"Crime and Punishment" - is one of the best works of world literature, filled with the deepest meaning and tragedy. Dostoevsky's novel is replete with various vivid images and twisted plot lines. Among all this brightness, one, rather tragic, image of Katerina Ivanovna Marmeladova stands out.
Her husband, an inveterate alcoholic, retired official, is Marmeladov. Raskolnikov believed that this pair is categorically incompatible. She is a beautiful woman, younger than her chosen one, she was from a noble family. He is an official who has achieved nothing, but only ruined his life.
The woman's family was prosperous. Katerina Ivanovna did not need anything, she received an excellent education. Foolishly, due to her young years, she fell in love with an infantry officer. He became her first husband, but, alas, life did not work out. A man cannot provide for his family and children. For a card debt, Katerina's husband was put on trial, where he lost his life. The woman was left alone, without support and support, because the whole family disowned her.
Then the same official, the second husband, Semyon Marmeladov, appeared in her life. It was he who extended the helping hand to the woman, which she so needed. Katerina never loved Marmeladov, but the man accepted her with her family, fell in love with her children. In turn, the woman herself felt for him only a feeling of gratitude and gratitude.
Katerina Ivanovna did not get happiness in her second marriage, as well as in the first. Although Marmeladov was a kind person, bad habits consumed him. The man got drunk almost every day, did not bring anything home. The family was on the verge of poverty. It got to the point that the woman developed consumption.
Against the background of illness, Katerina Ivanovna began to behave inadequately. There were conflicts with Marmeladov's daughter, she treated poor Sonechka unfairly. But the stepdaughter understood everything and did not hold a grudge against her stepmother.
The image of Katerina is a strong and strong-willed woman. For all the problems, she has not lost her dignity. She is a good wife and a wonderful mother.
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“Listen, if everyone has to suffer in order to buy eternal harmony by suffering, then what have children to do with it, tell me, please? It is completely incomprehensible why they had to suffer and why should they buy harmony with suffering? She is not worth a tear of at least one tortured child ... "Ivan Karamazov," The Brothers Karamazov. " The character system of the novel "Crime and Punishment" includes a large number of characters with their own character, position and role in the novel. Rodion Raskolnikov is the main character; Sonya, Dunya, Pulcheria Alexandrovna, Svidrigailov, Luzhin are also noticeable and therefore understandable to us characters. But there are also supporting characters that we can learn less about. Among all the minor characters, children should be singled out, the influence of the collective image of which we can trace throughout the novel: these are the children of Katerina Ivanovna, and the bride of Svidrigailov, and the drowned girl who dreams of him in a dream, this is a drunk girl who met Raskolnikov on the boulevard - all these characters cannot be ignored, because, despite their small participation in the development of the action in the novel, they play an important role, like the whole theme of the child and childhood. Consider the image of Katerina Ivanovna's children. We learn that Marmeladov's wife Katerina Ivanovna married him with three children from a conversation between Marmeladov and Raskolnikov. The father of the children was Katerina Ivanovna's first husband, an infantry officer with whom she fled from home. When her husband died, Katerina Ivanovna was left alone with three small children. “She married her first husband, an infantry officer, out of love, and with him fled from her parents' house. My husband ... started playing cards, got on trial, and died with that .... And she remained after him with three young children in a distant and brutal district ... ”Katerina Ivanovna had two daughters: Polechka and Lena - and a son, Kolya. This is how FM Dostoevsky describes them: “the eldest girl, about nine years old, tall and thin as a match, ... with big, big dark eyes, which seemed even more on her emaciated and frightened face” (Polechka), “the smallest girl, about six "(Lena)," a boy a year older than her "(Kolya). The children were poorly dressed: Polechka was dressed in “a shabby burnusik, made for her probably two years ago, because it didn’t reach her knees now,” and “a thin shirt that was torn everywhere,” Kolya and Lena were no better dressed; all the children had only one shirt, which Katerina Ivanovna washed every night. Although the mother tried to take care of the children, they were often hungry because the family did not have enough money; the younger ones often cried and were downtrodden and intimidated: "... For Katerina Ivanovna is of such a character, and as children cry, even from hunger, she immediately begins to beat them." In the guise of Sonya, the stepdaughter of Katerina Ivanovna and daughter of Marmeladov, despite the fact that she is much older than all the children and earns money this way, we also see a lot of childish things: “she is unrequited, and her voice is so meek ... blonde, her face is always pale, thin, ... angular, ... gentle, sickly, ... small, gentle blue eyes. " It was the desire to help Katerina Ivanovna and her unfortunate children that made Sonya transgress through herself, through the moral law. She sacrificed herself for others. "And then he only realized what these poor, little orphans and this pathetic, half-crazy Katerina Ivanovna, with her consumption and banging on the wall, meant to her." She