Dostoevsky - creator polyphonic novel, according to Bakhtin. Polyphony is polyphony. His characters seem to be calling each other out. The author surrounds Raskolnikov with people who vary certain thoughts of the protagonist. At the same time, the negative elements of his theory reflect “doubles”, and the positive ones – “antipodes”. The surname Raskolnikov is symbolic for Dostoevsky; it speaks of a split in the hero’s soul. The author surrounds Raskolnikov with people who vary in their minds certain thoughts of the protagonist, while
The negative elements of his theory are reflected by the so-called “doubles” (Luzhin, Lebezyatnikov, Svidrigailov), they are located on the left side of the slide, and the positive elements are antipodes (Razumikhin, Porfiry Petrovich, Sonya).
Luzhin cultivates in himself the theory of “reasonable egoism,” which underlies Raskolnikov’s “arithmetic constructions.” Being an adherent of “economic truth,” this businessman very rationally rejects sacrifice for the sake of the common good, asserts the helplessness of “individual generosity” and believes that concern for one’s own well-being is concern for “general prosperity.”
In Luzhin’s calculations, the intonations of Raskolnikov’s voice are quite perceptible, who, like his double, is not satisfied with “single” help that does not decide anything overall. Both of them “reasonably” find a victim to achieve their goals and at the same time theoretically justify their choice: a worthless old woman, as Raskolnikov believes. will die anyway, and the fallen Sonya, according to Luzhin, will still - sooner or later - steal. True, Luzhin’s idea does not lead him to the axe, but Raskolnikov easily completes the concept of his double: “But bring to the consequences what you preached just now, and it turns out that people can be slaughtered.” Luzhin cleanses Raskolnikov’s “arithmetic” of active compassion and altruistic orientation.
Raskolnikov’s antipode in relation to people is the altruist Razumikhin. It is necessary to make a reservation: he is rather the antipode not of Raskolnikov, but of Luzhin, standing on the opposite pole. The next “double” is the progressive Lebezyatnikov. He varies Raskolnikov’s nihilistic attitude towards the existing world order, moral and social foundations. Enthusiastically speaking out against such “prejudice” as “chastity and female modesty”, calling for the creation of communes, advocating the destruction of marriage ties, Lebezyatnikov discredits the ideas of the revolutionary democratic movement, the meaning of which he reduces to “warming up protest” in Russian life : “We have gone further in our beliefs. We are in denial no more!”
Porfiry Petrovich opposes the riot. In Lebezyatnikov, Raskolnikov’s rebellious element, rebelling against the unjust structure of the world, turns into a thin stream of meaningless and vulgar denials. Lebezyatnikov is a caricature of the main character. In Lebezyatnikov, the cult of protest takes the form of militant stupidity and compromises the rebellious spirit chosen by Raskolnikov. What Raskolnikov has in common with Porfiry Petrovich is that main character denies the “Napoleons” the right to grumble against the existing world order; Porfiry Petrovich also opposes rebellion.
Svidrigailov goes the furthest: by stepping over other people’s lives, he also steps over his own conscience, that is, he fully corresponds to Raskolnikov’s idea of strong personality. But Svidrigailov crashes. “Arithmetic” is refuted by Svidrigailov’s “experiments”: he has more good deeds than other heroes of the novel, but, firstly, the good he has done cannot justify the crimes of the past, and secondly, it is not capable of reviving his sick soul. The conscience driven into the subconscious is eventually released and gives rise to suffocating nightmares. Svidrigailov is the chosen one who “crossed over” without moral torment, but at the same time did not become Napoleon. Svidrigailov’s life outcome is not only his suicide, but also the death of Raskolnikov’s idea, revealing the hero’s monstrous self-deception. Sonya Marmeladova offers the hero a path of repentance, a return to native land which he desecrated. She hands him a cypress cross - a symbol of return to faith. By isolating the components of Raskolnikov’s idea, reflected in the consciousness of the doubles and their “shifters,” we can imagine the system of images of heroes in the form of three pairs. Moreover, in each pair the central place will be occupied by that part of Raskolnikov’s idea that combines certain opposite principles.
