Crime and Punishment. Song folklore in Dostoevsky's novel Crime and Punishment. Essay on literature Scenes of street life in the novel crime and punishment

Dostoevsky’s novel “Crime and Punishment” is a complex, multifaceted work. Behind the street polyphony one can hear folk songs, small folklore genres, and elements of farce theater. It would not be an exaggeration to call a significant part of the folklore in the novel “street” and “tavern”. This primarily affected the folk songs presented in the novel. These are songs performed or ordered by drunks on the streets or in taverns. “Ugly,” “husky,” “raunchy” singing accompanied by balalaikas and tambourines accompanies the senselessly cruel drunken youth in Raskolnikov’s dream:

- In her face, in her eyes, in her eyes! - Mikolka shouts.
- A song, brothers! - someone shouts from the cart, and everyone in the cart joins in. A riotous song is heard, a tambourine clangs, and whistles are heard in the choruses. The woman cracks nuts and chuckles.

Similar songs accompany Raskolnikov in his waking life as he rushes through the streets and taverns. He hears various tavern verses performed with snapping fingers, jumping and beating time with heels. Before meeting with Marmeladov, he sees a drunkard dozing off, remembering some couplets in his sleep. Even after the murder, Raskolnikov is drawn to this noise, roar, drunken fun, to the crowd:

For some reason, he was occupied by the singing and all this knocking and din down there... From there he could hear how, amidst the laughter and squeals, to the thin fistula of a daring melody and to the guitar, someone was desperately dancing, beating time with their heels. He listened intently, gloomily and thoughtfully, bending over at the entrance, and peered curiously into the entryway from the sidewalk.
You are my beautiful butushnik,
Don't hit me in vain! – the singer’s thin voice boomed. Raskolnikov really wanted to hear what they were singing, as if that was the whole point.

Another component of urban street and tavern lyrics is a sensitive romance (according to Dostoevsky’s definition, a lackey’s song), performed with a guitar or organ organ. Similar songs are heard on the streets, singers are invited to taverns. For example, in the story about the adventures of Svidrigailov:

He spent the entire evening until ten o'clock in various taverns and sewers, moving from one to another. Katya was also found somewhere, who again sang another lackey song about how someone is a “scoundrel and a tyrant”
Started kissing Katya
Svidrigailov gave water to Katya, and the organ grinder, and the songwriters, and the footmen, and some two clerks.

Apparently, these songs are close to the genre of bourgeois (cruel) romance, which became widespread among the urban lower classes in the second half of the nineteenth century.

Considering similar examples in the novel, one can notice that the author is primarily interested not in the songs themselves, but in the actual everyday environment associated with them, the appearance of the performers, manners, accompaniment, reaction of listeners, etc. Dostoevsky even reproduces the phonetic features of some songs in street performance (“whole”, “butoshnik”, “pretty”).

The author's comments also contain emotionally evaluative characteristics. The manner of performing the sensitive romance is characterized as follows: “In a street, rattling, but rather pleasant and strong voice, she sang the romance while waiting for the two-kopeck coin from the shop.” About Katya, entertaining Svidrigailov, it is said: “She sang her rhymed lackeyism, also with some kind of serious and respectful tint in her face.”

In such a program, the world of poor St. Petersburg becomes visible and audible. But this is not the only role played by folk songs and romances in the novel. One can also correlate the content of the song excerpts with the ideological artistic meaning of individual moments of the novel (the words “don’t hit in vain” with the scenes of the beating of the housewife by the quarterly guard, which Raskolnikov imagined, the blows that he inflicts on his victims during the murder and in a dream, when the old woman laughs at him in vain efforts; words from Katya’s song - “a scoundrel and a tyrant” - with the self-exposing confession of Svidrigailov - a cynic and a molester).

It is significant that of all the heroes of the novel, Dostoevsky makes only Raskolnikov and Svidrigailov listeners to such singing. The opportunity to plunge into the atmosphere of the streets, taverns, and crowds makes it possible for a person with a guilty conscience to forget for a while: “It seemed easier and even more secluded here. In one tavern, before the evening, they sang songs: he sat for a whole hour, listening, and remembered that he even felt very pleased.”

The songs we have considered, included in the novel, are a sign of the streets of poor areas of the city, a characteristic feature of the life of the urban lower classes, a way of characterizing their social and everyday life. By participating in the creation of a gloomy image of the city, a whole layer of folklore materials once again emphasizes the ugliness and ugliness of reality.

Irina Anatolyevna Rudenko (1976) - teacher of the Magnitogorsk City Multidisciplinary Lyceum at MSTU. Nosova.

