Chapter VI What prompted the peasants to join Dubrovsky? Why does the blacksmith Arkhip destroy the clerks, but save the cat at the risk of his own life? Essays.

DUBROVSKY DUBROVSKY Vladimir Andreevich is the main character of the unfinished novel, a “noble robber.” Dubrovsky - which is rare in Pushkin’s artistic system - has real prototypes. In 1832, the Kozlovsky district court heard the case “On improper possession

Dubrovsky Now you have to get acquainted with the prose of the greatest of Russian writers, who was previously known to you only as a poet. This prose is perfect and amazing. The fact is that A.S. Pushkin uses epithets very sparingly and almost does not resort to tropes. Speech

After the first reading of the story “Dubrovsky” I did not like it. In the book everything ends sadly, just like in life, but I love a happy ending. I would like Masha to marry Dubrovsky, and they would be happy.

Then, after thinking, I realized that fate... Dubrovsky Vladimir Andreevich is the main character of the unfinished novel, the “noble robber.” He was brought up in

cadet corps Petersburg. Later, having become an officer, D. gets into debt. In this regard, the hero dreams of a rich bride. Being in...

Among the noble characters of the novel, the image of Dubrovsky stands out. He turns out to be a renegade in relation to the landowner environment. Dubrovsky is a rebel. The image of a rebel protesting against slavery and despotism is found in many of Pushkin’s works, starting...

A.S. Pushkin was always concerned about the relationship between landowners and peasants. And in his works he tried to find ways to solve this problem. Thus, in the story “Dubrovsky” he paints images of representatives of the Russian nobility, the most striking of which...

Usually this question begins to be answered from the end. From the last chapters of the story, when Dubrovsky, having received her message late, was unable to appear before the wedding. We see a girl in tears, pale, detached from everything around her, having lost her last hope...

Volume one

Chapter VI

“So, it’s all over,” he said to himself, “this morning I had a corner and a piece of bread. Tomorrow I will have to leave the house where I was born and where my father died, to the culprit of his death and my poverty.” And his eyes fixed motionless on the portrait of his mother. The painter presented her leaning on the railing in a white morning dress with a scarlet rose in her hair. “And this portrait will go to the enemy of my family,” thought Vladimir, “it will be thrown into the pantry along with the broken chairs or hung in the hallway, the subject of ridicule and comments from his hounds, and in her bedroom, in the room... where her father died, he will settle his clerk or his harem will fit. No! No! Let him not get the sad house from which he drives me out.” Vladimir clenched his teeth, terrible thoughts were born in his mind. The voices of the clerks reached him, they bossed him around, demanded this and that, and unpleasantly entertained him in the midst of his sad thoughts. Finally everything calmed down.

Vladimir opened the chests of drawers and began sorting through the deceased’s papers. They mostly consisted of business accounts and correspondence on various matters. Vladimir tore them up without reading them. Between them he came across a package with the inscription: letters from my wife. With a strong movement of feeling, Vladimir began to work on them: they were written during the Turkish campaign (1) and were addressed to the army from Kistenevka. She described to him her deserted life, household chores, tenderly lamented the separation and called him home, into the arms of good friend; in one of them she expressed to him her concern about the health of little Vladimir; in another she rejoiced at his early abilities and foresaw a happy and brilliant future for him. Vladimir read and forgot everything in the world, plunging his soul into the world of family happiness, and did not notice how time passed, the wall clock struck eleven. Vladimir put the letters in his pocket, took the candle and left the office. In the hall, the clerks slept on the floor. There were glasses on the table, they had been emptied, and strong spirit Roma could be heard throughout the room. Vladimir walked past them in disgust into the hallway - the doors were locked. Not finding the key, Vladimir returned to the hall - the key lay on the table, Vladimir opened the door and came across a man pressed into the corner - his ax was shining, and, turning to him with a candle, Vladimir recognized Arkhip the blacksmith. "Why are you here?" - he asked. “Oh, Vladimir Andreevich, it’s you,” Arkhip answered in a whisper, “God have mercy and save me!” It’s good that you walked with a candle!” Vladimir looked at him in amazement. “Why are you hiding here?” - he asked the blacksmith.

