What number plays a significant role in F. M. Dostoevsky’s novel “Crime and Punishment”? and got the best answer
Answer from Anna[guru]
11, 7, 4, 3 - there are so many of them, iconic numbers))) for example, having attributed Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to 11 o’clock, Dostoevsky reminds that it is still not too late for Raskolnikov to shake off his obsession, It is not too late in this Gospel hour to confess and repent and become the first from the last, who came at the eleventh hour. (It was not for nothing that for Sonya it was “the whole parish” that at the moment Raskolnikov came to her, eleven o’clock struck the Kapernaumovs.)
7 - it can be assumed that by “sending” his hero to kill at exactly seven o’clock, Dostoevsky thereby already dooms him to defeat in advance, since he wants to break the “union” of God with man. That is why, in order to restore this “union” again, in order to become a man again, Raskolnikov must again go through this “truly holy number”. Therefore, in the epilogue of the novel, the number 7 appears again, but not as a symbol of death, but as a saving number: “They still had seven years left; and until then there is so much unbearable torment and so much endless happiness!< . .>Seven years, only seven years! At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days.” Raskolnikov’s double, Svidrigailov, persistently mentions in the novel: “. . In all our seven years. .", "Haven't left the village for seven years" , ". . For seven years I started it myself every week. .", ". . He lived without a break for seven years. ."
also - seven children of the tailor Kapernaumov, a seven-year-old voice singing “farm”, Raskolnikov’s dream when he imagines himself as a seven-year-old boy, seven hundred and thirty steps from Raskolnikov’s house to the old woman’s house, seventy thousand of Svidrigailov’s debt.
4 - citing numerous examples of the “strikingly stable image” of four-story houses and the fourth floor in Crime and Punishment, super-philologist Toporov concludes: “This four-member vertical structure is semantically confined to the motives of narrowness, horror, violence, poverty and is thereby opposed to the four-membered horizontal structure (on all four sides), associated with the idea of space, goodwill, salvation. This second, sacred aspect of numbers, opposed to profane numbers, suitable only for “low life,” again takes us back to the archaic schemes of mythological thinking and, in particular, to the practice of ritual measurements of the basic parameters of the world. And in Dostoevsky, number is introduced into the world and determines not only its dimensions, but also its highest. To approach it, to penetrate into it, the fullness of life is necessary.”
3 - of course, too)). Its connection with evangelical motives is undeniable. So, for example, Marfa Petrovna ransomed Svidrigailov for thirty thousand pieces of silver, just as, according to the Gospel story, Judas once betrayed Christ for thirty pieces of silver. Sonya gave Marmeladov her last thirty kopecks for a hangover, and he, like Katerina Ivanovna before, to whom Sonya “silently paid thirty rubles,” could not help but feel like Judas at this shameful moment for him.
The last two numbers are so...universal. 4 is generally of fundamental importance (4 seasons, 4 directions, four-cell stages in embryonic development, 4 stages human life, 4 “worlds”, 4 elements.
The symbolism of numbers in Dostoevsky’s work, of course, goes back to folklore and biblical number symbolism.
In the revelations of John the Theologian there are 4 animals; 4 angels, 4 corners of the earth, 4 winds; 4 names of Satan; 4 objects created by God; 4 names of people, etc.
Folklore - evangelical number "three" (in folklore - 3 roads, 3 meetings, 3 sons, 3 obstacles; in the Gospel - 3 denials of Peter, Jesus at Lake Gennesaret turned to Peter with a question 3 times, etc.) also, naturally, very even for a reason. And which of them is the most “significant”?))
Anna
Enlightened
(21572)
well, why not)) there will be a duel))
Reply from Biakya[guru]
There are three numbers -3;7; and 30
Reply from User deleted[guru]
seven
Reply from 2 answers[guru]
Hello! Here is a selection of topics with answers to your question: What number plays a significant role in F. M. Dostoevsky’s novel “Crime and Punishment”?
In many works, numbers play a large role in creating the desired effect, carrying an encrypted message for the reader or, conversely, helping him to fully understand the meaning. Including symbolic numbers you can often find in the Bible. In his novel, Dostoevsky often draws a parallel with it or, using the same numbers, creates references to fragments of Holy Scripture.
Most often in the text you can find the numbers “4, 3, 7, 11, 30”, but the most common is 3
Mention in the novel
V magazine version the novel was divided into three parts
Three or four janitors served here.
when even the kids don’t see the crust for three days!
And Daria Frantsevna, a malicious woman and well known to the police many times, visited three times through the landlady.
there were three old chairs
From whom, I don’t know. I gave my three kopecks to the postman. Will you give it back, or what?
well, there... and there again the hospital... wine... taverns... and another hospital... two or three years later - a cripple,
Here you go! And the other day, at Gambrinus, I took three games in a row from you at billiards!
He had already gone down three stairs when suddenly a loud noise was heard below - where to go!
And they were completely drunk and then asked three drinks again
But excuse me, how did they come up with such a contradiction: they themselves claim that they knocked and that the door was locked, but three minutes later, when the janitor came, it turns out that the door was unlocked?
and take three rubles: since I took for the entire translation in advance, for the first and for the second sheet, then, therefore, three rubles will go directly to your share. And if you finish the sheet, you’ll get three more rubles.
The driver of one of the carriages lashed him firmly on the back with a whip because he almost got run over by the horses, despite the fact that the coachman shouted to him three or four times.
Hurry up and have some tea, Nastasya, because it seems like tea can be done without the faculty. But here's the beer! - He moved to his chair, pulled soup and beef towards him and began to eat with such appetite, as if he had not eaten for three days.
I've been waiting for you for three hours; I came in twice, you were asleep.
Here, firstly, are three shirts, canvas, but with a fashionable top...
Rodya had been sick for five days and had been delirious for three days, but now he woke up and even ate with appetite.
I spoke with a purpose, otherwise all this self-indulgence chatter, all these incessant, incessant commonplaces, and all the same and all the same, became so disgusting at the age of three that, by God, I blush when I others, not like me, talk to me
Raskolnikov took out as much as he could: three dimes.
He shouted, it’s true, he shouted at him three times,” another voice responded.
Exactly three times, everyone heard! - shouted the third.
Here, three houses away,” he fussed, “the house of Kozel, a German, rich...
In three years you will no longer get up for the sick...
well, in the three years of your separation a lot of water has gone
When?.. - Raskolnikov paused, remembering, - yes, three days before her death, I was with her, it seems. However, I’m not going to buy things now
Logic predicts three cases, and there are a million of them!
What are you doing? - Razumihin suddenly shouted, as if coming to his senses and realizing, “but the dyers were painting on the very day of the murder, and yet he was there three days ago?” What are you asking?
