Raskolnikov's meeting with Marmeladov in a tavern. (analysis)

The official Semyon Zakharovich Marmeladov and his family play an important role in the development of the plot and problems of the novel “Crime and Punishment.” We first meet this hero in an episode of his conversation with Raskolnikov in a tavern. It is from this passage that we learn Marmeladov’s life story, meet his wife and daughter, and learn about their life tragedy.

So, after another visit to the old pawnbroker, Raskolnikov goes to the tavern. He was brought to this place by the same desire to drown his grief, the same feeling of emptiness and mental nausea as the other visitors. Dostoevsky shows that the tavern is the abode of unhappy people, offended by life. They reached “the brink” of their moral decline, completely sank and turned into brutes. People come here, sink even lower, drink their last drink, offend those closest to them and, tormented by the realization of their insignificance, come back to the tavern. It turns out to be a vicious circle, which these unfortunate people are unable to break.

Raskolnikov, and we too, understand all this from Marmeladov’s story. This man immediately attracted Rodion's attention. In his eyes “there seemed to be even enthusiasm shining - perhaps there was meaning and intelligence - but at the same time there seemed to be a flicker of madness.” Marmeladov also singled out Raskolnikov from the circle of regular visitors to the tavern. He was looking for a person to whom he could tell about his life, as if to confess, to ease his soul. Semyon Zakharovich saw such a person, educated, capable of understanding and not immediately condemning, in Raskolnikov.

Marmeladov’s appearance revealed him as a degraded, drinking man living in poverty. But, as it turns out later, this was once a titular adviser. He was widowed and married a second time to Katerina Ivanovna. The author emphasizes that Marmeladov did this solely out of pity and sympathy for the woman who remained a widow with three children and lived in complete, hopeless poverty.

It was not so easy for Katerina Ivanovna to marry a hero: in addition to her proud and proud character, she was also characterized by a noble origin and an exalted upbringing. But poverty breaks people, makes slaves out of them, forces them into misfortune. This is what happened with this woman. Having married Marmeladov, she found herself in even greater poverty and humiliation. The hero began to drink and drink everything away, taking the last of it not only from his daughter Sonechka, but also from his wife’s three small children. From constant malnutrition and anxiety, Katerina Ivanovna fell ill with consumption, and her condition constantly worsened - she “began to spit up blood.”

We see that Marmeladov admits his guilt, and his guilt is great. While he was drowning his grief and helplessness in wine, terrible things happened to his family. Lebezyatnikov beat Katerina Ivanovna because she stood up for poor Sonechka. The woman fell ill from such humiliation, leaving her children virtually unattended. After all, Sonya now came home only at dusk, so that no one would see her. She was not allowed to enter her home, because she lived on a yellow ticket, since she became a street woman.

Sonechka’s tragedy is ordinary and that makes it even more terrible. The girl earned her living by sewing, but one day she was not paid money for her work, and “stomping her feet and calling her indecently, under the pretense that the collar of her shirt was not sewn to measure and was a jamb,” she was kicked out. And at home, the stepmother, exhausted by the terrible life, in the heat of the moment sent the girl to the panel. And Sonechka made up her mind and stepped over her soul to save the lives of her loved ones.

The description of her first return from “work” is scary. The girl silently put the money she had earned on the table, covered her head with a large, angry scarf, and lay down on the bed. And only her shoulders and her whole body trembled under this “shelter”. Then Katerina Ivanovna realized what she had pushed her stepdaughter to do: “she went up to Sonechka’s bed and stood on her knees all evening, kissed her feet, didn’t want to get up, and then they both fell asleep together, hugging each other.”

And, talking about all the misfortunes of his family, Marmeladov added: “and I... was lying drunk, sir.” We see that this hero scolds himself for his bestial condition, but due to weakness of character, he cannot do anything about it. Raskolnikov meets him at the moment when Semyon Zakharovich has been drinking for the fifth day. And this despite the fact that only recently did hope for improvement flash in their family - Marmeladov found a place for himself and even went to work for two days. And these two days were the happiest in many years of his family’s life. But the happiness did not last long - the hero drank everything he had. He asks Raskolnikov to take him home.

This moment is the finale of this episode, introducing Marmeladov and his family into the novel.

Homework:

1. Optional creative work: “How Dostoevsky depicts the capital

Russian Empire"; "The history of the Marmeladov family."

2. Prepare for the conversation:

• 
  Raskolnikov's thoughts after visiting the Marmeladov family; reading a letter to mother (part 1, chapter 2-4)
• 
  Reveal the meaning of Raskolnikov’s reasoning after the meeting with Marmeladov (from the words: “Oh, Sonya... So be it!”)
• 
  Think about the questions: What contradictions in Raskolnikov’s behavior did you discover? How do you explain these contradictions? What conclusions do you draw about Raskolnikov’s character based on his actions? Motives for the crime?

“A shocked, unsettled hero” or Raskolnikov among the humiliated and insulted.

Target: Reveal the hero’s conflict with a world that dooms most people to lawlessness; introduce students to the world of Raskolnikov’s spiritual quest. Equipment: individual cards.

Progress of the lesson.

During the conversation, using reading with commentary on episodes, we come to the idea of ​​Raskolnikov’s rejection of a world in which a person is humiliated and insulted.

In the introductory speech, the teacher talks about Raskolnikov, his state of mind and financial situation at the beginning of the novel. The heroes painfully think about the question of “the existence of an arshin of earth.” He is a way out, not wanting to “accept fate as it is.” For Raskolnikov, this means abandoning life, the natural right to love, and action. The passage is analyzed: “The heat outside was terrible... At that same moment he himself realized that his thoughts were sometimes confused and that he was very weak: it was the second day since he had eaten almost nothing. He was so poorly dressed that some people, even ordinary people, would be ashamed to go out into the street in such rags during the day.”

Analysis leads to conclusions:

1. 
   The hero does not accept “the face of this world”; such a life evokes in him
   a feeling of disgust and malicious contempt for the pillars of society.
2. 
   The hero is in a state of acute nervous excitement, he is spiritually and physically depressed.
3. 
   Raskolnikov is tormented not by poverty and need, but by attempts to solve problems.
   some important question. Which one exactly?

- Why did Raskolnikov leave his closet?

