Analysis of the scene on the Nikolaevsky Bridge. "Crime and Punishment"

Lesson topic: Analysis of the episode “Raskolnikov on the Nikolaevsky Bridge” based on the novel “Crime and Punishment”

Develop the ability to work with text, paying attention to the WORD of the writer; check the level of readiness and analytical skills; teach holistically, perceive an episode in detail, see it in a separate fragment work of art expression author's position world and man and convey this through your interpretation of the text.

We continue to work on Dostoevsky’s novel “Crime and Punishment”

Topic of our lesson: Analysis of the episode “Raskolnikov on the Nikolaevsky Bridge”

1. Review conversation

What is an episode? (E. is a small part literary work, playing a certain structural role in the development of the plot. A part of a work of art that has relative completeness and represents a separate moment in the development of the theme.

Why is the last statement important? (E. is a complete, but not isolated passage of text, therefore analysis of an episode is a way of comprehending the meaning of the whole work through its fragment)

How are episode boundaries determined? (Or by shift characters, or the accomplishment of a new event)

Why is it important to determine the place of a fragment in the structure of the artistic whole?

Temporary, cause-and-effect relationships

1______________________________________________________

Exposition, development, action, climax, denouement

Are there any connections between the episodes? (There are connections between episodes: cause-and-effect, cause-temporal, temporary)

While working on an episode, we must identify important motives, ideas, artistic techniques, creative manner author. Only after this do we have the right to talk about the most important features of the entire work!

The events contained in the episode contain a certain motive (meeting, quarrel, dispute,...) i.e. the meaningful function of the episode can be

The episode is a micro-theme, separate work with its own composition, in which there is an exposition, a plot, a climax, and a denouement.

SLIDE 8 (CITY OF PETERSBURG)

In the previous lesson, we drew attention to one of the the most important topics novel - the theme of St. Petersburg. The city becomes the real protagonist of the novel, the action of the work takes place precisely on its streets because Dostoevsky, in his own way, comprehended the place of this city in Russian history. And although

Dostoevsky's Petersburg is a city of drinking bars and "corners", it is a city of Sennaya Square, dirty alleys and apartment buildings, nevertheless, one day he will appear before the hero in all his majestic beauty.

Before us is the episode “Raskolnikov on the Nikolaevsky Bridge” (part 2, chapter 2)

SLIDE 9 (RASKOLNIKOV)

Our task is to understand: why does Dostoevsky introduce this scene into the novel?

Let's read this episode.

What did you notice? What actions are taking place? (He walks in deep thought, almost got hit by a horse, for which he received a blow with a whip, which made him wake up. And then he felt that in his hand was clamped a two-kopeck piece, which a compassionate merchant’s wife had given him in the form of alms.)

Did Raskolnikov end up on the Nikolaevsky Bridge by chance?

What paradox did you notice?

(This is the first thing Dostoevsky draws the attention of readers: his hero, who considered himself among the people of the highest rank, looks in the eyes of others simply as a beggar)

But it is important to understand why exactly here, in this place, the author made his hero wake up? Why does he forget the pain of the whip?

(From the bridge, he had a magnificent view of the city. He was again faced with a riddle, the mystery of the “magnificent panorama”, which had long troubled his mind and heart. Now in front of him is not a city of slums, in front of him is a city of palaces and cathedrals - SLIDE 10

the personification of the supreme power of Russia. This Winter Palace, Saint Isaac's Cathedral, Senate and Synod buildings, Bronze Horseman.)

How did Raskolnikov feel at that moment? What did he think?

(The picture is majestic and cold. Only now he fully felt what step he had taken, against what he raised his ax.)

What symbolic meaning does the panorama of St. Petersburg acquire in this scene? Why does she smell cold?

Here, on the Nikolaevsky Bridge, Raskolnikov and a world hostile to him stood opposite each other.

What role does such a girl play in the scene? artistic detail, like a two-kopeck piece clutched in the hero’s fist?

