What happened to Raskolnikov on the Nikolaev Bridge.

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Analysis of the episode on Nikolaevsky Bridge

-« In the episode on the Nikolaevsky Bridge, the reader can see how Dostoevsky, using the landscape, describes the inner world of the hero (Raskolnikov): Sky was without the slightest cloud , A the water is almost blue that it’s like that on the Neva rarely happens "" through fresh air

one could even see each of its [cathedral] decorations.” - both of these passages indicate the clarity of the weather, which so rarely happened in St. Petersburg, the same thing happened with Raskolnikov, his mind, constantly clouded by illness, at times cleared up, as it was in this episode. - “Having undressed and trembling all over, like cornered horse

-« , he lay down on the sofa, pulled on his overcoat and immediately forgot himself…” - in the text of the work one often encounters (almost constantly) the image of a driven horse: Raskolnikov’s Dream (about a horse), Katerina Ivanovna, Sonya, Raskolnikov himself, etc. This is the image of an exhausted horse trying (as in Raskolnikov’s dream) to pull an unbearable burden, which can be said about almost all the characters around whom the action unfolds. Inexplicable cold smelled from this; magnificent panorama dumb in spirit And deaf this was full for him lush picture …" "Even almost funny he felt and at the same time squeezed his chest until it hurts

", etc. - Antonyms or antonymous statements often found in the text of the episode speak of the duality of the sensations and thoughts that he experiences, as well as their inconsistency and even opposition within him (conflict). - “One thing seemed to him wild and wonderful, that he was on the same thing stopped in place like before - “One thing seemed to him wild and wonderful, that he was on as if he really imagined that he could think now as before , and be interested in the same old themes and paintings that I was interested in... so recently.” "In some, depth at the bottom , somewhere barely visible under your feet , it all seemed to him now former past , And former past old thoughts former past previous tasks former past previous topics previous impressions , and this whole panorama, and he himself, and, , and this whole panorama, and he himself, and All ..." - In these passages, Raskolnikov draws a line, dividing his life into “before” and “after” the murder of the old pawnbroker, realizing how Now

- “It seemed that he was flying somewhere upward and everything was disappearing in his eyes...” Raskolnikov feels as if he is rising above the “human anthill” (“trembling creatures”), becoming a “superman” (“having the right”).

- “Having made one involuntary movement with his hand, he suddenly felt in your fist squeezed two-kopeck piece. He unclenched his hand, looked intently at the coin, swung it and threw it into the water;” "It seemed to him that he as if I were cutting myself off from everyone and everything with scissors at this moment” - The two-kopeck piece given to him by the merchant’s wife personified mercy and compassion, which he believed he did not need, and leaving it with him was the same as admitting that there is goodness, help and mercy in the world, and accordingly, killing the old woman is not was a necessity and his action was not as good as he thought. By throwing two kopecks into the water, Raskolnikov rejected the existence of sublime qualities in ordinary people, and also cut himself off from the whole world.

In the episode on the Nikolaevsky Bridge, Raskolnikov looks at his life, analyzes it and divides it into “before” and “after” the murder of the old pawnbroker. From Raskolnikov’s point of view, “he flew somewhere upward,” towering above the whole world, becoming a “superman,” and also “as if he had cut himself off from everyone and everything with scissors.”

Malyshev K. 10 “A” class 3 group

Literature profile group

", part 2, chapter 2.)

...Raskolnikov was already going out into the street. On the Nikolaevsky Bridge he had to once again come to his senses as a result of one very unpleasant incident for him. The driver of one of the carriages lashed him firmly on the back with a whip because he almost got run over by the horses, despite the fact that the coachman shouted to him three or four times. The blow of the whip angered him so much that, jumping back to the railing (it is unknown why he was walking in the very middle of the bridge, where people drive, not walk), he angrily gnashed and clicked his teeth. There was, of course, laughter all around.

- And let's get to work!

- Some kind of burning.

“It’s known that he pretends to be drunk and deliberately gets under the wheels; and you are responsible for him.

- That’s what they do, venerable, that’s what they do...

Crime and Punishment. Feature film 1969 Episode 1

But at that moment, as he stood at the railing and was still meaninglessly and angrily looking after the retreating carriage, rubbing his back, he suddenly felt that someone was pushing money into his hands. He looked: an elderly merchant's wife, in a headdress and goat's shoes, and with her a girl, in a hat and with a green umbrella, probably her daughter. “Accept, father, for Christ’s sake.” He took it and they walked past. Two-kopeck money. Judging by his dress and appearance, they could very well take him for a beggar, for a real collector of pennies on the street, and he probably owed the gift of a whole two-kopeck piece to the blow of the whip, which moved them to pity.