He doesn't have far to go, exactly seven hundred and thirty steps. Is he going to make a “test” for the “enterprise”, thoughts about which arose a month and a half ago? Remember the conversation between a student and an officer in a tavern.

- What is the reason for the hero’s “ugly” dream?

The idea of ​​killing the old woman was born of “the unjust, cruel structure of society and the desire to help people.” Having arisen a month and a half ago, the idea of ​​murder has penetrated deeply V Raskolnikov's soul. Hero Consciousness V captivated by this idea. “He went so deep into himself and secluded himself from everyone that he was afraid even of any meeting...”, he fled from any company, did not leave his closet, “he stopped his daily affairs and did not want to deal with” Now Raskolnikov has “everything that decided this month, clear as day, fair as arithmetic,” but he “still didn’t believe himself.”

- What did the heroes doubt?

In Raskolnikov’s soul there is a struggle between the thought of murder and moral consciousness, the understanding of the inhumanity of this thought. All this brings terrible torment .

- Read Raskolnikov’s thoughts when he goes to the old money-lender, in the tavern, after sleep.

“Well, why am I going now? Am I capable of this? When he leaves her: “Oh God! How disgusting!...And could such horror really come to me? V head? However, my heart is capable of every dirt! The main thing: dirty, dirty, disgusting, disgusting! In the tavern: “All this is nonsense... and there was nothing to be embarrassed about!” After a dream about a slaughtered nag: “is it really possible, am I really going to take an ax and start hitting him on the head... Lord, really? No, I can't stand it! Let, even if there is no doubt in all these calculations, be it all , what was decided this month is clear as day, as fair as arithmetic. God! After all, I still won’t make up my mind! I can’t stand it, I can’t stand it!” We see What in the soul of Raskolnikov, obsessed with an idea and doubting it, there is a painful discord.

- Watch Raskolnikov's reflections after visiting his family
Marmeladovs and reading a letter to their mother (Part 1, Chapter 2 - 4). These episodes
talk about the inconsistency of the character of the hero. What contradictions are you
can you name it? What can be said about the hero's character based on this?

IN Raskolnikov combines two extremes: on the one hand, sensitivity , responsiveness, pain for a person, a very immediate and acute reaction to the injustice and evil that reigns in the world, on the other - coldness, condemnation of one’s sensitivity, indifference and even cruelty. The sudden change in mood, the transition from good to evil, is striking.

What caused these contradictions, the struggle between two principles in Raskolnikov’s soul?

(monologue about the Marmeladov family: “What a well, however, they managed to dig, and they are using it!... A scoundrel of a man gets used to everything!”; monologue after meeting a drunken girl on the boulevard: “Poor girl!...- it is said: percentage, therefore, there is nothing to worry about”; letter from mother).

We see that Raskolnikov’s thought goes from a particular fact to broad generalizations. Living pain for a person comes across cold thoughts: “... this is how it should be!” Raskolnikov has an internal struggle, he denies a world in which a person has nowhere “else to go,” but at that time he is ready to justify this life. The hero’s consciousness seems to be developing: he argues with himself all the time. Raskolnikov is a thinker, the life of the people around him evokes deep reflection in him, he struggles with solving universal moral issues. Soon the hero learns from his mother’s letter about his sister’s sacrifice. And the thought of killing the old woman comes again. But now this is no longer a dream, not a “toy” - life strengthens in his mind a long-ripened decision.

The action in the novel unfolds quickly. From the visit to the old woman for the purpose of a “test” to Raskolnikov’s confession, 14 days pass, nine and a half of them are shown in action, the events of the remaining days are only mentioned.

The history of crime and punishment of Rodion Raskolnikov (back day): First day: part I, ch. 1-2; Second day: part 1, ch. 3-5; Third day: part 1, ch. 6-7; Fourth day: part 2, ch. 1-2; Eighth day: part 2, ch. 3-7, part 3, ch. 1; Ninth day: part 3, ch. 2-6, part 4, ch. 1-4; Tenth day: part 4, ch. 5-6; Thirteenth day: part 4, ch. 1-6; Fourteenth day: part 4, ch. 7-8; A year and a half later - an epilogue.

The novel takes place over two weeks, but its backstory is longer. Six months before the murder, Raskolnikov wrote an article about the right of the “strong” to break the law. Three and a half months have passed - and Raskolnikov goes for the first time To Pawn a ring to the moneylender. On the way from the old woman, he enters a tavern, orders tea, and thinks about it. And suddenly he hears a conversation between a student and an officer at the next table - about the old moneylender and the “right” to kill. After another two weeks, Raskolnikov’s decision matures: Kill the old woman. It took a month to prepare, then the murder. - Conclusion on the topic of the lesson:

What thoughts and feelings are born in Raskolnikov’s soul when he encounters the world of poor people? Do the circumstances surrounding the hero confirm his idea that the murder he has planned is not a crime?

1. 
   Answer the questions:

a. What is the main reason for Raskolnikov's crime?

b. Which of the murder motives that Raskolnikov names for Sonya is the leading one? What is your opinion on this issue? What is the author's point of view?

Raskolnikov's crime.

Target: show what power “theory” can have over a person, How. a person is responsible for this idea, which he is guided by, to lead to Dostoevsky’s conclusion about the terrible danger that the implementation of individual ideas and theories poses for humanity.

Progress of the lesson.

I. Types of activities: conversation, retelling of episodes, commenting on them.

• 
  What are Raskolnikov’s conclusions that lead him to justify “blood according to his conscience”?
• 
  In the last lesson, we came to the conclusion that Raskolnikov’s consciousness and will were enslaved by an idea. The murder of the old woman is intended as a life test
  theory in practice. The hero does not want anything for himself personally, but he cannot
  come to terms with social injustice. Good and evil fight in his soul.

And soon the idea that solves the crime overcomes the good feelings of the hero. Let us draw attention to the fact that all the hero’s final decisions have a strange property: “They had one strange property: the more final they became, the uglier, more absurd they immediately became in his eyes. Despite all his painful internal struggle, he could never for a single moment believe in the feasibility of his plans, all this time... And yet, it would seem. The entire analysis, in the sense of the moral resolution of the issue, was already completed by him: his casuistry was sharpened like a razor, and he no longer found conscious expressions in himself. But in the latter case, he simply did not believe himself and stubbornly, slavishly looked for objections on both sides And gropingly, as if someone was forcing him and pulling him towards it.”

