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What heroine was Svidrigailov in love with. Characteristics and image of Svidrigailov in the novel "Crime and Punishment" F

Svidrigailov Arkady Ivanovich- one of the central characters of the novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment". Together with the character, Luzhin forms a system of twins Rodion Raskolnikov in the novel.

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Svidrigailov in the novel

Svidrigailov is about 50 years old. He is a nobleman who served in the cavalry, "not without connections." Widower of Marfa Petrovna Svidrigailova, in love with Raskolnikov's sister Dunya (Avdotya Romanovna). First mentioned in a letter from Raskolnikov's mother to her son. Then he arrives in St. Petersburg and meets Raskolnikov, asking him to arrange a meeting with Dunya, but is refused. Accidentally settles next door to Sonya Marmeladova and, having overheard her conversation with Raskolnikov, finds out who killed the old usurer, after which he tells Raskolnikov that he overheard the conversation and knows everything, but promises to remain silent. Further, Raskolnikov meets Svidrigailov in a tavern. After meeting with Raskolnikov, Svidrigailov lures Dunya to his apartment, where Dunya almost kills him with a pistol shot. Finally realizing that his feeling of love is unrequited, Svidrigailov soon commits suicide.

Appearance

He was a man of about fifty, taller than average, burly, with broad and steep shoulders, which gave him a somewhat round-shouldered appearance. He was smartly and comfortably dressed and looked like a portly gentleman. In his hands was a beautiful cane, with which he tapped, with each step, on the sidewalk, and his hands were in fresh gloves. His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and his broad, thick beard, descending like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly intently and thoughtfully; scarlet lips. In general, he was a well-preserved man and seemed much younger than his years ...

Through the eyes of Raskolnikov towards the end of the novel:

It was a kind of strange face, resembling, as it were, a mask: white, ruddy, with ruddy, scarlet lips, with a light blond beard, and with rather thick blond hair. The eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this handsome and extremely youthful, judging by his age, face. Svidrigailov's clothes were dapper, summery, light, and he especially flaunted underwear. On the finger was a huge ring with an expensive stone ...

Character

Svidrigailov is a calm, balanced person in communication. Educated, educated. Has a dual character. On the one hand, he is an ordinary, normal, sober person, as he appears before Raskolnikov, on the other hand, Raskolnikov's mother, Dunya and Luzhin speak of him as an infinitely depraved, voluptuous, evil and cynical person. On the one hand, he is a rapist, poisoner and destroyer, on the other hand, he donates money to Sonya and the orphans Marmeladov, offers help to Raskolnikov. He usually speaks in a monotone, but as if with some kind of smirk, like a person who has seen a lot, tasted and knows the value of himself and people. Somewhat superstitious, perhaps, became so in the last years of his life, after the death of his wife, whom, as many believe, he poisoned, and whose spirit appears to him.

Prototypes

The surname Svidrigailov reflects the contradictory, dodgy essence of this hero. Dostoevsky, being interested in the history of his family (having Lithuanian roots), probably drew attention to the etymology of the name of the Lithuanian Grand Duke Shvitrigailo (Svidrigailo): gail (German geil) - lustful, voluptuous. In addition, in one of the feuilletons of the Iskra magazine (1861, No. 26), which was part of Dostoevsky’s reading circle, there was talk of a certain Svidrigailov who was rampaging in the province - a “repulsive” and “disgusting” personality. In the image of Svidrigailov, to some extent, the psychological appearance of one of the inhabitants of the Omsk prison, the murderer from the nobles of Aristov, is captured (in "Notes from the House of the Dead" he is displayed as A-v). .

Actors who played Svidrigailov

Peter Sharov (1923, USA)
Douglas Dumbrille (1935, USA)
Yefim Kopelyan (1969, USSR)
Anthony Bate (1979, England, TV movie)
Vladimir Vysotsky (1979, Russia, Taganka Theatre)
Richard Bremmer (1998, England, TV movie)
Alexander Baluev (2007, Russia, TV movie)
Evgeny Dyatlov (2012, Moscow Art Theater named after A. P. Chekhov)
Igor Gordin (2015, MTYuZ)
Dmitry Shcherbina (Mossovet Theatre, director Yuri Eremin)
Alexander Yatsko (Mossovet Theatre, director Yuri Eremin)
Dmitry Lysenkov (2016, Alexandrinsky Theatre)
Evgeniy Valts (2016, Musical Theatre)
Alexander Marakulin (2016, Musical Theater)

Notes

Literature

O. A. Bogdanova,. Svidrigailov // Encyclopedia of literary heroes / S.V. Stakhorsky. - Agraf. - M., 1997. - ISBN 5-7784-0013-6.
Nikolay Nasedkin. SVIDRIGAILOV Arkady Ivanovich //

Svidrigailov

The name of Svidrigailov appears early in the novel - in a letter to his mother, which so excited Rodion Raskolnikov and played such a big role in the finalization of his terrible plan. Pulcheria Alexandrovna talks about Svidrigailov as a rude and voluptuous despot, as a vile debauchee who tried to seduce and disgrace Dunya. For Raskolnikov, the name Svidrigailov became a household name - when faced with a tipsy, lustful dandy chasing a teenage girl on the boulevard, he called him Svidrigailov: this nickname seemed to him sharper and more accurate than all the other words used in such cases.

It would seem that all the information and rumors that preceded the real appearance of Svidrigailov among the characters in the novel confirm his so definite and at the same time primitive negative characterization. They said about him that he poisoned his wife Marfa Petrovna, that he tortured and drove his servant Philip to suicide, that he severely insulted the girl, that he was a dirty slut, a cheat, that there is no such vice that would not nest in him. Pulcheria Alexandrovna saw him only twice - and he seemed to her "terrible, terrible!" The most exhaustive negative characterization is given to Svidrigailov by Pyotr Petrovich Luzhin: “This is the most depraved and perished in vices of a person, of all such people,” however, with some shade of incomplete reliability of what he is talking about. Luzhin neither confirms nor refutes Pulcheria Alexandrovna's belief that Svidrigailov is the cause of Marfa Petrovna's death. It is Luzhin who reports that the deaf-mute fourteen-year-old girl, who lived with the German procuress Resslich, who tortured her, was severely insulted by Svidrigailov and hanged herself, that the footman Philip died from the beatings of his master, back in the days of serfdom.

The fact that the information disgracing Svidrigailov comes from Luzhin should have alerted, but meanwhile, almost everyone perceives them as indisputable facts expressing the opinion of the writer himself about the character. The researchers were not alarmed by the fragility of Luzhin's stories, formulated in such a way that they could be denied in case of emergency.

And a strange thing - it is Dunya, who in the novel is the center of Svidrigailov's desires and should have been especially resolute in judging him, undermines the impression of the reliability of Luzhin's stories, softens and even refutes them: “Are you telling the truth that you have accurate information about this?” - she interrupts Luzhin "sternly and impressively". “On the contrary, I heard,” she continues, “... that this Philip was some kind of hypochondriac, some kind of domestic philosopher, people said, “he read out”, and that he hung himself more from ridicule, and not from the beating of Mr. Svidrigailov. And he treated people well with me, and people even loved him, although they really also blamed him for Philip's death ”(6; 215).

Luzhin was even offended: “I see that you, Avdotya Romanovna, somehow suddenly became inclined to justify him,” he remarked, twisting his mouth into an ambiguous smile, and predicts a rather vulgar prospect for Svidrigailov: “disappearance” in the debt department . Dunya, unlike Luzhin, foresees a formidable tragedy in the fate of Svidrigailov. "He's up to something terrible! she said almost in a whisper to herself, almost shuddering.

And Svidrigailov's bride, an innocent teenager whom bad parents sell to him, senses something unusual and not at all criminal in her fiancé - in her eyes "a serious dumb question", surprised and a little sad.

