Characteristics of the hero Katerina Ivanovna, Crime and Punishment, Dostoevsky. Character image Katerina Ivanovna

Work from the section: "Literature"
“Listen, if everyone has to suffer in order to buy eternal harmony by suffering, then what have children to do with it, tell me, please? It is completely incomprehensible why they had to suffer and why should they buy harmony with suffering? She is not worth a tear of at least one tortured child ... "Ivan Karamazov," The Brothers Karamazov. " The character system of the novel "Crime and Punishment" includes a large number of characters with their own character, position and role in the novel. Rodion Raskolnikov is the main character; Sonya, Dunya, Pulcheria Alexandrovna, Svidrigailov, Luzhin are also noticeable and therefore understandable to us characters. But there are also supporting characters that we can learn less about. Among all the minor characters, children should be singled out, the influence of the collective image of which we can trace throughout the entire novel: these are the children of Katerina Ivanovna, and the bride of Svidrigailov, and the drowned girl who dreams of him in a dream, this is a drunk girl who met Raskolnikov on the boulevard - all these characters cannot be ignored, because, despite their small participation in the development of the action in the novel, they play an important role, like the whole theme of the child and childhood. Consider the image of Katerina Ivanovna's children. We learn that Marmeladov's wife Katerina Ivanovna married him with three children from a conversation between Marmeladov and Raskolnikov. The father of the children was Katerina Ivanovna's first husband, an infantry officer with whom she ran away from home. When her husband died, Katerina Ivanovna was left alone with three young children. “She married her first husband, an infantry officer, out of love, and with him fled from her parents' house. My husband ... started playing cards, got on trial, and died with that .... And she was left after him with three young children in a distant and brutal district ... ”Katerina Ivanovna had two daughters: Polechka and Lena - and a son Kolya. This is how FM Dostoevsky describes them: “the eldest girl, about nine years old, tall and thin as a match, ... with big, big dark eyes, which seemed even more on her emaciated and frightened face” (Polechka), “the smallest girl, about six "(Lena)," a boy a year older than her "(Kolya). The children were poorly dressed: Polechka was dressed in “a shabby burnusik, made for her probably two years ago, because it didn’t reach her knees now,” and “a thin shirt that was torn everywhere,” Kolya and Lena were no better dressed; all the children had only one shirt, which Katerina Ivanovna washed every night. Although the mother tried to take care of the children, they were often hungry because the family did not have enough money; the younger ones often cried and were downtrodden and intimidated: "... For Katerina Ivanovna is of such a character, and as children cry, even from hunger, they immediately begin to beat them." In the guise of Sonya, the stepdaughter of Katerina Ivanovna and daughter of Marmeladov, despite the fact that she is much older than all the children and earns money this way, we also see a lot of childish things: “she is unrequited, and her voice is so meek ... blonde, her face is always pale, thin, ... angular, ... tender, sickly, ... small, gentle blue eyes. " It was the desire to help Katerina Ivanovna and her unfortunate children that made Sonya transgress through herself, through the moral law. She sacrificed herself for others. "And then he only realized what these poor, little orphans and this pathetic, half-mad Katerina Ivanovna, with her consumption and banging on the wall, meant to her." She is deeply worried, realizing her position in society, her shame and sins: "Why, I am ... dishonorable ... I am a great, great sinner!", "... to what monstrous pain she tortured her, and for a long time, the thought of her dishonorable and shameful position ". If the fate of her family (and Katerina Ivanovna and the children were really Sonya's only family) were so deplorable, the life of Sonya Marmeladova would have turned out differently. And if Sonya's life was different, then F.M. Dostoevsky would not have been able to fulfill his plan, he would not have been able to show us that, being immersed in vice, Sonya kept her soul pure, because she was saved by faith in God. "Yes, tell me, finally, ... how such a shame and such baseness in you, next to other opposite and holy feelings, are combined?" - Raskolnikov asked her. Here Sonya is a child, a defenseless, helpless person with her childish and naive soul, who, it would seem, will die, being in a destructive atmosphere of vice, but Sonya, in addition to a childish pure and innocent soul, has tremendous moral stability, a strong spirit, and therefore she finds in herself strength to be saved by faith in God, so she retains her soul. "What would I be without God?" Proving the need for faith in God was one of the main goals that Dostoevsky set for his novel. Therefore, we see that the image of children was necessary for the writer to reveal the image of Sonya and achieve his plan. The children of Katerina Ivanovna played a certain role in the fate of each of the main characters in the work. With the help of the image of children, the writer shows us that Marmeladov, who caused so much grief and pain to his family, still thought about his wife and children, and this consisted in the fact that he tried not to drink for some time. When he was crushed by a cart and he died, a gingerbread was found in his pocket, which he carried to the children: "... they found a gingerbread cock in his pocket: he was walking dead drunk, but he remembers the children." Thus, the writer uses the image of children to show us that in the soul of Marmeladov, a person who caused grief to himself and his family, there was still love, care and compassion. Therefore, we cannot consider the manifestation of the spiritual qualities of a retired official only as purely negative. The image of Svidrigailov only becomes even more mysterious and incomprehensible when we see that a vulgar, depraved person, for whom there are no moral laws, commits a noble deed and spends his money to arrange the children of Katerina Ivanovna in a boarding school. And here the writer again weaves the image of children into the fabric of the novel. But even such a noble deed cannot overshadow all the sins of Svidrigailov. Throughout the entire novel, we can see all the lowest in him, in his soul, all the worst qualities: cruelty, selfishness, the ability to step over a person to satisfy his interests, including the ability to kill (his wife, Marfa Petrovna, because, Apparently, we can say that Svidrigailov killed his wife, posing as an apoplectic stroke), the whole baseness of Svidrigailov's nature is manifested in the episode with Dunechka, when she secretly met him for the last time, in order to find out about his brother. “Is it possible what you write? You are hinting at a crime allegedly committed by a brother. ... You promised to prove: speak up! " - Dunya is indignant. Svidrigailov brought Dunya to him, locked the door and began kissing and hugging her, but then opened the door, realizing that Dunya hated him and would never love him. It was a difficult test for Dunya, but at least she knew what kind of person Svidrigailov was, and if it were not for love for her brother, she would never have gone to this person. This is proved by Douna's words: “Now we have already turned the corner, now my brother will not see us. I declare to you that I will not go further with you. " But the story of the deaf-mute niece of a petty pawnbroker, Svidrigailov's friend, the German woman Resslich, reveals even more the depth of debauchery in which Svidrigailov's soul is mired. In St. Petersburg, there was a rumor that the girl committed suicide because she was severely insulted by Svidrigailov. Although he himself denies everything, on the night before his suicide he had a dream: “… and in the middle of the hall, on tables covered with white satin sheets, there was a coffin. Garlands of flowers wrapped around him on all sides. All in flowers lay a girl in it, in a white tulle dress, with her arms folded and pressed against her chest, as if carved from marble. But her loose hair, the hair of a light blonde, was wet; a wreath of roses wrapped around her head. The stern and already ossified profile of her face was, as it were, carved out of marble, but the smile on her pale lips was full of some childish, boundless sorrow and great complaint. Svidrigailov knew this girl; there was neither an image nor lighted candles at this tomb, and no prayers were heard. This girl was a drowned suicide. She was only fourteen years old, but this was already a broken heart, and it ruined itself, offended by the insult that horrified and surprised this young, childish consciousness, flooded her angelically pure soul with undeserved shame and pulled out the last cry of despair, not heard, but insolently scolded in a dark night, in the darkness, in the cold, in a damp thaw, when the wind was howling ... ”Svidrigailov, with his permissiveness, with a complete absence of any moral principles and moral ideals, encroached on the most sacred, according to Dostoevsky, on the soul of a child. With this episode and, especially, a dream, the writer wanted to show by the example of Svidrigailov (precisely by example, because, although Arkady Ivanovich has a specific name, this is