He clutched the two-kopeck piece in his hand, walked ten steps and turned to face the Neva, in the direction of the palace. The sky was without the slightest cloud, and the water was almost blue, which is so rare on the Neva. The dome of the cathedral, which is not better outlined from any point than when looking at it from here, from the bridge, not twenty steps from the chapel, was shining, and through the clear air one could clearly see even every one of its decorations. The pain from the whip subsided, and Raskolnikov forgot about the blow; One restless and not entirely clear thought now occupied him exclusively. He stood and looked into the distance long and intently; this place was especially familiar to him. When he went to university, it usually happened, most often when returning home, that he would stop, perhaps a hundred times, at this very same place, gaze intently at this truly magnificent panorama, and each time he would almost be surprised by one unclear and insoluble problem of his own. impression. An inexplicable chill always blew over him from this magnificent panorama; This magnificent picture was full of a mute and deaf spirit for him... Each time he marveled at his gloomy and mysterious impression and put off its solution, not trusting himself, to the future. Now he suddenly suddenly remembered these previous questions and perplexities, and it seemed to him that it was not by chance that he now remembered them. One thing seemed wild and wonderful to him, that he stopped in the same place as before, as if he really imagined that he could think about the same things now as before, and be interested in the same old themes and pictures, what I was interested... just recently. He even felt almost funny and at the same time his chest was squeezed to the point of pain. In some depth, below, somewhere barely visible under his feet, all this former past, and former thoughts, and former tasks, and former themes, and former impressions, and this whole panorama, and himself, and everything, everything... It seemed as if he was flying up somewhere and everything was disappearing in his eyes... Having made one involuntary movement with his hand, he suddenly felt a two-kopeck note clutched in his fist. He unclenched his hand, looked intently at the coin, swung it and threw it into the water; then he turned and went home. It seemed to him that he had cut himself off from everyone and everything with scissors at that moment.

He arrived at his place in the evening, which means he had only been there for about six hours. Where and how he walked back, he didn’t remember anything. Having undressed and trembling all over like a driven horse, he lay down on the sofa, pulled on his overcoat and immediately forgot...

