Crime and punishment information. Crime and Punishment

Introduction

The novel by F. M. Dostoevsky “Crime and Punishment” is a socio-psychological one. In it, the author raises important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows the psychology of a person contemporary to the author, who is trying to find a solution to urgent problems. social problems. Dostoevsky, however, does not give ready-made answers to the questions posed, but makes the reader think about them. The central place in the novel is occupied by the poor student Raskolnikov, who committed the murder. What led him to this terrible crime? Dostoevsky tries to find the answer to this question through a thorough analysis of the psychology of this person. The deep psychologism of the novels of F. M. Dostoevsky lies in the fact that their heroes fall into complex, extreme life situations in which their inner essence is exposed, the depths of psychology, hidden conflicts, contradictions in the soul, ambiguity and paradox of the inner world are revealed. To reflect the psychological state of the protagonist in the novel "Crime and Punishment", the author used a variety of artistic techniques, among which dreams play an important role, since in an unconscious state a person becomes himself, loses everything superficial, alien and, thus, his thoughts and feelings manifest themselves more freely. Throughout almost the entire novel, a conflict occurs in the soul of the protagonist, Rodion Raskolnikov, and these internal contradictions determine his strange state: the hero is so immersed in himself that for him the line between dream and reality, between dream and reality is blurred, the inflamed brain gives rise to delirium , and the hero falls into apathy, half-sleep-half-delirium, so it’s hard to say about some dreams whether it’s a dream or nonsense, a game of the imagination.

The history of the creation of "Crime and Punishment"

creative history novel

"Crime and Punishment", originally conceived in the form of Raskolnikov's confession, stems from the spiritual experience of penal servitude. It was there that F.M. Dostoevsky first encountered strong personalities who were outside the moral law, it was in hard labor that the change in the writer’s convictions began. “It was clear that this man,” Dostoevsky describes convict Orlov in “Notes from the House of the Dead,” was able to command himself, boundlessly despised all kinds of torment and punishment, was not afraid of anything in the world. In him you saw one infinite energy, a thirst for activity, a thirst for revenge, a thirst to achieve the intended goal. By the way, I was struck by his strange arrogance.

But in 1859 the "confession-novel" was not started. The nurturing of the idea lasted 6 years, during which F.M. Dostoevsky wrote “The Humiliated and Insulted”, “Notes from the Underground”. The main themes of these works - the theme of poor people, rebellion and the theme of an individualist hero - were then synthesized in Crime and Punishment.

In a letter to Russky Vestnik magazine, talking about his new story, which he would like to sell to the editors, Dostoevsky described his story as follows: “The idea of ​​the story cannot, as far as I can assume, contradict your magazine in anything, on the contrary. This is a psychological record of one crime. The action is modern, this year. A young man, expelled from university students, living in extreme poverty, due to frivolity, lack of understanding, succumbing to some strange, unfinished ideas that are in the air, decided to get out of his position at once. He decided to kill an old woman, a titular adviser who gives money for interest. The old woman is stupid, deaf, sick, greedy, takes Jewish interest, is evil and seizes someone else's eyelids, torturing her younger sister in her working women. “She is good for nothing”, “what does she live for?”, “is she useful to at least someone”, and so on - 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 this landowner's family - claims that threaten her with death - to complete the course, to go abroad and then all his life to be honest, firm, unswerving in the fulfillment of his “humane duty to mankind” - which, of course, will make up for the crime, if only this act against an old woman, deaf, stupid, evil, sick, who herself does not know, for what lives in the world, and which in a month, perhaps, would die of itself.

Despite the fact that such crimes are terribly difficult to commit - i.e. almost always, to the point of rudeness, they expose ends, evidence, and so on. and an awful lot is left to chance, which almost always betrays the culprit, he - in a completely random way - manages to commit his crime both quickly and successfully.

He spends almost a month after that, before the final catastrophe, there are no suspicions on him and cannot be. This is where the psychological process of crime unfolds. Unsolvable questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law takes its toll, and he ends up being compelled to denounce himself. Forced to join the people again, even if he died in hard labor, the feeling of disconnection and separation from humanity, which he felt immediately after the commission of the crime, locked him in. The law of truth and human nature took their toll, killed beliefs, even without resistance. The criminal decides to accept the torment himself in order to atone for his deed. However, it is difficult for me to explain my thought.

