One of the complex and conflicting novels of Dostoevsky - "Crime and Punishment". Problems are disclosed in it: not only moral, but also social, and deeply philosophical. The problem of losing moral and cultural values \u200b\u200bto the younger generation.

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Moscow State Academy of Thin Chemical Technology
them. M.V. Lomonosov

Department of Philosophy

Final humanitarian work

The problem of the ratio of mind and morality on the novel F.M. Dostoevsky "Crime and Punishment"

Student group HT-404

Stepanova Victor

scientific adviser

IvanovA.A.

Moscow, 20071. Table of contents

Introduction 3 p.

1. Basic part 4 pp.

1.1. How to learn and learn for sure 4 pages.

1.2. Basics of ease of exercise 5 p.

1.3. Fundamentals of the strength of the exercise 6 p.

Conclusions 7 p.

Introduction

One of the most complex and controversial novels of Dostoevsky - "Crime and Punishment". The second century will not cease about his moral lessons. And this is understandable. No one has written such a problem, nobody wrote to Dostoevsky. It discloses tremendous many problems: not only moral, but also social, and deeply philosophical.

In a number of numerous problems and contradictions of Russian life and the life of all people affected by Dostoevsky, the problem of the ratio of mind and morality is occupied by a special place, the problem of losing moral and cultural values \u200b\u200bto the younger generation. It is in it, as it seems to me, I saw the author of the deep reasons for the appearance of a destructive "theory" of Raskolnikov, and it would be on it that I would like to stop more in this work.

1. Basic part

1 .1. Fate Skolnikova

As a hero of Roman Dostoevsky chose quite typical for that time an image. The main character of the novel - Rodion Romanovich Romanov, a young man, a difference in origin, finds himself in a severe life situation, as well as many poor young people of more thank birth at the time. The main problem that he has to decide is the struggle for survival. Hero's life is endless attempts to get out of poverty. It seems to me that the long and stubborn labor of the Raskolniks could earn their lives and even help her sister and mother, but the hero gradually disappointed in his surrounding life, which seems to him a solid chain of injustice. It can be said, he gets tired of constant fight against poverty: "Not that he was so cowardly and clogged, quite even on the contrary; But from some time he was in the irritable and intense state similar to the hypochondria. "1. Without moral ideals, the breadless of all universal values, the splitters invents his own "theory", divides the world on the "creatures of trembling" and those who are managed by "the right has" to kill and rule, and decides to prove to themselves that he belongs to "right having ". The tool for this purpose of the Raskolnikov chooses the killing of the old-year-old agers. What do the hero say reason? "On the one hand, a stupid, meaningless, insignificant, evil, sick old woman, not necessary for anyone and, on the contrary, all harmful ... which tomorrow will die by itself. On the other hand, young, fresh forces, disappearing for nothing without support, and it is thousands, and it's everywhere! One hundred, a thousand good deeds and undertakings that can be arranged and fixed money ... "2 The arguments of the mind pushing the hero on the crime, for killing. Recounted by the laws of morality, the laws of morality who find their expression in the commandments, one of which is "not killed", the Raskolnikov signed a sentence on the court of conscience: "I killed myself, and not an old woman!" 3. Having committed the murder, the splitters with horror understands that he is experiencing repentance and flour of conscience, and decides that his idea was faithful, only he was not worthy of her: "... I didn't kill a person, I killed the principle! I killed the principle, but I didn't cross it out, it remained on this side ... "and decides for yourself:" Eh, aesthetic I am doing, and nothing else! " four . "Principle", which could not break the splitters, this is his own conscience. The author consistently spends the hero on the heavy, painful path of repentance and agony of conscience. Much is mixed in the soul of Rodion after a perfect crime: the fear of punishment, gradual disappointment first in itself, and then in the "theory", and most importantly, the flour of conscience, moral flour. Rasskowning and rejection of inhuman ideas, returning to people happens later, for some other inaccessible logic of the laws: the laws of faith and love, by suffering and patience. It is very clear and here the thought of Dostoevsky is traced that human life cannot be monitored by the laws of mind. Life, life itself consistently annoys the inhuman idea of \u200b\u200bRaskolnikov.

The hero will redeeper his guilt, deserves for himself happiness - mutual love and acquisition of harmony with the surrounding world - exorbitant suffering and flour, both physical and moral. This is another key idea of \u200b\u200bthe novel. So the author argues one of the fundamental laws of religion, morality and humanism.

1 .2. The ratio of morality and mind

Consider the crime of Raskolnikov through the prism of morality and morality. From the point of view of universal morality, the murder of another person is unacceptable. Raskolnikov also tried to logically substantiate, rationalize the idea of \u200b\u200bmurder, that is, in his very essentially, not allowing such a logical justification, rationalization. He wanted a completely rational morality and a logical way came to its complete denial. The hero was looking for a logical evidence of the moral law - and did not understand that the moral law does not require evidence, should not, cannot be proven - for he receives its supreme sanction from outside, but from himself. The viciousness of his idea is that moral categories are not at all amenable to rational explanation. Happiness that splitters can bring those who are crap by spending the money killed the old woman, redistributing or accumulating material goods, it is impossible to compare any way with the crime against morality and morality, which for this it is necessary to commit: "For one life, thousands of lives saved from rotting and decomposition. One death and a hundred lives in return - but then there is arithmetic! And what does the life of this truck, stupid and angry old women mean on common weights? " five . Obviously, the arguments of the mind will never be opposed to the laws of morality, and vice versa.

The crime of Rodion Raskolnikova is precisely in violation of moral law, in the temporary victory of the mind over the will and conscience. According to religious ideas, the life of every person is a shrine. A logical justification for this is not, for this approval is generally impossible to bring a logical justification. The moral consciousness of each person approves us the holiness of each personality is a moral law. Like any other laws of nature, moral laws, regardless of origin, really exist in our soul and does not allow violations. Raskolnikov tried to break it - and fell in an unequal struggle.

With a distracted theory, born with the help of only mental work, a life entered into the fight, permeated with love and good, considered by Dostoevsky as the determining power of the Hero tragedy, seduced by bare curses.

Dostoevsky does not accept, condemns such theories. An amazing of a brilliant writer should be surprising to us, with an amazing accuracy of the consequences of the celebration of fictional ideas, the fruit of theoretical fabrications over morality in society, which gave rise to the Nazi Hitler's empire and totalitarian regimes in the twentieth century. Although it is worth mentioning that the precedents of the Celebration of the mind over spirituality in society existed even before. The bright example is the Great French Revolution of 1789 with the ideas of the celebration of the mind and thought, which ended in the dictatorship of Napoleon.

You can consider the crime of Raskolnikov against morality at a different angle. Religion served as a support of morality in society, and even more so in Tsarist Russia. It is no secret that in society, there was already a significant decline of religiosity and morality, thus, it took a clean formal nature, served as a wonderful obstacle that did not allow to see the viciousness and immorality of society. An example is a bright example - Petr Petrovich Luzhin, with his idea of \u200b\u200b"enforcement" of the nasty girl: "... it is more profitable to take his wife from poverty, to rule over it ..." 6, which is the personification of an immoral society, which is tatting under the cover of the external piety . It is possible to consider a protest against the laws of morality, which arose in the soul of Raskolnikov, as a protest against rotten backups of morality in society, against unreliable obscures in a modern self-degree society.

Dostoevsky Dostoevsky's image opposes the image of Sony Marmalade. Sonya in the novel is the personification of the "true" morality. Despite its immoral occupation, from the point of view of public morality, the heroine preserves the ability to love the ability, the ability to sacrifice and compassion - everything is what hypocrites and a hagga, who surround it. It is Sonya that becomes a moral landmark for the Solvnikov, an example of the celebration of morality and humanism ideas. It was her selfless love that helps him stand on the path of updates and rebirth.

In the center of each large novel of Dostoevsky there is any one extraordinary, significant, mysterious human person, and all the heroes are engaged in the most important and most important human business - the random of the secrets of this person, this is determined by the composition of all the Romanov tragedies of the writer. In the "Idiot", the prince of Myshkin becomes such a person, in the "demons" - Stavrogin, in the "adolescence" - Versilov, in the "Karamazov brothers" - Ivan Karamazov. Mainly in the "crime and punishment" is the image of Raskolnikov. All persons and events are located around it, everything is saturated with a passionate attitude towards him, human attraction and repulsion from him. Raskolnikov and his mental experiences are the center of the whole novel, around which all other storyline rotates.

The first editorial office of the novel, known as Wiesbadskaya "Tale," was written in the form of "confession" of Raskolnikov, the story was conducted on behalf of the main character. In the process of work, the artistic intent "Crime and Punishment" is complicated, and Dostoevsky stops on a new form - a story on behalf of the author. A very important entry appears in the third edition: "A story from myself, not from him. If confession, then too to the last extreme, you need to understand everything. So that every moment of the story was clear. The confession in other points will be no good and difficult to imagine what is written for what. " As a result, Dostoevsky stopped on a more acceptable, in his opinion, form. But, nevertheless, in the image of Raskolnikov a lot and autobiographical. For example, the effect of the epilogue occurs on the cautor. Such a reliable and accurate picture of the catzhan, the author depicted, relying on his personal experience. Many contemporaries of the writer noticed that the discovery of the main character of the "Crime and Punishment" very much resembles the speech of Dostoevsky himself: similar to rhythm, syllable, speech turnover.

