Analysis "Crime and Punishment" Dostoevsky. Crime and punishment literary direction Features of the genre of the novel crime and punishment briefly

Composition

"Crime and Punishment" is an ideological novel in which non-human theory collides with human feelings. Dostoevsky, a great connoisseur of the psychology of people, a sensitive and attentive artist, tried to understand modern reality, to determine the degree of influence on a person of the then popular ideas of the revolutionary reorganization of life and individualistic theories. Entering into polemics with democrats and socialists, the writer sought to show in his novel how the delusion of fragile minds leads to murder, shedding of blood, maiming and breaking young lives.

The main idea of ​​the novel is revealed in the image of Rodion Raskolnikov, a poor student, an intelligent and gifted person who is unable to continue his education at the university, dragging out a beggarly, unworthy existence. Drawing the miserable and wretched world of the St. Petersburg slums, the writer traces step by step how a terrible theory is born in the mind of the hero, how it takes possession of all his thoughts, pushing him to murder.

This means that Raskolnikov's ideas are generated by abnormal, humiliating conditions of life. In addition, the post-reform breakup destroyed the age-old foundations of society, depriving human individuality of connection with long-standing cultural traditions society, historical memory. Thus, the personality of a person was freed from any moral principles and prohibitions, especially since Raskolnikov sees a violation of universal moral norms at every step. It is impossible to feed a family with honest labor, so the petty official Marmeladov finally becomes an inveterate drunkard, and his daughter Sonechka goes to the panel, because otherwise her family will die of hunger. If unbearable living conditions push a person to violate moral principles, then these principles are nonsense, that is, they can be ignored. Raskolnikov comes to this conclusion when a theory is born in his inflamed brain, according to which he divides all of humanity into two unequal parts. On the one hand, these are strong personalities, "super-humans" such as Mohammed and Napoleon, and on the other, a gray, faceless and submissive crowd, which the hero bestows with a contemptuous name - "trembling creature" and "anthill".

Possessing a sophisticated analytical mind and painful pride. Raskolnikov quite naturally thinks about which half he himself belongs to. Of course, he likes to think that he - strong personality, which, according to his theory, has the moral right to commit a crime in order to achieve a humane goal. What is this goal? The physical destruction of the exploiters, to which Rodion ranks the malicious old woman-interest-bearer, who profited from human suffering. Therefore, there is nothing wrong with killing a worthless old woman and using her wealth to help poor, needy people. These thoughts of Raskolnikov coincide with the ideas of revolutionary democracy popular in the 60s, but in the theory of the hero they are bizarrely intertwined with the philosophy of individualism, which allows for "blood according to conscience", a violation of the moral norms accepted by most people. According to the hero, historical progress is impossible without sacrifice, suffering, blood, and is carried out by the powerful of this world, great historical figures. This means that Raskolnikov dreams of both the role of ruler and the mission of a savior. But the Christian selfless love to people is incompatible with violence and contempt for them.

The correctness of any theory must be confirmed by practice. And Rodion Raskolnikov conceives and carries out the murder, removing the moral prohibition from himself. What does the test show? What conclusions does it lead the hero and the reader to? Already at the moment of the murder, the verified plan is significantly violated with mathematical accuracy. Raskolnikov kills not only the pawnbroker Alena Ivanovna, as planned, but also her sister Lizaveta. Why? After all, the old woman's sister was a meek, harmless woman, a downtrodden and humiliated creature who herself needs help and protection. The answer is simple: Rodion kills Lizaveta no longer for ideological reasons, but as an unwanted witness to his crime. In addition, there is a very important detail in the description of this episode: when Alena Ivanovna's visitors, who suspected something was wrong, try to open the locked door. Raskolnikov stands with a raised ax, apparently in order to crush all those who break into the room. In general, after his crime, Raskolnikov begins to see in murder the only way to fight or protect. His life after the murder turns into a real hell.

Dostoevsky explores in detail the thoughts, feelings, experiences of the hero. Raskolnikov is gripped by a sense of fear, the danger of exposure. He loses control of himself, collapsing at the police station, contracting a nervous fever. A painful suspicion develops in Rodion, which gradually turns into a feeling of loneliness, rejection from everyone. The writer finds a surprisingly accurate expression that characterizes Raskolnikov's inner state: he "as if cut himself off with scissors from everyone and everything." It would seem that there is no evidence against him, the criminal showed up. You can use the money stolen from the old woman to help people. But they still remain in a secluded place. Something prevents Raskolnikov from taking advantage of them, to live in peace. This, of course, is not remorse for what he did, not pity for Lizaveta, who was killed by him. No. He tried to step over his nature, but could not, because bloodshed and murder are alien to a normal person. The crime fenced him off from people, and a person, even such a secretive and proud as Raskolnikov, cannot live without communication. But, despite the suffering and torment, he is by no means disappointed in his cruel, inhuman theory. On the contrary, it continues to dominate his mind. He is disappointed only in himself, believing that he did not pass the test for the role of the ruler, which means, alas, he belongs to the "trembling creature."

When Raskolnikov's torment reaches its climax, he opens up to Sonya Marmeladova, confessing to her his crime. Why her, an unfamiliar, nondescript, not brilliant girl, who also belongs to the most miserable and despised category of people? Probably because Rodion saw her as an ally in crime. After all, she also kills herself as a person, but she does it for the sake of her unfortunate, starving family, denying herself even suicide. This means that Sonya is stronger than Raskolnikov, stronger than her Christian love for people, her readiness for self-sacrifice. In addition, she manages her own life, not someone else's. It is Sonya who finally refutes Raskolnikov's theorized view of the world around him. After all, Sonya is by no means a humble victim of circumstances and not a "trembling creature." In terrible, seemingly hopeless circumstances, she managed to remain a pure and highly moral person, striving to do good to people. Thus, according to Dostoevsky, only Christian love and self-sacrifice are the only way to transform society.

