Genre and composition. The genre and compositional structure of the novel is complex. In terms of plot, it is close to the detective-adventure genre, but the detailed and thoroughly depicted background against which the events unfold, and the effectiveness of the very image of St. Petersburg allow us to speak about the genre of a social and everyday novel. It also contains love line(Dunya - Svidrigailov, Luzhin, Razumikhin; Raskolnikov - Sonya). An in-depth study of the inner world of the 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 opposed to the idea of Christian humility and redemptive suffering. This determines the highly ideological nature of the text of the work, which is rich in deep and complex philosophical issues. Therefore, Dostoevsky’s novel is rightfully classified as an ideological and philosophical novel. Indeed, the author’s attention, despite the adventurous detective plot, is focused not on the events 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 in the work. At the same time, the novel does not become a philosophical treatise, since it is not about an abstract idea, but about a 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 a social or psychological type, a certain character or temperament, but first of all a person gripped by an idea (sublime or destructive), which “turns into nature” , requires “immediate application to the case” (F.M. Dostoevsky). Such heroes - carriers of ideas - in the novel are primarily Raskolnikov (the idea of individualism) and Sonya Marmeladova (the Christian idea). But in 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, proposes to perceive Raskolnikova. 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. The author’s position is not directly expressed; the action moves as if by itself as a result of the development of the main idea (the idea of individualism), which manifests itself in constant collision and intersection with the Christian idea that contrasts it. And only the final result of the complex movement and development of ideas allows us to speak 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 proposed the name “polyphonic” (from polyphony - polyphony). The role of “voices” in it is played by hero-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 heroes-ideas (dialogical structure). Moreover, the idea itself is realized through the fate of such a hero - hence the in-depth psychological analysis that permeates all levels artistic structure works.
The psychological analysis of the state of the criminal before and after committing the 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 3rd person. That is why his words, incomprehensible to the reader, about the “test” sound so strange when he goes to the old woman. After all, the reader is not privy to Raskolnikov’s plan and can only guess what “matter” he is talking to himself about. 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 characters. 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 very word “psychology,” calling the concept behind it a “double-edged sword.” In the novel we see not just a study, but a test of the soul and thoughts of the hero - this is the semantic and emotional core to which all the plot moves, all the events of the work, all the feelings and sensations of both 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 “cursed” issues.
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 in the epilogue - Raskolnikov's mother. Of all these heroes, only Sonya and Raskolnikov manage to survive and escape. The intervals between catastrophes 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.
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 heroes 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. This is why another phenomenon of Dostoevsky’s polyphonic novel arises - duality. We are talking not only about the specifics of the characters and the peculiarities of psychological analysis, but also about one of the most important principles for constructing Dostoevsky’s polyphonic novel - the system of doubles.
The action of Dostoevsky's polyphonic novel is based on the collision of contrasting ideological poles with complete equality of ideas, which are further revealed through 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 embedded 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. The image of Sonechka is associated with 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,” but in the depths of people’s Russia. The special form of the novel, polyphonic, as well as the entire system inherent in it, helps the writer to express it. artistic means, first of all, the system of images of the novel.
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School assistant - ready-made essays on Russian language and literature
By genre "Crime and Punishment" - a completely new type of work. The novel “Crime and Punishment” combines several genre varieties novel, fundamentally new thoughts have been added. This helps the author to comprehensively reveal the problems raised by him. The genre of the work “Crime and Punishment” is a novel, however, it mixes several types of novel. This is a carnival-adventurous novel (the presence of a criminal crime, a steep development of events), and a detective novel (solving the crime by the investigative Porfiry), and psychological novel(the psychology of the characters is extremely detailed), and philosophical novel(Raskolnikov’s philosophical system is described, emphasis is placed on the importance of the philosophical system in human life). There is an idea to define the genre of “Crime and Punishment” as a tragedy novel. The novel uses the principle of polyphony.
Dostoevsky character are contradictory, Nevertheless, full-fledged individuals. their point of view seems to be independent of the image of the author, who is invisibly present in the novel, from the point of view of one another. So, the novel contains several equal “voices” - hence the principle of polyphony. The novel's problems cover almost all spheres of human existence. These are social, moral, ethical, psychological, philosophical problems. The main problems of the novel are: the problem of a strong personality and the limits of his freedom, the clash of people’s interests, the problem of the possible inequality of people in their moral and ethical rights. The motive of sin and redemption, the problem of personality disintegration, the problem of internal conflict personality, the problem of morality and its values in society.
To depict characters and disclosure of problems F. Dostoevsky uses many artistic techniques, for example, the technique of doubling, special welcome creating an image of the city, etc. Each of them needs detailed study and analysis. It is impossible to overestimate the importance of the novel “Crime and Punishment” by F. Dostoevsky for Russian and world literature. This novel has been translated into many languages and is read and loved all over the world. The depth of the characters and the fundamental nature of the problems raised evoke a real fascination with the literary genius of the outstanding Russian writer F. Dostoevsky.
