Religious motives in the novel Crime and Punishment. Christian motives and images in the novel Crime and Punishment

"Crime and Punishment" is one of the ideological novels of F. Dostoevsky - permeated with the ideas of Christianity. Biblical motifs give the novel a universal significance. The images and motifs from the Bible are subordinated to a single idea and are grouped and a semicircle of certain problems. One of them is the problem of the fate of mankind. According to modern writer society is correlated in the novel with apocalyptic forecasts. The image of the Bible is transferred to the vision of the heroes. So in the epilogue, the novel depicted a terrible picture: “... it was dreaming in illness, as if the whole world was doomed to the victim of some terrible, unheard of and unprecedented ulcer ...” If we compare this description with the Apocalypse, we can see the obvious similarity between the description of the end of time and Raskolnikov’s vision of hard labor . This description helps to understand the author's warning about the terrible abyss of spirituality that humanity can fall into by ignoring morality.

Therefore, the theme of spiritual rebirth in the novel is connected with the idea of ​​Christ. It is no coincidence that Sonya Marmeladova, during her first visit to Raskolnikov, reads to him the story of the resurrection of Lazarus: “Jesus said to her:“ I am the resurrection and life. Whoever believes in Me, though he dies, will live. And everyone who lives and who believes in Me will never die.” Sonya hoped that this would induce Rodion, blinded and disappointed, to believe and repent. She thought like a deeply religious Christian. After all, the path to forgiveness and spiritual resurrection lies through repentance and suffering. Therefore, she advises Raskolnikov to surrender to power, if only to accept suffering in hard labor for the sake of purification. The hero does not immediately understand everything, at first he even fears that Sonya will importunately preach to him. She was wiser. They were both resurrected by love. Raskolnikov himself turns to the Gospel, trying to find answers to his questions there. The most painful thing about them is the question of justice in the world. In the novel, Marmeladov says then to a completely different Raskolnikov that “the one who took pity on everyone and who understood everyone will take pity on us, he is the only one, he is the judge.” It was he who spoke about the second coming of Christ, because he believed that after lawlessness and injustice, the Kingdom of God would come, since otherwise there would be no justice.

So, the philosophical concept of Dostoevsky is the spiritual rebirth of a person through love-sympathy for a person and the whole society, through the preaching of Christian morality. And in order to present this concept as best as possible, the writer wrote the most famous plots and motifs of the main book of Christianity, the Bible, to his work.

We are used to the fact that in literary works important images are the images of the main or secondary characters, that is, the people who act in the work. The main problems are revealed through the characters literary work, they embody in general types or are extraordinary personalities, minor characters create a social background against which the action of the work develops, etc. But F. Dostoevsky's novel "Crime and Punishment" is a truly unique phenomenon in Russian world literature. An important image in this novel is the image of St. Petersburg - in which events take place.

The attentive reader had the opportunity to notice that the image of St. Petersburg stands out in one way or another in many works of Russian literature. Let us recall Pushkin's poem "The Horseman", in which the city of Petersburg is actually a separate character. Petersburg would not have been known to us Gogol's "Petersburg Tales". What attracts writers to this city? Why does he help them to reveal the themes and ideas of the works? What themes and ideas are revealed through the image of St. Petersburg?

How is a new city born? People begin to settle in a certain place, the settlement is being completed, it is increasing ... But it was not so with St. Petersburg. It is known to us as a man-made city built on the swamps by order of Peter I. During his treatment for diseases, which were facilitated by the climate, and from hard work, many people died, in fact, this city is on the bones. Straight streets, artificially created, majestic and small buildings... All this leaves no living space for the existence of an ordinary person. Therefore, the heroes of Pushkin's "The Bronze Horseman" and Gogol's "Overcoat" perish in St. Petersburg. This city with its own cruel and chimerical soul… Phantom City… Monster City…

In the novel “Crime and Punishment”, the realities of St. Petersburg are reproduced with topographical accuracy, however, they often acquire a symbolic meaning, becoming a part of it. In the novel, we see a different Petersburg (not those majestic fashionable buildings) - the city opens its terrible bottom, the place of existence of morally devastated people. They became that way not only through their own shortcomings, but because the phantom city, the monster city, made them that way.

Quarters, black porches, yards and basements are inhabited by people whose life is hopeless, the city is full of cruelty, injustice, non-existent morality.

Depicting St. Petersburg, F. Dostoevsky deliberately symbolizes this city. Symbolic meanings they acquire an area, steps of houses (which necessarily go down: down, to the very bottom of life, in the future - to hell). There is an important symbolism in the depiction of the city - yellow sickly colors recreate the current state of the heroes, their moral illness, imbalance, intense internal conflicts.

I believe that in order to understand a work of art, it is important to be able to find hidden but meaningful images, to be able to distinguish between the so-called “settings” of realistic and symbolically loaded scenes of action. It is precisely such a city-symbol that Petersburg is in the novel Crime and Punishment. An analysis of the meaning of this image helps to better understand the deep content of this novel.

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Biblical motifs in the novel "Crime and Punishment"

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1. Christianity in the culture of Russia.

2. Basic Christian motives.
3. Symbolism of numbers.
4. Biblical names.
5. The idea of ​​human humanity.

Christianity brought to Russia in the 10th century left a deep imprint on almost all levels of human life - cultural, spiritual, physical. In addition, it was thanks to Christianity, or rather Orthodoxy, that writing appeared in Russia, and literature along with it. It is impossible to deny the influence of Christianity on a Russian person, just as it is impossible to deny the influence of this religion on art - painting, music, literature. In particular, the deepest conviction in the truth of the ideals of Orthodoxy is contained in the works of the great Russian writer F. M. Dostoevsky. The novel "Crime and Punishment" is the clearest confirmation of this.

The religiosity of the writer, his sincere faith in the power of Orthodoxy amaze with its purity and strength. Dostoevsky is interested in such categories as sin and virtue, sinner and saint, morality and its absence. The protagonist of the novel, Rodion Raskolnikov, is the key to understanding these concepts. Initially, he carries the sin of pride in himself, not only in deeds, but also in thoughts. Having absorbed the theory of earthly Napoleons, trembling and right-handed creatures, the hero turns out to be drugged by ideals unusual for him. He kills an old pawnbroker, not yet realizing that he is destroying not so much her as himself, his soul. Next comes purgatory on earth - having passed long haul through remorse, self-destruction and despair, the hero finds his salvation in love for Sonya Marmeladova,

The concepts of suffering, love, purification are central to the Christian religion. Deprived of repentance and love, people cannot know the true light and are forced to remain in darkness. So, Svidrigailov, even during his lifetime, knows what hell will look like for him - a place like "a black bathhouse with spiders and mice." When this hero is mentioned in the text, the word “devil” constantly appears, and even the good that he can and wants to do turns out to be unnecessary, useless. Later, Raskolnikov himself, in his penitential speech, will say that the devil is persecuting him: "The devil led me to a crime." But if Svidrigailov commits suicide, which is the most terrible sin in the Christian religion, then the repentant Raskolnikov is capable of purification and rebirth.

The motif of prayer is important in the framework of the novel. The protagonist himself prays, despite his initial aspirations. After the episode of the dream about the horse, Raskolnikov prays, but his prayers are not destined to be heard because of the depravity of the one who prays, and therefore he has no choice but to commit a long-planned and tormenting crime. Sonechka, the daughter of the owner of the apartment, the children of Katerina Ivanovna, who is preparing herself for the monastery, are constantly praying. Prayer, as an important and integral part of the life of a Christian, becomes the same integral part of the novel.

An important role is played within the framework of the work by two more holy symbols of the Christian religion - the cross and holy scripture. The gospel, which previously belonged to Lizaveta, is given to Raskolnikov by Sonya. Reading it, the hero is reborn spiritually. The cross, also Lizavetin, the hero at first does not accept it because he is not ready for repentance and awareness of his sin, but then he finds the strength to take it, which also indicates a spiritual rebirth.

The significance of religion in the novel, the religiosity of its text is enhanced by constant associations, analogies with biblical stories. There is also a reference to the biblical Lazarus, which sounds in the epilogue of the novel from the lips of Sonechka, who tells the story of him to Raskolnikov on the fourth day after the hero committed the crime. At the same time, in the parable itself there is a mention that Lazarus was also resurrected on the fourth day. In fact, Raskolnikov is dead, he lies in a coffin - in his closet, and Sonya comes in order to save, heal and resurrect him. Present in the text, organically intertwining in it, are such parables as the story of Cain and Abel, the parable of the harlot (“if anyone is not sinful, let him be the first to throw a stone at her”), the parable of the publican and the Pharisee, the parable of Martha, fussing all over life about the empty and missing the very essence of life (associations with Svidrigailov's wife Marfa Petrovna).

It is easy to trace the gospel principles in the names of the characters. They are talking. Here it is necessary to give a Christopher example about Martha and Martha Petrovna, here it is necessary to say about Kapernaumov, the man from whom Sonya rented a room (Capernaum is the biblical city from which the harlot came), about Ilya Petrovich (combination of the names Ilya - the holy thunderer and Peter - hard as a stone), about Lizaveta (Elizabeth - worshiping God, holy fool), about Katerina (Catherine - pure, bright).

Of great importance are the numbers, which also refer the reader to biblical motifs. The most common numbers are three, seven and eleven. Sonya gives Marmeladov 30 kopecks, the first time she brings 30 rubles “from work”, Marfa redeems Svidrigailov with the same 30 kopecks, and he, like Judas, betrays her. Svidrigailov offers Duna "up to thirty", and Raskolnikov hits the old woman three times on the head. The hero commits a murder at the seventh hour, and the number seven in Orthodoxy is a symbol of the unity of man and God. Committing a crime, Raskolnikov tries to break the oppressive connection and ends up with mental anguish and seven years of hard labor.

The main biblical motif that matters for the novel is the motif of voluntary acceptance of torment and recognition of one's sins. It is no coincidence that Mikola wants to take the blame for the protagonist. But Raskolnikov, led by Sonya, refuses such a sacrifice: it would not bring him the long-awaited consolation. He accepts Sonya's request for public repentance and recognition of his sins and voluntarily goes for it. And only then does he become ready for spiritual and spiritual rebirth.

Project: “Biblical motifs in F. M. Dostoevsky’s novel “Crime and Punishment” (research) Completed by students of 10a profile philological class: Menkova Julia Savochkina Sofia Obodzinskaya Alexandra Georgy Savochkin. Project leader: teacher of Russian language and literature Nikolaeva Elena Vladimirovna 2011-2012 academic year

1. Introduction. About our project. 2. Orthodox Dostoevsky. 3. The novel "Crime and Punishment". Sonya Marmeladova and Rodion Raskolnikov are the main characters of the novel. 5. Biblical words and expressions in the novel. 6. Secrets of names in the novel. 7. Biblical numbers in the novel. 8. The contact of the plots of the novel with the gospel motifs. 9. Conclusion. Conclusions. 10. Applications. 11. List of used literature. Content.

“Reading Dostoevsky is, although sweet, but tiring, hard work; fifty pages of his story provide the reader with the content of five hundred pages of stories by other writers, and in addition, often a sleepless night of languishing reproaches to oneself or enthusiastic hopes and aspirations. From the book of Metropolitan Anthony (Khrapovitsky) "The Prayer of the Russian Soul".

We got acquainted with the personality and works of the remarkable Russian writer Fyodor Mikhailovich Dostoevsky. The purpose of our project is an attempt to analyze his work, namely the novel Crime and Punishment, through the prism of Holy Scripture. “They call me a psychologist,” said F. M. Dostoevsky, “I am only a realist in the highest sense.” What does it mean? What is the writer refusing here and what is he asserting? He says that psychology in his novels is only an outer layer, a form, that the content lies in another sphere, in the sphere of higher spiritual realities. This means that if we, the readers, focused our attention on the psychology of the characters, we did not read the novel, we did not understand it. One must learn the language Dostoevsky speaks. You need to understand the severity of the issues before him. And for this, you must always remember that we have before us the work of a man who for four years in hard labor read only the Gospel - the only book allowed there. He then lived and thought at that depth ... About our project.

Orthodox Dostoevsky “There is no happiness in comfort, happiness is bought by suffering. This is the law of our planet (...). Man is not born to be happy. A person deserves his happiness, and always suffering ”F. Dostoevsky Fyodor Mikhailovich Dostoevsky is recognized as one of the greatest artists world literature. His works have been translated into all the major languages ​​of the world, and every educated person in any country, from the United States to Japan, is familiar with Dostoevsky's works to one degree or another. But, of course, the point is not whether or not you read Dostoevsky, but how you perceived his works. After all, it is important that, having come into contact with his work, we enrich and elevate our spiritual life. The main merit of the writer is that he raised and tried to solve such global problems. eternal problems like life and immortality, good and evil, faith and unbelief. And the problem of faith for every person is the most important: everyone needs to believe at least in something.

