Before starting an analysis of the very episode of Rodion Raskolnikov's last meeting with Porfiry Petrovich, the "revealing the cards" scene, it seems necessary to me to give some features of Rodion as a person capable or incapable of killing, heartless or with a living soul, with an empty or busy head with thoughts.
Dostoevsky created the image of Raskolnikov, no different from the average young student. These are, as a rule, strong personalities in the prime of their lives, who think that they can do everything. But Fyodor Mikhailovich created a work not about human happiness, not about love ... He created a work about human suffering, about human actions. Isn't it an important topic? Nothing is constant in our life: the body gets old, things disappear, the world around us changes ... But there is one constant in our life. In my opinion, these are the things we do. Actions remain even after our stay on earth. How long the memory of an act will exist depends only on its magnitude, globality. A good deed can make us and someone else happy, remain in our memory, leave an imprint on our personality ... A bad deed can harm others, cause negative feelings in them and in ourselves, it can change us. So, Rodion was just the very same average student, or rather a former student. “The student is smart, talented, kind and generous in his own way ...” But Raskolnikov was driven “to despair by poverty, the plight of his mother and sister ...” he was unlucky to be one of the many beggars. Rodion cannot get out of this dirty hole. And, as a result of this despair, terrible theories, ideas come to his mind ... He becomes embittered at the world around him. All his positive feelings "fall asleep", and he opens his dark side of personality. This opened up the possibility of doing a bad deed. Allowed the development of the idea of murder in his head.
But Rodion is not a killer. He cannot adjust his heart and mind to kill people. (for example, other characters of Dostoevsky's work could adapt, further possible developments of his dark side of personality). He can't get rid of the guilt. This feeling has been tormenting him since the incident itself and will probably torment him until the end of his days. His soul suddenly wakes up after seeing the consequences of his crime.
Porfiry Petrovich, an experienced investigator, who, probably, in just a few gestures, habits, can see a criminal in a person, immediately recognizes a criminal in Raskolnikov, but not a real one. He sees that this criminal is suffering, the criminal regrets, the criminal wants to return everything back ... The investigator begins to "stab" Raskolnikov. He sympathizes with Rodion, wishes him well, but he is also a provocateur who must extract confessions from the suspect.
Porfiry Petrovich meets with Rodion three times and drops his mask only on the last. When he comes to Raskolnikov's apartment, he does not laugh, does not chuckle, and with this takes off his mask and finishes off Raskolnikov. The investigator frankly accuses him and offers to turn himself in, although he cannot be arrested due to lack of evidence. He is sure that Raskolnikov will get better with time, that he “needs to change the air for a long time,” that he simply needs to suffer - this will heal him. Saying goodbye, Porfiry Petrovich advises Raskolnikov, if he decides to commit suicide, leave a "short but detailed note" in two lines, because it will be "nobler, sir." Exhausted by the fear of exposure, Raskolnikov reconsiders, if not his own theory, then his place in it, and suddenly feels with disgust how he has weakened, physically weakened. “I should have known this,” he thought with a bitter smile, “and how dare I, knowing myself, anticipating myself, take an ax and bleed? .. I was obliged to know in advance ... Eh! I knew in advance! .. - he whispered in despair. Reading Dostoevsky, we continue to wonder at the power of his artistic insight. What is the extraordinary attraction of this writer's work? Every line of his books is dedicated to a person. At the center of his work is man and the eternal questions of human existence, questions of good and evil, to which he tries to answer. Dostoevsky saw the main task of his work in looking for a person in a person. Pain and compassion for the "humiliated and offended" permeate the works of the humanist writer, a man who thought, suffered and suffered.
Raskolnikov cannot stand it for the third time and confesses to Porfiry Petrovich of the crime. Tom feels sorry for Raskolnikov, he invites him to publicly confess everything in order to cleanse his soul and abolish his punishment. In part, he succeeded: the punishment was abolished only up to eight years of hard labor, and besides, his whole soul was cleansed: after being sent to hard labor, his conscience no longer tormented him, he left "dirty Petersburg" and fell in love with Sonya.