SLIDE 11 (Raskolnikov, two-kopeck)

Now such an artistic detail as the two-kopeck coin clutched in Raskolnikov’s fist takes on a different meaning. He, who rebelled against the world of palaces and cathedrals, is considered a beggar, worthy only of compassion and pity. He, who wanted to gain power over the world, found himself cut off from people, finding himself in that yard of space that constantly arose in his cruel thoughts.

This “end-to-end” image of the novel receives almost material embodiment in this scene, while remaining at the same time a symbol of enormous generalizing power.

What emotional and semantic meaning does the image of the abyss that opens up under Raskolnikov’s feet acquire?

Dostoevsky showed in this scene Raskolnikov’s loneliness, his isolation from the world of people, makes the reader notice the abyss that opened up under the hero’s feet.

The impression of this scene is enhanced not only by the artistic details, but also by the very rhythmic structure of the phrase, with which the author was able to convey the movement of Raskolnikov’s thoughts, the very process of his separation from people. “In some depth, barely visible under his feet, all of his former past, and former thoughts, and former tasks, and former themes, and former impressions, and this whole panorama, and himself, and everything, now appeared. everything... IT SEEMED HE FLY UP SOMEWHERE, and everything disappeared before his eyes..."

This feeling of flying to nowhere, of being cut off, of a person’s terrible loneliness is enhanced by several artistic details that were given a little earlier. “The sky was almost without the slightest cloud, and the water was almost blue...” Let’s mentally imagine from what point R.’s “magnificent panorama” of St. Petersburg opened up.

He stood on the bridge, below him there was a blue abyss of rivers and, above him - blue sky. This is quite real picture The novel is filled with enormous symbolic content in comparison with all the events that we learn about from the text of the novel a little earlier.

SLIDE 13 (RASKOLNIKOV)

A two-kopeck piece clutched in R.’s fist (also an artistic detail, filled with deep symbolic meaning) connects this episode with the scene on the boulevard, when the hero donated his twenty kopecks to save the poor girl. It connects not only because the fate of this girl is similar to the fate of Sonya, those close to the hero, but also because an ethical question of enormous importance is raised here: does he, Rodion Romanovich Raskolnikov, have the right to help people now, and if not, then who Luzhin has this right? Svidrigailov? Someone else? And what does it mean to help?

So a small artistic detail draws us to the hero’s thoughts about serious moral problems.

How is the scene “On the Nikolaevsky Bridge” related to the preceding and subsequent content of the novel?

SLIDE 14 (LAST)

Thus, a tiny episode, an infinitesimal link in the “labyrinth of connections” helps us understand the author’s intention as a whole.

What scene and from what work does the scene on the Nikolaevsky Bridge echo? What are the similarities and differences between the situations?

(“The Bronze Horseman”: Eugene - sitting on a lion, saw in front of him an “idol on a horse” - challenges; Raskolnikov does not challenge - he wants to establish himself in this world).

In a world in which the owners of the meadows, the Svidrigailovs,..., we will talk about them in the next lesson.

D/Z: Images of Luzhin, Svidrigailov

The image of St. Petersburg, created in Russian literature, amazes with its gloomy beauty, sovereign greatness, but also with its “European” coldness and indifference. This is how Pushkin saw Petersburg when he created the poem “The Bronze Horseman”, the story “ Stationmaster" Gogol emphasized everything incredible and fantastic in the image of St. Petersburg. In Gogol’s depiction, Petersburg is a city of illusion, a city of the absurd, which gave birth to Khlestakov, the official Poprishchin, and Major Kovalev. Nekrasov’s Petersburg is already a completely realistic city, where “everything merges, groans, hums,” a city of poverty and lawlessness of the Russian people.

Dostoevsky follows the same traditions in depicting St. Petersburg in his novel Crime and Punishment. Here the very place of action, as M. Bakhtin noted, “is on the border of being and non-being, reality and phantasmagoria, which is about to dissipate like fog and disappear.”