Orthodox Dostoevsky... "... Not like a boy, I believe in Christ and confess Him, but my hosanna passed through a great crucible of doubts..." - we will read these words in the last notebook of F. Dostoevsky. In these words - the key to understanding the entire heritage of the writer. M. M. Dunaev, a well-known literary critic, theologian (see Appendix), says: “Outside of Orthodoxy, Dostoevsky cannot be comprehended, any attempt to explain him from the standpoint of not quite intelligible universal values ​​is thoughtless ... Faith and unbelief are their difficult, sometimes deadly duel in the soul of a person is generally the predominant theme of Russian literature, while Dostoevsky takes all contradictions to the extreme, he explores unbelief in the abyss of despair, he seeks and finds faith in contact with Heavenly truths. With special enthusiasm Dostoevsky recalled in mature years about getting to know the Scriptures: “We in our family knew the gospel almost from the first childhood.” The Old Testament “Book of Job” also became a vivid childhood impression of the writer (see Appendix)

Orthodox Dostoevsky... He was the second child in a large family (six children). Father, the son of a priest, a doctor at the Moscow Mariinsky Hospital for the Poor (where the future writer was born), in 1828 received the title of hereditary nobleman. Mother - originally from a merchant family, a religious woman, every year took the children to the Trinity-Sergius Lavra (see Appendix), taught them to read from the book "One Hundred and Four Sacred Stories of the Old and New Testaments." In the house of parents, they read aloud the “History of the Russian State” by N. M. Karamzin, the works of G. R. Derzhavin, V. A. Zhukovsky, A. S. Pushkin a. In his mature years, Dostoevsky recalled with particular enthusiasm his acquaintance with the Scriptures: “We in our family knew the Gospel almost from the first childhood.” The Old Testament “Book of Job” also became a vivid childhood impression of the writer (see Appendix). Since 1832, parents hired teachers for Dostoevsky and his older brother Mikhail, who came to study with children at home. Since 1833, the boys were sent to the boarding school of N. I. Drashusov (Sushara), then to the boarding school of L. I. Chermak.

Orthodox Dostoevsky ... Unfavorable atmosphere of educational institutions and isolation from home provoked a painful reaction in Dostoevsky. Later, this period will be reflected in the novel "The Teenager", where the hero experiences deep moral upheavals in the "boarding house Tushara". In these difficult years of study, the young Dostoevsky awakens a passion for reading. In 1837, the writer's mother died, and soon his father took Dostoevsky and his brother Mikhail to St. Petersburg to continue their education. The writer did not meet his father again, who died in 1839. According to family traditions, the elder Dostoevsky was killed by his serfs. The attitude of the son to his father, a suspicious and painfully suspicious person, was ambivalent. From January 1838 Dostoevsky studied at the Main Engineering School. He suffered from military atmosphere and drill, from disciplines alien to his interests, from loneliness and subsequently always believed that the choice of an educational institution was erroneous. As his colleague at the school, the artist K. A. Trutovsky, recalled, Dostoevsky kept to himself, but he impressed his comrades with his erudition, a literary circle developed around him. The first literary ideas took shape in the school. In 1841, at a party hosted by brother Mikhail, Dostoevsky read excerpts from his dramatic works, which are known only by their names - "Mary Stuart" and "Boris Godunov", - giving rise to associations with the names of F. Schiller and A. S. Pushkin and, apparently, the deepest literary hobbies of the young Dostoevsky; was also read by N. V. Gogol, E. Hoffmann, V. Scott, George Sand, V. Hugo. After graduating from college, having served less than a year in

Orthodox Dostoevsky... Petersburg engineering team, summer 1844 Dostoevsky retired with the rank of lieutenant, deciding to devote himself entirely to literary creativity. Speaking about the early literary works of the writer, one should recall his first major work - the novel "Poor People". In the winter of 1844, Dostoevsky began work on the creation of the work, he began, in his words, "suddenly", unexpectedly, but gave himself completely to it. The main problem for the writer, the problem of faith has always remained: the social is transient, faith is timeless. And the moral and psychological searches of the heroes of his works are only derivatives of religious problems. The protagonist of the novel "Poor People" Makar Deshkin is a typical, as you know, "small" person in Russian literature. The first critics rightly noticed the connection between "Poor People" and Gogol's "The Overcoat", referring to the images of the main characters, Akaky Akakievich and Makar Devushkin. . But Dostoevsky's hero is undoubtedly taller than Akaky Akakievich from The Overcoat. Higher in its very idea: it is capable of lofty movements and impulses, of serious reflections on life. If Gogol's hero-official sees only "lines written out in even handwriting", then Dostoevsky's hero sympathizes, grumbles, despairs, doubts, reflects. glimpse true understanding life arises in Devushkin's mind. He expresses a humble and sober thought about accepting the established order of life: “... every state is determined by the Almighty for the human lot. That is determined to be in the general's epaulettes, this is to serve as a titular adviser; to command such and such, and to obey such and such meekly and in fear. This is already calculated according to the ability of a person; another is capable of one thing, and the other

Orthodox Dostoevsky ... to something else, but the abilities are arranged by God Himself. The Apostolic Commandment at the basis of such a judgment is undeniable: “Each one, remain in the calling in which you are called (1 Cor. 7:20). The novel was published in 1846 in N. Nekrasov's Petersburg Collection, causing noisy controversy. The reviewers, although they noted some of the writer's miscalculations, felt an enormous talent, and V. Belinsky directly predicted a great future for Dostoevsky. Entering the circle of Belinsky (where he met I. S. Turgenev, V. F. Odoevsky, I. I. Panaev), Dostoevsky, according to his later confession, "passionately accepted all the teachings" of criticism, including his socialist ideas. In 1846, Dostoevsky introduces Belinsky to his new story The Double, in which for the first time he gave a deep analysis of the split consciousness. Creative thinking the writer turned out to be so bold and paradoxical that the critic was confused, began to doubt and be disappointed in the talent of the young author. This is because the new story did not at all correspond to those patterns of the “natural school”, which, for all their novelty, already carried limitations and conservatism. MM. Dunaev writes: “It was free for Belinsky, with his hopes for progress and hope for the construction of the railway, to close himself in the sociality he extolled; Dostoevsky would feel cramped in such a narrow framework ... ”The hero of The Double, Golyadkin, is not satisfied with the surrounding reality and wants to replace it with some kind of fantasy situation. Golyadkin is haunted by his ambition, that is, one of the most vulgar manifestations of pride, his disagreement with his rank. He does not want to remain in this rank and creates for himself a kind of fantasy, which he imposes on himself as a reality. The main characters of early Dostoevsky were dreamers. Many did not find the application of their strengths and capabilities, which they expected from life. The ambition of many has not been satisfied, and so they dream. And daydreaming is always from the impoverishment of faith.

Orthodox Dostoevsky... Many years later Dostoevsky would say about himself that he himself "was then a terrible dreamer" and recognized that very sin, confessing his closeness to his own heroes-dreamers. And the writer's ambition has always been painful. It was she who brought Dostoevsky, seduced by advanced social teachings, into the Petrashevsky circle in 1846. At these meetings, which were of a political nature, the problems of the liberation of the peasants, reforms of the court and censorship were touched upon, treatises of French socialists were read, articles by A. I. Herzen, the then forbidden letter of V. Belinsky to N. Gogol, plans were hatched for the distribution of lithographed literature. In terms of their activities, the Petrashevites were very harmless, and the repressions of the authorities did not fully correspond to their guilt. April 23, 1849, along with other Petrashevites, the writer was arrested and imprisoned in the Alekseevsky ravelin of the Peter and Paul Fortress. After 8 months spent in the fortress, where Dostoevsky behaved courageously and even wrote the story " little hero"(Published in 1857), he was found guilty "of intent to overthrow ... the state order" and initially sentenced to death, replaced already on the scaffold, after "terrible, immensely terrible minutes of waiting for death", 4 years of hard labor with deprivation " all the rights of the state ”and the subsequent surrender to the soldiers. Later, in the novel The Idiot, he will describe his experiences when, standing on the Semyonovsky parade ground, he counted, as it seemed to him, the last minutes of his life. So, the “Petrashevsky” period ended, the time when Dostoevsky searched and doubted, dreamed. But the dreams were interrupted by a cruel reality.

Orthodox Dostoevsky... He served hard labor in the Omsk fortress, among criminals. The writer recalls: “It was an inexpressible, endless suffering ... every minute weighed like a stone on my soul.” It is probably cynical to talk to a person who has not experienced this about the beneficialness of such hardships. But let us remember Solzhenitsyn, who comprehended his experience, relying on Dostoevsky: “Bless you, prison!” And, referring to his authority and moral right, we cautiously understand (praying timidly: Lord, take this cup past) that in such trials the grace of God is sent to a person and the path to salvation is indicated. In the Tobolsk prison, Dostoevsky will get a book that will point to this path and from which he will no longer part - the Gospel (see Appendix). Experienced mental upheavals, melancholy and loneliness, "self-judgment", "strict revision former life”, - all this spiritual experience of the prison years became the biographical basis of Notes from the House of the Dead (1860-62), a tragic confessional book that already struck contemporaries with the courage and fortitude of the writer. The “Notes” reflects the revolution in the mind of the writer that emerged during hard labor, which he later characterized as “a return to the folk root, to the recognition of the Russian soul, to the recognition of the spirit of the people.” Dostoevsky clearly imagined the utopian nature of revolutionary ideas, with which he later sharply argued. In November 1855, he was promoted to non-commissioned officer, then ensign. In the spring of 1857, the writer was returned hereditary nobility and the right to publish, since 1859 he received permission to return to St. Petersburg. It was a time of great change in the country. Advanced minds argued on which way to develop further Russia. There were two opposite directions of Russian social and philosophical thought: "Westerners" and "Slavophiles". The former associated the social transformations of Russia with the assimilation of the historical achievements of the countries of Western Europe. They considered it inevitable for Russia to follow the same paths as the Western European peoples who had gone ahead.

Orthodox Dostoevsky ... "Slavophiles" - a nationalist direction of Russian social and philosophical thought, whose representatives advocated the cultural and political unity of the Slavic peoples under the leadership of Russia under the banner of Orthodoxy. The trend arose in opposition to "Westernism". There was also another trend akin to the Slavophiles - "soil". The Pochvenniks, joined by the young socialist F. Dostoevsky, preached the rapprochement of an educated society with the people (“soil”) on a religious-ethnic basis. Now, in the magazines Vremya and Epoch, the Dostoevsky brothers act as the ideologists of this trend, genetically related to Slavophilism, but permeated with the pathos of reconciliation between Westerners and Slavophiles, the search for a national development option and the optimal combination of the principles of “civilization” and nationality. We find in M. Dunaev: “The concept of soil in this case is metaphorical: these are Orthodox beginnings folk life which alone, according to Dostoevsky's conviction, can nourish the healthy life of the nation. The writer puts the main idea of ​​"soilers" into the mouth of the protagonist of the novel "Idiot" Prince Myshkin: "Whoever has no soil under himself, he does not have God." Dostoevsky continues this controversy in the story Notes from the Underground (1864) - this is his answer to N. Chernyshevsky's socialist novel What Is To Be Done? Strengthening the ideas of "pochvennichestvo" was helped by long trips abroad. In June 1862, Dostoevsky first visited Germany, France, Switzerland, Italy, England, where he met Herzen. In 1863 he went abroad again. The atmosphere of Western bourgeois freedom of morals (in comparison with Russia) at first seduces and relaxes the Russian writer. In Paris he met with femme fatale» socialist

Orthodox Dostoevsky... by Appolinaria Suslova, whose sinful dramatic relationship was reflected in the novel The Gambler, The Idiot and other works. In Baden-Baden, carried away by the gambling of his nature, playing roulette, Dostoevsky loses "all, completely to the ground" - and this means new debts. But the writer also overcomes this sinful life experience and reworks it in his increasingly Orthodox work. In 1864, Dostoevsky faced heavy losses: his first wife died of consumption. Her personality, as well as the circumstances of their unhappy, difficult love for both, were reflected in many of Dostoevsky's works (in particular, in the images of Katerina Ivanovna - "Crime and Punishment" and Nastasya Filippovna - "The Idiot"). Then the brother died. A close friend Apollon Grigoriev died. After the death of his brother, Dostoevsky took over the publication of the heavily indebted periodical Epoch, which he was able to pay off only towards the end of his life. In order to earn money, Dostoevsky signed a contract for new works that had not yet been written. In July 1865, Dostoevsky again went to Germany for a long time, to Wiesbaden, where he conceived the novel Crime and Punishment, which we will discuss later. At the same time, he begins to work on the novel The Gambler. To speed up the work, Dostoevsky invites a stenographer, who soon becomes his second wife. The new marriage was successful. The couple lived abroad for four whole years - from April 1867 to July 1871. In Geneva, the writer attends the "International Peace Congress" organized by anti-Christian socialists (Bakunin and others), which provides him with material for the future novel "Demons". The immediate impetus for the creation of the novel was the "Nechaev case" of the Satanist revolutionaries. The activities of the secret society "People's Reprisal" formed the basis of "Demons".

Orthodox Dostoevsky... Not only Nechaevs, but also figures of the 1860s, liberals of the 1840s, T.N. Granovsky, Petrashevites, Belinsky, V.S. Pecherin, A.I. Herzen, even the Decembrists and P.Ya. Chaadaev fall into the space of the novel, being reflected in different characters. Gradually, the novel develops into critical image the common disease of satanic "progress" experienced by Russia and Europe. The name itself - "Demons" - is not an allegory, as the theologian M. Dunaev believes, but a direct indication of the spiritual nature of the activity of revolutionary progressives. As an epigraph to the novel, Dostoevsky takes the gospel text about how Jesus casts out demons into a herd of pigs and it drowns (see Appendix). And in a letter to Maikov, he explains his choice this way: “The demons left the Russian man and entered the herd of pigs, that is, the Nechaevs, Serno-Solovyevichs, and so on. They drowned or will surely drown, but a healed man, from whom demons have come out, sits at the feet of Jesus. That's how it should have been. Russia vomited up this dirty trick that she was fed, and, of course, there was nothing Russian left in these vomited scoundrels ... Well, if you want to know, this is the theme of my novel ... ”Here, in Geneva, Dostoevsky runs into into a new temptation to play roulette, losing all the money (catastrophic bad luck in the game, apparently, is also allowed by God to teach the servant of God Theodore "from the opposite"). In July 1871, Dostoevsky with his wife and daughter (born abroad) returned to St. Petersburg. In December 1872, he agreed to take over the editorship of the newspaper-magazine Grazhdanin, in which he implemented the long-conceived idea of ​​the Writer's Diary (essays on the political, literary and memoir genre). Dostoevsky, in the announcement of a subscription for 1876 (where the Diary was first published), defines the genre of his new work as follows: “It will be a diary in the literal sense of the word, a report on the impressions really experienced every month, a report on what was seen, heard and read. This, of course, can include stories and novels, but mostly about real events.

