I decided to analyze and compare dreams in three works of Russian literature: "Crime and Punishment" by F.M.Dostoevsky (Raskolnikov's dream), "Eugene Onegin" by A.S. Pushkin (Tatiana's dream), "Oblomov" by I.A.Goncharov ( Oblomov's dream). F.M.Dostoevsky. A.S. Pushkin. I.A. Goncharov.

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Literature grade 11

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"Biography of V.P. Astafiev" - Died on November 29, 2001. Lost his mother. Literature of the Second World War period. Script writer. Victor Petrovich Astafiev. Russian literature. WWII period. Life layers. Volunteers to join the army. The life and work of V.P. Astafieva. Konstantin Simonov. Astafiev's works. Treasured friend.

"The life and work of Bunin" - Multimedia presentation for a literature lesson in grade 11. We always only remember happiness, and happiness is everywhere. Read a fragment of the story "Mowers". Read the poem, prove its connection with a fragment of the story. The problematic question of the lesson. Bunin's work. The last Russian classic. I.A. Bunin is a Russian classic. Work with text. Read the text, make a chronological table.

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Features of realism in the novel by Fyodor Dostoevsky "Crime and Punishment"

Features of Dostoevsky's realism

The writer's realism developed and was embodied during the period of development of capitalist relations in Russia. The offensive of civilization on patriarchal Russia gave rise to a rebellion of the little man against humiliation. Whatever ideas captured the writer, he never forgot about the origins of the tragedies he created.

Images, ideas, ideals of his novels go back to Russian reality.

The heroes of the novel are typical images, a typical environment

The basis of Dostoevsky's novels is a raznochinoe, urban post-reform environment, semi-educated, imagining more about itself than it is worth.

Raskolnikov, Sonya Marmeladova, Razumikhin, the old woman pawnbroker, Lizaveta, Luzhin, Svidrigailov - these and many other heroes of the novel "Crime and Punishment" bathed in luxury. However, the writer is primarily interested in the world of the humiliated and insulted, a world in which every executioner and victim, in which everyone is asked painful questions of life. This is the main character of the novel, Rodion Raskolnikov. Dostoevsky's heroes live in Petersburg in the 60s on specific streets, in specific houses. "Cage", "wardrobe", "cabin", "chest", "corner", "kennel", "coffin" - this is where Raskolnikov lives, this is where he breathes. This closet of the hero is an image of the world in which he lives, which "cramped the soul and mind", in which there is not enough "air". But not only Raskolnikov lives in this world, all heroes live and act in this world. This world is typical.

In Raskolnikov, there are many typical young intellectuals of the second half of the 19th century: he is a student, he has to earn money for his studies, he is financially supported by his mother and sister. It was the poor student body that was the best prepared ground for new social ideas in Russia.

The fate of the other heroes of the novel is also typical. For example, the story of the Marmeladov family. Drunkenness Marmeladov - not the cause of poverty, but a consequence of unemployment, homelessness, despair: "... and here he lost his place, and also not through fault, but due to a change in the states, and then he touched!" - explains Marmeladov to Raskolnikov. The death of Katerina Ivanovna is also a pattern of this world. But the fate of her children is rather an exception. The novel has a huge number of secondary characters, the typical fate of which, as it were, pushes the hero to murder (for example, a scene with a drunk girl on the boulevard).

The psychological realism of the novel

Dostoevsky's novels are rightfully considered psychological novels.

All the heroes painfully reflect on the meaning of life, on their place in it: Raskolnikov himself, Svidrigailov, Marmeladov ... The author also painfully searches for the meaning of life. Dostoevsky, cut off from the happy life of people who did not think about the meaning of life, dreamed of transformation, of a complete change in human nature, of a "geological revolution." Each character of the writer has the possibility of transformation.

A person who falls into the abyss is not doomed, if something bright is preserved in his soul, this person can be saved.

So many speaking Lebeziatnikov is saved by helping to save Sonya from Luzhin's accusations. Gradually, Raskolnikov finds a way out to the salvation of his soul: not when he repented on the square, not when he went to hard labor, but much later, when the great truth of the Gospel comes to him, then true love for Sonya also comes.

Features of the author's attitude to heroes

Dostoevsky's talent is cruel to the proud, but infinitely soft to the fallen, who have lost not only excessive self-respect, but also almost do not consider themselves people.

Dostoevsky is infinitely attentive to them, and before a gaze full of love, "nuggets in the mud" open up and begin to sparkle. Let us recall the confession of Marmeladov. At first, we perceive it as another confirmation of the baseness of man and the world, but gradually his image from humiliated comic becomes tragic, rises to the extraordinary height of tragedy, which captures both those around him and the reader.

Realistic compositional solution of the novel

All Dostoevsky's novels are extremely dynamic, despite the fact that a huge place in their composition is occupied by the reflections of the characters, their dialogues with themselves and other characters.

The action develops just as intensely in Crime and Punishment. We know that Raskolnikov's plan does not arise spontaneously, it was prepared by months of reflections, but in the novel, from the day when Raskolnikov goes to make a "test" to his recognition, everything passes ... The reader does not notice this, since together with the hero he painfully experiences what he has done.

Raskolnikov's dreams are of great importance, which allow the writer to reveal the hero's subconscious.

It is the hero's last dream, in which his theory is embodied in allegorical form, that leads the hero to the realization of its anti-humanity. The composition of "Crime and Punishment", like most of the writer's novels, is based on a detective story, the story of a murder and its disclosure. An important place in the novel is occupied by the duel between Raskolnikov and the investigator Porfiry Petrovich, which allows one to penetrate deeper into the consciousness of the hero, and at the same time, meetings with Porfiry Petrovich force Rodion to painfully reflect on the theory he created, about what sacrifices he brings to test its reliability.

The figurative system as a polyphonic structure of reality

In the center of the novel "Crime and Punishment" the main character is Rodion Raskolnikov, but in the system of images he is opposed and compared with other heroes.

On the one hand, these are his opponents - the main one is Sonya. With her fate, her character, her sacrifice, Marmeladova does not fit into the framework of the theory created by the hero, Sonya is different. It embodies Dostoevsky's beloved idea of ​​the "man of God."

On the other hand, in the novel there are doubles of the protagonist, those whose lifestyle and worldview correspond to the theory of the hero - Svidrigailov and Luzhin. It is they who visually give the hero and the reader to understand how disgusting, antihuman Raskolnikov's theory is.

One of the main artistic features of all Dostoevsky's novels (and Crime and Punishment is no exception here) is the polyphony of the novels, polyphony, in which the voice of each hero (even an episodic one - an officer and a student, Katerina Ivanovna, Dunechka, Lizaveta) is formed into the whole world, the diverse world of human grief, suffering, humiliation.

This polyphony is complemented by a description of the environment in which the heroes live.

Petersburg, in which events unfold, also becomes the hero of the novel.

The gloom of the city, its dirt, stench, its streets and boulevards, where people are dying, confirms Raskolnikov's theory, pushes him to crime, it is on these streets, in these closets that the theory of protest against this world can arise.

Dreams play an important role in the novel "Crime and Punishment". Raskolnikov sees dreams that reflect:

not only what he is experiencing in reality (the murder of an old woman),

but also what he constantly thinks about, how he lives (the theory of the hero).

Dostoevsky's realism is called fantastic, because the world of his heroes combines reality and unreality (thoughts, feelings, experiences).

The main character of the novel, Raskolnikov, lives in such a world.

Dostoevsky is rightfully considered one of the most remarkable realists of the nineteenth century. But it is interesting that it was this writer who turned out to be especially appreciated in the twentieth century, since the writer succeeded:

• raise problems,
• show characters,
• to give a social assessment to those phenomena that have turned out to be vital for our century.

Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")

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What is the genre of Crime and Punishment?

That "Crime and Punishment" is a novel, no one doubts, since ROMAN (from the French roman, originally a work in Romance languages) is a large form of the epic genre of literature, in which the reader is offered an action unfolded in an integral artistic space, and not just one episode or a flashy moment in which the focus is on the image of a person in conjunction with complex life factors.

More difficult is the question of what kind of novel it is. Many scientific works have been written about the genre of the novel "Crime and Punishment". Scientists have come to the conclusion that this novel can be considered CRIMINAL, SOCIAL, PSYCHOLOGICAL, PHILOSOPHICAL, DETECTIVE.

Since the criminal background of St. Petersburg life is presented by Dostoevsky as a panoramic picture of social mores and problems, "Crime and Punishment" can rightfully be called a SOCIAL NOVEL.

Since Dostoevsky in the novel with outstanding skill reveals the inner world of the characters, the work can be called a PSYCHOLOGICAL NOVEL.

In "Crime and Punishment" there are many monologues and dialogues in which different life positions of the characters collide, there are intellectual disputes between Raskolnikov and Porfiry Petrovich, Raskolnikov and Svidrigailov. Each hero is the bearer of a certain life position, a certain idea that he wants to express and expresses. That is why the novel is called the PHILOSOPHICAL NOVEL, and Dostoevsky himself is called the ancestor of this genre in world literature.

In addition, the presence of a crime investigation line in the novel's plot, the appearance of false versions in it, the complex psychological struggle between the investigator and the criminal allow one to look at Crime and Punishment as a DETECTIVE NOVEL.

Because the novel has certain characteristics
1) the novel is associated with an interest in the private life of individuals
2) novel - a large number of characters, especially plot-forming
The plot-forming hero is of fundamental importance. Without it, the plot of the novel will not develop or will develop completely differently - that is, a sequence of significant events that change the psychological motivations of the characters.
3) the novel is a rigidly structured architectonics of both the general plot and individual plot lines
4) the novel is the author of the novel as a full-fledged character, one of the main, if not the main plot-forming character - not only because the plot was invented and written down by him. The author's position, aesthetic views, worldview, life experience, everything that the writer wanted to say in the novel. A novel needs an author - as a person, visibly or invisibly present in the world he has created himself.

3 characteristic features of the novel as a genre by M. Bakhtin
1) the stylistic three-dimensionality of the novel associated with the multilingual consciousness that is realized in it;
2) a radical change in the temporal coordinates of the literary image in the novel;
3) a new zone of construction of a literary image in the novel, namely, the zone of maximum contact with the present (modernity) in its incompleteness.

FM Dostoevsky's novel Crime and Punishment is social and psychological. In it, the author raises important social issues that worried people of that time. The peculiarity of this novel by Dostoevsky lies in the fact that it shows the psychology of a contemporary person to the author, trying to find a solution to pressing social problems. At the same time, Dostoevsky does not provide ready-made answers to the questions posed, but forces the reader to ponder over them.

Assignments for the exam in literature based on the novel "Crime and Punishment"

Assignments of the Unified State Exam in Literature from the FIPI website based on the novel by F.M.Dostoevsky "Crime and Punishment"

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"Assignments for the exam in literature based on the novel" Crime and Punishment "

- Let me ask you a serious question, - the student got excited. - I was joking now, of course, but look: on the one hand, a stupid, meaningless, insignificant, angry, sick old woman, useless to anyone and, on the contrary, harmful to everyone, who herself does not know what she lives for, and who tomorrow herself will die by itself. Understand? Understand?

“Well, I understand,” the officer answered, staring intently at the hot companion.

