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Why is Sonechka "eternal"? (based on the novel by F. M

Why is Sonechka "eternal"? (based on the novel by F. M

08.04.2019

Love a man even in his sin, for this
already a semblance of divine love is the top
love on earth...
F. M. Dostoevsky

F. M. Dostoevsky's novel "Crime and Punishment" shows the hero's path from crime to punishment through repentance, purification to resurrection. For as long as a person lives, good and evil, love and hatred, faith and godlessness will live in him. Each hero is not just a literary image, but the embodiment of some idea, the embodiment of certain principles.

So, Raskolnikov is obsessed with the idea that for the sake of the happiness of some people it is possible to destroy others, that is, the idea of establishing social justice by force. Luzhin embodies the idea of economic predation, professes the philosophy of acquisition. Sonya Marmeladova is the embodiment of Christian love and self-sacrifice.

“Sonechka Marmeladova, eternal Sonechka, while the world stands!” What melancholy, pain are heard in this bitter meditation of Raskolnikov! The winner in the novel is not the cunning and prudent Luzhin with his theory of “love yourself,” not Raskolnikov with the theory of permissiveness, but the little modest Sonya. The author leads us to the idea that permissiveness, selfishness, violence destroy a person from the inside and only faith, love and suffering purify.

Among poverty, wretchedness and depravity, Sonya's soul remained pure. And it seems that such people live to cleanse the world of dirt and lies. Wherever Sonya appears, a spark of hope for the best ignites in the soul of people.

Sonya herself is still a child: "very young, like a girl, with a modest and decent manner, with a clear ... but frightened face." But she took upon herself the care of her father, of Katerina Ivanovna and her children, of Raskolnikov. Sonya helps not only financially - she first of all tries to save their souls. The heroine does not condemn anyone, believes in the best in a person, lives according to the laws of love, is convinced that, having committed a crime, one must repent before oneself, before people, before one's land. Everyone needs Sonya. Raskolnikov needs Sonya. "I need you," he tells her. And Sonya follows him even to hard labor. It is significant that all the convicts loved her. “Mother, Sofya Semyonovna, you are our mother, tender, sick!” they told her. material from the site

"Eternal Sonya" is hope. Her Gospel under Raskolnikov's pillow is hope. Hope for goodness, love, faith, that people will understand: faith must be in the soul of every person.

"Eternal Sonya"... People like her "are destined to start a new kind of people and a new life, renew and purify the earth."

In our world it is impossible without such people. They give us faith and hope. They help the fallen and the lost. They save our souls, helping to escape from the "dirt" and "cold".

Sonya is “eternal”, because love, faith, beauty are eternal on our sinful earth.

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/ / / The image of the "eternal Sonechka" in Dostoevsky's novel "Crime and Punishment"

The classic of Russian literature, Fyodor Dostoevsky, created the deeply philosophical novel Crime and Punishment. This short name contains the main moral essence - for every crime there is a punishment.

The author discusses what is right in this world and what deserves blame. However, not everything is as simple as it seems at first glance. And not every vicious person, according to society, is truly vicious. What leads a person to this or that choice is what Dostoevsky thought about in the novel.

The unique female image in the work is. She is the daughter of a drunken official, she has no one to rely on in this life. Her stepmother directs her to a vicious path for the sake of her family. She convinces the girl that her body is not such a treasure to take care of. Since Sonya has no education and no special talents, but only good looks, the only way to earn money for the whole family was to work on a yellow ticket. But the girl did not justify her act, but simply accepted that she was a great sinner. She hoped for forgiveness, which she always prayed for, as she was a believer.

The portrait characteristic of Sonya emphasizes her inner world. She is depicted as a very fragile, thin girl of small stature. Her thin face was always pale, which indicates a constant need for good nutrition and constant moral suffering. In her appearance there was nothing particularly outstanding, except for large clear blue eyes that seemed to look people straight into the soul. Sonya was about 18 years old, but she looked younger. It is not just that the author emphasizes this detail in the appearance of the heroine. After all, the vicious image of a corrupt girl did not suit little Sonya at all. The girl is forced to take this path by circumstances, her tendency to self-sacrifice.

Sonya is a very kind and understanding girl. She does not judge other people, but only helps to get on the right path. Having met, Sonya tries to return his lost soul to him. The hero at first does not understand the girl, and believes that she suffers because of her naivety, that everyone uses her as a source of money. Rodion is amazed at Sonya's attitude towards him. Even talking about the crime, the young man sees not condemnation, but regret and pain in the eyes of a girl in love. She helped him understand guilt and begin his path to repentance.