4 Raskolnikov's rebellion

In 1866, F. M. Dostoevsky wrote the novel Crime and Punishment. This is a complex work, striking with the philosophical depth of the questions posed in it and the psychological nature of the characterization of the main characters. actors . The novel captures the sharpness of social problems and the strangeness of the story. In it, in the foreground are not a criminal offense, but the punishment (moral and physical) that the criminal bears. It is no coincidence that out of six parts, only the first part of the novel is devoted to the description of the crime, while all the rest and the epilogue are devoted to the punishment for it. In the center of the story is the image of Rodion Raskolnikov, who committed the murder "in good conscience." Raskolnikov himself is not a criminal. He is endowed with many positive qualities: intelligence, kindness, responsiveness. Raskolnikov helps the father of a deceased comrade, gives the last money for the funeral of Marmeladov. There are many good beginnings in him, but need, difficult life circumstances bring him to exhaustion. Rodion stopped attending the university because he had nothing to pay for tuition; he has to avoid the hostess, because the debt for the room has accumulated; he is sick, starving ... And around him Raskolnikov sees poverty and lack of rights. The action of the novel takes place in the area of ​​Sennaya Square, where poor officials, artisans, and students lived. And very close was Nevsky Prospekt with expensive shops, chic palaces, gourmet restaurants. Raskolnikov sees that society is unfair: some bathe in luxury, while others die of hunger. He wants to change the world. But this can only be done by an extraordinary person who is able to “break what is necessary, once for all” and take power “over all the trembling creature and over the entire anthill.” "Freedom and power, and most importantly - power! ... That's the goal!" Raskolnikov says to Sonya Marmeladova. Under the low ceiling of the room, a monstrous theory is born in the mind of a hungry man. According to this theory, all people are divided into two "categories": ordinary people, who make up the majority and are forced to submit to force, and extraordinary people, "masters of fate" 0 such as Napoleon. They are able to impose their will on the majority, they are capable, in the name of progress or a lofty idea, without hesitation, "to step over the blood." Raskolnikov wants to be a good ruler, a defender of the "humiliated and insulted", he raises a revolt against an unjust social order. But he is tormented by the question: is he the ruler? “I am a trembling creature, or do I have a right?” he asks himself. In order to get an answer, Raskolnikov contemplates the murder of an old pawnbroker. It is like an experiment on oneself: is he, as a ruler, able to step over the blood? Of course, the hero finds a "pretext" for the murder: to rob a rich and worthless old woman and save hundreds of young people from poverty and death with her money. Nevertheless, Raskolnikov always internally realized that he committed the murder not for this reason and not because he was hungry, and not even in the name of saving his sister Dunya from her marriage to Luzhin, but in order to test himself. This crime forever fenced him off from other people. Raskolnikov feels like a murderer, on his hands is the blood of innocent victims. One crime inevitably entails another: having killed the old woman, Raskolnikov was forced to kill her sister, “the innocent Lizaveta.” Dostoevsky convincingly proves that no goal, even the most lofty and noble, can serve as an excuse for criminal means. All the happiness in the world is not worth a single tear from a child. And the understanding of this, in the end, comes to Raskolnikov. But repentance and awareness of guilt did not come to him immediately. This happened largely due to the saving influence of Sonya Marmeladova. It was her kindness, faith in people and in God that helped Raskolnikov abandon his inhuman theory. Only in hard labor there was a turning point in his soul, and a gradual return to the people began. Only through faith in God, through repentance and self-sacrifice could, according to Dostoevsky, resurrection take place. dead soul Raskolnikov and any other person. Not individualistic rebellion, but beauty and love will save the world.

"On the evening of the hottest July day, shortly before sunset, already throwing its slanting rays, former student Rodion Raskolnikov comes out of a miserable closet" under the very roof of a high five-story building "in severe anguish." This is how F.M. Dostoevsky's novel "Crime and Punishment" begins. At the very beginning of our work, we see the oppressive atmosphere surrounding the characters throughout the entire course of the novel. From that moment on, rushing around the dirty streets of St. Petersburg, stopping on endless bridges, entering dirty taverns - without rest and rest, without respite, in frenzy and thoughtfulness, in delirium and fear - the hero of Dostoevsky's novel Rodion Raskolnikov. And all this time we feel next to him the presence of some inanimate character - a huge gray city. The image of Petersburg occupies a central place in creative work of Dostoevsky, since many of the writer's memories are associated with this city. In fact, there were two Petersburgs. A city created by the hands of brilliant architects, St. Petersburg on the Palace Embankment and Palace Square, St. Petersburg of palace coups and magnificent balls, St. Petersburg is a symbol of the greatness and prosperity of post-Petrine Russia, striking us with its magnificence even today. But there was another, distant and unknown to us, today's people, Petersburg - a city in which people live in "cells", in dirty yellow houses with dirty dark stairs, spend time in small stuffy workshops or in stinking taverns and taverns, a half-crazy city , like most of the heroes of Dostoevsky familiar to us. In that Petersburg, where the plot of the novel "Crime and Punishment" unfolds, life is in a state of moral and social decay. Stuffiness of the St. Petersburg slums is a particle of the general atmosphere of the novel, hopeless and stuffy. There is a certain connection between Raskolnikov's thoughts and the "turtle shell" of his closet, "a tiny little room about six paces long", with yellow, dusty wallpaper that has lagged behind the walls and a low wooden ceiling. This closet is a small copy of the grander, equally stuffy "closet" of the big city. No wonder Katerina Ivanovna says that on the streets of St. Petersburg it’s like in rooms without window vents. The picture of crampedness, suffocating crowding of people who are "in a limited space", is haunted by a feeling spiritual loneliness. People treat each other with mistrust and suspicion, they are united only by curiosity about the misfortunes of their neighbor and gloating about the successes of others. Under drunken laughter and poisonous mockery of the visitors of the tavern, Marmeladov tells the story of his own life, amazing in its tragedy; the tenants of the house in which Katerina Ivanovna lives come running to the scandal. A distinctive feature of Russian social thought, Russian literature has always been tension spiritual quest, the desire of writers to raise fundamental philosophical, worldview issues related to the moral orientation of a person in the world, to search for the meaning of life. Spiritual world Dostoevsky's heroes are revealed through such categories as evil, goodness, freedom, virtue, necessity, god, immortality, conscience. Dostoevsky, as an artist, is distinguished by subtlety psychological analysis , his works are characterized by the depth of philosophical content. This is the most important feature of his work. His heroes are people who are searching, obsessed with this or that idea, all their interests are concentrated around some issue, over the resolution of which they are tormented. The image of St. Petersburg is given brightly, in dynamics, the city personifies the souls of the heroes torn apart by the tragedy of life. Petersburg is also one of the heroes that is constantly present in the works of Dostoevsky. The image of St. Petersburg was created in their works by Pushkin, and Gogol, and Nekrasov, revealing more and more of its facets. Dostoevsky depicts St. Petersburg at the time of the rapid development of capitalism, when tenement houses, banking offices, shops, factories, and workers' suburbs began to grow like mushrooms. The city is not just a background against which any action takes place, it is also a kind of "character". Petersburg of Dostoevsky suffocates, crushes, conjures nightmarish visions, inspires insane ideas. Dostoevsky draws the slums of St. Petersburg: many drinking, drunk, hungry, people who have lost the meaning of life, who often commit suicide, unable to bear the unbearable life. Raskolnikov is embarrassed by his rags, avoids meeting with acquaintances on the street, he owes his hostess and tries not to see her once again in order to avoid swearing and screaming. His room is like a stuffy closet. Many live even worse than Raskolnikov, although if you think about it, the thought comes - people live not only in the stuffy rooms of the slum of St. Petersburg, but also in the inner stuffiness, losing their human appearance. A gray, gloomy city, in which drinking houses are located on every corner, calling the poor to pour their grief, and on the streets - prostitutes and drunken people, we see it as a kind of "kingdom" of lawlessness, disease, poverty. Here you can suffocate, there is a desire to quickly run away from here, take in the fresh country air into your lungs, get rid of the fumes of "anger", meanness and immorality. F.M. Dostoevsky. The spirit of protest against social injustice, against the humiliation of a person, faith in his high vocation is imbued with the images of "little people" created by the author in the novel "Crime and Punishment". The fundamental truth on which the writer's worldview is based is love for a person, recognition of a person's spiritual individuality. All the searches of Dostoevsky were aimed at creating living conditions worthy of a person. And the urban landscape of St. Petersburg carries a huge artistic load. Dostoevsky's landscape is not only a landscape of impression, it is a landscape of expression, which is internally connected with the human world depicted in the novel and emphasizes the sense of hopelessness experienced by the heroes of the work.

