The age of puddle in the novel is crime and punishment. Petr Petrovich Luzhin and his role in the novel Crime and Punishment. Who is Luzhin
The image of Luzhin in the novel Crime and Punishment occupies an important place. This hero is negative, but at the same time quite bright and interesting. A characteristic of Luzhin is one of the most common themes in literary works.
Collective image
In describing the appearance of his heroes, Dostoevsky attached special importance to his eyes. The gaze revealed both the character’s inner world and the author’s attitude towards him. But nothing is said about Luzhin's eyes in the novel. This character is an unspiritual personality, examples of which began to appear in large numbers at the time of Dostoevsky. It does not have such a complex inconsistency, as, for example, in Svidrigailov. And so the writer did not characterize his gaze.
The image of Luzhin in the novel Crime and Punishment is based on a description of his appearance and some unseemly acts. This is enough to conclude that this hero is a primitive mediocrity, and people like him appeared not only in the second half of the nineteenth century, but also much later, at all the turning points in the economic and political sphere of the country.
Who is Luzhin?
This man decides to marry the sister of the protagonist - Duna Raskolnikova. In the future bride, he is primarily attracted not by spiritual beauty. He is unable to make out due to his own lack of spirituality. Dunya is poor, and therefore will be a submissive wife. The image of Luzhin in the novel Crime and Punishment plays a role in plotting.
Raskolnikov commits a crime for the sake of an idea that he himself created. But the need pushes him to atrocity, in which not only he, but also his family abides. To become Luzhin's wife for Dunya means to sacrifice himself for his brother.
Appearance
Luzhin is a nouveau riche. This man is just beginning to "beat out into people." And with all his outward appearance, he wants to draw the attention of others to his acquired welfare. The image of Luzhin in the novel Crime and Punishment comes down to a description of the clothes and work of a hairdresser who carries out very thorough manipulations over this gentleman’s head and whiskers. He has a good appearance, he is about forty-five years old, but he looks a little younger. His clothes are impeccable and has a fashionable cover.
Dostoevsky’s work inspires theater directors and filmmakers for over a hundred years. The image of Luzhin in the novel Crime and Punishment, a photo of which can be seen above, in the artists' view, is a rather unambiguous figure. He is outwardly pleasant, but there is nothing behind his appearance. And that is why he so persistently curls at the hairdresser and so carefully selects his wardrobe items. The author himself focuses on this, and these properties do not go unnoticed by other heroes of the novel.
He has a golden lorgnet, from his cambric shawl it smells of perfume, and on his finger he wears a massive, extremely beautiful ring. Nevertheless, the image of Luzhin in the novel Crime and Punishment can be briefly expressed in the following words: slanderer and unworthy person. That is what his main characters call the work, and the author himself portrays it like that.
Luzhin and Raskolnikov
These heroes in the work at first glance have nothing in common. Raskolnikov is tormented by his ideas. He could not realize them. Luzhin is calm and prudent. He does not know the idealism of fans of the Napoleonic genius. He is only a businessman who knows the philosophy of “petty egoism”. With a similar way of thinking, you can live happily ever after without tormenting or suffering. But petty egoism has something in common with the idea of \u200b\u200b“the right of those having”. The similarity lies in the rejection of basic Christian principles.
Raskolnikov dislikes Luzhin before the first meeting. He learns about the role of this master in the fate of his sister from a letter to his mother. The feeling that the protagonist experiences when meeting each other resembles squeamishness. But later he notes with horror that there is something in common between them.
Reliably and realistically created the Dostoevsky image of Luzhin in the novel Crime and Punishment. A summary of the characteristics of the hero is described in this article. But the writer’s extraordinary ability to express the deepest and most subtle aspects of reality can be felt only after reading the novel completely. The realism of Dostoevsky is a unique phenomenon not only in Russian, but also in world literature.
Luzhin is the most hated image of Dostoevsky in the novel. Without Luzhin, the picture of the world after the defeat in Crime and Punishment would be incomplete, one-sided. According to the fatal, incomprehensible and unacceptable for Raskolnikov regularity, all the reasons led to the fact that Luzhin was the triumphant consequence, the crown of all things, that he represents what is behind him.
Luzhin ascended to the provinces, where he accumulated his first, apparently already significant, money. He is semi-educated, not even very literate, but he is a crook, a hook, and now, in the prospect of new courts, he decided to move to St. Petersburg and take up advocacy. Luzhin understood that in the post-reform situation, in the emerging capitalist society, the bar promises both bold chunks and an honorable position next to the first people of the tarnished noble elite: “... after long considerations and expectations, he finally decided to finally change his career and enter into a more extensive a circle of activity, and at the same time, little by little, to go over to a higher society, about which he had long thought with voluptuousness ... In a word, he decided to try Petersburg ”(6; 268).
Luzhin is forty-five years old; he is a business man, busy, serves in two places, feels well-off to start a family and a house. Luzhin decided to marry Duna, because he understood: a beautiful, educated, able-witted wife can greatly help his career, as a wife from the family of the Myshkin princes helped elevate Epanchin. However, in comparison with Yepanchin, Luzhin is still too Chichikov, his prudence cannot yet be freed from natural hacking. He sent the bride and his mother to Petersburg in a beggarly manner. In St. Petersburg, he placed them in the suspicious numbers of the merchant Bakaleev, if only it would be cheaper. He counted on the helplessness, helplessness and complete insecurity of his future wife.
