Mastery of psychological analysis in the novel Crime and Punishment. Rodion Raskolnikov and the motives for his crime

Since the creation of M. Yu. Lermontov’s novel “A Hero of Our Time” in the works of Russian authors, the “evolution of the image psychological state heroes. Main Feature Dostoevsky's creativity is an innovation in the study of the inner world of man. The psychological state of the hero becomes the universal element of the novel, and in all the works of Dostoevsky inner world character is shown during periods of maximum stress, when the state and. feelings are extremely heightened. It is this situation that allows the author to penetrate into the deep layers of the human psyche and expose the inner essence and complexity of the contradictory nature of man. In Dostoevsky's structure of all his works there is not a single literary device, phrases or details that would not serve to directly or indirectly reproduce the emotional state of the characters. The author depicts the inner world of a person as a contradictory unity of good and evil principles in his soul. Dostoevsky shows not so much evolution spiritual qualities hero, how much he fluctuates from one extreme to another.

The protagonist of the novel “Crime and Punishment” is in such a state, he rushes from denying his dream to firmly intending to fulfill it. Dostoevsky not only shows the existing struggle in the hero's soul, but also focuses on the state of a person's transition from one extreme to another. And in this painful transition, in the suffering for his heroes, there is a kind of pleasure. Dostoevsky displays psychological paradoxes in the state of mind of the characters (“So he tortured himself, teased these questions with some kind of pleasure. The former excruciatingly terrible peculiar feeling began to be remembered more vividly and more vividly and became more and more pleasant.”

). Dostoevsky, one of the first prose writers, showed the inexhaustibility and unknowability to the end of the depths of the human soul. Sometimes the author draws the psychological state of the hero not as reliable, real, but as possible and approximate. This makes the description looser. Dostoevsky shows by this that internal state the hero is much more difficult than it can be conveyed in exact words, that all shades of feelings can be depicted only with a certain degree of approximation, that there are such layers in the human soul that defy description. The author shows the inner world of his characters analytically, but leaves the very depths of human nature unilluminated, giving the reader the opportunity to think for himself. Psychological analysis, as a rule, is accompanied by a description of the atmosphere, which is accompanied by specially selected details denoting feelings, sensations.

The choice of the season in Dostoevsky's novel is also not accidental; it creates a certain situation. Summer, heat and stuffiness kill Raskolnikov - Dostoevsky shows that part of St. Petersburg, whose inhabitants do not have the opportunity and means to go anywhere, so in the summer there are so many people that there is not enough air. Porfiry Petrovich, the investigator, says to Raskolnikov: “It’s time for you to change the air for a long time.” This stuffy city prompts Raskolnikov to commit a crime.

Dostoevsky uses a description of the details of the external, objective world, which, according to his plan, affect the soul of the hero. This is Raskolnikov's closet, and St. Petersburg as a whole, a city that "sucks the life out of a person." There are a lot of descriptions of sunsets in the novel, Raskolnikov most often goes outside in the evening, and the description of the atmosphere at that time is very symbolic. Dostoevsky includes in the narrative a picture of a sunset to enhance the impact on readers, the sun is shining, spring, daytime will appear only in the epilogue. There, in the boundless steppe flooded with light, Raskolnikov. get rid of your theory.

The rising sun is a symbol of the hero's rebirth. Color is very important in a novel. The most frequently used colors by the author are yellow, brown, blue, black.

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Since the creation of M. Yu. Lermontov's novel “A Hero of Our Time” in the works of Russian authors, “the evolution of the depiction of the psychological state of heroes is clearly traced. The main feature of Dostoevsky's work is innovation in the study of the inner world of man.

The psychological state of the hero becomes the universal element of the novel, and in all Dostoevsky's works the character's inner world is shown during periods of maximum tension, when the state and feelings are extremely heightened. It is this situation that allows the author to penetrate into the deep layers of the human psyche and expose the inner essence and complexity of the contradictory nature of man. In the structure of all of Dostoevsky's works, there is not a single literary device, phrase or detail that would not serve to directly or indirectly reproduce the emotional state of the characters. The author depicts the inner world of a person as a contradictory unity of good and evil principles in his soul. Dostoevsky shows not so much the evolution of the hero's spiritual qualities as his fluctuations from one extreme to another.

