Sympathy in the work is crime and punishment. “Compassion is the highest form of human existence...” (F

What is better - truth or compassion?" Man is the truth! We must respect man! M. Gorky It is unlikely that anyone will argue that Gorky is a humanist and great writer, who has gone through a great school of life. His works were not written to please the reading public - they reflect the truth of life, attention and love for people. And this can rightfully be attributed to his play “At the Bottom,” written in 1902. It still disturbs the questions posed by the playwright. Indeed, what is better - truth or compassion? If the question had been formulated a little differently - true or false, I would have answered unequivocally: true. But truth and compassion cannot be made mutually exclusive concepts by opposing one to the other; on the contrary, the whole play is pain for a person, it is the truth about a person. Another thing is that the bearer of truth is Satin, a gambler, a sharpie, himself far from the ideal of a person, which he sincerely and with pathos proclaims: “Man! This is great! It sounds... proudly!” He is contrasted with Luke - kind, compassionate and “evil”, deliberately invoking a “golden dream” to the suffering shelters. And next to Luka and Satin there is another person who also argues about truth and compassion - M. Gorky himself. It is he, it seems to me, who is the bearer of the truth of compassion. This follows from the play itself, from how enthusiastically it was received by the audience. The play was read in bed at night, the tramps cried, shouted: “We are worse!” They kissed and hugged Gorky. It still sounds modern now, when people have begun to tell the truth, but have forgotten what mercy and compassion are. So, the action takes place in the Kostylevs’ rooming house, which is a “cave-like basement” under “heavy stone vaults”, where prison twilight reigns. Here tramps eke out a miserable existence, having fallen “to the bottom of life”, where they were mercilessly thrown out by a criminal society. Someone very accurately said: “At the Bottom” is a stunning picture of a cemetery where people valuable in their inclinations are buried alive.” One cannot see the world of poverty and lawlessness drawn by the playwright, the world of anger, disunity, the world of alienation and loneliness, the words - screams, threats, ridicule. The heroes of the play have lost their past, they have no present, only the Tick believes that he will break out of here: “I’ll get out... I’ll rip off my skin, but I’ll get out...” A faint hope for another life glimmers. with Natasha at the thief, "the thief's son" Vaska Pepla, dreams of pure love prostitute Nastya, however, her dreams evoke malicious ridicule from those around her. The rest have resigned themselves, submitted, do not think about the future, have lost all hope and have finally realized their uselessness. But in fact, all the inhabitants are buried here alive. The actor who drank himself to death and forgot his name is pitiful and tragic; crushed by life, patiently suffering Anna, who is near death, is not needed by anyone (her husband awaits her death as liberation); smart Satin, a former telegraph operator, is cynical and embittered; the Baron is insignificant, who “expects nothing”, “everything is already in the past” for him; Bubnov is indifferent to himself and others. Gorky paints his heroes mercilessly and truthfully, " former people", writes about them with pain and anger, sympathizes with them, who have found themselves in a dead end in life. Mite declares in despair: "There is no work... no strength! That's the truth! Shelter... there is no shelter! We must breathe out... this is the truth!..” It is to these people, it seems, indifferent to life and themselves, that the wanderer Luke comes, addressing with the greeting: “Good health, honest people!” It is to them, the rejected, the renounced from any human morality! Gorky’s attitude towards the passportless Luka is unequivocal: “And all philosophy, all the preaching of such people is alms, given by them with hidden disgust, and under this sermon the words also sound beggarly, pitiful.” And still I want to understand him. Is he so poor, and what motivates him when he preaches his comforting lies, does he himself believe in what he calls for, is he a swindler, a charlatan, a scoundrel, or a sincerely thirsty person for