The first “three” are Luzhin, Raskolnikov, Razumikhin. They solve issues related to human activity. Here the poles are egoism - altruism. Luzhin's rational egoism degenerates in Raskolnikov's consciousness into reasonable, and Razumikhin's altruism becomes singular.
The second “troika” – Lebezyatnikov, Raskolnikov, Porfiry. They are considering social problems. If Lebezyatnikov denies moral and state regulations, then Porfiry asserts the defense of the state and morality. And Raskolnikov, as always, “splits”: he asserts the right to protest of an extraordinary person and obedience to a “trembling creature”
Svidrigailov - Raskolnikov - Sonya are considered universal problems. If Svidrigailov professes inactivity, individualism, the cult of a strong personality, then Sonya professes deep faith, Christian humility, and philanthropy. Raskolnikov, as always, is somewhere in the middle: on the one hand, he preaches individualism and rebellion, and on the other, he seeks faith, and it is not for nothing that he asks Sonya to read lines from the Gospel.
The antagonist characters enter into dialogue through Raskolnikov’s consciousness. Through the consciousness of the protagonist, the heroes can look into each other: Sonya and Svidrigailov, each separately, expresses their point of view to Raskolnikov, thanks to which the reader sees their polarity. Consciousness central character becomes a kind of conductor of thoughts from one moral pole to another. Each pair of doubles and antipodes in the novel corresponds to a range of problems. For example, in the Luzhin-Razmuikhin series questions related to human activity for humans are raised. “I am for myself,” says Luzhin. “I am for others,” Razumikhin convinces. This dispute is a reflection of the main character’s split on a personal level – between selfishness and altruism. The next row is Lebezyatnikov-Porfiry Petrovich. Here the writer takes a close look at social problems: the denial of certain social and moral principles their defense is opposed. In Raskolnikov's world, this confrontation is manifested in the hero's vacillation between rebellion against the existing order and humility before it.
The problem of the third row, Svidrigailov - Sonya - is philosophical, universal. “Extraordinary” people are not the property of a certain era, they are born throughout the development of mankind. The code of permissiveness is relevant in all ages. The dispute between faith and unbelief, which began from time immemorial, continues to this day. Such a vertical construction makes the line of spiritual split of the protagonist immeasurable: Raskolnikov enters into a dispute with himself, the state and humanity - this is where the powerful scope of his conflict with the world comes from.
In Raskolnikov’s world, everything is brought to its extreme expression: Lebezyatnikov’s harmless protest degenerates into a terrible anarchic rebellion, Razumikhin’s individual goodness reaches an all-human scale, Luzhin’s petty “arithmetic” grows into a theory that pushes him to the axe. There is “too much” of everything in Raskolnikov: from the extreme degree of poverty to the monstrous power of a self-sufficient idea.
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In any Dostoevsky novel there is a character who puts forward an idea. Rodion Raskolnikov, the main character of the novel “Crime and Punishment,” puts forward a theory where people are divided into “ordinary” people who live by the rules and do not violate moral and legal laws, and “extraordinary” people who have the right to cross the line of the law and control their destinies. ordinary people. Fyodor Dostoevsky shows how an idea is born, implemented and becomes obsolete over time.
Raskolnikov is surrounded by characters who refute or support his theory, are its example, that is, they are divided into doubles, supporters of “Napoleonic mania,” or antipodes, supporters of “messiahism.” These characters show the fallacy of the theory to the reader and Raskolnikov himself.
Svidrigailov, Luzhin and Lebezyatnikov are doubles of Rodion Raskolnikov. Each of the heroes puts forward his own theory, which is a reflection of Raskolnikov’s theory. For Svidrigailov this is the theory of self-will and unbelief, for Luzhin it is reasonable egoism, and for Lebezyatnikov it is nihilism.
