The ideological novel “Crime and Punishment. Why F.M. novel

"CRIME AND PUNISHMENT" - THE FIRST IDEOLOGICAL NOVEL. In the summer of 1866, having lost all his money at the casino, unable to pay his debts to creditors, and trying to help the family of his brother Mikhail, who died in early 1864, Dostoevsky plans to create a novel with the central image of the Marmeladov family called "Drunk". The example of Pierre-François Lacière prompted the theme of the murder of Dostoevsky. The novel is published in parts in March-April. Dostoevsky has been working on the novel all year, rushing to add the chapters he has written to the next issue of the magazine. Soon after the end of the publication of the novel in the journal, Dostoevsky publishes it in a separate edition: “A novel in six parts with an epilogue by F. M. Dostoevsky. Revised edition." The action of the novel takes place in the summer in St. Petersburg. The addresses of the houses in which the characters of the novel allegedly lived are known: “Raskolnikov’s house” - Grazhdanskaya Street, 19 (a memorial wall was installed on the house); "House of Sonya Marmeladova" - Griboyedov Canal, 73; “the house of the old woman interest-bearer” - Griboyedov Canal, 104 “There were only a few steps to his apartment. He entered his room as if condemned to death.” (author about Raskolnikov) The plot of the novel is Rodion Raskolnikov’s “life line” 2. Crime 3. Punishment 4. Unrepentant resurrection 1. “Nowhere to go” Plot Problems posed in the novel: Social Poverty of the hero Humiliated position Moral Raskolnikov’s idea reaction to the immoral structure of the world Philosophical Realization by the hero that the murder does not make him the chosen one Coming to faith through moral suffering The contradictory nature of Raskolnikov Raskolnikov was brought up in an Orthodox family, kindness and compassion for the humiliated and offended: 1. kept a sick student and his elderly father; 2. rescued children in a fire; 3. gave almost the last money to the Marmeladovs; 4. stood up for a girl on the boulevard, who was pursued by a fat dandy "with some goals" According to his idea (Raskolnikov's Theory), humanity is divided into "the right to have" and "trembling creatures." “Having the right” (Napoleon is a classic example) have the right to commit a murder or several murders for the sake of future great deeds. Raskolnikov commits the deliberate murder of an old money-lender (“louse” by his definition) and the forced murder of her sister, a witness. Rodion Romanovich Raskolnikov, a former student, the main character of the story. He believes that he has the moral right to commit crimes, and murder is only the first step on an uncompromising road that will lead him to the top. Unconsciously chooses the weakest and most defenseless member of society as a victim, justifying this by the insignificance of the life of an old money-lender, after whose murder she faces a severe psychological shock: murder does not make a person "chosen". “The letter from his mother exhausted him….” Sofya Semyonovna Marmeladova, daughter of Semyon Zakharovich Marmeladov from her first marriage, a girl who despaired of selling herself. Despite this occupation, she is sensitive, timid and shy. He understands the suffering of Rodion, finds in him support in life and the strength to make a man out of him again. He leaves for him in Siberia, becomes his friend and support. "Oh yes Sonya! What a well, however, they managed to dig! and enjoy! That's because they use it! And got used to it. We cried and got used to it. A scoundrel-man gets used to everything! (Raskolnikov about Marmeladov's confession) Alena Ivanovna, collegiate secretary, pawnbroker; "a tiny, dry old woman, about sixty." Killed by a blow from the butt of an ax by Raskolnikov. Lizaveta Ivanovna, half-sister of Alena Ivanovna, who is under her influence and fulfills her any orders. Her simplicity and honesty won her universal love. Accidental witness to the murder; "forced" killed (hacked to death) by Raskolnikov. Marmeladov Semyon Zakharovich, father of Sonya Marmeladova, an unfortunate, drunk retired official, in moments of sobering up, realizing the gravity of his situation, curses himself for having plunged his family into a terrible situation, blames himself for what is happening to Sonechka, saying that everything is human the scoundrel gets used, falls under the wheels of the carriage, and dies. “- And if there is no one to go to, if there is nowhere else to go! After all, it is necessary that every person at least somewhere could go. For there is a time when you absolutely must at least go somewhere!” Avdotya Romanovna Raskolnikov, sister of Rodion Romanovich Raskolnikov. A smart, beautiful, chaste girl, devoted to her brother to the point of self-sacrifice. He has a habit of walking from corner to corner around the room when he is thoughtful. In the struggle for his happiness, she was ready to agree to a marriage of convenience, but she could not make contact with Luzhin for the sake of his salvation. She marries Razumikhin, finding in him a sincere and loving person, a true comrade of his brother. Razumikhin Dmitry Prokofievich, a friend of Raskolnikov, also a former student. Responsive and open, good-natured. Takes care of Raskolnikov during his illness. After - about Pulcheria and Avdotya Raskolnikov, during their stay in St. Petersburg. future husband Dunya. During the trial of Rodion Raskolnikov, he looks for facts that allow him to commute the sentence. “- After all, this is permission for blood in conscience, it ... it, in my opinion, is worse than official permission to shed blood, legal ...” (Razumikhin about the theory) “Doubles” by Raskolnikov Luzhin Luzhin is a businesslike, prudent, practical person , conceited. He understood equality in his own way, he wanted to become equal with the stronger. He despised the people whom he was ahead of on the path of life, he wanted to rule over them, he wanted to show them the severity of his blows. Svidrigailov Svidrigailov neglected everything and everyone. He believed that everything is permitted, that all actions weigh the same, that human actions are not subject to moral classification. He is cynical to the extreme and is thoroughly imbued with the theory of hopelessness. At the same time, he recognizes the meaninglessness of his existence in this world. Raskolnikov's Antipodes Sonya Marmeladova Sonya Marmeladova, like Raskolnikov, broke the law - she became a prostitute, killed her soul. But she went for it for the sake of her loved ones and committed a crime against herself and her conscience. Raskolnikov decided that "everything is permitted" to him and committed a crime against the old pawnbroker and her sister Lizaveta. Raskolnikov experiences pangs of conscience not because he killed the innocent, but because he turned out to be weak, a “louse”, a “trembling creature”. Porfiry Petrovich Porfiry Petrovich, an investigator, a smart and subtle psychologist, refutes Raskolnikov's theory of strong personalities. And if the “eternal Sonya” led the hero to “turn himself in,” Porfiry Petrovich convinced Rodion that “you can run away from the law, but you can’t run away from yourself,” that moral torment is stronger than physical. And if a person has committed a crime, he must go through these torments. Pangs of conscience. Raskolnikov's dreams A DREAM OF A HORSE Outlines the outline of a spiritual conflict, around which quite real events are then built. The beginning of the dream refers us to Rodion's childhood. The fate of the unfortunate animal is a foregone conclusion - he is slaughtered to death. Beating a helpless creature means rebellion against natural restrictions, such mindsets were called theomachy. Thus, it was implied that such a protest was directed against human destiny as a whole. DREAM OF THE OLD WOMAN In this case, the old woman personifies the conscience, through which Rodion Raskolnikov wants to step over. However, his inner nature strongly resists this. It is this problem that the scene with the crowd in the hallway demonstrates. From that moment on, a feeling of guilt arises in Rodion, which, in fact, makes people reasonable. VISION OF THE WORLDWIDE EPIDEMIC The fragment describing this hallucination reveals to us the inner side of everything that happened to Raskolnikov. It is at this moment that we begin to understand the ugly nature of exorbitant human pride, the result of which is an unquenchable desire to subordinate everything around to our will. Hence - the struggle for power, aggressiveness, money-grubbing, promiscuity in means. It is no coincidence that on the morning of Raskolnikov's resurrection, the theme of the sun sounds - the image of "the boundless steppe drenched in the sun" appears. Indeed, at the beginning of the novel, Raskolnikov, ready to “cross the line,” thinks: will the sun really shine then? The earthly world without the sun is still unthinkable for him. But after the perfect murder, the sun, no matter how it burns, seems to have gone out, as if everything that happens to Raskolnikov later happens in a fog, in pitch darkness. And Porfiry says to Rodion: “Become the sun, everyone will see you. The sun must first be the sun. "But this is where it starts. new story, the history of the gradual renewal of man, the history of his gradual rebirth, his gradual transition from one world to another, acquaintance with a new, hitherto completely unknown reality ... ”, - this final phrase leaves the finale open, giving a chance to save the soul to both Raskolnikov and like him.

"Crime and Punishment" as a draft novel, the epilogue serves as a transition to the novel "The Idiot". It does not yet have a perfect structure. The purpose of the work does not match the result. At first, the novel was conceived as a work about a little man (Marmeladov), but D. began to write about a man who, for the sake of an idea, went to crime.

The artistic logic of D. is closely connected with religious dogma.

In the context of this novel, the concepts of faith and atheism play a special role. Atheism in Europe and in Russia is different. In Russia, it is considered in the context of faith. In Europe through the context of philosophy. For D. the concept of sin is also important. For Christianity, it is fundamental.

Man errs because of his dualism. He is saved by the spirit that he receives at baptism. The concept of virtue is connected with the concept of sinfulness. From a religious point of view, good and evil are inseparable concepts. Sin should not be confused with transgression. Sin is a mind. Thought and action are opposed.

Any insignificant hero in D. expresses his ideas. So, Marmeladov is a complex of ideas of poverty. Socialism for D is an enemy, because it is something that opposes humanity.

Raskolnikov combines both a critic and a theoretician. He offers an ethical concept, but not within the framework of religion. The person for R. is ideal, therefore he is close to dystopia.

D. tries to impose the logic of life. Life, as a religious genre, cancels time. The miracle is beyond life. The epilogue of the novel cancels this life.

Ideologism- the most important artistic quality of Dostoevsky's late novels. The world-modeling principle in them is one or another ideologeme in various forms of its embodiment. Heroes-ideologists are put forward in the center of the system of characters of the new novel: Raskolnikov, Svidrigailov ("Crime and Punishment"), Myshkin, Ippolit Terentyev ("The Idiot"), Stavrogin, Kirillov, Shigalev ("Demons"), Arkady Dolgoruky, Versilov, Kraft ( “Teenager”), the elder Zosima, Ivan and Alyosha Karamazov (“The Brothers Karamazov”), and others. Engelhardt, who owns the terminological designation and justification of Dostoevsky's ideological novel.

MM. Bakhtin also described genre proto-structures that fit into the poetics of many of Dostoevsky's works. This is a Socratic dialogue and Menippean satire, genetically ascending to folk carnival culture. Hence such compositional features of novels and some other genre forms as the search for truth by the hero in various spheres of life, the organization of artistic space according to a mythological model (hell - purgatory - paradise), experimental fantasy, moral and psychological experiments, slum naturalism, acute topicality ...

Conflict in the general form expressed by the title of the novel, which, being symbolic, carries several meanings.

Crime - the first of the two compositional spheres of the novel, its center - the episode of the murder of the pawnbroker and her possibly pregnant sister - tightens the lines of conflict

and the entire artistic fabric of the work into a tight knot. Punishment is the second compositional sphere. Intersecting and interacting, they make characters, space and time,

depicted objects, details of everyday life, details of conversations, pictures of dreams and fragments of texts (well-known or "personal": the Bible, Raskolnikov's article), etc. - that is, the entire figurative system - embody the meaning, the author's picture of the world. The novel chronotope in the artistic world of Crime and Punishment is complex and multifaceted. Its empirical components: the middle of the 60s of the XIX century, Russia, St. Petersburg.

Artistic time expands to world-historical time, more precisely, legendary-historical time. The time of the New Testament is coming close to today's events -

the earthly life of Christ, his resurrection, the time of the coming End of the World. On the eve of the murder, Raskolnikov was warned by the words of the drunken official Marmeladov about the Last Judgment; Reading the parable of the miraculous resurrection of Lazarus by Christ becomes a direct and powerful motivation for the repentance of the hero. A hard labor dream (in the text - "dreams") about a pestilence that struck earthlings, evokes analogies with the tragic outcome of earthly history in the Apocalypse.

step over hell, transgress barrier transgress threshold- the highlighted words form a semantic nest in the novel with a central lexeme threshold, which grows to the size of a symbol: it is not only and not so much a detail of the interior, but a border that separates the past from the future, bold, free, but responsible behavior from unbridled self-will.

What are the motives for the murder? - Take the money unfairly acquired by the pawnbroker, “then devote yourself to the service

to all mankind”, to do “hundreds, thousands of good deeds...”? This is a form of self-defense, self-deception, an attempt to hide the true reasons behind a virtuous facade. In moments of cruel introspection, the hero realizes this. And Dostoevsky, in the words of Y. Karyakin, reveals "the secret self-interest of apparent disinterestedness"1. It is based on the harsh life experience of Raskolnikov, on his “truth”, understood in his own way by a young man, on personal trouble,

disorder, on the truth about the ordeals of relatives, on the truth about malnourished children who sing for a piece of bread in taverns

and in the squares, in the merciless reality of the inhabitants of crowded houses, attics and cellars. In such terrifying realities, it is fair to look for the social causes of the crime-rebellion against reality, which were originally embodied only in the speculative (mental) constructions of the hero. But mentally denying the existing evil, he does not see, does not want to see what opposes it, denies not only legal right, but also human morality, is convinced of the futility of noble efforts: “People will not change, and no one can remake them, and no labor worth spending." Moreover, the hero convinces himself of the falsity of all social foundations and tries to put in their place the “head” establishments invented by him, like the slogan: “long live the eternal war”. This disbelief, the substitution of values ​​is the intellectual source of theory and criminal practice.

The modern world is unfair and illegal in the view of Raskolnikov. But the hero does not believe in the future "universal

happiness". The ideal of utopian socialists seems unattainable to him. The position of the writer here coincides with the position of the protagonist, as well as with Razumikhin's views on socialists in general. “I don’t want to wait for “universal happiness.” I myself want to live, otherwise it’s better not to live.” This motive of desire, which arose in Notes from the Underground, will be repeated in Crime and Punishment (“I live once, I also want ...”), developing into a motive of waywardness, self-affirmation at any cost. “Exorbitant self-love”, inherent in the hero, gives rise to a cult of absolute self-will.

This is the psychological basis of the theory of crime.

The theory itself is set out in a newspaper article by Raskolnikov, published six months before the crime, and is retold by two participants in one meeting: the investigator Porfiry Petrovich and Raskolnikov. Dialogue after killing

the investigator's apartment - the most important, culminating in ideological development conflict episode. The main idea that

believes (!) Raskolnikov, is expressed succinctly: “People, according to the law of nature, are generally divided into two categories: the lower

(ordinary), that is, so to speak, on the material that serves solely for the birth of their own kind, and actually

on people, that is, those who have the gift or talent to say a new word in their environment.

One of the leading motives for a particular crime was an attempt to assert the very right to permissiveness, the “rightness” of murder. MM. Bakhtin spoke of testing an idea in a novel: the hero-ideologist experiments, practically strives to prove that it is possible and necessary to overstep "if you are people of any talent, even a little bit able to say something new." From this follows the second most important motive for the crime: testing one's own strength, one's own right to commit a crime. It is in this sense that the words spoken by Raskolnikov to Sonya should be understood: "I killed for myself." The explanation is extremely transparent: I wanted to check whether I am a trembling creature

or have the right to..."

The novel "Crime and Punishment" is a complex, multi-level text. The outer level of the plot is built in such a way that all its action is concentrated around the murder and investigation. Let us emphasize again that the focus of the author's attention is death. In this case, death is violent, bloody, death as a result of the assignment by a "strong personality" of the inhuman right to decide "who will live and who will die."

At first glance, the plot associated with the murder and the investigation resembles a detective story. However, such an analogy, at the first attempt at comprehension, is dismissed as absolutely untenable. Instead of the traditional detective plot scheme (corpse - investigation - murderer), this novel presents a completely different one (murderer - corpse - investigation).