The city in the novel becomes a real character, with its own appearance, character, and way of life. The very first contact with him turns into failure for Raskolnikov. St. Petersburg does not seem to “accept” Raskolnikov, looking indifferently at his plight. A poor student has nothing to pay for an apartment or for studying at the university. His closet reminds Pulcheria Alexandrovna of a “coffin.” Rodion's clothes had long since turned into rags. Some drunk, mocking his suit, calls him a “German hatter.” On the Nikolaevsky Bridge, Raskolnikov almost fell under a carriage; the coachman lashed him with a whip. Some lady, mistaking him for a beggar, gave him alms.

And Raskolnikov’s “vague and insoluble impression” seems to capture this coldness, the inaccessibility of the City. From the Neva embankment, the hero enjoys a magnificent panorama: “the sky... without the slightest cloud,” “the water is almost blue,” “clean air,” the shining dome of the cathedral. However, “an inexplicable chill always blew over him from this magnificent panorama; This magnificent picture was full of a dumb and deaf spirit for him.”

However, if Petersburg is cold and indifferent to the fate of Raskolnikov, then this city mercilessly “persecuts” the Marmeladov family. Constant poverty, hungry children, a “cold corner”, Katerina Ivanovna’s illness, Marmeladov’s destructive passion for drinking, Sonya, forced to sell herself in order to save her family from death - here terrifying pictures life of this unfortunate family.

Marmeladov, who was secretly proud of his wife, dreamed of giving Katerina Ivanovna the life she deserved, settling the children, and returning Sonya “to the bosom of the family.” However, his dreams are not destined to come true - the relative family well-being vaguely outlined ahead in the form of Semyon Zakharovich’s enrollment in the service was sacrificed to his destructive passion. Numerous drinking establishments, disdain people, the very atmosphere of St. Petersburg - all this stands as an insurmountable obstacle to Marmeladov’s happy, prosperous life, driving him to despair. “Do you understand, do you understand, dear sir, what it means when there is nowhere else to go?” - Marmeladov exclaims bitterly. The fight against St. Petersburg turns out to be beyond the power of the poor official. The city, this accumulation of human vices, emerges victorious in an unequal struggle: Marmeladov is crushed by a rich crew, Katerina Ivanovna died of consumption, leaving the children orphans. Even Sonya, who is trying to actively resist life’s circumstances, eventually leaves St. Petersburg, following Raskolnikov to Siberia.

It is characteristic that Petersburg turns out to be close and understandable to the most “demonic” hero of the novel, Svidrigailov: “The people get drunk, the youth, educated from inaction, burn out in unrealistic dreams and dreams, are deformed in theories; the Jews came in large numbers from somewhere, hide money, and everything else is debauched. This city smelled like a familiar smell to me from the very first hours.”

Svidrigailov notes that Petersburg is a city whose gloomy, dreary atmosphere has a depressing effect on the human psyche. “In St. Petersburg, a lot of people walk and talk to themselves. This is a city of half-crazy people. If we had sciences, then doctors, lawyers, philosophers could do the most precious research on St. Petersburg, each in their own specialty. Rarely where can you find so many dark, harsh and strange influences on the human soul as in St. Petersburg. What are climate influences alone worth? Meanwhile, this is the administrative center of all of Russia and its character should be reflected in everything,” says Arkady Ivanovich.

And the hero is right in many ways. The very atmosphere of the City seems to contribute to Raskolnikov's crime. Heat, stuffiness, lime, forests, bricks, dust, the unbearable stench from taverns, drunks, prostitutes, fighting ragamuffins - all this inspires the hero with a “feeling of deepest disgust.” And this feeling takes possession of the hero’s soul, extending to those around him and to life itself. After the crime, Raskolnikov is overcome by “an endless, almost physical disgust for everything he has encountered and everything around him, persistent, angry, hateful. Everyone he meets is disgusting to him—their faces, their gait, their movements are disgusting.” And the reason for this feeling is not only the hero’s condition, but also St. Petersburg life itself.