Lesson topic: Analysis of the episode “Raskolnikov on the Nikolaevsky Bridge” based on the novel by F.M. Dostoevsky “Crime and Punishment” Objectives: 1. develop the ability to work with text, paying attention to the WORD of the writer; 2. check the development of reading and analytical skills; 3. learn to perceive an episode holistically, comprehensively, to see in a separate fragment of a work of art an expression of the author’s position on the world and man, and convey this through one’s own interpretation of the text. We continue to work on Dostoevsky's novel “Crime and Punishment” SLIDE 1 Topic of our lesson: Analysis of the episode “Raskolnikov on Nikolaevsky Bridge” SLIDE 2 1. Review conversation - What is an episode? (E. - a small part of a literary work that plays a certain structural role in the development of the plot. A part of a work of art that has relative completeness and represents a separate moment in the development of the theme. SLIDE 3 The content of the episode consists of the actions of the characters, small incidents or a major event that gives a new direction to the development of the plot , which in major works is built on the concatenation of a number of episodes). SLIDE 4 - Why is the last statement important? (E. is a complete, but not isolated passage of text, so analysis of an episode is a way to comprehend the meaning of an entire work through its fragment) SLIDE 5 - How are the boundaries of an episode determined? (Either by a change of characters, or by the accomplishment of a new event) - Why is it important to determine the place of a fragment in the structure of the artistic whole? Temporary, cause-and-effect relationships ___________1__________________________________________________________ Exposition denouement plot development of action culmination - Are there any connections between the episodes? (There are connections between episodes: cause-and-effect, cause-temporal, temporary) SLIDE 6 SLIDE 7 When working on an episode, we must identify important motives, ideas, artistic techniques, and the author’s creative style. Only after this do we have the right to talk about the most important features of the entire work! The events contained in the episode contain a certain motive (meeting, quarrel, argument,...) i.e. The content function of an episode can be Characterological. i.e. reflect the character of the hero, his worldview Psychological, i.e. reveals the hero's state of mind and his psychology. Evaluative, i.e. contain the author's assessment in a lyrical digression. May mark a turn in the relationship of the characters. Episode - is a micro-theme, a separate work with its own composition, in which there is an exposition, a plot, a climax, and a denouement. SLIDE 8 (CITY OF PETERSBURG) In the previous lesson, we drew attention to one of the most important themes of the novel - the theme of St. Petersburg. The city becomes the real protagonist of the novel, the action of the work takes place precisely on its streets because Dostoevsky, in his own way, comprehended the place of this city in Russian history. And although Dostoevsky’s Petersburg is a city of taverns and “corners”, it is a city of Sennaya Square, dirty alleys and tenement buildings, one day it will appear before the hero in all its majestic beauty. Before us is the episode “Raskolnikov on the Nikolaevsky Bridge” (part 2, chapter 2) SLIDE 9 (RASKOLNIKOV) - Our task is to understand: why does Dostoevsky introduce this scene into the novel? Let's read this episode. - What did you notice? What actions are taking place? (He walks in deep thought, almost got hit by a horse, for which he received a blow with a whip, which made him wake up. And then he felt that in his hand was clamped a two-kopeck piece, which a compassionate merchant’s wife had given him in the form of alms.) - Was it a coincidence that Raskolnikov ended up on Nikolaevsky Bridge? - What paradox did you notice? (This is the first thing that Dostoevsky draws the attention of readers: his hero, who ranked himself among the people of the highest rank, looks in the eyes of others simply as a beggar) - But it is important to understand why exactly here, in this place, the author made his hero wake up? Why does he forget the pain of the whip? (From the bridge, he had a magnificent view of the city. He was again faced with a riddle, the secret of the “magnificent panorama” that had long troubled his mind and heart. Now in front of him is not a city of slums, in front of him is a city of palaces and cathedrals - SLIDE 10, the personification of the supreme power of Russia. This is the Winter Palace, St. Isaac's Cathedral, the buildings of the Senate and Synod, the Bronze Horseman.) - How did Raskolnikov feel at that moment? What did he think? (The picture is majestic and cold. Only now he fully felt what step he had taken, against what he raised his ax.) - What symbolic meaning does the panorama of St. Petersburg acquire in this scene? Why does she smell cold? - Here, on the Nikolaevsky Bridge, Raskolnikov and the world hostile to him stood against each other. - What role does such an artistic detail as a two-kopeck coin clutched in the hero’s fist play in the scene? SLIDE 11 (RASKOLNIKOV, TWO-KREEN) = Now such an artistic detail as the two-kopeck piece clutched in Raskolnikov’s fist takes on a different meaning. He, who rebelled against the world of palaces and cathedrals, is considered a beggar, worthy only of compassion and pity. He, who wanted to gain power over the world, found himself cut off from people, finding himself in that yard of space that constantly arose in his cruel thoughts. This “end-to-end” image of the novel receives almost material embodiment in this scene, while remaining at the same time a symbol of enormous generalizing power. SLIDE 12 - What emotional and semantic meaning does the image of the abyss that opened up under Raskolnikov’s feet acquire? Dostoevsky showed in this scene Raskolnikov’s loneliness, his isolation from the world of people, makes the reader notice the abyss that opened up under the hero’s feet. The impression of this scene is enhanced not only by the artistic details, but also by the very rhythmic structure of the phrase, with which the author was able to convey the movement of Raskolnikov’s thoughts, the very process of his separation from people. “In some depth, barely visible under his feet, all of his former past, and former thoughts, and former tasks, and former themes, and former impressions, and this whole panorama, and himself, and everything, now appeared. everything... IT SEEMED HE FLY UP SOMEWHERE, and everything disappeared in his eyes...” This feeling of flying to nowhere, of being cut off, of the terrible loneliness of a person is intensified by several artistic details that were given a little earlier. “The sky was almost without the slightest cloud, and the water was almost blue...” Let’s mentally imagine from what point R.’s “magnificent panorama” of St. Petersburg opened up. He stood on the bridge, below him there was a blue abyss of rivers and above him - a blue sky. This very real picture is filled in the novel with enormous symbolic content in comparison with all the events that we learn about from the text of the novel a little earlier. SLIDE 13 (RASKOLNIKOV) The two-kopeck coin clenched in R.’s fist (also an artistic detail filled with deep symbolic meaning) connects this episode with the scene on the boulevard, when the hero donated his twenty kopecks to save the poor girl. It connects not only because the fate of this girl is similar to the fate of Sonya, those close to the hero, but also because an ethical question of enormous importance is raised here: does he, Rodion Romanovich Raskolnikov, have the right to help people now, and if not, then who Luzhin has this right? Svidrigailov? Someone else? And what does it mean to help? So a small artistic detail draws us to the hero’s thoughts about serious moral problems. =How is the scene “On the Nikolaevsky Bridge” related to the preceding and subsequent content of the novel? SLIDE 14 (LAST) So a tiny episode, an infinitesimal link in the “labyrinth of connections” helps us understand the author’s intention as a whole. = Which scene and from which work of A.S. Pushkin does the scene on the Nikolaevsky Bridge echo? What are the similarities and differences between the situations? (A.S. Pushkin “The Bronze Horseman”: Eugene - sitting on a lion, saw in front of him “an idol on a bronze horse” - challenges; Raskolnikov does not challenge - he wants to establish himself in this world). In a world in which the owners of the meadows, the Svidrigailovs,..., we will talk about them in the next lesson. D/Z: Images of Luzhin, Svidrigailov

Dostoevsky's Petersburg is disgusting slums, dirty drinking bars and brothels, narrow streets and gloomy nooks and crannies - all sorts of Garden, Gorokhovye, Carpentry with cramped courtyards, wells and dark backyards.