“I wanted... I came... to see if everyone was at home,” Arkhip answered quietly, stuttering.

Why do you have an ax with you?

Why an ax? But how can you walk without an axe? These clerks, you see, are such mischievous people - just look at it...

You're drunk, drop the ax and go get some sleep.

I'm drunk? Father Vladimir Andreevich, God is my witness, there wasn’t a single drop in my mouth... and whether the wine comes to mind, has the matter been heard - the clerks are planning to take over us, the clerks are driving our masters out of the master’s yard... Oh, they’re snoring, damned ones ; all at once, and it would end up in the water.

Dubrovsky frowned. “Listen, Arkhip,” he said, after a short silence, “this is not the case you started. The clerks are not to blame. Light the lantern and follow me.”

Arkhip took the candle from the master’s hands, found a lantern behind the stove, lit it, and both quietly left the porch and walked near the yard. The watchman began to beat on the cast-iron board, the dogs began to bark. "Who's the guard?" - asked Dubrovsky. “We, father,” answered a thin voice, “Vasilisa and Lukerya.” “Go around the courtyards,” Dubrovsky told them, “you are not needed.” “Sabbath,” said Arkhip. “Thank you, breadwinner,” the women answered and immediately went home.

Dubrovsky went further. Two people approached him; they called out to him. Dubrovsky recognized the voice of Anton and Grisha. “Why aren’t you sleeping?” - he asked them. “Are we going to sleep,” Anton answered. “What have we come to, who would have thought...”

Quiet! - interrupted Dubrovsky, - where is Egorovna?

“In the manor’s house in his little room,” answered Grisha.

Go, bring her here and take all our people out of the house, so that not a single soul remains in it except the clerks, and you, Anton, harness the cart.

Grisha left and a minute later appeared with his mother. The old woman did not undress that night; except for the clerks, no one in the house slept a wink.

No one except the clerks,” answered Grisha.

Give us some hay or straw here,” said Dubrovsky.

The people ran to the stable and returned carrying armfuls of hay.

Place it under the porch. Like this. Well, guys, fire!

Arkhip opened the lantern, Dubrovsky lit a torch.

Wait,” he said to Arkhip, “it seems that I locked the doors to the hallway in a hurry, go and unlock them quickly.”

Arkhip ran into the hallway - the doors were unlocked. Arkhip locked them, saying in a low voice: “What’s wrong, unlock it!” - and returned to Dubrovsky.

Dubrovsky brought the torch closer, the hay caught fire, the flame soared and illuminated the entire yard.

“Ahti,” Yegorovna cried pitifully, “Vladimir Andreevich, what are you doing?”

“Be silent,” said Dubrovsky. - Well, children, goodbye, I’m going wherever God leads; be happy with your new master.

“Our father, our breadwinner,” the people answered, “we will die, we will not leave you, we will go with you.”

The horses were brought in; Dubrovsky got into the cart with Grisha and appointed Kistenevskaya Grove as their meeting place. Anton hit the horses, and they rode out of the yard.

The wind got stronger. In one minute the flames engulfed the entire house. Red smoke curled over the roof. Glass cracked and fell, flaming logs began to fall, a plaintive cry and cries were heard: “We are burning, help, help.” “How wrong,” said Arkhip, looking at the fire with an evil smile. “Arkhipushka,” Yegorovna told him, “save them, the damned, God will reward you.”

“Why not,” answered the blacksmith.

At that moment the clerks appeared at the window, trying to break down the double frames. But then the roof collapsed with a crash, and the screams died down.

Soon all the servants poured out into the yard. Women screamed and hurried to save their junk; children jumped, admiring the fire. Sparks flew like a fiery blizzard, the huts caught fire.

“Now everything is fine,” said Arkhip, “how does it burn, huh?” tea, it’s nice to watch from Pokrovsky.

