Gray in the novel is crime and punishment. Term paper Symbolism of color in the novel F

In the works of F.M.Dostoevsky there are many color symbols... They are also encountered quite often in the novel Crime and Punishment. It is the color that helps to understand state of mind heroes of the work. Most often, the color of yellow is found on the pages of the novel. This is the "yellow wallpaper" in the room of Raskolnikov and other heroes. Alena Ivanovna's “Yellowed Katsaveika”. Sonya has a yellow ticket.

Luzhin has a ring with a yellow stone. Yellow furniture, yellow face, yellow frames, sugar is also yellow. The feeling of such colors not joyful, not sunny, but on the contrary - oppressive. These details reflect the despair our heroes face and herald bad events. In Crime and Punishment, yellow has a dirty tint, it is the color of illness, mental disorder. Characteristic feature, by which we recognize people affected by the disease, is an unhealthy yellow color. Sonya has a pale face "with burning eyes." Porfiry Petrovich has a “yellow face”. Marmeladov's face, yellow from constant drunkenness, a suicidal woman with a yellow, drunken face. Pallor and yellowness are the main portrait characteristic heroes of the novel.

To describe the inner state of the heroes, Dostoevsky uses the word gall, which has an additional meaning - evil, bitter. Let's remember how Raskolnikov wakes up in his room with yellow wallpaper, and his condition is bilious, irritable. Being in his yellow closet, the hero smiles yellowly. Such a situation stifles, crushes, forces monstrous theories to be nurtured in my head. The color red is often found in the novel. And it has many shades: from pink to crimson.

The most striking is the scene of the murder of an old woman-pawnbroker. Puddles of blood, red morocco, red headsets. This color is a symbol of action, activity. Raskolnikov goes to murder as to execution. But it still goes.

He has almost no strength. They appear only after the first blow with an ax, which is symbolic: there is some kind of animal thirst for blood in this. The hero wipes his hands, red with blood, on a red headset, so that it is invisible. And the young men from Raskolnikov's first dream, who finish off the horse, also with red as carrots, faces. Waking up, Raskolnikov sees a bright red sunset and realizes that he will not be able to accomplish his plans, that his idea is insane. And nature seems to support the hero in this decision. Different shades red are also hidden in the names of the heroes. Rodion means pink in Greek. This is symbolic, because pink color associated with insecurity, vulnerability, kindness.

Although the hero commits a terrible crime, we also remember his good deeds. He gives the last pennies to the Marmeladovs, saves a girl on the boulevard from an old libertine. The name Porfiry from Greek means crimson. And porphyry is purple, which also evokes certain associations. After all, it is Porfiry who will be the main tormentor of Raskolnikov.

Other colors stand out against the painful yellow background. For example, blue and blue. Sonya has "wonderful blue eyes." In addition to the yellow wallpaper, the heroine's room has blue tablecloth, which is also associated with a clear, calm sky. Before the murder of the old woman, Raskolnikov thinks that he is in the desert. Therefore, the hero greedily drinks the saving water from the spring. Sonechka with her "wonderful blue eyes" will become such a salvation for Rodion Raskolnikov in the epilogue of the novel. Svidrigailov also has blue eyes, but he looks hard and intently.

We see how Dostoevsky uses shades of the same color in different ways. Green is also found in the novel. In Raskolnikov's first dream, against the background of drunken faces, a dusty, black road, a blackening forest, a green dome of a church suddenly appears as a symbol of hope for the best. Green in the novel is a symbol of protection. After awakening, Raskolnikov sits under the crown of a green tree. The merchant's daughter, who takes Raskolnikov for a beggar and gives him alms, holds a green umbrella in her hands, somewhat reminiscent of the dome of a church. After her fall into sin, Sonechka wraps herself up in a green draped shawl.

It is known that green is a symbol of the Mother of God. And the green color of the scarf emphasizes the holiness of the heroine. In the same green scarf, the heroine appears in the epilogue of the novel, when a turning point occurs in Raskolnikov's soul and he is reborn to a new life. Using green, the author emphasizes that kindness is under the cloak of holiness. Uses Dostoevsky and symbolism of other colors. Black is the unknown. Raskolnikov, going to murder, climbs the "black staircase", enters the emptiness of the dark room of the old woman-pawnbroker and thereby dooms himself to death. Contrasted with black White color, which is not only a symbol of purity, innocence, but also sorrow, sorrow. A vivid confirmation of this is Svidrigailov's dream about a drowned girl who chose death over shame. Here we see and White dress, and white ruffle, marbled hands, blonde hair.

White daffodils with green stems, which some peoples lay on graves. We will not find such a repetition of color even in the scene of the murder of an old woman. Sonya has blond hair, Svidrigailov too, but only with gray. But if Sonya's hair color is a symbol of holiness, then Svidrigailov's is a shell that hides a terrible sinner. The same color helps the writer to show the different essence of the characters. The gray in the novel is also symbolic. Razumikhin buys things for Raskolnikov gray, but he doesn't even want to try them on.

Gray and dullness are cognate words. The hero of the novel definitely does not want to be unnoticed, as his theory says. This is confirmed by the red hat of the hero. After all, Raskolnikov is trying to prove first of all to himself that he "has the right", and not "a trembling creature." And this unwillingness of the hero to try on gray clothes also helps to understand the essence of his theory. Thus, the use of different colors in Dostoevsky's novel Crime and Punishment helps to reveal the idea of ​​the work, the characters of the characters and their state of mind.

In Dostoevsky's novel Crime and Punishment, there are many symbolic details. The names of the heroes are symbolic, the landscapes and interiors that open up are significant. The novel's color scheme is also characteristic, as well as its range of colors.

Researchers of Dostoevsky's work have repeatedly noted the predominance of one color in the novel's color scheme - yellow. Indeed, all the action in the novel takes place against a yellow background.

