It is symbolic that many streets have dead ends; Often there are blind corners and walls. They personify the heroes’ life situations when “there is nowhere else to go.” The choice of the city area is also important - Sennaya Square, the outskirts, the center of trade in hay, firewood and livestock. There is a persistent rotten smell here, numerous people create incessant noise. The sound of a barrel organ can also be heard here. Numerous beggars and drunks add to the color of the square. Stolyarny Lane is also mentioned more than once, where most of the houses are drinking establishments. Screams, screams and swearing are constantly heard here. Raskolnikov's wanderings take place primarily in this area, where the house of the old money-lender is located, as well as the home of Raskolnikov himself.
Wandering the streets, the hero constantly encounters pictures of life in St. Petersburg at that time. Here is a drunk in a horse-drawn cart, a drunk soldier with a cigarette, a group of poorly dressed women... Raskolnikov also observes a suicide scene: a woman with a yellow face throws herself into a ditch and the dirty water swallows her. On another bridge, Raskolnikov receives a blow from a whip from laughing people. The hero hears a quarrel among the "clerks" in the city garden, another time he sees a crowd of noisy women with hoarse voices and black eyes near a drinking establishment. He is also stunned by the scene when the “fat dandy” pursues a drunken girl. And here is the image of an organ grinder, whose music accompanies the singing of a girl in “old and worn-out” clothes. All this creates complete image a city in which people can’t breathe, have nowhere to go. They are tormented by the stuffiness, the stench of the staircases and St. Petersburg slums, and oppressed by the closeness of the courtyards and wells.
Another feature of St. Petersburg is the atmosphere of irritation and anger that engulfs many, and sometimes even laughter that kills a person. Despite the cramped conditions, people here are limited from each other, alienated. The color that predominates in the description of the city is yellow (symbolizes morbidity in Dostoevsky). St. Petersburg is an octopus city that captures victims with its tentacles, a monster in whose mouth crushed and insulted people live. As a result, the image of St. Petersburg becomes not only equal to other images of the novel, but also central (since it is he who explains the actions of Raskolnikov, Svidrigailov, Luzhin, Sonya, the pawnbroker and other characters).
Moving on to the artistic construction of the text and artistic means, it should be noted that the episode is built on the contrast of images, almost every scene has a contrast to it: the blow is contrasted with the alms of the old merchant's wife and her daughter, Raskolnikov's reaction (“he angrily gnashed and clicked his teeth”) is contrasted with the reaction of others (“laughter was heard all around "), and the verbal detail “of course” indicates the usual attitude of the St. Petersburg public towards the “humiliated and insulted” - violence and mockery reign over the weak. The pitiful state in which the hero found himself could not be better emphasized by the phrase “a real penny collector on the street.” Artistic means are aimed at enhancing Raskolnikov’s sense of loneliness and displaying the duality of St. Petersburg.6.
Petersburg by Dostoevsky. street life scenes
Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at a “drinking and entertainment” establishment) Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at a “drinking and entertainment” establishment) Raskolnikov rushes through the quarters of St. Petersburg and sees scenes, one uglier than the other. IN lately Raskolnikov “was drawn to wandering around” in hot places, “when he felt sick, ‘so that he would feel even sicker’.” Approaching one of the drinking and entertainment establishments, Raskolnikov’s gaze falls on the poor people wandering around, on the drunken “ragamuffins” quarreling with each other, on the “dead drunk” (evaluative epithet, hyperbole) beggar lying across the street.
The whole disgusting picture is completed by a crowd of shabby, beaten women in only dresses and bare hair.
Scenes of street life in Dostoevsky’s novel “Crime and
The city on the Neva, along with all its majestic and ominous history, has always been the focus of attention of Russian writers. Peter's creation According to the plan of its founder Peter the Great, Petersburg, called “from the swamp of the swamps,” was to become a stronghold of sovereign glory. Contrary to the ancient Russian tradition of building cities on hills, it was actually built in a swampy lowland at the cost of the lives of many nameless builders, exhausted by dampness, cold, swamp miasma and hard labor.
The expression that the city “stands on the bones” of its builders can be taken literally. At the same time, the meaning and mission of the second capital, its magnificent architecture and daring mysterious spirit made St. Petersburg truly a “wonderful city” that made its contemporaries and descendants admire it.
Petersburg in the novel “Crime and Punishment”
Just a terrible bitch…” the student tells the officer. At that time in St. Petersburg there were a lot of people like Raskolnikov, and their fate was similar to his fate to some extent. Many students were on the verge of poverty and from time to time were forced to turn to an angry and capricious old woman-pawnbroker.