a collective image of many dozens of similar Svidrigailovs - the same immoral and depraved people) that such immoral people, acting only for the benefit of their (almost always vile) interests, they destroy innocent souls. The image of the girl here contains the image of all those who are purer, more innocent, brighter than all others in this world and therefore weaker, and therefore he is mocked, tortured and ruined by all those who have no moral principles at all. One can only be glad for Svidrigailov's bride that their wedding did not take place. Because, in spite of the fact that the girl fell in love with her fiancé in her own way (“Everyone left for a minute, we were left alone as it is, suddenly throws herself on my neck (for the first time herself), hugs me with both hands, kisses and swears that she will be an obedient, kind and beneficent wife to me, that she will make me happy ... ”- Svidrigailov told Raskolnikov), he remained the same depraved person, she just did not understand this; he would have ruined her soul. This problem of immorality and spiritual purity also interested Dostoevsky, but he understood that people like Svidrigailov would always be, not without reason, as a confirmation that the weaker ones, whose image children and children personify, would continue to torment and destroy their souls, Svidrigailov's laughter serves: "I generally love children, I love children very much." Svidrigailov is an atheist, he calls himself a sinner: “Why, why have you driven into virtue with your whole rod? Have mercy, father, I am a sinful man. He-he-he. " But he doesn't mean it, he laughs. Although Svidrigailov admits his sins, he does not even think to change anything in his behavior, he does not believe in God, and the more terrible his image is for us. Svidrigailov appears in the image of the devil - he destroys innocent souls. But we see that a person who has departed from God is not only not happy, he himself suffers from such a life, he himself suffers, not having spiritual and moral guidelines and not realizing that they are necessary. Svidrigailov, who lost touch with everything moral, lived in sin and before death takes upon himself a terrible sin - he kills himself. Dostoevsky consistently proves to us that a person who does not believe in God, who has departed from him, cannot live. The writer also told us about this through the mouth of Sonya. The general theme of children and childhood is widely disclosed in the image of Rodion Raskolnikov. Even Razumikhin, to prove the presence of the best qualities in the soul of a friend, especially "presses" on such episodes from his life as: saving children from a burning house, giving all the last money to Katerina Ivanovna and her children. This shows his desire to help the “humiliated and insulted,” that is, those people whom he wanted to make happy with the money of the old woman-usurer Alyona Ivanovna. It is compassion and pain for the "humiliated, insulted" and unfortunate (their collective image is personified by the brutally killed defenseless horse) that we see in Raskolnikov's dream. He is helpless in the form of a child in a dream, and in this he sees his helplessness in the real cruel world. Another meaning of Rodion Raskolnikov's dream is that we understand that Raskolnikov's soul already in childhood (after all, he sees himself as a child) protests against crime, against cruelty and against a person's self-assertion at the expense of others, and Mikolka just wanted to boast of his strength, its power: “... Don't touch! My goodness! I do what I want. Sit down again! Everybody sit down! I want you to gallop by all means! .. ”Raskolnikov's surname is speaking. His soul is split in two by lack of faith in God. His words prove it. He says: "Yes, maybe there is no God at all." In one, his theory about "trembling creatures and having the right" matures, the idea of \u200b\u200btesting oneself, an attempt to feel like "Napoleon". The second half is like the soul of another person, compassionate and helping the "humiliated and insulted", protesting against the unjust structure of society, dreaming of doing thousands of good deeds. It is no accident that the main character does so many good deeds: the qualities of the second half of his soul with the best qualities - kindness, pity, compassion - have power over him. The question of faith in God constantly arises before him. We can see that in childhood Raskolnikov (just when the foundations of morality and virtue are being laid), he was close to God, that is, he personified the image of that immaculate and innocent child, which was both the deaf-mute drowned woman and the children of Katerina Ivanovna. We read about this in a letter from Pulcheria Alexandrovna: “Do you pray to God, Rodya, do you still believe in the goodness of our Creator and Redeemer? I am afraid, in my heart, whether the latest fashionable disbelief has visited you too? If so, then I pray for you. Remember, dear, how in your childhood, during the life of your father, you babbled your prayers on my lap, and how happy we were all then! " Raskolnikov himself understands that the child is close to God, that he himself was close, and taking into account his words: "Children are the image of Christ" These are the kingdom of God. " He tells them to honor and love ... "- and all of the above that the image of children is full of purity, innocence, integrity, we can say with confidence that Dostoevsky's thought is precisely that" Children are the image of Christ. " It is worth remembering here Lizaveta with her childishly frightened at the moment when Raskolnikov raised an ax over her, a face whose expression is constantly, throughout the entire novel, is remembered by the protagonist: “... her lips were twisted, so plaintively, like very young children when they start to get scared of something, they gaze intently at the frightening object and are going to scream ”; he even notices the similarity in the expressions on the faces of Sonya and Lizaveta - two deeply religious girls: “... he looked at her [Sonya] and suddenly, in her face, he seemed to see Lizaveta's face. He vividly remembered the expression on Lizaveta's face when he approached her then with an ax, and she walked away from him to the wall, holding out her hand, with a completely childish fright in her face, just like little children when they suddenly start something- to be frightened, stare motionlessly and restlessly at the object that frightens them, step back and, holding out their hand forward, prepare to cry. Almost the same thing happened now with Sonya ... ”. It is not by chance that Dostoevsky shows childish fright on the faces of Sonya and Lizaveta. Both these girls are saved by religion, by faith in God: Sonya from the terrible vicious atmosphere in which she has to be; and Lizaveta - from the intimidation and beatings of her sister. The writer once again confirms his idea that the child is close to God. In addition to the fact that the child is the "image of Christ" in the broad sense of understanding the image, the child, according to Dostoevsky, is also the bearer of everything pure, moral, good that has been inherent in a person since childhood, whose hopes, ideas and ideals are ruthlessly trampled upon, and this leads further to the development of an inharmonious personality, this leads to the development of theories such as Raskolnikov's theory. Therefore, the image of a child is also the image of a defenseless person with his ideals, moral aspirations; a personality that is weak before the impact of a ruthless imperfect world and a cruel ugly society, where moral values \u200b\u200bare violated, and such "businessmen" as Luzhin are at the head, who are interested only in money, profit and career. This we can conclude from the fact that Jesus Christ has a dual nature: he is the son of God who descended from heaven, this manifests his divine nature, but he had a human appearance, took upon himself human sins and suffering for them, so we can say that the image of Christ is not only the child himself as a symbol of spiritual morality and purity, heavenly holiness, but also an earthly person, whose moral ideals are trampled upon in an atmosphere of vice. In the stifling, terrible atmosphere of Petersburg, the defenseless souls of people are disfigured, all the best and the most moral in them is drowned out, development is nipped in the bud. But even Raskolnikov has hope for spiritual revival. It begins when he takes the cross from Sonya. Then he does not attach any importance to this, does not believe that he can help him in any way - after all, he blames himself only for the mistake: "I really needed Krestov from her?" But then Rodion himself asks Sonya for the Gospel. And although both of them - both Sonya and Raskolnikov - were resurrected by love: “Love resurrected them,” Dostoevsky says, it was faith in God that prevented Sonya's soul from perishing, which saved Raskolnikov. The need to believe in God, in bright ideals is the main idea of \u200b\u200bthe novel and the reason why the writer introduces the image of a child into the fabric of the work. Scientific work on literature "Images of children and their role in the novel by FM Dostoevsky" Crime and Punishment "Author: student of 10" v "class of MOU" Gymnasium №9 "Maria Morozova Supervisor: Kulikova L.А. 2002 List of used literature: Dostoevsky F.M. "Crime and Punishment", Moscow, publishing house "Pravda", 1982 Ozerov Yu.A. "The world of the" humiliated and insulted "in the novel by F. M. Dostoevsky "Crime and Punishment", Moscow, publishing house "Dom", 1995

