Nikolaevsky Bridge (now Lieutenant Schmidt Bridge) Raskolnikov peers into St. Isaac's Cathedral. In the picture described by Dostoevsky there is a strange duality, a split that even concerns Raskolnikov’s perception of space. On the one hand, this is a temple as a symbol of purity and sinlessness. On the other hand, this magnificent panorama emanated a “dumb and deaf spirit.” Each time Raskolnikov marveled at his “gloomy and mysterious impression” of this picture. The panorama of St. Isaac's Cathedral seems to hide the stern and gloomy spirit of the custodian and founder of the city - Peter I, and the monument to Peter reared on a horse - this stone idol - is the material embodiment of the genius of the place, in the words of N.P. Antsiferov. The ghost of gloomy statehood, already noted by Pushkin in the poem " Bronze Horseman“When the idol, which has jumped off the pedestal, is chasing the “little man” Eugene, it frightens and pursues Raskolnikov as well. In front of this majestic, but devastatingly cold statehood, Raskolnikov, who imagines himself to be a superman, turns out to be a microscopic “little man”, from whom this one indifferently turns away “ the incomprehensible city" of kings and officials. As if ironizing Raskolnikov and his "superhuman" theory, Petersburg first, with a blow of a whip on the back, admonishes the hero who hesitated on the bridge, and then with the hand of a compassionate merchant daughter throws alms to Raskolnikov - a two-kopeck piece falls into Raskolnikov's palms. He, unwillingly accept handouts from a hostile city, throws the two-kopeck piece into the water: “He clutched the two-kopeck piece in his hand, walked ten steps and turned to face the Neva, in the direction of the palace (Winter Palace. - A.G.). The sky was without the slightest cloud, and the water was almost blue, which is so rare on the Neva. The dome of the cathedral, which is not better outlined from any point than when looking at it from here, from the bridge, not twenty steps from the chapel, was shining, and through the clear air one could clearly see even every one of its decorations (...) When he went to the university, then usually - most often, returning home - it happened to him, maybe a hundred times, to stop at this very same place, gaze intently at this truly magnificent panorama ... ".
“The artist M.V. Dobuzhinsky became interested in why Dostoevsky noted this place as the most suitable for contemplating St. Isaac’s Cathedral. It turned out that from here the entire mass of the cathedral is located diagonally and complete symmetry in the arrangement of parts is obtained” (Belov S.V. Roman F. M. Dostoevsky "Crime and Punishment". M., "Enlightenment", 1985, p.
Lesson topic: Analysis of the episode “Raskolnikov on the Nikolaevsky Bridge” based on the novel by F.M. Dostoevsky “Crime and Punishment” Objectives: 1. develop the ability to work with text, paying attention to the WORD of the writer; 2. check the development of reading and analytical skills; 3. teach holistically, perceive the episode in detail, see it in a separate fragment work of art expression of the author’s position of the world and man and convey this through his interpretation of the text. We continue to work on Dostoevsky's novel “Crime and Punishment” SLIDE 1 Topic of our lesson: Analysis of the episode “Raskolnikov on Nikolaevsky Bridge” SLIDE 2 1. Review conversation - What is an episode? (E. - a small part of a literary work that plays a certain structural role in the development of the plot. A part of a work of art that has relative completeness and represents a separate moment in the development of the theme. SLIDE 3 The content of the episode consists of the actions of the characters, small incidents or a major event that gives a new direction to the development of the plot , which in major works is built on the concatenation of a number of episodes). SLIDE 4 - Why is the last statement important? (E. is a complete, but not isolated passage of text, so analysis of an episode is a way to comprehend the meaning of an entire work through its fragment) SLIDE 5 - How are the boundaries of an episode determined? (Either by a change of characters, or by the accomplishment of a new event) - Why is it important to determine the place of a fragment in the structure of the artistic whole? Temporary, cause-and-effect relationships ___________1__________________________________________________________ Exposition denouement plot development of action culmination - Are there any connections between the episodes? (There are connections between episodes: cause-and-effect, cause-temporal, temporary) SLIDE 6 SLIDE 7 When working on an episode, we must identify important motives, ideas, artistic techniques, creative manner author. Only after this do we have the right to talk about the most important features of the entire work! The events contained in the episode contain a certain motive (meeting, quarrel, argument,...) i.e. The content function of an episode can be Characterological. i.e. reflect the character of the hero, his worldview Psychological, i.e. reveals the hero's state of mind and his psychology. Evaluative, i.e. contain the author's assessment in a lyrical digression May mark a turn in the relationships of the characters Episode - represents a micro-theme, separate work with its own composition, in which there is an exposition, a plot, a climax, and a denouement. SLIDE 8 (CITY OF PETERSBURG) In the previous lesson, we drew attention to one of the most important themes of the novel - the theme of