Dostoevsky f. m. Social and philosophical origins of the Raskolnikov riot - essay Crime and Punishment theme origins

FM Dostoevsky's focus is on the terrible reality of Russia in the middle of the 19th century, with its poverty, lack of rights, oppression, suppression, corruption of the individual, suffocating from the consciousness of his powerlessness and rebelling. Such a hero in the novel "Crime and Punishment" is Rakolnikov.

The great writer foresaw the appearance of rebellious ideas that would blow up old ideas and norms of human behavior. This was the idea that Raskolnikov endured in long agony. His task is to rise above the world, to achieve "power over the entire human anthill." "Am I a trembling creature" or "I have the right" - such is the painful dilemma facing the hero. The murder of the old woman-pawnbroker becomes a way of resolving all contradictions.

What are the social origins of this way of thinking? Dostoevsky, introducing his hero, immediately, on the first page, speaks of his social position. The young man does not come out of the room, but out of the closet, which the author later compares with a wardrobe, chest, fob, describes its squalor, emphasizing the extreme poverty of its inhabitant: “he was crushed by poverty,” as he writes Dostoevsky.

A dream about a slaughtered horse, which he sees before the crime, tells about the origins of Raskolnikov's rebellion in symbolic form. First, this protest against murder, senseless cruelty, sympathy for someone else's pain. All this testifies to the hero's delicate, vulnerable soul. Secondly, the dream is perceived as a battle of the existing order. Life is unfair, fuba, cruel, its owners, riders, drive the unfortunate hammered nags.

The author directly correlates Raskolnikov's philosophy with the activities of Napoleon. It was in him that a part of the youth of the beginning of the 20th century found an example of a bright personality who had risen from the bottom to the pinnacle of power. “I wanted ... to become Napoleon,” says Raskolnikov to Sonya. Napoleon is close to Raskolnikov by the ability to walk over the corpses of his fellow tribesmen for the sake of self-affirmation. In addition, Raskolnikov's philosophy has a source that is closer. The strong nature of the hero, with youthful impatience, rushed to the extreme of being officer, for it was necessary "now, and as soon as possible" to decide "at least for something." Raskolnikov's mind formalizes the ugly device of human relations, and at the same time all other aspects of life. He is ready to consider the whole human race "scoundrels" and proceed from this to perform his actions.

Yes, this is nihilism, but not even in Bazar's proportions, but in its most extreme development, phage nihilism. In the office of the Ras kolnikov he goes to the last point - to the decision to make a donation to his allotment, and not in words officializing this life.

An idea that is fundamentally false is debunked from within - through the beating of the unfortunate person. Raskolnikov understands that nothing can be changed by crime. The novel is written in such a way that all events not only amaze the reader, but also convince with their big and phage truth.

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FM Dostoevsky's focus is on the terrible reality of Russia in the middle of the 19th century, with its poverty, lack of rights, oppression, suppression, corruption of the individual, suffocating from the consciousness of his powerlessness and rebelling. Such a hero in the novel "Crime and Punishment" is Rakolnikov.

The great writer foresaw the appearance of rebellious ideas that would blow up old ideas and norms of human behavior. This was the idea that Raskolnikov endured in long agony. His task is to rise above the world, to achieve "power over the entire human anthill." "Am I a trembling creature" or "I have the right" - such is the painful dilemma facing the hero. The murder of the old woman-pawnbroker becomes a way of resolving all contradictions.

What are the social origins of this way of thinking? Dostoevsky, introducing his hero, immediately, on the first page, speaks of his social position. The young man does not come out of the room, but out of the closet, which the author later compares with a wardrobe, chest, fob, describes its squalor, emphasizing the extreme poverty of its inhabitant: “he was crushed by poverty,” as he writes Dostoevsky.