The same Razumikhin left the university due to the fact that he had nothing to pay for his studies. And how many more such students wandered aimlessly along the dirty streets of St. Petersburg, indulging in gloomy thoughts. Rodion Raskolnikov is trying to find a way out of this situation.
In this world of the humiliated and insulted, Raskolnikov’s half-crazy idea is born. Petersburg in Dostoevsky’s novel is not only a city of helpless, hungry poor people, but also a city of business people earning whatever they can: the swindler Koch buys overdue items from an old pawnbroker, the owner of the tavern Dushkin is a pawnbroker and hides stolen goods...
Street scenes in the novel Crime and Punishment
Not a trace of the previous energy... Complete apathy has taken its place,” the author notes metaphorically, as if pointing to the reader the change inside the hero that occurred after what he saw.9. Part 5, Chapter 5 (the 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 the knockers were not visible.” In the scene of street life, when Katerina Ivanovna gathered a small group of people on a ditch, mostly boys and girls, the meager interests of this mass are visible; they are attracted by nothing more than a strange spectacle.
The crowd itself is not something positive, it is terrible and unpredictable. The topic of the value of any human life and personality, one of the most important themes of the novel.
The role of street scenes in the novel Crime and Punishment
He felt “that he no longer had freedom of mind or will, and that everything had suddenly been decided completely.” This ends the first part of the scenes of street life before the crime. Willingly or unwittingly, Raskolnikov becomes a victim of society, which inexorably pushed him to commit a crime.
The second part of my work is devoted to those episodes that occurred after the crime. On the Nikolaevsky Bridge, after visiting Razumikhin, Rodion falls under the coachman's whip, the people do not sympathize, but laugh at him, only the elderly merchant's wife and her daughter took pity on him and gave him two kopecks. At that moment he saw a beautiful panorama of ceremonial Petersburg: “the palace, the dome of Isaac.”
A chill blew over him from this magnificent panorama, “for him this picture was full of a dumb and deaf spirit.” He threw two kopecks into the Neva, “it seemed to him that he seemed to cut himself off from everyone and everything with scissors at that moment.”
Scenes of street life in the novel Crime and Punishment
Attention
A crowd of onlookers immediately gathers, interested in what is happening, but soon a policeman saves the drowned woman, and people disperse. Dostoevsky uses the metaphor “spectators” in relation to the people gathered on the bridge. The townspeople are poor people whose lives are very hard. A drunken woman who tried to commit suicide is, in a sense, a collective image of the bourgeoisie and an allegorical image of all the sorrows and suffering that they experience in the times described by Dostoevsky. “Raskolnikov looked at everything with a strange feeling of indifference and indifference.” “No, it’s disgusting... water... it’s not worth it,” he muttered to himself, as if trying on the role of suicide. Then Raskolnikov is still going to do something intentional: go to the office and confess.
Scenes of street life in the novel crime and punishment quotes
Research work on the topic: What role do scenes of street life play in Dostoevsky’s novel “Crime and Punishment” The subject of the study of my work is scenes of street life in Dostoevsky’s novel “Crime and Punishment”. I would like to immediately note that there are a lot of episodes describing the street life of St. Petersburg. It is characteristic that we mainly see the part of St. Petersburg where the poor live, this is the Sennaya Square area.
Important
It is in this part of St. Petersburg that Raskolnikov, a poor student at the Faculty of Law of St. Petersburg University, lives. A special feature of this part of St. Petersburg is the “abundance of famous establishments,” namely drinking bars and taverns, and as a result there are many drunk people. Raskolnikov himself rarely visited such establishments. But, returning from the old money-lender, he “without thinking for a long time” goes to the tavern, where he meets Marmeladov.
Scenes of street life in the novel Crime and Punishment by chapter
This meeting was significant for the hero in many respects. First of all, because Marmeladov’s fate aroused compassion in Raskolnikov’s soul. Having escorted the drunken Marmeladov home, Raskolnikov “inconspicuously put on the window” the money that he himself needed.
Then he will also unknowingly continue to help Marmeladov’s family, as well as others in need of help, giving his last. In the next street scene, Raskolnikov helps a drunken girl, trying to protect her from a depraved master; he also does this unconsciously. One of the most significant, symbolic episodes in the novel is Raskolnikov’s first dream.
