Who made me the judge here? Eternal Sonechka (based on the novel by F
In 1865, F. M. Dostoevsky begins work on the novel
"Crime and Punishment" and finishes writing it in 1866. At the center of the work is a crime, an “ideological” murder.
Fate brought the main characters of the novel, Rodion Raskolnikov and Sonya Marmeladova, together at a critical moment in their lives. Raskolnikov committed a crime, and Sonya was forced to go out into the street and sell her body.
Their souls have not yet become callous, they are exposed to pain - their own and others.
Raskolnikov hoped that Sonya would support him, that she would take his burden upon herself and agree with him in everything, but she did not agree. “Quiet, weak” Sonya breaks down Raskolnikov’s cunning theories with the elementary logic of life. Meek Sonya, living according to the Gospel commandments, helps
Raskolnikov to take the path of repentance, abandon “theory”, reunite with people and life.
For the first time, Raskolnikov heard about the fate of Sonya from her father during a meeting with him in one of the taverns. Marmeladov said that when Sonya was fourteen years old, her mother died, and he married Katerina Ivanovna, who did not favor Sonya, since she herself had three small children.
""As you can imagine, Sonya did not receive any education." Her father tried to teach her geography and history, but he himself was not strong in these subjects and therefore did not teach Sonya anything. After Marmeladov's dismissal from service and his family's long wanderings around the country, he finally found a job, but he was kicked out again, this time due to drunkenness, and his family found itself in a hopeless situation. Seeing how Katerina Ivanovna and her small children were suffering, Sonya decided to sacrifice herself for the good of the family and “was forced to take a yellow ticket.”
Marmeladov’s confession convinces that Sonya “stepped over” to save her sisters, her consumptive stepmother Katerina Ivanovna and her drunkard father from starvation.
Six months before the murder, Raskolnikov published his article in the newspaper, where he expressed his principle of separating people. the main idea his articles are that
"According to the law of nature, people are generally divided into two categories: the lower
(ordinary) ... and actually on people, that is, those who have the gift or talent to say a new word in their midst." Considering himself to be in the “highest category”,
Raskolnikov, to test his theory, commits the brutal murder of an old pawnbroker, thereby overstepping his natural kindness and selflessness. Let us at least remember how he saves a drunken girl from being violated; When Raskolnikov does kind and sincere deeds that please his mother and sister, he acts freely and uninhibitedly.
Raskolnikov “stepped over” himself, his principles, only in order to test his theory.
After the murder, Raskolnikov goes to Sonya, considering her a person who will understand him, because she committed a sin no less serious than him. But his meetings with her convinced him that Sonya was not at all what he had imagined; she revealed herself to him as a loving person, with a sensitive and responsive soul, capable of compassion. Her Life is built according to the laws of self-sacrifice.
She wants, first of all, to be better herself. In the name of love for people, Sonya chooses the path of violence against herself, for the sake of saving others she goes to shame and humiliation. She resigns herself and suffers.
Raskolnikov cannot come to terms with the fact that his theory is not correct, trying to prove that Sonya is right, he asks her a treacherous question: which is better?
– a scoundrel “live and do abominations” or die to an honest man? “But I can’t know God’s providence…” Sonya answers. “And who made me the judge here: who should live and who should not live?” Despite all attempts
Raskolnikov convinces Sonya that she is right; she firmly stands her ground: sacrificing oneself for the good of one’s neighbors is one thing, depriving the lives of others in the name of the same good is a completely different matter. Sonya does not want to solve the questions that Raskolnikov poses to her; she lives only by faith in God.
It is “in the departure from God” that Sonya sees as the reason for Raskolnikov’s crime:
""You walked away from God, and God struck you down and handed you over to the devil!"" The Christian religion helped Sonya to preserve her pure soul in shame and humiliation; only faith in
God gives strength to this fragile and defenseless creature. "What would I do without
Was there God? - she whispered quickly, energetically.
