Religious motives in the novel are crime and punishment. Christian ideas in the plots and images of the novel by F.M. Dostoevsky "Crime and Punishment". III. Preparatory stage
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abstract
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Topic: Christian motives in the novel by F.M. Dostoevsky "Crime and Punishment"
Completed by: 11th grade student
Checked: literature teacher
I. Rationale for choosing a topic
II. Worldview of F.M. Dostoevsky
1. Dostoevsky 1860s
2. Dostoevsky 1870s
III. The image of Sonya Marmeladova as an expression of Dostoevsky’s ideas
IV. Detachment from God and the path to purification of Rodion Raskolnikov
V. “Christian” lines in the novel and their interpretation
VI. Christian symbolism in the novel
1. Gospel names
2. Numbers symbolic in Christianity
3. Using a biblical story
VII. Conclusion
VIII.List of references used
I. Rationale for choosing the topic
Among the most important questions posed by Russian thought of the 19th century, the question of religion occupies a special place. For F.M. Dostoevsky, a deeply religious man, the meaning of life was to comprehend Christian ideals and love for one's neighbor.
In “Crime and Punishment” the author depicted the human soul, which went through suffering and mistakes to comprehend the truth. In the 19th century, the insufficiency of the previous Christian axioms became visible, and all of them appeared before man in the form of questions requiring urgent resolution. But the very urgency of these questions, the very consciousness that the future fate of all humanity and each person depended on them, clearly showed that doubting humanity only needed to be convinced of the truth of its former faith. F.M. Dostoevsky was very aware of this, and such understanding had a significant influence on his work. After all, Dostoevsky’s predecessors never raised the question of human morality as clearly and openly as he did (in the novel Crime and Punishment). The writer’s attitude towards religious consciousness is amazing in its depth.
Dostoevsky was interested in the human spirit, because for him man was a spiritual being with an integral and multifaceted world, the depth of which can never be fully known and rationalized. He was also interested in the connections between the Divine and the earthly, the path to human salvation, but through the discovery of the Divine thread in the soul, falling away from God, retreating from faith and returning to it through comprehension of the heights of heaven and the depths of one’s own fall. The divine and the earthly are two poles in the human soul. There is darkness in man, oppressive darkness, suffocating, but there is also light, and Dostoevsky believed in the power of this light. Both God and the devil live in man. The devil is the power of the earthly, the power of the darkness that burdens the soul. And it is wrong to believe that human nature is low and insignificant, perverted and weak. If people opened up to God, if they felt His presence in their languishing, lost hearts and followed His word, then the human world would become cleaner and clearer. Evil will never be eradicated from this world - its roots are too deep, but the spiritual in man will resist evil, God will not leave a person if he accepts Him, if His Spirit cries out.
Some Christian motifs are visible in “Crime and Punishment” upon first reading. After reading the detailed biography of the writer, getting to know his worldview better, I wanted to find in the novel everything that was connected with Christianity and, thereby, to better understand the author’s intention.
II. Worldview of F.M. Dostoevsky
1. Dostoevsky 1860s
Dostoevsky early 1860s. - a person who believes in a vague and some kind of “Christian in general” faith. Events of 1864-1865 crushed the foundations of his life at that time. Death of wife, brother, Apollo Grigoriev; disintegration of the literary circle "Time" after the closure of the magazine: cessation of "Epoch"; break with Apollinaria Suslova; material need after the usual well-being. Thus, involuntarily, he is freed for the first time from his former non-church and downright anti-church environment and life habits. With such events, Dostoevsky's search for some deeper faith begins. Naturally, he begins with a more accurate awareness of the faith that he already had. The cycle of corresponding entries opens with the most famous and most meaningful of them: “Masha is lying on the table. Will I see Masha?” Dostoevsky F.M. full collection works: in 30 volumes, L., 1972-1991 (XX, 172-175). The result of the reflections is concentrated in the paragraph: “So, everything depends on whether Christ is accepted as the final ideal on earth, that is, on the Christian faith. If you believe in Christ, then you believe that you will live forever.” Dostoevsky F.M. full collection works: in 30 volumes, L., 1972-1991 (XX, 174). The whole urgency of the question is to what extent this ideal is realized on earth. For Dostoevsky, we can only talk about the future here: “Christ has fully entered into humanity, and man strives to be transformed into I Christ as your ideal. Having achieved this, he will clearly see that everyone who achieved the same goal on earth has entered into His final nature, that is, into Christ. How then will each one be resurrected? I - in the general Synthesis - it is difficult to imagine. What is alive, not dead even before its very achievement and reflected in the final ideal, must come to life into a final, synthetic, endless life." Dostoevsky F.M. complete collected works: in 30 volumes, L., 1972-1991 (XX, 174 The strange doctrine of "transformation into I Christ" was not entirely an invention of Dostoevsky. Its basis is the thoughts of Khomyakov of the "middle" period, the mid-1840s - late 1850s. The initial intuition of such thoughts was the deification of human nature - its identification with the divine nature. The relationship between God and man were understood at the same time as an identity violated by “sin” - as we see in Dostoevsky (after all, it is sin that prevents the universal merging in Christ). “Sin” acts as a natural law of being, which we also see in Dostoevsky’s analyzed note: “When man did not fulfill the law of striving for the ideal, that is, he did not bring love to sacrifice his I people or another creature (me and Masha), he feels suffering, and called this state sin. So, a person must constantly feel suffering, which is balanced by the heavenly pleasure of fulfilling the law, that is, sacrifice. This is where earthly balance comes in. Otherwise, the earth would be meaningless." Dostoevsky F.M. complete collected works: in 30 volumes, L., 1972-1991 (XX, 175). Dostoevsky imagines sin only against man; the concept of sin directly against God is absent. All this is derived from two dogmas of European humanism, which relativizes any truths, but is extremely dogmatic in two points: the proclamation of the “infallibility of man” (in Dostoevsky - the absence of the concept of sin in the Orthodox sense of the word) and “the expulsion of the God-man from earth to heaven” (in Dostoevsky - “the teaching of Christ only as an ideal”, unattainable on earth).The first of these dogmas is a direct expression of the humanistic faith, in which the place of God is occupied by man (the idea of humanity as a kind of “underdeveloped” state of the Divine).
From 1865 to 1866, Dostoevsky wrote the novel “Crime and Punishment,” which marked the author’s first turn to real Orthodoxy from self-invented “Christianity.” In the entry dated January 2, 1866, entitled “The Idea of a Novel,” the very first words are the subtitle “Orthodox view, what is Orthodoxy.” Dostoevsky writes: “There is no happiness in comfort, happiness is bought by suffering. This is the law of our planet (...). Man is not born for happiness. Man deserves his happiness, and always through suffering.” Dostoevsky F.M. full collection works: in 30 volumes, L., 1972-1991 (VII, 154-155). The necessity of suffering is no longer derived from the supposedly natural harmony of good and evil. Raskolnikov will come out with a refutation of the thesis that “all activity, even evil, is useful.” Dostoevsky F.M. full collection works: in 30 volumes, L., 1972-1991 (VII, 209). Dostoevsky not only disputes the extreme conclusion from this thesis - that there are no crimes, but, using the technique of reduction to absurdity, refutes the initial premise - that the cause of world evil is in the very structure of existence, and not in free human will.
2. Dostoevsky 1870s
The nature of the beliefs of the late Dostoevsky was determined already in 1870. The first and decisive step here was a decisive break with man-worship and an appeal to real Orthodoxy. The ideas of sin as a principle of commodity existence, and not as a human fault, and of the divine nature of spiritual passions have been rejected, although, perhaps, not uprooted.
AND the deeds of the late Dostoevsky are concentrated in one entry from 1870. “Many people think that it is enough to believe in the morality of Christ in order to be a Christian. It is not the morality of Christ, not the teaching of Christ that will save the world, but precisely the belief that the Word became flesh. This faith is not alone mental recognition of the superiority of His teaching, but a direct attraction. One must precisely believe that this is the final ideal of man, the entire incarnate Word, God incarnate. Because with this only faith we achieve adoration, that delight that most chains us to him directly and has power not to seduce a person to the side. With less enthusiasm, humanity, perhaps, would certainly have been seduced first into heresy, then into atheism, then into immorality, and finally into atheism and troglodytry and would have disappeared, decayed. Note that human nature certainly requires adoration Morality and faith are one, morality follows from faith, the need for adoration is an integral property of human nature. This property is high, not low - recognition of the infinite, the desire to spill into the infinity of the world, the knowledge that you come from it. And for there to be adoration, you need God. Atheism proceeds precisely from the idea that adoration is not a natural property of human nature, and awaits the rebirth of man, left only to himself. He tries to imagine him morally, what he will be like free from faith. (...) Morality, left to itself or to science, can be perverted to the last abomination (...). Christianity is even competent to save the whole world and all the questions in it.” Dostoevsky F.M. complete collected works: in 30 volumes, L., 1972-1991 (XI, 187-188). In the time of Dostoevsky, the word “adoration” was still retained its literal meaning - church slavic "adored" e nie", modern Russian "about O"The meaning of "extreme degree of love" was still perceived as figurative. This entry is based on both meanings at once. The words "...we achieve adoration, that delight..." contain a psychological, figurative meaning, and the words: "And so that there was adoration, God was needed" - etymological. But both meanings, with awareness of their differences, are identified: “adoration” is interpreted as a psychological and even natural state - a person’s relationship to Christ, in whom he believes as God. From such “adoration” the deification of the person himself does not and cannot follow - on the contrary, the person, as he was, remains “at his own”, with his own psychology. Here there is no faith in the reality of the deification of man - but there is no longer any “moral” deification, no spontaneous pagan worship of one’s own passions.
But real Orthodoxy is accepted mainly in its external manifestations. This in itself was inevitable, since it is impossible to become Orthodox without starting from the surface - there is no way past the surface and into the depths. But Dostoevsky’s maturity as a person required much more than what almost a newborn baby could receive in Orthodoxy. His patience was not enough to endure this condition as an illness. Trying to voluntarily ease his inner state, he began to develop fantasies about asceticism and the historical destinies of the Church.
Dostoevsky now understands “sin” in a Christian way and, therefore, believes in achieving a sinless life in the flesh. But he does not see a practical possibility for it, and therefore pushes his hope into an indefinite distance.
Dostoevsky unfolds a world of mutually illuminated consciousnesses, a world of conjugated semantic human attitudes. Among them, he seeks the highest, most authoritative attitude, and he perceives it not as his true thought, but as another true person. In the image of an ideal person or in the image of Christ, he sees the solution to ideological quests. This image or voice must crown the world of voices, organize, subordinate it. It is not fidelity to one’s convictions or their fidelity, but fidelity to an authoritative image of a person - this is the last ideological criterion for Dostoevsky. “I have a moral model and ideal - Christ. I ask: would he burn the heretics - no. Well, that means burning heretics is an immoral act.”
III. The image of Sonya Marmeladova as an expression of Dostoevsky’s ideas
The central place in the novel by F.M. Dostoevsky is occupied by the image of Sonya Marmeladova, a heroine whose fate evokes our sympathy and respect. The more we learn about it, the more we are convinced of its purity and nobility, the more we begin to think about true human values. Sonya’s image and judgments force us to look deep into ourselves and help us appreciate what is happening around us. The heroine is depicted in the novel as a child, weak, helpless, with a childishly pure, naive and bright soul. Children in the Gospels symbolize the moral closeness of a person to God, the purity of the soul, capable of believing - and being ashamed.
From Marmeladov's story we learn about the unfortunate fate of her daughter, her sacrifice for the sake of her father, stepmother and her children. She committed a sin, dared to sell herself. But at the same time, she does not require or expect any gratitude. She does not blame Katerina Ivanovna for anything, she simply resigns herself to her fate. “...And she just took our large green draded shawl (we have a common shawl, a draded damask one), covered her head and face with it completely and lay down on the bed, facing the wall, only her shoulders and body were all shaking...” Sonya closes face, because she is ashamed, ashamed of herself and God. Therefore, she rarely comes home, only to give money, she is embarrassed when meeting Raskolnikov’s sister and mother, she feels awkward even at her own father’s wake, where she was so shamelessly insulted. Sonya is lost under Luzhin's pressure; her meekness and quiet disposition make it difficult to stand up for herself. Sonya's patience and vitality largely come from her faith. She believes in God, in justice with all her heart, without going into complex philosophical reasoning, she believes blindly, recklessly. And what else can an eighteen-year-old girl believe in, whose entire education is “a few books of romantic content,” seeing around her only drunken quarrels, squabbles, illnesses, debauchery and human grief? She has no one to rely on, no one to expect help from, so she believes in God. In prayer, Sonya finds peace, which is what her soul needs.
All the heroine’s actions surprise with their sincerity and openness. She does nothing for herself, everything is for the sake of someone: her stepmother, stepbrothers and sister, Raskolnikov. The image of Sonya is the image of a true Christian and righteous woman. He is revealed most fully in the scene of Raskolnikov’s confession. Here we see Sonechka’s theory - “the theory of God.” The girl cannot understand and accept Raskolnikov’s ideas; she denies his elevation above everyone, his disdain for people. The very concept of an “extraordinary person” is alien to her, just as the possibility of breaking the “law of God” is unacceptable. For her, everyone is equal, everyone will appear before the court of the Almighty. In her opinion, there is no person on Earth who would have the right to condemn his own kind and decide their fate. "Kill? Do you have the right to kill?” - exclaimed the indignant Sonya. For her, all people are equal before God. Yes, Sonya is also a criminal, like Raskolnikov, she also transgressed the moral law: “We are cursed together, together we will go,” Raskolnikov tells her, only he transgressed through the life of another person, and she transgressed through hers. Sonya does not force faith. She wants Raskolnikov to come to this himself. Although Sonya instructs and asks him: “Cross yourself, pray at least once.” She doesn’t bring her “brightness” to him, she looks for the best in him: “How come you yourself give away your last, but killed in order to rob!” Sonya calls Raskolnikov to repentance, she agrees to bear his cross, to help him come to the truth through suffering. We have no doubt about her words; the reader is confident that Sonya will follow Raskolnikov everywhere, everywhere and will always be with him. Why, why does she need this? Go to Siberia, live in poverty, suffer for the sake of a person who is dry, cold with you, and rejects you. Only she, the “eternal Sonechka,” with a kind heart and selfless love for people, could do this.
A prostitute who evokes respect and love from everyone around her - the idea of humanism and Christianity permeates this image. Everyone loves and honors her: Katerina Ivanovna, her children, neighbors, and convicts whom Sonya helped for free. Reading the Gospel to Raskolnikov, the legend of the resurrection of Lazarus, Sonya awakens faith, love and repentance in his soul. “They were resurrected by love, the heart of one contained endless sources of life for the heart of the other.” Rodion came to what Sonya called him to, he overestimated life and its essence, as evidenced by his words: “Can her beliefs now not be my beliefs? Her feelings, her aspirations, at least...” By creating the image of Sonya Marmeladova, Dostoevsky created the antipode of Raskolnikov and his theory (goodness, mercy opposing evil). The girl’s life position reflects the views of the writer himself, his belief in goodness, justice, forgiveness and humility, but, above all, love for a person, no matter what he is. It is through Sonya that Dostoevsky outlines his vision of the path of victory of good over evil.