A terrible dream he had on the eve of his planned murder. In this dream, Mikolka brutally kills his horse in front of little Rodion and a large crowd. Raskolnikov tries to protect the horse, he rebels and throws his fists at Mikolka.
Description of scenes of street life in the novel Crime and Punishment
Petersburg by Dostoevsky. Scenes of street life The work was completed by: Alena Menshchikova, Zakhar Melnikov, Alexandra Khrenova, Valery Pechenkin, Daria Shvetsova, Alexander Valov, Vadim Metsler, Alexander Elpanov and Artem Tomin.2. Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses) Raskolnikov walks down the street and falls into “deep thought,” but he is distracted from his thoughts by a drunk who was being carried along the street in a cart at that time, and who shouted to him: “Hey you, German hatter.” Raskolnikov was not ashamed, but scared, because... he wouldn't want to attract anyone's attention at all. In this scene, Dostoevsky introduces us to his hero: he describes his portrait, his rags, shows his character and makes hints about Raskolnikov’s plan. He feels disgusted with everything around him and those around him, he feels uncomfortable: “and he went, no longer noticing the surroundings and not wanting to notice them "
The thunderstorm sounds like the antithesis of the heat and stuffiness of St. Petersburg, and outlines an inevitable turn in the worldview of the protagonist, who cleverly destroyed factual evidence, but failed to hide the mental catastrophe caused by the murder. The change in weather that Dostoevsky’s Petersburg experiences in the novel works brilliantly for this idea. “Crime and Punishment” is a work that amazes with the depth and accuracy of its use of psychological detail. It is no coincidence that Raskolnikov brings the butt of an ax down on the pawnbroker’s head, thereby directing the tip towards himself.
He seems to be splitting himself apart, experiencing collapse and spiritual death. Street scenes In the 1st chapter of the first part, a remarkable scene takes place on a cramped street in the St. Petersburg slums: the pensive Raskolnikov is suddenly noted with a heart-rending cry by some drunk in a huge cart drawn by a draft horse. Petersburg F. M.
Methodological development
Integrated lesson on literature, history, and fine arts in grade 10 based on the novel
F.M. Dostoevsky "Crime and Punishment".
Lesson-excursion
Prepared and conducted:
Svishcheva Irina Rafailievna, teacher of Russian language and literature of the 1st qualification category at the Shemordan Lyceum of the Sabinsky Municipal District of the Republic of Tatarstan.
Topic: “Petersburg by F.M. Dostoevsky” (based on the novel “Crime and Punishment”)
Epigraph:“Dostoevsky’s Petersburg is “a city in which it is impossible to be.”
Lesson objectives:
1) to help students not only see Dostoevsky’s Petersburg, the chaotic diversity, overcrowding, suffocating crampedness of human existence, but also to feel sympathy for suffering people; to give an idea of the insolubility of those contradictions and dead ends into which the heroes of the novel find themselves, to lead to the understanding that this “unsolvability” depends not on the will of people, but on the state of society, which is so structured that the life of each of the heroes is possible only on humiliating conditions, on constant transactions with conscience;
2) development of skills in analyzing a work of art, development of oral speech; ability to think logically;
3) education of aesthetic taste through literature and other forms of art.
Equipment: portrait of F.M. Dostoevsky, records, illustrations by I.S. Glazunov to the writer’s works, postcards with views of St. Petersburg, multimedia projector.
Preliminary work:
Landscapes: Part 1 d.1. (“disgusting and sad coloring” of a city day); Part 2.d. 1 (repetition of the previous picture); Part 2.d.2. (“magnificent panorama of St. Petersburg”); Part 2.d.6. (evening Petersburg); part 4.d.5. (view from the window of Raskolnikov’s room); part 4.d.6. (stormy evening and morning on the eve of Svidrigailov’s suicide).
Street life scenes: part 1.g.1. (drunk in a cart pulled by huge draft horses); Part 2.d.2. (scene on the Nikolaevsky Bridge, blow of a whip and alms); Part 2.d.6. (an organ grinder and a crowd of women at a tavern; scene on... the bridge); part 5.g.5. (death of Katerina Ivanovna).
Interiors: h1.g.Z. (Raskolnikov’s closet); part 1.d.2. (tavern where Raskolnikov listens to Marmeladov’s confession); part 1.g.2.and part..2 d.7 (room - “passage corner” of the Marmeladovs); part 4.g.Z (the tavern where Svidrigailov confesses); Part 4.g.4 (room - Sonya’s “barn”).
2) prepare a story about the history of the founding of the city of St. Petersburg, about the artist I.S. Glazunov;
3) find illustrations with views of St. Petersburg.
