Dostoevsky - subtle psychologist, researcher human soul, pioneer of new paths of the human spirit. These are the concepts with which the name of the great writer is most often identified in our minds. But if you believe the observations of literary scholars, then Dostoevsky, or rather his talent, will show off another secret facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must pay attention to the slightest detail in the descriptions, which are so rare and stingy with him.” I listened. to this “advice” he actually noticed that, for example, the author describes Sonya’s home in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in the Sonins hands. It is correctly said by Berdyaev that women in Dostoevsky’s works do not have their own destiny, but they determine the destiny of men.
I cannot but agree with Berdyaev’s observation, remembering how Dostoevsky describes Sonya’s room. He emphasizes the abomination of desolation: the chest of drawers stands as if on the verge of oblivion, close to the terrible acute angle escaping somewhere deeper. It seems that just one more step - and you will find yourself in a world of otherworldly shadows; you will stagger back and find yourself in another ugly stupid corner. All this reflects in the work Sonya’s soul, which has reached a dead end. Raskolnikov’s soul is also drawn to the gloomy background of Sonya’s room: Rodion also has no way out. Such a habitat is natural for Sonya’s sinful sacrifice and Raskolnikov’s criminal pride.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already completed (long before reality) meeting with Raskolni- kovym. Having settled here, Sonya thereby penetrated into the soul of the ideological killer and remained there forever. Following this sad logic further, you notice that the other part of Rodion’s split soul was on the right behind the door, always tightly locked. Comparing the symbols, which are objects and things in the novel , you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and casual, like a confession to himself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her.
This thought came to his mind when he first heard about the existence of Sonya from the drunken Marmeladov. Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and the laws of existence, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various shapes and species materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: “Matter is spirituality compacted by human sin.” But I will try to develop the thought further.
If Sonya’s room really is the materialized part of Rodion’s soul that has emerged, then it becomes clear why, listening to Marmeladov, he already “unconsciously knows” who he will kill and who he will come to confess to the murder. And if the empty room in the Resslich brothel is a symbol of the metaphysical emptiness that has long taken possession of the soul of the ideological killer, then one need not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov is “the one.” Therefore, Rodion, seeing Svidrigailov, closed his eyes again and pretended to be asleep in order to delay the fatal meeting for at least a minute. Svidrigailov himself is convinced that “this is a city of half-crazy people, and rarely where can you find so many gloomy, harsh, terrible influences on the human soul.”
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Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths of the human spirit. These are the concepts with which the name of the great writer is most often identified in our minds. But if you believe the observations of literary scholars, then Dostoevsky, or rather his talent, will show off another secret facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must pay attention to the slightest detail in the descriptions, which are so rare and stingy with him.”
I heeded this “advice” and in fact noticed that, for example, the author describes Sonya’s home in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly said that women in Dostoevsky’s works do not have their own destiny, but they determine the destiny of men.
I cannot but agree with Berdyaev’s observation, remembering how Dostoevsky describes Sonya’s room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of oblivion, close to a terrible sharp corner running somewhere deeper. It seems that just one more step - and you will find yourself in a world of otherworldly shadows; you will stagger back and find yourself in another ugly stupid corner. All this reflects in the work Sonya’s soul, which has reached a dead end. Raskolnikov’s soul is also drawn to the gloomy background of Sonya’s room: Rodion also has no way out. Such a habitat is natural for Sonya’s sinful sacrifice and Raskolnikov’s criminal pride.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already completed (long before reality) meeting with Raskolnikov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained there forever.
Following this sad logic further, you notice that the other part of Rodion’s split soul was on the right behind the door, which was always tightly locked.
Comparing the symbols, which are objects and things in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, as if confessing to himself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought came to his mind when he first heard about Sonya’s existence from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of existence, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types and materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: “Matter is spirituality compacted by human sin.”
But I’ll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has emerged, then it becomes clear why, listening to Marmeladov, he already “unconsciously knows” who he will kill and who he will come to confess to the murder. And if the empty room in the Resslich brothel is a symbol of the metaphysical emptiness that has long taken possession of the soul of the ideological killer, then one need not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov is “the one.” Therefore, Rodion, seeing Svidrigailov, closed his eyes again and pretended to be asleep in order to delay the fatal meeting for at least a minute.
Svidrigailov himself is convinced that “this is a city of half-crazy people, and rarely where can you find so many gloomy, harsh, terrible influences on the human soul.”
But, knowing the ending of the novel, following metaphysical reasoning about the influence of objects on the spirit and will of a person, we can assume that in the further psychological development of the heroes (already beyond the novel) a turning point, a kind of changeover, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths of the human spirit. These are the concepts with which the name of the great writer is most often identified in our minds. But if you believe the observations of literary scholars, then Dostoevsky, or rather his talent, will show off another secret facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must pay attention to the slightest detail in the descriptions, which are so rare and stingy with him.”
