Fyodor Mikhailovich Dostoevsky is the greatest Russian writer who had a huge impact on the development of Russian and Western European literature. The whole world reads him, the impressive power of his novels is great.
"Crime and Punishment" opens the period of great novels in Dostoevsky's work, during which "The Idiot", "Demons", "The Teenager", "The Brothers Karamazov" were written.
The appearance of "Crime and Punishment" was the result of the writer's generalization of the most important contradictions of the 60s. Organization artistic text The novel is subject to the core thought - to show that Raskolnikov's idea of dividing humanity into two unequal parts is inhuman, it is inextricably linked with the conditions of his life, with the world of St. Petersburg corners, one of which is occupied by the hero himself. Many researchers have paid attention to the symbolic feature literary characters Dostoevsky. But color plays a special role in the work. Color definitions have symbolic meaning and serve to reveal state of mind heroes.
In our work, we considered the features colors in "Crime and Punishment", its significance for revealing the main idea of the novel and compared the colors and state of mind of the characters.
To get answers to these questions, the primary sources of various authors were studied and the resources of the Internet were used. Partially, we found answers to the questions posed, but not all, so we carried out further work ourselves.
The meaning of dark colors in the novel "Crime and Punishment"
Analyzing the use of color in Crime and Punishment, we can say that the entire work was created almost on the same yellow background. Indeed, yellow is the most common color in the novel. But the color scheme in the descriptions of the writer is by no means limited to yellow, since throughout the novel we meet green, red, and black colors, which play a lot important role in all descriptions.
Dostoevsky's novel begins with a description of the life and world of St. Petersburg corners and their inhabitants. Showing the conditions of their life, the author uses mainly dark and dirty yellow colors.
The entire action of the novel takes place in that part of St. Petersburg where the poor live. Before us appears a damp, gloomy city, in which there are taverns on every corner. At the beginning of the novel, mostly dark, dirty tones appear:
In the street, the heat was terrible everywhere lime, scaffolding, bricks, the dusty stench from the taverns and drunkards who came across every minute completed the disgusting and sad coloring of the picture.
The staircase was dark and narrow, "black", but he knew everything and studied
The tenant looked from the crack at the newcomer with visible distrust, and only her eyes sparkling from the darkness were visible.
What dirt is capable, however, my heart.
In the tavern. He sat down in a dark and dirty corner, despite all the dirt of the situation, he now remained with PLEASURE in the tavern.
The protagonist of the novel, Rodion Raskolnikov, lives in a dark closet and walks around the gloomy city, visits a dark and dirty tavern.
His dark thoughts are in harmony with the life of dirty taverns, corners and streets of St. Petersburg, giving birth to "ice" in his heart. It is in such an environment that he has dark thoughts about murder, his theory of a superman who is allowed to do everything, even to decide who has a place to live on earth and who does not.
The atmosphere of suffocation on the streets of St. Petersburg, black and narrow stairs, dark and dirty corners, drinking places - this is the basis of the color of the city, in which only a mentally ill person can live, and therefore an unhealthy society.
The symbolism of yellow
The most common color in the novel is yellow. It is present almost constantly, has a strong impact on the characters and the reader, and is the engine of the plot, determining the fate of the characters.
According to psychologist M. Luscher, yellow is the color of the sun, warmth and joy: “Yellow is perceived by us as the sun, bright and sparkling”. We are faced with a contradiction between the concept of joyful yellow and Dostoevsky's yellow color.
What is the symbolic meaning of yellow in Dostoevsky's novel?
First of all, yellow is associated with illness when it comes to a person. And vice versa, when talking about things, the yellow color resembles something sunny, golden, it is able to evoke joyful emotions according to the psychologist Luscher. However, this is not the case in Crime and Punishment. Dostoyevsky's yellow color in all descriptions of people and things is a sickly color. For example: "She put her own cracked teapot in front of him, with tea already drained, and put two yellow pieces of sugar"; “When he looked around, he saw that he was sitting on a chair, that some person was supporting him on the right, that another person was standing on the left, with a yellow glass filled with yellow water.”
Here, "yellow sugar" is combined with a cracked, broken teapot, just as Raskolnikov's fate has a crack or flaw. The "yellow glass", that is, not washed for a long time, with a touch of yellow rust, and yellow rice water are directly related to the hero's illness, to his fainting state. Painful miserable yellowness is also found when describing other things, for example: Alena Ivanovna’s “yellowed fur katsaveyka”, Raskolnikov’s “completely red, full of holes and spots”, Raskolnikov’s hat, like his whole life, is still young, but already as if faded, hopeless, stained with blood.
Yellow prevails in the description of the room into which the young man passed, with yellow wallpaper. "The furniture is all very old, made of yellow wood. Thunderous pictures in yellow frames.", - this is how the author describes the apartment of the old woman - pawnbroker. The choice of dirty yellow colors when describing Alena Ivanovna's dwelling is not accidental, they personify the unworthy lifestyle of the hostess. And here is a description of Raskolnikov's closet: "It was a tiny cell, 6 steps long, which had the most miserable appearance with its yellowish, dusty wallpaper everywhere lagging behind the wall." A room with wallpaper lagging behind the walls is a depressing view. This is not only the destruction of the house, but also the destruction human life. Dostoevsky compares the protagonist's miserable dwelling with a yellow closet that presses on him with its tightness, darkness, giving rise to a desire to escape from it, but there is nowhere to escape: there, on the streets of St. Petersburg, there is the same atmosphere of hopelessness. The oppressive atmosphere of the home, the city pushes Raskolnikov to commit a crime.
The yellow color in the novel is present in almost all rooms and creates an atmosphere of ill health, frustration, anguish, pain, sadness. Dirty yellow, dull yellow, painful yellow color causes feelings of inner oppression, mental instability, general depression. This idea is confirmed by the words of Luscher: "Yellow, as the color of discharge, freeing from irritating tension, expresses only a nervous and mental state."