- Listen further. On the other hand, young, fresh forces that go to waste without support, and this is in thousands, and this is everywhere! One hundred, a thousand good deeds and undertakings that can be arranged and corrected for the old women 's money doomed to the monastery! Hundreds, thousands, perhaps, of existences directed 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 criminal will not be eradicated by a thousand good deeds? In one life - thousands of lives saved from decay and decay. One death and one hundred lives in return - why, here is arithmetic! And what does the life of this consumptive, stupid and evil old woman mean on the general scale? No more than the life of a louse, a cockroach, and even that is not worth it, because the old woman is harmful. She gnaws at someone else's life: the other day she bit Lizaveta's finger out of spite; almost cut off!

“Of course, she is unworthy to live,” the officer remarked, “but there’s nature here.

- Eh, brother, but nature is being corrected and directed, and without this one would have to drown in prejudices. Without this, not a single great person would exist. They say: "duty, conscience" - I do not want to say anything against duty and conscience - but how do we understand them? Wait, I'll ask you one more question. Listen!

- No, you stop; I'll ask you a question. Listen!

- Now you are talking and oratory, but tell me: will you kill the old woman yourself or not?

- Of course no! I am for fairness ... It's not about me that matters ...

- And in my opinion, since you yourself do not dare, there is no justice here either! Let's go another party!

(FM Dostoevsky, "Crime and Punishment".)

- The student and the officer express different points of view on the possibility of killing the old woman and on public justice. Indicate the term, which in a work of art is called the clash of views, life principles of the heroes.

- What is the name of the conversation between the two characters (in this case, a student and an officer) in a literary work?

- In the student's remarks, words are repeatedly encountered that denote an exaggeratedly large number (“one hundred, a thousand good deeds and undertakings,” “hundreds, thousands of ... existences,” “thousands of lives,” etc.). What artistic path is used here?

- In the conversation between the student and the officer, important, typical features of life, described objectively, are indicated. What literary movement in the second half of the 19th century widely used this method of displaying reality?

- The emotion of the student's speech is created by exclamation and interrogative sentences that do not require an answer. What are the names of such questions and exclamations in literary criticism?

- Who became a casual witness of the conversation between the student and the officer?

- In which city does the conversation between the student and the officer take place?

8. How did the conversation between the student and the officer influence the development of Raskolnikov's idea?

9. What characters of Russian literature are inherently close to the image of the old woman-usurer? Argument your answer.

Raskolnikov came out of the shed to the very bank, sat down on the logs piled up by the shed, and began to gaze at the wide and deserted river. A wide area opened up from the high bank. From the distant other shore, a song was barely audible. There, in the sun-drenched boundless steppe, nomadic yurts were blackened with faint dots. There was freedom and other people lived there, completely different from the local ones, there, as it were, time stood still, as if the ages of Abraham and his flocks had not yet passed. Raskolnikov sat, looked motionless, without looking up; his thought passed into dreams, into contemplation; he thought of nothing, but a kind of longing agitated and tormented him.

Suddenly Sonya found herself next to him. She came up barely audible and sat down next to him. It was still very early, the morning chill had not yet softened. She was wearing her poor old burnous and a green handkerchief. Her face still bore signs of illness, lost weight, turned pale, and thinned. She smiled affably and joyfully at him, but, as usual, timidly held out her hand to him.

She always held out her hand to him timidly, sometimes she did not even give it at all, as if she was afraid that he would push her away. He always, as it were, took her hand with disgust, always greeted her with vexation, sometimes stubbornly remained silent during her visit. It happened that she trembled at him and left in deep sorrow. But now their hands did not part; he glanced at her briefly and quickly, said nothing, and lowered his eyes to the ground. They were alone, nobody saw them. The escort turned away at that time.

How it happened, he himself did not know, but suddenly something seemed to grab him and, as it were, threw him at her feet. He cried and hugged her knees. In the first instant she was terribly frightened, and her whole face was dead. She jumped up and, trembling, looked at him. But immediately, in the same instant, she understood everything. Infinite happiness shone in her eyes; she understood, and there was no longer any doubt for her that he loved, infinitely loved her, and that this moment had finally come.

They wanted to speak, but they could not. Tears stood in their eyes. They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. They were resurrected by love, the heart of one contained endless sources of life for the heart of the other.

(FM Dostoevsky "Crime and Punishment")

- Indicate the term by which in literary criticism is called an important element of composition, which helps the author to create an emotional atmosphere of action in the work. (From the words "From the high bank a wide area opened up ..." to the words "Raskolnikov sat, looked motionless ...".)

- Indicate the term denoting the opposition of life phenomena or states (for example, the life of Raskolnikov - a fortress, prison, escorts - and that free, free world that the hero sees "from a high bank": "nomadic yurts", "sun-drenched steppe", etc. etc.).

- Name the means of creating the image of Sonya, based on the description of her appearance: “She was wearing her poor old burnus and a green scarf. Her face still bore signs of illness, lost weight, turned pale, haggard. She smiled at him affably and joyfully ... ".

- About changes in the heroes of F.M. Dostoevsky writes: “They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. " Enter the name of the artwork used in this description.

8. What helps Raskolnikov to resurrect for a "new life"?

9. What heroes of Russian literature, through painful searches for answers to the most important questions, returned to their true life?

The small room, into which the young man entered, with yellow wallpaper, geraniums and muslin curtains on the windows, was brightly lit by the setting sun at that moment. “And then, therefore, the sun will shine in the same way. "- as if by chance flashed in Raskolnikov's mind, and with a quick glance he looked around everything in the room in order to study and remember the location as much as possible. But there was nothing special about the room. The furniture, all very old and made of yellow wood, consisted of a sofa with a huge curved wooden back, a round oval table in front of the sofa, a toilet with a mirror in the pillar, chairs on the walls and two or three penny pictures in yellow frames depicting German young ladies with birds in the hands - that's all the furniture. In the corner in front of a small image a lamp was burning. Everything was very clean: both the furniture and the floors were polished; everything shone. "Lizavet's job," thought the young man. Not a speck of dust could be found in the entire apartment.

“It’s that evil and old widows have such cleanliness,” Raskolnikov continued to himself, and with curiosity glanced at the chintz curtain in front of the door to the second, tiny room, where the old women had a bed and a chest of drawers and where he had never looked. The whole apartment consisted of these two rooms.

- Anything? - Sternly said the old woman, entering the room and still standing right in front of him to look him straight in the face.

- I brought the mortgage, that's it! And he took out of his pocket an old flat silver watch. A globe was depicted on their back plate. The chain was steel.

- Why, and I will lay the term. On the third day, the month has passed.

- I'll pay you interest for another month; be patient.

- And that's my good will, father, to endure or sell your thing now.

- How many for hours, Alena Ivanovna?

- And you go around with trifles, father, nothing, read it, is not worth it. Last time I brought you two tickets for the ring, and you can buy it a new one from a jeweler for one and a half rubles.

- Give me four rubles, I will redeem, fathers. I will receive the money soon.

- A ruble and a half, sir and a percentage in advance, if you want, sir.

- One and a half rubles! Cried the young man.

- Your will. - And the old woman handed him back the watch. The young man took them and was so angry that he was about to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for another.

- Let's! He said roughly.

The old woman reached into her pocket for the keys and went into another room behind the curtains. The young man, left alone in the middle of the room, listened curiously and thought. She could hear her unlocking the dresser. It must be the top drawer, he thought. - She carries the keys in her right pocket. Everything in one bundle, in a steel ring. And there is one key there all the more, three times, with a jagged beard, of course, not from the chest of drawers. Therefore, there is still some kind of casket, or packing. This is curious.

The styling has all such keys. And yet, how despicable it all is. "

- Here, sir: if a hryvnia per month is from a ruble, then fifteen kopecks will be deducted from you for a ruble and a half, a month in advance. Yes, for the two previous rubles, you still owe twenty kopecks on this account in advance. And in total, therefore, thirty-five. Now you have to receive only fifteen kopecks of your ruble for your watch. Here you will get it, sir.

- How! so now the ruble is fifteen kopecks!

- What is the name of the character's surname, which carries an element of his characteristics (for example, the name of Raskolnikov, associated with the word "split")?

- Establish a correspondence between the acting and the characters mentioned in this fragment and the elements of their portraits. For each position in the first column, match the corresponding position from the second column.

- “The young man took it [watch] and was so angry that he was about to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for another ”. What is the name of the image of a person's mental life in a literary work?

- What is the name of the literary movement, which flourished in the second half of the 19th century and whose principles were embodied in Crime and Punishment?

- In this episode, Raskolnikov expresses his thoughts several times, not saying words aloud, but as if referring to himself. Name this way of speaking.

- On my father's watch, which Raskolnikov brought, a globe was depicted. What is the name of an expressive detail in a work of art?

- Indicate the genre to which the work of F.M. Dostoevsky's "Crime and Punishment".

Genre and composition. The genre-compositional structure of the novel is complex. In terms of plot, it is close to the detective-adventurous genre, but the detailed and thoroughly depicted background against which events unfold, the effectiveness of the very image of St. Petersburg allows us to speak about the genre of a social and everyday novel. There is also a love line in him (Dunya - Svidrigailov, Luzhin, Razumikhin; Raskolnikov - Sonya). An in-depth study of the inner world of heroes, so characteristic of Dostoevsky, makes this novel psychological. But all these genre features, intertwining in a single artistic whole of the work, create a completely new type of novel.

"Crime and Punishment" is the first of Dostoevsky's "great" novels, which embodied his artistic and philosophical system. At the center of this novel is the idea of ​​individualism, which is contrasted with the idea of ​​Christian humility and redemptive suffering. This determines the high ideology of the text of the work, saturated with deep and complex philosophical problems. Therefore, Dostoevsky's novel is rightfully classified as an ideological and philosophical novel. Indeed, the author's attention, despite the adventurous detective plot, is focused not on the events that are rapidly unfolding before the eyes of the reader, but on the thoughts, philosophical reasoning, ideological disputes of the heroes. In fact, the writer shows the fate of the idea that prompted the hero to commit a crime, which allows him to organically include the most complex philosophical problems in the work. At the same time, the novel does not become a philosophical treatise, since we are not talking about an abstract idea, but about a hero completely embraced by it.

This is how a special type of hero arises, which they began to call the hero-idea (or hero-ideologist). This is a special type of literary hero, which first appeared in Dostoevsky's novel Crime and Punishment, the peculiarity of which is that it is not just a social or psychological type, a certain character or temperament, but, above all, a person embraced by an idea (sublime or destructive), which “Going into nature” requires “immediate application to the case” (FM Dostoevsky). Such heroes - carriers of ideas - in the novel are primarily Raskolnikov (the idea of ​​individualism) and Sonya Marmeladova (the Christian idea). But in his own way, each of the characters in this novel also presents "his" idea: Marmeladov embodies the idea of ​​a dead end in life, which he himself justified, investigator Porfiry Petrovich expresses a whole system of arguments in defense of the idea of ​​Christian humility and redemptive suffering, which he, like Sonya, proposes to perceive Raskolnikov. Even the almost wordless Lizaveta, killed by Raskolnikov, participates in a duel of ideas led by the main characters.

This is how a special artistic structure arises, in which ideas, through their carriers, enter into a free dialogue. It is conducted not only at the level of various discussions, disputes, various statements of the heroes (aloud or silently), but, most importantly, it is embodied in the fates of these heroes. At the same time, the author's position is not directly expressed, the action moves as if by itself as a result of the development of the main idea (the idea of ​​individualism), which manifests itself in constant collision and intersection with the contrasting Christian idea. And only the end result of the complex movement and development of ideas allows us to speak about the author's position in this kind of ideological and philosophical dispute.

