The Christian theme in the novel is crime and punishment. "Crime and Punishment. V. “Christian” lines in the novel and their interpretation

Orthodoxy, brought to Rus' back in the 10th century, profoundly influenced the mentality of the Russian people and left an indelible imprint on the Russian soul. And, in addition, Orthodoxy brought with it writing, and therefore literature. Christian influence can be traced in one way or another in the work of any writer. The deepest inner conviction in Christian truths and commandments is carried, in particular, by such a titan of Russian literature as Dostoevsky. His novel “Crime and Punishment” is proof of this.
The writer’s attitude towards religious consciousness is amazing in its depth. The concepts of sin and virtue, pride and humility, good and evil - this is what interests Dostoevsky. Raskolnikov, the key character of the novel, bears sin and pride. Moreover, sin absorbs not only direct actions, but also hidden thoughts (Raskolnikov is punished even before the crime). Having passed through himself the obviously powerful theory about “Napoleons” and “trembling creatures,” the hero kills the old money-lender, but not so much her as himself. Having followed the path of self-destruction, Raskolnikov nevertheless, with the help of Sonya, finds the key to salvation through suffering, purification and love. As you know, all these concepts are the most important and important in the Christian worldview. People deprived of repentance and love will not know the light, but will see a dark afterlife, terrible in its essence. Thus, Svidrigailov already during his lifetime has a clear idea of ​​the afterlife. He appears before us in the form of a “black bath with spiders and mice” - in the Christian view, this is a picture of hell, for sinners who know neither love nor repentance. Also, when mentioning Svidrigailov, “devil” constantly appears. Svidrigailov is doomed: even the good that he is about to do is in vain (dream about a 5-year-old girl): his good is not accepted, it is too late. A terrible satanic force, the devil, is also pursuing Raskolnikov; at the end of the novel he will say: “The devil led me to commit a crime.” But if Svidrigailov commits suicide (commits the most terrible mortal sin), then Raskolnikov is cleared. The motif of prayer in the novel is also characteristic of Raskolnikov (after a dream he prays for a horse, but his prayers are not heard, and he commits a crime). Sonya, the landlady's daughter (preparing herself for a monastery), and Katerina Ivanovna's children constantly pray. Prayer, an integral part of the Christian, becomes part of the novel. There are also such images and symbols as the cross and the Gospel. Sonya gives Raskolnikov the Gospel that belonged to Lizaveta, and, reading it, he is reborn to life. At first Raskolnikov does not accept Lizaveta’s cross from Sonya, since he is not ready yet, but then he takes it, and again this is associated with spiritual cleansing, rebirth from death to life.
The Christian element in the novel is enhanced by numerous analogies and associations with biblical stories. There is a reminiscence from the Bible about Lazarus, a parable that Sonya reads to Raskolnikov on the fourth day after the crime. Moreover, Lazarus from this parable was resurrected precisely on the fourth day. That is, Raskolnikov is spiritually dead these four days and, in fact, lies in a coffin (“coffin” is the hero’s closet), and Sonya came to save him. From the Old Testament the novel contains the parable of Cain, from the New - the parable of the publican and the Pharisee, the parable of the harlot (“if anyone is not sinful, let him be the first to throw a stone at her”), the parable of Martha - a woman who has been focused on vanity and missing the most important thing (Marfa Petrovna, Svidrigailov’s wife, fusses all her life, deprived of the main principle).
Gospel motifs in the names are clearly visible. Kapernaumov is the surname of the man from whom Sonya rented a room, and Mary the Harlot lived near the city of Capernaum. The name “Lizaveta” means “who worships God,” a holy fool. The name of Ilya Petrovich includes Ilya (Ilya the prophet, thunderer) and Peter (hard as a stone). Let us note that it was he who was the very first to suspect Raskolnikov." Katerina is “pure, bright.” Numbers that are symbolic in Christianity are also symbols in “Crime and Punishment.” These are numbers three, seven and eleven. Sonya gives Marmeladov 30 kopecks, the first since she brings 30 rubles “from work”; Martha buys Svidrigailov for 30, and he, like Judas, betrays her, making an attempt on her life, Svidrigailov offers Duna “up to thirty,” Raskolnikov rings the bell 3 times and the same number of times. hits the old woman on the head. Three meetings with Porfiry Petrovich take place: at the seventh hour he learns that Lizaveta will not be there, commits a crime “at the seventh hour.” But the number 7 is a symbol of the union of God with man, Raskolnikov wants to break it off; This union therefore endures torment. In the epilogue: 7 years of hard labor remain, Svidrigailov lived with Marfa for 7 years.
The novel contains the theme of voluntary martyrdom for the sake of repentance, recognition of one’s sins. That is why Mikolka wants to take Raskolnikov’s blame upon himself. But Raskolnikov, led by Sonya, who carries Christian truth and love, comes (albeit through the barrier of doubt) to popular repentance, for, according to Sonya, only popular, open repentance in front of everyone is real. Dostoevsky's main idea is reproduced in this novel: a person must live, be meek, be able to forgive and have compassion, and all this is possible only with the acquisition of true faith. This is a purely Christian starting point, so the novel is tragicomic, a novel-sermon.
Due to Dostoevsky’s talent and deepest inner conviction, Christian thought is fully realized, produces a strong impact on the reader and, as a result, conveys to everyone the Christian idea, the idea of ​​salvation and love.

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“The most important goal of modern domestic education and one of the priority tasks of society and the state,” says the “Concept of spiritual and moral development and education of the personality of a citizen of Russia,” “is education, social and pedagogical support for the formation and development of highly moral, responsible, creative, proactive, competent citizen of Russia."

Today's school, together with the family, must form a whole system of spiritual and moral values: love for the Fatherland, justice, mercy, kindness, honor, dignity, love, reverence for parents, desire for knowledge, hard work, aesthetic attitude to life... Without these qualities there is no Man.