But still in Raskolnik, more such that characterizes it as a typical student of the 60s from the allocates. After all, reliability is one of the principles of Dostoevsky, whom he did not stop in his work. His hero is poor, lives in the corner that resembles a dark, raw coffin, starving, is badly dressed. His appearance Dostoevsky describes as follows: "... He was wonderful good, with beautiful dark eyes, dark rus, height above average, thin and stored." It seems that the portrait of the Raskolnikova is composed of "will accept" a police dossier, although there is a challenge in it: here's a "criminal", against the expectation is quite good.

From this brief description, you can already judge the attitude of the author to your hero, if you know one feature: Dostoevsky has a big role in the characteristic of the hero, the description of his eye is played. Speaking of Svidrigaylov, for example, a writer, as if in passing one, it seems that a very small detail: "His eyes watched coldly, intently and thoughtfully." And in this detail all Svidrigayilov, for which everything is indifferent and everything is allowed that eternity is presented in the form of a "smoky bath with spiders" and which only world boredom and vulgarity remained. Duni's eyes "Almost black, sparkling and proud and at the same time sometimes, minutes, unusually kind". Skolnikov is "beautiful, dark eyes", Sony "wonderful blue eyes", and in this extraordinary beauty of the eye of the pledge of their future connections and resurrection.

Raskolnikov is inevitable. He has some kind of insight in the unregardness of people, sincerely or not sincerely with him, - at first glance, he guess false and hates them. At the same time, he is full of doubts and oscillations, various contradictions. It combably combines exorbitant pride, burglarity, coldness and softness, kindness, responsiveness. He is conscientious and easily too early, he deeply touch other people's misfortunes, which he sees in front of him every day, whether it is completely distant from him, as in the case of a drunken girl on the boulevard, or the closest to him, as in the case of the Duni history, his sisters . Everywhere in front of the Raskolnikov Pictures of poverty, the cure, oppression, the suppression of human dignity. At every step, he meets loose and persecuted people who have nowhere to go, have nowhere to go. "After all, it is necessary for any person to go somewhere to go ..." - with pain tells him by the fate and life circumstances officials of the marmalands, - after all, it is necessary for any person to have at least one such place where it would be regretted!. . Do you understand whether you understand ... What does it mean when there is no place to go anymore? ... "Raskolnikov understands that he himself has no place to go, life appears in front of him as a tangle of insoluble contradictions. The atmosphere itself of Petersburg quarters, streets, dirty areas, tested school-coffins suppresses, brings dark thoughts. Petersburg, in which the Raskolnikov lives, hostile to man, is crammed, presses, creates a feeling of hopelessness. Wandering along with the Raskolnikov, thinking of a crime, on the city streets, we primarily experience the unbearable foolot: "Duchot was the same, but he breathed with this smelly, dusty, infected with the city of air." Also seriously disadvantaged man in stuffy and dark apartments resembling sheds. People starve here, their dreams die, criminal thoughts are born. Raskolnikov says: "Do you know, Sonya that low ceilings and close rooms are the soul and mind tested?". In St. Petersburg, Dostoevsky life acquires fantastic, ugly outlines, and reality often seems to be a nightmarish vision. Svidrigaylov calls him the city of polushemissed.

In addition, the fate of his mother and sister turns under the threat. He is hated by the very idea that the Danny married a nudge, this, "it seems, a kind person."

All this forces the Raskolnikov to think about what is happening around, as this inhuman world is arranged, where unrighteous power, cruelty and greasyness dominate, where everyone is silent, but do not protest, persogently carrying the burden of poverty and cure. His, like Dostoevsky himself, torment these thoughts. The sense of responsibility lies in the very nature of him - an impressionable, active, not indifferent. He cannot remain indifferent. The moral disease of the Raskolnikov from the very beginning appears as brought to an extreme degree of pain for others. The feeling of moral deadlock, loneliness, the burning desire to do something, and not sit back, do not hope for a miracle bring it to despair, to the paradox: from love for people, he almost begins to hate them. He wants to help people, and this is one of the reasons for creating the theory. In his confession, Raskolnikov says Sona: "Then I found out, Sonya, that if you wait until everything becomes smart, it will be too long. ... then I still learned that it would never be that people will never change and not to remake them with anyone. And it's not worth spending! Yes it is! This is their law! .. And now I know Sonya, that who is strong and strong with the mind and spirit, then above them and the lord! Who dares a lot, that they have right. Whoever can spit, that they have a legislator, and who can dare to laugh, that and all right! So there will be a job and will always be! ". Raskolnikov does not believe that a person can be reborn for the better, does not believe in the power of faith in God. He is annoyed by the uselessness and meaninglessness of its existence, so he decides to act: to kill anyone who is not unnecessary, harmful and nasty old woman, rob, and the money to put on "thousands and thousands of good deeds". At the price of one human life to improve the existence of many people - that's what the splitters kill. Actually, the motto: "The goal justifies the funds" and is the true essence of his theory.

But there is another cause of the crime. Raskolnikov wants to test themselves, their willpower, and at the same time to know who he is - "Creating a trembling" or having the right to solve the issues of the life and death of other people. He himself admits that if desired, it could earn a living with lessons that the crime pushes not so much the need for an idea. After all, if his theory is true, and indeed all people are divided into "ordinary" and "extraordinary", then he is either "loss" or "eligible". Okolnikova has real examples from history: Napoleon, Magomet, who peaked out the fate of thousands of people who were called great. The hero speaks of Napoleon: "The real lord of who is allowed everything, the toulon is thorough, makes a massacre in Paris, forgets the army in Egypt, spends half a million people in the Moscow campaign and is trummed by Kamybur in Wilna, and he, by death, put idols, - and Therefore, everything is allowed. "

Raskolnikov and the person himself is extraordinary, he knows it and wants to check if he really is above others. And for this, the entire thing is that it is necessary to kill the old woman to "break it, once and for all, and only: and suffering to take on yourself!". The riot, denial of peace and God, is heard, denial of good and evil, and recognizing only the authorities. Does he need it to satisfy his own pride, in order to check: he will withstand himself or not? This is only a test, personal experiment, and then "thousands of good deeds". And no longer just for the sake of mankind goes to this sin of the splitters, but for the sake of themselves, for his idea. Later he will say: "The old woman was only a disease ... I wanted to cross it soon ... I didn't kill a person, I killed the principle!".

The theory of Skolnikov was based on the inequalities of people, on the chosenness of some and humiliation of others. The killing of the old woman Alena Ivanovna is only its check. This way of the image of the murder clearly reveals the author's position: the crime that the hero performs is a low, no longer business, from the point of view of the Skolnikov himself. But he makes him consciously.

Thus, in the theory of Raskolnikov there are two main points: altruistic - help humiliated people and revenge for them and selfish - testing of themselves for involvement in "right having". The interest center is chosen here almost by chance, as a symbol of useless, harmful existence, as a sample, like a rehearsal of the present cases. And eliminating the real evil, luxury, robbing for Raskolnikov - ahead. But in practice, his well-thoughtful theory collapses from the very beginning. Instead of the conceived noble crime, a terrible crime is obtained, and the money taken from the old woman on the "thousands of good deeds" does not bring anyone happiness and almost rot on stone.

In reality, the theory of Skolnikov does not justify its existence. It has a lot of inaccuracies and contradictions. For example, a very conditional division of all people on "ordinary" and "extraordinary". And then then attribute the Sonya to Marmaladov, the Dunya, Raulmichina, who, of course, are not, according to the ideas of Raskolnikov, unusual, but kind, responsive and, most importantly, the way to him? Is it really to be sacrificed in the name of good goals? But the Raskolnikov is not able to see their suffering, he seeks to help these people, whom in their own theory called "trees trembling". Or how to justify the Murder of Lizavets, scored and offended, not harmful to anyone? If the killing of the old woman is part of the theory, the fact that then the murder of Lizaveta, who itself applies to those people, for the sake of whom the Raskolnikov decided on a crime? Again more questions than answers. All this is another indicator of the wrongness of the theory, inapplicable to her life.

Although, in the theoretical article, Raskolnikov is rational grain. No wonder the investigator Porphiri Petrovich even after reading the article relates to him with respect - as a mistake, but significant in his thoughts to man. But "Blood on conscience" is something ugly, absolutely unacceptable, deprived of humanity. Dostoevsky, the Great Humanist, of course, condemns this theory and theory, similar to it. When he had no terrible example of fascism before his eyes, which, in fact, was brought to the logical integrity of the Raskolnikov theory, he had already clearly imagined all the danger and "infectiousness" of this theory. And, of course, makes his hero in the end in it to get burned. But he himself perfectly understanding the gravity of this refusal, Dostoevsky first holds Skolnikov through huge spiritual flour, knowing that in this world, happiness is bought only by suffering. This is reflected in the composition of the novel: the crime is told in one part, and about the punishment - in five.

The theory for Raskolnikova, as well as for Bazarov in the novel, "Fathers and Children" of Turgenev, becomes a source of tragedy. Much to survive Raskolnikov in order to come to aware of the collapse of their theory. And the worst thing for him is a sense of disconnection with people. Having crushed moral laws, he seemed to cut himself from the world of people, became loose, outcast. "I am not killed by an old woman, I killed myself," he admits the Marmalade Son.

Human nature does not accept this alienation from people. Even the splitters, with his pride and coldness, cannot live without communicating with people. Therefore, the spiritual struggle of the hero becomes more intense and confusing, it goes on a variety of directions immediately, and each of them turns the splitter in a dead end. He still believes in the infallibility of his idea and despises herself for weakness, for media; That and the matter calls himself a scoundrel. But at the same time, he suffers from the impossibility of communicating with his mother and sister, to think about them as painfully, how to think about the murder of Lizaveta. By their idea, the Raskolnikov must be departed from those who suffer from, should despise them, hate, kill without any aggregation of conscience.