Thus, a completely new type of novel is formed, which became Dostoevsky's artistic discovery. The theoretical substantiation of this new type, called the polyphonic novel, was made only in the XX century by M.M. Bakhtin. He also suggested the name "polyphonic" (from polyphony - polyphony). The role of "voices" in it is played by heroes-ideas. The peculiarity of such a novel is that the philosophical views of the writer, which are in the center of the work, are not expressed in the direct statements of the author or heroes (the principle of objectivity), but are revealed through the clash and struggle of different points of view embodied in the heroes-ideas (dialogical structure). At the same time, the idea itself is realized through the fate of such a hero - hence the in-depth psychological analysis that permeates all levels of the artistic structure of the work.

The novel merges the psychological analysis of the criminal's state before and after the murder with the analysis of Raskolnikov's "idea". The novel is structured in such a way that the reader is constantly in the sphere of consciousness of the hero - Raskolnikov, although the narration is from the third person. That is why his words, incomprehensible to the reader, about “trial” sound so strange when he goes to the old woman. After all, the reader is not privy to Raskolnikov's plan and can only guess what "matter" he is discussing with himself. The specific intention of the hero is revealed only after 50 pages from the beginning of the novel, immediately before the very atrocity. The existence of Raskolnikov's complete theory and even an article with its presentation becomes known to us only on the two hundredth page of the novel - from a conversation with Porfiry Petrovich. This technique of silence is used by the writer in relation to other heroes. So only at the very end of the novel we learn the history of Dunya's relationship with Svidrigailov - just before the denouement of this relationship. Of course, this, among other things, contributes to the enhancement of the entertaining plot.

All this is very different from the psychologism traditional for Russian literature. "I am not a psychologist, said Dostoevsky about himself, - I am only a realist in the highest sense, that is, I portray all the depths of the human soul." The great writer was distrustful of the very word "psychology", calling the concept behind it "a double-edged sword." In the novel, we see not just a study, but a test of the hero's soul and thoughts - this is the semantic and emotional core to which all plot moves, all the events of the work, all the feelings and sensations of both leading and episodic characters are drawn. The method of Dostoevsky as a psychologist consists in the penetration of the writer into the consciousness and soul of the hero in order to reveal the idea he is wearing, and with it his true nature, which comes out in unexpected, extreme, provoking situations. No wonder in "Crime and Punishment" the word "suddenly" is used 560 times!

The specificity of his plot structures is also determined by the peculiarity of Dostoevsky's psychologism. Believing that the true essence of a person manifests itself only in moments of the highest upheavals, the writer seeks to knock his heroes out of their usual life rut, to bring them into a crisis state. The dynamics of the plot leads them from catastrophe to catastrophe, depriving them of solid ground under their feet, forcing again and again to desperately "storm" unsolvable "damned" questions.

The compositional structure of "Crime and Punishment" can be described as a chain of catastrophes: Raskolnikov's crime, which brought him to the threshold of life and death, then the death of Marmeladov, the madness and death of Katerina Ivanovna soon followed, and, finally, the suicide of Svidrigailov. The prehistory to the novel also tells about Sonya's disaster, and the epilogue tells about Raskolnikov's mother. Of all these heroes, only Sonya and Raskolnikov manage to survive and escape. The intervals between catastrophes are occupied by intense dialogues between Raskolnikov and other characters, of which two conversations with Porfiry Petrovich stand out. The second, most terrible for Raskolnikov "conversation" with the investigator, when he drives Raskolnikov almost to insanity, hoping that he will betray himself, is the compositional center of the novel, and conversations with Sonya are located before and after, framing it.

Dostoevsky believed that only in such extreme situations: in the face of death or in moments of final determination for himself the purpose and meaning of his existence - a person is able to abandon the vanity of life and turn to the eternal questions of being. Subjecting his heroes to a merciless psychological analysis precisely at these moments, the writer comes to the conclusion that in such circumstances the fundamental difference in character disappears and becomes unimportant. Indeed, for all the uniqueness of individual feelings, the “eternal questions” are the same for everyone. That is why another phenomenon of Dostoevsky's polyphonic novel arises - duality. It is not only about the specific character of the characters and the peculiarities of psychological analysis, but also about one of the most important principles of the construction of Dostoevsky's polyphonic novel - the system of doubles.

The action of Dostoevsky's polyphonic novel is based on the collision of contrasting ideological poles with complete equality of ideas, which are additionally revealed with the help of a system of twins. In Crime and Punishment, the idea of ​​individualism, the main carrier of which is Raskolnikov, is specified in the images of Luzhin and Svidrigailov, who become his doubles, or rather doubles of the idea inherent in him. The bearer of the Christian idea is Sonechka Marmeladova, and her counterparts (counterparts of the idea) are Lizaveta, Mikolka, Dunya. The inner essence of Sonechka Marmeladova, as a hero-idea, is the basis of the Christian idea: the creation of good and the acceptance of the suffering of the world. This is what fills Sonechka's life with deep meaning and light, despite the surrounding dirt and darkness. Associated with the image of Sonechka is Dostoevsky's belief that the world will be saved by fraternal unity between people in the name of Christ and that the basis of this unity must be sought not in the society of the "powerful of this world", but in the depths of people's Russia. The writer is helped to express it by a special form of the novel - polyphonic, as well as the entire system of artistic means inherent in it, first of all, the system of images of the novel.

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School assistant - ready-made essays on the Russian language and literature

By genre "Crime and Punishment" - a completely new type of work. In the novel "Crime and Punishment" several genre varieties of the novel are combined, fundamentally new ideas are added. This helps the author to comprehensively disclose the issues he has raised. According to the genre, the work "Crime and Punishment" is a novel, however, several types of the novel are mixed in it. This is a carnival-adventurous novel (the presence of a criminal offense, sheer development of events), and a detective novel (disclosure of a crime by investigative Porfiry), and a psychological novel (the psychology of the characters is disclosed in great detail), and a philosophical novel (the described philosophical system of Raskolnikov, emphasis is placed on the meaning philosophical system in human life). There is an idea of ​​defining the crime and punishment genre as a tragedy novel. The novel uses the principle of polyphony.

Dostoevsky's character are contradictory, however, full-fledged personalities. their point of view seems to be independent of the author's image, which is invisibly present in the novel, from the point of view of one thing. So, the novel contains several equal "voices" - hence the principle of polyphony. The novel's problems cover almost all spheres of human life. These are social, moral, ethical, psychological, and philosophical problems. The main problems of the novel are: the problem of a strong personality and the boundaries of her freedom, the clash of people's interests, the problem of the likely unevenness of people in their moral and ethical rights. The motive of sin and atonement, the problem of the disintegration of the personality, the problem of the inner conflict of the personality, the problem of morality and its value in society are of great importance.

For depicting characters and the disclosure of problems F. Dostoevsky uses many artistic methods, for example, the method of doubling, a special method of creating an image of the city, etc. Each of them needs detailed study and analysis. It is impossible to overestimate the significance of the novel "Crime and Punishment" by F. Dostoevsky for Russian and world literature. This novel has been translated in many languages ​​and is read and loved all over the world. The depth of the characters and the fundamental nature of the problems raised causes a real fascination with the literary genius of the outstanding Russian writer F. Dostoevsky.

If this school essay on the topic: Genre originality of F. Dostoevsky's novel "Crime and Punishment", it came in handy, then I will be very grateful if you post a link on a blog or social network.

Genre originality of Dostoevsky's novel "Crime and Punishment"

Features of the genre of the novel "Crime and Punishment"

The genre originality of this novel by F.M. Dostoevsky lies in the fact that this work cannot be absolutely definitely classified as a genre already known and tested by Russian literature.

Detective traits

First of all, formally, the novel can be attributed to the detective genre:

• the plot is based on a crime and its disclosure,
• there is a criminal (Raskolnikov),
• there is an intelligent investigator who understands the criminal, leads him to exposure (Porfiry Petrovich),
• there is a motive for the crime,
• there are distracting moves (Mikolka's confession), evidence.

But none of the readers would even think of calling "Crime and Punishment" a detective story, because everyone understands that the novel's detective basis is just a pretext for setting other tasks.

A new type of romance

This work also does not fit into the framework of a traditional European novel.

Dostoevsky created a new genre - the psychological novel.

It is based on man as a great mystery, into which the author looks along with the reader. What leads a person, why is this or that capable of sinful acts, what happens to a person who has crossed the line?

The atmosphere of the novel is the world of the humiliated and offended, where there are no happy, no fallen. In this world, reality and fiction are combined, therefore, Raskolnikov's dreams occupy a special place in the novel, which do not predict the fate of the hero in the same way as in a traditional novel. No, the dreams of the protagonist reflect the state of his psyche, his soul after the murder of the old woman, project reality (a dream about killing a horse), accumulate the philosophical theory of the hero (Rodion's last dream).

Each hero is put in a situation of choice.

This choice puts pressure on a person, makes him go forward, go without thinking about the consequences, go only in order to find out what he is capable of, in order to save another or himself, in order to destroy himself.

Polyphonic solution of the figurative system

Another genre feature of such novels is polyphony, polyphony.

In the novel, a huge number of heroes who conduct conversations, utter monologues, shout something from the crowd - and each time it is not just a phrase, it is a philosophical problem, a matter of life or death (dialogue between an officer and a student, Raskolnikov's monologues, his dialogues with Sonya, with Svidrigailov, Luzhin, Dunechka, Marmeladov's monologue).

Dostoevsky's heroes carry either hell or heaven in their souls. So Sonechka Marmeladova, despite the horrors of her profession, carries in her soul paradise, her sacrifice, her faith and save her from the hell of life. A hero like Raskolnikov, according to Dostoevsky, is subordinate to the devil in his mind and chooses hell, but at the last moment, when the hero looks into the abyss, he recoils from it and goes to inform on himself. There are also heroes of hell in Dostoevsky's novels. They have long and deliberately chosen hell not only with their minds, but also with their hearts. And their hearts were hardened. Such is the story of Svidrigailov.

For the heroes of hell, one way out is death.

Heroes like Raskolnikov are always intellectually superior to the rest: it's not for nothing that everyone recognizes Raskolnikov's mind, Svidrigailov expects some new word from him. But Raskolnikov is pure in heart, his heart is full of love and compassion (for the girl on the boulevard, for his mother and sister, for Sonechka and her family).

The human soul as the basis of psychological realism

The understanding of the human soul cannot be unambiguous, that is why there is so much unsaid in Dostoevsky's novels (in Crime and Punishment too).

Raskolnikov mentions the reason for the murder several times, but neither he nor the other heroes can finally decide why he killed. Of course, first of all, he is guided by a false theory, subduing him, tempting with verification, forcing him to raise the ax. It is also unclear whether Svidrigailov killed his wife or not.

Unlike Tolstoy, who himself explains why the hero acts this way and not otherwise, Dostoevsky makes the reader, together with the hero, experience certain events, dream, and in all this daily confusion of inconsistent actions, obscure dialogues and monologues, independently find a pattern.

Description of the situation plays a huge role in the genre of the psychological novel. It is generally accepted that the very description of Petersburg corresponds to the mood of the heroes. The city becomes the hero of the story. The city is dusty, dirty, a city of crime and suicide.

The peculiarity of Dostoevsky's artistic world is that his heroes go through a dangerous psychological experiment, letting in "demons", dark forces. But the writer believes that in the end the hero will make his way through them to the light. But each time the reader stops before this riddle of overcoming "demons", because there is no definite answer.