good? The play has been read, and, at first glance ", the appearance of Luke brought only harm, evil, misfortune, death to the shelters. He disappears, disappears unnoticed, but the illusions of 1000 Zia, which he planted in the devastated hearts of people, make their life even more bleak and terrible, deprive them of hope, plunge them into darkness tormented souls. Let's once again see what motivates Luke when he, looking closely at the tramps, finds words of consolation for everyone. He is empathetic, kind to those who need help, and gives them hope. Yes, with his appearance under the arches of the gloomy shelter, hope settles in, previously almost imperceptible against the background of swearing, coughing, growling, groans. And a hospital for drunkards at Actor, and saving Siberia for the thief Ash, and real love for Nastya. “People are looking for everything, everyone wants what’s best... give them, Lord, patience!” - Luka says sincerely and adds: “Whoever seeks will find... You just need to help them...” No, it is not self-interest that drives Luka, he is not a swindler or a charlatan. Even the cynical Bubnov, who doesn’t trust anyone, understands this: “Luka... he lies a lot... and without any benefit for himself...” Ash, unaccustomed to sympathy, asks: “No, tell me - why are you doing all this. ..” Natasha asks him: “Why are you so kind?” And Anna simply asks: “Talk to me, honey... I feel sick.” And it becomes clear that Luka is a kind person who sincerely wants to help and instill hope. But the trouble is that this good is built on lies and deception. Sincerely wanting good, he resorts to lies, believes that earthly life there cannot be another, therefore it takes a person into the world of illusions, into a non-existent righteous land, believing that “it is not always possible to cure a soul with truth.” And if it is impossible to change life, then you can at least change a person’s attitude towards life. I wonder what Gorky’s attitude is towards his hero in the play? Contemporaries recall that the writer was best able to read the role of Luke, and the scene at the bedside of the dying Anna brought tears to his eyes and delight to his listeners. Both tears and delight are the result of the merger of the author and the hero in a fit of compassion. And wasn’t it because Gorky argued so fiercely with Luka because the old man was part of his soul?! But Gorky is not against consolation in itself: “The main question that I wanted to pose is what is better: truth or compassion? Is it necessary to take compassion to the point of using lies, like Luke?” That is, truth and compassion are concepts that are not mutually exclusive. Luka leads away from the truth that Kleshch realizes: “To live is a devil - you can’t live... here it is - the truth! heal with a butt? The old man thinks: “...You need to feel sorry for people!.. I’ll tell you - it’s time to feel sorry for a person... it can be good!” And he tells how he pitied and saved the night robbers. Bubnov opposes Luke’s stubborn, bright faith in man, in the saving power of pity, compassion, kindness: “In my opinion, I’ll give the whole truth as it is! Why be ashamed?” For him, the truth is a cruel, murderous oppression of inhumane circumstances, and Luka’s truth is so unusually life-affirming that the downtrodden, humiliated night shelters do not believe in it, taking it for a lie. But Luke wanted to inspire faith and hope in his listeners: “What you believe in, that is...” Luke brings to people the true, saving, human faith, the meaning of which he grasped and clothed in famous words Satin: "Man - that's the truth!" Luke thinks that with words, pity, compassion, mercy, attention to a person, you can raise his soul, so that the lowest thief understands: “You have to live better! You have to live like that... so that you can... respect yourself...” Thus, for Luke there is no question: “Which is better - truth or compassion?” For him, what is human is true. Then why is the ending of the play so hopelessly tragic? Although we hear that they say about Luke, he inspired Satin to make a fiery speech about a beautiful and proud man, but the same Satin indifferently tells the Actor to his request to pray for him: “Pray yourself...” And to him, leaving forever, after his a passionate monologue about a person shouts: “Hey, you, Sicambrian! Where to?” His reaction to the death of the Actor seems creepy: “Eh.