I heeded this “advice” and in fact noticed that, for example, the author describes Sonya’s home in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly said that women in Dostoevsky’s works do not have their own destiny, but they determine the destiny of men.
I cannot but agree with Berdyaev’s observation, remembering how Dostoevsky describes Sonya’s room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of oblivion, close to a terrible sharp corner running somewhere deeper. It seems that just one more step - and you will find yourself in a world of otherworldly shadows; you will stagger back and find yourself in another ugly stupid corner. All this reflects in the work Sonya’s soul, which has reached a dead end. Raskolnikov’s soul is also drawn to the gloomy background of Sonya’s room: Rodion also has no way out. Such a habitat is natural for Sonya’s sinful sacrifice and Raskolnikov’s criminal pride.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already completed (long before reality) meeting with Raskolnikov. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained there forever.
Comparing the symbols, which are objects and things in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, as if confessing to himself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought came to his mind when he first heard about Sonya’s existence from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of existence, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types and materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: “Matter is spirituality compacted by human sin.”
But I’ll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has emerged, then it becomes clear why, listening to Marmeladov, he already “unconsciously knows” who he will kill and who he will come to confess to the murder. And if the empty room in the Resslich brothel is a symbol of the metaphysical emptiness that has long taken possession of the soul of the ideological killer, then one need not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov is “the one.” Therefore, Rodion, seeing Svidrigailov, closed his eyes again and pretended to be asleep in order to delay the fatal meeting for at least a minute.
Svidrigailov himself is convinced that “this is a city of half-crazy people, and rarely where can you find so many gloomy, harsh, terrible influences on the human soul.”
But, knowing the ending of the novel, following metaphysical reasoning about the influence of objects on the spirit and will of a person, we can assume that in the further psychological development of the heroes (already beyond the novel) a turning point, a kind of changeover, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.
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Author: Dostoevsky F.M. The confrontation between good and evil is the main conflict in Dostoevsky's novel Crime and Punishment. According to the writer, evil is generated by reality; for example, a violent, bitter reaction to unfair living conditions. Goodness is concentrated in the spiritual beginning of man, “nature”, which resists the penetration of ideas of evil and violence.
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Miniature essay based on the novel “Crime and Punishment” Author: Dostoevsky F.M. Roman F.I. Dostoevsky's "Crime and Punishment" is a work dedicated to the history of how long and difficult it was for the human soul to comprehend the truth through suffering and mistakes. Raskolnikov’s crime is ignoring Christian commandments, and a person who, in his pride, was able to transgress them, according to religious concepts, is capable of anything.
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“Crime and Punishment”) Author: Dostoevsky F.M. The dreams that the main character of the novel “Crime and Punishment” sees help the reader to look into the most intimate “corners” of his soul. The novel contains four dreams of the hero. He sees two of them before the crime is committed, and two after the crime.
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths of the human spirit. These are the concepts with which the name of the great writer is most often identified in our minds. But if you believe the observations of literary scholars, then Dostoevsky, or rather his talent, will show off another secret facet. For example, G. A. Mayer describes the writer’s work: “When Dostoevsky focuses his sensitivity on things, houses and apartments, diligently and accurately reflecting their essence, one must pay attention to the slightest detail in the descriptions, which are so rare and stingy with him.”
I heeded this “advice” and in fact noticed that, for example, the author describes Sonya’s home in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly said that women in Dostoevsky’s works do not have their own destiny, but they determine the destiny of men.
I cannot but agree with Berdyaev’s observation, remembering how Dostoevsky describes Sonya’s room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of oblivion, close to a terrible sharp corner running somewhere deeper. It seems that just one more step - and you will find yourself in a world of otherworldly shadows; you will stagger back and find yourself in another ugly stupid corner. All this reflects in the work Sonya’s soul, which has reached a dead end. Raskolnikov’s human essence is also drawn to the gloomy background of Sonya’s room: Rodion also has no way out. Such a habitat is natural for Sonya’s sinful sacrifice and Raskolnikov’s criminal pride.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already completed (long before the reality) summit with Raskolni- kovym. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained there forever.
Comparing the symbols, which are objects and things in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, as if confessing to himself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought came to his mind when he first heard about Sonya’s existence from the drunken Marmeladov.
Based on this, it can be assumed that the author deliberately sought to discover new, unknown, parallel worlds and laws of existence, introducing us to these worlds and laws. It may well be that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and forms and materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: “Matter is spirituality compacted by human sin.”