The fate of the humiliated and mourned in the novel

In his novel "Crime and Punishment" F. M. Dostoevsky raises the theme of "humiliated and offended", the theme of the little man. The society in which the heroes of the novel live is arranged in such a way that the life of each of them is possible only on humiliating conditions, on constant deals with conscience. The writer depicts the oppressive atmosphere of a hopeless life of a person, forcing people to see the image of the underworld behind the fate of people, where a person is humiliated and crushed, where a person has "nowhere to go." The episodes depicting the life of the “humiliated and offended” suggest that the fate of the heroes of the novel is determined not by some random tragic circumstances or their personal qualities, but by the laws of the structure of society.

The author, taking the reader through St. Petersburg, draws people of different social strata, including the poor, who have lost the meaning of life. Often they commit suicide, unable to endure their dull existence, or ruin life in numerous taverns. In one of these drinking places, Rodion Raskolnikov meets Marmeladov. From the story of this hero, we learn about the unfortunate fate of his entire family.

Marmeladov’s phrase: “Do you understand, dear sir, what it means when there is nowhere else to go ...” raises the figure little man, funny in his solemnly ornate and clerical manner of speaking, to the height of a tragic reflection on the fate of mankind.

Katerina Ivanovna, who was ruined by the unbearable for her ambitious nature, the contradiction between the past prosperous and rich life and the miserable, beggarly present.

Sonya Marmeladova, a pure-hearted girl, is forced to sell herself in order to feed her sick stepmother and her young children. However, she does not require any gratitude. She doesn't blame anything. Katerina Ivanovna just resigned to his fate. Only Sonechka is ashamed before herself and God.

The idea of ​​self-sacrifice, embodied in the image of Sonya, raises him to a symbol of the suffering of all mankind. These sufferings merged for Dostoevsky with love. Sonya is the personification of love for people, which is why she retained moral purity in the dirt into which her life threw her.

The image of Dunya, Raskolnikov's sister, is filled with the same meaning. She agrees to the sacrifice: for the sake of her beloved brother, she agrees to marry Luzhin, who embodies the classic type of bourgeois businessman, a careerist who humiliates people and is able to do anything for personal gain.

Dostoevsky shows that the situation of hopelessness, impasse pushes people to commit moral crimes against themselves. Society confronts them with the choice of paths that lead to inhumanity.

Raskolnikov also makes a deal with his conscience, deciding to kill. The living and humane nature of the hero comes into conflict with the misanthropic theory. Dostoevsky shows how every time he encounters human suffering, Raskolnikov experiences an almost instinctive desire to come to the rescue. His theory of permissiveness, the splitting of humanity into two categories, is failing. The feeling of rejection, loneliness becomes a terrible punishment for the criminal.

Dostoevsky shows that Raskolnikov's idea is inextricably linked with the immediate conditions of his life, with the world of Petersburg corners. Drawing a terrifying picture of human crowding, dirt, stuffiness, Dostoevsky at the same time shows the loneliness of a person in the crowd, loneliness, above all, spiritual, his vital restlessness.

Raskolnikov and Svidrigailo

Raskolnikov and Svidrigailov are the heroes of one of Dostoevsky's best novels, Crime and Punishment. This novel is distinguished by the deepest psychologism and an abundance of sharp contrasts. At first glance, the characters of Raskolnikov and Svidrigailov have nothing in common, moreover, they seem to be antipodes. However, if you take a closer look at the images of these heroes, you can find a certain similarity. First of all, this similarity is manifested in the fact that both heroes commit crimes. True, they do this for different purposes: Raskolnikov kills the old woman and Lizaveta in order to test his theory, with the noble goal of helping the poor, destitute, humiliated and offended. And Svidrigailov directs all his vile energy to obtaining dubious pleasures, trying to achieve what he wants at any cost. Raskolnikov and Svidrigailov appear before readers as "strong" personalities. And indeed it is. Only people with exceptional willpower and equanimity can force themselves to cross the bloody line, deliberately commit a crime. Both of these characters are well aware that in essence they are extremely close. And it is not for nothing that at the very first meeting Svidrigailov says to Raskolnikov: "We are of the same field." Subsequently, Raskolnikov comes to an understanding of this. Punishment follows crime. Both characters are about the same. Both Raskolnikov and Svidrigailov experience the strongest pangs of conscience, they repent of their deeds and try to rectify the situation. And, it would seem, they are on the right path. But the mental anguish soon becomes unbearable. Svidrigailov's nerves can't stand it, and he commits suicide. Raskolnikov understands with horror that the same thing can happen to him, and in the end he confesses to his deed. Unlike Raskolnikov, Svidrigailov has a somewhat ambivalent character. On the one hand, it seems that he is an ordinary, normal, sober person, as he appears to Raskolnikov, but this side of his character is drowned out by his eternal and irresistible attraction to pleasures. Raskolnikov, in my opinion, is a much firmer person in his intentions. He is even somewhat similar to Turgenev's Bazarov, who strictly adheres to his theory and tests it in practice. For the sake of his theory, Raskolnikov even breaks off relations with his mother and sister, he wants to impress others with his theory and puts himself much higher than others. It is in the considerations presented above that, in my opinion, lies the differences and similarities between Raskolnikov and Svidrigailov, who can be called two sides of the same coin.

