Women's roles in crime and punishment. Female images in the novel "Crime and Punishment" by F.M. Dostoevsky. The image of Dunya Raskolnikova

The role of female images in literature has always been very great. They help many authors to reveal important character traits of the protagonist, with their grace and beauty they can arouse admiration from the reader. Suffice it to recall Tatyana Larina from the novel "Eugene Onegin" by A. S. Pushkin. This woman is close to Russian culture and nature. The image of Katerina from the drama "Thunderstorm" by Ostrovsky also deserves attention. Katerina is compared to a ray of light that shines in a dark kingdom.

In this article we will consider the main female images in the novel "Crime and Punishment" and their role in the work. These are Pulcheria Alexandrovna, Dunya, Alena Ivanovna and Lizaveta Ivanovna.

Sonya Marmeladova

Of course, Sonya stands out among all the above heroines. Therefore, it is with her that one should begin, characterizing the female images in the novel Crime and Punishment. Summary works you, we hope, remember. From the novel, we can conclude that this girl has great spiritual power that helps her bring good to people. Fyodor Mikhailovich calls Sonya a harlot. However, the girl did not become so at all of her own free will. She wanted to help her family. In fact, Sonya sacrifices herself for the sake of others. She is trying to come to terms with the insignificant, miserable position in which this heroine finds herself. It is surprising that Sonya manages, in spite of everything, to maintain the integrity and purity of her own soul. says that we have a strong personality.

Forgiveness, humility, self-sacrifice - these are the main features inherent in this heroine. The girl lives according to the canons and customs of Christianity, which she later tries to instill in Rodion, who has lost his inner core. It should be noted that it is the influence of this girl that helps Raskolnikov to know himself, find a path in life, and gain faith in the future. Sonya has a strong feeling of love for this hero, so she did not leave him when Raskolnikov was captured by his anxieties and experiences.

Dostoevsky, in the image of Sonya, created an antipode to Rodion Raskolnikov and his theory. The life position of this heroine reflects the views of the writer, his belief in justice, goodness, humility, forgiveness, but above all, that any person is worthy of love, no matter what he is.

Dunya

Rodion's mother and his sister are female characters in the novel who also play a very important role in the fate of Raskolnikov, the protagonist. Dunya even agrees to marry an unloved person in order to help the main character rise from poverty. Dunya, like Sonya, sells herself in order not to allow her brother and mother to drag out a beggarly existence. However, unlike Sonya Marmeladova, she has the opportunity to choose a buyer.

Pulcheria Alexandrovna

F.M. Dostoevsky created immortal female images. In the novel which formed the basis of many films and performances, a number of interesting characters are presented. One of them is Pulcheria Alexandrovna. This woman is still young by modern standards - she is 43 years old. However, Pulcheria Alexandrovna had to go through a lot, like other heroes of Dostoevsky's novel, humiliated and insulted. She says to Rodion: "You are our everything, all our hope, our hope." In a letter to Raskolnikov, this woman expresses all her care and love. Pulcheria Alexandrovna is a loving mother who supports her son and believes in him no matter what.

Lizaveta Ivanovna

A very large semantic load is carried by female images in the novel "Crime and Punishment". In this regard, such a heroine as Lizaveta Ivanovna is also interesting. The sister of the old pawnbroker, in essence, is the personification of the humiliated and offended. She was distinguished by kindness, meekness, modesty. This woman has not hurt or harmed anyone. However, Rodion kills her to get rid of the witness. Thus, the heroine becomes a victim of circumstances. This moment turns out to be a turning point for Raskolnikov. His theory is slowly starting to crumble.

Alena Ivanovna

Considering the female images in the novel "Crime and Punishment", a few words should also be said about Alena Ivanovna. The old pawnbroker disgusts us from the very beginning. The author describes her as a dry, tiny old woman, about 60 years old, with angry and sharp eyes, fair-haired, with a small pointed nose. Her slightly grey, blond hair is greasyly oiled. The long and thin neck of Alena Ivanovna is compared to a chicken leg. This woman personifies social evil. Raskolnikov, by killing her, seeks to save humanity from grief and suffering. But it turns out that taking the life of even the most bad man will not open the way to a better future. Happiness cannot be built on spilled blood.

Finally

Women's images in the novel "Crime and Punishment", of course, the author succeeded. Each heroine of the work is individual, unique, has her own peculiarities of thinking and consciousness. Decades pass, but the truth of the female character, which Dostoevsky captured, continues to exist. It excites the minds of more and more new generations of readers, invites us to either agree with the writer or enter into a debate with him. Women's images in the novel "Crime and Punishment" to this day do not leave anyone indifferent.

In "Crime and Punishment" we have before us a whole gallery of Russian women: Sonya Marmeladova, Rodion's mother Pulcheria Alexandrovna, sister Dunya, Katerina Ivanovna and Alena Ivanovna killed by life, Lizaveta Ivanovna killed with an ax.

F.M. Dostoevsky was able to see main feature Russian female character and reveal it in his work. There are two types of heroines in his novel: soft and docile, all-forgiving - Sonechka Marmeladova - and rebels, passionately intervening in this unfair and hostile environment - Katerina Ivanovna. These two female characters interested Dostoevsky, forced him to turn to them again and again in his works. The writer, of course, is on the side of meek heroines, with their sacrifice in the name of a loved one. The author preaches Christian humility. He prefers the meekness and generosity of Sonya.

And rebels are most often immensely proud, in a fit of offended feelings they go against common sense, put on the altar of passion not only their own lives, but, even worse, the well-being of their children. Such is Katerina Ivanovna.

Depicting the fate of Katerina Ivanovna and Sonya Marmeladova, Dostoevsky gives, as it were, two answers to the question about the behavior of a suffering person: on the one hand, passive, enlightened humility, and on the other, an irreconcilable curse on the whole unjust world. These two responses left their mark on artistic structure novel: the entire line of Sonechka Marmeladova is painted in lyrical, sometimes in sentimental and conciliatory tones; accusatory intonations predominate in the description of Katerina Ivanovna's misadventures.