Already on the first pages of the novel, there is an acquaintance with the main character, who at first painfully makes a decision, and then becomes the murderer of the old pawnbroker and her sister Lizaveta. Thus, the very essence of the story of the investigation, during which the name of the killer is usually found out, seems to lose its meaning for readers who know exactly who committed the crime.

But attention to the fate of the hero is by no means weakening - and this is one of the most interesting effects of the plot of Dostoevsky's novel. The reader's sympathy for the hero and the subsequent events that happen to him is not driven by curiosity about the methods of "sweeping up the traces" of a crime and not by a thirst for the triumph of justice, which is usually languished by lovers of the detective genre. In this case, an interest of a different kind awakens: he decided to kill normal person, who, in the author’s description, “was remarkably good-looking, with beautiful dark eyes,” who had previously read a letter from his mother with tears in his eyes, listened sympathetically to the confession of a drunken official, and then took him home, giving his wife and children the last money, took care of drunk girl on the boulevard, had a dream about a beaten horse, for which he could not help but stand up ...

How and why could this happen? What combination of circumstances can lead to the murder of one's own kind? How can a smart, kind, sensitive person to the grief of others decide to transgress the commandment “Thou shalt not kill”? And what will happen to him in this case? Will he be able to return to people, is his soul capable of resurrecting? Here is a range of questions that the author indirectly raises and that excite the reader.

Depending on the depth of immersion in the text, one can get different answers to all these questions, and in accordance with the answers found for themselves, literary scholars-researchers defined the genre of the novel in different ways. So, B. Engelhard calls "Crime and Punishment" an "ideological" novel, A.A. Belkin - "intellectual", M.M. Bakhtin applies the term "polyphonic" to Dostoevsky's last five novels. The polyphony, or polyphony, of the writer's works is the equal participation of the characters in the general choir of the novel's voices with the author. According to M.M. Bakhtin, “all elements of the novel structure in Dostoevsky are deeply original; they are all determined by ... the task of building a polyphonic world and destroying the established forms of the European, mainly monologue novel.

The top system of images of "Crime and Punishment", focused around one main character, puts forward the image of Raskolnikov in the first place, in which the author's ideas are most embodied. In it, as in many works by F.M. Dostoevsky, the archetype of the Hero-Savior reappeared. The thirst to restore the world order violated by injustice, to save humanity from evil, probably in his youth determined Fyodor Mikhailovich's own actions and became the engine of many actions of the heroes of his works, including Crime and Punishment.

But the state of the hero himself can be defined in one word, underlined by his telling surname - "split". A split in his mind, in his feelings, in his ideas about a person and about the limits of what is permissible for him. It is the inner doubt in the foundations of the universe and the limits of what is permitted for a person, it becomes the foundation for creating a theory that pushed Raskolnikov to crime. For half a year of continuous reflections and a month of complete solitude in a room that looks like a coffin, a complete replacement of the previous worldview takes place in the mind of the hero.

Former faith in God is replaced by faith in the idea of ​​"permission of blood according to conscience"; what seemed to the normal mind to be a murder is now called a "case", which must be decided, because what he conceived is "not a crime." “Yes, maybe there is no God at all,” Raskolnikov frankly expresses his doubts in a conversation with Sonya. He confidently proves to the investigator: “I only believe in my main idea. It precisely consists in the fact that people, according to the law of nature, are generally divided into two categories, into the lowest (ordinary) ... and actually into people, that is, those who have the gift or talent to say a new word in their environment. Belief in human thought, an idea generated by the mind, a theory, according to the author, is not only absurd, it is disastrous for the soul.

Pulcheria Alexandrovna, Raskolnikov's mother, is absolutely groping for this painful center in her letter: “Do you still pray to God, Rodya, and do you believe in the goodness of our Creator and Redeemer? I fear, in my heart, have you been visited by the latest fashionable unbelief? If so, then I pray for you."

For Dostoevsky, after hard labor, it was obvious that it was the question of faith that determined the state of a person’s soul: its harmony and tranquility in any external circumstances, like Sonya, or doubt and split, like Raskolnikov (“I have known Rodion for a year and a half,” says Razumikhin about him , - gloomy, gloomy, arrogant and proud ... as if in him two opposite characters are alternately replaced").

It is not at all the conditions of existence, not the social status of a person that gives him inner harmony and balance, but faith in the existence of God. “I will tell you about myself,” F. M. Dostoevsky wrote in a letter in 1854, “that I am a child of the century, a child of disbelief and doubt until now, and even (I know this) to the grave cover. What terrible torments cost me and cost me now this thirst to believe, which is the stronger in my soul, the more contrary arguments are in me. Loss of faith, doubt about the justice of the world order, the result of which is internal split, and at the same time a passionate desire to change, improve the surrounding life according to one's own idea - these are the initial, internal, causes of Raskolnikov's crime.

The author in the novel, as it were, outlines the only possible behavior for non-believers (on the example of Raskolnikov and his ideological counterpart Svidrigailov) - readiness for murder and suicide, i.e., inevitable falling into the orbit of death.

The attraction to "logic", "arithmetic", "simplification", the desire to reduce all the diversity and complexity of life to mathematical calculation were characteristic of the public consciousness of the 2nd half of XIX centuries in Russia, one might say, were the trend of the century. In this sense, Raskolnikov is, of course, a Hero of his time. The author's thought, expressed through the mouth of Razumikhin, that “with logic alone, one cannot jump over nature! Logic predicts three cases, and there are a million of them!”, for him it does not immediately become true, but only as a result of his own spiritual death and resurrection after the murder.

The hard way of the main character to the realization of this truth is the inner plot of the novel. In fact, its main content is Raskolnikov's slow progress from internal schism, sown by doubt in the existence of God, to gaining faith and inner harmony. For an educated, rational person, as Raskolnikov appears before us, this path is extremely painful, but, according to Dostoevsky, it is possible, just as it was possible for him. The inability to believe without logical evidence, the denial of the possibility of a miracle, skepticism in relation to the environment - these are the main internal obstacles of the hero (as we remember, they are very close to becoming an anti-hero). Those were the ones he had to overcome. From the red-hot, narrow, stinking, ghostly Petersburg, where evil and injustice triumph, which Raskolnikov sees through the prism of his idea, the hero begins to move towards a gradual expansion of his gaze, reflecting not only the imperfection of his own vision.

The protagonist, as it were, calculates many of his external actions with his mind (such is the first visit to Porfiry Petrovich). But at the same time, constantly, he listens to himself, to his internal inexplicable impulses, obscure unaccountable desires. Obeying one of them, he goes to Sonya on the eve of the second meeting with the investigator. It amazes him that Sonya, whose position, as Raskolnikov understands, is even worse than his own, manages to maintain a state of inner balance, "stepping over himself", not to lose childish purity and spiritual innocence. “What supported her? .. What is she, isn’t she waiting for a miracle?” he asks himself.

Dostoevsky carefully studied in many of his works the reasons, factors that can lead a person to change his beliefs. In "Crime and Punishment" for Raskolnikov, it is precisely the encounter with a miracle that plays a significant role.

Miracle - a noticeable element in Dostoevsky's poetics, which manifests itself, firstly, in the depiction of the inner world of a person. "Man is a mystery" means unpredictable. His actions, thoughts do not lend themselves to motivation from beginning to end, he is capable of self-will. Secondly, the miracle as an element of poetics is manifested in the development of the plot, where the meeting of heroes plays an increased role, in the gospel style - the Meeting. In the Gospel, almost every story is a meeting: the meeting of Christ with the apostles, the apostles with people, people with Christ and the apostles.

In the novel "Crime and Punishment" it is the meetings that predetermine Raskolnikov's behavior and his subsequent worldview revolution. It is important to note that all the most significant meetings and conversations for Raskolnikov occur three times: three “duels” with Porfiry Petrovich, three conversations with Sonya, with Svidrigailov, three significant meetings with his mother and sister. The symbolism of the number three, which saves the hero, puts him on a par with the heroes of folk tales, who realize and understand the most important things only after going through trials three times. The hero who loses, and then again, having gone through suffering, gains faith - this, according to Dostoevsky, is true hero his novel.

In this novel, invariably the main events for Dostoevsky are refracted in a peculiar way. human life- love and death. Both are given as if in a mirror image. In this novel, they found themselves in the same spatial dimension of St. Petersburg, and then the Hero and the Anti-Hero, Raskolnikov and Svidrigailov, agreed in three important meetings for both. For both, the main means to achieve their goal was to kill. The assumption that Svidrigailov committed the murder of Marfa Petrovna produces a stunning effect: the plot events of the crimes turn out to be absolutely parallel, they were actually committed simultaneously. Probably, it was important for Dostoevsky to more clearly indicate the difference between the state of both heroes after this act, in order to show the main difference between the Hero and the Anti-Hero. The ability of the soul to believe and love, and even awaken love in the hearts of other people, is this difference. And as an inevitable consequence of this ability - the spiritual resurrection of Raskolnikov in the epilogue of the novel and the inevitable suicide of Svidrigailov after a futile series of good deeds for him. Such, according to Dostoevsky, is the result of throwing and searching for heroes.

The author's emphasis on the images of Raskolnikov and Svidrigailov is artistically expressed by Dostoevsky with the help of another important technique. Only these two heroes reveal their characters in their entirety through dreams, reflecting the state of their inner world and subconsciousness.

So, in Raskolnikov one can clearly detect the difference between the first dream in which he plunged before the crime, and dreams that dreamed after the crime as well as on the eve of recovery from the power of theory. It is striking that in each of his dreams either a scene of violence or a murder occupies a central place. The main difference is the attitude to what is happening and the behavior of the hero himself.

The first dream, where the seven-year-old Rodya cannot see the beating of a horse without standing up for it, reveals to Raskolnikov his unconscious relationship with the moral law, the violation of which is impossible if only because it causes rejection to the point of physical disgust. The second and third dreams appeared to the hero after the murder of the old pawnbroker and her sister Lizaveta. Raskolnikov's reaction to the beating of the hostess in the second dream is already different: "Fear, like ice, overlaid his soul, tortured him, stiffened him ...". In his third dream, Raskolnikov again goes to crime, hits the old woman on the crown of the head with an ax, but in horror he sees that “she didn’t even move from the blows, like a wooden one,” and looking more closely, he notices that she “sat and laughed.” Barrenness, meaninglessness, the impossibility of defeating evil with an ax are revealed to Raskolnikov through this dream with all obviousness.

A symbolic image of an ax plays a special role in this dream. He first appears in the novel in Raskolnikov's first dream, when a cry is heard from the crowd watching the beaten horse: “With an ax, what! End her at once!" Calls to “end at once” with world evil and injustice, “to call Russia to the ax” were among the main slogans of the revolutionary democrats headed by N.G. Chernyshevsky. The novel "Crime and Punishment" at different levels (plot, figurative, symbolic) reflected the controversy with his novel "What is to be done?".

To the four dreams of Vera Pavlovna, in which the revolutionary democratic views of Chernyshevsky are expressed, Dostoevsky contrasts the four dreams of Raskolnikov, after which his spiritual resurrection takes place, and the four “nightmares” of Svidrigailov, after which he shot himself. In this case, the fourth dream was decisive in both cases. Raskolnikov's last dream in delirium on a bed in a prison hospital - a dream about trichinas and their horrific effect on the epidemic of murders - made a decisive change in his soul, revealed to him the horror of the ideological madness that could engulf humanity if his theory were to spread. The last nightmare of Svidrigailov, who saw the features of a depraved camellia in a five-year-old girl, draws him into the abyss of hell. For those who are not able to see the “image of Christ” in a child, according to Dostoevsky, have no chance of spiritual transformation on earth.

In addition, from the first pages of the novel, Dostoevsky allocates in italics and fills the word “test” with his own meanings. Initially, it arose in Chernyshevsky's novel in connection with the image of Rakhmetov, who "tried" to sleep on nails, testing his willpower. Raskolnikov's "test" is a visit to an old pawnbroker before the murder. In the novel “Demons”, Nikolai Stavrogin writes in his suicide letter: “I tried great debauchery and exhausted my strength in it ...”.

It is important to note that for "Crime and Punishment", as for many of Dostoevsky's works, a characteristic feature is the combination of topicality, publicism with a pronounced artistry, striving for universal, timeless landmarks.

1. Introduction

The name of the great Russian writer F. M. Dostoevsky is among the outstanding names not only of Russian, but of the entire world literature. For readers, he is not just a famous writer, but also a brilliant word artist, humanist, democrat, researcher human soul. It was in the spiritual life of a man of his era that Dostoevsky saw a reflection of the deep processes of the historical development of society. With tragic power, the writer showed how social injustice cripples the souls of people, how a society full of vices breaks human life. And how difficult and bitter for those who fight for humane relations, suffer for the "humiliated and offended."

Some heroes in their words carry the "truth" of Dostoevsky, some - ideas that the author himself does not accept. Of course, many of his works would be much easier to understand if the writer in them simply debunked theories that were unacceptable to him, proving the unambiguous correctness of his views. But just the whole philosophy of Dostoevsky's novels lies in the fact that he does not convince, putting the reader before irrefutable arguments, but makes him think. After all, if you carefully read his works, it becomes clear that the author is not always convinced that he is right. Hence so many contradictions, so many complexities in Dostoevsky's works. Moreover, often the arguments put into the mouths of heroes whose thoughts the author himself does not share turn out to be stronger and more convincing than his own.

One of Dostoevsky's most complex and controversial novels is Crime and Punishment. His moral lessons have not ceased to be written for the second century. And this is understandable. Nobody wrote such a problematic, "ideological" novel before Dostoevsky. It reveals a huge number of problems: not only moral, but also social, and deeply philosophical.

This is what makes the novel interesting after more than a hundred years. That concern for the future of mankind, which is reflected in the novel, unfortunately, is not groundless.

And he foresees the apocalypse, history confirms How many different ideas will captivate the mind of mankind: both Bolshevism and fascism. And most importantly, these ideas do not die, but find new ground for prosperity. At each turn of history, new ideas appear, and they deepen the split in society. This split led mankind to the Cold War, when the life of all mankind is already in the hands of one person. People who were captivated by ideas applauded Stalin, Hitler and other dictators. The weak mind was led by the “white brotherhood”. According to his principle, according to his idea, Chikatilo killed unnecessary and superfluous people. Many of Dostoevsky's heroes exist, modified in our society. And therefore it is necessary at all costs to get rid of any form of violence. All these prototypes of Dostoevsky's heroes in our life make it possible to call his works, not only "Crime and Punishment" - works-warnings.

2. Biography

DOSTOYEVSKY Fedor Mikhailovich (1821-81), Russian writer, corresponding member of the St. Petersburg Academy of Sciences (1877). In the stories "Poor People" (1846), "White Nights" (1848), "Netochka Nezvanova" (1849, unfinished) and others, he described the suffering of a "little" person as a social tragedy. In the story "Double" (1846) he gave a psychological analysis of the split consciousness. A member of the circle of M. V. Petrashevsky, Dostoevsky was arrested in 1849 and sentenced to death, replaced by hard labor (1850-54), followed by service as a private. In 1859 he returned to St. Petersburg. "Notes from the House of the Dead" (1861-62) - about tragic destinies and the dignity of a man in hard labor. Together with his brother M. M. Dostoevsky, he published the "soil" journals Vremya (1861-63) and Epoch (1864-65). In the novels "Crime and Punishment" (1866), "The Idiot" (1868), "Demons" (1871-1872), "Teenager" (1875), "The Brothers Karamazov" (1879-80) and others - a philosophical understanding of the social and spiritual crisis Russia, dialogic clash of original personalities, passionate search for social and human harmony, deep psychologism and tragedy. Journalistic "The Writer's Diary" (1873-81). Dostoevsky's work had a powerful influence on Russian and world literature.

Dostoevsky, Fedor Mikhailovich, Russian writer.

