The theme and genre of the novel is crime and punishment. Fyodor Dostoevsky biography

The genre of “Crime and Punishment” (1866) is a novel in which the main place is occupied by social and philosophical problems contemporary writer Russian life. In addition, in “Crime and Punishment” one can note genre features: a detective story (the reader knows from the very beginning who the killer of the old pawnbroker is, but the detective intrigue remains until the end - Raskolnikov admits, will he fall into the trap of investigator Porfiry Petrovich or slip out?), an everyday essay ( detailed description poor neighborhoods of St. Petersburg), a journalistic article (Raskolnikov’s article “On Crime”), spiritual writing (quotes and paraphrases from the Bible), etc.

This novel can be called social because Dostoevsky depicts the life of the inhabitants of the slums of St. Petersburg. The theme of the work is to show the inhuman conditions of existence of the poor, their hopelessness and embitterment. The idea of “Crime and Punishment” is that the writer condemns his contemporary society, which allows its citizens to live in hopeless need. Such a society is criminal: it dooms weak, defenseless people to death and at the same time gives rise to a retaliatory crime. These thoughts are expressed in Marmeladov’s confession, which he pronounces in a dirty tavern in front of Raskolnikov (1, II).

Describing the poverty and misfortune of the Marmeladov family, the Raskolnikov family, Dostoevsky continues the noble tradition of Russian literature - the theme “ little man" Classical Russian literature often depicted the torment of the “humiliated and insulted” and attracted public attention and sympathy for people who found themselves, even through their own fault, at the “day of life.”

Dostoevsky shows in detail the life of poor St. Petersburg neighborhoods. He depicts Raskolnikov’s room, which looks like a closet, Sonya’s ugly apartment, and the passage room-corridor where the Marmeladov family huddles. The author describes appearance their poor heroes: they are dressed not just poorly, but very poorly, so that it is a shame to appear on the street. This concerns Raskolnikov when he first appears in the novel. Marmeladov, met by a beggar student in a tavern, “was dressed in a black, old, completely tattered tailcoat, with crumbling buttons. Only one of them still held the braid, and it was on this that he fastened it. A shirtfront was sticking out from under the nankeen vest, all crumpled, dirty and stained” (1, II). In addition, all the poor heroes are starving in the literal sense of the word: Katerina Ivanovna’s little children are crying from hunger, Raskolnikov is constantly dizzy from hunger. From the internal monologues of the main character, from Marmeladov’s confession, from the half-mad cries of Katerina Ivanovna before her death, it is clear that people are brought to the limit of suffering by poverty, the disorder of life, that they very keenly feel their humiliation. Marmeladov exclaims in confession: “Poverty is not a vice... But poverty, dear sir, poverty is a vice, sir. In poverty you still retain your nobility of innate feelings, but in poverty no one ever does. For poverty, they don’t even kick you out with a stick, but with a broom, you sweep them out of human company, so that it would be all the more offensive...” (1, II).

Despite his open sympathy for these heroes, Dostoevsky does not try to embellish them. The writer shows that both Semyon Zakharovich Marmeladov and Rodion Romanovich Raskolnikov are largely to blame for their sad fate. Marmeladov is a sick alcoholic who is ready to rob even his small children for the sake of vodka. He does not hesitate to come to Sonya and ask her for the last thirty kopecks for a drink, although he knows how she earns this money. He realizes that he is acting unworthily towards his own family, but still drinks himself to the cross. When he tells Raskolnikov about his latest binge, he is very worried that the children probably haven’t eaten anything for five days, unless Sonya brought at least some money. He sincerely regrets that he own daughter lives on a yellow ticket, but uses her money himself. Raskolnikov understood this well: “Oh yes Sonya! What a well, however, they managed to dig and are using it!” (1, II).

Dostoevsky has an ambiguous attitude towards Raskolnikov. On the one hand, the writer sympathizes with the student who must earn his poor living with penniless lessons and translations. The author shows that the anti-human theory about “creatures” and “heroes” was born in the sick head of the protagonist when he was tired of honestly fighting shameful poverty, because he saw that scoundrels and thieves were thriving around him. On the other hand, Dostoevsky portrays Raskolnikov’s friend, student Razumikhin: life is even more difficult for him than for the main character, since he does not have a loving mother who sends him money from her pension. At the same time, Razumikhin works hard and finds the strength to endure all adversities. He thinks little about himself, but is ready to help others, and not in the future, as Raskolnikov plans, but now. Razumikhin, a poor student, calmly accepts responsibility for Raskolnikov’s mother and sister, probably because he truly loves and respects people, and does not think about the problem of whether it is worthy or not to shed “blood according to his conscience.”

In the novel, the social content is closely intertwined with the philosophical (ideological): Raskolnikov's philosophical theory is a direct consequence of his desperate life circumstances. An intelligent and determined man, he thinks about how to correct an unjust world. Maybe through violence? But is it possible to forcibly impose a fair society on people against their will? Philosophical theme The novel is a discussion about the “right to blood,” that is, consideration of the “eternal” moral question: does a high goal justify criminal means? The philosophical idea of the novel is formulated as follows: no noble goal justifies murder, it is not a human matter to decide whether a person is worthy of living or unworthy.

