"Crime and Punishment". Lesson topic: Analysis of the episode "Raskolnikov on the Nikolaevsky Bridge" based on the novel "Crime and Punishment" Analysis of an excerpt from an epic work

In today's world…. Dostoevsky's alarming tocsin is buzzing, incessantly appealing to humanity and humanism.

1. F.M. Dostoevsky. Life, creativity. The history of the creation of the novel "Crime and Punishment", genre, composition.

Find answers to questions:

1. What family secret largely determined Dostoevsky's consciousness?

2. From what work does the creative path of the writer begin?
3. Which of the figures of Russian culture played a big role in his fate?

4. What are the tasks and activities of the Petrashevsky circle? What part did Dostoevsky take in it?

5. What is the meaning of the spiritual rebirth experienced by Dostoevsky in hard labor? What book is based on his hard labor experience?

6. What are the forms of participation of F.M. Dostoevsky in public life in the 1870s?

The evolution of the worldview of F.M. Dostoevsky.

	1840s
life events	Acquaintance with Belinsky, Petrashevsky's circle	"Execution" and hard labor	After hard labor
outlook	Socialism, a test of faith	People, Christ	"The idea of a man" - find God in yourself

Creation of the novel "Crime and Punishment".

The idea of the novel was nurtured for more than 6 years and developed from the spiritual experience of F.M. Dostoevsky during his time in hard labor.

On October 9, 1859, he writes to his brother: “In December I will begin a novel ... I have completely decided to write it immediately ... My whole heart will rely with blood on this novel. I conceived it in hard labor, lying on the bunk, in a difficult moment of sadness and self-decomposition ... Confession will finally confirm my name.

The novel was published in the Russky Vestnik magazine during 1866.

Content.

Dostoevsky himself defined the content of his work as follows: “This is a psychological report of a single crime... A young man, expelled from university students and living in extreme poverty, succumbing to some “unfinished” ideas, decided to get out of his bad situation at once. He decided to kill an old woman who gives money for interest. A "psychological report" on one crime was gradually saturated with philosophical and religious reflections.

composition and genre.
The novel consists of six parts and an epilogue. Part one - committing a crime; the next five parts - punishment ("psychological report" of the criminal); epilogue - repentance.

Contemporaries spoke about the combination of several genres in the novel: a detective story (a crime is committed that is being solved), a social genre (pictures of the life of the humiliated and offended are given), the presence of a love affair, serious philosophical and religious reflections and psychological research. The novel is recognized as the greatest philosophical and psychological novel in world literature.

Dostoevsky's novel is, first of all, a philosophical novel, a novel of disputes, a novel of ideas.

Main ideas.

The main idea of Dostoevsky: one cannot come to the good through crime. He was the first in world literature to show the fatality of the individualistic ideas of the "strong personality" and their immorality.

The meaning of some names and surnames.

Raskolnikov. A split is a split. It symbolizes the split of the protagonist, his inner struggle with himself.

Sophia.

Sophia means "humility". The heroine of the novel humbly bears her cross and never ceases to believe in goodness and justice.

Lebezyatnikov.

A person capable of being mean, fawning, assenting.

Avdotya Romanovna.

The prototype of Raskolnikov's sister is Avdotya Yakovlevna Panaeva - the first love of F.M. Dostoevsky.

Lizaveta Ivanovna.

2. The image of St. Petersburg and the means of its reconstruction in the novel.

Petersburg of Dostoevsky.

Read the first pages of the novel.
How did Dostoevsky surprise you in this description of Petersburg, familiar to you from the works of Pushkin, Gogol, Goncharov?

Referring to the text of the novel, write down the "Dostoevsky", from your point of view, details.

For what purpose does Dostoevsky give an allusion (allusion, reminiscence - an echo, a phenomenon that leads to recollection, comparison with something) to Pushkin's text?
How does the image of "Dostoevsky's Petersburg" develop in the novel?
Where is the action taking place? What area of the city is this? Why is the action taken to the city streets?
What are the most characteristic details of the appearance of the city that you remember while reading the novel.
What details are repeated in the description of St. Petersburg and why?
What evaluative statements of the author and characters about the city did you choose? What image of St. Petersburg grows out of these assessments?
What epithets in the description of city blocks did you pay attention to? Can they be called "psychological"?
Continue the phrase: “Dostoevsky’s Petersburg is……”

Raskolnikov's room.

Closet, coffin, closet: “It was a tiny cell, about ten paces long, which had the most miserable appearance with its yellowish dusty wallpaper that lagged everywhere, and was so low that a slightly tall person felt terribly in it ...”

Sony's room.

"Barn": “Sonya’s room looked like a barn, looked like a very irregular quadrangle, and this gave it something ugly. A wall with three windows, overlooking the ditch, cut the room somehow at an angle, which is why one corner, terribly sharp, ran somewhere deeper ... the other corner was already too ugly dull. There was almost no furniture in this whole large room.”

The dwelling of the Marmeladovs.

Passing angle: “The cigarette end illuminated the poorest room ten paces long ... A holey sheet was stretched through the back corner. There was probably a bed behind it. In the room itself there were only two chairs and a very peeled oilcloth sofa, in front of which stood an old kitchen pine table, ... .. on the edge was a burning tallow cinder in an iron candlestick.

What detail in the description of each of the rooms seemed to you the most significant?
What names does Dostoevsky give to Raskolnikov's dwelling? How should a person living in such conditions feel?
As in the description of Raskolnikov's closet and his habitat near Sennaya, the motif of a "dead end" can be traced.

3. The world of the “humiliated and offended” and the rebellion of the individual against the cruel laws of society.

"Humiliated and Insulted" in the novel.

Marmeladov family.

(one of thousands of poor families like her)

Semyon Zakharovich.

Tell the story of the life of the Marmeladov family. What is the cause of the distress?
Analyze Marmeladov's monologue (part 1, ch.2). How does this character make you feel?
How does the author feel about Marmeladov?
Why did Marmeladov find himself in the grip of drunkenness, why can he break out of this swamp?
Did Dostoevsky achieve the effect of the presence of Marmeladov's fate in the general atmosphere of hopelessness of the city of Petersburg?
How does the fall of Marmeladov begin? Why does he blame Katerina Ivanovna in many ways?
How does Marmeladov die? What do you think caused his death?

