Irina Anatolyevna Rudenko (1976) - teacher of the Magnitogorsk city multidisciplinary lyceum at the Moscow State Technical University. Nosov.

Dream of killing a horse

Material for the analysis of the episode in the novel "Crime and Punishment"

We in Dostoevsky's novel "Crime and Punishment" carry a huge semantic load, and it is very important to convey this to students. Teenagers should be shown that dream episodes are not only fascinating reading. Dreams in the novel not only help to understand the characters, to penetrate into the hidden corners of the human soul, to find out the true aspirations and values ​​of the characters, their experience by the characters largely determines their further actions, and hence the subsequent events of the work.

The first dream that Raskolnikov has is a dream about killing a horse. It is noteworthy that Raskolnikov dreams of this dream not in his coffin-like cell, but in nature, on Petrovsky Island, where the hero falls asleep in exhaustion. It can be assumed that Dostoevsky takes his hero out of his closet in order to show the real Raskolnikov, who is not pressured by poverty, disorder and hopelessness.

The construction of the episode is based on the principle of antithesis: a skinny nag and draft horses that carry heavy carts are contrasted, Mikolka killing an animal and a boy kissing the dead head of a horse, spectators laughing and witty, and witnesses of the murder condemning Mikolka and pitying Savraska.

The reader sees the contrast already in the description of the town, which is the beginning of the episode: the tavern, causing fear in the boy, is opposed to the church, standing in the middle of the cemetery; and the seven-year-old Raskolnikov loves this church. The child is not afraid of the cemetery, the graves of relatives evoke a religious feeling in him. It is no coincidence that the boy and his father go to the cemetery with the church, but stop at a tavern and witness a horrific scene. So later the protagonist of the novel (no longer a boy, but a young man of twenty-three years old), with his soul drawn to God, will see death: only from an indifferent observer of the murder will he turn into a murderer who will try to become indifferent, because "the powerful of this world", according to in the opinion of the hero, should not be subjected to pangs of conscience.

The color contrast is also not accidental: black (“the road near the tavern is always covered with black dust”) symbolizes death, and white (white dish, white rice) is associated with purification. By choosing colors in this way, Dostoevsky may already be charting Raskolnikov's path from spiritual decline to purification. The dome of the church in Raskolnikov's dream is green. Reading the following pages of the novel, we will see that green color- the color of life, renewal - Dostoevsky connects with the image of Sonya. We will notice that the green house in which Sonechka Marmeladova lives attracts the young man who committed the murder, just as the church with a green dome attracts a pure, sinless child.

When Dostoevsky paints a picture of the murder of a horse, blood-red becomes predominant in his palette - the color of aggression, death (Mikolka has a fleshy, red face, bloodshot eyes; the horse has a bloodied muzzle). The killer Mikolka evokes indignation and hatred among readers: a healthy, strong man kills a weak, defenseless creature. Speaking of a horse, Dostoevsky calls it words with diminutive-scornful suffixes ( little horse, nag, filly), in order to emphasize the powerlessness of the animal, its inability to protect itself.

Mikolka commits a cruel act, killing a creature that is unable to resist him, but at the same time he has arguments “for” the murder (“... and this filly only tears my heart ... eats bread for nothing ...”, “... my good, whatever I want, then do…”). This is how he explains his right to kill. We will meet with similar arguments when reading a conversation between an officer and a student whose thoughts are close to Raskolnikov (“... I would have killed and robbed this damned old woman,” because she is “meaningless ... useless and even harmful ...”). Thus, both Mikolka from a dream and the adult Raskolnikov give themselves the right to determine the need or uselessness of this or that creature in the world, which, according to Dostoevsky, is unacceptable. But the arguments of reason are strong, so people from the crowd, even those who condemn Mikolka and feel sorry for the horse, understand Mikolka's formal correctness and express their protest only in words.

A seven-year-old boy behaves differently. Due to his age, he still does not understand “reasonable” arguments, and his soul rebels against the murder: he feels sorry for the poor horse(this word with a diminutive suffix conveys the boy's tender, reverent attitude towards Savraska), and he, the only one of all the sympathizers, tries first to save the unfortunate horse, and then to avenge her, rushing to Mikolka. Reading the novel, we will see that the adult Raskolnikov, who is considering the murder and even already being a murderer, will many times help the weak and helpless in a spiritual outburst (he will try to save the drunk girl, he will give the last money to the Marmeladov family). Thus, the external conflict of the dream about killing a horse - the conflict between the killer Mikolka and the child trying to save the unfortunate animal - will become the internal conflict of the adult Raskolnikov - the conflict of the inflamed consciousness, in which a theory arose about the possibility of some to control the fate of others, and the soul protesting against evil and violence.