The yellow tone in the novel penetrates not only into the interior, but also into the portrait. Alena Ivanovna is dressed in a yellow fur coat, in her room there is yellow wallpaper, furniture made of yellow wood, pictures in yellow frames. Raskolnikov has "an emaciated, pale yellow face", in his room there is "dirty, yellow wallpaper", when Rodion becomes ill, he is served "a yellow glass filled with yellow water." Porfiry Petrovich has a "sick, dark yellow face", in his office there is government furniture, "made of yellow, polished wood." Katerina Ivanovna has a "pale yellow, withered face", "swollen from constant drunkenness, a yellow face" in Marmeladov, in Sonya's room - "yellowish, washed out and worn wallpaper."

The image of St. Petersburg is also given in yellow tones in Crime and Punishment. Here, standing on the bridge, Raskolnikov sees a woman "with a yellow, oblong, drunk face." Suddenly she throws herself into the water. Raskolnikov learns that she is not her first suicide attempt. Previously, she "wanted to strangle herself," "they took them off the rope." This scene embodies the motive of hopelessness, a dead end, when a person “has nowhere to go”. The bright yellow houses on Bolshoy Avenue, not far from which Svidrigailov shot himself, look sad and dirty.

What is the meaning of this yellow color in Dostoevsky's novel?

It is known that yellow is the color of the sun, the color of life, joy, energy, conducive to communication and openness. In the novel, the meaning of this color seems to be reversed: it often frames poverty, illness and death. Raskolnikov sits alone in his "yellow cell", before his death Svidrigailov rents a room in a cheap hotel, and in his room there is all the same dirty yellow wallpaper.

The constant, demonstrative use of this color is the bitter irony of Dostoevsky and at the same time a deep humanistic subtext. The yellow color that has become dirty in the novel, the brightness of which is muted, is muted, muted life, muted love of life, abilities and talents, suppressed joy of creativity, unclaimed human strength and opportunities. At the same time, Dostoevsky makes us understand that his heroes, lost and lonely, sick and crushed by poverty, are also worthy normal life... This is one of the meanings of the yellow background color.

However, do not forget that yellow, for all its vitality, is a very impulsive color, a color that awakens the imagination, activates the activity of the brain, prompting a person to take action.

The yellow color in the novel constantly accompanies Raskolnikov, and his thoughts are really very restless, and his actions are impulsive. Sometimes the hero falls into unconsciousness, sometimes he becomes unusually active, energetic.

In addition, another value is guessed here yellow color... Yellow reminds us of the sun, the sun is associated with power, greatness (the sun king Louis XIV). The idea of ​​power is also present in Raskolnikov's theory: “power over the entire anthill,” over trembling creatures - this is what the hero in the novel longs for.

However, in criticism, there are other interpretations of the yellow background in Dostoevsky. SM Soloviev, for example, believes that yellow is associated here with an atmosphere of pain, sadness, depression.

In addition, one should not forget that Crime and Punishment is a Petersburg novel. And Petersburg is the second half of the XIX century - the city of the "golden bag". "Passion for gold stronger than love, in the kingdom of monetary relations, love, beauty, a woman, a child ... turn into a commodity that can be traded ... "- wrote V. Ya. Kirpotin. Therefore, the yellow color background in the novel, in addition, symbolizes gold, commodity-money relations.

In addition to yellow, in the descriptions of nature, in the portraits in Dostoevsky's novel, red is often found, which is associated mainly with the image of Raskolnikov. In his first dream, he sees big, drunken men in red shirts. They have red faces. Nearby sits a "wench" in red. On the bridge, Raskolnikov sees the sunset of the "bright, red sun". He lays the interest woman "a small gold ring with three red stones." Under Alena Ivanovna's bed, he finds a styling "upholstered in red morocco." Under the white sheet the old woman has a hare's coat, "covered with a red set." The red color here embodies aggression, rage, anger. Its extreme embodiment is blood.

Thus, the color scheme of the novel corresponds to its plot scheme and ideological content... Everything positive, joyful in the life of the heroes is so obscured, blurred and muted that an aggressive, destructive beginning begins to dominate in a person, blood is shed. So, the color background merges in the novel with its philosophical orientation, thoughts about the world and man.

In the works of F.M.Dostoevsky, there are many color symbols. They are also encountered quite often in the novel Crime and Punishment. It is the color that helps to understand the state of mind of the heroes of the work.

Most often, the color of yellow is found on the pages of the novel. This is the "yellow wallpaper" in the room of Raskolnikov and other heroes. Alena Ivanovna's “Yellowed Katsaveika”. Sonya has a yellow ticket. Luzhin has a ring with a yellow stone. Yellow furniture, yellow face, yellow frames, sugar is also yellow. The feeling of such a color scheme is not joyful, not sunny, but on the contrary - oppressive. These details reflect the despair our heroes face and herald bad events.

In Crime and Punishment, yellow has a dirty tint, it is the color of illness, mental disorder. A characteristic trait by which we recognize people affected by the disease is the unhealthy yellow color. Sonya has a pale face "with burning eyes." Porfiry Petrovich has a “yellow face”. Marmeladov's face, yellow from constant drunkenness, a suicidal woman with a yellow, drunken face. Pallor and yellowness are the main portrait characteristics of the heroes of the novel.

To describe the inner state of the heroes, Dostoevsky uses the word gall, which has an additional meaning - evil, bitter. Let's remember how Raskolnikov wakes up in his room with yellow wallpaper, and his condition is bilious, irritable. Being in his yellow closet, the hero smiles yellowly. Such a situation stifles, crushes, forces monstrous theories to be nurtured in my head.

The color red is often found in the novel. And it has many shades: from pink to crimson.
The most striking is the scene of the murder of an old woman-pawnbroker. Puddles of blood, red morocco, red headsets. This color is a symbol of action, activity. Raskolnikov goes to murder as to execution. But it still goes. He has almost no strength. They appear only after the first blow with an ax, which is symbolic: there is some kind of animal thirst for blood in this. The hero wipes his hands, red with blood, on a red headset, so that it is invisible. And the young men from Raskolnikov's first dream, who finish off the horse, also with red as carrots, faces. Waking up, Raskolnikov sees a bright red sunset and realizes that he will not be able to accomplish his plans, that his idea is insane. And nature seems to support the hero in this decision.

