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Rodion Raskolnikov the meaning of the name and surname. The symbolism of names in the novel "Crime and Punishment"

Rodion Raskolnikov the meaning of the name and surname. The symbolism of names in the novel "Crime and Punishment"

29.03.2019

F. M. Dostoevsky is a great man and writer, whose name is known to absolutely every person from the school bench. One of his most famous novels is Crime and Punishment. Dostoevsky wrote a story about a student who committed a murder, after which he suffered a terrible punishment, but not legally, but morally. Raskolnikov tormented himself, but not only he himself suffered from the perfect. The Raskolnikov family in the novel "Crime and Punishment" also suffered from the act of the protagonist.

Meaning of the novel's title

Crime and Punishment is a great novel that has captivated millions of readers and lovers of the classics. It is worth saying that the title contains a deep meaning and content of the work.

It is important that from the very beginning Dostoevsky wanted to give his novel a different name, and he came up with "Crime and Punishment" when the writing of the work was at the stage of completion. It must be said that the novel can no longer be imagined with a different title, because it is the current one that reflects the whole essence of the idea of the great classic.

First the crime, then the punishment. Dostoevsky wanted to emphasize that sometimes for a person it is not so terrible as a moral punishment. Raskolnikov felt its fullness and realized how terrible it was to “punish” himself.

It is worth saying that not only Rodion felt how hard it is to experience moral punishment. The Raskolnikov family in the novel "Crime and Punishment" also felt how much they can suffer from the actions that loved ones and relatives commit.

Rodion Raskolnikov

F. M. Dostoevsky decided to introduce the reader to the main character of his novel from the very first pages. The author described Raskolnikov's appearance: "he was slender, handsome, his height was above average, and his eyes were large and beautiful." The protagonist of the novel grew up in the family of a poor tradesman.

The writer notes that Raskolnikov was always poorly dressed, and any other person would prefer not to go out in such “rags” at all. The protagonist's father has died and his family is in a very difficult situation. Raskolnikov's sister was forced to get a job as a governess in order to save a difficult financial situation, and Rodion had to live on money sent by his mother. However, the funds were still not enough, and the young man began to give private lessons. Such a difficult situation forced Rodion to leave his studies at the university.

The history of the Raskolnikov family played a huge role in the life of Rodion. It is worth saying that poverty caused many misfortunes that occurred in the life of the protagonist. However, in spite of everything, Rodion loved his family very much and was ready to give his life for her.

Raskolnikov's mother

Pulcheria Alexandrovna is the mother of Rodion, who loved her son with all her heart. She is a simple Russian woman who was not only a good, but also an affectionate and loving mother for her children. The author shows the reader that Pulcheria looked good, despite her age, as well as ugly and unkempt clothes.

The mother of the protagonist was compliant and could always agree to a lot. However, despite this, she was an honest person and it was this trait that did not allow her to step over herself.

The Raskolnikov family in the novel "Crime and Punishment" appeared to the reader as poor, but honest. Its members were ready to do anything for each other.

Rodion's sister

Dunya is Raskolnikov's beloved sister. It is worth saying that warm relations have long been established between her and her brother, which can be safely called friendly. Dunya loved Rodion and her mother very much, which is why she decided to marry Luzhin in order to save her family from poverty. She wanted Raskolnikov to continue his studies at the university and also work with her future husband.

However, Rodion dissuaded his sister from marrying Luzhin, because he was a greedy and ignoble gentleman. Soon, Dunya married Razumikhin, Raskolnikov's best friend, who became part of their small family.

The Raskolnikov family in the novel "Crime and Punishment" is very friendly. Despite all the hardships and obstacles that each of its members encounter on the way, they stay together and try to help each other.

Father of Rodion Raskolnikov

It is worth saying that Dostoevsky decided not to talk much about Rodion's father. It is only known that the head of the family has died. After his death, Pulcheria and her young children were forced to earn a living, and this was not easy for them.

Raskolnikov's connection with the family. Dunya's act

It must be repeated that the Raskolnikov family was very friendly and loving. The characterization of the heroes makes it clear that each of them was ready for everything for each other. The mother loved her children, and they loved her.

The reverent attitude of the Raskolnikovs towards each other can be seen at the very beginning of the novel. When they were left in complete poverty after the death of their father, their mother, Dunya and Rodion himself struggled to get money in order to provide for the family at least a little. The sister of the protagonist made great sacrifices, deciding to marry Luzhin. Dunya wanted to marry him primarily in order to save her family from poverty. This act suggests that Raskolnikov was so close to his mother and sister that they were ready to make great sacrifices.

The poor but friendly Raskolnikov family. Description of Rodion's act

Despite the fact that Rodion was a criminal, Dostoevsky did not deprive him of his loved ones and loved ones. This is confirmed by the Raskolnikov family. The characteristics of the members of this family show the reader that, despite the obstacles and hardships, they still remained the closest and dearest people to each other.

Rodion's connection with his family is confirmed by the situation when Rodion found out about the upcoming marriage of Dunya and Luzhin. Raskolnikov's sister wanted to marry this gentleman for the sake of her family's prosperity, but Rodion expressed his protest and discontent about this. Raskolnikov forbade his beloved sister to marry the greedy and not noble Luzhin, because he did not want to see how his sister would suffer and suffer. This act shows that the family and the honor of each of its members are the main thing.

The role of the family in the life of Rodion

It is worth saying that Dostoevsky paid so much attention to the Raskolnikov and Marmeladov families for a reason. The writer wanted to show what they mean in the life of every person. An example in the story is the Raskolnikov family. Description of the actions and characters of each character gives the reader the opportunity to understand what role loved ones play in each other's lives. It must be said that, in part, the Raskolnikov family became involved in the commission of the crime by Rodion, because the mother and Dunya placed all their hopes on the main character. That is why he felt a duty to his family, as well as a great responsibility for the lives of his mother and sister.

