Raskolnikov's theory - the social and philosophical origins of the theory and its meaning. The novel "crime and punishment" What is the blood of conscience simple arithmetic

crime and punishment what is simple arithmetic in the theory of Raskolnikov and got the best answer

Answer from Yuri Vinokurov [guru]
The novel "Crime and Punishment" was conceived by FM Dostoevsky in hard labor "in a difficult moment of sadness and self-degradation." It was there, in hard labor, that the writer encountered "strong personalities" who put themselves above the moral laws of society. Having embodied in Raskolnikov the features of such personalities, Dostoevsky in his work consistently debunks their Napoleonic ideas. To the question: is it possible to destroy some people for the sake of the happiness of others - the author and his hero answer differently. Raskolnikov believes that it is possible, since this is "simple arithmetic". No, Dostoevsky argues, there can be no harmony in the world if at least one tear of a child sheds (after all, Rodion kills Lizaveta and her unborn child). But the hero is in the power of the author, and therefore in the novel Rodion Raskolnikov's anti-human theory fails. The theme of rebellion and the theme of the individualistic hero, which had dominated Dostoevsky in recent years, were combined in Crime and Punishment.
The hero's rebellion, which is the basis of his theory, is generated by social inequality in society. It is no coincidence that the conversation with Marmeladov became the last straw in the bowl of Raskolnikov's doubts: he finally decides to kill the old woman-pawnbroker. Money is salvation for disadvantaged people, Raskolnikov believes. The fate of Marmeladov refutes these beliefs. The poor man is not even saved by the money of his daughter, he is crushed morally and can no longer rise from the bottom of life.
Raskolnikov explains the establishment of social justice by violent means as "blood according to conscience." The writer further develops this theory, and heroes appear on the pages of the novel - "doubles" of Raskolnikov. "We are of the same berry field," Svidrigailov says to Rodion, emphasizing their similarities. Svidrigailov, like Luzhin, has exhausted the idea of ​​abandoning "principles" and "ideals" to the end. One has lost his bearings between good and evil, the other preaches personal benefit - all this is the logical conclusion of Raskolnikov's thoughts. It is not for nothing that Rodion replies to Luzhin's selfish reasoning: "Bring to the consequences that you preached just now, and it will turn out that people can be cut."
Raskolnikov believes that only "real people" can break the law, since they act for the good of humanity. But Dostoevsky proclaims from the pages of the novel: any murder is unacceptable. These ideas are expressed by Razumikhin, giving simple and convincing arguments that human nature is opposed to crime.
What does Raskolnikov come to as a result, considering himself entitled to destroy "unnecessary" people for the good of the humiliated and insulted? He himself rises above people, becoming an "extraordinary" man. Therefore, Raskolnikov divides people into "chosen ones" and "trembling creatures." And Dostoevsky, removing his hero from Napoleon's pedestal, tells us that it is not the happiness of people that worries Raskolnikov, but that he is interested in the question: "... am I a louse, like everyone else, or a human? Am I a trembling creature or have the right ..." Rodion Raskolnikov dreams of dominating people, this is how the essence of the individualist hero is manifested.
Refuting the life goals of his hero, preaching Christian principles, Dostoevsky introduces the image of Sonya into the novel. The writer sees "the greatest happiness" in the destruction of his "I", in undivided service to people - this "truth" Fyodor Mikhailovich embodied in Sonya. By contrasting these images, Dostoevsky confronts Raskolnikov's revolutionary atheistic rebellion about Christian humility, love for people and Sonechka's God. Sonya's all-forgiving love and her faith convince Rodion to "accept suffering." He confesses to the crime, but only in hard labor, comprehending the truths of the Gospel, does he come to repentance. Sonya returns Raskolnikov to the people from whom he was distant by the perfect crime. "They were resurrected by love ..."

A few months before the crime, Raskolnikov left the university due to extreme need. In his forced leisure, he wrote an article in which he outlined a thought that had long occupied him about the nature of the crime, but the newspaper to which he sent the article was closed, and, not knowing that the article was published in another publication, that one could get money for it, Raskolnikov had already two weeks without having dinner, he lives from hand to mouth in his little kennel, which looks like a coffin, with a low ceiling that "cramped the soul".