Dream about killing a horse

Material for analysis of the episode in the novel “Crime and Punishment”

We in Dostoevsky’s novel “Crime and Punishment” carry a huge semantic load, and this is very important to convey to students. Teenagers should be shown that dream sequences are not just fun to read. Dreams in the novel not only help to understand the characters, penetrate into the hidden corners of the human soul, find out the true aspirations and values ​​of the characters, their experiences by the characters largely determine their further actions, and therefore the subsequent events of the work.

The first dream that Raskolnikov has is a dream about killing a horse. It is noteworthy that Raskolnikov has this dream not in his coffin-like cell, but in nature, on Petrovsky Island, where the hero falls asleep exhausted. It can be assumed that Dostoevsky takes his hero out of his closet in order to show the real Raskolnikov, who is not pressured by poverty, lack of comfort and hopelessness.

The construction of the episode is based on the principle of antithesis: a skinny nag and draft horses transporting heavy carts are contrasted, Mikolka killing an animal and a boy kissing the dead head of a horse, spectators laughing and making wisecracks, and witnesses to the murder condemning Mikolka and pitying Savraska.

The reader sees the contrast already in the description of the town, which is the beginning of the episode: the tavern, which evokes fear in the boy, is contrasted with the church standing in the middle of the cemetery; and seven-year-old Raskolnikov loves this church. The child is not afraid of the cemetery; the graves of his relatives evoke a religious feeling in him. It is no coincidence that the boy and his father go to the cemetery with the church, but stop at a tavern and witness a terrifying scene. So subsequently, the main character of the novel (no longer a boy, but a young man of twenty-three), with a soul drawn to God, will see death: only from an indifferent observer of murder will he turn into a murderer who will try to become indifferent, because “the powerful of this world,” according to in the hero's opinion, should not be subjected to pangs of conscience.

The color contrast is also not accidental: black (“the road near the tavern is always covered with black dust”) symbolizes death, and white (white dish, white rice) is associated with purification. By choosing colors in this way, Dostoevsky may already be charting Raskolnikov’s path from spiritual decline to purification. The dome of the church in Raskolnikov’s dream is green. Reading the next pages of the novel, we will see that Dostoevsky associates the green color - the color of life, renewal - with the image of Sonya. We will notice that the green house in which Sonechka Marmeladova lives attracts the young man who committed the murder, just as a church with a green dome attracts a pure, sinless child.

When Dostoevsky paints a picture of the murder of a horse, blood-red color becomes predominant in his palette - the color of aggression, death (Mikolka has a fleshy, red face, bloodshot eyes; the horse has a bloody muzzle). The killer Mikolka evokes indignation and hatred among readers: a healthy, strong man kills a weak, defenseless creature. Speaking about a horse, Dostoevsky calls it words with diminutive and disparaging suffixes ( little horse, nag, filly), in order to emphasize the powerlessness of the animal, its inability to protect itself.

Mikolka commits a cruel act, killing a creature that is unable to resist him, but at the same time he has arguments “for” the murder (“... and this little filly only breaks my heart... eats bread for nothing...", “... my goods, what I want, that’s what I want.” I do..."). This is how he explains his right to kill. We will encounter similar arguments when reading a conversation between an officer and a student, whose thoughts are close to Raskolnikov (“... I would kill and rob this damned old woman,” because she is “senseless... useless to anyone and even harmful...”). Thus, both Mikolka from the dream and the adult Raskolnikov give themselves the right to determine the necessity or uselessness of this or that creature in the world, which, according to Dostoevsky, is unacceptable. But the arguments of reason are strong, so people from the crowd, even those who condemn Mikolka and feel sorry for the horse, understand Mikolka’s formal rightness and express their protest only in words.

A seven-year-old boy behaves differently. Due to his age, he still does not understand “reasonable” arguments, and his soul rebels against murder: he feels sorry for the poor horse(this word with a diminutive suffix conveys the boy’s tender, reverent attitude towards the Savraska), and he, the only one of all the sympathizers, tries first to save the unfortunate horse, and then to avenge it by rushing at Mikolka. Reading the novel, we will see that the adult Raskolnikov, who is contemplating murder and is even already a murderer, will many times in an emotional impulse help the weak and helpless (he will try to save a drunken girl, he will also give his last money to the Marmeladov family). Thus, the external conflict of the dream about killing a horse - the conflict between the killer Mikolka and the child trying to save the unfortunate animal - will become the internal conflict of the adult Raskolnikov - a conflict of an inflamed consciousness, in which a theory arose about the possibility of some to control the destinies of others, and a soul protesting against evil and violence.