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Katerina Ivanovna Marmeladova is one of the brightest secondary heroines of the novel "Crime and Punishment".

The image and characteristics of Katerina Ivanovna in the novel "Crime and Punishment": a description of her appearance and character in quotations.

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The image and characteristics of Katerina Ivanovna in the novel "Crime and Punishment": a description of her appearance and character in quotes

Katerina Ivanovna Marmeladova is the wife of the official Marmeladov.

Katerina Ivanovna's age is about 30 years:
"She seemed to Raskolnikov about thirty years old, and really was not a match for Marmeladov ..." Katerina Ivanovna is an unhappy, sick woman:
“Beat! What are you talking about! Lord, I beat! And even if she beat, so what! So what then? You know nothing, nothing. She is so unhappy, oh, how unhappy! And the patient. " Katerina Ivanovna is an educated, well-mannered woman from a good family. The heroine's father was a court councilor (a fairly high rank according to the "Table of Ranks"):
". she is the daughter of a court councilor and gentleman, and therefore, in fact, almost a colonel's daughter. " ". Papa was a state colonel and almost a governor; he only had one step left, so everyone would go to him and say: “We really think so, Ivan Mikhailich, for our governor.” ". Katerina Ivanovna, my wife, is an educated person and a born staff officer's daughter. " ". she, educated and well-bred and famous names. " Katerina Ivanovna was born and raised in the city of T. somewhere in the outback of Russia:
". will certainly start a boarding house in his hometown T. "

Unfortunately, in a marriage with Marmeladov, Katerina Ivanovna did not find happiness. Apparently, a more or less stable life lasted for about a year. Then Marmeladov started drinking and the family fell into poverty:

This was a quotation image and characterization of Katerina Ivanovna in Dostoevsky's novel Crime and Punishment: a description of her appearance and character in quotations.

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Crime and Punishment (part 5, chapter 5)

Lebeziatnikov looked alarmed.

- I'll come to you, Sofya Semyonovna. Excuse me. I thought that I would find you, ”he suddenly turned to Raskolnikov,“ that is, I didn’t think anything. like that. but I just thought. There, Katerina Ivanovna has gone mad, '' he suddenly cut off Sonia, leaving Raskolnikov.

“That is, at least it seems so. However. We don't know what to do there, that's what, sir! She returned - she seemed to have been kicked out from somewhere, maybe beaten. at least it seems so. She ran to the head of Semyon Zakharych, but did not find him at home; he dined with some general too. Imagine, she waved to where they were having dinner. to this other general, and, imagine, she insisted, summoned the chief Semyon Zakharych, yes, it seems, also from the table. You can imagine what happened there. She was kicked out, of course; and she says that she herself scolded him and let something into him. It can even be assumed. how they didn’t take her - I don’t understand! Now she tells everyone, and Amalia Ivanovna, it's only hard to understand, she screams and beats. Oh yes: she says and shouts that since everyone has now abandoned her, she will take the children and go out into the street, wear a barrel organ, and the children will sing and dance, and she, too, and collect money, and every day under the window to the general walk. “Let, he says, see how the noble children of the bureaucratic father walk the streets beggars!” He beats all children, they cry. Lenya teaches him to sing "Khutorok", the boy to dance, and Polina Mikhailovna too, tears all the dresses; makes them some kind of hats, like actors; she wants to carry a basin to beat, instead of music. Listens to nothing. Imagine how it is? This is simply not possible!

Lebeziatnikov would have gone on still, but Sonya, listening to him barely catching her breath, suddenly grabbed her mantle and hat and ran out of the room, dressing as she ran. Raskolnikov went out after her, Lebeziatnikov behind him.

“I’m certainly mad!” - he said to Raskolnikov, going out into the street with him, - I just didn't want to frighten Sofya Semyonovna and said: “it seems,” but there is no doubt either. It is, they say, such bumps, in consumption, jump up on the brain; it is a pity that I do not know medicine. However, I tried to convince her, but she does not listen to anything.

- Did you tell her about the bumps?

- That is, not really about the tubercles. Moreover, she would not have understood anything. But I'm talking about that: if you convince a person logically that, in essence, he has nothing to cry about, then he will stop crying. It is clear. What about your conviction that it will not stop?

“It would be too easy to live then,” Raskolnikov replied.

- Excuse me, excuse me; of course, it is rather difficult for Katerina Ivanovna to understand; but did you know that serious experiments have already taken place in Paris concerning the possibility of curing insane people, acting only by logical conviction? One professor there, recently deceased, a serious scientist, imagined that this could be treated. Its main idea is that there is no particular disorder in the body of madmen, and that madness is, so to speak, a logical error, a mistake in judgment, a wrong view of things. He gradually refuted the patient and, imagine, achieved, they say, results! But since at the same time he also used souls, the results of this treatment are, of course, in doubt. At least it seems so.

Raskolnikov had not listened for a long time. When he reached his house, he nodded his head to Lebeziatnikov and turned into the gateway. Lebeziatnikov woke up, looked around and ran on.

Raskolnikov entered his closet and stood in the middle of it. "Why did he come back here?" He looked around this yellowish, ragged wallpaper, this dust, his couch. From the courtyard came a sharp, continuous knocking; something somewhere seemed to be hammered in, a nail of some kind. He went to the window, rose on tiptoe, and looked for a long time in the courtyard with an air of extreme attention. But the courtyard was empty, and no one was to be seen knocking. To the left, in the wing, one could see open windows in some places; there were pots of thin geraniums on the windowsills. Linen was hung outside the windows. He knew all this by heart. He turned away and sat down on the sofa.

Never, never had he felt so terribly alone!

Yes, he felt once again that perhaps he would really hate Sonya, and just now, when he made her unhappy. “Why did he go to her to ask for her tears? Why did he need to eat her life? Oh, meanness! "

- I'll stay alone! He said suddenly resolutely, "and she won't go to prison!"

Five minutes later he raised his head and smiled strangely. It was a strange thought: "Maybe it's really better in hard labor," he suddenly thought.

He did not remember how long he had sat in his own room, with vague thoughts crowding in his head. Suddenly the door opened and Avdotya Romanovna entered. At first she stopped and looked at him from the doorway, as he had recently at Sonya; then she passed and sat down opposite him on a chair, in her place yesterday. He silently and somehow without thought looked at her.