But I’ll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has emerged, then it becomes clear why, listening to Marmeladov, he already “unconsciously knows” who he will kill and who he will come to confess to the murder. And if the empty room in the Resslich brothel is a symbol of the metaphysical emptiness that has long taken possession of the soul of the ideological killer, then one need not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov is “the one.” Therefore, Rodion, seeing Svidrigailov, closed his eyes again and pretended to be asleep in order to delay the fateful meeting for at least a minute.
Svidrigailov himself is convinced that “this is a city of half-crazy people, and rarely where can you find so many gloomy, harsh, terrible influences on the human soul.”
But, knowing the ending of the novel, following metaphysical reasoning about the influence of objects on the spirit and will of a person, we can assume that in the further psychological development of the heroes (already beyond the novel) a turning point, a kind of changeover, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become enslaved to them.
Dostoevsky is a subtle psychologist, a researcher of the human soul, a pioneer of new paths of the human spirit. These are the concepts with which the name of the great writer is most often identified in our minds. But if you believe the observations of literary scholars, then Dostoevsky, or rather his talent, will show off another secret facet. For example, G. A. Mayer writes about the writer’s work: “When Dostoevsky focuses his attention on things, houses and apartments, diligently and accurately reflecting their essence, one must pay attention to the slightest detail in the descriptions, which are so rare and stingy with him.”I heeded this “advice” and in fact noticed that, for example, the author describes Sonya’s home in detail, because it is not only a “snapshot” of her sinfulness, her distorted existence and mental suffering, but also a part of Raskolnikov’s soul, whose fate is now in Sonya's hands.
Berdyaev correctly said that women in Dostoevsky’s works do not have their own destiny, but they determine the destiny of men.
I cannot but agree with Berdyaev’s observation, remembering how Dostoevsky describes Sonya’s room. He emphasizes the abomination of desolation: the chest of drawers stands, as it were, on the verge of oblivion, close to a terrible sharp corner running somewhere deeper. It seems that just one more step - and you will find yourself in a world of otherworldly shadows; you will stagger back and find yourself in another ugly stupid corner. All this reflects in the work Sonya’s soul, which has reached a dead end. Raskolnikov’s soul is also drawn to the gloomy background of Sonya’s room: Rodion also has no way out. Such a habitat is natural for Sonya’s sinful sacrifice and Raskolnikov’s criminal pride.
Gradually immersing yourself in the biocurrents emanating from things, their positions and states in the novel, you begin to comprehend something absolutely amazing: the fact that Sonya lives in her gray, gloomy corner is her metaphysically already completed (long before reality) meeting with Raskolni- kovym. Having settled here, Sonya thereby penetrated the soul of the ideological killer and remained there forever.
Following this sad logic further, you notice that the other part of Rodion’s split soul was on the right behind the door, which was always tightly locked.
Comparing the symbols, which are objects and things in the novel, you come to the conclusion that this is why Rodion’s very difficult and unusual promise to tell Sonya who killed Lizaveta sounds so simple and natural, as if confessing to himself. According to Rodion, he then chose Sonya to pour out this terrible revelation on her. This thought came to his mind when he first heard about Sonya’s existence from the drunken Marmeladov.
Based on this, it can be assumed that the author consciously sought to discover new, unknown, parallel worlds and laws of existence, introducing us to these worlds and laws. It is quite possible that our aspirations, dreams and desires, unknown to our consciousness, take on various forms and types and materialize in the world of phenomena. Thus, both directly and indirectly, Dostoevsky affirms the thought of the great Origen: “Matter is spirituality compacted by human sin.”
But I’ll try to develop the idea further. If Sonya’s room really is the materialized part of Rodion’s soul that has emerged, then it becomes clear why, listening to Marmeladov, he already “unconsciously knows” who he will kill and who he will come to confess to the murder. And if the empty room in the Resslich brothel is a symbol of the metaphysical emptiness that has long taken possession of the soul of the ideological killer, then one need not be surprised why, at the very first meeting of Svidrigailov and Rodion, both of them instantly and essentially recognize each other. For Svidrigailov, Raskolnikov is “the one.” Therefore, Rodion, seeing Svidrigailov, closed his eyes again and pretended to be asleep in order to delay the fatal meeting for at least a minute.
Svidrigailov himself is convinced that “this is a city of half-crazy people, and rarely where can you find so many gloomy, harsh, terrible influences on the human soul.”
But, knowing the ending of the novel, following metaphysical reasoning about the influence of objects on the spirit and will of a person, we can assume that in the further psychological development of the heroes (already beyond the novel) a turning point, a kind of changeover, is possible. Because humanity surrounds itself with objects for harmony, and not in order to become dependent on them.