The image of Luzhin in the novel “Crime and Punishment” is contrasted with the image of the main character. This is a rather unpleasant character. Unlike Svidrigailov, he cannot be called controversial. Who is Luzhin? What characteristic features did the author endow him with?
"Drunk"
This is what Dostoevsky originally planned to call his book. The idea for the novel arose during his stay in hard labor. Here Dostoevsky heard the interesting story of one student who served as the prototype for Raskolnikov. The concept of the work gradually transformed. From a short story it turned into a voluminous novel depicting the clash of immoral ideas with the logic of life.
Raskolnikov believed in the utopian idea of dividing people into great and mediocre. In his opinion, there are those who, like Napoleon, are capable of making history. But there are few of them. The majority are gray, worthless masses. Rodion Romanovich really wanted to believe that he belonged to the first category. True, after committing the crime, he began to suspect that his theory had some shortcomings. There are feelings and love in human life. And there is prudence, rationality. The logic of life refutes even the most advanced theory. The image of Luzhin in the novel “Crime and Punishment” symbolizes prudence.
Double
Why did the author introduce the image of Luzhin into the novel “Crime and Punishment”? It is generally accepted that this hero is Raskolnikov's double. Unlike the student, Luzhin is a prosperous, successful person, capable of achieving his goal. He causes unpleasant feelings in Raskolnikov. At the same time, the main feature of Luzhin’s image in the novel “Crime and Punishment” is his willingness to cross barriers. That is, this character has the qualities that Raskolnikov needed to carry out his criminal plan. The image of Luzhin in the novel “Crime and Punishment” is like the dark side of the protagonist’s soul.
Appearance
Raskolnikov learns about this man from a letter to his mother. This message has already given a brief description. The image of Luzhin in the novel “Crime and Punishment” is gradually supplemented with new features. So, what appearance did Dostoevsky give this character?
This is a man of forty-five years old, with the rank of court councilor. It is worth saying that the title is quite honorable: it grants the right to personal nobility. Pyotr Petrovich Luzhin is a dignified, prim gentleman with a “squeamish, cautious physiognomy.” The image of the hero Luzhin in the novel Crime and Punishment is somewhat comical. He is the fiance of the main character's sister. When he first meets a student, he wears fashionable, expensive clothes. He looks like he just came out of the tailor's. Pyotr Petrovich wears a smart round hat and handles this element of his attire with extreme caution. On his hands is a pair of lilac gloves, which, like other items of clothing, are new, acquired not so long ago. There is something artificial and fake in the appearance of this gentleman.
Luzhin accumulated a good fortune. This man rose from the bottom and achieved everything thanks to perseverance and ambition. He is a business-like, busy man. He comes to St. Petersburg on business and values every minute.
Calculating Man
The most striking negative character in Dostoevsky's work is Svidrigailov. This gentleman, involved in a number of dark stories, is passionately in love with Dunya Raskolnikova. Svidrigailov is pursuing her, he is ready to do anything in order to take possession of the object of his desire. Such emotions are alien to Luzhin. He plans to marry Duna, but not because he is in love with her. Raskolnikov's sister is an educated, beautiful girl. And most importantly, poor. Such a wife will always be devoted to her husband, who delivered her from poverty. This is what Pyotr Petrovich believes. However, he is wrong. Life cannot be built according to a clear pattern. Rational theories can be destroyed at any moment, which is confirmed by the ending of Dostoevsky’s novel.
F. M. Dostoevsky’s novel “Crime and Punishment” is “built,” as many readers believe, on the theory and its exposure of the main character Rodion Raskolnikov. But if you read the novel carefully, you can see that not only Raskolnikov has a theory. Several other heroes have something similar. One of them is Luzhin Petr Petrovich.
Luzhin cannot be considered one of the main characters; he is a minor character, but he has a special role. Luzhin is the bearer of a certain “economic” theory - the theory of the “whole caftan”: “love yourself... for everything in the world is based on personal interest.” It confirms the idea of a person’s well-being at the expense of others, the main thing in life is money, a certain calculation, profit, career. By the way, the name Peter and even Petrovich, which is translated as “stone,” confirms the emptiness of the hero’s soul. Just his last name - Luzhin - limits him in his human vision of the world and is associated with a dirty puddle that irritates those around him.
