Parable of the Resurrection of Lazarus- a very significant story in our time, as it testifies to the Great Glory of God. And after reading this story, please answer the question: “How can I reflect the qualities of Christ in my actions?” Let's take our thoughts back to the times when Jesus Christ lived and preached. Jesus had a friend whom he loved very much, his name was Lazarus. One day Lazarus fell ill and his sisters, Mary and Martha, sent a messenger to him with this news. But Jesus was far from Bethany, the city where this family lived. Lazarus' sisters hoped that after receiving such news, Jesus would heal their brother from a distance, because he had done this before.

When the sad news reaches Jesus, he does not rush to help Lazarus. Why? Will he really abandon his best friend in trouble?

But if he falls asleep, he will recover, the disciples tell him. Then Jesus told them that Lazarus was dead.

Before this, Jesus brought people back to life, but they were dead for several hours. And the body righteous Lazarus It had already been in the crypt for several days. When the disciples and Jesus approached Bethany, Martha ran to meet him and said: “Lord, if you were here, my brother would not have died,” and in response she heard the words: “Your brother will rise again.” The people were very sad about the death of Lazarus and cried, Jesus grieved internally, and there were tears in his eyes. Then the Jews said: Look how HE loved him.

Jesus, along with everyone else, comes to the memorial crypt. This is a cave whose entrance is closed with a stone. Jesus orders the stone to be removed. Martha does not understand what Jesus is going to do and objects: “Lord! It already stinks, because he has been in the grave for four days.” But he answers: “If you believe, you will see the glory of God.”

The people took the stone away from the cave, and Jesus begins to pray: “Father! Thank You that You heard Me; I knew that You would always hear Me; But I said this for the sake of the people standing here, so that they might believe that You sent Me.” Having said this, HE cried out with a loud voice: “Lazarus, come out!” And the dead man came out, entwined on his hands and feet with burial shrouds, and his face was tied with a scarf. Risen Lazarus continued his life thanks to the Power of God given to Jesus.

So why did Jesus not rush to Lazarus, even though he received sad news? Here lies the great meaning of God's glory. Four days have passed since the death of Lazarus and it is not easy for a person to believe that he can come to life. Jesus chose the right time to show the Glory and Power of God to the people that the dead also come to life again. Nothing is impossible for God! Many people then believed in Christ and became his disciples.

This Bible story tells us that we too can choose the right time to help a friend in need and show our love and devotion. And maybe you will bring back to life someone dear to you who is in a difficult situation. And what if you just talk and understand the person. Just extend your hand, as the Lord loves and always rushes to our aid, just believe and everything will work out for you! You can read this story at

The parable of the resurrection of Lazarus in the structure of the novel “Crime and Punishment”

Dostoevsky crime punishment novel Raskolnikov

The symbolist Innokenty Annensky saw in Lazarus, the legend of which Sonya Marmeladova read to Raskolnikov at his request, a symbol of liberation from the yoke of the idea of ​​mastering life, where the symbolist poet compares life with Mephistophilis, like whom she captivates Raskolnikov, not allowing him to come to his senses. To explain his presentation, I. Annensky cites an episode from the novel “Crime and Punishment”, describing Raskolnikov’s meeting with a drunk girl on the boulevard and gives him the comment: “... - Hey you, Svidrigailov! What do you want here? - he shouted, clenching his fists and laughing with his lips foaming with anger.

This is where the scene breaks because It was with this word “Svidrigailov” that Raskolnikov realized his dreamy possession of life. Found was a permissive symbol for that dream-riddle that tormented Raskolnikov for many days in a row. Possession of life has received an emblem a fat and effeminate dandy on the counter next to a plump and already drunk child.

Let Raskolnikov excite himself with anger and eloquence, but the real fact already melts away after this word. Life carries Raskolnikov further, like Mephistopheles, not allowing him to come to his senses.

Raskolnikov needs a yoke, he dreams of a new, not yet experienced abscess on his heart: now he is sure that he will take life and that this life will give him a new word; or maybe he is already imagining Lazarus” [Annensky, 1979, p. 34]. Comparing life with Mephistophil associatively “introduces” the image of the devil into consciousness, therefore the words “...maybe he is already imagining Lazarus” are perceived as Raskolnikov’s premonition, from the point of view of I. Annensky, of his renewal, liberation from the yoke of the idea of ​​mastering life, which is resurrection in the religious sense of the word - resurrection as the acquisition of a “new man” in oneself.

