What scenes of street life are there in the novel Crime and Punishment by F. Dostoevsky? The image of the city in Fyodor Dostoevsky’s novel “Crime and Punishment” What is special about street scenes

PLAN-OUTLINE LESSONliterature.

Lesson topic - F.M. Dostoevsky "Crime and Punishment". Petersburg by Dostoevsky"

Basic tutorial.

Purpose and objectives of the lesson :

Target: creating conditions for the formation of moral values ​​through comprehension of the meaning of the novel by F.M. Dostoevsky's "Crime and Punishment"

Educational-

Introduce students to the image of St. Petersburg in the work

F.M. Dostoevsky's "Crime and Punishment"

Analyze the landscapes of St. Petersburg, scenes of street life, the interiors of the apartments of the heroes of the novel, the appearance of people in the novel by F.M. Dostoevsky "Crime and Punishment".

Compare the image of St. Petersburg in the novel by F.M. Dostoevsky and the description of the city by A.S. Pushkin and N.V. Gogol.

Developmental-

To develop skills of an analytical and reflective nature;

To develop the ability to express one’s point of view in dialogue and solve a problem situation.

Educational-

To cultivate a love for Russian classical literature and artistic expression;

Develop the skills of compassion, empathy, empathy;

Ability to work in a team.

Lesson type - lessoncombined

Forms of workstudents I- group form of training, individual, collective.

Required technical equipment:

Projector, board;

Presentation for the lesson;

L.V. Beethoven's Moonlight Sonata

X lesson od:

During the classes

Positive attitude to class (1 min.)

Good afternoon guys. Today we have a literature lesson and I hope that we will all have fun in this lesson. You and I will succeed!

Lesson assessment (2 min.)

Let's agree on the rules of work in the lesson. Work in the lesson is carried out in a group. You determine your roles yourself, do the work together, and one person from the group presents the result of the work in class.

2. Setting a goal

The topic of today's lesson: "Petersburg by Dostoevsky» .

-What do you think we need to know in this lesson? (with the help of which Dostoevsky depicts the city)

What techniques does he use to do this??(description of streets, interiors, portraits, landscapes).

- To find out what we will do in this lesson?(analyze episodes in which descriptions of streets, interiors, portraits, landscapes are created, and compare images of St. Petersburg from other writers).

At home you read part 1 of the novel by F.M. Dostoevsky's "Crime and Punishment". What impression did this work make on you?

(children's answers)

The great poet A.S. Pushkin said about this city:

...there now

Along busy shores

Slender communities crowd together

Palaces and towers; ships

A crowd from all over the world

They strive for rich marinas;

The Neva is dressed in granite;

Bridges hung over the waters;

Dark green gardens

Islands covered it...

I love you, Petra's creation,

I love your strict, slender appearance,

Neva sovereign current,

Its coastal granite,

Your fences have a cast iron pattern,

of your thoughtful nights

Transparent twilight, moonless shine...

And the sleeping communities are clear

Deserted streets and light

Admiralty needle...

Only in this city you will see unique architectural monuments.

This is one of the most beautiful cities in the world. Its streets, avenues, embankment squares are true works of art, created according to the plans of great architects. It is a city of rivers and canals and associated bridges, many of which are famous throughout the world. It has many theaters. Among the most famous architectural structures are the Peter and Paul Fortress, the Church of the Resurrection of Christ, and the Admiralty, the slender tower of which has become a symbol of the city.

What other writer's work takes place in St. Petersburg?

(in N.V. Gogol’s story “The Overcoat”)

What kind of St. Petersburg is it? (A werewolf with a double face. A miserable life is hidden behind the ceremonial beauty)

What city is this in your opinion?

Let's return to Dostoevsky's Petersburg.

So, there are 4 groups in the class. 1- description of landscapes.

2-description street life scenes

3-descriptioninteriors

4- portraits

The tasks are on your sheets. Get started. You have 5 minutes.

Group work:

Restore the image of the city from Dostoevsky, Fill the table.

Group work assignments.

Group 1: describe the landscapes in the novel (part 1: chapter 1; part 2: chapter 1;) Write down the key words in the table.

Group 2: compare scenes of street life (part 1: chapter 1) Write down the key words in the table.

Group 3: write down descriptions of the interiors (part 1: chapter 3 - Raskolnikov’s closet; part 1: chapter 2 - description of the tavern where Raskolnikov listens to Marmeladov’s confession; part 1: chapter 2 Write down the key words in the table.

Group 4: find portraits in the work. Write down the keywords in the table.

	Components of the image	Characteristic signs
		Dark, stuffy, dirty, dust, “dirt, stench and all sorts of nasty things,” “dirty and stinking palaces of houses on Sennaya Square.” The general feeling in the description evokes a feeling of disgust - the impression of stuffiness, and for the hero the city evokes a feeling of oppression. Entry: the landscape is firmly connected with the image of Raskolnikov, passed through his perception. The streets of the city, where people swarm, evoke in his soul a feeling of deepest disgust.
	Scenes of street life.	– a child singing “Khutorok”; - drunk girl on the boulevard; – scene with the drowned woman; - drunken soldiers and others - each has their own destiny and each fights alone, but, having gathered together in a crowd, they forget about grief and are happy to look at what is happening. The streets are crowded, but the loneliness of the hero is perceived all the more acutely. The world of St. Petersburg life is a world of misunderstanding and indifference of people to each other. Entry: Because of such a life, people have become dull, they look at each other “with hostility and distrust.” There can be no other relationship between them except indifference, animal curiosity, and malicious mockery. From meetings with these people, Raskolnikov is left with a feeling of something dirty, pathetic, ugly and at the same time what he sees evokes a feeling of compassion in himTo"humiliated and insulted."
	Interiors. Portraits.	Raskolnikov’s closet – “wardrobe”, “coffin”; dirty, yellow wallpaper all around. The Marmeladovs’ room is a “smoky door”, a “holey sheet” as a partition. Sonya's room is an “ugly barn.” Poor, pitiful premises, the fear of being left without housing cannot contribute to the development of the characters’ personalities. It’s scary to live in these rooms - theories like Raskolnikov’s are born in them, and both adults and children die here. Entry: The interior of the St. Petersburg slums creates an atmosphere of stuffiness, hopelessness and deprivation. An unattractive picture, as if this is another city. In this quarter you meet the poorest, most disadvantaged, most unhappy people. Everyone looks alike: “ragamuffin,” “shaggy,” “drunk.” Gray, dull, like the streets they move through. Meeting them leaves you with a feeling of something dirty, pathetic, ugly, joyless and hopeless. Marmeladov - “with a yellow, swollen, greenish face, reddish eyes”, “dirty, greasy, red hands, with black nails”; the old woman-pawnbroker - “with sharp and evil eyes”, “blond hair, greased with oil, a thin and long neck, similar to a chicken leg”; Katerina Ivanovna - “a terribly thin woman”, “with cheeks flushed to spots”, “clogged lips

One person from the group answers.

Summing up.( From the first pages we find ourselves in a city so stuffy that it’s hard to breathe. This is a city where the poor suffer and suffer: petty officials, students, women rejected by society, ragged and hungry, poor children. Narrow streets, cramped conditions, dirt, stench.

Dostoevsky's Petersburg is a city where crimes are committed, where it is impossible to breathe, it is a city of the humiliated and insulted.

Dostoevsky's Petersburg is a city of indifference, animal curiosity, malicious mockery.

Dostoevsky's Petersburg is a city of loneliness.

Dostoevsky’s Petersburg is “a city in which it is impossible to be.”)

Control questions:

Control questions:

– How do you see the streets along which Raskolnikov wanders? ( Dirt,stench, crowding human bodies in a small living space, crowded, dusty, stuffy, hot).

– What is your feeling when you leave the street and enter the tavern, the room where the Marmeladovs live? (Tavern: same stench, dirt, stuffiness, as on the streets. Suppression. The strongest feeling is I can not breathe. Raskolnikov: “ Dirty, dirty, disgusting, disgusting!”).

– What overall impression do you have of the general atmosphere of the streets in the part of the city where the main character lives? (It’s uncomfortable, it’s uncomfortable, it’s scary, it’s cramped, you can’t breathe. I want to escape from these streets into the open spaces of wildlife).

– What are the apartments and rooms in which the heroes of the novel live? (Rodion Raskolnikov’s room: “ His closet was right under the roof of a tall five-story building and looked more like a closet than an apartment.", "It was a tiny cell, about six steps long, which had the most pitiful appearance with its yellow, dusty wallpaper falling off the wall everywhere, and so low that even a slightly tall person felt terrified in it, and everything seemed to You're about to hit your head on the ceiling. The furniture corresponded to the room: there were three old chairs, not quite in good working order, a painted table in the corner..., and, finally, an awkward large sofa..., once upholstered in chintz, but now in rags, and which served as Raskolnikov’s bed”; Marmeladovs' room: " A small, smoky door at the end of the stairs. At the very top, it was open. The cinder illuminated the poorest room, ten steps long; all of it could be seen from the entryway. Everything was scattered and in disarray, especially the children's various rags. A sheet with holes was pulled through the back corner. Behind it there was probably a bed. In the room itself there were only two chairs and a very tattered oilcloth sofa, in front of which stood an old pine kitchen table, unpainted and not covered with anything. At the edge of the table stood a dying tallow candle in an iron candlestick. It turned out that Marmeladov was placed in a special room, and not in a corner, but his room was a walk-through""; the room of the old woman-pawnbroker: “ A small room... with yellow wallpaper and muslin curtains on the windows... The furniture, all very old and made of yellow wood, consisted of a sofa.., a round table..., a toilet with a mirror in the wall, chairs along the walls and two or three penny pictures in yellow frames..."; Sonya Marmeladova’s room: “It was a large room, but extremely low...Sonya’s room looked like a barn, had the appearance of a very irregular quadrangle, and this gave it something ugly...In this large room there was almost no furniture at all...Yellowish, the scrubbed and worn wallpaper turned black in all corners; It must have been damp and fumes here in the winter. Poverty was visible; there weren’t even curtains near the bed”; the hotel room where Svidrigailov stays before committing suicide: “... room, stuffy and cramped... Uhit was such a small cell that it was almost not even tall enough for Svidrigailov; in one window;the bed was very dirty... The walls looked as if they had been knocked together from boards with shabby wallpaper, so dusty and tattered that their color (yellow) could still be guessed, but no pattern could be recognized.” Yard of Raskolnikov's house: yard-well, tight and oppressive. Sunlight never seems to penetrate here. He is surrounded by dark corners, impenetrable, dirty, gray walls).

– Dostoevsky constantly draws our attention to such an artistic detail as the stairs along which the main character goes down and up. Find their description. (Staircase to Raskolnikov’s “closet”: "…ladder…narrow, steep, dark.With semicircular openings. Trampled stone steps. They lead underby myselfhouse roof..."; staircase in the house of the old money-lender: " The staircase was dark and narrow, “black”; staircase in the police office: “The staircase was narrow, steep and covered in slop. All the kitchens of all the apartments on all four floors opened onto this staircase and stood like that for almost the whole day.That's why it was so stuffy"; from the stairs in front of the Marmeladovs' room “it stank”; narrow and dark staircase in the Kapernaumov house.)

– What is more in the depicted pictures – verbal “drawing” or “feeling”? (The depicted pictures are firmly connected with the image of Raskolnikov, passed through the prism of his perception. “Middle” streets of St. Petersburg, where people “ they're so swarming"cause in Raskolnikov's soul "a feeling of deepest disgust").

– What are the signs of Dostoevsky’s urban landscape? (Dostoevsky’s cityscape is not only a landscape of impression, but also a landscape of expression. The writer never aims at a simple description of the situation. At the same time, he creates a mood, enhances and highlights the social and psychological characteristics of the characters, expresses what is internally connected with the depicted human peace.

– Tell us about the appearance of the people Raskolnikov met and your impressions of them? (In this quarter you meet the poorest, most destitute, unhappy people. They all look alike: “ragamuffin,” “ragtag,” “drunk.” Gray, dull, like the streets along which they move. Meeting them leaves a feeling something dirty, pitiful, ugly, joyless and hopeless. Marmeladov - “with a yellow, swollen, greenish face, reddish eyes”, “dirty, greasy, red hands, with black nails”; the old woman pawnbroker - “with sharp and angry little eyes”, “blond hair, greasy with oil, a thin and long neck, similar to a chicken leg”; Katerina Ivanovna - “a terribly thin woman”, “with cheeks flushed to the point of stains”, “cooked lips”).

