Raskolnikov's mistake in the novel Crime and Punishment. "Crime and Punishment" F.M. Dostoevsky. Experience of systematic analysis. Crime as a challenge to society

Rodion Romanovich Raskolnikov is the main character of F. M. Dostoevsky's socio-psychological novel "Crime and Punishment". He is a former student, an intelligent and talented man, who lives in a closet that looks like a coffin in the poorest part of St. Petersburg. Stuffiness, crush, stench, drunkenness, "an abundance of well-known establishments" - this is the environment in which the hero had to live, this is where his cruel, inhumane idea was born.

What is the essence of this theory? Raskolnikov conditionally divided all people into "extraordinary", who have the right to shed blood according to their conscience, and "trembling creatures", intended to reproduce their own kind, obliged to live in humility and obey the law. He ranked Napoleon, Magomed, Lycurgus and, of course, himself among the "rights" ...

Next to the hero of the novel, according to D. I. Pisarev, "sentenced to a crime", there is always an author who refutes Raskolnikov's inhuman idea, which, according to F. M. Dostoevsky, is not only inhuman, but also in philosophical and practical terms. plan is clearly imperfect.

Here Raskolnikov conditionally divided all people into two categories, classifying himself as the highest, but he, a loving son and brother, did not determine to which category he would classify his mother and sister dear to his heart. Of course, relatives cannot stand next to Magomed, but Rodion, probably, would never have called the proud, intelligent beauty Dunya "a trembling creature" and even more so for the sake of any idea he would not have killed.

Having given himself the right to shed "blood for conscience", Raskolnikov kills a mean, rich old woman-interest-bearer in order to test his theory, continue his education with the stolen money and save his family from a humiliating situation. However, at the same time, he does not take into account whether people close to him want to use the loot. Knowing the pride and piety of Dunya and Pulcheria Alexandrovna, we can say that women would not take a penny from this money. Yes, and Raskolnikov himself is even afraid to touch this bloody money, at first he wants to throw it away (“quick, hurry, and throw everything away”).

So what did the test for belonging to the highest category bring to the hero? "The principle" he "killed, but he did not cross over," and in return received only mental anguish. Torment only to him? No. And Dunya, and mother, and Razumikhin, and Sonya - all suffer from the crime committed by Raskolnikov. And all this causes new torment in the soul of the hero.

But another test awaits him ahead - the realization that he, the killer, has stood on a par with such scoundrels as Luzhin and Svidrigailov, who do not understand the philosophical reflections of Rodion. So is it worth fighting for a place among the "extraordinary" if there are puddles around ? I think no. It is to this thought that the author leads us: no, and there will not be such an idea for the sake of which one can kill; a man who sheds blood is a murderer, and there is no excuse for him.

>Compositions based on the work Crime and Punishment

Experience and mistakes

A person makes many mistakes in his life without noticing it. However, by realizing them and rethinking them, we can turn them into valuable experiences. In his novel Crime and Punishment, F. M. Dostoevsky showed the rebirth of the protagonist, who went through pangs of conscience and suffering. Human nature is not perfect, but only a rethinking of their actions allows people to change and develop for the better. The protagonist of the novel Raskolnikov Rodion Romanovich, following a gloomy theory that he himself put forward, kills an old pawnbroker.

Much later, he realizes that he made the biggest mistake of his life. Trying to prove the idea of ​​the justice of "blood in conscience", he violates his inner balance, spiritual world and harmony, which is no longer easy to restore. Shortly before the crime, his article "On Crime" was published in the newspaper, in which he tried to prove that there are "supermen" who can change the course of history. Further events and consequences prove the fallacy of his theory. The author himself spent some time in hard labor and knew for sure that most crimes are committed due to social and domestic motives.

In this sense, Dostoevsky seemed to support and try in every possible way to justify his hero. But there is another side of the truth. He rejects Raskolnikov's idea that "the end justifies the means". He reveals that the student committed the crime due to lack of money and deep poverty. Over time, he begins to be tormented by pangs of conscience and he wants to confess everything to the authorities. Sonya Marmeladova, an eighteen-year-old girl who had to go to the panel in order to survive at an early age, assures the hero that the best repentance is to explain her crime to people in order to be understood.

From the point of view of Christianity, Raskolnikov committed a grave sin that can only be atoned for by sincere repentance. In addition, the author shows that for a "new life", the hero must certainly change from the inside, understand and accept humanity as it is, become humble. Let not immediately, but the young man comes to this understanding. With the help of a patient and strong spirit Sonya, he begins to understand that the pride of the mind leads only to discord and death, and the humility of the heart leads to unity in love and to the fullness of life. After that, a desire to live and an endless love for Sonya, and at the same time for the people around him, awakens in him.