A villain, a libertine and a cynic, Svidrigailov does a lot of good deeds throughout the novel, more than all the other characters combined. Already from the ingenuous letter of Pulcheria Alexandrovna, who only knew how to love her children, but did not understand anything complicated, we learn that it was he who saved Dunya from shame and restored her good name, Svidrigailov, the one who was the cause of her cruel troubles: “.. .by the mercy of God, our torment was reduced: Mr. Svidrigailov ... probably taking pity on Dunya, presented Marfa Petrovna with complete and obvious evidence of all Dunechkin's innocence ... "(6; 51).

Svidrigailov did not want and did not tolerate false gossip sullying Dunya's name.

Going on a tragic “voyage”, Svidrigailov secured the future of his children financially and morally by placing them with his aunt: “They are rich, but I personally do not need them. And what a father I am!” (6; 310).

Svidrigailov came to St. Petersburg mainly to help Duna get rid of Luzhin. At the same time, it turns out that the last and fatal quarrel for Marfa Petrovna occurred with him precisely because of his unwillingness to agree to a shameful marriage deal that his wife cooked up. “Before the voyage, which, perhaps, will come true,” he says to Raskolnikov, “I want to put an end to Mr. Luzhin. It’s not that I really couldn’t stand him, but through him, however, this quarrel between me and Marfa Petrovna came out when I found out that she had concocted this wedding. I wish now to see Avdotya Romanovna, through your intermediary, and, perhaps, in your own presence, to explain to her, firstly, that Mr. Luzhin will not only not bring her the slightest benefit, but even probably there will be obvious damage. Then, having asked her to apologize for all these recent troubles, I would ask permission to offer her ten thousand rubles and thus ease the break with Mr. Luzhin ... "(6; 219).

Svidrigailov adequately and convincingly reassures Raskolnikov, who suspects ulterior and offensive intentions in his generosity.

“... My conscience is completely calm, I propose without any calculations ... - he explains. - The thing is that I really brought a few troubles and troubles to your esteemed sister; therefore, feeling sincere repentance, I sincerely wish - not to pay off, not to pay for the troubles, but simply to do something beneficial for her, on the grounds that I really did not take the privilege to do only evil.

The last words put by Dostoevsky into the mouth of Svidrigailov are quite remarkable. Svidrigailov understands what his reputation is, but he himself does not agree with it. He does not consider himself only a demon of evil, he sees in himself the ability to do good.

Dunya did not accept the money, Svidrigailov used it in a different way, for another good and, perhaps, even more urgent purpose. He took over the organization of the orphaned Marmeladov family, starting with youngsters and ending with Sonya herself.

“All this fuss, that is, funerals and so on, I take upon myself ... - he said. “I’ll put these two chicks and this Polechka in some better orphanage institutions and put each, until they come of age, one thousand five hundred rubles in capital, so that Sofya Semyonovna is completely at peace. Yes, and I’ll pull her out of the pool, because she’s a good girl, isn’t she? Well, so you tell Avdotya Romanovna that I used her ten thousand like this ”(6; 319).

Raskolnikov cannot possibly comprehend how capable Svidrigailov is of disinterested good; he is always looking for secret evil intent in his intentions. Svidrigailov then, in a kind of ironic turn, enters into a controversy with the satanic philosophy of Raskolnikov himself:

“Eh! The man is incredulous! Svidrigailov laughed. - After all, I said that I have extra money. Well, but simply, according to humanity, you don’t allow it, or what? After all, she was not a “louse” (he pointed his finger at the corner where the deceased was), like some old pawnbroker. Well, you'll agree... "Is Luzhin, in fact, to live and do abominations, or should she die?" And I don’t help, because “Polenka, for example, will go there, along that road ...”.

He said this with an air of some kind of winking, merry cheating, without taking his eyes off Raskolnikov" (6; 320).

In this tirade there is something from Rameau's nephew, but it does not sound like a justification for the relativity of good, but as a justification for the relativity of evil.

Indeed, Svidrigailov found a patroness lady who took on the duties and chores of disposing of the capital bequeathed to the Marmeladov family, of educating and arranging the future of both Polechka and her brother and sister. So that the lady would not change her mind and not give up somewhere halfway, he donated money to those orphanages in which she was patroness.

Svidrigailov and Raskolnikov offer funds to escape to America. Concentrated on the thought of his “voyage” (that is, on the intention to shoot himself), he nevertheless carefully collects the documents necessary for the children, hands them to Sonya, and Sonya herself leaves an additional three thousand. Svidrigailov arranges the fate of the humiliated, almost already crushed by life, with the greatest delicacy and tact, without seeking either gratitude or a good memory of himself. He convinces the modest and disinterested Sonechka:

“To you, to you, Sofya Semyonovna, and please, without much talk, because even I have no time. And you will need. Rodion Romanovich has two roads: either a bullet in the forehead, or along Vladimirka ... Well, how will Vladimirka get out - he goes along it, and you follow him? It is so? It is so? Well, if so, it means that money will be needed here. He will need it, you understand? Giving you, I don’t care what I give him” (6; 352).

Svidrigailov makes a good contribution to the preparation of conditions that should return Raskolnikov to a normal track in the future.

Svidrigailov understands people well, and he uses the last days and even hours of his life in order to direct the fate of those around him in a good direction. He not only makes possible the upcoming, following Raskolnikov, Sonya's trip to Siberia, he guesses and goes towards her other desire: to pay off the debts of Katerina Ivanovna.

Svidrigailov is practically kind until the very last minute, not only in relation to Sonya, Dunya, a young bride, but also in relation to the first comers. On his final mournful journey, he wandered into a cheap pleasure garden. The clerks quarreled there with some other clerks. He reconciled them and paid for the missing spoon, which was the cause of contention.

But Svidrigailov does not see the guiding star, he does not know the goal to which one must strive, he understands that Raskolnikov also mistook an unfaithful and wandering fire for a star. Conscious of his "non-genius", Svidrigailov extrapolates his inner state to the society that gave birth to him, but the society that gave birth to him - unlike what he thinks - is not a people. Yes, and he himself ends his tirade: “I myself am a white-handed woman, and this is what I adhere to ...”.

Despite all his physical strength, health and courage, Svidrigailov has no foundations for life. Svidrigailov is a subtle person in his own way and can understand a lot. It is amazing that Dostoevsky entrusted some of his hidden thoughts to him. Svidrigailov talks about St. Petersburg exactly like Dostoevsky in some of his "soil" articles, and exactly like in the author's text of his novels. Talking badly about his bride (he is fifty, and she is not even sixteen), Svidrigailov suddenly remarks: “You know, she has a face in the genus of the Raphael Madonna. After all, the Sistine Madonna has a fantastic face, the face of a mournful holy fool, didn’t it catch your eye? (6; 318).

Svidrigailov does not have a religious attitude to eternity, but not the same as Raskolnikov's. Raskolnikov does not believe in God, he is outraged by the course of earthly affairs, but he is looking for "consolation", looking, albeit in an erroneous and criminal way, for justice, for the realization of the ideal. Aspirations for the ideal and eternity are conjugated, so he retains a sublime idea of infinity, of eternity. Svidrigailov is disappointed to the bottom, he does not believe in God, nor in the devil, nor in people, nor in the ideal, for him the whole world is a deterministic absurdity - why shouldn't this absurdity appear in the form of a village bathhouse with spiders?

Svidrigailov is nowhere single-lined, he is not so uniformly black as it seems at first glance. For all his difference from Dmitry Karamazov, in him, like the hero of The Brothers Karamazov, not yet written at that time, “two abysses” are laid, two ideals live, the ideal of the Madonna and the ideal of Sodom. “... Another person, even higher in heart and with a lofty mind, begins with the ideal of the Madonna, and ends with the ideal of Sodom. It is even more terrible, who already with the ideal of Sodom in his soul does not deny the ideal of the Madonna, and his heart burns from him and truly, truly burns ... No, a man is wide, too wide, I would narrow it down ”- these words of Dmitry Karamazov can be applied to a certain extent to Svidrigailov. And although Sodom had already almost completely absorbed Svidrigailov, he still could not extinguish the charm of beauty in him, as the highest symbol of femininity and humanity.