Creating the image of a cruelly beaten, miserable horse, Dostoevsky expresses an idea that will be developed in the novel: the weakest, most defenseless suffer first of all from the “powerful of this world”. In Raskolnikov's dream, the horse tries to resist, it kicks, breaks, but the more the unfortunate animal resists, the more Mikolka becomes furious. Speaking about Mikolka's feelings, Dostoevsky resorts to a gradation: first, the killer experiences pleasure from the supposed fun, then gets angry, and then goes berserk because he cannot kill with one blow; graduated and weapons of murder: whip, shafts, crowbar. The image of the exhausted horse will appear in the novel in connection with the death of Katerina Ivanovna: she will die not so much from consumption, but from the unbearable burden of problems that have piled on, from the cruel attitude of the world to her suffering. No wonder her last words: “They left the nag ...”

Objects of the material world will also appear in the novel as the most important artistic details, which are accidentally mentioned at first glance by people watching a terrible scene: an ax (“with an ax of her, why ...”) and a cross (“there is no cross on you ...”). The word "axe" sounds in a dream, perhaps because Raskolnikov is already consciously chose an ax as a murder weapon, and the phrase “there is no cross on you” sounds like a warning to the hero.

And the hero himself believes this warning: therefore, when he wakes up, he renounces “his damned dream” ...

Summarizing, we come to the following conclusions.

Firstly, in this episode, Dostoevsky shows the essence of Raskolnikov, his soul as a pure, compassionate being.

Secondly, in the scene of killing the horse, Dostoevsky defines Raskolnikov's internal contradictions: the confrontation between the peasant, who logically justifies the murder, and the boy, who protests with his soul against the crime, becomes further Raskolnikov's internal conflict, a conflict of mind and heart.

Thirdly, in this dream Dostoevsky is already charting the hero's path from the fall to purification.

Fourthly, it is in this episode that images, artistic details, colors appear, which will subsequently determine the events of the work and the fate of the characters.

The main character, Rodion Romanovich Raskolnikov, lives in a small closet, with whose owner he tries not to meet. Here, one evening, he goes to the old money-lender, Alena Ivanovna. Raskolnikov pawns his watch to her. At the same time, she notices for herself where she keeps her keys and jewelry, at what time she is alone at home when her sister Lizaveta is not there. Rodion planned to kill the old woman, because by doing this he could help many young men and women.

Heading home, Raskolnikov meets Marmeladov. He tells who he was before, talks about his family, that he has a sick wife and three other people's children, has his own daughter Sonya, who received a yellow ticket and now works as a prostitute. Then Rodion receives a letter from his mother from the village, in which she talks about all the sorrows that happened to her and Rodion's sister Dunya. She served with the Svidrigailovs, but was forced to leave because the owner molested her, and her wife heard this and disgraced Dunyasha throughout the city, although in fact she was not to blame. When his wife found out about this, the city again began to respect Dunya. Raskolnikov also learns that Pyotr Luzhin wants to marry Dunya. Rodion guesses that Dunya is doing this to help her mother and brother. Rodion intends to upset the wedding. Raskolnikov goes to his university friend Razumikhin, drinks a glass of vodka from him and, before reaching the house, falls asleep in the bushes.

