Moscow Financial and Industrial University

"Synergy"

in the discipline "Literature"

"The originality of the novel Crime and Punishment"

Completed:

Loginov Dmitry

Checked:

Khabarova T.M.

Bronnitsy, 2013

Plan

1. ARTISTIC ORIGINALITY OF THE NOVEL

2. Specifics of the novel "Crime and Punishment"

ARTISTIC ORIGINALITY OF THE NOVEL

Among the classics of world literature, Dostoevsky deservedly bears the title of master in revealing the secrets of the human soul and creator of the art of thought. Any thought a writer has, good or evil, in his own words, “pecks like a chicken from an egg.” All the artistic features and poetics of the novel “Crime and Punishment” serve as a means of revealing Dostoevsky’s special spirituality. While working on the work, the writer mainly sought to trace the “psychological process of the crime.” That is why “Crime and Punishment” is considered a work in which the originality of the writer’s psychologism was most clearly outlined. In the novel, literally everything matters: numbers, first names, surnames, St. Petersburg topography, the time of action, the situations in which the characters find themselves, and even individual words. Dostoevsky trusted his reader, so he deliberately left many things unsaid, counting on the reader’s spiritual connection to his world. In this spiritual world, the different positions of the ax during Raskolnikov’s murder of the old pawnbroker and Lizaveta, and the description of Raskolnikov’s appearance, and the numbers “seven” and “eleven”, “pursuing” the protagonist, and often mentioned in the novel, are also significant. yellow, and the word “suddenly”, mentioned on the pages of the novel about 500 times, and many other details that are invisible at first glance.

Each hero of the novel has his own, individual language, but they all communicate in common language– the language of the “fourth dimension” of the writer. Each character in “Crime and Punishment” can have its own verbal description, but the most expressive is the linguistic portrait of Raskolnikov. Dostoevsky with great skill showed the duality of the main character of the novel, using for this purpose various stylistic devices: the intermittency of Raskolnikov’s speech, the disharmony of his syntax, and most importantly, the contrast between the external and internal forms of the hero’s speech. Everything in the style of a novel is subject to the “laws of the fourth dimension,” where gravity ceases to operate: portrait, landscape, place and time of action. The writer’s special, unique rhythm captivates the reader so much that he does not immediately appreciate every detail of the hero’s portrait.

The writer's methods of creating a psychological picture are extremely varied. Despite the fact that Dostoevsky rarely used portraits as such, he is considered a subtle and profound master of portraiture. The writer believed that man is a very complex creature and his appearance cannot in any way reflect his essence. More important for Dostoevsky is the hero’s costume or any detail in it that reflects the character’s character. So, for example, Luzhin’s attire (a smart suit, magnificent gloves, etc.) betrays his desire to look younger and make a favorable impression on others. Suffice it to recall, for example, the portrait of an old pawnbroker, the expressiveness of which is created with the help of diminutives: “She was a tiny, dry old woman, about sixty years old, with sharp and angry eyes, a small pointed nose and bare hair. Her blond, slightly gray hair was greased with oil... The old woman coughed and groaned every minute.”

The most important means of characterization in the novel “Crime and Punishment,” as in any work of fiction, are the actions of the heroes. But Dostoevsky draws more attention to the fact under the influence of which these actions are committed: either the action is performed by a person driven by feeling, or the action is performed under the influence of the character’s mind. The actions committed by Raskolnikov unconsciously are usually generous and noble, while under the influence of reason the hero commits a crime (the crime itself was committed from the mind; Raskolnikov was under the influence of a rational idea and wanted to test it in practice). Arriving at the Marmeladovs’ house, Raskolnikov instinctively left the money on the windowsill, but when leaving home, he regretted it. The contrast between feelings and rational spheres is very important for Dostoevsky, who understood personality as a combination of two principles - good, associated with feeling, and evil, associated with reason. The sensory sphere, according to the author, is the original, divine nature of man. Man himself is the battlefield between God and the Devil.

It's an interesting time. At first it flows slowly, then it accelerates, during hard labor it stretches out and stops completely during the resurrection of Raskolnikov, as if it unites the present, the past and the future. The tension of the psychological conflict is aggravated by such a technique as the subjective interpretation of time; it can stop (as, for example, in the scene of the murder of the old woman) or fly with feverish speed, and then faces, objects, events flash in the hero’s mind, as in a kaleidoscope. Another feature of the novel is the lack of consistency and logic in the conveyance of the characters’ feelings and experiences, which is also determined by their state of mind. Often the author resorts to “visions,” including hallucinations and nightmares (dreams of Raskolnikov, Svidrigailov). All this aggravates the drama of the events taking place, making the style of the novel hyperbolic.

Specifics of the novel "Crime and Punishment"

The specificity of "Crime and Punishment" is that it synthesizes romance and tragedy. Dostoevsky extracted tragic ideas from the era of the sixties, in which the “free higher” personality was forced to test the meaning of life in practice alone, without the natural development of society. An idea acquires novelistic force in Dostoevsky's poetics only when it reaches extreme tension and becomes mania. The action to which it pushes a person must acquire the character of a catastrophe. The hero’s “crime” is neither criminal nor philanthropic in nature. Action in a novel is determined by an act of free will undertaken to transform an idea into reality.

Dostoevsky made his heroes criminals - not criminally, but philosophical sense words. The character became interesting to Dostoevsky when a historical, philosophical or moral idea was revealed in his willful crime. The philosophical content of the idea merges with him with the feelings, character, social nature of man, his psychology.

The novel is based on the free choice of a solution to a problem. Life had to knock Raskolnikov out of his knees, destroy the sanctity of norms and authorities in his mind, lead him to the conviction that he is the beginning of all beginnings: “everything is prejudice, only fears, and there are no barriers, and so it should be.” !" And since there are no barriers, then you need to choose.

Dostoevsky is a master of a fast-paced plot. From the first pages, the reader finds himself in a fierce battle; the characters come into conflict with established characters, ideas, and mental contradictions. Everything happens impromptu, everything comes together in the shortest possible time. Heroes, “who have decided the issue in their hearts and heads, break through all obstacles, neglecting their wounds...”

“Crime and Punishment” is also called a novel of spiritual quest, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves their theory without listening to their interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. From the cacophony of voices, the voice of the author stands out, expressing sympathy for some characters and antipathy for others. He is filled either with lyricism (when he talks about Sonya’s spiritual world) or with satirical contempt (when he talks about Luzhin and Lebezyatnikov).

The growing tension of the plot is conveyed through dialogue. With extraordinary skill, Dostoevsky shows the dialogue between Raskolnikov and Porfiry, which is conducted in two aspects: firstly, each remark of the investigator brings Raskolnikov’s confession closer; and secondly, the whole conversation in sharp leaps develops the philosophical position expressed by the hero in his article.

The internal state of the characters is conveyed by the writer through the method of confession. “You know, Sonya, you know what I’ll tell you: if I had only killed because I was hungry, then I would now... be happy. If you knew that!” Old man Marmeladov confesses to Raskolnikov in the tavern, and Raskolnikov to Sonya. Everyone has a desire to open their souls. Confession, as a rule, takes the form of a monologue. The characters argue with themselves, castigate themselves. It is important for them to understand themselves. The hero objects to his other voice, refutes the opponent in himself: “No, Sonya, that’s not it!” he began again, suddenly raising his head, as if a sudden turn of thoughts had struck and aroused him again...” It’s common to think that if a person is struck a new turn of thoughts, then this is a turn of thoughts of the interlocutor. But in this scene, Dostoevsky reveals an amazing process of consciousness: the new turn of thoughts that occurred in the hero amazed him! A person listens to himself, argues with himself, contradicting himself.

The portrait description conveys general social features and signs of age: Marmeladov is a drunken aging official, Svidrigailov is a youthful, depraved gentleman, Porfiry is a sickly, intelligent investigator. This is not the writer's usual observation. The general principle of the image is concentrated in rough, sharp strokes, like masks. But the eyes are always painted on the frozen faces with special care. Through them you can look into a person’s soul. And then Dostoevsky’s exceptional manner of focusing attention on the unusual is revealed. Everyone’s faces are strange, everything in them is taken too far to the limit, they amaze with their contrasts. There was something “terribly unpleasant” in Svidrigailov’s handsome face; in Porfiry’s eyes there was “something much more serious” than should have been expected. In the genre of polyphonic ideological novel, this is the only way they should be portrait characteristics complex and divided people.

Landscape painting by Dostoevsky is not similar to the paintings of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a barrel organ, wet snow, the dim light of gas lamps - all these repeatedly repeated details not only give a gloomy flavor, but also conceal complex symbolic content.

Dreams and nightmares carry a certain artistic meaning in revealing ideological content. There is nothing lasting in the world of Dostoevsky’s heroes; they already doubt whether the disintegration of moral foundations and personality occurs in a dream or in reality. To penetrate the world of his heroes, Dostoevsky creates unusual characters and unusual situations that border on fantasy.

The artistic detail in Dostoevsky's novel is as original as other artistic means. Raskolnikov kisses Sonya's feet. A kiss serves to express a deep idea containing multiple meanings.

A substantive detail sometimes reveals the entire plan and course of the novel: Raskolnikov did not kill the old woman - the pawnbroker, but “lowered” the ax on the “head with the butt.” Since the killer is much taller than his victim, during the murder the ax blade threateningly “looks him in the face.” With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted for whose sake the ax was raised.

The color detail enhances the bloody undertone of Raskolnikov's crime. A month and a half before the murder, the hero pawned “a small gold ring with three red stones,” a souvenir from his sister. “Red pebbles” become harbingers of droplets of blood. The color detail is repeated more than once: red lapels on Marmeladov’s boots, red spots on the hero’s jacket.

The keyword orients the reader to the storm of feelings of the character. Thus, in the sixth chapter the word “heart” is repeated five times. When Raskolnikov, having woken up, began to prepare to leave, “his heart was beating strangely. He strained every effort to figure everything out and not forget anything, but his heart kept beating, pounding so that it became difficult for him to breathe.” Having safely reached the old woman’s house, “taking a breath and pressing his hand to his pounding heart, immediately groping and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening. In front of the old woman’s door, his heart beats even stronger: “Am I pale?” .. very,” he thought, “am I not particularly excited? She is incredulous - Shouldn’t we wait a little longer... until my heart stops?” But the heart did not stop. On the contrary, as if on purpose, the knocking became stronger, stronger, stronger..."

