Peasant motives in the novel crime and punishment. Using a biblical story

The Bible belongs to everyone, atheists and believers alike. This is the book of humanity.

F.M.Dostoevsky

The ideas of Christianity permeate the work of many outstanding writers. The works of L.N. are filled with biblical motifs. Tolstoy, F.M. Dostoevsky. This tradition continues in the works of Bulgakov, Mandelstam, Pasternak, Akhmatova, Aitmatov and other writers of the twentieth century. Biblical issues are universal, because in the Bible we're talking about about good and evil, truth and lies, about how to live and die. No wonder it is called the Book of Books. Novels by F.M. Dostoevsky's works are filled with various symbols, associations and reminiscences. A huge place among them is occupied by motifs and images borrowed from the Bible. They are subordinated to certain ideas and are grouped mainly around three themes: eschatology, rebirth and utopia.

Eschatology. Dostoevsky perceived reality and the world around him as certain prophecies from the Apocalypse that had already become or were about to become reality. The writer constantly correlated the crises of bourgeois civilization with apocalyptic forecasts, and transferred images from the Bible into the visions of his heroes. Raskolnikov “dreamed in his illness that the whole world was condemned to be a victim of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe... Some new trichinae appeared, microscopic creatures that moved into people’s bodies. But these creatures were spirits, gifted with intelligence and will. People who accepted them into themselves immediately became possessed and crazy.” Dostoevsky F.M. Collection cit.: In 12 volumes - M., 1982. - T. V. - P. 529). Compare with the Apocalypse, which says that at the end of time the army of Abaddon will appear on earth: “ And it was given to her not to kill them (people), but only to torture them for five months; and its torment is like the torment of a scorpion when it stings a person.”(Apoc. IX, 5). Dostoevsky uses apocalyptic motifs to warn humanity: it is on the verge of a global catastrophe, Last Judgment, the end of the world, and the reason for this is the bourgeois Moloch, the cult of violence and profit.

The writer considered the propaganda of hatred, intolerance and evil in the name of good to be a disease of the world, demonic possession. This idea finds expression in both the novel “Demons” and the novel “Crime and Punishment.” Dostoevsky showed that the theory of violence, which captured Raskolnikov’s mind, leads to the extermination of the human in man. “I’m not an old woman, I killed myself!” he exclaims in despair main character. The writer believes that the murder of one person leads to the suicide of humanity, to the dominance of evil forces on earth, to chaos and death.

Revival. The theme of the spiritual resurrection of the individual, which Dostoevsky considered the main one in the literature of the 19th century, permeates all of his novels. One of key episodes"Crime and Punishment is the one in which Sonya Marmeladova reads to Raskolnikov Bible story about the return to life of Lazarus: “Jesus said to her: I am the resurrection and the life; He who believes in Me, even if he dies, will live; and everyone who lives and believes in me will never die. Do you believe this? (JohnXI, 25-26). Sonya, reading these lines, thought about Raskolnikov: “And he, he, too, is blinded and unbelieving - he will also hear now, he will also believe, yes, yes! Now, now” (V, 317). Raskolnikov, who committed a crime, must “believe” and repent. This will be his spiritual cleansing, figuratively speaking, the resurrection from the dead, trembling and cold, Sonya repeated lines from the Gospel: “Having said this, he cried with a loud voice: Lazarus! Get out. And the dead man came out..." (John.XI, 43-44). This symbolic scene has a symbolic and artistic continuation: at the end of the novel, the Raskolnik-convict, having repented, is reborn to a new life, and Sonya’s love plays a significant role in this: “Both of them were pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection in new life. They were resurrected by love, the heart of one contained endless sources of life for the heart of the other” (V, 532).

The theme of faith is persistent in the novel. She is associated with the images of Raskolnikov and Sonya Marmeladova. Sonya believes, she lives according to the biblical laws of love for one's neighbor, self-sacrifice, faith, and humility. God will not allow what is “impossible to be.” Typologically connected with the life story of Sonya Marmeladova is the parable of the harlot forgiven by Christ. There is a legend about how Christ reacted to the decision of the Pharisees and scribes to punish a woman guilty of adultery in the temple: “He who is without sin among you, let him be the first to throw a stone at her.” Let us remember the words of Sonya’s father: “Now your many sins are forgiven, because you loved so much...” And she will forgive my Sonya, I already know that she will forgive...” (V, 25). This detail is curious: the evangelical Mary Magdalene lived not far from the city of Capernaum, which Christ visited; Sonya rents an apartment from the Kapernaumovs. It was here that she read the legend of the resurrection of Lazarus.

