Social status of Luzhin and Svidrigailov. Luzhin and Svidrigailov in the novel by F.M.
In his famous philosophical and psychological work “Crime and Punishment,” Dostoevsky created a whole galaxy of bright and ambiguous images that still amaze readers today with their complexity, brightness and originality.
One of these characters in the novel is the rare scoundrel and scoundrel Arkady Ivanovich Svidrigailov. His image was created by the author in order to draw a parallel between him and the main character Rodion Raskolnikov, because they are in similar life situations: both of them committed a crime, had a “mysterious relationship” with an old pawnbroker. And although Svidrigailov calls him and Rodion “birds of a feather,” this is not entirely true, because he has been on the side of evil for a long time and has no doubt at all about the correctness of his choice.
Characteristics of the main character
Arkady Ivanovich is a rather attractive and youthful fifty-year-old man of noble origin. He is well dressed and makes a favorable impression on those around him, although Raskolnikov subtly notices that his face with cold and thoughtful blue eyes and thin scarlet lips looks like a mask (and a rather unpleasant one), behind which its owner successfully hides his vile essence.
Svidrigailov is a former officer who left his service long ago and indulged in the idle life of a sharper in the capital until he fell into debt. A rich woman, Marfa Petrovna, rescues him from there, she pays off all his debts, takes him to the village, where she becomes his wife. However, he does not feel a drop of love or gratitude for her, and continues to lead an immoral lifestyle there. The vicious and immoral Svidrigailov causes the suicide of a poor fifteen-year-old peasant girl, whom he seduces and abandons. With particular sophistication and cruelty, he also drives the poor servant Philip to suicide. Moreover, having caused the death of two people, Svidrigailov feels absolutely no remorse, does not repent and calmly continues to lead his depraved life.
(Svidrigailov shamelessly flirts with Dunya)
Unlike Raskolnikov, who also committed a crime and was now tormented and tormented by the question of whether he had the right to do so or not, Svidrigailov is absolutely calm and confident in his actions. He does everything to satisfy his base desires, and he absolutely does not care whether other people suffer from this or not. His soul is no longer at the crossroads of good and evil, he is consciously on the side of evil and does not repent of any of his crimes, because he does not even consider them to be such. He lives, striving to further satisfy his lust, and the evil in him continues to grow and expand.
(Dunya shoots Svidrigailov, in the role of Victoria Fedorova, film by L. Kulidzhanova “Crime and Punishment”, USSR 1969)
Having met Raskolnikov's sister Dunya in his house, who appeared there as a servant, the libertine Svidrigailov falls in love with her and begins to harass her. A pure and chaste girl angrily rejects his advances, and he, in order to achieve what he wants, drives his wife to the terrible sin of suicide. Trying to persuade the girl to have a relationship with him, Svidrigailov resorts to various tricks, blackmailing him with revealing the secret of her murderer brother, but Dunya, driven to despair, shoots him with a revolver to stop this cruel and unprincipled man. Only then does he understand how disgusted he is with her, and having truly fallen in love with this brave and pure girl, he lets her go.
The image of the hero in the work
(Svidrigailov to Raskolnikov:)
The image of Arkady Ivanovich Svidrigailov, a man without conscience and honor, was specially created by Dostoevsky as a warning to the main character, Raskolnikov, what he could become if he drowns out the voice of conscience and is able to live on without fully atoning for the crime he committed.
Svidrigailov worries and torments Rodion with his mystery and power over him, with the words that they are “birds of a feather.” In fact, this terrible man is the embodiment of his dark half, that part of Raskolnikov’s soul with which he is constantly trying to fight, because it can lead him to a complete moral decline and transition to the side of evil.
(Petrenko Alexey Vasilievich in the role of Svidrigailov, Lensoveta Theater, St. Petersburg)
Shattered by the actions of his beloved woman, Svidrigailov realizes how empty and meaningless his life is. His conscience begins to torment him, and in the last hours of his life he tries to somehow make amends for his guilt before God and people: he transfers money to Dunya, helps Sonya Marmeladova and her family. Belated repentance overtakes him and he, unable to bear this burden, commits suicide. He turned out to be too weak and cowardly, and could not, like Raskolnikov, repent and suffer the deserved punishment.