Raskolnikov kills the moneylender Alena Ivanovna, whom the writer himself portrays as extremely unattractive: “She was a tiny, dry old woman of about sixty, with sharp and angry eyes, a small pointed nose and bare hair. Her blond, slightly gray hair was greased with oil. Some kind of flannel rag was wrapped around her thin and long neck, similar to a chicken leg...” (1, I). Alena Ivanovna is disgusting, starting with the above portrait and the despotic attitude towards her sister Lizaveta and ending with her usurious activities; she looks like a louse (5, IV), sucking human blood. However, according to Dostoevsky, even such a nasty old woman cannot be killed: any person is sacred and inviolable, in this respect all people are equal. According to Christian philosophy, a person’s life and death are in the hands of God, and people are not allowed to decide this (therefore, murder and suicide are mortal sins). From the very beginning, Dostoevsky aggravates the murder of the malicious pawnbroker with the murder of the meek, unrequited Lizaveta. So, wanting to test his capabilities as a superman and preparing to become a benefactor of all the poor and humiliated, Raskolnikov begins his noble activity by killing (!) the old woman and the holy fool, who looks like a big child, Lizaveta.

The writer’s attitude towards the “right to blood” is clarified, among other things, in Marmeladov’s monologue. Talking about Last Judgment, Marmeladov is confident that God will ultimately accept not only the righteous, but also degraded drunkards, insignificant people like Marmeladov: “And he will say to us: “You pigs!” the image of the beast and its seal; but come too!” (...) And he will stretch out his hands to us, and we will fall... and cry... and we will understand everything! Then we will understand everything!..” (1, II).

“Crime and Punishment” is a psychological novel, since the main place in it is occupied by the description of the mental anguish of a person who committed a murder. In-depth psychologism - characteristic creativity of Dostoevsky. One part of the novel is devoted to the crime itself, and the remaining five parts are devoted to the emotional experiences of the killer. Therefore, the most important thing for the writer is to depict Raskolnikov’s torments of conscience and his decision to repent. A distinctive property of Dostoevsky's psychologism is that it shows inner world a person “on the brink”, in a half-delirious, half-insane state, that is, the author is trying to convey the painful mental condition, even the subconscious of the heroes. This distinguishes Dostoevsky's novels, for example, from the psychological novels of Leo Tolstoy, where the harmonious, varied and balanced inner life of the characters is presented.

So, the novel “Crime and Punishment” is an extremely complex work of art, in which the paintings of Dostoevsky’s contemporary Russian life(60s years XIX century) and discussions about the “eternal” question of humanity - the “right to blood.” Exit Russian society The writer sees the economic and spiritual crisis (otherwise known as the first revolutionary situation) in turning people to Christian values. He gives his solution to the problem moral issue: under no circumstances does a person have the right to judge whether another person should live or die; the moral law does not allow “blood according to conscience.”

Thus, Dostoevsky’s “eternal” question is resolved in a highly humane manner; the novel’s depiction of the life of the lower classes is also humane. Although the writer does not absolve the blame from either Marmeladov or Raskolnikov (they themselves are largely to blame for their plight), the novel is structured in such a way as to evoke sympathy among readers for these heroes.

Genre and stylistic originality of F. M. Dostoevsky’s novel “Crime and Punishment”

Dostoevsky novel crime punishment

The genre of “Crime and Punishment” (1866) is a novel in which the main place is occupied by the social and philosophical problems of contemporary Russian life for the writer. In addition, in “Crime and Punishment” one can note genre features: detective (the reader knows from the very beginning who the killer of the old pawnbroker is, but the detective intrigue remains until the end - Raskolnikov admits, will he fall into the trap of investigator Porfiry Petrovich or slip out?), everyday an essay (a detailed description of the poor quarters of St. Petersburg), a journalistic article (Raskolnikov’s article “On Crime”), spiritual writing (quotes and paraphrases from the Bible), etc.

Dostoevsky has an ambiguous attitude towards Raskolnikov. On the one hand, the writer sympathizes with the student who must earn his poor living with penniless lessons and translations. On the other hand, Dostoevsky portrays Raskolnikov’s friend, student Razumikhin: life is even more difficult for him than for the main character, since he does not have a loving mother who sends him money from her pension. At the same time, Razumikhin works hard and finds the strength to endure all adversities. He thinks little about himself, but is ready to help others, and not in the future, as Raskolnikov plans, but now.

In the novel, the social content is closely intertwined with the philosophical (ideological): Raskolnikov's philosophical theory is a direct consequence of his desperate life circumstances. An intelligent and determined man, he thinks about how to correct an unjust world. Maybe through violence? But is it possible to forcibly impose a fair society on people against their will? The philosophical theme of the novel is a discussion of the “right to blood,” that is, consideration of the “eternal” moral question: does a high goal justify criminal means? The philosophical idea of the novel is formulated as follows: no noble goal justifies murder, it is not a human matter to decide whether a person is worthy of living or unworthy. Alena Ivanovna is disgusting, starting with the above portrait and the despotic attitude towards her sister Lizaveta and ending with her usurious activities; she looks like a louse (5, IV), sucking human blood.

However, according to Dostoevsky, even such a nasty old woman cannot be killed: any person is sacred and inviolable, in this respect all people are equal. According to Christian philosophy, a person’s life and death are in the hands of God, and people are not allowed to decide this (therefore, murder and suicide are mortal sins).

From the very beginning, Dostoevsky aggravates the murder of the malicious pawnbroker with the murder of the meek, unrequited Lizaveta. So, wanting to test his capabilities as a superman and preparing to become a benefactor of all the poor and humiliated, Raskolnikov begins his noble activity by killing (!) the old woman and the holy fool, who looks like a big child, Lizaveta.

