The image of the “eternal Sonechka” in the novel by F. M.

The novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment" is one of the most complex works of Russian literature, in which the author told about the story of the death of the main character's soul after he committed a crime, about the alienation of Rodion Raskolnikov from the whole world, from the people closest to him, his mother, sister, friend.
reading the novel, you realize how deeply the author penetrated the souls and hearts of his characters, how he comprehended the human character, with what genius he told about the moral upheavals of the protagonist. The central figure of the novel is, of course, Rodion Raskolnikov. But there are many other characters in Crime and Punishment. These are Razumikhin, Avdotya Romanovna and Pulcheria Alexandrovna, the Raskolnikovs, Pyotr Petrovich Luzhin, the Marmeladovs. The Marmeladov family plays a special role in the novel. After all, it is Sonechka Marmeladova, her faith and disinterested love, that Raskolnikov owes his spiritual rebirth.
She was a girl of about eighteen, of small stature, thin, but rather pretty blonde, with wonderful blue eyes.
Her great love, tormented, but a pure soul, able to see a person even in a murderer, empathize with him, suffer with him, saved Raskolnikov.
Yes, Sonya is a "harlot", as Dostoevsky writes about her, but she was forced to sell herself in order to save her stepmother's children from starvation. Even in her terrible situation, Sonya managed to remain human, drunkenness and depravity did not affect her. But in front of her was a prime example descended, completely crushed by poverty and his own impotence to change something in life, father. Patience Sonya and her life force largely derived from her faith. She believes in God, in justice with all her heart, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is "several, books of romantic content", seeing around her only drunken quarrels, illnesses, debauchery and human grief?
For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. Sin remains sin, no matter who commits it and in the name of what. Personal happiness cannot be set as a goal. A person has no right to egoistic happiness, he must endure, and through suffering he achieves true, non-egoistic happiness.
Reading Raskolnikov's legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. "They were resurrected by love, the heart of one contained endless sources of life for the heart of the other." Rodion came to what Sonya urged him to, he overestimated life and its essence, as evidenced by his words: “Can her beliefs now not be my beliefs? Her feelings, her aspirations, at least ...."
Touched by Sonya's sympathy, Rodion "goes to her as if to close friend, he himself confesses to her the murder, tries, confused in the reasons, to explain
her, why did he do this, asks her not to leave him in misfortune and receives an order from her: to go to the square,
kiss the earth and repent before all the people." In this advice, Sonya seems to hear the voice of the author himself,
seeking to bring his hero to suffering, and through suffering - to atonement. sacrifice, faith,
love and chastity - these are the qualities that the author embodied in Sonya. Surrounded by vice, forced
sacrificing 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 man of high spirit", of one "category"
with Raskolnikov, condemns him for contempt for people and does not accept his "rebellion", his "axe", which, as
it seemed to Raskolnikov that he was also raised in her name. The heroine, according to Dostoevsky, embodies the principle of the people,
Russian element: patience and humility, boundless love for man and God. Therefore, the collision of Raskolnikov and
Sony, whose worldview is opposed to each other, is very important. The idea of ​​"rebellion" Rodion, according to
