In what contrasts Dostoevsky is right and wrong. Composition

– There are two truths in the novel “Crime and Punishment”: Raskolnikov’s truth and Sonya’s truth. But the truth is one is true, the other is false.
Miniature essay based on the novel by F.M. Dostoevsky "Crime and Punishment"
What is Dostoevsky right and what is wrong, contrasting Raskolnikov’s truth with Sonya’s truth?
In the novel Crime and Punishment, Dostoevsky presented us with two (main) opposing theories in the persons of the main characters Sonya Marmeladova and Rodion Raskolnikov. However, none of them can be accepted and used in pure form due to its incompleteness.
Sonya's truth lies in kindness, mutual assistance, self-sacrifice; she brings with her the light of hope and faith, love and sympathy, tenderness and understanding; she understands and experiences their pain with people, and does not judge people for their actions. And to be more precise, she sees salvation in religion. Sonya sincerely believes that the fate of a person is completely predetermined by God, that only He has the right to control people’s lives and no one else. But, it would seem, being such a believer, Sonechka still becomes a sinner, a sinner in her own life. However, the heroine “transgressed” and became a sinner not for herself, but for others. And unlike Raskolnikov, she suffers herself, and he brings suffering to others.
Raskolnikov's theory is completely opposite. She divides people into “trembling creatures” and “those who have the right.” According to it, only man is the creator of his destiny and his entire life. Thus, this theory even traces humanistic ideas, especially in a place where the individuality of each person, her power, and great abilities are exalted. However, this truth is not as humane as we would like. Rodion's theory also gives the right to unjustifiably take the life of others. After all, he killed the old pawnbroker only for one purpose, as he himself later said, in order to “quickly find out whether I’m a louse like everyone else, or a man; whether I’m a trembling creature, or whether I have the right:.” He did this only for himself, to test both himself and his theory.
So what happens?
Sonya's life is full of love, tenderness, sympathy; Raskolnikov - pride, individuality, determination. Raskolnikov teaches Sonya courage and masculinity. Sonya teaches him mercy and love, forgiveness and empathy. But, despite everything, what awaits them is not happiness in life, but the difficult fate of fate that they are destined to go through together. This is the negative side of both theories of heroes, their hopelessness.
So, the theories shown by Dostoevsky in the novel do not provide a solution for us. But it makes us think about how we live, and understand that we need to start with ourselves.

F. M. Dostoevsky - Great master psychological novel. In 1866, he completed work on the novel Crime and Punishment. This work brought the author well-deserved fame and fame and began to occupy a worthy place in Russian literature.

One of F. M. Dostoevsky’s novels is almost entirely devoted to the analysis of the social and moral nature of crime and the punishment that follows it. This is the novel “Crime and Punishment”.

Indeed, crime for a writer becomes one of the most important signs of the time, a modern phenomenon.

Pushing his hero to murder, F. M. Dostoevsky strives to understand the reasons why such a cruel idea arises in the mind of Rodion Raskolnikov. Of course, his “environment stuck.”
But she ate poor Sonechka Marmeladova, and Katerina Ivanovna, and many others. Why don't they become murderers? The fact is that the roots of Raskolnikov’s crime lie much deeper. His views are greatly influenced by the theory of the existence of “supermen”, popular in the 19th century, that is, people who are allowed more than to an ordinary person, that “trembling creature” that Raskolnikov reflects on. Accordingly, the writer understands the crime of Rodion Raskolnikov much more deeply. Its meaning is not only that Raskolnikov killed the old pawnbroker, but also that he himself allowed this murder, imagining himself as a person who is allowed to decide who lives and who does not.

After the murder, a new period of Raskolnikov’s existence begins. He was lonely before, but now this loneliness becomes endless; he is alienated from people, from family, from God. His theory did not come true. The only thing it led to was unbearable suffering. “Suffering is a great thing,” said Porfiry Petrovich. This idea - the idea of ​​purifying suffering - is heard repeatedly in the novel. In order to ease moral torment, Porfiry advises finding faith. The true bearer of saving faith in the novel is Sonya Marmeladova.

For the first time, Raskolnikov heard about Sonya, about her ruined fate in the tavern from Marmeladov. She made a great sacrifice to save her family from hunger. And even then, just one mention of Marmeladov about her touched some secret strings in Raskolnikov’s soul.

In those days that became the most difficult for him, Raskolnikov goes to none other than Sonya. He carries his pain not to his mother, not to his sister, not to his friend, but to her. He feels a kindred spirit in her, especially since their fates are so similar. Sonya, like Raskolnikov, broke herself and trampled on her purity. Let Sonya save the family, and Raskolnikov was just trying to prove his idea, but they both ruined themselves. He, the “murderer,” is attracted to the “harlot.” Yes, he has no one else to go to. His attraction to Sonya is also generated by the fact that he strives for people who themselves have experienced the fall and humiliation, and therefore can understand the anguish and loneliness.