The role of the images of Luzhin and Svidrigailov in F. M. Dostoevsky’s novel “Crime and Punishment”
Considering the problem of “justifiable murder” through the eyes of Raskolnikov, the author seems to lead the reader to the idea that the hero may be right and at the same time, “in the language of situations,” challenges his “theory.” The main “arguments” in this debate are the figures of Luzhin and Svidrigailov. Getting to know them shows Raskolnikov that his theory of the “right of might” is the main life principle of “executioners”, rapists, little “Napoleons”. Being antipodes of the protagonist, in their spiritual properties, Luzhin and Svidrigailov are his “doubles” with regard to the idea of destructing moral “obstacles”.
Svidrigailov personifies in the novel the idea of permissiveness, freedom from any moral restrictions. This is a low, depraved, cynical man with a dark criminal past. He is insatiable in his vices and has already lost power over his passions. Soon after the death of his wife, Svidrigailov wooed a sixteen-year-old girl and at the same time pursued Raskolnikov’s sister Dunya, blackmailing her with accidentally obtained information about her brother’s crime.
Svidrigailov is a terrible person, but at the same time he is a tragic figure. Having escaped civil justice, he could not escape the judgment and verdict of his own conscience. He is afraid of the possibility of retribution in the “future life”: “... imagine, there will be one room there, like a village bathhouse, smoky, and in all the corners there are only spiders, And that’s all eternity. I... sometimes imagine things like this.”
However, according to Dostoevsky, even for the last of sinners the path of repentance and atonement is open. A chance for salvation was also given to Svidrigailov. As if begging for forgiveness, in the last days of his life he commits strange acts, meaningless and inexplicable from the standpoint of his selfish morality. Having carefully prepared a “trap” for Dunya, he unexpectedly releases her, and shortly before committing suicide, he spends his money on the orphaned children of Katerina Ivanovna and helps Sonya.
Svidrigailov is not mistaken when he noted in a conversation with Raskolnikov that there is “some kind of common point” between them. Indeed, Raskolnikov, like Svidrigailov, ranked himself among the category of “extraordinary” personalities who have the right to neglect moral “prejudices.” He, like Svidrigailov, is tormented by nightmares and haunted by thoughts of suicide - signs of the onset of mental illness.
Svidrigailov is Raskolnikov’s ideological double. His theory is that “single villainy is acceptable if the main target is good.” But this is an extremely immoral person, so any goal that he sets for himself is good for him.
He has committed many atrocities in his life, and he has human blood on his conscience.
He committed atrocities in order to be free to choose how to live. S. was a card sharper, killed a servant, was in prison, and was guilty of the death of his own wife.
But at the same time, he does not consider himself a villain and is capable of doing good deeds. And indeed, Svidrigailov is ready to provide for Avdotya Romanovna, without demanding that she marry him, he wants to save her from marriage with Luzhin, because he sees what the latter is like.
Svidrigailov quickly unravels Raskolnikov, the essence of his theory and his torment.
The image of Svidrigailov in the novel Crime and Punishment
The image of Svidrigailov in the novel “Crime and Punishment” will be discussed in this article. This character in the work is the second spiritual “double” of Rodion Raskolnikov (the first is his sister’s failed fiancé).
The image of Luzhin and Svidrigailov in the novel Crime and Punishment is united by the principle of permissiveness. Outwardly, according to the character we are interested in, he and Rodion are “birds of a feather.” However, there are very significant internal differences between Raskolnikov and Svidrigailov.
The second is a depraved, vicious person.
Abstract: Luzhin and Svidrigailov as Raskolnikov's doubles in Fyodor Dostoevsky's novel Crime and Punishment
In the novel F.
He does not hide the fact that most of the actions he committed were done as a result of pathological voluptuousness. The image of Svidrigailov in the novel “Crime and Punishment” can be supplemented with a number of other features. This character mocks morality.