He is tormented, according to Svidrigailov, "by the irritation of hunger and a cramped apartment." Avoiding all his acquaintances, "proudly and arrogantly" hiding his poverty from them, Raskolnikov in his solitude with painful constancy changes his mind about the thought that has stuck in his head, and under the influence of external impressions, it gradually takes on a concrete form, takes possession of his entire being. This idea is rooted in the soil of social inequality.

Having renounced the feudal rationale, which has been put forward for centuries in defense of inequality, Raskolnikov thinks that “according to the law of nature” there are two categories of people: some “live in obedience and love to be obedient”, while others “all break the law, destroyers,” and if they you need "for your idea", they can even "give yourself permission to step over the blood." Lycurgis, Solons, Mohammedans, Napoleons used this right. And the Keplers and Newtons would have the right to "eliminate" ten or one hundred people, if these ten or one hundred prevented the rest of humanity from taking advantage of their scientific discoveries.

The death of one, ten, one hundred people - and the well-being of the rest of humanity ... but here simple arithmetic confirms the right to "transgress". These are, in the words of investigator Porfiry Petrovich, "bookish dreams, theoretically an irritated heart." But this is joined by other influences, the influences of the epoch, “when the human heart was clouded, when the phrase is quoted that“ the blood refreshes ”.

In the dark recesses of hereditary feudal cruelty and "inveterate idleness", Raskolnikov fumbles and teases him simply by the desire to "try", to which category of people he himself belongs, "a louse" or "has the right" to transgress. But both theoretically cold reflections on Newton's right to "transgress", and a burning curiosity to test their own "rights" are clouded in Raskolnikov's mind with more real and deeply penetrating impressions into his soul.

Marmeladov "drunk" with money raised in such a terrible way; Sonya and her next sister with the prospect of a depraved life, disgusting diseases and death on the street, and there, in the "distant and brutal" province, sister Dunya, ready to sell herself to Luzhin.

In Raskolnikov's inflamed brain, some obsessive idea is to compare his sister and Sonya Marmeladova. Both will not leave the evil pit. Precisely because Raskolnikov himself hid under the surface of pure theory some kind of old evil spirits, he is afraid of any even external contact with vice. "A man gets used to everything a scoundrel." No, you need to either give up life, stifle everything in yourself, give up any right to act, live and love, or ... or "you have to make up your mind." Decide to cross the barriers, become a "millionaire" and, having done one evil, then arrange a hundred human well-being.

Raskolnikov himself does not need money. Porfiry Petrovich hardly spoke about the love of comfort in a timely manner, referring to it; Raskolnikov was able to give the last trifle to another, without thinking about himself. Still, you need money to help others.

So one day Raskolnikov's thought stops at the existence of the old woman usurer, and gradually the concrete embodiment of his entire theory is concentrated around this existence. The idea was unusually simple, and to Raskolnikov's surprise, it crossed the minds of others. As if the suggestion of a hypnotist, like the voice of "predestination", knocked in his mind the words from a conversation he had heard by chance: "Kill her and take her money, so that with their help you can devote yourself later to fooling around all of humanity and the common cause ..."

Both this conversation and some other coincidences of circumstances push Raskolnikov to murder the old woman pawnbroker.

The hero of the novel is endowed with a tragic worldview. It is characterized by a duality of consciousness, disagreement, a split with oneself (hence the name - Raskolnikov), internal confrontation, a clash in the soul of good and evil, love and hate. He is a proud, thinking, undoubtedly talented person. He deeply experiences the injustice, pain and suffering of others - but he himself turns out to be a criminal.

Raskolnikov's crime is a consequence of his idea, theory, but this idea itself arose in his troubled mind under the influence of external life circumstances. He has to find a way out of the impasse in which he has found himself, by all means, it is necessary to take some kind of active action. Question - "What to do?"