Raskolnikov turns to the Gospel and, according to Dostoevsky, must find answers there to the questions that torment him, must gradually be reborn, move into a new reality for him, but this, as the author wrote, is already the story of a new story. And in the novel “Crime and Punishment”, the main character, who has departed from the faith, from the biblical commandments, bears the mark of Cain, also a biblical character.

The biblical story about the first murderer and his punishment correlates with Raskolnikov's crime and punishment. In the Bible, after the murder, the Lord asks Cain about his brother: “And the Lord said to Cain: Where is Abel your brother?” What is the point of this question? Obviously, Cain’s crime was followed not by punishment, but by a call to repentance, because “ God does not want the sinner to die, but to turn to him and to live.” Cain has not yet been punished by anything, but his state is the same as before the murder - a darkened mind, for only madness can explain the fact that, in answering the omniscient God, Cain lies: "Don't know; Am I my brother’s keeper?” From God - a call to repentance, from man - his insane rejection.

Dostoevsky shows that darkening of the mind is an indispensable condition for a crime and persists after it has been committed. Thus, Raskolnikov’s consciousness in details, fragments, in individual truths is clear and true, but overall this consciousness is painful. Having conceived a murder, the hero decided that “reason and will will remain with him, inalienably, for the sole reason that what he has planned is not a crime.” When he woke up after the crime in his closet, “suddenly, in an instant, he remembered everything! At first he thought he was going crazy.” He recalled that after the crime he did not hide obvious evidence (he did not lock the door with a hook, left traces of blood on his dress, did not hide his wallet and money). All his further attempts to cover his tracks are tinged with madness, “even memory, even simple consideration leaves him... the mind is darkened.” He admits to himself, “Truly reason is leaving me!” (part 2, chapter 1)

For Raskolnikov, the call to repentance sounds in the events of his life: he receives news - a summons from the police demanding to appear. Two thoughts are fighting within him. The first thought is to hide the evidence, the second is to let them incriminate. Raskolnikov was ready to open up. But no one is forcing him to confess. According to the author, he is required to repent, an act of free will and a change of thought. Raskolnikov committed ideological crime, thoughtfully, a person demands his “right to blood,” and his repentance could not be a painful impulse, it must be thoughtful, a real change of thoughts. Therefore, during the course of the plot, Raskolnikov’s impulse to confess stops: the police “suddenly” begin to discuss yesterday in front of him.

Raskolnikov faces not only illness, but also punishment. We often perceive punishment as punishment, retribution, torment... Not so with God. “Punishment” is an “indication on” something, and it is also a command on what to do or what not to do. At the same time, something was “told” to you: openly and clearly, now you can do it or not. And even when you have transgressed what was “punished,” the “punishment” remains with you as an act of God’s mercy. We read about this in the Bible: how Cain begged God to punish himself - Cain’s seal. " And the Lord said to Cain: What did you do? The voice of your brother's blood cries to me from the earth. And now you are cursed from the land, which has refused its mouth to receive the blood of your brother at your hand. When you cultivate the land, it will no longer give you strength; you will be groaning and shaking on the ground.”

Cain is the first human being to be cursed. But no one cursed Cain... The Lord never curses anyone... Cain was cursed from the earth, he became " groaning and shaking on the ground." In the ancient Hebrew language, “punishment” and “sin” are used in one word: sin is the punishment for the criminal. Cain found himself outside the world of God. The Lord does not drive Cain away from himself, but Cain does not understand this : “And Cain said to the Lord: My punishment is more than can be endured. Behold, now You are driving me from the face of the earth, and I will hide from Your presence, and I will be an exile and a wanderer on the earth...” Cain runs from God. Nobody wants to take revenge on him. Nobody is chasing him. But, as stated in Holy Scripture “The wicked flees when no one is pursuing (him).” Cain himself is hiding from the face of the Lord, but he is afraid of one thing - to be killed. And the Lord gives the first murderer protection, which will become his “punishment.” “And the Lord said to him: For this reason, whoever kills Cain will have sevenfold vengeance. And the Lord made a sign for Cain, so that no one who met him would kill him. And Cain went from the presence of the Lord... And he built a city; and he named the city after the name of his son.”

The “sign” that the Lord gave to the first murderer at his request protects the murderer from punishment other than exile and loneliness. The theme of Cain's seal becomes dominant in Raskolnikov's punishment. He is punished not so much by the pangs of conscience as by the double-digit seal of Cain: Raskolnikov is completely protected from persecution and excommunicated from the society of people. Only three people see this stamp on him: investigator Porfiry Petrovich (confident of Raskolnikov’s crime, he leaves him until it’s time to “take a walk”); Sonya (she is also a criminal, and the schismatics are trying to break through to her from his terrible loneliness) and Svidrigailov (“We are from the same background,” he says at the first meeting).