M. Dostoevsky’s “Crime and Punishment” widely used the technique of antithesis; a system of characters is built on it. Each of the characters surrounding Raskolnikov, to one degree or another, reveals a certain trait of the main character. Parallels are drawn between Raskolnikov and other characters, creating a unique system of doubles. Raskolnikov's doubles are, first of all, Luzhin and Svidrigailov.
For them, “everything is permitted,” although for different reasons. Arkady Ivanovich Svidrigailov was a nobleman, served for two years in the cavalry, then lived in St. Petersburg.
This is a “perfectly preserved man” about fifty years old. The face resembles a mask and strikes with something “terribly unpleasant.” The look of Svidrigailov’s bright blue eyes is “somehow too heavy and motionless.”
In the novel, he is the most mysterious figure: his past is not fully clarified, his intentions and actions are difficult to define and unpredictable, non-standard for a scoundrel, for such a sinister character as he appears at first (for example, in a letter to Raskolnikov’s mother).
Crime and Punishment (TV series)
It is strange that this adaptation of “Crime and Punishment” turned out to be less popular than Bortko’s adaptation of “The Idiot”.
At least both of them were successful, “Crime” turned out better than one could have expected.
The film, for all its simplicity of plot, is very complex because the characters are complex. And the most complex character in the work is Svidrigailov. And I would never have thought that Alexander Baluev could fit into this image so perfectly. And he fit in so well that it was impossible to recognize Baluev himself. This is the height of acting. There was a very great danger that the image of Svidrigailov would be shown primitively, simply as a villain.
Fortunately, this did not happen.
And the last scene in which he saw a girl was also done just perfectly.
I didn’t see Raskolnikov’s dream in the film, in which he dreamed of a laughing old woman.
Essay Dostoevsky F
Raskolnikov and Svidrigailov are the heroes of one of Dostoevsky’s best novels, “Crime and Punishment.” This novel is distinguished by its deepest psychologism and abundance of sharp contrasts.
At first glance, there is nothing in common in the characters of Raskolnikov and Svidrigailov; moreover, they seem to be antipodes. However, if you take a closer look at the images of these heroes, you can find a certain similarity.
First of all, this similarity is manifested in the fact that both heroes commit crimes. True, they do this for different purposes: Raskolnikov kills the old woman and Lizaveta in order to test his theory, with the noble goal of helping the poor, disadvantaged, humiliated and insulted. And Svidrigailov directs all his base energy to obtain dubious pleasures, trying to achieve what he wants at any cost.
Dostoevsky F
Raskolnikov and Svidrigailov are the heroes of one of Dostoevsky’s best novels, “Crime and Punishment.” This novel is distinguished by its deepest psychologism and abundance of sharp contrasts. At first glance, there is nothing in common in the characters of Raskolnikov and Svidrigailov; moreover, they seem to be antipodes.
However, if you take a closer look at the images of these heroes, you can find a certain similarity.
First of all, this similarity is manifested in the fact that both heroes commit crimes. Is it true. they do this for different purposes: Raskolnikov kills the old woman and Lizaveta in order to test his theory, with the noble goal of helping the poor, disadvantaged, humiliated and insulted.
And Svidrigailov directs all his base energy to obtain dubious pleasures, trying to achieve what he wants at any cost.
Svidrigailov and Dunya in the novel “Crime and Punishment”
Suddenly she threw away the revolver.
Raskolnikov and Svidrigailov appear before readers as “strong” personalities.
“ - 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, 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.
Svidrigailov characterization crime and punishment
Svidrigailov is one of the defining heroes of the novel. First of all, of course, it was decisive for Rodion Raskolnikov. using the figure of Svidrigailov as a guide.
Before Raskolnikov, Svidrigailov appears as a man who, despite the atrocities committed, continues to enjoy life. “About fifty years old... His hair, still very thick, was completely blond and just a little gray, and his wide, thick beard, hanging down like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly, intently and thoughtfully; scarlet lips,” this is how the writer describes Svidrigailov’s appearance.