Dostoevsky's aristocratic idea, the idea of ​​the "chosen one" is unacceptable for Sonya. Only the people in the face of Sonya
can condemn Raskolnikov's "Napoleonic" rebellion, force him to submit to such a court and go to hard labor -
"suffering to accept." Sonya hopes for God, for a miracle. Raskolnikov, with his evil, polished 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 victims. not shameful
the profession makes Sonya a sinner, and the vainness of her sacrifice and her feat. “And that you are a great sinner, then it is so,
- he added almost enthusiastically, - and most of all, you are a sinner because you needlessly killed and betrayed yourself. More
if it weren't terrible... that you live in this filth that you hate so much, and at the same time you know yourself that no one
You are not helping and you are not saving anyone from anything!” Raskolnikov judges Sonya with other scales in his hands than
dominant morality. He judges her from a different point of view than she does. The hero's heart is pierced by the same pain that
and Sonya's heart, only he is a thinking person who generalizes everything. Raskolnikov bows to Sonya and kisses
her legs. “I didn’t bow to you, I bowed to all human suffering,” he said wildly and went to the window. 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,
she does not need examples to establish that people are by nature good and deserve a fair share.
Sonya internally stands outside money, outside the laws of the world that torments her. Just as she herself, of her own free will, went to the panel, so, by her own firm and invincible will, she did not lay hands on herself. Sonya was faced with the question of suicide - she thought it over and chose the answer. Suicide, in her position, would be too selfish a way out - it would save her from shame, from torment, it would rescue her from the stinking pit. “... After all, it would be more fair,” Raskolnikov exclaims, “it would be a thousand times fairer and more reasonable
head into the water and finish at once! - And what will happen to them? Sonya asked weakly, glancing painfully at
him, but at the same time, as if not at all surprised by his proposal.
It was not so much the thought of sin that kept her from the water, but "about them, her own." Sonya debauchery was worse than death.
In the developing romance between Raskolnikov and Sonya, a huge role is played by mutual respect and mutual cordial delicacy, which are so sharply different from the mores of that society. That's why Rodion was able to confess to Sonya in the murder, because he loved her and knew that, and she loves him.
Thus, in the novel Crime and Punishment, love is not a duel of 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 did not
reborn Raskolnikov, then she, in any case, contributed to the final collapse of his inhuman
ideas.
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 done in the world. That's why Sonya feels that she is guilty of a crime
Raskolnikov, that's why she takes this crime so close to her heart and shares it with
"transgressed" his fate, she agrees to carry his cross, to help come to the truth through suffering. We do not doubt her words, the reader is sure that Sonya will follow Raskolnikov everywhere, everywhere and always will be with him. Why, why does she need it? Go to Siberia, live in poverty, suffer for the sake of a person who is dry, cold with you, rejects you. Only she, the "eternal Sonechka", could do this. good heart and selfless love for people.
Dostoevsky wrote: "Sonya is a hope, the most impracticable."
Having created the image of Sonya Marmeladova, Dostoevsky created an antipode to Raskolnikov and his theory (goodness, mercy, opposed to evil). Life position the girl reflects the views of the writer himself, his faith in goodness, justice, forgiveness and humility, but, above all, love for a person, whatever he may be.