The role of the Rodion family in "Crime and Punishment"

Throughout the novel, the reader does not feel hostility, but pity for the protagonist of the work "Crime and Punishment". The Raskolnikov family was in a difficult position. Dunya, Pulcheria and Rodion constantly had to endure various upheavals and difficult situations.

The fate of the Raskolnikov family is not easy, and therefore makes every reader feel pity and sympathy. Throughout their lives, these people had to fight for themselves and their loved ones, go through difficult trials, but at the same time protect their honor and live fairly. The role of the Raskolnikov family in the novel is so that with its help the author can draw the reader's attention to how relationships with loved ones can affect a Good family, in which mutual understanding and love reigns, can give peace and true happiness.

There are many symbolic details in Dostoevsky's novel Crime and Punishment. Landscapes, interiors, portraits, names of characters are symbolic.

The protagonist of the novel is Rodion Romanovich Raskolnikov. The name itself - Rodion - is of Greek origin, which means "inhabitant of the island of Rhodes." Etymologically, the words “ore”, “red”, “rose” ascend to the same root. "Ore" - in the Old Slavonic language means "blood". So, already in the very name of the protagonist, the motif of blood is set, which is then realized in the plot.

However, there is a connection here with the theory of the hero itself. The island of Rhodes was famous for its great commanders; Pompei, Caesar, Tiberius studied there. So, here arises the motive of the powerful of this world, people who were able to transgress through blood and suffering. Raskolnikov cannot become Caesar and Tiberius, so he becomes an "ordinary" murderer. Here, Dostoevsky reproduces the well-known aphorism of Aesop: "Here is Rhodes, here and jump!". This fable told of a certain traveler who arrived in Rhodes and boasted that he had once made a grandiose long jump. In response to his boasting, the locals invited him to "demonstrate his skill". So is Raskolnikov in Dostoevsky's novel. His Rhodes is the murder of an old pawnbroker.

Raskolnikov's patronymic is Romanovich. Roman - translated from Latin means "Roman", comes from the Greek word for "fortress", "strength". Turning to the content of the novel, let us recall that Raskolnikov wanted to experience the strength in himself, the strength of the spirit, he wanted to "become Napoleon". Thus, in the patronymic of the hero, the motif of "Napoleons", the powerful of this world, continues to develop.

Finally, the surname itself - Raskolnikov - indicates the painful split of his personality, the split of the hero's soul into two halves. One part of his soul is disinterested, compassionate and childishly innocent (Raskolnikov's childish smile, his children's crying in his first dream), the other is cold, selfish, proud, overflowing with pride and individualism.

Raskolnikov unselfishly helps the Marmeladovs, a fellow student. Burnt, he saves children from the fire. He is also noble in relation to Dunya, not accepting her sacrifice in the form of a marriage with the “beautiful man” Luzhin. And at the same time, human life is worth nothing for Raskolnikov: testing his theory, together with the “evil and harmful old woman”, he kills the innocent Lizaveta.

We also find an interesting interpretation of the name, patronymic and surname of Raskolnikov in S. V. Belov. The researcher notices that the name Rodion in its sound is associated with the word "motherland". “Raskolnikov “splits” the mother earth that gave birth to him, “splits” the homeland” of the Romanovs (the patronymic of the hero is Romanovich).

Thus, Dostoevsky appears here as a brilliant harbinger of future historical events, when in the name of “great” ideas “blood for conscience” was allowed, and the homeland of the Romanovs, Russia, turned out to be “split” in the literal sense of the word.

A side storyline of the novel is the Marmeladovs' line. This surname, reminiscent of sweets and associated with contentment, comfort, something pleasant, is designed to set off the plight of the heroes. The life of this unfortunate family is completely opposite to these associations. Constant need, poverty, hunger, Katerina Ivanovna's illness, Marmeladov's drunkenness, Sonya, forced to get a "yellow ticket" - troubles and misfortunes accompany the characters throughout the story. “The Marmeladov family is a focus in which all the misfortunes of an improperly organized ... society are refracted, and how “sweet” this world is, is already drawn by the bitterly ironic surname chosen by Dostoevsky,” wrote V. Ya. Kirpotin.

Significantly in the novel is the name of Lizaveta, who became an innocent victim of Raskolnikov. The name Elizabeth is of Hebrew origin, meaning "God's oath", "Vow to God." Lizaveta is depicted in the novel like a holy fool. This is "a tall, clumsy, timid and humble girl, almost an idiot, ... who was in complete slavery to her sister." There is something childish in Lizaveta's face, defending herself from Raskolnikov's attack, she covers herself with her hand like a child.

Holy fools have always been considered in Rus' people close to God. .Killing Alena Ivanovna, and at the same time Lizaveta, who happened to be in the apartment by accident. Raskolnikov, according to Dostoevsky, kills a vow to God, reverence for him. And after that, life seems to go out of him. And then, at the end of the novel, he is resurrected by his love for Sonya, the very Sonya who read Lizaveta's Gospel to him and who herself seemed like her.

The situation here is highly symbolic: in the spiritual resurrection of the hero, his return to life, the one he deprived of this life invisibly participates. And in this Dostoevsky sees the highest meaning and the highest wisdom inherent in Christianity.

Thus, the names and surnames of the characters in Dostoevsky's novel are deeply significant, connected with the ideological meaning of the work, with symbolism, with the development of the plot.

