Artistic originality and features of the plot of the novel “Crime and Punishment. The artistic originality of the novel F
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According to the genre, Crime and Punishment (1866) is a novel, the main place in which is occupied by social and philosophical problems of contemporary Russian life for the writer. In addition, in "Crime and Punishment" genre signs can be noted: a detective story (the reader knows from the very beginning who the killer of the old woman pawnbroker is, but the detective intrigue persists to the end - Raskolnikov admits, will he fall into the trap of investigator Porfiry Petrovich or will he slip out?), Everyday essay (a detailed description of the poor quarters of St. Petersburg), a publicistic article (Raskolnikov's article "On the Crime"), spiritual scripture (quotes and paraphrases from the Bible), etc.
This novel can be called social because Dostoevsky portrays the life of the inhabitants of the slums of St. Petersburg. The theme of the work is to show the inhuman living conditions of the poor, their hopelessness and anger. The idea of "Crime and Punishment" is that the writer condemns the society of his day, which allows its citizens to live in hopeless need. Such a society is criminal: it condemns weak, defenseless people to death and at the same time generates a retaliatory crime. These thoughts are expressed in the confession of Marmeladov, which he pronounces in a dirty tavern in front of Raskolnikov (1, II).
Describing the poverty and misery of the Marmeladov family, the Raskolnikov family, Dostoevsky continues the noble tradition of Russian literature - the theme of the "little man". Classical Russian literature often portrayed the torment of the "humiliated and insulted" and attracted public attention and sympathy to people who found themselves, even through their own fault, at the "bottom of life."
Dostoevsky shows in detail the life of the poor Petersburg quarters. It depicts Raskolnikov's room, which looks like a closet, Sonya's ugly dwelling, a passage-corridor room where the Marmeladov family huddles. The author describes the appearance of his poor heroes: they are not only poorly dressed, but very poorly, so that it is a shame to appear on the street. This concerns Raskolnikov when he first appears in the novel. Marmeladov, met by a beggar student in the tavern, “was dressed in a black, old, completely torn tailcoat, with crumbling buttons. Only one still held on to the braids, and it was on her that he buttoned up. A shirt-front stuck out from under the nanke vest, all crumpled, soiled and flooded ”(1, II). In addition, all the poor heroes are starving in the literal sense of the word: Katerina Ivanovna's little children cry from hunger, Raskolnikov's head is constantly spinning from hunger. From the inner monologues of the protagonist, from the confession of Marmeladov, from the half-insane cries of Katerina Ivanovna before her death, it is clear that people are driven to the limit of suffering by poverty by that unsettled life, that they very keenly feel their humiliation. Marmeladov exclaims in confession: “Poverty is not a vice ... But poverty, my dear sir, poverty is a vice, sir. In poverty, you still retain your nobility of innate feelings, in poverty, no one ever. For poverty, they do not even drive them out with a stick, but sweep them out of the company of men with a broom, so that it would be all the more insulting ... ”(1, II).
Despite his open sympathy for these heroes, Dostoevsky does not try to embellish them. The writer shows that both Semyon Zakharovich Marmeladov and Rodion Romanovich Raskolnikov are largely to blame for their sad fate. Marmeladov is a sick alcoholic who is ready to rob even his little children for the sake of vodka. He does not hesitate to come to Sonya and ask her for the last thirty kopecks for a drink, although he knows how she earns this money. He realizes to himself that he is acting unworthily in relation to his own family, but nevertheless he gets drunk to the cross. When he tells Raskolnikov about his last binge, he is very worried that the children probably did not eat anything for five days, unless Sonya brought at least a little money. He sincerely regrets that his own daughter lives on a yellow ticket, but he uses her money himself. Raskolnikov understood this well: “Oh yes Sonya! What a well, however, they managed to dig and use it! " (1, II).
Dostoevsky's ambiguous attitude towards Raskolnikov. On the one hand, the writer sympathizes with the student, who must earn a penniless living with penny lessons and translations. The author shows that the antihuman theory of "creatures" and "heroes" was born in the sore head of the protagonist, when he was tired of honestly fighting shameful poverty, as he saw that scoundrels and thieves were flourishing around. On the other hand, Dostoevsky portrays Raskolnikov's friend, Razumikhin's student: life is even more difficult for him than for the main character, since he does not have a loving mother who sends him money from her pension. At the same time, Razumikhin works a lot and finds the strength to endure all the hardships. He thinks little about his own person, but he is ready to help others, and not in the future, as Raskolnikov plans, but now. Razumikhin, a poor student, calmly assumes responsibility for Raskolnikov's mother and sister, probably because he truly loves and respects people, and does not ponder the problem of whether or not it is worthy to shed "blood according to conscience."
In the novel, the social content is closely intertwined with the philosophical (ideological): Raskolnikov's philosophical theory is a direct consequence of his desperate life circumstances. An intelligent and determined person, he thinks about how to fix an unjust world. Perhaps by violence? But is it possible forcibly, against will, to impose a fair society on people? The philosophical theme of the novel is the discourse on the "right to blood", that is, consideration of the "eternal" moral question: does a lofty end justify criminal means? The philosophical idea of the novel is formulated as follows: no noble goal justifies murder, it is not a human matter to decide whether a person is worthy to live or not.
Raskolnikov kills the usurer Alyona Ivanovna, whom the writer himself paints as extremely unattractive: “She was a tiny, dry old woman of about sixty, with keen and evil eyes, a small, pointed nose and simple hair. Her blond, slightly gray hair was greased with oil. On her thin and long neck, similar to a chicken leg, there was some kind of flannel rag ... ”(1, I). Alena Ivanovna evokes disgust, starting with the given portrait and despotic attitude towards sister Lizaveta and ending with her usurious activities, she looks like a louse (5, IV), sucking human blood. However, according to Dostoevsky, even such a disgusting old woman cannot be killed: any person is sacred and inviolable, in this respect all people are equal. According to Christian philosophy, the life and death of a person is in the hands of God, and people cannot decide this (therefore, murder and suicide are mortal sins). From the very beginning, Dostoevsky aggravated the murder of the malignant pawnbroker by the murder of the meek, unrequited Lizaveta. So, wanting to test his abilities as a superman and preparing to become a benefactor of all the poor and humiliated, Raskolnikov begins his noble activity by killing (!) An old woman and a holy fool, who looks like a big child, Lizaveta.