- Find and read the lines about how the “final” decision was made (part, chapter 5).

“The last day, which came so unexpectedly and decided everything at once, had an almost mechanical effect on him: as if someone had taken him by the hand and pulled him along, irresistibly, blindly, with unnatural strength, without objection. It was as if he had caught a piece of clothing in the wheel of a car, and he began to be pulled into it” (Part 1, Chapter 6).

Thus, we see that Raskolnikov commits a crime, like a man who has lost all control over himself. He became so accustomed to his theory that, despite his doubts, he succumbed to the temptation of its practical implementation. Dostoevsky asserts: not only feelings and passions, but also abstract theories can rule over the souls of people; they have the ability inflame a person’s soul, enslave his consciousness and will.

. Tell us how the hero theoretically thought out his practicalski step?

The steps from Raskolnikov’s closet to the old woman’s apartment were counted, the neighboring tenants were studied, a “test” was made, during which the hero remembered the location of the rooms and spied where the old woman was hiding the money. The idea that murder is just is logically irrefutable.

- Can we say that during the crime Raskolnikovacted cool and collected?

Dostoevsky constantly draws our attention on spontaneity of the crime. While committing a crime, Raskolnikov cannot concentrate; he is distracted by extraneous considerations. His behavior at the door of the old pawnbroker’s apartment is also absurd (“he almost pulled her, along with the door, onto the stairs”). There is spontaneity in the murder itself (“... he took out an ax..., waved it with both hands, barely feeling himself,... almost mechanically lowered the butt on his head”). A number of incidents emphasize the spontaneity of actions and the confusion of the hero (the incident with an ax that was not prepared in advance ; the incident with the hat, which Raskolnikov forgot to replace with a cap; an incident with time - it was already ten minutes past eight). For a moment, the hero wanted to drop everything and leave. Then it seemed to him that the old woman came to life, and He returns to the room and notices a wallet on the old woman’s neck; fiddles with the keys for a long time, forgetting about the observations during the “test”. At this moment, Lizaveta returns home - one of those defenseless creatures for whose sake the hero allowed “blood according to his conscience.” By killing Lizaveta, Raskolnikov, contrary to calculations, turns not into a benefactor, but into an enemy of weak people. Thus, Dostoevsky, showing the discrepancy between theoretical solutions and practice, emphasizes that it is impossible to “calculate life” with theory; life is complex “arithmetically.”

We see what terrible consequences ideas like Raskolnikov’s can have for an individual (“the idea” led the hero to a split with those around him and with himself) and for society. Investigator Porfiry Petrovich will later tell Raskolnikov: “It’s also good that you just killed the old woman. But if you had come up with another theory, then, perhaps, the thing would have been made a hundred million times uglier!”

Many troubles and bloodshed were brought to the world by various theories, implemented by people who were not only obsessed with the idea, but also had real Power over the destinies of people.

II. Consolidation. Answer the question in writing:

1. 
   Why does Raskolnikov, despite doubts, commit murder?

1. 
   What does the hero’s behavior during the murder convince us of?
   Homework:

1st row: Retelling episodes about Luzhin:

• 
  Part 1, Ch. 3 (what Raskolnikov learned about Luzhin from a letter to his mother);
• 
  Part 2, Ch. 5 (1st meeting between Luzhin and Raskolnikov)
• 
  part 4, ch. 2-3 (Luzhin’s date with Dunya in St. Petersburg)
• 
  part 5, ch. 1.3 (Luzhin after breaking up with Dunya, scene at the wake).

“He lied incomparably, but he couldn’t calculate his nature.”

Target: to find out what prevented Raskolnikov from his theory, why the hero confessed to the murder.

Progress of the lesson.

I. Teacher's opening speech.

In previous lessons, we came to the conclusion that Raskolnikov was fascinated by the ideal of a strong personality standing above the faceless mass of “trembling creatures”; he had a passionate desire to become one of the “strong people of the world”, but by crime Raskolnikov put himself in such a position that he would join the world He cannot live according to his theory (Luzhin, Svidrigailov).

- What prevented Raskolnikov from living according to the theory he created?Does Raskolnikov repent of his crime?

(Raskolnikov’s conversation with Dunya before he goes to “betray himself”: “Crime? What crime?” he suddenly cried out...in rage..."; confession to Sonya: "What am I guilty of before them?.. “They themselves harass a million people, and even consider them to be virtues...”

Reflections of the hero in hard labor: “My conscience is calm.” Author's words: “Oh, how happy he would be if he could blame himself...”

And after the crime, Raskolnikov does not plead guilty and continues to believe in his theory, which justifies “blood according to conscience.” The official trial and legal punishment did not decide anything in his fate: he does not repent of his crime.)

- Does he feel in a position of “strong”? No. And not at all because that he was disappointed in his theory, that he repented of the crime, that he realized his guilt. What is the real reason? What does Raskolnikov reproach himself for?

(Epilogue: “Well, what my does the act seem so ugly to them? -...Here in how admitted his crime to one thing: only that he did not endure it and made an appearance With guilty."

His thoughts after meeting with a tradesman: about “a real ruler, to whom everything is permitted...Obey, trembling creature - and do not desire, therefore it is none of your business.” So, we are convinced that Raskolnikov was not disappointed in the idea, but suffers from the fact that he could not bear the idea that inspired him to commit the crime, and made a “confession.” The hero is ashamed of his humanity. The consciousness that he is a “louse”, like everyone else, and not a chosen person, makes him suffer deeply.) I

- The central episodes of the novel, revealing the hero’s struggle with Raskolnikov’s meetings with Porfiry Petrovich are his “nature”, capable of compassion and sensitive to the misfortunes of people. Tell about Raskolnikov’s first meeting with the investigator (reasons, behavior, you water).

(“The idea” continues to influence Raskolnikov’s mind. After the murders,” he, at all costs, wants to defeat “his painfully irritated nature,” overcome the feeling of criminality, prove to himself that he is not a “trembling creature.” It is for this purpose “to prove” Raskolnikov goes to investigator Porfiry Petrovich. Pay attention to the falsity of Raskolnikov’s behavior with Razumikhin, to his thoughts when he thinks about the upcoming conversation with the investigator: “This one also needs to sing Lazarus ... - The heart is beating, that’s what’s not good!” Raskolnikov experiences a feeling of being trapped. He is surrounded by people, so his silence will be unnatural. And Raskolnikov tries to “sing more naturally.”)

