Characteristics of Raskolnikov's crime and punishment. Composition: The image of Raskolnikov in the novel "Crime and Punishment

If we talk about the polyphony of Dostoevsky's novels, we can single out not only the fact that characters with very different beliefs get the right to vote in them, but also the fact that the thoughts and actions of the characters exist in close linkage, mutual attraction and mutual repulsion. Crime and Punishment is no exception.

On the pages of the novel, more than ninety characters pass, flicker or actively participate in the action. Of these, about ten are primary, having sharply defined characters, views, which play an important role in the development of the plot. The rest are mentioned sporadically, only in a few scenes and do not have an important impact on the course of action. But they are not introduced into the novel by accident. Each image is needed by Dostoevsky in his search for the only true idea; the heroes of the novel reveal the course of the author's thought in all its turns, and the author's thought unites the world he depicts and highlights the main thing in the ideological and moral atmosphere of this world.

Therefore, in order to understand the character, views, motives of Raskolnikov's behavior and actions, it is necessary to pay attention to Dostoevsky's correlation of his image with other characters in the novel. Almost all the characters in the work, without losing their individual identity, to one degree or another explain the origin of Raskolnikov's theory, its development, failure and, ultimately, collapse. And if not all, then most of these faces attract the attention of the protagonist for a long time or for a moment. Their actions, speeches, gestures from time to time pop up in Raskolnikov's memory or instantly affect his thoughts, forcing either to object to himself, or, on the contrary, to assert himself even more in his convictions and intentions.

Dostoevsky's characters, according to the observations of literary critics, usually appear before the reader with already established convictions and express not only a certain character, but also a certain idea. But it is equally obvious that none of them personifies the idea in its pure form, is not schematic, but is created from living flesh, and, moreover, the actions of the heroes often contradict the ideas that they are the bearers of and which they themselves wanted to would follow.

Of course, it is impossible to characterize the impact of all the characters in the novel on the main character, sometimes these are very small episodes that not every reader will remember. But some of them are of key importance. I want to talk about such cases. Let's start with the Marmeladov family.

Semyon Zakharovich Marmeladov- the only one of the main characters of the novel, with whom the author brought Raskolnikov together before the crime. The conversation of a drunken official with Raskolnikov is, in fact, Marmeladov's monologue; Rodion Raskolnikov does not insert even three remarks into it. There is no dispute out loud, but Raskolnikov’s mental dialogue with Marmeladov could not fail, because both of them are painfully pondering the possibility of getting rid of suffering. But if for Marmeladov only hope remained for the other world, then Raskolnikov has not yet lost hope of resolving the questions that torment him here on earth.

Marmeladov firmly stands on one point, which can be called the “idea of ​​self-abasement”: beatings “not only cause pain, but also pleasure” to him, and he accustoms himself not to pay attention to the attitude towards him as to the pea jester of those around him, he and I’m already used to spending the night where I have to ... The reward for all this is the picture of the “Last Judgment” that arises in his imagination, when the Almighty accepts Marmeladov and similar “pigs” and “ragmen” into the kingdom of heaven precisely because not a single one of them “himself I considered myself worthy."

So, not a righteous life in itself, but the absence of pride is the key to salvation, according to Marmeladov. Raskolnikov listens attentively to him, but he does not want to humiliate himself. Although the impression of his confession from Raskolnikov remained deep and quite definite: if you sacrifice yourself, lose honor, then not for thirty rubles, like Sonya, but for something more substantial. Thus, despite the opposite of the ideas professed by these two heroes, Marmeladov not only did not dissuade, but, on the contrary, further strengthened Raskolnikov in his intention to commit murder in the name of exaltation over the “trembling creature” and for the sake of saving the lives of several noble, honest people.

When Dostoevsky pondered the idea of ​​the novel The Drunk Ones, Marmeladov was given the role of the protagonist in it. Then Semyon Zakharych entered another novel - about Raskolnikov, receding into the background before this hero. But the author's interpretation of the image from this did not become less complicated. A weak-willed drunkard, he brought his wife to consumption, let his daughter go on a yellow ticket, left small children without a piece of bread. But at the same time, the author cries out with the whole story: oh, people, take at least a drop of pity for him, take a closer look at him, is he really that bad? for the first time he lost his place through no fault of his own, “but due to a change in the states, and then he touched it”; most of all tormented by the consciousness of guilt before the children ...

What Raskolnikov learned from Marmeladov, and what he saw at his house, could not pass without a trace for Rodion Romanovich himself. Thoughts about the meek daughter of Marmeladov and his wife, who was bitter to the limit, from time to time excite the sick imagination of a young man who painfully decides for himself the question of the possibility of a crime in order to protect the unfortunate. And the dream he soon had about a nag beaten to death was to a large extent inspired by a meeting with the unfortunate, "driven" Katerina Ivanovna.

Marmeladov's wife appears on the pages of the novel four times, and all four times Raskolnikov meets her after the strongest shocks of his own, when he, it would seem, is not up to those around him. Naturally, the protagonist never enters into lengthy conversations with her, and he listens to her half-heartedly. But still, Raskolnikov catches that in her speeches, indignation at the behavior of others alternately sounds, whether it be her husband or the mistress of the room, a cry of despair, the cry of a man who has been cornered, who has nowhere else to go, and suddenly boiling vanity, the desire to rise in his own eyes and in the eyes of the listeners to a height unattainable for them.

And if the idea of ​​self-deprecation is connected with Marmeladov, then with Katerina Ivanovna the idea - or rather, not even an idea, but a painful mania - self-affirmation. The more hopeless her position, the more unrestrained this mania, fantasy, or, as Razumikhin put it, "self-indulgence." And we see that any attempt to endure inwardly in the conditions that a ruthless society condemns people to does not help: neither self-abasement nor self-affirmation saves from suffering, from the destruction of the personality, from physical death. At the same time, Katerina Ivanovna's desire for self-affirmation echoes the thoughts of Raskolnikov himself about the right of the elect to a special position, about power "over the whole anthill." In a reduced, parodic form, another hopeless path for a person appears before him - the path of exorbitant pride. It is no accident that Katerina Ivanovna's words about the noble boarding house sunk into Raskolnikov's mind. A few hours later, he reminded her of them, to which he heard in response: “Pension, ha ha ha! Glorious tambourines beyond the mountains! .. No, Rodion Romanych, the dream has passed! We have all been abandoned." The same sobriety awaits ahead of Raskolnikov himself. But even the painful dreams of Katerina Ivanovna, her pathetic "megalomania" do not reduce the tragedy of this image. Dostoevsky writes about her with bitterness and tireless pain.