Utopia. Dostoevsky considered the second coming of Christ to be the key to the formation of a world of love and justice. It is this motive that sounds in the novel “Crime and Punishment.” The official Marmeladov is convinced that “the one who took pity on us all and who understood everyone and everything will take pity on us, he is the only one, he is the judge.” The timing of the second coming of Christ is unknown, but it will take place at the end of the world, when lawlessness, war and the worship of Satan reign on earth: “And he will stretch out his hand to us, and we will fall down... and weep... and we will understand everything! Then we will understand everything! ...and everyone will understand... Lord, may your kingdom come!” The second coming of Christ, Dostoevsky believed, would be the reason for the descent to earth of the New Jerusalem. Raskolnikov, who confessed his belief in the New Jerusalem, has in mind future socialism. In the Bible, New Jerusalem - “ new faith And new land“, where people “God will wipe away every tear from their eyes, and there will be no more death; there will be no more crying, no crying, no sickness, for the former things have passed away” (Rev. XXI, 4). Raskolnikov sees the life of the future: “There was freedom and other people lived there, completely different from those here, it was as if time itself had stopped, as if the centuries of Abraham and his flocks had not yet passed” (V, 531). And another utopian vision is given to the hero of the novel: “He dreamed everything, and all the dreams were strange: most often he imagined that he was somewhere in Africa, in Egypt, in some kind of oasis. The caravan is resting, the camels are lying quietly; There are palm trees growing all around; everyone is having lunch. He keeps drinking water, straight from the stream, which flows and gurgles right there by his side. And it’s so cool, and such wonderful blue water, cold, runs over multi-colored stones and over such clean sand with golden sparkles...” (V, 69). These “visions” suggest that Dostoevsky was close to the mythological utopia of the “Isles of the Blessed,” where people live in complete isolation from the whole world, without a state and laws that oppress people.

The spiritual revival of man through compassionate love and activity, the improvement of society through the preaching of morality and unity - this is Dostoevsky’s philosophical concept. The theme of the end of the world and time, eschatology, the death of the world and man, the subsequent revival and the structure of a new world (golden age) are constantly in contact with each other, intertwined, making up the writer’s single utopian plan for remaking the Universe. One of the sources for this plan (besides Russian and European folklore) were motifs borrowed by Dostoevsky from the Bible.

Biblical motives in the novel by F.M. Dostoevsky "Crime and Punishment".

Topic: Biblical motifs in the novel by F.M. Dostoevsky "Crime and Punishment".

Goals:

analyze the novel “Crime and Punishment” through the prism of Holy Scripture;

show what role biblical motifs play in revealing the overall concept of the work:

• in debunking Raskolnikov's theory;

  in understanding the images of heroes;

develop the ability to select from a novel and correlate with biblical verses, drawing certain conclusions;

to form a humanistic worldview of students;

create emotional mood allowing each student to openly express their point of view;

educate moral and moral qualities through the spiritual perception of the novel's heroes.

Equipment:

Portrait of F.M. Dostoevsky V.G. Perova;

“Christ in a sheet” I.N. Kramskoy;

Painting by I. Glazunov “In the warehouse”;

Roman F.M. Dostoevsky "Crime and Punishment";

Bible;

Slide show;

Eidos - outline;

Case – summary;

Illustrations for the novel in each “case” for comparison with the biblical illustration on the slide.

Lesson type: lesson - research.

Method: partly - search.

Epigraph:

“To humanize the gospel teaching is the most noble and completely timely task.”

N.S. Leskov

During the classes.

Teacher:

“Crime and Punishment”... The novel has been read, but the fireworks of thoughts do not allow me to calm down. Yes, Dostoevsky’s novel is some kind of whirlwind of events, confessions, scandals, murders. A grain of sand taken from a tornado is insignificant. In a tornado he is knocked off his feet. And the problems raised by the writer in the novel are far from being grains of sand: responsibility before God for your life and the lives of those around you, life and death, good and evil, faith and unbelief. And collected together, they, like a tornado, explode our consciousness, awaken our conscience, appeal to reason, convey to everyone the Christian idea, the idea of ​​salvation and true love.

Today we are not quite regular lesson. Instead of reporting and analysis, we will seek the truth. Truth, as we know, is born in dispute. But!.. It is also in the Bible. " Your word is the truth,” said Jesus Christ, turning to God. (John 17:17)

Let's try, with the help of the Bible, to better understand the meaning of the novel and the significance of the problems raised in it. It was the Bible that Dostoevsky considered “the book of humanity.” This thought is the epigraph of the lesson: “To humanize the gospel teaching is the most noble and completely timely task” N.S. Leskov.

independent work with critical literature

analysis of specific situations;

brainstorm;

discussion.

