The novel Crime and Punishment is an insight into the depths of the human spirit. What was right and what was wrong Rodion Raskolnikov (Dostoevsky F.

“My name is a psychologist; not true, I am only a realist in the highest sense, that is, I depict all the depths of the human soul, ”wrote F.M. Dostoevsky. In his novels, he describes not so much empirical events and human states as, first of all, spiritual events, dialectics spiritual realities. Dostoevsky is one of the founders of the personalistic way of thinking in Russian culture; he is a personalist in ideological and creative settings, like most Russian philosophers of the twentieth century. He is interested, first of all, in the individual, in which the universal content is revealed.

His characters are individual characters, at the same time they embody certain ideas in their ultimate expression - "Dostoevsky became a great artist of the idea" (M.M. Bakhtin). These are not abstract and rationalistic, but existential ideas, ideas-individuals capable of being embodied, a kind of living spiritual beings with its own will, its own individual appearance. This kind of combination of peculiar idealism and personalism creates a unique look for the characters. The hero of Dostoevsky is obsessed with an idea, a “man of an idea” (M.M. Bakhtin), but, at the same time, idea-man is the expression of a particular idea. Therefore, Dostoevsky's characters are both artificial and lifelike, extremely fantastic and extremely real. They are in an unnatural and often supernatural situation, in an unusual state, anguish, breakdown, incredible tension of experiences and actions, when much seems unconditioned, spontaneous, unforeseen and unpredictable, illogical. From the point of view of ordinary consciousness So do not act So living people do not speak. But in characters who from an ordinary point of view appear to be criminals and madmen, an intense struggle of ideas is described. For all their unusualness and improbability, Dostoevsky's characters are psychologically reliable.

The empirical artificiality and deliberateness of their actions on the spiritual plane turns out to be adequate and consistent. Dostoevsky's images are justified from the point of view of the psychology of an extreme situation, from which his heroes almost never come out. In states of extreme spiritual tension, incredible events happen to them in everyday life: supernatural guesses, recognition of other people's thoughts, and denia, committing unexpected, unmotivated acts. Dostoevsky's works are dominated by a border or pre-border situation (experiencing the deepest shocks: fear, suffering, struggle, death; these are states in which a person recognizes himself as something unconditional). Such intensity of meanings and affects is difficult to bear, and many are repelled by the incredible spiritual energy of the writer's works and the apparent ugliness of his characters and actions. It seems to many that Dostoevsky describes a mental pathology or some kind of phantasmagoria that has nothing to do with real life. Dostoevsky himself spoke about the realism of his works: “Many critics reproached me for taking the wrong topics in my novels, not real, and so on. On the contrary, I don’t know anything more real than just these topics.” He meant another reality - not ordinary, but deep the reality of the spirit. “The new reality created by a brilliant artist is real, because it reveals the very essence of being, but not realistic, because it does not produce our reality. Perhaps, of all the world's writers, Dostoevsky possessed the most unusual vision of the world and the most powerful gift of embodiment ”(K.V. Mochulsky).

Dostoyevsky’s images can be applied to his formulation, expressed on a close occasion: “Of course, they are absurd in the ordinary sense, but in a different, internal sense, it seems, they are fair.” This is an image not of empirical persons and events, but of mental states and processes. The inner life of a person is spontaneous, ragged, illogical, although at the level of consciousness it looks logical. Intense spiritual life is a struggle of conflicting forces, constant anguish and split. In a strong character, any idea can capture the imagination, subjugate the spiritual life, deprive it of diversity, and we have before us a man of ideas or an idea-man. The heroes of Dostoevsky personify the inner forces that we generate in our souls and which are capable of enslaving us. To the extent that we manifest ourselves as free, creative beings, as individuals, we create images of a true, beautiful and good being. Surrendering to self-will, selfishness, selfish instincts, the elements of evil, we breed false ideas and evil forces. The struggle of good and evil motives gives rise to a conflict of inner life, a tragic collision - a clash of opposing aspirations and interests.

So, the field of action of Dostoevsky's individual spiritual essences is the human soul. “In the world, the devil fights with God, and the battlefield is the hearts of people” - this statement of Dostoevsky expresses the intention of his work. Therefore, the feeling of aesthetic balance and the criterion of artistic completeness of the image of the writer are largely ethically motivated. His moral and religious feeling participates in the search, development, differentiation and collection of artistic images. In literary form, as the most adequate to his way of thinking, Dostoevsky tries to think over, understand and solve his own metaphysical problems. This gives a unique originality to his poetics - the system of artistic means. It cannot be understood and justified only aesthetically. In his work, Dostoevsky tries to solve the main, most painful and hidden questions of human existence. This is where he focuses his energy. Hence the tension, eccentricity of feelings and relationships of his characters. What is not in his main interest is rewarded with a fleeting sketch and therefore gives the impression of artificiality.

Until now, the discussion has not stopped: Dostoevsky's work is polyphonic or monological. He dialectically combines both. This is polyphony, since in Dostoevsky's novels there is an obvious polyphony of opposing and mutually exclusive positions and ideas. The writer saw the initial conflict of the spiritual life of a person, the split, inconsistency of his consciousness and feelings. But this is imonological, since everything happens within the framework of a single human soul, which is the battlefield of the world's good and evil. In Dostoevsky's novels, there is one main character, absorbing most of the images of the rest. The monologism of the writer's work is also reflected in the fact that he affirms the metaphysical unity of the personality as target norm. The main thing is that Dostoevsky's work is a projection of his own solution of existential problems. His characters are driven and they are united by the obligatory initial question and the creative problem of the writer himself. So, many voices in their combination express the author: Dostoevsky's work is most of all symphonic - it is a combination, a combination of many contradictory states, ideas.

Like all great Russian writers, starting with Pushkin, literary work for Dostoevsky was at the same time self-creation, the creation of a new personality and a new way of life. The thread of Dostoevsky's painful fate is woven into the fabric of his works. On the other hand, in his works he tried to understand and resolve the issues of life that tormented him. His work is existential, first of all, in that it is rooted and embraced by the unity of the existence of the author himself.