All types were presented by the writer in his novels, but he himself remained on the side of the meek and weak outwardly, but strong and not broken spiritually. This is probably why his "rebel" Katerina Ivanovna dies, and the quiet and meek Sonechka Marmeladova not only survives in this terrible world, but also helps Raskolnikov, who has stumbled and lost his support in life, to escape. This has always been the case in Rus': a man is a leader, but his support, support, adviser was a woman. Dostoevsky not only continues the tradition classical literature, he brilliantly sees the realities of life and knows how to reflect them in his work. Decades pass, centuries follow each other, but the truth of the female character, captured by the author, continues to live, excite the minds of new generations, invites to enter into polemics or agree with the writer.

Dostoevsky was probably the first Russian writer to make the art of psychoanalysis accessible to a wide range of readers. If someone does not understand, does not realize what the author showed him, then he will feel for sure that he will nevertheless bring him closer to the vision true meaning picture of reality depicted in the work. Dostoevsky's heroes actually do not go beyond everyday everyday life and solve their purely personal problems. However, at the same time, these heroes are constantly acting and aware of themselves in the face of the whole world, and their problems are ultimately universal. To achieve this effect, the writer must do extremely painstaking work, with no room for error. IN psychological work there cannot be a single superfluous word, hero, event. Therefore, when analyzing female images in a novel, one should pay attention to everything, down to the smallest details.

On the first pages we get acquainted with the usurer Alena Ivanovna. “She was a tiny, dry old woman, about sixty years old, with sharp and evil eyes, with a small pointed nose and simple hair. Her blond, slightly graying hair was oiled with grease. - a flannel rag, and on the shoulders, despite the heat, all the frayed and yellowed fur katsaveyka dangled Dostoevsky F. M. Crime and punishment: A novel. - Kuibyshev: Book of publishing house, 1983, p.33. Raskolnikov is disgusted by the pawnbroker, but, in fact, why? Because of appearance? No, I brought her on purpose full portrait, but this is the usual description of an old man. For her wealth? In a tavern, one student said to an officer: "She's rich as a Jew, she can give out five thousand at once, and she doesn't disdain a ruble mortgage. She's had a lot of ours. Only a terrible bitch ...". But there is no malice in these words. The same young man said: "She's nice, you can always get money from her." In essence, Alena Ivanovna does not deceive anyone, because she names the price of the mortgage before the conclusion of the transaction. The old woman earns her living as best she can, which does her honor, unlike Rodion Romanovich, who admitted in a conversation with another heroine: “Mother would send to bring what is needed, but for boots, dress and bread I would and he earned it himself; probably! Lessons were coming out; fifty kopecks were offered. Razumikhin is working! Yes, I got angry and didn’t want to. This is who deserves blame: a person who does not want to work, is ready to continue living on the money of a poor mother and justifies himself with some philosophical ideas. We must not forget that Napoleon paved his way from the bottom to the top with his own hands, and it is this, and not the murders he committed, that makes him a great man. To discredit the hero, it would be enough to kill the usurer, but Fyodor Mikhailovich introduces another character and makes him the second victim. young student . This is Alena Ivanovna's sister, Lizaveta. "She has such a kind face and eyes. Very even. Proof - many people like it. Quiet, meek, unresponsive, agreeable, agreeing to everything." Her complexion and health allowed her not to be offended, but she preferred the existing order of things. In the novel, she is considered almost a saint. But for some reason, everyone forgets about "what the student was surprised and laughed at." It "was that Lizaveta was pregnant every minute ...". What happened to her children, because only two sisters lived in the apartment? Don't turn a blind eye to this. Lizaveta does not refuse students in her "kindness". This is rather weak-willedness, not kindness, the younger sister does not feel reality, she does not watch her from the side. She does not live in general, she is a plant, not a person. Perhaps only the simple and hard-working Nastasya looks at Raskolnikov soberly, namely "with disgust." Accustomed to conscientious work, she cannot understand the owner lying idly on the couch, complaining about poverty and not wanting to try to earn money, given to idle thoughts, instead of studying with students. "She came in again at two o'clock, with soup. It lay as if it had been yesterday. The tea stood untouched. Nastasya was even offended and angrily began to push him." A person who is not fond of psychology is unlikely to attach importance to this episode. For him, the further action of the novel will develop according to the generally accepted scenario. Someone, thanks to this character, may doubt the correctness of some of the heroines with whom the author introduces us later. They say the apple doesn't fall far from the tree. Who so spoiled Rodion? Any psychotherapist looks for the roots of the patient's illness in the latter's childhood. So, the author introduces us to Pulcheria Raskolnikova, the mother of the protagonist. “You are the only one with us, you are our everything, all our hope, our hope. What happened to me when I found out that you had already left the university for several months, for lack of something to support yourself, and that your lessons and other means had stopped! Can I help you with my one hundred and twenty rubles a year of pension?” “Dostoevsky, ibid., p.56. The mother is ready to do anything for the sake of her son, even to marry her daughter to a man who "seems to be kind", but who and Rode "can be very useful even in everything, and we have already assumed that you, even from now on, could definitely start your future career and consider your fate already clearly defined. Oh, if only this could come true! ". It is the last phrase of Pulcheria Raskolnikova that is most important. Not about the happiness of a daughter going down the aisle without love and already suffering, the mother dreams, but about how, with the help of the groom, to better accommodate the loafer son. Spoiled children then have a very difficult time in life , which proves the further development of events in the novel.

The reader knows Marfa Petrovna only from the stories of other heroes of the work who are familiar with the Svidrigailov family. There is nothing remarkable about her, she is just the unloved wife of her husband, who convicted him of treason, who received a spouse only because of her condition. At the end of the book we find the following phrase, addressed to the future suicide: "Not your revolver, but Marfa Petrovna, whom you killed, villain! You didn't have anything of your own in her house." It looks like this woman appeared among actors in order to use it to convict a cruel player in life.