There he has a strange dream. He is small, along with his father, passes by a tavern, and an old horse is standing nearby, which is harnessed to a cart. The drunken owner of the horse invites everyone to sit in the cart. When the cart is full, he begins to beat the mare with a whip, but she does not go. Subsequently, he kills her with a crowbar. Waking up, Rodion thinks about whether he can kill who he is: "a trembling creature" or "has the right." And then on the way he meets Lizaveta, Alena's sister, coming to visit. Thus, he learns that the old woman is alone at home. Here, Raskolnikov also remembers a conversation that he once heard in a tavern. Two people said that if you kill the old woman, then with this money you can do a lot of good deeds that can make amends. And then he finally decides that he will go for this murder. Raskolnikov comes home, sews a noose to his coat, takes the ax from the janitor and hangs the ax on the noose. Now he is heading to Alena with a clear intention - to kill. Here she is already climbing the stairs, enters the apartment and kills the helpless old woman. In the process of searching for jewelry, he checks several times. Whether he really died or not. But then Lizaveta unexpectedly returns, she asks Raskolnikov to leave her alive, but she suffers the same fate as her sister. Having finished all the cases, Rodion quietly hides. The next day, he thinks about how he can hide the evidence. The owner of the apartment turns to the police because Rodion does not pay the rent. On the street, Raskolnikov hears a conversation that the old woman was killed. From what he hears, he faints. After that, Rodion lies delirious for a long time. A simple village boy is arrested in a murder case. Luzhin comes to Rodion and says that Raskolnikov's mother and sister will come to Petersburg. In the course of the conversation, Rodion and Peter swear. Leaving the apartment, Raskolnikov sees how the girl wants to jump from the bridge. He also contemplates suicide. Then he sees a man being run over by a carriage. This man was Marmeladov. Raskolnikov helps drive him home and gives all the money to his wife, Ekaterina, for the funeral. Rodion notices that he and Sonya have a lot in common. A little later, Raskolnikov nevertheless decides to tell Sonya about the murder. This conversation was overheard by Svidrigailov, who came to St. Petersburg and buried Catherine (she died of consumption). Sonya advises Rodion to repent and tell the investigator about everything.

The investigation is on hold for a while. The investigator guesses Raskolnikov's guilt, but he has no evidence. Later, Rodion is arrested and sentenced to eight years in hard labor. Sonya follows him, and Dunyasha marries Razumikhin.

Work done:
Menshchikova Alena, Melnikov Zakhar,
Khrenova Alexandra, Pechenkin Valery,
Shvetsova Daria, Valov Alexander, Metzler
Vadim, Elpanov Alexander and Tomin Artem.

Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses)

Raskolnikov walks down the street and runs into
deep thought", but from
his thoughts are distracted by a drunk,
who was being transported at that time along the street in
cart, and who called out to him: "Hey you,
German hatter." Raskolnikov did not
ashamed, but frightened, because he is completely
I didn't want to attract anyone's attention.

In this scene, Dostoevsky introduces us to his hero:
describes his portrait, tattered clothes, shows him
character and makes hints at Raskolnikov's intention.
He is disgusted with everything around him and
those around him, he is uncomfortable: "and went, no longer noticing
around and not wanting to notice it. "He does not care what about
he will think. Also, the author emphasizes this with evaluative
epithets: "deepest disgust", "evil contempt"

Part 2 ch. 2 (scene on the Nikolaevsky bridge, blow of the whip and alms)

On the Nikolaevsky bridge, Raskolnikov peers into St. Isaac's
Cathedral. The monument to Peter I, sitting on a rearing horse, disturbs and
scares Raskolnikov. Before this majesty, before
imagining himself a superman, he feels like a "small
man", from which Petersburg turns away. As if ironically
over Raskolnikov and his "superhuman" theory, Petersburg
first with a blow of a whip on the back with a whip (an allegorical rejection of
Raskolnikov Petersburg) admonishes the lingering on the bridge
hero, and then with the hand of the merchant's daughter throws Raskolnikov
alms. He, not wanting to accept handouts from a hostile city,
throws two kopecks into the water.

Turning to the artistic construction of the text and artistic
means, it should be noted that the episode is built on the contrast
images, almost every scene has its opposite: a blow
opposed to the almsgiving of the old merchant's wife and her
daughter, Raskolnikov's reaction ("angrily gnashed and clicked
teeth") is opposed to the reaction of others ("circle
laughter was heard"), and the verbal detail "of course"
indicates the habitual attitude of the St. Petersburg public to
"humiliated and insulted" - violence reigns over the weak and
mockery. That miserable state in which the hero found himself as
could not be better emphasized by the phrase "a true collector
pennies on the street."
Artistic means are aimed at enhancing feelings
loneliness of Raskolnikov and on the display of duality
Petersburg.