Such is Dostoevsky's way of understanding reality: personal experience is embodied in artistic form and then fully realized. In the artistic image, he plunges into the metaphysical depth of the problem, explores its dialectical content, and then formulates it directly. These are not purely literary pursuits, not a game of fantasy, which have little effect on the appearance and fate of the author, but type of life. Dostoevsky could not help but write novels, primarily because he resolved in them the problems of his own existence. Hence the need for missionary work - the spread of one's views, hence the prophetic quality - a sense of the prophetic significance of one's statements. A writer who creates in purely literary traditions and associations cannot be imbued with the pathos of possessing an integral truth that is saving for mankind. At the same time, formal aesthetic searches were not alien to Dostoevsky, he was in the thick of literary life and reacted vividly to it. But the literary process was not self-sufficient for him, but served as a material in which he could most adequately embody his vision of world problems. So, in terms of its tasks, Dostoevsky's work is existentially monologue.

Another question is: where and to what extent is the text of the works a monologue of the author? Dostoevsky is not a writer describing everyday life, but visionary who survived the tragedy of life, depicting what torments his soul. He was a titanic and complex personality, torn apart by contradictions, but seeking harmony. He, as a truly brilliant person, was aware of the states of both intense spiritual upsurge and fall, both high and low were discovered. His soul has been both in heaven and in the underworld. This tragic spiritual experience was embodied in the images of Dostoevsky's heroes. Therefore, to the question: through which of the characters Dostoevsky speaks, one can answer: each individually and all together. But to another question: with which hero the author's position is identified, it is unambiguously difficult to answer. This or that hero, sometimes completely unexpected, can express the cherished thoughts of Dostoevsky.

But the closest to the author's worldview is that anonymous hero who can have a personal image, but whose soul field is wider than this particular person and absorbs the properties of other heroes. By analogy with the concept of "lyrical hero" in poetry, one can say that in Dostoevsky's novels a certain life lives metaphysical hero- the embodiment of former delusions, real suffering and searches, craving for harmony of the author himself. The metaphysical hero can be personified in one character, but it is not his complete expression. In this case, most of the characters are captured by the horizon of the soul of the metaphysical hero and gravitate towards its obvious center - the protagonist.

The novel "Crime and Punishment" therefore produces the most holistic impression that its main character Raskolnikov is also a metaphysical hero. In other novels, the image of the metaphysical hero is dispersed. Raskolnikov is not only the main, but in a certain sense the only protagonist of the novel. All the rest are projections of certain states of Raskolnikov's soul. Since the author is primarily interested in the dynamics and outcome of mental transformations, they are depicted in a limiting state. Most of the characters in the novel are an extreme expression and personification of Raskolnikov's ideas or feelings. Some heroes personify certain objective principles: positive (Sonya) or negative (old woman), affecting Raskolnikov both from the outside and through his mind or heart.

The main problem of Dostoevsky's work is the nature and origin of evil in man, the obsession with evil spirits. Dostoevsky describes the clash of good and evil in the fate and soul of man. Therefore, his novels depict more metaphysical than empirical realities. The most ideological novel "Demons" in this dimension turns out to be the most polemical-empirical work of the mature period of the writer's work. Since problems are expressed in it in social, psychological and everyday projections, the description looks the closest to real life. Hence the presence, more than anywhere else, of specific historical events and facts, the topicality and relevance of the novel. At the same time, in "Demons" the spirits of evil appear as naked, abstract, although specific characters can be their carriers; hence some rationality of "Demons". It was necessary for Dostoevsky to express himself in such a way that he himself would fully understand the issue, formulate some topical problems and, at the same time, be heard by his contemporaries. In Possessed, the writer directly expressed what he experienced and identified in Crime and Punishment. This, in turn, was preparation for a direct sermon in the Writer's Diary. In the novel "Crime and Punishment" Dostoevsky considers the problem of evil at the level metaphysical psychology. Here his images acquire the greatest artistic poignancy and capacity. They are personalistically fuller than in Possessed. "Crime and Punishment" is Dostoevsky's most complete and complete work, both spiritually and aesthetically. In subsequent works, the writer deepened and detailed the meanings that were revealed in the novel Crime and Punishment.

The main questions of the theme of evil in the novel are as follows.

Under what circumstances and in what states is a person possessed by evil spirits? What is the phenomenology - the forms of the manifestation of evil? This is problem crimes.

What happens to the soul of a person who has generated an evil idea and is enslaved by it? How do evil spirits actualize - become real, exist and manifest in life, what is their essence in the ultimate expression? This is problem punishment.

What is the way to get rid of evil and spiritual healing? This is problem redemption and resurrection.

The circumstances and conditions of a person possessed by evil spirits are revealed by the plot - the plot basis, the arrangement of persons and events of the novel. Raskolnikov grew up in a healthy family with a traditional way of life, among people he loved and loved. But outside the family, he turns out to have fallen out of the organic way of life. His inner appearance is formed outside of traditions and legends that could nurture the healthy principles of the soul. In adulthood, Raskolnikov's ties with what Dostoevsky calls earth, soil. New soil the hero could not find: being outside the traditional culture, his soul could not take root in an alien artificial civilization, which, according to Dostoevsky, opposes the organic land. Raskolnikov could not find himself in a rationalized, secularized - secularized, torn away from the religious foundations of scholarship, nor in professional studies that emasculate the soul, nor in a career that Petersburg could provide opportunities for ("He completely stopped his urgent affairs and did not want to do") . Dostoevsky wrote to Katkov for what reasons his hero comes to crime: “Out of frivolity, out of precariousness in concepts, succumbing to some strange “unfinished” ideas that are in the air.” A fragile soul outside a healthy lifestyle falls into contaminated spiritual atmosphere.