It seemed strange to Raskolnikov that Sonya was not like him: despite the fact that she had committed a grave sin, she did not alienate herself from the world, as Raskolnikov did. This irritates and embitters him, but he is still attracted by the kindness and mercy emitted by Sonya. In conversations with her
Raskolnikov becomes more and more frank, and, in the end, he confesses to Sonya that he committed the murder. The confession scene is very tense. Sonya's first reaction to the confession was fear and horror, because she was in the same room with the killer. But Sonya forgave Raskolnikov, realizing that only she could understand him now. Faith in God and love for humanity do not allow Sonya to abandon Raskolnikov to his fate.
"Sonya threw herself on his neck, hugged him and squeezed him tightly with her hands."
After this, Raskolnikov names the reasons that pushed him to kill.
The first reason turned out to be banal: “Well, yes, to rob.”
Raskolnikov gives this reason so that Sonya does not pester him with questions. But she understands that a person like Raskolnikov could not do this for the sake of money, even if he “wanted to help his mother.” Gradually
Raskolnikov reveals himself to Sonya. First he says that he "wanted"
To become Napoleon, that’s why he killed,” but Raskolnikov himself understands that this is not the reason why he killed. ""This is all nonsense, almost just chatter! "" Next reason: ""...I decided, taking possession of the old woman's money
, to use them for my first years, without tormenting my mother, to support myself at the university..." - is also not true. “Oh, that’s not it, that’s not it!” exclaims Sonya. Finally, after a long search in his soul for the answer to the question of murder, Raskolnikov names the true motive for the murder: ““I didn’t kill in order to help my mother - nonsense! I didn’t kill in order to get money and power, to become a benefactor of humanity... I needed to find out then, and find out quickly, whether I was a louse, like everyone else, or a man?”
Having divided people into two categories, Raskolnikov naturally faces the question of what category of people he himself belongs to: “Am I a trembling creature or do I have the right...” Raskolnikov "wanted to dare and... killed."
Sonya sees Raskolnikov’s public repentance as the only way out of this situation. But even when he comes to Sennaya Square, he does not feel relief; he cannot admit that he does not belong to the highest rank and his theory is not correct. "I killed the man, but not the principle."
Raskolnikov can come to terms with life in hard labor, but with the fact that he is ordinary
- No. On Sennaya Square, Raskolnikov was mistaken for a drunkard, because people sensed his insincerity and internal disagreement with his actions. After this, Raskolnikov goes to the office to confess to committing murder...
Sonya follows Raskolnikov to hard labor. There, visiting him every day, she wins the respect and love of the convicts, they affectionately call her ““you are our mother... tender, sick.” “But Raskolnikov, on the contrary, is not accepted, intuitively feeling that Raskolnikov still considers himself to be
““Highest rank””, despising them: ““You are a master!” - they told him. Only
Sonya still loves Raskolnikov.
During his illness, Raskolnikov has a dream about a “pestilence,” which revealed the essence of his idea. In this dream, all people fall ill with an unknown disease and begin to live according to Raskolnikov's theory: everyone begins to feel like a ruler and does not value other people's lives, "" people killed each other in some senseless malice." " After this, on the river bank , there is a silent declaration of love to Sonya, now Raskolnikov understands that there is no longer a place for any theories in his life. Raskolnikov holds the Gospel given by Sonya under his pillow, not yet daring to open it, and thinks: “Can her beliefs not now also be my beliefs? Her feelings, her aspirations, at least..."", now
Raskolnikov realized that only “with endless love will he atone for all suffering”, everything has changed, everything should be different. It seemed to him that even the convicts looked at him differently. ""He even spoke to them himself, and they answered him kindly...""
Feb 27 2014
I didn’t bow to you, I bowed to all human suffering. F. Dostoevsky. and The conductor of the author’s philosophy (undivided service to people) and the personification of good in the novel is Sonya Marmeladova, who managed to resist the evil and violence surrounding her with the strength of her own soul. F. M. Dostoevsky describes Sonya warmly and cordially: “It was modest and all rights reserved 2001-2005 even poor dressed girl, still very young, almost like a girl, with a modest and decent manner, with a clear, but seemingly somewhat intimidated face. She was wearing a very simple house dress, and on her head was an old hat of the same style.”
