What role do scenes of street life play in Dostoevsky’s novel Crime and Punishment. The image of the city in Fyodor Dostoevsky’s novel “Crime and Punishment Street scenes crime and punishment table

“Heroes of Crime and Punishment” - Captains Competition. Read the text carefully! Who is it about? Crime and Punishment. Alena Ivanovna. Katerina Ivanovna. Who are these phrases about? How do you understand them? Marmeladov. Luzhin Pyotr Petrovich. Pulcheria Aleksandrovna Raskolnikova. Suggested positions. Lizaveta. "Home try of the pen." Epigraph of the lesson. Sofia Marmeladova.

“Dostoevsky Crime and Punishment” - Did I kill myself? What is your position? LESSON No. 4 Topic: The inhumane meaning of the main character’s theory. Petersburg by Dostoevsky. What does Dostoevsky see as the reasons for the atrocities depicted in the novel? “Did I kill the old woman? What do the writers' statements have in common? What connection with Dostoevsky’s novel do you see in V. Perov’s film “The Drowned Woman”?

“Dostoevsky and Raskolnikov” - Raskolnikov’s Ideas. Both the creative and personal life of Fyodor Mikhailovich was not simple. Earning his living through literary work, Dostoevsky always needed money. The novel "Crime and Punishment" was conceived by Dostoevsky while still in hard labor. Man is a mystery. Raskolnikov. F. M. Dostoevsky.

“Novel Crime and Punishment” - Is it possible to measure the value of human life, according to Dostoevsky? Laws of conscience, commandments. Complete the test tasks Discuss the test questions Complete the supporting notes. Feature film "Crime and Punishment". So that the soul is alive. Analysis of the episode “The first meeting of Rodion Raskolnikov and investigator Porfiry Petrovich.”

“Dostoevsky’s novel “Crime and Punishment”” - The Righteous. Napoleon. Questions about the project. Refutation of Raskolnikov's theory. Crime and Punishment. Raskolnikov's theory. Projects. Man of ideas. Lizaveta's Cross, which Sonya is going to wear. Urbanists. Petersburg by Dostoevsky. Evaluation criteria.

“Raskolnikov and Marmeladova” - The idea of ​​rebellion is embodied in the image of Raskolnikov, and the idea of ​​humility is embodied in the image of Sonya. Sonya Marmeladova is Dostoevsky’s moral ideal. Humility does not imply suicide. Raising the question only of the moral improvement of each person, the writer turned to religion. Sonya hopes for God, for a miracle.

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2. Research work on the topic: What role do scenes of street life play in Dostoevsky’s novel “Crime and Punishment”

The subject of my work is scenes of street life in Dostoevsky's novel Crime and Punishment. I would like to immediately note that there are a lot of episodes describing the street life of St. Petersburg. It is characteristic that we mainly see the part of St. Petersburg where the poor live, this is the Sennaya Square area. It is in this part of St. Petersburg that Raskolnikov, a poor student at the Faculty of Law of St. Petersburg University, lives. A special feature of this part of St. Petersburg is the “abundance of famous establishments,” namely drinking bars and taverns, and as a result there are many drunk people. Raskolnikov himself rarely visited such establishments. But, returning from the old money-lender, he “without thinking for a long time” goes to the tavern, where he meets Marmeladov. This meeting was significant for the hero in many respects. First of all, because Marmeladov’s fate aroused compassion in Raskolnikov’s soul. Having escorted the drunken Marmeladov home, Raskolnikov “inconspicuously put on the window” the money that he himself needed. Then he will also unknowingly continue to help the Marmeladov family, as well as

to others in need of help, giving the last. In the next street scene, Raskolnikov helps a drunken girl, trying to protect her from a depraved master; he also does this unconsciously.

One of the most significant, symbolic episodes in the novel is Raskolnikov’s first dream. A terrible dream he had on the eve of his planned murder. In this dream, Mikolka brutally kills his horse in front of little Rodion and a large crowd. Raskolnikov tries to protect the horse, he rebels and throws his fists at Mikolka. This street scene symbolizes the cruelty and indifference of the street crowd; no one is trying to stop Mikolka except the boy. After this dream, Raskolnikov gives up the thought of murder. He rejoices in being freed from this obsession. But, returning home, he makes an unnecessary detour through Sennaya Square, where a chance meeting takes place, which predetermined his entire future fate. Please note, this is happening again on Sennaya. “Near the taverns on the lower floors, in the dirty and smelly courtyards of the houses on Sennaya Square, and especially near the taverns, there were crowds of many different types of industrialists and rags.” Raskolnikov mainly loved these places, as well as all the nearby alleys, when he went out into the street without a purpose. Here our hero meets Lizaveta Ivanovna, the old woman’s sister, and learns that tomorrow, at seven o’clock, she will not be at home. He felt “that he no longer had freedom of mind or will, and that everything had suddenly been decided completely.”

This ends the first part of the scenes of street life before the crime. Willingly or unwittingly, Raskolnikov becomes a victim of society, which inexorably pushed him to commit a crime.

The second part of my work is devoted to those episodes that occurred after the crime.

On the Nikolaevsky Bridge, after visiting Razumikhin, Rodion falls under the coachman's whip, the people do not sympathize, but laugh at him, only the elderly merchant's wife and her daughter took pity on him and gave him two kopecks. At that moment he saw a beautiful panorama of ceremonial Petersburg: “the palace, the dome of Isaac.” A chill blew over him from this magnificent panorama; “for him this picture was full of a mute and deaf spirit.” He threw two kopecks into the Neva, “it seemed to him that he seemed to cut himself off from everyone and everything with scissors at that moment.” But a person is not capable of living alone, and Raskolnikov included. In the following episodes, he again goes to people, that is, to the street. As usual, this is Sennaya. Here he listens to the singing of a girl of about fifteen to the accompaniment of an organ grinder. Raskolnikov starts talking to people, passes through Sennaya, turns into an alley, where he finds himself next to a large house in which there were drinking bars, as well as various entertainment establishments. Everything occupies him, he talks to women, he wants to join everything. We see that Raskolnikov cannot sit in his closet, despite feeling unwell. He goes to the streets. Here he either observes life, such as a suicidal woman who threw herself from the bridge on which he was standing, or takes an active part, for example, in the scene of Marmeladov’s death under the wheels of a stroller. He actively helps Marmeladov, does everything in his power, as if he is making up for his crime.

The episode describing the madness of Katerina Ivanovna is significant. Katerina Ivanovna takes her children out into the street and makes them sing songs. Raskolnikov, observing all this, justifies himself, convincing Sonya that society is criminal and does not have the right to judge him as a criminal. And finally, the last episode in which Raskolnikov on Sennaya, on the advice of Sonya, kneels, “bowed to the ground and kissed this dirty earth with pleasure and happiness.” He wanted to publicly confess his crime, but the laughter and comments of the crowd stopped him. However, he endured everything calmly.

So, we can conclude that the city of St. Petersburg is an accomplice, an accomplice in Raskolnikov’s crime. In my opinion, Svidrigailov’s remark about the city is true: “the people are drunk, the young people, educated from inaction, burn out in unrealistic dreams and dreams, are deformed in theories... So this city smelled of a familiar smell to me from the first hours.” Pulcheria Alexandrovna seemed to echo him: “...here and on the streets, it’s stuffy in rooms without windows. Lord, what a city!” An unfairly structured world causes rebellion in Raskolnikov’s soul. He tries to protect the weak and disadvantaged, and at the same time to rise above this world, to allow himself complete freedom from conscience, justifying himself by the fact that the world itself is criminal. Street scenes, it seems to me, illustrate and confirm this idea.

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The subject of my work is scenes of street life in Dostoevsky's novel Crime and Punishment. I would like to immediately note that there are a lot of episodes describing the street life of St. Petersburg. It is characteristic that we mainly see the part of St. Petersburg where the poor live, this is the Sennaya Square area. It is in this part of St. Petersburg that Raskolnikov, a poor student at the Faculty of Law of St. Petersburg University, lives.

