An essay on the topic “Why does F.M. Dostoevsky condemn Raskolnikov’s rebellion? Essays Approximate outline of a portrait characterization of a hero.
An essay on the topic “Why does F.M. Dostoevsky condemn Raskolnikov’s rebellion?” 3.00 /5 (60.00%) 2 votes
The work “Crime and Punishment” by F.M. Dostoevsky, in my opinion, carries great meaning and a great lesson for everyone who is trying to solve their problems by acting dishonestly, harshly, illegally. From the very beginning, the author's attitude towards the main character is clear. The writer regrets, but at the same time strictly condemns Raskolnikov. In the novel by Fyodor Mikhailovich Dostoevsky, we see an unusual hero who decided to change the existing society.
Rodion Raskolnikov lives in a dirty closet, among a gray mass of people like him: poor, useless, “trembling creatures.” Rodion is in debt everywhere, and the hero does not want to look for work, because he wants to correct his situation in an instant. The thought that he could become “having the right” like Napoleon haunts Rodion. He decides to kill the old pawnbroker. But this act does not change his life, but on the contrary adds problems, fear and apprehension to the hero. Raskolnikov has a fever, he is delirious and constantly thinks about what he has done. Fyodor Mikhailovich, in my opinion, strives to show us, the readers, what to do and what not to do. We see that the main character’s terrible act – the murder of the old pawnbroker – cannot be hidden by the hero. He is punished - sent into exile. And only there the hero understands how a person should live. Rodion Raskolnikov gains faith in God, prays, reads the Bible and prepares for life after exile. He also finds his love - this is Sonya Marmeladova, who, like Raskolnikov, made many mistakes. But she took the path of correction. The heroes learn together to live, love, and believe again.
Dostoevsky's condemnation of Raskolnikov is justified and quite natural, because not a single sane person can say that the hero did the right thing. The novel by Fyodor Mikhailovich Dostoevsky teaches us like no other work. From what we read, we learn that evil is always punishable, that justice exists and that no one has the right to take on the role of “having the right” and take the life of those who, in his opinion, are not worthy of it.
In 1866, F. M. Dostoevsky wrote the novel “Crime and Punishment.” This is a complex work that amazes with the philosophical depth of the questions posed in it and the psychological depiction of the characters of primary importance. characters. The novel captivates with the severity of social problems and the strangeness of the narrative. In it, the foreground is not the criminal offense, but the punishment (moral and physical) that the criminal bears. It is no coincidence that of the six parts, only the first part of the novel is devoted to a description of the crime, and all the rest and the epilogue are devoted to the punishment for it. Raskolnikov rebellion Dostoevsky
At the center of the story is the image of Rodion Raskolnikov, who committed murder “in good conscience.” Raskolnikov himself is not a criminal. He is endowed with many positive qualities: intelligence, kindness, responsiveness. Raskolnikov helps the father of a deceased comrade and donates his last funds for Marmeladov’s funeral. He has many good beginnings, but need and difficult life circumstances bring him to the point of exhaustion. Rodion stopped attending university because he had nothing to pay for his studies; he has to shun his landlady because he has accumulated debt for the room; he is sick, starving... And all around Raskolnikov he sees poverty and lack of rights. The action of the novel takes place in the Sennaya Square area, where poor officials, artisans, and students lived. And very close by was Nevsky Prospekt with expensive shops, luxurious palaces, and gourmet restaurants. Raskolnikov sees that society is organized unfairly: some bathe in luxury, while others die of hunger. He wants to change the world. But this can only be done by an extraordinary person, capable of “breaking what is needed once and for all” and taking the political elite “over all trembling creatures and over the entire anthill.” "Freedom and the political elite, and most importantly - power!...That's the goal!" - Raskolnikov says to Sonya Marmeladova.
Under the low ceiling of the room, a monstrous theory arises in the mind of a hungry man. According to this theory, all people are divided into two “categories”: ordinary people, who make up the majority and are forced to submit to force, and extraordinary people, “masters of fate” 0 such as Napoleon. They are capable of imposing their will on the majority, capable of “stepping over blood” in the name of progress or a lofty idea without hesitation. Raskolnikov wants to be a good ruler, a defender of the “humiliated and insulted,” he rebels against the unjust social order. But he is tormented by the question: is he a ruler? “Am I a trembling creature or do I have the right?” - he asks himself. To get an answer, Raskolnikov plans to kill the old pawnbroker. It’s like an experiment on oneself: is he, like a ruler, able to step over blood? Of course, the hero finds a “pretext” for the murder: to rob a rich and worthless old woman and use her finances to save hundreds of young people from poverty and death. But nevertheless, Raskolnikov constantly internally realized that he committed the murder not for this reason and not because he was hungry, and moreover, not in the name of saving his sister Dunya from marriage with Luzhin, but in order to test himself.