– What does the main character himself look like? What distinguishes him and what makes him similar to those around him? (Rodion himself is “remarkably good-looking” but “has fallen down and become shabby”).

– What color predominates in the described pictures of the city? ( Gray and yellow).

- Raskolnikov on the banks of the Neva. How does the main character relate to living nature? (She evokes in his soul, on the one hand, deeply human feelings, touches on its deepest foundations; on the other hand, he is indifferent to her and quickly “switches” from contemplation and relaxation to his problems and complexes. Thus, in relation to Raskolnikov nature clearly shows his attitude towards the world as a whole, his verdict on an unjust social order).

– How do the inhabitants of the “middle” St. Petersburg streets relate to each other? (There is no sense of solidarity and empathy among equally disadvantaged people. Cruelty, indifference, anger, ridicule, spiritual and physical abuse - this is what is typical for the relationships of the “humiliated and insulted”).

Reflection stage.

Compose a syncwine based on this work

1 noun

2 adjectives

3 verbs

Association.

Students read syncwines.

Now let's summarize the lesson. What goals did you set? Have you reached it?

Grading.

Homework: write a mini-essay “How F.M. portrays St. Petersburg. Dostoevsky?

Draw up a plan for characterizing Raskolnikov.

Literature:

AikhenwaldYU. Silhouettes of Russian writers. Moscow, Republic, 1994.

Kudryavtsev Yu.G. Three circles of Dostoevsky. Moscow University Publishing House, 1979.

ProkhvatilovaS.A. Petersburg mirage. St. Petersburg, 1991.

Rumyantseva E.M. Fedor Mikhailovich Dostoevsky. Leningrad, Enlightenment, 1971.

History of world literature. Volume 7. Moscow, Science, 1990

Great Russians. Biographical library of F. Pavlenkov. Moscow, Olma-Press, 2004.

Saint Petersburg. Petrograd. Leningrad. Encyclopedic reference book. Leningrad, Scientific publishing house, 1992.

SCROLLUSEDIN THIS LESSON EER

2 . GUIDE CARDS for households:

1.Interior (room, apartment):

2. Street (crossroads, squares, bridges):

The work was completed by:
Menshchikova Alena, Melnikov Zakhar,
Khrenova Alexandra, Pechenkin Valery,
Shvetsova Daria, Valov Alexander, Metzler
Vadim, Elpanov Alexander and Tomin Artem.

Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses)

Raskolnikov walks down the street and falls into
deep thoughtfulness", but from
his thoughts are distracted by a drunk,
who was being transported at that time along the street in
cart, and who shouted to him: “Hey you,
German hatter." Raskolnikov is not
I was ashamed and scared, because... he's absolutely
I wouldn't want to attract anyone's attention.

In this scene, Dostoevsky introduces us to his hero:
describes his portrait, his rags, shows him
character and makes hints about Raskolnikov's plan.
He feels disgust towards everything around him and
those around him, he feels uncomfortable: “and he walked away, no longer noticing
surrounding and not wanting to notice him." He doesn’t care what about
they will think about him. Also, the author emphasizes this with evaluative
epithets: “deepest disgust”, “malicious contempt”

Part 2 Ch. 2 (scene on the Nikolaevsky Bridge, blow of the whip and alms)

On the Nikolaevsky Bridge, Raskolnikov peers into St. Isaac's Bridge
Cathedral. The monument to Peter I sitting on a rearing horse is disturbing and
scares Raskolnikov. Before this majesty, before
imagining himself to be a superman, he feels “small”
man" from whom Petersburg turns away. As if ironically
over Raskolnikov and his “superhuman” theory, St. Petersburg
first with a blow to the back with a whip (allegorical rejection
Raskolnikov St. Petersburg) admonishes someone who hesitates on the bridge
hero, and then with the hand of a merchant’s daughter throws it at Raskolnikov
alms. He, not wanting to accept handouts from a hostile city,
throws the two-kopeck piece into the water.

Moving on to the artistic construction of the text and artistic
means, it should be noted that the episode is built on contrast
images, almost every scene has its opposite: a blow
contrasted with the alms of the old merchant's wife and her
daughters, Raskolnikov’s reaction (“angrily scraped and clicked
teeth") is contrasted with the reaction of others ("all around
there was laughter"), with the verbal detail "of course"
indicates the habitual attitude of the St. Petersburg public towards
“humiliated and insulted” - violence reigns over the weak and
mockery. The pitiful state in which the hero found himself as
cannot be better emphasized by the phrase "a true collector
pennies on the street."
Artistic means are aimed at enhancing feelings
Raskolnikov's loneliness and the display of duality
St. Petersburg.

Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)

Part 2, chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)
Raskolnikov rushes through the quarters of St. Petersburg and sees scenes
one uglier than the other. Lately Raskolnikov "
felt drawn to hang around" in seedy places, "when he felt sick
“I felt even nauseous.” Approaching one of
drinking and entertainment establishments, Raskolnikov’s gaze falls
at the poor people wandering around, at the drunken “ragamuffins”,
arguing with each other, like a “dead drunk” (evaluative epithet,
hyperbole) of a beggar lying across the street. The whole vile picture
complemented by a crowd of shabby, beaten women in only dresses and
simple-haired. The reality that surrounds him in this
place, all the people here can only leave disgusting
impressions (“..accompanied ... a girl, about fifteen, dressed
like a young lady, in a crinoline, a mantle, gloves and
a straw hat with a fiery feather; it was all old
and worn out").

In the episode, the author more than once notices the crowded
(“a large group of women crowded at the entrance, others
sat on the steps, others on the sidewalks..."),
gathered together in a crowd, people forget about grief,
their plight and are happy to gawk at
happening.
The streets are crowded, but the more acutely perceived
loneliness of the hero. The world of St. Petersburg life - the world
misunderstanding, indifference of people to each other.

Part 2 ch.6 (scene on... bridge)

In this scene we watch how a bourgeois woman is thrown from a bridge on which
Raskolnikov is standing. A crowd of onlookers immediately gathers, interested
happening, but soon the policeman saves the drowned woman, and the people disperse.
Dostoevsky uses the metaphor "spectators" in relation to people
gathered on the bridge.
Bourgeois are poor people whose life is very difficult. Drunk woman
attempting to commit suicide is, in a sense,
a collective image of the townspeople and an allegorical image of all the sorrows and
the suffering they experience during the times described by Dostoevsky.
"Raskolnikov looked at everything with a strange feeling of indifference and
indifference." "No, it's disgusting... water... isn't worth it," he muttered to himself, as if
trying on the role of suicide. Then Raskolnikov finally gets ready
do something intentional: go to the office and confess. "No trace of the past
energy... Complete apathy has taken its place,” the author metaphorically notes how
would indicate to the reader the change within the hero that occurred after
what he saw.

Part 5 chapter 5 (death of Katerina Ivanovna)

Petersburg and its streets, which Raskolnikov already knows by heart,
appear before us empty and lonely: “But the yard was empty and not
you could see those knocking.” In the street life scene when Katerina
Ivanovna gathered a small group of people on the ditch, in which
there were mostly boys and girls, scarcity was visible
interests of this mass, they are attracted by nothing other than the strange
spectacle. The crowd in itself is not something positive, it
terrible and unpredictable.
It also touches on the topic of the value of all human life and
personality, one of the most important themes of the novel. Also, the death episode
Katerina Ivanovna seems to prophesy what kind of death could await
Sonechka, if the girl had not decided to keep it firmly in her soul
Love and God.
The episode is very important for Raskolnikov, the hero is becoming more and more established
them in the correctness of the decision made: to atone for guilt through suffering.

Conclusion:

F.M. Dostoevsky draws attention to the other side of St. Petersburg - with
suicides, murderers, drunks. Everything dirty and smelly ends up with
air into a person’s interior and gives rise to not the best feelings and emotions.
Petersburg stifles, oppresses and breaks the personality.
The writer attaches paramount importance to the depiction of corners and backyards
the brilliant capital of the empire, and together with the cityscape in the novel
Pictures of poverty, drunkenness, and various disasters of the lower strata of society arise.
People have become dull from such a life, they look at each other “with hostility and with
distrust." There can be no other relationship between them except
indifference, animal curiosity, malicious mockery. From meeting these
people, Raskolnikov is left with a feeling of something dirty, pathetic,
ugly and at the same time what he saw evokes in him a feeling of compassion for
"humiliated and insulted." The streets are crowded, but even more so
the hero's loneliness is perceived. The world of St. Petersburg life - the world
misunderstanding, indifference of people to each other.

Slide 1

Slide description:

Slide 2

Slide description:

Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses) Raskolnikov walks down the street and falls “into deep thought,” but he is distracted from his thoughts by a drunk who was being carried along the street in a cart at that time, and who shouted to him: “Hey, you German hatter." Raskolnikov was not ashamed, but scared, because... he wouldn't want to attract anyone's attention at all.

Slide 3

Slide description:

In this scene, Dostoevsky introduces us to his hero: he describes his portrait, his rags, shows his character and makes hints about Raskolnikov’s plan. He feels disgusted with everything around him and those around him, he feels uncomfortable: “and he walked away, no longer noticing his surroundings and not wanting to notice him.” He doesn't care what they think of him. Also, the author emphasizes this with evaluative epithets: “deepest disgust”, “evil contempt”. In this scene, Dostoevsky introduces us to his hero: he describes his portrait, his rags, shows his character and makes hints about Raskolnikov’s plan. He feels disgusted with everything around him and those around him, he feels uncomfortable: “and he walked away, no longer noticing his surroundings and not wanting to notice him.” He doesn't care what they think of him. Also, the author emphasizes this with evaluative epithets: “deepest disgust”, “malicious contempt”

Slide 4

Slide description:

Part 2 Ch. 2 (scene on the Nikolaevsky Bridge, blow of the whip and alms) On the Nikolaevsky Bridge, Raskolnikov peers into St. Isaac's Cathedral. The monument to Peter I, sitting on a rearing horse, disturbs and frightens Raskolnikov. Before this majesty, having previously imagined himself to be a superman, he feels like a “little man” from whom Petersburg turns away. As if ironizing Raskolnikov and his “superhuman” theory, Petersburg first hits Raskolnikov on the back with a whip (allegorical rejection of Raskolnikov by Petersburg) to admonish the hero who hesitated on the bridge, and then throws alms to Raskolnikov with the hand of a merchant’s daughter. He, not wanting to accept handouts from the hostile city, throws the two-kopeck piece into the water.

Slide 5

Slide description:

Moving on to the artistic construction of the text and artistic means, it should be noted that the episode is built on the contrast of images, almost every scene has a contrasting one: the blow is contrasted with the alms of the old merchant's wife and her daughter, Raskolnikov's reaction (“viciously gnashed and clicked his teeth”) is contrasted with the reaction those around (“there was laughter all around”), and the verbal detail “of course” indicates the usual attitude of the St. Petersburg public towards the “humiliated and insulted” - violence and mockery reign over the weak. The pitiful state in which the hero finds himself is best emphasized by the phrase “a real penny collector on the street.” Artistic means are aimed at enhancing Raskolnikov’s sense of loneliness and displaying the duality of St. Petersburg. Moving on to the artistic construction of the text and artistic means, it should be noted that the episode is built on the contrast of images, almost every scene has a contrasting one: the blow is contrasted with the alms of the old merchant's wife and her daughter, Raskolnikov's reaction (“viciously gnashed and clicked his teeth”) is contrasted with the reaction those around (“there was laughter all around”), and the verbal detail “of course” indicates the usual attitude of the St. Petersburg public towards the “humiliated and insulted” - violence and mockery reign over the weak. The pitiful state in which the hero finds himself is best emphasized by the phrase “a real penny collector on the street.” Artistic means are aimed at enhancing Raskolnikov’s sense of loneliness and displaying the duality of St. Petersburg.