I believe that, condemning helpless people who do not dare to change their lives, the hero of the novel was right. His truth is that he himself tried to find a path that would lead to changes for the better.
And Raskolnikov found him. He believes that this path is a crime. And I think he was right to confess to the murder. He had no other choice, and he felt it.

According to Dostoevsky, only God is capable of deciding human destinies. Consequently, Rodion Raskolnikov puts himself in the place of God, mentally equates himself with him.

Is one part devoted to punishment, and five parts of the novel devoted to punishment?
2. List all the events of the first part of the novel that push the hero to crime. Write out from the text the replicas of Raskolnikov’s internal monologue, which show the deep contradictions between the “head” theory and the living heart.
3. Why is the humanist writer F.M. Does Dostoevsky describe in such detail the murder of the old pawnbroker and her sister Lizaveta?
4. How do you understand Sonya’s words to Raskolnikov: “You walked away from God, and God struck you down and handed you over to the devil!”?
5. Explain the meaning of Raskolnikov’s phrase: “... eternal Sonechka while the world stands! In what connection does he say this?
6. Why did the author of the novel, in the scene of reading the New Testament, turn specifically to the parable of the resurrection of Lazarus?

The attitude of F. M. Dostoevsky to the “hero of action” - a characteristic person of the sixties of the 19th century

The novel “Crime and Punishment” was conceived by F. M. Dostoevsky in hard labor “in a difficult moment of sadness and self-destruction.” It was there, at hard labor, that the writer encountered " strong personalities", placing themselves above the moral laws of society. Having embodied the traits of such individuals in Raskolnikov, Dostoevsky in his work consistently debunks their Napoleonic ideas. To the question: is it possible to destroy some people for the sake of the happiness of others, the author and his hero answer differently. Raskolnikov believes, which is possible, since this is “simple arithmetic". No, Dostoevsky claims, there cannot be harmony in the world if even one child’s tear is shed (after all, Rodion kills Lizaveta and her unborn child). But the hero is in the power of the author, and therefore in In the novel, the anti-human theory of Rodion Raskolnikov fails. The theme of rebellion and the theme of the individualist hero, last years who owned Dostoevsky, united in Crime and Punishment.

The hero's rebellion, which lies at the basis of his theory, is generated by the social inequality of society. It is no coincidence that the conversation with Marmeladov became the last straw in Raskolnikov’s cup of doubt: he finally decides to kill the old money-lender. Money is salvation for disadvantaged people, Raskolnikov believes. The fate of Marmeladov refutes these beliefs. Even his daughter’s money cannot save the poor guy; he is crushed morally and can no longer rise from the bottom of his life.

Raskolnikov explains the establishment of social justice by violent means as “blood according to conscience.” The writer further develops this theory, and heroes appear on the pages of the novel - Raskolnikov’s “doubles”. “We are birds of a feather,” Svidrigailov says to Rodion, emphasizing their similarities. Svidrigailov, like Luzhin, exhausted the idea of ​​abandoning “principles” and “ideals” to the end. One has lost his bearings between good and evil, the other preaches personal gain - all this logical conclusion Raskolnikov's thoughts. It is not for nothing that Rodion responds to Luzhin’s selfish reasoning: “Bring to the consequences what you preached just now, and it will turn out that people can be slaughtered.”

Raskolnikov believes that only “real people” can break the law, since they act for the benefit of humanity. But Dostoevsky proclaims from the pages of the novel: any murder is unacceptable. Razumikhin expresses these ideas, citing simple and convincing arguments that human nature resists crime.

What is the result of Raskolnikov, considering himself the right to destroy “unnecessary” people for the benefit of the humiliated and insulted? He himself rises above people, becoming an “extraordinary” person. Therefore, Raskolnikov divides people into “chosen ones” and “trembling creatures.” And Dostoevsky, removing his hero from the Napoleonic pedestal, tells us that it is not the happiness of people that worries Raskolnikov, but he is occupied by the question: “...am I a louse, like everyone else, or a man? Am I a trembling creature or do I have the right...” Rodion Raskolnikov dreams of ruling people, this is how the essence of an individualist hero is revealed.