By creating the image of a cruelly beaten, pitiful little horse, Dostoevsky expresses an idea that will be developed in the novel: from the “powers of this world” it is the weakest and most defenseless who suffer first of all. In Raskolnikov’s dream, the horse tries to resist, it kicks and tears, but the more the unfortunate animal resists, the more furious Mikolka becomes. Speaking about Mikolka’s feelings, Dostoevsky resorts to gradation: first the killer experiences pleasure from the supposed fun, then gets angry, and then becomes furious because he cannot kill with one blow; The murder weapons are also graded: a whip, a shaft, a crowbar. The image of an exhausted nag will appear in the novel in connection with the death of Katerina Ivanovna: she will die not so much from consumption as from the unbearable burden of problems that have piled up, from the cruel attitude of the world towards her suffering. No wonder her last words: “They drove away the nag...”

Objects of the material world that are casually mentioned at first glance by people watching the terrible scene will also appear in the novel as the most important artistic details: an ax (“with her ax, why…”) and a cross (“there is no cross on you…”). The word “axe” sounds in a dream, perhaps because Raskolnikov has already consciously chose an ax as a murder weapon, and the phrase “you don’t have a cross” sounds like a warning to the hero.

And the hero himself believes this warning: therefore, upon waking up, he renounces “his damned dream”...

Summing up, we come to the following conclusions.

Firstly, in this episode Dostoevsky shows the essence of Raskolnikov, his soul as a pure, compassionate being.

Secondly, in the scene of the murder of a horse, Dostoevsky defines Raskolnikov’s internal contradictions: the confrontation between a man who logically justifies the murder and a boy whose soul protests against the crime, later becomes Raskolnikov’s internal conflict, a conflict of mind and heart.

Thirdly, in this dream Dostoevsky already outlines the hero’s path from fall to purification.

Fourthly, it is in this episode that images, artistic details, and colors appear that will subsequently determine the events of the work and the fate of the characters.

Topic: “Dostoevsky’s Petersburg” based on the novel by F.M. Dostoevsky "Crime and Punishment".

Target:Show the city as a backdrop that serves to depict the hopelessness of the characters, against which dramatic events unfold. Help students see St. Petersburg as a symbol of dysfunctional, immoral life. Indicate the artistic means used by the author in the novel.

TSP lesson: A travel lesson with elements of research work with text.

Equipment:Illustrations with views of St. Petersburg, illustrated stand “Corner of St. Petersburg”.

DURING THE CLASSES

I. Organizing time.

II. Teacher's word. State the topic and purpose of the lesson.

Petersburg has more than once become an active player in Russian

literature. Let us remember what A.S. said about him. Pushkin, N.V. Gogol,

ON THE. Nekrasov.

III. Student message.

IV. Checking homework. Students made a plan about St. Petersburg

Dostoevsky, paying attention to the psychological character

cityscape, street life scenes, diversity

Petersburg types, etc.

PLAN

1. Psychological character of the urban landscape.

Part 1, Ch. 1 - “Color of a city day.”

Part 2, Ch. 2 - “Magnificent panorama.”

Part 2, Ch. 6 - “Magnificent Petersburg”.

Part 2, Ch. 5 - “View from Raskolnikov’s window.”

part 6, ch. 6 - “Stormy evening”.

2. Variety of St. Petersburg types.

Part 1, Ch. 1 - “Drunk in a cart.”

Part 2, Ch. 2 - “Strike of the whip and alms.”

Part 2, Ch. 6 - “The organ grinder and a crowd of women at the inn.”

Part 2, Ch. 6 – “Scene on the bridge. Drowned woman."

h. 2, ch. 7 - “The Death of Marmeladov.”

3. Piles of dead stones (profitable places, back stairs).

Part 1, Ch. 1.

4. Interior.

Part 1, Ch. 3 – “Raskolnikov’s Closet.”

part 4, ch. 3 – “Room, Sonya’s barn.”

Part 1, Ch. 2 – “Marmeladov’s Corner”.

5. Reality and nonsense in pictures of St. Petersburg life.

h. 2, ch. 4 – “The Night After the Murder.”

Part 1, Ch. 5 – “Raskolnikov’s Dream.”

6. M I hope but about a beautiful city.

h. 1, ch. 5 – “Raskolnikov thinks about fountains.”

V.Teacher's word.

F.M. also has his own Petersburg. Dostoevsky. Meager funds forced him to often change housing and live not in rich apartments, but in cold corner houses, devoid of any architecture, where people “teem with people.”

Dostoevsky's heroes avoid Pushkin's quarters. Raskolnikov walks from a tiny cell along Sadovaya, Gorokhovaya and other “middle” streets, meets Marmeladov, Katerina Ivanovna, Sonya... He often passes through Sennaya Square, where back in the 18th century a market was opened for the sale of livestock and oats, where serfs were subjected to public punishment ( Let us remember the poems by N.A. Nekrasov “Yesterday, at six o’clock…”).

A stone's throw from Sennaya was Stolyarny Lane, which consisted of sixteen houses in which there were eighteen drinking establishments.

So, let's go on a trip to St. Petersburg.