Dostoevsky's Petersburg in the novel “Crime and Punishment” Oh Petersburg, damned Petersburg Here, really, you can’t have a soul! Life here crushes and suffocates me! V.A. Zhukovsky The city is lush, the city is poor, The spirit of captivity, the slender appearance, The vault of heaven is green and pale, A fairy tale, cold and granite... A.S. Pushkin Among the classics of world literature, Dostoevsky deservedly bears the title of master in revealing the secrets of the human soul and creator of the art of thought. The novel “Crime and Punishment” opens a new, highest stage in Dostoevsky’s work. Here he first acted as the creator of a fundamentally new novel in world literature, which was called polyphonic (polyphonic). Interiors The interiors of “St. Petersburg corners” do not resemble human habitation. Raskolnikov's closet, Marmeladov's "passage corner", Sonya's "barn", a separate hotel room where Svidrigailov spends his last night - these are dark, damp "coffins". Perhaps we see the future of this girl later, when Raskolnikov sees suicide. On the bridge they lash him with a whip so that he almost falls under the cart. All this speaks of anger and irritability of people. M. Dostoevsky “Crime and Punishment.” 1964. Paper, pencil Sonechka. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Raskolnikov and the old woman pawnbroker. Raskolnikov's dream. Sketch of an illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Confession on the square. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1965. Paper, pencil Raskolnikov and the old woman pawnbroker. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1967. Paper, graphite pencil, collage Sketch for a ballet based on the novel by F.M. Dostoevsky “Crime and Punishment”. 1985. Paper, ink, watercolor

Research work on the topic: What role do scenes of street life play in Dostoevsky’s novel “Crime and Punishment” The subject of the study of my work is scenes of street life in Dostoevsky’s novel “Crime and Punishment”. I would like to immediately note that there are a lot of episodes describing the street life of St. Petersburg. It is characteristic that we mainly see the part of St. Petersburg where the poor live, this is the Sennaya Square area. It is in this part of St. Petersburg that Raskolnikov, a poor student at the Faculty of Law of St. Petersburg University, lives. A special feature of this part of St. Petersburg is the “abundance of famous establishments,” namely drinking bars and taverns, and as a result there are many drunk people. Raskolnikov himself rarely visited such establishments. But, returning from the old money-lender, he “without thinking for a long time” goes to the tavern, where he meets Marmeladov.

Petersburg by Dostoevsky. street life scenes

We can say that Dostoevsky’s work is largely saturated with polemics with Chernyshevsky, with his novel “What is to be done?”, with various schemes of human “nature”. Dostoevsky's strength lay not in his polemics with Chernyshevsky as such, but in his comprehensive portrayal of the modern, restless human personality, in his criticism of the disorders of modern society. Dostoevsky's great novels are philosophical in nature.
Crime and Punishment of the Street Life Scene Gogol's Petersburg is a werewolf with a double face: behind the ceremonial beauty is hidden an extremely poor and wretched life. Dostoevsky has his own Petersburg. The writer's meager material resources and wandering spirit forced him to frequently change apartments - not in rich areas of the capital, but on the so-called “middle streets,” in cold corner houses, devoid of any architecture, where people “teem with people.”

Scenes of street life in Dostoevsky’s novel “Crime and

Not a trace of the previous energy... Complete apathy has taken its place,” the author notes metaphorically, as if pointing to the reader the change inside the hero that occurred after what he saw.9. Part 5, Chapter 5 (the death of Katerina Ivanovna) Petersburg and its streets, which Raskolnikov already knows by heart, appear before us empty and lonely: “But the courtyard was empty and the knockers were not visible.” In the scene of street life, when Katerina Ivanovna gathered a small group of people on a ditch, mostly boys and girls, the meager interests of this mass are visible; they are attracted by nothing more than a strange spectacle.

The crowd itself is not something positive, it is terrible and unpredictable. The theme of the value of every human life and personality, one of the most important themes of the novel, is also touched upon here.

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Moving on to the artistic construction of the text and artistic means, it should be noted that the episode is built on the contrast of images, almost every scene has a contrast to it: the blow is contrasted with the alms of the old merchant's wife and her daughter, Raskolnikov's reaction (“he angrily gnashed and clicked his teeth”) is contrasted with the reaction of others (“laughter was heard all around "), and the verbal detail “of course” indicates the usual attitude of the St. Petersburg public towards the “humiliated and insulted” - violence and mockery reign over the weak. The pitiful state in which the hero found himself could not be better emphasized by the phrase “a real penny collector on the street.” Artistic means are aimed at enhancing Raskolnikov’s sense of loneliness and displaying the duality of St. Petersburg.6.

Lesson. the image of St. Petersburg in the novel by F.M. Dostoevsky (crime and punishment)

Raskolnikov's moral experiment lies in the fact that he believes: a good person who wants to make humanity happy is allowed to sacrifice life - not his own, but someone else's, even if, in his opinion, the most worthless. The hero tests his theory, and it becomes obvious to him that he is not a winner, but a victim: “he killed himself,” and not the “old lady.” Petersburg is partly the instigator of the murder.

It is difficult to suspect Dostoevsky of hating this city, but here the writer mercilessly exposes the atmosphere of a cruel, fetid, drunken urban monster, strangling Raskolnikov and imposing on him the idea that only the strongest survive. Participatory City The author masterfully interweaves images of city landscapes, street scenes and interiors.

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School assistant - ready-made essays on Russian language and literature The author creates a book about impoverished nobles, “inhabitants of dark corners.” No one had written such books before him, and for Dostoevsky the content of the novel was dictated by reality itself.
A magnificent panorama In the second part of the novel, in Chapter 2, Raskolnikov is feverishly looking for a place to hide the valuables he took from the old woman. And here suddenly he freezes at the breathtaking panorama - clean air, a blue river and the domes of the temple reflected in it. Does this delight the hero? No, he never understood, could not decipher for himself this “magnificent picture”, from which an “inexplicable coldness” and a “dumb and deaf spirit” blew over him.
Dostoevsky’s “drunk” Petersburg was interested in the crime and punishment of the hero he created, of course, not only as an acute psychological detective plot. The path from a moral impasse to the light is spatially realized as an exit from a cramped dusty city into the expanse of a “sun-drenched vast steppe”, where “there was freedom” - not only physical, but freedom from ideas and delusions that infect the soul.

Street life scenes

He actively helps Marmeladov, does everything in his power, as if he is atoning for his crime. The episode describing the madness of Katerina Ivanovna is significant. Katerina Ivanovna takes her children out into the street and makes them sing songs.
Raskolnikov, observing all this, justifies himself, convincing Sonya that society is criminal and does not have the right to judge him as a criminal. And finally, the last episode in which Raskolnikov on Sennaya, on the advice of Sonya, kneels, “bowed to the ground and kissed this dirty earth with pleasure and happiness.” He wanted to publicly confess his crime, but the laughter and comments of the crowd stopped him.
However, he endured everything calmly. So, we can conclude that the city of St. Petersburg is an accomplice, an accomplice in Raskolnikov’s crime.

Scenes of street life in the novel crime and punishment quotes

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In the century before last, this square served as a “front place”; in addition, there was a huge open-air “pushing” market there. And it is there that Dostoevsky every now and then takes his heroes, who, despite the thick of the people, still remain in terrible loneliness with their sick thoughts and feelings. The open windows of the tavern, however, are an anticipation of the public repentance of the hero, who suffered a fiasco in his inhumane, selfish beliefs.

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In conclusion Having touched the famous novel, we are convinced that Dostoevsky’s St. Petersburg is a full participant in the plot and ideological content of the work. The same can be said about other works by Fyodor Mikhailovich. It remains to add that the writer, according to the apt remark of literary critic Yuri Lotman, at the beginning of his work sees in this city a concentrated image of all of Russia.

Street scenes in the novel crime and punishment quotes

These are details that strengthen the hero in his sinister determination to test his theory. Raskolnikov’s closet, described in Chapter 3 of the first part of the novel, resembles either a closet or a coffin. Once Dostoevsky mentions its resemblance to a sea cabin.

All this eloquently testifies to the internal state of Raskolnikov, squeezed by poverty, unsatisfied pride and his monstrous theory, which robs him of balance and peace. In the 2nd chapter of the first part and the 7th chapter, the second author presents the “passage room” of the Marmeladovs, where the life of an extremely impoverished family is constantly presented before the eyes of a curious public, and there is nothing to say about solitude and peace. Alien glances, bursts of laughter, thick waves of tobacco smoke - the atmosphere in which life passes and death overtakes the Marmeladov spouses.

Creative history of the novel. Evolution of ideological concept.

The novel “Crime and Punishment” marks the beginning of the most mature and late stage of Dostoevsky’s work and the emergence of a new type of novel in world literature. Ideologism is the most important artistic quality of the late novels of Fyodor Mikhailovich Dostoevsky.

The origins of Crime and Punishment go back to the time of Dostoevsky's penal servitude. On October 9, 1859, he wrote to his brother from Tver: “In December I will start a novel... Don’t you remember, I told you about one confessional novel that I wanted to write after everyone else, saying that I still had to experience it myself. The other day I completely decided to write it immediately... my whole heart and blood will pour into this novel. I conceived it in hard labor, lying on a bunk, in a difficult moment of sadness and self-destruction...”

“Crime and Punishment,” originally conceived in the form of Raskolnikov’s confession, stems from the spiritual experience of hard labor, where Dostoevsky first encountered “strong personalities” who stood outside the moral law.

In 1859, the confessional novel was not started. The hatching of the plan continued for six years. During these six years, Dostoevsky wrote “The Humiliated and Insulted,” “Notes from the House of the Dead,” and “Notes from Underground.” The main themes of these works - the theme of rebellion and the theme of the individualist hero - were then synthesized in Crime and Punishment.

“Crime and Punishment” to some extent continues the theme of “Notes from the Underground.” Very early, Dostoevsky discovered the mysterious contradiction of human freedom. The whole meaning and joy of life for a person lies precisely in it, in the volitional freedom, in the “willfulness” of a person.