In addition, my story contains a hint of the idea that the imposed legal punishment for a crime frightens the criminal much less than the legislators think, partly because he himself morally requires it.

I have seen this even in the most undeveloped people, in the most rude accident. I wanted to express this precisely on a developed, on a new generation of people, so that the thought would be brighter and more obligatory visible. Several recent cases have convinced me that my plot is not at all eccentric, namely that the killer is a well-developed and even good-minded young man. I was told last year in Moscow (correctly) about one student's story - that he decided to break the mail and kill the postman. There are still many traces in our newspapers of the extraordinary vacillation of concepts that inspire terrible deeds. In a word, I am convinced that my story partly justifies modernity.

The plot of the novel is based on the idea of ​​a "ideological killer", which fell into two unequal parts: the crime and its causes, and, secondly, main part, - the effect of the crime on the soul of the criminal. This two-part concept will be reflected in the final edition of the title of the novel - "Crime and Punishment" - and on the structural features: of the six parts of the novel, one is devoted to the crime and five - to the influence of this crime on the essence of Raskolnikov and the gradual elimination of his crime.

Dostoevsky sent the chapters of the new novel in mid-December 1865 to Russkiy Vestnik. The first part had already appeared in the January 1866 issue of the magazine, but the novel had not yet been fully completed. Work on a further text continued throughout 1866.

The first two parts of the novel, published in the January and February editions of Russkiy vestnik, brought success to F.M. Dostoevsky.

In November and December 1866 the last part, the sixth part and the epilogue were written. The magazine in the December book of 1866 completed the publication of the novel.

Three notebooks with drafts and notes for Crime and Punishment have been preserved, i.e. three handwritten editions: the first (short) - “story”, the second (lengthy) and the third (final) edition, characterizing three stages, three stages of work: Wiesbaden (letter to Katkov), Petersburg stage (from October to December 1865, when Dostoevsky began the “new plan”) and, finally, the last stage (1866). All handwritten editions of the novel have been published three times, the last two being made at a high scientific level.

So in creative process nurturing the idea of ​​\u200b\u200b“Crime and Punishment”, two opposing ideas collided in the image of Raskolnikov: the idea of ​​\u200b\u200blove for people and the idea of ​​​​contempt for them. The draft notebooks for the novel show how painfully F.M. Dostoevsky was looking for a way out: either leave one of the ideas, or cut both. In the second edition there is an entry: “The main anatomy of the novel. It is imperative to bring the course of the case to a real point and eliminate uncertainty, that is, one way or another to explain the whole murder and make its character and relations clear. The author decides to combine both ideas of the novel, to show a person in whom, as Razumikhin says about Raskolnikov in the final text of the novel, "two opposite characters alternate in turn."

Dostoevsky searched just as painfully for the finale of the novel. In one of the draft notes: “The finale of the novel. Raskolnikov is going to shoot himself.” But this was the finale only for the “Napoleon idea”. The writer outlines the finale for the “idea of ​​love”, when Christ himself will save the repentant sinner.

But what is the end of a man who combines both opposite principles in himself? F. M. Dostoevsky understood perfectly well that such a person would not accept either the author's court, or the legal one, or the court of his own conscience. Only one court will Raskolnikov take over himself - the highest court, the court of Sonechka Marmeladova, the same Sonechka, in whose name he raised his ax, the very humiliated and insulted who have always suffered since the earth has stood.