The attitude of the writer to the "right to blood" is clarified, among other things, in Marmeladov's monologue. Arguing about the Last Judgment, Marmeladov is sure that God will eventually accept not only the righteous, but also degraded drunkards, insignificant people like Marmeladov: “And he will say to us:“ You pigs! the image of the beast and its seal; but you also come! " (...) And he will stretch his hand towards us, and we will fall ... and weep ... and we will understand everything! Then we will understand everything! .. ”(1, II).
"Crime and Punishment" is a psychological novel, as it focuses on the description of the mental anguish of a person who has committed a murder. In-depth psychologism is a characteristic feature of Dostoevsky's work. One part of the novel is devoted to the crime itself, and the other five parts are devoted to the emotional experiences of the murderer. Consequently, the most important thing for a writer is to portray Raskolnikov's pangs of conscience and his decision to repent. A distinctive feature of Dostoevsky's psychologism is that he shows the inner world of a person "on the edge", being in a semi-delusional, semi-insane state, that is, the author is trying to convey a morbid mental state, even the subconsciousness of the heroes. This is how Dostoevsky's novels differ, for example, from the psychological novels of Leo Tolstoy, where the harmonious, varied and balanced inner life of the characters is presented.
So, the novel "Crime and Punishment" is an extremely complex work of fiction, in which the paintings of contemporary Dostoevsky's Russian life (60s of the XIX century) and discussions about the "eternal" question of mankind - about the "right to blood" are closely combined. The writer sees the way out of Russian society from the economic and spiritual crisis (otherwise it is called the first revolutionary situation) in the conversion of people to Christian values. He gives his own solution to the posed moral question: under no circumstances does a person have the right to judge - live or die for another, the moral law does not allow "blood according to conscience."
Thus, Dostoevsky's “eternal” question is resolved in an extremely humane manner, and the depiction of the life of the lower strata of society is also humane in the novel. Although the writer does not excuse either Marmeladov or Raskolnikov (they are largely to blame for their plight themselves), the novel is structured in such a way as to arouse sympathy from readers for these heroes.
The artistic originality of the novel "Crime and Punishment"
Abeltin E.A., Litvinova V.I., Khakass State University named after V.I. N.F. Katanova
Abakan, 1999
The specificity of "Crime and Punishment" is that novel and tragedy are synthesized in it. Dostoevsky drew tragic ideas from the era of the sixties, in which the "free higher" personality was forced to test the meaning of life in practice alone, without the natural development of society. An idea acquires novelistic force in Dostoevsky's poetics only when it reaches extreme tension, becomes a mania. The action to which it pushes a person must acquire the character of a catastrophe. The hero's "crime" is neither criminal nor philanthropic. Action in a novel is defined by an act of free will undertaken to translate an idea into reality.
Dostoevsky made his heroes criminals - not in the criminal, but in the philosophical sense of the word. The character became interesting to Dostoevsky when a historical-philosophical or moral idea was revealed in his willful crime. The philosophical content of the idea merges with the feelings, character, social nature of man, his psychology.
The novel is based on the free choice of the solution to the problem. Life was supposed to knock Raskolnikov out of his knees, destroy the sanctity of norms and authorities in his mind, lead him to the conviction that he is the beginning of all beginnings: “everything is prejudice, only fears let loose, and there are no barriers, and this is how it should be ! " And since there are no barriers, then you have to choose.
Dostoevsky is a master of the fast-acting plot. The reader from the first pages finds himself in a fierce battle, the characters come into conflict with the prevailing characters, ideas, spiritual contradictions. Everything happens impromptu, everything develops in the shortest possible time. The heroes, "who have resolved the question in their hearts and minds, break all obstacles, neglecting wounds ..."
"Crime and Punishment" is also called a novel of spiritual quests, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves his theory without listening to the interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. The voice of the author stands out from the cacophony of voices, which expresses sympathy for some heroes and antipathy to others. He is filled with lyricism (when he talks about Sonya's spiritual world), then satirical contempt (when he talks about Luzhin and Lebezyatnikov).
The growing tension of the plot helps to convey the dialogues. With extraordinary skill, Dostoevsky shows the dialogue between Raskolnikov and Porfiry, which is conducted in two aspects, as it were: first, each remark of the investigator brings Raskolnikov's confession closer; and secondly, the whole conversation develops in sharp leaps the philosophical position set forth by the hero in his article.
The inner state of the characters is conveyed by the writer by the method of confession. "You know, Sonya, you know what I'll tell you: if I had only stabbed to death from what I was hungry, then I would now ... be happy. If you knew that!" The old man Marmeladov confesses in the tavern to Raskolnikov, Raskolnikov to Sonya. Everyone has a desire to open their souls. Confessions usually take the form of a monologue. The characters argue with themselves, castigate themselves. It is important for them to understand themselves. The hero objects to his other voice, refutes his opponent in himself: “No, Sonya, that's not it!” He began again, suddenly raising his head, as if a sudden turn of thoughts struck and aroused him again ... “It is customary to think that if a person has been struck a new turn of thoughts, then this is a turn of thoughts of the interlocutor. But in this scene Dostoevsky reveals an amazing process of consciousness: the new turn of thoughts that took place in the hero amazed him! A person listens to himself, argues with himself, contradicting himself.