Living in Europe also contributed to the emergence of the idea for the novel. On the one hand, Dostoevsky was inspired by the powerful spirit and high ideals of European culture, and on the other hand, it evoked disturbing thoughts and feelings in him: he recognized a “second” Europe, full of selfish motives, average standards, shallow taste, and suicidal positivism. Increasingly, questions about man and history, man and idea began to find a living response in his soul. These questions began to worry Dostoevsky more strongly when, in the late 50s and early 60s, the ideas and theories of M. Stirner, T. Carlyle, F. Nietzsche about the “cult of heroes”, “superman” came to Russia - ideas that won popularity among young people and passion for them

he himself experienced it. .
Life experience, constant reflections on the proximity of good and evil in the human soul, a passionate desire to find an explanation for strange and sometimes inexplicable human actions prompted Dostoevsky to write the novel “Crime and Punishment.”

The ideological heroes are put forward at the center of the character system of the new novel: Raskolnikov and Svidrigailov. “The principle of a hero’s purely artistic orientation in the environment is one or another form of his ideological attitude to the world”[i], - wrote B.M. Engelhardt, who owns the terminological designation and justification of Dostoevsky’s ideological novel.

According to V.V. Rozanov, in “Crime and Punishment” the idea of ​​the absolute meaning of personality is revealed for the first time and in most detail.

Crime as the plot basis of the novel. Drama and dynamism of the plot. A fundamental genre difference from the traditional criminal adventure novel.

Raskolnikov’s crime begins not with murder, but with his article “On Crime,” published in “Periodic Speech.” In the article he proves that people are divided into two categories: “on the lower (ordinary), that is, so to speak, on the material that serves solely for the generation of their own kind, and actually on people, that is, those who have the gift or talent to say a new word in their midst.” Belonging to the category of “ordinary” "obliged to be obedient because that is their purpose", and people are “extraordinary” “everyone breaks the law, destroyers or is inclined to do so, judging by their abilities”. Raskolnikov claims that in order to implement his idea, an “extraordinary” person needs “even if he steps over a corpse, through blood, then within himself, in his conscience, he can, in my opinion, give himself permission to step over the blood”. This is how Raskolnikov theoretically substantiates his idea “the end justifies the means.”

Raskolnikov convinces himself that he belongs to the “highest” category. He wonders; “Will I be able to cross or not?... Am I a trembling creature or do I have the right....” It is not the world that dissatisfies Raskolnikov, but only his place in this world, and in order to win a place worthy, from his point of view, he commits a crime by submitting to his idea. This idea is the fate that pushes the hero to crime. He “transgresses” for the sake of the humiliated and insulted.

We are convinced that Raskolnikov does not need money, because... he did not take them after the crime, putting them under a stone. One gets the feeling that he didn’t put money in a hole and crush it with a stone, but buried his soul and set up a tombstone. He will then say himself: “I killed myself, not the old woman! And then, all at once, he killed himself forever!”

He himself admits to Sonya: “I didn’t kill a person, I killed a principle... I didn’t kill so that, having received funds and power, I could become a benefactor of humanity. Nonsense! I just killed it! I killed it for myself, for myself alone... I needed to find out, and find out quickly, whether I was a louse, like everyone else, or a human being?”

Thus, the idea is the crime. It captures Raskolnikov’s consciousness and subjugates all his actions and actions; the idea separates him from the world of people. Raskolnikov did not have the strength to resist her terrible power.

But the motive of the crime is open-ended, comprehensive, and has various figurative and semantic variations. The system of characters represents it in its own way. In the literal sense, the criminals are Svidrigailov (note that the image is far from unambiguous) and the nameless pursuer of a drunken girl. Luzhin is criminal in his cynicism, Amalia Ivanovna and the “general” are criminal in their ruthlessness, adding more than enough to the measure of the Marmeladovs’ misfortunes. The motif expands and turns into an important moral theme of human “transgression”. Marmeladov crossed the line when he stole the rest of his salary from his unfortunate wife and took it from his daughter - "thirty kopecks... the last, all that was...". Katerina Ivanovna also overstepped, forcing Sonya to live on a yellow ticket. In Raskolnikov’s opinion, Sonya herself, who lives on a yellow ticket for the sake of her family, overstepped and ruined her life. And, of course, Avdotya Romanovna’s decision to sacrifice herself for her brother is also akin to a crime.

Cross the line, cross the barrier, cross the threshold - the highlighted words form a semantic nest in the novel with the central lexeme threshold , which grows to the size of a symbol: this is not only and not so much an interior detail, but rather a boundary separating the past from the future, bold, free, but responsible behavior from unbridled self-will.

The plot of “Crime and Punishment” is based on a description of the reasons for the murder of the old woman, the death of Raskolnikov’s victims and the exposure of the criminal.

Feeling deep despair and anxiety, tormented by doubt and experiencing fear, hating his pursuers and horrified by his incorrigible act, Raskolnikov looks more carefully than before at the people around him, comparing their destinies with his own. The path of painful searches for the truth, trials and disasters is inherent in Marmeladov, Sonya, Svidrigailov, Dunya, and all other characters in the novel, whose fate is just as tragic. The plot of the novel thus covers the suffering of a man who “has no one to go to.”

The author respects the unities of classical tragedy: the unity of place, time and action. We see the unity of place in the fact that Raskolnikov’s story takes place only in St. Petersburg. Time in the novel “Crime and Punishment” is extremely full of action and events. They take place over a period of only 14 days (not counting the epilogue).

The social and everyday background of the novel. Petersburg of Dostoevsky and the traditions of the “physiological essay” of the natural school.

Let's start with the fact that the image of St. Petersburg is associated with the traditions of the natural school, which arose first in France, and then in Russia.

The collection “Physiology of St. Petersburg” became the program for the “Natural School”. It consisted of so-called “physiological essays”, representing direct observations, sketches, like photographs from nature - the physiology of life in a big city. The collection “Physiology of St. Petersburg” characterized modern society, its economic and social situation, in all the details of life and customs. The physiological essay reveals the life of different, but mainly the so-called lower classes of this society, its typical representatives, and gives their professional and everyday characteristics.

All this is typical for the description of St. Petersburg in the novel “Crime and Punishment.”

The story of Raskolnikov plays out in St. Petersburg. Throughout the novel, several brief descriptions of the city are given. They resemble theatrical stage directions, but these few features are enough to give us a sense of the spiritual landscape. Raskolnikov stands on the Nikolaevsky Bridge on a clear summer day and gazes intently at “this truly magnificent panorama”[x]. “An inexplicable coldness always blew over him from this magnificent panorama; this magnificent picture was full of a mute and deaf spirit for him.”. The soul of St. Petersburg is the soul of Raskolnikov: it has the same greatness and the same coldness. Hero “he marvels at his gloomy and mysterious impression and puts off solving it”. The novel is dedicated to unraveling the mystery of Raskolnikov - Petersburg - Russia. Petersburg is also dual, like the human consciousness it generates. On one side is the royal Neva, in the blue water of which the golden dome of St. Isaac's Cathedral is reflected; on the other, Sennaya Square with its streets and nooks and crannies inhabited by the poor; abomination and disgrace.

Dostoevsky's Petersburg has a special psychological climate conducive to crime. Raskolnikov inhales the stench of taverns, sees dirt everywhere, and suffers from the stuffiness. Human life turns out to be dependent on this “city-infected air.” On a damp autumn evening, all passers-by have “pale green, sick faces.” There is no air movement even in winter - “snow without wind.” Everyone is used to this. The window in Raskolnikov's room does not open. Svidrigailov also emphasizes its abnormality, calling St. Petersburg a city of half-crazy people.

St. Petersburg is a city of vices, dirty debauchery . Brothels, drunken criminals near taverns, and educated youth “are deformed in theories.” Children are vicious in the vicious world of adults (Svidrigailov dreams of a five-year-old girl with vicious eyes).

St. Petersburg is a city of terrible diseases and accidents. No one is surprised by suicides. (The woman throws herself into the Neva in front of passers-by; Svidrigailov shoots himself in front of the guard and falls under the wheels of the Marmeladov’s stroller.)

In St. Petersburg people do not have a home . The main events in their lives take place on the street. Katerina Ivanovna dies on the street, on the street Raskolnikov ponders the last details of the crime, on the street his repentance takes place.

Inhumanity, baseness and disgust evoke scenes of street life: a drunk in a cart drawn by huge draft horses, the blow of a whip and alms to Raskolnikov (“He was firmly whipped on the back by the driver of one of the carriages because he almost fell under the horses, despite the fact that the coachman shouted to him three or four times,” “... he felt that someone was putting it in his hands money... Judging by his dress and appearance, they could have mistaken him for a beggar... he probably owed the two-kopeck gift to the blow of the whip, which pityed them." ), an organ grinder and a crowd of women at a drinking and entertainment establishment ( “A large group of women were crowding at the entrance; some sat on the steps, others on the sidewalk... They talked in hoarse voices; everyone was in calico dresses, goatskin shoes and bare-haired. Some were over forty years old, but there were also seventeen years old, almost all with black eyes.” ), a woman's suicide attempt on a bridge, the death of Katerina Ivanovna, a quarrel between clerks in the city garden.

