1. The evolution of the psychological portrait.
2. Dostoevsky as an innovator.
3. "The Depth of the Human Soul" in "Crime and Punishment".
4. Basic techniques for creating a psychological portrait.
After M. Yu. Lomonosov, when creating "A Hero of Our Time", for the first time applied the technique of a psychological portrait of a hero, a gradual evolution of the image of a person's psychological state begins in Russian literature. F. M. Dostoevsky, like no one else, managed to change and supplement this process with new methods and types.
For this author, the psychological world of the character becomes the leading one for the entire work. It is shown during a period of maximum tension, when all the feelings of the hero are aggravated to the limit. Most often, such tension is associated with non-standard life situations that allow the reader to expose the inner world of the hero. In Dostoevsky's work, there is not a single phrase or remark by the author that does not directly or indirectly indicate the thoughts and feelings of the depicted person. The inner world of any person for him is a constant confrontation between good and evil principles. This is not so much the hero's evolution from one state to another, but a visual representation of his fluctuations from dark to light and vice versa.
The protagonist of the Writer's novel "Crime and Punishment" is in this state of emotional tension. He is torn between denying his dream and pursuing it. Here the author demonstrates not just a transition from one state to another, but the highest points of transition, the two extremes of human impulse. In this transition lies the state of suffering, which incessantly dominates the heroes: “So he tormented himself, teased with these questions with some kind of pleasure. The former excruciatingly terrible peculiar sensation began to be remembered more vividly and more vividly, and it became more and more pleasant.
Dostoevsky was one of the first to depict on the pages of his works the bottomless depth of the human soul, the inability of the person himself to fully comprehend and understand the secrets of his own heart. Often there is an image by the author not of the actual, but of the possible or desired state of the hero. This makes the description unsteady and shows the complexity of the inner world, which is almost impossible to accurately convey in words and terms. The author repeatedly repeats that there are such hidden layers in the human soul that cannot be described in words at all. Dostoevsky is not characterized by a complete, clear and dry analysis. On the contrary, he always leaves the reader the opportunity to independently think up or imagine moments that the author himself did not say.
Classical psychological analysis involves describing an interior or landscape that is memorable or important to the hero. Usually they are filled with certain objects - keys, symbolizing certain feelings and sensations. The seasons also help to understand the hero more accurately, because Dostoevsky depicts a hot and stuffy summer for a reason. Heat and stuffiness literally kill Raskolnikov. In addition, the author depicts that part of St. Petersburg, whose inhabitants have no opportunity and money to get out anywhere, and who have to breathe stale, stinking air. Investigator Porfiry Petrovich, in a conversation with Raskolnikov, throws the following phrase: "It's time for you to change the air for a long time." It is the stuffiness and rotten atmosphere of the city that push the hero to commit a crime. At the same time, the writer depicts external details that could affect Raskolnikov's behavior. This is the city, and the street, and the closet in which he lives and which "sucks the life out of a person." The hero of the novel goes outside most often in the evening, so descriptions of sunsets are of great importance for understanding his character. What is symbolic, the spring, bright and shining sun shines only in the epilogue of the novel, when the reader already understands what changes await the hero. In other cases, the picture of the sunset is described from a majestic, but gloomy point of view.
Color is important in a novel. It is no coincidence that Dostoevsky chooses a dirty yellow, "purulent" color to describe Raskolnikov's Petersburg. The walls of the houses are yellow, the wallpaper in the apartment of Raskolnikov himself, the old women - pawnbrokers and furniture in the house of Porfiry Petrovich. Sonya Marmeladova lives and works on a "yellow ticket". This shade of yellow symbolizes dirt, power, human suffering. Hue creates a special atmosphere of the hero's actions and his inner life, painful and tense.
Another important color is green. It symbolizes the purity and renewal of both nature (the greenery of foliage and grass free from dust and pus of the city), and the hero himself. It is no coincidence that during the crime, Raskolnikov's ideas, free from bad thoughts, are painted emerald green, green is also found in the epilogue - this is the color of Sonya Marmeladova's scarf, in which she comes to hard labor. Blue and brown are also symbolic in the main context of the novel. The first is the color of God and heaven, the color of Sonya's eyes and good aspirations and thoughts. The second is a symbol of tragedy and breakdown. So, Dostoevsky's water is constantly colored in crimson and brown - as if clouded with blood.
