What explains the internal inconsistency of Rodion Raskolnikov?

Show full text

All people are contradictory by nature: in each of us such qualities as mercy and cruelty, kindness and heartlessness coexist. F.M. Dostoevsky, a world famous writer-psychologist, in his work "Crime and Punishment" created the image of a controversial hero, which simultaneously has good nature and hatred of mankind, the ability to compassion and selfishness ... Let's turn to the analysis of the novel in order to understand what explains the internal inconsistency character.

Already the name of the hero indicates his inner split, separation, lack of integrity. The exposition presents a portrait of a former student Raskolnikov: he is a handsome-looking young man with delicate features. He was dressed in rags, in which a decent person would be ashamed to go out into the street, on his head was an old red hat, full of holes and frayed. Raskolnikov was not worried about how others saw him. His modest dwelling was like a coffin: it is a small pitiful closet with low ceilings. The author pays great attention to the interior and landscape in order to show the reader what an irritable state “like a hypochondriac” the main character was in. He was crushed by poverty, was in spiritual exhaustion.

An internal struggle took place in the hero's soul: the environment, selfishness, social injustice and partly poverty strangled in him a generous, educated person. Raskolnikov becomes obsessed with the "Napoleonic" theory that there are "extraordinary" people who have the right to sacrifice the lives of others for the common good. But killing in the name of helping humanity cannot be justified: the scales will definitely tilt to one side.

Following the theory, the student asks himself the question of who he is: "having the right" or "trembling creature." To answer it, Raskolnikov decides to commit the murder of the old woman-pawnbroker, who, being a "louse" herself, decides the fate of many people who turn to her. The theory is doomed to fail. Let us recall the psychological state of the hero before and after the murder. The struggle in his soul drove him to a frenzy, a feverish state. His whole essence was opposed to theory. To show this, the author uses various elements of psychologism: a system of doubles (the characters of Svidrigailov and Luzhin represent an extreme form of self-affirmation), speech characteristics (internal mon

Criteria

• 2 of 3 K1 The depth of understanding of the topic and the persuasiveness of the arguments
• 2 of 2 K2 The level of knowledge of theoretical and literary knowledge
• 3 of 3 Q3 Justification of attracting the text of the work
• 2 of 3 Q4 Compositional integrity and consistency of presentation
• 3 of 3 Q5 Following the norms of speech
• TOTAL: 12 out of 14

In the section on the question, what contradictions in Raskolnikov's behavior did you find? Help, I really need it !! given by the author VERONICA the best answer is I think you are interested in the hero of FM Dostoevsky's novel "Crime and Punishment".
The contradictions in the behavior of Rodion Romanovich Raskolnikov are primarily due to the fact that his human compassionate nature fights against his inhuman theory.
Raskolnikov considers himself to be one of the mighty of this world, that is, he believes that, according to his own theory, he refers to people who have the right to say their own word, to people like Lycurgus, Napoleon, and he himself shows pity for the Marmeladovs, a drunk girl on the boulevard, the first gives his last pennies, pays the driver to take the girl home. Each time, showing mercy, Rodion pulls himself down, condemns himself, because neither Lycurgus nor Napoleon would even notice the suffering of little people. It is no coincidence that immediately after Raskolnikov's merciful act, his contemptuous reflections follow, for example, about the girl: “Let it be! This, they say, should be so. Such a percentage, they say, should go every year ... ... somewhere ... to hell ... "
The contradictions in the nature of the protagonist of Dostoevsky's novel are also manifested in the motivation for the crime. "But the motivations for the hero's behavior in the novel are constantly bifurcated, for the hero himself, who is captured by an inhuman idea, loses his integrity. Two people live and act in him at the same time: one Raskolnikov's" I "is controlled by the consciousness of the hero, and the other" I "at the same it’s time to commit unaccountable mental movements and actions. It is no coincidence that Raskolnikov’s friend Razumikhin says that Rodion “two opposite characters alternately change”. (Quote from the site).

What explains the internal inconsistency of Rodion Raskolnikov?

Show full text

All people are contradictory by nature: in each of us such qualities as mercy and cruelty, kindness and heartlessness coexist. F.M. Dostoevsky, a world famous writer-psychologist, in his work "Crime and Punishment" created the image of a controversial hero, which simultaneously has good nature and hatred of mankind, the ability to compassion and selfishness ... Let's turn to the analysis of the novel in order to understand what explains the internal inconsistency character.

Already the name of the hero indicates his inner split, separation, lack of integrity. The exposition presents a portrait of a former student Raskolnikov: he is a handsome-looking young man with delicate features. He was dressed in rags, in which a decent person would be ashamed to go out into the street, on his head was an old red hat, full of holes and frayed. Raskolnikov was not worried about how others saw him. His modest dwelling was like a coffin: it is a small pitiful closet with low ceilings. The author pays great attention to the interior and landscape in order to show the reader what an irritable state “like a hypochondriac” the main character was in. He was crushed by poverty, was in spiritual exhaustion.

