Why is Sonechka called eternal in the novel. The image of "eternal Sonya" in Dostoevsky's novel "Crime and Punishment. The idea of ​​creating the image of Sonya Marmeladova

The novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment" is one of the most complex works of Russian literature, in which the author told about the story of the death of the main character's soul after he committed a crime, about the alienation of Rodion Raskolnikov from the whole world, from the people closest to him, his mother, sister, friend. reading the novel, you realize how deeply the author penetrated the souls and hearts of his characters, how he comprehended the human character, with what genius he told about the moral upheavals of the protagonist. The central figure of the novel is, of course, Rodion Raskolnikov. But there are many other characters in Crime and Punishment. These are Razumikhin, Avdotya Romanovna and Pulcheria Alexandrovna, the Raskolnikovs, Pyotr Petrovich Luzhin, the Marmeladovs. The Marmeladov family plays a special role in the novel. After all, it is Sonechka Marmeladova, her faith and disinterested love, that Raskolnikov owes his spiritual rebirth.

She was a girl of about eighteen, of small stature, thin, but rather pretty blonde, with wonderful blue eyes. Her great love, suffering, but a pure soul, able even to see a person in a murderer, empathize with him, suffer with him, saved Raskolnikov. Yes, Sonya is a "harlot", as Dostoevsky writes about her, but she was forced to sell herself in order to save her stepmother's children from starvation. Even in her terrible situation, Sonya managed to remain human, drunkenness and depravity did not affect her. But in front of her was a vivid example of a father who had fallen, completely crushed by poverty and his own impotence to change something in life. Sonya's patience and vitality are largely derived from her faith. She believes in God, in justice with all her heart, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is “several, books of romantic content”, seeing around her only drunken quarrels, illnesses, debauchery and human grief?

For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. Sin remains sin, no matter who commits it and in the name of what. Personal happiness cannot be set as a goal.

A person has no right to egoistic happiness, he must endure, and through suffering he achieves true, non-egoistic happiness. Reading Raskolnikov's legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. "They were resurrected by love, the heart of one contained endless sources of life for the heart of the other." Rodion came to what Sonya urged him to, he overestimated life and its essence, as evidenced by his words: "Can her beliefs now not be my beliefs? Her feelings, her aspirations, at least ...." Touched Sympathy for Sonya, Rodion “goes to her already as to a close friend, he himself confesses to her the murder, tries, confused in reasons, to explain to her why he did it, asks her not to leave him in misfortune and receives an order from her: to go to the square kiss the earth and repent before all the people." In this advice, Sonya seems to hear the voice of the author himself, seeking to bring his hero to suffering, and through suffering - to atonement.

Sacrifice, faith, love and chastity - these are the qualities that the author embodied in Sonya. Being surrounded by vice, forced to sacrifice her dignity, Sonya retained the purity of her soul and the belief that "there is no happiness in comfort, happiness is bought by suffering, a person is not born for happiness: a person deserves his happiness, and always suffering." And now Sonya, who also “transgressed” and ruined her soul, “a man of high spirit”, of the same “rank” with Raskolnikov, condemns him for contempt for people and does not accept his “rebellion”, his “axe”, which, as it seemed to Raskolnikov , was raised in her name.

Perhaps this will interest you:

1. Loading... "Short, about eighteen years old, thin but rather pretty blonde, with wonderful blue eyes." Daughter of Marmeladov. To help a starving family, she began to engage in prostitution. We are the first...


2. Loading... The depth of Raskolnikov's mental anguish is destined to be shared by another heroine - Sonechka Marmeladova. It is to her, and not to Porfiry, that Raskolnikov decides to tell his terrible, painful secret. Note...


3. Loading... The novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment is one of the most complex works of Russian literature, in which the author told about the story of the death of the soul of the main ...


4. Loading... The central place in the novel by F. M. Dostoevsky is occupied by the image of Sonya Marmeladova, the heroine, whose fate causes our sympathy and respect. The more we...


5. Loading... Here in front of me lies the book of F. M. Dostoevsky "Crime and Punishment". The author touches on many issues in this work, but the most important of them is...