Dostoevsky's special merit to the reader is the creation of a special world. Where the boundaries of the real and the unreal, the internal and the external are destroyed, the boundaries are fuzzy, and the very picture of the world becomes unsteady and blurry. Reality acquires a special shade of delusional images, visible as if through a thin flickering haze.
So, the thoughts of the protagonist and the events taking place in reality are depicted by the author using the same techniques. The reader is completely immersed in Raskolnikov's delusions and nightmares that have come true.
A special category of consciousness of the hero in the work is dreams. In them, the dreamer's emotions and experiences become more realistic, brighter, clearer. Thus, the writer manages to achieve a feeling of growing anxiety and horror, which becomes even more obvious during the release of the character's subconscious. The eyes, as a mirror of the human soul, play their role here. Each character's description of the eyes is individualized. The description of the look is inherent only to the main characters and is just as important for understanding the main idea of the work, as well as dreams. So, Sonya has blue eyes, Raskolnikov has amazing, beautiful dark eyes, Dunya's are "sparkling and proud." In the beauty of the look lies the opportunity to resurrect for the hero, to cleanse himself and become himself. Monologues and dialogues are of great importance as a psychological characteristic. For the first time in Russian literature, the hero himself tells the interlocutor and the reader about his emotional experiences. The speech of the characters becomes extremely expressive, and the author's remarks in the course of the conversation make it possible to more accurately convey the character of the interlocutor. Important is the rhythm, the structure of the conversation, and the thoughts that come to mind during it. So double thoughts are highlighted by the author in brackets, pauses and italics are also used to convey the intonations and movements of the characters' voices.
Thanks to such techniques, Dostoevsky revolutionized Russian literature and became the creator, in fact, of a new genre of psychological philosophical novel.
Features of the psychological analysis of the novel
"Crime and Punishment"
Dostoevsky opposed himself to his contemporaries in two respects: as a realist in the highest sense of the word, who is not limited to the social and everyday characteristics of the character, but reveals the depths of the human soul, and also as an artist who turned not to stable forms of life, but to the "current chaos of history".
In the novel Crime and Punishment, the writer turned to the image of post-reform Russia, when everything was changing, old social relations were collapsing, and new ones were in the making, the peasantry and its patriarchal foundations were ruined.
It is impossible, for example, to compare the reality of Dostoevsky with the reality of Gogol. Therefore, in Dostoevsky's novel, so many "former" appeared: _ a former student Raskolnikov, a former official Marmeladov.
Objectively, Dostoevsky depicted in his novel the transitional types of the transitional era of Russian life. The writer did not seek to recreate certain social types corresponding to his era.
The realistic principle of depicting reality was not the main one for Dostoevsky. For his predecessors, life, environment, social environment - everything explained the character of a person. Dostoevsky, on the other hand, rejects the life and social position of a person as the basis of his character. As a rule, the life of the writer's characters belongs to their past, and psychology characterizes them in the present and even in the future. If for his predecessors the main thing was the creation of social types, then for Dostoevsky it was of interest to oppose the social type of an individual as an object of artistic research.
The main task of the writer is to reveal the inner world of a person. By the way, Dostoevsky himself did not like the term "psychologism". “Psychologism”, in his opinion, is a scientific word that implies a rational analysis of human consciousness, the writer believed that one consciousness cannot analyze another consciousness. It is with this position of the author that Features of the psychological analysis of the novel "Crime and Punishment" .
Dostoevsky seeks to show the independence of the consciousness of the characters from the consciousness of the author. The consciousness of each hero exists independently of the consciousness of others. Such Features of psychological analysis M. M. Bakhtin called “polyphony”, Dostoevsky, first of all, seeks to give the floor to the hero himself. Hence, the monologues of the characters are of great importance in the novel. A special role is assigned to the monologue-confession, that is, the confession of one character to another.
According to Dostoevsky, one consciousness must be refracted in another consciousness.
The consciousness of an individual hero is revealed in his relationship and interaction with the consciousness of another hero.
Here you can already see another property of the analysis of the hero's state of mind - dialogism. The dialogues of the characters are also important.
Here, the dialogue of the student Raskolnikov with an officer in a tavern is typical. While talking with an officer, the student subconsciously understands that he can commit a crime, saving thousands of lives "from decay and decay."