Orthodox Dostoevsky... In the "Diary" the author raises the problem of man's responsibility for his sins, the problem of crime and punishment. Here again the hypothesis of the "jamming environment" sounds. The writer says that the environment is "to blame" only indirectly, undoubtedly, the environment depends on the person. And true opposition to evil is possible only in Orthodoxy. In 1878 Dostoevsky suffered a new loss - the death of his beloved son Alyosha. The writer goes to Optina Hermitage (see Appendix), where he talks with Elder Ambrose. (“Penitent,” said the elder about the writer.) The result of this trip was The Brothers Karamazov, the final work of the writer about the problem of the existence of evil in an imperfect world created by a perfect and loving God. The history of the Karamazovs, as the author wrote, is not a family chronicle, but "an image of our modern reality, our modern intellectual Russia." Actually, the true content of the novel (according to M. Dunaev) is the struggle of the devil and God for the human soul. For the soul of the righteous: for if the righteous fall, then the enemy will triumph. At the center of the novel is the confrontation between God's work (Elder Zosima, whose prototype was Elder Ambrose from Optina Hermitage) and demonic intrigues (Ivan Karamazov). In 1880, at the opening of the monument to Pushkin, Dostoevsky delivered a famous speech about Pushkin. The speech reflected the most noble Christian traits of the Russian soul: "all-responsiveness" and "all-humanity", the ability to "conciliate look at someone else's" - and found an all-Russian response, becoming important historical event. The writer resumes work on The Writer's Diary and plans to continue The Brothers Karamazov... But an aggravated illness cut short Dostoevsky's life. On January 28, 1881, he died. On January 31, 1881, with a huge gathering of people, the funeral of the writer took place in the Alexander Nevsky Lavra in St. Petersburg.

About the novel "Crime and Punishment". Rodion Raskolnikov and Sonya Marmeladova are the main characters of the novel. The novel refers to early work Dostoevsky. It first saw the light in 1866 in the January issue of Russkiy Vestnik. The novel begins with a simple and, as it were, documentedly accurate phrase: “In early July, at an extremely hot time, in the evening, one young man left his closet, which he hired from tenants in S-m lane, into the street and slowly, as if in indecision, went to the K-nu bridge. From the following lines, we already learn that the action takes place in St. Petersburg. And the encrypted names give a sense of "reliability" of what is happening. As if the author is embarrassed to reveal all the details to the end, since we are talking about a real event. The main character of the novel is called Rodion Raskolnikov. The writer endowed him with beautiful human features, starting with his appearance: a young man

Rodion and Sonya ... "remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender." He is smart, noble and selfless. In his actions, we see the chivalry of the spirit, the ability to empathize and feel vividly and strongly. Together with the heroes of the novel - Razumikhin, Sonya, Dunya - we feel deep love and admiration for him. And even crime cannot shake these feelings. He commands the respect of the investigator Porfiry. And in this, in everything, we undoubtedly feel the attitude of the writer himself to his hero ... How could such a person commit such a terrible atrocity? So, the first part of the novel is devoted to crime, and the remaining five - to punishment, self-disclosure. The whole novel is permeated with the struggle that the hero leads with himself - between his mind and feeling. Raskolnikov - according to Christian canons - a great sinner. A sinner, not only because he killed, but because he has pride in his heart, that he allowed himself to divide people into “ordinary” and “extraordinary”, to which he tried to classify himself. Unsolvable questions arise before the killer. Unexpected and unsuspected feelings begin to torment his heart. In him, trying to drown out the voice of God in himself, God's truth nevertheless prevails, and he is ready, although he will die in hard labor, but again join the people. After all, the feeling of openness and disconnection with humanity, which he felt immediately after the crime, becomes unbearable for him. Dostoevsky in a letter to M. Katkov says: “The law of truth and human nature have taken their toll; in my story there is, moreover, a hint of the idea that the imposed legal punishment for a crime frightens the criminal much less than the legislators think, partly because he himself morally demands it. Raskolnikov transgressed God's commandment: "Thou shalt not kill!" and, as according to the Bible, must pass from darkness to

Rodion and Sonya... light, from hell to heaven through the purification of the soul. Carrying out his theory about “trembling creatures” and “having the right”, he steps over himself and commits murder, makes a “test” of the theory. But he did not feel like a "Napoleon" after the "test". He killed the “vile louse”, the old pawnbroker, but it didn’t get any easier. Because his whole being opposed this "dead" theory. Raskolnikov's soul is torn to pieces, he understands that Sonya, Dunya, and mother are all "ordinary" people. This means that someone, just like him, can kill them (according to this very theory). He torments himself, does not understand what happened, but so far he has no doubts about the correctness of his theory. And then Sonya appears in his life ... Sonya Marmeladova is Dostoevsky's favorite heroine. Her image is central to the novel. The fate of this heroine causes sympathy and respect. She is noble and pure. Her actions make us think about the true human values. Listening and pondering her reasoning, we get the opportunity to look inside ourselves, listen to the voice of our own conscience, take a fresh look at what is happening around us. Sonya is portrayed by Dostoevsky as a child, pure, naive, with an open and vulnerable soul. It is the children in the Gospel that symbolize moral purity and closeness to God. Together with Raskolnikov, we learn from Marmeladov the story of Sonya about her unfortunate fate, about how she sold herself for her father, stepmother and her children. She deliberately went to sin, sacrificed herself for the sake of loved ones. Moreover, Sonya does not expect any gratitude at all, does not blame anyone for anything, but simply resigns herself to her fate.

illustrations for the novel. "Alena Ivanovna" (Shmarinov D.A.), "Rskolnikov" (Menkova Y.D.)

Rodion and Sonya ... “... And she only took our big green dreaded shawl (we have such a common shawl, dreaded dam), covered her head and face with it completely and lay down on the bed, facing the wall, only her shoulders and body all shuddered ...” Sonya is ashamed, ashamed before herself and God. She tries to be at home less, appears only to give money. She is embarrassed at a meeting with Dunya and Pulcheria Alexandrovna, feels awkward at her father's commemoration, and is lost from Luzhin's impudent and insulting antics. But nevertheless, behind her meekness and quiet disposition, we see a huge vitality backed up by a boundless faith in God. She believes blindly and recklessly, because she has nowhere to look for help and no one to rely on, and therefore only in prayer does she find true consolation. The image of Sonya is the image of a true Christian and a righteous woman, she does nothing for herself, everything for the sake of other people. Sonechkin's faith in God is contrasted in the novel with Raskolnikov's "theory". The girl cannot accept the idea of ​​dividing people, of exalting one person above others. She believes that there is no such person who would be given the right to condemn their own kind, to decide their fate. "Kill? Do you have the right to kill?" she exclaims. Raskolnikov feels a kindred spirit in Sonya. He instinctively feels his salvation in her, feels her purity and strength. Although Sonya does not impose her faith on him. She wants him to come to faith himself. She does not seek to bring her own to him, but seeks the brightest in him, she believes in his soul, in his resurrection: “How do you yourself give the last, but killed to rob!” And we believe that she will not leave him, that she will follow him to Siberia and go with him all the way to repentance and purification. "They were resurrected by love, the heart of one contained endless sources of life for the heart of the other." Rodion came to what Sonya urged him to, he overestimated life: “Can her convictions now not be my convictions? Her feelings, her aspirations, at least…”

ill. Shmarinov D.A. "Yard" I. Glazunov

Rodion and Sonya... Having created the image of Sonya Marmeladova, Dostoevsky created an antipode to Raskolnikov and his theory (goodness, mercy, opposing evil). The life position of the girl reflects the views of the writer himself, his faith in goodness, justice, forgiveness and humility, but, above all, love for a person, whatever he may be. It is through Sonya that Dostoevsky denotes his vision of the path of the victory of good over evil.

Biblical words and expressions from the novel "Crime and Punishment" Part One. Chapter 2 Jordan or west coast The Dead Sea, whose inhabitants were mired in debauchery and for this were incinerated by fire sent from heaven (The first book of Moses: Genesis, ch. 19 - these cities were destroyed by God, who sent fire and brimstone from heaven). God only brought Lot and his family out of the flames. “...everything secret becomes clear ...” An expression that goes back to the Gospel of Mark: “There is nothing secret that would not be made clear; and there is nothing hidden that will not come out." "…Let! let! "Behold the man!" Allow me, young man ... "(from the words of Marmeladov)" Behold the man! - words spoken by Pontius Pilate during the trial of Christ. With these words, Pilate pointed the Jews to the bloody Christ, calling them to mercy and prudence. (John 19:5)

Biblical words and expressions... “…I need to be crucified, crucified on the cross, and not to be pitied! But crucify, Judge, crucify and, having crucified, have pity on him!... And the One who took pity on everyone and Who understood everyone and everything, He is the only one, He and the Judge ... ”(from the words of Marmeladov) Here Marmeladov uses religious rhetoric to expressing your thoughts, this quote is not a direct Biblical quote. "Pigs you! The image of the animal and its seal; but come and you!” (from the words of Marmeladov) “The image of the animal” is the image of the Antichrist. In the Revelation of John the Theologian (Apocalypse), the Antichrist is compared with the beast and it is said that every citizen will be given the seal of the Antichrist or the seal of the beast. (Rev. 13:16) Part one. Chapter 3. “... to play a wedding in the current meat-eater ... immediately after the Lady ...” (from a letter from Pulcheria Raskolnikova to her son) The meat-eater is the period when, according to the Orthodox church charter, meat food is allowed. Usually this is the time between fasts when it is allowed to play a wedding. Madams - Feast of the Assumption (Death) of the Most Holy Lady Theotokos and Ever-Virgin Mary. A wedding played after the Mother of God leaves the earth cannot be considered blessed.

Biblical words and expressions... Part one. Chapter 4. "... and what she prayed for before the Kazan Mother of God ..." (from Raskolnikov's monologue) The Kazan Mother of God is one of the most revered miraculous icons of the Mother of God in Russia. Celebrations in honor of the icon take place twice a year. Also during the Time of Troubles, this icon accompanied the second militia. On October 22, on the day of its acquisition, Kitay-gorod was taken. Four days later, the Polish garrison in the Kremlin surrendered. In memory of the liberation of Moscow from the invaders on Red Square, a temple was erected in honor of the icon of Our Lady of Kazan at the expense of D. M. Pozharsky. “It’s hard to climb Golgotha ​​...” (from Raskolnikov’s reflections) Golgotha ​​or Calvaria (“frontal place”) is a small rock or hill where Adam was buried, and later Christ was crucified. At the time of Jesus Calvary Calvary was outside of Jerusalem. It is a symbol of voluntary suffering. “... from fasting, it will be wasted ...” fasting implies abstinence in food, and therefore immoderate fasting can lead to a weakening of the body. "... among the Jesuits ..." Jesuits? you (Order of the Jesuits; the official name is the "Society of Jesus" (Latin Societas Jesu) - the male monastic order of the Roman Catholic Church. Chapter 7 "... two crosses: cypress and copper" In ancient times, wood and copper served as the most common material for making crosses.Cypress crosses are the most popular, since the Cross of Christ was made from three types of wood, including cypress.

Calvary or Calvary N. Ge "Calvary" by Michelangelo Caravaggio "The Flagellation of Christ"

Biblical words and expressions... Chapter 7 "...two crosses: cypress and copper" In ancient times, wood and copper served as the most common material for making crosses. Cypress crosses are the most popular, as the Cross of Christ was made from three types of wood, including cypress. Part 2. Chapter 1. "House - Noah's Ark" The Old Testament Patriarch Noah gathered many creatures into his ark before the flood. This expression symbolizes the fullness of the house or tightness. Chapter 5. “Science says: love, first of all, only yourself ...” (from the words of Luzhin) This expression is the antithesis of the Gospel teaching that you need to love your neighbor as yourself (Matthew 5:44 and Matt. 22: 36-40) Chapter 7. “Confession”, “Communion”. Confession is one of the 7 Sacraments of the Church, during which a person is given forgiveness of sins and help in moral perfection “... first they honor the Mother of God” The Mother of God is one of the most common prayers addressed to the Most Holy Theotokos. "... both endured the torment on the cross ..." An allusion to the sufferings of Christ on the Cross.