But he cannot survive this, the love of people did not disappear in it along with the commission of a crime, and the voice of the conscience could not be stolen even with confidence in the correctness of the theory. Huge sincere flour, which experiences splitters, is incomparably worse than any other punishment, and the whole horror of the situation of Raskolnikov is.

Dostoevsky in "Crime and Punishment" depicts a collision of the theory with the logic of life. The author's point of view is becoming increasingly understandable as the action develops: a lively life process always refutes, makes any theory, and the most advanced, revolutionary, and the most criminal, and created for the benefit of mankind. Even the most subtle calculations, the smartest ideas and the most iron logical arguments overnight are destroyed by the wisdom of real life. The power of ideas over a man did not accept Dostoevsky, he believed that humanity and kindness above all ideas and theories. And in this, the truth of Dostoevsky, who does not know about the power of the idea.

So, the theory collapses. Exhausted by fear of exposure and feelings tearing him between his ideas and love for people, the Raskolnikov can not recognize its inconsistency. He reviews only his place in it. "I had to know it, and how I dare, knowing myself, anticipating myself, take an ax and the bed ...", "the splitters ask himself. He is already aware that he is by no means Napoleon that, unlike his idol, calmly sacrificing tens of thousands of people, he is not able to cope with his feelings after the murder of one "gadya of the old woman." Raskolnikov feels that his crime, unlike the bloody acts of Napoleon, is "shameful", inesticatory. Later, in the novel "Demes", Dostoevsky developed the topic of "ugly crime" - there is a stavogne, a character, a child Svidrigaylov.

Raskolnikov trying to determine where he made a mistake: "The old woman is nonsense! - he thought he was hot and gustly, - the old woman, perhaps the mistake, not the case! The old woman was only a disease ... I wanted to step over ... I didn't kill a person, I killed the principle! I killed the principle, and I did not cross it over, it remained on this side ... just managed to kill. Yes, and it failed, it turns out. "

The principle through which she tried to break the splitters - conscience. To become the "Lord" he interferes with a woman in every way stupid of good. He does not want to hear him, he is bitterly aware of the collapse of his theory, and even when he goes to himself, still believes in her, it does not believe only more in his exception. Rasskowning and rejection of inhuman ideas, returning to people happens later, for some other inaccessible logic of the laws: the laws of faith and love, by suffering and patience. It is very clear and here the thought of Dostoevsky is traced that human life cannot be monitored by the laws of mind. After all, the spiritual "resurrection" of the hero is not performed on the ways of rational logic, the writer specifically emphasizes that even Sonya did not speak with Raskolnikov about religion, he came to it himself. This is another of the features of the story of the novel, which has a mirror character. The Dostoevsky Hero first reversed from the Christian commandments, and then it makes a crime, "first confesses in murder, and even then spiritually cleans and returns to life.

Another spiritual experience, important for Dostoevsky - communication with religious people as a return to people and admission to the folk "soil". Moreover, this motive is almost completely autobiographical: Fedor Mikhailovich tells about their experiences in the book "Notes from the Dead House", where he describes his life at Katorga. After all, only in the admission to the People's Spirit, in the understanding of People's wisdom, Dostoevsky saw the path to the benefitment of Russia.

Resurrection, Returns to the people of the main character in the novel occur in accurately in accordance with the representations of the author. Dostoevsky belongs to the words: "Bought happiness with suffering. This is the law of our planet. The man was not born for happiness, a man deserves happiness and always suffering. " So the Raskolnikov deserves happiness for themselves - mutual love and acquisition of harmony with the surrounding world - exorbitant suffering and flour. This is another key idea of \u200b\u200bthe novel. Here the author, a deeply believer man fully agrees with religious concepts about the comprehension of good and evil. Yes, and through the whole novel, one of the ten commandments passes through the red thread: "Do not kill." Christian humility and kindness are inherent in the Sonya Marmaladeova, which is a conductor of the author's thoughts in "Crime and Punishment". Therefore, speaking about the attitude of Dostoevsky to his hero, it is impossible not to affect another important topic, reflected along with other problems in the work of Fedor Mikhailovich Dostoevsky - religion, which appears as a faithful way to resolve moral problems.

conclusions

The name of the great Russian writer F. M. Dostoevsky stands in a number of outstanding names not only Russian, but also all world literature. For readers, he is not just a famous writer, and also a brilliant artist of the Word, Humanist, Democrat, a researcher of the human soul. It was in the spiritual life of a man of his epoch Dostoevsky saw a reflection of the deep processes of the historical development of society. With the tragic power, the writer showed how the souls of people have a social injustice, as human life breaks full vices society. And how difficult and bitter those who fight for humane relations, suffers for "humiliated and offended".

Some heroes in their own words bear the "truth" of Dostoevsky, some are ideas that the author himself does not accept. Of course, many of his works would be much easier for perception, if the writer in them simply milked unacceptable theory for him, proving the unequivocal correctness of his views. But just all the philosophy of Dostoevsky's novels is that he does not convince, by putting the reader before indisputable arguments, and makes it makes him think. After all, if you carefully read his works, it becomes clear that not always the author is convinced of his right. Hence so many contradictions, so many difficulties in the works of Dostoevsky. Moreover, the arguments embedded in the mouth of heroes, whose thoughts himself did not share, are stronger and more convincing his own.

One of the most complex and controversial novels of Dostoevsky - "Crime and Punishment". The second century will not cease about his moral lessons. And this is understandable. No one wrote such a problem, "ideological" novel to Dostoevsky. It discloses tremendous many problems: not only moral, but also social, and deeply philosophical.

This is exactly what a novel is more than one hundred years later. The alarm for the future of mankind, which is reflected in the novel unfortunately is not bothering.

And he foresees the apocalypse, history confirms how many of all sorts of ideas will captivate the mind of mankind: both Bolshevism and fascism. And what is the most important thing - these ideas do not die, but find a new soil for prosperity. New ideas appear on each turn of history, and they deepen the split in society. This split brought humanity to the "Cold War", when the life of all mankind is in the hands of one person. People who captivated ideas, applauded Stalin, Hitler and other dictators. The faster mind was led by the White Brotherhood. According to his principle, in ideas, unnecessary and unnecessary people killed Chikatilo. Many Heroes of Dostoevsky exist, modified in our society. And therefore, you need to get rid of any forms of violence by anything. All these prototypes of Dostoevsky's heroes in our life make it possible to call his works, not only "crime and punishment" - warnings.

Responding to a question, and how much is the ratio of morality and mind in the novel, I want to note that Dostoevsky showed the struggle of moral and reasonable in the novel as in a separate person and in society. In the main hero of the moral beginning in the course of a long and painful struggle, the inhuman proceedings of the mind, the "theory" of Raskolnikov, which is defeated by immorality and confusion in the hero itself, which originates both in the social vagueness of society and in the cultural and moral loss of values.

The triumph of the mind gave rise to a crime in the novel, the personification of the penalty of the main hero of the states of the state - the conscience of the hero, its moral supervisor, and physical - cautious and severe disease. So the author claims the thought - no crime will remain unpunished: neither a crime against morality, nor a crime against human laws.

Dostoevsky dedicated the romance to relevant issues of his time that do not lose their relevance and now. Indeed, the answer to the question - what began to win in all society, in the whole country; What way the country will go - the author leaves open, but approves: this path must be inextricably linked with respect and adoption of moral laws, otherwise society, the country is waiting for an inevitable punishment.

Proof of Dostoevsky's wrongness are observing currently. The Union of Soviet Socialist Republics was created as a state based on the idea of \u200b\u200bthe celebration of the mind over morality. He was created on a crime - and otherwise it is impossible to call the execution of the royal family, the events of the Civil War, the mass terror of the NKVD. A crime based, the state was initially doomed, convicted.

Dostoevsky claims - an impossible progressive society based on violence. There will never be a development where there is no moral landmarks. This question is very relevant and in our time, taking into account the turning point of the era and the loss of values \u200b\u200bin the younger generation.

Bibliography

1. F.M. Dostoevsky. Crime and Punishment. M.: Fiction. 1957, 397c.

Links

1. East. p.1

2. East. p. 44.

3. East. p. 306.

4. East. p. 200.

5. East. p. 44.

6. East. p. 106.

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Conflict between face and world in art. Images of Sony Marmaladova, Raulmichina and Petrophry Petrovich as positive in the novel of the Dostoevsky "Crime and Punishment". The image of Rodion Raskolnikov through the system of his twins in the face of Luzin and Svidrigaylov.

course work, added 07/25/2012


Realism "in the highest sense" - the art method F.M. Dostoevsky. The system of female images in the novel "Crime and Punishment." The tragic fate of Katerina Ivanovna. True Sonya Marmaladova - the central female image of the novel. Secondary images.

abstract, added 01/28/2009


Studying the influence of hereditary diseases on individual self-consciousness, an image of mental disorders in artistic creativity. Study of the types of epileptoid characters of heroes in the novel F.M. Dostoevsky "Crime and Punishment", "Idiot".

coursework, added 06/21/2015


Literary criticism and religious philosophical idea of \u200b\u200bthe worldview position F.M. Dostoevsky and novel "Crime and Punishment." Raskolniki as a religious and philosophical roman rod. The role of Sony Marmalade and Proverbs about the resurrection of Lazarus in the novel.

thesis, added 02.07.2012


Petersburg Dostoevsky, symbolism of his landscapes and interiors. The theory of Raskolnikova, its socio-psychological and moral content. "Double" Hero and his "ideas" in the novel "Crime and Punishment". The place of the novel in understanding the meaning of man's life.