There is another one in the novel. Feature of psychological analysis hero: internal monologue and internal dialogue of the hero. Heroes often think to themselves. Here, of course, the reflections of the student Raskolnikov, for example, before the murder of an old woman, play a special role.
Raskolnikov tries to convince himself that this is not a crime. He reflects on why almost all criminals are so easily found.
The internal dialogue of the hero is already a peculiar form of psychological analysis, since a split occurs in a person, two live in him. For example, Raskolnikov is tormented by terrible nightmares, haunted by hallucinations.
The views, facial expressions, gestures of the heroes play a special role, because they convey the feelings of the heroes, their inner states of mind. After all, it is important for Dostoevsky to show the subconscious in his heroes, and therefore the dreams and nightmares that haunt Raskolnikov after he committed a crime play an exceptional role.
Thus, such artistic techniques as double portraiture, internal monologue, description of dreams and hallucinations, dialogues of characters help the writer to fully reveal the inner world of his characters, to understand the motives of their actions.
Since the creation of M. Yu. Lermontov's novel “A Hero of Our Time” in the works of Russian authors, “the evolution of the depiction of the psychological state of heroes is clearly traced. The main feature of Dostoevsky's work is innovation in the study of the inner world of man.
The psychological state of the hero becomes the universal element of the novel, and in all Dostoevsky's works the character's inner world is shown during periods of maximum tension, when the state and feelings are extremely heightened. It is this situation that allows the author to penetrate into the deep layers of the human psyche and expose the inner essence and complexity of the contradictory nature of man. In the structure of all of Dostoevsky's works, there is not a single literary device, phrase or detail that would not serve to directly or indirectly reproduce the emotional state of the characters. The author depicts the inner world of a person as a contradictory unity of good and evil principles in his soul. Dostoevsky shows not so much the evolution of the hero's spiritual qualities as his fluctuations from one extreme to another.
The protagonist of the novel “Crime and Punishment” is in such a state, he rushes from denying his dream to firmly intending to fulfill it. Dostoevsky not only shows the existing struggle in the hero's soul, but also focuses on the state of a person's transition from one extreme to another. And in this painful transition, in the suffering for his heroes, there is a kind of pleasure. Dostoevsky displays psychological paradoxes in the state of mind of the characters (“So he tortured himself, teased these questions with some kind of pleasure. The former excruciatingly terrible peculiar sensation began to be remembered more vividly and more vividly and became more and more pleasant.”).
Dostoevsky, one of the first prose writers, showed the inexhaustibility and unknowability to the end of the depths of the human soul. Sometimes the author draws the psychological state of the hero not as reliable, real, but as possible and approximate. This makes the description looser. Dostoevsky shows by this that the inner state of the hero is much more complicated than it can be conveyed in exact words, that all shades of feelings can be depicted only with a certain degree of approximation, that there are layers in the human soul that defy description.
Psychological analysis, as a rule, is accompanied by a description of the atmosphere, which is accompanied by specially selected details denoting feelings, sensations. The choice of the season in Dostoevsky's novel is also not accidental; it creates a certain situation. Summer, heat and stuffiness kill Raskolnikov - Dostoevsky shows that part of St. Petersburg, whose inhabitants do not have the opportunity and means to go anywhere, so in the summer there are so many people that there is not enough air. Porfiry Petrovich, the investigator, says to Raskolnikov: “It’s time for you to change the air for a long time.” This stuffy city prompts Raskolnikov to commit a crime. Dostoevsky uses a description of the details of the external, objective world, which, according to his plan, influence the soul of the hero. This is Raskolnikov's closet, and St. Petersburg as a whole, a city that "sucks the life out of a person."
There are a lot of descriptions of sunsets in the novel, Raskolnikov most often goes outside in the evening, and the description of the atmosphere at that time is very symbolic. Dostoevsky includes in the narrative a picture of a sunset to enhance the impact on readers, the sun is shining, spring, daytime will appear only in the epilogue. There, in the boundless steppe flooded with light, Raskolnikov will get rid of his theory. The rising sun is a symbol of the hero's rebirth.
