Raskolnikov is a strong or weak person. Raskolnikov's split personality

It so happens that not a single person can stop thinking. Each of us throughout our lives thinks, reasons, builds castles in the air, or pragmatically draws up a plan for further actions. At the same time, not a single original, fresh thought occurs to someone, and someone, without making any effort at all (or, perhaps, having undergone incredible mental anguish), invents, composes, becomes the creator of a new idea, theory, never before moment that has not arisen in human consciousness. So, theories are born in different ways, but have no value without practical application. However, in order to bring them to life, you must first deeply and sincerely believe in them. This is what the hero of F. M. Dostoevsky’s novel “Crime and Punishment” Rodion Raskolnikov did. He was proud of his idea, amused himself with it like his favorite toy, until a certain moment he blindly believed in its correctness and, even after going through all the trials, did not completely abandon it. So what is the obvious strength of Raskolnikov’s theory?

And what is “the power of theory” anyway? I believe that the power of any idea lies in its ability to captivate not an individual person, but an entire society, in its attractiveness, relevance and, perhaps, in the originality of the thoughts and views of its creator. This means that all attributes of power and authority belong to Raskolnikov’s theory. Indeed, the way of dividing people into creators and material, “ordinary” and capable of saying a “new word” cannot be called generally known or simply banal.

However, this is not the only reason why the theory is attractive. It is important that it is too believable, deceptively, but at the same time palpably fair. Raskolnikov’s theory is captivating because it justifies and even encourages inhumanity, it allows one to break the law and commit crimes in pursuit of one’s own benefit, the benefit of a being supposedly “extraordinary,” brilliant and strong. Thus, it turns out that someone who has a gift or talent, “... if he needs, for his idea, to step at least over a corpse, through blood, then within himself, in conscience, can... give himself permission to step over the blood... " Such reasoning is extremely tempting; it easily extends its influence to big number people already because it is unlikely that there are often those among us who do not consider themselves at least a little brilliant or, in extreme cases, talented!

Raskolnikov's theory is so well thought out and supported by evidence that it is difficult to disagree with it. But it is doubly difficult to agree. Why? Yes, because the strengths of this theory hide its own weak sides. This means that only cruel, absolutely unprincipled people can follow the path found by Raskolnikov, and that, although so tempting in words, the theory cannot be realized without significant reservations and “side effects.” It turns out that the negative consequences of bringing the idea to life outweigh all the expected positive ones.

The reader notices: Raskolnikov’s answer to Porfiry Petrovich does not sound very convincing, who worries what will happen if “... one of one [lower] category imagines that he belongs to another category and “begins to remove all obstacles.” Rodion’s reasoning is also sometimes illogical. For example, he deliberately confuses causes and consequences, convincing everyone and himself: Napoleon achieved success only because he was cruel and did not stop at blood. Raskolnikov does not think about the fact that everything could be the other way around, that those people who “in good conscience” allow themselves to commit crimes were already born unscrupulous and, often, deprived of talent, that very ability to say a “new word.” It becomes clear: the creator of the theory himself distorts historical facts and refuses to take into account the psychology of most people and their inclinations.

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So, theories are born in different ways, but have no value without practical application. However, in order to bring them to life, you must first deeply and sincerely believe in them. This is what the hero of the novel F.M. did. Dostoevsky "Crime and Punishment" Rodion Raskolnikov. He was proud of his idea, amused himself with it like his favorite toy, until a certain moment he blindly believed in its correctness and, even after going through all the trials, did not completely abandon it. So what is the obvious strength of Raskolnikov’s theory? And what is “the power of theory” anyway?

I believe that the power of any idea lies in its ability to captivate not an individual person, but an entire society, in its attractiveness, relevance and, perhaps, in the originality of the thoughts and views of its creator. This means that all attributes of power and authority belong to Raskolnikov’s theory. Indeed, the way of dividing people into creators and material, “ordinary” and capable of saying a “new word” cannot be called generally known or simply banal. However, this is not the only reason why the theory is attractive. It is important that it is too believable, deceptively, but at the same time palpably fair. Raskolnikov’s theory is captivating because it justifies and even encourages inhumanity, it allows one to break the law and commit crimes in pursuit of one’s own benefit, the benefit of a being supposedly “extraordinary,” brilliant and strong. Thus, it turns out that someone who has a gift or talent, “... if he needs, for his idea, to step at least over a corpse, through blood, then within himself, in conscience, can... give himself permission to step over the blood... " Such reasoning is unusually tempting; they easily spread their influence to a large number of people simply because it is unlikely that there are often those among us who do not consider themselves at least a little brilliant or, in extreme cases, talented!

Raskolnikov's theory is so well thought out and supported by evidence that it is difficult to disagree with it. But it is doubly difficult to agree. Why? Yes, because the strengths of this theory conceal its weaknesses. This means that only cruel, absolutely unprincipled people can follow the path found by Raskolnikov, and that, although so tempting in words, the theory cannot be realized without significant reservations and “side effects.” It turns out that the negative consequences of bringing the idea to life outweigh all the expected positive ones.

At the center of F.D. Dostoevsky’s novel “Crime and Punishment” is the character of the hero of the sixties of the nineteenth century, a commoner, a poor student Rodion Raskolnikov. Raskolnikov commits a crime: he kills the old pawnbroker and her sister, the harmless, simple Lizaveta.
The crime is terrible, but I, like probably other readers, cannot remember it.
I accept Raskolnikov negative hero; He seems like a tragic hero to me.
What is Raskolnikov's tragedy? Dostoevsky endowed his hero with wonderful qualities: Rodion was “remarkably good-looking, with beautiful dark eyes, above average height, thin and slender.” In his actions, statements, and experiences we see a high sense of human dignity, true nobility, and deepest selflessness. Raskolnikov perceives other people's pain more acutely than his own. Risking his life, he saves children from the fire, shares the last with the father of a deceased comrade, a beggar himself, gives money for the funeral of Marmeladov, whom he barely knew. He despises those who indifferently pass by human misfortunes. There are no bad or low traits in him. The best heroes novel: Razumikhin is Raskolnikov’s most devoted friend, Sonya is an unfortunate creature, a victim of a rotting society, they admire him, even his crime cannot shake these feelings. He commands respect from investigator Parfiry Petrovich, a very smart man who guessed his crime before anyone else.
And such a person commits a monstrous crime. How and why could this happen? Dostoevsky shows that Raskolnikov, a humane man who suffers for the “humiliated and insulted,” committed murder “according to theory,” realizing an absurd idea born of social injustice, hopelessness, and spiritual impasse. The miserable state in which he himself was, and the poverty encountered at every step, gave rise to the inhumane theory of “blood according to conscience,” and the theory resulted in a crime.
Raskolnikov’s tragedy is that, according to his theory, he wants to act according to the principle “everything is permitted,” but at the same time, the fire of sacrificial love for people lives in him. The result is a monstrous and tragic contradiction for the hero: the theory professed by Raskolnikov, exhausted by the suffering of others and his own, hating the “masters of life,” brings him closer to the scoundrel Luzhin and the villain Svidrigailov. After all, these contradictory and complex two ha
The character believes that a person with strength and anger “everything is permissible.” “We are birds of a feather,” says Svidrigailov to Raskolnikov. And Rodion understands that this is so, because they both, although for different reasons, “stepped over the blood.”
Of course, one cannot equate Svidrigailov and Luzhin with Raskolnikov. The first has, as I already said, a very contradictory character: he is at the same time a kind, honest person, commits a number of good deeds, such as, for example, enormous help to the Marmeladov children, but at the same time on his conscience the insulted honor of Dunya, the somewhat strange death of his wife, Marfa Petrovna. Svidrigailov cannot be called either a bad or a good person, nor can he be called “gray”; rather, he is a person in whose soul good and evil struggle. Both alternately hold victory, but unfortunately, as a result, evil takes its toll - Arkady Ivanovich commits suicide. With Luzhin it is somewhat simpler: a voluptuous nonentity who, in his dreams, seeks to humiliate and dominate over someone more intelligent and pure in soul than himself. It is impossible to contrast such a person with Rodion Raskolnikov.
Raskolnikov's tragedy is intensified because the theory that should
was to get him out of the dead end, led him into the most hopeless of all possible dead ends. The consciousness of this causes the suffering and torment of the hero, who after the murder felt completely alienated from the world and people: he cannot be near his beloved mother and sister, does not enjoy nature, he, as if with scissors, cut himself off from everyone.
The pangs of conscience, the chilling fear that haunts Raskolnikov at every step, the thought that he is not Napoleon, but a “trembling creature,”
“louse”, the consciousness of the meaninglessness of the committed crime - all this falls into unbearable oppression on Raskolnikov’s soul. Rodion understands the inconsistency of his “strong man” theory; it did not stand the test of life. The hero fails, like any person who associates himself with a false idea. And this is also the tragedy of Raskolnikov.
Dostoevsky the psychologist revealed with such force the tragedy of Raskolnikov, all sides of his spiritual drama, the immensity of his suffering, that the reader is convinced: these torments of conscience are stronger than the punishment of catarrh.
And we cannot help but sympathize with Dostoevsky’s hero, who is looking for a way out of the world of evil and suffering, is cruelly mistaken and suffers a terrible punishment for his crime.
Very sensitively, and in many ways prophetically, Dostoevsky understood already in the nineteenth century the role of ideas in social life. According to Dostoevsky, ideas cannot be joked with. They can be beneficial, but they can turn out to be a destructive force for humans and for society as a whole.
1994 Ivan Alexandrov. AKA Merlin.

(based on the novel F. M. Dostoevsky "Crime and Punishment")

Target: understanding the reasons for the collapse of Rodion Raskolnikov’s theory.

Tasks:

debunk Raskolnikov’s individualistic theory, show its immoral, inhumane essence;
teach understanding of the writer’s ideological and artistic intent through analysis of artistic details;
develop skills of reflection, comparison, comparison, synthesis in comprehending the idea of a work;
to cultivate a sense of compassion for one’s neighbor, respect for humane commandments, the desire to preserve moral laws in oneself, and rejection of violence in all its manifestations.

1. Strong emotional start

At the beginning of the lesson, the teacher pours water into a glass and takes a sip.

Was it easy for me to do what I did?

Yes, because all actions related to satisfying our basic needs are simple and natural for us.

What expression exists in Russian for this situation?

“Easy as drinking water”

Is it possible to apply this expression in relation to the actions of Rodion Raskolnikov?

Why? What is Raskolnikov's crime and punishment? We'll try to find out in class.

Lesson topic: “So that the soul is alive”

In order to understand what the crime and punishment of R. Raskolnikov is, let us turn to the reasons that prompted him to commit the crime.

What are the reasons that prompted Raskolnikov to commit a crime?

Raskolnikov's path to crime:

mental anguish and the search for a way out of a deadlock situation;
immense pride and confidence in one’s exclusivity;
conversation between a student and an officer in a tavern;
"accidents" that prompt murder ( scary tale Marmeladov’s life, a letter from his mother, a girl disgraced on the boulevard, an overheard conversation between the townspeople and Lizaveta).

Grief for suffering humanity pushes Raskolnikov to murder.

But, despite the fact that these episodes cause pain and suffering in the protagonist, paradoxically, he became more confident in the correctness of his theory of the right to be called a strong personality.

In what circumstances was Raskolnikov's theory born?

The musty atmosphere of St. Petersburg. The room is a closet, the room is a coffin.

What color scheme would you choose to convey Raskolnikov's ideas?

Black, gray tones. Why?

Raskolnikov's theory is gloomy, pessimistic and unviable.

What is the essence of Raskolnikov’s theory about the “two categories” of people?

The thought of the right of a strong personality gave rise to Raskolnikov’s desire to join the ranks of the “chosen ones”, the “great ones”.

How do you feel about projects implemented only on paper?

Paper will endure anything.

Writing does not mean doing.

The existence of a theory on paper is associated with its isolation from life.

A heavy bundle is placed on the roll with Raskolnikov’s theory, crumpling the paper.

What do you think this is?

Axe. A real axe.
Paper with theory and an axe.
Do you feel the contrast?

What does the ax symbolize?

The ax is a reality that destroyed the abstract logic of the hero’s reasoning.

The weight of the ax is the weight of the role of judge taken on by Raskolnikov.

The ax is a symbol of cutting off, the alienation of the hero from society, from the world of people.

Let's follow the behavior of Raskolnikov, who committed the crime.

At home they had to prepare a retelling from the hero’s point of view.

Why does Raskolnikov suffer and torment after the crime?

Having committed a crime, Raskolnikov placed himself in unnatural relationships with others. He is forced to constantly, at every step, lie to himself and others. This lie devastates the hero's soul. The crime cuts him off from people and condemns him to loneliness.

Conclusion.

Such spiritual uncertainty is unbearable for a living person. In search of a way out of it, the psychological reason for Raskolnikov’s strange craving for investigator Porfiry Petrovich is hidden.

Defense of the project on the topic “Three meetings - three duels between Raskolnikov and Porfiry Petrovich.”

Why did Porfiry Petrovich never manage to convince Raskolnikov to turn himself in?

Raskolnikov pleads not guilty before legal rulings. What am I guilty of before them? They themselves harass millions of people.

Why did he tell his story not to Porfiry, but to Sonya? terrible secret?

Because Porfiry Petrovich was least of all interested in a living, suffering, lost person seeking protection and patronage. In Sonya, Raskolnikov met a caring gaze. I wanted to find an ally in crime.

Let's turn to the video.

Let's compare the behavior of Sonya and Raskolnikov in the confession scene: how is Rodion Raskolnikov's weakness and Sonya's strength manifested?

Raskolnikov's weakness is that he does not want to accept life as it is. The theory pushes him onto the path of violence, but most importantly, it kills the person in him. Sonya takes a different road. She resigns herself and suffers. Her life is built according to the laws of self-sacrifice. If Raskolnikov lives by reason, Sonya is guided by her heart and faith in God.

Why does Raskolnikov choose the legend of Lazar?

This theme comes as a symbol of moral renewal, but there is also a hint of a literal, physical meaning, which includes quoting the episode with the resurrected Lazarus in a number of references to the “stagnant spirit.” In Lazarus, who died and rose again, having conquered his nature, his lost physicality, the main meaning of the work is hidden. According to Dostoevsky, a person must be reborn, must change physically.

Scheme.

Human
Must change physically

What arguments of the “extraordinary person” are refuted by the “weak” Sonya?

Weak Sonya, reading the Gospel, tries to bring Raskolnikov back to life, it is no coincidence that she gave him a cypress cross (Lizaveta), thereby she is trying to revive him to life. Sonya tells him, go and bow to everything honest people, kiss the ground.

Continuation of the scheme.

/
Spiritual rebirth

At home, you had to create a film script on the topic “Raskolnikov’s repentance in the city square.”

Is Raskolnikov's repentance sincere?

He had just embarked on the path of repentance (he could not bear this terrible secret alone), but had not yet fully realized his guilt. True repentance will come in hard labor.

What is crime and punishment according to Dostoevsky?

A crime is the commission of a criminal offense, awareness of one’s own moral law about the right of a strong personality

The punishment is not in the pangs of conscience, but in the hero’s ideological unwillingness to abandon his theory.

Conclusion.

Years, decades pass, life flies by quickly, it is possible that there will be a person subject to such madness, who thinks that everything is allowed to him.

Human! Stop! Open Dostoevsky's novel and you will understand what you are dooming yourself to.

Homework:

Make a plan on the topic “Raskolnikov’s theory of ideas and its collapse.”

Two people lived in this cruel world: Rodion and Sonya (essay).

Literature

1. F. M. Dostoevsky. Collected works in 15 volumes. L.: Science. Leningrad branch, 1989. T. 5.
2. Zolotareva I.V., Mikhailova T.I. Lesson-based developments on literature. 10th grade II half year. 3rd edition, M.: “VAKO”, 2004, 416 p.

Raskolnikov's split personality

F. M. DOSTOEVSKY

IDEAL AND ARTISTIC ORIGINALITY OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

Crime and Punishment is the first in a series of five major novels by Dostoevsky (Demons, The Idiot, The Brothers Karamazov, The Teenager). It revealed the author’s creative world, where everything matters. The main character of the novel is a young man who was expelled from the university. He lives in poverty because his self-esteem does not allow him to do work for “lower” people. In order to somehow improve his financial situation, Raskolnikov kills the old money-lender. But he was unable to take advantage of the loot. Raskolnikov not only did not improve his financial situation, but drove himself almost to madness with mental anguish. The author shows the psychological process after the murder. In the end, Raskolnikov could not stand it and came to the police to confess. But even hard labor is not as severe as moral punishment. The hero saw the absurdity of his thoughts, his worthlessness and insignificance.

The novel is divided into two unequal parts. The first part is the crime and its causes, the second is the main part - the state of mind of the criminal. This was reflected in the structure of the novel. Of the six parts of the novel, only one part describes the events before the murder and the murder itself. In the remaining parts, Raskolnikov’s soul is revealed: his doubts, fears, quests and his gradual “resurrection”. The language of the novel is ordinary everyday human speech. The language is striking in its naturalness and spontaneity. Only in the epilogue of the novel is Dostoevsky’s speech smooth. In general she is intermittent and nervous. There are a lot of reservations and limiting words in the novel, such as “however”, “although”. However, “Dostoevsky’s rhythm overcame limitations and subjugated the language of the novel.” And when you open the novel, from the very first pages you are involuntarily and imperceptibly drawn into this rapid rhythm, incomparable to anything in world literature. The very rhythm thanks to which the author created “a new science of art, complementing it with spirituality.” Dostoevsky does not have such a picturesque image as L.N. Tolstoy, but he has his own manner of depiction. Speeding up and slowing down, raising and lowering the intonation of speech helps you feel the invisible movement of life.

The characters of the novel are characterized verbally. The most expressive portrait of Raskolnikov. The ugliness of his style, the chaotic construction of sentences, and the intermittency of speech show the duality of the main character. The expressiveness of the portrait of the old woman is achieved by the use of diminutive words: “tiny old woman.” Special role Dostoevsky's eyes play in the portrait. Dunya (Raskolnikov's sister) has almost black eyes, proud and kind. Dunya herself is like that. Sonechka Marmeladova has “wonderful blue eyes.” Raskolnikov himself has “beautiful dark eyes.” Dostoevsky believed that eyes are a necessary subject for the spiritual portrait of heroes. The author connects the setting, nature and characters together. Petersburg seems to be pushing Raskolnikov to commit a crime. The writer shows the city in very small descriptions, but they are enough to see St. Petersburg through the eyes of the hero of the novel: “An inexplicable cold always blew over him from this panorama. For him this picture was full of a mute and deaf spirit. “Or the following description of the city: “The unbearable stench from the drinking establishments, of which there are many in this part, and the drunken people who constantly appeared, despite the weekday time, completed the disgusting and sad coloring of the picture. A feeling of deepest disgust flashed for a moment in the thin features young man" Time in the novel is a “function human consciousness" It is spiritualized. Depending on the state of the heroes, it either lasts forever or is fleeting.

There are several themes running through the novel. Certainly, main topic- This is Rodion Raskolnikov. The rest is the story of the Mar-m-ate-hell family, the theme of the Raskolnikov family, the theme of the contenders for Dunya’s hand. These themes develop in parallel, but they are all connected to each other through Raskolnikov. He is spiritual and compositional center novel. The main idea of the work is a psychological report of the state of the criminal. Raskolnikov committed murder for the sake of love for people (so he believed), but at the same time he despises people. He did not see his guilt, did not consider himself a criminal, but his conscience turned out to be stronger than a logically invulnerable theory, which became a tragedy for Raskolnikov.