The reader's first acquaintance with Pyotr Petrovich takes place in absentia. We receive a partial description of his person from a letter from Pulcheria Alexandrovna, Raskolnikov’s mother, to her son. She presents Luzhin as a noble man and describes him only on the positive side: “he is a businesslike and busy man... he values every minute... although he has little education, he is smart and, it seems, kind.” But Raskolnikov already understands from his mother’s letter what kind of person he really is. When meeting him, Rodion only confirms his opinion: “To hell with this Luzhin!..”
Luzhin's decision to marry Duna, Raskolnikov's sister, can be explained by his own theory. The girl should be beautiful, smart, but extremely poor. Pyotr Petrovich will act as a benefactor, and under such conditions this is easy and noble. Dunya suited him in all respects: “... such and such a creature will be slavishly grateful to him all his life for his feat and will reverently destroy himself before him, and he will rule limitlessly and completely!..” Moreover, at the expense of Dunya, he I wanted to build my career. Luzhin came to St. Petersburg to open a law office, and in society “the charm of a charming, virtuous and educated woman could amazingly brighten his path, attract him to him, create a halo...”
Luzhin turned out to be stingy, vain, and also a vile person. At the last meeting with Dunya and her mother (Raskolnikov and his friend Razumikhin were also present), all the pettiness of Luzhin’s nature was revealed to those present. His lack of spirituality, love for money, but nothing more, finally opened Dunya’s eyes, and she drove him away with the words: “You are a low and evil person!”
His act towards Sonya Marmeladova - “a girl of notorious behavior,” as Luzhin put it - evokes hatred from Raskolnikov, bewilderment from Lebezyatnikov, and horror from Sonya herself. For what purpose did he try to accuse Sonya of theft, which she did not commit? Looking for a new victim for your “good deeds”?
The image of Pyotr Petrovich Luzhin in the novel is quite simple. F. Dostoevsky presented in it members of society of that time, who emerged from poverty and became masters at the expense of “entire caftans.” Priorities and values rest on only one thing - money and power over the poor. There is no love, no soul, a heart of stone, incapable of sympathy and good for people.
Luzhin is Dostoevsky's most hated character in the novel. Without Luzhin, the picture of the world after the defeat in Crime and Punishment would have been incomplete and one-sided. According to a fatal, incomprehensible and unacceptable pattern for Raskolnikov, all reasons led to the fact that the triumphant consequence, the crown of all things, turned out to be Luzhin, what he imagines, what stands behind him.
Luzhin ascended to the provinces, where he accumulated his first, apparently already significant, money. He is half-educated, not even very literate, but he is a backbiter, a hooker, and now, in the prospect of new courts, he has decided to move to St. Petersburg and take up the legal profession. Luzhin understood that in the post-reform situation, in the emerging capitalist society, the legal profession promised both fat pieces and an honorable position next to the first people of the faded noble elite: “... after much consideration and expectation, he finally decided to finally change his career and join a more extensive circle of activity, and at the same time, little by little, move to a higher society, which he had long been thinking about with voluptuousness... In a word, he decided to try Petersburg” (6; 268).
Luzhin is forty-five years old, he is a businesslike, busy man, he serves in two places, he feels sufficiently wealthy to start a family and a house. Luzhin decided to marry Duna because he understood: a beautiful, educated, self-controlling wife could greatly help his career, just as a wife from the family of the Myshkin princes helped Epanchin’s rise. However, compared to Epanchin, Luzhin is still too Chichikov; his prudence cannot yet free itself from natural squabbles. He sent his bride and mother to St. Petersburg as beggars. In St. Petersburg, he placed them in the suspicious rooms of the merchant Bakaleev, just to make it cheaper. He counted on the helplessness, defenselessness and complete insecurity of his future wife.
However, it was not only stinginess that controlled him. Luzhin was from the philistine type of the Mlekopitaevs (“Bad joke”). He understood equality in his own way. He wanted to become equal with the stronger, with his superiors. He despised the people whom he overtook on the path of life. Moreover, he wanted to rule over them. The lower the social quagmire from which he rose, the more cruelly he wanted to show his weight, the severity of his blows. He was comforted by a sense of predatory self-satisfaction, the triumph of a winner who had pushed another down to the bottom to take his place. In addition, he also demanded gratitude from the dependents and the “beneficiaries.” Hence the plan he cherished in his marriage to Dunya, a plan that he almost did not hide: Luzhin “expressed that even before, without knowing Dunya, he had decided to take an honest girl, but without a dowry, and certainly one who had already experienced plight; because, as he explained, a husband should not owe anything to his wife, but it is much better if the wife considers her husband to be her benefactor” (6; 62).