A dream about a slaughtered horse, which he sees before the crime, tells about the origins of Raskolnikov's rebellion in symbolic form. First, this protest against murder, senseless cruelty, sympathy for someone else's pain. All this testifies to the hero's delicate, vulnerable soul. Secondly, the dream is perceived as a battle of the existing order. Life is unfair, fuba, cruel, its owners, riders, drive the unfortunate hammered nags.

The author directly correlates Raskolnikov's philosophy with the activities of Napoleon. It was in him that a part of the youth of the beginning of the 20th century found an example of a bright personality who had risen from the bottom to the pinnacle of power. “I wanted ... to become Napoleon,” says Raskolnikov to Sonya. Napoleon is close to Raskolnikov by the ability to walk over the corpses of his fellow tribesmen for the sake of self-affirmation. In addition, Raskolnikov's philosophy has a source that is closer. The strong nature of the hero, with youthful impatience, rushed to the extreme of being officer, for it was necessary "now, and as soon as possible" to decide "at least for something." Raskolnikov's mind formalizes the ugly device of human relations, and at the same time all other aspects of life. He is ready to consider the whole human race "scoundrels" and proceed from this to perform his actions.

Yes, this is nihilism, but not even in Bazar's proportions, but in its most extreme development, phage nihilism. In the office of the Ras kolnikov he goes to the last point - to the decision to make a donation to his allotment, and not in words officializing this life.

An idea that is fundamentally false is debunked from within - through the beating of the unfortunate person. Raskolnikov understands that nothing can be changed by crime. The novel is written in such a way that all events not only amaze the reader, but also convince with their big and phage truth.

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FM Dostoevsky once said that the works of NV Gogol "crush the mind with the deepest unbearable questions, evoke the most restless thoughts in the Russian mind." We can rightfully attribute these words to the works of Dostoevsky himself, which are permeated with restless and disturbing thoughts. Crime and Punishment is a novel about Russia going through an era of deep social and moral upheavals. This is a novel about a hero who contains all the suffering, pain and wounds of his time in his chest.

"Hero of our time" - Rodion Raskolnikov - a young man endowed by nature with intelligence, the ability to compassion, and therefore so acutely perceiving the suffering and pain of others, painfully reacting to manifestations of human injustice and meanness. Wandering around Petersburg, Rodion sees terrible scenes of despair, humiliation, devastation and anger of people, the torment of those who, by a reality based on the power of money, are doomed to poverty, drunkenness and, ultimately, death. The hero of the novel is ready to become, in a certain sense, an avenger for the disadvantaged and humiliated.

From a letter to his mother, Rodion learns about Svidrigailov's harassment against his sister and about Dunya's decision to marry Luzhin in order only to save him and his mother from poverty and shame. Raskolnikov is deeply outraged by the existing order of things, in which life is bought at the cost of crime, moral death and which contradicts his dreams of the perfection and harmony of the world. And he is not able to accept the sacrifices of his dearly beloved mother and sister. The salvation of people dear to him becomes another motive for the impending crime.

In addition, he himself, like his family, is crushed by poverty, but does not want to put up with it and intends to overcome poverty. First of all, not for his own sake, but for the sake of his loved ones and other disadvantaged people.

Raskolnikov's sensitive and vulnerable soul is overwhelmed with living pain for a person, he is deeply wounded by the horror and absurdity of the surrounding reality, therefore a rebellion is ripening in his soul, and therefore his idea is born. And that is why he suffers, rushes about the St. Petersburg streets, leads some kind of feverish, "abnormal" life: and a fantastic question that tormented his heart and mind, irresistibly demanding a solution. " For a long time already arose in his brain the idea that in the name of an idea, in the name of justice, in the name of progress, murder can be allowed and even justified, “blood according to conscience,” as the hero of the novel calls it. And the visit to the usurer, in whom he, almost dying of hunger, was forced to pawn a ring - a gift from his sister, only sharpened this conviction. The old woman, profiting from someone else's grief, aroused in his soul an irresistible hatred and disgust. A conversation between a student and an officer about this "stupid, insignificant, evil ... and harmful to everyone" pawnbroker, which he accidentally heard in the tavern, finally confirmed him in the idea that on the general scale the life of this old woman was nothing compared to thousands of other lives. And her money "doomed to the monastery" can save many perishing, dying of hunger and vice. "To kill such a harmful old woman is to resist evil and restore justice!" - decides Raskolnikov.