“Pravda” by Sonya Marmeladova (based on “Crime and Punishment” by Dostoevsky)

In Dostoevsky's novel "Crime and Punishment", as in every novel, there are many different characters. The main one - Raskolnikov - studies the rest, creates a theory based on his reasoning, he has a certain conviction that pushes him to a crime. In the appearance of this conviction in him, and, therefore, in the commission of this crime, all the heroes with whom he communicated are to blame: after all, they were the same as Raskolnikov saw them, on their basis he formed his theory. But their contribution to the creation of Raskolnikov's beliefs is ineffective, since it happens by chance, inadvertently. But a much larger contribution minor characters novels contribute to Raskolnikov's awareness of the incorrectness of his theory, which prompted him to confess to all the people. The largest such contribution was made by Sonya Marmeladova. She helped the hero understand who she is and who he is, what recognition gives him, why they need to live, helped to resurrect them spiritually and look at themselves and others differently. She was a pretty girl of about eighteen, thin, of small stature. Life was very cruel to her, as well as to her family. She lost her father and mother early. After the death of her mother, her family was in distress, and she had to go to the panel to feed herself and the children of Katerina Ivanovna. But her spirit was so strong that it did not break even under such conditions: when a person’s morality decays, there is little chance of good luck in life, existence becomes harder and harder, the spirit restrains the oppression of the environment, and if a person’s spirit is weak, he cannot withstand and begins to let negative energy inward, spoiling the soul. The spirit of Sonya is very strong, and in the face of all adversity, her soul remains pure, and she goes to self-sacrifice. The pure, untouched soul in her very quickly finds all the flaws in the souls of other people, comparing them with her own; she easily teaches others to remove these flaws, because she periodically removes them from her soul (if she hasn’t had any flaws yet, she artificially creates them for herself for a while and tries to feel what instincts tell her to do). Outwardly, this is manifested in her ability to understand other people and sympathize with them. She pities Katerina Ivanovna for her stupidity and unhappiness, her father, who is dying and repenting before her. Such a girl attracts the attention of many people, makes (including herself) respect herself. Therefore, Raskolnikov decided to tell her about his secret, and not Razumikhin, Porfiry Petrovich, or Svidrigailov. He suspected that she would wisely assess the situation and make a decision. He really wanted someone else to share his suffering, wanted someone to help him go through life, to do some work for him. Having found such a person in Sonya, Raskolnikov made the right choice: she was the most beautiful girl who understood him and came to the conclusion that he was just as unhappy a person as she was, that Raskolnikov had not come to her in vain. And such a woman is also called "a girl of notorious behavior." (Here Raskolnikov realized the inaccuracy of his theory in this). That is what Luzhin calls her, being vile and selfish himself, not understanding anything in people, including Sonya, that she behaves in a humiliating way for herself only out of compassion for people, wanting to help them, to give at least for a moment a feeling of happiness . All her life she has been self-sacrifice, helping other people. So, she also helped Raskolnikov, she helped him rethink himself, that his theory was also wrong, that he had committed a crime in vain, that he needed to repent of it, to confess everything. The theory was wrong, because it is based on the division of people into two groups according to external signs, and those rarely express the whole person. A striking example is the very Sonya, whose poverty and humiliation do not fully reflect the whole essence of her personality, whose self-sacrifice is aimed at helping other distressed people. She really believes that she resurrected Raskolnikov and is now ready to share his punishment in hard labor. Its “truth” is that in order to live life with dignity and die with the feeling that you were a great person, you need to love all people and sacrifice yourself for others.

The novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment" is the most famous work of the writer, included in the golden fund of world literature. Written during a difficult period of the author's life trials, it touches on many serious problems that remain relevant to this day. The novel is quite complex and deep, but a detailed analysis of the work will help to better understand the main idea and problems of the novel, the actions of the main characters. "Crime and Punishment" analysis requires the most complete, and it will be especially useful for students in grade 10 in preparation for the exam in literature.

Brief analysis

Year of writing– 1866

History of creation- Dostoevsky nurtured the idea of ​​"Crime and Punishment" during his stay in hard labor, during the period of the strongest emotional experiences.

Topic- Display of inhuman living conditions the poorest population, the hopelessness of their existence and anger at 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 way of life of the protagonist and the crime he committed, in the subsequent parts - the punishment that followed him, in the epilogue - the protagonist's remorse.

genre- Novel.

Direction- Realism.

History of creation

During his stay in hard labor, Fedor 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 on the basis 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 to write a novel full of drama and internal conflicts. According to the plan, the work was conceived as Raskolnikov's confession, 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 confine himself to the experiences of one Raskolnikov - the plot required more depth and fullness. Having reacted with a great deal of criticism to the written material, Dostoevsky burned the practically 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 "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 the commission of a crime, but, above all, in the mental anguish of the criminal. Any atrocity entails an 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 Russkiy Vestnik. The reaction to the work was very ambiguous, from sharp rejection to stormy admiration.

In the 80s of the 19th century, the novel was translated into many European languages. His influence on the world literary process turned out to be enormous: writers began to develop the theme touched upon by Dostoevsky and, at times, frankly imitate the classics, theatrical performances were staged in different cities of the world, and later the imperishable work was filmed many times.

Topic

main topic works - the oppression and horrendous poverty of a large part of society, the sad situation of which is of little interest to anyone. Also, the red line is the theme of delusions of the individual and forced rebellion due to suffocating poverty, social inequality and hopelessness.

The problem of false beliefs, touched upon in the novel, is relevant at all times. The theory that Raskolnikov was subject to, about permissiveness and the possibility of committing a crime for good purposes, is destructive. It is she who is the cause of arbitrariness, violence and terror.

In his novel, Dostoevsky wanted to convey his Christian ideas about life, according to which one should try to live morally, not succumbing to pride, lust, selfishness. To live for the sake of others, to do good, to sacrifice one's 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 the salvation of his tormented soul, and gains hope for 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, as a result, the crime he committed. This is followed by the punishment and self-disclosure 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. By this, the author wanted to emphasize the instability of the main character'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 allocated a lot of space in the work.

In the final part of the novel - the epilogue - the writer pointed to the possible healing of Raskolnikov due 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, values.

