The genre-compositional structure of the novel is complex. Plot-wise, it is close to the detective-adventure genre, but the detailed and thoroughly depicted background against which events unfold, the effectiveness of the very image of St. Petersburg allows us to speak about the genre of a social and everyday novel. It also contains love line(Dunya - Svidrigailov, Luzhin, Razumikhin; Raskolnikov - Sonya). In-Depth Study inner world characters, so characteristic of Dostoevsky, makes this novel also psychological. But all these genre features, intertwined in a single artistic whole of the work, create a completely new type novel.
“Crime and Punishment” is the first of Dostoevsky’s “great” novels, in which his artistic and philosophical system was embodied. At the center of this novel is the idea of individualism, which is contrasted with the idea of Christian humility and redemptive suffering. This determines the highly ideological nature of the text of the work, saturated with deep and complex philosophical problems. Therefore, Dostoevsky’s novel is rightfully classified as an ideological and philosophical novel. Indeed, the author’s attention, despite the adventurous detective story, is focused not on the events rapidly unfolding before the reader’s eyes, but on the thoughts, philosophical reasoning, and ideological disputes of the characters. In essence, the writer shows the fate of the idea that pushed the hero to commit a crime, which allows him to organically include the most complex philosophical problems. At the same time, the novel does not become a philosophical treatise, since it is not about an abstract idea, but about a hero who is completely embraced by it.
This is how a special type of hero arises, who began to be called hero-idea(or hero-ideologist). This is a special type literary hero, which first appeared in Dostoevsky’s novel “Crime and Punishment,” the peculiarity of which is that it is not just social or psychological type, a certain character or temperament, and above all a person, gripped by an idea (sublime or destructive), which “turns into nature”, requires “immediate application to business” (F.M. Dostoevsky). Such heroes - carriers of ideas - in the novel are primarily Raskolnikov (the idea of individualism) and Sonya Marmeladova (the Christian idea). But in their own way, each of the characters in this novel also represents “their” idea: Marmeladov embodies the idea of a dead end in life, which he himself substantiated, investigator Porfiry Petrovich expresses a whole system of arguments in defense of the idea of Christian humility and redemptive suffering, which he, like Sonya, offers to accept Raskolnikov. Even the almost speechless Lizaveta, killed by Raskolnikov, participates in the duel of ideas waged by the main characters.
This is how a special artistic structure arises in which ideas, through their carriers, enter into a free dialogue. It is conducted not only at the level of various discussions, disputes, various statements of the heroes (aloud or to themselves), but, most importantly, it is embodied in the destinies of these heroes. Author's position at the same time, it is not directly expressed, the action moves as if by itself as a result of the development of the main idea (the idea of individualism), which manifests itself in constant collision and intersection with the Christian idea that contrasts it. And only the final result of the complex movement and development of ideas allows us to talk about the author’s position in this unique ideological and philosophical dispute.
In this way, a completely new type of novel is formed, which became Dostoevsky’s artistic discovery. The theoretical justification for this new type, called the polyphonic novel, was made only in the 20th century by M.M. Bakhtin. He also suggested the name “polyphonic” (from polyphony - polyphony). The role of “voices” in it is played by heroic ideas. The peculiarity of such a novel is that the philosophical views of the writer, which are at the center of the work, are not expressed in direct statements of the author or characters (the principle of objectivity), but are revealed through the clash and struggle of different points of view embodied in the hero-ideas ( dialogue structure). Moreover, the idea itself is realized through the fate of such a hero - hence the in-depth psychological analysis, permeating all levels artistic structure works.