Thus, the spiritual and moral development and education of students is the primary task of the modern educational system and represents an important component of the social order for education.

What is spirituality and morality? How can a teacher who sows “reasonable, good, eternal” educate a spiritual and moral personality?
Of course, with your personality and the means of the subject, especially if this subject is literature.

Today, the teacher must set new learning objectives: not to teach, but to give the opportunity to learn; not to teach, but to give the opportunity to find the answer on one’s own. The methods and technologies are different - the choice is up to the teacher: which technique will be more productive in each specific lesson. And the use of new pedagogical technologies is not a method, it is a tool that has also become a reality of today.

The literature program for grade X provides ample opportunities for teachers to educate an integral spiritual and moral personality: issues of honor, duty, conscience, love, devotion, compassion and mercy were raised in their works by I.A. Goncharov, S. Turgenev, A.N. .Ostrovsky, F.M. Dostoevsky and L.N. Tolstoy. Thus, “high” literary and biographical material makes it possible to build this work in a system.

The material presented in the development is voluminous, but is designed for one lesson. Therefore, preparation for it is carried out over several lessons; an individual and group method of completing homework is used in the form of studying the Gospel texts and selecting quotation material.

Behind us are lessons on the biography of Dostoevsky, on the novels “The Idiot” and “The Brothers Karamazov”, as well as an extracurricular reading lesson on Solzhenitsyn’s story “Matrenin’s Dvor”. In my opinion, it is difficult to find writers who, like F.M. Dostoevsky and A.I. Solzhenitsyn, would speak so sharply and piercingly about man, his purpose, his conscience, his soul.

Such a lesson with historical parallels makes it possible to connect together the “eternal” themes of literature of the 19th century and the 20th century through Christian motifs.

The main feature of Russian literature is its Orthodox orientation.

ON THE. Berdyaev argued: “All of our literature of the 19th century is wounded by the Christian theme, all of it seeks salvation, all of it seeks deliverance from evil, suffering, the horror of life for the human person, the people, the human world. In the most significant creations it is imbued with religious thought.”

The same can be said about the literature of the 20th century, excluding some works of recent decades.

In addition, the elements of an integrated lesson allow you to develop the potential of students, introduce them to a new type of thinking, develop speech, attention, and aesthetic feelings. The use of poetry and music in the lesson gives students the opportunity to plunge into the moral atmosphere of the topic.

The technology of developmental education and cooperation, a person-oriented approach, when the child’s personality, its originality, self-worth, and analytical conversation techniques are at the forefront, give high school students the opportunity to reflect on complex issues of existence, express their point of view and defend it.

The lesson can be useful for literature teachers and MHC, and its elements can be used in extracurricular activities.

Lesson objectives:

educational:

• organize student activities to understand Christian motives in F.M. Dostoevsky’s novel “Crime and Punishment” and the story by A.I. Solzhenitsyn's "Matrenin's Dvor";

• ensure the perception, assimilation and comprehension of new material through the creation of a problem situation → its study → solution → analysis → generalization;
• arouse students' interest in reading the Gospel.

developing:

• develop logical thinking;
• develop students’ motivation for creative activities;
• develop the ability to compare, define concepts, identify connections and comparisons between studied concepts and texts, and draw independent conclusions;
• perceive phenomena in an integrated way;
• develop creative, speech and mental activity, interest in literature and Orthodox culture .

raising:

• cultivate an attitude towards a person as the highest value;
• promote the formation of moral qualities of students, the desire to become better;
• cultivate communication skills and a culture of verbal communication;
• to educate an independently thinking and deeply feeling person;
• cultivate aesthetic feelings.

Lesson type: lesson in applying knowledge.

Technologies used: technology of cooperation, personality-oriented and developmental training.

Techniques used: analytical conversation, commented reading, technique of compiling a syncwine based on the methodology for developing creative and critical thinking.

Forms of organizing educational activities: individual work, collective, frontal work.

Equipment: portraits of F.M. Dostoevsky and A.I. Solzhenitsyn, texts of the novel “Crime and Punishment” and the story “Matrenin’s Dvor”, texts of the Gospel, projector, audio recordings: “AVE MARIA”, romance by M.I. Glinka “I remember a wonderful moment”, piano music by E. Morricone, multimedia presentation for the lesson, handouts: biblical commandments, the legend of Sodom and Gomorrah.

During the classes

“Do not live by lies” Solzhenitsyn A.I.

I. Organizational moment.

II. Indicative-motivational stage.

Music is playing. The teacher reads a poem by B. Okudzhava.

Conscience, Nobility and Dignity -
Here it is, our holy army.
Give him your hand
There is no fear for him even in the fire.
His face is high and amazing.
Dedicate your short life to him.
Maybe you won't be a winner
But you will die as a person.

SLIDE No. 1.

III. Preparatory stage.

Teacher. Today we will talk about two works that, at first glance, are far removed from each other in terms of the time of writing, the characters, and the names of the authors. This is the novel “Crime and Punishment” by F.M. Dostoevsky and A.I. Solzhenitsyn’s story “Matrenin’s Dvor”. We will try to find common ground between these seemingly different works and determine what Christian motifs unite them.

The fates of Dostoevsky and Solzhenitsyn are in many ways similar: both experienced a spiritual breakdown, both suffered from the regime: one served time in hard labor, and the other in camps and settlements. Both loved Russia and pondered its fate.

So, the topic of the lesson: “Christian motives in F. M. Dostoevsky’s novel “Crime and Punishment” and in A. I. Solzhenitsyn’s story “Matrenin’s Dvor.”

SLIDE No. 2 “Love others as you love yourself”

IV. Operational and execution stage.

Feodor Mikhailovich Dostoevsky is a great Russian writer who tried to unravel the riddle of the human personality, posed the eternal questions of existence: why does a person live, is there a God, how to relate human freedom and divine predestination.
Quote from the slide (Protege Zenkovsky)

Man is what occupied the writer: what is his nature (“he is a beast” or “the image of God”), how to transform the world on the basis of spirituality, morality, respect for the individual, how to combine justice, justice and legality.