Svidrigailov steps over his conscience, the lives of other people, laws, that is, he is an ideal representative of Raskolnikov’s theory. But the idea suffers a complete collapse when Svidrigailov commits suicide, unable to withstand the pressure of his conscience. The good deeds he has done do not save his soul, as planned in theory, so the hero's death reveals Raskolnikov's self-deception.
Luzhin, a rich man trying to achieve even greater wealth, is full of pathos, which is similar to Rodion Raskolnikov, extolling himself and extraordinary people. Based on the idea that they are better than others, Luzhin tries to dishonor Sonya, and Raskolnikov kills the old woman, appropriating her wealth for himself. But both cases fail: Luzhin’s lies expose Lebezyatnikov, and Raskolnikov himself repents before Porfiry.
Lebezyatnikov, an employee in the ministry, a supporter of progress, communes, tries to look like a protester and independent, because it is fashionable among young people. He is a vulgar and stupid person, does not recognize the usefulness of art, but is very educated in own opinion. He propagates his ideas, trying to arouse protest in them. Lebezyatnikov also blindly believes in his idea, like Raskolnikov.
Razumikhin, Sonya and Porfiry are Raskolnikov’s antipodes, trying to push him onto the true path. The Antipodes also put forward their theories, but they contradict the theories of the doubles. Razumikhin's idea is opposed to Luzhin - altruism, Sonya's idea, self-sacrifice and humility, contradict the theory of Svidrigailov, and Porfiry, putting forward the theory of apology existing standards, is opposed to the nihilist Lebezyatnikov.
Razumikhin, a student and friend of Raskolnikov, is as poor as Raskolnikov himself, but unlike Rodion, he does not despair, but works. He wants every person to serve for the good; Razumikhin himself is a very kind, intelligent and reliable person. When Rodion falls ill, Razumikhin takes care of him, and he also tries to justify Raskolnikov when he is accused of murder.
Sonya, a poor and patient girl, engages in prostitution to provide for herself and her family. Despite the hardships of life, she holds on through her faith in God. She reads to Raskolnikov a passage about the resurrection of Lazarus in one of the episodes of the novel, and this becomes a kind of confrontation between faith and theory of Raskolnikov. This episode shows the instability of Rodion's idea and the unshakable faith of Sonya Marmeladova.
Porfiry, the investigator investigating the murder of the old woman, is a very insightful person, he psychologically influences Raskolnikov, trying to solve the case. Working as an investigator, Porfiry preserves the existing world order, preventing people like Raskolnikov and Svidrigailov from breaking the law.
Thus, we have proven that in this work the heroes surrounding Raskolnikov show the fallacy of the theory by promoting their ideas.
Updated: 2018-05-13
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F. Dostoevsky's novel “Crime and Punishment” is a “psychological account of a crime” committed by Rodion Raskolnikov. And although the main character is Raskolnikov, the novel creates the whole system images of his counterparts and antipodes. All of them are complex and contradictory people. The ideas and principles of each of them are secretly or openly reflected in the thoughts and deeds of the hero himself.
Raskolnikov is the author of the theory of “blood according to conscience,” according to which, for the sake of the happiness of some people, you can destroy others. Dostoevsky develops this theory further, and then Raskolnikov’s “doubles” appear on the pages of the novel. “We are birds of a feather,” Svidrigailov tells Rodion, emphasizing their similarities.
What unites Raskolnikov with the “greats of this world” Pyotr Luzhin and Arkady Svidrigailov? Pyotr Petrovich Luzhin was painfully vain and narcissistic, main principle his life was to “love yourself, that everything in the world is based on personal interest.” Economic theory Luzhin is the logical conclusion of Raskolnikov’s thoughts. It’s not for nothing that he says to Luzhin: “Bring to the consequences what you preached just now, and it will turn out that people can be slaughtered.”