Color is very important in a novel. The most frequently used colors by the author are yellow, brown, blue, black. “Yellow Petersburg” - speaks of the city in which the main action takes place. Yellow is the color of madness and power, houses are painted in it, and wallpaper in Raskolnikov's closet and in the apartment of an old pawnbroker, and furniture in Porfiry Petrovich's apartment. Sonya lives on a “yellow ticket”. This color creates the background of the city, becomes part of the inner world of the protagonist. In addition, the green color is very important in the novel, it is no coincidence that Raskolnikov's dream about a beaten horse, symbolizing that the essence of the hero is to protect, not kill, Rodion Romanovich sees this dream outside the city, in a grove, against the backdrop of fresh greenery, where there is no suffocating , the oppressive atmosphere of city life. When Raskolnikov goes to commit a crime, his thoughts, beyond the control of the hero, are associated with the color green. He also appears in the epilogue of the novel. Sonya Marmeladova has a green scarf.
Blue color is a symbol of purity and aspiration to God (Sonia has blue eyes). Green and blue colors fully reflect the essence of Sonya's character.
Water in the novel is always depicted as dark and brown and symbolizes tragedy.
Smells and sounds affect the human condition and create a certain atmosphere (smell from the basement, the sounds are very harsh).
Dostoevsky creates a sense of the illusory nature of life by violating the usual relationship between the external and the internal. Reality becomes, as it were, a product of consciousness, unsteady, immersed in some kind of fog, since both Raskolnikov's delusional visions and real pictures are depicted in the novel equally reliably using the same techniques. Dostoevsky often does not focus on the fact that what is being described is a game of an inflamed consciousness, the reader is transported, as it were, into a state of nightmare and delirium of the hero.
One of the forms of depicting a psychological state is dreams. The experiences in them are preserved and even intensified, since in the subconscious state the horror that the hero wears in his soul is more freely manifested. Dreams are the basis of the whole work.
Dialogues and monologues in the novel carry a huge semantic load. Dostoevsky for the first time in literature introduces a technique: the characters themselves talk about their psychological state. The speech of the characters is extremely expressive, and the author's remarks indicate the nature of the speech. In conveying the conversation, Dostoevsky draws attention to the tempo and rhythm of the monologue. The double train of thought of the heroes is very often shown in brackets, the author uses pauses, italics.
Portrait characteristics play an important role in the psychological perception of the inner world of a person. For Dostoevsky, the description of the eyes is important, but it is inherent only in the image of Sonya, Raskolnikov, Dunya, Svidrigailov, Razumikhin and Porfiry Petrovich. The author pays special attention to the look (Raskolnikov's beautiful dark eyes, Sonya's blue, Dunya's “sparkling, proud”), and in the beauty of the eyes - the key to the resurrection of the hero. The description of lips, smiles is very important.
Dostoevsky entered Russian literature precisely as a writer-psychologist, who is an innovator in depicting the characters and emotional experiences of his heroes.
The novel by F. M. Dostoevsky "Crime and Punishment" - one of the most complex works of Russian literature - touches upon the problem of the ideological and moral quest of the individual, as well as the issue of a person's personal responsibility for his actions and thoughts. The conflict between good and evil is not resolved in a generalized way, but specifically for a given hero. The consequence of all this is the peculiarities of the psychologism of the writer.
In the novel, everything: the plot, the portrait and actions of the characters, speech, the atmosphere of the story - works to depict the inner state of a person.
Sudden plot twists open up more and more new extreme situations that require maximum tension from their participants, as a result of which the characters do things that may be uncharacteristic for them in a different environment. The inner world of man for Dostoevsky is not static, it is a contradictory fusion of good and evil, compassion and cruelty, composure and imbalance, generosity and prudence. The psychological state of the hero fluctuates from one extreme to another, which in literary criticism is called the pendulum movement of consciousness and subconsciousness. Psychological paradoxes are a consequence of the heterogeneity of the character's spiritual world. The state of the hero is ambiguous: the suffering of people brings pleasure, and joy responds with sadness and heaviness lies on the heart.
Human actions are illogical and sometimes inexplicable even for himself. When describing such actions, the author uses the words “unexpectedly for himself”, “suddenly”, “scary”, “involuntarily”. The human soul is mysterious and enigmatic. Dostoevsky emphasizes the impossibility of describing all her aspirations and impulses. The phrases “seemed”, “as if”, “almost”, “as if” draw the reader’s attention to the fragility of the narrative.