SLIDE No. 3 “Live not by lies”

Teacher. Such a law, according to Dostoevsky, should be a moral law (quote from the slide), and Solzhenitsyn from the twentieth century continued this thought: “Do not live by lies.”

The moral ideal for Dostoevsky was the image of Christ, who embodied the highest human qualities. But the writer did not come to Christ right away.

Students. From the writer’s biography we know that he was a member of M. Petrashevsky’s circle and was sentenced to death. The rebirth of his beliefs occurred in 1849, when he was awaiting execution, but then it was replaced by hard labor.

In Siberia, he met the wife of the Decembrist Fonvizin, who gave the writer a small book bound in leather. This was the Gospel. Dostoevsky did not part with it until the last days of his life, just like with the image of Christ.

Teacher. Remember. What he wrote about it in his diary.

The student reads: “I believe that there is nothing more beautiful, deeper, more sympathetic, more intelligent, more courageous and more perfect than Christ.”

Teacher. Indeed, faith was gained by Dostoevsky through suffering, and he endows his favorite heroes with it.

Notes in notebooks.

Quote from slide No. 3 (words by Dostoevsky)

SLIDE No. 4 “Eternal Sonechka”

Teacher. This is the icon of goodness and spiritual beauty that Sonechka Marmeladova appeared to Dostoevsky. The full name of the heroine is Sofia. What does it mean? (wisdom).

- Let's turn to the text of the novel. Find a portrait description of Sonya Marmeladova (I, 2 - Marmeladov about his daughter and II, 7 - Sonya near her dying father, III, 4 - Sonya with Raskolnikov). Students read passages.

– How did you see Sonya in these scenes? (Meek, loving, forgiving, unrequited, humble)

– Tell us about the life of Sonya Marmeladova

Students. Sonya is only 18 years old, but she has already lost and experienced a lot in her life. Mother died early. The father marries someone else and spends all the money on drink. The family is in need, the stepmother is sick. Sonya is forced to go to work to feed her family. It would seem that Sonya should be embittered by her stepmother, who forced her to earn money in this way, but Sonya forgives her. Moreover, she brings in money every month and is, in fact, the sole breadwinner for a large family.

Sonya has changed outwardly (she is dressed in a loud, catchy outfit), but in her soul she has remained pure and immaculate.

Teacher. Do you think Sonya consciously takes this step?

Students. Yes, she is taking a conscious step. This is her moral choice. She sacrifices herself for the sake of hungry children.

Teacher. Please note: being at the bottom of her life, Sonya does not become vicious. What world does Sonya live in? What kind of people surround her?

Students. She is surrounded by people such as Raskolnikov, Luzhin, Svidrigailov. This is a world of lies, meanness, deception, violence, cruelty.

Teacher. How does she live in this world? Yes, Sonya does not protest like Raskolnikov, does not intrigue like Luzhin, does not mean things like Svidrigailov. What is she doing?

Students. She humbles herself.

Teacher. How do you understand what “humility” is?

Students. This is spiritual peace, peace, agreement with your conscience, soul. And this is her conscious choice, and not submission to circumstances. This inner peace (humility, harmony) helps her create the world around her: help her family, ardently sympathize with Raskolnikov.

Teacher. Let's analyze the scene with Luzhin (Part V, Chapter 3). Pay attention to Sonya's behavior in this scene. What does Katerina Ivanovna say about her? Look carefully at the author’s remarks: not what Sonya says, but how she says it (timidly, barely audible...)

Yes, Sonya is very vulnerable to evil. She is defenseless in front of him. She cannot stand up for herself, but for others... (we will see later how much inner strength and conviction there is in this fragile, at first glance, girl).

– What does Sonya call herself?

Students. I am dishonest, I am a great sinner.

Teacher. Who is a sinner and what is sin?

Students. Sin is committing evil, breaking God's commandments. A sinner is a person who has departed from God.

Teacher. What commandment of Christ did Sonya break?

Students. Don't commit adultery.

Teacher. Do you think the sin of adultery committed by Sonya can be forgiven?

Students. Of course she did, because she was motivated by love and compassion. Love in the concept of popular morality is higher than the fear of God's punishment.

Teacher. Or maybe she had another way out? (pass away)

Students. No, it would be dishonest towards the Marmeladov children. It would be a selfish act on her part: to get rid of torment and suffering herself, and doom her children to death. In addition, for Sonya, as a deeply religious person, suicide is a mortal sin, it is unacceptable: after all, life is a gift from God.

Teacher. What supports Sonya in her difficult life?

Students. Faith in God.

Teacher. The image of Sonya is most fully and vividly revealed in her meetings and conversations with Raskolnikov. Let's remember these scenes from the novel. How does Raskolnikov perceive Sonya at the beginning of their acquaintance? Who is she to him?

Students. Sonya is his equal: she, just like him, committed a crime. But gradually he understands: this girl lives by completely different laws, and he is still completely at the mercy of his terrible theory.

Teacher. Raskolnikov calls her a holy fool, and repeats it twice, why? What does this word mean? (Students read an explanatory dictionary article).

On the desk:

Foolishness– congenital physical or spiritual deformity (everyday concept).

Foolishness- this is “crazy wisdom”, spiritual feat, voluntary acceptance of deprivation of the flesh, “spontaneous martyrdom” (an ancient Russian religious tradition).

Sin– violation of religious precepts and rules.

Teacher. What phrase does Sonya say immediately after Raskolnikov’s confession?

Students. “Why did you do this to yourself?” And advises “stand on all four sides and tell everyone: “I killed it.” Then God will send you life again.”

Teacher. Why “above yourself?” Why does Sonya feel sorry not for the old pawnbroker and her sister, but for the murderer?

Students. Because he committed a mortal sin and destroyed his soul.