This inexplicable always remains in the structure of the writer's novels.

Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")

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Dostoevsky's genre crime and punishment

Like most Russian novels of the 19th century, Crime and Punishment is a philosophical novel. The definition of "philosophical novel" is conditional. They designate a fairly large number of novels of the 19th-20th centuries, the heroes of which, solving specific issues of their own lives, begin to realize their general meaning, or whose authors, drawing specific situations and specific heroes, discover their universal meanings and meanings.

The philosophical novel is at the same time a moral and psychological novel: the subject of its depiction is the inner world of the individual, issues of morality, in the process of depiction there is a deep comprehension of the psychology of personality, the main criterion of the author's assessment is moral principles.

The specificity of Crime and Punishment as a philosophical novel is largely determined by its polyphonic nature. The theory of a polyphonic (polyphonic) novel by F.M.Dostoevsky was developed by M.M.Bakhtin back in the 1920s (the first edition of his book was published in 1929), but it became available and entered scientific use many years later (second edition books - 1963). According to the scientist, a feature of Dostoevsky's novels is "a plurality of independent and unmerged voices and consciousnesses, a genuine polyphony of full-fledged voices." Speaking about the "voice", MM Bakhtin means the special status of the hero among FM Dostoevsky: the hero is not interested in the writer as a phenomenon of reality, with certain socially typical features, but as a "special point of view on the world and on himself. himself "; "It is important for Dostoevsky not what his hero is in the world, but above all what the world is for the hero and what he is for himself." Reading the novel, we notice that the world appears in the perspective of Raskolnikov: it is Raskolnikov who hears and experiences Marmeladov's confession, learns from the letter the twists and turns of Dunya's fate, sees a drunk girl on the boulevard, etc. In other words,

FM Dostoevsky shows what the world is for the hero, offended by this world, outraged by its unrighteousness, etc. Moreover, it is not FM Dostoevsky who describes Raskolnikov's state, but Raskolnikov reveals with his "word" and "voice" him: not a writer about a hero, but a hero about himself; he is not an object, but a full-fledged subject of the image.

But with FM Dostoevsky, each hero has his own "consciousness and self-consciousness", "his point of view on the world and on himself in the world." Marmeladov, Katerina Ivanovna, Luzhin, Sonya, Svidrigailov, Razumikhin, Porfiry Petrovich, Pulcheria Alexandrovna have it. And all the "voices" - "consciousness" of these heroes are not subordinate to Raskolnikov, but are equal, independent and independent from him and from each other.

The hero of F.M.Dostoevsky is a hero-ideologist, that is, a person who merges with his idea, which becomes his passion and a defining feature of his personality. “The image of the hero is inextricably linked with the image of the idea and is inseparable from it. We see the hero in the idea and through the idea, and we see the idea in him and through him. " In addition, FM Dostoevsky discovered the "dialogical nature of an idea", which becomes an idea only as a result of a dialogue with another, someone else's idea or ideas. We first learn about Raskolnikov's idea-theory from Porfiry's retelling of his (Raskolnikov's) article, that is, we learn through "someone else's" exaggerating and provoking consciousness that calls Rodion into dialogue. Raskolnikov, in turn, sets out the main provisions of his theory, and Porfiry interrupts him all the time with remarks. Revealing in the dialogue with different facets, the idea appears in a different way in the dialogues of Raskolnikov with Sonya, and in a different way in the presentation of Svidrigailov during a conversation with Dunya. As a result, in all these dialogues, a complex, contradictory and voluminous image of Raskolnikov's idea grows. As a result, Dostoevsky's novel becomes not a novel with an idea, but a novel about an idea, about its living life in the minds and souls of people.

In a polyphonic novel, the author's position in relation to the hero also changes. In a novel of a monological type, for example, Tolstoy's, the author knows more about the hero than he does about himself, and can say the final word about him. In a polyphonic novel, only the hero himself can make the final judgment about himself. In this sense, the hero of a polyphonic novel, as it were, takes on part of the author's functions of a monologue novel. The author in a polyphonic novel is next to and together with the heroes, and not above them. All this does not mean, however, that the author's position has not been revealed in the novel. Revealed, but only in other ways than in a monologue novel: not in the author's word (narration), but in the structure of the novel, in its moves.

The polyphonic novel is a new page in the history of the genre, discovered by F.M.Dostoevsky and had a very great influence on the literature of the 20th century.

The two-part title of the novel - "Crime and Punishment" - reflects two unequal parts into which it breaks up: the crime and its causes - the first, and the second and main - the effect of the crime on the soul of the criminal. This twofoldness is also manifested in the structure of the novel: of six parts, only one, the first, is devoted to the crime, and the other five - to spiritual and psychological punishment and the gradual elimination of his crime by Raskolnikov.

The history of the creation of the work

The origins of the novel go back to the time of F.M. Dostoevsky. On October 9, 1859, he wrote to his brother from Tver: “In December I will start a novel. Do you remember, I told you about one confession-novel, which I wanted to write after all, saying that I still have to go through it myself. The other day I completely decided to write it immediately. All my heart will rely with blood on this novel. I conceived it in hard labor, lying on a bunk, in a difficult moment of sadness and self-decomposition. "Initially, Dostoevsky conceived to write" Crime and Punishment "in the form of Raskolnikov's confession. The writer intended to transfer the entire spiritual experience of hard labor to the pages of the novel. It was here that Dostoevsky first encountered strong personalities, under whose influence a change in his former convictions began.

The idea of ​​a new novel Dostoevsky was nursing for six years. During this time, "The Humiliated and Insulted", "Notes from the House of the Dead" and "Notes from the Underground" were written, the main theme of which was the stories of poor people and their rebellion against existing reality. On June 8, 1865, Dostoevsky proposed to A.A. Kraevsky for "Notes of the Fatherland" his new novel called "The Drunken". But Kraevsky answered the writer with a refusal, which he explained by the fact that the editorial board had no money. On July 2, 1865, in dire need, Dostoevsky was forced to conclude an agreement with the publisher F.T. Stellovsky. For the same money that Kraevsky refused to pay for the novel, Dostoevsky sold Stellovsky the right to publish the complete collected works in three volumes and undertook to write for him a new novel of at least ten sheets by November 1, 1866.

Having received the money, Dostoevsky distributed the debts and at the end of July 1865 went abroad. But the money drama didn't end there. During his five days in Wiesbaden, Dostoevsky lost everything he owned at roulette, including his pocket watch. The consequences were not long in coming. Soon the owners of the hotel in which he was staying ordered not to serve him meals, and after a couple of days they also deprived him of the light. In a tiny room, without food and without light, "in the most painful situation", "burned by some kind of internal fever", the writer began work on the novel "Crime and Punishment", which was destined to become one of the most significant works of world literature.

In September 1865, Dostoevsky decided to offer his new story to the Russian Bulletin magazine. In a letter to the publisher of this magazine, the writer said that the idea of ​​his new work would be "a psychological account of one crime": in terms of instability in concepts, succumbing to some strange, "unfinished" ideas that are in the air, he decided to get out of his bad situation at once. He decided to kill an old woman, a titular counselor who gives money for interest. The old woman is stupid, deaf, sick, greedy, takes Jewish interest, evil and seizes someone else's age, torturing her younger sister in her workers. "She's useless for anywhere", "what does she live for?", "Is she useful to anyone?" and so on - 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 in companions with some landowners, from the voluptuous claims of the head of this landowner family - claims that threaten her with death - to complete the course, to go for border and then all my life to be honest, firm and unswerving in fulfilling the "humane duty to humanity" - which, of course, will "ameliorate the crime", if you can only call this act of a deaf, stupid, evil and sick old woman knows why he lives in the world, and which in a month, perhaps, would have died by itself. "

According to Dostoevsky, in his work there is an allusion to the idea that the imposed legal punishment for a crime frightens the criminal much less than the guardians of the law think, mainly because he himself morally demands this punishment. Dostoevsky set the goal of clearly expressing this idea using the example of a young man - a representative of a new generation. According to the author, materials for the history underlying the Crime and Punishment novel could be found in any newspaper published at that time. Dostoevsky was sure that the plot of his work partly justified modernity.

The plot of the novel "Crime and Punishment" was originally conceived by the writer as a short story of five to six printed sheets. The last plot (the story of the Marmeladov family) eventually entered the story of Raskolnikov's crime and punishment. From the very beginning of its inception, the idea of ​​an "ideological killer" fell into two unequal parts: the first, the crime and its causes, and the second, the main one, the effect of the crime on the soul of the criminal. The idea of ​​a two-part concept was reflected in the title of the work - "Crime and Punishment", and on the peculiarities of its structure: out of six parts of the novel, one is devoted to crime and five - to the influence of the committed crime on Raskolnikov's soul.

Dostoevsky worked hard on the plan for his new work in Wiesbaden, and later on the ship, when he was returning from Copenhagen, where he was staying with one of his Semipalatinsk friends, to Petersburg, and then in Petersburg itself. In the city on the Neva, the story imperceptibly grew into a large novel, and Dostoevsky, when the work was almost ready, burned it and decided to start over. In mid-December 1865, he sent chapters of the new novel to the Russian Bulletin. The first part of Crime and Punishment appeared in the January 1866 issue of the magazine, but work on the novel was in full swing. The writer worked hard and selflessly on his work throughout 1866. The success of the first two parts of the novel inspired and inspired Dostoevsky, and he set to work with even greater zeal.

In the spring of 1866, Dostoevsky planned to leave for Dresden, stay there for three months and finish the novel. But numerous creditors did not allow the writer to travel abroad, and in the summer of 1866 he worked in the village of Lublin near Moscow, with his sister Vera Ivanovna Ivanova. At this time, Dostoevsky was forced to think about another novel, which was promised to Stellovsky at the conclusion of an agreement with him in 1865. In Lublin, Dostoevsky drew up a plan for his new novel, The Gambler, and continued to work on Crime and Punishment. In November and December, the last, sixth, part of the novel and the epilogue were completed, and the Russian Bulletin at the end of 1866 finished the publication of Crime and Punishment. Three notebooks with drafts and notes to the novel have survived, in fact, three handwritten editions of the novel, which characterize the three stages of the author's work. Subsequently, they were all published and made it possible to present the writer's creative laboratory, his hard work on every word.

The Wiesbaden "story", like the second edition, was conceived by the writer in the form of a confession of a criminal, but in the process of work, when the material of the novel "Drunken" was added to the confession and the plan became more complicated, the old form of confession on behalf of the murderer, who actually cut himself off from the world and deepened into his "immovable" idea, became too close for the new psychological content. Dostoevsky preferred a new form - a story on behalf of the author - and burned the original version of the work in 1865.