St. Petersburg. The city becomes the real protagonist of the novel, the action of the work takes place precisely on its streets because Dostoevsky, in his own way, comprehended the place of this city in Russian history. And although Dostoevsky’s Petersburg is a city of taverns and “corners”, it is a city of Sennaya Square, dirty alleys and tenement buildings, yet one day it will appear before the hero in all its majestic beauty. Before us is the episode “Raskolnikov on the Nikolaevsky Bridge” (part 2, chapter 2) SLIDE 9 (RASKOLNIKOV) - Our task is to understand: why does Dostoevsky introduce this scene into the novel? Let's read this episode. - What did you notice? What actions are taking place? (He walks in deep thought, almost got hit by a horse, for which he received a blow with a whip, which made him wake up. And then he felt that in his hand was clutched a two-kopeck piece, which a compassionate merchant’s wife had given him in the form of alms.) - Was it a coincidence that Raskolnikov ended up on Nikolaevsky Bridge? - What paradox did you notice? (This is the first thing that Dostoevsky draws the attention of readers: his hero, who ranked himself among the people of the highest rank, looks in the eyes of others simply as a beggar) - But it is important to understand why exactly here, in this place, the author made his hero wake up? Why does he forget the pain of the whip? (From the bridge, he had a magnificent view of the city. He was again faced with a riddle, the secret of the “magnificent panorama” that had long troubled his mind and heart. Now in front of him is not a city of slums, in front of him is a city of palaces and cathedrals - SLIDE 10, the personification of the supreme power of Russia. This is the Winter Palace, St. Isaac's Cathedral, the buildings of the Senate and Synod, the Bronze Horseman.) - How did Raskolnikov feel at that moment? What did he think? (The picture is majestic and cold. Only now he fully felt what step he had taken, against what he raised his ax.) - What symbolic meaning does the panorama of St. Petersburg acquire in this scene? Why does she smell cold? - Here, on the Nikolaevsky Bridge, Raskolnikov and the world hostile to him stood against each other. - What role does such a person play in the scene? artistic detail, like a two-kopeck piece clutched in the hero’s fist? SLIDE 11 (RASKOLNIKOV, TWO-KREEN) = Now such an artistic detail as the two-kopeck piece clutched in Raskolnikov’s fist takes on a different meaning. He, who rebelled against the world of palaces and cathedrals, is considered a beggar, worthy only of compassion and pity. He, who wanted to gain power over the world, found himself cut off from people, finding himself in that yard of space that constantly arose in his cruel thoughts. This “end-to-end” image of the novel receives almost material embodiment in this scene, while remaining at the same time a symbol of enormous generalizing power. SLIDE 12 - What emotional and semantic meaning does the image of the abyss that opened up under Raskolnikov’s feet acquire? Dostoevsky showed in this scene Raskolnikov’s loneliness, his isolation from the world of people, makes the reader notice the abyss that opened up under the hero’s feet. The impression of this scene is enhanced not only by the artistic details, but also by the very rhythmic structure of the phrase, with which the author was able to convey the movement of Raskolnikov’s thoughts, the very process of his separation from people. “In some depth, barely visible under his feet, all of his former past, and former thoughts, and former tasks, and former themes, and former impressions, and this whole panorama, and himself, and everything, now appeared. everything... IT SEEMED HE FLY UP SOMEWHERE, and everything disappeared in his eyes...” This feeling of flying to nowhere, of being cut off, of the terrible loneliness of a person is intensified by several artistic details that were given a little earlier. “The sky was almost without the slightest cloud, and the water was almost blue...” Let’s mentally imagine from what point R.’s “magnificent panorama” of St. Petersburg opened up. He stood on the bridge, below him was the blue abyss of rivers and above him - the blue sky. This is quite real picture The novel is filled with enormous symbolic content in comparison with all the events that we learn about from the text of the novel a little earlier. SLIDE 13 (RASKOLNIKOV) Two-kopeck piece, clutched in R.’s fist (also an artistic detail, filled with deep symbolic meaning) connects this episode with the scene on the boulevard, when the hero donated his twenty kopecks to save the poor girl. It connects not only because the fate of this girl is similar to the fate of Sonya, those close to the hero, but also because an ethical question of enormous importance is raised here: does he, Rodion Romanovich Raskolnikov, have the right to help people now, and if not, then who Luzhin has this right? Svidrigailov? Someone else? And what does it mean to help? So a small artistic detail draws us to the hero’s thoughts about serious moral problems. =How is the scene “On the Nikolaevsky Bridge” related to the preceding and subsequent content of the novel? SLIDE 14 (LAST) So a tiny episode, an infinitesimal link in the “labyrinth of connections” helps us understand the author’s intention as a whole. = Which scene and from which work of A.S. Pushkin does the scene on the Nikolaevsky Bridge echo? What are the similarities and differences between the situations? (A.S. Pushkin “The Bronze Horseman”: Eugene - sitting on a lion, saw in front of him “an idol on a bronze horse” - challenges; Raskolnikov does not challenge - he wants to establish himself in this world). In a world in which the owners of the meadows, the Svidrigailovs,..., we will talk about them in the next lesson. D/Z: Images of Luzhin, Svidrigailov