The psychological analysis of the state of the criminal before and after committing a murder in the novel is merged with the analysis of Raskolnikov’s “idea”. The novel is structured in such a way that the reader is constantly in the sphere of consciousness of the hero - Raskolnikov, although the narration is told from the third person. That is why his words, incomprehensible to the reader, about the “test” sound so strange when he goes to the old woman. After all, the reader is not privy to Raskolnikov’s plan and can only guess what “matter” he is talking about with himself. The specific plan of the hero is revealed only 50 pages from the beginning of the novel, immediately before the crime. We become aware of the existence of Raskolnikov’s complete theory and even an article outlining it only on the two hundredth page of the novel - from a conversation with Porfiry Petrovich. This method of silence is used by the writer in relation to other heroes. So only at the very end of the novel do we learn the history of Dunya’s relationship with Svidrigailov - immediately before the denouement of this relationship. Of course, this, among other things, helps to make the plot more entertaining.
All this is very unlike the psychologism traditional in Russian literature. “I am not a psychologist,” Dostoevsky said about himself, “I am only a realist in the highest sense, that is, I depict all the depths of the human soul.” Great writer was distrustful of the word “psychology” itself, calling the concept behind it a “double-edged sword.” In the novel we see not just a study, but a test of the soul and thoughts of the hero - this is the semantic and emotional core to which all the plot moves, all the events of the work, all the feelings and sensations of both the leading and episodic characters are drawn. The method of Dostoevsky the psychologist consists in the writer’s penetration into the consciousness and soul of the hero in order to reveal the idea he carries, and with it his true nature, which comes out in unexpected, extreme, provoking situations. No wonder the word “suddenly” is used 560 times in Crime and Punishment!
The originality of Dostoevsky’s psychologism also determines the specificity of his plot constructions. Believing that the true essence of a person is revealed only in moments of greatest upheaval, the writer strives to knock his characters out of their usual rut in life and into a state of crisis. The dynamics of the plot lead them from disaster to disaster, depriving them of solid ground under their feet, forcing them again and again to desperately “storm” unsolvable “damned” questions.
The compositional structure of “Crime and Punishment” can be described as a chain of catastrophes: Raskolnikov’s crime, which brought him to the threshold of life and death, then the death of Marmeladov, the madness and death of Katerina Ivanovna that soon followed, and, finally, the suicide of Svidrigailov. The prehistory to the novel’s action also tells about Sonya’s catastrophe, and the epilogue about Raskolnikov’s mother. Of all these heroes, only Sonya and Raskolnikov manage to survive and escape. The intervals between disasters are occupied by intense dialogues between Raskolnikov and other characters, of which two conversations with Porfiry Petrovich stand out. The second, most terrible “conversation” for Raskolnikov with the investigator, when he drives Raskolnikov almost to the point of insanity, hoping that he will give himself away, is the compositional center of the novel, and conversations with Sonya are located before and after, framing it. Material from the site
Dostoevsky believed that only in such extreme situations: in the face of death or in moments of final determination of the purpose and meaning of his existence, is a person able to renounce the vanity of life and turn to the eternal questions of existence. Subjecting his characters to merciless psychological analysis precisely in these moments, the writer comes to the conclusion that in such circumstances the fundamental difference in character disappears and becomes unimportant. After all, despite the uniqueness of individual feelings, the “eternal questions” face the same ones. That's why another phenomenon arises polyphonic novel Dostoevsky - duality. We are talking not only about the specifics of the characters and the peculiarities of psychological analysis, but also about one of the most important principles of constructing Dostoevsky’s polyphonic novel - the system of doubles.
The action of Dostoevsky's polyphonic novel is based on the collision of contrasting ideological poles with complete equality of ideas, which are further revealed with the help of a system of doubles. In Crime and Punishment, the idea of individualism, the main bearer of which is Raskolnikov, is clarified in the images of Luzhin and Svidrigailov, who become his doubles, or rather, doubles of the idea inherent in him. The bearer of the Christian idea is Sonechka Marmeladova, and her doubles (doubles of the idea) are Lizaveta, Mikolka, Dunya. The inner essence Sonechka Marmeladova, as a hero-idea, constitutes the foundations of the Christian idea: doing good and taking upon oneself the suffering of the world. This is what fills Sonechka’s life with deep meaning and light, despite the surrounding dirt and darkness. Associated with the image of Sonechka is Dostoevsky’s belief that the world will be saved by fraternal unity between people in the name of Christ and that the basis of this unity should not be sought in society “ powerful of the world this,” and in the depths people's Russia. The special form of the novel helps the writer to express it - polyphonic, as well as the entire system inherent in it artistic means, first of all, the system of images of the novel.