The climate of St. Petersburg makes a person “small”. “The Little Man” lives with the feeling of an impending catastrophe. His life is accompanied by seizures, drunkenness, and fever. He is sick of his misfortunes. Poverty is a vice because it destroys personality and leads to despair. In St. Petersburg a person has nowhere to go.

In St. Petersburg everyone is accustomed to insults. Katerina Ivanovna goes crazy, even in “oblivion” she remembers her former “nobility”. Sonya lives on a yellow ticket to save her family from hunger. It is through mercy and love for people that she lives.

Petersburg in the novel is the historical point where world problems are concentrated. Once upon a time, people's faith was supported by the resurrection of Lazarus, who was resurrected because he believed. Now St. Petersburg is the nerve center of history; in its fate, in its social illnesses, the fate of all humanity is decided.

The city haunts Raskolnikov like a nightmare, an obsessive ghost, like an obsession. Drunkenness, poverty, vice, hatred, malice, debauchery - all the dark bottom of St. Petersburg - lead the killer to the victim's house. This causes disgust in Raskolnikov (“The heat on the street was terrible, besides it was stuffy, crowded, there was lime everywhere, scaffolding, bricks, dust and that special summer stench... The unbearable stench from the taverns, of which there are especially many in this part of the city, and drunks who constantly came across, despite on weekdays, completed the disgusting and sad coloring of the picture. A feeling of deepest disgust flashed for a moment in the thin features of the young man."

Wherever the writer takes us, we do not end up at a human hearth, at human habitation. The rooms are called “closets”, “passage corners”, “sheds”. The dominant motif of all interiors is ugly crampedness and stuffiness: the house in which the pawnbroker lives “it was all in small apartments and was inhabited by all sorts of industrialists - tailors, mechanics, cooks, various Germans, girls living on their own, petty officials, etc. Those coming in and out were still scurrying under the gates.”,

Raskolnikov's closet is comparable to a coffin (“It was a tiny cell, about six steps long, which had the most pitiful appearance with its yellow, dusty wallpaper that was falling off the wall everywhere, and so low that even a slightly tall person felt terrified in it, and everything seemed about to you hit your head on the ceiling. The furniture matched the room: there were three old chairs, not quite in good condition, a painted table in the corner, on which lay several notebooks and books; just by the way they were dusty, it was clear that they had not been there for a long time; no one’s hand touched; and, finally, an awkward large sofa, occupying almost the entire wall and half the width of the entire room, once upholstered in chintz, but now in rags, and which served as Raskolnikov’s bed.”), WITH Onya Marmeladova lives in the barn room (“It was a large room, but extremely low, the only one that left the Capernaumovs, the locked door to which was in the wall on the left. On the opposite side, in the wall on the right, there was another door, always locked tightly. There was already another, neighboring apartment , under another number. Sonya’s room looked like a barn, had the appearance of a very irregular quadrangle, and this gave it something ugly. The wall with three windows overlooking the ditch cut the room somehow at an angle, making one corner terribly sharp. , ran somewhere deeper, so that, in the dim light, it was impossible to even see him well; the other corner was already too ugly, there was almost no furniture in this entire large room. In the corner, to the right, there was a bed. next to her, closer to the door, was a chair. On the same wall where the bed was, right at the door to someone else’s apartment, there was a simple plank table covered with a blue tablecloth; next to the table were two wicker chairs; then, near the opposite wall, near the sharp corner. , there was a small, simple wooden chest of drawers, as if lost in the void. That's all that was in the room. The yellowish, scrubbed and worn wallpaper turned black in all corners; It must have been damp and fumes here in the winter. Poverty was visible; Even the bed didn’t have curtains.”), description of the “passing angle” of the Marmeladovs (“The small, smoky door at the end of the stairs, at the very top, was open. A candle lit the poorest room, ten steps long; the whole of it was visible from the entryway. Everything was scattered and in disarray, especially the children’s various rags. There was a a sheet with holes in it. Behind it there was probably a bed. In the room itself there were only two chairs and a very tattered oilcloth sofa, in front of which stood an old pine kitchen table, unpainted and not covered with anything. On the edge of the table stood a burnt tallow candle in an iron candlestick. ».

The landscapes of St. Petersburg in the novel “Crime and Punishment” are also specific. The city landscape invariably includes taverns and taverns: “The heat outside was unbearable again; at least a drop of rain all these days. Again dust, bricks, again the stench from the shops and taverns, again the constantly drunk, Chukhon peddlers and dilapidated cab drivers.” Even evening Petersburg in the novel is stuffy and dusty ( “It was about eight o’clock, the sun was setting. The stuffiness remained as before; but he greedily breathed in this stinking, dusty, city-polluted air.”). From the window of Raskolnikov's room there is a view of the courtyard (“to the left, in the outbuilding, open windows could be seen here and there; there were pots of thin geraniums on the window sills. Linen was hung outside the windows.”).

Gloomy Petersburg, dark streets, alleys, canals, ditches and bridges, multi-storey buildings inhabited by the poor, taverns, taverns - this is the landscape of Crime and Punishment. “Petersburg Corners” gives the impression of something unreal, ghostly. Petersburg is a city in which it is impossible to live, it is inhumane.

The inconsistency of Raskolnikov’s character as a young man of the 60s.

First, let's remember what was typical for the 60s in Russia. The fundamental ideas of populism, which were first formulated by A.I. Herzen and further developed by N.G. Chernyshevsky, from the beginning of the 60s, was adopted by almost all Russian revolutionaries. The main of these ideas are the following: Russia can and must, for the benefit of its people, move to socialism, bypassing capitalism (as if jumping over it until it established itself on Russian soil) and at the same time relying on the peasant community as the embryo of socialism; To do this, it is necessary not only to abolish serfdom, but also to transfer all the land to the peasants with the unconditional destruction of landownership, to overthrow the autocracy and put in power the elected representatives of the people themselves.

After the Russian revolutionaries saw that the peasant reform of 1861 turned out to be half-hearted, they became disillusioned with the reforms and considered that a more reliable means of achieving the goal was a revolution by the forces of the peasantry, and it was they, the populists, who should have raised the peasants to revolution. The truth is How to prepare a peasant revolution, the populists' opinions differed. While the peasants were rebelling, and in the spring of 1861 student unrest, unprecedented in Russia, began, the populists considered it possible to create a broad anti-government front that would be able to rely on the will of the people and overthrow the government. For this purpose, they addressed proclamations to the “lordly peasants”, “educated classes”, “to the younger generation”, “to officers”. Contemporaries even called the beginning of the 60s the “era of proclamations.” At a time when free speech was punished as a crime against the state, every proclamation became an event. Meanwhile, in 1861-1862. they appeared one after another, printed in underground printing houses or abroad, containing a wide range of ideas, and were distributed in huge circulations for that time - thousands of copies. Thus, the proclamation “Young Russia” was sent by mail, scattered at Moscow University and right on the streets, boulevards, and at the entrances of houses. "Velikorus" proposed that the educated classes organize an anti-government campaign demanding a constitution. The proclamation “To the Young Generation” demanded a complete renewal of the country, up to the introduction of a republic, preferably peacefully, but with the caveat: if it is impossible otherwise, we willingly call on the revolution to help the people. “Young Russia” unconditionally stood up for a revolution, bloody and inexorable, a revolution that should radically change everything, everyone without exception, namely: destroy the autocracy (exterminating “the entire house of Romanov”) and landownership, secularize church and monastic property, even to eliminate marriage and the family, which alone could, in the understanding of “Young Russia,” liberate women in the coming social and democratic Russian republic. “Young Russia” not only embittered the tsarist government, but also shocked the revolutionaries.

F. M. Dostoevsky’s novel “Crime and Punishment” shows the character of a representative of the common youth of the 60s of the 19th century. Raskolnikov is a poor St. Petersburg student. But his spiritual world is complexly correlated in the novel not only with the spiritual world of his contemporary generation, but also with historical images of the past, partly named (Napoleon, Mohammed, Schiller’s heroes), and partly not named in the novel (Pushkin’s Hermann, Boris Godunov, Pretender ; Balzac's Rastignac, etc.). This allowed the author to extremely expand and deepen the image of the main character, giving him the desired philosophical scale.

Let's pay attention to the surname of the main character - Raskolnikov. It is extremely polysemantic. Firstly, it points to schismatics who did not submit to the decisions of church councils and deviated from the path of the Orthodox Church, i.e. who opposed their opinion to that of the conciliar. Secondly, it points to a split in the very being of the hero, who is truly a tragic hero - for he, having rebelled against society and God, still cannot reject, as worthless, the values ​​associated with God and society. In Raskolnikov’s value system, it is precisely a split, a crack, that is formed, but the system does not fall apart because of this.

