One of the main characters of the novel is Arkady Ivanovich Svidrigailov. He is a nobleman of about fifty years old, calm and well-mannered person. Svidrigailov's story is very interesting: being a lover of a riotous life, he “walked” around St. Petersburg until he married Marfa Petrovna. She took him to the village, wanting to pacify her husband's voluptuousness, but there, too, our hero falls in love with Dunya. He also uses the wealth of his wife, and even when she dies, Svidrigailov immediately goes back to Petersburg for the Dunya.
In St. Petersburg, Arkady Ivanovich finds Raskolnikov and asks him to arrange a date with his beloved. Seeing that Svidrigailov is a vicious, rude person who values \u200b\u200bonly debauchery in life, Rodion refuses him. Due to the hopelessness of his position, Svidrigailov is overly frank with Raskolnikov, he even finds special pleasure in this. By chance, in St. Petersburg, Svidrigailov settled next to Sonya Marmeladova. He heard the conversation between Sonya and Raskolnikov, when Rodion confessed to the murder of the old woman-pawnbroker. Svidrigailov told Raskolnikov that he knew everything, but promised to remain silent. After meeting with Rodion, Arkady Ivanovich lures Dunya to his apartment, where she almost kills him with a revolver. Realizing that his love is doomed, Svidrigailov commits suicide.
In the novel, Svidrigailov is Raskolnikov's double. He personifies debauchery, lust and idleness of life. But unlike Raskolnikov, Svidrigailov is a weak person, because he cannot withstand all the difficulties and chooses suicide. It is possible that Arkady Ivanovich could have gone astray if his feelings were mutual, because he repeatedly feels remorse and sees the ghost of Marfa Petrovna.
Svidrigailov is an ordinary person who hides his demons under the guise of benevolence. He commits many sins, but never comes to the right path. His mysteriousness and secrecy disappear at the moments of his revelations and "exposures", and his demonic nature turns out to be an ordinary sensuality.
The 19th century has been deservedly called the "Golden Age" of Russian literature. During this period, she reaches unprecedented heights and gives us many famous masters of the word. One of them, Fyodor Mikhailovich Dostoevsky, is a sophisticated preparator of the darkest corners of the human soul. He is the author of five great novels: "Poor People", "Demons", "The Brothers Karamazov", "The Idiot", "Crime and Punishment". In the last of them, the writer plunges us into the deep inner world of the heroes, into their thoughts and experiences.
Option 2
In Dostoevsky's polyphonic novel Crime and Punishment, one of the voices belongs to the hero, whose villainy and baseness, it seems, cannot be doubted. His secondary role, however, determines one of the leading lines of the novel, associated with the motive of duality and the resurrection of Raskolnikov.
The novel history of Svidrigailov is full of all sorts of disgusting events: cheating, a debt hole, driving a deaf and dumb girl and Philip to suicide, Martha Petrovna's torment, Dunya's persecution, and, finally, Svidrigailov kills himself.
The hero consistently and cynically destroys his soul, not in the least embarrassed by his behavior. But Dostoevsky could not create just a flat image of a corrupting hero, and only the volume of the character becomes obvious when he falls in love with Dunya and witnesses Raskolnikov's confession of a crime against Sonya. There is no logic in his throwing and attempts to change when he declares to Raskolnikov that they are "one field of the berry", and when he almost threatens Duna, blackmailing her and trying to win her love.
But in these rushes and strange actions, an attempt to find at least some way out of the terrible situation in which Svidrigailov found himself, thinking that he could not feel the pangs of conscience, but it turned out that this was not so, because the image is the ghost of his late wife, so who had done a lot for him and untimely, perhaps through his fault, gone, pursues him relentlessly.
There are a lot of descriptions of Svidrigailov's appearance in the novel, but one of the portrait details speaks a lot: his face, framed by blond slightly gray hair, scarlet lips, sparkling eyes - all this resembles a mask. It is Svidrigailov's mask that is a component of his demonic nature, even when he tries to take it off by donating money to Sonya and Duna, for example, he fails - his delusion is so great to get rid of him at the same time. But Svidrigailov's nature is weak, and the demons inside him triumph, the mask will become a mask, and Svidrigailov will forever go "to America", as he calls his suicide.