The portrait characterization conveys general social traits, age signs: Marmeladov is a drunken aging official, Svidrigailov is a young, depraved gentleman, Porfiry is a sickly intelligent investigator. This is not the usual observation of a writer. The general principle of the image is concentrated in rough, sharp strokes, like in masks. But always, with special care, eyes are painted on frozen faces. Through them you can look into the soul of a person. And then Dostoevsky's exceptional manner of focusing on the unusual is revealed. Everyone's faces are strange, everything is too extreme in them, they amaze with contrasts. There was something "terribly unpleasant" in Svidrigailov's handsome face; there was "something much more serious" in Porfiry's eyes than might have been expected. In the genre of a polyphonic ideological novel, only such should be the portrait characteristics of complex and divided people.
Dostoevsky's landscape painting is not like the pictures of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a barrel organ, wet snow, the dim light of gas lanterns - all these repeated details not only add a dark color, but also conceal a complex symbolic content.
Dreams and nightmares carry a certain artistic load in revealing the ideological content. There is nothing lasting in the world of Dostoevsky's heroes, they already doubt whether the disintegration of moral foundations and personality occurs in a dream or in reality. To penetrate into the world of his heroes, Dostoevsky creates unusual characters and unusual situations that are on the verge of fantasy.
The artistic detail in Dostoevsky's novel is as original as other artistic means. Raskolnikov kisses Sonya's feet. The kiss serves as an expression of a deep idea that contains a multifaceted meaning.
Subject detail sometimes reveals the entire concept and course of the novel: Raskolnikov did not hack to death the old woman - the usurer, but "lowered" the ax on "his head with a butt." Since the killer is much taller than his victim, then during the murder the blade of the ax threateningly "looks into his face." With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted, for whose sake the ax was raised.
The color detail enhances the bloody shade of Raskolnikov's atrocity. A month and a half before the murder, the hero laid "a small golden ring with three red stones of some sort," a souvenir gift from his sister. "Red stones" become the harbingers of blood droplets. The color detail is repeated several times further: red cuffs on Marmeladov's boots, red spots on the hero's jacket.
The keyword guides the reader in the storm of the character's feelings. Thus, in the sixth chapter, the word "heart" is repeated five times. When Raskolnikov, waking up, began to prepare for the exit, “his heart beat strangely. Having safely reached the old woman's house, "taking a breath and pressing his pounding heart with his hand, immediately groping and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening. In front of the old woman's door, the heart beats even harder:" Am I pale? .. very much "- he thought, - am I in a special excitement? But my heart did not stop. On the contrary, as if on purpose, it knocked harder, harder, harder ... "
To understand the deep meaning of this key detail, one must recall the Russian philosopher B. Vysheslavtsev: “... in the Bible, the heart is found at every step. Apparently, it means the organ of all feelings in general and religious feelings in particular ... an intimate hidden function of consciousness, like conscience: conscience, according to the word of the Apostle, is the law inscribed in the hearts. " In the beating of Raskolnikov's heart, Dostoevsky heard the sounds of the hero's tortured soul.
The symbolic detail helps to reveal the social specifics of the novel.
Pectoral cross. At the moment when the pawnbroker was overtaken by her suffering on the Cross, around her neck, along with a tightly stuffed purse, hung "Son's little icon", "Lisavet's copper cross and a cross from cypress." While affirming the view of his heroes as Christians walking before God, the author simultaneously brings up the idea of a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the murderer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon, the Gospel.
Religious symbolism is also noticeable in proper names: Sonya (Sophia), Raskolnikov (schism), Kapernaum (the city in which Christ performed miracles); in numbers: "thirty rubles", "thirty kopecks", "thirty thousand pieces of silver".
The characters' speech is individualized. The speech characteristics of German characters are presented in the novel by two female names: Louise Ivanovna, the owner of the entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.
Louise Ivanovna's monologue shows not only the level of her poor command of Russian, but also her low intellectual abilities:
"I didn't have any noise and fights ... no scandal, but they are so drunk, and I will tell you all ... I have a noble house, and I never wanted any scandal myself. And they were completely drunk and then again three putilki asked, and then one lifted his legs and began to play the piano with his foot, and it’s not good at all in a noble house, and he played a ganz piano, and at all, there’s no manir at all ... "
Amalia Ivanovna's speech behavior manifests itself especially clearly at Marmeladov's commemoration. She tries to draw attention to herself by telling a funny adventure "for no reason, no reason." She is proud of her father, who is "very important and very important and can afford it."
Katerina Ivanovna's opinion about the Germans is reflected in her reply: "Oh, you fool! And she thinks that this is touching, and does not suspect how stupid she is! ... Look, she is sitting, she has hatched her eyes. Angry! Angry! Ha-ha-ha! ! Khi-khi-khi. "
Not without irony and sarcasm, the speech behavior of Luzhin and Lebezyatnikov is described. Luzhin's pompous speech, containing fashionable phrases combined with his condescending address to others, betrays his arrogance and ambition. A caricature of the nihilists is presented in the novel by Lebeziatnikov. This "unlearned tyrant" is at odds with the Russian language: "Alas, he did not know how to explain himself decently in Russian (not knowing, however, any other language), so that he all, somehow at once, was exhausted, even as if he had lost weight after the feat of law. " In the chaotic, obscure and dogmatic speeches of Lebezyatnikov, representing, as is known, a parody of Pisarev's public views, Dostoevsky's criticism of the Westernizers' ideas was reflected.
The individualization of speech is carried on by Dostoevsky according to one defining characteristic: in Marmeladov, the politeness of a civil servant is abundantly strewn with Slavisms; Luzhin has a stylistic bureaucracy; Svidrigailov has an ironic negligence.
"Crime and Punishment" has its own system of highlighting key words and phrases. This is italic, that is, using a different font. The words trial, deed, suddenly are italicized. This is a way of focusing the readers' attention both on the plot and on the intended deed. The highlighted words seem to protect Raskolnikov from those phrases that he is afraid to utter. Italics are also used by Dostoevsky as a way of characterizing the character: Porfiry's "impolite sarcasm"; "insatiable suffering" in Sonya's features.
Bibliography
Groisman V. Religious symbols in the novel "Crime and Punishment". Literature. Supplement to the newspaper "September First". 1997, N44, pp. 5-11.
