Dunechka crime and punishment characteristics. Several interesting essays

Avdotya Raskolnikova - minor character in the novel Crime and Punishment. The girl is a type of heroine that is repeated in the writer’s work from work to work.

History of creation

Dostoevsky's socio-psychological novel is included in the list of works that make up the classics of world literature. Philosophy here is subtly intertwined with the ideas of the author and psychological background. Work on the essay took one year, during the period when the writer was in prison. In 1866, the author sent it for publication in the Russian Bulletin magazine. The version published in the book edition differed somewhat from the original source, as edits and abbreviations were made.

The novel was originally given a different title. Having already completed the work, Dostoevsky decided to change it. The author focused the attention of the public on the fact that moral punishment for a crime is much more important than public and judicial punishment. Experiences remorse and awareness of one's own guilt main character, .

The image of Dunya Raskolnikova appeared in Dostoevsky's work long before the creation of the novel. In the magazine “Time,” which Dostoevsky published independently, in 1861 a short article appeared about a governess forced to endure the harassment of a master. This news inspired the author to include the corresponding episode in Crime and Punishment.

Illustration for the novel "Crime and Punishment"

The prototype of the heroine was Avdotya Yakovlevna Panaeva. Evidence of this was the external resemblance of the heroine to the prototype and the chosen name. Dostoevsky made acquaintance with Panaeva in 1845 and had tender feelings for her.

"Crime and Punishment"

Dunya Raskolnikova is a 22-year-old girl, the sister of Rodion Raskolnikov, the main character of the novel. This is a minor character in the action. Avdotya’s fate was dramatic, but in the end of the story, self-sacrifice paid off. The appearance of the homeless woman is described by Dostoevsky in a favorable manner. The homeless woman is beautiful, demonstrates a strong-willed, persistent character, is self-confident, and has a high-quality education and upbringing.

At this age, a girl should have a husband, but Dunya is still single. There are many contenders for your hand and heart, but Raskolnikova does not want to marry just anyone. She commits actions that characterize the heroine as a decent girl. Therefore, proud and aware of her worth, Dunya tries to help the distressed family and agrees to marry Luzhin, realizing that she will improve the financial situation of her mother and brother.

A sophisticated beauty, Avdotya works as a governess in a house. This allows his brother to get an education, and Duna and Raskolnikov’s mother to at least survive on the pennies they earn. A brave young lady, who has had to endure many adversities, makes a noble decision about marriage, but Raskolnikov is against such a sacrifice. More than one conversation took place in the family before it became clear that Luzhin was not worthy of Dunya.

The stingy egoist is not the only one who noticed Dunya’s charm. The owner of the house, Svidrigailov, also has designs on her. He discusses with the girl the crime committed by his brother, and forces the beauty to shoot in self-defense. The mistake saved Dunya from killing a man and brought justice: the girl will not be able to overcome herself and fall in love for the sake of money. Svidrigailov releases the victim.

Dunya's biography is full of sad moments, but in the end her suffering pays off. The girl married Raskolnikov's friend. The young man is able to give her what the girl dreamed of. The epilogue of the novel highlights the young family's decision to leave for Siberia. Having saved money, Dunya and her husband move there to live closer to her brother.

The role of the character Avdotya Raskolnikova in the work is important. Compared to Rodion, this is a decent and noble heroine who managed to refuse temptation. Self-sacrifice - main topic, transmitted by Dostoevsky using the image of Dunya.

Film adaptations

Avdotya Raskolnikova is a supporting character in the work and film adaptations, so directors often do not pay close attention to this heroine. Some even omit her existence, not mentioning that Raskolnikov has a sister.

In the 1935 film Crime and Punishment, Dunya, or more precisely Antonia Raskolnikova, was played by actress Tala Birell. Several decades later, in Lev Kulidzhanov’s film of the same name, filmed in 1969, Raskolnikov’s sister reappeared. The image of Avdotya was embodied in the film. Dmitry Svetozarov's multi-part project, presented in 2007, introduced Katerina Vasilyeva to the public in the role of Dunya.

Quotes

The verbal characterization of Avdotya, given in the work by Dostoevsky, reveals her feminine and personal attractiveness. The girl looks better in comparison with. Appearance seems to complement character traits:

“Avdotya Romanovna was remarkably good-looking - tall, amazingly slender, strong, self-confident, which was expressed in her every gesture and which, however, did not in the least take away from her movements the softness and gracefulness.”

Prudence and strength of character were visible in all the girl’s actions and decisions. The main decision in life did not differ from the principles that Dunya followed, despite all the difficulties and vicissitudes:

“My sister would rather become a Negro to a planter or become a Latvian to a Baltic German than to embolden her spirit and moral sense her connection with a person whom she does not respect and with whom she has nothing to do - forever, for her own personal benefit! - Raskolnikov made his verdict, knowing his sister’s nature.

