What happened to Raskolnikov on the Nikolaev bridge. Composition Dostoevsky F.M.

29.06.2020
Work done:
Menshchikova Alena, Melnikov Zakhar,
Khrenova Alexandra, Pechenkin Valery,
Shvetsova Daria, Valov Alexander, Metzler
Vadim, Elpanov Alexander and Tomin Artem.

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

Raskolnikov walks down the street and runs into
deep thought", but from
his thoughts are distracted by a drunk,
who was being transported at that time along the street in
cart, and who called out to him: "Hey you,
German hatter." Raskolnikov did not
ashamed, but frightened, because he is completely
I didn't want to attract anyone's attention.

In this scene, Dostoevsky introduces us to his hero:
describes his portrait, tattered clothes, shows him
character and makes hints at Raskolnikov's intention.
He is disgusted with everything around him and
those around him, he is uncomfortable: "and went, no longer noticing
around and not wanting to notice it. "He does not care what about
he will think. Also, the author emphasizes this with evaluative
epithets: "deepest disgust", "evil contempt"

Part 2 ch. 2 (scene on the Nikolaevsky bridge, blow of the whip and alms)

On the Nikolaevsky bridge, Raskolnikov peers into St. Isaac's
Cathedral. The monument to Peter I, sitting on a rearing horse, disturbs and
scares Raskolnikov. Before this majesty, before
imagining himself a superman, he feels like a "small
man", from which Petersburg turns away. As if ironically
over Raskolnikov and his "superhuman" theory, Petersburg
first with a blow of a whip on the back with a whip (an allegorical rejection of
Raskolnikov Petersburg) admonishes the lingering on the bridge
hero, and then with the hand of the merchant's daughter throws Raskolnikov
alms. He, not wanting to accept handouts from a hostile city,
throws two kopecks into the water.

Turning to the artistic construction of the text and artistic
means, it should be noted that the episode is built on the contrast
images, almost every scene has its opposite: a blow
opposed to the almsgiving of the old merchant's wife and her
daughter, Raskolnikov's reaction ("angrily gnashed and clicked
teeth") is opposed to the reaction of others ("circle
laughter was heard"), and the verbal detail "of course"
indicates the habitual attitude of the St. Petersburg public to
"humiliated and insulted" - violence reigns over the weak and
mockery. That miserable state in which the hero found himself as
could not be better emphasized by the phrase "a true collector
pennies on the street."
Artistic means are aimed at enhancing feelings
loneliness of Raskolnikov and on the display of duality
Petersburg.

Part 2 ch.6 (drunken organ grinder and a crowd of women at the "drinking and entertainment" institution)

Part 2 Chapter 6
Raskolnikov rushes about the quarters of St. Petersburg and sees scenes
one uglier than the other. Recently, Raskolnikov
was drawn to wander "in the haunted places," when he was sick
it became, "so that it was even more sick." Approaching one of
drinking and entertainment establishments, Raskolnikov's gaze falls
on the poor people who wandered around, on the drunken "ragamuffins",
swearing at each other, at "dead drunk" (evaluating epithet,
hyperbole) of a beggar lying across the street. The whole ugly picture
complemented by a crowd of shabby, battered women in nothing but dresses and
hairless. The reality that surrounds him in this
place, all the people here can only leave disgusting
impressions (“..accompanied ... a girl, about fifteen, dressed
like a young lady, in a crinoline, in a mantle, in gloves and in
a straw hat with a fiery feather; it was all old
and worn out").

In the episode, the author repeatedly notices the crowding
(“a large group of women crowded at the entrance, others
sat on the steps, others on the sidewalks..”),
gathered together in a crowd, people forget about grief,
their plight and glad to stare at
happening.
The streets are crowded, but the more acutely perceived
hero's loneliness. The world of Petersburg life is the world
misunderstanding, indifference of people to each other.

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

In this scene, we are watching a middle-class woman being thrown off a bridge on which
stands Raskolnikov. Immediately a crowd of onlookers gathers, interested
happening, but soon the policeman saves the drowned woman, and people disperse.
Dostoevsky uses the metaphor "spectators" in relation to people
gathered on the bridge.
Philistines are poor people whose lives are very hard. drunk woman,
who tried to commit suicide is, in a sense,
a collective image of the philistines and an allegorical depiction of all sorrows and
the suffering they endure during the times described by Dostoevsky.
Raskolnikov looked at everything with a strange feeling of indifference and
indifference." "No, disgusting ... water ... is not worth it," he muttered to himself, "as if
pretending to be a suicide. Then Raskolnikov is still going to
commit intentional: go to the office and confess. "Not a trace of the old
energy ... Complete apathy has taken its place" - the author metaphorically notes how
pointing out to the reader the change within the hero that occurred after
seen.