Dostoevsky created a unique female image of the "eternal Sonechka". Why eternal? Because Sonya is the embodiment of eternal kindness and innocence. Yes, yes, Sonya remained an innocent soul, despite the fact that her body became corrupt. For a believer, the body is just a temporary matter, the soul has always been more important. And no one managed to denigrate Sonya's soul. Despite poverty, condemnation, the anger of other people, the girl has not lost her sincerity and humanity.

The novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment" is one of the most complex works of Russian literature, in which the author told about the story of the death of the main character's soul after he committed a crime, about the alienation of Rodion Raskolnikov from the whole world, from the people closest to him, his mother, sister, friend.
reading the novel, you realize how deeply the author penetrated the souls and hearts of his characters, how he comprehended the human character, with what genius he told about the moral upheavals of the protagonist. The central figure of the novel is, of course, Rodion Raskolnikov. But there are many other characters in Crime and Punishment. These are Razumikhin, Avdotya Romanovna and Pulcheria Alexandrovna, the Raskolnikovs, Pyotr Petrovich Luzhin, the Marmeladovs. The Marmeladov family plays a special role in the novel. After all, it is Sonechka Marmeladova, her faith and disinterested love, that Raskolnikov owes his spiritual rebirth.
She was a girl of about eighteen, of small stature, thin, but rather pretty blonde, with wonderful blue eyes.
Her great love, suffering, but a pure soul, able even to see a person in a murderer, empathize with him, suffer with him, saved Raskolnikov.
Yes, Sonya is a "harlot", as Dostoevsky writes about her, but she was forced to sell herself in order to save her stepmother's children from starvation. Even in her terrible situation, Sonya managed to remain human, drunkenness and depravity did not affect her. But in front of her was a vivid example of a father who had fallen, completely crushed by poverty and his own impotence to change something in life. Sonya's patience and vitality are largely derived from her faith. She believes in God, in justice with all her heart, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is “several, books of romantic content”, seeing around her only drunken quarrels, illnesses, debauchery and human grief?
For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. Sin remains sin, no matter who commits it and in the name of what. Personal happiness cannot be set as a goal. A person has no right to egoistic happiness, he must endure, and through suffering he achieves true, non-egoistic happiness.
Reading Raskolnikov's legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. "They were resurrected by love, the heart of one contained endless sources of life for the heart of the other." Rodion came to what Sonya urged him to, he overestimated life and its essence, as evidenced by his words: "Can her beliefs now not be my beliefs? Her feelings, her aspirations, at least ...."
Touched by Sonya's sympathy, Rodion "goes to her already as a close friend, he himself confesses to her murder, tries, confused in reasons, to explain
her, why did he do this, asks her not to leave him in misfortune and receives an order from her: to go to the square,
kiss the earth and repent before all the people." In this advice, Sonya seems to hear the voice of the author himself,
seeking to bring his hero to suffering, and through suffering - to atonement. sacrifice, faith,
love and chastity - these are the qualities that the author embodied in Sonya. Surrounded by vice, forced
sacrificing her dignity, Sonya retained the purity of her soul and the belief that “there is no happiness in comfort, happiness
is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always
suffering." And here is Sonya, who also “transgressed” and ruined her soul, “a man of high spirit”, of one “category”
with Raskolnikov, condemns him for contempt for people and does not accept his "rebellion", his "axe", which, as
it seemed to Raskolnikov that he was also raised in her name. The heroine, according to Dostoevsky, embodies the principle of the people,
Russian element: patience and humility, boundless love for man and God. Therefore, the collision of Raskolnikov and
Sony, whose worldview is opposed to each other, is very important. The idea of "rebellion" Rodion, according to
Dostoevsky's aristocratic idea, the idea of the "chosen one" is unacceptable for Sonya. Only the people in the face of Sonya
can condemn Raskolnikov's "Napoleonic" rebellion, force him to submit to such a court and go to hard labor -
"suffering to accept." Sonya hopes for God, for a miracle. Raskolnikov, with his evil, polished skepticism, is sure that
There is no God, and there will be no miracle. Rodion mercilessly reveals to Sonya the futility of her illusions. Little of,
Raskolnikov even tells Sonya about the uselessness of her compassion, about the futility of her victims. not shameful
the profession makes Sonya a sinner, and the vainness of her sacrifice and her feat. “And that you are a great sinner, then it is so,
- he added almost enthusiastically, - and most of all, you are a sinner because you needlessly killed and betrayed yourself. More
if it weren't terrible... that you live in this filth that you hate so much, and at the same time you know yourself that no one
You are not helping and you are not saving anyone from anything!” Raskolnikov judges Sonya with other scales in his hands than
dominant morality. He judges her from a different point of view than she does. The hero's heart is pierced by the same pain that
and Sonya's heart, only he is a thinking person who generalizes everything. Raskolnikov bows to Sonya and kisses
her legs. “I didn’t bow to you, I bowed to all human suffering,” he said wildly and went to the window. Driven by life into the last and already completely hopeless corner, Sonya is trying to do something in the face of death. She, like
Raskolnikov, acts according to the law of free choice. But, unlike Rodion, Sonya did not lose faith in people,
she does not need examples to establish that people are by nature good and deserve a fair share.
Sonya internally stands outside money, outside the laws of the world that torments her. Just as she herself, of her own free will, went to the panel, so, by her own firm and invincible will, she did not lay hands on herself. Sonya was faced with the question of suicide - she thought it over and chose the answer. Suicide, in her position, would be too selfish a way out - it would save her from shame, from torment, it would rescue her from the stinking pit. “... After all, it would be more fair,” Raskolnikov exclaims, “it would be a thousand times fairer and more reasonable
head into the water and finish at once! - And what will happen to them? Sonya asked weakly, glancing painfully at
him, but at the same time, as if not at all surprised by his proposal.
It was not so much the thought of sin that kept her from the water, but "about them, her own." Sonya debauchery was worse than death.
In the developing romance between Raskolnikov and Sonya, a huge role is played by mutual respect and mutual cordial delicacy, which are so sharply different from the mores of that society. That's why Rodion was able to confess to Sonya in the murder, because he loved her and knew that, and she loves him.
Thus, in the novel Crime and Punishment, love is not a duel of outcasts brought together by fate into a single union and choosing which way to go towards a common goal - a duel of two truths.
The presence of lines of contact and lines of unity made
Sonya's struggle with Raskolnikov is not hopeless, and if Sonya in the novel itself, before its epilogue, did not win and did not
reborn Raskolnikov, then she, in any case, contributed to the final collapse of his inhuman
ideas.
In the epilogue of the novel we read: "Their
resurrected love ... "A person, if he is a person, feels responsible not only for his own actions, but
and for every evil that is done in the world. That's why Sonya feels that she is guilty of a crime
Raskolnikov, that's why she takes this crime so close to her heart and shares it with
"transgressed" his fate, she agrees to carry his cross, to help come to the truth through suffering. We do not doubt her words, the reader is sure that Sonya will follow Raskolnikov everywhere, everywhere and always will be with him. Why, why does she need it? Go to Siberia, live in poverty, suffer for the sake of a person who is dry, cold with you, rejects you. Only she, the "eternal Sonechka", with a kind heart and disinterested love for people, could do this.
Dostoevsky wrote: "Sonya is a hope, the most impracticable."
Having created the image of Sonya Marmeladova, Dostoevsky created an antipode to Raskolnikov and his theory (goodness, mercy, opposing evil). The life position of the girl reflects the views of the writer himself, his faith in goodness, justice, forgiveness and humility, but, above all, love for a person, whatever he may be.