Marfa Petrovna deigns to visit,” he said, twisting his mouth into some strange smile.
How can you visit this?
Yes, I came three times. The first time I saw her was on the very day of the funeral, an hour after the cemetery.
In addition, he positively informed me that Marfa Petrovna, a week before her death, managed to leave you, Dunya, three thousand rubles in her will, and you can now receive this money in the very near future. Pulcheria Alexandrovna looked at her timidly; however, three thousand apparently calmed her down
Oh, Rodya, in the morning we only had three rubles left to our name,
It was Razumikhin who dreamed of publishing, having already worked for others for two years and had a good knowledge of three European languages.
It is special, separate, not connected to these rooms, and furnished, the price is moderate, three bedrooms.
“She has three paths,” he thought: “to throw herself into a ditch, end up in a madhouse, or... or, finally, to throw herself into debauchery, which stupefies the mind and petrifies the heart.”
“In three weeks, at the seventh mile, you’re welcome! It seems I’ll be there myself, if things don’t get worse,” he muttered to himself.
Sonya hesitantly stepped towards the table, listening incredulously to Raskolnikov’s strange desire. However, I took the book
There were about five hundred rubles left on the table, in credit tickets, and between them three tickets, worth a hundred rubles each.
and all the time I was in extreme embarrassment, so that even three times, in the middle of the conversation, they got up and for some reason hurried to leave, although our conversation was not yet over
All three Polish girls were terribly excited and shouted to him incessantly: “Pané Laidak!”
At that moment someone knocked on the door three times.
Now. Have you seen it since then? Where are you hanging around, please tell me, I’ve already visited you three times.
No, gloomy: I’m not doing any harm, but I’m sitting in the corner; sometimes they won’t talk for three days.
I have money; I'll get a ticket in three days
In this garden there was one thin, three-year-old Christmas tree and three bushes
(in the wallet there were three hundred and seventeen rubles in silver and three two-kopeck rubles;
Only three workers went there
The number three appears everywhere in the text, it would seem that it replaces all possible numbers.
“in three steps” appears very often in the text
Let's draw a parallel with the Gospel. Number 3 reflects the divine essence of phenomena: at the age of 30, Jesus began his ministry on earth; the payment for which Judas betrayed Jesus Christ was thirty pieces of silver. Trinity: God, Son of God and Holy Spirit. The resurrection of Jesus in three days. Three crosses on Calvary
In scripture it means:
1) Betrayal
2) warning of impending trouble, misfortune
3) hope and renewal
The same motifs are found in Crime and Punishment:
1) Svidrigailov betrayed Marfa Petrovna after she bought him out of debt for 30 thousand. Sonya laid out 30 kopecks in front of Katerina Ivanovna, the last thirty kopecks for Marmeladov, both probably felt like Judas at that moment.
2) Raskolnikov knocks on the old woman’s door 3 times and hits her with an ax 3 times. He suffered for three days before the murder, came to the old woman three times,
3) and on her neck she had two crosses + a copper icon = 3. Sonya has 3 windows in her room. Svidrigailov gives Sonya 3 thousand rubles in the form of charity; Sonya earns thirty rubles on her first day of work
Raskolnikov on Sennaya Square. Illustration by Dementy Shmarinov. From the collections of the Apartment Museum of F. M. Dostoevsky TASS photo chronicleThe novel begins with the following phrase:
“At the beginning of July, in an extremely hot time, in the evening...”
Dostoevsky began work on the novel in 1865. In September, he reported details of the plan to Mikhail Katkov, editor of the Russian Messenger, where it was planned to publish the text. Among other things, he mentioned that in the novel “the action is modern, in this year.” The residents of St. Petersburg remembered the year 1865 for its abnormal heat. According to city measuring stations, on July 9 the temperature reached a maximum of 24.8 degrees on the Reaumur scale (31 degrees Celsius); It has not rained in the city for more than a week.
In the first part of the novel, telling Raskolnikov about his life, Marmeladov reports that he brought home his salary six days ago. Officials traditionally received their pay on the first day of each month. Consequently, the conversation between the heroes takes place on July 7th. The murder occurs a day after this - July 9, that is, on the hottest day of that summer. It is not difficult to correlate further events of the novel with the real chronology:
— July 10, Raskolnikov comes to the police office when called. In the evening, he begins to delirium, in which the hero spends four days, which, upon awakening, the friends and relatives gathered in the apartment inform him about, that is, from July 11 to 14.
— July 15, Raskolnikov comes to Sonya and asks to read the Gospel to him about the resurrection of Lazarus.
- On July 16, Katerina Ivanovna dies, after which Raskolnikov loses track of time for two or three days: “... as if a fog suddenly fell in front of him and imprisoned him in a hopeless and difficult solitude.”
- On July 19, the hero comes out of this state: on this day the funeral of Katerina Ivanovna takes place (according to the laws in force at that time, it was possible to bury the deceased only three days after death). Then the hero’s last conversation with Porfiry Petrovich takes place.
- On the night of July 20, Svidrigailov shoots himself, and in the evening of the same day Raskolnikov comes to Sennaya Square, where he kisses the ground, and then goes to the police office and confesses to the murder.
For the first time on July 20, we see Raskolnikov at the house where his mother and sister were staying. The hero came to say goodbye:
“His suit was terrible: everything was dirty, it had been in the rain all night, torn, frayed. His face was almost disfigured from fatigue, bad weather, physical fatigue and an almost daily struggle with himself.”
Apparently, Raskolnikov got caught in the rain, and for good reason: July 20, according to the old style, is Ilyin’s Day. It is believed that on this day Elijah the prophet rides across the sky in a chariot, thunder rumbles, lightning flashes: this is how the saint defeats demons and those who have broken the law God's people. Rain on this day cleanses from evil.
It turns out that the exact dating of the events of Crime and Punishment helps to reveal deep meaning at least one detail - rain on the day when Raskolnikov surrendered to the police.
2. The secret of Sonya Marmeladova’s “first time”
Sonya Marmeladova. Illustration by Dementy Shmarinov. 1935-1936 De Agostini Picture Library/Getty Images
Talking about the life of his family, Marmeladov pays special attention to the evening when Sonya first appears at the panel:
“...Sonya got up, put on a scarf, put on a burnusik and left the apartment, and came back at nine o’clock. She came straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her.”
A ruble is one silver ruble, and 30 rubles by the standards of 1865 is a colossal amount. Raskolnikov’s mother received a pension upon the death of her husband of 120 rubles a year. For 9 rubles 50 kopecks, Razumikhin bought second-hand clothes: a cap, trousers, boots, shirts and underwear. And the employees of Malinnik, the most famous brothel in St. Petersburg at that time, received 30-50 kopecks per night. Could a young girl be paid that much for the first time?