And the image occupies a very special place in the novel. Sonechka Marmeladova. In addition to the fact that she is the conductor of the author's ideas in the novel, she is also the double of the protagonist, so the significance of her image can hardly be overestimated.

Sonya begins to play an active role at the moment of Raskolnikov's repentance, seeing and experiencing other people's suffering. It imperceptibly appears in the novel from the arabesques of the St. Petersburg street background, first as a thought, as Marmeladov’s story in a tavern about his family, about his daughter with a “yellow ticket”, then indirectly - as a figure of Raskolnikov’s fleeting vision from “their world” on the street: some a girl, fair-haired, drunk, just offended by someone, then a girl in a crinoline, in a straw hat with a fiery feather feather, sang along with the organ grinder, flashed by. All this bit by bit Sonya's outfit, she will appear in it, right from the street, at the bedside of her dying father. Only everything inside her will be a refutation of the noisy beggarly attire. In a modest dress, she will come to Raskolnikov to call him to the wake, and in the presence of his mother and sister, she will timidly sit next to him. This is symbolic: from now on, they will follow the same path, and to the end.

Raskolnikov was the first person to treat Sonya with sincere sympathy. No wonder the passionate devotion that Sonya answered him. It doesn’t even occur to her that Raskolnikov sees in her almost the same criminal as he himself is: both, in his opinion, are murderers; only if he killed the worthless old woman, then she committed, perhaps, an even more terrible crime - she killed herself. And thus forever, like him, doomed herself to loneliness among people. Both criminals should be together, Raskolnikov believes. And at the same time, he doubts his thoughts, finds out whether Sonya herself considers herself a criminal, torments her with questions beyond her consciousness and conscience. Rodion Raskolnikov, undoubtedly, is drawn to Sonya as an outcast to an outcast. In the handwritten versions of the novel there is such an entry on behalf of Raskolnikov: “How will I hug the woman I love. Is it possible? What if she knew that her killer was hugging her. She will know it. She must know this. She should be like me…”

But this means that she must suffer no less than he does. And about the suffering of Sonya Marmeladova, Raskolnikov formed an idea for himself from the half-drunk story of Semyon Zakharych at their first meeting. Yes, Raskolnikov himself suffers, suffers deeply. But he condemned himself to suffering - Sonya suffers innocently, paying with moral torments not for her sins. It means that she is immeasurably above him morally. And that is why he is especially drawn to her - he needs her support, he rushes to her "not out of love, but as to providence." That is why Raskolnikov first tells her about the crime committed. The thought of Raskolnikov horrifies Sonya: “This man is a louse!”. And at the same time, she is very sorry for Raskolnikov, she already knows that nothing can atone for this crime, that the most terrible punishment for sin is every minute self-condemnation, her own inability to forgive herself, to live without remorse. And Sonya herself, after Raskolnikov's terrible confession, begins to believe that they are people of one world, that all the barriers that separated them - social, intellectual - have collapsed.

Sonya herself leads the hero “out of the darkness of delusion”, grows into a huge figure of suffering and goodness, when society itself has lost its way and one of its thinking heroes is a criminal. She has no theories other than faith in God, but that is faith, not ideology. Faith, like love, belongs to the realm of the irrational, incomprehensible, this cannot be explained logically. Sonya never argues with Raskolnikov; Sonya's path is an objective lesson for Raskolnikov, although he does not receive any instructions from her, except for advice to go to the square to repent. Sonya suffers in silence, without complaint. Suicide is also impossible for her. But her kindness, meekness, spiritual purity amaze the imagination of readers. And in the novel, even convicts, seeing her on the street, shouted: “Mother, Sofya Semyonovna, you are our tender, sickly mother!” And all this is the truth of life. This type of people like Sonya is always true to himself, in life they meet with varying degrees of brightness, but life always prompts reasons for their manifestation.

The fate of Sonya Marmeladova Raskolnikov correlates with the fate of all "humiliated and insulted." In her, he saw a symbol of universal grief and suffering, and, kissing her feet, he "bowed down to all human suffering." Raskolnikov owns the exclamation: “Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world stands!”. Many researchers believe that Sonya is the embodiment of the author's ideal of Christian love, sacrificial suffering and humility. By her example, she shows the way to Raskolnikov - to restore lost ties with people through gaining faith and love. With the power of her love, the ability to endure any torment, she helps him overcome himself and take a step towards resurrection. Although the beginning of love for Sonya is painful, for Raskolnikov it is close to sadism: while suffering himself, he makes her suffer, secretly hoping that she will discover something acceptable to both, offer anything but a confession ... In vain. “Sonya represented an inexorable sentence, a decision without change. Here - either her road, or his. In the epilogue, the author shows the reader the long-awaited birth of mutual, all-redeeming love, which should support the heroes in hard labor. This feeling grows stronger and makes them happy. However, the complete restoration of Raskolnikov is not shown by Dostoevsky, it is only announced; The reader is given a lot of room for reflection. But this is not the main thing, and the main thing is that the ideas of the author in the novel are nevertheless embodied in reality, and it is with the help of the image of Sonechka Marmeladova. It is Sonya who is the embodiment of the good sides of Raskolnikov's soul. And it is Sonya who carries within herself the truth that Rodion Raskolnikov comes to through painful searches. This highlights the personality of the protagonist against the background of his relationship with the Marmeladovs.

On the other hand, Raskolnikov is opposed by people who were closest to him before he came to the idea of ​​allowing himself the right to kill an "insignificant creature" for the benefit of many. This is his mother, Pulcheria Alexandrovna, sister Dunya, fellow university student Razumikhin. They personify for Raskolnikov the conscience "rejected by him". They have not stained themselves with anything, living in the underworld, and therefore communication with them is almost impossible for the main character.

A noble son with the manners of a commoner, Razumikhin combines a merry fellow and a hard worker, a bully and a caring nanny, a quixote and a deep psychologist. He is full of energy and mental health, he judges the people around him versatile and objectively, willingly forgiving them minor weaknesses and mercilessly scourging complacency, vulgarity and selfishness; at the same time, he evaluates himself in the most sober way. This is a democrat by convictions and by way of life, who does not want and does not know how to flatter others, no matter how high he puts them.