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Plot, composition, genre features of the novel “Crime and Punishment”
F. M. Dostoevsky, as a writer, gave great value entertaining narrative, was an unsurpassed master of a sharp, adventurous plot that captivates the reader, keeping him in suspense from the first to the last pages of the novel. No one before has been able to combine a detective plot with the subtlest psychologism and depth of philosophical meaning.
“Crime and Punishment” is a novel about a crime, but it can be classified as a “criminal, detective” novel.
The genre is not allowed, it is called a confessional novel, a tragedy novel, one of the greatest philosophical and psychological novels. In the novel, there is no mystery for 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, the feverish change of decisions and contradictory actions.
Other characters in the novel are depicted in such a way that, without losing much independent meaning, they, each in their own way, “explained” the drama that was unfolding
In Raskolnikov's consciousness between thoughts and soul. “. Raskolnikov is the only hero of the book. Everyone else is a projection 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”). In Crime and Punishment, the story of the main character is closely intertwined with two storylines: the history of the Marmeladov family and the fate of Dunechka and Pulcheria Alexandrovna, as well as the related stories of Svidrigailov and Luzhin. These two parallel developing plots are closely connected with Raskolnikov and his theory.
But Raskolnikov is not the only compositional center. The tragic tossing of his spirit draws everyone into its orbit. characters, each in his own way tries to explain the contradictions of his personality, to unravel the secret of his fatal duality. He has a passionate argument with them in his internal monologues. “Every face comes in. into his inner speech not as a character or type, not as a plot character 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 those very ideological questions that torment him” (M. M. Bakhtin). Razumikhin, Svidrigailov, Luzhin, Marmeladov, Sonya, Porfiry Petrovich become for Raskolnikov, as it were, an embodied solution to his own question, “a solution that does not agree with the one he himself came to, so everyone touches him to the quick and receives a firm role in his inner life.” speech." Thus, Raskolnikov becomes the spiritual and ideological center of the novel.
The perfection of the composition “Crime and Punishment” has no equal in F. M. Dostoevsky. Consisting of six parts and an epilogue, the novel, “built on a skillful orchestration of tensions, moves through two climaxes, after which catharsis sets in. The first such point is crime. The second is punishment” (P. Weil, A. Genis. “The Last Judgment”). Moreover, Dostoevsky writes more about punishment than Raskolnikov’s crime: out of six parts, only one is devoted to a description of the crime, but the rest are a kind of analysis psychological state personality, mental life of the hero, the motives of his crime. But it’s not even punishment, but “restoration” dead person“most of all worries Dostoevsky as an artist and thinker, therefore, replacing each other, the novel contains motifs of condemnation and defense of Raskolnikov, growing to the epilogue, where the path to the revival of the hero and his gradual renewal is outlined, for which it is necessary to “pay. a great, future feat.” The entire poetics of the novel is subordinated to the main goal - the resurrection, the transformation of the hero. Special role in the epilogue the landscape plays. From the gloomy, stuffy, oppressive Petersburg, the action is transferred to the banks of a wide and deserted river: “From the high bank a wide surrounding area opened up. There, in the sun-drenched vast steppe, nomadic yurts were blackened as barely noticeable dots. There was freedom and other people lived there. “Raskolnikov is depicted in harmony with the world and with himself in the epilogue, “he was resurrected, and he knew it, he felt it with his entire being renewed. “. Raskolnikov’s rejection of the inhuman “unfinished theory” and return to eternal values occurs only in the epilogue and is emphasized by the repeated epithet: “endless happiness”, “endless sources of life”, “endlessly loves”, “with endless love he will now atone for all her suffering.” On the pages of the epilogue, for the third time in the novel, the Gospel and the resurrection of Lazarus are mentioned (the first time - in a conversation with Porfiry Petrovich about Raskolnikov’s article, the second time - when Sonya reads this legend to him, returning the reader to the main, deep thought of Dostoevsky - to his hope for “restoration fallen man” through the introduction to the Christian ideal of “great, common harmony, fraternal final agreement of all according to Christ’s gospel law.”