Semyon Zakharovich - descended, having lost all human dignity, a retired official. His drunken confession in a tavern about his fate is the life drama of a man crushed by a cruel world. He loves his wife and children (after his death, they found a mint cockerel in his pocket). But the soul of a happy person cannot endure daily humiliation. Marmeladov knows that his daughter, honest and pure Sonya, lives on a yellow ticket. Before us is a man completely crushed by poverty and his own impotence.

Katerina Ivanovna.

Describe Katerina Ivanovna.
How do the words characterize her: “She washes the floor herself and sits on black bread, but she will not allow disrespect for herself”?
Why is she so unfair to Sonya, to her children?
Name the character traits of Katerina Ivanovna.
Is there something in common between Katerina Ivanovna and Raskolnikov?
Tell us about the last episodes of Katerina Ivanovna's life. How did she die? What struck you about these descriptions?
Why does Katerina Ivanovna renounce God and repentance before her death?

Katerina Ivanovna - a tormented woman to the limit, Sonya's stepmother. She is of noble origin (from a ruined noble family), so it is much harder for her than her stepdaughter and husband. And the point is not in everyday difficulties, but in the fact that she has no outlet (Sonya finds solace in the Bible, in prayers, Marmeladov is forgotten in a tavern). Katerina Ivanovna is a passionate, proud, rebellious nature. Everything that surrounds her seems like hell to her, and she does not know how to humble herself, endure and be silent, like Sonya. Exhausted by poverty, she dies of consumption.

Comparative analysis of the episodes "Raskolnikov on the Nikolaevsky Bridge" (Part 2, Ch. 2) and "The Drowned Suicide" (Part 2, Ch. 6).

What are the similarities and differences between these episodes?
Why “an inexplicable cold blew ... always” on Raskolnikov from “this magnificent panorama; for him this splendid picture was filled with a mute and deaf spirit”? Why does the beauty of the city not affect Raskolnikov? Why is the “front” Petersburg, as it were, excluded by the author from the topography of the novel?
Consider why Dostoevsky calls the city "fantastic"?
What would you draw if you had the opportunity to illustrate Crime and Punishment?

4. The image of Raskolnikov and the theme of the "proud man" in the novel.

Portrait.

The protagonist of the novel is a raznochinets, a poor student. Endowed with an attractive appearance: "remarkably good-looking, with beautiful dark eyes .... taller than average, thin and slender."

Before us is a young, talented, proud, thinking person, in whom there are no bad and low traits. In his actions, statements and experiences one can see a high sense of human dignity, nobility, selflessness. He perceives someone else's pain more acutely than his own: risking his life, he saves children from the fire; shares the latter with the father of a deceased comrade; himself a beggar, gives money for the funeral of Marmeladov, who is barely known to him.

Raskolnikov among the humiliated and offended.

Why did Raskolnikov leave the closet?
Recall a conversation between a student and an officer in a tavern. What is the cause of the hero's "ugly" dream?

Conversation in the tavern

What did the hero doubt?
Read Raskolnikov's thoughts when he goes to the old woman-procentress, in the tavern, after sleep. What do they testify?

The murder of the old woman-interest-bearer

Review Raskolnikov's thoughts after visiting the Marmeladov family and reading his mother's letter (Part 1, Ch.2-4). What contradictions can you name? What can be said about the character of the hero based on this?
What caused these contradictions, the struggle of two principles?

5. Theory of Raskolnikov and the ideological "twins" of the hero.

Social: extreme poverty of the hero himself and his mother and sister; his heart is breaking with sympathy and the desire to help others (Marmeladov, his wife, his children, Sonya, a drunk girl on the boulevard)

Moral: the desire to test his theory, according to which strong people, for the sake of the great goal of changing the imperfect world, have the right to step over "through the blood" of other people.

Historical: Raskolnikov's theory grew out of the disappointment of the younger generation after the collapse of the revolutionary situation of the 60s on the basis of the crisis of utopian theories.

What is the main reason for the crime?
What is the essence of the hero theory he believes in?
Where was it presented?
What class of people does the hero belong to?

Raskolnikov's theory of "dividing people into two categories."

Being in the power of this theory, Raskolnikov is convinced that there is no injustice on earth and a savior must come who will destroy an unjust society and create a society of happy people, even at the cost of violence and bloodshed.

“Ordinary” or “extraordinary” he himself is the question that most worries Rodion Raskolnikov.

"Ordinary people".

People are conservative. Such people live in obedience and love to be obedient.
This is the material that serves only for the birth of their own kind.
They are weak, powerless and unable to change their fate.
Such people cannot be pitied. Their life is worth nothing - it can only serve as a sacrifice to "special people" to achieve their great goals. This is a lot of material for a few Napoleons.

"Extraordinary People".

These people establish new laws of life, change life, boldly destroy the old, they are not stopped even by the need to shed someone's blood on their way to achieve their goals.
They have the talent to say a new word and break the law in the name of the best.
These are the chosen people. Such personalities were, for example, Mohammed, Napoleon.

"Twins" Raskolnikov.

They consider themselves "powerful of this world", live by the principle "everything is permitted."

Arkady Ivanovich Svidrigailov

1. Who is Svidrigailov? How is his first information in the novel characterized?

2. Is Svidrigailov right when he claims that he and Raskolnikov are “of the same field”, that there is a “common point” between them?

deeds

Common with Raskolnikov's theory

A gambler, has a very controversial character: he performs a number of good and noble deeds (gives money to Katerina Ivanovna and Sonya so that she can accompany Rodion to hard labor). But on his conscience, the offended honor of Dunya and the death of his wife, bringing Philip's servant to suicide. Having overheard Rodion's confession of committing a crime, he tries to blackmail Dunya, threatening to denounce his brother. In his soul, as in the soul of Raskolnikov, there is a struggle between good and evil (evil takes over: Svidrigailov commits suicide).

“We are one field of berries,” Svidrigailov says to Rodion. And Rodion understands that this is so, because both of them, albeit for different reasons, "passed through the blood."

Pyotr Petrovich Luzhin.