Part 2 ch.6 (drunken organ grinder and a crowd of women at the "drinking and entertainment" institution)

Part 2 Chapter 6
Raskolnikov rushes about the quarters of St. Petersburg and sees scenes
one uglier than the other. AT recent times Raskolnikov "
was drawn to wander "in the haunted places," when he was sick
it became, "so that it was even more sick." Approaching one of
drinking and entertainment establishments, Raskolnikov's gaze falls
on the poor people who wandered around, on the drunken "ragamuffins",
swearing at each other, at "dead drunk" (evaluating epithet,
hyperbole) of a beggar lying across the street. The whole ugly picture
complemented by a crowd of shabby, battered women in nothing but dresses and
hairless. The reality that surrounds him in this
place, all the people here can only leave disgusting
impressions (“..accompanied ... a girl, about fifteen, dressed
like a young lady, in a crinoline, in a mantle, in gloves and in
a straw hat with a fiery feather; it was all old
and worn out").

In the episode, the author repeatedly notices the crowding
(“a large group of women crowded at the entrance, others
sat on the steps, others on the sidewalks..”),
gathered together in a crowd, people forget about grief,
their plight and glad to stare at
happening.
The streets are crowded, but the more acutely perceived
hero's loneliness. The world of Petersburg life is the world
misunderstanding, indifference of people to each other.

Part 2 ch.6 (scene on ... the bridge)

In this scene, we are watching a middle-class woman being thrown off a bridge on which
stands Raskolnikov. Immediately a crowd of onlookers gathers, interested
happening, but soon the policeman saves the drowned woman, and people disperse.
Dostoevsky uses the metaphor "spectators" in relation to people
gathered on the bridge.
Philistines are poor people whose lives are very hard. drunk woman,
who tried to commit suicide is, in a sense,
a collective image of the philistines and an allegorical depiction of all sorrows and
the suffering they endure during the times described by Dostoevsky.
Raskolnikov looked at everything with a strange feeling of indifference and
indifference." "No, disgusting ... water ... is not worth it," he muttered to himself, "as if
pretending to be a suicide. Then Raskolnikov is still going to
commit intentional: go to the office and confess. "Not a trace of the old
energy ... Complete apathy has taken its place" - the author metaphorically notes how
pointing out to the reader the change within the hero that occurred after
seen.

Part 5 ch.5 (death of Katerina Ivanovna)

Petersburg and its streets, which Raskolnikov already knows by heart,
appear before us empty and lonely: “But the courtyard was empty and not
you could see knockers." In the scene of street life when Katerina
Ivanovna on the ditch gathered a small group of people, in which
there were mostly boys and girls, scarcity is visible
interests of this mass, they are attracted by nothing more than a strange
spectacle. The crowd, in itself, is not something positive, it
terrible and unpredictable.
Here the theme of the value of any human life and
personality, one of the most important themes of the novel. In addition, the episode of death
Katerina Ivanovna, as it were, prophesies what kind of death could await
Sonechka, if the girl had not decided for herself to keep firmly in her soul
Love and God.
The episode is very important for Raskolnikov, the hero is becoming more and more established
them in the correctness of the decision made: to atone for guilt by suffering.

Conclusion:

F.M. Dostoevsky draws attention to the other side of St.
suicides, murderers, drunks. Everything dirty and smelly gets along with
air into the inside of a person and generates not the most good feelings and emotions.
Petersburg suffocates, oppresses and breaks the personality.
The writer gives paramount importance to the image of corners and backyards
the brilliant capital of the empire, and together with the urban landscape in the novel
there are pictures of poverty, drunkenness, various disasters of the lower strata of society.
From such a life, people have become dumb, they look at each other "hostilely and with
incredulity." There can be no other relationship between them than
indifference, bestial curiosity, malicious mockery. From meeting these
Raskolnikov still has a feeling of something dirty, miserable,
ugly and at the same time what he sees evokes in him a feeling of compassion for
"humiliated and offended." The streets are crowded, but the sharper
the loneliness of the hero is perceived. The world of Petersburg life is the world
misunderstanding, indifference of people to each other.

Dostoevsky's novel "Crime and Punishment" is a complex, multifaceted work. Behind the street polyphony are heard folk songs, small folklore genres, elements of farce theater. It would not be an exaggeration to call a significant part of the folklore in the novel "street" and "tavern". First of all, this affected the folk songs presented in the novel. These are songs sung or ordered drunk on the streets or in taverns. "Ugly", "hoarse", "riotous" singing accompanied by balalaikas and a tambourine accompanies the senselessly cruel drunken youth in Raskolnikov's dream:

- In her muzzle, in her eyes whip, in her eyes! Mikolka screams.
Song, brothers! - shouts someone from the cart, and everyone in the cart picks up. A riotous song is heard, a tambourine rattles, whistles in the refrains. The woman clicks nuts and chuckles.