L. Shestov in his work “Dostoevsky and Nietzsche (philosophy of tragedy)” writes that “when Raskolnikov, after the murder, is convinced that he is forever cut off from returning to his former life, when he sees that his own mother, who loves him more than anything in the world, has ceased to be for him a mother (who, before Dostoevsky, could have thought that such horrors were possible?), that the sister, who agreed to enslave herself to Luzhin forever for the sake of his future, is no longer a sister for him, he instinctively runs to Sonya Marmeladova” [Shestov, 2000, With. 245]. The philosopher believes that Raskolnikov did not come to her to repent [Shestov, 2000, p. 245] that the hero could not repent until the very end in the depths of his soul (“Oh, how happy he would be if he could accuse himself (i.e., of murder). Then he would have endured everything, even shame and disgrace. But he judged himself strictly, and his hardened conscience did not find any particularly terrible guilt in his past, except perhaps miss(Dostoevsky emphasized), which could happen to anyone... He did not repent of his crime" [Vol. 5, p. 345]), "he found himself crushed for unknown reasons. His task, all his aspirations now boil down to this: to justify your misfortune, to return my life - and nothing, neither the happiness of the whole world, nor the triumph of any idea you want, can in his eyes give the meaning of his own tragedy" [Shestov, 2000, p. 247]. With this desire, L. Shestov explains why, as soon as Raskolnikov notices the Gospel from Sonya, he asks her to read to him about the resurrection of Lazarus: “Neither the Sermon on the Mount, nor the parable of the Pharisee and the publican, in a word, nothing that was translated from the Gospel into modern ethics, according to Tolstoy’s formula “goodness, brotherly love is God,” does not interest him. He interrogated all this, tested it and became convinced, like Dostoevsky himself, that taken separately, torn out from the general content of Holy Scripture, it no longer becomes truth, but a lie. Although he still does not dare to admit the thought that the truth is not in science, but where the mysterious and mysterious words are written: he who endures to the end will be saved, but he still tries to turn his gaze towards those hopes that Sonya lives by” [Shestov, 2000 , With. 248]. According to the philosopher, Raskolnikov can only from the Gospel, from that Gospel in which, along with other teachings, the legend of the resurrection of Lazarus was preserved, where, moreover, the resurrection of Lazarus, which signifies the great power of working miracles, gives meaning to the rest, so inaccessible and mysterious words for the poor, Euclidean, human mind, wait for the opportunity to be heard in his grief, only it will allow him to tell the whole inner terrible truth about himself, “the truth with which he was born into the light of God” [Shestov, 2000, p. 248]. L. Shestov believes that just as Raskolnikov seeks his hopes only in the resurrection of Lazarus, so Dostoevsky himself saw in the Gospel not a preaching of this or that morality, but the guarantee of a new life: “Without a higher idea, neither a person nor a nation can exist , - he writes. - And the highest idea on earth. only one(emphasized by Dostoevsky), and it is precisely the idea of ​​​​the immortality of the human soul, for all the other “higher” ideas of life by which a person can live, only one of them flows from"[Shestov, 2000, p. 251]. Thus, the philosopher emphasizes the ideological necessity of the episode about the resurrection of Lazarus in the structure of the novel by F. M. Dostoevsky, who is convinced that the human soul is immortal and cannot be abandoned by God. The legend of the resurrection of Lazarus is , according to L. Shestov, is the ideological core of the novel.

Modern researcher K. Kedrov in the article “Restoring a Lost Man (the Mystery of Dostoevsky)” writes that “literary studies and criticism of Dostoevsky’s time were not ready for an objective approach to religious symbolism. Clerical or anti-clerical pathos ignored any artistry,” therefore, “gospel episodes” in the novels of F. M. Dostoevsky were passed over in silence [Kedrov, userline]. And yet, according to the scientist, “in Dostoevsky’s Gospel one should look first of all for what worried the writer himself. And he did not hide his highest goal when he claimed that he was looking for a formula in Christianity for the “restoration of lost man.” “This,” said Dostoevsky, “is the main idea of ​​all art of the nineteenth century” [Kedrov, userline].