Researchers of Dostoevsky's work note that in all world art there are few works like Crime and Punishment in which the yellow color would be so completely sustained. An analogy is made with painting, with creative pursuits Dutch artist Van Gogh. Van Gogh's painting “Cafe” depicts the hall of a provincial tavern with a bright yellow floor and hanging kerosene lamps, the light from which paints the figure of the owner and the whole situation in yellow. “In my Cafe,” Van Gogh wrote, “I tried to express that a cafe is a place where you can go crazy or commit a crime. All this expresses the atmosphere of a hot abyss, pale suffering. All this expresses the darkness, in which, however, strength lies dormant.
It was in the tavern that Raskolnikov accidentally overheard a conversation between two students about the worthlessness and uselessness of people like Alena Ivanovna, which was another impetus for the idea of murder. Drinking room is a place where they rule dark forces people's minds, and in the darkness lies a terrible force that can lead a person to crime.
The yellow color in the description of objects is in harmony with the sickly yellowness of the heroes of the novel, surrounded by these objects. In the description of the portraits of most of the heroes of the novel, the same painfully yellow color is found. For example: Marmeladov - "with a yellow, even greenish face swollen from constant drunkenness and with swollen eyelids."; the face of Porfiry Petrovich, the representative of the legitimacy of the current government, was "the color of the sick, dark yellow," which also has a certain symbolic meaning, indicating the unhealthy laws of society.
Luscher speaks about the influence of yellow on the human psyche: “Yellow disturbs a person, excites him and reflects the nature of the power expressed in this color, which finally becomes bold and intrusive.” Perhaps this can explain the behavior of Raskolnikov, his intrusive thoughts about law strong personality and a daring desire to try the theory in relation to himself.
Reading the words of Luscher about the preference for the yellow color of people who are on the verge of self-destruction, you imagine Rodion Raskolnikov in this role: “When a desperate person “grabs at straws” and wants to forcefully call last hope, then he will once again give preference to yellow, but along with the forcing black. He often, like Van Gogh, in last picture(June 1890) black crows circling under black and blue thunderclouds over the exciting yellow wheat field is on the brink of self-destruction. In the novel, the combination of dark black colors with yellow clearly presents us, the readers, with an unsightly picture of the characters' poverty and sickness, leading them to the devaluation of human life, to crime and self-destruction.
Sometimes in the description of portraits of heroes, the definition "yellow" gives way to the definition of "pale" that is close in emotional and color coloring. For example: "pale, with burning eyes face" Sonechka, "... the color rushed into the pale face of Dunya", etc. Yellowness and pallor are an integral characteristic of all residents of St. Petersburg. This is confirmed in the episode of Sonya's meeting with an unfamiliar gentleman: "his broadly cheeky face was quite pleasant, and his complexion was fresh, not Petersburg."
Literary critic V.V. Kozhinov drew attention to “a very significant comparison in Crime and Punishment” of two words: the word “yellow” more than once adjoins another word of the same root - “bilious”, which, by the way, is also often found in the novel . About Raskolnikov, for example, it is said: “A heavy, bilious, evil smile snaked across his lips. Finally, he felt stuffy and cramped in this yellow closet.
Or another place: “He woke up bilious. and looked at his closet with hatred. It was a tiny cage. who had the most miserable appearance with her yellow ones. wallpaper." Before us is a clear interaction of internal and external, the attitude of the hero and the world. It is in this interaction, obviously, that the complex and intense meaning that the word "yellow" acquires in the novel is rooted.
In interaction with “bile”, “yellowness” acquires the meaning of something painful, oppressive.
Thus, yellow is a symbol of illness, poverty, misery of life. Yellow wallpaper and yellow furniture in the room of the old pawnbroker, Marmeladov’s face yellow from constant drunkenness, Raskolnikov’s yellow closet “like a closet or chest”, houses painted yellow-gray, Sonya Marmeladova, who was forced to go yellow ticket", a suicide woman with a yellow, exhausted face, yellowish wallpaper in Sonya's room, "yellow polished wood furniture" in Porfiry Petrovich's office, a ring with a yellow stone on Luzhin's hand. These details reflect the hopeless atmosphere of the existence of the main characters of the work, they are harbingers of bad events.
This idea is confirmed by the words of the psychologist M. Luscher: “Yellow is the main color. It expresses a basic psychic need - to open up. Yellow is preferred by people who hope for relaxation through release from a load or from a connection that oppresses them as an addiction.
Against the background of a painfully yellow color, this color is encountered twice in the novel as pure, in calm tones. This suggests that, apparently, not everything is so hopeless in the life of Rodion Raskolnikov, that there is hope for a righteous life.
In the novel, other colors also stand out, and, above all, the color of the eyes of the characters. These are "wonderful Blue eyes Sonechki" and already completely different blue eyes of Svidrigailov with a "cold, heavy look"; these are Raskolnikov's "beautiful dark eyes with a burning look" on the first pages of the novel and the same eyes "with an inflamed" and then "dead look" after the murder etc.
We see how the color, even indirectly indicated, conveys the state of the hero's soul: from a beautifully dark, i.e. deep, color to "inflamed", i.e. naturally shiny, and then to dead, i.e. colorless.
4. Meaning in the novel of red
Against the background of yellow, other colors acquire great symbolic meaning, and first of all, red. So, after the murder of Alena Ivanovna, her apartment, which at the beginning of the novel is described in yellow, acquires a red tint in Raskolnikov's eyes, reminiscent of the color of blood. Raskolnikov notices that in the apartment "there was a considerable stack, more than a arshin in length, with a convex roof, upholstered in red morocco. Above, under a white sheet, lay a hare's fur coat, covered with a red set. First of all, he began to wipe his bloodstained hands."
The contrast of red against the background of yellow makes a strong impression on Raskolnikov.
The red color in the novel characterizes the danger that threatens the heroes, for example, in the description of Marmeladov: “reddish eyes” speak not only of his moral decline, but also of a painful danger that can lead to death. The same danger threatens the life of his wife Katerina Ivanovna, who “had caught a cold this winter and was already coughing up blood,” and red spots on her cheeks speak of ill health.