As Yu.V. notes Lebedev, Petersburg also has a detrimental effect on human morals: people in this city are cruel, devoid of pity and compassion. They seem to inherit all the bad qualities of the City that gave birth to them. So, an angry coachman, shouting at Raskolnikov to move aside, lashed him with a whip, and this scene aroused the approval of those around him and their ridicule. In the tavern everyone laughs loudly at the story of the drunken Marmeladov. For visitors to the “establishment” he is a “funny guy”. His death itself, Katerina Ivanovna’s grief, becomes the same “fun” for those around him. When a priest visits the dying Marmeladov, the doors from the inner rooms begin to gradually open to “curious” people, and “spectators” crowd more and more densely into the hallway. Confession and communion of Semyon Zakharovich for the residents is nothing more than a performance. And in this Dostoevsky sees an insult to the very mystery of death.

The ugliness of life has led to the violation of all norms intra-family relations. Alena Ivanovna and Lizaveta are sisters. Meanwhile, in Alena Ivanovna’s relationship with her sister, not only manifestations of love are not noticeable, but also at least some kindred feelings. Lizaveta remains “in complete slavery to her sister,” works for her “day and night” and suffers beatings from her.

Another “reasonable lady” in the novel is thinking about how to sell at a higher price. own daughter, a sixteen-year-old high school student. The rich landowner Svidrigailov turns up, and the “judicious lady,” not embarrassed by the groom’s age, immediately blesses the “young people.”

Finally, Sonya's behavior is also not entirely logical. She sacrifices herself for the sake of Katerina Ivanovna’s young children, sincerely loves them, but after the death of her parents she easily agrees to send the children to an orphanage.

Petersburg appears dark and ominous in numerous interiors, landscapes, crowd scenes. As V. A. Kotelnikov notes, Dostoevsky here “recreates the naturalistic details of urban life - the gloomy appearance of apartment buildings, the gloomy interior of their courtyards, staircases, apartments, the abomination of taverns and “institutions”.”

A typical scene is Raskolnikov's visit to Sennaya Square. There are a lot of “shaggy people”, “all kinds of industrialists”, and merchants crowding here. In the evening they lock their establishments and go home. Many beggars live here - “you can walk around in any form you like without scandalizing anyone.”

Here Raskolnikov is walking along K Boulevard. Suddenly he notices a drunk woman a young girl, “plain-haired, without an umbrella and gloves,” in a torn dress. She is being pursued by an unknown gentleman. Together with the policeman, Rodion tries to save her, but he soon realizes the futility of his attempts.

Here the hero goes to Sadovaya. On the way, he encounters “entertainment establishments,” a company of prostitutes “with hoarse voices” and “black eyes.” One “ragamuffin” is loudly swearing at another, “some dead drunk” is lying across the street. There is noise, laughter, and squealing everywhere. As Yu. Karyakin notes, Dostoevsky’s Petersburg is “saturated with noise” - buzzing streets, screams of ragged people, the rattling of a barrel organ, high-profile scandals in houses and on stairs.

These paintings are reminiscent of Nekrasov’s “street impressions” - the cycles “On the Street” and “About the Weather.” In the poem “Morning Walk,” the poet recreates the deafening rhythm of life big city:

Everything merges, groans, hums, Somehow dull and menacingly rumbles, As if chains are being forged on the unfortunate people, As if the city wants to collapse, A crush, talking... (what are the voices about? All about money, about need, about bread).

The landscape in this poem echoes the cityscape in Dostoevsky's novel. From Nekrasov we read:

An ugly day begins -

Muddy, windy, dark and dirty.

And here is one of the landscapes in the novel “Crime and Punishment”: “A milky, thick fog lay over the city. Svidrigailov walked along the slippery, dirty wooden pavement towards the Malaya Neva... With annoyance he began to look at the houses... Neither a passer-by nor a cab driver was seen along the avenue. The bright yellow wooden houses with closed shutters looked sad and dirty. Cold and dampness permeated his entire body...”

