Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths for the human spirit. These are the concepts with which the name of the great writer in our minds is more and most often identified. But if you believe the observations of literary critics, then Dostoevsky, or rather, his talent, will shine with another hidden facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must follow the smallest detail in the descriptions, which are so rare and mean in him.”
I heeded this “advice” and actually noticed that, for example, the author describes Sonya’s dwelling in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly says that women in Dostoevsky's work do not have their own destiny, but instead determine the fate of men.
I cannot but agree with Berdyaev's observation, remembering how Dostoevsky describes Sonya's room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of non-existence, close to a terrible sharp corner that runs somewhere deep into. It seems that here is one more step - and you will find yourself in the world of otherworldly shadows; you stagger back and find yourself in another ugly obtuse corner. All this reflects in Sonin's work a soul that has come to a standstill. The soul of Raskolnikov is also attracted to the gloomy background of Sonya's room, Rodion also has no way out. The sinful sacrifice of Sonya and the criminal pride of Raskolnikov, such a habitat is natural.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already held (long before the realization in reality) meeting with Raskolnikov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained in it forever.
Comparing the symbols that objects and things are in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, like a confession to oneself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought occurred to him when he only heard about the existence of Sonya from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of being, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types, materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: "Matter is spirituality condensed by human sin."
But I'll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has come out, then it becomes clear why, listening to Marmeladov, he already “knows unconsciously” whom he will kill and who will come to confess to the murder. And if the empty room in the Resslich den is a symbol of the metaphysical emptiness that has long taken possession of the soul of an ideological killer, then one should not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov - "this is the one." Therefore, Rodion, seeing Svidrigailov, again closed his eyes, pretended to be asleep, in order to delay the fateful meeting even for a minute.
Svidrigailov himself is convinced that "this is a city of half-crazy people, and rarely where there are so many gloomy, harsh, terrible influences on a person's soul."
But, knowing the ending of the novel, following the metaphysical reasoning about the influence of objects on the spirit and will of a person, it can be assumed that in the further psychological development of the characters (already beyond the bounds of the novel), a turning point, a kind of shifter, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths for the human spirit. These are the concepts with which the name of the great writer in our minds is more and most often identified. But if you believe the observations of literary critics, then Dostoevsky, or rather his talent, will shine with another hidden facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must follow the smallest detail in the descriptions, which are so rare and mean in him.”I heeded this "advice" and actually noticed that, for example, the author describes Sonya's dwelling in detail, because it is not only a "snapshot" of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov's soul, whose fate is now in Sonya's hands.
Berdyaev correctly says that women in Dostoevsky's work do not have their own destiny, but instead determine the fate of men.
I cannot but agree with Berdyaev's observation, remembering how Dostoevsky describes Sonya's room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of non-existence, close to a terrible sharp corner that runs somewhere deep into. It seems that here is one more step - and you will find yourself in the world of otherworldly shadows; you stagger back and find yourself in another ugly obtuse corner. All this reflects in Sonin's work a soul that has come to a standstill. The soul of Raskolnikov is also attracted to the gloomy background of Sonya's room: Rodion also has no way out. For the sinful sacrifice of Sonya and the criminal pride of Raskolnikov, such a habitat is natural.
Gradually plunging into the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something completely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already held (long before the realization in reality) meeting with Raskolni- kov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained in it forever.
Following this sad logic further, you notice that another part of the split soul of Rodion was on the right behind the door, always tightly locked.
Comparing the symbols that objects and things are in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, like a confession to oneself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought occurred to him when he only heard about the existence of Sonya from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of being, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types, materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: "Matter is spirituality condensed by human sin."
But I'll try to develop the idea further. If Sonya's room really is the materialized part of Rodion's soul that has come out, then it becomes clear why, listening to Marmeladov, he already "knows unconsciously" whom he will kill and who will come to confess to the murder. And if the empty room in the Resslich den is a symbol of the metaphysical emptiness that has long taken possession of the soul of an ideological killer, then one should not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov Raskolnikov - "this is the very one." Therefore, Rodion, seeing Svidrigailov, again closed his eyes, pretended to be asleep, in order to delay the fateful meeting even for a minute.
Svidrigailov himself is convinced that "this is a city of half-crazy people, and rarely where there are so many gloomy, harsh, terrible influences on a person's soul."