is deeply worried, realizing her position in society, her shame and sins: "Why, I ... dishonorable ... I am a great, great sinner!", "... to what monstrous pain she tormented her, and for a long time, the thought of her dishonorable and shameful position ". If the fate of her family (and Katerina Ivanovna and the children were really Sonya's only family) were so deplorable, the life of Sonya Marmeladova would have turned out differently. And if Sonya's life was different, then F.M. Dostoevsky would not have been able to fulfill his plan, he would not have been able to show us that, being immersed in vice, Sonya kept her soul pure, because she was saved by faith in God. "But tell me, finally, ... how do such shame and such baseness in you, next to other opposite and holy feelings, combine?" - Raskolnikov asked her. Here Sonya is a child, a helpless, helpless person with her childish and naive soul, who, it would seem, will die, being in a destructive atmosphere of vice, but Sonya, in addition to a childish pure and innocent soul, has tremendous moral stability, a strong spirit and therefore she finds strength to be saved by faith in God, so she retains her soul. "What would I be without God?" Proving the need for faith in God was one of the main goals that Dostoevsky set for his novel. Therefore, we see that the image of children was necessary for the writer to reveal the image of Sonya and achieve his plan. The children of Katerina Ivanovna played a certain role in the fate of each of the main characters in the work. With the help of the image of children, the writer shows us that Marmeladov, who caused so much grief and pain to his family, still thought about his wife and children, and this consisted in the fact that he tried not to drink for some time. When he was crushed by a cart and he died, a gingerbread was found in his pocket, which he carried to the children: "... they found a gingerbread cock in his pocket: he was walking dead drunk, but he remembers the children." Thus, the writer uses the image of children to show us that in the soul of Marmeladov, a person who caused grief to himself and his family, there was still love, care and compassion. Therefore, we cannot consider the manifestation of the spiritual qualities of a retired official only as purely negative. The image of Svidrigailov only becomes even more mysterious and incomprehensible when we see that a vulgar, depraved person, for whom there are no moral laws, commits a noble deed and spends his money to arrange the children of Katerina Ivanovna in a boarding school. And here the writer again weaves the image of children into the fabric of the novel. But even such a noble deed cannot overshadow all the sins of Svidrigailov. Throughout the novel, we can see all the lowest in him, in his soul, all the worst qualities: cruelty, selfishness, the ability to step over a person to satisfy his interests, including the ability to kill (his wife, Marfa Petrovna, because, Apparently, we can say that Svidrigailov killed his wife, posing as an apoplectic stroke), the whole baseness of Svidrigailov's nature is manifested in the episode with Dunechka, when she secretly met him for the last time, in order to find out about his brother. “Is it possible what you write? You are hinting at a crime allegedly committed by a brother. ... You promised to prove: speak up! " - Dunya is indignant. Svidrigailov brought Dunya to him, locked the door and began kissing and hugging her, but then opened the door, realizing that Dunya hated him and would never love him. It was a difficult test for Dunya, but at least she knew what kind of person Svidrigailov was, and if it were not for her love for her brother, she would never have gone to this person. This is proved by Douna's words: “Now we have already turned the corner, now my brother will not see us. I declare to you that I will not go further with you. " But the story of the deaf-mute niece of a petty pawnbroker, Svidrigailov's friend, the German woman Resslich, reveals even more the depth of debauchery in which Svidrigailov's soul is mired. In St. Petersburg, there was a rumor that the girl committed suicide because she was severely insulted by Svidrigailov. Although he himself denies everything, on the night before his suicide he has a dream: “… and in the middle of the hall, on tables covered with white satin sheets, there was a coffin. Garlands of flowers wrapped around him on all sides. All in flowers lay a girl in it, in a white tulle dress, with her arms folded and pressed against her chest, as if carved from marble. But her loose hair, the hair of a light blonde, was wet; a wreath of roses wrapped around her head. The stern and already ossified profile of her face was, as it were, carved out of marble, but the smile on her pale lips was full of some childish, boundless sorrow and great complaint. Svidrigailov knew this girl; there was neither an image nor lighted candles at this tomb, and no prayers were heard. This girl was a drowned suicide. She was only fourteen years old, but this was already a broken heart, and it ruined itself, offended by an insult that horrified and surprised this young, childish consciousness, flooded her angelically pure soul with undeserved shame and pulled out the last cry of despair, not heard, but impudently scolded in a dark night, in the darkness, in the cold, in a damp thaw, when the wind was howling ... ”Svidrigailov, with his permissiveness, with a complete absence of any moral principles and moral ideals, encroached on the most sacred, according to Dostoevsky, on the soul of a child. With this episode and, especially, a dream, the writer wanted to show by the example of Svidrigailov (precisely by example, because, although Arkady Ivanovich has a specific name, this is a collective image of many dozens of