Maykhel I. The language of facial expressions and gestures. Ibid, p. 9.
Belkin A. Reading Dostoevsky and Chekhov. M., 1973, p. 56-84.
Lekmanov O. Looking at the "wide desert river". Literature. Supplement to the newspaper "September First", 1997, N15
The artistic originality of the novel "Crime and Punishment"
Abeltin E.A., Litvinova V.I., Khakass State University named after V.I. N.F. Katanova
Abakan, 1999
The specificity of "Crime and Punishment" is that novel and tragedy are synthesized in it. Dostoevsky drew tragic ideas from the era of the sixties, in which the "free higher" personality was forced to test the meaning of life in practice alone, without the natural development of society. An idea acquires novelistic force in Dostoevsky's poetics only when it reaches extreme tension, becomes a mania. The action to which it pushes a person must acquire the character of a catastrophe. The hero's "crime" is neither criminal nor philanthropic. Action in a novel is defined by an act of free will undertaken to translate an idea into reality.
Dostoevsky made his heroes criminals - not in the criminal, but in the philosophical sense of the word. The character became interesting to Dostoevsky when a historical-philosophical or moral idea was revealed in his willful crime. The philosophical content of the idea merges with the feelings, character, social nature of man, his psychology.
The novel is based on the free choice of the solution to the problem. Life was supposed to knock Raskolnikov out of his knees, destroy the sanctity of norms and authorities in his mind, lead him to the conviction that he is the beginning of all beginnings: “everything is prejudice, only fears let loose, and there are no barriers, and this is how it should be ! " And since there are no barriers, then you have to choose.
Dostoevsky is a master of the fast-acting plot. The reader from the first pages finds himself in a fierce battle, the characters come into conflict with the prevailing characters, ideas, spiritual contradictions. Everything happens impromptu, everything develops in the shortest possible time. The heroes, "who have resolved the question in their hearts and minds, break all obstacles, neglecting wounds ..."
"Crime and Punishment" is also called a novel of spiritual quests, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves his theory without listening to the interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. The voice of the author stands out from the cacophony of voices, which expresses sympathy for some heroes and antipathy to others. He is filled with lyricism (when he talks about Sonya's spiritual world), then satirical contempt (when he talks about Luzhin and Lebezyatnikov).
The growing tension of the plot helps to convey the dialogues. With extraordinary skill, Dostoevsky shows the dialogue between Raskolnikov and Porfiry, which is conducted in two aspects, as it were: first, each remark of the investigator brings Raskolnikov's confession closer; and secondly, the whole conversation develops in sharp leaps the philosophical position set forth by the hero in his article.
The inner state of the characters is conveyed by the writer by the method of confession. "You know, Sonya, you know what I'll tell you: if I had only stabbed to death from what I was hungry, then I would now ... be happy. If you knew that!" The old man Marmeladov confesses in the tavern to Raskolnikov, Raskolnikov to Sonya. Everyone has a desire to open their souls. Confessions usually take the form of a monologue. The characters argue with themselves, castigate themselves. It is important for them to understand themselves. The hero objects to his other voice, refutes his opponent in himself: “No, Sonya, that's not it!” He began again, suddenly raising his head, as if a sudden turn of thoughts struck and aroused him again ... “It is customary to think that if a person has been struck a new turn of thoughts, then this is a turn of thoughts of the interlocutor. But in this scene Dostoevsky reveals an amazing process of consciousness: the new turn of thoughts that took place in the hero amazed him! A person listens to himself, argues with himself, contradicting himself.
The portrait characterization conveys general social traits, age signs: Marmeladov is a drunken aging official, Svidrigailov is a young, depraved gentleman, Porfiry is a sickly intelligent investigator. This is not the usual observation of a writer. The general principle of the image is concentrated in rough, sharp strokes, like in masks. But always, with special care, eyes are painted on frozen faces. Through them you can look into the soul of a person. And then Dostoevsky's exceptional manner of focusing on the unusual is revealed. Everyone's faces are strange, everything is too extreme in them, they amaze with contrasts. There was something "terribly unpleasant" in Svidrigailov's handsome face; there was "something much more serious" in Porfiry's eyes than might have been expected. In the genre of a polyphonic ideological novel, only such should be the portrait characteristics of complex and divided people.
Dostoevsky's landscape painting is not like the pictures of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a barrel organ, wet snow, the dim light of gas lanterns - all these repeated details not only add a dark color, but also conceal a complex symbolic content.
Dreams and nightmares carry a certain artistic load in revealing the ideological content. There is nothing lasting in the world of Dostoevsky's heroes, they already doubt whether the disintegration of moral foundations and personality occurs in a dream or in reality. To penetrate into the world of his heroes, Dostoevsky creates unusual characters and unusual situations that are on the verge of fantasy.
The artistic detail in Dostoevsky's novel is as original as other artistic means. Raskolnikov kisses Sonya's feet. The kiss serves as an expression of a deep idea that contains a multifaceted meaning.
Subject detail sometimes reveals the entire concept and course of the novel: Raskolnikov did not hack to death the old woman - the usurer, but "lowered" the ax on "his head with a butt." Since the killer is much taller than his victim, then during the murder the blade of the ax threateningly "looks into his face." With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted, for whose sake the ax was raised.
The color detail enhances the bloody shade of Raskolnikov's atrocity. A month and a half before the murder, the hero laid "a small golden ring with three red stones of some sort," a souvenir gift from his sister. "Red stones" become the harbingers of blood droplets. The color detail is repeated several times further: red cuffs on Marmeladov's boots, red spots on the hero's jacket.