I did not accidentally chose the topic of internal conflict between feeling and mind. Feeling and mind are the two most important forces of the inner world of a person who very often come into conflict among themselves. There are situations where the feelings oppose the mind. What happens in such a situation? Undoubtedly, it is very painful, anxious and extremely unpleasant, as a person is daring, suffering, loses the soil under his feet. His mind says one thing, and feelings raise a real riot and deprive peace and harmony. As a result, the internal struggle begins, which often ends very tragic.

Such internal conflict is described in the work of I.S.Turgenev "Fathers and Children". Evgeny Bazarov, the main character, divided the theory of "nihilism" and denied literally everything: poetry, music, art and even love. But the meeting with Anna Sergeyevna Odsena, beautiful, smart, unlike other women, became a decisive event in his life, after which his internal conflict began. Suddenly, he felt the "romance", able to deeply feel, worry and hoped for reciprocity. His nihilistic views were crashing: it turns out, there is love, there is beauty, there is art. The strong feelings engulfed the struggle against the rationalistic theory, and life becomes unbearable. The hero cannot continue scientific experiments, engaged in medical practice - everything falls out of the hands. Yes, when there is a similar disorder between the feeling and mind, life becomes sometimes impossible, since the harmony is disturbed, which is necessary for happiness, and the internal conflict becomes external: family and friendly connections are violated.

We can remember the work of F.M.Dostoevsky "Crime and Punishment", which analyzes the rebellion of the senses of the chief hero. Rodion Raskolnikov kept the "Napoleonic" idea of \u200b\u200ba strong personality, having the right to break the law and even kill a person. After checking this rationalistic theory in practice, killing the old-year-older, the hero is experiencing conscience, the impossibility of communication with relatives and close, almost morally and physically ill. This painful state arose due to the internal conflict of human feelings and fictional theories.

So, we analyzed the situations where the feelings oppose the minds, and came to the conclusion that it is sometimes a male for a person. But, on the other hand, it is the same signal that it is necessary to listen to feelings, as the controversial theories can destroy both the person himself, and cause irreparable harm, intolerable pain around people.

In a number of classics of world literature, Dostoevsky deservedly wears the title of master in the disclosure of the secrets of the human soul and the creator of art of thought. The novel "Crime and Punishment" opens a new, the highest stage of Dostoevsky's creativity. Here he first performed as the creator of a fundamentally new novel in world literature, which was called polyphonic(multi-voiced).

Any thought of the writer, kind or evil, according to his own expression, "slammed, like from the egg chicken." All artistic features and poetics of the novel "Crime and Punishment" serve as a means of disclosing the special spirituality of Dostoevsky. Working on the work, the writer mainly sought to trace the "psychological process of crime." That is why the "crime and punishment" is considered a work in which the peculiarity of the writer's psychologist is most pronounced.

In the novel, "Crime and Punishment" matters literally all: and numbers, and names, and surnames, and St. Petersburg topography, and the time of action, and the situations in which heroes fall, and even individual words. Dostoevsky trusted his reader, so much deliberately did not agree, counting on the spiritual admission of the reader to his world. In this spiritual world, the different position of the ax during the murder of the Raskolnikov old women and Lizavets, and the description of the Okolnikov appearance, and the number "seven" and "eleven", "pursuing" the main character, and often mentioned in the novel yellow color and The word "suddenly", referred to on the pages of the novel about 500 times, and many others, invisible at first glance, details.

The language and style of the novel "Crime and Punishment" is distinguished by naturalness and immediacy. According to some researchers, the language of Dostoevsky compared with the tongue of Tolstoy and Turgenev loses in paintings and visual means. However, it is not. Dostoevsky has its own, very specific, different from other XIX century writers, image manner. Incomplete at first glance, accelerations and decelerations, rhythm, enhancement and decrease in speech, pauses, he helps the reader to feel the invisible movement of life.

Each hero of the novel is inherent in its own, individual, language, but they all communicate in general language - the language of the "fourth dimension" of the writer. Each hero of "Crime and Punishment" can be made of a verbal characteristic, but the most expressive is a linguistic portrait of Skolnikov. Dostoevsky, with great skill, showed the split of the main hero of the novel, using various stylistic techniques for this purpose: the intermittentness of Skolnikov's speech, the disharmony of its syntax, and most importantly - the contrast between the external and inner form of the speech of the hero. "The laws of the fourth dimension", where the earth is ceased to act, obeys everything in the style of the novel: portrait, landscape, place and time of action. A special, unique rhythm of the writer so captures the reader that he does not immediately appreciate each detail of the hero portrait.

Methods for creating psychological drawing from a writer are extremely diverse. Despite the fact that Dostoevsky rarely used the portrait as such, he is considered a subtle and deep wizard of the portrait. The writer believed that a person is a very difficult creature and its appearance cannot reflect his essence. More important for Dostoevsky is a hero costume or any item in it, reflecting the character of the character. So, for example, the robe of a nudge (a schiech-suit, magnificent gloves, etc.) gives a desire in it look younger and make a profitable impression on others. It is enough to remember, for example, a portrait of the old-year older agents, the expressiveness of which was created with the help of diminutive words: "It was a tiny, dry old woman, sixty years old, with erase and evil eyes, with a small east nose and proliferate. Belobryshy, a little disinterested hair was oily greased by oil ... The old woman rinse the cough and a cruck. "

In the novel "Crime and Punishment" portraithe serves the disclosure of the idea of \u200b\u200bone or another hero. So, depicting Svidrigaylova, Dostoevsky used one, at first glance, an unimportant detail: his eyes watched "cold, intently and thoughtfully." But thanks to this item, you can imagine the entire Svidrigailov, for which everything is indifferent and everything is allowed. Eyes play an important role in the portrait of all those active people of the novel, you can learn the idea of \u200b\u200bheroes, to reveal their mystery. Duni's eyes "Almost black, sparkling, proud and at the same time sometimes, minutes, unusually kind"; Raskolnikova "Beautiful dark eyes", from Sony "wonderful blue eyes."

In the novel "Crime and Punishment", Dostoevsky first showed himself not only as a psychologist, but also as a philosopher, since in the center of the narration - fighting ideas, Fighting good and evil, determining the plot of the novel. The author does not provide direct characteristics of his hero, nor the situation in which it turns out. He makes it possible to read the reader himself in everything. That is why Dostoevsky sought to reproduce the inner life of his hero. On the fore He puts not so much the outside world as the hero's psychology.

The most important means of characteristics in the novel "Crime and Punishment", as in any artistic work, are acts of heroes. But Dostoevsky is more attention to the fact, under the influence of what these actions are made: either the act makes a person who has been led by feeling, or the act is committed under the influence of the character's mind. The actions committed by Raskolnikov are unconsciously generous and noble, whereas under the influence of the mind the hero commits a crime (the crime itself was committed from the mind; the splitters were influenced by a rational idea and wanted to check it in practice). Having come to the house to Marmaladov, the Raskolnikov instinctively left money on the windowsill, but leaving the house, he regretted it. The opposition of feelings and rational spheres is very important for Dostoevsky, who understood the person as a combination of two principles - good, associated with feeling, and evil associated with the mind. The sensual sphere, according to the author, is the initial, divine nature of man. The man himself is a battlefield between God and the Devil.

An important means of internal self-discharge of heroes in the novel is dialogues and monologues. The form of monologues and dialogues is important, since the monologues of Dostoevsky have the form of a dispute of the hero with themselves. He simultaneously expresses opposite points of view on what is happening. Monologists in the novel dialogue, and this is manifested by polyphonism (different points of view per fact), and the dialogues are peculiar. They can be described as monologic, as they represent the argument of the hero with themselves, and not with the interlocutor.

Interesting I. time in Romana. At first it flows slowly, then accelerated, it is stretched at the cautious and stops at the resurrection of Raskolnikov, as if unites the present, the future and the future. The tension of the psychological conflict is aggravated by such a reception as a subjective interpretation of time; It can stop (as, for example, in the scene of the murder of the old woman) or fly with feverish speed, and then in the consciousness of the hero flashes, as in a kaleidoscope, faces, objects, events.

Another feature of the novel - no sequence, logicality in the transmission of feelings, experiencing heroes, which is also determined by their mental condition. Often the author resorts to "visions", including hallucinations, nightmares (Skolkolnikov dreams, Svidrigaylova). All this aggravates the drama of the events taking place, makes the style of the novel hyperbolic.

Materials about the novel F.M. Dostoevsky "Crime and Punishment."