similar Svidrigailovs - the same immoral and depraved people) that such immoral people, acting only for the benefit of their (almost always vile) interests, they destroy innocent souls. The image of the girl here contains the image of all those who are purer, more innocent, brighter than all others in this world and therefore weaker, and therefore he is mocked, tortured and ruined by all those who have no moral principles at all. One can only be glad for Svidrigailov's bride that their wedding did not take place. Because, despite the fact that the girl, in her own way, fell in love with her fiancé (“Everyone left for a minute, we were left alone as is, suddenly throws herself on my neck (for the first time), hugs me with both arms, kisses and swears that she will be an obedient, kind and beneficent wife to me, that she will make me happy ... "- Svidrigailov told Raskolnikov), he remained the same depraved person, she just did not understand this; he would have ruined her soul. This problem of immorality and spiritual purity also interested Dostoevsky, but he understood that people like Svidrigailov would always be, not without reason, as if it were a confirmation that the weaker ones, whose image children, the child, would continue to torment and destroy their souls, Svidrigailov's laughter serves: "I generally love children, I love children very much." Svidrigailov is an atheist, he calls himself a sinner: “Why, why have you driven into virtue with your whole rod? Have mercy, father, I am a sinful man. He-he-he. " But he doesn't mean it, he laughs. Although Svidrigailov admits his sins, he does not even think to change anything in his behavior, he does not believe in God, and the more terrible his image is for us. Svidrigailov appears in the image of the devil - he destroys innocent souls. But we see that a person who has departed from God is not only not happy, he himself suffers from such a life, he himself suffers, not having spiritual and moral guidelines and not realizing that they are necessary. Svidrigailov, who lost touch with everything moral, lived in sin and before death takes on a terrible sin - he kills himself. Dostoevsky consistently proves to us that a person who does not believe in God, who has departed from him, cannot live. The writer also told us about this through the mouth of Sonya. The common theme of children and childhood is widely disclosed in the image of Rodion Raskolnikov. Even Razumikhin, to prove the presence in the soul of a friend of the best qualities, especially "presses" on such episodes from his life as: saving children from a burning house, giving all the last money to Katerina Ivanovna and her children. This shows his desire to help the “humiliated and insulted”, that is, those people whom he wanted to make happy with the money of the old woman-usurer Alyona Ivanovna. It is compassion and pain for the "humiliated, insulted" and unfortunate (their collective image is personified by the brutally killed defenseless horse) that we see in Raskolnikov's dream. He is helpless in the form of a child in a dream, and in this he sees his helplessness in the real cruel world. Another meaning of Rodion Raskolnikov's dream is that we understand that Raskolnikov's soul already in childhood (after all, he sees himself as a child) protests against crime, against cruelty and against a person's self-assertion at the expense of others, and Mikolka just wanted to boast of his strength, its power: “... Don't touch! My goodness! I do what I want. Sit down again! Everybody sit down! I want you to go galloping! .. ”Raskolnikov's surname is speaking. His soul is split in two by lack of faith in God. His words prove it. He says: "Yes, maybe there is no God at all." In one, his theory about "trembling creatures and having the right" matures, the idea of \u200b\u200btesting oneself, an attempt to feel like "Napoleon". The second half is like the soul of another person, compassionate and helping the "humiliated and insulted", protesting against the unjust structure of society, dreaming of doing thousands of good deeds. It is no accident that the main character does so many good deeds: the qualities of the second half of his soul with the best qualities - kindness, pity, compassion - have power over him. The question of faith in God constantly arises before him. We can see that in childhood Raskolnikov (just when the foundations of morality and virtue are being laid), he was close to God, that is, he personified the image of that immaculate and innocent child, which was both the deaf-mute drowned woman and the children of Katerina Ivanovna. We read about this in a letter from Pulcheria Alexandrovna: “Do you pray to God, Rodya, do you still believe in the goodness of our Creator and Redeemer? I am afraid, in my heart, whether the latest fashionable disbelief has visited you too? If so, then I pray for you. Remember, dear, how in your childhood, during the life of your father, you babbled your prayers on my lap, and how happy we were all then! " Raskolnikov himself understands that the child is close to God, that he himself was close, and taking into account his words: "Children are the image of Christ" These are the kingdom of God. " He tells them to honor and love ... "- and all of the above that the image of children is full of purity, innocence, integrity, we can say with confidence that Dostoevsky's thought is precisely that" Children are the image of Christ. " It is worth remembering here Lizaveta with her childishly frightened at the moment when Raskolnikov raised an ax over her, a face whose expression is constantly, throughout the entire novel, is remembered by the protagonist: “... her lips were twisted, so pitifully, like very young children when they start to get scared of something, they gaze intently at the object that