Part 5 ch.5 (death of Katerina Ivanovna)

Petersburg and its streets, which Raskolnikov already knows by heart,
appear before us empty and lonely: “But the courtyard was empty and not
you could see knockers." In the scene of street life when Katerina
Ivanovna on the ditch gathered a small group of people, in which
there were mostly boys and girls, scarcity is visible
interests of this mass, they are attracted by nothing more than a strange
spectacle. The crowd, in itself, is not something positive, it
terrible and unpredictable.
It also touches upon the theme of the value of every human life and
personality, one of the most important themes of the novel. In addition, the episode of death
Katerina Ivanovna, as it were, prophesies what kind of death could await
Sonechka, if the girl had not decided for herself to keep firmly in her soul
Love and God.
The episode is very important for Raskolnikov, the hero is becoming more and more established
them in the correctness of the decision made: to atone for guilt by suffering.

Output:

F.M. Dostoevsky draws attention to the other side of St.
suicides, murderers, drunks. Everything dirty and smelly gets along with
air into the inside of a person and gives rise to not the best feelings and emotions.
Petersburg suffocates, oppresses and breaks the personality.
The writer gives paramount importance to the image of corners and backyards
the brilliant capital of the empire, and together with the urban landscape in the novel
there are pictures of poverty, drunkenness, various disasters of the lower strata of society.
From such a life, people have become dumb, they look at each other "hostilely and with
incredulity." There can be no other relationship between them than
indifference, bestial curiosity, malicious mockery. From meeting these
Raskolnikov still has a feeling of something dirty, miserable,
ugly and at the same time what he sees evokes in him a feeling of compassion for
"humiliated and offended." The streets are crowded, but the sharper
the loneliness of the hero is perceived. The world of Petersburg life is the world
misunderstanding, indifference of people to each other.

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

Develop the ability to work with the text, paying attention to the WORD of the writer; check the formation of reading and analytical skills; to teach in a holistic way, to perceive the episode in volume, to see in a separate fragment of a work of art an expression of the author's position of the world and a person, and to convey this through his own interpretation of the text.

We continue to work on Dostoevsky's novel "Crime and Punishment"

Theme of our lesson: Analysis of the episode "Raskolnikov on the Nikolaevsky Bridge"

1. Conversation for repetition

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

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

How are episode boundaries defined? (Either by a change of actors, or by the accomplishment of a new event)

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

Temporal, causal relationships

1______________________________________________________

Exposition plot development of action climax denouement

Are there connections between episodes? (There are connections between episodes: causal, causal, temporal)

When working on an episode, we must identify important motives, ideas, artistic techniques, and the creative style of the author. Only after that we have the right to talk about the most important features of the whole work!

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


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

SLIDE 8 (CITY OF PETERSBURG)

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

Dostoevsky's Petersburg is a city of drinking places and "corners", it is a city of Sennaya Square, dirty lanes and tenement houses, yet one day it will appear before the hero in all its majestic beauty.

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

SLIDE 9 (RASKOLNIKOV)

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

Let's read this episode.

What did you pay attention to? What actions are taking place? (He walks in deep thought, almost fell under a horse, for which he received a blow with a whip, which made him wake up. And then he felt that two kopecks were clutched in his hand, which the compassionate merchant's wife had given him as alms.)

Was it by chance that Raskolnikov ended up on the Nikolaevsky bridge?

What paradox do you notice?

(This is the first thing that Dostoevsky draws the attention of readers to: his hero, who ranked himself among the people of the highest rank, looks like a beggar in the eyes of those around him)

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

(A magnificent view of the city opened up to him from the bridge. A riddle again stood before him, the mystery of the “magnificent panorama”, which had long disturbed his mind and heart. Now he does not have a city of slums in front of him, in front of him is a city of palaces and cathedrals - SLIDE 10

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

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

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

What symbolic meaning does the panorama of St. Petersburg take on in this scene? Why does she feel cold?

Here, on the Nikolaevsky bridge, Raskolnikov and the hostile world stood against each other.