Razumikhin is a man whose friend it is not easy to be. But the feeling of friendship is so sacred to him that, seeing a comrade in trouble, he abandons all his affairs and hurries to help. Razumikhin is so honest and decent himself that he never for a moment doubts his friend's innocence. However, he is by no means inclined towards forgiveness in relation to Raskolnikov either: after his dramatic farewell to his mother and sister, Razumikhin reprimands him directly and sharply: “Only a monster and a scoundrel, if not crazy, could do the same to them as you did; and consequently, you are crazy ... ".

They often write about Razumikhin as a limited person, "smart, but ordinary." Raskolnikov himself sometimes calls him mentally "a fool", "a fool". But I think that Razumikhin is more likely to be distinguished not by narrow-mindedness, but by ineradicable good nature and faith in the possibility of sooner or later finding a solution to the “sick issues” of society - you just need to tirelessly seek, not give up: to the truth." Razumikhin also wants to establish truth on earth, but he never has thoughts that even remotely resemble the thoughts of Raskolnikov

Common sense and humanity immediately tell Razumikhin that his friend’s theory is very far from justice: “I am most outraged that you allow blood in conscience.” But when Raskolnikov's appearance in court is already a fait accompli, he appears in court as the most ardent witness for the defense. And not only because Raskolnikov is his friend and brother of his future wife, but also because he understands how inhuman the system is that pushed a person to a desperate rebellion.

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

The line of relations between Raskolnikov's brother and sister is one of the most difficult in the novel. The ardent love of a young provincial for her older brother, a smart, thinking student, is beyond doubt. He, with all his selfishness and coldness, before committing the murder, dearly loved his sister and mother. The thought of them was one of the reasons for his decision to transgress the law and his own conscience. But this decision turned out to be such an unbearable burden for him, he cut himself off so irreparably from all honest, pure people that he no longer had the strength to love.

Razumikhin and Dunya are not the Marmeladovs: they hardly mention God, their humanism is purely earthly. And, nevertheless, their attitude to Raskolnikov's crime and to his very "Napoleonic" theory is as unshakably negative as that of Sonya.

Do you have the right to kill? Sonya exclaimed.

I am most outraged that you allow blood in conscience, - says Razumikhin.

But you shed blood! Dunya screams in despair.

Raskolnikov seeks to dismiss with contempt any argument of each of them against the "right to commit a crime", but it is not so easy to brush aside all these arguments, especially since they coincide with the voice of his conscience.

If we talk about heroes who, as it were, have the voice of conscience of the protagonist, one cannot but recall the caustic, “grinning” conscience of Raskolnikov, the investigator Porfiry Petrovich.

Dostoevsky managed to bring out a complex type of an intelligent and well-wishing investigator for Raskolnikov, who would not only be able to expose the criminal, but also penetrate with all depth into the essence of the theory of the protagonist, make him a worthy opponent. In the novel, he is assigned the role of the main ideological antagonist and "provocateur" of Raskolnikov. His psychological duels with Rodion Romanovich become the most exciting pages of the novel. But at the will of the author, it also acquires an additional semantic load. Porfiry is a servant of a certain regime, he is saturated with an understanding of good and evil from the point of view of the code of prevailing morality and the code of laws, which the author himself, in principle, did not approve of. And suddenly he acts as a father-mentor in relation to Raskolnikov. When he says: "You can't do without us," it means something completely different than a simple consideration: there will be no criminals, and there will be no investigators. Porfiry Petrovich teaches Raskolnikov the highest meaning of life: "Suffering is also a good thing." Porfiry Petrovich speaks not as a psychologist, but as a conductor of a certain tendency of the author. He suggests relying not on reason, but on direct feeling, trusting nature, nature. “Surrender to life directly, without arguing, do not worry - it will carry you straight to the shore and put it on your feet.”

Neither relatives nor people close to Raskolnikov share his views and cannot accept "blood permission in good conscience." Even the old lawyer Porfiry Petrovich finds many contradictions in the theory of the protagonist and tries to convey to Raskolnikov's mind the idea of ​​its incorrectness. But, perhaps, salvation, an outcome can be found in other people who share his views in some way? Maybe we should turn to other characters in the novel in order to find at least some justification for the "Napoleonic" theory?

At the very beginning of the fifth part of the novel, Lebezyatnikov. Undoubtedly, his figure is more parodic. Dostoevsky presents him as a primitively vulgar version of a "progressive", like Sitnikov from Turgenev's novel Fathers and Sons. Lebezyatnikov's monologues, in which he sets forth his "socialist" convictions, are a sharp caricature of Chernyshevsky's famous novel What Is to Be Done? Lebezyatnikov's lengthy reflections on communes, on freedom of love, on marriage, on the emancipation of women, on the future structure of society, seem to the reader a caricature of an attempt to convey to the reader "bright socialist ideas."

Dostoevsky depicts Lebezyatnikov exclusively by satirical means. This is an example of a kind of "dislike" of the author to the hero. Those heroes whose ideology does not fit into the circle of Dostoevsky's philosophical reflections, he describes in a devastating manner. The ideas preached by Lebezyatnikov and previously of interest to the writer himself disappoint Dostoevsky. Therefore, he describes Andrei Semenovich Lebezyatnikov in such a caricature: “He was one of that countless and diverse legion of vulgar people, dead bastards, and petty tyrants who have not studied everything, who in an instant stick without fail to the most fashionable walking idea, in order to immediately vulgarize it, in order to instantly caricature everything, which they sometimes most sincerely serve. For Dostoevsky, even "sincere service" to humanistic ideals does not in the least justify a vulgar person. In the novel, Lebezyatnikov performs one noble deed, but even this does not ennoble his image. Dostoevsky does not give heroes of this type a single chance to take place as a person. And although the rhetoric of both Raskolnikov and Lebezyatnikov is humanistically colored, Andrei Semenovich, who did not commit significantly bad deeds (as well as good ones, by the way), is incomparable with Raskolnikov, who is capable of significant deeds. The spiritual narrowness of the first is much more disgusting than the moral illness of the second, and no "clever" and "useful" speeches raise it in the eyes of the reader.