This crime forever separated him from other people. Raskolnikov feels like a murderer, the blood of innocent victims is on his hands. One crime inevitably leads to another: having killed the old woman, Raskolnikov was forced to kill her sister, the “innocent Lizaveta.” Dostoevsky convincingly proves that not a single problem posed, moreover the most lofty and noble one, can serve as a justification for criminal means. All the happiness in the world is not worth a single tear of a child. And the understanding of this, in the end, comes to Raskolnikov.
But repentance and awareness of guilt did not come to him immediately. This happened largely thanks to the saving influence of Sonya Marmeladova. It was her kindness, faith in people and in God that helped Raskolnikov abandon his inhuman theory. It was only during hard labor that a turning point occurred in his soul, and a gradual return to people began.
Only through faith in God, through repentance and self-sacrifice could, according to Dostoevsky, resurrection occur dead soul Raskolnikov and any other person. It is not individualistic rebellion, but beauty and love that will save the world.
Individualistic rebellion of Raskolnikov (Option: The image of Raskolnikov in the novel “Crime and Punishment”)
It's not hard to despise people
It is impossible to despise your own court...
A. S. Pushkin
F. M. Dostoevsky’s novel “Crime and Punishment” is one of those works whose relevance does not decrease over time. At the center of this novel is the question of possible ways of development human personality in harsh living conditions. The main content of Crime and Punishment is the history of the crime and its moral consequences for the main character. A psychological analysis of the criminal’s state cannot be considered separately from Raskolnikov’s philosophical theory, which is largely a product of the environment from which he came.
Raskolnikov is a student forced to leave his studies due to lack of funds. His mother, the widow of a provincial official, lives after the death of her husband on a modest pension, most of which she sends to her son so that he can somehow exist. Raskolnikov's sister Dunya is forced to take a job as a governess for a family of wealthy landowners. She is subjected to insults and humiliation there, but continues to work because she considers it her duty to help her mother and brother.
Raskolnikov is very poor. He lives in a cramped closet, similar to a coffin, on the fifth floor of an apartment building in St. Petersburg, not far from Sennaya Square. Being himself in terrible poverty, he also sees every day the life of the poorest strata of St. Petersburg. This is the drunken official Marmeladov, and his wife Katerina Ivanovna, dying of consumption, and many other poor people of this gloomy city. The life of the disadvantaged people of St. Petersburg is no different from the life of the same “humiliated and insulted” poor people in the provinces. This is the fate of Raskolnikov’s sister and mother, who live in poverty as a result of social injustice. The protagonist's awareness of his position as an outcast in society and the closeness of his fate to the fate of other powerless people leads Raskolnikov to the social motives of his crime.
The novel depicts the main shopping district of modern St. Petersburg - Sennaya Square and the gloomy streets and alleys surrounding it. Through the eyes of the main character, we see the life of boulevards, eateries, taverns. The heavy atmosphere of a murderous city, a city that is an accomplice to murder, puts pressure on the psyche, traumatizes the soul of the person living in it, and contributes to the development in his head of various fantastic ideas and illusions, no less nightmarish than life itself.
Raskolnikov realizes that not only he himself, but also thousands of other people are inevitably doomed to poverty, lack of rights and early death. But he is an intelligent person and therefore cannot simply come to terms with the existing state of affairs. And this gives rise to constant work of thought in him, striving to find a way out of the current unfair situation.
The meeting with Marmeladov makes a very big impression on Raskolnikov. The confession of a drunken official, his story about the fate of his wife and children, especially Sonya, who was forced to go “on a yellow ticket” in order to feed her family, pushed Raskolnikov to a crime that had long been brewing in his head, assured him of the need to fight against the “masters of life.” ”, such as Alena Ivanovna, the old money-lender, Luzhin and Svidrigailov.