IV. Detachment from God and the path to purification of Rodion Raskolnikov
The main character of the novel “Crime and Punishment” is Rodion Raskolnikov. “Thou shalt not steal”, “thou shalt not kill”, “thou shalt not make an idol”, “thou shalt not be arrogant” - there is no commandment that he would not break. What kind of person is this? A sympathetic, kind person by nature who takes other people’s pain hard and always helps people, even if he jeopardizes his own continued existence. He is unusually smart, talented, patient, but at the same time proud, uncommunicative and very lonely. What made this kind, intelligent, selfless man commit murder and commit a grave sin? Raskolnikov’s constantly vulnerable pride torments him, and then he decides to kill in order to challenge those around him and prove to himself that he is not a “trembling creature”, but “has the right.” This man has endured and suffered a lot. Raskolnikov was poor, and his pride was hurt by the fact that he ate scraps and hid from his landlady, whom he had not paid for his wretched little room for a long time. It was in this miserable room that a monstrous theory of the crime was born. Divided within himself, Raskolnikov cannot correctly assess the “yellow-gray world” around him. Showing the hero's humanity (saving children, supporting a sick student), Dostoevsky does not simplify his inner world, putting Raskolnikov before a choice. Internal struggle in the soul becomes one of the reasons for murder. “Every kingdom, divided against itself, will be desolate; and every city or house divided against itself cannot stand.” New Testament, Matt.
Because of duality, two goals arise. One Raskolnikov strives for good, the other for evil.
Dostoevsky points out to readers that God desires salvation for everyone, but only when the person himself wants it. Therefore, Raskolnikov is given warnings not to commit a crime. Meeting with Marmeladov, who speaks about the Last Judgment and the forgiveness of the humble: “... because I accept them, the wise, because I accept them, the wise, because not one of these himself considered himself worthy of this...”, “And he will stretch out His hand to us and we let us fall down... and we will understand everything... Lord, let your kingdom come!” The second caveat is sleep. The dream is a prophecy in which a ruthless idea is shown - Mikolka finishing off a horse, and in which he (Rodya - the child) is shown as compassionate. And at the same time, the dream shows all the abomination of murder.
But Raskolnikov commits a crime. However, later he suddenly realizes that he does not live up to his theory, since his conscience does not give him peace. Having developed the idea of two types of people, he exalts himself, likening himself to God, for he allows “blood according to conscience.” But “whoever exalts himself will be humbled.” And, having committed a crime, the hero understands that he is not able to bear the cross of “the bearer of a new idea,” but there is no turning back. The connection with his family has been severed; there is no longer any purpose in life. He is no longer able to see good, he loses faith. “Some fell among the thorns, and the thorns grew and choked it (the seed),” says the parable of the sower. New Testament, Matt. Raskolnikov is left alone, among the “stuffiness” of the city.
Considering Raskolnikov’s crime from a Christian point of view, the author highlights in it, first of all, the fact of the crime of moral laws, and not legal ones. Rodion Raskolnikov is a man who, according to Christian concepts, is deeply sinful. This does not mean the sin of murder, but pride, dislike for people, the idea that everyone is “trembling creatures,” and he, perhaps, “has the right,” the chosen one. How was Raskolnikov able to comprehend the fallacy of his own theory and be reborn to a new life? Of course he committed a crime, a cruel crime, but doesn't he suffer because of it? Raskolnikov becomes a victim of his crime: “I killed myself, not the old woman.” Raskolnikov came to the conviction that “on the general scale, the life of this consumptive, stupid and evil old woman” means “nothing more than the life of a louse,” so he decided to rid those around him of the ruthless old woman. But he does not think about the fact that one crime entails another, regardless of what kind of person was killed, “whether a trembling creature” or “having the right.” This happened with Raskolnikov. By killing a worthless old woman, he took the life of a man who evokes pity in the reader and, in fact, has not done anything wrong before humanity. So, we see that Raskolnikov is not just a criminal, but a victim of his own crime. Eternal pain, similar to the pain of Christ, accompanies him everywhere, tormenting him from the very beginning of the path he chose - consciously, being aware of his actions and decisions and at the same time not imagining his actions. This is the path - the path against oneself, truth, faith, Christ, humanity. Against all that is holy, which is the most serious crime after suicide, dooming the unfortunate person to the most severe torment. He condemns himself to death from the very intent of the crime... “Thou shalt not kill!” ...Raskolnikov violated this commandment and, as according to the Bible, must go from darkness to light, from hell through purification to reach heaven. The entire work is built on this idea. Raskolnikov broke the law, but it didn’t make things any easier for him. Rodion’s soul was torn into pieces: on the one hand, he killed the old money-lender, and what if some other “extraordinary” person decides to test himself and kill either his sister or mother, but on the other hand, (according to theory) it means that Dunya, mother, Razumikhin - all ordinary people. He doesn’t understand what happened and thinks he did something wrong, but he has no doubt that the theory is correct. And so Sonya Marmeladova comes to Raskolnikov’s aid. It is with her appearance that the feeling of pity wins in Rodion. Pity overcomes him at the thought that he “came to torment” Sonya; he does not want suffering, but he wants happiness. He is especially struck by the humility with which she accepts his suffering: “After the service, Raskolnikov approached Sonya, she took him by both hands and leaned her head on his shoulder. This short gesture struck Raskolnikov with bewilderment, it was even strange: “How? Not the slightest disgust towards him, not the slightest tremor in her hand! It was a kind of infinity of his own humiliation... It became terribly difficult for him.” In essence, Sonya’s attitude towards Raskolnikov is the attitude of God towards man, that is, all-forgiveness. Sonya brought Rodion back to the truth and set him on the right path. This helped Rodion find faith. He accepts Christ into himself - believes in Him. The words of Christ addressed to Martha: “I am the resurrection and the life; he who believes in Me, even if he dies, will live!” are brought to life: Raskolnikov is finally resurrected for a new happy life in love!
Dostoevsky initially recognizes the absoluteness of the human “I”, the spiritual dignity and freedom of everyone, even the most downtrodden and insignificant person. This dignity is manifested in humility before suffering sent by God. Dostoevsky discovered the ability of a weak person to achieve spiritual achievement. “Love your neighbor as yourself,” and then, like Raskolnikov, the truth will be revealed to you, which can only be known by going through suffering and hardship. There is no such sin, there is no such depth of fall that cannot be redeemed by repentance.
V. “Christian” lines in the novel and their interpretation
Part I. Chapter II.“…everything secret becomes clear…” An expression that goes back to the Gospel of Mark: “There is nothing hidden that will not be made manifest; and there is nothing hidden that does not come out.”
“This man!” “Here is a man!” - the words of Pontius Pilate about Christ from the Gospel of John: “Then Jesus came out wearing a crown of thorns and a scarlet robe. And Pilate said to them: Behold, Man!”
“Sodom, sir, the ugliest…” Sodom and Gomorrah are biblical cities, whose inhabitants were severely punished by God for immorality and lawlessness.
“... but the one who took pity on everyone andwho understood everyone and everything, he is the only one, he is the judge. Will come that day…” We are talking about the second coming of Christ. Its timing, according to the Gospel, is unknown, but it must be before the end of the world, when the earth will be filled with iniquity and “nation will rise against nation and kingdom against kingdom; and there will be famines, pestilences and earthquakes.” New Testament, Matt.
“And now your many sins are forgiven, because you loved much...“Mnozi (Church Slavic) - many. Modified quote from the Gospel of Luke: “Therefore I tell you, her sins, which are many, are forgiven, because she loved much; and he who is forgiven little loves little.” He said to her, “Your sins are forgiven.” The novel, like the Gospel, is about a sinner.
“… the image of the beast and its seal…” We are talking about the Antichrist, who was usually depicted in the Gospel in the form of a beast and who marked his followers with a special seal.
Chapter IV.“It's hard to climb Golgotha " Golgotha is a place of execution near Jerusalem. According to the Gospel, Jesus Christ was crucified here.
Part II. Chapter I.“Home - Noah's Ark …” The expression arose from the biblical myth about the global flood, from which Noah was saved with his family and animals, since God taught him in advance to build an ark (ship). Used to mean “a room filled with many people.”
Chapter VI.“… where I read how one sentenced to death, an hour before death, says or thinks that if he had to live somewhere at a height, on a cliff, and on such a narrow platform that only two legs could be placed, - and all around there will be abysses, the ocean, eternal darkness, eternal solitude and an eternal storm - and to remain like this, standing on a yard of space, all your life, a thousand years, eternity - it is better to live like this than to die now! “This refers to V. Hugo’s novel “Notre Dame de Paris,” a translation of which was published in the Dostoevsky brothers’ magazine “Time” in 1862: “From time to time he glanced at a kind of narrow platform, accidentally arranged from sculptural decorations about ten feet below him, and prayed to God to allow him to spend the rest of his life in this tiny space, even if he had a chance to live another two hundred years.” Characterizing the “main thought” of V. Hugo’s work, Dostoevsky wrote: “His thought is the main thought of all art of the nineteenth century, and Hugo, as an artist, was almost the first herald of this thought. This is a Christian and highly moral thought; its formula is the restoration of a lost person crushed unfairly by the oppression of circumstances, the stagnation of centuries and social prejudices. This thought is a justification for the humiliated and rejected pariahs of society.” Dostoevsky F.M. full collection works: in 30 volumes, L., 1972-1991 (ХШ, 526).
Part III. Chapter II.“Not a confessor me too…” A confessor, that is, a priest who constantly takes confession from someone.
Chapter IV.“… sing Lazarus…” The expression arose from the Gospel, from the parable of the beggar Lazarus, who lay at the rich man’s gate and would be glad to be satisfied with even the crumbs falling from his table. In the old days, crippled beggars, begging for alms, sang “spiritual verses” and especially often “the verse about poor Lazarus,” based on the plot of the Gospel parable. This verse was sung plaintively, to a mournful tune. This is where the expression “sing Lazarus” comes from, used to mean complaining about fate, crying, pretending to be unhappy, poor.
Chapter V“… sometimes completely innocent and valiantly shed for the ancient law…” We are talking about martyrdom for God, that is, for the ancient, Old Testament law of the biblical prophets - the heralds of God’s will. These were denouncers of idolatry, who were not afraid to tell the kings the truth to their faces and most often ended their lives as martyrdom.
“… to the New Jerusalem, of course! - So you still believe in the New Jerusalem?? The expression “New Jerusalem” goes back to the Apocalypse: “And I saw a new heaven and a new earth; for the former heaven and the former earth have passed away, and the sea is no more. And I John saw the holy city of Jerusalem, new, coming down from God from heaven...” According to the teachings of the Saint-Simonists, faith in the New Jerusalem meant faith in the advent of a new earthly paradise - the “golden age.” “Emerging socialism,” Dostoevsky recalled in “A Writer’s Diary” for 1873, “was compared then, even by some of its breeders, with Christianity and was accepted only as an amendment and improvement of the latter, in accordance with the age and civilization.” Dostoevsky F.M. full collection works: in 30 volumes, L., 1972-1991 (X1, 135). “The conversation about the new Jerusalem is ambiguous: Porfiry means by the new Jerusalem religion, the Apocalypse, Raskolnikov - a utopian paradise on earth, a new Jerusalem September - Simonists and other utopians who interpreted the gospel in their own way... Dostoevsky's contemporaries and friends had no doubt about what Raskolnikov actually meant when speaking about the new Jerusalem. By new Jerusalem, Raskolnikov understands a new order of life, towards which all the aspirations of socialists are tending, an order in which universal happiness can be realized, and Raskolnikov is ready to believe in the possibility of such an order, at least he does not dispute its possibility.”
“Suffering and pain are always necessary for a broad consciousness and a deep heart" These lines express one of the most important Christian ethical principles - the guilt and responsibility of everyone before everyone and everyone before everyone. The world lies in evil and Jesus Christ gave himself to be crucified for the sins of people: “For the Son of Man did not come to be served, but to serve and to give His life as a ransom for many.” New Testament, Matt. Hence: a person with a “broad consciousness and deep heart” should always remember Golgotha, that is, the crucifixion of Christ.
“Truly great people... must feel great sadness in the world..." Lines inspired by Ecclesiastes - an Old Testament, biblical book written, according to legend, by King Solomon and meaning “experiential wisdom”: “And I looked back at all my works that my hands had done, and at the labor that I labored in doing them : and behold, all is vanity and vexation of spirit, and there is no benefit from them under the sun!”, “Because in much wisdom there is much sorrow; and whoever increases knowledge increases sorrow.” The Bible. For Dostoevsky, “truly great people” are always people of Christian faith and spirit, holy ascetics of the church, who, knowing about the sins of the world and about Calvary, “feel great sadness in the world.”
However, Dostoevsky put these words into Raskolnikov’s mouth. For him, these words have a completely opposite meaning. For Raskolnikov, “truly great people” are “strong personalities”, conquerors of the world - Julius Caesar, Napoleon - who not simply deny Christian morality, but put in its place another, anti-Christian one, allowing the shedding of blood. That is why these “strong personalities”, like a proud demon, are sad in lonely greatness. And in these words for Raskolnikov lies the whole tragedy of man-deity, the whole tragedy of “strong personalities” who put themselves in place of God.
Part IV. Chapter IV.“ She will see God" Emphasizing Lizaveta’s spiritual purity, Sonya quotes the Gospel of Matthew: “Blessed are the pure in heart, for they will see God.” New Testament, Matt.
“This is the kingdom of God" Quote from the Gospel of Matthew: “But Jesus said, Let in the little children, and do not hinder them from coming to Me, for of such is the kingdom of heaven.”
“… went to seed…” That is, into the family, into the offspring. In this sense, the word seed is used in the Gospel.
Part VI. Chapter II.“Seek and you will find " That is, seek and you will find. Quote from the Sermon on the Mount of Jesus Christ.
Chapter VIII.“He's the one going to Jerusalem…” Jerusalem is a city in Palestine where, according to legend, the tomb of Jesus Christ is located.
Epilogue.
Chapter II.“He went to church... together with others... everyone attacked him at once with frenzy. - You are an atheist! You don't believe in God! - they shouted to him. - We need to kill you" Dostoevsky really wanted to see in the Russian people a “God-bearing people” and to judge Raskolnikov in the people’s court as God’s court. The people are represented both in their darkness, downtroddenness, brutality, and in their ineradicable instinct for truth. And not just in Raskolnikov’s godlessness is the secret of the convicts’ hatred of him, but, above all, in daily and visible inhumanity, so to speak.” Belov S.V., Dostoevsky’s novel “Crime and Punishment”, commentary, L., 1979.