Who is Luzhin?
What reasoning from the mother's letter about Luzhin attracted Raskolnikov's special attention? What thoughts and feelings do they give rise to in Raskolnikov and why?
Impressions about Luzhin are aggravated when analyzing the scene of "explanation" between Luzhin and Dunya. Compare the behavior of Luzhin and Dunya in the scene of their explanation.
What did Luzhin value above all else in life, and why did the break with Dunya irritate him?
Luzhin cannot reconcile himself and makes a decision that, in his opinion, could return Dunya. How Luzhin carried out his decision.

deeds

Common with Raskolnikov's theory

The scoundrel Luzhin is a voluptuous nonentity who seeks to dominate. He tries to defame Sonya (slips her a hundred-ruble bill to quarrel Rodion with his family). He wants to marry Rodion's sister Dunya and enjoys her addiction. Dunya is ready to marry this successful businessman without love. She decides to take this step for the same reason as Sonya - to get her family out of poverty and help her brother complete his education.

“Love, first of all, only yourself, for everything in the world is based on personal interest.” Luzhin calmly steps over all the obstacles in his path.

What is the meaning of comparing Raskolnikov with Luzhin and Svidrigailov?

6. Raskolnikov and the "eternal Sonechka". The hero's dreams as a means of his inner self-disclosure.

What is the “truth” of Sonya, what principles does she live by, in the name of what did the heroine “cross over”?
Life is hard for both Raskolnikov and Sonya. But how do the characters perceive it?
Why did Raskolnikov choose Sonya as his interlocutor?
What seemed strange to Raskolnikov at Sonya, why?

What is the result of the first conversation between Raskolnikov and Sonya?

Why does Raskolnikov force Sonya to read the Gospel?

Why does Raskolnikov come to Sonya a second time?

Is Sonya always meek, quiet in a conversation with Raskolnikov? What is the main thing in Sony's behavior?
What in a conversation with Sonya makes Raskolnikov realize the falsity of his theory?
Prove that writing affirms Sonya Marmeladova's "truth" in the novel.

Let us follow how the resurrection of a person takes place in Raskolnikov through love.

How did Sonya's stay in hard labor affect Raskolnikov?
How do you answer the questions that Raskolnikov asks himself about the attitude of convicts towards him and Sonya?

Sonya.

An 18-year-old girl whose entire education is several books of romantic content. From an early age, she saw around her only drunken quarrels, illnesses, debauchery and human grief. Sonya is a "harlot", as Dostoevsky writes about her. She is forced to sell herself in order to save her family from starvation. To help her stepmother and her children, she actually kills herself as a person, but surprisingly keeps her purity. Her soul is filled with Christian love for people, readiness for self-sacrifice.

The main features of Sonya Marmeladova.

Self-sacrifice.

To make life easier for her family, her loved ones, the girl sacrifices herself. Her whole life is self-sacrifice. When Raskolnikov speaks to her about suicide as the only worthy way out, she interrupts him with a reminder of her relatives: “What will happen to them?” Love for her neighbor deprives her of even such a way out as death.

Humility.

The girl is not indignant and does not protest - she resigned herself to fate. Dostoevsky contrasts Sonya's humility with Raskolnikov's rebellion. Sonya's patience and vitality are largely derived from her faith. She believes in God, in justice blindly, without going into complex philosophical reasoning. All her actions are determined by Christian commandments and religious laws. Faith in God helps to preserve the human spark in oneself.

Forgiveness.

It is Sonya who owes Rodion Raskolnikov his spiritual rebirth. Her suffering, but pure soul is able to see a person even in a murderer, empathize with him, suffer with him. In essence, Sonya's attitude towards Raskolnikov is the attitude of God towards man, i.e. forgiveness. She returned Rodion to the truth with the words of the Gospel and the example of her own life. Religion in the novel is a way to solve moral problems, and Sonya, according to the author's intention, carries the Divine principle.

Sleep as an artistic technique.

Subconscious.

Sleep is a person's communication with his consciousness. Dreams depend on the mental state of a person and have a huge impact on his inner world. It is often a continuation of the events of the day. In a dream, a person continues to feel, experience and reflect.

Artistic welcome.

Introduction to the work of sleep is a favorite technique of many writers (dreams by Tatyana Larina, Ilya Ilyich Oblomov). The reception makes it possible to penetrate into the most hidden properties of the hero's soul, into his subconscious.

Raskolnikov's first dream.

Exposure.

Rodion sees a dream before the crime, at the time of painful reflections. The dream serves as an exposition: it introduces the reader to the people who will meet throughout the novel.

This is a painful dream, its action takes place in Rodion's childhood. She dreams that on a festive evening she and her father pass by a tavern and see drunken men beating a small horse harnessed to a huge cart. The boy tries to intercede, but in front of the eyes of the crowd, the unfortunate nag is finished off with an iron crowbar. Rodion cries, wants to scream.

Meaning.

The dream carries a semantic load: it reveals the true state of Rodion's soul, shows that the violence he conceived contradicts his own nature.

Symbolism.

In a dream, there are two opposite places: a tavern and a church in a cemetery. The tavern is the personification of drunkenness, evil, baseness, dirt of its inhabitants. But any Russian begins to live in the church and ends it there. It is no coincidence that the church is located 300 steps from the tavern. This small distance shows that a person can stop sinning at any moment and start a new, righteous life.

The meaning of Raskolnikov's dreams.

Sleep after the murder.

The dream-cry is filled with terrible sounds: “…. he had never heard such unnatural sounds, such a scream, gnashing, tears, beatings and swearing. The whole being of the hero opposed the murder, and only the inflamed brain assures itself that the theory is correct, that the murder is as common as the change of day and night. In this dream, the scene is a staircase, which symbolizes the struggle between good and evil in Raskolnikov's soul.

A dream in which Rodion repeats the murder.

The situation in a dream resembles the realm of the dead. But everything is dead only for Rodion - for other people the world has not changed. People stood below, and Rodion was above the whole crowd, all these "trembling creatures." He is Napoleon, a genius and cannot stand on the same level as the cattle. But the people below condemn Raskolnikov, laugh at his attempts to change the world through the murder of an old woman. He sees that he has not changed anything: the old woman is alive and laughs at him along with the crowd.

Dream about an oasis.

Rodion is dreaming of that ideal world that will be created by him, the genius, the savior of mankind. He dreams of creating a New Jerusalem on earth, the description of this world is reminiscent of Eden. At first, it will be a small oasis of happiness among the endless desert of grief (it is not without reason that the oasis is located in Egypt: the Egyptian campaign is the beginning of Napoleon's career). The description is filled with beautiful epithets.

Sleep in hard labor.

The world-oasis from the previous dream is condemned as a sacrifice to some terrible and unheard-of world plague. Rodion sees the fruits of his theory. The dream is filled with terrible pictures of human torment (he is the exact opposite of a dream about an oasis). After this dream, Rodion finally understood the terrible essence of his theory and abandoned it.