An internal struggle took place in the hero's soul: the environment, selfishness, social injustice and partly poverty strangled in him a generous, educated person. Raskolnikov becomes obsessed with the "Napoleonic" theory that there are "extraordinary" people who have the right to sacrifice the lives of others for the common good. But killing in the name of helping humanity cannot be justified: the scales will definitely tilt to one side.

Following the theory, the student asks himself the question of who he is: "having the right" or "trembling creature." To answer it, Raskolnikov decides to commit the murder of the old woman-pawnbroker, who, being a "louse" herself, decides the fate of many people who turn to her. The theory is doomed to fail. Let us recall the psychological state of the hero before and after the murder. The struggle in his soul drove him to a frenzy, a feverish state. His whole essence was opposed to theory. To show this, the author uses various elements of psychologism: a system of doubles (the characters of Svidrigailov and Luzhin represent an extreme form of self-affirmation), speech characteristics (internal mon

Criteria

• 2 of 3 K1 The depth of understanding of the topic and the persuasiveness of the arguments
• 2 of 2 K2 The level of knowledge of theoretical and literary knowledge
• 3 of 3 Q3 Justification of attracting the text of the work
• 2 of 3 Q4 Compositional integrity and consistency of presentation
• 3 of 3 Q5 Following the norms of speech
• TOTAL: 12 out of 14

Municipal educational institution

high school with in-depth study of subjects

artistic and aesthetic cycle number 23

Project

Theme : "What is the inconsistency of the rebellion of Rodion Romanovich Raskolnikov" .

Performed:

Pupil 10 "B" class

Barannik Vitalina Igorevna

Supervisor:

Myachina Lyudmila Veniaminovna

Content

Part 1

Introduction:

Relevance

Object and subject of research

Purpose, hypothesis, objectives

Part 2

Basic information about the events in the novel

The life of a hero before the crime

The crime

Punishment

The main reasons for the action of the protagonist

Social reasons

Philosophical rationale

Psychological origins

Consideration of the character of the protagonist

Part 3

Conclusion

Application

Part 1

Introduction

On the one hand, the protagonist of the novel can be called a kind, loving, noble person. He was ready to give everything "for his friends." However, on the other hand, in his actions we see a manifestation of pride and pride. But so what was R.R. Raskolnikov really like and what is the true side of his soul?

R. Raskolnikov, the protagonist of the novel by F.M. Dostoevsky's "Crime and Punishment" is not only compositional, but also the spiritual center of the entire work. Rodion Romanovich has a very contradictory and mysterious nature, so the main question that you think about when reading the novel is - what explains this inner duality of the hero?

The author of the novel, with the help of the image of Raskolnikov, reveals to the reader the truth - in each of us there is something good, but something bad, something vile and noble. This side of human nature has always been and will always be, therefore the urgency of this problem is very great in the modern world.

Hypothesis

Raskolnikov's rebellion is a protest against violence against a person, against the masters of life.

Target

Determine what is the inconsistency of the rebellion of the main character of the work.

Tasks

Find out the essence of Raskolnikov's theory

Find out what is the inconsistency of the riot

Part 2

Raskolnikov's riot

Raskolnikov's idea grows out of the depth of the historical disappointment experienced by the young generation after the collapse of the revolutionary situation of the 60s, on the basis of the crisis of utopian theories. His violent rebellion at the same time inherits the power of social denial of the sixties, and falls away from their movement in its concentrated individualism. All the threads of the narrative converge to Raskolnikov. He absorbs everything around him (grief, troubles and injustices). We see how human tragedies, crashes - both very distant (a girl on the boulevard), and those that seriously enter his life (the Marmeladov family), and those closest to him (Dunya's story) - charge the hero with protest, overwhelm with determination. Through the entire first part of the novel, the writer makes it clear: for Raskolnikov, the problem is not in correcting his own "extreme" circumstances. ... For Raskolnikov, obediently accepting fate as it is means giving up any right to act, live and love. The protagonist lacks that egocentric concentration that wholly forms Luzhin's personality in the novel. Raskolnikov is one of those natures who, first of all, do not take from others, but give them. However, he is ready to do this without asking - dictatorially, against the will of another person. The energy of good is ready to turn into self-will, "the violence of good".

