Completed by: Vladislav Emets Yulia Zakirzyanova Elizaveta Sorokina Students of 10 "A" class The magic of the number "three" 2014
Introduction Since ancient times, numbers have played an important and multifaceted role in human life. It is not surprising that they have always aroused close attention to themselves from the mind. Ancient people attributed special, supernatural properties to numbers, almost every religion has its own "sacred numbers". Some numbers promised happiness and success, others could cause a blow of fate.
number magic
How long can we remember folk expressions that use the number three? About the fact that in three pines to get lost, and with a song at least for three seas - probably everyone remembers. And about the fact that they have been waiting for the promised three years - too. And God, as you know, loves a trinity. It is not clear how you can cry in three streams or bend into three deaths, or lie from three boxes, but nevertheless, these verbal turns have existed for many centuries without losing popularity in folk speech. And how many folklore sources tell about three desires, three attempts, three trials, three brothers, sisters, fairies, heroes, dragons, three heads... No matter how they consider it: sacred, and divine, and magical, and happy.
Religion Three is a heavenly number symbolizing the soul. This is the number of luck. In Christianity: The Holy Trinity: God the Father, God the Son and the Holy Spirit. Three heavens of paradise. Three wise men brought gifts to the born Jesus in Nazareth. Jesus Christ was resurrected on the morning of the third day. Three-handed - miraculous icon of the Mother of God. Three years of public ministry of Jesus Christ. Three crosses on Golgotha. Triode Trezvon - a kind of bell ringing Therefore, the number "3" is the sacred number of Christianity.
There are many symbols in Crime and Punishment. In this novel, the writer gives special importance to numbers. The numbers "three" and "thirty-three" are especially important to Christian culture. Therefore, it is with these numbers that F.M. Dostoevsky personifies the divine essence. What do we see in the novel? For three days Raskolnikov suffered before the murder of the pawnbroker, three times he came to the old woman, who had two crosses and a copper icon around her neck. Sonya donated her last thirty kopecks to Marmeladov to get drunk, and at that moment he felt like Judas. Indeed, it was for this amount that Judas betrayed Christ, according to the gospel story. A personal copy of the Gospel of F. M. Dostoevsky has survived to this day. The notes in it speak of the special role of the gospel numbers in the writer's worldview. As mentioned above, the number three reflects the divine essence of phenomena. Another of its meanings is a warning of an impending disaster (Raskolnikov left a pledge with a pawnbroker three times). On the other hand, it is the hope that the symbol of the Trinity carries and, in the end, punishment, atonement for guilt.
Quotes “[Sonya] came, and straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her ..” (part 1, chapter 2); “[Sonya] took out thirty kopecks, with her own hands, the last, everything that was ...” (part 1, chapter 2); “I say, I’m waiting for three hours ...” (Razumikhin waits for three hours until Raskolnikov wakes up) (part 2, chapter 3); “... then he called a third time” (Raskolnikov to the old woman) (part 1, chapter 6); “Yes, I came three times ...” (Marfa Petrovna to Svidrigailov) (part 4, chapter 1); “... Marfa Petrovna, a week before her death, managed to leave you, Dunya, three thousand rubles by will ...” (part 4, chapter 2); "Here are three five-percent tickets, only three thousand." (Svidrigailov hands Sonya) (part 6, chapter 6); Raskolnikov meets Porfiry Petrovich three times; Raskolnikov thinks that Sonya has three roads when she stands three steps from the table; Marfa Petrovna bought Svidrig and Lova for thirty thousand.
The work was done by students of grade 10 A: Salakhova Vita, Taranov Alexey, Panyukova Natalya The number "7" in the novel by F.M. Dostoevsky "Crime and Punishment" Moscow, 2014
Symbolism of the number 7 According to the teachings of the Pythagoreans, the number 7 is a symbol of holiness, health and reason, The number 7 is called the "truly holy number", since the number 7 is a combination of the number 3, symbolizing divine perfection, and the number 4, the number that is related to numbers world order. The conclusion suggests itself that the number 7 is a symbol of the "union" of God with man, a symbol of communication between God and his creation. 7 is considered a lucky number and the personification of harmony.
Associations with the number 7 Rainbow - 7 colors 7 basic notes in music musical interval, consisting of 7 steps - seventh 7 wonders of the world 7 deadly sins 7 days of the week
Number 7 in the novel The novel itself consists of 6 parts and an epilogue. The first and second parts of the novel consist of 7 chapters. 7 o'clock of the fan is a fatal time for Raskolnikov, since at this time he appoints the murder of an old pawnbroker. 7 years of hard labor - such a term is defined as a punishment for the hero of the novel. Svidrigailov lived for 7 years with his wife, Marfa Petrovna. 7 children at the tailor Kapernaumov. Raskolnikov, at the age of 7, sees a dream in which he imagines himself as a seven-year-old boy. 730 steps to the house of the old pawnbroker.