Similar songs and in reality accompany Raskolnikov in his throwing through the streets and taverns. He hears various tavern verses sung with snapping fingers, jumping up and down with heels. Before meeting with Marmeladov, he sees a drunkard dozing off, recalling some verses while awake. Already after the murder of Raskolnikov, one is drawn to this noise, roar, drunken fun, to the crowd:

For some reason, he was occupied with singing and all this knocking and uproar, down there ... From there it was heard, as amid laughter and squeals, to a thin fistula of a reckless melody and to a guitar, someone was dancing desperately, beating time with their heels. He listened intently, gloomily and thoughtfully, bending down at the entrance, peering inquisitively from the pavement into the passage.
You are my beautiful butoshnik,
You do not beat me in vain! - the thin voice of the singer spilled. Raskolnikov had a terrible desire to hear what they were singing, as if that was the whole point.

Another component of urban street and tavern lyrics is a sensitive romance (according to Dostoevsky's definition, a lackey song), performed with a guitar or a hurdy-gurdy. Similar songs are heard on the streets, singers are invited to taverns. For example, in the story about the adventures of Svidrigailov:

All that evening until ten o'clock he spent in different taverns and sewers, moving from one to another. Katya was also found somewhere, who again sang another lackey song about how someone is “a scoundrel and a tyrant”
Started kissing Katya
Svidrigailov gave water to Katya, and the organ grinder, and songwriters, and lackeys, and some two scribes.

Apparently, these songs are close to the genre of petty-bourgeois (cruel) romance, which became widespread among the urban lower classes in the second half of the nineteenth century.

Considering such examples in the novel, one can see that the author is primarily interested not in the songs themselves, but in the real everyday environment associated with them, appearance performers, mannerisms, accompaniment, the reaction of listeners, etc. Dostoevsky even reproduces the phonetic features of some songs in street performance (“whole”, “butochnik”, “beautiful”).

The author's comments also contain emotionally evaluative characteristics. The manner of performing a sensitive romance is characterized as follows: “In a street, rattling, but rather pleasant and strong voice, she sang a romance while waiting for a two-kopeck piece from a shop.” About Katya, entertaining Svidrigailov, it is said: "She sang her rhymed lackey, too, with some serious and respectful tinge in her face."

In such a program, the world of the impoverished Petersburg becomes visible and audible. But this is not the only role played by folk songs and romances in the novel. You can also correlate the content side of the song passages with the ideological artistic sense certain moments of the novel (the words “do not beat in vain” with scenes of beating the hostess by the quarter warden, who imagined Raskolnikov, the blows that he inflicts on his victims during the murder and in a dream, when the old woman laughs at his futile efforts; the words from Katya’s song are “a scoundrel and tyrant" - with a self-revealing confession of Svidrigailov - a cynic and molester).

It is significant that of all the heroes of the novel, Dostoevsky makes only Raskolnikov and Svidrigailov listeners of such singing. The opportunity to plunge into the atmosphere of the streets, taverns, crowds makes it possible for a person with a bad conscience to forget for a while: “It seemed to be easier and even more secluded here. In one tavern, before evening, they sang songs: he sat for an hour, listening, and remembered that he was even very pleased.

The songs we have considered, which are included in the novel, are a sign of the streets of the poor areas of the city, salient feature life of the urban lower classes, a way of their social and everyday characteristics. Participating in the creation of a gloomy image of the city, a whole layer of folklore materials once again emphasizes the ugliness and ugliness of reality.

Topic: "Petersburg of Dostoevsky" based on the novel by F.M. Dostoevsky "Crime and Punishment".

Target:Show the city as a background that serves to depict the hopelessness of the heroes, on which dramatic events unfold. Help students see Petersburg as a symbol of a dysfunctional, immoral life. Point out the artistic means used by the author in the novel.

Tun lesson: Lesson-journey with elements of research work with text.

Equipment:Illustrations with views of St. Petersburg, illustrated stand "Corner of St. Petersburg".

DURING THE CLASSES

I. Organizing time.

II. Teacher's word. Message about the topic and purpose of the lesson.

Petersburg has become more than once actor in Russian

literature. Let us recall what A.S. Pushkin, N.V. Gogol,

ON. Nekrasov.

