Sonya Marmeladova and Raskolnikov theme of moral resurrection. Rodion Raskolnikov and Sonya Marmeladova in the novel F

The novel “Crime and Punishment” by F.M. Dostoevsky is unusual in many ways
work, one of its features is that it was written
Dostoevsky after returning from hard labor, when he was dominated
religious sentiments and feelings. This is reflected in the fact that
denunciation of life’s injustices and the dream of “the happiness of mankind”
are combined in the writer’s soul with distrust of attempts to forcefully change the world.

It was Sonya, according to the author, who should have condemned Raskolnikov for his
contempt for people. The fact that a woman who “transgressed” and lost her soul,
a man of high spirit, on the same level as Raskolnikov, does not accept
his “rebellion”, his “axe”, with which, as it seemed to Raskolnikov, was lifted and
her, has a strong impact on Rodion.
For Sonya much worse than death debauchery That's why such a big role
in the relationship between Sonya and Rodion, mutual cordial delicacy and
sincere respect, which are so different from the usual mores of that society.

The novel “Crime and Punishment” was written by Dostoevsky after hard labor, when the writer’s convictions
took on a religious connotation. The search for truth, denunciation of the unjust structure of the world, the dream of “happiness”
of humanity” are combined in Dostoevsky with disbelief in the violent remaking of the world. Thinking that in no way
the structure of society cannot avoid evil, that the human soul will always remain the same, that evil comes from it
herself, Dostoevsky rejects the revolutionary path of transforming society and, raising the question only about the moral
improvement of each person, turns his gaze to Christ. Rodion Raskolnikov and Sonya Marmeladova -
these are the two main characters of this work. It is their worldview that forms the ideological part of the novel.
“Crime and Punishment.” The most important role in the novel is played by Sonya Marmeladova. She's the one who comes first
personifies the truth of Dostoevsky. If you define Sonya's nature in one word, then this word will be
"loving" Active love for one's neighbor, the ability to respond to other people's pain (especially deeply manifested in
scene of Raskolnikov’s confession of murder) make the image of Sonya “ideal”. It is from the standpoint of this ideal that
novel and the verdict is pronounced. For Sonya, all people have the same right to life. No one can achieve
happiness, your own or someone else's, through crime. A sin remains a sin, no matter who commits it and for what purpose.
Personal happiness cannot be a goal. A person has no right to selfish happiness, he must endure
and through suffering he achieves true, non-selfish happiness. In the epilogue of the novel we read: “Their
resurrected love..."A person, if he is a person, feels responsible not only for his own actions, but
and for every evil that is happening in the world. This is why Sonya feels that she is also to blame for the crime
Raskolnikov, that’s why she takes this crime so close to her heart and shares it with
"transgressed" his fate. Dostoevsky wrote: “Sonya is a hope, the most unrealizable.” Sonya's meekness, her
sympathy for the humiliated, compassion for them - these qualities were brought up in her by a democratic environment. Precisely Sonya
Raskolnikov reveals his terrible secret. Sonya's love revived Rodion, resurrected him to a new life. This
resurrection is expressed symbolically in the novel: Raskolnikov asks Sonya to read the Gospel from the New Testament
relates the scene of the resurrection of Lazarus and the meaning of what was read. Touched by Sonya's sympathy, Rodion for the second time
“he goes to her as if he were a close friend, he confesses to her the murder, he tries, confused about the reasons, to explain
asks her why he did this, asks her not to leave him in misfortune and receives an order from her: to go to the square,
kiss the ground and repent before all the people.” In this advice from Sonya, the voice of the author himself seems to be heard,
striving to bring his hero to suffering, and through suffering - to atonement. Sacrifice, faith,
love and chastity are the qualities that the author embodied in Sonya. Surrounded by vice, forced
sacrifice her dignity, Sonya retained the purity of her soul and the belief that “there is no happiness in comfort, happiness
is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always
suffering.” And here is Sonya, who also “transgressed” and ruined her soul, “a person of high spirit”, of the same “class”
with Raskolnikov, condemns him for his contempt for people and does not accept his “rebellion”, his “axe”, which, as
It seemed to Raskolnikov that it was raised in her name. The heroine, according to Dostoevsky, embodies folk origin,
