When Raskolnikov became disillusioned with his theory. Abstract: The collapse of Raskolnikov's idea. F.M. Dostoevsky. "Crime and Punishment". Approximate word search

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The action of “Crime and Punishment” lasts not much more than two weeks. For Dostoevsky, with his ambition, with his distant horizons, there was no need to time the plot of the novel to a chronologically precisely defined date. However, he was a realist and always remained a realist, so he never forgot about the earthly roots of the tragedies he created. The images, ideas and ideals of his novels grow from reality, and one can always trace with what anxieties of the time they are connected, where the seed of the growing tree was laid.

Crime and Punishment takes place when the wave of the sixties has already capsized and become exhausted. In Dostoevsky, when he created the story of Raskolnikov, the experiences of the culmination of the decade had not yet subsided, but he was already able to treat them retrospectively, summing up his results.

Earthly roots, historical periods, social and psychological accuracy were necessary for Dostoevsky, because he wrote not a detective novel, but a historical, philosophical and social and moral novel. He needed facts, not symbols, images, not ideas in faces - he was not a rational thinker who expounded philosophemes in an edifying, fictional form, but a brilliant artist who knew how to feel and convey the hidden meanings through facts and faces, through circumstances and actions. them universal laws and forces. “Crime and Punishment” will never cease to be an artistically individualized story about Raskolnikov, about his inner life, about his ideas and plans, about his crime, about his punishment, about his fate. But in the story a commonality emerges by itself, a meaning emerges from the story by itself, which in the end was the only thing that was important to Dostoevsky, because he was burning with all the sorrows of the world and, with frantically hastening anxiety, was looking for a means to heal it.