This landscape corresponds to Raskolnikov’s mood: “...I love how they sing to a barrel organ in a cold, dark and damp autumn evening, certainly in the damp, when all passers-by have pale green and sick faces; or, even better, when wet snow falls, completely straight, without wind... and through it the gas lamps shine...,” the hero says to a random passerby.

The plot of Nekrasov’s poem “Am I Driving Down a Dark Street at Night,” which is based on the fate of a street woman, precedes the plot of Sonya Marmeladova. Nekrasov poetizes the heroine’s action:

Where are you now? With miserable poverty

Have you been overcome by an evil struggle?

Or did you go the usual way,

And the fateful fate will be fulfilled?

Who will protect you? All without exception

They will call you a terrible name,

Only in me will curses stir -

And they will freeze uselessly!..

In the novel, Dostoevsky also “exalts” Sonya Marmeladova, considering her dedication a feat. Unlike those around her, Sonya does not submit to life’s circumstances, but tries to fight them.

Thus, the City in the novel is not only the place where the action takes place. This real character, the real protagonist of the novel. Petersburg is gloomy, ominous, it seems that it does not love its inhabitants. He doesn't save them from life's adversities, does not become a home or homeland for them. This is a City that shatters dreams and illusions and leaves no hope. At the same time, Dostoevsky’s Petersburg is also a real capitalist city in Russia in the second half of the 19th century. This is a city of “clerks and all kinds of seminarians”, a city of newly minted businessmen, moneylenders and traders, poor people and beggars. This is a city where love, beauty, and human life itself are bought and sold.

The image of an octopus city in which “man has nowhere to go…”

F.M. Dostoevsky, let me remind you once again, constantly peered into the streets, alleys, houses, taverns, dens of the poor St. Petersburg, seeing its pitiful inhabitants, with their bitter fate. And the essence of the city was contained not in its apparent (!) magnificent decoration, but in its social contradictions.

The story of Raskolnikov's crime and punishment takes place in St. Petersburg. And this is no coincidence: the most fantastic city in the world gives birth to the most fantastic hero. In Dostoevsky's world, place, setting, nature are inextricably linked with the characters and form a single whole. Only in gloomy and mysterious Petersburg could the “ugly dream” of a beggar student be born, and Petersburg here is not just a place of action, not just an image - Petersburg is a participant in Raskolnikov’s crime. Throughout the novel there are only a few brief descriptions cities, reminiscent of theatrical stage directions, but they are quite enough to penetrate into the “spiritual” landscape, to feel “Dostoevsky’s Petersburg”.

dostoevsky petersburg crime punishment

Raskolnikov is as dual as the Petersburg that gave birth to him (on the one hand, Sennaya Square is a “disgusting and sad coloring of the picture”; on the other, the Neva is a “magnificent panorama”), and the entire novel is dedicated to unraveling this duality between Raskolnikov and Petersburg. On a clear summer day, Raskolnikov stands on the Nikolaevsky Bridge and “peers intently” at the “truly magnificent panorama” opening before him: “An inexplicable cold always blew over him from this magnificent panorama; this magnificent picture was full of a dumb and deaf spirit for him. He marveled. each time to my gloomy and mysterious impression and put off solving it."

Another example of the spiritualization of matter is the homes of Dostoevsky’s heroes. Raskolnikov's "yellow closet", which Dostoevsky compares to a coffin, is contrasted with Sonya's room: Raskolnikov, closed from the world, has a cramped coffin, Sonya, open to the world, has a "large room with three windows"; About the room of the old pawnbroker, Raskolnikov remarks: “It’s the wicked and old widows who have such cleanliness.” The homes of Dostoevsky's heroes do not have an independent existence - they are only one of the functions of the heroes' consciousness.

This also applies to Dostoevsky’s description of nature. World, surrounding a person, is always given as part of the soul of this person, becomes, as it were, an internal landscape human soul, to a large extent determines human actions. In the soul of Raskolnikov the killer it is just as “cold, dark and damp” as in St. Petersburg, and the “dumb and deaf spirit” of the city sounds in Raskolnikov like the melancholy song of a lonely organ-organ.