For Rodion, Luzhin is the personification of social evil - a successful, greedy and cynical businessman, spoiled by the power of money, embodying vulgarity and selfishness, and

The rich man Svidrigailov, a lecher who pursues defenseless victims (including Raskolnikov's sister).

Pushes Raskolnikov to a crime and his desire to solve an ethical problem: is it possible, by breaking the law, to come to happiness? It turns out not. After committing a crime, suffering, torment, torment appear. Where is there to think about universal happiness, if personal happiness is not achieved. He says to his sister: "... if only I had stabbed because I was hungry ... then I would now ... be happy!"

The main and most significant in the work is the theory developed by the hero. Since the world that he sees around him is terrible, ugly, and it is impossible and unnatural to accept it, to come to terms with its laws, and he does not believe in the possibility of curing the diseases of his “troubled” tragic time, the only way is to rise above this “anthill” ... "Ordinary" people "live in obedience" and "must be obedient." This is unnecessary, accepting any order of things. "Extraordinary" people - the destroyers of this order - break the law. Rodion wants to rise above the customs and morals of the world around him, to prove that "it is not a trembling creature," but "has the right." To become above the world for Rodion Raskolnikov means to become a man, to find true freedom, and only truly "extraordinary" people, the only ones worthy of being called people, are capable of this. All the burden of rejection, rebellion of a "proud man", an extraordinary personality, Raskolnikov places on one of himself, on his personal energy and will. Either obedience and submission or rebellion - the third, in his opinion, is not given.

Thus, Raskolnikov wants to transcend not only moral and social, but also physical laws that fettered human nature. But besides the main theory, the hero of the novel also built a second, more noble, softening harshness of the first. He decided that he would use the money stolen from the pawnbroker to help other people, save "hundreds of young lives" from death and debauchery. But he is tormented by the question: is he capable of being a real person who has the right to break, is he personally capable of a crime-riot? Will he be able to overstep the murder, even for the sake of a great good goal?

These are, in general terms, the social and philosophical origins of the revolt of the protagonist of the novel by F. M. Dostoevsky, who, according to the author, "realizes and judges the world and man - this is the greatness and charm of his personality." But the crime committed by the hero of the novel became the very experiment that immediately showed the inconsistency of his theory of crime, showed that Rodion Raskolnikov would “never repeat the murder again” “going the same way”.

Here is the defeated god lies -

He fell, and he fell low.

That's why we built

Above the pedestal.

Frank Herbert

The novel Crime and Punishment was written in 1866. The sixties of the nineteenth century were very turbulent not only politically, but also in the field of thinking: the age-old moral foundations of society were crumbling. The theory of Napoleonism was widely preached. The young people thought they were allowed to do anything. “In one life - thousands of lives saved from decay and decay. One death and a hundred lives in return - why, there is arithmetic! ". Of course, in real life, no one killed anyone, but only thought about it - as a joke. Dostoevsky brought this theory to its climax to see what happened. What happened was this: an unfortunate person who does not understand his mistake, a lonely person, tormented spiritually and physically. This is how Raskolnikov appears to us.

If we turn to Raskolnikov's childhood memory (dream), we see a kind, sensitive boy who is trying to save a dying horse. “Thank God, this is only a dream! But what is it? Could it be that a fever is beginning in me: such an ugly dream! " - says Raskolnikov, waking up. He can no longer imagine himself like that, for him this little boy is "a trembling creature, a louse." But what changed Raskolnikov so much? There are many reasons, but they can be reduced to several, more general ones.