The ability to shift responsibility to an external “law of circumstances” comes into conflict with the requirement of proud individual independence. Raskolnikov, in general, does not hide in this loophole, does not accept the justification of his action by a general social abnormality, which has put him in a hopeless imposition. He understands that he must be responsible for everything he has done - he must "take over" the blood he shed. Raskolnikov's crime has not one motive, but a complex tangle of motives. This, of course, is partly a social revolt and a kind of social revenge, an attempt to get out of the predetermined circle of life, robbed and narrowed by the inexorable force of social injustice. The root cause of Raskolnikov's crime, of course, is the "dislocated", "dislocated" eyelid.

How his personality withstands Raskolnikov's experiment

The first reaction of the hero to the already committed murder is the reaction of nature, of the heart, the reaction is morally true. And that painful feeling of separation from people that flares up in him immediately after the murder is also the voice of inner truth. Very important in this sense is the large, multi-valued episode on the bridge, where Raskolnikov is first hit with a whip, then alms and (only once in the novel) is face to face with the "magnificent panorama" of the capital. The murder put him not only against the official law, the criminal code, which has paragraphs and clauses, but also against another, deeper unwritten law of human society.

Raskolnikov's "Resurrection" in the epilogue is the result of human interaction of almost all the heroes of the novel. Sonia Marmeladova has been put in the most important place here. She wants from Raskolnikov a very simple and terribly difficult: stepping over pride, turn to people for forgiveness and accept this forgiveness. But the author shows the inability of the people to understand the inner impulse of the hero, since people who accidentally find themselves on the square perceive his actions as a strange trick of a drunk person.

What gives rise to the Raskolnikov riot

desire to get rich

pathological urge to violence

bitterness against society and its morality

desire to attract attention

The contradictory idea of ​​the hero

To do good for society, but with the help of murder

Surrender to the police without going to jail

A mentally developed personality with an inhuman decision

Conscientious, but with pride

The hero opposes the masters of life, commits a riot that makes him a real criminal.

Dostoevsky in his novel depicts the collision of theory with the logic of life. According to the writer, a living life process, 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 do life according to theory. And therefore, the main philosophical thought of the novel is not revealed in the system

logical evidence and refutation, but as a collision of a person possessed by an extremely criminal theory, with life processes that refute this theory.

Raskolnikov and Napoleon

« Raskolnikov, vdifferencefromNapoleon, thoughtjustifyspilledthemblood... "(V.L. Kirpotin)

Raskolnikov dreams of managing people, directing his energies to transforming the world for the better. In the actions of Napoleon, he sees the justification for his way of achieving this transformation. For both Napoleon and the hero, “Toulon” comes. For Raskolnikov, this is the murder of an old woman, that is, a self-test of the hero: will he withstand the idea of ​​a strong personality's right to blood, is he a chosen, exceptional person, Napoleon. I could not stand it - it is not.

In the world
Dostoevsky's literature belongs to the honor
discoveries of inexhaustibility and multidimensionality
human soul. The writer showed
the possibility of combination in one person
low and high, insignificant and great,
vile and noble. Man is a mystery
especially a Russian person. “Russians
people in general are wide people ... wide, like their
earth, and are extremely prone to
fanatical, to disorderly; but the trouble
be broad without much genius ”, -
says Svidrigailov. In the words of Arcadia
Ivanovich is the key to comprehending
character of Raskolnikov. The surname itself
the hero indicates duality,
internal ambiguity of the image. A
now let's listen to the characteristic that
gives Rodion Romanovich Razumikhin: “One and a half
I know Rodion for a year: gloomy, gloomy, arrogant
and proud; lately ... suspicious and
hypochondriac ... Sometimes, however, not at all
hypochondriac, but simply cold and
insensitive to the point of inhumanity, really, exactly
it has two opposite characters,
alternately changing ... terribly high
appreciates and, it seems, not without some right to
then".

Agonizing
the internal struggle does not subside for a minute in
Raskolnikov. Rodion Romanovich tortures
not a primitive question - to kill or not
kill, and the all-encompassing problem: “Is it a scoundrel
man, the whole genus, that is
human". Mar-Meladov's story about
the greatness of Sonya's sacrifice, a letter to the mother about
the fate of Dunechka, a dream about Savrask - all this
joins the general stream of consciousness of the hero.
Meeting with Lizaveta, memories of
a recent conversation at a student's inn and
officer about the murder of an old money-lender
bring Raskolnikov to fatal for him
decision.

Attention
Dostoevsky is chained to clarification
the root causes of Raskolnikov's crime.
The words "kill" and "rob" can
to send the reader's thought down the wrong path.
The point is that Raskolnikov
kills not at all in order to rob.
And not at all because he lives in poverty, that “the environment
stuck. " Couldn’t
he, without waiting for money from his mother and sister,
provide yourself financially, as did it
Razumikhin? Dostoevsky's man
is initially free and does his own
choice. This fully applies to
Raskolnikov. Murder is the result
free choice. However, the path to “blood by
conscience ”is rather complicated and lengthy.
Raskolnikov's crime includes
the creation of an arithmetic theory of the “right to
blood". Internal tragedy and
the inconsistency of the image is
it is in the creation of this logically almost
invulnerable theory. The very same "great idea"
is the answer to a crisis
the world. Raskolnikov is by no means a phenomenon
unique. Similar thoughts in the novel
many say: a student in a tavern,
Svidrigailov, even Luzhin ...