Raskolnikov becomes a witness of Marmeladov's confession, amazing in sincerity, hopelessness and despair, his story about the tragic fate of the unrequited Sonya, for the sake of saving loved ones forced to go out into the street to sell herself, about the torment of young children growing up in a dirty corner next to a drunken father and a dying, eternally irritated mother - Katerina Ivanovna. From a letter to his mother, Raskolnikov learns about how his sister, Dunya, who was there a governess, was disgraced in Svidrigailov's house, how she, wanting to help her brother, agrees to become the wife of the businessman Luzhin, that is, she is essentially ready to sell herself, that reminds the hero of the fate of Sonya: "Sonechka, Sonechka Marmeladova, eternal Sonechka, as long as the world stands! Have you measured the sacrifice, sacrifice for yourself completely? Is it so? Is it possible? Is it in favor? Is it reasonable?"

The appeal to reason in this case is especially significant. It is reason that leads Raskolnikov to his monstrous theory and, as a result, to crime.

Investigator Porfiry Petrovich says to Raskolnikov: "... you value human intelligence higher than the example of all young people. Playful sharpness of mind and abstract arguments of reason seduce you, sir ..." Porfiry Petrovich is very clever. He found that basic link in Raskolnikov's thoughts and behavior, which predetermined his crime - abstract arguments of reason, logical constructions.

In an overheard conversation, Raskolnikov was struck by the words: "In one life - thousands of lives saved from decay and decay. One death and a hundred lives in return - but after all, there is arithmetic!" But even before this episode, Raskolnikov, mentally preparing for the murder, convinces himself that in all his calculations everything is "clear as day, just like arithmetic." Arithmetic becomes a symbol of dry calculation, built on the arguments of pure reason, logic. Dostoevsky is convinced that an arithmetic approach to the phenomena of life can lead to the most tragic consequences, for example, to an ax. This is not an accidental character in the novel. Why is Raskolnikov carrying out his terrible crime in this way? The ax has become a kind of symbol of the violent transformation of reality. If you remember, someone sent a letter to Herzen's "Bell" with an appeal: "Call Russia to the ax!" Raskolnikov and picks up an ax ...

However, Raskolnikov's thoughts and actions cannot be reduced to one arithmetic, logic. On the contrary, he often acts emphatically illogical, even in spite of his own well-being and safety. There is often no mathematical calculation in his actions. Raskolnikov now and then deliberately puts himself on the edge of the abyss, finding some painful pleasure in this: "So he tormented himself and teased with these questions, even with some kind of pleasure."

Let us recall one of the most famous scenes of the novel, when, after the crime, Raskolnikov again went up to the fourth floor to the apartment where the old woman he had killed lived, "took hold of the bell and pulled ... He shuddered with each blow, and it became more and more pleasant to him" ... You will say that there is something abnormal in this - and you will be right. But this is Dostoevsky and this is Dostoevsky's hero, who needs to execute himself, but who finds some incomprehensible pleasure in this self-punishment. Didn't Raskolnikov's strange behavior in the tavern strike you, when he accidentally met the police official Zametov there?

“What if it was I who killed the old woman and Lizaveta?” He suddenly said, and “came to his senses.” (Note the word "suddenly," which is characteristic of Dostoevsky's narrative manner.)

It is very difficult, very contradictory, the development of Raskolnikov's thought. It is difficult to follow her, to look for some kind of logic in her, especially since he thinks and acts in an extremely unpredictable manner (first of all for himself). But here's what is significant: the first movement of his heart is generous and humane, but as soon as he begins to theorize, his kindness and selflessness disappear. At the beginning of the novel, it is told how Raskolnikov did everything possible to save a disgraced girl whom he met by chance on the boulevard. And what? In a moment he already shouts to the policeman: "Leave it! What do you want! Give it up! Let him be amused (he pointed at the dandy). What do you want?"

Having received a letter from his mother and having learned about the alleged wedding of his sister, Raskolnikov decides: "This marriage will not happen while I am alive, and to hell with Mr. Luzhin!" But when he met Dunya, his mood suddenly changes. “It's strange,” he said slowly, as if suddenly struck by a new thought, “but what am I bothering about?

It is impossible to reduce the meaning of Dostoevsky's most complex philosophical novel to the preaching of only one particular idea.