He threatens the bride that he will leave her if she does not obey and does not break up with Rodya, for whose sake she decided to accept his hand.
“He is a smart man,” Raskolnikov says about Luzhin, “but to act smartly, intelligence alone is not enough.” Luzhin's mind was short, too definite, a practically rationalistic, penny-calculating mind, devoid of intuition and not taking into account the considerations of the heart, shunning the unknown and everything that does not add up, like dominoes on an abacus.
Luzhin is a Russian version of the French bourgeois, as Dostoevsky understood him and as he was described in “Winter Notes on Summer Impressions.” Luzhin is less polished, less cultured, he stands not at the end, but at the beginning of the process. Luzhin shines like a new penny, he can even be called handsome, but at the same time his beautiful and respectable face made an unpleasant, even repulsive impression. He is sneaky, not morally squeamish, sows gossip and invents gossip. Luzhin does not understand either disinterested honesty or nobility. Exposed and kicked out 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 Dunya and her mother money. “I thought to hold them in a black body and bring them so that they would look at me as if I was providence, but there they are!.. Ugh!.. No, if I had given them, for example, fifteen hundred thousand for a dowry during all this time, yes for gifts... it would be cleaner and... stronger! (6; 254).
Luzhin's mind was entirely devoted to property, to making capital, to making a career. An upstart, nouveau riche, and in his own way he broke the old patriarchal integrity, and he considered himself one of the “new people” and thought to justify his dirty practice with modern theories. Luzhin called himself a person who shares the beliefs of “our newest generations.” His hopes for success were indeed connected with changing times, and it is clear why: in old Rus', with its serfdom rights, privileges, traditions, and noble standards of honor and ennobled behavior, he had nothing to do and nothing to count on. In old Rus' he would have remained, at best, a successful Chichikov; in post-reform Russia he would have become a successful lawyer or a gründer - or both, and even a public figure of a liberal persuasion called to the banquet table. Luzhin is devoid of conscience, reflection, he is convinced that everyone is like him, he does not hide the fact that he is looking closely at new ideas for his own selfish purposes. In “ideas,” Pyotr Petrovich Luzhin did not go beyond the boundaries of stale stencils and vulgar commonplaces: “...new, useful thoughts are widespread,” he declaimed smugly, “some new, useful works are widespread, instead of the old dreamy and romantic ones; literature takes on a more mature tone; many harmful prejudices have been eradicated and ridiculed... In a word, we have irrevocably cut ourselves off from the past, and this, in my opinion, is already the case, sir...” (6; 123).
Luzhin was drawn to “our young generations” because he assumed strength in them. He insured himself in case of more radical changes, so that with all turns of the wheel he would be on top, winning. The unclean means of unclean activity made him fear the true democratic public, publicity, and revelations. Therefore, he looked for connections, harmless and non-compromising, of course, with “other curious and fabulous circles”: “He heard, like everyone else, that there are, especially in St. Petersburg, some progressives, nihilists, denouncers, etc. and so on, but, like many, he exaggerated and distorted the meaning and meaning of these names to the point of absurdity. Most of all, for several years now, he was afraid of exposure, and this was the main reason for his constant, exaggerated anxiety, especially when he dreamed of transferring his activities to St. Petersburg” (6; 273).
Luzhin sought contacts with the “younger generations,” however, not only out of fear of possible, although unclear to him, social and political changes.
Luzhin was dull and poorly educated, and wrote in a pre-reform, slanderous style, but he understood that time requires ideology. After all, even the bookseller from the flea market of Cherubim “has now started to get in the right direction.” Luzhin changed his skin, became a liberal leader, he needed a “platform”, moreover, a “progressive”, “advanced” one.
The simplest law of mimicry suggested that “ideology” should be sought not in the Old Testament scriptures, but in modern science, in political economy, in utilitarian philosophy, the formulas of which acquired the meaning of a bargaining chip, used by everyone in accordance with his position and level of development.
It was these appropriately interpreted formulas that Luzhin clung to with all his strength, with some even passion. Luzhin knew the theory of reasonable egoism and the resulting theory of solidarity of interests of Feuerbach - Chernyshevsky from hearsay, from well-worn conversations, and perceived it in his own way as a justification for individualistic egoism and as a principle for everyone pursuing their own private goals, as a principle of bourgeois political economy: laissez faire , laissez passer Dostoevsky. Context of creativity and time. St. Petersburg, 2005. P. 343.