The keyword guides the reader in the storm of the character's feelings. Thus, in the sixth chapter, the word "heart" is repeated five times. When Raskolnikov, waking up, began to prepare for the exit, “his heart beat strangely. Having safely reached the old woman's house, "taking a breath and pressing his pounding heart with his hand, immediately groping and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening. In front of the old woman's door, the heart beats even harder:" Am I pale? .. very much "- he thought, - am I in a special excitement? But my heart did not stop. On the contrary, as if on purpose, it knocked harder, harder, harder ... "
To understand the deep meaning of this key detail, one must recall the Russian philosopher B. Vysheslavtsev: “... in the Bible, the heart is found at every step. Apparently, it means the organ of all feelings in general and religious feelings in particular ... an intimate hidden function of consciousness, like conscience: conscience, according to the word of the Apostle, is the law inscribed in the hearts. " In the beating of Raskolnikov's heart, Dostoevsky heard the sounds of the hero's tortured soul.
The symbolic detail helps to reveal the social specifics of the novel.
Pectoral cross. At the moment when the pawnbroker was overtaken by her suffering on the Cross, around her neck, along with a tightly stuffed purse, hung "Son's little icon", "Lisavet's copper cross and a cross from cypress." While affirming the view of his heroes as Christians walking before God, the author simultaneously brings up the idea of a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the murderer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon, the Gospel.
Religious symbolism is also noticeable in proper names: Sonya (Sophia), Raskolnikov (schism), Kapernaum (the city in which Christ performed miracles); in numbers: "thirty rubles", "thirty kopecks", "thirty thousand pieces of silver".
The characters' speech is individualized. The speech characteristics of German characters are presented in the novel by two female names: Louise Ivanovna, the owner of the entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.
Louise Ivanovna's monologue shows not only the level of her poor command of Russian, but also her low intellectual abilities:
"I didn't have any noise and fights ... no scandal, but they are so drunk, and I will tell you all ... I have a noble house, and I never wanted any scandal myself. And they were completely drunk and then again three putilki asked, and then one lifted his legs and began to play the piano with his foot, and it’s not good at all in a noble house, and he played a ganz piano, and at all, there’s no manir at all ... "
Amalia Ivanovna's speech behavior manifests itself especially clearly at Marmeladov's commemoration. She tries to draw attention to herself by telling a funny adventure "for no reason, no reason." She is proud of her father, who is "very important and very important and can afford it."
Katerina Ivanovna's opinion about the Germans is reflected in her reply: "Oh, you fool! And she thinks that this is touching, and does not suspect how stupid she is! ... Look, she is sitting, she has hatched her eyes. Angry! Angry! Ha-ha-ha! ! Khi-khi-khi. "
Not without irony and sarcasm, the speech behavior of Luzhin and Lebezyatnikov is described. Luzhin's pompous speech, containing fashionable phrases combined with his condescending address to others, betrays his arrogance and ambition. A caricature of the nihilists is presented in the novel by Lebeziatnikov. This "unlearned tyrant" is at odds with the Russian language: "Alas, he did not know how to explain himself decently in Russian (not knowing, however, any other language), so that he all, somehow at once, was exhausted, even as if he had lost weight after the feat of law. " In the chaotic, obscure and dogmatic speeches of Lebezyatnikov, representing, as is known, a parody of Pisarev's public views, Dostoevsky's criticism of the Westernizers' ideas was reflected.
The individualization of speech is carried on by Dostoevsky according to one defining characteristic: in Marmeladov, the politeness of a civil servant is abundantly strewn with Slavisms; Luzhin has a stylistic bureaucracy; Svidrigailov has an ironic negligence.
"Crime and Punishment" has its own system of highlighting key words and phrases. This is italic, that is, using a different font. The words trial, deed, suddenly are italicized. This is a way of focusing the readers' attention both on the plot and on the intended deed. The highlighted words seem to protect Raskolnikov from those phrases that he is afraid to utter. Italics are also used by Dostoevsky as a way of characterizing the character: Porfiry's "impolite sarcasm"; "insatiable suffering" in Sonya's features.
Bibliography
Groisman V. Religious symbols in the novel "Crime and Punishment". Literature. Supplement to the newspaper "September First". 1997, N44, pp. 5-11.
Maykhel I. The language of facial expressions and gestures. Ibid, p. 9.
Belkin A. Reading Dostoevsky and Chekhov. M., 1973, p. 56-84.
Lekmanov O. Looking at the "wide desert river". Literature. Supplement to the newspaper "September First", 1997, N15
Moscow Financial and Industrial University
"Synergy"
in the discipline "Literature"
"The originality of the novel Crime and Punishment"
Completed:
Dmitry Loginov
Checked:
Khabarova T.M
Bronnitsy, 2013
Plan
1. THE ARTISTIC PERSONALITY OF THE NOVEL
2. The specifics of the novel "Crime and Punishment"
ARTISTIC PERSONALITY OF THE NOVEL
Among the classics of world literature, Dostoevsky deservedly bears the title of a master in revealing the secrets of the human soul and the creator of the art of thought. Any thought of the writer, good or evil, in his own words, "pecks like a chicken out of an egg." All the artistic features and poetics of the novel "Crime and Punishment" serve as a means of revealing the special spirituality of Dostoevsky. Working on the work, the writer mainly sought to trace the "psychological process of crime." That is why "Crime and Punishment" is considered a work in which the peculiarity of the writer's psychologism was most clearly marked. In the novel, literally everything matters: numbers, and names, and surnames, and St. Petersburg topography, and the time of action, and the situations in which the characters find themselves, and even individual words. Dostoevsky trusted his reader, so he deliberately did not say a lot, counting on the reader's spiritual familiarization with his world. In this spiritual world, the different position of the ax during the murder of the old woman-pawnbroker and Lizaveta by Raskolnikov, and the description of Raskolnikov's appearance, and the numbers “seven” and “eleven”, “pursuing” the protagonist, and the yellow color often mentioned in the novel, are also significant, and the word “suddenly”, which is mentioned about 500 times on the pages of the novel, and many other, imperceptible at first glance, details.