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Essays on topics:
- “Crime and Punishment” is a novel about a crime, however, it does not in any way fit the definition of detective fiction: the narrative does not develop...
- F. M. Dostoevsky, as a writer, attached great importance to the entertaining nature of the narrative, and was an unsurpassed master of a sharp, adventurous plot that captivates the reader and holds him...
- It is well known that the novel “Crime and Punishment” is on the list of the most readable works on the ground. The relevance of the novel increases with each new generation...
- Through the eyes of Rodion Romanovich Raskolnikov wandering around St. Petersburg, the reader sees dirty streets and dark alleys, squalid dwellings and slum hotels, houses...
Crime and Punishment - the most famous novel F.M. Dostoevsky, who made a powerful revolution in public consciousness. Writing a novel symbolizes the opening of a higher, new stage of creativity brilliant writer. The novel, with Dostoevsky's characteristic psychologism, shows the path of the restless human soul through the thorns of suffering to the comprehension of the Truth.
History of creation
The path to creating the work was very difficult. The idea of the novel with the underlying theory of the “superman” began to emerge during the writer’s stay in hard labor; it matured for many years, but the idea itself, revealing the essence of “ordinary” and “extraordinary” people, crystallized during Dostoevsky’s stay in Italy .
The beginning of work on the novel was marked by the merger of two drafts - the unfinished novel “Drunk” and the outline of a novel, the plot of which is based on the confession of one of the convicts. Subsequently, the plot was based on the story of a poor student Rodion Raskolnikov, who killed an old money-lender for the good of his family. Life full of dramas and conflicts big city became one of the main images of the novel.
Fyodor Mikhailovich worked on the novel in 1865-1866, and almost immediately after finishing it in 1866, it was published in the Russian Messenger magazine. The response among reviewers and the literary community of the time was quite stormy - from enthusiastic admiration to sharp rejection. The novel was subjected to repeated dramatizations and was subsequently filmed. The first theatrical production in Russia took place in 1899 (it is noteworthy that it was staged abroad 11 years earlier).
Description of the work
The action takes place in a poor area of St. Petersburg in the 1860s. Rodion Raskolnikov, a former student, pawns the last valuable thing to the old pawnbroker. Filled with hatred for her, he is plotting a terrible murder. On the way home, he looks into one of the drinking establishments, where he meets the completely degraded official Marmeladov. Rodion listens to painful revelations about the unfortunate fate of his daughter, Sonya Marmeladova, who, at the suggestion of her stepmother, was forced to earn a living for her family through prostitution.
Soon Raskolnikov receives a letter from his mother and is horrified by the moral violence against his younger sister Dunya, which was inflicted on her by the cruel and depraved landowner Svidrigailov. Raskolnikov’s mother hopes to arrange the fate of her children by marrying her daughter to Pyotr Luzhin, a very wealthy man, but at the same time everyone understands that there will be no love in this marriage and the girl will again be doomed to suffering. Rodion’s heart breaks with pity for Sonya and Dunya, and the thought of killing the hated old woman is firmly fixed in his mind. He is going to spend the pawnbroker's money, earned unjustly, for a good cause - delivering suffering girls and boys from humiliating poverty.
Despite the disgust for bloody violence rising in his soul, Raskolnikov still commits a grave sin. In addition, in addition to the old woman, he kills her meek sister Lizaveta, an unwitting witness to a serious crime. Rodion barely manages to escape from the crime scene, while he hides the old woman's wealth in a random place, without even assessing their real value.
Raskolnikov's mental suffering causes social alienation between him and those around him, and Rodion falls ill from his experiences. He soon learns that another person has been accused of the crime he committed - a simple village guy, Mikolka. A painful reaction to others talking about a crime becomes too noticeable and suspicious.