The writer’s attitude towards the “right to blood” is clarified, among other things, in Marmeladov’s monologue. Speaking about the Last Judgment, Marmeladov is confident that God will ultimately accept not only the righteous, but also degraded drunkards, insignificant people like Marmeladov: “And he will say to us: “You pigs!” the image of the beast and its seal; but come too!” (...) And he will stretch out his hands to us, and we will fall... and cry... and we will understand everything! Then we will understand everything!..” (1, II).

“Crime and Punishment” is a psychological novel, since the main place in it is occupied by the description of the mental anguish of a person who committed a murder. In-depth psychologism is a characteristic feature of Dostoevsky's work. One part of the novel is devoted to the crime itself, and the remaining five parts are devoted to the emotional experiences of the killer. Therefore, the most important thing for the writer is to depict Raskolnikov’s torments of conscience and his decision to repent. A distinctive property of Dostoevsky’s psychologism is that it shows the inner world of a person “on the brink”, in a half-delusional, half-insane state, that is, the author tries to convey a painful mental state, even the subconscious of the characters. This distinguishes Dostoevsky's novels, for example, from the psychological novels of Leo Tolstoy, where the harmonious, varied and balanced inner life of the characters is presented.

So, the novel “Crime and Punishment” is an extremely complex work of art, which closely combines pictures of Russian life contemporary to Dostoevsky (60s of the 19th century) and discussions about the “eternal” question of humanity - the “right to blood.” The writer sees the way out of the economic and spiritual crisis for Russian society in turning people to Christian values. He gives his solution to the posed moral question: under no circumstances does a person have the right to judge whether another person should live or die; the moral law does not allow “blood according to conscience.”

In Dostoevsky's novel “Crime is Punishment,” interiors are depicted in ugly, gloomy, oppressive colors. They emphasize the circumstances, the state of mind of the characters, and sometimes, on the contrary, they contrast with the characters. An example of this is the attractive portrait of Raskolnikov and the room in which he lives: miserable, reminiscent of a coffin or closet, with a low ceiling, with faded yellow wallpaper. The interior is complemented by tattered old chairs, a sofa and a small painted table.

Describing the main character's room, the writer emphasizes the desolation and lifelessness of the home, causing fear and oppression. The deadness of the room is complemented by a large layer of dust on the books and notebooks lying on the table. There is no life in this yellow room. Its owner voluntarily renounced action and society; he lies motionless in it and thinks about the hopelessness of his situation.

Dostoevsky is a subtle psychologist in describing the situation. Thus, the room of the old pawnbroker is very neat, the furniture and the floor in it shine, indicating the cleanliness that is characteristic of “evil and old widows.”

In almost all the homes of the characters in the novel, the interior testifies to the extreme poverty of their owners, and, in addition, to the unsettled life, lack of comfort and warmth. The heroes are not protected in their homes; they cannot hide in them from problems and misfortunes. It seems that even in relation to their residents, these little rooms reveal inhospitability and alienation, driving them out onto the street. In most rooms, yellow becomes the predominant tone. This life-affirming sunny color turns in the novel into the color of lifelessness, lack of energy and positivity, the color of illness and disharmony. Dostoevsky replaces bright, rich color with dull, dirty, blurry, dull yellow, indicating the lifelessness of the heroes.

Interiors in the novel “Crime and Punishment” play an important role; they become not only the background of events, but also an element of the composition and ideological sound of the novel.

“Crime and Punishment” – the first of five the best novels Dostoevsky. The writer himself attached great importance to this work: “The story that I am writing now is perhaps the best of all that I have written.” He depicted in the work such a lack of rights and hopelessness of life, when a person has “nowhere to go.” The novel “Crime and Punishment” was conceived by Dostoevsky while still in hard labor. Then it was called “Drunk People,” but gradually the concept of the novel transformed into “a psychological report of a crime.” Dostoevsky himself, in a letter to the publisher M.I. Katkov, clearly retells the plot of the future work: “A young man, expelled from university students, who lives in extreme poverty... having been exposed to some strange unfinished ideas... decided to get out of his bad situation by killing and robbing one woman... "

At the same time, the student wants to use the money received in this way for good purposes: to complete a course at the university, help his mother and sister, go abroad and “then be honest, firm, and unwavering throughout his life in fulfilling his humane duty to humanity.” In this statement by Dostoevsky, two phrases need to be especially emphasized: a young man who lives in extreme poverty” and “exposed to some strange unfinished ideas.” It is these two phrases that are key to understanding Raskolnikov’s cause-and-effect actions. What came first: the hero’s plight, which led to illness and a painful theory, or the theory, which became the cause of Raskolnikov’s terrible situation?

Dostoevsky in his novel depicts the clash of theory with the logic of life. According to the writer, the living life process, i.e. the logic of life, always refutes and makes untenable any theory - both the most advanced, revolutionary, and the most criminal. This means that it is impossible to live according to theory, and therefore the main philosophical idea of the novel is revealed not in a system of logical proofs and refutations, but as a collision of a person obsessed with an extremely criminal theory with life processes that refute this theory. Raskolnikov's theory is built on the inequality of people, on the chosenness of some and the humiliation of others. And the murder of the moneylender is intended as a vital test of this theory using a separate example.