Teacher. What should Raskolnikov do?

Students. Sonya advises “to stand on all four sides and tell everyone: “I killed it.” Then God will send you life again.” Accept suffering and redeem yourself with it. That's what you need. “I’ll follow you, I’ll follow you everywhere,” Sonya says and gives him her cross.

Teacher. What did the Orthodox mean to exchange crosses?

Students. This meant becoming spiritually closer, becoming almost family.

Notes in notebooks.

SLIDE No. 5. "Two Truths"

Teacher. Sonya and Raskolnikov are two different poles that are far from each other, but cannot exist without each other and attract each other. Everyone has their own truth.

Work in groups. The students discuss what is Sonya’s truth and Raskolnikov’s truth. Students in each group give arguments and quote the text. Then representatives of each group draw conclusions.

– What is Sonya’s truth? (commenting on the slide)

Students. Raskolnikov transgressed for himself, and Sonya - for the sake of others.

Sonya herself explains why the kind, honest, noble Raskolnikov transgressed: “You have moved away from God...” (quote from the slide).

And to herself she says this: “What would I be without God” (quote from the slide)

Raskolnikov's truth is a rebellion. And Sonya’s truth is love and humility.

Notes in notebooks.

SLIDE No. 6 “Gospel parables”

Teacher. The entire text of the novel seems to be stitched with invisible threads with Gospel parables and commandments (they are quoted by the characters and the author himself). Read these passages. How do you understand them?

Students read excerpts from the novel and comment on them.

Gospel parables are an integral part of the novel, they are close to the characters, they help the reader understand their actions.
Notes in notebooks.

SLIDE No. 7. "The Raising of Lazarus"

Teacher. The most important scene is the episode of reading the Gospel about the resurrection of Lazarus. This is a scene of faith in the Resurrection.

Students retell the content of the episode.

The hero is at a crossroads, he is ready to confess to his crime and accept punishment.

Teacher. Why do you think Sonya didn’t want to read at first?

Students. She herself is a sinner, this is very personal for her. She also longs for the Resurrection. She also hopes for a miracle.

Teacher. Yes, they both need the Resurrection, but each of them looks at this parable in their own way: Sonya - from the side of Lazarus, and Raskolnikov - from Christ.

Students.“The cinder has long gone out in the crooked candlestick, dimly illuminating in this beggarly room a murderer and a harlot, strangely gathered together to read the Eternal Book.”

Notes in notebooks.

SLIDE No. 8 “The Path to Repentance” (EPILOGUE)

Teacher. The resurrection of heroes lies through repentance and suffering, therefore, only in hard labor, where Sonya went, as promised, for Raskolnikov, will rebirth await our heroes.

– Which of them do you think is stronger, who leads the other?

Students. Of course, Sonya. With her faith, love, and compassion, she instills in the hero hope for transformation.

Teacher. Find lines that confirm that Raskolnikov is ready for transformation.

Students. “Can her beliefs not now be my beliefs? Her feelings, her aspirations, at least..."

Realizing this, Raskolnikov becomes happy and makes Sonya happy: “He knew with what endless love he would now atone for all her suffering.”

Teacher. How do we see the hero in the epilogue?

Students. “He was resurrected, and he knew it, he felt it with his entire being renewed.”

It was Sonya who revived him to a new life.

Teacher. Dostoevsky knows that Raskolnikov’s new life “still needs to be bought dearly, to be paid for with a great, future feat.” This is a very long and difficult path.

Sonya is Dostoevsky's ideal. Sonya brings with her the light of Hope and Faith, Love and Sympathy, Tenderness and Understanding. This is how a person should be, according to Dostoevsky. That is why the heroine bears the name “Sofia” (“wisdom”).

Teacher. What is the essence of Dostoevsky’s Christian worldview?

Students.The writer believes that it is possible to resurrect a fallen person through faith, love, mercy and compassion.

Teacher. Thus, we can say that the entire novel “Crime and Punishment” is built on the motif of the resurrection of a person to a new life.

Notes in notebooks.

SLIDE No. 9 “A village is not worthwhile without a righteous man”

Teacher. A.I. Solzhenitsyn was also concerned about Christian morality.

A. I. Solzhenitsyn is a Christian writer. However, he is not a religious preacher, but an artist who expresses his views through artistic images.

– Tell us about the history of the creation of the story “Matrenin’s Dvor”

Students They report that the story is built on an autobiographical basis, that it had a different title - “A village is not worthwhile without a righteous man.” The heroine's name has been preserved, only the author has changed her last name.

Teacher. Who is a righteous man? What associations do you have with this word?

Students form an associative series of the word “righteous”.

The righteous is truth, light, soul, peace, harmony, morality, morality, God.

Write on the board:

Righteous- a person who does not sin in any way against the rules of morality.

SLIDE No. 10 “People have forgotten God, that’s why”

Teacher. Tell us about Matryona's life (poll). What does the name "Matryona" mean? (madam, mother of the family, mother)

Students. The fate of Matryona is the fate of millions and millions of peasant women in Rus' : unhappy marriage , the death of children, hard collective farm labor, the death of a husband, a serious illness - illness, which overcomes more and more every year. But the heroine does not murmur, does not complain, does not envy. She lives for people, loved ones and neighbors. She is reliable and selfless. She did not become embittered at the world and did not harden her soul. Matryona lives like a Christian.

Notes in notebooks.

Slide No. 11 Matrenin's house

Teacher. Find a description of Matryona Vasilievna's house. What's special about it?

Students talk about how the heroine lives, what surrounds her, how she runs her household.

Teacher. The housewife from Matryona, as we see, is imperfect: she has neither a pig, nor a cow, nor decent clothes. And there is a lanky cat, mice, cockroaches, a goat and ficus trees, which “filled the loneliness of the hostess with a silent but living crowd.” Why do you think Matryona is like this? Why else would Yefim, her late husband, reproach his wife for her “uncultured” appearance?

