- through numerical symbolism to show the complexity and depth of Dostoevsky's novel, the role of biblical motifs in the novel "Crime and Punishment";
- formation of skills of independent research work;
- to instill an attentive attitude to the text, to educate a competent, thinking reader.
Work form: group, individual
Working methods: observation, research, “immersion” in the text.
The goal is to explore the symbolic meaning of the number 7, find confirmation in the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 4, find confirmation in the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 11, find confirmation in the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 30, find confirmation in the text of the entire novel, and present the results.
The goal is to find key words, sentences, phrases in the text of the novel that confirm the phrase (see below).
Individual tasks
- Analyze Raskolnikov's dream in the epilogue and correlate it with the Gospel, draw conclusions. When does true repentance occur?
- Consider the symbolic meaning of the word "BRIDGE"
During the classes
1. The word of the teacher. Message about the purpose of the lesson.
Image-symbols are those key vertex points around which the action of the novel "Crime and Punishment" is concentrated. Acquaintance with the gospel text will help us comprehend the entire philosophical and poetic system of the writer. The poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the "superman" from the criminal theory, and his familiarization with the world of people.
Dostoevsky was influenced by the Gospel not only as a religious and ethical book, but also as a work of art. In 1850, in Tobolsk, before being sent to hard labor, the wives of the Decembrists presented Dostoevsky with a copy of the Gospel. It was the only book allowed in prison. Dostoevsky recalls: “They blessed us on a new path and baptized us. For four years this book lay under my pillow in hard labor. After hard labor, Dostoevsky convinces himself that Christ is the embodiment of purity and truth, the ideal of a martyr who took upon himself the salvation of mankind.
The symbolism of the novel is connected with the gospel parables. Let's present the results of our research.
2. Student performances. Submit your research text.
Group results
As we can see, Dostoevsky does not accidentally use this number in the novel. The number 30 is associated with a parable in which Judas betrayed Christ for 30 silver coins.
Group results
The number 7 is also the most stable and frequently repeated in the novel. The novel has 7 parts: 6 parts and an epilogue. The fatal time for Raskolnikov is 7 pm. The number 7 literally haunts Raskolnikov. Theologians call the number 7 a truly holy number, since the number 7 is a combination of the number 3, symbolizing divine perfection (Holy Trinity) and the number 4, the number of the world order. Therefore, the number 7 is a symbol of the "union" of God and man. Therefore, by “sending” Raskolnikov to the murder at exactly 7 pm, Dostoevsky dooms him to defeat in advance, since he wants to break this union. 
That is why, in order to restore this union, in order to become human again, the hero must again pass through this truly holy number. In the epilogue of the novel, the number 7 appears, but not as a symbol of death, but as a saving number.
Group results
The number 4 is often repeated in the novel. The stairs and the number 4 are connected, since the stairs lead to a certain repeated level of height - to the fourth.
In each case, this setting marks a critical moment in Raskolnikov's psychic evolution: the murder, the search for the hiding place, the first meeting with Sonya, and the final confession.
Conclusions: The number 4 is fundamental. There are four seasons, four gospels, four cardinal directions. Here, for example, are Sonya's words: "Stand at the crossroads, bow to the whole world on all four sides."
The reading about Lazar takes place four days after Raskolnikov's crime, i.e. four days after his moral death.
The connection between Raskolnikov and Lazar is not interrupted throughout the novel. Raskolnikov's room is likened to a coffin more than once. Under the stone he buried the loot. The words of Christ “take away the stone” mean: repent, confess your crime.
The juxtaposition with Lazarus is developed deeply and consistently in the novel.
Group results
If we write out from Crime and Punishment all the places where Raskolnikov is somehow likened to dead, then in each quote there will be any one sign of the deceased, all together they will make up a complete description of him. The writer first described the dead man in one sentence, which he then broke up and scattered debris throughout the book. And if you collect the pieces, picking one up to the other, as children make up a cut picture, then the following will be revealed:
A pale dead man lies in a coffin, they hammer the coffin with nails, carry him out, bury him, but he rises again.
Here is how the “wreckage” of this imaginary phrase is laid out:
Dostoevsky constantly emphasizes the pallor of Raskolnikov.
“all pale as a handkerchief”
“he turned terribly pale”
“turned his deathly-pale face towards her,” etc.
The adjective "dead" follows Raskolnikov like a shadow, and he himself is constantly likened to the dead.
“he stopped and fell silent as if dead”, etc.
Raskolnikov often rolls around and lies motionless
“He lay down on the sofa and turned to the wall in complete exhaustion”
“He lay silent all the time, on his back,” etc.
Dostoevsky constantly emphasizes that Raskolnikov's apartment looks like a coffin.
“What a bad apartment you have, Rodya, like a coffin,” said Pulcheria Alexandrovna.
HAMMER THE LID WITH NAILS
The writer explains this episode, not related to the events of the novel
“Some kind of sharp, incessant knocking came from the yard; something somewhere seemed to be hammered in, some kind of nail”
The fact that they endure him, it seems to him delirious
“It seemed to him that a lot of people were gathering around him and they wanted to take him and take him out somewhere”
Raskolnikov is about to leave, his mother and sister reproach him for not being with them enough.
“Something you are definitely burying me or saying goodbye forever,” he said in a strange way.
RESURRECTS
“But he was resurrected, and he knew it, he felt it with all his renewed being”
The resurrection is briefly described in the epilogue. But the whole novel fits in between the phrases.
Group results
The repeated reference to the number 11 in the novel is directly related to the gospel text.
The number 11 is not accidental here. Dostoevsky well remembered the gospel parable about the vinedresser and workers.
(students tell a story).
Referring Raskolnikov's meeting with Marmeladov, Sonya and Porfiry Petrovich to 11 o'clock, Dostoevsky recalls that it is not too late at this gospel hour to confess and repent, to become the first from the last to come at the eleventh hour.
Individual tasks
Let's see why Raskolnikov crosses the bridge so often.
Student response:
- On the bridge, as if on the border of life and death, Raskolnikov either dies or comes to life.
- Having stepped onto the bridge after a terrible dream on Vasilyevsky Island, he suddenly feels that he is free from the spell that has tormented him lately.