This is not only a personal tragedy: “This is a fantastic, gloomy matter, a modern matter, of our time, a case, sir, when the human heart was clouded.” Dostoevsky shows that traditional life foundations are collapsing in Russia, organic ties between people are breaking, the era of restlessness: "In our educated society, there are no especially sacred traditions." Russia, like the hero of the novel, has just come out of adolescence, the positive foundations of life have not yet formed, but a period of destruction has already begun: “No grounds our society does not survive the rules, because there was no life. A colossal shock and everything is interrupted, falls, is denied, as if it did not exist. And not only externally, as in the West, but internally, morally” (from drafts for the novel “The Teenager”). Dostoevsky's work is "a depiction of extreme blasphemy and the grain of the idea of ​​the destruction of our time in Russia, among young people divorced from reality" (from a letter to K.P. Pobedonostsev).

collapsing the soil gets infected floating in the air false ideas. “There is nothing to believe in, nothing to stop at,” is written in the rough drafts for the novel. In an educated society, an egotistical individualistic ethic was asserted, denying national-historical and Orthodox traditions. Raskolnikov is seduced by a form of utilitarian morality, which asserts that the goal of human actions should be only personal well-being, that human behavior is determined by reasonable benefit. Raskolnikov's crime, according to Dostoevsky, is "the theory of rational egoism brought to its consequences." At the beginning of the formation of the atheistic materialistic ideology that would prevail in the future, Dostoevsky understood that the triumph of the so-called economic principle did not lead to universal prosperity, but to mutual extermination.

It is known that the initial ideas of the novel were influenced by Dostoevsky's polemic with the socialists. But then the writer plunges into the study of metaphysical collisions in the soul of his hero. For man is the creator of false ideas, and in order to understand and explain their appearance, one must go deep, first of all, into his soul. As a true personalist, Dostoevsky turns to the principles of world existence: in the depths of individual personal existence, universal patterns are revealed.

Petersburg according to Dostoevsky is the capital of modern civilization, a place of concentration of false ideas, floating in the air, the embodiment of artificiality, inorganicity, ill health and the decay of life: “An inexplicable cold always blew on him from this magnificent panorama; this sumptuous picture was full of a mute and deaf spirit for him. The image of Petersburg is drawn with the help of deathly, terrifying details, but on the whole it is extremely ghostly. This is a kind of unreality filled with shadows and ghosts, some kind of phantasmagoria - a bizarre unreal vision that provokes a painful state of mind. In The Teenager, Dostoevsky wrote about Pushkin’s Hermann, Raskolnikov’s spiritual brother: “On such a St. Petersburg morning, rotten, damp and foggy, the wild dream of some Pushkin’s Hermann from The Queen of Spades (a colossal face, an extraordinary, completely Petersburg type - a type from Petersburg period), it seems to me that it should become even stronger. The city described by Dostoevsky reflects the inner world of Raskolnikov: both the atmosphere and the landscape of the city, and the details of his life are a reflection of the state of mind of the hero. The horizons of Raskolnikov's soul and the soul of civilized Petersburg almost merge. This is how the spiritual field is outlined, in which the events of the novel, spiritual in their essence, take place.

The soul of the metaphysical hero is in an unhealthy, feverish state. “Extremely hot time…”, “the heat was terrible…”, the author repeatedly reminds of the suffocating atmosphere of the city and the inner state of the metaphysical hero. "For some time he was in an irritable and tense state, similar to hypochondria" - depression, unhealthy suspiciousness, obsessions, accompanied by painful sensations, in particular fever. All this plunges the soul into a hopeless darkness. Falling out of the traditional way of life leads to self-isolation and internal devastation: “... he went deep into himself and retired from everyone ... He resolutely left everyone, like a turtle in his shell ...”, - not only from all people, but from everything in general, from moral and reasonable.

The hero finds himself in a spiritual void, his consciousness plunges into the “underground”. The shell-dwelling is an image of his spiritual space: “It was a tiny cell, six paces long, which had the most miserable appearance with its yellowish, dusty and everywhere lagging behind the wall wallpaper, and so low that a slightly tall person became in it terribly, and everything seemed that you were about to hit your head on the ceiling. Raskolnikov's soul is unnaturally squeezed by some imperious force, it is personified by a dark, dead space closed and separated from the world (Raskolnikov's housing is compared with a closet, chest and coffin), in which it is no longer possible to feel oneself in full growth of human dignity (it's creepy for a tall person) and in which only crazy ideas can form (the yellow closet is associated with the “yellow house” - the insane asylum): “Do you know, Sonya, that low ceilings and cramped rooms crowd the soul and mind!”. Such is the spiritual space in which Raskolnikov’s idea is formed: “... there, in the corner, in this terrible closet, everything ripened this is it's been over a month now." It is no coincidence that in the moment of enlightenment after receiving a letter from his mother, “he felt stuffy and cramped in this yellow closet ... His gaze and thought asked for space.”

What was the state of the metaphysical hero that anticipated and prepared the crime? Complete idleness(“lying all day long”) makes life meaningless. Having lost the true orientation, the consciousness of the hero languidly, but indomitably focuses on fantasies: "... the youth educated from inaction burns out in unrealizable dreams and dreams." Dostoevsky notes that a person, as a creature destined for creative creation, is not capable of falling into complete indifference - indifference, indifference, indifference. The battlefield of good and evil is the hearts of people, and therefore spiritual drowsiness and apathy do not free from the drama of being. A soul without will is sooner or later enslaved by evil spirits. At first, Raskolnikov’s innocent, but empty fantasy (“So, for the sake of fantasy, I amuse myself; toys!”) Gradually turns into criminal daydreaming (“ugly dream”). The affinity of Raskolnikov’s idea to Manilovism is revealed at the moment when Raskolnikov goes to commit the murder: “Walking past the Yusupov Garden, he was even very busy thinking about arranging tall fountains and how well they would freshen the air in all squares. Little by little, he came to the conclusion that if the Summer Garden were extended to the entire Field of Mars and even connected to the palace Mikhailovsky Garden, it would be a wonderful and most useful thing for the city. This kind of fantasizing is sinful because it absorbs energy and empties the soul, distorts consciousness, preparing the ground for pathological and criminal ideas: “Long ago, all this present longing was born in him, grew, accumulated and recently matured and concentrated, taking the form terrible, wild, and fantastic question that tormented his heart and mind, irresistibly demanding resolution. A painful question forms certain images, concepts and attitudes that get out of control of conscience and consciousness, develop spontaneously and in crisis situations can be realized spontaneously. Raskolnikov was an empty dreamer before he received a letter from his mother, from which it turned out that chronic lack of money was haunting his family and that his sister was sacrificing herself for the sake of his future. Life itself called for action. Unexpectedly for Raskolnikov, a fantastic idea, which “a month ago, and even yesterday, it was only a dream, and now ... now it suddenly appeared not a dream, but in some new, formidable and completely unfamiliar form, and he himself suddenly realized this ... He was hit in the head, and darkened in his eyes. What is the content of the fantasy that made its creator shudder?