Part I “It was not long for him to walk; he even knew how many steps from the gate of his house: exactly seven hundred and thirty. (Chapter 1) “At this time, a whole party of drunkards, already already drunk, came in from the street, and the sounds of a hired hurdy-gurdy and a childish, cracked seven-year-old voice singing "Khutorok" were heard at the entrance. (Chapter 2) “And then the pouring rain rose, and Dunya, insulted and disgraced, had to travel with a peasant for seventeen miles in an uncovered cart.” (Chapter 3) “... and my credit suddenly increased, and I probably know that Afanasy Ivanovich will believe me now, on account of the pension, even up to seventy-five rubles ...” (Chapter 3) ““ Twenty policeman, three Nastasya for the letter, - “That means that yesterday he gave the Marmeladovs forty-seven or fifty kopecks,” he thought, counting for something, but soon forgot even why he pulled the money out of his pocket. (chapter 5) "He is about seven years old and walks on a holiday, in the evening, with his father outside the city." (chapter 5)
“Come back tomorrow, at seven o'clock, sir. And they will come." (Chapter 5) “He found out, he suddenly, suddenly and completely unexpectedly found out that tomorrow, at exactly seven o’clock in the evening, Lizaveta, the old woman’s sister and her only concubine, would not be at home and that, therefore, the old woman, at exactly seven o’clock in the evening, she will stay at home alone. (Chapter 5) "Gives four times less than the cost of the thing, and takes five and even seven percent a month, etc." (Chapter 6) "- This hour is long ago!" (chapter 6)
Part II "He was twenty-seven years old." (Chapter 4) "Others were over forty, but there were also seventeen years old, almost all with black eyes." (Chapter 6) “Pochinkov’s house, number forty-seven, in the apartment of the official Babushkin ...” (Chapter 6)
Part III “He spoke with extraordinary concern, but with restraint and somehow intensely serious, just like a twenty-seven-year-old doctor at an important consultation ...” (Chapter 1) they carried her through the corridor from the kitchen ... "(Chapter 2) "They got up at seven o'clock or even earlier." (Chapter 2) 3)
Part IV “I used the whip, in all our seven years, only twice…” (chapter 1) “(I owed seventy thousand in total)” (chapter 1) “I didn’t leave the village for seven years.” (Chapter 1) “And I really, all seven years, started this watch myself every week, but if I forget it, it always reminds me.” (chapter 1) "There the seven-year-old is depraved and a thief." (chapter 4)
Part V “Von Varents lived with her husband for seven years, left two children, cut off her husband at once in a letter ...” (Chapter 1) “Come to me here at seven o'clock that way.” (Chapter 1)
Part VI “I lived for seven years in the village with Marfa Petrovna, and therefore, having now pounced on a smart person like you ...” (Chapter 3) years and lashed out.” (Chapter 4) “I, Rodya, killed myself six or seven days ago, looking at your dress, how you live, what you eat and what you wear.” (chapter 7)
Epilogue “(Three hundred and seventeen silver rubles and three two kopecks were found in the purse; some of the upper, largest, pieces of paper were extremely spoiled from a long lying under a stone)” (Chapter 1) “They had another seven years left; until then, so much unbearable torment and so much endless happiness!” (chapter 2) "Seven years, only seven years!" At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days. » (chapter 2)
Thank you for your attention!
The work was completed by: Korzun Daria, Chistyakov Nikolai, Kim Anastasia, Rudich Alexander Number 11 in Dostoevsky's novel "Crime and Punishment"
The gospel parable tells that "the kingdom of heaven is like a master of a house who went out early in the morning to hire workers for his vineyard." He went out to hire workers at the third hour, at the sixth, at the ninth, and finally went out at the eleventh. And in the evening, when paying, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the last became the first in fulfillment of the highest justice. (Matt.20:1-15)
THE SIGNIFICANCE OF THE NUMBER 11 ACCORDING TO KABALISTIC NUMEROLOGY. The number 11 carries a warning: people of the number 11 usually occupy a position on the verge between good and evil. In the Thelemic system, the number 11 symbolizes the understanding that there is no God but man, that God is everything that exists. People ruled by the number 11 have very strong mental abilities, they know how to influence the world around them, in some cases they are able to suppress those around them with their strong psyche, which is why people feel discomfort and even fear when communicating with them.