Biblical words and expressions ... Part 3. Chapter 1. "funeral service" - worship performed at burial, "mass" - the popular name of worship, Divine Liturgy, "vespers" - the name of the evening service, "chapel" - worship building, installed on the memorable places, in cemeteries, graves. Chapter 5. “...until New Jerusalem...” Biblical image of the Kingdom of Heaven (Paradise) (Rev. 21) “And I saw a new heaven and a new earth; for the former heaven and the former earth have passed away, and the sea is no more. And I John saw the holy city of Jerusalem, new, descending from God from heaven…” “... the resurrection of Lazarus…” The Gospel story tells about the miraculous resurrection of Christ's friend Lazarus in the village of Bethany near Jerusalem. (John 11) Vincent Wang Gog "The Resurrection of Lazarus"

Biblical words and expressions ... Part 4. Chapter 1. "lithia", "requiem" - funeral services Chapter 2. "... you, with all your virtues, are not worth the little finger of this unfortunate girl at whom you throw a stone" (Raskolnikov Luzhin about Sonya) An appeal to the Gospel story about the forgiveness of an adulterous woman who was sentenced to death by stoning. (John 8:7-8) Chapter 4 from Matthew: "But Jesus said: let the children go and do not prevent them from coming to me, for of such is the kingdom of heaven." “She will see God” Emphasizing the spiritual purity of Lizaveta, Sonia quotes the Gospel of Matthew: “Blessed are the pure in heart, for they will see God.” "... went into the seed ..." That is, into the genus, into the offspring. In this sense the word seed is used in the Gospel. Part 6. Chapter 2. “Seek and you will find…” (Porfiry Raskolnikov) – (Matt. 7:7 Luke 11:9) That is, seek and you will find. Quote from the Sermon on the Mount of Jesus Christ.

Biblical words and expressions... Chapter 4 I would have gone to the Egyptian desert and lived there for thirty years, eating roots ... ”(Svidrigailov about Dunya) Svidrigailov here compares Dunya with the martyrs of the first centuries of Christianity, and later with St. Mary of Egypt. "Trinity Day" Day of the Holy Trinity or Pentecost, one of the 12 main Christian holidays, celebrated on the 50th day after Easter.

Biblical words and expressions... Epilogue. “... on the second week of Great Lent, he had to fast ...” to fast - to observe the fast “Holy” (week) - a week after Easter “Only a few people could be saved all over the world, they were pure and chosen, destined to start a new kind of people and a new life , renew and cleanse the earth, but no one has seen these people anywhere, no one has heard their words and voices. Raskolnikov turns out to have suffered to the end and was chosen in the epilogue of the novel. "... the age of Abraham and his flocks ..." - the Biblical symbol of abundance. “They still had seven years left ... 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. In the Bible: “And Jacob served for Rachel seven years; and they appeared to him in a few days, because he loved her.” Jacob and Rachel

The Secrets of Names in the Novel Dostoevsky followed a deeply rooted Russian tradition in choosing names for his characters. Due to the use of predominantly Greek names during baptism, they are used to looking for an explanation in the Orthodox church calendars. In the library, Dostoevsky had such a calendar, in which an "Alphabetical list of saints" was given, indicating the numbers of the celebration of their memory and the meaning of names translated into Russian. We have no doubt that Dostoevsky often looked into this "list", giving symbolic names to his heroes. So let's think about the mystery of the name...

Secrets of names in the novel ... Raskolnikov Rodion Romanovich - The surname indicates, firstly, as schismatics who did not obey the decision of church councils and deviated from the path Orthodox Church, that is, those who opposed their opinion and their will to the opinion of the conciliar. Secondly, to a split in the very essence of the hero. He has rebelled against God and society, and yet he cannot cast aside as worthless the values ​​associated with society and God. Rodion - pink (Greek), Roman - strong (Greek). Rodion Romanovich - Pink Strong. We write the last word with a capital letter, since this, when praying to the Trinity, is the naming of Christ (“Holy God, Holy Mighty, Holy Immortal, have mercy on us”). Pink - germ, bud. So, Rodion Romanovich is the bud of Christ. At the end of the novel, we will see the bud open. Alena Ivanovna - Alena - bright, sparkling (Greek), Ivan - God's grace (mercy) (Heb.). Thus, despite the unsightly shell, Alena Ivanovna is bright by the grace of God. In addition, the money bequeathed to the monastery, only a petty material person may seem like a waste of money. Elizabeth (Lizaveta) - God, oath (Heb.)

Secrets of names in the novel ... Marmeladov Semyon Zakharovich - Marmeladov is a surname opposed to the surname "Raskolnikov". Sweet, viscous mass, blinding a split existence, and even giving it sweetness. Semyon - Hearing God (Heb.) Zakhar - the memory of God (Heb.). "Semyon Zakharovich" - the memory of God, who hears God. Marmeladov is aware of his vices and position with his whole being, but he cannot help himself, the lifestyle of the Petersburg lower classes has brought him to the point of no return. He "hears God", which is also confirmed in his "confession" to Raskolnikov. Sofya Semyonovna - Sophia - wisdom (Greek). "Sofya Semyonovna" - wisdom listening to God. Sonechka Marmeladova is an image of Raskolnikov's salvation, his resurrection. She will follow him and guide him until they both find salvation in each other. In the novel, she is also compared with Mary Magdalene, one of the most devoted disciples of Jesus Christ (..she rented a room from the tailor Kapernaumov .. - an allusion to the city of Capernaum, often mentioned in the Gospel. The city of Magdala, from which Mary Magdalene came, was located near Capernaum The main preaching activity of Jesus Christ also took place in it.Blessed Theophylact in the interpretation of the Gospel (Matt. 4:13; Mark 2:6-12) translates the name as "house of comfort"). In the Epilogue, she is even compared with the image of the Virgin. The relationship between Sonya and the convicts is established before any relationship: the prisoners immediately "fell in love with Sonya." They immediately saw her - the dynamics of the description indicates that Sonya becomes the patroness and helper, comforter and intercessor of the entire prison, which accepted her in this capacity even before

The secrets of names in the novel... of all its outward manifestations. Even some nuances of the author's speech indicate that something very special is happening. For example, an amazing phrase: "And when she appeared ...". The greetings of the convicts are quite consistent with the “phenomenon”: “everyone took off their hats, everyone bowed” (behavior - as when taking out an icon). They call Sonya "mother", "mother", they love it when she smiles at them - a kind of blessing, finally, "they even went to her for treatment." Ekaterina (Katerina Ivanovna) - pure, immaculate (Greek). "Katerina Ivanovna" - immaculate by God's grace. Katerina Ivanovna is a victim of her social position. She is sick and crushed by life. She, like Rodion R., does not see fairness in the whole world and suffers from this even more. But it turns out that they themselves, who insist on justice, can only be loved in defiance of justice. To love Raskolnikov the killer. To love Katerina Ivanovna, who sold her stepdaughter. And Sonya, who does not think about justice, succeeds in this - for for her justice turns out to be just a particularity in the perception of man and the world. And Katerina Ivanovna beats children if they cry, even if only from hunger, is it not for the same reason why Mikolka kills a horse in Raskolnikov’s dream - she “tearth his heart”. Praskovya Pavlovna - Praskovya - the eve of the holiday (Greek) Pavel - small (lat.) "Praskovya Pavlovna" - preparation for a small holiday. Anastasia (Nastasia) - Anastasia is the resurrection. The first woman from the people in the novel, ridiculing Raskolnikov. If you look at other episodes, it will be clear that the laughter of the people brings the hero the possibility of rebirth, forgiveness, resurrection.

Secrets of names in the novel... Afanasy Ivanovich Vakhrushin - Athanasius - immortal (Greek) John - God's grace. Raskolnikov's mother receives money from the immortal grace of God, somehow connected with his father. If we recall Raskolnikov's dream, then his father in this dream is God. Seeing the common sin of people beating the horse, he first rushes to his father for help, then to the wise old man, but realizing that they cannot do anything, he rushes to protect the horse himself. But the horse is already dead, and the offender does not even notice his fists, and, finally, his father pulls him out of hell and sodom, into which he plunged himself with his insatiable thirst for justice. This is the moment at which he loses faith in the power of his father. Lack of faith in God allows him to rise up against someone else's sin, not sympathizing with it, and deprives him of consciousness of his own sinfulness. Pyotr Petrovich Luzhin Pyotr - stone (Greek). “Pyotr Petrovich” is a stone of a stone (one gets the impression that he is an absolutely insensitive person, with a heart of stone), but from a puddle, and in the novel with all his plans, he sits in a puddle. Razumikhin Dmitry Prokofievich - Razumikhin - "reason", understanding, understanding. Dmitry - dedicated to Demeter (Greek). Demeter - Greek goddess fertility, agriculture, was identified with Gaia - the earth. That is - earthly - and in the basis, and in desires, passions. Prokofy - prosperous (Greek) Razumikhin stands firmly on the ground, he does not give in to life's failures and troubles. He does not reflect on life and does not bring it under theories, like Raskolnikov, but acts, lives. You can be absolutely sure of him and his future, so Raskolnikov "leaves" his family to him, knowing that Razumikhin can be relied upon.

Secrets of names in the novel ... Porfiry Petrovich - Porfiry - purple, crimson (Greek) cf. porphyry - purple. The name is not accidental for a person who will "mock" Raskolnikov. Compare: “And having undressed Him, they put on Him a scarlet robe; and weaving a crown of thorns, they put it on His head ... "(Matt. 27, 28-29) Arkady Ivanovich Svidrigailov - Arkady - a resident of Arcadia, the central region of Ancient Greece - the Peloponnese (ancient Greek). Arcadia is a happy country (Greek). In Greek mythology, a happy idyllic country of shepherds and shepherdesses. Her king Arkad was the son of Zeus and the nymph, the companion of the goddess of hunting Artemis, Callisto. Zeus turned her into a bear to hide from the angry jealous wife Hera. Arcade was raised by the nymph Maya. Becoming a hunter, Arkad almost killed his mother, mistaking her for a wild bear. To prevent this later, Zeus turned mother and son into the constellations Ursa Major and Ursa Minor.

Secrets of names in the novel.. Ivan - God's grace. The Iskra newspaper in 1861 (July 14, No. 26) in the section “They write to us” wrote about “fats who run amok in the provinces”, Borodavkin (“fats like Pushkin’s Count Nulin”) and his Italian Greyhound “Svidrigailov”. The latter was characterized as follows: “Svidrigailov is an official of special or, as they say, special, or, as they say, of all sorts of assignments ... This, if you like, is a factor” .. . "a man of dark origin, with a dirty past, a repulsive, disgusting person, for a fresh honest look, insinuating, creeping into the soul ..." Svidrigailov has everything in his hands: he and the chairman of some new committee, purposely invented for him, he he also participates in fairs, he also tells fortunes about horse breeding, about everywhere “...” Is it necessary to compose some kind of trick, move gossip where it should be, spoil ... for this he is a ready and talented person - Svidrigailov ... And this low that offends everything human dignity, a creeping, constantly reptile personality prospers: he builds house after house, acquires horses and carriages, throws poisonous dust into the eyes of society, at the expense of which he grows fat, thumps like a walnut sponge in a soapy solution ... ”Svidrigailov has been happily and imperceptibly outrageous all his life and lives in debauchery, while having both money and influential acquaintances. He, when compared with the article, grows fat and thumps, is a person who is repulsive, but at the same time creeps into the soul. So you can write Raskolnikov's feelings when communicating with him. He is one of the paths that the main character can take. But in the end, he too is overshadowed by the consciousness of his own sinfulness. Marfa Petrovna - Martha - mistress, mistress (sir.). Peter is a stone (Greek), that is, a stone mistress. She, as a "stone mistress", "owned" Svidrigailov for seven whole years.

The secrets of names in the novel ... Avdotya Romanovna - Avdotya - good will (Greek) Roman - as already understood - Strong (God), i.e. God's favor Sister Raskolnikov is God's benevolence towards him. Pulcheria Alexandrovna writes in her letter: “... she (Dunya) loves you infinitely, more than herself ...”, these words make you remember two commandments of Christ: love your God more than yourself; love your neighbor as yourself. Dunya loves his brother like God. Pulcheria Alexandrovna - Pulcheria - beautiful (lat.) Alexander - "Alex" - to protect and "Andros" - husband, man. Those. beautiful men's protection. (not sure, but perhaps God's protection. It seems to us that this is confirmed by Raskolnikov's words on his last meeting with his mother, when he says, as if referring to God, from whom he left: “I have come to assure you that I have always loved you. ..I have come to tell you directly that even though you will be unhappy, still know that your son loves you now more than himself and that everything you thought about me, that I am cruel and do not love you, all this is not true. I will never stop loving you ... Well, that's enough, it seemed to me that I had to do this and start with this ... ") Nikolai (Mikolka) - Nikolaos (Greek) - "nika" - victory, "laos" - people , t. . victory of the people St. Nicholas the Wonderworker - Even during his lifetime, he became famous as a pacifier of the warring, a defender of the innocently condemned and a deliverer from a vain death. There is a roll call of the names of the main character in the murder of the horse and the house painter, who will take upon himself the crime of Raskolnikov. Mikolka is "stinkingly sinful", beating the creature of God, but Mikolka -

Secrets of names in the novel. one who realizes that there is no other person's sin, and who knows one form of attitude towards sin - to take the sin upon oneself. It is like two faces of one people, in their very baseness keeping the truth of God. Nikodim Fomich - Nikodim - the victorious people (Greek) Thomas - the twin, that is, the twin of the victorious people Ilya Petrovich - Ilya - the believer, the fortress of the Lord (other Hebrew) Peter - the stone (Greek), i.e. The fortress of the Lord is made of stone. Cherubim - “Cherubim” is a winged celestial being mentioned in the Bible. In the Biblical concept of heavenly beings, together with the seraphim, they are the closest to the Deity. In Khistianism - the second, following after the seraphim, rank.

The meaning of numbers in the novel "Penetrate the inner through the letter!" St. Gregory the Theologian Speaking about the symbolism of the novel "Crime and Punishment", one cannot avoid the topic of symbolic numbers, which are found quite a lot on the pages of the novel. The most repetitive are "3", "30", "4", "6", "7", "11" and their various combinations. Undoubtedly, these numbers-symbols correspond with the biblical ones. What did Dostoevsky want to say, every now and then returning us to the mysteries of the Word of God, trying to show us the prophetic and great through a seemingly insignificant, small detail? Let's think about the novel together. The Bible is not just a literal historical book, but a prophetic one. This is the Book of books, in which every word, every letter, every iota (the smallest symbol of the Hebrew alphabet, like an apostrophe) carries a certain spiritual load.

