SVIDRIGAILOV
SVIDRIGAILOV - central character novel by F. M. Dostoevsky "Crime and Punishment" (1866), a wealthy nobleman "not without connections." For the first time, Arkady Ivanovich S. is mentioned in a letter from Raskolnikov's mother to her son with a story about the misadventures of his sister Dunya, who served in the house of S. and his wife, a wealthy landowner Marfa Petrovna. The voluptuous S. pursued the beautiful maid, and when he was refused, he slandered her. However, having repented, he soon restored her reputation, after which the prudent businessman Luzhin, who was looking for a poor and dependent bride, proposed to Dunya. At the request of the groom, Dunya and his mother come to live in St. Petersburg, where soon, after a sudden and mysterious death his wife, whom he had beaten and, apparently, poisoned, S. also arrives. He was smartly and comfortably dressed and looked like a portly gentleman. “...” His broad, cheeky face was quite pleasant, and his complexion was fresh, not Petersburg.”
S. comes to meet Raskolnikov, vainly asking him to arrange a personal meeting with Dunya. Speaking frankly about his dark past: cheating, debtor's prison, marrying Marfa Petrovna for money, about a girl who drowned herself in an ice hole after being raped, he admits that life is "very boring" and that even "eternity" for him is "like a village baths, smoky, and spiders in all corners.
Having accidentally turned out to be Sonya Marmeladova's neighbor, S., who even earlier felt “some kind of common point” between himself and Raskolnikov, learns about the crime of the latter and the ups and downs around him. Promising in a letter to Dunya to reveal the secret of his brother, he lures her to talk to his apartment.
S. is in a state of duality: he seems to be preparing for new crimes (abuse of Dunya and his 16-year-old bride, whom he wants to give to a cruel matchmaker, having amused himself), but he feels something more than passion for Dunya, and her reciprocity is the only hope for S. to return to the source of being, love, life - God. Convinced of her irrevocable dislike for himself, he lets Dunya go. A few hours later, he himself goes on a "voyage", that is, he shoots himself, before that he gave 3 thousand to Sonya and 15 thousand to the bride.
Personality traits, biographies, and many thoughts of S. can be observed in such characters of Dostoevsky as Bykov (“Poor People”), Pyotr Alexandrovich (“Netochka Nezvanova”) Bankovsky “Humiliated and Insulted”), Stavrogin, Fyodor Pavlovich Karamazov and others.
In the performance by Yu.P. Lyubimov (1979) based on the novel by F.M. Dostoevsky, the role of S. was played by V.S. Vysotsky.
O.A. Bogdanova
literary heroes. - Academician. 2009 .
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A scene from the play "Crime and Punishment" at the Saratov Drama Theatre. Porfiry Petrovich and Rodion Raskolnikov Rodion Romanovich Raskolnikov chief acting character novel by F. M. Dostoevsky "Crime and Punishment". Contents 1 ... ... Wikipedia
A scene from the play "Crime and Punishment" at the Saratov Drama Theatre. Porfiry Petrovich and Rodion Raskolnikov Rodion Romanovich Raskolnikov is the main character in F. M. Dostoevsky's novel Crime and Punishment. Contents 1 ... ... Wikipedia
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The hero of the novel by F.M. Dostoevsky "Crime and Punishment" (1865 1866). The image of R. in the general cultural consciousness acts as a purely ideological, nominal and emblematic, being among the so-called world artistic images, such… … literary heroes
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Dostoevsky, Fyodor Mikhailovich famous writer. He was born on October 30, 1821 in Moscow in the building of the Mariinsky Hospital, where his father served as a staff physician. He grew up in a rather harsh environment, over which the gloomy spirit of the father of a nervous man hovered, ... ... Biographical Dictionary
Genus. 1912, mind. 1975. Theater and film actor. A graduate of the studio at the BDT (Leningrad, 1935), he played on the stage of the BDT. He made his film debut in 1932. He starred in the films: "Prologue" (pop Gapon, 1956), "Time, forward!" (Nalbandov, 1966), ... ... Big biographical encyclopedia
Svidrigailov Arkady Ivanovich- one of the main characters in Dostoevsky's novel "Zlochin and Punishment". Together with the character of Luzhin, I establish the system of twins of Rodion Raskolnikov in the novel.
"Zlochin i Kara" characteristicSvidrigailov
Svidrigailov is close to 50 years old. Serving two years in the cavalry. Potim, for yoga words, "wandering" in St. Petersburg. Be a sharpie. Having made friends on Martha Petrivna, I bought yoga from the v'yaznitsa, this rock is alive in the village. Cynic. Loving waste. There are a number of serious mischiefs on my mind: the self-destruction of Philip's servant and the fourteenth-year-old girl depicted by him, perhaps, and the destruction of the squad ... Dvіynik,
Svidrigailov arrives to Petersburg and gets to know Raskolnikov, asking him about the sovereignty of the Dunya, and then taking away his wife. Vipadkovo to settle in the countryside, having heard її Rozmov with Raskolnikov, it is found out who having driven in the old likhvarka, after which, at the commemoration, you tell Raskolnikov that, having heard Rozmov, and all you know, prote probіtsyaє zbergati mov channa. Dali Raskolnikov slew Svidrigailov in the tavern, promising not to let yogo zustrich with his sister. Svidrigailov deceives Yogo, hangs and lures Dunya to his apartment, de Dunya hardly shoots Yogo with a pistol shot. Residually understanding that one can feel love without reciprocity, Svidrigailov unintentionally ends his life with self-destruction.
The character of Svidrigailov
Svidrigailov is calm, investing in splintering, lighting, swinging. May have a dual character. From one side, a great, normal, hard-witted person, like a blame and stand before Raskolnikov, from the other side, Raskolnikov’s mother, Dunya, and talk about a new one, about a person, disband, htiva, evil and cynical. From one side, a rapist, a wrecker and a destroyer, from the other side, donate pennies to Sonya and the orphans of Marmeladov, help Raskolnikov to help. Speak in a monotonous voice, but I’m like a smile, like a person who has a lot of fun and knows the price of oneself and people. Troch zabobonny, perhaps, becoming so in the last hour of life, after the death of the squad.