The author proved that the moral law is above all. It doesn't matter what the origin of this law is; it is important that it exists in the human soul and its violation is unacceptable. Anyone who breaks the law will be punished by himself. Anyone who does not have a conscience, or at least some moral principles, calmly sheds blood, does not think about his actions. h ,

Morality proclaims that there is nothing more sacred than any human person. And the moral qualities of a person do not matter. Even the most inconspicuous and “lowest” person has value, just like an outstanding genius. In this all people are equal. The virtues and value of a person are based not on some kind of mental and physical perfection, not on kindness, stinginess or good nature, but on the significance of this person for other people. The inviolability of the human person plays an important role in understanding the novel.

THE IDEAL MEANING OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

Don't kill!
Commandment of Christ

Among the many works of Dostoevsky (“Demons”, “The Brothers Karamazov”, “Poor People”, “Teenager”, “Idiot” and others), one of the first is “Crime and Punishment”. This work reveals the author’s creative world as a special reality, as a living spiritual organism, where literally everything matters, that is, every little thing, insignificant details. The origins of the novel go back to Dostoevsky's past, when he was in hard labor. On October 9, 1859, Dostoevsky writes to his brother that he decides to write a book, that he puts all his “heart and blood” into this book and that this book is his confession. He knew that Crime and Punishment would finally establish his name. With extraordinary power, Dostoevsky managed to discover in the novel the danger for a person who strives to be special. The enormous tragic power of the novel, the comprehensive exposure of the bourgeois idea of the “superman”, the deep reproduction of the social conditions of life of the capital’s poor, the genuine democracy and humanism of the writer, his sympathy for the humiliated and insulted made “Crime and Punishment” one of the pinnacles of realistic novels of the 19th century century. But the questions that worried and tormented Rodion Raskolnikov were at the same time eternal, as old as the world, and new as tomorrow, human questions about the world, about happiness and the meaning of life. The novel “Crime and Punishment” was initially conceived in the form of Raskolnikov’s confession, but in hard labor Dostoevsky encounters strong personalities who influenced his further reasoning.

In 1859, the novel was not started; the hatching of the plan continued for another six years. During this time, Dostoevsky wrote “The Humiliated and Insulted,” “Notes from the House of the Dead,” and “Notes from the Underground.” The main themes of these works are the theme of poor people, the theme of rebellion and the individualist hero, which were then synthesized in the novel Crime and Punishment.

The theme of the novel was the depiction of the poverty of humiliated and insulted people, of everything inhuman. The problems that Dostoevsky showed in his work are very numerous. These are social conditions, and life contradictions leading to the death of a person, and the relationship between the individual and society, and moral responsibility for crimes, and the problem of Napoleonism, and individualism, and humanism, and law and man, and rebellion and humility, and poverty and destitution , and drunkenness and prostitution, and much more. The novel contains the idea of a clash between two ideologies, two moral laws (false and true) and the ensuing norms of behavior.

The novel takes place in the hot summer of 1865. Dostoevsky's Petersburg is a gloomy, damp city, but still beautiful, which the writer loved with his painful love. The contrasts of the capital were shown before Dostoevsky by Pushkin, Gogol, Nekrasov, but in Dostoevsky these contrasts are especially exposed, which is explained by the peculiarity of St. Petersburg in the 60-70s, when the city, as a result of the rapid development of capital, was upset and expanded due to gambling houses, banking offices, factories . But Dostoevsky has no representatives of high society, just as there are no people of the working class, while thousands of men went to St. Petersburg. Such selectivity in Dostoevsky is not accidental and is explained by the moral problems of the novel. It was in the “middle” strata of the population that the hopelessness of the situation was especially felt. This is where the line lies beyond which one could become an executioner or a victim. It was here that hunger and poverty reigned. Marme-ladov's story in the tavern shows the difference between the poor and the beggar. In poverty, a person retains the nobility of feelings, that is, he maintains his own dignity, but in poverty he ceases to respect the person in himself, reaching the extreme degree of moral decline. Using the example of the Marmeladov family, Dostoevsky reveals psychological poverty with the clinical precision of a psychiatrist. Poverty breeds crime, heavy drinking, which dehumanizes men, and prostitution, which dehumanizes women.

All heroes are looking for a way out of iron dead ends. Raskolnikov is also looking for him. He is twenty three years old. A sharp, deep mind of a philosophical nature. He is one of many who come to help without a call. He saved children from the flames, gives meager pennies to the father of a deceased comrade, and gives his last money to the Marmeladov family. Mother and sister dote on their Family, recognize its superiority, which means that Raskolnikov is not some ordinary, trivial killer, unaccountably committing murders, but is capable of analyzing his thoughts, feelings, actions, but one false idea has taken possession of his consciousness.

The old woman pawnbroker also found a way out. The titular adviser who gives money on bail lives on “Jewish” interest. She is deaf, stupid, sick, greedy, keeps her sister as a worker and is good for nothing. What does she live for? Is it useful to anyone? It is these questions that confuse the young man, he decides to kill her, rob her, in order to make his mother, who lives in the district, happier, and to save his sister, who lives as a companion with some landowners, from the voluptuous claims of the head of the estate. He wants to gain power in order to completely devote himself to serving people, only Dostoevsky penetrates deeper into the soul of a criminal and behind the idea of the delusions of a good heart - “murder for the sake of love for people”, “power for the sake of good deeds” - he reveals the most terrible and monstrous idea - “ the idea of Napoleon”, the idea of power is happy with the power that divides humanity into two unequal parts: the majority - “trembling creatures” and the minority - “overlords”, called from birth to rule the majority, outside the law and having the right, like Napoleon, in the name of the goals he needs transgress the law and disrupt divine peace and order.

Dostoevsky thinks a lot about Crime and Punishment, and finally, in the final version, Napoleon's idea fully matures. So, in creative process, in hatching the plan for “Crime and Punishment,” two opposing ideas collided in the image of Raskolnikov: the idea of love for people and the idea of 1 contempt for them. Dostoevsky decides to preserve both ideas, to show a person in whom, as Razumikhin says about Raskolnikov, two opposing characters alternately alternate. Dostoevsky also painfully searched for the ending of the novel. One of the draft entries reads: “the ending of the novel. Raskolnikov is going to shoot himself,” but this was the finale only for “Napoleon’s idea.” The writer outlines the ending for love too. When Christ himself saves the repentant sinner: “The knowledge of Christ. He asks for forgiveness from the people." But what is the end of a person who combines both opposite principles? Dostoevsky understands perfectly well that Raskolnikov will not accept either the author’s court, or the legal court, or the court of his own conscience. Only one court will accept Raskolnikov - the “highest court,” the court of Sonechka Marmeladova.

Thus, the ideological meaning of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, ridding the superman of the criminal theory, introducing him to the world of other people.

IDEAL STRUGGLE ON THE PAGES OF THE NOVEL “CRIME AND PUNISHMENT”

Dostoevsky’s novel “Crime and Punishment” is a work dedicated to how long and difficult it was for the restless human soul to comprehend the truth through suffering and mistakes. Rodion Raskolnikov is a completely unusual criminal. He commits his crime - the murder of an old pawnbroker - under the influence of the system of ideas he created and suffered through, considering the crime as a kind of socio-psychological experiment that should confirm the correctness of his theoretical conclusions. Therefore, the psychological analysis of the state of the criminal before and after committing the murder is inextricably merged in the novel with the analysis philosophical theory Raskolnikov. But the motives for his crime lie not only in the theory of a “strong personality”, but also in the social conditions of society.

Crime is the very life of a society where the sinister power of money reigns, where everything is bought and sold and takes the proper form of legal lawlessness - a society where almost everyone faces the need to “transcend” moral norms, Raskolnikov, Luzhin, “transgressed” them in their own way. Svidrigailov.

The most complex ideological struggle is reflected on the pages of the novel. G. A. Fadeev wrote: “With a limited number characters in the novel it seems that there are thousands and thousands of destinies in it - the whole of old Petersburg is visible from this unexpected angle. Ideas collided head on.” The theory of “strong personality”, the theory of life of businessmen and careerists, fashion ideas progressives, organizers of communes, where polemics with Chernyshevsky are clearly visible; the idea closest to the author about happiness through suffering, patience, faith - the whole era with the most complex ideological struggle, passionate debate about the future of one’s country was reflected in “Crime and Punishment”. The bearers of these ideas were the bright, amazingly refined images of Raskolnikov, Sonya, Luzhin, Svidrigailov, Lebezyatnikov. The author considered the theory of a “strong personality” to be a “sign of the times”, an expression of ideological and moral knowledge characteristic of a significant number of representatives of the younger generation - primarily from the urban raznochin environment. In the first two parts of the book, the writer traces the conditions in which such an idea could arise. Dostoevsky wrote a particularly subtle psychological portrait of Raskolnikov. He is a naturally gifted, honest and courageous person. The work of the hero’s thoughts is complex and contradictory, causing him a lot of suffering. He is painfully proud, proud, and considers himself an exceptional person. Raskolnikov is completely absorbed in the idea of independently finding a way out of the social and spiritual dead ends of society. So first there was the Word. The word was Raskolnikov’s article, where, reflecting on the causes of existing inequality and injustice, he comes to the conclusion that there is a difference between two categories of people - “ordinary” and “extraordinary”. The first - the absolute majority - are material “serving solely for the generation of their own kind”, people living in obedience. The second are “the people themselves” - those who have the gift or talent to say a “new word”. All of them are more or less criminals. Indeed, in science, art, and politics, every extraordinary person oversteps established norms. It is these people who are the future, they “move the world and lead to the goal.” Raskolnikov believes that in the name of their idea, in the name of the best, they have the moral right to crime, to blood, to murder. Naturally, the hero is forced to think about the question: who am I? “Am I a trembling creature or do I have the right?” Life confronted Raskolnikov with the need to firmly say “yes” or renounce his criminal idea. Here is a letter from the mother, and scary street scenes, and a story about Sonya.

After the Word comes the Deed - the murder of the old woman. In addition to the moneylender, who was killed “according to plan,” Raskolnikov kills, “by accident,” Liza-veta. “Accidentally” Mikolka takes the blame upon himself - another nearly ruined life. “Accidentally” because of her son’s crime, the hero’s mother goes crazy and dies. Raskolnikov is a matricide. Involuntary? Certainly. I feel like it's involuntary. What about the “two-category theory”? And the mother did not know that, reading Rodya’s articles, she was reading a death sentence for herself.

To top it all off, life pits Raskolnikov against people he hates - Luzhin and Svidrigailov. And according to Luzhin’s theory, “people can be cut,” but also according to Raskolnikov’s theory. It turns out that Luzhin and Raskolnikov are birds of a feather. Luzhin's theory frees a person from the false idea of love for other people, from the consciousness of the individual's duty to society. Discarding all morality, she proclaims that man's only duty is to take care of “personal interest,” which should become a guarantee of “general prosperity.” Is Luzhin hated and disgusting by readers, and does Raskolnikov no longer have the moral right to despise Luzhin? And the hero himself understands this! Raskolnikov is trying to deceive himself, to find the right side in his terrible theory - “he wanted good for people.” For the sake of good, Rodion kills Lizaveta! What if Sonya, mother, sister turned up in Lizaveta’s place? Would you kill? And now his monolithic theory is cracking. Raskolnikov turns to Sonya for help, but the “weak” and “unwise” Sonya does not understand his “lofty idea” and refutes it. It is Sonya who will become the salvation for Rodion’s soul. It destroys, destroys the uncertainty and confusion of his spirit. It is no coincidence that on the day of the resurrection of Rodion’s murdered soul, the theme of the sun sounds, which seemed to have gone out for him forever. Instead of nightmares - a spring morning. Instead of a coffin there is “a boundless steppe drenched in the sun.”

Dostoevsky does not show moral resurrection Raskolnikov, because that’s not what the novel is about. The writer’s task was to show what power an idea can have over a person and how terrible and criminal this idea can be. Therefore, life cannot be built according to theory. The “living process of life” always refutes an idea, a theory; The logic of life will always win. Raskolnikov’s idea was also refuted by the “living process of life”: “Instead of dialectics, life came, and something completely different should have been developed in consciousness.” Thus, in the epilogue, the line of the eventual struggle is brought to a denouement; Raskolnikov’s relations with the convicts have reached the point of possibility tragic end, Raskolnikov’s idea of the right of a strong personality to commit a crime against moral standards of life turned out to be absurd. Life has defeated theory. Outcome: start new life.

Why is Dostoevsky’s book still popular today? Why does it still excite the minds and hearts of modern readers?

Most likely because the thoughts and ideas laid down by Dostoevsky in Crime and Punishment are still relevant today. Many modern and young people often ask themselves the same questions that the heroes of Crime and Punishment asked themselves. Many people living in the 20th century are faced with a choice: whether to move “along the path of least resistance,” accepting as truth what is easiest to live with, or through suffering and mistakes, struggles and failures, that is, the same path along which Dostoevsky led his hero to break through to that only and eternal thing that is called Truth. Dostoevsky’s ideas are especially relevant in our time, when a maddened world is step by step approaching death, not only spiritual, but also physical. What will save the world? And does the world have any hope of salvation? Dostoevsky answered this question back in the 19th century: “Beauty will save the world!”

MAIN IDEAS OF THE NOVEL “CRIME AND PUNISHMENT”

Any work is valuable primarily because of how it answers the most important questions of our time. Dostoevsky’s novel “Crime and Punishment” is one of the outstanding works of world literature, it is an “encyclopedia” of life in Russia in the 60s, a book great tribulation, revealing the inhumanity of bourgeois-serf society.

When creating his work, Dostoevsky wanted to show the inner world of the inhabitants of St. Petersburg from poor neighborhoods, the conditions in which they live, their attitude to life, the search for a way out of the world of calculation and profit into the kingdom of real, good truth. This became the main idea of the novel.

In the novel, everything is interconnected: lifestyle, thoughts, actions. Living in cramped rooms, unable to leave the city even in the summer, people live in a state of constant despondency, spending most of their time in pubs. Hopelessness becomes the leitmotif of the novel. And it is not surprising that one of these people, Rodion Raskolnikov, has an idea to change his existence. A situation of hopelessness, a dead end, pushes him to commit a moral crime against himself.

His plan is terrible, because he goes to the goal by committing murder, but Raskolnikov pursues noble goals. Having killed the old woman, Rodion was going to give the money to those in need, relying on the words he heard: “One death and a hundred lives in return - but this is arithmetic!” On the other hand, he wanted to test his idea that there are people who are allowed to commit murder and people who cannot. In addition, he wanted to test his idea for himself: “Am I a trembling creature or do I have the right?” And, having committed a crime, Raskolnikov understands that he belongs to the second type of people.

The religious theme occupies one of the main places in the novel. With his crime, Raskolnikov violates the main Christian commandments. Some of the most important are the ideas of humility and repentance. Rodion does not understand his guilt from this point of view, and this is what, according to the author, makes the hero suffer and changes his life.

Not only Rodion Raskolnikov transgresses Christian commandments, Sonya Marmeladova also violates them.

Sonya Marmeladova, a pure and innocent girl, unable to earn money by honest work in the world of profit, is forced to sell herself, breaking moral laws. The idea of self-sacrifice, self-denial, embodied in Sonya, raises this image to a symbol of human suffering. For Dostoevsky, suffering merged with love. Sonya is the personification of love for people, which is why she retained moral purity in the mud into which life threw her. In addition, Sonya is very religious, she firmly believes in the existence of saints and in everything that is written about in the Bible. Through this faith she finds her peace. Rodion suffers because he does not have the support that Sonya has from God. To ease Raskolnikov's torment, Sonya invites him to publicly repent - this is also one of Christian traditions. However, noticing that they do not understand him, Raskolnikov abandons this idea.

The whole point is that the reason for his experiences lies in himself. By character, Rodion Raskolnikov is a kind, gentle person, this is confirmed by his action in the Marmeladovs’ house when he gives his last money.

By committing a crime, he does something unnatural towards himself. Raskolnikov feels disgust and hatred both for himself and for everyone.

A dream I had on the eve of the murder about brutal murder the horse says that the hero is outraged by violence against a living creature. Dostoevsky aggravates the situation of the hero, wants to show to the end what happens to a person who has crossed the forbidden line, human nature, who placed himself on a par with God, who created people. Not only does Raskolnikov begin to have a nervous breakdown after the murder, the worst thing that can happen to him happens: he loses connections with the people around him, cuts himself off with “scissors” from those with whom he had compassion. And the people closest to him are no longer able to help him.

Porfiry Petrovich is high in moral terms. Having met Raskolnikov, he realizes that this is the killer. But the investigator also saw that Rodion was not an ordinary criminal who killed for the purpose of robbery. Professional pride began to speak in him: he wanted Raskolnikov to admit his crime himself. In this way he helped the hero, and not only because he confessed, it influenced the hero’s opinion about his crime. Although repentance will come much later, these days of hard thinking were the first steps towards it, towards repentance.

The novel shows three ideas: Sonya’s idea of humility, the omnipotence of God, and also Svidrigailov’s idea, with its ambitious focus, that he is the most, the most. Between them is Raskolnikov's idea. This is because Sonino’s vision of the world is sublime, and Svidrigailova’s is low, while Rodion does a low deed, but with sublime motives.

However, the hero is not one to be broken by melancholy and loneliness. He strives to feel like the “old man” again, goes to the Marmeladovs, goes to Sonya.

This is the most extraordinary heroine of the novel, different from all other characters: “. I was frightened by her sudden appearance in this room, among poverty, rags, death and despair. Sonya is as poor as the other people around her, but she is visible in the gray crowd, as if an inner light emanates from her.”

It is the light of Sonya’s idea that illuminates the entire novel, because it is the idea of peace, goodness and love.

“Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world stands!” What melancholy and pain for humanity can be heard in the bitter reflection of Raskolnik. Oh yeah!

But Rodion’s salvation lies precisely in this Sonechka. Dostoevsky was convinced that compassion for the grief of others unites people and makes them better. It united Sonya and Raskolnikov. Perhaps there is no stronger and more unshakable idea, which is based on the forces that make people happier.

THE THEORY OF RODION RASKOLNIKOV, ITS TEST AND REFUTATION IN THE NOVEL “CRIME AND PUNISHMENT”

Rodion Raskolnikov’s crime did not begin with murder and did not find its end in the police. Time did not end in the station, it flew into the distance, into infinity, which the reader, in my opinion, finds it difficult to determine for the heroes of the novel.

Long before the events described, poor student Rodion Raskolnikov writes an article in which he proves and defends the rights of “higher” people to commit crimes, to deny laws if crimes are committed in the name of a great idea “saving for humanity.”

Social injustice, hopelessness, and spiritual impasse give rise to an absurd theory about “higher” and “lower” representatives of society in the mind, completely, it seems to me. humane person, who even worries about his contemporaries. He, of course, considered himself one of the “highest”, since if he had not thought so, then, according to his theory, he would not have had any right to kill. Raskolnikov wanted to be one of those to whom “everything is permitted.” He wanted someone to depend on him. After all, he wanted power “over all the trembling creatures, over the entire anthill.”

As the novel progresses, Dostoevsky tries to convince his hero of the futility of his single rebellion, that Raskolnikov’s rebellion against inhumanity is itself inhuman in nature. But I think Raskolnikov still doesn’t understand this. He is not able to abandon his theory of the “superman”; he not only does not refuse, but also tries to live by it. This shows his guilt in front of everyone; his dream is lodged not only in his mind, but also deep in his heart.