Dostoevsky paid much attention not only to the poor student, but also to others. central characters: Razumikhin, Dunya Raskolnikova, Pulcheria Alexandrovna, Sonya Marmeladova, Svidrigailov. The character of each of them is described brightly, colorfully, the interaction of these characters perfectly complements the overall picture shown by the author. Despite the intricacies of the storylines, all of them, one way or another, are connected with Raskolnikov. It is noteworthy that many of the described heroes expect tragic fate, and by the end of the novel, only a few will be left alive.

main characters

genre

"Crime and Punishment" refers to psychological and philosophical novel. Fedor Mikhailovich himself called his brainchild "a psychological report of a single crime." It's 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 fantasy, represented by Raskolnikov's dreams.

If we talk about the literary direction of the novel, then it is fully consistent with "realism".

Artwork test

Analysis Rating

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"Crime and Punishment"- a novel by Fyodor Mikhailovich Dostoevsky, first published in 1866 in the journal Russkiy Vestnik (No. 1, 2, 4, 6-8, 11-12). A separate edition of the novel (with a change in division into parts, some cuts and stylistic corrections) was published in 1867.

History of creation

The first parts of "Crime and Punishment" appeared for the first time in 1866 in eight issues of the magazine "Russian Messenger". The novel is published in parts in January-December. Dostoevsky has been working on the novel all year, rushing to add the chapters he has written to the next issue of the magazine.

Soon after the end of the publication of the novel in the journal, Dostoevsky publishes it in a separate edition: “A novel in six parts with an epilogue by F. M. Dostoevsky. Revised edition." For this edition, Dostoevsky made significant reductions and changes in the text: three parts of the magazine edition were converted into six parts, and the division into chapters was also partially changed.

Plot

The plot revolves around the main character, Rodion Raskolnikov, in whose head the theory of crime is ripening. According to his idea, humanity is divided into "chosen ones" and "material". "The Chosen Ones" ( classic example is Napoleon) have the right to commit a murder or several murders for the sake of future great deeds. Raskolnikov himself is very poor, he cannot pay not only for his studies at the university, but also for his own living. His mother and sister are very poor, he soon learns that his sister (Avdotya Romanovna) is ready to marry a man she does not love, for the sake of money, for the sake of her brother. This was the last straw, and Raskolnikov commits the deliberate murder of an old pawnbroker ("louse" by his definition) and the forced murder of her sister, a witness. But Raskolnikov cannot use the stolen goods, he hides it. From this time begins the terrible life of a criminal, a restless, feverish consciousness, his attempts to find support and meaning in life, justify an act and evaluate it. Subtle psychologism, existential understanding of the act and the further existence of Raskolnikov are colorfully conveyed by Dostoevsky. More and more new faces are involved in the action of the novel. Fate confronts him with a lonely, frightened, poor girl, in whom he finds your soul mate and support, Sonya Marmeladova, who took the path of self-sale due to poverty. Sonya, who believes in God, is trying to somehow survive in life, having lost her parents. Raskolnikov also finds support in his university friend Razumikhin, who is in love with his sister Avdotya Romanovna. Such characters appear as investigator Porfiry Petrovich, who understood Raskolnikov’s soul and witty brought him to clean water, Svidrigailov, a libertine and a scoundrel - a vivid example of a “chosen” person (according to Raskolnikov’s theory), Luzhin, a lawyer and a cunning egoist, etc. the social causes of crimes and disasters, moral contradictions, the oppressive circumstances of the fall, the life of the St. Petersburg poor, drunkenness and prostitution are described, dozens of peculiar characters and actors are described. Throughout the novel, Raskolnikov is trying to understand whether he is a worthy person, whether he has the right to judge other people. Unable to bear the burden of his crime, main character confesses to the murder by writing a sincere confession. However, he sees the guilt not in the fact that he committed the murder, but in the fact that he went for it, not appreciating his inner weakness and pitiful cowardice. He refuses to claim to be chosen. Raskolnikov ends up in hard labor, but Sonya remains by his side. These two lonely people found each other at a very difficult time for both of them. In the end, the hero finds support in love and religious consciousness.

Scene

The novel is set in the summer in Saint Petersburg.

Characters

• Rodion Romanovich Raskolnikov, a mendicant former student, the protagonist of the story. He believes that he has the moral right to commit crimes and murder is only the first step on an uncompromising road that will lead him to the top. Unconsciously chooses the weakest and most defenseless member of society as a victim, justifying this by the insignificance of the life of an old money-lender, after whose murder she faces a severe psychological shock: murder does not make a person "chosen".
• Pulcheria Alexandrovna Raskolnikova, the mother of Rodion Romanovich Raskolnikov, comes to him in St. Petersburg in the hope of marrying her daughter to Luzhin and arranging family life. Disappointment in Luzhin, fear for the life and peace of mind of Rodion, the misfortune of her daughter lead her to illness and death.
• Avdotya Romanovna Raskolnikova, sister of Rodion Romanovich Raskolnikov. A smart, beautiful, chaste girl, in love with her brother to the point of self-sacrifice. He has a habit of walking from corner to corner around the room when he is thoughtful. In the struggle for his happiness, she was ready to go for a marriage of convenience, but she could not make contact with Luzhin for the sake of his salvation. She marries Razumikhin, finding in him a sincere and loving person, a true comrade of his brother.
• Pyotr Petrovich Luzhin, the fiance of Avdotya Romanovna Raskolnikova, a lawyer, an enterprising and selfish businessman. The fiancé of Avdotya Romanovna, who wanted to make her his slave, who owed him her position and well-being. Hostility towards Raskolnikov, the desire to quarrel with his family justify an attempt to dishonor Marmeladova, to falsify the theft allegedly committed by her.
• Dmitry Prokofievich Razumikhin, former student, friend of Raskolnikov. Strong, cheerful, intelligent fellow, sincere and spontaneous. Deep love and affection for Raskolnikov explains his concern for him. He falls in love with Dunechka, proves his love with his help and support. Marries Duna.
• Semyon Zakharovich Marmeladov, a former titular councilor, a degraded drunkard, an alcoholic. It reflects the features of the heroes of Dostoevsky's unwritten novel The Drunk Ones, to which the writing of the novel genetically goes back. The father of Sonya Marmeladova, he himself is burdened by his addiction to alcohol, a weak, weak-willed man, who, however, loves his children. Crushed by a horse.
• Katerina Ivanovna Marmeladova, wife of Semyon Zakharovich Marmeladov, staff officer's daughter. A sick woman, forced to raise three children alone, not quite mentally healthy. After a hard past funeral of her husband, undermined by constant work, worries and illness, she goes crazy and dies.
• Sonya Semyonovna Marmeladova, daughter of Semyon Zakharovich Marmeladov from his first marriage, a girl desperate for self-sale. Despite this kind of occupation, a sensitive, timid and shy girl, forced to earn in such an unsightly way. He understands the suffering of Rodion, finds in him support in life, and the strength to make a man out of him again. She leaves for him in Siberia, becomes his lifelong girlfriend.
• Arkady Ivanovich Svidrigailov, nobleman, former officer, landowner. A liar, a scoundrel, a swindler. It is introduced as a counterweight to Raskolnikov as an example of a person who does not stop at nothing to achieve his goals and does not think for a second about methods and “his right” (Rodion talks about such people in his theory). Avdotya Romanovna became the object of Svidrigailov's passion. An attempt to achieve her disposition through the help of Rodion was unsuccessful. Rolling into madness and the abyss of depravity, despite his terrible fear of death, he shoots himself in the temple.
• Marfa Petrovna Svidrigailova, his late wife, in whose murder Arkady Ivanovich is suspected, according to whom she appeared to him as a ghost. She donated three thousand rubles to Dunya, which allowed Dunya to reject Luzhin as a fiancé.
• Andrey Semyonovich Lebezyatnikov, a young man serving in the ministry. A "progressive", a utopian socialist, but a stupid person who does not fully understand and exaggerates many of the ideas of building communes. Luzhin's neighbor.
• Porfiry Petrovich, bailiff of investigative cases. A hardened master of his affairs, a subtle psychologist who figured out Raskolnikov and invites him to confess to the murder himself. But he was not able to prove the guilt of Rodion, due to lack of evidence.
• Amalia Ludvigovna (Ivanovna) Lippevehsel, Rented an apartment to Lebezyatnikov, Luzhin, Marmeladov. A stupid and absurd woman who is proud of her father, whose origin is not known at all.
• Alena Ivanovna, collegiate secretary, pawnbroker. A dry and vicious old woman, killed by Raskolnikov.
• Lizaveta Ivanovna, stepsister Alena Ivanovna, an accidental witness to the murder, was killed by Raskolnikov.
• Zosimov, doctor, friend of Razumikhin