What role is played in the scene by such an artistic detail as the two-kopeck coin clenched in the hero's fist?

SLIDE 11 (RASKOLNIKOV, DOUBLE GREEN)

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

This "through" image of the novel receives in this scene an almost material embodiment, while remaining at the same time a symbol of enormous generalizing power.

What emotional and semantic meaning does the image of the abyss open under Raskolnikov's feet acquire?

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

The impression from this scene is enhanced not only by artistic details, but also by the very rhythmic structure of the phrase, with which the author was able to convey the movement of Raskolnikov's thought, the very process of his separation from people. “In some depth, barely visible underfoot, it now seemed all of his former past, and former thoughts, and former tasks, and former themes, and former impressions, and all this panorama, and himself, and everything, everything… HE seemed to have flown somewhere upwards, and everything disappeared in his eyes…”

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

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

SLIDE 13 (RASKOLNIKOV)

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

So a small artistic detail turns us to the hero's reflections on serious moral problems.

How is the scene "On the Nikolaevsky Bridge" related to the previous and subsequent content of the novel?

SLIDE 14 (LAST)

Thus, a tiny episode, an infinitely small link in the "labyrinth of links" helps us to understand the author's intention as a whole.

Which scene and from which work does the scene on the Nikolaevsky bridge echo? What are the similarities and differences between the situations?

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

In a world in which the puddles are the masters, the Svidrigailovs, ..., we will talk about them in the next lesson.

D/W: Images of Luzhin, Svidrigailov

Raskolnikov silently took the German sheets of the article, took three rubles and, without saying a word, went out. Razumikhin looked after him in surprise. But, having already reached the first line, Raskolnikov suddenly turned back, went up again to Razumikhin, and, putting German sheets and three rubles on the table, again without saying a word, went out.

- Yes, you have delirium tremens, or something! roared Razumikhin, finally enraged. - Why are you playing comedies! He even confused me… Why did you come after that, damn it?

“No need… translations…” muttered Raskolnikov, already going down the stairs.

"So what the hell do you want?" Razumikhin shouted from above. He silently continued to descend.

- Hey, you! Where do you live?

There was no answer.

- Well, to hell with you! ..

But Raskolnikov was already out on the street. On the Nikolayevsky Bridge he had to fully wake up again as a result of one very unpleasant incident for him. He was whipped hard on the back by the driver of one of the carriages because he almost got under the horses, despite the fact that the driver shouted to him three or four times. The blow of the whip so angered him that he jumped back to the railing (it is not known why he was walking in the very middle of the bridge, where people ride and not walk), gnashed angrily and snapped his teeth. There was, of course, laughter all around.

- And for the cause!

- Some kind of burn.

- It is known that he introduces himself drunk and on purpose and climbs under the wheels; and you answer for it.

- They hunt for that, venerable, they trade for that ...

But at that moment, as he stood at the railing and was still looking senselessly and angrily after the departing carriage, rubbing his back, he suddenly felt that someone was thrusting money into his hands. He looked: an elderly merchant's wife, in a head and trestle shoes, and with her a girl, in a hat and with a green umbrella, probably a daughter. "Accept, father, for Christ's sake." He took it and they passed. Double money. By dress and appearance, they could very well take him for a beggar, for a real collector of pennies along the street, and for giving a whole two-kopeck piece, he probably owed a blow to the whip, which moved them to pity.

He clutched a two-kopeck piece in his hand, walked ten paces and turned to face the Neva, in the direction of the palace. The sky was without the slightest cloud, and the water was almost blue, which is so rare on the Neva. The dome of the cathedral, which from no point is better outlined than looking at it from here, from the bridge, not reaching twenty paces to the chapel, shone like that, and even each of its decorations could be clearly seen through the clean air. The pain from the whip subsided, and Raskolnikov forgot about the blow; one restless and not entirely clear thought now occupied him exclusively. He stood and looked into the distance for a long time and intently; this place was especially familiar to him. When he went to the university, it usually happened - most often, when returning home - it happened to him, maybe a hundred times, to stop at exactly the same place, gaze intently at this really magnificent panorama and each time almost be surprised at one obscure and insoluble to your impression. An inexplicable chill always blew over him from this splendid panorama; this sumptuous picture was full of mute and deaf spirit for him... Each time he marveled at his gloomy and enigmatic impression and put off the solution of it, not trusting himself, to the future. Now, suddenly, he sharply recalled these former questions and perplexities of his, and it seemed to him that it was no accident that he now remembered them. That alone seemed wild and wonderful to him, that he stopped at the same place as before, as if he really imagined that he could think about the same things now, as before, and take an interest in the same old themes and pictures, which I was interested ... so recently. It even became almost funny to him, and at the same time squeezed his chest to the point of pain. In some depth, below, somewhere barely visible under his feet, it now seemed to him all this former past, and former thoughts, and former tasks, and former themes, and former impressions, and all this panorama, and he himself, and everything, everything... It seemed that he was flying somewhere upwards, and everything disappeared before his eyes... Having made one involuntary movement with his hand, he suddenly felt a two-kopeck piece clutched in his fist. He opened his hand, looked intently at the coin, swung it and threw it into the water; then turned and went home. It seemed to him that he, as if with scissors, cut himself off from everyone and everything at that moment.