Refuting life goals of his hero, preaching Christian principles, Dostoevsky introduces the image of Sonya into the novel. The writer sees the “greatest happiness” in the destruction of his “I”, in undivided service to people - Fyodor Mikhailovich embodied this “truth” in Sonya. Contrasting these images, Dostoevsky pits Raskolnikov’s revolutionary atheistic rebellion against Christian humility, love for people and Sonechka’s God. Forgiving love Sonya and her faith convince Rodion to “accept suffering.” He confesses to the crime, but only in hard labor, comprehending the truths of the Gospel, does he come to repentance. Sonya returns Raskolnikov to the people from whom he was separated by the crime he committed. "They were resurrected by love..."

Having destroyed Raskolnikov’s “harmonious” theory, his “simple arithmetic,” Dostoevsky warned humanity against the danger of revolutionary riots and proclaimed the idea of ​​​​the value of any human personality. The writer believed that “there is one law - the moral law.”

Great novels by F.M. Dostoevsky have philosophical character. They are written in the form of arguments of heroes who become so fused with their ideas, obsessed with them, that these ideas become “second nature” to them. In my opinion, the goal of all the writer’s works is to find the truth of life, the ideal of a person. Such psychological quests were characteristic of people during the period when “everything turned upside down” in Russia (words of L.N. Tolstoy).

With this attention to the contradictory essence of man, Dostoevsky surpasses many literary artists. The tragedy of the quest is emphasized by the fact that the dispute between the heroes never ends in the victory of one or the defeat of the other. Dostoevsky draws attention to the fact that the question of the meaning of human life, of the ideal, always remains open.

Rodion Raskolnikov and Sonya Marmeladova appear as two opposing currents in the novel. And each of them turns out to be necessary for the other. Sonya reproaches Raskolnikov for his arrogance towards people, and he helps her, this meek soul, to be filled with the courage of contempt for people like Luzhin. However, the heroes do not immediately come to this realization, overcoming acute contradictions.

Initially, Raskolnikov believes that he came to Sonya to awaken pride in the “uncomplaining” soul and cause her to protest. This is how the hero justifies himself. In fact, he comes to Sonechka Marmeladova to “lay down at least part of his torment” - to tell everything about his crime. But his true suffering does not lie in the fact that he is a murderer.

The image of the old pawnbroker evokes only disgust in him. Raskolnikov is tormented by the “idea of ​​murder” and seeks from Sonya confirmation of the right to kill in the name of justice, in the name of sympathy for people. At the same time, the thought beats in the hero: “Am I acting meanly? Do I need to say who killed Lizaveta?” He suddenly becomes ashamed of himself, for the desire to shift his worries, remorse caused by wounded pride, onto the shoulders of others. And then Raskolnikov is overcome by another, strange, inexplicable feeling, “that it is not only impossible not to say, but even to postpone this minute... is impossible.”

In one of the conversations, Raskolnikov asks Sonechka directly: “Should Luzhin live and do abominations, or should Katerina Ivanovna die?” Sonya dismisses this question with disgust, citing the inscrutability of God's providence. But this will not calm you down heartache Rodion Raskolnikova, Here Dostoevsky poses the problem: why does a person suffer and where is the justification for this suffering?

Sonechka justifies her suffering primarily by the fact that she is saving the lives of her family. In addition, Sonya believes in immortality. And here the writer touches on another important question: if there is immortality, does God exist? However, if there is a God, then how could he allow the tears of a child, all this sea of ​​human suffering?

For Raskolnikov, this is impossible, therefore everything is meaningless, and, therefore, everything is permitted. According to his theory, man is God himself. However, without supreme Truth, without God, without a moral criterion for assessing human actions, it becomes, in Marmeladov’s words, “too bestial.”

In this situation, when there is so much grief and there is no strength to help everyone, to console everyone, Sonya and Raskolnikov ask the same question: “What to do?” And everyone answers it in their own way.

Raskolnikov believes that we need to take “freedom and power, and most importantly power! Over all the trembling creatures and the entire anthill! This is destiny! But the circumstances leading to this conclusion justify it. The hero wants to take revenge for the grief of the disadvantaged - this is already a fight with the century, “blood according to conscience”, murder “in justice”, when “one tiny crime” will be atoned for by “a thousand good deeds”.

It would seem that with the whole logic of the novel, Dostoevsky seems to be trying to prove that it is impossible to do good without committing a crime: because of his mother and sister, in the name of pain for the offended, Raskolnikov decides to cross the moral line and kill. In the name of love for her brother, Dunechka decides to marry the scoundrel Luzhin, and Sonechka Marmeladova tramples her life to save her family...

However, there is another argument that leads a criminal to a crime - an internal one, which lives in himself: in his pride, in the desire to test for himself whether “Am I Napoleon or not.” Even in Raskolnikov’s article the main idea- “Can I commit a so-called crime, however, in the name of a good goal?” It’s as if he himself is infected with the arbitrariness and outrages reigning around him: let me try too... But how much hatred in his soul is for such rulers, who easily walk over the corpses of people!