Dunya knows that Svidrigailov is not just a villain, and at the same time understands that everything can be expected from him. In the name of his brother, Svidrigailov lures her into an empty apartment, into his rooms, from which no one will hear anything: “Although I know that you are a man ... without honor, I am not at all afraid of you. Go ahead,” she said, apparently calmly, but her face was very pale.

The interpreters of Crime and Punishment in the Nietzschean spirit did not notice that with a purely Napoleonic interpretation of Raskolnikov's idea, they agree with Svidrigailov, although Svidrigailov's opinions should be treated with caution: Svidrigailov cannot really understand Raskolnikov. It was Svidrigailov who reduced Raskolnikov completely to the Napoleonic idea, with the prospect of a tempting devilish, personal, egoistic career opened up by it. It was Svidrigailov who saw in Raskolnikov a homegrown Napoleon who did not dare to follow his own path to the end.

“There was also one theory of its own here - a so-so theory - according to which people are divided, you see, into material and into special people, that is, into such people for whom, according to their high position, the law is not written, but, on the contrary , who themselves compose laws for the rest of the people, for the material, for the rubbish. Nothing, so-so theory: une théorie comme une autre. Napoleon fascinated him terribly, that is, he was actually fascinated by the fact that so many brilliant people did not look at a single evil, but strode through without thinking ... ”(6; 362).

Svidrigailov reduces everything, he is not able to penetrate into the innermost essence of Raskolnikov's idea and, sorting through one after another the possible motivations for Rodion's crime, he finally stops at the figure of Napoleon.

Svidrigailov has all arithmetic, and Raskolnikov has higher mathematics. Svidrigailov is the first to explain the crime of Rodion Raskolnikov pluralistically, by adding up many different reasons and motives: poverty, character, irritation, awareness of the “beauty of one’s social position”, the desire to help relatives, the desire for wealth, for a career.

Svidrigailov does not blame Raskolnikov at all. He is only trying to explain to Duna, in whose disposition he is interested, how Raskolnikov reached his villainy, and, realizing that his sister adores her brother, he finally chooses the most profitable version - Raskolnikov started to catch up with the brilliant Napoleon, without being brilliant himself.

The Napoleonic motif was indeed part of Raskolnikov's idea and its terrible realization. Raskolnikov really saw before him the example of Napoleon, he really wanted to check whether he was capable of becoming Napoleon, whether he was capable of withstanding dictatorial, tyrannical power over all of humanity and the entire universe.

However, when Raskolnikov's understanding of power and dominion is limited to simply the Napoleonic idea in itself, curious shifts occur in his mind - both in thinking and in psychology. At these moments, he forgets that he killed not only Alena, but also Lizaveta, the named sister of Sonya Marmeladova. “Why do I not feel sorry for Lizaveta. Poor creature!"

He killed only one louse, "the most useless of all lice." When he hears the word "crime", he shouts furiously in response: "Crime? What crime?.. that I killed a nasty, malicious louse, an old pawnbroker who is of no use to anyone, who will be forgiven for forty sins to kill, who sucked the juice out of the poor, and this is a crime? I don’t think about it and I don’t think about washing it off.

Yes, in other “minutes” Raskolnikov regrets that he did not manage to become Napoleon or Mohammed, did not seize power for the sake of power, no matter how bloody and dirty applications its retention required: “Oh, vulgarity! oh, meanness! .. Oh, as I understand the "prophet", with a saber, on a horse. Allah commands, and obey the “trembling” creature ... the “prophet” is right when he puts a good battery somewhere across the street and blows on the right and the guilty, without even deigning to explain himself! Obey, trembling creature, and - do not wish, therefore - this is none of your business! .. Oh, for nothing, for nothing I will forgive the old woman! (6; 211).

However, the Napoleonic idea in its purest form, power for the sake of power, is treason and betrayal in relation to something more important, where it enters only as a part or as a means. This happens often: a part that replaces the whole, a means turned into an end, begin to contradict the whole, begin to displace the end. He knew that Dunya should not marry Luzhin, that her proposed marriage was the same prostitution: “Here's what, Dunya,” he turns to his sister, “... I consider it a duty to remind you again that I do not deviate from my main thing. Either I, or Luzhin. Let me be a scoundrel, but you shouldn't. One somebody. If you marry Luzhin, I immediately stop considering you a sister, "- in his" main "Raskolnikov stands on the same basis as Razumikhin.

Svidrigailov's death is absurd, meaningless, ugly, it is the end, a complete metaphysical end, a transition to a bathhouse with spiders.

Neither man, nor society, nor humanity can live without a goal, without an ideal. Svidrigailov is dead in his existence, he does not see a star, even a deceptive one - his dead indifference is stronger than the instinct of life, stronger than the fear of non-existence. Non-existence is better than indifference, which makes it impossible to cling to anything, even if only to kill time. This is the reason for the death of Svidrigailov, the basis of the sentence pronounced by Dostoevsky. After all, whether he is a hopeless villain and a hopeless lecher is unclear, ambiguous, with two ends, depends on the point of view, on rumors, on rumors, and not on categorically established facts.

Svidrigailov, who touched the mountain heights and plunged from there into a stinking swamp, cannot live without faith in truth and goodness, he understood this. He executed himself.

In the final text of the novel, the name Svidrigailov appears initially as a synonym for a well-fed, vulgar and dissolute dandy pursuing a defenseless girl. The contradictions inherent in it, the magnitude and intensity of the forces destroyed in it, are revealed gradually. And only at the end, in Svidrigailov's suicide, Dostoevsky's moral and philosophical plan is fully realized, in brilliant perfection. Dostoevsky himself understood that he succeeded in the image. “It will be great,” he wrote in rough sketches.

Having created the image of an “ordinary,” albeit terrible, villain, Dostoevsky would not have experienced such a creative upsurge and the consciousness of such a creative victory.

Svidrigailov characterization and image in Dostoevsky's novel Crime and Punishment

1. The versatility of the heroes of the novel "Crime and Punishment".

2. Svidrigailov. Characteristics and image of the hero

2.1. Immoral villain

2.2. Svidrigailov and Raskolnikov

2.3. Love for Dunya

3. The end of Svidrigailov

In his difficult novel “Crime and Punishment”, F. M. Dostoevsky depicted several vivid and vivid images that still impress readers with their originality and complexity.

First of all, this, of course, is the main character himself, a hardworking, sympathetic young man who decided to cross the line of what is permitted. This is Sonya Marmeladova - a destitute, deprived of childhood, impoverished and self-selling girl, capable of strong feelings and sincere devotion. This is Sonya's father, and Luzhin, and, of course, Svidrigailov.

Arkady Ivanovich appears before the readers as a handsome man of fifty, well-dressed, looking younger. He is a nobleman and a former officer, was married to a rich woman. It would seem that life smiles at this hero, he is full of strength and conceit, because the circumstances surrounding him are developing successfully. But not everything is so simple. Svidrigailov is an immoral and vicious person, without conscience and moral principles. Because of such dirty beliefs, he breaks the life of himself and others, becomes unhappy himself and makes those around him unhappy.

At a young age, he quits the service, because it is difficult for him to obey the army routine, live on friendly terms with his comrades and observe the norms of decency. Having no permanent income and spending all his savings on a riotous lifestyle and game, Svidrigailov becomes a beggar. He is imprisoned for cheating and debts. At this time, he is assisted by a rich woman. Marfa Petrovna pays a lot of money to free a man, marries him and leaves with him for the village.

Another person, imbued with gratitude for this loving noblewoman, would respect and appreciate her. But Arkady Ivanovich was not like that. He humiliates his wife and shamelessly cheats on her. “I had such a pig in my soul and a kind of honesty to declare to her directly that I can’t be completely faithful to her,” declares this vicious person, and still boasts of his immorality. But his adventures in the village do not end there.