Further, Raskolnikov meets the Marmeladov family. "Katerina Ivanovna, with a cry and with tears, ran out into the street - with an indefinite purpose somewhere now, immediately and at all costs to find justice." She is like Fernanda from Marquez's novel One Hundred Years of Solitude, who "wandered around the house, lamenting loudly - in order, they say, she was brought up like a queen, to become her servant in a madhouse, to live with her husband - a quitter, an atheist, and she works, strains, carries the household ... ". It is significant that neither one nor the other woman does any of this. Just as Marquez found Petra Cotes, who actually kept Fernanda, so Dostoevsky brought Sonya out in order not to let the Marmeladovs go to waste. Sonya's kindness is dead and imaginary, like the holiness of the late Lizaveta. Why did Sofya Semyonovna become a prostitute? Out of pity for your stepbrother and sisters? Why then did she not go to the monastery, taking them with her, because there they would obviously live better than with an alcoholic father and a mother who beats them? Suppose that she did not want to leave Marmeladov and his wife to the mercy of fate. But why then give his father money for a drink, because this is what ruined him? She probably feels sorry for him, he won't get drunk, he will suffer. It's time to remember the phrase: "To love everyone means not to love anyone." Sonechka sees only her good deeds, but she does not see, does not want to see how they manifest themselves on those whom she helps. She, like Lizaveta, does everything she is asked to do, without understanding why it is, what will come of it. Like a robot, Sonya does what the Bible prescribes. This is how an electric bulb shines: because the button is pressed and the current flows.

Now let's look at the end of the novel. In fact, Svidrigailov offers Avdotya Romanovna the same thing that Katerina Ivanovna demanded from Sonechka. But Dunya knows the price of many actions in life, she is smarter, stronger and, most importantly, unlike Sofya Semyonovna, in addition to her nobility, she is able to see someone else's dignity. If her brother had not accepted salvation from her at such a price, he would rather have committed suicide.

Fyodor Mikhailovich Dostoevsky, as a great master psychologist, described people, their thoughts and experiences in a "vortex" flow; his characters are constantly in dynamic development. He chose the most tragic, the most significant moments. Hence the universal, universal problem of love, which his heroes are trying to solve.

According to Sonechka, this holy and righteous sinner, it is precisely the lack of love for one's neighbor (Raskolnikov calls humanity an "anthill", "a trembling creature") that is the fundamental cause of Rodion's sin. This is the difference between them: his sin is a confirmation of his "exclusivity", his greatness, his power over every louse (whether it be his mother, Dunya, Sonya), her sin is a sacrifice in the name of love for her relatives: for her father - to a drunkard, to a consumptive stepmother, to her children, whom Sonya loves more than her pride, more than her pride, more than life, finally. His sin is the destruction of life, hers is the salvation of life.

At first, Raskolnikov hates Sonya, since he sees that he, the Lord and the "god", loves this little downtrodden creature, in spite of everything, loves and regrets (things are interconnected) - this fact deals a severe blow to his fictitious theory. Moreover, his mother's love for him, his son, also, in spite of everything, "torments him", Pulcheria Alexandrovna constantly makes sacrifices for the sake of "beloved Rodenka".

Dunya's sacrifice is painful for him, her love for her brother is another step towards refutation, towards the collapse of his theory.

The author believes that love is self-sacrifice, embodied in the image of Sonya, Dunya, mother - after all, it is important for the author to show not only the love of a woman and a man, but also the love of a mother for her son, brother for sister (sister for brother).

Dunya agrees to marry Luzhin for the sake of her brother, and the mother is well aware that she is sacrificing her daughter for her firstborn. Dunya hesitated for a long time before making a decision, but, in the end, she nevertheless decided: "... before deciding, Dunya did not sleep all night, and, believing that I was already sleeping, she got out of bed and all night walked up and down the room, finally knelt down and prayed long and fervently before the image, and in the morning she announced to me that she had made up her mind. Dunya Raskolnikova is going to marry a completely alien person only because she does not want to let her mother and brother descend to a beggarly existence in order to improve the material condition of her family. She also sells herself, but, unlike Sonya, she still has the opportunity to choose a "buyer".

Sonya immediately, without hesitation, agrees to give all of herself, all her love to Raskolnikov, to sacrifice herself for the well-being of her beloved: "Come to me, I will put a cross on you, let's pray and go." Sonya happily agrees to follow Raskolnikov anywhere, to accompany him everywhere. "He met her restless and tormentingly caring gaze on him ..." - here is Sonin's love, all her selflessness.

The author of the novel "Crime and Punishment" introduces us to many human destinies faced with the most difficult living conditions. As a result, some of them found themselves at the very bottom of society, unable to withstand what fell to their lot.

Marmeladov tacitly agrees to his own daughter going to the panel in order to be able to pay for housing and buy food. An old money-lender who, although she has nothing left to live, continues her activities, humiliating, insulting people who bring the last thing they have in order to get pennies that are hardly enough to live on.

Sonya Marmeladova - the main female character of the novel - is the bearer of Christian ideas that collide with Raskolnikov's inhuman theory. It is thanks to her main character gradually realizes how much he was mistaken, what a monstrous deed he committed by killing an old woman who seemed to be senselessly living out her days; it is Sonya who helps Raskolnikov to return to people, to God. The girl's love resurrects his soul, tormented by doubts.

The image of Sonya is one of the most important in the novel; Dostoevsky embodied his idea in it " God's man". Sonya lives according to Christian precepts. Placed in the same difficult conditions of existence as Raskolnikov, she retained a living soul and that necessary connection with the world that the main character broke, who committed the worst sin - murder. Sonya refuses to judge anyone, accepts the world as it is.Her credo: "And who put me here as a judge: who will live, who will not live? ".

The image of Sonya has two interpretations: traditional and new, given by V.Ya. Kirpotin. According to the first, Christian ideas are embodied in the heroine, according to the second, she is the bearer of folk morality.