He agreed to free himself from all restrictions imposed by religion, tradition, and public morality; he benefited from the law of general disunity and the wolf law of general chaos: his fangs had already grown, and he was firmly convinced that in a war of all against all he would be among the victors. Luzhin never took enthusiasm and daydreaming seriously; moreover, the enthusiastic dreamers were clearly defeated in the political and social battle that had just ended; according to Luzhin, it could not be otherwise. He learned one lesson from the whole movement of the sixties: get rich!
Luzhin’s interlocutors, Raskolnikov and Razumikhin, quickly saw through it, quickly understood that it was transforming the principle of the common good, professed by the socialist “young generations,” into the principle of social anthropophagy, professed by the emerging Russian bourgeoisie.
Dostoevsky was a great master of monologues, dialogues and conversations of many people. He breaks off the begun thread of a theoretical socio-philosophical conversation and throws it onto the topic of interest to everyone: the mysterious murder of Alena Ivanovna, the secret of which so far only Raskolnikov knew. A new direction in the conversation is sparked by what seems to be a very reasonable and relevant remark from Luzhin. “Not to mention,” he continues, “that crimes in the lower class have increased in the last five years; I’m not talking about widespread and continuous looting and fires; The strangest thing for me is that crimes in the upper classes are increasing in the same way and, so to speak, in parallel” (6; 134).
Luzhin gives examples taken from the criminal chronicles of the post-reform period that began: a student robbed the post office, people from a sufficient and educated environment counterfeit money and bonds, “the main participants included one lecturer in world history,” etc. etc. And Alena Ivanovna was killed by a man not from the lower classes, because men don’t pawn gold things, he concludes reasonably.
Luzhin is lost in explaining the reasons for the facts that frighten him as an owner.
Razumikhin gives an answer, although colored in Slavophile-soil tones, but fundamentally correct: the criminality that outrages Luzhin grows from the “Western” thirst for money that has overwhelmed everyone, from the same ideology and psychology with which Luzhin is filled to the brim.
Luzhin makes a careless move; a man of the middle, a man of commonplaces, he, contrary to the theory he has just preached, utters a philistine hypocritical maxim: “But, nevertheless, morality? And, so to speak, the rules..." (6; 135).
And then Raskolnikov, triumphantly, catches him and finishes him off:
“What are you bothering about?.. According to your own theory!.. bring to the consequences what you preached just now, and it will turn out that people can be slaughtered...” Luzhin protests, Zosimov believes that his patient has gone overboard, Luzhin “arrogantly” retorts: “There is a measure for everything... an economic idea is not yet an invitation to murder...”. “Is it true that you,” Raskolnikov completes the circle, “is it true that you told your bride... that you are most glad that... that she is a beggar... because it is more profitable to take a wife out of poverty, so that later rule over her... and reproach her for the fact that you have benefited her?..” (6; 135).
Razumikhin and Raskolnikov judged correctly: murder for money, robbery overt or covert, “buying” a wife - morally speaking, phenomena of the same order. Luzhin has nothing to do with the search for a new truth and new justice. Luzhin - “sticky”. Luzhin is a man of an alien, opposite and hostile camp, using “new ideas” when it suits him and as long as it suits him.
Even Andrei Semenovich Lebezyatnikov dissociates himself from Pyotr Petrovich Luzhin - Dostoevsky draws a dividing line between them. “Lebezyatnikov,” we read in the novel, “...also began to partly not tolerate his roommate and former guardian Pyotr Petrovich... Simple as Andrei Semenovich was, he still began to gradually see that Pyotr Petrovich was cheating him and secretly despises that “this person is not like that at all.” Lebezyatnikov tried to explain to Luzhin the system of Fourier and Darwin, but Pyotr Petrovich listened “somehow too sarcastically, and very recently he even began to scold” (6; 253). But Lebezyatnikov is only a caricature, only a transmitter from the third voice of a worldview that, like it or not, had to be taken into account and with which Luzhin really had no points of contact.