At that moment a new phenomenon attracted his attention; the cat ran along the roof of the burning barn, wondering where to jump - flames surrounded it on all sides. The poor animal called for help with a pitiful meow. The boys died with laughter, looking at her despair. “Why are you laughing, you devils,” the blacksmith told them angrily. “You are not afraid of God: God’s creation is dying, and you are foolishly rejoicing,” and, placing the ladder on the fire roof, he climbed after the cat. She understood his intention and, with an air of hasty gratitude, clung to his sleeve. The half-burnt blacksmith climbed down with his loot. “Well, guys, goodbye,” he said to the embarrassed servants, “I have nothing to do here. Have fun, don’t remember me ill.”

The blacksmith left; The fire raged for some time. Finally it calmed down, and piles of coals without flames burned brightly in the darkness of the night, and the burnt residents of Kistenevka wandered around them.

One of the most famous works Pushkin - "Dubrovsky". Reviews note that this is perhaps the most famous Russian “robber” novel. It tells about the love between Vladimir Dubrovsky and Maria Troekurova. Both are descendants of two wealthy but feuding families. Pushkin wrote this novel in 1833, several years before his death. He did not process it for printing and never finished it.

Roman "Dubrovsky"

The novel "Dubrovsky", according to reviews, allows you to fully appreciate Pushkin's skill as a prose writer. The story begins in an estate called Pokrovskoye. A well-known and quite wealthy gentleman, Kirill Troekurov, lives in it. He has a tough temper, which is why all his neighbors dislike him. There is one exception: the poor landowner living next door, Andrei Dubrovsky. They previously served in the army together. Both became widowers.

Dubrovsky's son serves in St. Petersburg, and Troekurov has a daughter, Masha, who still lives with her father.

Troekurov often thinks about marrying his children, but everything changes after a sudden quarrel between two friends. At the same time, Dubrovsky behaves proudly and independently, which leaves no chance for reconciliation.

Troekurov, in order to take revenge, organizes a trial, the purpose of which is to deprive Dubrovsky of the estate.

Court

About Pushkin's novel "Dubrovsky" short review is about how unfair the trial is. Troekurov openly orders the assessor to find a “legal” path in this lawlessness.

As a result, a decision is announced at the trial, full of legal incidents, but awarding Dubrovsky’s estate to Troekurov. The poor landowner's health is deteriorating. His serf Egorovna writes to Vladimir in St. Petersburg so that he comes to support his father.

Vladimir finds his father already on his deathbed. Troekurov is tormented by his conscience. He comes to apologize, but Dubrovsky is paralyzed at the sight of his former friend. Vladimir kicks out a rich landowner. At this moment, Dubrovsky Sr. dies.

New owner of the estate

A review of Pushkin's story "Dubrovsky" should be devoted to the fact that this is a work about incredible lawlessness, which cannot always be defeated with the help of law and even force.

After the funeral, the bailiffs come to Dubrovsky's estate to enforce the court's decision. The peasants refuse to obey them, only Vladimir saves the officials from popular reprisals.

"Dubrovsky", according to reviews, is a novel in which Pushkin describes the ideal romantic hero. He is Vladimir. He is handsome, strong, but at the same time does not accept injustice and lawlessness. At night, he dissuades the blacksmith Arkhip from killing the clerks. Instead, he decides to leave the estate forever and finally burn the house so that no one gets it. He orders the blacksmith to open all the doors so that the clerks can escape without difficulty. But Arkhip does not listen to him. As a result, Vladimir sets the house on fire and quickly leaves. He doesn’t even suspect that all the clerks are dying in the fire.

Under suspicion

At Pushkin's in Dubrovsky, according to reviews, big role the law enforcement and judicial system plays a role. Officials from these departments come to the fore again when it turns out that Vladimir is the main suspect in murder and arson.

Soon a gang of robbers appears in the province and rob everyone. Only Troekurov's people are not touched. Many suspect that he is in charge dashing people Dubrovsky, who went on the run. The reviews note that many are simply convinced of this.

At this time, Monsieur Deforge, a teacher for little Sasha, appears at Troyekurov’s estate. The Frenchman falls in love with Maria, but she does not reciprocate his feelings.