Rodion Raskolnikov does not need money or jewelry. All this is nothing compared to elevating oneself to the category of “supermen.” But the only means for Raskolnikov to be like this was murder.

Throughout the novel, he not only does not give in, but also becomes more and more confident in himself.

Raskolnikov does not consider himself a criminal at all. Having accidentally overheard a conversation in which his own thoughts were expressed, Raskolnikov decides that if someone else thinks the same way as he does, then the intention that was just emerging in his brain is not criminal. But can we really call what was looming in Raskolnikov’s head and heart good intentions? It seems to me that no, because is it possible to justify murder in any way and is it possible to kill a person for self-affirmation, even if this person does not benefit anyone and only causes disgust and irritation, even if he is a “nasty, harmful louse”?

The theory professed by Raskolnikov, a man tormented by his own and others’ sorrows and troubles, who despises and hates the “masters of life,” brings him closer to dishonest people, scoundrels, like Luzhin and Svidrigailov.

They are close, of course, not in their characters, but in the thoughts that arise in their heads. But Svidrigailov managed to exist after committing his crimes, which is probably why Raskolnikov was drawn to him, he wanted to know how one can live and enjoy life after sin.

In relation to life and to those around him, Raskolnikov is similar to Luzhin. He understands this himself, and it brings him some inconvenience. I don't think Raskolnikov had high goals that only the means to achieve these goals were not the same. This is wrong! Although the means were simply terrible and inhumane, the very goals that Raskolnikov sought to achieve were no less immoral. It seems to me that even Raskolnikov is a little afraid of his theory. He does not know what “category” to classify his mother, Dunya, and Sonya. (they don’t seem to be attracted to the “higher ones”, to the “lower ones” - it seems to be a pity, they are close people after all). And Raskolnikov, in my opinion, out of cowardice, thinks that the word “inferior” should not humiliate a person’s dignity. Paradox: what did not humiliate the “pathetic louse” old money-lender, humiliates many other “inferior people.”

Raskolnikov, it seems to me, is generally a very contradictory person. In many episodes it is difficult for a normal person to understand him: many of his statements are refuted by one another. I do not consider Raskolnikov an unselfish person and, perhaps, even an honest one.

Raskolnikov commits his crime under the influence of the theory he created, considering it as some kind of experiment that should confirm in his eyes and in the eyes of those around him the genius and correctness of his conclusions. Raskolnikov's mistake is that he did not see the crime itself in his idea.

Raskolnikov’s condition is characterized by the author with words such as “gloomy,” “depressed,” “indecisive.” I think this shows the incompatibility of Raskolnikov's theory with life. Although he is convinced that he is right, this conviction is something very uncertain. Why does he call his dream “cursed”, why, having finally decided to commit a crime, does he feel himself (sentenced to death or, perhaps, still being led to the execution place? If Raskolnikov were right, then Dostoevsky described the events and his feelings not in dark yellow tones, but in light ones, but they appear only in the epilogue, and even then not in connection with the theory. But he was wrong, he took on the role of God, had the courage to decide for Him who should live, who should. die.

If only Raskolnikov had not been such a conscientious, sensitive person. the old woman would not have ended the matter. And who knows how many more “unnecessary” people would have died at the hands of Rodion Raskolnikov.

So, in my opinion, Raskolnikov’s not at all good intentions led him to punishment. What was this punishment for him? We can say that it began immediately after the murder of the old woman. And it is precisely the pangs of conscience that are punishments for sins.

Raskolnikov suffers, seeing the love of his loved ones, but feeling like a murderer. He is separate from everyone, not feeling like a part of humanity. society, understands that he is alone. This loneliness is driving him crazy. Raskolnikov also understands that just as he was a “louse,” he remains one.

But, despite all the worries, he does not give up on his idea. He is even more convinced of her. This self-deception prevents him from fully understanding the situation and understanding what’s what. If Raskolnikov had non-criminal goals, he would never have thought about whether he committed a crime or not.

PHILOSOPHICAL PROBLEMS IN THE NOVEL “CRIME AND PUNISHMENT”

We all look at Napoleons:
There are millions of two-legged creatures
For us there is only one weapon.

I want to tell you about a book that cannot but excite the thinking reader. This book is F. M. Dostoevsky’s novel “Crime and Punishment.” I would like to talk about the philosophical direction of this work, about its humanistic sound, about the significance of this book for the reader today. The novel Crime and Punishment was written in 1866. But it has not lost its relevance today. Only the time of action and forms of communication between people have changed. People's thoughts and feelings have not changed. Their aspirations are almost the same as in the 19th century. Now many people are concerned about the same questions that Rodion Raskolnikov, the main character of the novel Crime and Punishment, asked himself. In his work, Dostoevsky describes in detail the questions that tormented Raskolnikov. Dostoevsky's novel reveals the conditions due to which Raskolnikov found himself in such a terrible situation. He was humiliated, insulted, he was a “trembling creature.” But a person cannot live in such a state. Dostoevsky shows the horror of the situation of such people. They are very exhausted, it’s hard for them to live. And everyone strives to get out of this state. This human desire for freedom is natural. And Dostoevsky shows an attempt to break out of such a state using a specific example. The novel “Crime and Punishment” is a work dedicated to the story of how a restless human soul walked through suffering and mistakes to comprehend the truth.

‘For Dostoevsky, a deeply religious man, the meaning of life lies in comprehending the Christian ideals of love for one’s neighbor. In this novel, Dostoevsky examines Raskolnikov's crime from this point of view. For Dostoevsky, Raskolnikov's crime is ignoring Christian commandments. Raskolnikov himself is a sinful person. By this, Dostoevsky meant not only the sin of murder, but also pride, the idea that everyone is “trembling creatures,” and he, perhaps, “has the right.”

Raskolnikov decided to rise “above this anthill.” He decided to kill the old woman, rob her and get enough money to achieve his goals. But he is tormented by one question: does he have the right to break legal laws? If we turn to his theory, we can see that Raskolnikov has the right to step over any obstacles if this is necessary to achieve his goals. Having killed the old woman, Raskolnikov placed himself in the category of people to which neither the “quarter lieutenants,” nor his sister, nor his mother, nor Razumikhin, nor Sonya belong. Raskolnikov “cut off” himself from people “as if with scissors.” And for him it became a tragedy. Having revealed Raskolnikov's act, Dostoevsky shows the result. A person cannot live without communicating with people. Therefore, Raskolnikov begins to have a split personality. Raskolnikov believes in the infallibility of his theory. But at the same time, he suffers from the inability to communicate with his mother and sister. Raskolnikov tries not to think about them. According to the logic of his theory, they should fall into the category of “inferior people.” This means that the ax of another Raskolnikov could fall on their heads at any moment. And Raskolnikov must give up on those for whom he suffers. He must despise, hate, kill those he loves. Raskolnikov cannot bear this. He suffers greatly from all this: “Mother, sister, how I love them! Why do I hate them now? Yes, I hate them, physically hate them, I can’t stand them around me. “This monologue reveals the full horror of his situation. Dostoevsky does not show the moral resurrection of Raskolnikov. But he shows him the way to be reborn to a new life. The necessity, the inevitability of suffering on the path to comprehending the meaning of life is the cornerstone of Dostoevsky's philosophy.

The philosophical questions that Rodion Raskolnikov struggled to resolve occupied the minds of many thinkers, such as Napoleon and Schopenhauer. Nietzsche created the theory blond beasts”, “superman”, to whom everything is allowed. Later, it served as the basis for the creation of fascist ideology, which, having become the dominant ideology of the Third Reich, brought numerous disasters to all humanity. Therefore, Dostoevsky’s humanistic position was and is of enormous social significance.

It seems to me that Dostoevsky’s novel “Crime and Punishment” should be read by everyone. Its action takes place in the 19th century, but even now many people are trying to solve the problem that Rodion Raskolnikov set for himself. This novel is useful to all people. Those who have not yet encountered such a problem will see the consequences of the action of the main character of the novel and will try not to make a similar mistake. And those people who find themselves in a similar situation will find a way out of this situation in the novel.

This novel helped me a lot. When I read it, I was able to gain a deeper understanding of the meaning of life. This novel warned me about the mistakes I might make. I think that this is a very interesting, useful book that every person should read, not just read, but think about the problems and issues that Dostoevsky wanted to warn humanity about.

MORAL PROBLEMS IN THE NOVEL “CRIME AND PUNISHMENT”

In his novel Crime and Punishment, Dostoevsky included humanistic idea. In this work, the deep moral problems that worried the writer are especially alarming. Dostoevsky touched upon important social issues of the time. However, it cannot be argued that in our present society there are no equally pressing problems. social problems. The author is concerned about the immorality that reigns in all layers of society, the influence of money on the formation of inequality between people. And this subsequently leads to the expressed right of power of one over the other. Therefore, for Dostoevsky, a society in which money is of the highest value is destructive.

Society played an important role in the fate of Rodion Raskolnikov. Not everyone can decide to kill, but only those who are undoubtedly confident in the necessity and infallibility of this crime. And Raskolnikov was really sure of this.

The thought that he could help those like himself - “the humiliated and insulted” - not only motivated him and gave him strength, but also confirmed him as a person and made him feel his importance. But Raskolnikov’s theory, according to which some, that is, extraordinary people, have rights over others, that is, ordinary people, was not destined to come true, since this contradicts the logic of life. It is for this reason that Rodion Raskolnikov suffers and suffers. He realized that his theory had failed, that he was a nonentity, and that’s why he called himself a scoundrel. Dostoevsky was most concerned about crimes against moral laws rather than legal ones. Raskolnikov’s indifference to people, enmity, lack of love and suicide of a person is characterized by the writer as “killing” himself, the destruction of his moral principles, and the sin of killing the old pawnbroker and Lizaveta is secondary for Dostoevsky. The murders committed by Raskolnikov led to the complete devastation of his soul. Dostoevsky understands that only a person who knows how to suffer and whose morality is higher than his own is capable of “saving” Raskolnikov. In the novel “Crime and Punishment”, such a guide - the savior of the human soul - is Sonechka Marmeladova. She was the only one who was able to fill the void in which Raskolnikov lived after the murder. In the novel, she appears to us as a pure, innocent girl: “She was a modestly and even poorly dressed girl, very young, almost like a girl, with a modest and decent manner, with a clear, but seemingly somewhat intimidated face.” Sonya was not particularly distinguished by the beauty of her appearance. And for Dostoevsky this does not matter. But Sonya’s eyes, meek and sweet, spoke a lot of beautiful things about her soul: “. Her blue eyes were so clear, and when they came to life, the expression on her face became so kind and simple-minded that you involuntarily attracted people to her.” Uncomplaining, defenseless Sonechka Marmeladova shouldered an impossible task. Hunger and poverty forced Sonya to submit to shameful humiliation. Seeing how Katerina Ivanovna was suffering, Sonya could not remain indifferent. Without greed, Sonechka gave all her money to her father and her stepmother, Katerina Ivanovna. She treated her like her own mother, loved her, and did not contradict her in anything.

In Sonya, Dostoevsky embodied the best traits of human character: sincerity, purity of feelings, tenderness, kindness, understanding, constancy. Sonya is a “humiliated creature,” and that’s why I feel unbearably sorry for her. Others, more powerful than she, allowed themselves to mock, mock and humiliate her, seeing all the innocence and immaculate purity. Sonechka became “humiliated” because of the society in which she lives, because of the people who constantly offended her and accused her without shame or conscience. Among all the characters in the novel, there is no more sincere and kind soul than Sonya. One can only feel contempt for people like Luzhin, who dared to innocently accuse an innocent being of anything. But what is most beautiful about Sonya is her desire to help everyone, her willingness to suffer for others. She understands Raskolnikov most deeply when she learns about his crime. She suffers for him, worries. This rich soul rich in love and understanding, helped Raskolnikov. It seemed that Raskolnikov was about to “perish” in the darkness of darkness, troubles and suffering, but then Sonya appears. This strong (in her faith) girl turned out to be able to help and support more than anyone else. When Raskolnikov goes to confess to his crime, Sonechka puts on her green scarf - a symbol of suffering. She is ready to suffer even for Raskolnikov’s crime. One can only admire such a person! When we first meet Sonya, we see so much intimidation in her face that it seems impossible to imagine this girl as someone else. And this turns out to be possible. Dostoevsky paid attention not to her (seemingly weak) appearance, but to her strong-willed, strong soul. This girl saved our hero from “destruction” with her love, her kindness and devotion. Sonechka is like a “ray of light” in a world of darkness and disappointment, hope for a better future, it is faith, hope and love. Sonechka Marmeladova has gone through a long, painful path: from humiliation to respect. She certainly deserves happiness. After Raskolnikov’s imprisonment, Sonya did not give in to the fear of separation from him. She must go through to the end, together with Raskolnikov, all his trials, hardships, joys, and together with him she must achieve happiness. This is the meaning of love. In prison, indifferent to everything, Raskolnikov’s soul little by little got used to Sonechka’s care, love and affection. The hard heart gradually, day by day, opened and softened. Sonya fulfilled her mission: a new, unknown feeling arose in Raskolnikov’s soul - a feeling of love. Finally they both found happiness. The awakened love in Raskolnikov’s soul led him to repentance for the crime he had committed and to the emergence of morality.

F. M. Dostoevsky, introducing the image of Sonechka Marmeladova, wanted to say that morality should live in the soul of every person, as it lives in Sonya. It is necessary to preserve it, despite all the troubles and hardships, which Raskolnikov did not do. A person who has not preserved morality has no right to call himself a human being. Therefore, it is fair to say that Sonya Marmeladova is “the pure light of a high moral idea.”

THE PROBLEM OF GOOD AND EVIL IN F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

The main philosophical question of Dostoevsky’s novel “Crime and Punishment” is the boundaries of good and evil. The writer seeks to define these concepts and show their interaction in society and in the individual.

In Raskolnikov's protest, it is difficult to draw a clear line between good and evil. Raskolnikov is unusually kind and humane: he passionately loves his sister and mother; feels sorry for the Marmeladovs and helps them, gives his last money for Marmeladov’s funeral; does not remain indifferent to the fate of the drunk girl on the boulevard. Raskolnikov's dream about a horse beaten to death emphasizes the hero's humanism, his protest against evil and violence.

At the same time, he exhibits extreme selfishness, individualism, cruelty and mercilessness. Raskolnikov creates an anti-human theory of “two classes of people,” which determines in advance who will live and who will die. He justifies the “idea of blood according to conscience,” when any person can be killed for the sake of higher goals and principles. Raskolnikov, loving people, suffering for their pain, commits the villainous murder of the old pawnbroker and her sister, the meek Lizaveta. By committing murder, he tries to establish the absolute moral freedom of man, which essentially means permissiveness. This leads to the fact that the boundaries of evil cease to exist.

But Raskolnikov commits all crimes for the sake of good. A paradoxical idea arises: good is the basis of evil. Good and evil fight in Raskolnikov's soul. Evil, brought to the limit, brings him closer to Svidrigailov, good, brought to the point of self-sacrifice, brings him in common with Sonya Marmeladova.

In the novel, Raskolnikov and Sonya are the confrontation between good and evil. Sonya preaches goodness based on Christian humility, Christian love for one's neighbor and for all who suffer.

But even in Sonya’s actions, life itself blurs the line between good and evil. She takes a step full of Christian love and kindness towards her neighbor - she sells herself in order to prevent her sick stepmother and her children from starving. And she causes irreparable harm to herself, her conscience. And again, the basis of evil is good.

The interpenetration of good and evil can also be seen in Svidrigailov’s nightmare before suicide. This hero commits a chain of malicious crimes in the novel: rape, murder, child molestation. True, the author does not confirm the fact that these crimes were committed: this is mainly Luzhin’s gossip. But it is absolutely known that Svidrigailov arranged for the children of Katerina Ivanovna and helped Sonya Marmeladova. Dostoevsky shows how a complex struggle between good and evil takes place in the soul of this hero. Dostoevsky tries to draw the line between good and evil in the novel. But the human world is too complex and unfair, and the boundaries between these concepts are blurred. Therefore, Dostoevsky sees salvation and truth in faith. Christ for him is the highest criterion of morality, the bearer of true good on earth. And this is the only thing the writer does not doubt.

THE PROBLEM OF CHOOSING A PATH IN F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

In the intense and tragic reality of Dostoevsky’s novel, the everyday realities of our existence are discarded like husks: positions, professions, friendships and hostility. The author does not inflate “horrors” - he himself is afraid of the loss of man in the world: readiness to sin, trampling on high truths and moral values. Dostoevsky's heroes seem to live in the airless space of primeval universal chaos, where everything begins with them: it is they who need to take the first and most difficult step, because the fate of the world depends on it. His heroes see the world from a philosophical perspective, and enter into life to comprehend the meaning of life. Therefore, from reality, Dostoevsky transfers the main problem into his world - the problem of choosing a path - in such a concentrated form in which it cannot exist in our everyday life.

Two paths lie before a person: to become an executioner or a victim. There is no third. Why is that? Do we often face such a dilemma in life? In all its severity - only in exceptional cases. Moreover, many never ask themselves this question. But this does not mean that the question did not arise before them: they simply did not want to see it, realize it, stop and comprehend themselves and the world.

Because in a different way this question can be formulated as follows: what is more important to you personally - yourself or those around you? Your life or someone else's life? And here the decision can only be unambiguous: either - or.

This choice faces every person entering conscious adult life. The uniqueness of Dostoevsky is that no one except him raised the question of choice with such clarity, did not define it so inevitably, did not prove that only by realizing this problem and accepting responsibility for the chosen path can a person move on.

That is why each of us must, at the moment of growing up, at the moment of the first revaluation of values, go “through Dostoevsky”: build with Raskolnikov a scheme for dividing people into categories; to see the murdered old pawnbroker and Lizaveta defending herself with her hand from the ax; hear Sonya's confession; be horrified by the resemblance to Luzhin.

(I option)

Mother, Sofya Semyonovna, you are our mother, tender, sick!

F. M. Dostoevsky. "Crime and Punishment"

The novel Crime and Punishment was written in 1866. This is a socio-psychological novel, the main character of which is an intelligent, kind young man. He developed a theory according to which all people are divided into “higher” and “lower”. But he did not understand that this theory was incorrect. If a person can break the law and do something that ordinary people do not do, then he belongs to the “superior” ones, and that’s how he will rule the world. Raskolnikov broke the law, but this did not make him any easier. Rodion’s soul was torn into pieces: on the one hand, he killed his grandmother-pawnbroker, and what if some other “extraordinary” person decides to believe himself and kills either his sister or mother, but on the other hand, (according to theory) it means that Dunya, mother, Razumikhin are all ordinary people. He doesn't understand what happened and thinks he did something wrong, but he doesn't doubt the theory.