The meaning of numbers ... There is a special theological science that deals with the interpretation of the Bible, exegesis. One of the subsections of exegesis is the science of the symbolism of numbers, gematria. So, let's look at the biblical numbers and the numbers found in the novel, guided by the key rule of St. Gregory the Theologian: “Penetrate through the letter into the inner...” From the point of view of gematria, the number “3” is a multi-valued biblical symbol. It marks the Divine Trinity (the appearance of three angels to Abraham in Genesis 18; the threefold glorification of the holiness of God in Isaiah 6:1 f.; baptism in the name of the Father and the Son and the Holy Spirit, Matt. 28:19; God as the ruler of the past, present and future in Rev. 1:8). It symbolizes the world structure (three regions of the Universe: heaven, earth, underworld and the corresponding division of the Tabernacle and the Temple into three parts; three categories of creatures: inanimate, living, human - designated as water, blood and spirit in 1 Jn 5:6) You can also give the following examples: Peter's denial was repeated three times; Jesus at the Lake of Gennesaret asked Peter a question 3 times; the vision which he had (Acts 10:1) was also repeated 3 times; For 3 years he was looking for fruit on a fig tree (Lk.13:7), in 3 measures of flour the woman put leaven (Mt.13:1). Also in Rev. 3:5 there are three promises; Rev. 3:8-3 words of praise; Rev. 3:12-3 names; Rev. 3:18-3 advice, etc. 3

The meaning of the numbers... We read in Dostoevsky: Marya Marfovna left Dunya 3,000 rubles in her will. Katerina Ivanovna has three children. Nastasya gives three kopecks for a letter for Raskolnikov. 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. Sonya has a “large room with three windows”, etc. So, the repeatedly repeated number “3”, the number of perfection, leads us to the Divine Trinity and gives hope for the salvation of the heroes, for the conversion of the soul to God. It should be noted repeatedly repeated number "30". 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 Marmeladov out her last thirty kopecks 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 .. Svidrigailov wanted to offer Dunya “thousand to thirty ". So Dostoevsky, we think, wanted to show us the terrible path of apostasy and sin, which inevitably leads to death.

Meaning of numbers... The number "4" in biblical stories marks universality (according to the number of cardinal points). Hence 4 arms of the river flowing out of Eden (Gen. 2:10 ff.); 4 corners, or "horns", of the altar; the heavenly Ark in the vision of Ezekiel (ch. 1) is carried by 4 symbolic animals (cf. Rev. 4:6); in his vision, New Jerusalem was square in plan, facing 4 cardinal points. The number "4" is also found in the following places: Rev. 4:6-4 animals; Rev. 7:1–4 angels; 4 corners of the earth; 4 winds; Rev. 12:9-4 names of Satan; Rev. 14:7–4 objects created by God; Rev. 12:10–4 the perfection of the power of God; Rev. 17:15–4 names of peoples, etc. The number "4" "accompanies" Raskolnikov everywhere: on the fourth floor there was an apartment of an old pawnbroker; four floors were in the office, the room where Porfiry was sitting was the fourth on the floor. Sonya tells Raskolnikov: “Stand at the crossroads, bow, kiss the earth first ... bow to the whole world on all four sides ...” (Part 5, Ch. 4) Four days in delirium On the fourth day I came to Sonya So, “4” is fundamental a number that inspires faith in the omnipotence of God, in the fact that the spiritually “dead” Raskolnikov will definitely “resurrect”, like Lazarus, about whom Sonya reads to him: “... 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). (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 (from John). 4

The meaning of numbers... The number 7 is called a "truly holy number", as a combination of the number 3 - divine perfection, and 4 - the world order; hence it is a symbol of the union of God with man, or the communion between God and His creation. Dostoevsky in Crime and Punishment: “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 , exactly at seven o'clock in the evening, she will remain at home alone. (Part 4, Ch.5) 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) Svidrigailov also lived with Marfa Petrovna for 7 years, but for him 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 7 years”, “... for all 7 years, I started it every week ...”, “... I lived without a break for 7 years ...” ) Seven children of the tailor Kapernaumov. A seven-year-old voice singing "khutorok". Raskolnikov's dream when he introduces himself as a seven-year-old boy. 7

The meaning of numbers ... Seven hundred and thirty steps from Raskolnikov's house to the old woman's house (an interesting number is a combination of a "truly holy number" and the number of Judas pieces of silver - a path that literally tears the hero apart with a living, God's word that sounds in his soul, and a devilish, dead theory) . Seventy thousand debts of Svidrigailov, etc. It can be assumed that by "directing" Raskolnikov to the murder at exactly seven o'clock, Dostoevsky thereby dooms him to defeat in advance, since this act will lead to a break between God and man in his soul. That is why, in order to restore this “union” again, in order to become human again, the hero 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!

The meaning of numbers... The number 11 in the novel is also not accidental. The gospel parable tells that "the kingdom of heaven is like a master of a house who went out early in the morning to hire workers for his vineyard." He went out to hire workers at the third hour, at the sixth, at the ninth, and finally went out at the eleventh. And in the evening, when paying, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the last became the first in fulfillment of the highest justice. (Matt.20:1-15) Let's read in the novel: “Is there eleven o'clock? - he asked ... (time of arrival to Sonya) - Yes, - Sonya muttered. - ... now the owners' clock has struck ... 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), etc. Dostoevsky could hear this gospel parable in the sermon of St. John Chrysostom, read in Orthodox churches during Easter matins. 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 first from the last who came at the eleventh hour. (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.)

The meaning of numbers ... Rembrandt "The Parable of the Workers in the Vineyard", 1637 Unknown artist "The Parable of the Workers in the Vineyard"

The meaning of numbers... The number 6 in biblical mythology is ambiguous. The number "6" is a human number. Man was created on the sixth day of creation. Six is ​​close to seven, and “seven” is the number of the fullness of God, as mentioned above, the number of harmony: seven notes, seven colors of the rainbow, seven days of the week ... The number of the beast in the biblical Apocalypse of John the Theologian consists of three sixes: “And he (the beast ) will make sure that everyone - small and great, rich and poor, free and slaves - will be given a mark on their right hand or on their forehead, and that no one will be able to buy or sell, except for the one who has this mark, or the name of the beast, or the number of his name. Here is wisdom. Whoever has a mind, count the number of the beast, for this is the number of a man; and his number is six hundred and sixty-six…” (Revelation, chapter 13, verses 16–18) In “Crime and Punishment” we find: Raskolnikov's room in six steps. Marmeladov worked for only six days and took to drink. The young lady asks Raskolnikov for six rubles. Six rubles are given for a transfer, etc.

The meaning of numbers... It would seem that there is only one step to the deification of man. We have the image of God (man was created rational, free to choose his own path, capable of creating and loving) - it remains only to acquire a similarity. Not only be smart, but wise by wisdom God's; not just free, but consciously choose the path of spiritual enlightenment. To be not only able to create, but to become a real creator of beauty; not just able to love, but completely immersed in love - glowing with the spirit of humility and love, the Holy Spirit of mercy ... Close to seven, but still six ... So, from the above, the conclusion follows: the novel "Crime and Punishment" is filled with the smallest details which we do not perceive at first glance. These are the biblical numbers. They are reflected in our subconscious. And what Dostoevsky kept silent about is eloquently spoken to us by symbols on the pages of the novel.

The contact of the plots of the novel with the gospel motifs. So Sonya is a symbol of a truly believing person, faithful to himself and to God. She humbly bears her cross, she does not grumble. She is not looking, like Raskolnikov, for the meaning of life, since for her the main meaning is her faith. She does not adjust the world to the framework of "justice" as Katerina Ivanovna and Raskolnikov do, for her these frameworks do not exist at all, therefore she is able to love them, the murderer and stepmother, who pushed them into debauchery, without thinking whether they deserve it. Sonechka, without hesitation, gives herself all to save her beloved, and she is not afraid of hard labor and years of separation. And we have no doubt that she will be able, will not deviate from the path. This shy, incredibly shy, blushing, quiet and fragile girl, so seemingly small from the outside, turns out to be almost the most spiritually strong and persistent character in the novel ... In the novel, we will not find a description Sonechki for her "occupation". Perhaps because Dostoevsky wanted to show this only symbolically, because Sonya is “eternal Sonya” as Raskolnikov said. People with such a hard fate have always been, are and will be, but the main thing for them is not to lose faith, which does not allow them to either jump into a ditch or irretrievably wallow in debauchery. Raskolnikov, in a conversation with Luzhin, utters the following words: “But in my opinion, so you, with all your virtues, are not worth the little finger of this unfortunate girl at whom you are throwing a stone.” This expression is used in the sense of "accusing" and arose from the Gospel (John, 8, 7) A woman was brought to Jesus so that he would judge her. And Jesus said, "He who is without sin among you, let him be the first to

The contact of the plots of the novel with the gospel motifs. her stone. Mary Magdalene was such a woman before the Lord cleansed her from sin. Mary lived near the city of Capernaum. Christ settled here after he left Nazareth, and Capernaum became "His city". In Capernaum, Jesus performed many miracles and healings, and spoke many parables. “And while Jesus was reclining in the house, many tax collectors and sinners came and sat down with him and his disciples. Seeing this, the Pharisees said to His disciples: Why does your Teacher eat and drink with tax collectors and sinners? When Jesus heard this, he said, “The healthy do not need a doctor, but the sick.” In Crime and Punishment, Sonya rents a room in Kapernaumov's apartment, where sinners and sufferers, orphans and the poor converge - all sick and thirsty for healing: Raskolnikov comes here to confess to a crime; “behind the very door that separated Sonya's room ... Mr. Svidrigailov stood and, hiding, eavesdropped”; Dounia comes here too to find out about her brother's fate; Katerina Ivanovna is brought here to die; here, on a hangover, Marmeladov asked and took the last thirty kopecks from Sonya. As in the Gospel the main place of residence of Christ is Capernaum, so in Dostoevsky's novel the center is Kapernaumov's apartment. As people in Capernaum listened to truth and life, so the protagonist of the novel listens to them in Kapernaumov's apartment. How the majority of the inhabitants of Capernaum did not repent and did not believe, in spite of what was revealed to them

The contact of the plots of the novel with the gospel motifs. there was a lot (that’s why the prophecy was uttered: “And you, Capernaum, ascended to heaven, you will fall down to hell; for if the forces manifested in you were manifested in Sodom, then he would remain until this day”), so Raskolnikov all- yet here he does not renounce his “new word” yet. Analyzing the image of the protagonist of the novel, we came to the conclusion that in his tragedy Dostoevsky gives a subtle allusion to the Parable of the workers in the vineyard (Gospel of Matthew, chapter 20:1-16, see Appendix). In it, the owner of the house employs people in his garden and promises to pay a denarius. Leaving the house at three o'clock, he saw others who wanted to work for him. Hired them too. So he went out at the sixth, ninth and eleventh hour. And at the end of the day, everyone, starting with the last ones, were awarded. “And those who came about the eleventh hour received a denarius each. Those who came first thought that they would receive more, but they also received a denarius each; and, having received it, they began to grumble at the owner of the house and said: “These last worked for one hour, and you compared them with us, who endured hardship and heat. He said in response to one of them: - Friend! I don't offend you; Was it not for a denarius that you agreed with me? Take what is yours and go; but I want to give this latter the same as I give you; do I not have the power in my house to do what I want? Or is your eye envious because I'm kind?)