Embodied in Sonya folk character in his undeveloped childhood stage, and the path of suffering makes her evolve according to the traditional religious scheme towards the holy fool, it is not for nothing that she is so often compared with Lizaveta. Dostoevsky, on behalf of Sonya, preaches the ideas of kindness and compassion, which are the unshakable foundations of human existence.

All the female images of the novel evoke sympathy from the reader, make them empathize with their destinies and admire the talent of the writer who created them.

Sonya Marmeladova is a kind of antipode of Raskolnikov. Her "solution" consists in self-sacrifice, in the fact that she "crossed" herself, and her main idea is the idea of the "impregnability" of another person. To transgress another means for her to destroy herself. In this, she opposes Raskolnikov, who all the time, from the very beginning of the novel (when he had just learned about Sonya's existence from her father's confession), measures his crime by her "crime", trying to justify himself. He constantly strives to prove that since Sonya's "decision" is not a genuine solution, it means that he, Raskolnikov, is right. It is in front of Sonya that from the very beginning he wants to confess to the murder, it is her fate that he takes as an argument in favor of his theory of the criminality of everything. Raskolnikov's attitude to Sonya is intertwined with his relationship with his mother and sister, who are also close to the idea of self-sacrifice.

Raskolnikov's idea reaches its climax in chapter IV, the fourth part, in the scene of Raskolnikov's visit to Sonya and reading the Gospel together with her. At the same time, the novel reaches its turning point here.

Raskolnikov himself understands the significance of his coming to Sonya. “I came to you for the last time,” he says, he came, because everything will be decided tomorrow, and he must say “one word” to her, obviously decisive, if he considers it necessary to say it before the fateful tomorrow.

Sonya hopes for God, for a miracle. Raskolnikov, with his evil, polished skepticism, knows that there is no God and there will be no miracle. Raskolnikov mercilessly reveals to his interlocutor the vanity of all her illusions. Moreover, in a kind of ecstasy, Raskolnikov tells Sonya about the uselessness of her compassion, about the futility of her victims.

It is not a shameful profession that makes Sonya a great sinner - Sonya was brought to her profession by the greatest compassion, the greatest exertion of moral will - but the vainness of her sacrifice and her feat. “And that you are a great sinner, it’s so,” he added almost enthusiastically, “and above all, you are a sinner because you needlessly killed and betrayed yourself. , which you hate so much, and at the same time you know yourself (you only have to open your eyes) that you are not helping anyone with this and you are not saving anyone from anything! (6, 273).

Raskolnikov judges Sonya with other scales in his hands than the prevailing morality, he judges her from a different point of view than she herself. Raskolnikov's heart is pierced by the same pain as Sonya's heart, only he is a thinking person, he generalizes.

He bows to Sonya and kisses her feet. “I didn’t bow to you, I bowed to all human suffering,” he said wildly and went to the window. He sees the Gospel, he asks to read the scene of the resurrection of Lazarus. Both dig into the same text, but both understand it differently. Raskolnikov thinks, perhaps, about the resurrection of all mankind, perhaps, the final phrase emphasized by Dostoevsky - "Then many of the Jews who came to Mary and saw what Jesus did, believed in him" - he also understands in his own way: after all and he is waiting for the hour when people will believe in him, as the Jews believed in Jesus as the Messiah.

Dostoevsky understood the iron force of the vice of need and the circumstances that squeezed Sonya. With the accuracy of a sociologist, he outlined the narrow "open spaces" that fate left her for her own "maneuver". But, nevertheless, Dostoevsky also found in Sonya, in a defenseless teenager thrown onto the sidewalk, in the most downtrodden, the very last person in a large metropolitan city, the source of his own beliefs, his own decisions, his own actions dictated by his conscience and his will. Therefore, she could become a heroine in a novel where everything is based on confrontation with the world and on the choice of means for such confrontation.

The profession of a prostitute plunges Sonya into shame and baseness, but the motives and goals due to which she embarked on her path are selfless, lofty, holy. Sonia "chose" her profession involuntarily, she had no other choice, but the goals that she pursues in her profession are set by herself, set freely. D. Merezhkovsky turned the real, life-defined dialectics of Sonya's image into an immobile psycho-metaphysical scheme. Using the terminology taken from The Brothers Karamazov, he finds in her "two abysses", a sinner and a saint, two ideals simultaneously existing - Sodom and Madonna.

Christ, according to the Gospel, saved the harlot from hypocrites who were about to stone her. Dostoevsky, undoubtedly, remembered the attitude of Christ towards the gospel prostitute when he created the image of Sonya. But the gospel harlot, having regained her sight, left her sinful craft and became a saint, while Sonya was always sighted, but she could not stop “sinning”, could not but embark on her own path - the only possible way for her to save the little Marmeladovs from starvation.

Dostoevsky himself does not equate Sonya with Raskolnikov. He puts them in a contradictory relationship of sympathy, love and struggle, which, according to his plan, should end with the assertion of Sonya's rightness, Sonya's victory. The word "in vain" does not belong to Dostoevsky, but to Raskolnikov. It was uttered last to convince Sonya to put her on her path. It does not correspond to Sonya's self-awareness, which, from the point of view of Raskolnikov, "did not open her eyes" either to her position or to the results of her asceticism.

Thus, we see that the image of Sonya Marmeladova can be considered as a religious and mythological image associated with Mary Magdalene. But the meaning of this image in the novel does not end there: it can also be correlated with the image of the Virgin. Preparation for the image to be seen by the hero and the reader begins gradually, but frankly and clearly - from the moment where the view of the convicts on Sonya is described. For Raskolnikov, their attitude towards her is incomprehensible and discouraging: “Another question was unsolvable for him: why did they all love Sonya so much? She did not curry favor with them; they rarely met her, sometimes only at work, when she came for one minute to to see him. And yet everyone already knew her, knew that she followed him, knew how she lived, where she lived. She did not give them money, she did not render special services. but little by little some closer relations developed between them and Sonya: she wrote them letters to their relatives and sent them to the post office. in Sonya's hands things for them and even money. Their wives and mistresses knew her and went to her. And when she appeared at work, coming to Raskolnikov, or met with a party of prisoners going to work, everyone took off their hats, everyone bowed: "Mother Sofya Semyonovna, mother you are ours, tender, sick!" - said these rude branded convicts to this small and thin creature. She smiled and bowed, and they all loved it when she smiled at them. They even loved her walk, turned to look after her as she walked, and praised her; they even praised her for being so small, they didn't even know what to praise her for. They even went to her for treatment" (6; 419).