An important note appeared in the third, final edition: “The story is from oneself, not from him. If it’s a confession, then it’s too extreme, you need to understand everything. So that every moment of the story is clear. "Draft notebooks" Crime and Punishment "allow us to trace how long Dostoevsky tried to find an answer to the main question of the novel: why did Raskolnikov decide to kill? The answer to this question was not unambiguous for the author himself. In the original idea of ​​the story, this is a simple idea: to kill one insignificant harmful and rich creature in order to make many beautiful, but poor people happy with his money. In the second edition of the novel, Raskolnikov is depicted as a humanist, burning with the desire to stand up for the “humiliated and insulted”: “I am not the kind of person to allow a bastard to be defenseless weakness. I will intercede. I want to intervene. " But the idea of ​​murder because of love for other people, murder of a person because of love for humanity, is gradually "overgrown" with Raskolnikov's desire for power, but it is not vanity that motivates him. He seeks to gain power in order to fully devote himself to serving people, longs to use power only to perform good deeds: “I take power, I get strength — whether money, power — not for bad things. I bring happiness. " But in the course of his work, Dostoevsky penetrated deeper and deeper into the soul of his hero, discovering behind the idea of ​​murder for the sake of love for people, power for the sake of good deeds, the strange and incomprehensible "idea of ​​Napoleon" - the idea of ​​power for the sake of power, dividing humanity into two unequal parts: the majority is "a creature trembling ”and the minority - the“ masters ”, called upon to rule the minority, standing outside the law and having the right, like Napoleon, to transcend the law for the sake of necessary goals. In the third, final version, Dostoevsky expressed the “ripe”, complete “Napoleon's idea”: “Can you love them? Can you suffer for them? Hatred of humanity. "

Thus, in the creative process, in comprehending the concept of "Crime and Punishment", two opposite ideas collided: the idea of ​​love for people and the idea of ​​contempt for them. Judging by the draft notebooks, Dostoevsky faced a choice: either to leave one of the ideas, or to keep both. But realizing that the disappearance of one of these ideas would impoverish the plot of the novel, Dostoevsky decided to combine both ideas, to depict a person in whom, as Razumikhin says about Raskolnikov in the final text of the novel, “two opposite characters alternately change”. The ending of the novel was also created as a result of strenuous creative efforts. One of the draft notebooks contains the following entry: “The finale of the novel. Raskolnikov is going to shoot himself. " But this was the final only for Napoleon's idea. Dostoevsky, on the other hand, strove to create a finale for the “idea of ​​love”, when Christ saves a repentant sinner: “The vision of Christ. He asks forgiveness from the people. " At the same time, Dostoevsky understood perfectly well that such a person as Raskolnikov, who combined two opposite principles, would not accept either the judgment of his own conscience, or the judgment of the author, or the legal court. Only one court will be authoritative for Raskolnikov - the "high court", the court of Sonechka Marmeladova, the very "humiliated and insulted" Sonechka, in whose name he committed the murder. That is why the following entry appeared in the third, final, edition of the novel: “The idea of ​​the novel. I. Orthodox view, what is Orthodoxy. There is no happiness in comfort; happiness is bought by suffering. This is the law of our planet, but this direct consciousness, felt by the everyday process, is such a great joy that can be paid for by years of suffering. Man is not born to be happy. A person deserves happiness, and always suffering. There is no injustice here, because vital knowledge and consciousness is acquired by experience "for" and "against", which needs to be dragged on oneself. " In the drafts, the last line of the novel looked like: "Inscrutable are the ways in which the god of man finds." But Dostoevsky ended the novel with other lines, which may serve as an expression of the doubts that tormented the writer.

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Plot, composition, genre features of the novel "Crime and Punishment"

F.M.Dostoevsky, as a writer, attached great importance to the amusement of the narrative, was an unsurpassed master of a sharp, adventurous plot, captivating the reader, keeping him in suspense

From the first to the last pages of the novel. No one has ever managed to combine a detective plot with the finest psychologism and depth of philosophical meaning.

“Crime and Punishment” is a novel about a crime, but it cannot be classified as a “criminal, detective” genre, it is called a confession novel, a tragedy novel, one of the greatest philosophical and psychological novels. In the novel, for the reader there is no mystery about who the killer is, the plot develops around another: the narrative is structured in such a way that throughout its entire length we tensely follow every movement of Raskolnikov's inflamed thought, the lonely

The wanderings of his soul, behind a feverish change of decisions and contradictory actions.

Other characters in the novel are depicted in such a way that, without losing great independent significance, they, each in their own way, “explain” the drama that unfolds in Raskolnikov's mind between thoughts and soul. “. Raskolnikov is the only hero of the book. All the rest are projections of his soul. This is where the phenomenon of doubles finds an explanation. Each character, even bystanders, up to the horse from Raskolnikov's dream, beaten to death, reflects a part of his personality ”(P. Weil, A. Genis.“ The Last Judgment ”). In Crime and Punishment, the story of the protagonist is closely intertwined with two storylines: the history of the Marmeladov family and the fate of Dunechka and Pulcheria Alexandrovna, as well as the related stories of Svidrigailov and Luzhin. These two parallel plots are closely related to Raskolnikov and his theory.

But not only the compositional center is Raskolnikov. The tragic throwings of his spirit involve all the actors in their orbit, each in his own way tries to explain the contradictions of his personality, to guess the secret of his fatal duality. With them, he leads a passionate argument in his internal monologues. “Every face comes in. into his inner speech not as a character or type, not as a plot face of his life plot (sister, sister's fiancé, etc.), but as a symbol of a certain life attitude and ideological position, as a symbol of a certain life solution to those very ideological issues that they torture him ”(MM Bakhtin). Razumikhin, Svidrigailov, Luzhin, Marmeladov, Sonya, Porfiry Petrovich become for Raskolnikov, as it were, the embodied solution of his own question, “a resolution that does not agree with what he himself came to, therefore everyone touches him for a living and gets a solid role in his inner speech ”. Thus, Raskolnikov becomes the spiritual and ideological center of the novel.

The perfection of the composition "Crime and Punishment" is unmatched by FM Dostoevsky. Consisting of six parts and an epilogue, the novel, “built on a skilful orchestration of tensions, passes through two climaxes followed by catharsis. The first such point is crime. The second is punishment ”(P. Weil, A. Genis.“ The Last Judgment ”). Moreover, Dostoevsky writes more about punishment than Raskolnikov's crime: of the six parts, only one is devoted to the description of the crime, all the rest are a kind of analysis of the psychological state of the personality, the spiritual life of the hero, the motives of his crime. But even not punishment, but "the restoration of a lost person" most of all worries Dostoevsky as an artist and thinker, therefore, replacing each other, the novel sounds motives of condemnation and protection of Raskolnikov, growing to the epilogue, where the path to the revival of the hero and his gradual renewal is outlined , for which you need to “pay. great, future feat ”. The entire poetics of the novel is subordinated to the main goal - the resurrection, the transformation of the hero. The landscape plays a special role in the epilogue. From gloomy, stifling, oppressive Petersburg, the action is transferred to the banks of a wide and deserted river: “A wide neighborhood opened from the high bank. There, in the sun-drenched boundless steppe, nomadic yurts were blackened with faint dots. There was freedom and other people lived. "In harmony with the world and with himself, Raskolnikov is depicted in the epilogue," he was resurrected, and he knew this, he felt it with his whole being renewed. “. Raskolnikov's refusal from the inhuman "unfinished theory" and the return to eternal values ​​occurs only in the epilogue and is emphasized by the repeated epithet: "endless happiness", "endless sources of life", "endlessly loves", "he will now redeem all her suffering with endless love." On the pages of the epilogue, for the third time in the novel, the Gospel and the Resurrection of Lazarus are mentioned (for the first time - in a conversation with Porfiry Petrovich about Raskolnikov's article, the second time - when Sonya reads this legend to him, returning the reader to the main, deep thought of Dostoevsky - to his hope for “restoration fallen man "through communion with the Christian ideal of" great, common harmony, fraternal final consent of all. according to Christ's gospel law. "

Essays on topics:

1. “Crime and Punishment” is a novel about a crime, but nevertheless does not fit the definition of detective heat: the narrative does not develop ...
2. F.M.Dostoevsky, as a writer, attached great importance to the amusement of the narrative, was an unsurpassed master of a sharp, adventurous plot, captivating the reader, holding him ...
3. It is common knowledge that Crime and Punishment is one of the most widely read novels on earth. The relevance of the novel increases with each new generation, ...
4. Through the eyes of Rodion Romanovich Raskolnikov, wandering around Petersburg, the reader sees dirty streets and dark alleys, squalid dwellings and slum hotels, houses ...

"Crime and Punishment", whose history of creation lasted almost 7 years, is one of the most famous novels by Fyodor Dostoevsky both in Russia and abroad. In this creation, the classic of Russian literature, as never before, revealed his talent as a psychologist and connoisseur of human souls. What prompted Dostoevsky to write a work about a murderer, and after all, this topic is not characteristic of the literature of that time?

Fyodor Dostoevsky - master of the psychological novel

The writer was born on November 11, 1821 in the city of Moscow. His father, Mikhail Andreevich, was a nobleman, court counselor, and his mother, Maria Fedorovna, came from a merchant family.

Fyodor Mikhailovich Dostoevsky had everything in his life: loud fame and poverty, dark days in the Peter and Paul Fortress and long-term hard labor, addiction to gambling and conversion to the Christian faith. Even during the life of the writer, such an epithet as "genius" was applied to his work.

Dostoevsky died at the age of 59 from pulmonary emphysema. He left behind a huge legacy - novels, poems, diaries, letters, etc. In Russian literature, Fyodor Mikhailovich is given the place of the chief psychologist and connoisseur of human souls. Some literary critics (for example, Maxim Gorky), especially of the Soviet period, called Dostoevsky an "evil genius" because they believed that the writer defended "incorrect" political views in his works - conservative and even monarchist at some point in his life. However, one can argue with this: Dostoevsky's novels are not political, but they are always deeply psychological, their goal is to show the human soul and life itself as it is. And the work "Crime and Punishment" is the most striking confirmation of this.

The history of the creation of the novel "Crime and Punishment"

Fyodor Dostoevsky in 1850 was sent to hard labor in Omsk. "Crime and Punishment", the history of the creation of which began there, was first published in 1866, and before that the writer had to go through not the best days in his life.

In 1854, the writer was freed. Dostoevsky wrote in a letter to his brother in 1859 that the idea of ​​a certain confession novel came to him when he was lying on a dirty bunk back in the 50s and was experiencing the most difficult moments in his life. But he was in no hurry to start this work, because he was not even sure that he would survive.

And so, in 1865, Dostoevsky Fyodor Mikhailovich, in dire need of money, signs an agreement with one publisher, under which he undertakes to submit a new novel by November 1866. Having received the fee, the writer improved his affairs, but his addiction to roulette played a cruel joke on him: he lost all the remaining money in Wiesbaden, the hotel owners did not evict him, but they stopped feeding and even turned off the light in the room. It was in these conditions that Dostoevsky began Crime and Punishment.

The history of the creation of the novel was nearing completion: the deadlines were running out - the author worked in a hotel, on a steamer, on his way home to St. Petersburg. He practically finished the novel, and then ... he took and burned the manuscript.

Dostoevsky began his work anew, and while the first two parts of the work were being published and the whole of Petersburg was being read by them, he at an accelerated pace created the remaining three, including the epilogue.

"Crime and Punishment" - the theme of the novel is clearly visible already in the title of the work.

The main character, Rodion Raskolnikov, decides to murder and rob an old usurer. On the one hand, the young man justifies his action by the fact that he and his family are in need. Rodion feels responsible for the fate of loved ones, but in order to help his sister and mother with at least something, he needs a large amount of money. On the other hand, murder remains an immoral and sinful act.

Rodion successfully commits the intended crime. But in the second part of the novel, he faces a problem more serious than poverty - his conscience begins to torment him. He becomes nervous, it seems to him that everyone around him knows about his act. As a result, Rodion begins to get seriously ill. After recovering, the young man seriously thinks about surrendering to the authorities. But acquaintance with Sonya Marmeladova, as well as the arrival of his mother and sister in the city, for a while, make him abandon this venture.