The number 11 in the novel And where did they get me for a decent uniform, eleven rubles fifty kopecks, I don’t understand? (Part 1, ch. 2) ... the most magnificent, uniform, they cooked everything for eleven and a half in the most excellent form, sir. (Part 1, ch.2) It was already almost eleven o'clock... (Part 1, ch.2) Open that eh. Eleventh hour. (Part 2, Ch. 1) After all, I already told you, because I already warned you ten times that I won’t let you down on the eleventh! (Ch.2, Ch.1) It was past eleven when he went out into the street. (Part 2, ch.7)
The number 11 in the novel Is there eleven o'clock? - he asked ... (time of arrival to Sonya) - Yes, - Sonya muttered. - ... now the clock has struck the owners ... and I myself heard ... Yes. (Ch. 4, ch. 4) “When the next morning, at exactly eleven o'clock, Raskolnikov entered the house - the first unit, the bailiff's office of investigative affairs, and asked to report himself to Porfiry Petrovich, he was even surprised at how they didn’t accept him for a long time ... "(Ch. 4, ch. 5) "It was about the eleventh hour when he went out into the street." (part 3, ch. 7) (the time Raskolnikov left the deceased Marmeladov) “... the next morning, at exactly eleven o'clock, Raskolnikov entered the bailiff's office of investigative affairs to Porfiry Petrovich" - after visiting Sonya
The meaning of the number 11 in the novel “Crime and Punishment” Having attributed Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to 11 o’clock, Dostoevsky recalls that it is still not too late for Raskolnikov to throw off his obsession, it is not too late at this gospel hour to confess and repent and become of the last, who came at the eleventh hour, the first. (Not without reason for Sonya was "the whole parish" in the fact that at the moment Raskolnikov came to her, eleven o'clock struck at the Kapernaumovs.)
Thank you all for your attention. This is all.
The magic of number in the novel by F.M. Dostoevsky "Crime and Punishment"
In her work “The Magic of Numbers in Dostoevsky's Crime and Punishment”, the student reveals the symbolic meaning of numbers, based on the Pythagorean view of numbers. Considering their repetitive alternation, she proves that the essence of the number, the sequence of events and the series of changes occurring in the life of the main characters are interconnected, and sometimes due to the appearance of its magical properties. This work will interest everyone who is not indifferent to the work of Dostoevsky.
Objectives: 1) try to understand the digital
symbolism of Dostoevsky on the example of the novel "Crime and Punishment";
2) to understand how the magic of numbers helps to reveal the inner world of the characters, their attitude to the surrounding reality.
There's nothing to like but beauty, in beauty
nothing but forms, in forms - nothing but pro-
portions, in proportions - nothing but a number.
W. Augustine
The explanatory dictionary of S.I. Ozhegov says that the word symbol has two meanings:
– firstly, it is "an object or action that serves as a conventional sign of some concept, something abstract."
– secondly, "a summary of the main tenets of the Christian religion."
A number is also a symbol that expresses something whole, complete, symbolizing orderliness, integrity and indivisibility, like the harmony of color, music and words.
Dostoevsky's digital symbolism occupies a special place in his work. Revealing the meaning and magic of the number, I tried to reveal the magic of the word, which in itself is a mystery.
Fyodor Mikhailovich Dostoevsky was seriously engaged in mathematics at the St. Petersburg Military Engineering School, from which he graduated in 1843. Despite the fact that he was not a professional and looked at what was happening in mathematics (with mathematics) from the outside, he imagined its language and method and could feel those paradoxes that had already invaded science and that many professional mathematicians had not yet paid due attention to. attention.
“For me personally,” Einstein said, “works of art give me a feeling of supreme happiness, I draw such spiritual bliss from them, as in no other area ....
But if you ask me who arouses the greatest interest in me now, then I will answer: Dostoevsky!
These words of Einstein, spoken by him in a conversation with the German publicist of the early 20th century A. Moshkovsky, have been exciting the minds of both scientists and artists for more than half a century.
Hundreds of articles comment on the words of the great physicist, various hypotheses and interpretations are put forward, parallels are drawn between the dream of F.M. Dostoevsky about social and moral harmony and the search for the universal harmony of the universe, to which Einstein dedicated his life.
World harmony, beauty is like the harmony of numbers. Dostoevsky said that it was kindness and beauty that would save the world. The knowledge of beauty comes through climbing an imaginary ladder up or down. The number of steps may vary, depending on the severity of the climb. Moreover, you can not only go up the stairs, but also go down.
The researchers noticed that in the field of verbal symbolism in Dostoevsky's novel "Crime and Punishment" one word-image occupies a special place. That's right, the word ladder. In the narrative, excluding the final part. Raskolnikov climbs and descends the stairs at least 48 times.