A special place in the novel "Crime and Punishment" is occupied by female characters. Dostoevsky draws the girls of impoverished Petersburg with a deep sense of compassion. "Eternal Sonya" - called the heroine Raskolnikov, referring to those who will sacrifice themselves for the sake of others. In the system of images of the novel, this is Sonya Marmeladova, and Li-Zaveta, the younger sister of the old usurer Alena Ivanovna, and Dunya, Raskolnikov's sister. "Sonechka, eternal Sonechka, while the world stands" - these words can serve as an epigraph to the story about the fate of girls from poor families in Dostoevsky's novel.

Sonya Marmeladova, daughter of Semyon Marmeladov, a drunkard who lost his job, was the daughter of his first marriage. Tortured by the reproaches of her stepmother, Katerina Ivanovna, distraught from poverty and consumption, Sonya is forced to go to the panel to support her father and his family. The author portrays her as a naive, bright-hearted, weak, helpless child: “She seemed almost a girl, much younger than her years, almost a child ...”. But "...despite her eighteen years" Sonya violated the commandment "do not commit adultery." “You also transgressed, ... you were able to cross. You laid hands on yourself, you ruined your life ... your own, ”says Raskolnikov. But Sonya trades her body, not her soul, she sacrificed herself for the sake of others, and not for herself. Compassion for loved ones, humble faith in the mercy of God never left her. Dostoevsky does not show Sonya as a “thrift,” but nevertheless we know how she earns money to feed the hungry children of Katerina Ivanovna. And this glaring contrast between her pure spiritual appearance and her dirty profession, the terrible fate of this girl-child, is the most weighty proof of the criminality of society. Raskolnikov bows before Sonya and kisses her feet: “I didn’t bow to you, but bowed to all human suffering.” Sonya is always ready to help. Raskolnikov, having broken off all relations with people, comes to Sonya to learn from her love for people, the ability to accept her fate and "carry her cross."