VI. Analytical work with the text according to the proposed plan.

Work on the episode “Color of a City Day” (Part 1, Chapter 1)

Raskolnikov left the house.

What do we learn about the hero from the first lines of the novel? Where does he live? In which House?

What struck him on the street? What is the view from the window?

Raskolnikov?

What is their role? What is the role of the generalizing word “all”?

Find the definition expressed by adjectives that carry

rejection of reality (“special stench”, “summer stench”, “unbearable

out."

Why are there so many definitions for the word “stench”? Isn't this what causes

Raskolnikov's feeling of disgust?

summer, heat, stuffiness... and then gives a portrait of Raskolnikov?

What words show that the hero is indecisive? ("as if",

"to some", "something".)

It’s hard to surprise anyone”? Who lived on the middle streets?

emphasize Dostoevsky?

What insult did the hero have to endure? Because of which?

What feeling gripped the hero?

Where is the hero going?

Intermediate output. (Notes in a notebook.)

The day spent with Raskolnikov made us think of St. Petersburg as a dirty, unkempt, alien and distant city. He lives his life, and the heroes live theirs.

Work on the episode “Magnificent Panorama” (Part 2, Chapter 2).

Raskolnikov committed a crime; he had to hide the stolen property, which he does. The hero feels unwell and walks along the Nikolaevsky Bridge.

What makes Rodion wake up from bad thoughts?

Why did they hit him?

unexpected? What did he experience? What was his condition?

(“He gnashed and clicked his teeth angrily.”) This can be said about the beast.

Why does Dostoevsky say this about Raskolnikov? Who does the hero resemble?

Work on the episode “Strike of the Whip” and “Alms” (Part 2, Chapter 2).

Immediately after the blow of the whip, Raskolnikov receives alms.

Why does Dostoevsky need this scene? What did the author mean by this?

Who did they take Raskolnikov for? Why did the hero take alms?

What did he experience?

Why does Dostoevsky show the splendor of St. Petersburg at the moment

humiliation and insult of the hero?

So what is the city's splendor? What does Raskolnikov like?

How did the city panorama affect the hero’s condition? So why?

Is Rodion feeling uncomfortable and cold?

What artistic device does the author use when talking about splendor?

city ​​and a humiliated man?

Why did it seem to Raskolnikov that he “as if he had cut off with scissors

yourself from everyone"?

Intermediate output. (Notes in a notebook.)

The hero feels bad and uncomfortable both in the “middle” streets and where the wonderful panorama of the city opens up. Rodion Raskolnikov is lonely, his pride is pissed off. The charming landscape only temporarily takes the heroes into the old world, when he went to university and, returning home, walked and admired the beautiful St. Petersburg.

Work on the episode “Evening Petersburg” (Part 2, Chapter 6).

- How does the author depict evening Petersburg? What is the hero's condition?

Why does Raskolnikov wander aimlessly around the city? What is he thinking about?

Trying to explain the hero’s state, the author uses interrogative sentences. For what purpose?

Find words with the negative particle “not”. What is the hero denying?

Work on the episode “The Organ Grinder and crowd of women at the tavern"

(Part 2, Chapter 6).

- Where did Raskolnikov meet the organ grinder? What is his appearance?

Here Raskolnikov saw the girl. What an absurdity in clothes

What mood did the girl's singing evoke in the hero? Why Raskolnikov

affects passers-by? Was Raskolnikov understood?

Why does Dostoevsky show a crowd of women at a tavern?

For what purpose have they gathered here? What is their age? Appearance?

Why does Raskolnikov give them money?

Work on the episode “Scene on the Bridge. Drowned woman" ( Part 2, Ch. 6)

Another woman's fate. Raskolnikov accidentally met on the bridge the one who came here to commit suicide.

Raskolnikov meets a woman.

What is her portrait? What attracts attention in a woman's appearance?

What was Raskolnikov’s reaction to the fact that the woman threw herself

bridge? What are the reasons that forced you to commit such a wild act?

What pushed her into the water? Will she try to do the same again?

action?

Work on the episode “The Death of Marmeladov” (Part 2, Chapter 7)

How did it happen that he got caught under the flight?

What impression did this tragic incident make on the crowd?

How did Raskolnikov react to what happened? Why did he accept

lively participation in Marmeladov’s funeral?

What does Marmeladov's death signify?

Intermediate output (Write in notebook.)

Onlookers indifferently look at the bloody body of a stranger (Marmeladov). But no one helped the poor fellow. Only Raskolnikov showed the most active participation in the fate of Marmeladov. Yes, people living in the “middle” and outlying streets of St. Petersburg are selfish and indifferent.

Work on the episode “Stormy Evening” and “The Morning on the Eve of Svidrigailov’s Death” (Part 6, Chapter 6)

And again we are on the street of uncomfortable St. Petersburg.