After reading this passage, it is impossible not to notice that the convicts perceive Sonya as an image of the Virgin, which is especially clear from its second part. What is described in the first part, with inattentive reading, can be understood as the formation of a relationship between convicts and Sonya. But, obviously, this is not the case, because on the one hand the relationship is established before any relationship: the prisoners immediately "fell in love with Sonya." They immediately saw her - and the dynamics of the description only testifies to the fact that Sonya becomes the patroness and helper, comforter and intercessor of the entire prison, which accepted her as such even before any of its external manifestations.

The second part, even with the lexical nuances of the author's speech, indicates that something very special is happening. This part begins with an amazing phrase: "And when she appeared ..." The greeting of the convicts is quite consistent with the "phenomenon": "Everyone took off their hats, everyone bowed ...". They call her "mother", "mother", they love it when she smiles at them - a kind of blessing. Well, and - the end crowns the case - the revealed image of the Mother of God turns out to be miraculous: "They even went to her for treatment."

Thus, Sonya does not need any intermediate links, she directly implements her moral and social goals. Sonya eternal Sonechka marks not only the passive beginning of sacrifice, but also the active beginning of practical love - for the perishing, for loved ones, for their own kind. Sonya sacrifices herself not for the sake of the sweetness of the victim, not for the sake of the goodness of suffering, not even for the afterlife bliss of her soul, but in order to save her family, friends, offended, destitute and oppressed from the role of the victim. The basis of Sonya's sacrifice is the beginning of disinterested devotion, social solidarity, human mutual assistance, and philanthropic activity.

However, Sonya herself is not an incorporeal spirit, but a person, a woman, and between her and Raskolnikov a special relationship of mutual sympathy and mutual rapprochement arises, giving a special personal coloring to her craving for Raskolnikov and her difficult struggle for Raskolnikov's soul.

Women's images play in literature significant role, help to reflect the characteristic features of the protagonist, delight the reader with their beauty and grace. Let us recall, for example, Tatyana Larina, the heroine of the novel by A.S. Pushkin "Eugene Onegin", which was close to the original Russian culture, to the unique Russian nature. One cannot ignore the image of Katerina in the famous drama by A.N. Ostrovsky's "Thunderstorm", personifying "a ray of light in a dark kingdom."

Today I would like to devote my essay to no less interesting female images in the novel by F.M. Dostoevsky "Crime and Punishment". Here, several heroines appear before the reader at once. Perhaps it is worth listing them: Sonya Marmeladova, Dunya, Pulcheria Alexandrovna, Lizaveta Ivanovna and Alena Ivanovna.

It is with the help of the above characters that I will try to fully reveal the proposed topic of the essay.

Among all the heroes of the novel, of course, Sonya should be singled out, who has the spiritual power that helps the girl to bring good to the people around her. F.M. Dostoevsky calls her a "harlot", but the heroine occupied this niche in society not of her own free will, but in order to help her family. The girl actually sacrifices herself for the sake of others, trying to come to terms with her miserable, insignificant position. But, no matter how surprising it may sound, Sonya managed to maintain the purity and purity of her own soul, which characterizes her as strong personality. The main features of the girl are self-sacrifice, humility and forgiveness. She lives according to Christian canons and customs, which she subsequently tries to instill in Rodion Raskolnikov, who has lost his inner core. I want to note that the influence of Sonya helps the main character to know himself, to gain faith in a better future, to find the true path in life. The girl experienced a strong, all-consuming feeling of love for Raskolnikov, so she could not leave him alone with her feelings and anxieties.

An equally important role in the life of the protagonist is played by sister Dunya and mother Pulcheria Alexandrovna, who are ready for anything for the sake of Rodion. Dunya is even ready to link her fate with an unloved person in order to help her brother rise from poverty. “You know how much I love you; you are the only one with us, with me and Dunya, you are our everything, all our hope, our hope ”- these words of the mother are worth a lot. In a letter to Raskolnikov, Pulcheria Alexandrovna expresses all her love and care, manifests herself as a loving mother.

Now it is worth moving on to slightly different types of women in the novel. Remember Lizaveta Ivanovna, the sister of the old pawnbroker. This image, in essence, personifies all the "humiliated and insulted." Lizaveta Ivanovna was distinguished by modesty, meekness, kindness. She has never hurt or harmed anyone in her life. But why does Raskolnikov kill an innocent woman? Perhaps the heroine simply became a victim of circumstances. Nevertheless, this moment became a turning point for Rodion, his theory began to collapse.

Finally, let's look at the image Alena Ivanovna, which initially causes disgust, which is proved by the following quote: “She was a tiny, dry old woman, about sixty years old, with sharp and evil eyes, with a small pointed nose and simple hair. Her blond, slightly graying hair was greasyly oiled. On her thin and long neck, like a chicken leg, some kind of flannel rag was wrapped around, and on her shoulders, despite the heat, all the tattered and yellowed fur katsaveyka dangled. The old woman is the personification of social evil, by killing her, the hero seeks to save people from suffering and grief. But, as it turned out, the murder of even the nastiest person cannot open the way to a brighter future. You can never build happiness on spilled blood.

Thus, from the foregoing, we can conclude that the female images in the novel by F.M. Dostoevsky's "Crime and Punishment" are contrasting in themselves. Each heroine is unique, individual, has her own type of thinking and consciousness.