Raskolnikov is to blame for Avdotya’s torment and understands what she has to endure. He and mother understand all the beauty of the girl’s soul: “... Of course, you know Dunya, you know how smart she is and with what a strong character. Dunechka can endure a lot and even in the most extreme cases find so much generosity in herself that she does not lose her firmness...”

These beliefs also apply love relationship, whom Dunya is waiting for: “...she can endure a lot, under the condition that further relations will be honest and fair..."

Svidrigailov soon became convinced that Dunya was fatal and inaccessible to him. girl, - girl unheard of mental strength, capable of saving and leading the one she loves. Svidrigailov understood, like Raskolnikov, that Dunya could make any sacrifice, but he appreciated her more deeply, more generally and, perhaps, more truly than his brother:

“You know,” says Svidrigailov, “I was always sorry, from the very beginning, that fate did not allow your sister to be born in the second or third century AD, somewhere as the daughter of a sovereign prince, or some ruler there, or a proconsul in Malaya Asia. She, without a doubt, would have been one of those who suffered martyrdom, and, of course, would have smiled when her chest was burned with red-hot tongs. She would have done this on purpose herself, and in the fourth and fifth centuries she would have gone to the Egyptian desert and lived there for thirty years, feeding on roots, delights and visions. She herself only yearns for this, and demands that she quickly accept some kind of torment for someone, and if you don’t give her this torment, she’ll probably jump out the window.”

She was ready to accept any torment for her brother, for her mother, but for Svidrigailov she could not and did not want to go too far. She did not love him enough to break with her family for his sake, to step over laws, civil and church, to run away with him to save him from Russia.

Dunya became interested in Svidrigailov, she even felt sorry for him, she wanted to bring him to his senses and resurrect him and call him to more noble goals. She demanded “with sparkling eyes” that he leave Parasha alone, another and forced victim of his sensuality. “Conversations began, mysterious conversations began,” Svidrigailov confesses, “moral teachings, lectures, begging, begging, even tears, - believe it, even tears! That's how strong some girls' passion for propaganda reaches! I, of course, blamed everything on my fate, pretended to be hungry and thirsty for light, and finally set in motion the greatest and most unshakable means for conquering a woman’s heart, a means that will never deceive anyone and which acts decisively on every single one of them, without any exceptions."

“Even a vestal can be seduced by flattery,” notes Svidrigailov, but his irony only outwardly hurts Dunya, irony gives him the opportunity to confess more easily, its evil edge is directed primarily against himself. His irony covers passion, pain, and true love.

Svidrigailov circles around Dunya, driven by dual motives, he bows before her moral greatness, he reveres her as a cleansing and saving ideal, and he lusts like a dirty animal. “N13,” we read in the rough notes, “it occurred to him among other things: how could he, just now, speaking with Raskolnikov, really speak about Dunechka with real enthusiastic flame, comparing her with the great martyr of the first centuries and advising his brother to take care of her in St. Petersburg - and at the same time he knew for certain that in no more than an hour he was going to rape Dunya, trample all this divine purity with his feet and be inflamed with voluptuousness from the same divinely indignant gaze of the great martyr. What a strange, almost incredible dichotomy. And yet, he was capable of this.” Svidrigailov psychologically stuns Dunya: Rodion is a murderer! She suffered for her brother, she was already prepared by all the behavior of her beloved Rodya for something monstrous, but still could not believe: “... it cannot be... This is a lie! Lie!"

Svidrigailov, controlling himself, as in other cases a maniac controls himself, going through obstacles and obstacles to his motionless goal, calmly and convincingly explains to Dunya the motives and philosophy of the double murder committed by Raskolnikov. Dunya is shocked, she is half-fainting, she wants to leave, but she is in captivity, Svidrigailov stops her: Rodion can be saved. And he names the price: “... the fate of your brother and your mother is in your hands. I will be your slave... all my life..."

Both are semi-delirious, but even in a semi-delirious state, both understand the word “salvation” differently. Svidrigailov talks about a passport, about money, about escape, about a prosperous, “Luzhinsky” life in America. In Dunya’s mind the question of both the mechanical salvation of his brother and his internal state, about his conscience, about atonement for the crime.