This way of depicting the murder very clearly shows the author’s position: the crime committed by Raskolnikov is a vile deed, from the point of view of Raskolnikov himself. But he did it consciously, stepping over his human nature, through himself. With his crime, Raskolnikov excluded himself from the category of people, became destitute, an outcast. I didn’t kill the old woman, I killed myself,” he admitted to Sonya Marmeladova. This separation from society prevents Raskolnikov from living; his human nature does not accept this. It turns out that a person cannot walk without communicating with people, even such proud man like Raskolnikov.

Therefore, the hero’s struggle becomes more and more intense, it goes in many directions, and each of them leads to a blind corner. Raskolnikov, as before, believes in the infallibility of his idea and hates himself for his weakness, for his mediocrity, calling himself a scoundrel over and over again. But at the same time, he suffers from the inability to communicate with his mother and sister, thinking about them as painfully as he thinks about the murder of Lizaveta. He tries not to do this, since if you start thinking, you will certainly have to decide the question of where to classify them in your theory - to what category of people. According to the logic of his theories, they belong to the “lowest” category, and so, the ax of another Raskolnikov may fall on their heads, and on the heads of Sonya, Polechka, Ekaterina Ivanovna. Raskolnikov must, according to his theory, give up those for whom he suffers. Must hate, kill those he loves, and he cannot survive this.

For him, the thought that his theory is similar to the theories of Luzhin and Svidrigailov is unbearable; he hates them, but has no right to this hatred. “Mother, sister, how I love them! Why do I hate them now?” Here his human nature most acutely collided with his inhuman theory. But the theory won. And therefore Dostoevsky seems to come to the aid of his hero’s human nature. Immediately after this monologue, he gives Raskolnikov's third dream: he again kills the old woman, and she laughs at him. A dream in which the author brings Raskolnikov's crime to the people's court. This scene exposes the horror of Raskolnikov's actions. Dostoevsky does not show the moral rebirth of his hero, since his novel is not about that at all. The writer’s task was to show what power an idea can have over a person and how terrible and criminal this idea can be. Thus, the hero’s idea of the right of the strong to crime turned out to be absurd. Life has defeated theory.

Genre features Dostoevsky’s novel “Crime and Punishment” cannot be delineated by certain boundaries. And not only because this work is complex in its concept and large in volume. You can name several genres different definitions, and each of them will be fair in its own way. The novel is philosophical, since in it the problem of condemning militant individualism and the so-called “superpersonality” arises in the spotlight. The novel is psychological because we're talking about, first of all, about human psychology, in its various, even painful, manifestations. And to this we can add other more specific genre features associated with the very structure of the work: internal monologues, dialogue-discussions characters, pictures of a future world in which the idea of individualism would reign. The novel is also polyphonic: each of the characters asserts its own idea, that is, has its own voice.

So, the diversity of “Crime and Punishment” is in this case the main condition for the successful creative implementation of the author’s large-scale plan (its didactic setting).

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Genre features of the novel “Crime and Punishment”

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Features of realism in F. M. Dostoevsky’s novel “Crime and Punishment”

Features of Dostoevsky's realism

The writer's realism developed and was embodied during the period of development of capitalist relations in Russia. The advance of civilization on patriarchal Russia gave rise to the little man's rebellion against humiliation. Whatever ideas captured the writer, he never forgot about the origins of the tragedies he created.

The images, ideas, ideals of his novels go back to Russian reality.

The characters of the novel are typical images, a typical environment

The basis of Dostoevsky's novels is the mixed-class, urban post-reform environment, half-educated, imagining more about itself than it is worth.

Raskolnikov, Sonya Marmeladova, Razumikhin, the old pawnbroker, Lizaveta, Luzhin, Svidrigailov - these and many other heroes of the novel “Crime and Punishment” were generated by the Russian reality of the 60s, the striking division of people into poor and rich, people crushed by poverty and those who bathed in luxury. However, the writer is primarily interested in the world of the humiliated and insulted, a world in which everyone is an executioner and a victim, in which everyone asks painful questions of existence. This is the main character of the novel, Rodion Raskolnikov. Dostoevsky’s heroes live in St. Petersburg in the 60s on specific streets, in specific houses. “Cage”, “wardrobe”, “cabin”, “chest”, “corner”, “kennel”, “coffin” - this is where Raskolnikov lives, this is where he breathes. This closet of the hero is an image of the world in which he lives, which “presses the soul and mind,” in which there is not enough “air.” But not only Raskolnikov lives in this world, all the heroes live and act in this world. This world is typical.

There is much in Raskolnikov that is typical for a young intellectual of the second half of the 19th century: he is a student, must work part-time to earn money for his studies, and is supported financially by his mother and sister. It was the poor students who were the most prepared soil for new social ideas in Russia.

The fate of the other heroes of the novel is also typical. Here, for example, is the story of the Marmeladov family. Marmeladov’s drunkenness is not the cause of poverty, but a consequence of unemployment, homelessness, despair: “.. and then he lost his job, and also not through his fault, but due to a change in the states, and then he touched!” - Marmeladov explains to Raskolnikov. The death of Katerina Ivanovna is also a pattern of this world. But the fate of her children is rather an exception. The novel contains a huge number of minor characters, the typicality of whose fate seems to push the hero to murder (for example, the scene with a drunk girl on the boulevard).

Psychological realism of the novel

Dostoevsky's novels are rightfully considered psychological novels.

