Raskolnikov's doubles in the novel Crime and Punishment. Lesson-research "Twins and antipodes of Rodion Raskolnikov in the novel by F.M.

Many researchers, in particular M. Bakhtin, noted that in the center of any of Dostoevsky's novels, constituting its compositional basis, is the life of the idea and the character - the bearer of this idea. So, in the center of the novel "Crime and Punishment" - Raskolnikov and his "Napoleonic" theory of dividing people into two categories and the right of a strong personality to disregard laws, legal and ethical, in order to achieve their goal. The writer shows us the origin of this idea in the mind of the character, its implementation, gradual elimination and final collapse. Therefore, the entire system of images of the novel is built in such a way as to comprehensively outline Raskolnikov's thought, to show it not only in an abstract form, but also, so to speak, in practical refraction and at the same time to convince the reader of its inconsistency. As a result, the central characters of the novel are interesting to us not only in themselves, but also in their unconditional correlation with Raskolnikov - just as with the embodied existence of an idea. Raskolnikov is, in this sense, a common denominator for all characters. A natural compositional device with such an idea is the creation of spiritual doubles and antipodes of the protagonist, designed to show the fatality of the theory - to show both the reader and the hero himself.
Raskolnikov's spiritual counterparts are Luzhin and Svidrigailov. The role of the first is the intellectual decline of Raskolnikov's idea, such a decline that will turn out to be morally unbearable for the hero. The role of the second is to convince the reader that Raskolnikov's idea leads to a spiritual dead end, to the spiritual death of the individual.
Luzhin is a middle-class entrepreneur, a rich "little man" who really wants to become a "big" man, to turn from a slave into a master of life. This is the roots of his "Napoleonism", but how similar they are to the social roots of the Raskolnikov idea, its pathos of the social protest of the oppressed individual in the world of the humiliated and insulted! After all, Raskolnikov is a poor student who also wants to rise above his social condition. But it is much more important for him to see himself as a person who is superior to society in moral and intellectual terms, despite his social position. This is how the theory of two discharges appears; both the one and the other can only check their belonging to the highest category. Thus, Raskolnikov and Luzhin coincide precisely in the desire to rise above the position assigned to them by the laws of social life, and thereby rise above people. Raskolnikov arrogates to himself the right to kill the usurer, and Luzhin - to destroy Sonya, since they both proceed from the wrong premise that they are better than other people, in particular those who become their victims. Only the understanding of the problem itself and Luzhin's methods are much more vulgar than that of Raskolnikov. But this is the only difference between them. Luzhin vulgarizes, and thereby discredits the theory of "reasonable egoism." In his opinion, it is better to wish good for oneself than for others, one must strive for this good by any means, and everyone must do the same - then, having achieved each of his own good, people will form a happy society. And it turns out that Dunechka Luzhin “helps” out of the best intentions, considering his behavior to be impeccable. But Luzhin's behavior and his whole figure are so vulgar that he becomes not only a double, but also an antipode of Raskolnikov.
His sister also becomes an antipode and to some extent a double of Raskolnikov. She does not consider herself a being of a higher rank than her brother, and Raskolnikov, making a sacrifice, it is in this that he feels his superiority over those for whom he sacrifices himself. Dunechka, on the contrary, not only does not consider herself superior to her brother - she recognizes him as a being of a higher kind. Raskolnikov understands this well, which is why he so decisively rejects the sacrifice of his sister. In their attitude to people, Dunya and her brother are antipodes. Even Svidrigailova Dunya does not consider herself inferior; she overcomes this temptation, being unable to shoot at a person, for she sees a person in Svidrigailov. Raskolnikov is ready to see a person only in himself.
The attitude towards other people and towards oneself is the spiral along which Dostoevsky unfolds the action of his novel. Raskolnikov is able not to see a person in his neighbor, Svidrigailov is not able to see a person in anyone. So Raskolnikov's idea is taken to the limit, to the point of absurdity. Raskolnikov wants to feel like a person for whom morality does not exist at all in the world. He is convinced that there is nothing wrong with adultery, or corrupting a young girl, or eavesdropping on other people's conversations in order to use them in their own interests, blackmailing victims. In response to Raskolnikov's indignation over the overheard confession, Svidrigailov reasonably remarks that if it is possible to “peel old women with anything on the head,” why shouldn't you eavesdrop? Raskolnikov has nothing to object to this. And Svidrigailov becomes for Raskolnikoz some kind of embodiment of the dark principles of the world, in which there are no moral prohibitions. But for some reason he is attracted to this dark beginning. Dostoevsky says that Svidrigailov somehow attracted Raskolnikov. And Raskolnikov goes to him, not even realizing why. But the words of Svidrigailov that all eternity is some kind of dusty bathhouse with spiders shocked the hero, since he could very clearly imagine the logical end of the path that Svidrigailov had so expressively characterized by killing the old woman. After such a moral disintegration of the soul, no rebirth of a person is possible. After that, only suicide is possible. Dunya, throwing away the pistol, recognized Svidrigailov as a person - he does not see a person in himself.
In horror, Raskolnikov leaves Svidrigailov. He, having stepped on the path of evil, is unable to follow this path to the end. After the last conversation with Svidrigailov, Raskolnikov will go to Sonechka again. In the eyes of Raskolnikov, she is brought closer to him by the fact that she “also crossed the line”, and he does not yet understand how different is what each of them was able to cross, or rather, why each of them did it. Sonya Marmeladova embodies a bright beginning in the novel. She feels guilty and realizes her own sinfulness, but she sinned to save the lives of her little brothers and sisters. "Sonechka, eternal Sonechka Marmeladova!" - Raskolnikov exclaimed, having learned about the alleged wedding of his sister and Luzhin. He perfectly feels and understands the similarity of the motives that govern the actions of these women. From the very beginning, Sonya personifies the victim in the novel, which is why Raskolnikov tells her about his crime. And she, who justified and pitied Katerina Ivanovna, her drunken father, is ready to forgive and understand Raskolnikov - she saw a man in the killer. "What have you done to yourself!" she says in response to his confession. For Sonya, Raskolnikov, having attempted the life of another person, raised his hand against the person in himself, against the person in general.
In Dostoevsky's novel, everything is closely connected, intertwined with each other. At the time of death from an ax on the feeble-minded Lizaveta was Sonechkin's cross. Raskolnikov wanted to kill only one usurer, because he considered her life harmful to those around him, but he was forced to kill her sister, and by raising his hand against the Li-covenant, he thereby lifted her up to Sonechka and, ultimately, to himself. “I didn’t kill the old woman, I killed myself!” - exclaims Raskolnikov in anguish. And Sonya, who forgives Ras-Kolnikov the man, does not forgive his destructive idea. Only in the rejection of "this damned dream" does she see the possibility of resurrecting Raskolnikov's soul. Sonya calls him to repentance, she reads him the famous Gospel episode about the resurrection of Lazarus, expecting a spiritual response. But Raskolnikov's soul is not yet ready for this, he has not yet outlived his idea in himself. Far from immediately Raskolnikov realized that Sonya was right, only in hard labor this realization came to him, only then he could truly repent, and his repentance becomes the last statement of Sonya's rightness, while Raskolnikov's idea turns out to be completely destroyed.
Thus, by bringing all the characters of the novel into correlation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory, born of the unjust world itself.