Arkady Svidrigailov is a more complex nature. On the one hand, he is a criminal with several deaths on his conscience, on the other hand, he helps bury Marmeladov and arranges the fate of the orphans. But what does he have in common with Raskolnikov? What is similar is that he also considers himself an extraordinary person and also “transgresses.” He does not kill anyone with an ax, but it is his fault that his wife Marfa Petrovna dies. Svidrigailov is not just an egoist, like Luzhin, not just a villain. He is also a cynic who rejects all moral laws of society. Svidrigailov is already on the other side of good and evil. All his actions and lifestyle lead to the justification of Raskolnikov’s idea. That's why they are "birds of a feather." It turns out that Raskolnikov wants to protect the disadvantaged from the Luzhins and Svidrigailovs, and his false theory brings him closer to these people.
Raskolnikov does not die like Svidrigailov, but through suffering and repentance he tries to return to people. Porfiry Petrovich and “ eternal Sonechka" They are the antipodes of the hero in the novel.
Sonya Marmeladova, like Raskolnikov, broke the law - she became a prostitute and killed her soul. But she did it for the sake of her loved ones and committed a crime against herself and her conscience. Raskolnikov decided that “everything is permitted” to him and committed a crime against the old pawnbroker and her sister Lizaveta. Raskolnikov experiences pangs of conscience not because he killed innocent people, but because he turned out to be weak, a “louse,” a “trembling creature.”
Porfiry Petrovich, an investigator, an intelligent and subtle psychologist, refutes Raskolnikov’s theory about strong personalities. And if the “eternal Sonya” led the hero to “turn himself in,” then Porfiry Petrovich convinced Rodion that “you can run away from the law, but you can’t run away from yourself,” that moral torment is stronger than physical. And if a person has committed a crime, he must go through this torment. Pangs of conscience.
Raskolnikov’s “doubles” and antipodes emphasize the complexity and contradictoriness of his nature. His soul is split. There is a constant struggle between dark and light, good and evil. Dostoevsky convincingly showed us that even the most sinful and fallen can find their place in life. The great humanist shows in the novel the path to salvation for a lost soul.
Many researchers, in particular M. Bakhtin, noted that at the center of any of Dostoevsky’s novels, constituting its compositional basis, is the life of an idea and the character - the bearer of this idea. Thus, at the center of the novel “Crime and Punishment” is Raskolnikov and his “Napoleonic” theory about the division of people into two categories and the right of a strong personality to neglect laws, legal and ethical, in order to achieve his goal. The writer shows us the origin of this idea in the mind of the character, its implementation, gradual elimination and final collapse. Therefore, the entire system of images of the novel is constructed in such a way as to comprehensively outline Raskolnikov’s thought, to show it not only in an abstract form, but also, so to speak, in practical refraction, and at the same time convince the reader of its inconsistency. Consequently central characters The novels are interesting to us not only in themselves, but also in their unconditional correlation with Raskolyshkov - precisely as with the embodied existence of an idea. Raskolnikov is in this sense, as it were, common denominator for all characters. Natural compositional technique with such a plan - the creation of spiritual doubles and antipodes of the main character, designed to show the disastrousness of the theory - to show both the reader and the hero himself.
Raskolnikov's spiritual doubles are Luzhin and Svidrigailov. The role of the first is the intellectual decline of Raskolnikov's idea, such a decline that will turn out to be morally unbearable for the hero. The role of the second is to convince the reader that Raskolnikov’s idea leads to a spiritual dead end, to the spiritual death of the individual.
Luzhin - entrepreneur mediocre, this is the one who got rich " small man”, who really wants to become a “big” person, to turn from a slave into the master of life. These are the roots of his “Napoleonism,” but how similar they are to the social roots of Raskolnikov’s idea, its pathos of social protest of an oppressed individual in a world of the humiliated and insulted! After all, Raskolnikov is a poor student who also wants to rise above his social status. But it is much more important for him to see himself as a person superior to society in moral and intellectual terms, despite his social position. This is how the theory of two categories appears; both of them just have to check their belonging to highest category. Thus, Raskolnikov and Luzhin coincide precisely in their desire to rise above the position assigned to them by the laws social life, And. thereby rising above people. Raskolnikov arrogates to himself the right to kill the moneylender, and Luzhin to destroy Sonya, since they both proceed from the incorrect premise that they are better than other people, in particular those who become their victims. Only Luzhin’s understanding of the problem itself and methods are much more vulgar than Raskolnikov’s. But that's the only difference between them. Luzhin vulgarizes and thereby discredits the theory of “reasonable egoism.” In his opinion, it is better to wish the good for oneself than for others, one must strive for this good by any means, and everyone should do the same - then, having each achieved their own good, people will form a happy society. And it turns out that Luzhin “helps” Dunechka with the best intentions, considering his behavior impeccable. But Luzhin’s behavior, and his entire figure, are so vulgar that he becomes not only a double, but also the antipode of Raskolnikov.