And so Sonya Marmeladova comes to Raskolnikov’s aid. For the first time the hero learns about her from the lips of Sonya's father. The poor Marme-ladov family vegetates in poverty. Marmeladov is constantly drunk, Katerina Ivanovna suffers from consumption, and two small children are almost dying of hunger. To save her family, Sonya takes extreme measures - she becomes a prostitute. But no one dissuades her, ‘everyone is used to it: she gives money to her father for vodka, to her stepmother and children for food. Sonya is not offended by this; for the sake of people she is ready to do anything, even sacrifice the most important thing. She cannot believe that there are evil, unkind people on earth. She sees only good qualities in every person. Having learned about Raskolnikov’s theory, she cannot come to terms with its conclusions: “This man is a louse. Kill? Do you have the right to kill? She sends Rodion to the crossroads to bow and pray to the earth and tell everyone “I killed!” so that people would forgive. Having learned about Rodion’s murder of his grandmother and Lizaveta, Sonya does not turn away from him: “She suddenly grabbed both his hands and bowed her head to his shoulder. This short gesture even struck Raskolnikov with bewilderment; It was even strange: how? not the slightest disgust, not the slightest disgust towards him, not the slightest shudder in her hand.” Sonya is a very religious person, she constantly goes to church and reads the Bible. She believes in the resurrection of people, in their only good qualities. We can say that the image of Sonya is ideal, she is like the incarnation of Christ in a female form. All her actions are aimed at benefiting people. She follows the commandments of Christ: do not kill, do not steal. Sonya rejects the right to personal judgment; God alone in heaven has the right to give and take away life: “KaN< может случиться, чтоб от моего решения зависело? И кто меня тут судьей поставил: кому жить, кому не жить?» Соня спасает Раскольникова, но он и сам шел навстречу этому. Она не может устоять перед Лужиным, пытаясь защитить себя кротостью, робостью, покорностью. И Раскольников преклоняется перед этими ее качествами. Соня с new strength awakens in Rodion the desire for life, love, mercy. She does not leave him after being sent to hard labor. She follows him relentlessly, as if protecting him from bad things. She gives him the Bible so that he can learn to follow the commandments that are written there. Even in Siberia, where there are no relatives and friends, Sonya helps the convicts: “She did not curry favor with them. She didn’t give them money or provide any special services. Only once, for Christmas, did she bring alms to the whole prison: pies and rolls. she wrote them letters to their relatives and sent them to the post office. Their relatives and relatives who came to the city, according to their instructions, left things for them and money in Sonya’s hands. Their wives and mistresses knew her and went to her. And when she appeared at work, coming to Raskolnikov, or met with a party of prisoners going to work, everyone took off their hats, everyone bowed: “Mother, Sofya Semyonovna, you are our mother, tender, sick!” Sonya led Raskolnikov to the right path. “They were resurrected by love: the heart of one contained endless sources of life for the heart of the other.”

The author put his attitude towards life into the image of Sonya. Both Sonya and the author believe that it is impossible to build a good life in society on blood, a person must live according to the laws, but not break them in any way, life must be built on respect and mercy for each other
To a friend-

This novel is still relevant today. Especially now, when there is an increase in crime all over the world. We must know and remember what Sonya called for.

“PURE LIGHT OF A HIGH MORAL IDEA” IN RUSSIAN LITERATURE

(Based on the novel by F. M. Dostoevsky “Crime and Punishment”) (II option)

The problem of morality is one of the eternal unsolvable problems facing humanity throughout the entire period of its history. For a long time, the world has been committing acts that are unacceptable in a civilized society. Every day we hear about murder, violence, and theft. Particularly morally terrible are wars and terrorist attacks that take thousands of lives of civilians. Many writers and poets spoke about the problem of morality and decency, trying to solve it in the pages of their works. One of the writers who deeply felt this problem was the famous Russian writer F. M. Dostoevsky. As a very sensitive person, subtly understanding the negative traits of society, he was greatly affected by the issue of morality, which he was able to skillfully highlight in his novel “Crime and Punishment.” Let's try to consider the moral idea that the author showed in his work.

In Crime and Punishment, Dostoevsky was able to clearly paint a picture of the life of the poor layers of society, their way of life, and reveal to the reader their problems. Living in conditions of extreme poverty, huddled in small rooms, it was very difficult to maintain the good qualities of the soul, not to become embittered, not to harden in heart. One of such images shown by Dostoevsky is the image of Sonya Marmeladova.

Sonya is the daughter of a drinking petty official who is unable to provide funds for his family: his wife, suffering from consumption, and her three children. Therefore, Sonya was forced to earn money by working as a “girl of easy virtue.”

But, despite the environment in which she found herself, Sonya was able to remain a person with a clear conscience and an unstained soul. It is a rare person who can endure such a test of life. To better see the image of Sonya Marmeladova, in my opinion, it is necessary to pay attention to the situation surrounding her.

Sonya becomes more amazing the more the reader gets to know her. Reading the pages of the novel, we are increasingly surprised by Sonya’s spiritual integrity. The environment in which she lives can hardly be conducive to this: an irregularly shaped room (cold, uncomfortable), in which the only furniture is a bed, table, chair and chest of drawers. The people surrounding Sonya are striking in their inconsistency with her: this is the father, who subtly senses his daughter’s situation, but cannot help her. This is the stepmother - an unbalanced, terminally ill woman, for whom Sonya is the saving straw. For the entire Marmeladov family, Sonya is the only person who sincerely and selflessly helps them. She takes care of Katerina Ivanovna and the children. She is worried about their future. “What will happen to them?” - she says to Raskolnikov. This certainly speaks in favor of the heroine’s rare kindness.

Being in conditions in which another person would long ago be moral; sank, Sonya amazes with her purity and sincerity. "

So, for example, Sonya is not vulgar, shy, and trusting. This is evidenced by the scenes described by the author in the novel in Raskolnikov’s house, at Marmeladov’s funeral (scene with Luzhin). “It was clear that she herself did not understand how she could sit next to them. Realizing this, she was so frightened that she stood up again and, in complete embarrassment, turned to Raskolnikov,” writes the author. Or when Luzhin offered her ten rubles: “Sonya took it, flushed, jumped up, muttered something and quickly began to take her leave.”

In addition to those positive character traits that have already been mentioned, what strikes me about Sonya is the depth of her faith. She is so strong that it helps her maintain her dignity, the beauty of her soul. Here is what Dostoevsky writes about this: “All this shame, obviously, touched her only mechanically; real depravity has not yet penetrated a single drop into her heart. “And she subsequently, with her faith, helps Raskolnikov to see the beauty of the world, to repent: “He thought about her. He remembered how he constantly tormented her and tormented her heart. but he was almost not tormented by these memories: he knew with what endless love he would now atone for all her suffering.”

Sonya sees her salvation in religion, in God, which Dostoevsky was able to describe in the lines when, when asked by Raskolnikov (whether she prays to God), Sonya replies: “What would I be without God?”

Dostoevsky was very close to the theme of religion, in it he saw the salvation of all humanity, in faith he saw the solution to all moral problems.

Thus, Sonya is a kind of source of purity and light, a conductor of high morality in her environment. It is a rare person who can develop such rare beauty of his soul (in conditions similar to those in which Sonya lived) without betraying his principles and high morals. Her love for her neighbor evokes deep respect in the reader. And for this she truly deserves our sincere admiration.

HUMANISM OF THE NOVEL “CRIME AND PUNISHMENT”

Beauty will save the world.
F. Dostoevsky

Different people live on Earth. Evil and kind, cruel and soft-hearted, irreconcilable and all-forgiving. Everyone has their own morals, their own life principles, their own laws, but these laws are most often subordinated to the laws of the society in which we live. And, in turn, there are universal human laws, those that we call the “ten commandments.” And the main one of these commandments, in my opinion, is thou shalt not kill!

Human life. This is the most valuable thing God gave him. Poche-. Why has suicide been considered a great sin in Christianity from time immemorial? Because life was given to man by God himself, and to commit suicide is the same as throwing his precious gift in the face of the Lord. And take the life of another. “Your life hangs on. hair, and I can cut this hair,” says Yeshua Pontius Pilate in the novel “The Master and Margarita” by Bulgakov. And he hears in response: “Only the one who hung it can cut this hair.” One person “cannot attempt the life of another - they are equal before God. The killer will be punished sooner or later. This is what happened to Raskolnikov, the hero of Fyodor Mikhailovich Dostoevsky’s novel Crime and Punishment.

His theory was based on the inequality of people, the selectivity of some and the humiliation of others. He believed that ordinary people (and they are the majority) are obliged to live according to general laws, and extraordinary people (he considered Napoleon his ideal) were born to command and control ordinary people. Such people have the right to everything - they can impose their will and commit a crime. It goes without saying that Raskolnikov wanted to see himself among the latter. He wanted to know fame, power, wealth, he wanted to control destinies. But he is just a poor student. And Raskolnikov decides that he will make his way to his goal, sweeping away all obstacles. And he commits murder to... try your hand.

Raskolnikov will never become the second Napoleon, “the great of this world.” Desire alone is not enough for this. This requires fortitude, boundless inner strength, self-confidence, and ruthlessness. It is unlikely that Napoleon ever rushed about in a half-mad state and asked himself: “Can I? Will I be able to? Am I a louse or a man? Napoleon was a strong, firm man. Raskolnikov is weak. And he realizes this and begins to despise himself even more. And only Sonya Marmeladova understands how unhappy he is. “No, you are no more unhappy than anyone in the whole world now.” Sonya is an extraordinary person. Sensitive, kind, submissive, always thinking only about others and considering every person to be God's creation. Raskolnikov tries to justify himself to her: “I only killed a louse, Sonya, a disgusting, malicious one. - “Is this man a louse?” - Sonya is amazed. But she does not blame Raskolnikov, it seems to me that she is not able to blame anyone at all, she feels sorry for him. She neither. She never reproached him for murder - and yet he killed her only friend Lizaveta. Sonya only feels sorry for him. Raskolnikov deserves pity. All his negative emotions towards people - contempt, hatred, indifference - all this, like a boomerang, comes back to him. He no longer despises and hates people, but himself. He no longer considers those around him to be a complete nonentity. And this, in my opinion, is the most terrible thing for a person.

Sonya saves him. She loves him, loves him boundlessly, devotedly. “I will follow you anywhere,” she says and fulfills her promise. If she had not followed him to hard labor, if she had not been so persistent - persistent quietly, modestly, in her own way, he would not have understood that he also loved her. Raskolnikov doubted whether he needed her, sometimes he did not talk to her, he tormented her. But Sonya knew that she loved him, and subconsciously felt that he loved her too. She was always ready to be with him: in sorrow and in joy, in sickness and in health, in poverty and wealth. And in the end he realized that he could not live without her, that they were one. “Love resurrected them: the heart of one contained endless sources of life for the heart of the other.” Sonya saved Raskolnikov, but he himself walked towards his own salvation, he was punished and saved by his unlost humanity, compassion, and love. Raskolnikov gave Sonya his strength, filled his soul with masculinity. “But here a new story already begins, the story of the gradual renewal of man, the story of his gradual rebirth, gradual transition from one world to another, acquaintance with a new, hitherto completely unknown reality. This could be the theme of a new story - but our current story is over.”

HUMANISM OF F. M. DOSTOEVSKY (Based on the novel “Crime and Punishment”)

“The arbitrary murder of even the last of men, the most evil of men, is not permitted by the spiritual nature of man,” wrote great philosopher N. Berdyaev.

Dostoevsky, by his own admission, was concerned about the fate of “nine-tenths of humanity,” morally humiliated and socially disadvantaged under the conditions of the bourgeois system of his time.

The novel Crime and Punishment depicts scenes of social suffering among the urban poor. Extreme poverty is characterized by having “nowhere else to go.” This is the fate of Katerina Ivanovna, who was left with three young children after the death of her husband. “Crying and sobbing and wringing her hands,” she accepted Marmeladov’s offer, “for there was nowhere to go.” This is the fate of Marme-ladov himself. “After all, it is necessary that every person should have at least one place where they would feel sorry for him.” ". And the one who took pity on us all and understood everything will take pity on us, he is the only one, he is the judge.” The tragedy of a father forced to accept his daughter's fall; the fate of Sonya, who committed a “feat of crime” against herself for the sake of love for her loved ones; the torment of children growing up in a dirty corner, next to a drunken father and a dying mother, key scenes in the life of the St. Petersburg “lower classes.”

Is it acceptable to destroy an “unnecessary” minority for the sake of the happiness of the majority? Dostoevsky answers “no” to the entire artistic content of the novel and consistently refutes Raskolnikov’s theory: if one person arrogates to himself the right to physically destroy an unnecessary minority for the sake of the happiness of the majority, then “simple arithmetic” will not work: in addition to the old pawnbroker, Raskolnikov unexpectedly kills Lizaveta, the very humiliated and insulted, for which, as he tries to convince himself, he committed the crime.

If Raskolnikov and others like him take on such a high mission as defenders of the humiliated and insulted, then they must inevitably consider themselves extraordinary people to whom everything is allowed. If you allow yourself to “bleed according to your conscience,” you will inevitably turn into Svidrigailov. Svidrigailov is the same as Raskolnikov, but already completely “corrected” from all prejudices. Svidrigailov blocks Raskolnikov from all paths leading not only to repentance, but even simply to an official confession. And it is no coincidence that only after Svidrigailov’s suicide Raskolnikov commits this confession.

Dostoevsky opposes rebellion as such. The path to moral improvement of every person.

The most important role in the novel is played by the image of Sonya Marmeladova. Active love for one's neighbor, the ability to respond to someone else's pain (especially deeply manifested in the scene of Raskolnikov's confession of murder) makes the image of Sonya ideal. It is from the position of this ideal that the verdict is pronounced in the novel. For Sonya, all people have the same right to life. No one can achieve happiness, his own or someone else's, through crime. Sonya, according to Dostoevsky, embodies the people's principles: patience and humility, immeasurable love for people.

Only love saves and reunites a person who has crossed over with God. The power of love is such that it can contribute to the salvation of even such an unrepentant sinner as Raskolnikov.

The idea of the inviolability of any human person plays main role in understanding ideological content novel. In the image of Raskolnikov, Dostoevsky executes the denial of the intrinsic value of the human personality and shows that any person, including the disgusting old woman pawnbroker, is sacred and inviolable, and in this respect people are equal.

This novel is one of the most complex works of Russian literature and occupies a special place in Dostoevsky’s work. The narrative is told slowly, unhurriedly, but it keeps us in adequate suspense. Dostoevsky had never before depicted such a broadly terrible picture of the life of people in Russia in the mid-19th century, the poverty and suffering of the dispossessed. During this period, many were disappointed, driven into a corner, depressed by their own powerlessness and lack of rights.

Events take place in St. Petersburg. It is impossible to live in this city: it is inhuman. Decent people they live in poverty and misery, while fools and scoundrels enjoy all the blessings of life. Whatever house the writer describes, we do not see a human hearth in it, these houses do not vaguely resemble human habitation. Raskolnikov lives in a creepy “coffin”, Sonya lives in an ugly “barn”, Marmeladov lives in a “cool corner”, and in a separate room, “stuffy and cramped”, he spends his last night before Svidrigailov’s suicide. Street girls, beggars, homeless children, tavern regulars looking for momentary oblivion from melancholy in wine - this is the atmosphere of the capital city, the atmosphere of dead end and hopelessness. An exhausted woman throws herself into the canal water. Unable to earn an honest living, Sonya Marmeladova goes to the panel. A mother agrees to give her sixteen-year-old daughter to an old lecher. These and other similar scenes reveal everyday tragic life people.

The writer makes us look into the abyss - the “corner” of the Marme family of hell. The head of the family is ridiculous and pitiful, but he is a man of tragic fate. Marmeladov says: “There is nowhere for a person to go, but this is necessary.” This saying is the essence of Marmeladov’s life drama. What remains for him? Die? And his death is inevitable. But Marmeladov himself is to blame for the suffering of his loved ones. A man stole the last penny from his hungry children. Is it possible to feel sorry for him? Yes, the author tells us that we can and should feel sorry for those unworthy of pity. Marmeladov suffers, and it is impossible not to sympathize with him. He loves and sacrifices, he has preserved the human being within himself.

In such a world of “humiliated and insulted” Dostoevsky’s heroes live. The tragedy of their situation lies in the impossibility of finding any way out if they live in this society and accept its laws. It is impossible for a person to live in such a society! This main conclusion novel.

“THE HUMILIATED AND INSULTED” IN F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

The novel “Crime and Punishment” occupies a special place in Dostoevsky’s work. Never before had a writer so widely depicted the poverty and suffering of the disadvantaged.

The events described in the novel take place in St. Petersburg. Dostoevsky's Petersburg is a city in which it is impossible to live: it is inhuman. Wherever the writer takes us, we do not end up at a human hearth, not at human habitation. After all, it’s creepy to live not only in the “coffin” that Raskolnikov rents, but also in Sonya’s ugly “barn”, and in the “cool corner” where Marmeladov lives, and in a separate room, “stuffy and cramped”, in which he spends his last the night before Svidrigailov's suicide. This city of street girls, beggars, homeless children, tavern regulars looking for a moment of melancholy in wine. The atmosphere of St. Petersburg is an atmosphere of dead end and hopelessness. Here is a woman with a yellow face and sunken eyes throwing herself into the water of the canal. And another woman’s screams are heard: “I’ve drunk myself to hell, fathers, to hell.” I also wanted to hang myself, they took me off the rope,” and as if for a moment the door to someone else’s life, full of hopelessness, opens. Sonya Marmeladova, who does not have the opportunity to earn money by honest work, breaks moral laws: she goes to work. A seemingly prudent mother, who has a disabled husband and two young nephews in her arms, agrees to give her sixteen-year-old daughter to an old libertine. Similar scenes run through the entire novel, revealing the everyday tragic life of the people.

“Petersburg corners” are described by Dostoevsky with almost naturalistic accuracy. The writer makes us look into one of the “corners” of the capital - the Marmeladov family, and an abyss opens up to him. Marmeladov. This ragamuffin with his florid speech, respectable bureaucratic bearing, is ridiculous, pathetic and disgusting, a buffoon who amuses the tavern regulars with his “oratory.” But this “funny guy” is a man of a truly tragic fate. Confessing to Raskolnikov, Marmeladov will say: “There is nowhere for a person to go, but this is necessary.” The essence of Marmeladov's life drama lies in the clear consciousness that there is nowhere to go, no one to go to. There is only one thing left for him to do - to die, and he perishes, and his death is inevitable. But Marmeladov himself is to blame for this and for the suffering of his loved ones. He is acutely aware of his guilt: “Doesn’t my heart hurt that I’m groveling in vain?”

Is it possible to feel sorry for a man who stole the last penny from his hungry children? But Dostoevsky makes us feel sorry for those who are worthy of pity, to feel compassion for those who are unworthy of “compassion.” It is impossible not to sympathize with Marmeladrv, because he suffers, because “he can feel it all.” He knows how to love and sacrifice, he remains human.

This is the world in which Dostoevsky’s heroes live, the world of the “humiliated and insulted,” “the dead and the perishing.” The tragedy of the situation of Dostoevsky's heroes lies not only in hopelessness, but also in the awareness of this impasse: they clearly see that their death is close and inevitable, and are in a state of being sentenced to death. With the entire content of the novel, Dostoevsky shows the complete impossibility of finding any worthy way out if one remains in this society and accepts its laws; It is impossible for a person to live in such a society!

This is the main conclusion from the novel.

THE THEME OF THE “LITTLE MAN” IN THE WORKS OF DOSTOEVSKY

Like many outstanding Russian writers, Dostoevsky already in his first novel, “Poor People,” addresses the theme of the “little man.” The main character of the novel, Makar Devushkin, is a poor official, oppressed by grief, poverty and social lack of rights. Like Gogol in the story “The Overcoat,” Dostoevsky turned to the theme of the powerless, immensely humiliated and downtrodden “little man.” living his closed inner life, in conditions that grossly violate human dignity.