"I came from a Russian and pious family"

Dostoevsky was the second child in a large family (six children). His father, the son of a Uniate priest, a doctor at the Moscow Mariinsky Hospital for the Poor (where the future writer was born), received the title of hereditary nobleman in 1828. Mother - from a merchant family, a religious woman, annually took children to the Trinity-Sergius Lavra, taught them to read from the book "One Hundred and Four Sacred Stories of the Old and New Testaments" (in the novel "The Brothers Karamazov" memories of this book are included in the story of the elder Zosima about your childhood). In the house of parents, they read aloud "The History of the Russian State" by N. M. Karamzin, the works of G. R. Derzhavin, V. A. Zhukovsky, A. S. Pushkin. In his mature years, Dostoevsky recalled with special enthusiasm his acquaintance with the Scriptures: "We in our family knew the Gospel almost from the first childhood." The Old Testament "Book of Job" also became a bright childhood impression of the writer.

From 1832, the family annually spent the summer in the village of Darovoe (Tula province), bought by the father. Meetings and conversations with peasants were forever deposited in Dostoevsky's memory and later served as creative material (the story "The Man Marey" from the "Diary of a Writer" for 1876).

The beginning of the teaching

In 1832, Dostoevsky and his elder brother Mikhail (see M. M. Dostoevsky) began to study with teachers who came to the house, from 1833 they studied at the boarding house of N. I. Drashusov (Sushara), then at the boarding house of L. I. Chermak. Atmosphere educational institutions and isolation from the family evoked a painful reaction in Dostoevsky (cf. the autobiographical features of the hero of the novel "The Teenager", who is experiencing deep moral upheavals in the "boarding house Tushara"). At the same time, the years of study were marked by an awakened passion for reading. In 1837, the writer's mother died, and soon his father took Dostoevsky and his brother Mikhail to St. Petersburg to continue their education. The writer did not meet his father again, who died in 1839 (according to official information, he died of apoplexy, according to family legend, he was killed by serfs). Dostoevsky's attitude to his father, a suspicious and painfully suspicious man, was ambivalent.

At the Engineering School (1838-43)

From January 1838, Dostoevsky studied at the Main Engineering School (later he always believed that the choice of the educational institution was erroneous). He suffered from the military atmosphere and drill, from disciplines alien to his interests and from loneliness. As his colleague from the school, the artist K. A. Trutovsky, testified, Dostoevsky kept to himself, but he amazed his comrades with his erudition, a literary circle. The first literary ideas took shape in the school. In 1841, at a party hosted by brother Mikhail, Dostoevsky read excerpts from his dramatic works, which are known only by their names - "Mary Stuart" and "Boris Godunov", - giving rise to associations with the names of F. Schiller and A. S. Pushkin, after apparently, the deepest literary passions of the young Dostoevsky; was also read by N. V. Gogol, E. Hoffmann, V. Scott, George Sand, V. Hugo. After graduating from college, having served less than a year in the St. Petersburg engineering team, in the summer of 1844 Dostoevsky retired with the rank of lieutenant, deciding to devote himself completely to literary creativity.

The beginning of literary work

Among the literary predilections of Dostoevsky of that time was O. de Balzac: the translation of his story "Eugene Grande" (1844, without indicating the name of the translator) the writer entered the literary field. At the same time, Dostoevsky worked on the translation of novels by Eugene Sue and George Sand (they did not appear in print). The choice of works testified to the literary tastes of the novice writer: in those years, romantic and sentimentalist style was not alien to him, he liked dramatic collisions, large-scale written characters, and action-packed narration. In the works of George Sand, as he recalled at the end of his life, he was "struck ... by the chaste, the highest purity of types and ideals and the modest charm of the strict restrained tone of the story."

triumphant debut

In the winter of 1844, Dostoevsky conceived the novel "Poor People", work on which he began, in his words, "suddenly", unexpectedly, but gave himself completely to her. Even in manuscript, D. V. Grigorovich, with whom he shared an apartment at that time, delivered the novel to N. A. Nekrasov, and together, without stopping, they read Poor People all night long. In the morning they came to Dostoevsky to express their admiration for him. With the words "New Gogol has appeared!" Nekrasov gave the manuscript to V. G. Belinsky, who told P. V. Annenkov: "... the novel reveals such secrets of life and characters in Russia that no one had ever dreamed of before him." The reaction of Belinsky's circle to Dostoevsky's first work became one of the most famous and long-lasting episodes in the history of Russian literature: almost all participants, including Dostoevsky, later returned to him both in memoirs and in works of fiction, describing him both in direct and in parodic form. The novel was published in 1846 in Nekrasov's Petersburg Collection, causing noisy controversy. The reviewers, although they noted some of the writer's miscalculations, felt an enormous talent, and Belinsky directly predicted a great future for Dostoevsky. The first critics rightly noted the genetic connection between "Poor People" and Gogol's "The Overcoat", meaning both the image of the protagonist of the half-impoverished official Makar Devushkin, who ascended to the heroes of Gogol, and the wide impact of Gogol's poetics on Dostoevsky. In depicting the inhabitants of "Petersburg corners", in portraying a whole gallery of social types, Dostoevsky relied on the traditions of the natural school (accusatory pathos), but he himself emphasized that the influence of Pushkin's "Station Master" also affected the novel. The theme of the "little man" and his tragedy found new twists in Dostoevsky, which made it possible to discover the most important features already in the first novel. creative manner writer: focus on the inner world of the hero in combination with an analysis of his social fate, the ability to convey the elusive nuances of the state of the characters, the principle of confessional self-disclosure of characters (it is not by chance that the form of "novel in letters" was chosen), the system of doubles "accompanying" the main characters.

In the literary circle

Entering Belinsky's circle (where he met I. S. Turgenev, V. F. Odoevsky, I. I. Panaev), Dostoevsky, according to his later confession, "passionately accepted all the teachings" of criticism, including his socialist ideas. At the end of 1845, at a party at Belinsky's, he read chapters of The Double (1846), in which he first gave deep Scan split consciousness, foreshadowing his great novels. The story, which first interested Belinsky, eventually disappointed him, and soon there was a chill in Dostoevsky's relations with the critic, as well as with all his entourage, including Nekrasov and Turgenev, who ridiculed Dostoevsky's painful suspiciousness. The need to agree to almost any literary hack had a depressing effect on the writer. All this was painfully experienced by Dostoevsky. He began to "suffer from irritation of the entire nervous system", the first symptoms of epilepsy appeared, which tormented him all his life.

Dostoevsky and the Petrashevites

In 1846, Dostoevsky became close to the circle of the Beketov brothers (among the participants were A. N. Pleshcheev, A. N. and V. N. Maikov, D. V. Grigorovich), in which not only literary, but also social problems were discussed. In the spring of 1847, Dostoevsky began attending the "Fridays" of M. V. Petrashevsky, in the winter of 1848-49 - the circle of the poet S. F. Durov, which also consisted mainly of Petrashevites. At the meetings, which were of a political nature, the problems of the liberation of the peasants, the reform of the court and censorship were touched upon, treatises of the French socialists were read, articles by A. I. Herzen, Belinsky’s then forbidden letter to Gogol, plans were hatched for the distribution of lithographed literature. In 1848 he entered a special secret society organized by the most radical Petrashevist N. A. Speshnev (who had a significant influence on Dostoevsky); society set as its goal "to carry out a revolution in Russia." Dostoevsky, however, had some doubts: according to the memoirs of A.P. Milyukov, he "read social writers, but treated them critically." On the morning of April 23, 1849, along with other Petrashevites, the writer was arrested and imprisoned in the Alekseevsky ravelin of the Peter and Paul Fortress.

Under investigation and in prison

After 8 months spent in the fortress, where Dostoevsky behaved courageously and even wrote the story "The Little Hero" (published in 1857), he was found guilty "of intent to overthrow ... the state order" and initially sentenced to death, replaced by scaffold, after "terrible, immensely terrible minutes of waiting for death", 4 years of hard labor with the deprivation of "all rights of the state" and subsequent surrender to the soldiers. He served penal servitude in the Omsk fortress, among criminals ("it was an inexpressible, endless suffering ... every minute weighed like a stone on my soul"). Experienced mental upheavals, longing and loneliness, "judgment of oneself", "strict revision of the former life", a complex range of feelings from despair to faith in the imminent realization of a high calling - all this spiritual experience of the guarded years became the biographical basis of "Notes from the House of the Dead" (1860-62), a tragic confessional book that already struck contemporaries with the courage and fortitude of the writer. A separate theme of the "Notes" was a deep class gap between the nobleman and the common people. Although Apollon Grigoriev exaggerated in the spirit of his own convictions when he wrote that Dostoevsky "reached through a passive psychological process to the point that in The House of the Dead he merged completely with the people," however, the step to such a rapprochement - through the consciousness of a common fate - was made. Immediately after his release, Dostoevsky wrote to his brother about the "folk types" brought from Siberia and the knowledge of the "black, miserable way of life" - an experience that "would be enough for whole volumes." The "Notes" reflects the upheaval in the mind of the writer that emerged during hard labor, which he later characterized as "a return to the folk root, to the recognition of the Russian soul, to the recognition of the spirit of the people." Dostoevsky clearly imagined the utopian nature of revolutionary ideas, with which he later sharply argued.

Return to literature

From January 1854 Dostoevsky served as a private in Semipalatinsk, in 1855 he was promoted to non-commissioned officer, in 1856 to ensign. The following year, he was returned to the nobility and the right to print. At the same time, he married M. D. Isaeva, who, even before marriage, took an ardent part in his fate. In Siberia, Dostoevsky wrote the novels Uncle's Dream and The Village of Stepanchikovo and Its Inhabitants (both published in 1859). The central character of the latter, Foma Fomich Opiskin, an insignificant hanger-on with claims of a tyrant, hypocrite, a hypocrite, a manic self-lover and a sophisticated sadist, as a psychological type became an important discovery that foreshadowed many heroes mature creativity. The stories also outline the main features of Dostoevsky's famous tragedy novels: theatricalization of action, scandalous and, at the same time, tragic development of events, a complicated psychological pattern. Contemporaries remained indifferent to "The Village of Stepanchikovo ...", interest in the story arose much later, when N. M. Mikhailovsky in the article "Cruel Talent" gave a deep analysis of the image of Opiskin, tendentiously identifying him, however, with the writer himself. Much controversy surrounding "The Village of Stepanchikovo ..." is connected with the assumption of Yu. N. Tynyanov that Opiskin's monologues parody "Selected passages from correspondence with friends" by N. V. Gogol. Tynyanov's idea provoked researchers to identify a voluminous layer of literary subtext in the story, including allusions associated with the works of the 1850s, which Dostoevsky eagerly followed in Siberia.

Dostoevsky-journalist

In 1859, Dostoevsky retired "due to illness" and received permission to live in Tver. At the end of the year, he moved to St. Petersburg and, together with his brother Mikhail, began to publish the magazines Vremya, then Epoch, combining a huge amount of editorial work with the author's: he wrote journalistic and literary-critical articles, polemical notes, works of art. With the close participation of N. N. Strakhov and A. A. Grigoriev, in the course of polemics with both radical and protective journalism, “soil” ideas developed on the pages of both journals (see Soils), genetically related to Slavophilism, but permeated with pathos reconciliation of Westerners and Slavophiles, the search for a national development option and the optimal combination of the principles of "civilization" and nationality - a synthesis that grew out of the "all-responsiveness", "all-humanity" of the Russian people, their ability to "conciliate look at someone else's". Dostoevsky's articles, especially "Winter Notes on Summer Impressions" (1863), written in the wake of the first trip abroad in 1862 (Germany, France, Switzerland, Italy, England), are a critique of Western European institutions and a passionately expressed belief in the special vocation of Russia, in the possibility of transforming Russian society on fraternal Christian foundations: "the Russian idea ... will be a synthesis of all those ideas that ... Europe is developing in its individual nationalities."

"Humiliated and Insulted" (1861) and "Notes from the Underground" (1864)

On the pages of the Vremya magazine, in an effort to strengthen its reputation, Dostoevsky published his novel The Humiliated and Insulted, the very title of which was perceived by 19th-century critics. as a symbol of the entire work of the writer, and even more broadly - as a symbol of the "truly humanistic" pathos of Russian literature (N. A. Dobrolyubov in the article "The Downtrodden People"). Saturated with autobiographical allusions and addressed to the main motifs of the 1840s, the novel was already written in a new manner, close to late works: weakened in it social aspect tragedy of the "humiliated" and in-depth psychological analysis. The abundance of melodramatic effects and exceptional situations, the injection of mystery, the randomness of the composition prompted critics of different generations to underestimate the novel. However, in the following works, Dostoevsky succeeded in raising the same features of poetics to a tragic height: an external failure prepared the upswings of the coming years, in particular, the story "Notes from the Underground", published soon in the "Epoch", which V. V. Rozanov considered "the cornerstone in literary activities" of Dostoevsky; the confession of an underground paradoxicalist, a man of tragically torn consciousness, his disputes with an imaginary opponent, as well as the moral victory of the heroine opposing the morbid individualism of the "anti-hero" - all this was developed in subsequent novels, only after the appearance of which the story was highly appreciated and deeply interpreted in criticism.

Family disasters and remarriage

In 1863, Dostoevsky made a second trip abroad, where he met A. P. Suslova (the writer's passion in the 1860s); them complicated relationship, as well as gambling at roulette in Baden-Baden, provided material for the novel The Gambler (1866). In 1864, Dostoevsky's wife died, and although they were not happily married, he took the loss hard. Following her, brother Michael died suddenly. Dostoevsky assumed all debts for the publication of the Epoch magazine, but soon stopped it due to a drop in subscription and entered into an unfavorable contract for the publication of his collected works, undertaking to write by a certain date new novel. He once again traveled abroad in the summer of 1866, spent in Moscow and at a dacha near Moscow, all this time working on the novel Crime and Punishment, intended for the journal Russky Vestnik by M. N. Katkov (later all his most significant novels were published in this magazine). In parallel, Dostoevsky had to work on a second novel ("The Gambler"), which he dictated to the stenographer A. G. Snitkina (see Dostoevskaya A. G.), who not only helped the writer, but also psychologically supported him in a difficult situation. After the end of the novel (winter 1867), Dostoevsky married her and, according to the memoirs of N. N. Strakhov, "a new marriage soon gave him the full family happiness which he desired."

"Crime and Punishment" (1865-66)

The circle of the main ideas of the novel was nurtured by the writer for a long time, perhaps in the most vague form, since hard labor. Work on it was carried out with enthusiasm and enthusiasm, despite the material need. Genetically connected with the unfulfilled plan "Drunk", Dostoevsky's new novel summed up the work of the 1840s and 50s, continuing the central themes of those years. Social motives received in it an in-depth philosophical sound, inseparable from the moral drama of Raskolnikov, the "theoretic murderer", modern Napoleon, who, according to the writer, "ends up by being forced to report on himself .. . to die in penal servitude, but to join the people again ... ". The collapse of Raskolnikov's individualistic idea, his attempts to become the "master of fate", to rise above the "trembling creature" and at the same time make humanity happy, save the destitute - Dostoevsky's philosophical response to the revolutionary moods of the 1860s. Having made the "murderer and the harlot" the protagonists of the novel and bringing the inner drama of Raskolnikov to the streets of St. Petersburg, Dostoevsky placed everyday life in an atmosphere of symbolic coincidences, hysterical confessions and painful dreams, intense philosophical disputes-duels, turning Petersburg, drawn with topographical accuracy, into a symbolic image of a ghostly city. . The abundance of characters, the system of double heroes, the wide scope of events, the alternation of grotesque scenes with tragic ones, the paradoxically pointed formulation of moral problems, the preoccupation of the characters with the idea, the abundance of "voices" (different points of view, held together by the unity of the author's position) - all these features of the novel, traditionally considered the best work of Dostoevsky, became the main features of the poetics of a mature writer. Although Crime and Punishment was interpreted by radical critics as tendentious, the novel was a huge success.