The contact of the plots of the novel with the gospel motifs. For the first time, having come to Sonya's apartment, Raskolnikov asks, “I'm late ... Is there eleven o'clock? .. - Yes,” Sonya muttered. - Oh yes, there is! - she suddenly hurried, as if this was the whole outcome for her, - now the owners have struck ... and I myself heard ... Yes. Raskolnikov at the beginning of the phrase, as if in indecision, is it too late, can he still enter, but Sonya assures that it is possible, and the hosts struck 11 and she herself heard. Having come to her, the hero sees a path different from the path of Svidrigailov and there is still a chance for him, there are still 11 hours ... “And those who came around the eleventh hour received a denarius!” (Matt. 20:9) “So the last will be first, and the first last, for many are called, but few are chosen” (Matt. 20:16) tragic fate Raskolnikov, we catch a hint of two more well-known biblical parables: about the resurrection of Lazarus (Gospel of John, ch. 11, 1-57 and ch. 12, 9-11) and about the prodigal son (Gospel of Luke. 15: 11-32, see Attachment). The novel includes an excerpt from the gospel about the resurrection of Lazarus. Sonya reads it to Raskolnikov in her room. It is no accident, because the resurrection

The contact of the plots of the novel with the gospel motifs. Lazarus is a prototype of the fate of the hero, his spiritual death and miraculous healing. After killing the old woman, Raskolnikov tried to prove to himself that he was not a louse, but a man and that he “dares to bend down and take” power. This murder cannot be justified by anything, neither by his poverty (and he could live on the salary of a teacher and knew this), nor by caring for his mother and sister, nor by studying, nor by the desire to secure initial capital for a better future. The sin was committed as a result of the conclusion of an absurd theory, fitting life to the rules. This theory ingrained itself in the brain of the poor student and must have haunted him for several years, weighed him down. He was tormented by questions about which he spoke to Sonya: “And do you really think that I didn’t know, for example, at least that if I had already begun to ask and interrogate myself: do I have the right to have power? - then, therefore, I have no right to have power. Or what if I ask the question: is a person a louse? - then, therefore, a person is no longer a louse for me, but a louse for someone who does not even enter his head and who goes straight without questions ... If I have been tormented for so many days: would Napoleon have gone or not? - so I already clearly felt that I was not Napoleon ... ”How much such questions can bring, coming mainly at night, before going to bed, crushing and humiliating, young, proud and smart head. “Will I be able to cross or not! .. Dare ..?”. Such thoughts corrode from the inside and can deceive, bring a person to something more terrible than the murder of an old woman - a pawnbroker. But Raskolnikov was tormented not only by this, another factor was a painful feeling not even of justice, but of its absence in the world. His dream, where Mikolka is beating a horse, symbolically describes the moment when the hero loses faith and gains confidence in the need to change the world himself. Seeing the common sin of people beating a horse, he first rushes to his father for help, then to the old man,

The contact of the plots of the novel with the gospel motifs. but he does not find her and rushes with his fists himself, but this does not help either. Here he loses faith in the power of his father, loses confidence in God. He judges the sin of others rather than sympathizes with it, and loses consciousness of his own sinfulness. How prodigal son, Raskolnikov leaves the Father, so that later, repenting, he will return. The stolen Rodion hides under a stone in a deserted courtyard, which can be correlated with a stone that closes the entrance to the cave where the deceased Lazarus lies. That is, having committed this sin, he dies spiritually, but only for a while, until he rises again. Now two paths open before him: the path of Svidrigailov and Sonya. No wonder they appear in his life at about the same moment. Svidrigailov is despair, the most cynical. It is disgusting, it repels, but at the same time it creeps into the soul. He is a true individualist in the novel. From his point of view, everything is allowed if there is no God and immortality, i.e., a person is his own measure of things, and recognizes only his own desires. There is a bit of Raskolnikov’s worldview in this, but Raskolnikov, if there is no God, then there is a theory, omnipotent and true, which creates a law based on the “law of nature”. An individualist would also rebel against this law. Raskolnikov, on the other hand, is more likely to endure contempt in relation to himself than in relation to his theory. For him, the main thing is not a person, but a theory that allows you to get everything at once and make humanity happy, take the place of God, but not “for your own flesh and lust,” as he himself says. He does not want to patiently wait for universal happiness, but to receive everything at once. Heroic attitude towards the world. The other path is Sonya, that is, hope, the most impracticable. She doesn't care about justice

The contact of the plots of the novel with the gospel motifs. like Raskolnikov, for her it is just a particularity in the perception of man and the world. Therefore, it is she who is able to love, contrary to the so-called justice of Rodion, the murderer, and her stepmother, who pushed her to sin. In addition, justice is different: Raskolnikov, after all, also kills Alena Ivanovna “in fairness,” Porfiry invites him to surrender, also motivating this with justice: “If you have taken such a step, then be strong. There's justice here." But Raskolnikov does not find justice in this. “Don’t be a child, Sonya,” he will say to Sofya Semyonovna in response to her demand to repent. What am I to blame for them? Why will I go? What will I tell them? All this is just a ghost ... They themselves harass people by the millions, and even revere them for virtue. They are rogues and scoundrels, Sonia! It turns out that justice is a highly relative concept. Concepts and questions that are unsolvable for him are empty for Sonya. They arise from his truncated and torn understanding of the world, which should be arranged according to human understanding, but is not arranged according to it. It is remarkable that Raskolnikov comes to Sonya to read the parable of the resurrection of Lazar after 4 days after the murder (not counting the days of unconsciousness, which, by the way, were also 4). "She struck vigorously at the word: four." “Jesus, grieving inwardly, comes to the tomb. It was a cave, and a stone lay on it. Jesus says, take away the stone. The sister of the deceased, Martha, says to Him: Lord! already stinks; for four days he has been in the tomb. Jesus said to her: Didn't I tell you that if you believe, you will see the glory of God? So they took away the stone from the cave where the deceased lay. Jesus raised his eyes to heaven and said: Father! thank you that you heard me. I knew that You would always hear Me; but said this for the people standing here, that they might believe that you

The contact of the plots of the novel with the gospel motifs. sent me. Having said this, He called out with a loud voice: Lazarus! get out." (John 11:38-46) The final part of the work is the epilogue. Here, in hard labor, a miracle happens - the resurrection of Raskolnikov's soul. The first time in hard labor was terrible. Neither the horrors of this life, nor the attitude of his convicts towards him, nothing tormented him like the thought of a mistake, of a blind and stupid death. “Anxiety is pointless and aimless in the present, and in the future one uninterrupted sacrifice, by which nothing was acquired - that’s what lay ahead for him in the world ... Maybe, by the strength of his desires alone, he then considered himself a person who was more allowed, than another.” Kissing the earth and turning himself in confession did not help him to repent. The theory, the consciousness of failure burned his heart, did not give rest and life. “And even if fate sent him repentance - burning remorse, breaking the heart, driving away sleep, such remorse, from terrible agony who imagines a noose and a whirlpool! Oh, he would be glad for him! Torment and tears - after all, this is also life. But he did not repent of his crime."

The contact of the plots of the novel with the gospel motifs. He reproached himself for everything - for the failure, for not being able to bear it and making a confession, for not killing himself when he stood over the river and preferred to turn himself in. “Is there really such strength in this desire to live and is it so difficult to overcome it?” But it is this desire to live and love that will bring him back to real life. So the prodigal son will return to the Father after long wanderings.

Conclusion Working on the project helped us better understand Dostoevsky's intention. Studying the Gospel and comparing the biblical texts with the novel, we came to the conclusion that, indeed, outside of Orthodoxy it is impossible to comprehend Dostoevsky. In this, one cannot but agree with the theologian and writer Mikhail Dunaev, whose books we have repeatedly referred to in the course of our work. So, the main idea of ​​the novel: a person should be able to forgive, compassion, be meek. And all this is possible only with the acquisition of true faith. As a man of deep inner convictions, Dostoevsky fully realizes Christian thought in the novel. He makes such a strong impact on the reader that you involuntarily become his like-minded person. On everything hard way the hero's purifications accompany christian images and motives, helping him resolve the conflict with himself and find God in his soul. The cross taken from Lizaveta, the Gospel on the pillow, the Christian people he meets on his way - all this renders an invaluable service on the path to purification. The Orthodox cross helps the hero gain the strength to repent, to admit his monstrous mistake. Like a symbol, a talisman that brings, radiates good, pours it into the soul of the one who wears it, the cross connects the killer with God. Sonya Marmeladova, a girl living on a “yellow ticket”, a sinner, but a saint in her thoughts and deeds, gives her strength to the criminal, exalting and elevating him. Porfiry Petrovich, persuading him to surrender to the police, to answer for his crime, instructs on the righteous path, which brings repentance and purification. Undoubtedly, life has sent support to a person who has moral strength for perfection. Is there a crime worse than crime?

Conclusion against yourself? Dostoevsky asks us. After all, a person, having decided to kill, destroys himself first of all. Christ, according to the author, personifies the harmony of man with himself, with the world, with God. The novel "Crime and Punishment" is a work in which religion is shown as a way to solve moral problems. “Love your neighbor as yourself” - only through hardship and suffering is the truth revealed to Raskolnikov and with him to us, the readers. Faith in God must destroy everything low and vile in a person. And there is no sin that cannot be atoned for by repentance. Dostoevsky speaks about this in his novel.

References 1. Dostoevsky F.M. full coll. works: in 30 tons. L., 1972-1991. 2. Bible. Old and New Testament: 3. The Gospel of Matthew. 4. Gospel of Mark. 5. Gospel of Luke. 6. Gospel of John. 7. Revelation of John the Evangelist (Apocalypse). 8. Mikhail Dunaev "Dostoevsky and Orthodox culture". 9. Bible Encyclopedic Dictionary.

The Bible application is an ancient collection of sacred texts of Christians. Throughout the ages, the Bible has been a source of faith and wisdom for mankind. Each generation discovers inexhaustible spiritual riches in it. The word "Bible" itself comes from the Greek language and is translated as "book". It is not found in the sacred books, because it appeared much later. For the first time the word "Bible" was used in relation to the collection of sacred books in the east in the 4th century by John Chrysostom and Epiphanius of Cyprus. The Bible consists of the Old and New Testaments. The Old Testament is the oldest of the two parts of the Bible. The very name "Old Testament" comes from the Christians, among the Jews the first part of the Bible is called the Tanakh. The books of the Old Testament were written between the 13th and 1st centuries. BC. The Old Testament was originally written in Hebrew, that is, in Biblical Hebrew. Later, from the 3rd c. BC e. according to the 1st century n. e. was translated into ancient Greek. Some parts of the Testament are written in Aramaic.

Applications The Old Testament consists of several types of books: historical, didactic and prophetic. Historical books include 5 books of Moses, 4 books of kings, 2 books of Chronicles and others. For teaching - the hymnal, parables, Ecclesiastes, the book of Job. Prophetic books include 4 big ones: Prophets (Daniel, Ezekiel, Isaiah, Jeremiah) and 12 small ones. There are 39 books in the Old Testament. This part of the Bible is the common Holy Book for Judaism and Christianity. The second part of the Bible - the New Testament was written in the 1st century. n. e. The New Testament is written in one of the dialects of the ancient Greek language - Koine. For Christianity, this part of the Bible is the most important, unlike Judaism, which does not recognize it. The New Testament consists of 27 books. For example, it includes 4 Gospels: from Luke, Matthew, Mark, John, as well as the Epistles of the Apostles, the Acts of the Apostles, the Revelation of John the Theologian (Book of the Apocalypse). The Bible has been translated into 2377 languages ​​of the peoples of the world and published in full in 422 languages.

Applications Book of Job - 29th part of the Tanakh, 3rd book of Ketuvim, part of the Bible (Old Testament). The story of Job is told in a special bible book- The Book of Job. This is one of the most remarkable and at the same time difficult for exegesis books. About the time of its origin and the author, as well as about the nature of the book itself, there are many different opinions. According to some, this is not a story at all, but a pious fiction, according to others, in the book, historical truth is mixed with mythical decorations, and according to still others, accepted by the church, this is quite historical story about the actual event. The same fluctuations are noticeable in opinions regarding the author of the book and the time of its origin. According to some, it was Job himself, according to others - Solomon (Shlomo), according to others - an unknown person who lived no earlier than the Babylonian captivity. The story of Job dates back to before Moses, or at least before

Applications widespread the Pentateuch of Moses. Silence in this narrative about the laws of Moses, patriarchal features in life, religion and customs - all this indicates that Job lived in the pre-Jewish era of biblical history, probably at the end of it, since in his book there are already signs of a higher development of social life. Job lives with considerable brilliance, often visits the city, where he is met with honor, as a prince, a judge and a noble warrior. He has indications of courts, written accusations and correct forms of legal proceedings. People of his time knew how to observe celestial phenomena and draw astronomical conclusions from them. There are also indications of mines, large buildings, the ruins of tombs, as well as major political upheavals, in which entire peoples, who hitherto enjoyed independence and prosperity, were plunged into slavery and distress. One can generally think that Job lived during the stay of the Jews in Egypt. The book of Job, with the exception of the prologue and epilogue, is written in highly poetic language and reads like a poem, which has been translated into verse more than once (Russian translation by F. Glinka).

Applications of the Trinity Sergius Lavra, in church literature usually the Holy Trinity Sergius Lavra is the largest Orthodox male stauropegial monastery in Russia (ROC), located in the center of the city of Sergiev Posad, Moscow Region, on the Konchura River ?. Founded in 1337 by St. Sergius of Radonezh. Since 1688 Patriarchal stauropegia. On July 8, 1742, by the imperial decree of Elizabeth Petrovna, the monastery was given the status and name of the Lavra; On June 22, 1744, the Holy Synod issued a decree to Archimandrite Arseniy on naming the Trinity-Sergius Monastery Lavra. It was closed on April 20, 1920 by the Decree of the Council of People's Commissars "On applying to the Museum of Historical and Artistic Values ​​of the Trinity-Sergius Lavra"; resumed in the spring of 1946. In the Middle Ages, at certain moments in history, he played a prominent role in the political life of North-Eastern Russia; was the backbone of the Moscow rulers. According to accepted church historiography, he took part in the struggle against the Tatar-Mongol yoke; opposed the supporters of the government of False Dmitry II in the Time of Troubles. Numerous architectural structures of the Trinity-Sergius Lavra were built by the best architects of the country in the 15th-19th centuries. The ensemble of the monastery includes more than 50 buildings for various purposes. The earliest building in the monastery is the four-pillar cross-domed Trinity Cathedral made of white stone, built in 1422-1423 on the site of a wooden church of the same name. Around the Trinity Cathedral, the architectural ensemble of the Lavra gradually formed. Built by the successor of the founder of the monastery Nikon "in honor and praise" Saint Sergius Radonezh, and laid in the year of the glorification of the latter in the saints.