Raskolnikov stands on the Nikolaevsky Bridge and “peers intently” at the “truly magnificent panorama” opening before him: “An inexplicable cold always blew over him from this magnificent panorama; this magnificent picture was full of a dumb and deaf spirit for him... He marveled every time to his gloomy and mysterious impression and put off solving it...” Another example of the spiritualization of matter is the homes of Dostoevsky’s heroes. Raskolnikov’s “yellow closet,” which Dostoevsky compares to a coffin, is contrasted with Sonya’s room: Raskolnikov, closed from the world, has a cramped coffin, Sonya, open to the world, - “a large room with three windows”; About the room of the old pawnbroker, Raskolnikov remarks: “It’s the wicked and old widows who have such cleanliness.” The homes of Dostoevsky's heroes do not have an independent existence - they are only one of the functions of the heroes' consciousness. This also applies to Dostoevsky’s description of nature. The world surrounding a person is always given as a part of the soul of this person, it becomes, as it were, internal landscape human soul, to a large extent determines human actions. In the soul of Raskolnikov the killer it is just as “cold, dark and damp” as in St. Petersburg, and the “dumb and deaf spirit” of the city sounds in Raskolnikov like the melancholy song of a lonely organ-organ. The description of the terrible stormy night, Svidrigailov’s dying night, when his terrible spiritual chaos merges with the same terrible natural chaos, is also spiritual. In the letter to Katkov quoted above, Dostoevsky indicated that after the crime, Raskolnikov “spent almost a month before the final catastrophe.” In the printed edition this period is further reduced. The entire complex and varied action of the novel, right up to the moment of Raskolnikov’s confession, takes only two weeks. One can only be amazed at the skill with which Dostoevsky guides his heroes through a genuine hurricane of events. “Upon careful reading, it turns out,” writes G. Voloshin, “that one of the techniques by which Dostoevsky manages to bring the heroes together and separate them in time is to unexpectedly arrange their meeting, to let them eavesdrop on important conversation etc., is the orientation of the characters in time or the accuracy of the chronology of Dostoevsky’s works" (G. Voloshin. Space and time in Dostoevsky. - "Slavia", Prague, 1933, vol. XII, p. 164). The beginning time of the novel is known : “At the beginning of July, in an extremely hot time, in the evening.” Dostoevsky keeps an exact count of the days. On the first day, Raskolnikov makes a “test” and meets Marmeladov; on the second, he receives a letter from his mother, wanders around the city and meets him on Sennaya Square; Lizaveta; on the third, he commits murder. In the second part, Raskolnikov loses his sense of time, falls ill and falls into unconsciousness: “Sometimes it seemed to him that he had been lying there for a month, another time that the same day was passing in the world of Dostoevsky.” time, like space, is a function of human consciousness, it is spiritualized and can, depending on the spiritual state of the heroes, either endlessly stretch, or shrink, or almost disappear. It is not without reason that in one of the draft notebooks for “Crime and Punishment” Dostoevsky writes: “ What is time? Time does not exist; time is numbers, time is the relationship of being to non-existence." At the beginning of the novel, time unfolds slowly, then accelerates, and before the catastrophe it turns into a real hurricane, although the hero himself again falls out of time.. However, neither Raskolnikov’s unconsciousness nor his semi-conscious state at the beginning In the sixth part, that is, with breaks in the narrative, Dostoevsky does not slow down the speed of action, but, as it were, disguises it, creating in the reader the illusion of the length of the novel, the long duration of its action. At the same time, Dostoevsky “strictly” monitors the exact “orientation” of the hero in time. Voloshin noticed that in chapter I, part six, when “as if fog had fallen” in front of Raskolnikov, Dostoevsky immediately explains: “However, in these two or three days after the death of Katerina Ivanovna, he had already met twice...” and. etc. In the same chapter, Razumikhin comes to Raskolnikov on the day of the funeral (according to the customary ritual in Russia - on the third day after death), at this time, according to the author, Raskolnikov had already woken up from his strange state. Thus, two seemingly random indications of time converge. Noting the unusual speed of action in Dostoevsky’s novels, M. M. Bakhtin writes: “The main category artistic vision Dostoevsky was not formation, but coexistence and interaction<...>To understand the world meant for him to think of all its contents as simultaneous and to guess their relationships in the context of one moment." And to the question: how to overcome time in time? - M. M. Bakhtin answers that "speed is the only way to overcome time in time "(Bakhtin M. M. Problems of Dostoevsky's poetics. 