Slide 6

Slide description:

Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at a “drinking and entertainment” establishment) Raskolnikov rushes through the quarters of St. Petersburg and sees scenes, one uglier than the other. Lately, Raskolnikov “has been drawn to wandering around” in hot spots, “when he felt sick, ‘to make it even sicker’.” Approaching one of the drinking and entertainment establishments, Raskolnikov’s gaze falls on the poor people wandering around, on the drunken “ragamuffins” swearing at each other, on the “dead drunk” (evaluative epithet, hyperbole) beggar lying across the street. The whole disgusting picture is completed by a crowd of shabby, beaten women wearing only dresses and bare hair. The reality that surrounds him in this place, all the people here can only leave disgusting impressions (“...accompanied by... a girl, about fifteen, dressed like a young lady, in a crinoline, a mantle, gloves and a straw hat with a fiery feather; that’s all it was old and worn out."

Slide 7

Slide description:

Slide 8

Slide description:

Part 2 chapter 6 (scene on... the bridge) In this scene we watch how a bourgeois woman is thrown off the bridge on which Raskolnikov is standing. A crowd of onlookers immediately gathers, interested in what is happening, but soon a policeman saves the drowned woman, and people disperse. Dostoevsky uses the metaphor "spectators" to refer to the people gathered on the bridge. Bourgeois are poor people whose life is very difficult. A drunken woman who tried to commit suicide is, in a sense, a collective image of the bourgeoisie and an allegorical image of all the sorrows and suffering that they experience in the times described by Dostoevsky. “Raskolnikov looked at everything with a strange feeling of indifference and indifference.” “No, it’s disgusting... water... it’s not worth it,” he muttered to himself, as if trying on the role of suicide. Then Raskolnikov is finally going to do something intentional: go to the office and confess. “Not a trace of the previous energy... Complete apathy has taken its place,” the author notes metaphorically, as if pointing to the reader the change inside the hero that occurred after what he saw.

Slide 9

Slide description:

Slide 10

Slide description:

Features of the image of St. Petersburg by F.M. Dostoevsky in the novel "Crime and Punishment"

Coursework

Literature and library science

Many critics call Dostoevsky’s novel “Crime and Punishment” a “St. Petersburg novel.” And this title fully characterizes the work. On the pages of “Crime and Punishment” the author captured the entire prose of life in the capital of Russia in the 60s of the 19th century.

PAGE \* MERGEFORMAT 8

INTRODUCTION……………………………………………………………………………….3-5

CHAPTER I. THE IMAGE OF ST. PETERSBURG IN THE PICTURE OF THE RUSSIAN

LITERATURES……………………………………………………...6

1.1. The image of St. Petersburg in the image of A.S. Pushkin…………...6-10

1.2. The image of St. Petersburg in the image of N.V. Gogol…………….10-13

1.3. Petersburg as depicted by N.A. Nekrasova…………………13-17

CHAPTER II. THE IMAGE OF PETERSBURG IN THE NOVEL BY F.M. DOSTOSKY

“CRIME AND PUNISHMENT”…………………………..18

2.1. Dostoevsky's Petersburg…………………………………......18-19

2.2. Interior in the novel by F.M. Dostoevsky "Crime"

And punishment”…………………………………………......19-24

2.3. Landscapes in the novel by F.M. Dostoevsky……………………..24-28

2.4. Scenes of street life in the novel by F.M. Dostoevsky

“Crime and Punishment”……………………………..28-30

CONCLUSION……………………………………………………………31-32

REFERENCES……………………………………………………………........33

INTRODUCTION

The city, the place where a person resides, has always been of interest to literature. On the one hand, the city formed its own type of person, on the other hand, it was an independent body, living and having equal rights with its inhabitants.

St. Petersburg, the northern capital of Russia, the city of white nights. It “permeates Russian literature: it is so bewitchingly beautiful, so significant that it simply could not help but enter the work of an artist, writer, poet.” 1 .

Each era in the history of Russian society knows its own image of St. Petersburg. Each individual person, creatively experiencing it, refracts this image in their own way. For the poets of the 18th century: Lomonosov, Sumarokova, Derzhavina, Petersburg appears as a “glorious city”, “Northern Rome”, “Northern Palmyra”. It is alien to them to see some kind of tragic omen in the city of the future. Only writers of the 19th century gave the image of the city tragic features.

The image of St. Petersburg also occupies a prominent place in the works of F.M. Dostoevsky. Dostoevsky lived in St. Petersburg for about thirty years. Most of his works were created here, including the novels “Notes from the House of the Dead,” “The Humiliated and Insulted,” “Crime and Punishment,” and “The Brothers Karamazov.”

Many critics call Dostoevsky’s novel “Crime and Punishment” a “St. Petersburg novel.” And this title fully characterizes the work. On the pages of “Crime and Punishment” the author captured the entire prose of life in the capital of Russia in the 60s of the 19th century. Cities of apartment buildings, bankers' offices and trading shops, cities of gloomy, dirty, but at the same time beautiful in their own way.

Purpose of the studytrace the features of the image of St. Petersburg by F.M. Dostoevsky. in the novel Crime and Punishment.

Research objectives:

1. using the text of a work of art, identify the characteristic features of Dostoevsky’s St. Petersburg;
2. identify similarities and differences in the depiction of the city by different writers;
3. establish what techniques F.M. uses. Dostoevsky in creating the image of St. Petersburg.

An object artistic originality of the novel by F.M. Dostoevsky “Crime and Punishment” as a reflection of the reality of that time.

Item techniques for the author’s masterful portrayal of St. Petersburg as a character.

We chose this topic for the course work because we consider it relevant. Each work of art is valuable primarily for its relevance, for the way it answers the most important questions of our time. Dostoevsky's novel “Crime and Punishment” is one of the greatest works of world literature, a book of great sorrow. Dostoevsky describes the monstrous tragedies that occur on the streets of St. Petersburg: a girl-child sells herself on the boulevard, indifference brings people to such a state that in a fit of despair they are ready to commit suicide. And in our time, many girls are forced to sell themselves for some piece of paper; few people think about what is going on inside them, what pushed them on this path. And the indifference with which we treat beggars begging on the street! Many of us simply pretend not to notice them as we pass by. But they only need a little warmth and affection, which they are deprived of.

Dostoevsky convinces us that the path to humanity and brotherhood lies in unity, in the ability to suffer, with compassion, and self-sacrifice. The novel worries us even now, more than a hundred years later, because it poses eternal, always modern questions: crime and punishment, morality and immorality, mental cruelty and sensuality. I think that today’s time is a kind of reflection of the life of St. Petersburg and its people described in the novel “Crime and Punishment.” However, this reflection is a little crooked, since time passes, views change, but the attitude towards people and attempts to comprehend eternal problems always remain relevant, which means that the entire novel “Crime and Punishment” remains relevant.

CHAPTER I. THE IMAGE OF ST. PETERSBURG IN THE PICTURE OF RUSSIAN LITERATURE

1. The image of St. Petersburg in the image of A.S. Pushkin

...and the young city,

There is beauty and wonder in full countries,

From the darkness of the forests, from the swamps of blat

He ascended magnificently, proudly... 2

A.S. Pushkin

In St. Petersburg, Alexander Sergeevich Pushkin spent more than a third of his life - the best years of his youth and years of maturity, the highest tension of spiritual forces, creative inspiration and everyday problems. Not a single city was sung by him with such high feeling as the “city of Petrov”.

St. Petersburg for the poet is the embodiment of Peter’s spirit, a symbol of the creative forces of Russia.

I love you, Petra's creation,

I love your strict, slender appearance,

Neva sovereign current,

Its coastal granite 3 .

For the first time, St. Petersburg appears as an integral image in “Ode to Liberty” (1819). The romantic castle of the Knight of Malta, the “confident villain,” emerges from the fog.

When on the gloomy Neva

The midnight star sparkles

And a carefree chapter

A restful sleep is burdensome,

The pensive singer looks

On menacingly sleeping between the fog

Desert Monument to the Tyrant

A palace abandoned to oblivion.

Pushkin begins his speech about St. Petersburg with this ominous image. Later, in a half-joking manner, remembering a small leg and a golden lock of hair, the poet again creates a bleak image.

The city is lush, the city is poor,

Spirit of bondage, slender appearance,

The vault of heaven is pale green

Boredom, cold and granite.

A city full of duality. In the slender, lush Northern Palmyra, in a granite city, under a pale green sky, its inhabitants huddle - shackled slaves, feeling in their hometown as if in a foreign land, in the grip of boredom and cold, both physical and spiritual - discomfort, alienation.Here is an image of St. Petersburg that will appeal to the subsequent decadent era. But Pushkin will be able to deal with him and brings him out only in a humorous poem. The fate of St. Petersburg acquired self-sufficient interest.Let the souls freeze from the cold and the bodies of its inhabitants become numb - the city lives its own super-personal life, develops towards achieving great and mysterious goals 4 .

In concise and simple images, Pushkin draws a new city in “The Blackamoor of Peter the Great.” “Ibrahim looked with curiosity at the newborn capital, which rose from the swamps at the behest of its sovereign. Exposed dams, canals without embankment, wooden bridges everywhere showed the recent victory of human will over the resistance of the elements. The houses seemed to be hastily built. There was nothing magnificent in the whole city except the Neva, not yet decorated with a granite frame, but already covered with military and merchant ships.” 5 .

This desire to look into the cradle of St. Petersburg testifies to an interest in the growth of the city, in its extraordinary metamorphosis.This topic especially affected Pushkin.

St. Petersburg is refracted in his work at different times of the year, day, in its various parts: in the center and on the outskirts; in Pushkin you can find images of a festive city and everyday life.

And St. Petersburg is restless

Already awakened by the drum.

The merchant gets up, the peddler goes,

A cabman pulls to the stock exchange,

The okhtenka is in a hurry with the jug,

The morning snow crunches under it 6 .

City life in all its manifestations is reflected in Pushkin’s poetry. The lethargy of the suburbs is reflected in “The Little House in Kolomna.” Everyday pictures of the capital will become for a while the only theme of St. Petersburg that arouses the interest of society, and here we find perfect examples in Pushkin. The motif of a “rainy night”, when the wind howls, wet snow falls and lanterns flicker, which would become necessary for Gogol, Dostoevsky was also sketched by Pushkin in “The Queen of Spades”. “The weather was terrible: the wind howled, wet snow fell in flakes; the lanterns shone dimly. The streets were empty. From time to time Vanka stretched out on his skinny nag, looking out for a belated rider. Hermann stood in only his frock coat, feeling neither rain nor snow." 7 …

No matter how expressive all these various images are, illuminating the appearance of St. Petersburg from the most diverse sides, they all become completely understandable only in connection with what Pushkin brilliantly built in his poem “The Bronze Horseman.”

In the poem “The Bronze Horseman”, the appearance of St. Petersburg “Peter’s creation” is depicted by Pushkin with a feeling of patriotic pride and admiration, the poet’s imagination is amazed by the unprecedented beauty of the northern capital, its “strict, slender appearance”, a marvelous ensemble of squares and palaces, the Neva, clad in granite , white nights. But this is also a city of social contrasts and contradictions, reflected in the ill-fated fate of Evgeny and his beloved Parasha, who are not protected in any way from the vicissitudes of life and become victims of an amazing city created, it would seem, for the happiness of people.

The poet thinks about the philosophical problem of the clash of personal interests and the inexorable course of history 8 .

The poet sees only wonderful splendor in the capital of the Russian Empire. Selecting sublime epithets and metaphors, Pushkin extols the beauty of the city. But behind this he does not notice the true essence of St. Petersburg, its vices. Reading about the unfortunate fate of the poor official Evgeniy, turning to the story “The Station Agent”, to the pages about how unkindly Petersburg received Samson Vyrin, we will see a city cold and indifferent to the fates of the “little people” 9 . The worst thing that Alexander Pushkin “scolds” this city for is the eternal “blueness” and idleness of its inhabitants.