Three suitors are claiming for the hand of Rodion's sister, Dunya, at once: court councilor Pyotr Luzhin, landowner Svidrigailov and Rodion's friend Razumikhin. Rodion and Razumikhin manage to upset the planned wedding of Dunya and Luzhin, but the latter leaves angry and thinks about

Rodion Raskolnikov becomes more and more attached to Sonya Marmeladova - the daughter of his late friend. They talk with the girl about life, spend time together.

But a black cloud hangs over Rodion - there were witnesses who confirmed at the police station that recently Raskolnikov often went to the murdered usurer. The young man is still being released from the police station, but he remains the main suspect.

The most important events of the novel "Crime and Punishment" in chapters fall on the 5th part of the work and the epilogue.

The offended Luzhin tries to frame Sonya Marmeladova, passing her off as a thief and thereby quarreling with Raskolnikov. However, his plan fails, but Rodion does not stand up and confesses to Sonya that he had committed murder.

An outsider takes the blame for Raskolnikov's crime, but the investigator is sure that it was Rodion who committed the crime, so he visits the young man and tries to convince him to confess again.

At this time, Svidrigailov is trying to get Dunya's favor by force, a frightened girl shoots him with a revolver. When the weapon misfires, and Dunya convinces the landowner that she does not love him, Svidrigailov lets the girl go. Having donated 15 thousand to Sonya Marmeladova and 3 thousand to the Raskolnikov family, the landowner commits suicide.

Rodion confesses to the murder of the usurer and receives 8 years of hard labor in Siberia. Sonya goes into exile after him. The former life for the former student is over, but thanks to the girl's love, he feels like a new stage in his destiny begins.

The image of Rodion Raskolnikov

In the novel "Crime and Punishment", the characterization of Rodion Raskolnikov and the assessment of his actions by the author himself is ambiguous.

The young man is handsome, smart enough, one might say, ambitious. But the life situation in which he found himself, or rather the social situation, does not allow him not only to realize his talents, but even to finish his studies at the university, to find a decent job. His sister is about to "sell herself" to an unloved person (to marry Luzhin for the sake of his fortune). Raskolnikov's mother is in poverty, and her beloved girl is forced to engage in prostitution. And Rodion does not see any way to help them and himself, except to get a large amount of money. But the idea of ​​instant enrichment can only be realized with the help of robbery (in this case, it also entailed murder).

According to morality, Raskolnikov had no right to take the life of another person, and reasoning that the old woman did not have long to live anyway, or that she had no right to "Jew" on the grief of other people is not an excuse and not a reason for murder. But Raskolnikov, although he is tormented by his act, considers himself innocent to the last: he explains his actions by the fact that at that moment he thought only about how to help loved ones.

Sonya Marmeladova

In the novel "Crime and Punishment", the description of the image of Sonya is as contradictory as that of Raskolnikov: the reader immediately recognizes in them

Sonya is kind and in a sense selfless, this is evident from her actions in relation to other people. The girl reads the "Gospel", but at the same time is a prostitute. A devout prostitute - what could be more paradoxical?

However, Sonya is engaged in this trade not because she has a craving for debauchery - this is the only way for an uneducated attractive girl to earn a living, and not only for herself, but also for her large family: her stepmother Katerina Ivanovna and her three stepbrothers and sisters. As a result, Sonya is the only one who went to Siberia after Rodion to support him in difficult times.

Such paradoxical images are the basis of Dostoevsky's realism, because in the real world things cannot be only black or only white, like people. Therefore, a girl with a pure soul in certain life circumstances can engage in such a dirty trade, and a young man of noble spirit can decide to kill.

Arkady Svidrigailov

Arkady Svidrigailov is another character in the novel (a 50-year-old landowner) who literally duplicates Raskolnikov in many aspects. This is not an accident, but a technique chosen by the author. What is its essence?

"Crime and Punishment" is filled with dual images, perhaps to show that many people have equally positive and negative traits, can walk the same paths in life, but they always choose the outcome of their lives.

Arkady Svidrigailov is a widower. Even with his wife alive, he harassed Raskolnikov's sister, who was in their service. When his wife, Marfa Petrovna, died, the landowner came to ask for the hand of Avdotya Raskolnikova.

Svidrigailov has many sins behind his shoulders: he is suspected of murder, violence and debauchery. But this does not prevent a man from becoming the only person who took care of the family of the late Marmeladov, not only in a financial sense, but even placed the children in an orphanage after the death of their mother. Svidrigailov in a barbaric way tries to win over Dunya, but at the same time he is deeply wounded by the girl's dislike and he commits suicide, leaving Raskolnikov's sister an impressive amount as an inheritance. Nobility and cruelty in this man are combined in their bizarre patterns, as in Raskolnikov.

P.P. Luzhin in the system of images of the novel

Pyotr Petrovich Luzhin ("Crime and Punishment") is another "double" of Raskolnikov. Raskolnikov, before committing a crime, compares himself to Napoleon, and so Luzhin is the Napoleon of his time in its purest form: unprincipled, caring only about himself, striving to amass capital at any cost. Perhaps that is why Raskolnikov hates a successful fellow: after all, Rodion himself believed that for the sake of his own prosperity he had the right to kill a man whose fate seemed less important to him.

Luzhin (Crime and Punishment) is very straightforward, like a character, caricatured and devoid of the inconsistency inherent in Dostoevsky's heroes. It can be assumed that the writer deliberately made Peter just like that, so that he became a clear embodiment of the bourgeois permissiveness that played such a cruel joke with Raskolnikov himself.

Publications of the novel abroad

"Crime and Punishment", the history of which took more than 6 years, was highly appreciated by foreign publications. In 1866, several chapters from the novel were translated into French and published in the Courrier russe.

In Germany, the work was published under the name "Raskolnikov" and by 1895 its published circulation was 2 times more than any other work of Dostoevsky.

At the beginning of the XX century. the novel Crime and Punishment has been translated into Polish, Czech, Italian, Serbian, Catalan, Lithuanian, etc.

Adaptation of the novel

The heroes of the novel "Crime and Punishment" are so colorful and interesting that they have taken on the adaptation of the novel more than once both in Russia and abroad. The first film - "Crime and Punishment" - appeared in Russia in 1909 (directed by Vasily Goncharov). This was followed by film adaptations in 1911, 1913, 1915.

In 1917 the world saw a picture of the American director Lawrence McGill, in 1923 the film "Raskolnikov" was released by the German director Robert Wienet.

After that, about 14 more adaptations were filmed in different countries. The most recent Russian work is the 2007 multi-part film Crime and Punishment (directed by Dmitry Svetozarov).

Romance in popular culture

In films, Dostoevsky's novel often flashes in the hands of the heroes serving imprisonment: in the movie The Incredible Adventures of Wallace and Gromit: A Haircut "Zero", TV-c / c "She-Wolf", "Desperate Housewives", etc.

In the computer game Sherlock Holmes: Crimes & Punishments, in one of the episodes, the book with the title of Dostoevsky's novel is clearly visible in Sherlock Holmes's hands, and in GTA IV, Crime and Punishment is the name of one of the missions.

Raskolnikov House in St. Petersburg

There is an assumption that Dostoevsky Fyodor Mikhailovich settled his hero in a house that actually exists in St. Petersburg. The researchers made such conclusions, since Dostoevsky mentions in the novel: he is in the "S-m" lane, next to the "K-m" bridge. At Stolyarny Pereulok-5, there really is a house that could well serve as a prototype for the novel. Today this building is one of the most visited tourist spots in St. Petersburg.

The novel "Crime and Punishment"

A book written in moments of suffering and despair and elevating the reader through compassion for the heroes of Dostoevsky and the author himself, whose fate determined the history of the creation of this book. Dostoevsky admitted in a letter to his brother that the novel was conceived "on the creaky bunks of the Omsk prison." In hard labor, for the first time, the question of crime and punishment arose before Dostoevsky. A criminal offense, a crime of historic proportions. This question was related to the problems of sin and retribution, sin and resurrection in the human soul. The writer began work on the novel in 1864 in a difficult life situation. This year was marked by the hardest losses: the death of his wife Maria Dmitrievna, the death of his brother Mikhail, the death of his friend Apollon Grigoriev. In 1865, Dostoevsky experienced the collapse of the magazine business, he was besieged by creditors, he went abroad, having concluded an onerous contract with the publisher Stillovsky: he promised him to write a novel in a year. In case of non-fulfillment of the contract, Stillovsky received the right to publish all the already written works of Dostoevsky. The writer goes abroad in the hope of meeting his beloved woman Appolinaria Suslova and hoping for luck in the game. The passion of the roulette player intensified in the tragic months and years of a life of complete lack of money. The words of Marmeladov, addressed to Raskolnikov about the dead ends of life: "Do you know, my dear sir, what is nowhere to go" - these are the words of Dostoevsky himself. Abroad - a new confusion, Appolinaria Suslova only plays with him, starts romances with other men. Dostoevsky, a philosophically gifted man, gazed intently at European life and compared Russian and European mental values. The problem of Russia and Europe, which is very important for Dostoevsky as a native, became the key problem in the novel The Gambler, written at the request of Stillovsky, and sounded in the subtext of his novel Crime and Punishment.

Genre and problems. Dostoevsky created a unique novel genre in the novels of the Great Pentateuch. Different genre aspects indicate the following genre definitions: polyphonic, symbolic-philosophical novel-tragedy; the polyphonic structure of the novels of the great five books is associated with the polyphony of voices: each hero in the world of Dostoevsky's novels is shown in his subjectivity. The zone of the author's consciousness is not personified - the author is connected with all the heroes. It is the heroes who not only perceive the world around them, but actively participate in the dispute about the meaning of human existence on the key problem for Dostoevsky, GOD AND WORLD EVIL. The author and the reader find themselves in the orbit of this dispute; in the process of the dispute, truth is born. The reader and the author freely accept the position of this or that hero. The theory of a polyphonic, polyphonic novel was developed by M. Bakhtin. In each novel, two voices prevail in the chorus of many voices, they form the philosophical problems and motives of the novel, their fate is the main novel plot and metaphorical plot (Raskolnikov and Sonya). The main philosophical dialogue in the novel, with which the images of Raskolnikov and Sonya are connected, combines a complex of motives: GOD AND WORLD EVIL, faith and unbelief, sin and retribution, crime and punishment, the fall and the path to the resurrection of a lost soul. All these problems are solved in the novel from the standpoint of Dostoevsky's soil philosophy. In this novel, Dostoevsky's cherished dream about the path of the Russian intelligentsia of the Raskolnikovs to the people is expressed with special declarativeness. The popular religious and moral consciousness is personified in the novel by Mikolka, Lizaveta and Sonya. The definition of a tragedy novel belongs to the young symbolist Vyacheslav Ivanov; it points not only to the tragic collisions in each novel and the obligatory tragic catharsis, but also to the artistic structure of the novel, to its dialogical nature. Ivanov reads Dostoevsky's novels as dramatic works (about Crime and Punishment - a tragedy in four acts with an epilogue). The main tragic situation embodied in each novel is “the world on the verge of the Apocalypse” (the apocalypse is the revelation of John the Theologian, the world is on the verge of the end of human civilization). In the novel, the theme of the apocalypse is the epilogue of the novel "Raskolnikov's Dreams" in hard labor. Metaphorically, the apocalypse is carried in their souls by Dostoevsky's heroes, bearers of atheistic consciousness, capable of rebellion and crime (atheists). The novel "Crime and Punishment" is a historiosophical novel about real Russian life and about the sought-after way of saving modern man through the rebirth of a "dead soul" (coming to God). Historiosophical problems, soil ideas are also connected with the social problems of the novel. In Russian life 60-70s. Dostoevsky grasped the features of decay and the deepest crisis in the moral and spiritual culture of man. He exposes social ulcers in the life of St. Petersburg, all of Russia in the era of the formation of Russian capitalism: the growth of wealth, the monetary power of some and the stunning poverty of the majority of the urban population, the growth of crime, drunkenness, prostitution as the main psychological note in the behavior of a modern person, general venality (everything is sold and everything is bought), a person, his soul, thrown into a monstrous auction. Dostoevsky indignantly writes about usury - a social sign of the times, about prostitution as a shameful profession for girls and women. Researcher Shklovsky notes that the novel "Crime and Punishment" lacks features of the detective genre (when both the reader and the detective do not know who the criminal is). The reader knows how the crime was prepared, the investigator Porfiry Petrovich, having read Raskolnikov's article, saw him as a potential criminal (the investigator identified him as a criminal when he fainted while reading the crime news about his murder). To understand the novel, according to Shklovsky, means to answer two questions: 1) what are the motives for Raskolnikov's crime 2) what are the psychological, moral, philosophical consequences of his rebellion.