I. The theme of self-sacrifice in Dostoevsky's novel Crime and Punishment.

II. Female images of the novel "Crime and Punishment".

1. Sonya Marmeladova.

2. Dunya Raskolnikova.

3. The image of Lizaveta.

III. The role of female characters in the novel.

A special place in the novel "Crime and Punishment" is occupied by female images. Dostoevsky paints the girls of impoverished Petersburg with a deep sense of compassion. “Eternal Sonya” - Raskolnikov called the heroine, referring to those who will sacrifice themselves for the sake of others. In the system of images of the novel, this is Sonya Marmeladova, and Lizaveta, the younger sister of the old pawnbroker Alena Ivanovna, and Dunya, Raskolnikov's sister. “Sonechka, eternal Sonechka, while the world stands” - these words can serve as an epigraph to the story about the fate of girls from poor families in Dostoevsky's novel.

Sonya Marmeladova, daughter from the first marriage of an alcoholic who lost his job, Semyon Marmeladov. Tortured by the reproaches of her stepmother, Katerina Ivanovna, distraught from poverty and consumption, Sonya is forced to go to the bar to support her father and his family. The author portrays her as naive, bright soul, a weak, helpless child: “She seemed almost a girl, much younger than her years, almost a child…”. But "...despite her eighteen years" Sonya violated the commandment "do not commit adultery." “You also transgressed…. was able to cross. You laid hands on yourself, you ruined your life ... yours, ”says Raskolnikov. But Sonya trades her body, not her soul, she sacrificed herself for the sake of others, and not for herself. Compassion for loved ones, humble faith in the mercy of God never left her. Dostoevsky does not show Sonya as a “thrift,” but nevertheless we know how she earns money to feed the hungry children of Katerina Ivanovna. And this blatant contrast of her pure spiritual appearance and her dirty profession, terrible fate this girl-child is the strongest evidence of the criminality of society. Raskolnikov bows before Sonya and kisses her feet: “I bowed not to you, but to all human suffering.” Sonya is always ready to help. Raskolnikov, breaking off all relations with people, comes to Sonya to learn from her love for people, the ability to accept her fate and “carry her cross”.

Dunya Raskolnikova is a variant of the same Sonya: she won’t sell herself even for her own salvation from death, but she will sell herself for her brother, for her mother. Mother and sister loved Rodion Raskolnikov passionately. To support her brother, Dunya entered the Svidrigailov family as a governess, taking a hundred rubles in advance. She sent seventy of them to Roda.

Svidrigailov encroached on Dunya's innocence, and she was forced to leave her place in disgrace. Her purity and correctness were soon recognized, but practical output she still could not find it: as before, poverty stood at the threshold in front of her and her mother, as before she was not in a position to help her brother in any way. In her hopeless situation, Dunya accepted the offer of Luzhin, who almost openly bought her, and even with humiliating, insulting conditions. But Dunya is ready to go after Luzhin for the sake of her brother, selling her calmness, freedom, conscience, body without hesitation, without grumbling, without a single complaint. Raskolnikov clearly understands this: "...Sonechkin's lot is no worse than the lot with Mr. Luzhin."

In Dun there is no Christian humility inherent in Sonya, she is resolute and desperate (she refused Luzhin, she was ready to shoot at Svidrigailov). And at the same time, her soul is just as full of love for her neighbor, like Sonya's soul.

On the pages of the novel, Lizaveta appears briefly. A student in a tavern talks about her, we see her in the scene of the murder, after the murder Sonya talks about her, Raskolnikov thinks. Gradually, the appearance of a kind, downtrodden creature, meek, similar to a big child, emerges. Lizaveta is a submissive slave of her sister Alena. The author notes: “So quiet, meek, unrequited, consonant, consonant with everything.”

In the mind of Raskolnikov, the image of Lizaveta merges with the image of Sonya. Half delirious, he thinks: “Faithful Lizaveta! Why did she turn up here? Sonya! Poor, meek, with meek eyes…” This feeling of spiritual kinship between Sonia and Lizaveta is especially acute in the confession scene: “He looked at her and suddenly, in her face, he seemed to see the face of Lizaveta.” Lizaveta became “Sonya”, just as kind, sympathetic, who died innocently and senselessly.

Both Sonya Marmeladova, and Dunya Raskolnikova, and Lizaveta, complementing each other, embody in the novel the idea of ​​love, mercy, compassion, self-sacrifice.