Zovnishnist Svidrigailov
He was a man of about fifty, taller than average, burly, with broad and steep shoulders, which gave him a somewhat round-shouldered appearance. He was smartly and comfortably dressed and looked like a portly gentleman. In his hands was a beautiful cane, with which he tapped, with every step, on the sidewalk, and his hands were in fresh gloves. His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and broad, thick beard, descending with a shovel, was even lighter than head hair. His eyes were blue and looked coldly intently and thoughtfully; scarlet lips. In general, he was a well-preserved man and seemed much younger than his years ...
Through the eyes of Raskolnikov towards the end of the novel:
It was a kind of strange face, resembling, as it were, a mask: white, ruddy, with ruddy, scarlet lips, with a light blond beard, and with rather thick blond hair. The eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this handsome and extremely youthful, judging by his age, face. Svidrigailov's clothes were dapper, summery, light, and he especially flaunted underwear. On the finger was a huge ring with an expensive stone ...
Being a card sharper and having been in a debt prison, Arkady Ivanovich Svidrigailov finds himself in a hopeless situation in St. Petersburg, but he is picked up by the landowner Marfa Petrovna, with whom he lives on her estate as her husband. He is about fifty years old, he is a voluptuary. On the estate he meets a young and beautiful younger sister Raskolnikova is Dunya, who serves in the house as a home teacher, and, despite the difference in age, falls passionately in love with her. Marfa Petrovna, who warmed him, comprehends sudden death, but there are rumors that Svidrigailov poisoned her. Following Dunya, this old libertine moves to Petersburg, but she irrevocably rejects him. And then Svidrigailov, that dirty libertine, shoots himself.
What did Dostoevsky want to say when introducing this character to the reader? It is difficult to answer this question unambiguously—too much of his character remains unclear. His suicide itself is so unexpected that it leaves the reader bewildered. Some generally argue that Svidrigailov in the novel "Crime and Punishment" is an extra image, and there is some truth in this statement.
Nevertheless, there is some kind of magnetism in Svidrigailov that makes us follow his fate. While agreeing with the statement about the vagueness of the image of this hero, it can be simultaneously argued that he makes many people empathize with him.
It so happens that nightmare haunts us. It's awful, dense and sticky. You instinctively want to get rid of it and save yourself from it. When you awaken from this dark obsession, you feel relief, accompanied by bodily impotence and inexpressible joy.
Faced with Svidrigailov in the novel "Crime and Punishment", the reader also experiences an oppressive nightmarish feeling. From the words, gestures and experiences of this hero comes some kind of terrible and invisible threat to the eye. Svidrigailov's speech rushes randomly from one subject to another: here he beat a woman, here he talks about his clothes, here he talks about the boredom of life, about anthropology, his cheating ... He speaks then to speak, and the reader ceases to understand, oh than, in fact, in question. Starting with one thing, Svidrigailov suddenly turns to something completely different, something dark is hidden in the depths of his soul, he is full of unfortunate forebodings that he cannot cope with, he cannot calm down, as if constant surveillance is established behind him. Therefore, his speech is a stream of consciousness, it is a disorderly and chaotic monologue. But if this monologue is interrupted, then the terrible pursuer of Svidrigailov will overtake him and drag him into a terrible and dark pit. When the hero tells how the late Marfa Petrovna “wills to visit” him, coming from the other world, his eyes become unusually serious. Or here is the famous episode when, not listening to his interlocutor Raskolnikov, he says that eternity for him is “like a village bath, smoky, and spiders in the corners.” Svidrigailov in the novel "Crime and Punishment" is afraid of ghosts and the other world. He knows the feeling of deadly cold, and it frightens him.
Dostoevsky suffered from epilepsy, and the fear of death constantly haunted him. The same can be said about Svidrigailov, and it was not some kind of abstract, but completely living fear. As Anna Grigorievna, the writer's wife, testifies in her diaries, her husband experienced horror at every seizure. And every time his mind was confused, his body became cold and became as if dead. After the seizure ended, the fear of death overcame Dostoevsky, and he begged not to leave him alone. Due to epilepsy, Dostoevsky was haunted by the fear of death, even in happy moments being, and that fear never left him. Death was his constant companion. He always clearly felt the possibility of death and was afraid of it.
Probably, Svidrigailov owes his appearance on the pages of the novel to the fact that through him Dostoevsky wanted to convey his fears in the face of death. In this case, it becomes clear why this hero talks so much about the other world, ghosts and his feelings of deadly cold. Hence his endless conversations, from which there is a feeling that Svidrigailov fearfully expects unexpected appearance someone in black. There is no doubt that through this "inappropriate" character Dostoevsky conveyed his immediate bodily sensations relating to the problem of death that worried him so much.
Svidrigailov in the novel "Crime and Punishment" is not worried about the moral problem - how best to live your life in this world. This voluptuary is indifferent to the problems of good and evil, justice and injustice, virtue and sin. He - against his will - is concerned about the problem of the disappearance of life and immortality. Does immortality exist? What is it - bright, warm and joyful? Or is it dark, cold and mournful? He wants someone to give a solid answer to these questions. Perhaps it would be correct to say that these questions are addressed to the doctor, and not to the philosopher or theologian.
Fear of death is manifested everywhere in Dostoevsky, the writer in his various works performs an operation to visualize death. The evening “pale sky” of Varenka from “Poor People”, the huge spiders that Ippolit from “The Idiot” sees in a dream, Rogozhin’s favorite painting depicting the dead Christ. In Crime and Punishment, Dostoevsky "transferred" his fears to Svidrigailov. And in this respect, Svidrigailov can be called the "double" of Dostoevsky.