Reviews of the novel "Dubrovsky" note that the girl changes her attitude towards him after the Frenchman kills a bear, being locked in the same room with him. This is how people traditionally liked to play tricks on guests in Troekurov’s house.

Everyone is talking about Dubrovsky

Guests gather at Troyekurov's house for the holiday. We are talking about Dubrovsky. It turns out that he is a noble robber. One lady reports that her clerk first reported the robbery by Vladimir. However, it later turned out that when Dubrovsky read the letter and found out that the mother was sending money to her son, he did not rob anyone. The clerk himself wanted to hide 2,000 rubles.

At the end of the holiday at the ball, Deforge dances with Masha. One of the guests stays overnight in Troyekurov’s house, asks to go to Deforge’s room, because he has heard about his bravery, and counts on protection in the event of a robbery.

In the middle of the night, Deforge with a pistol takes all the money from the landowner. It turns out that he is Dubrovsky. The latter bribed the teacher at the post station for 10,000 rubles. With the Frenchman’s documents, he arrived at the Troyekurovs’ house.

It was not by chance that he robbed the landowner Spitsyn. The day before, he admitted that he had perjured himself in court against his father. The next morning Spitsyn leaves without saying a word to anyone.

Maria and Deforge

Reviews of the work "Dubrovsky" note that Masha soon begins to experience love for the Frenchman. One day she receives a note from him asking for a date. At the appointed place, he informs her of his imminent departure. Finally he admits who he really is.

Dubrovsky calms the frightened girl, assuring him that he forgave her father a long time ago. Returning to the house, she learns that Dubrovsky was also exposed by Troekurov. And the teacher’s escape only confirmed his suspicions.

One year later

Reviews of Pushkin’s work “Dubrovsky” note that the author makes a temporary retreat of a year. The next chapter tells how Prince Vereisky comes from abroad to the neighboring Arbatovo estate for the summer. Masha amazes him with her beauty.

A few days later, Masha secretly receives a letter from a stranger. Before she can read it, she finds herself in her father’s office, where she finds out that Vereisky is wooing her. She is crying, but Troekurov does not pay attention to it. She is horrified by the upcoming marriage, and in the letter she sees only one phrase: “In the evening at 10 o’clock in the same place.”

Date night

In reviews of the book “Dubrovsky,” readers note the accuracy and scrupulousness with which Pushkin describes the relationships of young people. On a date, Dubrovsky persuades Masha to accept his protection.

The girl hopes to avoid marriage by reaching out to her father's heart through requests. As a last resort, she asks Dubrovsky to come for her and promises to become his wife. Before parting, Vladimir gives the girl a ring. This is their symbol. In case of trouble, it will be enough for her to leave the ring in the hollow, then he will appear again.

Meanwhile, at Troekurov’s estate they are preparing for the wedding in full swing. Masha writes a letter to Vereisky, persuading him to refuse her hand, because she does not love him and will never be happy with him. But everything happens exactly the opposite.

Kirill Petrovich finds out about the letter. He becomes furious and decides to speed up the preparations and have the wedding the very next day. Finally, Masha threatens to turn to Dubrovsky for help. Hearing this, her father locks her up.

Masha is locked up

Her younger brother comes to Masha’s aid and agrees to take the ring to the hollow. Sasha does everything exactly. But how he hides something in a tree is seen by some ragamuffin. A fight breaks out between the boys, and only the gardener saves Sasha. The ragamuffin is caught and taken to trial.

They meet Kirill Petrovich, to whom Sasha, under threats, tells about the assignment that his sister gave him. Troekurov sends for the police officer.

The wedding day is coming. Masha is taken to church, where the groom is already waiting for her. The wedding begins last hopes girls on miraculous salvation disappear. On the way from the church to Arbatovo, the carriage with the young people is surrounded by armed people. Chief among them is a man in a half mask. He opens the carriage door and announces to Masha that she is free. Recognizing Dubrovsky, the prince shoots him with a pistol and wounds him. Armed people intend to kill the prince; Vereisky is saved only by the intercession of Vladimir.