What arguments prove the fallacy of Raskolnikov's theory (novel "Crime and Punishment" by Fyodor Dostoevsky)? and got the best answer

Answer from ?? [guru]
First, Raskolnikov's theory cannot be put into practice, since it combines incompatible goals and means. As Svidrigailov sarcastically remarks, “the theory was a mistake” (5, V). The superman, according to the protagonist, must interfere in the fate of humanity in such a way that, even by cruel, bloody, immoral means, achieve the reign of morality and justice in the world. Behind the idea of ​​the "common good" in Raskolnikov's theory, there appears the "idea of ​​Napoleon" - one chosen one who stands above humanity and prescribes his own laws to everyone. However, Raskolnikov fails to truly stand above people, because he has a wonderful quality in his soul - philanthropy. Raskolnikov, despite his contempt for the “anthill”, cannot indifferently walk past a drunk girl on Konnogvardeisky Boulevard, although later he scolds himself: “Isn't it monstrous that I just got involved in a story with a girl ...” (1, IV). The collapse of Raskolnikov's theory began when Sonya, in response to his confession of murder, burst into tears: her tears outweighed the entire "logic of the idea" in the hero's soul (5, IV).
Secondly, the humiliated and insulted, for the sake of which the main character planned to become a superman and to bless the world, reject his good deed. Raskolnikov, in addition to the old woman pawnbroker, unexpectedly kills the meek and unrequited Lizaveta, so that "simple arithmetic" does not work. When the killer explains to Sonya the motives of his crime (“I didn't kill a person, but a louse!”), She does not understand them and exclaims: “This is a louse! "(5, IV). Sonya does not accept Raskolnikov's rebellion, she does not want deliverance at any cost, and therefore she is a person. According to Dostoevsky, she embodies the folk principle in the novel: patience, humility, immeasurable love for man and God. Only the people (in the image of Sonya) can condemn Raskolnikov's "Napoleonic" rebellion, force him to submit to the moral judgment of conscience and go to hard labor - "to accept suffering" (5, IV).
Third, Dostoevsky confronts his hero with people who share his opinion about the superpersonality and the crowd. The first “theoretician” is Dunya’s supposed fiancé, Pyotr Petrovich Luzhin, who argues: “Science says: love, first of all, one yourself, for everything in the world is based on personal interest” (2, V). From the point of view of Luzhin, in order for the state to have more happy people, it is necessary to raise the level of prosperity. Since the basis of economic progress is personal gain, then everyone should take care of it and enrich themselves without worrying too much about love for one's neighbor and other romantic nonsense. Luzhin's appeal for personal gain is a logical continuation of Raskolnikov's idea - "everything is allowed to the strong." The protagonist understands this and formulates to the neat and self-satisfied Pyotr Petrovich the essence of his "economic" theory: "Bring to the consequences that you just preached, and it turns out that people can be cut ..." (2, V).
Fourthly, "human nature" is rebelling against Raskolnikov's theory. Why is the personality of every person sacred? It is impossible to prove this truth logically - such is the moral law, the law of human conscience. Immediately after the murder, the main character does not feel remorse, but very quickly begins to feel as if “cut off” (2.11) from people. Cold alienation reigns in his soul even in relation to close relatives: with his beloved mother, he feels awkward, constrained. His own conscience, according to Dostoevsky, takes revenge on him for violating the moral law.
Source: four is enough?

Answer from 2 answers[guru]

Hey! Here is a selection of topics with answers to your question: What arguments prove the fallacy of Raskolnikov's theory (the novel "Crime and Punishment" by Fyodor Dostoevsky)?

Answer from Vladislav Dushchenko[guru]
One and the main argument is that a person has a conscience.

The hero of the novel is endowed with a tragic worldview. It is characterized by a duality of consciousness, disagreement, a split with oneself (hence the surname - Raskolnikov), internal confrontation, a clash in the soul of good and evil, love and hate. He is a proud, thinking, undoubtedly talented person. He deeply experiences the injustice, pain and suffering of others - but he himself turns out to be a criminal.

Raskolnikov's crime is a consequence of his idea, theory, but this very idea arose in his troubled mind under the influence of external life circumstances. He has to find a way out of that deadlock, in which he fell, by all means, it is necessary to take some kind of active action. Question - "What to do?"