Svidrigailov is called Raskolnikov's double, this is no accident. As in the mirror, Raskolnikov is destined to see what happens to a person who imagines himself the right to decide the fate of other people and dispose of their lives. In one of his conversations with Raskolnikov, Svidrigailov suggests that eternity is a bath with spiders, these spiders are his demons, his vices, passions, with which he will remain so, having laid hands on himself and not allowing his soul to be cleansed of the filth.
Svidrigailov's love for Duna does not save Svidrigailov, because through compulsion, and not through humility and patience, he goes to this love, but the old methods do not work, it is not the circumstances that Svidrigailov needs to change, but himself in the circumstances. A meeting with a five-year-old girl before her death becomes a symbol of hopelessness for the hero, since he sees the child's unredeemed suffering as a sign of the complete imperfection of the world, in which, in his mind, there is no longer a place for him. This fatal mistake of the hero becomes his sentence.
Essay on the theme Arkady Svidrigailov
Fyodor Dostoyevsky's novel Crime and Punishment focuses on the inner component of the characters, and not on their actions. One of the heroes of this work is the wealthy nobleman Arkady Svidrigailov. He and Luzhin are the moral doubles of the main character, Rodion Raskolnikov. Svidrigailov implements Rodion's theory. He gets what he wants in all possible ways. This leads his Arcadia to moral devastation and the experience of spiritual degradation.
Although the hero does not look his age, he is about fifty years old. He is short, broad-shouldered, and dresses quite smartly. The image was complemented by thick hair and a beard, and blue eyes gave a cold look with a share of disdain. For Raskolnikov, there was something menacing in this seemingly attractive image, because Svidrigailov was used to achieving his goals by any means.
There was a lot of talk and rumors around Svidrigailov's figure. They said about him that he was to blame for the death of his wife, since he himself poisoned her. Svidrigailov was also credited with driving his servant to suicide. Even Dunya, with whom Arkady is in love, feels the danger posed by this man. Svidrigailov himself does not deny that he does everything only of his own free will and desire. At the same time, he does not try to justify his behavior, as Raskolnikov and Luzhin do.
Svidrigailov is the image that Raskolnikov could become if he crossed moral boundaries. Arkady has a cold endurance and does not feel remorse, unlike Rodion. Svidrigailov is not tormented by either past sins or recent crimes.
Svidrigailov was the first to note the similarity of the heroes, but there is one difference. For Arkady Ivanovich, who got rid of moral principles, the equality of good and evil became a vital truth. At the same time, all this drives Raskolnikov into a state of panic. Despite his position in life, Svidrigailov commits a large number of good deeds.
The tragic split personality of the hero leads to the fact that he begins to feel aversion to life and emptiness. Svidrigailov becomes a warning for Raskolnikov, shows his possible future.
Svidrigailov Characteristic and Image in Dostoevsky's Novel Crime and Punishment
Plan
1. The versatility of the heroes of the novel "Crime and Punishment".
2. Svidrigailov. Characteristics and image of the hero
2.1. Wicked villain
2.2. Svidrigailov and Raskolnikov
2.3. Love for Duna
3. The end of Svidrigailov
In his difficult novel "Crime and Punishment" F. M. Dostoevsky portrayed several vivid and vivid images that still impress readers with their originality and complexity.
First of all, it is, of course, the main character himself, - a hardworking sympathetic young man who decided to cross the line of what is permitted. This is Sonechka Marmeladova - a destitute, deprived of childhood, beggar and selling herself, a girl capable of strong feelings and sincere devotion. This is Sonya's father, and Luzhin, and, of course, Svidrigailov.
Arkady Ivanovich appears before the readers as a handsome man of fifty, well-dressed, youthful. He is a nobleman and a former officer who was married to a wealthy woman. It would seem that life smiles at this hero, he is full of strength and conceit, because the circumstances surrounding him are developing well. But it's not that 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 others unhappy.