All the characters painfully think about the meaning of life, about their place in it: Raskolnikov himself, Svidrigailov, Marmeladov... The author is also painfully searching for the meaning of life. Dostoevsky, cut off from happy life who did not think about the meaning of people’s lives, dreamed of transformation, of a complete change in human nature, of a “geological revolution.” Every hero of the writer has the possibility of transformation.

A person falling into the abyss is not doomed; if something bright remains in his soul, this person can be saved.

Lebezyatnikov, who talks so much, is saved by helping to save Sonya from Luzhin’s accusations. Raskolnikov gradually finds a way out to save his soul: not when he repented in the square, not when he went to hard labor, but much later, when the great truth of the Gospel comes to him, then it also comes real love to Sonya.

Peculiarities of the author's attitude towards the characters

Dostoevsky's talent is cruel to the proud, but infinitely gentle to the fallen, who have lost not only excessive self-respect, but also almost do not consider themselves human.

Dostoevsky is infinitely attentive to them, and before his gaze, full of love, “nuggets in the dirt” open and begin to sparkle. Let us remember Marmeladov’s confession. At first we perceive it as another confirmation of the baseness of man and the world, but gradually his image from humiliatingly comic becomes tragic, rising to an extraordinary height of tragedy, which captures both those around him and the reader.

Realistic compositional solution of the novel

All of Dostoevsky's novels are extremely dynamic, despite the fact that a huge place in their composition is occupied by the reflections of the characters, their dialogues with themselves and other characters.

The action develops just as intensely in Crime and Punishment. We know that Raskolnikov’s plan does not arise spontaneously, it is prepared by many months of reflection, but in the novel, from the day when Raskolnikov goes to make a “test” until his confession, only... . The reader does not notice this, since together with the hero he painfully experiences what he has done.

Raskolnikov’s dreams are of great importance, which allow the writer to reveal the hero’s subconscious.

It is the hero’s last dream, in which his theory is embodied in allegorical form, that leads the hero to the realization of its inhumanity. The composition of “Crime and Punishment,” like most of the writer’s novels, is based on Detective story, the story of a murder and its solution. A large place in the novel is occupied by the duel between Raskolnikov and the investigator Porfiry Petrovich, which allows us to penetrate deeper into the consciousness of the hero, and at the same time, meetings with Porfiry Petrovich force Rodion to painfully think about the theory he created, about what sacrifices he makes to test its authenticity.

The figurative system as a polyphonic structure of reality

At the center of the novel “Crime and Punishment” the main character is Rodion Raskolnikov, but in the system of images other heroes are contrasted and compared with him.

On the one hand, these are his opponents - the main one of which is Sonya. With her fate, her character, her sacrifice, Marmeladova does not fit into the framework of the theory created by the hero; Sonya is different. It embodies Dostoevsky’s favorite idea of the “man of God.”

On the other hand, in the novel there are doubles of the main character, those whose lifestyle and worldview correspond to the hero’s theory - Svidrigailov and Luzhin. It is they who visually make the hero and the reader understand how disgusting and inhuman Raskolnikov’s theory is.

One of the main artistic features All of Dostoevsky’s novels (and “Crime and Punishment” is no exception) is the polyphony of the novels, polyphony, in which the voice of each character (even an episodic one - an officer and a student, Katerina Ivanovna, Dunechka, Lizaveta) develops into the whole world, the diverse world of human grief, suffering, humiliation.

This polyphony is complemented by a description of the environment in which the heroes live.

Petersburg, where the events unfold, also becomes the hero of the novel.

The gloominess of the city, its dirt, stench, its streets and boulevards where people die, confirms Raskolnikov’s theory, pushes him to crime; it is on these streets, in these closets that the theory of protest against this world can arise.

Dreams play an important role in the novel Crime and Punishment. Raskolnikov sees dreams that reflect:

not only what he experiences in reality (the murder of the old woman),

but also what he constantly thinks about and lives with (hero theory).

Dostoevsky's realism is called fantastic because the world of his heroes combines reality and unreality (thoughts, feelings, experiences).

The main character of the novel, Raskolnikov, lives in such a world.

Dostoevsky is rightfully considered one of the most remarkable realists of the 19th century. But the interesting thing is that this particular writer turned out to be especially valued by the twentieth century, since the writer managed to:

raise problems
show characters,
give a social assessment of those phenomena that have turned out to be vital for our century.

Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")

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What is the genre of the novel Crime and Punishment?

No one doubts that “Crime and Punishment” is a novel, since ROMAN (from the French roman, originally a work in Romance languages) is a large form of the epic genre of literature, in which the reader is offered an action unfolding in an integral artistic space, and not just one episode or shining moment, which focuses on portraying a person in conjunction with complex life factors.

The more difficult question is what kind of novel this is. Much has been written about the genre of the novel “Crime and Punishment.” scientific works. Scientists have come to the conclusion that this novel can be considered CRIMINAL, SOCIAL, PSYCHOLOGICAL, PHILOSOPHICAL, DETECTIVE.

Since the criminal background of life in St. Petersburg is presented by Dostoevsky as a panoramic picture of social mores and problems, Crime and Punishment can rightfully be called a SOCIAL NOVEL.

Since Dostoevsky reveals the inner world of the characters with outstanding skill in the novel, the work can be called a PSYCHOLOGICAL NOVEL.