Gradually, Raskolnikov's mental strength concentrates around an idea on which consciousness is painfully fixed: "This happens with other monomaniacs who focus too much on something." At its inception, the idea is completely harmless, but in a soul that has lost its organic structure, deprived of true criteria, it grows into a monstrous fantasy - a bizarre vision, a ghost. It all starts with the desire to devote oneself to some "useful" cause. Raskolnikov is an outstanding person in all respects, endowed with intelligence, talent, beauty. As such, he recognizes himself, and therefore the matter must be a match for the dormant forces - unusual, large-scale. Like his idealistic peers, he probably would like to make happy in one fell swoop, if not all of humanity, then, in any case, many people. This could be achieved by managing capital, which is unfairly and unnaturally concentrated in the hands of worthless and useless people (“the old woman is a malicious louse”). The point is to seize capital and dispose of it according to natural justice. This is how the second leading theme in the idea of ​​a hero is born. Although all this is still a fantasy, he begins to feel like a creator, manager, arbiter of events, destinies. Formed syndrome of Napoleonism, megalomania.

In his notebooks, Dostoevsky formulates Raskolnikov's idea: “Am I not the kind of person to let a bastard destroy a defenseless weakness. I will intervene. I want to join. And for this I want power ... I take power, I get power - whether money, power, or not for evil. I bring happiness ... ". When “a strange thought pecked in his head like a chicken from an egg, and very, very occupied him”, a “non-random accident” happens to Raskolnikov - he hears his own idea in the tavern: “I would have killed and robbed this damned old woman, and I assure you that without any shame of conscience! ”,“ ... on the one hand, a stupid, senseless, insignificant, evil, sick old woman, no one needs and, on the contrary, harmful to everyone, who herself does not know what she lives for, and who tomorrow herself will die by itself... On the other hand, young, fresh forces, wasted in vain 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 for the old woman's money, doomed to the monastery! Hundreds, thousands, perhaps, of beings pointing towards 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 later 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? In one life, thousands of lives saved from decay and decay. One death and a hundred lives in return - why is there arithmetic here? .. Of course, all this was the most ordinary and most frequent, heard by him more than once, in other forms and on other topics, young conversations and thoughts.

Before flying in the air absurd thoughts did not touch a healthy soul. Now, in the inflamed imagination of the hero, they receive a painful echo, like poisonous trichinas strike a soul that has lost moral immunity: “This insignificant tavern conversation had an extraordinary influence on him in the further development of the case: as if there really was some kind of predestination, an indication.” Thus, the born false idea of ​​the good gives rise in the inflamed soul to a feeling of false messianism - a feeling of being a savior. Maniacal self-aggrandizement leads to extreme conclusions: the moral laws that exist for the infantile souls of the majority, the base crowd, do not apply to the superman. The "trembling creature" must obey a chosen minority - those in power. A strong personality is outlawed. It is above ordinary morality, as it were, beyond the limits of good and evil. Therefore, true greatness lies in striving for a given goal, canceling moral prescriptions and drowning out the voice of conscience, as a relapse of weakness and mediocrity.

Dostoevsky shows the psychology of the formation of megalomania. There are strengths, skills, talents, an idea, a goal are clear - this is already a sign of greatness for Raskolnikov. In order to establish oneself at this “height”, it is necessary not only to find a specific way to achieve the goal (a matter of the technique of reason), but also to decide on its implementation. An act in the name of an idea turns out to be a decisive line leading from the realm of fantasy to the realm of reality. It will also be a test and criterion for the truth of a position, an assertion of one's own greatness. So the means to an end replaces the end. It is no coincidence that Raskolnikov does not know how to dispose of the stolen wealth. Dostoevsky opens internal dialectics of seduction: the achievement of good goals by vicious means cannot be morally justified, which inevitably become an end in itself, crowding out the most good intentions.

Before the decisive line, Raskolnikov becomes numb in indecision. That's the problem crimes- transgression through the immutable laws of God ("God's truth, earthly law", according to Dostoevsky), which are based on freedom, sovereignty and inviolability of the human person. Man is the crown of God's creation and co-creator with God; he cannot be a means to achieve even the highest goals. Is it possible for the happiness of many to kill one innocent soul? This is the problem of justifying God's creation. The remnants of a moral sense do not allow Raskolnikov to put this question in a finished and naked form. He tries to escape from remorse, giving the problem a justifying form: is it possible for the happiness of many to take the life of one insignificant human ("malicious louse").

The soul of Raskolnikov in the period preceding the crime, in confusion and struggle. Its positive qualities are pushed aside, and base aspirations are exposed. The phantasmagoric idea gradually captures him completely. She suppresses a surge of conscience in a dream about a horse, where Raskolnikov opens up as a kind person by nature, capable of compassion. Through a dream, Raskolnikov felt the murder not as an algebraic sign, but as real blood shed: “God,” he exclaimed, “yes, really, really, I’ll take an ax, I’ll beat her on the head, I’ll crush her skull ... I’ll slide in sticky , warm blood, break open the lock, steal and tremble ... hide, all covered in blood ... with an ax ... Lord, really? .. But what am I! .. Have you been hurting yourself yet?" He abandons his plan: “Lord! After all, I still won’t make up my mind! .. Lord! .. show me my path, and I will renounce this accursed ... dream of mine. ”And he even experiences the euphoria of sobering up:“ Freedom, freedom! He is now free from these spells, from sorcery, charm, from obsession! But a surge of conscience and a thirst for liberation from infernal haunting were not voluntarily approved, therefore they are overturned by a wave of muddy passions. A suppressed moral feeling is manifested only in moments of sobering up: “Oh God! how disgusting this is! And really, really I... no, this is nonsense, this is absurdity! he added decisively. “And how could such horror have crossed my mind? What filth, however, my heart is capable of! The main thing: dirty, dirty, disgusting, disgusting! .. And I have been for a whole month ... ”. But bursts of conscience are gradually fading. The remnants of reason and conscience are expressed only in fear and indecision, which delayed the crime. Raskolnikov felt that behind this step was an abyss. But idea already irrevocably captures his whole being.