His sister also becomes the antipode and, to some extent, Raskolnikov’s double. She does not consider herself a being of a higher rank than her brother, and Raskolnikov, making a sacrifice, precisely in this sense feels superior to those for whom he sacrifices himself. Dunechka, on the contrary, not only does not consider herself superior to her brother, she recognizes him as a being of a higher kind. Raskolnikov understands this well, which is why he so decisively rejects his sister’s sacrifice. In their attitude towards people, Dunya and her brother are antipodes. Even Svidrigailova Dunya does not consider herself inferior; she overcomes this temptation, being unable to shoot at a person, because in Svidrigailov she sees a person. Raskolnikov is ready to see a person only in himself.
The attitude towards other people and towards oneself is the spiral along which Dostoevsky unfolds the action of his novel. Raskolnikov is capable of not seeing a person in his neighbor, Svidrigailov is not able to see a person in anyone. This is how Raskolnikov’s idea is taken to the limit, to the point of absurdity. Raskolnikov wants to feel like a person for whom there is no morality in the world. He is convinced that there is nothing wrong either in adultery, or in the corruption of a young girl, or in eavesdropping on other people's conversations in order to use them in his own interests, blackmailing the victims. In response to Raskolnikov’s indignation over the overheard confession, Svidrigailov reasonably remarks that if you can “beat old ladies on the head with anything,” then why can’t you eavesdrop? Raskolnikov has nothing to object to this. And Svidrigailov becomes for Raskolnikov some kind of embodiment of the dark principles of a world in which there are no moral prohibitions. But for some reason he is drawn to this dark beginning. Dostoevsky says that Svidrigailov somehow attracted Raskolnikov. And Raskolnikov goes to him, without even realizing why. But Svidrigailov’s words that all of eternity is some kind of dusty bathhouse with spiders shocked the hero, since he was very clearly able to imagine the logical end of the path, so expressively characterized by Svidrigailov, which he followed by killing the old woman. After such a moral disintegration of the soul, no rebirth of man is possible. After this, only suicide is possible. Dunya, throwing away the pistol, recognized Svidrigailov as a man - he does not see a man in himself.
Raskolnikov leaves Svidrigailov in horror. Having set foot on the path of evil, he is unable to follow this path to the end. After last conversation with Svidrigailov, Raskolnikov will go to Sonechka again. In Raskolnikov’s eyes, she is brought closer to him by the fact that she “also crossed the line,” and he does not yet understand how different what each of them was able to cross, or rather, why each of them did it. embodies the bright beginning of the novel. She feels guilty and is aware of her own sinfulness, but she sinned to save the lives of her little brothers and sisters. “Sonechka, eternal Sonechka Marmeladova!” - Raskolnikov exclaimed when he learned about the proposed wedding of his sister and Luzhin. He perfectly feels and understands the similarity of motives that guide the actions of these women. From the very beginning, Sonya personifies the victim in the novel, which is why Raskolnikov tells her about his crime. And she, who justified and pitied Katerina Ivanovna, her drunken father, is ready to forgive and understand Raskolnikov - she saw a man in the killer. “What have you done to yourself!” - she says in response to his confession. For Sonya, Raskolnikov, having attempted the life of another person, raised his hand against the person within himself, against the person in general.
