Among the "twins" of Raskolnikov, one can single out "light" and "dark", shading the character and worldview of the protagonist in different ways.

Arkady Ivanovich Svidrigailov – master, landowner, representing moral degradation of the nobility.

Svidrigailov embodies the idea of ​​permissiveness. From the writer's point of view, accepting this idea means forgetting God, violating His commandments and any moral laws. Permissiveness deprives a person of free will, gives him into the power of the devil and ultimately leads to death. Svidrigailov transcends all moral barriers. He does not disdain the seduction of young girls, ruins his wife, blackmails Dunya, trying to achieve her favor. In the past of the hero there is a dark story with the suicide of Philip, a householder who was driven to this terrible step by Svidrigailov, and other dark stories.

Svidrigailov, for all the disgust of his moral character, is ambiguous. He is also capable of good deeds. This is evidenced, for example, by his assistance to the orphans Marmeladov. And yet good deeds can no longer save him. Naturally, Svidrigailov's suicide is the hero's terrible crime against his own soul.

Svidrigailov -. For all the opposition of the natures of the two characters (for example, Raskolnikov is an unusually chaste person), there is “some kind of common point” between them, they are “of the same field of berries,” as Svidrigailov himself notes. This “common point” is permissiveness.

Portrait characterization of the hero, especially his "cold staring" look, accentuates such features of Svidrigailov as spiritual coldness, cynicism, indifference to human suffering.

One of the brightest means of revealing the image of Svidrigailov is a description of his nightmares, especially those that he experiences immediately before suicide.

Pyotr Petrovich Luzhin – prosperous official(outside councilor), serving in two places and simultaneously engaged in law practice: he is going to open his own public office in St. Petersburg.

According to Pulcheria Alexandrovna, this is “a trustworthy and well-to-do person”, while he “in many respects shares the convictions of our newest generations” and, as Dunya notes, “seems to be kind.”

Luzhin - new type Russian life, type of acquirer who does not stop at any moral obstacles to achieve his own goal.

Like Raskolnikov, Luzhin developed his "theory" and acts in accordance with it. This theory of the "whole caftan". main idea in this theory lies in a maxim that is directly opposite in meaning to the gospel commandment about self-sacrificing love for one's neighbor: Love yourself first because everything in the world is based on self-interest. If “you love only yourself, then you will do your business properly, and your caftan will remain intact ...”

In Luzhin's soul, the ability to love one's neighbor cordially is completely atrophied, it is replaced by rational approach to man, calculation.

The author describes with irony appearance already middle-aged Luzhin, speaking as a groom: “In clothes ... Pyotr Petrovich prevailed colors are light and youthful". I also remember such a portrait detail as sideburns "in the form of two cutlets", which "pleasantly overshadowed" the hero "on both sides."

The baseness of Luzhin's nature is most clearly revealed through his vile deeds in relation to Raskolnikov, Dunya and Sonya.

Luzhin, like Svidrigailov, Raskolnikov's "dark twin". His theory surprisingly resembles "moral reasoning" developed by the protagonist of the novel. Introducing the image of Luzhin into the novel, Dostoevsky declares his rejection of rationalism. This, according to the writer, is a mindset characteristic of a Westerner and alien to the Russian people.

Among the characters shading Raskolnikov's theory, we will name student who spoke in a tavern with officer about the same old pawnbroker that Raskolnikov was thinking about at that moment. “Kill her and take her money, so that with their help you can then devote yourself to the service of all mankind and the common cause: do you think that one tiny crime will not be atoned for by thousands of good deeds? In one life, thousands of lives saved from decay and decay. One death and a hundred lives in return - why, there is arithmetic here!”- the student argues, setting out essentially the same idea that Raskolnikov was hatching in his mind.

Andrey Semenovich Lebezyatnikov- a petty official, "one of the most advanced young progressives", reminiscent of Sitnikov from Turgenev's novel "Fathers and Sons".

Lebezyatnikov gets carried away ideas of Fourier and Darwin, most of all - the idea women's emancipation. He considers Sonya's horrific position as the normal status of a woman in society (although it was Lebezyatnikov who was categorically against Sonya continuing to live in the same apartment with him).

Talking about the views of Lebezyatnikov, Dostoevsky parodies vulgar views of socialists on human nature. As you know, many socialists believed that the character of a person depends entirely on society. " Everything is from the environment, and the person himself is nothing", - says Lebezyatnikov.

With all his adherence to fashionable theories, Lebeziatnikov retained in his soul some ideas about honor and justice. He indignantly denounces Luzhin, who seeks to slander Sonya.

fashionable nihilistic ideas Lebezyatnikov, aimed at the destruction of traditional moral norms, can be interpreted as a kind of a parody of Raskolnikov's theory- in its "reduced" version. In this sense, Lebezyatnikov can also be regarded as a kind of " doppelgänger of the protagonist – V some jester guise.

Some characters shade bright sides of Raskolnikov's personality.

Sonya Marmeladova – main character novel. This daughter of a poor official, due to the unbearably difficult situation of the family, forced to become a public woman.

Sonya, like Raskolnikov, "transgressed" guilty before God of mortal sin. No wonder Dostoevsky calls his heroes "a murderer and a harlot."