Screen adaptations

Based on the novel, feature films and animated films were repeatedly shot. The most famous of them:

• Crime and Punishment(English) Crime and Punishment) (1935, USA featuring Peter Lorre, Edward Arnold and Marian Marsh);
• Crime and Punishment(fr. Crime et Chatiment) (1956, France, directed by Georges Lampin, featuring Jean Gabin, Marina Vlady and Robert Hossein);
• Crime and Punishment(1969, USSR, with the participation of Georgy Taratorkin, Innokenty Smoktunovsky, Tatyana Bedova, Victoria Fedorova);
• Crime and Punishment(English) Crime and Punishment) (1979, short film with Timothy West, Vanessa Redgrave and John Hurt);
• Shock(English) Astonished) (1988, USA featuring Lilian Komorowska, Tommy Hollis and Ken Ryan);
• Dostoevsky's Crime and Punishment(English) Dostoevsky's Crime and Punishment ) (1998, USA, TV movie featuring Patrick Dempsey, Ben Kingsley and Julie Delpy);
• Crime and Punishment(English) Crime and Punishment) (2002, USA-Russia-Poland)
• Crime and Punishment(2007, Russia, with the participation of Vladimir Koshevoy, Andrey Panin, Alexander Baluev and Elena Yakovleva).

Theatrical performances

The novel has been staged many times in Russia and abroad. The first attempt to stage the novel by A. S. Ushakov in 1867 did not take place due to the prohibition of censorship. The first staging in Russia dates back to 1899. The first known foreign production took place at the Odeon Theater in Paris ().

Translations

The first Polish translation (Zbrodnia i kara) appeared in 1887-88.

An imperfect Lithuanian translation by Juozas Balciunas was published in 1929. Its reissue in

plot, composition, genre features novel "Crime and Punishment"

F. M. Dostoevsky, as a writer, gave great importance entertaining storytelling, was an unsurpassed master of a sharp, adventurous plot, captivating the reader, keeping him in suspense

From the first to the last pages of the novel. No one has ever been able to combine a detective story with the subtlest psychologism and the depth of philosophical meaning.

“Crime and Punishment” is a novel about a crime, but it cannot be attributed to the “criminal, detective” genre, it is called a confession novel, a tragedy novel, one of the greatest philosophical and psychological novels. In the novel, there is no riddle for the reader as to who the killer is, the plot develops around another: the narration is structured in such a way that throughout its entire length we are intensely following every movement of Raskolnikov’s inflamed thought, the lonely

Wanderings of his soul, behind a feverish change of decisions and contradictory actions.

Other characters in the novel are depicted in such a way that, without losing their great independent significance, they, each in their own way, “explain” the drama that unfolds in Raskolnikov’s mind between thoughts and soul. “. Raskolnikov - the only hero books. All the rest are projections of his soul. This is where the phenomenon of twins finds an explanation. Each character, up to random passers-by, up 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 protagonist 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 plots are closely connected with Raskolnikov and his theory.

But Raskolnikov is not only the compositional center. The tragic throwings of his spirit involve all the characters in their orbit, each in his own way trying to explain the contradictions of his personality, to guess the secret of his fatal duality. With them he leads a passionate argument in his internal monologues. “Every face enters. into his inner speech not as a character or type, not as a plot face of his life plot (sister, sister's fiancé, etc.), but as a symbol of a certain life attitude and ideological position, as a symbol of a certain life solution of those very ideological issues that they torture him” (M. M. Bakhtin). Razumikhin, Svidrigailov, Luzhin, Marmeladov, Sonya, Porfiry Petrovich become for Raskolnikov, as it were, the embodiment of the resolution of his own question, “a resolution that does not agree with the one he himself came to, therefore everyone touches him to the quick and gets a firm role in his inner speech." Thus, Raskolnikov becomes the spiritual and ideological center of the novel.