But Raskolnikov’s own suffering and the grief of other poor people are not the main reasons for his crime. “If only I had killed because I was hungry, then I would be happy now,” he says with bitterness and pain. The roots of Raskolnikov's crime are not in the desire to improve his financial situation. The whole point here is in the theory he created - an “idea” that he considers it his duty to test. Reflecting on the causes of inequality and injustice, Raskolnikov comes to the conclusion that differences between people have always existed. Moreover, all people, in his opinion, are divided into two categories - ordinary people and outstanding ones. While most people always silently submit to the existing order, “extraordinary” people appear from time to time in the history of mankind: Mohammed, Lycurgus, Napoleon. They do not stop at violence and crime in order to impose their will on humanity. Cursed by their contemporaries, such outstanding personalities, in the opinion of the protagonist, will then be justified by the descendants, who recognize them as heroes.
From this theory, which Raskolnikov outlined in a newspaper article a year before the murder, the philosophical motives for his crime emerge. “Am I a louse, like everyone else, or a man?.. Am I a trembling creature or do I have the right?” - such is main question, who tormented Dostoevsky’s hero for many years.
Raskolnikov does not want to obey and endure. He must prove to himself and those around him that, like other “extraordinary” people, he is not a “trembling creature”, but has the right to transgress both the criminal and moral laws. This conclusion leads Raskolnikov to commit a crime.
Raskolnikov decided that the old pawnbroker would be suitable “material” for testing his theory. She poisons the lives of all poor people and even her own sister. She's vile and disgusting. If she dies, then, according to the hero, it will only become easier for everyone.
Raskolnikov manages to carry out the planned murder. But the tragic “experiment” led him to a different result than the one he expected. From his own experience and from the example of other people, Raskolnikov is convinced step by step that the morality of “extraordinary” people is beyond his control. And the point here is not the hero’s weakness, as it seemed to him at first. He understands that the actions of these very “extraordinary” people, in essence, are no different from the norms of behavior of the “masters of life” that Raskolnikov seeks to fight.
Before committing the murder, it seemed to the hero that he had thought through and calculated all the circumstances of the crime. But it turns out that life is always more complicated than any theoretical constructions. Instead of one old woman, Raskolnikov is forced to kill her younger sister, who returned at the wrong time, the meek and downtrodden Lizaveta, who did no harm to anyone, and suffered no less than all the poor people around the hero.
But the hero was even more mistaken in himself, thinking that the crime would not in any way affect his attitude towards the outside world. Raskolnikov believed that public opinion it makes no difference to him that he is responsible for his actions only to himself. But he is surprised to discover in himself a feeling of disconnection from people, since by his action he placed himself outside the generally accepted rules and laws. He thought of killing a useless and disgusting old woman, but “he killed himself.” That is why, after a long struggle with himself, he understands the impracticability of his theory and, on Sonya’s advice, puts himself in the hands of justice.
Dostoevsky's hero rebels against the existing order of life. He tries to destroy it and dreams of the role of liberator of humanity, but his rebellion is individualistic in its very essence. He wants, first of all, to establish himself, to defend his right to be involved with “extraordinary” people.
Dostoevsky offers Raskolnikov a way out of the spiritual crisis. The author sees the salvation of humanity not in individualistic self-affirmation, but in the desire for moral purity and peace of mind. Sonya Marmeladova is the ideal of these aspirations. She listens with horror to the reasoning of Raskolnikov, who is trying to justify the murder of the moneylender. Sonya urges him to abandon the terrible idea of a “superman” and repent before people, thereby atone for his guilt. Raskolnikov is drawn to this open and bright soul, and only Sonya’s love and support helps him take the path of moral purification. F. M. Dostoevsky exposes Raskolnikov’s untenable, inhumane theory. According to the author, there are no good crimes, all crimes are inhumane. The humanist writer condemned the theory of a strong personality, since it leads to human suffering. Dostoevsky saw the moral revival of the individual in the acquisition of unity with people. After all, human brotherhood is the most important norm of life, for it contains spiritual communication, sensitivity, compassion, and love.
Raskolnikov, in the novel, is deliberately unpleasant to everyone. In his behavior, the emphasis is placed on moments that outrage moral feelings. Angrily resisting the humanity in himself, he tries to strangle it, tormenting himself and his loved ones. We do not accept a hero in this absolute, devastating hostility to the world. The author sympathizes more with him, an impatient thinker and philosopher who does not get to the root of the contradictions that lie before him, than with Ivan with his thoroughly thought-out theory.