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Genre originality of F. M. Dostoevsky’s novel “Crime and Punishment”
Features of the genre of the novel “Crime and Punishment”
Genre originality This novel by F.M. Dostoevsky lies in the fact that this work cannot be completely definitely attributed to genres already known and tested in Russian literature.
Detective traits
First of all, formally the novel can be classified as a detective story:
- The plot is based on a crime and its solution,
- there is a criminal (Raskolnikov),
- there is a smart investigator who understands the criminal and leads him to exposure (Porfiry Petrovich),
- there is a motive for the crime,
- there are red herrings (Mikolka’s confession), evidence.
But none of the readers will even think of calling “Crime and Punishment” a detective story, because everyone understands that the detective basis of the novel is only an excuse for setting other tasks.
A new type of novel
This work does not fit into the framework of a traditional European novel.
Dostoevsky created new genre- psychological novel.
At its core is man as a great mystery into which the author looks into together with the reader. What drives a person, why is one or another capable of sinful acts, what happens to a person who crosses the line?
The atmosphere of the novel is a world of the humiliated and insulted, where there are no happy people, no unfallen ones. This world combines reality and fantasy, so a special place in the novel is occupied by Raskolnikov’s dreams, which do not predict the hero’s fate in the same way as in a traditional novel. No, the protagonist’s dreams reflect the state of his psyche, his soul after the murder of the old woman, project reality (a dream about killing a horse), and accumulate the hero’s philosophical theory (Rodion’s last dream).
Each hero is placed in a situation of choice.
This choice puts pressure on a person, forces him to go forward, to go without thinking about the consequences, to go only in order to find out what he is capable of, in order to save another or himself, in order to destroy himself.
Polyphonic solution of the figurative system
Another genre feature of such novels is polyphony, polyphony.
In the novel great amount characters who carry on conversations, pronounce monologues, shout something from the crowd - and every time this is not just a phrase, it philosophical problem, a question of life or death (dialogue between an officer and a student, Raskolnikov’s monologues, his dialogues with Sonya, with Svidrigailov, Luzhin, Dunechka, Marmeladov’s monologue).
Dostoevsky's heroes carry either hell or heaven in their souls. So Sonechka Marmeladova, despite the horrors of her profession, carries heaven in her soul, her sacrifice, her faith save her from the hell of life. A hero like Raskolnikov, according to Dostoevsky, is subordinate to the devil in his mind and chooses hell, but in last moment, when the hero looks into the abyss, he recoils from it and goes to denounce himself. There are also heroes of hell in Dostoevsky's novels. They long ago and consciously chose hell not only with their minds, but also with their hearts. And their hearts hardened. This is the case in Svidrigailov’s novel.
For the heroes of hell, there is only one way out - death.
Heroes like Raskolnikov are always intellectually superior to the rest: it’s not for nothing that everyone recognizes Raskolnikov’s intelligence; Svidrigailov expects some new word from him. But Raskolnikov is pure in heart, his heart is full of love and compassion (for the girl on the boulevard, for his mother and sister, for Sonechka and her family).
The human soul as the basis of psychological realism
Understanding the human soul cannot be unambiguous, which is why in Dostoevsky’s novels (in “Crime and Punishment” too) there is so much left unsaid.
Raskolnikov names the reason for the murder several times, but neither he nor the other heroes can finally decide why he killed. Of course, first of all, he is guided by a false theory, subjugating him, tempting him with verification, forcing him to lift the ax. It is also unclear whether Svidrigailov killed his wife or not.
Unlike Tolstoy, who himself explains why the hero acts this way and not otherwise, Dostoevsky forces the reader, along with the hero, to experience certain events, see dreams, and in all this everyday confusion of inconsistent actions, unclear dialogues and monologues, independently find a pattern.
A huge role in the genre of psychological novel is played by the description of the situation. It is generally accepted that the very description of St. Petersburg corresponds to the mood of the heroes. The city becomes the hero of the story. The city is dusty, dirty, a city of crimes and suicides.
Originality art world Dostoevsky is that his heroes go through a dangerous psychological experiment, allowing “demons” into themselves, dark forces. But the writer believes that in the end the hero will break through them to the light. But every time the reader is stopped before this riddle of overcoming “demons”, because there is no definite answer.
This inexplicable always remains in the structure of the writer’s novels.
Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")
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Dostoevsky's genre crime and punishment
Like most Russian novels of the 19th century, Crime and Punishment is a philosophical novel. The definition of “philosophical novel” is conditional. They are designated enough big number novels of the 19th-20th centuries, the heroes of which, solving specific issues of their own lives, begin to realize them general meaning, or whose authors, by drawing specific situations and specific characters, discover their universal meanings and meanings.
A philosophical novel is at the same time a moral and psychological novel: the subject of its depiction is inner world personality, issues of morality, in the process of depiction there is a deep understanding of the psychology of the individual, the main criterion for the author's assessment is moral principles.