“Don't be angry, brother, I'm only for one minute,” said Dunya. Her expression was thoughtful, but not stern. The look was clear and quiet. He saw that this one came to him with love.

- Brother, now I know everything, everything. Dmitry Prokofich explained and told me everything. You are being persecuted and tortured on stupid and vile suspicion. Dmitry Prokofich told me that there is no danger and that it is in vain that you accept this with such horror. I don't think so, and I fully understand how indignant everything is in you and that this indignation can leave traces forever. I'm afraid of that. For the fact that you left us, I do not judge you, and I dare not judge you, and forgive me for reproaching you before. I myself feel that if I had such a great grief, then I would also leave everyone. I won't tell my mother anything about this, but I will talk about you continuously and I will say on your behalf that you will come very soon. Don't worry about her; I will calm her down; but don't torture her either - come at least once; remember that she is a mother! And now I just came to say (Dunya began to get up from her seat) that if, in case, you need me in anything or you need me. my whole life, or what. then call me, I'll come. Goodbye!

She turned sharply and walked to the door.

- Dunya! - Raskolnikov stopped her, got up and went up to her, - this Razumikhin, Dmitry Prokofich, is a very good man.

Dunya blushed a little.

“Well,” she asked, after waiting a minute.

- He is a business man, hardworking, honest and capable of deep love. Goodbye, Dunya.

Dunya flushed all over, then suddenly became alarmed:

- What is it, brother, are we really parting forever that you are to me. do you make such wills?

- Does not matter. goodbye.

He turned away and walked from her to the window. She stood looking at him uneasily and went out in alarm.

No, he was not cold to her. There was one instant (the very last) when he terribly wanted to hug her tightly and say goodbye to her, and even say, but he did not even dare to give her his hand:

"Then, perhaps, she will shudder when she remembers that I was now hugging her, and will say that I stole her kiss!"

“Will this one stand it or not? He added to himself after a few minutes. - No, it won't stand; you can't stand that! These never stand. "

And he thought about Sonya.

Freshness came from the window. The light in the courtyard was no longer so bright. He suddenly took his cap and went out.

He, of course, could not, and did not want to take care of his painful condition. But all this incessant anxiety and all this mental horror could not pass without consequences. And if he was not yet in a real fever, then perhaps it was precisely because this inner, continuous anxiety still supported him on his feet and in his consciousness, but somehow artificially, for a time.

He wandered aimlessly. The sun was setting. Some special melancholy began to affect him lately. There was nothing particularly caustic, burning in her; but something constant, eternal emanated from her, there was a presentiment of the hopeless years of this cold, deadening melancholy, a presentiment of some kind of eternity on the "yardstick of space." In the evening hour this sensation usually began to torment him even more strongly.

- Here with such stupid, purely physical infirmities, depending on some sunset, and resist doing something stupid! Not only to Sonya, but to Duna you will go! He muttered hatefully.

They called him. He looked round; Lebeziatnikov rushed to him.

- Imagine, I was with you, looking for you. Imagine, she fulfilled her intention and took the children away! Sophia Semyonovna and I found them forcibly. She hits the pan herself, makes the children sing and dance. The children are crying. They stop at crossroads and benches. The stupid people are running after them. Let's go.

- And Sonya. Raskolnikov asked anxiously, hurrying after Lebeziatnikov.

- Just in a frenzy. That is, not Sofya Semyonovna in a frenzy, but Katerina Ivanovna; and by the way, Sofya Semyonovna is also in a frenzy. And Katerina Ivanovna is completely in a frenzy. I tell you, she is completely mad. They will be taken to the police. You can imagine how this would work. They are now on the ditch near the -sky bridge, very near Sophia Semyonovna. Close.

On the ditch, not very far from the bridge and not reaching two houses from the house where Sonya lived, a lot of people were crowded. Especially boys and girls came running. The hoarse, strained voice of Katerina Ivanovna was heard from the bridge. Indeed, it was a strange sight that could interest the street audience. Katerina Ivanovna, in her old dress, in her old-fashioned shawl and in a broken straw hat that had strayed to one side in an ugly lump, was really in a real frenzy. She was tired and out of breath. Her exhausted, consumptive face looked more suffering than ever (besides, on the street, in the sun, a consumptive always seems more painful and disfigured than at home); but her agitated state did not stop, and she became even more irritated with every minute. She rushed to the children, shouted at them, persuaded, taught them right there in the presence of the people how to dance and sing, began to explain to them what it was for, came to despair from their lack of understanding, beat them. Then, without finishing, she rushed to the audience; if she noticed a slightly well-dressed man who stopped to look, then she immediately started to explain to him what, they say, what the children have been brought to "from a noble, one might even say, aristocratic house." If she heard laughter or some kind of offensive word in the crowd, she immediately pounced on the insolent and began to scold them. Some really laughed, others shook their heads; everyone was curious to see the madwoman with the frightened children. The frying pan, about which Lebezyatnikov spoke, was not there; at least Raskolnikov did not see; but instead of knocking on the frying pan, Katerina Ivanovna began clapping her dry palms to the beat when she made Polechka sing, and Lenya and Kolya dance; moreover, she even started to sing along, but each time she broke off on a second note from a painful cough, which made her despair again, cursed her cough and even cried. Most of all, the cry and fear of Kolya and Leni pissed her off. Indeed, there was an attempt to dress up children in a costume like street singers and singers dress up. The boy was wearing a turban made of something red and white to represent a Turk. Lenya lacked suits; only a red cap, knitted of garus, of the late Semyon Zakharych was put on over his head, and a piece of white ostrich feather, which belonged to Katerina Ivanovna's grandmother and which had been preserved until now in the chest, in the form of a family rarity, was stuck into the hat. Polechka was in her ordinary dress. She looked at her mother timidly and, lost, did not leave her, hid her tears, guessed of her mother's insanity, and restlessly looked around. The street and the crowd scared her terribly. Sonya relentlessly followed Katerina Ivanovna, crying and begging her to come home every minute. But Katerina Ivanovna was relentless.

- Stop it, Sonya, stop it! - she shouted rapidly, hurrying, panting and coughing. “You don’t know what you’re asking, like a child! I already told you that I’m not tossing back to this drunken German woman. Let everyone, the whole Petersburg see, how the children of a noble father are asking for alms, who all his life served with faith and truth and, one might say, died in the service. (Katerina Ivanovna has already managed to create this fantasy for herself and believe it blindly.) Let it be, let this worthless general see. Yes, and you are stupid, Sonya: what is there now, tell me? We have tortured you enough, I don't want more! Ah, Rodion Romanovitch, it's you! - She cried out, seeing Raskolnikov and rushing to him, - please explain to this fool that nothing can be done smarter! Even organ-grinders get it, and everyone will immediately tell us that we are a poor noble family of orphans, brought to poverty, and this general's woman will lose her place, you will see! Every day we will walk under the windows to him, and the emperor will pass, I will kneel down, put all these forward and show them: "Protect, father!" He is the father of all orphans, he is merciful, he will protect, you will see, but this is what the general's lady is. Lenya! tenez-vous droite! You, Kolya, will now dance again. What are you whimpering about? Whimpers again! Well, what are you afraid of, you fool! Lord! what am I to do with him, Rodion Romanitch! If you only knew how stupid they are! Well, what can you do with those.