Raskolnikov first learns about this character from a letter from his mother, in which she describes how Svidrigailov, a wealthy landowner, sought the favor of Dunya, Raskolnikov’s sister, who served as a maid in his house.
Problem solving
The novel “Crime and Punishment” was conceived by Dostoevsky while still in hard labor. Then it was called “Drunk People,” but gradually the concept of the novel transformed into “a psychological report of a crime.”
Dostoevsky in his novel depicts the clash of theory with the logic of life.
According to the writer, the living process of life, that is, the logic of life, always refutes and makes untenable any theory - both the most advanced, revolutionary, and the most criminal.
This means you can’t live life according to theory.
And therefore, the main philosophical idea of the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person obsessed with an extremely criminal theory with life processes that refutes this theory.
Rodion Raskolnikov’s “double” is Luzhin.
The novel "Crime and Punishment" was conceived by Dostoevsky while still in hard labor. Then it was called "Drunk", but gradually the concept of the novel was transformed into a "psychological report of a crime." in his novel he depicts the clash of theory with the logic of life. According to the writer, the living process of life, that is, the logic of life, always refutes and makes untenable any theory - both the most advanced, revolutionary, and the most criminal. This means you can’t live life according to theory. And therefore, the main philosophical idea of the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person obsessed with an extremely criminal theory with life processes that refutes this theory.
Raskolnikov is surrounded in the novel by characters who are, as it were, his “doubles”: in them, some aspect of the protagonist’s personality is reduced, parodied or shaded. Thanks to this, the novel turns out to be not so much a trial of a crime, but (and this is the main thing) a trial of personality, character, human psychology, which reflected the features of Russian reality of the 60s of the last century: the search for truth, truth, heroic aspirations, “vacillations” , "misconceptions".
Rodion Raskolnikov is associated with many people in the work. Some of them are Svidrigailov, who are “doubles” of the main character, because they created theories similar to the theory of the “chosen ones” and “trembling creatures”. “We are birds of a feather,” Svidrigailov says to Rodion, emphasizing their similarities. Svidrigailov, one of Dostoevsky’s most complex images, is in captivity of a false theory. He, like Raskolnikov, rejected public morality and wasted his life on entertainment. Svidrigailov, guilty of the death of several people, silenced his conscience for a long time, and only a meeting with Dunya awakened some feelings in his soul. But repentance, unlike Raskolnikov, came to him too late. He even helped Sonya, his fiancée, and Katerina Ivanovna’s children in order to drown out his remorse. But he doesn’t have enough time or strength to cope with himself and he shoots himself in the forehead.
Svidrigailov is a man without conscience and honor - as if a warning to Raskolnikov, if he does not listen to the voice of his own conscience and wants to live, having a crime in his soul that has not been redeemed by suffering. Svidrigailov is the most painful “double” for Raskolnikov, because it reveals the depths of the moral fall of a person who, due to spiritual emptiness, followed the path of crime. Svidrigailov is a kind of “black man” who constantly worries Raskolnikov, who convinces him that they are “birds of a feather,” and with whom the hero therefore fights especially desperately.
Svidrigailov is a wealthy landowner who leads an idle lifestyle. Svidrigailov destroyed the person and citizen in himself. Hence his cynicism, with which he formulates the essence of Raskolnikov’s idea, freeing himself from Rodion’s confusion, remaining in boundless voluptuousness. But, having stumbled upon an obstacle, he commits suicide. Death for him is liberation from all obstacles, from “issues of man and citizen.” This is the result of the idea that Raskolnikov wanted to make sure of.
Another “double” of Rodion Raskolnikov is Luzhin. He is a hero, successful and not embarrassed by anything. Luzhin arouses Raskolnikov's disgust and hatred, although he recognizes something in common in their life principle of calmly overcoming obstacles, and this circumstance torments the conscientious Raskolnikov even more.