Strong and courageous splitters seeks to master their human nature in the name of obviously false ideas. All his inner life becomes a stubborn fight with himself. In this sense, he prophesies the traditions of Turgenev Bazarov, who, who loved Odintsov, felt the romance in spite of his nihilistic denials. It is not by chance that the Du-Stoolsky welcomed the romance of Turgenev and the tragic figure of the "Restless and Toscant Bazarov (prize-Na of the Great Heart), despite all his nihilism." It should be noted that the crime would never have been implemented, so to speak for purely theoretical reasons, without pressure of life circumstances, without that social impasse, from which it was necessary to find a way out. The writer reveals causal relationships, the multilateral conditionality of the actions of Raskolnikov. First of all, external determinants are depicted, determining the moral and psychological state of the parent and its behavior. Unfortunately (confession of Marmaladov, the tragic fate of the Sonchiki, a letter of his mother about the possibility of a loyal marriage of Dunechka, meeting with an immediate girl on the boulevard) demanded immediate active intervention, which he presented himself as possible in the form of bloody atrocities. External determinants face internal, strictly caused a row with another near the motives arising from the internal density of personality. The theoretical representations of Raskolnikov on the eternal, unchanged laws of nature, according to which people are divided into "ge-roes" and "trees of trembling", and are such in-Rennim motives. Thus, the crime of Ras-Ringland is strictly due to external and internal reasons. But, on the other hand, Dostoevsky manifests the idea that a person has free spirituality, conscience and therefore is capable of providing the "medium", its impacts. The crime of Raskolnikov, in many ways, due to social reasons, covered by ideas, also born under the influence of the socio-historical circumstances of the "transitional era", the writer could not consider the legitimate, the necessary result of the "medium". It is precisely because Raskolnikov, like any other, is certainly obliged to listen to the voice of their conscience, to reckon with the requirements of the moral law, even in the bourgeois society, through the immoral, depraved and defilementing person1. The writer believed that "the criminal can be forgiven, and not op-equity," condemned the theories written in defense of the press-dying as a kind of protest against socially inappropriate. The crime is committed under the influence of external and internal circumstances. But since the person is spiritually free creature, which has the right to choose, he, despite the comprehensive conditionality, is struggling. The secret consciousness of the guilt even more aggravates the inner splitting of the Raskolnikov, who was in the power of the dark attraction, an irresistible desire to reach the "last Cherno-You", "to the abyss". The damned dream was "in Nawazhde" as a result of the revitalization of this funerally consciously living element of evil. That is why Press-stupidity introduced himself to him by the intervening of supernatural forces: "Raskolnikov recently began to be superstitious ... In all of this business, he was always inclined to see some as if strange ... Living in the basements of the unconscious passion for destruction destruction deprives Raskolnikov glimpses of spiritual freedom, makes him his ra-bom. Reality has introduced himself to fantastic-ski mad. The tired, exhausted, accidentally donated on Sennaya Square, he learned that "in the eighth cha-su tomorrow" Alena Ivanovna will remain alone, and her co-resident, the sophisticated sister of Elizabeth Ivanovna, will leave the house. After that, he watched his fate: "He entered himself as sentenced to death. He did not reason about anything and could not argue at all; But with all the creature, she suddenly felt that he had no more freedom of reason, no will and that everything was suddenly decided finally. " The fatal accidents involve him in a crime, "surely he got a shot of clothes into the wheel of the car, and he began to pull it into it." He felt himself by Me-Hanically subordinates and tragically doomed, kaim something blind to the fate. It seemed to him, "as if someone had his hand and pulled him, was not reflected, blindly, with unnatural power, no objective." After confessing, then before Sonya, he said: "By the way, Sonya, this is when I was in the dark, then I was lying around and it seemed to me, this is the devil confused me?" The crime is committed in the state of "indanguage", "Eclipse of the mind and decline of will", automatically, as if the other ("Damn, and not me") led his actions, accompanied by "something like a disease": "He took out the ax at all , I waved it with both hands, hardly feeling, and almost without effort, almost Masha nasfully, lowered around with outer. " These almost mechanical movements are accompanied by an inseparable disgusting of Rodion to what he is doing. It masters the condition of the painful split: one side of his creature overcomes the other. The crime is depicted as the highest moment of moral falling man, perversion of his personality. The killer feels the protest of human nature, he "wanted to quit everything and leave." The second, unforeseen bloody violence over an unrequited Lizavente finally immerses him into a sense of some kind of abundance and despair, he becomes like a radar-noble conductor of evil power. According to Av-Torah's remark, if at that moment Rodion could correctly see and reason, he would "throw everything and immediately would be to declare himself ... From horror only alone and disgust to the fact that he done. The disgust of OSO-benno rose and grew in it with each minute. " Later in his confession, he clarifies Sona: "Did I kill the old woman? I killed myself, not the old woman! This is the case and walked at once, forever ... "The crime is committed according to an articulated theory, which has gained extraordinary power, having met support from a hundred-rone hiding in the depths of the subconscious of passion to destruction. "Nature" overturns "Calculation", faithful as arithmetic. Offering for one death to save one hundred lives, the splitters took only a minor part of values \u200b\u200band could not use them. Individualistic combating society even in the name of high goals leads it to his own denial. The crime begins not from the moment it is done, but from the moment of its origin in the thoughts of man. The most intention of the murder that broke out in the consciousness of Raskolnikov in a restaurant after visiting a disgusting usurist, already infects it with all the egoistic self-affirmation poisons and conflicts with spiritual potential. He failed to defeat the "vague", despite the desperate internal resistance. Until the last minute, he did not believe in his ability to "cross", although "the whole analysis, in the sense of moral permission of the question, was already finished them - the casuistics turned him out like a razor, and he was no longer a conscious objection in himself." "The ugly dream", as the demonic beauty of an in-diamond person, as "pathogenic Trichina", united in Skolnikov and subjugated his will. For Dostoevsky, thought is also a reality when it becomes all-consuming passion. Dosto-Evsky wrote: "The idea worst it and owns them, but ... that he is dominated in him not so much in his head, how much I am embodying it, moving to nature with suffering and concern, and already settled in kind, demanding and immediately apply "Significant to business." In the article "Why do people blow-smiling? "Tolstoy took the way of Raskolnikov to illustrate the provision that all a man's day have their origin in his thoughts. "For Raskolnikov," Tolstoy wrote, "the question of whether he will kill or will not kill the old woman, he decided not when he, having killed one old woman, stood with an ax before the other, and then, when he did not act, but only thought when One of his consciousness worked and in the minds of this occurred a little bit of change. " The mystery of the automatism with which the Raskolnikov went to "the Choir", and consists in human ability to poison false idea and obey her against the protest of the moral feeling. The inevitability of the conceived action is depicted: the Raskolnikov turned out to be in the power of the huge spiritual force, which is called thought. The overheard of the conversation in the car dash that the death of malicious old-stop-shoes can give a hundred lives in return, was the moment of birth of a bloody plan, which became so fatal for Rodion. "This insignificant, the restaurant conversation had an imminent impact on it with further development of the case: as if there was indeed some kind of predestination, an indication ...". Dangerous "arithmetic" became the "Trichina" evil, which disconnected Skolnikov with mankind and ordered him to the greatest suffering. He becomes a soulless machine, a slave of a false idea. Contrary to its moral consciousness and thanks to the falsely directed um and the unconscious stranger, he makes a bloody crime shot in it. "Oh, devils know what the prohibited thought means, for them it is a threshing treasure." Egoistic, evil entrepreneurs to the "self-destruction" in the conditions of viciously organized public environment acquire an extraordinary force, feeding the misconceptions of the mind and becoming all-consuming passion. Dostoevsky shows the Raskolnikov in a state of extreme moral fall, self-destruction, self-denial, in the perspective of "recovery", "self-injury and repentance", finding freedom as its spirituality. With the same inevitability, with which splitters is committing a crime, it comes to WHO Mesidie, self-discovery is deployed. Haldified by all sorts of circumstances, Skolkolnikov Oka-launched a slave "ugly dreams", but, according to the writer, it was obliged to resist her and submit to the highest need expressing transcendent life forces. The writer responded to all the narration of the narrative, showing that the crime is empty is given by moral disease, a false thought, which, becoming passion, makes his carrier by a soulless and submissive machine. The fragmented, praised consciousness and feverish westing of Raskolnikov at the first pores are winning, is given by the instinct of self-preservation (he seeks to knead the trace of the crime, hide things and wallet). Soon after the murder, the division-know-knowing agenda was very excited. But, having learned about the goal of the challenge, he was completely given to the feeling of "full, immediate, purely animal joy", the "celebration of self-preservation" then depicts the steep change of moral and psychological states of the hero: at the police office he experienced a deep human privacy, the final spiritual disconnection with Humanity, the deadly indifference to everything: "The gloomy feeling of tormented, endless privacy and alienation suddenly deliberately affected his soul", "suddenly his heart was empty." This feeling of endless loneliness was so painful to such an extent that she encouraged Skolnikov to self-disabilities. It is acknowledged by a crime of him: "Suddenly came to him: get up now, approach Nicodemus Fomich and tell me all yesterday to the last detail, then go to the apartment with him and specify it things, in the corner, in the hole. The urge was before Silen that he had already got out of place for execution. " A sharp change of psychological states when the animal joy of self-preservation is inferior to the painful feeling of his infinite "Oyneya" among people and desire to admit, not by chance: she expresses the movement of the author's thought. Suddenly, an inner moral punishment came, about which Raskolnikov did not think, rejoicing in a minute before the "salvation from the danger". He felt a prisoner in full loneliness: "Something completely unfamiliar to him, a new, sudden and never experienced,", "whether all his genius brothers and sisters, and not quarterly guards, then, He absolutely no need to turn to them and even in any case of life. " The protest of the spirit of the human nature against the shedding of human blood becomes a "strange and terrible feeling" and does not reach the threshold of consciousness: "And that all the tormentover, it was a more sensation than consciousness than in a nurse." The author's replica is rather a hint than an ethical and philosophical and psychological comment, an analysis of the essence of this "strange sensation." In our opinion, M. M. Bakhtin is mistaken, counting the word of the germy about himself the adequate expression of the most advanced and deep movements of the soul. Subconscious processes cannot find a direct expression in the word Hero, and therefore they become an object of copyright in anticipation and copyright word. The "meaning excess", which, according to Bakhtin, is inherent in only the creators of the "monological novels", it is characteristic and Dostoevsky he sees persistently and the fact that it is somewhat sometimes very sensitive to a character, but not realized to the Konc. Removing the layer behind the layer, the author gets to the depth-nic psyche layers, before the foundation of the person, which in itself is mobile and at the same time sustainable. In the given case, the alarm of the conscience of Raskolnikov stand somewhere at the very threshold of consciousness, at the level of feeling. Many psychologists point out that the feeling is always consciously, and there is an unconscious feeling about the definition itself. So, Freud, defender of the unconscious, says: "After all, the essence of the feeling of Sop Tit is that it is felt, that is, consciousness is known. The possibility of unconsciousness completely disappears, therefore, for feelings, sensations and affects. " All further narration becomes the history of the hero's self-consciousness, the transformation of the painful "strange sensation" into the fact of his consciousness. The word hero about himself can not be to the end of the right knowledge of himself, because in man there is a content that is the property of subsoil. Complex and controversial plexus of conscious and unconscious is the subject of the author's opinion. The internal renaine motifs of the literary hero hiding in the spiritual depth, its impressive treasures and torment are manifested in the external movement of its movements, in gestures, mimic changes, involuntary, unmanaged. The elements of the irrational forces in the human KE, which does not have an adequate expression in the word of Perso-Nazi, breaks through unwittingly in his behavior, incentives and motivations, in the thirst for repentance, entering into a progress with his mind, with theory. Sonya Marmaladova and Rodion of Raskolnikov in the scene of the first date (part of the fourth, chapter fourth) - on the one hand, opponents, and on the other - friends. Here, the confrontation of characters is not mechanical and has organic conflict, involving their proximity and their