It was managed, however, not only by stinginess. Luzhin was from the bourgeoisie type Mlekopitaevyh ("Bad Anecdote"). He understood equality in his own way. He wanted to become equal with stronger ones, with higher ones. He despised the people whom he overtook on his life path. Not only that, he wanted to rule them. The lower the social quagmire from which he rose, the more cruel he wanted to show his weight, the severity of his blows. He was amused by the sense of predatory self-satisfaction, the triumph of the winner, pushing the other down to the bottom to take his place. In addition, he still demanded gratitude from the addicted and “benefited”. Hence the plan cherished by him in marriage with Dunya, a plan that he almost never concealed: Luzhin “expressed himself that even before, not knowing Dunya, he had decided to take the girl honest, but without a dowry, and certainly one that had already experienced distress; because, as he explained, the husband should not owe anything to his wife, and much better if the wife considers her husband for her benefactor ”(6; 62).
He threatens the bride that he will leave her if she does not obey, does not break with Rodya, for whose sake she decided to take his hand.
“He is an intelligent man,” says Raskolnikov about Luzhin, “but in order to act smartly, one mind is not enough.” Luzhin’s mind was short, too definite, practically rationalistic, penny-calculating, devoid of intuition and ignoring heart considerations, shy of the unknowable and all that does not add up like knuckles on the counts.
Luzhin is the Russian version of the French bourgeois, as Dostoevsky understood it, and how he described it in Winter Notes on Summer Impressions. Luzhin is less hewn, less cultured, he does not stand at the end, but at the beginning of the process. Luzhin shines like a brand new penny, he can even be called beautiful, but at the same time his beautiful and solid physiognomy made an unpleasant, even repulsive, impression. He is sneaky, not mentally squeamish, sows gossip and invents gossip. Luzhin does not understand either selfless honesty or nobility. Exposed and ousted by Dunya, he believes that he can still fix everything with money. He saw his mistake mainly in the fact that he did not give Duna money with his mother. “I thought to hold them in a black body and bring them, so that they looked at me as a providence, and they won! .. Ugh! .. Not if I gave them for all this time, for example, a thousand and a half dowry, yes for gifts ... it would be cleaner and ... stronger! ” (6; 254).
Luzhin’s whole mind went into ownership, into the building up of capital, into a career. Upstart, nouveau riche, and in his own way broke the old patriarchal wholeness, and he ranked himself as a “new people” and thought to justify his dirty practice with modern theories. Luzhin called himself a man who shared the convictions of "our latest generations." His hopes for success were in fact connected with changing times, and it is understandable why: in old Russia, with its serfdom, privileges, traditions, and noble standards of honor and ennobled behavior, he had nothing to do and there was nothing to rely on. In old Russia, he would have remained, at best, a successful Chichikov; in post-reform Russia, he would become a successful lawyer or grinder - or both together, and even a liberal public figure called to the banquet table. Luzhin is deprived of conscience, reflection, he is convinced that everyone is like him, he does not hide that he is eyeing new ideas for his selfish purposes. In “ideas” Pyotr Petrovich Luzhin did not go beyond the bounds of cliched stencils and vulgar common places: “... new, useful thoughts are spread,” he complacently recited, “some new, useful works are spread, instead of the old dreamy and romantic ones; literature takes on a more mature connotation; many harmful prejudices have been eradicated and ridiculed ... In a word, we irrevocably cut ourselves off from the past, and this, in my opinion, is already a matter ... ”(6; 123).
Luzhin was drawn to "our young generations" because he assumed strength in them. He insured against a more radical change, so that with all the turns of the wheel to be at the top, to win. Impure means of unclean activity made him fear the true democratic public, publicity, and revelations. Therefore, he sought connections, of course, harmless and non-compromising, with “other curious and fabulous circles”: “He heard, like everything that exists, especially in St. Petersburg, some progressives, nihilists, exposers, and so on. and so on, but, like many, exaggerated and distorted the meaning and significance of these names to the ridiculous. For the past several years, he was most afraid of the conviction, and this was the main reason for his constant, exaggerated concern, especially when he dreamed of transferring his activities to St. Petersburg ”(6; 273).
Luzhin sought contacts with the “young generations”, however, not only out of fear of possible, albeit obscure to him, social and political changes.
Luzhin was both dull and poorly educated, and wrote a pre-reform, sloppy syllable, but he understood that time required ideology. After all, even the bookstore from the heaving market of the Cherubim also "now climbed into the direction." Luzhin changed his skin, became a liberal Vitia, he needed a "platform", moreover, a "progressive", "advanced".
The simplest law of mimicry suggested that “ideology” should not be sought in old testaments, but in modern science, in political economy, in utilitarian philosophy, the formulas of which acquired the value of a bargaining chip used by everyone in accordance with his position and level of development.
Luzhin clung to these appropriately interpreted formulas with all his might, even with some passion. Luzhin knew the theory of rational egoism and the theory of solidarity of interests between Feuerbach and Chernyshevsky from the grated and frayed conversations, and he took it in his own way as a justification of individualistic egoism and as a principle of pursuing each of its private goals, as a principle of bourgeois political economy: laissez faire , laissez passer Dostoevsky. The context of creativity and time. St. Petersburg, 2005.S. 343.