The perfection of the composition of "Crime and Punishment" is unparalleled by F. M. Dostoevsky. Consisting of six parts and an epilogue, the novel, “built on a skillful orchestration of tensions, passes through two climaxes, after which catharsis sets in. The first such point is a crime. The second is punishment” (P. Weil, A. Genis. “The Last Judgment”). Moreover, Dostoevsky writes more about the punishment than the crime of Raskolnikov: out of six parts, only one is devoted to the description of the crime, while the rest are a kind of analysis of the psychological state of the individual, the mental life of the hero, and the motives for his crime. But even not punishment, but “restoration of a dead person” most of all worries Dostoevsky as an artist and thinker, therefore, replacing each other, the motives of Raskolnikov’s condemnation and defense sound in the novel, growing to the epilogue, where the path to the revival of the hero and his gradual renewal is outlined. , for which you need to “pay. great, future feat." The entire poetics of the novel is subject to the main goal - the resurrection, the transformation of the hero. Landscape plays a special role in the epilogue. From gloomy, stuffy, oppressive Petersburg, the action is transferred to the banks of a wide and deserted river: “From the high bank, a wide neighborhood opened up. There, in the boundless steppe drenched in the sun, nomadic yurts were blackened as barely perceptible dots. There was freedom and other people lived. “In harmony with the world and with himself, Raskolnikov is depicted in the epilogue, “he was resurrected, and he knew it, he felt it completely with his renewed being. “. Raskolnikov's rejection of the inhuman "unfinished theory" and a return to eternal values occurs only in the epilogue and is emphasized by the repeatedly repeated epithet: "infinite happiness", "infinite sources of life", "infinitely loves", "he will now redeem all her sufferings with infinite love." On the pages of the epilogue, the gospel and the resurrection of Lazarus are mentioned for the third time in the novel (for 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 Dostoevsky's main, deep thought - 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."

Essays on topics:

1. “Crime and Punishment” is a novel about a crime, however, it does not fit the definition of detective fever in any way: the narrative does not develop ...
2. F. M. Dostoevsky, as a writer, attached great importance to the entertaining of the narrative, was an unsurpassed master of a sharp, adventurous plot, captivating the reader, holding him ...
3. It is well known that the novel "Crime and Punishment" is on the list of the most read works on earth. The relevance of the novel increases with each new generation, ...
4. Through the eyes of Rodion Romanovich Raskolnikov wandering around Petersburg, the reader sees dirty streets and dark lanes, squalid dwellings and slum hotels, houses ...

"Crime and Punishment", the history of which lasted almost 7 years, is one of the most famous novels by Fyodor Dostoevsky both in Russia and abroad. In this creation of the classic of Russian literature, his talent as a psychologist and connoisseur of human souls was revealed more than ever. What prompted Dostoevsky to write a work about a murderer, and this topic was not characteristic of the literature of that time?

Fyodor Dostoevsky - master of the psychological novel

The writer was born on November 11, 1821 in the city of Moscow. His father - Mikhail Andreevich - was a nobleman, a court adviser, and his mother - Maria Fedorovna - came from a merchant family.

There was everything in the life of Fyodor Mikhailovich Dostoevsky: loud fame and poverty, dark days in the Peter and Paul Fortress and many years of hard labor, addiction to gambling and conversion to the Christian faith. Even during the life of the writer, such an epithet as “brilliant” was applied to his work.

Dostoevsky died at the age of 59 from emphysema. He left behind a huge legacy - novels, poems, diaries, letters, etc. In Russian literature, Fyodor Mikhailovich is given the place of the main psychologist and expert on human souls. Some literary critics(for example, Maxim Gorky), especially of the Soviet period, called Dostoevsky an "evil genius", because they believed that the writer in his works defended "incorrect" political views - conservative and at some point in his life even monarchical. However, one can argue with this: Dostoevsky's novels are not political, but always deeply psychological, their goal is to show human soul and life itself as it is. And the work "Crime and Punishment" is the most striking confirmation of this.

The history of the creation of the novel "Crime and Punishment"

Fyodor Dostoevsky was sent to hard labor in Omsk in 1850. "Crime and Punishment", the history of which began there, was first published in 1866, and before that the writer had to endure not the best days in his life.

In 1854 the writer received his freedom. Dostoevsky wrote in a letter to his brother in 1859 that the idea of ​​a certain confessional novel came to him when he was lying on dirty bunk beds back in the 50s and was going through the most difficult moments in his life. But he was in no hurry to start this work, because he was not even sure that he would survive.

And so, in 1865, Dostoevsky Fyodor Mikhailovich, in dire need of money, signs an agreement with one publisher, according to which he undertakes to provide by November 1866. new novel. Having received a fee, the writer corrected his affairs, but addiction to roulette played a cruel joke on him: he lost all the remaining money in Wiesbaden, the hotel owners did not evict him, but they stopped feeding him and even turned off the light in the room. It was under such conditions that Dostoevsky began Crime and Punishment.

The history of the creation of the novel was nearing completion: the deadlines were running out - the author worked in a hotel, on a ship, on his way home to St. Petersburg. He practically finished the novel, and then ... he took and burned the manuscript.

Dostoevsky began work anew, and while the first two parts of the work were being published and all of St. Petersburg was reading them, he was rapidly creating the remaining three, including the epilogue.

"Crime and Punishment" - the theme of the novel is clearly visible already in the very title of the work.

The main character - Rodion Raskolnikov - decides to kill and rob an old usurer. On the one hand, the young man justifies his act by saying that he and his family are in need. Rodion feels his responsibility for the fate of loved ones, but in order to help his sister and mother in any way, he needs a large amount of money. On the other hand, killing remains an immoral and sinful act.

Rodion successfully commits the intended crime. But in the second part of the novel, he is faced with a problem more serious than poverty - his conscience begins to torment him. He becomes nervous, it seems to him that everyone around knows about his act. As a result, Rodion begins to get seriously ill. After recovery, the young man seriously thinks about surrendering to the authorities. But acquaintance with Sonya Marmeladova, as well as the arrival of his mother and sister in the city for a while, force him to abandon this undertaking.

Three suitors immediately claim for the hand of Rodion's sister - Dunya: court adviser Pyotr Luzhin, landowner Svidrigailov and Rodion's friend - Razumikhin. Rodion and Razumikhin manage to upset the planned wedding of Dunya and Luzhin, but the latter leaves angry and thinks about

Rodion Raskolnikov is becoming more and more attached to Sonya Marmeladova, the daughter of his late friend. They talk with the girl about life, spend time together.

But a black cloud hangs over Rodion - there were witnesses who confirmed at the police station that recently Raskolnikov often went to the murdered usurer. The young man has so far been released from the police station, but he remains the prime suspect.

The most important events of the novel "Crime and Punishment" by chapters fall on the 5th part of the work and the epilogue.

The offended Luzhin tries to set up Sonya Marmeladova, passing her off as a thief and thereby quarreling with Raskolnikov. However, his plan fails, but Rodion cannot stand it and confesses to Sonya that he has committed a murder.

An outsider takes the blame for Raskolnikov's crime, but the investigator is sure that it was Rodion who committed the crime, so he visits young man and tries once again to convince him to turn himself in.