Scheme on the topic of the lesson(written on the board and in notebooks):
Petersburg by Dostoevsky
Landscapes
Street life scenes
Interiors
Lesson progress
I. Teacher's opening speech:
The backdrop against which the action of the novel “Crime and Punishment” unfolds is St. Petersburg in the mid-60s. The novel opens with a description of Rodion Raskolnikov's closet (reading the description of the main character’s room, analysis).
The landscape in the novel carries a great artistic load. The landscape is never aimed at a simple description of the situation; it not only creates a mood, enhances and shades the social and psychological characteristics of the characters, but also expresses what is internally connected with the depicted human world. The landscape is firmly connected with the image of Raskolnikov, passed through the prism of his perception. A person is suffocating in Dostoevsky’s Petersburg, everything bears the sadness of general disorder, the meagerness of human existence. The terrible life of people awakens in readers sympathy, indignation, and the idea that a person should not live like this. The heroes of the novel are powerless to resolve the contradictions and dead ends in which their lives put them. Behind the destinies of people is the image of the underworld. - Dostoevsky’s landscape descriptions are very brief. This feature is the secret of the strong impact it has on the reader’s feelings.
II. Student’s message about the history of St. Petersburg with views of St. Petersburg projected onto the screen:
The city, founded by Peter in 1703, was founded at the mouth of the Neva in a place convenient for military and commercial purposes. Petersburg was created according to a single plan. Already in the first years, its compositional center was the Peter and Paul Fortress and the Admiralty.
Their golden spiers shine over the city, largely determining the originality of its artistic appearance. The beauty of St. Petersburg is truly legendary. Its magnificent monuments, its royal squares and embankments, its white nights, its fogs have forever fascinated Russian art. The works of F.M. Dostoevsky are shrouded in the gloomy charms of St. Petersburg; poems by Blok, Bryusov, Akhmatov were dedicated to St. Petersburg, artists endlessly painted it. A.S. Pushkin composed the anthem to the great city in “ Bronze Horseman”, lyrically described its magnificent architectural ensembles, the twilight of the white nights in “Eugene Onegin”:
The city is lush, the city is poor,
Spirit of bondage, slender appearance,
The vault of heaven is green and pale,
Fairy tale, cold and granite...
Belinsky admitted in his letters how much he hated Peter, where it was so difficult and painful to live. Gogol's Petersburg is a werewolf with a double face: a poor and wretched life is hidden behind its ceremonial beauty.
And now it still attracts painters and graphic artists. The architecture of St. Petersburg is truly unique. Russian classicism and Russian baroque. One can say without hesitation that classicism did not bear more beautiful fruits than in Russia anywhere, even in its homeland - in France.
I see the city of Peter, wonderful, majestic,
According to Peter's mania, erected from blat,
The hereditary monument of his mighty glory,
His descendants are decorated a hundred times!
Everywhere I see traces of a great power,
And every trace is illuminated with Russian glory!
(P. Vyazemsky)
Teacher:
Many buildings in St. Petersburg were built in the Baroque and classical styles. They built a lot, but often, in pursuit of profit, customers demanded from architects only cheap work. This is how dull buildings of factories and factories arose, closely standing apartment buildings with courtyards - wells, with dark rooms for servants, with gloomy, black staircases. The heroes of F.M. Dostoevsky lived in similar houses, which consisted entirely of small apartments.
This is how we get acquainted with another Petersburg - Dostoevsky's Petersburg. Reading by a student of N.M. Konshin’s poem “Complaints about St. Petersburg”:
It's stuffy in the smoky city,
Closed to hearing and sight,
We killed it in a boring way
This is the best time of life.
There is dust or clouds in the sky,
Either heat or thunder;
Tightly compressed into heaps,
Houses rushed upward;
There is laughter there, but not joy,
Everything glitters, but is soulless...
Listen, pale youth,
It's stuffy in the smoky city!
Teacher:
St. Petersburg is gradually becoming a city of contrasts. Splendor and greyness, wealth and poverty, soullessness and lack of spirituality, despair and hopelessness are penetrating deeper and deeper into human life.
Now pay attention to the illustrations for the novel “Crime and Punishment” by the artist, for whom Dostoevsky was one of his favorite writers (working with illustrations).
Student report “The favorite writer of the artist I.S. Glazunov is F.M. Dostoevsky.”