To understand the deep meaning of this key detail, we must remember the Russian philosopher B. Vysheslavtsev: “... in the Bible the heart is found at every step. Apparently, it means the organ of all senses in general and religious feeling in particular... such a thing is placed in the heart an intimate hidden function of consciousness, like conscience: conscience, according to the Apostle, is a law inscribed in hearts." In the beating of Raskolnikov's heart, Dostoevsky heard the sounds of the hero's tormented soul.

The symbolic detail helps to reveal the social specifics of the novel.

Pectoral cross. At the moment when the pawnbroker was overtaken by her suffering on the cross, “Sonya’s icon”, “Lizavetin’s copper cross and a cypress cross” were hanging around her neck along with her tightly stuffed wallet. While affirming the view of his heroes as Christians walking before God, the author simultaneously conveys the idea of ​​a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the murderer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon and the Gospel.

Religious symbolism is also noticeable in proper names: Sonya (Sofia), Raskolnikov (schism), Kapernaumov (the city in which Christ worked miracles); in numbers: “thirty rubles”, “thirty kopecks”, “thirty thousand silver pieces”.

The speech of the characters is individualized. The speech characteristics of the German characters are represented in the novel by two female names: Luiza Ivanovna, the owner of the entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.

Luisa Ivanovna’s monologue shows not only the level of her poor command of the Russian language, but also her low intellectual abilities:

“I didn’t have any noise or fights... no scandal, but they came completely drunk, and I’ll tell it all... I have a noble house, and I always didn’t want any scandal. But they came completely drunk and then again He asked three potilki, and then one raised his legs and began to play the piano with his foot, and this is not at all good in a noble house, and he broke the piano, and there’s absolutely no manners here..."

Amalia Ivanovna’s speech behavior manifests itself especially clearly at Marmeladov’s wake. She tries to attract attention by telling a funny adventure “out of the blue.” She is proud of her father, who “was a very important man and went all out.”

Katerina Ivanovna’s opinion about the Germans is reflected in her response: “Oh, you fool! And she thinks it’s touching, and doesn’t know how stupid she is!...Look, she’s sitting there, her eyes are wide open. She’s angry! She’s angry! Ha-ha-ha ! Khi-khi-khi."

The speech behavior of Luzhin and Lebezyatnikov is described not without irony and sarcasm. Luzhin's stilted speech, containing fashionable phrases combined with his condescending address to others, betrays his arrogance and ambition. Nihilists are represented as a caricature in the novel by Lebezyatnikov. This “half-educated tyrant” is at odds with the Russian language: “Alas, he didn’t know how to communicate properly in Russian (not knowing, however, any other language), so he was completely exhausted, somehow at once, even “It’s like I lost weight after my lawyer’s feat.” Lebezyatnikov’s chaotic, unclear and dogmatic speeches, which, as we know, represent a parody of Pisarev’s social views, reflected Dostoevsky’s criticism of the ideas of Westerners.

Dostoevsky individualizes speech according to one defining feature: in Marmeladov, the formal politeness of an official is abundantly strewn with Slavicisms; Luzhin has stylistic bureaucracy; Svidrigailov's is ironic negligence.

Crime and Punishment has its own system for highlighting key words and phrases. This is italics, that is, the use of a different font. The words trial, deed, suddenly are in italics. This is a way of focusing readers’ attention both on the plot and on the intended action. The highlighted words seem to protect Raskolnikov from those phrases that he is afraid to utter. Italics is also used by Dostoevsky as a way of characterizing a character: Porfiry’s “impolite sarcasm”; "Insatiable suffering" in Sonya's features.

Bibliography

Groysman V. Religious symbols in the novel “Crime and Punishment.” Literature. Supplement to the newspaper "First of September". 1997, N44, pp. 5-11.

Maykhel I. The language of facial expressions and gestures. Ibid., p.9.

Belkin A. Reading Dostoevsky and Chekhov. M., 1973, p. 56-84.

Lekmanov O. Looking at the “wide desert river.” Literature. Supplement to the newspaper "First of September", 1997, N15

Shapovalova O.A.. “Crime and Punishment” F.M. Dostoevsky. Summary. Features of the novel. Works., 2005

Features of the genre of the novel “Crime and Punishment”

The genre uniqueness of this novel by F.M. Dostoevsky lies in the fact that this work cannot be completely definitely attributed to genres already known and tested in Russian literature, since it contains different style features.

Detective traits

First of all, formally the novel can be classified as a detective story:

• The plot is based on a crime and its solution,
• there is a criminal (Raskolnikov),
• there is a smart investigator who understands the criminal and leads him to exposure (Porfiry Petrovich),
• there is a motive for the crime,
• there are red herrings (Mikolka’s confession), evidence.

But none of the readers would even think of calling “Crime and Punishment” a simple detective story, because everyone understands that the detective basis of the novel is just an excuse for setting other tasks.

A new type of novel - psychological

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

Dostoevsky created new genre- psychological novel.

It is based on man as a great mystery into which the author looks into together with the reader. What drives a person, why is one or another capable of sinful acts, what happens to a person who crosses the line?

The atmosphere of the novel is a world of the humiliated and insulted, where there are no happy people, no unfallen ones. This world combines reality and fantasy, so a special place in the novel is occupied by characters who predict the fate of the hero differently than in a traditional novel. No, the protagonist’s dreams reflect the state of his psyche, his soul after the murder of the old woman, project reality (a dream about killing a horse), accumulate philosophical theory hero (Rodion's last dream).

Each hero is placed in a situation of choice.

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

Polyphonic solution of the figurative system

One more genre feature Such novels are polyphonic, polyphonic.

In the novel, people conduct conversations, pronounce monologues, shout something from the crowd - and every time it’s not just a phrase, it’s philosophical problem, a question of life or death (dialogue between an officer and a student, Raskolnikov’s monologues, his dialogues with Sonya, with Svidrigailov, Luzhin, Dunechka, Marmeladov’s monologue).

Dostoevsky's heroes carry either hell or heaven in their souls. So, despite the horrors of the profession, she carries heaven in her soul, her sacrifice, her faith and save her from the hell of life. A hero like this, according to Dostoevsky, is subordinate to the devil in his mind and chooses hell, but at the last moment, when the hero looks into the abyss, he recoils from it and goes to denounce himself. There are also heroes of hell in Dostoevsky's novels. They long ago and consciously chose hell not only with their minds, but also with their hearts. And their hearts hardened. This is the case in Svidrigailov’s novel.

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

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

The human soul as the basis of psychological realism

Understanding the human soul cannot be unambiguous, which is why in Dostoevsky’s novels (in “Crime and Punishment” too) there is so much left unsaid.

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

Unlike Tolstoy, who himself explains why the hero acts this way and not otherwise, Dostoevsky forces the reader, along with the hero, to experience certain events, see dreams, and in all this everyday confusion of inconsistent actions, unclear dialogues and monologues, independently find a pattern.

A huge role in the genre psychological novel plays a description of the situation. It is generally accepted that it itself corresponds to the mood of the heroes. The city becomes the hero of the story. The city is dusty, dirty, a city of crimes and suicides.

Originality art world Dostoevsky is that his heroes go through a dangerous psychological experiment, allowing “demons” and dark forces into themselves. But the writer believes that in the end the hero will break through them to the light. But every time the reader is stopped before this riddle of overcoming “demons”, because there is no definite answer.

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

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

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Dostoevsky is a master of fast-paced plotting. From the first pages, the reader finds himself in a fierce battle; the characters come into conflict with established characters, ideas, and mental contradictions. Everything happens impromptu, everything comes together in the shortest possible time. Heroes, “who have decided the issue in their hearts and heads, break through all obstacles, neglecting their wounds.”
“Crime and Punishment” is also called a novel of spiritual quest, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves their theory without listening to their interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. From the cacophony of voices, the voice of the author stands out, expressing sympathy for some characters and antipathy for others. He is filled either with lyricism (when he talks about Sonya’s spiritual world) or with satirical contempt (when he talks about Luzhin and Lebezyatnikov).
The growing tension of the plot is conveyed through dialogue. With extraordinary skill, Dostoevsky shows the dialogue between Raskolnikov