III. Student message.

IV. Checking homework. Students made a plan about St. Petersburg

Dostoevsky, drawing attention to the psychological nature

cityscape, street life scenes, diversity

Petersburg types, etc.

PLAN

1. The psychological character of the urban landscape.

part 1, ch. 1 - "Colour of the city day."

part 2, ch. 2 - "Magnificent panorama".

part 2, ch. 6 - "Magnificent Petersburg".

part 2, ch. 5 - "View from Raskolnikov's window."

part 6, ch. 6 - "Thunderous Evening".

2. Variety of Petersburg types.

part 1, ch. 1 - "Drunk in a cart."

part 2, ch. 2 - "Blow of the scourge and alms."

part 2, ch. 6 - "The organ grinder and a crowd of women at the tavern."

part 2, ch. 6 - "Scene on the bridge. Drowned woman.

h. 2, ch. 7 - "Death of Marmeladov".

3. Piles of dead stones (profitable places, black stairs).

part 1, ch. 1.

4. Interior.

part 1, ch. 3 - Raskolnikov's closet.

part 4, ch. 3 - "Room, Sonya's barn."

part 1, ch. 2 - "Corner of Marmeladov".

5. Reality and delirium in the pictures of Petersburg life.

h. 2, ch. 4 - "The night after the murder."

part 1, ch. 5 - "Raskolnikov's Dream".

6. M echt about a beautiful city.

h. 1, ch. 5 - "Raskolnikov thinks about fountains."

v.Teacher's word.

F.M. also has his own Petersburg Dostoevsky. Meager funds forced him to frequently change housing and live not in rich apartments, but in cold corner houses, devoid of any architecture, where people “swarm”.

Heroes of Dostoevsky eschew Pushkin's quarters. Raskolnikov walks from a tiny cell along Sadovaya, Gorokhovaya and other “middle” streets, meets Marmeladov, Katerina Ivanovna, Sonya ... Often passes through Sennaya Square, where back in the 18th century a market was opened for the sale of livestock, oats, where serfs were subjected to public punishment ( Let us recall the poems by N.A. Nekrasov “Yesterday, at six o’clock…”).

A stone's throw from Sennaya was Stolyarny Lane, which consisted of sixteen houses, in which there were eighteen drinking establishments.

So, let's go on a trip to St. Petersburg.

VI. Analytical work with the text according to the proposed plan.

Work on the episode "Colour of the city day" (part 1, ch. 1)

Raskolnikov left the house.

What do we learn about the hero from the first lines of the novel? Where does he live? In which House?

What struck him on the street? What is the view from the window

Raskolnikov?

What is their role? What is the role of the generalizing word "all"?

Find a definition expressed by adjectives that carry

rejection of reality (“special stench”, “summer stench”, “unbearable

out."

Why so many definitions for the word "stink"? Isn't that what causes

Raskolnikov's feeling of disgust?

fly, heat, closeness ... and immediately gives a portrait of Raskolnikov?

What words show that the hero is indecisive? ("as if",

"something", "something".)

hard to surprise anyone? Who lived in the middle streets?

emphasize Dostoevsky?

What insult did the hero have to endure? Because of which?

What feeling gripped the hero?

Where is the hero going?

intermediate conclusion. (Notes in a notebook.)

The day spent with Raskolnikov made us think of Petersburg as a city dirty, unkempt, alien and distant. He lives his life, and the characters live theirs.

Work on the episode "Magnificent panorama" (part 2, ch. 2).

Raskolnikov committed a crime, it was necessary to hide the stolen, which he does. The hero feels unwell, walks along the Nikolaevsky bridge.

What makes Rodion wake up from bad thoughts?

Why was he hit?

unexpected? What did he experience? What was his condition?

("He gnashed angrily and snapped his teeth"). The same can be said about the animal.

Why does Dostoevsky say this about Raskolnikov? Who does the hero resemble?

Work on the episode "Blow of the Scourge" and "Alms" (part 2, ch. 2).

Immediately after the blow of the scourge, Raskolnikov receives alms.

Why does Dostoevsky need this scene? What did the author mean by this?

Who was Raskolnikov taken for? Why did the hero take alms?

What did he experience?

Why Dostoevsky shows the magnificence of St. Petersburg at the moment

humiliation and insults of the hero?

So what is the splendor of the city? What do Raskolnikov like?

How did the panorama of the city affect the state of the hero? So from what

uncomfortable, cold Rodion?