7. Moral and philosophical meaning of the crime and punishment of Rodion Raskolnikov.

The search for truth.

Raskolnikov's theory divides people into "weak" and "strong". Rodion is tormented by the question of who he himself is: "a trembling creature" or "has the right." The hero does not take into account the main thing: killing is contrary to the very nature of man. Having committed a crime, he acutely feels the impossibility of staying with people and suffers from the impossibility of communicating with his mother and sister. Where should they be attributed according to their theory, to what category of people? Logically, they belong to "weak people", to the "lowest category", which means that the ax of another Raskolnikov can fall on their heads at any moment. It turns out that, according to his theory, he should despise and kill everyone he loves. He cannot bear these thoughts and the fact that his theory is similar to the theories of Luzhin and Svidrigailov. Raskolnikov himself becomes a victim of his deed: "I killed myself, not the old woman." He comprehends his erroneous delusions through severe suffering and is gradually reborn to a new life.

What prevented Raskolnikov from living according to the theory he created?
Does Raskolnikov repent of the crime?
Does he feel in a position of "strong"? What does Raskolnikov blame himself for?

The central episodes of the novel, revealing the struggle of the hero with his "nature", capable of compassion and sensitive to the misfortunes of people, are Raskolnikov's meetings with Porfiry Petrovich.

Tell us about the first meeting between Raskolnikov and the investigator (reasons, behavior, conclusion).
Read the author's remarks in Raskolnikov's conversation with Porfiry Petrovich.
Raskolnikov goes to the second duel with Porfiry Petrovich, pursuing the only goal: "... at least this time, by all means, defeat his irritated nature." Tell us about the second meeting with the investigator, draw a conclusion.

The third meeting (part 4, ch. 2). Why does Raskolnikov demand that Porfiry Petrovich interrogate him "according to the form"?
Read the episode where Porfiry Petrovich explains to Raskolnikov why "the criminal will not run away." Analyze it.
What prevented Raskolnikov from living according to his theory, why did the hero "turn out to confess"? Why does Porfiry Petrovich say: “He lied incomparably, but he didn’t manage to calculate on nature”?

Raskolnikov is disappointed in himself, not in his theory. The hero despises himself for not having endured his crime and made a confession, suffers from the consciousness that he cannot classify himself as a “right to have”, that he is a “louse”, like everyone else. Cold thought (“arithmetic”, “dialectics”) of Raskolnikov collided with his “nature”, capable of compassion, sensitive to the misfortune of people. Raskolnikov could not overcome the feeling of crime in himself, defeat "nature". In Raskolnikov's internal struggle, "nature" takes over, and he has no choice but to "turn himself in."

Let us trace this struggle through the text of the novel.

The collapse of Raskolnikov's theory.

Raskolnikov's theory of the right of the strong to commit crime turned out to be absurd. It is built on the chosenness of some and the humiliation of others. Raskolnikov understands that he is not Napoleon, that unlike his idol, who calmly sacrificed the lives of tens of thousands of people, he is unable to cope with his feelings after the murder of "one nasty old woman": ".... I didn’t kill a man, I killed a principle! This principle is his conscience. He is prevented from becoming a “master” by the call of good that he muffles in every possible way. Rodion's human nature opposes inhuman, immoral theory.

9. The use of various artistic techniques in the novel. The role of the epilogue in revealing the author's position in the novel.

Speech characteristics of heroes

receiving antithesis.

", part 2, chapter 2.)

...Raskolnikov was already going out into the street. On the Nikolayevsky Bridge he had to fully wake up again as a result of one very unpleasant incident for him. The driver of one of the carriages whipped him tightly on the back with a whip, because he almost got under the horses, despite the fact that the driver shouted to him three or four times. The blow of the whip angered him so much that, jumping back to the railing (it is not known why he was walking in the very middle of the bridge, where people ride, but do not walk), he gritted angrily and snapped his teeth. There was, of course, laughter all around.

- And for the cause!

- Some kind of burn.

- It is known that he introduces himself drunk and on purpose and climbs under the wheels; and you answer for it.

- They hunt for that, venerable, they trade for that ...

Crime and Punishment. 1969 feature film 1 episode

But at that moment, as he stood at the railing and was still looking senselessly and angrily after the departing carriage, rubbing his back, he suddenly felt that someone was shoving money into his hands. He looked: an elderly merchant's wife, in a head and trestle shoes, and with her a girl, in a hat and with a green umbrella, probably a daughter. "Accept, father, for Christ's sake." He took it and they passed. Double money. By his dress and appearance, they could very well take him for a beggar, for a real collector of pennies on the street, and he probably owed the giving of a whole two-kopeck piece to the blow of the whip, which moved them to pity.

He clutched a two-kopeck piece in his hand, walked ten paces and turned to face the Neva, in the direction of the palace. The sky was without the slightest cloud, and the water was almost blue, which is so rare on the Neva. The dome of the cathedral, which from no point is better outlined than looking at it from here, from the bridge, not reaching twenty paces to the chapel, shone like that, and even each of its decorations could be clearly seen through the clean air. The pain from the whip subsided, and Raskolnikov forgot about the blow; one restless and not entirely clear thought now occupied him exclusively. He stood and looked into the distance for a long time and intently; this place was especially familiar to him. When he went to the university, it usually happened - most often, when returning home - it happened to him, maybe a hundred times, to stop at exactly the same place, gaze intently at this really magnificent panorama and each time almost be surprised at one obscure and insoluble his own. impression. An inexplicable chill always blew over him from this splendid panorama; this sumptuous picture was full of mute and deaf spirit for him... Each time he marveled at his gloomy and enigmatic impression and put off the solution of it, not trusting himself, to the future. Now, suddenly, he sharply recalled these former questions and perplexities of his, and it seemed to him that it was no accident that he now remembered them. That alone seemed wild and wonderful to him, that he stopped at the same place as before, as if he really imagined that he could think about the same things now, as before, and take an interest in the same old themes and pictures, which I was interested ... so recently. It even became almost funny to him and at the same time squeezed his chest to the point of pain. In some depth, below, somewhere barely visible under his feet, it now seemed to him all this former past, and former thoughts, and former tasks, and former themes, and former impressions, and all this panorama, and he himself, and everything, everything... It seemed that he was flying somewhere upwards and everything disappeared in his eyes... Having made one involuntary movement with his hand, he suddenly felt a two-kopeck piece clutched in his fist. He opened his hand, looked intently at the coin, swung it and threw it into the water; then turned and went home. It seemed to him that he, as if with scissors, cut himself off from everyone and everything at that moment.