She probably feels sorry for him, he won't get drunk, he will suffer. It's time to remember the phrase: "To love everyone means not to love anyone." Sonechka sees only her good deeds, but she does not see, does not want to see how they manifest themselves on those whom she helps. She, like Lizaveta, does everything she is asked to do, without understanding why it is, what will come of it. Like a robot, Sonya does what the Bible prescribes. This is how an electric bulb shines: because the button is pressed and the current flows.

Dunya's sacrifice is painful for him, her love for her brother is another step towards refutation, towards the collapse of his theory.

The author of the novel "Crime and Punishment" introduces us to many human destinies, faced with the most difficult conditions of existence. As a result, some of them found themselves at the very bottom of society, unable to withstand what fell to their lot.

Sonya Marmeladova - the main female character of the novel - is the bearer of Christian ideas that collide with Raskolnikov's inhuman theory. It is thanks to her that the protagonist gradually realizes how much he was mistaken, what a monstrous deed he committed by killing an old woman who seemed to be senselessly living out her days; it is Sonya who helps Raskolnikov to return to people, to God. The girl's love resurrects his soul, tormented by doubts.

The image of Sonya is one of the most important in the novel; Dostoevsky embodied his idea of "God's man" in it. Sonya lives according to Christian commandments. Placed in the same difficult conditions of existence as Raskolnikov, she retained a living soul and that necessary connection with the world, which was broken by the main character, who committed the worst sin - murder. Sonechka refuses to judge anyone, accepts the world as it is. Her credo: "And who put me here as a judge: who will live, who will not live?".

Sona embodies the national character in its undeveloped childhood stage, and the path of suffering makes her evolve according to the traditional religious scheme towards the holy fool, it is not for nothing that she is so often compared with Lizaveta. Dostoevsky, on behalf of Sonya, preaches the ideas of kindness and compassion, which are the unshakable foundations of human existence.

All the female images of the novel evoke sympathy from the reader, make them empathize with their destinies and admire the talent of the writer who created them.

3. Sonya Marmeladova - the central female image in the novel

The central place in the novel by F.M. Dostoevsky is occupied with the image of Sonya Marmeladova, a heroine whose fate arouses our sympathy and respect. The more we learn about it, the more we are convinced of its purity and nobility, the more we begin to think about true human values. The image, Sonya's judgments make you look deep into yourself, help you evaluate what is happening around us.

From the story of Marmeladov, we learn about the unfortunate fate of her daughter, her sacrifice for her father, stepmother and her children. She went to sin, dared to sell herself. But at the same time, she does not demand and does not expect any gratitude. She does not blame Katerina Ivanovna for anything, she simply resigns herself to her fate. "... And she only took our big green dreaded shawl (we have such a common shawl, dread dam), covered her head and face with it completely and lay down on the bed, facing the wall, only her shoulders and body were trembling ..." 7 Sonya covers her face, because she is ashamed, ashamed before herself and God. Therefore, she rarely comes home, only to give money away, she is embarrassed when meeting Raskolnikov’s sister and mother, she feels awkward even at the wake of her own father, where she was so shamelessly insulted. Sonya is lost under the pressure of Luzhin, her meekness and quiet disposition make it difficult to stand up for herself.

Fate treated her and her loved ones cruelly and unfairly. First, Sonya lost her mother, and then her father; secondly, poverty forced her to go out into the streets to earn money. But the cruelty of fate did not break her morale. In conditions that seem to exclude goodness and humanity, the heroine finds a way out worthy of a real person. Her path is self-sacrifice and religion. Sonya is able to understand and alleviate the suffering of anyone, to direct on the path of truth, to forgive everything, to absorb someone else's suffering. She pities Katerina Ivanovna, calling her "a child, fair", unhappy. Her generosity manifested itself already when she saves the children of Katerina Ivanovna, pities her father, who is dying in her arms with words of repentance. This scene, as well as others, inspires respect and sympathy for the girl from the first minutes of meeting her. And it is not surprising that the depth of Raskolnikov's mental anguish is destined to be shared by Sofya Semyonovna. Named to her, and not to Porfiry Petrovich, Rodion decided to tell his secret, because he felt that only Sonya could judge him according to his conscience, and her court would be different from the court of Porfiry. He longed for love, compassion, human sensitivity, that higher light that is able to support a person in the darkness of life. Raskolnikov's hopes for sympathy and understanding from Sony came true. This extraordinary girl, whom he called "holy fool", having learned about the terrible crime of Rodion, kisses and hugs him, not remembering herself, says that "there is no one more unhappy now in the whole world" than Raskolnikov. And this is said by the one whom the poverty of the family doomed to shame and humiliation, the one who is called "the girl of notorious behavior"! Does a sensitive and selfless girl really deserve such a fate, while Luzhin, not suffering from poverty, is petty and vile? It is he who considers Sonya an immoral, corrupting society girl. Perhaps he will never understand that only compassion and a desire to help people, to save them from a difficult fate, explain the behavior of the heroine. Her whole life is a continuous self-sacrifice. By the power of her love, the ability to selflessly endure any torment for the sake of others, the girl helps the main character to overcome himself and resurrect. The fate of Sonechka convinced Raskolnikov of the fallacy of his theory. He saw in front of him not a "trembling creature", not a humble victim of circumstances, but a man whose self-sacrifice is far from humility and is aimed at saving the perishing, at effective care for others. Sonya, selfless in her devotion to both family and love, is ready to share the fate of Raskolnikov. She sincerely believes that Raskolnikov will be able to resurrect for a new life. The truth of Sonya Marmeladova is her belief in a person, in the indestructibility of goodness in his soul, in the fact that sympathy, self-sacrifice, forgiveness and universal love will save the world.

Sonya imperceptibly appears in Dostoevsky's novel "Crime and Punishment" from the arabesques of the St. Petersburg street background as a thought, as Marmeladov's story about a family, about a daughter with a "yellow ticket". Her appearance is first given through the perception of the author himself at the moment when she appears at the bedside of her dying father.