Dubrovsky persuades Masha to go with him, but the girl announces that it is too late. Dubrovsky loses consciousness, his accomplices take him away.

At the end of the novel, a robber camp is described, consisting of several huts. In one of them, the old woman asks the guard, who is bawling songs about bandits, to keep quiet because the master is sleeping. In the hut itself there is a wounded Dubrovsky.

At this time, an alarm is declared in the camp. Everyone goes to their original positions and arm themselves. The guards report that soldiers have entered the forest. A bloody battle begins. The robbers win it.

A few days later, Dubrovsky, having escaped Troyekurov’s retribution, gathers all his associates and announces that he intends to leave them. He disappears in an unknown direction. Rumor has it that he is going abroad.

This is where Pushkin's novel ends.

The problem of good and evil has been and remains very relevant in the history of Russian literature. This topic begins its development with oral folk poetry - fairy tales, epics, legends. In many works of folklore, a good hero fights or grapples with an evil rival or enemy and always wins, good always triumphs. A. S. Pushkin in his novel “Dubrovsky” (1832-1833) complicates this problem. And in this work we wanted to show how ambiguously the author solves this problem. And although the work is based on a case that was quite typical for relations between landowners and for judicial arbitrariness that existed at a time when, using his influence, a strong and rich landowner could always oppress a poor neighbor and even take away his property legally belonging to him, no in the novel there is a purely good and a purely evil character. This is what we will try to prove.

At first glance, the “villain” in the novel is the landowner Kirill Petrovich Troekurov. There can be no doubt that Troekurov is the personification of all vices: gluttony, drunkenness and fornication, idleness, pride and anger, rancor and stubbornness thoroughly corrupted his soul. He started a low and dark business: he decided to take away the estate from his former friend Andrei Gavrilovich Dubrovsky because he demanded an apology from the huntsman Paramoshka for insulting him and for not following Troekurov’s order to return immediately. Troekurov considered himself insulted by the fact that they were demanding an apology from him. “In the first minute of anger, he wanted to launch an attack on Kistenevkur with all his servants, destroy it to the ground and besiege the landowner himself in his estate - such feats were not unusual for him.” But then he chooses the lowest method. Why is he doing this? He did not pursue selfish goals when he wanted to take possession of Kistenevka. He wanted to create his former friend such conditions that he would become dependent on him, humiliate himself in front of him, he wanted to break his pride, trample on his human dignity. By the way, it should be noted that the serfs were a match for their landowner. “Troyekurov treated the peasants and servants strictly and capriciously, but they were vain about the wealth and glory of their master and, in turn, allowed themselves a lot in relation to their neighbors, hoping for his strong patronage.” Suffice it to remember that it was the huntsman Paramoshka who turned out to be the culprit in the quarrel between Troekurov and Dubrovsky.

When the court ruled in favor of Troekurov, the “villain” should have only rejoiced at the victory, but the opposite happens: “Dubrovsky’s sudden madness had a strong effect on his imagination and poisoned his triumph.” Why does Troekurov react this way? Having analyzed his image, we find in him the makings of nobility and generosity. Despite the difference in wealth, he respects and loves his old comrade Dubrovsky, expresses his intention to marry his daughter Masha to Dubrovsky’s son Vladimir, plans to make amends for his injustice and return the taken away estate to old Dubrovsky. Thus, we see that he is characterized by human impulses. Pushkin writes: “He was not selfish by nature, the desire for revenge lured him too far, his conscience grumbled. He knew the state of his opponent, the old comrade of his youth, and victory did not bring joy to his heart.” In Troekurov’s soul there is a struggle between base and nobler feelings. “Satisfied revenge and lust for power” struggled with attachment to an old comrade. The latter won, and Troekurov headed to Kistenevka with the “good intention” of making peace with his old neighbor, “destroying even traces of the quarrel, returning his property. Unfortunately, he did not have time to do this. The sick Dubrovsky died at the sight of his friend.