He has to go up and down from his attic room to the street. He climbs the stairs to get into Marmeladov's room; he must go up several floors to the apartment of the old pawnbroker; and to the police office; and to Sonya's room. An important factor is, however, that the moments of stress or oscillation characteristically occur on the stairs.
Departing, for the implementation of his plan, he has to "go down his thirteen steps, carefully, inaudibly," like a cat.
13 is traditionally an unlucky number. This number, exceeding by one a full set, a dozen, is fraught with an explosion, an unknown transition to a new quality, and therefore dangerous. This downward descent is further aggravated by comparison, like a cat.
The Marmeladov family also lives on the threshold, in the passage room that opens directly onto the stairs (here, on the threshold, when Raskolnikov brought the drunken Marmeladov, he meets the members of this family for the first time).
At the threshold of the old woman he killed, he experiences terrible moments when Koch and Pestryakov stand on the other side of the door, on the landing of the stairs. He comes here again and rings the bell himself in order to relive these moments again.
On the threshold, in the corridor, by the lantern, there is a scene of half-recognition to Razumikhin, without words, with only glances. On the threshold, at the door to the next room, his conversations with Sonya take place (and on the other side of the door Svidrigailov overhears them).
A threshold, an entrance hall, a corridor, a platform, a staircase, its steps, doors, gates, yards open to the stairs, and outside this - the city: squares, streets, facades, taverns, bridges, grooves. Here is the space of this novel. And among all this - addresses and numbers, numbers ...
Seeing in numbers the essence of phenomena, the beginning of beginnings, the Pythagoreans believed that real bodies consist of "units of being" - "mathematical atoms", various combinations of which represent specific objects.
Even the universe was conceived by them as a collection of numbers. The Pythagoreans themselves represented the numbers visually and materially: the unit was interpreted as an absolute and indivisible singularity, i.e. point, "geometric atom" or fundamental principle of all numbers; two - as a departure into an indefinite distance, i.e. a straight line extending in one dimension; three - a triangle forming a plane of two dimensions, and a return to certainty; four - a pyramid, giving an idea of the space of three dimensions.
In general, the numbers 1, 2, 3, 4 played a special role among the Pythagoreans and formed a tetractys, or four. According to legend, the oath of the Pythagoreans read: “I swear by the name of Tetraktis, sent down to our souls. In it is the source and roots of the ever-blooming nature.” The special role of the tetractys, apparently, was inspired by the laws of musical consonances, after which all objects of nature were seen by the Pythagoreans, consisting of fours: four geometric elements - a point, a line, a surface, a body; four physical elements - earth, water, fire, air. The sum of the numbers forming the tetractys, equal to ten (10 = 1 + 2 + 3 + 4), was considered a sacred number, and personified the entire universe.
Thus was born the famous Pythagorean thesis: "All things are numbers." The Pythagoreans often had a religious and mystical interest in number. We still meet some echoes of the Pythagorean numerical mysticism today: for example, the custom of giving an odd number of flowers (an even number was considered unlucky).
L. Downer drew attention to the frequently repeated number "four" in the novel. The staircase leads to a literally repeating level of height - to the fourth floor.
The victim's apartment is on the fourth floor of the building; Raskolnikov hides stolen things in the yard where a four-story house is being built; Marmeladov's miserable room is on the fourth floor; the police office is on the fourth floor and Raskolnikov heads to the fourth room. After the crime, Raskolnikov is in a delusional state for four days. In the story of the resurrection of Lazar, which Sonya reads to Rodion, Lazar was dead for four days. This story is placed in the 4th Gospel (the Gospel of John). Raskolnikov is experiencing four major delusions. Thus, we have eight (twice four) occurrences of the number "four", all associated with Raskolnikov's crime, his guilt and confession.
8 - double four. Unity of forces and means; the number of druidism, softening through the unity of opposite qualities, the bad influence of the four on the fate of a person.
The number four is fundamental. There are four seasons. Four directions, four-cell stages in embryonic development, four elements.
To this it must be added that the symbolism of numbers in the works of Dostoevsky, in particular in Crime and Punishment, goes back to folklore and biblical symbolism: the four cardinal directions are Sonya's words: “stand at the crossroads. Bow, kiss the earth first ... bow to the whole world on all four sides ”; four gospels. In the Revelation of John the Theologian - four animals (ch. 4); 4 angels, 4 corners, 4 winds (ch. 7); 4 names of Satan (ch. 12)
Having cited numerous examples of the “strikingly stable image” of four-story houses and the fourth floor in Crime and Punishment, V.N. Toporov concludes: “This four-membered vertical structure is semantically confined to the motifs of narrowness, horror, violence, poverty, and thus is opposed to the four-membered horizontal structure (on all four sides), associated with the idea of space, good will, salvation. In Dostoevsky, the number is introduced into the world and determines not only the size, but also its highest essence.