frightens them and are going to scream ”; he even notices the similarity in the expressions on the faces of Sonya and Lizaveta - two deeply religious girls: “... he looked at her [Sonya] and suddenly, in her face, he seemed to see Lizaveta's face. He vividly remembered the expression on Lizaveta's face when he approached her then with an ax, and she walked away from him to the wall, holding out her hand, with a completely childish fright in her face, just like little children when they suddenly start something to be frightened, they stare motionlessly and restlessly at the object that frightens them, step back and, holding out their hand forward, prepare to cry. Almost the same thing happened now with Sonya ... ”. It is not by chance that Dostoevsky shows childish fright on the faces of Sonya and Lizaveta. Both these girls are saved by religion, by faith in God: Sonya from the terrible vicious atmosphere in which she has to be; and Lizaveta - from the intimidation and beatings of her sister. The writer once again confirms his idea that the child is close to God. In addition to the fact that the child is the "image of Christ" in the broad sense of understanding the image, the child, according to Dostoevsky, is also the bearer of everything pure, moral, good that has been inherent in a person since childhood, whose hopes, ideas and ideals are ruthlessly trampled upon, and this leads further to the development of an inharmonious personality, this leads to the development of theories such as Raskolnikov's theory. Therefore, the image of a child is also the image of a defenseless person with his ideals, moral aspirations; a personality that is weak before the impact of a ruthless imperfect world and a cruel ugly society, where moral values \u200b\u200bare trampled underfoot, and such "businessmen" as Luzhin are at the head, who are interested only in money, profit and a career. This we can conclude from the fact that Jesus Christ has a dual nature: he is the son of God, who came down from heaven, this is his divine nature, but he had a human appearance, took upon himself human sins and suffering for them, so we can say that the image of Christ is not only the child himself as a symbol of spiritual morality and purity, heavenly holiness, but also an earthly person, whose moral ideals are trampled upon in an atmosphere of vice. In the stifling, scary atmosphere of St. Petersburg, the defenseless souls of people are disfigured, all the best and the most moral in them is drowned out, development is nipped in the bud. But even Raskolnikov has hope for spiritual revival. It begins when he takes the cross from Sonya. Then he does not attach any importance to this, does not believe that he can help him in any way - after all, he blames himself only for the mistake: "Did I really need Krestov from her?" But then Rodion himself asks Sonya for the Gospel. And although both of them - both Sonya and Raskolnikov - were resurrected by love: “Love resurrected them,” Dostoevsky says, it was faith in God that prevented Sonya's soul from perishing, which saved Raskolnikov. The need to believe in God, in bright ideals is the main idea of \u200b\u200bthe novel and the reason why the writer introduces the image of a child into the fabric of the work. Scientific work on literature "Images of children and their role in the novel by FM Dostoevsky" Crime and Punishment "Author: student of 10" v "class of MOU" Gymnasium №9 "Maria Morozova Supervisor: Kulikova L.А. 2002 List of used literature: Dostoevsky F.M. "Crime and Punishment", Moscow, publishing house "Pravda", 1982 Ozerov Yu.A. "The world of the" humiliated and insulted "in the novel by F. M. Dostoevsky "Crime and Punishment", Moscow, publishing house "Dom", 1995
Katerina Ivanovna Marmeladova
Daughter of Semyon Zakharovich Marmeladov from his first marriage, a girl desperate for self-sale. Despite this occupation, she is sensitive, timid and shy; forced to earn in such an unsightly way. He understands the suffering of Rodion, finds in him support in life and the strength to make him a man again. Leaves for him in Siberia, becomes his lifelong girlfriend.
Rodion Romanovich Raskolnikov
A mendicant former student, the protagonist of the story. He believes that he has the moral right to commit crimes, and murder is only the first step on the uncompromising road that will lead him to the top. Unconsciously he chooses the weakest and most defenseless member of society as a victim, justifying this by the insignificance of the life of an old woman-pawnbroker, after whose murder she faces a severe psychological shock: murder does not make a person "chosen."
The great Russian writer Fyodor Mikhailovich Dostoevsky strove to show the ways of moral renewal of human society. Man is the center of life to which the eyes of the writer are riveted.
"Crime and Punishment" is Dostoevsky's novel, which for more than a century has served as a reason for intense reflections on the value of human life, on the moral boundaries of self-will, on how much a person has from the devil, and how much from God.
From the very first pages of the novel, one can feel the whole weight and despair of the life of its protagonist. Former student Raskolnikov lives in a closet "under the very roof of a high five-story building." The main qualities of the space depicted in the novel are tightness and narrowness. The hero, trapped in such a space, feels spiritual emptiness and loneliness: "... he was in an irritable and tense state ... he went deep into himself and retired from everyone ..." Throughout the entire novel, Raskolnikov will languish, selfishly fencing himself off from others people, and only at the end will come to the crossroads, that is, an open space to ask for forgiveness from the whole world. From this moment, his spiritual resurrection will begin.