Luzhin is a man of the camp to which the dandy who pursued a deceived and seduced girl on the boulevard belonged. And even worse. The dandy was overwhelmed by lust, Luzhin by a passion for profit, he acted according to a strict calculation of benefits and disadvantages, according to which it cost him nothing to destroy or devour a person. Luzhin slandered Sonya and accused her of theft in order to arrange his affairs, to discredit Raskolnikov and regain “these ladies.” In a melodramatic and at the same time tragic scene, the angry, indignant Lebezyatnikov exposes Luzhin’s meanness and thereby finally proves that there is nothing in common between Luzhin and nihilism, even in the most vulgar forms, a la Eudoxie by Kukshin (from Fathers and Sons), that there is an abyss between them. Razumikhin says to Dunya: “Well, is he a match for you? Oh my God! You see... even though they’re all drunk there, they’re all honest, and even though we’re lying, that’s why I’m lying too, but let’s finally get to the truth, because we’re standing on the noble road, and Pyotr Petrovich.. . is not on the noble road...” (6; 186).
“They” are the participants of the party to which Raskolnikov was invited, socialists, anarchists, “soilists,” Porfiry Petrovich, and finally, people with an alarming conscience, in mistakes, in evasions, “seekers of hail.” Luzhin is looking for money and only money. Luzhin is kicked out three times throughout the novel, three times they disown him: once Raskolnikov kicks him out, and even threatens to throw him somersault down the stairs, the second time Dunya: “Peter Petrovich, get out!” And the third time - Lebezyatnikov: “So that your spirit is not in my room right away; If you please, move out, and everything is over between us!” (6; 289).
But Luzhin is tinned, bribes from him are smooth. Lieutenant Pirogov also sits in it, only again not unconscious, but calculating, evil and cruel. He will be exposed, they will tell him who he is and what he is, they will spit in his face, he will just wipe himself off and go on his way. “They,” honest ones, will not succeed in life, many of them will put on the crown of thorns of political martyrs, - the Luzhins are the only victors, emerging from all battles unharmed and with a profit, knowing that, despite their liberal phraseology, those in power with them, holding the authorities to guard their interests.
Luzhin should 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 emerged after the defeat of the revolutionary democratic movement of the sixties on the basis of the beginning of bourgeois reforms. The Marmeladov family, the Raskolnikov family, the girl who “fell into the percent” testify to the vale of sorrow and suffering in which the majority resides, the best, sweet and defenseless, whose work and dedication holds the world together. Luzhin shows what the hopes awakened by the sixties really turned into. Luzhin is a bourgeois.
Luzhin has only just been grabbed by the hand, and he is already going on the offensive, accusing his whistleblowers of godlessness, freethinking and indignation against public order. The amazed, confused Raskolnikov receives an object lesson - what the world is like not only in the present, but also in the future, what Russia has become as a result of the defeat of democracy in the sixties, what it will become in the further process of capitalist development and capitalist differentiation.
Luzhin Pyotr Petrovich is a type of businessman and “capitalist”. He is forty-five years old. Prim, dignified, with a cautious and grumpy face. Sullen and arrogant. He wants to open a law office in St. Petersburg. Having risen from insignificance, he highly values his mind and abilities, and is accustomed to admiring himself. However, L. values money most of all. He defends progress “in the name of science and economic truth.” He preaches from other people’s words, which he heard a lot from his friend Lebezyatnikov, from young progressives: “Science says: love yourself first of all, for everything in the world is based on personal interest... Economic truth adds “that the more private affairs are organized in a society... the more solid foundations there are for it and the more common affairs are organized in it.”
Struck by the beauty and education of Dunya Raskolnikova, L. proposes to her. His pride is flattered by the thought that a noble girl who has experienced many misfortunes will reverence and obey him all her life. In addition, L. hopes that “the charm of a charming, virtuous and educated woman” will help his career. In St. Petersburg, L. lives with Lebezyatnikov - with the goal of “getting ahead of himself, just in case,” and “currying favor” with the youth, thereby insuring himself against any unexpected demarches on their part. Kicked out by Raskolnikov and feeling hatred for him, she tries to quarrel with his mother and sister, to provoke a scandal: during the wake for Marmeladov, he gives Sonechka ten rubles, and then quietly puts another hundred in her pocket, in order to publicly accuse her of theft a little later. Exposed by Lebezyatnikov, he is forced to retreat shamefully.
- watch in full
At the center of F. M. Dostoevsky’s novel “Crime and Punishment” is the character of the hero of the sixties of the nineteenth century, the poor student Rodion Raskolnikov. Raskolnikov commits a crime: he kills an old pawnbroker and her sister, a harmless...
F. M. Dostoevsky’s novel “Crime and Punishment” is socio-psychological. In it, the author raises important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows psychology...