Dostoevsky concentrated everything that the existing order brings to the defenseless majority in the life and fate of the Marmeladov family. The Marmeladov family is the focus in which all the misfortunes of an incorrectly structured, exploitative society are refracted, and how “sweet” this world is is depicted by the bitterly ironic surname chosen by Dostoevsky. Dostoevsky's ideas about social contradictions and social disasters of this unrighteous world remained unchanged in the new novel; they are characterized not by exploitation but by poverty, their most striking symbols continue to be women forced to sell love and suffering children. The world is structured in such a way that poverty in it is not only misfortune, but also guilt, vice, immorality, in contrast to the official Christian attitude towards poverty. “Dear sir,” he (Marmeladov) began almost with solemnity, “poverty is not a vice, it is the truth. I know that drunkenness is not a virtue, and this is even more so. But poverty, dear sir, poverty is a vice, sir. In poverty you still retain your nobility of innate feelings, but in poverty no one ever does. For poverty they don’t even kick you out with a stick, but rather sweep them out of human company with a broom, so that it’s all the more offensive; and rightly so, for in poverty I am the first to be ready to insult myself. And hence the drinking place!” Drunkenness is not the cause of poverty, but a consequence, a consequence of unemployment, homelessness* “... and then I lost my job, and also not because of 349’s fault, but because of a change in staffing levels, and then I got involved!..” Marmeladov explains to Raskolnikov. With amazing accuracy and materialistic consistency, Dostoevsky shows how Sonechka Marmeladova, with her purity and dedication, becomes a prostitute. The image of a girl selling her innocence and beauty for thirty rubles, for thirty pieces of silver, gradually fills the pages of the novel, symbolizing untruth, cruelty, and all the horror of this world. Proud Dunya, Raskolnikov’s sister, a version of the same Sonya: for her own salvation, even from death, she will not sell herself, but for her brother, for her mother! “Oh, here we, on occasion, will crush our moral feeling; freedom, tranquility, even conscience, we will take everything, everything to the flea market. Lose your life! If only these beloved creatures of ours were happy? Such is the formidable dialectic of this commodity world - the highest love, through the highest selflessness, transforms the most sacred thing in a person into an object of sale and purchase, into dishonor, into dishonesty. Raskolnikov, for whose benefit Dunya is ready to prostitute herself, throws it in her face with cruel straightforwardness: “You cannot respect Luzhin: I saw him and spoke to him. Therefore, you are selling yourself for money and, therefore, in any case, you are acting basely...” The same fate is prepared for everyone, the kind, the weak, the unrequited. Even Lizaveta Ivanovna, the obedient slave of her sister Alena, and she, according to a peculiar logic, well captured by Dostoevsky, walks along the same road: “So quiet, meek, unrequited, willing, agreeing to everything.” All of them, morally beautiful and selfless, face the same fate, and the most fatal: limitless sacrifices not only prepare them for illness and early death, the sacrifices do not save those in whose name they are made. Raskolnikov admires Sonya, appreciates her inner purity and moral heroism; he is indignant at Sonya not for her sins, but because she “in vain killed and betrayed herself. It wouldn't be terrible! It wouldn’t be terrible that you live in this filth, which you hate so much, and at the same time you know yourself (you just have to open your eyes) that you’re not helping anyone and won’t save anyone from anything!” - he tells her. Sonechka is accompanied in the novel by the epithet “eternal.” “Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world cmouni” The epithet “eternal”, “eternal” has a definite and important meaning for Dostoevsky. It was borrowed from Balzac (Father Goriot - “eternal father”) and denotes eternal fidelity, eternal pre350 F. M. Dostoevsky given, eternal subordination in love or friendship, or in some other feeling towards a chosen other person. But in Crime and Punishment the term acquires a universal historical and philosophical meaning. It denotes the order in which the world hated by Raskolnikov stands, dooming the majority to the role of means and victims, means for the evil and unjust, sacrifices in the name of the happiness of loved ones, and the vain nonsense of sacrifice in the existing “eternal” order of things. According to the peculiarities of his life experience and the nature of his vision of the world, Dostoevsky embodied a new reality and a new morality,
affirmed by the rising philistinism, the constituting bourgeoisie, into the images of semi-intellectuals and intellectuals serving the new class, expressing its essence and not forgetting, first of all, themselves. Intellectuals - the salt of the earth - suffered from the pains and sufferings of humanity, they were Hamlets and Don Quixotes, they either died in the struggle for the truth, or life constantly put them in front of a broken trough of unrealized or even unrealizable illusions. Intellectuals-philistines, intellectuals only by profession, careerists and speculators, prosecutors, lawyers, professors-officials, publishers of liberal magazines and simply businessmen who firmly grasped the ancient saying that money has no smell, survived, won and prospered. This is Pyotr Petrovich in the novel. Pyotr Petrovich, having fought his way out of insignificance, “got used to admiring himself, highly valued his intelligence and abilities, and even sometimes, alone, admired his face in the mirror. But more than anything in the world, he loved and valued his money, obtained by labor and by all means: it made him equal to everything that was higher than him.” The Marmeladovs and Luzhin are the poles of social differentiation in post-reform Russia in "Crime and Punishment." The triumph of the Luzhins gives the novel a special flavor, perhaps even more terrible than the death of the Marmeladovs. Luzhins are hyenas and jackals that feed on the blood of the disarmed, defenseless, and the corpses of the fallen. Luzhin is Dostoevsky's most hated character in the novel. Without Luzhin, the picture of the world after the defeat in Crime and Punishment would have been incomplete and one-sided. Luzhin understood that in the post-reform situation, in the emerging capitalist society, the legal profession promised 351 fat pieces, and an honorable position next to the first people of the faded noble elite: “... after long considerations and expectations, he finally decided to finally change his career and enter into a more an extensive range of activities, and at the same time, little by little, move into a higher society, which he had long been thinking about with voluptuousness... In a word, he decided to try St. Petersburg.” Luzhin is forty-five years old, he is a businesslike, busy man, he serves in two places, he feels sufficiently wealthy to start a family and a house. Luzhin decided to marry Duna because he understood: a beautiful, educated, self-controlling wife could greatly help his career. He understood equality in his own way. He wanted to become equal with the stronger, with his superiors. He despised the people whom he overtook on the path of life. Moreover, he wanted to rule over them. In addition, he also demanded gratitude from the dependents and the “beneficiaries.” Hence the plan he cherished in his marriage to Dunya, a plan that he almost did not hide: Luzhin “expressed that even before, without knowing Dunya, he had decided to take an honest girl, but without a dowry, and certainly one who had already experienced plight; because, as he explained, a husband should not owe anything to his wife, but it is much better if the wife considers her husband to be her benefactor.” He threatens the bride that he will leave her if she does not obey and does not break up with Rodya, for whose sake she decided to accept his hand. “He is a smart man,” Raskolnikov says about Luzhin, “but to act smartly, intelligence alone is not enough.” Luzhin's mind was short, too definite, a practically rationalistic, penny-calculating mind, devoid of intuition and not taking into account the considerations of the heart, shunning the unknown and everything that does not add up, like dominoes on an abacus. He is sneaky, not morally squeamish, sows gossip and invents gossip. Luzhin does not understand either disinterested honesty or nobility. Exposed and kicked out by Dunya, he believes that he can still fix everything with money. He saw his mistake mainly in the fact that he did not give Duna and her mother money. “I thought to hold them in a black body and bring them so that they would look at me as if I was providence, but there they are!.. Ugh!.. No, if I had given them for all this time, for example, fifteen hundred thousand for a dowry, yes for gifts... it would be cleaner and... stronger!” Luzhin's mind was entirely devoted to property, to putting together capital, to making a career. An upstart, nouveau riche, and in his own way he broke the old patriarchal integrity, and he considered himself one of the “new people” and thought to justify his dirty practice with modern theories. Luzhin called himself a person who shares the beliefs of “our newest generations.” His hopes for success were indeed connected with the changed times
exchanges, and it is clear why: in old Rus', with its serfdom rights, privileges, traditions, and noble standards of honor and ennobled behavior, he had nothing to do and nothing to count on. Luzhin is a man of the camp to which the dandy who pursued a deceived and seduced girl on the boulevard belonged. And even worse. The dandy was overwhelmed by lust, Luzhin by a passion for profit, he acted according to a strict calculation of benefits and disadvantages, according to which it cost him nothing to beat or devour a person. Luzhin slandered Sonya and accused her of theft in order to arrange his affairs, to discredit Raskolnikov and regain “these ladies.” In a melodramatic and at the same time tragic scene, an angry, indignant Lebezyatnikov exposes Luzhin’s meanness... Razumikhin says to Dunya: “Well, is he a match for you? Oh my God!" Luzhin should not be underestimated. Dostoevsky assigned him a large role in the figurative-semantic system of the novel. Luzhin is the key to understanding the essence of reality that emerged after the defeat of the revolutionary democratic movement of the sixties on the basis of the beginning of bourgeois reforms.