4th ed., M., 1979, pp. 33, 34). And Dostoevsky “overcomes” time at the moment of repentance and the beginning of Raskolnikov’s degeneration, when seven years of hard labor, a long sentence , become a brief moment in anticipation of freedom and a new life. But Dostoevsky not only “overcomes” time, but also “stops” it. In the epilogue of the novel we read: “There, in the sun-drenched vast steppe, nomadic yurts were blackened in barely noticeable dots. There was freedom and other people lived there, completely different from those here, it was as if time itself had stopped, as if the centuries of Abraham and his flocks had not yet passed." This was followed by Raskolnikov’s repentance, the return of the superman of pride to the circle of people. And, having described the impulse, and the hero’s tears and thoughts, Dostoevsky suddenly breaks off the story about Raskolnikov’s new feelings and thoughts: “Instead of dialectics, life came, and something completely different should have developed in the consciousness.” And further: “Seven years, only seven years!” At the beginning of their happiness, in other moments, they were both ready to look at these seven years as seven days." After mentioning the Old Testament Abraham, the writer talks about the New Testament, about the resurrection of Lazarus, and about the future renewal and rebirth of Raskolnikov himself. In In the epilogue of Crime and Punishment, the past, present and future are thus united. Having repented, Raskolnikov again joined all of humanity, its entire history, its past, present and future. At the center of each of Dostoevsky’s great novels is one. something unusual, significant, mysterious human personality, and all the writer’s heroes are engaged in the most important and most important task in life - unraveling the mystery of this person: Raskolnikov ("Crime and Punishment"), Myshkin ("The Idiot"), Stavrogin ("Demons"), Versilov ("Teenager"), Ivan Karamazov ("The Brothers Karamazov"). This determines the composition of the writer’s tragedy novels. All the persons and events in Crime and Punishment are located around Raskolnikov, everything revolves around him, everything is saturated with a passionate attitude towards him, human attraction and repulsion from him. Raskolnikov is the main center of the novel; he is a participant in most of the scenes in the novel. “Having abandoned the monologue narrative in favor of the third-person novel form, that is, the most objective form,” notes L. Pogozheva, “Dostoevsky retains in the composition of his work many features of a lyrical story - a diary, a confession. Such a remnant of the monologue form previously beloved by the writer is that almost all the events of the novel are given through the perception of them by the main character, who is present, with rare exceptions, in all scenes; secondly, there are many memoir episodes in the novel: Marmeladov’s confession, Svidrigailov’s confession, Pulcheria Alexandrovna’s letter and many other episodes.” (Pogozheva L. Composition of the novel “Crime and Punishment.” - “Lit. Study”, 1939, No. 8 - 9, p. 111). However, all these memoir episodes do not have independent meaning: the history of the Marmeladov family and the story of Raskolnikov’s mother and sister are inextricably linked with the main character and embody his thoughts and ideas. The story of the Marmeladovs and the story of Dunya (letter from Pulcheria Alexandrovna) is the last impetus for Raskolnikov’s rebellion. From these stories arise Sonya and Svidrigailov, embodying good and evil in Raskolnikov’s soul. Main topic(Raskolnikov) and all three side themes (the story of the Marmeladovs, the story of Raskolnikov’s mother and sister, the story of the contenders for her hand - Svidrigailov, Luzhin and Razumikhin) develop in parallel, and the side themes are part of the hero’s fate, the realization of his struggling thoughts. Already in the first four chapters of the first part of the novel, all three themes are brought to the stage and connected to one another through Raskolnikov. In the first chapter, Raskolnikov goes to a moneylender and thinks about murder; in the second, he meets Marmeladov, who tells him his story and takes him to his place; in the third, he receives a letter from his mother informing him of Dunya’s engagement to Luzhin; in the fourth, he thinks about this letter, finds in it an analogy with Marmeladov’s story: Dunya’s sacrifice is of the same order as Sonya’s. Raskolnikov cannot accept this sacrifice, he must help himself get out of material need, and for this there is only one sure way - the murder of the old pawnbroker, a malicious “louse”, whom he had previously chosen as the object of murder to confirm his theory of law " strong personalities" to crime. In all six parts of the novel, all three thematic plots arise in connection with Raskolnikov in different combinations and combinations. The lines of all three plots are connected only once: at Marmeladov’s wake, Dunya’s ex-fiancé, Luzhin, insults Sonya, and Raskolnikov defends her. In the sixth part, the side plots are exhausted, and Raskolnikov remains with Sonya and Svidrigailov - with his “good and evil”. But Svidrigailov commits suicide, so last chapter the last, sixth, part and in the epilogue, when the “evil” has left Raskolnikov’s soul, he remains only with Sonya, and then “it begins new story, the story of the gradual renewal of man." Raskolnikov meets Porfiry Petrovich through Razumikhin. This is also a side line of the novel. However, the role of Porfiry Petrovich in the fate, in the revival of Raskolnikov is so great that, as K. K. Istomin notes, three meetings of the criminal with the investigator " They represent, as it were, a complete tragedy with three acts according to a strictly followed plan for the development of the plot. The first meeting outlines for us the theme, the nature of the struggle and the main characters of the tragedy. The second meeting - the intrigue reaches its highest point and tension: Raskolnikov, who had fallen into despondency, perked up again after Nikolai's unexpected confession and visit to the "philistine". It ends with Raskolnikov’s bold statement: “Now we will still fight.” The third act - the meeting of opponents in Raskolnikov's room - ends in an unexpected disaster:<...