The first is probably the time in which Raskolnikov lived. This time itself pushed for changes, protests, riots. Probably every young man then (and now!) Considered himself the savior of the world. Time is the root cause of Raskolnikov's actions.

The second reason is the city of Petersburg. Here is what Pushkin writes about him:

The city is lush, the city is poor,

Spirit of bondage, slender look,

The vault of heaven is pale green,

Boredom, cold and granite.

In Crime and Punishment, Petersburg is a vampire city. He drinks the juices of life from the people who come there. So it happened with Raskolnikov. When he first came to study, he was still that nice boy from childhood. But time passes, and the proudly raised head sinks lower and lower, the city begins to choke Raskolnikov, he wants to breathe deeply, but he cannot. It is interesting that during the entire novel St. Petersburg only once appears before Raskolnikov with a part of its beauty: “An inexplicable cold was blowing on him from this magnificent panorama; for him this magnificent picture was full of a dumb and deaf spirit ... "But the majestic view of St. Isaac's Cathedral and the Winter Palace is not for Raskolnikov, for whom St. Petersburg is his closet -" closet ", closet -" coffin ". It is Petersburg that is largely to blame for the novel. In it, Raskolnikov becomes lonely and unhappy, in it he hears the officers' conversation, in it, finally, an old woman who is to blame for her wealth lives.

After digging into the main social causes of the rebellion, it is worth tackling the philosophical and psychological ones. Here, the first is, of course, the character of Raskolnikov: proud, even vain, independent, impatient, self-confident, categorical ... but you never know you can pick up definitions? Because of his character, Raskolnikov fell into such a hole, from which few can get out ...

When Raskolnikov was just developing his theory, he, not yet suspecting, already considered himself a People with a capital letter. Further more. Being in constant solitude, he only did what he thought. So, he deceived himself, convinced himself of what was not. Interestingly, at the beginning he justifies himself, like many young people, with the noble goal of helping others. But after committing the crime, Raskolnikov realizes that he killed not to help others, but for himself. “The old woman was only a disease ... I wanted to cross as soon as possible ... I did not kill a person, but I killed principles. I killed the principles, but I didn't overstep, I stayed on this side ”,“… I had to find out then, and quickly find out if I was a louse, like everyone else, or a human? .. Am I a trembling creature or have the right ... “It is also interesting that Raskolnikov, until the very end, considered himself the only right. "Nothing, they won't understand anything, Sonya, and they are unworthy to understand", "... maybe I am still a man, and not a louse, and hastened to condemn myself. I will still fight."

Raskolnikov's relatives understood him better than he did himself. “After all, he does not love anyone; maybe he will never love! " - says Razumikhin. “And the rogue, however, this Raskolnikov! I dragged a lot on myself. A big rogue can be in time, when nonsense will rise up, and now he really wants to live too much ", - says Svidrigailov." I regard you as one of those who at least cut out the guts, and he will stand and look at the tormentors with a smile, - if only the faith il God finds. Well, find it and you will live, ”says Porfiry Petrovich. "She [Sonya] knew, moreover, his vanity, arrogance, pride and unbelief."

Disbelief. It is with this word that Dostoevsky wants to justify Raskolnikov's act. This is evidenced by Sonya, "character number two," a true believer and living by this, who has risen due to this much higher than Raskolnikov. This is evidenced by the name of the main character. This is evidenced by numerous allusions and "unquoted" quotations from Holy Scripture, hidden Gospel images. After all, God means not just belief in something supernatural, but also the presence of minimal moral principles. And this is so necessary in an era of changes and revolts in order to keep a person afloat, not to lead him astray!

“If a creature has already become someone, it will die, but will not turn into its own opposite”, “there is no sharp line between people and gods: people become gods, and gods turn into people” - these lines were written much later, and this proves that no matter what time we live, the themes for the novels remain the same: where is the border between fas and nefas (permissible and unlawful).