Essay topic:“The theory of Rodion Raskolnikov and its collapse.”
Here the devil fights with God,
and the battlefield is the hearts of people
F.M. Dostoevsky
"The Brothers Karamazov".

Dostoevsky's novel “Crime and Punishment” is one of the most complex creations, but no less the most widely read work of world literature.
Plunging into the ideological world of this book, you find yourself in some tension, in some kind of uncertainty, and you involuntarily feel the confusion of the actions due to the rapid change of plot scenes. Dostoevsky makes us feel and experience all these events, acting as a psychologist, a sensitive expert on the human soul. With the power of his talent, he creates a rather controversial hero, but, undoubtedly, the fruit of his labors is a real personality, a strong and proud character. The author takes him through suffering, painful thoughts, mental anguish, the bearer of which can only be a deep mind, a bright personality, capable of thinking about the problems of humanity in general and trying to solve them, although this can lead to the most unpredictable consequences.
So who is Rodion Raskolnikov really: a strong character or a lost man without a future?
What author's thoughts and ideas do we associate with the hero's story?
Introducing Raskolnikov, the writer immediately plunges us into the dark abyss of his problems: leaving the university due to lack of money, family poverty, his miserable existence. Rodion's appearance, his wretched clothes, which looked more like pitiful decayed rags, encourage us to feel sympathy. Thus, even an insignificant detail in his “outfit” reveals the full burden of his situation: “This hat was already worn out, completely red, all with holes and stains...”
Dostoevsky deliberately draws our attention by describing the hero’s “closet,” introducing him into a stuffy atmosphere of hopelessness and poverty: “It was a tiny cell, about six steps long, which had the most pitiful appearance, with its dusty yellow wallpaper and wallpaper falling off the walls everywhere, so low, that a slightly tall person feels creepy in it...”
These lines evoke rather gloomy impressions. A very small room, more like a closet or a coffin, in which there is no free space, no air, and therefore no life. A person cannot live here because he is suffocating from the humiliating feeling of his own insignificance.

Now, you really understand the condition of Raskolnikov, for whom this closet is his permanent habitat, you feel the oppressive atmosphere.
These walls make a person sad, oppressive, and drive them to despair.
Stuffiness, lifelessness, lack of fresh air, and therefore of moral and spiritual purity, the meaning of a real, meaningful life, a perfect society, devoid of ugliness and abomination. Such gloomy thoughts arise with particular force and obsession in the hero in this room. But the author believes in the hidden, inner strength of the hero, which so needs air and life. That is why the door is always slightly open for the penetration of weak streams of light that filled Raskolnikov with life-giving force. Yellow, torn wallpaper is also symbolic, because Dostoevsky associates this color with human torment, dirt, perhaps even despair from a feeling of hopelessness, which is increasingly engulfing us in its abyss.

Rodion’s room is just a small island of the huge city of St. Petersburg, with its long and narrow streets, “smelly courtyards of houses,” “stone walls and the coldness of the Neva.” This callousness, indifference, and abomination are the natural scenery of the inner life of the city and its inhabitants. A striking example is the case of a drunk girl on the boulevard. Raskolnikov is filled with hatred and contempt for people who consider themselves secular dandies. He leaves the girl alone because he is filled with despair from his powerlessness to change this society: “Let them say that, that’s how it should be.” But still, despite the outward indifference, his soul is filled with feelings that do not allow him to calmly experience such events, but require him to help the suffering of defenseless children, since it is in them that all the purity, kindness and hope for a bright future lie.