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

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

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

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

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

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

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

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

I did not bow to you, I bowed to all human suffering. F. Dostoevsky. Crime and Punishment The conductor of the author's philosophy (undivided service to people) and the personification of goodness in the novel is the image of Sonya Marmeladova, who managed to resist the evil and violence around her with the strength of her own soul. F. M. Dostoevsky describes Sonya warmly and cordially: “She was a modestly and even poorly dressed girl, very young, almost like a girl, with a modest and decent manner, with a clear, but as if somewhat intimidated face. She was wearing a very simple house dress, on her head was an old hat of the same style. Like all the poor in St. Petersburg, the Marmeladov family lives in terrible poverty: both eternally drunk, resigned to a humiliating and unfair life, Marmeladov descended, and consumptive Katerina Ivanovna, and small helpless children. Seventeen-year-old Sonya finds the only way to save her family from starvation - she goes out into the street to sell her own body. For a deeply religious girl, such an act is a terrible sin, because, violating Christian commandments, she destroys her soul, dooming her to torment during her lifetime and to eternal suffering after death. And yet she sacrifices herself for the sake of her father's children, for the sake of her stepmother. The merciful, selfless Sonia finds the strength not to become hardened, not to fall into the dirt surrounding her in street life, to maintain infinite philanthropy and faith in the strength of the human person, despite the fact that she causes irreparable harm to her soul and conscience. That is why Raskolnikov, who has broken all ties with people close to him, comes to Sonya in the most difficult moments for him, brings her his pain, his crime. According to Rodion, Sonya committed a crime no less serious than he, and perhaps more terrible, since she sacrifices not someone, but herself, and this sacrifice is in vain. The girl is well aware of the guilt that lies on her conscience, because she even thought about suicide, which could save her from shame and torment in this life. But the thought of poor and helpless hungry children made her humble, forget about her suffering. Considering that Sonya did not really save anyone, but only “ruined” herself, Raskolnikov tries to convert her to his “faith” and asks her an insidious question: what is better - a scoundrel “to live and do abominations” or an honest person to die? And he receives an exhaustive answer from Sonya: “But I can’t know God’s providence ... And who put me here as a judge: who will live and who won’t live? » Rodion Raskolnikov failed to convince the girl who was firmly convinced that sacrificing oneself for the good of loved ones is one thing, and depriving others of the life in the name of this good is a completely different matter. Therefore, all the efforts of Sonya are aimed at destroying the inhuman theory of Raskolnikov, who is "terribly, infinitely unhappy." Defenseless, but strong in her humility, capable of self-denial, the “eternal Sonya” is ready to sacrifice herself for the sake of others, therefore, in her actions, life itself blurs the boundaries between good and evil. Not sparing herself, the girl saved the Marmeladov family, just as selflessly she rushes to save Raskolnikov, feeling that he needs him. According to Sonya, the way out lies in humility and the adoption of basic Christian norms, which help not only to repent of one's sins, but also to cleanse oneself of everything evil and destructive for the human soul. It is religion that helps the girl survive in this terrible world and gives hope for the future. Thanks to Sonya, Raskolnikov understands and recognizes the unviability and inhumanity of his theory, opening his heart to new feelings, and his mind to new thoughts that only love for people and faith in them can save a person. It is from this that the moral revival of the hero begins, who, thanks to the strength of Sonya's love and her ability to endure any torment, overcomes himself and takes his first step towards resurrection.

The novel by F. M. Dostoevsky "Crime and Punishment" was written in 1866 on the basis of contemporary events as a "psychological report on one crime." The protagonist of this work is a former law student Rodion Romanovich Raskolnikov. The title of the novel suggests that the center of the book is the psychological life and fate of this man.

Raskolnikov commits a crime by killing an old pawnbroker, and in the epilogue he is serving his sentence in hard labor. But an even greater punishment for him is separation from people, pangs of conscience and the consciousness of his failure as a great man.

The central idea of ​​the novel is the idea of ​​the resurrection of the soul, of its rebirth to a new life. If Sonya Marmeladova had not been next to Raskolnikov, he would not have been able to resurrect himself for a new life.

Sonya is conceived by the author not only as a double of the protagonist by fate (she also “crossed over”), but she also acts as the antipode of Raskolnikov in the truth that she follows in life. At the end of the novel, Sonya's truth becomes the hero's truth.

Before us is a psychological and ideological work in which each of the characters has a “special point of view on the world and on himself”, in the words of the literary critic M. M. Bakhtin. Each hero of Dostoevsky lives in accordance with his idea. Raskolnikov's idea is the right of a proud person to transform the world, to eliminate suffering in it. The idea of ​​​​Sonia is in endless love for one's neighbor, in "insatiable compassion" and self-sacrifice, in faith in God, who "will not allow" more suffering than a person can endure.

Dostoevsky is convinced that a person has no right to demand happiness. Happiness is not given so easily, it must be earned by suffering.

The image of Sonechka carries the main idea of ​​the novel. This heroine is the moral ideal of the author.

Consider why Sonechka is called "eternal" in Dostoevsky's work.