- Full of strength and energy after playing “cat and mouse” with Zametov, he steps on the bridge, he is seized by complete apathy ... "
He also crosses the bridge when he goes to confess to the murder.
The bridge is a kind of Lethe (in mythology, the river of the dead).
Many times Raskolnikov crosses the Neva - as a kind of Leta - and each time Dostoevsky notes his crossing with special care.
Let us turn to the gospel name Martha. Why did the writer call Svidrigailov's wife by that name? What role does this parable play in the novel?
Student's answer: (The parable of Martha and Mary).
Student answer: (analysis of the episode “Raskolnikov’s Dream in the Epilogue”)
Conclusions: The idea of the purifying power of suffering is clearly formulated by Dostoevsky in the epilogue. Raskolnikov's dream echoes a parable
Gospels about the end of the world.
Lesson Conclusions
Teacher's word.
Dostoevsky can rightly be called an artist-prophet. He foresaw the tragic situation in which humanity and the modern world found themselves. The writer is afraid of everything: the power of money, the decline of morality, the abundance of crimes. Only today, when our state and the whole world are on the brink of an abyss, when it has become clear that violence in any form can lead to a catastrophe, to the destruction of life on Earth, is the prophetic meaning of Dostoevsky's formula “Humble yourself, proud man!”
There are many symbolic details in Dostoevsky's novel Crime and Punishment. Landscapes, interiors, portraits, names of characters are symbolic.
Symbolism of names
The protagonist of the novel is Rodion Romanovich Raskolnikov. The name itself Rodion- of Greek origin, which means "inhabitant of the island of Rhodes". Etymologically, the words “ore”, “red”, “rose” ascend to the same root. "Ore" - in the Old Slavonic language means "blood". So, already in the very name of the protagonist, the motif of blood is set, which is then realized in the plot.
However, there is a connection here with the theory of the hero itself. The island of Rhodes was famous for its great commanders, Pompey, Caesar, Tiberius studied there. So, here arises the motive of the powerful of this world, people who were able to transgress through blood and suffering. Raskolnikov cannot become Caesar and Tiberius, so he becomes an "ordinary" murderer. Here, Dostoevsky reproduces the well-known aphorism of Aesop: "Here is Rhodes, here and jump!". This fable told of a certain traveler who arrived in Rhodes and boasted that he had once made a grandiose long jump. In response to his boasting, the locals invited him to "demonstrate his skill". So is Raskolnikov in Dostoevsky's novel. His Rhodes is the murder of an old pawnbroker.
Raskolnikov's patronymic - Romanovich. Roman - translated from Latin means "Roman", comes from the Greek word for "fortress", "strength". Turning to the content of the novel, let us remember that Raskolnikov wanted to experience the strength in himself, the strength of the spirit, he wanted to "become Napoleon". Thus, in the patronymic of the hero continues to develop the motif of the "Napoleons", the powerful of this world.
Finally, the surname itself Raskolnikov- indicates pain the splitting of his personality, the splitting of the hero's soul into two halves. One part of his soul is disinterested, compassionate and childishly innocent (Raskolnikov's childish smile, his children's crying in his first dream), the other is cold, selfish, proud, overflowing with pride and individualism.
Raskolnikov unselfishly helps the Marmeladovs, a fellow student. Burnt, he saves children from the fire. He is also noble in relation to Dunya, not accepting her sacrifice in the form of a marriage with the “beautiful man” Luzhin. And at the same time, human life is worth nothing for Raskolnikov: testing his theory, together with the “evil and harmful old woman”, he kills the innocent Lizaveta.
We also find an interesting interpretation of the name, patronymic and surname of Raskolnikov in S. V. Belov. The researcher notices that the name Rodion in its sound is associated with the word "motherland". “Raskolnikov “splits” the mother earth that gave birth to him, “splits” the homeland” of the Romanovs (the patronymic of the hero is Romanovich).
Thus, Dostoevsky appears here as a brilliant harbinger of future historical events, when in the name of “great” ideas “blood for conscience” was allowed, and the homeland of the Romanovs, Russia, turned out to be “split” in the literal sense of the word.
side storyline of the novel Marmeladov. This surname, reminiscent of sweets and associated with contentment, comfort , something pleasant, is designed to set off the plight of the heroes. The life of this unfortunate family is completely opposite to these associations. Constant need, poverty, hunger, Katerina Ivanovna's illness, Marmeladov's drunkenness, Sonya, forced to get a "yellow ticket" - troubles and misfortunes accompany the characters throughout the story. “The Marmeladov family is a focus in which all the misfortunes of an improperly organized ... society are refracted, and how “sweet” this world is, is already drawn by the bitterly ironic surname chosen by Dostoevsky,” wrote V. Ya. Kirpotin.
Significantly in the novel is the name of Lizaveta, who became an innocent victim of Raskolnikov. Name Elizabeth of Hebrew origin means "God's oath", "Vow to God". Lizaveta is depicted in the novel like a holy fool. This is "a tall, clumsy, timid and humble girl, almost an idiot, ... who was in complete slavery to her sister." There is something childish in Lizaveta's face, defending herself from Raskolnikov's attack, she covers herself with her hand like a child.
Holy fools have always been considered people in Rus', close to God . Having killed Alena Ivanovna, and at the same time Lizaveta, who happened to be in the apartment by accident. Raskolnikov, according to Dostoevsky, kills a vow to God, reverence for him. And after that, life seems to go out of him. And then, at the end of the novel, he is resurrected by his love for Sonya, the very Sonya who read Lizaveta's Gospel to him and who herself seemed like her.
The situation here is highly symbolic: in the spiritual resurrection of the hero, his return to life, the one he deprived of this life invisibly participates. And in this Dostoevsky sees the highest meaning and the highest wisdom inherent in Christianity.