Most likely not. Most likely, the fact is that Dostoevsky was interested in biblical symbolism here: 30 silver rubles are 30 pieces of silver for which Sonya sells and betrays herself. The number 30 appears several more times in the novel in “treacherous” contexts. The last 30 kopecks are taken from So-ne-chka “for a hangover” by Marmeladov. For “30 thousand pieces of silver,” his future wife Marfa Petrovna bought Svidri-Gailov from debt prison, and then more than once reproached him with this amount. Svidrigailov offers Duna Raskolnikova the same amount to run away with him.
3. The secret of the dandy with a cigarette
While wandering around St. Petersburg on the eve of the murder, Raskolnikov notices a drunken girl on the boulevard and a middle-aged man who is pursuing her. Raskolnikov believes that the “dandy” wants to take advantage of her, runs up to the policeman and calls on him to somehow intervene in the situation:
“Now he’s moved away a little, standing there as if he’s rolling a cigarette... How can we not give it to him? Think about how we can send her home!”
The policeman responded to Raskolnikov’s persuasion. Why? Did he feel sympathy for the girl, or was he embarrassed by something in the behavior of the dandy? Let us remember what was happening in St. Petersburg at the time described. Due to abnormal heat and increasing fires, the Senate issued a resolution banning smoking on the city streets. On July 3, a document was published, which, however, contained fairly general phrases. But the police began to take a closer look at every smoker, and city residents did not risk lighting up in public places.
In order for the Senate’s decision to come into real force and for punitive measures to be approved, the corresponding order had to be issued by the head of the capital’s police, the chief police chief. This happened on July 30th. The new document contained clarifications that smoking is prohibited near warehouses with flammable substances, around Winter Palace and near all the city churches, but in other places it’s possible. In the days described (July 7-20, 1865), the heroes do not yet know about these concessions, but they are already keeping an eye on potential violators.
4. The Mystery of the Ditch
Griboedov Canal. 1969 RIA Novosti After the murder of the old pawnbroker, Raskolnikov ponders how to get rid of the stolen things:
“Where should we go? It was decided long ago: “Throw everything into the ditch, and the ends into the water, and be done with it.”
Raskolnikov encounters the same ditch on the way to Alena Ivanovna’s house, and then on the way to the police station, where he goes to confess to the crime. It turns out that the ditch is one of the main locations of the novel, along with streets and squares. This word is mentioned more than 20 times in the novel - and always in an important context. The pawnbroker's house overlooks the ditch, which is also visible from Sonya Marmeladova's house. The crazy Katerina Ivanovna is running along the embankment of the ditch, and the bourgeois Afrosinyushka is drowning in it in front of Raskolnikov’s eyes.
What kind of ditch is this? Everyone who has ever been to sightseeing tour In St. Petersburg, they know that in the city there are several small canals, which are called ditch, but there was only one ditch in the city. This is what the St. Petersburg residents called the Ekaterininsky Canal (now the Griboyedov Canal). In the first decades of the 18th century, the low-water river Krivusha, or the Deaf River, flowed in its place. They decided to improve it and include it in the city canal system - work began on expansion and deepening. But even after the beautification procedures, the canal continued to be used for some time to drain wastewater, actually serving as a ditch. On the one hand, using in most cases this very name of the Catherine Canal, Dostoevsky conveys the attitude of local residents towards it. On the other hand, the word “ditch” is perfectly suited to describe the special atmosphere of the St. Petersburg slums.
5. The mystery of the geography of St. Petersburg
“Plan of the capital city of St. Petersburg, again taken in 1858 and engraved at the Military Topographical Depot in 1860. Corrected to 1865" (fragment). 1865 The plan shows the boundaries of police units, precincts and districts. etomesto.ru The day after the murder of the old pawnbroker, Raskolnikov goes to the police office, where he was summoned after a complaint from the landlady to whom he owes rent for the apartment. There he meets Lieutenant Ilya Petrovich Porokh and clerk Zametov. These police station employees will appear on the pages of the novel. Raskolnikov will see Zametov in the tavern: the clerk will also say “in our unit they killed an old woman.” At the end of the novel, the hero will meet Gunpowder again in the police office, when he comes to confess:
“Raskolnikov drew back the water with his hand and said quietly, hesitantly, but clearly: “It was I who then killed the old official woman and her sister Lizaveta with an ax and robbed them.” Ilya Petrovich opened his mouth. They came running from all sides. Raskolnikov repeated his testimony."
It seems that there is nothing strange in Raskolnikov’s meetings with servants of the law. However, in real life they couldn't happen, and here's why. As we remember, Raskolnikov lives and does not pay rent in the Kazan police station, but kills Alena Ivanovna in Spasskaya. This means he had to end up in different offices and communicate with different police officers In total, there were 12 police units in St. Petersburg, each of them was divided into several districts with their own police offices. They investigated various types of violations and crimes in the territory under their jurisdiction..
How do we know about this? At the beginning of the novel, Raskolnikov twice follows the route from his house to the place where the old money-lender lives. Dostoevsky describes his route in detail, mentioning that the hero crosses a ditch (as we found out above, the Catherine Canal), which separated two police units.
Why did Dostoevsky ignore the administrative division of the city? On the one hand, for artistic purposes: to concentrate tension, he needed to reduce the number characters. Raskolnikov had to feel driven into a corner: afraid of being called to the police office immediately after the crime, and then also having to fight off Zametov’s suspicions. On the other hand, it was important for Dostoevsky to place his heroes on opposite sides of the ditch and create a route along which Raskolnikov crossed the symbolic water border.
In addition, this arrangement of the geography of the novel has another meaning. In the mid-1860s, Dostoevsky himself lived not far from Raskolnikov’s supposed house in Stolyarny Lane in the Kazan part. At the beginning of 1865, he met the publisher Fyodor Stellovsky, with whom he later entered into an enslaving contract for the publication of collected works The writer had to provide him with a new, previously unpublished novel. This work was supposed to become the calling card of the new collection of works and attract buyers. Without a new novel, the contract would not be considered fulfilled, and Dostoevsky would lose the right to publish his works for nine years. This opportunity would have passed entirely to Stellovsky.. The publisher lived opposite the Yusupov Garden - not far from the supposed house of the old money-lender on Srednaya Podyacheskaya Street. Through these places Raskolnikov returns to his place after the murder. In the summer of 1865, the writer followed the same path from the publisher and could consciously write it into the novel under the influence of his own negative experience.