Already out of her mind, sick Katerina Ivanovna took her children to the streets of the city, forcing them to sing, dance, dressing them up as street singers and singers: “The boy was wearing a turban made of something red and white so that he portrayed himself as a Turk. There were not enough suits for Lenya; only a red hat knitted from garus was put on her head. The use of red colors when describing children shows how dangerous it is for them to live in a sick society.
And the bright, red sun that Raskolnikov sees while walking around the city before the murder, or the small gold ring with three red stones that he leaves as a pledge, become an omen of danger not only for the life of Alena Ivanovna, but also for him.
5. Meaning of green color
Against the background of yellow, gray and red, green color stands out. It is strikingly different from the entire color range of the work, standing out for its freshness and purity.
In the novel, a church with a green dome appears, where Raskolnikov went more than once and loved her and the old images in her. It is like a symbol of the way of cleansing a person from sin.
Green is the color of rebirth, the color that gives hope for transformation. It is found in the second, "African" dream of Raskolnikov about the oasis, expressing an unconscious thirst for spiritual clarity and purity, but in reality this feeling is suppressed. Sonechka, the ideal of Christian meekness and humility, appears at the end of the work in a green scarf. This scarf, like a cross, is worn by Katerina Ivanovna, and behind her by Sonya Marmeladova. The very moment when she puts it on is symbolic. It happens in Siberia, in prison, where she Once again comes to visit Raskolnikov on the morning when a fracture occurs in the unrepentant murderer. Going to "work" in the morning, he sees the far shore, where "there was freedom, where people who did not look like those here lived, it was as if time itself had stopped there, as if the times of Abraham and his flocks had not passed." It is on this morning that Raskolnikov realizes that he loves Sonya endlessly, feels that he has risen, that at last "life has come." The scarf represents both the suffering that befalls its owners and their redemptive power. Dying, Katerina Ivanovna says: "God knows how I suffered." Going for Raskolnikov, who goes to confess to a crime, Sonya puts this scarf on her head. She is ready to take upon herself the suffering and atone for this guilt of Raskolnikov. In the epilogue, in the scene of rebirth, the resurrection of Raskolnikov, Sonya appears in the same scarf, haggard after an illness. At this moment, the green color of suffering and hope of the main characters of the work overcomes the yellow color of sick Petersburg and gives hope for a better future for the heroes of the novel.
Generalization
So, we can conclude that the use of certain colors in the novel "Crime and Punishment" by F. M. Dostoevsky plays an important role in revealing the content of the entire work. The author uses in the description almost the entire range of color designations (black, blue, blue, brown, pink and others), but dark, dirty yellow, red colors predominate.
The dark color of the city suggests the emergence of black thoughts in the minds of people and pushes them to crime, as happened with Rodion Raskolnikov.
In Crime and Punishment, the yellow color in all descriptions of people and things is a sickly color. The preparation of the murder, the experiences of Raskolnikov are shown in dirty yellow tones.
The climax of the novel is shown in red. This is the murder committed by Raskolnikov. The illness of Katerina Ivanovna, the death of Marmeladov are in red colors, personifying danger.
Green is the color of rebirth and purification of the hero's soul from sin, the color of the righteous path, the color of hope, insight and overcoming all misfortunes. Green color enhances the life-affirming meaning of the novel Crime and Punishment.
Numerical symbolism of "Crime and Punishment" as a key to understanding ideological issues 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 the criminal and behind the idea of delusion good heart, killing for the love of people, reveals the most terrible and monstrous idea - the "idea of Napoleon", dividing humanity into two unequal parts: the majority - "trembling creature" and the minority - "masters", called from birth to control the majority, standing outside the law and having 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 action - obey the laws " 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..
At the core of our research work included, first of all, a careful reading literary work and the text of the Gospel, to which F.M. Dostoevsky repeatedly refers in his work. And, of course, in our work we also turned to critical literature what helped us to do key findings 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 motives 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 inner world heroes, their relationship to 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 timed 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, rescue. And in Dostoevsky, the number is introduced into the world and determines not only the size, 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 are associated with it. important events: 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 to the work given 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, references to this number in the text are associated 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 remorse.
Summing up my work, I would like to say that a significant place in the art world Dostoevsky is occupied 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.Convinced that Dostoevsky is indeed the greatest connoisseur of human soul, depicts the characters 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 dire consequences can have the “idea of permissiveness”, 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 to Crime and Punishment is the idea of tragic consequences violations of the moral law 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."
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Show the role of biblical details, episodes, allusions in the novel "Crime and Punishment"
Learn to work with sources Holy Bible, writer's diaries)
During the classes
1. Statement of the problem:
In the novel, one of the main questions is: is there a possibility of salvation for Raskolnikov?
The number Eleven is mentioned several times in the novel. What does it mean?
In the Gospel of Matthew there is a parable about the workers in the vineyard: "... The kingdom of heaven is like a master of the house, who went out early in the morning to hire workers in his vineyard" (Matthew 20:1-6) He went out to hire workers at the third hour, at sixth, in the ninth and finally came out in the eleventh. “And those who came about the eleventh hour each received a denarius” (Matthew 20:9). "So will last first, and the first last; For many are called, but few are chosen” (Matthew 20:16). The vineyard in the parable is likened to the kingdom of heaven. With those who voluntarily or involuntarily contribute to the salvation of Raskolnikov - with Marmeladov and Porfiry Petrovich, and with Sonya - he meets at eleven o'clock, he also comes to the confession station at eleven o'clock. He himself anxiously asks: "Is there already eleven o'clock?" For Sonya, in these eleven hours, "the whole exodus." For Raskolnikov eleven o'clock symbolizes the last opportunity for salvation.
The number "seven", repeatedly used in the novel, is called by theologians "a truly holy number", since the number seven is a combination of the number "three", symbolizing Divine perfection, and the number "four", the number of the world order; therefore, the number "seven" is a symbol of the union of God with man.