And by Porfiry Petrovich, which is conducted in two aspects: firstly, each remark of the investigator brings Raskolnikov’s confession closer; and secondly, the whole conversation in sharp leaps develops the philosophical position expressed by the hero in his article.
Internal state characters are conveyed by the writer through the method of confession. “You know, Sonya, you know what I’ll tell you: if I had only killed because I was hungry, then I would now... be happy. Know this!” Old man Marmeladov confesses to Raskolnikov in the tavern, and Raskolnikov to Sonya. Everyone has a desire to open their souls. Confession, as a rule, takes the form of a monologue. The characters argue with themselves, castigate themselves. It is important for them to understand themselves. The hero objects to his other voice, refutes the opponent in himself: “No, Sonya, that’s not it! - he began again, suddenly raising his head, as if a sudden turn of thoughts had struck and aroused him again... “It is common to think that if a person is struck by a new turn of thoughts, then it is the turn of thoughts of the interlocutor. But in this scene, Dostoevsky reveals an amazing process of consciousness: the new turn of thoughts that occurred in the hero amazed him! A person listens to himself, argues with himself, contradicting himself.
The portrait description conveys general social features and signs of age: Marmeladov is a drunken aging official, Svidrigailov is a youthful, depraved gentleman, Porfiry is a sickly, intelligent investigator. This is not the writer's usual observation. The general principle of the image is concentrated in rough, sharp strokes, like masks. But the eyes are always painted on the frozen faces with special care. Through them you can look into a person’s soul. And then Dostoevsky’s exceptional manner of focusing attention on the unusual is revealed. Everyone’s faces are strange, everything in them is taken too far to the limit, they amaze with their contrasts. There was something “terribly unpleasant” in Svidrigailov’s handsome face; in Porfiry’s eyes there was “something much more serious” than should have been expected. In the genre of a polyphonic ideological novel, these are the only portrait characteristics of complex and divided people.
Landscape painting by Dostoevsky is not similar to the paintings of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a barrel organ, wet snow, the dim light of gas lamps - all these repeatedly repeated details not only give a gloomy flavor, but also conceal complex symbolic content.
Dreams and nightmares carry a certain artistic meaning in revealing ideological content. There is nothing lasting in the world of Dostoevsky’s heroes; they already doubt: does the disintegration of moral foundations and personality occur in a dream or in reality? To penetrate the world of his heroes, Dostoevsky creates unusual characters and unusual situations that border on fantasy.
The artistic detail in Dostoevsky's novel is as original as others artistic media. Raskolnikov kisses Sonya's feet. A kiss serves to express a deep idea containing multiple meanings. This is admiration for universal pain and suffering, moral awakening, repentance of the hero.
A substantive detail sometimes reveals the entire plan and course of the novel: Raskolnikov did not hack the old money-lender to death, but “lowered” the ax on his head with the “butt”. Since the killer is much taller than his victim, during the murder the ax blade threateningly “looks him in the face.” With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted for whose sake the ax was raised.
The color detail enhances the bloody undertone of Raskolnikov's crime. A month and a half before the murder, the hero pawned “a small gold ring with three red stones,” a gift from his sister as a keepsake. “Red pebbles” become harbingers of droplets of blood. The color detail is repeated more than once: red lapels on Marmeladov’s boots, red spots on the hero’s jacket.
The keyword orients the reader to the storm of feelings of the character. Thus, in the sixth chapter the word “heart” is repeated five times. When Raskolnikov woke up and began to prepare to leave, “his heart was beating strangely. He strained every effort to figure everything out and not forget anything, but his heart kept beating, pounding so that it became difficult for him to breathe.” Having safely reached the old woman’s house, “taking a breath and pressing his hand to his pounding heart, immediately groping and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening.” In front of the old woman’s door, the heart beats even stronger: “Am I... very pale,” he thought, “am I not particularly excited? She’s incredulous—shouldn’t she wait a little longer... until her heart stops?” But the heart did not stop. On the contrary, as if on purpose, the knocking became stronger, stronger, stronger...”
The symbolic detail helps to reveal the social specifics of the novel. Pectoral cross. At the moment when the pawnbroker was overtaken by her suffering on the cross, hanging around her neck along with her tightly stuffed wallet were “Sonya’s icon, Lizaveta’s copper cross and a cypress cross.” While affirming the view of his heroes as Christians, the author simultaneously conveys the idea of ​​a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the killer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon and the Gospel.
Religious symbolism is also noticeable in proper names: Sonya (Sofia), Raskolnikov (schism), Kaper-naumov (the city in which Christ worked miracles); in numbers: “thirty rubles”, “thirty kopecks”, “thirty thousand silver pieces”.
The speech of the characters is individualized. Speech characteristics German characters are represented in the novel by two female names: Luiza Ivanovna, the owner of the entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.
Luiza Ivanovna’s monologue shows not only the level of her poor command of the Russian language, but also her low intellectual abilities: “I didn’t have any noise or fights... no scandal, but they came drunk, and I’ll tell it all... I have a noble house, and I always didn’t want any scandal. And they came in completely drunk and then asked three drinkers again, and then one raised his legs and began to play the piano with his foot, and this is not at all good for a noble house, and he broke the piano, and there was absolutely, absolutely no manners here...”
Amalia Ivanovna’s speech behavior manifests itself especially clearly at Marmeladov’s wake. She tries to attract attention by telling a funny adventure “out of the blue.” She is proud of her father, who “was a very important man and went to his pocket with all his hands.”
Katerina Ivanovna’s opinion about the Nenets is reflected in her response: “Oh, you fool! And she thinks it’s touching, and doesn’t suspect how stupid she is!.. She sits there, her eyes wide open. Angry! Angry! Ha ha ha! Khi-khi-khi.”
The speech behavior of Luzhin and Lebezyatnikov is described not without irony and sarcasm. Luzhin's stilted speech, containing fashionable phrases combined with his condescending address to others, betrays his arrogance and ambition. Nihilists are represented as a caricature in the novel by Lebezyatnikov. This “half-educated tyrant” is at odds with the Russian language: “Alas, he didn’t know how to explain himself decently in Russian (not knowing, however, any other language), so he was completely exhausted, somehow at once,” even as if he had lost weight after his lawyerly feat.” Lebezyatnikov’s chaotic, unclear and dogmatic speeches, which, as is known, represent a parody of Pisarev’s social views, reflected Dostoevsky’s criticism of the ideas of Westerners.
The writer individualizes speech according to one defining feature: in Marmeladov, the formal politeness of an official is abundantly strewn with Slavicisms; Luzhin has stylistic bureaucracy; Svidrigailov’s is ironic negligence.
“Crime and Punishment” has its own system for highlighting key words and phrases. This is italics, that is, the use of a different font. This is a way of drawing the attention of readers both to the plot and to what was planned and done. The highlighted words seem to protect Raskolnikov from those phrases that he is afraid to utter. Italics is also used by Dostoevsky as a way of characterizing a character: “impolite causticity” of Porfiry; “insatiable suffering” in Sonya’s features.
N. A. Dobrolyubov in the article “Downtrodden People” formulated the directions of Dostoevsky’s intense mental activity: tragic pathos associated with pain about a person; humanistic sympathy for a person in pain; a high degree of self-awareness of heroes who passionately want to be real people and at the same time recognize themselves as powerless.
To these can be added the writer’s constant focus on the problems of our time; interest in the life and psychology of the urban poor; immersion in the deepest and darkest circles of hell of the human soul; attitude towards literature as a way of artistic prediction of the future development of mankind.

You are currently reading: The artistic originality of F. M. Dostoevsky’s novel “Crime and Punishment”

ON THE TOPIC: “Ideological and artistic originality novel

F.M. Dostoevsky "Crime and Punishment"

student of 11th grade “B” of school No. 582

Bykova Alexandra

Moscow

2001

Plan

1. The originality of Dostoevsky's humanism.

2. The history of the novel

"Crime and Punishment".

3. The maturation and meaning of Raskolnikov’s theory.

4. The spiritual resurrection of Rodion Raskolnikov.

5. The artistic originality of the novel.

6. The relevance of Dostoevsky's creativity.

ORIGINALITY OF DOSTOEVSKY’S HUMANISM

Dostoevsky, the singer of the “humiliated” and insulted, received worldwide recognition as a great writer and humanist. However, Dostoevsky’s humanism is different from traditional “philanthropy.”

Already the first ideologist of Russian literature V.G. Belinsky defended: a peasant is also a person. A set of socio-historical and spiritual-moral reasons ( Patriotic War 1812, the Decembrist movement, the problems of serfdom, awareness of the role of the people in the historical movement) makes the people the central concept of Russian national identity and, naturally, the identity of the Russian literature of the 19th century century. The significance of the individual himself is now determined by his relationship to the people. Humanism is included in a broader system of socio-historical, spiritual and moral values.

Dostoevsky, as a great humanist, cared not only about the people in general, but also about man, about the individual. He picks up image of a person in literature to philosophy person. Humanism is not complacency, but pain. Dostoevsky's hero will respect himself, cherish his purity and integrity until chance puts a mirror in front of his conscience. From this moment on, those who consider themselves a humanist will speed up their steps so as not to respond to the cry for help, curse themselves for this, confess unkind thoughts, castigate spiritual weaknesses, and conduct a “test.”

Painful spiritual duels, passionate monologues that reveal the underside of the soul - all this was unusual for “traditional” humanism.

Dostoevsky's goal was to bring the sphere of the subconscious, where vague emotions and instincts rule, into the world of vital action. The author of Crime and Punishment called it “fantastic.” Dostoevsky's fantastic realism appears in two terms. " Realism because it truly corresponds to the psychology of human existence. " Fantastic" - because Dostoevsky presented the sliding shadows in current life as reality.

In life, people speak and behave differently than they speak and act in Dostoevsky’s novels. But they think this way alone, they instinctively feel this way. And the writer brings this world of secret emotions to light as an undeniable reality. And it’s as if it’s not people talking, but their souls communicating, their ideas arguing. In the future, it turned out that these conversations were not invented by Dostoevsky: ideas, thoughts, instincts and emotions began to resonate more clearly and sharply in the reality of the 20th century - in the way of life, social conflicts.

In essence, the entire brilliant series of Dostoevsky's novels, from Crime and Punishment to The Brothers Karamazov, belongs to the era of the 60-70s, the era of the abolition of serfdom in Russia. And all the issues related to the ownership of people, “living souls,” as well as responsibility for the country’s choice of new paths, are all sore “Russian” issues. Dostoevsky spoke unkindly about the revolution of 1789, but the slogan of “freedom, equality, brotherhood,” which was read in a special way in Russian conditions, was always for him the main focus of ideas he passionately shared or fiercely rejected. Dostoevsky wanted to understand the Russian path in the light of world development, and the questions of his soul as part of the eternal questions of humanity.

Dostoevsky was the greatest defender of the ideal of freedom, which he understood as unhindered personal freedom. At the time of the reforms of 1861, this was not an abstract theory. But he subjected this ideal of freedom to a painful test, recognizing in it the confrontation between good and evil. Will a person be happy if he gets freedom? How will she dispose of it? What will this freedom mean for him? These are just some of the poisonous questions Dostoevsky addressed to a person who would like, even against the whole world, to live “according to his will.” Raskolnikov wants to be free and prove that he is “not a trembling creature” and “has power.” But this power is freedom for oneself while not being free for others. She is the path to crime.

Dostoevsky subjects the ideal of equality to the same test. In social equality, he is deterred by the attack on individuality, the destruction of the bright flowering of life. If in the future all strong minds will be “nipped in the bud”, and talents will be reduced to a common denominator, then do people need such equality? What if equality is not compatible with freedom at all, since everything is unequal in nature?

But what attracts Dostoevsky most of all and, as it were, resolves for him the contradictions of freedom and equality, is brotherhood. People are all different by nature, but they change more when they cross the threshold of conscience, drowning out the voice of justice and goodness in themselves. People are not born executioners. Despite the unenviable fate of good in the world, the responsibility of every person for himself is great. To curb the forces of nature within oneself, and they lie dormant in everyone, is no small mental work and a spiritual task.

Creative deepening through the individual into personality was accomplished in unity with deepening through nations into the people. This globally significant discovery of Dostoevsky led to a profound transformation of the direction of art that is associated with the concept of humanism.

HISTORY OF THE NOVEL "CRIME AND PUNISHMENT"

“Crime and Punishment” was formed by Dostoevsky from two plans, driven by the artist’s ideas. And the ideas were suggested both by the entire social sphere surrounding the writer, and by his personal memories and experiences.

As evidenced by journalism and literature of the 1860s, at the time of breaking up serfdom and capitalizing the moribund noble way of life, public morality sharply fluctuated: criminal offenses, thirst for profit and money, drunkenness and cynical selfishness - all this was associated with direct attacks on traditional Orthodox morality from radical social forces.

The Raznochinsky democracy, led by Belinsky, Chernyshevsky, Dobrolyubov and many others, introduced atheistic and socialist ideas into the public consciousness. In 1863, the novel by N.G. was published in Sovremennik. Chernyshevsky “What to do?”, which contained a real program of action to break the foundations of the state with the help of revolutionary violence, to replace moral universal values ​​(Christian) with class values.