>with a “serious and concerned expression” Porfiry presents to Raskolnikov all the benefits of voluntary repentance" (Istomin K.K - “Crime and Punishment”. Pg., 1923, p. 89). Raskolnikov is not only the compositional, but also the spiritual center of the novel. All thematic The plots are inextricably linked with the ideological scheme of the novel. The tragedy occurs in Raskolnikov’s soul, and all the other characters, together with him, are trying to unravel the mystery of this tragedy. Everyone feels the significance of his personality, everyone is amazed by the contradictions of this personality, and everyone wants to unravel the mystery of his fatal duality, Raskolnikov. Characterized by mother, sister, Razumikhin, Porfiry, Sonya, Svidrigailov - almost all the characters in the novel “Each person, however, enters his (Raskolnikov’s) inner speech not as a character or type,” notes M. M. Bakhtin, “not as a character. the plot face of his life plot (sister, sister’s fiancé, etc.), but as a symbol of a certain life attitude and ideological position, as a symbol of a certain life decision the very ideological questions that torment him. It is enough for a person to appear in his horizon for it to immediately become for him the embodied solution to his own question, a solution that does not agree with the one to which he himself has come; therefore, everyone touches him to the quick and receives a firm role in his inner speech" (Bakhtin M. M. Problems of Dostoevsky's poetics. 4th edition, M., 1979, p. 278). Thus, the poetics of the novel is subordinate to one main and the only task - the resurrection of Raskolnikov, the deliverance of the “superman” from the criminal theory and his introduction to the world of other people “The candle has long gone out in the crooked candlestick, dimly illuminating in this beggarly room the murderer and the harlot, strangely gathered together to read the eternal book.” everything is lost for Raskolnikov, not everything has gone out in his soul, the dim flame of the cinder still glimmers in it, like an experienced guide who knows the only and true path, Dostoevsky leads readers through the labyrinth of Raskolnikov’s conscience. And one must be extremely attentive and spiritually sighted when reading. "Crimes and Punishments", paying attention to literally everything in order to see at the end the candle that Dostoevsky holds.
|
See also the work "Crime and Punishment"
|
Other materials on the works of Dostoevsky F.M.
|
The image of St. Petersburg, created in Russian literature, amazes with its gloomy beauty, sovereign greatness, but also with its “European” coldness and indifference. This is how Pushkin saw Petersburg when he created the poem “The Bronze Horseman”, the story “ Stationmaster" Gogol emphasized everything incredible and fantastic in the image of St. Petersburg. In Gogol’s depiction, Petersburg is a city of illusion, a city of the absurd, which gave birth to Khlestakov, the official Poprishchin, and Major Kovalev. Nekrasov’s Petersburg is already a completely realistic city, where “everything merges, groans, hums,” a city of poverty and lawlessness of the Russian people.
Dostoevsky follows the same traditions in depicting St. Petersburg in his novel Crime and Punishment. Here the very place of action, as M. Bakhtin noted, “is on the border of being and non-being, reality and phantasmagoria, which is about to dissipate like fog and disappear.”
The city in the novel becomes a real character, with its own appearance, character, and way of life. The very first contact with him turns into failure for Raskolnikov. St. Petersburg does not seem to “accept” Raskolnikov, looking indifferently at his plight. A poor student has nothing to pay for an apartment or for studying at the university. His closet reminds Pulcheria Alexandrovna of a “coffin.” Rodion's clothes had long since turned into rags. Some drunk, mocking his suit, calls him a “German hatter.” On the Nikolaevsky Bridge, Raskolnikov almost fell under a carriage; the coachman lashed him with a whip. Some lady, mistaking him for a beggar, gave him alms.
And Raskolnikov’s “unclear and insoluble impression” seems to capture this coldness, the inaccessibility of the City. From the Neva embankment, the hero enjoys a magnificent panorama: “the sky... without the slightest cloud,” “the water is almost blue,” “clean air,” the shining dome of the cathedral. However, “an inexplicable chill always blew over him from this magnificent panorama; This magnificent picture was full of a dumb and deaf spirit for him.”
However, if St. Petersburg is cold and indifferent to the fate of Raskolnikov, then this city mercilessly “persecuts” the Marmeladov family. Constant poverty, hungry children, a “cold corner”, Katerina Ivanovna’s illness, Marmeladov’s destructive passion for drinking, Sonya, forced to sell herself in order to save her family from death - these are the terrifying pictures of the life of this unfortunate family.