At seven o'clock in the evening, Raskolnikov committed crimes, as if breaking the union of God and man: “... As if someone took him by the hand and pulled him along, irresistibly, blindly, with unnatural force, without objection. It was as if he had hit a piece of clothing in the wheel of a car, and he began to be drawn into it.
On last page In the novel, the number seven reappears, signifying the union of God with man: “They decided to wait and endure. They still had seven years left ... "
b) symbolism of images:
In the dream of Rodion Raskolnikov, the problem of the adequacy of the perception of reality by the hero is presented. The perception of a horse as a "poor horse" trying to move an unbearable cart, a horse personifying all the suffering and misfortune of this world, its injustice and ruthlessness - all this is a fact of Raskolnikov's dream. Poor Savraska is just Rodion's idea of the state of the world. Here, for the first time, the idea is laid that Raskolnikov challenges God on the basis of non-existent injustices, for everyone is given a burden according to their strength and no one is given more than he can bear. An analogue of a horse from a dream is Katerina Ivanovna in the novel, falling under the weight of her unreal grievances and worries (which are very great, but bearable, especially since God does not take His hand away, and when it comes to the edge, there is always an assistant: Sonya, Raskolnikov, Svidrigailov).
Raskolnikov's silver watch, which he pledged to an old pawnbroker, "depicts a globe." He inherited this watch from his father. This is a kind of "power", a sign of power and responsibility for the world. It is no coincidence that he pawns the clock before committing murder: he gives up true power for self-will.
Raskolnikov's meeting with Marmeladov resembles the scene of the Candlemas (the prophet Simeon met the baby Christ in the temple), ".. he continued to rise" - more than a strange description of Marmeladov's posture, however, "lifting up" is the only word that can adequately describe the position of Simeon on the icons of the Presentation .
- "Our big drapedam green handkerchief." Dradedam (from French Drap de dames) - fine cloth. Green is the color of the Mother of God, the patroness and intercessor of the Earth. “Our dradedamovy” both in terms of the combination of the meaning of multilingual words and even in sound resembles Noter Dame - the French name for the Virgin. With her gesture, Sonya repents and gives herself under the protection of the Mother of God, under her protection. The thirty rubles brought by Sonya obviously correlate with the thirty pieces of silver received by Judas for betraying Christ.
- "... at the tailor Kapernaumov ..." - a very significant and not fully explained allusion to the city of Capernaum, often mentioned in the Gospel. The city of Magdala, from which Mary Magdalene originated, was located near Capernaum. In common parlance, there was also a familiar meaning of the word "capernaum", which meant a fun establishment - a tavern.
- “... to play a wedding right after the ladies ...” - Ladies - Assumption fast, ending on the day of the Assumption Holy Mother of God. A marriage concluded after the Mother of God leaves the earth can hardly be considered blessed.
In a letter to mother Rodion we read: "... she loves you infinitely, more than herself loves ...". One of the commandments of Christ says: "Love your God more than yourself", "Love your neighbor as yourself." Dunya loves his brother like God. Imitation of Christ is the behavior prescribed for the believer. In a sense, we can say that every person is a Christ. This is Dostoevsky's favorite idea. In his notes we read: “Christianity is proof that God can fit in a person. This is the greatest idea and greatest glory the man he could reach" . Mother's memories of how, as a child, Rodya whispered his prayers on my knees, testify to the fact that faith lived in Rodion's heart while his father was alive.
c) symbolism of money:
Throughout the novel, Rodion Raskolnikov repeatedly helps Marmeladov, a drunken girl, with money. All the money he helps out is money that he inherited from his father. (Pension, from the mortgage of hours.) Thus, Dostoevsky solves the problem of the means by which assistance can be provided. The money stolen from the old woman becomes unfit for life or for good deeds.
d) symbolism of the kinship of souls:
In the novel we read: “Where am I going? And how did the idea of going to Razumikhin get into my head just now? This is amazing."
At the moment when the threat of selling his sister to "legitimate concubines" to Mr. Luzhin puts Raskolnikov before a choice, to do something immediately, he is offered a variant of God's decision - to find a person who will help. People are saved by each other. Raskolnikov saves the girl from a new abuse, Sonya saves him from despair, loneliness and final collapse, he saves Sonya from sin and shame; his sister - Razumikhin, Dunya - Razumikhina. Man is saved by man and cannot be saved in any other way. He who does not find a person dies (Svidrigailov).
e) symbolism of dreams:
In the first nightmare, Raskolnikov loses faith in the power of his father, and hence God. The roll call of the names of the main actor the murder of a horse and a painter, who will take over the murder of Raskolnikov. Mikolka is “stinkingly sinful”, beating the creature of God, but Mikolka is also aware that there is no other person’s sin, which means that one must take the sin upon oneself and suffer for another. They are, as it were, two faces of one people, in their very baseness keeping the truth of God. In the same dream, Raskolnikov sees a church and a tavern. For him, as for tragic hero, the whole world is divided into two spaces: the space of the church and the space of the tavern. In a dream, little Rodion loves the church, but hates the tavern, but the road to the church lies past the tavern, and it is in front of him that the dusty and black road (later the place of repentance). Raskolnikov has to choose, because he does not yet know that both these spaces are not opposed to each other, but are included in the whole world. Having risen against the tavern, he also rises against the church; having risen against human sin, he also rises against God. In the novel, the tavern and the church are one. The space of the church in the epilogue of the novel is transformed into the space of a tavern (when convicts rush to Raskolnikov in the church), and the tavern becomes a church (when a meeting with Marmeladov takes place). The green dome of the church in the dream and Sonya's green scarf are directly correlated. It is as if she is always under the dome of his children's church, to which he will not return soon.
e) symbolism of objects:
- “He took out an ax ... lowered it on his head with a butt” - It has been repeatedly noted that in this scene, the ax is turned with a blade at Raskolnikov himself. No wonder he will later say to Sonya: “I killed myself, not the old woman!” He kills Lizaveta with an ax blade, but subsequently does not even remember this murder, as if he did not kill her at all. Here is the difference between voluntary and unintentional killing. Plus, Lizaveta extended her hand, as if she had forgiven his sin.