Dostoevsky was deeply concerned about the problem of human will encroaching on crime, the theoretical justification of which he saw in the teachings of Chernyshevsky.

Thus, we see two super-tasks that prompted Dostoevsky to create his most perfect work - moral decay in society and the onset of socialist-atheistic ideas.

By June 1865, Dostoevsky had matured the plan for a novel, which he called “Drunken.” He reported this to the publisher A. Kraevsky:

"The new novel will be connected with the current issue of drunkenness."

Apparently, Dostoevsky decided to focus on the destinies of the members of the Marmeladov family and their entourage, but the idea of ​​​​any central character - a “criminal” has not yet been deposited in the writer’s mind. However, the theme of “Drunk People,” one must think, was quickly assessed by him as narrow, devoid of not so much social as philosophical acuteness - he felt the comparative poverty of his plan, his idea.

The magazine "Time" often published reports about criminal trials in the West. It was Dostoevsky who published a report on a criminal case in France. A certain Pierre Lacenaire, a criminal who did not disdain theft and, in the end, killed some old woman, declared himself in his memoirs, poems, etc., an “ideological murderer,” “a victim of his age.” Having renounced all moral “fetters,” the criminal realized the self-will of the “man-god,” which was called for by revolutionary democrats, driven by a sense of class revenge against the “oppressors” of the people. Dostoevsky, according to B.C. Solovyov, by this time had perfectly mastered three fundamental truths: “...That individuals, even the best people, do not have the right to rape society in the name of their personal superiority; he also understood that social truth is not invented by individual minds, but is rooted in the feeling of the people, and, finally, he understood that this truth has a religious meaning and is necessarily connected with the faith of Christ, with the ideal of Christ.”

Dostoevsky is decisively imbued with distrust of all hypotheses about the rights of “strong”, “special” individuals, supposedly exempt from responsibility to people for their “extraordinary” “superhuman” (“human-divine”) actions. At the same time, the type of strong personality is becoming more and more clear to him - as an artistically impressive, exceptional phenomenon, but at the same time real, quite historically expressed in the theory of socialists and in the practice of socialist-terrorist groups. This is that “fantastic” person who seems to him more real than all realities; this is a magnificent image for a novel - realistic “in the highest sense.” Dostoevsky was blinded by the brilliance of the idea of ​​combining the history of the Marmeladov family with the history of the “man-god” - the socialist. The Marmeladov family should become the reality on the basis of which the ugly philosophy of a “strong personality” grows. This family and all its surroundings can appear as a realistic background and a convincing explanation of the deeds and thoughts of the main character - the criminal.

In the creative combinations of the writer, a complex plot array is formed, which includes pressing issues of modern morality and philosophy. In September 1865, Dostoevsky informed the editor of the magazine “Russian Messenger” M.N. about the idea of ​​the novel. Katkov, informing him in a letter of the complete plan of the planned work: “The action is modern, this year. A young man, expelled from the university students, a bourgeois by birth, and living in extreme poverty, due to frivolity, due to unsteadiness in concepts, succumbing to some strange “unfinished "the ideas that are floating in the air, he decided to get out of his bad situation at once. He decided to kill one old woman, a titular adviser who gives money for interest... This young man asks himself questions: “Why is she living? Is it useful to anyone?.." These questions, continues Dostoevsky, are confusing young man. He decides to kill her, rob her, in order to make his mother, who lives in the district, happy, to save his sister, who lives as a companion with some landowners, from the voluptuous claims of the head of this landowner family - claims that threaten her with death, to finish the course, to go for border and then all his life to be honest, firm, unswerving in the fulfillment of his “humane duty to humanity,” which, of course, will “atone” for the crime... He spends almost a month after that until the final catastrophe. There is not and cannot be any suspicion against him. This is where the entire psychological process of the crime unfolds. Unsolvable questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law takes its toll, and he ends up being forced to denounce himself. Forced, although to die in hard labor, to join the people again; the feeling of isolation and disconnection from humanity, which he felt immediately after committing the crime, tormented him. The law of truth and human nature have taken their toll... The criminal himself decides to accept torment in order to atone for his deed..."

We see that many motivating forces hidden in the soul and thoughts of the artist took part in the maturation and design of the idea of ​​the novel. But the main task took shape extremely clearly - to rebuff the precepts of Chernyshevsky’s novel “What is to be done?”, to debunk the dead-end and immoral socialist theory, taking its manifestation in the most extreme version, in the most extreme development, beyond which it is no longer possible to go. This was well understood by the critic N. Strakhov, who argued that the main goal of the novel was to debunk the “unfortunate nihilist” (as Strakhov called Raskolnikov). The counterbalance to the “groundless” ideas of Chernyshevsky - Raskolnikov should be the Orthodox Christian idea, which should indicate a way out of the protagonist’s theoretical dead ends to the Light.

Thus, in 1865, Dostoevsky was faced with two plans, two ideas: one plan is the world of “poor people,” where there is real life, real tragedies, real suffering; another plan is a “theory”, invented only with the help of reason, divorced from real life, from real morality, from the “divine” in man, a theory created in a “schism” (Raskolnikov) with people and therefore extremely dangerous, because where there is no divine, not human - there is satanic there.

It should be noted that Soviet literary criticism completely denied Raskolnikov’s theory any vitality and declared the very figure of Raskolnikov to be far-fetched. A social-party order is clearly visible here - to divert the “theory” of Rodion Raskolnikov from the ideas of socialism (sometimes Raskolnikov’s views were interpreted as petty-bourgeois), and to place the hero himself as far as possible from Chernyshevsky with his “special person”.

MATURATION AND MEANING OF RASKOLNIKOV’S THEORY

The starting point of Rodion Raskolnikov’s kind of “rebellion” against the existing social structure and its morality was, of course, the denial of human suffering, and here we have in the novel a kind of quintessence of this suffering in the depiction of the fate of the family of the official Marmeladov. But one cannot help but immediately notice that the very perception of suffering in Marmeladov and Raskolnikov differs from each other. Let's give Marmeladov the floor: “- Sorry! Why feel sorry for me! - Marmeladov suddenly cried out... - Yes! There is nothing to feel sorry for me! I need to be crucified, crucified on the cross, and not pitied! But crucify, judge, crucify and, having crucified, have pity on him!.. for I do not thirst for fun, but for sorrow and tears!.. Do you think, seller, that this half-damask of yours has become my delight? Sorrow, sorrow I sought at the bottom of it, sorrow and tears, and tasted it, and found it? And the one who took pity on us will be the one who took pity on everyone and who understood everything, he is the only one, he and the judge will come on that day and ask: “Where is the daughter, that her stepmother is evil and consumptive, that she betrayed herself to strangers and young children. ? Where is the daughter who took pity on her earthly father, an obscene drunkard, without being horrified by his atrocities?” And she will say: “Come! I have already forgiven you once... I have forgiven you once... And now your many sins are forgiven, because you loved so much..." And she will forgive my Sonya, she will forgive me, I already know that she will forgive... And when will already finish over everyone, then he will say to us: “Come out, he will say, you too! Come out drunk, come out weak, come out drunk!" And we will all come out, not ashamed, and stand. And he will say: "You pigs! the image of the beast and its seal; but come you also!” And the wise will say, the prudent will say:

"Lord! why do you accept these guys?" And he will say: “That is why I accept them, the wise, because I accept the wise, because not one of these himself considered himself worthy of this...”

In Marmeladov’s statements we do not notice any shadow of theomachism or the shadow of social protest - he takes all the blame on himself and his peers. But there is also another side to the issue - Marmeladov perceives his appearance and the suffering of his family as something inevitable in his self-flagellation, Christian repentance there is no desire to start life “in a divine way”, hence his humility acts only as a desire for forgiveness and does not contain reserves for self-improvement .

It is no coincidence that the confession of a drunken official initially evokes in Raskolnikov contempt and the thought that the man is a scoundrel. But then a deeper idea arises: “Well, if I lied,” he suddenly exclaimed involuntarily, “if man, the whole person in general, the whole race, that is, the human race, is really not a scoundrel, then that means that the rest is all prejudices, just false fears.” , and there are no barriers, and that’s how it should be!..”

What are we talking about here? If a person suffers without guilt, since he is not a scoundrel, then everything external to him - that allows him to suffer and causes suffering - is prejudice. Social laws, morality - prejudices. And then God is also a prejudice. That is, a person is his own master and everything is allowed to him.

That is, a person has the right to violate external law, both human and divine. Unlike Marmeladov, Raskolnikov begins to look for the cause of a person’s suffering not in himself, but in external forces. How can one not recall the reasoning of V.G. Belinsky that, having not received THERE an intelligible answer to the question of why the little man is suffering, he will return the ticket to the kingdom of God back, and he himself will rush headlong down.

Raskolnikov’s previous thoughts about the “real thing”, which everyone does not dare to do “out of cowardice”, fear of a “new step”, begin to be reinforced by the increase in the idea of ​​self-worth in his theoretical constructions human personality.

But the idea that not all people suffer, the majority suffers and is humiliated, but a certain generation of “strong” does not suffer, but causes suffering, is intensely working in Raskolnikov’s head. Let us turn to the reasoning of the philosopher M.I. Tugan-Baranovsky on this topic. The researcher considers the postulation by people like Raskolnikov of the idea of ​​the intrinsic value of the human personality outside its divine self-consciousness to be a theoretical dead end, a replacement of divine moral laws by human willfulness. Formal recognition of the right to self-worth for all people turns into the right to human deity for a few in socialist theory: “The conviction of the inequality of people,” writes Tugan-Baranovsky, “is the main conviction of Raskolnikov in “Crime and Punishment.” For him, the entire human race is divided into two unequal honors: the majority, a crowd of ordinary people who are the raw material of history, and a small handful of people of higher spirit who make history and lead humanity."

It is interesting that the “philosopher” of humility Marmeladov, who nevertheless thought quite Christianly, has no inequality before God - everyone equally deserves salvation.

However, Christian norms do not fit into the “new morality” approved by Raskolnikov. The division into those who suffer and those guilty of suffering is carried out by the Man-God without taking into account the Christian right to the salvation of every sinner, and God’s judgment is replaced on earth by the court of the Man-God embittered by suffering.

For Raskolnikov, the real impetus for the implementation of his idea was the conversation he overheard between a student and an officer in a tavern: “Let me,” the student says to his interlocutor, “I’ll tell you serious question I want to ask... look: on the one hand, a stupid, senseless, insignificant, evil, sick old woman, useless to anyone and, on the contrary, harmful to everyone, who herself does not know what she lives for...