The prospect of a mechanical rescue of her brother cannot paralyze her will, her pride. “Tell me if you want! Don `t move! Don't go! I’ll shoot!..” At Svidrigailov’s first move, she fired. The bullet slid along Svidrigailov's stripes and hit the wall. In the rapist, in the beast they slipped human traits: non-judgmental courage, a kind of male nobility that forced him to give Duna again and again a chance to kill him. He tells her to shoot again, after the misfire he instructs her how to carefully load the revolver. And an unexpected, unexpected movement occurred in the souls of both: Dunya surrendered, and Svidrigailov did not accept the sacrifice.

He stood in front of the singing, two steps away, waited and looked at her with wild determination, an inflamed, passionate, heavy gaze. Dunya realized that he would rather die than let her go. “II... and, of course, she will kill him now, two steps away!..”

* Suddenly she threw away the revolver. “ - I quit! - Svidrigailov said in surprise and took a deep breath. Something seemed to leave his heart at once, and perhaps more than just the burden of mortal fear; Yes, he hardly even felt it at that moment. It was a deliverance from another, more mournful and gloomy feeling, which he himself could not fully define.

Svidrigailov took the revolver abandoned by Dunya for his last “voyage”. The chapter dedicated to Svidrigailov’s suicide, with his last wanderings along the outskirts of the city, through sewers, with his last refuge in a dirty tavern, with its leitmotif of dampness, rain and water, is one of the most stunning in history. artistic power. “Never in my life have I loved water, even in landscapes,” he thought again and suddenly grinned again at one strange thought: “after all, it seems that now it should be all the same about all this aesthetics and comfort, but here precisely he became picky, like an animal that certainly chooses a place for itself... in a similar case.”

The image of Petersburg is one of the most important in the novel. First of all, it is the setting against which events unfold. At the same time, the image of the capital city has some philosophical perspective. Razumikhin, discussing the causes of vices...

Rodion Raskolnikov is the main character of Dostoevsky's novel Crime and Punishment. Raskolnikov is very lonely. He is a poor student living in a small room that looks more like a coffin. Every day Raskolnikov sees " dark side» life, St. Petersburg: outskirts...

F. M. Dostoevsky’s novel “Crime and Punishment” is socio-psychological. In it, the author raises important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows psychology...

New!
Raskolnikova Pulcheria Alexandrovna - Raskolnikov's mother. She is tormented by her son's painful condition, hurt and offended by his alienation. And for Raskolnikov himself, the love of his loved ones for him, from whom he was separated by a terrible line after the murder, perhaps...

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Introduction

Conclusion

Bibliography

Introduction

F.M. Dostoevsky entered the history of world literature as a writer-philosopher. In almost every work of Dostoevsky we are immersed in the world of questions, hesitations, in the world of spiritual struggle. Dostoevsky was interested in the truth that was experienced and personally suffered by a person; truth, acquired by him as a result of a difficult path of trial and error, misconceptions, doubts, insights. Art world Dostoevsky is built on riddles. The face is one of the central mysteries in the writer’s work. The faces of Dostoevsky's heroes are an organic reflection of their self-awareness, their life position and the innermost essence. Dostoevsky, a master of psychological analysis, is characterized by showing the hero in the interaction of both internal feelings and their external manifestations. With special skill, the artist managed to convey this through portrait characteristics female images. What elemental power of protest are endowed with Dostoevsky’s female images! All his sympathies are on the side of those heroines who were bent and broken by life, who defended their rights and dignity, and entered into the struggle against habits and inert social traditions. Artistic method F.M. Dostoevsky contains psychological analysis heroes. The writer defined it as realism “in the highest sense,” allowing him, through the depiction of the “depth of the human soul,” to identify the key ideological and social contradictions of history and its transitional history.

Avdotya Romanovna Raskolnikova is the sister of the main character of the novel. F.M. Dostoevsky “Crime and Punishment” by Rodion Romanovich Raskolnikov. This is an intelligent, beautiful and chaste girl who loves her brother to the point of self-sacrifice. She has a habit of walking from corner to corner around the room in moments of thoughtfulness. In the struggle for happiness, Rodion was ready to agree to an arranged marriage, but she could not make contact with Luzhin in order to save her brother. As a result, she marries Razumikhin, finding in him a sincere and loving person, his brother's true comrade.

Avdotya Romanovna Raskolnikova, according to the original plan, was supposed to become her brother’s like-minded person. The following note from Dostoevsky has been preserved: “He certainly speaks to his sister (when she found out) or generally about two categories of people and inflames her with this teaching.” In the final version, Dunya enters into an argument with her brother almost from the first minutes of the meeting.

The relationship between the Raskolnikov brother and sister is one of the most complex in the novel. The ardent love of a young provincial girl for her older brother, an intelligent, thinking student, is beyond doubt. He, for all his selfishness and coldness, before committing the murder, tenderly loved his sister and mother. The thought of them was one of the reasons for his decision to transgress the law and his own conscience.