His friend Razumikhin also speaks about the contradictory character of Raskolnikov: “ I have known Rodion for a year and a half: he is gloomy, gloomy, arrogant and proud; Recently (and maybe much earlier) he has been suspicious and a hypochondriac. Generous and proud. He doesn’t like to express his feelings and would rather commit cruelty than express his heart in words. Sometimes, however, he is not a hypochondriac at all, but simply cold and insensitive to the point of inhumanity, really, as if two opposing characters alternately alternate in him. Sometimes he's terribly taciturn! He has no time, everyone interferes with him, but he lies there and does nothing. Not mockingly, and not because there was a lack of wit, but as if he didn’t have enough time for such trifles. Doesn't listen to what they say. Never interested in what everyone else is interested in at the moment. He values ​​himself terribly highly and, it seems, not without some right to do so.”.

Raskolnikov’s inconsistency and duality is his weakness as an ideologist, and this is what ruins him. Raskolnikov's actions are contradictory, now he is alone, an hour later he is already different. He sincerely feels sorry for the deceived girl on the boulevard, gives his last pennies to the Marmeladovs, and saves two little ones from a burning house. Even his dreams are like a continuation of the struggle between two sides of his being for and against crime: in one he tries to save a horse from death, in the other he kills again. The second positive side of the hero does not allow him to completely die.

Raskolnikov is also dual, like the image of Petersburg in the novel. “He is remarkably good-looking, with beautiful dark eyes, dark blond, above average height, thin and slender.”; dreamer, romantic, high and proud spirit, noble and strong personality. But this man has his own Haymarket, his own dirty underground - the thought of murder and robbery.

Raskolnikov is a new type of hero of the times. The hero is given on the eve of a spiritual explosion.

The theme of punishment in Dostoevsky's interpretation. Raskolnikov's moral state. Dostoevsky's psychological mastery in depicting the hero's mental struggle. The ideological and artistic function of Raskolnikov’s symbolic dreams.

Punishment in the novel is manifested through Raskolnikov's moral state, alienation and dreams.

Punishment is the suffering that befalls Raskolnikov, which nature itself inevitably imposes on the one who rebels against it, against the new life, no matter how small and unmanifested it may seem.

Let's start with the moral state of the main character. Dostoevsky does not skimp on characterizing Raskolnikov’s abnormal state: fever, stupor, severe oblivion, the feeling that he is going crazy. Punishment begins immediately after the murder. The central part of the novel is mainly occupied with the depiction of seizures and the mental pain in which the awakening of conscience is reflected. One after another, Dostoevsky describes the change in the same feelings: “Fear gripped him more and more, especially after this second, completely unexpected murder,” “... a kind of absent-mindedness, as if even thoughtfulness, began to gradually take possession of him: for minutes he seemed to forget himself...”, “his head seemed to begin again spinning,” “he lay supine on the sofa, still dumbfounded from recent oblivion,” “a terrible cold seized him; but the cold was also from the fever that had long since begun in his sleep.” , “...sleep and delirium again overwhelmed him at once. He forgot himself,” “the unbearable chill froze him again,” “... his heart was beating so hard that it even hurt,” “he felt a terrible disorder all over him. He himself was afraid of not being able to control himself. He tried to cling to something and think about something, something completely unrelated, but he failed,” “his thoughts, already sick and incoherent, began to get more and more confused...” , “suddenly his lips trembled, his eyes lit up with rage...”, “at times he was seized by a painful, painful anxiety, which even degenerated into panic fear.”

Loneliness and alienation took possession of his heart: “... his heart suddenly became so empty. A gloomy feeling of painful, endless solitude and alienation suddenly consciously manifested itself in his soul.”. Having committed a crime, Raskolnikov cut himself off from living and healthy people, and now every touch of life has a painful effect on him. He cannot see either his friend or his family, as they irritate him, this is torture for him (“... he stood as if dead; an unbearable sudden consciousness struck him like thunder. And his hands did not rise to embrace them: they could not... He took a step, swayed and collapsed on the floor in a faint”).

Nevertheless, the soul of the criminal awakens and protests against the violence committed against it. For example, regarding the death of Marmeladov, he is happy to take care of others. In addition, the scene between him and the girl Polya, whom he asks to pray for him.

After a conversation with Zametov “He came out trembling from some wild hysterical sensation, which meanwhile contained a part of unbearable pleasure - however, gloomy, terribly tired. His face was distorted, as if after some kind of seizure. His fatigue quickly increased. His powers were excited and now came suddenly, with the first shock, with the first irritating sensation, and just as quickly weakened as the sensation weakened.”.

Dostoevsky masterfully describes Raskolnikov's internal monologues. Among the incoherent thoughts of the half-delirious Raskolnikov, his soul breaks through:

“Poor Lizaveta! Why did she turn up here!.. It’s strange, however, why I hardly think about her, I definitely didn’t kill her... Lizaveta! Sonya! poor, meek, with gentle eyes... Darlings! Why don't they cry? Why don't they moan? They give everything... they look meekly and quietly... Sonya, Sonya! quiet Sonya!..”, “but why do they love me so much if I’m not worth it!”, “Do I love her? Surely no, no?... And I dared to rely so much on myself, to dream about myself so much, poor me, insignificant me, scoundrel, scoundrel!”

Raskolnikov's dreams are deeply symbolic. Dostoevsky writes: “In a painful state, dreams are often distinguished by their extraordinary prominence, brightness and extreme similarity to reality. Sometimes a monstrous picture emerges, but the setting and the whole process of the entire presentation are so plausible and with such subtle, unexpected, but artistic details corresponding to the entire completeness of the picture, that the same dreamer could not invent them in reality, even if he were the same artist, like Pushkin or Turgenev. Such dreams, painful dreams, are always remembered for a long time and make a strong impression on the upset and already excited human body.”.

Raskolnikov's first dream about his childhood. Here you can apply a multi-level interpretation of sleep.

First level - historical. The episode with the beating of a horse in Raskolnikov’s dream is traditionally considered an allusion to Nekrasov’s poem “On the Weather.” It turns out that Dostoevsky was amazed by the fact depicted in Nekrasov’s poem to such an extent that he considered it necessary to duplicate what Nekrasov said in his novel.

Dostoevsky, of course, saw similar scenes in reality, but if he considered it necessary to so clearly “refer” to a work of art, then, apparently, not because he was amazed by the fact reflected in it, but because he saw the work itself as some new a fact of existence that truly amazed him.

This new fact consisted, firstly, in the purpose for which facts were selected from reality and collected by those who needed to configure their readers in a certain way; secondly, in the relationship between what is actually happening and what is perceived by a person who is in a certain mood. “Nekrasov’s” perception of a horse trying to move an overpowering cart (“Nekrasov’s” - in quotation marks, because this is the perception of Nekrasov’s readers, and not the poet himself), a horse, as if personifying the suffering and misfortune of this world, its injustice and ruthlessness, moreover - the very existence of this horse, weak and downtrodden - all these are facts of Raskolnikov’s dream. The poor Savraska, harnessed to a huge cart into which a crowd of drunks climbed, is just Raskolnikov’s idea of ​​the state of the world. Here's what actually exists: "... onedrunk, who, unknown why and where, was being transported along the street at that time in a huge cart drawn by a huge draft horse...”. This cart on the first pages of Crime and Punishment seemed to be coming from Raskolnikov’s dream.

Thus, only the dimensions of the cart are adequately perceived, but not the load and not the strength of the horse harnessed to this cart, i.e., a challenge to God is thrown on the basis of non-existent injustices, for everyone is given a burden according to their strength and no one is given more than he can bear.

The analogue of the horse from the dream is Katerina Ivanovna in the novel, falling under the weight of her unrealistic troubles and worries, which are very great, but bearable (especially since God does not take away his hand, and when the end comes, there is always an assistant: Sonya, Raskolnikov, Svidrigailov), and under the load of troubles and worries that she romantically imagined for herself, and it is precisely from these troubles, insults and sorrows, existing almost only in her inflamed brain, that she ultimately dies - like a “cornered horse.” Katerina Ivanovna will exclaim to herself: “The nag has gone!”. And indeed, she kicks, fighting off the horror of life with all her strength, like the nag from Raskolnikov’s dream (“... a kind of little filly, and she kicks too!... She sits all over, but jumps up and pulls, pulls with all her might in different directions...”, but these blows, falling on living people around her, are often as crushing as the blows of the horses’ hooves that crushed Marmeladov’s chest (for example, her act with Sonya).

Second level - moral. It is revealed when comparing the names of Mikolka from the dream and Nikolai (Mikolay) the dyer. Raskolnikov rushes at the murderer Mikolka with his fists to punish him ( “... suddenly jumps up and in a frenzy rushes with his little fists at Mikolka”. The dyer Nikolka will take upon himself the sin and guilt of the murderer Raskolnikov, protecting him with his unexpected testimony at the most terrible moment for him from the torture of Porfiry Petrovich and from a forced confession ( “I... am a murderer... Alena Ivanovna and their sister, Lizaveta Ivanovna, I... killed... with an ax.”). At this level, Dostoevsky’s cherished thought is revealed that everyone is to blame for everyone else, that there is only one true attitude towards the sin of one’s neighbor - this is to take his sin upon oneself, to take his crime and guilt upon oneself - at least for a while to bear his burden in order he did not fall in despair from an unbearable burden, but saw a helping hand and the road to resurrection.