Meaning of the novel's title

The problem of crime is considered in almost every work of F. M. Dostoevsky. The writer speaks about the crime in the universal sense, comparing such a view with various social theories popular at that time. In “Netochka Nezvanova” it is said: “A crime will always remain a crime, a sin will always be a sin, no matter how great the vicious feeling rises.” In the novel “The Idiot”, F. M. Dostoevsky states: “It is said “Thou shalt not kill!”, so why should he be killed? No, that's not possible." The novel "Crime and Punishment" is almost entirely devoted to the analysis of the social and moral nature of the crime and the punishment that follows it. In a letter to M. N. Katkov, F. M. Dostoevsky wrote: “I am writing a novel about modern crime.” Indeed, the crime for the writer becomes one of the most important signs of the times, a modern phenomenon. The writer sees the reason for this in the fall of public morality, which was in late XIX centuries obvious. The old ideals on which more than one generation of Russian people were brought up are collapsing, life gives rise to various social theories that propagate the idea of ​​a revolutionary struggle for a beautiful bright future (let us recall, for example, N. Chernyshevsky's novel What Is to Be Done?). Elements of bourgeois European civilization are actively penetrating the established way of Russian life. And - most importantly - Russian society is beginning to move away from the centuries-old tradition of the Orthodox world view, atheism is becoming popular. Pushing his hero to kill, F. M. Dostoevsky seeks to understand the reasons why such a cruel idea arises in the mind of Rodion Raskolnikov. Of course, his “environment stuck”. But she also ate poor Sonechka Marmeladova, and Katerina Ivanovna, and many others. Why don't they become murderers? The fact is that the roots of Raskolnikov's crime lie much deeper. His views are greatly influenced by the popular in the XIX century theory of the existence of "supermen", that is, such people who are allowed more than to an ordinary person, that “trembling creature” that Raskolnikov reflects on.

Accordingly, the very crime of Rodion Raskolnikov is understood by the writer much deeper. Its meaning is not only that Raskolnikov killed the old pawnbroker, but also that he himself allowed this murder, he imagined himself to be a man who is allowed to decide who lives and who does not. According to Dostoevsky, only God is able to decide human destinies. Consequently, Rodion Raskolnikov puts himself in the place of God, mentally equates himself to him. What does this entail? F. M. Dostoevsky had no doubt that only God, Christ, should be the moral ideal of man. The commandments of Christianity are unshakable, and the way to approach the ideal lies in the fulfillment of these commandments. When Rodion Raskolnikov puts himself in the place of God, he himself begins to create for himself a certain system of values. And this means that he allows himself everything and gradually begins to lose all the best qualities, trampling on generally accepted moral norms. F. M. Dostoevsky has no doubts: this is a crime not only of his hero, but also of many people of this era. “Deism gave us Christ, that is, such a lofty conception of man that it is impossible to understand him without reverence, and it is impossible not to believe that this is the eternal ideal of mankind. And what have the atheists given us?” - F. M. Dostoevsky asks Russia and answers himself: theories that give rise to crime, because atheism inevitably leads to the loss of the moral ideal, God in man. Can a criminal return to normal life? Yes and no. Maybe if he goes through long physical and moral suffering, if he can abandon those “theories” that he himself created for himself. Such was the path of Raskolnikov.

”, like all the works of Dostoevsky, is saturated with ideas “in the air”, facts gleaned from reality itself. The author wanted to "dig through all the questions in this novel."

But the theme of the future work did not immediately become clear, the writer did not immediately dwell on a specific plot. On June 8, 1865, Dostoevsky wrote to the editor of the magazine " Domestic notes A. A. Kraevsky: “My novel is called “Drunk” and will be in connection with the current question of drunkenness. Not only the question is analyzed, but all its ramifications are also presented, mainly pictures of families, the upbringing of children in this environment, and so on. and so on. There will be at least twenty sheets, but maybe more.

Fedor Dostoevsky. Portrait by V. Perov, 1872

However, after some time the idea of ​​the work, central character which, obviously, Marmeladov was supposed to become, the writer began to occupy less, since he had the idea to write a story about a representative younger generation. Dostoevsky sought to portray in the new work modern youth with its broad public interests, noisy debates on burning ethical and political issues, with its materialistic and atheistic views, which he characterizes as "moral instability". In the first half of September 1865, Dostoevsky informs the editor of Russky Vestnik M. N. Katkov that he has been working on a five-six-sheet story for two months, which he expects to finish in two weeks - in a month. This letter contains not only the main story line but also the ideological concept of the work. A draft of this letter is found in one of those notebooks that contain the rough drafts of Crime and Punishment.