Instead of his father's silver watch, Raskolnikov receives a gold watch. Gold is associated with Caesar and earthly treasure, incompatible with love and service to the Lord.
- “On the Nikolaevsky bridge, he had to wake up completely again ... he probably owed a blow of a whip to the supply of a whole two-kopeck piece ...”
While Raskolnikov is unable to endure laughter, he will not be able to return to people, to return to life. Ridicule is the only possible forgiveness. This laughter constantly seems to the hero as a mockery of him, a desecration of his idea and purpose. In this episode, Raskolnikov walks, immersed in his thoughts, not where it is customary to walk, concentrating on his experiences and thoughts, not noticing the life around him. The blow of the whip brings him back to reality, puts him in the place that he should occupy. And laughter reinforces this position, making it "one of". But he is immediately given alms (mercy) and forgiveness. But Raskolnikov does not accept alms (throws a coin), nor does he accept himself as "one of".
- “Drunk, not drunk, but God knows them ...” Having rebelled against God, Raskolnikov strives to join the tavern, but the tavern constantly rejects him. He is always mistaken for drunk, although he is sober almost all the time. He is not able to unite the church and the tavern in his mind, he can only choose. He does not understand this world, where people kill a horse, but horses will kill a person (Marmeladov), where it is impossible to find unequivocally right or wrong, where it is only possible to receive or grant forgiveness to those who understand that everyone is united in sin; world, where it has long been said: "Vengeance is mine and I will repay", declaring that the court is the prerogative of God, and people - "do not judge, so that you will not be judged." The drunk is not opposed to God or his servant, but often he himself is. Dunechka will say about Razumikhin: "God sent us this gentleman, even though he was straight from some drinking party." Razumikhin talks about lies - a drunk knows that he is lying, and does not claim to be the ultimate truth, but a sober man lies and believes himself. The drunk knows that he is drunk, the sinner knows that he is a sinner, but he who is confident in his righteousness is terrible.
f) symbolism of names:
Dmitry Prokofievich Razumikhin - Dmitry dedicated Greek goddess fertility Demeter (earthly), Prokofy - prosperous (Greek)
- ".. Sing Lazarus .." - to beg flatteringly. The rich man from the gospel parable about the "Two Lazaruses" is called Lazarus, like his beggar brother. Beggar Lazarus, finding himself in paradise “near Abraham”, tells the unrighteous rich man that he needed, in order not to endure the torments of hell, “in the name of Christ” to give, “to take the poor and the poor into the house”, to take care of widows, orphans “to look after”, “ in the tomb of the dead" to see off. It should be noted that Raskolnikov fulfills all these conditions. The only way he looks like the rich Lazarus is self-will. As soon as he gets rid of sin from his soul, he will find paradise. In the epilogue, when describing the picture across the river: "as if the centuries of Abraham and his flocks had not yet passed." The name Lazar connects this associative move with the gospel parable of the resurrection of Lazarus.
- “So you still believe in the New Jerusalem? ..” - this expression is equivalent to the coming of the Kingdom of Heaven. Faith in New Jerusalem meant faith in the coming of a new earthly paradise - the “golden age”, the kingdom of goodness and justice, on the old earth, i.e., the social transformation of society, and not the coming of the Kingdom of God (according to the teachings of Saint-Simon, a utopian socialist ). Raskolnikov's theory was close to Saint-Simon's.
symbolism of numbers:“She energetically hit the word: four...” - The Gospel reading takes place on the fourth day after the murder, except for the days of unconsciousness. He also lay unconscious for four days.
Symbolism of images: "... Porfiry Petrovich clucked with friendly participation ..." - this strange verb is used more than once by Dostoevsky during the conversation with Raskolnikov, which creates the impression that Porfiry rushes with Raskolnikov like a chicken with an egg. Egg - ancient symbol resurrection and new life, which Porfiry Petrovich prophesies to the hero.
- “But then a strange incident happened ...” (p. 367) The Lord seems to be protecting Raskolnikov, saving him from a forced confession, for which he is not yet ready, but which the investigator wants to snatch from him.
- “Why, I can’t know God’s providence ... (p. 426). The hero is trying to achieve the triumph of justice. But this demand turns into only suffering for him. Moreover, the heroes themselves, who insist on justice, turn out to be possible only contrary to justice, to love Raskolnikov is a murderer. To love Katerina Ivanovna, who sent her stepdaughter to the panel. Sonya perceives the desire for justice as a childish trait, coming from a misunderstanding of the world. In addition, justice is different. Porfiry invites Raskolnikov to do justice - to make a confession: "Do what justice requires." But Raskolnikov does not find justice in this. It turns out that justice is a thing in the highest degree relative, especially since everyone chooses a reference point arbitrarily. Sonya, sending Raskolnikov to confess to a committed crime, does not think about justice, but about the fact that if he "redeems himself by suffering, then God will send him life again." She thinks in other categories, her truth is Christ, who is Life and Love, she does not calculate the degree of rightness and reasonableness of the arguments.
- "For Raskolnikov, a strange time has come ...". Time in this state represents the most unexpected and unpredictable loops and plexuses. Raskolnikov winds through time throughout the novel: three visits to the old pawnbroker - a trial, a murder, a return to "hire an apartment." But there is also a return in a dream, where laughter does not give the hero the opportunity to kill - that is, cut off time, finally destroy the connection of times.
Conclusion: Raskolnikov's ideological crime was inspired to him from the outside:
Raskolnikov says that he wrote an article about one book. Perhaps we are talking about M. Stirner's book "The Only One and His Property" or Napoleon III's book "The History of Julius Caesar".