Literature is full of examples of both generous and vengeful heroes. Some we, as readers, can take as an example, while others are clear illustrations of what not to do. Dostoevsky’s “Crime and Punishment” also contains such opposite characters capable of atrocities and revenge or goodness and generosity.

1. (Revenge is useless and leads to bad consequences) Raskolnikov’s crime can be called a kind of revenge. He is tormented by social injustice, that the extremely repulsive old money-lender, for all her wealth, is unusually greedy, and poor people live in poverty. Thinking through and analyzing the theory of “trembling creatures with rights,” the hero nevertheless decides to challenge the current situation. However, his means to achieve his goal are robbery and murder, so no good came of his so-called revenge - the hero only conscientiously experienced what he had done, not knowing how not to go crazy. Revenge most often implies cruelty, therefore, even to achieve a fair result, you should not resort to atrocities: the taste of a well-deserved victory will not be so sweet, but rather only spoiled by the bitter taste of revenge.
2. (The power of generosity and its role in human relations ) Thanks to positive qualities Other characters in Dostoevsky's novel are painted in light colors. Sonechka Marmeladova, having learned about Rodion Raskolnikov’s act, did not give up on the hero. On the contrary, the girl sincerely wanted to save the soul of the poor young man, so she advised him to repent of his crime. Sonya even reads to Raskolnikov the legend of the resurrection of Lazarus with the hope of the revival of a new life. Realizing that Raskolnikov regrets the murder, she sympathizes with him, not leaving him without support. Sonya's immense love for people and responsiveness were able to pull Rodion out of a terrible abyss. Thus, the author emphasizes the power of generosity, which can save the human soul.
3. (Generous people often become victims of rigidity; this quality does not bring happiness) Unfortunately, even kind and compassionate people can face unfair revenge and cruelty. Often they become innocent victims of the situation, as happened with Sonya Marmeladova. At her father's wake, Luzhin, Dunya Raskolnikova's failed fiancé, put a hundred rubles in the girl's pocket in order to later accuse her of theft. Luzhin had nothing specifically against Sonya: thus, he only wanted to take revenge on Raskolnikov for kicking him out of the apartment. Knowing that Rodion had a great attitude towards Sonya, Luzhin took advantage of the situation, but Lebezyatnikov saved Marmeladov’s daughter from slander. The hero's revenge was not successful; everyone was only convinced of his immorality.
4. You can fight for justice without revenge. Investigator Porfiry Petrovich is very talented in his field, and he guessed about Raskolnikov’s crime long before his confession. Having no evidence against the main character, he tried to psychologically lead Rodion to clean water. After reading Raskolnikov’s article, his fainting and indignation that the investigator is playing with him instead of acting according to form, Porfiry Petrovich is only convinced of his intuition: “It’s no longer possible to give yourself away.” However, Porfiry pushed Raskolnikov to confess not in order to make his work easier, or to somehow take revenge on the criminal with real punishment. On the contrary, he did this out of deep generosity and compassion, because turning himself in can mitigate the hero’s punishment. Porfiry Petrovich is a man for whom justice is not an empty phrase, but in his work he compassionately shows generosity towards the suffering Raskolnikov.
5. (The price of generosity, an example of a generous person) Showing generosity is not an easy task; sometimes you have to give up what you want and make concessions. The Raskolnikov family lived very poorly, and in order to get out of their difficult situation, Rodion’s sister Dunya was going to marry the calculating businessman Luzhin. Raskolnikov understood that his sister was doing this not out of love, but out of a desire to help their mother and Rodion himself. Without resigning myself to this situation, main character insists on terminating the engagement: he understood that it would be in Luzhin’s interests to reproach Dunya and command future wife, because he saved her from poverty. Dunya was ready to do this, which speaks of her care and desire to help her family. But, fortunately, Rodion here also turns out to be not stingy with generosity, and does not allow his sister to ruin her life. Being generous is not so easy; for this you need to be ready for self-sacrifice. In addition, it is equally important that the people for whom man walking to make concessions, they appreciated it.
6. (Can revenge be fair? Revenge of fate) Svidrigailov is the embodiment of Raskolnikov’s theory. At first glance, he is not bothered by pangs of conscience, but he is guilty of more than one death. But, if judicial punishments never overtook the hero, this does not mean that Svidrigailov was not avenged by fate. Arkady Ivanovich himself admits to Raskolnikov that ghosts come to him, which means that the character feels his own guilt. Revenge can be fair and committed not by man, but by fate, this is exactly what Svidrigailov expected. For everything he had done, the hero was avenged by an unfortunate fate - he was left without support, as a result of which he could not stand it and committed suicide.
7. The generosity of friends can help anyone out Hard time. Having committed the long-awaited crime, Raskolnikov can no longer behave as usual, although he tries to avert any suspicion from himself. The murder of the old pawnbroker did not save him from poverty, because the hero, in the pangs of conscience and fear, got rid of everything stolen. His friend Razumikhin repeatedly comes to Rodion’s aid, noticing that something strange is happening to his friend. Comrade is not limited to material assistance. When Raskolnikov realizes that he is ashamed to be with his mother and sister, he asks Razumikhin to be with them and support his family. Rodion could completely rely on his friend, and he generously supported Raskolnikov as best he could.

1. General susceptibility to compassion.

2. Test through suffering.

3. Responsibility for people suffering.

At all times, Russian people have had this spiritual quality like compassion. That is why the people over the centuries have developed special treatment to people suffering, especially those offended by nature, with physical defects. Those around them treated them with a certain amount of pity, sympathy and at the same time condescension. From here and almost loving relationship to holy fools, dwarfs, “God’s” old women. Offending such a person was considered a great sin. Moreover, they used to believe that helping the suffering in itself entailed atonement for even the most serious sins. Perhaps this is why in the 19th century many wealthy families kept so-called hangers-on and hangers-on.