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One of the ideas of F.M. Dostoevsky's "Crime and Punishment" is the idea that in everyone, even in the most downtrodden person, disgraced and criminal, you can find high and honest feelings. These feelings, which can be found in almost every character in F.M. Dostoevsky "Crime and Punishment". For example, Razumikhin is a small, insignificant person, a poor student, but he sincerely and passionately loves his loved ones and is always ready to help them. Marmeladov loves his family and helps everyone. Another idea of ​​Dostoevsky is the idea that love for people can elevate a person and help him find a real purpose in life. Dostoevsky's love is disinterested, honest, Christian love for people, the desire to save, understand and help without demanding anything in return. Such love is characteristic of many heroes of F.M. Dostoevsky. In Crime and Punishment, these are Dunya and Sonechka; I want to dwell on the image of the latter: it is in it that in most concentrated Christian love for people. Having fallen to the bottom of life for the sake of saving her family, she did not harden her heart, she retained a quivering love for her loved ones, and for people in general. "Sonechka, eternal Sonechka, while the world stands still." Sonechka is Marmeladov's daughter, she lives on a yellow ticket. “I didn’t get an upbringing,” we learn from the story of her father, an official of Marmeladov. Sonya is distinguished from other characters by her insatiable compassion, that she no longer pays attention to her own suffering: "there is no place for them in the heart." It is Sonechka who will repent to Raskolnikov for the murder of the old pawnbroker and Lizaveta, although he and Sonechka have completely different views on the main issues. Raskolnikov's theory is incomprehensible to Sonya, she cannot understand it: “How can it happen that this depends on my decision? And who put me here as a judge: who will live, who will not live? "Is this man a louse?" Sonya exclaims. The judge of a person and his actions can only be the Almighty, in her opinion. This Sonechka will open the way to salvation for Raskolnikov. She tells him to repent: “Get up (She grabbed his shoulder; he rose, looking at her almost in amazement.) “Go now, this very minute, stand at the crossroads, bow, kiss first the land that you defiled, and all over the world, on all four sides, and tell everyone out loud: "I killed!" Then God will send you life again. Will you go? Will you go?" - she asks him, trembling all over, as if in a fit, grabbing both his hands, clasping them tightly in her hands and looking at him with a fiery look. Here we can talk about the firmness of Sonechka's Christian convictions, that these convictions are eternal. Unlike Raskolnikov, Sonechka has a "feeling of a full and powerful life." This helps her not only not to break down, to survive, but also to become the only salvation for loved ones; for Raskolnikov, for Sonya, such feelings as complicity, mercy and compassion are very important: “And how many, how many times I brought her into tears! Yes, last week! Oh me! Just a week before his death. I've been cruel! And how many times have I done it. Oh, how it is now, it was painful to remember all day!” - Sonya will say this about Katerina Ivanovna, who is infinitely guilty before her stepdaughter. It is the feeling of insatiable compassion that elevates Sonya in the eyes of the hero, despite her lifestyle: “Lizaveta, Sonya,” Raskolnikov thinks, “Poor, meek, with meek eyes ... Dear! Why are they crying? Why are they moaning? They give everything, they look meekly, quietly ... Sonya, Sonya! Quiet Sonya! And Marmeladov will say about her: “She is unrequited, and her voice is so meek ... blond, her face is always pale, thin.” However, it is precisely this meekness that helps the quiet Sonya accomplish feats that require extraordinary strength of mind and moral courage. She has inside her, as it were, “a core that none of the characters have. She believes. Faith helps her live, suffer, forgetting about herself. “In moral stamina and“ insatiable compassion ”is the whole meaning of Sonya’s life, her happiness, her joy,” says the critic Tyunkin. I fully agree with his words. Sonya saves Raskolnikov, sacrifices herself for the sake of her family. The family accepts Sonya's sacrifice, sees her suffering, but will use it, and nothing will change. In the end, Marmeladov dies, Katerina Ivanovna dies, and Svidrigailov helps the children. Raskolnikov himself strove for salvation. Maybe the sacrifice is in vain? Why suffer like this? Sacrifice and suffering of Sonya are correlated with the suffering and sacrifice of Christ, "carrying light, truth, truth, and those moral principles on which the world is based." The image of Sonya is associated with the idea of ​​searching through salvation from immorality, inhumanity, as well as the idea of ​​love for a person in general: “... it is impossible to love people as they are. And yet it must. And therefore do good to them, strengthening your feelings. Endure evil from them, do not be angry with them if possible, remembering that you are also a man. Those who are not able to perceive these goals can only be pitied. What about Luzhin and Svidrigailov? Luzhin will undermine Sonechka's faith in selflessness, love: "... to avoid trouble for everyone and everyone." Her disappointment was too heavy. She, of course, with patience and almost meekly could endure everything - even this. But at first it was too hard. Despite her triumph and her justification, when the first fright and the first tetanus had passed, when she understood and understood everything clearly, a feeling of helplessness and resentment painfully cramped her heart. Yes, it must be admitted that Sonya is not able to defend herself with meekness in front of people like Luzhin. Can Sonya be considered strong, free woman? Yes, having fallen so low for the sake of her family, she is morally superior to many, including leading a pious lifestyle. Having experienced so much, Sonya remained a child in her soul, with a pure, bright faith in man. For that alone, she deserves love. But not everyone can understand this. You rarely see such Sonechkas, but they are and will always be, the world rests on them. Mankind suffers from the fact that there are too few Sonecheks in this world. "Sonechka, eternal Sonechka, while the world stands still"! Review The composition is heterogeneous: there are excellent thoughts that speak of a deep understanding of the author's intention in the novel, but there are not very successful statements (there are speech and grammatical errors associated with the construction of sentences and word usage). We remind you that the work is evaluated as a whole, and not in fragments. The author has demonstrated good knowledge of the text. But the quotations do not always accurately confirm the thoughts expressed in creative work(quotes should be concise, self-sufficient). Insufficient contact with literary criticism, to the controversy around the problem identified in the topic of the essay.