6. The secret of Alena Ivanovna and percent
Raskolnikov and Alena Ivanovna. Illustration for the novel RIA Novosti Pawnbroker Alena Ivanovna explains her financial policy to Raskolnikov:
“Here you go, father: if there’s a hryvnia per month per ruble, then for one and a half rubles you’ll owe fifteen kopecks, a month in advance, sir.”
Is it a lot or a little? Hryvnia, or hryvnia, was called 10 kopecks. That is, the old woman’s profit from each payment is 10%. If Dostoevsky had described not the summer of 1865, but a slightly earlier time, then the hero could have complained about the pawnbroker to the police. Usury was practiced in Tsarist Russia for many years. The authorities periodically issued official documents that regulated and limited the activities of those who lent at interest. In particular, the size of these percentages was an important issue. In the 1830s, a limit was introduced for private individuals - no more than 6% per month. For violations of these rules, verbal warnings were issued. A repeated complaint was followed by a fine or arrest. In 1864, a new piece of legislation was passed that allowed mortgagees to be charged up to 10% per month. This was required by the development of the economy, the growing needs of the population and the reduction of their incomes. Therefore, Alena Ivanovna is, in a sense, a sign of the times. The old woman becomes the spokesman for the new economic reality and thereby arouses indignation among her clients.
7. The mystery of delirium tremens and hypochondria
Almost the first thing we learn about the hero is his poor condition:
“...for some time he had been in an irritable and tense state, similar to hypochondria.”
Medicine in the 19th century, as now, understood hypochondria as excessive attention to one’s health and constant fears for one’s life. Even from this short quote it is clear that this classical definition is hardly applicable to Raskolnikov. And here is how Dostoevsky describes his own hypochondria in a letter to his friend Totleben: “... he was too irritable... with the ability to distort the most ordinary facts and give them a different look and size.” It turns out that Raskolnikov suffers not from medical hypochondria, but from “Dostoevsky” hypochondria.
This, however, is not the hero’s only mysterious illness. After the murder, Raskolnikov sees nightmares, and the master’s maid Nastasya suspects that “the blood is screaming” in him: “It’s when there is no way out for it and the liver starts to bake, then it starts to seem ...” In the 19th century, diseases with such mysterious symptoms were treated bloodletting - literally piercing the veins and draining the “excess” blood. However, what is important to Dostoevsky is not so much that the blood has begun to bake, but that it “screams.” This is a reference to the Bible, such as God's message to Cain: "The voice of your brother's blood cries to Me." A cry or cry about a crime, rising to the sky, is a fairly popular Old Testament image. It is used in relation to terrible atrocities, which will certainly be punished later.
According to several characters, Raskolnikov suffers from delirium tremens. This is what his mother says, referring to the master's maid Nastasya:
“She suddenly tells us that you are lying in delirium tremens and have just quietly run away from the doctor, delirious, into the street and that they have run to look for you.”
In the 19th century, the concept of “delirium tremens” was quite broad, including sudden and short-term insanity, not necessarily caused by drunkenness. This is reflected as in encyclopedic dictionaries of that time, and in Dahl’s dictionary. The reviewers of Crime and Punishment also understood the meaning of delirium tremens. Critics of the publications “Russian Invalid” and “Public Court” were offended that the writer portrayed a representative of the younger generation as if he had “all the signs of delirium tremens; everything just seems to him; he acts completely randomly, in delirium.” But they never reproached Dostoevsky for making Raskolnikov a drunkard.
Sources
- Belov S.V. Novel by F. M. Dostoevsky “Crime and Punishment”: Commentary. Book for teachers.
- Dostoevsky F. M. Collected works. T. 7.
- Tikhomirov B. N."Lazarus! Get out." F. M. Dostoevsky’s novel “Crime and Punishment” in a modern reading. Book-commentary.
Life and work of Dostoevsky. Analysis of works. Characteristics of heroes
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The number “three” in the novel “Crime and Punishment” (the meaning and role of the number)
Numbers play an important role in this work. The number three in the novel “Crime and Punishment” is used quite often by the author in one form or another.
This article presents an analysis of the meaning and role of the number “three” in the novel “Crime and Punishment”, examples from the text.
The number "three" in the novel "Crime and Punishment"
As you know, the number “three” has a certain psychological power. This number, for example, is sacred in Christianity. Many people give it a special meaning.
- Raskolnikov commits a crime on 3rd day narratives in the novel
- Raskolnikov rings the old woman's doorbell 3 times before committing a crime
- Raskolnikov hits an old woman 3 times
- Raskolnikov confesses to Sonya a crime on the 3rd day dating her
- Raskolnikov meets with an investigator 3 times before turning yourself in
- Katerina Ivanovna Marmeladova has three small children
- Raskolnikov did not see his mother and sister for about three years before their arrival in St. Petersburg
- Marfa Petrovna Svidrigailova bequeaths Duna 3 thousand rubles
- Svidrigailov gives Sonya 3 thousand rubles in the form of charity
- Sonya earns thirty rubles on the first day of his “indecent work” (rubles - a coin worth one ruble)
- In the Raskolnikov family there was third child(brother of Rodion and Dunya), who died in infancy
- Standing in Raskolnikov's closet three chair
- In Sonya's room three windows
- The ring that Raskolnikov pawns with the old woman is decorated with “ three some red stones"
In addition, in the novel there is often an expression such as “in three steps”, containing the number “three”:
- "three steps from the table"
- "three steps away"
- “three steps away and you can’t help but kill”
- “stands three steps in front of him”
This was an analysis of the meaning and role of the number “three” in the novel “Crime and Punishment”, examples from the text.
Educational project
F. M. Dostoevsky’s novel “Crime and Punishment.”
Show the role through numerical symbolism biblical motifs in the novel “Crime and Punishment.”
1. Explore the symbolic meaning of numbers 4, 7, 11, 30
2. Analyze Raskolnikov’s dream in the epilogue and correlate it with the Gospel, draw conclusions.
3. Consider what symbolic meaning the word “BRIDGE” carries.
Hypothesis: The poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov.
Number 30 - betrayal of Judas.
- At nine o'clock in the evening Sonya posted THIRTY rubles in front of Katerina Ivanovna and thereby sacrificed herself.
- Latest THIRTY Sonya Marmeladova spent a few kopecks on her hangover, and he couldn’t help but feel like Judas at that shameful moment.
- Marfa Petrovna ransomed Svidrigailov from the long plague for THIRTY thousand.
Conclusion: as we can see, it is not by chance that Dostoevsky uses this number in the novel. Number THIRTY associated with the parable in which Judas betrayed Christ for THIRTY silver coins.
Number 7 is the union of God and Man.
- Number 7 is also the most persistent and frequently repeated in the novel.