It should be noted that in the literature about Dostoevsky they write that possible prototype Avdotya Romanovna Raskolnikova - Avdotya Yakovlevna Panaeva, the writer’s first love. According to M.S. Altman, the coincidence of the hero’s name with the name of the alleged prototype is very important feature. In addition, the portrait of Dunya in the novel strongly resembles the appearance of the famous beauty Panaeva. It is possible that the proud and passionate character of this outstanding woman gave material for creating the character of Dunya. However, R.G. Nazirov, in his article “On the prototypes of some of Dostoevsky’s characters,” suggested the combination of Panayeva’s character in the image of Dunya with in a legendary way Saint Agatha" at the Pitti Gallery in Florence in 1862. This large painting, painted in 1520, depicts a torture scene. Two Roman executioners, trying to force Agatha to renounce the Christian faith and return to paganism, bring red-hot tongs to her chest on both sides. Agatha (in the Greek Orthodox Church she is called Agathia), according to legend, died from torture on February 5, 251, maintaining her steadfastness and faith to the end. R.G. Nazirov believes that Svidrigailov’s words about Duna: “She, without a doubt, would have been one of those who suffered martyrdom, and, of course, would have smiled when her chest was burned with red-hot tongs,” were inspired by the painting by Sebastiano del Piomo.

Image of Avdotya Romanovna Raskolnikova

“Avdotya Romanovna was remarkably good-looking - tall, amazingly slender, strong, self-confident - which was expressed in every gesture of hers, and which, however, did not in the least take away from her movements the softness and gracefulness. Her face was similar to her brother, but she could even be called a beauty. Her hair was dark brown, a little lighter than her brother's; the eyes are almost black, sparkling, proud and at the same time, sometimes, for minutes, unusually kind. She was pale, but not sickly pale; her face shone with freshness and health. Her mouth was a little small, but her lower lip, fresh and scarlet, protruded slightly forward, along with her chin - the only irregularity in this beautiful face, but one that gave it a special character and, by the way, a kind of arrogance. The expression on her face was always more serious than cheerful, thoughtful; but how the smile came to this face, how the laughter came to it, cheerful, young, selfless.” Avdotya Romanovna was truly beautiful and attractive girl. All the men who found themselves next to her could not help but pay attention to her, including Razumikhin and Svidrigalov. F.M. Dostoevsky, describing Dunya’s appearance, more than once compares her with her brother, and this is not accidental. The souls of relatives cannot but have similarities. Thus, the brother and sister inherited a fiery temperament, pride, self-confidence and determination. The natural mind allowed them to evaluate any phenomena of life with own point vision, and always remain serious. These rich inclinations allowed both personalities to develop to great heights, but differences in external circumstances made their characters in many ways opposite. One quality that especially distinguished Dunya from Raskolnikov was patience. Hence other traits of her character that are absent in her brother: gentleness, sacrifice, kindness, purity. Both mother and Dmitry Prokofievich more than once said in admiration and respect: “She is an angel!” However, both Rodion and Dunya were equally close to murder, and only an accident saved Avdotya Romanovna from the burden of a troubled conscience. “And you know, Avdotya Romanovna, you yourself are terribly similar to your brother, even in everything!” - Razumikhin once guessed and, of course, simplified the essence of their similarities, but in many ways he hit the mark. These insightful, decisive, proud, in many ways desperate, searching and demanding people with ardent hearts and a broad mind they really have a lot in common, but with the difference that life made one a criminal, and saved the other from sin. All this becomes clear thanks to Dostoevsky’s skill in depicting contradictory human consciousness. However, the author himself insisted that it is impossible to know a person completely: “Man is a mystery,” which can only be solved forever.