Rodion Romanovich Raskolnikov is the protagonist of Fyodor Dostoyevsky's novel Crime and Punishment.

Despite the fact that today the majority of young Russian readers admit to hating Crime and Punishment, with which they were "tormented" at school - and the novel is really painful and difficult to understand at school age - the image of Rodion Raskolnikov has remained for a century and a half indispensable element of Russian culture. However, in our irreverent time, Raskolnikov has become not only a symbol of moral torment and spiritual rebirth, but also the hero of caricatures and anecdotes. Which of you, dear readers, has not heard the famous "Five old women - already a ruble!"?

The surname "Raskolnikov" comes from the word "schismatic", which means an Old Believer or an Old Believer, i.e. a man who did not accept the church reforms of Patriarch Nikon in the 17th century. The name Rodion is Greek, meaning "a native of Rhodes (Rhodes)". It is curious that Rodion Raskolnikov had a very real prototype - a certain Gerasim Chistov (Guerasim Chistov), 27 years old, a clerk by profession, who really was an Old Believer. In January 1865, he killed with an ax in Moscow (Moscow) two poor old women, a laundress and a cook, intending to rob their wealthier mistress.

Raskolnikov is a very young man, a former law student living in extreme poverty in Saint Petersburg. He has no money to complete his education. He lives in a closet under the very roof, which he rents, but for which he has not paid for a very long time. According to him, a tiny dusty closet exacerbates his depression. He sleeps on an old sofa with a small pillow, putting old clothes under the headboard, and covers himself with a shabby student overcoat. Raskolnikov does not even have money to buy food for himself, and if the landlady does not help him out by sending him a servant with tea and something edible, he has to starve. Under constant pressure due to his poverty, he changes physically and emotionally, as if madness gradually consumes his soul. Raskolnikov seems to be swinging on a swing between absolute altruism and equally complete apathy. The author describes him as an intelligent, wonderful, handsome youth, with beautiful dark eyes, tall and slender, but dressed in such worn-out rags that even the last artisan would be ashamed to put on. Meanwhile, his former fellow students somehow don't like him. Rodion has a mother, the widow Pulkheria Alexandrovna Raskolnikova (Pulkheria Alexandrovna Raskolnikova), and a sister Dunya, Avdotya Romanovna (Avdotya Romanovna Raskolnikova), who do not have a soul in him.

From the monstrous poverty, Raskolnikov decides to commit a crime. With an ax stolen from a janitor, he kills Alena Ivanovna (Alyona Ivanovna), an old pawnbroker from whom he borrowed money on the mortgage of her belongings, and her sister, who became an unwitting witness to the crime. Raskolnikov does not want to earn money on a penny, he "needs all the capital" at once, however, he intends to use the money for good deeds, based on the theory of the "great man", which he himself brought out. Raskolnikov believes that people are divided into two categories, "ordinary" and "extraordinary", and if ordinary people are a gray law-abiding mass, then extraordinary people are not obliged to follow any rules and are free to do as they please. Raskolnikov ponders his theory for months, but does not tell anyone about it except for his late fiancée. Alas, a little earlier, he published an article about the theory in a journal under his initials, and later it let him down a lot.

Raskolnikov believes that he himself belongs to extraordinary people, and, therefore, has the right to commit any crime, naively believing that he will not regret it later. However, in reality, everything turns out to be the opposite - the murder of the pawnbroker and her meek sister weighs heavily on his soul, so much so that Rodion is not even able to use the stolen money. He is tormented not so much by the very fact of the murder, as by the assumption that he is still not a "great man", but the most ordinary one, and Raskolnikov continues to lose his mind.

In a sense, he is saved by Sonia Marmeladova, another representative of the underprivileged world, to whom he confesses his crime. After confessing to the investigator, Raskolnikov goes to hard labor in Siberia (Siberia), accompanied by Sonechka, and there begins his spiritual and mental rehabilitation.

Fyodor Mikhailovich Dostoevsky was born in a hospital for the poor on Novaya Bozhedomka. He was born in such an unattractive place not at all because he was poor - on the contrary, his father, a Russified nobleman of Polish-Lithuanian blood, was a well-to-do landowner (for which he suffered in his time - he was killed by peasants), but because this father lived in the wing of this institution, for he served as a doctor there. Now Novaya Bozhedomka is named after the writer, the Institute of Tuberculosis (now the Institute of Pulmonology) is comfortably located in the former hospital for the poor - by the way, an interesting point - the number and brightness of images of consumptive characters in the books of a native of this institution significantly exceeds the average percentage in the population - and the morgue of the institute wears the people called "Morgue of Dostoevsky".

The life of a young nobleman in a hospital for the poor was peculiar. For the rest of his life, young Fedya kept the memory of the smell of poverty, combined with the smell of drugs, blood, pus, human urine and shit. And, perhaps, it seemed to him that this hospital is a symbol of poor, suffering, sick Russia.

The novel "Crime and Punishment" begins with a description of the painful experiences of poor Rodion Romanovich Raskolnikov. Let's pay attention to the name of the main character: Rodion. This name has two meanings - "heroic" and "pink". It is unlikely that Dostoevsky knew the modern meaning of the term "pink", so let's focus on the first - "heroic". But we must remember that the name Rodion in Greek transcription was borne by an apostle from 70, whose real name was Herodion. Those. this name indirectly reminds of the infant-beater Herod. And at the same time, this name is somewhat burlesque in nature. Everyone knows the nursery rhyme “White hare, where did you run?”. It ends with the phrase: “Who stole? - Rodion! - get out!". That is, Rodion is, firstly, a thief; second, he must go out.