He agreed to free himself from all the restraints imposed by religion, tradition, public morality; he benefited from the law of universal separation and the wolfish law of the general dump: his fangs had already grown, and he was firmly convinced that he would be among the winners in the war of all against all. Luzhin never took enthusiasm and daydreaming seriously, besides enthusiastic dreamers were clearly defeated in the just-concluded political and social battle; according to Luzhin, this could not have been otherwise. From the entire movement of the sixties, he learned one lesson: enrich yourself!
The interlocutors of Luzhin, Raskolnikov and Razumikhin, vividly saw through him, vividly realized that he was turning the principle of the common good, professed by the socialist "young generations", into the principle of social anthropophagy, professed by the nascent Russian bourgeoisie.
Dostoevsky was a great master of monologues, dialogues and conversations of many people. He breaks the thread of the theoretical and philosophical conversation that has begun, and throws it over to everyone who was interested in the mysterious murder of Alena Ivanovna, whose secret so far was known only to Raskolnikov. The new direction of the conversation provokes a seemingly very reasonable and relevant remark by Luzhin. “Not to mention,” he continues, “that crimes in the lower class over the past five years have increased; I’m not talking about widespread and continuous robberies and fires; the strangest thing for me is that crimes in the upper classes increase in the same way and, so to speak, in parallel ”(6; 134).
Luzhin gives examples taken from the criminal chronicle of the beginning of the post-reform period: a student robbed mail, people from an adequate and educated environment fake money and bonds, "the main participants are one lecturer in world history," etc. etc. Yes, and Alena Ivanovna was killed by a man not from the bottom, because men do not lay gold things, he reasonably ends.
Luzhin is lost in explaining the causes of facts that frighten him as an owner.
Razumikhin gives an answer, although tinted in Slavophile-soil-minded tones, but basically true: the outraging Luzhin criminality grows out of the “Western” thirst for money, all out of the same ideology and psychology that filled Luzhin to the brim.
Luzhin makes a careless move; a man of the middle, a man of common places, contrary to the theory he had just preached, he utters a philistine-hypocritical maxim: “But, nevertheless, morality? And, so to speak, the rules ... ”(6; 135).
And here Raskolnikov, with triumph, catches and finishes him:
"Yes, what are you bothering about? .. According to yours, the theory came out! .. bring to the consequences that you preached just now, and it turns out that people can be cut ...". Luzhin is protesting, Zosimov believes that his patient has grabbed over the edge, Luzhin “arrogantly” parries: “There is a measure for everything ... the economic idea is not yet an invitation to kill ...”. “Is it true that you,” concludes the circle of Raskolnikov, “is it true that you told your bride ... that you are most glad that ... she’s a beggar ... because it’s more profitable to take a wife out of poverty, then over to rule it ... and reproach that you have benefited from it? .. ”(6; 135).
Razumikhin and Raskolnikov reasoned correctly: murder due to money, robbery explicit or covered up, “buying” a wife — morally, phenomena of the same order. Luzhin has nothing to do with the search for a new truth and a new justice. Luzhin - "clinging". Luzhin is a man of a strange, opposing and hostile camp, who uses, when it is profitable for him and as long as it is beneficial for him, “new ideas”.
Even Andrei Semenovich Lebezyatnikov even dissociates himself from Pyotr Petrovich Luzhin - Dostoevsky draws a distinction between them. “Lebezyatnikov,” we read in the novel, “... also began to partly not tolerate his cohabitant and former guardian Petr Petrovich ... No matter how rustic Andrei Semenovich was, he nevertheless began to examine little by little that Petr Petrovich was inflating him secretly despises and that "not such a man at all." Lebezyatnikov tried to expound the Luzhin system of Fourier and Darwin, but Petr Petrovich listened “somehow too sarcastically, and most recently - he even began to scold” (6; 253). But Lebezyatnikov is only a caricature, only a transmitter from the third voice of the worldview, with which you want to or not, but you had to reckon with which Luzhin really had no common ground.
Luzhin is the man of the camp to which the dandy belonged, who was chasing a deceived and seduced girl on the boulevard. And even worse. Frant was overwhelmed with lust, Luzhin with a passion for profit, he acted on a strict calculation of the benefits and disadvantages, by which it cost him nothing to kill or devour a person. Luzhin slandered Sonya and accused her of theft in order to arrange his affairs, in order to discredit Raskolnikov and regain “these ladies”. In the melodramatic and at the same time tragic scene, the angry, indignant Lebezyatnikov exposes Luzhin’s meanness and finally proves that between Luzhin and nihilism, even in the most vulgar forms, and la Eudoxie Kukshin (from “Fathers and Sons”), there is nothing in common, that there’s a gap between them. Razumikhin says to Duna: “Well, is he a couple to you? Oh my goodness! You see ... even though I’m all drunk there, but they’re all honest, and even though we’re time, because I’m lying too, let’s finally get to the truth, because we are standing on a noble road, and Petr Petrovich .. It’s not on a noble road ... ”(6; 186).