Dostoevsky himself wrote: “We all came out of Gogol’s “The Overcoat.” The humanistic orientation of "Poor People" was noticed by the critic. Belinsky enthusiastically greeted Dostoevsky: “This is an extraordinary and original talent, which immediately, even with his first work, sharply separated himself from the entire crowd of our writers. »

In the early 60s of the 19th century, the writer developed the theme of the “little man” in the novels “Humiliated and Insulted” and “Notes from the House of the Dead.” “Notes from a Dead House” is an exciting story about hard labor and convicts. Who is to blame, the author asks, that “mighty forces died in vain, died abnormally, illegally, irrevocably?” And the reader inevitably drew the conclusion about the cruelty of that social system that destroyed the spiritual wealth of the Russian people.

In “The Humiliated and Insulted,” the author deepens and sharpens the theme of the lack of rights of the poor, raised earlier in “Poor People.” From whom do beautiful, honest, but powerless people suffer humiliation? This is exactly how the question is posed in the novel. And the answer is: from powerful, rich scoundrels. This opposition of two social groups in the novel gives the author the opportunity to expressively draw the social contrasts of capitalist St. Petersburg with its beggarly corners, on the one hand, and aristocratic mansions, on the other.

The social theme, the theme of “poor people”, “humiliated and insulted” was continued by the author in “Crime and Punishment”. Here it sounded even stronger. One after another, the writer reveals to us pictures of hopeless poverty. Dostoevsky chose the dirtiest part of old Petersburg, the cesspool of the capital, as the setting for the action. And against the backdrop of this landscape, the life of the Marmeladov family unfolds before us.

The fate of this family is closely intertwined with the fate of the main character, Rodion Raskolnikov. The official Marmeladov, who has “nowhere else to go” in life, drinks himself to death out of grief and loses his human appearance. Exhausted by poverty, Marmeladov’s wife, Ekaterina Ivanovna, dies of consumption. Sonya went out into the street to sell her body to save her family from starvation.

The fate of Raskolnikov’s family is also difficult. His sister Dunya, wanting to help her brother, is ready to sacrifice herself and marry the rich man Luzhin, for whom she feels disgust.

Other characters in the novel, including episodic figures of unfortunate people Raskolnikov meets on the streets of St. Petersburg, complement this general picture of immeasurable grief.

Raskolnikov understands that the cruel force that creates dead ends in life for the poor and a bottomless sea of suffering is money. And in order to get them, he commits a crime under the influence of a far-fetched idea about “extraordinary personalities.”

Fyodor Mikhailovich Dostoevsky created a vast canvas of immeasurable human torment, suffering and grief, looked closely and insightfully into the soul of the so-called “little man” and discovered in it deposits of enormous spiritual wealth, spiritual generosity and beauty of people who were not broken by the most difficult living conditions. And this was a new word not only in Russian, but also in all world literature.

Dostoevsky is a brilliant writer who examined the sick sides of his contemporary society and painted vivid pictures of Russian reality. The images of “little people” created by the author are imbued with the spirit of protest against social injustice, against the humiliation of man and faith in his high calling.

LIFE HISTORY OF RASKOLNIKOV

The novel Crime and Punishment was written in 1866. Throughout the novel, Dostoevsky shows us the problems of the individual and the masses, the loneliness of man in the capitalist world, the meaning of life, the choice of a life path and responsibility for it, love that regenerates a person. Each person in his life determines for himself the boundaries of what is acceptable in his actions. And if this line is overcome and a person suffers, then he has moral principles and he is not yet a lost person.

Our hero finds himself in an atmosphere in which only soulless people, such as Luzhin and Svidrigailov, can survive. Seeing the injustice and lack of rights of the lower classes that reigned in the city, Raskolnikov creates his own criminal theory. According to this theory, people are divided into two categories: “inferior” and “entitled”. Rodion decides to test himself: can he step over his moral values, your character. If yes, then he will prove to himself and others that he belongs to a higher category, and not to “trembling creatures.”

Of course, there are other reasons that prompted him to commit a crime: moral, social, but the main reason lies in his character. The fact is that Rodion is a very kind and sympathetic person, he can give his last money (the case with the Marmeladov family), he will not remain indifferent to the pain of another person, he will not stand aside if a crime occurs before his eyes (the case of the drunken woman). girl). But the theory, which has become a thorn in his head, does not give him peace. By killing the old woman, Rodion practically crossed the line that he wanted to cross, but theoretically Rodion did not cross himself. After the murder, his conscience torments him, he withdraws into himself, avoids his family and friends. All his thoughts are aimed at evaluating his actions. We watch Rodion's suffering, we see how he tries to get out of this hell, but he cannot get out alone. And then, fortunately for Rodion, Sonechka Marmeladova appears. She is like a ray of light after a huge storm. Tender, pure, spiritually affectionate, she revives unprecedented powers in Raskolnikov.

For the first time, the reader learns about her from the words of her father, a bitter drunkard. We learn that this fragile girl bears the entire household: children, a mother who suffers from consumption, a father who is constantly begging for money. She will take pity on everyone, caress them, and give advice.

Sonya is a symbol of sacrifice, she is a kind of Christ who came down from heaven, only in a female form. It itself contains an inexhaustible source. She puts a piece of her heart and soul into every word and deed.

Sonya loves people and finds good qualities in everyone. This is what happens with Rodion. She does not push him away after telling him about the murder, but, on the contrary, accepts him with all her heart and advises him to go to the square and confess his sin to people.

“This man is a louse. Kill? Do you have the right to kill? - Sonya says to Raskolnikov.

Sonya believes in man, in his best qualities, in his resurrection. For her, man is God's creation, and human life is inviolable. Sonechka is a very religious person, she attends church, reads the Bible, maybe that’s where she gets all her strength.

Talking with Sonya, Rodion draws spiritual strength that he lacks. Suddenly, a sublime feeling arises between them - love. Ah, love, love. It makes insignificant people more fair, more sensual, it awakens the most callous souls. She also warmed Rodion’s heart. The theory that haunted the hero with an obsessive thought was broken down in two words: “And who made me the judge here, who should live and who should not live?”

And who broke it? A child who should enjoy his carefree childhood life. Sonya saves Raskolnikov's soul, she sets him on the path of repentance. She goes to court, he is tried and sent into exile. But the main punishment for him is not exile, but the fact that his conscience does not give him peace, and the best medicine for his conscience is Sonya’s love.

“They were resurrected by love: the heart of one contained endless sources of life for the heart of the other.”

WHAT IS RASKOLNIKOV'S TRAGEDY?

(Based on the novel by F. M. Dostoevsky “Crime and Punishment”)

At the center of F. M. Dostoevsky’s novel “Crime and Punishment” is the character of the hero of the sixties of the nineteenth century, commoner, poor student Rodion Raskolnikov. Raskolnikov commits a crime: he kills the old pawnbroker and her sister, the harmless, simple-minded Lizaveta.

The crime is terrible, but I, like probably other readers, do not perceive Raskolnikov as a negative hero; He seems like a tragic hero to me. What is Raskolnikov's tragedy?

Dostoevsky endowed his hero with wonderful human qualities: Rodion was “remarkably good-looking, with beautiful dark eyes, above average height, thin and slender.” In his actions, statements, and experiences we see a high sense of human dignity, true nobility, and deepest selflessness. Raskolnikov perceives other people's pain more acutely than his own. Risking his life, he saves children from the fire; he himself is a beggar and gives money for Marmeladov’s funeral. He is not one of those who indifferently passes by human misfortunes. There are no bad or base traits in him by nature. The best heroes of the novel - Razumi-khin, Sonya, Dunya - love Rodion, admire him, his crime gives rise to pain and bewilderment in them. Raskolnikov is also respected by investigator Porfiry Petrovich, who guessed the crime before anyone else. And such a person commits a monstrous crime. How and why could this happen?

Dostoevsky shows that Raskolnikov, a humane man who suffered for the “humiliated and insulted,” committed murder “according to theory,” embodying an absurd idea born of social injustice, hopelessness, and spiritual impasse. The miserable state in which he himself was, and the poverty encountered at every step, gave rise to the inhumane theory of “blood according to conscience,” and the theory pushed him to crime.

Raskolnikov’s tragedy is that, according to his theory, he wants to act according to the principle “everything is permitted,” but at the same time, the fire of sacrificial love for people lives in him. The result is a monstrous and tragic contradiction for the hero: the theory professed by Raskolnikov, exhausted by the suffering of others and his own, who hates the “masters of life,” brings him closer to the scoundrel Luzhin and the villain Svidrigailov. After all, they believe that a person with power and authority “everything is permitted.” “We are birds of a feather,” says Svidrigailov to Raskolnikov. And Rodion understands that this is really so, because they both, although for different reasons, “stepped over the blood.”

Raskolnikov's tragedy is intensified by the fact that the theory that was supposed to lead him out of the impasse turns out to be untenable. Moreover, Raskolnikov finally understands in hard labor that, following his theory and bringing it to its logical conclusion, humanity will come to the bloody madness of the “trichnines” devouring each other. This terrible guess causes the suffering and torment of the hero, who after the murder felt his complete rejection from the world of people: he cannot be near his beloved mother and sister, does not enjoy nature, he, as if with scissors, cut himself off from everyone.

The pangs of conscience, the chilling fear that haunts Raskolnikov at every step, the thought that he is not Napoleon, but a “trembling creature”, a “louse”, the consciousness of the meaninglessness of the committed crime - all this weighs unbearably on Raskolnikov’s soul. The “strong man” theory did not stand the test of life. Hero 1 collapses, like any person who finds himself in the grip of a false idea. Raskolnikov has to go through a long and difficult path to overcome the internal impasse, find the strength to “live according to conscience”, and atone for his sin with the “feat of brotherly loving communication.”

Dostoevsky the psychologist with such force exposed the tragedy of Raskolnikov, all sides of his spiritual drama, the immensity of his suffering, that the reader is convinced: the torment of conscience is stronger than the punishment of hard labor,

And we cannot help but sympathize with Dostoevsky’s hero, who is trying to resist evil, would like to save the world from suffering, but is cruelly mistaken in choosing the path and suffers a fair punishment for his crime. This attitude towards Rodion Raskolnikov is, of course, reflected in the attitude of the writer himself towards the hero. No wonder A.V. Lunacharsky said that Dostoevsky himself committed a crime with his hero and repented with him.

WHAT IS RASKOLNIKOV'S TRUE TRAGEDY?

In literature, the heat of tragedy always presupposes a conflict between the hero and the world around him, and if you ask yourself why personal tragedy arises, you can find out that different writers solved this question for themselves in their own way. In particular, followers of the “natural school”, such as Turgenev, Belinsky, Panaev, Nekrasov, believed that all a person’s troubles are caused by the environment in which he lives, that is, the conflict between the individual and the world arises due to the irregularity of life and has an exclusively external character.

Dostoevsky, being himself a native of the “natural school,” refuted the absolute influence of the environment on a person, believed that the individual himself is responsible for his life and, to one degree or another, is the cause of his own tragedy, stemming not only from the imperfections of the environment , because rejection human life, his “rebellion” against her is also generated by a certain character of the hero, a mentality, a special state of dissatisfaction or disappointment. Thus, Dostoevsky, in addition to external troubles, also presupposes internal troubles, a conflict in the soul of the hero, which in itself is often a tragedy, and he proves this using the example of many of his heroes, including Rodion Raskolnikov.

Raskolnikov is the main character of the historical, philosophical, socio-psychological novel “Crime and Punishment”, and with the help of this image Dostoevsky solves many different kinds of problems. Therefore, Raskolnikov as a person is complex and contradictory. Already in his surname, specially chosen by Dostoevsky, the essence of his nature is embodied, symbolizing the “split personality” of the hero, his duality and even paradox. As Raskolnikov’s friend Razumikhin said, “it’s like two opposite characters alternately alternate in him.”

Moral by nature, with a kind heart, capable of compassion, Raskolnikov, always ready to protect his mother and sister, rushing into a fire to save children, rejects all violence. In one of his dreams, where childhood memories came to life, the hero recalls how unbearably sorry he felt for the horse being killed by men and he, not being able to stop them then, seems to swear not to allow this to happen again. But at the same time, being ambitious and vain, “valuing himself terribly highly” and at the same time “crushed by poverty,” having no opportunities and prospects, Raskolnikov, wanting to “get everything at once,” considers himself not entitled to put up with his circumstances life and experiences a “feeling of deepest disgust” towards it. After much thought, realizing his extraordinary mind, extraordinary abilities, seeing his miserable, pitiful situation, observing the world around him, full of tears, suffering and injustice, where girls like Sonya Marmeladova, pure and immaculate, are forced to indulge in debauchery in order to save family from hunger; a world that forces the hero’s sister, Dunya, to sacrifice herself by marrying an unloved person, a world that is cruel to the hero himself, leaving him no chance to change his life, Raskolnikov comes to the conclusion “at all costs, decide on anything -or give up life completely, obediently accept fate as it is. "

An unusual theory is born in his mind: wanting to improve the world, create the “kingdom of the New Jerusalem” and at the same time gain power in it, to command, as Napoleon, who admired the hero, did, Raskolnikov in his theory divides humanity into “trembling creatures” and “right having”, regarding himself as one of the latter and believing that people like him, the chosen ones, are “the creators of history”, and the rest are “creatures” - “material”. According to the hero, the true “masters of fate”, when achieving their goals, should not value the life of every “creature”. Thus, Raskolnikov allows “blood according to conscience,” that is, he justifies the violence that he himself rejects. This theory, which has taken possession of the hero as a passion, as an obsession, evokes in him internal conflict, the struggle of two principles - consciousness and soul. Raskolnikov’s “dual personality” also gives rise to his ambivalent attitude towards the crime he committed. Preparing to “make a test”, to find out for sure whether he himself is the “creator of history”, and for this purpose to kill the old pawnbroker, Raskolnikov until the last moment cannot believe that he is capable of “such a vile, disgusting, low deed,” but still allows himself to “overstep” and, having killed the old woman, justifies himself, believing that “he killed a louse, not a man.” And what, in the light of his idea, is the blood of a “funny old woman, a clerk, useless, disgusting, malicious”? Did Napoleon consider himself guilty, “carrying out a massacre in Toulon, forgetting the army in Egypt, spending half a million on the Moscow campaign”? Before him, Raskolnikov, there is a great goal: to create new world and command in him, so should he suffer on the way to her because of the murder of the “creature”.

Raskolnikov calculated everything except himself. As the hero himself admits, “he killed, but could not cross.” Even with the help of his brilliantly thought-out theory, seemingly full of common sense and logic, Raskolnikov failed to drown out the natural kindness, morality, and kill spirituality in the shower. Remorse becomes a double tragedy for him, for the hero understands that “he killed not the old woman, but the principle, he killed himself,” because according to his own theory, the “lord of fate” would not experience torment after a “completely fair, necessary” murder, but this means that Raskolnikov “did not have the right to kill”, which means that he is “a louse like everyone else” and he will never be able to realize his grandiose plans, which have now become completely impossible. But the hero, obsessed with his idea and passion, does not give up on it after that. Having subordinated his life to theory, destroying himself, Raskolnikov literally becomes a slave. This kind of slavery makes him terribly lonely. On the one hand, the hero begins to despise people - “trembling creatures”, with their petty, insignificant worries, pathetic vices and weaknesses, but at the same time, feeling in the depths of his soul that he has committed a sin, realizing that he is a criminal, Raskolnikov “like scissors cuts himself off from others,” can no longer continue to be in the company of his mother, Dunya, Razumikhin, asks to leave him and forget him forever, as if he were dead. The hero has no one with whom to share the burden of his suffering and doubts, and only Sonya, the embodiment of morality and the highest truth, carrying the divine principle, was able to understand Raskolnikov’s tragedy. She saw in him not a criminal, but a confused martyr, a sinner who had lost his way from the righteous path, was in delusion, and who, through his crime, had committed evil against himself, trying to kill conscience, kindness, and what was given by God in his soul, and failing to do so. , and therefore accepting severe suffering. It is Sonya, the only reasoner in the work, who shows Raskolnikov the path to salvation: “accept suffering and redeem yourself with it,” repent and admit what you have done. For, according to Dostoevsky, according to Christian laws, every sinner is worthy of forgiveness and is able to atone for his sin through repentance and suffering. The evil committed by man is redeemed by spiritual experience, a difficult path, upon overcoming which a strength is born that purifies the soul and elevates the personality. Just as Raskolnikov, who eventually regained his sight, realized the wrongness of his path, got rid of the evil principle in his nature through torment and suffering, was spiritually reborn, finally came to the Truth, so every person has the opportunity to be cleansed of sins and reborn.

“Crime and Punishment” is one of the most complex works of world literature. Fyodor Mikhailovich Dostoevsky captured the terrible Russian reality of the middle of the last century, with its poverty, lawlessness, oppression and corruption of the individual, suffocating from the consciousness of his powerlessness and rebellious. The writer told the reader about contemporary Russia, about a hero who “contained all the pains and wounds of time in his chest.”

The novel appeared in 1866, in many ways a turning point for the country: the progressive intelligentsia, who expected the revival of Russia after the reform of 1861, were deeply shocked and in many ways disappointed, social contradictions became even more acute, and the injustice of the social structure began to manifest itself more clearly.

The author chose his heroes from the impoverished, bankrupt nobles, inhabitants of the dark corners of St. Petersburg. WITH enormous power he depicted the tragedy of human relationships, created stunning pictures of disasters, suffering, and reproduced the tragedy of a thinking person who was a victim of his contemporary society.

Rodion Romanovich Raskolnikov occupies a central place in the novel. A man of remarkable abilities, talented, proud, he is literally “crushed by poverty.” His closet looks like a “wardrobe,” “coffin,” “chest,” and his clothes look like rags, “in which someone else would be ashamed to go out.” Raskolnikov studied diligently at the university, studied hard, but due to lack of funds he is not able to complete his education. He sees around him scary world Petersburg slums, where extreme poverty, stench, and dirt reign, where at every step taverns invite the poor to drown their grief, where poverty pushes a person onto the path of corruption, vice, and crime.

Raskolnikov is a sympathetic, kind person by nature, acutely aware of the pain of others and always ready to take part in the fate of another. Risking his life, he saves children from the flames, gives his last money to those more in need, and tries with all his might to help the Marmeladov family. The young man understands the injustice of the social structure, the dirtiness of those social relations that are determined by the power of money, dooming thousands of people to suffering and death. The pity in the soul of the protagonist constantly gives rise to a burning desire to help all the humiliated and offended. He is occupied by simple arithmetic: “In one life, thousands were saved from rot and decay. One death and a hundred lives in return! Raskolnikov is worried about insoluble questions: “Why should some, smart, kind, noble, eke out a miserable existence, while others, insignificant, vile, stupid, live in luxury and contentment? Why do innocent children suffer?”

Under the influence of these thoughts, a high, humane idea arises before the young man - the desire to help the inhabitants of the St. Petersburg corners; he is not concerned about his own need, but about universal human suffering. In the name of getting rid of the needs of hundreds of hungry and beggars, he is ready to commit a crime: to kill the evil old woman, the people-eating pawnbroker Alena Ivanovna, whose life, in his opinion, is “nothing more than the life of a louse.”

However, he is tormented by another question, “terrible, wild and fantastic.” Under the low ceiling of a beggar's kennel, a monstrous theory is born in the mind of a young man. Thinking persistently about the causes of social injustice, Raskolnikov comes to the idea that all people are divided into two categories: the lower, who serve only as material for the reproduction of their own kind, and the higher, that is, the people themselves who, in the name of achieving a goal, can afford everything, even “ blood according to conscience." The hero’s “deep mind and broad consciousness” require an answer to the question of what category he, Rodion Raskolnikov, belongs to. “Am I a trembling creature or do I have the right?” - he constantly asks himself.