“In his illness, he dreamed that the whole world was condemned to be a victim of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe... People were killing each other in some senseless rage. Whole armies gathered against each other... they stabbed and cut, bit and ate each other... Fires started, famine began. Everything and everyone died" Raskolnikov’s dream is based on chapter 24 of the Gospel of Matthew and chapters 8-17 of the Apocalypse - the Revelation of John the Theologian. When Jesus Christ was sitting on the Mount of Olives, his disciples came to him and began to ask when the old age would end and a new one would begin. Jesus Christ answered: “...you will hear about wars and rumors of war. Look, don't be horrified; for all this must be. But this is not the end: for nation will rise against nation, and kingdom against kingdom, and there will be famines, pestilences and earthquakes in places; yet this is the beginning of illnesses... And then many will be tempted and will betray each other, and will hate each other; and many false prophets will arise and deceive many; and because iniquity will increase, the love of many will grow cold..." New Testament, Matt. Dostoevsky, reflecting on the fate of Russia, Europe and the whole world, fills Raskolnikov’s gospel dream with deep symbolic content. The writer points out the terrible danger for humanity of individualism, which can lead to the oblivion of all moral norms and concepts, all criteria of good and evil.
“People who accepted them into themselves immediately became possessed and crazy. But never, never have people considered themselves as smart and unshakable in the truth as the infected believed" These are the words of the Gospel: “There was a large herd of pigs grazing on the mountain, and the demons asked Him to allow them to enter into them. He let them. Demons came out of man and entered pigs; and the herd rushed down a steep slope into the lake and drowned. The shepherds, seeing what had happened, ran and told it in the city and in the villages. And they came out to see what had happened; and when they came to Jesus, they found the man from whom the demons had come out, sitting at the feet of Jesus, clothed and in his right mind, and they were horrified. Those who saw them told them how the demoniac was healed.” Dostoevsky gave the episode about the healing of a demoniac by Christ a symbolic and philosophical meaning: the disease of demonization and madness that has gripped Russia and the whole world is individualism, pride and self-will.
“Only a few people in the whole world could be saved, they were pure and chosen, destined to start a new race of people and a new life, to renew and cleanse the earth, but no one saw these people anywhere, no one heard their words and voices" Raskolnikov turns out to be the one who endured to the end and was chosen in the epilogue of the novel.
“…as if the centuries of Abraham and his flocks had not yet passed" According to the Bible, Patriarch Abraham was born almost 2000 years before the birth of Christ.
“They still had seven years left... Seven years, only seven years! At the beginning of their happiness, in other moments, they were both ready to look at these seven years as seven days" In the Bible: “And Jacob served for Rachel seven years; and they appeared to him in a few days, because he loved her.” The Bible.
VI. Christian symbolism in the novel
1.Gospel names
In choosing the names of his heroes, Dostoevsky followed the deeply rooted Russian tradition, when, thanks to the use of predominantly Greek names at baptism, they were accustomed to looking for their explanation in Orthodox church calendars. In Dostoevsky’s library there was a calendar in which an “Alphabetical list of saints” was given, indicating the dates of the celebration of their memory and the meaning of the names translated into Russian. There is no doubt that Dostoevsky often looked into this “list”, giving symbolic names to his heroes.
Kapernaumov is certainly a significant surname. Capernaum is a city often mentioned in the New Testament. Sonya rented a room from Kapernaumov, and Mary the Harlot lived not far from this city. Jesus Christ settled here after leaving Nazareth, and Capernaum began to be called “His city.” In Capernaum, Jesus performed many miracles and healings and spoke many parables. “And while Jesus was reclining in the house, many publicans and sinners came and reclined with Him and His disciples. Seeing this, the Pharisees said to His disciples: Why does your Teacher eat and drink with publicans and sinners? Jesus heard this and said to them: Those who are sick need a doctor, but those who are sick.” New Testament, Matt. In "Crime and Punishment" in Sonya's room in Kapernaumov's apartment, sinners and sufferers, orphans and the poor - all sick and thirsty for healing - come together: Raskolnikov comes here to confess to a crime; “behind the very door that separated Sonya’s room... Mr. Svidrigailov stood and, hiding, eavesdropped”; Dunechka comes here to find out about her brother’s fate; Katerina Ivanovna is brought here to die; Here Marmeladov asked for a hangover and took the last thirty kopecks from Sonya. Just as in the Gospel the main residence of Christ is Capernaum, so in Dostoevsky’s novel the center is Kapernaumov’s apartment. Just as people in Capernaum listened to truth and life, so the main character of the novel listens to them in Kapernaumov’s apartment. How the inhabitants of Capernaum, for the most part, did not repent and did not believe, despite the fact that much was revealed to them (that is why the prophecy was pronounced: “And you, Capernaum, who have ascended to heaven, will be cast down to hell; for if powers were revealed in Sodom manifested in you, he would have remained to this day." New Testament, Mtf. , so Raskolnikov still does not renounce his “new word” here.
It is no coincidence that Dostoevsky calls Marmeladov’s wife the name “Katerina”. “Catherine” translated from Greek means “always pure.” Indeed, Katerina Ivanovna is proud of her education, upbringing, and her “purity.” When Raskolnikov comes to Sonya for the first time, she, defending Katerina Ivanovna from his unfair accusations, reveals the semantics of her name: “She is looking for justice... She is pure.”
A special place in Dostoevsky’s novels belongs to meek women who bear the name Sophia - wisdom (Greek). Sonya Marmeladova humbly bears the cross that has befallen her, but believes in the final victory of good. In Dostoevsky, Sophia's wisdom is humility.
Sonya's father's patronymic, Zakharych, contains a hint of his religiosity. In the “Alphabetical List of Saints” the name of the biblical prophet Zechariah means “memory of the Lord” (Heb.).
A possible prototype for Avdotya Romanovna Raskolnikova was Avdotya Yakovlevna Panaeva, the writer’s first love. Dunya's portrait strongly resembles Panaeva's appearance. However, R.G. Nazirov in the article “On the prototypes of some of Dostoevsky’s characters” suggested a combination in the image of Dunya of Panaeva’s character with the legendary image of Saint Agatha, as the writer saw him in Sebastiano del Piombo’s painting “The Martyrdom of Saint Agatha” in the Pitti Gallery in Florence. This painting represents a scene of torture. Two Roman executioners, trying to force Agatha to renounce the Christian faith and return to paganism, bring red-hot tongs to her chest on both sides. Agatha maintained her perseverance and faith to the end. It is no coincidence that Svidrigailov says about Duna: “She, without a doubt, would have been one of those who suffered martyrdom and, of course, would have smiled when they burned her chest with red-hot tongs.”
As for Raskolnikov’s mother, in the “Alphabetical List of Saints” Pulcheria means “beautiful” (Latin), and Alexander (patronymic: Alexandrovna) means “protector of people.” Hence her desire to become a wonderful mother, a protector of her children.
It is very important that Mikolka from Raskolnikov’s dream has the same name as the dyer Mikolka. Both of them bear the name of this saint. The opposite of the pure and innocent-hearted dyer is a drunken village boy who beats a horse to death. Between these two Mikolki, between faith and unbelief, Raskolnikov is tossing about, connected with both inextricably: with one - the mutual guarantee of sin, with the other - the hope of resurrection.
Dostoevsky gives Lizaveta Ivanovna this name because Elisaveta is “who worships God” (Heb.).
The name of Ilya Petrovich, the assistant to the quarterly overseer, is explained by Dostoevsky himself: “But at that very moment something like thunder and lightning happened in the office.” The writer ironically calls it by the name of the thunderer prophet Elijah and the name of the apostle Peter, meaning “stone” (Greek).
Dostoevsky gives Porfiry Petrovich the name Porfiry, meaning “crimson” (Greek). Having killed the moneylender and her sister and thereby breaking the Old Testament commandment “thou shalt not kill,” Raskolnikov comes into conflict with two truths at once - God’s and man’s. The religious principle is represented in the novel by Sonya, the legal principle - by Porfiry Petrovich. Sonya and Porfiry - divine wisdom and cleansing fire.
It is no coincidence that the author calls Marfa Petrovna by the gospel name Martha. Throughout her life, she was immersed in small daily calculations and, like the Gospel Martha, cared about too much when “only one thing was needed.”
The surname of the main character indicates that “in the author’s mind, Raskolnikov’s passionate love for people, reaching the point of complete indifference to his own interests, and fanaticism in defending his ideas were to a certain extent associated with the schism.” Schism (Old Believers) is a movement that arose in the mid-17th century in the Russian Church as a protest against the innovations of Patriarch Nikon, which consisted of correcting church books and some church customs and rituals. Schism is an obsession with one thought, fanaticism and stubbornness.
2.Numbers symbolic in Christianity
Numbers that are symbolic in Christianity are also symbols in Crime and Punishment. These are numbers seven and eleven.
The number seven is a truly holy number, as a combination of the number three - divine perfection (trinity) and four - world order; therefore, the number seven is a symbol of the “union” of God with man or the communication between God and his creation. In the novel, Raskolnikov, going to kill at seven o’clock, was thereby already doomed to defeat in advance, since he wanted to break this “alliance.” That is why, in order to restore this “union” again, in order to become a man again, Raskolnikov must again go through this truly holy number. Therefore, in the epilogue of the novel, the number seven appears again, but not as a symbol of death, but as a saving number: “They still had seven years left; and until then there is so much unbearable torment and so much endless happiness!”
The repeated reference to eleven o'clock in the novel is associated with the Gospel text. Dostoevsky well remembered the Gospel parable that “the kingdom of heaven is like the owner of a house who went out early in the morning to hire workers for his vineyard.” He went out to hire workers at three o'clock, at six, at nine, and finally at eleven. And in the evening, at the time of payment, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the latter became the first in fulfillment of some higher justice. Having attributed Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to eleven o’clock, Dostoevsky reminds that it is still not too late for Raskolnikov to throw off his obsession, it is not too late in this Gospel hour to confess and repent, and become the first from the last.
3.Use of a biblical story
The Christian element in the novel is enhanced by numerous analogies and associations with biblical stories. There is an excerpt from the Gospel of Lazarus. The death of Lazar and his resurrection is a prototype of Raskolnikov's fate after the crime until his complete revival. This episode shows all the hopelessness of death and all its irreparability, and an incomprehensible miracle - the miracle of resurrection. Relatives mourn the death of Lazar, but with their tears they will not revive the lifeless corpse. And then comes the One who goes beyond the boundaries of the possible, the One who conquers death, the One who resurrects an already decaying body! Only Christ could resurrect Lazarus, only Christ could resurrect the morally dead Raskolnikov.
By including gospel lines in the novel, Dostoevsky already reveals to readers the future fate of Raskolnikov, since the connection between Raskolnikov and Lazar is obvious. “Sonya, reading the line: “...for four days, as in the tomb,” energetically struck the word “four.” It is no coincidence that Dostoevsky makes this remark, because the reading about Lazarus takes place exactly four days after the murder of the old woman. And the “four days” of Lazarus in the tomb become equivalent to the four days of Raskolnikov’s moral death. And Martha’s words to Jesus: “Lord! If You had been here, my brother would not have died! - are also significant for Raskolnikov, that is, if Christ were present in the soul, then he would not have committed a crime, he would not have died morally.
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The work of F. M. Dostoevsky is considered deeply psychological and profound. The author has always been concerned about the moral wealth of man and society as a whole. But it is important to note that the heroes of Dostoevsky’s works cannot be divided into positive and negative. Most often, the characters of this writer are endowed with different, sometimes opposite, character traits. Internal inconsistency and instability makes them interesting and, at the same time, natural and believable.
The novel “Crime and Punishment” becomes a work in which the author turns his attention to the most pressing social problems. Dostoevsky believes that the environment greatly influences a person, his attitude towards himself and others. Dostoevsky turns to the other side of life in St. Petersburg, where under the external luxury, wealth and beauty another world is hidden - cruel, dirty and vulgar. It was precisely such an environment that could lead to the ideas that arose in Rodion Raskolnikov.
It cannot be said that Raskolnikov is a negative hero, because he does a lot for people, and his actions are not thought out in advance. The desire for good is inherent in this hero by nature, but the desire to see himself as an exceptional person is a merit of society and the environment.
If we remember the fate of Dostoevsky himself, it is complex and tragic. The writer had to realize and reevaluate a lot in his life. He considered the main value to be love for others, which was so lacking in the people of his time. Dostoevsky does not accept achieving a goal by any means or ways. He tries to convey to the reader the destructiveness of such aspirations not only for those around him, but also for the person himself, who becomes lifeless and empty spiritually. The hero of the novel “Crime and Punishment” came to the conviction of his own moral death: “I killed myself, not the old woman.”
In my opinion, Raskolnikov is a person in whom there are two opposing ideas: on the one hand, love for people, on the other, contempt for them. It should be noted that Dostoevsky does not describe in detail the process of Raskolnikov’s spiritual rebirth. But the reader still feels such changes in the hero. Dostoevsky saw hope for the restoration of any criminal, fallen personality in the fact that it is impossible to completely trample conscience and love.
In the draft notes of “Crime and Punishment,” philanthropy and punishment appear as the only condition for achieving inner, spiritual harmony. “There is no happiness in comfort; happiness is bought through suffering,” Dostoevsky believed.
The possibility of the spiritual rebirth of the main character of the novel is determined by the fact that Raskolnikov knows how to feel other people's pain and knows how to sincerely love. Such is his love for Sonya Marmeladova. Dostoevsky wrote: “They were resurrected by love, the heart of one contained endless sources of life for the other.” To confirm this, it is enough to recall the moment when Sonechka learns about the crime Rodion committed. She threw herself on her knees in front of him and hugged him. “A good feeling” “rushed like a wave into his soul and immediately softened it.”
It is important to remember that Dostoevsky himself was a deeply religious man. Therefore, his rejection of the idea of a superman is natural. For a writer, human life is the most important and main value.
According to Dostoevsky, only love for others makes people real people. Only this amazing feeling, given by God, can displace pride and selfishness in a person.
I believe that the writer himself realized all this based on his own, very difficult, life experience. The author does not accept the desire to “live according to his own stupid will.” Only following Jesus Christ and sacrificial love can save a person’s soul from evil and mental anguish.
In hard labor, under Raskolnikov’s pillow “lay the Gospel,” with the help of which, according to Dostoevsky, it is only possible to overcome demonic forces and spiritual egoism as a product of evil.
According to the writer, there are only two prospects for people on earth: either to love or destroy each other, or eternal life, or eternal death. I think that many will agree with this opinion, because there are moral values in the world that are equally dear and important to every person on earth. One must strive for truth and righteousness only through love and self-sacrifice.
Dostoevsky - Russian religious writer and philosopher
The idea for the novel “Crime and Punishment” was nurtured by F. M. Dostoevsky for many years. And the fact that one of his central ideas had already taken shape by 1863 is evidenced by an entry dated September 17, 1863 in the diary of A.P. Suslova, who was at that time with Dostoevsky in Italy: “When we were having dinner, he (Dostoevsky) was looking at a girl who was taking lessons, and said: “Well, such a girl is with an old man, and suddenly some Napoleon says: “Destroy the whole city.” After all, that’s how it was in the world.” An important preparatory role for the emergence of the characters of Raskolnikov and Sonya was played by “Notes from Underground,” where for the first time F. M. Dostoevsky equated the human personality with freedom, which, in turn, presupposes a choice between good and evil. The tragedy of the thinking hero-individualist, his proud rapture of his idea and defeat in the face of “living life”, the embodiment of which in “Notes” is the direct predecessor of Sonya Marmeladova, is a real discovery of the writer in the study of the endless depths of the psychology of the human being. Hard labor played a huge role in Dostoevsky's life. It could not help but affect his work. One of the bright Christian stories from Crime and Punishment about the resurrection of Lazarus was close to Dostoevsky. Recalling the years of hard labor, Dostoevsky wrote: “I count those four years as the time when I was buried alive and closed in a coffin.” Dostoevsky was brought back to life by religion.