For the first time in the novel, we learn about Avdotya Romanovna from a letter from Rodion’s mother Pulcheria Raskolnikova. We learn about her difficult fate and that she is ready to sacrifice herself for her brother. Essentially, it is the sacrifice of one person in order to provide money for another so that that other person will succeed in life. She wants to marry Luzhin, hoping that he, subsequently, since he is a very wealthy man, will help Rodion. For herself, she would never have done something like that, but for her brother, suppressing moral feelings, she sold her peace of mind, freedom, conscience, body - without hesitation, without grumbling, without a single complaint. Raskolnikov immediately understood what this marriage would lead to. When Dunya realized what she had done, she would not have been able to stand the contempt for herself, she would not have been able to get used to it. The mother would have lived separately without a means of support and there could have been no talk of any help from Luzhin. And although Dunya was smart and “had the mind of her brother,” she still, until the last, did not want to believe that her hopes were unjustified, and turned a blind eye to the obvious. “Before making up her mind, Dunechka did not sleep all night and walked back and forth around the room; Finally she knelt down and prayed long and fervently in front of the image, and the next morning she announced to me that she had made up her mind,” wrote Pulcheria Raskolnikova to her son. Raskolnikov did not accept this sacrifice, but Dunya tries to convince him. “Brother,” Dunya answered firmly and also dryly, “in all this there is a mistake on your part. I thought about it overnight and found the mistake. The thing is that you seem to assume that I am sacrificing myself to someone. This is not true at all.” But here it should be noted that Avdotya Romanovna does not so much want to convince her brother of this as she tries to believe it herself. She grabs this opportunity. She is driven to this by the poverty of her family, bordering on poverty. He and his mother have practically no means of subsistence. They live on Pulcheria Raskolnikova's small pension and on the money Dunya earns as a governess. They also manage to send money to their beloved son and brother! Dunya voluntarily and consciously takes on a very heavy cross; but both mother and daughter both value the proposed marriage and consider it happiness, because it gives them the opportunity, at least vague hope, to pull the priceless Rodya, that is, our hero, out of the swamp of poverty onto a smooth and solid road. Avdotya Romanovna is one of those women who themselves are looking for what kind of torment they can accept. Here it would be useful to mention the words of Svidrigailov: “You know, I was always sorry, from the very beginning, that fate did not allow your sister to be born in the second or third century AD... She, without a doubt, would have been one of those who suffered martyrdom , and, of course, she would smile when they burned her chest with red-hot tongs.” Poverty hardened her, taught her to endure, and her pride and self-demandingness did not allow her to lose her dignity. The decisive moment was the meeting of Raskolnikov and Luzhin in Dunya’s apartment. All her hopes were completely dashed. She decided to face the truth and accept reality. In addition, she intuitively understood that at that moment she and her mother were not alone. And the point here was not that they were now next to Rodion, but that Razumikhin appeared in their lives. Dunya felt his support and guessed his sympathy for her. Luzhin ceased to be her only hope, and she abandoned this marriage, this sacrifice.

It should be noted that sacrifice is characteristic of the Raskolnikov family. The mother sacrifices her daughter for the well-being of her son, and her conscience constantly torments her. Dunya sacrifices herself for her brother. And Rodion himself, one might say, does the same. One of the reasons that pushed him to kill was the desire to help his family. All members of this family loved each other dearly. In other words, the sacrificial circle, sacrificial way of the cross turns out to be inevitable for the Raskolnikov family. Criticism also argues that this sacrifice is the crime. After all, a crime for Dostoevsky is not so much a manifestation of a pathological patient in a person’s being (and the author is also, of course, interested in such things), but rather a sign of social ill-being, a trace of painful and dangerous crazes in the minds of modern youth. Crime is driven equally by poverty and a feeling of real lack of rights and the futility of ordinary efforts to improve life.

If we talk about the sacrifice, then we can draw a parallel between Sonechka Marmeladova and Dunya. Raskolnikov himself does this: “Here we probably won’t refuse Sonechka’s lot! Do you know, Dunechka, that Sonechka’s lot is no worse than the lot with Mr. Luzhin.” Raskolnikov is afraid that Dunya will suffer the same fate. After all, in fact, there is not much difference in Sonya’s sacrifice and the impending sacrifice of Raskolnikov’s sister. Dunya's story differs only in that outwardly everything will seem correct and decent, that is, all the rules of decency will be observed, and Sonechka's activities, alas, can now be judged even by her appearance. Dunya Raskolnikova is going to marry a complete stranger to her only because she does not want to allow her mother and brother to descend into a miserable existence in order to improve the financial condition of her family. She also sells herself, but, unlike Sonya, she still has the opportunity to choose the “buyer”. Both Katerina Ivanovna and Raskolnikov talk about the meaninglessness of Sonechka’s sacrifice. By the way, the accusation brought by Raskolnikov against Sonya Marmeladova goes, as it were, in parallel with his accusation against his sister Dunya. Raskolnikov reproaches his sister for loving her brother more than herself: “... And that it is she (Pulcheria Raskolnikov) who writes to me: “Love Dunya, Rodya, but she loves you more than herself”; Isn’t she secretly tormented by remorse for agreeing to sacrifice her daughter to her son? "You are our hope, you are our everything." Oh, mother!..” The anger was boiling up in him more and more.” So, the main thing, one might say, Dunya’s crime is that she loved Rodion Raskolnikov more than herself, that she sacrificed herself for him. Actually, the same thing one can also say about Sonya Marmeladova, who gave her body for sale to save her family. It is necessary to remember the words of Raskolnikov: “Lord, what a truth! A scoundrel is a man! And a scoundrel is the one who calls him a scoundrel for this.” For people with an ineradicable conscience, with awakened consciousness, which were Sonya and Dunya (they even have similar names), addiction - highest limit meanness. To get used to it is to stifle everything human in yourself, to renounce all right to life, to feel, to act, to love. To get used to it means to become a scoundrel, like Luzhin, or to agree to live a vile life, to accept a vile fate, which Avdotya Romanovna intended to do when she became Luzhin’s bride. Meanness is also reconciliation with the “honesty” of a prostitute, who agrees to live by her “labor” and refuses to live on “gifts”, alms.