Further in the novel, the difficult ordeals of the soul of a student killer, trying to find peace of mind and find at least some moral justification, are described. crime committed. A bright thread running through the novel is Rodion’s communication with the unhappy, but at the same time kind and highly spiritual girl Sonya Marmeladova. Her soul is troubled by the discrepancy between her inner purity and her sinful lifestyle, and Raskolnikov finds a kindred spirit in this girl. Lonely Sonya and university friend Razumikhin become support for the tormented former student Rodion.
Over time, the investigator in the murder case, Porfiry Petrovich, finds out the detailed circumstances of the crime and Raskolnikov, after much moral torment, recognizes himself as a murderer and goes to hard labor. Selfless Sonya does not leave her closest friend and goes after him; thanks to the girl, the protagonist of the novel undergoes a spiritual transformation.
The main characters of the novel
(Illustration by I. Glazunov Raskolnikov in his closet)
The duality of spiritual impulses is contained in the name of the main character of the novel. His whole life is permeated with the question: will violations of the law be justified if they are committed in the name of love for others? Under the pressure of external circumstances, Raskolnikov in practice goes through all the circles of moral hell associated with murder for the sake of helping loved ones. Catharsis comes thanks to oneself dear person- Sonya Marmeladova, who helps the soul of a restless student killer find peace, despite the difficult conditions of a hard labor existence.
The image of this amazing, tragic, and at the same time sublime heroine carries wisdom and humility. For the sake of the well-being of her neighbors, she trampled on the most precious thing she has - her feminine honor. Despite her way of earning money, Sonya does not evoke the slightest contempt; her pure soul and commitment to the ideals of Christian morality delight the readers of the novel. Being faithful and loving friend Rodion, she goes with him to the very end.
The mystery and ambiguity of this character makes once again think about versatility human nature. A cunning and vicious person on the one hand, by the end of the novel he shows his care and concern for his orphaned children and helps Sonya Marmeladova restore her damaged reputation.
A successful entrepreneur, a person with a respectable appearance gives a deceptive impression. Luzhin is cold, selfish, does not disdain slander, he does not want love from his wife, but exclusively servility and obedience.
Analysis of the work
The compositional structure of the novel is a polyphonic form, where the line of each of the main characters is multifaceted, self-sufficient, and at the same time actively interacts with the themes of the other characters. Another feature of the novel is the amazing concentration of events - the time frame of the novel is limited to two weeks, which, given such a significant volume, is quite a rare occurrence in world literature of that time.
The structural composition of the novel is quite simple - 6 parts, each of them in turn is divided into 6-7 chapters. A special feature is the lack of synchronization between Raskolnikov’s days and the clear and concise structure of the novel, which emphasizes the confusion of the protagonist’s internal state. The first part describes three days of Raskolnikov’s life, and from the second, the number of events increases with each chapter, reaching an amazing concentration.
Another feature of the novel is hopeless doom and tragic fate most of her heroes. Until the end of the novel, only the young characters will remain with the reader - Rodion and Dunya Raskolnikov, Sonya Marmeladova, Dmitry Razumikhin.
Dostoevsky himself considered his novel “a psychological report of a crime,” he is sure that mental anguish prevails over legal punishment. Main character departs from God and is carried away by the ideas of nihilism that were popular at that time, and only towards the end of the novel does a return to Christian morality occur; the author leaves the hero the hypothetical possibility of repentance.
Final conclusion
Throughout the novel “Crime and Punishment,” Rodion Raskolnikov’s worldview transforms from one close to Nietzsche, who was obsessed with the idea of a “superman,” to a Christian one, with his teaching about Divine love, humility and mercy. The social concept of the novel is closely intertwined with the Gospel teaching about love and forgiveness. The entire novel is imbued with the true Christian spirit and makes you perceive all the events and actions of people in life through the prism of the possibility of spiritual transformation of humanity.