He came to his place already in the evening, so he had only been walking for six hours. Where and how he went back, he did not remember anything. Having undressed and trembling all over like a driven horse, he lay down on the sofa, pulled on his greatcoat, and immediately forgot himself ...

He woke up in full twilight from a terrible scream. God, what a cry! He had never heard or seen such unnatural sounds, such howls, screams, gnashings, tears, beatings and curses. He could not imagine such atrocity, such frenzy. Terrified, he got up and sat on his bed, dying and tormented every moment. But the fights, screams and curses became stronger and stronger. And then, to the greatest amazement, he suddenly heard the voice of his mistress. She howled, squealed and wailed, hastily, hurriedly, letting out words so that it was impossible to make out, begging for something - of course, that they would stop beating her, because they beat her mercilessly on the stairs. The voice of the beating man became so terrible from anger and rage that it was only hoarse, but all the same, the beating man also said something like that, and also quickly, unintelligibly, hurrying and choking. Suddenly Raskolnikov trembled like a leaf: he recognized that voice; it was the voice of Ilya Petrovich. Ilya Petrovich is here and beats the mistress! He kicks her, bangs her head on the steps - this is clear, you can hear it from the sounds, from the screams, from the blows! What is it, the light turned upside down, or what? It was heard how a crowd was gathering on all floors, along the stairs, voices, exclamations were heard, people came up, knocked, slammed doors, ran. “But for what, for what ... and how is this possible!” he repeated, seriously thinking that he was completely mad. But no, he hears too clearly! .. But, therefore, they will come to him now, if so, “because ... it’s true, all this is from the same ... because of yesterday ... Lord!” He wanted to lock himself on the hook, but his hand did not rise ... and it was useless! Fear, like ice, overlaid his soul, tormented him, stiffened him ... But then, finally, all this uproar, which had lasted for ten minutes, gradually began to subside. The hostess groaned and moaned, Ilya Petrovich was still threatening and cursing ... But now, at last, it seems, he too calmed down; now you can’t hear him: “Really gone! God!" Yes, now the hostess is leaving, still groaning and crying ... and then her door slammed ... Here the crowd disperses from the stairs to the apartments - they gasp, argue, call to each other, now raising their speech to a cry, then lowering it to a whisper. There must have been many; almost the whole house ran away. “But my God, is it all possible! And why, why did he come here!

Raskolnikov fell helplessly on the sofa, but could no longer close his eyes; he lay for half an hour in such suffering, in such an unbearable feeling of boundless horror as he had never experienced before. Suddenly a bright light lit up his room: Nastasya entered with a candle and a bowl of soup. Looking at him carefully and seeing that he was not sleeping, she put the candle on the table and began to lay out what she had brought: bread, salt, a plate, a spoon.

- I haven't eaten since yesterday. A whole day he wandered around, and the lihoman beats himself.

- Nastasya ... why did they beat the hostess?

She looked at him intently.

- Who beat the hostess?

- Just now ... half an hour ago, Ilya Petrovich, the warden's assistant, on the stairs ... Why did he beat her like that? and ... why did you come? ..

Nastasya looked at him silently and frowning, and looked at him for a long time. He felt very uncomfortable from this examination, even scared.

- Nastasya, why are you silent? he said timidly, finally in a weak voice.

"It's blood," she finally answered quietly, as if speaking to herself.

“Blood!.. What blood?..” he muttered, turning pale and moving back to the wall. Nastasya continued to look at him silently.

“No one beat the hostess,” she said again in a stern and resolute voice. He looked at her, barely breathing.