But while Rodion, as if in delirium, rushes through the dirty streets of St. Petersburg, smelly stairs and attics, gloomy drinking places. The hero decided to take an action that would completely change his life. This idea originated in him when he laid a ring in the old woman-usurer - a gift from his sister. Raskolnikov then experienced hatred for a harmful and insignificant old woman who profited from someone else's misfortune. The old woman also causes negative feelings in the reader: she looks at the visitor incredulously, not wanting to let him in at first, her eyes sparkle! in the dark, she coughs and groans, and her neck resembles a "chicken leg". And now Raskolnikov had an idea that led him to a crime.
He accidentally hears a conversation between a student and an officer about "a stupid, meaningless, insignificant, evil, sick old woman, useless to anyone and, on the contrary, harmful to everyone." The student says that the murder of the old woman will not be a crime: "One death and one hundred lives in return - why, there is arithmetic!" These words are engraved in Rodion's memory.
Then, in the tavern, Raskolnikov listens to the confession of a drunken Marmeladov and learns about his daughter Sonechka, who sells herself to save the family. The story of Sonya Marmeladova echoes the fate of Dunya, Raskolnikov's sister, who gives her hand to an unloved person for the sake of "invaluable Rodi". The symbols of eternal sacrifice appear before the hero's imagination: "Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world stands!" Dostoevsky crime punishment novel
The circumstances of external life and the ideological impulses of the hero result in an integral philosophy of the "right" of the newly appeared Napoleon. If Pushkin's Herman from "The Queen of Spades" is a man of action, whose passion for wealth turns into an obsession, then Raskolnikov is not like that. In Dostoevsky's hero, on the contrary, the idea becomes a passion. He lives by his idea, hones it, for the sake of it he makes a terrible "experiment". But a false idea cannot serve an integral personality, therefore it brings a split into the inner world of a person. It was no accident that the writer chose the name Raskolnikov for his hero.
Raskolnikov lives a kind of double life: real and logically abstract. It is difficult for him to distinguish reality from delirium. Internal foundations in it are destroyed. He appears as a morally devastated man even before the crime, because he mentally more than once commits the murder of the old woman-pawnbroker. Raskolnikov comes to the conclusion that it is he who will "take the blood upon himself." He thinks he has the right to do so. The idol of Rodion is a lord who knows no doubt. His ideal is freedom and "power over the anthill",
The desire to establish himself in this thought leads Rodion to a crime in life. The moment of the murder is the beginning of the collapse of Raskolnikov's theory. The whole month, from murder to confession, the hero of the novel experiences moral torment, fights with himself. Not immediately does he understand the horror of what he had done. At first, Rodion is tormented by the question: could he cross the line that separates man from the "trembling creature." It is difficult for him to comprehend everything alone, and Raskolnikov goes to people, tells his life to Sonya. Sonya makes Rodion look at his deed in a new way.
Sonechka Marmeladova denies the hero the right to decide human destiny, to be a judge who gives the right to life or brings death. Raskolnikov begins to realize the fallacy of his idea: "Walking the same road, I would never repeat the murder." Rodion is ruining not the old woman, but himself.
Raskolnikov's theory is collapsing rapidly. He talks about the murder to Svidrigailov, but he is only amazed why Raskolnikov is suffering. "We are of the same berry field," says Svidrigailov, terrifying the poor young man. Svidrigailov believes that Raskolnikov took up not his own business, that he was not a murderer in his character. Just as the philosophy of Luzhin, who is able to trample and morally destroy a person, so the cynicism of Svidrigailov deeply outrages Raskolnikov. He is indignant: "... Bring to the consequences that you just preached, and it turns out that people can be cut." But Rodion's theory also allows blood to be shed. And then Raskolnikov finally realizes that he has committed a crime.
Dostoevsky revealed the destructive effect of a false, individualistic idea on human consciousness. Thus, not only the "environment" is capable of influencing a person's actions, but a thought, an idea. Outrage at social injustice received a perverse, false decision. Raskolnikov's protest against the universal grief turned into an egoistic self-affirmation, an anarchic rebellion. Dostoevsky showed that the bourgeois philosophy of individualism leads to crime.
The idea of \u200b\u200bevil in the name of good is failing. Raskolnikov's confession opens the way to the salvation of the human soul. Rodion's mental anguish, which leads to repentance, helps him avoid the fate of Svidrigailov. Raskolnikov goes to hard labor. He is still morally ill, he has a lot to go through and comprehend in order to heal his soul, to come to an understanding of the true value of man, the idea of \u200b\u200buniversal good.