(The living soul, human nature in the hero resists the idea of ​​the right of a strong personality, but also with himself.)

Fyodor Mikhailovich Dostoevsky's novel "Crime and Punishment" is one of the most complex works of Russian literature, in which the author told about the story of the death of the soul of the main character after he committed a crime, about the alienation of Rodion Raskolnikov from the whole world, from the people closest to him - mother, sister, friend Dostoevsky rightly asserted that one can return to this world, again become a full member of society, only by resisting misanthropic ideas and purifying oneself through suffering.
Reading the novel thoughtfully, you involuntarily realize how deeply the author penetrated into the souls and hearts of his characters, how he comprehended human character, and with what genius he told about the moral upheavals of the main character.

The central figure of the novel is, of course, Rodion Raskolnikov. But there are many other characters in Crime and Punishment. These are Razumikhin, Avdotya Romanovna and Pulcheria Alexandrovna, the Raskolnikovs, Pyotr Petrovich Luzhin, Arkady Ivanovich Svidrigailov, the Marmeladovs.

The Marmeladov family plays a special role in the novel. After all, it was to Sonechka Marmeladova, her faith and selfless love that Raskolnikov owed his spiritual rebirth. Her great love, a tormented but pure soul, capable of seeing a person even in a murderer, empathizing with him, suffering with him, saved Raskolnikov. Yes, Sonya is a “harlot,” as Dostoevsky writes about her, but she was forced to sell herself in order to save her stepmother’s children from starvation. Even in her terrible situation, Sonya managed to remain human; drunkenness and debauchery did not affect her. But before her was a vivid example of a father who had fallen, completely crushed by poverty and his own powerlessness to change something in life. Sonya's patience and vitality largely come from her faith. She believes in God, in justice with all her heart, without going into complex philosophical reasoning, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is “several books of romantic content,” seeing around her only drunken quarrels, squabbles, illnesses, debauchery and human grief?

Dostoevsky contrasts Sonya's humility with Raskolnikov's rebellion. Subsequently, Rodion Raskolnikov, not accepting Sonya’s religiosity with his mind, decides with his heart to live by her beliefs. But if the image of Sonya appears to us throughout the entire novel, then we see her father, Semyon Zakharych and stepmother Katerina Ivanovna with her three small children only in a few episodes. But these few episodes are incredibly significant.

The first meeting of Semyon Zakharych Marmeladov and Rodion Raskolnikov occurs at the very beginning of the novel, precisely when Raskolnikov decides to kill, but has not yet fully believed in his “Napoleonic” theory. Rodion is in some kind of feverish state: the world around him exists, but as if in unreality: he sees and hears almost nothing. The brain drills only one question: “To be or not to be?” For Raskolnikov, Marmeladov is just a drunken regular at the tavern. But, at first inattentively listening to Marmeladov’s monologue, Raskolnikov soon becomes imbued with curiosity and then sympathy for the narrator. This dirty retired official, who has lost all human dignity, robs his own wife and asks his prostitute daughter for money for a hangover, somehow touches Raskolnikov, he remembers him.

In Semyon Zakharych, through his repulsive appearance, something human still peeks through. One feels that his conscience is tormenting him, that his current situation is painful and disgusting to him. He does not blame his wife for the fact that she, perhaps, unwittingly ("this was not said in common sense, but with agitated feelings, in illness and with the crying of children who had not eaten, and it was said more for the sake of insult than to in the exact sense..."), pushed Sonya out into the street. Marmeladov’s daughter generally considers him a saint. Semyon Zakharych repents of his “weakness”, it is hard for him to see hungry children and consumptive Katerina Ivanovna, in his temper he shouts: “...I am a born beast!” Marmeladov is a weak, weak-willed person, but he, in my opinion, is better and more honest than those who laughed at him in the tavern. Semyon Zakharych is able to acutely feel other people's pain and injustice. His soul did not harden, and, in spite of everything, did not become deaf to the suffering of people. Marmeladov loves his wife and her small children. Particularly touching are the words of Katerina Ivanovna at Marmeladov’s wake that after his death a mint cockerel was found in her husband’s pocket.

Marmeladov may be ridiculous and pathetic with his plea for forgiveness, but he is sincere in it, and this unfortunate man doesn’t need much: just to be listened to without ridicule and at least tried to understand.

Sonya was able to understand the murderer Raskolnikov, which means Marmeladov deserves, if justification, then at least compassion. Katerina Ivanovna is a completely different person. She is of noble origin, from a bankrupt noble family, so it is many times harder for her than for her stepdaughter and husband. The point is not even in everyday difficulties, but in the fact that Katerina Ivanovna does not have an outlet in life, like Sonya and Semyon Zakharych. Sonya finds solace in prayers and in the Bible, and her father forgets himself at least for a little while in a tavern. Katerina Ivanovna is a passionate, daring, rebellious and impatient nature. The surrounding environment seems like a real hell to her, and the human meanness that she encounters at every step hurts her painfully. Katerina Ivanovna does not know how to endure and remain silent, like Sonya. Her strongly developed sense of justice prompts her to take decisive action, which leads to a misunderstanding of her behavior by those around her.

The term "Dostoevsky's Petersburg" is widely known. In “Crime and Punishment” “Dostoevsky’s Petersburg” these are entertainment establishments, taverns, drunken suicidal women, meanness, anger and cruelty of most people, petty quarrels, terrifying external living conditions: “dust, brick and mortar, the stench from shops and drinking establishments. ..”, “coffin” rooms in dilapidated houses.