The specificity of Crime and Punishment as a philosophical novel is largely determined by its polyphonic nature. The theory of the polyphonic (polyphonic) novel by F. M. Dostoevsky was developed by M. M. Bakhtin back in the 1920s (the first edition of his book was published in 1929), but it became accessible and entered scientific use many years later (the second edition books - 1963). According to the scientist, a feature of F. M. Dostoevsky’s novels is “the multiplicity of independent and unmerged voices and consciousnesses, a true polyphony of full-fledged voices.” Speaking about the “voice,” M. M. Bakhtin means the special status of the hero in F. M. Dostoevsky: the writer is interested in the hero not as a phenomenon of reality, with socially-typical certain features, but as “a special point of view on the world and on himself himself"; “What is important to Dostoevsky is not what his hero is in the world, but, first of all, what the world is for the hero and what he is for himself.” Reading the novel, we notice that the world appears from Raskolnikov’s perspective: Raskolnikov listens to and experiences Marmeladov’s confession, learns from the letter the vicissitudes of Dunina’s fate, sees a drunk girl on the boulevard, etc. In other words,
F. M. Dostoevsky shows what the world is for a hero who is offended by this world, outraged by its unrighteousness, etc. Moreover, it is not F. M. Dostoevsky who describes Raskolnikov’s condition, but Raskolnikov, with his “word” and “voice”, reveals him: not the writer about the hero, but the hero about himself; he is not an object, but a full-fledged subject of the image.
But in F. M. Dostoevsky, each hero has his own “consciousness and self-awareness,” “his own point of view on the world and on himself in the world.” Marmeladov, Katerina Ivanovna, Luzhin, Sonya, Svidrigailov, Razumikhin, Porfiry Petrovich, Pulcheria Alexandrovna have it. And all the “voices” - “consciousnesses” of these heroes are not subordinate to Raskolnikov, but are equal in rights, independent and independent of him and each other.
The hero of F. M. Dostoevsky is a hero-ideologist, that is, a person who merges with his idea, which becomes his passion and the defining feature of his personality. “The image of the hero is inextricably linked with the image of the idea and is inseparable from it. We see the hero in the idea and through the idea, and we see the idea in him and through him.” In addition, F. M. Dostoevsky discovered the “dialogical nature of an idea,” which becomes an idea only as a result of dialogue with another, someone else’s idea or ideas. We first learn about Raskolnikov’s idea-theory from Porfiry’s retelling of his (Raskolnikov’s) article, that is, we learn through the “alien” exaggerating and provoking consciousness that challenges Rodion to dialogue. Raskolnikov, in turn, sets out the main provisions of his theory, and Porfiry constantly interrupts him with remarks. Revealing different facets in the dialogue, the idea appears differently in Raskolnikov’s dialogues with Sonya, and even differently in Svidrigailov’s presentation during a conversation with Dunya. As a result, in all these dialogues a complex, contradictory and voluminous image of Raskolnikov’s idea emerges. As a result, F. M. Dostoevsky’s novel becomes not a novel with an idea, but a novel about an idea, about its living life in the minds and souls of people.
IN polyphonic novel The author's position in relation to the hero also changes. In a monologue-type novel, like Tolstoy's for example, the author knows more about the hero than he knows about himself, and can say the final word about him. In a polyphonic novel, only the hero himself can make a final judgment about himself. In this sense, the hero of a polyphonic novel takes on part of the author's functions of a monologue novel. The author in a polyphonic novel is next to and together with the characters, and not above them. All this does not mean, however, that the author's position in the novel is not revealed. Revealed, but only in other ways than in a monologue novel: not in the author’s word (narration), but in the structure of the novel, in its moves.
A polyphonic novel is new page in the history of the genre, discovered by F. M. Dostoevsky and which had a very great influence on the literature of the 20th century.
The two-part title of the novel - “Crime and Punishment” - reflects the two unequal parts into which it falls: the crime and its causes - the first, and the second and main one - the effect of the crime on the soul of the criminal. This two-part nature is also manifested in the structure of the novel: of the six parts, only one, the first, is devoted to the crime, and the other five are devoted to spiritual and psychological punishment and Raskolnikov’s gradual overcoming of his crime.
History of the creation of the work
Origins of the novel date back to the time of hard labor by F.M. Dostoevsky. On October 9, 1859, he wrote to his brother from Tver: “In December I will begin a novel. Don’t you remember, I told you about one confessional novel that I wanted to write after everyone else, saying that I still had to experience it myself. The other day I completely decided to write it immediately. My whole heart and blood will pour into this novel. I conceived it in hard labor, lying on a bunk, in a difficult moment of sadness and self-destruction. » Initially, Dostoevsky planned to write “Crime and Punishment” in the form of Raskolnikov’s confession. The writer intended to transfer the entire spiritual experience of hard labor to the pages of the novel. It was here that Dostoevsky first encountered strong personalities, under whose influence his previous beliefs began to change.