Raskolnikov loves his sister as much as Marmeladov loves his eldest daughter. But what is this good for? strong love a poor, oppressed and powerless person? What can such love protect from and where can it lead? Taking advantage of this love, Avdotya Romanovna Raskolnikova can just as easily find herself at the unaccountable disposal of street womanizers as Sofya Semyonovna Marmeladova found herself at their disposal. It is probably impossible to even count on the outcome that suicide will save Avdotya Romanovna from forced debauchery. Maybe Sofya Semyonovna would also be able to throw herself into the Neva; but, rushing into the Neva, she could not have laid out thirty rubles on the table in front of Katerina Ivanovna, which contained the whole meaning and the whole justification for her immoral act.

In her relationship with Arkady Ivanovich Svidrigailov, Dunechka reveals a slightly different side. We see that everything was not exactly as Pulcheria Raskolnikova said in her letter. “With all the natural disgust of Avdotya Romanovna towards me... she finally felt sorry for me, sorry lost man. And when a girl’s heart feels sorry, then, of course, this is the most dangerous thing for her. Here you will certainly want to “save”, and bring to reason, and resurrect, and call for more noble goals, and revive to a new life and activity - well, it is known that you can dream of this kind,” Svidrigailov told Raskolnikov. This is precisely the situation in which Dunechka found herself in Marfa Ivanovna’s house. Svidrigailov was a subtle psychologist, and no matter how smart Dunechka was, she still succumbed. “...Stayed in highest degree I am sure that she is innocent and chaste and fulfills all her duties and responsibilities, but she died completely by accident.” Fortunately, fate decreed that her honor was restored. Last meeting Dunya with Svidrigailov is very interesting. This meeting is preceded by a letter from Svidrigailov to Raskolnikov’s sister, in which he talks about the crime that Rodion committed. Dunya suggests what a meeting with this man might lead to, but she goes, goes again, for the sake of her brother. She does not want to believe that Rodion is capable of murder. There is still a glimmer of hope in her that this is not true, that this vile man is simply deceiving her. But still, deep down, Avdotya Romanovna understands that this is true. She also understands that a meeting with Svidrigailov cannot bring her anything good, so she takes a revolver with her, but she still has no idea what fate has in store for her. Svidrigailov simply lured her into a trap, he wanted to get what he could not get in the village. It all begins very mysteriously, but quite peacefully; nothing foreshadowed such a rapid development of actions. The atmosphere is heating up. Dunya and Svidrigailov, like a cat and a mouse, watch every move of the enemy. The climax of this scene is unexpected.

“Dunya raised the revolver and, deathly pale... looked at him, measuring and waiting for the first movement on his part. Never before had he seen her so beautiful. The fire that flashed from her eyes at that moment when she raised the revolver seemed to burn him, and his heart sank with pain. He took a step and a shot rang out. The bullet skimmed his hair and hit the wall from behind.”

There was a second shot: “Dunya fired, it misfired!” Here we need to remember the murder of Raskolnikov. The Raskolnikovs, brother and sister, were capable of murder. But the situations are fundamentally different from each other. The difference is easy to explain. Dunya shot, defending herself from the meanness of a stronger and more powerful person, so the crime committed in despair only gave her more dignity and determination, attractive in beautiful woman and deserving of respect. Raskolnikov actually committed murder as an experiment, confessing to Sonya: “I did not kill so that, having received funds and power, I would become a benefactor of humanity. Nonsense! I just killed; I killed it for myself, for myself alone.”

Yes, Avdotya Romanovna did not make a meaningless sacrifice for her brother and could not help him in any way, but after the verdict on Raskolnikov, she continues to live for her brother. Despite the fact that Dunya married Razumikhin, she builds her life in such a way as to be close to her brother and help him. At first, they hope for Sonechka, since they do not have the opportunity to immediately go to live in the place of hard labor, but five years later, after the sentence, they plan to move to Siberia. Both Dunya and Razumikhin dearly loved Rodion Romanovich Raskolnikov and hoped, after the expiration of the term, “to all start together.” new life».