Third level - allegorical. Here the thought of the second level unfolds and is complemented: not only is everyone to blame for everyone, but everyone is to blame for everyone guilty. The torturer and the victim can change places at any moment. In Raskolnikov's dream, young, well-fed, drunk, cheerful people kill a frothing horse - in the novel's reality, the drunken and exhausted Marmeladov dies under the hooves of young, strong, well-fed, well-groomed horses. Moreover, his death is no less terrible than the death of a horse: “The whole chest was mangled, crushed and torn; Several ribs on the right side are broken. On the left side, right at the heart, there was an ominous, large, yellowish-black spot, a cruel blow from a hoof... the crushed man was caught in a wheel and dragged, spinning, thirty steps along the pavement.” .

Fourth level (most important for understanding the meaning of the novel) - symbolic, and it is at this level that Raskolnikov’s dreams are interconnected into a system. Waking up after a dream about killing a horse, Raskolnikov speaks as if he identifies himself with those who killed, but at the same time he trembles as if all the blows that fell on the unfortunate horse hurt him.

Perhaps the resolution of this contradiction is in the following words of Raskolnikov: “Why is it me! - he continued, bowing again and as if in deep amazement, - after all, I knew that I couldn’t stand it, so why did I still torment myself? After all, just yesterday, yesterday, when I went to do this... test, because yesterday I completely understood that I couldn’t stand it... What am I doing now? Why did I still doubt it until now?. He is, indeed, both a “horse” and a murderer, Mikolka, who demands that the horse harnessed to a cart that is too heavy for her to “gallop.” The symbol of a rider on a horse is the most famous Christian symbol of the spirit ruling the flesh. It is his spirit, willful and impudent, that is trying to force his nature, his flesh, to do what it cannot, what disgusts it, what it rebels against. He will say this: “After all, just thinking about it in reality made me sick and terrified...” This is exactly what Porfiry Petrovich will later tell Raskolnikov: “Suppose he lies, that is, a person, sir, a special case, sir,incognito-that’s right, and he’ll lie perfectly, in the most cunning manner; Here, it seems, there would be a triumph, and enjoy the fruits of your wit, but he bang! Yes, in the most interesting, most scandalous place, he will faint. It is, let’s say, illness, stuffiness sometimes happens in the rooms, but still, sir! Still, he gave me an idea! He lied incomparably, but he couldn’t calculate the truth.”>.

The second time he sees a dream in which he kills his victim a second time. This happens after a tradesman calls him a “murderer.” The end of the dream is an allusion to Pushkin’s “Boris Godunov” (“He started to run, but the whole hallway was already full of people, the doors on the stairs were wide open, and on the landing, and on the stairs and down there - all the people, head to head, everyone was watching , - but everyone is hiding and waiting, silent!..”). This allusion emphasizes the motive of the hero's impostor.

Another dream that Rodion Raskolnikov has in the epilogue of the novel is a nightmare that describes the apocalyptic state of the world, where the coming of the Antichrist seems to be distributed over all of humanity - everyone becomes the Antichrist, a preacher of his own truth, truth in his own name. “In his illness, he dreamed that the whole world was condemned to be a victim of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe. Everyone had to perish, except for a few, a very select few.".

Raskolnikov’s system of “double” images as a form of polemic between the author and the hero. Elements of pamphleteering in their depiction.

Exploring Raskolnikov’s idea, creating its living, full-blooded image, wanting to show it from all sides, Dostoevsky surrounds Raskolnikov with a system of doubles, each of whom embodies one of the facets of Raskolnikov’s idea and nature, deepening the image of the protagonist and the meaning of his moral experiences. Thanks to this, the novel turns out to be not so much a trial of a crime, but (and this is the main thing) a trial of personality, character, human psychology, which reflected the features of Russian reality of the 60s of the last century: the search for truth, truth, heroic aspirations, “vacillations” , "misconceptions".

Pamphletizing in a novel is a technique of introducing characters into the work who represent, to one degree or another, a portrait of the main character’s appearance and behavior. These characters become Raskolnikov's doubles.

Raskolnikov's spiritual doubles are Svidrigailov and Luzhin. The role of the first is to convince the reader that Raskolnikov’s idea leads to a spiritual dead end, to the spiritual death of the individual. The role of the second is the intellectual decline of Raskolnikov’s idea, such a decline that will turn out to be morally unbearable for the hero.

Arkady Ivanovich Svidrigailov is the darkest and at the same time the most controversial figure in the novel. This character combines a dirty slut and a sensitive judge of moral virtues; a sharper who knew beatings of his partners, and a strong-willed merry fellow, fearlessly standing at the point of a revolver pointed at him; a man who has worn a mask of self-satisfaction all his life - and all his life he is dissatisfied with himself, and the more his discontent eats away, the deeper he tries to drive it under the mask.

In Svidrigailov, who trampled moral and human laws, Raskolnikov sees the full depth of his possible fall. What they have in common is that they both challenged public morality. Only one managed to completely free himself from the torment of conscience, the other cannot. Seeing Raskolnikov’s torment, Svidrigailov remarks: “I understand what questions are on your mind: moral or what? Questions of a citizen and a person? And you are at their side: why do you need them now? Heh, heh! Then what is still a citizen and a person? And if that’s the case, then there was no need to meddle: there’s no point in minding your own business.” . In the novel there is no direct indication of Svidrigailov’s atrocities; we learn about them from Luzhin. Luzhin talks about the allegedly murdered Marfa Petrovna ( “I am sure that he was the cause of the death of the late Marfa Petrovna” ) , about a footman and a deaf-mute girl driven to suicide (“... a deaf-mute girl of about fifteen or even fourteen... was found hanged in the attic... however, a denunciation came that the child had been cruelly insulted by Svidrigailov,” “they also heard about the story of the man Philip, who died from torture, about six years ago, still during serfdom... the continuous system of persecutions and penalties of Mr. Svidrigailov forced him, or better to say, persuaded him to a violent death"). Raskolnikov, having learned this about Svidrigailov, does not stop thinking: this is what a person who has crossed all laws can become!

Thus, Raskolnikov’s theory about the possibility of standing above people, despising all their laws, did not find its support in the fate of Svidrigailov. Even an inveterate villain cannot completely kill his conscience and rise above the “human anthill”. Svidrigailov realized this too late, when life had already been lived, renewal was unthinkable, the only human passion was rejected. His awakened conscience forced him to save Katerina Ivanovna’s children from starvation, pull Sonya out of the abyss of shame, leave money to his bride and kill himself at the end of his ugly existence, thereby showing Raskolnikov the impossibility of any other path for a person who has transgressed the moral laws of society except self-condemnation.

Pyotr Petrovich Luzhin is another Raskolnikov double. He is not capable of murder, does not profess any ideas that undermine bourgeois society; on the contrary, he is entirely in favor of the dominant idea in this society, the idea of ​​“reasonably-egoistic” economic relations. Luzhin's economic ideas - the ideas on which bourgeois society stands - lead to the slow murder of people, to the rejection of goodness and light in their souls. Raskolnikov understands this well: “... is it true that you told your bride... at the very hour when you received her consent that you are most glad that... that she is a beggar... because it is more profitable to take a wife out of poverty in order to then rule over her... and reproach those that she has benefited you?..” .

Luzhin is a middle-class entrepreneur, he is a “little man” who has become rich, who really wants to become a “big man”, to turn from a slave into the master of life. Thus, Raskolnikov and Luzhin coincide precisely in their desire to rise above the position assigned to them by the laws of social life, and thereby rise above people. Raskolnikov arrogates to himself the right to kill the moneylender, and Luzhin to destroy Sonya, since they both proceed from the incorrect premise that they are better than other people, in particular those who become their victims. Only Luzhin’s understanding of the problem itself and methods are much more vulgar than Raskolnikov’s. But that's the only difference between them. Luzhin vulgarizes and thereby discredits the theory of “reasonable egoism.”

Only his own benefit, career, success in the world worries Luzhin. He is by nature no less inhuman than an ordinary murderer. But he will not kill, but will find a lot of ways to crush a person with impunity - cowardly and vile ways (accusing Sonya of stealing money at a wake).

This double character was developed by Dostoevsky as the personification of the world that Raskolnikov hates - it is the Luzhins who push the conscientious and helpless Marmeladovs to death and awaken rebellion in the souls of people who do not want to be crushed by the economic ideas of bourgeois society.

Confronting Raskolnikov with his double heroes, the author debunks the theory of the right to crime, proves that there is and cannot be a justification for the theory of violence and murder, no matter how noble the goals it is argued for.

Antipodes of Raskolnikov. The content of the hero's disputes with them. The ideological and compositional meaning of the image of Sonya Marmeladova.

The antipodes (“people with opposite views, beliefs, characters”) of the main character are intended to show the disastrousness of Raskolnikov’s theory - to show both the reader and the hero himself.

Thus, by bringing all the characters in the novel into relation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory born of the unjust world itself.

The antipodes in the novel are, on the one hand, people close to Raskolnikov: Razumikhin, Pulcheria Alexandrovna, Dunya, - on the other hand, those with whom he will meet - Porfiry Petrovich, the Marmeladov family (Semyon Zakharych, Katerina Ivanovna, Sonya), Lebezyatnikov.