The patronymic "Romanovich" refers us to two meanings: "strong" and "Roman". And, indeed, the "Roman" opposition of himself and society is "Roman" because it resembles the primacy of the Pope over the Catholic Church, and Raskolnikov considers himself "above-man" - and is characteristic of this character. Well, the name "Raskolnikov" directly refers us to the schismatic Old Believers who left the Church in the jungle of Protestantism (non-priests) and money-grubbing.

I'm not talking about the phonetic component of this combination "R-R-R!" Here you can hear the same roar that the beast produces

So, Rodion Romanovich goes to kill the old pawnbroker. The reason (not the reason, of course) is money. In the novel, in general, various finances are often mentioned (even to the point of obtrusiveness). Bills, mortgages, banknotes, two-kopeck coins - the novel is simply replete with them. Modern Herod goes to kill no longer babies (although later he will kill the baby - Lizaveta pure in heart), but "louse". And, by the way, the true Herod considered the same babies clearly no more noble than lice.

Who is he going to kill? The pawnbroker is a peculiar character, she is not a usurer in the literal sense. We would say that she runs a pawnshop, i.e. is a representative of the period of primary formation of financial capital. But remember what is happening at this time in Russia? The peasant reform freed up a large amount of free money, and the banking system was being formed in the country by leaps and bounds; the same financial capital. It would not be an exaggeration to say that Alena Ivanovna is a symbol (a caricature - but a symbol) of the new Russia. Indirectly, this is indicated by her name and patronymic. On the one hand, these are typically Russian names Alena and Ivan. On the other hand, the name Alena - i.e. Elena, in history such wonderful women as St. Queen Helena and St. Equal to the Apostles. Olga, in Orthodoxy symbolizing a new social life. One may ask - why did the Orthodox Dostoevsky give this name to such an unsympathetic character? But the whole point is that Dostoevsky's Orthodoxy is very peculiar, which we will see later.

Lizaveta Ivanovna, if you stick to this scheme, symbolizes the Departing Rus'. Being younger than her sister, she is spiritually older than her, for she lives according to the gospel laws. It is no coincidence that Dostoevsky emphasizes that the mothers of the sisters are different - pure Holy Rus' and modern Russia were clearly not born from the same womb, although from the same father. Indirectly, our guess is confirmed by the name of the heroine - Lizaveta. That was the name of the gospel character - RIGHTEOUS ELISAVETA, mother of John the Baptist. And bitter irony (or perhaps deliberate mockery) is the phrase that Lizaveta was constantly pregnant ..

So, a man with a speaking surname Raskolnikov hacks with an ax figures symbolizing Rus' - Russia. A sacramental question arises - "And what about the Jews?"

Jews are generously scattered throughout the space of the novel, although most often they are disguised. Formally, there is only one Jew - Achilles in a helmet, in front of whom Svidrigailov is shooting. But if you look closely, it is the Jews who meet the protagonist at all turns of the novel.

The first such turn is the meeting with Marmeladov. Who is the Jew here? - you ask. Ah, dear reader, how often have you met people with such a surname? Who can be Marmeladov - the son of marmalade, or what? But the distorted "Melamud" or something similar is clearly read here. Don't believe? Then remember what his name is. Let me remind you, his name is Semyon Zakharovich, which is not very typical for a purebred hare. And his daughter is Sonya. Father - Sema, daughter - Sonya - for a Jewish family this is a very common combination. By the way, the children from the “Russian” marriage of Sema Marmeladov are called Lida, Fields and Lenya. The name Lydia, although it is in the calendar, is quite rare, the name Leonid is often given to Jewish boys growing up in a Russian-speaking environment, but the name Polina is not in the calendar. Polina was baptized, most likely, as Pelageya, but the name Pelageya is uncharacteristic for the daughter of an official and a noble daughter. And the name Polina is quite acceptable for a mixed Russian-Jewish family.
The environment in which Marmeladov lives is also interesting. The Capernaum tailor is just the tip of the iceberg. The rest of the inhabitants have German surnames (Klopstock and others), but they may well be Yiddish-Jewish. It seems that Raskolnikov finds himself in a kind of ghetto during his travels.
The meeting with Marmeladov finally convinces Raskolnikov of the correctness of the chosen path - "there are no barriers, and this is how it should be!"

The second Jew on Raskolnikov's path is Luzhin. I can already imagine the cries: “Luzhin is not a Jew!” But pay attention to how much Luzhin corresponds to the iconography of a typical Jew - a "Jew": a squeamish physiognomy, financial activities, counting money and reproaching Dunechka and Pulcheria Alexandrovna with their "expenses". And you can’t get away with the phrase “I completely expected something” (I quote from memory). That is, in the novel space of Dostoevsky, Luzhin is a Jewish symbol. By the way, the surname Luzhin is not Russian. In any case, it is not in the dictionaries of Russian surnames surfing the Internet. It reminds me of a Russified Jewish surname. Yes, and the combination "Peter Petrovich" is more likely to remind you of some Pinkhas Pinkhasovich.

Luzhin is an undeniably negative character, and he appears in the novel solely to demonstrate how his disgusting economic theories, in essence, do not differ in any way from the views of Raskolnikov.

The third Jew - or rather a Jewess - is Sonechka Marmeladova. Her role in Raskolnikov's life has been described many times, I do not want to repeat myself. We will return to it a little later.

Of the main characters of the novel, we have not yet disassembled Svidrigailov, Porfiry Petrovich, Razumikhin and Dunya. The most interesting and, in some way, even the mysterious character of them is, no doubt, Svidrigailov.