In “Crime and Punishment” there are many monologues and dialogues in which different life positions of the characters collide, and there are intellectual disputes between Raskolnikov and Porfiry Petrovich, Raskolnikov and Svidrigailov. Each hero is a carrier of a certain life position, a certain idea that he wants to express and expresses. That is why the novel is called a PHILOSOPHICAL NOVEL, and Dostoevsky himself is the founder of this genre in world literature.

In addition, the presence in the plot of the novel of the crime investigation line, the appearance of false versions in it, the complex psychological struggle between the investigator and the criminal allow us to look at “Crime and Punishment” as a DETECTIVE NOVEL.

Because the novel has certain characteristics
1) the novel is associated with interest in privacy individuals
2) novel - a large number of characters, especially plot-shaping ones
The plot-shaping hero is of fundamental importance. Without it, the plot of the novel will not develop or will develop completely differently - that is, the sequence of significant events that change the psychological motivations of the characters.
3) novel - a rigidly structured architectonics of both the general plot and individual storylines
4) a novel is the author of the novel as a full-fledged character, one of the main, if not the main plot-forming character - not only because the plot was invented and written down by him. Author's position, aesthetic views, worldview, life experience, everything the writer wanted to say in the novel. A novel needs an author - as a person, visibly or invisibly present in the world he himself created.

3 characteristic features novel as a genre according to M. Bakhtin
1) the stylistic three-dimensionality of the novel, associated with the multilingual consciousness realized in it;
2) fundamental change time coordinates literary image in the novel;
3) a new zone for constructing a literary image in a novel, namely the zone of maximum contact with the present (modernity) in its incompleteness.

F. M. Dostoevsky’s novel “Crime and Punishment” is socio-psychological. In it, the author raises important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows the psychology contemporary author a person trying to find a solution to pressing problems social problems. At the same time, Dostoevsky does not give ready answers to the questions posed, but makes the reader think about them.

Unified State Examination tasks in literature based on the novel “Crime and Punishment”

Unified State Exam assignments on literature from the FIPI website based on the novel by F.M. Dostoevsky “Crime and Punishment”

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“Unified State Examination tasks in literature based on the novel “Crime and Punishment””

“Let me, I want to ask you a serious question,” the student became excited. “I was joking now, of course, but look: on the one hand, a stupid, senseless, insignificant, evil, sick old woman, useless to anyone and, on the contrary, harmful to everyone, who herself does not know what she lives for, and who tomorrow will die by itself. Understand? Understand?

“Well, I understand,” answered the officer, carefully staring at his excited comrade.

- Listen further. On the other hand, young, fresh forces are wasted without support, and this is in the thousands, and this is everywhere! A hundred, a thousand good deeds and undertakings that can be arranged and the old woman’s money doomed to the monastery can be repaid! Hundreds, thousands, perhaps, of existences directed towards the road; dozens of families saved from poverty, from decay, from death, from debauchery, from venereal hospitals - and all this with her money. Kill her and take her money, so that with their help you can then devote yourself to serving all of humanity and the common cause: what do you think, won’t one tiny crime be atoned for by thousands of good deeds? In one life - thousands of lives saved from rot and decay. One death and a hundred lives in return - but this is arithmetic! And what does the life of this consumptive, stupid and evil old woman mean on the general scale? Nothing more than the life of a louse or a cockroach, and it’s not worth it, because the old woman is harmful. She eats up someone else’s life: the other day she bit Lizaveta’s finger out of spite; Almost got cut off!

“Of course, she doesn’t deserve to live,” the officer remarked, “but it’s nature here.”

- Eh, brother, but nature is corrected and directed, and without this we would have to drown in prejudices. Without this, not a single great person would exist. They say: “duty, conscience” - I don’t want to say anything against duty and conscience - but how do we understand them? Wait, I'll ask you one more question. Listen!

- No, you stop; I'll ask you a question. Listen!

“Now you are talking and orating, but tell me: will you kill the old woman yourself or not?”

- Of course no! I am for justice... It’s not about me here...

“But in my opinion, if you don’t decide for yourself, then there is no justice here!” Let's go have another party!

(F.M. Dostoevsky, “Crime and Punishment.”)

— The student and the officer express different points of view on the possibility of killing the old woman and on social justice. Indicate the term that work of art called a clash of views life principles heroes.

— What is the name of the conversation between two characters (in this case, a student and an officer) in literary work?

— In the student’s remarks, words repeatedly appear that denote an exaggeratedly large number (“one hundred, a thousand good deeds and undertakings,” “hundreds, thousands… existences,” “thousands of lives,” etc.). What artistic trope is used here?

— In the conversation between the student and the officer, important, typical features of life are indicated, described objectively. Which literary direction the second half of the 19th century widely used this method of displaying reality?

— The excitement of a student’s speech is created by exclamatory and interrogative sentences that do not require an answer. What are such questions and exclamations called in literary criticism?

— Who accidentally witnessed the conversation between the student and the officer?

— In what city does the conversation between a student and an officer take place?

8. How did the conversation between the student and the officer influence the development of Raskolnikov’s idea?

9. Which characters in Russian literature are close in their inner essence to the image of the old money-lender? Give reasons for your answer.

Raskolnikov came out of the barn to the very bank, sat down on the logs stacked near the barn and began to look at the wide and deserted river. From the high bank a wide vicinity opened up. A song could be heard faintly from the farther bank. There, in the sun-drenched vast steppe, nomadic yurts were blackened as barely noticeable dots. There was freedom and other people lived there, completely different from those here, it was as if time itself had stopped, as if the centuries of Abraham and his flocks had not yet passed. Raskolnikov sat and looked motionless, without looking up; his thoughts turned into dreams, into contemplation; he didn’t think about anything, but some kind of melancholy worried him and tormented him.

