Abstract
In the “Crime and punishment” at relative quantitative equality of male and female characters their “artistic inequality” according to the possibilities of their interaction is observed. Men’s images are rather independent and stable in relation to each other. However, they become dynamic when they get to the competitive fi eld under women’s infl uence. As a result peculiar “love-art triangles” are formed. Dostoevsky provided even “polygons” in his draft materials to the novel. In the article, the specifi ed regularity is considered on the example of interference of images of Avdotya Raskolnikova, Luzhin, Svidrigaylov and Razumikhin. It is revealed that under the infl uence of the main character’s sister in competitive relationship all three suitors to win her hand and heart considerably change. Thereby in these men’s images under the infl uence of the female center of gravity the hidden art and psychological potential that is initially provided by Dostoyevsky becomes known. At the same time, the evolution of three images is uneven and diverse. The initial stage in Luzhin’s story fate is positive. He was the only one who did not believe the gossip, and saved the reputation of Avdotya Romanovna. However then he drastically degrades in the ethical relation. Svidrigaylov demonizes himself for a long time. Nevertheless, gradually, under the infl uence of feelings to Avdotya Raskolnikova, he begins to evolve in a positive direction. Razumikhin is initially shown in positive psychological aura. However, in his male reputation there were negative nuances – fl ippant attitude to women. The image is completely cleared of it after the contact with Avdotya Raskolnikova. His evolution is the most radical.
Keywords
Russian literature of the 19th century, F.M. Dostoevsky, novel “Crime and punishment”, psychological analysis
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