III. The image of the city in the novel “Crime and Punishment.”
Let's be transported to the pages of the novel, we'll walk along the streets of St. Petersburg, look into the staircases and apartments, listen to the sounds of the city where Dostoevsky's heroes live.
Students' work with text. Episode analysis:
1.Streets of St. Petersburg.
2. Rooms of Raskolnikov and Sonya Marmeladova.
3. Stairs, flights, houses.
4. Sounds of the city.
5. The fate of a person (suicide).
(From a tiny cell along Sadovaya, Gorokhovaya and other streets, Raskolnikov goes to the old woman pawnbroker, meets Marmeladov, Katerina Ivanovna, Sonya... Scenes of street life lead us to the conclusion: people have become dumb from such a life, they look at each other “hostilely and with distrust." There can be no other relationship between them except indifference, animal curiosity, malicious mockery.
The interiors of the “St. Petersburg corners” do not resemble human habitation: Raskolnikov’s “closet”, the Marmeladovs’ “passage corner”, Sonya’s “barn”, a separate hotel room where Svidrigailov spends his last night - all these are dark, damp “coffins”.
All together: landscape paintings Petersburg, the scenes of its street life, the interiors of the “corners” - create the general impression of a city that is hostile to man, crowds him, crushes him, creates an atmosphere of hopelessness, pushes him to scandals and crimes.)
IV. Conclusion (statements from students). Teacher:
Thus, these episodes of the novel and the illustrations to them reveal the capitalist way of life; a world of untruth, injustice, misfortune, human torment, a world of hatred and enmity, the disintegration of moral principles, shocking with its terrible truth pictures of poverty and suffering of the urban lower classes in the 60s of the 1st century. The episodes of the novel are imbued with pain about a person doomed to unbearable hardships and suffering, forced to live “on the cusp of space,” in closets that look “like a coffin.” Petersburg of basements and attics is a city of “humiliated and insulted.” There is nothing to “breathe” in this city.
The conflict between man and society was revealed to us. We visited Dostoevsky's St. Petersburg. Crime and punishment» What works are written by F.M. Dostoevsky? a) “Idiot” b) “The Brothers Karamazov” c) “Player” d) “Cliff” e) “ Crime And punishment... the genre of the novel " Crime And punishment"? a) social and everyday...
F. M. Dostoevsky “Crime and Punishment” (1)
DocumentIn it? Work The meaning of the dream by F.M. Dostoevsky « Crime And punishment"A dream about the downtrodden nag Raskolnikov in... Raskolnikova is initially thin, kind soul. F.M. Dostoevsky « Crime And punishment"Raskolnikov's dream in the epilogue Reflection of constant...
F. M. Dostoevsky “Crime and Punishment” (2)
DocumentInterior; " Noble nest"; “Notes of a Hunter” 3.F.M. Dostoevsky « Crime And punishment» Know in detail the following scenes: three... rooms; What color predominates in the descriptions Dostoevsky? What is Luzhin’s theory about the “whole...
“Russian literature of the 19th century. Novel by F. M. Dostoevsky “Crime and Punishment”
LiteratureOn the topic “F.M. Dostoevsky « Crime And punishment" EOR No. 11. Comparative characteristics heroes of the novel by F.M. Dostoevsky « Crime And punishment" Raskolnikov and Marmeladov...
The main character, Rodion Romanovich Raskolnikov, lives in a small closet, the owner of which he tries not to meet. So, one evening, he goes to the old pawnbroker, Alena Ivanovna. Raskolnikov pawns his watch to her. At the same time, she takes note of where she keeps her keys and jewelry, and 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 used to be, talks about his family, that he has a sick wife and three other people’s children, and 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 her owner pestered 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 treat Duna with respect. 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 home, falls asleep in the bushes.
There he has a strange dream. He, a little boy, walks past a tavern with his father, and next to him stands an old horse harnessed to a cart. A drunk horse owner 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 “he has the right.” And then on the way he meets Lizaveta, Alena’s sister, coming to visit. Thus he finds out that the old woman is alone at home. Here Raskolnikov also remembers a conversation he heard once in a tavern. Two people said that if you kill the old woman, then with this money you can do many good deeds that can make amends. And then he finally decides that he will commit this murder. Raskolnikov comes home, sews a noose to his coat, takes an ax from the janitor and hangs the ax on the noose. Now he is heading towards Alena with the clear intention of killing. Now she is already climbing the steps, entering the apartment and killing 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 too suffers the same fate as her sister. Having finished all his business, Rodion disappears unnoticed. The next day he thinks about how he can hide the evidence. The owner of the apartment contacts the police because Rodion does not pay the rent. On the street, Raskolnikov hears a conversation that the old woman was killed. He faints from what he hears. After this, Rodion lies delirious for a long time. A simple village guy is arrested in connection with the murder. Luzhin comes to Rodion and says that Raskolnikov’s mother and sister will come to St. Petersburg. During the conversation, Rodion and Peter argue. Leaving the apartment, Raskolnikov sees how the girl wants to jump from the bridge. He also contemplates suicide. He then sees the man being run over by a carriage. This man was Marmeladov. Raskolnikov helps take 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 finally 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 everything.