And she, herself almost crying (which did not interfere with her incessant and incessant patter), pointed to the whimpering children. Raskolnikov tried to convince her to come back and even said, thinking of influencing her pride, that it was indecent for her to walk the streets like organ-grinders walk, because she was preparing herself for the headmistress of a noble boarding school for girls.

- Pension, ha ha ha! Glorious are the tambourines just around the corner! - cried Katerina Ivanovna, immediately after laughing, rolling a cough, - no, Rodion Romanovich, the dream is over! They all left us. And this general woman. You know, Rodion Romanovich, I put an inkwell at him - here, in the footman's room, by the way, I stood on the table, next to the sheet on which they signed, and I signed, let it go, and ran away. Oh, mean, mean. Don't give a damn; Now I will feed these myself, I will not bow to anyone! We tortured her enough! (She pointed to Sonya.) Polechka, how much did you collect, show me? How? Only two kopecks? Oh, vile ones! They don't give anything, they just run after us, sticking out their tongue! Why is this fool laughing? (she pointed to one of the crowd). This is all because this Kolka is so incomprehensible, fuss with him! What do you want, Polechka? Speak French to me, parlez-moi francais. After all, I taught you, because you know a few phrases. Otherwise, how can you tell that you are of a noble family, well-bred children and not at all like all organ-grinders; We are not presenting "Petrushka" on the streets, but we will sing a noble romance. Oh yes! what should we sing? All of you interrupt me, and we. you see, we stopped here, Rodion Romanovich, to choose what to sing — such that Kolya could dance too. that's why all this with us, you can imagine, without preparation; we have to come to an agreement so that we can rehearse everything perfectly, and then we go to Nevsky, where there are many more people of high society and they will immediately notice us: Lenya knows Khutorok. Only everything is "Khutorok" and "Khutorok", and everyone is singing it! We should sing something much more noble. Well, what have you come up with, Polya, if only you could help your mother! Memory, memory I have no, I would remember! Not "Hussar leaning on a saber" to sing, in fact! Ah, sing in French Cinq sous! I taught you, I taught you. And most importantly, since it is in French, they will immediately see that you are noble children, and it will be much more touching. You could even: "Malborough s'en va-t-en guerre", since this is a completely children's song and is used in all aristocratic houses when children are lulled to sleep.

Malborough s'en va-t-en guerre,

Ne sait quand reviendra. She began to sing. “But no, it’s better“ Cinq sous ”! Well, Kolya, hands on your hips, hurry up, and you, Lenya, also turn in the opposite direction, and Polechka and I will sing along and pat!

Cinq sous, cinq sous,

Pour monter notre menage. Khi-khi-khi! (And she rolled back from coughing.) Straighten your dress, Polechka, your shoulders are down, - she noticed through her cough, while resting. - Now you especially need to behave decently and on a thin leg, so that everyone can see that you are children of nobility. I said then that the bra should be cut longer and, moreover, in two panels. It was you then, Sonya, with your advice: "In short, in short," so it turned out that the child was completely disfigured. Well, again you are all crying! Why are you stupid! Well, Kolya, start quickly, quickly, quickly - oh, what an unbearable child that is.

Cinq sous, cinq sous. Soldier again! Well, what do you want?

Indeed, a policeman will be forced through the crowd. But at the same time one gentleman in a uniform and an overcoat, a respectable official of about fifty, with an order around his neck (the latter was very pleasant to Katerina Ivanovna and influenced the policeman), approached and silently handed Katerina Ivanovna a three-ruble green credit card. His face expressed sincere compassion. Katerina Ivanovna received him and bowed to him politely, even ceremoniously.

“Thank you, my dear sir,” she began in a haughty manner, “the reasons that prompted us. take the money, Polechka. You see, there are noble and generous people who are immediately ready to help a poor noblewoman in misfortune. You see, my dear sir, noble orphans, one might even say, with the most aristocratic connections. And this general sat and ate hazel grouses. stamped his feet that I disturbed him. “Your Excellency, I say, protect the orphans, knowing very much, I say, the late Semyon Zakharych, and since the vilest of scoundrels slandered his own daughter on the day of his death. "This soldier again! Protect! - she shouted to the official, - why is this soldier climbing up to me? We already ran away from one here from Meshchanskaya. Well, what do you care, you fool!

- Because the streets are prohibited, sir. Do not be so disgraceful.

- You yourself are an ugly! I still walk with a barrel organ, what do you care?

- As for the organ, you need permission to have it, but you yourself, sir, and in this manner confuse the people. Where would you like to lodge?

- As permission! - Katerina Ivanovna yelled. - I buried my husband today, what is the permission!

- Madam, madam, calm down, - began the official, - come along, I'll bring you. It's indecent here in the crowd. you are not well.

- Dear sir, dear sir, you do not know anything! - Katerina Ivanovna shouted, - we will go to Nevsky, - Sonya, Sonya! Where is she? Crying too! What's the matter with you all. Kolya, Lenya, where are you going? - She cried out suddenly in fright, - about stupid children! Kolya, Lenya, where are they.

It so happened that Kolya and Lenya, frightened to the utmost degree by the street crowd and the antics of an insane mother, finally saw a soldier who wanted to take them and lead them somewhere, suddenly, as if by agreement, grabbed each other by the arms and rushed to run. With a cry and cry, poor Katerina Ivanovna rushed to catch up with them. It was hideous and pitiful to look at her, running, crying, gasping for breath. Sonya and Polechka rushed after her.

- Turn in, turn them back, Sonya! Oh, stupid, ungrateful children. Fields! catch them. I am for you.

She stumbled throughout the run and fell.

- Broken into blood! Oh my God! - Sonya screamed, bending over her.

All ran, all crowded around. Raskolnikov and Lebeziatnikov ran up from the first; the official also hurried, followed by the policeman, grumbling: "Eh-ma!" and with a wave of his hand, anticipating that the matter would turn out to be troublesome.

- Come on! go! - he dispersed the crowded people.

- Dying! Someone shouted.

- You are crazy! - said another.

- Lord, save! - said one woman, crossing herself. - Did the girl and the boy get angry? Look, they are leading, the eldest intercepted. See, crazy ones!

But when they took a good look at Katerina Ivanovna, they saw that she had not broken against a stone at all, as Sonya thought, but that the blood, which had stained the pavement, gushed out of her chest through her throat.

“I know that, I've seen it,” the official muttered to Raskolnikov and Lebezyatnikov, “it's consumption, sir; blood will pour out that way and crush. With one of my relatives, not long ago I was a witness, and so a glass and a half. suddenly, sir. What, however, is to be done, now dies?

- Here, here, to me! - begged Sonya, - this is where I live. This house is the second from here. To me, hurry, hurry. - she rushed to everyone. - Send for the doctor. Oh my God!

Through the efforts of the official, the matter was settled, even the policeman helped to transfer Katerina Ivanovna. They brought her to Sonya almost dead and laid her on the bed. The bleeding was still going on, but she seemed to start to come to her senses. In addition to Sonya, Raskolnikov and Lebezyatnikov, an official and a policeman entered the room at once, having previously dispersed the crowd, from which some escorted to the very doors. Polechka brought in, holding hands, Kolya and Lenya, who were trembling and crying. They also converged on the Kapernaumovs: he himself, lame and crooked, a strange-looking man with bristly, erect hair and sideburns; his wife, who looked somehow frightened once and for all, and several of their children, with faces numb from constant surprise and with open mouths. Svidrigailov suddenly appeared between all this audience. Raskolnikov looked at him in surprise, not understanding where he had come from, and not remembering him in the crowd.