Pushkin was the last singer of the bright side of St. Petersburg. Every year the appearance of the northern capital becomes more and more gloomy. Her austere beauty seems to disappear into the mists. For Russian society, St. Petersburg is gradually becoming a cold, boring, “barracks” city of sick, faceless inhabitants. At the same time, the powerful creativity that created entire artistic complexes of majestic buildings of the “only city” is drying up (Batyushkov). The decline of the city began, strangely coinciding with the death of Pushkin. And I can’t help but remember Koltsov’s cry:

You've turned all black
Foggy
He went wild and fell silent.
Only in bad weather
Howling a complaint
To timelessness. 10

1. The image of St. Petersburg in the image of N.V. Gogol

We all came out of his overcoat.

F. Dostoevsky

The theme of the city is one of the main themes in Gogol's work. In his works we meet different types of cities: the capital Petersburg in “The Overcoat”, “Dead Souls”, “Evenings on a Farm near Dikanka”; district in “The Inspector General”, provincial in “Dead Souls”.

For Gogol, the status of the city is not important, he shows us that life in all Russian cities is the same, and it does not matter whether it is St. Petersburg or a provincial city N . The city for Gogol is a strange, illogical world, devoid of any meaning. City life is empty and meaningless.

Gogol creates the image of St. Petersburg in a number of his works.

In Gogol's early romantic work, The Night Before Christmas, St. Petersburg is described in the spirit of a folk tale. St. Petersburg appears before us as a beautiful, fairy-tale city, where the majestic and powerful empress lives. It seems that the image of St. Petersburg is based on the people’s faith in a good, just king. But still, in the image of St. Petersburg there are some signs of something unnatural, which will be further developed in Gogol’s later works. In “Night...” St. Petersburg is not yet a city of hell, but a fantastic city, alien to Vakula. Having arrived on the line, having seen sorcerers, sorceresses, and evil spirits along the way, Vakula, having arrived in St. Petersburg, is very surprised. For him, St. Petersburg is a city where all wishes can come true. Everything is unusual and new for him: “... knocking, thunder, shine; on both sides are piled four-story walls, the clatter of horse hooves, the sound of a wheel... houses grew... bridges trembled; the carriages were flying, the cab drivers were shouting.” There are motifs of disorderly movement and chaos here. It is characteristic that the devil feels quite natural in St. Petersburg.

In “The Overcoat,” the image of St. Petersburg is created by describing dirty streets, damp courtyards, squalid apartments, stinking staircases, “permeated through and through with that “alcoholic smell that eats the eyes,” gray nondescript houses from the windows of which slops pour out. Gogol’s elements also play an important role in revealing the image of St. Petersburg: winter lasts almost all year round, a constant wind blows, a chilling, fantastic, incessant cold shackles everything. In the story “The Overcoat,” the death of the hero in the cold and darkness of an endless winter is correlated with the cold of soullessness that surrounded him all his life. This philosophy of general indifference, indifference to man, the power of money and ranks that reign in St. Petersburg, turns people into “small” and unnoticed, dooms them to a gray life and death. St. Petersburg makes people moral cripples, and then kills them. For Gogol, Petersburg is a city of crime, violence, darkness, a city of hell, where human life means nothing at all.

Petersburg in “Dead Souls” is an inharmonious city, a city of the devil. Gogol continues the theme of an artificial city built by Satan. In “The Tale of Captain Kopeikin” the theme of future retribution is visible. St. Petersburg not only leads to the death of people, but also turns them into criminals. So, from Captain Kopeikin, the defender of the fatherland, who gave an arm and a leg for him, Petersburg turned into a robber.

In “Petersburg Tales” the author creates a mysterious and enigmatic image of the capital. Here people go crazy, make tragic mistakes, commit suicide, simply die. Cold, indifferent, bureaucratic Petersburg is hostile to people and gives rise to terrible, ominous fantasies.

The description of Nevsky Prospekt that opens the story is a kind of “physiological” sketch of St. Petersburg, sparkling with the variety of life colors and the richness of the images presented in it. Nevsky Prospekt for Gogol is the personification of the whole of St. Petersburg, the contrasts of life that it includes. On the main street of St. Petersburg, you can encounter an unusual phenomenon: “Here you will meet the only sideburns, passed with extraordinary and amazing art under a tie... Here you will meet a wonderful mustache, no pen, no brush can depict... Here you will meet such waists that even you cannot never dreamed of... And what ladies' sleeves you will see on Nevsky Prospekt!.. Here you will meet the only smile, the height of art smile..." 11 .

Like sideburns, mustaches, waists, sleeves, smiles, etc. strolling along Nevsky Prospekt on their own. Things, parts of the body, and certain human actions go out of control, turning into independent subjects 12 .

By depicting Nevsky Prospekt at different times of the day, Gogol seems to characterize the social profile of St. Petersburg, its social structure. Among the St. Petersburg population, the writer primarily singles out ordinary people, people who have occupations and bear the burden of life. Early in the morning “the right people are trundling along the streets; sometimes Russian men, hurrying to work, cross it in boots stained with lime, which even the Catherine Canal, known for its cleanliness, was not able to wash... It can be said decisively that at this time, that is, until 12 o’clock, Nevsky Prospekt is not a for whom there is an end, it serves only as a means: it is constantly filled with people who have their own occupations, their own worries, their own annoyances, but who do not think about him at all.” 13 .

With ordinary people busy with their business, labor, the writer constitutes a “selected” busy audience, killing time on trifles; For them, Nevsky Prospekt “is a goal” - it is a place where they can show themselves.

“Admiring” the ranks, pomp, and splendor of the “noble” public, the author shows its inner emptiness, its “low colorlessness.”

If in Gogol's early works Petersburg is a fairy-tale city, then in his mature works it is a gloomy, scary, incomprehensible, abnormal city, putting pressure on the individual and killing him, a city of spiritually dead people.

1. Petersburg as depicted by N.A. Nekrasova

Yesterday, at about six o'clock,

I went to Sennaya;

There they beat a woman with a whip,

Young peasant woman 14 .

N. Nekrasov

One of Nekrasov’s favorite themes in his lyrics was the image of St. Petersburg, where Nekrasov lived for 40 years. In his youth, he had to drag out the life of a hungry poor man, experience poverty and deprivation himself, and also learn all the vicissitudes of life in the slums of the capital.

Nekrasov wrote about St. Petersburg at different periods of his life. Before the poet’s eyes, the appearance of St. Petersburg changed. The capital was capitalized, losing its “strict, slender appearance”, factories and factories sprang up on its outskirts, huge apartment buildings “for residents” were built next to the cozy noble mansions, and vacant lots were built up. Ugly, gloomy houses with well-like courtyards spoiled the classical ensembles.

Nekrasov showed readers not only the beauty of St. Petersburg, but also its remote outskirts, looked into dark, damp basements, and vividly reflected the social contradictions of the big city. And invariably, when Nekrasov turned to the St. Petersburg theme, he depicted two worlds - millionaires and beggars, owners of luxurious palaces and slum dwellers, the lucky and the unlucky.

In his depiction of St. Petersburg, Nekrasov follows Pushkin. Almost quoting the description of the theater in Pushkin’s novel “Eugene Onegin,” he writes:

...Within your walls

And there are and were in the old days

Friends of the people and freedom...

("The Unhappy") 15

But in Russian poetry, before Nekrasov, Petersburg had not yet been depicted as a city of attics and basements, a city of workers and the poor:

In our street life is working;

They start at the crack of dawn

Your terrible concert, chorusing,

Turners, carvers, mechanics,

And in response, the pavement thunders!..

Everything merges, groans, hums,

It rumbles somehow dully and menacingly,

Like chains are forged on the unfortunate people,

As if the city wants to collapse.

(“About the Weather”, 1859) 16

All “St. Petersburg” poetic cycles are permeated with this mood.

In Nekrasov’s poetic style, a characteristic feature early appears - attention to the familiar little details of St. Petersburg life, and everyday scenes in which the poet’s gaze reveals a deep meaning:

Under the cruel hand of man,

Barely alive, ugly skinny,

The crippled horse is straining,

I carry an unbearable burden.

So she staggered and stood.

"Well!" - the driver grabbed the log

(The whip seemed not enough for him)

And he beat her, beat her, beat her!

(“About the weather”) 17

The street episode grows into a symbol of suffering and cruelty. What we have before us is not just a description of the event, but a lyrical image. Each word conveys to us the poet’s feelings: anger against the ugly way of life that gives rise to cruelty, pain from one’s own powerlessness, the inability to come to terms with evil... Each new detail seems to stick into the memory and remains in it, giving no rest:

Legs somehow spread wide,

All smoking, settling back,

The horse just sighed deeply

And she looked... (That’s how people look,

Submitting to unjust attacks).

He again: on the back, on the sides,

And, running forward, over the shoulder blades

And by the crying, meek eyes!

(“About the weather”) 18

In poems from the cycle “On the Street” (“Thief”, “Coffin”, “Vanka”) Nekrasov shows the tragic fate of a man who grew up in the poor quarters of the capital, forced to earn money in the most shameful way: to steal, to sell himself:

Rushing to a party along a dirty street,

Yesterday I was amazed by the ugly scene:

The merchant from whom the kalach was stolen,

Shuddering and turning pale, he suddenly began howling and crying.

And, rushing from the tray, he shouted: “Stop the thief!”

And the thief was surrounded and stopped soon.

The bitten roll trembled in his hand;

He was without boots, in a frock coat with holes;

The face showed a trace of a recent illness,

Shame, despair, prayer and fear... 19

With heartache, Nekrasov describes the corners of St. Petersburg and the poor, hungry people huddling in them, the “gloomy scenes” that “encircle the capital.” Instead of the luxurious palaces and magnificent ensembles of St. Petersburg, Nekrasov showed the outskirts, where “every house suffers from scrofula,” where “the plaster falls and hits the walking people with the sidewalk,” where children are freezing on “their bed.” On the streets of a beautiful city, he sees, first of all, people humiliated and offended, he sees pictures that poets before him carefully avoided: at the monument to Peter I, he notices “hundreds of peasant servants who are waiting at public places.”

St. Petersburg as a kind of airless space is found in Nekrasov’s poem “The days go by... the air is still stifling,...”:

...in July you are completely soaked

A mixture of vodka, stables and dust

A typical Russian mixture.

The beautiful panorama of Pushkin’s city disappears, replaced by a picture of deprivation, despair, suffering, hopeless and meaningless. The epigraph to the poem “About the Weather” turns out to be evilly ironic in this context:

What a glorious capital

Cheerful Petersburg!

Nekrasov saw the luxurious capital, one of the most beautiful cities in the world, through the eyes of a poor man and described it with ardent sympathy for the unfortunate and disadvantaged, with hatred for the well-fed, idle and rich.

Nekrasovsky Petersburg is a fundamentally new phenomenon in Russian literature. The poet saw aspects of the life of the city that few people had looked into before him, and if they did, it was by accident and not for long.

CHAPTER II. THE IMAGE OF PETERSBURG IN THE NOVEL BY F.M. DOSTOEVSKY "CRIME AND PUNISHMENT"

2.1. Petersburg by Dostoevsky

Rarely where can there be so many gloomy ones,

sharp and strange influences on the human soul, like St. Petersburg.

F. Dostoevsky “Crime and Punishment”

In Dostoevsky’s books we rarely see Nevsky Prospekt, palaces, gardens, parks; rather, a city of “humiliated and insulted” will open before us.

In twenty works by Fyodor Mikhailovich, Petersburg is present: either as a background or as a character. Dostoevsky discovered a completely different city in his books: it is a dream city, a ghost city. The writer's Petersburg is hostile to man. The heroes of his books cannot find peace of mind: they are alienated and disunited 20 .

What is Dostoevsky's Petersburg like in the novel Crime and Punishment? What is special about the writer’s depiction of the city on the Neva?

The novel widely recreates the life of a big city with its taverns and taverns, with huge five-story buildings, densely populated by all sorts of industrial people - “tailors, mechanics, cooks, various Germans, girls living on their own, petty officials, etc.”; with “tiny little cells” - rooms “where you’re about to hit your head on the ceiling”; police offices, the market on Sennaya and crowded streets. The population of this city is those with whom the life of a poor commoner, a semi-impoverished former student constantly collides: landladies, janitors like himself, former students, street girls, moneylenders, police officials, random passers-by, regulars of drinking houses. Before us is a typical picture of the everyday life of petty-bourgeois, petty-bourgeois Petersburg. In the novel there are no emphasized social contrasts, a sharp contrast between the haves and the have-nots, as, for example, in Nekrasov’s (“Wretched and Smart”, “The Life of Tikhon Trostnikov”, where the hero reflects on the “unlucky ones” who have no place in the attics, because “there is lucky ones, for whom entire houses are cramped") 21 .