struggle. Complex relationships of Sony and Skolnikov are expressed in their ideological dispute. There is a clash of various ideological ethical philosophical positions. Sonya defends the religious meaning of life and believes that everything in the world expresses the will of providence that everything is committed in accordance with the highest laws of spiritual life. Split-off the same in question the existence of God and the Lon of individualistic rebellion. Between Sonya and Raskolnikov, there are general unifying starts. Binds them first of all, the non-ability to live in the interests of personal self-preservation and constant openness of the world of universal. Raskolnikov could not be satisfied with small affairs, honest working-that in the spirit of Raulmichina, could not but think about the fate of the cattle and about his responsibility for these fate. So-Nia is literally "unsaturable" compassion for people. They consider their existence only in global correlation. They are associated with a common social fate, as well as the extreme degree of social responsiveness, the conversation to active action for the rescue of perishing people. Connecting Sonya, Raskolnikov leaves relatives, people, morally clean and unfounded thinking about the world, considering themselves not worthy of their love. "I threw my relatives today," he said, - Mother and sister. I will not go to them now. I broke everything there ... I now have one you, "he added. - Let's go together ... I came to you. We are cursed together, together and go! " He felt the inner proximity with Sonya, the "emitting" and at the same time remaining for this side of the "trembling creature" due to his confusion and pain: "You also cut a drink .... able to cross it ... But you don't stand And if you stay alone, you will go crazy like me. You're already as anxious. " Sonya and Raskolnikov are depicted in this scene in complex relationships, mutual influences. In one criticism, these relationships of love and struggle straighten up. He threw his relatives, he is the first one, he needs Sonya, as an ally in the struggle for the exercise of his calling and his MIS-SII. Raskolnikov calls Sonya to leave her faith and go with him on his way, to implement his goals. Sonya should leave Christ, believe in Raskolnikov, make sure of his rightness, try together with him, his means, heal and eradicate the suffering of man-tray. There was no confidence in the truth of its position as a result of internal splitting, spiritual split in himself, underlying the impetus to the moral feeling, which encouraged the "blood of conscience" with his theory. Sonya and Raskolnikov suffer from morally element and "shame". In our literary science, the very unilateral understanding of the "internal person" in Raskolnikov. It is believed that he understands his "shame" only in what remained on this side of the "trembling creature" and did not join the "authority". Of course, he is insulting and suffering pride in thought that he belongs to the lowest breed of people who serves the only one for the origin of themselves. But the inner drama of Skolnikova wears a degree of degree of ethiko-philosophical meaning. It is not by chance that Sonya is not only "transparent", but preserving the "holy feelings" next to the shame. He understands that he drives Sonya, the "emitted", giving himself to others. But it wishes to understand that it preserves morally: "How is such a disgrace and such a lowness in you next to other opposite and bright feelings combined?" Belief in the original, initial, the deep meaning of life saves Sonya and elevates it over the lowness of being, the sad necessity to sell his body and monstrously stain his soul. "All this shame, very clearly, touched it only mechanically; This debauchery has not penetrated any drops in her heart: he saw it; She stood in front of him in front of him ... "" Sonya, like that holy, who, warmed by his body of the league, did not infect himself, did not become vicious. And let them not say and do not write that the morality of Sony is the morality of the Christian, and the more Orthodox, Dogmatic-Skye. Of course, the morality of Sony Marmaladeova is morality is not an Orthodox and not dogmatic, but Christian, who, for Dostoevsky, is universal. In any case, it is undoubtedly: the temper of Sony is connected with her belief that in the world, despite its seeming disharmony, is the highest necessity. Sonya flew faith to the spiritual, i.e., breathtaking, the order of things that, on the thought of the writer, exists simultaneously with natural. It is faith that allows her to live intense spiritual life. The gospel for her book of life, about her sense, about the appointment of a person on earth, a book helping her to be adamant in serving good, sacrificing himself. Not a formal dogmatic storm-on, not church ritual, and the moral doctrine of life, the covenants of Christ, addressed to the life practical tike of people, is what attracts and convinces Sonya, living with hope for higher sorry and reconciliation. After all, Sonya does not justify himself with the logic of obstacles, on the contrary, it is tormented by the thought of a shameful position and considers himself a "dishonest", "great, great sinner", but not at all because it violated the generally accepted everyday morality, but because he has violated Moral law having an absolute general character. Raskolnikov felt that Sonya encompasses the inexhaustible spiritual energy that was pitted inaccessible to him religious conviction. Skeboard-tuitful, he doubted the existence of God, doubted, but did not deny, as our researchers assume. With sharp curiosity, he addresses her with a question: to "- So you are very praying to God, Sonya? He asked her. Sonya was silent, he stood beside her and waited for the answer - Would I be without God? - Quickly, she whispered, she whispered with a glimpse of his eyes suddenly, and firmly gritted his hand to his hand - "Well, so there is!" He thought. - What do God do for it? He asked, you, torturing further. Sonya was long because he could not answer. Sl-Ben's chest was coiled from excitement. - silent! Do not ask! You do not stand! .. - she suddenly screamed, strictly and angry looking at him "so there is! and there is!" - He repeated persistently about himself. "Does everything," she whispered quickly, having filled himself again. "That's the outcome! Here is the explanation of the outcome! "He decided to himself, looking at her with greedy curiosity." The dispute does not lead to a single logical solution. But the "dialectic" of Raskolnikov is defeated by a living sense. The truth is comprehended by them not logically, but intuitively, Pu-those premonitions. " The dialogue is facing the reader not so much logical as an intuitive side. The truth and the strength of the convictions of Sony won, because they are connected with her moral feeling. "Diack-teak" Raskolnikova performed rationalistly wretched, because it is deprived of the main - heartiness. But the inner voice of Skolnikova testifies to his greedy attention to the psychology of a religious man. The question of God for him is the question of an unresolved, causing him. He did not have a convinced and complete atheism, he expressed only doubts about the existence of God: "Yes, maybe, and there is no God at all," the splitters answered with some kind of gloating, laughed and looked at her. " With his skepticism, he wanted to infect sony, but even at that moment he acted only in doubtful: maybe there is no God ... After all, he did not accidentally create a legal theory of crime on conscience. The idea of \u200b\u200bconscience is his constant thought associated with the recognition of the reality of the overseas order of things. The religious enthusiasm of Sony affected the "enthusiastic excitement". With which she, convinced of Christ's divinity, read the parable of the resurrection of Lazarus. "Raskolnikov turned to her and looked at her in the excitement: yes, it is ... She approached the word about the greatest and unheard of miracle, and the feeling of the Great Celebration covered it. Her voice was a call like a metal; Celebration and joy sounded in him and Kreprei. The lines were disturbed in front of her, because in the glasses it was dark, but she knew on the heart that he read. " She was warm and passionately handed over "Ukore and Hulu unbelieving, blind Jews, who are now, in a minute, how the thunder amazed, will fall, buried and take away. .. "Sonya hoped that both Raskolniki, like blind Jews," also blinded and unbelingible, "he will also hear now, he also crashes," "And she trembles from joyful expectation." Sonya sought to infect Raskolnikov his vea to the last truth about life, faith in good and the mainstream of justice. And indeed, for some moment they united by the general feelings of reverence and recognition. Not the logic of evidence, not by the power of the intended theoretical constructions, but by means of creating an emotional atmosphere that contributed to internal contact with some important moral truths for the writer. "The grinding has long exorted in the curve of the candlestick, dimmingly lit by the murderer and the harlot in this beggar room, strangely descended for the reading of the eternal book." Both VPIs are in the same text, but both understand it in different ways. Raskolnikov thinks about the resurrection of all humanity, the final phrase, emphasized by Dostoevsky, - "Then, many of the Jews who came to Mary and who have seen what Jesus created, believed in him," he understands his own way: after all, he is waiting for that hour When people believe in Him, as Jews believed in Jesus as a Messiah. But rafons in this scene performs particularly split, in a crisis state, a breakdown and disadvantage with self-mum. It was the struggle of opposing starts in the Raskolnik himself, hesitation between the arithmetic calculation and the immediate disgust of that evil, which is illuminated by its rational consciousness, and discover its convergence with Sonya. Soclons close to Sona some side of their being, and she is close to him - not only with compassion to the unfortunate, not only the ability to "cross" and "Hands to impose", as familiar to our criticism, but also a hope for the highest, accomplished in World justice. Raskolnikov are not deprived of these hope, which is confirmed primarily by his considerations of "blood on conscience", besides, he came, although not quite consciously, only at the level of feeling and sensation; To direct direct-venal contact with moral bases of life. The protest of moral feeling against violence and destruction is poured into the shape of longing, unsatisfactory and attraction to Sona, as a person who knows the truth. Sonya feels in it this spirituality, with which he fights in itself with extremely limited racio-nylistic positions. No wonder Sonya hopes for the Warning of Raskolnikov, because he feels inner divergent. If the splitters in everything was opposite to Sona, there would be no meaningful obscenities. Of course, he is still not a believing person on Dostoevsky, but his consciousness seems to be treated with the possibility of faith. Like Lazari, Raskolnikov will come to warn, through the love of Sona, it will come up with human-human, through overcoming the cruel contradiction of Cape, and feelings will be connected to the truth, the highest order of things. However, at the time of the first date of the splitters and Sonya are in crisis and are full of despair. "What about what to do?" - This question is standing with them and inexorably requires a response. An irritated by the religious hope of Sony, the Raskolnikov speaks of the practical uselessness of her victim, about the illusiveness of all her hopes for a miracle, without a foul language reminds her of the hospital, about the sadly consequences of her profession,. Raskolnikov realized that Sonya gave herself to the miscarriage, understood "to which monstrous pain I exchering it, and for a long time, the thought of a dishonest and shameful position." Even suicide has become too prosperous outcome, impossible due to pity for helpless children. For the words of Raskolnikova, that it is fair and wisely it would be straight heads into the water and once again, Sonya answered: "And what will happen to them? .. Split-nickname looked at her ... And then he only understood it. that these poor, small children - orphans and this pathetic, half-handed Kate Rina Ivanovna ... "Raskolnikov could not allow a gibe-whether a purest creature capable of living a high do-khovna life and sitting" over the deception, right above Smya Pome. " To the question of Sony "What to do?" Raskolnikov answered even greater despair, which affected the pointed individualistic rebellion. The legend came to the rescue about the "ruler", which, receiving power over the "anthill", strives, to save the "trembling creature," to provide it with satisfaction and takes suffering. A conversation with Sonya is completed by the Napoleonic motive of dominion over people with the aim of placing justice between them: "What to do? Do not understand? After understand ... freedom and power, and the main power! Over all the trement tremble and over all the anthill! .. Here is the goal! Remember this! This is my farewell! " Raskolnikov acts here in the whole, spiritual confusion: from the consciousness of his shame, from the secret hopes to join the spiritual values \u200b\u200bof Sony, he, falling into a greater and greater despair, flashes Sata-Nino pride and faith in his mission of the only, saving world as power propertied. Immersely suffering from social inequality, rafons on the facts of a monstrous insult did not accidentally respond to the philosophy of individualistic on-power. Under the conditions of a decline in the liberation movement in the country, when the first revolutionary situation did not be overwhelmed by an independent historical performance of the folk peasant masses due to the subjective attitudes of political consciousness, the protest of soloers inevitably took the form of the individualistic rebound. At the time of the second date with Sonia Raskolnikov with "Increasing Horror", he is confessed to her in a crime. Sonya responded to this recognition by an explosion of an aggravated compassion. Chero-agitated expression of movements and words The author conveys the spiritual shock of Sony, capable of entering someone else's "I" and merge with him inseparable: "No matter how you remember, she jumped up and breaking his hands, she reached the middle of the room; But quickly retired and sat down again, almost touching his shoulder shoulder. Suddenly, exactly pierced, she shuddered, screamed and rushed, not knowing why, in front of him on Ko-Len. - What are you, what you did it on yourself! - she said desperately and, jumped from his knees, rushed to him on the neck, hugged him and firmly squeezed him with his hands. - No, no more than anything else in the whole world! - she exclaimed, as in a frenzy, and suddenly he cried out In hysterics. " This is an inflated compassion of Sony, acute