Marmeladov, who was secretly proud of his wife, dreamed of giving Katerina Ivanovna the life she deserved, settling the children, and returning Sonya “to the bosom of the family.” However, his dreams were not destined to come true - the relative family well-being in the form of Semyon Zakharovich’s enrollment in the service, he was sacrificed to his destructive passion. Numerous drinking establishments, the disdainful attitude of people, the very atmosphere of St. Petersburg - all this stands as an insurmountable obstacle to Marmeladov’s happy, prosperous life, driving him to despair. “Do you understand, do you understand, dear sir, what it means when there is nowhere else to go?” - Marmeladov exclaims bitterly. The fight against St. Petersburg turns out to be beyond the power of the poor official. The city, this accumulation of human vices, emerges victorious in an unequal struggle: Marmeladov is crushed by a rich crew, Katerina Ivanovna died of consumption, leaving the children orphans. Even Sonya, who is trying to actively resist life’s circumstances, eventually leaves St. Petersburg, following Raskolnikov to Siberia.
It is characteristic that St. Petersburg turns out to be close and understandable to the most “demonic” hero of the novel, Svidrigailov: “The people are drunk, the youth, educated from inaction, burn out in unrealistic dreams and dreams, are deformed in theories; the Jews came in large numbers from somewhere, hide money, and everything else is debauched. This city smelled like a familiar smell to me from the very first hours.”
Svidrigailov notes that Petersburg is a city whose gloomy, dreary atmosphere has a depressing effect on the human psyche. “In St. Petersburg, a lot of people walk and talk to themselves. This is a city of half-crazy people. If we had science, then doctors, lawyers, philosophers could do the most precious research on St. Petersburg, each in their own specialty. Rarely where can you find so many dark, harsh and strange influences on the human soul as in St. Petersburg. What are climate influences alone worth? Meanwhile, this is the administrative center of all of Russia and its character should be reflected in everything,” says Arkady Ivanovich.
And the hero is right in many ways. The very atmosphere of the City seems to contribute to Raskolnikov's crime. Heat, stuffiness, lime, forests, bricks, dust, the unbearable stench from taverns, drunks, prostitutes, fighting ragamuffins - all this inspires the hero with a “feeling of deepest disgust.” And this feeling takes possession of the hero’s soul, extending to those around him and to life itself. After the crime, Raskolnikov is overcome by “an endless, almost physical disgust for everything he has encountered and everything around him, persistent, angry, hateful. Everyone he meets is disgusting to him—their faces, their gait, their movements are disgusting.” And the reason for this feeling is not only the hero’s condition, but also St. Petersburg life itself.
As Yu.V. notes Lebedev, Petersburg also has a detrimental effect on human morals: people in this city are cruel, devoid of pity and compassion. They seem to inherit all the bad qualities of the City that gave birth to them. So, an angry coachman, shouting at Raskolnikov to move aside, lashed him with a whip, and this scene aroused the approval of those around him and their ridicule. In the tavern everyone laughs loudly at the story of the drunken Marmeladov. For visitors to the “establishment” he is a “funny guy”. His death itself, Katerina Ivanovna’s grief, becomes the same “fun” for those around him. When a priest visits the dying Marmeladov, the doors from the inner rooms begin to gradually open to “curious” people, and “spectators” crowd more and more densely into the hallway. Confession and communion of Semyon Zakharovich for the residents is nothing more than a performance. And in this Dostoevsky sees an insult to the very mystery of death.
The ugliness of life led to a violation of all norms of intra-family relations. Alena Ivanovna and Lizaveta are sisters. Meanwhile, in Alena Ivanovna’s relationship with her sister, not only manifestations of love are not noticeable, but also at least some kindred feelings. Lizaveta remains “in complete slavery to her sister,” works for her “day and night” and suffers beatings from her.
Another “reasonable lady” in the novel is thinking about how to sell her own daughter, a sixteen-year-old high school student, at a higher price. The rich landowner Svidrigailov turns up, and the “judicious lady,” not embarrassed by the groom’s age, immediately blesses the “young people.”
Finally, Sonya's behavior is also not entirely logical. She sacrifices herself for the sake of Katerina Ivanovna’s young children, sincerely loves them, but after the death of her parents she easily agrees to send the children to an orphanage.
St. Petersburg appears dark and ominous in numerous interiors, landscapes, crowd scenes. As V. A. Kotelnikov notes, Dostoevsky here “recreates the naturalistic details of urban life - the gloomy appearance of apartment buildings, the gloomy interior of their courtyards, staircases, apartments, the abomination of taverns and “institutions”.”
A typical scene is Raskolnikov's visit to Sennaya Square. There are a lot of “shaggy people”, “all kinds of industrialists”, and merchants crowding here. In the evening they lock their establishments and go home. Many beggars live here - “you can walk around in any form you like without scandalizing anyone.”