Thus, the names and surnames of the characters in Dostoevsky's novel are deeply significant, connected with the ideological meaning of the work, with symbolism, with the development of the plot.
symbolism in the novel. Cross
In Christian moral theology, there is a totality of life's hardships, suffering, etc., which must be patiently endured in the name of Christ. For the first time in the text, the word "cross" is heard from the lips of a drunken Marmeladov in a tavern. He talks about the coming coming of Christ and His merciful judgment. Marmeladov hopes for salvation through suffering. Reading his mother's letter, Rodion Raskolnikov immediately recognizes and highlights the cross that his sister Dunya is preparing to carry for the sake of her neighbors. The mother does not talk about the sacrifice of her sister, does not use the word “cross”, on the contrary, she tries to describe the situation as the most beneficial for them all, convenient, saving in the everyday sense of the word, but Rodion instantly understood everything: “No, Dunechka, I see and know everything, what did you think about all night, walking around the room, and what did you pray about in front of the Kazan Mother of God, who is standing in your mother’s bedroom. It’s hard to climb Golgotha.” The cross and reproach, even without being marked with symbolic words, are seen both in Marmeladov's story about the fate of Sonya and Katerina Ivanovna, and in Pulcheria Raskolnikova's letter about the events experienced by Dunya in the Svidrigailovs' house. Moreover, crosses do not exist separately, they are either transferred by people from one to another and accepted as a whole (out of compassion or out of necessity), or people are forced to help each other carry them.
The symbolism of numbers in the novel
There are many details in the novel, non-random words, figures associated with biblical motifs. So, the "meek", "unrequited" Sonya settles with Kapernaumov. And Mary Magdalene lived not far from this village in Galilee, which Jesus Christ loved.
The numbers in the novel are one of the secrets of Dostoevsky, who believed that each number has a certain meaning. A number of figures echo the biblical scenes.
The number "three" in the novel
Raskolnikov (he rang the old woman's bell three times; meets Porfiry Petrovich three times; thinks that Sonya has 3 roads when she stands 3 steps from the table)
Sonya (there are 3 large windows in her room; she gave Marmeladov 30 kopecks; Katerina Ivanovna "layed out 30 rubles")
Svidrigailov (wanted to offer Dunya up to 30 thousand; gives Sonya 3 tickets, gets a ticket abroad in three days)
Marfa Petrovna (left 3 thousand rubles to Dunya by will; bought Svidrigailov for 30 thousand pieces of silver; 3 times came to Svidrigailov)
Razumikhin (waits for 3 hours until Raskolnikov wakes up)
Dunya (shoots Svidrigailov in 3 steps)
Dostoevsky does not accidentally single out the number "four". This number also refers to the biblical numerical symbolism (four variants of the Gospel). After the crime by Raskolnik, he is in a delusional state for four days. In the story of the resurrection of Lazar, which Sonya reads to Rodion Raskolnikov, Lazar was dead for four days. In addition, this story is placed in the fourth gospel of John.
The number "seven" in the novel
The novel consists of 6 parts and an epilogue.
The 1st and 2nd parts of the novel consist of ch.
7 p.m. - fatal time for Raskolnikov (appoints murder)
Svidrigailov lived for 7 years with his wife, Marfa Petrovna)
7 children at the tailor Kapernaumov
Raskolnikov has a dream in which he imagines himself as a seven-year-old boy
730 steps to the house of the old woman - pawnbroker
7 years of hard labor - a period defined as a punishment for the hero of the novel.
Color symbolism.
The main color of the novel - yellow. Raskolnikov (yellow closet with yellow wallpaper; "a heavy, bilious, evil smile snaked across his lips"). Sonya (room with "yellowish wallpaper"). Porfiry Petrovich (furniture from "yellow polished wood"). Svidrigailov (yellow wallpaper in the hotel room where the hero stayed). An old woman - a pawnbroker (dressed in a tattered and yellowed katsaveyka, furniture made of yellow wood).
In the works of F.M. Dostoevsky, all kinds of symbolic images take on a special meaning, helping to express the position of the writer. The novel "Crime and Punishment" was no exception in this sense.
Developing the psychological drama of Rodion Raskolnikov, the author shows the color scheme and the digital series through the eyes of the hero. Having committed his atrocity, Raskolnikov constantly snatches from the palette of life around him only the dominant colors: red and yellow. Red - blood, yellow - gold, an indirect cause of the murder.
“Another lady, very plump and purple-red, with spots, a prominent woman, and something very magnificently dressed, with a brooch on her chest the size of a tea saucer, stood aside and waited for something.”
“When he woke up, he saw that he was sitting on a chair, that some person was supporting him on the right, that another man was standing on the left with a yellow glass filled with yellow water, and that Nikodim Fomich was standing in front of him and looking intently at him; he got up from his chair.
The episodes where ominous colors catch the eye of Raskolnikov are connected with the crime. The symbolism of the numbers is aimed at punishment, as if confirming the idea of Sonechka Marmeladova that the only way is faith and repentance.
More often than others, the number four is found in the novel, implying the four sides of the cross, holy repentance. " Sonya's room looked like a barn, looked like a very irregular quadrangle, and this gave it something ugly.- here the thought seems to sound about how desperate, terrible way the hostess of the room carries her cross to help her loved ones.
Raskolnikov's room also has a quadrangular shape, but this can hardly be called a unique phenomenon, there is no accent here. But relatively soon, another episode appears in the novel, confirming the presence of symbolism: a narration from the Gospel sounds, describing the miraculous resurrection of a certain Lazarus from Bethany. It would seem that the story is just a coincidence, but (!) Lazarus was resurrected by Christ four days after the burial. And Rodion Raskolnikov himself comes to Sonya four days after the crime was committed ...
The novel "Crime and Punishment" is a story of the soul, not of life. And since the author, in my opinion, quite intelligibly tells us this story, then, putting ourselves in the place of the main culprit of events, we can feel the pressure of flowers, inextricably linked with a stained conscience and a horrified imagination.
Our hearing, like Raskolnikov's, will "catch" only words that are directly related to the crime we have committed; the character will become suspicious and restless, the imminent exposure will be imagined everywhere ...
But - what a curious thing! - we feel the symbolism of flowers, as it were, through Raskolnikov, and the symbolism of numbers - through the author. After all, if I may say so, Rodion Romanovich allegedly decided to commit a crime “without the participation” of F.M. Dostoevsky, and, in my opinion, he was led to a change in worldview and the beginning of a new life.
So, F.M. Dostoevsky found a very interesting psychological approach to the reader with the help of signs and symbols. This introduces a certain mystery into the plot, which, after reading the novel and realizing the essence of what is happening with a certain note of sound reasoning, can be unraveled.