The folklore-gospel number "three" (in folklore - three roads, in Vereshchagin's painting "The Knight at the Crossroads" the hero is depicted near a stone, choosing his path, he thinks which road he will go, three meetings, three sons, three obstacles, in the Gospel - three denials of Peter, Jesus at the Lake of Gennesaret addressed Peter with a question three times.For three years the owner looked for fruit on a fig tree) plays a significant role in the novel Crime and Punishment.
Marfa Petrovna left Dunya three thousand rubles in her will, Sonya gave Marmeladov the last thirty kopecks for a hangover. And he, as before, Katerina Ivanovna, whom Sonya “silently laid out thirty rubles”, could not help feeling like a Judas in this shameful moment for him. Marfa Petrovna ransomed Svidrigailov for thirty thousand Silver pieces, just as once, according to the gospel story, she betrayed Judas Christ for thirty Silver pieces. Raskolnikov rang the old woman's bell three times, hit her three times with an axe. Three meetings between Raskolnikov and Porfiry Petrovich summarize the philosophical content of the novel. On the third day after the murder, "the most unexpected fact is suddenly announced", Dunya shoots three steps away; Sonya Svidrigailov gives three tickets; Razumikhin waits three hours for Raskolnikov to wake up; "Three times" Marfa Petrovna came to Svidrigailov; Sonya has three roads; Sonya has a "large room with three windows", etc.
In the Gospel presented to Dostoevsky in Tobolsk by the wives of the Decembrists before the Petrashevites were sent to hard labor, separate notes indicate that the writer also singled out the gospel numbers.
The number 7 is the most stable and apparently symbolic number in Crime and Punishment. The novel itself consists of seven parts - 6 parts and an epilogue - the first two parts consist of seven chapters each. The fatal time for Raskolnikov is 7 pm. The number 7 literally haunts Raskolnikov. He learns that it is at 7 o'clock that the old woman will be left at home alone. “He had just taken out a mortgage, when suddenly someone shouted somewhere in the yard: “This hour has long been!”
And the number 7 here, of course, is not accidental. According to the teachings of the Pythagoreans, the number 7 is a symbol of holiness, health and reason. Theologians call the number 7 “a truly holy number, since the number 7 is a combination of the number 3, symbolizing divine perfection, and the number 4, the number of the world order; therefore, the number 7 itself is a symbol of the "union" of God with Man, a symbol of communication between God and his creation. The Bible says that on the seventh day God rested. “And on the seventh day God finished his works which he had done, and rested on the seventh day from all his works which he had done.
“And every clean cattle ... seven male and female” Noah must take into the ark (The first book of Moses. Genesis, ch. 7). There were 7 harvest years in Egypt and 7 lean years too (Genesis, Ch.41). Every 7th day and every 7th year is holy.
It can be assumed that by “sending” his hero to kill precisely at 7 o’clock, Dostoevsky thereby dooms him to defeat in advance, since he wants to break the “union”, God and Man. That is why, in order to restore this "union" again, in order to become a Human again, Raskolnikov must go through this "truly holy number." Therefore, in the epilogue of the novel, the number 7 appears again, but not as a symbol of death, but as a saving number: “They still had seven years left; but until then, how much unbearable torment and how much endless happiness!...
Let's remember mythology: seven and Russian folklore: seven days of the week, seven primary colors, seven tones of the musical scale, seven wonders of the world, seven daughters of Atlanta, etc. It is necessary to remember the solid advice in folk wisdom - check seven times before you want to do something that's important.
The repeated indication of eleven o'clock in the novel is also directly related to the gospel text. “It was past eleven when he went out into the street,” Dostoevsky notes the time Raskolnikov left the deceased Marmeladov. And here is the time of arrival to Sonya: “I'm late ... Is there eleven o'clock? he asked, still not looking up at her. “Yes,” Sonya muttered. - Oh yes, there is! - she suddenly hurried, as if this was the outcome for her, - now the owners have struck, ... and I myself heard. Eat
After visiting Sonya, “the next morning, at exactly eleven o’clock, Raskolnikov entered the bailiff’s office and asked Porfiry Petrovich to report on himself.
The number 11 is not accidental. Dostoevsky well remembered the gospel parable that "the kingdom of heaven is like the owner of the house, who went out early in the morning to hire laborers in his vineyard." He went out to hire workers at the third hour, at the sixth, at the ninth, and finally went out at the eleventh. And in the evening, when paying, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the latter became the first in fulfillment of some higher justice.