“The idea of ​​the story cannot ... contradict your journal in anything; on the contrary, Dostoevsky informs Katkov. “This is a psychological account of one crime. The action is modern, this year. A young man, expelled from the university students, a tradesman by birth and living in extreme poverty, out of frivolity, out of unsteadiness in concepts, succumbing to some strange "unfinished" ideas that are in the air, decided to get out of his bad situation at once. He decided to kill an old woman, a titular adviser who gives money for interest. The old woman is stupid, deaf, sick, greedy, takes Jewish interest, is evil and seizes someone else's age, torturing her younger sister in her working women. "She is good for nothing", "what does she live for?", "Is she useful to anyone?" etc. - These questions confuse the young man. He decides to kill her, to 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's family - claims that threaten her with death, complete the course, go abroad and then all his life to be honest, firm, unswerving in the fulfillment of his "humane duty to mankind", which, of course, "will make amends for the crime."

Crime and Punishment. 1969 feature film 1 episode

But after the murder, writes Dostoevsky, “the whole psychological process of the crime unfolds. Unresolvable questions arise before the killer, unsuspected and unexpected feelings torment his heart. God's truth, earthly law takes its toll, and he ends up forced to convey to himself. Forced to die in penal servitude, but to join the people again; the feeling of openness and disconnection with humanity, which he felt immediately after the commission of the crime, tormented him. The law of truth and human nature have taken their toll... The offender himself decides to accept the torment in order to atone for his deed...

In addition, there is a hint in my story that the legal punishment imposed for a crime is much less intimidating to the criminal than the legislators think, partly because he and himself his morally demands».

Dostoevsky in this letter emphasizes that under the influence of materialistic and atheistic views (this is what he meant when he spoke of "strange" unfinished "ideas that are in the air") Raskolnikov came to a crime. But at the same time, the author points here to the extreme poverty, the hopelessness of the hero's position. In the early draft notes, there is also an idea that Raskolnikov was pushed to the crime by the difficult living conditions of NB. Let's see why I did it, how I decided, there is an evil spirit. NB (and this is where the analysis of the whole affair, anger, poverty begins) the exit of necessity, and it turns out that he did it logically.

Crime and Punishment. Feature film 1969 episode 2

Dostoevsky enthusiastically works on the story, hoping that it will be "the best" that he wrote. By the end of November 1865, when a lot had already been written, Dostoevsky felt that the work needed to be built differently, and he destroyed the manuscript. “I burned everything ... I didn’t like it myself,” he wrote on February 18, 1866 to Baron A.E. Wrangel. - The new form, the new plan carried me away, and I started again. I work day and night, and yet I work little” (ibid., p. 430). "The New Plan" is, obviously, the final plan of the novel, in which not only the theme of Marmeladov (the proposed novel "The Drunk Ones") and the theme of Raskolnikov (the story of the "theoretical crime") are intertwined, but Svidrigailov and especially Porfiry Petrovich, which is not mentioned at all in the earliest notebooks.

Dostoevsky at first intended to tell the story on behalf of the hero, to give Raskolnikov's diary, confession or memoirs about the murder he had committed. There are fragments in the notebooks in which the narration is in the first person, sometimes in the form of a confession, sometimes in the form of a diary. The drafts of "Crime and Punishment" also contain passages written in the first person, with first person corrections to the third. The writer was embarrassed that “confession in other points would be unchaste and it would be difficult to imagine what it was written for,” and he abandoned this form. “The story is from myself, not from him. If confession, then too much to the last extreme everything needs to be explained. So that every moment of the story is clear. “You need to assume the author is a being omniscient and infallible, exposing everyone to the view of one of the members of the new generation.

The novel "Crime and Punishment" was first published in the journal "Russian Messenger" for 1866 (January, February, April, June, July, August, November and December).

In 1867, the first separate edition was published: Crime and Punishment. A novel in six parts with an epilogue by F. M. Dostoevsky. Revised edition." Numerous stylistic corrections and abbreviations were made in it (for example, Luzhin's monologue at the commemoration was significantly shortened, a whole page of Raskolnikov's reasoning about the reasons that prompted Luzhin to slander Sonya was thrown out). But this editing did not change either the ideological content of the novel or the main content of the images.