Fyodor Mikhailovich Dostoevsky is the greatest Russian writer who had a huge impact on the development of Russian and Western European literature. The whole world reads him, the impressive power of his novels is great.
"Crime and Punishment" opens the period of great novels in Dostoevsky's work, during which "The Idiot", "Demons", "The Teenager", "The Brothers Karamazov" were written.
The appearance of "Crime and Punishment" was the result of the writer's generalization of the most important contradictions of the 60s. The organization of the literary text of the novel is subject to the core idea - to show that Raskolnikov's idea of dividing humanity into two unequal parts is inhuman, it is inextricably linked with the conditions of his life, with the world of St. Petersburg corners, one of which is occupied by the hero himself. Many researchers have paid attention to the symbolic feature of Dostoevsky's literary characters. But color plays a special role in the work. Color definitions have a symbolic meaning and serve to reveal the state of mind of the characters.
In our work, we examined the features of the color scheme in Crime and Punishment, its significance for revealing the main idea of the novel, and compared the color scheme and the state of mind of the characters.
To get answers to these questions, the primary sources of various authors were studied and the resources of the Internet were used. Partially, we found answers to the questions posed, but not all, so we carried out further work ourselves.
The meaning of dark colors in the novel "Crime and Punishment"
Analyzing the use of color in Crime and Punishment, we can say that the entire work was created almost on the same yellow background. Indeed, yellow is the most common color in the novel. But the color scheme in the writer's descriptions is by no means limited to yellow, since throughout the novel we meet green, red, and black colors, which play an important role in all descriptions.
Dostoevsky's novel begins with a description of the life and world of St. Petersburg corners and their inhabitants. Showing the conditions of their life, the author uses mainly dark and dirty yellow colors.
The entire action of the novel takes place in that part of St. Petersburg where the poor live. Before us appears a damp, gloomy city, in which there are taverns on every corner. At the beginning of the novel, mostly dark, dirty tones appear:
In the street, the heat was terrible everywhere lime, scaffolding, bricks, the dusty stench from the taverns and drunkards who came across every minute completed the disgusting and sad coloring of the picture.
The staircase was dark and narrow, "black", but he knew everything and studied
The tenant looked from the crack at the newcomer with visible distrust, and only her eyes sparkling from the darkness were visible.
What dirt is capable, however, my heart.
In the tavern. He sat down in a dark and dirty corner, despite all the dirt of the situation, he now remained with PLEASURE in the tavern.
The protagonist of the novel, Rodion Raskolnikov, lives in a dark closet and walks around the gloomy city, visits a dark and dirty tavern.
His dark thoughts are in harmony with the life of dirty taverns, corners and streets of St. Petersburg, giving birth to "ice" in his heart. It is in such an environment that he has dark thoughts about murder, his theory of a superman who is allowed to do everything, even to decide who has a place to live on earth and who does not.
The atmosphere of suffocation on the streets of St. Petersburg, black and narrow stairs, dark and dirty corners, drinking places - this is the basis of the color of the city, in which only a mentally ill person can live, and therefore an unhealthy society.
The symbolism of yellow
The most common color in the novel is yellow. It is present almost constantly, has a strong impact on the characters and the reader, and is the engine of the plot, determining the fate of the characters.
According to psychologist M. Luscher, yellow is the color of the sun, warmth and joy: “Yellow is perceived by us as the sun, bright and sparkling”. We are faced with a contradiction between the concept of joyful yellow and Dostoevsky's yellow color.
What is the symbolic meaning of yellow in Dostoevsky's novel?
First of all, yellow is associated with illness when it comes to a person. And on the contrary, when talking about things, the yellow color resembles something sunny, golden, it is able to evoke joyful emotions, according to the psychologist Luscher. However, this is not the case in Crime and Punishment. Dostoyevsky's yellow color in all descriptions of people and things is a sickly color. For example: "She put her own cracked teapot in front of him, with tea already drained, and put two yellow pieces of sugar"; “When he looked around, he saw that he was sitting on a chair, that some person was supporting him on the right, that another person was standing on the left, with a yellow glass filled with yellow water.”
Here, "yellow sugar" is combined with a cracked, broken teapot, just as Raskolnikov's fate has a crack or flaw. The "yellow glass", that is, not washed for a long time, with a touch of yellow rust, and yellow rice water are directly related to the hero's illness, to his fainting state. Painful miserable yellowness is also found when describing other things, for example: Alena Ivanovna’s “yellowed fur katsaveyka”, Raskolnikov’s “completely red, full of holes and spots”, Raskolnikov’s hat, like his whole life, is still young, but already as if faded, hopeless, stained with blood.
Yellow prevails in the description of the room into which the young man passed, with yellow wallpaper. "The furniture is all very old, made of yellow wood. Thunderous pictures in yellow frames.", - this is how the author describes the apartment of the old woman - pawnbroker. The choice of dirty yellow colors when describing Alena Ivanovna's dwelling is not accidental, they personify the unworthy lifestyle of the hostess. And here is a description of Raskolnikov's closet: "It was a tiny cell, 6 steps long, which had the most miserable appearance with its yellowish, dusty wallpaper everywhere lagging behind the wall." A room with wallpaper lagging behind the walls is a depressing view. This is not only the destruction of the house, but also the destruction of human life. Dostoevsky compares the protagonist's miserable dwelling with a yellow closet that presses on him with its tightness, darkness, giving rise to a desire to escape from it, but there is nowhere to escape: there, on the streets of St. Petersburg, there is the same atmosphere of hopelessness. The oppressive atmosphere of the home, the city pushes Raskolnikov to commit a crime.
The yellow color in the novel is present in almost all rooms and creates an atmosphere of ill health, frustration, anguish, pain, sadness. Dirty yellow, dull yellow, painful yellow color causes feelings of inner oppression, mental instability, general depression. This idea is confirmed by the words of Luscher: "Yellow, as the color of discharge, freeing from irritating tension, expresses only a nervous and mental state."