Referring Raskolnikov's meeting with Marmeladov, Sonya and Porfiry Petrovich to 11 o'clock, Dostoevsky recalls that it is not too late for Raskolnikov to confess and repent at this gospel hour and become the first from the last who came at the eleventh hour.
Analyzing the work of Dostoevsky, Karen Stepanyan wrote: "In fact, Dostoevsky is a very optimistic and inspiring writer, because in his works one can always see the light and ways out of the most difficult situations." And I completely agree with this.
Bibliography:
Y. Seleznev "In the world of Dostoevsky".
S. V. Belov “Roman F.M. Dostoevsky "Crime and Punishment"
A. V. Voloshin "Mathematics of Art".
V. Parnov "the track of Lucifer"
"New world". Number 5. 2006. "Purpose and Hope": Dostoevsky's prophetic art.
6. Dostoevsky "Crime and Punishment"
The numerical symbolism of "Crime and Punishment" as a key to understanding the ideological problems of the novel by F.M. Dostoevsky.
The novel by F.M. Dostoevsky "Crime and Punishment" was and is treated differently by both readers and critics. Dostoevsky can rightly be called a psychologist of the soul. LN Tolstoy noted that the genius of Dostoevsky is undeniable, he feels the slightest psychological nuances of the state of his heroes. The writer was not understood during his lifetime, the problems that tormented him turned out to be inaccessible to understanding by his contemporaries, and his prophecies seemed to be a figment of the imagination. Dostoevsky "leads" us to the knowledge of life in a special, hard-won way and teaches us readers to look for the spark of good in every person. The questions that worried the writer are age-old, old as the world, and new as tomorrow. In the work, the author tried to solve such complex moral problems: the protection of the disadvantaged, the manifestation of mercy and humanism, love for people, faith and unbelief, moral choice and self-improvement. All these questions cannot leave us indifferent.
Dostoevsky is considered to be a humanist writer.. In the center of the novel is an extraordinary, mysterious personality - Rodion Romanovich Raskolnikov. He is somewhat similar to E. Bazarov, a student who dreams of education, a certain business, usefulness to society. Raskolnikov knows how to feel someone else's pain and compassion, to feel someone else's misfortune more acutely than his own.. The writer was interested in how such a humane, compassionate person decides to kill, why it is committed, what pushed the hero onto this path, where the will comes from, how their brain and heart work when committing a crime. Who are these people who take on so much human life, in the name of which such atrocities are committed? Dostoevsky penetrates into the soul of a criminal and behind the idea of deluding a good heart, killing for the love of people, discovers the most terrible and monstrous idea - the "idea of Napoleon", dividing humanity into two unequal parts: the majority - "trembling creature" and the minority - "rulers", called from birth to govern the majority, standing outside the law and having the right.
The composition of the novel is built on the debunking of this idea. Dostoevsky tells us, the readers, what is the fallacy of Raskolnikov's theory. In the novel, Raskolnikov was looking for proof of the moral law in a logical way and did not understand that the moral law does not require proof, must not, cannot be proved, because it receives its supreme sanction not from outside, but from itself. Why is the personality of every person a sacred thing? No logical basis can be given for this - such is the law of human conscience, the moral law. The writer leads us to the idea that conscience, nature turned out to be stronger than theory, despite its logical invulnerability. In order to show the enormity of this theory, the writer created a new geometry of art, supplementing the Euclidean three-dimensional world with the "fourth dimension" - spirituality. Everything here is in the style of Dostoevsky: both the portrait and the landscape, the place and time of the action - obey the laws of the "fourth dimension".
V. Belov in the comments to the novel noted: “Each hero of “Crime and Punishment” has his own purely individual language, but they all speak the “one” language - the language of the “fourth dimension” of the writer. In the world of Dostoevsky, time, like space, is a function of human consciousness, it is spiritualized and can, depending on the spiritual state of the characters, either stretch endlessly, or shrink, or almost disappear.. Not without reason, in one of the draft notebooks for Crime and Punishment, Dostoevsky writes: “What is time? Time does not exist; time is numbers, time is the relation of being to non-being.” Therefore, even such, at first glance, an insignificant detail as the numbers repeated in Crime and Punishment, which are important for revealing the ideological problems of the novel, is very important..
The basis of our research work was, first of all, a careful reading of a literary work and the text of the Gospel, which F.M. Dostoevsky repeatedly refers to in his work. And, of course, in our work we also turned to critical literature, which helped us to draw the most important conclusions on the stated topic.
Symbolism is an important toolForrevealing the position of the author. The use of symbolism of numbers is one of the most complex and at the same time one of the most refined, extraordinary artistic techniques. Sometimes what Dostoevsky does not directly say is supplemented by numbers that reveal the characteristics of a particular hero.. It is they who often allow the reader to immerse themselves in the atmosphere that reigns in the work, to come closer to understanding the author's intention..