From the first pages of the novel we find ourselves in a world of untruth, injustice, misfortune, human torment, a world of hatred and enmity, and the collapse of moral principles. The pictures of poverty and suffering, shaking with their truth, are imbued with the author’s pain about man. The explanation of human destinies given in the novel allows us to talk about the criminal structure of the world, the laws of which condemn the heroes to live in closets “like a coffin” to unbearable suffering and deprivation.

Scenes of street life lead us to the conclusion that people have become dull from such a life, they look at each other with hostility and distrust.

All together: landscape paintings of St. Petersburg, scenes of street life, “catch” interiors - create the overall impression of a city that is hostile to man, crowds him, crushes him, creates an atmosphere of hopelessness, pushes him to scandals and crimes.

2.2. Interior in the novel by F.M. Dostoevsky "Crime and Punishment"

The novel begins with a description of Raskolnikov's home. At the same time, the author reveals the mental state of the hero living in him. “His closet was right under the roof of a tall five-story building and looked more like a closet than an apartment... It was a tiny cell, six steps long, which had the most pitiful appearance with its yellow, dusty wallpaper peeling off from the wall everywhere, and so low, that the slightly tall man felt terrified in it, and it seemed as if he was about to hit his head on the ceiling. The furniture corresponded to the room: there were three old chairs, not entirely in good working order, a painted table in the corner, on which lay several notebooks and books; just by the way they were dusty, it was clear that no one’s hand had touched them for a long time; and, finally, an awkward large sofa, occupying almost the entire wall and half the width of the entire room, once upholstered in chintz, but now in rags, and which served as Raskolnikov’s bed. Often he slept on it as he was, without undressing, without a sheet, covering himself with his old, shabby student coat and with one small pillow in his head, under which he put all the linen he had, clean and worn, so that there was a higher headboard. There was a small table in front of the sofa." 22 .

In the description of Raskolnikov’s room, the motif of desolation, lifelessness, and deadness is clearly felt. The ceilings in this closet are so low that a tall person entering this closet feels terrified in it. And Rodion is taller than average. A large table with books and notebooks is covered with a thick layer of dust. To Pulcheria Alexandrovna, her son’s room seems like a coffin.

And indeed, life seemed to have stopped in this “yellow closet”. Raskolnikov is crushed by poverty, the thought of his own hopeless situation depresses him, and he avoids people, ceasing to deal with his daily affairs. Having left his studies at the university, Raskolnikov is inactive; he lies motionless all day long, secluded in his closet. In such a depressed state, the hero does not notice the disorder, does not try to make the room clean, enliven its interior, does not think about creating at least a little comfort and coziness in his “cell”. He goes to bed without undressing, without a sheet. All this speaks of the beginning of his moral decline.

The room of the old woman-pawnbroker is as cramped and wretched as Raskolnikov’s home. “...there was nothing special in the small room. The furniture, all very old and made of yellow wood, consisted of a sofa with a huge curved wooden back, a round oval table in front of the sofa, a toilet with a mirror in the wall, chairs along the walls and two or three penny pictures in yellow frames depicting German young ladies with birds in the sleeves - that's all the furniture. In the corner in front of a small icon a lamp was burning 23".

The epithets small and yellow are repeated repeatedly. The repetitions reinforce the idea of ​​the dilapidation, gloom and wretchedness of this home. In such a situation, the old woman gradually becomes evil and heartless, she falls into the sinister power of money - the everyday power of the copper penny, which the poor man so lacks for his daily bread. And here we see how the situation influences a person, oppresses him, and leads to moral decay. The reader observes the moral decline of an old woman whose sense of mercy has completely atrophied.

Sonya's room is very ugly, gloomy, and looks like a barn. “Sonya’s room looked like a barn, had the appearance of a very irregular quadrangle, and this gave it something ugly. A wall with three windows, overlooking a ditch, cut the room at random, causing one corner, terribly sharp, to run somewhere deeper, so that, in the dim light, it was impossible to even see it well; the other angle was already too outrageously obtuse. There was almost no furniture in this entire large room. In the corner, to the right, there was a bed; next to her, closer to the door, is a chair. On the same wall where the bed was, right at the door to someone else’s apartment, there stood a simple plank table covered with a blue tablecloth; There are two wicker chairs near the table. Then, against the opposite wall, near a sharp corner, there stood a small, simple wooden chest of drawers, as if lost in the void. That's all that was in the room. The yellowish, scrubbed and worn-out wallpaper turned black in all corners; It must have been damp and fumes here in the winter. Poverty was visible; even the bed didn't have curtains 24".

There is a sharp contrast in this description: Sonya’s room is huge, but she herself is small and thin. This contrast between the portrait and the interior symbolizes the discrepancy between something hugely ridiculous and childishly weak, helpless in behavior and in the image of the heroine.

Sonya's room in the form of an irregular quadrangle seems to destroy the foundation of the foundations, something eternal, unshakable, like life itself. The age-old foundations of life here seem to have been undermined. And Sonya’s life is, indeed, actually resolved. Saving her family from death, she goes outside every evening. Dostoevsky already hints at how difficult this occupation is for her in Marmeladov’s drunken confession. Telling Raskolnikov the story of his family, he notes that when Sonya first brought home thirty rubles, she “didn’t say a word, but, covering herself with a scarf, silently lay down on the sofa and cried for a long time.” The city of Dostoevsky is a city of street girls, whose downfall is facilitated by various Darya Frantsevnas. Poverty breeds crime. Sonya Marmeladova, unable to earn fifteen kopecks a day through honest work, breaks moral laws and goes out onto the street. The world of St. Petersburg is a cruel, soulless world in which there is no place for kindness and mercy, which, according to Dostoevsky, constitute the basis of life, its inviolability.

Marmeladov’s home also presents a picture of appalling poverty. In his room, children's rags are scattered everywhere, a holey sheet is stretched across the back corner, the only furniture is a tattered sofa, two chairs and an old kitchen table, unpainted and uncovered. “The small, smoky door at the end of the stairs, at the very top, was open. The cinder illuminated the poorest room, ten steps long; all of it could be seen from the entryway. Everything was scattered and in disarray, especially the children's various rags. A sheet with holes was pulled through the back corner. Behind it there was probably a bed. In the room itself there were only two chairs and a very tattered oilcloth sofa, in front of which stood an old pine kitchen table, unpainted and covered with nothing. On the edge of the table stood a burning tallow candle in an iron candlestick. 25 " It is characteristic that Marmeladov’s room is illuminated by a small candle stub. This detail symbolizes the gradual fading of life in this family. And indeed, first Marmeladov dies, crushed by the rich crew, then Katerina Ivanovna. Sonya leaves Raskolnikov, placing the children in orphanages.

The staircase to Marmeladov’s apartment is dark and gloomy. It's like the path to the "gates of hell." Poor, pitiful premises, the fear of being left without housing cannot contribute to the development of the characters’ personalities. It’s scary to live in these rooms; theories like Raskolnikov’s are born in them; both adults and children die here.

The furnishings of almost all dwellings in “Crime and Punishment” speak not only of extreme poverty and misery of their inhabitants, but also of their unsettled life and homelessness. The house is not a fortress for the heroes; it does not shelter them from life’s adversities. Small, ugly rooms are uncomfortable and unfriendly to their inhabitants, as if they are trying to drive the heroes out into the street.

It is worth noting that in all descriptions of the situation in the novel, the yellow tone predominates. Yellow, dusty wallpaper in Raskolnikov’s closet, in Sonya’s room, in Alena Ivanovna’s apartment, in the hotel where Svidrigailov was staying. In addition, in the house of the old woman-pawnbroker there is furniture made of yellow wood, a painting in yellow frames.

Yellow itself is the color of the sun, life, communication and openness. However, in Dostoevsky the symbolic meaning of color is inverted: in the novel he emphasizes not the fullness of life, but lifelessness. It is characteristic that in descriptions of the situation we never see a bright, pure yellow color. In Dostoevsky's interiors there is always a dirty yellow, a dull yellow. Thus, the vitality of the characters in the novel seems to automatically decrease.

Thus, descriptions of the setting in the novel are not only the background against which the action takes place, not only an element of the composition. This is also a symbol of the vital, human homelessness of the heroes. This is also the symbol of St. Petersburg, the city of “irregular quadrangles”. In addition, interior details often foreshadow future events in the novel. 26

2.3. Landscapes in the novel by F.M. Dostoevsky

From dark, gloomy and dirty cells, closets, sheds, closets, half crushed by them, our heroes emerge onto the streets of St. Petersburg. What landscape opens up to them and how do they feel?

From the first lines of the novel “Crime and Punishment,” we, together with the hero, are immersed in an atmosphere of suffocation, heat and stench. “At the beginning of July, in an extremely hot time, in the evening one young man came out of his closet...” 27 . And one more thing: “The heat on the street was terrible, besides the stuffiness, the crush, there was lime everywhere, scaffolding, brick, dust and that special stench, so familiar to every St. Petersburg resident who does not have the opportunity to rent a dacha - all this at once shocked the already upset young man's nerves" 28 . The city is disgusting, I don’t want to live in it. “The stuffiness, the dust and that special stench” emphasize extreme disgust. And Raskolnikov is forced to stay in the capital. Moreover, he goes to “test” his crime. The city becomes even more gloomy and sinister from this detail.

Another detail characterizes the city - summer heat. As V.V. noted Kozhinov: “An extremely hot time is not just a meteorological sign: as such it would be unnecessary in the novel (does it matter whether a crime is committed in summer or winter?). Throughout the entire novel there will be an atmosphere of unbearable heat, stuffiness, and city stench, squeezing the hero, clouding his consciousness to the point of fainting. This is not only the atmosphere of the July city, but also the atmosphere of crime..." 29 .

The picture of a city in which it is unbearable for Raskolnikov to live is complemented by another description: “The unbearable stench from the drinking establishments, of which there were especially many in this part of the city, and the drunken people who constantly appeared, despite it being weekdays, completed the sad coloring of the picture.” 30 . Here the word “stench” is repeated again. It helps preserve the initial impression and emphasizes extreme disgust.

Stuffiness haunts the hero throughout the novel: “The heat outside was unbearable again; at least a drop of rain all these days. Again dust, brick and mortar, again the stench from the shops and taverns, again the constantly drunk, Chukhon peddlers and dilapidated cab drivers.” 31 . Here Raskolnikov left the house after killing the moneylender: “It was eight o’clock, the sun was setting. The stuffiness remained as before; but he greedily breathed in this stinking, dusty, city-polluted air.” 32 . The repetition of the word “again” emphasizes the typicality and familiarity of such a landscape. One gets the impression that the wind never visits St. Petersburg, and this special stuffiness and stench constantly presses on the consciousness of the protagonist. The gradation series (smelly, dusty, city-polluted air) reinforces the idea that the city is morally unhealthy, the air the hero breathes is contaminated with it.

The hero is uncomfortable on the streets of St. Petersburg, they have an irritating effect on him. The heat, stuffiness and stench are used by Dostoevsky to show the psychological state of a person who feels locked in this “stone bag”. It is the heat and the atmosphere in which Raskolnikov is located that clouds his consciousness to the point of fainting; it is in this atmosphere that Raskolnikov’s delusional theory is born and the murder of the old clerk is being prepared.

The city oppresses the main character of the novel, he lacks air, the sun blinds him. It is no coincidence that investigator Porfiry Petrovich, in his last conversation with Raskolnikov, said: “You need to change the air a long time ago...” 33 . “Become the sun, everyone will see you. The sun must first of all be the sun." 34 . This is how the image of the Northern capital enters the novel.

Dostoevsky also has an “other” Petersburg. Raskolnikov goes to Razumikhin and sees a completely different landscape, different from what he usually sees on the streets of St. Petersburg. “In this way he walked the entire Vasilievsky Island, came out to the Malaya Neva, crossed the bridge and turned to the islands. The greenery and freshness at first pleased his tired eyes, accustomed to city dust, to lime and to the huge, crowding and oppressive houses. There was no stuffiness, no stench, no drinking establishments here. But soon these new, pleasant sensations turned into painful and irritating ones.” 35 . And this space presses on him, torments him, oppresses him, just like the stuffiness and cramped space.