In 1870, the novel, without additional corrections, was included in the IV volume of Dostoevsky's Collected Works. In 1877, the last lifetime edition of the novel was published with minor stylistic corrections and abbreviations.

The manuscript of the novel in its entirety has not come down to us. The Russian State Library stores small fragments of the manuscript of Crimes and Punishments, among them there are both early and late versions, the text of which is approaching the final version.

Dostoevsky's notebooks are stored in TsGALI. Three of them contain notes about the idea and construction of "Crime and Punishment", sketches of individual scenes, monologues and replicas of the characters. Partially, these materials were published by I. I. Glivenko in the journal Krasny Arkhiv, 1924, vol. VII, and then in full in 1931 in a separate book: “From the archive of F. M. Dostoevsky. "Crime and Punishment". Unpublished Materials. The earliest entries refer to the second half of 1865, the latest, including an autocommentary on the novel, to the beginning of 1866, that is, by the time the novel was printed.

The writing

"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 hand, a gray, faceless and submissive crowd, which the hero awards 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 characterizing 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 offender 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 rebellion 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 about 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. The city created by the hands of brilliant architects, St. Petersburg on 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 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 the owner 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 behind the fates of people. underworld where a person is humiliated and crushed, where a person "has nowhere to go." The episodes depicting the life of the “humiliated and insulted” indicate that the fate of the heroes of the novel is not determined by some random tragic circumstances or their personal qualities, but 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 does not blame Katerina Ivanovna for anything, she simply resigns herself to her 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 pleasure. 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. In the considerations presented above, in my opinion, there are 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 by him, 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 to understand who she is and who he is, what recognition gives him, why they need to live, helped to resurrect and look at themselves and others in a different way. 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 helped Raskolnikov too, 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 needy 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.

Frame from the film "Crime and Punishment" (1969)

60s of the XIX century. A poor district of St. Petersburg, adjacent to Sennaya Square and the Ekaterininsky Canal. Summer evening. Former student Rodion Romanovich Raskolnikov leaves his closet in the attic and pledges the last valuable thing to the old pawnbroker Alena Ivanovna, whom he is preparing to kill. On the way back, he goes into one of the cheap taverns, where he accidentally gets acquainted with the drunken official Marmeladov who has lost his place. He tells how consumption, poverty and drunkenness of her husband pushed his wife, Katerina Ivanovna, to a cruel act - to send his daughter from his first marriage Sonya to earn money on the panel.

The next morning, Raskolnikov receives a letter from his mother from the provinces, describing the misfortunes suffered by him. younger sister Dunya in the house of the depraved landowner Svidrigailov. He learns about the imminent arrival of his mother and sister in St. Petersburg in connection with the upcoming marriage of Dunya. The groom is a prudent businessman Luzhin, who wants to build a marriage not on love, but on poverty and the dependence of the bride. The mother hopes that Luzhin will financially help her son finish his course at the university. Reflecting on the sacrifices that Sonya and Dunya make for the sake of their loved ones, Raskolnikov becomes stronger in his intention to kill the pawnbroker - a useless evil "louse". Indeed, thanks to her money, “hundreds, thousands” of girls and boys will be spared from undeserved suffering. However, disgust for the bloody violence rises again in the hero's soul after he saw a dream-memories of childhood: the boy's heart is torn from pity for the nag being beaten to death.

And yet, Raskolnikov kills with an ax not only the “ugly old woman”, but also her kind, meek sister Lizaveta, who unexpectedly returned to the apartment. Having miraculously left unnoticed, he hides the stolen goods in a random place, without even estimating its value.

Soon Raskolnikov is horrified to discover alienation between himself and other people. Sick from the experience, he, however, is not able to reject the burdensome worries of his comrade at the university, Razumikhin. From the conversation of the latter with the doctor, Raskolnikov learns that the painter Mikolka, a simple village boy, was arrested on suspicion of the murder of an old woman. Painfully reacting to talk about a crime, he himself also arouses suspicion among others.