Researchers of Dostoevsky's work note that in all world art there are few works like Crime and Punishment in which the yellow color would be so completely sustained. An analogy is drawn with painting, with the creative quest of the Dutch artist Van Gogh. Van Gogh's painting “Cafe” depicts the hall of a provincial tavern with a bright yellow floor and hanging kerosene lamps, the light from which paints the figure of the owner and the whole situation in yellow. “In my Cafe,” Van Gogh wrote, “I tried to express that a cafe is a place where you can go crazy or commit a crime. All this expresses the atmosphere of a hot abyss, pale suffering. All this expresses the darkness, in which, however, strength lies dormant.
It was in the tavern that Raskolnikov accidentally overheard a conversation between two students about the worthlessness and uselessness of people like Alena Ivanovna, which was another impetus for the idea of murder. The tavern is a place where dark forces rule over the minds of people, and in the darkness a terrible force slumbers that can lead a person to crime.
The yellow color in the description of objects is in harmony with the sickly yellowness of the heroes of the novel, surrounded by these objects. In the description of the portraits of most of the heroes of the novel, the same painfully yellow color is found. For example: Marmeladov - "with a yellow, even greenish face swollen from constant drunkenness and with swollen eyelids."; the face of Porfiry Petrovich, the representative of the legitimacy of the current government, was "the color of the sick, dark yellow," which also has a certain symbolic meaning, indicating the unhealthy laws of society.
Luscher speaks about the influence of yellow on the human psyche: “Yellow disturbs a person, excites him and reflects the nature of the power expressed in this color, which finally becomes bold and intrusive.” Perhaps this can explain Raskolnikov's behavior, his obsessive thoughts about the right of a strong personality and a daring desire to try out the theory in relation to himself.
Reading Luscher’s words about preferring yellow to people who are on the verge of self-destruction, you imagine Rodion Raskolnikov in this role: “When a desperate person “grabs at straws” and wants to forcibly evoke his last hope, he will once again give preference to yellow, but together with the coercive black . He often, like Van Gogh, in the last picture (June 1890), black crows circling under black-blue thunderclouds over an exciting yellow wheat field, stands on the verge of self-destruction. In the novel, the combination of dark black colors with yellow clearly presents us, the readers, with an unsightly picture of the characters' poverty and sickness, leading them to the devaluation of human life, to crime and self-destruction.
Sometimes in the description of portraits of heroes, the definition "yellow" gives way to the definition of "pale" that is close in emotional and color coloring. For example: "pale, with burning eyes face" Sonechka, "... the color rushed into the pale face of Dunya", etc. Yellowness and pallor are an integral characteristic of all residents of St. Petersburg. This is confirmed in the episode of Sonya's meeting with an unfamiliar gentleman: "his broadly cheeky face was quite pleasant, and his complexion was fresh, not Petersburg."
Literary critic V.V. Kozhinov drew attention to “a very significant comparison in Crime and Punishment” of two words: the word “yellow” more than once adjoins another word of the same root - “bilious”, which, by the way, is also often found in the novel . About Raskolnikov, for example, it is said: “A heavy, bilious, evil smile snaked across his lips. Finally, he felt stuffy and cramped in this yellow closet.
Or another place: “He woke up bilious. and looked at his closet with hatred. It was a tiny cage. who had the most miserable appearance with her yellow ones. wallpaper." Before us is a clear interaction of internal and external, the attitude of the hero and the world. It is in this interaction, obviously, that the complex and intense meaning that the word "yellow" acquires in the novel is rooted.
In interaction with “bile”, “yellowness” acquires the meaning of something painful, oppressive.
Thus, yellow is a symbol of illness, poverty, misery of life. Yellow wallpaper and yellow furniture in the room of the old pawnbroker, Marmeladov’s face yellow from constant drunkenness, Raskolnikov’s yellow closet “like a closet or chest”, houses painted yellow-gray, Sonya Marmeladova, who was forced to go yellow ticket", a suicide woman with a yellow, exhausted face, yellowish wallpaper in Sonya's room, "yellow polished wood furniture" in Porfiry Petrovich's office, a ring with a yellow stone on Luzhin's hand. These details reflect the hopeless atmosphere of the existence of the main characters of the work, they are harbingers of bad events.
This idea is confirmed by the words of the psychologist M. Luscher: “Yellow is the main color. It expresses a basic psychic need - to open up. Yellow is preferred by people who hope for relaxation through release from a load or from a connection that oppresses them as an addiction.
Against the background of a painfully yellow color, this color is encountered twice in the novel as pure, in calm tones. This suggests that, apparently, not everything is so hopeless in the life of Rodion Raskolnikov, that there is hope for a righteous life.
In the novel, other colors also stand out, and, above all, the color of the eyes of the characters. These are Sonechka's "wonderful blue eyes" and Svidrigailov's completely different blue eyes with a "cold, heavy look"; these are Raskolnikov's "beautiful dark eyes with a burning look" on the first pages of the novel and these same eyes "with an inflamed" and then "dead look" after the murder, etc.
We see how the color, even indirectly indicated, conveys the state of the hero's soul: from a beautifully dark, i.e. deep, color to "inflamed", i.e. naturally shiny, and then to dead, i.e. colorless.
4. Meaning in the novel of red
Against the background of yellow, other colors acquire great symbolic meaning, and first of all, red. So, after the murder of Alena Ivanovna, her apartment, which at the beginning of the novel is described in yellow, acquires a red tint in Raskolnikov's eyes, reminiscent of the color of blood. Raskolnikov notices that in the apartment "there was a considerable stack, more than a arshin in length, with a convex roof, upholstered in red morocco. Above, under a white sheet, lay a hare's fur coat, covered with a red set. First of all, he began to wipe his bloodstained hands."
The contrast of red against the background of yellow makes a strong impression on Raskolnikov.
The red color in the novel characterizes the danger that threatens the heroes, for example, in the description of Marmeladov: “reddish eyes” speak not only of his moral decline, but also of a painful danger that can lead to death. The same danger threatens the life of his wife Katerina Ivanovna, who “had caught a cold this winter and was already coughing up blood,” and red spots on her cheeks speak of ill health.
Already out of her mind, sick Katerina Ivanovna took her children to the streets of the city, forcing them to sing, dance, dressing them up as street singers and singers: “The boy was wearing a turban made of something red and white so that he portrayed himself as a Turk. There were not enough suits for Lenya; only a red hat knitted from garus was put on her head. The use of red colors when describing children shows how dangerous it is for them to live in a sick society.
And the bright, red sun that Raskolnikov sees while walking around the city before the murder, or the small gold ring with three red stones that he leaves as a pledge, become an omen of danger not only for the life of Alena Ivanovna, but also for him.
5. Meaning of green color
Against the background of yellow, gray and red, green color stands out. It is strikingly different from the entire color range of the work, standing out for its freshness and purity.
In the novel, a church with a green dome appears, where Raskolnikov went more than once and loved her and the old images in her. It is like a symbol of the way of cleansing a person from sin.
Green is the color of rebirth, the color that gives hope for transformation. It is found in the second, "African" dream of Raskolnikov about the oasis, expressing an unconscious thirst for spiritual clarity and purity, but in reality this feeling is suppressed. Sonechka, the ideal of Christian meekness and humility, appears at the end of the work in a green scarf. This scarf, like a cross, is worn by Katerina Ivanovna, and behind her by Sonya Marmeladova. The very moment when she puts it on is symbolic. This happens in Siberia, in prison, where she once again comes to visit Raskolnikov on the morning when a fracture occurs in the unrepentant killer. Going to "work" in the morning, he sees the far shore, where "there was freedom, where people who did not look like those here lived, it was as if time itself had stopped there, as if the times of Abraham and his flocks had not passed." It is on this morning that Raskolnikov realizes that he loves Sonya endlessly, feels that he has risen, that at last "life has come." The scarf represents both the suffering that befalls its owners and their redemptive power. Dying, Katerina Ivanovna says: "God knows how I suffered." Going for Raskolnikov, who goes to confess to a crime, Sonya puts this scarf on her head. She is ready to take upon herself the suffering and atone for this guilt of Raskolnikov. In the epilogue, in the scene of rebirth, the resurrection of Raskolnikov, Sonya appears in the same scarf, haggard after an illness. At this moment, the green color of suffering and hope of the main characters of the work overcomes the yellow color of sick Petersburg and gives hope for a better future for the heroes of the novel.
Generalization
So, we can conclude that the use of certain colors in the novel "Crime and Punishment" by F. M. Dostoevsky plays an important role in revealing the content of the entire work. The author uses in the description almost the entire range of color designations (black, blue, blue, brown, pink and others), but dark, dirty yellow, red colors predominate.
The dark color of the city suggests the emergence of black thoughts in the minds of people and pushes them to crime, as happened with Rodion Raskolnikov.
In Crime and Punishment, the yellow color in all descriptions of people and things is a sickly color. The preparation of the murder, the experiences of Raskolnikov are shown in dirty yellow tones.
The climax of the novel is shown in red. This is the murder committed by Raskolnikov. The illness of Katerina Ivanovna, the death of Marmeladov are in red colors, personifying danger.
Green is the color of rebirth and purification of the hero's soul from sin, the color of the righteous path, the color of hope, insight and overcoming all misfortunes. Green color enhances the life-affirming meaning of the novel Crime and Punishment.
Literature lesson in grade 10 on the topic:
"The meaning of details, symbols in the novel
F.M. Dostoevsky "Crime and Punishment"
teacher of Russian language and literature
MOU "Cadet School"
Lesson type: lesson - text research, integrated lesson (literature and computer science).
Lesson Objectives:
Educational:
encouragement to attentive, thoughtful reading of the work, development of skills to determine the role of the system of visual and expressive means in their unity; teaching students the necessary skills to use ICT tools in literature on the example of creating multimedia educational materials for a work using Microsoft PowerPoint.
Educational: the formation of students' moral qualities of personality, attitudes and beliefs in assessing the actions of the heroes of the novel; improving the communication skills of students when working in creative groups;
Educational: the development of speech activity of students in the literary analysis of the work; development of the potential of students necessary for further self-education, self-development and self-realization of the student. The development of creative abilities and information technology skills in the relationship between the study of literature and computer science.
Lesson objectives:
Analyze the meaning of the episodes selected by students from the text, in which various details occur.
Organize group activities to discuss the material of presentations of students prepared for the lesson as homework.
Provide an opportunity for each student to express their opinion on the issue under discussion.
Lesson equipment:
Computer, multimedia projector, presentations on message topics.
Updating the teaching material of the lesson.
The students of the class are divided into 5 interest groups and received homework:
Write in a notebook examples of the use by the author of the meaning of interior details in the rooms of heroes; the colors used in the novel; objects (axe, money, watches); determine the meaning of biblical symbols: crosses, Bible, crossroads; identify and analyze the actions of the characters taking place on the stairs described in the novel.
Compose questions on the topic of the presentation (possible with hyperlinks).
During the classes.
Organizing time. Setting goals and objectives of the lesson.
Teacher: Today we are completing the study of F.M. Dostoevsky's novel "Crime and Punishment". We will conduct the final lesson in the form of a seminar using information technology. To work in the lesson, each group received an individual task: creating a presentation on a specific topic.
According to D.S. Likhachev, the novel "Crime and Punishment" is not intended for quick reading. It poses tough questions. F. Dostoevsky trusted the attentive and thoughtful reader, and therefore kept back much, counting on the reader's spiritual familiarization with his world.
When reading the novel Crime and Punishment, literally everything matters: numbers, names, St. Petersburg topography, time of action, and even individual words - only a slow reading of the novel will enable the reader to comprehend its entire plan and understand the rarest art of thought. Dostoevsky.
Your careful reading will help you understand the meaning of some of the novel's details.
Question: How does F.M. Dostoevsky's novel "Crime and Punishment" begin?
(From the description of Rodion Raskolnikov's closet, read the text).
The closet is the world in which a person is crushed and destitute.
And what else does the author of the work draw the reader's attention to on the first pages?
(On the conditions in which the hero lives).
Question: What details emphasize the wretchedness of the home?
Performance of students of the 1st group: The writer draws corners, closets, draws readers' attention to details. (Presentation "Rooms of the characters of the novel" (see Appendix)
Raskolnikov's room: three old chairs, a painted table in the corner, on which lay several notebooks and books; a clumsy large sofa, once upholstered in calico, but now all in tatters. The main detail: wallpaper that has fallen behind the wall everywhere. Instead of the word room - closet, closet, corner, coffin, shell.
Marmeladov's room: a smoky door, a holey sheet is stretched out;
a tattered sofa in front of which stood a pine kitchen table; sebaceous
cinder in an iron candlestick. The main quality is the room passable.
Sonya Marmeladova's room: A simple plank table covered with a blue tablecloth; near the table are two wicker chairs; Small, plain wood chest of drawers. The main detail is the obtuse corner of the room, which reflects Sonya's soul, which has come to a standstill.
Room of the old pawnbroker: Sofa with a huge curved wooden cover; pictures in yellow frames depicting German young ladies with birds in their hands; round oval table in front of the sofa.
Exercise: Distribute things, interior items in the rooms of the heroes.
Raskolnikov's room
holey sheet
Marmeladov's room
wallpaper that is off the wall
Sonya Marmeladova's room
pictures in yellow frames
Room of the old pawnbroker
tallow cinder in an iron candlestick
looks like a barn
scattered baby clothes
table covered with a blue tablecloth
oval table in front of the sofa
obtuse corner of the room
three old chairs
Teacher's word: There are many details in the interiors, but they acquire special significance,
when you find out the fate of the heroes. And the fate of the heroes is largely determined by the conditions in
which they live. It turns out a vicious circle. Before we go into details,
Let's talk about the colors of these details. What is the significance of color in Dostoevsky?
Performance of students of the 2nd group:
In the novel "Crime and Punishment" the main color is yellow: dirty in Raskolnikov's room yellow wallpaper, the very face of the hero during illness becomes yellow, in Sonya's room - yellowish wallpaper, in the office of Porfiry Petrovich furniture from yellow wood, the investigator's face is dark yellow; in the apartment of the old woman-interest-bearer yellow wallpaper, yellow wood furniture. The whole range of shades - from dark to bright yellow: the color of the setting sun, the fiery feather on Sonya's hat, Katerina Ivanovna's gold medal, Raskolnikov's red hat ...
The very word "yellow" acquires an oppressive sound. In the first part of the novel, its synonym is "bilious". It is worth reading the following sentences aloud: “A heavy, bilious, evil smile snaked across his lips. He lay down with his head on his skinny and worn-out pillow and thought, thought for a long time ... Finally, he felt stuffy and cramped in this yellow closet.
During the life of Dostoevsky, the words "yellow" and "bilious" were written through "o". Here is what the critic notes about this: “... this spelling is somehow rougher and more expressive ... It would be worth restoring this style now too: it would emphasize the special meaning that Dostoevsky put into these words.”
If we remember that the “yellow house” meant a madhouse, then the symbolism of the yellow color becomes obvious. After all, it is not without reason that Svidrigailov calls Petersburg a city of half-lunatics.
Red color symbolizes blood. Raskolnikov brings the old woman a golden ring with three red pebbles that look like drops of blood - he is identified with the endless love and blood relationship of Rodion, Dunechka and their mother.
Blood after the murder haunted the hero for a long time, it seemed to him that everything he touched was stained with blood. The color detail is repeated again: red lapels on Marmeladov's boots, red spots on the hero's jacket.
Green color Dostoevsky is almost always associated with the symbolism of the Mother of God - the Intercessor for the whole world. The green dome of the church from Raskolnikov's dream directly correlates with Sonya's green scarf, covering her in the most difficult moments (as well as in the most solemn ones). Sonya, covering herself with a scarf, like a stole, with her head, and repents, and receives the absolution of sins, and gives herself "under the protection" of the Virgin. This is also a sign of her being - always - under the vault of the children's church of Raskolnikov.
In the scene of giving alms to Raskolnikov on the bridge, an elderly merchant's wife and a merchant's daughter with a green umbrella. Here, as it were, a merciful hand is stretched out from under the dome of the church he left - to forgive and support (alms are extended to the hero after he was hit by the coachman and the people laughed at him). But Raskolnikov will throw the alms from the bridge into the water.
Thus, the colors in the novel by F.M. Dostoevsky play a significant, sometimes sinister role. The author emphasizes the shades of things constantly to enhance the impression.
teacher's word: Knowing the meaning of color, now we will look at some things in a different way. A word to the third group about the details of the novel.
Performance of students of the 3rd group:
(The story is accompanied by a presentation “Details in the novel “Crime and Punishment”) (see Appendix).
Watch. Father's watch with a globe depicted on the reverse side - a symbol of time and peace. Their hero pledged to the old woman, as if saying that capital rules the world, devours money and time. In the first pawn there was a ring with red pebbles, in the second - a watch. Blood relationship, and time, and the whole world pass into the possession of the world of money.
Money. It is impossible not to pay attention to how often there is a mention of real money on the pages of the novel. Luzhin at first calmly counts bundles of credit cards, then, full of his own significance, he hands Sonya a “ten-ruble bank note” and quietly drops a hundred-ruble bill into her pocket. And then, at the commemoration, with icy calmness, in a never trembling voice, he accuses the innocent Sonya of the theft.
Often the mention of money is associated with the gospel number 3. Sonya will silently put her first “earnings” on the table - 30 rubles, and then she will make 30 kopecks to her father for a hangover, and he, as before Katerina Ivanovna, could not help but feel at that moment himself as Judas, who betrayed Christ for 30 pieces of silver. Svidrigailov wanted to offer Dunya "up to thirty thousand." Marfa Petrovna ransomed Svidrigailov for thirty thousand, and then he, encroaching on her life, betrayed her.
Thus, money in the novel are closely connected with the motive of betrayal: residents of St. Petersburg for the sake of money are ready to give up their spiritual values, betray their friends, relatives and loved ones.
Axe. There was something unusual about him. Raskolnikov killed the old woman and her sister completely not with that ax how I originally intended to do it. This detail requires special attention. In the kitchen, Nastasya washed clothes and hung them on the clothesline, and for this reason alone Raskolnikov was forced to take the ax not in the kitchen, but in the janitor's room. Outwardly insignificant in itself, this detail becomes important when it is surrounded by other details related to it. Raskolnikov's new ax is no longer an instrument of his will, his ideas, but a gift, a forgery of a demon case ("Not reason, so demon!" He thought, smiling strangely). The location of the closet from where the ax was taken is not accidental either: it is a semi-underground space for the janitor. The ax, thus, was taken from under the ground, or rather, from under a huge stone-house; it is a kind of "sword-treasurer", endowed with an independent evil power.