In his younger years, he quits the service, because it is difficult for him to obey the army routine, to live on friendly terms with comrades and observe the norms of decency. Without a constant income and spending all his savings on a riotous lifestyle and play, Svidrigailov becomes a beggar. For cheating and debts, he is imprisoned. 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 to the village.
Another person, imbued with gratitude to 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 beastliness in my soul and a kind of honesty to declare to her outright that I could not be completely faithful to her,” declares this vicious person, and also 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 from the reader. The unhappy girl kills herself, but this has no effect on the villain. He, without any remorse, continues to enjoy life and debauchery.
Committing crimes and atrocities, 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 this is scary. For him, there is no crime or delinquency, for him there is only a need to satisfy his desires and lusts, regardless of how it affects others. And although he tells the protagonist that they are both “one field of the berry,” this is not so.
Svidrigailov does not doubt his evil deeds, he does not hesitate between good and evil. He has long stood 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 was conquered by the spiritual beauty and purity of the young servant. She behaves meek and humble, does her homework with zeal, she is kind and agreeable. But there is another side to this compliance.
Dunya is an honest, chaste girl, she protects her purity and innocence. No threats or intimidation, no gifts and no flattery can shake her resolve to resist the hated master. Svidrigailov cannot accept this. He thinks his wife is interfering with the girl. Therefore, a man commits a terrible deed - he becomes the culprit of 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 transgressions. After that, Arkady Ivanovich goes to Duna to force her to surrender to him.
He blackmails the girl with the secret of her brother and indulges in other terrible tricks to seduce the unfortunate one. But Dunya, driven to despair, realizes that she can become a puppet in the hands of a cruel unprincipled person, whom she disdains and despises, and decides to kill. The first shot passed 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 attempt or the real threat, was broken by Dunya's despair and sorrow, her extinguished gaze and sad indifference. He realized that he was disgusted with his beloved, that she would never and for no reason love him sincerely and voluntarily. “- So you don’t love? .. And you can’t? Never? Never!" - this quiet short conversation decides the further fate of the heroes. Arkady Ivanovich, who truly loves this staunch, clean young woman, lets her go and decides to commit suicide.
His existence is devoid of meaning, without a beloved who could become his joy and salvation, he sees no reason in his existence. Svidrigailov commits suicide, but, oddly enough for a negative hero, in the last hours of his life he commits noble deeds that 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 in order to take care of his spiritual well-being. Arkady Ivanovich also arranges the life 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 landowner Svidrigailov sets off Raskolnikov. He possesses what Raskolnikov lacks - the strength of nature that allows him to cross the lines fearlessly. Svidrigailov emphasizes the weakness and bookishness of Raskolnikov, his theoretical nature, which excludes the very possibility of that direct strong desire, which determines the ability to overstep the boundaries. Having fallen in love with Dunya, Svidrigailov does not hesitate to kill his wife and remains unpunished. In contrast to Raskolnikov, after the crime Svidrigailov turns out to be viable, he continues to seek Dunya's love, and only when he is convinced of the complete hopelessness of his feelings, he kills himself.
Svidrngailov is a strong, rich nature, able to combine crime and generosity, possessing a large reserve of will. Svidrigailov is exactly the person who can calmly dare to cross the line of morality. Next to him, Raskolnikov is a weak-willed theorist, unable to cope with his own idea.
Svidrigailov began his life career as a cavalry officer, but since the most attractive side of this service is ambition, fulfillment of the well-known rules of honor, comradeship, due to his inability for all these feelings, he leaves the service; For him, only one of its negative sides existed: constraint, compulsory labor, etc. After that, he begins to live only on sensual pleasures, which have the usual outcome - ruin and satiety. It is clear that such a person does not think about the choice of ways to get money - he becomes a cheat; the question never arose in his mind whether this occupation was moral; one thing he considers it necessary to say about this period of his life is that he was beaten for cheating. He is even somewhat proud of this: in his opinion, only the beaten have a good manner. Finally he becomes a beggar, a resident of the Vyazemsky house, but even such a fall does not bother him at all; he does not feel the humiliation of such a situation, not even the shame that is characteristic of all who have sunk so low in life; in a word, the dirt, in the literal and figurative sense, of Vyazemsky's house does not act on his nerves, although it is obvious that for a person of his upbringing such a life should be extremely difficult.
But then fate squeezed silt over him: a rich woman pays his debts, with the help of money hides his rape case, makes him her husband. Svidrigailov cynically arrogates to himself the right to take her maids as his concubines and widely uses this right, so he vegetates in the village for several years. He is tired of everything, nothing interests him, nothing worries; he is completely indifferent to his wife and children; He does not understand the social duties of the landowner, because the moral feelings underlying them do not exist for him. Life becomes a burden; it was in vain that his good-natured wife took him abroad: due to the lack of aesthetic feelings, interest in public life, he was as bored there as at home.
However, during this time he does nothing wrong. Some are even ready to consider him a kind person; but how alien to him compassion for his neighbor is evident from the fact that he pursued his lackey to such an extent for amusement, laughing at his convictions that
drove the latter to suicide. Of course, Svidrigailov is not to blame for the death of this lackey: after all, he did not feel and did not understand what cherished convictions could mean for a person, because he himself could not have convictions, there was nothing cherished, dear. But now he meets a girl who arouses attraction in him, but his courtship remains without success; Svidrigailov thinks that the girl does not give herself up to him because he is married. Doubts that if he could marry her, she, like a poor woman, would agree to his proposal - do not arise in his brain; he does not admit the thought that he can arouse disgust, since the consciousness of his own filth and the assessment of the moral charm of this girl are inaccessible to him.
Then he removes the only, in his opinion, obstacle - his wife, a woman who saved him from a debt prison and hard labor, who loved him and took care of him, abandons the children and goes after Dunya Raskolnikova; but then he discovers the ultimate impossibility of achieving his goal.
It may seem that he had revived some kind of moral feeling when he did not take advantage of Dunya's helpless position, but another explanation is simpler and more correct - Svidrigailov, as a refined lecher, wanted reciprocity, but was convinced that Dunya had physical disgust for him. Sated Svidrigailov did not find exactly what he was looking for; the satisfaction of animal passion for him, as a man after all, exhausted, had no special value; so Svidrigailov's seeming generosity was simply the result of his satiety. Svidrigailov scatters money and dies, not even remembering his children in his dying moments; only pictures of his personal life flash in his head, he does not remember a single friend, not a single close person; he has no one to say goodbye to, no one to regret. He dies indifferent to everything, even to himself; in turn, no one will regret him, he left nothing, no one’s interests suffered from his death.
Meanwhile Svidrigailov was educated, brought up, rich, handsome; he had every right to a happy life, but moral blindness made his life difficult, brought him to suicide - a natural way to end the satiety of life, since there was nothing left to tie to it: there are no desires, there are no interests, there is nothing in the future ...
Back in the 1880s, the psychiatrist V. Chizh recognized the figure of Svidrigailov as “the best in all Dostoevsky's works”: “Perhaps of all the types created by Dostoevsky,
Svidrigailov alone will remain immortal. " This tremendous artistic achievement was due to the general system of constructing images of the novel, sharpened by the social topical era. "It, of course, is decently dressed and I am not a poor person," Svidrigailov is recommended, "after all, the peasant reform has bypassed us: forests and flooded meadows, income is not lost, but ..."
Before us is a large landowner, already limited by the "peasant reform" in his material wealth and personal power, although "forests and flooded meadows" remained with him. Dostoevsky introduces into his biography an episode of torture of a courtyard, led to suicide by the "system of persecution and punishment" of his master.
According to rough notes, the hero's slave-owning instincts turned out to be even sharper; "He spotted the serfs" and "took advantage of the innocence" of his peasant women. Dostoevsky accurately dates the fact that he brought Philip to the noose of the courtyard by the end of the 1850s: "It happened about six years ago, back in the days of serfdom." It is worth remembering that just before the writing of Crime and Punishment, a peasant reform was carried out. Declared by the manifesto of 1861, it was carried out in 1863, when more than 80 percent of the serfs were "placed in a definitive relationship with their former landowners."
The transitional two-year period actually did little to change the manners of the landlords, and in Dostoevsky's journals there is a number of evidence of the continuing cruel traditions of serfdom, especially in relation to the long-suffering courtyard people.
Dostoevsky's journal, which noted that “the peasant question is a question of the nobility,” cited on its pages a number of typical cases of modern chronicle: about the cruel treatment of the landowner with the people of the nobility; about the ugly act of one landowner of the Miussky district with a girl who lived in his family for more than six years as a governess [an attempt to beat him with a “two-yard shank”, flight of a girl, etc.); the whole episode strongly resembles Dounia's departure from Svidrigailov's estate in a peasant cart in the pouring rain; Finally, the suicide of a thirteen-year-old peasant girl who hanged herself in a lamp on a belt tied to a pole is reminiscent of the case of Resslich's niece, who strangled herself in the attic after she was “severely insulted by Svitsrigaipov”. This motive of the "offended girl" is heard several times in "Crime and Punishment" [a drunk girl on the K-m Boulevard, Razumikhin's argument with Porfiry, Svidrigailov's nightmare before suicide).
Subsequently, this motive in full scope was developed in "Demons" ["Confession of Stavrogin"], But already in the era of "Crime and Punishment" this topic attracted the close attention of the author. According to the story of Sophia Kovalevskaya, Dostoevsky, in the spring of 1865, told her and her sister A. Korvin-Krukovskaya a scene from a novel he had conceived about how “a middle-aged landowner hero, very well and subtly educated,” recalls, “once, after a riotous night and provoked by drunken comrades, he raped a ten-year-old girl. "
The intriguing vitality of Svidrigailov's image is also explained by his real sources. The hero, according to Dostoevsky's instructions, was written off from his comrade Aristov in the Omsk penal servitude. In drafts of the novel, he appears under this name. A young nobleman, not devoid of education, handsome and intelligent, with an eternal derisive smile on his lips, he represented
a complete type of moral monster, "monster, moral Kwaeimodo." Aristov “was a piece of meat, with teeth and a stomach, and with an unquenchable thirst for the roughest, most brutal bodily pleasures, and for the satisfaction of the smallest and most whimsical of these
he was able to kill in the most cold-blooded way, to slaughter, in a word, to do everything, if only the ends were hidden in the water ... It was an example of what one bodily side of a person could reach, not being restrained internally by any norm, by any legality ”,
Svidrigailov was conceived as a fifty-year-old Aristov and retained in his appearance and characterization a number of distinct features of the prototype. But in the process of artistic development, the image was softened and even received some traits of moral nobility (care for Sonya, for the little Marmeladovs, rejection of Dunya). Dostoevsky resorted to a special experiment here: he struck his life type in a different setting and took it at a different age, retaining all the originality of an extraordinary human individual.
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In his famous philosophical and psychological work "Crime and Punishment" Dostoevsky created a whole galaxy of bright and ambiguous images, which even today amaze readers with their complexity, brightness and originality.
One of these characters in the novel is the rare scoundrel and scoundrel Arkady Ivanovich Svidrigailov. His image was created by the author in order to draw a parallel between him and the main character Rodion Raskolnikov, because they are in similar life situations: they both committed a crime, had a "mysterious relationship" with the old woman pawnbroker. And although Svidrigailov and Rodion call them “the same field of berries”, this is not entirely true, because he has long been on the side of evil and has no doubts at all about the correctness of his choice.
Characteristics of the main character
Arkady Ivanovich is a rather attractive and youthful fifty-year-old man of noble origin. He is well dressed and makes a favorable impression on others, although Raskolnikov subtly notes that his face with cold and thoughtful blue eyes and thin scarlet lips looks like a mask (and rather unpleasant), behind which its owner successfully hides his vile essence.
Svidrigailov is a former officer who has long left the service and indulged in the idle life of a sharpie in the capital until he ended up in debt. From there he is rescued by a rich woman Marfa Petrovna, she pays off all his debts, takes away to her village, where she becomes his wife. However, he does not feel a drop of love and gratitude for her, and continues to lead an immoral lifestyle there. The vicious and immoral Svidrigailov becomes the reason for the suicide of a poor peasant girl of fifteen, whom he seduces and abandons. With special sophistication and cruelty, he also drives Philip's poor servant to suicide. Moreover, having become the cause of the death of two people, Svidrigailov does not feel absolutely any remorse, does not repent and calmly continues to lead his depraved life.
(Svidrigailov shamelessly flirts with Dunya)
Unlike Raskolnikov, who also committed a crime, and was now tormented and tormented by the question of whether he had the right to do so or not, Svidrigailov is absolutely calm and confident in his actions. He does everything to satisfy his low desires, and he absolutely does not care whether other people suffer from this or not. His soul is no longer at the crossroads of good and evil, he is consciously on the side of evil and does not repent for any of his crimes, because he does not even consider them as such. He lives, striving to satisfy his lust further, and the evil in him continues to grow and expand.
(Dunya shoots at Svidrigailov, in the role of Victoria Fedorov, film by L. Kulidzhanov "Crime and Punishment", USSR 1969)
Having met Raskolnikov's sister Dunya in her house, who appeared there as a servant, the lecher Svidrigailov falls in love with her and begins to harass her. A pure and chaste girl with anger rejects his courtship, and he, in order to achieve what he wants, brings his wife to a terrible sin - suicide. Trying to persuade the girl to connect with him, Svidrigailov resorts to various tricks, blackmails by disclosing the secret of her murderer brother, but Dunya, driven to despair, shoots him with a revolver to stop this cruel and unprincipled person. Only then he realizes how disgusted she is, and truly loving this brave and pure girl, lets her go.
The image of the hero in the work
(Svidrigailov to Raskolnikov:)
The image of Arkady Ivanovich Svidrigailov, a man without conscience and honor, was specially created by Dostoevsky as a warning to the protagonist, Raskolnikov, who he can become if he drowns out the voice of conscience and can live on without completely atoning for the crime he committed.
Svidrigailov worries and torments Rodion with his mystery and power over him, with the words that they are "one field of the berry." In fact, this terrible man is the embodiment of his dark half, that part of Raskolnikov's soul, with which he is constantly trying to fight, because it can lead him to a complete moral fall and switch to the side of evil.
(Petrenko Alexey Vasilievich as Svidrigailov, Lensovet Theater, St. Petersburg)
Broken by the act of his beloved woman, Svidrigailov realizes how empty and meaningless his life is. His conscience begins to torment him, and in the last hours of his life he is trying to somehow atone for his guilt before God and people: he transfers money to Duna, helps Sonya Marmeladova and her family. Belated repentance overtakes him and he, unable to bear this burden, commits suicide. He turned out to be too weak and cowardly, and could not, like Raskolnikov, repent and bear the punishment he deserved.
Dostoevsky outlined Svidrigailov very vividly and naturally. This is the type of person who has no moral rules. Svidrigailov was educated, brought up, rich, handsome, but sensual pleasures ruined him. In pursuit of these pleasures, he squandered his fortune, became a sharpie and then a beggar. A rich woman fell in love with him, paid off his debts and made him her husband. Svidrigailov has lived in the village for several years, and does not deny himself sensual pleasures. Finally he got tired of everything. At this time, he met Avdotya Romanovna and began to pursue her in order to satisfy his passion. Thinking that Avdotya Romanovna opposes his wishes because he is married, Svidrigailov, without hesitation, kills his wife, abandons the children and goes to St. Petersburg for Dunya. By cunning, he lures her into his apartment and wants to dishonor. But when he sees that Raskolnikova feels hatred and contempt for him, he lets her go. After that, he was left with only one outcome - suicide. Svidrigailov scatters his money and dies indifferent to everything, even to himself. Of course, no one will regret such a monster.
The figure of Svidrigailov is somehow separate from the whole action of the novel. Much in it remains unexplained and mysterious. Svidrigailov is a person capable of all sorts of nasty things, but meanwhile we see in him good movements of the soul - so he suddenly provides after the death of Katerina Ivanovna her family. His relationship to Raskolnikov's sister is unclear. Obviously, he had a deep and constant passion for her. The scene of his meeting with her makes one think that not one animal lust spoke in him, but something else. The mental process that drove him to suicide is also unclear. Despite all the insufficiency and vagueness of the outline, Svidrigailov gives the impression of something whole, some kind of force. He is even cute, despite his bad sides. By its artistic completeness, "Crime and Punishment" ranks first among the novels of Dostoevsky, the novels of urban life, the life of St. Petersburg, "the city of a half-mad", as one of the heroes of "Crime and Punishment" puts it.