And it’s hard for other heroes of the work to live in St. Petersburg. Arkady Ivanovich Svidrigailov, Raskolnikov’s “double,” devastated himself with cynicism and permissiveness. Moral death is followed by physical death - suicide. It was in St. Petersburg that Svidrigailov felt that he had “nowhere else to go.”

The painting of Svidrigailov’s last morning conveys a feeling of cold and dampness. “A milky, thick fog lay over the city. Svidrigailov walked along the slippery, dirty wooden pavement towards the Malaya Neva. He imagined the water of the Malaya Neva rising high during the night, Petrovsky Island, wet paths, wet grass, wet trees and bushes...” 36 . The landscape corresponds to Svidrigailov’s state of mind. Cold and dampness grip his body, he shudders. Annoyance, despondency. Physical discomfort is combined with mental discomfort. It is no coincidence that such a detail as a shivering dog is here. It's like Svidrigailov's double. The hero is chilled, shivering, and the little dog, shivering and dirty, is like his shadow.

It is symbolic that the death of Arkady Ivanovich is shown against the backdrop of thunderstorms and floods, which are quite common in St. Petersburg: “By ten o’clock terrible clouds were approaching from all sides; thunder struck and the rain poured down like a waterfall. The water did not fall in drops, but gushed onto the ground in whole streams. The lightning flashed every minute, and one could count up to five times during each glow.” 37 .

Dostoevsky put his own observation about St. Petersburg into the mouth of Svidrigailov: “This is a city of half-crazy people. If we had science, then doctors, lawyers and philosophers could do the most precious research on St. Petersburg, each in their own specialty. Rarely where can there be so many dark, harsh and strange influences on the human soul as St. Petersburg. What are climate influences alone worth? Meanwhile, this is the administrative center of all of Russia, and its character should be reflected in everything.” 38 .

Speaking about the landscape, it is also necessary to note Dostoevsky’s special attitude towards sunset. In Crime and Punishment, five scenes take place in the rays of the setting sun. From the very first pages, Raskolnikov's most dramatic experiences are accompanied by the light of the setting sun. Here is his first appearance with the old pawnbroker: “The small room into which the young man walked, with yellow wallpaper, geraniums... was at that moment brightly illuminated by the setting sun. “And then, therefore, the sun will also shine!..” - as if by chance, flashed through Raskolnikov’s mind...” 39 . The murder itself appears in the alarming light of the setting sun. After the murder was completed, Raskolnikov left the house: “It was eight o’clock, the sun was setting.” Raskolnikov's suffering is always and everywhere accompanied by this raging and flaming sunset sun. The landscapes in Crime and Punishment enhance the significance of each scene and make them more intense.

Thus, to create the image of St. Petersburg, the weather, natural phenomena, and the time of year are very important, because they help to understand the psychological state of a person.

2.4. Scenes of street life in the novel by F.M. Dostoevsky "Crime and Punishment"

Petersburg in the novel is not just a backdrop against which the action takes place. This is also a kind of “character” - a city that suffocates, crushes, evokes nightmarish visions, instills crazy ideas.

A hungry student feels rejected among rich mansions and dressed-up women. On the bridge, from which the majestic Neva panorama opens, Raskolnikov almost fell under a rich carriage, and the coachman lashed him with a whip for the amusement of passers-by... But the point here is not only that he was personally insulted. “An unusual cold always blew over him from this magnificent panorama; This magnificent picture was full of a dumb and deaf spirit for him...” The hero prefers Sennaya Square, in the vicinity of which the poor live. Here he feels like he belongs. 40

The novel often depicts street scenes. Here is one of them. Raskolnikov, standing in deep thought on the bridge, sees a woman “with a yellow, elongated, worn-out face and reddish, sunken eyes.” “Suddenly she rushes into the water. And you can hear the screams of another woman: “I drank myself to hell, fathers, to hell... I also wanted to hang myself, and they took me off the rope.” 41 . It’s as if the door to someone else’s life, full of hopeless despair, opens for a moment. Raskolnikov, having witnessed everything that is happening, experiences a strange feeling of indifference, indifference, he is “disgusted”, “disgusting”. This doesn't make him sympathetic.

On the streets of St. Petersburg, not just scenes of street life are played out, but human tragedies. Let's remember Raskolnikov's meeting with a drunken fifteen-year-old girl who was drunk and deceived. “Looking at her, he immediately guessed that she was completely drunk. It was strange and wild to look at such a phenomenon. He even wondered if he was mistaken. Before him was an extremely young face, about sixteen years old, maybe even only fifteen - small, fair, pretty, but all flushed and seemingly swollen. The girl seemed to understand very little; she put one leg behind the other, and stuck it out much more than she should have, and, by all indications, she was very little aware that she was on the street.” 42 . The beginning of her tragedy took place even before meeting Raskolnikov, and it develops before the eyes of the hero when a new “villain” appears in this tragedy - a dandy who is not averse to taking advantage of the girl. Rodion is struck by the scene he saw, he worries about the future fate of the girl and gives money (even though he has so much of it and he himself has nothing to live on) to the policeman so that he can send the girl home, paying the cab driver.

Marmeladov is crushed on the street. But this incident did not affect anyone. The public watched with curiosity what was happening. The coachman who crushed Marmeladov under his horses was not very frightened, because the carriage belonged to a rich and significant person, and this circumstance would soon be settled.

On the Ekaterinensky Canal, not far from Sonya’s house, the author paints another terrible scene: the madness of Ekaterina Ivanovna. Here she will fall on the pavement in front of idle onlookers, blood gushing from her throat. The unfortunate woman will be taken to Sonya's house, where she will die.

Street scenes in the novel show that Petersburg is a city that is no stranger to violence against the weak. All street life reflects the condition of the people living in it. Dostoevsky so often takes the action of the novel to the street, square, and taverns because he wants to show Raskolnikov’s loneliness. But not only Raskolnikov is lonely, other inhabitants of this city are also lonely. Each has their own destiny and each fights alone, but having gathered together in a crowd, they forget about grief and are happy to look at what is happening. The world that Dostoevsky shows is a world of misunderstanding and indifference of people to each other. People have become dull from such a life; they look at each other with hostility and distrust. Between all people there is only indifference, animal curiosity, malicious mockery.

CONCLUSION

Thus, Petersburg in the novel is a real city of a certain time in which the described tragedy occurred.

The city of Dostoevsky has a special psychological climate that is conducive to crime. Raskolnikov inhales the stench of taverns, sees dirt everywhere, and suffers from the stuffiness. Human life turns out to be dependent on this “city-infected air.” Everyone is used to this. Svidrigailov emphasizes its abnormality: “a city of half-crazy people,” “strangely composed.”

Petersburg is a city of vices and dirty debauchery. Brothels, drunken criminals near taverns, and educated youth “are deformed in theories.” Children are vicious in the vicious world of adults. Svidrigailov dreams of a five-year-old girl with vicious eyes.A complete man, he is horrified.

A city of terrible diseases and accidents. No one is surprised by suicides. A woman throws herself into the Neva in front of passers-by, Svidrigailov shoots himself in front of a guard, and falls under the wheels of the Marmeladov’s stroller.

People don't have homes. The main events in their lives take place on the street. Katerina Ivanovna dies on the street, on the street Raskolnikov ponders the last details of the crime, on the street his repentance takes place.

The “climate” of St. Petersburg makes a person “small”. “The Little Man” lives with the feeling of an impending catastrophe. His life is accompanied by seizures, drunkenness, and fever. He is sick of his misfortunes. “Poverty is a vice,” since it destroys personality and leads to despair. In St. Petersburg a person has “nowhere to go.”

Getting used to being insulted and being a beast costs people dearly. Katerina Ivanovna goes crazy, even in “oblivion” she remembers her former “nobility”. Sonya becomes a prostitute to save her family from starvation. It is through mercy and love for people that she lives.

Dostoevsky’s “little” man usually lives only by his misfortunes, he is intoxicated by them and does not try to change anything in his life. Salvation for him, according to Dostoevsky, is his love for the same person or suffering. Man was not born for happiness at any time.

Petersburg in the novel is the historical point where world problems are concentrated. Now St. Petersburg is the nerve center of history; in its fate, in its social illnesses, the fate of all humanity is decided.

Petersburg in Dostoevsky’s novel is given in the perception of Raskolnikov and Svidrigailov. The city haunts Raskolnikov like a nightmare, a persistent ghost, like an obsession.

Wherever the writer takes us, we do not end up at a human hearth, at human habitation. The rooms are called “closets”, “passage corners”, “sheds”. The dominant motive of all descriptions is ugly crampedness and stuffiness.

Constant impressions of the city: crowding, crush. People in this city don't have enough air. “Petersburg Corners” gives the impression of something unreal, ghostly. Man does not recognize this world as his own.Petersburg is a city in which it is impossible to live, it is inhumane.

BIBLIOGRAPHY

1. Amelina E.V. The interior and its meaning in the novel by F.M. Dostoevsky “Crime and Punishment”, [electronic resource]. Access mode: www.a4format.ru. c.8 (a4).
2. Antsifev N.P. Soul of St. Petersburg. P.: “Brockhaus Publishing House Efron S.P.B.”, 1922 [electronic resource]. Access mode:http://lib.rus.ec/b/146636/read.
3. Biron V.S. Petersburg by Dostoevsky. L.: Partnership “Candle”, 1990.
4. Gogol N.V. Notes of a Madman: Favorites. M.: Publishing House "Komsomolskaya Pravda", 2007.
5. Dostoevsky F.M. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970.
6. History of Russian literature of the 19th century: 1800-1830s / Ed. V.N. Anoshkina, L.D. Thunderous. M.: VLADOS, 2001 Part 1.
7. Kachurin M.G., Motolskaya D.K. Russian literature. M.: Education, 1982.
8. Kozhinov V.V. “Crime and Punishment” by Dostoevsky // Three masterpieces of Russian classics. M.: “Fiction”, 1971.
9. Literature at school, 2011, No. 3.
10. Mann Yu.V. Understanding Gogol. M.: Aspect Press, 2005.
11. Nekrasov N.A. Favorites. M.: “Fiction”, 1975.
12. Pushkin A.S. Moor of Peter the Great. M.: “Soviet Russia”, 1984.
13. Pushkin A.S. Eugene Onegin. M.: “Children’s Literature”, 1964.
14. Pushkin A.S. Prose / Comp. and comment. S.G. Bocharova. M.: Sov. Russia, 1984.
15. Pushkin A.S. Poems. M.: “Children’s Literature”, 1971.
16. Etov V.I. Dostoevsky. Essay on creativity. M.: Education, 1968.

1 Biron V.S. Petersburg by Dostoevsky. L., 1990. p. 3.

3 A.S. Pushkin. Poems. M., “Children’s Literature”, 1971. p. 156.

5 A.S. Pushkin. Moor of Peter the Great. M., “Soviet Russia”, 1984. p. 13.

6 A.S. Pushkin. Eugene Onegin. M., “Children’s Literature”, 1964. p. 69.

7 A.S. Pushkin. Prose. M., Sov. Russia, 1984. p. 221.

8 . History of Russian literature of the 19th century: 1800-1830s / Ed. V.N. Anoshkina, L.D. Thunderous. M., VLADOS, 2001 Part 1, p. 278.

9 “Literature at school” No. 3, 2011, p. 33.

10 Antsifev N.P. Soul of St. Petersburg. P.: “Brockhaus Publishing House Efron S.P.B.”, 1922 [electronic resource]. Access mode: http://lib.rus.ec/b/146636/read

11 N.V. Gogol. Notes of a Madman: Favorites. M., Publishing House "Komsomolskaya Pravda", 2007. p.54

12 Yu.V. Mann. Understanding Gogol. M., Aspect Press, 2005. p. 28

13 N.V. Gogol. Notes of a Madman: Favorites. M., Publishing House "Komsomolskaya Pravda", 2007. p. 53

14 Nekrasov N.A. Favorites. M., “Fiction”, 1975. p. 17.

15 M.G. Kachurin, D.K. Motolskaya. Russian literature. M., Education, 1982. p. 144.

17 M.G. Kachurin, D.K. Motolskaya. Russian literature. M., Education, 1982. p. 145.

18 M.G. Kachurin, D.K. Motolskaya. Russian literature. M., Education, 1982. p. 145.

19 ON THE. Nekrasov. Favorites. M., “Fiction”, 1975. p. 19.

20 “Literature at school” No. 3, 2011, p. 34.