Like all the St. Petersburg poor, the Marmeladov family lives in terrible poverty: and is always drunk, resigned to humiliating and unfair life, the degraded Marmeladov, and the consumptive Ivanovna, and small helpless children. Seventeen-year-old Sonya finds the only way to save her family from starvation - she goes out into the street to sell own body. For a deeply religious girl, such an act - terrible sin, because by violating Christian commandments, she destroys her soul, dooming it to torment during life and to eternal suffering after death. And yet she sacrifices herself for the sake of her father’s children, for the sake of her stepmother.
Merciful, selfless Sonya finds the strength not to become bitter, not to fall into the mud that surrounds her in street life, to preserve endless love for humanity and faith in the power of the human person, despite the fact that he causes irreparable harm to his soul and conscience. That is why, having broken all ties with people close to him, in the most difficult moments for him he comes to Sonya, bringing her his pain, his crime. According to Rodion, Sonya committed a crime no less serious than him, and perhaps even more terrible, since she sacrifices not someone, but herself, and this sacrifice is in vain. The girl is well aware of the guilt that lies on her conscience, because she even thought about suicide, which could save her from shame and torment in this life. But the thought of the poor and helpless hungry children made her resign herself and forget about her suffering. Believing that Sonya didn’t really save anyone, but only “ruined” herself, Raskolnikov tries to convert her to his “faith” and asks her a treacherous question: what is better - for a scoundrel to “live and do abominations” or for an honest man to die? And Sonya receives an exhaustive answer: “But I can’t know God’s providence...
And who made me the judge here: who should live and who should not live?” Rodion Raskolnikov never managed to convince a girl who was firmly convinced that he was right: sacrificing oneself for the good of loved ones is one thing, but depriving others of life in the name of this good is a completely different matter. Therefore, all Sonya’s efforts are aimed at destroying the inhuman theory, which is “terribly, infinitely unhappy.”
Defenseless, but strong in her humility, capable of self-denial.” eternal Sonechka” is ready to sacrifice herself for the sake of others, therefore in her actions she blurs the boundaries between good and evil. Without sparing herself, the girl saved the Marmeladov family, and just as selflessly she rushes to save Raskolnikov, feeling that he needs him. According to Sonya, the way out lies in humility and acceptance of basic Christian norms, which help not only to repent of sins, but also to cleanse oneself of everything evil and destructive to the human soul. It is religion that helps a girl survive this scary world and gives hope for the future. Thanks to Sonya, Raskolnikov understands and recognizes the unviability and inhumanity of his theory, opening his heart to new feelings, and his mind to new thoughts that only love for people and faith in them can save a person. This is where it starts moral rebirth
I didn't bow to you, I bowed to everything
bowed down to human suffering.
F. Dostoevsky. Crime and Punishment
F. M. Dostoevsky describes Sonya warmly and cordially: “She was a modestly and even poorly dressed girl, very young, almost like a girl, with a modest and decent manner, with a clear, but seemingly somewhat intimidated face. She was wearing a very simple house dress, and on her head was an old hat of the same style.”
Like all the St. Petersburg poor, the Marmeladov family lives in terrible poverty: the perpetually drunk Marmeladov, resigned to a humiliating and unfair life, the degenerate Marmeladov, and the consumptive Katerina Ivanovna, and small helpless children. Seventeen-year-old Sonya finds the only way to save her family from starvation - she goes out onto the street to sell her own body. For a deeply religious girl, such an act is a terrible sin, because by violating Christian commandments, she destroys her soul, dooming it to torment during life and to eternal suffering after death. And yet she sacrifices herself for the sake of her father’s children, for the sake of her stepmother. The merciful, selfless Sonya finds the strength not to become bitter, not to fall into the mud that surrounds her in street life, to maintain endless love for humanity and faith in the power of the human person, despite the fact that she causes irreparable harm to her soul and conscience.
That is why Raskolnikov, who has broken all ties with people close to him, comes to Sonya in his most difficult moments, bringing her his pain, his crime. According to Rodion, Sonya committed a crime no less serious than him, and perhaps even more terrible, since she sacrifices not someone, but herself, and this sacrifice is in vain. The girl is well aware of the guilt that lies on her conscience, because she even thought about suicide, which could save her from shame and torment in this life. But the thought of the poor and helpless hungry children made her resign herself and forget about her suffering.