Each hero of the novel has its own, individual, language, but they all communicate in a common language - the language of the "fourth dimension" of the writer. Each character of "Crime and Punishment" can make up his own verbal description, but the most expressive is the linguistic portrait of Raskolnikov. Dostoevsky with great skill showed the bifurcation of the protagonist of the novel, using various stylistic devices for this purpose: the discontinuity of Raskolnikov's speech, the disharmony of his syntax, and most importantly, the contrast between the external and internal forms of the hero's speech. "The laws of the fourth dimension", where gravity ceases to act, obeys everything in the style of the novel: portrait, landscape, place and time of action. The special, unique rhythm of the writer captures the reader so much that he does not immediately appreciate every detail of the hero's portrait.
The writer's methods of creating a psychological drawing are extremely varied. Despite the fact that Dostoevsky rarely used the portrait as such, he is considered a subtle and profound master of portrait. The writer believed that a person is a very complex creature and his appearance cannot in any way reflect his essence. More important for Dostoevsky is the hero's costume or some detail in it that reflects the character of the character. So, for example, Luzhin's attire (a dandy suit, magnificent gloves, etc.) in him betrays a desire to look younger and make a favorable impression on those around him. Suffice it to recall, for example, the portrait of an old woman-pawnbroker, the expressiveness of which was created with the help of diminutive words: “It was a tiny, dry old woman, about sixty years old, with keen and evil eyes, with a small pointed nose and simple hair. Her blond, slightly gray hair was greased with oil ... The old woman was constantly coughing and groaning. "
Just as the most important means of characterization in the novel "Crime and Punishment", as in any work of fiction, are the actions of the heroes. But Dostoevsky pays more attention to the fact under the influence of which these actions are performed: either the action is performed by a person guided by feeling, or the action is performed under the influence of the character's mind. The acts committed by Raskolnikov unconsciously are usually magnanimous and noble, while under the influence of reason, the hero commits a crime (the crime itself was committed from the mind; Raskolnikov was influenced by a rational idea and wanted to test it in practice). Arriving at the house of the Marmeladovs, Raskolnikov instinctively left money on the windowsill, but leaving the house, he regretted it. The juxtaposition of feelings and rational spheres is very important for Dostoevsky, who understood personality as a combination of two principles - good associated with feeling and evil associated with reason. The sensual sphere, according to the author, is the primordial, divine nature of man. Man himself is the battlefield between God and the Devil.
Interesting time. At first it flows slowly, then it accelerates, stretches out in hard labor and completely stops at the resurrection of Raskolnikov, as if it unites the present, the past and the future. The tension of the psychological conflict is aggravated by such a technique as the subjective interpretation of time; it can stop (as, for example, in the scene of the murder of an old woman) or fly with feverish speed, and then in the consciousness of the hero, faces, objects, events flicker, as in a kaleidoscope. Another feature of the novel is the lack of consistency, consistency in the transmission of feelings, experiences of the characters, which is also determined by their state of mind. Often the author resorts to "visions", including hallucinations, nightmares (the dreams of Raskolnikov, Svidrigailov). All this aggravates the drama of the events taking place, making the style of the novel hyperbolic.
The specifics of the novel "Crime and Punishment"
The specificity of "Crime and Punishment" is that novel and tragedy are synthesized in it. Dostoevsky drew tragic ideas from the era of the sixties, in which the "free higher" personality was forced to test the meaning of life in practice alone, without the natural development of society. An idea acquires novelistic force in Dostoevsky's poetics only when it reaches extreme tension, becomes a mania. The action to which it pushes a person must acquire the character of a catastrophe. The hero's "crime" is neither criminal nor philanthropic. Action in a novel is defined by an act of free will undertaken to translate an idea into reality.
Dostoevsky made his heroes criminals - not in the criminal, but in the philosophical sense of the word. The character became interesting to Dostoevsky when a historical-philosophical or moral idea was revealed in his willful crime. The philosophical content of the idea merges with the feelings, character, social nature of man, his psychology.
The novel is based on the free choice of the solution to the problem. Life was supposed to knock Raskolnikov out of his knees, destroy the sanctity of norms and authorities in his mind, lead him to the conviction that he is the beginning of all beginnings: “everything is prejudice, only fears let loose, and there are no barriers, and this is how it should be ! " And since there are no barriers, then you have to choose.
Dostoevsky is a master of the fast-acting plot. The reader from the first pages finds himself in a fierce battle, the characters come into conflict with the prevailing characters, ideas, spiritual contradictions. Everything happens impromptu, everything develops in the shortest possible time. The heroes, "who have resolved the question in their hearts and minds, break all obstacles, neglecting wounds ..."
"Crime and Punishment" is also called a novel of spiritual quests, in which many equal voices are heard arguing on moral, political and philosophical topics. Each of the characters proves his theory without listening to the interlocutor or opponent. Such polyphony allows us to call the novel polyphonic. The voice of the author stands out from the cacophony of voices, which expresses sympathy for some heroes and antipathy to others. He is filled with lyricism (when he talks about Sonya's spiritual world), then satirical contempt (when he talks about Luzhin and Lebezyatnikov).
The growing tension of the plot helps to convey the dialogues. With extraordinary skill, Dostoevsky shows the dialogue between Raskolnikov and Porfiry, which is conducted in two aspects, as it were: first, each remark of the investigator brings Raskolnikov's confession closer; and secondly, the whole conversation develops in sharp leaps the philosophical position set forth by the hero in his article.
The inner state of the characters is conveyed by the writer by the method of confession. "You know, Sonya, you know what I'll tell you: if I had only stabbed to death from what I was hungry, then I would now ... be happy. If you knew that!" The old man Marmeladov confesses in the tavern to Raskolnikov, Raskolnikov to Sonya. Everyone has a desire to open their souls. Confessions usually take the form of a monologue. The characters argue with themselves, castigate themselves. It is important for them to understand themselves. The hero objects to his other voice, refutes his opponent in himself: “No, Sonya, that's not it!” He began again, suddenly raising his head, as if a sudden turn of thoughts struck and aroused him again ... “It is customary to think that if a person has been struck a new turn of thoughts, then this is a turn of thoughts of the interlocutor. But in this scene Dostoevsky reveals an amazing process of consciousness: the new turn of thoughts that took place in the hero amazed him! A person listens to himself, argues with himself, contradicting himself.