Here is what Stirner wrote in his book: “To win or to submit - these are the two conceivable outcomes of the struggle. The winner becomes the ruler, and the vanquished turns into the subject... I... will not be afraid of the thought, no matter how impudent and "demonic" it is. Because it is in my power to destroy it if it becomes uncomfortable for me ... Realize that you are stronger and more powerful than you think you are, and then you will be more powerful and stronger. Realize that you are greater, and you will be greater ... I will not be afraid of an act in which the spirit of godlessness, immorality, and illegality lives. (Ironically, this book was Stirner's only; he died in total poverty at 50, another German philosopher Friedrich Nietzsche ended his life in an insane asylum.)
Dostoevsky treats his hero humanely: 8 years of penal servitude for a double (and maybe triple) murder is salvation. But salvation is also in repentance, it has not yet come, but it will certainly come, because in love for Sonya there can be no other way out. And the fact that Rodion fell in love with Sonya - of course, his tears testify to this. Rebirth is possible only with God!
A novel by the outstanding Russian writer F. M. Dostoevsky was written in 1866 and is dedicated to the complex social, philosophical, moral and ethical relations in the society of that time, which worried not only the writer, but also representatives of the more progressive part of humanity.
The very name of the work is quite symbolic and makes readers wonder why F. M. Dostoevsky called his work that way. The first word of the name is clear enough, because main character Romana killed two women and committed a crime. But as for punishment, there can be many opinions. This is the realization by Raskolnikov himself of the perniciousness of the theory of the “exceptional personality” he developed, which justified itself and gave itself the right to kill, and the pangs of conscience of the hero of the novel for what he had done. Having taken the life of the old woman and her sister, Raskolnikov killed part of his soul, part of himself. This, in my opinion, is the symbolism of the title of the novel.
What prompted the hero to commit such a cruel crime, what became his motive? Is it money and the desire to improve your life and the lives of your loved ones? This is the theory created by Raskolnikov, which prompted him to check his views on life in reality and test whether, in spite of everything, he could break the law and, on this basis, consider himself an outstanding person? Reflecting on these questions, one can come to the conclusion that quite a lot of factors preceded the crime, because the fate of Raskolnikov was closely intertwined psychological, philosophical and social factors, which together pushed the poor student to murder.
The answer to what formed the first part of the title of the novel, we find already from its first pages. The protagonist of the novel "Crime and Punishment" - Rodion Raskolnikov - is a student, very depressed by the poverty and poverty of his life. This life in a cramped and dirty closet with low ceilings is unbearable for him. This especially hurts the soul of a person like Raskolnikov, because he has a rather vulnerable feeling dignity and somewhat perverted views on life, which are constantly fueled by the selfishness of the hero. He imagines himself to be a kind of "higher being" who has the right to rise above society and laws. For life, according to his theory, he lacks only money, but they are very close - from the pawnbroker, who is worthless to rob. Even the fact that in this case it is necessary to kill a person does not stop him, because he is not a poor student, but a “superman”. In addition, according to Raskolnikov, he will save society from an unnecessary, even harmful creation, allowing himself to commit a crime on his own understanding of morality and conscience.
But such logic of the protagonist of the novel occurs contrary to the moral values and laws of society, and in no way can justify Raskolnikov's act. This is confirmed by the very first days of Rodion's existence after the crime, he could not feel like a winner, could not find peace and happiness, using the theory of "extraordinary people". So, his theory turned out to be erroneous, because Raskolnikov does not have the right to take the life of another person, just as any other does not have this right. The law of God “Thou shalt not kill” is stronger than all theory, and the punishment for its violation is eternal mental anguish, as happened with the main character of the novel.
Introduction. Our life is filled with signs of fate that tell us whether we are on the right path. Sometimes we may not notice them, but they still exist and help us in life. For example, many people believe in signs and see a voice from above in the manifestations of nature, listen and trust him. Literary classics paid considerable attention to the signs of fate and its symbols. The peculiarity of the symbol lies precisely in the fact that in none of the situations in which it is used, it can be interpreted unambiguously. Even for the same author in one work, a symbol can have an unlimited number of meanings. That is why it is interesting to trace how these values change in accordance with the development of the plot and with the change in the state of the hero. An example of a work, from the title to the epilogue built on symbols, is the Crime and Punishment of F. M. Dostoevsky.
Introduction. Already the first word crime is a symbol. Each hero crosses a line, a line drawn by himself or others. The phrase transgress or draw a line permeates the entire novel, passing from mouth to mouth. In everything there is a line beyond which it is dangerous to cross; but once crossed, it is impossible to turn back.
Last name of the main character. The surname of the protagonist Raskolnikov also has a symbolic character, can be read literally. After all, Raskolnikov does not just kill, he kills with an ax: in fact, he splits his victim like a log. It is very important to turn the ax from the butt to the tip when killing Lizaveta. It seems that after the first "mechanical" murder of the old woman, the ax begins to realize itself, turning into a cleaving tool. Raskolnikov is the one who splits. If we recall that the theme of splitting appears already at the very moment of the birth of the thought of murder (“A strange thought pecked in his head like a chicken from an egg”), that the ax was taken from the janitor, where it lay between two split logs, that Raskolnikov, hiding the ax on his body, under his clothes, in in a certain sense merges with him that he washes the ax from the blood in the old woman's kitchen with soap taken from a split saucer. Raskolnikov, with his deadly idea hanging over the crowd, looks like an ax, and his closet is elongated and narrow, not only a “coffin”, but also a “case” for storing heavy and dangerous tools.
Axe. Perhaps the key symbol was Raskolnikov's ax, which on long time became associated with the name of Dostoevsky. Raskolnikov hit the old pawnbroker on the head with a butt, and Lizaveta, her sister, a meek and quiet woman, with a point. Throughout the entire murder scene, the ax blade was turned towards Raskolnikov and looked menacingly into his face, as if inviting him to take the place of the victim. "It is not the ax in Raskolnikov's power, but Raskolnikov has become the tool of the ax." By killing Lizaveta, the ax brutally repaid Raskolnikov. In the ax semantic substitution.