“They” are participants in the party to which Raskolnikov, socialists, anarchists, “soil workers”, Porfiry Petrovich, and finally people with an anxious conscience, in mistakes, in “seeking the city” evasions, were invited. Luzhin is looking for money and only money. Luzhin was kicked out three times during the novel, three times rejected from him: once Raskolnikov kicked him out, and he threatens to roll somersaults from the stairs, the second time Dunya: “Petr Petrovich, get out!” And the third time - Lebezyatnikov: “So that immediately your spirit would not be in my room; if you please move out, and everything between us is over! ” (6; 289).
But Luzhin is tinned, bribes are smooth from him. Lieutenant Pirogov also sits in it, only again not unconscious, but prudent, angry and cruel. They will expose him, they will tell him who he is and that he will spit in his face, he will only wipe himself and go on his way. “They”, honest ones, will not succeed in life, many of them will put on themselves the crown of thorns of political martyrs - Luzhins, however, are the only winners coming out of all fights unscathed and profitably, knowing that, despite their liberal phraseology, those in power with them, those in power guard their interests.
Luzhin must not be underestimated. Dostoevsky assigned him a large role in the figurative-semantic system of the novel. Luzhin is the key to understanding the essence of reality that developed after the defeat of the revolutionary democratic movement of the sixties on the basis of the bourgeois reforms that had begun. The Marmeladov family, the Raskolnikov family, the girl who “got a percentage”, testify to the vale of sorrow and suffering in which the majority, the best, sweetest and most defenseless, with whose labor and selflessness the world holds, lives. Luzhin shows what the hopes really awakened in the sixties really turned into. Luzhin is a bourgeois.
Luzhin was only seized by the hand, and he is already on the offensive, accusing his whistleblowers of godlessness, freethinking and indignation against public order. Amazed, confused, Raskolnikov receives a visual lesson - what the world is, not only in the present, but also in the future, what Russia has become as a result of the defeat of the sixties democracy, what it will become in the future process of capitalist development and capitalist differentiation.
The image of Luzhin in the novel Crime and Punishment occupies an important place. This hero is negative, but at the same time quite bright and interesting. A characteristic of Luzhin is one of the most common themes in literary works.
Collective image
In describing the appearance of his heroes, Dostoevsky attached special importance to his eyes. The gaze revealed both the character’s inner world and the author’s attitude towards him. But nothing is said about Luzhin's eyes in the novel. This character is an unspiritual personality, examples of which began to appear in large numbers at the time of Dostoevsky. It does not have such a complex inconsistency, as, for example, in Svidrigailov. And so the writer did not characterize his gaze.
The image of Luzhin in the novel Crime and Punishment is based on a description of his appearance and some unseemly acts. This is enough to conclude that this hero is a primitive mediocrity, and people like him appeared not only in the second half of the nineteenth century, but also much later, at all the turning points in the economic and political sphere of the country.
Who is Luzhin?
This man decides to marry the sister of the protagonist - Duna Raskolnikova. In the future bride, he is primarily attracted not by spiritual beauty. He is unable to make out due to his own lack of spirituality. Dunya is poor, and therefore will be a submissive wife. The image of Luzhin in the novel Crime and Punishment plays a role in plotting.
Raskolnikov commits a crime for the sake of an idea that he himself created. But the need pushes him to atrocity, in which not only he, but also his family abides. To become Luzhin's wife for Dunya means to sacrifice himself for his brother.
Appearance
Luzhin is a nouveau riche. This man is just beginning to "beat out into people." And with all his outward appearance, he wants to draw the attention of others to his acquired welfare. The image of Luzhin in the novel Crime and Punishment comes down to a description of the clothes and work of a hairdresser who carries out very thorough manipulations over this gentleman’s head and whiskers. He has a good appearance, he is about forty-five years old, but he looks a little younger. His clothes are impeccable and has a fashionable cover.
Dostoevsky’s work inspires theater directors and filmmakers for over a hundred years. The image of Luzhin in the novel Crime and Punishment, a photo of which can be seen above, in the artists' view, is a rather unambiguous figure. He is outwardly pleasant, but there is nothing behind his appearance. And that is why he so persistently curls at the hairdresser and so carefully selects his wardrobe items. The author himself focuses on this, and these properties do not go unnoticed by other heroes of the novel.
He has a golden lorgnet, from his cambric shawl it smells of perfume, and on his finger he wears a massive, extremely beautiful ring. Nevertheless, the image of Luzhin in the novel Crime and Punishment can be briefly expressed in the following words: slanderer and unworthy person. That is what his main characters call the work, and the author himself portrays it like that.
Luzhin and Raskolnikov
These heroes in the work at first glance have nothing in common. Raskolnikov is tormented by his ideas. He could not realize them. Luzhin is calm and prudent. He does not know the idealism of fans of the Napoleonic genius. He is only a businessman who knows the philosophy of “petty egoism”. With a similar way of thinking, you can live happily ever after without tormenting or suffering. But petty egoism has something in common with the idea of \u200b\u200b“the right of those having”. The similarity lies in the rejection of basic Christian principles.
Raskolnikov dislikes Luzhin before the first meeting. He learns about the role of this master in the fate of his sister from a letter to his mother. The feeling that the protagonist experiences when meeting each other resembles squeamishness. But later he notes with horror that there is something in common between them.