Raskolnikov. F.M. By contrasting the characters of the Marmeladovs and Luzhin, Raskolnikov and Razumikhin, Svidrigailov and Dunechka Raskolnikova, Dostoevsky emphasizes the contrasts of contemporary reality with its social inequality, the oppression of some and the wealth and permissiveness of others. And, perhaps, the most important thing is that in the depiction of the Marmeladov family, the reader clearly sees Dostoevsky as a humanist with his love for “little people” and his desire to understand the soul of even the most terrible criminal.
“Crime and Punishment” is a novel about a crime, but it cannot be classified as a “criminal, detective” genre; it is called a confessional novel, a tragedy novel, one of the greatest philosophical and psychological novels. In the novel for
there is no mystery to the reader about who the killer is, the plot develops around someone else: the narrative is structured in such a way that throughout its entire length we intensely follow every movement of Raskolnikov’s inflamed thought, the lonely wanderings of his soul,
behind the feverish change of decisions and contradictory actions.

The other characters in the novel are depicted in such a way that, without losing much independent significance, they, each in their own way, “explain” the drama that unfolds in Raskolnikov’s mind between thoughts and soul.
“...Raskolnikov is the only hero of the book. All others are projections of his soul. This is where the phenomenon of doubles finds an explanation. Each character, right down to random passers-by, right down to the horse beaten to death from Raskolnikov’s dream, reflects a piece of his personality” (P. Weil, A. Genis. “The Last Judgment”).

Razumikhin, Svidrigailov, Luzhin, Marmeladov, Sonya, Porfiry Petrovich become for Raskolnikov a kind of embodied solution to his own question, “a solution that does not agree with the one he himself came to, therefore each
touches him to the quick and gets a firm role in his inner speech." Thus, Raskolnikov becomes the spiritual and ideological center of the novel.

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Publications in the Literature section

Fyodor Dostoevsky lived in St. Petersburg for 28 years. In his books, the gloomy gloomy city became the backdrop for sad destinies and one of the main characters. In the novel Crime and Punishment, Dostoevsky described many places in St. Petersburg that Rodion Raskolnikov visited: Sennaya Square, streets, alleys and even individual houses. “Kultura.RF” invites you to walk the roads of Raskolnikov, and if you get a little lost, check the map at the end of the material.

Sennaya Square

Sennaya Square. Saint Petersburg. Photo: Dmitry Neiman / photobank “Lori”

Let's start our walk from Sennaya Square. It was here that the main character Rodion Raskolnikov got into his head the thought of killing the old pawnbroker. He overheard the conversation of her sister, Lizaveta Ivanovna, and found out that “The old woman... at exactly seven o’clock in the evening will be left alone at home”.

It was here that Raskolnikov repented of his crime. When Sonya Marmeladova told him: “Go to the crossroads, bow to the whole world and say: “I am a murderer”- he came to Sennaya again. He knelt down in the middle of the square and kissed "this dirty land with pleasure and happiness". However, the attention of passers-by did not allow him to confess out loud to the murder.

“He entered the Sennaya.
<...>
He suddenly remembered Sonya’s words: “Go to the crossroads, bow to the people, kiss the ground, because you have sinned against it, and say out loud to the whole world: “I am a murderer!”. He trembled all over, remembering this. And the hopeless melancholy and anxiety of all this time, but especially the last hours, had already crushed him to such an extent that he rushed into the possibility of this whole, new, complete sensation. It suddenly came to him like a fit: it ignited in his soul with one spark and suddenly, like fire, it engulfed everything. Everything in him softened at once, and tears flowed. As he stood, he fell to the ground.”

Kokushkin Bridge

Kokushkin Bridge. Griboedov Canal. Saint Petersburg. Photo: Litvyak Igor / photobank “Lori”

From Sennaya Square, all the characters in the novel walked to their home across the Kokushkin Bridge: Sennaya Bridge, which could have shortened the path, did not yet exist. Here, on the left side of the Griboyedov Canal embankment, today is the “Dostoyevsky Quarter” with the houses of Sonechka Marmeladova and Rodion Raskolnikov.

Grazhdanskaya, 19. Raskolnikov House

Raskolnikov's house. Saint Petersburg. Photo: Alexander Shchepin / photobank “Lori”

Stolyarny Lane leads from Kokushkin Bridge to Raskolnikov's house - a yellow four-story building. The writer did not directly indicate this address in the novel.

“At the beginning of July, in an extremely hot time, in the evening, one young man came out of his closet, which he had rented from tenants in the S-th lane, onto the street and slowly, as if in indecision, went to the K-nu bridge.”

Fyodor Dostoevsky, “Crime and Punishment”

However, Fyodor Dostoevsky described many details of the house and its surroundings. For example, 13 steps in the upper flight of stairs, a closet that today resembles a large attic, and a janitor's room in the courtyard where Raskolnikov found the ax. After a major renovation of the building, many details changed, but they were restored according to old descriptions by researchers of Dostoevsky’s work. One of them, Daniil Granin, wrote about the author’s love for small details: “This was the originality of his method. At some point, he stopped composing and began to live, embodying his heroes.”.

In 1999, a high relief depicting a wanderer and an inscription composed by Dmitry Likhachev and Daniil Granin were placed on the facade: "Raskolnikov's House. The tragic fates of the people of this area of ​​St. Petersburg served as the basis for Dostoevsky’s passionate preaching of goodness for all mankind.”.

Kaznacheyskaya, 7. House of merchant Alonkin

House of merchant Alonkin. Saint Petersburg. Photo: Alexander Shchepin / photobank “Lori”

Raskolnikov walked to the house of the old pawnbroker along Stolyarny Lane. He passed by the building where Dostoevsky himself lived in 1864–1867 - the apartment building of the merchant Ivan Alonkin.

Here the writer worked on “Crime and Punishment”, “Notes from the Underground” and the novel “The Player”, which was written by stenographer Anna Snitkina, Dostoevsky’s future wife, under his dictation. Today, Ivan Alonkin’s house is declared a historical and architectural monument.

“On the fourth of October, on the significant day of the first meeting with my future husband, I woke up cheerful, in joyful excitement with the thought that today a dream I had long cherished would come true: from a schoolgirl or student to become an independent figure in my chosen field.
<...>At twenty-five minutes past eleven I went up to Alonkin’s house and asked the janitor standing at the gate where apartment No. 13 was. He showed me to the right, where under the gate there was an entrance to the stairs. The house was large, with many small apartments inhabited by merchants and artisans. It immediately reminded me of the house in the novel Crime and Punishment, in which the hero of the novel Raskolnikov lived.
Apartment No. 13 was on the second floor. I rang the bell, and the door was immediately opened by an elderly maid wearing a green checkered scarf draped over her shoulders. I read “Crime” so recently that I couldn’t help but wonder if this scarf was the prototype of the draped shawl that played such a big role in the Marmeladov family.”