This will be a topic for another conversation. In the meantime, Svidrigailov sits in the tavern. He witnessed a quarrel among clerks.

What is their type?

What caused the quarrel?

What part did Svidrigailov take in resolving the quarrel?

Find a description of nature before a thunderstorm.

Why does Svidrigailov make an important decision at this moment? Which?

Why and who does Svidrigailov decide to help?

Find a description of the hotel where Svidrigailov goes after the thunderstorm.

What is she like? Why does the hotel interior make a depressing impression on the reader?

So, let's enter the room after Svidrigailov.

What is the decoration of the room (or room, as Dostoevsky writes)?

(The hero’s condition and the decoration of the room drive him to delirium and daydreams.)

What kind of nightmare is he imagining?

The night has passed, the morning has come...

-What does the morning landscape look like? Did the rain bring relief to the hero?

Why?

What details of the cityscape emphasize hopelessness,

uselessness of a person in this world? (dog, “dead drunk in

Work on the episode “Raskolnikov’s Komorka” (Part 1, Chapter 3)

Work on the text.

from the words: “He woke up…. before …. sat without lunch."

2. Questions.

What are the synonyms for the name of the little room where a poor student lives?

does Dostoevsky use? (“Camorka”, “cage”, “coffin”)

What associations do you have with these words?

(“Camorka” is a mouse, “cage” is an animal, “coffin” is a dead man.

h hid like an animal.)

What does it say about poverty, the wretchedness of the decoration of his room?

Can healthy dreams be born here? Why?

Is it possible, living in such conditions, to feel like a human being?

Does Raskolnikov respect himself?

Can a hero change his lifestyle?

Working on an episode “View of Raskolnikov’s window” (part 5, chapter 5)

What detail of the room is especially emphasized by Dostoevsky? (Yellow wallpaper.)

What view opens from Raskolnikov's window?

What details of the room’s interior emphasize the hero’s loneliness?

Why is there a lonely geranium flower on the windowsill?

Work on the episode “Marmeladov’s Corner” (Part 1, Chapter 2)

Rodion Raskolnikov accidentally met Semyon Marmeladov in a tavern. Showing humanity, the former student sees off the drunken Marmeladov.

Let's go to the home of this hero. Raskolnikov sees the miserable furnishings of the room.

What was little room? What is its decoration like?

What does it remind Raskolnikov of?

Is it convenient for families to live in such a room?

Do Marmeladov’s children live a comfortable life?

Can a husband and wife (Marmeladov and Katerina Ivanovna) find a place,

where can you have an open, heart-to-heart conversation? Why did Marmeladov live in

passage room?

Why did Marmeladov's neighbors know about the family's sorrows?

Work on the episode “Sonya’s Barn Room” (Part 4, Chapter 4)

Where does Sonya live? What remarkable things can you see in the room?

What is the lighting like in the room? What struck Raskolnikov when he

Did you see Sonya's room for the first time? (obtuse angle - hopelessness, dead end.)

What gives the right to call Sonya’s room a “barn”? Like in this "barn"

How does a person feel when he lives so poorly? What thoughts will be born

Sonya under the low ceiling of the barn?

Intermediate output. (Write in notebook.)

It’s uncomfortable and bad for a person to live in a “barn,” “closet,” “cell,” “corner,” “coffin” (that’s what Raskolnikov’s mother called her son’s closet).

Work on the episode “Raskolnikov’s Dream” (Part 1, Chapter 5)

« Low ceilings cramp the soul and mind.”

Life in St. Petersburg takes on ugly high outlines, and the real often seems like a nightmare vision, and delirium and dreams seem like reality.

An artistic retelling of a dream.

- What does the nag symbolize?

Why did Raskolnikov see himself as a little boy?

Intermediate output. (Write in notebook)

Image a nag, tortured and strained from overwork, who, mockingly, is whipped in the eyes - one of the generalized images of the novel. This dream shows hysteria, which was justified by the authenticity of life, as if the fates of all the exhausted people who live uncomfortably in St. Petersburg are concentrated.

Work on the episode “Dream of a Beautiful City” ( Part 1, Ch. 5.)

Raskolnikov thinks about fountains. The islands where Rodion went were green.

What landscape does Dostoevsky depict?

How does it differ from the usual landscape of the “middle” streets of St. Petersburg?

How long did it take to see Raskolnikov for the first time? (Flowers.)

Work on the episode “Design of Fountains” ( Part 1, Ch. 6)

After a dream about a driven nag, he thinks about building tall fountains. Why?

Yes, the dream is beautiful. A reality what? (Dirt, stench,

disgusting...)

Will Raskolnikov's dream ever come true?

What artistic device does the author use to contrast

reality and dream (antithesis)?