Listen further. On the other hand, young, fresh forces are wasted without support, and this is in the thousands, and this is everywhere! A hundred, a thousand good deeds and undertakings that can be arranged and corrected for the old woman’s money, doomed to the monastery!” And then a real apology for evil as a good deed for humanity: “Hundreds, thousands, perhaps, of existences aimed at the road; dozens of families saved from poverty, from decay, from death, from debauchery, from venereal hospitals - and all this with her money. Kill her and take her money, so that with their help you can then devote yourself to serving all of humanity and the common cause: do you think that one tiny crime will not be atone for with thousands of good deeds? In one life - thousands of lives saved from rot and decay. One death and a hundred lives in return - but this is arithmetic! And what does the life of this consumptive, stupid and evil old woman mean on the general scale? Nothing more than the life of a louse or a cockroach, and it’s not worth it, because the old woman is harmful. She eats up someone else's life..."

This means that killing an old woman is “not a crime.” Rodion Raskolnikov comes to this conclusion in his reflections.

However, what is the flaw in Raskolnikov’s theory? From a utilitarian point of view, he is right - reason will always justify the sacrifice for the sake of general happiness. But how do we understand happiness? It does not consist in the accumulation or redistribution of material goods; moral categories generally cannot be rationalized.

M.I. Tugan-Baranovsky suggests viewing Raskolnikov’s tragedy from this angle: “...He wanted to logically substantiate, rationalize something that by its very essence did not allow such logical justification or rationalization. He wanted a completely rational morality and logically came to its complete negation. He I was looking for logical proof of the moral law - and did not understand that the moral law does not require proof, should not, cannot be proven - for it receives its supreme sanction not from the outside, but from itself."

Further, Tugan-Baranovsky affirms the Christian idea that the crime of Rodion Raskolnikov is precisely in the violation of the moral law, in the temporary victory of reason over will and conscience: “Why is the personality of every person a shrine? No logical basis for all this can be given, just as it cannot be given the logical basis for everything that exists on its own, independently of our will. The fact is that our moral consciousness invincibly affirms to us the holiness of the human person; such is the moral law, whatever the origin of this law, it just as truly exists in ours. soul and does not allow its violation, like any law of nature. Raskolnikov tried to break it - and fell."

With the abstract theory, born with the help of only mental work, life entered into the struggle, permeated with the divine light of love and goodness, considered by Dostoevsky as the defining force of the tragedy of the hero, seduced by naked speculation.

Interesting are the discussions about the reasons for the “rebellion” of Rodion Raskolnikov against the generally accepted morality of the philosopher and literary critic S.A. Askoldova. Based on the fact that any universal morality has a religious character, is sanctified in the minds of the masses by the authority of religion, then for an individual who has left religion, the question naturally arises - what is morality based on? When religiosity in society declines, then morality takes on a purely formal character and rests solely on inertia. And it is against these rotten supports of morality, in Askoldov’s opinion, that Raskolnikov speaks out: “It is necessary to understand that the protest against the moral law that arose in Raskolnikov’s soul is essentially directed not so much against himself as against his unreliable foundations in a modern, irreligious society ".

One can, of course, argue that the reasons for the emergence of theories of a socialist kind, such as the philosophical constructions of Raskolnikov, or, rather, not the reasons, but the breeding ground, could be the decline of religiosity in society. But the practical goal arising from Raskolnikov’s theory is quite clear - gaining power over the majority, building a happy society by replacing human freedom with material goods.

One cannot but agree with the reasoning of S.A. Askoldov that in a number of works, in particular in “The Teenager,” Dostoevsky categorically condemns thoughts about “virtue without Christ”: “Of course, this is not a virtue of personal life, but namely, as a public service. Dostoevsky not only does not believe her, but sees in it the greatest temptation and principle of destruction. Public good, if it is not based on the covenants of Christ, certainly and fatally turns into anger and enmity, and the seductive good of humanity becomes only a seductive mask of an essentially evil and based on enmity public. .."

What the inevitable fall of this mask and the triumph of evil that it covered could lead to is well predicted by Dostoevsky in Rodion Raskolnikov’s prophetic dream in the epilogue of Crime and Punishment. It makes sense to recall him in full: “In his illness he dreamed 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. Everyone was supposed to perish, except for a few, very few, chosen ones. some new trichinas, microscopic creatures that inhabited the bodies of people. But these creatures were spirits, gifted with intelligence and will. People who accepted them into themselves immediately became possessed and crazy... "

The separation of people who have lost common moral principles in God's morality inevitably leads to social catastrophes: “They didn’t know who and how to judge, they couldn’t agree on what was considered evil and what was good. They didn’t know who to blame, who to justify. People killed each other in some senseless anger..."

Further from Dostoevsky - deepest thought about erasing during periods of revolutionary upheaval the difference between “friends” for the revolution and “strangers”. The revolution begins to “devour its own children”: “Whole armies gathered against each other, but the armies, already on the march, suddenly began to torment themselves, the ranks were upset, the soldiers rushed at each other, stabbed and cut, bit and ate each other. In the cities they sounded the alarm all day long: they called everyone, but no one knew who was calling and why, and everyone was in alarm. They abandoned the most ordinary crafts, because everyone proposed their thoughts, their amendments, and they could not agree; Here and there people gathered in heaps, agreed to do something together, swore not to part, but immediately started something completely different from what they themselves had immediately intended, began to blame each other, fought and cut themselves. Fires began, famine began. .Everything and everything perished..."

But what about the great ideals of goodness and happiness for people? Dostoevsky speaks about this very definitely: “The ulcer grew and moved further and further. Only a few people in the whole world could be saved; these were the pure and chosen ones, destined to start a new race of people and new life, renew and cleanse the earth, but no one anywhere saw these people, did not hear their words and voices."

Nikolai Berdyaev, in his article “Spirits of the Russian Revolution,” as one of Dostoevsky’s amazing insights, saw his conviction that the Russian revolution is a metaphysical and religious phenomenon, and not political and social.” For Russian socialism, it is extremely important to get an answer to the question: is there God? From here Dostoevsky had a presentiment of how bitter the fruits of Russian socialism would be without God.

N. Berdyaev discerned in Dostoevsky’s works an understanding of the philosophical, psychological, atheistic characteristics of Russian rebels: “Russians are often nihilists - rebels from false moralism. A Russian makes history with God because of a child’s tear, returns a ticket, denies all values ​​and shrines, he can't stand suffering, doesn't want victims. But he won't really do anything to reduce the number of tears, he increases the number of tears shed, he makes a revolution, which is all based on countless tears and suffering...

The Russian nihilist-moralist thinks that he loves man and has compassion for man more than God, that he will correct God’s plan for man and the world...

The very desire to alleviate the suffering of the people was righteous, and the spirit of Christian love could be revealed in it. This has led many astray. They did not notice the confusion and substitution that formed the basis of Russian revolutionary morality, the Antichrist temptations of this revolutionary morality of the Russian intelligentsia. Russian revolutionaries followed the temptations of the Antichrist and had to lead the people seduced by them to that revolution, which inflicted a terrible wound on Russia and turned Russian life into hell..."

Raskolnikov's theory and his practical actions to implement his plans, miraculously permeating time, found their embodiment in the revolution of the seventeenth year. History has connected the thoughts of Russian nihilistic boys of the nineteenth century with the bloody deeds of their followers in the twentieth century.

THE SPIRITUAL RESURRECTION OF RODION RASKOLNIKOV

We see that Dostoevsky defines the fall of Rodion Raskolnikov as “possession,” as the desire to become a man-god and impart happiness to second-class people, taking away their freedom. But in “Crime and Punishment” there are two Raskolnikovs - a possessed one, infected with the demons of socialism and atheism, and a Raskolnikov capable of healing. This is how Razumikhin characterizes his friend: “... Generous and kind. He doesn’t like to express his feelings and would rather commit cruelty than express his heart in words. Sometimes, however, he’s not a hypochondriac at all, but simply cold and insensitive to the point of inhumanity, really, there are definitely two opposite characters in him are replaced one by one."

However, Raskolnikov himself speaks even more clearly about himself:

“I should have known this,” he thought with a bitter smile, “and how dare I, knowing myself, anticipating yourself, take an ax and get bloody? I should have known in advance... Eh! “But I knew it in advance!..” he whispered in despair.”

What did Raskolnikov know? Yes, the fact is that he is not a strong personality, but rather a “trembling creature.”

The meaning of his suffering is that his conscience and reason entered into the most decisive struggle with each other. Reason frantically defends the possibility for Raskolnikov to be a man of the “highest breed.” The hero relies entirely on his reason, on his “theoretical supports.” But his suppressed enthusiasm tragically fades away, and the hero of the novel, who was decisively unable to control himself at the moment of committing the crime, realizes that he did not kill the old woman, but “himself.” Conscience turned out to be much stronger than reason and, it must be said, that even before the murder of the pawnbroker it had an extremely intense impact on his behavior. Let us at least recall Raskolnikov’s thoughts after a “preparatory” visit to Alena Ivanovna: “Raskolnikov came out in decided embarrassment. This embarrassment grew more and more. While going down the stairs, he even stopped several times, as if suddenly struck by something. And finally, Already on the street he exclaimed: “Oh God! how disgusting it all is! And really, really I... no, this is nonsense, this is absurdity! - he added decisively. - And could such horror really come into my head? However, what filth is my heart capable of! The main thing: dirty, dirty, disgusting, disgusting!..”

So where is the real Raskolnikov - before or after the murder? There can be no doubt - both the theory and the attempt to implement it are Raskolnikov’s temporary delusion. It is interesting that he developed an increased desire for “business” after a letter to his mother, where she talks about his sister’s intention to marry Luzhin. Why did such haste arise - his mercy took a decidedly dead-end path. And he ignores the ending of the letter, perhaps the most important for Pulcheria Raskolnikova - she asks: “Do you pray to God, Rodya, still and do you believe in the goodness of our Creator and Redeemer? I'm afraid in my heart that the latest fashionable unbelief has visited you too? If so, then I am praying for you. Remember, dear, how back in your childhood, during your father’s life, you babbled your prayers on my lap and how happy we all were then!”

The letter to Raskolnikov's mother outlines the idea of ​​guilt and retribution, which ultimately represents a dilemma - are you with God or not. And from here the hero’s path is already outlined - guilt, retribution, repentance, salvation.