The idea of your new novel Dostoevsky carried it for six years. During this time, “Humiliated and Insulted”, “Notes from House of the Dead" and "Notes from the Underground", the main theme of which was the stories of poor people and their rebellion against existing reality. On June 8, 1865, Dostoevsky proposed to A.A. Kraevsky for "Otechestvennye zapiski" his new novel called "Drunk". But Kraevsky refused the writer, who explained that the editors had no money. On July 2, 1865, Dostoevsky, in dire need, was forced to enter into an agreement with the publisher F.T. Stellovsky. For the same money that Kraevsky refused to pay for the novel, Dostoevsky sold Stellovsky the right to publish full meeting works in three volumes and undertook to write a new novel for him of at least ten pages by November 1, 1866.
Having received the money, Dostoevsky paid off his debts and at the end of July 1865 he went abroad. But the money drama didn't end there. During five days in Wiesbaden, Dostoevsky lost everything he owned, including his pocket watch, at roulette. The consequences were not long in coming. Soon the owners of the hotel where he was staying ordered him not to serve him dinner, and a couple of days later they deprived him of light. In a tiny room, without food and without light, “in the most difficult situation,” “burned by some kind of internal fever,” the writer began work on the novel “Crime and Punishment,” which was destined to become one of the most significant works of world literature.
In September 1865, Dostoevsky decided to offer his new story magazine "Russian Herald". In a letter to the publisher of this magazine, the writer said that the idea of his new work would be “a psychological report of a crime”: “The action is modern, this year, a young man expelled from the university students, a tradesman by birth and living in extreme poverty, due to frivolity, due to instability in concepts, succumbing to some strange, “unfinished” ideas that were floating in the air, I decided to immediately get out of my bad situation. He decided to kill one old woman, a titular councilor who gave money for interest. The old woman is stupid, deaf, sick, greedy, takes Jewish interest, is evil and eats up someone else's life, torturing her younger sister as her worker. “She’s worthless,” “what does she live for?”, “is she useful to anyone?” etc. – these questions are confusing young man. He decides to kill her, rob her, in order to make his mother, who lives in the district, happy, to save his sister, who lives as a companion with some landowners, from the voluptuous claims of the head of this landowner family - claims that threaten her death - to finish the course, to go for border and then be honest, firm and unwavering throughout your life in fulfilling your “humane duty to humanity” - which, of course, will “make amends for the crime”, if only you can call this act against an old woman deaf, stupid, evil and sick, who herself is not knows why she lives in the world, and who in a month, perhaps, would have died of her own accord. »
According to Dostoevsky, in his work there is a hint of the idea that the imposed legal punishment for a crime frightens the criminal much less than the guardians of the law think, mainly because he himself morally demands this punishment. Dostoevsky set the goal of clearly expressing this idea using the example of a young man - a representative of the new generation. Materials for the story on which the novel “Crime and Punishment” is based, according to the author, could be found in any newspaper published at that time. Dostoevsky was sure that the plot of his work partly justified modernity.
The plot of the novel “Crime and Punishment” was originally conceived by the writer as short story volume of five to six printed sheets. Last story(the story of the Marmeladov family) eventually became part of the story of Raskolnikov’s crime and punishment. From the very beginning of its emergence, the idea of an “ideological killer” fell into two unequal parts: the first – the crime and its causes, and the second, main one – the effect of the crime on the soul of the criminal. The idea of a two-part plan is reflected in the title of the work - “Crime and Punishment”, and in the features of its structure: of the six parts of the novel, one is devoted to the crime and five to the influence of the crime on Raskolnikov’s soul.
Dostoevsky worked hard on the plan for his new work in Wiesbaden, and later on the ship, when he returned from Copenhagen, where he was visiting one of his Semipalatinsk friends, to St. Petersburg, and then in St. Petersburg itself. In the city on the Neva, the story imperceptibly grew into a great novel, and Dostoevsky, when the work was almost ready, burned it and decided to start over. In mid-December 1865, he sent chapters of a new novel to the Russian Messenger. The first part of Crime and Punishment appeared in the January 1866 issue of the magazine, but work on the novel was in full swing. The writer worked intensely and selflessly on his work throughout 1866. The success of the first two parts of the novel inspired and inspired Dostoevsky, and he set to work with even greater zeal.
In the spring of 1866, Dostoevsky planned to go to Dresden, stay there for three months and finish the novel. But numerous creditors did not allow the writer to travel abroad, and in the summer of 1866 he worked in the village of Lublin near Moscow, with his sister Vera Ivanovna Ivanova. At this time, Dostoevsky was forced to think about another novel, which was promised to Stellovsky when concluding an agreement with him in 1865. In Lublin, Dostoevsky drew up a plan for his new novel, entitled The Gambler, and continued to work on Crime and Punishment. In November and December, the last, sixth, part of the novel and the epilogue were completed, and the Russian Messenger at the end of 1866 completed the publication of Crime and Punishment. Three notebooks with drafts and notes for the novel have been preserved, essentially three handwritten editions of the novel, which characterize the three stages of the author’s work. Subsequently, they were all published and made it possible to present creative laboratory the writer, his hard work on every word.