Anna Dostoevskaya, "Memoirs"

Griboedov Canal Embankment, 104. House of the old money-lender

House of the old woman-pawnbroker. Saint Petersburg. Photo: Alexander Alekseev / photobank “Lori”

“It wasn’t long for him to go; he even knew how many steps from the gates of his house: exactly seven hundred and thirty. Once he counted them when he was really daydreaming.
<...>
With a sinking heart and nervous trembling, he approached a huge house, one wall facing a ditch and the other onto the street. This house was all small apartments and was inhabited by all sorts of industrialists - tailors, mechanics, cooks, various Germans, girls living on their own, petty officials, etc.”

Fyodor Dostoevsky, “Crime and Punishment”

The house had two exits: to Srednyaya Podyacheskaya and to the Griboyedov Canal. Raskolnikov entered the courtyard through Srednyaya Podyacheskaya Street. But it should have gone to the channel, according to Dostoevist researchers. Otherwise, Dostoevsky would not have indicated that there were two entrances: the writer was always very scrupulous and consistent in details.

Voznesensky Bridge

Voznesensky Bridge over the Griboyedov Canal. Photo: Alexander Alekseev / photobank “Lori”

Rodion Raskolnikov could return back through the Voznesensky Bridge. During the course of the novel, the hero indulged in reflection here more than once. On the Voznesensky Bridge, before his eyes, the bourgeois Afrosinyushka threw herself into the Griboyedov Canal, and Katerina Marmeladova forced her children to sing and dance for alms.

“Katerina Ivanovna’s hoarse, torn voice could be heard from the bridge. Indeed, it was a strange spectacle that could interest the street audience. Katerina Ivanovna, in her old dress, in a draped shawl and in a broken straw hat, knocked down in an ugly lump on the side, was really in a real frenzy... She rushed to the children, shouted at them, persuaded them, taught them right there in front of the people how to dance and what to sing, she began to explain to them what it was for, she came into despair at their lack of understanding, and beat them...”

Fyodor Dostoevsky, “Crime and Punishment”

Griboyedov Canal Embankment, 73. House of Sonya Marmeladova

House of Sonya Marmeladova. Saint Petersburg. Photo: Alexander Alekseev / photobank “Lori”

Moving from the Voznesensky Bridge along the left embankment of the Griboyedov Canal, we approach the house of Sonya Marmeladova - “the house on the ditch”. The writer invariably called the Griboyedov Canal itself a ditch (until 1923 - Ekaterininsky). In this house, according to Dostoevsky’s descriptions, Sonya Marmeladova rented a room. The main feature of the building is its obtuse angle.

“And Raskolnikov went straight to the house on the ditch where Sonya lived. The house was three stories high, old and green.
<...>
Sonya’s room looked like a barn, had the appearance of a very irregular quadrangle, and this gave it something ugly. A wall with three windows, overlooking a ditch, cut the room somehow at an angle, causing one corner, terribly sharp, to run away somewhere deeper, so that, in the dim light, it was impossible to even see it well; the other angle was already too outrageously obtuse.”

"Crime and Punishment", Fyodor Dostoevsky

Griboyedov Canal Embankment, 67. Police office

Griboedov Canal. Saint Petersburg. Photo: Alexander Alekseev / photobank “Lori”

Another address that Raskolnikov visited was the Griboedov Canal embankment, 67. Here, as researchers believe, was the office of the quarterly supervisor, where Raskolnikov was summoned for non-payment of a debt to the owner of the apartment - almost immediately after the murder. At the end of the novel, Raskolnikov came to the same office to confess.

“The office was about a quarter of a mile away from him. She just moved to a new apartment, a new house, on the fourth floor. He was once briefly at the previous apartment, but a very long time ago.
<...>
The stairs were narrow, steep and covered in slop. All the kitchens of all the apartments on all four floors opened onto this staircase and stood like that for almost the whole day. That’s why it was so stuffy.”

Fyodor Dostoevsky, “Crime and Punishment”

During the time of Dostoevsky, the police office of the 3rd quarter of the Kazan part was actually located here (Raskolnikov’s house in Stolyarny Lane belonged to this part).

Route of Rodion Raskolnikov in the novel “Crime and Punishment”

Ch. Aitmatov
HOMEWORK.

Until 11.05.15 16.00 create a class collection: presentation, drawing, test or other (optional)

• What did the hero doubt?
• Read Raskolnikov’s thoughts when he goes to the old woman-centre, in the tavern, after sleep. What do they indicate?

• Watch Raskolnikov's thoughts after visiting the Marmeladov family and reading his mother's letter (Part 1, Chapters 2-4). What contradictions can you name? What can be said about the hero's character based on this?
• What caused these contradictions, the struggle between two principles?

5. Raskolnikov’s theory and the hero’s ideological “doubles”.

Social: the extreme degree of poverty of the hero himself and his mother and sister; his heart breaks with sympathy and the desire to help those around him (Marmeladov, his wife, his children, Sonya, the drunk girl on the boulevard)

Moral: a desire to test his theory, according to which strong people, for the great goal of changing an imperfect world, have the right to step “through the blood” of other people.

Historical: Raskolnikov's theory grew out of the disappointment of the younger generation after the collapse of the revolutionary situation of the 60s due to the crisis of utopian theories.

• What is the main reason for the crime?
• What is the essence of the hero's theory that he believes in?
• Where was it presented?
• What category of people does the hero belong to?

Raskolnikov's theory of "dividing people into two categories."

Being in the grip of this theory, Raskolnikov is convinced that there is no injustice on earth and a savior must come who will destroy an unjust society and create a society of happy people, even at the cost of violence and bloodshed.

Whether he himself is “ordinary” or “extraordinary” is the question that worries Rodion Raskolnikov most of all.

"Ordinary people."

• People are conservative. Such people live in obedience and love to be obedient.
• This is material that serves only for the generation of their own kind.
• They are weak, powerless and unable to change their fate.
• Such people cannot deserve pity. Their life is worthless - it can only serve as a sacrifice for “special people” to achieve their great goals. This is abundant material for the few Napoleons.