Reliably and realistically created the Dostoevsky image of Luzhin in the novel Crime and Punishment. A summary of the characteristics of the hero is described in this article. But the writer’s extraordinary ability to express the deepest and most subtle aspects of reality can be felt only after reading the novel completely. The realism of Dostoevsky is a unique phenomenon not only in Russian, but also in world literature.
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Pyotr Petrovich Luzhin is one of the brightest secondary heroes of Dostoevsky's novel Crime and Punishment.
This article presents a cited image and characterization of Luzhin in the novel Crime and Punishment: a description of Petra Petrovich Luzhin's appearance and character.
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All materials about Luzhin
The image and characterization of Luzhin in the novel Crime and Punishment: a description of appearance and character (Petr Petrovich Luzhin)
Petr Petrovich Luzhin is the groom of Dunya Raskolnikova, sister of the protagonist, Rodion Raskolnikov.
Mr. Luzhin is 45 years old:
“True, he is already forty-five years old. " Mr. Luzhin is the rank of court adviser (this is a fairly high rank, which gives the right to personal nobility):
“He is already a court adviser, Petr Petrovich Luzhin. " The following is known about Luzhin's appearance:
In the end, Dunya refuses to marry a scoundrel Luzhin and a few months later becomes the wife of Razumikhin.
It was a quote image and characterization of Luzhin in the novel Crime and Punishment by Dostoevsky: a description of Petra Petrovich Luzhin's appearance and character.
World of Dostoevsky
The life and work of Dostoevsky. Analysis of the works. Characteristics of Heroes
Mr. Luzhin is one of the most striking images in the novel Crime and Punishment by Dostoevsky.
This article presents a cited image of Luzhin in the novel Crime and Punishment: a table with a description of appearance and character, a portrait of the hero in quotes.
See:
All materials on "Crime and Punishment"
All articles about Luzhin
The image of Luzhin in the novel Crime and Punishment: a table with a description, a portrait in quotes
Luzhin and his theories
In the novel Crime and Punishment, Mr. Luzhin is a supporter of several interesting theories.
Luzhin supports the theory of poor and grateful wives. The idea was that the wife should be poor and value her husband for saving her from poverty. That is why he decides to marry the poor, but beautiful and educated Duna Raskolnikova.
Luzhin and Dunya Raskolnikov
Luzhin makes an offer to poor Duna Raskolnikova after an unpleasant incident occurs in her at the Svidrigailovs' house, where the girl works as a governess. The father of the family, Mr. Svidrigailov, falls in love with the Dunya, which is 2 times younger than him. Marfa Petrovna, the wife of Svidrigailov, blames Dunya for everyone and unjustly dishonors her throughout the city.
Soon, upon learning the truth, Marfa Petrovna restores Dunya's reputation and finds for her a groom - Mr. Luzhin. Dunya accepts Luzhin’s offer to save his family from poverty.
As a result, Luzhin’s marriage with Dunya is canceled after the vile and deceitful nature of the groom is revealed. Disappointed in Luzhin, Dunya refuses to marry him.
Luzhin's prototypes in the novel Crime and Punishment
- Lyzhin Pavel Petrovich - the attorney with whom Dostoevsky was familiar. The name Lyzhina is found in draft materials for the novel Crime and Punishment. In Lyzhin’s surname, the author seems to have changed one letter. As a result, we got a well-known character with a speaking surname - Luzhin.
- Karepin Petr Andreevich could also be another Luzhin prototype. Karepin was the husband of Dostoevsky’s sister. He married at the age of about 45 years of 18-year-old sister of Dostoevsky. After the death of the father of the writer, Karepin also became the guardian of the Dostoevsky. This is very similar to Luzhin, who wanted to marry Duna at the age of 45, and was also the guardian of Lebezyatnikov.
- Dostoevsky can also be considered one of the prototypes of Luzhin. When writing Crime and Punishment, Dostoevsky was about 45 years old, and he, like Luzhin, married to his future second wife, a young girl, Anna Grigoryevna Snitkina.
It was a quote image of Luzhin in the novel Crime and Punishment: a table with a description of his appearance and character, a portrait of the hero in quotes, a description of Luzhin's prototypes, an exposition of Luzhin's theories, etc.
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Luzhin and Svidrigailov in the novel F.M. Dostoevsky's "Crime and Punishment"
School essay
The novel "Crime and Punishment" was conceived by Dostoevsky at penal servitude. Then it was called "Drunken", but gradually the idea of \u200b\u200bthe novel was transformed into a "psychological report of one crime." Dostoevsky in his novel depicts the collision of theory with the logic of life. According to the writer, a living life process, that is, the logic of life, always refutes, invalidates any theory - the most advanced, revolutionary, and the most criminal. Therefore, life cannot be done according to theory. And therefore, the main philosophical thought of the novel is not revealed in a system of logical proofs and refutations, but as a collision of a person possessed by an extremely criminal theory with life processes that refute this theory.
Raskolnikov is surrounded in the novel by characters who are, as it were, his “doubles”: in them, any side of the personality of the protagonist is reduced, parodied or shaded. Thanks to this, the novel turns out not so much to be a trial of a crime, but (and this is the main thing) a trial of a person’s personality, character, and psychology of a person, which reflected the features of Russian reality of the 60s of the last century: searches for truth, truth, heroic aspirations, “reeling” , "Misconceptions."