World of great novels

In 1867-68. the novel The Idiot was written, the task of which Dostoevsky saw in "the portrayal of a positively beautiful person." The ideal hero Prince Myshkin, "Prince-Christ", "good shepherd", personifying forgiveness and mercy, with his theory of "practical Christianity", cannot withstand a collision with hatred, anger, sin and plunges into madness. His death is a sentence to the world. However, according to Dostoevsky, "wherever he touched me, everywhere he left an unexplored line." The next novel "Demons" (1871-72) was created under the impression of the terrorist activities of S. G. Nechaev and the secret society "People's Reprisal" organized by him, but the ideological space of the novel is much wider: Dostoevsky comprehended both the Decembrists and P. Ya. Chaadaev, and the liberal movement of the 1840s, and the sixties, interpreting the revolutionary "devilism" in a philosophical and psychological key and entering into an argument with it with the very artistic fabric of the novel - the development of the plot as a series of catastrophes, the tragic movement of the fates of the characters, the apocalyptic reflection, "abandoned" to events. Contemporaries read The Possessed as an ordinary anti-nihilistic novel, passing by its prophetic depth and tragic sense. In 1875, the novel A Teenager was published, written in the form of a confession of a young man, whose consciousness is being formed in an "ugly" world, in an atmosphere of "general decay" and "an accidental family." The theme of the disintegration of family ties was continued in Dostoevsky's final novel, The Brothers Karamazov (1879-80), conceived as an image of "our intellectual Russia" and at the same time as a novel-life of the protagonist Alyosha Karamazov. The problem of "fathers and children" ("children's" theme received an acutely tragic and at the same time optimistic sound in the novel, especially in the book "Boys"), as well as the conflict of rebellious atheism and faith, passing through the "crucible of doubts", reached its climax here and predetermined the central antithesis of the novel: the opposition of the harmony of universal brotherhood based on mutual love (Elder Zosima, Alyosha, boys), painful unbelief, doubts about God and the "peace of God" (these motifs culminate in Ivan Karamazov's "poem" about the Grand Inquisitor) . The novels of the mature Dostoevsky are a whole universe permeated with the catastrophic attitude of its creator. The inhabitants of this world, people of a split consciousness, theorists, "pressed down" by the idea and cut off from the "soil", for all their inseparability from the Russian space, over time, especially in the 20th century, began to be perceived as symbols of the crisis state of world civilization.

"A Writer's Diary". End of the road

In 1873, Dostoevsky began editing the newspaper-magazine Grazhdanin, where he did not limit himself to editorial work, deciding to publish his own journalistic, memoir, literary-critical essays, feuilletons, and stories. This variegation was "bathed" by the unity of the intonation and views of the author, who maintains a constant dialogue with the reader. This is how the "Diary of a Writer" began to be created, to which Dostoevsky devoted a lot of effort in recent years, turning it into a report on the impressions of the most important phenomena of social and political life and outlining his political, religious, aesthetic convictions on its pages. In 1874 he gave up editing the magazine due to clashes with the publisher and deteriorating health (in the summer of 1874, then in 1875, 1876 and 1879 he went to Ems for treatment), and at the end of 1875 he resumed work on the Diary, which was a huge success and prompted many people to enter into correspondence with its author (he kept the "Diary" intermittently until the end of his life). In society, Dostoevsky acquired a high moral authority, was perceived as a preacher and teacher. The apogee of his lifetime fame was a speech at the opening of the monument to Pushkin in Moscow (1880), where he spoke about "all-humanity" as the highest expression of the Russian ideal, about the "Russian wanderer" who needs "world happiness". This speech, which caused a huge public outcry, turned out to be Dostoevsky's testament. Full of creative plans, about to write the second part of The Brothers Karamazov and publish The Diary of a Writer, Dostoevsky died suddenly in January 1881.

3. The history of the creation of the novel.

3.1. Background of the novel "Crime and Punishment"

"Crime and Punishment" was formed by Dostoevsky from two ideas, driven by the ideas of the artist. And the ideas were suggested to everyone social sphere that surrounded the writer, as well as his personal memories and experiences.

As the journalism and literature of the 1860s testify to this, at the time of the breaking of serfdom and the capitalization of the obsolete nobility, public morality fluctuated sharply: criminal offenses, greed and money, drunkenness and cynical selfishness - all this was combined with direct attacks on traditional Orthodox morality. by radical social forces.

Raznochinskaya democracy, headed by Belinsky, Chernyshevsky, Dobrolyubov and many others, introduced atheistic and socialist ideas into the public consciousness. In 1863, the novel by N.G. Chernyshevsky "What to do?", which contained a real program of action to break the foundations of the state with the help of revolutionary violence, to replace universal human moral values ​​(Christian) with class ones.

Dostoevsky was deeply disturbed by the problem of the human will encroaching on crime, the theoretical justification for which he saw in the teachings of Chernyshevsky.

Thus, we see two super-tasks that prompted Dostoevsky to create his most perfect work - moral decay in society and the onset of socialist-atheistic ideas.

By June 1865, Dostoevsky had a plan for a novel, which he called The Drunk Ones. He told the publisher A. Kraevsky about this:

"The new novel will be connected with the present question of drunkenness." 36

Apparently, Dostoevsky decided to focus on the fate of the members of the Marmeladov family and their entourage, but the idea of ​​any central character - a "criminal" has not yet been deposited in the mind of the writer. However, the theme of "Drunk", one must think, was quickly assessed by him as narrowish, devoid of not so much social as philosophical sharpness - he felt the relative poverty of his plan, his idea.

The Vremya magazine frequently published reports on criminal trials in the West. It was Dostoevsky who published a report on a criminal case in France. A certain Pierre Lasener, a criminal who did not disdain theft and who eventually killed some old woman, declared himself in his memoirs, poems, etc. "an ideological killer", "a victim of his age." Having renounced all moral "fetters", the criminal carried out the self-will of the "man-god", to which the revolutionary democrats, driven by a sense of class revenge on the "oppressors" of the people, called. Dostoevsky, according to B.C. Solovyov, perfectly mastered by this time three fundamental truths: "... That individuals, even the best people, do not have the right to violate society in the name of their personal superiority; he also understood that social truth is not invented by individual minds, but is rooted in the feelings of the whole people, and, finally, he understood that this truth has a religious significance and is necessarily connected with the faith of Christ, with the ideal of Christ. 37

Dostoevsky is resolutely imbued with distrust of all hypotheses about the rights of "strong", "special" individuals, supposedly freed from responsibility to people for their "extraordinary" "superhuman" ("human-divine") deeds. At the same time, the type of a strong personality is becoming more and more clear to him - as an artistically impressive, exceptional, but at the same time real phenomenon, fully historically expressed in the theory of socialists and in the practice of socialist-terrorist groups. This is that "fantastic" person who seems to him more real than all realities, this is a magnificent image for a novel - realistic "in the highest sense." Dostoevsky was blinded by the brilliance of the idea to combine the history of the Marmeladov family with the history of the "man-god" - the socialist. The Marmeladov family should become the reality on the basis of which the ugly philosophy of a "strong personality" grows. This family and all its surroundings can appear as a realistic background and a convincing explanation of the deeds and thoughts of the protagonist - the criminal.

In the creative combinations of the writer, a complex plot array is formed, which includes urgent issues of modern morality and philosophy. In September 1865, Dostoevsky informed the editor of the magazine "Russian Messenger" M.N. about the idea of ​​the novel. Katkov, informing him in a letter of the full plan of the conceived work: “The action is modern, this year. "Ideas that are in the air, decided to get out of his bad situation at once. He decided to kill an old woman, a titular adviser who gives money for interest ... This young man asks himself questions:" What day does she live? Is she useful to anyone at least?.." These questions, Dostoevsky continues, "confuse the young man. He decides to kill her, rob her in order to make his mother, who lives in the district, happy, to save companions of some landowners, from the voluptuous claims of the head of this landowner family, claims that threaten her with death, to complete her course, go abroad and then all her life be honest, firm, unswerving in the fulfillment of "humane duty to humanity", than already, of course, the crime will be "patched out"... He spends almost a month after that before the final catastrophe. There are no and cannot be any suspicions on him. It is here that the whole psychological process of the crime unfolds. Unresolvable questions arise before the murderer, unsuspected and unexpected feelings torment his heart God's truth, earthly law takes its toll, and he ends up being forced to denounce himself. The awn and separation from humanity, which he felt immediately after the commission of the crime, tortured him. The law of truth and human nature have taken their toll... The offender himself decides to accept the torment in order to atone for his deed..." 38

We see that many motivating forces lurking in the soul and thoughts of the artist participated in the maturation and shaping of the idea of ​​the novel. But the main task took shape extremely clearly - to rebuff the precepts of Chernyshevsky's novel What Is to Be Done?, to debunk the dead-end and immoral socialist theory, taking its manifestation in the most extreme version, in the most extreme development, beyond which it is no longer possible to go. This was well understood by the critic N. Strakhov, who argued that the main goal of the novel was to debunk the "unfortunate nihilist" (as Strakhov called Raskolnikov). The "groundless" ideas of Chernyshevsky-Raskolnikov should be counterbalanced by the Orthodox Christian idea, which should indicate the way out of the theoretical impasses of the protagonist to the Light.

Thus, in 1865, Dostoevsky faced two plans, two ideas: one idea is the world of "poor people", where real life, real tragedies, real suffering; another idea - a "theory", contrived only with the help of reason, torn off from real life, from real morality, from the "divine" in man, a theory created in a "split" (Raskolnikov) with people and therefore extremely dangerous, because where there is no divine, not human - there is satanic.

It should be noted that Soviet literary criticism completely denied the vitality of Raskolnikov's theory and declared the very figure of Raskolnikov to be far-fetched. Here the social-party order is clearly visible - to take the "theory" of Rodion Raskolnikov away from the ideas of socialism (sometimes Raskolnikov's views were interpreted as petty-bourgeois), and to put the hero himself as far as possible from Chernyshevsky with his "special person".

3.2.History of the creation of the novel

In 1866, the magazine "Russian Messenger", published by M.N. Katkov, published a manuscript of Dostoevsky's novel, which has not survived to our time. The surviving notebooks of Dostoevsky and individual fragments of the manuscript give reason to assume that the idea of ​​the novel, its theme, plot, and ideological orientation did not take shape immediately, most likely, two different creative ideas later merged:

1. On June 8, 1865, before leaving abroad, Dostoevsky suggested to A.A. Kraevsky - the editor of the journal Otechestvennye Zapiski - the novel "Drunken": "it will be connected with the current question of drunkenness. Not only the question is analyzed, but all its ramifications are presented, mainly pictures of families, the upbringing of children in this environment, etc. Lists will at least twenty, but maybe more.

The problem of drunkenness in Russia worried Dostoevsky throughout his career. The soft and unhappy Snegirev says: "... in Russia, drunk people are the kindest among us. The kindest people we have are the most drunk. People become kind in an abnormal state. What is a normal person? Evil. Good people drink, but they also act badly good. The good people are forgotten by society, the evil ones rule life. If drunkenness flourishes in a society, this means that the best human qualities are not valued in it. "

In the Writer's Diary, the author draws attention to the drunkenness of the factory workers after the abolition of serfdom: "The people went on a spree and drank - first with joy, and then out of habit." Dostoevsky shows that even with a "huge and extraordinary change" not all problems are solved by themselves. And after the "break" the correct orientation of people is necessary. Much here depends on the state. However, the state actually encourages drunkenness and an increase in the number of taverns: "Almost half of our current budget is paid for by vodka, i.e., in the current way, people's drunkenness and people's depravity - therefore, the whole people's future. We, so to speak, with our future pay for our the majestic budget of a European power. We cut the tree at the very root in order to get the fruit as soon as possible."

Dostoevsky shows that this comes from the inability to manage the economy of the country. If a miracle happened - people all at once stop drinking - the state would have to choose: either force them to drink by force, or - financial collapse. According to Dostoyevsky, the cause of drunkenness is social. If the state refuses to take care of the future of the people, the artist will think about it: "Drunkenness. Let those who say: the worse, the better, rejoice in it. There are many of them now. We cannot see the roots of people's strength poisoned without grief." This entry was made by Dostoevsky in drafts, but in essence this idea is stated in the "Diary of a Writer": "After all, the people's strength is drying up, the source of future wealth is fading, the mind and development are pale - and what will the modern children of the people endure in their minds and in their hearts? grown up in the filth of their fathers."

Dostoevsky saw the state as a hotbed of alcoholism and, in the version presented to Kraevsky, wanted to tell that a society where drunkenness flourishes and the attitude towards it is condescending is doomed to degeneration.

Unfortunately, the editor of Otechestvennye Zapiski was not as far-sighted as Dostoevsky in determining the causes of degradation Russian mentality and refused the offer of the writer. The idea of ​​"Drunk" remained unfulfilled.

2. In the second half of 1865, Dostoevsky set to work on a "psychological report of one crime": "The action is modern, this year. A young man, expelled from university students, a petty bourgeois by birth and living in extreme poverty... , a titular adviser who gives money for interest. The old woman is stupid, deaf, sick, greedy ... evil and seizes someone else's age, torturing her little sister in her housekeepers. " In this version, the essence of the plot of the novel "Crime and Punishment" is clearly stated. Dostoevsky's letter to Katkov confirms this: "Unresolvable questions arise before the murderer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law take their toll, and he ends up being forced to report on himself. Forced, even to die in hard labor, but to join the people again. The laws of truth and human nature have taken their toll."

Upon returning to St. Petersburg at the end of November 1855, the author destroyed the almost completely written work: "I burned everything. A new form ( novel-confession of the hero. - V.L.), the new plan captivated me, and I started again. I work day and night, and yet I work little." From that time on, Dostoevsky decided on the form of a novel, replacing the first-person narrative with a narrative from the author, his ideological and artistic structure.

The writer liked to say about himself: "I am a child of the century." He really was never a passive contemplator of life. "Crime and Punishment" was created on the basis of Russian reality of the 50s of the XIX century, magazine and newspaper disputes on philosophical, political, legal and ethical topics, disputes between materialists and idealists, followers of Chernyshevsky and his enemies.

The year of publication of the novel was special: on April 4, Dmitry Vladimirovich Karakozov made an unsuccessful attempt on the life of Tsar Alexander II. Massive repressions began. A.I. Herzen spoke of this time in his Kolokol as follows: “Petersburg, followed by Moscow, and to some extent all of Russia, are almost in a state of war; arrests, searches and tortures go on unceasingly: no one is sure that he tomorrow will not fall under the terrible Muravyov court ... The government oppressed student youth, censorship achieved the closure of the journals Sovremennik and Russkoye Slovo.

Dostoevsky's novel, published in Katkov's magazine, turned out to be an ideological opponent of the novel What Is To Be Done? Chernyshevsky. Arguing with the leader of revolutionary democracy, opposing the struggle for socialism, Dostoevsky, nevertheless, with sincere sympathy treated the participants in the "split of Russia", who, in his opinion, being mistaken, "selflessly turned into nihilism in the name of honor, truth and true good while revealing the kindness and purity of their hearts.

Criticism immediately responded to the release of Crime and Punishment. Critic N. Strakhov noted that "the author took nihilism in its most extreme development, at that point, beyond which there is almost nowhere to go."

M. Katkov defined Raskolnikov's theory as "an expression of socialist ideas."

DI. Pisarev condemned Raskolnikov's division of people into "obedient" and "rebels", reproached Dostoevsky for calling for humility and humility. And at the same time, in the article "The Struggle for Life" Pisarev stated:

"Dostoevsky's novel made a profoundly amazing impression on readers thanks to the correct mental analysis that distinguishes the works of this writer. I radically disagree with his convictions, but I cannot but recognize in him a strong talent capable of reproducing the most subtle and elusive features of everyday human life and its internal process. He notices painful phenomena with particular aptness, subjects them to the most rigorous assessment, and seems to experience them on himself.