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UMK used: General educational institutions program. Literature 5-11 grades edited by V.Ya. Korovina Moscow, "Education", 2005.

Textbook "Russian literature of the XIX century" (Moscow "Enlightenment")

Equipment: computer, screen, projector, computer presentation, graphics, handouts, reference notes.

Goals: to consolidate the basic knowledge, skills, skills of the analysis of a work of art;

• find out who the “doubles” and “antipodes” of Rodion Raskolnikov are and how they help to reveal the character of the protagonist;
• to bring to the understanding of the main conflict of the novel - the conflict between Raskolnikov and the world he denies;
• to expand the students' understanding of the heroes of the novel;
• to achieve an understanding that the world in which Dostoevsky's heroes live is the world of “the lost and the perishing”;
• to cultivate such spiritual and moral qualities as a feeling of compassion for the “humiliated and insulted”, mercy;
• develop students' critical thinking, interest in research work.

Tasks:

1. Analyze the theories presented in the novel.
2. To form, on the basis of literary material, the philosophical meaning of the theory of a superman, a strong personality.
3. To develop the ability of students to conceptual logical thinking, the development of such qualities of thinking as evidence of reasoning.

What am I to blame for them? ..
They themselves harass millions of people,
and even revered as a virtue.
Rodion Raskolnikov.

During the classes

1. Introductory speech of the teacher(Slides 1-4):

- So, we know the protagonist well, we know the moral and philosophical principles on which Raskolnikov relied when creating his theory. Many researchers, in particular M. Bakhtin, noted that in the center of any of Dostoevsky's novels, constituting its compositional basis, is the life of the idea and the character - the bearer of this idea. So, in the center of the novel "Crime and Punishment" - Raskolnikov and his "Napoleonic" theory about dividing people into two categories and about the right of a strong personality to disregard laws, legal and ethical, in order to achieve their goal. The writer shows us the origin of this idea in the mind of the character, its implementation, gradual elimination and final collapse. Therefore, the entire system of images of the novel is built in such a way as to comprehensively outline Raskolnikov's thought, to show it not only in an abstract form, but also, so to speak, in practical refraction and at the same time to convince the reader of its inconsistency. As a result, the central characters of the novel are interesting to us not only in themselves, but also in their unconditional correlation with Raskolnikov - just as with the embodied existence of an idea. Raskolnikov is, in this sense, a common denominator for all characters. A natural compositional device with such an idea is the creation of spiritual doubles and antipodes of the protagonist, designed to show the fatality of the theory - to show both the reader and the hero himself. The peculiarity of the construction of an artistic image in Dostoevsky, according to the thesis of M.M.Bakhtin, is that the hero is not an object of the author's consciousness, but a subject with an independent outlook, and, therefore, the system of characters is a system of consciousnesses that unfold in contact.

The author surrounds Raskolnikov with people who vary in their minds certain thoughts of the protagonist, while the negative elements of his “theory” reflect the so-called “doubles”, and the positive ones - the antipodes.

- Who can be attributed to the first group?
- The spiritual counterparts of Raskolnikov are Luzhin, Lebezyatnikov, Svidrigailov.
- Prove it.

2. Study of "twins":

- Who is Luzhin? What do we know about him? (Slide 5)
- Raskolnikov claims that Luzhin's views are close to his theory (“but bring to the consequences that you preached just now, and it will turn out that people can be cut ...,” Do you agree with him? (1. 2, ch. 5)
- What reasoning from the mother's letter about Luzhin attracted Raskolnikov's special attention? What thoughts and feelings do they give rise to in Raskolnikov, why?
- What impression do you have of Luzhin after reading the letter to his mother?

(“Clever and, it seems, kind”, “he decided to take an honest girl, but without a dowry and certainly one who had already experienced a plight”, and “a husband should not owe anything to his wife, and it is much better if the wife considers her husband to be his benefactor ”.

Raskolnikov's reasoning about Luzhin's “kindness”, admitting that “the bride and the mother of the peasant are contracting, in a cart, covered with matting! Nothing! Only ninety versts ... ”reinforce the impression about Luzhin, as of a callous, dry, indifferent, calculating person, awakening a feeling of hostility towards this hero.)

- The impression of Luzhin is compounded by the analysis of the scene. “Explanations” between him and Dunya. Compare the behavior of Luzhin and Dunya in the scene of their explanation. What thoughts does this comparison give rise to in you?