pity and steel for him by the necessary inner spiritual connection with mankind, without which he was more and more devastated, giving up the feelings of hatred and prosperity to everything: "For a long time, the unfamiliar feeling of the Wolly poured into his soul And since it softened it. He did not resist him: two tears rolled out of his eyes and hung on the eyelashes. " Raskolnikov at this moment; Fits a man. With his love, unprecedented! Devotion Sonya turns it to live spring springs of high human "sensuality", i.e. lively saving heartiness. Peace dry, powered by pride and timewise, i.e., a contemptuous relation to people, "trembling creatures", at least a minute is replaced by an emotional movement, towering it. In the scene of the second date, the Raskolniki continued to argue in an old, gloomily believing in the irresistibility of his logic. At the same time, the "worldview" itself was obsessed with deprived of integrity: on the one hand, high-dimensional contempt for the "Triari trembling", and on the other, the recognition that a person - not to do: "- I just killed, Sonya, useless Naked, malicious. - This is a person who lies! "Why, I know that I don't do," he replied, the countries, but looking at her. " Raskolnikov agreed with Sonya that a person - not to do, probably, in the depths of the soul, he knew the incredit spiritual value behind him. These conflicts of thought are not random from Skolnikov: they feed on an internal painful conflict-volume feeling requires recognition and falls under the rise of satanic pride. With the persistence of mono-man, defending the Napoleonic ideas, the splitters are wider than their theoretical mind. That deep right-yes, which he consciously does not accept, but it does not feel, becomes decisive in his behavior. Sonya saves Raskolnikov "passionate and gloomy sympathy", a feat of high disinterested love: "- Especially suffering! - I broke out the painful cry of Sony. "Well, now what to do, say!" He asked, suddenly lifting his head and looked at her loosely distorted from despair. " Now the Raskolnikov sets the question "What is de hand?", And Sonya is already answering it. She ultimately calls for repentance: "Look now, I'll become a minute at the crossroads, worship, the kiss first Zem-Liu, which you defiled, and then worship the whole world, on all four sides, and tell everyone, out loud:" I killed! " Then God again send you life. " At the same time, the consolation added to him: "Together, after all, suffering from understanding, together and cross it!" With all the arrogance of Raskolnikov, there is no confidence in himself, it is not necessary to turn to Sona as a leader. Of course, Sonya affects the split-kindly non-religious and moral ideas, not argument, not the logic of evidence, but that inner spiritual power that feeds its passionate faith in the ultimate victory of good. He obeys her not mind, but by all the chute of his being. Resisting anybody and defending the truth of Napoleonic theory, in the "gloomy delight" talking about the peculiarity, he meaning unconsciously looking for returning to life, and on this path Sonya and her love become salvation for him. The alarmed conscience of Raskolnikova, remaining at the rust of consciousness, can not have to impact on his views, but manifests itself in all the moments of his beliement, even in this convergence with Sonya, _Cak_named hope for forgiveness. The protest of the spiritual "I" threatens the contradictions in the very ideological position of Raskolnikov. Even before confession in the murder, he somehow tried to psychologically prepare Sonya and justify himself in her eyes with reference to social inequality, the suffering of humiliated and the succeeding of Deltsi of the nudge. He turned to her with a question: "Is it a nuddle to live and make abominations, or to die Katerina Ivanovna?" So-nya understood the individual nature of the question and therefore answered: "And who set me here: who to live, who cannot live? "Skolkolnikov unexpectedly declares for this:" I asked for forgiveness, Sonya ... "In two dates, the solutions of consciousness discovered in two dates. All the behavior of the literary hero in these scenes is determined by the subconscious movement of the moral feeling and the struggle with the arguments of its individualistic mind. During the inner "need," he comes to Sona with the aim of admitting a crime. But "the painful consciousness of his powerlessness before the need," says the author, that is, before the immutableness of moral law, he understands how his human-bored prissthood, belonging to the "trees trembling". He considers himself a coward and a scoundrel, because "he himself did not put on another: suffer and you, I will be easier." He explains Sona: "... if I started to ask myself and interrogate: I have the right to have the power? - That, it became, I have no right to have the power to have ... ". The moral resistance in itself against first conceived, and then, and the co-crumbling murder, he despises and suffers from an offended pride. He experiences a pain of pride with the thought that it turned out to be not at the level of the "Lord": "... Damn I was dragging me, and after that I explained to me that I didn't have the right to walk there, because I was exactly the same like all!". Undoubted spirituality, he is experiencing as his prissthood, a man-desiccity, and hence the conclusion: "Did I killed a hundred times? I killed myself, not an old woman, "" ... I did not kill a man, but I killed the principle! I killed the principle, and I did not cross it out, it remained on this side ... "That is, the Raskolnikov, according to his own understanding, could not bear the line, which separates the heroes from ordinary people. At the call of Sony, "suffering to raise and reapperate themselves" he first answered the denial, because Nadezhda Nap-Napoleon was still essential: "Maybe I still have a person, and did not go and hurried to condemn myself. .. I'll even fight ... "The whole course of reasoning Skolnikov about his weakness first sounded after a dramatic meeting with a motley, looking at him" sinister, gloomy look "and" Quiet, but clear and distinct voice "said:" Clear ! " Morally shocked splitters are given to the flour of offended pride. Inexpressible in the word moral protest in himself he regards as without darity: "How I bold, knowing myself, prefabricating myself, take an ax and bed!" (210). He realized that he did not apply to the category of "lords", freely shed blood for the purposes of the goals. After all, "the real lord, who is all permitted, grows Toulon, makes a massacre in Paris, forgets the army in Egypt, spends half a million people in the Moscow campaign and is separated by Kalambource in Wilna, and he, by death, put idols, and therefore everything is allowed . No, on such people, it is not visible to the body, but bronze! " Raskolnikov himself sincerely and warmly despises for the internal moral suffering: "Eh, aesthetic-skye I am doing, and nothing else, I suddenly plunge, as if persistent." Sony's love, although it became for Raskolnikov, you move out of the painful privacy, exacerbated in it the inside-Rhenna dissonsants, as it bidded to a lot and encouraged him, a murderer, to the opponent's appearance. With the persistence of Monoman Raskolnikov defended their theoretical constructions, concepts, but wider and deeper by "arithmetic settlements," is not exhausted by rationalistic ideas about life, intuitively "knows" about life more and closer approaches the truth that comes into conflict with his consciousness. The most chapter one, the most intimate hero is not available in its entirety, because it is behind the threshold of his considerable thought, maybe at the level of the feeling, but the powerful declares itself and manifests itself in his behavior. This ultimate and indisputable truth and forced us to split-nikov "quietly, with the arrangement, but it is clearly" to admit: "I killed the old woman to the official and sister her a spruce, and robbed." In the image of the dialectical processes of the spiritual life of the hero, the complex combination of a conscious and informed writer very much Skupor enjoys a common psychological commentary commentary, most often limited to a simple state statement. The internal drama of Rodion is depicted in the change of psychological states as reactions to the impact of the outside world and its deep "I", those states that are well-known in a mutual appraisal comparison and express the analytical thought of the author. The whole novel is characterized by the quality of realistic style - the objectivity of the narration, when the character-sch is self-developed with the striking independence from the author, when the author himself is freely given in the internal logic of the selected object. The triumph of realism is expressed in this freedom of self-discharge of other people's points of view without completing the author's assessments and clarifications. "True on a person in other people's lips, who has not converted to him dialogically, that is, the correspondence truth, it becomes a degrading lies degrading and killing him, if it concerns his" Holy Saints "; That is, "man in Checkle". The generalized characteristic is "by the correspondence truth", but also the self-discovery does not reach the goal when the character is given to false ideas, cannot understand it in itself. To the awareness of the moral truth, which the author pre-knows, the Raskolnikov goes through the active social and internal conflict. Behind the literary hero remains the "last word" in the sense that he must independently understand the last truth about life. The novel is the task of self-education of a person through suffering, appeal to universal. There is no happiness in comfort, happiness is bought by suffering. Such is the law of our planet, but this is a direct consciousness ... There is such a great joy that can be paid for years of suffering. Man will not be born for happiness. A person deserves his happiness, and always suffering. There is no injustice, because life knowledge and consciousness ... acquired experience. It was difficult for Skolnikov's path to overcoming spiritual slavery. He had long accused himself for the "absurdity of little bit", for the "unnecessary shame", for a long time suffered by still vaguely proudly, from "lowness and notching" his-her, on the thought that "the first step could not stand." But with the inevitability he comes to a moral self-regiment. It is Sonya primarily reveals his soul and conscience of the people. The word Sony is so effective that it receives support from the hero himself who has fallen in itself the newest content. This content and drew it to overcoming pride, selfish self-assertion. The ultra-personal consciousness of the people opens the Raskolnikov diverse in various ways: here and the rejected Mushes-Nina: "You're a brilliant", and falsely assumed the pre-steps of a young guy, the master, and the orders of Sony repent of the people in the square. The conscience of the people helps him understand the power of the moral law. The struggle of the opposite began in the inner life of the literary hero is given in the future of his future moral revival. The movement is depicted to good through suffering and sincerity, through rapprochement with unfortunate, rejected, crippled. The history of the self-consciousness of Raskolnikova is the struggle of two started: the tempting force of the fall and self-desection and restoration force. Through the abyss of evil, he goes to the consciousness of good, the truth of moral feelings. This is said about this outcomes of Raskolnikov from the state of the spiritual crisis: "They were resurrected by love, the heart of one was the endless sources of life for the heart of the other ... Instead of dialectics, life came, and there was something in consciousness to work out something else." The writer did not take advantage of the form of confessional self-sucking, the most adequate inner truth, the word of a person about Sa-Mom to his own. In this case, this form would have been convicted of the correspondence, the final author's message. The author's concept received a naked logical expression, although in the process of all the narrative she was very thin in the very drawing of the most complicated solutions of Raskolnikov, in its dialogical communication with other characters, in the logic of behavior, in the evaluation comparisons of its various mental states . The thought of the writer about the danger of the "arithmetic", rationalistic attitude towards life, about the necessary life-quality experience of life as love the main moral pathos of the novel. Having created the tragic type of "Nihilista" Raskolnikov, the poor student is reflecting on the global problems of socially salvation of humiliated and disadvantaged and infected with those anarcho-individualistic psycho-logistics, Dostoevsky strongly rejects the idea of \u200b\u200ba polynicular struggle for changing social acts, Proves the need for moral regeneration of people, admonish them to the patriarchal world-contemplation of the people. The internal conflict in the novel of Dostoevsky acquires even more acute character: a rationalistic attitude to life in the light of the created theory of "superman" comes into a screaming contradiction with the nature of a person, or rather, with its moral feeling, with his spiritual "I". Overcoming disconnection with humanity through a meeting with the people, Raskolnikov, like the Tolstsky Ge-Roy, comes to recognizing life as love and Sostra-Denmark. Dostoevsky leads his hero to a deeper experience and understanding of life through rapprochement with the people. Raskolnikov comes to "humility to the people's truth". The position of Dostoevsky can be expressed by Hegel's words: "The fact that a person can call his own" I ", which is waiting for a coffin and the drainage and itself determines the reward that it is worthy, maybe to create a trial itself, - it acts in As a mind, whose laws are no longer dependent on, whose criterion of the court is not subject to any authorities, earthly or heavens. " The person in itself finds the decision, the use of the ultimate goal of the existence given to him before birth. Certificate of conscience, according to Dostoevsky's thought, and there is a moral law of life, generally binding and transcendent in its meaning. The law of freedom and there is the law to which the person obeys voluntarily It is from the standpoint of the recognition of the morality of the fraternal union of a person with a person, from the standpoint of recognition of the evil of the egoistic, individualistic separation of people, Dostoevsky decided in the problem of the positive hero called ro-manans, which is in many ways approaching the norm of moral perfection, but almost never merges her. Condequently the individualist Bunkolnikov, the writer turned to all the subsequent generations, immortalized his novel. The purpose of our abstract is to understand the lessons of Dostoevsky, an introduction to high moral values.