21 IN AND. Etov. Dostoevsky. Essay on creativity. M., Education, 1968. p. 187.

22 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 22.

24 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 242.

25 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 20.

26 E.V. Amelina. The interior and its meaning in the novel by F.M. Dostoevsky “Crime and Punishment”, [electronic resource]. Access mode: www.a4format.ru. p.8 (a4).

27 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 3.

29 Kozhinov V.V. Three masterpieces of Russian classics. M., 1971. p. 121.

30 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 4.

31 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 73.

32 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 119.

33 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 353.

34 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 354.

35 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 42.

36 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 393.

37 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 384.

38 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 359.

39 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 6.

40 M.G. Kachurin, D.K. Motolskaya. Russian literature. M., Education, 1982. p. 229.

41 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 131.

42 F.M. Dostoevsky. Crime and Punishment. Makhachkala, Dagestan book publishing house, 1970. p. 37.

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The purpose of the lesson: show the specifics of Dostoevsky’s St. Petersburg, using the technique of comparison, turning to other authors and artists; update students' knowledge about St. Petersburg in Russian literature of the 19th century; continue to develop students’ ability to carefully read the text, comment and analyze it, the ability to compare, reflect, and express their judgments; know the content of F. M. Dostoevsky’s novel “Crime and Punishment”; the main images of the work.

Lesson equipment:

2) presentation;

Students should know:

Main images;

Students should be able to:

Highlight the main points in the text.

During the classes

I . Organizational moment(message topic and purpose)

II. Preparation for perception.

Teacher:

III. The main content of the lesson.

Teacher: What does the name Peter mean?

Students:

Teacher:

Teacher:

Students:

The city is lush, the city is poor,

Spirit of bondage, slender appearance,

The vault of heaven is pale green,

Fairy tale, cold and granite...

Teacher:

Teacher:

Students:

Teacher:

Students:

Teacher:

Scenery;

Scenes of street life;

Interior.

Teacher:

Scenery.

Teacher:

Teacher:

Students:

Teacher:

Students:

Teacher:

Students:

Teacher:

Students:

Teacher:

Students:

Teacher:

Teacher:

Students:

Teacher: Scenes of street life.

Teacher:

Teacher:

Screening of an excerpt from the film “Crime and Punishment.”(Death of Katerina Ivanovna).

Teacher:

Students:

Teacher:

Teacher:

Teacher:

Teacher:

Teacher:

Students:

Students

Teacher:

Teacher:

Students

Teacher:

Teacher:

Teacher:

this is a killer city

and a ghost town

and a dead-end city.

Raskolnikov thinks about him.

IV. Summing up the lesson.

V. Homework:

VI. Ratings.

IMAGE OF THE CITY

Essay writing algorithm

1. Stage principle;

4. Details of urban life.

IV. The writer’s traditions in creating the image of the city in his work and in Russian literature in general.

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Brief description of the document:

The theme of the lesson is Dostoevsky’s Petersburg or “The Face of This World.”

The purpose of the lesson:show the specifics of Dostoevsky’s St. Petersburg, using the technique of comparison, turning to other authors and artists; update students' knowledge about St. Petersburg in Russian literature of the 19th century; continue to develop students’ ability to carefully read the text, comment and analyze it, the ability to compare, reflect, and express their judgments; know the content of F. M. Dostoevsky’s novel “Crime and Punishment”; the main images of the work.

Lesson equipment:

1) technical teaching aids (computer, TV);

2) presentation;

3) texts of F.M. Dostoevsky’s novel “Crime and Punishment”;

4) Notebooks for works on literature.

Students should know:

The main idea of ​​the work;

Main images;

The role of the city in the lives of the heroes;

The basic scheme of depicting the city of St. Petersburg in the novel (landscape, scenes of street life, interior).

Students should be able to:

Correctly answer the questions asked;

Summarize and systematize educational material;

Highlight the main points in the text.

During the classes

I. Organizational moment (message topic and purpose)

II . Preparation for perception.

Teacher: What is a city? (student answers: settlement; political, economic, administrative and cultural center).

It is the city that will be the hero of a great epic work in today’s lesson.

St. Petersburg... When you pronounce this name, a parallel immediately arises - Fyodor Mikhailovich Dostoevsky.

Petersburg by Dostoevsky... These words, like an aphorism, have firmly entered Russian classical literature.

The great writer presented us with the image of St. Petersburg “The Face of This World”, as he himself saw it, in which he lived then, in the mid-60s of the 19th century, when capitalism was emerging in Russia.

Today, together with the writer and his hero, Rodion Raskolnikov, we will walk through the streets of St. Petersburg, see the landscape and scenes of street life, and look into the corner rooms where his heroes live.

Dostoevsky is a St. Petersburg writer. The image of St. Petersburg is present in almost every one of his works. The main thing for Dostoevsky in St. Petersburg is that European and Russian civilization came together in it, that it was a city built by force, unnaturally created. Therefore, Petersburg is a city of poor, unhappy people, a city of poverty and a city of extreme wealth.

III . The main content of the lesson.

Teacher: What does the name Peter mean?

Students: If you look at what the name Peter means, you can see one very interesting feature that to some extent explains Dostoevsky’s perception of this city. The name Peter means stone, so Petersburg is a bag of stones, a dead, faceless, cold, scary city. The image of the bronze horseman, taken from Pushkin, symbolizes the power and strength of this terrible city. For Dostoevsky, this power lies in the power of the city’s influence on people. It is no coincidence that Petersburg was built on the site of a swamp, the bronze horseman is a symbol of St. Petersburg, that is, for Dostoevsky, Petersburg is a bronze horseman in the middle of a swamp.

Teacher: In the novel “The Teenager” this is precisely the perception of the city. “And what if this fog scatters and goes up, won’t that whole rotten, slimy city go with it, rise with the fog and disappear like smoke, and the old Finnish swamp will remain, and in the middle of it, perhaps, for beauty’s sake, a bronze rider on a hot-breathing, driven horse.”

"Crime and Punishment" is called a "St. Petersburg novel." You remember that the image of St. Petersburg was created in their works by Pushkin and Gogol, and Nekrasov, revealing more and more of its facets.

Teacher: - Which of the Russian writers and poets touched on the topic of depicting St. Petersburg in their work?

Students: The theme of St. Petersburg was set in Russian literature by Pushkin. It is in his “Bronze Horseman”, in “The Queen of Spades” that we encounter a two-great city: beautiful, mighty Petersburg, the creation of Peter, and the city of poor Eugene, a city whose very existence turns into a tragedy for the little man.

Pushkin's Petersburg is contradictory: the poet loves this city - the source of creativity, but debunks the “sovereign city” - a symbol of power that brings troubles to people. A.S. Pushkin composed a hymn to the great city in “The Bronze Horseman”, lyrically described its magnificent architectural ensembles, the twilight of the white nights in “Eugene Onegin”:

The city is lush, the city is poor,

Spirit of bondage, slender appearance,

The vault of heaven is pale green,

Fairy tale, cold and granite...

In the same way, Gogol’s Petersburg has two faces: a brilliant, fantastic city is sometimes hostile to a person whose fate can be broken on the streets of the northern capital.

N.V. Gogol continues the tragic theme of St. Petersburg, but here reality and delirium, reality and nightmare merged together. “He lies all the time, this Nevsky Prospect.” This is a city of fantastic contrasts, growing into an unreal symbol of a ghost town.

Nekrasov's Petersburg is sad - the Petersburg of the ceremonial soulless entrances, the bloody Sennaya Square.

Belinsky admitted in his letters how much he hated Peter, where it was so difficult and painful to live.

Teacher: Dostoevsky has his own Petersburg. The writer’s meager material resources and wandering spirit force him to often change apartments on the so-called “middle streets,” in cold corner houses where people “teem with people.”

This is a city of the humiliated and insulted, a city in which crimes are committed, a city whose very existence prompts a person to kill, either himself or another.

From a tiny cell along Sadovaya, Gorokhovaya and other “middle” streets, Raskolnikov goes to the old woman pawnbroker, meets Marmeladov, Katerina Ivanovna, Sonya... He often passes through Sennaya Square, where at the end of the 18th century a market was opened for the sale of livestock , firewood, hay, oats... A stone's throw from the dirty Sennaya was Stolyarny Lane, which consisted of sixteen houses in which there were eighteen drinking establishments. Raskolnikov wakes up at night from drunken screams when regulars leave the taverns.

Scenes of street life lead us to the conclusion: people have become dull from such a life, they look at each other “with hostility and distrust.” There can be no other relationship between them except indifference, animal curiosity, and malicious mockery.

The interiors of the “St. Petersburg corners” do not resemble human habitation: Raskolnikov’s “closet”, the Marmeladovs’ “passage corner”, Sonya’s “barn”, a separate hotel room where Svidrigailov spends his last night - all these are dark, damp “coffins”.

All together: landscape paintings of St. Petersburg, scenes of its street life, interiors of “corners” - create the overall impression of a city that is hostile to people, crowds them, crushes them, creates an atmosphere of hopelessness, pushes them to scandals and crimes.

Teacher: - Where does the action take place in the novel by F.M. Dostoevsky.

Students: Drinking bars, taverns, slums, police offices, brothels, back streets, palaces, wells, coffin rooms and closets, back stairs doused with slop. Sennaya Square and Kanava.

Teacher: Petersburg in the novel is not just a place of action or a background of events, it is the soul, a participant in the events. Can you name the places where the action takes place in the novel?

Students:

Sennaya Square, Stolyarny Lane, Ekaterininsky Canal, Bolshaya and Malaya Neva, Petrovsky Island, “Raskolnikov’s house”, “Sonya’s house”, “house of the old pawnbroker”.

Teacher: The novel takes place in the summer. Summer in St. Petersburg is northern. summer. Summer in the novel is hot, so hot that it’s hard to breathe. It’s hard to breathe on the streets, it’s hard to breathe in taverns, apartments, corners.

This suffocating atmosphere becomes a symbol of the city, where the thought of Raskolnikov’s murder is ripening, where the crime is being committed.

The work in the lesson will go according to the following scheme:

Scenery;

Scenes of street life;

Interior.

Teacher: - What is a landscape? (View of an image of some area).

What is the atmosphere like on the streets of the city? (Let's confirm with quotes from the novel).

Scenery.

Part 1, chapters 1,2 – “disgusting and sad coloring” of a city day; first day with Raskolnikov in St. Petersburg, pp. 121, 126.

Part 2, chapter 1 – repetition of the previous picture, page 189.

Part 2, chapter 2 – magnificent panorama of St. Petersburg, page 204.

Part 2, chapter 6 – evening Petersburg, p. 235.

Part 6, chapter 6 – stormy evening and morning on the eve of Svidrigailov’s suicide, pp. 496, 505.

Through the eyes of Raskolnikov we look at summer Petersburg: “It’s hot outside...... the nerves of a young man.”

Reading by students of the indicated episodes.

Teacher: The general meaning of this landscape and its symbolic meaning will be further developed in the novel. From this point of view, the images of summer Petersburg are interesting. “Near the taverns on the lower floors, in the dirty and smelly courtyards of the houses on Sennaya Square, and especially near the taverns, there were crowds of many different types of industrialists and rags.” “The heat outside was unbearable again; at least a drop of rain all these days. Again dust, brick and limestone, again the stench from the shops and taverns, again the constantly drunk Chukhon peddlers and dilapidated cab drivers.” “It was about eight o’clock, the sun was setting. The stuffiness remained as before; but he greedily breathed in this stinking, dusty, city-polluted air...” “In this garden there was one thin, three-year-old fir tree and three bushes - in addition, a “station” was built, essentially a drinking establishment, but you could also get tea there ..." All these excerpts from the novel leave the same impression of stuffiness, conveying this state as something common in the description of the urban environment.