The portrait characterization conveys general social traits, age signs: Marmeladov is a drunken aging official, Svidrigailov is a young, depraved gentleman, Porfiry is a sickly intelligent investigator. This is not the usual observation of a writer. The general principle of the image is concentrated in rough, sharp strokes, like in masks. But always, with special care, eyes are painted on frozen faces. Through them you can look into the soul of a person. And then Dostoevsky's exceptional manner of focusing on the unusual is revealed. Everyone's faces are strange, everything is too extreme in them, they amaze with contrasts. There was something "terribly unpleasant" in Svidrigailov's handsome face; there was "something much more serious" in Porfiry's eyes than might have been expected. In the genre of a polyphonic ideological novel, only such should be the portrait characteristics of complex and divided people.
Dostoevsky's landscape painting is not like the pictures of rural or urban nature in the works of Turgenev or Tolstoy. The sounds of a barrel organ, wet snow, the dim light of gas lanterns - all these repeated details not only add a dark color, but also conceal a complex symbolic content.
Dreams and nightmares carry a certain artistic load in revealing the ideological content. There is nothing lasting in the world of Dostoevsky's heroes, they already doubt whether the disintegration of moral foundations and personality occurs in a dream or in reality. To penetrate into the world of his heroes, Dostoevsky creates unusual characters and unusual situations that are on the verge of fantasy.
The artistic detail in Dostoevsky's novel is as original as other artistic means. Raskolnikov kisses Sonya's feet. The kiss serves as an expression of a deep idea that contains a multifaceted meaning.
Subject detail sometimes reveals the entire concept and course of the novel: Raskolnikov did not hack to death the old woman - the usurer, but "lowered" the ax on "his head with a butt." Since the killer is much taller than his victim, then during the murder the blade of the ax threateningly "looks into his face." With the blade of an ax, Raskolnikov kills the kind and meek Lizaveta, one of those humiliated and insulted, for whose sake the ax was raised.
The color detail enhances the bloody shade of Raskolnikov's atrocity. A month and a half before the murder, the hero laid "a small golden ring with three red stones of some sort," a souvenir gift from his sister. "Red stones" become the harbingers of blood droplets. The color detail is repeated several times further: red cuffs on Marmeladov's boots, red spots on the hero's jacket.
The keyword guides the reader in the storm of the character's feelings. Thus, in the sixth chapter, the word "heart" is repeated five times. When Raskolnikov, waking up, began to prepare for the exit, “his heart beat strangely. Having safely reached the old woman's house, "taking a breath and pressing his pounding heart with his hand, immediately groping and straightening the ax again, he began to carefully and quietly climb the stairs, constantly listening. In front of the old woman's door, the heart beats even harder:" Am I pale? .. very much "- he thought, - am I in a special excitement? But my heart did not stop. On the contrary, as if on purpose, it knocked harder, harder, harder ... "
To understand the deep meaning of this key detail, one must recall the Russian philosopher B. Vysheslavtsev: “... in the Bible, the heart is found at every step. Apparently, it means the organ of all feelings in general and religious feelings in particular ... an intimate hidden function of consciousness, like conscience: conscience, according to the word of the Apostle, is the law inscribed in the hearts. " In the beating of Raskolnikov's heart, Dostoevsky heard the sounds of the hero's tortured soul.
The symbolic detail helps to reveal the social specifics of the novel.
Pectoral cross. At the moment when the pawnbroker was overtaken by her suffering on the Cross, around her neck, along with a tightly stuffed purse, hung "Son's little icon", "Lisavet's copper cross and a cross from cypress." While affirming the view of his heroes as Christians walking before God, the author simultaneously brings up the idea of a common redemptive suffering for all of them, on the basis of which symbolic fraternization is possible, including between the murderer and his victims. Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon, the Gospel.
Religious symbolism is also noticeable in proper names: Sonya (Sophia), Raskolnikov (schism), Kapernaum (the city in which Christ performed miracles); in numbers: "thirty rubles", "thirty kopecks", "thirty thousand pieces of silver".
The characters' speech is individualized. The speech characteristics of German characters are presented in the novel by two female names: Louise Ivanovna, the owner of the entertainment establishment, and Amalia Ivanovna, from whom Marmeladov rented an apartment.
Louise Ivanovna's monologue shows not only the level of her poor command of Russian, but also her low intellectual abilities:
"I didn't have any noise and fights ... no scandal, but they are so drunk, and I will tell you all ... I have a noble house, and I never wanted any scandal myself. And they were completely drunk and then again three putilki asked, and then one lifted his legs and began to play the piano with his foot, and it’s not good at all in a noble house, and he played a ganz piano, and at all, there’s no manir at all ... "
Amalia Ivanovna's speech behavior manifests itself especially clearly at Marmeladov's commemoration. She tries to draw attention to herself by telling a funny adventure "for no reason, no reason." She is proud of her father, who is "very important and very important and can afford it."
Katerina Ivanovna's opinion about the Germans is reflected in her reply: "Oh, you fool! And she thinks that this is touching, and does not suspect how stupid she is! ... Look, she is sitting, she has hatched her eyes. Angry! Angry! Ha-ha-ha! ! Khi-khi-khi. "
Not without irony and sarcasm, the speech behavior of Luzhin and Lebezyatnikov is described. Luzhin's pompous speech, containing fashionable phrases combined with his condescending address to others, betrays his arrogance and ambition. A caricature of the nihilists is presented in the novel by Lebeziatnikov. This "unlearned tyrant" is at odds with the Russian language: "Alas, he did not know how to explain himself decently in Russian (not knowing, however, any other language), so that he all, somehow at once, was exhausted, even as if he had lost weight after the feat of law. " In the chaotic, obscure and dogmatic speeches of Lebezyatnikov, representing, as is known, a parody of Pisarev's public views, Dostoevsky's criticism of the Westernizers' ideas was reflected.