In the preparation of this work were used materials from the site

FEDOR DOSTOEVSKY (1821-1881)

PHILOSOPHICAL AND SOCIAL SOURCES OF RODION RASKOLNIKOV'S THEORY

The protagonist of the novel is Rodion Raskolnikov, a half-educated student who vegetates (“poverty agonized him”) in St. Petersburg on the top floor in a room that resembles a wardrobe, a coffin, or a doghouse: “His little room was under the very roof of a high five-story building and looked more like a closet than a dwelling. The hostess from whom he hired this little room lived on the floor below, and each time, leaving the house, he had to walk past the kitchen, with the door almost always wide open ... And every time he passed by, he was swept by some painful and timid feeling, of which he was ashamed and from which he frowned painfully. He owed a lot to the hostess and was afraid to meet with her. "

The reader immediately notices the striking contrast between Rodion's beautiful appearance and his miserable clothes (“He was so poorly dressed that another, even familiar to everything, person would be ashamed to go out in such rags during the day on the street”).

It seems that he constantly justifies his name, his soul is “split” to such an extent. In fact, he is a kind person: he gives the last money to the Marmeladnykh family, intercedes for an unfamiliar girl, saving her from the encroachments of a lustful husband, later, during the investigation, it turns out that, risking his life, he saved the children from the burning house. How did it happen that such a person

was able to lower the ax on the heads of defenseless women? After all, he was aware of all the monstrosity, all the disgustingness of his act: “Oh God! how disgusting it is! And really, really, I ... no, this is nonsense, this is nonsense! he added emphatically. - And could such a horror have entered my head? However, my heart is capable of dirt! The main thing: disgusting, disgusting, disgusting, disgusting! .. And I, for a whole month ... (Dostoevsky emphasizes the acute internal struggle that went on in Rodion's soul. - Years.). But he could not express either words or exclamations of his excitement. The feeling of immeasurable disgust, which began to oppress his heart even when he was just going to the old woman, has now reached such strength and such expressiveness that he did not know where to go from his melancholy. "

Raskolnikov's theory, its inhuman meaning

Rodion Raskolnikov reveals the essence of his theory in a conversation with the investigator Porfiry Petrovich, when he explains the "idea" he outlined in an article published earlier. In his opinion, humanity is divided into two unequal parts: "trembling creatures" and "those who have the right." The lowest category ("trembling creatures") is the general mass, the purpose of which is to be law-abiding citizens, a kind of "building material" of history. The highest category (“those who have the right”) is called upon to lead and direct the human common, unable to independently change their lives. Such people destroy the present in the name of the future, oppose the conservative masses, the established way of life, old traditions and laws. Raskolnikov came to the conclusion that they are outside good and evil (later the name "Beyond Good and Evil" was chosen by F. Nietzsche for his work). Human ethical standards do not concern them, therefore, according to Raskolnikov, an "extraordinary" person has the right ... that is, not an official right, but he himself has the right to allow his conscience to step over ... over some obstacles, and only in that case, when the fulfillment of her intention (sometimes, perhaps, saving for all mankind) will require it. " Here the terrible word “murder” (“blood”, “death”) is cleverly replaced by the “smooth” and non-grave formula “some obstacles”, but this does not change the essence of the matter.

S. Kosenkov. Illustration for the novel by F. Dostoevsky "Crime and Punishment".

Mid XX centuries.