"Extraordinary people."

• These people establish new laws of life, change lives, boldly destroy the old, they are not stopped even by the need to shed someone’s blood on their way to achieve their goals.
• They have the talent to say a new word and break the law in the name of the best.
• These are the chosen people. Such personalities were, for example, Mohammed and Napoleon.

"Doubles" of Raskolnikov.

They consider themselves “the powerful of this world” and live by the principle “everything is permitted.”

Arkady Ivanovich Svidrigailov"

1. Who is Svidrigailov? How do you characterize his first information in the novel?

2. Is Svidrigailov right when he claims that he and Raskolnikov are “birds of a feather,” that there is a “common point” between them?

Actions

Common with Raskolnikov's theory

A gambler, he has a very contradictory character: he commits a number of good and noble deeds (he gives money to Katerina Ivanovna and Sonya so that she can accompany Rodion to hard labor). But on his conscience is the insulted honor of Dunya and the death of his wife, driving his servant Philip to suicide. Having overheard Rodion's confession of committing a crime, he tries to blackmail Dunya, threatening to denounce his brother. In his soul, as in Raskolnikov’s soul, there is a struggle between good and evil (evil takes over: Svidrigailov commits suicide).

“We are birds of a feather,” says Svidrigailov to Rodion. And Rodion understands that this is so, because both of them, albeit for different reasons, “passed through the blood.”

Pyotr Petrovich Luzhin.

1. Who is Luzhin?
2. What reasoning from his mother’s letter about Luzhin attracted Raskolnikov’s special attention? What thoughts and feelings do they give rise to in Raskolnikov and why?
3. Impressions of Luzhin are deepened when analyzing the “explanation” scene between Luzhin and Dunya. Compare the behavior of Luzhin and Dunya in the scene of their explanation.
4. What did Luzhin value most in life and why was he annoyed by the break with Dunya?
5. Luzhin cannot come to terms and makes a decision that, in his opinion, could bring Dunya back. How Luzhin carried out his decision.

Actions

Common with Raskolnikov's theory

The scoundrel Luzhin is a voluptuous nonentity who seeks to rule. He tries to discredit Sonya (slips her a hundred-ruble bill to quarrel between Rodion and his family). He wants to marry Rodion's sister Duna and takes pleasure in her addiction. Dunya is ready to marry this successful businessman without love. She decides to take this step for the same reason as Sonya - to pull her family out of poverty and help her brother complete his education.

“Love yourself first, first of all, for everything in the world is based on personal interest.” Luzhin calmly steps over all obstacles on his path.

• What is the meaning of comparing Raskolnikov with Luzhin and Svidrigailov?

6.Raskolnikov and the “eternal Sonechka.” The hero's dreams as a means of his internal self-disclosure.

• What is Sonya’s “truth”, by what principles does she live, in the name of what did the heroine “step over”?
• Life is hard for both Raskolnikov and Sonya. But how do the heroes perceive it?
• Why did Raskolnikov choose Sonya as his interlocutor?
• What seemed strange to Raskolnikov at Sonya’s, why?

• What is the result of the first conversation between Raskolnikov and Sonya?

• Why does Raskolnikov force Sonya to read the Gospel?
• Why does Raskolnikov come to Sonya a second time?

• Is Sonya always meek and quiet in a conversation with Raskolnikov? What is the main thing in Sonya's behavior?
• What in a conversation with Sonya makes Raskolnikov understand the falsity of his theory?
• Prove that the writing asserts the “truth” of Sonya Marmeladova in the novel.

Let us trace how the resurrection of a person in Raskolnikov occurs through love.

1. How did Sonya's stay in hard labor affect Raskolnikov?
2. How will you answer the questions that Raskolnikov asks himself about the attitude of the convicts towards him and Sonya?

Sonya.

An 18-year-old girl whose entire education consists of several books of romantic content. From an early age, I saw around me only drunken quarrels, illness, debauchery and human grief. Sonya is a “harlot,” as Dostoevsky writes about her. She is forced to sell herself to save her family from starvation. To help her stepmother and her children, she actually kills herself as a person, but miraculously maintains her purity. Her soul is filled with Christian love for people and a readiness for self-sacrifice.

The main features of Sonya Marmeladova.

Self-sacrifice.

To make life easier for her family, her loved ones, the girl sacrifices herself. Her whole life is self-sacrifice. When Raskolnikov talks to her about suicide as the only worthy way out, she interrupts him with a reminder about her family: “What will happen to them?” Love for her neighbors deprives her of even such a way out as death.

Humility.

The girl is not indignant and does not protest - she submitted to fate. Dostoevsky contrasts Sonya's humility with Raskolnikov's rebellion. Sonya's patience and vitality largely come from her faith. She believes in God and justice blindly, without going into complex philosophical reasoning. All her actions are determined by Christian commandments and religious laws. Faith in God helps to preserve the spark of humanity within oneself.

Forgiveness.

It is Sonya who owes Rodion Raskolnikov his spiritual rebirth. Her suffering, but pure soul is capable of seeing a person even in a murderer, empathizing with him, suffering with him. In essence, Sonya’s attitude towards Raskolnikov is the attitude of God towards man, i.e. forgiveness. She returned Rodion to the truth with the words of the Gospel and the example of her own life. Religion in the novel is a way of solving moral problems, and Sonya, according to the author’s plan, carries within herself the Divine principle.

Dream as an artistic device.

Subconscious.

Sleep is a person’s communication with his consciousness. Dreams depend on a person’s mental state and have a huge impact on his inner world. It is often a continuation of events that happened during the day. In a dream, a person continues to feel, worry and reflect.

Artistic technique.

The introduction of a dream into a work is a favorite technique of many writers (the dreams of Tatyana Larina, Ilya Ilyich Oblomov). The technique makes it possible to penetrate into the most hidden properties of the hero’s soul, into his subconscious.

Raskolnikov's first dream.

Exposition.

Rodion has a dream before the crime, at a time of painful thoughts. The dream serves the function of exposition: it introduces the reader to the people who will meet throughout the novel.

This is a painful dream, its action takes place in Rodion's childhood. She dreams that she and her father walk past a tavern on a festive evening and see drunken men beating a small horse harnessed to a huge cart. The boy tries to intercede, but in front of the crowd, the unfortunate nag is finished off with an iron crowbar. Rodion is crying and wants to scream.