Russian element: patience and humility, immeasurable love for man and God. Therefore, the clash between Raskolnikov and
Sonya, whose worldviews are opposed to each other, is very important. The idea of ​​​​Rodion’s “rebellion”, according to thought
Dostoevsky, - an aristocratic idea, the idea of ​​a “chosen one” - is unacceptable to Sonya. Only the people represented by Sonya
can condemn Raskolnikov’s “Napoleonic” rebellion, force him to submit to such a court and go to hard labor -
“accept suffering.” Sonya hopes for God, for a miracle. Raskolnikov, with his angry, well-honed skepticism, is sure that
There is no God and there will be no miracle. Rodion mercilessly reveals to Sonya the futility of her illusions. Little of,
Raskolnikov even tells Sonya about the uselessness of her compassion, about the futility of her sacrifices. Not shameful
her profession makes Sonya a sinner, and the futility of her sacrifice and her feat. "And you great sinner, then that's it,
- he added almost enthusiastically, - and most of all, you are a sinner because you killed and betrayed yourself in vain. More
wouldn't it be terrible... that you live in this filth, which you hate so much, and at the same time you know yourself that no one
You’re not helping and you’re not saving anyone from anything!” Raskolnikov judges Sonya with different scales in his hands than
prevailing morality, he judges her from a different point of view than she herself. The hero's heart is pierced by the same pain that
and the hearts of Sonya, only he is a thinking person who generalizes everything. Raskolnikov bows before Sonya and kisses
her legs. “I didn’t bow to you, I bowed to all human suffering,” he said somehow wildly and walked away
to the window." Seeing Sonya's meekness, Raskolnikov understands that she is not humble in a slavish way. Driven by life into
the last and already completely hopeless corner, Sonya is trying to do something in the face of death. She, like
Raskolnikov, acts according to the law free choice. But, unlike Rodion, Sonya did not lose faith in people,
it does not need examples to establish that people are by nature good and deserve a fair share.
The whole Marmeladov family is kind, including the weak-willed father and Katerina Ivanovna, who pushed her onto the panel. Sonya
is able to sympathize with Raskolnikov, since she is not embarrassed by either physical ugliness or social ugliness
fate. It penetrates “through the scab” into the essence of human souls. Seeing an evil person, he is in no hurry to condemn; the heroine senses that
behind the external evil there are hidden some unknown or incomprehensible reasons that led to the evil of Raskolnikov and
Svidrigailova.Sonya internally stands outside of money, outside the laws of the world tormenting her. How she, of her own free will, went
she was on the panel, but she herself, by her firm and indestructible will, did not commit suicide. Before Sonya
the question of suicide arose - she thought it over and chose an answer. Suicide, in her position, would be
too selfish a way out - it would have saved her from shame, from torment, it would have rescued her from the fetid
pits. “...After all, it would be fairer,” Raskolnikov exclaims, “it would be a thousand times fairer and more reasonable to directly
head into the water and finish at once! - What will happen to them? - Sonya asked weakly, looking painfully at
him, but at the same time, as if not at all surprised by his proposal.” Sonya had a higher measure of will and determination,
than Rodion could have imagined. Raskolnikov cast off the shackles of the old morality, understanding who it benefits and who it
connects. Sonya was at the mercy of the old morality, she recognized all its dogmas, all the rules of church prescriptions.
To keep herself from committing suicide, she needed more stamina, more self-reliance, than to
to throw yourself “headfirst into the water.” What kept her from drinking water was not so much the thought of sin as “about them, our own.” Sonya
debauchery was worse than death. In the developing romance between Raskolnikov and Sonya, mutual
respect and mutual cordial delicacy, so sharply different from the mores of that society. That's why Rodion
was able to confess to Sonya about the murder, that he loved her and knew that she loved him too. Thus, in the novel
“Crime and Punishment” love is not a duel between the outcasts, brought together by fate into a single union and choosing,
which way to go towards a common goal - a duel of two truths. The presence of lines of contact and lines of unity made
Sonya’s struggle with Raskolnikov is not hopeless, and if Sonya in the novel itself, before its epilogue, did not win and
reborn Raskolnikov, then she, in any case, contributed to the final collapse of his inhuman
ideas.