Everything understood and experienced during these four years largely determined Dostoevsky’s future creative path. The action of his great novels takes place in the specific setting of some Russian city, in a certain year. But the background against which events develop is the whole of world history and everything that is narrated in the Gospel.
Dostoevsky’s text, it turns out, is full of meanings that are, as it were, in the “subtext”, to which, however, there is absolutely open access for any interested reader. And in order to “feel the thought” (an expression that Fyodor Mikhailovich loved very much), the text of the novel and the image given there of a person’s meeting with God, who “Dostoevsky sees clearly to the point of excitement, sees sensually and spiritually,” are quite enough.
Faith and unbelief in the novel
In the novel Crime and Punishment, Dostoevsky describes the very copy of the Gospel that was presented to him in 1850 in Tobolsk at the transit yard by the wives of the Decembrists: “There was some kind of book on the chest of drawers. It was the New Testament in Russian translation. The book was old, second-hand, bound in leather.”
This book became the main one in Dostoevsky's library. He never parted with her and took her with him on the road. She always lay in plain sight on his desk. Using it, he checked his doubts, guessed his fate and the fate of his heroes.
G.V. Frolovsky saw the originality of the genius of F.M. Dostoevsky in the openness under the “impression of being.”
The spiritual experience of ontology is the real source of originality. At the same time, according to V.F. Ern, “the universe, the cosmos is the disclosure and revelation of the originally existing word,” and therefore “the moment in its most secret depths is logical,” that is, consistent and proportionate to the logos, and every detail and the event of this world is an open thought, a secret movement of the all-pervading divine Word.
For F. M. Dostoevsky, Christ is at the center of both life and literature. The writer’s creation contains the problem of the correlation between the human word and the Word of God. My goal is to see being through artistry, to reveal being through language, to clarify the logic of being and creativity.
The tragedy of the “underground” is a tragedy of unbelief and, above all, unbelief in God and Christ. “Underground” is the anti-Christian state of the hero. To overcome the “underground”, it is necessary to turn to God and Christ, and then the “great sinner” can not only be transformed, but also become a saint. In “Crime and Punishment” the motive of man’s acquisition of the Supreme Good is updated; realized at the level of the hero as Raskolnikov’s choice: to leave everything as it is, and commit suicide and the opportunity to be reborn or start life again, atonement for his sin with suffering.
The Christian path is the path of rebirth, resurrection from the dead, which is why the theme of resurrection dominates in the novel.
Dostoevsky, with his characteristic “longing for the current”, who keenly perceived all the phenomena of his era, who knew how to respond to them in a modern and timely manner, could not help but notice the heated controversy that broke out both in Europe and in Russia in 1864 - 1865. around new editions by D. Strauss and E. Renan about the life of Christ. “The legends about the resurrection of Jairus’s daughter and the resurrection of Lazarus had evidential power regarding future miracles,” Strauss stated in the book that Dostoevsky borrowed from Petrashevsky’s library.
He purchased new editions for his library when in the 60s there was a debate about whether such miracles were possible, whether they had historical authenticity, or whether they were nothing more than a figment of the evangelist’s imagination. Associated with belief in miracles was the question of faith and unbelief, and the existence of Jesus.
This question is heard throughout the novel. Turning once again to the choice that the hero of the novel must make, we can say that Raskolnikov needs to make a choice between faith and unbelief.
The theme of resurrection is perhaps the most striking in the novel. More precisely, there are not one, but four resurrections in the novel. Moreover, the first two occur simultaneously, at the moment of one of the climaxes. The first is the resurrection of the biblical hero Lazarus, the other three relate to Raskolnikov, and the last one also simultaneously refers to Sonya. I think that this is, as it were, an encrypted resurrection of one of the martyrs (Vera, Nadezhda and Lyubov). And the fact that Raskolnikov had three of them is not at all an accident. His “resurrections” are reminiscent of climbing a ladder, when after each step he becomes one step higher, but he can only climb to the top with the help of someone who will stretch out his hand and “lead him along.”
The writer interprets the resurrection as a mystery, a miraculous change, because he sees how severe the fall of man is and how enormous the power of spiritual seduction is.
The first two resurrections - the resurrection of Lazarus and hope for Raskolnikov - occur simultaneously: on the fourth day after the crime.
Having committed the murder of an old pawnbroker, Raskolnikov is delirious, he is upset, confused, he does not know what is happening to him, he is constantly seized by a fever and everything seems disgusting and disgusting to him.
“What a bad apartment you have, Rodya, like a coffin,” Pulcheria Alexandrovna suddenly said after visiting the closet where Raskolnikov was during his illness. On the fourth day, Raskolnikov comes to Sonya Marmeladova, where he asks to read him a passage from the Gospel about the resurrection of Lazarus.
In the text of the novel, Dostoevsky emphasizes words that are not highlighted in the Gospel and quotes the text not entirely accurately. So, in the Gospel in verse 39 it is said: “For four days he was in the grave,” i.e., the words “as he was in the grave” are emphasized. In the novel, F. M. Dostoevsky emphasizes the word “four” (Sonya, while reading, energetically struck the word “four”). This is no coincidence: the reading of the legend of the resurrection of Lazarus takes place in the novel “Crime and Punishment” on the fourth day after Raskolnikov’s crime. If we assume that all these four days Raskolnikov was “dead,” that is, he was sick and in a semi-conscious state, then we can say that the moment of reading the Gospel was the beginning of moral resurrection for Raskolnikov. Thus, the first two “resurrections” are the resurrection of Lazarus in the Gospel and the resurrection of Raskolnikov’s hope.
It was from this moment that the thought appeared in Raskolnikov that not everything was lost for him, that he could rejoice and love.
The third resurrection in the novel takes place again in Kapernaumov’s apartment, when the hero comes to Sonya to announce to her his decision to confess everything. Dostoevsky's idea of the moral resurrection and healing of Raskolnikov is connected not only with the story of the resurrection of Lazarus, but also with another miracle of Jesus - the healing of the son of a courtier. Here's how the Gospel of John says it in chapter 4:
49. The courtier said to Him: “Lord! Come before my son dies."
50. Jesus says to him: “Go, your son is well.” He believed the word that Jesus spoke to him and went.
51. His servants met him on the road and said, “Your son is well.” The nobleman believed the word that Jesus told him. (And Raskolnikov believed Sonya).
In the Gospel of John in chapter 14 we read:
52. He asked them at what time did he feel better? They told him: “Yesterday at seven o’clock the fever left him.”
53. From this the father knew that this was the hour in which Jesus said to him: “Your son is well.”
This miracle happened at the seventh hour in Capernaum, the city in which Christ settled, leaving Nazareth, preaching repentance and healing the sick.
The resurrection of Raskolnikov took place in Kapernaumov’s apartment, when “twilight had already begun” and “the sun was already setting.” It is very possible that Raskolnikov was with Sonya at seven o’clock. He put on a cypress cross, and this was the beginning of his return to faith. Believing Sonya, Raskolnikov followed her advice and, having no doubt that he would feel better, “knelt down in the middle of the square, bowed to the ground and kissed this dirty earth with pleasure and happiness.” The third resurrection in the novel is the resurrection of Raskolnikov's faith.
Complete moral insight comes to Raskolnikov already during hard labor. It occurs at the moment of his worship of Sonya, or, even rather, the Icon of the Mother of God, which appeared before him, and in the creation of which he himself participates. Moreover, this moment of resurrection not only for Raskolnikov, but also for Sonya: “They were both pale and thin, but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. They were resurrected by love, the heart of one contained endless sources for the heart of the other.” Sonya gave Raskolnikov her hand, helped him get up, and Raskolnikov helped her, since he was a spiritually close person to her.
The fourth resurrection in the novel “Crime and Punishment” is the revival of Raskolnikov’s love and the complete moral resurrection of him and Sonya thanks to this love.
So, there are four resurrections in the novel. One of them is the Gospel resurrection of Lazarus, and the rest are the resurrection of hope, faith and love, and therefore the complete moral resurrection of Sonya and Raskolnikov himself.
Thus, the plot of the novel develops not in one, but in several directions at once: 1) Raskolnikov’s path from crime to moral resurrection; 2) Raskolnikov’s attempt to resolve for himself the issue of faith and unbelief.
There is one more idea that runs like a “red thread” through the entire novel and is most clearly visible only in the epilogue: “They were resurrected by love, the heart of one contained endless sources for the heart of the other.” So, the third theme is the search for salvation and truth through love for a person and with his help, and not alone.
Christian images in the novel
There are many Christian images and themes in Crime and Punishment.
Moreover, the novel does not reveal them right away. The vivid manifestation of any Christian image is first preceded by a prophecy about it, which can manifest itself in events of greater or lesser significance, in objects and numbers.
For example, the prophecy that the novel will reveal the plot of “the resurrection of Lazarus” sounds even before Raskolnikov spent “four days in the grave.”
Then follows the moment when Raskolnikov goes to the office for the first time: “The office was a quarter of a mile away from him. She just moved to a new apartment, in a new house on the fourth floor. “I’ll come in, kneel down and tell you everything. “he thought as he entered the fourth floor. The stairs were narrow, steep and covered in slop. The kitchens of all apartments on all four floors opened onto this staircase and stood like that for almost the whole day.” In this relatively small section of text, words derived from the word “four” are also used four times. It is clear from the text that Raskolnikov at that moment was close to confessing everything, which means that his first resurrection is near. Moreover, the number 4 indicates that it will be similar to the resurrection of Lazarus. And it happened in a room that had “the appearance of a very irregular quadrangle,” while reading the fourth Gospel, on the fourth day of Raskolnikov’s fever.
By the way, the room in which Raskolnikov fainted was the fourth in order. And then I would like to consider the meaning of dates in the work of F. M. Dostoevsky.
The first significant date in the novel refers to the passage that speaks of the “creation” of the icon “The Conspirator of Sinners” - to the scene in the church. “In the second week of Lent, it was his turn to burn along with his barracks.” The second week of Great Lent is especially dedicated to sin, when it comes to the Fall and Cain's envy of Abel. And the words of the Parable sound directly addressed to Raskolnikov: “Listen, my son, and accept my words, and the years of your life will increase. I show you the path of wisdom, I lead you along straight paths. When you walk, your progress will not be hindered, and when you run, you will not stumble. Hold fast to the instruction, do not abandon it, keep it, because it is your life.”
These words are heard at a moment when Raskolnikov does not know how and why he will live further.
In the words of the church reading, the answer seems to be given to all his “pointless and aimless anxiety” of the previous pages. It directly states how to find his lost life again. Raskolnikov heard that his sin was illness, evasion from life and health - his subsequent illness (at hard labor), physical, marks a crisis, the illness came out: “He spent the entire end of Lent and the Holy Day in the hospital.”
The next event, marked with a “date,” is the moment when Raskolnikov’s heart opens, described in the most vague terms: “Something seemed to pierce his heart at that moment.” The “date” is described by Dostoevsky as follows: “It was already the second week after the Holy Week.” If the word “week” is given a church meaning and it means the day of the week, then this is the second week after Easter - the week of the Myrrh-Bearing Women. Thus, the moment of meeting between Sonya and Raskolnikov is indicated: the one who was able to believe only by “putting his fingers in,” and the one who lovingly believed his word.
But that’s not all that’s hidden behind the strange “date.” The week ends with Sunday, on which they read “about the paralytic.” The illness of Raskolnikov and Sonya before the miracle happened to them amazingly echoes the passage from Acts that is preached on this day, and is interpreted by them in accordance with the famous story from the Gospel of John about Jesus’ healing of a man who had been waiting thirty-eight years for healing from the source at the sheep gate . Having met him later in the temple, Jesus admonished the healed man: “Behold, you have recovered; sin no more, no matter what worse happens to you.”
It should be noted here that Sonya, having arrived to pick up Raskolnikov, “is engaged in sewing, and since there is no milliner in the city, she has even become almost necessary in many houses.”
Thus, this date is symbolic not only for Raskolnikov, but also for Sonya. Returning to the fourth and complete resurrection in the novel, we can say that the resurrection was common to Sonya and Raskolnikov.
Another important date is a moment that appears at the very beginning of the novel: “In early July, during an extremely hot time. " The neutral phrase would not have had a decisive meaning if not for Mother Raskolnikov’s letter, which arrived, according to Nastasya, “yesterday,” that is, on the first day of the events taking place, the day of the “test.”
Reflecting on the fate of Dunya, Raskolnikov suggests and remembers: “. I also know what you thought about all night, walking around the room, and what you prayed about in front of the Kazan Mother of God, who is standing in your mother’s bedroom. It’s hard to climb Golgotha.” The celebration of Kazan was on July 8, old style. It must be admitted that the chronology is accurate: the first day is precisely July 8. A person must correspond to the revealed goodness and change through the acceptance of Divine care into his own life. Raskolnikov's "test", performed on the day of one of the most revered icons, is a break with God's mercy. It is no coincidence that the number 8 also has another meaning - an apocalyptic day.
Initially, a situation of metaphysical choice is set. At the end of the work, it is repeated: Raskolnikov’s apocalyptic dream and Sonya’s appearance before the hero are like the miraculous discovery of an icon.
Motives associated with the miracle of the appearance and action of the Kazan Icon develop further in the novel. According to surviving evidence, “when the icon followed to the temple, many sick people, especially the blind, received healing.” When Sonya reads the Gospel to Raskolnikov, she especially dwells on the miracle
Christ, who healed the blind: “At the last verse: “Could not he who opened the eyes of the blind. “- she lowered her voice passionately and passionately conveyed the doubt, reproach and blasphemy of the unbelievers, blind Jews, who now, in a minute, as if struck by thunder, will fall, weep and believe. “And he, he, too, is blinded and unbelieving, - he will also believe, yes, yes! Now, now,” she dreamed, and she trembled with joyful anticipation.” Sonya herself becomes the hero’s means of healing. Before us is a picture of a possible miracle performed by the icon of the Mother of God. It is quite real, although it does not happen immediately. It seems that the idea of the striking and cleansing power of “thunder” is also connected with the day of Kazan, because even after reading the letter, Raskolnikov feels that it “suddenly struck him like thunder.”
In the novel “Crime and Punishment” by F. M. Dostoevsky, many heroes have biblical prototypes, and sometimes one hero has several of them, and whose image is hidden under the mask can only be learned from the context.
For example, for the first time Sonya Marmeladova is described in the text of “Crime and Punishment” as a “girl of easy virtue.”
She “lives in the apartment of the tailor Kapernaumov, rents an apartment from them. " The symbolic nature of the name Kapernaumov is close to the gospel motifs of the novel associated with the image of Sonya. Just as the evangelical harlot Mary Magdalene from the city of Magdala, near Capernaum, followed Jesus “to Golgotha,” so Sonya followed Raskolnikov and “accompanied his entire mournful procession.”