Raskolnikov becomes a witness of Marmeladov's confession, amazing in sincerity, hopelessness and despair, his story about the tragic fate of the unrequited Sonya, for the sake of saving loved ones forced to go out into the street to sell himself, about the torment of young children growing up in a dirty corner next to a drunk father and dying , eternally irritated mother - Katerina Ivanovna. From a letter to his mother, Raskolnikov learns about how his sister, Du-nya, who was there a governess, was disgraced in Svidrigailov's house, how she, wanting to help her brother, agrees to become the wife of the businessman Lu-zhin, that is, she is essentially ready, to sell himself, which reminds the hero of Sonya's fate: “Sonechka, Sonechka Marmeladova, eternal Sonechka, while the world stands! Victim-woo-something, did you measure the sacrifice for yourself completely? Is not it? Is it possible? Is it in favor? Is it reasonable? "

The appeal to reason in this case is especially significant. It is reason that leads Raskolnikov to his monstrous theory and, as a consequence, to crime.

Investigator Porfiry Petrovich says to Raskolnikov: “... you value the human mind above, following the example of all young people. Playful sharpness of mind and abstract arguments of reason seduce you, sir ... ”Porfiry Petrovich is very clever. He found that main link in Raskolnikov's thoughts and behavior, which predetermined his crime - abstract arguments of reason, logical constructions.

In an overheard conversation, Raskolnikov was struck by the words: “In one life - thousands of lives saved from decay and decay. One death and a hundred lives in return - why, here is ari-phmetic! " But even before this episode, Raskolnikov, mentally preparing for the murder, convinces himself that in all his calculations everything "is clear as day, as fair as arithmetic." Arithmetic becomes a symbol of dry calculation, built on the arguments of pure reason, logic. Dostoevsky is convinced that an arithmetic approach to the phenomena of life can lead to the most tragic consequences, for example, to an ax. This is not an accidental character in the novel. Why is Raskolnikov carrying out his terrible crime in this way? The ax has become a kind of symbol of the violent transformation of reality. If you remember, someone sent a letter to Herzen's "Bell" with an appeal: "Call Russia to the ax!" Raskolnikov and picks up an ax ...

However, Raskolnikov's thoughts and actions cannot be reduced to one arithmetic, logic. On the contrary, he often acts emphatically illogical, even in spite of his own well-being and safety. There is often no mathematical calculation in his actions. Raskolnikov now and then consciously puts himself on the edge of the abyss, finding some painful pleasure in this: "So he tormented himself and teased with these questions, even with some kind of pleasure."

Let us recall one of the most famous scenes of the novel, when after the crime Raskolnikov again went up to the fourth floor to the apartment where the old woman he had killed lived, “took up the bell and pulled ... He shuddered with each blow, and he was more and more pleasant became ". You will say that there is something abnormal in this - and you will be right. But this is Dostoevsky and this is the hero of Dostoevsky, who needs to execute himself, but who in this self-punishment finds some kind of incomprehensible pleasure. Didn't Raskolnikov's strange behavior in the tavern surprise you when he accidentally met the police official Zametov there?

“What if I killed the old woman and Lizaveta? - he said suddenly and - came to his senses. " (Pay attention to the word “suddenly,” characteristic of Dostoevsky's narrative manner.) Material from the site

It is very difficult, very contradictory, the development of Raskolnikov's thought. It is difficult to follow her, to look for some kind of logic in her, especially since he thinks and acts in an extremely unpredictable manner (first of all for himself). But here's what is significant: the first movement of his heart is generous and humane, but as soon as he begins to theorize, his kindness and selflessness disappear. At the beginning of the novel, it is told how Raskolnikov did everything possible to save the disgraced girl, whom he met by chance on the boulevard. And what? In a moment, he already shouts to the city dom: “Leave it! What do you want! Give it up! Let him have some fun (he pointed to the dandy). What do you want? "

After receiving a letter from his mother and learning about the alleged wedding of his sister, Raskolnikov decides: "This marriage will not happen while I am alive, and to hell with Lord Luzhin!" But when he met Dunya, his mood suddenly changes. “It's strange,” he said slowly, as if suddenly struck by a new thought, “but what am I bothering about? What is all the screaming made of? Marry whoever you want! "

It is impossible to reduce the meaning of Dostoevsky's most complex philosophical novel to the preaching of only one definite idea.

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