The influence of Fyodor Mikhailovich's personality on this character is visible not only in relation to death.
When Svidrigailov is already contemplating suicide, and, having wandered through the streets of St. Petersburg, stops for the night in a cheap hotel, he has a dream: the corpse of a prostitute girl who has thrown herself into the river. "She was only fourteen." He thinks he knows her. Her dying "last cry of despair" is in his ears, and he shakes him to the core. Svidrigailov in the novel "Crime and Punishment" is tormented by a sense of sinfulness and guilt.
In the works of Dostoevsky one can see that in his world great importance has not the crime itself, but a sense of guilt, which is a reflection of the complex of the writer himself, who did not commit any crime, but for some unknown reason felt guilty for this imperfect crime.
Given these "incidental" circumstances, it becomes clearer why Svidrigailov commits an unexpected suicide, which does not follow from the logic of the story. Svidrigailov carries the complexes of Dostoevsky himself - fear of death and guilt. Strakhov wrote: "Dostoevsky is the most subjective of novelists, almost always creating faces in his own image and likeness." And Svidrigailov's death is an expression of this subjectivity.
As for Dostoevsky, he tried to transform his sense of sinfulness and guilt into universal sympathy. Fyodor Mikhailovich's sense of guilt did not have a practical dimension, it was "head," and therefore did not lead to a discussion of the problem of social responsibility. Before his characters, Dostoevsky set the following task: to get rid of guilt and merge in a single impulse with others.
Although you are tormented by a sense of your own guilt, everyone is sinful, and this provides a basis for the solidarity of the sinful. Hence the need for universal sympathy. The path from this mentality leads to the affirmation of life and to the joy of being together. Such is Dostoevsky's way of thinking. The realization that all people are equally sinful releases from stress, hostility and hatred; this gives a reason to feel like a member of the community, leads to the joy of sympathy, empathy and mutual acceptance. Many of Dostoevsky's characters are prone to self-abasement and antics. Through this, they seek the way to the hearts of other people. And this behavior has something in common with the idea of a "community of sinners."
According to M. Gorky, L. N. Tolstoy spoke of Dostoevsky as follows: “He is sure that if he himself is sick, the whole world is sick” (M. Gorky. “Leo Tolstoy”). And, indeed, Dostoevsky extends his painful sense of guilt and sinfulness through his characters to all other people.
So behind the facade artistic world Dostoevsky there is a deeply hidden feeling of one's sinfulness. It lurks in his characters, it serves as the basis for their behavior and actions. Dostoevsky directly conveys the energy of his fears of death and feelings of guilt to Svidrngailov in the novel Crime and Punishment. Therefore, this image captivates the reader and has existential persuasiveness for him - and this despite the fact that there is a lot of obscurity in it, and his words and actions are far from always justified logically.
Svidrigailov characterization and image in Dostoevsky's novel Crime and Punishment
1. The versatility of the heroes of the novel "Crime and Punishment".
2. Svidrigailov. Characteristics and image of the hero
2.1. Immoral villain
2.2. Svidrigailov and Raskolnikov
2.3. Love for Dunya
3. The end of Svidrigailov
In his difficult novel Crime and Punishment, F. M. Dostoevsky depicted several living and vivid images which still impress readers with their eccentricity and complexity.
First of all, it is, of course, main character, - a hardworking sympathetic young man who decided to cross the line of what is permitted. This is Sonya Marmeladova - a destitute, deprived of childhood, impoverished and self-selling girl, capable of strong feelings and sincere devotion. This is Sonya's father, and Luzhin, and, of course, Svidrigailov.
Arkady Ivanovich appears before readers handsome man fifty years old, well-dressed, youthful. He is a nobleman and a former officer, was married to a rich woman. It would seem that life smiles at this hero, he is full of strength and conceit, because the circumstances surrounding him are developing successfully. But not everything is so simple. Svidrigailov is an immoral and vicious person who has no conscience and moral principles. Because of such dirty beliefs, he breaks the life of himself and others, becomes unhappy himself and makes those around him unhappy.
At a young age, he quits the service, because it is difficult for him to obey the army routine, live on friendly terms with his comrades and observe the norms of decency. Having no regular income and spending all your savings on wild image life and play, Svidrigailov becomes a beggar. He is imprisoned for cheating and debts. At this time, he is assisted by a rich woman. Marfa Petrovna pays a lot of money to free a man, marries him and leaves with him for the village.
Another person, imbued with gratitude for this loving noblewoman, would respect and appreciate her. But Arkady Ivanovich was not like that. He humiliates his wife and shamelessly cheats on her. “I had such a pig in my soul and a kind of honesty to declare to her directly that I can’t be completely faithful to her,” declares this vicious person, and still boasts of his immorality. But his adventures in the village do not end there.
With unprecedented sophistication and cruelty, Svidrigailov mocks the peasant, and thereby drives him to suicide. And his immoral relationship with a fifteen-year-old girl causes disapproval and condemnation in the reader. The unfortunate girl kills herself, but this has no effect on the villain. He, without feeling remorse, continues to enjoy life and depravity.
Committing crimes and excesses, Arkady Ivanovich does not suffer, like Raskolnikov, who is tormented whether he has the right to take a person's life. Svidrigailov commits his atrocities without hesitation, and it's scary. For him there is no crime or offense, for him there is only the need to satisfy his desires and lusts, regardless of how it affects others. And although he tells the main character that they are both “of the same field”, this is not so.
Svidrigailov does not doubt his evil deeds, he does not waver between good and evil. He has long been on the side of evil and does not feel the slightest sign of remorse. In contrast to Raskolnikov, Arkady Ivanovich does not withdraw into himself after the crime. He continues to live and strives to get everything from life. The relationship between Svidrigailov and Raskolnikov's sister Dunya is amazing and extraordinary. The girl comes to serve in the family of Arkady Ivanovich, where he notices her and is imbued with love for her. Most likely, the man conquered spiritual beauty and the purity of the young maid. She behaves meekly and humbly, with zeal performs homework She is kind and accommodating. But this flexibility has another side.