Believing that Sonya didn’t really save anyone, but only “ruined” herself, Raskolnikov tries to convert her to his “faith” and asks her a treacherous question: what is better - for a scoundrel to “live and do abominations” or for an honest man to die? And he receives an exhaustive answer from Sonya: “But I can’t know God’s providence... And who made me the judge here: who should live and who should not live?” Rodion Raskolnikov never managed to convince a girl who was firmly convinced that he was right: sacrificing oneself for the good of loved ones is one thing, but depriving the lives of others in the name of this good is a completely different matter. Therefore, all Sonya’s efforts are aimed at destroying the inhuman theory of Raskolnikov, who is “terribly, infinitely unhappy.”
Defenseless, but strong in her humility, capable of self-denial, the “eternal Sonechka” is ready to sacrifice herself for the sake of others, therefore, in her actions, life itself blurs the boundaries between good and evil. Without sparing herself, the girl saved the Marmeladov family, and just as selflessly she rushes to save Raskolnikov, feeling that he needs him. According to Sonya, the way out lies in humility and acceptance of basic Christian norms, which help not only to repent of one’s sins, but also to cleanse oneself of everything evil and destructive to the human soul. It is religion that helps the girl survive in this terrible world and gives hope for the future.
Thanks to Sonya, Raskolnikov understands and recognizes the unviability and inhumanity of his theory, opening his heart to new feelings, and his mind to new thoughts that only love for people and faith in them can save a person. It is from this that the moral rebirth of the hero begins, who, thanks to the strength of Sonya’s love and her ability to endure any torment, overcomes himself and takes his first step towards resurrection.
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: 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...
F. M. Dostoevsky - “ great artist ideas" (M. M. Bakhtin). The idea determines the personality of his heroes, who “do not need millions, but need to resolve the idea.” The novel “Crime and Punishment” is a debunking of the theory of Rodion Raskolnikov, a condemnation of the principle...
Raskolnikova Dunya (Avdotya Romanovna) is Raskolnikov’s sister. A proud and noble girl. “She is remarkably good-looking - tall, amazingly slender, strong, self-confident, which was expressed in every gesture of hers and which, however, did not take away from her movements...
A person will never stop worrying about two things: starry sky above them moral law in him.
I. Kant
The philosophical content of the novel concerns moral problem about the “right to blood,” which relates to “eternal” issues. Since ancient times, people have been concerned about the means to achieve either personal or high social goals. The extreme, immoral point of view on this problem is formulated in the form of a cynical aphorism: the end justifies the means. That is, for the sake of noble goals, a person can commit any crime, and subsequent worthy actions redeem him.
The philosophical theme of the novel is expressed in Raskolnikov’s theory, set out in the article “On Crime.” According to the hero, all people are divided into two categories: some are given power over the “trembling anthill,” while others are destined to always obey the rulers. The novel is structured to test this theory with the help of life. Dostoevsky, through the plot and system of images, gives his answer to the “eternal” question: no high goals cannot justify a crime, in particular murder. Proving this in highest degree humanistic idea novel, the writer pits the main character, who committed a crime, against other characters who, wittingly or unwittingly, speak out about the “right to blood.” These minor characters V critical literature It is customary to divide into “doubles” and “opponents”.
The “doubles” (Svidrigailov and Luzhin) fully share the poor student’s idea of the “right to blood,” although their own moral principles are vulgarized and reduced versions of Raskolnikov’s “theory”.