But not only the life of St. Petersburg makes the hero understand that it is impossible to live like this, but also personal problems: the situation in his family strengthens his long-ripened beliefs.
The letter from Rodion’s mother gives rise to a feeling of anger from the thought that poverty and lack of money leave no choice but to sell oneself, betray one’s beliefs in order to save one’s relatives.
Dunya’s victim cannot leave Raskolnikov calm and indifferent, because he understands the whole downside of this marriage. The hero rebels against his sister’s decision, seeing the line when a person no longer has the right to “cross.” Material wealth should not stand above a person’s inner treasures.
Marmeladov's story about his daughter strengthens Rodion's belief that the case with his sister is far from the only example. In order to feed hungry children, Sonya forgets about herself, about her inner feelings. But she cannot control her own life. Raskolnikov commits his crime, trying to help people like Sonya, thereby saving worthy and noble people from humiliation. But he believes that as long as there are people like Sonya, nothing will change. The Marmeladovs will use them: “What a well, however, they managed to dig and are using it! We cried and got used to it.”
Rodion's dream becomes a subconscious impetus for the murder of the old woman - a pawnbroker, symbolizing, in his opinion, the whole of St. Petersburg, dirt, evil. In a dream, the hero encounters blood, a symbol of people, destitute and defenseless,
constantly experiencing the force of the whip and hatred from a society devoid of any human feelings and morality.
The conversation about the tavern, overheard by Raskolnikov, makes him even more aware of the insignificance and meaninglessness of the old woman’s life, strengthening the decision to commit murder: “... A hundred, a thousand good deeds and undertakings that can be arranged and spent on the old woman’s money, doomed to the monastery
...dozens of families saved from poverty, from decay, from death, from debauchery... - and all this with her money.” Undoubtedly, Rodion heard those words that corresponded to his conclusions and became confirmation of the correctness of the plan.
But was it only good intentions, selfless goals, and a desire to help that guided the hero? May be. This should not be forgotten about his theory, the peculiar division of all humanity into “trembling creatures” and “creators of history”, “the mighty of this world”. Rodion believed that the world is built on the subordination of “trembling creatures” to “Napoleons”, who, in order to achieve their goal, are ready to step over the suffering of others, even through human life.

It is they, according to his reasoning, who will be able to make progress, change society, and eradicate the old order. Raskolnikov admired such people, but at the same time he was tormented, not knowing which category to classify himself into.
Therefore, the real reason for the murder, I think, was an attempt to make sure “... am I a louse, like everyone else, or a person? Will I be able to step over or not: “Do I dare to bend down and take it or not? Am I a trembling creature or do I have the right...” His good intentions served only as a screen for his selfish desire, which even the blood of people did not stop. Raskolnikov wanted to feel like a “Napoleon”, a ruler over “trembling creatures”, he dreamed of asserting himself.
Unfortunately, the insidious plan played a cruel joke on him.
From the very first step, Raskolnikov experiences the unexpected: he commits an act that already cracks his conviction, marking the beginning of his collapse.
The murder of Lizaveta contradicted the plans that he had nurtured for so long. This woman was a reminder of all the suffering and oppressed, of those to whom he tried to bring good, to save from evil and poverty.
But in fact, the ax of liberation turned into the executioner's ax, and he - into an unjust ruler who, in carrying out his plan, fulfilled only a whim, testing himself in action. And this is really so, because Raskolnikov did not take advantage of the good that he allegedly needed so much, but hid it under a stone. Rodion constantly turned to himself with the question, “... how come you still haven’t even looked into your wallet... all the torment, did I consciously go to such a vile, disgusting, low thing?” And there can be only one answer here: he was guided by the thought of self-affirmation, and everything he did, he did for himself, and not for the sake of helping the poor and unfortunate.
The hero just wanted to find out: “...am I a louse like everyone else, or a man?”
It seems to me that he realized this quite quickly, felt who he really was.
I hesitated for a long time about what position to choose in relation to the actions of the hero: condemn him, or, on the contrary, feel sorry for him, to whom fate did not treat favorably, endowing him with a similar mind and thinking? The incident on the Nikolaevsky Bridge reveals true beliefs that contradict his theory. A blow with a whip, a humiliating scene with two kopecks help him feel who he really is. Rodion cannot help but admit that he is a simple St. Petersburg beggar, for whom everyone takes him, but at the same time he does not want to put up with it. He fancies himself as Napoleon, but deserves only pity: “Accept, father, for Christ’s sake.”
How this understanding of his helplessness and uselessness drove him crazy, which was once again confirmed by the golden domes of the cathedrals and the magnificent palaces of the rich city, serving as the scenery of another life, where filth and debauchery reigned.
He furiously throws the two-kopeck piece into the water, trying to shield himself from these thoughts, but they give rise to a new test: “It seemed to him that he seemed to have cut himself off from everyone and everything with scissors in a minute.”
Endless torment, struggle with himself, exposure of plans, empty and impracticable, lead Rodion to illness, illness not of the body, but of the soul. We see that a true person, a personality, is rising in him: “I’ll come in, kneel down and tell everything...”
. His struggle with himself, mental anguish lead to the idea that he is the same “trembling creature” as everyone else, who does not have the right to dominate the world, to rule other people’s lives.
The internal torment and remorse are so great that the hero alienates all his close and dear people from himself, creating an abyss. He believes that having committed a crime and stepped through a person’s life, he has lost the right to be near his family. “Yes, I wet myself...I’m covered in blood!” - he says, feeling the executioner in himself. And this once again proves that he is not Napoleon: the death of even insignificant people brings him and those around him only grief, destroying his desire to be cold-blooded and indifferent. What he seemed to do for the good turned out to be disastrous for the family: the suffering of his sister, the torment of his mother became too great a price to pay for his beliefs, an empty dogma doomed to failure, because it was filled only with the selfish considerations of the author, who was unable to predict all the dire consequences.