Different shades of red are also hidden in the names of the heroes. Rodion means pink in Greek. This is symbolic, because pink is associated with insecurity, vulnerability, kindness. Although the hero commits a terrible crime, we also remember his good deeds. He gives the last pennies to the Marmeladovs, saves a girl on the boulevard from an old libertine.

The name Porfiry from Greek means crimson. And porphyry is purple, which also evokes certain associations. After all, it is Porfiry who will be the main tormentor of Raskolnikov.

Other colors stand out against the painful yellow background. For example, blue and blue. Sonya has "wonderful blue eyes." In addition to the yellow wallpaper, the heroine's room has a blue tablecloth, which is also associated with a clear, calm sky. Before the murder of the old woman, Raskolnikov thinks that he is in the desert. Therefore, the hero greedily drinks the saving water from the spring. Sonechka with her "wonderful blue eyes" will become such a salvation for Rodion Raskolnikov in the epilogue of the novel.

Svidrigailov also has blue eyes, but he looks hard and intently. We see how Dostoevsky uses shades of the same color in different ways.

Green is also found in the novel. In Raskolnikov's first dream, against the background of drunken faces, a dusty, black road, a blackening forest, a green dome of a church suddenly appears as a symbol of hope for the best. Green in the novel is a symbol of protection. After awakening, Raskolnikov sits under the crown of a green tree. The merchant's daughter, who takes Raskolnikov for a beggar and gives him alms, holds a green umbrella in her hands, somewhat reminiscent of the dome of a church. After her fall into sin, Sonechka wraps herself up in a green draped shawl. It is known that green is a symbol of the Mother of God. And the green color of the scarf emphasizes the holiness of the heroine. In the same green scarf, the heroine appears in the epilogue of the novel, when a turning point occurs in Raskolnikov's soul and he is reborn to a new life. Using green, the author emphasizes that kindness is under the cloak of holiness.

Uses Dostoevsky and symbolism of other colors. Black is the unknown. Raskolnikov, going to murder, climbs the "black staircase", enters the emptiness of the dark room of the old woman-pawnbroker and thereby dooms himself to death.
Contrasted with black is the white color, which is not only a symbol of purity, innocence, but also grief and sadness. A vivid confirmation of this is Svidrigailov's dream about a drowned girl who chose death over shame. Here we see a white dress, and white ruffle, marble-colored hands, blonde hair. White daffodils with green stems, which some peoples lay on graves. We will not find such a repetition of color even in the scene of the murder of an old woman.

Sonya has blond hair, Svidrigailov too, but only with gray. But if Sonya's hair color is a symbol of holiness, then Svidrigailov's is a shell that hides a terrible sinner. The same color helps the writer to show the different essence of the characters.

The gray in the novel is also symbolic. Razumikhin buys gray clothes for Raskolnikov, but he doesn't even want to try them on. Gray and dullness are cognate words. The hero of the novel definitely does not want to be unnoticed, as his theory says. This is confirmed by the red hat of the hero. After all, Raskolnikov is trying to prove first of all to himself that he "has the right", and not "a trembling creature." And this unwillingness of the hero to try on gray clothes also helps to understand the essence of his theory.

Thus, the use of different colors in Dostoevsky's novel Crime and Punishment helps to reveal the idea of ​​the work, the characters of the characters and their state of mind.

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The novel "Crime and Punishment" occupies a special place in the work of F. M. Dostoevsky. Never before has he so broadly portrayed the poverty and suffering of the disadvantaged, the inhumanity and cruelty of his contemporary life. The literary means used by the writer correspond to the tragic content of the novel. These are portraits of heroes, their speech characteristic, description of their rooms, cityscapes.
Color plays an important role in the figurative structure of the novel. It is especially interesting that the author uses only a few colors in the work. The most important color in the novel is yellow. This was partly because Crime and Punishment is a Petersburg novel, and in Russian literature the image of Petersburg was often associated with yellow... And this is not only because the color of many official and ceremonial buildings of St. Petersburg is yellow, but also because yellow is the color of betrayal, grief, and illness. The critic Solovyov, who specially studied the color background of Dostoevsky's works, came to the conclusion that Crime and Punishment was created using actually one yellow background. This yellow background is a great addition to the dramatic experiences of the characters. “Yellow color by itself creates, causes, supplements, enhances the atmosphere of ill health, frustration, anguish, soreness, sadness,” concludes Soloviev.
Indeed, Dostoevsky's Petersburg is sick, and sick, morally and physically, most of the characters in his work. An important trait by which we recognize the "sick" environment and sick people is the unpleasant, obsessive, unhealthy yellow color, which is full of descriptions in the novel. This is yellow wallpaper and yellow wood furniture in the room of the old woman-pawnbroker, the “yellow from constant drunkenness” face of Marmeladov, whom Raskolnikov met in the tavern, yellow, “like a wardrobe or a chest” a drunken face. With the development of the action, the yellow color becomes more and more. In Sonya's room - "yellowish, washed-out and worn wallpaper." Porfiry Petrovich’s office has “furniture made of polished yellow wood”. In the hotel room where Svidrigailov is staying is the yellow color of the wallpaper. And even the ring on Luzhin's hand is decorated with a yellow stone. These details reflect the hopeless atmosphere of the existence of the main characters and portend something unkind. Finally, it is fundamentally important that Sonechka Marmeladova lives on a yellow ticket, which personifies everything low, vile, humiliating and sinful in life. (The content of this paragraph could clearly be expanded and written in much more detail about the meaning of yellow in each of the described contexts.)
Attention should also be paid to the comparison of two words of the same root - yellow and bilious, which are often found side by side in the novel. For example, it is said about Raskolnikov: "A heavy, bilious, evil smile snaked across his lips", "Finally he felt stuffy and cramped in this yellow closet." The writer shows the interaction of internal and external, the attitude of the hero and the world around him. In this interaction, apparently, lies the complex meaning that yellow takes on in the novel.
However, in "Crime and Punishment" we sometimes see and green color, the color of hope. This is the color of green on the Islands, where Raskolnikov sees at least something alive and beautiful. It is symbolic that it is also the color of the “family” marmalade shawl. This scarf, like a cross, is worn by Katerina Ivanovna, and behind her and Sonya. The handkerchief simultaneously embodies the suffering that falls to the lot of its owners, and their redemptive power, leading to moral rebirth. Going after Raskolnikov, who goes to confess to a crime, Sonya puts this scarf on his head. She is ready to take upon herself the suffering and atone for the hero's guilt. In the epilogue, in a scene foreshadowing Raskolnikov's revival, Sonya appears in the same scarf. At this moment, the green color of suffering and hope of the main characters of the work turns out to be more significant than the yellow color of suffering and hopelessness.
In this victory of green over yellow is an important symbolic meaning... Dostoevsky hopes for a better future for the heroes. In the confrontation between good and evil, good triumphs. Dostoevsky believes in man ... And this faith contains artistic power works of the writer.