The main character meets several times with Svidrigailov, a wealthy landowner, sybarite and womanizer. Svidrigailov is similar to Raskolnikov, since he also “overstepped”: he has the murder of his wife Marfa Petrovna on his conscience. Raskolnikov is almost sure of this murder, but Arkady Ivanovich also has on his conscience the death of the footman Filka (4, II) and the death of a deaf-mute girl, whom the criminal remembers in a semi-delirious state the night before suicide (6, VI). At first it seems that Svidrigailov is “ special person": he has the "right to overstep" and at the same time live for his own pleasure, drowning out the voice of conscience. He even does good deeds, for example, he gives money to Sonya so that she can follow Raskolnikov to hard labor, gets him a decent job orphanage children of Katerina Ivanovna, gives money to his girl bride so that her parents will not trade her in the future. In other words, Svidrigailov “carries out” Raskolnikov’s program ( good deeds makes amends for the original crime), but Dostoevsky shows that these good deeds do not save Svidrigailov; he pays in full for his crimes with pangs of conscience. He is haunted by nightmares: the recently murdered Marfa Petrovna appears, and he remembers a girl who was killed long ago. In the end he shoots himself, because, according to Dostoevsky's idea, he has no moral forces endure the sin of murder. Svidrigailov’s life ending proves that the cynical theory of “everything is allowed” destroys human soul. Raskolnikov hears a message about Svidrigailov’s suicide at the police station, where he comes to confess his crime. Thus, confession saves Raskolnikov from another mortal sin - suicide.
Both Raskolnikov and Dostoevsky reject such “reasonable beneficence.” The image of Luzhin with his “economic theory” shows what can be achieved through logical reasoning when preaching the principle “everything is allowed.” Therefore, at the end of Luzhin’s visit, the main character became very angry: after all, Raskolnikov’s “noble” theory of serving people in order to make amends for the initial crime is very similar to Luzhin’s cynical theory of personal success above all. Both theories ultimately state one thing - “you can kill people” (2, V). Indeed, soon Luzhin almost killed (“stabbed”) Sonya Marmeladova when he secretly put money in her pocket and then accused her of theft (5, I, III).
The ideological “opponents” of Raskolnikov’s theory are Sonya, investigator Porfiry Petrovich, Razumikhin, Dunya, painter Mikolka and other heroes of the novel. For various reasons they reject the “right to blood.”
Sonya Marmeladova expresses the Christian point of view on “blood according to conscience,” according to which the ban on murder is one of the main commandments and rules of life. For Sonya, it is absolutely clear that the murder of a person cannot be justified by anything, no good goals. Therefore, when Raskolnikov confesses to her the murder and tries to explain his motives (“... if suddenly all this was given to your decision: to live this way or that way in the world, that is, should Luzhin live and do abominations, or die to Katerina Ivanovna? Then how would you decide: which of them should die?”), she does not understand these motives: “Why are you asking, what cannot be asked?.. And who made me the judge here: who should live and who should not live?” (5, IV). Thus, from Sonya’s point of view, God gives life to man and only He, and not man, can take it. A similar idea was already expressed at the beginning of the novel - in Marmeladov’s confession (1, II).
Razumikhin, together with Raskolnikov, composes the traditional fiction the antithesis of the hero is his friend, which is emphasized even by their surnames: the “split” of the soul (madness) for one – “reason” (common sense) for the other. Razumikhin rejects Raskolnikov’s entire far-fetched theory simply because the crime is disgusting common sense(3, V).
The most important philosophical idea in the novel bears the image of investigator Porfiry Petrovich. He certainly positive hero, Dostoevsky portrays him as intelligent, insightful and humane person. Porfiry Petrovich acts as a stern denouncer of the views of the protagonist. At the same time, the investigator sympathizes with Raskolnikov and shows him the only possible, according to Dostoevsky, way out of the current situation: murder cannot be made up for by future good deeds, but can be atoned for by sincere repentance and punishment-suffering. If Sonya convinces Raskolnikov to repent according to his soul, then Porfiry Petrovich calls for repentance according to his reason.
So, in Crime and Punishment one of the most characteristic features Dostoevsky’s novels, which, following M.M. Bakhtin (“Problems of Dostoevsky’s poetics”), is usually called “polyphony”. On the one hand, the novel describes the story of the crime and repentance of the protagonist, and the character, beliefs, life circumstances of this hero are depicted against the background public life, in a clash with other heroes, as it should be in realistic novel. On the other hand, everything minor characters- “doubles” and “opponents” - perform not only a service function in Dostoevsky (they help reveal the image of the main character), but also express different points of view regarding philosophical problem about the “right to blood.”