Raskolnikov is still grasping at the thread of his theory, trying to find an excuse before people and before himself, but, without wanting it, he feels that he is to blame. This struggle haunts him. A dream about reprisals against the hostess indicates to him that everything in this world is punishable, nothing passes without a trace.
His consciousness suggests that judgment based on the collapse of human commandments is inevitable. He is as guilty as a common criminal. His assertion of the right to commit a crime destroys all good intentions, turning him into a murderer who should not continue to live with impunity.
The same old woman, appearing in a dream, recognizes Raskolnikov’s powerlessness over this world, makes one feel the meaninglessness of this murder, thereby emphasizing that Rodion is not the one to whom “everything is permitted.”
But this is a weak voice of his consciousness. He himself is convinced that “... what he conceived is “not a crime...”
His pride does not allow him to admit defeat and classify himself among ordinary people. And this sharply distinguishes him from Arkady Ivanovich Svidrigailov, but both heroes live by the principle “everything is permitted.”
But Raskolnikov, unlike Arkady Ivanovich, does not want to admit that he is a criminal; on the contrary, he demands respect for himself, imagines himself to be a real hero and liberator. When discussing his theory, the hero deliberately confuses concepts such as murder and virtue.
Arkady Ivanovich is surprised that Rodion does not consider himself a criminal, being a person who does not recognize any moral standards, the futility of his act. He is also struck by the fact that Rodion does not consider himself among ordinary people, does not recognize his ability to rule the world, but the most important thing is that Raskolnikov, considering Svidrigailov a “trembling creature,” puts him much lower than himself, without asking the question: what is he better than him?
In my opinion, Arkady Ivanovich, being a scoundrel, actually surpassed Rodion, trying to fill his life with good deeds: patronizing poor orphans, helping Dunya. He does not repent of his donation of such a large amount, on the contrary, he is even glad about it, since he feels some purification of his soul, while Raskolnikov always asks himself: “Why did I get involved in helping here?”
Proof of the insignificance and uselessness of Rodion’s ideas were the life beliefs of Sonya Marmeladova. For Sonya, doing good is not a desire to globally rebuild the entire world as a whole, but a desire to help. Even if the good she does is ordinary and unnoticeable, people need it. In order to bring a little benefit, to give warmth, she is able to sacrifice her personal interests, while Rodion, on the contrary, to achieve his goal sacrifices only the lives of others: “... whoever is strong and strong in mind and spirit is above them and the authorities!” “I just killed a louse, Sonya, a uselessly nasty, harmful one,” he says to her, who is not destined to understand how you can call a person a “louse,” how you can destroy, punish people with your judgment: “And who made me the judge here: who should live and who should not live?
The only thing she does not doubt, that she trusts in, is the endless faith in God that nourishes her, in the hope of deliverance, in the miracle described in the Gospel. This gives her inner strength. She continues to live. Raskolnikov, reading the Bible, interprets it in his own way, comparing himself with Jesus, believing that the power is himself, he is the ruler of the world: “... and most importantly, power! Over all the trembling creatures and over the entire anthill”... That’s the goal!
Such convictions, the elevation of oneself above others, erect a wall of misunderstanding between him and the people, the bearers of Christian morality.
But Raskolnikov is a person capable of not only making mistakes, he is someone in whom the bright moral principles have not yet completely faded. Rodion confesses to Sonya that he has committed a crime, I think, not only in order to shift the entire heavy burden onto someone else, but also to heal his soul. He needed a person who could understand him, forgive him, and help him admit that he was wrong. And he found her: “The cinder had long gone out..., dimly illuminating the murderer and the harlot in this beggarly room...”. She forced him to admit, at least to himself, to realize all this nonsense, defeating his pride: “... I’m just as much a louse as everyone else!”
This proves that Raskolnikov is a strong personality. He was unable to live with a heavy burden on his soul, with moral pain. And his confession to Porfiry is a deliverance from internal torment, remorse, which should not appear in a “lord” who has stepped through thousands of lives. But he only killed a pitiful old woman, whose death radically turned his whole life upside down: “I killed myself, not the old woman!” So, Raskolnikov’s fight with life ended with personal suffering and experiences of the people who loved him. And, it seems to me, all this happened because of an incomprehensible desire for power, pride and selfishness. All these feelings overwhelmed Rodion, who, I think, should have foreseen such dire consequences. His theory is an empty dogma that seeks no further than fiery speeches. The story of the hero and his theory, indeed, help to understand the whole essence of the author’s intention: every crime cannot give rise to some good principles. It doesn’t matter in the name of what it is committed, since violence against a person is already immoral. People by their nature should bring only good, because society can only be changed by the spiritual cleansing of those living in it.
Author of the work: Daria Maslakova, 9th grade student.