Teacher: Name the general patterns in these landscape descriptions.

Students: All descriptions are based on the same details - terrible heat, dust, bad smells, crowds.

Teacher: The landscape in the novel is firmly connected with the image of Raskolnikov, passed through his perception. “The middle streets of St. Petersburg, where people are “teeming with people,” evoke in Raskolnikov’s soul “a feeling of deepest disgust.” The same response gives rise to a different kind of landscape in his soul. Here he is on the banks of the Neva:

Students: “...looks from the Nikolaevsky Bridge at St. Isaac's Cathedral and the Winter Palace.”

An inexplicable chill blew over him from this magnificent panorama; This magnificent picture was full of a mute and deaf spirit for him. This is the same Petersburg that surrounds Eugene in The Bronze Horseman, but here it is deprived of all the beautiful features that Russian history has endowed it with; It is no longer possible to say to this Petersburg, as Pushkin said: “I love you.”

You can’t talk to him at all - even as the unfortunate Eugene spoke to the “miraculous builder”, as the dreamer of “White Nights” spoke to the city. Before Raskolnikov, before all the heroes of the novel, there is a “mute and deaf” city, crushing all living things.

“The sky was without the slightest cloud, and the water was almost blue,” the shining “dome of the cathedral,” on which “even every decoration could be clearly seen through the clean air.”

Teacher: Maybe the hero likes this picture and finds peace and satisfaction from what he sees?

Students: And the beautiful space presses, torments, and oppresses Raskolnikov just as much as the stuffiness, cramped space, heat and dirt of the streets: “for him this magnificent picture was full of a dumb and deaf spirit.” In this respect, Raskolnikov's attitude to nature is his attitude to the world. The hero is suffocating in this dead, cold and indifferent city and world.

Teacher: Is there a place where Raskolnikov likes to visit?

Students: The hero prefers Sennaya Square, in the vicinity of which the poor live. Here he feels like he belongs.

Teacher: - Tell us about the appearance of the people he met on these streets. What impression did they make on you and why?

Students: This is Raskolnikov himself, “remarkably good-looking,” but “sank down and became shabby”; these are “drunks”, “all kinds of industrialists and rags”; Marmeladov with a yellow, swollen, greenish face, reddish eyes and “dirty, greasy, red hands with black nails; an old pawnbroker with “sharp and evil eyes”; Katerina Ivanovna.

Teacher: So, from meeting these people you are left with a feeling of something dirty, pathetic, ugly.

Teacher: The fate of the heroes is sometimes decided on the street, thereby the city of St. Petersburg becomes a city of death. Who dies on the streets in Dostoevsky's novel?

Students:

Dies under the wheels of Marmeladov's stroller;

Consumptive Katerina Ivanovna dies on the street;

Sonya goes out into the street to sell herself;

On the avenue, in front of the watchtower, Svidrigailov commits suicide;

A drowned woman is found on the Neva;

On Konnogvardeisky Boulevard, Raskolnikov sees a drunk girl;

Raskolnikov comes out to Sennaya Square to repent before people and before God;

He wanders the streets of the city even after the murder.

Teacher: Scenes of street life.

1) Part 1, chapter 4 – meeting with a drunk girl, pp. 153 – 155.

2) Part 2, chapter 2 – scene on the Nikolaevsky Bridge, blow of the whip and alms, pp. 203 – 204.

3) Part 2, chapter 6 – a) an organ grinder and a crowd of women at a tavern, b) a scene on ... a bridge, a drowned woman, pp. 235 – 237, + 246.

4) Part 5, chapter 5 – death of Katerina Ivanovna, pp. 441 – 447.

Screening of an excerpt from the film “Crime and Punishment.”(Raskolnikov’s meeting with a drunk girl).

Teacher: The novel often depicts street scenes. Here is one of them. Raskolnikov stands in deep thought on the bridge and sees a woman “with a yellow, elongated, worn-out face and reddish, sunken eyes.” Suddenly she rushes into the water. And you can hear the screams of another woman. “I drank myself to hell, fathers, to hell... I realized I wanted to hang myself too, they took me off the rope.” It’s as if the door to someone else’s life, full of hopeless despair, opens for a moment.

Teacher: The symbolic image of the tortured horse from Raskolnikov’s dream echoes the image of the dying Katerina Ivanovna (“They drove away the nag... she was torn!”).

Screening of an excerpt from the film “Crime and Punishment.”(Death of Katerina Ivanovna).

Teacher: Retell Raskolnikov's dream about a slaughtered nag.

Raskolnikov's dream. Part 1, chapter 5 – about the downtrodden nag.

Students: He sees in a dream how drunken men beat a helpless horse to death, he cries, tries to protect it, but finds himself helpless in front of the unleashed evil.

Teacher: Let's read an excerpt from the novel “Scene on the Nikolaevsky Bridge, the blow of the whip and alms.”

Teacher: The city is also the houses in which people live. The houses where the heroes live are terrible.

Leaving the noisy, dirty streets, the writer leads us to the houses where his heroes live. Usually these are apartment buildings, typical of capitalist St. Petersburg. We enter “dirty and smelly courtyards, wells, and climbed dark stairs.

It’s scary to live in these rooms, theories like Raskolnikov’s are born here, both adults and children die here.

Teacher: How do Dostoevsky's heroes live in these rooms?

Here is one of them - “narrow, steep and covered in slop. All the kitchens, all the apartments, on all four floors opened onto this staircase and stood like that for almost the whole day. That’s why it was so stuffy.”

What about the rooms? They are usually drawn in semi-darkness, dimly lit by the slanting meadows of the setting sun or the dimly flickering stub of a candle...

Teacher: Let's read excerpts from the work that depict the characters' homes.

Part 1, chapter 3 – Raskolnikov’s closet, page 139.

Part 1, chapter 2 – room – “passage corner” of the Marmeladovs, p. 136.

Part 4, chapter 4 – room – Sonya’s “barn”, page 355.

Teacher: - What is your strongest impression when, “leaving” the street, “entering” Raskolnikov’s room, the Marmeladovs’ room, etc.?

Students: Here is Raskolnikov's room. ""It was a tiny cell, six mages long, which had the most pitiful appearance with its yellow, dusty wallpaper that was falling off the wall everywhere, and so low that even a slightly tall person felt terrified in it, and everything seemed to be... he hits his head on the ceiling. The furniture matched the room: there were three old chairs, not quite in good condition, a painted table in the corner... There was a small table in front of the sofa.”

Students : They will note the suffocating closeness of the room and point out that Raskolnikov’s closet is, in miniature, the world in which a person is oppressed and destitute.

The Marmeladovs’ room: “The small, smoky door at the end of the stairs, at the very top, was open. The cinder illuminated the poorest room, ten steps long; all of it could be seen from the entryway. Everything was scattered in disarray, especially various children's rags...")

When Raskolnikov comes to Sonechka, he is amazed by her room, which looks more like a barn.

Teacher: So, we can say that the image of the city landscape and interiors steadily pursues one goal: to leave the impression of something wrong, discordant, dirty, ugly.

The backdrop against which the novel unfolds is St. Petersburg in the mid-60s. Raskolnikov nurtures his theory in the “cabin”, “closet”, “coffin” - this is the name of his kennel. Raskolnikov's tragedy begins in a tavern, and here he listens to Marmeladov's confession. Dirt, stuffiness, stench, drunken screams - a typical tavern environment. And the corresponding audience is here: “drunken Munich German”, “princesses” of entertainment establishments. The tavern and street elements - unnatural, inhuman - interfere with the fate of the novel's heroes. “It’s rare where you will find so many dark, harsh and strange influences on the human soul as in St. Petersburg,” Dostoevsky declares through the mouth of Svidrigailov. A man suffocates in Dostoevsky’s Petersburg, “like in a room without windows,” he is crushed in a dense crowd, and in a tavern, “packed,” and in closets.

Teacher: How did we see St. Petersburg in the novel “Crime and Punishment”?

Students : Everything bears the stamp of general disorder, the poverty of human existence.

St. Petersburg is a city of half-crazy, lonely people. The painter Mikolka said that in St. Petersburg you can find everything except father and mother.

Many heroes of St. Petersburg are homeless, and home, as you know, is a place where a person can find repentance, find a loving, necessary person, but people in St. Petersburg are a crowd that has fallen below moral standards, hearing and not understanding anything. A man in the city is lonely, no one needs him. In the city, isolation of man from man and overcrowding coexist.

It is also characteristic that Dostoevsky describes his heroes living between the Catherine Canal and the Fontanka, in one of the poorest and most terrible areas of the city. The writer never shows the beauty of the city. There is almost no nature, and if there is one (lawn, Petrovsky Island), its absence in other places is only emphasized.

Petersburg of closets, staircases, brothels, taverns, market squares, terrible Petersburg puts pressure on a person, is deeply hostile and unpleasant to everything healthy. Dostoevsky's Petersburg is a peculiar hero of the novel, cruel and inhumane.

Teacher: The image of St. Petersburg, the image of Dostoevsky’s contemporary life becomes the embodiment of this crisis of humanity. Dostoevsky's Petersburg is a city in which it is impossible to live: it is inhuman. Wherever the writer takes us, we do not end up in human habitation. After all, it’s creepy to live not only in the “coffin” that Raskolnikov rents, but also in Sonya’s “ugly barn”, and in the “cool corner” where Marmeladov lives, and in a separate room, “stuffy and cramped”, in which he spends his last night of Svidrigailov. This is a city of street girls, beggars, homeless children, tavern regulars - those who are doomed to everyday tragic life. The atmosphere of Dostoevsky's St. Petersburg is an atmosphere of dead end and hopelessness.

Student’s message “The symbolism of color in Dostoevsky’s novel.”

Teacher:

Dostoevsky practically does not talk about beautiful Petersburg; even when he writes about a beautiful city, he immediately returns to dirty Petersburg.

Part 1, chapter 6 – Dream of a happy city. "Passing past Yusupov."

Teacher: Dostoevsky’s Petersburg is a city of contrasts: “the humiliated and insulted” and the “powerful of this world”, it is a city where one can’t breathe, a city of indifference and inhumanity,

this is a killer city

And a ghost town

And the city is a dead end.

But Dostoevsky also has a dream of a happy city.

Raskolnikov thinks about him.

But this is a dream, and the city is horror and madness.

But the dream of a beautiful city, created for the happiness of people, lives in the soul of the writer and his hero, along with the idea of ​​a crazy, ugly city.

In the most terrible moment of his life, when going to commit a crime, Raskolnikov thinks “about installing high fountains and how well they would freshen the air in all squares. Little by little he came to the conviction that if the Summer Garden were extended to the entire Field of Mars and even connected to the palace Mikhailovsky Garden, it would be a wonderful and most useful thing for the city.”

Dostoevsky's dream of a beautiful city.

IV . Summing up the lesson.

What can you say about Dostoevsky's Petersburg?

The motif of stuffiness, crowding, crowding, stench, dirt, which is born of the landscape, continues and is strengthened by the description of the external appearance of people, their lives and the closets in which they live. Man is suffocating in this city. The atmosphere of Dostoevsky's St. Petersburg is an atmosphere of dead end and hopelessness. This is a city that is impossible to be in.

V . Homework:

VI. Ratings.

IMAGE OF THE CITY

Essay writing algorithm

I. Most often, the city depicted in a literary work is an independent artistic image (specific, collective or allegorical).

II. The image of the city reveals the most characteristic aspects of life in Russian reality of the depicted period.

1. City authorities, officials, landowners, merchants, ordinary people and other social strata of society;

2. Pastime of city residents;

3. A comprehensive picture of government;

4. A comprehensive image of all spheres of life of citizens and their activities;

5. Emphasizing or violating the typical life of the city and its inhabitants;

6. City customs: gossip, balls, fights, etc.;

III. Means of revealing a generalized image of the city.

1. Stage principle;

2. “Unifying” principle - heroes as an image of the city as a whole;

3. Details of the city “portrait”: colors, sounds, descriptions of buildings, streets, interiors, etc.;

4. Details of urban life.

IV . The writer’s traditions in creating the image of the city in his work and in Russian literature in general.

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