Rodion Raskolnikov Dostoevsky murder
Grade: 10
Lesson topic: Linguistic and poetic analysis of the episode "Raskolnikov's third meeting with Porfiry Petrovich" based on the novel "Crime and Punishment" by F. M. Dostoevsky, part 4, ch. 2
Target: find the linguo-poetic key of this episode; find out the meaning of the episode in the idea of the novel.
During the classes
I. Introductory speech of the teacher
The central episodes of the novel, revealing the struggle of the hero with his "nature", capable of compassion and sensitive to the misfortunes of people, are Raskolnikov's meetings with Porfiry Petrovich. The first meeting outlines the nature and theme of the struggle, as well as the main characters of the tragedy. The second meeting - the intrigue reaches its highest point and tension: disheartened Raskolnikov again perked up after Mikolka's unexpected confession and visit to the tradesman.
It concludes with Raskolnikov's bold statement: "Now we will still fight."
II. Conversation with the class. Analysis of the third meeting (part 4, ch. 2)
What key words (phrases) would you like to highlight in this episode? Justify your answer (Because the task was homework, students write out words from workbooks - keys on the board and explain their meaning in the text).
Psychology - character - proud
Facts suffering is an idea
Theory - killed life - air - suffocated
With what feeling does Raskolnikov meet the investigator? (cautiously, with anxiety, because the visit of Porfiry Petrovich is unexpected)
For what purpose did Porfiry Petrovich come? (this time P.P. does not hide his true intention to prove Raskolnikov's guilt and explain himself to him)
How does this characterize Porfiry Petrovich himself? (He not only calculated the nature of Raskolnikov, his psychology, but also guesses his torment, suffering. This is not a cold-blooded accuser, but a person who feels and sympathizes.)
How do you understand the words of Porfiry "... in suffering there is an idea"? (Porfiry Petrovich relies on the living soul of Raskolnikov, he is right, stating, “But you don’t believe your theory anymore.” Raskolnikov’s human nature cannot withstand the painful feeling of crime)
As keywords you gave such as gasped for air. Why?
The third meeting is directly related to the previous one, in which Raskolnikov began suffocate no way out, crowded. In general, this word is very common throughout the novel. Raskolnikov suffocates in the streets of St. Petersburg, where there is a stench and dust, suffocates in a cramped, tiny closet, suffocates with fear and horror from a terrible dream, suffocates during interrogation. This suffocation is not accidental. And it is not only a manifestation of Raskolnikov's physical nature. Thismoral suffocation. It is no coincidence that Porfiry Petrovich advises Raskolnikov"change the air". “Now you only need air, air, air.” “On the run, it’s disgusting and difficult, but you, first of all, need life and ...air corresponding Well, is your air there? ".
Thus the word air includes the meaning of liberation from inhuman theory, from that ideological impasse into which Raskolnikov has driven himself;air is the cleansing of conscience, it is life. That is why the word air can be considered a word - a concept, a key, the main word not only in this episode, but also in the novel.
III. Summarizing.
Raskolnikov's three meetings with Porfiry Petrovich are psychological duels in which Raskolnikov's theory is logically refuted. The third, last, meeting is its collapse. And although Raskolnikov stubbornly denies the crime (“But I didn’t confess anything to you”), the investigator is sure that he “will turn himself in” to confess.
The novel affirms the idea that it is unnatural to transgress the principle of humanity. In Raskolnikov's internal struggle, "nature" takes over, and he has no choice but to "turn himself in." This is the meaning of this episode in the idea of the novel.
On the topic: methodological developments, presentations and notes
The development of this lesson helps to master knowledge in the field of complex analysis of a literary text and identify its features. Tenth graders learn to establish a connection between an episode, individual ...
The motives of the crime of Rodion Raskolnikov (based on the novel by F.M. Dostoevsky "Crime and Punishment")
Lesson-practice. Helps to understand the complexity and inconsistency of the image of Rodion Raskolnikov, the motives for his crime. The lesson is a study of the author's text, is the result of thoughtful ...