Dunya is an honest, chaste girl, she preserves her purity and innocence. No threats and intimidation, no gifts and no flattery can shake her determination to resist the hated master. Svidrigailov cannot come to terms with this. He thinks that his wife is interfering with the girl. Therefore, a man commits a terrible act - he becomes the culprit in the death of his wife, the mother of his children, who all the time saved him and saved him from the consequences of his dirty deeds. After that, Arkady Ivanovich goes to Dunya to force her to give herself to him.
He blackmails the girl with the secret of her brother and indulges in other terrible tricks to seduce the unfortunate. But Dunya, driven to despair, understands that she can become a puppet in the hands of a cruel, unprincipled person, whom she abhors and despises, and decides to kill. The first shot missed the villain, and the second time the girl could not shoot and threw back the revolver. Svidrigailov, who was not frightened by either the assassination or the real threat, was broken by Dunya's despair and grief, her extinguished gaze and dull indifference. He realized that he was disgusted by his beloved, that she would never and never love him sincerely and voluntarily. “You don't love it. And you can't? Never? Never!" - this quiet short conversation decides further fate heroes. Arkady Ivanovich, who truly loves this steadfast, pure young woman, lets her go and decides to commit suicide.
His existence is meaningless, without a beloved who could become his joy and salvation, he sees no reason in his existence. Svidrigailov commits suicide, but, oddly enough for villain, V last hours of his being he accomplishes noble deeds who save the lives of others. The man leaves money to his bride, who is young and innocent, and Sonechka, thanks to which she can change her profession and follow Raskolnikov into exile to take care of his mental well-being. Arkady Ivanovich also arranges the lives of the Marmeladov children. If not for his good deeds, who knows how the life of the main characters would have ended. And so we have the hope that by his suicide Svidrigailov saved Sonya and Rodion, that they will live happily ever after.
The image of Svidrigailov in Dostoevsky's novel "Crime and Punishment"
Home / Works on Russian literature / Dostoevsky F.M. / The image of Svidrigailov in Dostoevsky's novel "Crime and Punishment"
Fyodor Dostoevsky's novel "Crime and Punishment" has a psychological focus. Therefore, the author's attention is directed primarily not to the external actions of the characters, but to their inner thoughts and experiences.
One of the brightest images is the image of Svidrigailov. His full name- Svidrigailov Arkady Ivanovich. He is a wealthy, well-connected noble who is used to getting things done. Him and Luzhin what unites them is that both of them are the moral twins of the main character Raskolnikov. Svidrigailov puts Raskolnikov's theory into practice. He gets what he wants, by any means. As a result, he became a morally devastated person who is experiencing spiritual degradation.
Svidrigailov in the novel is already about 50 years old, but he looks younger than his age. Arkady Ivanovich was of medium height, broad-shouldered, dressed smartly. In the face of this gentleman, he still retained freshness and good looks. His hair and beard were still thick. Special feature - sharp Blue eyes who looked at people coldly and with a degree of disdain. Raskolnikov in Svidrigailov's pretty face he notices something frightening. Thus, the author hints that the protagonist sees his terrifying image in the eyes of another hero.
They talked about Arkady Ivanovich various rumors. It was rumored that he was involved in the poisoning of his wife and the suicide of a servant. He himself did not deny his tough temper. Svidrigailov did not try to build exculpatory theories, like Luzhin or Raskolnikov. He resigned himself to being an idle and depraved man.
Svidrigailov is a projection onto the image of Raskolnikov. If the main character could realize his theory, he would become Svidrigailov. Arkady Ivanovich has long crossed the moral boundaries of good and evil and is not tormented by questions of conscience, unlike a poor student. There are no restrictions for this master, everything he wants, he achieves.
However, in the novel there is still a person who will make the hero doubt the chosen path. This Dunya, sister of Rodion Raskolnikov. The girl is beautiful, and Arkady Ivanovich lusts for her, wants to win her favor at any cost. But Dunya, though poor, is smart and proud. She quickly understands what drives Arkady Ivanovich. Her resistance, moral purity overturn something in the soul of this cold and cynical person. Svidrigailov falls in love with Dunya and tries to win her love. With the help of blackmail, he lures the girl into the bedroom, but his animal plans are not given to come true. Dunya was able to stand up for her honor and awakened in Arkady Ivanovich forgotten feelings- nobility and courage.
The image of Svidrigailov in the novel "Crime and Punishment" is not unambiguous, in his soul there is no clear boundary between good and evil. He is immoral, but he also does good deeds.
Who is svidrigailov from crime and punishment
Mr. Svidrigailov is one of the brightest secondary characters novel "Crime and Punishment" by Dostoevsky.
This article presents quote image and characterization of Svidrigailov in the novel "Crime and Punishment": a description of the appearance and character of the hero.
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The image and characteristics of Svidrigailov in the novel "Crime and Punishment": description of appearance and character
Arkady Ivanovich Svidrigailov is a friend and admirer of Dunya Raskolnikova, (the sister of the protagonist, Rodion Raskolnikov).