Here Raskolnikov is walking along K Boulevard. Suddenly he notices a drunken young girl, “bare-haired, without an umbrella or gloves,” in a torn dress. She is being pursued by an unknown gentleman. Together with the policeman, Rodion tries to save her, but he soon realizes the futility of his attempts.
Here the hero goes to Sadovaya. On the way, he encounters “entertainment establishments,” a company of prostitutes “with hoarse voices” and “black eyes.” One “ragamuffin” is loudly swearing at another, “some dead drunk” is lying across the street. There is noise, laughter, and squealing everywhere. As Yu. Karyakin notes, Dostoevsky’s Petersburg is “saturated with noise” - buzzing streets, screams of ragged people, the rattling of a barrel organ, high-profile scandals in houses and on stairs.
These paintings are reminiscent of Nekrasov’s “street impressions” - the cycles “On the Street” and “About the Weather.” In the poem “Morning Walk,” the poet recreates the deafening rhythm of life in a big city:
Everything merges, groans, hums, Somehow dull and menacingly rumbles, As if chains are being forged on the unfortunate people, As if the city wants to collapse, A crush, talking... (what are the voices about? All about money, about need, about bread).
The landscape in this poem echoes the cityscape in Dostoevsky's novel. From Nekrasov we read:
An ugly day begins -
Muddy, windy, dark and dirty.
And here is one of the landscapes in the novel “Crime and Punishment”: “Milk, thick fog lay over the city. Svidrigailov walked along the slippery, dirty wooden pavement towards the Malaya Neva... With annoyance he began to look at the houses... Neither a passer-by nor a cab driver was seen along the avenue. The bright yellow wooden houses with closed shutters looked sad and dirty. Cold and dampness permeated his entire body...”
Raskolnikov’s mood corresponds to this landscape: “...I love how they sing to a barrel organ on a cold, dark and damp autumn evening, certainly on a damp one, when all passers-by have pale green and sick faces; or, even better, when wet snow falls, completely straight, without wind... and through it the gas lamps shine...,” the hero says to a random passerby.
The plot of Nekrasov’s poem “Am I Driving Down a Dark Street at Night,” which is based on the fate of a street woman, precedes the plot of Sonya Marmeladova. Nekrasov poetizes the heroine’s action:
Where are you now? With miserable poverty
Have you been overcome by an evil struggle?
Or did you go the usual way,
And the fateful fate will be fulfilled?
Who will protect you? All without exception
They will call you a terrible name,
Only in me will curses stir -
And they will freeze uselessly!..
In the novel, Dostoevsky also “exalts” Sonya Marmeladova, considering her dedication a feat. Unlike those around her, Sonya does not submit to life’s circumstances, but tries to fight them.
Thus, the City in the novel is not only the place where the action takes place. This is a real character, real character novel. Petersburg is gloomy, ominous, it seems that it does not love its inhabitants. It does not save them from life’s hardships, it does not become a home or homeland for them. This is a City that shatters dreams and illusions and leaves no hope. At the same time, Dostoevsky’s Petersburg is also a real capitalist city in Russia in the second half of the 19th century. This is a city of “clerks and all kinds of seminarians”, a city of newly minted businessmen, moneylenders and traders, poor people and beggars. This is a city where love, beauty, and human life itself are bought and sold.
The work was completed by:Menshchikova Alena, Melnikov Zakhar,
Khrenova Alexandra, Pechenkin Valery,
Shvetsova Daria, Valov Alexander, Metzler
Vadim, Elpanov Alexander and Tomin Artem.
Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses)
Raskolnikov walks down the street and falls intodeep thoughtfulness", but from
his thoughts are distracted by a drunk,
who was being transported at that time along the street in
cart, and who shouted to him: “Hey you,
German hatter." Raskolnikov is not
I was ashamed and scared, because... he's absolutely
I wouldn't want to attract anyone's attention. In this scene, Dostoevsky introduces us to his hero:
describes his portrait, his rags, shows him
character and makes hints about Raskolnikov's plan.
He feels disgusted with everything around him and
those around him, he feels uncomfortable: “and he walked away, no longer noticing
surrounding and not wanting to notice him." He doesn’t care what about
they will think about him. Also, the author emphasizes this with evaluative
epithets: “deepest disgust”, “malicious contempt”
Part 2 Ch. 2 (scene on the Nikolaevsky Bridge, blow of the whip and alms)
On the Nikolaevsky Bridge, Raskolnikov peers into St. Isaac's Bridgecathedral The monument to Peter I sitting on a rearing horse is disturbing and
scares Raskolnikov. Before this majesty, before
imagining himself to be a superman, he feels “small”
man" from whom Petersburg turns away. As if ironically
over Raskolnikov and his “superhuman” theory, St. Petersburg
first with a whip blow on the back with a whip (allegorical rejection
Raskolnikov St. Petersburg) admonishes someone who hesitates on the bridge
hero, and then with the hand of a merchant’s daughter throws it at Raskolnikov
alms. He, not wanting to accept handouts from a hostile city,
throws the two-kopeck piece into the water. Moving on to artistic construction text and artistic
means, it should be noted that the episode is built on contrast
images, almost every scene has its opposite: a blow
contrasted with the alms of the old merchant's wife and her
daughters, Raskolnikov’s reaction (“angrily scraped and clicked
teeth") is contrasted with the reaction of others ("all around
there was laughter"), with the verbal detail "of course"
indicates the habitual attitude of the St. Petersburg public towards
“humiliated and insulted” - violence reigns over the weak and
mockery. The pitiful state in which the hero found himself as
cannot be better emphasized by the phrase "a true collector
pennies on the street."