Note that a similar "verbal balancing act" is also applied further in relation to the "calming-scientific" word "percentage". This is how the shameful essence of all the brutal "theories" hidden behind convenient words and formulas like "step over ... over some obstacles" instead of direct - "kill a person" or "a certain percentage of people must go" instead of "someone must die ". And it is precisely the one whose mind is also poisoned by such a theory, Raskolnikov, who does this. This is how he sympathizes with the grief of a drunken girl whom he had just saved from the encroachments of a lustful stranger: “Poor girl! She will come to her memory, cry, then her mother will find out ... At first she grants slaps in the face, and then hangs, painfully and with shame, maybe she will chase away ... But if she doesn’t chase her away, they will sniff out Daria Frantsivni anyway, and my girl will start to run here and there. And there will soon be a hospital (and this is always with those who live with their mothers very honest and secretly play around), well, then ... and then again a hospital ... wine ... taverns ... and also a hospital .. .. two or three years later, crippled, and only lived nineteen or eighteen years at most ... "But suddenly Rodion forgets about compassion and instantly becomes a cynic:" Ugh! Let it be! This, they say, is the way it should be. A certain percentage, they say, must go every year ... somewhere ... to hell, apparently, so that the rest can be refreshed and not disturbed. Percent! And wonderful, really, they have these words, they are so calming, scientific. It has been said: percentage, therefore, there is nothing to worry about. Whenever there would be some other word, well then ... it might not be so calm ... But what if Dunechka will somehow get into the percentage! When not in one, then in another? .. " Consequently, any inhuman "theory" applied to a loved one (in this case, to Dunya's sister) ceases to be attractive, reveals its bestial essence. Returning directly to Raskolnikov's theory, we note that the novel shows a sharply negative attitude of the author not only to the fact of crime, but also to his theory as a philosophical construction. Covered with beautiful phrases about the need to renew the life of society (and there are “those who have the right” behind Raskolnikov), this theory is brutal and inhuman in its essence. So, at the moment of mental stress, Rodion, sick and irritated by a conversation with Sonya Marmeladova, breaks through about the true motives for the emergence of his theory: “Will and power, and most importantly, power! Over all these trembling creatures and over the whole anthill! .. Here is the goal! Remember this! This is my parting word to you! " Perhaps someone will say that this thought was expressed by a sick person and she did it in spite, but all the same - the spoken word has some incomprehensible property to come true.

V. Vilner. Illustrations for the novel by F. Dostoevsky "Crime and Punishment". 1960s

Raskolnikov's theory has philosophical, social and psychological roots. Let's start with the fact that it is based on “unfinished ideas” that “hung in the air” somewhere in the middle of the 19th century, at the time of the creation of the novel. In the epilogue, the author compares them with the terrible trichin viruses that lead humanity to self-destruction. Sick Raskolnikov “realized that the whole world was doomed to the victim of some terrible, unheard of and unprecedented ulcer-pestilence. People became obsessed and insane. But never, never did people consider themselves as intelligent and unshakable in truth, as the infected thought. They never considered their sentences, their "scientific conclusions, their moral convictions and beliefs more adamant. Whole villages, entire cities and peoples became infected and went crazy." a student with an officer (and students and officers are the intellectual part of society), perfectly illustrates Rodion's theoretical reasoning and encourages action.Raskolnikov considers Napoleon to be a concrete example of an "extraordinary person", who is indifferent to the fate and lives of others in an effort to make Europe happy with freedom. echoes the principle "the end justifies the means", which is attributed to the Italian politician of the XVI century Machiavelli, then to the Jesuits.

Dostoevsky's novel was written in 1866, so Raskolnikov's theory cannot be identified with Nietzsche's idea of ​​a "superman", formulated later. However, they have a common philosophical basis and arose on a common ground - in the mindset of the middle of the 19th century. At that time in Europe and Russia the philosophy of individualism of A. Schopenhauer was known. Consonant with the philosophy of rationalism (rationalism, outside - moral vision of reality), it gave rise to immoral "arithmetic": what weighs more is a trifling evil grandmother or thousands of good deeds and the benefit of millions of people ? We have already seen something similar in Stendhal's novel Red and Black, when Julien Sorel literally repeats the aforementioned phrase of Machiavelli: “The end justifies the means; if I were not such an insignificant speck of dust, but had at least some kind of power, I would have ordered three to be hanged in order to save the lives of four. " Consequently, such thoughts then existed not only in Russia, but also in France, and throughout Europe. However, Dostoevsky considered this unacceptable, because the answer to them is the same, the Christian "Thou shalt not kill!"