The collapse of Raskolnikov's idea. F.M. Dostoevsky. "Crime and Punishment"

Infinity is desirable and destructive at the same time. The way back from this forbidden world is almost impossible. The hero has to endure too much to return to the human world. Is Raskolnikov capable of this return?

At the end of the novel, Dostoevsky gives hope for such a return - only hope. The most important and most difficult thing for the hero is to repent: in order to start living again, to look at the world with different eyes, repentance is necessary.

The proud man must humble himself. Repentance is not just an admission of one’s mistake (sorry, I won’t do it again!), but an ancient rite of soul cleansing, giving the sinner hope of salvation, a chance to start life again.

Repentance is suffering: because nothing can be corrected. Repentance is self-denial followed by atonement. It's a painfully long journey.

Even in hard labor, Raskolnikov does not want to deviate from his theory. It’s just that, he thinks, it didn’t work out for him, specifically for him. But the idea of ​​him - a hero beyond the jurisdiction of human judges - remained in the world.

Everything changes only in the epilogue.

Dostoevsky is looking for the origins of Raskolnikov’s theory, exploring in depth and detail how this idea could have arisen in a person, how much it changed his personality. And in parallel with this, there is an equally intense search for a way out of the impasse into which the soul, seduced by the devilish idea, has found itself, a search for a way back - from the abyss of moral lawlessness into the world of people.

Having originated in the inflamed brain of the tormented hero, the theory begins an independent life, enslaving and destroying his personality, paralyzing his will. You can get rid of the power of this idea only by imagining its logical conclusion, in reality or mentally “living” it to the end. And Dostoevsky forces his hero - and with him the readers - to go through this path.

Armed with an ax, Raskolnikov goes for a “test” - to kill a vile old woman who brings only evil. But life is disrupted by the script developed by the hero: her sister, the defenseless, harmless Lizaveta, unexpectedly comes to the old woman’s apartment. Raskolnikov is forced to kill her too. The fact that Lizaveta is a holy fool and blessed is very important. Among the people, holy fools were revered as God's people, and laughing at such a person, much less offending him, was considered an unworthy and grave sin. The murder of the holy fool was perceived as a particularly sophisticated apostasy... Raskolnikov knew all this and did not want to kill Lizaveta, but there was nowhere to retreat: all his movements were no longer subordinated to free will, but to an idea.

Lizaveta is dying - innocent blood has been shed. Her unborn child also dies: after all, Lizaveta is probably pregnant. In addition to the murder of a holy fool, the murder of a baby is added.

The idea forced Raskolnikov to shed human blood against his will, stood like a wall between him and the world, and forever separated him from his mother and sister. He suffers, he rushes about in a frenzy, feeling that something unexpected is happening, something terrible: “Did I kill the old woman? I killed myself!” He killed his soul, destroyed God in himself. His crime is a true crossing of the forbidden line, the moral law. And then in a dream a new murder occurs: Raskolnikov dreams that the old woman is alive again - and he again lowers the ax on her head, kills her again, finishes her off with ferocity! Remember, even a criminal was not executed a second time if for some reason the execution was not carried out: the rope broke, the bullet only wounded him. It was believed that the Lord himself intervened in human justice. But moral barriers in Raskolnikov’s soul have collapsed: he again kills the one against whom he once raised his hand.

And the number of his victims is growing: they “took” a certain Mikolka, accusing him of murdering Alena Ivanovna - already the fourth victim. The fifth will be Pulcheria Alexandrovna - she could not survive what happened to her beloved son.

And finally, Raskolnikov has a dream about a pestilence: the implementation of his theory. All people have imagined themselves as Heroes, involved in the highest truth, and strive to lead humanity into the kingdom of happiness and justice. But no one wants to follow: after all, everyone feels like a genius leader. Disputes flare up, turn into fights, and wars break out. In the name of the happiness of all mankind, people kill each other - and fewer and fewer living remain on our planet, engulfed by the virus of the Napoleonic idea. An empty land where people killed each other - this is the logical result of Raskolnikov’s theory.

And only after this dream begins his liberation from the power of the idea, his path to people begins - can finally begin.

Bibliography

Monakhova O.P., Malkhazova M.V. Russian literature of the 19th century. Part 2. - M.: "Mark", 1994.

Kirpotin V.Ya. Disappointment and downfall of Rodion Raskolnikov. - M.: "Khudozhestvennayaliteratura", 1986.

MM. Bakhtin. Problems of Dostoevsky's creativity. M.: "Alkonost", 1994.