In Dostoevsky's novel, everything is closely connected, intertwined with each other. At the time of her death from an ax, the feeble-minded Lizaveta was wearing Sonechka’s cross. Raskolnikov wanted to kill only one moneylender, because he considered her life harmful to those around him, but he was forced to kill her sister too, and by raising his hand against Lizaveta, he thereby raised it against Sonechka and, ultimately, against himself. “I didn’t kill the old lady, I killed myself!” - Raskolnikov exclaims in anguish. And Sonya, who forgives Raskolnikov the man, does not forgive his destructive idea. Only in abandoning “this damned dream” does she see the possibility of resurrecting Raskolnikov’s soul. Sonya calls him to repentance; she reads him the famous Gospel episode about the resurrection of Lazarus, expecting a spiritual response. But Raskolnikov’s soul is not yet ready for this, he has not yet outlived his idea. Raskolnikov did not immediately realize that Sonya was right, only during hard labor did this realization come to him, only then was he able to truly repent, and his repentance becomes the last affirmation of Sonya’s rightness, while Raskolnikov’s idea turns out to be completely destroyed.
Thus, by bringing all the characters in the novel into relation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory born of the unjust world itself.
Need to download an essay? Click and save - » DOUBLES AND ANTIPODES OF RASKOLNIKOV. And the finished essay appeared in my bookmarks.Dostoevsky in the novel “Crime and Punishment” thinks about eternal questions: "What is a sense of life? What is the essence of good and truth? Where is the line between good and evil? The heroes of the novel are looking for answers to these questions. Dostoevsky believes that “man is not born for happiness. A person deserves his happiness, and always through suffering... There is such an eternal joy that you can pay for with suffering.” Evil in Dostoevsky's work is a temptation that does not bypass any of his heroes, but some find the strength to resist it, while others cannot understand that behind its external attractiveness lies a lie.
Raskolnikov lives in a world full of humiliated and insulted, in a world from which there is no way out. Even his little room under the very roof of a five-story building, which he rents from his landlady, looks more like a coffin than a human habitation. Living in this cramped closet, seeing monstrous injustice around him, Raskolnikov creates a theory that is terrible and absurd in its essence. He divides people into two categories: ordinary people, who are completely nonentities and “trembling creatures,” and higher ones, “lords of destinies,” who are equated to Napoleons. He considers himself one of these “supermans,” thereby justifying his crime. But Raskolnikov’s theory fails because, although he “crossed the line” and seemed to prove that he was Napoleon, in fact he became like the same “trembling creature.” Raskolnikov is not much different from Luzhin, deceitful and hypocritical. In his soul he himself understands that he is his double, but he does not want and cannot admit it.
Luzhin is Dostoevsky's most hated character in the novel. It is people like Luzhin who make this world cruel and unfair. Luzhin left the provinces and saved his first money there. He is semi-educated, not even fully literate, but he knows how to adapt. He moved to St. Petersburg to practice law, as this profession promises good profits and an honorable position in society. Luzhin is a business man, wealthy, able to support his family, so he decides to get married. He chose Dunya not because he loves him, but out of the same benefit for himself. He understands that a beautiful, educated wife who knows how to behave can help him in his career. And again: “he decided to take an honest girl, but without a devotee and certainly one who has experienced suffering, because a husband should not owe anything to his wife; it is better if the wife considers her husband to be her benefactor.”
In a word, Luzhin also has a theory with which he justifies his most selfish motives for marrying
Dune. This is how Raskolnikov talks about him: “We’ll invent our own casuistry, we’ll learn from the Jesuits and for a while, perhaps, we’ll calm ourselves down, we’ll convince ourselves that this is how it should be, that it’s really necessary for a good purpose.” But in this, Raskolnikov himself is similar to him. After all, he also invented his own “casuistry” and believed in the saving power of his theory. Luzhin’s “theory of rational egoism” is in many ways consonant with Raskolnikov’s idea. “If you go after several birds at once, you won’t achieve even one,” Luzhin preaches. “If you love yourself alone, then you will manage your affairs properly and your caftan will remain intact,” - this, according to Luzhin, is the correct line of behavior. Raskolnikov continues this thought: “And if you bring to the consequences what you preached just now, it will turn out that people can be killed...” But Raskolnikov himself also created a theory where he justifies murder.