This is Raskolnikov's path from crime to punishment. Dostoevsky contrasts the terrible theory of the superman with the ideals of humanism, love and forgiveness. The writer sees moral improvement as the ideal of man and society, in which there is no place for violence and evil.
There is a story about the last days of Dostoevsky's life by his wife Anna Grigorievna Snitkina. On the night of January 25-26, Dostoevsky, wanting to get the fallen insert with a feather, moved the heavy bookcase, after which his throat began to bleed. The bleeding recurred at about 5 pm. Alarmed, Anna Grigorievna sent for a doctor. When the doctor began to tap the patient's chest, the bleeding was repeated and so severe that Fedor Mikhailovich lost consciousness. When the writer came to his senses, he asked to immediately call the priest. The doctor assured that there was no particular danger, but in order to calm the patient, his wife fulfilled his wish. Half an hour later, the priest of the Vladimir Church was already with them. Fyodor Mikhailovich calmly and good-naturedly greeted the priest, confessed for a long time and received Communion. When the priest left, and the wife and children entered the study, he blessed his wife and children, asked them to love each other. The night passed quietly. On the morning of January 28, Anna Grigorievna, waking up at seven in the morning, saw Dostoevsky looking in her direction. When asked about his state of health, he replied: "You know, Anya, I have not slept for three hours now and I keep thinking, and I realize clearly that I will die today ..." "My dear, why do you think that," objected Anna Grigorievna in terrible anxiety - after all, you are better now, the blood does not flow anymore ... You will still live, I assure you ... "" No, I know, I must die today. Light a candle, Anya, and give me the Gospel. " This was the same Gospel that the wives of the Decembrists gave him back in Tobolsk. Fyodor Mikhailovich did not part with this book all the time he was in hard labor. He often, thinking or doubting about something, opened this Gospel at random and read what was on the first page (to the left of the reader). And now Dostoevsky wanted to test his doubts. He himself opened the holy book and asked to read it. The Gospel of Matthew was opened, ch. 3, v. 14-15. ("John restrained Him and said: I need to be baptized by You, and do you come to me? But Jesus answered him: do not restrain; for this is how we must fulfill all righteousness") "You hear -" do not restrain ", - so, I will die, - said the husband and closed the book ... "Fyodor Mikhailovich began to console his wife, thanked for the happy life that he lived with her. Then he said the words that a rare husband could say to his wife after fourteen years of marriage: "Remember, Anya, I have always loved you dearly and have never cheated on you, even mentally!" At about 9 am he fell asleep, but at 11 o'clock he woke up, got up from the pillow, the bleeding resumed. Several times he whispered to his wife: "Call the children." Children came, kissed him and, by order of the doctor, immediately left. About two hours before his death, when the children came to his call, Dostoevsky ordered to give the Gospel to his son Fedya ... In the evening, many people gathered, waiting for Professor D.I. Koshlakov. Suddenly Fyodor Mikhailovich shuddered, rose slightly on the sofa, and a streak of blood painted his face again. Dostoevsky was unconscious, the children and his wife were on their knees at the head of his bed and wept, holding back with all his might from loud sobs, as the doctor warned that the last feeling that leaves a person is hearing, and any violation of the silence can slow down the agony and prolong the suffering dying. "I felt that the pulse was beating weaker and weaker. At 8 hours 28 minutes in the evening, Fedor Mikhailovich departed for eternity." It happened on January 28 (February 9), 1881. On February 1, 1881, with a huge crowd of people, the writer was buried at the Tikhvin cemetery in the Alexander Nevsky Lavra of St. Petersburg. Anna Grigorievna recalled that Dostoevsky wanted to be buried at the Novodevichy cemetery in St. Petersburg, but the Lavra offered any place for his burial in its cemeteries. The representative of the lavra said that monasticism "asks to be accepted for free and will consider it an honor if the ashes of Dostoevsky, who zealously stood for the Orthodox faith, rests within the walls of the lavra." The place was found near the graves of Zhukovsky and Karamzin. The funeral procession left Dostoevsky's house at about 11 am, but only after 2 pm it reached the laurel. The coffin was carried by the family and friends of the writer. The procession was opened by students of all St. Petersburg educational institutions, then there were artists, actors, a deputation from Moscow: "a long line of wreaths carried on poles, numerous choirs of youth, singing funeral chants, a coffin that rose high above the crowd, and a huge mass of several tens of thousands. people who followed the cortege ". The procession was attended by up to 60 thousand people. The Tikhvin cemetery was so crowded that "people climbed the monuments, sat in the trees, clung to the trellises, and the procession moved slowly, passing under the wreaths leaning on both sides." According to A.P. Milyukov, Dostoevsky "were not buried by relatives, not friends - he was buried by Russian society." In 1883 a monument was erected on the grave (architect Kh.K. Vasiliev, sk. N.A. Laveretsky). And in 1968, next to the writer, the ashes of Anna Grigorievna (1846-1918), who died in Yalta, and her grandson, A.F. Dostoevsky (1908-1968). Other relatives of the writer - brother Andrey Mikhailovich (1825-1897), nephews Alexander Andreyevich (1857-1894) and Andrey Andreyevich (1863-1933) and niece Varvara Andreyevna Savostyanova (1858-1935) are buried at the Smolensk Orthodox cemetery. Despite the fame that Dostoevsky received at the end of his life, truly enduring, worldwide fame came to him after his death. In particular, even Friedrich Nietzsche admitted that Dostoevsky was the only one who was able to explain to him what human psychology is.
In Dostoevsky's work Crime and Punishment, there are many female images. There's a whole gallery of them. These are Sonechka Marmeladova, killed by circumstances Katerina Ivanovna, Alena Ivanovna and her sister Lizaveta. These images play an important role in the work.
Sonya Marmeladova - the main character
One of the main female characters in the novel "Crime and Punishment" is Sonya Marmeladova. The girl was the daughter of an official who drank himself and subsequently could no longer support his family. Due to constant alcohol abuse, he is fired from his job. In addition to his own daughter, he has a second wife and three children. The stepmother was not angry, but poverty acted depressingly on her, and sometimes she blamed her stepdaughter for her troubles.
And Raskolnikov decides to dwell on this idea. After all, he likes this explanation more than any other. If the main character had not seen such a crazy woman in Sonya, then perhaps he would not have told her about his secret. At first, he just cynically challenged her humility, saying that he had killed only for himself. Sonya does not answer his words until Raskolnikov directly asks her the question: "What should I do?"
A combination of the low way and Christian faith
The role of female characters in Crime and Punishment, especially Sonechka, cannot be underestimated. After all, gradually the main character begins to adopt Sonya's way of thinking, to understand that she is not really a prostitute - she spends the money she earned in a shameful way not on herself. Sonya sincerely believes that as long as the life of her family depends on her earnings, God will not allow her illness or madness. Paradoxically, FM Dostoevsky was able to show how she combines the Christian faith with a completely unacceptable, terrible way of life. And the faith of Sonya Marmeladova is deep, and does not, like many, only formal religiosity.
A school homework assignment for literature may sound like this: “Analyze the female characters in the novel Crime and Punishment. Preparing information about Sonya, it must be said that she is a hostage of the circumstances in which life has put her. She had little choice. She could stay hungry, watching her family suffer from hunger, or start selling her own body. Of course, her act is reprehensible, but otherwise she could not act. Looking at Sonya from the other side, you can see the heroine who is ready to sacrifice herself for the sake of her loved ones.
Katerina Ivanova
Katerina Ivanovna is also one of the important female characters in the novel Crime and Punishment. She is a widow left alone with three children. She has a proud and hot temper. Due to hunger, she was forced to marry an official - a widower who has a daughter, Sonya. He takes her as a wife only out of compassion. She has been trying all her life to find ways to feed her children.
The environment seems to Katerina Ivanovna a real hell. She is very painfully wounded by human meanness, which comes across almost at every step. She does not know how to be silent and endure, as her stepdaughter Sonia does. A sense of justice is well developed in Katerina Ivanovna, and it is this that pushes her to decisive actions.
What is the hard part of the heroine
Katerina Ivanovna is of noble birth. She comes from a ruined noble family. And for this reason it is much harder for her than for her husband and stepdaughter. And this is not only due to everyday difficulties - Katerina Ivanovna does not have the same outlet as Semyon and his daughter. Sonya has consolation - this is prayer and the Bible; her father may forget himself for a while in the tavern. Katerina Ivanovna differs from them in the passion of her nature.
The ineradicability of Katerina Ivanovna's self-respect
Her behavior suggests that love cannot eradicate any difficulties from the human soul. When an official dies, Katerina Ivanovna says that this is for the better: "The loss is less." But at the same time, she takes care of the patient, adjusts the pillows. Also, love connects her with Sonya. At the same time, the girl herself does not condemn her stepmother, who once pushed her to such unseemly actions. Rather, on the contrary - Sonya seeks to protect Katerina Ivanovna in front of Raskolnikov. Later, when Luzhin accuses Sonya of stealing money, Raskolnikov has the opportunity to observe how Katerina Ivanovna protects Sonya with zeal.
How her life ended
The female characters of "Crime and Punishment", despite the variety of characters, are distinguished by a deeply dramatic fate. Poverty drives Katerina Ivanovna to consumption. However, self-esteem does not perish in her. FM Dostoevsky emphasizes that Katerina Ivanovna was not one of the slaughtered. Despite the circumstances, it was impossible to break the moral principle in her. The desire to feel like a full-fledged person made Katerina Ivanovna arrange an expensive commemoration.
Katerina Ivanovna is one of Dostoevsky's proudest female characters in Crime and Punishment. The great Russian writer constantly strives to emphasize this quality of her: "she did not deign to answer", "she examined her guests with dignity." And along with the ability to respect herself, another quality lives in Katerina Ivanovna - kindness. She realizes that after the death of her husband, she is doomed to starvation with her children. Contradicting himself, Dostoevsky refutes the concept of consolation, which can lead humanity to well-being. The end of Katerina Ivanovna is tragic. She runs to the general to beg for help, but the doors are closed in front of her. There is no hope of salvation. Katerina Ivanovna goes to beg. Her image is deeply tragic.
Female images in the novel "Crime and Punishment": the old woman-pawnbroker
Alena Ivanovna is a dry old woman about 60 years old. She has evil eyes and a pointed nose. Hair that has turned gray a little is richly oiled. On a thin and long neck, which can be compared with a chicken leg, some rags are hung. The image of Alena Ivanovna in the work is a symbol of a completely useless existence. After all, she takes someone else's property at interest. Alena Ivanovna takes advantage of the plight of other people. By assigning a high percentage, she is literally stealing from others.
The image of this heroine should arouse a feeling of disgust in the reader and serve as a mitigating circumstance in assessing the murder committed by Raskolnikov. However, according to the great Russian writer, this woman also has the right to be called a human. And violence against her, like against any living creature, is a crime against morality.
Lizaveta Ivanovna
Analyzing female images in the novel "Crime and Punishment", mention should be made of Lizaveta Ivanovna. This is the younger half-sister of the old woman-pawnbroker - they were from different mothers. The old woman constantly kept Lizaveta in "complete enslavement." This heroine is 35 years old, by her origin she is a bourgeois family. Lizaveta is an awkward girl of fairly tall stature. Her character is quiet and meek. She works for her sister all day and night. Lizaveta suffers from mental retardation, and due to her dementia she is almost constantly pregnant (it can be concluded that people of low morality use Lizaveta for their own purposes). Together with her sister, the heroine dies at the hands of Raskolnikov. Although she is ugly, many people like her image.
Katerina Ivanovna is a rebel, passionately intervening in an unfair and hostile environment. She is an immeasurable proud woman, in a fit of offended feelings she goes against common sense, puts on the altar of passion not only her own life, but, what is even more terrible, the well-being of her children.
We learn that Marmeladov's wife Katerina Ivanovna married him with three children from a conversation between Marmeladov and Raskolnikov.
"I have an animal image, and Katerina Ivanovna, my wife, is an educated person born of a staff officer's daughter .... she is also a high heart and feelings ennobled by education .... Katerina Ivanovna is a lady, although generous, but unfair .... she fights me whirlwinds ... Just know that my wife was brought up in a noble provincial noble institute and when she graduated she danced with a shawl in front of the governor and other persons, for which she received a gold medal and a certificate of commendation .. yes, the lady is hot, proud and unyielding. she washes herself and sits on black bread, but she will not allow disrespect to herself. ... The widow has already taken her, with three children, she is small. She married her first husband, an infantry officer, out of love, and with him fled from her parents' house She loved her husband excessively, but started playing cards, got on trial, and died with that. He beat her at the end, and although she did not let him down ... And she remained after him with three small children in a distant and brutal district ... Relatives all refused. And the mountains yes, she was too proud ... You can judge because to what extent her misfortunes reached, that she, educated and brought up and with a well-known surname, agreed to go for me! But she went! Weeping and sobbing and wringing my hands - let's go! For there was nowhere to go ... "Dostoevsky, ibid., Pp. 42-43.
Marmeladov gives his wife an exact description: "... For although Katerina Ivanovna is full of magnanimous feelings, the lady is hot and irritated, and will cut off ..." Dostoevsky, ibid., P. 43 .. But her human pride, like Marmeladova, is trampled underfoot at every step, she is forced to forget about her dignity and pride. It makes no sense to seek help and sympathy from others, Katerina Ivanovna "has nowhere to go."
This woman shows physical and spiritual degradation. She is not capable of serious rebellion or humility. Her pride is so exorbitant that humility is simply impossible for her. Katerina Ivanovna "riots", but her "riot" turns into hysteria. This is a tragedy that turns into a rough areal action. She attacks others for no reason, she herself runs into trouble and humiliation (every now and then insults the landlady, goes to the general to "seek justice", from where she is also kicked out in shame).
Katerina Ivanovna not only blames the people around her for her suffering, but also God. "There are no sins on me! God must forgive without that ... He himself knows how I suffered! But he will not forgive, so it is not necessary!"