The investigation into the case is slightly suspended. The investigator guesses that Raskolnikov is guilty, but he has no evidence. Later, Rodion is arrested and sentenced to eight years of hard labor. Sonya goes after him, and Dunyasha marries Razumikhin.
Dostoevsky’s novel “Crime and Punishment” is a complex, multifaceted work. Behind the street polyphony one can hear 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”. This primarily affected the folk songs presented in the novel. These are songs performed or ordered by drunks on the streets or in taverns. “Ugly,” “husky,” “raunchy” singing accompanied by balalaikas and tambourines accompanies the senselessly cruel drunken youth in Raskolnikov’s dream:
- In her face, in her eyes, in her eyes! - Mikolka shouts.
- A song, brothers! - someone shouts from the cart, and everyone in the cart joins in. A riotous song is heard, a tambourine clangs, and whistles are heard in the choruses. The woman cracks nuts and chuckles.
Similar songs accompany Raskolnikov in his waking life as he rushes through the streets and taverns. He hears various tavern verses performed with snapping fingers, jumping and beating time with heels. Before meeting with Marmeladov, he sees a drunkard dozing off, remembering some couplets in his sleep. Even after the murder, Raskolnikov is drawn to this noise, roar, drunken fun, to the crowd:
For some reason, he was occupied by the singing and all this knocking and din down there... From there he could hear how, amidst the laughter and squeals, to the thin fistula of a daring melody and to the guitar, someone was desperately dancing, beating time with their heels. He listened intently, gloomily and thoughtfully, bending down at the entrance, and peered curiously into the entryway from the sidewalk.
You are my beautiful butushnik,
Don't hit me in vain! – the singer’s thin voice boomed. Raskolnikov really wanted 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’s song), performed with a guitar or organ organ. Similar songs are heard on the streets, singers are invited to taverns. For example, in the story about the adventures of Svidrigailov:
He spent the entire evening until ten o'clock in various 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 the songwriters, and the footmen, and some two clerks.
Apparently, these songs are close to the genre of bourgeois (cruel) romance, which became widespread among the urban lower classes in the second half of the nineteenth century.
Looking at similar examples in the novel, one can notice that the author is primarily interested not in the songs themselves, but in the actual everyday environment associated with them, appearance performers, manners, accompaniment, reaction of listeners, etc. Dostoevsky even reproduces the phonetic features of some songs in street performance (“whole”, “butoshnik”, “beautiful”).
The author's comments also contain emotionally evaluative characteristics. The manner of performing the sensitive romance is characterized as follows: “In a street, rattling, but rather pleasant and strong voice, she sang the romance while waiting for the two-kopeck coin from the shop.” About Katya, entertaining Svidrigailov, it is said: “She sang her rhymed lackeyism, also with some kind of serious and respectful tint in her face.”
In such a program, the world of poor St. Petersburg becomes visible and audible. But this is not the only role played by folk songs and romances in the novel. One can also correlate the content of the song excerpts with the ideological artistic meaning of individual moments of the novel (the words “don’t hit in vain” with the scenes of the beating of the housewife by the quarterly guard, which Raskolnikov imagined, the blows that he inflicts on his victims during the murder and in a dream, when the old woman laughs at him in vain efforts; words from Katya’s song - “a scoundrel and a tyrant” - with the self-exposing confession of Svidrigailov - a cynic and a molester).
It is significant that of all the heroes of the novel, Dostoevsky makes only Raskolnikov and Svidrigailov listeners to such singing. The opportunity to plunge into the atmosphere of the streets, taverns, and crowds makes it possible for a person with a guilty conscience to forget for a while: “It seemed easier and even more secluded here. In one tavern, before the evening, they sang songs: he sat for a whole hour, listening, and remembered that he even felt very pleased.”
The songs we reviewed, included in the novel, are a sign of the streets of the poor areas of the city, characteristic feature the life of the urban lower classes, the 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.