The tragic mistake of Raskolnikov lies in the contradiction between the subjective-humanistic motives of the hero and the objectively anti-humanistic form of their manifestation.

11. What is the peculiarity of F.M. Dostoevsky in the novel "Crime and Punishment"?

Psychologism F.M. Dostoevsky differs from the psychologism of I.S. Turgenev or L.N. Tolstoy. Revealing the inner world of the characters, F.M. Dostoevsky shows the clash of contradictory impulses, the struggle between consciousness and subconsciousness, desire and its realization. His heroes do not just think, they suffer painfully, analyze their actions, reflect.

F. M. Dostoevsky
Crime and Punishment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The reciprocity of Dunya is the only hope for Svidrigailov to return to the source of being. Convinced of her irrevocable dislike of himself during a heated conversation in his apartment, he shoots himself a few hours later.
Meanwhile, Raskolnikov, driven by the lack of "air", says goodbye to his family and Sonya before confessing. He is still convinced of the correctness of the "theory" and full of contempt for himself. However, at the insistence of Sonya, before the eyes of the people, he repentantly kisses the ground, before which he "sinned." In the police office, he learns about Svidrigailov's suicide and makes an official confession.
Raskolnikov ends up in Siberia, in a prison camp. Mother died of grief, Dunya married Razumikhin. Sonya settled near Raskolnikov and visits the hero, patiently enduring his gloom and indifference. The nightmare of alienation continues here too: the convicts from the common people hate him as a "godless". On the contrary, Sonya is treated with tenderness and love. Once in the prison hospital, Rodion sees a dream reminiscent of pictures from the Apocalypse: the mysterious "trichins", moving into people, give rise in everyone to a fanatical conviction of their own rightness and intolerance to the "truths" of others. “People killed each other in […] senseless malice” until the entire human race was exterminated, except for a few “pure and chosen ones.” Finally, it is revealed to him that pride of mind leads to discord and destruction, while humility of the heart leads to unity in love and to the fullness of life. It awakens "endless love" for Sonya. On the threshold of "resurrection into a new life," Raskolnikov takes the Gospel in his hands.

In the novel by F.M. Dostoevsky's "Crime and Punishment" reflected the contradictions of reality and social thought of the "twilight" era of the 60s of the XIX century. The writer saw how the post-reform breakdown of social relations gradually led to a deep crisis of social ideals, the precariousness of the moral life of Russia.

“Some kind of trichines appeared, microscopic creatures that inhabited the bodies of people,” Dostoevsky noted in his novel, referring to the ideas that were different in their essence and orientation, which occupied the minds of the young

A generation cut off from the norms of universal human and Christian morality, excommunicated from cultural traditions carefully preserved by previous generations. But these ideas, due to the writer's special attitude to the nature of human existence, his recognition of the presence of otherworldly forces in real life, appear before the reader of Crime and Punishment as "spirits endowed with mind and will."

From these positions, Dostoevsky evaluates the ideas and actions of the main character of his novel, Rodion Raskolnikov, portraying him as a person “infected” with an idea, a victim of the forces of evil that are really present in everyday life.

So, what are the main provisions of the theory of this hero? What is Raskolnikov's mistake?

Raskolnikov is trying to prove the idea of ​​\u200b\u200bthe justice of "blood according to conscience." To do this, he divides all people into two categories: “into the lowest (ordinary) ..., into the material that serves only for the birth of their own kind, and actually into people, that is, those who have the gift or talent to say a new word in their midst.”

Further, Dostoevsky's hero proves the right of these "real" people to commit crime in the name of a noble goal, believing that for the happiness of the majority, a minority can be sacrificed. For Raskolnikov, this is "simple arithmetic." He believes that the "superman" is allowed to "step over the blood" in the name of the well-being of all mankind - such a crime is relatively and justified by a "high" goal. This goal is to "drive" ignorant humanity, that is, according to Raskolnikov, people of the "second category", into the "crystal palace" of well-being, universal prosperity, to create a kingdom of justice on earth.

Of course, “it does not at all follow that Newton had the right to kill anyone he wants ... or steal every day in the market,” Raskolnikov admits. However, this is only the outer side of the problem.

Already these statements allow us to conclude that the theory of the hero of the novel is fallacious. On the one hand, Raskolnikov correctly noticed some common features of human characters - this is confirmed by the facts of History.