In this development of the lesson, the image of Sonya Marmeladova is revealed, it is shown that it was in this “outcast” girl with a pale and thin face that a great religious thought was discovered, that it was communication with Sonya that made Raskolnikov admit his guilt and confess.

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Development of a lesson in literature

Topic: “Eternal Sonya, while the world stands ...” (The image of Sonya Marmeladova in F.M. Dostoevsky’s novel “Crime and Punishment”)
Teacher: Kuular Chimis Eres-oolovna. MBOU secondary school No. 1 of Shagonar

The purpose of the lesson:
- consider the image of Sonya Marmeladova;

Show that it is in this “outcast” girl with a pale and thin face that a great religious thought is discovered, that it is communication with Sonya that will make Raskolnikov admit his guilt and confess.

To develop the ability of students to analyze the episode in the context of the whole work;

Develop the ability of independent research work;

Prepare students for home writing

Epigraph: "Man deserves his happiness, and always by suffering"
F.M.Dostoevsky

During the classes:
I Organizing moment.
II Repetition of the topic covered. (...)
III Explanation of the new topic

Radion Raskolnikov said to Sonya: "... I chose you ...". Why did he choose her? Why? What role does Sonya Marmeladova play in the life of the protagonist Rodion Raskolnikov? These are the questions we must answer in today's lesson.

Teacher:
So, Raskolnikov committed a crime that led him to a dead end. Sonya at that time received a yellow ticket. The lines of their lives intersected at the most critical point for them: at the very moment when it was necessary to decide once and for all how to live on. Raskolnikov's old faith has been shaken, but he has not yet found a new one. Doom and involuntary thirst for death as a way out of the impasse took possession of him
Porfiry Petrovich, during a conversation with Raskolnikov, advises him“Become the sun, everyone will see you. The sun must first be the sun.”, that is, not only to shine, but also to warm. Let us continue his thought.
But not Raskolnikov, but Sonya in the novel becomes such a warm light, although at first glance, she seems to be far from this moral height.

Guys, I asked you to prepare thin and thick questions about the heroin at home, let's start with thin questions.
Subtle questions are questions that require a short and quick answer. You can answer in one word.
Thick questions are questions that require a detailed full answer.
Choose who you ask the question.

2. Verbal portrait of Sonya.
- What kind of Sonya do you represent? Describe her, please.
How does Dostoevsky describe it? (read by one student)

3. Working with portraits of Sonya taken different artists. Slideshow.

Illustrations by D.A. will help us to reveal the author’s intention. Shmarinov to the novel by F.M. Dostoevsky "Crime and Punishment". On one of them, the artist captured Sonya Marmeladova with a candle. Looking at her pale face, one cannot help but feel Sonya's "inexpressible excitement", trembling, some kind of inner burning. Her portrait is perceived as a symbol of conscience, suffering and deep compassion, as a symbol of the duty that she awakens in Raskolnikov, leading him to a moral rebirth. Sonya is holding a candle, with which she is lit from the side and from below, which makes her face light up. The light becomes constant epithet» in the description of Sonya and in other drawings of the artist.
- What do you think, did the artists manage to convey the image of Sonya?