The individualization of speech is carried on by Dostoevsky according to one defining characteristic: in Marmeladov, the politeness of a civil servant is abundantly strewn with Slavisms; Luzhin has a stylistic bureaucracy; Svidrigailov has an ironic negligence.
"Crime and Punishment" has its own system of highlighting key words and phrases. This is italic, that is, using a different font. The words trial, deed, suddenly are italicized. This is a way of focusing the readers' attention both on the plot and on the intended deed. The highlighted words seem to protect Raskolnikov from those phrases that he is afraid to utter. Italics are also used by Dostoevsky as a way of characterizing the character: Porfiry's "impolite sarcasm"; "insatiable suffering" in Sonya's features.
Bibliography
Groisman V. Religious symbols in the novel "Crime and Punishment". Literature. Supplement to the newspaper "September First". 1997, N44, pp. 5-11.
Maykhel I. The language of facial expressions and gestures. Ibid, p. 9.
Belkin A. Reading Dostoevsky and Chekhov. M., 1973, p. 56-84.
Lekmanov O. Looking at the "wide desert river". Literature. Supplement to the newspaper "September First", 1997, N15
Shapovalova O.A.. "Crime and Punishment" F.M. Dostoevsky. Summary. Features of the novel. Works., 2005
Crime and Punishment is the first of Dostoevsky's five best novels. The writer himself attached great importance to this work: "The story that I am writing now is perhaps the best of all that I have written." He portrayed in the work such powerlessness and hopelessness of life, when a person has "nowhere to go". The novel "Crime and Punishment" was conceived by Dostoevsky while still in hard labor. Then it was called "Drunken", but gradually the idea of the novel was transformed into a "psychological account of one crime." Dostoevsky himself, in a letter to the publisher M.I. ".
At the same time, the student wants to use the money received in this way for good purposes: to finish the course at the university, to help his mother and sister, to go abroad and “then all my life to be honest, firm, unswerving in fulfilling a humane duty to humanity”. In this statement of Dostoevsky, two phrases must be emphasized: a young man who lives in extreme poverty "and" subjected to some strange unfinished ideas. " It is these two phrases that are key to understanding Raskolnikov's cause-and-effect actions. What happened before: the plight of the hero, which led to illness and a painful theory, or the theory that caused Raskolnikov's terrible plight?
Dostoevsky in his novel depicts the collision of theory with the logic of life. According to the writer, the living process of life, that is, the logic of life, always refutes, makes untenable any theory - both the most advanced, revolutionary, and the most criminal. This means that it is impossible to make life according to theory, and therefore the main philosophical idea of the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person possessed by an extremely criminal theory with life processes that refute this theory. Raskolnikov's theory is built on the inequality of people, on the chosenness of some and the humiliation of others. And the murder of the usurer is intended as a vital test of this theory on a separate example.
This way of depicting the murder very clearly shows the author's position: the crime committed by Raskolnikov is a dastardly affair, from the point of view of Raskolnikov himself. But he made it consciously, stepping over his human nature, over himself. By his crime Raskolnikov struck himself out of the category of people, became destitute, an outcast. I didn’t kill the old woman, I killed myself, ”he confessed to Sonya Marmeladova. This separation from society prevents Raskolnikov from living, his human nature does not accept this. It turns out that a person cannot walk without communicating with people, even such a proud person as Raskolnikov.
Therefore, the hero's struggle is becoming more and more intense, it goes in many directions, and each of them leads to a dead corner. Raskolnikov, as before, believes in the infallibility of his idea and hates himself for his weakness, for mediocrity, time after time he calls himself a scoundrel. But at the same time, he suffers from the inability to communicate with his mother and sister, thinking about them as painfully as he thinks about the murder of Lizaveta. He tries not to do this, since you start to think, then you will certainly have to decide the question of where to place them in your theory - to what category of people. According to the logic, his theories belong to the "lower" category, and, so, the ax of another Raskolnikov may fall on their heads, and on the heads of Sonya, Polechka, Ekaterina Ivanovna. Raskolnikov should, according to his theory, abandon those for whom he suffers. He must hate, kill those he loves, and he cannot survive it.
For him, the thought that his theory is similar to the theories of Luzhin and Svidrigailov is unbearable, he hates them, but has no right to this hatred. “Mother, sister, how I love them! Why do I hate them now? " His human nature here collided most sharply with his inhuman theory. But the theory won out. And that is why Dostoevsky seems to come to the aid of the human nature of his hero. Immediately after this monologue, he gives Raskolnikov's third dream: he again kills the old woman, and she laughs at him. A dream in which the author brings Raskolnikov's crime to the people's court. This scene exposes all the horror of Raskolnikov's actions. Dostoevsky does not show the moral revival of his hero, since his novel is not about that at all. The task of the writer was to show what power an idea can have over a person and how terrible and criminal this idea can be. Thus, the hero's idea of the right of the strong to commit a crime turned out to be absurd. Life defeated theory.
The genre features of Dostoevsky's novel Crime and Punishment cannot be delineated with definite boundaries. And not only because this work is complex in relation to its design and large in volume. You can name several different genre definitions, and each of them will be fair in its own way. The novel is philosophical, as it raises the problem of condemning militant individualism and the so-called "superpersonality" is in the center of attention. The novel is psychological, since we are talking, first of all, about human psychology, in its various, even painful manifestations. And to this we can also add other more specific genre features associated with the very structure of the work: internal monologues, dialogues-discussions of the characters, pictures of the future world in which the idea of individualism would reign. Also, the novel is polyphonic: each of the heroes asserts his own idea, that is, he has his own voice.
So, the diversity of the genre of "Crime and Punishment" is in this case the main condition for the successful creative implementation of the author's large-scale idea (his didactic attitude).
Genre features of the novel "Crime and Punishment"
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