Russia has entered a turning point. No one believes in anything, but at the same time, society continues to live according to the same principles that it no longer believes in. The hopes formulated in Chernyshevsky's novel What Is to Be Done? seemed unsteady in a world of social injustice. In such a situation, torment intensified, resentment multiplied, the poor found themselves in an even more miserable situation. Contradictions of a capitalist character have piled up on the unresolved disturbances of the feudal order. Most people were not prepared for such trials. Dostoevsky was faced with the task: how to depict the world in order to arouse compassion for the perishing and disgust for the prosperous?

4. The hero of the novel.

4.1 Raskolnikov's personality. His theory.

At the center of every great novel by Dostoevsky is some one extraordinary, significant, mysterious human personality, and all the characters are engaged in the most important and most important human business - unraveling the mystery of this person, this determines the composition of all the writer's tragedy novels. In The Idiot Prince Myshkin becomes such a person, in Possessed it is Stavrogin, in The Teenager it is Versilov, in The Brothers Karamazov it is Ivan Karamazov. Mainly in "Crime and Punishment" is the image of Raskolnikov. All persons and events are located around him, everything is saturated with a passionate attitude towards him, human attraction and repulsion from him. Raskolnikov and his emotional experiences are the center of the whole novel, around which all other storylines revolve.

The first edition of the novel, also known as the Wiesbaden "story", was written in the form of Raskolnikov's "confession", the narration was conducted on behalf of the protagonist. In the process of work, the artistic concept of "Crime and Punishment" becomes more complicated, and Dostoevsky settles on a new form - a story on behalf of the author. In the third edition, a very important entry appears: “The story is from myself, and not from him. If it's confession, then it's too extreme, you have to clarify everything. So that every moment of the story was clear. Confession in other points will be unchaste and it is difficult to imagine what it is written for. As a result, Dostoevsky settled on a more acceptable, in his opinion, form. But, nevertheless, in the image of Raskolnikov there is a lot of autobiographical. For example, the action of the epilogue takes place in hard labor. The author depicted such a reliable and accurate picture of the life of convicts, relying on his personal experience. Many of the writer's contemporaries noticed that the speech of the protagonist of "Crime and Punishment" is very reminiscent of the speech of Dostoevsky himself: a similar rhythm, syllable, speech turns.

But still, there is more in Raskolnikov that characterizes him as a typical student of the 60s from raznochintsy. After all, authenticity is one of the principles of Dostoevsky, which he did not cross in his work. His hero is poor, lives in a corner resembling a dark, damp coffin, starving, poorly dressed. Dostoevsky describes his appearance as follows: "... he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender." It seems that the portrait of Raskolnikov is made up of the “signs” of the police file, although there is a challenge in it: here is a “criminal” for you, quite good against expectations.

From this brief description, one can already judge the author's attitude towards his hero, if you know one feature: in Dostoevsky, the description of his eyes plays a large role in characterizing the hero. Speaking of Svidrigailov, for example, the writer, as if in passing, throws in one seemingly completely insignificant detail: "his eyes looked cold, intently and thoughtfully." And in this detail is the whole of Svidrigailov, for whom everything is indifferent and everything is allowed, to whom eternity is presented in the form of a “smoky bathhouse with spiders” and to whom only the world's boredom and vulgarity are left. Dunya's eyes are "almost black, sparkling and proud, and at the same time, sometimes, for minutes, unusually kind." Raskolnikov, on the other hand, has “beautiful, dark eyes”, Sonya has “wonderful blue eyes”, and in this extraordinary beauty of the eyes is the guarantee of their future connection and resurrection.

Raskolnikov is disinterested. He has some power of insight in unraveling people, whether a person is sincere or not sincere with him - he guesses the false at first sight and hates them. At the same time, it is full of doubts and hesitations, various contradictions. It bizarrely combines exorbitant pride, anger, coldness and gentleness, kindness, responsiveness. He is conscientious and easily vulnerable, he is deeply touched by other people's misfortunes that he sees before him every day, whether they are very far from him, as in the case of a drunk girl on the boulevard, or closest to him, as in the case of the story of Dunya, his sister . Everywhere before Raskolnikov there are pictures of poverty, lack of rights, oppression, suppression of human dignity. At every step he meets outcast and persecuted people who have nowhere to go, nowhere to go. “After all, it is necessary that every person could at least go somewhere ... - the official Marmeladov, crushed by fate and life circumstances, tells him with pain, - after all, it is necessary that every person should have at least one such place where he would be pitied!. Do you understand, do you understand ... what does it mean when there is nowhere else to go? ... "Raskolnikov understands that he himself has nowhere to go, life appears before him as a tangle of insoluble contradictions. The very atmosphere of St. Petersburg quarters, streets, dirty squares, cramped coffin apartments overwhelms, brings gloomy thoughts. Petersburg, where Raskolnikov lives, is hostile to man, crowds, crushes, creates a feeling of hopelessness. Wandering along with Raskolnikov, who is contemplating a crime, along the city streets, we first of all experience an unbearable stuffiness: “The stuffiness was the same, but he greedily breathed in this smelly, dusty, city-infected air.” It is just as hard for a disadvantaged person in stuffy and dark apartments resembling sheds. Here people starve, their dreams die, criminal thoughts are born. Raskolnikov says: “Do you know, Sonya, that low ceilings and cramped rooms crowd the soul and mind?” In Dostoevsky's Petersburg, life takes on fantastic, ugly outlines, and reality often seems like a nightmarish vision. Svidrigailov calls it the city of the half-crazy.

In addition, the fate of his mother and sister is in jeopardy. He hates the very idea that Dunya will marry Luzhin, this "seems to be a kind person."

All this makes Raskolnikov think about what is happening around, how this inhuman world works, where unjust power, cruelty and self-interest prevail, where everyone is silent, but does not protest, dutifully bearing the burden of poverty and lawlessness. He, like Dostoevsky himself, is tormented by these thoughts. The sense of responsibility lies in his very nature - impressionable, active, not indifferent. He cannot remain indifferent. Raskolnikov's moral illness from the very beginning appears as pain brought to an extreme degree for others. The feeling of a moral impasse, loneliness, a burning desire to do something, and not to sit back, not to hope for a miracle, drive him to despair, to a paradox: out of love for people, he almost begins to hate them. He wants to help people, and this is one of the reasons for creating the theory. In his confession, Raskolnikov tells Sonya: “Then I found out, Sonya, that if you wait until everyone becomes smart, it will take too long ... Then I also learned that this will never happen, that people will not change and no one will remake them and not worth the effort! Yes it is! This is their law! .. And now I know, Sonya, that whoever is strong and strong in mind and spirit, then the ruler is over them! Whoever dares a lot is right with them. Whoever can spit on more is the legislator, and whoever can dare more than anyone else is to the right of all! This is how it has always been and always will be!” Raskolnikov does not believe that a person can be reborn for the better, does not believe in the power of faith in God. He is annoyed by the uselessness and meaninglessness of his existence, so he decides to act: to kill an unnecessary, harmful and nasty old woman, rob, and use the money for "thousands and thousands of good deeds." At the cost of one human life, to improve the existence of many people - this is what Raskolnikov kills for. As a matter of fact, the motto: "The end justifies the means" is the true essence of his theory.

But there is another reason for committing a crime. Raskolnikov wants to test himself, his willpower, and at the same time find out who he is - a "trembling creature" or having the right to decide the life and death of other people. He himself admits that, if desired, he could earn a living by teaching, that it is not so much a need that pushes a crime as an idea. After all, if his theory is correct, and indeed all people are divided into "ordinary" and "extraordinary", then he is either a "louse" or "having the right." Raskolnikov has real examples from history: Napoleon, Mahomet, who decided the fate of thousands of people who were called great. The hero says about Napoleon: “A real ruler, to whom everything is allowed, smashes Toulon, massacres in Paris, forgets the army in Egypt, spends half a million people on a Moscow campaign and gets off with a pun in Vilna, and he, after death, is put up with idols - and therefore, everything is permitted.”

Raskolnikov himself is an extraordinary person, he knows this and wants to check whether he is really higher than others. And for this, all it costs is to kill the old pawnbroker: “It is necessary to break it, once and for all, and only: and take the suffering upon yourself!”. Here one hears rebellion, the denial of the world and God, the denial of good and evil, and the recognition of only power. He needs this to satisfy his own pride, in order to check whether he can stand it himself or not? In his view, this is only a test, a personal experiment, and only then "thousands of good deeds." And not just for the sake of humanity, Raskolnikov goes to this sin, but for himself, for the sake of his idea. Later he will say: “The old woman was only a disease ... I wanted to cross over as soon as possible ... I didn’t kill a person, I killed the principle!”.

Raskolnikov's theory is based on the inequality of people, on the chosenness of some and the humiliation of others. The murder of the old woman Alena Ivanovna is only her test. This way of depicting the murder vividly reveals author's position: the crime that the hero commits is a low, vile deed, from the point of view of Raskolnikov himself. But he does it consciously.

Thus, in Raskolnikov's theory there are two main points: altruistic - help humiliated people and revenge for them and selfish - testing oneself for involvement in the "rights have." The pawnbroker is chosen here almost at random, as a symbol of a useless, harmful existence, as a test, as a rehearsal of real business. And the elimination of real evil, luxury, robbery for Raskolnikov is ahead. But in practice, his well-thought-out theory collapses from the very beginning. Instead of a planned noble crime, a terrible crime is obtained, and the money taken from the old woman for “thousands of good deeds” does not bring happiness to anyone and almost rots under a stone.

In reality, Raskolnikov's theory does not justify its existence. It contains a lot of inaccuracies and contradictions. For example, a very conditional division of all people into "ordinary" and "extraordinary". And where, then, to take Sonechka Marmeladov, Dunya, Razumikhin, who, of course, are not, according to Raskolnikov, extraordinary, but kind, sympathetic and, most importantly, dear to him? Is it really to the gray mass, which can be sacrificed in the name of good causes? But Raskolnikov is not able to see their suffering, he seeks to help these people, whom in his own theory he called "trembling creatures." Or how to justify then the murder of Lizaveta, downtrodden and offended, who did no harm to anyone? If the murder of an old woman is part of the theory, then what about the murder of Lizaveta, who herself belongs to those people for whose benefit Raskolnikov decided to commit a crime? Again, more questions than answers. All this is yet another indicator of the incorrectness of the theory, its inapplicability to life.

Although, in Raskolnikov's theoretical article there is also a rational grain. It is not for nothing that investigator Porfiry Petrovich, even after reading the article, treats him with respect - as a person who is mistaken, but significant in his thoughts. But “blood according to conscience” is something ugly, absolutely unacceptable, devoid of humanity. Dostoevsky, the great humanist, of course condemns this theory and theories like it. Then, when he did not yet have a terrible example of fascism before his eyes, which, in fact, was Raskolnikov’s theory brought to logical integrity, he already clearly imagined all the danger and “contagiousness” of this theory. And, of course, he makes his hero eventually lose faith in her. But he himself is well aware of the gravity of this refusal, Dostoevsky first leads Raskolnikov through great mental anguish, knowing that in this world happiness is bought only by suffering. This is reflected in the composition of the novel: the crime is told in one part, and the punishment - in five.

Theory for Raskolnikov, as for Bazarov in Turgenev's Fathers and Sons, becomes a source of tragedy. Raskolnikov has to go through a lot in order to come to the realization of the collapse of his theory. And the worst thing for him is the feeling of separation from people. Crossing the moral laws, he seemed to cut himself off from the world of people, became an outcast, an outcast. “I didn’t kill the old woman, I killed myself,” he admits to Sonya Marmeladova.

His human nature does not accept this alienation from people. Even Raskolnikov, with his pride and coldness, cannot live without communicating with people. Therefore, the mental struggle of the hero becomes more and more intense and confusing, it goes in many directions at once, and each of them leads Raskolnikov to a dead end. He still believes in the infallibility of his idea and despises himself for his weakness, for his mediocrity; now and then he calls himself a scoundrel. But at the same time, he suffers from the impossibility of communicating with his mother and sister, thinking about them is just as painful for him as thinking about the murder of Lizaveta. According to his idea, Raskolnikov must retreat from those for whom he suffers, must despise, hate, and kill them without any pangs of conscience.

But he cannot survive this, love for people did not disappear in him along with the commission of a crime, and the voice of conscience cannot be drowned out even by confidence in the correctness of the theory. The tremendous mental anguish that Raskolnikov experiences is incomparably worse than any other punishment, and it is in them that the whole horror of Raskolnikov's position lies.

Dostoevsky in "Crime and Punishment" depicts the collision of theory with the logic of life. The author's point of view becomes more and more understandable as the action develops: the living life process always refutes, makes untenable any theory - the most advanced, revolutionary, and the most criminal, and created for the benefit of mankind. Even the most subtle calculations, the most intelligent ideas and the most iron logical arguments are destroyed overnight by the wisdom of real life. Dostoevsky did not accept the power of ideas over man, he believed that humanity and kindness are above all ideas and theories. And this is the truth of Dostoevsky, who knows firsthand about the power of ideas.

So the theory collapses. Exhausted by the fear of exposure and feelings that tear him between his ideas and love for people, Raskolnikov still cannot recognize her failure. He reconsiders only his place in it. “I should have known this, and how dare I, knowing myself, anticipating myself, take an ax and bleed ...”, Raskolnikov asks himself. He already realizes that he is by no means Napoleon, that, unlike his idol, who calmly sacrificed the lives of tens of thousands of people, he is not able to cope with his feelings after the murder of one "nasty old woman." Raskolnikov feels that his crime, in contrast to the bloody deeds of Napoleon, is “shameful”, unaesthetic. Later, in the novel "Demons", Dostoevsky developed the theme of "ugly crime" - there it is committed by Stavrogin, a character related to Svidrigailov.

Raskolnikov is trying to determine where he made a mistake: “The old woman is nonsense! he thought hotly and impetuously, - the old woman, perhaps, that was a mistake, it’s not about her! The old woman was only a disease ... I wanted to cross as soon as possible ... I did not kill a man, I killed the principle! I killed the principle, but I didn’t cross over, I remained on this side ... I only managed to kill. And he didn’t manage to do that, it turns out. ”

The principle through which Raskolnikov tried to transgress is conscience. He is prevented from becoming a “ruler” by the muffled call of goodness in every possible way. He does not want to hear him, he is bitterly aware of the collapse of his theory, and even when he goes to inform on himself, he still believes in it, he no longer believes only in his exclusivity. Repentance and rejection of inhuman ideas, a return to people occurs later, according to some laws, again inaccessible to logic: the laws of faith and love, through suffering and patience. Dostoevsky's idea that human life cannot be controlled by the laws of the mind is very clear, and here one can trace Dostoevsky's idea. After all, the spiritual “resurrection” of the hero does not take place on the path of rational logic, the writer specifically emphasizes that even Sonya did not talk with Raskolnikov about religion, he came to this himself. This is another of the features of the plot of the novel, which has a mirror character. In Dostoevsky, the hero first renounces the Christian commandments, and only then commits a crime - first he confesses to the murder, and only then he is spiritually cleansed and returns to life.

Another spiritual experience that is important for Dostoevsky is communication with convicts as a return to people and familiarization with the people's "soil". Moreover, this motive is almost completely autobiographical: Fyodor Mikhailovich talks about his similar experience in the book “Notes from the Dead House”, where he describes his life in hard labor. After all, only in connection with folk spirit, in the understanding of folk wisdom, Dostoevsky saw the way to the prosperity of Russia.