What alternative can the weak, human mind offer? The embodiment of the rational-rational side of Raskolnikov is Intelligence- ikhin. At the decisive moment, when the idea became a command, Raskolnikov was thrown to him. But he stopped himself: “Well, did I really want to correct the whole thing with Razumikhin alone and did I find the outcome of everything in Razumikhin?” The arguments of reason are pushed aside, now reason is only called upon to legalize the crime: "I will go to him ... the next day after that I will go." And Razumikhin is the first person Raskolnikov communicates with after the crime. But they have no contact. In an everyday situation, Razumikhin could personify a real way out. Razumikhin is a healthy, holistic, but mundane, rational person. He does not have many questions, because his consciousness is superficial and thus beyond problems. Raskolnikov, on the other hand, is a complex, in-depth and refined personality. He is aware of the flawed partiality and artificiality of the world of the specialist scientist and the petty-bourgeois limitations of his life. And he rejects rational alternative. saving holistic his soul cannot generate ideas, for the foundations of life are shattered.

The image of Raskolnikov becomes depersonalized as it approaches the moment of the crime. The will is paralyzed. He did not seem to make a "final decision", because, "despite all his painful inner struggle, he never for a single moment could believe in the feasibility of his plans during all this time." But the crime lies in the fact that at the decisive moment he did not oppose the manic idea of ​​a conscientious volitional act that gripped him. A person is called to continuous creative tension, and the more responsible the situation, the more so. Refusing the freedom and responsibility of the decision, showing lack of will, the hero thereby internally already crosses the line, leaves the realm of personal existence and falls under the power of naturalistic forces, fatal and fatal elements. Manifesting himself as a responsible free personality, a person paves his own unique path, overcoming world empiricism, for free creative self-determination takes him out of the power of the forces of this world. On the contrary, an impersonal maniac falls into an impersonal dimension and turns out to be a puppet of evil forces, fatally leading to death. “He did not reason about anything and could not reason at all; but with all his being he suddenly felt that he no longer had any freedom of mind or will ... ". Raskolnikov makes the final decision completely limply. Inflamed consciousness perceives idea no longer as a fantasy, but as an imperative. From that moment on, he has no power over himself, falls into the hands of fatal predestination: “The last day, which came so unexpectedly and decided everything at once, affected him almost completely. mechanically: as if someone took him by the hand and pulled him along, irresistibly, blindly, with unnatural force, without objection. As if he had hit a piece of clothing in wheel machine, and he began to be drawn into it.

(To be continued.)

The novel by F. M. Dostoevsky "Crime and Punishment" is one of the greatest philosophical and psychological novels. The author told us about moral upheavals and darings that cannot but excite the reader of any era. The writer focuses on the terrible reality of Russia in the middle of the 19th century, with its poverty, lack of rights, oppression, suppression, corruption of the individual, suffocating from poverty and the consciousness of his own impotence and rebellious. The writer penetrates into the depths of the human spirit, intense thoughts about the meaning and laws of being. The novel Crime and Punishment was published in 1866. It was an era when the old moral laws were rejected by society, and new ones had not yet been developed. Society has lost the moral guidelines that were embodied in the image of Christ, and Dostoevsky was able to show the full horror of this loss.

The protagonist of the novel, Raskolnikov, was worried about intractable questions: why should some, smart, kind, noble, drag out a miserable existence, while others, insignificant, vile, stupid, live in luxury and contentment? Why do innocent children suffer? How to change this order? Who is a person - a "trembling creature" or the ruler of the world, "having the right" to transgress moral principles? Not able to do anything or almighty, despising human laws and creating his own? Raskolnikov is not an ordinary killer, but an honest and gifted young man with a philosophical mindset, carried away by a false theory on a criminal path. Raskolnikov's poverty humiliates his pride.

At the beginning of the novel, Raskolnikov does not leave the room, but from the "closet", which the author later compares with a closet, chest, coffin, describes its squalor, emphasizing the extreme poverty of the inhabitant: "... he was crushed by poverty." In the police station, Raskolnikov admits: “I am a poor and sick student, dejected by poverty ...” This is how the writer characterizes Raskolnikov’s inner personality: “... gloomy, gloomy, arrogant and proud, suspicious and hypochondriac. Magnanimous and kind. He does not like to express his feelings and will do cruelty rather than express his heart in words ... He values ​​himself terribly highly, and, it seems, not without some right to do so.

Later, when the murder has already been committed, the characterization of the hero will be replenished in order to let the reader understand why it was committed: “... a poor student, disfigured by poverty and hypochondria, on the eve of a cruel illness with delirium, perhaps already beginning in him, hypochondria, proud, knowing his own worth ... in sackcloth and boots without soles, - stands in front of some quartets and endures their abuse, and then an unexpected debt in front of his nose, an overdue bill ... "Here, in the first place put forward those reasons that caused by the social position of a poor student. And what happens in the soul of the hero, his painful experiences, the author reveals to the reader, describing Raskolnikov's dreams. The dream before the murder thickens the colors, gloomy details appear. Raskolnikov sees himself as a child and witnesses the beating of a driven horse, which, in stupid anger, the owner beats to death. The boy is very much going through this death. The dream of the hero is ambiguous. Firstly, it expresses a protest against murder, senseless cruelty, sympathy for someone else's pain. This testifies to the subtle, kind soul of the hero. Secondly, sleep is a symbol of existing orders.