Ad fontes

Napoleon needed not a conquest, but war itself as a means of excitement, like intoxication. Napoleon's blood circulation was irregular and extremely slow. Only in battle did he feel good, his pulse began to beat evenly and at a normal speed.

Fyodor Dostoevsky is also interested in the social and everyday causes of the emergence of antihuman philosophy. A deadly idea arises in a room that looks like a coffin (wardrobe, closet, sea cabin), and not like a normal human dwelling. Remember, Raskolnikov is dressed in such a way that someone else would "agree to go out" on the street, does not pay for an apartment and often goes hungry. The family, trying to "bring Rodion into the people", first drove themselves into bondage to Svidrigailov, taking their salary in advance, and then Dunya for the sake of her brother is ready to sacrifice herself and become the wife of the cynical, vile businessman Luzhin.

Leading in the novel is the motive of the hopelessness of human existence in the inhuman conditions of the then society and the problem of finding a way out of it. It is impossible to talk about the social roots of the theory of permissiveness only by the example of Raskolnikov's fate. The storyline of the Marmalade family may be a separate social novel. And the fate of Sonya Marmeladova is a symbol of the suffering of all mankind. Hungry children, a terminally ill mother, father's drunkenness through the feeling of this hopelessness - such a family portrait is actually a portrait of the entire era. Such pictures raise a storm of protest in the soul of Rodion, who feels his weakness and inability to help even his closest relatives. Hence the irritation regarding Razumikhin's proposal to make a living by lessons or translations, and Nastya's challenge: “They pay for children with copper. What can you do for a penny, - he continued reluctantly, as if answering his own thoughts. - Would you have all the capital at once? He looked at her with satisfaction. "Yes, all the capital," he answered firmly, after a pause. "

M. Shemyakin. Sketches for the ballet "Crime and Punishment". 1985, 1964

To understand the social origins of the idea of ​​individualistic protest, the image of St. Petersburg in the novel is of great importance. Dostoevsky created a typical picture of the life of the philistine poor and petty officials. These are taverns, where people seek oblivion from their hard existence, trying in vain to drown all their problems in vodka. These are dirty streets, where moral filth also reigns. This angry and mocking crowd is having fun with someone else's grief and someone else's mediocre (remember Raskolnikov's dream about how Kolya beat his filly). This is terrible poverty, constant dependence on a usurer, such a Russian Gobsek. Gloomy poor areas are perceived even more horribly against the background of the luxury of Nevsky Prospekt. Such Petersburg is a fertile and supposedly diligently prepared ground for the germination of thoughts like Raskolnikov's theory, especially among thinking people, those who are able to feel not only their own, but also their common grief (see below, Dostoevsky's Petersburg).

However, this is an incomplete picture of the origins of the theory. "And the life, and the character, and the worldview of the hero - everything was reflected in his theory" (M. Kachurin). A person with a different psychology could not build a logically harmonious and vitally contradictory from a sharp mind and heartache

theory. Razumikhin is also an individualist, but he sees a way out in reasonable and honest entrepreneurship, support and help to the desperate Raskolnikov. The theory arises as an attempt to find a way out of difficult living conditions and at the same time as revenge on society, punishment for the "rulers of life", gradually turning into a desire to become over people oneself. And the inhuman essence of "resolving blood according to conscience" is debunked both in the philosophical-social and in the moral-psychological aspects.

Raskolnikov's article outlining his "theory" appeared in the newspaper two months before he heard the conversation between the officer and the student, and he had a plan to murder the old woman-pawnbroker. He did not know about the release of the article that Raskolnikov wrote six months ago, when he left the university, and therefore the newspaper, to whose editorial office Rodion asked to be published, no longer seemed. The main differences between "trembling creatures" and "those who have the right", as Raskolnikov understood them, are presented in the table.