Raskolnikov's motives for the crime. Dmitry Ivanovich Pisarev drew attention to the social motives of the crime (“the reason is not in the mind, but in the pocket”): the hero is humiliated by poverty, the people around him are struggling in life's dead ends. The Democrat critic explains the crime by the environment, the circumstances of life. His fair conclusions were not entirely consistent with the philosophy of the crime in the novel. Dostoevsky said more than once: "In everything, relying on the environment, we remove from a person the moral responsibility for committed actions." The most important motive of the novel is the MORAL RESPONSIBILITY OF A MAN for a thought, word, deed before his conscience, God and people. From the point of view of the author, the root cause of the crime is Raskolnikov's theory. The image of Raskolnikov is the tragic image of a Russian philosopher who was captured by his criminal ideas. At the origins of the crime - an article on the right to crime, combining thoughts and words. The first stage is the article, the second is the first visit to the old woman-pawnbroker, the third is the conversation between the student and the officer in the tavern, and only the fourth episode is the test with which the novel begins. In 1865, the historical treatise of Napoleon III "The History of Julius Caesar" was published in Russian translation, in the preface the author wrote about an extraordinary person, about his right and permissiveness. These ideas were very much discussed in Russian society, and Raskolnikov's article is also a response to this article. Dostoevsky emphasizes that such attitudes were typical of that time (which is confirmed by a conversation in a tavern between an officer and a student). After the test, 5) renunciation of the crime follows, since the theory, which has already crystallized in his head, is contrary to his nature (the conflict of mind and heart, theory and human nature). Raskolnikov in the world of people - 6) a meeting with the Marmeladovs, 7) a letter from his mother, 8) a meeting on the boulevard with a disgraced girl, and finally 9) a dream about a horse. Raskolnikov's first dream on Petrovsky Island is the culmination of the storyline of "Raskolnikov in the world of the humiliated and insulted." Sleep is a consequence of the deepest mental stress. In the minds of Raskolnikov, the fates of the Marmeladov family and his own family were united. He compares Dunya's lot and Sonya's lot, and himself with Marmeladov. He faces a choice between the shameful humility of Marmeladov, who accepted Sonechka's sacrifice, and an active, rebellious act. Researcher Kerpotin compares the state of Raskolnikov with the state of Hamlet, who decides the questions of life and death: to be or not to be (Hamlet: “Oh my thought, from now on you must be bloody, or are you worthless? "). Dreams in Dostoevsky's novels perform three main functions: 1) plot - they anticipate episodes of the plot or become a philosophical epilogue to them 2) psychological function - the dialectics of consciousness and subconsciousness, images of memory and fantasy, phantasmagoria of dreams, the hero's aspiration to the desired are shown in dreams 3) dreams lead to an understanding of the symbolic and philosophical motives of the plot and the metaphorical plot. Dreams are always critical for heroes, they lead to catharsis (Raskolnikov's dreams) or carry away into the abyss of sin and fall (Svidrigailov's dreams). All Raskolnikov's dreams have a literary basis, show the circle of his reading (Belov's commentary on the novel).

Raskolnikov's first dream goes back to Nekrasov's poem "On the Weather", part 1, section until dusk, where Nekrasov shows an ugly scene of torturing a horse. Dostoevsky twice refers to this episode. The first dream of Raskolnikov and the words of Ivan Karamazov to his brother Alyosha about the amazing Nekrasov poems. In the mouth of Ivan, Nekrasov's poem receives a very capacious and universal assessment: "This is Russianism." This assessment coincides with Dostoevsky's ideas about the Russian character. Russian man is "broad" in good and evil, indomitable, in everything he goes to extremes.

Raskolnikov's dreams combine images of books he read, real impressions of life, his dreams, ideas that rebel even in his mind. Nekrasov, Lermontov, Pushkin, Hugo, Voltaire and the main books, the inspired reader of which was Raskolnikov - the Bible, the Koran.

To the Bible: biblical motives arise in the epilogue, in the Siberian expanses of the Raskolniki the presence of "Abraham's flocks." Painful dreams in hard labor convey pictures of the death of human civilization. Through the fault of people possessed by demoniacs, possessed by "trichines of madness" - ideas that confuse Raskolnikov himself. In these dreams, images of the Apocalypse arise, connecting the philosophical prose of Voltaire and the revelation of John the Theologian.

In Raskolnikov's dreams before a crime, an image of pure spring water, an oasis in the desert, arises, dating back to Lermontov's poem "Three Palms" and to the original source - the Koran. Raskolnikov knows Pushkin's cycle "Imitation of the Koran", where the image of a trembling creature appears. The murder of an old woman is the motives of The Queen of Spades.

Raskolnikov's first dream is based on symbolic images. Dostoevsky recreates Russian space and images-symbols of Russian destiny. The outskirts of a provincial town, a country road washed out by rains, wounded by wheels, dusty, dirty. She walks past a roadside pub towards the cemetery and the cemetery temple. Gray, black, red colors, the green dome of the temple dominate among the color images.

Raskolnikov goes through the trial of sin three times - trial, sleep and crime itself. Each time Raskolnikov renounces sin, feeling its unnaturalness, internal disagreement with the crime. Crime takes Raskolnikov away from the world of people, renunciation of crime returns to people and God.

The dream becomes a catharsis for Raskolnikov, he again renounces the idea of ​​crime and a prayer is born on his lips: "Lord ... show me my way ... and I renounce this damned dream of mine." Raskolnikov is looking for this path, he goes to people, but he is tragically sentenced to commit a crime, he no longer has free will and reason, even the day and hour is determined against his will.

In the plot of the parable novel, the gospel parable of the prodigal son is important.

In each episode of the prehistory and the entire first part of the novel, the author has laid bare the dialectical unity of different motives:

1) objective social motives - the circumstances of the hero's life and the suffering of others

2) psychological subjective motives. The painful inconsistency of Raskolnikov's consciousness and psychology (he believes in God and does not believe; selflessly loves people and proudly despises them, believing in his exclusivity; deliberately goes to the crime and renounces the idea of ​​violence ...). Ernst Neizvestny called his graphic portrait of Raskolnikov “Between the Cross and the Ax”.

3) Philosophical motives, ideological - the theory of Raskolnikov, the main motives according to the author's intention.

Raskolnikov's theory... Researcher Kirpotin claims that Raskolnikov's theory repeats the contradictions of his consciousness, his nature. He singles out two sets of motives in the theory of the hero: Napoleonic and Missionary, gives figurative, metaphorical names to Raskolnikov - Napoleon and the Messiah, the Grand Inquisitor and Christ.

A complex of Napoleonic ideas:

1) the idea of ​​an exceptional personality, the division of people into "ordinary" and "unusual". Raskolnikov, at the cost of a crime, dreams of testing himself: "Am I a trembling creature or do I have the right?"

2) The idea of ​​demonic power, the power of authority, an exclusive personality over the crowd. According to Raskolnikov, such power is a sign of chosenness, recognition of the uncommonness of a person ("Freedom and power, and most importantly, power! Over all trembling creatures, over all the anthill ...").

3) The idea of ​​permissiveness. An exceptional person despises those moral laws by which a human anthill lives, he is not guided by them. He is on the other side of good and evil. Everything is allowed to him, up to the shedding of blood of his own kind.

Missionary ideas:

1. the idea of ​​the Messiah - the savior of mankind. Raskolnikov thinks that he is called to change this world, to console the human race in its suffering.

2. The idea of ​​violent good. Kirpotin claims that in the drafts of the novel, the motive of demonic power was strengthened and transformed into Raskolnikov's theory, into the idea of ​​violent good: “People are pygmies ... You have to rule. For the purpose ... to shovel them into hands, and then do good to them. "

3. The idea of ​​"conscience blood". Raskolnikov limits the idea of ​​permissiveness, he does not resolve any crime, but only in the name of saving mankind, this is how the main and blasphemous idea of ​​his theory arises - "blood according to conscience."

Napoleonic ideas are not an original part of Raskolnikov's theory. They appeared in European philosophy and culture of the 19th century, in the era of the formation of the European model of capitalism. These ideas were familiar to Dostoevsky from the books of Stirner, Napoleon III, The History of Julius Caesar. At the philosophical level, these ideas will be repeated in his works by Nietzsche ("Thus Says Zarathustra", "The Genealogy of Morality", etc.). Nietzsche's "Diary of a Nihilist" is a response to Dostoevsky's "Demons". From the Nietzschean idea of ​​the superman in the 20th century, Europe and humanity stepped to the idea of ​​a supernation (as a philosophical justification of fascism).

The image of Raskolnikov was conceived as the image of the Russian thinker, the Russian Napoleon. Therefore, the main ideas in his theory were missionary ideas and in the subtext of the whole novel the cult of Christ. However, the missionary ideas do not justify Raskolnikov. The idea of ​​"conscientious blood" is just as criminal as the assertion of permissiveness. Dostoevsky is very close to the humanistic philosophy of man, embodied in Pushkin's work: "Genius and villainy are two incompatible things ..." (Mozart and Salieri).

The consequences of the Raskolnikov riot... Psychologically, Raskolnikov behaves like an ordinary criminal: he is terrified of criminal punishment and longs to free himself from the mystery of the crime, constantly committing provocations against himself. Raskolnikov understands that the crime takes him away from the human world: "he cut himself off from the human world with scissors." Especially painful for the hero are meetings with his mother and sister, the closest ones - these are the moral consequences of the crime. In the difficult days after the crime in the life of the hero there was one minute of light connecting him with people - an episode when Polenka kisses him (the kiss of a child is thanksgiving to the entire Marmeladov family). To the conclusions drawn by Pisarev, one should add philosophical results that crush Raskolnikov: the hero still believes in his theory, but is disappointed in himself (“I did not kill an old woman, I killed myself ...”). Lost faith in their own exclusivity.

On Raskolnikov's path to Sonya's truth, to the resurrection and restoration of trampled humanity, meetings with his counterparts - Luzhin, Svidrigailov, Porfiry Petrovich are very important.