(Luzhin's behavior in this scene reveals his petty, selfish, low soul, lack of sincerity, true love and respect for his bride, his willingness to offend and humiliate Dunya. impartially: “... if a brother is to blame, then he must and will ask you for forgiveness,” respect for the person who has been given the “great promise”, pride and self-esteem).

"What did Luzhin appreciate above all in life? And why did he annoy the break with Dunya?"

(“More than anything in the world he loved and appreciated his money earned by labor and all kinds of means: they equated him with everything that was higher than him. Luzhin was irritated by the break with Dunya because it destroyed his dream of a being who“ would be slavishly grateful to him all his life ... and he will have unlimited ... dominion "....)

- Luzhin cannot come to terms with this and makes a decision, which, in his opinion, could return Dunya. How did Luzhin carry out his decision? (Scene with Sonya at the Marmeladovs' wake.)

(Luzhin, in order to achieve his egoistic goal, “for himself alone,” is ready to “transcend all obstacles,” lives by the principle “everything is allowed.” In this, his theory is close to that of Raskolnikov. The only god for Luzhin is money.

Remorse and compassion are unfamiliar to him. We see in him the absence of deep human feelings, vanity, heartlessness, bordering on meanness. And we hear Dostoevsky's thought about the inhumanity of selfish self-assertion at the expense of others.)

- In what ways are Raskolnikov and Luzhin similar and different?

- Luzhin absorbs the theory of "reasonable egoism", which underlies Raskolnikov's "arithmetic" constructions. Being an adherent of "economic truth", this bourgeois businessman very rationally rejects sacrifice for the common good, asserts the uselessness of "single generosity" and believes that concern for one's own welfare is also concern for "general prosperity." In Luzhin's calculations, the intonations of Raskolnikov's voice are quite perceptible, who, like his double, is not satisfied with “single” and not decisive help in general (in this case, his family). Both of them “rationally” find a victim to achieve their goals and at the same time theoretically substantiate their choice: a worthless old woman. As Raskolnikov believes, he will die anyway, and the fallen Sonya, according to Luzhin, will still steal sooner or later. True, Luzhin's idea freezes at the point of reasoning and does not lead him to the ax, while Raskolnikov, who has gone this way in reality, easily completes the building to the foundation of the concept of his double: cut".

Borrowing the rationalistic foundations of Raskolnikov's theory, Luzhin turns them into an ideological justification for his predatory aspirations. Just like the main character of the novel, he reserves the right to decide the fate of another person, for example, Sonya, but clears Raskolnikov's “arithmetic” of active compassion and ultimately altruistic orientation.

- How do Raskolnikov and Luzhin coincide?
- Luzhin is a middle-class entrepreneur, a rich "little man" who really wants to become a "big man", to turn from a slave into a master of life. This is the roots of his "Napoleonism", but how similar they are to the social roots of the Raskolnikov idea, its pathos of the social protest of the oppressed individual in the world of the humiliated and insulted! After all, Raskolnikov is a poor student who also wants to rise above his social condition. But it is much more important for him to see himself as a person who is superior to society in moral and intellectual terms, despite his social position. This is how the theory of two discharges appears; both the one and the other can only check their belonging to the highest category. Thus, Raskolnikov and Luzhin coincide precisely in the desire to rise above the position assigned to them by the laws of social life, and thereby rise above people. Raskolnikov arrogates to himself the right to kill the usurer, and Luzhin - to destroy Sonya, since they both proceed from the wrong premise that they are better than other people, in particular those who become their victims. Only the understanding of the problem itself and Luzhin's methods are much more vulgar than that of Raskolnikov. But this is the only difference between them. Luzhin vulgarizes, and thereby discredits the theory of "reasonable egoism." In his opinion, it is better to wish good for oneself than for others, one must strive for this good by any means, and everyone must do the same - then, having achieved each of his own good, people will form a happy society. And it turns out that Dunechka Luzhin “helps” out of the best intentions, considering his behavior to be impeccable. But Luzhin's behavior and his whole figure are so vulgar that he becomes not only a double, but also an antipode of Raskolnikov.
- Lebeziatnikov ... .. What can you say about him? (Slide 6)

The next double, the “progressist” Lebezyatnikov, in his life attitude varies the nihilistic attitude of Raskolnikov to the existing world order, moral and social foundations. Enthusiastically speaking out against such "prejudices" as "chastity and female modesty", calling for the creation of communes, advocating the destruction of marriage bonds, Lebezyatnikov emasculates and disfigures the ideas of the revolutionary democratic movement, the meaning of which he reduces to "overwhelming with protest." Russian life: “We went further in our convictions. We deny more! ” Raskolnikov's rebellious element, rebelling against the unjust organization of the world, turns in Lebezyatnikov into a sparse stream of meaningless and vulgar denials. As a caricatured shadow, this double is attached to the main character, who wants to “take everything by the tail and shake it off to hell”. The cult of protest, which in Lebezyatnikov takes the form of militant stupidity, compromises the rebellious path chosen by Raskolnikov for rebuilding the world, in which he sees the possibility of self-assertion.

Self-aggrandizement and the need to test oneself by murder - these secret aspirations of the protagonist's personality are debunked in contact from the outside with the life attitudes of the miserable "heirs" of his thought and in his painful statement. own inconsistency ("louse", "trembling creature").

- The results of the experiment carried out on himself, which destroyed Raskolnikov's illusions about himself as an “extraordinary” person, did not, nevertheless, shake the powerful walls of the theory that pushed him to a crime. Disappointed in himself, he does not renounce her. But in the mind of the reader, the ideas firmly built by Raskolnikov turn into ruins, thanks to the dark shadow of the third double.