Another thing is that such a formulation of the question contradicts the laws of universal morality and Christian ethics, which proclaims all people equally equal before God. Raskolnikov forgets that the personality of any person is priceless and inviolable. The hero does not understand that by killing the old pawnbroker as the personification of earthly evil (in his subjective opinion), he destroys the person in himself, commits a crime against himself.

Thus, Raskolnikov's theory is anti-human in its essence, since it freely allows to commit murders, to create lawlessness under the guise of an abstract "noble goal". This is one of the mistakes of Dostoevsky's hero and, at the same time, his tragedy. The writer sees the reason for his delusion, first of all, in unbelief, separation from cultural traditions, loss of love for Man.

Analyzing Raskolnikov's arguments in defense of his theory, we can conclude that its real meaning is not to justify the human right to do good with the help of evil, but to recognize the existence of a "superman" that rises above "ordinary" morality. After all, the hero reflects not so much on the possibility of murder as such, but on the relativity of moral laws and the deification of the human person.

Here lies the second, no less erroneous and tragic, delusion of Raskolnikov: he does not take into account the fact that an “ordinary”, “ordinary”, according to his standards, a person is not able to become a “superman”, to replace God. That is why, dreaming of standing out from the general human mass, hoping to become a "great genius, the consummator of mankind," Dostoevsky's character became an ordinary criminal, a murderer.

Raskolnikov thought that the “kingdom of reason and light” would come for him, but the “darkness” of mortal sin, “eternity on a yard of space” came. The hero realized that he was simply not capable of becoming Napoleon.

Thus, Rodion Raskolnikov becomes a victim of his own theory, the mistake of the "ranks", into which he himself divided all people. By his tragic example, he proved the impossibility of turning a “second-class person” into a “master who has to say a new word” at the expense of human sacrifice.

The idea of ​​allowing “blood according to conscience”, permissiveness, and the denial of ethical principles either leads to the destruction of the human personality, as happened with Raskolnikov, or gives rise to monsters like Svidrigailov. In the clash of Raskolnikov's ideas with reality, the inconsistency, fallacy and obvious depravity of his theory is exposed, which is the essence of the conflict in Dostoevsky's novel.

Arguments to the final essay 2017 on the work "Crime and Punishment"

Final essay 2017: arguments on the work "Crime and Punishment" for all directions

Honor and dishonor.

Heroes:

Literary example: Raskolnikov decides to commit a crime for the sake of his loved ones, driven by a thirst for revenge for all the destitute and poor people of that time. He is guided by a great idea - to help all the humiliated, destitute and desecrated by modern society. However, this desire is not realized quite noble. The solution to the problem of immorality and lawlessness was not found. Raskolnikov became a part of this world with its violations and dirt. HONOR: Sonya saved Raskolnikov from a mental breakdown. This is the most important thing for an author. You can get lost and confused. But getting on the right path is a matter of honor.

Victory and defeat.

Heroes: Rodion Raskolnikov, Sonya Marmeladova

Literary example: In the novel, Dostoevsky leaves victory not for the strong and proud Raskolnikov, but for Sonya, seeing in her the highest truth: suffering cleanses. Sonya professes moral ideals, which, from the point of view of the writer, are closest to the broad masses of the people: the ideals of humility, forgiveness, and humility. "Crime and Punishment" contains a deep truth about the unbearability of life in a capitalist society, where the Luzhins and Svidrigailovs win with their hypocrisy, meanness, selfishness, as well as the truth that causes not a feeling of hopelessness, but implacable hatred for the world of hypocrisy.

Mistakes and experience.

Heroes: Rodion Raskolnikov

Literary example: Raskolnikov's theory is anti-human in its essence. The hero reflects not so much on the possibility of murder as such, but on the relativity of moral laws; but does not take into account the fact that the "ordinary" is not capable of becoming a "superman". Thus, Rodion Raskolnikov becomes a victim of his own theory. The idea of ​​permissiveness leads to the destruction of the human personality or to the generation of monsters. The fallacy of the theory is exposed, which is the essence of the conflict in Dostoevsky's novel.

Mind and feelings.

Heroes: Rodion Raskolnikov

Literary example: Either an act is performed by a person guided by a feeling, or an act is performed under the influence of the character's mind. The actions committed by Raskolnikov are usually generous and noble, while under the influence of reason the hero commits a crime (Raskolnikov was influenced by a rational idea and wanted to test it in practice). Raskolnikov instinctively left the money on the Marmeladovs' windowsill, but later regretted it. The opposition of feelings and rational spheres is very important for the author, who understood personality as a combination of good and evil.