The novel “Crime and Punishment” was written by Dostoevsky after hard labor, when the writer’s beliefs took on a religious overtones. The search for truth, denunciation of the unjust structure of the world, the dream of “the happiness of mankind” during this period were combined in the writer’s character with disbelief in the violent remaking of the world. Convinced that it is impossible to avoid evil in any social structure, that evil comes from the human soul, Dostoevsky rejected the revolutionary path of transforming society. Raising the question only of the moral improvement of each person, the writer turned to religion.

Rodion Raskolnikov and Sonya Marmeladova- the two main characters of the novel, appearing as two counter-currents. Their worldview forms the ideological part of the work. Sonya Marmeladova is Dostoevsky's moral ideal. She brings with her the light of hope, faith, love and compassion, tenderness and understanding. This is exactly what the writer thinks a person should be. Sonya personifies Dostoevsky's truth. For Sonya, all people have the same right to life. She is firmly convinced that no one can achieve happiness, both their own and that of others, through crime. A sin remains a sin, no matter who commits it and for what purpose.

Sonya Marmeladova and Rodion Raskolnikov exist in complete different worlds. They are like two opposite poles, but cannot exist without each other. The image of Raskolnikov embodies the idea of ​​rebellion, and the image of Sonya - the idea of ​​humility. But what is the content of both rebellion and humility is a topic of numerous debates that continue to this day.

Sonya is a highly moral, deeply religious woman. She believes in deep inner meaning life, she does not understand Raskolnikov’s ideas about the meaninglessness of everything that exists. She sees the predestination of God in everything and believes that nothing depends on man. Its truth is God, love, humility. The meaning of life for her lies in great power compassion and empathy from person to person.

Raskolnikov passionately and mercilessly judges the world with the mind of a hot rebellious personality. He does not agree to put up with life's injustice, and hence his mental anguish and crime. Although Sonechka, like Raskolnikov, oversteps herself, she still oversteps in a different way than he does. She sacrifices herself to others, and does not destroy or kill other people. And this embodied the author’s thoughts that a person has no right to selfish happiness, he must endure and through suffering achieve true happiness.

According to Dostoevsky, a person should feel responsible not only for his own actions, but also for every evil that occurs in the world. This is why Sonya feels that she is also to blame for committed crime Raskolnikov, that’s why she takes his action so close to her heart and shares his fate.

It is Sonya who reveals Raskolnikov his terrible secret. Her love revived Rodion, resurrected him to a new life. This resurrection is expressed symbolically in the novel: Raskolnikov asks Sonya to read the Gospel scene of the resurrection of Lazarus from the New Testament and relates the meaning of what she read to herself. Touched by Sonya's sympathy, Rodion goes to her for the second time as a close friend, he himself confesses to her the murder, tries, confused about the reasons, to explain to her why he did it, asks her not to leave him in misfortune and receives an order from her: to go to the square, kiss the ground and repent before all the people. This advice from Sonya reflects the thought of the author himself, who strives to lead his hero to suffering, and through suffering - to atonement.

In the image of Sonya, the author embodied the best qualities of a person: sacrifice, faith, love and chastity. Being surrounded by vice, forced to sacrifice her dignity, Sonya was able to maintain the purity of her soul and the belief that “there is no happiness in comfort, happiness is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always through suffering.” Sonya, who “transgressed” and ruined her soul, a “man of high spirit”, of the same “class” as Raskolnikov, condemns him for his contempt for people and does not accept his “rebellion”, his “axe”, which, as it seemed to Raskolnikov, was raised and in her name. The heroine, according to Dostoevsky, embodies the national principle, the Russian element: patience and humility, immeasurable love for man and God. The clash between Raskolnikov and Sonya, whose worldviews are opposed to each other, reflects internal contradictions, disturbing the soul of the writer.