With unprecedented sophistication and cruelty, Svidrigailov mocks the peasant, and thereby drives him to suicide. And his immoral relationship with a fifteen-year-old girl causes disapproval and condemnation in the reader. The unfortunate girl kills herself, but this has no effect on the villain. He, without feeling remorse, continues to enjoy life and depravity.

Committing crimes and excesses, Arkady Ivanovich does not suffer, like Raskolnikov, who is tormented whether he has the right to take a person's life. Svidrigailov commits his atrocities without hesitation, and it's scary. For him there is no crime or offense, for him there is only the need to satisfy his desires and lusts, regardless of how it affects others. And although he tells the main character that they are both “of the same field”, this is not so.

Svidrigailov does not doubt his evil deeds, he does not waver between good and evil. He has long been on the side of evil and does not feel the slightest sign of remorse. In contrast to Raskolnikov, Arkady Ivanovich does not withdraw into himself after the crime. He continues to live and strives to get everything from life. The relationship between Svidrigailov and Raskolnikov's sister Dunya is amazing and extraordinary. The girl comes to serve in the family of Arkady Ivanovich, where he notices her and is imbued with love for her. Most likely, the man was captivated by the spiritual beauty and purity of the young maid. She behaves meekly and humbly, with zeal she does housework, she is kind and accommodating. But this flexibility has another side.

Dunya is an honest, chaste girl, she preserves her purity and innocence. No threats and intimidation, no gifts and no flattery can shake her determination to resist the hated master. Svidrigailov cannot come to terms with this. He thinks that his wife is interfering with the girl. Therefore, a man commits a terrible act - he becomes the culprit in the death of his wife, the mother of his children, who all the time saved him and saved him from the consequences of his dirty deeds. After that, Arkady Ivanovich goes to Dunya to force her to give herself to him.

He blackmails the girl with the secret of her brother and indulges in other terrible tricks to seduce the unfortunate. But Dunya, driven to despair, understands that she can become a puppet in the hands of a cruel, unprincipled person, whom she abhors and despises, and decides to kill. The first shot missed the villain, and the second time the girl could not shoot and threw back the revolver. Svidrigailov, who was not frightened by either the assassination attempt or the real threat, was broken by Dunya's despair and grief, her extinguished gaze and dull indifference. He realized that he was disgusted by his beloved, that she would never and never love him sincerely and voluntarily. “You don't love it. And you can't? Never? Never!" - this quiet short conversation decides the further fate of the heroes. Arkady Ivanovich, who truly loves this steadfast, pure young woman, lets her go and decides to commit suicide.

His existence is meaningless, without a beloved who could become his joy and salvation, he sees no reason in his existence. Svidrigailov commits suicide, but, oddly enough for a negative hero, in the last hours of his life he does noble deeds that save the lives of others. The man leaves money to his bride, who is young and innocent, and Sonechka, thanks to which she can change her profession and follow Raskolnikov into exile to take care of his mental well-being. Arkady Ivanovich also arranges the lives of the Marmeladov children. If not for his good deeds, who knows how the life of the main characters would have ended. And so we have the hope that by his suicide Svidrigailov saved Sonya and Rodion, that they will live happily ever after.

The image of Svidrigailov in Dostoevsky's novel "Crime and Punishment"

Home / Works on Russian literature / Dostoevsky F.M. / The image of Svidrigailov in Dostoevsky's novel "Crime and Punishment"

Fyodor Dostoevsky's novel "Crime and Punishment" has a psychological focus. Therefore, the author's attention is directed primarily not to the external actions of the characters, but to their inner thoughts and experiences.

One of the brightest images is the image of Svidrigailov. His full name is Svidrigailov Arkady Ivanovich. He is a wealthy, well-connected noble who is used to getting things done. Him and Luzhin what unites them is that both of them are the moral twins of the main character Raskolnikov. Svidrigailov puts Raskolnikov's theory into practice. He gets what he wants, by any means. As a result, he became a morally devastated person who is experiencing spiritual degradation.

Svidrigailov in the novel is already about 50 years old, but he looks younger than his years. Arkady Ivanovich was of medium height, broad-shouldered, dressed smartly. In the face of this gentleman, he still retained freshness and good looks. His hair and beard were still thick. A special feature is sharp blue eyes that looked at people coldly and with a degree of disdain. Raskolnikov in Svidrigailov's pretty face he notices something frightening. Thus, the author hints that the protagonist sees his terrifying image in the eyes of another hero.

There were various rumors about Arkady Ivanovich. It was rumored that he was involved in the poisoning of his wife and the suicide of a servant. He himself did not deny his tough temper. Svidrigailov did not try to build exculpatory theories, like Luzhin or Raskolnikov. He resigned himself to being an idle and depraved man.

Svidrigailov is a projection onto the image of Raskolnikov. If the main character could realize his theory, he would become Svidrigailov. Arkady Ivanovich has long crossed the moral boundaries of good and evil and is not tormented by questions of conscience, unlike a poor student. There are no restrictions for this master, everything he wants, he achieves.

However, in the novel there is still a person who will make the hero doubt the chosen path. This Dunya, sister of Rodion Raskolnikov. The girl is beautiful, and Arkady Ivanovich lusts for her, wants to win her favor at any cost. But Dunya, though poor, is smart and proud. She quickly understands what drives Arkady Ivanovich. Her resistance, moral purity overturn something in the soul of this cold and cynical person. Svidrigailov falls in love with Dunya and tries to win her love. With the help of blackmail, he lures the girl into the bedroom, but his animal plans are not given to come true. Dunya was able to stand up for her honor and awakened forgotten feelings in Arkady Ivanovich - nobility and courage.

The image of Svidrigailov in the novel "Crime and Punishment" is not unambiguous, in his soul there is no clear boundary between good and evil. He is immoral, but he also does good deeds.

Who is svidrigailov from crime and punishment

Mr. Svidrigailov is one of the brightest secondary characters in the novel "Crime and Punishment" by Dostoevsky.

This article presents a quotation image and characterization of Svidrigailov in the novel "Crime and Punishment": a description of the appearance and character of the hero.

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The image and characteristics of Svidrigailov in the novel "Crime and Punishment": description of appearance and character

Arkady Ivanovich Svidrigailov is a friend and admirer of Dunya Raskolnikova, (the sister of the protagonist, Rodion Raskolnikov).

The age of Mr. Svidrigailov is about 50 years old:
". It was a man in his fifties. " The following is known about Svidrigailov's appearance:
". above average height, portly, with broad and steep shoulders, which gave him a somewhat stooped appearance. He was smartly and comfortably dressed and looked like a portly gentleman. In his hands was a beautiful cane, with which he tapped, with each step, on the sidewalk, and his hands were in fresh gloves. His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and his broad, thick beard, descending like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly intently and thoughtfully; scarlet lips. In general, he was a well-preserved man and seemed much younger than his years. " ". leaned on a cane with both hands. As far as could be seen through blinking eyelashes, this man was no longer young, dense and with a thick, light, almost white beard ... " ". It was a kind of strange face, as if looking like a mask: white, ruddy, with ruddy scarlet lips, with a light blond beard and rather thick blond hair. The eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this beautiful and extremely youthful, judging by his years, face. Svidrigailov's clothes were dapper, summery, light, and he especially flaunted underwear. On the finger was a huge ring with an expensive stone. Svidrigailov is a retired officer, a nobleman by birth:
“Who am I? You know: a nobleman, served two years in the cavalry. " Svidrigailov is a widower, husband of the late Marfa Petrovna:
". May be. seeing himself already in years and the father of the family. " Svidrigailov has children, but he considers himself a bad father. According to him, children do not need it:
". My children stayed with my aunt; they are rich, and I personally do not need them. And what a father I am!” Svidrigailov is a wealthy man (until his wife's death):
". It is, of course, dressed decently and I am not a poor person. " “I took for myself only what Marfa Petrovna gave me a year ago. I've had enough. " ". I'm not rich though. " ". Marfa Petrovna. and if and left him something. which is not enough for a person with his habits for a year. " Mr. Svidrigailov is a madman:
". You've been too strict with this madman. " ". this madcap had long since developed a passion for Dunya. " Svidrigailov is a man of "zabubenny behavior", that is, desperate, capable of anything:
". a man of behavior zatubenny. " Svidrigailov is a rude villain, a voluptuary and a scoundrel:
". from this rude villain, from this voluptuous lecher and scoundrel. " "It's definitely you ... a scoundrel!" ". In a word, this monstrous difference in age and development in you excites voluptuousness! And are you really getting married like that?”