“I heard it myself… I didn’t sleep… I was sitting,” he said even more timidly. - I listened for a long time ... The supervisor's assistant came ... Everyone ran to the stairs, from all the apartments ...

- Nobody came. And it's the blood in you screaming. This is when she has no way out, and she starts to bake cookies, then she starts to imagine ... You will become something, or what?

He didn't answer. Nastasya still stood over him, looked intently at him, and did not go away.

- Give me a drink ... Nastasyushka.

She went downstairs and after two minutes returned with water in a white clay mug; but he no longer remembered what happened next. He only remembered how he took a sip of cold water and spilled from the mug on his chest. Then came unconsciousness.

III

He, however, was not completely unconscious during the entire illness: it was a feverish state, with delirium and half-consciousness. He later remembered a lot. It seemed to him that a lot of people were gathering around him and they wanted to take him and carry him somewhere, they were arguing and quarreling about him very much. Then suddenly he is alone in the room, everyone has left and is afraid of him, and only occasionally open the door a little to look at him, threaten him, conspire about something among themselves, laugh and tease him. He often remembered Nastasya by his side; He also distinguished one more person, who seemed to be very familiar to him, but who exactly - he could not guess at all and yearned for it, even cried. At times it seemed to him that he had already been in bed for a month; another time - that all the same day goes. But about that - about that he completely forgot; but every minute he remembered that he had forgotten something, something that should not be forgotten - he was tormented, tormented, remembering, groaning, falling into a rage or into a terrible, unbearable fear. Then he would break away from his place, he wanted to run away, but someone always stopped him by force, and he again fell into impotence and unconsciousness. Finally, he completely came to his senses.

It happened in the morning at ten o'clock. At this hour of the morning, on clear days, the sun always passed in a long strip along its right wall and illuminated the corner near the door. By his bed stood Nastasya and another man who looked at him very curiously and who was completely unfamiliar to him. It was a young guy in a caftan, with a beard, and in appearance he looked like an artel worker. The hostess peered out of the half-open door. Raskolnikov got up.

Who is this, Nastasya? he asked, pointing at the guy.

- Look, I've woken up! - she said.

“Wake up,” said the artel worker. Guessing that he had woken up, the hostess, who was peeping from the door, immediately closed them and hid. She was always shy and endured conversations and explanations with difficulty, she was about forty years old, and she was fat and fat, black-browed and dark-eyed, kind from fat and from laziness; and even very cute. Shameful beyond necessity.

- Who are you? he continued to interrogate, turning to the artel worker himself. But at that moment the door opened wide again, and, stooping a little, because he was tall, Razumikhin entered.

As promised, we are opening a new permanent rubric for those who are forced to prepare (and prepare) for the Unified State Examination in literature and for Part C of the Unified State Examination in the Russian language (since it tests the skills formed in our subject). “Forced” is not an accidental word: preparing for the Unified State Examination is a bleak business for everyone, and passing the exam is pretty nerve-wracking (in Moscow, for example, this year in a number of points there were not enough additional forms for Part C, and graduates had to wait several hours, until they are delivered). But nothing can be done, since this year the Unified Exam has entered the regular mode and turned into something in the manner of the weather - everyone scolds it, but depends on it. This has to be taken into account.

When preparing, it is important to know that exam configuration will not change in 2010- this is clear from the demo version of 2010, proposed at the end of July for discussion. The graduate will be offered a job in three parts. It takes 4 hours (240 minutes) to complete it.

Parts 1 and 2 include an analysis of a literary text (a fragment of an epic / dramatic work and a lyrical work). The analysis of the text of an epic (or dramatic) work has the following structure: 7 tasks with a short answer (B), focused on the basic level and requiring the writing of a word or a combination of words in the answer, and 2 tasks with a detailed answer (С1–С2) of an increased level of complexity, requiring writing an answer in the amount of 5-10 sentences. The analysis of a lyrical work includes 5 tasks with a short answer (B, basic level) and 2 tasks with a detailed answer (C3–C4, advanced level) in the amount of 5–10 sentences.

To complete the tasks of part 3 (C5 - a high level of complexity), you need to choose one of the three proposed problematic questions and give a written detailed, reasoned answer to it in the essay genre (in the amount of at least 200 words).