Suddenly Sonya found herself next to him. She came up barely audibly and sat down next to him. It was still very early, the morning chill had not yet subsided. She was wearing her poor old burnous and a green scarf. Her face still bore signs of illness; it had become thinner, pale, and haggard. She smiled at him warmly and joyfully, but, as usual, timidly extended her hand to him.

She always extended her hand to him timidly, sometimes she didn’t even give it at all, as if she was afraid that he would push her away. He always seemed to take her hand with disgust, always greeted her with annoyance, and sometimes remained stubbornly silent throughout her visit. It happened that she trembled at him and left in deep sorrow. But now their hands did not separate; He briefly and quickly glanced at her, said nothing and lowered his eyes to the ground. They were alone, no one saw them. At that time the guard turned away.

How it happened, he himself did not know, but suddenly something seemed to pick him up and seem to throw him at her feet. He cried and hugged her knees. At the first moment she was terribly frightened, and her whole face turned pale. She jumped up from her seat and, trembling, looked at him. But immediately, in that very moment, she understood everything. Infinite happiness shone in her eyes; she understood, and there was no longer any doubt for her that he loved, loved her endlessly, and that this moment had finally come.

They wanted to talk, but could not. There were tears in their eyes. They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. They were resurrected by love, the heart of one contained endless sources of life for the heart of the other.

(F.M. Dostoevsky “Crime and Punishment”)

— Indicate the term that in literary criticism refers to an important element of composition that helps the author create an emotional atmosphere of action in a work. (From the words “From the high bank a wide vicinity opened up...” to the words “Raskolnikov sat, looked motionless...”.)

- Indicate a term denoting the opposition of life phenomena or states (for example, Raskolnikov’s life - a fortress, a prison, guards - and that free, free world that the hero sees “from a high bank”: “nomadic yurts”, “sun-drenched steppe”, etc. .d.).

- Name a means of creating the image of Sonya, based on a description of her appearance: “She was wearing her poor, old burnus and green scarf. Her face still bore signs of illness; it had lost weight, turned pale, and haggard. She smiled warmly and joyfully at him...”

— About the changes in the heroes of F.M. Dostoevsky writes: “They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining.” Indicate the name of the artistic medium used in this description.

8. What helps Raskolnikov to resurrect for a “new life”?

9. What heroes of Russian literature through a painful search for answers to critical issues returned to real life?

The small room into which the young man walked, with yellow wallpaper, geraniums and muslin curtains on the windows, was at that moment brightly lit by the setting sun. “And then, therefore, the sun will shine in the same way. “- flashed through Raskolnikov’s mind, as if by chance, and with a quick glance he looked around everything in the room in order to study and remember the location if possible. But there was nothing special about the room. The furniture, all very old and made of yellow wood, consisted of a sofa with a huge curved wooden back, round table an oval shape in front of the sofa, a toilet with a mirror in the wall, chairs along the walls and two or three penny pictures in yellow frames depicting German young ladies with birds in their hands - that’s all the furniture. In the corner in front of a small icon a lamp was burning. Everything was very clean: both the furniture and the floors were polished; everything sparkled. “Lizaveta’s work,” thought the young man. Not a speck of dust could be found in the entire apartment.

“It’s the wicked and old widows who have such purity,” Raskolnikov continued to himself and glanced curiously at the chintz curtain in front of the door to the second, tiny room, where the old woman’s bed and chest of drawers stood and where he had never looked. The entire apartment consisted of these two rooms.

- Anything? - the old woman said sternly, entering the room and still standing right in front of him to look him straight in the face.

- I brought the deposit, here you go! - And he took out an old flat silver watch from his pocket. On the back of their tablet was a depiction of a globe. The chain was steel.

- Yes, I’ll give the old one the deadline. It's just three days since the month has passed.

– I’ll pay you another month’s interest; be patient.

“But my good will, father, is to endure or sell your thing now.”

– How much for a watch, Alena Ivanovna?

- And you walk around with trifles, father, it’s literally worth nothing. Last time I paid you two tickets for the ring, but you can buy it new from a jeweler for one and a half rubles.

- Give me four rubles, I’ll buy it, my father’s. I'll receive the money soon.

- One and a half rubles, sir, and a percentage in advance, if you want, sir.

- One and a half rubles! – the young man screamed.

- Your will. - And the old woman handed him back the watch. The young man took them and became so angry that he wanted to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for something else.

- Let's! - he said rudely.

The old woman reached into her pocket for the keys and went into another room behind the curtains. The young man, left alone in the middle of the room, listened curiously and thought. You could hear her unlock the chest of drawers. “It must be the top drawer,” he thought. “It means she carries the keys in her right pocket.” Everything is on one bundle, in a steel ring. And there is one key there, three times larger than all of them, with a jagged beard, of course, not from the chest of drawers. Therefore, there is still some kind of box, or styling. This is interesting.

The styling has all the same keys. But how vile it all is. »

- That's it, father: if there's a hryvnia per month per ruble, then for one and a half rubles you'll be charged fifteen kopecks, a month in advance, sir. Yes, for the previous two rubles, you still owe twenty kopecks in advance on the same account. And in total, therefore, thirty-five. Now you only have to get fifteen kopecks for your watch. Here you get it, sir.