The protagonist of the novel “Crime and Punishment” is in such a state, he rushes from denying his dream to firmly intending to fulfill it. Dostoevsky not only shows the existing struggle in the hero's soul, but also focuses on the state of a person's transition from one extreme to another. And in this painful transition, in the suffering for his heroes, there is a kind of pleasure. Dostoevsky displays psychological paradoxes in the state of mind of the characters (“So he tortured himself, teased these questions with some kind of pleasure. The former excruciatingly terrible peculiar sensation began to be remembered more vividly and more vividly and became more and more pleasant.”).

Dostoevsky, one of the first prose writers, showed the inexhaustibility and unknowability to the end of the depths of the human soul. Sometimes the author draws the psychological state of the hero not as reliable, real, but as possible and approximate. This makes the description looser. Dostoevsky shows by this that the inner state of the hero is much more complicated than it can be conveyed in exact words, that all shades of feelings can be depicted only with a certain degree of approximation, that there are layers in the human soul that defy description.

Psychological analysis, as a rule, is accompanied by a description of the atmosphere, which is accompanied by specially selected details denoting feelings, sensations. The choice of the season in Dostoevsky's novel is also not accidental; it creates a certain situation. Summer, heat and stuffiness kill Raskolnikov - Dostoevsky shows that part of St. Petersburg, whose inhabitants do not have the opportunity and means to go anywhere, so in the summer there are so many people that there is not enough air. Porfiry Petrovich, the investigator, says to Raskolnikov: “It’s time for you to change the air for a long time.” This stuffy city prompts Raskolnikov to commit a crime. Dostoevsky uses a description of the details of the external, objective world, which, according to his plan, influence the soul of the hero. This is Raskolnikov's closet, and St. Petersburg as a whole, a city that "sucks the life out of a person."

There are a lot of descriptions of sunsets in the novel, Raskolnikov most often goes outside in the evening, and the description of the atmosphere at that time is very symbolic. Dostoevsky includes in the narrative a picture of a sunset to enhance the impact on readers, the sun is shining, spring, daytime will appear only in the epilogue. There, in the boundless steppe flooded with light, Raskolnikov will get rid of his theory. The rising sun is a symbol of the hero's rebirth.

Color is very important in a novel. The most frequently used colors by the author are yellow, brown, blue, black. “Yellow Petersburg” - speaks of the city in which the main action takes place. Yellow is the color of madness and power, houses are painted in it, and wallpaper in Raskolnikov's closet and in the apartment of an old pawnbroker, and furniture in Porfiry Petrovich's apartment. Sonya lives on a “yellow ticket”. This color creates the background of the city, becomes part of the inner world of the protagonist. In addition, the novel is very important green color, it is no coincidence that Raskolnikov’s dream about a beaten horse, symbolizing that the essence of the hero is to protect, not kill, Rodion Romanovich sees this dream outside the city, in a grove, against the backdrop of fresh greenery, where there is no suffocating, oppressive atmosphere of city life. When Raskolnikov goes to commit a crime, his thoughts, beyond the control of the hero, are connected with in green. He also appears in the epilogue of the novel. Sonya Marmeladova has a green scarf.

Blue color is a symbol of purity and aspiration to God (Sonia has blue eyes). Green and blue colors fully reflect the essence of Sonya's character.

Water in the novel is always depicted as dark and brown and symbolizes tragedy.

Smells and sounds affect the human condition and create a certain atmosphere (smell from the basement, the sounds are very sharp).

Dostoevsky creates a sense of the illusory nature of life by violating the usual relationship between the external and the internal. Reality becomes, as it were, a product of consciousness, unsteady, immersed in some kind of fog, just like Raskolnikov’s delusional visions and real paintings depicted in the novel equally reliably using the same techniques. Dostoevsky often does not focus on the fact that what is being described is a game of an inflamed consciousness, the reader is transported, as it were, into a state of nightmare and delirium of the hero.