“The evening was fresh, warm and clear. Raskolnikov was walking to his apartment, he was in a hurry. He wanted to finish everything before sunset.”

The sun appears only at the very end of the novel, in the epilogue. “There, in the sun-drenched boundless steppe,” Raskolnikov will be freed from the nightmare of murder. There the sunrise and rebirth will become possible. This will happen in Siberia. In St. Petersburg, Raskolnikov will always feel like he is “sentenced to execution.” He committed a crime to free himself, but it turned out that he had painted himself into a corner. He is now oppressed not only by his own closet, but also psychological condition dead end He runs outside, but cannot find a way out. This is how he walks around the city: “He walked along the sidewalk like a drunk, not noticing passers-by and bumping into them”; "It was difficult to become more dejected and shabby, but Raskolnikov even found it pleasant in his current state of mind. He decisively left everyone, like a turtle in its shell." As usual, he walked, not noticing the road, whispering to himself and even speaking aloud to himself, which greatly surprised passers-by. Many took him for a drunk."; “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 were disgusting , gait, movements. He would simply spit on someone, would bite, it seems, if someone spoke to him."

Raskolnikov suffers not only in reality. Horrors haunt him in his dreams. Fantastic Petersburg in Raskolnikov's dreams takes on surrealistic features. Let us recall, for example, Raskolnikov’s dream with a laughing old woman: “It was already late in the evening. Twilight was deepening, the full moon was getting brighter and brighter; but somehow it was especially stuffy in the air. The whole room was brightly lit moonlight;. A huge, round, copper-red moon looked straight into the windows. “It’s been so quiet for a month,” thought Raskolnikov, “he’s probably asking a riddle now.” He stood and waited, waited for a long time, and the quieter the month was, the stronger his heart beat, and it even became painful. And all is silence. Suddenly, an instant dry crack was heard, as if a splinter had been broken, and everything froze again. The awakened fly suddenly hit the glass and buzzed pitifully..."

It is also impossible not to remember that the events of the novel take place in the summer, and in a very hot and stuffy summer: “The heat outside was terrible, and also stuffy, crowded, there was lime everywhere, forests, bricks, dust and that special summer stench, so well known to every St. Petersburg resident who does not have the opportunity to rent a dacha..."; “Once again the heat on the street was unbearable; if only there was a drop of rain all these days. Again dust, brick and mortar, again the stench from the shops and taverns, again drunk every minute...”; “The stuffiness remained as before; but with greed he breathed in this stinking, dusty air contaminated by the city...”

The picture of this city stuffiness is complemented and aggravated by the feeling of spiritual loneliness of a person in the crowd.

The amazingly selfish, suspicious and distrustful attitude of people towards each other; They are united only by gloating and curiosity about the misfortunes of their neighbors.

Thus, the image of St. Petersburg is created as a dead, cold, indifferent person to the fate of a person.

In "Crime and Punishment" internal drama uniquely brought to the crowded streets and squares of St. Petersburg. The action constantly shifts from narrow and low rooms to the capital's neighborhoods: on the street Sonya sacrifices herself, here Marmeladov falls dead, Katerina Ivanovna bleeds on the pavement, on the avenue in front of the tower Svidrigailov shoots himself, on Sennaya Square Raskolnikov tries to publicly repent. Multi-storey buildings, narrow alleys, dusty squares, humpbacked bridges - this is the complex structure of a big city, which grows ponderously above the dreamer of the unlimited rights of a lonely intellect!

St. Petersburg is inseparable from Raskolnikov’s personal drama: it is the object of oppression of metropolitan life, which destroys and destroys the human soul.

Crime and Punishment is, first and foremost, a novel of a sick city in the 19th century. The broad background of the capitalist capital determines the nature of the conflicts and dramas here. Taverns, taverns, brothels, slum hotels, police offices, students' attics and moneylenders' apartments, streets and back streets, courtyards and backyards, Haymarket and the "ditch" - all this seems to give rise to Raskolnikov's criminal plan.