The desire to free oneself from sins could even prompt such a stingy soul as the heroine of M. E. Saltykov-Shchedrin’s novel “The Golovlevs,” Arina Petrovna, to feed such an unfortunate soul. The attitude of the Russian person towards suffering itself, which is perceived as a test on the path to spiritual purification, is also surprising. Of course, such a character trait of the Russian people could not go unnoticed by writers, since human feelings and emotional impulses have interested writers at all times. This problem is addressed differently in works of art. Writers had far different understandings and perceptions of the significance of experiences, spiritual torments and torments for the formation of a certain worldview of a person. However, the majority still came to the conclusion that without a certain amount of suffering and the emergence of compassion for living beings, the formation of a normally harmonious personality is generally impossible.

Of course, one of the first researchers of this Russian phenomenon was the great writer F. M. Dostoevsky, who in his literary works I tried to draw the attention of readers not to the physical, but to the spiritual suffering of the common man.

In the novel “Crime and Punishment,” the image of Sonechka Marmeladova was wonderfully created. A girl who suffers and at the same time has a pronounced inclination towards compassion is forced to sell her body, live in the dirt, for the sake of a certain well-being of her family. However, despite the physical dirt, she is able to retain the purest thing in herself - her bright soul. Sonya perceives her life as a test that must be passed with humility and with God's word on her lips. Almost all the heroes of Dostoevsky's works are subjected to this great test through suffering. Sometimes one gets the impression that Mikhail Fedorovich simply does not understand and does not notice people who do not know how to suffer and do not themselves feel a craving for compassion, since these two interrelated feelings are a kind of measure of human holiness and meanness. Dostoevsky's heroes, suffering and tormented, each reveal themselves to the reader in their own way. Moreover, not everyone is able to withstand this test. Suffering pushes Raskolnikov to commit a serious crime - the murder of an old pawnbroker; Marmeladov, unable to bear it, becomes addicted to alcohol. However, more often than not, suffering actually purifies and somehow elevates a person. So, for example, the oppressor and furious admirer of Dunya Svidrigailov, under the influence of suffering from unrequited love, on the contrary, begins to perform kind, seemingly unusual actions. He deliberately refuses to marry a very young girl, leaving her money and stopping her mother’s desire to “sell” her daughter for a profit. He is actively concerned about the placement of Katerina Ivanovna’s children in decent conditions after the death of their mother. educational establishments and leaves them his money.

As a result, Raskolnikov, through suffering, as well as sympathy and love for Sonya, reconsiders his life attitudes and abandons his destructive theory. Thus, suffering people simply need the compassion of others. Dostoevsky showed in the best possible way that many, finding themselves in a difficult situation, are no longer able to correctly assess the situation and protect themselves from the vicissitudes of reality. That's why they're still in to a greater extent must count on the support and understanding of family and friends. Only in this case is their revival and return to normal life. Katerina Ivanovna understands this well when, without hesitation, she rushes to defend Sonya, accused of theft by Luzhin. Her personal tragedy only sharpens her sense of justice and compassion. The stepmother does not believe in Sonya’s guilt, even at the moment when money is found in the girl’s pocket. According to the writer, suffering atones for any guilt and at the same time can touch even the toughest person. This is perfectly demonstrated by the heroes of another Russian writer A.S. Pushkin. Masha's plight, main character novel " Captain's daughter“, even such an embittered and hardened heart as Pugachev’s could not help but touch. He, feeling a sense of compassion for the girl who had lost her parents and was imprisoned by her former admirer, managed to forgive the deception. The chieftain lets her and Grinev go in peace. Compassion and reverent attitude towards the suffering of others can often cool even the most irreconcilable rage and evoke sympathy for the enemy. So this feeling prompted General Mironov to stop the torture of the Bashkir envoy Pugachev. The messenger's plight evokes sympathy among those around him: a pitiful, hunched figure, lack of ears, nose and tongue. On Grineva appearance The Bashkir made a depressing impression. He concludes that whatever crime this man committed, he should not be punished in such a barbaric manner. Often suffering is not only a test for the person in distress, but also for the people around him. At the same time, everyone is able to respond differently to a similar situation of a loved one or acquaintance: someone will try to restore justice, someone will prefer to stay on the sidelines, and someone will not take advantage of the current situation and will derive some benefit for themselves.