Genre "Crime and Punishment" - novel, the main place in which is occupied by social and philosophical problems contemporary writer Russian life.
"Crime and Punishment" genre
Genre: philosophical and psychological novel
"Crime and Punishment" is psychological a novel, since the main place in it is occupied by the description of the mental anguish of the person who committed the murder. In-depth psychologism - characteristic feature creativity. One part of the novel is devoted to the crime itself, and the remaining five parts are devoted to the emotional experiences of the killer. Therefore, the most important thing for the writer is to depict Raskolnikov’s torments of conscience and his decision to repent.
The philosophical theme of the novel is a discussion about the “right to blood,” that is, consideration of the “eternal” moral question: does it justify high goal criminal means? The philosophical idea of the novel is formulated as follows: no noble goal justifies murder, it is not a human matter to decide whether a person is worthy of living or unworthy.
Raskolnikov kills the moneylender Alena Ivanovna, whom the writer himself portrays as extremely unattractive: “She was a tiny, dry old woman of about sixty, with sharp and angry eyes, a small pointed nose and bare hair. Her blond, slightly gray hair was greased with oil. Some kind of flannel rag was wrapped around her thin and long neck, similar to a chicken leg...” (1, I). Alena Ivanovna is disgusting, starting with the above portrait and the despotic attitude towards sister Lizaveta and ending with her usurious activities; she looks like a louse (5, IV) sucking human blood. However, according to Dostoevsky, even such a nasty old woman cannot be killed: any person is sacred and inviolable, in this respect all people are equal. According to Christian philosophy, a person’s life and death are in the hands of God, and people are not allowed to decide this (therefore, murder and suicide are mortal sins). From the very beginning, Dostoevsky aggravates the murder of the malicious pawnbroker with the murder of the meek, unrequited Lizaveta. So, wanting to test his capabilities as a superman and preparing to become a benefactor of all the poor and humiliated, Raskolnikov begins his noble activity by killing (!) the old woman and the holy fool, who looks like a big child, Lizaveta.
The writer’s attitude towards the “right to blood” is clarified, among other things, in Marmeladov’s monologue. Talking about Last Judgment, Marmeladov is confident that God will ultimately accept not only the righteous, but also degraded drunkards, insignificant people like Marmeladov: “And he will say to us: “You pigs!” the image of the beast and its seal; but come too!” (...) And he will stretch out his hands to us, and we will fall down... and cry... and we will understand everything! Then we will understand everything!..” (1, II).
Now you know the features of the “Crime and Punishment” genre, what issues and problems of society Dostoevsky wanted to show.
Fyodor Mikhailovich Dostoevsky’s novel “Crime and Punishment” is the most famous work writer, included in the golden fund of world literature. Written during a difficult period in the author's life, it touches on many serious issues that remain relevant to this day. The novel is quite complex and deep, however detailed analysis the work will help to better understand the main idea and problems of the novel, the actions of the main characters. “Crime and Punishment” requires the most complete analysis, and it will be especially useful for 10th grade students when preparing for the Unified State Exam in Literature.
Brief Analysis
Year of writing– 1866
History of creation– Dostoevsky hatched the idea for “Crime and Punishment” during his stay in hard labor, during a period of intense emotional distress.
Subject- Display of inhuman living conditions the poorest strata population, the hopelessness of their existence and anger towards the whole world.
Composition- The novel consists of six parts and an epilogue. Each part is divided into 6-7 chapters. The first part describes the lifestyle of the main character and the crime he committed, in subsequent parts - the punishment that followed, and in the epilogue - the repentance of the main character.
Genre- Novel.
Direction- Realism.
History of creation
During his stay in hard labor, Fyodor Mikhailovich was forced to communicate not only with political criminals, but also with dangerous criminals - murderers and thieves. Observing these human types, the writer came to the conclusion that the overwhelming majority of crimes were committed by these people out of terrible despair. After the abolition of serfdom, many peasants who had no means of subsistence went to big cities, where they drank, robbed and killed.
