been redeemed by suffering. Svidrigailov is the most painful "double" for Raskolnikov, because it reveals the depths of the moral fall of a person who, due to the spiritual emptiness, has gone down the path of crimes. Svidrigailov is a kind of "black man" who all the time disturbs Raskolnikov, who convinces him that they are "of the same field", and with whom the hero fights especially desperately.

Svidrigailov is a wealthy landowner, leads an idle lifestyle. Svidrigailov destroyed the man and the citizen in himself. Hence his cynicism, with which he formulates the essence of Raskolnikov's idea, freeing himself from the confusion of Rodion, remaining to remain in boundless voluptuousness. But, having stumbled upon an obstacle, commits suicide. Death for him is liberation from all obstacles, from "questions of man and citizen." This is the result of the idea that Raskolnikov wanted to make sure of.

Another "double" of Rodion Raskolnikov is Luzhin. He is a hero who succeeds and does not constrain himself in any way. Luzhin evokes disgust and hatred of Raskolnikov, although he recognizes something in common in their life principle of calmly stepping over obstacles, and this circumstance torments the conscientious Raskolnikov even more.

Luzhin is a business man with his "economic theories". In this theory, he justifies the exploitation of man, and it is built on profit and calculation, it differs from Raskolnikov's theory in the disinterestedness of thoughts. And although the theories of both one and the other lead to the idea that it is possible to "shed blood according to conscience," Raskolnikov's motives are noble, suffered through heart, he is driven not just by calculation, but by delusion, "clouding of the mind."

Luzhin is a straightforwardly primitive person. He is a reduced, almost comic double, in comparison with Svidrigailov. In the last century, the minds of many people were subject to the theory of "Napoleonism" - the ability of a strong personality to command the fate of other people. The hero of the novel, Rodion Raskolnikov, became a prisoner of this idea. The author of the work, wishing to depict the immoral idea of ​​the protagonist, shows its utopian result on the images of the "twins" of Svidrigailov and Luzhin. Raskolnikov explains the establishment of social justice by force as "blood according to conscience." The writer further developed this theory. Svidrigailov and Luzhin exhausted the idea of ​​abandoning "principles" and "ideals" to the end. One has lost his bearings between good and evil, the other preaches personal gain - all this is the logical conclusion of Raskolnikov's thoughts. It is not for nothing that Rodion replies to Luzhin's selfish reasoning: "Bring to the consequences what you just preached, and it turns out that people can be cut."

In his work Crime and Punishment, Dostoevsky convinces us that the struggle between good and evil in the human soul does not always end in the victory of virtue. Through suffering, people go to transformation and purification, we see this in the images of Luzhin and especially Svidrigailov.