In almost all situations, Sonya appears to us as a martyr. I mentioned the icon “Faith, Hope, Love with Mother Sophia” and said that Sonya is present at all the resurrections of Raskolnikov, so it is reasonable to assume that the prototype of Sonya in the novel is the martyr Sophia. Although we can say that Sonya is a collective image. Suffice it to remember what Raskolnikov did at their second meeting in Sonya’s room: “Suddenly he quickly bent over and, crouching to the floor, kissed her foot. “I didn’t bow to you, I bowed to all human suffering,” he said somehow wildly.” The external description of Sonya also corresponds to the description of martyrs and saints. “How skinny you are! Look, what a hand you have! Completely transparent. “Fingers are like those of a dead person,” Raskolnikov says about her.
The image on the icons of saints and martyrs was created, as a rule, posthumously, after their canonization, that is, some time after their dormition, at best, according to memories, but, as a rule, these were imaginary portraits. On the icons the saint was depicted as he should have appeared before the eyes of the Almighty after his death. The face of a simple person was considered unworthy of portraiture, since it should be addressed not to the people of “this sinful world,” but to the highest final authority - the Lord God. The icon is intended to represent a saint or martyr not in the repeatability of his external and internal appearance, but in his status as a prayer for the entire human race.
Sonya also appears as the Mother of God before exiled convicts: “When she appeared at work or met with a party of prisoners going to work, everyone took off their hats, everyone bowed. “Mother, Sofya Semyonovna, you are our mother, tender, sick,” the rough, branded convicts said to this small and thin creature.” The Mother of God is always described with similar words. The fact that they went to her for “treatment” means that she appeared before them as a miraculous icon.
The description of Sonya as the Mother of God sounds at the beginning of the novel, when Raskolnikov is sitting in a tavern with Marmeladov, who talks about his meeting with his daughter: “And today I visited Sonya, I went to ask for a hangover!” And then he speaks about her those words that always apply to the Mother of God: “She said nothing and just looked at me silently. so not on earth, but there. They grieve for people, cry, but don’t reproach, don’t reproach!” Sonya gives Marmeladov 30 kopecks, as if forgiving the sin of thirty pieces of silver, those 30 rubles that she brought to Katerina Ivanovna after committing the fall.
With this act of Sonya, Dostoevsky argues that people can be forgiven for their suffering, because the Mother of God, because Sonya at this moment symbolizes her, is able to forgive the sins of people for their suffering, but this means that God can do the same. Thus, Dostoevsky shows Raskolnikov the path to salvation even before he committed the murder, prophesying about the crime and the path to resurrection. There are many such prophecies in the novel; they appear before almost every Christian image or plot. One of them is the funeral theme: “The sun brightly lit the room.” I think that the presence of sunlight in the room in this case can be considered as the presence of God's gaze or an Angel bringing good news. The scene that happened next was proof of this. Raskolnikov approached Sonya: “She suddenly took him by both hands and bowed her head to his shoulder.” This meek gesture even struck Raskolnikov with bewilderment; It was even strange: “How? Not the slightest disgust towards him, not the slightest tremor in her hand! The heroine's gesture is psychologically absolutely vague, and it is equally strange in real space. Dostoevsky chooses the word that most accurately conveys the religious meaning in the text: “bowed,” as the Virgin Mary bows her head in icons. This gesture indicates Raskolnikov's inevitable path to God. The author's task is to match the gestures of Sonya and the hero, reminiscent of the icon depicting the Mother of God forgiving sinners. This icon will finally appear in the epilogue, but now it is only shown for a while, we see a prophecy about its imminent coming.
The action of the novel, although limited by certain temporal and spatial frameworks, actually develops in eternity, i.e., in fact, many of the plots are an encrypted Gospel. Describing his heroes and their actions, Dostoevsky describes icons, one of them is the icon “The Holy Great Martyrs Faith, Hope, Love and Their Mother Sophia.” Faith, Hope and Love stand in the foreground, each holding a cross in one hand. Their mother stands behind them with her hands raised above their heads and looks at them with affection. Moreover, the great martyrs are located from left to right: Faith, Hope and Love, that is, the same way they appear in the novel. You need to pay attention to their clothes and gestures: Faith and Love are in green capes. Vera holds her cape with her free hand, Love holds the cross a little higher than the others, and seems to timidly extend her free hand to someone.
The resurrection of faith occurred when Raskolnikov came to Sonya to say goodbye: “Sonya grabbed her scarf and threw it over her head. It was a green scarf, probably the same one that Marmeladov mentioned then, “the family one.”
The description of Sonya during the resurrection of love also very much coincides with the description of Lyubov on the icon: “Her face still bore signs of illness, it became thinner, faded, and haggard. She smiled at him warmly and joyfully, but, as usual, timidly extended her hand to him.” (She was wearing her pale, old burnous and a green scarf). Martyr Sophia is the mother of martyrs Faith, Nadezhda and Lyubov. Since Dostoevsky’s Sonya is the main reason for Raskolnikov’s three resurrections, then for Raskolnikov she became the “mother” of his faith, hope and love.
Already at the end of the 11th century, some communities began to celebrate the days of remembrance of Christian martyrs. At the same time, the anniversary of the death of the martyr was celebrated as the day of his birth, because it was believed that it was on this day that he was born for eternal life. Among the first to suffer in Rome were the holy martyrs Vera, Nadezhda, Lyubov and their mother Sophia (Memorial Day September 17).
The date September 17 may well be the date of Raskolnikov's last resurrection. Or September 17 is the date on which the story about Raskolnikov ends.
He has been in prison for 9 months. If we take into account that the investigation began in mid-July, it turns out that the moment described is in mid-September.
Turning once again to the time of the creation of the novel, we can say that September 17 is a very important date, because, according to A.P. Suslova, it was on September 17, 1863 that its main idea was formed.
Raskolnikov accepts the cypress cross from Sonya, saying: “This means that I am taking the cross upon myself, hehe! And sure enough, I still haven’t suffered much!” After this, he will make his way to hard labor, and Sonya will accompany “his entire mournful procession.” In this passage, Dostoevsky created several images at once: this is Raskolnikov, like Christ, carrying his cross, and Sonya, accompanying Raskolnikov in the same way as Mary Magdalene accompanied Christ, and the very picture of the Procession of the Cross, performed by Raskolnikov and Sonya.
Most likely, Raskolnikov realized that he would have to bear his cross even before he finally decided to confess, and even before he first saw Sonya’s cypress cross. Awareness of his further fate comes to Raskolnikov when he first, albeit wordlessly, but completely sincerely confessed to Razumikhin of committing a crime and asked him to take care of his sister and mother: “Come back to them and be with them. Be with them tomorrow too. and always. Leave me and them. don’t leave.” This request is very similar to the gospel lines that Jesus pronounces from the cross. (John. Chapter 19,26,27).
It turns out that the image of Raskolnikov is associated not only with the image of Cain, the first murderer, but also with Christ, who himself died to save humanity. This would seem to be paradoxical, but the point is precisely that the human soul is subject to both bad and beneficial influences, and the final decision on where to go - “up” or “down” - depends only on the person himself.
Christian symbolism of flowers and objects
The objects in the novel, just like the heroes, represent hidden Christian images. It is easy to notice that many of the main events take place in rooms with yellow wallpaper.
So, for example, Raskolnikov’s room “was a tiny cell about six steps long, which had the most pitiful appearance with its yellow, dusty wallpaper that was always falling off the wall.”
The old woman's room in which the murder took place had yellow wallpaper. The wallpaper in Sonya's room was “yellowish, smudged and worn out.” In the hotel where Svidrigailov stayed, “the walls looked like they were knocked together from boards with shabby wallpaper, so dusty and tattered that its color (yellow) could still be guessed, but the design could no longer be recognized.” Apparently, the author’s frequent use of the color yellow in descriptions of his characters’ apartments is not an accident.
Thus, the background to all events taking place in these rooms was yellow.
To understand the meaning of a color, you need to look at the icons in which this color is used. Here are a few lines from the description of one of them - the “Crucifixion” icon: “Right behind the cross is the light yellow Jerusalem wall, as if cutting off everything unnecessary and random, a background of light ocher, the accepted sign of the light of eternity, surrounds everything that happens. In this clear structure of the icon, overcoming everything dramatic, the high essence of events is revealed.”
Two more inanimate images develop quite interestingly in the novel - stairs and shells. The word “staircase” is used about 70 times in the first three parts of the novel.
Dostoevsky's characters are constantly moving up the stairs. According to Ozhegov’s dictionary, a staircase is a structure in the form of a series of steps for ascent and descent, i.e. a staircase allows a person to be at the top or bottom. And where he ends up depends only on the choice a person makes. Once again, returning to the issue of choice, we can say that the staircase in the novel is a symbol of the choice that Raskolnikov and other heroes must make every time they find themselves on it. The staircase also symbolizes Raskolnikov’s path, his path up or down. For example, the staircase to the old woman’s apartment was dark, narrow and black, but he already knew and studied everything, and he liked the whole situation. The hidden meaning is easy to understand if you compare the description of this staircase with the words from the Book of Proverbs of Solomon. The words from this parable are read on Monday in the second week of Lent and are part of the story of the Fall and Cain's envy of Abel. It should be taken into account that Cain is the first murderer, and Raskolnikov finds himself on the same stairs with the thought of murder. The words of the sermon are consonant with the words from the Gospel of John:
Chapter 8 Again Jesus spoke to the people, and said to them: “I am the light of the world; whoever follows me will not walk in darkness, but will have the light of life.” And further, turning to the disciples, Jesus says: “. whoever walks during the day does not stumble, because he sees the light of this world; but whoever walks at night stumbles, because there is no light with him.”
Raskolnikov goes to the place of the future murder in darkness, without light, and therefore without God, turning away from him, hiding in the darkness from human gaze and the sun's rays.
The description of this staircase in the novel is exactly the opposite of the description of the path of the righteous in the parables of Solomon.
Raskolnikov, while on this staircase, commits a terrible act. He takes the unrighteous path, chooses the path not up, but down, and renounces the Lord. The staircase is where Raskolnikov must make his choice, and the description of the staircase, in turn, shows what choice Raskolnikov made.
Another interesting item is the shell. The shell is the shell of an egg, and in the novel the shell is a shell that hides thoughts and feelings: “It was difficult to sink and become shabby; but for Raskolnikov it was even pleasant in his current state of mind. He resolutely walked away from everyone, like a turtle into its shell.” But then F. M. Dostoevsky makes some clarification: it turns out that the shell is both what separates Raskolnikov from all other people and from God, and what his thought about murder matures in: “A terrible thought pecked at him in his head, like chicken from an egg, and he was very, very interested.” And then, when the thought “turned into chicken,” Raskolnikov finally decided that he would commit murder. The murder has been committed. The office is a place where Raskolnikov can confess everything. The stairs are a problem of choice - yes or no: “The stairs were narrow, steep, covered in slop.” There is no explanation here about which ones specifically, but from the phrase with which F. M. Dostoevsky describes Raskolnikov’s delirium, one can assume that there was a shell lying on it: “He didn’t think about anything. So, there were some thoughts or fragments of thoughts. the back staircase, all covered in slop and covered with eggshells.” Objects changed like a whirlwind. And the description of the same staircase further allows us to verify the correctness of the assumption: “Again the same rubbish, the same shells on the spiral staircase.” Thus, we can say that the need to make a decision was further strengthened by the situation and the situation. The shell on the stairs to the office, which Raskolnikov looks at, is what torments his soul and demands from him a sincere confession. And this is also an indicator that Raskolnikov has already given up the thought of murder and can connect with people and God by making the right choice, “going up the stairs.”
Thus, F. M. Dostoevsky poses the problem of choice and the impossibility of coming to the truth alone, thereby giving the answer: in order to go upward, you need to connect with God, accept him into your heart and allow someone to help you.
Raskolnikov is like Cain, he fears the sun just as he feared God, because Raskolnikov sees God in the sun and because he disobeyed God, although he asked for advice and help. "God! - he prayed. - Show me my path, and I will renounce that damned one. my dreams! Passing across the bridge, he quietly and calmly looked at the Neva, at the bright sunset of the bright, red sun. Despite his weakness, he did not even feel tired. It was as if an abscess on his heart, which had been brewing all month, suddenly burst. Freedom, freedom!"
Raskolnikov nevertheless commits a crime, and he will commit it right in front of the Lord.
“The small room into which the young man entered, with yellow wallpaper, geraniums and muslin curtains on the windows, was at that moment brightly lit by the setting sun. “And then, therefore, the sun will shine in the same way! “- as if by chance flashed through Raskolnikov’s mind.”
This is a description of the old woman's room in which the murder took place. The thought of the sun flashed through Raskolnikov’s head, and even before the scene on the bridge, he would remember the presence of sunlight in the room, and he would become scared.
When he approached the office, where he could immediately confess everything, the sun flashed brightly in his eyes, so that it became painful to look at and his head was completely dizzy. It is strange that Raskolnikov turned to God at all, because at that time there was almost no faith in God in his soul.
Looking at the Temple of God, Raskolnikov felt neither admiration nor tenderness. Faith in God was not immediately resurrected in him, so even after the murder, standing in front of the Temple, he felt neither fear nor despair, but only pity and contempt for himself: “An inexplicable coldness always blew over him from this magnificent panorama.”
After the resurrection of faith, Raskolnikov was no longer afraid of the sun. He wanted to finish everything before sunset. For comparison: in the Gospel Jesus says: “Evil is done, hidden, but good is not afraid to show itself in the light.”
“Meanwhile, the sun was already setting” - perhaps this phrase means that Raskolnikov had one last chance to correct his action: the sun was leaving, but the light still illuminated Raskolnikov’s path.
The symbolic meaning of the Sun in Holy Scripture is very diverse: the setting and eclipse of the sun mean the wrath of God and his righteous punishment, as well as disaster, sorrow and suffering; its light and clear radiance signify a happy state. He enlightens a person, cleanses, strengthens, revives, warms and makes him capable and ready for every good deed. The Lord Himself, as the source of all light, goodness and bliss, is figuratively called the sun in Holy Scripture; The light of the sun, which makes everything clear and open, serves as a symbol of discovery, detection, retribution and righteous punishment.
Another item that attracts attention is a green scarf, which appears in the novel only a few times, but in the most important moments for the characters. “Sonya came and went straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her. She didn’t say a word, not even look, but only took our large green draped shawl, covered her head and face with it, and lay down on the bed, facing the wall, only her shoulders and body were shaking. " Sonya puts on a scarf at a time when it is very difficult for her, because of the awareness of the gravity of the sin that she has just committed. The second time Sonya puts on a headscarf is to go out into the street with Raskolnikov and go with him to the office, where he will make a confession. “Sonya grabbed her scarf and threw it over her head. It was a green draped shawl, probably the same one that Marmeladov mentioned then - “family”. Sonya puts it on, preparing to go with Raskolnikov, to follow him to hard labor. The green scarf symbolizes suffering, experienced or yet to come.
Telling Raskolnikov about Katerina Ivanovna, Sonya spoke “as if in despair, worrying and suffering, and wringing her hands. Her pale cheeks flushed again, and anguish was expressed in her eyes.”