People close to Raskolnikov personify the conscience rejected by him; they have not stained themselves in any way by living in the criminal world, and therefore communication with them is almost unbearable for Raskolnikov.

Razumikhin combines a merry fellow and a hard worker, a bully and a caring nanny, a quixote and a deep psychologist. He is full of energy and mental health. He judges the people around him comprehensively and objectively, willingly forgiving them minor weaknesses and mercilessly castigating self-righteousness, vulgarity and selfishness. The feeling of camaraderie is sacred to him. He immediately rushes to Raskolnikov’s aid, brings a doctor, sits with him as he wanders. But he is not inclined to forgiveness and reprimands Raskolnikov: “Only a monster and a scoundrel, if not a madman, could have done to them the way you did; and therefore, you are crazy...”

Common sense and humanity immediately told Razumikhin that his friend’s theory was very far from correct: “What outrages me most of all is that you decide on blood according to your conscience.”

Unlike Raskolnikov, Razumikhin’s refusal of individual will raised objections: “...they demand complete impersonality, and in this they find the most relish! How could I not be myself, how could I be less like myself! This is what they consider the highest progress.”

Avdotya Romanovna Raskolnikova gets into an argument with her brother almost from the first minutes of the meeting. Raskolnikov, speaking about the money given the day before by Marmeladov, tries to condemn himself for frivolity:

“-... In order to help, you must first have this right, not like this: “Crevez, chiens, si vous n’ёtes pas contents! (“Die, dogs, if you are unhappy!”) He laughed. - Is that right, Dunya?

“No, it’s not like that,” Dunya answered firmly.

- Bah! Yes, and you... with intentions! – he muttered, looking at her almost with hatred and smiling mockingly. “I should have figured that out... Well, that’s commendable; It’s better for you... And you reach such a line that if you don’t step over it, you’ll be unhappy, but if you step over it, maybe you’ll be even more unhappy...”

And Dunya really faces a choice. She could have killed Svidrigailov in self-defense, without breaking the law, and freed the world from the scoundrel. But Dunya cannot “transgress,” and this reveals her highest morality and Dostoevsky’s conviction that there is no situation where murder can be justified.

Dunya condemns her brother for a crime: “But you shed blood! – Dunya screams in despair.”

The next antipode of Raskolnikov is Porfiry Petrovich. This insightful and caustic investigator is trying to hurt Raskolnikov’s conscience more painfully, to make him suffer by listening to frank and harsh judgments about the immorality of the crime, no matter what goals it is justified. At the same time, Porfiry Petrovich convinces Raskolnikov that his crime is not a secret to those leading the investigation, and therefore there is no point in hiding anything. Thus, the investigator conducts a merciless and thoughtful attack, as if from two ends, realizing that in this case he can only count on the painful state of the victim and his morality. Talking with Raskolnikov, the investigator saw that this man is one of those who deny the foundations of modern society and consider himself entitled to at least single-handedly declare war on this society. And in fact, Raskolnikov, irritated by Porfiry Petrovich’s ridicule, and, wary only of not giving himself away with any evidence, confirms the investigator’s suspicions, completely betraying himself ideologically:

“-... I allow blood. So what? After all, society is too well endowed with exile, prisons, judicial investigators, hard labor - why worry? And look for the thief!..

- Well, what if we find it?

- That’s where he belongs.

- You are logical. Well, sir, what about his conscience?

- What do you care about her?

- Yes, that’s right, out of humanity, sir.

- Whoever has it, suffer, since he recognizes the mistake. This is his punishment—except hard labor.” .

Porfiry expressed his attitude to Raskolnikov’s theory clearly: “... I do not agree with you in all your convictions, which I consider it my duty to state in advance.” . He speaks directly about Raskolnikov: “... he killed, but he considers himself an honest man, he despises people, he walks around like a pale angel...”

However, despite the harshest reviews of Raskolnikov, Porfiry Petrovich understands that this is not a criminal who has coveted other people’s property. The worst thing for the society whose foundations are protected by the investigator is precisely that the criminal is guided by theory, driven by conscious protest, and not by base instincts: “It’s also good that you just killed the old woman. But if you had come up with another theory, then, perhaps, you would have made the thing a hundred million times uglier!”

Semyon Zakharych Marmeladov spoke with Raskolnikov before the crime. In essence, this was Marmeladov’s monologue. There was no argument out loud. However, Raskolnikov could not have a mental dialogue with Marmeladov - after all, both of them were painfully thinking about the possibility of getting rid of suffering. But if for Marmeladov hope remained only in the other world, then Raskolnikov had not yet lost hope of resolving the issues that tormented him on earth.

Marmeladov firmly stands on one point, which can be called the “idea of ​​self-abasement”: beatings “not only bring pain, but also pleasure,” and he trains himself not to pay attention to the attitude of those around him like a clown, and to spend the night he is already accustomed to where he has to be... The reward for all this is the picture of the “Last Judgment” that arises in his imagination, when the Almighty will accept Marmeladov and similar “pigs” and “rugs” into the kingdom of heaven precisely because not a single one of them « I didn’t consider myself worthy of this.”

It is not a righteous life, but the absence of pride that is the key to salvation, Marmeladov believes. And his words are addressed to Raskolnikov, who has not yet decided to kill. Raskolnikov, listening carefully, understands that he does not want to self-deprecate, and the problems of the afterlife do not bother him. Thus, despite the contrasting ideas of these heroes, Marmeladov not only did not dissuade, but, on the contrary, further strengthened Raskolnikov in his intention to commit murder in the name of rising above the “trembling creature” and for the sake of saving the lives of several noble, honest people.

Katerina Ivanovna meets with Raskolnikov four times. He never entered into lengthy conversations with her, and listened with half an ear, but still he caught that in her speeches they alternately sounded: indignation at the behavior of others, a cry of despair, the cry of a person who has “nowhere else to go”; and suddenly boiling vanity, the desire to rise in one’s own eyes and in the eyes of listeners to a height unattainable for them. Katerina Ivanovna is characterized by the idea of ​​self-affirmation.

Katerina Ivanovna’s desire for self-affirmation echoes Raskolnikov’s thoughts about the right of the “chosen ones” to a special position, about power “over the entire anthill.”

Even Lebezyatnikov is the antipode of Raskolnikov. He talks about communes, freedom of love, civil marriage, the future structure of society and much more. Lebezyatnikov claims that he does not agree with the revolutionary democrats: “We want to start our own commune, special, but only on broader grounds than before. We have gone further in our beliefs. We are in denial no more! If Dobrolyubov had risen from his grave, I would have argued with him. And Belinsky would have been killed!” .

But be that as it may, Lebezyatnikov is alien to baseness, meanness, and lies.

Lebezyatnikov's reasoning in some things coincides with Raskolnikov's reasoning. Raskolnikov sees in humanity a faceless mass, an “anthill” (excluding “extraordinary” people), Lebezyatnikov says: “everything comes from the environment, but man himself is nothing”. The only difference is that Raskolnikov needs power over this “anthill,” while Lebezyatnikov seeks to facelessly dissolve in it himself.

Sonya Marmeladova is the antipode of Raskolnikov. She believes that a person can never be a “trembling creature and a louse.” It is Sonya who, above all, personifies Dostoevsky’s truth. If you define Sonya’s nature in one word, then this word will be “loving.” Active love for one's neighbor, the ability to respond to someone else's pain (especially deeply manifested in the scene of Raskolnikov's confession of murder) make the image of Sonya a piercingly Christian image. It is from a Christian position, and this is Dostoevsky’s position, that in the novel the verdict is pronounced on Raskolnikov.

For Sonya Marmeladova, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. A sin remains a sin, no matter who commits it and for what purpose. Personal happiness cannot be a goal. This happiness is achieved through self-sacrificing love, humility and service. She believes that you need to think not about yourself, but about others, not about ruling over people, but about serving them sacrificially.

Sonechka’s suffering is the spiritual journey of a person trying to find his place in an unfair world. Her suffering provides the key to a sympathetic understanding of other people's suffering, other people's grief, making him morally more sensitive and more experienced and seasoned in life. Sonya Marmeladova feels that she is also to blame for Raskolnikov’s crime, takes this crime to heart and shares his fate with the one who “crossed over” it, since she believes that every person is responsible not only for his own actions, but also for every evil that occurs in the world .

In a conversation with Sonya Raskolnikova, he himself begins to doubt his position - it is not for nothing that he so wants to receive an affirmative answer to his not entirely clearly expressed statement - the question of whether it is possible to live without paying attention to the suffering and death of others.

Yes, Raskolnikov himself suffers, suffers deeply. “The most excellent mood” dissipates like fog at the first contact with reality. But he doomed himself to suffering - Sonya suffers innocently, paying with moral torment not for her sins. This means that she is immeasurably superior to him morally. And that’s why he is especially drawn to her - he needs her support, he rushes to her “not out of love,” but as providence. This explains his utmost sincerity.