Life is unfair, rude, cruel: its owners - riders ride, chasing the unfortunate, downtrodden nags, mocking them, and if they want, they can kill them. Thirdly, the hero's dream is a kind of prologue to the subsequent narrative. An analogy arises with the behavior of the Svidrigailovs and the Luzhins, to whom everything is permitted in this life, they are its stewards. And the attempts of disadvantaged people (Marmeladovs, Raskolnikovs and others) to find justice in this terrible world are powerless. It is no coincidence that Ivanovna Marmeladova compares herself with a hackneyed nag, tortured, crushed by poverty. Her husband drank with grief. On the panel is her daughter Sonya. There is one more, perhaps the most important meaning of sleep - Raskolnikov's inner attitude to crime.

The terrible scene, the shed blood is connected in Raskolnikov's mind with the planned murder. Waking up, the shocked Rodion immediately recalls what he planned to do - about the upcoming murder of the old pawnbroker: “God! he exclaimed. This is the beginning of the "experienced idea." While she was mastering logically, there was no fear. But now the feelings of the hero have come into their own. Human nature rebels, and a confession appears: “... after all, I knew that I couldn’t stand it ... I can’t stand it ... it’s vile, disgusting, low ... after all, the mere thought made me sick in reality and threw me into horror ..."

But, pondering this dream, Raskolnikov more clearly imagines the motives for the murder. Firstly, hatred for the tormentors of the “nag” is growing, and secondly, the desire to rise to the position of a judge, “to have the right” to punish the presumptuous “masters”, is growing stronger. But Raskolnikov did not take into account one thing - the inability of a kind and honest person to shed blood. Having not killed anyone yet, he understands the doom of the bloody idea.

A terrible decision, however, continues to ripen in the soul of Rodion. A conversation between a student and an officer overheard in a tavern about the murder of an old woman for the sake of money, which can be used to do “a thousand good deeds and undertakings ... In one life, thousands of lives saved from decay and decay. One death and a hundred lives in return - why, there is arithmetic here! .. ”The phrase about the plurality of sufferers turned out to be very important for Rodion.

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The novel by F. M. Dostoevsky "Crime and Punishment" is one of the most complex psychological works of Russian literature. The novel raises the most important questions, questions that are relevant at all times. The writer speaks about the moral vices of society and people.

The protagonist of the novel, Rodion Raskolnikov, is certainly an outstanding personality. We understand this as soon as we meet a poor student. Rodion Raskolnikov creates his own theory. He divides people into "ordinary" and "extraordinary". The latter, in his opinion, have the right to everything. They make history, they are great personalities. They cannot be judged by the standards of ordinary people. They deserve more.

Reading the novel, we understand that Raskolnikov's theory testifies to the moral vices of society. In a normal, healthy society, such a theory could not have been born. Dostoevsky's novel shows the reason for the appearance of a cruel theory: the environment itself provokes people or inhuman cruelty.

Raskolnikov's theory haunts him. The young man wants to test the theory on his own experience. In his opinion, the old pawnbroker is not a worthy person, which means that she can be safely killed. In this case, we clearly see a dead, unnatural theory colliding with life. No matter how hard and corrupted by the environment a person is, moral boundaries still remain in his soul, which are incredibly difficult to cross. However, Raskolnikov commits a crime. His mind, cold, gloomy, which created this theory, suppresses the living human soul. Raskolnikov justifies his crime, considers himself a superman who has the right to everything. According to his own theory, he has the right to cross the line that separates a normal person from a criminal.

Raskolnikov did not even imagine what effect the committed crime would have on his own consciousness. It seemed that the "superman" should have triumphed. After all, he proved his case, demonstrated his superiority over others. However, after the murder of the old pawnbroker and her sister, Raskolnikov loses contact with the outside world. Now he feels unhappy and driven out. Rodion Raskolnikov is tormented by the thought that everyone around him suspects him. It seems to him that the environment is about to bring him to "clean water".

By committing a crime, Raskolnikov thus distanced himself from other people. He is aware of this and suffers because of it. The student is now on the verge of mental illness. His soul argues with a cold mind. In his soul, Raskolnikov is not at all as cruel and inhuman as he wants to assure himself. After all, his relationship to the Marmeladov family shows that he can feel compassion.

Depicting the mental anguish of Rodion Raskolnikov, the writer proves his position on the idea of ​​a "superman". Dostoevsky is convinced that no theory can justify the transgressions of moral boundaries. The writer adheres to Christian ideas. "Thou shalt not kill" - a person must keep this commandment. From the point of view of Dostoevsky, one should live only at the behest of the soul, and the human soul belongs to God. After all, the mind in a person is only twenty percent, and the rest is the soul. You can not commit a crime, it will first of all be a conflict with your own soul. Christian commandments and laws help a person not to lose touch with the world and his own soul.

The image of Sonechka Marmeladova is the embodiment of Dostoevsky's idea of ​​"physical dirt" and "moral dirt". Nevertheless, Sonya's "physical dirt" does not prevent the heroine from being morally pure. After all, Sonya is ready to make a sacrifice in the name of her neighbor, she considers this the norm. Faith in God allows her not to lose the best human qualities, not to become hardened, despite the fact that the conditions contribute to this. Sonechka saves her loved ones from death at the cost of her own humiliation. She goes to the panel.

Sonechka Marmeladova personifies faith, love for all mankind. She saves Raskolnikov, because it is after talking with her that he decides to repent of his crime.

Raskolnikov was already convinced of the inconsistency of his theory, he failed to feel like a superman. His mental anguish clearly testifies to this. Raskolnikov's true punishment is his own pangs of conscience. Legal punishment is a formality, but it provides an opportunity for the protagonist to "resurrect". It is no coincidence that Raskolnikov feels his rebirth in hard labor. Now he realized how erroneous and criminal his theory was.

Dostoevsky's novel "Crime and Punishment" makes the reader think about moral laws that must not be crossed. A person cannot oppose himself to others, consider himself exceptional, and others - only "material". The truth of the Christian commandments is undeniable. And no matter how circumstances develop, a person should not violate them.

Literature

Answer to ticket number 23

The humanism of F.M. Dostoevsky "Crime and Punishment" or "The Idiot" (at the choice of the student).