Literature.

Yu.V. Lebedev. Literature. Study Guide for secondary school students. -M., "Education.", 1994. GB Kurland. The moral ideal of Heroes L.N. Tolstoy and F.M. Dostoevsky. - M., "Enlightenment". 1988. K.i Tunkin. Rodion Rodion Raskolnikova // Dostoevsky F.M. Crime and Punishment. - M., 1966. V.Ya. Kirpyotin. Disappointment and collapse of Rodion Raskolnikov. -M., 1970.

Mind or feeling? What to choose leadership to action? Until recently, I believed that only the mind would help when solving any life problems. After all, the mind is even more than the mind. This is the mind that became wisdom. Nevertheless, doubts are overcome me. I will try to show what they are based on.

In the last academic year, I met the work of F.M. Dostoevsky. The main hero of the novel "Crime and Punishment", Rodion Raskolnikov, was punished for a crime (killing of the old-year-old age) suffering from the soul and Katoroga. Even at the cautor, no one except Sony loved him. Why? With him there were criminals, they also committed bad things, but most likely it happened for some life reasons (illness, hopeless position, revenge, stupidity, etc.). He crossed the threshold of morality, believing in the theory from the immature mind, without any reason. At that time, Rodion is absorbed by an explained reason: I wanted to check the "Creature whether he trembled, or the right". There was a monstrous crime committed by the egoist. And what at least somehow returns him to life? Divine, high-level feeling - mutual love. Fortunately, he was loved by the Sonechka Marmaladov. She is also not without sin. But the sin of Sony batches its help by unhappy native people. Sonya is guided in life rather a sense of love, self-sacrifice than reason.

After studying the life of Leo, Nikolayevich Tolstoy and reading "War and Peace", I was established in the thoughts that feelings (I mean the feelings of an highly moral person) is more important reason, they are not supplied. But it is not easy to become a person with high moralism. It is necessary all my life like L.N. Tolstoy, fight with its shortcomings. This writer told us in the story "Childhood, adolescence, youth." Favorite literary heroes of Roman-epic "War and Peace" (especially Natasha Rostov, Plato Karatayev) live not so much as the mind how much heart. So Natasha is sometimes mistaken in humans, but more often still chooses himself as a friend of the kindest "Pierre", the noblen "Andreev Bolkonsky", sacrificial "Sonyes". Plato Karatayev, on the solid belief of Lion Tolstoy, is an example for the life of every person. He is the entire weave of love for people. Lives simply and clearly: "Loe - curled, got up - shakeped." And the writer himself sought to be such as Plato Karataev.

Thus, examples from the golden century of Russian literature convincingly prove that feelings have an advantage over the mind. I understand and share such an opinion. But still, it seems to me that the mind can also be denyed. (358 words)