They talked about the doctor and the priest. Although the official whispered to Raskolnikov that, it seems, the doctor is now unnecessary, he ordered to send. Kapernaumov himself ran.

Meanwhile, Katerina Ivanovna caught her breath, for a while the blood was gone. She looked with a painful, but intent and penetrating gaze at the pale and trembling Sonya, who was wiping the drops of sweat from her forehead with a handkerchief; finally, she asked to raise herself. They sat her on the bed, holding her on both sides.

Blood still covered her parched lips. She turned her eyes around, looking around:

- So this is how you live, Sonya! I have never been to you. happened.

She looked at her with suffering:

- We sucked you up, Sonya. Fields, Lenya, Kolya, come here. Well, here they are, Sonya, everyone, take them. from hand to hand. and that's enough for me. The ball is over! G'a. Put me down, let me die peacefully.

They put her back on the pillow.

- What? Priest. Do not. Where do you have an extra ruble. There are no sins on me. God already has to forgive. He himself knows how I suffered. And if he won't forgive, it is not necessary.

Restless delirium gripped her more and more. Sometimes she shuddered, looked around, recognized everyone for a minute; but immediately the consciousness was replaced by delirium again. She breathed hoarsely and with difficulty, as if something was bubbling in her throat.

“I tell him:“ Your Excellency. "- she cried out, resting after every word, - this Amalia Lyudvigovna. Oh! Lenya, Kolya! handles in the sides, hurry, hurry, glisse-glisse, pas de basque! Knock with your feet. Be a graceful child.

Du hast die schonsten Augen,

Madchen, was willst du mehr? Well, yes, how not so! was willst du mehr, - the fool will think up. Oh yeah, here's another:

In the midday heat, in the valley of Dagestan. Oh, how I loved. I loved this romance to adoration, Polechka. you know, your father. he sang as a groom. Oh days. I wish we could sing! Well, how, how. so I forgot. but remind me, how? - She was in extreme excitement and intensified to rise. Finally, in a terrible, hoarse, straining voice, she began, screaming and gasping for breath at every word, with an air of some kind of growing fright:

In the midday heat. in the valley. Dagestan.

With lead in my chest Your Excellency! - she suddenly screamed with a tearing cry and burst into tears, - protect the orphans! Knowing the bread and salt of the late Semyon Zakharych. You could even say aristocratic. Ha! - She shuddered suddenly, regaining consciousness and with some horror examining everyone, but she recognized Sonya at once. - Sonya, Sonya! - she said meekly and affectionately, as if surprised to see her in front of her, - Sonya, dear, are you here?

They lifted her up again.

- Enough. It's time. Goodbye poor wretch. They left the nag. Tore it up! She shouted desperately and hatefully, and banged her head on the pillow.

She forgot herself again, but this last forgetting did not last long. Her pale yellow, withered face tilted backward, her mouth opened, her legs stretched convulsively. She took a deep, deep breath and died.

Sonya fell on her corpse, wrapped her arms around her and froze, her head pressed against the withered chest of the deceased. Polechka crouched at her mother's feet and kissed them, crying bitterly. Kolya and Lenya, not yet realizing what had happened, but anticipating something very terrible, grabbed each other by the shoulders with both hands and, staring at each other with their eyes, suddenly opened their mouths together at once and began to shout. Both were still in suits: one in a turban, the other in a yarmulke with an ostrich feather.

And how did this "meritorious leaf" suddenly find itself on the bed, next to Katerina Ivanovna? He was lying there by the pillow; Raskolnikov saw him.

He went to the window. Lebeziatnikov jumped up to him.

- She's dead! - said Lebezyatnikov.

“Rodion Romanovich, I have two words to convey to you,” Svidrigailov approached. Lebeziatnikov immediately gave way and delicately effaced himself. Svidrigailov took the astonished Raskolnikov away into a corner.

- All this fuss, that is, the funeral and so on, I take on myself. You know, there would be money, but I told you that I have extra money. I will place these two chicks and this Polechka in some better orphanage, and I will put on each of them, until adulthood, a thousand five hundred rubles in capital, so that Sofya Semyonovna will be completely at peace. Yes, and I’ll pull her out of the pool, because she’s a good girl, isn't she? Well, so you tell Avdotya Romanovna that I used her ten thousand like that.

- For what purposes have you become so fortunate? Raskolnikov asked.

- Eh-eh! Distrustful man! - Svidrigailov laughed. - After all, I said that I have extra money. Well, but simply, according to humanity, you don't admit it, eh? After all, she was not a "louse" (he pointed his finger at the corner where the deceased was), like some old woman pawnbroker. Well, you must agree, well, "Does Luzhin really live and do abominations, or should she die?" And don't help me, because “Polechka, for example, will go there, along the same road. "

He said this in the air of some kind of winking, cheerful trickery, without taking his eyes off Raskolnikov. Raskolnikov turned pale and cold as he heard his own expressions spoken to Sonya. He quickly recoiled and looked wildly at Svidrigailov.

- Why-why. you know? He whispered, barely catching his breath.

- Why, I'm here, through the wall, at Madame Resslich's. Here is Kapernaumov, and there is Madame Resslich, an old and most devoted friend. Neighbor, sir.

“I,” Svidrigailov continued, swaying with laughter, “and I can assure you with honor, my dear Rodion Romanovich, that you have surprisingly interested me. After all, I said that we would get together, I predicted this to you, - well, we got along. And you will see what a folding person I am. You will see that you can still live with me.

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Katerina Ivanovna Marmeladova is one of the most vivid and touching images created by Dostoevsky in the novel "Crime and Punishment".

This article presents the fate of Katerina Ivanovna in the novel "Crime and Punishment": life story, biography of the heroine.

The fate of Katerina Ivanovna in the novel "Crime and Punishment": life story, biography of the heroine

Katerina Ivanovna Marmeladova is an educated, intelligent woman from a respectable family. Katerina Ivanovna's father was a state colonel. Apparently, the heroine is a noblewoman by origin. At the time of the narration in the novel, Katerina Ivanovna is about 30 years old.

In her youth, Katerina Ivanovna graduated from an institute for girls somewhere in the province. According to her, she had worthy fans. But young Katerina Ivanovna fell in love with an infantry officer named Mikhail. The father did not approve of this marriage (probably, the groom really was not worthy of his daughter). As a result, the girl ran away from home and got married without parental consent.

Unfortunately, Katerina Ivanovna's beloved husband turned out to be an unreliable person. He loved to play cards and was eventually prosecuted and died. As a result, at the age of about 26, Katerina Ivanovna was left a widow with three children. She fell into poverty. Relatives turned away from her.

At this time, Katerina Ivanovna met the official Marmeladov. He took pity on the unfortunate widow and offered her his hand and heart. This union took place not out of great love, but out of pity. Katerina Ivanovna married Marmeladov only because she had nowhere to go. In fact, the young and educated Katerina Ivanovna was not a match for Marmeladov.