What artistic technique does the author use when talking about splendor

cities and humiliated man?

Why did it seem to Raskolnikov that he “as if cut off with scissors

yourself from everyone?

intermediate conclusion. (Notes in a notebook.)

It is bad, uncomfortable for the hero both in the “middle” streets and where a wonderful panorama of the city opens up. Rodion Raskolnikov is lonely, his pride is angry. The charming landscape takes the heroes back to the former world only for a while, when they go to the university and, returning home, walk and admire the beautiful Petersburg.

Work on the episode "Evening Petersburg" (part 2, ch. 6).

- How does the author depict evening Petersburg? What is the state of the hero?

Why is Raskolnikov wandering aimlessly around the city? What is he thinking about?

Trying to explain the state of the hero, the author uses interrogative sentences. For what purpose?

Find words with a negative particle "not". What is denied by the hero?

Work on the episode "The Organ Grinder and crowd of women at the tavern"

(part 2, ch. 6).

- Where did Raskolnikov meet the organ grinder? What is its appearance?

Here Raskolnikov saw the girl. What an absurdity in clothes

What mood of the hero was caused by the girl's singing? Why Raskolnikov

affects passers-by? Was Raskolnikov understood?

Why does Dostoevsky show a crowd of women at a tavern?

For what purpose are they gathered here? What is their age? Appearance?

Why does Raskolnikov give them money?

Working on the episode “Bridge Scene. Drowned woman" ( part 2, ch. 6)

Another female fate. Raskolnikov accidentally met on the bridge the one who came here to lay hands on herself.

Raskolnikov meets a woman.

What is her portrait? What attracts attention in the appearance of a woman?

What was Raskolnikov's reaction to the fact that the woman rushed

bridge? What are the reasons for doing such a wild act?

What pushed her into the water? Will she try again to do the same

deed?

Work on the episode "Death of Marmeladov" (part 2, ch. 7)

How did it happen that he hit the subfly?

What impression did this tragic incident make on the crowd?

How did Raskolnikov react to what happened? Why did he take

lively participation in the funeral of Marmeladov?

What does the death of Marmeladov signify?

intermediate conclusion (Entry in notebook.)

Onlookers look indifferently at the bloody body of a stranger (Marmeladov). But no one helped the poor fellow. Only Raskolnikov showed a lively participation in the fate of Marmeladov. Yes, selfish and indifferent people living in the "middle" and outlying streets of St. Petersburg.

Work on the episode "Thunderous Evening" and "Morning on the Eve of Svidrigailov's Death" (Part 6, Ch. 6)

And again we are on the street of uncomfortable Petersburg.

This will be the topic of another conversation. In the meantime, Svidrigailov is sitting in the tavern. He witnessed a quarrel among scribes.

What is their type?

What caused the quarrel?

What part did Svidrigailov take in resolving the quarrel?

Find a description of nature before a thunderstorm.

Why does Svidrigailov make an important decision at this moment? Which?

Why and to whom does Svidrigailov decide to help?

Find a description of the hotel where Svidrigailov goes after a thunderstorm.

What is she like? Why does the interior of the hotel make a depressing impression on the reader?

So, let's go into the room after Svidrigailov.

What is the decoration of the room (or number, as Dostoevsky writes)?

(The state of the hero and the decoration of the room brings him to delirium, dreams).

What nightmare does he have?

Night passed, morning came...

-What is the morning landscape like? Did the rain bring relief to the hero?

Why?

What details of the urban landscape emphasize the hopelessness,

the uselessness of a person in this world? (dog, "dead drunk in

Work on the episode "Raskolnikov's Closet" (part 1, ch. 3)

Text work.

from the words: "He woke up .... before …. sat without lunch.

2. Questions.

What are the synonyms for the name of the room where the poor student lives,

Dostoevsky uses? ("Closet", "cage", "coffin")

What associations do you have with these words?

(“Closet” - a mouse, “cage” - a beast, “coffin” - a dead person.

hid like a beast.)

What does it say about the poverty, the wretchedness of the decoration of his little room?

Can healthy dreams be born here? Why?

Is it possible, living in such conditions, to feel human?

Does Raskolnikov respect himself?

Can a hero change his lifestyle?

Working on an episode "View from Raskolnikov's window" (part 5, ch. 5)

What detail of the room is especially sharpened by Dostoevsky? (Yellow wallpaper.)