Luzhin, who came on a visit, is shocked by the squalor of the hero's closet; their conversation turns into a quarrel and ends in a breakup. Raskolnikov is especially offended by the closeness of practical conclusions from Luzhin’s “reasonable egoism” (which seems vulgar to him) and his own “theory”: “people can be cut ...”

Wandering around St. Petersburg, the sick young man suffers from his alienation from the world and is already ready to confess his crime to the authorities, as he sees a man crushed by a carriage. This is Marmeladov. Out of compassion, Raskolnikov spends the last money on the dying man: he is transferred to the house, the doctor is called. Rodion meets Katerina Ivanovna and Sonya, who is saying goodbye to her father in an inappropriately bright prostitute outfit. Thanks to good deed the hero briefly felt a community with people. However, having met his mother and sister who arrived at his apartment, he suddenly realizes that he is “dead” for their love and rudely drives them away. He is alone again, but he has a hope of getting closer to Sonya, who, like him, “stepped over”, the absolute commandment.

Raskolnikov's relatives are taken care of by Razumikhin, who almost at first sight fell in love with the beautiful Dunya. Meanwhile, the offended Luzhin puts the bride before a choice: either he or his brother.

In order to find out about the fate of the things pledged by the murdered woman, and in fact, to dispel the suspicions of some acquaintances, Rodion himself asks for a meeting with Porfiry Petrovich, the investigator in the case of the murder of the old pawnbroker. The latter recalls Raskolnikov's recently published article "On Crime", inviting the author to explain his "theory" about "two categories of people." It turns out that the "ordinary" ("lower") majority is just material for the reproduction of their own kind, it is they who need a strict moral law and must be obedient. These are "trembling creatures". “In fact, people” (“higher”) have a different nature, possessing the gift of a “new word”, they destroy the present in the name of the best, even if it is necessary to “step over” the moral norms previously established for the “lower” majority, for example, shed someone else's blood. These "criminals" then become the "new legislators". Thus, not recognizing the biblical commandments (“thou shalt not kill”, “do not steal”, etc.), Raskolnikov “allows” “those who have the right” - “blood according to conscience”. Clever and insightful Porfiry unravels in the hero an ideological killer who claims to be the new Napoleon. However, the investigator has no evidence against Rodion - and he releases the young man in the hope that a good nature will defeat the delusions of the mind in him and will herself lead him to a confession of what he has done.

Indeed, the hero becomes more and more convinced that he made a mistake in himself: “the real ruler smashes Toulon, makes a massacre in Paris, forgets the army in Egypt, spends half a million people on the Moscow campaign,” and he, Raskolnikov, is tormented by “vulgarity” and “ meanness" of a single murder. Clearly, he is a “trembling creature”: even having killed, he “did not cross” the moral law. The very motives of the crime are twofold in the mind of the hero: this is both a test of oneself for the “highest category”, and an act of “justice”, according to revolutionary socialist teachings, transferring the property of the “predators” to their victims.

Svidrigailov, who arrived after Dunya in St. Petersburg, apparently guilty of the recent death of his wife, meets Raskolnikov and notices that they are “of the same field”, although the latter did not completely defeat Schiller in himself. With all the disgust towards the offender, Rodion's sister is attracted by his seeming ability to enjoy life, despite the crimes committed.

During dinner in cheap rooms, where Luzhin settled Dunya and his mother out of economy, a decisive explanation takes place. Luzhin is accused of slandering Raskolnikov and Sonya, to whom he allegedly gave money for base services, selflessly collected by a poor mother for his studies. Relatives are convinced of the purity and nobility of the young man and sympathize with Sonya's fate. Exiled in disgrace, Luzhin is looking for a way to discredit Raskolnikov in the eyes of his sister and mother.

The latter, meanwhile, again feeling the painful alienation from loved ones, comes to Sonya. From her, who "crossed over" the commandment "do not commit adultery", he seeks salvation from unbearable loneliness. But Sonya is not alone. She sacrificed herself for the sake of others (hungry brothers and sisters), and not others for herself, as her interlocutor. Love and compassion for loved ones, faith in the mercy of God never left her. She reads to Rodion the gospel lines about the resurrection of Lazarus by Christ, hoping for a miracle in her life. The hero fails to captivate the girl with the "Napoleonic" plan of power over "the whole anthill."