Ax Ax. Raskolnikov's new ax is no longer an instrument of his will, ideas, but a forgery of a demon case. The ax was taken from the ground (dvornitskaya) and endowed with independent evil power. A real (kitchen) ax could be unbearable! As a dummy, Raskolnikov acted "almost without effort, almost mechanically", "his strength seemed to be absent here." Strength came from the false ax from the moment Raskolnikov acquired it, who was “extremely” emboldened at the same time. In the words of Raskolnikov that it was not he, but the devil who killed the old woman, there is a motive for the imposition of the action and a hint at the non-randomness of what happened: the old “witch” woman was killed with a demonic axe.
White linen. The way in which the symbolism of pure white asserts itself in Dostoyevsky's novels is very unusual. The laundress prevented Raskolnikov from carrying out his plan. He had already lifted his leg to cross the "threshold" when there was some confusion. Entering the kitchen for an ax, he saw that “Nastasya is not only at home this time, in her kitchen, but is also doing business: she takes out linen from the basket and hangs it on the ropes!” After the murder, Raskolnikov encounters clean linen already at the old woman’s apartment: having washed the blood, he then “wiped everything with linen, which was immediately dried on a rope stretched through the kitchen.”
White linen. Svidrigailov, before committing suicide, sees in a dream a dead girl in a "white tulle dress" lying on a table covered with "white satin sheets". The appearance of "clean linen" falls on the threshold points through which the characters pass. These are new white wallpaper in the old woman's apartment and a freshly painted and whitewashed room where Raskolnikov hid immediately after the murder, etc. The “doubled” clean linen in the fate of Raskolnikov and, especially, his return to the old woman’s apartment after the murder, when the apartment is already pasted over with new white wallpaper, comes as a hint of a possible rebirth or cure ...
Symbolism of Raskolnikov's dreams. The dreams of the protagonist are signs of fate, they tell him the right path. But Raskolnikov either does not notice these signs, or ignores them. For the first time, Raskolnikov dreams about how a man - Mikolka stabbed his horse to death, and "he" - a seven-year-old boy - saw this, and he felt sorry for the "poor horse" to tears. Here the good side of Raskolnikov's nature is manifested. He dreams about this before the murder, obviously, the subconscious mind opposes what he is doing. Raskolnikov saw the second dream after the murder. He dreams that he came to the apartment of the murdered old woman, and she hid behind a coat, in the corner of her room, and laughed softly. Then he pulls "an ax out of the loop" and hits her "on the crown of the head", but nothing happens to the old woman, then he begins to "hit the old woman on the head", but this only makes her laugh harder. Here we realize that the image of the old woman will haunt Raskolnikov all his life. Raskolnikov saw the second dream after the murder. He dreams that he came to the apartment of the murdered old woman, and she hid behind a coat, in the corner of her room, and laughed softly. Then he pulls "an ax out of the loop" and hits her "on the crown of the head", but nothing happens to the old woman, then he begins to "hit the old woman on the head", but this only makes her laugh harder. Here we realize that the image of the old woman will haunt Raskolnikov all his life.
Yellow. Indeed, yellow is the most common color in the novel. The yellow color of Dostoevsky in all descriptions of people and things is a painful color. For example: She put her own cracked teapot in front of him, with tea already drained, and put two yellow pieces of sugar; When he looked around, he saw that he was sitting on a chair, that some person was supporting him on the right, that another person was standing on the left, with a yellow glass filled with yellow water ... Here, yellow sugar is combined with a cracked broken teapot and drained tea, which also has a yellow color. In the second example, the yellow glass, i.e. not washed for a long time, with a touch of yellow rust, and yellow rice water is directly related to the hero's illness, to his fainting state. Painful miserable yellowness is also encountered when describing other things, for example: Alena Ivanovna's yellowed fur katsaveyka, completely red, Raskolnikov's hat, full of holes and spots, etc.
Yellow. The yellow color predominates in the description of the room into which the young man went, with yellow wallpaper ... The furniture is all very old, made of yellow wood ... thunderous pictures in yellow frames ... This is how the author describes the apartment of the old pawnbroker. And here is a description of Raskolnikov's dwelling: It was a tiny closet, b steps long, which had the most miserable appearance with its yellowish, dusty wallpaper everywhere lagging behind the wall ... Dostoevsky compares the miserable dwelling of the protagonist with a yellow wardrobe. The yellow color in the description of objects is in harmony with the sickly yellowness of the heroes of the novel, surrounded by these objects. In the description of the portraits of most of the heroes of the novel, the same sickly yellow color is found. For example: Marmeladov with a yellow, even greenish face swollen from constant drunkenness and with swollen eyelids ...; Porfiry Petrovich's face was the color of a sick man, dark yellow.
Red color. And against the same background, other colors acquire great symbolic meaning, and primarily red. So, after the murder of Alena Ivanovna, her apartment, which at the beginning of the novel is described in yellow, acquires a red tint in Raskolnikov's eyes, reminiscent of the color of blood. Raskolnikov notices that in the apartment there was a considerable stack, more than a arshin in length, with a convex roof, upholstered in red morocco... On top, under a white sheet, lay a hare's fur coat, covered with a red set... First of all, he began to wipe on the red set their bloodstained hands.
The color of the eyes of the heroes. The colors of the characters' eyes carry a special symbolic meaning. These are the wonderful blue eyes of Sonechka and the completely different blue eyes of Svidrigailov with a cold, heavy look; these are the beautiful dark eyes of Raskolnikov with a burning look on the first pages of the novel and the same eyes with an inflamed, and then dead look after the murder, etc. Using these examples, one can see how the color, even indirectly indicated, conveys the state of the hero's soul: from beautiful-dark, i.e. deep, color to inflamed, i.e. naturally shiny, and then to dead, i.e. colorless.