Fyodor Mikhailovich Dostoevsky - piFyodor Mikhailovich Dostoevsky is an extremely individual writer. He has something very different from other classics of Russian literature from ...
Porfiry Petrovich is one of the key characters in Fyodor Dostoyevsky's classic Russian classic "Crime and Punishment".
Characteristics of Porfiry Petrovich
The hero regularly serves the law for many years and holds the position of bailiff in the investigative committee of the city of St. Petersburg, where the story unfolds. Porfiry Petrovich is endowed with the intuition of a real detective, he is smart and perspicacious, knows how to notice details and does not complain about memory. He calls himself an old man, despite his middle age, and considers himself a "finished" person. In his appearance, especially in his physique, there is something “womanly” - a plump face, with a painful tint, whitish eyelashes. As an investigator, this flamboyant character is quite talented. He can freely lead anyone, but only with the aim of bringing him to clean water. Where necessary, it is easy to pretend. Often cynical and distrustful. But at the same time, he is honest and knows how to keep his word. Porfiry Petrovich, even before Raskolnikov's crime, came across an article in a newspaper in which a young student discussed the topic of permissibility to commit a murder if the person killed was from the "lower rank" and the killer was a representative of the "superior race".
Role in the plot
By the will of fate, Porfiry Petrovich gets to investigate the murder and her sister. Having no evidence, the investigator, who is fond of psychology, guesses that the crime is on his conscience. An article written earlier by a young criminal played an important role here. Although she was anonymous, the meticulous bailiff found out the authorship through the editorial office. Entering into disputes on the eternal topics of morality, Porfiry Petrovich almost forces Raskolnikov, at the peak of a nervous breakdown, to confess to the crime he has committed. The plans are shattered by the confessions of the painter Mikolka, and the real culprit slips away.
Unexpectedly for himself, the investigator is imbued with sympathy for Raskolnikov. With a kind heart, he understands that Rodion is a good person who was broken by poverty. And his main task is not only to bring the stumbled student to turn himself in, but also to achieve his complete repentance. Only in this way, Porfiry Petrovich believes, will the young man again have a meaning in life, and in this way he will understand the mistake in his philosophical research.
Throughout the novel, the poor student Raskolnikov and the investigator Porfiry Petrovich meet in person three times:
First meeting - Porfiry Petrovich's apartment
The pretext for this visit is the things that Raskolnikov pawned with the old pawnbroker and which are now kept by the police. Razumikhin, as a friend, brings Raskolnikov to his relative Porfiry Petrovich.
Second meeting - in the office
In this conversation, Porfiry Petrovich behaves more arrogantly and assertively, which Raskolnikov does not like. The student loses his temper and announces that he will not allow himself to be "tormented". Raskolnikov demands to be interrogated "in the form", and not to scoff. With this, he again gives himself away. During this conversation, the painter Mikolka runs into the office and confesses to the murder of the old woman and her sister (Mikolka slanders himself). This appearance of the "repentant" Mikolka breaks Porfiry's plans.
Third meeting - in Raskolnikov's room
In this meeting, Porfiry Petrovich and Raskolnikov talk in private. Porfiry unexpectedly declares to Raskolnikov that he knows about his crime. The investigator, in a friendly way, advises Raskolnikov to turn himself in to confess in order to receive a shorter term of hard labor. Porfiry promises that he will make efforts to mitigate the punishment (he will keep his word). Thus, the investigator pushes Raskolnikov to the only correct step - to turn himself in (which he did).
It is worth paying attention to the fact that Porfiry of Ephesus is mentioned in the holy calendar - a hypocrite and martyr who lived in the 3rd century under Julian the Apostate. Being engaged in acting, he mocked Christian customs. Having believed, he openly declared himself a Christian and was beheaded.
In this regard, let us recall how during the first meeting with Raskolnikov, Porfiry constantly giggles, winks, squints, during the second meeting he speaks of a playful mind, a comic string and mentions Gogol, and during the third meeting he compares Raskolnikov with a martyr: “I who do I reckon? I consider you to be one of those who at least cut out the guts, and he will stand and look at the tormentors with a smile - if only he finds faith or God.