But before proceeding to the study, consider two pictures:

portrait of F.M. Dostoevsky by artist V.G. Perova;

“Christ in the Desert” by I.N. Kramskoy.

Student:(the teacher also takes part in the description of the portraits)

Look carefully at the painting by I.N. Kramskoy “Christ in the Desert”, 1872. Christ, having been baptized and hearing the voice of God from heaven about his messianic purpose on earth, goes into the desert and there for 40 days, without food, remains in complete solitude. He reflects on his purpose - to save humanity from sin and death.

Teacher:

What do you think is the semantic center in the picture?

The hands of Jesus are clenched painfully, as if He is trying to bind together the world, earth and heaven.

Before us is a drama: the transformation of a person into a messenger of God, who must suffer for people.

Student:

Now look at the portrait of F.M. Dostoevsky, written by V.G. Perov. What do these two have in common, it would seem? different paintings? Hands! In Dostoevsky they are also compressed. To the point of pain. The same concentrated look. And there is pain for everyone, a desire to save. And he sees salvation in the spiritual rebirth of man. So, we see, looking at the portraits, that Jesus Christ and Dostoevsky have one goal - to save humanity.

Teacher:

Guys, I’m afraid to divert your attention from the novel, but, nevertheless, I want to show you another painting by I. Glazunov, “In the Warehouse.” Old abandoned church. On the left wall is a fresco depicting Jesus' entry into Jerusalem. In front of the fresco, in the center of the picture, there is a huge stump and an ax stuck into it for chopping meat - an executioner's ax. And on the right hangs a butchered, bloody carcass of an animal. The temple is turning into a meat warehouse, how scary! It’s even worse when the temple of the soul turns into a warehouse. This is incompatible: the temple of the soul, the ax and blood (you feel a connection with the novel). This should not happen, warns the author of the picture. It shouldn’t be, Dostoevsky pleads. It shouldn't be, but it was...

To recover from the shock after seeing I. Glazunov’s painting, let’s listen to music and talk about what we will do in class.

We work using the case study method (the guys are familiar with his technology:

independent work with critical literature;

analysis of specific situations;

brainstorm;

discussion;

result).

By the end of the lesson, we must find out whether murder can be justified in any way? To answer this question we will take into account personal opinion , author's opinion, Bible point of view (because the Bible is true) and Criminal Code of Ukraine .

You will express your personal opinion by answering the questions in the questionnaire:

Is it possible to justify killing someone?

1. Yes;

   No;

   I find it difficult to answer.

Everyone has a questionnaire sheet. The assistant will calculate the results.

In each group, select:

coordinator (work organizer);

secretary (distributes case materials, records results);

rhetorician (announces the results of the study).

With more students there may be more “roles” in the group.

The teacher gives a general task to the students:

The case contains an illustration depicting one of the characters from the novel.

• who is this?

  how did you determine?

  Write the character's name on the back of the illustration.

From package No. 1, take out the printed name of the hero. Did it match yours? Paste it in the lower right corner of the illustration.

Packet No. 2 contains questions for discussion. Once you get them, get to work. In case of difficulty, open the 3rd package: there is a set of “documents” - critical, additional literature, which will help in the discussion.

Students, having familiarized themselves with the content of the “case,” discuss the problem and make a “resolution.” If you have difficulty, you can get help from a teacher. You can use the second type of help: guys from other groups can suggest their solution. For the answer you get a token (maybe two, if complex issue or original answer). At the end of the lesson for the most a large number of tokens - 10 points, those with fewer - 9 points, etc.

Students spend 5 minutes distributing roles and solving the problem.

Teacher:

So, we know why Raskolnikov committed the crime.

When was the first crime committed on earth?

(On the screen there is a slide “The Murder of Abel”)

Group 1 is working.

Contents of the “case”:

1. Read Bible verses.

   What is the parallel biblical story in the novel?

(Raskolnikov also commits an unnatural, sinful act - murder).

3. What is the role of the biblical episode?

(The Bible says: God does not want the sinner to die, but to turn him and live forever. For Cain's crime, there was not punishment, but a call to repentance, but Cain did not repent and remained a criminal forever. And Raskolnikov’s story is the path to spiritual rebirth - through repentance).

4. There are several biblical lines about the punishment of Cain, and 5 chapters about the punishment of Raskolnikov. Why?

(It is not difficult to remain a criminal without repentance. And Dostoevsky wants the reader, having gone through the path of suffering and repentance with Raskolnikov, to understand that the murder of one person leads to the suicide of humanity, to the dominance of evil forces on earth, to chaos and death. I understood and did not take this path).