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The topic of the essay is disclosed, all the main provisions are correct. The work is written good literary language... However, the brevity and even some concise presentation, as well as an excessive focus on critical literature do not give an opportunity to put "excellent". The rating is "good".

Lecture, abstract. The role of color in the novel by FM Dostoevsky "Crime and Punishment" - the concept and types. Classification, essence and features.

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION
FEDERAL STATE EDUCATIONAL INSTITUTION
"TAGANROG STATE INSTITUTE NAMED AFTER A. P. CHEKHOV"
Faculty of _______ Russian language and literature _____________________
Department of ____________ Literature _ __________________________
Course work
Theme. Symbolism of color in the novel by F. M. Dostoevsky "Crime and Punishment"

Course work
5th year student
Morozova Maria
OZO litfak

Supervisor:
Ph. D., Assoc. V. V. Kondratyeva

Taganrog
2012
TABLE OF CONTENTS
INTRODUCTION
CHAPTER 1. COLORWRITING AS A LITERARY CATEGORY
CHAPTER 2. SYMBOLS OF COLORS IN THE ROMAN OF F. M. DOSTOEVSKY "CRIME AND PUNISHMENT"
2.1. THE ROLE OF COLOR IN THE CREATION OF THE IMAGE OF RODION RASKOLNIKOV
2.2. THE ROLE OF COLOR IN CREATING THE IMAGE OF SONIA MARMALADOVA
2.3. ROLE OF COLOR IN CREATING THE IMAGE OF PETERSBURG
CONCLUSION
BIBLIOGRAPHY

INTRODUCTION
This work is an attempt to identify and study the symbolic meaning of color in the prose of F.M.Dostoevsky. The desire to most fully identify the many obvious and hidden meanings contained in the images is dictated by the desire to understand spiritual world the writer and the system of his values.
The content of the work is in line with the trends of modern literary criticism, which is actively developing the problem of interpreting a literary text.
To understand the deep meaning of a work, you need to know the "language of flowers", their symbolic meaning. The work reveals the symbolism of flowers in Russian literature on the example of the novel by Fyodor Mikhailovich Dostoevsky "Crime and Punishment".
The relevance of this work is determined by the following facts:
1) The symbolism of color in Dostoevsky's novel by F.M. "Crime and Punishment" is not well understood.
2) Dostoevsky is rightfully considered one of the best writers in the world. Subtle psychological analysis inner peace the heroes of his novels are revealed even deeper through the prism of color symbolism, where Christian symbols are not the last.
Despite the large number of works exploring the semantic diversity of the writer's works, this aspect of studying his work remains relevant, since the process of comprehending the meaning of great artistic creations, including the works of F.M. Dostoevsky, is endless. No act of comprehension of works of art (even the most heartfelt and deep) is given to be the only and exhaustively correct, because any literary text is, according to the definition of B. M. Gasparov, "a particle of a continuously moving stream of human experience" and each time it exists in a new semantic environment , what is "every new case of the proposal and perception of the text."
Subject of research: Symbolism of color in the novel of Dostoevsky F.M. "Crime and Punishment".
Object of research: the novel by F. M. Dostoevsky "Crime and Punishment".
The aim of the study of this work is to reveal the symbolism of color in the novel "Crime and Punishment".
This goal assumes the solution of the following tasks:
Tasks:
1) To study the theory of the question on the problem of color painting in a literary text.
2) Research of theoretical material on color symbolism.
3) List the colors in the novel by FM Dostoevsky and reveal their connection with the images of the heroes.
4) Analysis of the color symbolism "Crime and Punishment"
The theoretical and methodological basis of the research is made up of works that consider the theory of the definition of a symbol, the problem of a symbol and its connection with realistic art (A.F. Losev, S.S.Averintsev, A.P. Kvyatkovsky), works on the study of the symbolism of this work (A.F. Losev, K.V. Mochulsky).

CHAPTER 1. COLORWORK AS A LITERARY CATEGORY
... A symbol is only then a true symbol,
when it is inexhaustible limitless in its meaning. It has many faces, many meanings and is always dark in its depths.