The age of Mr. Svidrigailov is about 50 years old:
". It was a man in his fifties. " The following is known about Svidrigailov's appearance:
". above average height, portly, with broad and steep shoulders, which gave him a somewhat stooped appearance. He was smartly and comfortably dressed and looked like a portly gentleman. In his hands was a beautiful cane, with which he tapped, with every step, on the sidewalk, and his hands were in fresh gloves. His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and his broad, thick beard, descending like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly intently and thoughtfully; scarlet lips. In general, he was a well-preserved man and seemed much younger than his years. " ". leaned on a cane with both hands. As far as it was possible to see through blinking eyelashes, this man was no longer young, dense and with a thick, light, almost white beard ... " ". It was a kind of strange face, resembling, as it were, a mask: white, ruddy, with ruddy, crimson lips, with a light blond beard, and rather thick blond hair. The eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this beautiful and extremely youthful, judging by his years, face. Svidrigailov's clothes were dapper, summery, light, and he especially flaunted underwear. On the finger was a huge ring with an expensive stone. Svidrigailov is a retired officer, a nobleman by birth:
“Who am I? You know: a nobleman, served two years in the cavalry. " Svidrigailov is a widower, husband of the late Marfa Petrovna:
". May be. seeing himself already in years and the father of the family. " Svidrigailov has children, but he considers himself a bad father. According to him, children do not need it:
". My children stayed with my aunt; they are rich, and I personally do not need them. And what a father I am!” Svidrigailov is wealthy man(until wife's death):
". It is, of course, dressed decently and I am not a poor person. " “I took for myself only what Marfa Petrovna gave me a year ago. I've had enough. " ". I'm not rich though. " ". Marfa Petrovna. and if and left him something. which is not enough for a person with his habits for a year. " Mr. Svidrigailov is a madman:
". You've been too strict with this madman. " ". this madcap had long since developed a passion for Dunya. " Svidrigailov is a man of "zabubenny behavior", that is, desperate, capable of anything:
". a man of behavior zatubenny. " Svidrigailov is a rude villain, a voluptuary and a scoundrel:
". from this rude villain, from this voluptuous lecher and scoundrel. " "It's definitely you ... a scoundrel!" ". In a word, this monstrous difference in age and development in you excites voluptuousness! And are you really getting married like that?”
Mr. Svidrigailov is a depraved, vicious, idle person:
". Indeed, I am a depraved and idle person. " “This is the most depraved and perished in the vices of a person, of all such people. " Svidrigailov is a terrible, dishonorable person:
". No, no, it's horrible man! I can't imagine anything worse. " ". Even though I know you're a man... without honor. " Svidrigailov is a gloomy, boring person, according to him own opinion:
". And I'm a gloomy, boring person. Do you think hilarious? No, gloomy: I do no harm, and I sit in a corner; sometimes they don't talk for three days. " Svidrigailov is a sinful, low man who loves "places with dirty things":
". I am a sinful person. Hehehehe. " ". I love cesspools with dirt. " Svidrigailov is a nasty and empty person who does not really do anything:
". and in such a bad and empty man, like me. "(Svidrigailov about himself) ". at least there was something; well, to be a landowner, well, a father, well, a lancer, a photographer, a journalist ... n-nothing, no specialty! Sometimes even boring. " Svidrigailov is the emptiest, most insignificant villain in the world, according to Raskolnikov:
". In Svidrigailov, he was convinced that he was the most empty and insignificant villain in the world. Svidrigailov is not interested in the opinions of others:
". Well, I'm not particularly interested in anyone's opinion. and therefore why not be a vulgar one. " Svidrigailov - very a strange man:
“He is very strange and decided on something ... He seems to know something ... Dunya must be protected from him ...” When he wants, Mr. Svidrigailov knows how to seem like a decent person and behave charmingly:
". Arkady Ivanovich, when he wanted to, was a man with very charming manners. " ". I even think that you good society or, at least, you know how to be a decent person on occasion. " Mr. Svidrigailov is a cunning man:
". he is a cunning and seductive man about ladies. "
It was a quotation image and characterization of Svidrigailov in the novel "Crime and Punishment": a description of the appearance and character of the hero.
Svidrigailov Arkady Ivanovich
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("Crime and Punishment")
landowner; husband of Marfa Petrovna Svidrigailova. In the novel, his portrait is given twice. In the beginning: “He was a man of about fifty, above average height, portly, with broad and steep shoulders, which gave him a somewhat stooped appearance. He was smartly and comfortably dressed and looked like a portly gentleman. In his hands was a beautiful cane, with which he tapped, with every step, on the sidewalk, and his hands were in fresh gloves. His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and his broad, thick beard, descending like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly intently and thoughtfully; scarlet lips. In general, he was a well-preserved man and seemed much younger than his years ... "At the end of the novel (in the 6th part), the portrait is repeated, psychologically specified, concretized:" It was some kind of strange face, like a mask: white, ruddy , with ruddy, scarlet lips, with a light blond beard and rather thick blond hair. The eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this handsome and extremely youthful, judging by his age, face. Svidrigailov's clothes were dapper, summery, light, and he especially flaunted underwear. On the finger was a huge ring with an expensive stone ... "
For the first time, Svidrigailov is mentioned in a detailed letter from Pulcheria Alexandrovna Raskolnikova to her son Rodion Raskolnikov with a bitter story about the misadventures of his sister Avdotya Romanovna Raskolnikova, who served as a governess in the house of Svidrigailov and his wife Marfa Petrovna. The voluptuous Svidrigailov pursued Dunya and, having received a refusal, slandered her, so she had to leave her place. True, later Svidrigailov admitted to slander, but following the mother and daughter Raskolnikov, who moved to St. Petersburg, he appears in the capital (after the death of his wife, whom he apparently poisoned) and begins to literally pursue Avdotya Romanovna. Accidentally being a neighbor of Sonya Marmeladova, Svidrigailov overheard Rodion Raskolnikov's confession in the murder of an old money-lender and is trying to blackmail his sister. Before that, in a conversation with Raskolnikov, his “double” (this is precisely the psychological role Svidrigailov plays in relation to the murderer student in the novel) frankly admits and talks about his past deeds: he was a cheater, was in a debtor’s prison, married Marfa Petrovna because of money, raped a girl who then committed suicide, drove the lackey Philip to suicide ... According to Svidrigailov, eternity is “like a village bathhouse, smoky, and spiders in all corners.”