Thus, the original idea, high, humane, aimed at serving people, is replaced by an egoistic desire to classify oneself as a higher person. “He wanted to become Napoleon, that’s why he killed,” the main character will say later. His protest and indignation at social injustice are combined with the theory of a strong personality. The crime was supposed to prove to Raskolnikov himself that he was not a “trembling creature”, but “a real ruler to whom everything is permitted.” And life itself pushes him to commit murder. In a dirty tavern, he hears a conversation between a student and an officer, in which he discovers the same thoughts that occupy his consciousness; he sees with his own eyes the slow death of the Marmeladov family from poverty; the fate of his own sister, forced to marry the vile and base Mr. Luzhin, causes excruciating pain in his soul.

Having carefully prepared, Raskolnikov kills the old woman, but after killing her, he is forced to kill the innocent Lizaveta, who happened to be nearby. The picture recreated by the author expresses the idea that one crime entails another, a manifestation of inhumanity in a particular case develops into global inhumanity.

With great skill, Dostoevsky reveals the spiritual world of his hero. He shows the pangs of conscience, the chilling fear that haunts him, his awareness of his moral death, the meaninglessness of the crime committed. All this puts an unbearable burden on Raskolnikov’s soul, as if an abyss has opened up between him and people. The writer-psychologist traces down to the smallest detail all the shades, all the stages of the terrible internal drama the hero, conveying all his thoughts, movements of the soul.

Raskolnikov was killed by the principle, but not by the moral law that lived in him. “He killed, but he couldn’t cross, he stayed on this side,” Raskolnikov admits to himself. To transgress the law of life means to turn oneself off from its flow, to become like those Svidrigailovs and Luzhins who, having strangled the moral law within themselves, became the masters of life. But even before the crime, Raskolnikov had a dream where he, as a little boy, witnessed a murder: a drunken Mikolka, in a fit of dull anger, beats to death a poor nag who cannot move an overcrowded cart and dies from the owner’s whip. His dream is a protest against violence, murder, senseless cruelty.

The murder of the old woman became for Raskolnikov a test of his right to power, which ended in disaster, recognition of the fallacy of his theory, and repentance for his crime. moral crime. “If I had killed because I was hungry. I would be happy now!” - Raskolnikov confesses to Sonechka Marmaladova. Sonya sold herself, trampled on her moral purity, but managed to overcome and endure her crime. By selling her body, she managed to preserve her inner peace, the world of spiritual beauty and insatiable suffering. Raskolnikov discovered this world in her and, having opened it, bowed in her image to “all human suffering.” Sonya helped Raskolnikov understand the idea of the need to live a real, not a fictitious life, to assert oneself not through misanthropic ideas, but through love, kindness, and service to people.

Every crime is, first of all, the death of the soul, the disintegration of personality, alienation from the living world, and only “suffering is a great thing,” as Porfiry Petrovich put it, purifies a person. In order for the hero to atone for the crime, Dostoevsky sends him to hard labor, but much more terrible for Raskolnikov is the torment of conscience, mental suffering, and mental split that took possession of the main character after the murder.

Raskolnikov's tragedy is that he committed a crime, killed his principle, but could not step over the moral law that lived in him. An idea that is false at its core (the murder of a person) is debunked from the inside - through the suffering of Raskolnikov himself, a hero who got lost, but was looking for a way out, realizing that by killing a person, social contradictions cannot be resolved.

With the power of his genius, Dostoevsky was able to penetrate into the deep layers of human psychology, to involve the reader in the flow of thoughts and feelings of his hero, as if forcing him to live an intense spiritual life with him, to solve the “damned questions” of existence. With your novel great writer managed to raise “the most difficult, most overwhelming tasks” that concern us to this day.

In Crime and Punishment, Dostoevsky revealed the internal patterns of the criminal world, the tragedy of an individual who has lost faith in people.

ABOUT RASKOLNIKOV’S MINDFUL TORMENTS

(F. M. Dostoevsky. “Crime and Punishment”)

Suha, my friend, there is always a theory,
And the tree of life grows lushly green.

They say that V. G. Belinsky told the then young writer Dostoevsky: “Appreciate your gift and you will be a great artist.” During the days of difficult trials, the memory of this must have warmed " state criminal» Dostoevsky. And perhaps it was during hard labor that the writer began to desire to write about the mental anguish of a criminal, about the painful breakdown of his theories. In Raskolnikov’s experiences one can feel something personal and authorial, although in the main the writer and his hero are opposites.

In a dark closet, when there was nothing to eat, in Raskolnikov’s soul overflowing with despair, his terrible theory arose. She grew and strengthened, filled all his thoughts and subdued his will.

Rodion Romanovich decided to kill. Not to get hold of the money and continue his studies, not to help his mother, not to squander the money. To test himself, his idea, to understand whether he is a “man” or a “trembling creature”. His arrogant theory said that people are vile and base and cannot be changed - “and labor is not worth wasting.” But you can stand above the human anthill U

M manage it. There are two kinds of people: the ruled and the chosen few - the rulers. The latter are outwardly no different from ordinary people, but in fact they have the right to achieve power in any way, crossing the law and blood. Raskolnikov decides to become such a ruler.

At the same time, he also feels the inconsistency of his theory: after all, all these “Napoleons and Mohammeds” served primarily their own personal interests, and only covered themselves with common interests. A lonely and embittered “theorist” does not come to the realization that it is impossible to do good by choosing the criminal path for this. After all, where can we find the criterion of goodness if we free ourselves from moral criteria? All that remains is to decide only from the point of view of your own good.

History shows that those who come to power through violence, even in the name of lofty goals, always risk sacrificing these goals for the sake of power itself. Today there is a lot of debate about the essence of the October Revolution. But the Bolsheviks also hoped for dictatorship, wanting to transform the world with its help. But a group of people cannot force everyone else to do something if they have not given them such a right. You can only convince. Now in our country there are many parties and groups that are trying to impose their will on others by force (including military force). Isn't it time to listen to the thoughts of the great writer?

So, Raskolnikov kills the old pawnbroker. He passed the “test” and, it would seem, can move on to power. But he can’t stand it anymore, he can’t stand it. Why? Not only because my nerves lost. And not because, as the hero himself believes, he turned out to be a “louse.” We see that Rodion Raskolnikov is an extraordinary person. And, of course, the insightful Porfiry Petrovich is right that any calculation can undermine reality and nature. But that's not all.

Although Raskolnikov's mind cannot resist the iron logic of his theory, his soul rebels. According to his own theory, he should live for himself, but he gives his last money for the funeral, helps the Marmeladovs, and upsets his sister’s wedding. What is this all for? Rodion Romanovich does not understand that the feeling of love and compassion is the core of human society. If it weren’t for him, it would have fallen apart long ago, and people would have “squabbled.” There is so much injustice around, and if everyone starts trying in this way, what kind of person is he, ordinary or not? ‘

And what is the use of a brilliant person if he is a scoundrel? This is even more terrible, because for the sake of his speculative theories, in the name of his power, he will destroy many other people, including talented ones. The example of Stalin proves this too well.

Raskolnikov also forgot that he who transgressed the human law is doomed to carry in his soul the terrible weight of loneliness. This is what happens to him. Even his mother and sister become strangers to him. He is more frank only with the cynic Svidrigailov, who knows the value of his actions and does not surround them with “lofty” theories. However, he could not stand his role until the end.

If not for Sonya's compassion and love, Raskolnikov might have gone crazy. It was this woman, her pity, ability to understand and forgive that saved him, and in hard labor renewed his soul.

Although Raskolnikov is convinced of the correctness of his inhumane idea, new feelings are growing stronger in his soul. And we clearly see that only love for people, faith in them can save a person and all of humanity.

The novel is difficult to read; you won’t be able to “crack” this “nut” right away. But the deeper you read into it, the more you understand the truth of M. Gorky’s words that “Dostoevsky’s genius is undeniable, and in terms of the power of inventiveness his talent is equal, perhaps, only to Shakespeare.”

FAILURE OF RASKOLNIKOV'S THEORY

Did I kill the old lady? I killed myself, not the old lady!

To the number greatest creations Dostoevsky, who had a huge influence on world literature, refers to the novel “Crime and Punishment”.

The main character of the novel is former student Rodion Raskolnikov - a man of keen thought, enormous inner directness and honesty. He does not tolerate any lies or falsehood, and his own poverty opened his mind and heart to the suffering of millions. Not wanting to come to terms with the moral foundations of a world where the rich and strong dominate with impunity over the weak and oppressed and where thousands of lives perish, crushed by poverty, Raskolnikov kills the greedy old pawnbroker profiting from the misfortune of others. It seems to him that with this murder he is posing a symbolic challenge to the whole world. But not only does one murder lead to another, the murder of the usurer reveals that in Raskolnikov himself there was hidden a deeply hidden, proud, proud dream of domination over the “trembling creature” and over the human “anthill”. Obviously, Raskolnikov needs power in order to save Polechka, Sonya, Katerina Ivanovna, to save suffering humanity even at the cost of his own misfortune: “take the suffering upon yourself!”

This man of few words acts alone. He develops a plan himself, manages himself, executes it himself, and takes full responsibility upon himself. IN in a certain sense This is an experiment on yourself, because the hero tests his theory with his actions. Physically he kills another, but spiritually he kills himself. His criminality is immediately visible, but his experiment with his conscience is not immediately visible. He has sincere, honest intentions, although he is mistaken.

The theory of Raskolnikov, a gloomy, withdrawn, painfully sensitive man, was born under the influence of life. It is also important that she was born “under the heavy St. Petersburg sky,” in a stuffy, cramped closet. Raskolnikov accepts the theory that an “extraordinary” person has rights. that is, not official law, but himself. has the right to allow his conscience to overstep. through other obstacles, and only if the fulfillment of his idea (sometimes saving, perhaps for all mankind) requires it.”

The reasons that forced Raskolnikov to “step over the blood” are revealed gradually throughout the novel.

The climactic scene, where the killer himself lists, revises and ultimately rejects all motives for the crime, is the confession scene to Sonia. In this scene, Raskolnikov’s theory collided with particular force with Sonya’s truth, which denies a person’s right to kill. Raskolnikov gives Sonya various explanations for the murder: “he wanted to become Napoleon,” to help his mother and sister; refers to the madness that drove him to madness; speaks of rebellion against everyone, of asserting one’s personality: “Am I a louse, like everyone else, or a man.” But all the arguments of reason, which previously seemed so obvious to him, fall away one after another. If before he believed in his theory and did not find any objections to the measures, now, in front of Sonya’s truth, it crumbles to dust. Raskolnikov begins to feel the absurdity of his monstrous experiment.

Sonya opposes Raskolnikov’s theory with one simple argument, and even the creator of this theory himself is forced to agree with it:

“I just killed a louse. Sonya, useless, nasty, malicious.

This man is a louse!

“But I know that I’m not a louse,” he answered, looking at her strangely.

“But I’m lying, Sonya,” he added, “I’ve been lying for a long time.” »

Sonya calls on Raskolnikov to publicly repent of his crime and accept punishment. And Raskolnikov goes to the crossroads and kisses the ground that he desecrated with his crime.

Dostoevsky talks about Raskolnikov's moral state after the murder in order to show the price of suffering he pays for it. Fear becomes his constant companion, he loses faith in himself, in his strength, and is disgusted with himself. Raskolnikov is not afraid of hard labor; the real punishment for him is punishment by conscience.

Sonya saves Raskolnikov. But he himself walked towards this salvation, he was punished and saved by his own unlost humanity, his love.

In the epilogue of the novel, Raskolnikov becomes convinced of the falsity of his path, his theory. “But here a new story begins, the story of the gradual renewal of man, the story of his gradual rebirth, gradual transition from one world to another, acquaintance with a new, hitherto completely unknown reality.”

Raskolnikov's fundamental mistake is that he sees the causes of social evil not in the structure of society, but in the very nature of man, and the law that gives strong of the world He considers this to do evil eternal, unshakable. Instead of fighting against the immoral system and its laws, he wants to follow them, live and act according to these laws.

DEBLOCKING RASKOLNIKOV'S THEORY

“Crime and Punishment” is an ideological novel, its plot is connected with an anti-human idea that arose in the inflamed brain of the main character of the work, former student Rodion Romanovich Raskolnikov. A kind man and sensitive to the suffering of others, finding himself in merciless St. Petersburg in inhumane conditions, reflecting on life, he creates a theory according to which all people are divided into two categories: “trembling creatures,” or material itself, creating its own kind and accustomed to obedience, and extraordinary people who are called upon to rule first and through whose efforts the world and progress move. Raskolnikov believes that they are all criminals, that is, they violate previously established laws. Developing this idea, Raskolnikov claims that they can allow themselves “blood according to their conscience” if it is necessary to remove interfering obstacles.

Deciding to check what category he himself belongs to, and also to help his mother, sister, and the Marmeladovs, Raskolnikov kills the old pawnbroker, thereby replacing the cause with the effect, because according to his theory, if a person is extraordinary, then he can afford a crime. And Raskolnikov acts on the principle: if I kill, then I am extraordinary. And he tests his exclusivity not on himself, but on others, using inhumane means of the way of life that he opposed.

This leads to several tragedies at once: the involuntary murder of Lizaveta, about whom it is said in passing that she is constantly pregnant, the death of the mother, who learned after the trial that “her son is a criminal,” and to a deep crisis in Raskolnikov’s soul (“I didn’t kill the old woman, I killed myself.” killed!"). This is the main debunking of the theory. Its entire anti-human essence is revealed by Dostoevsky in comparing Raskolnikov’s crimes with the crimes of Luzhin and Svidri-Gailov.

Luzhin is also armed with his own theory, a calculation from which it barely seems that if everyone takes care of their own well-being, then life will improve, the time will come for “universal prosperity.” Raskolnikov disputes these conclusions, arguing that it then turns out “that people can be cut.” Here he runs into a contradiction. Hating Luzhin, not accepting his views, he feels the closeness of his beliefs with the principles of this man.

The same thing happens in the relationship between Raskolnikov and Svidrigailov. He knows who killed the old woman, and says to Raskolnikov: “You and I are birds of a feather.” That is, by committing a crime for the sake of people, Raskolnikov stood on a par with Luzhin, hiding in St. Petersburg after some kind of scam, and Svidrigailov, who committed a lot of crimes dictated not by theory, but only by the depravity of his own nature.

Svidrigailov, like Raskolnikov, is tormented by his crimes. He commits suicide, unable to bear the deal with his conscience. But Raskolnikov is not going to do this. Even after admitting to his crime, he had not yet given up on the theory. In addition, having stolen the money, he did not help anyone, and Svidrigailov does it, as it were, in his place: he arranges for the Marmeladov children to live in an orphanage, and bequeaths a certain amount to Duna and Sonya. Thanks to this, Sonya was able to put an end to her past and follow Raskolnikov to hard labor. And again there is a contradiction in theory: Raskolnikov wanted to save the Marmeladov children, but he kills, perhaps, the future mother, Lizaveta. I wanted to protect my sister and Sonya, but raised my hand against someone who was equally defenseless. Dostoevsky puts these three women on a par. This means that one crime leads to others. A great goal cannot be achieved through bad means.

The most important accusation of the theory is the comparison of Raskolnikov’s crime with Sonya’s “crime”. She, having stepped over her honor, exalted herself, because her goal is to help children. And Raskolnikov, having carried out his plan, brought grief not only to himself, but also to his loved ones. Sonya, despite the suffering she has experienced, is capable of love. Even Svidrigailov has a deep feeling for Dunya, and this saves him. Raskolnikov was able to fall in love only in hard labor, when he abandoned his theory. For Dostoevsky, who believes in the enormous life-giving power of love, this is very important. In the epilogue of the novel, the hero is reborn to a new life with love and begins to understand the falsity of his theory. The consequences of this idea, if it had taken hold of all people, are outlined in Raskolnikov’s last statement: the world would turn into a “world plague” and die out. Isn't this a complete debunking of the theory?

THE IDEA OF RASKOLNIKOV AND ITS RUIN IN F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

Dostoevsky in his novel depicts the clash of theories with the logic of life. According to the writer, the living process of life, that is, the logic of life, always refutes and makes untenable any theory - both the most advanced, revolutionary, and the most criminal. This means you can’t live life according to theory. And that's why. The main philosophical idea of the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person obsessed with an extremely criminal theory with life processes that refutes this theory.

Raskolnikov's theory is based on the inequality of people, on the chosenness of some and the humiliation of others. And the murder of the old woman is intended as a vital test of this theory using a particular example. This way of depicting the murder very clearly reveals the author’s position: the crime that Raskolnikov committed is a low, vile deed, from the point of view of Raskolnikov himself. But he did it consciously, overstepping his human nature, overstepping himself. And although he acted consciously, at the same time it was as if not of his own free will, as if he was carrying out someone else’s instructions. Dostoevsky reinforces this impression that Raskolnikov, obsessed with his idea, acted not of his own free will, but as if he had caught the edge of his clothing in a wheel and it had spun him around, spinning him around. In the tavern, Raskolnikov overheard a student reasoning that in the name of high goals, the old pawnbroker could be killed. And an absolutely terrible accident for Raskolnikov himself is the murder of Lizaveta. By killing the old woman pawnbroker, Raskolnikov transferred himself to the category of people to whom neither the “quarter lieutenants”, nor Razumikhin, nor his sister, nor his mother, nor Sonya, nor Zametov belong. He cut himself off from people “as if with scissors.” This prevents Raskolnikov from not only living peacefully, but simply living. His human nature does not accept this alienation from people. It turns out that a person cannot live without communicating with people, even such proud man like Raskolnikov. Therefore, the hero’s mental struggle becomes more intense and confusing, it goes in many directions, and each leads to a dead end: Raskolnikov still believes in the infallibility of his idea and despises himself for his weakness, for his mediocrity; Every now and then he calls himself a scoundrel. But at the same time, he suffers from the inability to communicate with his mother and sister; thinking about them is as painful as thinking about the murder of Lizaveta. And he tries not to think, because if he starts to think, he will certainly have to decide where to classify them according to his theory - to what category of people. According to the logic of his theory, they should be classified as a “lower” category, and, therefore, the ax of another Raskolnikov could fall on their heads and on the heads of Sonya, Olechka, Katerina Ivanovna. Raskolnikov, according to his theory, must give up those for whom he suffers. Must despise, hate, kill those he loves. He can't survive this. He cannot bear the thought that his theory is similar to the theories of Luzhin and Svidrigailov, he hates them, but has no right to this hatred. “Mother, sister, how I love them! Why do I hate them now? Yes, I hate them, physically hate them, I can’t stand them around me. “This monologue really reveals the horror of his situation: his human nature here most acutely collided with his inhuman theory. But the theory won. And that’s why Dostoevsky seems to come to the rescue human nature your hero. Immediately after this monologue, he gives Raskolnikov's third dream: he again kills the old woman, and she laughs at him. A dream in which the author brings Raskolnikov's crime to the people's court. This scene reveals the full horror of Raskolnikov's act.

Dostoevsky does not show the moral resurrection of his hero, because that is not what his novel is about. The writer’s task was to show what power an idea can have over a person and how terrible this idea can be, how criminal.