However, Sonya, unlike Raskolnikov, is not struck by such a passion as pride. She lives in the deepest humility realizing all the sinfulness of their occupations. Deep faith in God consciousness of one's own unworthiness And selfless love for neighbor help Sonya understand Raskolnikov and take a sincere part in his fate. In turn, Raskolnikov's cordial disposition towards Sonya, his hope for her help, the feeling of tenderness and gratitude that the hero feels for her, help Sonya herself to escape from the terrible world of sin and start a new life.

Raskolnikov's meeting with Sonya(reading the gospel text about the resurrection of Lazarus, the hero's tacit recognition of the murder, and finally, the sincere call with which Sonya addresses Raskolnikov to accept suffering and thus atone for her own guilt before God and before people) become the most important milestones in the spiritual awakening of the protagonist of the novel.

drawing psychological picture Sony, Dostoevsky emphasizes the childish innocence And kindness heroines. “Her blue eyes were so clear, and when they revived, her expression became so kind and simple-hearted that it involuntarily attracted to her ... Despite her eighteen years, she seemed almost still a girl, much younger than her years, almost completely child,” writes Dostoevsky.

Sonya can be called "light twin" of the protagonist. Her compassionate and selfless love for Raskolnikov kindles the light that had been extinguished in the soul of the hero, awakens his conscience and helps him embark on the path of repentance. Therefore, we can say that the idea of ​​Raskolnikov's spiritual revival is connected with the image of Sonya.

Avdotya Romanovna Raskolnikova is the sister of the protagonist. The image of Dunya also sets off, first of all, the bright sides of the soul of Rodion. According to Pulcheria Alexandrovna, Dunya is "a firm, prudent, patient and generous girl." The heroine is distinguished by such qualities as sacrificial love for her neighbor, spiritual purity, chastity, sincere faith in God, and steadfastness in trials.

At the same time, in the character of Dunya, as in the character of Rodion, sometimes self-confidence and even pride. These features are evidenced, in particular, by portrait characteristic heroines. Here is how Dostoevsky draws her appearance: "Avdotya Romanovna was remarkably good-looking - tall, surprisingly slender, strong, self-confident, which was expressed in every gesture of her and which, however, did not in the least take away her softness and grace from her movements."

Dunya appears in the novel and how representative of the world "humiliated and insulted", And How « new person» : together with Razumikhin, she is ready to go to Siberia, work, live with high goals.

Pulcheria Alexandrovna, mother of Rodion, appears before us as a woman deeply religious And selflessly loving son. Pulcheria Alexandrovna sets off in the main character such qualities as kindness And love for neighbor.

The images of Raskolnikov's mother and sister clarify those bright personality traits of the protagonist which eventually prevailed over his disastrous delusions.

Dmitry Prokofievich Razumikhin (real name- Vrazumikhin) - another "light twin" Main character. As the character himself notes, his real name is Vrazumikhin, but many call him Razumikhin.

Razumikhin, in his own words, "noble son". Despite his noble birth, he is extremely poor. Razumikhin supported himself, "getting some money with some work." Like Raskolnikov, for material reasons, he is forced to temporarily leave his studies at the university.

The author describes the hero with undisguised sympathy: “It was an unusual cheerful and sociable guy, kind to simplicity. However, under this simplicity lurked depth, And dignity... He was very not stupid, although indeed sometimes rustic ... Sometimes he was rowdy and was known as a strong man.

Dostoevsky focuses the reader's attention on portrait characteristic hero: "His appearance was expressive - tall, thin, always poorly shaven, black-haired."

Unlike the melancholic Raskolnikov, Razumikhin - optimist. Dostoevsky notes that "no failures ever embarrassed him, and no bad circumstances, it seemed, could crush him."

Razumikhin - a person close to the author in an ideological dispute with Raskolnikov(third part, fifth chapter, Porfiry Petrovich's conversation with Raskolnikov and Razumikhin). As a representative younger generation and a participant in the "common cause" (by "common cause" the author probably means not the revolutionary struggle, but the participation of young people in creative activities for the benefit of Russia), Razumikhin sharply criticizes Raskolnikov's theory, especially "permission of blood in conscience". Creating the image of Razumikhin, Dostoevsky sought to show that far not all progressive-minded youth approve of revolutionary actions, violence as a way to combat social evil; the writer discovers in the youth environment not only nihilism, but also creative aspirations. Razumikhin - "new man" in the understanding of Dostoevsky.

The character of Razumikhin is most fully revealed in effective assistance this hero Raskolnikov, his mother and sister. Sincere Razumikhin's love for Dunya brings out the best soul qualities of the character.

The image of Razumikhin, a kind, strong and noble man, helps to see the bright beginning in the soul of his friend Raskolnikov.

Porfiry Petrovich, not named by name in the novel, - jurist, investigative officer, that is, the investigator. It was Porfiry who was instructed to conduct an investigation into the murder of an old pawnbroker.

In the system of Raskolnikov's twins, Porfiry Petrovich occupies a special place. It can be said double analyst. Possessing an extraordinary mind, Porfiry examines the behavior of the killer from the psychological side. He is the first to guess who committed the crime. Little of. Sympathizing with Raskolnikov, understanding his mental anguish, Porfiry seeks to help the protagonist to understand oneself, to realize the falsity of the theory developed by him, to repent and accept suffering - the only way to atone for one's own guilt and return to life.