D. Merezhkovsky (On the causes of decline and new trends in modern Russian literature)

The question of the use of color in literary work as special reception, the means of transmitting the author's consciousness and idiostyle features have not yet been carefully developed, does not have a clear theoretical basis... But it is impossible to talk about the absolute lack of information on this topic, since color is also studied in other areas: design, psycholinguistics, art in general, iconography, folklore and mythology.
Color painting - The art of transferring colors, paints of the world around the language of a work of art. [Kuznetsov A. S. el. resource]
For researchers, color in literature is of special, exceptional interest, since a writer, like any person, uses it intuitively, subconsciously, which speaks of an individual worldview, an extraordinary view of the world... Although the use of a particular color can be explained by religious beliefs, education, upbringing, this is precisely the fundamental difference between color in literature and color, for example, in painting, where the use of color is often, but not always, subordinate to the traditions in which color is included into the system of studying painting directly. The regularity in the use of color designations is rooted in antiquity. In the monuments of Old Russian writing, predominantly named, according to DS Likhachev, are white, black, red [Likhachev DS e-resource]. In the work of L. V. Zubova, the same feature is noted for the Russian classical literature. [Zubova L. V. e. resource] The problem of color is of interest to representatives of different sciences.
With the help of color, you can evoke in the reader a complex range of feelings and moods when perceiving a work of art, since he possesses tremendous power emotional impact, the ability to express not only "visible", external signs, but also the subtlest psychological states. Throughout its history, mankind has developed a whole system of associations associated with a particular color, which have a special symbolic meaning. It should also be remembered that in each national culture there is a specific perception of color. All this must be taken into account when analyzing works to indicate the style of the author.
All color designations can be conditionally divided into two functional groups: 1) calling the color of the object in kind [Likhachev D.S. el. resource], - an image of one of the real characteristics of something. In such a consideration of color, one cannot speak of an absolute absence of symbolic meaning, since in every culture there are historically established associations, parallels of color with other objects and phenomena of reality. [Kandinsky V. email. resource] 2) carrying sometimes difficult to distinguish symbolic meaning. It is this group of color designations that can to a greater extent reveal certain facets of the individual style of the writer.
Color plays an important role in literary works, and it is important to take into account that the image of color is not the goal of the writer, but serves as the realization of creative ideas. The use of color reveals the individual style of the writer, the author's vision of the world and its embodiment in his works.