This character is the first real, unconditional and, so to speak, logical suicide in the world of Dostoevsky: he thought about suicide, prepared it, substantiated it and committed it. Svidrigailov himself knows that he is dead - and not only in vices, but also in literally words dead person. Avdotya Romanovna Raskolnikova is his last and only hope to stay in this world, to stay, to continue to live. Alas, on her part, he cannot wait not only for tolerance and compassion (which Apollinaria Suslova sometimes bestowed, to some extent - the prototype of Dunya, Dostoevsky): Dunya despises him and even hates him - for her he is definitely disgusting. And Svidrigailov cannot even dissolve, drown his despair in wine, because, although in his youth he paid an abundant tribute to Bacchus, now he does not even like champagne and cannot stand it (as, by the way, Dostoevsky himself). His love for Duna is not just the attraction of an elderly fading man to a young beautiful girl, but also his passionate desire to finally become at least someone. He confesses to Raskolnikov: “Do you believe, at least there was something; well, to be a landowner, well, a father, well, a lancer, a photographer, a journalist ... n-nothing, no specialty! Sometimes it’s even boring ... "But, oddly enough, this man is afraid of death (". I'm afraid of death and don't like it when they talk about it," he admits to Raskolnikov) He is so mystically afraid of death that he came up with a kind of euphemism for his impending suicide - voyage to America. He talks about this "voyage" in conversations with Raskolnikov, with Sonya Marmeladova. By the way, in the mystical fear of death, the novel counterparts - Raskolnikov and Svidrigailov - are absolutely similar. It is said about Raskolnikov: “In the consciousness of death and in the feeling of the presence of death, there was always something heavy and mystically terrible for him, from childhood. »
But it is known that many suicides before their fatal step were afraid of death, denied it and even condemned those who committed suicide. This process - from the denial of death to the execution of the "auto-sentence" - is described in detail, with all the psychological details, by Dostoevsky using the example of Svidrigailov. He foresaw his tragic end, but until the last moment he tried to avoid it, or at least postpone it. There were two options for this: to marry, as he planned, a 15-year-old innocent girl, or to achieve reciprocity with Dunya Raskolnikova. The bride girl really exists - Svidrigailov goes to her house with gifts, willingly tells Raskolnikov about her. Matchmaking for a young bride, apparently, was not a very serious matter for him - out of inertia, out of an inveterate habit of voluptuousness and a penchant for pedophilia, but this man put Avdotya Romanovna seriously. His tormenting passion for Raskolnikov's sister lasted more than one day and reached a boiling point. Even when Dunya lived and was on his estate, he was ready to kill his wife at her first word (which, however, he did later without any permission), and now he decided to stake own life: he withstands at gunpoint for several minutes - Dunya even slightly wounded him.
Before a decisive, last meeting-conversation with Avdotya Romanovna, Svidrigailov does incredible things for him: pays for the funeral of Katerina Ivanovna Marmeladova, allocates capital for the placement of her orphans, offers Raskolnikov 10 thousand rubles for Dunya in order to save her from a forced marriage with Luzhin, and the entire Raskolnikov family from poverty. However, there is nothing strange about this. Svidrigailov is well aware that, as he is, he causes Dunya only disgust and disgust. He makes cardinal, in his opinion, attempts at a single moment, as it were, to be reborn, to become better. To appear before the beloved woman as a sort of noble and beneficent knight. He, moreover, has another strong and, as, again, it seems to him, a noble trump card in reserve - he could, but did not betray his brother Dunya to the police. Speaking about ten thousand for his sister in a conversation with Raskolnikov, Svidrigailov assures: “. I offer without any calculations. Believe it or not, and later you and Avdotya Romanovna will find out. "But, of course, at that moment, not only his interlocutor, but Arkady Ivanovich himself did not believe that" without any calculations ": the calculation, albeit naive, was just - to surprise, amaze Dunya, melt the ice in her heart. But now, we must pay tribute to him, after the disaster, after a fatal meeting with Dunya for himself, Svidrigailov continues to do good deeds completely disinterestedly: he gives 3 thousand rubles to Sonya (so that there is something to go to Siberia after Raskolnikov and what to live there) , leaves as much as 15 thousand to his young failed bride (although, of course, it would be better to distribute the amounts the other way around!). But according to the warehouse of his nature and according to an atheistic worldview, before his voluntary departure from life, he should have reached the limit of cynicism at all, it was quite some kind of ugly trick to do, to appease - for example, rape Dunya or betray her brother, so that to send him, if not “to America” after him, then at least to hard labor ... This is how Dostoevsky himself later discussed this in a letter to his reader and admirer N.L. Ozmidov (February 1878): “Now imagine that there is no God and the immortality of the soul (the immortality of the soul and God are all the same, the same idea). Tell me, why should I then live well, do good, if I die on earth completely? Without immortality, after all, the whole point is just to reach my term, and at least everything burn there. And if so, then why should I (if I only rely on my dexterity and intelligence so as not to fall for the law) and not to kill another, not to rob, not to rob, or why should I, if not to cut, then directly not live at the expense of others, into one's womb? After all, I will die, and everything will die, nothing will happen. »
It turns out that Arkady Ivanovich, in the most hidden deep twists of his shabby soul, nevertheless timidly hoped for immortality, not only in the form of a smoky jar with spiders, for the existence of God, he strove, wished before a meeting with Him, as before a meeting with Dunya, to balance the poods of his crimes, cynical deeds and sins as spools of dying blessings.