Raskolnikov has a lot in common with Svidrigailov. Svidrigailov came to Raskolnikov, expecting to meet an enemy in him. Raskolnikov twice threatens to kill Svidrigailov, and meanwhile, reluctantly admits that they are birds of a feather. Svidrigailov says: “It still seems to me that there is something in you that suits mine.” And Raskolnikov feels that Svidrigailov has some kind of power over him. Svidrigailov is cynical, does not believe in anyone, anything or anything, hates the whole world, but realizes his powerlessness before it. Therefore it tragic death natural.
Raskolnikov is confronted by his friend Razumikhin. This is a big-hearted man. He could have fallen into a destructive binge, and he could have turned into a kind of Oblomov. He fusses, drinks, makes friends with police officials, throws student parties, argues until he is hoarse. He can find mutual language and with the cook, and with Porfiry, and with Luzhin. Razumikhin is naive, but at the same time smart. He did not believe in Mikolka’s guilt, explained the mystery of the dropped earrings, he grasped the main thing in Raskolnikov’s theory. Razumikhin - a kind person. He skillfully looks after the sick Raskolnikov: he brings a doctor to him, buys him decent clothes, takes care of his mother and sister. Razumikhin true friend. He himself says: “Click me and I will come.” After all, Razumikhin cares about Raskolnikov even when he knows that he is a murderer. He looks into a person's soul and sees its essence. Luzhin, in his opinion, is already a hopeless person, but the murderer Raskolnikov can be saved. Selflessness in the name of salvation easily coexists in Razumikhin loved one with the pursuit of personal happiness. But Razumikhin knows his goal and firmly moves towards it. He understands perfectly well that in order to live normally himself and help others, funds are needed. However, he does not commit a crime to obtain these funds, but is looking for, as they say now, a legal source of income. And he finds it. Earning a living from penniless translations, he took a closer look at the publishing business and decided that he could become a publisher - honest, cultured and useful. Razumikhin intends to lay “the beginning of a future state” within three to four years and then move to Siberia, where “the soil is rich in all respects, but workers, people and capital are scarce.” In this new Razumikhin one can discern an “iron will”.
The ideological antipode of Raskolnikov is Porfiry Petrovich. The investigative officer is a smart, careful, courageous person, he knows investigative practice well, and does not adhere to routine. After the murder of Alena Ivanovna, he tries to convict Raskolnikov of the crime. But he has no evidence, and his only weapon becomes psychology. He makes Raskolnikov think every minute that he, the investigator, knows all his ins and outs. He does not even subject Raskolnikov to pre-trial detention, because he knows that he “psychologically will not escape.” “Have you seen a butterfly in front of a candle? Well, so he will all be, everything will be spinning around me, like around a candle; freedom will not be nice, it will begin to think, get confused, entangle itself all around, as if in a net, worry itself to death!..” Porfiry advises Raskolnikov to suffer. But each of them understands suffering in their own way. For Porfiry Petrovich, this is hard labor, which should lead to humility. But for Raskolnikov, hard labor is purification. After all, in hard labor, Raskolnikov regrets not so much the blood he shed as the fact that he broke under the burden he took on.
Raskolnikov first heard about Sonya Marmeladova from her father. He sees her as a close person, because, in his opinion, she also committed a crime. More terrible crime because he kills himself. But Sonya sacrifices herself for the sake of others. Then he will sacrifice in his name, thereby taking upon himself his suffering. Sonya tries to debunk Raskolnikov's inhuman theory. The way out for Sonya lies in accepting basic Christian norms. For Sonya, religion is not a convention, but something that helps to survive in this world. Her Christian idea ultimately defeats theory
Raskolnikov. This is where the moral rebirth of the protagonist begins.
And Raskolnikov, and Luzhin, and Svidrigailov are egoists. They all live for themselves. But Raskolnikov is not alone, next to him are Razumikhin and Sonya. They will help him to be reborn.