Students. Because for her this is not the main thing. The main thing is what allows her to live in harmony with herself, with her conscience, with her soul. This is kindness, love, mercy, tolerance.

Notes in notebooks.

SLIDE No. 12 “Matrenin’s world”

Teacher. How does Matryona build her relationships with people? How does she perceive her fate? Does he hold a grudge against people?

Students.“But her forehead did not remain darkened for long...”

Matryona does not know what envy and enmity are. Kindness and humility are what motivates the heroine.

Teacher. How do you understand the meaning of the story's title? The author is not talking about outbuildings. What about?

Students. The yard is not only and not so much the outer part of the house. This is a person’s environment, what is dear to him and close. This is the spiritual world of Matryona. This is her yard, protection, security. From the devilish anti-world that surrounds her.

Notes in notebooks.

Slide number 13 “Matrenino’s heart”

Teacher. Why do you think , Solzhenitsyn does not give a detailed portrait description of the main character? What details of her appearance does he pay special attention to? (Face and smile) - Quote from the slide.

– What was her upper room for Matryona?

Students look in the dictionary for the interpretation of the word “upper room” (upper, highest, heavenly).

Students. This is not just a wooden building, this is her life. “I didn’t feel sorry for the upper room itself, which stood idle, just as Matryona never felt sorry for her work or her goods. But it was terrible for her to start breaking the roof under which she had lived for forty years... for Matryona this was the end of her entire life.” And the most offensive and terrible thing is that at the head of everything is Thaddeus, whom she once loved.

Teacher. The upper room, writes Solzhenitsyn, is dismantled rib by rib, as if it were a living creature. Yes, that's how it is. With the upper room everything goes away: the cat goes away, the pot of holy water goes away, and then life itself goes away. Matryona is lonely, no one needs her, she gave everything she had.

Notes in notebooks.

SLIDE No. 14 “Matryona’s soul”

Teacher. Matryona's soul suffered a lot. And yet, she, like Sonya Marmeladova, retained openness, selflessness and kindness. What keeps Matryona in life?

Grade 10. Final work on literature. Option 1.

Part 1

1. Which of the heroes of the novel by I.A. Goncharov’s “Oblomov” has a “crystal, transparent soul”?

A) Zakhar B) Stolz C) Olga Ilyinskaya D) Oblomov

1. What type of hero was portrayed by I.S. Turgenev in the novel “Fathers and Sons”?

A) Superfluous person B) Reflective personality C) Nihilist D) Reasonable egoist

1. Who is the poem dedicated to? Tyutchev “I met you...”?

A) Elena Deniseva B) Amalia Krudener C) Eleonora Tyutcheva D) Anna Kern

1. Which of the characters in the play by A.N. Ostrovsky’s “The Thunderstorm” asserted: “But in my opinion: do what you want, as long as it’s safe and covered”?

A) Kabanov B) Boris C) Kudryash D) Varvara

1. From which poem by N.A. Nekrasov took the lines:

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm.

A) “Elegy” B) “Poet and Citizen” C) “Muse” D) “Blessed is the gentle poet”

6) What order did the hero of M. E. Saltykov-Shchedrin’s fairy tale “The Wise Minnow” receive from his father?

A) “Take care and save a penny” B) “Take care of your honor from a young age” C) “Keep your eyes open” D) “Please all people without exception”

7) The novel by M. E. Saltykov-Shchedrin “Gentlemen Golovlevs” is

A) The story of a family B) The story of the dead C) The story of one city D) The story without a hero

8) Which of the heroes of Dostoevsky’s novel “Crime and Punishment” does the portrait correspond to: “She has such a kind face and eyes. Very much. Proof: many people like it. So quiet, meek, unrequited, agreeable, agreeing to everything. And her smile is even very good”?

A) Dunya B) Alena Ivanovna C) Sonya D) Lizaveta

9) Why L.N. Does Tolstoy depict the Battle of Borodino through Pierre's perception?

A) Show what is happening in a true and bright light B) This is necessary for the development of Pierre’s character C) Show the human condition in an extreme situation D) This is an original plot device

10) Which of the following characters is not a character in Chekhov’s play “The Cherry Orchard”?

A) Gaev B) Firs C) Startsev D) Yasha

Part 2

1. Write the name of the theory of the mid-19th century, whose representatives asserted the independence of artistic creativity from society.
2. Who did N.A. Dobrolyubov call “a ray of light in the dark kingdom”?
3. What were Porfiry Golovlev's relatives called?
4. What does the image of Sonya Marmeladova symbolize?
5. What artistic medium did A.A. use? Fet in the above excerpt:

The forest woke up

All woke up, every branch,

Every bird perked up...

Part 3

1. Which of the characters in A. N. Ostrovsky’s drama “The Thunderstorm” does not belong to the “dark kingdom”?

A) Boris B) Kabanikha C) Feklusha D) Dikoy

1. What is “Oblomovism”?

A) Practicality in relation to life B) Apathy and inertia C) Acquisitiveness and hoarding D) Meaningless project-making

1. What detail in the portrait of Bazarov, the hero of Turgenev’s novel “Fathers and Sons,” reveals the type of his activity?

A) Tall stature B) Large protuberances of a spacious skull C) Bare red hand D) A smile expressing self-confidence and intelligence

1. What topic is not explored in the works of F.I. Tyutchev?

A) Nature and man B) The purpose of the poet and poetry C) Love D) Revolutionary transformation of reality

1. Which of the characters in N.A.'s poem? Nekrasov “Who lives well in Rus'?”

“...fate was preparing a glorious path, a great name for the people’s intercessor, consumption and Siberia?”

A) Saveliy B) Grisha Dobrosklonov C) Yakim Nagoy D) Ermila Girin

1. What artistic device does Saltykov-Shchedrin use to characterize the character in the fairy tale “The Wild Landowner”: “the men see: although their landowner is stupid, he is given a great mind”?