The marriage with Marmeladov did not bring Katerina Ivanovna happiness and did not save her from poverty. After a year of marriage, Marmeladov lost his job and began to drink. The family fell into poverty. Despite all the efforts of his wife, Marmeladov never managed to quit drinking and build a career.

At the time of the events described in the novel, Katerina Ivanovna and her husband Marmeladov have been married for 4 years. The Marmeladovs have been living in St. Petersburg for 1.5 years. By this time Katerina Ivanovna had managed to fall ill with consumption. She had no dresses left, and her husband Marmeladov even drank her stockings and kerchief.

Seeing the desperate situation of the family, the stepdaughter of Katerina Ivanovna, Sonya Marmeladova, began to engage in "indecent" work. Thanks to this, the Marmeladovs received a livelihood. Katerina Ivanovna was sincerely grateful to Sonya for this sacrifice.

Soon a tragedy struck in the Marmeladov family: a drunken Marmeladov fell under a horse in the street and died on the same day. Katerina Ivanovna fell into despair, since she did not even have money for her husband's funeral. Raskolnikov helped the unfortunate widow by giving his last money.

On the day of her husband's commemoration, Katerina Ivanovna behaved strangely, showing signs of madness: together with the children, she staged a performance on the street. Here she accidentally fell, she started bleeding. The woman died on the same day.

After the death of Katerina Ivanovna, her three children were left orphans. Mr. Svidrigailov helped to arrange the future of the poor orphans: he assigned all three to one orphanage (which was not always done), and also put some capital into their account.

Such is the fate of Katerina Ivanovna Marmeladova in the novel "Crime and Punishment" by Dostoevsky: the history of life, the biography of the heroine.

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Death of Katerina Ivanovna

Katerina Ivanovna has lost her mind. She ran to the former chief of the deceased to ask for protection, but she was kicked out of there, and now the mad woman is going to go and beg for alms on the street, forcing the children to sing and dance.

Sonya grabbed a cloak and a hat and ran out of the room, dressing on the run. The men followed her. Lebezyatnikov talked about the reasons for Katerina Ivanovna's madness, but Raskolnikov did not listen, and, having reached his house, nodded his head to his companion and turned into the gateway.

Lebeziatnikov and Sonya forcibly found Katerina Ivanovna - not far from here, on the canal. The widow is completely mad: she hits the frying pan, makes the children dance, they cry; they are about to be taken to the police.

We hurried to the canal, where a crowd had already gathered. Katerina Ivanovna's hoarse voice was heard from the bridge. She, tired and gasping for breath, then shouted at the crying children, whom she had dressed up in some kind of old clothes, trying to give them the appearance of street performers, then rushed to the people and talked about her unfortunate fate.

She made Polechka sing and the younger ones dance. Sonya followed her stepmother and, sobbing, begged to come home, but she was relentless. Seeing Raskolnikov, Katerina Ivanovna told everyone that this was her benefactor.

Meanwhile, the main ugly scene was still ahead: a policeman was squeezing through the crowd. At the same time, some respectable gentleman silently handed Katerina Ivanovna a three-ruble note, and the distraught began to ask
him to protect them from the policeman.

The younger children, frightened by the police, grabbed each other by the arms and ran away.

Katerina Ivanovna was about to rush after them, but stumbled and fell. Polechka brought the fugitives, the widow was raised. It turned out that her throat gushed out from the blow.

Through the efforts of a respectable official, everything was settled. Katerina Ivanovna was carried to Sonya and laid on the bed.

The bleeding was still going on, but she was beginning to come to her senses. Sonia, Raskolnikov, Lebezyatnikov, an official with a policeman, Polechka holding the hands of the youngest children, the Kapernaumov family gathered in the room, and among all this audience Svidrigailov suddenly appeared.

They sent for a doctor and a priest. Katerina Ivanovna looked painfully at Sonya, who was wiping drops of sweat from her forehead, then asked to lift herself up and, seeing the children, calmed down.

She again began to rave, then she forgot for a while, and now her withered face threw back, her mouth opened, her legs stretched convulsively, she took a deep breath and died. Sonya and the children were crying.

Raskolnikov went to the window, Svidrigailov approached him and said that he would take care of all the funeral worries, he would place the children in the best orphanage, put a thousand five hundred rubles for each until adulthood, and take Sofya Semyonovna out of this pool.