Conclusion

Raskolnikov Dostoevsky novel

In the novel “Crime and Punishment,” as always in Dostoevsky, love is depicted as a complex feeling: love is not given to the heroes for nothing, it must be suffered, and for it it is necessary to overcome a lot.

Dunya experienced humiliating harassment from the landowner Svidrigailov when she lived on his estate as a governess, and aggressive persecution of the same Svidrigailov already in St. Petersburg: he even blackmailed her to hand over her brother to the police. In addition, Avdotya Romanovna, with her pride, had to endure for some time the rather humiliating position of Mr. Luzhin’s fiancée. Dunya, like Sonya, is ready to sacrifice herself for the sake of her loved ones, but she is not a resigned Sonya. Avdotya Romanovna can stand up for herself, fight back not only the Luzhins, but also the Svidrigailovs. In this she is similar to her brother. She cannot be “humiliated and insulted”, unless of her own free will, but she cannot be forced. Perhaps this is why fate takes her away from dirty and immoral relationships and gives her the love of the noble Razumikhin, who is ready to make every conceivable effort for her happiness, and only in an honest way.

“The Dounias certainly make sacrifices, but their self-denial is arrogant. Dunechka will suffer, not merging with what she is suffering for, “smiling,” as Svidrigailov puts it. Isn’t this where Dunechka’s voluptuous charm lies, which overpowered Svidrigailov and, contemptuously ready to prostitute herself to Luzhin, was condemned to leave cold and childless from the arms of Razumikhin?” wrote Annensky I.F. in the article “Dostoevsky in artistic ideology.”

A happy marriage with Razumikhin is the finale of Dunya’s novel fate.

The images of Rodion and Dunya Raskolnikov made it possible to touch upon many of the secrets of human psychology. The novel has an open ending, and both heroes still have a chance to reform or commit crime; one thing is certain: the connection between such people will never disappear.

Thus, creating the image of Dunya is a complex act of combination appearance and partly the character of A.Ya. Panaeva with the legendary image of Saint Agatha, as the writer saw him in the picture.

Bibliography

1. Dostoevsky F.M. Crime and Punishment. / F.M. Dostoevsky. - M.: Fiction, 1970. - 558 p.

2. Belov S.V., Roman F.M. Dostoevsky "Crime and Punishment". / D.S. Likhachev. - M.: Education, 1979. - 234 p.

3. Kirpotin V.Ya. Disappointment and downfall of Rodion Raskolnikov. / V.Ya. Kirpotin. - M.: Fiction, 1986. - 413 p.

4. History of Russian literature of the 9th century (second half). / CM. Petrov. - M.: Education, 1974. - 576 p.

5. Annensky I.F. The art of thought. / I.F. Annensky. - M.: Science, 1979

6. Karyakin Yu.M. Raskolnikov's self-deception. / Yu.M.Karyakin. - M. 1989

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The character of Avdotya Raskolnikova

Dunya is a sweet, well-mannered and femininely attractive person who is not deprived of the attention of men. She is similar to her brother in appearance, but she is distinguished by her chin, which protrudes forward. This rebellious physiological trait seems to emphasize strong character and confidence in own strength in the character of the heroine. The girl is already 22 years old and it’s time to decide on her choice of companion.

Despite the fact that the heroine is in the position of a homeless woman, there are more than enough people who want to possess the hand and heart of this slender, black-eyed and dark-haired girl with a proud gaze.

The noble Avdotya Romanovna almost decided to marry the slippery type Luzhin for convenience, while not pursuing the goals of getting rich, but wanting to pull her mother out of poverty and help her finish her studies.

Role in the plot

Educated and sophisticated Duna has to work as a governess in a rich house in order to somehow make ends meet while her brother is studying. Raskolnikova knows her worth and behaves quite boldly, despite her plight.

She firmly decides to “sell” herself in marriage to the unloved Luzhin in order to help the family, but her brother is against such sacrifices. After much debate and persuasion, Dunya finally understands who her potential fiancé actually is - a rare stingy man, ready to hang himself for every penny. She refuses the senseless sacrifice of herself.

By deception, also wanting to get the girl, he lures Raskolnikova into his house and tells her that her brother committed a terrible crime. The scoundrel hopes to gain favor desired girl. But Dunya is adamant, fighting off the annoying boyfriend, she shoots at him without hesitation, but misses. The heroine now clearly understands that she cannot be with anyone for profit. She firmly declares to her tormentor that she does not love him. Discouraged by the behavior of the determined girl, Svidrigailov, after painful deliberation, lets her go.

By the end of the story, Avdotya marries for love. Becomes her chosen one worthy person- friend of brother Razumikhin, who, after Raskolnikov’s arrest, promises protection and care to both Duna and her mother.