He came to his place already in the evening, so he had only been walking for six hours. Where and how he went back, he did not remember anything. Having undressed and trembling all over like a driven horse, he lay down on the sofa, pulled on his greatcoat, and immediately forgot himself ...

The image of an octopus city, in which "a person has nowhere to go ..."

F.M. Dostoevsky, let me remind you once again, constantly peered into the streets, lanes, houses, taverns, brothels of impoverished Petersburg, seeing its miserable inhabitants, with their bitter fate. And the essence of the city was not in its apparent (!) magnificent decoration, but in its social contradictions.

The story of Raskolnikov's crime and punishment takes place in St. Petersburg. And this is no coincidence: the most fantastic city in the world gives birth to the most fantastic hero. In Dostoevsky's world, place, setting, nature are inextricably linked with the characters, they form a single whole. Only in gloomy and mysterious Petersburg could the "ugly dream" of a poor student be born, and Petersburg here is not just a place of action, not just an image - Petersburg is a participant in Raskolnikov's crime. Throughout the novel, there are only a few brief descriptions of the city, reminiscent of theatrical remarks, but they are quite enough to penetrate the "spiritual" landscape, to feel Dostoevsky's Petersburg.

dostoevsky petersburg crime punishment

Raskolnikov is as dual as Petersburg that gave birth to him (on the one hand, Sennaya Square is "a disgusting and sad coloring of the picture"; on the other hand, the Neva is "a magnificent panorama"), and the whole novel is devoted to unraveling this duality of Raskolnikov - Petersburg. On a clear summer day, Raskolnikov stands on the Nikolaevsky Bridge and “gazes intently” at the “really magnificent panorama” opening before him: “This magnificent panorama always blew on him with an inexplicable cold; this magnificent picture was full of dumb and deaf spirit for him. He marveled each time to his gloomy and mysterious impression and put off the solution of it.

Another example of the spiritualization of matter is the dwellings of Dostoevsky's heroes. Raskolnikov's "yellow closet", which Dostoevsky compares to a coffin, is contrasted with Sonya's room: Raskolnikov, closed from the world, has a cramped coffin, Sonya, open to the world, has a "large room with three windows"; Raskolnikov remarks about the room of the old pawnbroker: "It is the evil and old widows who have such purity." The dwellings of Dostoevsky's heroes do not have an independent existence - they are only one of the functions of the heroes' consciousness.

This also applies to Dostoevsky's description of nature. The world surrounding a person is always given as a part of the soul of this person, becomes, as it were, an internal landscape of the human soul, and to a large extent determines human actions. In the soul of Raskolnikov the killer is just as “cold, dark and damp” as in St. Petersburg, and the “dumb and deaf” spirit of the city sounds in Raskolnikov like the dreary song of a lonely barrel organ.

"The evening was fresh, warm and clear. Raskolnikov was walking to his apartment, he was in a hurry. He wanted to finish everything before sunset."

The sun will appear only at the very end of the novel, in the epilogue. "There, in the boundless steppe drenched in the sun," Raskolnikov will be freed from the nightmare of murder. There will be possible sunrise, rebirth. It will happen in Siberia. In St. Petersburg, Raskolnikov will always feel "sentenced to death." He went to the crime to free himself, but it turned out that he had painted himself into a corner. He is now oppressed not only by his own closet, but also by the psychological state of the impasse. He runs outside, but he can't find a way out. This is how he walks around the city: "He walked along the sidewalk like a drunk, not noticing passers-by and colliding with them"; "It was difficult to lower yourself and become more sloppy, but it was even pleasant for Raskolnikov in his current state of mind. He resolutely left everyone, like a turtle in his shell"; ". As usual, he walked, not noticing the road, whispering to himself and even speaking aloud to himself, which greatly surprised passers-by. Many mistook him for a drunk. "; “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 that he met and around, stubborn, vicious, hateful. , gait, movements. He would just spit on someone, would bite, it seems, if someone spoke to him. "

Raskolnikov suffers not only in reality. Horrors haunt him in his dreams. Fantastic Petersburg in Raskolnikov's dreams acquires surreal features. Let us recall, for example, Raskolnikov's dream with a laughing old woman: "It was already late evening. Twilight was gathering, the full moon was brightening brighter and brighter; but somehow it was especially stuffy in the air. The whole room was brightly bathed in moonlight; Huge, round, the copper-red moon looked straight out the windows. "It's been so quiet since the moon," thought Raskolnikov, "it must be guessing a riddle now." He stood and waited, waited a long time, and the quieter the moon was, the stronger his heart beat, it even hurt. And all was silence. Suddenly, an instantaneous dry crack was heard, as if a splinter had been broken, and everything froze again. An awakened fly suddenly hit the glass from a raid and buzzed plaintively ... ".

It is also impossible not to recall that the events of the novel take place in the summer, and in the summer it is very hot and stuffy: “The heat was terrible outside, besides stuffiness, crush, everywhere lime, scaffolding, brick, dust and that special summer stench, so famous to every Petersburger who does not have the opportunity to rent a dacha ... "; “Outside, the heat was unbearable again; if only a drop of rain all these days. Again dust, brick and lime, again the stench from shops and taverns, again drunk every minute ...”; "The stuffiness was the same; but with greed he breathed this stinking, dusty, city-infected air...".

The picture of this city stuffiness is complemented and exacerbated by the feeling of spiritual loneliness of a person in a crowd.

Surprisingly selfish, suspicious and distrustful attitude of people towards each other; they are united only by gloating and curiosity about the misfortunes of their neighbor.

Thus, the image of St. Petersburg is created as a dead, cold, indifferent to the fate of a person.

In "Crime and Punishment" the internal drama is brought out in a peculiar way to the crowded streets and squares of St. Petersburg. The action is constantly shifting from narrow and low rooms to the metropolitan quarters: Sonya sacrifices herself on the street, Marmeladov falls dead here, Katerina Ivanovna bleeds on the pavement, Svidrigailov is shot on the avenue in front of the watchtower, Raskolnikov tries to repent publicly on Sennaya Square. High-rise buildings, narrow lanes, dusty squares, humpbacked bridges - this is the complex structure of a big city, which grows ponderously above the dreamer of the unlimited rights of a lonely intellect!