In the first part of the novel, even before the crime was committed, Raskolnikov learns from his mother’s letter that his sister Dunya is going to marry a completely wealthy and “seemingly kind person” - Pyotr Petrovich Luzhin. Rodion Raskolnikov begins to hate him even before he met him personally: he understands that it is not love that pushes his sister to this step, but a simple calculation - this is how you can help your mother and brother. But subsequent meetings with Luzhin himself only strengthen this hatred - Raskolnikov simply does not accept such people.

But why is Pyotr Petrovich not a groom: everything in him is decent, like his light waistcoat. At first glance, it seems so. But Luzhin's life is a continuous calculation. Even marriage with Dunya is not a marriage, but a sale: he called the bride and future mother-in-law to Petersburg, but did not spend a dime on them. Luzhin wants to succeed in his career, he planned to open a public law firm, to serve law and justice. But in the eyes of Dostoevsky, the existing legitimacy and that new judgment, which he once hoped for as a blessing, is now a negative concept.

Luzhin represents the type of "acquirer" in the novel. Hypocritical bourgeois morality is embodied in his image. He takes it upon himself to judge from the height of his position in life, outlining cynical theories and recipes for acquisition, careerism, and opportunism. His ideas are ideas leading to a complete rejection of goodness and light, to the destruction of the human soul. To Raskolnikov, such morality seems many times more misanthropic than his own thoughts. Yes, Luzhin is not capable of murder, but by nature he is no less inhuman than an ordinary murderer. Only he will not kill with a knife, an ax or a revolver - he will find a lot of ways to crush a person with impunity. This property of his is manifested in its entirety in the scene at the commemoration. And according to the law, people like Luzhin are innocent.

The meeting with Luzhin gives another impetus to the hero's rebellion: "Should Luzhin live and do abominations, or should Katerina Ivanovna die?" But no matter how Raskolnikov hates Luzhin, he himself is somewhat similar to him: “I do what I want.” With his theory, he appears in many ways as an arrogant creature of an age of competition and ruthlessness. Indeed, for the prudent and selfish Luzhin, human life in itself is of no value. Therefore, when committing a murder, Rodion Raskolnikov seems to approach such people, puts himself on the same level with them. And very close fate brings the protagonist to another character - the landowner Svidrigailov.

Raskolnikov hates the ancient lordly depravity, such as the Svidrigailovs, the masters of life. These are people of unbridled passions, cynicism, abuse. And if changes are needed in life, then also because to put an end to their revelry. But no matter how surprising it may be, it is Svidrigailov who is the plot double of the protagonist.

The world of Raskolnikov and Svidrigailov is depicted by Dostoevsky with the help of a number of similar motifs. The most important of them is that both allow themselves to "step over". After all, Svidrigailov is not at all surprised that Raskolnikov committed a crime. For him, crime is something that has entered life, is already normal. He himself is accused of many crimes, and he does not directly deny them.

Svidrigailov preaches extreme individualism. He says that man is naturally cruel and is predisposed to commit violence against others to satisfy his desires. Svidrigailov tells Rodion Raskolnikov that they are "of the same field." These words scare Raskolnikov: it turns out that Svidrigailov's gloomy philosophy is his own theory, brought to its logical limit and devoid of humanistic rhetoric. And if Raskolnikov's idea arises from a desire to help a person, then Svidrigailov believes that a person deserves nothing more than a "stuffy bath with spiders." This is Svidrigailov's idea of ​​eternity.

Like all doubles in Dostoevsky, Svidrigailov and Raskolnikov think a lot about each other, due to which the effect of a common consciousness of the two characters is created. In fact, Svidrigailov is the embodiment of the dark sides of Raskolnikov's soul. So, the poet and philosopher Vyacheslav Ivanov writes that these two heroes are related as two evil spirits - Lucifer and Ahriman. Ivanov identifies Raskolnikov's rebellion with the "luciferic" principle, sees in Raskolnikov's theory a rebellion against God, and in the hero himself - an exalted and noble mind in his own way. He compares Svidrigailov's position with Ahrimanism, there is nothing here but the absence of vital and creative forces, spiritual death and decay.

As a result, Svidrigailov commits suicide. His death coincides with the beginning of the protagonist's spiritual rebirth. But along with the relief after the news of Svidrigailov's death, a vague anxiety comes to Raskolnikov. After all, one should not forget that Svidrigailov's crimes are reported only in the form of rumors. The reader does not know for sure whether he did them. This remains a mystery; Dostoevsky himself does not give an unequivocal answer about Svidrigailov's guilt. In addition, throughout the course of the novel, Svidrigailov does almost more "good deeds" than the rest of the characters. He himself tells Raskolnikov that he did not take upon himself the "privilege" to do "only evil." Thus, the author shows another facet of Svidrigailov's character, once again confirming the Christian ideas that in any person there is both good and evil, and the freedom to choose between them.

Raskolnikov, Svidrigailov, Luzhin and Lebeziatnikov form ideologically significant pairs among themselves. On the one hand, the extremely individualistic rhetoric of Svidrigailov and Luzhin is contrasted with the humanistically colored rhetoric of Raskolnikov and Lebezyatnikov. On the other hand, the deep characters of Raskolnikov and Svidrigailov are contrasted with the petty and vulgar characters of Lebezyatnikov and Luzhin. The status of the hero in Dostoevsky's novel is determined primarily by the criterion of the depth of character and the presence of spiritual experience, as the author understands it, therefore Svidrigailov, "the most cynical despair", is placed in the novel much higher than not only the primitive egoist Luzhin, but also Lebezyatnikov, despite his certain altruism .

In interaction with the rest of the characters of the novel, the image of Rodion Romanovich Raskolnikov is fully revealed. In comparison with the smart, but ordinary Razumikhin, Raskolnikov's personality is uncommon. The soulless business man Luzhin is potentially a greater criminal than Raskolnikov, who committed the murder. Svidrigailov, a dark personality with immoral ideas about life, seems to warn the protagonist against the final moral fall. Next to Lebezyatnikov, who always adhered to the "walking idea", Raskolnikov's nihilism seems lofty in its naturalness.

From this interaction it also becomes clear that none of the ideologies of the above heroes is a reliable and convincing alternative to Raskolnikov's theory, deeply suffered and honest in its own way. Apparently, the author wanted to say that any abstract theory addressed to humanity is in fact inhuman, because there is no place in it for a specific person, his living nature. It is no coincidence that in the epilogue, speaking of Raskolnikov's enlightenment, Dostoevsky contrasts "dialectics" and "life": "Instead of dialectics, life came, and something completely different should have developed in consciousness."