One of the forms of depicting a psychological state is dreams. The experiences in them are preserved and even intensified, since in the subconscious state the horror that the hero wears in his soul is more freely manifested. Dreams are the basis of the whole work.

Dialogues and monologues in the novel carry a huge semantic load. Dostoevsky for the first time in literature introduces a technique: the characters themselves talk about their psychological state. The speech of the characters is extremely expressive, and the author's remarks indicate the nature of the speech. In conveying the conversation, Dostoevsky draws attention to the tempo and rhythm of the monologue. The double train of thought of the heroes is very often shown in brackets, the author uses pauses, italics.

Portrait characteristics play an important role in the psychological perception of the inner world of a person. For Dostoevsky, the description of the eyes is important, but it is inherent only in the image of Sonya, Raskolnikov, Dunya, Svidrigailov, Razumikhin and Porfiry Petrovich. The author pays special attention to the look (Raskolnikov's beautiful dark eyes, Sonya's blue, Dunya's “sparkling, proud”), and in the beauty of the eyes - the key to the resurrection of the hero. The description of lips, smiles is very important.

Dostoevsky entered Russian literature precisely as a writer-psychologist, who is an innovator in depicting the characters and emotional experiences of his heroes.

F.M. Dostoevsky is rightfully considered a master psychological analysis. The great Russian author demonstrates this talent especially vividly in his novel Crime and Punishment.

The attentive reader will notice that special attention is paid to the psychological state of the heroes of the novel. Drawing the inner worlds of the characters in the work, Dostoevsky thereby exposes the contradictory essence of the human personality.

His methods of psychological analysis provided good ground for the future development of psychologism in Russian and foreign literature. Dostoevsky believed that man is a mystery. In his novel, he tries to demonstrate to the reader all the contrast of the human soul, its extremes and the uncertainty of its impulses, thereby revealing the most secret secrets of human psychology.

A special technique of psychological analysis in the novel is the description of the atmosphere that surrounds the characters. It is no coincidence that Dostoevsky, talking about the landscape, often repeats the words "heat" and "stuffiness". It is stuffiness, the constant "stuffiness of life", that pushes Raskolnikov to commit a crime.

A woman who rushed into the Neva, a rich britzka, under whose wheels Raskolnikov almost fell ... All this is mentioned by Dostoevsky by no means by chance. He shows the reader a true picture of that life - a picture of hopeless grief. A person does not find a place for himself in that environment. Raskolnikov, in turn, exists in the conditions of precisely that picture. It is not difficult to guess that this also plays an important role in shaping his psychological state.

One of the techniques of the author's psychological analysis is portrait characteristic heroes. Dostoevsky deliberately gives several descriptions of the appearance of the same Raskolnikov or Sonya. At the beginning of the novel, we learn that Rodion Romanovich "was remarkably good-looking, with beautiful eyes, dark Russian, taller than average, thin and slender." But after a few chapters we will read completely different lines about the same person: "... Raskolnikov ... was very pale, absent-minded and gloomy." The second description was given absolutely not by chance, because by this time Raskolnikov had already committed his bloody crime. The author wants to show that the mental anguish that occurs in the soul of the hero leaves an indelible imprint on his appearance. This testifies to the internal struggle that takes place in the soul of Raskolnikov.

One of the methods of analysis can also be seen in the coloring of the novel. Very often in the work is mentioned yellow. As you know, yellow is the color of madness and strong power. No wonder the wallpaper in Raskolnikov's closet is painted yellow. Perhaps with this Dostoevsky wanted to emphasize the emerging "megalomania" of Raskolnikov, who classified himself as a "Napoleon".