“From the crowd, inaudibly and timidly, a girl made her way, and it was strange her sudden appearance in this room, among poverty, rags, death and despair. Sonya stopped in the passage at the very threshold, but did not cross the threshold and looked as if lost, not realizing anything, it seemed, forgetting about her silk bought from fourth hands, indecent here , a colorful dress with a long and funny tail, and an immense crinoline that blocked the whole door, and pig boots and an ombrelka, unnecessary at night, but which she took with her, and a funny straw, round hat with a bright fiery feather. this hat, worn on a boyish side, peeped out a thin, pale and frightened little face with an open mouth and eyes fixed in horror. solid, blue eyes" 8 .

Parents' alcoholism, material poverty, earlier orphanhood, father's second marriage, poor education, unemployment and, along with this, the greedy pursuit of a young body in large capitalist centers with their panders and brothels - these are the main reasons for the development of prostitution. Dostoevsky's artistic vigilance unmistakably took into account these social factors and determined the biography of Sonya Marmeladova by them.

This is the first time Sonya Marmeladova appears before us. The writer paid special attention to the description of Sonya's clothes, and by this he wanted to emphasize the craft that the heroine trades in. But here there is no condemnation at all, since the artist understood the compulsion of her position in bourgeois society. In this portrait, Dostoevsky emphasizes an important detail "with a clear, but somewhat intimidated face." This testifies to the constant internal tension of the heroine, who is trying to comprehend reality, to find a way out of the current situation.

Sonya - a child at heart - has already known the fear of life, of tomorrow.

DI. Pisarev, in full agreement with the text of the novel and Dostoevsky's intentions, wrote that "neither Marmeladov, nor Sonya, nor the whole family can be blamed or despised; the blame for their state, social, moral, lies not with them, but with the system" 9 .

The profession of Sonya Marmeladova is the inevitable result of the conditions in which she lives. Sonya is a cell of the world, so severely described by Dostoevsky, she is a "percentage", a consequence. However, if it were only a consequence, it would roll where weak-willed, weak people are heading, or, in the words of Raskolnikov, it would "go bankrupt" irrevocably. Following her "bankruptcy", along the same road, with the same end, Polechka with her sister and brother, whom she supported somehow with her "gold" craft, would go. For with what was she armed to fight the world? She had no means, no position, no education.

Dostoevsky understood the iron force of need and the circumstances that squeezed Sonya. But the writer also found in Sonya, in a defenseless teenager thrown onto the sidewalk, in the most downtrodden, the very last person in a large metropolitan city, the source of his own beliefs, actions dictated by his conscience. Therefore, she could become a heroine in a novel where everything is based on the opposition to the world and the choice of means for such opposition.

The profession of a prostitute plunges Sonya into shame and baseness, but the goals that she pursued with this free choice were set by herself.

All this is masterfully conveyed by F.M. Dostoevsky through the portrait characterization of the heroine, which is given twice in the novel: through the perception of the author himself and through the perception of Rodion Raskolnikov.

The second time, Sonya is described when she came to invite Raskolnikov to the wake: "... The door quietly opened, and a girl entered the room, looking around timidly ... Raskolnikov did not recognize her at first sight. It was Sofya Semyonovna Marmeladova. Yesterday he saw her for the first time once, but at such a moment, in such a situation and in such a costume, that the image of a completely different face was reflected in his memory. Now it was a girl modestly and even poorly dressed, very young, almost like a girl, with a modest and decent manner, with a clear, but as if somewhat frightened face. She was wearing a very simple house dress, on her head an old hat of the same style; only in her hands was, like yesterday, an umbrella. Seeing the unexpectedly full room of people, she was not only embarrassed, but completely lost, shy, like a small child…” 10 .

What is the meaning of the double portraiture that Dostoevsky so willingly resorted to?

The writer dealt with heroes who went through an ideological and moral catastrophe that turned everything upside down in their moral essence. Therefore, throughout their novel life, they experienced at least two moments when they were most similar to themselves.

Sonya also experienced a turning point in her life, she overstepped the law, which Raskolnikov could not overstep, although he killed his idea. Sonya saved her soul in her crime. The first portrait shows her appearance, the second - her essence, and her essence was so different from the appearance that Raskolnikov did not recognize her at first.

When comparing the two portrait characteristics, we notice that Sonya has "wonderful blue eyes." And if in the first portrait they are motionless with horror, then in the second they are lost, like those of a frightened child.

"The eyes are the mirror of the soul", which characterize the state of mind of the heroine at a certain moment of the action.

In the first portrait, the eyes express Sonya's horror, which she experiences at the sight of her dying father, the only kindred person in this world. She understands that after the death of her father, she will be lonely. And this further aggravates her position in society.

In the second portrait, the eyes reflect fear, timidity, uncertainty, which is characteristic of a child who has just plunged into life.

The portrait characteristic in Dostoevsky plays a big role not only in describing the inner world of a person, his soul, but also emphasizes the heroine's belonging to one or another social level of life.

The writer also chose her name, as they say, not by chance. The Russian church name is Sophia, Sophia came to us historically in Greek and means "wisdom", "reason", "science". It must be said that the name Sophia is borne by several heroines of Dostoevsky - "meek" women who humbly bear the cross that has fallen to their lot, but believe in the final victory of good. If "Sophia" generally means wisdom, then Dostoevsky's wisdom of his Sophia is humility.

In the guise of Sonya, Katerina Ivanovna's stepdaughter and Marmeladov's daughter, despite the fact that she is much older than all the children and earns money in this way, we also see a lot of children: "she is unresponsive, and her voice is so meek ... blond, her face is always pale, thin, ... angular, ... tender, sickly, ... small, meek 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 only then did he understand what these poor, little orphans meant to her, and this pathetic, half-crazy Katerina Ivanovna, with her consumption and banging against the wall. She is very worried, aware of her position in society, her shame and sins: "But I ... dishonest ... I am a great, great sinner!", "... to what monstrous pain 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 really were Sonya's only family) had not been so deplorable, Sonechka Marmeladova's life would have turned out differently.