Why is he in the novel? In fact, all that Svidrigailov really does is give everyone money. Here he plays the role of a kind of "god from the machine." But in a work of art there is already a “god from the machine” - this is the author. I undertake to assert that the author himself, Fyodor Mikhailovich Dostoevsky, is hiding behind the mask of Svidrigailov. There are a number of direct instructions for this:
1. The surname "Svidrigailov" has Lithuanian roots, because goes back to Prince Svidrigailo.
2. Svidrigailov's incomprehensible relations with women directly refer us to Fyodor Mikhailovich himself and his problems.
3. Svidrigailov is a player, like Dostoevsky himself.
4. Sviidrigailov, like Dostoevsky, is mentally ill.
5. Svidrigailov - Raskolnikov's conscience. He denounces him, he parodies his actions, he knows what only Raskolnikov himself knows. He is Raskolnikov's black man, therefore, when Raskolnikov decides to confess, Svidrigailov becomes unnecessary and annihilates (don't catch me on the chronology - Raskolnikov made the decision long before he formalized it verbally). Svidrigailov is the one whom Raskolnikov is afraid of.

Porfiry Petrovich is a peculiar character. A peculiar dialect, moralizing and the name Porfiry, which refers us to the concept of porphyry, in combination with the patronymic “Petrovich”, which reminds us of the name of the founder of Russian absolutism Peter I, directly directs us to the formula “Orthodoxy. Autocracy. Nationality". Porfiry is that machine of Russian statehood that plays with a person like a cat with a mouse, but in the end, suppresses him. Humorously beaten, this character becomes even scarier.

Dostoevsky's humor is, in general, original, which is manifested in the names of Dunya and Razumikhin. Razumikhin, of course, is a beautiful-hearted person of the Enlightenment, relying on the power of reason and, because of this, stupid, although kind and decent. In the name of Dunya, Fyodor Mikhailovich sneered at the gullible reader with might and main. The name Dunya symbolizes nothing more than the notorious Dunka Kulakov. She makes Svidrigailov suffer, refuses Luzhin at the last moment, and her relationship with Razumikhin is quite peculiar.

But back to the end of the novel. How much tenderness there was in the fact that the harlot and the murderer bent over the Gospel. But I will offer a different interpretation - a Jewess and an Old Believer. Raskolnikov is not in vain disliked by convicts. He is accused of not believing in God, although he goes to church. That is, he retained the rite, which makes him related to real Old Believers. Communication with Sonya leads him to the possibility of perceiving the Gospel as such.

Why should the Jewess Sonya lead to the Gospel? Dostoevsky's anti-Semitism has already become a commonplace, and no one wants to remember those lines from the Writer's Diary in which he denies this accusation. We know from Rozanov that anti-Semitism and Judophilia are two sides of the same coin. Dostoevsky loved the Jews in his own way, but in full accordance with the apostolic teaching he expected them to come to Christ. Moreover, it was with them, as with the chosen people, as follows from the novel Crime and Punishment, that he linked his hope for the Christianization of the fallen world. By the way, that is why Sonya is a harlot. After all, we not only never see her at the craft, but for the heroes of the novel, it seems to remain outside the brackets. This is what says that the harlot is a symbol, and a symbol not so much of the gospel harlot, as a symbol of the wanderings of the Jewish people in darkness without a Savior.

What is the encrypted idea of the novel?

Ritual belief (commitment to the old rites, or, more broadly, commitment to the 2nd Temple - the Temple of Solomon - HEROD) kills Russia, both Holy Rus' and new Russia. The Jews are indirectly involved in this, but not as a driving force, but as a catalyst (let us now omit Dostoevsky's arguments about the God-bearingness of the Russian people and, consequently, the assumption of a Jewish role in the New Testament world). The Empire can punish for this, but it does not bring back to life, because it is hard labor. Salvation is from the Jews, for they will lead to Christ. The only problem is that Dostoevsky does not see the Church. Raskolnikov and Sonya together, but outside the Body of Christ.

I deliberately did not touch upon a number of other problems of this novel, such as, for example, the analysis of Raskolnikov's dream about a horse (this will respond in an interesting way to Freud in his "Analysis of the Phobia of a Five-Year-Old Boy") or the comparison of the images of Marfa Petrovna and Pulcheria Alexandrovna. In my research, I would like, firstly, to remove the accusations of anti-Semitism from Dostoevsky; and secondly, to show that although he is a great writer, he is still not quite an Orthodox writer. How it worked out is for the reader to judge.

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Introduction

“A symbol is only a true symbol when it is inexhaustibly limitless in its meaning. It has many faces, many meanings and is always dark in its depths” (D. Merezhkovsky).

The peculiarity of the symbol lies precisely in the fact that in none of the situations in which it is used, it can be interpreted unambiguously. Even for the same author in one work, a symbol can have an unlimited number of meanings. That is why it is interesting to trace how these values change in accordance with the development of the plot and with the change in the state of the hero. An example of a work, from the title to the epilogue built on symbols, is “Crime and Punishment” by F.M. Dostoevsky.