The main
the position of his inhuman hero theory
expounds in confessions to Sonya, in
conversations with Porfiry Petrovich, and before
this, in hints - in a newspaper article. Rodion
Romanovich comments: “... extraordinary
a person has the right ... to allow his
conscience to step over ...
other obstacles, and the only thing
only if the execution of his idea (sometimes
saving for all mankind) that
will require ... People, by the law of nature,
are divided, in general, into two categories:
lower (ordinary) ... and actually on
people ... "Raskolnikov,
as we can see, substantiates its idea
a reference to the good of all mankind,
calculated arithmetically. But can
the happiness of all mankind is based on
blood, on a crime? However,
the reasoning of the hero dreaming of “freedom and
authorities...
over all the trembling creature ", are not deprived and
selfishness. “Here's what: I wanted Napoleon
to become, that's why he killed ”, - admits
Raskolnikov. “From God you have departed, and you are God
struck, betrayed the devil! " - with fear
says Sonya.

Moral
and psychological consequences
the crimes are exactly the opposite of those
which Raskolnikov expected. Break apart
elementary human connections. Hero
admits to himself: “Mother, sister, how
I loved them! Why do I hate them now? Yes I
I hate them, I hate them physically, by my side
I can’t bear it ... ”At the same time, Rodion
Romanovich decisively overestimates
the scale of his own personality: “The old woman
nonsense! .. The old woman was only a disease ... I
I wanted to overstep as soon as possible ... I'm not human
killed, I killed the principle! I killed the principle, and
I did not overstep, on this
side left ... Eh, aesthetically I'm a louse, and
nothing more!" Note that Raskolnikov
does not abandon theory at all, he only
denies himself the right to kill, only
removes himself from the category of “extraordinary
of people".

Individualistic
theory is a source of constant suffering
hero, the source of undamped inner
fight. Consistent logical
refutation of "idea-feeling"
Raskolnikov is not in the novel. And is it possible
it? And yet, Raskolnikov's theory has a number of
vulnerabilities: how to differentiate
ordinary and extraordinary people; what
will it be if everyone thinks they are Napoleons?
The inconsistency of the theory is revealed and
in touch with the “real
reality ”. The future is impossible
predict arithmetically.
The same "arithmetic" that I spoke about in
an unknown student in a tavern, suffers a full
crash. In Raskolnikov's dream about murder
old women blows of an ax do not reach the target. "He...
quietly released the ax from its noose and hit
to the old woman on the crown, once and again. But strange:
she did not even move from the blows, as if
wooden ... The old woman sat and laughed ... "
Raskolnikov's powerlessness, lack of control
the will surrounding him is expressed in a complex
figurative symbolism. The world is far from
unraveled, it cannot be unraveled,
habitual causal relationships
absent. “Huge, round, coppery red
for a month I was looking straight out the window. ” “This is from a month
such silence, - thought Raskolnikov, - he,
surely, now he is making a riddle. " So
way, the theory is not refuted, but as if
displaced from consciousness and subconsciousness
hero. The essence of spiritual resurrection
Raskolnikov is to find
through the suffering of "living life", love, faith
into God. Acute dream about a pestilence
marks the exit from the darkness of the labyrinth.
The gap between the hero and
simple convicts, expand
horizons of the hero's personality.

Let's sum up
some results. Internal tragedy
Raskolnikov is associated with the separation of the hero
from people and with the creation of an inhuman theory
"Blood according to conscience." In their actions
a person is free and independent of social
circumstances. The incessant
internal strife indicates that in
Rodione Romanovich at the same time
coexist a martyr's dream to deliver
people from suffering and selfish
confidence in one's own right to “step over
through other obstacles "to" Napoleon
become". In the finale of the novel by Raskolnikov
comes to spiritual resurrection not in
as a result of renouncing the idea, and through
suffering, faith and love. Evangelical
the parable of the resurrection of Lazarus is bizarre
refracted in the fate of Sonya and
Raskolnikov. “They were resurrected by love,
the heart of one contained endless
sources of life of another's heart ”. In the epilogue
the writer leaves the heroes on the threshold of a new one,
unknown life. Before Raskolnikov
the prospect of the endless opens
spiritual development. This is the manifestation of faith
a humanist writer into a person - even in
killer! - the belief that humanity
she has not yet said her main word. Everything
ahead!