The Wiesbaden “story,” like the second edition, was conceived by the writer in the form of a confession of a criminal, but in the process of work, when the material of the novel “Drunk” was added to the confession and the plan became more complicated, the previous form of confession on behalf of the murderer, who actually cut himself off from the world and deepened into his “fixed” idea, it became too cramped for new psychological content. Dostoevsky preferred new uniform- a story on behalf of the author - and burned the original version of the work in 1865.
In the third, final edition, an important note appeared: “The story is from myself, not from him. If it’s a confession, then it’s too extreme, everything needs to be clarified. So that every moment of the story is clear. » The rough notebooks of Crime and Punishment allow us to trace how long Dostoevsky tried to find the answer to the main question of the novel: why did Raskolnikov decide to kill? The answer to this question was not clear even for the author himself. In the original plan of the story, this is a simple idea: to kill one insignificant, harmful and rich creature in order to make many beautiful, but poor people happy with his money. In the second edition of the novel, Raskolnikov is depicted as a humanist, burning with a desire to stand up for the “humiliated and insulted”: “I am not the kind of person to allow a scoundrel defenseless weakness. I'll step in. I want to step in." But the idea of killing because of love for other people, killing a person because of love for humanity, is gradually “overgrown” with Raskolnikov’s desire for power, but he is not yet driven by vanity. He strives to gain power in order to completely devote himself to serving people; he longs to use power only to accomplish good deeds: “I take power, I gain strength - whether it’s money or power - not for the worst. I bring happiness." But in the course of his work, Dostoevsky penetrated deeper and deeper into the soul of his hero, discovering behind the idea of killing for the sake of love for people, power for the sake of good deeds, the strange and incomprehensible “idea of Napoleon” - the idea of power for the sake of power, dividing humanity into two unequal parts: the majority - “creatures” trembling" and the minority - "lords" called upon to rule the minority, standing outside the law and having the right, like Napoleon, to transgress the law in the name of necessary goals. In the third, final, edition, Dostoevsky expressed the “ripe”, complete “idea of Napoleon”: “Is it possible to love them? Is it possible to suffer for them? Hatred of humanity. »
Thus, in creative process, in comprehending the concept of “Crime and Punishment,” two opposing ideas collided: the idea of love for people and the idea of contempt for them. Judging by the draft notebooks, Dostoevsky was faced with a choice: either leave one of the ideas, or keep both. But realizing that the disappearance of one of these ideas would impoverish the concept of the novel, Dostoevsky decided to combine both ideas, to portray a person in whom, as Razumikhin says about Raskolnikov in the final text of the novel, “two opposing characters alternately alternate.” The ending of the novel was also created as a result of intense creative efforts. One of the draft notebooks contains the following entry: “The ending of the novel. Raskolnikov is going to shoot himself.” But this was the finale only for Napoleon's idea. Dostoevsky also sought to create a finale for the “idea of love,” when Christ saves a repentant sinner: “The Vision of Christ. He asks for forgiveness from the people." At the same time, Dostoevsky understood perfectly well that a person like Raskolnikov, who combined two opposing principles within himself, would not accept the judgment of his own conscience, nor the court of the author, nor the legal court. Only one court will be authoritative for Raskolnikov - the “highest court,” the court of Sonechka Marmeladova, the same “humiliated and insulted” Sonechka in whose name he committed the murder. That is why in the third, final edition of the novel, the following entry appeared: “The idea of the novel. I. Orthodox view, what is Orthodoxy. There is no happiness in comfort; happiness is bought through suffering. This is the law of our planet, but this direct consciousness, felt by the everyday process, is such a great joy, for which you can pay for years of suffering. Man is not born for happiness. A person deserves happiness, and always suffering. There is no injustice here, because life’s knowledge and consciousness is acquired by the experience of “pros” and “cons”, which must be carried on oneself.” In the drafts, the last line of the novel read: “Inscrutable are the ways in which God finds man.” But Dostoevsky ended the novel with other lines that can serve as an expression of the doubts that tormented the writer.
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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. The life of a big city, full of dramas and conflicts, 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. First theatrical performance took place in Russia 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, the novel describes the difficult ordeals of the soul of a student killer, trying to find peace of mind and find at least some moral justification for the 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, admits himself to be 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 the diversity of 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 a rather rare phenomenon 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.
"Crime and Punishment" - the first of five best novels Dostoevsky. The writer himself attached great importance to this work: “The story that I am writing now is perhaps the best of all that I have written.” He depicted in the work such a lack of rights and hopelessness of life, when a person has “nowhere to go.” The novel “Crime and Punishment” was conceived by Dostoevsky while still in hard labor. Then it was called “Drunk People,” but gradually the concept of the novel transformed into “a psychological report of a crime.” Dostoevsky himself, in a letter to the publisher M.I. Katkov, clearly retells the plot of the future work: “A young man, expelled from university students, who lives in extreme poverty... having been exposed to some strange unfinished ideas... decided to get out of his bad situation by killing and robbing one woman... "
At the same time, the student wants to use the money received in this way for good purposes: to complete a course at the university, help his mother and sister, go abroad and “then throughout his life be honest, firm, and unwavering in fulfilling his humane duty to humanity.” In this statement by Dostoevsky, two phrases need to be especially emphasized: a young man who lives in extreme poverty" and "exposed to some strange unfinished ideas." It is these two phrases that are key to understanding Raskolnikov’s cause-and-effect actions. What came first: the hero’s plight, which led to illness and a painful theory, or the theory, which became the cause of Raskolnikov’s terrible situation?