Mr. Svidrigailov is a depraved, vicious, idle person:
". Indeed, I am a depraved and idle person. " “This is the most depraved and perished in the vices of a person, of all such people. " Svidrigailov is a terrible, dishonorable person:
". No, no, this is a terrible person! I can't imagine anything worse. " ". Even though I know you're a man... without honor. " Svidrigailov is a gloomy, boring person, in his own opinion:
". And I'm a gloomy, boring person. Do you think hilarious? No, gloomy: I do no harm, and I sit in a corner; sometimes they don't talk for three days. " Svidrigailov is a sinful, low man who loves "places with dirty things":
". I am a sinful person. Hehehehe. " ". I love cesspools with dirt. " Svidrigailov is a nasty and empty person who does not really do anything:
". and in such a nasty and empty person as I am. "(Svidrigailov about himself) ". at least there was something; well, to be a landowner, well, a father, well, a lancer, a photographer, a journalist ... n-nothing, no specialty! Sometimes even boring. " Svidrigailov is the emptiest, most insignificant villain in the world, according to Raskolnikov:
". In Svidrigailov, he was convinced that he was the most empty and insignificant villain in the world. Svidrigailov is not interested in the opinions of others:
". Well, I'm not particularly interested in anyone's opinion. and therefore why not be a vulgar one. " Svidrigailov is a very strange person:
“He is very strange and decided on something ... He seems to know something ... Dunya must be protected from him ...” When he wants, Mr. Svidrigailov knows how to seem like a decent person and behave charmingly:
". Arkady Ivanovich, when he wanted to, was a man with very charming manners. " ". It even seems to me that you are a very good company, or at least you know how to be a decent person on occasion. " Mr. Svidrigailov is a cunning man:
". he is a cunning and seductive man about ladies. "

It was a quotation image and characterization of Svidrigailov in the novel "Crime and Punishment": a description of the appearance and character of the hero.

Svidrigailov Arkady Ivanovich

Compositions
Characters of works
Svidrigailov Arkady Ivanovich

("Crime and Punishment")

landowner; husband of Marfa Petrovna Svidrigailova. In the novel, his portrait is given twice. In the beginning: “He was a man of about fifty, above average height, portly, with broad and steep shoulders, which gave him a somewhat stooped appearance. He was smartly and comfortably dressed and looked like a portly gentleman. In his hands was a beautiful cane, with which he tapped, with each step, on the sidewalk, and his hands were in fresh gloves. His broad, cheeky face was rather pleasant, and his complexion was fresh, not Petersburg. His hair, which was still very thick, was quite blond and a little grey, and his broad, thick beard, descending like a shovel, was even lighter than his head hair. His eyes were blue and looked coldly intently and thoughtfully; scarlet lips. In general, he was a well-preserved man and seemed much younger than his years ... "At the end of the novel (in the 6th part), the portrait is repeated, psychologically specified, concretized:" It was some kind of strange face, like a mask: white, ruddy , with ruddy, scarlet lips, with a light blond beard and rather thick blond hair. The eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this handsome and extremely youthful, judging by his age, face. Svidrigailov's clothes were dapper, summery, light, and he especially flaunted underwear. On the finger was a huge ring with an expensive stone ... "

For the first time, Svidrigailov is mentioned in a detailed letter from Pulcheria Alexandrovna Raskolnikova to her son Rodion Raskolnikov with a bitter story about the misadventures of his sister Avdotya Romanovna Raskolnikova, who served as a governess in the house of Svidrigailov and his wife Marfa Petrovna. The voluptuous Svidrigailov pursued Dunya and, having received a refusal, slandered her, so she had to leave her place. True, later Svidrigailov admitted to slander, but following the mother and daughter Raskolnikov, who moved to St. Petersburg, he appears in the capital (after the death of his wife, whom he apparently poisoned) and begins to literally pursue Avdotya Romanovna. Accidentally being a neighbor of Sonya Marmeladova, Svidrigailov overheard Rodion Raskolnikov's confession in the murder of an old money-lender and is trying to blackmail his sister. Before that, in a conversation with Raskolnikov, his “double” (this is precisely the psychological role Svidrigailov plays in relation to the murderer student in the novel) frankly admits and talks about his past deeds: he was a cheater, was in a debtor’s prison, married Marfa Petrovna because of money, raped a girl who then committed suicide, drove the lackey Philip to suicide ... According to Svidrigailov, eternity is “like a village bathhouse, smoky, and spiders in all corners.”

This character is the first real, unconditional and, so to speak, logical suicide in the world of Dostoevsky: he thought about suicide, prepared it, substantiated it and committed it. Svidrigailov himself knows that he is a dead person - and not only in vices, but also in the most direct sense of the word, a dead person. Avdotya Romanovna Raskolnikova is his last and only hope to stay in this world, to stay, to continue to live. Alas, on her part, he cannot wait not only for tolerance and compassion (which Apollinaria Suslova sometimes bestowed, to some extent - the prototype of Dunya, Dostoevsky): Dunya despises him and even hates him - for her he is definitely disgusting. And Svidrigailov cannot even dissolve, drown his despair in wine, because, although in his youth he paid an abundant tribute to Bacchus, now he does not even like champagne and cannot stand it (as, by the way, Dostoevsky himself). His love for Dunya is also not just the attraction of an elderly fading man to a young beautiful girl, but also his passionate desire to finally become at least someone. He confesses to Raskolnikov: “Do you believe, at least there was something; well, to be a landowner, well, a father, well, a lancer, a photographer, a journalist ... n-nothing, no specialty! Sometimes it’s even boring ... "But, oddly enough, this man is afraid of death (". I'm afraid of death and don't like it when they talk about it," he admits to Raskolnikov) He is so mystically afraid of death that he came up with a kind of euphemism for his impending suicide - voyage to America. He talks about this "voyage" in conversations with Raskolnikov, with Sonya Marmeladova. By the way, in the mystical fear of death, the novel counterparts - Raskolnikov and Svidrigailov - are absolutely similar. It is said about Raskolnikov: “In the consciousness of death and in the feeling of the presence of death, there was always something heavy and mystically terrible for him, from childhood. »

But it is known that many suicides before their fatal step were afraid of death, denied it and even condemned those who committed suicide. This process - from the denial of death to the execution of the "auto-sentence" - is described in detail, with all the psychological details, by Dostoevsky using the example of Svidrigailov. He foresaw his tragic end, but until the last moment he tried to avoid it, or at least postpone it. There were two options for this: to marry, as he planned, a 15-year-old innocent girl, or to achieve reciprocity with Dunya Raskolnikova. The bride girl really exists - Svidrigailov goes to her house with gifts, willingly tells Raskolnikov about her. Matchmaking for a young bride, apparently, was not a very serious matter for him - out of inertia, out of an inveterate habit of voluptuousness and a penchant for pedophilia, but this man put Avdotya Romanovna seriously. His tormenting passion for Raskolnikov's sister lasted more than one day and reached a boiling point. Even when Dunya lived and was on his estate, he was ready to kill his wife at her first word (which, however, he did later without any permission), and now he decided to put his own life at stake: he withstands several minutes - Dunya even slightly wounded him.