A) Irony B) Metaphor C) Hyperbole D) Epithet

1. Who did Porfiry Golovlev’s “nieces” become after leaving their home?

A) Sisters of mercy B) Actresses C) Teachers D) Nuns

1. What Christian image is the leitmotif of F. M. Dostoevsky’s novel “Crime and Punishment”?

A) The image of the harlot B) The image of the resurrection of Lazarus C) The image of Golgotha ​​D) The image of the cross

1. What, according to Tolstoy, decided the outcome of the Battle of Borodino?

A) A well-thought-out plan of military operations B) The talent of military leaders C) The spirit of the army D) The numerical superiority of troops

1. To whom (or what) does Gaev address with the words “Dear, respected...”?

A) To the garden B) To Firs C) To Lopakhin D) To the closet

Part 2

1. Which of the characters in N. A. Nekrasov’s poem was called the “governor”?
2. Which Russian writer was the first to write an epic novel?
3. Which of the heroes of Saltykov-Shchedrin’s fairy tales “lived and trembled and died and trembled”?
4. Write the title of the episode when Prince Andrei realizes that “everything is empty, everything is a deception.”
5. Which historical figure was Raskolnikov's idol?

Part 3

1) Which principles of Bazarov do not stand up to a dispute with life?

Answers:

Nesterov A.K. Christian motives and images in the novel Crime and Punishment // Nesterov Encyclopedia

Features of the presentation of Christian motifs in the novel "Crime and Punishment".

You can judge who Raskolnikov is only by learning the language the author speaks.

To do this, we must always remember that before us is the work of a man who, during four years spent in hard labor, read only the Gospel - the only book allowed there.

His further thoughts develop at this depth.

Therefore, “Crime and Punishment” cannot be considered a psychological work, and Dostoevsky himself once said: “They call me a psychologist, but I am only a realist in the highest sense.” With this phrase, he emphasized that psychology in his novels is an outer layer, a rough form, and the content and meaning are contained in spiritual values, in the highest sphere.

The foundation of the novel stands on a powerful gospel layer; almost every scene carries something symbolic, some kind of comparison, some kind of interpretation of various Christian parables and tales. Every little thing has its own meaning, the author’s speech is thoroughly imbued with specific words indicating the religious overtones of the novel. The names Dostoevsky chose for the heroes of his novels are always significant, but in Crime and Punishment they are an important key to understanding the main idea. In his workbook, Dostoevsky defined the idea of ​​the novel as follows: “There is no happiness in comfort, happiness is bought by suffering. Man is not born for happiness. Man deserves his happiness, and always through suffering. In his image (Raskolnikov) the idea of ​​exorbitant pride, arrogance and contempt is expressed in the novel to this society (in no case of individualism). His idea: to take power over this society." The author does not focus on whether the main character is a criminal or not - this is already clear. The main thing in the novel is suffering for the sake of happiness, and this is the very essence of Christianity.

Raskolnikov is a criminal who violated God’s law and defied the Father. That's why Dostoevsky gave him exactly that last name. It points to schismatics who did not submit to the decisions of church councils and deviated from the path of the Orthodox Church, that is, who opposed their opinion and their will to the opinion of the church. It reflects the split in the soul of the hero, who rebelled against society and God, but did not find the strength to reject the values ​​​​associated with them. In the draft version of the novel, Raskolnikov says this to Duna: “Well, if you reach such a line that if you stop before it, you will be unhappy, but if you step over it, then perhaps you will be even more unhappy. There is such a line.”

But with such a surname, his name is very strange: Rodion Romanovich. Rodion is pink, Roman is strong. In this regard, one can recall the naming of Christ from the prayer to the Trinity: “Holy God, Holy Mighty, Holy Immortal, have mercy on us.” Rodion Romanovich - pink Strong. Pink – embryo, bud. So, Rodion Romanovich is a bud of Christ. In the novel, Rodion is constantly compared to Christ: the pawnbroker calls him “father,” which does not correspond to Raskolnikov’s age or position, but this is how they address the clergyman, who is a visible image of Christ for the believer; Dunya “loves him infinitely, more than herself,” and this is one of Christ’s commandments: “Love your God more than yourself.” And if you remember how the novel ended, it becomes clear that everyone, from the author to the man in the repentance scene, knows about the crime committed. They call on the “bud of Christ” to bloom and take precedence over the rest of the hero’s being, who has renounced God. The latter can be concluded from Rodion’s words: “Damn him!”; “Damn it all!”; "...to hell with her and with her new life!" - this no longer looks just like a curse, but like a formula for renunciation in favor of the devil.

But Raskolnikov “finally settled on the ax” not as a result of reasons printed on paper: it was not the theory about “extraordinary” people, not the troubles and sorrows of the Marmeladovs and the girl he accidentally met, and not even the lack of money that pushed him to commit a crime. The real reason is hidden between the lines, and it lies in the spiritual split of the hero. Dostoevsky described it in Rodion’s “horrible dream,” but the dream is difficult to understand without a small but very significant detail. First, let's turn to the hero's father. In the novel he is called only “father,” but in a letter to his mother Afanasy Ivanovich Vakhrushin, who was his father’s friend, is mentioned. Athanasius is immortal, John is the grace of God. This means that Raskolnikov’s mother receives the money he needs from the “immortal grace of God.” The Father appears before us as God, which is supported by his name: Roman. And faith in God is strong in Rus'. Now let's return to the dream, in which the hero loses his faith and gains confidence in the need to change the world himself. Seeing the sin of people, he rushes to his father for help, but, realizing that he cannot or does not want to do anything, he himself rushes to the aid of the “horse”. This is the moment at which faith in the power of the father is lost, in his ability to arrange so that there is no suffering. This is the moment of losing trust in God. Father - God “died” in Raskolnikov’s heart, but he constantly remembers him. “Death,” the absence of God, allow a person to punish someone else’s sin, rather than sympathize with it, and allow him to become above the laws of conscience and the laws of God. Such a “rebellion” separates a person from people, allows him to walk like a “pale angel,” and deprives him of the consciousness of his own sinfulness. Raskolnikov composed his theory long before sleep, but he hesitated to test it in his own practice, since faith in God still lived in him, but after sleep it was gone. Raskolnikov immediately becomes extremely superstitious; superstition and faith are incompatible things.