But, knowing the ending of the novel, following the metaphysical reasoning about the influence of objects on the spirit and will of a person, it can be assumed that in the further psychological development of the characters (already beyond the bounds of the novel), a turning point, a kind of shifter, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths for the human spirit. These are the concepts with which the name of the great writer in our minds is more and most often identified. But if you believe the observations of literary critics, then Dostoevsky, or rather his talent, will shine with another hidden facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must follow the smallest detail in the descriptions, which are so rare and mean in him.” I heeded this “advice” and actually noticed that, for example, the author describes Sonya’s dwelling in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands. Berdyaev correctly says that women in Dostoevsky's work do not have their own destiny, but instead determine the fate of men. I cannot but agree with Berdyaev's observation, remembering how Dostoevsky describes Sonya's room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of non-existence, close to a terrible sharp corner that runs somewhere deep into. It seems that here is one more step - and you will find yourself in the world of otherworldly shadows; you stagger back and find yourself in another ugly obtuse corner. All this reflects in Sonin's work a soul that has come to a standstill. The soul of Raskolnikov is also attracted to the gloomy background of Sonya's room: Rodion also has no way out. The sinful sacrifice of Sonya and the criminal pride of Raskolnikov, such a habitat is natural. Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already held (long before the realization in reality) meeting with Raskolnikov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained in it forever. Following this sad logic further, you notice that another part of the split soul of Rodion was on the right behind the door, always tightly locked. Comparing the symbols that objects and things are in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, like a confession to oneself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought occurred to him when he only heard about the existence of Sonya from the drunken Marmeladov. Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of being, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types, materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: "Matter is spirituality condensed by human sin." But I'll try to develop the idea further. If Sonya’s room really is a materialized part of Rodion’s soul that has come out, then it becomes clear why, listening to Marmeladov, he already “knows unconsciously” whom he will kill and who will come to confess to the murder. And if the empty room in the Resslich den is a symbol of the metaphysical emptiness that has long taken possession of the soul of an ideological killer, then one should not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov - "this is the one." Therefore, Rodion, seeing Svidrigailov, again closed his eyes, pretended to be asleep, in order to delay the fateful meeting even for a minute. Svidrigailov himself is convinced that "this is a city of half-crazy people, and rarely where there are so many gloomy, harsh, terrible influences on a person's soul." But, knowing the ending of the novel, following the metaphysical reasoning about the influence of objects on souls? and the will of a person, it can be assumed that in the further psychological development of the characters (already beyond the bounds of the novel), a turning point is possible, a kind of changeling. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths for the human spirit. These are the concepts with which the name of the great writer in our minds is more and most often identified. But if you believe the observations of literary critics, then Dostoevsky, or rather his talent, will shine with another hidden facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must follow the smallest detail in the descriptions, which are so rare and mean in him.”
I heeded this “advice” and actually noticed that, for example, the author describes Sonya’s dwelling in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly says that women in Dostoevsky's work do not have their own destiny, but instead determine the fate of men.
I cannot but agree with Berdyaev's observation, remembering how Dostoevsky describes Sonya's room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of non-existence, close to a terrible sharp corner that runs somewhere deep into. It seems that here is one more step - and you will find yourself in the world of otherworldly shadows; you stagger back and find yourself in another ugly obtuse corner. All this reflects in Sonin's work a soul that has come to a standstill. The soul of Raskolnikov is also attracted to the gloomy background of Sonya's room: Rodion also has no way out. For the sinful sacrifice of Sonya and the criminal pride of Raskolnikov, such a habitat is natural.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already held (long before the realization in reality) meeting with Raskolnikov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained in it forever.
Comparing the symbols that objects and things are in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, like a confession to oneself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought occurred to him when he only heard about the existence of Sonya from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of being, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types, materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: "Matter is spirituality condensed by human sin."
But I'll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has come out, then it becomes clear why, listening to Marmeladov, he already “knows unconsciously” whom he will kill and who will come to confess to the murder. And if the empty room in the Resslich den is a symbol of the metaphysical emptiness that has long taken possession of the soul of an ideological killer, then one should not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov Raskolnikov - "this is the very one." Therefore, Rodion, seeing Svidrigailov, again closed his eyes, pretended to be asleep, in order to delay the fateful meeting even for a minute.
Svidrigailov himself is convinced that "this is a city of half-crazy people, and rarely where there are so many gloomy, harsh, terrible influences on a person's soul."
But, knowing the ending of the novel, following the metaphysical reasoning about the influence of objects on the spirit and will of a person, it can be assumed that in the further psychological development of the characters (already beyond the bounds of the novel), a turning point, a kind of shifter, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
The objective world in F. M. Dostoevsky's novel "Crime and Punishment"
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths for the human spirit. These are the concepts with which the name of the great writer in our minds is more and most often identified. But if you believe the observations of literary critics, then Dostoevsky, or rather his talent, will shine with another hidden facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must follow the smallest detail in the descriptions, which are so rare and mean in him.”
I heeded this “advice” and actually noticed that, for example, the author describes Sonya’s dwelling in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly says that women in Dostoevsky's work do not have their own destiny, but instead determine the fate of men.
I cannot but agree with Berdyaev's observation, remembering how Dostoevsky describes Sonya's room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of non-existence, close to a terrible sharp corner that runs somewhere deep into. It seems that here is one more step - and you will find yourself in the world of otherworldly shadows; you stagger back and find yourself in another ugly obtuse corner. All this reflects in Sonin's work a soul that has come to a standstill. The soul of Raskolnikov is also attracted to the gloomy background of Sonya's room: Rodion also has no way out. For the sinful sacrifice of Sonya and the criminal pride of Raskolnikov, such a habitat is natural.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already held (long before the realization in reality) meeting with Raskolnikov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained in it forever.
Comparing the symbols that objects and things are in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, like a confession to oneself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought occurred to him when he only heard about the existence of Sonya from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of being, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types, materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: "Matter is spirituality condensed by human sin."
But I'll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has come out, then it becomes clear why, listening to Marmeladov, he already “knows unconsciously” whom he will kill and who will come to confess to the murder. And if the empty room in the Resslich den is a symbol of the metaphysical emptiness that has long taken possession of the soul of an ideological killer, then one should not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov Raskolnikov - "this is the very one." Therefore, Rodion, seeing Svidrigailov, again closed his eyes, pretended to be asleep, in order to delay the fateful meeting even for a minute.
Svidrigailov himself is convinced that "this is a city of half-crazy people, and rarely where there are so many gloomy, harsh, terrible influences on a person's soul."
But, knowing the ending of the novel, following the metaphysical reasoning about the influence of objects on the spirit and will of a person, it can be assumed that in the further psychological development of the characters (already beyond the bounds of the novel), a turning point, a kind of shifter, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