- It is not by chance that Svidrigailov appears at the stage of the great interpenetration of worlds after his two predecessors, who, having pulled apart separate parts of a self-sufficient idea, were able, due to their insignificance, to split its core. For this, an extraordinary personality was needed, “breaking out” from a number of “ordinary” people, establishing the right to permissiveness (“Svidrigailov is a mystery,” Raskolnikov thinks about him).

- Who is Svidrigailov? How is it characterized by the first information in the novel? (Slides 7, 8)

(The first information in the novel about Svidrigailov characterizes him ... as a villain, a libertine. They say that he was involved in the case of "murder", was guilty of the suicide of the serf lackey Philip, that he brutally insulted the girl, poisoned his wife Marfa Petrovna, that he was a cheat, but no At the same time, throughout the novel, he does a number of good deeds: he saved Dunya from shame, restored her good name, wants to help Dunya get rid of Luzhin, and took over the fate of the orphaned Marmeladov family. )

- By nature he has a conscience, but he does good and evil out of boredom. This is a person with no convictions and no activity. A real person, however, cannot live without convictions and activities. Svidrigailov realized this and executed himself, having lost his "last goal - to achieve the location of Dunya.) This hero goes the farthest: stepping over other people's lives, he steps over his own conscience, that is, he fully corresponds to Raskolnikov's idea of ​​strong personalities. But instead of from his point of view, the triumph of the idea in the dislocated world of Svidrigailov, it suffers a complete collapse. "Arithmetic", according to which one can kill one "harmful" old woman, and then, having done a hundred good deeds, atone for this sin, is refuted by Svidrigailov's "experiments": on his account there are more good deeds than all other heroes of the novel, but, firstly, the good done by him can in no way justify the crimes of the past, and, secondly, it is not capable of reviving his sick soul. conscience is eventually released and bursts into the realm of the conscious, giving rise to suffocating nightmares in which reality and unreality fantastically continue in each other and coalesce in e another continuous hallucination. Svidrigailov is the chosen one who “crossed” and “crossed” more than once, and without moral torment (here he is, Raskolnikov's ideal!), But at the same time did not become Napoleon. The life outcome of Svidrigailov is not only his suicide, but also the death of Raskolnikov's idea, revealing the monstrous self-deception of the protagonist.

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

(We see Svidrigailov as a person devoid of all moral principles, who does not recognize any moral prohibitions; he lives by the principle of “everything is allowed.” Raskolnikov, allowing himself “blood according to conscience,” also denies the moral responsibility of a strong person for his actions; moral standards, according to him opinion, exist only for the lower category of people - “trembling creatures.” The truth to which Raskolnikov came as a result of long reflections, Luzhin and Svidrigailov use as a guide to action.)

- What is the meaning of comparing Raskolnikov with Luzhin and Svidrigailov? Your versions.

- When you compare these images, it becomes clear that Luzhin and Svidrigailov are alive, in general, according to Raskolnikov's theory. He, communicating with the "powerful of this world", cannot accept their life, although he tries to rank himself among the "powerful of this world"; people who live according to his "theory" are unpleasant to him. This juxtaposition subverts the theoretician's hero and elevates man in him.

- All - Raskolnikov, Luzhin, Svidrigailov - have the inhumanity of individualism, selfish self-assertion at the expense of others. Pushing these heroes, the author refutes the theory of Raskolnikov, reveals its inhuman, inhuman essence. At the same time, Raskolnikov's attitude towards Luzhin and Svidrigailov convinces him that he is disgusted with “the powerful of this world, he cannot accept the world of people who do not live according to his theory. This is the strength of Raskolnikov and what raises him above the "powerful of this world."

- Who is the antipode of Raskolnikov? (Slide 10)

- His sister also becomes an antipode and to some extent a double of Raskolnikov. She does not consider herself a creature of a higher rank than her brother, and Raskolnikov, making a sacrifice, it is in this that he feels his superiority over those for whom he sacrifices himself. Dunechka, on the contrary, not only does not consider herself superior to her brother - she recognizes him as a being of a higher kind. Raskolnikov understands this well, which is why he so decisively rejects the sacrifice of his sister. In their attitude to people, Dunya and her brother are antipodes. Even Svidrigailova Dunya does not consider herself inferior; she overcomes this temptation, being unable to shoot at a person, for she sees a person in Svidrigailov. Raskolnikov is ready to see a person only in himself.

- This is how Raskolnikov's satellites appear in the space of the novel: revolving around him, they reflect and refract in themselves the cataclysms of his world, their interaction creates a negative atmosphere around the central hero. However, the phenomenon of Raskolnikov's personality is a much redundant system of his twins and is by no means exhausted only by it. Raskolnikov's voice resonates in a space filled not only with the minds of doubles, but also with the minds of their ideological antagonists, in the role of which are Razumikhin, Porfiry Petrovich and Sonya Marmeladova. (Slide 11-16)

These heroes are usually called Raskolnikov's antipodes, but this definition requires clarification. They not only deny the willfulness and individualism that lead Raskolnikov to crime, but also continue the “messianic” principles of his ideas. Consequently, these characters are opposed not so much to Raskolnikov, with whom they have points of contact, as to his counterparts. Here are some proofs.

Raskolnikov, risking his life, saves children from the fire; as a student in distress, supports the sick father of a deceased friend; twice leaves the last money to the Marmeladovs. Aren't all these actions on a par with the actions of the altruist Razumikhin? ... Raskolnikov denies the “Napoleons” the right to grumble against the existing world order - Porfiry Petrovich also opposes the revolt. Having committed a crime, the hero cannot overstep his conscience, and in this he draws closer to Sonya, who is forced to trade in her body, but not her soul. And if Svidrigailov claims to be “related” With Raskolnikov (“We are of the same field of berries”), then Raskolnikov and Sonya are going to go “along the same road” (“We are cursed together, and we will go together”). This is how a gallery of lightened reflections of the protagonist is built. It is interesting that the number of twins and their “shape-shifters” (antipodes) is the same. This suggests that there are connections between them.