It is also interesting to trace the reasons for the author's choice of the last name and first name of Sonya Marmeladova.What does the name Sonya, Sophia mean? Why did Dostoevsky call her by that name? (slide).
Student message. “Sofia, Sophia, Sonya is one of Dostoevsky's favorite names. This name means "wisdom", "reasonableness". And, indeed, in the soul of Sonya Marmeladova - this is the image of all women, mothers, sisters. Sophia is also the biblical name of the mother of the three martyrs Faith, Hope and Love.

Rays of warmth emanating from Sonya's soul reach Raskolnikov. He resists them, but still, in the end, he kneels before her. This is confirmed by the hero's encounters with her.
It was Sonechka, the defenseless victim of a cruel world, who brought to repentance the murderer who rebelled against injustice and inhumanity, who wished to remake the world like Napoleon. She saved Raskolnikov's soul
Why does a fallen woman save Raskolnikov's soul?
(Sonya transgressed through herself for others. She lives according to the laws of love for people, committed a crime against herself, sacrificed herself in the name of the people she loved.)
What features does Dostoevsky emphasize in it?
(Dostoevsky constantly emphasizes her timidity, shyness, even intimidation.)
Tell us about Sony's life.
(Sonia's stepmother, Katerina Ivanovna, dooms her to life on a yellow ticket. The children, exhausted by hunger, survived thanks to Sonya. Her sacrifice penetrates people's souls with warmth. She gives Marmeladov the last "sinful pennies" for his obscene drunkenness in a tavern ... After the death of his father, death stepmother, it is she, Sonya, who has fallen, who sees the meaning of her life in caring for orphaned young children.Even the people around her, such an act seems truly Christian, and her fall into sin in this case seems holy.)
5. Sonya and Raskolnikov
Tell me, please, how does Raskolnikov look at life and what laws does Sonya Marmeladova live by?
(Raskolnikov does not want to accept life as it is, he protests against injustice. His theory pushes on the path of violence against others for the sake of his well-being. He is ready to step over the corpses of others, seeks to create conditions for himself first of all, in order to then change life, seeks to rise above this "anthill". Raskolnikov's idea and crime give rise to a conflict in his soul, lead to separation from people, make the hero despise himself most of all for humanity and sensitivity to the suffering of others. Sonya goes the other way. Her life is built according to the laws of self-sacrifice. In shame and humiliation, in conditions that seemed to exclude all purity (moral), she retained a sensitive and sympathetic soul.)
So, Raskolnikov goes to Sonya. How does he explain his first visit to Sonya? What does he expect from him?
(He is looking for a kindred spirit, because Sonya also transgressed. At first, Raskolnikov does not see the difference between his crime and Sonya's crime. He sees in her a kind of ally in crime.)
How can one explain the behavior of Raskolnikov, who unceremoniously examines the room? Who did he expect to see?
(He wants to understand how she lives as a criminal, how she breathes, what supports her, in the name of which she has committed a crime. But, looking at her, he softens, his voice becomes quiet.