The main character of Dostoevsky’s novel lives in a house on the corner of Srednaya Meshchanskaya and Stolyarny Lane, which are located among the same “middle streets”, with cold corner houses, devoid of any architecture, where people “teem with people.” Wandering through the streets of St. Petersburg, Rodion Raskolnikov encounters pictures of city life. Here is a large house in Tairovsky Lane, “all under taverns and other eating and drinking establishments; Women constantly ran out of them, dressed as if they were walking “in the neighborhood” - bare-haired and wearing nothing but dresses. In two or three places they crowded on the sidewalk in groups... Nearby, on the pavement, a drunken soldier with a cigarette was hanging around, swearing loudly... One ragamuffin was arguing with another ragamuffin, and some dead drunk was lying across the street.” Another drunk in a cart pulled by draft horses. Raskolnikov witnessed the scene on the Voznesensky Bridge, this “wild and ugly vision” when a woman with a yellow face threw herself into the water, and the dirty water swallowed her victim. On another bridge - Nikolaevsky - Raskolnikov receives a blow with a whip in the presence of laughing people. The wandering hero hears a quarrel among the "clerks" in the city garden, and another time he sees a crowd of noisy women with hoarse voices near a drinking and entertainment establishment. Rodion is stunned by the scene on Konnogvardeisky Boulevard, where a fat dandy pursues a drunken girl in order to take advantage of her helplessness. Another girl, in an old, worn-out robe, sings a sensitive romance to the accompaniment of a barrel organ. In the police office, the owner of the brothel defends her, in her words, “noble home.” All these realities create a harsh image of the capital. People can’t breathe: stuffiness, the stench of stairs and slums. On the streets of St. Petersburg “it’s like in houses without windows.” People are crushed by the crampedness of courtyards, gateways, alleys, flea markets, and the compressed space of neighborhoods.

Petersburg in “Crime and Punishment” is no longer just a background against which events unfold, but a kind of “character” - a city that crushes, strangles, evokes nightmarish visions and instills crazy ideas that are more like delirium.

Another feature of Dostoevsky’s St. Petersburg is the atmosphere of irritation and anger that engulfs many. People here are alienated from each other, isolated from others, despite the crowded conditions. This is a city in which the humiliated, crushed and insulted live. It is stuffy and completely impossible to breathe from the stench, so familiar to every Petersburger, and dirt. The environment creates a feeling of hopelessness and anger in a person. It seems as if some destructive and unhealthy passion is dissolved in the very air of St. Petersburg. And it seems that St. Petersburg is sick and sick, some morally, some physically, all its residents.

And one more component of Dostoevsky’s image of St. Petersburg is the obsessive yellow color, constantly mentioned in the novel. This color, like the special music that accompanies Raskolnikov’s wanderings: a strumming guitar, hoarse singing, the boring and dreary sound of a barrel organ, enhances the feeling of ill health and morbidity. “Crime and Punishment” was created using virtually one yellow background. We see yellow wallpaper, yellow furniture, pictures in yellow frames on the walls in the old woman’s room, Marmeladov’s face yellow from constant drunkenness, Raskolnikov’s yellow closet, looking like a closet or a chest, with yellow dusty wallpaper. In Sonya’s room there is still the same yellowish wallpaper, and in Porfiry Petrovich’s office there is also furniture made of yellow polished wood. Such “yellow” details emphasize the hopeless atmosphere in which the characters in the novel live. It’s as if he is a harbinger of some bad events in their lives.

In itself, dirty yellow, dull yellow, sickly yellow color causes a feeling of internal oppression, mental instability and general depression.

In the novel, Dostoevsky seems to compare two words: “bilious” and “yellow,” tracing the interaction of Raskolnikov’s inner world and the external world, for example, he writes: “A heavy, bilious smile snaked across his lips. Finally he felt stuffy in this yellow closet.” “Bile” and “yellowness” thus acquire the meaning of something painfully oppressive and oppressive. The image of St. Petersburg becomes not only equal to the other heroes of the novel, but also central and significant; it largely explains Raskolnikov’s duality, provokes him to commit a crime, helps to understand Marmeladov, his wife, Sonechka, the pawnbroker, Luzhin and other characters.