Luzhin, for example, knows very well that Dunya does not love him, she is marrying only out of a hopeless situation, and even he is guided in his choice not by feelings, but by a certain calculation. However, this does not stop him at all; until the last moment he makes plans to reunite with the girl. Shvabrin, who took advantage troubled times, and the defenselessness of his beloved, locks Masha in the room, forcing her to marry him.

And Porfiry Golovlev, the main character of M. E. Saltykov-Shchedrin’s novel “The Golovlev Gentlemen,” does not feel guilty at all when he takes the money of his brothers and mother. Thus, each of the heroes, taking advantage of someone else’s grief, manifests himself and is far from being the best side. Luzhin is driven by selfishness and the desire for power over the weaker. Shvabrin is trying to take revenge for his wounded pride. Golovlev is overcome by a feeling of greed and money-grubbing. However, no matter how the plot turns, everyone bears a certain responsibility for those who are nearby and experience suffering. Lack of sympathy for such people is certainly punished according to deserts. None of the offenders listed above finds either happiness or peace in their lives. The heaviness of what they have done settles like a heavy burden in their souls. Luzhin is rejected. Shvabrin is brought to justice, and his slander against Grinev is successfully refuted. Porfiry Golovlev is forced to spend the rest of his life alone. Feeling guilty, he tries to get to his mother’s grave at night and freezes on the road.

That is, the lack of compassion for other people makes a person spiritually poorer, destroys his personality and brings all sorts of troubles to him.

Mercy and compassion in the novel "Crime and Punishment"

Charity consists not so much in material help, but in spiritual support of one's neighbor.

L.N. Tolstoy

Mercy and compassion.

I want swans to live

And from the white flocks

The world has become kinder...

A. Dementyev

Songs and epics, fairy tales and stories, stories and novels of Russian writers teach us kindness, mercy and compassion. And how many proverbs and sayings have been created! “Remember good and forget evil,” “A good deed lives for two centuries,” “While you live, you do good, only the path of good is the salvation of the soul,” says folk wisdom. So what are mercy and compassion? And why today does a person sometimes bring more evil to another person than good? Probably because kindness is a state of mind when a person is able to come to the aid of others, give good advice, and sometimes just feel sorry. Not everyone is able to feel someone else's grief as their own, to sacrifice something for people, and without this there is no mercy or compassion. a kind person attracts to himself like a magnet, he gives a piece of his heart, his warmth to the people around him. That is why each of us needs a lot of love, justice, sensitivity, so that we have something to give to others. We understand all this thanks to the great Russian writers and their wonderful works.

The heroes of the novel by F.M. are truly merciful and compassionate people. Dostoevsky "Crime and Punishment". The appearance of the novel “Crime and Punishment” was the result of the writer’s generalization of the most important contradictions of the 60s. Dostoevsky pondered his work for 15 years. Even in engineering school, the future writer was interested in the topic strong personality and her rights. In 1865, when Dostoevsky was abroad, the plan for the future novel took shape. Based on the original plot - dramatic story Marmeladov family, then the story of the crime came to the fore, and the central theme was the theme of moral responsibility. “Crime and Punishment” is an ideological novel, social and philosophical in theme, tragic in the nature of the problems posed, adventurous in its plot. The writer’s focus is on the terrible reality of Russia at the end of the 19th century, with its poverty, lack of rights, corruption and disunity of the individual, suffocating from the consciousness of his own powerlessness.