Analysis of an excerpt from an epic work

On the Nikolaevsky Bridge he had to fully wake up again as a result of one very unpleasant incident for him. The driver of one of the carriages whipped him tightly on the back with a whip, because he almost got under the horses, despite the fact that the driver shouted to him three or four times. The blow of the whip so angered him that, jumping back to the railing (it is not known why he was walking in the very middle of the bridge, where people ride, but do not walk), he gnashed angrily and snapped his teeth. There was, of course, laughter all around.

And for the cause!

Some burn.

It is known that he introduces himself drunk on purpose and climbs under the wheels; and you answer for it.

That is what they hunt for, venerable one, that is what they hunt for ...

But at that moment, as he stood at the railing and was still looking senselessly and angrily after the departing carriage, rubbing his back, he suddenly felt that someone was shoving money into his hands. He looked: an elderly merchant's wife, in a head and trestle shoes, and with her a girl, in a hat and with a green umbrella, probably a daughter. "Accept, father, for Christ's sake." He took it and they passed. Double money. By his dress and appearance, they could very well take him for a beggar, for a real collector of pennies on the street, and he probably owed the giving of a whole two-kopeck piece to the blow of the whip, which moved them to pity.

He clutched a two-kopeck piece in his hand, walked ten paces and turned to face the Neva, in the direction of the palace. The sky was without the slightest cloud, and the water was almost blue, which is so rare on the Neva. The dome of the cathedral, which from no point is better outlined than looking at it from here, from the bridge, not reaching twenty paces to the chapel, shone like that, and even each of its decorations could be clearly seen through the clean air. The pain from the whip subsided, and _____________ forgot about the blow; one restless and not entirely clear thought now occupied him exclusively. He stood and looked into the distance for a long time and intently; this place was especially familiar to him. When he went to the university, it usually happened - most often, when returning home - it happened to him, maybe a hundred times, to stop at exactly the same place, gaze intently at this really magnificent panorama and each time almost be surprised at one obscure and insoluble his own. impression. An inexplicable chill always blew over him from this splendid panorama; this sumptuous picture was full of mute and deaf spirit for him... Each time he marveled at his gloomy and enigmatic impression and put off the solution of it, not trusting himself, to the future. Now, suddenly, he sharply remembered these former questions and perplexities of his, it seemed to him that it was not by chance that he now remembered them. That alone seemed wild and wonderful to him, that he stopped at the same place as before, as if he really imagined that he could think about the same things now, as before, and take an interest in the same old themes and pictures, which I was interested ... not so long ago. It even became almost funny to him and at the same time squeezed his chest to the point of pain. In some depth, below, somewhere barely visible under his feet, it now seemed to him all this former past, and former thoughts, and former tasks, and former themes, and former impressions, and all this panorama, and he himself, and everything, everything... It seemed that he was flying somewhere upwards, and everything disappeared before his eyes... Having made one involuntary movement with his hand, he suddenly felt a two-kopeck piece clutched in his fist. He opened his hand, looked intently at the coin, swung it and threw it into the water; then he turned and went home. It seemed to him that he, as if with scissors, cut himself off from everyone and everything at that moment.

F.M. Dostoevsky. "Crime and Punishment"

IN 1. What church is being referred to in the passage?

AT 2. Insert the name of the character in question in place of the gap in the passage.

AT 3. What event separated the hero from the “former past”? (Answer in one word.)

AT 4. What is the name of the description of an open space external to the hero: nature, city, etc.?

AT 5. What is the name of the figurative definitions used by the author in the description of the “magnificent panorama”: inexplicable cold, spirit mute and deaf, magnificent painting?

AT 6. What is the name of the juxtaposition of contrasting words, concepts, images that we encounter, for example, in such fragments: “even almost funny to him became and at the same time squeezed the chest to pain”, “in some deep, below, somewhere barely visible under his feet, it seemed to him now all this former past ... it seemed that he was flying somewhere up”?

AT 7. On what artistic device is the last sentence of the passage based?

C1. Why does the hero of Dostoevsky's novel throw away a coin given to him?

C2. In what other works of Russian literature have you met with the image of St. Petersburg and how do they echo Dostoevsky’s “Petersburg” novel?