The hero's idea of the right of the strong to commit crime turned out to be absurd. Life has defeated theory.

HOW DOES THE ENVIRONMENT INFLUENCE THE HERO OF THE NOVEL?

The originality of F. M. Dostoevsky lies in the fact that he, being an adherent of the “natural school,” rejected the slogan “the environment is stuck.” Unlike the Social Democrats, who were convinced that a person is shaped by the environment, that he is influenced by the conditions in which he lives, and that, finally, even crime is a kind of product of external circumstances, the ill-being of the world, Dostoevsky placed responsibility primarily on personality, believed that much depends on the spiritual qualities of a person, on the peculiarities of his character and the inclinations of his nature. However, for the hero of the novel “Crime and Punishment,” Raskolnikov, the environment, that is, his circumstances own life and the state of the world in which he lives largely served as the basis for the formation of an inhumane theory, which later became main reason his crimes.

Raskolnikov, a former law student, “left the university for lack of anything to support himself” and was forced to earn a living by giving penny lessons. When “lessons and other means ceased,” Raskolnikov had to pawn the most valuable things he had and the things dearest to him - his father’s old watch and a gold ring given by his sister as a souvenir. “Overwhelmed by poverty,” he did not have his own home, but rented a closet from the tenants, “more like a closet or chest,” a tiny cell, being in which “it became creepy, and his eyes and thoughts involuntarily asked for space.” Moreover, he “owed everything to the mistress” and was constantly hiding from her. Having almost no means of subsistence, he sometimes ate nothing for several days, and “was dressed so poorly that some<. >I would be ashamed to go out into the street in such rags during the day.” Being in this position, the hero, of course, could not take care of his loved ones, his mother and sister Duna, who were not protected from the cruelty and injustice of the world around him. Raskolnikov understands that Dunya is “ready to sell herself” for his sake, “to take her freedom, peace of mind, even her conscience to the crowded market,” to marry Luzhin, who only wanted to “take a girl without a dowry,” who “was already in distress and<. >will consider her husband as her benefactor,” and is ready to be subjected to humiliation, having already experienced it in the Svidrigailovs’ house. Raskolnikov does not want Dunina’s sacrifice and at the same time is powerless to prevent this, because he “has nothing to offer his sister in return.”

However, Raskolnikov, experiencing the hardships of poverty, whose fate, as well as the fate of his relatives, is unhappy, lives in a world of even more terrible tragedies, distorted destinies, in a world where “every person is a martyr.” So in highest degree The fate of the Marmeladov family is tragic. Katerina Ivanovna, a woman of noble birth, left with three children in extreme poverty, agreed to marry Marmeladov, because “there was nowhere to go,” but she again found herself in “hopeless poverty.” Living in a “magnificent capital adorned with numerous monuments,” they rented a corner from Mrs. Lippewechsel, being in “the ugliest sodom.” Marmeladov, unable to feed his family, drank even his wife’s stockings and at the same time felt madly sorry for the children; sometimes, “dead drunk,” he would bring them a gingerbread cockerel, “he blamed himself all around,” he realized that he was responsible for the ruined life of his daughter from his first marriage, Sonya, meek and “unresponsive, forced to follow the yellow ticket,” sells herself to save her family from starvation.

But the fate of the Marmeladovs is not an isolated case, not out of the ordinary, but a typical case in St. Petersburg. The city in which Raskolnikov lives is full of injustice, cruelty, and vulgarity. The majestic “Peter’s creation”, St. Petersburg, appears to us as a city of contrasts, where an insurmountable abyss separates “people in carriages,” that is, those who live in “dachas decorated with greenery,” where there is no stench, no stuffiness, no drinking bars, and people , like Raskolnikov, like the Marmeladovs, oppressed by poverty, renting miserable little rooms for pennies, broken cruel fate and those seeking oblivion, and sometimes “sorrow and tears at the bottom of a half-litre” or rebelling in an ugly rebellion against this life, like Raskolnikov. This twin city has a “sovereign, strict appearance,” but behind its external splendor hides a terrible inner side, a city of drinking establishments, the poorest quarters near the Sennaya with dirty, stinking courtyards, a city of yellow color (pale yellow Raskolnikov’s face, yellow wallpaper in Raskolnikov’s closet and the old woman’s apartment, Marmeladov’s yellow complexion, the yellow dress of the drowned woman), which characterizes St. Petersburg as a city of “half-crazy people,” a city where everything is bought and sold (yellow is the color of gold), and finally, as a city evil. In this world, thousands of little people die in poverty, every year a certain number of victims fall into the “percentage”. This world is totally perverted, where “there is drama everywhere”: Raskolnikov on the boulevard meets a very young, but already drunken girl who has already indulged in debauchery; he witnesses the suicide attempt of a woman, obviously driven to despair, who throws herself into the Neva from a bridge. Thus, this city becomes both a murderer, and a witness to terrible crimes, and an accomplice, for “rarely where can there be so many gloomy, harsh and strange influences on a person’s soul as in St. Petersburg. Pressing on the consciousness, Petersburg, where even the air is “smelly, dusty.” , infected by the city,” as if pushing a person to violate the laws of conscience. The atmosphere of immorality and meanness brings Raskolnikov, smart and capable. to compassion, by the nature of a humane and kind person, to the fact that a terrible, anti-human theory is born in his mind, allowing “blood according to conscience”, admitting that “those who have the right”, “extraordinary” people can afford to neglect moral laws, a theory as ugly and ugly as the world against which the hero rebelled, as a result of which Raskolnikov completely took possession of him.

RASKOLNIKOV’S DREAMS AND THEIR ARTISTIC FUNCTION IN F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

The deep psychologism of F. M. Dostoevsky’s novels lies in the fact that their heroes find themselves in complex, extreme life situations, in which their inner essence is revealed, the depths of psychology, hidden conflicts, contradictions in the soul, ambiguity and paradox are revealed inner world. To reflect the psychological state of the main character in the novel “Crime and Punishment”, the author used a variety of artistic techniques, among which dreams play an important role, since in an unconscious state a person becomes himself, loses everything superficial, alien and, thus, his thoughts manifest themselves more freely and feelings.

Throughout almost the entire novel, in the soul of the main character. Rodion Raskolnikov, a conflict occurs, and these internal contradictions determine his strange state: the hero is so immersed in himself that for him the line between dream and reality, between sleep and reality is blurred, the inflamed brain gives birth to delirium, and the hero falls into apathy, half-dream-half-delirium , therefore, about some dreams it is difficult to say whether it is a dream or delirium, a play of the imagination. However, the novel also contains vivid, clear descriptions of Raskolnikov’s dreams, which help to reveal the image of the main character and deepen the psychological side of the novel. Thus, Raskolnikov sees his first dream shortly before the murder, having fallen asleep in the bushes in the park after the “test” and a difficult meeting with Marmeladov. The dream is also difficult, painful, exhausting and unusually rich in symbols: Raskolnikov the boy loves to go to church, which personifies the heavenly principle on earth, that is, spirituality, moral purity and perfection; however, the road to the church passes by a tavern, which the boy does not like; a tavern is that terrible, worldly, earthly thing that destroys a person in a person. In the scene at the tavern - the murder of a helpless horse by a crowd of drunken hooligans - little Raskolnikov tries to protect the unfortunate animal, screams, cries; here it is clear that by his nature he is not at all cruel, mercilessness and contempt for other people’s lives, even horses, are alien to him and possible violence against a human person is disgusting and unnatural for him. It is significant that after this dream Raskolnikov does not see dreams for a long time, except for the vision on the eve of the murder - a desert and an oasis with blue water in it; Traditional color symbolism is used here: blue is the color of purity and hope, elevating a person; Raskolnikov wants to get drunk, which means that all is not lost for him, there is an opportunity to refuse the “experiment on himself.” In an even more painful state (fever), the hero hears Ilya Petrovich allegedly beating his landlady; but this can rather be called auditory hallucinations or indeed delusion, given the elevated temperature, nervous breakdown and general irritable state of Raskolnikov.

The position of dreams in the fabric of the novel is subtly thought out; it allows the author to place the right emphasis in the right places. Thus, Raskolnikov sees his second dream immediately before the arrival of Svidri-Gailov, a demonic image that uniquely personifies evil. This dream, like the first, is nightmarish: the old pawnbroker laughs in response to Raskolnikov’s attempts to kill her. Dostoevsky intensifies, thickens the colors: the old woman’s laughter is “sinister”, the hubbub of the crowd outside the door is clearly unfriendly, angry, mocking; the dream clearly and reliably reflects the state of the hero’s excited, desperate, restless soul, especially intensified after the failure of the “experiment on himself.” Raskolnikov turns out to be not Napoleon, not a ruler who has the right to easily step over other people’s lives in order to achieve his goal; pangs of conscience and fear of exposure make him pitiful, and the old woman’s laughter is the laughter and triumph of evil over Raskolnikov, who failed to kill his daughter.

The main character sees his last dream in hard labor, already on the path to moral rebirth, looking at his theory with different eyes. This dream can be interpreted in different ways; here there are undoubted apocalyptic features, a description of the end of the world as a result of the development of Raskolnikov’s theory (or rather Luzhin’s, because Luzhin’s theory is a hyperbolic and grotesque version of Raskolnikov’s theory). The appearance of Dostoevsky with the socialists, who at that time called for revolution as the only correct way out of the current crisis, is also clearly visible; the writer prophetically describes the terrible consequences of this path of development, in which people infected with an “ulcer” - pride, not respecting and not noticing others, begin to fight for their “rights”, try to climb to the top, considering their theory the only correct one. In this dream, Raskolnikov looks at his theory in a new way, sees its inhumanity and regards it as a possible cause of a situation that is threatening in its consequences. Thus, the hero rethinks the meaning of life, changes his worldview, gradually approaches spiritual perfection - that is, moral rebirth Raskolnikov, difficult, painful, but still cleansing and bright, bought at the price of suffering, and it is through suffering, according to Dostoevsky, that a person can come to true happiness.

Many Russian writers, both before and after Dostoevsky, used dreams as an artistic device, but it is unlikely that any of them was able to describe so deeply, subtly and vividly psychological condition hero through the image of his dream. Dreams in the novel have different content, mood and artistic microfunction (function in a given episode of the work), but have a general purpose artistic means, used by Dostoevsky in the novel, one thing: the most complete disclosure of the main idea of the work - a refutation of the theory that kills a person in a person when this person realizes the possibility of killing another person.

RASKOLNIKOV IN THE SYSTEM OF IMAGERY IN THE NOVEL “CRIME AND PUNISHMENT”

A cruel, exciting, all-consuming struggle between Good and Evil - this problem has always faced and will always face humanity. In the novels of Fyodor Mikhailovich Dostoevsky, this duel takes place in the souls of individual people. The polarity of the divine and devilish principles, the violent clash of light and darkness is revealed in the very depths of existence. Almost every hero of Dostoevsky can be an example of such a struggle, but it was expressed especially clearly in the image of Rodion Raskolnikov. It contains the seed of both the God-man and the Grand Inquisitor.

Raskolnikov in "Crime and Punishment" - central image. And all the other heroes who pass before the reader’s eyes only focus attention on individual traits of his character. In Raskolnikov’s soul, two abysses are fighting - Good and Evil. In addition, he is obsessed with his own “idea,” which, on the one hand, contains inhumanity and cruelty, and on the other, the desire to benefit humanity. “Having put into Raskolnikov’s soul and love and contempt for people a contradictory but unified idea, an idea-passion, Dostoevsky created a hero who was prompted to voluntaristic action by the destiny of the Messiah and the plan of Napoleon, the desire to redeem the world with the help of immense and despotic personal power” (Yu. Karyakin). Since Raskolnikov contains two poles, then all the heroes surrounding him are mirror image one or another of these poles.

The first of the heroes close to Raskolnikov in the ideas of “Napoleonism” is Pyotr Petrovich Luzhin. The credo of his life is to love yourself. He can, without hesitation, step over a person, over a person, and decide the fate of another for his own benefit. This is his “theory of torn caftans.” According to Luzhin, you need to love yourself first, because everything in the world is “based on personal interest.” This brings him closer to Raskolnikov. If we take their theories to logical conclusion, then it turns out that “people can be cut. "

If Luzhin is the protagonist’s double, then Lebezyatnikov is his reflection in a distorting mirror. Raskolnikov’s denial of the laws of society and attempt to reorganize the world take comic, caricatured forms in Lebezyatnikov. Andrei Semenovich was one of those people who “. they instantly stick to the most fashionable current idea in order to instantly caricature everything that they sometimes serve in the most sincere way.”

One of the most mysterious in the novel is the image of Arkady Ivanovich Svidrigailov. Svidrigailov, like the main character, believed that everything was permitted. He pursued Raskolnikov like a shadow. An inexplicable force attracted Rodion Romanovich to Svidri-Gailov, he felt that they were both criminals; in moments of despair and doubt that he was right, Raskolnikov went to Svidrigailov to find support in him and calm his conscience.

But Raskolnikov is also surrounded by people who are close to the ideas of messianism. Raskolnikov's university friend Razumikhin is a kind, cheerful, selfless, intelligent person. Living for the sake of others, he is ready to look after the sick, take care, patronize, without demanding any reward for this. Raskolnikov is like that when he saves children from a burning house, helps a poor student, and gives his last money for Marmeladov’s funeral. We can say that Razumikhin is the embodiment of Raskolnikov’s good beginning.

Another hero of the novel is Porfiry Petrovich, a bailiff in investigative cases. Both out of duty and out of conscience, he must uphold the laws. Although Raskolnikov rejects them, he builds his theory on the basis of known historical facts and patterns. Porfiry Petrovich is the intellectual reflection of Raskolnikov. An unknown investigator managed to “unwind a very complicated case” without direct evidence or facts.

Sonya Marmeladova takes the most active part in saving Raskolnikov’s ruined soul. This girl is forced to step over herself for the sake of her family, commit a crime, stoop to depravity, but her soul remains pure and uncorrupted. A “living conscience” continues to live in this person. Sonya has a clear boundary between good and evil; these concepts cannot be replaced, like with Raskolnikov. She has a strong, unshakable support - faith in God. At the end of the novel, we see that Raskolnikov completely renounces his idea and begins to share Sonya’s feelings and beliefs. “Can her beliefs not now also be my beliefs? Her feelings, her aspirations, at least. "Sonya represents Raskolnikov's future.

All these heroes oppose each other. Luzhin's individualism and egoism are contrasted with Razumikhin's altruism. Porfiry Petrovich confronts Lebezyatnikov with his denial of laws. But the most fierce struggle takes place between Svid-rigailov and Sonya. And the fact that Sonya ultimately gains the upper hand once again emphasizes that, no matter how lofty and beautiful the goal, one cannot go towards it along paths that contradict the simple commandments of Christ. Even for the well-being of everyone, one cannot kill even one, even the most worthless and useless person. No end can justify the means! Raskolnikov's experience showed that not everything is permitted, because human nature is created in the image and likeness of God, and therefore every person has unconditional significance.

Using the example of Raskolnikov, you are once again convinced that the moment will certainly come when each of us will have to give an answer. Dostoevsky wanted to see and show the spark of God in every person. And in our difficult times, when people are tired of cruelty and violence, we need to learn to see the best in people. And to do this, we need to stop at least for a minute in the crazy run “along that straight line that has the property of a circle,” come to our senses and realize that we have already approached the “last line.” The time has come to find freedom and pure, bright Faith.

DOUBLES AND ANTIPODES OF RASKOLNIKOV

Many researchers, in particular M. Bakhtin, noted that at the center of any of Dostoevsky’s novels, constituting its compositional basis, is the life of an idea and the character - the bearer of this idea. Thus, at the center of the novel “Crime and Punishment” is Raskolnikov and his “Napoleonic” theory about the division of people into two categories and the right of a strong personality to neglect laws, legal and ethical, in order to achieve his goal. The writer shows us the origin of this idea in the mind of the character, its implementation, gradual elimination and final collapse. Therefore, the entire system of images of the novel is constructed in such a way as to comprehensively outline Raskolnikov’s thought, to show it not only in an abstract form, but also, so to speak, in practical refraction, and at the same time convince the reader of its inconsistency. As a result, the central characters of the novel are interesting to us not only in themselves, but also in their unconditional correlation with Raskolyshkov - precisely as with the embodied existence of an idea. Raskolnikov is in this sense, as it were, the common denominator for all the characters. Natural compositional technique with such a plan - the creation of spiritual doubles and antipodes of the main character, designed to show the disastrousness of the theory - to show both the reader and the hero himself.

Raskolnikov's spiritual doubles are Luzhin and Svidrigailov. The role of the first is the intellectual decline of Raskolnikov's idea, such a decline that will turn out to be morally unbearable for the hero. The role of the second is to convince the reader that Raskolnikov’s idea leads to a spiritual dead end, to the spiritual death of the individual.

Luzhin is a middle-class entrepreneur, he is a “little man” who has become rich, who really wants to become a “big man”, to turn from a slave into the master of life. These are the roots of his “Napoleonism,” but how similar they are to the social roots of Raskolnikov’s idea, its pathos of social protest of an oppressed individual in a world of the humiliated and insulted! After all, Raskolnikov is a poor student who also wants to rise above his social condition. But it is much more important for him to see himself as a person superior to society in moral and intellectual terms, despite his social status. This is how the theory of two categories appears; both of them can only check their belonging to the highest category. Thus, Raskolnikov and Luzhin coincide precisely in their desire to rise above the position assigned to them by the laws of social life, and. thereby rising above people. Raskolnikov arrogates to himself the right to kill the moneylender, and Luzhin to destroy Sonya, since they both proceed from the incorrect premise that they are better than other people, in particular those who become their victims. Only Luzhin’s understanding of the problem itself and methods are much more vulgar than Raskolnikov’s. But that's the only difference between them. Luzhin vulgarizes and thereby discredits the theory of “reasonable egoism.” In his opinion, it is better to wish the good for oneself than for others, one must strive for this good by any means, and everyone should do the same - then, having each achieved their own good, people will form a happy society. And it turns out that Luzhin “helps” Dunechka with the best intentions, considering his behavior impeccable. But Luzhin’s behavior, and his entire figure, are so vulgar that he becomes not only a double, but also the antipode of Raskolnikov.

His sister also becomes the antipode and, to some extent, Raskolnikov’s double. She does not consider herself a being of a higher rank than her brother, and Raskolnikov, making a sacrifice, precisely in this sense feels superior to those for whom he sacrifices himself. Dunechka, on the contrary, not only does not consider herself superior to her brother, she recognizes him as a being of a higher kind. Raskolnikov understands this well, which is why he so decisively rejects his sister’s sacrifice. In their attitude towards people, Dunya and her brother are antipodes. Even Svidrigailova Dunya does not consider herself inferior; she overcomes this temptation, being unable to shoot at a person, because in Svidrigailov she sees a person. Raskolnikov is ready to see a person only in himself.