But the most important device is, perhaps, the monologues of the characters themselves. In the course of their reading, all the thoughts, experiences and feelings that reign in the souls of the characters are revealed to the reader. Dostoevsky exposes the contradictory essence of man precisely through the internal monologues of the main characters. For example, Raskolnikov's constant reflection testifies to the struggle of his nature and his theory. Indeed, despite his ideal calculation of the crime, he could not fully accept his act, and the reason for this was his human nature. Raskolnikov's monologues seem to contain "internal dialogues" between the two principles of his personality. This is especially noticeable in Raskolnikov's thoughts about whether it is worth committing a crime or not. The personality of the protagonist is bifurcated. One side is trying to warn him against committing a bloody mistake, and the other, on the contrary, is pushing him to bloodshed.

Dialogue between characters is also a central device. author's analysis. The dialogues of Crime and Punishment present a battle of different ideas and positions. Dialogues between the characters characterize their state of mind, and also help to study their characters more deeply, and, therefore, better understand the motives of their actions. In addition to the traditional forms of dialogue, the novel also features a form of "interrogation". Now I'm talking about the "fights" of Raskolnikov and Porfiry. At first glance, these are ordinary dialogues, but in fact, this a prime example amazing psychological analysis. Porfiry supposedly reads all the secrets of Raskolnikov, although he does not say a word to him directly about committed crime. Together with Porfiry, Dostoevsky conducts this psychological analysis. Here, the author pays special attention to the facial expressions of the hero, his movements, gestures. The investigator skillfully penetrates into the innermost corners of Raskolnikov's soul.

Another form of expression of the psychological state of the hero is his dreams. Dostoevsky lends Raskolnikov's dreams symbolic meaning, thus, most fully revealing his psychological state. For example, the dream about Ilya Petrovich was introduced by Dostoevsky into the novel to show the horror and inconsistency of Raskolnikov's theory. The staircase in this dream symbolizes the confrontation between good and evil. The dream of a laughing old woman means that on a subconscious level, Raskolnikov understands the whole pointlessness of the murder, but is not yet ready to repent. The last dream of trichina marks the beginning spiritual rebirth Rodion Romanovich. As we can see, dreams are a direct reflection of the psychology of the protagonist.

The psychological techniques of the author's analysis in the novel "Crime and Punishment" help the reader to fully understand main idea works. Summarizing, we can say that it is precisely the psychologism of Dostoevsky's works, his ability to penetrate into human soul, his holistic understanding of human psychology, as well as his talent to immerse the reader into the inner worlds of the characters he created, continue to draw attention to the work of the great Russian writer.

Dostoevsky opposed himself to his contemporaries in two respects: as a realist in the highest sense of the word, who is not limited to the social and everyday characteristics of the character, but reveals the depths of the human soul, and also as one who turned not to stable forms of life, but to "the current chaos of history."

In the novel "", the writer turned to the image of post-reform Russia, when everything was changing, old social relations were collapsing, and new ones were in the making, the peasantry and its patriarchal foundations were ruined.

It is impossible, for example, to compare the reality of Dostoevsky with the reality of Gogol. Therefore, in Dostoevsky's novel, so many "former" appeared: _ a former student Raskolnikov, a former official Marmeladov.

Objectively, Dostoevsky depicted in his novel the transitional types of the transitional era of Russian life. The writer did not seek to recreate certain social types corresponding to his era.

The realistic principle of depicting reality was not the main one for Dostoevsky. For his predecessors, life, environment, social environment - everything explained the character of a person. Dostoevsky, on the other hand, rejects life and social status man as the basis of his character. As a rule, the life of the writer's characters belongs to their past, and psychology characterizes them in the present and even in the future. If for his predecessors the main thing was the creation of social types, then for Dostoevsky it was of interest to contrast social type individual person as an object of artistic research.

The main task of the writer is to reveal the inner world of a person. By the way, Dostoevsky himself did not like the term "psychologism". “Psychologism”, in his opinion, is a scientific word that implies a rational analysis of human consciousness, the writer believed that one consciousness cannot analyze another consciousness. It is with this position of the author that Features of the psychological analysis of the novel "Crime and Punishment" .

Dostoevsky seeks to show the independence of the consciousness of the characters from the consciousness of the author. The consciousness of each hero exists independently of the consciousness of others. Such Features of psychological analysis M. M. Bakhtin called “polyphony”, Dostoevsky, first of all, seeks to give the floor to the hero himself. From here great importance in the novel have monologues of the characters. A special role is assigned to the monologue-confession, that is, the confession of one character to another.