“The eyes are the mirror of the soul”, and in the description of the portrait, the author first of all notes them. The mystery of Dostoevsky's gaze fascinates, attracts and frightens at the same time. Blok wrote: "Everyone remembers the meeting of Dostoevsky's eyes, in which the mystery is indicated." The author uses various forms of speech. These are internal monologues, authorial and not actually direct speech. The characters themselves speak about their inner state in dialogues, monologues-confessions. The words of the author are intended to characterize and evaluate their mental attitude from the outside: “It’s not that he was cowardly and downtrodden, quite the contrary; but for some time he was in an irritable and tense state, similar to hypochondria. In Raskolnikov’s internal monologues, there is a lack of understanding, a lot of broken phrases: “Hm ... yes ... everything is in the hands of a person, and he carries everything past his nose solely from cowardice ... this is already an axiom ... But, by the way, I I work too much”, which in turn also tells the reader about the state of the protagonist. Plug-in constructions, brackets emphasize the dual train of thought of the characters. The technique of complete or partial silence used earlier in literature is also used: the main character never uttered the word “murder”, replacing it with “this”, “deed”, “that”. It is very important for the author with the help of silence to show through external manifestations what happens beyond the bounds of verbal expression, as if to materialize non-material phenomena.
In the work, the writer creates a certain psychological atmosphere - a condensed atmosphere of mental suffering. For this, epithets are used that characterize the extreme of experiences: “caustic hatred”, “feeling of endless disgust”, “terrible longing”. An important role is played by the description of the material, objective world surrounding the hero (“closet”, “coffin”, “closet”, “courtyards-wells”); color painting: yellow, denoting nervousness, soreness, is found in the description of houses, yellow wallpaper in Raskolnikov's closet, yellow furniture in Porfiry Petrovich's room; odors: stuffiness, stench from taverns, dust, dirt, lime. All this decomposes the soul, penetrating into the consciousness, and increases the general tension.
The reader is not left with a sense of ghostliness, created by violating the usual relationship between the inner and outer worlds of the hero. Reality is mixed with sleep, delirium, the product of a sick consciousness. Dreams are the quintessence of mental suffering. The reader becomes a participant in them, not seeing the differences between the description of real events and visions reproduced equally reliably using the same techniques. Dostoevsky was painfully interested in the psychology of various types of people, the philosophy of human behavior, which is why psychological analysis in works was so important for him, helping the reader to better understand and feel the inner state of the characters.
Since the creation of M. Yu. Lermontov's novel "A Hero of Our Time" in the works of Russian authors, the evolution of the image of the psychological state of the characters can be clearly traced. The main feature of Dostoevsky's work is innovation in the study of the inner world of man.
The psychological state of the hero becomes the universal element of the novel, and in all Dostoevsky's works the inner world of the character is shown during periods of maximum tension, when the state and feelings are extremely aggravated. It is this situation that allows the author to penetrate into the deep layers of the human psyche and expose the inner essence and complexity of the contradictory nature of man. In the structure of all of Dostoevsky's works, there is not a single literary device, phrase or detail that would not serve to directly or indirectly reproduce the emotional state of the characters. The author depicts the inner world of a person as a contradictory unity of good and evil principles in his soul. Dostoevsky shows not so much the evolution of the hero's spiritual qualities as his fluctuations from one extreme to another.
The protagonist of the novel "Crime and Punishment" is in such a state, he rushes from denying his dream to firmly intending to fulfill it. Dostoevsky not only shows the existing struggle in the hero's soul, but also focuses on the state of a person's transition from one extreme to another. And in this painful transition, in the suffering for his heroes, there is a kind of pleasure. Dostoevsky displays psychological paradoxes in the state of mind of the characters (“So he tortured himself, teased these questions with some kind of pleasure. The former excruciatingly terrible peculiar sensation began to be remembered more vividly and more vividly and became more and more pleasant.”).
Dostoevsky, one of the first prose writers, showed the inexhaustibility and unknowability to the end of the depths of the human soul. Sometimes the author draws the psychological state of the hero not as reliable, real, but as possible and approximate. This makes the description looser. Dostoevsky shows by this that the inner state of the hero is much more complicated than it can be conveyed in exact words, that all shades of feelings can be depicted only with a certain degree of approximation, that there are layers in the human soul that defy description.