Having isolated the components of Raskolnikov's idea, reflected in the minds of twins and antipodes, it is possible to represent the system of images of heroes in the form of three pairs. Moreover, in each of them, the central place will be occupied by that part of Raskolnikov's idea, which combines certain opposite principles. (Slide 11)

- What is the significance of the image system? (Slide 17-19)

- As a result, the system of images is divided into three rows with negative (Luzhin, Lebezyatnikov, Svidrigailov) and positive (Razumikhin, Porfiry Petrovich, Sonya) subsystems. The antagonist heroes enter into a dialogue through the consciousness of Raskolnikov, while “he can go beyond the world of the protagonist, be realized in the direct contact of a double and an antipode. Raskolnikov with a desire to stop the fall of the newly deceived girl, to do a specific, even if “single”, and not “universal” benefit (Razumikhinsky principle). Dostoevsky also projects outside - onto the system of images, confronting the carriers of these principles in direct communication: Razumikhin is emotionally (in dispute) and practically (in life) opposed to Luzhin's calculations about “whole caftans”.

Through the consciousness of Raskolnikov, as through a transparent door, the heroes can look into each other.

Output:

- Raskolnikov, a conscientious and noble man, cannot cause only hostility in the reader, the attitude towards him is complex (Dostoevsky rarely finds an unambiguous assessment), but the writer's verdict is merciless: no one has the right to commit a crime! Rodion Raskolnikov comes to this conclusion for a long time and hard, and Dostoevsky leads him, confronting various people and ideas. The entire harmonious and logical system of images in the novel is subordinated to this very goal. While showing the inhumanity of bourgeois society and its structure, Dostoevsky still did not see in it the reasons for the "disintegration of the connection of times." The writer is looking for answers to the "damned" questions not around a person, but inside him. And this is the distinguishing feature of Dostoevsky the psychologist.

Homework.

1. Retelling: Part 3, Chapter 5 (the first meeting of Raskolnikov with Porfiry Petrovich),
Part 4, Ch. 5 (second meeting with the investigator),
Part 3, Ch. 6 (reflections after meeting with a tradesman),
Part 4, Ch. 7 (conversation with Dunya about the crime), epilogue.

3. Answer the questions:
- Does Raskolnikov repent of his crime? What does he reproach himself with?
- Why is Porfiry Petrovich sure that Raskolnikov will make a “confession”?

4. Brief retelling of episodes: the first day of Raskolnikov after the murder.

(part 2, chapter I-2);
wandering around St. Petersburg on the first day after illness (part 2, chapter 6);
conversation with mother and Dunya (part 3, chapter 3).

5. Answer the question: why did the hero make a “confession”?

Presentation.

Appendix 2. Self-help cards.

Many researchers, in particular M. Bakhtin, noted that in the center of any of Dostoevsky's novels, constituting its compositional basis, is the life of the idea and the character - the bearer of this idea. So, in the center of the novel "Crime and Punishment" - Raskolnikov and his "Napoleonic" theory of dividing people into two categories and the right of a strong personality to disregard laws, legal and ethical, in order to achieve their goal. The writer shows us the origin of this idea in the mind of the character, its implementation, gradual elimination and final collapse. Therefore, the entire system of images of the novel is built in such a way as to comprehensively outline Raskolnikov's thought, to show it not only in an abstract form, but also, so to speak, in practical refraction and at the same time to convince the reader of its inconsistency. As a result, the central characters of the novel are interesting to us not only in themselves, but also in their unconditional correlation with Raskolyshkov - just as with the embodied existence of an idea. Raskolnikov is, in this sense, a common denominator for all characters. A natural compositional device with such an idea is the creation of spiritual doubles and antipodes of the protagonist, designed to show the fatality of the theory - to show both the reader and the hero himself.

Raskolnikov's spiritual counterparts are Luzhin and Svidrigailov. The role of the first is the intellectual decline of Raskolnikov's idea, such a decline that will turn out to be morally unbearable for the hero. The role of the second is to convince the reader that Raskolnikov's idea leads to a spiritual dead end, to the spiritual death of the individual.

Luzhin is a middle-class entrepreneur, a rich "little man" who really wants to become a "big" man, to turn from a slave into a master of life. This is the roots of his "Napoleonism", but how similar they are to the social roots of Ras-Kolnikov's idea, its pathos of social protest of the oppressed personality in the world of the humiliated and insulted! After all, Raskolnikov is a poor student who also wants to rise above his social condition. But it is much more important for him to see himself as a person who is superior to society in moral and intellectual terms, despite his social position. This is how the theory of two discharges appears; both the one and the other can only check their belonging to the highest category. Thus, Raskolnikov and Luzhin coincide precisely in the desire to rise above the position assigned to them by the laws of social life, and. thereby to rise above people. Raskolnikov arrogates to himself the right to kill the usurer, and Luzhin - to destroy Sonya, since they both proceed from the wrong premise that they are better than other people, in particular those who become their victims. Only the understanding of the problem itself and Luzhin's methods are much more vulgar than that of Raskolnikov. But this is the only difference between them. Luzhin vulgarizes, and thereby discredits the theory of "reasonable egoism." In his opinion, it is better to wish good for oneself than for others, one must strive for this good by any means, and everyone must do the same - then, having achieved each of his own good, people will form a happy society. And it turns out that Dunechka Luzhin “helps” out of the best intentions, considering his behavior to be impeccable. But Luzhin's behavior, and his whole figure, is so vulgar that he becomes not only a double, but also an antipode of Raskolnikov.