The article “Dostoevsky and the Tragedy Novel” reveals the idea of ​​guilt and retribution in relation to Rodion Raskolnikov: “What is Raskolnikov’s guilt and what are the root causes of his salvation - for it is not guilt that saves and not retribution in itself, but the attitude towards guilt and retribution, conditioned the fundamental principles of a personality, by its nature capable of such an attitude? Does this mean that Raskolnikov was originally familiar with the consciousness of the sacred realities of existence, and only his vision of them was temporarily obscured, he temporarily felt himself as a person removed from the environment of the action of the divine and moral law, temporarily rejected it and he boldly wished to taste the proud pleasure of deliberate isolation and illusory superhuman authority, invented rebellion and invented groundlessness, artificially separating himself from his mother’s soil (which is symbolized in the novel by his attitude towards his mother and the words about the kiss of mother earth).”

Dostoevsky is looking for reserves of healing for his hero not only in external influences on him (Sonya, Razumikhin, sister, Porfiry Petrovich), but also in himself, in his life experience, including religious experience, which shaped his conscience and morality.

After a terrible dream about the brutal murder of a horse by drunken men, he turns to God with a real prayer: “God!” he exclaimed, “can it really be, can I really take an ax, start hitting her on the head, crushing her skull... I will slide in sticky, warm blood, pick a lock, steal and tremble; hide, covered in blood... with an ax... Lord, really? And in the same internal monologue, a little further on, he again appeals to God: “Lord!” he prayed, “show me my path, and I renounce this damned... dream of mine.”

Having become a murderer, Raskolnikov felt disconnected from people, outside of humanity. He looks warily and even guiltily into people's eyes, and sometimes begins to hate them. The murder, which he wanted to give an ideological appearance, immediately after its commission appeared before him as quite ordinary, and he, having become ill with all the usual anxieties and prejudices of criminals (up to their attraction to the place where the crime was committed), begins to feverishly revise his philosophical calculations and check the strength of your moral supports. His intense internal monologues with endless pros and cons do not refresh or calm him; the psychological process becomes extremely intense in him. Through suffering, Dostoevsky humanizes the hero, awakens his consciousness. Raskolnikov meets Luzhin and Svidrigailov, sees in their example a possible path for his moral development, if he were strong personality, and finally the writer directs Raskolnikov on a path closer to his soul - he introduces him to Sonya Marmeladova, the bearer of world suffering and the idea of ​​God.

B.C. Solovyov gives in one of his articles about Dostoevsky a clear psychological diagram of Raskolnikov’s spiritual evolution, taking into account the influence of many external and internal factors on the hero: “The main thing actor- a representative of the view according to which everyone strong man He is his own master and everything is allowed to him. In the name of his personal superiority, in the name of the fact that he is strong, he considers himself entitled to commit murder and actually commits it.”

Here it is necessary to express some thoughts before continuing the quotation. Correctly noting one of the conditions for committing a crime by Raskolnikov, V.S. Soloviev missed deeper ones causes actions of the hero, in particular, compassion for his neighbors, the desire to make them happy, which, with Raskolnikov’s refusal of God, unfortunately, acquired ugly forms and led him to an ideological and moral impasse.

But let’s continue to get acquainted with the opinion of B.C. Solovyov: “But suddenly that thing, which he considered only a violation of an external senseless law and a bold challenge to social prejudice, suddenly it turns out to be something much more for his own conscience, it turns out to be a sin, a violation of the inner moral truth. Violation of the external law receives legal retribution from the outside in exile and hard labor, but the internal sin of pride, which separated a strong man from humanity and led him to murder, this internal sin of self-deification can only be redeemed by the internal moral feat of self-denial. Boundless self-confidence, which must disappear before the belief that there is more myself, and self-made justification must humble itself before the highest truth of God, living in those very simple and weak people, whom the strong man looked upon as insignificant insects.”

The suffering of Rodion Raskolnikov's criminal conscience is enormous. driving force, she leads him to God. Moreover, at the same time, Rodion Raskolnikov’s energy of self-defense does not dry out. With amazing skill, Dostoevsky reveals this duality of the hero's soul, adding more and more new signs of the victory of conscience over reason.

Any communication with people hurts him more and more, but more and more he is drawn to God. After Razumikhin visited him, “... the patient threw off the blanket and jumped out of bed like a madman. With burning, convulsive impatience, he waited for them to leave quickly, so that he could immediately get down to business without them. But for what, for what business? - he seemed to have forgotten now, as if on purpose. tell me just one thing: do they know about everything or don’t know yet? Well, how do they know and just pretend to be, teasing me while I’m lying there, and then they’ll suddenly come in and say that everything has been known for a long time and that’s the only way they’ve done it... What should I do now? So I forgot, as if on purpose; I suddenly forgot, now I remember!..”

The demon of despondency for a soul that has departed from God is almost always replaced by the demon of self-destruction. Does this thought of Dostoevsky fit Raskolnikov’s psychological state? Yes, it fits! The thought of suicide repeatedly visited him. His double Svidrigailov made “his last voyage” and shot himself... But Raskolnikov was held back by his stubborn faith in the infallibility of his “theory” and calculations. After the episode of saving the drowned woman, the following happened to Raskolnikov: “Raskolnikov looked at everything with a strange feeling of indifference and indifference. He felt disgusted. “No, disgusting... the water... isn’t worth it,” he muttered to himself. “Nothing will happen,” he added, “there’s nothing to wait for.”

After meeting Sonya Marmeladova, a new stage began in Raskolnikov’s spiritual development. Without abandoning his “idea,” he began to immerse himself more and more in the atmosphere of divine compassion, self-denial, purity, of which Sonya was the personification and bearer.

Let us recall several episodes from the novel that happened to Raskolnikov after Marmeladov’s wake, where his first communication with Sonya took place.

“He went down quietly, without haste, all in a fever and, without realizing it, full of one, new, immense sensation of a sudden surge of full and powerful life. This feeling could be like the feeling of a person sentenced to death, to whom forgiveness is suddenly and unexpectedly announced.”

“She came running with an errand, which, apparently, she really liked.

Listen, what’s your name?.. and also: where do you live? - she asked in a hurry, in a breathless voice.

He put both hands on her shoulders and looked at her with some happiness. He was so pleased to look at her - he didn’t know why...

Do you love sister Sonya?

I love her the most!..

Will you love me?

Instead of answering, he saw the girl’s face approaching him and her plump lips naively reaching out to kiss him. Suddenly, her arms, thin as matchsticks, clasped him tightly, her head bowed to his shoulder, and the girl began to cry quietly, pressing her face to him tighter and tighter...

Do you know how to pray?

Oh, yes, we can! Has long been; I, being so big, pray to myself silently, and Kolya and Lidochka, together with their mother, pray out loud; first they will read the “Virgin Mary”, and then another prayer: “God, forgive and bless sister Sonya,” and then again: “God, forgive and bless our other dad, because our older dad has already died, and this one is different to us, and we pray about that too.

Polechka, my name is Rodion; Someday pray for me: “and servant Rodion” - nothing more.

“I will pray for you all my future life,” the girl said passionately and suddenly laughed again, rushed to him and hugged him tightly again.”

A scene of amazing depth and complexity. This is the real beginning of Raskolnikov's resurrection. She restored his faith in life, faith in the future. Raskolnikov first received a lesson in selfless Christian love, love for sinners. For the first time, he lived for some time in the divine side of his nature. Raskolnikov’s final spiritual restructuring is still ahead; many more times he needs to come into contact with such love, illuminated by divine light. True, the hero’s spiritual enlightenment did not last long - the awakened vital energy with its light went into the darkness of his delusions. Here is Raskolnikov’s reaction to everything that happened:

“Enough!” he said decisively and solemnly, “away with mirages, away with feigned fears, away with ghosts!.. There is life! Haven’t I lived just now? My life has not yet died along with the old woman! The kingdom of heaven and - enough, mother , it's time to rest! The kingdom of reason and light is now... and will, and strength... and now let's measure it! - he added arrogantly, as if turning to some dark force and calling it. I already agreed to live on a yard of space!”

Raskolnikov, thought by thought, again turned into a different person, not the one he had been recently. Dostoevsky notes that pride and self-confidence grew in him every minute. But there was something with him that inevitably grew into his future.

After Raskolnikov meets Sonya Marmeladova in the novel, her image rapidly grows in its moral brightness. The drama of false thought gradually ends with the hope of redemption and peace of conscience at the cost of suffering. The real heroine of the novel is Sonya, the bearer of truly Christian ideas of mercy, love, humility and the holiness of suffering. A great religious thought is hidden in this “outcast” girl with a pale and thin face.

And what is extremely important, what determines the future fate of Rodion Raskolnikov and what could only deprive him of theoretical supports and the often overwhelming power of reason over him - communication with Sonya, subsequently forces Raskolnikov to look at his crime not as a subject of legal proceedings, not as an implementation socio-philosophical calculations, but as a violation of moral norms, a violation of divine institutions. Gradually, a kind of “disarming” of the demonic rational principle of the hero occurs.

It must be said that Raskolnikov was ambivalent about Sonya’s sacrifice. The logic of his reasoning was simple - Sonya killed herself in vain, her sacrifice and faith in God’s help were completely in vain. But in the process of dialogue on this topic, Raskolnikov has the feeling that Sonya knows something that he cannot understand - his peculiar gloating about her life and religious ideas was necessary for him himself - this is his resistance to Sonya’s spiritual influence, his desire to defend his previous positions, but suddenly, perhaps unexpectedly for himself, some spontaneous “surrender of positions” occurs:

"He kept walking back and forth, silently and without looking at her. Finally he approached her; his eyes sparkled. He took her by the shoulders with both hands and looked straight into her crying face. His gaze was dry, inflamed, sharp, his lips they shuddered violently... Suddenly he quickly bent over and, falling to the floor, kissed her foot...

What are you, what are you? In front of me! - she muttered, turning pale, and her heart suddenly squeezed painfully and painfully. He immediately stood up.

I didn’t bow to you, I bowed to all human suffering..."

Worship of human suffering is already a Christian movement of the soul; worship of the “trembling creature” is no longer the old Raskolnikov.

One of the key episodes of “Crime and Punishment” is the one in which Sonya Marmeladova reads to Raskolnikov a description of one of the main miracles performed by Christ described in the Gospel - the resurrection of Lazarus. “Jesus said to her: I am the resurrection and the life; whoever believes in Me, even if he dies, will live, and everyone who lives and believes in Me will never die. Do you believe this?” 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.” Raskolnikov, who committed a crime, must believe and repent.

This will be his spiritual cleansing, the “resurrection from the dead.” Trembling and getting cold, Sonya repeated lines from the Gospel; “Having said this, he cried with a loud voice: Lazarus, come out. And the dead man came out.”