Dostoevsky in his novel depicts the clash of theory with the logic of life. According to the writer, the living life process, i.e. the logic of life, always refutes and makes untenable any theory - both the most advanced, revolutionary, and the most criminal. This means that it is impossible to live according to theory, and therefore the main philosophical idea of the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person obsessed with an extremely criminal theory with life processes that refute this theory. Raskolnikov's theory is built on the inequality of people, on the chosenness of some and the humiliation of others. And the murder of the moneylender is intended as a vital test of this theory using a separate example.
This way of depicting a murder very clearly shows author's position: the crime committed by Raskolnikov is a vile deed, from the point of view of Raskolnikov himself. But he did it consciously, stepping over his human nature, through himself. With his crime, Raskolnikov excluded himself from the category of people, became destitute, an outcast. “I didn’t kill the old woman, I killed myself,” he admitted to Sonya Marmeladova. This separation from society prevents Raskolnikov from living; his human nature does not accept this. It turns out that a person cannot walk without communicating with people, even such a proud person as Raskolnikov.
Therefore, the hero’s struggle becomes more and more intense, it goes in many directions, and each of them leads to a blind corner. Raskolnikov, as before, believes in the infallibility of his idea and hates himself for his weakness, for his mediocrity, calling himself a scoundrel over and over again. But at the same time, he suffers from the inability to communicate with his mother and sister, thinking about them as painfully as he thinks about the murder of Lizaveta. He tries not to do this, since if you start thinking, you will certainly have to decide where to classify them in your theory - to what category of people. According to the logic, his theories belong to the “lowest” category, and so, the ax of another Raskolnikov may fall on their heads, and on the heads of Sonya, Polechka, Ekaterina Ivanovna. Raskolnikov must, according to his theory, give up those for whom he suffers. Must hate, kill those he loves, and he cannot survive this.
For him, the thought that his theory is similar to the theories of Luzhin and Svidrigailov is unbearable; he hates them, but has no right to this hatred. “Mother, sister, how I love them! Why do I hate them now? Here his human nature most acutely collided with his inhuman theory. But the theory won. And that’s why Dostoevsky seems to come to the rescue human nature your hero. Immediately after this monologue, he gives Raskolnikov's third dream: he again kills the old woman, and she laughs at him. A dream in which the author brings Raskolnikov's crime to the people's court. This scene exposes the horror of Raskolnikov's actions. Dostoevsky does not show the moral rebirth of his hero, since his novel is not about that at all. The writer’s task was to show what power an idea can have over a person and how terrible and criminal this idea can be. Thus, the hero’s idea of the right of the strong to crime turned out to be absurd. Life has defeated theory.
The genre features of Dostoevsky’s novel “Crime and Punishment” cannot be delineated by certain boundaries. And not only because this work is complex in its concept and large in volume. You can name several different genre definitions, and each of them will be fair in its own way. The novel is philosophical, since in it the problem of condemning militant individualism and the so-called “superpersonality” is in the center of attention. The novel is psychological, since it is, first of all, about human psychology, in its various, even painful, manifestations. And to this we can add other more specific genre features associated with the very structure of the work: internal monologues, dialogues and discussions of the characters, pictures of the future world in which the idea of individualism would reign. The novel is also polyphonic: each of the characters asserts its own idea, that is, has its own voice.
So, the diversity of “Crime and Punishment” is in in this case the main condition for the successful creative implementation of a large-scale author’s plan (its didactic setting).
Genre features of the novel “Crime and Punishment”
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The genre of Dostoevsky’s work “Crime and Punishment” can be defined as philosophical novel , reflecting the author’s model of the world and philosophy of the human personality. Unlike L.N. Tolstoy, who perceived life not in its sharp, catastrophic breaks, but in its constant movement, natural flow, Dostoevsky gravitates toward revealing unexpected, tragic situations. Dostoevsky's world is a world at the limit, on the verge of transgressing all moral laws, it is a world where a person is constantly tested for humanity. Dostoevsky’s realism is the realism of the exceptional; it is no coincidence that the writer himself called it “fantastic,” emphasizing that in life itself the “fantastic,” the exceptional, is more important, more significant than the ordinary, and reveals truths in life that are hidden from a superficial glance.
Dostoevsky's work can also be defined as ideological novel. The writer’s hero is a man of ideas, he is one of those “who do not need millions, but need to resolve the thought.” The plot of the novel is a clash between ideological characters and the testing of Raskolnikov's ideas with life. A large place in the work is occupied by dialogues and disputes between the characters, which is also typical for a philosophical, ideological novel.