Rodion Romanovich Raskolnikov is the main character in Fyodor Dostoevsky's novel Crime and Punishment.

Raskolnikov is the son of Pulcheria Alexandrovna and the elder brother of Avdotya Romanovna Raskolnikov. A young man of 23 years old. Lives in St. Petersburg in a rented apartment in a room that looks like a coffin. Extremely poor. A former law student who he was forced to leave due to lack of money and his "Theory of Exceptionality". Romantic, proud and strong personality. As a university student, Raskolnikov "almost had no comrades, he was alienated from everyone, he did not go to anyone and he received it hard. However, everyone soon turned away from him. Neither in general gatherings, nor in conversations, nor in fun, in anything he somehow he didn't take part. it seemed to him that he looked down on them all, like children, from above, as if he had outstripped them all in development, and knowledge, and convictions, and that he looked at their convictions and interests as something lower ... ". He got along more or less only with Razumikhin.

Razumikhin gives and draws the most objective portrait of Raskolnikov at the request of his mother and sister: “I have known Rodion for a year and a half: gloomy, gloomy, arrogant and proud; lately (and perhaps much earlier) hypochondriacal hypochondriac. Magnanimous and kind. He does not like to express his feelings and will sooner do cruelty than the heart will express in words. Sometimes, however, he is not a hypochondriac at all, but simply cold and insensitive to the point of inhumanity, really, as if in him two opposite characters are alternately replaced. Terribly taciturn sometimes! He has no time for everything, everyone interferes with him, but he himself lies, does nothing. Not mocking, and not because there was not enough wit, but as if he did not have enough time for such trifles. Doesn't listen to what they say. Never interested in what everyone is interested in at the moment. He values ​​himself terribly highly and, it seems, not without some right to do so ... ".

Appearance

“By the way, he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender ... He was so poorly dressed that another, even a familiar person, would be ashamed to go out in such rags during the day outside". The consciousness of the hero is tormented by two questions: “Is it allowed to commit a small evil for the sake of a great good, does a noble goal justify a criminal means?” and "Am I a trembling creature, or do I have a right." To resolve them, Raskolnikov commits a crime.

In the draft materials, the author said about Raskolnikov, emphasized: “In his image, the thought of exorbitant pride, arrogance and contempt for society is expressed in the novel. His idea is to take over this society. Despotism is his trait ... ". But, at the same time, already in the course of action, this hero often acts as a true benefactor in relation to individuals: from the last means he helps a sick fellow student, and after his death and his father, saves two children from a fire, gives everything to the Marmeladov family the money that his mother sent him comes to the defense of Sonya Marmeladova, accused by Luzhin of theft... The surname of the protagonist is ambiguous: on the one hand, the split is like a bifurcation; on the other hand, a schism as a schismatic. This surname is deeply symbolic: it is not for nothing that the crime of the "nihilist" Raskolnikov is taken upon himself by the schismatic Nikolai Dementiev.

Before talking about the character, his characteristics and image, it is necessary to understand what work he appears in, and who actually became the author of this work.

Raskolnikov is the protagonist of one of the best novels of the Russian classic Fyodor Dostoevsky - "Crime and Punishment", which also had an impact on world literature. Crime and Punishment was published in 1866.

The novel was immediately noticed in the Russian Empire - it caused a wave of indignant, as well as admiring reviews. Dostoevsky's work was almost immediately recognized abroad, as a result of which the novel was translated into many languages, including English, French and German.

The novel was filmed more than once, and the ideas that Dostoevsky laid down were subsequently used by many world classics.

The image of Raskolnikov

Dostoevsky does not pull with the description of the key character of his novel - Rodion Raskolnikov and describes him right from the first chapter. The author shows the main character as a young man who is far from in the best physical condition - his appearance can be called painful.

For many years, Rodion is closed from the rest of the world, he is gloomy and constantly flies in his own thoughts. Previously, Raskolnikov was a student at a prestigious university, where he studied for a fairly solid position - as a lawyer. But the guy abandons his studies, after which he is expelled from the educational institution.

Raskolnikov is not too picky and lives in a very meager small room, where there is absolutely not a single object that would create comfort in his home. However, the reason for this was also his poverty, which is also hinted at by clothes that have long been worn out. Rodion has long run out of money in order to pay for his apartment and study. However, with all this, Raskolnikov was good-looking - quite tall and in good physical shape, had dark hair and a pleasant face.

Characteristics of Raskolnikov: his ideas, crime and punishment

The hero was very humiliated by the fact that his material condition left much to be desired. The hero himself, being depressed, plans to commit a crime - to kill the old woman and thereby check whether he can start a new life and benefit society. The hero has the idea that some people - really great, have the right to commit murder, because they are the engine of progress. He considers himself to be just such a person, and he is greatly oppressed by the fact that a great man now lives in poverty.

Raskolnikov considered himself a person "having the right", but all the other people around were just meat or a means to achieve goals. The murder, he believes, will allow him to reveal himself, test his theory and show whether he is capable of more - to completely change his life. Raskolnikov is even more annoyed by the fact that he is far from being a stupid person, but on the contrary, he is smart enough and has a number of important abilities that every successful entrepreneur has. And it is his extremely poor condition and position in society that do not make it possible to realize these abilities.

However, in reality, everything turns out completely differently. In addition to the fact that Raskolnikov kills a greedy old woman, a completely innocent woman dies from his hands. Because of his mistake, the main character cannot accomplish his plan - he does not use the loot and completely withdraws into himself. He is very scared and disgusted by what he has done. At the same time, it is not the murder itself that frightens him, but only that his idea has not been confirmed. He himself says that he did not kill the old woman - he killed himself.

After Raskolnikov killed a man, he considered that he no longer deserved to communicate with people. Completely locking himself in, Raskolnikov is on the verge of insanity and does not accept the help of his relatives and friends at all. A friend of the hero is trying to somehow cheer up the young man, but he does not make contact. Raskolnikov believes that he does not deserve the love of people and understands why they are courting him. The criminal wants no one to love him, and in return he would also not feel feelings.

After the crime, Raskolnikov is seriously changing, if he avoids relationships with loved ones, then he goes into relationships with strangers without any doubt, and also helps them. For example, he helps the Marmeladov family. At this time, the investigation into the murder committed by Raskolnikov continues. The smart investigator Petrovich continues to look for the killer, and Raskolnikov is extremely hopeful that he will not fall under suspicion. In addition, the hero tries not only not to catch the eye of the investigator, but also in every possible way confuses the investigation with his actions.