It was after this episode that Raskolnikov invites Sonya to “go together,” performs repentance in the square, and confesses.

However, one should not think that a miracle happened and Raskolnikov, who “awakened” to new perceptions, began to live a life of conscience, abandoned his previous beliefs - theorizing did not cease to dominate, but the victories of Raskolnikov’s divine consciousness began to influence his worldview more often and more deeply.

The strength of Raskolnikov’s theoretical convictions lies in the peculiarities of his consciousness: he needs his own philosophy of life, his own program, a new saving idea must take possession of his mind. In the meantime, there was no such idea - it was ripening, just as love for Sonya was ripening in his tormented heart.

Only in penal servitude did Rodion Raskolnikov find “his faith” in the saving properties of love for humanity, and from here - in the necessity and salvation of the spiritual improvement of each individual person. Love brought him to God. Here is this episode, which concludes Raskolnikov’s path from the criminal present to a new future: “How it happened, he himself did not know, but suddenly something seemed to pick him up and seem to throw him at her feet. He cried and hugged her knees. At the first moment she was terribly frightened, and her whole face turned pale. She jumped up from her seat and, trembling, looked at him. But immediately, at that very moment, she understood everything in her eyes, and for her. There was no longer any doubt that he loved her, loved her endlessly, and that this moment had finally come...

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

ARTISTIC ORIGINALITY OF THE NOVEL

1. The specificity of “Crime and Punishment” is that it synthesizes romance and tragedy. Dostoevsky extracted tragic ideas from the era of the sixties, in which the “free higher” personality was forced to test the meaning of life in practice alone, without the natural development of society. An idea acquires novelistic force in Dostoevsky's poetics only when it reaches extreme tension and becomes mania. The action to which it pushes a person must acquire the character of a catastrophe. The hero’s “crime” is neither criminal nor philanthropic in nature. Action in a novel is determined by an act of free will undertaken to transform an idea into reality.

2. Dostoevsky made his heroes criminals - not in the criminal, but in the philosophical sense of the word. The character became interesting to Dostoevsky when a historical, philosophical or moral idea was revealed in his willful crime. The philosophical content of the idea merges with him with the feelings, character, social nature of man, his psychology.

3. The novel is built on free choice solving the problem. Life had to knock Raskolnikov out of his knees, destroy the sanctity of norms and authorities in his mind, lead him to the conviction that he is the beginning of all beginnings: “everything is prejudice, only fears, and there are no barriers, and so it should be.” !" And since there are no barriers, then you need to choose.

4. Dostoevsky - master fast-paced plot. From the first pages, the reader finds himself in a fierce battle; the characters come into conflict with established characters, ideas, and mental contradictions. Everything happens impromptu, everything comes together in the shortest possible time. Heroes, “who have decided the issue in their hearts and heads, break through all obstacles, neglecting their wounds...”

5. “Crime and Punishment” is also called a novel of spiritual quest, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves their theory without listening to their interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. From the cacophony of voices, the voice of the author stands out, expressing sympathy for some characters and antipathy for others. He is filled either with lyricism (when he talks about Sonya’s spiritual world) or with satirical contempt (when he talks about Luzhin and Lebezyatnikov).

6. They help convey growing plot tension. dialogues. With extraordinary skill, Dostoevsky shows the dialogue between Raskolnikov and Porfiry, which is conducted in two aspects: firstly, each remark of the investigator brings Raskolnikov’s confession closer; and secondly, the whole conversation in sharp leaps develops the philosophical position expressed by the hero in his article.

7. The internal state of the characters is conveyed by the writer using a technique confession. “You know, Sonya, you know what I’ll tell you: if I had only killed because I was hungry, then I would now... be happy. If you knew that!” Old man Marmeladov confesses to Raskolnikov in the tavern, and Raskolnikov to Sonya. Everyone has a desire to open their souls. Confession, as a rule, takes the form of a monologue. The characters argue with themselves, castigate themselves. It is important for them to understand themselves. The hero objects to his other voice, refutes the opponent in himself: “No, Sonya, that’s not it!” he began again, suddenly raising his head, as if a sudden turn of thoughts had struck and aroused him again...” It’s common to think that if a person is struck a new turn of thoughts, then this is a turn of thoughts of the interlocutor. But in this scene, Dostoevsky reveals an amazing process of consciousness: the new turn of thoughts that occurred in the hero amazed him! A person listens to himself, argues with himself, contradicting himself.

8. Portrait characteristics conveys general social traits and signs of age: Marmeladov is a drunken aging official, Svidrigailov is a youthful, depraved gentleman, Porfiry is a sickly, intelligent investigator. This is not the writer's usual observation. The general principle of the image is concentrated in rough, sharp strokes, like masks. But the eyes are always painted on the frozen faces with special care. Through them you can look into a person’s soul. And then Dostoevsky’s exceptional manner of focusing attention on the unusual is revealed. Everyone's faces are strange, in them too much everything is taken to the limit, they amaze with contrasts. There was something “terribly unpleasant” in Svidrigailov’s handsome face; in Porfiry’s eyes there was “something much more serious” than should have been expected. In the genre of a polyphonic ideological novel, these are the only portrait characteristics of complex and divided people.

9. Landscape painting Dostoevsky is not similar to the pictures of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a barrel organ, wet snow, the dim light of gas lamps - all these repeatedly repeated details not only give a gloomy flavor, but also conceal complex symbolic content.

10. Dreams and nightmares carry a certain artistic load in revealing ideological content. There is nothing lasting in the world of Dostoevsky’s heroes; they already doubt whether the disintegration of moral foundations and personality occurs in a dream or in reality. To penetrate the world of his heroes, Dostoevsky creates unusual characters and unusual situations that border on fantasy.

11. Artistic detail in Dostoevsky's novel is as original as other artistic means. Raskolnikov kisses Sonya's feet. A kiss serves to express a deep idea containing multiple meanings.

Color the detail enhances the bloody connotation of Raskolnikov’s crime. A month and a half before the murder, the hero pawned “a small gold ring with three red stones,” a souvenir from his sister. “Red pebbles” become harbingers of droplets of blood. The color detail is repeated more than once: red lapels on Marmeladov’s boots, red spots on the hero’s jacket.

12. Keyword guides the reader through the character's storm of feelings. Thus, in the sixth chapter the word “heart” is repeated five times. When Raskolnikov, having woken up, began to prepare to leave, “his heart was beating strangely. He strained every effort to figure everything out and not forget anything, but his heart kept beating, pounding so that it became difficult for him to breathe.” Having safely reached the old woman’s house, “taking a breath and pressing his hand to his pounding heart, immediately groping and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening. In front of the old woman’s door, his heart beats even stronger: “Am I pale?” .. very,” he thought, “am I not particularly excited? She is incredulous - Shouldn’t we wait a little longer... until my heart stops?” But the heart did not stop. On the contrary, as if on purpose, the knocking became stronger, stronger, stronger..."

To understand the deep meaning of this key detail, we must remember the Russian philosopher B. Vysheslavtsev: “... in the Bible the heart is found at every step. Apparently, it means the organ of all senses in general and religious feeling in particular... such a thing is placed in the heart an intimate hidden function of consciousness, like conscience: conscience, according to the Apostle, is a law inscribed in hearts." In the beating of Raskolnikov's heart, Dostoevsky heard the sounds of the hero's tormented soul.

13. Symbolic detail helps to reveal the social specifics of the novel.

Pectoral cross. At the moment when the pawnbroker was overtaken by her suffering on the cross, “Sonya’s icon”, “Lizavetin’s copper cross and a cypress cross” were hanging around her neck along with her tightly stuffed wallet. While affirming the view of his heroes as Christians walking before God, the author simultaneously conveys the idea of ​​a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the murderer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon and the Gospel.

Religious symbolism is also noticeable in proper names: Sonya (Sofia), Raskolnikov (schism), Kapernaumov (the city in which Christ worked miracles); in numbers: “thirty rubles”, “thirty kopecks”, “thirty thousand silver pieces”.

14. The characters' speech is individualized. The speech characteristics of the German characters are represented in the novel by two female names: Luiza Ivanovna, the owner of the entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.

Luisa Ivanovna’s monologue shows not only the level of her poor command of the Russian language, but also her low intellectual abilities:

“I didn’t have any noise or fights... no scandal, but they came completely drunk, and I’ll tell it all... I have a noble house, and I always didn’t want any scandal. But they came completely drunk and then again He asked three potilki, and then one raised his legs and began to play the piano with his foot, and this is not at all good in a noble house, and he broke the piano, and there’s absolutely no manners here..."

Speech behavior Amalia Ivanovna manifests herself especially vividly at Marmeladov’s wake. She tries to attract attention by telling a funny adventure “out of the blue.” She is proud of her father, who “was a very important man and went all out.”

Katerina Ivanovna’s opinion about the Germans is reflected in her response: “Oh, you fool! And she thinks it’s touching, and doesn’t know how stupid she is!.. Look, she’s sitting there, her eyes wide open. She’s angry! She’s angry! Ha-ha-ha! Khi-khi-khi."

The speech behavior of Luzhin and Lebezyatnikov is described not without irony and sarcasm. Luzhin's stilted speech, containing fashionable phrases combined with his condescending address to others, betrays his arrogance and ambition. Nihilists are represented as a caricature in the novel by Lebezyatnikov. This “half-educated tyrant” is at odds with the Russian language: “Alas, he didn’t know how to communicate properly in Russian (not knowing, however, any other language), so he was completely exhausted, somehow at once, even “It’s like I lost weight after my lawyer’s feat.” Lebezyatnikov’s chaotic, unclear and dogmatic speeches, which, as we know, represent a parody of Pisarev’s social views, reflected Dostoevsky’s criticism of the ideas of Westerners.

Dostoevsky individualizes speech according to one defining feature: in Marmeladov, the formal politeness of an official is abundantly strewn with Slavicisms; Luzhin has stylistic bureaucracy; Svidrigailov's is ironic negligence.

15. “Crime and Punishment” has its own system for highlighting key words and phrases. This is italics, that is, the use of a different font. Words in italics test, case, suddenly. This is a way of focusing readers’ attention both on the plot and on the intended action. The highlighted words seem to protect Raskolnikov from those phrases that he is afraid to utter. Italics is also used by Dostoevsky as a way of characterizing a character: Porfiry’s “impolite sarcasm”; "Insatiable suffering" in Sonya's features.