Petersburg is inseparable from the personal drama of Raskolnikov: it is the object of oppression of metropolitan life, destroying, destroying the human soul.

"Crime and Punishment" is first of all a novel of a sick city of the 19th century. The wide-spread background of the capitalist capital predetermines the nature of conflicts and dramas here. Drinking houses, taverns, brothels, slum hotels, police offices, attics of students and usurers' apartments, streets and nooks and crannies, courtyards and backyards, Sennaya and the "ditch" - all this, as it were, gives rise to Raskolnikov's criminal plan.

Lesson topic: Analysis of the episode "Raskolnikov on the Nikolaevsky Bridge" based on the novel "Crime and Punishment"

Develop the ability to work with the text, paying attention to the WORD of the writer; check the formation of reading and analytical skills; to teach in a holistic way, to perceive the episode in volume, to see in a separate fragment of a work of art an expression of the author's position of the world and a person, and to convey this through his own interpretation of the text.

We continue to work on Dostoevsky's novel "Crime and Punishment"

Theme of our lesson: Analysis of the episode "Raskolnikov on the Nikolaevsky Bridge"

1. Conversation for repetition

What is an episode? (E. is a small part of a literary work that plays a certain structural role in the development of the plot. A part of a work of art that has relative completeness and represents a separate moment in the development of the topic.

Why is the last statement important? (E. is a complete, but not isolated fragment of the text, so the analysis of the episode is the way to comprehend the meaning of the whole work through its fragment)

How are episode boundaries defined? (Either by a change of actors, or by the accomplishment of a new event)

Why is it important to determine the place of the fragment in the structure of the artistic whole?

Temporal, causal relationships

1______________________________________________________

Exposition plot development of action climax denouement

Are there connections between episodes? (There are connections between episodes: causal, causal, temporal)

When working on an episode, we must identify important motives, ideas, artistic techniques, and the creative style of the author. Only after that we have the right to talk about the most important features of the whole work!

The events contained in the episode contain a certain motive (meeting, quarrel, dispute, ...), i.e. the meaningful function of the episode can be

An episode is a micro-theme, a separate work with its own composition, in which there is an exposition, a plot, a climax, and a denouement.

SLIDE 8 (CITY OF PETERSBURG)

In the previous lesson, we drew attention to one of the most important themes of the novel - the theme of St. Petersburg. The city becomes a real protagonist of the novel, the action of the work takes place precisely on its streets because Dostoevsky in his own way comprehended the place of this city in Russian history. And although

Dostoevsky's Petersburg is a city of drinking places and "corners", it is a city of Sennaya Square, dirty lanes and tenement houses, yet one day it will appear before the hero in all its majestic beauty.

Before us is the episode "Raskolnikov on the Nikolaevsky Bridge" (part 2, chapter 2)

SLIDE 9 (RASKOLNIKOV)

Our task is to understand: why does Dostoevsky introduce this scene into the novel?

Let's read this episode.

What did you pay attention to? What actions are taking place? (He walks in deep thought, almost fell under a horse, for which he received a blow with a whip, which made him wake up. And then he felt that two kopecks were clutched in his hand, which the compassionate merchant's wife had given him as alms.)

Was it by chance that Raskolnikov ended up on the Nikolaevsky bridge?

What paradox do you notice?

(This is the first thing that Dostoevsky draws the attention of readers to: his hero, who ranked himself among the people of the highest rank, looks like a beggar in the eyes of those around him)

But it is important to understand why it was here, at this place, that the author made his hero wake up? Why does he forget the pain of a whip?

(A magnificent view of the city opened up to him from the bridge. A riddle again stood before him, the mystery of the “magnificent panorama”, which had long disturbed his mind and heart. Now he does not have a city of slums in front of him, in front of him is a city of palaces and cathedrals - SLIDE 10

the personification of the supreme power of Russia. These are the Winter Palace, St. Isaac's Cathedral, the buildings of the Senate and the Synod, the Bronze Horseman.)

What did Raskolnikov feel at that moment? What did he think?

(The picture is majestic and cold. Only now did he fully feel what step he had taken, against which he raised his ax.)

What symbolic meaning does the panorama of St. Petersburg take on in this scene? Why does she feel cold?

Here, on the Nikolaevsky bridge, Raskolnikov and the hostile world stood against each other.

What role is played in the scene by such an artistic detail as the two-kopeck coin clenched in the hero's fist?

SLIDE 11 (RASKOLNIKOV, DOUBLE GREEN)

Now such an artistic detail as a two-kopeck coin, squeezed in Raskolnikov's fist, acquires a different meaning. He, who rebelled against the world of palaces and cathedrals, is considered a beggar worthy only of compassion and pity. He, who wanted to gain power over the world, found himself cut off from people, found himself on that yard of space, which all the time arose in his cruel thoughts.

This "through" image of the novel receives in this scene an almost material embodiment, while remaining at the same time a symbol of enormous generalizing power.

What emotional and semantic meaning does the image of the abyss open under Raskolnikov's feet acquire?

Dostoevsky showed in this scene the loneliness of Raskolnikov, from the isolation from the world of people, makes the reader notice the abyss that opened up under the feet of the hero.

The impression from this scene is enhanced not only by artistic details, but also by the very rhythmic structure of the phrase, with which the author was able to convey the movement of Raskolnikov's thought, the very process of his separation from people. “In some depth, barely visible underfoot, it now seemed all of his former past, and former thoughts, and former tasks, and former themes, and former impressions, and all this panorama, and himself, and everything, everything… HE seemed to have flown somewhere upwards, and everything disappeared in his eyes…”

This feeling of flight to nowhere, cut off, terrible loneliness of a person is enhanced by several artistic details that were given a little earlier. “The sky was almost without the slightest cloud, and the water was almost blue...” Let's mentally imagine from what point R. opened the “magnificent panorama” of St. Petersburg.

He stood on the bridge, under him there was a blue abyss of rivers and, above him - a blue sky. This very real picture is filled in the novel with huge symbolic content in comparison with all the events that we learn about from the text of the novel a little earlier.