At this time, Svidrigailov is trying to win Dunya's favor by force, a frightened girl shoots him with a revolver. When the weapon misfires, and Dunya convinces the landowner that he does not love him, Svidrigailov lets the girl go. Having donated 15 thousand to Sonya Marmeladova and 3 thousand to Raskolnikov's family, the landowner commits suicide.

Rodion confesses to the murder of a usurer and receives 8 years of hard labor in Siberia. Sonya goes into exile after him. The old life for the former student is over, but thanks to the love of the girl, he feels how a new stage in his destiny begins.

Image of Rodion Raskolnikov

In the novel "Crime and Punishment", the characterization of Rodion Raskolnikov and the assessment of his actions by the author himself are ambiguous.

The young man is good-looking, smart enough, one might say, ambitious. But life situation, in which he found himself, or rather the social situation, does not allow him not only to realize his talents, but even finish his studies at the university, find a decent job. His sister is about to "sell out" to an unloved person (to marry Luzhin for the sake of his fortune). Raskolnikov's mother is in poverty, and the girl she loves is forced into prostitution. And Rodion does not see any way to help them and himself, except to get a large amount of money. But to realize the idea of ​​instant enrichment is possible only with the help of robbery (in this case, it also entailed murder).

According to morality, Raskolnikov did not have the right to take the life of another person, and reasoning that the old woman did not have long to live, or that she did not have the right to “wait” on the grief of other people, is not an excuse and not a reason for murder. But Raskolnikov, although he is tormented by his act, considers himself innocent to the last: he explains his actions by the fact that at that moment he thought only about how to help his loved ones.

Sonya Marmeladova

In the novel Crime and Punishment, the description of Sonya's image is as contradictory as Raskolnikov's: the reader will immediately recognize in them

Sonya is kind and in a sense selfless, this can be seen from her actions towards other people. The girl reads the "Gospel", but at the same time is a prostitute. A devout prostitute - what could be more paradoxical?

However, Sonya is engaged in this craft not because she has a craving for debauchery - this is the only way for an uneducated attractive girl to earn a living, and not only for herself, but also for her large family: her stepmother Katerina Ivanovna and three stepbrothers and sisters. As a result, Sonya is the only one who went to Siberia after Rodion to support him in difficult times.

Such paradoxical images are the basis of Dostoevsky's realism, because in the real world things cannot be only black or only white, just like people. Therefore, a pure-hearted girl in certain life circumstances can engage in such a dirty craft, and a noble-minded young man can decide to kill.

Arkady Svidrigailov

Arkady Svidrigailov is another character in the novel (a 50-year-old landowner) who literally duplicates Raskolnikov in many aspects. This is not an accident, but a technique chosen by the author. What is its essence?

"Crime and Punishment" is filled with dualistic images, perhaps to show that many people have equally positive and negative traits, can walk along the same life paths, but the outcome of their life is always chosen by themselves.

Arkady Svidrigailov is a widower. Even when his wife was alive, he harassed Raskolnikov's sister, who was in their service. When his wife - Marfa Petrovna - died, the landowner came to ask for the hand of Avdotya Raskolnikova.

Svidrigailov has many sins behind him: he is suspected of murder, violence and depravity. But this does not prevent the man from becoming the only person who took care of the family of the late Marmeladov, not only financially, but even placed the children in an orphanage after the death of their mother. Svidrigailov is trying in a barbaric way to win over Dunya, but at the same time he is deeply hurt by the girl’s dislike and commits suicide, leaving Raskolnikov’s sister an impressive amount as an inheritance. Nobility and cruelty in this man are combined in their bizarre patterns, as in Raskolnikov.

P.P. Luzhin in the system of images of the novel

Pyotr Petrovich Luzhin ("Crime and Punishment") is another "double" of Raskolnikov. Raskolnikov, before committing a crime, compares himself with Napoleon, and so Luzhin is the Napoleon of his time in its purest form: unscrupulous, caring only about himself, striving to make capital at any cost. Maybe that's why Raskolnikov hates the lucky fellow: after all, Rodion himself believed that for the sake of his own prosperity he had the right to kill a person whose fate seemed to him less important.

Luzhin (“Crime and Punishment”) is very straightforward as a character, caricatured and devoid of the inconsistency inherent in Dostoevsky's heroes. It can be assumed that the writer deliberately made Peter just like that, so that he would become a clear personification of that bourgeois permissiveness that played such a cruel joke on Raskolnikov himself.

Publications of the novel abroad

"Crime and Punishment", the history of which took more than 6 years, was highly appreciated by foreign publications. In 1866 several chapters from the novel were translated into French and published in Courrier russe.

In Germany, the work was published under the title "Raskolnikov" and by 1895 its published circulation was 2 times larger than any other work by Dostoevsky.

At the beginning of the XX century. the novel "Crime and Punishment" was translated into Polish, Czech, Italian, Serbian, Catalan, Lithuanian, etc.

Film adaptations of the novel

The heroes of the novel "Crime and Punishment" are so colorful and interesting that the film adaptation of the novel was taken more than once both in Russia and abroad. The first film - "Crime and Punishment" - appeared in Russia as early as 1909 (dir. Vasily Goncharov). This was followed by film adaptations in 1911, 1913, 1915.

In 1917, the world saw the picture of the American director Lawrence McGill, in 1923 the film "Raskolnikov" was released by the German director Robert Wiene.

After that, about 14 more film adaptations were filmed in different countries. Of the Russian works, the most recent was the serial film Crime and Punishment in 2007 (dir. Dmitry Svetozarov).

Novel in popular culture

In films, Dostoevsky's novel often flashes in the hands of imprisoned heroes: in the film "The Incredible Adventures of Wallace and Gromit: Haircut" to zero "", TV series "She-Wolf", "Desperate Housewives", etc.

In the computer game Sherlock Holmes: Crimes & Punishments, in one of the episodes, the book with the title of Dostoevsky's novel is clearly visible in Sherlock Holmes's hands, and in GTA game IV "Crime and Punishment" is the name of one of the missions.

Raskolnikov's house in St. Petersburg

There is an assumption that Dostoevsky Fyodor Mikhailovich settled his hero in a house that really exists in St. Petersburg. The researchers made such conclusions, since Dostoevsky mentions in the novel: he is in the "S-m" lane, next to the "K-m" bridge. There is indeed a house at Stolyarny Lane-5, which could well serve as a prototype for the novel. Today this building is one of the most visited tourist spots in St. Petersburg.