Having released Dunya in peace, Svidrigailov accidentally drew attention to the revolver thrown by her, picked it up: there were still two charges and one primer. By the way, this revolver once belonged to Svidrigailov himself, and now, by chance, he found his owner, saving for him the only and last shot. However, this, the last, primer could also misfire - and then what would Arkady Ivanovich do at the last moment? One can guess about this: already having a revolver in his pocket, a few hours before his suicide, Svidrigailov crosses the bridge at midnight and “with some special curiosity and even with a question looked at the black water of the Malaya Neva. » It is likely that if the primer did not work, he would simply drown himself. This gentleman would hardly have agreed to a rope, not wanting to stoop to the level of his lackey Philip. And one more very curious touch: before a meeting with Dunya, Svidrigailov drinks a glass of champagne through “I can’t” for courage, but before leaving for America, he drinks and treats everyone he meets and crosses all evening, wandering around the taverns, but he himself does not drink a single sip - he no longer needs courage to commit self-execution. In the last hours of his life, Svidrigailov does everything to ensure that this life, the surrounding earthly reality, is fed up with him to the extreme limit, as if he is trying to suppress and drown out the rudiments of dying fear with an unbearable disgust for being. The rain is lashing, the wind is howling, and he, soaked to the skin, wanders late into the dark streets, through stinking dirty taverns, communicates with drunken rabble, then rents a “room” in a filthy hotel on the outskirts of the city, as if he wants, intends to visualize the afterlife invented a miserable eternity to them: “He lit a candle and examined the room in more detail. It was a cell so small that it was not even close to Svidrigailov's height, with one window; the bed was very dirty, a simple painted table and chair occupied almost the entire space. The walls looked like they were knocked together from boards with scuffed wallpaper, so dusty and tattered that their color (yellow) could still be guessed, but no pattern could be recognized. One part of the wall and ceiling was cut off at an angle. » Well, why not an analogue of a bathhouse with spiders? Only here and while Svidrigailov is being overwhelmed and tormented not by spiders, but by flies and mice - in nightmares and in reality. Nightmares almost drive Arkady Ivanovich crazy, and he knew in advance, foresaw that he would be choked by nightmares, however, in an effort to gain-accumulate a more malicious disgust for life, he plunges into nightmarish semi-forgetfulness again and again: he sees something in a coffin suicidal girl, ruined by him, then tries to save a five-year-old baby from the cold, but she suddenly begins to seduce him. Striking here is the subconscious reaction of an inveterate cynic and lecher - even he was horrified: “How! five year old! - Svidrigailov whispered in real horror, - this is. what is it. »
And - the very last acts-acts of Arkady Ivanovich before leaving for last way, in a "voyage": he checks the primer in a revolver, writes a traditional, completely stupid note, saying that he does not blame anyone for his death and. catches a fly. He tries long and hard to catch the fly. "Finally catching myself on this an interesting activity, woke up, shuddered, got up and resolutely walked out of the room. This is Dostoevsky! Later, in Possessed, he recreates-uses once again a similar psychological detail, develops it to a truly philosophical level in the scene of Matryosha's suicide, when Stavrogin, being behind the wall, and knowing-guessing what is happening in the closet - at first also stubbornly catches a fly, and then begins to closely examine "a tiny red spider on a leaf of geranium."
In the description of the last minutes of Svidrigailov's life, there is another extremely curious detail, as if connecting him with the hero of the story by V. Hugo "The Last Day of the Condemned to Death" with Rodion Raskolnikov and, Furthermore, with Dostoevsky himself. The French criminal, who is being taken to his execution, in the last moments of the journey, runs his eyes over the signs on the benches; Raskolnikov, going to the station with a confession (also, in essence, to the execution, at least - of his fate), "eagerly looked around to the right and left", reading the signs and even noting errors in them ("Tavarishchestvo"); and Prince Myshkin in The Idiot, talking about the feelings and thoughts of a man (Dostoevsky himself), who is being taken to the scaffold, depicts how he looks for the familiar sign of a baker with his eyes. Apparently, this detail has sunk into the memory of the Petrashevsky writer! So Svidrigailov, on the way to the place of self-execution, with his eyes every now and then “stumbled upon shop and vegetable signs and carefully read each one. »
At the last decisive moment, Svidrigailov behaved in cold blood, he was in full control of his nerves and feelings. He even somehow derisively brought his euphemism joke about the voyage to its logical end, announcing to a random witness - a fireman on guard (Achilles) - that he was going to America and let him explain it to the police later: he went, they say, to America. And pulled the trigger. Misfire did not occur.
The surname Svidrigailov reflects the contradictory, dodgy essence of this hero. Dostoevsky, being interested in the history of his kind (having Lithuanian roots), probably drew attention to the etymological composition of the surname of the Grand Duke of Lithuania Shvitrigailo (Svidrigailo): gail ( German geil) - lustful, voluptuous. In addition, in one of the feuilletons of the Iskra magazine (1861, No. 26), which was part of Dostoevsky’s reading circle, there was talk of a certain Svidrigailov who was rampaging in the province - a “repulsive” and “disgusting” personality.
In the image of Svidrigailov, to some extent, the psychological appearance of one of the inhabitants of the Omsk prison, the murderer from the nobles of Aristov, is captured (in "Notes from the House of the Dead" he is displayed as A-v).
The image and characteristics of Svidrigailov in the novel "Crime and Punishment" by Dostoevsky
Of the many secondary characters, Arkady Ivanovich Svidrigailova is the most striking and important for characterizing the main character Raskolnikov. The image and characteristics of Svidrigailov in the novel "Crime and Punishment" are written out by Dostoevsky quite clearly, vividly, in the most detail. This character so clearly emphasizes many aspects of the character of the protagonist that it is very important to understand the very essence of the unsympathetic Arkady Ivanovich.
Dostoevsky F. M., like an artist, painted a portrait of Arkady Ivanovich with clear, bright, juicy strokes with a wide brush. And although Svidrigailov is not the main character, it is difficult to forget him and impossible to pass by.
- This is how the portrait of Svidrigailov was painted. The author drew it in great detail, emphasizing the importance this character for the fate of the rest of the characters in the novel. The portrait is very interesting: at first the reader sees a very pleasant person, even a handsome one. And suddenly, at the end of the description, it is said about the eyes: a fixed, cold look, albeit thoughtful. famous expression“The eyes are the mirror of the soul,” the author emphasized literally in a nutshell, which reveal the very essence of the character. Even a very attractive outwardly person may turn out to be completely different from what he sees at first. Here is the first hint of true essence Svidrigailov, which the author reveals through the opinion of Raskolnikov, who noticed that the face of Arkady Ivanovich is more like a mask that hides all the ins and outs, that, despite the attractiveness, there is something very unpleasant in Svidrigailov.