In the first pages of the novel, Dostoevsky contrasts this dream with a scene with a drunk being transported in a cart, and since this happens in reality, this episode is the truth, and not a dream. In a dream, everything is different from reality, except for the size of the cart, which means that only this is perceived adequately by Raskolnikov. Rodion rushed to defend the poor horse because she was given an excessive cart and forced to carry it. But in reality, the horse handles its load. Here lies the idea that Raskolnikov is challenging God on the basis of non-existent injustices, for “everyone is given a burden within their strength and no one is given more than he can bear. A horse in a dream is an analogue of Katerina Ivanovna, who herself invented unrealistic troubles for herself, which are difficult, but bearable, because, having reached the edge, there is always a defender: Sonya, Raskolnikov, Svidrigailov. It turns out that our hero is a lost soul who has lost faith in God and rebelled against him due to an incorrect perception of the world.

And every person, starting with the pawnbroker, must return this lost soul to the true path. Alena Ivanovna, calling him “father,” reminds Raskolnikov that he, being Christ, should not challenge God. Then Rodion meets Marmeladov.

The sharp contrast of the surnames immediately catches the eye: on the one hand, something “splitting”, on the other, a viscous mass that blinds Rodion’s “split” existence. But the meaning of Marmeladov does not end with the surname. The meeting of the characters begins with the words: “There are other meetings, even with people completely unfamiliar to us, in whom we begin to be interested at first sight...” - the scene of the Presentation is depicted here, when the prophet Simeon recognizes Christ and prophesies about him. In addition, Marmeladov’s name is Semyon Zakharovich, which means “He who hears God, the memory of God.” In his confession-prophecy, Marmeladov seems to say: “Look, we have bigger troubles than you, but we are not going to cut and rob people.” Having taken Marmeladov home, Raskolnikov leaves “how much copper money he needed” on the windowsill. Then, after thinking, “I wanted to go back,” “but, judging that it was already impossible to take it... I went to the apartment.” Here the hero’s dual nature is clearly manifested: impulsively, at the first impulse of his heart, he acts like a god, after thinking and judging, he acts cynically and selfishly. He experiences real satisfaction from an action by acting impulsively.

Having decided to kill, Raskolnikov became a criminal, but he “killed himself, not the old woman.” He “lowered the ax on the old woman’s head with its butt,” while the blade was pointed at him. He killed his sister with a blade, but here is Lizaveta’s gesture: “outstretched hand,” as if she had forgiven him his sin against her. Raskolnikov did not kill anyone but himself, which means he is not a murderer. After the crime, he must choose either Sonya or Svidrigailov. They are two paths offered to the hero.

Marmeladov showed Rodion the right choice by talking about his daughter. In Dostoevsky’s drafts there is the following entry: “Svidrigailov is despair, the most cynical. Sonya is hope, the most impracticable.” Svidrigailov tries to “save” Raskolnikov, inviting him to act as he would act himself. But only Sonya can bring true salvation. Her name means "wisdom that listens to God." This name absolutely corresponds to her behavior with Raskolnikov: she listened to him and gave him the wisest advice so that he would repent and not just confess. When describing her room, Dostoevsky compares it to a barn. The barn is the same barn where the baby Christ was born. In Raskolnikov, in Sonya’s room, the “bud of Christ” began to open, it began to be reborn. It is difficult for him to communicate with Sonya: she tries to show him the right path, but he cannot stand her words because he cannot believe her due to a lack of faith in God. By giving Rodion an example of strong faith, she makes him suffer, suffer for the sake of happiness. Sonya thereby saves him, gives him hope for happiness, which Svidrigailov would never have given him. Here lies another important idea of ​​the novel: man is saved by man and cannot be saved in any other way. Raskolnikov saved the girl from new abuse, Sonya saved him from despair, loneliness and final collapse, he saved Sonya from sin and shame, his sister Razumikhin, Razumikhin saved his sister. The one who does not find the person dies - Svidrigailov.

Porfiry, which means “crimson,” also played his role. The name is highly not accidental for the person who will torture Raskolnikov “And having undressed Him, they put a purple robe on Him; and having woven a crown of thorns, they placed it on His head...” this is associated with the scene when Porfiry tried to extort a confession from Raskolnikov: Rodion blushes While talking, his head starts to hurt. Dostoevsky also repeatedly uses the verb “to cluck” in relation to Porfiry. This word is very strange when used to refer to an investigator, but this verb indicates that Porfiry rushes around with Raskolnikov like a chicken with an egg. The egg is an ancient symbol of resurrection to a new life, which the investigator prophesies for the hero. He also compares the criminal to the sun: “Become the sun, and they will see you...” The sun personifies Christ.

The people constantly laugh at Raskolnikov, and ridicule is the only possible “forgiveness,” the inclusion back into the people’s body of a particle that escaped from it and wickedly rose above it, imagining itself as something supernatural. But the laughter of forgiveness seems to the hero to be an insult to his idea and makes him suffer.

But suffering is “fertilizer”, after receiving which the “bud of Christ” can open. The flower will finally bloom in the epilogue, but already in the scene of repentance, when Raskolnikov “knelt down in the middle of the square, bowed to the ground and kissed this dirty earth with pleasure and happiness,” laughter does not irritate him, it helps him.