This article is devoted to such a hero of the most famous novel by Dostoevsky as Porfiry Petrovich. "Crime and Punishment" was published by the author in 1866. In the work, Porfiry is one of the central characters.
general characteristics
Porfiry Petrovich ("Crime and Punishment") is an investigator serving in St. Petersburg in one of the police units. He is in charge of the robbery and murder of Alena Ivanovna, an old pawnbroker, as well as Lizaveta, her sister. In the work, Porfiry Petrovich remains without a surname ("Crime and Punishment"). His surname is not mentioned anywhere (but in The Brothers Karamazov there is a hero Porfiry Petrovich Znamensky). Two months before the events, the investigator drew attention to the article "On the Crime" written by Raskolnikov (which he learned through the editor, since it was published anonymously). It justified the murder for ideological reasons by a man of the "highest rank".
What is the basis of the collision between the main character and Porfiry Petrovich?
The basis of the conflict between Raskolnikov and Porfiry Petrovich is a dispute about the nature of the crime. The killer in a conversation with him sets out his thoughts about the right for "extraordinary people" to crime. Porfiry, having no evidence, exposing disbelief in God, a dualistic worldview and the metaphysical roots of the protagonist's nihilism, makes him understand that he has been exposed. An astute investigator gradually brings to the suspect, in fact forcing him to confess. However, the appearance of Mikolka, who takes the blame, frustrates Porfiry Petrovich's plans. And all the same, he is sure that Mikolka has nothing to do with it. The investigator feels "attached" to the murderer. After all, the sensations of the protagonist were familiar to such a person as Porfiry Petrovich ("Crime and Punishment"). He considers Rodion a "terrible fighter" if he still manages to find true faith. Porfiry convinces the protagonist to turn himself in with a confession in order to regain peace in life. The investigator is presented in the novel as a subtle psychologist and an intelligent person. Constant eavesdropping as a method of interrogation confuses Raskolnikov and convinces Porfiry that he is the killer.
The first meeting of heroes
Rodion went to the investigator for the first time with a laugh. Porfiry was dressed in worn shoes and clean linen. He was a man of about 35, stout, below average height, without sideburns and mustaches, clean-shaven, with close-cropped hair. Raskolnikov is convinced that Porfiry knows everything about him. He doesn't dissuade him. They argue about the causes and essence of crimes. Porfiry mentions an article by Rodion written on this subject.
Raskolnikov's second meeting with the investigator
The next meeting was also at the initiative of Raskolnikov. He already hated this man beyond measure. However, he was forced to go to him in order to dispel the suspicions that he had brought upon himself by his careless behavior. Porfiry Petrovich in a conversation hints to the main character that he is a suspect. He predicts that Raskolnikov will not like freedom, and he eventually confesses.
The investigator says terrible things. But he likes to do it in the form of a joke, which hurts Raskolnikov more than hints. Porfiry Petrovich seeks to prosaically debunk Rodion's idea, to belittle it in his eyes. Raskolnikov turns the interrogator's laughter into a comedian. Rodion rebels against humiliation and gets caught on it.
The investigator comes to Rodion's home
Only at the last moment does Porfiry Petrovich drop his mask. "Crime and Punishment" is a novel in which the investigator speaks openly with the suspect only when he himself comes to his apartment. He sympathizes with Rodion, wishes this young man well.
However, Porfiry Petrovich is a provocateur whose duty is to extort a confession from the suspect. The investigator sympathizes with Raskolnikov. He loves him in his own way, and Rodion cannot determine in any way when Porfiry is serious and when he is joking.
Porfiry is a riddle for Raskolnikov, a magnet from which he repels and to which he reaches. The investigator opposes his own will to Rodion's will. Such is Porfiry Petrovich ("Crime and Punishment"), whose characteristics are given in this article.
Raskolnikov, exhausted by the fear of exposure, suddenly feels how weak he is. Only when he came to Rodion's apartment did the investigator not chuckle or laugh. And this finishes off the main character Porfiry Petrovich ("Crime and Punishment"). "In what chapter does this happen?" - the reader can ask a question. In the sixth part of the work (second chapter).