The resurrection, the return to the people of the protagonist in the novel takes place in strict accordance with the ideas of the author. Dostoevsky owns the words: “Happiness is bought by suffering. This is the law of our planet. Man was not born for happiness, man deserves happiness and always suffering. So Raskolnikov deserves happiness for himself - mutual love and finding harmony with the outside world - exorbitant suffering and torment. This is another key idea of ​​the novel. Here the author, a deeply religious person, fully agrees with religious concepts about the comprehension of good and evil. And one of the ten commandments runs like a red thread through the whole novel: "Thou shalt not kill." Christian humility and kindness are inherent in Sonechka Marmeladova, who is the conductor of the author's thoughts in Crime and Punishment. Therefore, speaking about Dostoevsky's attitude to his hero, one cannot fail to touch upon another important topic reflected along with other problems in the work of Fyodor Mikhailovich Dostoevsky - religion, which appears as a sure way to resolve moral problems.

4.2 Maturing and the meaning of Raskolnikov's theory

The starting point of Rodion Raskolnikov's peculiar "rebellion" against the existing social order and its morality was, of course, the denial of human suffering, and here we have in the novel a kind of quintessence of these sufferings in the depiction of the fate of the official Marmeladov's family. But it is impossible not to notice right away that the very perception of suffering in Marmeladov and Raskolnikov differs from each other. Let's give Marmeladov the floor: "- Pity! Why pity me!" Marmeladov suddenly cried out ... - Yes! There is nothing to pity me! have pity on him!.. for I do not thirst for joy, but sorrow and tears!.. Do you think, seller, that this half-damask of yours has gone to my sweetness? and the one who took pity on everyone and who understood everything and everyone, he is one, he is the judge. He will come that day and ask: "Where is the daughter, that her stepmother is evil and consumptive, that she betrayed herself to strangers and minor children ? Where is the daughter that she took pity on her earthly father, an indecent drunkard, not horrified by his atrocities?" And she will say: "Come! I have already forgiven you once... I have forgiven you once... And now your many sins are forgiven, for having loved much..." And he will forgive my Sonya, he will forgive you, I already know that he will forgive... And when already finished over everyone, then he will say to us: “Come out, he will say, and you! Come out drunk, come out weak, come out rascals!" And we will all go out, not ashamed, and stand up. And he will say: "You pigs! the image of the animal and its seal; but come you also!" And the wise will say, the prudent will say:

"Lord! Why do you accept these?" And he will say: “Therefore I will accept them, wise ones, therefore I will accept those who are reasonable, because not a single one of these considered himself worthy of this ...” 39

In the statements of Marmeladov, we do not notice a shadow of theomachism. not a shadow of social protest - he takes all the blame on himself and his kind. But here there is another side of the issue - Marmeladov perceives his appearance and the suffering of his family as something inevitable in his self-flagellation, Christian repentance has no desire to start life "divinely", hence his humility acts only as a desire for petition and does not contain reserves of self-improvement .

It is no coincidence that the confession of a drunken official causes Raskolnikov at first to contempt and the idea that a person is a scoundrel. But then a deeper idea arises: “Well, if I lied,” he suddenly exclaimed involuntarily, “if a person is really not a scoundrel, the whole in general, the whole race, that is, the human race, it means that the rest is all prejudices, only fears posed , and there are no barriers, and so it should be!.." 40

What is it about? If a person suffers without guilt, since he is not a scoundrel, then everything external to him - which allows suffering and causes suffering - is prejudice. Social laws, morality - prejudices. And then God is also a prejudice. That is, a person is his own master and everything is allowed to him.

That is, a person has the right to violate the external law, both human and divine. Unlike the same Marmeladov, Raskolnikov begins to look for the cause of human suffering not in himself, but in external forces. How not to recall the arguments of V.G. Belinsky that he, having not received THERE an intelligible answer to the question of why the little man suffers, will return the ticket to the kingdom of God back, and he himself will rush headlong down.

Raskolnikov's former thoughts about the "real thing", which everyone does not dare to do "out of cowardice", fear of a "new step", begin to be reinforced by an increase in his theoretical constructions of the idea of ​​the inherent value of the human person.

But in Raskolnikov's head the thought is also intensively working that not all people suffer, the majority suffers and is humiliated, but a certain generation of the "strong" does not suffer, but causes suffering. Let us turn to the reasoning of the philosopher M.I. Tugan-Baranovsky on this topic. The researcher considers the postulation by people like Raskolnikov of the idea of ​​the intrinsic value of the human personality outside of its divine self-consciousness as a theoretical dead end, a substitution of divine moral laws for human willfulness. The formal recognition for all people of the right to self-worth turns into the socialist theory of the right to human deity for a few: “The belief in the inequality of people,” writes Tugan-Baranovsky, “is Raskolnikov’s main conviction in Crime and Punishment.” For him, the entire human race is divided into two unequal honors: the majority, a crowd of ordinary people who are the raw material of history, and a small handful of people of a higher spirit who make history and lead humanity. 41

It is interesting that the "philosopher" of humility Marmeladov, who nevertheless thought enough in a Christian way, does not have inequality before God - everyone equally deserves salvation.

However, Christian norms do not in any way fit into the "new morality" asserted by Raskolnikov. The division into those who suffer and those guilty of suffering is carried out by the Man-God without regard to the Christian right to the salvation of every sinner, and God's judgment is replaced on earth by the judgment of the Man-God embittered by suffering.

For Raskolnikov, the real impetus for the implementation of his idea was the conversation he heard between a student and an officer in a tavern: “Let me,” the student says to his interlocutor, “I want to ask you a serious question ... look: on the one hand, stupid, senseless, insignificant, an evil, sick old woman, of no use to anyone and, on the contrary, harmful to everyone, who herself does not know what she lives for ...

Listen further. On the other hand, young, fresh forces that go to waste without support, and this is in the thousands, and this is everywhere! A hundred, a thousand good deeds and undertakings that can be arranged and corrected with the old woman's money doomed to the monastery!" And then a real apology for evil as a good deed for humanity: "Hundreds, thousands, maybe, existences directed to the road; dozens of families saved from poverty, from decay, from death, from debauchery, from venereal hospitals - and all this with her money. Kill her and take her money so that with their help you can then devote yourself to the service of all mankind and the common cause: do you think that one tiny crime will not be atoned for by thousands of good deeds? For one life - thousands of lives saved from decay and decay. One death and a hundred lives in return - why, there is arithmetic here! And what does the life of this consumptive, stupid and evil old woman mean on the general scales? Nothing more than the life of a louse, a cockroach, and even that is not worth it, because the old woman is harmful. She eats someone else's life..." 42

So killing an old woman is "not a crime." Rodion Raskolnikov comes to this conclusion in his reflections.

However, what is the depravity of Raskolnikov's theory? From a utilitarian point of view, he is right - the mind will always justify the sacrifice for the sake of universal happiness. But how to understand happiness? It does not consist in the accumulation or redistribution of material wealth; moral categories are generally not amenable to rationalization.

M.I. Tugan-Baranovsky proposes to consider Raskolnikov's tragedy from precisely this angle: "... He wanted to logically substantiate, rationalize something in its very essence that does not allow such a logical justification, rationalization. He wanted a completely rational morality and logically came to its complete denial. He I was looking for logical proofs of the moral law - and did not understand that the moral law does not require proofs, should not, cannot be proved - for it receives its supreme sanction not from outside, but from itself. 43

Further, Tugan-Baranovsky affirms the Christian idea that the crime of Rodion Raskolnikov is precisely in violation of the moral law, in the temporary victory of reason over will and conscience: “Why is the personality of every person a sacred thing? logical basis for everything that exists by its own power, regardless of our will.The fact is that our moral consciousness invincibly affirms to us the holiness of the human person; this is the moral law. Whatever the origin of this law, it is just as real in our soul and does not allow its violation, like any law of nature. Raskolnikov tried to break it - and fell.

With an abstract theory, born with the help of only mental work, life entered into the struggle, permeated with the divine light of love and goodness, considered by Dostoevsky as the determining force in the tragedy of a hero seduced by bare reasoning.

The arguments about the reasons for the "rebellion" of Rodion Raskolnikov against the generally accepted morality of the philosopher and literary critic S.A. are interesting. Askoldov. Based on the fact that any universal morality has a religious character, is sanctified in the minds of the masses by the authority of religion, then for a person who has left religion, the question naturally arises - what is morality based on? When religiosity in society falls, then morality takes on a purely formal character, rests solely on inertia. And it is against these rotten props of morality, according to Askoldov, that Raskolnikov speaks: “It is necessary to understand that the protest against the moral law that arose in Raskolnikov’s soul is essentially directed not so much against himself, but rather against his unreliable foundations in a modern non-religious society ". 44

One can, of course, argue that the reasons for the emergence of socialist theories, such as the philosophical constructions of Raskolnikov, or rather not the reasons, but the nutrient medium, could be the decline of religiosity in society. But the practical goal arising from Raskolnikov's theory is quite clear - gaining power over the majority, building a happy society by replacing human freedom with material goods.

One cannot but agree with the reasoning of S.A. Askoldov that in a number of works, in particular, in "The Teenager", Dostoevsky categorically condemns the idea of ​​"virtue without Christ": but sees in it the greatest temptation and the principle of destruction.The public good, if it is not based on the precepts of Christ, will certainly fatally turns into malice and enmity, and the seductive good of mankind becomes only a seductive mask that is essentially evil and based on the hostility of the public ... "45

What the inevitable fall of this mask and the triumph of evil that it covered up could lead to is well predicted by Dostoevsky in Rodion Raskolnikov's prophetic dream in the epilogue of Crime and Punishment. It makes sense to recall him in full: “He dreamed in his illness that the whole world was condemned as a victim of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe. Everyone was to die, except for a few, very few, chosen ones. some new trichines, microscopic creatures that inhabited the bodies of people. But these creatures were spirits, endowed with mind and will. People who took them into themselves immediately became demon-possessed and crazy ... "46

These are the reasons, and then the consequences of this demonic possession: “But never, never did people consider themselves as smart and unshakable in truth as the infected considered. They never considered their judgments, their scientific conclusions, their moral convictions and beliefs more unshakable ...” Dostoevsky was convinced, and repeatedly spoke about this in his articles, that socialist ideas are the fruit of only "headwork" and have nothing to do with real life. This is discussed in the above excerpt from the dream. The next stage of demoniacness is the introduction of the theory into life, into the heads of "trembling creatures": "Entire villages, entire cities and peoples were infected and went crazy. Everyone was in anxiety and did not understand each other, everyone thought that the truth was in him alone and suffered, looking at others, beat his chest, wept and wringed his hands ... "

The separation of people who have lost their common moral principles in God's morality inevitably leads to social catastrophes: "They did not know whom and how to judge, they could not agree what to consider evil, what good. They did not know whom to blame, whom to justify. People killed each other in some senseless malice..."

Further, Dostoevsky has a profound thought about erasing during periods of revolutionary upheavals the difference between "ours" for the revolution and "them". The revolution begins to "devour its own children": "They gathered at each other with whole armies, but the armies, already on the march, suddenly began to torment themselves, the ranks were upset, the soldiers rushed at each other, stabbed and cut themselves, bit and ate each other. In the cities all day long they sounded the alarm: they called everyone, but who and for what was calling, no one knew it, and everyone was in alarm. They left the most ordinary crafts, because everyone offered his thoughts, his amendments, and could not agree; agriculture stopped. In some places, people ran into heaps, agreed to do something together, swore not to part - but immediately began something completely different than they themselves immediately assumed, began to accuse each other, fought and cut themselves. Fires began, famine began. Everything and everything perished..."

But what about the great ideals of goodness and happiness for people? Dostoevsky speaks very clearly about this: “The ulcer grew and moved farther and farther. Only a few people could be saved all over the world, they were pure and chosen, destined to start a new kind of people and new life, renew and cleanse the earth, but no one has seen these people anywhere, heard their words and voices.

Nikolai Berdyaev, in his article "The Spirits of the Russian Revolution," saw Dostoevsky's conviction that the Russian revolution is a metaphysical and religious phenomenon, and not a political and social one, as one of Dostoevsky's amazing insights. God?” From this Dostoevsky had a premonition of how bitter the fruits of Russian socialism would be without God.

N. Berdyaev discerned in the works of Dostoevsky an understanding of the philosophical, psychological, atheistic signs of Russian rebels: “Russians are very often nihilists - rebels from false moralism. cannot bear suffering, does not want sacrifices, but he will do nothing really to reduce the number of tears, he increases the number of shed tears, he makes a revolution, which is all based on innumerable tears and suffering...

The Russian nihilist-moralist thinks that he loves man and sympathizes with man more than God, that he will correct God's plan for man and the world...

The very desire to alleviate the suffering of the people was righteous, and the spirit of Christian love could be found in it. This has led many astray. They did not notice the mixing and substitution of the Antichrist temptations of this revolutionary morality of the Russian intelligentsia, which are the basis of Russian revolutionary morality. The Russian revolutionaries followed the temptations of the Antichrist and had to lead the people they had tempted to that revolution, which inflicted a terrible wound on Russia and turned Russian life into hell..." 47

The relevance of F.M. Dostoevsky

F.M. Dostoevsky - a phenomenon of world literature - opened a new stage in its history and largely determined its face, ways and forms of its further development. We emphasize that Dostoevsky is not just a great writer, but also an event of great importance in the history of the spiritual development of mankind. Almost all World culture summarily present in his work, in his images, in his artistic thinking. And not just present: she found in Dostoevsky her brilliant reformer, who opened a new stage of artistic consciousness in the history of world literature.

The works of Dostoevsky remain sharply modern even today, because the writer thought and created in the light of millennia of history. He was able to perceive every fact, every phenomenon of life and thought as a new link in the thousand-year chain of being and consciousness. After all, if any, even "small" today's event or word is perceived as a link in the practical and spiritual movement of history, this event and this word acquire an absolute meaning and become a worthy subject of creativity. It is significant that Western literature mastered the relationship between the concepts of "individual" and "nation", and Dostoevsky set before Russian literature the reality - "personality" and "people".

exceptional sharpness and inner tension of thought, a special intensity of action that are characteristic of his works, consonant internal tension life of our time. Dostoevsky never portrayed life in its calm flow. He is characterized by an increased interest in the crisis conditions of both society and the individual, which is by far the most valuable thing in a writer.

The artistic world of Dostoevsky is a world of thought and intense quest. The same social circumstances that separate people and give rise to evil in their souls, activate, according to the writer’s diagnosis, their consciousness, push the heroes onto the path of resistance, give rise to their desire to comprehensively comprehend not only the contradictions of their contemporary era, but also the results and prospects of the whole history. humanity, awaken their mind and conscience. Hence the sharp intellectualism of Dostoevsky's novels, which is especially valuable today.

The writer's works are saturated with philosophical thought, which is so close to the people of our time, and are related to the best examples of literature of the 20th century.

Dostoevsky is unusually sensitive, in many ways prophetically, expressed grown already in his time and even more grown today the role of ideas in public life.

One of the main problems that tormented Dostoevsky was the idea of ​​reunification of the people, society, humanity, and at the same time, he dreamed of finding inner unity and harmony for every person. He painfully realized that in the world in which he lived, the unity and harmony necessary for people were violated - both in the relationship of people with nature, and in relationships within the social and state whole, and in each person separately.

These questions, which occupied a central place in the circle of Dostoevsky's thoughts as an artist and thinker, have acquired special significance in our day. Today is especially acute the problem of the ways of interhuman connections, on the creation of a harmonious structure of social and moral relations and on the education of a full-fledged, spiritually healthy person.

Dostoevsky's work is rooted in Russian culture of the past to the most distant centuries. And at the same time, it is connected with all contemporary culture, philosophy, literature and art. In his understanding, the ever-living "Divine Comedy" of Dante, the image of Don Quixote, Alexei the man of God or Mary of Egypt, acquired a deep world-historical meaning in his understanding, just as Cleopatra or Napoleon turned out to be for him symbols of the destinies and experiences of a person of his era with their torments and searches. And in the same way he looked at the Book of Job or at the Gospel, in which he saw a reflection of the unrest of man and the spiritual quest not only of the past, but also of his era. Even in a small poem by Fet, he sought to reveal the expression of humanity's longing for the ideal. In turn, depicting the current topical modernity Dostoevsky knew how to raise her to the heights of tragedy.