And if Sonina's life was different, then F.M. Dostoevsky would not be able to carry out his plan, would not be able to show us that, being immersed in vice, Sonya kept her soul pure, because she was saved by faith in God. “Yes, tell me, finally, ... how is such a shame and such baseness in you next to other opposite and holy feelings combined?” Raskolnikov asked her.

Here Sonya is a child, a defenseless, helpless person with her childish and naive soul, who, it would seem, will die, being in the destructive atmosphere of vice, but Sonya, in addition to a childish pure and innocent soul, has tremendous moral stamina, a strong spirit, and therefore she finds in herself strength to be saved by faith in God, so she saves her soul. "What would I be without God?"

The proof of the necessity of faith in God was one of the main goals that Dostoevsky set for his novel.

All the actions of the heroine surprise with their sincerity and openness. She does nothing for herself, everything for the sake of someone: her stepmother, stepbrothers and sisters, Raskolnikov. The image of Sonya is the image of a true Christian and righteous woman. It is most fully revealed in the scene of Raskolnikov's confession. Here we see Sonechkin's theory - the "theory of God". The girl cannot understand and accept Raskolnikov's ideas, she denies his rise above everyone, disdain for people. The very concept of an "extraordinary person" is alien to her, just as the possibility of transgressing the "God's law" is unacceptable. For her, everyone is equal, everyone will appear before the court of the Almighty. In her opinion, there is no person on Earth who would have the right to condemn his own kind, to decide their fate. "Kill? Do you have the right to kill?" Sonya threw up her hands. For her, all people are equal before God.

Yes, Sonya is also a criminal, like Raskolnikov, she also violated the moral law: “We are damned together, we will go together,” Raskolnikov tells her, only he transgressed through the life of another person, and she through her own. Sonya calls Raskolnikov to repentance, she agrees to carry his cross, to help come to the truth through suffering. We do not doubt her words, the reader is sure that Sonya will follow Raskolnikov everywhere, everywhere and always will be with him. Why, why does she need it? Go to Siberia, live in poverty, suffer for the sake of a person who is dry, cold with you, rejects you. Only she, the "eternal Sonechka", with a kind heart and disinterested love for people, could do this. A prostitute, commanding respect, the love of all those around her, is purely Dostoevsky, the idea of humanism and Christianity pervades this image. Everyone loves and honors her: Katerina Ivanovna, and her children, and neighbors, and convicts, whom Sonya helped free of charge. Reading the Raskolnikov Gospel, the legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. Rodion came to what Sonya urged him to do, he overestimated life and its essence, as evidenced by his words: “Can her convictions now not be my convictions? Her feelings, her aspirations at least ...” 12.

Having created the image of Sonya Marmeladova, Dostoevsky created an antipode to Raskolnikov and his theory (goodness, mercy, opposing evil). The life position of the girl reflects the views of the writer himself, his faith in goodness, justice, forgiveness and humility, but, above all, love for a person, whatever he may be.

Sonya, who in her short life has already endured all conceivable and unimaginable suffering and humiliation, managed to maintain moral purity, unclouded mind and heart. No wonder Raskolnikov bows to Sonya, saying that he bows to all human grief and suffering. Her image absorbed all world injustice, world sorrow. Sonechka speaks on behalf of all the humiliated and offended. It was such a girl, with such a life story, with such an understanding of the world, that Dostoevsky chose to save and purify Raskolnikov.

Her inner spiritual core, which helps to preserve moral beauty, boundless faith in goodness and in God, strikes Raskolnikov and makes him think for the first time about the moral side of his thoughts and actions. But along with her saving mission, Sonya is also a punishment for the rebel, constantly reminding him with her entire existence of what she has done. "Is this man a louse?" 13 - these words of Marmeladova planted the first seeds of doubt in Raskolnikov. It was Sonya, who, according to the writer, contained the Christian ideal of goodness, could withstand and win in the confrontation with the anti-human idea of Rodion. She fought with all her heart to save his soul. Even when at first Raskolnikov avoided her in exile, Sonya remained true to her duty, her faith in purification through suffering. Faith in God was her only support, it is possible that the spiritual quest of Dostoevsky himself was embodied in this image.

4. The tragic fate of Katerina Ivanovna

Katerina Ivanovna is a rebel who passionately intervenes in an unfair and hostile environment. She is immensely proud, in a fit of offended feeling goes against common sense, puts on the altar of passion not only her own life, but, even worse, the well-being of her children.

The fact that Marmeladov's wife Katerina Ivanovna married him with three children, we learn from Marmeladov's conversation with Raskolnikov.

“I have an animal image, and Katerina Ivanovna, my wife, is a specially educated and born staff officer’s daughter .... she is both a high heart and filled with feelings ennobled by upbringing .... Katerina Ivanovna is a lady, although generous, but unfair .... . she pulls my whirlwinds ... Know that my wife was brought up in a noble provincial noble institute and danced with a shawl with the governor and with other persons when she graduated, for which she received a gold medal and a certificate of merit ... yes, a lady is hot, proud and adamant. Paul she washes herself and sits on black bread, but she will not allow herself to be disrespected .... The widow has already taken her, with three children, small and small less. She married her first husband, an infantry officer, for love, and with him ran away from her parents "She loved her husband excessively, but she started playing cards, got on trial, and with that she died. He beat her in the end; but she, although she did not let him down ... And after him she was left with three young children in a distant and brutal county ... Relatives all refused. yes, she was too proud ... You can judge because to what extent her misfortunes reached the fact that she, educated and brought up and with a famous name, agreed to marry me! But go! Crying and sobbing and wringing your hands - let's go! For there was nowhere to go…” 14

Marmeladov gives his wife an exact description: "... For although Katerina Ivanovna is full of generous feelings, the lady is hot and irritated, and will break off ..." 15 . But her human pride, like Marmeladova, is trampled at every step, they make her forget about dignity and pride. It is pointless to seek help and sympathy from others, Katerina Ivanovna "has nowhere to go."

This woman shows physical and spiritual degradation. She

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