Tortured at the same time by fear and a desire to be exposed, Raskolnikov again comes to Porfiry, as if worrying about his pledge. It seems that an abstract conversation about the psychology of criminals eventually brings the young man to a nervous breakdown, and he almost betrays himself to the investigator. He is saved by an unexpected confession to everyone in the murder of the pawnbroker painter Mikolka.

In the passage room of the Marmeladovs, a wake was arranged for her husband and father, during which Katerina Ivanovna, in a fit of morbid pride, insults the landlady of the apartment. She tells her and her children to leave immediately. Suddenly, Luzhin, who lives in the same house, enters and accuses Sonya of stealing a hundred-ruble banknote. The “guilt” of the girl is proven: the money is found in the pocket of her apron. Now, in the eyes of those around her, she is also a thief. But unexpectedly there is a witness that Luzhin himself imperceptibly slipped Sonya a piece of paper. The slanderer is disgraced, and Raskolnikov explains to those present the reasons for his act: having humiliated his brother and Sonya in the eyes of Dunya, he hoped to return the favor of the bride.

Rodion and Sonya go to her apartment, where the hero confesses to the girl in the murder of the old woman and Lizaveta. She pities him for the moral torments to which he condemned himself, and offers to atone for his guilt by voluntary confession and hard labor. Raskolnikov laments only that he turned out to be a “trembling creature”, with a conscience and a need for human love. “I will still fight,” he disagrees with Sonya.

Meanwhile, Katerina Ivanovna with the children finds herself on the street. She begins to bleed from the throat and dies after refusing the services of a priest. Svidrigailov, who is present here, undertakes to pay for the funeral and provide for the children and Sonya.

At home, Raskolnikov finds Porfiry, who convinces the young man to turn himself in: the “theory”, which denies the absoluteness of the moral law, rejects from the only source of life - God, the creator of mankind, one in nature, - and thereby dooms his prisoner to death. “Now you need air, air, air!” Porfiry does not believe in the guilt of Mikolka, who "accepted suffering" for the primordial people's need: to atone for the sin of inconsistency with the ideal - Christ.

But Raskolnikov still hopes to "transcend" morality as well. Before him is the example of Svidrigailov. Their meeting in a tavern reveals to the hero a sad truth: the life of this “insignificant villain” is empty and painful for him.

The reciprocity of Dunya is the only hope for Svidrigailov to return to the source of being. Convinced of her irrevocable dislike of himself during a heated conversation in his apartment, he shoots himself a few hours later.

Meanwhile, Raskolnikov, driven by the lack of "air", says goodbye to his family and Sonya before confessing. He is still convinced of the correctness of the "theory" and full of contempt for himself. However, at the insistence of Sonya, before the eyes of the people, he repentantly kisses the ground, before which he "sinned." In the police office, he learns about Svidrigailov's suicide and makes an official confession.

Raskolnikov ends up in Siberia, in a prison camp. Mother died of grief, Dunya married Razumikhin. Sonya settled near Raskolnikov and visits the hero, patiently enduring his gloom and indifference. The nightmare of alienation continues here: the convicts from the common people hate him as a "godless". On the contrary, Sonya is treated with tenderness and love. Once in the prison hospital, Rodion sees a dream reminiscent of pictures from the Apocalypse: the mysterious "trichinas", moving into people, give rise in everyone to a fanatical conviction of their own rightness and intolerance to the "truths" of others. "People killed each other in senseless malice" until the entire human race was exterminated, except for a few "pure and chosen ones." Finally, it is revealed to him that the pride of the mind leads to discord and destruction, while the humility of the heart leads to unity in love and to the fullness of life. It awakens "endless love" for Sonya. On the threshold of "resurrection in new life» Raskolnikov takes the Gospel in his hands.

retold

Dostoevsky's novel was literally gained by the author's suffering and excites the minds of readers to this day. The history of the creation of the novel "Crime and Punishment" is not simple, it is very interesting. The writer put his whole soul into this novel, which many thinking and thinking people and now does not give rest.