GL. 2. SYMBOLS OF COLOR IN THE ROMANCE OF F. M. ZHOSTOEVSKY "CRIME AND PUNISHMENT"
We observe a completely special approach to color in the novel by FM Dostoevsky "Crime and Punishment". Dostoevsky's best novels Crime and Punishment, The Brothers Karamazov are much less colorful than War and Peace by Tolstoy and Anna Karenina. Although one cannot fail to note common features in the evolution of color in the novels of Tolstoy and Dostoevsky. For both writers, the transition to maturity is marked by a decline and limitation of color.
What is the reason for the sharp decrease in color in Russian democratic literature of the 50-80s of the XIX century? Maybe this is a reflection of acute conflict, crisis conditions of the era, bringing not only literature, but also a part of painting closer to the atmosphere of tragedy?
Dostoevsky writes in "Adolescent": "I only write down events, evading with all my might from all outsiders, and most importantly - from literary beauties." [Dostoevsky, p. 2] The artist, as you know, was not a master of landscape art, landscapes are few in his works. But he has a lot of sunsets, images of the setting sun. As many as 45 descriptions! And of these - the striking thing - only four mention color. The rest are completely devoid of color, but they are very sad. “The landscape is state of soul", Someone said. This aphorism is directly related to Dostoevsky. He has a special, peculiar sensitivity to color.
Dostoevsky is the creator of a psychologically accentuated, sharp-sounding color stroke. And this stroke is always directed, it is given many complex shades, everyday and psychological overtones. Dostoevsky gives examples of the use of expressive color. This expression is created by using the usual color, but next to it there is a sharp plot development. Dostoevsky introduces the reader to the world of a complicated but extremely expressive interpretation of color. It creates a completely original direction in its use in literature.
2.1. THE ROLE OF COLOR IN THE DISCLOSURE OF THE IMAGE OF RODION RASKOLNIKOV.
The work of FM Dostoevsky is distinguished by the extreme drama of ideological clashes, catastrophic situations, irreconcilability of judgments. Dostoevsky sincerely and passionately expresses and defends his ideas, views, he suffers, not finding answers to complex questions of life. The hero is interested in Dostoevsky not as an element of reality, possessing definite and firm social-typical and individual-characterological characteristics, not as a definite image, which is composed of single-meaning and objective traits, in their totality, answering the question - "who is he?" No, Dostoevsky is interested in the hero as a special point of view on the world and on himself, as a semantic and evaluating position of a person in relation to himself and in relation to the surrounding reality. It is important for Dostoevsky not what his hero is in the world, but what the world is for the hero and what he is for himself. [Bakhtin M. M. el. resource]
The minds of many people of the last century were possessed by the false idea of ​​the superiority of some people over others, the right of a strong personality to command others, to decide their fate. The heroes of the analyzed novel - Rodion Raskolnikov and Arkady Ivanovich Svidrigailov - became prisoners of this idea.
Rodion Raskolnikov, the main character of the novel, lives in the gloomy, oppressive atmosphere of St. Petersburg. Poor student. Raskolnikov feels himself to be of no use to anyone, outcast among the rich mansions, the discharged public. Suppressed by poverty and the injustice of life, Raskolnikov decides to kill the pawnbroker Alena Ivanovna.
The idea was that, according to Rodion, you can commit a crime for the common good, a crime "according to your conscience": you can kill a stupid, senseless, insignificant, evil, sick, useless, but on the contrary, a harmful old woman (1, el resource), take her money and make amends for this "tiny criminal" with thousands of good deeds.
Raskolnikov thought a lot about this idea until he found an explanation for it. He came to the conclusion that all of humanity has long been divided into two categories: ordinary people, obeying the force, "trembling creatures" and supermen who are allowed everything and who will stop at nothing, even before a crime. And this, Raskolnikov thinks, is an eternal and immutable law:
He who is strong and strong in mind and spirit is the master over them! Whoever dares a lot is right with them. Whoever can spit on more, they have a legislator ... This has been done up to now and will always be so! (1, electronic resource)
Believing in this idea, Rodion wants to test himself: who is he - "trembling creature" or "lord of fate"? But, having killed the old woman-pawnbroker, Raskolnikov became convinced that he was not at all a "being of a higher order", since the crime brought him nothing but suffering and pangs of conscience.
And so, trying to remake human nature in himself, to separate will from conscience, Raskolnikov comes to a tragic split. Playing the role of "master", he understands that such a role is not for him. Having killed the pawnbroker, Rodion kills everything human that connected him with the world around him, with people: “I killed myself, not the old woman.” (1, electronic resource)
After the murder, Raskolnikov experiences a state of detachment from the world, his soul is enveloped in "dead cold". This terrible sensation becomes the payment for the crime committed.
The hero realized that all people are invisibly interconnected and each person, his life is an unconditional value, therefore no one has the right to dispose of the life of another person.
Raskolnikov's tragedy lies in the falsity of his own theory. He realized this, having committed a crime, but he could return to his old, normal life only through suffering.
The most common color in the novel is yellow. He is present almost constantly, has a strong influence on the characters and the reader, and even is the engine of the plot, determining the fateful fate of the heroes. SM Soloviev writes that Dostoevsky's work was created using actually one yellow background! This yellow background is a magnificent, holistic pictorial addition to the dramatic experiences of the heroes [Soloviev S. M. el. resource]. Dostoevsky clearly does not like yellow: he has repeatedly expressed his negative attitude towards yellow. In addition to memories of childhood, the attitude to color must have been influenced by other factors, first of all - the knowledge of the traditional attitude towards it among the people, in Christianity.
A piercing yellow color in folk symbols associated with envy and jealousy ("yellow with envy"). Most often, yellow is understood as the color of the Sun: by its twofold nature, it is “the color of flair, guesswork, intuition, so easily confusing, which, after all, contains a kind of solar power, all-pervading and all-enlightening. Golden yellow, with a slight reddish color, most often refers to mature wisdom; pale yellow - to insidious aggressiveness, for example, in the idea of ​​the color of Judas's clothes. [Losev AF el. resource] Therefore, in the Middle Ages, the Jews had to wear yellow clothes.
In the novel "Crime and Punishment", apparently, yellow (dirty, pale, burnt out) and has the following meaning: aggressive insidiousness, betrayal, betrayal, morbidity, unhealthy atmosphere as such. Let's analyze two examples: "She put her own cracked teapot in front of him, with tea already asleep, and put two yellow pieces of sugar." “When he woke up, he saw that he was sitting on a chair, that he was supported by a person on the right, that another person was standing on the left, with a yellow glass filled with yellow water ..” (1, electronic resource)
"Yellow sugar" is combined with a cracked teapot (broken, that is, sick) and sleeping tea, which also has a yellow color. In the second example, the "yellow glass", that is, not washed for a long time, with a touch of yellow rust, and yellow rusty water are directly related to the hero's illness, to his fainting state. We also meet painful wretched yellowness when describing other things, for example: Alena Ivanovna's “yellow fur katsaveika,” Raskolnikov’s hat, “completely red, all covered in holes and spots,” etc.
The yellow color in the novel is present in almost all rooms and creates an atmosphere of ill health, frustration, anguish, soreness, sadness. Dirty yellow, dull yellow, painful yellow color evokes feelings of inner oppression, mental instability, general depression. “A small room that the young man entered, with yellow wallpaper. The furniture is all very old and there are penny pictures of yellow wood in yellow frames ”2. This is how Dostoevsky describes Alena Ivanovna's apartment. And here is a description of Raskolnikov's poor dwelling. “It was a tiny cage, about six paces long, which had the most miserable appearance with its yellow, dusty wallpaper that was everywhere peeling from the wall” 2.
The constant, demonstrative use of this color is the bitter irony of Dostoevsky and at the same time a deep humanistic subtext. The yellow color, which has become dirty in the novel, the brightness of which is muted, is muted, muted life, muted love of life, abilities and talents, suppressed joy of creativity, unclaimed human strength and possibilities. At the same time, Dostoevsky makes us understand that his heroes, lost and alone, sick and crushed by poverty, are also worthy of a normal life. This is one of the meanings of the yellow background color.
However, do not forget that yellow, for all its vitality, is a very impulsive color, a color that awakens the imagination, activates the activity of the brain, prompting a person to take action.
The yellow color in the novel constantly accompanies Raskolnikov, and his thoughts are really very restless, and his actions are impulsive. Sometimes the hero falls into unconsciousness, sometimes he becomes unusually active, energetic.
In addition, another value for yellow is guessed here.
Yellow reminds us of the sun, the sun is associated with power, greatness (the sun king Louis XIV). The idea of ​​power is also present in Raskolnikov's theory: “power over the entire anthill,” over trembling creatures - this is what the hero in the novel longs for.
However, in criticism, there are other interpretations of the yellow background in Dostoevsky. SM Solovyov, for example, believes that “yellow is associated here with an atmosphere of pain, sadness, depression. [Soloviev SM el. resource]
Researchers of Dostoevsky's work note that in the entire world of art there are few works like Crime and Punishment, in which the yellow color would be so completely consistent. An analogy is drawn not with literature, but with painting, with the creative quest of a Dutch artist.