For the first time, we learn about this girl from the story of her father, Semyon Zakharovich Marmeladov. After the "test" Raskolnikov leaves the apartment of his future victim "in decisive embarrassment." He realizes that the planned murder is "dirty, dirty, disgusting", and goes into the tavern. Here he listens to the story of the family of the former official Marmeladov. The native daughter of this drunken and downtrodden man was forced to go on a yellow ticket in order to save hungry children. Her stepmother Katerina Ivanovna, “generous, but unfair”, “hot, proud and adamant lady” pushed her to this. When once again the children began to cry from hunger, Katerina Ivanovna began to reproach Sonya for "parasite". The meek stepdaughter quietly asked: “Well, Katerina Ivanovna, can I really go for this?” A consumptive stepmother, “with agitated feelings”, “while crying children who have not eaten”, said “in a laugh”, “more for the sake of insult than in the exact sense”: “Well ... what to save? Eco treasure! It was then that the poor girl went out into the street for the first time, and after a while brought her stepmother 30 rubles as a sign that she had betrayed herself for the sake of her family.

Even then, listening to Marmeladov’s painful story about his daughter, Raskolnikov, who had not yet killed the old woman, but only plotting a terrible crime, decides that he will tell only Sonya about everything. Even then, he decides that the girl will understand him and will not leave him.

After visiting the beggarly corner of the Marmeladovs, the young man experiences conflicting feelings. On the one hand, he condemns poor people who have been reduced to extreme poverty: “Oh, Sonya! What a well, however, they managed to dig! And enjoy! That's because they use it! And got used to it. We cried and we got used to it. A scoundrel to everything - a person gets used to it! But on the other hand, he feels compassion for these humiliated and offended, who have "nowhere else to go." A desire to change the world arises in him, a desire to act, and he calls all his moral hesitation “prejudices”, “fear of feigned fears”: “... and there are no barriers, and this is how it should be!”

The day after meeting Marmeladov, Raskolnikov receives a letter from his mother. From it, he learns that his sister Dunya decides to marry a respectable, wealthy lawyer Luzhin. The young man realizes that his sister is sacrificing the failure for his well-being. In his reflections, the image of the “eternal Sonechka” arises as a symbol of self-sacrifice for the sake of loved ones: “Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world stands!”

Creating the image of the "eternal Sonya", the author attaches great importance to the portrait of his heroine. For the first time, the appearance of this fragile girl appears in the confession of her father: "... she is unrequited, and her voice is so meek ... blond, her face is always pale, thin."

Three portrait details create gospel motifs and make us see the heroine as a prototype of the Mother of God. Firstly, it is the family's large green drapedam handkerchief, with which Sonya covered herself when she returned from the street. This is a symbolic detail. Green is the color of the Virgin. Dradedam - fine cloth. This word sounds like Notre Dam - the French name for the Virgin. Secondly, "burnusik" - "a cape and outerwear of various types, male and female, as if following the Arabic model." Such clothes were worn in the time of Christ. But the most important detail is psychological. When Marmeladov comes to his daughter to ask for money “for a hangover,” Sonya’s look is described in detail: “She didn’t say anything, she just looked at me silently ... So not on the ground, but there ... they yearn for people, cry, but don’t reproach, don’t reproach!” Sonya does not condemn her father for sin, she loves him endlessly and sympathizes with her lost father. Sonya's gaze is the gaze of the Mother of God, who looks at people from heaven and yearns for their soul.

For the first time, Raskolnikov sees Sonya at the bedside of his dying father. A girl in a “penny outfit”, but “decorated in a street style, according to the taste and rules that have developed in her own special world with a bright and shamefully outstanding goal.” Just before his death, Marmeladov realized how immeasurably guilty he was to his daughter when he saw her “humiliated, killed, dressed up and ashamed, humbly waiting for her turn to say goodbye to her dying father.” Just before his death, he asked for forgiveness from his daughter.

The portrait detail - "remarkably blue eyes" - emphasize Sonya's inner beauty.

If the first portrait conveys the abnormality, unnaturalness, ugliness of the girl’s existence, then the second portrait, given in the episode of her visit to Raskolnikov’s apartment, reveals the inner essence of the “eternal Sonechka”. The truth is revealed in Rodion Romanovich's reflections on the fate of the girl: “All this shame, obviously, touched her only mechanically; real debauchery has not yet penetrated a single drop into her heart. in the second portrait, the “childhood” of the heroine stands out. Before us is "a modestly and even poorly dressed girl, still very young, almost like a girl, with a modest and decent manner, with a clear, but somewhat intimidated face."

The central place in the novel is occupied by the episode of reading the Gospel. Sonya, at the request of Raskolnikov, reads to him about the resurrection of Lazarus. Conveying the excitement of a girl reading the most precious and intimate, the author reveals to the readers the main secret of her life - the hope for the resurrection. The young man failed to make Sonya his like-minded person. Fragile and small, Sonya turned out to be spiritually strong and resilient. In this scene, the author conveys the inner strength of his heroine with the help of portrait details: “her weak chest was all swaying with excitement”; “she suddenly cried out, looking at him severely and angrily”, “mild blue eyes that could sparkle with such fire, such a harsh energetic feeling”, “a small body that was still trembling with indignation and anger”.