The murder of Rodion's idea
Gradually, Rodion realizes that he is not Napoleon at all and is not able, like his idol, who calmly sacrificed the lives of many people, to cope with his conscience after the murder of only one old woman. Raskolnikov feels that his crime, unlike the actions of the French emperor, is unaesthetic, shameful. He tries to understand where he made a mistake. The protagonist thinks: "The old woman is nonsense!" He "killed the principle", could not step over ordinary human feelings.
Dostoevsky's novel "Crime and Punishment" is based on the story of a crime, but its plot unfolds differently from an ordinary detective story. After all, Raskolnikov's crime is special - it is an ideological murder based on a terrible, inhuman theory created by the hero. It is possible to reveal such a crime only taking into account its ideological basis and the psychology of the criminal himself. This is exactly how Porfiry Petrovich is investigating. The first meeting of the criminal and the investigator, depicted in chapter 5 of part 3 of the novel, is built as an ideological dispute and a psychological duel. After all, Porfiry Petrovich has already guessed who killed the old pawnbroker and her wretched sister Lizaveta, but since he has no evidence, he wants to force Raskolnikov to confess to the crime. Raskolnikov's nerves are at the limit, but his consciousness accurately captures everything that threatens him with danger. Going to a meeting with Porfiry Petrovich, he is ready to guess the traps and traps that the investigator really sets for his victim. So, at the end of their conversation, he almost "caught" Raskolnikov on the question of painters, whom the killer could only see on the day of the crime.
But the main of these "traps" - the discussion of Raskolnikov's article on the crime, where he partly touched on the foundations of his theory - becomes a complete surprise for the hero. After all, Raskolnikov wrote the article six months before all the events, and he learned that it was published two months ago only from a conversation with an investigator who had already read it. Porfiry Petrovich deliberately provokes the suspect by coarsening the main ideas of this article in order to call Raskolnikov to a detailed explanation of his position and provoke his confession.
It is interesting that the reader also gets acquainted with Raskolnikov's theory in expanded form only in this part of the novel - after the crime was committed and its terrible consequences became clear. This creates a special tension in the development of intrigue, and at the same time helps to gradually delve into the psychology of the hero in order to better understand the true motivation of his actions.
The essence of Raskolnikov's theory is as follows. Based on the idea of the inequality of people, Raskolnikov divides them into “trembling creatures”, of which the majority, and “having the right”, for which the laws and morality of the majority are not effective, “blood according to conscience” is allowed, because it is they who move humanity forward. Such great people as Napoleon, Caesar, Charlemagne, according to Raskolnikov's theory, in order to achieve their grandiose goals, can commit a crime, even murder. In other words, “the end justifies the means”, however, with one clarification: only an exceptional person can determine this goal and achieve it.
Raskolnikov's friend Razumikhin, who is present at this conversation, does not believe that such a nightmarish theory can be seriously discussed. But Porfiry Petrovich specifically summons Raskolnikov to be frank. He is sure that the murder of the old woman is “ideological”, and the one who could come up with such a perverted theory should have committed it. An educated and intelligent man, Porfiry Petrovich easily discovers the logical inconsistency of the theory. He asks Raskolnikov the most dangerous question for the bearer of the “idea”: how to distinguish which category a person belongs to, and what will happen if people confuse their belonging to one or another “type” and begin to “remove all obstacles”? Answering this question, Raskolnikov should have told about his crime. So far, he simply evades the answer, but the dispute between the investigator and the criminal is not over.
In the future, pangs of conscience will force Raskolnikov to confess his deed, but a complete "cure" - liberation from the "idea" - will occur only in hard labor. It is there that Raskolnikov will see a nightmare that will clearly show him what Porfiry Petrovich asked him about. This will end the dispute between the two opponents, Raskolnikov, awakened by the compassionate love of Sonechka Marmeladova, will open the path to rebirth for himself. But the question posed in this dispute will become one of the main problems not only for Russia, but for the whole world. Dostoevsky prophetically foresaw that the answer to it would determine the future fate of mankind.