Rodion Raskolnikov is associated with many people in the work. One of them - Luzhin and Svidrigailov, who are the "doubles" of the protagonist, because they created theories similar to the theory of the "chosen" and "trembling creatures." “We are one field of berry,” says Svidrigailov to Rodion, emphasizing their similarity. Svidrigailov, one of the most complex images of Dostoevsky, is captured by a false theory. He, like Raskolnikov, rejected public morality and wasted his life on entertainment. Svidrigailov, guilty of the death of several people, silenced his conscience for a long time, and only a meeting with Dunya aroused any feelings in his soul. But remorse, unlike Raskolnikov, came to him too late. He even helped Sonya, his bride, the children of Katerina Ivanovna, to drown out remorse. But there is not enough time or energy to cope with himself and he shoots himself a bullet in the forehead.
Svidrigailov - a man without conscience and honor - is like a warning to Raskolnikov if he does not obey the voice of his own conscience and wants to live, having in his soul a crime not redeemed by suffering. Svidrigailov is the “double” most painful for Raskolnikov, because it reveals the depths of the moral decline of a person, because of the spiritual emptiness of the one who went along the path of crime. Svidrigailov is a kind of “black man” who worries Raskolnikov all the time, who convinces him that they are “of the same field of the berry,” and with which the hero therefore fights especially desperately.
Svidrigailov - a wealthy landowner, leads an idle lifestyle. Svidrigailov man and citizen in himself destroyed. Hence, he has cynicism, with which he formulates the essence of Raskolnikov’s idea, freeing himself from Rodion’s confusion and remaining in unlimited voluptuousness. But, having stumbled upon an obstacle, he commits suicide. Death for him is liberation from all obstacles, from "questions of man and citizen." This is the result of an idea that Raskolnikov wanted to make sure.
Another "double" Rodion Raskolnikov is Luzhin. He is a hero who succeeds and does not constrain himself in any way. Luzhin disgusts and hatred Raskolnikov, although he recognizes something in common in their life principle of calmly crossing over obstacles, and this circumstance tormentes even more conscientious Raskolnikov.
Luzhin is a business man with his own "economic theories." In this theory, he justifies the exploitation of man, and it is built on profit and calculation, it differs from Raskolnikov’s theory by selfless thoughts. And although theories of one and the other lead to the idea that one can “shed blood in good conscience,” Raskolnikov’s motives are noble, heartbroken, he is driven not only by calculation, but by error, “dull mind.”
Luzhin is a straightforwardly primitive person. He is a reduced, almost comic double, compared to Svidrigailov. In the last century, the minds of many people were subject to the theory of "Napoleonism" - the possibility of a strong personality to command the fate of other people. The hero of the novel Rodion Raskolnikov became a prisoner of this idea. The author of the work, wanting to depict the immoral idea of \u200b\u200bthe protagonist, shows its utopian result in the images of the “doubles” - Svidrigailov and Luzhin. The establishment of social justice by violent means Raskolnikov explains as "blood of conscience." The writer further developed this theory. Svidrigailov and Luzhin exhausted the idea of \u200b\u200babandoning "principles" and "ideals" to the end. One lost the guidelines between good and evil, the other preaches personal gain - all this is the logical conclusion of Raskolnikov’s thoughts. It’s not for nothing that Luzhin’s selfish reasoning, Rodion replies: “Bring to the consequences that you preached just now, and it turns out that people can be slaughtered.”
In his work Crime and Punishment, Dostoevsky convinces us that the struggle between good and evil in a person’s soul does not always end in a victory of virtue. Through suffering, people go to transformation and purification, we see this on the images of Luzhin and especially Svidrigailov.
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Characteristic of Luzhin in the novel Crime and Punishment
The characterization of Luzhin in the novel Crime and Punishment was given by Dostoevsky so clearly and expressively that the reader could not even have a shadow of doubt about whether or not this character should be recorded in light or dark in which camp. Definitely, he is a negative hero. However, his role in the work is huge. Without Luzhin, the writer would not have been able to convey his idea.
This is a man of about forty-five years old. He is "licked", cleaned, dressed with a needle. Looks a little younger than his age. On the appearance of Luzhin, Dostoevsky emphasizes special attention. Tells about clothes, hairstyle, sideburns, how long the hairdresser conjures over his client. Only about the character’s eyes is not said in the novel. This means that there is nothing to talk about them. After all, the eyes are a mirror of the soul, and instead of the soul, Luzhin has a void.
A cunning businessman, a nouveau riche, an upstart, a man who managed to get rich in an era of economic change. Proud of it, a smug cynic. This is how Luzhin is described. Without a twinge of conscience, he would go over the corpses to make his wallet even thicker. To use people, to rip them off, to circle around a finger - all this, according to the hero, is absolutely permissible. After all, whoever is stronger is right, people live according to the laws of the jungle. So Luzhin thinks.
Even as a wife, she chooses a woman not out of love and outward appearance, but on the basis of thought whether she will be submissive. Because he does not need another. Raskolnikov’s sister Dunya fully meets the requirements of Luzhin. Initially, the girl agrees to marry a wealthy man. She, too, is guided not by love, but only by the desire to help her family, which is living in poverty. In particular, to Brother Rodion.