It was then that the writer first had the idea of writing a novel full of drama and internal conflicts. According to the plan, the work was conceived as a confession by Raskolnikov, in which the spiritual experience of the protagonist was revealed. However, while writing the novel, the author began to realize that he was not able to limit himself to the experiences of Raskolnikov alone - the plot required greater depth and fullness. Having treated the written material with a great deal of criticism, Dostoevsky burned the almost completed novel and wrote it anew - the way the entire literary world knows it.
The writer also had a problem with the title of the work. There were several working versions, including “The Criminal’s Tale”, “On Trial”. As a result, he settled on the “Crime and Punishment” option. The essence and meaning of the title of the novel lies not only in the criminal punishment for committing a crime, but, above all, in the mental anguish of the criminal. Any crime entails inevitable punishment, and it is impossible to hide from it.
Fyodor Mikhailovich worked on the novel in 1865-1866, and immediately after completion it was published in the popular magazine “Russian Messenger”. The reaction to the work was very mixed, from sharp rejection to wild admiration.
In the 80s of the 19th century, the novel was translated into many European languages. Its influence on the world literary process turned out to be huge: writers began to develop the theme touched upon by Dostoevsky and, at times, openly imitate the classic; theatrical performances, later the imperishable work was filmed many times.
Subject
Main topic the works depict the oppression and appalling poverty of the majority of society, the sad situation of which few people are interested in. Also running through the theme of personal delusions and forced rebellion due to stifling poverty, social inequality and hopelessness.
The problem of false beliefs raised in the novel is relevant at all times. The theory to which Raskolnikov was subjected, about permissiveness and the possibility of committing a crime for good purposes, is destructive. It is precisely this that is the cause of arbitrariness, violence and terror.
In his novel, Dostoevsky wanted to convey his Christian ideas about life, according to which one must try to live morally, without succumbing to pride, lust, and selfishness. Living for the sake of your neighbors, doing good, sacrificing your own interests for the good of society - this is what the writer teaches. It is for this reason that at the end of the epilogue Rodion Raskolnikov comes to faith, which is his salvation. tormented soul, and finds hope of salvation.
Composition
The structural composition of “Crime and Punishment” is quite simple: the novel consists of 6 parts, each of which, in turn, consists of 6-7 chapters.
The novel is divided into two components: the first describes the ordeal of the protagonist, his reasoning and, ultimately, the crime he committed. Then follows the punishment and self-exposure of Raskolnikov, and the remaining 5 parts of the work are devoted to this.
A characteristic feature of the novel is some inconsistency in the chronology of Raskolnikov’s actions. With this, the author wanted to emphasize the instability of the protagonist’s internal state, his loss. An excellent addition to Raskolnikov’s mood are the dark, gray streets of St. Petersburg, the description of which Dostoevsky devoted a lot of space in the work.
In the final part of the novel - the epilogue - the writer pointed to Raskolnikov's possible healing thanks to sincere repentance and faith in God. The moral revival of the hero became possible only thanks to his complete rethinking of his life, actions, and values.
Dostoevsky paid great attention not only to the poor student, but also to others central characters: Razumikhin, Duna Raskolnikova, Pulcheria Alexandrovna, Sonya Marmeladova, Svidrigailova. The character of each of them is described brightly, colorfully, the interaction of these characters is perfectly complemented big picture, shown by the author. Despite the intricacies storylines, all of them, one way or another, are connected with Raskolnikov. It is noteworthy that many of the characters described will meet a tragic fate, and by the end of the novel only a few will survive.
Main characters
Genre
"Crime and Punishment" refers to psychological and philosophical novel . Fyodor Mikhailovich himself called his creation “a psychological report of one crime.” This is unique literary work, in which detective, criminal, social, psychological, philosophical and love components are skillfully intertwined. It harmoniously combines the frightening reality of everyday life and the fantasy represented by Raskolnikov’s dreams.
If we talk about the literary direction of the novel, then it fully corresponds to “realism”.
Work test
Rating analysis
Average rating: 4.4. Total ratings received: 4276.