- The novel has 7 parts: 6 parts and an epilogue.
- Fatal time for Raskolnikov - 7 o'clock in the evening.
Number 7 literally pursues Raskolnikov. Theologians name the number 7 truly a holy number, since the number 7 is a combination of numbers 3 , symbolizing divine perfection (Holy Trinity) and numbers 4 – world order numbers. Therefore, the number 7 is a symbol of the “union” of God and man. Therefore, “sending” Raskolnikov to kill precisely in 7 o'clock in the evening, Dostoevsky dooms him to defeat in advance, since he wants to break this alliance.
Conclusion: that is why, in order to restore this union, in order to become human again, the hero must again go through this truly holy number. In the epilogue of the novel the number appears 7 , but not as a symbol of death, but as a saving number.
Number 4 is a parable about the Resurrection of Lazarus.
- The victim's apartment is located on fourth floor of the building;
- Raskolnikov hides things under the stone where he is building four-story house;
- Marmeladov's wretched room is located on fourth floor;
- The police office is located on fourth floor of the same building;
- Reading about Lazarus occurs through four days after the murder, that is, after four days after Raskolnikov’s moral death;
Conclusions: Number 4 is important. There are four seasons, four Gospels, four cardinal directions. Here, for example, are the words of Sonya: “Stand at the crossroads, bow to the whole world in all four directions.” The connection between Raskolnikov and Lazar is not interrupted throughout the entire novel. Raskolnikov's room is repeatedly likened to a coffin. He buried the loot under a stone. Christ’s words “take away the stone” mean: repent, confess your crime.
The number 11 is the number of highest justice.
- IN eleven at about o'clock Raskolnikov and Marmeladov came to see Katerina Ivanovna;
- “I'm late. Eleven Do you have any hours? - the time of Raskolnikov’s arrival to Sonya;
- After visiting Sonya “the next morning, exactly at eleven o'clock, Raskolnikov entered the investigative police department to see Porfiry Petrovich";
Conclusions: Having attributed Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to 11 o’clock, Dostoevsky reminds that it is not too late in this Gospel hour to confess and repent, to become the first from the last to come at the eleventh hour.
BRIDGE. Parable of Martha and Mary.
- On bridge, as if on the border of life and death, Raskolnikov either dies or comes to life
- By joining bridge after bad dream on Vasilyevsky Island, he suddenly feels that he is free from those who tormented him in lately charm
- Full of strength and energy after a game of cat and mouse with Zametov, he steps onto bridge, he is overcome by complete apathy...”
- He goes over bridge and then when he goes to confess to murder.
Bridge- this is a kind of Lethe (In mythology, the river of the dead).
Parable of Martha and Mary:
“As they continued their journey, He came to a certain village; here a woman named Martha received Him into her home; she had a sister named Mary, who sat at the feet of Jesus and listened to His word. Martha was concerned about a great treat and said: “Lord! Or do you not need that my sister left me alone to serve? Tell her to help me." Jesus answered and said to her: “Martha! Marfa! You fuss a lot, but you only need one thing. ".
Conclusion: The idea of the cleansing power of suffering is clearly formulated by Dostoevsky in the epilogue. Raskolnikov's dream echoes the parable.
Raskolnikov's Gospel dream.
When Jesus was sitting on the Mount of Olives, the disciples came to him and began to ask: “When will this be?” Jesus answered: “. For nation will rise against nation and kingdom against kingdom, and there will be famines, pestilences, and earthquakes. Many will betray each other and hate each other, and many false prophets will arise. ".
Conclusion: The writer points out a terrible danger for humanity, which will lead to the oblivion of moral standards.
Images-symbols are the key peak points around which the action of the novel “Crime and Punishment” is concentrated. Acquaintance with the Gospel text helped us to comprehend the entire philosophical and poetic system of the writer. The poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the “superman” from the criminal theory, and his introduction to the world of people.
Performers
10th grade students: Efimov Anton, Kartashova Yulia, Borisova Anastasia, Ivanov Maxim, Panasenko Kristina, Podkuiko Andrey.
1. Bakhtin M.M. Problems of Dostoevsky's poetics. M, 1979.
2.Belov S.V. Dostoevsky's novel "Crime and Punishment". Comments.
3. Kashina N.V. Man in the works of Dostoevsky.
4.Kirpotin V.E. Disappointment and downfall of Rodion Raskolnikov.
Biblical motifs and numerical symbolism in the novel “Crime and Punishment”
Sections: Literature
- through numerical symbolism, show the complexity and depth of Dostoevsky’s novel, the role of biblical motifs in the novel “Crime and Punishment”;
- formation of independent skills research work;
- instill an attentive attitude to the text, educate a competent, thinking reader.
Form of work: group, individual
Working methods: observation, research, “immersion” in the text.
The goal is to explore symbolic meaning number 7, find confirmation in the text of the entire novel and present the results.
The goal is to explore the symbolic meaning of the number 4, find support throughout the text throughout the novel, and present the results.
The goal is to explore the symbolic meaning of the number 11, find support throughout the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 30, find support throughout the text throughout the novel, and present the results.
The goal is to find in the text of the novel keywords, sentences, phrases confirming the phrase (see below).
Individual tasks
- Analyze Raskolnikov’s dream in the epilogue and correlate it with the Gospel, draw conclusions. At what point does true repentance occur?
- Consider what symbolic meaning the word “BRIDGE” carries.
1. The teacher's word. Communicate the purpose of the lesson.
Images-symbols are the key peak points around which the action of the novel “Crime and Punishment” is concentrated. Acquaintance with the Gospel text will help us comprehend the entire philosophical and poetic system of the writer. The poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the “superman” from the criminal theory and his introduction to the world of people.
Dostoevsky was influenced by the Gospel not only as a religious and ethical book, but also as work of art. In 1850, in Tobolsk, before being sent to hard labor, the wives of the Decembrists gave Dostoevsky a copy of the Gospel. This was the only book allowed in the prison. Dostoevsky recalls: “They blessed us in new way and baptized. For four years this book lay under my pillow in hard labor.” After hard labor, Dostoevsky convinces himself that Christ is the embodiment of purity and truth, the ideal of a martyr who took upon himself the salvation of mankind.
The symbolism of the novel is connected with the Gospel parables. Let's present the results of our research.
2. Student performances. Present your research on the text.
Results of the group's work
As we can see, it is not by chance that Dostoevsky uses this number in the novel. The number 30 is associated with the parable in which Judas betrayed Christ for 30 silver coins.