Luzhin is a business man with his own “economic theories.” In this theory, he justifies the exploitation of man, and it is built on profit and calculation; it differs from Raskolnikov’s theory in the unselfishness of his thoughts. And although the theories of both lead to the idea that one can “shed blood according to one’s conscience,” Raskolnikov’s motives are noble, hard-earned from the heart, he is driven not simply by calculation, but by delusion, “cloudedness of mind.”
Luzhin is a straightforward and primitive person. He is a reduced, almost comic double, compared to Svidrigailov. In the last century, the minds of many people were subject to the theory of “Napoleonism” - the ability of a strong personality to command the destinies of other people. The hero of the novel, Rodion Raskolnikov, became a prisoner of this idea. The author of the work, wanting to portray the immoral idea of the main character, shows its utopian result in the images of “doubles” - Svidrigailov and Luzhin. Raskolnikov explains the establishment of social justice by violent means as “blood according to conscience.” The writer further developed this theory. Svidrigailov and 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 is the logical conclusion of 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.”
In his work “Crime and Punishment,” Dostoevsky convinces us that the struggle between good and evil in the human soul does not always end in the victory of virtue. Through suffering, people move towards transformation and purification, we see this in the images of Luzhin and especially Svidrigailov.
Some of the bright secondary characters of the work are representatives of their own theories, Luzhin and Svidrigailov, which are similar in essence to the theory of the main character of the novel, Raskolnikov.
The heroes live according to the theories they created, which consist in the existence of chosen, brilliant people and trembling creatures.
The writer presents Svidrigailov as a wealthy nobleman of fifty years old, a retired officer, leading an idle, depraved existence. Outwardly, Svidrigailov is distinguished by his cold blue eyes, healthy complexion, stoutness, broad shoulders and smart, comfortable clothes, with an elegant cane always in his hands. The characteristic features of Svidrigailov are his cynical attitude towards people, lack of moral principles and spiritual morality. He believes that achieving his goal is possible by any means and this justifies even the most base actions. According to Svidrigailov, a person is allowed any crime if there is a good goal. The main goal of Svidrigailov’s life is to exist for his own pleasure, while the hero, deep down, is a disillusioned person who does not believe in either good or evil.
It is on this that Svidrigailov bases his commission of several crimes in the form of card fraud, as well as the death of several people, including his own wife.
From Raskolnikov's point of view, Svidrigailov is a voluptuous libertine and a scoundrel. Having met Dunya Raskolnikova on his way, Svidrigailov feels remorse, which came to his soul too late. Unable to withstand the emotional stress, the hero commits suicide, freeing himself from all the obstacles that tormented him, but at the same time never admitting his guilt.
The writer presents Luzhin as a successful business man, a middle-aged lawyer who values every minute, who has his own economic theory, which consists in the prevalence of personal individual interest over the needs of others. This view demonstrates the possibility of justifying any terrible crime, as well as the exploitation of people if they are committed for personal gain. The prim and arrogant Luzhin calls his theory a whole caftan, because he believes that the main thing in life is to love yourself with the subsequent opportunity to arrange personal affairs and leave the caftan intact. He promotes the idea of reasonable egoism, prioritizing only the achievement of personal gain. At its core, Luzhin seems to be the least of the criminals, since his fall from grace is expressed only in slandering Sonechka Marmeladova, accusing her of stealing several hundred rubles.
Using the images of Svidrigailov and Luzhin in the novel, the writer depicts the immorality of the protagonist’s theory, demonstrating its utopian idea through examples of doubles who completely lack moral and ethical principles. Being the antipodes of Raskolnikov in their spiritual qualities, at the same time, Svidrigailov and Luzhin are presented by the writer as the basis of the utopian theory of the key character Raskolnikov, who justifies the murder of a person with blood out of conscience. With the images of Luzhin and Svidrigailov, the writer shows the striking similarity of people who are dissimilar at first glance with Rodion Raskolnikov.
Several interesting essays
Today I have chosen a topic for conversation: modern education. Since I myself am a teacher, I have a clear idea of what is happening in the education system now. There is no longer any need to say that no one wants to work in schools.