“Crime and Punishment” is a psychological and social novel. Moreover, human psychology and social consciousness are closely connected and inseparable from each other. F. M. Dostoevsky shows the inner world of a person and the environment in which he is located, explores...
The deep psychologism of F. M. Dostoevsky’s novels lies in the fact that their heroes find themselves in difficult, extreme life situations, in which their inner essence is revealed, the depths of psychology, hidden conflicts, contradictions in the soul are revealed,...
F. M. Dostoevsky’s novel “Crime and Punishment” was first published in January 1866. It is hailed by many as one of the greatest psychological novels in world literature. And since the publication of the novel, Dostoevsky has firmly established himself...
Pyotr Petrovich Luzhin is one of those heroes of the novel by F.M. Dostoevsky’s “Crime and Punishment”, whose path is completely unacceptable neither by Rodion Raskolnikov in his wanderings and searches for truth, nor by the author himself. Luzhin is a successful man, a businessman of a new, capitalist formation. He serves in the public service and at the same time is successfully engaged in private business. In St. Petersburg, he is going to open a law office, and here he is going to marry Raskolnikov’s sister, Duna, and arrange a new apartment. He is prosperous, has means, is carefully and fashionably dressed, and is proud of his progressive beliefs. But his love for progress does not hide his moral squalor - mercy and compassion for others are alien to this man. He chose Dunya as his bride on the basis that the girl was of noble birth, beautiful and educated, but she was homeless and had endured a lot in life, which means she would owe everything to her benefactor. He talks about the economic prosperity of society, preaching open selfishness and denying the biblical commandments, considering it necessary, first of all, to “love” oneself and care only about one’s well-being. Realizing that Rodion is against his marriage with Dunya, Luzhin begins to intrigue, trying to quarrel Rodion with his sister and mother in order to weaken his influence. Finally, in order to discredit Sonya, Pyotr Petrovich undertakes a frankly vile act: having planted money on her, he accuses Sonya of theft. Sonya seems to Luzhin to be a serious obstacle, exerting her influence on Rodion, and therefore on Avdotya Romanovna. For his accusation, Luzhin chooses a tense dramatic moment: the scandal of Katerina Ivanovna and the landlady at the wake of Sonya’s father. In the presence of many people, Luzhin tells how he invited Sonya to his room, gave her a ten-ruble ticket to commemorate her father, and then discovered that one of the hundred-ruble tickets had disappeared. Sonya is terribly embarrassed and frightened: as a believer, she has never taken anything that belongs to others in her life, but how can she prove she is right if everyone around her “looked at her with such terrible, stern, mocking, hateful faces”? She wants to give Luzhin the ten rubles she received from him, but she has nothing more to say in her defense. The drama of the scene is enhanced by the fact that the hostess is about to call the police, as Luzhin demands, and Katerina Ivanovna throws his ten-ruble note in his face. She shouts in anger that Sonya is not a thief, and offers to search her pockets. And that’s when a folded hundred-ruble bill flew out of Sonya’s pocket. Pyotr Petrovich triumphs, the hostess demands the police, Katerina Ivanovna calls for the protection of those present. Luzhin is ready to generously forgive Sonya, since it was important for him to compromise her and he achieved his goal: everyone felt sorry for Sonya, but thought that she was a thief. Only an accident frustrated his plans: Lebezyatnikov appeared and acquitted Sonya. He saw how Luzhin himself slipped Sonya the ill-fated ticket, but he thought that Pyotr Petrovich did so out of nobility. Now Lebezyatnikov has realized how deceived he was in this man, and is not afraid to tell Luzhin to his face that he is a liar and a slanderer. The episode ends with a successful showdown: Katerina Ivanovna is glad that there is someone to protect Sonya, and Raskolnikov exposes Luzhin for his secret plans.
The significance of this episode in the novel is important for the author’s complete completion of Luzhin’s character: the type of enterprising businessman, egoist and low, vile person from the moral side is worthy only of contempt and condemnation. For Rodion Raskolnikov, this is completely obvious; he rejects this path, considering it completely unacceptable for himself. This scene also conveys the dynamics of the development of the storyline of the Marmeladov family, the tension and drama of the atmosphere in which the events take place. The tragic fate of Sonya and Katerina Ivanovna evokes the reader's sympathy, and the author's depiction of the psychology of the heroes evokes admiration for the peculiarities of F.M.'s artistic skill. Dostoevsky.