Sonya hopes for God, for a miracle. Raskolnikov is sure that there is no God and there will be no miracle. Rodion mercilessly reveals to Sonya the futility of her illusions. He tells Sonya about the uselessness of her compassion, about the futility of her sacrifices. It is not the shameful profession that makes Sonya a sinner, but the futility of her sacrifice and her feat. Raskolnikov judges Sonya with different scales in his hands than the prevailing morality; he judges her from a different point of view than she herself.

Driven by life into the last and already completely hopeless corner, Sonya tries to do something in the face of death. She, like Raskolnikov, acts according to the law of free choice. But, unlike Rodion, Sonya has not lost faith in people; she does not need examples to establish that people are naturally good and deserve a bright share. Only Sonya is able to sympathize with Raskolnikov, since she is not embarrassed by either physical deformity or the ugliness of social fate. She penetrates “through the scab” into the essence of human souls and is in no hurry to condemn; feels that behind the external evil there are hidden some unknown or incomprehensible reasons that led to the evil of Raskolnikov and Svidrigailov.

Sonya internally stands outside of money, outside the laws of the world tormenting her. Just as she, of her own free will, went to the panel, so herself, of her own firm and indestructible will, she did not commit suicide.

Sonya was faced with the question of suicide; she thought about it and chose an answer. Suicide, in her situation, would be too selfish a way out - it would save her from shame, from torment, it would rescue her from the fetid pit. “After all, it would be fairer,” exclaims Raskolnikov, “a thousand times fairer and wiser it would be to dive head first into the water and end it all at once!” - What will happen to them? - Sonya asked weakly, looking at him painfully, but at the same time, as if not at all surprised by his proposal.” Sonya's measure of will and determination was higher than Rodion could have imagined. To keep herself from committing suicide, she needed more stamina, more self-reliance than to throw herself “headfirst into the water.” What kept her from drinking water was not so much the thought of sin as “about them, our own.” For Sonya, debauchery was worse than death. Humility does not imply suicide. And this shows us the full strength of Sonya Marmeladova’s character.

Sonya's nature can be defined in one word - loving. Active love for one’s neighbor, the ability to respond to someone else’s pain (especially deeply manifested in the scene of Raskolnikov’s confession of murder) make the image of Sonya “ideal.” It is from the standpoint of this ideal that the verdict is pronounced in the novel. In the image of Sonya Marmeladova, the author presented an example of a comprehensive, forgiving love contained in the character of the heroine. This love is not envious, does not require anything in return, it is even somehow unspoken, because Sonya never talks about it. It fills her entire being, but never comes out in the form of words, only in the form of actions. This is silent love and that makes it even more beautiful. Even the desperate Marmeladov bows to her, even the crazy Katerina Ivanovna prostrates herself before her, even the eternal libertine Svidrigailov respects Sonya for this. Not to mention Raskolnikov, whom this love saved and healed.

The heroes of the novel remain true to their beliefs, despite the fact that their faith is different. But both of them understand that God is one for everyone, and he will show the true path to everyone who feels his closeness. The author of the novel, by moral quest and reflection, I came to the idea that every person who comes to God begins to look at the world in a new way, rethinks it. Therefore, in the epilogue, when Raskolnikov’s moral resurrection occurs, Dostoevsky says that “the new story“, the history of the gradual renewal of man, the history of his gradual rebirth, gradual transition from one world to another, acquaintance with a new, hitherto completely unknown reality.”

Having rightly condemned Raskolnikov’s “rebellion,” Dostoevsky leaves victory not for the strong, intelligent and proud Raskolnikov, but for Sonya, seeing in her the highest truth: suffering is better than violence - suffering purifies. Sonya confesses moral ideals, which, from the writer’s point of view, are closest to the broad the masses: ideals of humility, forgiveness, silent submission. In our time, most likely, Sonya would become an outcast. And not every Raskolnikov today will suffer and suffer. But the human conscience, the human soul, have lived and will always live as long as “the world stands.” This is the great immortal meaning of the most complex novel created by a brilliant psychological writer.

Materials about the novel by F.M. Dostoevsky "Crime and Punishment".