His sister also becomes an antipode and to some extent a double of Raskolnikov. She does not consider herself a being of a higher rank than her brother, and Raskolnikov, making a sacrifice, it is in this that he feels his superiority over those for whom he sacrifices himself. Dunechka, on the contrary, not only does not consider herself superior to her brother - she recognizes him as a being of a higher kind. Raskolnikov understands this well, which is why he so decisively rejects the sacrifice of his sister. In their attitude to people, Dunya and her brother are antipodes. Even Svidrigailova Dunya does not consider herself inferior; she overcomes this temptation, being unable to shoot at a person, for she sees a person in Svidrigailov. Raskolnikov is ready to see a person only in himself.

The attitude towards other people and towards oneself is the spiral along which Dostoevsky unfolds the action of his novel. Raskolnikov is able not to see a person in his neighbor, Svidrigailov is not able to see a person in anyone. So Raskolnikov's idea is taken to the limit, to the point of absurdity. Raskolnikov wants to feel like a person for whom morality does not exist at all in the world. He is convinced that there is nothing wrong with adultery, or corrupting a young girl, or eavesdropping on other people's conversations in order to use them in their own interests, blackmailing victims. In response to Raskolnikov's indignation over the overheard confession, Svidrigailov reasonably remarks that if you can "peel old women with anything on the head," why shouldn't you eavesdrop? Raskolnikov has nothing to object to this. And Svidrigailov becomes for Raskolnikov some kind of embodiment of the dark principles of the world, in which there are no moral prohibitions. But for some reason he is attracted to this dark beginning. Dostoevsky says that Svidrigailov somehow attracted Raskolnikov. And Raskolnikov goes to him, not even realizing why. But the words of Svidrigailov that all eternity is some kind of dusty bathhouse with spiders shocked the hero, since he could very clearly imagine the logical end of the path that Svidrigailov had so expressively characterized by killing the old woman. After such a moral disintegration of the soul, no rebirth of a person is possible. After that, only suicide is possible. Dunya, throwing away the pistol, recognized Svidrigailov as a person - he does not see a person in himself.

In horror, Raskolnikov leaves Svidrigailov. He, having stepped on the path of evil, is unable to follow this path to the end. After the last conversation with Svidrigailov, Raskolnikov will go to Sonechka again. In the eyes of Raskolnikov, she is brought closer to him by the fact that she “also crossed the line”, and he does not yet understand how different is what each of them was able to cross, or rather, why each of them did it. embodies a bright beginning in the novel. She feels guilty and realizes her own sinfulness, but she sinned to save the lives of her little brothers and sisters. "Sonechka, eternal Sonechka Marmeladova!" - Raskolnikov exclaimed, having learned about the alleged wedding of his sister and Luzhin. He perfectly feels and understands the similarity of the motives that govern the actions of these women. From the very beginning, Sonya personifies the victim in the novel, which is why Raskolnikov tells her about his crime. And she, who justified and pitied Katerina Ivanovna, her drunken father, is ready to forgive and understand Raskolnikov - she saw a man in the killer. "What have you done to yourself!" she says in response to his confession. For Sonya, Raskolnikov, having attempted the life of another person, raised his hand against the person in himself, against the person in general.

In Dostoevsky's novel, everything is closely connected, intertwined with each other. At the time of death from an ax on the feeble-minded Lizaveta was Sonechkin's cross. Raskolnikov wanted to kill only one usurer, because he considered her life harmful to those around him, but he was forced to kill her sister, and by raising his hand to Lizaveta, he thereby raises her to Sonechka and, ultimately, to himself. "I didn't kill the old woman, I killed myself!" - exclaims Raskolnikov in anguish. And Sonya, who forgives Raskolnikov the man, does not forgive his destructive idea. Only in the rejection of "this damned dream" does she see the possibility of resurrecting Raskolnikov's soul. Sonya calls him to repentance, she reads him the famous Gospel episode about the resurrection of Lazarus, expecting a spiritual response. But Raskolnikov's soul is not yet ready for this, he has not yet outlived his idea in himself. Far from immediately Raskolnikov realized that Sonya was right, only in hard labor this realization came to him, only then he could truly repent, and his repentance becomes the last statement of Sonya's rightness, while Raskolnikov's idea turns out to be completely destroyed.

Thus, by bringing all the characters of the novel into correlation with the main character, Dostoevsky achieves his main goal - to discredit the misanthropic theory, born of the unjust world itself.

Dostoevsky is the creator of the polyphonic novel, in the words of Bakhtin. Polyphony is polyphony. His heroes seem to come into roll call with each other. The author surrounds Raskolnikov with people varying certain thoughts of the protagonist. At the same time, the negative elements of his theory reflect the "twins", and the positive ones - the "antipodes". The name of Raskolnikov is symbolic for Dostoevsky, it speaks of a split in the hero's soul. The author surrounds Raskolnikov with people varying in their minds certain thoughts of the protagonist, while

The negative elements of his theory reflect the so-called "twins" (Luzhin, Lebezyatnikov, Svidrigailov), they are located on the left side of the slide, and the positive elements are antipodes (Razumikhin, Porfiry Petrovich, Sonya).

Luzhin cultivates in himself the theory of "reasonable egoism", which underlies Raskolnikov's "arithmetic constructions". Being an adherent of "economic truth", this businessman very rationally rejects sacrifice for the sake of the common good, asserts the helplessness of "single generosity" and believes that concern for one's own well-being is concern for "general prosperity."

In Luzhin's calculations, the intonations of Raskolnikov's voice are quite perceptible, who, like his double, is not satisfied with "single" and not decisive help in general. Both of them “rationally” find a victim to achieve their goals and at the same time theoretically substantiate their choice: a worthless old woman, as Raskolnikov believes. will die anyway, and the fallen Sonya, according to Luzhin, will still - sooner or later - steal. True, Luzhin's idea does not lead him to an ax, while Raskolnikov easily completes the concept of his double: "And bring to the consequences that you preached just now, and it turns out that people can be cut." Luzhin clears Raskolnikov's "arithmetic" of active compassion and altruistic orientation.