Christian images and motives. The novel makes extensive use of Christian motifs and images. It contains a reminiscence from the Bible about Lazar, a parable that Sonya reads to Raskolnikov on the fourth day after the crime. At the same time, Lazarus from this parable was resurrected on the fourth day. That is, Raskolnikov has been spiritually dead for these four days and, in fact, lies in a coffin ("coffin" is the hero's closet), and Sonya came to save him. From the Old Testament, the novel contains a parable about Cain, from the New - a parable about a publican and a Pharisee, a parable about a harlot ("if anyone is not sinful, let him be the first to throw a stone at her"), a parable about Martha - a woman, all her life aimed at vanity and missing the most important thing (Marfa Petrovna, Svidrigailov's wife, has been fussing all her life, devoid of the main beginning).
Christian images and motives. Svidrigailov appears before us in the form of a "black bathhouse with spiders and mice" - in the Christian view, this is a picture of hell, for sinners who know neither love nor repentance. Also, at the mention of Svidrigailov, the "devil" constantly appears. Svidrigailov is doomed: even the good that he is about to do is in vain (a dream about a 5-year-old girl): his good is not accepted, too late. A terrible satanic force, the devil, is also pursuing Raskolnikov, at the end of the novel he will say: "The devil led me to a crime." But if Svidrigailov commits suicide (commits the most terrible mortal sin), then Raskolnikov is cleansed. There are also such images and symbols as the cross and the Gospel. Sonya gives Raskolnikov the Gospel that belonged to Lizaveta, and, reading it, he is reborn to life. At first, Raskolnikov does not accept the cross of Lizaveta Raskolnikov from Sonya, since he is not ready yet, but then he takes it, and again this is connected with spiritual purification, rebirth from death to life.
Number 3. The number three plays a significant role in the novel. Its connection with gospel motifs is undeniable. So, for example, Marfa Petrovna ransomed Svidrigailov for thirty thousand pieces of silver, as once betrayed, according to the gospel story, Judas Christ for thirty pieces of silver. Sonya took out her last thirty kopecks to Marmeladov for a hangover, and he, as before Katerina Ivanovna, whom Sonya “silently laid out thirty rubles”, could not help but feel like a Judas in this shameful minute for him. Marya Marfovna left Dunya 3 thousand rubles in her will. Marfa Petrovna bought Svidrigailov for 33,000 pieces of silver. Svidrigailov wanted to offer Dunya "up to thirty thousand." Raskolnikov rang the old woman's bell 3 times, hit her 3 times with an axe. "Three meetings" of Raskolnikov with Porfiry Petrovich, "3 times" Marfa Petrovna came to Svidrigailov. Sonya has three roads, as Raskolnikov thinks, when she stands three steps from the table. Sonya has a "large room with three windows", etc.
Number 4. The number 4 is fundamental. In the revelations of John the Theologian - 4 animals (ch. 4); 4 angels, 4 corners of the earth, 4 winds (ch. 7); 4 names of Satan (chap. 12); 4 objects created by God (ch. 14); 4 names of the people (ch. 17), etc. “... The sister of the deceased Martha says to him: Lord! It already stinks: for four days he has been in the coffin ... She energetically struck the word: four "". (Ch. 4, ch. 4, p. 262). “Stand at the crossroads, bow, kiss the ground first ... bow to the whole world on all four sides ...” (Part 5, Ch. 4, p. 336) In the story of the resurrection of Lazarus, which Sonya reads to Rodion Raskolnikov, Lazarus was dead for 4 days. This story is placed in the fourth gospel (of John).
Number 7. It can be assumed that by "sending" his hero to kill at exactly seven o'clock, Dostoevsky thereby dooms him to defeat in advance, since he wants to break the "union" of God and man. That is why, in order to restore this "union" again, in order to become a man again, Raskolnikov must again 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; until then, so much unbearable torment and so much endless happiness! Seven years, only seven years! We can also note the seven children of the tailor Kapernaumov, the seven-year-old voice singing "khutorok", Raskolnikov's dream when he imagines himself as a seven-year-old boy, seven hundred and thirty steps from Raskolnikov's house to the old woman's house, seventy thousand Svidrigailov's debt.
Number 7. “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 , will stay at home alone. ”(Part 4, Ch.5, p. 53) The novel itself is seven-membered (6 parts and an epilogue). The first two parts consist of seven chapters each. “He had just taken out a mortgage, when suddenly someone shouted somewhere in the yard: “This is the hour for a long time!” (Part 1, Ch. 4, p. 58) Svidrigailov also lived with Marfa Petrovna for 7 years, but for they were not like 7 days of happiness, but like 7 years of hard labor. Svidrigailov persistently mentions these seven years in the novel: “... in all our 7 years ...”, “I didn’t leave the village for seven years”, “... for all 7 years, every week I started it myself ...”, “... I lived without a break for 7 years ...” )
The number 11. The number 11 is not accidental here. 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 last became the first in fulfillment of the highest justice. Dostoevsky could hear the same gospel parable in the sermon of St. John Chrysostom, read in Orthodox churches during Easter morning. Referring Raskolnikov's meeting 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 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.)
Number 11. “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 of the unit, the bailiff’s office of investigative affairs, and asked to report himself to Porfiry Petrovich, he was even surprised at how long they didn’t accept him…” (Ch. 4, ch. 5) “It was about eleven o’clock when he went out into the street.” (part 3, ch. 7) (the time of Raskolnikov's departure from the deceased Marmeladov)
Conclusion. "Crime and Punishment" is filled with the smallest details which we do not perceive at first glance, but which are reflected in our subconscious. Often people do not notice the signs of fate, like the main character Raskolnikov, and then pay for the mistakes made all their lives.
Sources. L. V. Karasev. - About Dostoevsky's Symbols Questions of Philosophy S Belov S.V. Non-random words and details in Crime and Punishment. - "Russian speech", 1975, 1, p. 40. Belov S.V. Roman F.M. Dostoevsky "Crime and Punishment" / Ed. D.S. Likhachev. - 2nd ed., Rev. and additional -M.: Enlightenment, - 240 p. Dostoevsky F.M. "Crime and Punishment". Novel. At 6 o'clock With an epilogue / Afterword. and comment. A.N. Muraviev. - M .: Enlightenment, - 480 s