Already the first word - "crime" - is a symbol. Each hero "crosses the line", a line drawn by himself or others. The phrase "transgress" or "draw the line" permeates the entire novel, "passing from mouth to mouth." “In everything there is a line beyond which it is dangerous to cross; but once crossed, it is impossible to turn back.” All heroes and even just passers-by are united by the fact that they are all “crazy”, that is, they have “gone” from the path, deprived of reason. “There are a lot of people in St. Petersburg, walking, talking to themselves. It's a city of half crazy people. Rarely where there are so many gloomy, sharp and strange influences on the soul of a person, as in St. Petersburg. It is St. Petersburg - the fantastic city of A.S. Pushkin and N.V. Gogol - with its eternal "stuffiness and unbearable stench" turns into Palestine, waiting for the coming of the Messiah. But this is also the inner world of Rodion Raskolnikov. The name and surname of the protagonist are not accidental. Dostoevsky emphasizes that the hero "does not have enough air." “Rodion” means “native”, but he and Raskolnikov are a split, a split. (The city also bifurcates: real streets and a mirage, fantasy, "New Jerusalem" and "Noah's Ark" - the old woman's house.) The word "Raskolnikov" is also used as a common noun, because Mikolka is also "one of the schismatics." The hero of Raskolnikov's dream comes to mind - and now the whole narrative turns out to be entangled in a trembling network of symbols. Color at F.M. Dostoevsky is symbolic. The brightest color here is yellow. For M.A. Bulgakov is anxiety, anguish; for A.A. Blok - fear; for A.A. Akhmatova is a hostile, disastrous color; at F.M. Dostoevsky, he is bilious and vicious. “But there is bile, there is so much bile in all of them!” This “poison” turns out to be spilled everywhere, it is in the atmosphere itself, and “there is no air”, only closeness, “ugly”, “terrible”. And in this closeness, Raskolnikov beats “in a fever”, he has “chills” and “coldness in his back” (the worst punishment of hell is punishment by cold - “a terrible cold seized him”). You can get out of the circles of hell only by stairs, so Raskolnikov (except for wandering the streets) is most often on the threshold or moving up the stairs. The staircase in mythology symbolizes the ascent of the spirit or its descent into the depths of evil. For A.A. Akhmatova, “ascent” is happiness, and “descent” is trouble. Heroes “rush” along this ladder of life, now down, into the abyss, then up, into the unknown, towards faith or an idea. Pyotr Petrovich “entered with the feeling of a benefactor, preparing to reap the fruits and listen to very sweet compliments. And of course now, going down the stairs, he considered himself offended and unrecognized to the highest degree, ”and his“ round hat ”is one of the circles of hell. But there is also a hero in the novel who “got out of the ground”, but, having got out, Svidrigailov (like all heroes) finds himself on the street.

1. Names in Dostoevsky's novels

Rodion Romanovich Raskolnikov.

The protagonist of the novel is Rodion Raskolnikov. Romantic, proud and strong personality. He was remarkably good-looking, with beautiful dark eyes, dark blond in color, taller than average, thin and slender. But in Raskolnikov's clothes, the author emphasizes his poverty and poverty: his clothes turned almost into rags, his hat was all worn out, "all with holes and stains, without a brim and crumpled to the side in the most ugly angle." Raskolnikov is a former student of the Faculty of Law, which he left due to poverty and his theory. The consciousness of the hero is tormented by two questions: “Is it allowed to commit a small evil for the sake of a great good, does a noble goal justify a criminal means?” and "Am I a trembling creature, or do I have a right." To destroy them, Raskolnikov kills an old pawnbroker and her sister Lizaveta, who became an accidental witness to the first, planned murder. After the murder, Raskolnikov is experiencing a deep spiritual shock. The hero develops a fever, he is close to insanity and suicide. The collapse of theory for Raskolnikov meant the collapse of everything, of all attitudes in life. He is now distant from society, henceforth he is a schismatic.

The speaking surname Raskolnikov comes from the word "split". Dissenters are called those who separated, rejected the mainstream. Rodion, like the schismatics, threw away moral laws and invented his own moral theory. The meaning of the theory lies in the fact that all people are divided into “the right of those who have”, who can cross a certain moral boundary, and “trembling creatures”, who must obey the strongest. Ordinary people are only creatures intended to reproduce their own kind. "Extraordinary" - these are the people who rule the world, reach heights in science, technology, religion. They not only can, but are obliged to destroy everything and everyone on their way to achieving the goal necessary for all mankind. These, according to Raskolnikov, include Mohammed, Newton, and Napoleon.

Returning to the surname, it should be added that the surname also indicates the painful split of his personality, the split of the hero's soul into two halves. One part of his soul is disinterested and childishly innocent (Raskolnikov's childish smile, his children's crying in his first dream), the other is cold, proud, overflowing with selfishness.

Raskolnikov's name - Rodion - is of Greek origin, has several versions of origin: according to one, it comes from the Greek name Herodion, meaning "hero", according to the second, it has a Greek word at the root, meaning "rose", and according to the third - so they could name an inhabitant of the island of Rhodes. The island of Rhodes was famous for its great commanders, so the motive of strong people who were able to step over blood and suffering arises here. Here, Dostoevsky reproduces the well-known aphorism of Aesop: "Here is Rhodes, here and jump!". This fable tells of a certain traveler who arrived on the island and boasted that he had made a grandiose long jump. In response to his boasting, the locals offered to demonstrate their skill. So is Raskolnikov in the novel. His Rhodes is the murder of an old woman.

Raskolnikov's patronymic is Romanovich. Roman in Latin means "Romans", comes from the Greek "fortress", "strength". The novel says that Raskolnikov wanted to experience the strength in himself and the strength of the spirit, he wanted to "become Napoleon". Thus, in the patronymic of the hero, the motif of "Napoleons", the powerful of this world, continues to develop.

We find an interesting interpretation of the name, surname and patronymic of Raskolnikov in S. Belov. The researcher notices that the name Rodion in its sound is associated with the word "motherland". Raskolnikov "splits" the mother earth that gave birth to him, "splits" the homeland of the Romanovs (patronymic - Romanovich). Thus, Dostoevsky acts here as a harbinger of future historical events, when in the name of "great ideas" "blood for conscience" was allowed, and the homeland of the Romanovs, Russia, was split in the literal sense of the word.