Meaning.

The dream carries a semantic load: it reveals the true state of Rodion’s soul, shows that the violence he has planned is contrary to his own nature.

Symbolism.

In the dream there are two opposite places: a tavern and a church in a cemetery. The tavern is the personification of drunkenness, evil, baseness, and filth of its inhabitants. But any Russian begins to live in a church and ends there. It is no coincidence that the church is located 300 steps from the tavern. This short distance shows that a person can stop sinning at any time and start a new, righteous life.

The meaning of Raskolnikov's dreams.

A dream after a murder.

The dream-cry is filled with terrible sounds: “…. he had never heard such unnatural sounds, such screaming, gnashing, tears, beatings and curses.” The hero’s entire being resisted the murder committed, and only the inflamed brain assures itself that the theory is correct, that murder is as common as the change of day and night. In this dream, the scene of action is a staircase, which symbolizes the struggle between good and evil in Raskolnikov’s soul.

A dream in which Rodion repeats the murder.

The situation in the dream resembles the kingdom of the dead. But everything is dead only for Rodion - for other people the world has not changed. People stood below, and Rodion was higher than the entire crowd, all these “trembling creatures.” He is Napoleon, a genius and cannot stand on the same level as the cattle. But the people below condemn Raskolnikov, laugh at his attempts to change the world through the murder of the old woman. He sees that he has not changed anything: the old woman is alive and laughing at him along with the crowd.

Raskolnikov's theory divides people into “weak” and “strong”. Rodion is tormented by the question of who he is: “a trembling creature” or “he has the right.” The hero does not take into account the main thing: murder is contrary to human nature itself. Having committed a crime, he acutely feels the impossibility of staying with people and suffers from the inability to communicate with his mother and sister. Where should we classify them according to our theory, to what category of people? Logically, they belong to “weak people”, to the “lowest category”, which means that the ax of another Raskolnikov can fall on their heads at any moment. It turns out that according to his theory, he should despise and kill everyone he loves. He cannot bear these thoughts and the fact that his theory is similar to the theories of Luzhin and Svidrigailov. Raskolnikov himself becomes a victim of his crime: “I killed myself, not the old woman.” He comprehends his erroneous delusions through severe suffering and is gradually reborn to a new life.

1. What prevented Raskolnikov from living according to the theory he created?
2. Does Raskolnikov repent of his crime?
3. Does he feel in a position of “strong”? What does Raskolnikov reproach himself for?

The central episodes of the novel, revealing the hero’s struggle with his “nature,” capable of compassion and sensitive to the misfortunes of people, are Raskolnikov’s meetings with Porfiry Petrovich.

1. Tell us about Raskolnikov’s first meeting with the investigator (reasons, behavior, conclusion).
2. Read the author's remarks in Raskolnikov's conversation with Porfiry Petrovich.
3. Raskolnikov goes to the second duel with Porfiry Petrovich, pursuing a single goal: “...at least this time to defeat his irritated nature at all costs.” Tell us about the second meeting with the investigator, draw a conclusion.

1. Third meeting (part 4, chapter 2). Why does Raskolnikov demand that Porfiry Petrovich interrogate him “on form”?
2. Read the episode where Porfiry Petrovich explains to Raskolnikov why “the criminal will not run away.” Analyze it.
3. What prevented Raskolnikov from living according to his theory, why did the hero “turn himself in”? Why does Porfiry Petrovich say: “He lied incomparably, but he couldn’t calculate the truth”?

Raskolnikov is disappointed in himself, and not in his theory. The hero despises himself for not being able to bear his crime and turning himself in, suffering from the consciousness that he cannot classify himself as “having the right,” that he is a “louse” like everyone else. Raskolnikov’s cold thought (“arithmetic”, “dialectics”) collided with his “nature”, capable of compassion, sensitive to the misfortune of people. Raskolnikov was unable to overcome the feeling of criminality in himself, to defeat “nature.” In Raskolnikov’s internal struggle, “nature” takes over, and he has no choice but to “turn himself in.”

Let us trace this struggle through the text of the novel.

1. What feelings did Raskolnikov have on the first day after the murder?
2. Tell us about Raskolnikov’s meeting with his family (Part 3, Chapter 3). What did Raskolnikov feel and understand with particular force when he met his mother and sister? What is the meaning of the author's remarks?
3. Why does Rodion Raskolnikov suffer and torment after the crime?

The collapse of Raskolnikov's theory.

Raskolnikov's theory about the right of the strong to crime turned out to be absurd. It is built on the selectivity of some and the humiliation of others. Raskolnikov understands that he is not Napoleon, that unlike his idol, who calmly sacrificed the lives of tens of thousands of people, he is not able to cope with his feelings after the murder of “one nasty old woman”: “…. I didn’t kill a person, I killed a principle!” This principle is his conscience. What prevents him from becoming a “lord” is the call of good that he suppresses in every possible way. Rodion's human nature resists the inhuman, immoral theory.

Feeling of time.

Time in the novel either stretches indefinitely, then contracts, or completely disappears. In the first part of the novel it is extended (three days), after the crime is committed the rhythm accelerates, but Raskolnikov himself loses the sense of time (he falls ill and falls into unconsciousness), and the events described in the third and fourth parts of the novel last only two days.

The symbolism of color in the novel.

Yellow is the main color of the novel.

• Rodion Raskolnikov lives in a yellow closet, similar to a closet, with yellow wallpaper
• Sonya Marmeladova lives on a yellow ticket; her room also has yellow wallpaper.
• The old woman-pawnbroker is dressed in a yellowed jacket, her room is furnished with yellow wood furniture.
• From constant drunkenness, Marmeladov’s face turned yellow.
• The houses of St. Petersburg are painted yellow-gray.
• Porfiry Petrovich has furniture in his house made of “yellow polished wood.”
• Svidrigailov stayed at a hotel in a room with yellow wallpaper.
• Luzhin's ring with a yellow stone.
• A suicidal woman with a yellow, lean face meets Raskolnikov on the street.
• Yellow color is a symbol of illness, poverty, squalor of life; it enhances the atmosphere of hopelessness, anguish, and hysteria. All the “yellow” details in the novel are harbingers of bad events.