Van Gogh. Van Gogh's painting "Cafe" depicts the hall of a provincial inn with a bright yellow floor and hanging kerosene lamps, the light from which paints the figure of the owner and the entire furnishings yellow. “In my Cafe,” wrote Van Gogh, “I tried to express the fact that a cafe is a place where you can go crazy or commit a crime ... All this expresses the atmosphere of a red-hot abyss, pale suffering. All this expresses a darkness in which, however, power slumbers. ”[Wallace R. el. resource]
The results of the study of colorism as a functional phenomenon in Crime and Punishment convince us that both the sparseness of use and the choice of colors in the novel should in no way be regarded as random or unimportant phenomena. Colorism, even its seeming poverty, here carry a huge semantic load and are used as a means of expressing the concept and worldview of Dostoevsky, performing primarily the functions of revealing the spiritual and philosophical content and emotional and psychological impact, and very rarely - a descriptive function.
Dostoevsky gradually reveals the image of Raskolnikov: we see him as a beloved son and brother, we understand his social and material situation, we feel his proud spirit and are convinced of the responsiveness and compassion of his heart. At the same time, Dostoevsky avoids open descriptions of the character, soul, and worldview of the protagonist.
Thus, the yellow color, prevailing in the description of the hero and the objects around them, creates a deep impression of general wretchedness and morbidity. The author seems to be watching his hero through the "yellow glasses". This happens to a person who loses consciousness and sees everything in yellow for some time.
Other colors are acquiring great symbolic meaning, and first of all, red. In the novel, it has many shades, therefore, they can be interpreted in different ways. So, after the murder of Alena Ivanovna, her apartment, which on the first pages of the novel was described in yellow, acquires a red tint in Raskolnikov's eyes, reminiscent of the color of blood. Raskolnikov notices that the apartment had a significant set, more arshin in length, with a convex roof, upholstered in red morocco, with steel studs stuck on it. The toothed key just came in and unlocked. Above, under a white sheet, lay a hare's coat, covered with a red set; under her was a silk dress, then a shawl ... First of all, he began to wipe his blood-stained hands on the red set. “Red, but red blood is more inconspicuous,” he thought. (1, electronic resource) The contrast of red against the background of the usual yellow makes a strong impression on Raskolnikov. "God! Am I losing my mind? " he thinks. It seems that the episode of Alena Ivanovna's murder is painted in bloody color: “blood gushed out as from an overturned glass”, “a whole pool of blood”, “red morocco”, “red set”. Red color means the beginning of activity (pulse rises, blood pressure rises, breathing quickens).
The sunset was bright red when the hero gave up his "obsession". Nature itself seemed to support him at that moment.
In the novel, there are shades of red that “hide” in the names of the heroes. For example, Porfiry in Greek is crimson, purple. Porphyry is purple.
The name of Raskolnikov is also of color. In Greek, Rodion is pink. Quite a strange definition for a murderer. In psychology, pink means tenderness, sometimes a desire to escape reality. And in fact, the hero's sincere, kind deeds convince us of the sensitivity and vulnerability of his rich soul, despite the double murder he committed.
The rest of the colors in the text are also not random. For example, black is a mystery, an unknown. When Raskolnikov climbed the “black” stairs, “dark and narrow”, to the dark apartment of Alena Ivanovna, he still did not know whether he would actually decide to kill. When the hero comes here for the second time, “two keen and incredulous eyes stared at him from the darkness” 2. Entering this terrible room, the hero seemed to have stepped from the threshold of his house into a dark, hopeless night, when nothing is visible at all, into a night that dooms him to death. It is interesting that Raskolnikov himself had “beautiful dark eyes”.
To summarize, it can be noted that the use of few colors in the novel is not accidental. Dostoevsky thus wanted to show the gradual disclosure and development of the image of Rodion Raskolnikov and used the symbolism of color to achieve this goal. All color symbols carry a huge semantic load and are used as a means of expressing the concept and worldview of F.M.Dostoevsky, performing, first of all, the functions of revealing the spiritual and philosophical content and emotional and psychological impact
2.2. THE ROLE OF COLOR IN CREATING THE IMAGE OF SONIA MARMALADOVA
Sonya Marmeladova is a kind of limit to meekness and suffering. In the name of saving her stepmother's children from starvation and a drunken father who has lost his human appearance, she goes out into the street and becomes a prostitute. “Since then, my sovereign,” he continued after some silence, “since then, on one unfavorable incident and on the report of ill-intentioned persons,“ which Darya Frantsovna especially helped, for allegedly skimping on her in due respect, “ Since then, my daughter, Sofya Semyonovna, was forced to receive a yellow ticket, and on this occasion she could not stay with us. For the hostess, Amalia Fedorovna, did not want to allow that ... ”(1, electronic resource) And again we observe the use of the yellow color by the author as an indicator of Sonya's unhealthy, destructive position. The author does not directly indicate the occupation of Sonya, and this is precisely what determines the use of the definition of "yellow ticket".
This is a painful humiliation, the apotheosis of suffering and self-sacrifice. The meek, religiously exalted Sonya sacrifices everything that is especially dear to her, goes to the most severe sufferings in the name of the happiness of her neighbors. Sonya professes moral covenants, which, from the point of view of Dostoevsky, are the closest to the people - covenants of humility, forgiveness, sacrificial love. She does not judge Raskolnikov for his sin, but painfully sympathizes with him and calls on him to "suffer", to atone for his guilt before God and before people.
Sonechka Marmeladova is destined to share the depth of Raskolnikov's mental anguish, it is to her that the hero decides to tell his terrible, painful secret. In the face of Sonya, Raskolnikov meets a man who is awakening in himself and whom he still pursues as a weak and helpless "trembling creature": he suddenly raised his head and gazed at her intently; but he met her uneasy and painfully solicitous gaze on him; there was love; his hatred disappeared like a ghost. (1, electronic resource) "Natura" requires the hero to share with Sonechka the suffering of his crime, and not the manifestation that causes it. Raskolnikov's Christian-compassionate Sonechkina's love calls for this version of recognition.
Now about the color blue. It is known that blue is the color of the sky, both visible and spiritual.