“And it wasn’t money, the main thing, that I needed, Sonya, when I killed; I didn’t need money so much as I needed something else... I needed to know something else, something else was pushing me under my arms: I needed to find out then, and quickly find out, whether I was a louse, like everyone else, or a human being? Will I be able to cross, or will I not be able to? Do I dare to bend down and take it, or not? Am I a trembling creature, or do I have the right?

- Kill? Do you have the right? – Sonya clasped her hands.”

The thought of Raskolnikov terrifies her, although just a few minutes ago, when he confessed to her the murder, she was overwhelmed with ardent sympathy for him: “As if not remembering herself, she jumped up and, wringing her hands, reached the room; but she quickly returned and sat down next to him again, almost touching him shoulder to shoulder. Suddenly, as if pierced, she shuddered, screamed and threw herself, without knowing why, on her knees in front of him.

- What have you done to yourself! “she said desperately and, jumping up from her knees, threw herself on his neck, hugging him, and squeezing him tightly with her hands.”

In the furious argument between Raskolnikov and Sonya, the ideas of Katerina Ivanovna’s self-affirmation and Semyon Zakharych’s self-abasement are heard anew.

Sonechka, who also “transgressed” and ruined her soul, the same humiliated and insulted that they were, are and will always be as long as the world exists, condemns Raskolnikov for contempt for people and does not accept his rebellion and the ax that, as it seemed to Raskolnikov, was raised for her sake, for the sake of saving her from shame and poverty, for the sake of her happiness. Sonya, according to Dostoevsky, embodies the national Christian principle, the Russian folk element, Orthodoxy: patience and humility, immeasurable love for God and man.

“Do you have a cross on you? - she suddenly asked unexpectedly, as if she had suddenly remembered...

- No, isn't it? Here, take this one, the cypress one. I still have another one, a copper one, Lizavetin.”

The clash between the atheist Raskolnikov and the believer Sonya, whose worldviews are opposed to each other as the ideological basis of the entire novel, is very important. The idea of ​​a “superman” is unacceptable to Sonya. She tells Raskolnikov : “Go now, this very minute, stand at the crossroads, bow down, first kiss the ground that you have desecrated, and then bow to the whole world, in all four directions, and tell everyone, out loud: “I killed!” Then God will send you life again.”. Only the Orthodox people, represented by Sonya Marmeladova, can condemn Raskolnikov’s atheistic, revolutionary rebellion, force him to submit to such a court and go to hard labor “accept suffering and atone for himself with it.”

It is thanks to the all-forgiving love of Sonechka and the Gospel that Raskolnikov repents. She contributed to the final collapse of his inhuman idea.

The epilogue of the novel and its significance for understanding the work.

The epilogue of the novel “Crime and Punishment” is important for understanding the work. In the epilogue, Dostoevsky shows that in the future Raskolnikov will be resurrected by Sonechka’s love, the faith received from her, and hard labor. “They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. They were resurrected by love, the heart of one contained endless sources of life for the other... he was resurrected, and he knew it, he felt his completely renewed being...".

It is known that Dostoevsky often endowed his heroes with their own spiritual experience. In Raskolnikov's penal servitude there is a lot from Dostoevsky, his convict experience. Hard labor became a salvation for Raskolnikov, just as it saved Dostoevsky in its time, since it was there that the story of the rebirth of his beliefs began for him. Dostoevsky believed that it was hard labor that gave him the happiness of direct contact with the people, a feeling of fraternal union with them in a common misfortune, gave him knowledge of Russia, an understanding of the people's truth. It was during penal servitude that Dostoevsky formed his creed, in which everything was clear and sacred to him.

Raskolnikov will also take the saving path from atheism and unbelief to the people’s truth in the name of Christ in the epilogue of the novel, because “under his pillow lay the Gospel”, and the thought of Sonya shone in my mind with the light of hope: “Can her beliefs not now also be my beliefs? Her feelings, her aspirations at least...". Sonya, this convict mother of God, will help Raskolnikov to join people again, because the feeling of isolation and disconnection from humanity has tormented him.

In hard labor, the side of Raskolnikov that was obsessed with vanity, arrogance, pride and unbelief dies. For Raskolnikov “a new history begins, the history of the gradual renewal of man, the history of his gradual rebirth, gradual transition from this world to another, acquaintance with a new, hitherto completely unknown reality”.

In the epilogue, the final trial of Raskolnikov is carried out by the Russian people. The convicts hated him and once attacked Raskolnikov, accusing him of “You are an atheist!” The People's Court expresses the religious idea of ​​the novel. Raskolnikov stopped believing in God. For Dostoevsky, atheism inevitably turns into humanity. If there is no God, I am God myself. The “strong man” longed for liberation from God - and achieved it; freedom turned out to be unlimited. But in this infinity, death awaited him: freedom from God was revealed as pure demonism; renunciation of Christ is like slavery to fate. Having traced the paths of godless freedom, the author brings us to the religious basis of his worldview: there is no other freedom except freedom in Christ; he who does not believe in Christ is subject to fate.

Polyphonic and monologue in the structure of the novel.

MM. Bakhtin noted that Dostoevsky created a special type of artistic thinking - polyphonic (poly - many, background - voice). Dostoevsky's novel “Crime and Punishment” can be considered polyphonic, i.e. polyphonic. The heroes of the novel are in search of justice, they engage in heated political and philosophical debates, and reflect on the damned issues of Russian society. The writer allows people with very different beliefs and with very different life experiences to speak with complete frankness. Each of these people is driven by their own truth, their own beliefs, which are sometimes completely unacceptable to others. In the clash of different ideas and beliefs, the author strives to find that highest truth, that only true idea that can become common to all people.

Speaking about the polyphony of a novel, we mean not only that people with very different beliefs have a voice in them, but also that the thoughts and actions of the characters in the novel exist in close connection, mutual attraction and mutual repulsion, each character expresses one or the other. a different course or shade of the author's thought, each is needed by the writer in his search for the only true idea. It is impossible to trace the development of the author's thought without close attention to each of the characters in the novel. Dostoevsky's heroes reveal the course of the author's thought in all its turns, and the author's thought makes the world he depicts unified and highlights the main thing in the ideological and moral atmosphere of this world.

The monologue can also be seen in the structure of the novel. This is the author's thought, which is expressed in the ideological position of the heroes.

In addition, the monologue can be traced in Raskolnikov’s lonely monologues and reflections. Here he becomes stronger in his idea, falls under its power, and gets lost in its ominous vicious circle. After committing a crime, these are monologues in which he is tormented by conscience, fear, loneliness, and anger at everyone.

Genre of the novel.

The novel "Crime and Punishment" is based on the detective genre form. Criminal-adventurous intrigue appears on the surface of the plot (murder, interrogations, false accusations, confession in a police office, hard labor), then hides behind guesses, hints, analogies. And yet the classic detective plot is, as it were, displaced: there is no mystery to the crime, the author immediately introduces the criminal. The stages of the plot are determined not by the investigation, but by the protagonist’s movement towards repentance.

The love story of Sonya and Raskolnikov runs through the entire work. In this sense, “Crime and Punishment” can be classified as a genre love-psychological novel. Its action takes place against the backdrop of the appalling poverty of the inhabitants of the attics and basements of the aristocratic Petersburg. The social environment described by the artist gives reason to call it “Crime and Punishment” social novel.

Reflecting on Raskolnikov’s thoughts before and after the murder, analyzing the struggle of passions in the soul of Svidrigailov or the mental anguish of the old man Marmeladov, we feel the great power of Dostoevsky the psychologist, who convincingly connected the psychology of the heroes with their social status. In “Crime and Punishment” there are also visible features socio-psychological novel.

Raskolnikov is not a simple murderer from poverty, he is a thinker. He tests his idea, his theory, his philosophy of life. In the novel, the forces of Good and Evil are tested in the theories of Svidrigailov, Sonya, Luzhin, which defines Dostoevsky’s work as philosophical novel.

Raskolnikov's theory makes us think about the most pressing political problems, thus formulating ideological the direction of the work.

Literature

1. Dostoevsky F.M. Crime and punishment: a novel. – M.: Bustard, 2007. – P. 584 – 606.
2. Dostoevsky F.M. Crime and punishment: a novel. – M.: Bustard: Veche, 2002. – 608 p.
3. Dostoevsky F.M. Crime and punishment: a novel. M.: Education, 1983. – P. 440 – 457.
4. Dostoevsky F.M. Crime and Punishment: A Novel at 6 o'clock. with an epilogue. Afterword and comments by K.A. Barshta. – M.: Sov. Russia, 1988. – P. 337 – 343.
5. History of Russian literature of the 19th century. At 3 o'clock Part 3 (1870 – 1890): textbook for university students studying in specialty 032900 “Russian language and literature”; edited by IN AND. Korovina. – M.: Humanitarian. ed. VLADOS center, 2005. – P. 290 – 305.
6. Strakhov N.N. Literary criticism. – M., 1984. – P. 110 – 122.
7. Turyanovskaya B.I., Gorokhovskaya L.N. Russian literature of the 19th century. - M.: LLC "TID" Russian Word - RS", 2002. - P.295 - 317.
8. F.M. Dostoevsky in Russian criticism. – M., 1956.