The birth of an idea

The idea of ​​writing a novel originated with Dostoevsky at a time when the writer was in hard labor in Omsk. Despite hard physical work, ill health, the writer continued to observe the life around him, for people whose characters, under conditions of imprisonment, were revealed from completely unexpected sides. And here, in hard labor, seriously ill, he decided to write a novel about crime and punishment. However, heavy hard labor and a serious illness did not make it possible to start writing it.

"All my heart will rely with blood on this novel,"

This is how Dostoevsky imagined the work on the work, calling it a novel-confession. However, the author was able to start writing it much later. Between the idea and its implementation, “Notes from the Underground”, “Humiliated and Insulted”, “Notes from the Dead House” were born. Many themes from these works, the problems of society described in them, found their place in Crime and Punishment.

Between dream and reality

After returning from Omsk, Dostoevsky's financial situation leaves much to be desired, worsening every day. And writing a huge problem-psychological novel took time.

Trying to earn at least a little money, the writer suggested that the editor of the Otechestvennye Zapiski magazine publish a short novel, The Drunk Ones. The author wanted to draw public attention to drunkenness. The plot was supposed to be connected with the Marmeladov family. The head of the family, a former official, dismissed from service, becomes an inveterate drunkard, and the whole family suffers.

However, the editor insisted on other conditions: Dostoevsky sold all the rights to publish the complete collection of his works for a meager fee. In accordance with the requirements of the editorial board, the author begins to write a novel, which must be submitted as soon as possible. So almost suddenly the writer began to work on the novel Crime and Punishment.

Start

Dostoevsky suffered from the disease of the player - he could not help playing. And, having received a fee from the magazine, the writer, having corrected his affairs a little, again succumbed to the gambling temptation. In Wiesbaden, he had nothing to pay for the table and light in the hotel. Thanks only to the kind disposition towards him of the owners of the hotel, Dostoevsky did not stay on the street.

To get the money, it was necessary to finish the novel on time, so I had to hurry. The writer decided to tell a story about how a poor student decided to kill and rob an old woman. The plot was supposed to be a story about one crime.

The author has always been interested in the psychology of his characters, and here it was extremely important to study and describe the psychological state of a person who deprived another of his life, it was important to reveal the “process of crime” itself. The writer had almost finished the novel, when suddenly the manuscript was destroyed for a completely incomprehensible reason.

Psychology of creativity

However, the novel had to be handed over to the editor under the contract. And the hard work began again. The first part of the magazine "Russian Messenger" was published already in 1866. The term for writing the novel was ending, and Dostoevsky's plan only gained more and more completeness. The history of the student is closely intertwined with the history of the drunkard Marmeladov and his family.

The writer was threatened with creative bondage. To avoid it, the author is distracted from Crime and Punishment for 21 days and literally writes in three weeks new novel"Player", takes it to the publisher.

Then he again continues to write a protracted novel about a crime. He studies the criminal chronicle and is convinced of the relevance of the chosen topic. He ends the novel in Lublin, where he lives at this time with his sister on the estate. The novel was completely finished and printed at the end of 1866.

Diary of a novel

It is impossible to study the history of writing a novel without studying the writer's drafts. Sketches and rough notes help to understand how much effort, work, soul and heart, how many thoughts and ideas the author has invested in his novel. They show how the idea of ​​the work changed, how the range of tasks expanded, how the entire architecture of the composition of the novel was built.

The writer almost completely changed the form of the narrative in order to understand Raskolnikov's behavior and character in as much detail and as thoroughly as possible, to understand the motives for his actions and deeds. In the final version (third), the narration is already in the third person.

So the hero begins to live his own life, and completely independently of the will of the author, does not obey him. Reading the workbooks, it becomes clear how long and painfully Dostoevsky himself tries to figure out the motives that pushed the hero to the crime, but the author almost failed to do this.

And the writer creates a hero in which "two opposite characters alternate in turn." It is clearly seen how two extremes, two principles are simultaneously present and fighting with each other in Rodion: contempt for people and love for them.

Therefore, it was very difficult for the author to write the finale of the novel. Dostoevsky at first wanted to end with how the hero turned to God. However, the final version ends very differently. And this prompts the reader to think, and even after the last page of the novel is turned.