What did Raskolnikov come to in the final? It becomes clear to him that his theory is “stillborn” (as S. Belov called it) and that “it is impossible to build personal happiness or even general well-being on the suffering of another, even an insignificant being” (Grossman). Killing anyone is not allowed.

Marmeladov Semyon Zakharovich.

“The Marmeladov family is a focus in which all the misfortunes of an improperly arranged ... society are refracted, and how “sweet” this world is is already drawn by the bitterly ironic surname chosen by Dostoevsky,” wrote V. Ya. Kirpotin.

Marmeladov - titular adviser, Sonechka's father. “He was a man over 50 years old, with a yellow, even greenish face swollen from constant drunkenness and with swollen eyelids, because of which tiny, like slits, but animated reddish eyes shone. But there was something very strange about him; in his eyes, it was as if even enthusiasm shone - perhaps there was both sense and intelligence - but at the same time, it seemed like madness flickered. Marmeladov lost his place due to the reduction, and therefore began to drink. We learn the life story of Marmeladov from his own lips. The hero raised his weakness and his vices to a universal scale, often behaving at the same time unnecessarily theatrically: “Pity, why pity me! - Marmeladov suddenly yelled, getting up with his hand outstretched forward, in resolute inspiration, as if he was just waiting for these words.

There are no direct associations with the surname of Semyon Zakharovich. The following alignment is possible: “marmalade” is a sweet, soft, jelly-like. A very (even too) sweet product, like the hero of the novel, his soul is not saturated with the bile of the world, but life is cloying. The main quality of marmalade "soft" corresponds to the character traits of the hero and his manner of speaking.

In fact, if you look deeper, the surname further emphasizes the plight of the family, their poverty, hunger and disease. The family is the product of an improperly organized society, and the surname is designed to emphasize the "sweetness" of life in such a society.

The male name Semyon is a form of the Hebrew male name Simeon, meaning "hearing (God)", "heard by God in prayer."

The hero dreams of being pitied, listened to sympathetically, shown respect: "After all, it is necessary that every person could at least go somewhere." However, he does not meet such an attitude towards himself anywhere. And this is not surprising - Dostoevsky shows that respect in society grows in proportion to the material well-being of a person. And accordingly, poor people are considered outcasts, almost lepers, who have no place among the "normal". Marmeladov is also aware of this, saying bitterly: “In poverty,” he says to Raskolnikov, “you still retain your nobility of innate feelings, but in poverty, never anyone. For poverty, they are not even kicked out with a stick, but swept out of human company with a broom, so that it would be all the more insulting.

Sonya Marmeladova.

Sonya is the daughter of Semyon Marmeladov, tortured by the reproaches of her mother distraught from poverty, forced to go to the panel to support her father's drunkard and his family. Outwardly, a thin and pale girl, with sharp, irregular features. She could not be called pretty, but her blue eyes were so clear that when they brightened up, the expression on her face became kind and simple-hearted, involuntarily attracted to her.

All the actions of the heroine surprise with their sincerity and openness, she does nothing for herself, everything for the sake of someone: her stepmother, stepbrothers and sisters, Raskolnikov. The life position of the girl reflects faith in goodness, justice and humility, but, above all, love for a person, no matter what he is.

Dostoevsky chose her name not by chance. The name Sophia came to us from the Greek language and means "wisdom", "reasonableness". M.S. Altman made a special conclusion about the inner meaning of her name: "And if the name Sophia in general means wisdom, then Dostoevsky's wisdom of his Sophia is humility." In the novel, it is more often used as Sonya, Sonechka, which emphasizes her childishness. But Raskolnikov, at the very beginning of the novel, calling her Sofya Semyonovna, as if calling on her unchildish wisdom, albeit without fully understanding her.

As for the surname, it should be judged on the basis of the cumulative image of the entire Marmeladov family, their tragic life.

Pyotr Petrovich Luzhin.

Unexpected and ominous is his appearance in the novel. Its existence is known in the first part, one might say, from the very beginning. But it comes to the fore even suddenly. And here is his description. You feel some disappointment. It would seem that such a name - Pyotr Petrovich - obliges a lot. It is known that Luzhin, simply put, is a scoundrel, and it seems that he should see a man, apparently of outstanding appearance, who does meanness in cold blood, calmly. After reading the portrait of Luzhin, you are surprised: thinking that he is disgusting, but not to the same extent! The first association that comes to mind is a jellyfish. Before us appeared the same disgusting creature. The author's attitude towards him is quite understandable. There is even a sense of mockery at him. For example, comparing sideburns to meatballs or the words, "even the hair ... represented ... nothing funny." Why "even"?! Dostoevsky himself very succinctly assessed him: a beautiful and solid physiognomy. Dislike for this character intensifies when you read his ugly ultimatum to Dunechka and Pulcheria Alexandrovna. Confounds the contrast between the name and surname of Pyotr Petrovich Luzhin. "Stone" and Luzhin! Without knowing his name, one could explain his last name: after all, he is one of the most "dirty" characters in the novel. After that, the interpretation of his name comes to mind, however, here it is necessary to deviate a little from the meaning that is usually put into it: not “stone”, but “stone”, “petrified”; another synonym (but this is specifically for Luzhin) is callous.

Dmitry Prokofievich Razumikhin.