(The guys give their illustration “Raskolnikov kills the old money-lender” to the assistant. He attaches it to the board to the left of the portrait of Dostoevsky with the novel “Crime and Punishment.” And the illustration “The Murder of Abel” is to the right of the image of Jesus Christ and the Bible - 1st parallel ).

Teacher:

Guys, do you remember the story of the fall of our ancestors?

On the slide, the “Serpent” tempts Eve.

Group 2 is working.

1. Read the Bible verses Genesis 3: ….

2. How does Eve justify her sin to God?

(“The serpent” (Satan)… he deceived me, and I ate (Gen. 3:13).

3. What is the parallel of this biblical story in the novel?

(Raskolnikov also justifies himself at the end of the novel, explaining one of the reasons for the crime: “The devil led me to commit a crime”).

4. What is the lesson of comparison?

(Dostoevsky shows: it is easy to find an excuse for your sin; it is even easier to shift your sin onto another. It’s hard to imagine what will follow; it’s scary to live through these consequences. Adam and Eve remained the source of sin. And Dostoevsky gave Raskolnikov a chance to atone for his sin).

Teacher:

Slide Mary Magdalene is a sinner.

The 3rd group is working.

Case contents:

1. Read Luke 7:36*38 from the Bible about the sinner.

2. What character is the biblical sinner associated with? Why?

(With Sonya Marmeladova. This is the most attractive image in the novel. But Raskolnikov considers her great sinner: after all, she also crossed the moral law).

3. Read the continuation of the story of Mary Magdalene. 17:39,47,48,50.

(“The Pharisee who invited him (Jesus Christ) said to himself: “If he... knew what kind of woman is touching him, because she is a sinner.” Jesus Christ answered: “... her sins, although many of them, are forgiven her, t .because she showed a lot of love." Then he told her: "...Your sins are forgiven...Your faith has saved you").

4. How does the story of the biblical sinner help us understand why Sonya, who broke the law, was forgiven, but Raskolnikov had to suffer for forgiveness?

(Sonya breaks the law out of love for her loved ones. Thanks to love and faith, she deserves forgiveness).

CONCLUSION: how in the Bible Mary Magdalene goes from fallen woman to the righteous woman, so in the novel Sonya takes the same path.

Assistants attach illustrations to the novel near the portrait of Dostoevsky; biblical illustrations near Kramskoy’s painting.

Group 4 is working

Slide “The Raising of Lazarus.”

Case contents:

1. Read John 11:1,2,17,23,25,39,41,43,44.

2. Which words from this legend are core?

(John 11:25 “I (them) – resurrection and life. Who shows up in me faith, even if he dies, will come to life»).

3. Who reads Raskolnikov’s legend about the resurrection of Lazarus? Why?

(Sonya wants Raskolnikov to be forgiven through faith in God).

4. What does this legend have to do with the novel?

(It echoes the fate of Raskolnikov. The main character’s room is likened to a coffin. And Lazarus was in the crypt (coffin). Sonya reads about Lazarus on the 4th day after the crime. Lazarus resurrected on the 4th day. And Raskolnikov was there all 4 days "dead" and essentially lying in a coffin, and Sonya came to save him.

God's Word has great power. Raskolnikov believed. He repented in his heart. “Everything in him softened at once, and tears flowed. As he stood up, he fell to the ground. He knelt down in the middle of the square, bowed to the ground and kissed the dirty ground with pleasure and happiness.” Yes, those who were not afraid to commit sin should not be ashamed of repentance!)

CONCLUSION: through repentance, through true faith even a sinner can be reborn.

Teacher:

Guys, our lesson is coming to an end. What did this lesson teach us?

Appreciate life, your own and others.

At any critical situation turn to the Bible as the source of TRUTH.

Reject any violence and do not look for justification for it.

The novel has been read, but impressions, thoughts, and perhaps questions remain with us. Perhaps something remains unclear until the end. But the thought is awakened. And this is the main thing.

Perhaps later you will read the novel again and understand how deep this work is. And it cannot be different, since it echoes the Bible, and there are many more biblical analogies in the novel than we talked about today in class. The rest is up to you...

The teacher draws attention to the eidos - a summary drawn up on the board based on the lesson materials.

Don't kill! Ref. 12:13 “When I choose the time, I will bring justice to justice”!

A person should not replace the law and court. For premeditated murder, the Criminal Code of Ukraine provides for punishment of up to 15 years in prison or life imprisonment.

We are trying to go to God, to build churches, but not everyone has done the main thing - we have not cleansed our souls, we have not repented before everyone and everyone before everyone. Not everyone washed the blood from their souls. But temples are not built on blood. And yet we took a step. A step towards purification, towards happiness. Go to him.

Essay plan

1. Introduction. The writer's appeal to biblical themes and plots.

2. Main part. Biblical motives in the novel “Crime and Punishment.”

Cain's motive in the novel.