Before a decisive, last meeting-conversation with Avdotya Romanovna, Svidrigailov does incredible things for him: pays for the funeral of Katerina Ivanovna Marmeladova, allocates capital for the placement of her orphans, offers Raskolnikov 10 thousand rubles for Dunya in order to save her from a forced marriage with Luzhin, and the entire Raskolnikov family from poverty. However, there is nothing strange about this. Svidrigailov is well aware that, as he is, he causes Dunya only disgust and disgust. He makes cardinal, in his opinion, attempts at a single moment, as it were, to be reborn, to become better. To appear before the beloved woman as a sort of noble and beneficent knight. He, moreover, has another strong and, as, again, it seems to him, a noble trump card in reserve - he could, but did not betray his brother Dunya to the police. Speaking about ten thousand for his sister in a conversation with Raskolnikov, Svidrigailov assures: “. I offer without any calculations. Believe it or not, and later you and Avdotya Romanovna will find out. "But, of course, at that moment, not only his interlocutor, but Arkady Ivanovich himself did not believe that" without any calculations ": the calculation, albeit naive, was just - to surprise, amaze Dunya, melt the ice in her heart. But now, we must pay tribute to him, after the disaster, after the fatal meeting with Dunya for himself, Svidrigailov continues to do good deeds completely disinterestedly: he gives 3 thousand rubles to Sonya (so that there is something to go to Siberia after Raskolnikov and what to live there) , leaves as much as 15 thousand to his young failed bride (although, of course, it would be better to distribute the amounts the other way around!). But according to the warehouse of his nature and according to an atheistic worldview, before his voluntary departure from life, he should have reached the limit of cynicism, absolutely some kind of ugly trick to do, to appease - for example, rape Dunya or betray her brother, so that to send him, if not “to America” after him, then at least to hard labor ... This is how Dostoevsky himself later discussed this in a letter to his reader and admirer N.L. Ozmidov (February 1878): “Now imagine that there is no God and the immortality of the soul (the immortality of the soul and God are all the same, the same idea). Tell me, why should I then live well, do good, if I die on earth completely? Without immortality, after all, the whole point is just to reach my term, and at least everything burn there. And if so, then why should I (if I only rely on my dexterity and intelligence so as not to fall for the law) and not to kill another, not to rob, not to rob, or why should I, if not to cut, then directly not live at the expense of others, into one's womb? After all, I will die, and everything will die, nothing will happen. »

It turns out that Arkady Ivanovich, in the most hidden deep convolutions of his shabby soul, still timidly hoped for immortality, not only in the form of a smoky jar with spiders, for the existence of God, he strove and wished before meeting with Him, as before meeting with Dunya, to balance the poods of his crimes, cynical deeds and sins as spools of dying blessings.

Having released Dunya in peace, Svidrigailov accidentally drew attention to the revolver thrown by her, picked it up: there were still two charges and one primer. By the way, this revolver once belonged to Svidrigailov himself, and now, by chance, he found his owner, saving for him the only and last shot. However, even this, the last, primer could also misfire - and then what would Arkady Ivanovich do at the last moment? One can guess about this: already having a revolver in his pocket, a few hours before his suicide, Svidrigailov crosses the bridge at midnight and “with some special curiosity and even with a question looked at the black water of the Malaya Neva. » It is likely that if the primer did not work, he would simply drown himself. This gentleman would hardly have agreed to a rope, not wanting to stoop to the level of his lackey Philip. And one more very curious touch: before a meeting with Dunya, Svidrigailov drinks a glass of champagne through “I can’t” for courage, but before leaving for America, he drinks and treats everyone he meets and crosses all evening, wandering around the taverns, but he himself does not drink a single sip - he no longer needs courage to commit self-execution. In the last hours of his life, Svidrigailov does everything to ensure that this life, the surrounding earthly reality, is fed up with him to the extreme limit; The rain is lashing, the wind is howling, and he, soaked to the skin, wanders late into the dark streets, through stinking dirty taverns, communicates with drunken rabble, then rents a “room” in a filthy hotel on the outskirts of the city, as if he wants, intends to visualize the afterlife invented a miserable eternity to them: “He lit a candle and examined the room in more detail. It was a cell so small that it was not even close to Svidrigailov's height, with one window; the bed was very dirty, a simple painted table and chair occupied almost the entire space. The walls looked like they were knocked together from boards with scuffed wallpaper, so dusty and tattered that their color (yellow) could still be guessed, but no pattern could be recognized. One part of the wall and ceiling was cut off at an angle. » Well, why not an analogue of a bathhouse with spiders? Only here and while Svidrigailov is being overwhelmed and tormented not by spiders, but by flies and mice - in nightmares and in reality. Nightmares almost drive Arkady Ivanovich crazy, and he knew in advance, foresaw that he would be choked by nightmares, however, in an effort to gain-accumulate a more malicious disgust for life, he plunges into nightmarish semi-forgetfulness again and again: he sees something in a coffin suicidal girl, ruined by him, then tries to save a five-year-old baby from the cold, but she suddenly begins to seduce him. Striking here is the subconscious reaction of an inveterate cynic and debauchee - even he was horrified: “How! five year old! - Svidrigailov whispered in real horror, - this is. what is it. »

And - the very last deeds of Arkady Ivanovich before setting off on his last journey, on a "voyage": he checks the primer in a revolver, writes a traditional, completely stupid note, saying that he does not blame anyone for his death and. catches a fly. He tries long and hard to catch the fly. “Finally, catching himself in this interesting lesson, he woke up, shuddered, got up and resolutely walked out of the room.” This is Dostoevsky! Later, in Possessed, he recreates-uses once again a similar psychological detail, develops it to a truly philosophical level in the scene of Matryosha's suicide, when Stavrogin, being behind the wall, and knowing-guessing what is happening in the closet - at first also stubbornly catches a fly, and then begins to closely examine "a tiny red spider on a leaf of geranium."

In the description of the last minutes of Svidrigailov's life, there is another extremely curious detail, as if connecting him with the hero of V. Hugo's story "The Last Day of the Condemned to Death" with Rodion Raskolnikov and, moreover, with Dostoevsky himself. The French criminal, who is being taken to his execution, in the last moments of the journey, runs his eyes over the signs on the benches; Raskolnikov, going to the station with a confession (also, in essence, to the execution, at least - of his fate), "eagerly looked around to the right and left", reading the signs and even noting errors in them ("Tavarishchestvo"); and Prince Myshkin in The Idiot, talking about the feelings and thoughts of a man (Dostoevsky himself), who is being taken to the scaffold, paints how he looks for the familiar sign of a baker with his eyes. Apparently, this detail has sunk into the memory of the Petrashevsky writer! So Svidrigailov, on the way to the place of self-execution, with his eyes every now and then “stumbled upon shop and vegetable signs and carefully read each one. »

At the last decisive moment, Svidrigailov behaved in cold blood, he was in full control of his nerves and feelings. He even somehow derisively brought his euphemism joke about the voyage to its logical end, announcing to a random witness - a fireman on guard (Achilles) - that he was going to America and let him explain it to the police later: he went, they say, to America. And pulled the trigger. Misfire did not happen.

The surname Svidrigailov reflects the contradictory, dodgy essence of this hero. Dostoevsky, being interested in the history of his family (having Lithuanian roots), probably drew attention to the etymological composition of the surname of the Grand Duke of Lithuania Shvitrigailo (Svidrigailo): gail ( German geil) - lustful, voluptuous. In addition, in one of the feuilletons of the Iskra magazine (1861, No. 26), which was part of Dostoevsky’s reading circle, there was talk of a certain Svidrigailov who was rampaging in the province - a “repulsive” and “disgusting” personality.

In the image of Svidrigailov, to some extent, the psychological appearance of one of the inhabitants of the Omsk prison, the murderer from the nobles of Aristov, is captured (in "Notes from the House of the Dead" he is displayed as A-v).