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Raskolnikov finds himself in a dead end, but Dostoevsky finds a way out of the situation, and the article that had previously provided evidence to the meticulous Porfiry Petrovich helps him in this. And this newspaper article turned into a guarantee of the enormous literary talent of the hero that his mother raves about. This is also stated by Svidrigailov: “It can be a big scam when nonsense comes out,” and by the official Porokh, who originally notes that many writers at the beginning commit extravagant acts. During the course of the novel, Raskolnikov communicates with Porfiry Petrovich, who represents the ideas of earthly justice, retribution, but not truth. This devil tempter also appears in “The Brothers Karamazov” in the form of the devil Ivan
Idols, idols of Raskolnikov are great geniuses, arbiters of the destinies of mankind. To become one of them, the hero must take upon himself all human sins and thereby overcome them. His crime, paradoxically in Dostoevsky's ethics, coincides with the greatest sacrifice. Here begins Dostoevsky’s primary theme of Christ the criminal, which tormented the author all his life. The old pawnbroker really fell victim not to a murderer, but to a principle. Raskolnikov committed a crime because he is a man. Didn’t Dostoevsky test the hero’s strength because he saw himself in a convicted murderer? Would you like to make sure whether he, the author, could commit a crime?
In the novel, two main ideologies collide: the ideology of individualism, the exceptional personality (a prototype of fascism) and Christian ideology. The first, in one way or another, is nurtured by Luzhin, Svidrigailov, Porfiry Petrovich in his youth, and Raskolnikov, and the second by Sonya, to whom Raskolnikov painfully goes throughout the entire novel.
At first glance, it seems that the idea of rebellion is embodied in the novel by Raskolnikov, and the idea of Christian humility is embodied by Sonya. Raskolnikov's rebellion is justified by his Napoleonic theory, according to which a select few are allowed to step over even blood for high purposes, while the rest are only obedient before the law. “Am I a louse like everyone else or a human being? Am I a trembling creature or do I have the right? - Raskolnikov thinks painfully.
For him, the murder of the old woman is a test, not of theory, but of himself, of his ability to transcend, to become a ruler for good deeds. The hero’s goal is humane: to rid the world of the bloodsucker and help loved ones get out of poverty, thereby restoring justice.
But even before the murder, and even more so after it, all logically verified constructions collapse. His cold theory is refuted, first of all, by his own soul, conscience, human nature, which appeared in his first dream. In a fit of half-madness after the murder of the pawnbroker, he kills her kind, childishly defenseless sister Lizaveta, who in his mind is on a par with Dunya, Sonya, and his own heart. It is not for nothing that he would later call himself an “aesthetic louse,” meaning that, having imagined himself to be a ruler and killed, he could not bear these murders, his soul turned out to be too beautiful and moral.
Adding to Raskolnikov’s torment are the so-called “doubles” - heroes whose theories or actions to one degree or another reflect the ideas and actions of the main character. Among them is the complete scoundrel Luzhin, who went through his cynical path as a ruler to the end, morally killing many people; the depraved and at the same time unhappy Svidrigailov, whose internal struggle between permissiveness and his own soul leads to self-destruction; Porfiry Petrovich, who had nurtured such a “theory” in his youth, now tormented Raskolnikov during interrogations with his understanding and insight.
But Raskolnikov’s main punishment is Sonya, to whom the hero opens up first, withdrawing into himself and hiding from everyone else, even from his mother and Dunya. Sonya is not only a real heroine, but also a kind of symbol of conscience, the humanity of Raskolnikov himself, the second side of his consciousness. They both stepped over and both altars. But he overstepped, physically sacrificing the lives of others, ultimately killing himself mentally. And Sonya, transgressing the moral law, initially sacrifices herself for the sake of saving others and turns out to be right, because she acts not in the name of evil or profit, but in the name of good, out of compassion and love. Her humility is tantamount to genuine rebellion, since it was she, and not Raskolnikov, who was able to change something for the better as a result. It is not for nothing that in the scene of Raskolnikov’s confession to Sonya, the heroine looks much stronger and more confident than the hero, which is easily confirmed by textual analysis.
In hard labor, Raskolnikov goes through alienation, hatred from others and illness. And the loving Sonya helps everyone, the convicts are instinctively drawn to her. Her love and compassion, complemented by Christian inner strength, save Raskolnikov, cleansing his soul from filth, and give rise to reciprocal love in him, which finally destroys the cold theory. At the end of the novel, the great confused and holy sinner was “resurrected by love.” Sonya became not only Raskolnikov’s main punishment, but also his main savior.
Dostoevsky in his novel, through the fates of the two main characters, puts forward, but then artistically convincingly and comprehensively destroys the rational Napoleonic idea of restoring justice by assigning to a select few the right to violence and blood.
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