Raskolnikov changes after he meets a young girl Sonya Marmeladova, who, like the main character, was at that moment in an extremely poor condition. In order to help the family, Sonya works as a prostitute and has a yellow ticket - a document that allows the girl to officially earn her living. Sonya is only eighteen years old, she believes in goodness and in God. Her family does not even have enough money for food, she gives all the money she earns for food, leaving practically not a penny for herself. Raskolnikov does not much like that she sacrifices everything - her fate and her body, in order to help others. At first, Sonya's personality causes indignation in Raskolnikov, but very soon the young hero falls in love with a girl. Raskolnikov tells her that he committed the murder. Sonya asks him to repent of the crime he has committed - both before God and before the law. However, Raskolnikov does not share her convictions too much, but, nevertheless, love for the girl makes Raskolnikov repent before God about his deed, after which he comes to the police and confesses.

Further penal servitude, where he finds God. A new life began for him, in which he began to see not only the bad, but also the good. It was his love for Sonya that made him think that his whole idea about different types of people, one of which is “entitled”, and the rest are just consumables, does not make sense at all. Raskolnikov's theory was completely inhuman, because no one, under any motives, can control a person's life. Such actions violate all the laws of morality and Christianity.

In the end, Raskolnikov's theory fails, because the hero himself begins to understand that it is devoid of any meaning. If earlier Raskolnikov believed that a person is a trembling creature, then after realizing he understands that every person deserves the right to life and the right to choose his own destiny. In the end, Raskolnikov realizes that good is the basis of life and doing good to people is much more pleasant than living only in their own interests, spitting on the fate of those around them.

conclusions

Raskolnikov became a hostage to his position in society. Being a fairly smart, capable and educated person, he did not have the opportunity and means to live a normal life. Greatly upset by his position, Raskolnikov sees no other way than to earn his living at the expense of other people, whom he considers only "meat", material that can be used to achieve his goals. The only thing that makes Raskolnikov believe in good again and forget about his crazy ideas is nothing more than love for a girl. It was Sonya Marmeladova who showed the hero that doing good is much better than hurting. Under its influence, Raskolnikov begins to believe in God and repents of his sins. In addition, the hero surrenders to the police on his own and starts a new life.

The protagonist of the novel, Rodion Raskolnikov, is a student. He is poor, far from any ideas that tormented the youth of that time. He has a sister who works as a governess for a wealthy family. The mother, being a widow, receives a pension and does not work. The family sends all funds to Raskolnikov. But they are still missing. Raskolnikov worked as a repeater. However, classes with students did not bring either satisfaction or decent pay.

The image of Raskolnikov is the spiritual and compositional center of the novel.

Raskolnikov's character

Raskolnikov is a closed person, prone to hypochondria. The protagonist turned his isolation into a character trait that he seemed to be proud of. However, this is not quite true. He would be glad to communicate with people more, but poverty oppresses him and makes him move further and further away from friends and relatives.

At the beginning of the novel, F.M. Dostoevsky introduces Raskolnikov to the reader as follows: "By the way, he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender." At the same time, the writer emphasizes that Rodion was extremely poor.

Raskolnikov has no friends, except for Razumikhin, who has a hard time enduring the nasty character of Rodion. Dostoevsky writes about his character: "Raskolnikov was not accustomed to the crowd and, as already mentioned, he fled any society, especially in recent times."

Razumikhin characterizes Raskolnikov's character in a controversial way. He says that, on the one hand, Raskolnikov is a taciturn and sometimes cruel person, on the other, a kind and generous young man. A feature of Raskolnikov's character is that he not only expresses his opinion, but also defends it.

F.M. Dostoevsky draws us a man mired in poverty: "He was so badly dressed that another, even a familiar person, would be ashamed to go out into the street in such rags during the day." Rodion Raskolnikov lives in a room that looks like a coffin: “It was a tiny cell, six paces long, which had the most miserable appearance with its yellowish, dusty and everywhere lagging behind the wall wallpaper, and so low that a slightly tall person became she was terrified, and it seemed that you were about to hit your head on the ceiling.

Such a life is one of the incentives for nurturing the idea of ​​murder. It is against the background and under the influence of blatant poverty that Raskolnikov separates himself from everyone. The surrounding world and people cease to be a true reality for him. However, the "ugly dream" that he has been nurturing for a month disgusts him. He does not believe that he can commit murder, and despises himself for being abstract and incapable of practical action. He goes to the old pawnbroker for a test - a place to inspect and try on.

Thoughts about the impending murder torment Raskolnikov's soul. She, like a bird in a cage, wants to escape and escape from black thoughts and hatred.

External action only reveals his internal struggle. He must go through a painful split, feel for himself all the "for" and "against" in order to understand himself and the moral law, inextricably linked with human essence. From the first pages of F.M. Dostoevsky sympathizes with his character.

In a dream-memory of a horse being whipped in the eyes, the truth of his personality is revealed, the truth of the earthly moral law, which he nevertheless intends to transgress, turning away from this truth.

The image of Rodion Raskolnikov is the image of a superstitious person and prone to exaggeration and paranoia.

In the novel "Crime and Punishment" F.M. Dostoevsky writes the following: "Traces of superstition remained in him for a long time after, almost indelibly. And in the whole thing he always later inclined to see some kind of strangeness, mystery, as if the presence of some special influences and coincidences."

The image of Raskolnikov is not devoid of kindness and nobility. F.M. Dostoevsky especially emphasizes them when Rodion gives money to the Marmeladov family and saves a drunk girl on the boulevard from persecution. In addition, the writer tries to justify his hero by emphasizing that one of the reasons why he kills the old pawnbroker is the desire to help his mother and sister, who decides to marry Luzhin in order to help her brother financially.

Critics about the image of Raskolnikov

According to the Russian writer and critic Sergei Askoldov, the image and name of Raskolnikov acquires a symbolic meaning: a split means a split, understood in a broad sense. Here is Raskolnikov's ethical bifurcation (murder - love for one's neighbor, crime - pangs of conscience, theory - life), and the bifurcation of direct experience and self-observation - reflection.