Raskolnikov expected to see a man focused on his troubles, tormented, doomed, ready to seize on the slightest hope, but he saw something else that gave rise to the question: “Why could she remain in this position for so long and not go crazy, if she couldn’t was to throw herself into the water.")
How does Raskolnikov imagine the girl's future?
(“Throw yourself into a ditch, fall into a lunatic asylum, or throw yourself into debauchery.”)
Three roads and all fatal. Why didn't she do it? What is the reason?
(Faith, deep, capable of working miracles. Strength. In Sona I saw the strength that allows her to live. Her source is in caring for other people's children and their unfortunate mother. She trusts in God and waits for deliverance.)
Through acquaintance with Sonya, Raskolnikov opens up the world of people living according to other laws, the laws of human brotherhood. Not indifference, hatred and rigidity, but open spiritual communication, sensitivity, love, compassion live in her.
What book did Raskolnikov notice in Sonya's room?
The book that Raskolnikov noticed on the chest of drawers in Sonya's room turned out to be the New Testament in Russian translation. The gospel belonged to Lizaveta. The innocent victim accepts death silently, but will "speak" God's word. Raskolnikov asks to read to him about the Resurrection of Lazarus.
Why was this episode from the Gospel chosen?
(Raskolnikov walks among living people, talks to them, laughs, is indignant, but does not recognize himself as alive - he recognizes himself as dead, he is Lazarus, who has been in a coffin for 4 days. But, like the dim light of that candle stub that illuminated in “this beggarly the room of a murderer and a harlot, strangely meeting while reading eternal book”, the light of faith flickered in the soul of the criminal in a possible resurrection for himself.)
Work with text.
Read the episode of Sonya reading a passage from the Gospel, follow Sonya's condition. Why does she feel like this? (The music “Ave Maria” sounds. Sonya’s hands trembled, her voice was not enough, she did not pronounce the first words, but from the 3rd word her voice rang and broke through, like stretched string. And suddenly everything changed.
Sonya reads, wishing that he, blinded and unbelieving, would believe in God. And she trembled with joyful expectation of a miracle. Raskolnikov looked at her, listened and understood how Jesus loves those who suffer. “Jesus shed tears,” at this time Raskolnikov turned around and saw that “Sonya was trembling with a fever.” He expected this.)
She wanted Raskolnikov to accept faith in Christ and through it he could go to rebirth through suffering.
Why is the Gospel read by a criminal and a harlot? (The gospel shows the way to rebirth, they felt the union of souls.)
Dostoevsky singled out the words "I am the Resurrection and the life." Why?
(Soul awakens.)
What is your impression of Sonya Raskolnikov leaving?
(Raskolnikov, listening to Sonya's stories about Katerina Ivanovna, her heartfelt reading of the Gospel, changed his mind about her. Sonya loves people with Christian love. Raskolnikov, who does not believe in God, dreams of power over all trembling creatures, understood Sonya's truth, her sacrificial purity. )
Leaving Sonya, he said that he would tell who killed. “I know and I’ll tell you… I’ll tell you alone! I chose you."
In the novel, it is important not only to whom Raskolnikov comes with a confession, but also where it happens - in the apartment of the tailor Kapernaumov, where Sonya rents a room. Kapernaumov is a significant surname.