Psychological analysis, as a rule, is accompanied by a description of the atmosphere, which is accompanied by specially selected details denoting feelings, sensations. The choice of the season in Dostoevsky's novel is also not accidental; it creates a certain situation. Summer, heat and stuffiness kill Raskolnikov - Dostoevsky shows that part of St. Petersburg, whose inhabitants do not have the opportunity and means to go anywhere, so in the summer there are so many people that there is not enough air. Porfiry Petrovich, the investigator, says to Raskolnikov: "It's time for you to change the air for a long time." This stuffy city prompts Raskolnikov to commit a crime. Dostoevsky uses a description of the details of the external, objective world, which, according to his plan, influence the soul of the hero. This is Raskolnikov's closet, and St. Petersburg as a whole, a city that "sucks the life out of a person."
There are a lot of descriptions of sunsets in the novel, Raskolnikov most often goes outside in the evening, and the description of the atmosphere at that time is very symbolic. Dostoevsky includes in the narrative a picture of a sunset to enhance the impact on readers, the sun is shining, spring, daytime will appear only in the epilogue. There, in the boundless steppe flooded with light, Raskolnikov will get rid of his theory. The rising sun is a symbol of the hero's rebirth.
Color is very important in a novel. The most frequently used colors by the author are yellow, brown, blue, black. "Yellow Petersburg" - they say about the city in which the main action takes place. Yellow is the color of madness and power, houses are painted in it, and wallpaper in Raskolnikov's closet and in the apartment of the old pawnbroker, and furniture in Porfiry Petrovich's apartment. Sonya lives on a "yellow ticket". This color creates the background of the city, becomes part of the inner world of the protagonist. In addition, the green color is very important in the novel, it is no coincidence that Raskolnikov’s dream about a beaten horse, symbolizing that the essence of the hero is to protect, not kill, Rodion Romanovich sees this dream outside the city, in a grove, against the backdrop of fresh greenery, where there is no suffocating, oppressive atmosphere of city life. When Raskolnikov goes to commit a crime, his thoughts, beyond the control of the hero, are associated with the color green. He also appears in the epilogue of the novel. Sonya Marme-ladova has a green scarf. ,-
Blue color is a symbol of purity and aspiration to God (Sonia has blue eyes). Green and blue colors fully reflect the essence of Sonya's character.
Water in the novel is always depicted as dark and brown and symbolizes tragedy.
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Mastery of psychological analysis in the novel "Crime and Punishment".
One of the tasks of the writer and his artistic achievement was the depiction of the inner life of the characters, psychological analysis. The writer shows the deep foundations of the hero's soul. His consciousness is aimed at preparing an “ideological” murder, but initially a kind soul involuntarily and unconsciously manifests itself either with the help of the Marmeladovs, or with care for a random girl in trouble. From this side, Raskolnikov is not ready for a crime, and only by an effort of will forces himself to go further along the chosen path.
Recreating the internal monologue, fixing the details of Raskolnikov's behavior and state at the time of the murder, the writer conveys all the horror of what is happening, without specifically focusing on it anywhere. Reflection - an analysis of one's own feelings, moods, reactions to the phenomena of life, remarks and behavior of other heroes reveals all corners of the sick soul of the hero, rushing about in search of a way out.
The writer deliberately constructs the plot in such a way that Raskolnikov has every opportunity to avoid legal punishment. There are no witnesses or direct evidence. And the main thing for the writer-psychologist is the image of the inner life of the hero after the crime. Dostoevsky himself, thinking about the novel, wrote about this: “Insoluble questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law take their toll, and he ends up being compelled to denounce himself. Forced to die in penal servitude, but to join the people again; the feeling of openness and disconnection with humanity, which he felt immediately after the commission of the crime, tormented him. The law of truth and human nature have taken their toll."
An important role in revealing the psychological state of Raskolnikov is played by the scenes with the investigator Porfiry Petrovich, smart, professional, subtly understanding the state of mind of the criminal, but ruthless, playing with Raskolnikov like a cat with a mouse.
The painful state of Raskolnikov paints many pages of the work in gloomy tones. It is important for the writer to convey the full depth of torment to which the proud mind dooms itself, refusing to give hints and the unaccountable desire of the heart. And only with the heart, with the soul having accepted Christian moral values, sincerely and deeply repenting, it is possible to set foot on the path of recovery, returning to people. After all, even in hard labor Raskolnikov persists for a long time, considers his theories to be completely correct, although he himself did not turn out to be a superman. And only suffering, insight into the innermost meaning of the Gospel, Sonya's selfless help return the hero to a truly human life.