According to Dostoevsky, one consciousness must be refracted in another consciousness.

The consciousness of an individual hero is revealed in his relationship and interaction with the consciousness of another hero.

Here you can already see another property of the analysis of the hero's state of mind - dialogism. The dialogues of the characters are also important.

Here, the dialogue of the student Raskolnikov with an officer in a tavern is typical. While talking with an officer, the student subconsciously understands that he can commit a crime, saving thousands of lives "from decay and decay."

There is another one in the novel. Feature of psychological analysis hero: internal monologue and the character's internal dialogue. Heroes often think to themselves. Here, of course, the reflections of the student Raskolnikov, for example, before the murder of an old woman, play a special role.

Raskolnikov tries to convince himself that this is not a crime. He reflects on why almost all criminals are so easily found.

The internal dialogue of the hero is already a peculiar form of psychological analysis, since a split occurs in a person, two live in him. For example, Raskolnikov is tormented by terrible nightmares, haunted by hallucinations.

The views, facial expressions, gestures of the heroes play a special role, because they convey the feelings of the heroes, their inner states of mind. After all, it is important for Dostoevsky to show the subconscious in his heroes, and therefore the dreams and nightmares that haunt Raskolnikov after he committed a crime play an exceptional role.

Thus, such artistic techniques, as a double portrait, an internal monologue, a description of dreams and hallucinations, dialogues of characters, help the writer to fully reveal the inner world of his characters, to understand the motives of their actions.

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1. The composition of the novel "Crime and Punishment" and its role in revealing the main idea of ​​the work. 2. Social and philosophical origins of Raskolnikov's rebellion. 3. The attitude of the author to the hero in the novel "Crime and Punishment". 4. The inconsistency of Raskolnikov's character. 5. The image of St. Petersburg in the novel "Crime and Punishment". 6. Psychological doubles of Raskolnikov and their role in the novel "Crime and Punishment". 7. Raskolnikov's theory and its collapse in the novel Crime and Punishment. 8. The theme of mercy and
1. What caused Raskolnikov's crime? A. Anger at the old money-lender B. Poverty C. Desire for self-affirmation D. Thirst for freedom 2. Who is Raskolnikov's idol? A. Robespierre B. Napoleon V. Alexander the Great G. Horace 3. Who embodies the Christian ideal of self-sacrifice in F. M. Dostoevsky's novel "Crime and Punishment"? A. Marfa Petrovna Svidrigailova B. Dunya Raskolnikova C. Sonya Marmeladova G. Katerina Ivanovna 4. When does Raskolnikov repent? A. During the confession B. Having fallen in love with Sonya C. Does not repent at all D. After a conversation with Luzhin 5. How can one define the genre of F. M.
1. What is the place of the children's theme in F. M. Dostoevsky's novel "Crime and Punishment"? Children's images are a test of the vitality, the truth of any idea, theory. The little children of the Marmeladovs emphasize the unbearability of a miserable, beggarly life, as if justifying what Raskolnikov did. The little girl who appears in Svidrigailov's nightmare is forced to be vicious at the age of five, a young girl of fifteen who commits suicide is also a denunciation of society. 2. What are the motives for Raskolnikov's crime? Raskolnikov sees the poverty and deprivation of the poor
TEST ON THE TOPIC “F. M. DOSTOYEVSKY" Fyodor Mikhailovich Dostoevsky wrote: A) "Poor Liza" B) "Crime and Punishment" C) "Thunderstorm" D) "Lady Macbeth of the Mtsensk District" E) "Eugene Onegin" The hero of the novel "Crime and Punishment": A ) Rodion Raskolnikov B) Eugene Onegin C) Yakim Nagoi D) Grisha Dobrosklonov E) Evgeny Bazarov From what moment does Raskolnikov's crime begin: A) After the murder of the old pawnbroker and her sister B) During the murder C) Before the murder D) At hard labor D ) In the closet From what moment does Raskolnikov's punishment begin: A) Before the murder B) After the murder C) After the confession to Sonya D) At hard labor E) C
Lesson type. Intellectual Reading Club. Topic. Soul in the world of business, or Do we need Dostoevsky? Preliminary tasks 1. Dramatization of the episode "Raskolnikov's Confession to Sonya." 2. Dramatization of "Criticism about Dostoevsky". 3. The message "Terrorism today as a" resolution of blood in conscience "". 4. Speech on the film by Julian Jarelda "Crime and Punishment" (England). 5. Speech on the film by Andrzej Wajda "Demons" (France). 6. Prepare a summary of criminal events in the city. 7. Message "Dostoevsky and Nietzsche". 8. Pick up quotes from Nekrasov that are close in spirit to Dostoevsky. Design 1. Theme. 2. Scheme
"Crime and Punishment" is a novel about a crime, which nevertheless does not fit the definition of detective fever: the narrative does not develop around the search for the guilty - the killer is known from the very beginning - but around the psychological state of Raskolnikov, around his decisions and actions, around his throwing. Other characters in the novel for the most part serve to reveal the drama taking place in Raskolnikov's soul, but at the same time they do not lose their independence: "... Raskolnikov is the only hero of the book. All the rest are projections
In the novel by F. M. Dostoevsky, as well as in the works. many other Russian writers, there are descriptions of the seam of the protagonist. For Dostoevsky, dreams are of great importance also because they reveal the character and soul of a person. In "Crime and Punishment" there are four dreams of Rodion Raskolnikov, but we will consider and analyze the first dream described by Dostoevsky at the beginning of the novel. Raskolnikov dreams of his childhood, still in his native town. He walks with his father and passes by a tavern,