Character, its formation
Svidrigailov is a nobleman, which means that he received a decent education. He served in the cavalry for about two years, then, as he himself said, "wandered around", already living in St. Petersburg. There he became a cheater, ended up in prison, from where Marfa Petrovna saved him. It turns out that the whole biography of Arkady Ivanovich is his path of moral and ethical downfall. Svidrigailov is cynical, a lover of debauchery, which he himself even admits with some pride. He lacks a sense of gratitude: even to his wife, who saved him from prison, he declares bluntly that he is not going to be faithful to her and change his lifestyle for her sake.
All of it life path marked by crimes: because of him, his servant Philip and the daughter of the servant, a girl dishonored by Svidrigailov, committed suicide. It is most likely that Marfa Petrovna was poisoned because of her libertine husband. Arkady Ivanovich lies, slandering Dunya, Raskolnikov's sister, slanders her, and also tries to dishonor the girl. With all his dissolute and dishonorable life, Svidrigailov is gradually killing his soul. And it would be fine if he destroyed everything good in himself, Arkady Ivanovich kills everything around him, everything he touches.
Character personality traits
Svidrigailov is depicted as a perfect villain who has fallen into the abyss of evil, having apparently lost all the pitiful remnants of conscience. He absolutely does not have any doubts, doing evil, does not think about the consequences, even enjoys the torment of the people around him. A lustful debaucher, a sadist, he tries to satisfy all his base instincts, while not feeling the slightest remorse for his deed. He thinks it will always be like this.
Svidrigailov and Raskolnikov
Having met with the main character, Arkady Ivanovich once remarks to him that both of them are "of the same field." Raskolnikov, on the other hand, Svidrigailov is extremely unpleasant. Rodion even feels some confusion, feeling the power of Arkady Ivanovich over himself, who understood a lot about the student. Raskolnikov is frightened by the mysteriousness of Svidrigailov.
However, despite the fact that Rodion killed the old pawnbroker, they are not at all alike. Yes, Rodion put forward a theory about superhumans, even killed a man, testing his theory. But in Svidrigailov, as in a distorted mirror, he saw himself in the future, if he continued to live according to the principles of his idea. And this revealed humanity in Rodion, prompted repentance and understanding of the full depth of his fall.
End of Arkady Ivanovich
Dostoevsky except possession writing skills was endowed with the talent of a psychologist. Here, too, describing the life path of Svidrigailov, an inveterate villain, stops him with love, paradoxically as it may seem. Arkady Ivanovich, having met Dunya, first tries to seduce her. When he fails, he denigrates the girl in the eyes of others. In the end, with surprise, he realizes that he truly loved her. And this understanding of true love opens in his soul all the floodgates that until now neither conscience, nor repentance, nor understanding of the atrocities committed by him have let out.
He releases Dunya, remarking with desperate bitterness:
Svidrigailov suddenly realizes that he is absolutely alone in his fall, that he is not worthy of anyone's love. Enlightenment comes too late for him. Yes, he is trying to atone, to somehow make amends for all the evil that he has done so far. Arkady Ivanovich gives money to Duna and Sonya, donates a large sum the Marmeladov family ... But he cannot achieve deep, sincere repentance.
But the pangs of conscience evoked in him memories of the atrocities committed. And these memories turned out to be an unbearable burden for conscience. Svidrigailov committed suicide.
And in this he turned out to be weaker than Raskolnikov, who was not afraid, but confessed and repented, not being afraid to live on.
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CRIME AND PUNISHMENT
(Novel, 1866)
Svidrigailov Arkady Ivanovich - one of the central pfoi. “... About fifty years old, taller than average, burly, with broad and steep shoulders, which gave him a somewhat stooped appearance ... His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and his broad, thick beard, descending like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly, intently and thoughtfully; red lips." Raskolnikov notices that his face looks like a mask and there is something extremely unpleasant in it.
Nobleman. He served two years in the cavalry. Then, in his words, he "wandered around" in St. Petersburg. Was a swindler. Having married Marfa Petrovna, who bought him out of prison, he lived in the village for seven years. Cynic. Loves debauchery. On his conscience a number serious crimes: the suicide of Philip's servant and the fourteen-year-old girl insulted by him, perhaps, and the poisoning of his wife ... Raskolnikov's double, S., as it were, was generated by the hero's nightmare. Appearing in his closet, he declares that they are “of the same field of berries” and invites Raskolnikov to transfer ten thousand to his sister Duna, who, due to his harassment, was compromised and lost her place. Having lured her to him under the pretext of important news concerning her brother, he reports that Rodion is a murderer. He tries to gain Dunya's favor by offering to save Raskolnikov and then blackmailing her. Dunya, to prevent violence, shoots him with a revolver and misses. However, C, humbled himself, suddenly releases her. In his question: “So you don’t love? And you can't? Never?" - sounds sincere bitterness, almost despair.
Unlike Raskolnikov, he is already on the other side of good and evil and seems to have no doubts. It is no coincidence that S. is so worried about Raskolnikov, who feels his power over himself, with his mystery. He's free, moral law no longer has power over him, but this does not bring him joy. All that remains for him is worldly boredom and vulgarity. S. had fun as best he could, trying to overcome this boredom. At night ghosts appear to him: Marfa Petrovna, Philip's servant... The indistinguishability of good and evil gives rise to evil infinity, makes life meaningless. It is no coincidence that eternity appears to him in the form of a rustic smoky bathhouse with spiders. And although he helps arrange the children of Marmeladov after the death of Katerina Ivanovna, takes care of a little girl in a hotel before committing suicide, his soul is almost dead. S. commits suicide with a shot from a revolver.