SLIDE 13 (RASKOLNIKOV)

A two-kopeck piece, clenched in R.'s fist (also an artistic detail filled with deep symbolic meaning) connects this episode with the scene on the boulevard, when the hero donated his twenty kopecks to save the poor girl. It connects not only by the fact that the fate of this girl is similar to the fate of Sonya, the hero’s relatives, but also by the fact that an ethical question of great importance is raised here: does he, Rodion Romanovich Raskolnikov, now have the right to help people, and if not, then who this right has: Luzhin? Svidrigailov? Someone else? And what does it mean to help?

So a small artistic detail turns us to the hero's reflections on serious moral problems.

How is the scene "On the Nikolaevsky Bridge" related to the previous and subsequent content of the novel?

SLIDE 14 (LAST)

Thus, a tiny episode, an infinitely small link in the "labyrinth of links" helps us to understand the author's intention as a whole.

Which scene and from which work does the scene on the Nikolaevsky bridge echo? What are the similarities and differences between the situations?

(“The Bronze Horseman”: Eugene - sitting on a lion, saw in front of him an “idol on a horse” - challenges; Raskolnikov does not challenge - he wants to establish himself in this world).

In a world in which the puddles are the masters, the Svidrigailovs, ..., we will talk about them in the next lesson.

D/W: Images of Luzhin, Svidrigailov

Raskolnikov stands on the Nikolaevsky Bridge and “gazes intently” at the “really magnificent panorama” opening before him: “This magnificent panorama always blew on him with an inexplicable cold; this magnificent picture was full of dumb and deaf spirit for him ... He marveled every time to his gloomy and mysterious impression and put off the solution of it ... Another example of the spiritualization of matter is the dwellings of Dostoevsky's heroes. Raskolnikov's "yellow closet", which Dostoevsky compares with a coffin, is contrasted with Sonya's room: Raskolnikov, closed from the world, has a cramped coffin, Sonya, open to the world, has a "large room with three windows"; Raskolnikov remarks about the room of the old pawnbroker: "It is the evil and old widows who have such purity." The dwellings of Dostoevsky's heroes do not have an independent existence - they are only one of the functions of the heroes' consciousness. This also applies to Dostoevsky's description of nature. The world surrounding a person is always given as a part of the soul of this person, becomes, as it were, an internal landscape of the human soul, and to a large extent determines human actions. In the soul of Raskolnikov the killer is just as “cold, dark and damp” as in St. Petersburg, and the “dumb and deaf” spirit of the city sounds in Raskolnikov like the dreary song of a lonely barrel organ. Spiritually, there is also a description of the terrible stormy night, Svidrigailov's dying night, when his terrible spiritual chaos merges with the same terrible natural chaos. In the letter to Katkov quoted above, Dostoevsky pointed out that after the crime, Raskolnikov "spends almost a month before the final catastrophe." In the printed edition, this period is further reduced. All the complex and varied action of the novel, up to the moment of Raskolnikov's confession, takes only two weeks. One can only marvel at the skill with which Dostoevsky guides his characters through a true hurricane of events. “On careful reading, it turns out,” G. Voloshin writes, “that one of the methods by which Dostoevsky manages to bring and separate the heroes in time, to unexpectedly arrange their meeting, to overhear an important conversation, etc., is the orientation of the heroes in time or - the accuracy of the chronology of Dostoevsky's works" (Voloshin G. Space and time in Dostoevsky. - "Slavia", Prague, 1933, vol. XII, p. 164). The beginning of the novel is known: "In early July, in an extremely hot time, in the evening." Dostoevsky keeps an accurate account of the days. On the first day, Raskolnikov makes a "test" and meets Marmeladov; in the second, he receives a letter from his mother, wanders around the city and meets Lizaveta on Sennaya Square; on the third - commits murder. In the second part, Raskolnikov loses his sense of time, falls ill and falls into unconsciousness: "Sometimes it seemed to him that he had been lying for a month, at another time - that the same day was going on." In the world of Dostoevsky, time, like space, is a function of human consciousness, it is spiritualized and, depending on the spiritual state of the characters, can either stretch endlessly, or shrink, or almost disappear. Not without reason, in one of the draft notebooks for Crime and Punishment, Dostoevsky writes: "What is time? Time does not exist; time is numbers, time is the relation of being to non-being." At the beginning of the novel, time unfolds slowly, then speeds up, and before the catastrophe turns into a real hurricane, although the hero himself again falls out of time .. However, neither Raskolnikov's unconsciousness, nor his semi-conscious state at the beginning of the sixth part, that is, interruptions in the narrative, Dostoevsky does not slow down speed of action, but, as it were, disguises it, creating in the reader the illusion of a protracted novel, a long time of its action. At the same time, Dostoevsky "strictly" follows the exact "orientation" of the hero in time. G. Voloshin noticed that in Chapter I, Chapter Six, when "as if a fog had fallen in front of Raskolnikov," Dostoevsky immediately explains: "However, in those two or three days after the death of Katerina Ivanovna, he already met twice ..." etc. In the same chapter, Razumikhin comes to Raskolnikov on the day of the funeral (according to the rite adopted in Russia - on the third day after death), at this time, according to the author, Raskolnikov had already woken up from his strange state. Thus, two seemingly random indications of time converge. Noting the unusual speed of action in Dostoevsky's novels, M. M. Bakhtin writes: "The main category of Dostoevsky's artistic vision was not becoming, but coexistence and interaction<...> To understand the world meant for him to think of all its contents as simultaneous and to guess their relationship in the context of one moment. " And to the question: how to overcome time in time? - M. M. Bakhtin answers that "speed is the only way to overcome time in time "(Bakhtin M.M. Problems of Dostoevsky's Poetics. 