DI. Pisarev analyzes the socio-psychological reasons that pushed Rodion Raskolnikov to commit a crime, and explains it by the inhumanity and unnaturalness of the existing system.

In the article of the critic N. N. Strakhov "Our belles-lettres" the idea is brought to the fore that F.M. Dostoevsky brought out in the person of Rodion Raskolnikov a new image of a "nihilist", depicting "... nihilism not as a miserable and wild phenomenon, but in a tragic form, as a distortion of the soul, accompanied by cruel suffering." Strakhov saw in the image of Raskolnikov the trait of a "true Russian person" - a kind of religiosity with which he indulges in his idea, the desire to reach "to the end, to the edge of the road that his misguided mind led him to."

Despite the tragedy of the novel by F.M. Dostoevsky ends Crime and Punishment with Raskolnikov's optimistic dreams of happiness. The writer gives his character a second chance to start all over again, but with a load of past mistakes. F. M. Dostoevsky emphasizes that Raskolnikov has become a wiser person.

Rodion Raskolnikov is one of the central characters in Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment. Raskolnikov's character is taken from life. In the second half of the nineteenth century there was a robbery of a rich house. In the process of this robbery, the criminal killed two maids with an ax. It was this robber who became the prototype of Rodion Raskolnikov.

Raskolnikov in the work "Crime and Punishment" is a controversial character. Reading the book, the reader will ask an important question: How could a person from a decent family commit a crime?

The answer is not as simple as it seems. Rodion was an adherent of the theory of Napoleon III. The theory was that there are ordinary people and those who make history. No laws are written for those who make history. They solemnly go to their goal.

Rodion wanted to check what kind of person he is. "An ordinary trembling creature" or a person with a right. Rodion thought that he was a person who makes history.

By killing the old woman, Rodion is trying to prove to himself not only that he is an unusual person, but also that, having committed a murder, he saves the world from a tyrant who profits from someone else's grief.

After the murder, Rodion feels remorse. Rodion thinks about whether he can continue to live with the stigma of the killer. He understands that he is not like his heroes, who sleep peacefully, sending thousands of innocent people to their deaths. He only killed two women, but is already looking for redemption.

Plunging into his thoughts, Rodion begins to move away from people. He needs to find someone who can understand him. This person is Sonya Marmeladova.

Rodion's delusions are well revealed when the reader sees another character in front of him - Svidrigailov. His ideas are very similar to those of Rodion. Svidrigailov believes that evil can be done if the goal is good. What distinguishes him from Rodion is that Svidrigailov committed crimes more than once. He was a murderer and a swindler.

Unlike Svidrigailov, Rodion understands that all his theories and truths are lies. Sonechka Marmeladova helps him in repentance. Rodion understands that there is no greater truth than faith in God. He goes to execution, falling in love with Sonya.

Thus, Raskolnikov is a person who stupidly believed in the theory of the separation of people. This is a man who has a conscience, who questions his dogmas when true love appears in his life.

Option 2

In the novel "Crime and Punishment" by Fyodor Mikhailovich Dostoevsky, the central character is Rodion Romanovich Raskolnikov.

Rodion grew up in a loving but poor family. He is 23 years old, he is a law student, but he had to abandon his studies, as the young man lives on the verge of poverty.

The young man is scantily dressed, but handsome: he has a slender figure, tall stature, dark eyes and blond hair.

At the beginning of the novel, the author describes Raskolnikov as a kind, sympathetic, intelligent, but proud person. He has no compassion for others. Due to the difficult financial situation, which left much to be desired, Rodion is withdrawn and gloomy. He finds it humiliating to accept help from a friend or an elderly mother.

Despair and helplessness lead to the destruction of Raskolnikov's moral principles. He develops his own theory regarding modern society: he divides people into "trembling creatures" and "having the right." The first, in his opinion, are useless and "secondary", and the second is allowed everything, even ignoring moral principles to achieve the "highest goal". Of course, Rodion refers himself to the second category.

Raskolnikov comes up with a way to test the boundaries of what is permitted and makes a deal with his conscience - he decides to kill. For a long time, the young man is tormented by doubts, he experiences a strong internal struggle and even thinks of giving up a terrible idea, but poverty, which entails oppressive despair, drives him to madness from hopelessness. He crosses the line of morality and humanity, killing the old pawnbroker and stealing her money. Rodion takes the life of not only the elderly Alena Ivanovna, but also her pregnant sister Lizaveta.

Raskolnikov was never able to use the stolen money, although he really needed it. After committing a crime, he experiences a breakdown in his personality: he is tormented by painful remorse, and incessant nightmares make him relive what happened again and again.

After the murder, Rodion becomes even more unsociable, he is sick of himself. Loneliness brings him to the brink of insanity. He is afraid of exposure, trying to find out if he is suspected of committing a crime. A young man trusts his secret to Sonya Marmeladova, a girl living on a "yellow ticket". She convinces Raskolnikov to confess everything, because, in her opinion, only in this way can one begin the path to correcting and healing the soul.

Rodion surrenders to the police. He repents of his deeds. Now his theory seems to the young man senseless, cruel and immoral, and Raskolnikov renounces it. He is sent to hard labor, where Rodion embarks on the path of spiritual rebirth and redemption.

Composition The image and characteristics of Rodion Raskolnikov

Raskolnikov is a handsome young man with aristocratic features. He rented a tiny closet in the attic of a five-story building.

Raskolnikov was mired in poverty, the poverty of his position, eternal debts, led the young man to the thought of a crime. He wants to help his family financially, but does not find a way. In Raskolnikov, the idea of ​​​​instant enrichment is born and grows stronger, he creates a theory in which murder will be justified. The student thinks that if he kills the old pawnbroker, he will benefit society. Possessing a prudent, inquisitive mind and a cold heart, Raskolnikov is trying to prove to himself that he is a brave and determined person, and not a "trembling creature."

Rodion has been hatching the idea of ​​a murder for a whole month, thinking through every step, paying attention to the smallest details of the crime. Sometimes the true mind wakes up in him, and he renounces his theory, realizing the illegality of his actions. And yet, the desire to feel like the arbiter of fate prevails over reason, and Raskolnikov commits a crime.

There is also a cowardly beginning in him, having created his theory, he goes to kill not some strong and rich person, but a helpless old woman, whom, perhaps, no one will remember. Still, he is gnawed by the thought that he must be held accountable for what he has done. Putting doubts aside, thinking only about easy and quick money, the young man goes to the old woman.