Motives for the crime of Rodion Raskolnikov and Sonya Marmeladova.
In the novel "Crime and Punishment" F. M. Dostoevsky touches on deep social problems society XIX century, trying to solve important moral and philosophical questions. From the first pages of the work we find ourselves in terrible world Petersburg life: destitute commoners exist in constant need, forced to endure humiliation. And nearby, rich businessmen enjoy life, taking advantage of the labor and suffering of others. In such an atmosphere, crime can be felt everywhere; in everyone one can see a criminal who, in one way or another, has crossed the line of legality and morality.

What drives these people to crime? If we take a closer look at each of the heroes, we will see how different the “criminals” are.

Luzhin and Svidrigailov are criminals; crime is their very nature. They take pleasure in mocking and deceiving people. Heroes such as Rodion Rakolnikov and Sonya Marmeladova evoke completely different feelings. They can be classified as criminals, those who have transgressed moral standards, but their motives for criminal acts are very different.

For two years, Rodion Raskolnikov studied at St. Petersburg University, surviving on cheap lessons and scanty support from his mother, who lived in the provinces. He soon got tired of it, he couldn’t stand it, \"got angry\", dropped out of school, \"like a spider hid in its kennel\". The hero lived on stinging money, which he sometimes received from a pawnbroker for the last valuable things at monstrous interest rates.

The hero thought about how to live further. A sense of pride did not allow this talented smart person put up with miserable living conditions, with a "closet" that was more like a closet than a room. The question arises in his thoughts: can humane man, suffering for suppressed humanity, allow himself to kill at least one “pathetic” creature for the sake of getting rid of the suffering and difficulties of many noble, honest people?

The answer to this question main character trying to find in theory \"either I am a trembling creature, or I have the right\". Raskolnikov is sure that he belongs to the “supermen”, who are allowed everything, who can commit a crime in the name of a noble goal. But by this he divided people into “higher” and “lower” varieties, and assigned himself and others “higher” the right to judge, execute, and transgress human and divine laws.

Rodion Raskolnikov is trying to solve his own problems at the expense of other people. This differs him from Sonya Marmeladova, who lives her entire life according to God’s commandments and the laws of conscience. Sonya is very holistic inner world, lives in harmony with herself thanks to her faith in God. his faith is not passive, the girl constantly proves it with her actions. It was her faith in God that made her take the “yellow ticket” instead of killing herself. And Sonya could only choose between these two paths, because life did not give her any other opportunity. The heroine decided to save this life, and with it the life of her family.

Sonya also transgresses moral laws and takes the path of trade own body. The girl is forced to do such a terrible thing in order to feed her sick stepmother and her small children. Sonya embodies the bright beginning in the novel, she understands that she is a sinner, feels guilty before God and herself, her conscience.

The idea of ​​sacrifice raises the image of Sonya to a symbol of human suffering. It is precisely great love for one’s neighbor, for all people, that helps Dostoevsky’s heroine preserve moral purity and dignity in the mud into which his life had pushed him. Unlike Rodion, Sonya never divided people into “worthy” and “unworthy” into “higher” and “lower”. She is able to discern the soul in every person, is able to justify any crime, since even in criminals, Sonya sees a murderer as a person. That is why she justifies Katerina Ivanovna, her drinking father, and Raskolnikov himself.

Although the views of the heroes are slightly different, there is something that brings them together - a dead end, a dead end into which their lives push them, forcing them to commit crimes against morality and conscience, against themselves. Society has forced the heroes to choose paths that, in different ways, certainly lead to moral decline.

In his works F. M. Dostoevsky developed special type philosophical, psychologically in-depth realism, based on an intensified study of the most complex and controversial aspects of life, on the ability to reliably reveal in pictures public life and the moral face of the heroes are deep problems and contradictions of the entire era. Analyzing the illness of the mind and heart of an individualist, intellectual, criminal or suicide, the writer shows in complex, “fantastic” facts of the mental life of the heroes historical life humanity.

Lecture, abstract. Rodion Raskolnikov and Sonya Marmeladova in the novel by F. M. Dostoevsky Crime and Punishment - concept and types. Classification, essence and features.