The purpose of the work is: to consider the numerical symbolism of "Crime and Punishment" as a key to understanding the ideological problems of the novel by Fyodor Mikhailovich Dostoevsky.
To achieve this goal, we set the following tasks:
1. Research and reveal the meaning of the numbers "3; 4; 7; 11; 30" in the disclosure of the ideological issues of the novel.
2. Classify digital characters based on the analysis of the text of the novel.
3. Compare the characters and events of the novel "Crime and Punishment" with the text of the Gospel.
4. Through the symbolism of numbers, show the complexity and depth of the novel.
In the novel, the number-symbol is the main cipher of the novel. It is known that Christian motifs for Dostoevsky's work are traditional, so you can trace the connection of the numbers "4, 3, 7, 11, 30" with the gospel texts and correlate them with the text of the novel. Let's comment on them. Most often in "Crime and Punishment" the number "7" is repeated. Let's try to figure out what events make it especially significant and symbolic? We know that the number "7" is often found in everyday life, and in nature, and mythology: there are seven days of the week, seven primary colors, seven wonders of the world, seven daughters of Atlanta, etc.
Note that the novel consists of 6 chapters and an epilogue: in the first and second parts - 7 chapters each. Raskolnikov's "double", Svidrigailov, also lived with Marfa Petrovna for seven years, but for him they were not like seven days of happiness, but like seven years of hard labor. It is curious that Svidrigailov persistently mentions these seven years in the novel: "... in all our seven years ...", "I did not leave the village for seven years."
All fatal events in R's life occur at seven o'clock: He suddenly found out that tomorrow, at exactly seven o'clock in the evening, Lizaveta, the old woman's sister and her only concubine, would not be at home and that, therefore, the old woman, at exactly seven in the evening, would remain alone at home.” “Just as he took out the mortgage, when suddenly someone shouted somewhere in the yard: “It’s been seven o’clock a long time ago.”By “sending” Raskolnikov to murder precisely at 7 pm, Dostoevsky dooms him to defeat in advance, because this is done against God. For the protagonist, this is a "fatal number."“In the epilogue, the number “7” reappears in order for Rodion to repent in hard labor, get rid of the former criminal and become a man again. Raskolnikov reads the Gospel, and Dostoevsky reminds: “This book ... was the one from which it<Соня>read to him about the resurrection of Lazarus "and at the end of the novel, the number "7" is no longer a symbol of death, but a saving number. They still had seven years left; and until then, so much unbearable torment and so much endless happiness!<...>Seven years, only seven years! At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days.
Analyzing "Crime and Punishment", we paid attention to how the number "4" helps to reveal the inner world of the characters, their attitude to the surrounding reality. Raskolnikov has four main dreams, and after the crime, Raskolnikov is in a delusional state for four days. Also, the stairs and the number "4" are interconnected, since the stairs lead to a certain repeating level of height - to the fourth.The victim's apartment is on the fourth floor of the building; Raskolnikov hides the stolen items in the yard where a four-story house is being built; Marmeladov's miserable room is on the 4th floor; the police office is located on the 4th floor of this building.
V.N. Toporov concludes: “This four-membered vertical structure is semantically confined to the motifs of narrowness, horror, violence, poverty, and thus is opposed to the four-membered horizontal structure associated with the idea of space, good will, salvation. And in Dostoevsky, the number is introduced into the world and determines not only its dimensions, but also its highest essence.
Let us pay attention to the fact that the reading about Lazar takes place four days after the crime of Raskolnikov, that is, four days after his moral death. Yu. I. Seleznev notes: “The following detail is also significant: Sonya still does not know that Raskolnikov is a murderer, she only feels that he is “out of life.” Reading to him about the resurrection of Lazarus: “The sister of the deceased Martha says to him:“ Lord He stinks already, for four days he has been in the tomb. She hit the word "four" vigorously.If we remember that there is a direct connection between Raskolnikov's closet-coffin and his "coffin" idea, if, moreover, we recall that Raskolnikov himself "stinks for four days" - from the day of the crime, then the existence of the word and the image he creates simultaneously in two stylistic plans - current and eternal - becomes clear"
Thus, the number "4" is associated with Raskolnikov's crime, his guilt and confession.
We also identified a circle of associations associated with the number "3". This number can be considered both folklore and evangelical at the same time. Many important events are connected with him: at the age of 30, Jesus began his ministry on earth; According to the Gospel, the price for which Judas Iscariot betrayed his teacher Jesus Christ is thirty pieces of silver. "Thirty pieces of silver" means payment for betrayal.