Trinity Sergiev Lavra

Applications O?ptina Pu?styn - a monastery of the Russian Orthodox Church, located near the city of Kozelsk Kaluga region, in the Kaluga diocese. According to legend, it was founded at the end of the XIV century by a repentant robber named Opta (Optia), in monasticism - Macarius. Until the 18th century, the material condition of the monastery was difficult. In 1773 there were only two monks in the monastery - both were very old men. AT late XVIII century the situation has changed. In 1821 a skete was established in the monastery. Especially honored "hermits" settled here - people who spent many years in complete seclusion. The entire spiritual life of the monastery began to be in charge of the "elder" (the abbot remained the administrator). Suffering people were drawn to the monastery from all sides. Optina became one of the spiritual centers of Russia. Donations began to arrive; the monastery acquired land, a mill, equipped stone buildings. Episodes in the life of some writers and thinkers of Russia are connected with Optina Pustyn. V. S. Solovyov brought F. M. Dostoevsky to Optina after a difficult drama - the death of his son in 1877; he lived in the skete for some time; some of the details in The Brothers Karamazov were inspired by this trip. The prototype of Elder Zosima was Elder Ambrose (St. Ambrose of Optina, canonized in 1988), who at that time lived in the skete of Optina Hermitage. The sister of Count L. N. Tolstoy, anathematized in 1901, Maria Nikolaevna Tolstaya († April 6, 1912) was a resident of the Shamorda Convent founded nearby by Elder Ambrose, where she died, taking monastic vows three days before her death. On January 23, 1918, by decree of the Council of People's Commissars, Optina Hermitage was closed, but the monastery was still kept under the guise of an "agricultural artel". In the spring of 1923, the agricultural artel was closed, the monastery came under the jurisdiction of Glavnauka. as a historical monument

Optina Pustyn was named "Museum of Optina Pustyn". In 1939-1940, Polish prisoners of war (about 2.5 thousand people) were kept in Optina Hermitage, many of whom were later shot. In 1987 the monastery was returned to the Russian Orthodox Church.

Appendix Parable "The reward of the workers in the vineyard" The owner of the house went out early in the morning to hire workers in his vineyard and, having agreed with the workers on a denarius for the day, he sent them to his vineyard. Going out about the third hour, he saw others standing idle in the marketplace, and he said to them: “You also go to my vineyard, and whatever is right, I will give you. They went. Going out again about the sixth and ninth hours, he did the same. Finally, going out about the eleventh hour, he found others standing idle, and said to them: - Why are you standing here idle all day? They tell him: Nobody hired us. He says to them: - Go and you in my vineyard, and what will follow, you will receive. When evening came, the lord of the vineyard said to his steward: “Call the workers and pay them their wages, starting from the last to the first. And those who came about the eleventh hour received a denarius each. Those who came first thought that they would receive more, but they also received a denarius each; and, having received it, they began to grumble at the owner of the house and said: “These last worked for one hour, and you compared them with us, who endured the burden of the day and the heat. He said in response to one of them: - Friend! I don't offend you; Was it not for a denarius that you agreed with me? Take yours and go; but I want to give this latter the same as I give you; Am I not in my power to do what I want? Or is your eye envious because I am kind? (Matt.20:1-15)

Rembrandt, The Parable of the Workers in the Vineyard, 1637

Appendix The parable of the prodigal son. Some man had two sons; and the youngest of them said to his father, Father! give me the part of the estate next to me. And the father divided the estate between them. After a few days younger son, having collected everything, he went to a far side and there he squandered his possessions, living dissolutely. When he had lived all, there came a great famine in that country, and he began to be in need; and he went and attached himself to one of the inhabitants of that country, and he sent him into his fields to feed swine; and he was glad to fill his belly with horns that swine ate, but no one gave him. When he came to his senses, he said: how many hirelings from my father have plenty of bread, and I am dying of hunger; I will get up and go to my father and say to him: Father! I have sinned against heaven and before you, and I am no longer worthy to be called your son; accept me as one of your hired hands. He got up and went to his father. And while he was still far away, his father saw him and had compassion; and, running, fell on his neck and kissed him. The son said to him: Father! I have sinned against heaven and before you, and I am no longer worthy to be called your son. And the father said to his servants: Bring the best clothes and dress him, and put a ring on his hand and shoes on his feet; and bring a fattened calf, and kill it; Let's eat and be merry! for this son of mine was dead and is alive again; he was lost and is found. And they started having fun. His eldest son was in the field; and returning, when he approached the house, he heard singing and rejoicing; and calling one of the servants, he asked: what is this? He said to him: Your brother has come, and your father killed the fatted calf, because he received him healthy. He got angry and didn't want to come in. His father went out and called him. But he said in response to his father: behold, I have served you for so many years and have never transgressed your orders, but you have never given me even a kid to have fun with my friends; and when this son of yours, who had squandered his possessions with harlots, came, you slaughtered for

The parable of the prodigal son of his fattened calf. He said to him: My son! you are always with me, and all that is mine is yours, and it was necessary to rejoice and be glad that this brother of yours was dead and is alive again, was lost and was found. (Luke 15:11-32)

Applications Resurrection of Lazarus. The feast of the Jewish Passover was approaching, and with it came the last days of the life of Jesus Christ on earth. The malice of the Pharisees and the leaders of the Jews reached its extreme; their hearts were petrified from envy, lust for power and other vices; and they were unwilling to accept the meek and merciful teaching of Christ. They were waiting for an opportunity to seize the Savior and put him to death. And, behold, now their time drew near; the power of darkness came, and the Lord was betrayed into human hands. At this time, in the village of Bethany, Lazarus, the brother of Martha and Mary, fell ill. The Lord loved Lazarus and his sisters and often visited this pious family. When Lazarus fell ill, Jesus Christ was not in Judea. The sisters sent to say to Him: "Lord! Behold, whom You love is sick." Jesus Christ, hearing this, said: "This disease is not to death, but to the glory of God, may he be glorified through it. The Son of God."

Appendix After spending two days at the place where he was, the Savior said to the disciples: "Let's go to Judea. Lazarus, our friend, has fallen asleep; but I'm going to wake him up." Jesus Christ told them about the death of Lazarus (about his death dream), and the disciples thought that He was talking about an ordinary dream, but since sleep during an illness is a good sign of recovery, they said: "Lord! if you fall asleep, then you will recover" . Then Jesus Christ spoke directly to them. "Lazarus is dead, and I rejoice for you that I wasn't there, (that's so) that you might believe. But let's go to him." When Jesus Christ approached Bethany, Lazarus had already been buried for four days. Many Jews from Jerusalem came to Martha and Mary to comfort them in their sorrow. Martha was the first to know about the coming of the Savior and hurried to meet Him. Maria, in deep sorrow, sat at home. When Martha met the Savior, she said: "Lord, if You were here, my brother would not have died. But even now I know that what You ask God will give You." Jesus Christ tells her: "Your brother will rise again." Martha said to him: "I know that he will rise on the resurrection, on the last day, (that is, on the general resurrection, at the end of the world)." Then Jesus Christ said to her: "I am the resurrection and the life; he who believes in Me, even if he dies, will live. And everyone who lives and believes in Me will never die. Do you believe this?" Martha answered Him: "Yes, Lord! I believe that You are the Christ, the Son of God, who has come into the world." After that, Martha quickly went home and quietly said to her sister Mary: "The teacher is here and is calling you." Mary, as soon as she heard this joyful news, hastily got up and went to Jesus Christ. The Jews who were with her in the house and consoled her, seeing that Mary hastily got up and went out, followed her, thinking that she had gone to her brother's grave to weep there.

The Savior had not yet entered the village, but was at the place where Martha met Him. Mary came to Jesus Christ, fell at His feet and said, "Lord, if You had been here, my brother would not have died." Jesus Christ, seeing Mary weeping and the Jews who came with her, Himself grieved in spirit and said: "Where did you put him?" They say to Him: "Lord, come and see." Jesus Christ wept. When they approached the tomb (grave) of Lazarus - and it was a cave, and the entrance to it was littered with a stone - Jesus Christ said: "Take away the stone." Martha said to Him: "Lord, it already stinks (that is, the smell of decomposition), because it has been in the tomb for four days." Jesus says to her, "Didn't I tell you that if you believe, you will see the glory of God?" So, they rolled away the stone from the cave. Then Jesus lifted up his eyes to heaven and said to God his Father: “Father, I thank you that you heard me. . Then, having said these words, Jesus Christ called out with a loud voice: "Lazarus, go out." And he died out of the cave, all entwined hand and foot with funeral shrouds, and his face was tied with a scarf (this is how the Jews dressed the dead). Jesus Christ told them: "Untie him, let him go." Then many of the Jews who were there and saw this miracle, believed in Jesus Christ. And some of them went to the Pharisees and told them what Jesus had done. The enemies of Christ, the chief priests and Pharisees, became worried and, fearing that all the people would not believe in Jesus Christ, they gathered a Sanhedrin (council) and decided to kill Jesus Christ. The rumor about this great miracle became

The app is distributed throughout Jerusalem. Many Jews came to the house of Lazarus to see him, and when they saw him, they believed in Jesus Christ. Then the chief priests decided to kill Lazarus as well. But Lazarus, after his resurrection by the Savior, lived for a long time and was then a bishop on the island of Cyprus, in Greece. (Gospel of John, ch. 11, 1-57 and ch. 12, 9-11). Mikhail Mikhailovich Dunaev Years of life: 1945 - 2008. Well-known scientist, teacher, theologian. Doctor of Philology, Doctor of Theology. Author of more than 200 books and articles, including a multi-volume study "Orthodoxy and Russian Literature".

The influence of Christianity can be traced in the work of many Russian writers, since belief in the triune god and his son Jesus Christ has been a generally accepted Russian religion since ancient times. Dostoevsky's novel "Crime and Punishment" did not escape this fate. Religion in the novel is presented by the author as an opportunity given to the protagonist in order to escape from the moral and ethical abyss of remorse. The main idea of ​​the novel can be expressed as follows: a person must be meek, be able to forgive and sympathize, and all this is possible only with the acquisition of "true faith". This is a purely Christian point of view, so the work can be described as a "sermon novel".
Sin and virtue, pride and repentance are clearly opposed to each other in Dostoevsky's novel. The image of a voluntary martyr is especially pronounced in the work. It is no coincidence that the author introduces into the text such characters as Sonya Marmeladova, Dunya Raskolnikova, Mikolka. These heroes personify purity and compassion for others.
Sonya goes to the bar to provide for her family, in addition, she helps Raskolnikov to repent and pushes him to confession through Bible reading and exhortation. It seems to me that Dostoevsky introduced the scene of reading the Gospel in order to show how moral Raskolnikov and Sonya are. The episode of reading the Gospel in the novel is psychologically the most intense and interesting. The efforts of the heroine were crowned with success. The apotheosis of joint conversations was the words of Raskolnikov: “Let's go together. I came to you. We are cursed together, let's go together!" The image of Sonya is comparable to the image of Mary Magdalene, the notorious biblical harlot.
Dunya, the sister of the protagonist, sacrifices herself for her brother and family, agreeing to marry Luzhin so that Raskolnikov will stop living in poverty. The image of Dunya is associated with Jesus Christ, who accepted his fate to atone for our sins and simply out of philanthropy.
Mikolka also tries to "suffer for others" by taking the blame; he can be called Dunya's double, but it is impossible to compare him with the son of God, because he made a senseless sacrifice, possibly preventing Raskolnikov from repenting and confessing, and his good spiritual impulse would turn into evil.
Interesting for understanding Dostoevsky's position is the image of Svidrigailov, which can be compared with the image of Judas. Marfa Petrovna redeems Svidrigailov from prison and gives him a comfortable life, and he betrays his wife, who gave him a receipt, becomes the cause of her death. Later, repentance comes to him, as to Judas, and he commits the sin of suicide. This act can be compared with the self-hanging of Judas on an aspen. Svidrigailov already during his lifetime has his own idea of ​​the afterlife. His hell appears before us in the form of a "black bath with spiders and mice."
The novel has a very strong connection with religion. The numbers that are symbolic in Christianity are the numbers three and seven. Dostoevsky repeatedly uses these symbols: for example, Raskolnikov rings the bell at the door three times and hits the old woman on the head the same number of times; there are only three meetings with Porfiry Petrovich. The number seven also carries a certain semantic load: Svidrigailov lived with Marfa Petrovna for seven years; Raskolnikov learns that it is at the seventh hour that Lizaveta will not be at home, therefore, he commits a crime “at the seventh hour”; in the epilogue, the hero has to serve seven years of hard labor. Thus, Dostoevsky wants to show that each hero has his own path to God, and no matter what happens, the hero will pass this path.
Rodion Raskolnikov himself personifies the image of a repentant sinner. After killing the old woman, the hero begins to experience mental anguish that is incompatible with his subtle, intelligent mental organization. Raskolnikov was initially punished, but not for the murder of the old woman and Lizaveta, but for his sinful theory, which consisted in dividing people into two grades, the lower - "trembling creatures" - and the higher - "Napoleons", which absolutely contradicts the canons of Christianity, because in In this religion, all people are equal.
Also in the novel there are such religious images as the cross and the Gospel. Sonya gives Raskolnikov the Gospel that belonged to Lizaveta, and this is a kind of punishment for the hero, as if a constant reminder of what he had done. In addition, Sonya puts her cross on Raskolnikov’s neck, and she herself takes Lizavetin, and the concept of “cross” acquires figurative meaning: they both carry a common cross of suffering and repentance, followed by spiritual purification, rebirth to life.
So, we can conclude that the idea of ​​F. M. Dostoevsky's novel "Crime and Punishment" is that the characters go through the path of suffering in order to come to the truth, and it is the biblical motifs and images that help the reader understand the meaning of the work.

• “Life is boring without a moral purpose…” (F. M. Dostoevsky). (According to the works of A. S. Pushkin, M. Yu. Lermontov, F. M. Dostoevsky) - -
• “Art creates good people, shaping the human soul” (V. G. Belinsky). (Based on the works of A. S. Pushkin, F. M. Dostoevsky, A. P. Chekhov) - -

Man in Dostoevsky's novels feels his unity with the whole world, he feels his responsibility to the world. Hence the global nature of the problems sharply posed by the writer, their universal character. Hence the writer's appeal to eternal, biblical themes and ideas.