The “Epilogue” reports that Avdotya Romanovna and her husband firmly decided in three or four years, having accumulated the necessary capital, to move to Siberia, to the city where Rodion Raskolnikov was serving hard labor (probably Omsk, where Dostoevsky himself was serving hard labor) and “all together to begin a new life".

Quotes about Avdotya

My sister would rather become a Negro to a planter or become a Latvian to a Baltic German than to fuel her spirit and her moral sense by a connection with a man whom she does not respect and with whom she has nothing to do - forever, for her own personal gain!

The point is clear: for himself, for his own comfort, even to save himself from death, he will not sell himself, but for someone else he sells it! For a dear, for an adored person will sell!

Avdotya Romanovna is terribly chaste, unheard of and unprecedented.

Avdotya Romanovna was remarkably good-looking - tall, amazingly slender, strong, self-confident, which was expressed in her every gesture and which, however, did not in the least take away from her movements the softness and gracefulness. Her face was similar to her brother, but she could even be called a beauty. Her hair was dark brown, a little lighter than her brother's; the eyes are almost black, sparkling, proud and at the same time, sometimes, for minutes, unusually kind. She was pale, but not sickly pale; her face shone with freshness and health. Her mouth was a little small, but her lower lip, fresh and scarlet, protruded slightly forward, along with her chin - the only irregularity in this beautiful face, but one that gave it a special character and, by the way, a kind of arrogance. Her facial expression was always more serious than cheerful, thoughtful; but how the smile came to this face, how the laughter came to it, cheerful, young, selfless!

Dunya Raskolnikova is a bright minor character in F. M. Dostoevsky’s novel “Crime and Punishment.” Fate has prepared many trials for this beautiful and educated girl. Who is Avdotya Raskolnikova?

External Image of Dunya Raskolnikova

Avdotya Romanovna Raskolnikova - younger sister the main character of the novel, Rodion Raskolnikov. It is known that this is a 22-year-old girl with a persistent character and pleasant appearance. Dunya was very beautiful girl, which was noted more than once by Razumikhin, Svidrigailov, and Luzhin: “Avdotya Romanovna was remarkably good-looking - tall, amazingly slender, strong, self-confident, which was expressed in every gesture of her and which, however, did not in the least take away from her movements the softness and gracefulness."

She was very similar to her brother, but her hair was lighter, and her black eyes sparkled, the power of life was felt in them. Her only drawback was her slightly plump lower lip, which protruded forward along with her chin. but even this feature gave her a peculiarity and even a certain arrogance.

Characteristics of Dunya Raskolnikova

Despite her youth, Dunya was proud and educated. She worked as a governess, trying to support herself and also help her mother and brother. Although her financial situation it was very bad, she did not despair, always behaved with dignity, and even in a poor dress she looked like a real beauty.

Dunya knew her worth and could not at will marry someone you don't love. however, the family's condition was so disastrous that she had to accept Luzhin's courtship. She admits that she coveted money, but claims that she would never marry a dishonest man. Later, when Luzhin slandered Sonya Marmeladova and Rodion, Dunya was unable to tolerate this man and refused him.

Rodion's friend Razumikhin admires Avdotya and considers her the purest and most spiritual nature, capable of sacrificing herself for her brother. Even her poor dress and modest outfits seem ideal to him, and Avdotya in them looks like a beautiful creature.

Dunya Raskolnikova is a selfless woman, ready to sacrifice her happiness for the sake of her loved ones.

Female images in the novel “Crime and Punishment”

The two most important characters in the novel “Crime and Punishment” are Avdotya Raskolnikova and Sonya Marmeladova. These two girls are very similar: they are ready to sacrifice themselves for the sake of people close to them. Both girls are forced to live in poverty, only Sonya, under the pressure of circumstances, is forced to sink to the social bottom - to become a prostitute. At the same time, she did not lose her love of humanity and retained faith in herself and those around her. It was Sonya who became the guide to a new life for Raskolnikov. She convinced him to confess to committing terrible crime, and later went to Siberia for him. This fallen woman became an angel for Rodion, without whom he would simply have died.

Self-sacrifice, faith and fortitude unite the two main characters in the novel - Dunya Raskolnikova and Sonya Marmeladova. These women are able to endure many hardships for the sake of their loved ones, and sacrifice their happiness if circumstances require it.

This article will help schoolchildren write an essay on the topic “Dunya Raskolnikova.” It tells the story of her difficult life, strong character and the ability to sacrifice oneself for others. The article also gives a brief description of The main female characters in the novel “Crime and Punishment” are Dunya and Sonya Marmeladova.

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