This is one of Raskolnikov's doubles, his closest friend. Of course, the character is positive. Raskolnikov killed. Killed and left alone. One? Is it by chance at moments when it is incredibly difficult for Raskolnikov - is it an illness, or a moment of unbearable loneliness - that Razumikhin appears next to him? And who helped Dunechka and Pulcheria Alexandrovna the most when they first arrived in Petersburg, and a mass of devastating facts fell upon them at once: Rodi's illness, the news of his conversation with Luzhin. And it is not known how that day would have ended for them if the same Razumikhin had not been nearby. He somehow involuntarily relieves the tension that has arisen, calms the heated passions. Dimitri in Greek "belonging to Demeter - the goddess of agriculture", or the earth. Land, foundation, support for Raskolnikov.

2. The meaning of names in the novel "Idiot"

Names, patronymics and surnames in the novel "The Idiot" determine the personality of this or that character and are full of the deepest meaning. Giving names to his characters, Dostoevsky, by their very sound, tried to express the essence of these characters, their spiritual properties. Heroes who have not reached adulthood are called only by last name and first name, as well as episodic characters - Petya Vorkhovsky, Kostya Lebedev, Aleksashka Likhachev, Ippolit Terentyev. Only Kolya Ivolgin, the youngest son of Ardalion Alexandrovich Ivolgin, is also called Nikolai Ardalionovich, thereby expressing respect for his immediacy.

Maids, servants, children, rarely wives have only a name, for example, Barashkova's maids - Katya and Pasha.

A small part of the heroes are named only with the help of the initial - Prince Shch, Evgeny Pavlovich R. It is safe to say that a real face is hiding behind the initials. By resorting to such an artistic device, Dostoevsky gives the reader the opportunity to guess by the context who is being discussed.

Many of the names in the novel are "speaking", but not all of them have an internal form. Giving names to his heroes, Dostoevsky had the opportunity to use his own invention or relied on a real-life prototype. For example, there are heroes in the novel - Ptitsyn, Lebedev. In order to correctly comprehend the names of these heroes, it is necessary, according to the literary critic M.S. Altman, to recall that two money businessmen were famous in St. Petersburg at that time - Voronin and Utkin, who served as a frequent target for the satirical poets of Iskra. “They are all birds, though of a different flight, but from the same litter as Voronin and Duck.”

There is a word in the novel that can be called the equivalent of a proper name. This is the name of the main character of the story. It is used in the work only in relation to this particular person and has a stable character. This word is perceived as a naming of a given person, as a means of not only characterizing, but also distinguishing him from other actors, since it is also a proper name, although it is not formalized as a name. Myshkin is an idiot.

3. Symbolism of names in the works of Russian authors

A. Ostrovsky.

Plays by A. Ostrovsky are full of various symbols. First of all, these are symbols associated with the natural world: forest, thunderstorm, river, bird, flight. The names of the characters play a very important role in the plays.

The names of Dikoy and Kabanov do not need to be commented on. But let's not forget that Dikoi is not only the all-powerful Savel Prokofievich, but also his nephew, Boris. After all, Boris's mother "could not get along with her relatives", "it seemed very wild to her." So, Boris is Wild by his father. What does this mean? Yes, that means that he will not be able to defend his love and protect Katerina.

Wild, masterful characters, except for Wild, are represented in the play by Varvara (she is a pagan, a “barbarian”, not a Christian and behaves accordingly) and Kudryash, on whom the corresponding Shapkin is located, reasoning with him. Kuligin, in addition to the well-known associations with Kulibin, also evokes the impression of something small, defenseless: in this terrible swamp he is a sandpiper - a bird and nothing more. He praises Kalinov as a sandpiper praises his swamp.

Women's names in Ostrovsky's plays are very bizarre, but the name of the main character almost always extremely accurately characterizes her role in the plot and fate. Larisa - “seagull” in Greek, Katerina - “clean”. Larisa is a victim of Paratov's pirate trade deals: he sells "birds" - "Swallow" (steamboat) and then Larisa - a seagull. Katerina is a victim of her purity, her religiosity, she could not bear the split of her soul, because she loved - not her husband, and severely punished herself for this.

L. Tolstoy.

In Tolstoy's story "The Master and the Worker" the name of the worker Nikita is very symbolic. His heavenly patron is, apparently, the holy martyr Nikita, and the worker's life was hard and full of torment. The name "Nikita" has the same root as the name "Nikolai", which means "victor of peoples". Nikita turns out to be a winner both over death, and over moral principles, over the sins of the owner, who, warming the freezing worker with his body, sacrifices his own life for him.

The owner's name, Andrei, is significant: in Greek, king. Thus, the author points to the lust for power and pride of a self-confident merchant. The patronymic "Andreich" is derived from the name "Andrey", meaning "courageous". The correspondence to the behavior of the hero here is ironic: Brekhunov behaves during a snowstorm by no means, and not courageously, but at first arrogantly, then - until an unexpected spiritual turning point - cowardly and vile, throwing Nikita to certain death. The surname "Brekhunov" indicates the falsity of Vasily Andreevich's life position ("to lie" - "to lie").

Conclusion

Any literary work has a certain idea that the author seeks to convey to the reader. The heroes of the work are also called upon to express the main idea of the author, which means that their names, however, as well as their actions, have a symbolic meaning, which the reader of the work gets acquainted with immediately. With each new page of the novel, the reader penetrates more and more into the symbol of the name, deeper understanding the actions and thoughts of the characters, and hence the main idea of the whole work.

Raskolnikov Marmeladova Dostoevsky

Bibliography

1. F.M. Dostoevsky "Crime and Punishment".

2. V. Nabokov "Lectures on Russian Literature".

3. S.L. Frank "The Legend of the Grand Inquisitor".

4. P.A. Florensky "Names".

5. A.F. Losev "Being. Name. Space".

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