What is the view from Raskolnikov's window?

What details of the interior of the room emphasize the loneliness of the hero?

Why is there a lone geranium flower on the windowsill?

Work on the episode "Marmeladov's Corner" (part 1, ch. 2)

Rodion Raskolnikov accidentally met Semyon Marmeladov in a tavern. Having shown humanity, the former student sees off the drunken Marmeladov.

We will also go to the dwelling of this hero. Raskolnikov sees the miserable atmosphere of the room.

What represented room? What is her outfit?

What does it remind Raskolnikov of?

Is it convenient for family people to live in such a room?

Do Marmeladov's children live comfortably?

Can a husband and wife (Marmeladov and Katerina Ivanovna) find a place,

where you can talk frankly, heart to heart? Why did Marmeladov live in

passage room?

Why did Marmeladov's neighbors know about the family's sorrows?

Working on the episode "Sonya's Barn Room" (Part 4, Ch. 4)

Where does Sonya live? What can be seen remarkable in the room?

What is the lighting like in the room? What struck Raskolnikov when he

saw Sonya's room for the first time? (obtuse angle - hopelessness, dead end.)

What gives the right to call Sonya's room a "barn"? Like in this "barn"

How does a person feel when he lives so miserably? What thoughts will be born

at Sony under the low ceiling of the barn?

intermediate conclusion. (Entry in notebook.)

It is uncomfortable, bad for a person to live in a “barn”, “closet”, “cage”, “corner”, “coffin” (as Raskolnikov’s mother called her son’s closet).

Work on the episode "Raskolnikov's Dream" (part 1, ch. 5)

« Low ceilings crowd the soul and mind.

Life in St. Petersburg acquires freaks outlines, and the real often seems like a nightmarish vision, and delirium and dreams are real.

Artistic retelling of the dream.

- What does the nag symbolize?

Why did Raskolnikov see himself as a little boy?

intermediate conclusion. (Entry in notebook)

Image a nag, tortured overstrained by overwork, which, mockingly, is flogged in the eyes - one of the generalized images of the novel. This dream shows hysteria, which was justified by the authenticity of life, as if the fates of all the tormented people who live uncomfortable in St. Petersburg are concentrated.

Work on the episode "Dream of a Beautiful City" ( part 1, ch. five.)

Raskolnikov thinks about fountains. It was green on the islands where Rodion went.

What landscape does Dostoevsky depict?

How does it differ from the usual landscape of the "middle" streets of St. Petersburg?

What was the first time Raskolnikov saw for a long time? (Flowers.)

Work on the episode "Establishment of fountains" ( part 1, ch. 6)

After a dream about a driven horse, he thinks about building tall fountains. Why?

Yes, the dream is great. AND reality what? (Dirty, stink,

crap...)

Will Raskolnikov's dream ever come true?

What artistic technique does the author use in contrasting

reality and dream (antithesis)?

VII. Results.

1. How do you see the streets of St. Petersburg, along which Raskolnikov wandered?

2. Tell us about the appearance of people who meet on the "middle" streets?

3. What impression do they make on you?

4. How do you see Dostoevsky's Petersburg?

VIII. Artistic merits of the novel by F.M. Dostoevsky "Crime and Punishment".

I. Artistic detail in the novel.

· Pro we follow which color prevails in F.M. Dostoevsky at

description of the city, the interior of the room?

· What sounds is Petersburg “filled with”? What do we hear on

city ​​streets?

· What smells accompany everywhere the heroes of the living, in

"middle" streets of St. Petersburg?

Conclusion:Petersburg is a monster city, a monster city, a predator city.

II. Word and image in the novel "Crime and Punishment".

· Landscape - a background that serves to depict the hopelessness of the hero,

on where dramatic events unfold.

· Petersburg is a symbol of a dysfunctional, immoral life

poor people.

· Image nags are a symbol of disorder and reliability of life,

in which reflected the fate of all ordinary people,

exhausted by life.

· Description of the interior of the premises: "Closet", "cage",

"corner" (removes Marmeladov), "shed" (Sonia's home),

"coffin" (Raskolnikov lives here).

IX. Homework.

History of the Marmeladov family.

1. Portrait of Marmeladovach. 1, ch. 2.

2. Death of Marmeladovach. 2, ch. 7.

3. Pominkich. 3, ch. 2.

4. Death of Katerina Ivanovnach. 5, ch. 7.