The philosophical problem of “blood according to conscience” cannot be revealed from one point of view; its serious consideration requires, so to speak, a “circular review.” In the novel, Dostoevsky presents in detail the philosophical positions of all the characters. Among the various opinions, not in the first place are philosophical views the author himself. The author does not rise above his heroes, but argues with them on equal terms. In other words, in Crime and Punishment, as in other novels by Dostoevsky, there is a “complete violation of the author’s will” (Bakhtin).
At first, Dostoevsky does not seem to give his assessment of the events described, although the reader can easily guess that the author evaluates the philosophical constructs of the heroes differently. He, as a scientist, considers all kinds of views on one problem, and only in the denouement of the novel it becomes clear which point of view the author himself considers correct - these are the beliefs of Sonya and Porfiry Petrovich, complementing each other.
Dostoevsky created a hopeless concept of the world in his novel, showing the tragic state of both society and individual person. According to the writer, resistance and violence cannot correct the world, the only way- humility. Dostoevsky, despite the fact that he sees all the difficult circumstances in Raskolnikov’s life and recognizes the injustice of the world around him, makes an unequivocal and decisive verdict on the “eternal” issue: “blood according to conscience” is unacceptable, because it contradicts the moral law.
Sonya Marmeladova becomes the embodiment of the author's ideal of compassion and love in the novel. The love and compassion of Sonya Marmeladova become both for the children of Katerina Ivanovna and for Raskolnikov the road to salvation; it is no coincidence that Dostoevsky emphasized “insatiable compassion” in his heroine as the leading quality of nature.
Life has undeservedly treated Sonya cruelly: she lost her mother early, her father becomes an alcoholic from the powerlessness to change his life, she is forced to live in shame and sin. But it’s surprising: these sins and shame don’t seem to concern her, they are unable to denigrate or belittle her. We first meet Sonya on the pages of the novel, when Raskolnikov brings the crushed Marmeladov; in a tastelessly bright robe, decorated in a street style, a creature appears completely devoid of any traits of depravity. Describing the portrait of Sonya, Dostoevsky will note her more than once Blue eyes, which are most accurately defined by the epithet “clear”. There is so much clarity in Sonya that everything she touches and everything that is near her becomes clear.
Sonya, without hesitation, steps over herself to help her closest and beloved people. Sonya carries her cross quietly, without complaining, she has no grudge against Katerina Ivanovna, she knows how to understand and forgive - and she does not need to make an effort on herself for this. Sonya does not lose faith in people; she knows how to see the good beginnings in a person. Sonya's faith is active good in relation to a specific person, and not to humanity as a whole.
Trying to prove to Sonya the correctness of his path, Raskolnikov says: “If suddenly all this was now left to your decision: to live this way or that way in the world, that is, should Luzhin live and do abominations, or should Katerina Ivanovna die? How would you decide: which of them should die?” For Sonya, there can be no such “arithmetic calculation”: who should live and who should die. “Why such empty questions? How can it happen that this depends on my decision? And who made me the judge here: who should live and who should not live?” For Sonya, the most important thing is clear: a person cannot and should not take upon himself the solution to an issue that only God has the right to decide.
Even in Marmeladov’s first story about Sonya, one is struck by the boundlessness of her compassion and non-judgment: “It’s not like this on earth, but there... they grieve for people, cry, but do not reproach, do not reproach.” “He doesn’t reproach,” this is precisely what determines Sonya’s attitude towards people, which is why in Raskolnikov she saw not a murderer, but an unhappy, tormented man: “There is no one more unhappy than you in the whole world! Why did you do this to yourself!” - these are Sonya’s first words after she learned about Raskolnikov’s crime. Sonya follows Raskolnikov without asking for anything, she is not even sure whether he loves her, and she does not need this confidence, it is enough that he needs her, needs her even when he pushes her away. Sonya sees with pain the depth of spiritual devastation he finds himself in. She felt that Raskolnikov was infinitely lonely, that he had lost faith in himself, in God, in life itself. “How can we live without a person?” - these words of Sonya contain special wisdom. “Together we will go to suffer, together we will bear the cross,” says Sonya, confident that only suffering and repentance can resurrect the soul.