Dunya Raskolnikova is a variant of the same Sonya: she won’t sell herself even for her own salvation from death, but for her brother, for her mother. Mother and sister loved Rodion Raskolnikov passionately. To support her brother, Dunya entered the Svidrigailov family as a governess, taking a hundred rubles in advance. She sent seventy of them to Roda.

Svidrigailov encroached on Dunya's innocence, and she was forced to leave her place in disgrace. Her purity and correctness were soon recognized, but she still could not find a practical way out: as before, poverty stood at the threshold in front of her and her mother, as before she was not able to help her brother in any way. In her hopeless situation, Dunya accepted the offer of Luzhin, who almost openly bought her, and even with humiliating, insulting conditions. But Dunya is ready to go after Luzhin for the sake of her brother, selling her calmness, freedom, conscience, body without hesitation, without grumbling, without a single complaint. Raskolnikov clearly understands this: "... Sonechkin's lot is no worse than the lot with Mr. Luzhin."

In Dun there is no Christian humility inherent in Sonya, she is resolute and desperate (she refused Luzhin, she was ready to shoot at Svidrigailov). And at the same time, her soul is just as full of love for her neighbor, like Sonya's soul.

On the pages of the novel, Lizaveta appears briefly. A student in a tavern talks about her, we see her in the scene of the murder, after the murder Sonya talks about her, Raskolnikov thinks. Gradually, the appearance of a kind, downtrodden creature, meek, similar to a big child, emerges. Lizaveta is a submissive slave of her sister Alena. The author notes: “So quiet, meek, unrequited, consonant, consonant with everything.”

In the mind of Raskolnikov, the image of Lizaveta merges with the image of Sonya. Half delirious, he thinks: “Faithful Lizaveta! Why did she turn up here? Sonya! Poor, meek, with meek eyes ... "This feeling of spiritual kinship between Sonya and Lizaveta is especially acute in the confession scene: "He looked at her and suddenly, in her face, he seemed to see Lizaveta's face." Lizaveta became "Sonya", just as kind, sympathetic, who died innocently and senselessly.

And Sonya Marmeladova, and Dunya Raskolnikova, and Lizaveta, mutually complementing each other, embody the idea of love, mercy, compassion, self-sacrifice in the novel.

She was a girl of about eighteen, of small stature, thin, but rather pretty blonde, with wonderful blue eyes. Her great love, suffering, but a pure soul, able even to see a person in a murderer, empathize with him, suffer with him, saved Raskolnikov. Yes, Sonya is a "harlot", as Dostoevsky writes about her, but she was forced to sell herself in order to save her stepmother's children from starvation. Even in her terrible situation, Sonya managed to remain human, drunkenness and depravity did not affect her. But in front of her was a vivid example of a father who had fallen, completely crushed by poverty and his own impotence to change something in life. Sonya's patience and vitality are largely derived from her faith. She believes in God, in justice with all her heart, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is “several, books of romantic content”, seeing around her only drunken quarrels, illnesses, debauchery and human grief?

For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. Sin remains sin, no matter who commits it and in the name of what. Personal happiness cannot be set as a goal.

A person has no right to egoistic happiness, he must endure, and through suffering he achieves true, non-egoistic happiness. Reading Raskolnikov's legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. "They were resurrected by love, the heart of one contained endless sources of life for the heart of the other." Rodion came to what Sonya urged him to, he overestimated life and its essence, as evidenced by his words: “Can her beliefs now not be my beliefs? Her feelings, her aspirations, at least ...." Touched Sympathy for Sonya, Rodion “goes to her already as to a close friend, he himself confesses to her the murder, tries, confused in reasons, to explain to her why he did it, asks her not to leave him in misfortune and receives an order from her: to go to the square kiss the earth and repent before all the people." In this advice, Sonya seems to hear the voice of the author himself, seeking to bring his hero to suffering, and through suffering - to atonement.

Sacrifice, faith, love and chastity - these are the qualities that the author embodied in Sonya. Being surrounded by vice, forced to sacrifice her dignity, Sonya retained the purity of her soul and the belief that "there is no happiness in comfort, happiness is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always suffering." And now Sonya, who also "transgressed" and ruined her soul, "a man of high spirit", of the same "rank" with Raskolnikov, condemns him for contempt for people and does not accept his "rebellion", his "axe", which, as it seemed to Raskolnikov , was raised in her name.

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