- How! So now the ruble is fifteen kopecks!

— What is the name of a character that carries an element of his characteristics (for example, the name of Raskolnikov, associated with the word “schism”)?

— Establish a correspondence between the characters active and mentioned in this fragment and the elements of their portraits. For each position in the first column, select the corresponding position from the second column.

“The young man took it [the watch] and became so angry that he wanted to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for something else.” What is the name of the depiction of a person’s mental life in a literary work?

— What is the name of the literary movement that flourished in the second century? half of XIX century and whose principles were embodied in “Crime and Punishment”?

— In this episode, Raskolnikov expresses his thoughts several times, not uttering words out loud, but as if addressing himself. Name this way of speaking.

— On my father’s watch, which Raskolnikov brought, there was a globe depicted. What is expressive detail in a work of art called?

— Indicate the genre to which F.M.’s work belongs. Dostoevsky "Crime and Punishment".

The genre of Dostoevsky’s work “Crime and Punishment” can be defined as philosophical novel , reflecting the author’s model of the world and philosophy of the human personality. Unlike L.N. Tolstoy, who perceived life not in its sharp, catastrophic breaks, but in its constant movement, natural flow, Dostoevsky gravitates toward revealing unexpected, tragic situations. Dostoevsky's world is a world at the limit, on the verge of transgressing all moral laws, it is a world where a person is constantly tested for humanity. Dostoevsky’s realism is the realism of the exceptional; it is no coincidence that the writer himself called it “fantastic,” emphasizing that in life itself the “fantastic,” the exceptional, is more important, more significant than the ordinary, and reveals truths in life that are hidden from a superficial glance.

Dostoevsky's work can also be defined as ideological novel. The writer’s hero is a man of ideas, he is one of those “who do not need millions, but need to resolve the thought.” The plot of the novel is a clash between ideological characters and the testing of Raskolnikov's ideas with life. A large place in the work is occupied by dialogues and disputes between the characters, which is also typical for a philosophical, ideological novel.

Meaning of the name

Often the titles of literary works become opposite concepts: “War and Peace”, “Fathers and Sons”, “The Living and the Dead”, “Crime and Punishment”. Paradoxically, opposites ultimately become not only interconnected, but also interdependent. So in Dostoevsky’s novel “crime” and “punishment” - key concepts, which reflects the author's idea. The meaning of the first word in the title of the novel is multifaceted: crime is perceived by Dostoevsky as the transgression of all moral and social barriers. The heroes who “overstepped” are not only Raskolnikov, but also Sonya Marmeladova, Svidrigailov, Mikolka from the dream about the slaughtered horse, moreover, St. Petersburg itself in the novel also oversteps the laws of justice. The second word in the title of the novel is also ambiguous: punishment becomes not only suffering, incredible torture, but also salvation. Punishment in Dostoevsky’s novel is not a legal concept, but a psychological and philosophical one.

The idea of spiritual resurrection is one of the main ones in Russian classical literature of the 19th century: in Gogol one can recall the idea of the poem “Dead Souls” and the story “Portrait”, in Tolstoy - the novel “Resurrection”. In the works of Fyodor Mikhailovich Dostoevsky, the theme of spiritual resurrection, renewal of the soul, which finds love and God, is central to the novel “Crime and Punishment.”

Features of Dostoevsky's psychologism

Man is a mystery. Dostoevsky wrote to his brother: “Man is a mystery, it must be solved, and if you spend your whole life solving it, then don’t say that you wasted your time. I am engaged in this mystery because I want to be a man.” Dostoevsky has no “simple” heroes; everyone, even the minor ones, is complex, everyone carries their own secret, their own idea. According to Dostoevsky, “complex any human and deep as the sea.” There is always something unknown in a person, not fully understood, “secret” even to himself.

Conscious and subconscious (mind and feeling). According to Dostoevsky, reason, reason is not a representative Total man, not everything in life and in man lends itself to logical calculation (“Everything will be calculated, but nature will not be taken into account,” - the words of Porfiry Petrovich). It is Raskolnikov’s nature that rebels against his “arithmetic calculation”, against his theory - the product of his reason. It is “nature,” the subconscious essence of a person, that can be “smarter” than the mind. Fainting, seizures of Dostoevsky's heroes - failure of the mind - often save them from the path on which the mind pushes. This is a defensive reaction of human nature against the dictates of the mind.

In dreams, when the subconscious reigns supreme, a person is able to know himself more deeply, to discover something in himself that he did not yet know. Dreams are a person’s deeper knowledge of the world and himself (these are all three of Raskolnikov’s dreams - the dream about the little horse, the dream about the “laughing old woman” and the dream about the “pestilence”).

Often the subconscious more accurately guides a person than the conscious: the frequent “suddenly” and “accidentally” in Dostoevsky’s novel are only “suddenly” and “accidentally” for the mind, but not for the subconscious.

The duality of heroes to the last limit. Dostoevsky believed that good and evil are not forces external to man, but are rooted in the very nature of man: “Man contains all the power of the dark principle, and he also contains all the power of light. It contains both centers: the extreme depths of the abyss and the highest limit of the sky.” “God and the devil are fighting, and the battlefield is the hearts of people.” Hence the duality of Dostoevsky's heroes to the last limit: they can contemplate the abyss of moral decline and the abyss of highest ideals at the same time. The “ideal of Madonna” and the “ideal of Sodom” can live in a person at the same time.