The image and characteristics of Svidrigailov in the novel "Crime and Punishment" by Dostoevsky

Of the many secondary characters, Arkady Ivanovich Svidrigailova is the most striking and important for characterizing the main character Raskolnikov. The image and characterization of Svidrigailov in the novel "Crime and Punishment" are written out by Dostoevsky quite clearly, vividly, in the most detail. This character so clearly emphasizes many aspects of the character of the protagonist that it is very important to understand the very essence of the unsympathetic Arkady Ivanovich.

Dostoevsky F. M., like an artist, painted a portrait of Arkady Ivanovich with clear, bright, juicy strokes with a wide brush. And although Svidrigailov is not the main character, it is difficult to forget him and impossible to pass by.

- This is how the portrait of Svidrigailov was painted. The author drew him in great detail, emphasizing the importance of this character for the fate of the rest of the characters in the novel. The portrait is very interesting: at first the reader sees a very pleasant person, even a handsome one. And suddenly, at the end of the description, it is said about the eyes: a fixed, cold look, albeit thoughtful. The well-known expression “eyes are the mirror of the soul”, the author emphasized literally in a nutshell, which reveal the very essence of the character. Even a very attractive outwardly person may turn out to be completely different from what he sees at first. Here is the first hint at the true essence of Svidrigailov, which the author reveals through the opinion of Raskolnikov, who noticed that the face of Arkady Ivanovich is more like a mask that hides all the ins and outs, that, despite the attractiveness, there is something very unpleasant in Svidrigailov.

Character, its formation

Svidrigailov is a nobleman, which means that he received a decent education. He served in the cavalry for about two years, then, as he himself said, "wandered around", already living in St. Petersburg. There he became a cheater, ended up in prison, from where Marfa Petrovna saved him. It turns out that the whole biography of Arkady Ivanovich is his path of moral and ethical downfall. Svidrigailov is cynical, a lover of debauchery, which he himself even admits with some pride. He lacks a sense of gratitude: even to his wife, who saved him from prison, he declares bluntly that he is not going to be faithful to her and change his lifestyle for her sake.

His entire life path was marked by crimes: because of him, his servant Philip and the daughter of the servant, a girl dishonored by Svidrigailov, committed suicide. It is most likely that Marfa Petrovna was poisoned because of her libertine husband. Arkady Ivanovich lies, slandering Dunya, Raskolnikov's sister, slanders her, and also tries to dishonor the girl. With all his dissolute and dishonorable life, Svidrigailov is gradually killing his soul. And it would be fine if he destroyed everything good in himself, Arkady Ivanovich kills everything around him, everything he touches.

Character personality traits

Svidrigailov is depicted as a perfect villain who has fallen into the abyss of evil, having apparently lost all the pitiful remnants of conscience. He absolutely does not have any doubts, doing evil, does not think about the consequences, even enjoys the torment of the people around him. A lustful debaucher, a sadist, he tries to satisfy all his base instincts, while not feeling the slightest remorse for his deed. He thinks it will always be like this.

Svidrigailov and Raskolnikov

Having met with the main character, Arkady Ivanovich once remarks to him that both of them are "of the same field." Raskolnikov, on the other hand, Svidrigailov is extremely unpleasant. Rodion even feels some confusion, feeling the power of Arkady Ivanovich over himself, who understood a lot about the student. Raskolnikov is frightened by the mysteriousness of Svidrigailov.

However, despite the fact that Rodion killed the old pawnbroker, they are not at all alike. Yes, Rodion put forward a theory about superhumans, even killed a man, testing his theory. But in Svidrigailov, as in a distorted mirror, he saw himself in the future, if he continued to live according to the principles of his idea. And this revealed humanity in Rodion, prompted repentance and understanding of the full depth of his fall.

End of Arkady Ivanovich

Dostoevsky, in addition to his writing skills, was endowed with the talent of a psychologist. Here, too, describing the life path of Svidrigailov, an inveterate villain, stops him with love, paradoxically as it may seem. Arkady Ivanovich, having met Dunya, first tries to seduce her. When he fails, he denigrates the girl in the eyes of others. In the end, with surprise, he realizes that he truly loved her. And this understanding of true love opens in his soul all the floodgates that until now neither conscience, nor repentance, nor understanding of the atrocities committed by him have let out.

He releases Dunya, remarking with desperate bitterness:

Svidrigailov suddenly realizes that he is absolutely alone in his fall, that he is not worthy of anyone's love. Enlightenment comes too late for him. Yes, he is trying to atone, to somehow make amends for all the evil that he has done so far. Arkady Ivanovich gives money to Duna and Sonya, donates a large amount to the Marmeladov family ... But he cannot achieve deep, sincere repentance.

But the pangs of conscience evoked in him memories of the atrocities committed. And these memories turned out to be an unbearable burden for conscience. Svidrigailov committed suicide.

And in this he turned out to be weaker than Raskolnikov, who was not afraid, but confessed and repented, not being afraid to live on.

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Literary critics and researchers of Fyodor Mikhailovich Dostoevsky's novel "Crime and Punishment" are talking about the fact that the protagonist of the novel, Rodion Raskolnikov, has "twins", i.e. in some ways similar to his heroes. They point in this capacity to Luzhin and Svidrigailov. The proof of this is the creation of the theory by which these heroes live. We will dwell in detail on the figure of the minor character Svidrigailov Arkady Ivanovich.

We meet him personally in the fourth part of the novel, but we already know something about him from a letter from Pulcheria Alexandrovna Raskolnikova to her son Rodion: “... this madman had long had a passion for Dunya, but he hid it all under the guise of rudeness and contempt for her.” The story of Dunya, which Raskolnikov recognizes from his mother, does not paint Mr. Svidrigailov. He is used to achieving his goals at any cost. Taking Dunya, Raskolnikov's sister, to work in the house, he shamed her to the whole city. And his wife Marfa Petrovna played a certain role in his whole plan. Knowing that Dunya was bound hand and foot with a debt of 100 rubles, Svidrigailov took advantage of her trust, honesty and helplessness.

The author gives us the opportunity to hear the life story of Svidrigailov from the lips of the hero himself, when he comes to visit Raskolnikov. He tells how he was a cheater, had a good time in the company of the same people, lost, ended up in a debtor's prison, and Marfa Petrovna ransomed him for "thirty thousand pieces of silver" and took him to the village, where he lived for almost eight years, without leaving anywhere. Svidrigailov also admits that he is not completely healthy: "... when a completely person dies, then he will go directly to another world." Arkady Ivanovich told Raskolnikov that they were "of the same field." Svidrigailov requested a meeting with Dunya in order to warn her about Luzhin and, of course, to offer her himself as a replacement.

The characterization of this hero is also presented in the novel by Luzhin. In a conversation with Raskolnikov and his family, he says that Svidrigailov is "the most depraved person who died in vices." He hints at the involvement of Arkady Ivanovich in some crimes (the footman Philip, the girl - Resslich's niece, Marfa Petrovna ...).

But there are good lines about Svidrigailov in the novel. He took upon himself the material costs of the funeral of Katerina Ivanovna Marmeladova, placed her children in an orphanage and left money for their maintenance, helped Sonya - “became blessed” in the words of Raskolnikov. He even invites Raskolnikov to flee to America when he learns of his crime. He tells Dunya about this and says: "a single villainy is permissible if the main goal is good." It turns out that Svidrigailov's theory differs little from Raskolnikov's. Only evil in Svidrigailov is not shared with good, he does not have an understanding of all the perniciousness of his actions and deeds.

Svidrigailov made another attempt to talk to Dunya, but the girl refused him. Arkady Ivanovich is tormented by heavy memories, delusional dreams and visions. In the end, he shot himself with a revolver, with which Dunya came to him. The meaning of life for him ceased to exist long ago.

The image of Svidrigailov in the novel "Crime and Punishment" is complex. Did Arkady Ivanovich repent of everything he had done in his life before his suicide? Did he do it in delirium or in full consciousness? Did he recognize what he did as evil? Unable to withstand the justice of life, which he himself spoke to Raskolnikov, he completed his life path, choosing not redemption, but “escape”.