The main character of the novel, a dropout student Rodion Romanovich Raskolnikov, commits a terrible crime - taking the life of another person - under the influence of theories popular among young people of the 60s of the 19th century. Rodion is a dreamer, a romantic, a proud and strong, noble personality, completely absorbed in the idea. The thought of murder evokes in him not only moral, but also aesthetic disgust: “The main thing: dirty, dirty, disgusting, disgusting!..”. the hero asks questions: is it allowed to commit small evil for the sake of great good, does a noble end justify a criminal means? Raskolnikov has a kind and compassionate heart, wounded by the spectacle of human suffering. The reader is convinced of this by reading the episode in which Raskolnikov wanders around St. Petersburg. The hero sees scary pictures big city and the suffering of the people in it. He is convinced that people cannot find a way out of the social impasse. The unbearably hard life of poor workers, doomed to poverty, humiliation, drunkenness, prostitution and death, shocks him. Raskolnikov perceives other people's pain more acutely than his own. Risking his life, he saves children from the fire; shares the latter with the father of a deceased comrade; a beggar himself, he gives money for the funeral of Mameladov, whom he barely knew. But the hero understands that he cannot help everyone, being a simple student. Raskolnikov comes to the realization of his own powerlessness in the face of evil. And in despair, the hero decides to “transgress” the moral law - to kill out of love for humanity, to commit evil for the sake of good. Raskolnikov seeks power not out of vanity, but to really help people who are dying in poverty and lawlessness. Mercy and compassion are the ones moral laws who inspired Raskolnikov to commit a crime. The hero feels sorry for everyone: his mother, his sister, the Marmeladov family. For their sake, he committed a crime. The hero wanted to make his mother happy. She helped her children all her life, sending her last money to her son, trying to make her daughter’s life easier. Raskolnikov wanted to save his sister, who lived as a companion to the landowners, from the voluptuous claims of the head of the landowner family. WITH Marmeladov Rodion meets in a tavern, where Semyon Zakharovich talks about himself. A drunken official appears before Raskolnikov, the destroyer of his own family, who deserves sympathy, but not condescension. His unfortunate wife evokes burning compassion in Raskolnikov, but she is also guilty of the fact that, even though “the children were sick and crying, they didn’t eat,” she sent her stepdaughter to the panel... and the whole family lives in her shame, in her suffering. Raskolnikov's conclusion about the meanness of people seems inevitable. Only one thing stuck as a thorn in the hero’s mind: what is Sonya’s fault for sacrificing herself to save her sisters and brother? What are they themselves to blame for - this boy and two girls? For the sake of these children and all others, Raskolnikov decides to commit a crime. He says that children "cannot remain children." The hero explains to the frightened Sonya: “What to do? Break what is needed, once for all, and that’s all: and take on the suffering! What? Don’t you understand? Later you will understand... Freedom and power, and most importantly - power! With all the trembling creatures, we must all over the anthill!..” What kind of suffering is Raskolnikov talking about? Probably about murder. He is ready to step over himself by killing a person in order to subsequent generations lived in harmony with their conscience.

Raskolnikov’s tragedy is that, according to his theory, he wants to act according to the principle “everything is permitted,” but at the same time, fire lives in him sacrificial love to people.

In the novel, almost every character is capable of empathy, compassion and be merciful. Sonechka transgresses through herself for others. To save the family, he goes to the panel. Sonecha finds love and compassion, a willingness to share his fate, Raskolnikov. It is to Sonechka that the hero confesses his crime. She does not judge Raskolnikov for his sin, but painfully sympathizes with him and calls on him to “suffer” and atone for his guilt before God and people. Thanks to his love for the heroine and her love for him, Rodion is resurrected to a new life. "Sonechka, Sonechka

Marmeladova, eternal Sonechka, while the world stands!” - a symbol of self-sacrifice in the name of one’s neighbor and endless “insatiable” compassion.

Raskolnikov’s sister, Avdotya Romanovna, who, according to Rodion, “would rather become a Negro to a planter or a Latvian to a Baltic German than to fuel her spirit and her moral sense by a connection with a person she does not respect,” is going to marry Luzhin. Avdotya Romanovna does not love this man, but with this marriage she hopes to improve the situation not so much for herself, but for her brother and mother.

In this work, Dostoevsky showed that it is impossible to do good relying on evil. That compassion and mercy cannot coexist in a person along with hatred for individuals. Here either hatred displaces compassion, or vice versa. A struggle of these feelings takes place in Raskolnikov’s soul, and, in the end, mercy and compassion win. The hero understands that he cannot live with this black spot, the murder of the old woman, on his conscience. He understands that he is a “trembling creature” and had no right to kill. Every person has the right to life. Who are we to deprive him of this right?

Mercy and compassion play a role in the novel significant role. The relationships of almost all the characters are built on them: Raskolnikov and Sonechka, Raskolnikov and Dunya, Raskolnikov and the Marmeladov family, Pulkhiriya Alexandrovna and Raskolnikov, Sonya and the Marmeladovs, Sonya and Dunya. Moreover, mercy and compassion in these relationships were manifested on both sides in contact.