The attitude towards other people and towards oneself is the spiral along which Dostoevsky unfolds the action of his novel. Raskolnikov is capable of not seeing a person in his neighbor, Svidrigailov is not able to see a person in anyone. This is how Raskolnikov’s idea is taken to the limit, to the point of absurdity. Raskolnikov wants to feel like a person for whom there is no morality in the world. He is convinced that there is nothing wrong either in adultery, or in the corruption of a young girl, or in eavesdropping on other people's conversations in order to use them in his own interests, blackmailing the victims. In response to Raskolnikov’s indignation over the overheard confession, Svidrigailov reasonably remarks that if you can “beat old ladies on the head with anything,” then why can’t you eavesdrop? Raskolnikov has nothing to object to this. And Svidrigailov becomes for Raskolnikov some kind of embodiment of the dark principles of a world in which there are no moral prohibitions. But for some reason he is drawn to this dark beginning. Dostoevsky says that Svidrigailov somehow attracted Raskolnikov. And Raskolnikov goes to him, without even realizing why. But Svidrigailov’s words that all of eternity is some kind of dusty bathhouse with spiders shocked the hero, since he was very clearly able to imagine the logical end of the path that Svidrigailov so expressively characterized, which he followed by killing the old woman. After such a moral disintegration of the soul, no rebirth of man is possible. After this, only suicide is possible. Dunya, throwing away the pistol, recognized Svidrigailov as a man - he does not see a man in himself.

Raskolnikov leaves Svidrigailov in horror. Having set foot on the path of evil, he is unable to follow this path to the end. After the last conversation with Svidrigailov, Raskolnikov will again go to Sonechka. In Raskolnikov’s eyes, she is brought closer to him by the fact that she “also crossed the line,” and he does not yet understand how different what each of them was able to cross, or rather, why each of them did it. Sonya Marmeladova embodies the bright beginning in the novel. She feels guilty and is aware of her own sinfulness, but she sinned to save the lives of her little brothers and sisters. “Sonechka, eternal Sonechka Marmeladova!” - Raskolnikov exclaimed when he learned about the proposed wedding of his sister and Luzhin. He perfectly feels and understands the similarity of motives that guide the actions of these women. From the very beginning, Sonya personifies the victim in the novel, which is why Raskolnikov tells her about his crime. And she, who justified and pitied Katerina Ivanovna, her drunken father, is ready to forgive and understand Raskolnikov - she saw a man in the killer. “What have you done to yourself!” - she says in response to his confession. For Sonya, Raskolnikov, having attempted the life of another person, raised his hand against the person within himself, against the person in general.

In Dostoevsky's novel, everything is closely connected, intertwined with each other. At the time of her death from an ax, the feeble-minded Lizaveta was wearing Sonechka’s cross. Raskolnikov wanted to kill only one moneylender, because he considered her life harmful to those around him, but he was forced to kill her sister too, and by raising his hand against Lizaveta, he thereby raised it against Sonechka and, ultimately, against himself. “I didn’t kill the old lady, I killed myself!” - Raskolnikov exclaims in anguish. And Sonya, who forgives Raskolnikov the man, does not forgive his destructive idea. Only in abandoning “this damned dream” does she see the possibility of resurrecting Raskolnikov’s soul. Sonya calls him to repentance; she reads him the famous Gospel episode about the resurrection of Lazarus, expecting a spiritual response. But Raskolnikov’s soul is not yet ready for this, he has not yet outlived his idea. Raskolnikov did not immediately realize that Sonya was right, only during hard labor did this realization come to him, only then was he able to truly repent, and his repentance becomes the last affirmation of Sonya’s rightness, while Raskolnikov’s idea turns out to be completely destroyed.

Thus, by bringing all the characters in the novel into relation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory born of the unjust world itself.

RASKOLNIKOV - LUZHIN - SVIDRIGAILOV: THREE HYPOSTASES OF EVIL

Dostoevsky, thinking about the most pressing and at the same time eternal questions, such as the meaning of life, the path to God, the essence of goodness and truth, addresses the most terrible spiritual temptations, the darkest passions, the most destructive vices. Dostoevsky wants to show that the abyss of divine mercy is manifested in the fact that the Lord - as described in the Gospel - forgives the repentant thief. Evil in Dostoevsky's works is a temptation that does not bypass any of his heroes, but some find the strength to refuse it, while others do not discern its deceitful nature and in their blindness do not see what lies behind its imaginary attractiveness. The source of all sin is a lie, often a lie not only to God, but also to oneself, so a person plunges into the darkness of self-deception, in which he is no longer able to recognize either love, goodness, or God.

In fact, Raskolnikov is not much different from the deceitful and hypocritical scoundrel Luzhin. He himself intuitively feels a kindred spirit in Luzhin, although in words he is ready to revile, despise him, and expose his baseness and meanness. This is how Raskolnikov talks about the selfishness of Luzhin, who hides the most selfish motives for marrying Duna and wants to present the matter as if he were doing a good deed: “We will invent our own casuistry, we will learn from the Jesuits and for a while, perhaps, we will calm ourselves down.” , let’s convince ourselves that this is how it should be, it’s really necessary for a good purpose.” These words can also characterize the case of Raskolnikov, who also “invented his own casuistry” and believed in the salvation of his theory. Luzhin’s “theory of rational egoism” is in many ways consonant with Raskolnikov’s idea. “You will follow several birds with one stone at once and you will not achieve a single one,” preaches Luzhin. “If you love yourself alone, then you will manage your affairs properly, and your caftan will remain intact” - this, according to Luzhin, is the benefit of the common cause. But Raskolnikov brings his thought to its logical conclusion: “If you carry out what you preached just now to the consequences, it will turn out that people can be slaughtered. “Rodion says: “It came out according to your theory.” But he could have said “according to me” or “according to ours,” for his crime is, in essence, of the same nature as Luzhin’s worldview. Luzhin caricatures Raskolnikov's idea, vulgarizes it, reducing it to prosaic and selfish considerations of personal material gain, discredits it, exposes its true essence. From the lips of Luzhin, who addresses Duna, Raskolnikov hears words that are fair to himself: “In everything there is a line beyond which it is dangerous to cross; for once you have stepped over, it is impossible to go back.”

Much has in common with Raskolnikov in the image of Svidrigailov. Dostoevsky, through various means, makes us feel the closeness of these spiritual counterparts and constantly draws parallels between them. Zosimov, speaking about the murder of the old woman, remarks: “Everything came together too well. and intertwined. just like in the theater." And Raskolnikov, having met Svidrigailov, tells him: “You are too much of a person.” Svidrigailov feels that he and Raskolnikov are “birds of a feather”: “But there is something in you,” “maybe we can get closer,” “there is something in you that suits me.” Raskolnikov, whom Zosimov suspected of insanity, sees Svidrigailov as a madman. Even in the life story of Svidrigailov, we hear notes consonant with the fate of Raskolnikov: he was involved in a criminal case, had “some very close and mysterious relationships” with a “small pawnbroker”, people are dying through his fault, and, finally, his suicide echoes with Raskolnikov’s spiritual suicide: “I didn’t kill the old woman, I killed myself.”

That common denominator, to which these three people who hate and despise each other are equated, is their monstrous selfishness, pride, and pride. They all live only for themselves, the soul of each of them is in a state of split, decay. Luzhin hides and disguises his base actions; Svidrigailov is already on the other side of good and evil, he is conscious villain, and Raskolnikov, having “crossed the line,” still doubts the correctness of what he did, his conscience still torments him, which means that a spark of hope for the Resurrection still glimmers in his soul. Raskolnikov makes a long and painful journey, at the end of which repentance and a new life await. He is rewarded for his suffering and is capable of love and a new, pure life.

RASKOLNIKOV AND SVIDRIGAILOV

(Based on the novel by F. M. Dostoevsky “Crime and Punishment”)

The main character of the novel “Crime and Punishment,” Rodion Raskolnikov, creates a theory about the right of a strong personality to commit a crime if it is necessary for the common good. Wanting to test himself, Rodion “steps over the blood,” and the hero’s punishment begins, a painful path to insight. Raskolnikov does not want to part with his false beliefs, but he feels that life has turned into torture for him. And then a man appears on his way, who, according to rumors, committed whole line the most serious crimes: he killed his wife, tortured a servant, dishonored a girl who could not stand the shame and drowned herself. This is Arkady Ivanovich Svidrigailov, who is personally hated by Raskolnikov, since he insulted Rodion’s sister Dunya with his persecution. After the letter to his mother, Svidrigailov for the hero becomes a symbol of a rapist, an oppressor of the weak.

Having met Arkady Ivanovich for the first time, Rodion, despite his indignation and disgust, for some reason cannot simply kick this man out. A certain curiosity holds him back. Gradually we understand that the hero is tormented by the question: why is this immoral man so calm? How can he live with such memories in his soul? Is Rodion himself really weaker in spirit than this “emptiest and most insignificant villain in the world”? This is how Raskolnikov assesses his enemy, but he is wrong in everything.

Arkady Ivanovich is not at all an empty and insignificant person. On the contrary, this is a nature in which enormous potential opportunities lie hidden. He is unusually smart and insightful. Powerful passions live in his soul. There is a voluptuous animal in him, but also a man thirsty for love. He is capable of nobility towards Dunechka, who is in his power. Svidrigailov hopes that Avdotya Romanovna’s love could revive his soul. But the fact that Svidrigailov committed crimes is not confirmed anywhere by the author: this is mainly gossip from the scoundrel Luzhin. Svidrigailov is actively kind: he helps Sonechka and Marmeladov’s orphans.

At the very first meeting with Rodion, Svidrigailov declares “that there is some common point between them.”

In the last conversation of the heroes, the entire abyss separating these people is finally revealed. Svidrigailov, who considered Rodion a criminal by conviction and a cynic like himself, suddenly discovers that he is a “Schiller,” that is, an idealist. For Raskolnikov, it turns out, there are absolute ideas about good and evil; he is guided by these criteria even after committing a murder.

So, Svidrigailov is a cynic, a skeptic, a person who has lost the line between good and evil, because he does not believe in anything. The afterlife seems to him something like a village bathhouse with spiders in the corners: “This is all eternity.” He knows nothing fairer and more comforting than this. The main character of the novel is not like that at all; it is not for nothing that he listens to such tirades of Arkady Ivanovich “with a painful feeling.” Only in Svidrigailov’s dreams and nightmares is his conscience realized, but this no longer saves him. Svidrigailov despaired, he was haunted by an endless feeling of boredom and melancholy, his devastated soul was dead. There is no way out for him, and, understanding this with his deep mind, the hero makes a deliberate, and not an impulsive decision to commit suicide.

The news of Arkady Ivanovich's death strikes Raskolnikov. At hard labor, where the hero goes after a voluntary confession, Rodion often remembers Svidrigailov, asking himself: why couldn’t I commit suicide like him? Raskolnikov explains this only by his own weakness, the “dull burden of instinct,” the fear of death. The author objects: the hero “anticipated a deep lie in his beliefs” and “this premonition could be a harbinger of a future outlook on life.” Raskolnikov chooses hard labor because he needs to accept punishment and in this way find unity with people. He is truly resurrected to a new life thanks to Sonya and his own nature, which contains a desire for goodness and a thirst for faith. Comparison of these two complex characters helps Dostoevsky more fully reveal the idea that it is impossible to live without faith in truth and goodness.

IDEAL AND COMPOSITIONAL ROLE OF SONYA MARMELADOVA'S IMAGE

Here in front of me lies the book by F. M. Dostoevsky “Crime and Punishment.” The author touches on many problems in this work, but the most important of them is the problem of morality. Dostoevsky touches on this problem in many of his works, but this problem received the greatest development in Crime and Punishment. Perhaps it is this work that makes many people think about their actions. Here, in this book, we will meet many different people, but perhaps the most open, honest and kind is Sonya Marmeladova. This girl has a difficult fate. Sonya's mother passed away early, her father married another woman who has her own children. Need forced Sonya to earn money in a low way: she was forced to go to work. It would seem that after such an act Sonya should have become angry with her stepmother, because she practically forced Sonya to earn money in this way. But Sonya forgave her, moreover, every month she brings money to the house in which she no longer lives. Sonya has changed outwardly, but her soul remains the same: crystal clear. Sonya is ready to sacrifice herself for the sake of others, and not everyone can do this. She could live “in spirit and mind,” but she must feed her family. And this act proves her selflessness.

Sonya did not condemn people for their actions, did not condemn either her father or Raskolnikov. The death of her father left a deep mark on Sonya’s soul: “From under this. a thin, pale and frightened face with an open mouth and eyes motionless with horror looked out from the top of the hat.” Sonya loved her father, despite all his shortcomings. Therefore, his unexpected death was a great loss in Sonya’s life.

She understands and experiences their pain with people. So, she did not condemn Raskolnikov when he confessed to her the crime he had committed: “She suddenly took him by both hands and bowed her head to his shoulder. This short gesture even struck Raskolnikov with bewilderment, it was even strange: how? not the slightest disgust, not the slightest disgust towards him, not the slightest shudder in her hand! Sonya realized that by killing the old pawnbroker, Raskolnikov also killed himself. His theory has collapsed, and he is at a loss. Sonechka, who sincerely believes in God, advises him to pray, repent, and bow to the ground. Raskolnikov understands that Sonya exceptional person: “Holy fool, holy fool!” To which Sonya answers him: “But it’s me. dishonest. I great sinner" She has no one to rely on, no one to expect help from, so she believes in God. In prayer, Sonya finds the peace her soul so needs. She doesn't judge people, just like that. God has the right to do this. But she does not force faith. She wants Raskolnikov to come to this himself. Although Sonya instructs and asks him: “Cross yourself, pray at least once.” She loves this man and is ready to go with him even to hard labor, because she believes: Raskolnikov will understand his guilt, repent, and start a new life. Life with her, with Sonya. Love and faith give her strength in any trials and difficulties. And it was her endless patience, quiet love, faith and desire to help her loved one - all this together made it possible for Raskolnikov to start a new life. For Sonya and for Dostoevsky himself, human-to-human empathy is characteristic. Raskolnikov teaches Sonya courage and masculinity. Sonya teaches him mercy and love, forgiveness and empathy. She helps him find the path to the resurrection of his soul, but Raskolnikov himself strives for this. Only in hard labor does he understand and accept Sonya’s faith and love: “Can her convictions not now be my convictions? Her feelings, her aspirations at least. “Realizing this, Raskolnikov becomes happy and makes Sonya happy: “He knew with what endless love he would now atone for all her suffering.” Sonya is given happiness as a reward for her suffering. Sonya is Dostoevsky's ideal. Because only a highly moral person, sincere and loving, can be an ideal. Sonya brings with her the light of hope and faith, love and sympathy, tenderness and understanding - this is how a person should be, according to Dostoevsky. And I completely agree with him.

CHRISTIAN IMPLICATIONS, MOTIVES AND IMAGES IN F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT”

Orthodoxy, brought to Rus' back in the 10th century, profoundly influenced the mentality of the Russian people and left an indelible imprint on the Russian soul. And, in addition, Orthodoxy brought with it writing, and therefore literature. Christian influence can be traced in one way or another in the work of any writer. The deepest inner conviction in Christian truths and commandments is carried, in particular, by such a titan of Russian literature as Dostoevsky. His novel Crime and Punishment is proof of this.

The writer’s attitude towards religious consciousness is amazing in its depth. The concepts of sin and virtue, pride and humility, good and evil - this is what interests Dostoevsky. Raskolnikov bears sin and pride, key character novel. Moreover, sin absorbs not only direct actions, but also hidden thoughts (Raskolnikov is punished even before the crime). Having passed through himself the obviously powerful theory about “Napoleons” and “trembling creatures,” the hero kills the old pawnbroker, but not so much her as himself. Having followed the path of self-destruction, Raskolnikov nevertheless, with the help of Sonya, finds the key to salvation through suffering, purification and love. As you know, all these concepts are the most important and important in the Christian worldview. People deprived of repentance and love will not know the light, but will see a dark afterlife, terrible in its essence. Thus, Svidrigailov already during his lifetime has a clear idea of the afterlife. He appears before us in the form of a “black bath with spiders and mice” - in the Christian view, this is a picture of hell, for sinners who know neither love nor repentance. Also, when mentioning Svidrigailov, “devil” constantly appears. Svidrigailov is doomed: even the good that he is about to do is in vain (dream about a 5-year-old girl): his good is not accepted, it is too late. A terrible satanic force, the devil, is also pursuing Raskolnikov; at the end of the novel he will say: “The devil led me to commit a crime.” But if Svidrigailov commits suicide (commits the most terrible mortal sin), then Raskolnikov is cleared. The motif of prayer in the novel is also characteristic of Raskolnikov (after a dream he prays for a horse, but his prayers are not heard, and he commits a crime). Sonya, the landlady's daughter (preparing herself for a monastery), and Katerina Ivanovna's children constantly pray. Prayer, an integral part of the Christian, becomes part of the novel. There are also such images and symbols as the cross and the Gospel. Sonya gives Raskolnikov the Gospel that belonged to Lizaveta, and, reading it, he is reborn to life. At first Raskolnikov does not accept Lizaveta’s cross from Sonya, since he is not ready yet, but then he takes it, and again this is associated with spiritual cleansing, rebirth from death to life.

The Christian in the novel is enhanced by numerous analogies and associations with biblical stories. There is a reminiscence from the Bible about Lazarus, a parable that Sonya reads to Raskolnikov on the fourth day after the crime. Moreover, Lazarus from this parable was resurrected precisely on the fourth day. That is, Raskolnikov is spiritually dead these four days and, in fact, lies in a coffin (“coffin” is the hero’s closet), and Sonya came to save him. From the Old Testament the novel contains the parable of Cain, from the New - the parable of the publican and the Pharisee, the parable of the harlot (“if anyone is not sinful, let him be the first to throw a stone at her”), the parable of Martha - a woman who has been focused on vanity and missing the most important thing (Marfa Petrovna, Svidrigailov’s wife, fusses all her life, deprived of the main principle).

Gospel motifs in the names are clearly visible. “Caperiaumov” is the surname of the man from whom Sonya rented a room, and Mary the Harlot lived near the city of Capernaum. The name “Li-testament” means “one who worships God,” a holy fool. The name of Ilya Petrovich includes Ilya (Ilya the prophet, thunderer) and Peter (hard as a stone). Let us note that it was he who was the very first to suspect Raskolnikov. Katerina - “clean, bright.” Numbers that are symbolic in Christianity are also symbols in Crime and Punishment. These are the numbers three, seven and eleven. Sonya brings Marmeladov 30 kopecks, the first time she brings 30 rubles “from work”; Martha also ransoms Svidrigailov for 30, and he, like Judas, betrays her, making an attempt on her life. Svidrigailov offers Duna “until thirty”, Raskolnikov rings the bell 3 times and hits the old woman on the head the same number of times. Three meetings take place with Porfiry Petrovich. Number seven: at the seventh hour he learns that Lizaveta will not be there, he commits a crime “at the seventh hour.” But the number 7 is a symbol of the union of God with man; By committing a crime, Raskolnikov wants to break this alliance and therefore endures torment. In the epilogue: 7 years of hard labor remained, Svidrigailov lived with Marfa for 7 years.

The novel contains the theme of voluntary martyrdom for the sake of repentance, recognition of one’s sins. That is why Mikolka wants to take Raskolnikov’s blame upon himself. But Raskolnikov, led by Sonya, who carries Christian truth and love, comes (albeit through the barrier of doubt) to popular repentance, for, according to Sonya, only popular, open repentance in front of everyone is real. Dostoevsky's main idea is reproduced in this novel: a person must live, be meek, be able to forgive and have compassion, and all this is possible only with the acquisition of true faith. This is a purely Christian starting point, so the novel is tragicomic, a novel-sermon.

Due to Dostoevsky’s talent and deepest inner conviction, Christian thought is fully realized, produces a strong impact on the reader and, as a result, conveys to everyone the Christian idea, the idea of salvation and love. Further

Raskolnikov is a strong or weak person. Raskolnikov's split personality

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F. M. DOSTOEVSKY