The numbers "3.30" play a significant role in the novel "Crime and Punishment": Marfa Petrovna bought Svidrigailov out of the debt hole for 30 thousand, and he betrayed her; she left Dunya three thousand rubles in her will; at nine o'clock in the evening Sonya laid out 30 rubles in front of Katerina Ivanovna; Marmeladov took out her last thirty kopecks for a hangover, and he, as before Katerina Ivanovna, whom Sonya “silently laid out thirty rubles”, could not help feeling like a Judas in this shameful minute for him. Raskolnikov rang the old woman's bell three times, hit her three times with an ax, and so on..
We believe that the introduction of this number, as well as others, was not accidental and has several meanings: firstly, it is a symbol of misfortune, secondly, it is a symbol of renewal and hope, and thirdly, the mentions in the text of this number are connected with betrayal.
The number “11” has a symbolic significance in the work, and it is directly connected with the gospel text-parable that “the kingdom of heaven is like the owner of the house, who went out early in the morning to hire workers in his vineyard. He went out to hire workers at the third hour, at the sixth, at the ninth, and finally went out at the eleventh. And in the evening, when paying, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the last became the first in fulfillment of some higher justice. Referring Raskolnikov's meetings with Marmeladov, Sonya, Porfiry Petrovich to 11 o'clock, Dostoevsky recalls that it is not too late at this gospel hour to confess and repent, and to become the first from the last who came at the eleventh hour..
Thus, the number "11" is the number of supreme justice, with which all noble deeds and repentance are associated.
Summing up my work, I would like to say that a significant place in the artistic world of Dostoevsky is occupied by symbolic images. It can be noted that Dostoevsky F.M., referring to the symbolism of numbers, affects the conscious and subconscious level of perception of the text.Analyzing the work, one can be convinced that the numbers carry a huge symbolic load. Therefore, we traced the filling of numbers, established the connection of numbers with the problems, the heroes of the work., Determined the symbolism and functions of numbers in the novel.We were convinced that Dostoevsky is indeed the greatest connoisseur of the human soul, depicting heroes in their complex spiritual development. The main idea of Dostoevsky's novel is a protest against all kinds of anti-human theories. The writer makes us readers think about what terrible consequences the “idea of permissiveness” can have when moral laws can be transgressed for the sake of a great goal, and teaches “cautious handling” of social theories that can ignite in the souls of people, enslaving their consciousness and will. turning them into soulless performers.
Fundamental in "Crime and Punishment" is the idea of the tragic consequences of the violation of the moral law for both the individual and for all mankind as a whole.The symbolism is divided between two poles of semantic opposition: the ideas of moral nihilism and the idea of moral renewal of people. In the image of Raskolnikov, Dostoevsky executes the denial of the sanctity of the human person and shows with the whole content of the novel that any human person is sacred and inviolable and that in this respect all people are equal. Therefore, the poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the "superman" from the criminal theory and his familiarization with the world of people.Chingiz Aitmatov wrote: "And in today's world with its atomic bombs ... torn apart by racial problems and rampant violence, Dostoevsky's alarming alarm hums incessantly, calling for humanity, humanism."
Bibliography.
1.Bakhtin M.M. Problems of Dostoevsky's Poetics.-4th ed.-M.: Sov.Russia, 1979.-4-5With.
2. Belov S.V. Do not kill. //Baikal.- 1981.- No. 1.- 127 - 130s.
3. Belov. S. V. Dostoevsky's novel "Crime and Punishment". 4.Belov S.V. Non-random words and details in "Crime and Punishment" / / Russian speech. - 1975. - No. 1. - 40s.
5. Dostoevsky F.M. Crime and Punishment. - Sverdlovsk, 1972.-424p.
6. Karasev L.V. On the symbols of Dostoevsky. // Questions of Philosophy.- 1994.- №10.-90-111s.
7.Karyakin.Yu.N. Somo deception of Raskolnikov. F.M. Dostoevsky's novel "Crime and Punishment". - M.: Art.lit., 1976.-158s.
8.. Seleznev Yu. I. In the world of Dostoevsky. -M.: Enlightenment, 1980.-376 p.
9. Toporov V.N. About the ritual. Introduction to problems.-In the book: Archaic ritual in folklore and literary monuments. -M., 1988.-54s.
10. Toporov V. N. Poetics of Dostoevsky and archaic schemes of the mythological
thinking ("Crime and Punishment"). - In the book: Problems of poetics and history of literature. -Saransk, 1973.-91With.
11. Chicherin A. V. Crime and punishment // Rus. lang. in owlsshkol.-1929.-No. 6.-72-87s.