The question facing the writer about uniting the mind and morality of the individual and humanity with its moral world, which stores the experience of generations, their conscience and wisdom, has acquired tremendous importance today. Dostoevsky made me think greatest writers of the 19th century, to solve the most important questions of life, he encourages us today.

ON THE. Dobrolyubov, in his article Downtrodden People, formulated the directions of Dostoevsky's intense mental activity:

Tragic pathos associated with pain about a person;

Humanistic sympathy for a person in pain;

A high degree of self-awareness of heroes who passionately want to be real people and at the same time recognize themselves as powerless.

To these we can add: the constant focus of the writer on the problems of the present; interest in the life and psychology of the urban poor; immersion in the deepest and darkest circles of hell of the human soul; attitude to literature as a way of artistic prediction of the future development of mankind.

All this makes Dostoevsky's work especially significant, modern and large-scale for us today.

Artistic originality of the novel

The specificity of "Crime and Punishment" is that it synthesizes romance and tragedy. Dostoevsky drew tragic ideas from the era of the sixties, in which the "free higher" personality was forced to test the meaning of life in practice alone, without the natural development of society. An idea acquires novel power in Dostoevsky's poetics only when it reaches extreme tension, becomes a mania. The action to which it pushes a person must acquire the character of a catastrophe. The "crime" of the hero is neither criminal nor philanthropic. The action in the novel is determined by an act of free will undertaken to turn an idea into reality.

Dostoevsky made his heroes criminals - not in a criminal case, but philosophical sense the words. The character became interesting to Dostoevsky when a historical-philosophical or moral idea was revealed in his willful crime. The philosophical content of the idea merges with his feelings, character, social nature of man, his psychology.

The novel is built on free choice problem solving. Life was supposed to knock Raskolnikov out of his knees, destroy the sanctity of norms and authorities in his mind, lead him to the conviction that he is the beginning of all beginnings: "everything is prejudice, only fears are posed, and there are no barriers, and this is how it should be !" And since there are no barriers, then you need to choose.

Dostoevsky - master fast-paced plot. The reader from the first pages gets into a fierce battle, the characters come into conflict with the prevailing characters, ideas, spiritual contradictions. Everything happens impromptu, everything develops in the shortest possible time. Heroes who "decided the question in their hearts and heads break all obstacles, neglecting wounds..."

"Crime and Punishment" is also called a novel of spiritual quest, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves his theory without listening to the interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. From the cacophony of voices, the voice of the author stands out, expressing sympathy for some heroes and antipathy for others. He is filled with either lyricism (when he talks about Sonya's spiritual world), or satirical contempt (when he talks about Luzhin and Lebezyatnikov).

The growing tension of the plot helps convey dialogues. With extraordinary art, Dostoevsky shows the dialogue between Raskolnikov and Porfiry, which is conducted, as it were, in two aspects: firstly, each remark of the investigator brings Raskolnikov's confession closer; and secondly, the whole conversation in sharp leaps develops the philosophical position set forth by the hero in his article.

The internal state of the characters is conveyed by the writer by the technique confessions. "You know, Sonya, you know what I'll tell you: if I had only slaughtered from what I was hungry, then I would now ... be happy. You know that!" Old man Marmeladov confesses in a tavern to Raskolnikov, Raskolnikov to Sonya. Everyone has a desire to open the soul. Confession, as a rule, takes the form of a monologue. Characters argue with themselves, castigate themselves. They need to understand themselves. The hero objects to his other voice, refutes the opponent in himself: “No, Sonya, that’s not it!” he began again, suddenly raising his head, as if a sudden turn of thoughts struck him and aroused him again ... It’s customary to think that if a person was struck a new turn of thoughts, then this is a turn of the interlocutor's thoughts. But in this scene, Dostoevsky reveals an amazing process of consciousness: a new turn of thoughts that took place in the hero struck him himself! A person listens to himself, argues with himself, objecting to himself.

portrait characteristic conveys common social traits, signs of age: Marmeladov is a drunken aging official, Svidrigailov is a youthful depraved gentleman, Porfiry is a sickly smart investigator. This is not the usual observation of the writer. General principle the image is concentrated in rough, sharp strokes, like on masks. But always with special care, the eyes are written on the frozen faces. Through them you can look into the soul of a person. And then Dostoevsky's exceptional manner of focusing attention on the unusual is revealed. Everyone's faces are strange, in them too much everything is brought to the limit, they amaze with contrasts. There was something "terribly unpleasant" in Svidrigailov's handsome face; there was "something far more serious" in Porfiry's eyes than was to be expected. In the genre of the polyphonic ideological novel, these are the only portrait characteristics of complex and divided people.

landscape painting Dostoevsky is not like the pictures of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a hurdy-gurdy, sleet, the dim light of gas lamps - all these repeatedly repeated details not only give a gloomy color, but also conceal a complex symbolic content.

Dreams and nightmares carry a certain artistic load in revealing the ideological content. There is nothing lasting in the world of Dostoevsky's heroes, they already doubt whether the disintegration of moral principles and personality occurs in a dream or in reality. In order to penetrate the world of his heroes, Dostoevsky creates unusual characters and unusual, standing on the verge of fantasy, situations.

Artistic detail in Dostoevsky's novel is as original as other artistic means. Raskolnikov kisses Sonya's feet. A kiss serves to express a deep idea that contains a multi-valued meaning.

subject a detail sometimes reveals the whole idea and course of the novel: Raskolnikov did not cut down the old woman - the pawnbroker, but "lowered" the ax on the "head with a butt". Since the killer is much taller than his victim, during the murder, the ax blade menacingly "looks him in the face." With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted, for whom the ax was raised.

color the detail enhances the bloody tone of Raskolnikov's atrocity. A month and a half before the murder, the hero pawned "a small golden ring with three red stones" - a gift from his sister as a keepsake. "Red stones" become harbingers of drops of blood. The color detail is repeated more than once: red lapels on Marmeladov's boots, red spots on the hero's jacket.

Keyword orients the reader in a storm of feelings of the character. So, in the sixth chapter, the word "heart" is repeated five times. When Raskolnikov, waking up, began to prepare for the exit, "his heart was beating strangely. He strained every effort to figure everything out and not forget anything, but his heart kept beating, pounding so that it became difficult for him to breathe." Safely reaching the old woman’s house, “taking a breath and pressing his hand to his pounding heart, immediately feeling and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening. Before the old woman’s door, his heart beats even stronger:“ Am I pale. .. very "- he thought, - am I not in a special excitement? She is incredulous - Shouldn't I wait more ... until my heart stops?" But the heart didn't stop. On the contrary, as if on purpose, it pounded harder, harder, harder ... "

To understand the deep meaning of this key detail, one must recall the Russian philosopher B. Vysheslavtsev: "... in the Bible, the heart is found at every step. Apparently, it means the organ of all feelings in general and religious feelings in particular ... intimate hidden function of consciousness, like conscience: conscience, according to the word of the Apostle, is a law inscribed in hearts. In the beating of Raskolnikov's heart, Dostoevsky heard the sounds of the hero's tormented soul.

Symbolic detail helps to reveal the social specifics of the novel.

Neck cross. At the moment when the pawnbroker was overtaken by her suffering on the cross, around her neck, along with a tightly stuffed purse, hung "Sonya's icon", "Lizaveta's copper cross and a cypress cross". Affirming the view of his heroes as Christians walking before God, the author simultaneously holds the idea of ​​a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the murderer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon, the Gospel.

Religious symbolism is also noticeable in proper names: Sonya (Sofia), Raskolnikov (schism), Capernaumov (the city in which Christ worked miracles); in numbers: "thirty rubles", "thirty kopecks", "thirty thousand pieces of silver".

The speech of the characters is individualized. speech characteristic German characters are represented in the novel by two female names: Luiza Ivanovna, the owner of an entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.

Louise Ivanovna's monologue shows not only the level of her poor command of the Russian language, but also her low intellectual abilities:

“I didn’t have any noise and fights ... no scandal, but they came drunk, and I will tell it all ... I have a noble house, and I always didn’t want any scandal myself. And they came completely drunk and then again he asked for three pots, and then one raised his legs and began to play the piano with his foot, and this is not at all good in a noble house, and he breaks the pianoforte, and there is absolutely, absolutely no manner here ... "

Speech behavior Amalia Ivanovna manifests itself especially vividly at the wake of Marmeladov. She tries to draw attention to herself by telling a funny adventure "for no reason at all". She is proud of her father, who "bully o o o o very important man and went all the way in his pocket."

Katerina Ivanovna’s opinion about the Germans is reflected in her response: “Oh, stupid! And she thinks it’s touching, and doesn’t suspect how stupid she is! ... Look, she’s sitting, her eyes popped out. Angry! Angry! ! Khee-khee-khee."

The speech behavior of Luzhin and Lebezyatnikov is described not without irony and sarcasm. Luzhin's grandiloquent speech, containing fashionable phrases, combined with his condescending address to others, betrays his arrogance and ambition. A caricature of nihilists is presented in Lebeziatnikov's novel. This "half-educated tyrant" is at odds with the Russian language: "Alas, he did not know how to explain himself in Russian decently (not knowing, however, any other language), so that he was all, somehow, exhausted, even as if he lost weight after a lawyer's feat." Lebezyatnikov's chaotic, obscure and dogmatic speeches, which, as you know, are a parody of Pisarev's social views, reflected Dostoevsky's criticism of the ideas of the Westerners.

The individualization of speech is carried out by Dostoevsky according to one defining feature: in Marmeladov, the feigned politeness of an official is abundantly strewn with Slavicisms; at Luzhin - stylistic bureaucracy; Svidrigailov has an ironic negligence.

Crime and Punishment has its own system for highlighting key words and phrases. It is italic, that is, the use of a different font. Words in italics test, case, all of a sudden. This is a way of focusing the attention of readers on both the plot and the intended deed. The highlighted words, as it were, protect Raskolnikov from those phrases that he is afraid to utter. Italics are also used by Dostoevsky as a way of characterizing a character: Porfiry's "impolite causticity"; "Insatiable suffering" in Sonya's features.

MUNICIPAL AUTONOMOUS

GENERAL EDUCATIONAL INSTITUTION

SECONDARY EDUCATIONAL SCHOOL № 71 KRASNODAR

Literature

Grade 10

Zalikaeva Svetlana Georgievna

F.M. Dostoevsky. Crime and Punishment is the first ideological novel. Genre originality of the work.

Lesson Objectives:

1. Contribute to the improvement of the ability to work with the text, paying attention to the depth, awareness, strength of knowledge.

Develop the ability to think logically using the example of identifying cause-and-effect relationships.

Develop the ability to compare, generalize, systematize the material, prove your point of view. (To develop the skills of reflection, comparison, comparison, synthesis in understanding the idea of ​​the work).

Tasks:

- educational possession monologic and dialogic speech; various methods of working with educational and additional literature (highlighting the main thing in the form of memos and algorithms, abstracts, abstracts, diagrams)

- developing mental activity (perform operations of analysis, synthesis, classification, the ability to observe, draw conclusions, highlight the essential features of objects, goals and methods of activity)

- educational moral and aesthetic ideas, a system of views on the world; personality needs, motives of social behavior, activities, values ​​and value orientation, worldview

Lesson type a lesson in the formation of new knowledge, consolidation of what has been studied

Forms of student work individual, frontal

Required technical equipment multimedia, presentation,film from the TV project "Name of Russia",portrait of the writer, individual sheets with text and assignments.

Structure and course of the lesson .

Preparing for the lesson, I saw an interesting SMS in the Va-bank newspaper. It interested me, because it was written by a student of the 10th grade, and I will read it to you now.

“Well, how much you can powder your brains! Read, read, read…. What to read? Classics, right? Now is the time for the strong. Need to spin. While you rush about, others will trample! Who needs these throwing souls!

Are throwing souls necessary? What should a person always remember? Answering these and many other questions is sometimes very difficult.

Russian writers come to the rescue, and among them F.M. Dostoevsky. (On the slide are portraits of Russian writers of the second half of the 19th century).

His name is among the outstanding names not only of Russian, but of the entire world literature. Moreover, his works leave a deep imprint on the spiritual development of man. This writer has been searching for an answer to all the throwings of a person all his life. In a letter to his brother F.M. says: “Man is a mystery. It must be unraveled, and if you will unravel all your life, then do not say that you have wasted time; I am engaged in this secret, because I want to be a man. 1833

Today we turn to his work: we have a lesson-reflection on the topic of F.M. Dostoevsky. SLIDE (on the slide is the topic of the lesson)Crime and Punishment is the first ideological novel. Genre originality of the work.

On the tables you have assignments for practical work that you will complete during the lesson. One of the sheets contains sayings, aphorisms and homework related to them: (SLIDE with the prescribed task and the address of the sites) write a work of one and a half pages. How do you understand the meaning of one of the judgments presented below. Justify your answer based on knowledge, reading or life experience.Internet sites can be usedschool - collection . edu . en , www . fcior . edu . en , www . edu . en , and etc.)

(On the slide is a portrait of F.M. Dostoevsky) The works of the classics have always been a response to the questions of the present. You have already got acquainted with the biography of F. M. Dostoevsky, so let's remember what issues worried society and the writer himself. (Issues of the present in the 1960s, the fermentation of various ideas: socialist, nihilistic; (in Chernyshevsky's novel What Is to Be Done? "new people" appear), Slavophiles and Westernizers.)

Our boys were preparing individual task on the question "How did reality affect the writer's worldview in his work?", Let's listen to them.

(Children's messages, after their statements, show a fragment of the FILM from the television project "Name of Russia" about time and Dostoevsky). (With photos of book covers).

(in the novel "Demons" - events related to the attempt on the tsar and the reprisal against members of the circle of D. Karakozov, "Teenager" - shows the collapse of the Russian family, unable to live by old ideals in new Russia).

CONCLUSION: The time in which Dostoevsky lived was a time of great reforms, and therefore a person in a rapidly changing world needed clear spiritual guidelines. This was especially true for the young educated people, because they did not want to live in the old way and tried to find their way in the spiritual life.

THE WORD OF THE TEACHER. One of these young people is R. Raskolnikov in the novel Crime and Punishment. (Slide with a portrait of R. Raskolnikov)

What do you know about the history of the creation of the novel "Crime and Punishment"? (Conceived as the story "Drunk")

Can you name the time frame? (Conceived in 1859 in hard labor, began writing in Wiesbaden in 1865, finished in 1966)

There are many heroes in the novel, but the main one of them is R. Raskolnikov - the son of this difficult time. It was he who was the embodiment of the ideas and views of many young people of that era. Raskolnikov kills the old pawnbroker in the most cruel way, but does not even look into the wallet!

For what then? (the answer was an idea, in the name of an idea)

Let's turn to Dostoevsky's letter to the publisher Katkov and find the answer.

By the way, do you remember where the novel "Crime and Punishment" was first published? (Russian Bulletin magazine) Who was its editor? (M.N. Katkov) (the portrait of M.Katkov is displayed on the slide)

(Working with a letter)

“He (Raskolnikov) decided to kill an old woman, a titular adviser who gives money for interest. The old woman is stupid, deaf, sick, greedy, takes Jewish interest, is evil and seizes someone else's eyelids, torturing her younger sister in her working women. “She is good for nothing”, “what does she live for?”, “is she useful to anyone?” etc. - these questions confuse the young man.He decides to kill her, rob her in order to make his mother, who lives in the district, happy, to save his sister, who lives as a companion with some landowners, from the voluptuous claims of the head of this landowner family ... to finish the course, to go abroad and then all my life to be honest, firm, unswerving in the fulfillment of the “humane duty” to humanity” - which, of course, “will make amends for the crime”, if only one can call this act against a deaf, stupid, angry and sick old woman, who herself does not know why she lives in the world, and who in a month, perhaps, would die of herself, be called a crime.