The antipode of Raskolnikov in relation to people is the altruist Razumikhin. It is necessary to make a reservation: he is rather the antipode not of Raskolnikov, but of Luzhin, standing at the opposite pole. The next "double" is the progressist Lebezyatnikov. He varies the nihilistic attitude of Raskolnikov to the existing world order, moral and social foundations. Enthusiastically speaking out against such “prejudices” as “chastity and female modesty”, calling for the creation of communes, advocating for the destruction of marriage bonds, Lebezyatnikov discredits the ideas of the revolutionary democratic movement, the meaning of which he reduces to “wagging with protest” Russian life : “We went further in our beliefs. We deny more! ”

Porfiry Petrovich opposes the riot. Raskolnikov's rebellious element, rebelling against the unjust organization of the world, turns in Lebezyatnikov into a sparse stream of meaningless and vulgar denials. Lebeziatnikov is a caricature of the main character. The cult of protest takes the form of militant stupidity in Lebezyatnikov and compromises the rebellious spirit chosen by Raskolnikov. With Porfiry Petrovich Raskolnikov has in common the fact that the main character denies the “Napoleons” the right to grumble against the existing world order, Porfiry Petrovich also opposes the revolt.

Svidrigailov goes the farthest: stepping over other people's lives, he also oversteps his own conscience, that is, fully corresponds to Raskolnikov's idea of ​​a strong personality. But Svidrigailov is wrecked. “Arithmetic” is refuted by the “experiments” of Svidrigailov: on his account there are more good deeds than other heroes of the novel, but, firstly, the good he has done cannot justify the crimes of the past, and secondly, it is not capable of reviving his sick soul. The conscience, driven into the subconscious, is eventually released and gives rise to suffocating nightmares. Svidrigailov is the chosen one who “overstepped” without moral torment, but at the same time did not become Napoleon. The life outcome of Svidrigailov is not only his suicide, but also the death of Raskolnikov's idea, revealing the monstrous self-deception of the hero. Sonya Marmeladova offers the hero a path of repentance, a return to his native land, which he defiled. She hands him a cypress cross - a symbol of a return to faith. By isolating the components of Raskolnikov's idea, reflected in the minds of the twins and their “shape-shifters”, one can imagine the system of characters' images in the form of three pairs. Moreover, in each pair, the central place will be occupied by that part of Raskolnikov's idea, which combines certain opposite principles.

The first "three" - Luzhin, Raskolnikov, Razumikhin. They solve issues related to human activities. Here the poles - egoism - altruism. Luzhin's rational egoism is reborn in Raskolnikov's consciousness into a rational one, and Razumikhin's altruism becomes singular.

The second "troika" - Lebezyatnikov, Raskolnikov, Porfiry. They look at social issues. If Lebezyatnikov denies moral and state norms, then Porfiry affirms the protection of state and morality. And Raskolnikov, as always, "splits": he asserts the right to protest an extraordinary person and obedience to the "trembling creature"

Svidrigailov - Raskolnikov - Sonya are considering universal human problems. If Svidrigailov professes inactivity, individualism, the cult of a strong personality, then Sonya - deep faith, Christian humility, philanthropy. Raskolnikov, as always, is somewhere in the middle: on the one hand, he preaches individualism and rebellion, and on the other, he seeks faith, knowingly asking Sonya to read the lines from the Gospel.

The antagonistic heroes enter into dialogue through the consciousness of Raskolnikov. Through the consciousness of the protagonist, the characters can look into each other: Sonya and Svidrigailov, each separately, expresses his point of view to Raskolnikov, thanks to which the reader sees their polarity. The consciousness of the central character becomes a kind of conductor of thoughts from one moral pole to another. Each pair of doubles and antipodes in the novel corresponds to a range of problems. For example, the Luzhin-Razmuikhin series raises questions related to human activities for humans. “I am for myself,” asserts Luzhin. “I am for others,” Razumikhin convinces. This dispute is a reflection of the split of the protagonist on a personal level - between selfishness and altruism. The next row is Lebeziatnikov-Porfiry Petrovich. Here the writer closely examines social problems: the denial of certain social and moral foundations is opposed to their defense. In Raskolnikov's world, this confrontation is manifested in the hero's throwing between rebellion against the existing order and humility before it.

The problem of the third row Svidrigailov - Sonya is philosophical, universal. “Unusual” people are not the property of a certain era, they are born throughout the entire development of mankind. The permissive code has been relevant for all ages. The dispute between faith and unbelief, which began from time immemorial, continues to this day. Such a vertical structure makes the line of the spiritual split of the protagonist immeasurable: Raskolnikov enters into an argument with himself, the state and humanity - this is where the powerful scope of his conflict with the world comes from.

In Raskolnikov's world, everything is brought to its extreme expression: Lebezyatnikov's harmless protest degenerates into a terrible anarchist revolt, Razumikhin's single good reaches all-human proportions, Luzhin's petty "arithmetic" grows into a theory that pushes him towards the ax. In Raskolnikov everything is "too much": from the last degree of poverty to the monstrous power of a self-contained idea.

(1 estimates, average: 5.00 out of 5)

The main objectives of the lesson:

"Grade 10 Lesson №21-22 The system of images in the novel"

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"MK - Raskolnikov's Doubles"

Raskolnikov's doubles.

The inconsistency of Rodion Raskolnikov's idea that one can step over one's conscience and atone for a crime with good deeds is evidenced by the position of the protagonist's "doubles" - Luzhin, Lebezyatnikov, Svidrigailov. These heroes are called "doubles" of Raskolnikov, because negative, depraved, inhuman sides of the protagonist's theory are revealed in their minds and actions.