Answers and comments

As you can see, all the proposed tasks are aimed at identifying the important, essential both in the passage and in the novel as a whole. Tasks B1, B2 and AT 3 allow you to check (naturally, far from completely) how well the student remembers the chronotope of the work, the system of characters and the plot. St. Isaac's Cathedral is a symbol of ceremonial, magnificent Petersburg (see below for more details), therefore, knowledge of this spatial detail is necessary to understand the meaning of the novel and should not be perceived as exotic. Task B4 checks how the student is able to characterize the fragment as a whole. Tasks B5–B8 aimed at the ability to see the important artistic means that the author uses in this particular fragment, and determine their role (that is, they again work for understanding).

AT task C1 students can talk about Raskolnikov's throwing after the crime in an attempt to find an "outcome" (one of the key words of the novel). He either wants to confess, then he feels a surge of desire to continue the fight. The alms given to him on the Nikolaevsky Bridge connects him with people whom he is not yet ready to come to and whom he hates at that moment (see a little earlier in the text: “One new, irresistible sensation took possession of him more and more almost with each minute: it was some kind of endless, almost physical disgust for everything he met and around, stubborn, vicious, hateful. Everyone he met was disgusting to him - their faces, gait, movements were disgusting. it seems that if someone spoke to him ...”). He himself rejects the sacrifice, alms - there is still much to be endured by Raskolnikov in order to find a way to people.

Fulfilling task C2, students can refer to Dostoevsky's predecessors on the "Petersburg" theme (for example, Pushkin, Gogol, Nekrasov), as well as recall followers (for example, A. Blok, O. Mandelstam, A. Akhmatov). Dostoevsky did not like Peter and his city. In the writer's diaries there is such an entry that can be used to illustrate Dostoevsky's attitude to St. Petersburg: “I love you, Peter's creation!” Sorry, I don't like him. Windows, holes - and monuments”. Let us also note here the contrast, the antithesis; one of its parts are the "monuments" - magnificent monuments, to which the cathedral from the passage belongs. Petersburg is a city of contrasts, pomp and poverty, a triumphant stone and a perishing man.

Question about Dostoevsky's "Crime and Punishment" and got the best answer

Answer from Alexey Khoroshev[guru]
On the Nikolaevsky bridge (now the bridge of Lieutenant Schmidt), Raskolnikov peers into St. Isaac's Cathedral. In the picture described by Dostoevsky there is a strange duality, a split, which even concerns Raskolnikov's perception of space. On the one hand, it is a temple as a symbol of purity and sinlessness. On the other hand, this magnificent panorama exuded a "dumb and deaf spirit." Each time, Raskolnikov marveled at his "gloomy and mysterious impression" from this picture. In the panorama of St. Isaac's Cathedral, the stern and gloomy spirit of the guardian and founder of the city, Peter I, is hidden, and the statue of Peter reared on a horse - this stone idol - the material embodiment of the genius of the place, according to N. P. Antsiferov. The ghost of gloomy statehood, already noted by Pushkin in the poem "The Bronze Horseman", when the idol that has jumped off the pedestal is chasing the "little man" Yevgeny, scares and pursues Raskolnikov as well. Before this majestic, but devastatingly cold statehood, Raskolnikov, who imagines himself a superman, turns out to be a microscopic "little man", from whom this "incomprehensible city" of tsars and officials indifferently turns away. As if ironically over Raskolnikov and his "superhuman" theory, Petersburg first with a blow of a whip on the back admonishes the hero who hesitated on the bridge, and then with the hand of a compassionate merchant's daughter throws alms to Raskolnikov - two kopecks falls in Raskolnikov's palm. He, not wanting to accept handouts from a hostile city, throws a two-kopeck piece into the water: “He held a two-kopeck piece in his hand, walked ten steps and turned to face the Neva, in the direction of the palace (Winter Palace. - A. G.). The sky was without the slightest cloud and the water is almost blue, which is so rare on the Neva.The dome of the cathedral, which from no point is better outlined than looking at it from here, from the bridge, not reaching twenty paces to the chapel, shone like that, and through the clean air you can even each of his decorations was clearly visible (...) When he went to the university, then usually - most often, returning home - it happened to him, maybe a hundred times, to stop at exactly the same place, to peer intently into this really magnificent panorama... ".
"The artist M. V. Dobuzhinsky became interested in why Dostoevsky noted this place as the most suitable for contemplating St. Isaac's Cathedral. It turned out that from here the entire mass of the cathedral is located diagonally and complete symmetry in the arrangement of parts is obtained" (Belov S. V. Roman F. M. Dostoevsky "Crime and Punishment", Commentary, Moscow, "Prosveshchenie", 1985, p. 118).



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