Despite the fact that such crimes are terribly difficult to commit, ... he - in a completely random way - manages to complete his enterprise both soon and successfully.

He spends almost a month after that until the final catastrophe, there are no suspicions on him and cannot be. This is where the whole. Unresolvable questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law takes its toll, and he ends up being forced to report on himself. Forced to die in penal servitude, but to join the people again; the feeling of openness and separation from humanity, which he felt immediately after the commission of the crime, tormented him. The law of truth and human nature have taken their toll, killed beliefs, even without resistance. The criminal himself decides to accept the torment in order to atone for his deed ...

In addition, there is a hint in my story that the imposed legal punishment for a crime frightens the criminal much less than the legislators think, partly because he himself morally demands it.

I have seen this even in the most undeveloped people, in the most brutal accident. I wanted to express this precisely on a developed person, on a new generation, so that the thought would be more clearly and tangibly visible. Several recent incidents have convinced me that my plot is not at all eccentric. Namely, that the killer of a developed and even good inclinations is a young man ... I am convinced that my plot partly justifies modernity.

CONCLUSION: The offender says that he did not kill the old woman, but the principle, he killed for the benefit of people, dreaming of organizing society at the expense of the pawnbroker, helping people.

Raskolnikov tests the correctness of his theory. So the main theme of the novel isthe life of Raskolnikov's idea, its fate, affirmation and refutation.

This is the main theme of the novel. Critics call this novel ideological. Pay attention to the meaning of this term. (Raskolnikov is not a simple killer, but a thinker, he tests his theory in life) (The concepts are gradually highlighted on the slide one by one as they are discussed: IDEOLOGICAL, PSYCHOLOGICAL, POLYPHONIC).

Note the features of the novel: write down on the sheets in the table, which is typical for an ideological novel.

Let's look at the title of the novel. When you first picked up the book, what did you think of it, what was it about? (Here the crime and the punishment are important, the crime is sure to be punished).

The title of the novel contains three words. There is an opinion of critics that the second word (the conjunction "and") can also be understood in a special way. What follows immediately after the crime?

Find confirmation of this thought in Dostoevsky's letter to Katkov. Those. how does Raskolnikov behave after the crime? (Yes. Read the lines). Not a punishment yet. (Unresolvable questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law takes its toll, and he ends up being forced to denounce himself.)

What? A strange moment when a crime has been committed, and the criminal has not yet been punished by anything ... From God - a call to repentance, from a man - his insane rejection?

What does Dostoevsky write about the state of mind of the protagonist after committed crime, let's turn to Dostoevsky's letter. (yellow sheets ... He spends almost a month after that until the final catastrophe, there are no and cannot be any suspicions on him.psychological process of crime .

CONCLUSION: We have seen that this novel is also psychological.

In the first part of the novel - a crime, in the rest - punishment.

WORD OF THE TEACHER: According to critics, “The perfection of the composition of “Crime and Punishment” is unparalleled by F.M. Dostoevsky".

The novel consists of 6 parts and an epilogue, and Dostoevsky writes more about the punishment than about the crime of Raskolnikov: out of 6 parts, only 1 is devoted to the description of the crime, while the rest are a kind of analysisthe psychological state of the individual, the mental life of the hero, the motives of his crime.

This feature of the novel is also noted by the Author himself, calling it a "psychological report". The main thing in punishment is not a court case, not hard labor, but directly moral, mental anguish, suffering, psychological trauma. The writer reveals the deep psychology of the hero, exposes his feelings, exploring the tragic contradictions inner essence souls and hearts. The mental state of the characters is revealed.

Is it only Raskolnikov who suffers? (Give examples) Marmeladov, Svidrigailov, ..

Write down arguments in favor of the statement that this is a psychological novel.

In addition, there is an opinion that this novel is also polyphonic. How do you understand this term? (polyphony - polyphony, many different opinions, ideas, theories)

Let us turn to our sheets, read the words of M. Bakhtin: “The novel“ Crime and Punishment ”is a novel of ideas in which the fundamental principle of polyphonic construction is implemented with one or more ideological characters” (M. Bakhtin’s words are highlighted).

Can you name other bearers of ideas in Dostoevsky's novel?

(Porfiry Petrovich - investigator, Sonya Marmeladova, Luzhin, Svidrigailov)

Conclusion: There are more than 90 characters in Crime and Punishment, of which about a dozen are central, who play an important role in the development of the plot. They, each in their own way, explained the drama that unfolds in Raskolnikov's mind between thoughts and soul.

Write out the words from M. Bakhtin's definition that prove that this novel is polyphonic.

Let's generalize everything that we have said, let us conclude: What is the genre originality of the novel and its problems? (problems of crime and punishment, …,)

THE WORD OF THE TEACHER: The novel "Crime and Punishment" is very multifaceted. Dostoevsky raises very important problems: And what are these problems, in your opinion? (crime and punishment, the problem of moral and immoral, the problem of the "little man" ..)

GENERALIZATION: “Crime and Punishment” is a novel about a crime, but it cannot be attributed to the criminal, detective genre, it is called a confession novel, a tragedy novel, one of the greatest ideological, psychological novels.

(Slide with the words of F. Dostoevsky)

The author himself believed that the young reader needed precisely such difficult books as novel Crime and Punishment. A person lives when he sets goals for himself and achieves them.

Now tell me, is it necessary to read the classics or is it the time of the strong? Let's answer the author of the SMS. (Of course, literature teaches us to understand life, because the experience of past years can be useful to us. We can find all the answers to questions in classical literature).

Following the painful path of knowing evil, Dostoevsky nevertheless believes in the triumph of good, awakened in the mind by love in order to remain human.

This is precisely what Dostoevsky's words, taken as an epigraph, are about.

(Slide with the words of F. Dostoevsky)

“Man is a mystery. It must be unraveled, and if you will unravel all your life, then do not say that you have wasted time; I am engaged in this secret, because I want to be a man.

It is very difficult to understand a person.

The ancients said: "It is easier to light one small candle than to curse the darkness." Now, more than ever, a lot of things in the world depend on the grain of good that we carry every day. (slide with words)

Keep the good in your heart! Do not let evil take over good, ruin it…” This is what Dostoevsky taught.

Control yourself among the confused crowd,

Cursing you for the confusion of all,

Believe in yourself against the universe

And unbelieving forgive their sin;

Let the hour not strike - wait without getting tired,

Let liars lie - do not condescend to them,

Know how to forgive and do not seem to forgive,

More generous and wiser than others.

Thank you for the lesson, I was very pleased to work with you, and I will be happy to mark all those who work in the form of gratitude sheets. By color, you will determine which grade it is.

Used Internet resources:

Unified collection of digital educational resources, Dostoevsky F.M. "Crime and Punishment", fragment 4.

www . fcior . edu . en 1C: Audiobooks. St. Petersburg

school-collection.edu.ru EER for literature; 1C: Audio tours; St. Petersburg; Dostoevsky F.M. "Crime and Punishment", fragment 4.

The ideological hero of the novel

The purpose of the lesson: to learn the gloomy "catechism" of Raskolnikov;
read and understand his theory; rate her.

During the classes

We all look at Napoleons;
There are millions of bipedal creatures
We have only one tool.
A.S. Pushkin "E.O."

Here the devil is fighting with God, and the battlefield -
people's hearts.
F. Dostoevsky "The Brothers Karamazov"

Dostoevsky is obsessed with the idea that
ideas do not grow in books, but in minds and hearts.
tsakh, and that they are not sown on the bu-
magician, and in human souls Dostoevsky by -
I realized that for outwardly attractive, mat-
mathematically verified and absolutely irrefutable
reducible syllogisms sometimes have to be
rally with blood, big blood and to
besides, not his own, someone else's.

“Then I learned, Sonya, that if you wait until everyone becomes smart, then it will be too long. Then I also learned that this will never happen, that people will not change, and no one can remake them, and it’s not worth wasting labor! Yes it is! This is their law. This is so!... And now I know that whoever is strong and strong in mind and spirit is the ruler over them! Whoever dares a lot is right with them. Whoever can spit on more is the legislator, and whoever can dare more than anyone else is to the right of all! This is how it has always been and always will be! Only the blind can't see! I guessed then, Sonya, that power is given only to those who dare to bend down and take it. There is only one thing, one thing: you just have to dare!”
2) What did I read?

(This is Raskolnikov's gloomy "catechism")
“Sonya realized that this gloomy catechism became his faith and law”

3) Catechism - summary Christian doctrine in the form of questions and answers.

4) Tell me, does the world really work like this? Do you agree with this?

/ And if the world were so arranged, then what would it be? /

5a) Write how, in your opinion, the world of people works, what laws govern people.

b) Reading works.

6) So - the hero of the novel - Raskolnikov.
What can we say about him that we know?

A) Appearance - "By the way, he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender"

/ “The soul of St. Petersburg is the soul of Raskolnikov: in it is the same greatness and the same coldness. The hero "marvels at his gloomy and mysterious impression and puts off solving it." The novel is dedicated to unraveling the mystery of Raskolnikov's Petersburg Russia. Petersburg is as dual as the human consciousness generated by it. On the one hand, the royal Neva, in whose blue water the golden dome of St. Isaac's Cathedral is reflected, "a magnificent panorama", "a magnificent picture"; on the other Sennaya Square with streets and back streets inhabited by the poor; abomination and ugliness. Such is Raskolnikov: "He is remarkably good-looking", a dreamer, a romantic, a high and proud spirit, a noble and strong personality. But this " beautiful person" there is! its own Sennaya, its dirty underground "thought" of murder and robbery. The hero's crime, vile and base, has accomplices in the slums, cellars, taverns and dens of the capital. It seems that poisonous fumes big city, infected! and his feverish breath penetrated! into the brain of a poor student and gave birth in him! thought of murder.”/ K. Mochulsky

B) Qualities: . “Yes, and what can I say?
For a year and a half I have known Rodion: gloomy, gloomy, arrogant and proud; lately (and perhaps much earlier) hypochondriacal hypochondriac. Magnanimous and kind. He does not like to express his feelings, and he would rather do cruelty than words express his heart. Sometimes, however, he is not a hypochondriac at all, but simply cold and insensitive to the point of inhumanity, right, as if in him two opposite characters are alternately replaced. Terribly taciturn sometimes!. He values ​​himself terribly highly and, it seems, not without some right to do so ”(Razumikhin)

B) closet:
It was a tiny cell, about six paces long, which had the most miserable appearance with its yellowish, dusty wallpaper everywhere lagging behind the wall, and so low that a slightly tall person felt terribly in it, and everything seemed to be bang your head on the ceiling"

D) Surname. - Raskolnikov

(Schismatic - 1) Follower of the schism, Old Believer. 2) Man, cat. brings a split, discord into some common cause.) (Sl. Ozhegova)

And what did Raskolnikov split?

/ - Rebels against human morality.
- Split his soul and consciousness /

7) But the main thing is, of course, Raskolnikov's Idea, His Theory.
(Do not forget, Dostoevsky has heroes of ideas)

Try to reproduce from memory what you remember, how you understood

What is the essence of Raskolnikov's idea? (Part 3, chapter 5; conversation with Porfiry Petrovich).

8) We read and analyze Raskolnikov's idea.

A) 1. People are divided into two categories: "supermen" and the crowd.
2. An extraordinary person has the right to step over
3. The category of "extraordinary" is allowed permissiveness, they are freed from conscience, from the moral law
4. Allows "blood in conscience"
5. They (extraordinary) can destroy the present in the name of a better future
6. You can sacrifice the lives of one, ten and a hundred for the sake of great discoveries for the benefit of all mankind.

/ ???Are Raskolnikov's point of view Genius and villainy compatible?/

9) What can we say to Raskolnikov? /

Do you agree that the theory of R. "sewn with white thread"? Or do some of the arguments in his explanation seem convincing to you, or, in any case, worthy of attention?

Answer to Mr. Raskolnikov. (in writing)

10Reading works

11) (Teacher's note)

1 "Pay attention to the completely fascist ideas developed by Raskolnikov in the "article" he wrote: humanity consists of two parts - the crowd and the superman. All his conceited thoughts rush to Napoleon, in whom he sees strong personality, ruling the crowd, because he dared to "seize" power, as if waiting for someone who dares to do it. Such is the rapid transformation of an ambitious benefactor of mankind into an ambitious tyrant-lover of power.
(V.Nabokov)
2) Raskolnikov envies only the integrity, recklessness, unabashed cruelty with which Napoleon and his ilk went ahead to their goal.
...
In draft notebooks there are sketches of remarks, according to which Raskolnikov saw the highest happiness in power over pygmy people "for the purpose." The reference to the goal can turn / into a slippery explanation, the Jesuits, "the inquisitors, and later the fascists justified the means with the goal. However, Raskolnikov does not think about the dangers lurking in his explanation. He is sure that his goal is good, that he breaks barriers, casts aside prejudices, throws back fears unleashed in the name of indisputable values. Luzhin is a bloodsucker, Marmeladov's victims. Raskolnikov needs power in order to save Katerina Ivanovna, Sonya, Polechka from Luzhin and others like him. Raskolnikov takes upon himself the decision: "to this or that to live in the world, then Is it for Luzhin to live and do abominations, or to die for Katerina Ivanovna.” He cannot bear that people like Sonya should be unhappy, he cannot bear injustice.
Raskolnikov puts himself above humanity in the name of saving humanity, he wants to "rake" people "into his hands and then do good to them."
V. I am Kirpotin. Disappointment and downfall of Rodion Raskolnikov. 1974.

3) “The theory of “two categories” is not even a justification for the crime. She is already a crime. From the very beginning, it decides, predetermines one question, who will live, who will not live.
Y. Koryakin. Raskolnikov's self-deception. 1976

12) Why does Sonya refuse to answer Raskolnikov's question?

(And it is very important that Raskolnikov tempts Sonya with this question immediately after her insult, humiliation. After slandering her. When the temptation to answer “rashly” is so great).

“It would be interesting for me to know how you would now resolve one “question”, as Lebezyatnikov says. (He seemed to be beginning to get confused.) No, really, I’m serious. Imagine, Sonia, that you Luzhin’s intentions would have known in advance (that is, for sure) that through them Katerina Ivanovna, and the children, perished altogether, you too, in addition (as you consider yourself for no reason, so in addition). she is the same way. die, I ask you.
Sonya looked at him with concern: something special for her
was heard in this unsteady and to something from afar suitable speech.
I already had a presentiment that you would ask something like that, she said, looking inquisitively at him.
·
Good; let; But, how can you decide?
Why do you ask what is impossible? Sonya said with disgust.
Therefore, it is better for Luzhin to live and do abominations! You didn't dare to decide?
Why, I can’t know God’s providence ... And why are you asking, what can’t you ask? Why such empty questions? How can it happen that it depends on my decision? And who put me here as a judge: who will live, who will not live?

13)) Why is blood “according to conscience” worse than official permission to shed blood?
(according to Razumikhin)

What does “blood according to conscience” mean? (i.e., according to internal law)

14) The essence of the crime in its "metaphysical sense" -
covenant murder.
"Thou shalt not kill" is a logically unprovable covenant. (But it's all humanity)

How do you understand this covenant? Why not "kill"? And what happens if it becomes possible?

14) We are watching a reproduction of Kustodiev's painting "Bolshevik"

Let's analyze this picture.
How is Raskolnikov's idea related to the idea of ​​this painting?

(The idea of ​​STEPING. What does it lead to?)

Homework:
"Raskolnikov's Arithmetic" (a conversation between two students), part 1, chapter 4 - re-read;
Does life refute this "arithmetic"?
Reread the second conversation with Sonya (part 5, ch. 4)
What torment does Raskolnikov experience after the crime?
Individual. assignment: how did Raskolnikov commit a crime? (His state, thoughts, will, author's comments).