1. The novel "Crime and Punishment" - penetration into the depths of the human spirit.

2. The image of Raskolnikov:

Painful questions of being;

Prophetic dream of Rodion;

Philosophy of Raskolnikov;

A crime;

The moral torment of a hero.

3. The image of Sonya Marmeladova.

4. The path to salvation and rebirth.

1. “Man is a mystery. It must be solved, and if you solve it all your life, do not say that you lost time, ”wrote F.M. Dostoevsky. He himself devoted his whole life, all his work, to unraveling this mystery.

Roman F.M. Dostoevsky's "Crime and Punishment" is one of the greatest philosophical and psychological novels. The author told us about moral upheavals and darings that cannot but excite the reader of any era. The focus of the writer's attention is the terrible reality of Russia in the middle of the 19th century, with its poverty, lawlessness, oppression, suppression, corruption of the individual, suffocating from poverty and the consciousness of his own impotence and rebellious. The writer penetrates into the depths of the human spirit, intense thoughts about the meaning and laws of being. The novel Crime and Punishment was published in 1866. It was an era when the old moral laws were rejected by society, and new ones had not yet been developed. Society has lost the moral guidelines that were embodied in the image of Christ, and Dostoevsky was able to show the full horror of this loss.

2. The protagonist of the novel - Raskolnikov - was worried about intractable questions: why should some, smart, kind, noble, drag out a miserable existence, while others, insignificant, vile, stupid, live in luxury and contentment? Why do innocent children suffer? How to change this order? Who is a person - a “trembling creature” or the ruler of the world, “having the right” to transgress moral principles? Not able to do anything or almighty, despising human laws and creating his own?

Raskolnikov is not an ordinary killer, but an honest and gifted young man with a philosophical mindset, carried away by a false theory on a criminal path. Raskolnikov's poverty humiliates his pride. At the beginning of the novel, Raskolnikov does not leave the room, but from the “closet”, which the author later compares with a closet, chest, coffin, describes its squalor, emphasizing the extreme poverty of the inhabitant: “... he was crushed by poverty.” At the police station, Raskolnikov confesses: “I am a poor and sick student, dejected by poverty ...”

This is how the writer characterizes Raskolnikov's inner personality: “... gloomy, gloomy, arrogant and proud, suspicious and hypochondriac. Magnanimous and kind. He does not like to express his feelings and would rather do cruelty than express his heart in words ... He values ​​himself terribly highly, and, it seems, not without some right to do so. Later, when the murder has already been committed, the characterization of the hero will be replenished in order to let the reader understand why it was committed: proud, knowing his own worth ... in sackcloth and boots without soles, - stands in front of some quartets and endures their abuse, and then an unexpected debt in front of his nose, an overdue bill ... ”Here the first place put forward are those reasons that caused by the social position of a poor student. And what happens in the soul of the hero, his painful experiences, the author reveals to the reader, describing Raskolnikov's dreams. The dream before the murder thickens the colors, gloomy details appear. Raskolnikov sees himself as a child and witnesses the beating of a driven horse, which, in stupid anger, the owner beats to death. The boy is very much going through this death. The dream of the hero is ambiguous. Firstly, it expresses a protest against murder, senseless cruelty, sympathy for someone else's pain. This testifies to the subtle, kind soul of the hero. Secondly, sleep is a symbol of existing orders. Life is unfair, rude, cruel: its rider-owners ride, chasing the unfortunate, downtrodden nags, mocking them, and if they want, they can kill them. Thirdly, the hero's dream is a kind of prologue to the subsequent narrative. An analogy arises with the behavior of the Svidrigailovs and the Luzhins, to whom everything is permitted in this life, they are its stewards. And the attempts of disadvantaged people (Marmeladovs, Raskolnikovs and others) to find justice in this terrible world are powerless. It is no coincidence that Katerina Ivanovna Marmeladova compares herself with a hackneyed nag, tortured, crushed by poverty. Her husband drank with grief. On the panel is her daughter Sonya.

There is one more, perhaps the most important meaning of sleep - Raskolnikov's inner attitude to crime. The terrible scene, the shed blood is connected in Raskolnikov's mind with the planned murder. Waking up, the shocked Rodion immediately recalls what he planned to do - about the upcoming murder of the old pawnbroker: “God! he exclaimed. This is the beginning of the “experienced idea”. While she was mastering logically, there was no fear. But now the feelings of the hero have come into their own. Human nature rebels, and a confession appears: “... after all, I knew that I couldn’t stand it ... I couldn’t stand it ... it’s vile, disgusting, low ... after all, the mere thought made me sick in reality and threw me into horror ...” But, thinking over this dream, Raskolnikov more clearly imagines the motives for the murder. First, there is growing hatred for the tormentors of the “nag”, and secondly, the desire to rise to the position of a judge, “to have the right” to punish the presumptuous “masters”, is growing stronger. But Raskolnikov did not take into account one thing - the inability of a kind and honest person to shed blood. Still without killing anyone, he understands the doom of a bloody idea.

A terrible decision, however, continues to ripen in the soul of Rodion. Heard in a tavern, a conversation between a student and an officer about the murder of an old woman for the sake of money, which can be used to make “a thousand good deeds and undertakings ... In one life, thousands of lives saved from decay and decay. One death and a hundred lives in return - why, there is arithmetic here! .. ”The phrase about the plurality of sufferers turned out to be very important for Rodion.

Since that time, Raskolnikov's vague ideas about murder have been formulated into a theory about dividing people into the elect, standing high above ordinary people, who resignedly obey strong personalities. Therefore, Raskolnikov is close to Napoleon. The measure of all values ​​for Raskolnikov is his own "I". Later, he will argue that an “extraordinary” person “has the right to allow his conscience to step over ... over other obstacles, and only if the execution of his idea (sometimes saving, perhaps for all of humanity) requires it.” Permission "to kill according to conscience", but for the sake of "destruction of the present in the name of the best" defines Raskolnikov's position.

Dostoevsky proves how monstrous this worldview is, for it leads to disunity between people, makes a person helpless before evil, turns him into a slave of his own passions, and thereby destroys him. The world built on these principles is a world of arbitrariness, where all universal human values ​​collapse and people cease to understand each other, where everyone has their own truth, their own right, and everyone believes that his truth is true, where the line between good and evil is blurred. This is the path to the destruction of the human race.