The action of “Crime and Punishment” lasts not much more than two weeks. For Dostoevsky, with his ambition, with his distant horizons, there was no need to time the plot of the novel to a chronologically precisely defined date. However, Dostoevsky was a realist and always remained a realist, so he never forgot about the earthly roots of the tragedies he created. The images, ideas and ideals in 8 of his novels grow from reality, and one can always trace with what anxieties of the time they are connected, where the seed of the growing tree was laid. The action of “Crime and Punishment” takes place when the wave of the sixties has already capsized and become exhausted. In Dostoevsky, when he created the story of Raskolnikov, the experiences of the culmination of the decade had not yet subsided, but he was already able to treat them retrospectively, summing up his results.
Earthly roots, historical periods, social and psychological accuracy were necessary for Dostoevsky, because he wrote not a detective novel, but a historical, philosophical and social and moral novel. He needed facts, not symbols, images, not ideas in faces - he was not a rational thinker who expounded philosophemes in an edifying, fictional form, but a brilliant artist who knew how to feel and convey the hidden meanings through facts and faces, through circumstances and actions. them universal laws and forces. “Crime and Punishment” will never cease to be an artistically individualized story about Raskolnikov, about his inner life, about his ideas and plans, about his crime, about his punishment, about his fate. But in the story a commonality emerges by itself, a meaning emerges from the story by itself, which in the end was the only thing that was important to Dostoevsky, because he was burning with all the sorrows of the world and, with frantically hastening anxiety, was looking for a means to heal it.
Dostoevsky concentrated everything that the existing order brings to the defenseless majority in the life and fate of the Marmeladov family. The Marmeladov family is the focus in which all the misfortunes of an incorrectly structured, exploitative society are refracted, and how “sweet” this world is is depicted in a bitter way - by the ironic surname chosen by Dostoevsky.
Dostoevsky's ideas about social contradictions and social disasters of this unrighteous world remained unchanged in the new novel; they are characterized not by exploitation but by poverty, their most striking symbols continue to be women forced to sell love and suffering children. The world is structured in such a way that poverty in it is not only misfortune, but also guilt, vice, immorality, in contrast to the official Christian attitude towards poverty. “Dear sir,” he (Marmeladov) began almost with solemnity, “poverty is not a vice, it is the truth. I know that drunkenness is not a virtue, and this is even more so. But poverty, dear sir, poverty is a vice, sir. In poverty you still retain your nobility of innate feelings, but in poverty no one ever does. For poverty they don’t even kick you out with a stick, but rather sweep them out of human company with a broom, so that it’s all the more offensive; and rightly so, for in poverty I am the first to be ready to insult myself. And hence the drinking!”
Drunkenness is not the cause of poverty, but a consequence, a consequence of unemployment, homelessness “... and then I lost my job, and also not through my fault, but due to a change in the states, and then I touched it! “- Marmeladov explains to Raskolnikov. With amazing accuracy and materialistic consistency, Dostoevsky shows how Sonechka Marmeladova, with her purity and dedication, becomes a prostitute.
The image of a girl selling her innocence and beauty for thirty rubles, for thirty pieces of silver, gradually fills the pages of the novel, symbolizing untruth, cruelty, and all the horror of this world. Proud Dunya, Raskolnikov’s sister, a version of the same Sonya: for her own salvation, even from death, she will not sell herself, but for her brother, for her mother! “Oh, here we, on occasion, will crush our moral feeling; freedom, tranquility, even conscience, we will take everything, everything to the flea market. Lose your life! If only these beloved creatures of ours were happy?”
Such is the formidable dialectic of this commodity world - the highest love, through the highest selflessness, transforms the most sacred thing in a person into an object of sale and purchase, into dishonor, into dishonesty. Raskolnikov, for whose benefit Dunya is ready to prostitute herself, throws it in her face with cruel straightforwardness: “You cannot respect Luzhin: I saw him and spoke to him. Therefore, you sell yourself for money and, therefore, in any case, you act basely.
Even Lizaveta Ivanovna, the obedient slave of her sister Alena, and she, according to a peculiar logic, well captured by Dostoevsky, walks along the same road: “So quiet, meek, unrequited, willing, agreeing to everything.” All of them, morally beautiful and selfless, face the same fate, and the most fatal: limitless sacrifices not only prepare them for illness and early death, the sacrifices do not save those in whose name they are made.
Raskolnikov's idea, the goal that guided him in committing his crime, is not easily revealed in the novel. And the idea of ​​the entire work depends on Raskolnikov’s idea - it is not surprising that for decades the interpretation of the novel became the subject of public and literary debate, that it was perceived differently from generation to generation.
In the democratic camp of Russian criticism, Raskolniko was initially approached from the angle of the theory of “imputation,” according to which crimes are only a fatalistic consequence of incorrectly and unfairly established social relations. With this approach, ideological motives generally fall out of the analysis of Raskolnikov’s atrocity. Pisarev believed: there is no reason to believe that “Raskolnikov’s theoretical beliefs had any noticeable influence on the commission of the murder.” “Raskolnikov,” he wrote, “does not commit his crime exactly as an illiterate unfortunate would have committed it; but he does it because any illiterate wretched person would do it. Poverty in both cases is the main motivating factor.”
Russian decadents, primarily D. Merezhkovsky and Lev Shestov, easily proved the inconsistency of the naive-moralistic interpretation of Crime and Punishment. It was refuted by the text of the novel itself, by those subtle, flexible and dialectical speeches in which Raskolnikov himself, at the will of the author, expressed his idea. Moreover, naive-moralistic and naive-religious didactics could not explain the world-historical significance of “Crime and Punishment.” It reduced the artistic dignity of the novel, reducing Dostoevsky’s mastery, at best, to the mastery of psychological analysis, although Dostoevsky himself repeatedly and completely unequivocally proved that psychology itself is not able to raise art to the heights of genius.
Raskolnikov, in Dostoevsky's terminology, Face. The face has pathos, forming a centripetal force that pulls together different aspects of the personality, which otherwise would fall apart and destroy the plot and ideological significance of the protagonist. The spiritual world of Raskolnikov, like other persons in Dostoevsky’s novels, can be explained by the words of the young Bakunin: “To love, to act under the influence of some thought, warmed by feeling, is the task of life.” “A thought warmed by feeling” is what Dostoevsky called an idea-feeling, an idea-passion. An idea-feeling, an idea-passion does not displace a person’s nature, but embraces it, like fire covers a dry tree; it does not transform the personality into an abstract, distilled voice, but mobilizes all the forces and all the capabilities of the personality, concentrating them in one point. The idea-passion is aimed at achieving not specific, but general goals, and it is not in itself an “image” of Dostoevsky.
An idea-passion knocks a person out of his everyday rut, breaks and transforms his character, makes the meek brave, the honest into a criminal, forces him to leave his home, makes him fearless both before hard labor and the scaffold. An idea-passion can make a person a monomaniac, and yet it does not turn him into a simple abstraction. Captivated by his idea, Raskolnikov “decidedly withdrew from everyone, like a turtle into its shell, and even the face of the maid, who was obliged to serve him and sometimes look into his room, aroused bile and convulsions in him.”
Raskolnikov is a living, tormented life, with its dangers and its limits, in which everything is connected to each other and one flows into another; Raskolnikov is a living personality (“in artistic performance, do not forget that he is 23 years old”), in which everything is interdependent and everything moves, driven by the dominant tendency in it; Raskolnikov is a brilliantly created image, an organic unity, whose internal contradictions strive to find resolution in action governed by a set goal. Only in this sense can we talk about Raskolnikov’s idea without impoverishing his personality, without destroying his qualitative originality and without reducing the true significance of its ideological and practical aspirations.