RELEVANCE OF F.M.'S CREATIVITY DOSTOEVSKY

F.M. Dostoevsky - a phenomenon of world literature - discovered new stage its history and largely determined its face, the paths and forms of its further development. Let us emphasize that Dostoevsky is not just a great writer, but also an event of enormous importance in history. spiritual development humanity. Almost all World culture summarily present in his work, in his images, in his artistic thinking. And not just present: she found in Dostoevsky her brilliant transformer, who ushered in a new stage of artistic consciousness in the history of world literature.

Dostoevsky's works remain cutting-edge today because the writer thought and created in the light of thousands of years of history. He was able to perceive every fact, every phenomenon of life and thought as a new link in the thousand-year chain of being and consciousness. After all, if any, even “small” today’s event or word is perceived as a link in the practical and spiritual movement of history, this event and this word acquire absolute significance and become a worthy subject of creativity. It is significant that Western literature mastered the relationship between the concepts of “individual” and “nation,” and Dostoevsky confronted Russian literature with the realities of “personality” and “people.”

Exceptional sharpness and internal tension of thought, special intensity of action that are characteristic of his works, consonant internal tension life of our time. Dostoevsky never depicted life in its calm flow. He is characterized by an increased interest in crisis conditions of both society and the individual, which is by far the most valuable thing in a writer.

The artistic world of Dostoevsky is a world of thought and intense quest. The same social circumstances that separate people and give rise to evil in their souls, activate, according to the writer’s diagnosis, their consciousness, push the heroes onto the path of resistance, give rise to their desire to comprehensively comprehend not only the contradictions of their contemporary era, but also the results and prospects of all history humanity, awaken their reason and conscience. Hence the sharp intellectualism of Dostoevsky's novels, which is especially valuable today.

The writer's works are rich philosophical thought, so close to the people of our time, and akin to the best examples of literature of the 20th century.

Dostoevsky is unusually sensitive, in many ways prophetically, expressed grew already in his time and has grown even more today the role of ideas in public life.

One of the main problems that tormented Dostoevsky was the idea of ​​​​the reunification of the people, society, humanity, and at the same time, he dreamed of each person gaining internal unity and harmony. He was painfully aware that in the world in which he lived, the unity and harmony necessary for people was violated - both in the relationships of people with nature, and in the relationships within the social and state whole, and in each person separately.

These questions, which occupied a central place in the circle of thoughts of Dostoevsky the artist and thinker, acquired special meaning Nowadays. Today it became especially acute problem about the ways of interhuman connections, about the creation of a harmonious system of social and moral relations and about the education of a full-fledged, spiritually healthy person.

Dostoevsky's work is rooted in Russian culture of the past to the most distant centuries. And at the same time, it is connected with all contemporary culture, philosophy, literature and art. In his understanding, the ever-living “Divine Comedy” of Dante, the image of Don Quixote, Alexei the Man of God or Mary of Egypt acquired a deep world-historical meaning, just as Cleopatra or Napoleon turned out to be for him symbols of the destinies and experiences of a man of his era with their torments and quests. And in the same way he looked at the Gospel, in which he saw a reflection of man’s worries and spiritual quests not only of the past, but also of his era. Even in Fet’s small poem, he sought to reveal the expression of humanity’s longing for an ideal. In turn, depicting the current topical modernity, Dostoevsky knew how to raise it to the heights of tragedy.

The question facing the writer about the unification of the mind and morality of the individual and humanity with its moral world, which contains the experience of generations, their conscience and wisdom, has acquired enormous significance today. Dostoevsky made me think greatest writers XIX century, he encourages us today to solve the most important issues of life.

ON THE. Dobrolyubov, in his article “Downtrodden People,” formulated the directions of Dostoevsky’s intense mental activity:

2. Tragic pathos associated with pain about a person;

3. Humanistic sympathy for a person in pain;

4. A high degree of self-awareness of heroes who passionately want to be real people and at the same time admit that they are powerless.

To these we can add: the writer’s constant focus on contemporary problems; interest in the life and psychology of the urban poor; immersion in the deepest and darkest circles of hell of the human soul; attitude towards literature as a way of artistic prediction of the future development of mankind.

All this makes Dostoevsky’s work especially significant, modern and large-scale for us today.

Bibliography:

Soloviev V.S. Third speech in memory of Dostoevsky. M., Book, 1990

Belov S.V. Roman F.M. Dostoevsky "Crime and Punishment". M., Education, 1984

Gus M. Ideas and images of F.M. Dostoevsky. M., 1962

Sugai L.A. Reader on literary criticism for schoolchildren and applicants. M., “RIPOL CLASSIC”, 1997

Novel "Crime and Punishment" - a novel about the absolute value of man. personality. This is a social-philosophical, religious-moral, ideological novel. The novel was published in 1866. This was an era when old moral laws were rejected by society, and new ones had not yet been formed. Society has lost the moral guidelines that were embodied in the image of Christ. D. was able to show the horror of this loss. The PiN district has a number of special features: 1) Ideological district(Raskolnikov is a hero-ideologist, this idea becomes his passion and the defining feature of his lies). 2) Abvivalence of GG consciousness(it combines opposite principles, good and evil; R. is not an ordinary killer, but an honest and gifted person with a philosophical mindset, who has taken the wrong path, carried away by a false theory). 3) Dialogism of the narrative. There is always a dispute and defense of one’s position (The two main characters of the novel - Raskolnikov and Sonya form two poles. Pole Raskolnikova represents the Napoleonic idea, inhuman and inhumane: Sonya's pole is Christ's idea, the idea of ​​forgiveness. They are in a relationship of duality and antagonism with each other. Both are criminals (murderer and harlot). They're both victims social evil . That is why Raskolnikov is drawn to Sonya, she is for him symbolizes another social and moral phenomenon. R.'s theory symbolizes the spiritual death of a person. Sonya Marmeladova allows R. to feel the crisis and the illegality of his theory. She is the bearer of true faith in the novel, yavl. exponent of the author's position. For her, people are the highest value on earth. Sonya believes that R. committed a crime by God, by the earth, by the Russian people, and therefore sends him to seek salvation and rebirth among people. R. sees that religion, faith in God, is the only thing she has left. For D., the concept of God merges ideas about the highest principles of existence: eternal beauty, justice and love. And the hero comes to the conclusion that God is the embodiment of humanity.). 4) Polyphonic district (merging different voices, points of view into one complete, diverse picture, reflecting). modern society 5) The principle of duality (Doubles in the novel -: simultaneously opponents Raskolnikov's double is Razumikhin: both are poor students, struggling for life. But the means of struggle are different. Razumikhin is a tutor. helps Raskolnikov (offers a job), sits at Raskolnikov’s sick bedside, takes care of Rodion’s family. But he is sharply opposed to Rodion, since he does not accept the idea of ​​“blood according to conscience.” A kind of double of Raskolnikov is Svidrigailov. who, as is typical of a cynic, takes Raskolnikov’s ideas to their logical conclusion, advising him to stop thinking about the good of humanity. Another character that sets off the image of the main one theory. Luzhin personifies: “love yourself.” Svidrigailov is the other side of Raskolnikov’s theory, cat. symbolizes godlessness. Luzhin, Svidrigailov and Raskolnikov are brought together by this. that they take upon themselves the right to control other people's lives to achieve their goals. But their main difference is that Raskolnikov’s is a delusion caused by social circumstances. For Luzhin and Svidrigailov, this is a property of their nature. The idea expressed in the image of Sonya is duplicated by the images of Lizaveta and Dunya. Lizaveta personifies meekness and love for God, sacrifice. Sonya and Lizaveta are godsisters and innocent victims. Sonya and Dunya are both voluntary victims. The strength of character in Duna manifests itself more clearly, But through the prism of the image of Dunya, this power is highlighted in Sonya.) 6) Connecting a philosophical basis with a detective story(the murder of the old money-lender and the investigation. The legal principle is represented by Porfiry Petrovich, the investigator. This is the antipode of Raskolnikov. but there is also something Raskolnikov in him. That’s why he understands the main character faster and better than anyone else. Investigator Porfiry is not alien to Raskolnikov’s “idea” This is a man who experienced his own period of proud impulses and dreams in his youth. Porfiry Petrovich feels “attachment” to the killer, because “he himself is familiar with these feelings.” Porfiry recognizes in Raskolnikov his own youth. his secret sympathy for the hero, which conflicts with his role as a guardian of official justice. Condemning the murderer, Porfiry, like the author of the novel himself, cannot help admiring the courage of the rebel against human suffering and the injustice of society. That's why he believes his“a terrible fighter” if he manages to find true “faith or God.” He convinces Raskolnikov to confess in order to regain the ability to live). 7) Realistic district.(Dostoevsky defined his method as “realism to the highest degree” - that is, in order to show the true nature of man, it is necessary to depict him in borderline situations, on the edge of the abyss, representing a tottering creature, lost souls).

The entire novel is Raskolnikov’s path to himself. The novel is dedicated to the transformation of Raskolnikov. GG was worried about insoluble questions: why smart, noble people must eke out a miserable existence, while others - insignificant and vile - live in luxury and contentment? Why do innocent children suffer? How can I change this order? Who is a person - a “trembling creature” or the ruler of the world, “having the right” to break the moral law? External causes of crime are causes that are caused by social factors. the position of the hero. And what is happening in his soul, all his painful experiences, the author reveals to the reader, describing the dreams of R. The dream of a murder thickens the colors, dark details appear - R. Sees himself as a child and sees the beating of a driven horse, which is in a stupid Out of anger, the owner beats him to death. The hero's dream is multi-valued: it expresses a protest against murder, senseless cruelty, sympathy for the pain of others; a dream is a symbol of existing orders - life is unfair, rude and cruel; the most important meaning of the dream is R.’s internal attitude towards crime. The terrible scene and the shed blood are connected in R.’s mind with the planned murder. R. feels fear and doubt - while the theory was being mastered logically, there was no fear, but now the hero’s feelings came into their own. Having not yet killed anyone, R. realizes the doom of his bloody idea. R. hears students talking in a tavern about killing an old pawnbroker for the sake of money, with which one can do “1000 good deeds,” 1 life and hundreds of lives in return. The phrase about the many suffering turned out to be very important for R. From this moment on, vague ideas are formed into the idea of ​​​​dividing people into the elite and the rank and file. Therefore, R. is close to Napoleon. D. proves how monstrous this worldview is, for it leads to disunity among people, turns a person into a slave of his own passions and thereby destroys him. The world - built on these principles - is a world of arbitrariness, where universal human values ​​​​are crumbling. This is the path of death of the human race. After the murder, a turning point occurred in R’s soul. It was as if an abyss had opened up between him and the people - loneliness, alienation, hopeless melancholy. What he had done became an insurmountable obstacle. And in this sad loneliness, a painful comprehension of what has been done begins.