According to prof. Chizha in "Crime and Punishment" five mentally ill: Raskolnikov and his mother, Marmeladov and his wife and Svidrigailov. The latter is the most perfect, "immortal"
image of moral insanity. What is called moral insanity is expressed by the complete or almost complete loss of moral concepts in the presence of other mental manifestations. “Russian people are broad people in general,” says Svidrigailov, “broad as their land, and extremely prone to the fantastic, to the disorderly.” “In our educated society, there are no especially sacred traditions,” he develops further his thought.
Others make up these sacred and moral concepts from books or "deduce from chronicles", but, according to Svidrigailov, this means being "a cap" and "indecent to a secular person." With a sense of satisfaction, he calls himself a “white-handed” and does not recognize any shrines. He is a family nobleman, a former cavalry officer, who has not broken various social "ties" that have helped him out more than once in difficult moments of life. "According to the old regimental habit" he is an alcoholic, and out of love for strong feelings he is a sharper and a libertine, about which he speaks with frank cynicism. He beat his wife with a whip, also finding pleasure in this, but for-
so poisoned her, having obtained threats or bribes, that a medical autopsy established death from a hearty dinner after bathing. Svidrigailov easily got away with the suicide of his lackey, driven to this by rude treatment. Svidrigailov is not ashamed to remember this, but
just boring. Having learned from the overheard conversation about Raskolnikov's crime, Svidrigailov considers him an interesting person and offers to arrange an escape abroad. Raskolnikov is "a berry of his own field" for him. Recognizing that he has the full right to use people for his own pleasure and benefit, Svidrigailov is contemptuous of any new social trends and is very glad that in his area the peasant reform was carried out in such a way that his income did not decrease the axis.
The public danger of the Svidrigailovs is that they are considered sick only from a medical point of view. For all of them, at the most, they are weirdos. Dostoevsky shows both the undoubted morbidity of Svidrigailov, who suffers from hallucinations, and his infectious, pernicious influence. He "has the good fortune to interest with his judgments" Raskolnikov's sister, whom in the end he brings her vile harassment to the point that she shoots him and almost kills him. He finds himself a bride, a "sixteen-year-old angel", enjoys her bashful tears from his appeal and already knows in advance that after the wedding he will leave her, and that some Madame Resslich is trying about this wedding, so that later, taking advantage of the hopeless situation of an abandoned woman, he
"Turnover", "in our layer, that is, yes higher." The spiritually undeveloped Lebezyatnikovs and the morally deaf Luzhins are connected with countless threads of interaction with the moral insanity of Svidrigailov. The hopelessly stupid and rude Lebeziatnikov even sees service to progress in the confession, for example, of ideas such that nobility and generosity are all nonsense, nonsense, old prejudicial words. Through Lebezyatnikov, Marmeladov learns that "compassion in our time is forbidden even by science, and that this is already being done in England, where there is political economy." Luzhin, a "trustworthy and well-to-do" person, also referring to "science", asserts that you need to love not your neighbor, but yourself, and that everything is based on personal interest. He is deliberately looking for a wife from a poor family so that she feels obligated to her husband. Luzhin chooses a poor girl, Avdotya Romanovna Raskolnikova, who fits his ideal of a poor and therefore submissive wife. Her mother, a needy widow of a nobleman, a woman tired of struggling with want and subsequently obsessed with fear and worries about her children, in some despair is looking for excuses for Dunya's marriage to Luzhin, who "seems to be a kind" man. Therefore, Svidrigailov rightly notes that Raskolnikov's mother in vain prefers Luzhin to him: it is absolutely all the same. Puddles and only not so brave and impudent as Svidrigailov, but he will not stop at any meanness to
achieve his goal when he does not have to be afraid of resistance. The Svidrigailovs, Lebezyatnikovs, Luzhins and others like them with all their weight fall on the weak, humiliated, poor.