When committing a murder, fear and panic attacks him, Raskolnikov acts, forgetting about the precautions, which leads to the second murder.

Raskolnikov did not repent of the murder, he admitted his crime only that he could not stand it, and turned himself in. Only feelings for Sonya began to break his soul, which means that Rodion is not yet a completely finished person, and has the right to spiritual and moral resurrection. Raskolnikov's love for Sonya touched some new strings in the young man's soul. He felt Sonya as a single whole with himself, and from that moment the rebirth of man began, Raskolnikov realized all the cruelty and senselessness of his crazy theory.

Option 4

In the 60s of the 19th century, reforms made huge changes in the country. A sharp social stratification began. This was especially noticeable in large cities. Some became wealthy, rapidly rising up, while others found themselves in distress. The time of permissiveness, monetary relations began. For Dostoevsky, it was necessary to understand to what result moral nihilism can lead a person. It was to this topic that the writer devoted his work “Crime and Punishment”.

The protagonist's theory had personal and social motives for committing the murder. Raskolnikov was a proud, ambitious person, and at the same time he was painfully concerned with other people's suffering. The poor student began to look for a way that would help him get rid of this poverty. However, he wants to find a way out of this situation not only in his own favor, but also to help other people. Why did such a wild theory suddenly appear in the thoughts of a well-mannered and intelligent student? Is it because of the poverty in which he can no longer live? No. Raskolnikov, committing a criminal act, goes against the law, gaining freedom for himself. It is not for nothing that the image of Napoleon appears in the novel. After all, he was indifferent to the fate of individuals, but his path helped an educated person find a way out of this situation. Raskolnikov, unlike the emperor, wants to make happy not only himself, but also other people. He thinks that having committed a crime, he will atone for this sin with many good deeds, because the life of a simple pawnbroker is not worth a penny compared to many happy lives.

However, cold calculation and a noble soul cannot be combined at once in Rodion. His kindness, compassion for other people's grief conflict with pride and vanity, which leads our hero to such moral experiences that they do not allow him to turn into Napoleon. After Raskolnikov killed the old woman, he is gnawed by the feeling that he has moved away from his native people. For their sake, the young man committed this crime and now they have become strangers. And the young man, instead of being proud of his deed, finds himself all alone. He seems to be full of dreams, to repeat the fate of Napoleon, and at the same time doubts his choice. He cannot make a definite choice.

It was this doubtfulness and indecision that led him to the police station. Dostoevsky here clearly showed that the character's punishment consists in his moral suffering and being alone. Only the attention and care of Sonechka Marmeladova helped bring him back to life. Suffering himself, he torments the girl. However, after a while, Raskolnikov will understand that only love will help to atone for all his mental anguish. In the end, the young man is drawn to the eternal power of good through biblical teachings.

Sample 5

Roman F.M. Dostoevsky's "Crime and Punishment" caused a lot of conflicting opinions in society because of the main character.

Rodion Raskolnikov is the central character of the novel. He is very handsome, dark brown hair, deep dark eyes, tall and slender. At the same time, he is smart, educated, proud. Likes independence. But his environment made him very withdrawn and irritable.

A young student who dreams of becoming a great lawyer was a beggar. Due to lack of money, he is forced to give up his studies and live in a small room with minimal furnishings. His clothes are pretty worn, but he can't afford new ones. At first glance, it is noticeable that he is constantly thoughtful and withdrawn. His mood is always bad. Raskolnikov stopped communicating with people. He was humiliated by help from outsiders.

The protagonist divides all people into two groups and cannot understand which one he himself belongs to: “Am I a trembling creature or do I have the right?”. These thoughts haunt him. To test his concept, Raskolnikov decides to kill the grandmother - the pawnbroker. Rodion thinks that by taking valuables, he will make happy not only himself, but all of humanity.

The reality turned out to be quite different. Together with his grandmother, Raskolnikov had to kill her sister Lizovet, who had never offended anyone in her life. He could not use the loot, hiding it. He is scared and sick. The conscience of the protagonist does not give him rest and leads to insanity. His friends try to help him, but it turns out to be unsuccessful.

By the end of the novel, Raskolnikov has no strength left at all. He understands that he can no longer fix anything and he will not be able to live with such a burden. Rodion confesses and is sentenced to 8 years in hard labor. But he accepts the sentence with enthusiasm and proudly serves his term. Indeed, a completely different life awaits him in the wild, with new and pure thoughts, as well as with Sonya Marmeladova, who was able to believe that human qualities remained in Raskolnikov.

Fyodor Mikhailovich Dostoevsky, in the image of Rodion Raskolnikov, wanted to show that every person is able to repent of his deeds and become a full-fledged member of society.

Essay 6

In the image of this hero of a psychological novel, the author raised the problems of morality and gave his analysis of the idea of ​​the superman, popular in his time, from a Christian point of view.

Rodion Raskolnikov is a typical poor student, immersed in the then fashionable philosophical and political ideas of a radical nature. He only takes care of food and necessities for life only out of necessity. In his person, the writer, who himself was once sentenced to death, replaced by hard labor and surrender to the soldiers, for participating in the activities of a secret society, showed a reliable image of a fighter for the reorganization of the world.

Like many Narodnaya Volya and other political radicals, Raskolnikov is to some extent a pure and ideological person. He kills an old money-lender to check whether he can change the world, whether he belongs to those who are able to rule and transform, or just a representative of the controlled mass. It is significant that, despite his extreme poverty, Raskolnikov, having appropriated a large amount of money after the murder, not only does not spend it, but, in general, seems to forget about their existence. He remains immersed in his ideas and reflections. For him, as well as for representatives of the radical youth of that time, only this is of value.

However, unlike another novel "Demons", in this work the author set as his main goal not to show the terrible face of a populist, ready to step over blood and morality, such as Nechaev. In the image of Raskolnikov, the writer, who himself went through a passion for radical ideas, sought to show a way out for many young people. To do this, Dostoevsky describes in detail the collapse of the views of Raskolnikov, who failed to become a superman.

It is not known for certain whether the writer himself killed anyone, but, in any case, in the image of Raskolnikov, a lot is invested in the novel experienced by the author himself.

Dostoevsky faithfully portrayed the moment of repentance, to which his hero then comes, urging readers to feel what Raskolnikov experienced and, rejecting the fashionable ideas of reorganizing society, follow Christ.

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