Results of the group's work
The number 7 is also the most consistent and frequently repeated in the novel. The novel has 7 parts: 6 parts and an epilogue. The fatal time for Raskolnikov is 7 pm. The number 7 literally haunts Raskolnikov. Theologians call the number 7 a truly holy number, since the number 7 is a combination of the number 3, symbolizing divine perfection (the Holy Trinity) and the number 4, the number of the world order. Therefore, the number 7 is a symbol of the “union” of God and man. Therefore, by “sending” Raskolnikov to murder precisely at 7 o’clock in the evening, Dostoevsky dooms him to defeat in advance, since he wants to break this alliance. 
That is why, in order to restore this union, in order to become human again, the hero must again go through this truly holy number. In the epilogue of the novel, the number 7 appears, but not as a symbol of death, but as a saving number.
Results of the group's work
The number 4 is often repeated in the novel. The staircase and the number 4 are connected, since the staircase leads to a certain repeated level of height - to the fourth.
In each case, this environment marks a critical moment in Raskolnikov's mental evolution: the murder, the search for the hiding place, the first meeting with Sonya, and the final confession.
Conclusions: The number 4 is fundamental. There are four seasons, four Gospels, four cardinal directions. Here, for example, are the words of Sonya: “Stand at the crossroads, bow to the whole world in all four directions.”
The reading about Lazarus takes place four days after Raskolnikov’s crime, i.e. four days after his moral death.
The connection between Raskolnikov and Lazar is not interrupted throughout the entire novel. Raskolnikov's room is likened to a coffin more than once. He buried the loot under a stone. Christ’s words “take away the stone” mean: repent, confess your crime.
The comparison with Lazarus is developed deeply and consistently in the novel.
Results of the group's work
If we write out from “Crime and Punishment” all the places where Raskolnikov is in one way or another likened dead, then in each quote there will be any one sign of the deceased, all together they will make up a complete description of him. The writer first described the dead man in one sentence, which he then smashed and scattered the fragments throughout the book. And if you collect the fragments, matching one to another, like children putting together a cut-up picture, you will discover the following:
A pale dead man lies in a coffin, they hammer the coffin with nails, carry him out, bury him, but he is resurrected.
Here's how the “fragments” of this imaginary phrase are laid out:
Dostoevsky constantly emphasizes Raskolnikov's pallor.
“all pale, like a scarf”
“he turned terribly pale”
“turned his deathly pale face towards her,” etc.
The adjective “dead” follows Raskolnikov like a shadow, and he himself is constantly likened to the dead.
“he stopped and became silent, as if dead,” etc.
Raskolnikov often rolls around and lies motionless
“He lay down on the sofa and turned to the wall in complete exhaustion.”
“He lay silently all the time, on his back,” etc.
Dostoevsky constantly emphasizes that Raskolnikov’s apartment looks like a coffin.
“What a bad apartment you have, Rodya, like a coffin,” said Pulcheria Alexandrovna.”
NAIL THE COVER
The writer explains this episode, which is not related to the events of the novel
“Some kind of sharp, continuous knocking came from the yard; it looked like they were hammering something somewhere, some kind of nail.”
The fact that they carry him out seems delirious to him
“It seemed to him that a lot of people were gathering around him and wanted to take him and take him somewhere.”
Raskolnikov is about to leave, his mother and sister reproach him for not spending enough time with them
“It’s as if you’re burying me or saying goodbye forever,” he said strangely.”
“But he was resurrected, and he knew it, he felt it with his whole renewed being.”
The resurrection is described briefly in the epilogue. But in the spaces between the phrases the entire novel fits.
Results of the group's work
The repeated reference to the number 11 in the novel is directly related to the Gospel text.
The number 11 is not accidental here. Dostoevsky remembered well the Gospel parable about the winegrower and the workers.
(students tell a parable).
Having attributed Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to 11 o’clock, Dostoevsky reminds that it is not too late in this Gospel hour to confess and repent, to become the first from the last to come at the eleventh hour.
Let's figure out why Raskolnikov crosses the bridge so often.
Student answer:
- On the bridge, as if on the border of life and death, Raskolnikov either dies or comes to life
- Having stepped onto the bridge after a terrible dream on Vasilievsky Island, he suddenly feels that he is free from the spell that tormented him recently
- Full of strength and energy after a game of cat and mouse with Zametov, he steps onto the bridge and is overcome by complete apathy...”
He also crosses the bridge when he goes to confess to the murder.
The bridge is a kind of Lethe (In mythology, the river of the dead).
Many times Raskolnikov crosses the Neva - like a kind of Lethe - and each time Dostoevsky notes his crossing with special care.
Let us turn to the gospel name Martha. Why did the writer call Svidrigailov’s wife that name? What role does this parable play in the novel?
Student answer: (Parable of Martha and Mary).
Student answer: (analysis of the episode “Raskolnikov’s Dream in the Epilogue”)
Conclusions: The idea of the cleansing power of suffering is clearly formulated by Dostoevsky in the epilogue. Raskolnikov's dream echoes the parable
Gospels about the end of the world.
Dostoevsky can rightfully be called an artist-prophet. He foresaw the tragic situation in which humanity found itself and modern world. The writer is afraid of everything: the power of money, the decline of morality, the abundance of crimes. Only today, when our state and the whole world are on the brink of an abyss, when it has become clear that violence in any form can lead to disaster, to the destruction of life on Earth, the prophetic meaning of Dostoevsky’s formula “Humble yourself, proud man!” is revealed to us.
The magic of the number 3 in F. M. Dostoevsky’s novel “Crime and Punishment”
The symbolism of the number 3 and its use in the novel “Crime and Punishment”
Preview:
Slide captions:
Completed by: Vladislav Yemets Yulia Zakirzyanova Elizaveta Sorokina Pupils of class 10 “A” Magic of the number “three” 2014
Introduction Numbers have played an important and multifaceted role in human life since ancient times. It is not surprising that they have always attracted close attention from the mind. Ancient people attributed special, supernatural properties to numbers; almost every religion has its own “sacred numbers”. Some numbers promised happiness and success, others could cause a blow of fate.
How many popular expressions can we remember that use the number three? About the fact that you can get lost in three pines, but with a song you can travel across three seas - probably everyone remembers. And about the fact that they have been waiting for three years for what was promised. And God, as you know, loves the trinity. It is not clear how one can cry like crazy, or bend over backwards, or lie like crazy, but nevertheless, these expressions have existed for many centuries, without losing popularity in folk speech. How much folklore sources tells the story of three wishes, three attempts, three trials, three brothers, sisters, fairies, heroes, dragons with three heads. No matter how they consider it: sacred, divine, magical, and happy.