Artistic means are aimed at enhancing feelings
Raskolnikov's loneliness and the display of duality
St. Petersburg.
Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)
Part 2, chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)Raskolnikov rushes through the quarters of St. Petersburg and sees scenes
one uglier than the other. IN lately Raskolnikov "
felt drawn to hang around" in seedy places, "when he felt sick
“I felt even more nauseous.” Approaching one of
drinking and entertainment establishments, Raskolnikov’s gaze falls
at the poor people wandering around, at the drunken “ragamuffins”,
arguing with each other, like a “dead drunk” (evaluative epithet,
hyperbole) of a beggar lying across the street. The whole vile picture
complemented by a crowd of shabby, beaten women in only dresses and
simple-haired. The reality that surrounds him in this
place, all the people here can only leave disgusting
impressions (“..accompanied ... a girl, about fifteen, dressed
like a young lady, in a crinoline, a mantle, gloves and
a straw hat with a fiery feather; it was all old
and worn out"). In the episode, the author more than once notices the crowded
(“a large group of women crowded at the entrance, others
sat on the steps, others on the sidewalks..."),
gathered together in a crowd, people forget about grief,
their plight and are happy to gawk at
happening.
The streets are crowded, but the more acutely perceived
loneliness of the hero. The world of St. Petersburg life - the world
misunderstanding, indifference of people to each other.
Part 2 ch.6 (scene on... bridge)
In this scene we watch how a bourgeois woman is thrown from a bridge on whichRaskolnikov is standing. A crowd of onlookers immediately gathers, interested
happening, but soon the policeman saves the drowned woman, and the people disperse.
Dostoevsky uses the metaphor "spectators" in relation to people
gathered on the bridge.
The bourgeoisie are poor people whose life is very difficult. Drunk woman
attempting to commit suicide is, in a sense,
a collective image of the townspeople and an allegorical image of all the sorrows and
the suffering they experience during the times described by Dostoevsky.
"Raskolnikov looked at everything with a strange feeling of indifference and
indifference." "No, it's disgusting... water... isn't worth it," he muttered to himself, as if
trying on the role of suicide. Then Raskolnikov still gets ready
do something intentional: go to the office and confess. "No trace of the past
energy... Complete apathy has taken its place,” the author metaphorically notes how
would indicate to the reader the change within the hero that occurred after
what he saw.
Part 5 chapter 5 (death of Katerina Ivanovna)
Petersburg and its streets, which Raskolnikov already knows by heart,appear before us empty and lonely: “But the courtyard was empty and not
you could see those knocking.” In the scene street life when Katerina
Ivanovna gathered a small group of people on the ditch, in which
there were mostly boys and girls, scarcity was visible
interests of this mass, they are attracted by nothing other than the strange
spectacle. The crowd in itself is not something positive, it
terrible and unpredictable.
The topic of the value of any human life And
personality, one of the most important topics novel. Also, the death episode
Katerina Ivanovna seems to prophesy what kind of death could await
Sonechka, if the girl had not decided to keep it firmly in her soul
Love and God.
The episode is very important for Raskolnikov, the hero is becoming more and more established
them in correctness decision taken: to atone for guilt through suffering.
Conclusion:
F.M. Dostoevsky draws attention to the other side of St. Petersburg - withsuicides, murderers, drunks. Everything dirty and smelly ends up with
air into a person’s interior and gives rise to not the best feelings and emotions.
Petersburg stifles, oppresses and breaks the personality.
The writer attaches paramount importance to the depiction of corners and backyards
the brilliant capital of the empire, and together with the cityscape in the novel
Pictures of poverty, drunkenness, and various disasters of the lower strata of society arise.
People have become dull from such a life, they look at each other “with hostility and with
distrust." There can be no other relationship between them except
indifference, animal curiosity, malicious mockery. From meeting these
people, Raskolnikov is left with a feeling of something dirty, pathetic,
ugly and at the same time what he saw evokes in him a feeling of compassion for
"humiliated and insulted." The streets are crowded, but even more so
the hero's loneliness is perceived. The world of St. Petersburg life - the world
misunderstanding, indifference of people to each other.