Lesson topic: Analysis of the episode “Raskolnikov on the Nikolaevsky Bridge” based on the novel by F.M. Dostoevsky “Crime and Punishment” Objectives: 1. develop the ability to work with text, paying attention to the WORD of the writer; 2. check the development of reading and analytical skills; 3. learn to perceive an episode holistically, comprehensively, to see in a separate fragment of a work of art an expression of the author’s position on the world and man, and convey this through one’s own interpretation of the text. We continue to work on Dostoevsky's novel “Crime and Punishment” SLIDE 1 Topic of our lesson: Analysis of the episode “Raskolnikov on Nikolaevsky Bridge” SLIDE 2 1. Review conversation - What is an episode? (E. is a small part of a literary work that plays a certain structural role in the development of the plot. A part of a work of art that has relative completeness and represents a separate moment in the development of the theme. SLIDE 3 The content of the episode consists of the actions of the characters, small incidents or major event , giving a new direction to the development of the plot, which in major works is built on the concatenation of a number of episodes). SLIDE 4 - Why is the last statement important? (E. is a complete, but not isolated passage of text, so analysis of an episode is a way to comprehend the meaning of an entire work through its fragment) SLIDE 5 - How are the boundaries of an episode determined? (Either by a change of characters, or by the accomplishment of a new event) - Why is it important to determine the place of a fragment in the structure of the artistic whole? Temporary, cause-and-effect relationships ___________1__________________________________________________________ Exposition denouement plot development of action culmination - Are there any connections between the episodes? (There are connections between episodes: cause-and-effect, cause-temporal, temporary) SLIDE 6 SLIDE 7 When working on an episode, we must identify important motives, ideas, artistic techniques, and the author’s creative style. Only after this do we have the right to talk about the most important features of the entire work! The events contained in the episode contain a certain motive (meeting, quarrel, argument,...) i.e. The content function of an episode can be Characterological. i.e. reflect the character of the hero, his worldview Psychological, i.e. reveals the hero's state of mind and his psychology. Evaluative, i.e. contain the author's assessment in a lyrical digression. May mark a turn in the relationship of the characters. The episode is a micro-theme, a separate work with its own composition, in which there is an exposition, a plot, a climax, and a denouement. SLIDE 8 (CITY OF PETERSBURG) In the previous lesson, we drew attention to one of the most important themes of the novel - the theme of St. Petersburg. The city becomes the real protagonist of the novel, the action of the work takes place precisely on its streets because Dostoevsky, in his own way, comprehended the place of this city in Russian history. And although Dostoevsky’s Petersburg is a city of taverns and “corners”, it is a city of Sennaya Square, dirty alleys and tenement buildings, one day it will appear before the hero in all its majestic beauty. Before us is the episode “Raskolnikov on the Nikolaevsky Bridge” (part 2, chapter 2) SLIDE 9 (RASKOLNIKOV) - Our task is to understand: why does Dostoevsky introduce this scene into the novel? Let's read this episode. - What did you notice? What actions are taking place? (He walks in deep thought, almost got hit by a horse, for which he received a blow with a whip, which made him wake up. And then he felt that in his hand was clamped a two-kopeck piece, which a compassionate merchant’s wife had given him in the form of alms. ) - Was it by chance that Raskolnikov ended up on the Nikolaevsky Bridge? - What paradox did you notice? (This is the first thing that Dostoevsky draws the attention of readers: his hero, who ranked himself among the people of the highest rank, looks in the eyes of others simply as a beggar) - But it is important to understand why exactly here, in this place, the author made his hero wake up? Why does he forget the pain of the whip? (From the bridge, a magnificent view of the city opened up to him. A riddle, the mystery of the “magnificent panorama” that had long troubled his mind and heart, arose before him again. Now before him is not a city of slums, before him is a