Porphyry also has mocking disposition and pronounced sense of humor, which undoubtedly helps him in communicating with the criminal.

Significant three meetings Raskolnikov with Porfiry Petrovich.

During first meeting, where, in addition to Porfiry and Raskolnikov, Razumikhin and Zametov are also present, Raskolnikov's article "On Crime", published in Periodical Speech and containing an exposition of the theory of the protagonist, is discussed. In a conversation with Raskolnikov, Porfiry seeks to comprehend the psychological motives of a crime committed "according to theory", to understand the theory itself. Already during the first meeting with Raskolnikov, it becomes clear to Porfiry that he is the killer.

Second meeting takes place in the department of the bailiff of investigative affairs, where Raskolnikov brought a statement about the hours pawned by the pawnbroker. Porfiry, carefully analyzing the motives of the crime and the psychology of the criminal, makes every effort to expose Raskolnikov, but the unexpected act of the painter Mikolka, who decided to take the blame, temporarily upsets the investigator's plans.

Finally, third meeting heroes takes place in Raskolnikov's apartment. Porfiry no longer hides his conviction that Raskolnikov committed the crime, and advises him to make a confession.

Porfiry gives the most clear and expressive characterization of the Raskolnikov case: « Here the case is fantastic, gloomy, the case is modern, our time is a case, sir. when the human heart was troubled ... Here are bookish dreams, sir, here is a theoretically irritated heart ... "

Porfiry's meetings with Raskolnikov help the protagonist realize his own crime and in the future find a way to overcome the pernicious theory. In the image of Porfiry Petrovich embodied the author's ideas about fair justice.

In addition to the protagonist's actual "twins", there are many other characters in the novel, allowing the author to draw a broad picture of the era, to create vivid psychological types.

Old woman pawnbroker Alena Ivanovna - figure symbolic. She personifies that the evil that reigns in the world and against whom Raskolnikov directed his rebellion.

In appearance, Alena Ivanovna is “an insignificant, evil, sick old woman,” in the words of a student who talked with an officer in a tavern. This is evidenced by the description appearance: "She was a tiny, dry old woman, about sixty years old, with sharp and angry eyes, with a small pointed nose and simple hair." Interior The old woman’s apartment also leaves the impression of mediocrity: “A small room ... with yellow wallpaper, geraniums and muslin curtains on the windows ... The furniture, all very old and made of yellow wood, consisted of a sofa with a huge curved wooden back, a round oval table in front of a sofa, a toilet with a mirror in the wall, chairs along the walls, and two or three penny pictures in yellow frames depicting German young ladies with birds in their hands - that's all the furniture. In the corner in front of a small image a lamp was burning. Everything was very clean...”

Raskolnikov was convinced that by killing an insignificant old woman, he did not seem to be committing a crime - as if he was killing a louse. Meanwhile, the writer seeks to emphasize that the old woman, despite all her insignificance, is still a person, and not a "louse", as Raskolnikov put it about her, causing Sonya's indignation.

Lizaveta, half-sister of the old pawnbroker, is the exact opposite of Alena Ivanovna. This man is extraordinary gentle, humble, extremely pious, though not without sin. Meek Lizaveta is a double of Sonya Marmeladova. Having become an innocent victim of Raskolnikov, she becomes a mute reproach to the hero with his inhuman theory.

Praskovya Pavlovna Zarnitsyna, Raskolnikov's landlady, personifies good nature And warmth.

Natalia, the late bride of Raskolnikov, the daughter of his landlady, the widow Zarnitsyna, like Sonya, personifies humility, meekness, warmth, revealing the bright sides of the personality of the protagonist.

Nastasya- the servant and cook of Raskolnikov's landlady, the widow Zarnitsyna, is a simple Russian woman who sympathizes with the hero.

Marfa Petrovna- Svidrigailov's wife and, apparently, his victim - combines such features as a sincere piety, generosity, sympathy for the suffering and at the same time eccentricity, irritability, despotism. All these features are manifested in her attitude towards Dunya.

Amalia Fyodorovna Lippevehsel- the landlady of the Marmeladovs, Daria Frantsevna- keeper of the brothel, Gertrude Karlovna Resslich- a usurer, an acquaintance of Svidrigailov - all these characters complement a picture of evil reigning in the world.

Consider further the images of representatives the Marmeladov family. This family personifies in the novel world of the “humiliated and offended”. The history of this family is tragic storyline in the work of Dostoevsky.

Semyon Zakharovich Marmeladov – petty official, titular adviser. This « small man» sunk to the bottom of life. Passion for drunkenness deprived him of his place in the service, led to the fact that he completely sank, began to lose his human appearance. Meanwhile, Marmeladov is distinguished by a deep humility, consciousness of one's own sinfulness and sincere hope in the mercy of God.

An important detail is that before his death, the hero asks for forgiveness from Sonya's daughter and worthy of confession and communion.

Katerina Ivanovna, Marmeladov's wife in his second marriage, is character opposite to Marmeladov. This is, in his expression, a lady "hot, proud and adamant".

Katerina Ivanovna is very ill, this is manifested in her appearance and behavior. This is how Dostoevsky draws her portrait: “She was a terribly thin woman, thin, rather tall and slender, with beautiful dark blond hair and ... with cheeks reddened to spots.”

Selfless service to children combined in Katerina Ivanovna with such passions as exorbitant pride And morbid vanity. The heroine boasts of her noble origin, constantly denounces her husband, communicates with children in constant irritation. It is Katerina Ivanovna who pushes her stepdaughter Sonya to a terrible act that brought the girl so much grief and suffering.

At the end of the story, the heroine goes crazy. Unlike her husband, even before death, she shows insubordination And refuses confession and communion: “There are no sins on me! .. God must forgive even without that ... He knows how I suffered! .. But if he doesn’t forgive, it’s not necessary! ..”

With images children Katerina Ivanovna - Polenki, Leads(she is Lenya) And If- the motif of a desecrated, insulted childhood is connected. The suffering of children, according to the writer, is the most vivid manifestation of the cruelty of the world that has fallen into sin.

Raskolnikov's sincere and disinterested help to the Marmeladov family turns out to be a powerful impetus to the spiritual resurrection of the hero. The children's prayer for the "slave Rodion", along with the prayers of the hero's mother and sister, becomes the decisive force that saves his soul: it prevents Raskolnikov's suicide and leads him to spiritual rebirth.

Image drunk girl on the boulevard complements the picture of “humiliated and offended”, develops the theme of abused childhood.

The writer's story about childhood suffering includes a mention seven sick children of the tailor Kapernaumov, from which Sonya rented a room.

Among the children's images in the novel, it should also be noted images of children - victims of Svidrigailov. This is unfortunate the deaf-mute niece of Mrs. Resslich, which Svidrigailov brought to suicide with his abuses, this is his young "bride", which parents are ready to marry for money, and his other victims mentioned in the novel. Particularly vivid images of children - victims of Svidrigailov - appear in the nightmares that he sees before committing suicide.

The picture of human suffering is also complemented by afrosinyushka- a drunken woman who tries to commit suicide by throwing herself into a canal.

Doctor Zosimov, treating Raskolnikov, combines professional integrity, conscientiousness, willingness to help with some arrogance And vanity, as well as a tendency to debauchery. According to Razumikhin, in a few years Zosimov may lose his nobility and become a slave to material well-being. This character partly reminds us of Chekhov's Ionych in the initial period of his medical practice.

Dostoevsky draws for us and police world. It is quick-tempered and at the same time unusually kind lieutenant Ilya Petrovich nicknamed Powder, quarter warden Nikodim Fomich, clerk Zamyotov. All these characters complement the broad picture of St. Petersburg life, painted by Dostoevsky in the novel Crime and Punishment.

Dostoevsky in his work touched on the topic common people

Two Mikolki (man killing a horse in Raskolnikov's first dream, and painter, mistakenly arrested on suspicion of the murder of an old woman and ready to suffer innocently) personify, according to Dostoevsky, two poles in the character of the Russian people- his ability to accomplish exorbitant cruelty and at the same time willing to selfless deed, willingness to accept suffering.

Symbolic image tradesman- a man who frankly told Raskolnikov that he was a murderer ("murderer"). This character represents awakening conscience of the hero.

Artistic originality"Crimes and Punishments"

Raskolnikov is surrounded in the novel by characters who are, as it were, his "twins": in them, some side of the protagonist's personality is reduced, parodied or shaded.

With the help of Raskolnikov's twin heroes, F. M. Dostoevsky leads his hero to a rethinking of his former views.

Raskolnikov's spiritual twins are Svidrigailov and Luzhin. The role of the former is to convince the reader that Raskolnikov's idea leads to a spiritual impasse, to the spiritual death of the individual. The role of the second is the intellectual decline of Raskolnikov's idea, such a decline that will be morally unbearable for the hero.

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svidrigailov
"We are one field of berries",- Svidrigailov says to Rodion, emphasizing their similarities. Svidrigailov does not seem to have a clearly formulated and formalized theory, however, in conversations with Raskolnikov, Svidrigailov expresses several interesting thoughts about a person.

Svidrigailov affirms the truth of the subjectivity of the world: he says that “perhaps there is no eternity”, and therefore - what difference does it make whether you were a righteous person in this world or indulged in all sorts of pleasures, anyway no one knows what is outside this world waits for a person, and therefore everyone lives according to his own convictions and, therefore, it is impossible to reproach anyone.

This man is the embodiment of Raskolnikov's theory, the sharpening of the idea of ​​permissiveness - lives by the principle of permissiveness. He “stepped over” through several lives: Marfa Petrovna, a girl, a lackey ... Svidrigailov uses any means to achieve his goals, which are basically banal, base and vulgar. Raskolnikov despises Svidrigailov, but at the same time feels both fear of him and interest in his personality.

Arkady Svidrigailov is the most painful double of Rodion. Raskolnikov understands that there is no turning back for Svidrigailov, after such a moral fall the restoration of the soul is impossible. Svidrigailov is a warning to the hero about a possible fate if he does not obey the voice of his own conscience and wants to live with a crime in his soul that has not been redeemed by suffering.

Svidrigailov is one of the most complex images of Dostoevsky. He, like Raskolnikov, rejected public morality and spent his whole life in search of pleasure. According to rumors, Svidrigailov is even guilty of the death of several people. He forced his conscience to be silent for a long time, and only the meeting with Dunya awakened in his soul some feelings that seemed to be forever lost. But remorse for Svidrigailov (unlike Raskolnikov) comes too late, when there is no time left for renewal. Trying to drown out remorse, he helps Sonya, the children of Katerina Ivanovna, his fiancee, and after that he shoots himself in love. This is the finale of all who place themselves above the laws of human society. Death for him is liberation from all obstacles, from "questions of man and citizen." This is the result of the idea that Raskolnikov wanted to make sure of. The message about Svidrigailov's suicide was the last argument for Raskolnikov in favor of a frank confession.

The fact that Rodion killed a man, Arkady Ivanovich does not see anything special. This is where the difference between the two characters comes into play. Svidrigailov does not understand Raskolnikov's dreams and doubts. From a conversation with Svidrigailov, Rodion understands that "he did not cross, he remained on this side." And Arkady Ivanovich "strangled everything human in himself."

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Doubles show that Raskolnikov's theory leads to the destruction of man and life, because it only brings evil. At the same time, Luzhin and Svidrigailov show that the theory applied in life turns out to be primitive and criminal, because it exposes the basest feelings: betrayal, meanness, selfishness. After all, Raskolnikov committed the worst crime against himself and God, because he lost his faith.

The first double of Raskolnikov is Luzhin: in this way Dostoevsky reduces the moral idea of ​​the theory.

The reader first learns about Pyotr Petrovich Luzhin from his mother's letter to Raskolnikov.
first meets immediately after Rodion's illness - Luzhin comes to get acquainted with a future relative. From the beginning of the conversation, Raskolnikov becomes bitter against Luzhin, and the reason for this is the theory of the “whole caftan”. &
Luzhin is Raskolnikov's double, and his theory is an analogue of the hero's theory, which the hero could not fail to notice and not be horrified by this.

Luzhin lives according to the calculation of benefits. “Love yourself first of all, for everything in the world is based on personal interest,” Luzhin believes. &

First of all, he breaks the law of humanity, moral law, but calmly endures what Raskolnikov cannot endure. Yes, Rodion killed the old woman for profit and to prove his theory, in order to check whether he is a “man” or a “trembling creature”, but Raskolnikov cannot reach the end. And Luzhin? Helping Dunechka, he enslaves and humiliates her without even realizing it. Love for Luzhin is not obligatory, he brings evil to Dunya, not thinking about her. He needs a wife who is obedient and bows before her husband. By marrying a dowry, Luzhin wants to make the woman feel indebted to him, he wants to turn her into his own slave. Luzhin is ready to step over it in order to achieve his goal. He is not interested in her opinion, he made a choice. This unconsciousness is his strength - after all, "Napoleons" do not suffer, do not ponder whether it is possible or not to step over, but simply step over a person. And the most striking confirmation and exposure of Raskolnikov's theory is Luzhin's inhuman abuse of Sonya.

Mirror image of a hero

In Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment, Raskolnikov's doubles are a number of heroes. When reading a work for the first time, we cannot understand all the nuances and subtleties of the content. The detective story completely captures our imagination. A closer look at the writer's intention raises a number of questions. It seems incomprehensible that some personalities appear on the pages of the book, whose history and fate are far from the life of the protagonist. In fact, Dostoevsky does not have a single superfluous actor. Each of the characters carries its own semantic load and serves to more fully reveal the personality of the protagonist. The theme of duality in the novel "Crime and Punishment" is very important.

Of course, in the center of the novel is the gloomy figure of Rodion Raskolnikov. It is no coincidence that the author gave his hero speaking surname. The personality of a young man is contradictory and, like a mosaic, consists of disparate, seemingly unrelated parts. Each of them in the novel has its own mirror image in the form of a single hero. Let's get to know them in more detail.

Twins of Rodion Raskolnikov

The only friend

According to the plot of the story, Dmitry Razumikhin appears as the first of the hero's doubles. The young man is the opposite of the main character. He is active, sociable and cheerful. The student steadfastly endures the blows of fate, makes plans and does not fall into despair. His friend, on the contrary, is gloomy and taciturn, unable to cope with life problems. Against the backdrop of Razumikhin's optimism, Raskolnikov's apathy becomes brighter and more understandable to the reader. "Scoundrel man! And the scoundrel is the one who considers him a scoundrel! the young man is convinced. F. M. Dostoevsky also points to the similarity of the characters. They are young and smart, decent and noble. Both dream of a great future, only they choose different ways to achieve the goal. Razumikhin works tirelessly, trying to cope with poverty, and the impatient Raskolnikov commits a crime for the sake of an idea.

Revered Groom

In the mirror image of the main character, we will notice another double. This is the happy chosen one of Sister Raskolnikov, Pyotr Petrovich Luzhin. hypocritical person, trying to seem honest and noble, in fact, has a mean and deceitful nature. What character trait of our hero is convexly depicted in this image? Luzhin, going towards his goal, is guided by the principle: "All means are good." He takes advantage of Dunya's plight, slanders Sonya, caring only about his own well-being. Raskolnikov, testing his theory, acts in the same way. The image of Petr Petrovich Luzhin helps to understand the egoistic essence of the main character's idea.

Gloomy Svidrigailov

The enigmatic figure of Svidrigailov causes the reader's hostile attitude. This is a vicious person for whom there are no laws of morality and morality. He is capable of murder, molestation of young children, betrayal of his wife and other vile deeds. But his phrase: “We are one field of berries,” addressed to Raskolnikov, makes us understand that the characters have similar features. Rodion Raskolnikov, like the mysterious Mr. Svidrigailov, commits a crime. Through his fault, people are dying, but he does not feel remorse. Such behavior makes him related to this negative character. The figure of Svidrigailov is full of contradictions just like the image of the main character. He is capable of noble deeds: helps the orphaned children of Marmeladov, gives money to Sonya Marmeladova. But his disgusting essence does not change from this. Acquaintance with him shows what terrible consequences the denial of the commandments of Christianity and impunity can lead to.

Lebezyatnikov Andrey Semyonovich

This hero, according to the author's intention, in a grotesque form reflects the youth's fascination with new theories. He is a parody of Raskolnikov's obsession with his theory. Lebezyatnikov is stupid, but kind and harmless. Luzhin's meanness is as unpleasant to him as it is to Rodion Raskolnikov.

Wise Investigator

Porfiry Petrovich, to some extent, can also be attributed to the twins of the protagonist. A wise person understands a confused student, sincerely sympathizes with him. He himself managed to stop in time and understand fashionable modern theories and is now trying to save Raskolnikov: “Become the sun, everyone will see you! The sun, first of all, must be the sun!”

Female counterparts of the hero

Separate character traits of a young man are displayed in the heroines of the story. Describing Avdotya Romanovna Raskolnikova, the writer points out her outward resemblance to her brother, draws attention to their kindred spirits. The girl is smart, proud and independent just like her brother. But unlike him, these character traits help her choose the right way in life, to understand people and not to make fatal mistakes.

The most important person in the life of the hero is Sofya Semyonovna Marmeladova. Believing in God, the good Sonya is different from Raskolnikov. But they also have something in common: both committed a crime, broke the law, became outcasts. Only Sonya considers herself a sinner and longs to accept suffering in order to atone for her guilt, and Rodion Raskolnikov is sure that he is right. In the image of Sonya F.M. Dostoevsky tried to convey to the reader the main idea of ​​the work and finally debunk Raskolnikov's inhuman theory.

The role of doubles in the novel

Raskolnikov's doubles in Dostoevsky's novel "Crime and Punishment" help to understand the complex character of the protagonist, to consider individual character traits, as if through a magnifying glass. Thanks to this technique, we understand the motives of actions and realize the inevitability of punishment for the crime committed.

Artwork test

Many literary scholars note that Fyodor Mikhailovich Dostoevsky puts the idea and the character-bearer of this idea at the center of his works. So, the novel "Crime and Punishment" was no exception, in which leading role played by a young man, the bearer of the "Napoleonic" theory. The essence of this doctrine lies in the fact that there are people who, in order to achieve their goal, can transcend absolutely all the norms and laws adopted in society.

The writer shows all stages of development of this concept: from its inception to collapse. And the whole system of characters in the novel is chosen in such a way as to more clearly show this very thought of Raskolnikov. That is why the rest of the characters of the novel are in one way or another correlated with Rodion, the bearer of the main idea of ​​the novel. Accordingly, Dostoevsky uses the only logical method of composition in this case - the introduction of doubles and antipodes.

Heroes duplicating Raskolnikov are and. The first one shows the reader that the idea of ​​Rodion ultimately leads to spiritual death, to the extinction of the moral content of the human personality. And the second image serves to demonstrate the intellectual decline of his designs.

Luzhin is a small entrepreneur who, with the help of wealth, wants to achieve a position in society, to become the master of life. How similar it is to Rodion, a poor student who has one single desire - to rise above his social status.

Thus, these two twin heroes coincide in their desire to go beyond the framework of the position in society that was originally predetermined for them. Raskolnikov, in achieving this goal, allows himself to kill the old pawnbroker, and Luzhin - to destroy Sonya. Both have a fundamentally wrong message - they consider themselves better than other people, and in particular those who are chosen as their victim. It is worth making only a small excuse that the methods that Luzhin chooses are much more vulgar.

The antipode of Rodion in the novel is his sister. She does not consider herself superior to her brother, on the contrary, she exalts him above herself. And Raskolnikov, of course, cannot fail to notice this. But he categorically rejects the sister's sacrifice.

Rodion and Dunya are opposites in terms of their attitude towards other people. The girl does not put Svidrigailov, a morally degraded person, below herself, she sees in him the same personality. What absolutely cannot be said about Raskolnikov.

Another antipode is and, which is aware of the sinfulness of its actions, but does it for the sake of its little brothers and sisters. She justifies and pities absolutely everyone, this girl has a bright beginning. Sonya destroys Raskolnikov's theory with her attitude to life. For her, he, having raised an ax on an old woman, killed an elderly woman, killed himself.

It is considered quite difficult. In the center of the novel is the image of Rodion Raskolnikov and his theory. Other characters appear as the story progresses. Of particular importance in the work "Crime and Punishment" are Raskolnikov's doubles. Why does Dostoevsky introduce them into the plot? How are Raskolnikov and his counterparts similar? What is the difference? What are their ideas? What are the twins of Raskolnikov - Luzhin and Svidrigailov? More on this later in the article.

Pyotr Petrovich Luzhin - Raskolnikov's double

The author characterizes it rather negatively. Luzhin is rich and a brilliant businessman. He came to St. Petersburg to arrange his career. "Having made it into the people," Peter highly valued his own mind, his abilities, he was used to admiring himself and enjoying it. His main dream was to get married. Peter sought to do good to some girl, elevating her to himself. She certainly had to be educated and beautiful. He knew that in Petersburg one could "win a lot with women." His painful narcissism, all his dreams speak of a certain imbalance in character, of the presence of cynicism in him. With the help of money, "breaking out of nothingness", he remained low inside. Next, we find out what indicates that Luzhin and Raskolnikov are twins.

Theory of Petr Petrovich

Luzhin is presented as a businesslike person, who values ​​money more than anything else, which is obtained by "all sorts of means and labor." He considers himself smart, working for the benefit of people, progressive and respects himself very much. Pyotr Petrovich has his own theory, which he develops with great pleasure in front of Rodion Raskolnikov. His idea of ​​"reasonable selfishness" presupposes love, first of all, for oneself, since everything that happens in the world is based, in his opinion, on one's own interest. If all people act according to his theory, there will be many more successful citizens in society. Thus, a person, acquiring everything exclusively for himself, works for the benefit of the whole society and in the name of economic progress. In life, Luzhin is guided by this theory. The dream of marrying Avdotya amuses his vanity. In addition, this marriage can contribute to his future career. Raskolnikov, meanwhile, is against this marriage. But Petr Petrovich quickly finds a way to rectify the situation. In order to denigrate Rodion in front of his relatives and return the favor of Dunya, he puts a banknote on Sonya and accuses her of theft.

Why is Luzhin a double of Raskolnikov?

Analyzing the theory of Pyotr Petrovich, one can find many analogies with the idea of ​​​​Rodion. Both in the first and in the second, the priority remains one's own, personal interest. Raskolnikov claims that "everything is allowed to the Napoleons." According to Petr Petrovich, Rodion's idea is also designed to save humanity from evil and is aimed at achieving progress in development. Only people who are capable of destroying the present for the good of the future can move the world and lead it to its goal.

Similarity of opinion is the cause of hatred

It should, meanwhile, be said that Raskolnikov did not like Luzhin's idea very much. Probably, on an intuitive level, Rodion felt similarities with his ideas and thoughts. He points out to Pyotr Petrovich that, according to his "Luzhin's" theory, it is allowed to "cut people." Apparently, the similarity in thoughts and vision of the situation in the world determines Rodion's unaccountable hatred for Pyotr Petrovich. As a result, a certain "vulgarity" of Raskolnikov's theory appears. Petr Petrovich offers its "economic" version, one that, in his opinion, is applicable in life and is aimed at achieving goals by material means, mainly. Thus, we can conclude that Luzhin is Raskolnikov's double in everyday life.

Another character with a similar theory

In the course of the story, another hero appears - Arkady Ivanovich Svidrigailov. This rather complex character expresses a certain "non-uniformity" with his whole being. He is "not one-line anywhere", but in his image one can trace the philosophical context of the expression of Rodion's idea. Thanks to the actions of Svidrigailov (it was he who revealed the true state of affairs to Marfa Petrovna), the good name of Raskolnikov's sister is restored. Arkady Ivanovich also provides assistance to the Marmeladov family, organizing the funeral of the deceased Katerina Ivanovna and placing orphaned young children in an orphanage. He also helps Sonya, supplying her with funds for a trip to Siberia.

Brief description of Arkady Ivanovich

This person is smart, insightful, he has his own special "subtlety". He has the ability to understand people very well. Thanks to this skill of his, he was immediately able to determine what Luzhin was. Arkady Ivanovich decides to prevent Pyotr Petrovich from marrying Avdotya. According to some authors, Svidrigailov potentially appears as a man of great strength and conscience. However, all these inclinations of his are ruined by Russian social foundations, a way of life. The hero does not have any ideals, there is no clear moral guide. Among other things, Arkady Ivanovich naturally has a vice, which he not only cannot, but does not want to fight. In this case, we are talking about his propensity for debauchery. The life of the hero proceeds in submission to his own passions.

What is the similarity between Rodion and Arkady Ivanovich?

Svidrigailov, when meeting with Raskolnikov, notes a certain "common point" between them, saying that they are "berries of the same field." Dostoevsky himself, to a certain extent, brings these characters closer, portraying them, developing one motive - childish innocence, purity. In the image of Raskolnikov there are features of a child - he has a "childish smile", and in his first dream he appears before himself as a seven-year-old boy. In Sonya, with whom Rodion is getting closer, traits of innocence and purity are also traced. She reminds Raskolnikov of a child. There was also a childish expression on Lizaveta's face at the moment when Rodion attacked her. For Arkady Ivanovich, meanwhile, children are a reminder of the atrocities committed by him, coming to him in nightmares. It is this common motive, the very fact of his presence that allows us to say that Svidrigailov and Raskolnikov are twins.