“The exiled convict of the second category, Rodion Raskolnikov, has been imprisoned in prison for nine months now.” This is exactly how much time is needed for the development of the fetus in the womb. In prison, Raskolnikov suffers for nine months, that is, he is reborn. “Suddenly Sonya appeared next to him. She came up barely audibly and sat down next to him.” Here Sonya plays the role of the Mother of God, and Rodion himself appears as Jesus. This is a description of the icon of the Mother of God “Helper of Sinners.” Raskolnikov’s sudden surge of feelings following these words is a moment of resurrection, a moment of “birth from the Spirit.” The Gospel of John says: “Jesus answered and said to him, “Truly, truly, I say to you...”

After the end of his term, Raskolnikov will find his happiness, for he will finally suffer for it. Having rebelled against God, he committed a crime, after which he began to suffer, and then repented, therefore, he is both a sufferer and a repentant criminal at the same time.

1. Christianity in Russian culture.

2. Basic Christian motives.
3. Symbolism of numbers.
4. Biblical names.
5. The idea of ​​human humanity.

Christianity, introduced to Rus' back in the 10th century, left a deep imprint on almost all levels of human life - cultural, spiritual, physical. In addition, it was thanks to Christianity, or rather Orthodoxy, that writing appeared in Rus', and with it literature. It is impossible to deny the influence of Christianity on Russian people, just as it is impossible to deny the influence of this religion on art - painting, music, literature. In particular, the deepest conviction in the truth of the ideals of Orthodoxy is contained in the works of the great Russian writer F. M. Dostoevsky. The novel “Crime and Punishment” is the clearest confirmation of this.

The writer's religiosity and his sincere faith in the power of Orthodoxy are striking in their purity and strength. Dostoevsky is interested in such categories as sin and virtue, sinner and saint, morality and its absence. The main character of the novel, Rodion Raskolnikov, is the key to understanding these concepts. Initially, he carries within himself the sin of pride, not only in actions, but also in thoughts. Having absorbed the theory of earthly Napoleons, trembling and entitled creatures, the hero finds himself besotted with ideals unusual for him. He kills the old pawnbroker, not yet realizing that he is destroying not so much her as himself, his soul. What follows is purgatory on earth - having gone a long way through remorse, self-destruction and despair, the hero finds his salvation in love for Sonya Marmeladova,

The concepts of suffering, love, purification are central to the Christian religion. People deprived of repentance and love cannot recognize the true light and are forced to remain in darkness. So, even during his lifetime, Svidrigailov knows what hell will look like for him - a place like “a black bathhouse with spiders and mice.” When this hero is mentioned in the text, the word “devil” constantly appears, and even the good that he can and wants to do turns out to be unnecessary and useless. Later, Raskolnikov himself, in his speech of repentance, will say that the devil is pursuing him: “The devil led me to commit a crime.” But if Svidrigailov commits suicide, which is the most terrible sin in the Christian religion, then the repentant Raskolnikov turns out to be capable of purification and rebirth.

The motif of prayer is important within the novel. The main character himself also prays, despite his initial aspirations. After the episode of the dream about the horse, Raskolnikov prays, but his prayers are not destined to be heard due to the depravity of the one praying, and therefore he has no choice but to commit the long-planned crime that tormented him. Sonechka, the daughter of the owner of the apartment, and the children of Katerina Ivanovna, who is preparing herself for the monastery, constantly pray. Prayer, as an important and integral component of the life of a Christian, becomes an equally integral part of the novel.

Two more holiest symbols of the Christian religion - the cross and holy scripture - play an important role within the work. The Gospel, which previously belonged to Lizaveta, is given to Raskolnikov by Sonya. Reading it, the hero is reborn spiritually. The cross, also Lizavetin, the hero at first does not accept it because he is not ready for repentance and awareness of his sin, but then he finds the strength to take it too, which also indicates spiritual rebirth.

The significance of religion in the novel and the religiosity of its text are enhanced by constant associations and analogies with biblical stories. There is also a reference to the biblical Lazarus, heard in the epilogue of the novel from the lips of Sonechka, who tells the story about him to Raskolnikov on the fourth day after the hero committed a crime. Moreover, in the parable itself there is a mention that Lazarus was also resurrected on the fourth day. Essentially, Raskolnikov is dead, he lies in a coffin - in his closet, and Sonya comes to save, heal and resurrect him. Present in the text, organically intertwined in it, are such parables as the story of Cain and Abel, the parable of the harlot (“if anyone is not sinful, let him be the first to throw a stone at her”), the parable of the publican and the Pharisee, the parable of Martha, who fusses all over life is about empty things and missing the very essence of life (associations with Svidrigailov’s wife Marfa Petrovna).

It is easy to trace the gospel principles in the names of the characters. They are talking. Here we should give a Christian example about Martha and Martha Petrovna, here it is necessary to say about Kapernaumov, the man from whom Sonya rented a room (Capernaum is the biblical city from which the harlot came), about Ilya Petrovich (a combination of the names Ilya - the holy thunderer and Peter - hard as a stone), about Lizaveta (Elizabeth - God-worshipping, holy fool), about Katerina (Ekaterina - pure, bright).

The numbers are of great importance, also referring the reader to biblical motives. The most common numbers are three, seven and eleven. Sonya gives Marmeladov 30 kopecks, the first time she brings 30 rubles “from work”, Marfa redeems Svidrigailov with the same 30 kopecks, and he, like Judas, betrays her. Svidrigailov offers Duna “up to thirty,” and Raskolnikov hits the old woman on the head three times. The hero commits murder at the seventh hour, and the number seven in Orthodoxy is a symbol of the unity of man and God. By committing a crime, Raskolnikov tries to break the oppressive connection and ends up with mental torment and seven years of hard labor.

The main biblical motive that is important for the novel is the motive of voluntary acceptance of torment and recognition of one’s sins. It is no coincidence that Mikola wants to take the blame for the protagonist. But Raskolnikov, led by Sonya, refuses such a sacrifice: it would not bring him the long-awaited consolation. He accepts Sonya’s request for public repentance and recognition of his sins and voluntarily agrees to this. And only then does he become ready for spiritual and mental rebirth.