To penetrate into the essence of the human soul, regardless of who it belongs to, the righteous or the murderer - that was the main goal of the work of Mikhail Dostoevsky. Most of his heroes live in St. Petersburg in the 19th century. Nevertheless, the books of the great Russian classic are still interesting today. And not only in Russia, but also abroad. The image of Svidrigailov is one of the most interesting images of Dostoevsky. Only at first glance it may seem that this character is unambiguous. He is opposed to the protagonist of the novel "Crime and Punishment", however, he has much in common with him. The image of Svidrigailov in the novel "Crime and Punishment" So, what do we know about this hero? Svidrigailov Arkady Ivanovich is an acquaintance of Dunya Raskolnikova. Moreover, he is her admirer, passionate, unstoppable. The image of Svidrigailov emerges even before his appearance.

The image of Svidrigailov in the novel "Crime and Punishment"

He has a well-groomed appearance, he even looks younger than his years, gray hair has not touched his hair. Blue eyes are cold and repulsive. His past life is parties, cards and a prison where he ended up for cheating. And his wife ran him free, but Arkady Ivanovich has neither gratitude nor respect for her.

Svidrigailov himself is an anti-hero who has committed many reprehensible acts throughout the novel and, remarkably, never felt remorse. Unlike Raskolnikov, whose double he is, Svidrigailov does not experience pangs of conscience. His theory fully justifies all his heinous deeds.

"The only evil and a hundred good deeds" - this is the phrase that has become the main rule of the hero's life. Guided by his universal theory, the hero does many terrible things.

Svidrigailov in the novel "Crime and Punishment" (the image of Svidrigailov)

Unlike Raskolnikov, he is already on the other side of good and evil and seems to have no doubts. It is no coincidence that S. is so worried about Raskolnikov, who feels his power over himself, with his mystery. He is free, the moral law no longer has power over him, but this does not bring him joy.

All that remains for him is worldly boredom and vulgarity. S. had fun as best he could, trying to overcome this boredom. At night, ghosts appear to him: Marfa Petrovna, servant Philip ... The indistinguishability of good and evil gives rise to a bad infinity, makes life meaningless.
It is no coincidence that eternity appears to him in the form of a rustic smoky bathhouse with spiders. And although he helps arrange the children of Marmeladov after the death of Katerina Ivanovna, takes care of a little girl in a hotel before committing suicide, his soul is almost dead. WITH.

Characteristics and image of Svidrigailov

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But not everything is so simple. Svidrigailov is an immoral and vicious person, without conscience and moral principles. Because of such dirty beliefs, he breaks the life of himself and others, becomes unhappy himself and makes those around him unhappy. At a young age, he quits the service, because it is difficult for him to obey the army routine, live on friendly terms with his comrades and observe the norms of decency.

Having no permanent income and spending all his savings on a riotous lifestyle and game, Svidrigailov becomes a beggar. He is imprisoned for cheating and debts.

Crime and punishment characterization of the image of Svidrigailov Arkady Ivanovich

His only life principle is to pick ruthlessly "flowers of pleasure", and then throw them "into the roadside ditch". Arkady is the first to notice that he has a lot in common with Rodion. However, there is one important difference - Svidrigailov erased the boundaries between sin and morality, but Rodion did not.
The student panics about the fact that evil and good are the same. And for Svidrigailov, this is a vital truth. Positive aspects of Svidrigailov Depicting his immoral image, Dostoevsky at the same time attaches great importance to the good deeds he committed. Their Svidrigailov does even more than all the positive characters combined.

After all, Arkady ensured the future not only for his children, but also for the orphans of the Marmeladovs. He longs to arrange the fate of Sonya, to pull her out of this "whirlpool". Svidrigailov offers Raskolnikov money to escape to America.

Svidrigailov's theory

The evening “pale sky” of Varenka from “Poor People”, the huge spiders that Ippolit from “The Idiot” sees in a dream, Rogozhin’s favorite painting depicting the dead Christ. In Crime and Punishment, Dostoevsky "transferred" his fears to Svidrigailov. And in this respect, Svidrigailov can be called the "double" of Dostoevsky.
The influence of Fyodor Mikhailovich's personality on this character is visible not only in relation to death. When Svidrigailov is already contemplating suicide, and, having wandered through the streets of St. Petersburg, stops for the night in a cheap hotel, he has a dream: the corpse of a prostitute girl who has thrown herself into the river. "She was only fourteen." He thinks he knows her. Her dying "last cry of despair" is in his ears, and he shakes him to the core.
Svidrigailov in the novel "Crime and Punishment" is tormented by a sense of sinfulness and guilt.

The image of Svidrigailov in the novel crime and punishment briefly

He believes in his impunity. Svidrigailov is cruelly mistaken. There is no crime without punishment. Once Svidrigailov was a card sharper. He went to jail for debt. From there, Marfa Petrovna bought him out - a middle-aged woman, but very rich.

After his release, Arkady Ivanovich married her. True, a few months after the wedding, he declared that he could not be faithful to her. Marfa Petrovna forgave her husband's infidelities. Moreover, once she did everything in order to hide the dirty story that led to the death of a fifteen-year-old girl. But then Svidrigailov had every chance to take a walk in Siberia.

If not for his wife, who, by the way, later died under very strange circumstances. Dunya Raskolnikova believes that Arkady Ivanovich poisoned her. Let us consider in more detail the characteristic features of Svidrigailov.

The image of Svidrigailov in the novel Crime and Punishment quotes

Svidrigailov characterization and image in Dostoevsky's novel Crime and Punishment Plan 1. The versatility of the heroes of the novel Crime and Punishment. 2. Svidrigailov. Characteristics and image of the hero 2.1. Immoral villain 2.2.

Svidrigailov and Raskolnikov 2.3. Love for the Dunya 3. The End of Svidrigailov In his difficult novel “Crime and Punishment”, F. M. Dostoevsky depicted several vivid and vivid images that still impress readers with their originality and complexity. First of all, this, of course, is the main character himself, a hardworking, sympathetic young man who decided to cross the line of what is permitted. This is Sonya Marmeladova - a destitute, deprived of childhood, impoverished and self-selling girl, capable of strong feelings and sincere devotion. This is Sonya's father, and Luzhin, and, of course, Svidrigailov.

Characteristics of Svidrigails in the novel Crime and Punishment

When he realizes that he will never achieve goals in the person of Dunya Raskolnikova, he commits suicide. The adventurism of Svidrigailov is an empty man. He is accustomed to idleness, lives in a big way. Svidrigailov's marriage itself is nothing but a gamble.

He connected his life with a woman whom he did not love. Perhaps Svidrigailov is not at all capable of a deep feeling. He lives for the momentary pleasure for which he is ready to pay someone else's life. The time has come to tell the story, after which the reputation of a scoundrel has forever been fixed for Arkady Ivanovich.

Cruelty Marfa Petrovna made a strange pact with her husband. Its essence was as follows: he would never leave her, he would never have a permanent mistress, while he would satisfy his lust with hay girls. One of the peasant women - a girl of 14-15 years old - was once found strangled in the attic.

The image of Luzhin and Svidrigailov in the novel Crime and Punishment

He realized that he was disgusted by his beloved, that she would never and never love him sincerely and voluntarily. “- So you don’t love? .. And you can’t? Never? Never!" - this quiet short conversation decides the further fate of the heroes. Arkady Ivanovich, who truly loves this steadfast, pure young woman, lets her go and decides to commit suicide. His existence is meaningless, without a beloved who could become his joy and salvation, he sees no reason in his existence. Svidrigailov commits suicide, but, oddly enough for a negative hero, in the last hours of his life he does noble deeds that save the lives of others. The man leaves money to his bride, who is young and innocent, and Sonechka, thanks to which she can change her profession and follow Raskolnikov into exile to take care of his mental well-being.

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