The novel by F. M. Dostoevsky "Crime and Punishment" presents the reader with a gallery of characters who not only push Rodion Raskolnikov to commit a crime, but also directly or indirectly contribute to the recognition of the protagonist in his deed, Raskolnikov's awareness of the inconsistency of his theory, which was the main cause of the crime.
One of the central places in the novel by F. M. Dostoevsky is occupied by the image of Sonya Marmeladova, a heroine whose fate arouses our sympathy and respect. The more we learn about it, the more we are convinced of its purity and nobility, the more we begin to think about true human values. The image, Sonya's judgments make you look deep into yourself, help you evaluate what is happening around us.

This girl has a hard life. Sonya's mother passed away early, her father married another woman who has her own children. Need forced Sonya to earn money in a low way: she is forced to go to the panel. It would seem that after such an act, Sonya should have been angry with her stepmother, because she almost forced Sonya to earn money in this way. But Sonya forgave her, moreover, every month she brings money to the house in which she no longer lives. Sonya has changed outwardly, but her soul has remained the same: crystal clear. Sonya is ready to sacrifice herself for the sake of others, and not everyone can do this. She could live "in spirit and mind", but she must feed her family. She went to sin, dared to sell herself. But at the same time, she does not demand and does not expect any gratitude. She does not blame Katerina Ivanovna for anything, she simply resigns herself to her fate. “... And she only took our big green dreaded shawl (we have such a common shawl, dreaded dam), covered her head and face with it completely and lay down on the bed, facing the wall, only her shoulders and body were trembling ...” Sonya closes face, because she is ashamed, ashamed before herself and God. Therefore, she rarely comes home, only to give money away, she is embarrassed when meeting Raskolnikov’s sister and mother, she feels awkward even at the wake of her own father, where she was so shamelessly insulted. Sonya is lost under the pressure of Luzhin, her meekness and quiet disposition make it difficult to stand up for herself.
All the actions of the heroine surprise with their sincerity and openness. She does nothing for herself, everything for the sake of someone: her stepmother, stepbrothers and sisters, Raskolnikov. The image of Sonya is the image of a true Christian and righteous woman. It is most fully revealed in the scene of Raskolnikov's confession. Here we see So-nechkin's theory - "the theory of God." The girl cannot understand and accept the ideas of Raskolnikov, she denies his rise above everyone, his disdain for people. The very concept of "an extraordinary person" is alien to her, just as the possibility of transgressing "God's law" is unacceptable. For her, everyone is equal, everyone will appear before the court of the Almighty. In her opinion, there is no person on Earth who would have the right to condemn his own kind, to decide their fate. "Kill? Do you have the right to kill?" exclaims an indignant Sonya. Despite her reverence for Raskolnikov, she will never accept his theory.
The girl never makes an attempt to justify her position. She considers herself a sinner. In strength) "of circumstances, Sonya, like Raskolnikov, transgressed the moral law:" We are damned together, we will go together, "Raskolnikov tells her. However, the difference between them is that he transgressed through the life of another person , and she - through her. Sonya calls Raskolnikov to repentance, she agrees to carry his cross with him, to help come to the truth through suffering. We have no doubts about her words, the reader is sure that Sonya will follow Raskolnikov everywhere, everywhere and always will be with him. And why does she need it? To go to Siberia, live in poverty, suffer for the sake of a person who is dry, cold, rejects you with you. Only she, the "eternal Sonechka", with Dostoevsky managed to create a unique image: a prostitute who commands respect, the love of all those around her - the idea of ​​humanism and Christianity permeates this image. She is loved and honored by everyone: Katerina Ivanovna, and her children, and neighbors, and convicts whom Sonya helped free of charge turns. Reading the Raskolnikov Gospel, the legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. "They were resurrected by love, the heart of one contained endless sources of life for the heart of the other." Rodion came to what Sonya urged him to, he overestimated life and its essence, as evidenced by his words: “Can her convictions now not be my convictions? Her feelings, her aspirations at least...”

In my opinion, the fate of Sonechka finally convinced Raskolnikov of the fallacy of his theory. He saw in front of him not a “trembling creature”, not a humble victim of circumstances, but a man whose self-sacrifice is far from humility and is aimed at saving the perishing, at effective care for others. Sonya, selfless in her devotion to her family and love, is ready to share the fate of Raskolnikov. She sincerely believes that Raskolnikov will be able to resurrect for a new life.

The basis of the personality of Sonya Marmeladova is her belief in a person, in the indestructibility of goodness in his soul, in the fact that sympathy, self-sacrifice, forgiveness and universal love will save the world. Having created the image of Sonya Marmeladova, Dostoevsky outlined the antipode of Raskolnikov and his theory (goodness, mercy, opposing evil). The life position of the girl reflects the views of the writer himself, his faith in goodness, justice, forgiveness and humility, but, above all, love for a person, whatever he may be.