Raskolnikov's idea is terrible. It divides people into “higher” and “lower”, into “having the right” and “trembling creature”, into people and non-humans. This idea is anti-human: it frees people from moral obligations. Raskolnikov kills not only the old pawnbroker, but also the defenseless Lizaveta. He destroys his mother and himself.

After the murder, a new streak of Raskolnikov's inner being began. There was a fracture in his mind. It was as if an abyss had opened up between him and people - such loneliness, such alienation, such hopeless longing, he felt: "Something completely unfamiliar to him, new ... never happened, was happening to him." “It seemed to him that he, as if with scissors, cut himself off from everyone and everything at that moment.” Raskolnikov cannot live in the old way. What he did became an insurmountable barrier between him and everyone around him. In woeful loneliness, a painful comprehension of what he has done begins. And the pain, the suffering has no end. He cannot forgive himself that, out of an egoistic desire to assert his strength, he committed an insane act: “... it was necessary to find out then ... am I a louse, like everyone else, or a man? Will I be able to cross or will I not be able to!.. Whether I am a trembling creature or have a right.”

Painfully, he comes to a rethinking of moral values: “Did I kill the old woman? I killed myself." Raskolnikov's moral torments are aggravated by the fact that the investigator Porfiry Petrovich suspects his crime, and therefore meeting with him is a new stage in Rodion's self-examination, a source of further transformation. “Suffering is a great thing,” says Porfiry Petrovich. He advises Rodion to gain a new faith and return to a decent life, and points to the only way to self-affirmation of the individual: "Become the sun, and they will see you."

3. Dostoevsky claims that only through the positive, the lofty, the human can one rise. The true bearer of faith in the novel is Sonya Marmeladova. Sonya is not a spokesman for the author's consciousness, but her position is close to Dostoevsky, because for her the highest value on earth is a person, human life. When Raskolnikov becomes unbearable, he goes to Sonya. Their destinies have a lot in common, a lot of tragedy. Sonya felt the main thing in Raskolnikov: that he was “terribly, infinitely unhappy” and that he needed her. Sonya believes that Raskolnikov committed a crime before God, before the Russian land and the Russian people, and therefore sends him to repent in the square, that is, among people to seek salvation and rebirth. The punishment of his own conscience for Raskolnikov is worse than hard labor. He understands that only in love and repentance can he find salvation. Gradually Sonya becomes a part of his existence. Raskolnikov sees: religion, faith in God for Sonya is the only thing left for her "near the unfortunate father and stepmother, crazy with grief, among hungry children, ugly screams and reproaches."

4. For Dostoevsky himself, the concept of “God” merged ideas about the higher principles of being: eternal beauty, justice, love. And the hero of Dostoevsky comes to the conclusion that God is the embodiment of humanity, the ability to serve the unfortunate, the fallen. Raskolnikov turns his gaze to the convicts who are next to him, and understands that they need him: the condemned, the outcasts are waiting for his help. This is the first glimpse of happiness and spiritual purification of the hero.

Dostoevsky leads his hero to the idea of ​​the need to live and assert oneself in life not through misanthropy, but through love and kindness, through service to people. Complicated and painful is Raskolnikov's path to knowing the meaning of life: from crime to compassion and love for the very people whom he wanted to despise, consider below himself.

The image of this character is extremely ambiguous. Of course, it cannot be considered positive, heroic, causing only sympathy. For many people, Raskolnikov is simply a mysterious madman. But despite all the stereotypes, Rodion Romanovich is a man of exceptional kindness and compassion.
Raskolnikov is selfish, terribly, painfully proud and suspicious. Throughout his youth, Rodya witnessed many cruelties, abominations and horrors that people are sometimes capable of. He painfully struggled to understand why some were forced to suffer, while others at the same time easily enjoy all the blessings of life, not worrying at all about morality or love, using their neighbors only for their own selfish purposes. Rodion Romanovich noticed a fatal pattern in all this - they obey the second, they are afraid of them. Thus, the still fragile, pure soul of our hero, for the first time, experienced the oppressive poison of doubt. The well-known destructive theory of Raskolnikov was born, in which he divided everyone into "trembling creatures" and "having the right."
The hypertrophied vanity of Rodion Romanovich pushed him to the next step - testing his theory, as they say, in practice. But the young man did not take into account, however, the fact that his natural kindness is completely incompatible with not worrying about anything. Raskolnikov did not realize this, by no means, his thoughts had long crossed the boundaries of what was permitted. Only one soul, still retaining the remnants of light and purity, resisted the arguments of "will and reason" with all its might.
Yet the crime was committed. Raskolnikov killed not only the “old woman” pawnbroker, but also, by the will of fate, who turned up quite inopportunely, her pregnant sister Lizaveta.
Here something unbearable began. On the one hand, Raskolnikov was tormented that after the murder he could not remain cold-blooded, and therefore, he did not belong to the “rights”, on the other hand, the young man was forced to suffer some kind of unconscious torment. No, it was not conscience at all - the killer did not repent! It was his soul that wept. In addition, the suspiciousness of the protagonist tormented the unfortunate and did not leave for a minute.
At this time, fate brought Rodion Romanovich to Sonya Marmeladova. He felt sincere compassion for her and all members of her family. Previously, the young man was already familiar with Semyon Marmeladov, the girl's father. However, Raskolnikov was practically the only one who sympathized with them. This again showed the convulsive impulses of our hero to do good.
Sonya, like Rodya, despite her very young age, managed to see enough of injustices and sorrows, but she did not break down, on the contrary, maybe even became stronger. After the death of her father, the girl independently pulled the whole family on herself.
It was Sonya who was destined to save Raskolnikov, who was so confused that out of despair he completely relied on her, although he continued to doubt. By order of the girl, the young man went to the office and confessed to his crime.
Repentance came to Rodion Romanovich later, after hard labor, but so far "He did not know that he did not get a new life for nothing, that he still had to buy it dearly, pay for it with a great, future feat ...".