Religion Three is a heavenly number symbolizing the soul. This is the number of luck. In Christianity: The Holy Trinity: God the Father, God the Son and the Holy Spirit. Three skies of heaven. Three wise men brought gifts to the born Jesus in Nazareth. Jesus Christ rose again on the morning of the third day. The Three-Handed Icon of the Mother of God. Three years of public ministry of Jesus Christ. Three crosses on Calvary. Triodion Trezvon is a type of bell ringing. Therefore, the number “3” is the sacred number of Christianity.
Crime and Punishment contains a lot of symbolism. Special meaning in this novel the writer gives to numbers. The numbers “three” and “thirty-three” are especially important in Christian culture. Therefore, it is with these numbers that F.M. Dostoevsky personifies the divine essence. What do we see in the novel? For three days Raskolnikov suffered before killing the pawnbroker; three times he came to the old woman, who had two crosses and a copper icon on her neck. Sonya donated her last thirty kopecks to Marmeladov to help him recover from his hangover, and at that moment he felt like Judas. Indeed, it was for this sum that Judas betrayed Christ, according to the Gospel story. A personal copy of the Gospel of F.M. Dostoevsky has survived to this day. The notes in it speak of the special role of the Gospel numbers in the writer’s worldview. As mentioned above, the number three reflects the divine essence of phenomena. Another meaning is a warning about impending trouble (Raskolnikov left a deposit with the pawnbroker three times). On the other hand, this is the hope that the symbol of the Trinity brings and, at the end, punishment, atonement for guilt.
Quotes “[Sonya] came and went straight to Katerina Ivanovna, and silently laid out thirty rubles on the table in front of her...” (part 1, chapter 2); “[Sonya] brought out thirty kopecks, with her own hands, the last, everything that was...” (part 1, chapter 2); “I said, I’ve been waiting for three hours. "(Razumikhin waits three hours for Raskolnikov to wake up) (part 2, chapter 3); “...then he called a third time” (Raskolnikov to the old woman) (part 1, chapter 6); “Yes, I came three times…” (Marfa Petrovna to Svidrigailov) (part 4, chapter 1); “...Marfa Petrovna, a week before her death, managed to leave you, Dunya, three thousand rubles in her will...” (part 4, chapter 2); “Here are three five percent tickets, for a total of three thousand.” (Svidrigailov hands it to Sonya) (part 6, chapter 6); Raskolnikov meets with Porfiry Petrovich three times; Raskolnikov thinks that Sonya has three roads when she stands three steps from the table; Marfa Petrovna bought Svidrigalov for thirty thousand.
Numbers in the novel “Crime and Punishment”
F.M. Dostoevsky is not just a classic of Russian literature. This is a genius who managed to understand the mysterious Russian character and reveal many problems of Russian society that are still relevant today. His novel “Crime and Punishment” opens a series of epoch-making novels that made the writer a truly world classic. It explores in detail human individualism, bordering on absolute egoism, which leads to the denial of all values of life. In addition to the exact psychological analysis individual person, the work gives detailed description the lives of the poorest strata of society, which makes this novel practically an encyclopedia of life in St. Petersburg at that time.
Each novel by F.M. Dostoevsky is a unique world that literally captivates the reader. In this world, every little thing is important and every detail is given special meaning. Crime and Punishment is no exception and contains a lot of symbolism. The writer gives particular importance to numbers in this novel. For a long time, people have tried to convey various information and describe individual moral concepts using numerical values. The numbers “three” and “thirty-three” are especially important in Christian culture. The symbol of God is the Holy Trinity, thirty-three years - the age of Jesus Christ, resurrection in three days. Therefore, it is with these numbers that F.M. Dostoevsky personifies the divine essence.
What do we see in the novel? For three days Raskolnikov suffered before killing the pawnbroker; three times he came to the old woman, who had two crosses and a copper icon on her neck. Lupa received three thousand rubles from Marfa Petrovna, Sonya donated her last thirty kopecks to Marmeladov for his hangover, and at that moment he felt like Judas. Indeed, it was for this sum that Judas betrayed Christ, according to the Gospel story.
A personal copy of the Gospel of F.M. Dostoevsky has survived to this day. The notes in it speak of the special role of the Gospel numbers in the writer’s worldview. As mentioned above, the number three reflects the divine essence of phenomena. Another meaning is a warning about impending trouble (Raskolnikov left a deposit with the pawnbroker three times). On the other hand, this is the hope that the symbol of the Trinity brings and, at the end, punishment, atonement for guilt.
Another gospel number - eleven - is also present several times in the novel. It was at eleven o'clock that Raskolnikov left the deceased Marmeladov. At the same time, he meets with Sonya and Porfiry Petrovich. To understand the meaning of this number in the novel, it is necessary to turn to the Gospel parable. The owner of the house went out to hire workers at the third hour, then at the sixth, at the ninth and at the eleventh. At the end, the owner paid all the workers equally, starting with the last one, who arrived at the eleventh hour. This is the highest divine justice. Therefore, the writer believes that Raskolnikov, as the last to arrive at the eleventh hour, is not too late to repent and become the first.
The number seven is repeated most often in Crime and Punishment, which makes it especially significant and symbolic. The novel consists of seven parts. The first and second parts have seven chapters each. All the fatal events in Raskolnikov's life take place at seven o'clock. Theologians divide the number seven into three - a symbol of the divine principle and four, which determines the world order. Therefore, the number seven represents the union of God and man. This topic is also in next novels will be one of the main concerns of the writer.
In conclusion, we can say that all the works of F. M. Dostoevsky are so deep in meaning that it is simply impossible to understand all the subtleties of each. Each novel is literally packed with global problems that are relevant at any time. And of course, main theme for the writer, there always remains the personality of the person himself, his soul, which, according to the sincere conviction of the classic, was always closer to God than it seemed at first glance. I think that the novel "Crime and Punishment" is a brilliant guide that allows us to get closer to the mystery human soul, understand yourself and the people around you.
Sections: Literature
- through numerical symbolism, show the complexity and depth of Dostoevsky’s novel, the role of biblical motifs in the novel “Crime and Punishment”;
- developing independent research skills;
- instill an attentive attitude to the text, educate a literate, thinking reader.
Form of work: group, individual
Working methods: observation, research, “immersion” in the text.
The goal is to explore the symbolic meaning of the number 7, find evidence throughout the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 4, find evidence throughout the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 11, find support throughout the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 30, find support throughout the text of the entire novel, and present the results.
The goal is to find in the text of the novel key words, sentences, phrases that confirm the phrase (see below).
Individual tasks
- Analyze Raskolnikov’s dream in the epilogue and correlate it with the Gospel, draw conclusions. At what point does true repentance occur?
- Consider what symbolic meaning the word “BRIDGE” carries.