So, three points are important in the truth of Raskolnikov’s life: altruistic - helping humiliated people and taking revenge for them; egoistic - when “everything is permitted” and one can test whether I am “a trembling creature”; and, finally, self-execution - when it turned out that he “couldn’t stand it.”

Sonya is a victim of the world of the Luzhins and Svidrigailovs, at the same time, she is Raskolnikov’s new conscience of Christ; she herself does not require protection, although she needs it. This heroine is the embodiment of suffering and humility, an example of a completely different response to evil.

Raskolnikov is the first to admit his crime to Sonya, and not to anyone else, although she cannot accept his confession without complaint. This proves that her truth of life is attractive. Sonya rejects the path of blood pride and conjures Raskolnikov to repent and atone for sin. She brings the hero “out of the darkness of delusion”, grows into a huge figure of humility, suffering and goodness, when society itself has lost its way in anti-human “trichinas”.

Raskolnikov commits murder in the name of justice, in the name of hatred of Luzhin, in the name of revenge for the grief of the suffering. However, Lizaveta’s childhood fear, her innocent death, is a terrible denial of Raskolnikov’s willfulness, who decided to intervene in God’s Providence. The same childish fear is on the face of the sufferer Sonechka. In the face of love, the childish protest of a woman’s pure soul, the same childish, simple and unwise thing comes to life in Raskolnikov’s heart, and this is the end of his rebellion.

However, it cannot be said unequivocally that Sonina’s truth of life won. I think it is impossible to separate these two truths. Ultimately, they are the same, only the means of achievement are different. Their main idea is highly moral: restoration dead person, crushed by the pressure of circumstances; return to a person what an unjust society has taken from him; straighten the twisted soul.

This “restoration” is accompanied by a special, religious restoration, which can be viewed more broadly – ​​as “filling” a person with new morality, a sense of Christian humility. That’s why Raskolnikov asks Sonya to read the Gospel to him...

Rodion Raskolnikov - main character 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: the outskirts of the city, where drinking bars flourish, where people who have lost themselves pour out their grief with alcohol.

In such terrible conditions of suffering and humiliation, the hero develops an original theory. According to it, all people are divided into two types - “trembling creatures,” which are just matter that serves to reproduce their own kind, and “ the mighty of the world this" - people called to say a new word, destroying the present in the name of the future, for whom they are alien moral laws. Raskolnikov seeks to check who he is: “Am I a trembling creature or do I have the right?”

To test this, he decides to kill: if his conscience does not torment him later, it means that he is the one who “has the right.” But after crime committed Raskolnikov falls ill and gradually realizes that his theory is wrong.

But Raskolnikov’s theory also had another background - social. Life itself, full of bitterness, loneliness and injustice, the imperfection of social order pushes him to begin to “restore justice” himself, to kill the pawnbroker and help those whom she has robbed.

The same unbearable conditions push Sonechka Marmeladova to make a deal with fate: in order to earn money to support her family, she becomes a prostitute. Her crime is even worse than Raskolnikov’s, because Sonechka transgressed through herself, “killed” herself. Sonya initially realized this because she was a very religious person. It was faith in God that helped the heroine endure her life and her activities. Sonya believes that she is capable of spiritual resurrection and rebirth. An example of this is her reading of the legend of the resurrection of Lazarus.

Of course, the two doomed heroes had to meet. Sonechka, who has retained the divine principle within herself, saves Raskolnikov. Only to her does he explain the reason for his terrible act: “I didn’t kill in order to help my mother - nonsense! I did not kill so that, having received funds and power, I could become a benefactor of humanity. Nonsense! I just killed; I killed it for myself, for myself alone...” But the hero feels that he has committed a terrible thing, irreparable mistake. He didn’t kill the old woman, but he killed himself, his soul. And Sonya understands this.

Raskolnikov must repent of his sins, return to God in order to return his soul. Sonechka reads him the chapter about the resurrection of Lazarus in order to “resurrect” spirituality hero. But for now Sonya sees in him only the Jews who were present when Christ performed a miracle. However, Raskolnikov immediately combines three characters: and the Jews, and Lazarus, and Christ himself. The image of Christ can be traced in him when he confesses to the crime he has committed. Thus begins the hero’s resurrection, his path to purification.

Raskolnikov is sent to hard labor. Sonya follows him, just as the myrrh-bearing women followed Christ on his crusades. She goes to help him there with her love.

This is how both heroes of the novel “Crime and Punishment” are healed. Their mutual love and distance from the places where they committed their crimes help restore their spiritual balance.

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