“The holy fool, the holy fool,” Raskolnikov thinks about her. Raskolnikov’s worship of Sonya also takes place in Kapernaumov’s apartment: “Suddenly he quickly bent over and fell to the floor, kissed her leg. “I didn’t bow to you, I bowed to all human suffering,” he said somehow wildly.”
Sonya is the embodiment of suffering, she is a martyr, a holy fool, as Raskolnikov calls her, her scarf is a symbol of suffering.
Katerina Ivanovna also wore this scarf on the day of her death, running out into the street to seek protection for her children and herself. It should be noted that when putting on a scarf, both Sonya and Katerina Ivanovna thereby cover their hair and shoulders, since according to Christian customs, women are depicted with covered hair. But even when we read from F. M. Dostoevsky that Sonya’s hair is not covered, a certain similarity is created with the images on the icons, because the scarf is large and falls from the shoulders in folds, like the clothes of saints. The ringing of bells is also very symbolic in Christianity.
Bells are the only instrument in an Orthodox church. Large bells were used infrequently, only in solemn or, on the contrary, the most tragic moments. In the novel, they sound precisely at tragic moments, as the last warning before something irreversible happens. The image of a bell appears throughout the novel. Let’s start with how Raskolnikov, with an ax under his arm, approached the old woman’s door: “He couldn’t stand it, slowly extended his hand to the bell and rang it. Half a minute later he rang again, stronger." It is here that the ringing of the bell sounds as a warning to Raskolnikov. The bell in the old woman's apartment rings again when Koch comes up there. And it appears again in the novel, when Raskolnikov lies in his room, semi-delirious, and flashes flash in his head various objects and faces: the church bell tower, the back staircase, all filled with slop and covered with eggshells, and “from somewhere came the ringing of Sunday bells.” All these objects appeared at turning points and tragic moments in Raskolnikov’s life, although he thinks that never I wouldn’t have even remembered them. “That’s how you can get a fever, when such tendencies irritate your nerves, go out at night to ring bells and ask about blood! That’s how sometimes a person is drawn to jump out of a window or from a bell tower, and that’s the feeling seductive. Also bells, sir," says Porfiry Petrovich to Raskolnikov. The bell in Crime and Punishment is one of the Christian images, symbolizing a warning, a prophecy about a terrible event.
Christian themes in the novel
Dostoevsky's novel "Crime and Punishment" is based on biblical stories. The crime committed by Raskolnikov and the punishment he receives for it are associated with the legend of Cain and Abel. Raskolnikov’s path to spiritual healing and resurrection is connected with the resurrection of Lazarus.
Lazarus was resurrected by Jesus after he died and spent 4 days in the tomb. The moral resurrection of Raskolnikov, described in the novel, has much in common with the Gospel legend. We will consider the day of Raskolnikov’s death to be the day on which he committed the crime. We know that Raskolnikov did not physically die on that day. But since Raskolnikov’s resurrection will be a moral resurrection, then his death must also be moral. It is enough to remember Raskolnikov’s state before he goes to kill the old woman - he feels himself sentenced to death. “So, it’s true, those who are led to execution attach their thoughts to all the objects that they encounter along the way,” flashed through his head. And further: “Did I kill the old woman? I killed myself, not the old woman! Then, somehow, he killed himself forever. "
I have already described the stairs that Raskolnikov climbed to kill the old woman. I repeat once again that in her description there is a similarity with the description of the sinful path. Paths without light and without God. Jesus' words, quite similar to the description of these stairs, are spoken before he says that Lazarus died.
The phrase about Raskolnikov’s physical condition is noteworthy: “His hands were terribly weak, he himself could hear them becoming more and more numb and stiff with each passing moment,” “But a kind of absent-mindedness, as if even thoughtfulness, began to gradually take possession of him; for minutes he seemed to forget himself, or, better to say, he forgot about the main thing and clung to the little things.” This phrase is very similar to Raskolnikov’s thought about the condition of the person sentenced to execution.
And then I compared the description of Raskolnikov’s condition with a similar description from the Gospel, where Jesus says to his disciples: “Lazarus, our friend, has fallen asleep, but I am going to wake him up.” These words of Jesus fit Raskolnikov perfectly. Then in the Gospel one can find an explanation for Dostoevsky’s words that “Raskolnikov was as if in a dream.” And again, returning to the Gospel, we read: “His disciples said: “Lord! If he falls asleep, he will recover.” Jesus spoke about his death, but they thought that he was talking about an ordinary dream), that is, Raskolnikov’s sleepy state is the beginning of moral death, which comes to him in the form of a serious illness. After the murder of the old woman and her sister, Raskolnikov’s illness intensified and he took to bed.
In the novel, Raskolnikov awakens (resurrects) first physically (when he comes to his senses), and then morally when reading the Gospel in Sonya’s apartment, when he decides to open up to her. His moral resurrection (resurrection of hope) occurs when reading the Gospel of John about the resurrection of Lazarus: “The candle end had long gone out in the crooked candlestick, dimly illuminating in this beggarly room a murderer and a harlot, strangely gathered together to read the eternal book.” The resurrection of Lazarus is one of the most striking biblical episodes, allegorically recorded in the novel. But unlike the others, he is more recognizable due to the presence of the Gospel text in the novel.
Raskolnikov is a murderer. Perhaps one of the most famous murderers described in the Bible is the first of them - Cain. There are several moments in the novel in which Raskolnikov's similarities with Cain are shown. Let's start with the motive (of course, not the only one, but quite important) that prompted Raskolnikov to kill the old woman - envy. The book of Moses speaks about this same human vice:
“And the Lord looked upon Abel and his gift;
But he did not look upon Cain or his gift. Cain was greatly saddened, and his face fell.”
Just as Cain envied Abel, Raskolnikov envied Alena Ivanovna’s wealth and the fact that this “louse,” “useless, disgusting, malicious,” has good capital, while he, a talented, young man capable of becoming great, does not have enough money even to eat. Raskolnikov decides to kill the old woman.
The morning after the murder, they inform Raskolnikov about a summons to the office (police): “To the police!” For what?. ", "How should I know. They demand it, and go.” Raskolnikov is frightened by an ordinary summons and thinks that, probably, everyone already knows about his crime. He is afraid because he knows that he has done something terrible and is always expecting punishment. And in the Gospel it is written: “And the Lord said to Cain: “Where is Abel your brother?” He said: “I don’t know if I am my brother’s keeper.” Cain does not answer the Lord immediately, just as Raskolnikov does not admit guilt when he is first called to the police. Following the text of the Gospel, one can see the further development of this biblical story in the novel: “And the Lord said: “What have you done? The voice of your brother’s blood cries out to me from the earth.”
F. M. Dostoevsky plays this phrase very vividly in his novel, so that it stands out from the general text, even if the reader does not know the corresponding lines of the Bible. “Nastasya, why are you silent,” he said timidly in a weak voice. “This is blood,” she finally answered quietly and as if speaking to herself. "Blood!. What kind of blood? - he muttered, turning pale and moving back to the wall. Nastasya continued to look at him silently.”
And then Raskolnikov’s unconsciousness sets in. When Raskolnikov is able to get out of bed, people will be disgusted to him, he will run away from them, seek loneliness, but even alone he will be scared and disgusted. This is in the novel by F. M. Dostoevsky.
In the Gospel, after the words about “blood,” the Lord says to Cain: “You will be an exile and a wanderer on earth.” This same state of isolation from people haunts Raskolnikov even after the crime.
Once again, the Biblical tale of Cain and Abel will be heard at the end of the novel, and it will determine Raskolnikov’s behavior: “Go, now, this very minute, stand at the crossroads, bow, first kiss the earth that you have desecrated, and then bow to the whole world, all four sides, and tell everyone out loud: “I killed!” Then God will send you life again,” probably the God-fearing Sonya says this, relying on the words of the Bible: “And now you are cursed from the land, which has refused its mouth to receive the blood of your brother from your hand.”
Thus, Raskolnikov's worship of the earth is very symbolic; it represents Raskolnikov's attempt to obtain forgiveness for the murder he committed.
Having examined the analogies between the texts of the Gospel about Cain and Abel and F. M. Dostoevsky’s novel “Crime and Punishment,” we come to the conclusion that the novel contains biblical texts in a hidden form.
In Crime and Punishment there are plots and images associated with the Apocalypse.
Raskolnikov's last dream in delirium on the bed of a prison hospital - a dream about triquinas, which made a decisive turning point in his soul, was also suggested to Dostoevsky by the real events of 1864-1865. The image of a pestilence, a moral epidemic caused by some tiny trichinae, arose under the impression of numerous alarming newspaper reports about some microscopic creatures unknown to medicine - trichinae and the widespread disease caused by them in Europe and Russia. Newspapers and magazines were required to publish in the form of brochures “the most detailed monograph on trichinae and sell them at the cheapest price to find remedies against this evil.” The newspaper “Petersburg Listok” (Jan. 13, 1866) even proposed making the issue of trichinae “the subject of a debate competition.” A brochure by M. Rudnev was urgently published. “About trichinae in Russia. Unresolved issues in the history of trichinosis."
Dostoevsky could have read about this in 1864 on the pages of the Illustrated Newspaper, which he knew well. The note was called “Trichina in meat.” M. Rudnev wrote that people experienced painful seizures “as a result of eating pork.” These trichinae, found in pork meat, evoke in the memory of F. M. Dostoevsky the well-known lines from the Gospel of Luke, namely the very place that he took as the epigraph to the novel “Demons”: “A large herd of pigs was grazing right there on the mountain . »
And Raskolnikov’s last dream, like Chapter 4 of the fourth part, goes back to the Gospel, grows under the pen of Dostoevsky in combination with images from the Apocalypse into a huge symbol of a terrible world, a warning to humanity. The picture of the world dying from a “terrible pestilence”, which appears to Raskolnikov’s consciousness in the terrible apocalyptic dreams he saw in illness, in delirium, during Holy Week, ends with one detail, insufficiently appreciated and left by most researchers of the novel without due attention. “Everything and everything was dying. The ulcer grew and moved further and further,” writes F. M. Dostoevsky. “Only a few people in the whole world could be saved; they were pure and chosen, destined to start a new race of people and a new life, to renew and cleanse the earth, but no one saw these people, no one heard their words and voices anywhere.”
In the literature about the novel, the statement has become almost common place: the hero’s convict dreams are still his “theory,” his “idea,” but only taken to its limit, embodied on a planetary scale. If in a dispute with Porfiry Petrovich Raskolnikov insisted that his “idea” was “saving, perhaps, for all of humanity,” now it is revealed to his consciousness that, on the contrary, it is fraught with a worldwide catastrophe. There is a lot of truth in this understanding. However, this alone does not exhaust the deep meaning of the hero’s words as an expression of the changes that are latently ripening in him. Otherwise, the final lines of the “pestilence” picture quoted above would turn out to be unnecessary and incomprehensible. Raskolnikov's convict dreams are not only self-exposure and self-denial of his theory, not only even the discovery of a feeling of personal guilt for the entire state of world life, which already unconsciously lives in the hero, in the depths of his spirit, and uncontrollably declares itself in the symbolic hyperbolism of fantastic paintings. Thus, scenes of the Apocalypse are present throughout the entire novel and are hidden in the very “theory” of Raskolnikov, which he is trying to follow. Awareness of the full horror of his idea comes to Raskolnikov only during his stay in the prison hospital, shortly before his moral resurrection, and even then not explicitly, but in a hidden form, at the level of his subconscious.
It is highly characteristic that the attitude of the convicts towards Sonya is completely incomprehensible to Raskolnikov.
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“The most important goal of modern domestic education and one of the priority tasks of society and the state,” says the “Concept of spiritual and moral development and education of the personality of a citizen of Russia,” “is education, social and pedagogical support for the formation and development of highly moral, responsible, creative, proactive, competent citizen of Russia."
Today's school, together with the family, must form a whole system of spiritual and moral values: love for the Fatherland, justice, mercy, kindness, honor, dignity, love, reverence for parents, desire for knowledge, hard work, aesthetic attitude to life... Without these qualities there is no Man.
Thus, the spiritual and moral development and education of students is the primary task of the modern educational system and represents an important component of the social order for education.
What is spirituality and morality? How can a teacher who sows “reasonable, good, eternal” educate a spiritual and moral personality?
Of course, with your personality and the means of the subject, especially if this subject is literature.
Today, the teacher must set new learning objectives: not to teach, but to give the opportunity to learn; not to teach, but to give the opportunity to find the answer on one’s own. The methods and technologies are different - the choice is up to the teacher: which technique will be more productive in each specific lesson. And the use of new pedagogical technologies is not a method, it is a tool that has also become a reality of today.
The literature program for grade X provides ample opportunities for teachers to educate an integral spiritual and moral personality: issues of honor, duty, conscience, love, devotion, compassion and mercy were raised in their works by I.A. Goncharov, S. Turgenev, A.N. .Ostrovsky, F.M. Dostoevsky and L.N. Tolstoy. Thus, “high” literary and biographical material makes it possible to build this work in a system.
The material presented in the development is voluminous, but is designed for one lesson. Therefore, preparation for it is carried out over several lessons; an individual and group method of completing homework is used in the form of studying the Gospel texts and selecting quotation material.
Behind us are lessons on the biography of Dostoevsky, on the novels “The Idiot” and “The Brothers Karamazov”, as well as an extracurricular reading lesson on Solzhenitsyn’s story “Matrenin’s Dvor”. In my opinion, it is difficult to find writers who, like F.M. Dostoevsky and A.I. Solzhenitsyn, would speak so sharply and piercingly about man, his purpose, his conscience, his soul.
Such a lesson with historical parallels makes it possible to connect together the “eternal” themes of literature of the 19th century and the 20th century through Christian motifs.
The main feature of Russian literature is its Orthodox orientation.
ON THE. Berdyaev argued: “All of our literature of the 19th century is wounded by the Christian theme, all of it seeks salvation, all of it seeks deliverance from evil, suffering, the horror of life for the human person, the people, the human world. In the most significant creations it is imbued with religious thought.”
The same can be said about the literature of the 20th century, excluding some works of recent decades.
In addition, the elements of an integrated lesson allow you to develop the potential of students, introduce them to a new type of thinking, develop speech, attention, and aesthetic feelings. The use of poetry and music in the lesson gives students the opportunity to plunge into the moral atmosphere of the topic.
The technology of developmental education and cooperation, a person-oriented approach, when the child’s personality, its originality, self-worth, and analytical conversation techniques are at the forefront, give high school students the opportunity to reflect on complex issues of existence, express their point of view and defend it.
The lesson can be useful for literature teachers and MHC, and its elements can be used in extracurricular activities.