Lesson progress
1. The teacher's word. Communicate the purpose of the lesson.
Images-symbols are the key peak points around which the action of the novel “Crime and Punishment” is concentrated. Acquaintance with the Gospel text will help us comprehend the entire philosophical and poetic system of the writer. The poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the “superman” from the criminal theory and his introduction to the world of people.
Dostoevsky was influenced by the Gospel not only as a religious and ethical book, but also as a work of art. In 1850, in Tobolsk, before being sent to hard labor, the wives of the Decembrists gave Dostoevsky a copy of the Gospel. This was the only book allowed in the prison. Dostoevsky recalls: “They blessed us on a new path and baptized us. For four years this book lay under my pillow in hard labor.” After hard labor, Dostoevsky convinces himself that Christ is the embodiment of purity and truth, the ideal of a martyr who took upon himself the salvation of mankind.
The symbolism of the novel is connected with the Gospel parables. Let's present the results of our research.
2. Student performances. Present your research on the text.
Results of the group's work
As we can see, it is not by chance that Dostoevsky uses this number in the novel. The number 30 is associated with the parable in which Judas betrayed Christ for 30 silver coins.
Results of the group's work
The number 7 is also the most consistent and frequently repeated in the novel. The novel has 7 parts: 6 parts and an epilogue. The fatal time for Raskolnikov is 7 pm. The number 7 literally haunts Raskolnikov. Theologians call the number 7 a truly holy number, since the number 7 is a combination of the number 3, symbolizing divine perfection (the Holy Trinity) and the number 4, the number of the world order. Therefore, the number 7 is a symbol of the “union” of God and man. Therefore, by “sending” Raskolnikov to murder precisely at 7 o’clock in the evening, Dostoevsky dooms him to defeat in advance, since he wants to break this alliance. 
That is why, in order to restore this union, in order to become human again, the hero must again go through this truly holy number. In the epilogue of the novel, the number 7 appears, but not as a symbol of death, but as a saving number.
Results of the group's work
The number 4 is often repeated in the novel. The staircase and the number 4 are connected, since the staircase leads to a certain repeated level of height - to the fourth.
In each case, this environment marks a critical moment in Raskolnikov's mental evolution: the murder, the search for the hiding place, the first meeting with Sonya, and the final confession.
Conclusions: The number 4 is fundamental. There are four seasons, four Gospels, four cardinal directions. Here, for example, are the words of Sonya: “Stand at the crossroads, bow to the whole world in all four directions.”
The reading about Lazarus takes place four days after Raskolnikov’s crime, i.e. four days after his moral death.
The connection between Raskolnikov and Lazar is not interrupted throughout the entire novel. Raskolnikov's room is likened to a coffin more than once. He buried the loot under a stone. Christ’s words “take away the stone” mean: repent, confess your crime.
The comparison with Lazarus is developed deeply and consistently in the novel.
Results of the group's work
If we write out from “Crime and Punishment” all the places where Raskolnikov is in one way or another likened dead, then in each quote there will be any one sign of the deceased, all together they will make up a complete description of him. The writer first described the dead man in one sentence, which he then smashed and scattered the fragments throughout the book. And if you collect the fragments, matching one to another, like children putting together a cut-up picture, you will discover the following:
A pale dead man lies in a coffin, they hammer the coffin with nails, carry him out, bury him, but he is resurrected.
Here's how the “fragments” of this imaginary phrase are laid out:
Dostoevsky constantly emphasizes Raskolnikov's pallor.
“all pale, like a scarf”
“he turned terribly pale”
“turned his deathly pale face towards her,” etc.
The adjective “dead” follows Raskolnikov like a shadow, and he himself is constantly likened to the dead.
“he stopped and became silent, as if dead,” etc.
Raskolnikov often rolls around and lies motionless
“He lay down on the sofa and turned to the wall in complete exhaustion.”
“He lay silently all the time, on his back,” etc.
Dostoevsky constantly emphasizes that Raskolnikov’s apartment looks like a coffin.
“What a bad apartment you have, Rodya, like a coffin,” said Pulcheria Alexandrovna.”
NAIL THE COVER
The writer explains this episode, which is not related to the events of the novel
“Some kind of sharp, continuous knocking came from the yard; it looked like they were hammering something somewhere, some kind of nail.”
The fact that they carry him out seems delirious to him
“It seemed to him that a lot of people were gathering around him and wanted to take him and take him somewhere.”
Raskolnikov is about to leave, his mother and sister reproach him for not spending enough time with them
“It’s as if you are burying me or saying goodbye forever,” he said strangely.”
RESURRECTS
“But he was resurrected, and he knew it, he felt it with his whole renewed being.”
The resurrection is described briefly in the epilogue. But in the spaces between the phrases the entire novel fits.
Results of the group's work
The repeated reference to the number 11 in the novel is directly related to the Gospel text.
The number 11 is not accidental here. Dostoevsky remembered well the Gospel parable about the winegrower and the workers.
(students tell a parable).
Having attributed Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to 11 o’clock, Dostoevsky reminds that it is not too late in this Gospel hour to confess and repent, to become the first from the last to come at the eleventh hour.
Individual tasks
Let's figure out why Raskolnikov crosses the bridge so often.
Student answer:
- On the bridge, as if on the border of life and death, Raskolnikov either dies or comes to life
- Having stepped onto the bridge after a terrible dream on Vasilievsky Island, he suddenly feels that he is free from the spell that tormented him recently
- Full of strength and energy after a game of cat and mouse with Zametov, he steps onto the bridge and is overcome by complete apathy...”
He also crosses the bridge when he goes to confess to the murder.
The bridge is a kind of Lethe (In mythology, the river of the dead).
Many times Raskolnikov crosses the Neva - like a kind of Lethe - and each time Dostoevsky notes his crossing with special care.
Let us turn to the gospel name Martha. Why did the writer call Svidrigailov’s wife that name? What role does this parable play in the novel?
Student answer: (Parable of Martha and Mary).
Student answer: (analysis of the episode “Raskolnikov’s Dream in the Epilogue”)
Conclusions: The idea of the cleansing power of suffering is clearly formulated by Dostoevsky in the epilogue. Raskolnikov's dream echoes the parable
Gospels about the end of the world.
Lesson conclusions
Teacher's word.
Dostoevsky can rightfully be called an artist-prophet. He foresaw the tragic situation in which humanity and the modern world found themselves. The writer is afraid of everything: the power of money, the decline of morality, the abundance of crimes. Only today, when our state and the whole world are on the brink of an abyss, when it has become clear that violence in any form can lead to disaster, to the destruction of life on Earth, the prophetic meaning of Dostoevsky’s formula “Humble yourself, proud man!” is revealed to us.