Dostoevsky endowed his favorite heroine, Sonechka Marmeladova, with wonderful blue eyes. But the blue color does not always express the unambiguous attitude of the author and heroes to it. For another hero, the same color makes a completely different impression. The blue color of the eyes of the vicious, cynical, internally devastated Svidrigailov acquires a strange, ambivalent, deceitful meaning, complements the characterization of a villain and a libertine. The blue color of his eyes is used with the word "too", which again causes associations of danger, excessiveness of anything, and this is immediately alarming. At the same time, Svidrigailov himself, with his blue eyes, looks disgusting: his eyes were somehow too blue, and their gaze was somehow too heavy and motionless. There was something terribly unpleasant in this beautiful and extremely youthful, judging by the age, face. (1, electronic resource)
The color blue is also used in another capacity - as a means of enhancing irony, even ridicule, “participates” in a cartoon scene to describe the dress of Louise Ivanovna - a magnificent, crimson-red lady, mistress of a “noble house.” (1, electronic resource)
The meaning of white in life is air, sun, purity, insight, purity, innocence. Also, white means holiness, salvation, priesthood, spiritual authority. In Christianity, this color has always meant the innocence of the soul, purity and holiness of life. And also this color can mean isolation, sterility, frustration, stiffness, boredom, stiffness.
White contrasting with black is a symbol of purity, innocence, but at the same time sorrow and sorrow. The meek Sonechka had blond hair. But Svidrigailov's hair is exactly the same, "a little bit perhaps with gray." Here we again come across the fact that for Dostoevsky the same color can mean both holiness and only a shell behind which a sinful nature is hidden.
Green is also found in the novel. And, as a rule, it is symbolic. Green is the color of protection. Turning to church canons, we see that Trinity Cathedrals can have green domes, since green is the color of the Holy Spirit. (7, e-resource)
There is almost no greenery as an element of the summer landscape in the work, despite the fact that the events take place in summer time year, in July. In addition to the picture that Svidrigailov presented himself in half-asleep on the eve of suicide. Dostoevsky indicates a holiday - Trinity Day, the day of the Holy Trinity, a holiday dedicated to the unity of God the Father, God the Son and God the Holy Spirit. This is a holiday of harmony of spirit, soul and body. Only in such harmony is development, prosperity, flowering, growth possible.
But the most striking symbol in the work is the green drafin shawl. Moreover, in comparison with other characteristics of this symbol (large, old-fashioned, common, family) green color in it carries the greatest functional load. This is a symbol of the fact that the Marmeladov family seems to be under the protection of some Higher Power. The object itself - the scarf and its color - suggest the Protection of the Virgin. On the first pages of the novel, in the story of Marmeladov, Sonya appears in this scarf after sacrificing herself for the sake of her neighbors. On last pages"Crime and Punishment" also features her image in a green scarf, the image of the heroine who brought Raskolnikov back to life.
However, despite the rather clear objective and definite symbolic use of green in Crime and Punishment, it is useful to know all the meanings of green in order to be convinced of the author's intention regarding the presence and role of green in the work, as well as to feel all its semantic nuances. Therefore, we turn to the Encyclopedia of Symbols:
Green, like many other colors, has a dual meaning in a symbolic sense ... In popular beliefs, green symbolizes primarily hope. Where greenery blooms, there is simply nature, there is a self-evident outgrowth ... the experience of spring. When, for example, even the devil appears as "Green", it means that he remained there in the guise of the ancient plant god. However, this is opposed by a negative content: the immense appearance of greenery in all dreams means an oversaturation of negative natural attractions. [Eppley E email. resource] Christian symbolism finds this color the color of the middle and mediation, equidistant from both the blue of heaven and the red of hell, soothing, refreshing, the color of contemplation, the expectation of rebirth. The Cross of Christ as a symbol of hope and Salvation is often presented as green ... the throne of the Supreme Judge - as if consisting of green jasper (jasper) (Rev. 4: 3). [Eppley E. email. resource]
As we can see, it is no coincidence that Dostoevsky is so restrained in his use of green: in the world he depicts there is no "oversaturation of natural impulses," they are accusatory only in Svidrigailov's delirium on the eve of his suicide. The lack of greenery indicates the absence of even the necessary development of what is given by nature.
Examining in detail the use of colors when creating the image of Sonya Marmeladova, we can note that Dostoevsky introduces colors that are practically opposite to those used in the creation of Rodion Raskolnikov. This reflects the reflection of the ideological position of the author himself and his manifestation as a writer-humanist. The image of Sonya is Dostoevsky's favorite image; it appears in the novel as the basis of kindness, mercy, self-sacrifice and compassion.
2.3. ROLE OF COLOR IN CREATING THE IMAGE OF PETERSBURG.
The theme of St. Petersburg is traditional for Russian literature. The action of FM Dostoevsky's novel "Crime and Punishment" takes place in St. Petersburg. This city many times became the protagonist of Russian fiction, but each time it was new town: it proudly exhibits its palaces and parks of "full of beauty and wonder", as Pushkin called it, then - a city of slums and narrow streets - "stone sacks". Each writer saw and described the city in his own way, in accordance with that artistic challenge that stood in front of him. Petersburg in Crime and Punishment is a city of loneliness. Nowhere is there the warmth of human communication, home comfort. Raskolnikov feels an inexplicable cold in the capital. The misfortune to live in St. Petersburg breaks the fate of the heroes, leads them to the utmost despair. It is no coincidence that the action of the novel is attributed to the city of white nights, which are especially conducive to waking dreams. Having created the image of St. Petersburg, the writer has thereby shown the basis with which the personality, the worldview of a person in it is determined. Raskolnikov's theory was born here. It is known that Dostoevsky by no means invented it, but borrowed almost entirely from life. Ideas like this were really in the air in those years. They took on various forms, but the principle itself - "permissiveness" - was the same. It is he, this principle, that unites Raskolnikov, Luzhin, Svidrigailov and, perhaps, Lebezyatnikov in the novel, they only explain it in different ways, each for himself ..
It is a dream that seems to the author that this unnatural, ghostly life of the capital, so strikingly different from the norm of human existence. The revival of Raskolnikov's soul is unthinkable in such an environment, it is not for nothing that a completely different landscape appears in the epilogue of the novel. A wide area opened up from the high bank. From the distant other shore, a song was barely audible. There, in the boundless steppe drenched in the sun, nomadic yurts were blackened with slightly noticeable dots. There was freedom and other people lived, owls
etc.................