Essay on literature on the topic: Disappointment and downfall of Rodion Raskolnikov

Other writings:

1. The novel “Crime and Punishment” was conceived by Dostoevsky while still in hard labor. Then it was called “Drunk People,” but gradually the concept of the novel transformed into “a psychological report of a crime.” Dostoevsky himself, in a letter to the publisher M. N. Katkov, clearly retells the plot of the future work: “A young man expelled Read More ......
2. Dostoevsky in his novel depicts the clash of theory with the logic of life. According to the writer, the logic of life always refutes and makes any theory untenable. This means that you cannot build life according to theory. And therefore the main philosophical idea of ​​the novel is revealed not as a system of logical proofs and Read More......
3. F. M. Dostoevsky’s novel “Crime and Punishment” is considered one of the most “problematic” works of world fiction and is characterized by particular relevance. The novel was written in the late 60s. XIX century and reflected the hopelessness in the lives of many people, revealed the moral vices of society, Read More......
4. F. M. Dostoevsky’s novel “Crime and Punishment” reflected the contradictions of reality and social thought of the “twilight” era of the 60s of the 19th century. The writer saw how the post-reform breakdown of social relations gradually led to a deep crisis of social ideals and the precariousness of the moral life of Russia. “Some Read More......
5. The main content of the novel “Crime and Punishment” is the psychological history of the crime, its moral consequences and the question of the possibility of its social justification. Raskolnikov, who killed the old pawnbroker and her sister, is not an ordinary criminal, but a thinking man who created his own philosophical concept for Read More ......
6. F. M. Dostoevsky is the greatest Russian writer, an unsurpassed realist artist, an anatomist of the human soul, a passionate champion of the ideas of humanism and justice. “The genius of Dostoevsky,” wrote M. Gorky, “is undeniable; in terms of the power of depiction, his talent is equal, perhaps, only to Shakespeare.” His novels are distinguished by their close Read More......
7. The writer's wife A.G. Dostoevskaya recalls that Fyodor Mikhailovich found writing a novel relatively easy. However, the creation of the plan was always painful and long, with great difficulties. So it was with the book “Crime and Punishment”. The main character of the novel Raskolnikov appeared in it Read More ......