"Dostoevsky is an artist ... of the abyss of human, human abyss" (N. A. Berdyaev).

Mastery of psychological analysis in the novel "Crime and Punishment".

One of the tasks of the writer and his artistic achievement was the depiction of the inner life of the characters, psychological analysis. The writer shows the deep foundations of the hero's soul. His consciousness is aimed at preparing an “ideological” murder, but initially a kind soul involuntarily and unconsciously manifests itself either with the help of the Marmeladovs, or with care for a random girl in trouble. From this side, Raskolnikov is not ready for a crime, and only by an effort of will forces himself to go further along the chosen path.

Recreating the internal monologue, fixing the details of Raskolnikov's behavior and state at the time of the murder, the writer conveys all the horror of what is happening, without specifically focusing on it anywhere. Reflection - an analysis of one's own feelings, moods, reactions to the phenomena of life, remarks and behavior of other heroes reveals all corners of the sick soul of the hero, rushing about in search of a way out.

The writer deliberately constructs the plot in such a way that Raskolnikov has every opportunity to avoid legal punishment. There are no witnesses or direct evidence. And the main thing for the writer-psychologist is the image of the inner life of the hero after the crime. Dostoevsky himself, thinking about the novel, wrote about this: “Insoluble questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law take their toll, and he ends up being compelled to denounce himself. Forced to die in penal servitude, but to join the people again; the feeling of openness and disconnection with humanity, which he felt immediately after the commission of the crime, tormented him. The law of truth and human nature have taken their toll."

An important role in revealing the psychological state of Raskolnikov is played by the scenes with the investigator Porfiry Petrovich, smart, professional, subtly understanding the state of mind of the criminal, but ruthless, playing with Raskolnikov like a cat with a mouse.

The painful state of Raskolnikov paints many pages of the work in gloomy tones. It is important for the writer to convey the full depth of torment to which the proud mind dooms itself, refusing to give hints and the unaccountable desire of the heart. But only with the heart, with the soul having accepted Christian moral values, having sincerely and deeply repented, it is possible to set foot on the path of recovery, returning to people. After all, even in hard labor Raskolnikov persists for a long time, considers his theories to be completely correct, although he himself did not turn out to be a superman. And only suffering, insight into the innermost meaning of the Gospel, Sonya's selfless help return the hero to a truly human life.