city of palaces and cathedrals - SLIDE 10, the personification of the supreme power of Russia. This is the Winter Palace, St. Isaac's Cathedral, the buildings of the Senate and Synod, the Bronze Horseman.) - How did Raskolnikov feel at that moment? What did he think? (The picture is majestic and cold. Only now he fully felt what step he had taken, against what he raised his ax.) - What symbolic meaning does the panorama of St. Petersburg acquire in this scene? Why does she smell cold? - Here, on the Nikolaevsky Bridge, Raskolnikov and the world hostile to him stood against each other. - What role does such an artistic detail as a two-kopeck coin clutched in the hero’s fist play in the scene? SLIDE 11 (RASKOLNIKOV, TWO-KREEN) = Now such an artistic detail as the two-kopeck piece clutched in Raskolnikov’s fist takes on a different meaning. He, who rebelled against the world of palaces and cathedrals, is considered a beggar, worthy only of compassion and pity. He, who wanted to gain power over the world, found himself cut off from people, finding himself in that yard of space that constantly arose in his cruel thoughts. This “end-to-end” image of the novel receives almost material embodiment in this scene, while remaining at the same time a symbol of enormous generalizing power. SLIDE 12 - What emotional and semantic meaning does the image of the abyss that opened up under Raskolnikov’s feet acquire? Dostoevsky showed in this scene Raskolnikov’s loneliness, his isolation from the world of people, makes the reader notice the abyss that opened up under the hero’s feet. The impression of this scene is enhanced not only by the artistic details, but also by the very rhythmic structure of the phrase, with which the author was able to convey the movement of Raskolnikov’s thoughts, the very process of his separation from people. “In some depth, barely visible under his feet, all of his former past, and former thoughts, and former tasks, and former themes, and former impressions, and this whole panorama, and himself, and everything, now appeared. everything... IT SEEMED HE FLY UP SOMEWHERE, and everything disappeared in his eyes...” This feeling of flying to nowhere, of being cut off, of the terrible loneliness of a person is intensified by several artistic details that were given a little earlier. “The sky was almost without the slightest cloud, and the water was almost blue...” Let’s mentally imagine from what point R.’s “magnificent panorama” of St. Petersburg opened up. He stood on the bridge, below him was the blue abyss of rivers and above him - the blue sky. This very real picture is filled in the novel with enormous symbolic content in comparison with all the events that we learn about from the text of the novel a little earlier. SLIDE 13 (RASKOLNIKOV) The two-kopeck coin clenched in R.’s fist (also an artistic detail filled with deep symbolic meaning) connects this episode with the scene on the boulevard, when the hero donated his twenty kopecks to save the poor girl. It connects not only because the fate of this girl is similar to the fate of Sonya, those close to the hero, but also because an ethical question of enormous importance is raised here: does he, Rodion Romanovich Raskolnikov, have the right to help people now, and if not, then who Luzhin has this right? Svidrigailov? Someone else? And what does it mean to help? So a small artistic detail draws us to the hero’s thoughts about serious moral problems. =How is the scene “On the Nikolaevsky Bridge” related to the preceding and subsequent content of the novel? SLIDE 14 (LAST) So a tiny episode, an infinitesimal link in the “labyrinth of connections” helps us understand the author’s intention as a whole. = Which scene and from which work of A.S. Pushkin does the scene on the Nikolaevsky Bridge echo? What are the similarities and differences between the situations? (A.S. Pushkin “The Bronze Horseman”: Eugene - sitting on a lion, saw in front of him “an idol on a bronze horse” - challenges; Raskolnikov does not challenge - he wants to establish himself in this world). In a world in which the owners of the meadows, the Svidrigailovs,..., we will talk about them in the next lesson. D/Z: Images of Luzhin, Svidrigailov

Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses)

Part 2 Ch. 2 (scene on the Nikolaevsky Bridge, blow of the whip and alms)

Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)

Part 2 ch.6 (scene on... bridge)

Part 5 chapter 5 (death of Katerina Ivanovna)

Conclusion: