I decided to analyze and compare dreams in three works of Russian literature: "Crime and Punishment" by F.M. Dostoevsky (Raskolnikov's dream), "Eugene Onegin" by A.S. Pushkin (Tatyana's dream), "Oblomov" by I.A. Goncharov ( Oblomov's dream). F.M.Dostoevsky. A.S. Pushkin. I.A. Goncharov.
slide 5 from the presentation "Dream in Literature". The size of the archive with the presentation is 625 KB.
Literature Grade 11
"Publicistics" - Culture we have on two faces. The fascinating world of native speech. What concerns publicists. Types of publicistic narrative. Dialogical. The use of expressive vocabulary. The field of journalism. literary figures. Khinshtein Alexander Evseevich. What should be done. Point of view. The use of evaluative vocabulary. expressiveness. Press. stable combinations. Fundamental questions. Valentin Grigorievich Rasputin.
"Antonov apples" - The third describes his hunting with his brother-in-law, Arseny Semyonych, as well as the onset of winter. In the fourth - the November day of small local people is described. But gradually the writer began to think about creating prose works, like Antonov's Apples. Plot. Antonov apples. Antonovsky apples - a story written by Ivan Alekseevich Bunin and first published in 1900. History of creation.
"Literary trends of the early 20th century" - Acmeism. I. Repin "Barge Haulers". critical realism. socialist realism. Anna Akhmatova. Decadence. The main literary trends of the early 20th century. Silver Age. Velimir Khlebnikov. The development of Russian literature of the XX century. Futurism. Valery Bryusov "Woman". Symbolism. Modernism.
"Literary Commentary" - Work. Purpose of literary commentary. Explanations. Attention of experts. Historical face. Comment Yu.M. Lotman. Eugene Onegin. genre of literary commentary. Parallels with Western European literary texts. Linguistic features. Definition of the genre of literary commentary. Commentary by V.V. Nabokov. Comparative analysis of comments. analytical genre.
"Biography of V.P. Astafiev" - Died on November 29, 2001. Lost mother. WWII period literature. Script writer. Victor Petrovich Astafiev. Russian literature. WWII period. Life Layers. Volunteer goes to the army. Life and work of V.P. Astafiev. Konstantin Simonov. Astafiev's works. Treasured friend.
“The life and work of Bunin” - A multimedia presentation for a literature lesson in grade 11. We always only remember about happiness, and happiness is everywhere. Read a fragment of the story "Mowers". Read the poem, prove its connection with the fragment of the story. problematic lesson. Bunin's work. The last Russian classic. I.A. Bunin is a Russian classic. Work with text. Read the text, make a chronological table.
Total in the topic "Literature Grade 11" 104 presentations
Features of realism in F.M. Dostoevsky's novel "Crime and Punishment"
Features of Dostoevsky's realism
The realism of the writer developed and was embodied in the period of development of capitalist relations in Russia. The advance of civilization on patriarchal Russia gave rise to the revolt of the little man against humiliation. Whatever ideas the writer captured, he never forgot about the origins of the tragedies he created.
Images, ideas, ideals of his novels go back to Russian reality.
Heroes of the novel - typical images, typical environment
The basis of Dostoevsky's novels is the diverse, urban post-reform environment, semi-educated, thinking of itself more than it is worth.
Raskolnikov, Sonya Marmeladova, Razumikhin, the old pawnbroker, Lizaveta, Luzhin, Svidrigailov - these and many other heroes of the novel "Crime and Punishment" are generated by the Russian reality of the 60s, the striking division of people into poor and rich, people crushed by poverty, and those who bathed in luxury. However, the writer is primarily interested in the world of the humiliated and offended, a world in which every executioner and victim, in which everyone asks painful questions of life. This is the main character of the novel - Rodion Raskolnikov. Dostoevsky's heroes live in St. Petersburg in the 60s on specific streets, in specific houses. “Cage”, “wardrobe”, “cabin”, “chest”, “corner”, “kennel”, “coffin” - this is where Raskolnikov lives, this is where he breathes. This closet of the hero is an image of the world in which he lives, which "presses the soul and mind", in which there is not enough "air". But not only Raskolnikov lives in this world, all heroes live and act in this world. This world is typical.
In Raskolnikov there is a lot typical for a young intellectual of the second half of the 19th century: he is a student, he has to earn extra money to earn his education, his mother and sister financially support him. It was the poor students in Russia who were the most fertile ground for new social ideas.
The fate of other heroes of the novel is also typical. Here, for example, is the story of the Marmeladov family. Marmeladov’s drunkenness is not the cause of poverty, but a consequence of unemployment, homelessness, despair: “.. and here he lost his place, and also not through fault, but due to a change in states, and then he touched it!” Marmeladov explains to Raskolnikov. The death of Katerina Ivanovna is also the pattern of this world. But the fate of her children is rather an exception. The novel has a huge number of minor characters, whose typical fate, as it were, pushes the hero to murder (for example, the scene with a drunk girl on the boulevard).
The psychological realism of the novel
Dostoevsky's novels are rightfully considered psychological novels.
All the characters painfully think about the meaning of life, about their place in it: Raskolnikov himself, Svidrigailov, Marmeladov ... The author also painfully searches for the meaning of life. Dostoevsky, cut off from the happy life of people who do not think about the meaning of life, dreamed of a transformation, a complete change in human nature, a "geological revolution." Each character of the writer has the possibility of transformation.
A person falling into the abyss is not doomed, if something bright has been preserved in his soul, this person can be saved.
Lebeziatnikov, who talks so much, is saved by helping save Sonya from Luzhin's accusations. Raskolnikov gradually finds a way out to save his soul: not when he repented in the square, not when he went to hard labor, but much later, when the great truth of the Gospel comes to him, then true love for Sonya comes.
Features of the author's attitude to the characters
Dostoevsky's talent is cruel to the proud, but infinitely gentle to the fallen, who have lost not only excessive self-respect, but almost who do not consider themselves human beings.
Dostoevsky is infinitely attentive to them, and before a look full of love, “nuggets in the mud” open up and begin to sparkle. Let us recall the confession of Marmeladov. At first, it is perceived by us as yet another confirmation of the baseness of man and the world, but gradually his image from a humiliated comic becomes tragic, rises to an extraordinary height of tragedy, which captures both those around him and the reader.
Realistic compositional solution of the novel
All Dostoevsky's novels are extremely dynamic, despite the fact that a huge place in their composition is occupied by the thoughts of the characters, their dialogues with themselves and other characters.
The action in Crime and Punishment develops just as intensely. We know that Raskolnikov's idea does not arise spontaneously, it is prepared by many months of reflection, but in the novel, from the day when Raskolnikov goes to do a "test" to his recognition, everything passes .... The reader does not notice this, because together with the hero he painfully experiences what he has done.
Of great importance are Raskolnikov's dreams, which allow the writer to reveal the hero's subconscious.
It is the last dream of the hero, in which his theory is embodied in allegorical form, that leads the hero to the realization of its anti-humanity. The composition of Crime and Punishment, like most of the writer's novels, is based on a detective story, the story of a murder and its disclosure. A large place in the novel is occupied by the duel between Raskolnikov and the investigator Porfiry Petrovich, which allows you to penetrate deeper into the mind of the hero, and at the same time, meetings with Porfiry Petrovich make Rodion painfully think about the theory he created, about what sacrifices he makes to verify its reliability.
Figurative system as a polyphonic structure of reality
In the center of the novel "Crime and Punishment" the main character is Rodion Raskolnikov, but in the system of images he is opposed and other heroes are compared with him.
On the one hand, these are his opponents - the main one of which is Sonya. With her fate, her character, her sacrifice, Marmeladova does not fit into the framework of the theory created by the hero, Sonya is different. It embodies Dostoevsky's favorite idea of "God's man".
On the other hand, in the novel there are doubles of the protagonist, those whose way of life and outlook correspond to the theory of the hero - Svidrigailov and Luzhin. It is they who visually let the hero and the reader understand how disgusting, anti-human Raskolnikov's theory is.
One of the main artistic features of all Dostoevsky's novels (and "Crime and Punishment" is no exception here) is the polyphony of novels, polyphony, in which the voice of each character (even episodic - an officer and a student, Katerina Ivanovna, Dunechka, Lizaveta) is added to the whole world, the diverse world of human grief, suffering, humiliation.
This polyphony is complemented by a description of the environment in which the characters live.
Petersburg, where events unfold, also becomes the hero of the novel.
The gloom of the city, its dirt, stench, its streets and boulevards, where people die, confirms Raskolnikov's theory, pushes him to crime, it is on these streets, in these closets, that the theory of protest against this world can be born.
An important role is played in the novel "Crime and Punishment" dreams. Raskolnikov sees dreams that reflect:
Dostoevsky's realism is called fantastic because the world of his characters combines reality and unreality (thoughts, feelings, experiences).
In such a world lives the main character of the novel - Raskolnikov.
Dostoevsky is rightfully considered one of the most remarkable realists of the 19th century. But it is interesting that this particular writer turned out to be especially valued in the twentieth century, since the writer managed to:
- raise issues,
- show characters,
- give a social assessment of those phenomena that have turned out to be vital for our century.
Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")
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What is the genre of Crime and Punishment?
No one doubts that Crime and Punishment is a novel, since ROMAN (from the French roman, originally a work in Romance languages) is a major form of the epic genre of literature, in which the reader is offered an action unfolded in an integral artistic space, and not a single episode or a high-profile moment that focuses on the depiction of a person in conjunction with complex life factors.
More difficult is the question of what kind of novel it is. Many scientific works have been written about the genre of the novel "Crime and Punishment". Scientists came to the conclusion that this novel can be considered CRIMINAL, SOCIAL, PSYCHOLOGICAL, PHILOSOPHICAL, DETECTIVE.
Since the criminal background of life in St. Petersburg is presented by Dostoevsky as a panoramic picture of social mores and problems, Crime and Punishment can rightfully be called a SOCIAL NOVEL.
Since Dostoevsky in the novel reveals the inner world of the characters with outstanding skill, the work can be called a PSYCHOLOGICAL NOVEL.
In "Crime and Punishment" there are many monologues and dialogues in which different life positions of the characters collide, there are intellectual disputes between Raskolnikov and Porfiry Petrovich, Raskolnikov and Svidrigailov. Each hero is a carrier of a certain life position, a certain idea that he wants to express and expresses. That is why the novel is called a PHILOSOPHICAL NOVEL, and Dostoevsky himself is the ancestor of this genre in world literature.
In addition, the presence in the plot of the novel of the line of investigation of a crime, the appearance of false versions in it, the complex psychological struggle between the investigator and the criminal allow us to look at "Crime and Punishment" as a DETECTIVE NOVEL.
Because the novel has certain features
1) the novel is associated with an interest in the private life of individuals
2) a novel - a large number of characters, especially plot-forming ones
The plot-forming hero is of fundamental importance. Without it, the plot of the novel will not develop or develop in a completely different way - that is, the sequence of significant events that change the psychological motivations of the characters.
3) novel - a rigidly structured architectonics of both the general plot and individual storylines
4) the novel is the author of the novel as a full-fledged character, one of the main, if not the main plot-forming hero - not only because the plot was invented and written down by him. The author's position, aesthetic views, worldview, life experience, everything that the writer wanted to say in the novel. The novel needs an author - as a person, visibly or invisibly present in the world created by him.
3 characteristic features of the novel as a genre according to M. Bakhtin
1) the stylistic three-dimensionality of the novel, associated with the multilingual consciousness that is realized in it;
2) a radical change in the temporal coordinates of the literary image in the novel;
3) a new zone of constructing a literary image in the novel, namely the zone of maximum contact with the present (modernity) in its incompleteness.
The novel by F. M. Dostoevsky “Crime and Punishment” is a socio-psychological one. In it, the author raises important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows the psychology of a contemporary person trying to find a solution to pressing social problems. Dostoevsky, however, does not give ready-made answers to the questions posed, but makes the reader think about them.
USE assignments in literature based on the novel "Crime and Punishment"
USE assignments in literature from the FIPI website based on the novel "Crime and Punishment" by F.M. Dostoevsky
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"Assignments of the Unified State Examination in literature based on the novel "Crime and Punishment""
“Allow me, I want to ask you a serious question,” the student got excited. - Of course, I was joking now, but look: on the one hand, a stupid, senseless, insignificant, evil, sick old woman, unnecessary to anyone and, on the contrary, harmful to everyone, who herself does not know what she lives for, and who tomorrow herself will die by itself. Understand? Understand?
“Well, I understand,” the officer answered, staring attentively at his excited comrade.
- Listen further. On the other hand, young, fresh forces that go to waste without support, and this is in the thousands, and this is everywhere! A hundred, a thousand good deeds and undertakings that can be arranged and corrected for the old woman's money, doomed to the monastery! Hundreds, thousands, perhaps, of beings pointing towards the road; dozens of families saved from poverty, from decay, from death, from debauchery, from venereal hospitals - and all this with her money. Kill her and take her money, so that with their help you can then devote yourself to the service of all mankind and the common cause: what do you think, will not one tiny crime be atoned for by thousands of good deeds? In one life, thousands of lives saved from decay and decay. One death and a hundred lives in return - why, there is arithmetic here! And what does the life of this consumptive, stupid and evil old woman mean on the general scales? Nothing more than the life of a louse, a cockroach, and even that is not worth it, because the old woman is harmful. She eats someone else's life: the other day she bit Lizaveta's finger out of spite; almost cut off!
“Of course, she is unworthy of life,” the officer remarked, “but then there is nature here.
“Oh, brother, why, nature is corrected and directed, and without this one would have to drown in prejudices. Without this, there would be no great man. They say: "duty, conscience" - I don't want to say anything against duty and conscience - but how do we understand them? Wait, I'll ask you one more question. Listen!
- No, you stop; I'll ask you a question. Listen!
- Now you are talking and orating, but tell me: will you kill the old woman yourself or not?
- Of course no! I'm for justice ... It's not about me here ...
- And in my opinion, if you yourself do not dare, then there is no justice here! Let's go another party!
(F.M. Dostoevsky, "Crime and Punishment".)
- The student and the officer express different points of view on the possibility of killing the old woman and on social justice. Indicate the term that in a work of art refers to the clash of views, life principles of the characters.
- What is the name of the conversation between two characters (in this case, a student and an officer) in a literary work?
- In the student's remarks, there are many words denoting an exaggeratedly large number (“a hundred, a thousand good deeds and undertakings”, “hundreds, thousands ... existences”, “thousands of lives”, etc.). What art trope is used here?
- In the conversation between the student and the officer, important, typical features of life are indicated, described objectively. What literary trend in the second half of the 19th century widely used this way of depicting reality?
- The excitement of the student's speech is created by exclamatory and interrogative sentences that do not require an answer. What are such questions and exclamations called in literary criticism?
- Who became a casual witness to the conversation between the student and the officer?
- In what city does the conversation between the student and the officer take place?
8. How did the conversation between the student and the officer influence the development of Raskolnikov's idea?
9. What characters of Russian literature are close to the image of the old money-lender in their inner essence? Justify your answer.
Raskolnikov went out of the barn to the very bank, sat down on the logs piled up by the barn and began to look at the wide and deserted river. From the high bank opened wide surroundings. From the far other shore, a song was barely audible. There, in the boundless steppe drenched in the sun, nomadic yurts were blackened as barely perceptible dots. There was freedom and other people lived there, not at all like those here, it was as if time had stopped there, as if the centuries of Abraham and his flocks had not yet passed. Raskolnikov sat, staring motionless, not looking up; his thought passed into daydreams, into contemplation; he thought of nothing, but a kind of melancholy agitated and tormented him.
Suddenly Sonya appeared beside him. She approached him barely audibly and sat down beside him. It was still very early, the morning chill had not yet softened. She was wearing her poor, old burnous and green handkerchief. Her face still bore signs of illness, grew thin, turned pale, haggard. She smiled affably and joyfully at him, but, as usual, timidly held out her hand to him.
She always held out her hand to him timidly, sometimes she didn't even give it at all, as if she were afraid that he would push her away. He always took her hand, as it were with disgust, always greeted her as if with annoyance, sometimes stubbornly remained silent during the whole time of her visit. It happened that she trembled him and went away in deep sorrow. But now their hands did not part; he glanced quickly and briefly at her, said nothing, and lowered his eyes to the ground. They were alone, no one saw them. The escort at that time turned away.
How it happened, he himself did not know, but suddenly something seemed to grab him and, as it were, threw him at her feet. He cried and hugged her knees. At first she was terribly frightened, and her whole face went dead. She jumped up from her seat and, trembling, looked at him. But at once, at that very moment, she understood everything. Infinite happiness shone in her eyes; she understood, and for her there was no longer any doubt that he loved her, loved her infinitely, and that this moment had finally come.
They wanted to speak, but they couldn't. Tears stood in their eyes. They were both pale and thin; but in these sick and pale faces already shone the dawn of a renewed future, a full resurrection into a new life. They were resurrected by love, the heart of one contained endless sources of life for the heart of the other.
(F.M. Dostoevsky "Crime and Punishment")
- Indicate the term that in literary criticism is called an important element of the composition that helps the author create an emotional atmosphere of action in the work. (From the words “From the high bank a wide neighborhood opened up ...” to the words “Raskolnikov sat, looked motionless ...”.)
- Indicate a term denoting the opposition of life phenomena or states (for example, Raskolnikov's life - a fortress, prison, escorts - and that free, free world that the hero sees "from a high bank": "nomadic yurts", "sun-drenched steppe", etc. .d.).
- Name the means of creating the image of Sonya, based on the description of her appearance: “She was wearing her poor, old burnous and a green scarf. Her face still bore signs of illness, lost weight, turned pale, haggard. She smiled warmly and joyfully at him ... ".
- About the changes in the heroes of F.M. Dostoevsky writes: “They were both pale and thin; but in these sick and pale faces already shone the dawn of a renewed future, a complete resurrection into a new life. Give the name of the art medium used in this description.
8. What helps Raskolnikov to resurrect for a “new life”?
9. Which heroes of Russian literature, through a painful search for answers to the most important questions, returned to true life?
The small room into which the young man passed, with yellow wallpaper, geraniums, and muslin curtains on the windows, was at that moment brightly lit by the setting sun. “And then, therefore, the sun will also shine. ”- as if by chance flashed through Raskolnikov’s mind, and with a quick glance he looked around everything in the room in order to study and remember the location as much as possible. But there was nothing special about the room. The furniture, all very old and made of yellow wood, consisted of a sofa with a huge arched wooden back, a round oval table in front of the sofa, a toilet with a mirror in the wall, chairs along the walls, and two or three penny pictures in yellow frames depicting German young ladies with birds. in the hands - that's all the furniture. In the corner in front of a small image a lamp was burning. Everything was very clean: both the furniture and the floors were polished; everything glittered. "Lizaveta's work," thought the young man. Not a speck of dust could be found in the whole apartment.
“It’s the wicked and old widows who have such purity,” Raskolnikov continued to himself, and looked with curiosity at the chintz curtain in front of the door to the second, tiny room, where the old woman’s bed and chest of drawers stood and where he had never looked. The whole apartment consisted of these two rooms.
- Anything? the old woman said sternly, entering the room and, as before, standing right in front of him so as to look him straight in the face.
- I brought the pledge, here it is! And he took out an old flat silver watch from his pocket. On the back of their plate was a globe. The chain was steel.
“Yes, I’ll still set a deadline. On the third day, a month has passed.
- I'll pay you interest for another month; be patient.
- And that is my good will, father, to endure or sell your thing right now.
- How much for a watch, Alena Ivanovna?
- And you go around with trifles, father, nothing, read it, is not worth it. Last time I paid you two tickets for a ring, but you can buy it new from a jeweler for a ruble and a half.
“Give me four rubles, I’ll buy back, father’s. I will receive money soon.
- One and a half rubles, sir, and a percentage in advance, if you want, sir.
- One and a half rubles! cried the young man.
- Your will. And the old woman handed him back the watch. The young man took them and became so angry that he was about to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for another.
- Let's! he said rudely.
The old woman reached into her pocket for the keys and went into another room behind the curtains. The young man, left alone in the middle of the room, listened curiously and pondered. I could hear her opening the chest of drawers. It must be the top drawer, he thought. She carries her keys in her right pocket. All on one bundle, in a steel ring. And there is one key there, three times as many, with a notched beard, of course, not from a chest of drawers. So, there is still some kind of box, or styling. Here it is curious.
The stacks have all such keys. And yet, how vile it all is. »
“Here you are, father: if you pay a hryvnia per month from the ruble, then fifteen kopecks will be deducted from you for a ruble and a half, a month ahead, sir.” Yes, for the two former rubles you still owe twenty kopecks forward on the same account. And in total, therefore, thirty-five. All you have to do now is get your ruble and fifteen kopecks for your watch. Here you get it.
- As! so now the ruble is fifteen kopecks!
- What is the name of the character's surname, which carries an element of his characteristics (for example, the surname Raskolnikov, associated with the word "split")?
- Establish a correspondence between the characters acting and mentioned in this fragment and the elements of their portraits. For each position in the first column, select the corresponding position from the second column.
“The young man took it [the watch] and got so angry that he was about to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for another. What is the name of the image of the spiritual life of a person in a literary work?
— What is the name of the literary movement that flourished in the second half of the 19th century and whose principles were embodied in Crime and Punishment?
- In this episode, Raskolnikov expresses his thoughts several times, not uttering the words aloud, but as if referring to himself. Name this expression.
- On the father's watch, which Raskolnikov brought, a globe was depicted. What is the expressive detail in a work of art called?
- Indicate the genre to which the work of F.M. Dostoevsky "Crime and Punishment".
The genre-compositional structure of the novel is complex. In terms of plot, it is close to the detective and adventurous genre, but the detailed and detailed depiction of the background against which events unfold, the effectiveness of the image of St. Petersburg itself, allow us to speak of the genre of a social novel. There is also a love line in it (Dunya - Svidrigailov, Luzhin, Razumikhin; Raskolnikov - Sonya). An in-depth study of the inner world of the characters, so characteristic of Dostoevsky, makes this novel psychological as well. But all these genre features, intertwined in a single artistic whole of the work, create a completely new type of novel.
"Crime and Punishment" is the first of Dostoevsky's "great" novels, in which his artistic and philosophical system was embodied. At the center of this novel is the idea of individualism, which is opposed to the idea of Christian humility and redemptive suffering. This determines the high ideological nature of the text of the work, saturated with deep and complex philosophical problems. Therefore, Dostoevsky's novel is rightfully classified as an ideological and philosophical novel. Indeed, the author's attention, despite the adventurous-detective plot, is focused not on the events that are rapidly unfolding before the eyes of the reader, but on the thoughts, philosophical reasoning, and ideological disputes of the heroes. In fact, the writer shows the fate of the idea that prompted the hero to commit a crime, which makes it possible to organically include the most complex philosophical problems in the work. At the same time, the novel does not become a philosophical treatise, since it is not about an abstract idea, but about a character wholly embraced by it.
This is how a special type of hero arises, which they began to call the hero-idea (or hero-ideologist). This is a special type of literary hero, which first appeared in Dostoevsky's novel "Crime and Punishment", the peculiarity of which is that this is not just a social or psychological type, a certain character or temperament, but, first of all, a person captured by an idea (sublime or destructive), which "turning into nature", requires "immediate application to the case" (F.M. Dostoevsky). Such heroes - carriers of ideas - in the novel are primarily Raskolnikov (the idea of individualism) and Sonya Marmeladova (the Christian idea). But in his own way, each of the characters in this novel also represents “his own” idea: Marmeladov embodies the idea of life’s dead end, justified by him, the investigator Porfiry Petrovich expresses a whole system of arguments in defense of the idea of Christian humility and redemptive suffering, which he, like Sonya, offers to perceive Raskolnikov. Even the almost speechless Lizaveta, killed by Raskolnikov, participates in the duel of ideas that the main characters lead.
This is how a special artistic structure arises, in which ideas through their carriers enter into a free dialogue. It is conducted not only at the level of various discussions, disputes, various statements of heroes (out loud or to themselves), but, most importantly, is embodied in the fate of these heroes. At the same time, the author's position is not directly expressed, the action moves as if by itself as a result of the development of the main idea (the idea of individualism), which manifests itself in constant collision and intersection with the Christian idea that contrasts with it. And only the end result of a complex movement and development of ideas allows us to speak about the position of the author in this peculiar ideological and philosophical dispute.
Thus, a completely new type of novel is formed, which became the artistic discovery of Dostoevsky. The theoretical substantiation of this new type, called the polyphonic novel, was made only in the 20th century by M.M. Bakhtin. He also suggested the name "polyphonic" (from polyphony - polyphony). The role of "voices" in it is played by heroes-ideas. The peculiarity of such a novel is that the philosophical views of the writer, which are at the center of the work, are not expressed in the direct statements of the author or the characters (the principle of objectivity), but are revealed through the clash and struggle of different points of view embodied in the heroes-ideas ( dialogical structure). At the same time, the idea itself is realized through the fate of such a hero - hence the in-depth psychological analysis that permeates all levels of the artistic structure of the work.
The psychological analysis of the state of the criminal before and after the commission of the murder in the novel is merged with the analysis of Raskolnikov's "idea". The novel is built in such a way that the reader is constantly in the sphere of consciousness of the hero - Raskolnikov, although the narration is conducted from the 3rd person. That is why his words, incomprehensible to the reader, about the “test” sound so strange when he goes to the old woman. After all, the reader is not initiated into Raskolnikov's plan and can only guess what kind of "case" he is discussing with himself. The specific intention of the hero is revealed only after 50 pages from the beginning of the novel, just before the atrocity. The existence of Raskolnikov's complete theory and even an article with its presentation becomes known to us only on the two hundredth page of the novel - from a conversation with Porfiry Petrovich. This technique of default is used by the writer in relation to other heroes. So only at the very end of the novel do we learn the history of Dunya's relationship with Svidrigailov - immediately before the denouement of these relations. Of course, this, among other things, contributes to the amplification of the plot.
All this is very unlike the psychologism traditional for Russian literature. “I am not a psychologist,” Dostoevsky said of himself, “I am only a realist in the highest sense, that is, I depict all the depths of the human soul.” The great writer was distrustful of the very word "psychology", calling the concept behind it a "double-edged sword." In the novel, we see not just a study, but a test of the soul and thoughts of the hero - this is the semantic and emotional core to which all the plot moves, all the events of the work, all the feelings and sensations of both leading and episodic characters are drawn. Dostoevsky's method as a psychologist consists in penetrating the writer into the consciousness and soul of the hero in order to reveal the idea he carries, and with it his true nature, which comes out in unexpected, extreme, provocative situations. Not without reason in "Crime and Punishment" the word "suddenly" is used 560 times!
The peculiarity of Dostoevsky's psychologism also determines the specificity of his plot constructions. Believing that the true essence of a person is manifested only at the moments of the highest upheavals, the writer seeks to knock his heroes out of their usual life rut, to bring them into a state of crisis. The dynamics of the plot leads them from catastrophe to catastrophe, depriving them of solid ground under their feet, forcing them to desperately "storm" unresolvable "damned" questions again and again.
The compositional structure of "Crime and Punishment" can be described as a chain of catastrophes: Raskolnikov's crime, which brought him to the threshold of life and death, then Marmeladov's death, followed soon after by the madness and death of Katerina Ivanovna, and finally Svidrigailov's suicide. In the background to the novel action, Sonya's catastrophe is also told, and in the epilogue - Raskolnikov's mother. Of all these heroes, only Sonya and Raskolnikov manage to survive and escape. The gaps between catastrophes are occupied by Raskolnikov's tense dialogues with other characters, of which two conversations with Porfiry Petrovich stand out. The second, most terrible for Raskolnikov “conversation” with the investigator, when he drives Raskolnikov almost to insanity, hoping that he will give himself away, is the compositional center of the novel, and conversations with Sonya are located before and after, framing him. material from the site
Dostoevsky believed that only in such extreme situations: in the face of death or in the moments of the final determination for himself of the purpose and meaning of his existence, is a person able to renounce the vanity of life and turn to the eternal questions of being. Subjecting his heroes to merciless psychological analysis precisely at these moments, the writer comes to the conclusion that in such circumstances the fundamental difference in character disappears, becomes unimportant. After all, with all the uniqueness of individual feelings, the “eternal questions” are the same for everyone. That is why another phenomenon of Dostoevsky's polyphonic novel arises - duality. We are talking not only about the specifics of the characters and the peculiarities of psychological analysis, but also about one of the most important principles for constructing Dostoevsky's polyphonic novel - the system of doubles.
The action of Dostoevsky's polyphonic novel is based on the clash of contrasting ideological poles with complete equality of ideas, which are additionally revealed with the help of a system of twins. In Crime and Punishment, the idea of individualism, the main carrier of which is Raskolnikov, is specified in the images of Luzhin and Svidrigailov, who become his twins, or rather, twins of the idea embodied in him. The bearer of the Christian idea is Sonechka Marmeladova, and her twins (twins of the idea) are Lizaveta, Mikolka, Dunya. The inner essence of Sonechka Marmeladova, as a hero-idea, is the foundation of the Christian idea: the creation of good and the acceptance of the suffering of the world. This is what fills Sonya's life with deep meaning and light, despite the surrounding dirt and darkness. Connected with the image of Sonechka is Dostoevsky’s belief that the world will be saved by fraternal unity between people in the name of Christ, and that the basis of this unity must be sought not in the society of the “powerful of this world”, but in the depths of people’s Russia. A special form of the novel helps the writer to express it - polyphonic, as well as the whole system of artistic means inherent in it, first of all, the system of images of the novel.
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- composition and problem of the novel crime and punishment
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- crime and punishment psychologism
- continue the description of the genre of the creation of Dostoyevsky's evil and punishment
Genre and style originality of F.M. Dostoevsky's novel "Crime and Punishment"
dostoevsky novel crime punishment
According to the genre, Crime and Punishment (1866) is a novel, the main place in which is occupied by the social and philosophical problems of contemporary Russian life for the writer. In addition, in "Crime and Punishment" one can note genre features: a detective (the reader from the very beginning knows who the killer of the old pawnbroker, but the detective intrigue is preserved to the end - Raskolnikov admits, will he fall into the trap of the investigator Porfiry Petrovich or slip out?), household an essay (a detailed description of the poor quarters of St. Petersburg), a journalistic article (Raskolnikov's article "On Crime"), spiritual writings (quotations and paraphrases from the Bible), etc.
This novel can be called social because Dostoevsky depicts the life of the inhabitants of the slums of St. Petersburg. The theme of the work is showing the inhuman conditions of existence of the poor, their hopelessness and bitterness. The idea of "Crime and Punishment" is that the writer condemns his contemporary society, which allows its citizens to live in hopeless need. Such a society is criminal: it dooms weak, defenseless people to death and at the same time gives rise to retaliatory crime. These thoughts are expressed in Marmeladov's confession, which he utters in a dirty tavern in front of Raskolnikov.
Dostoevsky shows in detail the life of the poor Petersburg quarters. He depicts Raskolnikov's room, similar to a closet, Sonya's ugly housing, a passage room-corridor where the Marmeladov family huddles. The author describes the appearance of his poor heroes: they are dressed not only poorly, but very poorly, so that it is a shame to appear on the street. This concerns Raskolnikov when he first appears in the novel. Marmeladov, met by a poor student in a tavern, “was dressed in a black, old, completely torn tailcoat, with crumbling buttons.
Despite open sympathy for these heroes, Dostoevsky does not try to embellish them. The writer shows that both Semyon Zakharovich Marmeladov and Rodion Romanovich Raskolnikov are largely to blame for their sad fate. Marmeladov is a sick alcoholic who is ready to rob even his little children for the sake of vodka. He does not hesitate to come to Sonya and beg her last thirty kopecks for a drink, although he knows how she earns this money.
Dostoevsky has an ambiguous attitude towards Raskolnikov. On the one hand, the writer sympathizes with the student who has to earn a living from penniless lessons and translations. On the other hand, Dostoevsky portrays Raskolnikov's friend, the student Razumikhin: he lives even more difficult than the main character, since he does not have a loving mother who sends him money from her pension. At the same time, Razumikhin works hard and finds the strength to endure all hardships. He thinks little about his own person, but he is ready to help others, and not in the future, as Raskolnikov plans, but now.
In the novel, the social content is closely intertwined with the philosophical (ideological): Raskolnikov's philosophical theory is a direct consequence of his desperate life circumstances. A smart and determined person, he thinks about how to fix an unjust world. Maybe through violence? But is it possible to impose a just society on people by force, against their will? The philosophical theme of the novel is a discussion of the “right to blood”, that is, consideration of the “eternal” moral question: does a high end justify criminal means? The philosophical idea of the novel is formulated as follows: no noble goal justifies murder, it is not a human business to decide whether any person is worthy of living or unworthy. Alena Ivanovna is disgusting, starting with the above portrait and despotic attitude towards her sister Lizaveta and ending with her usury activities, she looks like a louse (5, IV), sucking human blood.
However, according to Dostoevsky, even such a nasty old woman cannot be killed: any person is sacred and inviolable, in this respect all people are equal. According to Christian philosophy, the life and death of a person is in the hands of God, and people cannot decide this (therefore, murder and suicide are mortal sins).
From the very beginning, Dostoevsky aggravates the murder of the pernicious pawnbroker by the murder of the meek, unrequited Lizaveta. So, wanting to test his abilities as a superman and preparing to become a benefactor of all the poor and humiliated, Raskolnikov begins his noble work by killing (!) An old woman and a holy fool, like a big child, Lizaveta.
The attitude of the writer to the "right to blood" is clarified, among other things, in Marmeladov's monologue. Speaking about the Last Judgment, Marmeladov is sure that God will eventually accept not only the righteous, but also degraded drunkards, insignificant people like Marmeladov: “And he will say to us:“ You are pigs! the image of the animal and its seal; but come and you!”. (...) And he will stretch out his hands to us, and we will fall down ... and weep ... and we will understand everything! Then we’ll understand everything!..” (1, II).
"Crime and Punishment" is a psychological novel, since the main place in it is the description of the mental anguish of the person who committed the murder. In-depth psychologism is a characteristic feature of Dostoevsky's work. One part of the novel is devoted to the crime itself, and the remaining five parts are devoted to the emotional experiences of the killer. Therefore, it is most important for the writer to depict Raskolnikov's pangs of conscience and his decision to repent. A distinctive feature of Dostoevsky's psychologism is that he shows the inner world of a person "on the verge", being in a semi-delusional, semi-mad state, that is, the author tries to convey a painful mental state, even the subconscious of the characters. In this Dostoevsky's novels differ, for example, from the psychological novels of Leo Tolstoy, where the harmonious, varied and balanced inner life of the characters is presented.
So, the novel "Crime and Punishment" is an extremely complex work of art, in which the pictures of contemporary Russian life (60s of the XIX century) and discussions about the "eternal" question of mankind - about the "right to blood" are most closely connected. The writer sees the exit of Russian society from the economic and spiritual crisis in the conversion of people to Christian values. He gives his own solution to the moral question posed: under no circumstances does a person have the right to judge - to live or die to another, the moral law does not allow "blood according to conscience."
In Dostoevsky's novel "Crime Punishment" the interiors are depicted in ugly, gloomy, oppressive tones. They emphasize the circumstances, the state of mind of the characters, and sometimes, on the contrary, they contrast with the characters. An example of this is the attractive portrait of Raskolnikov and the room in which he lives: a beggarly one, reminiscent of a coffin or a closet, with a low ceiling, with faded yellow wallpaper. The interior is complemented by peeled old chairs, a sofa and a small painted table.
Describing the room of the protagonist, the writer emphasizes the desolation and lifelessness of the dwelling, causing fear and oppression. The deadness of the room is complemented by a large layer of dust on books and notebooks lying on the table. There is no life in this yellow room. Its owner voluntarily renounced action, from society, he lies motionless in it and thinks about the hopelessness of his situation.
Dostoevsky is a subtle psychologist in describing the situation. So, the room of the old pawnbroker is very tidy, the pieces of furniture and the floor in it shine, testifying to the cleanliness that is characteristic of "evil and old widows."
In almost all the dwellings of the characters in the novel, the interior testifies to the extreme poverty of their owners, and, in addition, to the disorder in life, the lack of comfort and warmth. Heroes are not protected in their homes, they cannot hide in them from problems and misfortunes. It seems that even in relation to their tenants, these small rooms reveal coldness and aloofness, they drive them out into the street. In the setting of most rooms, yellow becomes the predominant tone. This life-affirming, sunny color turns in the novel into the color of lifelessness, lack of energy and positive, the color of illness and disharmony. Dostoevsky replaces the bright juicy color with a dull, dirty, blurry, dull yellow color, testifying to the lifelessness of the characters.
The interiors in the novel "Crime and Punishment" play an important role, becoming not only the background of events, but also an element of the composition, the ideological sound of the novel.
The works of F.M. Dostoevsky are included in the golden fund of world literature, his novels are read all over the world, so far they have not lost their relevance. "Crime and Punishment" is one of these timeless works, touching on the themes of faith and unbelief, strength and weakness, humiliation and greatness. The author skillfully draws the situation, immerses the reader into the atmosphere of the novel, helping to better understand the characters and their actions, making them think.
In the center of the plot is Rodion Raskolnikov, a student who is mired in poverty. And it's not just the lack of money for some pleasure, it's poverty, which destroys, drives you crazy. It's a closet like a coffin, rags and not knowing if you're going to eat tomorrow. The hero is forced to leave the university, but he cannot improve his affairs in any way, he feels the injustice of his position, he sees around him the same destitute and humiliated.
Raskolnikov is proud, sensitive and intelligent, the atmosphere of poverty and injustice presses on him, which is why a terrible and destructive theory is born in his head. It lies in the fact that people are divided into lower (“ordinary”) and higher (“actually people”). The former are needed only to maintain the population of people, they are useless. But the latter move civilization forward, put forward completely new ideas and goals that can be achieved by any means. For example, the hero compares himself with Napoleon and comes to the conclusion that he is also able to change the world and set his own price for changes. In this sense, he is no different from the old pawnbroker who evaluated the things brought to her. Be that as it may, Rodion decided to test this theory on himself (“Am I a trembling creature or do I have rights?”), Killing an old pawnbroker and not only, saving thousands of people from her arbitrariness, and improving his own financial situation.
Why did Raskolnikov still kill the old pawnbroker?
The hero hesitates for a long time and nevertheless affirms his decision after meeting with the official Marmeladov, who drinks black, impoverishing himself, his wife Katerina Ivanovna, her children, and daughter Sonya (she is generally forced to work as a prostitute to help her family) . Marmeladov understands his fall, but he cannot help himself. And when a horse crushed him drunk, the situation of the family turned out to be even more disastrous. It was to these people who were ruined by poverty that he decided to help. Comparing their plight with the unfair contentment of Alena Ivanovna, the hero came to the conclusion that his theory is correct: society can be saved, but this salvation will require human sacrifice. Having decided and committed the murder, Raskolnikov falls ill and feels lost to people (“I didn’t kill the old woman ... I killed myself”). The hero cannot accept the love of his mother and sister Dunya, the care of his friend Razumikhin.
Raskolnikov's twins: Luzhin and Svidrigailov
Also a double is Svidrigailov, who tried to seduce Dunya. He is the same criminal, guided by the principle of "a single evil is permissible" if the end goal is good." It would seem that it is similar to the theory of Rodion, but it was not there: his goal should be good only from a hedonistic point of view and for Svidrigailov himself. If the hero did not see pleasure in her for himself, then he did not notice anything good. It turns out that he did evil for the benefit of himself, moreover, for the benefit of his depravity. If Luzhin wanted a caftan, that is, material well-being, then this hero longed to satisfy his base passions and nothing more.
Raskolnikov and Sonya Marmeladova
Tortured and languishing, Raskolnikov draws closer to Sonya, who also broke the law, like the hero. But the girl remained pure in her soul, she is more of a martyr than a sinner. She sold her innocence for a symbolic 30 rubles, just as Judas sold Christ for 30 pieces of silver. At this price, she saved the family, but betrayed herself. The vicious environment did not prevent her from remaining a deeply religious girl and perceiving what was happening as a necessary sacrifice. Therefore, the author notes that the vice did not touch her spirit. With her timid demeanor, her incessant shame, the girl contradicted the vulgarity and impudence of the representatives of her profession.
Sonya reads to Rodion about the resurrection of Lazarus, and he confesses to the murder, believing in his own resurrection. He did not confess to the investigator Porfiry Petrovich, who already knew about his guilt, did not confess to his mother, sister, Razumikhin, but chose Sonya, feeling salvation in her. And this intuitive feeling was confirmed.
The meaning of the epilogue in the novel "Crime and Punishment"
However, Raskolnikov did not repent at all, he was only upset that he could not stand the moral torment and turned out to be an ordinary person. Because of this, he again experiences a spiritual crisis. Once in hard labor, Rodion looks down on the prisoners and even on Sonya, who followed him. The convicts answer him with hatred, but Sonya is trying to make life easier for Raskolnikov, because she loves him with all her pure soul. The prisoners sensitively responded to the caress and kindness of the heroine, they understood her silent feat without words. Sonya remained a martyr to the end, trying to atone for both her sin and the sin of her lover.
In the end, the truth is revealed to the hero, he repents of the crime, his soul begins to revive, and he is imbued with "endless love" for Sonya. The readiness of the hero for a new life is symbolically expressed by the author in a gesture when Rodion joins the sacraments of the Bible. In Christianity, he finds the consolation and humility necessary for his proud character to restore inner harmony.
"Crime and Punishment": the history of the creation of the novel
F.M. Dostoevsky did not immediately come up with a title for his work, he had options “Under Trial”, “The Criminal's Tale”, and the title known to us appeared already at the end of the work on the novel. The meaning of the title "Crime and Punishment" is revealed in the composition of the book. At the beginning, Raskolnikov, seized by the delusions of his theory, kills an old pawnbroker, violating moral laws. Further, the author debunks the hero's delusions, Rodion himself suffers, then ends up in hard labor. This is his punishment for putting himself above everyone around him. Only repentance gave him a chance to save his soul. The author also shows the inevitability of punishment for any crime. And this punishment is not only legal, but also moral.
In addition to the variability in the title, the novel originally had a different concept. Being in hard labor, the writer conceived the novel as Raskolnikov's confession, wanting to show the hero's spiritual experience. Further, the scale of the work became larger, it could not be limited to the feelings of one hero, so F.M. Dostoevsky burned the almost finished novel. And he began anew, already the way the modern reader knows him.
The subject of the work
The main themes of "Crime and Punishment" are the themes of poverty and oppression of the majority of society, on which no one gives a damn, as well as the themes of rebellion and delusions of the individual under the yoke of social disorder and suffocating poverty. The writer wanted to convey to the readers his Christian ideas about life: for harmony in the soul, one must live morally, according to the commandments, that is, not to yield to pride, selfishness and lust, but to do good to people, love them, sacrificing even their own interests for the good of society. That is why at the end of the epilogue Raskolnikov repents and comes to faith. The problem of false beliefs raised in the novel is still relevant today. The theory of the protagonist about permissiveness and the crime of morality for the sake of good goals leads to terror and arbitrariness. And if Raskolnikov overcame a split in his soul, repented and came to harmony, having overcome the problem, then in larger cases this is not so. Wars began because some rulers decided that the lives of a thousand people could easily be sacrificed for their goals. That is why a novel written in the 19th century does not lose its sharpness of meaning to this day.
"Crime and Punishment" is one of the greatest works of world literature, imbued with humanism and faith in man. Despite the seeming depressiveness of the narrative, there is hope for the best, that one can always be saved and saved.
Interesting? Save it on your wall!Novel "Crime and Punishment" - a novel about the absolute value of human beings. personality. This is a social-philosophical, religious-moral, ideological novel. The novel was published in 1866. It was an era when the old moral laws were rejected by society, and new ones had not yet been formed. Society has lost the moral guidelines that were embodied in the image of Christ. D. was able to show the horror of this loss. The PiN district has a number of special features: 1) Ideological district(Raskolnikov is a hero-ideologist, this idea becomes his passion and the defining feature of his l-sti). 2) Abvivalence of GG consciousness(it combines opposite principles, good and evil; R. is not an ordinary killer, but an honest and gifted person with a philosophical mindset, who has embarked on the wrong path, carried away by a false theory). 3) Dialogism of the narrative. There is always a dispute and a defense of one's position (The two main characters of the novel - Raskolnikov and Sonya form two poles. Pole Raskolnikov represents the Napoleonic idea, inhuman and inhumane: Sonin's pole is Christ's idea, the idea of forgiveness. They are in a relationship of duality-antagonism. Both criminals (murderer and harlot). They are both victims of social evil. That is why Raskolnikov reaches out to Sonya, she is for him symbolizes a different social and moral phenomenon. R.'s theory symbolizes the spiritual death of man. Sonya Marmeladova enables R. to feel the crisis and the illegitimacy of his theory. She is the bearer of true faith in the novel, yavl. expressing the author's position. For her, people are the highest value on earth. Sonya believes that R. committed a crime p/d by God, p/d by the earth, p/d by the Russian people, and therefore sends him to seek salvation and rebirth among people. R. sees that religion, faith in God is the only thing she has left. For D. in the concept of God, ideas about the higher principles of being are merged: eternal beauty, justice and love. And the hero comes to the conclusion that God is the embodiment of humanity.). 4) Polyphonic district(the merging of different voices, points of view into one complete, diverse picture that reflects modern society). 5) The principle of duality(Doubles in the novel - simultaneously opponents: Raskolnikov's double is Razumikhin: both are poor students, fighting for their lives. But the means of struggle are different. Razumikhin is engaged in tutoring. helps Raskolnikov (offers a job), sits at the bedside of the sick Raskolnikov, takes care of Rodion's family. but he is sharply opposed to Rodion, since he does not accept the idea of \u200b\u200b"blood for conscience." A kind of double of Raskolnikov is Svidrigailov. who, as is typical of a cynic, brings Raskolnikov's ideas to their logical conclusion, advising him to stop thinking about the good of mankind. Another character shading the image of the main hero, Luzhin Petr Petrovich. The hero takes the practical part of Raskolnikov's theory of the right to crime, but completely emasculates all the lofty meaning from it. Luzhin reflects Raskolnikov's philosophy in a distorted mirror of cynicism, and Raskolnikov himself looks with disgust at Luzhin and his theory. Luzhin personifies: "Love yourself." Svidrigailov - the other side of Raskolnikov's theory, cat. symbolizes godlessness. Luzhin, Svidrigailov and Raskolnikov are brought together by that. that they take upon themselves the right to dispose of other people's lives to achieve their goals. But their main difference is that Raskolnikov's is a delusion caused by social circumstances. Luzhin and Svidrigailov have this property of their nature. The idea expressed in the image of Sonya is duplicated by the images of Lizaveta and Dunya. Lizaveta embodies meekness and love for God, a millstone. Sonya and Lizaveta are god sisters and innocent victims. Sonya and Dunya are both willing victims. The strength of character in the Dun manifests itself brighter, but through the prism of the image of Dunya, this power is also highlighted in Sona.) 6) Connection of the philosophical basis with the detective(the murder of an old pawnbroker and the investigation. The legal principle is represented by Porfiry Petrovich, the investigator. This is the antipode of Raskolnikov. But there is something Raskolnikov in him. That's why he understands the main character faster and better than anyone. Investigator Porfiry is not alien to Raskolnikov's "idea" "This is a man who experienced in his youth his period of proud impulses and dreams. Porfiry Petrovich feels "attachment" to the murderer, for he himself "is familiar with these feelings." Like Svidrigailov, Porfiry in Raskolnikov recognizes to some extent his own youth. Hence him secret sympathy for the hero, which conflicts with his role as the guardian of official justice. Condemning the murderer, Porfiry, like the author of the novel himself, cannot help admiring the courage of the rebel against human suffering and the injustice of society. That's why he thinks him a "terrible fighter" if he manages to find a genuine "faith or god." He convinces Raskolnikov to confess in order to regain the ability to live). 7) Realistic district.(Dostoevsky defined his method as "realism in the highest degree" - that is, in order to show the true nature of a person, one must depict him in borderline situations, on the edge of the abyss, representing a shattered creature, lost souls).
The whole novel is Raskolnikov's path to himself. The novel is dedicated to the transformation of Raskolnikov. GG was worried about insoluble questions: why do smart, noble people have to drag out a miserable existence, while others - insignificant and vile - live in luxury and contentment? Why do innocent children suffer? How to change this order? Who is a person - a "trembling creature" or the ruler of the world, "having the right" to transgress the moral law? External causes of crime are the causes that are caused by social. the position of the hero. And what is happening in his soul, all his painful experiences, the author reveals to the reader, describing R.'s dreams. malice the owner beats to death. The hero's dream is ambiguous: it expresses a protest against murder, senseless cruelty, sympathy for someone else's pain; sleep - a symbol of existing orders - life is unfair, rude and cruel; the most important meaning of sleep is R.'s inner attitude to crime. The terrible scene, the spilled blood are connected in the mind of R. with the planned murder. R. feels fear and doubt - while the theory was mastered logically, there was no fear, but now the feelings of the hero came into their own. Having not killed anyone yet, R. realizes the doom of his bloody idea. R. hears in a tavern a conversation among students about the murder of an old pawnbroker for the sake of money, which can be used to do "1000 good deeds", 1 life and hundreds of lives in return. The phrase about the many suffering was very important for R.. From this moment, vague ideas are formed into the idea of dividing people into the elite and the ordinary. Therefore, R. is close to Napoleon. D. proves how monstrous this worldview is, for it leads to disunity between people, turns a person into a slave of his own passions, and thereby destroys him. The world - built on these principles - is a world of arbitrariness, where universal human values are collapsing. This is the way of the death of the human kind. After the murder, there was a turning point in R.'s soul. It was as if an abyss had opened up for him and people - loneliness, alienation, hopeless longing. The deed became an insurmountable obstacle. And in this woeful loneliness begins a painful comprehension of what has been done.