Meaning of the name
Often the titles of literary works become opposite concepts: “War and Peace”, “Fathers and Sons”, “The Living and the Dead”, “Crime and Punishment”. Paradoxically, opposites ultimately become not only interconnected, but also interdependent. So in Dostoevsky’s novel, “crime” and “punishment” are the key concepts that reflect the author’s idea. The meaning of the first word in the title of the novel is multifaceted: crime is perceived by Dostoevsky as the transgression of all moral and social barriers. The heroes who “overstepped” are not only Raskolnikov, but also Sonya Marmeladova, Svidrigailov, Mikolka from the dream about the slaughtered horse, moreover, St. Petersburg itself in the novel also oversteps the laws of justice. The second word in the title of the novel is also ambiguous: punishment becomes not only suffering, incredible torture, but also salvation. Punishment in Dostoevsky’s novel is not a legal concept, but a psychological and philosophical one.
The idea of spiritual resurrection is one of the main ones in Russian classical literature of the 19th century: in Gogol one can recall the idea of the poem “Dead Souls” and the story “Portrait”, in Tolstoy - the novel “Resurrection”. In the works of Fyodor Mikhailovich Dostoevsky, the theme of spiritual resurrection, renewal of the soul, which finds love and God, is central to the novel “Crime and Punishment.”
Features of Dostoevsky's psychologism
Man is a mystery. Dostoevsky wrote to his brother: “Man is a mystery, it must be solved, and if you spend your whole life solving it, don’t say that you wasted your time. I am engaged in this mystery because I want to be a man.” Dostoevsky has no “simple” heroes; everyone, even the minor ones, is complex, everyone carries their own secret, their own idea. According to Dostoevsky, “complex any human and deep as the sea.” There is always something unknown in a person, not fully understood, “secret” even to himself.
Conscious and subconscious (mind and feeling). According to Dostoevsky, reason, reason is not a representative Total of a person, not everything in life and in a person lends itself to logical calculation (“Everything will be calculated, but nature will not be taken into account,” - the words of Porfiry Petrovich). It is Raskolnikov’s nature that rebels against his “arithmetic calculation”, against his theory - the product of his reason. It is “nature”, the subconscious essence of a person that can be “smarter” than the mind. Fainting, seizures of Dostoevsky's heroes - failure of the mind - often save them from the path on which the mind pushes. This is a defensive reaction of human nature against the dictates of the mind.
In dreams, when the subconscious reigns supreme, a person is able to know himself more deeply, to discover something in himself that he did not yet know. Dreams are a person’s deeper knowledge of the world and himself (these are all three of Raskolnikov’s dreams - the dream about the little horse, the dream about the “laughing old woman” and the dream about the “pestilence”).
Often the subconscious guides a person more accurately than the conscious: the frequent “suddenly” and “accidentally” in Dostoevsky’s novel are only “suddenly” and “accidentally” for the mind, but not for the subconscious.
The duality of heroes to the last limit. Dostoevsky believed that good and evil are not forces external to man, but are rooted in the very nature of man: “Man contains all the power of the dark principle, and he also contains all the power of light. It contains both centers: the extreme depths of the abyss, and highest limit sky." “God and the devil are fighting, and the battlefield is the hearts of people.” Hence the duality of Dostoevsky's heroes to the last limit: they can contemplate the abyss of moral decline and the abyss of highest ideals at the same time. The “ideal of Madonna” and the “ideal of Sodom” can live in a person at the same time.
The history of the novel The idea of writing the novel
probably dates back to the time
stay of F. M. Dostoevsky
in hard labor. October 9, 1859 from
Tver he writes to his brother: “In December
I'll start a novel... Don't you remember
I told you about a confession, a novel that I wanted to write
after all, saying what else
you have to experience it yourself. The other day
I completely decided to write it
immediately... My whole heart is with
blood will be put into this novel. I
conceived it in hard labor, lying on
bunk, in a difficult moment of sadness and
self-destruction... Confession
will finally establish my name.”
The history of the novel
Dostoevsky himself definescontent of your work
thus: “This is the psychological report of one
crimes... Young man,
expelled student
university, tradesman
origin and living in extreme
poverty, frivolity,
unsteadiness in concepts, succumbing
some strange
"unfinished" ideas that
are flying in the air, I decided to go out at once
from his bad situation. He
decided to kill one old woman,
titular councilor giving
money for interest. ...
In my story there is, in addition,
a hint to the idea that the imposed
legal punishment for
the crime is much less
scares the criminal than they think
legislators, in part because he
and he himself morally demands it.”
The idea for the novel was hatched
author for more than 6 years.
In Wiesbaden in 1865
Dostoevsky conceived a story,
the idea of which became the basis
for a future novel
"Crime and Punishment".
Plot, composition
PUNISHMENTCRIME
Occupies 1 part
narratives
Talks about
plan and execution
crimes
Described in 5 parts
Talks about
the impact of crime on
Raskolnikov's soul and
the hero's path to
gradual repentance Witness
deprivation
humiliated and
offended
(Part II, Chapter 6
drowned woman).
Extreme
degree
poverty.