Raskolnikov did not hack the old woman - the pawnbroker, but "lowered" the ax on the "head with a butt". Since the killer is much taller than his victim, during the murder, the ax blade menacingly "looks him in the face." With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted, for whom the ax was raised.
Group discussion: What detail, thing plays the most significant role in the novel?
().
teacher's word: F.M. Dostoevsky in Christianity, in God saw the possibility of solving many social problems: good and evil, truth and justice, public hypocrisy and the oppression of power, the resistance of the “little” person to it - these are the main motives that are analyzed in depth in the novel Crime and Punishment. It clearly makes itself felt Christian ideas. The whole novel is saturated with Christian vocabulary and symbols. The next group prepared a message on the meaning of biblical symbolism.
Performance of students of the 4th group: (Presentation "Christian symbolism in the novel" Crime and Punishment")(see Attachment) .
Christian motives in the novel made it possible to better express Dostoevsky's views. "Resurrection of Lazarus" when Raskolnikov reads the Bible, is a symbol of Raskolnikov's resurrection at the end of the novel. Sonya is saved by faith in God. The novel contains such phrases as "a terrible sin", "there is no cross on you", "God punished you and the devil betrayed you."
Cross- in Christian moral theology there is a totality of life's hardships, suffering, etc., which must be patiently endured in the name of Christ.
For the first time in the text, the word "cross" is heard from the lips of a drunken Marmeladov in a tavern. He talks about the coming coming of Christ and His merciful judgment.
The cross and reproach are also seen in Marmeladov's story about the fate of Sonya and Katerina Ivanovna. Therefore, people are connected with each other with their crosses. Often one person alleviates the fate of another by voluntarily taking someone else's cross upon himself, as was the case with Sonya.
During the murder of the old pawnbroker, an insignificant detail appears, which at first Rodion does not even think about: “There were two crosses on the cord, cypress and copper, and, in addition, an enamel icon; and right there with them hung a small greasy suede purse with a steel rim and a ring. The purse was very tightly stuffed; Raskolnikov put it in his pocket without examining it, threw the crosses on the old woman's chest ... ".
This detail has a continuation: the cross appears again and again in the life of Rodion Raskolnikov, and during the period of spiritual struggle it becomes the most important symbol in his fate. And the cross appears again - now it is the cross of Lizaveta, who was killed by him. The cross as a detail and as a symbol: “Do you have a cross on you? she suddenly asked suddenly, as if she had remembered. He didn't understand the question at first.
No, isn't it? Here, take this one, cypress. I have another left, copper Lizavetin. Lizaveta and I exchanged crosses, she gave me her cross, and I gave her my icon. Now I will wear Lizavetin, and this one is for you. Take ... it's mine! After all, mine! she pleaded. “We will go to suffer together, together we will bear the cross!”
And now this moment has come. Deciding to go to the police station with a confession to the crime, Raskolnikov comes to Sonya: “I'm behind your crosses, Sonya. You yourself sent me to the crossroads; what now, how it came to the point, and chickened out? Sonya silently took two crosses out of the box, a cypress and a copper one, crossed herself, crossed him and put a cypress cross on his chest.
Cross yourself, pray at least once, - Sonya asked in a trembling, timid voice.
Oh, please, this is as much as you want! And from a pure heart, Sonya, from a pure heart ... "
Thus, the cross is the most important symbol and a connecting element of the plot, composition and individual storylines.
crossroads also had a continuation in the life of Raskolnikov. Rodion tried to fulfill what Sonya asked him to do, however, the people did not understand his repentance. However, this was not necessary for the people, but for himself, Rodion, a Christian and a criminal. It was "at the crossroads" that Raskolnikov's real prayer took place. And suddenly he was seized by some "solid, new sensation." Raskolnikov fully revealed the deep meaning of life, the lofty meaning of human existence. And he “with pleasure and happiness” kissed the earth, which he defiled with his crime. Happiness came to Raskolnikov only occasionally, in some separate outbursts, “fits”. And now he realized that by his crime he had deprived himself of happiness, crushed in himself "the feeling of a full and powerful life."
Question for the group: Why don't the crosses hanging on her chest save the old woman?
“There were two crosses on the cord, cypress and copper, and, in addition, an enamel icon, and right there, along with them, hung a small greasy suede purse with a steel rim and a ring. The purse was tightly stuffed ... ”This“ right there ”is the key: for the amulet and the purse are incompatible things, and the fact that the old woman makes them equivalent dooms her.
teacher's word: Events in the novel almost always take place in rooms, the walls and ceilings of which are crowding, crushing, emphasizing the limits of the characters' capabilities. We learned about the interiors of the characters' rooms. The staircase often acts as a background and participant in events. And students from the fifth group will give us a description of the events on the stairs.
Speech by students of group 5 with a presentation (see Attachment): Stairs are a special place in the novel. The Christian semantics of the ladder is associated with spiritual ascent. In the novel, the stairs are constantly going up and down. This creates the movements of the characters in parallel with their worldly problems. " Ladder it was dark and narrow, “black”, but he already knew and studied it all, and he liked all this furnishings: in such darkness, even a curious look was not dangerous "," It was stuffy in the room, but she did not open the window; there was a stench from the stairs, but the door stairs was not closed; from the interior, through the open door, waves of tobacco smoke rushed, she coughed, but the door did not close.The most important moments of stress or vibration occur on stairs.The hero goes up and down the stairs 48 times.
(answers to presentation questions).
Conclusion: the whole novel is built as an ascent and descent.
Final word of the teacher:
In the lesson, we gave a description of many details.
Question: Why did F. Dostoevsky use this technique?
1. Detail - a significant detail that allows you to convey the emotional and semantic meaning of an episode or the entire work.
2. In addition to the direct real meaning, what details still carry out a symbolic meaning, which helps to understand a different meaning of things.