The motif of Egypt and its development in the novel.

The motive of death and resurrection in the novel.

Biblical motifs associated with the image of Sonya.

The motif of communion associated with the image of Marmeladov.

The motif of demons and its development in the novel.

The motive of demonism in the hero's last dream.

The motive of demons in creating the image of Svidrigailov.

The motive of laughter and its meaning in the novel.

3. Conclusion. The originality of the themes of Dostoevsky's novels.

Man in Dostoevsky's novels feels his unity with the whole world, feels his responsibility to the world. Hence the global nature of the problems posed by the writer, their universal human nature. Hence the writer’s appeal to eternal, biblical themes and ideas. In his life, F.M. Dostoevsky often turned to the Gospel. He found in it answers to vitally important, troubling questions, borrowed individual images, symbols, and motifs from the Gospel parables, creatively processing them in his works. Biblical motifs can also be clearly seen in Dostoevsky’s novel Crime and Punishment.

Thus, the image of the main character in the novel resurrects the motive of Cain, the first killer on earth. When Cain committed murder, he became an eternal wanderer and exile in his native land. The same thing happens with Dostoevsky’s Raskolnikov: having committed a murder, the hero feels alienated from the world around him. Raskolnikov has nothing to talk about with people, “he can’t talk about anything anymore, never and with anyone,” he “seems to have cut himself off from everyone with scissors,” his relatives seem to be afraid of him. Having confessed to the crime, he ends up in hard labor, but even there they look at him with distrust and hostility, they do not like him and avoid him, once they even wanted to kill him as an atheist. However, Dostoevsky leaves the hero the possibility of moral rebirth, and therefore the possibility of overcoming that terrible, impassable abyss that lies between him and the world around him.

Another biblical motif in the novel is that of Egypt. In his dreams, Raskolnikov imagines Egypt, golden sand, a caravan, camels. Having met a tradesman who called him a murderer, the hero again remembers Egypt. “If you look through the hundred-thousandth line, that’s evidence for the Egyptian pyramid!” Rodion thinks in fright. Talking about two types of people, he notices that Napoleon forgets the army in Egypt; Egypt for this commander becomes the beginning of his career. Svidrigailov also recalls Egypt in the novel, noting that Avdotya Romanovna has the nature of a great martyr, ready to live in the Egyptian desert. This motif has several meanings in the novel. First of all, Egypt reminds us of its ruler, Pharaoh, who was overthrown by the Lord for his pride and hardness of heart. Conscious of their “proud power,” Pharaoh and the Egyptians greatly oppressed the people of Israel who came to Egypt, not wanting to take their faith into account. Ten Egyptian plagues, sent by God to the country, could not stop the cruelty and pride of the pharaoh. And then the Lord crushed the “pride of Egypt” with the sword of the king of Babylon, destroying the Egyptian pharaohs, people, and livestock; turning the land of Egypt into a lifeless desert. The biblical tradition here recalls the judgment of God, the punishment for self-will and cruelty. Egypt, which appeared in a dream to Raskolnikov, becomes a warning for the hero. The writer seems to constantly remind the hero how the “proud power” of the rulers, the mighty of this world, ends. Svidrigailov’s mention of the Egyptian desert, where the Great Martyr Mary of Egypt, who was once a great sinner, stayed for many years, also becomes a warning. Here the theme of repentance and humility arises, but at the same time, regret about the past. At the same time, Egypt reminds us of other events - it becomes the place where the Mother of God with the baby Jesus takes refuge from the persecution of King Herod (New Testament). And in this aspect, Egypt becomes for Raskolnikov an attempt to awaken humanity, humility, and generosity in his soul. Thus, the Egyptian motif in the novel also emphasizes the duality of the hero’s nature - his exorbitant pride and hardly less natural generosity.

The gospel motif of death and resurrection is associated with the image of Raskolnikov in the novel. After he commits a crime, Sonya reads to Rodion the gospel parable about the deceased and resurrected Lazarus. The hero speaks to Porfiry Petrovich about his belief in the resurrection of Lazarus. This same motif of death and resurrection is also realized in the plot of the novel itself. After committing the murder, Raskolnikov becomes a spiritual dead man, life seems to leave him. Rodion's apartment looks like a coffin. His face is deathly pale, like that of a dead man. He cannot communicate with people: those around him, with their care and bustle, make him angry and irritated. The deceased Lazar lies in a cave, the entrance to which is blocked with a stone - Raskolnikov hides the loot under a stone in Alena Ivanovna’s apartment. His sisters, Martha and Mary, take a lively part in the resurrection of Lazarus. It is they who lead to the cave of Lazarus Christ. In Dostoevsky, Sonya gradually leads Raskolnikov to Christ. Raskolnikov returns to normal life, discovering his love for Sonya. This is Dostoevsky’s resurrection of the hero. In the novel we do not see Raskolnikov’s repentance, but in the finale he is potentially ready for it.