Sonya - the embodiment of pure goodness - finds something in common in Raskolnikov, as it were, the embodiment of pure evil, and vice versa, Raskolnikov sees his own reflection in the depths of Sonya's soul, knows that they once go "along the same road", that they have "one goal".

Two truths: truth, Raskolnikov and, truth, Sonya. But one is true, the other is false. To understand where the truth is, you need to compare these heroes, whose fate has a lot in common, but they differ in the main.

What is the strength of Sonya?
(In the ability to love, compassion, in self-sacrifice in the name of love.)

Sonya, with her love, pity and compassion, her endless patience and self-sacrifice, her faith in God, saves Raskolnikov. Living with his inhuman idea, not believing in God, he changes only in the epilogue of the novel, having accepted faith in his soul. “To find Christ means to find one's own soul” - this is the conclusion that Dostoevsky comes to.
I would like you, just like Sonya, to love people as they are, to be able to forgive and give the light that comes from your soul to other people.
7. Homework. Composition "I chose you ..."

A special place in the novel "Crime and Punishment" is occupied by female characters. Dostoevsky paints the girls of impoverished Petersburg with a deep sense of compassion. "Eternal Sonya" - called the heroine Raskolnikov, referring to those who will sacrifice themselves for the sake of others. In the system of images of the novel, this is Sonya Marmeladova, and Li-Zaveta, the younger sister of the old usurer Alena Ivanovna, and Dunya, Raskolnikov's sister. "Sonechka, eternal Sonechka, while the world stands" - these words can serve as an epigraph to the story about the fate of girls from poor families in Dostoevsky's novel.

Sonya Marmeladova, daughter from the first marriage of an alcoholic who lost his job, Semyon Marmeladov. Tortured by the reproaches of her stepmother, Katerina Ivanovna, distraught from poverty and consumption, Sonya is forced to go to the panel to support her father and his family. The author portrays her as a naive, bright-hearted, weak, helpless child: “She seemed almost a girl, much younger than her years, almost a child ...”. But "...despite her eighteen years" Sonya violated the commandment "do not commit adultery." “You also transgressed, ... you were able to cross. You laid hands on yourself, you ruined your life ... your own, ”says Raskolnikov. But Sonya trades her body, not her soul, she sacrificed herself for the sake of others, and not for herself. Compassion for loved ones, humble faith in the mercy of God never left her. Dostoevsky does not show Sonya as a “thrift,” but nevertheless we know how she earns money to feed the hungry children of Katerina Ivanovna. And this glaring contrast between her pure spiritual appearance and her dirty profession, the terrible fate of this girl-child, is the most weighty proof of the criminality of society. Raskolnikov bows before Sonya and kisses her feet: “I didn’t bow to you, but bowed to all human suffering.” Sonya is always ready to help. Raskolnikov, having broken off all relations with people, comes to Sonya to learn from her love for people, the ability to accept her fate and "carry her cross."

Dunya Raskolnikova is a variant of the same Sonya: she won’t sell herself even to save herself from death, but she will sell herself for her brother, for her mother. Mother and sister loved Rodion Raskolnikov passionately. To support her brother, Dunya entered the Svidrigailov family as a governess, taking a hundred rubles in advance. She sent seventy of them to Roda.

Svidrigailov encroached on Dunya's innocence, and she was forced to leave her place in disgrace. Her purity and correctness were soon recognized, but she still could not find a practical way out: as before, poverty stood at the threshold in front of her and her mother, as before she was not able to help her brother in any way. In her hopeless situation, Dunya accepted the offer of Luzhin, who almost openly bought her, and even with humiliating, insulting conditions. But Dunya is ready to go after Luzhin for the sake of her brother, selling her calmness, freedom, conscience, body without hesitation, without grumbling, without a single complaint. Raskolnikov clearly understands this: "... Sonechkin's lot is no worse than the lot with Mr. Luzhin."

In Dun there is no Christian humility inherent in Sonya, she is resolute and desperate (she refused Luzhin, she was ready to shoot at Svidrigailov). And at the same time, her soul is just as full of love for her neighbor, like Sonya's soul.

On the pages of the novel, Lizaveta appears briefly. A student in a tavern talks about her, we see her in the scene of the murder, after the murder Sonya talks about her, Raskolnikov thinks. Gradually, the appearance of a kind, downtrodden creature, meek, similar to a big child, emerges. Lizaveta is a submissive slave of her sister Alena. The author notes: “So quiet, meek, unrequited, consonant, consonant with everything.”

In the mind of Raskolnikov, the image of Lizaveta merges with the image of Sonya. Half delirious, he thinks: “Faithful Lizaveta! Why did she turn up here? Sonya! Poor, meek, with meek eyes ... "This feeling of spiritual kinship between Sonya and Lizaveta is especially acute in the confession scene: "He looked at her and suddenly, in her face, he seemed to see Lizaveta's face." Lizaveta became "Sonya", just as kind, sympathetic, who died innocently and senselessly.

And Sonya Marmeladova, and Dunya Raskolnikova, and Lizaveta, mutually complementing each other, embody the idea of ​​love, mercy, compassion, self-sacrifice in the novel.