(Part I, Chapter 1)
Pride, the desire to test oneself:
“Am I a trembling creature or right
I have..."
(Part V, Ch. 4)”…resolution of blood by
conscience"
Ordinary
(low)
Fear for
fate
mothers and
sisters.
On
Nikolaevsky
bridge
(Part II, Chapter 2)
Extraordinary
(actually people)
Talk
student
and an officer in
tavern
(Part I, Chapter 6.)
People
The theory of “strong personality”
(Part III, Chapter 5)
Loneliness, alienation from
of people:
IN
police officer
office
(Part II, Chapter 1)
Meeting with
Lizaveta
(Part I, Chapter 5)
During
Meetings with
Mother and
Sister
(Part II, Chapter 7)
Part III, Chapter 6
“...I am not human
killed, I'm a principle
killed!...and
step over something
didn’t step over...”
Accidents
Mental struggle
After
meetings
With
tradesman
(Part III, Chapter 6)
Before
turnout
confess
(Part VI, Chapter 7)
Conversation with
Sonya
(Part V, Chapter 4)
Novel genre
novel? social and household
? detective
? love
? psychological
? philosophical
? religious
The main color of the novel is yellow:
Yellow color in the novel
creates additional
feeling of pain,
enhances the atmosphere
ill health, disorders,
anguish, hysteria and
at the same time musty and
hopelessness.
Raskolnikov
Yellow closet with little yellow ones
wallpaper; "Heavy, bilious, angry
a smile snaked across his lips.”
Sonya
A room with "yellowish,
scrubbed and worn out
wallpaper."
Porfiry Petrovich
Furniture made of "yellow polished"
tree."
Svidrigailov
Yellow wallpaper in the room
the hotel where the hero stayed.
Old woman-pawnbroker
Dressed in "tattered and yellowed
katsaveyku", the room is furnished
yellow wood furniture.
Symbolism of colors, names and numbers in the novel
NameRaskolnikov
Sofia
Lebezyatnikov
Avdotya Romanovna (sister
Raskolnikov)
Razumikhin
Lizaveta Ivanovna
Its meaning in the novel
“Split” - “bifurcation” - with one
hand passionate love for people, with
the other - complete indifference to one’s own
interests.
Humility, Sonya Marmeladova humbly bears the cross that fell on her
share, and believes in the victory of good and
justice.
A person who can be mean
fawn, assent. But the author
transfers the hero to a new category
(scene with a hundred ruble) when honest
Lebezyatnikov's heart can't stand it
and he stands up for Sonechka and
reveals Luzhin's plan.
The prototype of this heroine is
Avdotya Yakovlevna Panaeva, first
writer's love.
Reasonable Luzhin, making mistakes,
calls the hero “Rassudkin.”
"Elizabeth" - one who worships God.
Symbolism of colors, names and numbers in the novel
HEROLeft
three thousand
rubles
HOW
RELATED
WITH
BY NUMBER
"3"
Marfa Petrovna
Sonya
Duna according to the will.
Bought Svidrigailov for
thirty thousand pieces of silver.
“I came three times” to
Svidrigailov.
She took Marmeladova out to
hangover your last
thirty kopecks.
Katerina Ivanovna
"laid out thirty
rubles."
There are three large ones in her room
window.
Symbolism of colors, names and numbers in the novel
RaskolnikovHOW IS IT RELATED TO THE NUMBER “3”
Called three times
old woman's bell.
meets three times
Porfiry
Petrovich.
Thinks it's Sonya's
three roads when she
stands three steps from
table.
Symbolism of colors, names and numbers in the novel
SvidrigailovDunya
I wanted to offer Duna
up to thirty thousand.
He gives Sonya three tickets.
shoots at
Svidrigailova in three
steps.
Symbolism of colors, names and numbers in the novel
According to the teachings of the Pythagoreans, the number 7 is a symbolholiness, health and sanity, Number 7 is called “truly holy
number", since the number 7 is a compound of the number 3,
symbolizing divine perfection, and the number 4, the number
which is referred to as world order numbers. This begs the question
conclusion that the number 7 is a symbol of the “union” of God with man,
a symbol of communication between God and his creation.
Symbolism of colors, names and numbers in the novel
DETAIL,The novel itself EPISODE OF THE NOVEL
Parts 1 and 2 of the novel
7 p.m
7 years of hard labor
CONNECTED
WITH NUMBER
"7"
HOW
Consists of
6 parts
and an epilogue.
Consists of 7 chapters.
Fatal time for
7 years
7 children
Raskolnikov at 7 years old
730 steps
Raskolnikov, because this
time he orders murder
old money-lenders.
This period is determined in
as punishment for the hero
novel.
Svidrigailov lived from
his wife, Martha
Petrovna.
At the tailor Kapernaumov.
Sees a dream in which
imagines himself to be seven years old
boy
To the house of the old pawnbroker.
REFLECTION
MINI-DISCUSSIONThank you for your work in class!
Homework
Select citation material fordiscussion of the topic “Little people in
novel."