Other biblical motifs in the novel are associated with the image of Sonya Marmeladova. This heroine in “Crime and Punishment” is associated with the biblical motive of adultery, the motive of suffering for people and forgiveness, the motive of Judas. Just as Jesus Christ accepted suffering for people, in the same way Sonya accepts suffering for her loved ones. Moreover, she is aware of all the abomination and sinfulness of her occupation and has a hard time experiencing her own situation. “After all, it would be fairer,” Raskolnikov exclaims, “a thousand times fairer and wiser it would be to dive headfirst into the water and end it all at once!”

– What will happen to them? – Sonya asked weakly, looking at him painfully, but at the same time, as if not at all surprised by his proposal. Raskolnikov looked at her strangely.

He read everything in one look from her. Therefore, she really had already had this thought herself. Perhaps many times she seriously thought in despair about how to end it all at once, and so seriously that now she was almost not surprised at his proposal. She didn’t even notice the cruelty of his words... But he fully understood the monstrous pain to which she had been tormented, and for a long time now, by the thought of her dishonorable and shameful position. What, he thought, could still stop her determination to end it all at once? And then he fully understood what these poor little orphans and this pitiful, half-crazed Katerina Ivanovna, with her consumption and banging her head against the wall, meant to her.” We know that Sonya was pushed along this path by Katerina Ivanovna. However, the girl does not blame her stepmother, but, on the contrary, defends her, understanding the hopelessness of the situation. “Sonya got up, put on a scarf, put on a burnusik and left the apartment, and came back at nine o’clock. She came and went straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her.” Here one can feel the subtle motive of Judas, who sold Christ for thirty pieces of silver. It is characteristic that Sonya also takes out the last thirty kopecks from Marmeladov. The Marmeladov family, to a certain extent, “betrays” Sonya. This is exactly how Raskolnikov views the situation at the beginning of the novel. The head of the family, Semyon Zakharych, is helpless in life like a small child. He cannot overcome his destructive passion for wine and perceives everything that happens fatally, as an inevitable evil, without trying to fight fate and resist circumstances. However, the motive of Judas does not sound clearly in Dostoevsky: for the misfortunes of the Marmeladov family, the writer blames life itself, capitalist Petersburg, indifferent to the fate of the “little man,” rather than Marmeladov and Katerina Ivanovna.

Marmeladov, who had a destructive passion for wine, introduces the motif of communion into the novel. Thus, the writer emphasizes the original religiosity of Semyon Zakharovich, the presence in his soul of true faith, what Raskolnikov so lacks.

Another biblical motif in the novel is the motif of demons and devilry. This motif is already set in the landscapes of the novel, when Dostoevsky describes the unbearably hot days of St. Petersburg. “The heat outside was unbearable again; at least a drop of rain all these days. Again dust, brick, mortar, again the stench from the shops and taverns... The sun flashed brightly in his eyes, so that it became painful to look at, and his head was completely spinning... " Here the motif of the midday demon arises, when a person falls into a rage under the influence of the scorching sun, an overly hot day. In Dostoevsky's novel, Raskolnikov's behavior often reminds us of the behavior of a demoniac. So, at some point the hero seems to realize that a demon is pushing him to kill. Unable to find an opportunity to take an ax from the owner’s kitchen, Raskolnikov decides that his plans have collapsed. But quite unexpectedly, he finds an ax in the janitor's room and is again strengthened in his decision. “It’s not reason, it’s demon!” - he thought, smiling strangely. Raskolnikov resembles a demon possessed even after the murder he committed. “One new, irresistible sensation took possession of him more and more almost every minute: it was some kind of endless, almost physical, disgust for everything he encountered and around him, stubborn, angry, hateful. Everyone he met was disgusting to him—their faces, their gait, their movements were disgusting. He would simply spit on someone, would bite, it seems, if someone spoke to him ... "

The motif of demons appears in Raskolnikov’s last dream, which he saw already in hard labor. Rodion imagines that “the whole world is condemned to be a victim of some terrible, unheard of and unprecedented pestilence.” People’s bodies were inhabited by special spirits, gifted with intelligence and will - trichinas. And people, becoming infected, became possessed and crazy, considering the only true, true only their truth, their convictions, their faith and neglecting the truth, convictions and faith of others. These disagreements led to wars, famines, and fires. People abandoned their crafts, agriculture, they “stabbed and cut themselves,” “killed each other in some senseless rage.” The ulcer grew and moved further and further. Only a few people, pure and chosen, destined to start a new race of people and a new life, to renew and cleanse the earth, could be saved throughout the world. However, no one has ever seen these people.