VII. Results.

1. How do you see the streets of St. Petersburg where Raskolnikov wandered?

2. Tell us about the appearance of the people you meet on the “middle” streets?

3. What impression do they make on you?

4. How do you see Dostoevsky's Petersburg?

VIII. The artistic merits of the novel by F.M. Dostoevsky "Crime and Punishment".

I. Artistic detail in the novel.

· About Let's see what color predominates in F.M. Dostoevsky at

description of the city, the interior of the room?

· What sounds is “filled” with St. Petersburg? What do we hear on

city ​​streets?

· What smells accompany living heroes everywhere?

"middle" streets of St. Petersburg?

Conclusion:Petersburg is a monster city, a monster city, a predator city.

II. Word and image in the novel “Crime and Punishment.”

· Landscape is a background that serves to depict the hero’s hopelessness,

on in which dramatic events unfold.

· St. Petersburg is a symbol of dysfunctional, immoral life

poor people.

· Image nags are a symbol of disorder and certainty of life,

V which reflected the fate of all ordinary people,

exhausted by life.

· Description of the interior of the premises: “Closet”, “cage”,

“corner” (filmed by Marmeladov), “barn” (Sonya’s home),

“coffin” (Raskolnikov lives here).

IX. Homework.

History of the Marmeladov family.

1.Portrait of Marmeladovach. 1, ch. 2.

2. Death of Marmeladovach. 2, ch. 7.

3.Pominkich. 3, ch. 2.

4. Death of Katerina Ivanovnach. 5, ch. 7.

The main character, Rodion Romanovich Raskolnikov, lives in a small closet, the owner of which he tries not to meet. So, one evening, he goes to the old pawnbroker, Alena Ivanovna. Raskolnikov pawns his watch to her. At the same time, she takes note of where she keeps her keys and jewelry, and at what time she is alone at home when her sister Lizaveta is not there. Rodion planned to kill the old woman, because by doing this he could help many young men and women.

Heading home, Raskolnikov meets Marmeladov. He tells who he used to be, talks about his family, that he has a sick wife and three other people’s children, and has his own daughter Sonya, who received a yellow ticket and now works as a prostitute. Then Rodion receives a letter from his mother from the village, in which she talks about all the sorrows that happened to her and Rodion’s sister Dunya. She served with the Svidrigailovs, but was forced to leave because her owner pestered her, and her wife heard this and disgraced Dunyasha throughout the city, although in fact she was not to blame. When his wife found out about this, the city again began to treat Duna with respect. Raskolnikov also learns that Pyotr Luzhin wants to marry Dunya. Rodion guesses that Dunya is doing this to help her mother and brother. Rodion intends to upset the wedding. Raskolnikov goes to his university friend Razumikhin, drinks a glass of vodka from him and, before reaching home, falls asleep in the bushes.

There he has a strange dream. He, a little boy, walks past a tavern with his father, and next to him stands an old horse harnessed to a cart. A drunk horse owner invites everyone to sit in the cart. When the cart is full, he begins to beat the mare with a whip, but she does not go. Subsequently, he kills her with a crowbar. Waking up, Rodion thinks about whether he can kill, who he is: “a trembling creature” or “he has the right.” And then on the way he meets Lizaveta, Alena’s sister, coming to visit. Thus he finds out that the old woman is alone at home. Here Raskolnikov also remembers a conversation he heard once in a tavern. Two people said that if you kill the old woman, then with this money you can do many good deeds that can make amends. And then he finally decides that he will commit this murder. Raskolnikov comes home, sews a noose to his coat, takes an ax from the janitor and hangs the ax on the noose. Now he is heading towards Alena with the clear intention of killing. Now she is already climbing the steps, entering the apartment and killing the helpless old woman. In the process of searching for jewelry, he checks several times. Whether he really died or not. But then Lizaveta unexpectedly returns, she asks Raskolnikov to leave her alive, but she too suffers the same fate as her sister. Having finished all his business, Rodion disappears unnoticed. The next day he thinks about how he can hide the evidence. The owner of the apartment contacts the police because Rodion does not pay the rent. On the street, Raskolnikov hears a conversation that the old woman was killed. He faints from what he hears. After this, Rodion lies delirious for a long time. A simple village guy is arrested in connection with the murder. Luzhin comes to Rodion and says that Raskolnikov’s mother and sister will come to St. Petersburg. During the conversation, Rodion and Peter argue. Leaving the apartment, Raskolnikov sees how the girl wants to jump from the bridge. He also contemplates suicide. He then sees the man being run over by a carriage. This man was Marmeladov. Raskolnikov helps take him home and gives all the money to his wife, Ekaterina, for the funeral. Rodion notices that he and Sonya have a lot in common. A little later, Raskolnikov finally decides to tell Sonya about the murder. This conversation was overheard by Svidrigailov, who came to St. Petersburg and buried Catherine (she died of consumption). Sonya advises Rodion to repent and tell the investigator everything.