Raskolnikov and Luzhin. In each of Dostoevsky's novels, the hero's grandiose philosophical ideas are reduced at the level of LIFE PHILOSOPHY and the practice of his counterparts, at the level of “street philosophy,” the philosophy of the crowd. Pyotr Petrovich Luzhin personifies modern bourgeois morality and the crisis of the moral in man. He personifies the life practice, the everyday philosophy of a capital resident. It was no coincidence that he rushed from the provinces to the capital, this is emphasized even in the name (Peter is a stone, and according to Dostoevsky, Peterburg is the element of stone and water, Luzhin). Raskolnikov immediately saw a potential criminal in Luzhin. Luzhin's everyday philosophy is criminal: "everything in life is based on personal interest," love yourself first of all. Fulfilling these immoral covenants, he commits criminal actions against Dounia and Pulcheria Alexandrovna, against Sonya. Raskolnikov despises Luzhin, because he does not know doubts, contradictions, remorse. This is a "wooden man" who, by instinct of a mean nature, believes in his righteousness.

Raskolnikov and Svidrigailov. Svidrigailov himself hints to Raskolnikov about a certain commonality of their positions in life: "there are two nihilism, and both points are in contact", "you and I are of the same berry field." The Napoleonic part of Raskolnikov's theory was peculiarly refracted in the life and fate of Svidrigailov. He is an egoist who chooses his own exclusive path in life. He is guided by the idea of ​​permissiveness, strives for freedom and power over another person, be it his wife or nymphet girls. Svidrigailov laughs at Raskolnikov's missionary ideas, calls him Schiller (that is, the Romantic). The image of Svidrigailov is the image of a great sinner, and at the same time a universal person, capable of good and evil, but does not distinguish between these categories from the sphere of morality. Svidrigailov's love-passion for Duna is the last and suicidal chord of the eternal striving for the resurrection of even the soul of a great sinner. The last meeting with Dunechka finally decided his fate. His spiritual darkness is symbolically recreated in the series of his dreams before suicide.

In the novel, a new metaphorical typological assessment of the level of the fall, the sinfulness of man is born: "MAN-INSECT". The images of insects appear in the novel in connection with the image of Svidrigailov, symbolically marking his appearance in Raskolnikov's life and his death through suicide. The image of a fly at the moment of Svidrigailov's appearance in front of Raskolnikov's eyes as a continuation of his painful dreams. In world culture, various names are known associated with the personification of world evil: Satan, Devil, Lucifer, Mephistopheles, Beelzebub - Lord of the Flies. In Svidrigailov's dying dreams, there is an ugly, naturalistic image - decaying beef, which is teeming with flies and worms. That is, it symbolizes Svidrigailov's involvement in world evil, to Satan. According to Svidrigailov, eternity is a dirty corner in the dressing room of a village bath and a spider (also an insect) dying in its own nets. In the traditions of Dostoevsky, European writers of the 20th century - Kafka "Transformation" and Sartre "Flies" will work. Svidrigailov's suicide is accompanied by symbolic images and details: a thunderstorm, torrents of rain and Svidrigailov's panic fear. Because water is baptism, cleansing. Svidrigailov's suicide became a moral signal for Raskolnikov, accelerated his confession. Svidrigailov is Raskolnikov's double, in him, like in a crooked mirror, Raskolnikov sees himself and this shakes his mind and soul.

Raskolnikov and Porfiry Petrovich (PP). In Soviet literary criticism, a dispute arose between Kirpotin and Karjakin. The essence of the controversy: good or evil for Raskolnikov PP? Kirpotin in his monograph argued that the PP personifies the world against which Raskolnikov rebelled. He makes Raskolnikov suffer, acts like a sadist, like a fanatic. Karjakin unexpectedly brought PP closer to Dostoevsky as an exponent of soil-based ideas in the novel. It was PP that pointed out to Raskolnikov the attractiveness of the people's truth, the moral experience of Mikolka.

In the context of the novel, three meetings between Raskolnikov and the investigator are fundamentally important. The first is a theoretical conversation, a philosophical dispute: Raskolnikov enthusiastically expounds his theory. PP is cautious and ironic in his comments on his ideas. One gets the impression that in the past, in his youth, PP was also fond of such ideas (the motive of duplicity arises). The second is a psychological duel at a police station. The investigator is already triumphant over the criminal, but suddenly Mikolka appears in the room, who confesses to the crime. The third is the moral and philosophical outcome. PP comes to visit Raskolnikov and explains to him his behavior. In this episode, PP presents soil-based ideas. He speaks of "people of the mind," such as Raskolnikov, who do not notice their own sinfulness and rebel against the world, against the existing order of things. Mikolka, a man of the people, is opposed to them as a bearer of conscience. He knows that every person lives in sin, willingly or unwillingly, and is ready to atone for his sins by suffering. PP: "Mikolka is right ... there is no happiness in comfort, happiness is bought by suffering." In the mouth of the PP, the image of the sun takes on a symbolic meaning, ascending to the original source of the Gospel. In the gospel: "Christ is the sun of life." PP: “Become the sun and you will be noticed. First of all, the sun must be the sun. "

Raskolnikov and Sonya. In the draft versions of the novel, Dostoevsky pointed out the main images leading to an understanding of his intention and the entire book: Raskolnikov in the novel had to go through a difficult path of sin and an even more difficult path of resurrection. This is a parable novel about a person's choice of path. Next to Raskolnikov is his mystical double Svidrigailov and a loving soul, bright Sonechka Marmeladova. Raskolnikov, like every person, two paths are open: despair and faith. Each character-image in Dostoevsky's novels has two planes. This is a real, psychologically reliable character and human destiny and at the same time a symbolic image associated with the metaphorical plots of the novel. Creating the image of Sonya, Dostoevsky tried to answer the question: "What is Orthodoxy?" The plot of the novel has three main episodes that form the main and metaphorical plot of the book, the author's idea of ​​the novel: 1) reading the Gospel in Sonya's room 2) Raskolnikov's confession to Sonya 3) episodes of the epilogue.

Dostoevsky's central images-characters are two-dimensional: they are realistic characters and at the same time symbolic images. The image of Sonya is Dostoevsky's great answer to the question about the essence of the moral, Orthodox culture of the Russian person. The name of the hero is symbolic: Sophia is the wisdom of God. Sophia in Orthodox culture is one of the supreme images that unites those spiritual gifts that her daughter inherited: Faith, Hope, love. And Sophia and her daughters - great and eternal example of self-sacrifice in love of God. Sacred self-sacrifice is the main feature of Sonechka, her religious feelings are devoid of mysticism - this is the music of her soul, sincere and pure faith, based on love for God and people. In the plot of the novel, in its metaphor (metaphoric plot), a certain culmination is the episode of the reading of the Gospel in Sonya's room, the Gospel story about the resurrection of Lazarus. The plot of the resurrection of Lazarus crowns three years of the Savior's ministry to people. This miracle was performed by Christ on the eve of the solemn entry into Jerusalem. The miracle happened because of his love for God and people. The miracle of Lazarus anticipates the resurrection of the Savior himself, which will take place exactly one week later, on Easter. The metaphorical plot of the novel combines two motives: crime and punishment, sin and resurrection through love for people and God. On the fourth day, Lazarus rose from the dead, on the fourth day Raskolnikov came to Sonya and his difficult path to resurrection begins. (Zinaida Gippius wrote the poem "Lazarus" based on the novel). Raskolniov and Sonya have different understandings of the meaning of the Gospel story, which is very popular in Russian culture, in Russian icon painting. The Resurrection of Lazarus is a kind of pre-Easter, a holiday of holidays, a celebration of celebrations. Ultra-sensitive, anxious about people, Sonya feels the suffering of Raskolnikov, not knowing its cause. She gives him consolation, hope for the resurrection of the soul, but Raskolnikov does not yet understand this. For for him Christ is an exclusive, chosen person, the ruler of the spirit, mind and heart of man. It is symbolic that the gospel connects the criminal and the harlot - a gift from Lizaveta, Sonechka's spiritual sister. The second episode is Raskolnikov's confession to Sonya. His confession is still far from confession and repentance. The witnesses of his confession are Sonya and Svidrigailov, and Raskolnikov makes a choice of the path to Sonya's truth. The second meeting of Raskolnikov and Sonya is a moral duel between a man of faith and a man of doubt. Raskolnikov's weapon is a word. Verbosity and a word devoid of spiritual fire and light is a game of the devil with a person. Sonechka's silence is full of light and spiritual fire of faith, love for Raskolnikov and compassion. Sonechka's prayer word “Lord!” Becomes the key. And unexpected metamorphoses in the perception of Raskolnikov: he recognizes Lizaveta in Sonechka, and at that moment he rises to an understanding of the intimacy and the highest meaning of human life, the sinfulness of his crime. In the epilogue of the novel, the theme of sin and resurrection takes on a new figurative embodiment and a new symbolic and philosophical scale. In the epilogue, a new chronotope appears, which differs from the chronotope in the main part of the novel. In the main part of the novel, the artistic time is 13 days, the scene of action is Petersburg, where there is no freedom for the soul and human consciousness, where the streets are "stuffy, like in rooms without vents." Even on the eve of the crime, Raskolnikov's thought and gaze "asked for space." In the epilogue, such a space arises, but this space does not open to Raskolnikov immediately. The hardships of hard labor, the infirmary is the field of his human suffering. In the epilogue, three time layers are represented in semantic unity: 1) real historical time (year of hard labor); 2) the time that coincides with the Orthodox calendar (Great Lent, Passion Week and the Day of the Myrrh-Bearing Women - on this day, the meeting of Raskolnikov and Sonya on the banks of the Siberian river, this is after two weeks after Easter). Sonya was the first to be given a certificate of the resurrection of Raskolnikov. Researchers believe that in the epilogue of the novel, the image of Sonechka acquires iconography: she, dressed in a green scarf, very much resembles the face of the Mother of God on the famous Russian icon "The Assistant of Sinners". She helped convicts to endure an ordeal, a suffering life. And they answered her with the deepest respect: when she appeared, they took off their hats and bowed to her at the waist (they called her "Mother you are ours"). The convicts were hostile to Raskolnikov. During Lent, they arranged a lraka in an Orthodox church, they saw an atheist in Raskolnikov. During the difficult and harsh days of Great Lent, Raskolnikov fell ill. It was not so much a physical as a mental illness. In Raskolnikov's delusional dreams, images of the Apocalypse, the tragic end of all human civilization, fratricide, fires, natural disasters came to life. He saw human MISSION, people, like himself, infected with "trichinas" (microbes) of demoniacal possession. These tragic dreams led him to catharsis. The finale of the epilogue is filled with hope and light. On the banks of the Siberian river, Raskolnikov discovered the image of eternity and eternal truths. A new image of time appears in the novel - 3) the time of eternity, in the orbit of which both historical and Orthodox time. The image of eternity in the perception of Raskolnikov differs sharply from the gloomy ideas about the eternity of Svidrigailov. An endless expanse opens up to him, the Siberian distance. On the other bank of the river, Raskolnikov sees distant yurts of nomads, and behind them, as it seems to him, “Abraham's flocks are still walking” (Abraham is one of the Old Testament prophets, one of the ancestors of the human race). The details of this ecumenical landscape are symbolic: the earth and the sky, the high-water river, its banks, early morning and sunrise. The novel is crowned by the author's universal assessment of the fate of the heroes: "They were resurrected by love." And the Gospel connects the human destinies of a criminal and a harlot on the path of resurrection.