We see that Troekurov had good inclinations, but they all perish in the atmosphere in which he lives: everyone indulges his whims, he never encounters resistance from anyone. “Spoiled by everything that surrounded him,” says Pushkin, “he was accustomed to giving full rein to all the impulses of his character and all the ideas of his rather limited mind.” He acquired this power over people thanks to his wealth. And this unlimited power over the people who belong to him turns him into a despot, a tyrant.

Pushkin seeks to show that wealth does not make people better. Impunity makes Troekurov a vengeful, cruel and soulless person. And Troekurov’s best human traits take on ugly forms. He destroys Dubrovsky only because he dared to contradict him; Despite all his love for his daughter, he, on his whim, gives her in marriage to the old Prince Vereisky. Troekurov is a typical serf-owner, vicious and ignorant.

There is a lot of evil on him, but this time it was not he who struck the match.

The antithesis of Troekurov in the novel is the “kind” landowner, old man Dubrovsky. The same noble breed is evident in him, only in different forms. Poverty (relative, of course) not only does not reduce, but also exacerbates noble pride. However, we see that in a clash with Troekurov, in essence, he is the attacking party, since the first one hurt him: the hunter himself, “he could not resist some envy at the sight of this magnificent establishment” of his rich neighbor and told him a taunt.

Dubrovsky, who according to the scheme should have been completely virtuous, in fact was himself in many ways the same as Troekurov, with whom “they were somewhat similar in character and inclinations.” Without deluding himself at all about his hero, Pushkin is extremely frank with the reader about the motivation for his behavior. Dubrovsky’s small fortune did not allow him to keep many dogs, for which he was a great hunter, and therefore he “could not resist some envy” at the sight of Troekurov’s kennel. His “severe” answer is not dictated by directness of character or sympathy for Troekurov’s serfs, but by banal envy and the desire to at least somehow belittle Troekurov’s superiority over himself.

This is how this scene is described in the novel. “Why are you frowning, brother,” Kirila Petrovich asked him, “or don’t you like my kennel?” “No,” he answered sternly, it’s a wonderful kennel, it’s unlikely that your people will live the same as your dogs.” Pushkin repeatedly emphasizes that Dubrovsky and Troekurov were old friends, which means that Andrei Gavrilovich knew his comrade well, knew his wayward character, could imagine where this would lead, but, nevertheless, could not resist harsh words. Thus, it was he who provoked the quarrel.

The final break between friends followed when it was Dubrovsky, true to his firm noble rules, who demanded that Troekurov’s huntsman be sent to him to punish him for his daring answer (“We, thanks to God and the master, don’t complain about our lives, and what’s true is true, It would not be bad for another nobleman to exchange his estate for any local kennel. He would be better fed and warmer."

The quarrel that arises from trifles grows and ultimately leads to dire consequences, both for the old man Dubrovsky himself and for the young heroes of the story - Vladimir and Masha. But, with all the compassion for his position as a destitute and robbed man, it is still impossible not to note that it was not despair and grief that darkened his mind, but uncontrollable anger. Suffice it to recall his behavior at the trial. : he “stamped his foot, pushed the secretary with such force that he fell, and, grabbing an inkwell, threw it at the assessor.”

And the main character of the work, Vladimir Dubrovsky, is an ambiguous and complex personality. In St. Petersburg, he lived as most of his fellow officers lived: he played cards, allowed himself “luxurious whims,” and did not think about how his father managed to send him more money than he could have expected. But at the same time, Vladimir loves his father (“the thought of losing his father painfully tormented his heart”). Having received news of his father’s illness, he, without hesitation, hurries to Kistenevka.

Because of Troekurov, Vladimir lost his father, lost his home, estate, and livelihood, so he could not return to the regiment. Then Dubrovsky plotted to take revenge on his enemy (and revenge was never positive feature character). He became the ataman of the peasants, who were afraid of the tyranny of the new master: “he sometimes has a bad time with his own people, but if they get strangers, he will not only tear off their skin, but also their meat.” He provided military leadership and maintained discipline. And the peasants supported the young master, because only in him they hoped to find at least some kind of protection. “We don’t need anyone but you, our breadwinner. Don’t give us away, and we’ll stand for you.” It is characteristic that in the depiction of Pushkin, the more humane and generous master and peasants are better, more humane, they have more self-esteem and independence.