Raskolnikov is extremely indignant at this whole situation. He, an ardent opponent of oppression by some people of others, cannot reconcile himself to the fact that his sister will marry the soulless monster Luzhin. Raskolnikov is embraced by hatred. He decides on a crime that has been ripening in his head for a long time. Kills the old woman-percussionist, who, like Luzhin, profits from a mountain of people.
In such an unexpected way, the author connected the fate of seemingly polar heroes. One is a romantic, idealist, fighter for justice. The other is a cynic, a calculating hypocrite, a dummy. However, there is something that unites them, no matter how strange it may sound. Both Raskolnikov and Luzhin admit that people can be sacrificed. The first is for the sake of the idea, the second is for the sake of material gain.
Raskolnikov understands this only later, after the murder. He is horrified by the thought that he is somewhat similar to Luzhin. The latter does not understand anything and does not repent. This feeling in his soul does not exist, as well as herself. Luzhin is not a man, but a counting machine in a polished suit, with chic whiskers and a hairstyle from the best master of the capital.
Being a figment of fantasy, the negative hero still has many prototypes. Many of them also live happily ever after.
Dostoevsky was truly the Master of the Word. In his works, even secondary characters were written out vividly, visibly, meaningfully. So the image and characterization of Luzhin in the novel Crime and Punishment is depicted so fully, albeit with a few, one can say, mean strokes, that it can be said that Pyotr Petrovich, like Svidrigailov, is a “shadow”, a parody of the main character of the novel is Rodion Raskolnikov.
Portrait of Luzhin
This is a gentleman of about forty-five years old, he has the rank of a court adviser (as opposed to a poor student - the brother of Luzhin’s bride). This rite automatically guaranteed at that time to the bearer the right to hereditary nobility, "your high nobility" addressed such a gentleman. And what irony, even satire, sounded in such an appeal with reference to Pyotr Petrovich, who, in fact, did not shine with inner, spiritual nobility.
Here you can clearly see the difference between the external, externally assigned title, description, portrait and the real inner essence, which is a striking contrast with the portrait.
He was a senior gentleman already years old, stiff, gambling, with a cautious and obtuse physiognomy ... "," His whole dress was just from a tailor, and everything was fine, except that everything was too new and too denounced the famous even a dandyish, brand new, round hat testified to this goal: Pyotr Petrovich somehow treated her too respectfully and held her in too carefully. Even a lovely pair of lilac, genuine Juveni gloves showed the same thing, even if one that their not n they did it, but only carried it in their hands for the parade. The clothes of Pyotr Petrovich were dominated by bright and youthful colors. His face, very fresh and even beautiful, seemed to be younger than his forty-five years old. ... If there was anything about this quite beautiful and solid physiognomy really unpleasant and repulsive, it came from other reasons.
- It is no coincidence that Dostoevsky even paints a portrait of Luzhin in great detail, as if it was a portrait of the protagonist, although Pyotr Petrovich is not at all.
The whole essence of this gentleman’s description comes down to the same duality: “for the parade” everything is in Luzhin, and behind the facade there is simply darkness and denial.
The writer not only draws a portrait of the character himself, but you can also learn a lot from the reviews and the characteristics that Peter Petrovich gives to those who know him: Svidrigailov, for example, Lebezyatnikov and others. The replicas of those who know Luzhin only emphasize the contradictions between the appearance and inner essence of this character.
What kind of person is Petr Petrovich Luzhin
He is rather wealthy, a nobleman who has gotten out "of people" - "from rags to riches", is poorly educated, but is smart, he values \u200b\u200bhis mind. Luzhin has a complex of narcissism - Pyotr Petrovich quite often admires himself, often in front of a mirror, and is proud of his theory. He is arrogant, loves money, conceited, but he is sometimes gloomy.
The master does not shy and show off in front of others, loves to be listened with attention. Luzhin is prudent, pragmatic, in many things - straightforwardly primitive.
Lawyer and love
Pragmatism and primitiveness contributed to the development of a special theory, which Luzhin came up with and explained to other characters in the novel. According to this theory of his, he prudently chose a bride. To say that the choice was made out of love is to insult love itself. Pyotr Petrovich calmly and by calculation chose for himself a noble, intelligent, beautiful girl, but poor. In accordance with his theory, Luzhin hoped that Dunya would thank him all his life, that out of a sense of gratitude, he would meekly do whatever he wanted, what he ordered, what he required. The girl was to voluntarily become his slave, servant, mistress wife, housekeeper, etc. And he will rule freely, satisfy all his whims, desires, and amuse his vanity.
With the help of the bride, and in the future, the wife of Avdotya Romanovna, pretty, smart, charming and grateful to him forever, Petr Petrovich hoped to advance into high society. Luzhin understood perfectly that women could "very, very" much to win. A charming, virtuous and educated woman could surprisingly brighten his way to high society, attract important people to him, create a halo ... and now everything collapsed! ... "
Luzhin theory
The theory of the terry egoist is “the theory of the whole caftan”. It says that everyone should love only himself, to pursue and promote, to observe only his interests. And when a person, loving himself, begins to do his job as well, his caftan will remain intact.