The investigation into the case is slightly suspended. The investigator guesses that Raskolnikov is guilty, but he has no evidence. Later, Rodion is arrested and sentenced to eight years of hard labor. Sonya goes after him, and Dunyasha marries Razumikhin.

Methodological development

Integrated lesson on literature, history, and fine arts in grade 10 based on the novel

F.M. Dostoevsky "Crime and Punishment".

Lesson-excursion

Prepared and conducted:

Svishcheva Irina Rafailievna, teacher of Russian language and literature of the 1st qualification category at the Shemordan Lyceum of the Sabinsky Municipal District of the Republic of Tatarstan.

Topic: “Petersburg by F.M. Dostoevsky” (based on the novel “Crime and Punishment”)

Epigraph:“Dostoevsky’s Petersburg is “a city in which it is impossible to be.”

Lesson objectives:

1) to help students not only see Dostoevsky’s Petersburg, the chaotic diversity, overcrowding, suffocating crampedness of human existence, but also to feel sympathy for suffering people; to give an idea of ​​the insolubility of those contradictions and dead ends into which the heroes of the novel find themselves, to lead to the understanding that this “unsolvability” depends not on the will of people, but on the state of society, which is so structured that the life of each of the heroes is possible only on humiliating conditions, on constant transactions with conscience;

2) development of skills in analyzing a work of art, development of oral speech; ability to think logically;

3) education of aesthetic taste through literature and other forms of art.

Equipment: portrait of F.M. Dostoevsky, records, illustrations by I.S. Glazunov to the writer’s works, postcards with views of St. Petersburg, multimedia projector.

Preliminary work:

Landscapes: Part 1 d.1. (“disgusting and sad coloring” of a city day); part 2.d. 1 (repetition of the previous picture); part 2.d.2. (“magnificent panorama of St. Petersburg”); Part 2.d.6. (evening Petersburg); part 4.d.5. (view from the window of Raskolnikov’s room); part 4.d.6. (stormy evening and morning on the eve of Svidrigailov’s suicide).

Street life scenes: part 1.g.1. (drunk in a cart pulled by huge draft horses); part 2.d.2. (scene on the Nikolaevsky Bridge, blow of the whip and alms); Part 2.d.6. (organ grinder and a crowd of women at the tavern; scene on... the bridge); part 5.g.5. (death of Katerina Ivanovna).

Interiors: h1.g.Z. (Raskolnikov’s closet); part 1.d.2. (tavern where Raskolnikov listens to Marmeladov’s confession); part 1.g.2.and part..2 d.7 (room - “passage corner” of the Marmeladovs); part 4.g.Z (the tavern where Svidrigailov confesses); Part 4.g.4 (room - Sonya’s “barn”).

2) prepare a story about the history of the founding of the city of St. Petersburg, about the artist I.S. Glazunov;

3) find illustrations with views of St. Petersburg.

Scheme on the topic of the lesson(written on the board and in notebooks):

Petersburg by Dostoevsky

Landscapes

Street life scenes

Interiors

During the classes

I. Teacher's opening speech:

The backdrop against which the action of the novel “Crime and Punishment” unfolds is St. Petersburg in the mid-60s. The novel opens with a description of Rodion Raskolnikov's closet (reading the description of the main character’s room, analysis).

The landscape in the novel carries a great artistic load. The landscape is never aimed at a simple description of the situation; it not only creates a mood, enhances and shades the social and psychological characteristics of the characters, but also expresses what is internally connected with the depicted human world. The landscape is firmly connected with the image of Raskolnikov, passed through the prism of his perception. A person is suffocating in Dostoevsky’s Petersburg, everything bears the sadness of general disorder, the meagerness of human existence. The terrible life of people awakens in readers sympathy, indignation, and the idea that a person should not live like this. The heroes of the novel are powerless to resolve the contradictions and dead ends in which their lives put them. Behind the destinies of people is the image of the underworld. - Dostoevsky’s landscape descriptions are very brief. This feature is the secret of the strong impact it has on the reader’s feelings.

II. Student’s message about the history of St. Petersburg with views of St. Petersburg projected onto the screen:

The city, founded by Peter in 1703, was founded at the mouth of the Neva in a place convenient for military and commercial purposes. Petersburg was created according to a single plan. Already in the first years, its compositional center was the Peter and Paul Fortress and the Admiralty.