In his life, F. M. Dostoevsky often turned to the Gospel. He found answers to vital, exciting questions in it, borrowed individual images, symbols, motives from the gospel parables, creatively processing them in his works. Biblical motifs can be clearly seen in Dostoevsky's novel Crime and Punishment.

Thus, the image of the protagonist in the novel resurrects the motive of Cain, the first murderer on earth. When Cain committed murder, he became an eternal wanderer and exile in his native land.

The same thing happens with Dostoevsky's Raskolnikov: having committed a murder, the hero feels alienated from the world around him. Raskolnikov has nothing to talk about with people, “nothing more, never with anyone, he can’t talk now”, he “as if cut himself off from everyone with scissors”, his relatives seem to be afraid of him. Having confessed to the crime, he ends up in hard labor, but even there they look at him with distrust and hostility, they do not like him and avoid him, once they even wanted to kill him as an atheist.

However, Dostoevsky leaves the hero the possibility of a moral rebirth, and, consequently, the possibility of overcoming that terrible, impassable abyss that lies between him and the world around him.

Another biblical motif in the novel is that of Egypt. In dreams, Raskolnikov imagines Egypt, golden sand, a caravan, camels. Having met a tradesman who called him a murderer, the hero again recalls Egypt. “If you look at the hundred-thousandth line, that’s evidence in the Egyptian pyramid!” Rodion thinks in fright. Speaking about two types of people, he notices that Napoleon forgets the army in Egypt, Egypt for this commander becomes the beginning of his career. Svidrigailov also recalls Egypt in the novel, noting that Avdotya Romanovna has the nature of a great martyr, ready to live in the Egyptian Desert.

This motif has several meanings in the novel. First of all, Egypt reminds us of its ruler, the pharaoh, who was cast down by the Lord for pride and hardness of heart. Realizing their “proud power”, Pharaoh and the Egyptians greatly oppressed the people of Israel, who came to Egypt, not wanting to reckon with their faith. Ten plagues of Egypt, sent by God to the country, could not stop the cruelty and pride of the pharaoh. And then the Lord crushed the “pride of Egypt” with the sword of the king of Babylon, destroying the Egyptian pharaohs, and the people, and the cattle; turning the land of Egypt into a lifeless desert.

The biblical tradition here recalls the judgment of God, the punishment for self-will and cruelty. Egypt, which appeared in a dream to Raskolnikov, becomes a warning to the hero. The writer seems to remind the hero all the time how the “proud power” of the rulers, the powerful of this world, ends.

The king of Egypt compared his greatness with the greatness of the Lebanese cedar, which "flaunted with the height of its growth, the length of its branches ...". “The cedars in the garden of God did not darken it; the cypress trees were not equal to its branches, and the chestnut trees were not the size of its branches, not a single tree in the garden of God was equal to it in its beauty. Therefore, thus said the Lord God: because you have grown tall and have set your top among the thick boughs, and his heart was proud of his greatness, - therefore I gave him into the hands of the ruler of the nations; he dealt with it as it should... And strangers cut it down... and its branches fell on all the valleys; and its branches were crushed in all the hollows of the earth…” – we read in the Bible1.

The mention of Svidrigailov about the Egyptian desert, where long years there was the great martyr Mary of Egypt, who was once a great sinner. Here the theme of repentance and humility arises, but at the same time - and regret about the past.

But at the same time, Egypt reminds us of other events - it becomes a place where mother of God hides with the baby Jesus from the persecution of King Herod (New Testament). And in this aspect, Egypt becomes for Raskolnikov an attempt to awaken humanity, humility, generosity in his soul. Thus, the motive of Egypt in the novel also emphasizes the duality of the hero's nature - his exorbitant pride and hardly less natural generosity.

The gospel motive of death and resurrection is connected with the image of Raskolnikov in the novel. After he committed the crime, Sonya reads to Rodion the gospel parable about the deceased and resurrected Lazar. The hero tells Porfiry Petrovich about his belief in the resurrection of Lazarus.

The same motif of death and resurrection is realized in the very plot of the novel. This connection between Raskolnikov and the biblical Lazarus was noted by many researchers of the novel (Yu. I. Seleznev, M. S. Altman, Vl. Medvedev). Let's try to trace the development of the gospel motif in the plot of the novel.

Let's remember the plot of the parable. Not far from Jerusalem was the village of Bethany, where Lazarus lived with his sisters, Martha and Mary. One day he fell ill, and his sisters, being in great sorrow, came to Jesus to report their brother's illness. However, Jesus replied, "This sickness is not unto death, but to the glory of God, may the Son of God be glorified through it." Soon Lazar died, and he was buried in a cave, blocking the entrance with a stone. But four days later Jesus came to the sisters of Lazarus and said that their brother would be resurrected: “I am the resurrection and the life; He who believes in me, even if he dies, will live... Jesus went to the cave and called Lazarus, and he came out, "wrapped hand and foot in grave clothes." Since then, many Jews who saw this miracle came to believe in Christ.

The motive of Lazarus in the novel sounds throughout the story. After committing the murder, Raskolnikov becomes a spiritual dead man, life seems to leave him. Rodion's apartment looks like a coffin. His face is deathly pale, like that of a dead man. He cannot communicate with people: those around him, with their care, fuss, cause anger and irritation in him. The deceased Lazar lies in a cave, the entrance to which is littered with a stone, while Raskolnikov hides the loot under the stone in Alena Ivanovna's apartment. In the resurrection of Lazarus, his sisters Martha and Mary take a lively part. It is they who lead Christ to the cave of Lazarus. In Dostoevsky, Sonya gradually leads Raskolnikov to Christ. Raskolnikov returns to life, discovering his love for Sonya. This is the resurrection of the hero in Dostoevsky. In the novel, we do not see Raskolnikov's remorse, but in the finale he is potentially ready for this.

Other biblical motifs in the novel are associated with the image of Sonya Marmeladova. The biblical motif of adultery, the motif of suffering for people and forgiveness, the motif of Judas is associated with this heroine in Crime and Punishment.

Just as Jesus Christ accepted suffering for people, in the same way Sonia accepts suffering for her loved ones. Moreover, she is aware of all the abomination, the sinfulness of her occupation and is hard going through her own situation.

“It’s more fair,” exclaims Raskolnikov, “it would be a thousand times fairer and more reasonable to put your head in the water and do it all at once!

- What will happen to them? Sonya asked weakly, looking at him with pain, but at the same time, as if not at all surprised at his proposal. Raskolnikov looked at her strangely.

He read everything in one glance. So, indeed, she herself had already had this idea. Perhaps many times she seriously and in despair thought about how to end it all at once, and so seriously that now she was almost not surprised at his proposal. She didn't even notice the cruelty of his words... But he fully understood to what monstrous pain she was tormented, and for a long time, by the thought of her dishonorable and shameful position. What, what could, he thought, still stop her determination to end it all at once? And then he fully understood what these poor, little orphans meant to her, and this pitiful, half-mad Katerina Ivanovna, with her consumption and banging her head against the wall.

We know that Sonya was pushed onto this path by Katerina Ivanovna. However, the girl does not blame her stepmother, but, on the contrary, defends, realizing the hopelessness of the situation. “Sonechka got up, put on a handkerchief, put on a burnous coat and left the apartment, and at nine o’clock she came back. She came, and straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her.

Here one can feel the subtle motive of Judas, who sold Christ for thirty pieces of silver. Characteristically, Sonya also takes out the last thirty kopecks to Marmeladov. The Marmeladov family "betrays" Sonya to a certain extent. This is how Raskolnikov views the situation at the beginning of the novel. The head of the family, Semyon Zakharych, is helpless in life, like a little child. He cannot overcome his pernicious passion for wine and perceives everything that happens fatally, as a necessary evil, not trying to fight fate and resist circumstances. As V. Ya. Kirpotin noted, Marmeladov is passive, submissive to life and fate. However, the motive of Judas does not sound clear in Dostoevsky: the writer blames life itself, capitalist Petersburg, indifferent to the fate of the “little man”, rather than Marmeladov and Katerina Ivanovna, for the misfortunes of the Marmeladov family.

Marmeladov, who had a fatal passion for wine, introduces the motif of communion into the novel. Thus, the writer emphasizes the original religiosity of Semyon Zakharovich, the presence in his soul of true faith, something that Raskolnikov lacks so much.

Another biblical motif in the novel is the motif of demons and demonism. This motif is already set in the landscapes of the novel, when Dostoevsky describes the unbearably hot Petersburg days. “On the street again the heat was unbearable; even a drop of rain all these days. Again dust, brick, lime, again the stench from the shops and taverns... The sun shone brightly into his eyes, so that it hurt to look, and his head was completely dizzy...”

Here the motif of the midday demon arises, when a person falls into a rage under the influence of the scorching sun, an overly hot day. In David's song of praise, this demon is called "a pestilence that devastates at noon": "You will not be afraid of terrors in the night, an arrow flying by day, a plague that walks in darkness, a pestilence that devastates at noon."

In Dostoevsky's novel, Raskolnikov's behavior often reminds us of the behavior of a demoniac. So, at some point, the hero seems to realize that a demon is pushing him to kill. Finding no way to take the ax from the mistress of the kitchen, Raskolnikov decides that his plans have collapsed. But quite unexpectedly, he finds an ax in the janitor's room and again strengthens his decision. "If it's not reason, it's a demon!" he thought, smiling strangely.

Raskolnikov resembles a demoniac even after the murder he committed. “One new, irresistible feeling took possession of him more and more almost every minute: it was some kind of endless, almost physical, disgust for everything he met and around, stubborn, vicious, hateful. All the people he met were disgusting to him—their faces, their gait, their movements were disgusting. He would just spit on someone, would bite, it seems, if someone spoke to him ... "

The feelings of the hero during his conversation with Zametov are also characteristic, when they both look in the newspapers for information about the murder of Alena Ivanovna. Realizing that he is suspected, Raskolnikov, however, does not feel fear and continues to "tease" Zametnov. “And in an instant, he recalled with extreme clarity of sensation one recent moment when he stood behind the door with an ax, the lock jumped, they cursed and broke behind the door, and he suddenly wanted to scream at them, swear at them, stick out their tongue, tease them laugh, laugh, laugh, laugh!”

The motive of laughter accompanies Raskolnikov throughout the novel. The same laughter is also present in the hero's dreams (a dream about Mikolka and a dream about an old pawnbroker). B. S. Kondratiev notes that. laughter in Raskolnikov's dream is "an attribute of the invisible presence of Satan." It seems that the laughter that surrounds the hero in reality, and the laughter that sounds in him, has the same meaning.

The motive of the demon is also developed in the novel by Svidrigailov, who all the time seems to be tempting Rodion. As Yu. Karyakin notes, Svidrigailov is "a kind of devil of Raskolnikov." The first appearance of this hero to Raskolnikov is in many ways similar to the appearance of the devil to Ivan Karamazov. Svidrigalov appears as if from delirium, he seems to Rodion a continuation of a nightmare about the murder of an old woman.

The motive of demons arises in Raskolnikov's last dream, which he saw already in hard labor. It seems to Rodion that "the whole world is condemned as a sacrifice to some terrible, unheard of and unprecedented pestilence." Special spirits, gifted with mind and will, were infused into the bodies of people - trichines. And people, becoming infected, became possessed and crazy, considering the only true, true, only their own truth, their convictions, their faith, and neglecting the truth, convictions and faith of another. These disagreements led to wars, famines, and fires. People left their crafts, agriculture, they "stabbed and cut", "killed each other in some kind of senseless malice." The ulcer grew and moved on and on. All over the world only a few people could be saved, pure and chosen, destined to start a new kind of people and a new life, to renew and cleanse the earth. However, no one has ever seen these people.

Raskolnikov’s last dream echoes the Gospel of Matthew, where the prophecies of Jesus Christ are revealed that “people will rise against people and kingdom against kingdom”, that there will be wars, “famines, plagues and earthquakes”, that “love will grow cold in many”, people they will hate one another, "they will betray each other" - "the one who endures to the end will be saved."

Here the motif of the Egyptian execution also arises. One of the plagues sent by the Lord to Egypt to humble the pride of the pharaoh was the pestilence. In Raskolnikov's dream, the pestilence gets, as it were, a concrete incarnation in the form of trichinas that inhabit the bodies and souls of people. The Trichins here are nothing but demons that have entered people.

We often meet this motif in biblical parables. Thus, in the Gospel of Luke we read how the Lord heals a possessed man in Capernaum. “There was a man in the synagogue who had an unclean demonic spirit, and he cried out with a loud voice: leave it; What do you care about us, Jesus of Nazarene? You came to destroy us; I know You who You are, Holy One of God. Jesus forbade him, saying: shut up and come out of him. And the demon, turning him around in the middle of the synagogue, went out of him without hurting him in the least.”

In the Gospel of Matthew we read about the healing of a mute possessed in Israel. When the demon was cast out of him, he began to speak. There is also a well-known parable about how demons, leaving a man, entered a herd of pigs, which rushed into the lake and drowned. The possessed man was healed and became completely healthy.

In Dostoevsky, demonism becomes not a physical disease, but a disease of the spirit, pride, selfishness and individualism.

Thus, in the novel "Crime and Punishment" we find a synthesis of the most diverse biblical motifs. This is the writer's message to eternal themes naturally. As V. Kozhinov notes, "Dostoevsky's hero is constantly turned to the whole vast life of mankind in its past, present and future, he constantly and directly correlates himself with it, all the time measures himself by it."