Differences in the images of Arkady Ivanovich and Rodion

As the story progresses, the differences between the characters become more and more obvious. The crime that Raskolnikov committed was a kind of symbol of protest against the cruelty and injustice of the world around him, the unbearable living conditions. The plight of the family and himself acts as a secondary motive. In addition, he sought to test his theory. However, after the crime, Rodion is no longer able to live differently, as if he "cut himself off from everyone with scissors." Now he has nothing to talk about with those around him, and he is seized by a feeling of painful alienation from all people. Despite this, before and after the crime, ideals are preserved in the image of Raskolnikov - the concepts of evil and good are very significant for him. So, after the atrocity, he helps the Marmeladovs, gives the last 20 rubles to organize the funeral of Semyon Zakharovich. Nothing of the kind appears in the image of Svidrigailov. Arkady Ivanovich appears completely devastated and spiritually dead man. In it, unbelief and cynicism coexist with a subtle mind, self-sufficiency, and life experience. He is so "dead" that even feelings for Dunya are not able to revive him.

Love for her awakened noble impulses and a manifestation of true humanity in Arkady Ivanovich only for a short moment. Svidrigailov is bored with life, he does not believe in anything, nothing occupies his heart and mind. Along with this, he indulges his desires: both bad and good. Arkady Ivanovich does not feel remorse for killing a very young girl. And only once her image appears to him in a nightmare - on the dying night. At the same time, the impression is created that this is his crime - not the only crime of the hero: there are many rumors and gossip about him. However, the character himself is very indifferent to them and, in fact, does not consider his actions to be something out of the ordinary.

The embodiment of Rodion's theory in the image of Arkady Ivanovich

Speaking about the fact that Svidrigailov is Raskolnikov's double, one should pay attention to their personal relationship. At first, it seems to Rodion that Arkady Ivanovich has some kind of power over him. Raskolnikov is drawn to Svidrigailov. But subsequently Rodion feels some kind of "heaviness", he becomes "stuffy" from this proximity. Gradually, Raskolnikov begins to believe that Svidrigailov is the most insignificant and empty villain on earth. Arkady Ivanovich, meanwhile, goes much further than Rodion along the path of evil. In this regard, even some symbolism of the name Arkady can be traced. It is of Greek origin and literally translates as "shepherd". In Orthodox culture, this word was used in the meaning of "pastor" - a leader, mentor, teacher in spiritual life. In some way, Svidrigailov for Raskolnikov is such: in his unbelief and cynicism, he surpasses Rodion in many ways. Arkady Ivanovich constantly demonstrates his "masterful", to a certain extent "higher" mastery of Rodion's theory, practically embodying it.

The meaning of the characters in the work

Raskolnikov's twins are close to him in spirit, but have different purposes. Each of them embodies the theory of Rodion in its own way. With their own internal appearance, Raskolnikov's doubles in the novel discredit his ideas. The image of Pyotr Petrovich seems to be a primitive embodiment of the theory at the everyday level. Arkady Ivanovich is a deeper character. Svidrigailov's application of the "Raskolnikov" theory is distinguished by greater depth. He embodies it on a philosophical level. When you analyze the image and actions of Arkady Ivanovich, in some way the bottom of the abyss is exposed, where the "individualistic" idea of ​​the protagonist leads.

Sonya Marmeladova

If the characters described above are Raskolnikov's spiritual twins, then this heroine is similar to Rodion solely in her "life situation". In any case, I thought so main character works. She, like the rest of the characters, was able to cross the line beyond which morality ends. Being an active and active person, Sofya Semyonovna tries to save her family from death. In her actions, she is primarily guided by faith, kindness, meekness. Sonya attracts Rodion, he begins to identify her with himself. However, like other doubles of Raskolnikov, Marmeladova soon becomes completely different from him. Rodion notices that he ceases to understand her, she even seems to him "holy fool" and strange. Subsequently, the differences between them become more pronounced.

"Atrocity" by Sonya Marmeladova

It should be said that her "crime" is different from the actions of Raskolnikov. Turning into a prostitute, saving children from starvation, she harms herself. While the rest of the heroes inflict it on others, ruining other people's lives. Rodion can freely choose between evil and good. Sonya is initially deprived of this choice. Her act is immoral, but justified in some way by a motive. Unlike other characters, Sonya's soul is filled with love, faith, mercy, she is "alive" and feels her unity with others.

Conclusion

On the pages of the work, a lot of personalities appear before the reader. All of them are more or less similar to the main character - Raskolnikov. Of course, this similarity is not accidental. Rodion's theory is so nightmarish that a simple description of his life was not enough. Otherwise, the depiction of his fate and the collapse of his ideas would have been reduced to a simple description of a crime story about a half-mad student. In his work, Dostoevsky tried to show that this theory is not so new and is quite feasible. Its development and refraction permeates human fates, people's lives. As a result, an understanding is born that it is necessary to fight against this evil. To counter immorality, everyone has their own means. At the same time, one should not forget that the fight against the enemy with the help of his own weapons becomes meaningless, since he returns again to the same path of immorality.