What is known about Luzhin? (He is a bourgeois businessman.)

What is its main principle? (“Love yourself first of all.” All his actions serve a personal goal. This is the principle of the egoist. He always seeks to suppress others, weaker.)

What do they have in common with Raskolnikov? (They both believe that isolated benefits cannot save the world. For example, Luzhin is convinced that Sonya will steal sooner or later.)

What is so terrible about Luzhin? (He can easily step over people, without even thinking about it, because he despises them. That is, Luzhin considers himself an "unusual" person who is allowed everything. He embodies Raskolnikov's theory in life.)

Is there something in common between Raskolnikov and Lebezyatnikov? (Each of them is a supporter of a certain idea. Lebezyatnikov, as you know, is a nihilist, that is, a person who denies everything. He also opposes the existing order. But his nihilism is meaningless, even caricatured.)

Who, in your opinion, is the scariest of all "doubles"? What exactly? (Each of them is terrible in its own way. But on the conscience of Svidrigailov there are two deaths: the girl, whom he abused, and his wife. Perhaps there were other victims, but no one knows about them.)

What are the main features of Svidrigailov? (He is a cynic, his behavior is characterized by freedom from morality.)

How can one explain that such a cynical person like Svidrigailov could be capable of noble deeds? (He tries to atone for his terrible deeds with good deeds.)

What noble deed did Svidrigailov do? (Before his suicide, Svidrigailov provided for the family of the late Marmeladov, gave the inheritance to his wife Dunya Raskolnikov, saving her from marriage with Luzhin.)

Why are Raskolnikov's "doubles" scary? (They believe that everything is permissible for them. Each of them is the embodiment of Raskolnikov's idea of ​​a "superman").

Luzhin and Svidrigailov are often called “doubles” of Rodion Raskolnikov.

Raskolnikov's first impression of Luzhin Petra Petrovich that this middle-aged gentleman is "smart and, it seems, kind." But his behavior, attitude towards people, Duna and her mother convince that Luzhin is an indifferent, calculating, self-lover with a shallow, dirty soul.

He openly preaches selfishness and individualism. The principles by which Luzhin is guided in his actions are revealed with particular convincingness in the author's comments and reasoning after his break with Dunya. (“More than anything in the world he loved and appreciated his money earned by labor and by all means: they equated him with everything that was higher than him.” “Love yourself first, for everything in the world is based on personal interest.” “... to the last line. ”) The fact that this dirty businessman loved“ first of all one himself ”is evidenced by his sleek, dapper appearance. “He is a nouveau riche, he shone like a polished copper penny ... Luzhin was just beginning to emerge from the mud and with an external brilliance he tried to emphasize his new wealth ... his soul was struck by the sin of pride, self-aggrandizement, narcissism,” writes N. S. Prokurova.

Luzhin lives by the principle: "everything is allowed", there is nothing sacred in his soul. Luzhin's actions are impeccable from the point of view of the prevailing laws and the morality of the "mighty of the world." To achieve his selfish goals, he is ready to "transcend all obstacles." In this, Luzhin's theory is similar to that of Raskolnikov.

Arkady Ivanovich Svidrigailov- a complex and contradictory hero of the novel. (The surname comes from the German root geil, which means "voluptuous", "lustful"). His prototype is considered to be the criminal of the Omsk prison Pavel Aristov, haughty and cruel.

Svidrigailov is a landowner, far from any moral principles. On his conscience there is more than one ruined life (the "suicide" of the girl, the death of Philip, the courtyard, the unexpected and mysterious death of his wife Marfa Petrovna). Cynical and depraved, he calmly talks about his vile adventures. Having learned the secret of Raskolnikov, he does not condemn, does not resent, on the contrary, he calms and encourages him, "instructs him on the true path." Svidrigailov does not see any tragedy in the crime. When meeting with Raskolnikov, Svidrigailov catches in the state of his soul "some kind of starting point", something in common with himself.

The main features of Svidrigailov are permissiveness, indifferent cynicism, boundless voluptuousness.

The role of Svidrigailov in the novel is great: by bringing Raskolnikov and Svidrigailov closer together, giving them the opportunity to communicate, the author, according to N. S. Prokurova, allowed the protagonist “to look better at the figure of Svidrigailov and, seeing all the baseness and abomination of his soul, shudder at the thought of that that he and Svidrigailov are now "one field of the berry."

However, sometimes Svidrigailov does good deeds "out of boredom." (Gives money for Ekaterina Ivanovna's funeral, arranges for Marmeladov's children in an orphanage, restores Dunechka's good name.) It can be assumed that Svidrigailov is potentially a man of conscience. In rare moments of "awakening and enlightenment" he hurries to do noble deeds. But ... he was corrupted, corrupted by society.

The meeting of Svidrigailov and Dunechka, their moral duel is one of the most exciting scenes of the novel. The hero retreated before the spiritual strength of Dunechka, before his love for her. And nothing else remained in his life but death. He leaves this life devastated. His death is the result of consistent liberation of himself "from all obstacles." Dostoevsky is convinced and convinces the reader that it is impossible to live in life without faith in goodness, truth, without purpose.

What is the meaning of comparing Raskolnikov with Luzhin and Svidrigailov? All these heroes are selfish, self-asserting at the expense of others. Pushing them, the author refutes the theory of Raskolnikov about the right of a strong personality. “At the same time, Raskolnikov’s attitude toward Luzhin and Svidrigailov convinces him that he is disgusted with the“ powerful of this world, ”write I. V. Zolotareva and T. I. Mikhailova. Raskolnikov cannot accept the world of people living according to his own theory.

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"MK - Sonya Marmeladova"

Sonya Marmeladova.

Problematic situation.

Some researchers of Dostoevsky's work note that the image of Sonya is an alternative to the image of Raskolnikov. Do you agree with this opinion? Give reasons for your answer.