The Luzhin “economic theory” justifies absolutely any exploitation of other people, the theory is built on bare calculation and only for personal gain. According to it, it turns out that one who stands at least a little higher on the social ladder has money, power, has every right to use even his wife, at least his friends, at least those who are lower than him in estate ranks, as he pleases, only for their own benefit and achieve their own goals. You can step over anyone below you, you can even go over the corpses, in principle - you can even kill if it will contribute to his personal benefit.
P.P. - reflection of the protagonist and not only
It is clear that in some ways Luzhin’s theory echoes Raskolnikov’s theory. Only the student’s theory is distinguished by selfless thoughts, does not preach the achievement of personal only selfish goals. Dostoevsky in the novel developed the idea that the theory of "Napoleonism", very fashionable at that time, does not have its logical end and the life of any person, regardless of origin, rank, rank, wealth, etc. sacred.
The crime, regardless of the purpose of its commission, will still be punished or the person who transgresses will come through repentance and suffering to purification and forgiveness.
Luzhin, living solely for his own sake, and Svidrigailov, preaching that
“Single villainy is permissible if the main goal is good”
Those. crime again to satisfy his whims.
Raskolnikov, on the other hand, sees himself in these characters as if in a crooked mirror, even though his purpose, in essence: the crime is justified if it is committed for the good of others by the superman. Because Arkady Ivanovich that Pyotr Petrovich is equally disgusting and disgusting to Rodion, Luzhin is a miserable caricature even of Svidrigailov. And he does not internally, at the level of the subconscious, at first, and later understanding clearly and clearly rejects all these theories, through suffering he comes to repentance and repentance, to complete spiritual transformation through love.
“Crime and Punishment” is a classic of world literature. The novel, deep in terms of problems, amazes with the elaborate images and psychologism of the heroes. Pyotr Petrovich Luzhin is a curious character whose role in the work is great. In a duet with this character creates a system of doubles with the main character,.
History of creation
In 1865, Fyodor Mikhailovich Dostoevsky, while in Wiesbaden, wrote a letter to the publisher of the journal "Russian Herald" Mikhail Katkov. The writer reported that he had the idea of \u200b\u200ba new work, which he described as "a psychological report of one crime."
In the novel, the writer spoke of a young man who was on the verge of poverty. Seeing the path to salvation in the murder of the old percent-woman, he goes on a crime, encroaching on the life of a grumpy nasty old woman, whose existence has not been noticed and does not need the world. The murder and robbery, as well as the torment of conscience experienced by the hero who decided on these actions, are described by Dostoevsky in the novel Crime and Punishment.
Illustration for the novel Crime and Punishment Petr Petrovich Luzhin plays an important role in the novel. The author describes the character in draft copies, giving him the following characterization: a conceited court adviser, narcissistic and selfish, petty greedy gossip. Luzhin extols material wealth, considering the king of the one who has the finances. His reverence is easy to buy, but this hero does not see respect in return. The meaning of the name characterizes the personality of the hero. Luzhin is shallow and miserable, like a dirty pond, which is consonant with his last name.
"Crime and Punishment"
The reader is introduced to Luzhin in absentia. Pulcheria Raskolnikova describes a man in a letter to his son Rodion. It is clear from him that Luzhin is getting married to Raskolnikov’s sister, Duna, a girl from a poor family who does not have a dowry. A beautiful, smart and noble girl was good for everyone, but by chance caused gossip. Despite them, Luzhin acted decently and married Raskolnikov’s sister.
Dostoevsky wrote that the appearance of the character is presentable, he kept a dandy. In adulthood, at 45 years old, Luzhin was young, kept strictly emphasized and looked after himself. At first glance, the man made a pleasant impression of a trustworthy person with goals and ambitions. In fact, everything described was a cover. Raskolnikov managed to make out the mask that Luzhin was hiding. Vanity, meanness and greed of a man are revealed to Rodion.
Arriving in St. Petersburg, Luzhin pay a visit to a future relative. Considering himself a benefactor, he prepared for praise and chanting, demonstrating self-confidence and narcissism. Having knocked out "from rags to riches", he exaggerated the available talents and abilities, exalting himself higher than he was worth. Greed forced him to see the benefits in everything and constantly recount money, both his own and others. With their help, Luzhin towered above others.
There was another flaw in it. The hero built a theory that it is worth marrying, having accumulated capital. He waited for a poor darling to be caught, talented and well-meaning. The absence of a material component in the position of the bride attracted Luzhin, since he believed in the unfortunate fate of such a girl. The man thought that the biography of a homeless woman was probably full of sorrows, so she would treat her potential spouse with admiration and reverence.
Quotes
Despite the ostentatious indifference towards outsiders, Luzhin tried to look closely at every new person with whom life brought him together. The man was cautious:
“Each person must first be examined by himself, and closer to judge him.”
He was not shy about his views on marriage and easily voiced them:
“A husband should not owe anything to his wife, it is much better if the wife considers her husband for her benefactor.”
As a person going to a crime, Luzhin understood that there are permissible limits for everything, violating which a person makes a deal with his own conscience:
“In everything there is a line beyond which it is dangerous to go; for once you cross it, it’s impossible to turn back. ” The hero carried out all the actions thoughtfully and prudently.