Yes, life is harsh. Many human qualities heroes were tested. During these trials, some became lost among vices and evil. But the main thing is that, among the vulgarity, dirt and depravity, the heroes were able to preserve, perhaps, the most important human qualities - mercy and compassion.

Protest against social injustice - traditional theme literature. Often the desire to help society realize its duty to those who are “below”, to help people find an existence with human dignity, often
determined the theme and direction of the author’s work. In "Crime and Punishment" the defense of social dignity " little man"occupies one of the leading positions. But in Dostoevsky’s novel this theme is inextricably linked with protest
only against social, but also moral humiliation of the individual, with the search for that force that can help people maintain their dignity in any social conditions.
Raskolnikov and his family, the Marmeladov family, are only part of the world of the “outcasts” in the novel. This world is also represented by other characters in the novel: the girl met on the boulevard by Raskolnikov, the obedient sister of the old pawnbroker Lizaveta,
numerous inhabitants of the Sennaya Square area. The symbol of the poor man’s decadence in the novel is the horse whipped to death from Raskolnikov’s dream. “The nag has gone!” - Katerina Ivanovna screams, dying.
The “humiliated and insulted” heroes of the novel expect justice and sympathy from society. They see justice in taking a position in society that corresponds to their personal merits. As a result of the unlimited power of money, they
doomed to constant humiliation. But also Raskolnikov and Katerina Ivanovna. And Dunya feels superior to those around her, in intelligence, culture, abilities, education. They need the opportunity to occupy a worthy position in society in order to respect themselves. Raskolnikov's pride is constantly wounded by the glances of passers-by and the nagging of the hostess. The neighbors and the landlady treat Katerina Ivanovna with undisguised contempt. Sonya is forced to constantly feel
inferior, second-rate. The position of a servant is the source of painful experiences for Raskolnikov's sister.
Poverty always threatens the final transformation of a person into a thing that can be sold and bought. In Dostoevsky's novel, such a threat looks more and more like reality. It is Luzhin who is trying to buy himself a wife, and Svidrigailov succeeds. How Luzhin looks at Sonya at a thing. The power of money itself is dangerous to human dignity.
And yet in distress social status Dostoevsky especially emphasizes the severity of loneliness in his heroes. The right to sympathy, understanding and support is more valuable to the author of the novel than justice, because you can live “down there” if there are people next to you. Not an indifferent crowd. Meanwhile, the horror of poverty is that it leaves a person alone with his suffering. The life of each of the “humiliated” heroes of the novel is an existence at the last line. Everyone especially needs moral support, a person who is ready to share with them the severity of the experiences they are experiencing. But visitors to the tavern greet Marmeladov’s confession with laughter. The politeness of Raskolnikov and his sister seems miraculous to Sonya. There is no mutual understanding between Marmeladov and Katerina Ivanovna, despite their common destiny. Outrageous statements
Razumikhin about the theories of socialists, the satirical image of Lebezyatnikov speaks about negative attitude the author to the revolutionaries. For Dostoevsky, it was unacceptable to forcefully equate all people. But at the same time, the essence of Napoleon, partially embodied in the novel by the fate of Raskolnikov, is also unacceptable to him. It is characteristic that it is precisely the protagonist’s inability to kill in himself the feeling of an inseparable connection with others
suffering people became the key to his moral transformation.
In the symbolism of the novel, the only force that can change the order of things is compassion. The feeling of the closeness of someone else's grief. A sincere impulse of the heart is stronger and purer than any theories. IN cruel world, depicted in "Crime and Punishment"
There are many examples of not only human indifference, but also active, effective sympathy. Raskolnikov helps the Marmeladov family, the policeman helps the girl on the boulevard, the repentant Svidrigailov helps the children of Katerina Ivanovna. Even Lebezyatnikov cannot stand the sight of human humiliation and helps out Sonya, who is accused of theft. Moreover, these are not isolated, random scenes.
Good is indestructible in the world, it was given to man from the beginning, embedded in him. It is characteristic that the power of sympathy, pity, the feeling of unity in suffering and at the end of the novel make a moral revolution in the soul of the protagonist. For Dostoevsky, this feeling was inseparable from the Russian religious tradition, from worldwide pity for a suffering person. beauty human soul was for the author of “Crime and Punishment” kindness and faith, saving the world from moral destruction.