Lesson objectives:
educational:
- organize student activities to understand Christian motives in F.M. Dostoevsky’s novel “Crime and Punishment” and the story by A.I. Solzhenitsyn's "Matrenin's Dvor";
- ensure the perception, assimilation and comprehension of new material through the creation of a problem situation → its study → solution → analysis → generalization;
- arouse students' interest in reading the Gospel.
developing:
- develop logical thinking;
- develop students’ motivation for creative activities;
- develop the ability to compare, define concepts, identify connections and comparisons between studied concepts and texts, and draw independent conclusions;
- perceive phenomena in an integrated way;
- develop creative, speech and mental activity, interest in literature and Orthodox culture .
raising:
- cultivate an attitude towards a person as the highest value;
- promote the formation of moral qualities of students, the desire to become better;
- cultivate communication skills and a culture of verbal communication;
- to educate an independently thinking and deeply feeling person;
- cultivate aesthetic feelings.
Lesson type: lesson in applying knowledge.
Technologies used: technology of cooperation, personality-oriented and developmental training.
Techniques used: analytical conversation, commented reading, technique of compiling a syncwine based on the methodology for developing creative and critical thinking.
Forms of organizing educational activities: individual work, collective, frontal work.
Equipment: portraits of F.M. Dostoevsky and A.I. Solzhenitsyn, texts of the novel “Crime and Punishment” and the story “Matrenin’s Dvor”, texts of the Gospel, projector, audio recordings: “AVE MARIA”, romance by M.I. Glinka “I remember a wonderful moment”, piano music by E. Morricone, multimedia presentation for the lesson, handouts: biblical commandments, the legend of Sodom and Gomorrah.
During the classes
“Do not live by lies” Solzhenitsyn A.I.
I. Organizational moment.
II. Indicative-motivational stage.
Music is playing. The teacher reads a poem by B. Okudzhava.
Conscience, Nobility and Dignity -
Here it is, our holy army.
Give him your hand
There is no fear for him even in the fire.
His face is high and amazing.
Dedicate your short life to him.
Maybe you won't be a winner
But you will die as a person.
SLIDE No. 1.
III. Preparatory stage.
Teacher. Today we will talk about two works, at first glance, far removed from each other in terms of the time of writing, and in terms of characters, and in terms of the names of the authors. This is the novel “Crime and Punishment” by F.M. Dostoevsky and A.I. Solzhenitsyn’s story “Matrenin’s Dvor”. We will try to find common ground between these seemingly different works and determine what Christian motifs unite them.
The fates of Dostoevsky and Solzhenitsyn are in many ways similar: both experienced a spiritual breakdown, both suffered from the regime: one served time in hard labor, and the other in camps and settlements. Both loved Russia and pondered its fate.
So, the topic of the lesson: “Christian motives in F. M. Dostoevsky’s novel “Crime and Punishment” and in A. I. Solzhenitsyn’s story “Matrenin’s Dvor.”
SLIDE No. 2 “Love others as you love yourself”
IV. Operational and execution stage.
Feodor Mikhailovich Dostoevsky is a great Russian writer who tried to unravel the riddle of the human personality, posed the eternal questions of existence: why does a person live, is there a God, how to relate human freedom and divine predestination.
Quote from the slide (Protege Zenkovsky)
Man is what occupied the writer: what is his nature (“he is a beast” or “the image of God”), how to transform the world on the basis of spirituality, morality, respect for the individual, how to combine justice, justice and legality.
SLIDE No. 3 “Live not by lies”
Teacher. Such a law, according to Dostoevsky, should be a moral law (quote from the slide), and Solzhenitsyn from the twentieth century continued this thought: “Do not live by lies.”
The moral ideal for Dostoevsky was the image of Christ, who embodied the highest human qualities. But the writer did not come to Christ right away.
Students. From the writer’s biography we know that he was a member of M. Petrashevsky’s circle and was sentenced to death. The rebirth of his beliefs occurred in 1849, when he was awaiting execution, but then it was replaced by hard labor.
In Siberia, he met the wife of the Decembrist Fonvizin, who gave the writer a small book bound in leather. This was the Gospel. Dostoevsky did not part with it until the last days of his life, just like with the image of Christ.
Teacher. Remember. What he wrote about it in his diary.
The student reads: “I believe that there is nothing more beautiful, deeper, more sympathetic, more intelligent, more courageous and more perfect than Christ.”
Teacher. Indeed, faith was gained by Dostoevsky through suffering, and he endows his favorite heroes with it.
Notes in notebooks.
Quote from slide No. 3 (words by Dostoevsky)
SLIDE No. 4 “Eternal Sonechka”
Teacher. This is the icon of goodness and spiritual beauty that Sonechka Marmeladova appeared to Dostoevsky. The full name of the heroine is Sofia. What does it mean? (wisdom).
- Let's turn to the text of the novel. Find a portrait description of Sonya Marmeladova (I, 2 - Marmeladov about his daughter and II, 7 - Sonya near her dying father, III, 4 - Sonya with Raskolnikov). Students read passages.
– How did you see Sonya in these scenes? (Meek, loving, forgiving, unrequited, humble)
– Tell us about the life of Sonya Marmeladova
Students. Sonya is only 18 years old, but she has already lost and experienced a lot in her life. Mother died early. The father marries someone else and spends all the money on drink. The family is in need, the stepmother is sick. Sonya is forced to go to work to feed her family. It would seem that Sonya should be embittered by her stepmother, who forced her to earn money in this way, but Sonya forgives her. Moreover, she brings in money every month and is, in fact, the sole breadwinner for a large family.
Sonya has changed outwardly (she is dressed in a loud, catchy outfit), but in her soul she has remained pure and immaculate.
Teacher. Do you think Sonya is consciously taking this step?
Students. Yes, she is taking a conscious step. This is her moral choice. She sacrifices herself for the sake of hungry children.
Teacher. Please note: being at the bottom of her life, Sonya does not become vicious. What world does Sonya live in? What kind of people surround her?
Students. She is surrounded by people such as Raskolnikov, Luzhin, Svidrigailov. This is a world of lies, meanness, deception, violence, cruelty.
Teacher. How does she live in this world? Yes, Sonya does not protest like Raskolnikov, does not intrigue like Luzhin, does not mean things like Svidrigailov. What is she doing?
Students. She humbles herself.
Teacher. How do you understand what “humility” is?
Students. This is spiritual peace, peace, agreement with your conscience, soul. And this is her conscious choice, and not submission to circumstances. This inner peace (humility, harmony) helps her create the world around her: help her family, ardently sympathize with Raskolnikov.
Teacher. Let's analyze the scene with Luzhin (Part V, Chapter 3). Pay attention to Sonya's behavior in this scene. What does Katerina Ivanovna say about her? Look carefully at the author’s remarks: not what Sonya says, but how she says it (timidly, barely audible...)
Yes, Sonya is very vulnerable to evil. She is defenseless in front of him. She cannot stand up for herself, but for others... (we will see later how much inner strength and conviction there is in this fragile, at first glance, girl).
– What does Sonya call herself?
Students. I am dishonest, I am a great sinner.
Teacher. Who is a sinner and what is sin?
Students. Sin is committing evil, breaking God's commandments. A sinner is a person who has departed from God.
Teacher. What commandment of Christ did Sonya break?
Students. Don't commit adultery.
Teacher. Do you think the sin of adultery committed by Sonya can be forgiven?
Students. Of course she did, because she was motivated by love and compassion. Love in the concept of popular morality is higher than the fear of God's punishment.
Teacher. Or maybe she had another way out? (pass away)
Students. No, it would be dishonest towards the Marmeladov children. It would be a selfish act on her part: to get rid of torment and suffering herself, and doom her children to death. In addition, for Sonya, as a deeply religious person, suicide is a mortal sin, it is unacceptable: after all, life is a gift from God.
Teacher. What supports Sonya in her difficult life?
Students. Faith in God.
Teacher. The image of Sonya is most fully and vividly revealed in her meetings and conversations with Raskolnikov. Let's remember these scenes from the novel. How does Raskolnikov perceive Sonya at the beginning of their acquaintance? Who is she to him?
Students. Sonya is his equal: she, just like him, committed a crime. But gradually he understands: this girl lives by completely different laws, and he is still completely at the mercy of his terrible theory.
Teacher. Raskolnikov calls her a holy fool, and repeats it twice, why? What does this word mean? (Students read an explanatory dictionary article).
On the desk:
Foolishness– congenital physical or spiritual deformity (everyday concept).
Foolishness- this is “crazy wisdom”, spiritual feat, voluntary acceptance of deprivation of the flesh, “spontaneous martyrdom” (an ancient Russian religious tradition).
Sin– violation of religious precepts and rules.
Teacher. What phrase does Sonya say immediately after Raskolnikov’s confession?
Students. “Why did you do this to yourself?” And advises “stand on all four sides and tell everyone: “I killed it.” Then God will send you life again.”
Teacher. Why “above yourself?” Why does Sonya feel sorry not for the old pawnbroker and her sister, but for the murderer?
Students. Because he committed a mortal sin and destroyed his soul.
Teacher. What should Raskolnikov do?
Students. Sonya advises “to stand on all four sides and tell everyone: “I killed it.” Then God will send you life again.” Accept suffering and redeem yourself with it. That's what you need. “I’ll follow you, I’ll follow you everywhere,” Sonya says and gives him her cross.
Teacher. What did the Orthodox mean to exchange crosses?
Students. This meant becoming spiritually closer, becoming almost family.
Notes in notebooks.
SLIDE No. 5. "Two Truths"
Teacher. Sonya and Raskolnikov are two different poles that are far from each other, but cannot exist without each other and attract each other. Everyone has their own truth.
Work in groups. The students discuss what is Sonya’s truth and Raskolnikov’s truth. Students in each group give arguments and quote the text. Then representatives of each group draw conclusions.
– What is Sonya’s truth? (commenting on the slide)
Students. Raskolnikov transgressed for himself, and Sonya - for the sake of others.
Sonya herself explains why the kind, honest, noble Raskolnikov transgressed: “You have moved away from God...” (quote from the slide).
And to herself she says this: “What would I be without God” (quote from the slide)
Raskolnikov's truth is a rebellion. And Sonya’s truth is love and humility.
Notes in notebooks.
SLIDE No. 6 “Gospel parables”
Teacher. The entire text of the novel seems to be stitched with invisible threads with Gospel parables and commandments (they are quoted by the characters and the author himself). Read these passages. How do you understand them?
Students read excerpts from the novel and comment on them.
Gospel parables are an integral part of the novel, they are close to the characters, they help the reader understand their actions.
Notes in notebooks.
SLIDE No. 7. "The Raising of Lazarus"
Teacher. The most important scene is the episode of reading the Gospel about the resurrection of Lazarus. This is a scene of faith in the Resurrection.
Students retell the content of the episode.
The hero is at a crossroads, he is ready to confess to his crime and accept punishment.
Teacher. Why do you think Sonya didn't want to read at first?
Students. She herself is a sinner, for her this is very personal. She also longs for the Resurrection. She also hopes for a miracle.
Teacher. Yes, they both need the Resurrection, but each of them looks at this parable in their own way: Sonya - from the side of Lazarus, and Raskolnikov - from Christ.
Students.“The cinder has long gone out in the crooked candlestick, dimly illuminating in this beggarly room a murderer and a harlot, strangely gathered together to read the Eternal Book.”
Notes in notebooks.
SLIDE No. 8 “The Path to Repentance” (EPILOGUE)
Teacher. The resurrection of heroes lies through repentance and suffering, therefore, only in hard labor, where Sonya went, as promised, for Raskolnikov, will rebirth await our heroes.
– Which of them do you think is stronger, who leads the other?
Students. Of course, Sonya. With her faith, love, and compassion, she instills in the hero hope for transformation.
Teacher. Find lines that confirm that Raskolnikov is ready for transformation.
Students. “Can her beliefs not now be my beliefs? Her feelings, her aspirations, at least..."
Realizing this, Raskolnikov becomes happy and makes Sonya happy: “He knew with what endless love he would now atone for all her suffering.”
Teacher. How do we see the hero in the epilogue?
Students. “He was resurrected, and he knew it, he felt it with his entire being renewed.”
It was Sonya who revived him to a new life.
Teacher. Dostoevsky knows that Raskolnikov’s new life “still needs to be bought dearly, to be paid for with a great, future feat.” This is a very long and difficult path.
Sonya is Dostoevsky's ideal. Sonya brings with her the light of Hope and Faith, Love and Sympathy, Tenderness and Understanding. This is how a person should be, according to Dostoevsky. That is why the heroine bears the name “Sofia” (“wisdom”).
Teacher. What is the essence of Dostoevsky’s Christian worldview?
Students.The writer believes that it is possible to resurrect a fallen person through faith, love, mercy and compassion.
Teacher. Thus, we can say that the entire novel “Crime and Punishment” is built on the motif of the resurrection of a person to a new life.
Notes in notebooks.
SLIDE No. 9 “A village is not worthwhile without a righteous man”
Teacher. A.I. Solzhenitsyn was also concerned about Christian morality.
A. I. Solzhenitsyn is a Christian writer. However, he is not a religious preacher, but an artist who expresses his views through artistic images.
– Tell us about the history of the creation of the story “Matrenin’s Dvor”
Students They report that the story is built on an autobiographical basis, that it had a different title - “A village is not worthwhile without a righteous man.” The heroine's name has been preserved, only the author has changed her last name.
Teacher. Who is a righteous man? What associations do you have with this word?
Students form an associative series of the word “righteous”.
The righteous is truth, light, soul, peace, harmony, morality, morality, God.
Write on the board:
Righteous- a person who does not sin in any way against the rules of morality.
SLIDE No. 10 “People have forgotten God, that’s why”
Teacher. Tell us about Matryona's life (poll). What does the name "Matryona" mean? (madam, mother of the family, mother)
Students. The fate of Matryona is the fate of millions and millions of peasant women in Rus' : unhappy marriage , the death of children, hard collective farm labor, the death of a husband, a serious illness - illness, which overcomes more and more every year. But the heroine does not murmur, does not complain, does not envy. She lives for people, loved ones and neighbors. She is reliable and selfless. She did not become embittered at the world and did not harden her soul. Matryona lives like a Christian.
Notes in notebooks.
Slide No. 11 Matrenin's house
Teacher. Find a description of Matryona Vasilievna's house. What's special about it?
Students talk about how the heroine lives, what surrounds her, how she runs her household.
Teacher. The housewife from Matryona, as we see, is imperfect: she has neither a pig, nor a cow, nor decent clothes. And there is a lanky cat, mice, cockroaches, a goat and ficus trees, which “filled the loneliness of the hostess with a silent but living crowd.” Why do you think Matryona is like this? Why else would Yefim, her late husband, reproach his wife for her “uncultured” appearance?
Students. Because for her this is not the main thing. The main thing is what allows her to live in harmony with herself, with her conscience, with her soul. This is kindness, love, mercy, tolerance.
Notes in notebooks.
SLIDE No. 12 “Matrenin’s world”
Teacher. How does Matryona build her relationships with people? How does she perceive her fate? Does he hold a grudge against people?
Students.“But her forehead did not remain darkened for long...”
Matryona does not know what envy and enmity are. Kindness and humility are what motivates the heroine.
Teacher. How do you understand the meaning of the story's title? The author is not talking about outbuildings. What about?
Students. The yard is not only and not so much the outer part of the house. This is a person’s environment, what is dear to him and close. This is the spiritual world of Matryona. This is her yard, protection, security. From the devilish anti-world that surrounds her.
Notes in notebooks.