Raskolnikov’s last dream echoes the Gospel of Matthew, where the prophecies of Jesus Christ are revealed that “nation will rise against nation and kingdom against kingdom,” that there will be wars, “famines, pestilences and earthquakes,” that “the love of many will grow cold,” people they will hate each other, “they will betray each other” - “he who endures to the end will be saved.” The motive for the execution of Egypt also arises here. One of the plagues sent by the Lord to Egypt to humble the pride of Pharaoh was a pestilence. In Raskolnikov’s dream, the pestilence receives a concrete embodiment, as it were, in the form of trichins that inhabit the bodies and souls of people. Trichinas here are nothing more than demons that have entered people. We see this motif quite often in biblical parables. For Dostoevsky, demonism becomes not a physical disease, but a disease of the spirit, pride, selfishness and individualism.

The motif of the demon is also developed in the novel by Svidrigailov, who always seems to be tempting Rodion. As Yu. Karyakin notes, Svidrigailov is “a kind of devil of Raskolnikov.” The first appearance of this hero to Raskolnikov is in many ways similar to the appearance of the devil to Ivan Karamazov. Svidrigalov appears as if out of delirium; he seems to Rodion to be a continuation of a nightmare about the murder of an old woman.

Throughout the entire narrative, Raskolnikov is accompanied by the motif of laughter. Thus, the hero’s feelings are characteristic during his conversation with Zametov, when they are both looking in newspapers for information about the murder of Alena Ivanovna. Realizing that he is suspected, Raskolnikov, however, does not feel fear and continues to “tease” Zametnov. “And in an instant he remembered with extreme clarity of sensation one recent moment when he stood outside the door with an ax, the lock was jumping, they were cursing and breaking in behind the door, and he suddenly wanted to shout at them, quarrel with them, stick out his tongue at them, tease them , laugh, laugh, laugh, laugh!” And this motive, as we noted above, is present throughout the entire novel. The same laughter is present in the hero’s dreams (the dream about Mikolka and the dream about the old money-lender). B.S. Kondratiev notes that laughter in Raskolnikov’s dream is “an attribute of the invisible presence of Satan.” It seems that the laughter that surrounds the hero in reality and the laughter that sounds within him have the same meaning.

Thus, in the novel “Crime and Punishment” we find a synthesis of a wide variety of biblical motifs. This writer’s appeal to eternal themes is natural. As V. Kozhinov notes, “Dostoevsky’s hero is constantly turned to the entire immense life of humanity in its past, present and future, he constantly and directly relates himself to it, all the time measures himself by it.”

Project structure: 1. Introduction. About our project. 2. Orthodox Dostoevsky. 3. Novel “Crime and Punishment.” Sonya Marmeladova and Rodion Raskolnikov are the main characters of the novel. 4. Biblical words and expressions in the novel. 5. Secrets of names. 6. Biblical numbers in the novel. 7. The contact of the novel’s plot with gospel motifs. 8. Conclusion. Conclusions. 9. Applications.

“Reading Dostoevsky is, although sweet, tedious and hard work; fifty pages of his story provide the reader with the content of five hundred pages of stories by other writers, and in addition, often a sleepless night of painful self-reproach or enthusiastic hopes and aspirations.” From the book of Metropolitan Anthony (Khrapovitsky) “Prayer of the Russian Soul.”

“... Sodom, sir, the ugliest... um... yes...” (Marmeladov’s words) “You pigs! The image of the beast and its seal; but come too!” (from Marmeladov’s words) “...to marry the current meat-eater... immediately after the Mistresses...” (from Pulcheria Raskolnikova’s letter to her son) “It’s hard to climb Golgotha...” (from Raskolnikov’s thoughts) “... two crosses: cypress and copper” “She, without a doubt, would have been one of those who would have suffered martyrdom, and certainly would have smiled when her chest was burned with red-hot tongs... and in the fourth and fifth centuries she would have gone to the Egyptian desert and lived there for thirty years, eating roots..." (Svidrigailov about Duna)

The contact of the plot of the novel with biblical motifs Icon The Appearance of Jesus Christ to Mary Magdalene after the Resurrection “Whoever constantly reads the Divine Scriptures (in the simplicity of his heart) and stands by their streams, even if he has no interpretation, absorbs great benefits through his roots.” St. John Chrysostom

Conclusion - Outside of Orthodoxy, it is impossible to comprehend the writer’s works. - Without religion, human life is meaningless and impossible. - The novel shows how faith allows a person to decide moral problems. - The author introduces biblical words and images, which in the novel become symbols and guidelines for the reader.