Their golden spiers shine over the city, largely determining the originality of its artistic appearance. The beauty of St. Petersburg is truly legendary. Its magnificent monuments, its royal squares and embankments, its white nights, its fogs have forever fascinated Russian art. The works of F.M. Dostoevsky are shrouded in the gloomy charms of St. Petersburg; poems by Blok, Bryusov, Akhmatov were dedicated to St. Petersburg, artists endlessly painted it. A.S. Pushkin composed a hymn to the great city in “The Bronze Horseman”, lyrically described its magnificent architectural ensembles, the twilight of the white nights in “Eugene Onegin”:

The city is lush, the city is poor,

Spirit of bondage, slender appearance,

The vault of heaven is green and pale,

Fairy tale, cold and granite...

Belinsky admitted in his letters how much he hated Peter, where it was so difficult and painful to live. Gogol's Petersburg is a werewolf with a double face: a poor and wretched life is hidden behind its ceremonial beauty.

And now it still attracts painters and graphic artists. The architecture of St. Petersburg is truly unique. Russian classicism and Russian baroque. One can say without hesitation that classicism did not bear more beautiful fruits than in Russia anywhere, even in its homeland - in France.

I see the city of Peter, wonderful, majestic,

According to Peter's mania, erected from blat,

The hereditary monument of his mighty glory,

His descendants are decorated a hundred times!

Everywhere I see traces of a great power,

And every trace is illuminated with Russian glory!

(P. Vyazemsky)

Teacher:

Many buildings in St. Petersburg were built in the Baroque and classical styles. They built a lot, but often, in pursuit of profit, customers demanded from architects only cheap work. This is how dull buildings of factories and factories arose, closely standing apartment buildings with courtyards - wells, with dark rooms for servants, with gloomy, black staircases. The heroes of F.M. Dostoevsky lived in similar houses, which consisted entirely of small apartments.

This is how we get acquainted with another Petersburg - Dostoevsky's Petersburg. Reading by a student of N.M. Konshin’s poem “Complaints about St. Petersburg”:

It's stuffy in the smoky city,

Closed to hearing and sight,

We killed it in a boring way

This is the best time of life.

There is dust or clouds in the sky,

Either heat or thunder;

Tightly compressed into heaps,

Houses rushed upward;

There is laughter there, but not joy,

Everything glitters, but is soulless...

Listen, pale youth,

It's stuffy in the smoky city!

Teacher:

St. Petersburg is gradually becoming a city of contrasts. Splendor and greyness, wealth and poverty, soullessness and lack of spirituality, despair and hopelessness are penetrating deeper and deeper into human life.

Now pay attention to the illustrations for the novel “Crime and Punishment” by the artist, for whom Dostoevsky was one of his favorite writers (working with illustrations).

Student report “The favorite writer of the artist I.S. Glazunov is F.M. Dostoevsky.”

III. The image of the city in the novel “Crime and Punishment”.

Let's be transported to the pages of the novel, we'll walk along the streets of St. Petersburg, look into the staircases and apartments, listen to the sounds of the city where Dostoevsky's heroes live.

Students' work with text. Episode analysis:

1.Streets of St. Petersburg.

2. Rooms of Raskolnikov and Sonya Marmeladova.

3. Stairs, flights, houses.

4. Sounds of the city.

5. The fate of a person (suicide).

(From a tiny cell along Sadovaya, Gorokhovaya and other streets, Raskolnikov goes to the old woman pawnbroker, meets Marmeladov, Katerina Ivanovna, Sonya... Scenes of street life lead us to the conclusion: people have become dumb from such a life, they look at each other “hostilely and with distrust." There can be no other relationship between them except indifference, animal curiosity, malicious mockery.

The interiors of the “St. Petersburg corners” do not resemble human habitation: Raskolnikov’s “closet”, the Marmeladovs’ “passage corner”, Sonya’s “barn”, a separate hotel room where Svidrigailov spends his last night - all these are dark, damp “coffins”.

All together: landscape paintings of St. Petersburg, scenes of its street life, interiors of “corners” - create the overall impression of a city that is hostile to man, crowds him, crushes him, creates an atmosphere of hopelessness, pushes him to scandals and crimes.)

IV. Conclusion (statements from students). Teacher:

Thus, these episodes of the novel and the illustrations to them reveal the capitalist way of life; a world of untruth, injustice, misfortune, human torment, a world of hatred and enmity, the disintegration of moral principles, shocking with its terrible truth pictures of poverty and suffering of the urban lower classes in the 60s of the 1st century. The episodes of the novel are imbued with pain about a person doomed to unbearable hardships and suffering, forced to live “on the cusp of space,” in closets that look “like a coffin.” Petersburg of basements and attics is a city of “humiliated and insulted.” There is nothing to “breathe” in this city.

The conflict between man and society was revealed to us. We visited Dostoevsky's St. Petersburg. Crime and punishment» What works are written by F.M. Dostoevsky? a) “Idiot” b) “The Brothers Karamazov” c) “Player” d) “Cliff” e) “ Crime And punishment... the genre of the novel " Crime And punishment"? a) social and everyday...