They become robbers, but exactly the kind of robbers that are sung about in folk songs: they do not kill anyone, but only rob the rich, and the sympathy of the people is on their side. So far they see no other way out for their protest and anger. Robbery for them is the only possible path.

From the description of the bandit camp, you understand that the ordinary nature of their activities and peaceful life indicate that Pushkin did not seek to show a “nest of villains”; the fortress, surrounded by a moat and a rampart on which a guard sits next to a small cannon, suggests that Dubrovsky used his knowledge of military affairs and trained his accomplices in combat.

Like-minded people of Dubrovsky also sympathized with the personal fate of their young leader: the loss of his father, sudden poverty, unhappy love. Let us remember that Vladimir and his accomplices took money and property only from the rich, that he did not shed a single drop of blood, and did not offend anyone in vain. The landowner Globova spoke about the nobility of the “robber” Dubrovsky, who “attacks not just anyone, but famous rich people, but even here he shares with them, and does not rob completely.”

Vladimir Dubrovsky, proud, who valued his noble honor just like his father, repeatedly proved capable of a noble act: because of his love for Masha Troekurova, he refused revenge, and showed generosity when he ordered his accomplices not to touch Vereisky.

Very important place occupies the penultimate chapter in the novel. Thanks to this chapter, the triumph of good over evil, not accomplished in the plot, is accomplished in the souls of readers. Before us is Pushkin’s beloved female image- a pure, meek soul, weak in its defenselessness and strong in its virtue. It is easy to offend her, to cause harm, but it is impossible to force her to pay for her happiness with someone else's misfortune. She will endure any torment, except the torment of conscience. “For God’s sake,” Masha implores Dubrovsky from the crime against the prince, “don’t touch him, don’t dare touch him. I don’t want to be the cause of some horror.” And his promise reflects her moral height: “Never will a crime be committed in your name. You must be pure even in my crimes.”

But Vladimir Dubrovsky is a nobleman, brought up in noble prejudices, therefore, in his attitude towards the members of the gang, at times there is a lordly disdain, similar to contempt. This is especially evident in his last speech addressed to his accomplices: “but you are all swindlers and probably will not want to leave your craft.” The author seems to be telling us: Vladimir was mistaken in believing that his “comrades” would not give up robbery. It can be assumed that most of them were sincerely attached to Dubrovsky, so they will do as he tells them, as the last lines of the story tell us.

Thus, we see that Vladimir is not an ideally “evil” or ideally “good” character.

The complexity and depth of the theme of good and evil in the novel can also be traced by analyzing individual images of peasants. One of the most living images among the peasants is the blacksmith Arkhip. The spirit of rebellion and rebellion awakens in him first; he acts independently of Vladimir, not young Dubrovsky, but it is Arkhip who speaks out against the unfair verdict of the court and he is the first to take up the ax. Arkhip locks the clerks in during a fire, and they die through his fault. This cruelty is generated by the long-accumulated resentment of the people. And, it is characteristic that already in the next episode Pushkin shows humanity and spiritual beauty of this Russian peasant: at the risk of his life, the blacksmith Arkhip saves a cat that found itself on a burning roof: “Why are you laughing, you little devils,” the blacksmith said angrily to the boys. “You are not afraid of God: God’s creation is perishing, and you are foolishly rejoicing,” and, placing the ladder on the fire roof, he climbed after the cat.”

Conclusion.

Having analyzed the character traits of the main characters of the novel from the point of view of the manifestation of good and evil in their actions, we determined that all the characters are very complex individuals. Each of characters bears signs of his social affiliation and is depicted in the novel with the greatest artistic perfection. Thanks to this, the story provides a broad social picture, written with deep realism.

Thus, from all that has been said above, we can conclude that the problem of good and evil, posed and solved in the novel "Dubrovsky", is artistic device in the depiction of the characters of the novel, which helps to imagine the life of Russia in the mid-nineteenth century in all its diversity.