Slide number 13 “Matrenino’s heart”
Teacher. Why do you think , Solzhenitsyn does not give a detailed portrait description of the main character? What details of her appearance does he pay special attention to? (Face and smile) - Quote from the slide.
– What was her upper room for Matryona?
Students look in the dictionary for the interpretation of the word “upper room” (upper, highest, heavenly).
Students. This is not just a wooden building, this is her life. “I didn’t feel sorry for the upper room itself, which stood idle, just as Matryona never felt sorry for her work or her goods. But it was terrible for her to start breaking the roof under which she had lived for forty years... for Matryona this was the end of her entire life.” And the most offensive and terrible thing is that at the head of everything is Thaddeus, whom she once loved.
Teacher. The upper room, writes Solzhenitsyn, is dismantled rib by rib, as if it were a living creature. Yes, that's how it is. With the upper room everything goes away: the cat goes away, the pot of holy water goes away, and then life itself goes away. Matryona is lonely, no one needs her, she gave everything she had.
Notes in notebooks.
SLIDE No. 14 “Matryona’s soul”
Teacher. Matryona's soul suffered a lot. And yet, she, like Sonya Marmeladova, retained openness, selflessness and kindness. What keeps Matryona in life?
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See also the work "Crime and Punishment"
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Other materials on the works of Dostoevsky F.M.
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Man in Dostoevsky's novels feels his unity with the whole world, feels his responsibility to the world. Hence the global nature of the problems posed by the writer, their universal human nature. Hence the writer’s appeal to eternal, biblical themes and ideas.
In his life, F. M. Dostoevsky often turned to the Gospel. He found in it answers to vitally important, troubling questions, borrowed individual images, symbols, and motifs from the Gospel parables, creatively processing them in his works. Biblical motifs can also be clearly seen in Dostoevsky’s novel Crime and Punishment.
Thus, the image of the main character in the novel resurrects the motive of Cain, the first killer on earth. When Cain committed murder, he became an eternal wanderer and exile in his native land.
The same thing happens with Dostoevsky’s Raskolnikov: having committed a murder, the hero feels alienated from the world around him. Raskolnikov has nothing to talk about with people, “he can’t talk about anything anymore, never and with anyone,” he “seems to have cut himself off from everyone with scissors,” his relatives seem to be afraid of him. Having confessed to the crime, he ends up in hard labor, but even there they look at him with distrust and hostility, they do not like him and avoid him, once they even wanted to kill him as an atheist.
However, Dostoevsky leaves the hero the possibility of moral rebirth, and therefore the possibility of overcoming that terrible, impassable abyss that lies between him and the world around him.
Another biblical motif in the novel is that of Egypt. In his dreams, Raskolnikov imagines Egypt, golden sand, a caravan, camels. Having met a tradesman who called him a murderer, the hero again remembers Egypt. “If you look at the hundred-thousandth line, that’s evidence for the Egyptian pyramid!” - Rodion thinks in fright. Talking about two types of people, he notices that Napoleon forgets the army in Egypt; Egypt for this commander becomes the beginning of his career. Svidrigailov also recalls Egypt in the novel, noting that Avdotya Romanovna has the nature of a great martyr, ready to live in the Egyptian Desert.
This motif has several meanings in the novel. First of all, Egypt reminds us of its ruler, Pharaoh, who was overthrown by the Lord for his pride and hardness of heart. Conscious of their “proud power,” Pharaoh and the Egyptians greatly oppressed the people of Israel who came to Egypt, not wanting to take their faith into account. Ten Egyptian plagues, sent by God to the country, could not stop the cruelty and pride of the pharaoh. And then the Lord crushed the “pride of Egypt” with the sword of the king of Babylon, destroying the Egyptian pharaohs, people, and livestock; turning the land of Egypt into a lifeless desert.
The biblical tradition here recalls the judgment of God, the punishment for self-will and cruelty. Egypt, which appeared in a dream to Raskolnikov, becomes a warning for the hero. The writer seems to constantly remind the hero how the “proud power” of the rulers, the mighty of this world, ends.
The King of Egypt compared his greatness with the greatness of the Lebanese cedar, which “flaunted the height of its growth, the length of its branches...”. “The cedars in the garden of God did not darken it; The cypresses were not equal to its branches, and the chestnuts were not the size of its branches, not a single tree in the garden of God equaled it in beauty. Therefore, this is what the Lord God said: because you have become tall in stature and have set your top among thick branches, and his heart was proud of his greatness, therefore I gave him into the hands of the ruler of the nations; he did what was right with it... And the strangers cut it down... and its branches fell over all the valleys; and its branches were broken in all the hollows of the earth...” we read in the Bible1.
Svidrigailov’s mention of the Egyptian desert, where the Great Martyr Mary of Egypt, who was once a great sinner, stayed for many years, also becomes a warning. Here the theme of repentance and humility arises, but at the same time, regret about the past.
But at the same time, Egypt reminds us of other events - it becomes the place where the Mother of God with the baby Jesus takes refuge from the persecution of King Herod (New Testament). And in this aspect, Egypt becomes for Raskolnikov an attempt to awaken humanity, humility, and generosity in his soul. Thus, the Egyptian motif in the novel also emphasizes the duality of the hero’s nature - his exorbitant pride and hardly less natural generosity.
The gospel motif of death and resurrection is associated with the image of Raskolnikov in the novel. After he commits a crime, Sonya reads to Rodion the gospel parable about the deceased and resurrected Lazarus. The hero speaks to Porfiry Petrovich about his belief in the resurrection of Lazarus.
This same motif of death and resurrection is also realized in the plot of the novel itself. This connection between Raskolnikov and the biblical Lazarus was noted by many researchers of the novel (Yu. I. Seleznev, M. S. Altman, Vl. Medvedev). Let's try to trace the development of the gospel motif in the plot of the novel.
Let's remember the plot of the parable. Not far from Jerusalem there was a village called Bethany, where Lazarus lived with his sisters, Martha and Mary. One day he fell ill, and his sisters, being in great sorrow, came to Jesus to report their brother’s illness. However, Jesus answered: “This sickness is not for death, but for the glory of God, that the Son of God may be glorified through it.” Soon Lazarus died and was buried in a cave, blocking the entrance with a stone. But four days later Jesus came to Lazarus’ sisters and said that their brother would rise again: “I am the resurrection and the life; He who believes in Me, even if he dies, will live..." Jesus went to the cave and called Lazarus, and he came out, “wrapped hand and foot in graveclothes.” Since then, many Jews who saw this miracle believed in Christ.
The Lazarus motif in the novel is heard throughout the entire narrative. After committing the murder, Raskolnikov becomes spiritually dead, life seems to leave him. Rodion's apartment looks like a coffin. His face is deathly pale, like that of a dead man. He cannot communicate with people: those around him, with their care and bustle, make him angry and irritated. The deceased Lazar lies in a cave, the entrance to which is blocked with a stone, while Raskolnikov hides the loot under a stone in Alena Ivanovna’s apartment. His sisters, Martha and Mary, take a lively part in the resurrection of Lazarus. It is they who lead Christ to the cave of Lazarus. In Dostoevsky, Sonya gradually leads Raskolnikov to Christ. Raskolnikov returns to life, discovering his love for Sonya. This is Dostoevsky’s resurrection of the hero. In the novel we do not see Raskolnikov’s repentance, but in the finale he is potentially ready for it.
Other biblical motifs in the novel are associated with the image of Sonya Marmeladova. This heroine in “Crime and Punishment” is associated with the biblical motive of adultery, the motive of suffering for people and forgiveness, the motive of Judas.
Just as Jesus Christ accepted suffering for people, in the same way Sonya accepts suffering for her loved ones. Moreover, she is aware of all the abomination and sinfulness of her occupation and has a hard time experiencing her own situation.
“It would be fairer,” Raskolnikov exclaims, “a thousand times fairer and wiser it would be to dive straight into the water and finish it all at once!”
- What will happen to them? - Sonya asked weakly, looking at him painfully, but at the same time, as if not at all surprised by his proposal. Raskolnikov looked at her strangely.
He read everything in one look from her. Therefore, she really had already had this thought herself. Perhaps many times she seriously thought in despair about how to end it all at once, and so seriously that now she was almost not surprised at his proposal. She didn’t even notice the cruelty of his words... But he fully understood the monstrous pain to which she had been tormented, and for a long time now, by the thought of her dishonorable and shameful position. What, he thought, could still stop her determination to end it all at once? And then he fully understood what these poor little orphans and this pitiful, half-crazed Katerina Ivanovna, with her consumption and banging her head against the wall, meant to her.”
We know that Sonya was pushed along this path by Katerina Ivanovna. However, the girl does not blame her stepmother, but, on the contrary, defends her, understanding the hopelessness of the situation. “Sonya got up, put on a scarf, put on a burnusik and left the apartment, and came back at nine o’clock. She came and went straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her.”
Here one can feel the subtle motive of Judas, who sold Christ for thirty pieces of silver. It is characteristic that Sonya also takes out the last thirty kopecks from Marmeladov. The Marmeladov family, to a certain extent, “betrays” Sonya. This is exactly how Raskolnikov views the situation at the beginning of the novel. The head of the family, Semyon Zakharych, is helpless in life, like a small child. He cannot overcome his destructive passion for wine and perceives everything that happens fatally, as an inevitable evil, without trying to fight fate and resist circumstances. As V. Ya. Kirpotin noted, Marmeladov is passive, submissive to life and fate. However, the motive of Judas does not sound clearly in Dostoevsky: for the misfortunes of the Marmeladov family, the writer blames life itself, capitalist Petersburg, indifferent to the fate of the “little man,” rather than Marmeladov and Katerina Ivanovna.
Marmeladov, who had a destructive passion for wine, introduces the motif of communion into the novel. Thus, the writer emphasizes the original religiosity of Semyon Zakharovich, the presence in his soul of true faith, what Raskolnikov so lacks.
Another biblical motif in the novel is that of demons and devilry. This motif is already set in the landscapes of the novel, when Dostoevsky describes the unbearably hot days of St. Petersburg. “The heat outside was unbearable again; at least a drop of rain all these days. Again dust, brick, mortar, again the stench from the shops and taverns... The sun flashed brightly in his eyes, so that it became painful to look at, and his head was completely spinning... "
Here the motif of the midday demon arises, when a person falls into a rage under the influence of the scorching sun, an overly hot day. In David’s song of praise, this demon is called “the plague that devastates at midday”: “You will not fear the terror of the night, the arrow that flies by day, the plague that stalks in the darkness, the plague that devastates at midday.”
In Dostoevsky's novel, Raskolnikov's behavior often reminds us of the behavior of a demoniac. So, at some point the hero seems to realize that a demon is pushing him to kill. Unable to find an opportunity to take an ax from the owner’s kitchen, Raskolnikov decides that his plans have collapsed. But quite unexpectedly, he finds an ax in the janitor's room and is again strengthened in his decision. ““It’s not reason, it’s demon!” he thought, smiling strangely.”
Raskolnikov resembles a demon possessed even after the murder he committed. “One new, irresistible sensation took possession of him more and more almost every minute: it was some kind of endless, almost physical, disgust for everything he encountered and around him, stubborn, angry, hateful. Everyone he met was disgusting to him—their faces, their gait, their movements were disgusting. He would simply spit on someone, would bite, it seems, if someone spoke to him...”
The hero’s feelings during his conversation with Zametovo are also characteristic, when they are both looking in the newspapers for information about the murder of Alena Ivanovna. Realizing that he is suspected, Raskolnikov, however, does not feel fear and continues to “tease” Zametnov. “And in an instant he remembered with extreme clarity of sensation one recent moment when he stood outside the door with an ax, the lock was jumping, they were cursing and breaking in behind the door, and he suddenly wanted to shout at them, quarrel with them, stick out his tongue at them, tease them , laugh, laugh, laugh, laugh!”
The motif of laughter accompanies Raskolnikov throughout the novel. The same laughter is present in the hero’s dreams (the dream about Mikolka and the dream about the old money-lender). B. S. Kondratiev notes that. laughter in Raskolnikov’s dream is “an attribute of the invisible presence of Satan.” It seems that the laughter that surrounds the hero in reality and the laughter that sounds within him have the same meaning.
The motif of the demon is also developed in the novel by Svidrigailov, who always seems to be tempting Rodion. As Yu. Karyakin notes, Svidrigailov is “a kind of devil of Raskolnikov.” The first appearance of this hero to Raskolnikov is in many ways similar to the appearance of the devil to Ivan Karamazov. Svidrigalov appears as if out of delirium; he seems to Rodion to be a continuation of a nightmare about the murder of an old woman.
The motif of demons appears in Raskolnikov’s last dream, which he saw already in hard labor. Rodion imagines that “the whole world is condemned to be a victim of some terrible, unheard of and unprecedented pestilence.” People’s bodies were inhabited by special spirits gifted with intelligence and will—trichinae. And people, becoming infected, became possessed and crazy, considering the only true, true ones, only their truth, their convictions, their faith, and neglecting the truth, convictions and faith of others. These disagreements led to wars, famines, and fires. People abandoned their crafts, agriculture, they “stabbed and cut themselves,” “killed each other in some senseless rage.” The ulcer grew and moved further and further. Only a few people, pure and chosen, destined to start a new race of people and a new life, to renew and cleanse the earth, could be saved throughout the world. However, no one has ever seen these people.
Raskolnikov’s last dream echoes the Gospel of Matthew, where the prophecies of Jesus Christ are revealed that “nation will rise against nation and kingdom against kingdom,” that there will be wars, “famines, pestilences and earthquakes,” that “the love of many will grow cold,” people They will hate each other, “they will betray each other” - “he who endures to the end will be saved.”
The motive for the execution of Egypt also arises here. One of the plagues sent by the Lord to Egypt to humble the pride of Pharaoh was a pestilence. In Raskolnikov’s dream, the pestilence receives a concrete embodiment, as it were, in the form of trichins that inhabit the bodies and souls of people. Trichinas here are nothing more than demons that have entered people.
We see this motif quite often in biblical parables. Thus, in the Gospel of Luke we read how the Lord heals a demoniac in Capernaum. “There was a man in the synagogue who had an unclean spirit of demons, and he cried out with a loud voice: leave him alone; What have you to do with us, Jesus of Nazareth? You have come to destroy us; I know You, who You are, the Holy One of God. Jesus rebuked him, saying: Be silent and come out of him. And the demon, turning him around in the middle of the synagogue, came out of him without harming him in the least.”
In the Gospel of Matthew we read about the healing of a mute demoniac in Israel. When the demon was cast out of him, he began to speak. There is also a well-known parable about how demons, leaving a man, entered a herd of pigs, which rushed into the lake and drowned. The demoniac was healed and became completely healthy.
For Dostoevsky, demonism becomes not a physical disease, but a disease of the spirit, pride, selfishness and individualism.
Thus, in the novel “Crime and Punishment” we find a synthesis of a wide variety of biblical motifs. This writer’s appeal to eternal themes is natural. As V. Kozhinov notes, “Dostoevsky’s hero is constantly turned to the entire immense life of humanity in its past, present and future, he constantly and directly relates himself to it, all the time measures himself by it.”
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