First he learns about her from the story-confession of Marmeladov in the "drinking room": "Katerina Ivanovna, my wife, is an educated person and a nee headquarters officer's daughter. Let, let me be a scoundrel, she is full of a high heart and feelings, ennobled by upbringing.<...> And although I myself understand that when she fights my whirlwinds, she fights them only out of heart pity<...> Do you know, do you know, my sir, that I even drank her stockings on drink? Not shoes, sir, for though that would be somewhat like the order of things, but her stockings, her stockings had been cut through! I also drank her little braid made of goat down, a gift, the old one, her own, not mine; and we live in a cold coal, and this winter she caught a cold and went coughing, already with blood. We have three little children, and Katerina Ivanovna at work from morning to night scrapes and washes and washes the children, for she has become accustomed to cleanliness since childhood, but with weak breasts and inclined consumption, and I feel it.<...> You should know that my wife was brought up in a noble provincial noble institute and, when she graduated, she danced with a shawl in the presence of the governor and in front of other persons, for which she received a gold medal and a certificate of commendation. The medal ... well, the medal was sold ... a long time ago ... um ... the certificate of commendation is still in their chest, and until recently I showed it to the mistress. And although she had the most uninterrupted quarrels with the mistress, at least she wanted to be proud of someone and report on the happy days gone by. And I do not condemn, I do not condemn, for this last thing remained with her in her memories, and all the rest has gone to dust! Yes Yes; the lady is hot, proud and unyielding. The floor itself washes and sits on black bread, and will not allow disrespect to itself. That is why the rudeness of Mr. Lebezyatnikov did not want to let him down, and when Mr. Lebeziatnikov nailed her for that, it was not so much from the beatings as from the feeling that she fell into bed. The widow has already taken her, with three children, small, small. She married her first husband, an infantry officer, for love, and with him fled from her parents' house. She loved her husband excessively, but he started playing cards, got on trial, and so he died. He beat her at the end; and although she did not let him down, which I know for certain and from documents, she still remembers him with tears and reproaches me with it, and I am glad, I am glad, because although in her imaginations she sees herself once happy. And she remained after him with three young children in a distant and brutal district, where I was then, and remained in such hopeless poverty that, although I had seen many different adventures, I was not even able to describe. Relatives all refused. Yes, and she was proud, too proud ... And then, my dear sir, then I, too, a widower, and having a fourteen-year-old daughter from my first wife, offered my hand, for I could not look at such suffering. You can judge because to what extent her misfortunes reached that she, educated and brought up and with a well-known name, agreed to go for me! But she went! Weeping and sobbing and wringing my hands - let's go! For there was nowhere to go. Do you understand, do you understand, my dear sir, what it means when there is nowhere else to go? Not! You still don't understand this ... And for a whole year I performed my duty piously and sacredly and did not touch it (he jabbed his finger at the half-duster), for I have a feeling. But this could not please either; and here he lost his place, and also not through fault, but due to a change in the states, and then he touched! .. A year and a half ago, we finally found ourselves, after wanderings and numerous disasters, in this magnificent capital decorated with numerous monuments. And here I got a place ... I got it and lost it again. Do you understand, sir? Here I have already lost it through my own fault, for my line has come ... We are now living in the coal, with the mistress Amalia Fyodorovna Lippevekhzel, and I don’t know how we live and what we pay. Many live there, and besides us ... Sodom, sir, the ugliest ... um ... yes ... And in the meantime my daughter also grew up, from her first marriage, and what only she, my daughter, endured from her stepmother growing, I keep silent about that. For although Katerina Ivanovna is full of magnanimous feelings, the lady is hot and irritated, and she will cut off ... "
Raskolnikov, taking the drunken Marmeladov home, saw his wife firsthand: “It was a terribly thin woman, thin, rather tall and slender, still with beautiful dark blond hair and indeed with flushed cheeks. She walked up and down her small room, her hands clasped across her chest, with parched lips and uneven, irregular breathing. Her eyes were shining as if in a fever, but her gaze was sharp and motionless, and this consumptive and agitated face produced a painful impression, in the last illumination of the burning cinder that trembled on her face. She seemed to Raskolnikov about thirty years old, and really was not a match for Marmeladov ... She did not listen to the incoming people and did not see them. The room was stuffy, but she did not open the window; there was a stench from the stairs, but the door to the staircase was not closed; waves of tobacco smoke rushed from the interior through the open door, she coughed, but did not close the door. The smallest girl, about six years old, slept on the floor, somehow sitting, curled up and buried her head in the sofa. The boy, a year older than her, was trembling all over in the corner and crying. It probably just got nailed. The eldest girl, about nine years old, tall and thin as a match, in one slender shirt that was torn everywhere, and in a shabby Dra-Dama burnusik thrown over her bare shoulders, which she probably sewed two years ago, because it did not even reach her knees now, stood in in the corner next to the little brother, clasping his neck with my long, dry hand like a match ... "
Katerina Ivanovna herself adds a few touches to her portrait and biography in the scene of her husband's commemoration in a conversation with Raskolnikov: “Having amused herself, Katerina Ivanovna immediately got carried away with various details and suddenly started talking about how, with the help of the secured pension, she would certainly start in her hometown T ... a boarding house for noble girls. This had not yet been reported to Raskolnikov by Katerina Ivanovna herself, and she was immediately carried away by the most seductive details. It is not known how she suddenly found herself in her hands the same "commendation sheet" about which the deceased Marmeladov informed Raskolnikov, explaining to him in the tavern that Katerina Ivanovna, his wife, upon graduation from the institute, danced with a shawl "in the presence of the governor and with other persons "<...> it really was indicated,<...> that she is the daughter of a court councilor and gentleman, and therefore, in fact, almost a colonel's daughter. Inflamed, Katerina Ivanovna immediately spread about all the details of the future beautiful and quiet life in T ...; about the gymnasium teachers whom she will invite for lessons at her boarding school; about a venerable old man, the Frenchman Mango, who taught Katerina Ivanovna the most in French at the institute and who is still living out his days in T ... and, probably, will go to her for a very similar fee. Finally, it came to Sonya, "who will go to T ... together with Katerina Ivanovna and will help her in everything" ... "
Alas, the dreams and plans of the poor widow were not destined to come true: literally in a few minutes, the dispute with the mistress would develop into a furious scandal, then a monstrous scene would take place with Sonya being accused of theft, and Katerina Ivanovna could not stand it, grab the children in her arms and go out into the street, finally go mad and die in Sonya's room, where they manage to transfer her. The picture of her death is terrible and deeply symbolic: “- Enough! .. It's time! .. Farewell, poor wretch! .. They drove away the nag! .. She shouted desperately and hatefully, and banged her head on the pillow.
She forgot herself again, but this last forgetting did not last long. Her pale yellow, withered face tilted backward, her mouth opened, her legs stretched convulsively. She took a deep, deep breath and died ... "

All her life, Katerina Ivanovna has been looking for what and how to feed her children, she endures need and hardship. Proud, ardent, unyielding, left a widow with three children, under the threat of hunger and poverty, she was forced, "crying and sobbing, and wringing her hands, to marry a nondescript official, a widower with a fourteen-year-old daughter, Sonya, who, in turn, marries Katerina Ivanovna out of pity and compassion.
The environment seems to be a real hell to her, and the human meanness, which she encounters at every step, hurts her painfully. Katerina Ivanovna does not know how to endure and be silent, like Sonya. A strongly developed sense of justice in her prompts her to take decisive action, which leads to a misunderstanding of her behavior by others.
She is of noble birth, from a ruined noble family, so she has many times harder than her stepdaughter and husband. The point is not even everyday difficulties, but the fact that Katerina Ivanovna has no outlet in life, like Sonya and Semyon Zakharych. Sonya finds solace in prayers, in the Bible, and her father is forgotten at least for a while in a tavern. Katerina Ivanovna is a passionate, impudent, rebellious and impatient nature.
The behavior of Katerina Ivanovna on the day of Marmeladov's death shows that love for one's neighbor is deeply embedded in the human soul, that it is natural for a person, even if he does not realize it. "And thank God that he is dying! The loss is less!" - exclaims Katerina Ivanovna at the bedside of her dying husband, but at the same time she fusses around the patient, gives him a drink, straightens the pillows.
The bonds of love and compassion link Katerina Ivanovna and Sonya. Sonya does not blame her stepmother, who once pushed her stepdaughter to the panel. On the contrary, the girl defends Katerina Ivanovna in front of Raskolnikov, "worrying and suffering and wringing her hands." And a little later, when Luzhin publicly accuses Sonya of stealing money, Raskolnikov sees with what ferocity Katerina Ivanovna rushes to protect Sonya.
Need, poverty press down the Marmeladov family, bring Katerina Ivanovna to consumption, but her dignity lives in her. Dostoevsky himself says about her: "And Katerina Ivanovna was, moreover, not one of the downtrodden, she could have been completely killed by circumstances, but she could not have been beaten morally, that is, it was impossible to intimidate and subjugate her will." It was this desire to feel like a full-fledged person and made Katerina Ivanovna arrange a gorgeous wake. Dostoevsky constantly emphasizes this striving with the words "proudly and with dignity she examined her guests," "did not deign to answer," "she loudly noticed across the table." Alongside the feeling of self-respect in the soul of Katerina Ivanovna, another great feeling lives - kindness. She tries to justify her husband, saying: "Imagine, Rodion Romanovich, I found a gingerbread cock in his pocket: he walks dead drunk, but remembers the children." She, pressing Sonya tightly, as if with her chest wants to protect her from Luzhin's accusations, says: "Sonya! Sonya! I don't believe!" In search of justice, Katerina Ivanovna runs out into the street. She understands that after the death of her husband, children are doomed to death by starvation, that fate is not merciful to them. So Dostoevsky, contradicting himself, refutes the theory of consolation and humility, allegedly leading everyone to happiness and well-being, when Katerina Ivanovna rejects the consolation of a priest. The end of Katerina Ivanovna is tragic. Unconscious, she runs to the general to ask for help, but their Excellency is having dinner and the doors are closed in front of her. There is no longer any hope of salvation, and Katerina Ivanovna decides to take the last step: she goes to beg. The scene of the death of a poor woman is very impressive. The words with which she dies ("left the nag", "overstrained") The tragic image of grief is captured in the face of Katerina Ivanovna. This image contains the enormous power of protest. He stands in the line of eternal images of world literature.

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