4th ed., M., 1979, pp. 33, 34). And Dostoevsky "overcomes" time at the moment of repentance and the beginning of Raskolnikov's rebirth, when seven years of hard labor, a long time , become a brief moment in anticipation of freedom and a new life. But Dostoevsky not only "overcomes" time, but also "stops" it. In the epilogue of the novel we read: "There, in the boundless steppe drenched in the sun, nomadic yurts blackened with barely noticeable dots. There was freedom and other people lived, not at all like the locals, it was as if time itself had stopped, as if the centuries of Abraham and his flocks had not yet passed. "This is followed by Raskolnikov's repentance, the return of the superman of pride to the circle of people. And, having described the impulse, and tears, and thoughts of the hero, Dostoevsky suddenly breaks off the story of Raskolnikov’s new feelings and thoughts: “Instead of dialectics, life came, and something completely different should have developed in the mind.” And further: “Seven years, only seven years! At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days. "After mentioning the Old Testament Abraham, the writer speaks of the New Testament, the resurrection of Lazarus, and the future renewal and rebirth of Raskolnikov himself. In the epilogue of "Crime and Punishment" thus unites the past, present and future time. Having repented, Raskolnikov again joined all of humanity, its entire history, its past, present and future. At the center of every great novel by Dostoevsky is one some extraordinary, significant, mysterious human personality, and all the heroes of the writer are engaged in the most important and most important life work - solving the mystery of this person: Raskolnikov ("Crime and Punishment"), Myshkin ("The Idiot"), Stavrogin ("Demons"), Versilov ("Teenager"), Ivan Karamazov ("The Brothers Karamazov"). This determines the composition of the writer's tragedy novels. All persons and events in "Crime and Punishment" are located around Raskolnikov, everything revolves around him, everything is saturated with a passionate attitude towards him, human attraction and repulsion from him. Raskolnikov is the main center of the novel; he is a participant in most scenes of the novel. "Abandoning monologue narrative in favor of the third-person form of the novel, that is, e. the most objective form, - notes L. Pogozheva, - Dostoevsky retains in the composition of his work many features of a lyrical story - a diary, a confession. Such a remnant of the monologic form previously favored by the writer is that almost all the events of the novel are given through the perception of them by the main character, who is present, with rare exceptions, in all scenes, and secondly, there are many memoir episodes in the novel: Marmeladov's confession, Svidrigailov's confession, a letter Pulcheria Alexandrovna and many other episodes "(Pogozheva L. Composition of the novel "Crime and Punishment." - "Lit. Study", 1939, No. 8 - 9, p. 111). However, all these memoir episodes do not have an independent meaning in the novel: the story of the Marmeladov family and the story of Raskolnikov's mother and sister are inextricably linked with the main character and embody his thoughts and ideas.The story of the Marmeladovs and the story of Dunya (letter from Pulcheria Alexandrovna) is the last impetus for Raskolnikov's rebellion.From these stories arise Sonya and Svidrigailov, embodying good and evil in the soul of Raskolnikov.The main theme (Raskolnikov) and all three side ones (the story of the Marmeladovs, the story of Raskolnikov's mother and sister, the story of claims entov on her hand - Svidrigailov, Luzhin and Razumikhin) develop in parallel, and side themes are part of the hero's fate, the realization of his struggling thoughts. Already in the first four chapters of the first part of the novel, all three themes are brought to the stage and are connected to one another through Raskolnikov. In the first chapter, Raskolnikov goes to the usurer and thinks about murder; in the second, he meets Marmeladov, who tells him his story and leads him to his place; in the third, he receives a letter from his mother announcing Dunya's engagement to Luzhin; in the fourth, he ponders this letter, finds in it an analogy with Marmeladov's story: Dunya's victim is of the same order as Sonya's. Raskolnikov cannot accept this sacrifice, he must help himself get out of material need, and for this there is only one sure way - the murder of an old pawnbroker, a malicious "lice", he had already chosen as an object of murder to confirm his theory of law " strong personalities" to crime. In all six parts of the novel, all three thematic plots arise in connection with Raskolnikov in various combinations and combinations. The lines of all three plots are connected only once: at the funeral for Marmeladov, Dunya's former fiancé, Luzhin, insults Sonya, and Raskolnikov defends her. In the sixth part, the side plots are exhausted, and Raskolnikov remains with Sonya and Svidrigailov - with his "good and evil." But Svidrigailov commits suicide, so that in the last chapter of the last, sixth, part and in the epilogue, when "evil" has left Raskolnikov's soul, he remains only with Sonya, and then "a new story begins, the story of the gradual renewal of man." Raskolnikov meets Porfiry Petrovich through Razumikhin. This is also a sideline of the novel. However, the role of Porfiry Petrovich in the fate, in the revival of Raskolnikov is so great that, as K. K. Istomin notes, the three meetings of the criminal with the investigator "represent, as it were, a complete tragedy with three actions according to a strictly carried out plot development plan. The first meeting outlines the topic for us , the nature of the struggle and the main characters of the tragedy. The second meeting - the intrigue reaches its highest point and tension: the discouraged Raskolnikov again perked up after the unexpected recognition of Nikolai and the visit of the "philistine". It ends with Raskolnikov's bold statement: "Now we will still fight." Third the action - a meeting of opponents in Raskolnikov's room - ends with an unexpected disaster:<...>with a "serious and preoccupied expression" Porfiry presents to Raskolnikov all the benefits of voluntary repentance "(Istomin K. K - "Crime and Punishment", Pg., 1923, p. 89). Raskolnikov is not only the compositional, but also the spiritual center of the novel. All thematic plots are inextricably linked with the ideological scheme of the novel.The tragedy occurs in the soul of Raskolnikov, and all the other characters, together with him, are trying to unravel the mystery of this tragedy.Everyone feels the significance of his personality, everyone is amazed by the contradictions of this personality, and everyone wants to guess the riddle of his fatal duality, Raskolnikov characterize the mother, sister, Razumikhin, Porfiry, Sonya, Svidrigailov - almost all the characters in the novel. "Each person enters, however, into his (Raskolnikov's) inner speech not as a character or type, - notes M. M. Bakhtin, - not as the plot face of his life plot (sister, sister's fiancé, etc.), but as a symbol of a certain life attitude and ideological position, as a symbol of a certain life re solutions to the very ideological questions that torment him. It is enough for a man to appear in his horizons for him to immediately become for him an embodied solution of his own question, a solution that does not agree with the one to which he himself arrived; therefore, everyone touches him to the quick and gets a firm role in his inner speech "(Bakhtin M. M. Problems of Dostoevsky's Poetics. Ed. 4th, M., 1979, p. 278). Thus, the poetics of the novel is subject to one main and the only task - the resurrection of Raskolnikov, the deliverance of the "superman" from the criminal theory and familiarizing him with the world of other people. "The cigarette end has long been extinguished in a crooked candlestick, dimly illuminating in this beggarly room the murderer and the harlot, strangely come together reading the eternal book. " everything is lost for Raskolnikov, not everything has yet gone out in his soul, the dim flame of the cinder still glimmers in it.Like an experienced guide, knowing the only and true road, Dostoevsky leads readers through the labyrinth of Raskolnikov's conscience.And one must be extremely attentive and spiritually sighted when reading "Crime and Punishment", paying attention to literally everything in order to see at the end the candle that Dostoevsky is holding.