K. Kedrov, speaking about the role of the legend of the resurrection of Lazarus in the structure of the novel “Crime and Punishment,” connects the meaning of the legend with medieval mystery traditions, but, first of all, considers it necessary to “clearly understand the diametrically opposed semantics of the concepts of “immortality” and “resurrection.” The immortal does not die, the resurrected must necessarily die” [Kedrov, userline]. This statement can be argued by referring to the Gospel, but in this case we are interested in the position of K. Kedrov. "Mystery" is "knowing the secret." The scientist sees a pattern in the fact that the mystery traditions turned out to be close to F. M. Dostoevsky, since the writer, “who spent his whole life solving the riddle about man, pondering intensely over biblical stories, was, however, looking for their real life basis, reaching to the origins of legends, to those original layers of culture where man first declared himself as a being different from the nature that gave birth to him. In the resurrection, man for the first time disagreed with the universe that created him as a mortal. If throughout its history, despite the evidence of death, humanity has created resurrection, it means that it contains the great secret of the human soul and nature - this was the train of thought of Dostoevsky himself” [Kedrov, userline].

The mysteries actually depicted how the dead becomes alive, which is connected with the philosophical question: is this not the very process of the origin of life? In many transformations of the myth of resurrection in world culture, in the mythologies of all peoples, the indestructible plot of the primordial action of “imaginary death” is clearly visible. Its essence lies in the fact that someone who was considered dead, rotting and decaying, suddenly gains life.

In a large number of legendary stories, decay and stench come to the fore as irrefutable evidence of death. Lazarus not only died, the smell of decay already emanates from his body, which is emphasized in every possible way both in the parable itself and in its iconographic depiction, where the apostles hold their noses at the moment when the stone is rolled away from the “door of the tomb.”

According to K. Kedrov, decay, which enhances the reality and obviousness of death, should be a contrasting prelude to resurrection [Kedrov, userline].

In the novel “Crime and Punishment,” Sonya reads Raskolnikov the parable of the resurrection of Lazarus, and here Dostoevsky emphasizes this obligatory moment and, to strengthen it, resorts to verbal commentary and even to the graphic highlighting of the word “four,” indicating the time of decay: “it already stinks.” "For four days he has been in the tomb." She energetically struck the word four" [Vol. 5, p. 211].

The parable of Lazarus is a hidden secret connecting Raskolnikov and Sonya: “Where is it about Lazarus?” he asked suddenly. “Where is it about the resurrection of Lazarus? Find it for me, Sonya” [T. 5, p. 211]. After all, he thinks of himself as the lost and unresurrected Lazarus; his spiritual death (“I killed myself, not the old woman”) occurred at the moment of murder. Since then, Raskolnikov has been in his closet, which, according to Dostoevsky, looks like a coffin, and when Rodion Romanovich’s mother speaks about this, he exclaims that she does not suspect what a great truth she has just spoken [T. 5, p. 251]. Reading the parable of the resurrection of Lazarus should become a harbinger of the resurrection of Raskolnikov. Lazarus, already engulfed in decay, rose again despite the evidence; contrary to the evidence and all-crushing logic, Rodion Raskolnikov must also be resurrected. At least that's how it seems to Sonya. “And he, he, too, blinded and unbelieving, he too will believe, yes, yes! Now, now,” she dreamed, and she trembled with joyful anticipation" [Vol. 5, p. 211]. K. Kedrov, commenting on this episode, writes: “The resurrected one, as if freed from physicality, puts on the “robes of incorruption.” The “Old Adam” dies so that the new one will not be reborn. He remains Lazarus. Unlike Christ, he does not resurrect himself, he must be resurrected by Sonya. He himself does not regret the crime and does not repent in the depths of his soul. He simply follows the path indicated by Sonya to resurrection. Perhaps this is the fundamental difference between the action and the imaginary one. death from the action of resurrection. Someone always revives the supposedly dead; strictly speaking, this is not resurrection, but rather resurrection comes from the depths of the hero’s soul - revival occurs under the influence of external forces.

The distance from the plot of imaginary death to the plot of resurrection is enormous. The specific weight of the parable of the resurrection of Lazarus is incommensurate with the weight and significance of the story of the resurrection of Christ” [Kedrov, userline]. From the point of view of a scientist, it is significant that in the mystery of imaginary death two views of the dying person always collide - the one penetrating through the outer shell of events affirms: he is alive; another testifies: he is dead. The statement that Lazarus is not dead, but is sleeping, does not sound in the inner world of the hero, but in the external environment next to a chorus of other voices claiming the opposite. We know nothing about the experiences of Lazarus himself either at the moment of death or at the moment of resurrection, but we can recall the concentration of all psychological states of this kind in one dialogue about death. “Lazarus, our friend, has fallen asleep, but I am going to wake him up” - and the words of the disciples: “If he has fallen asleep, he will recover.” And the epically calm convergence of two gazes in the mythological space of the Gospel: “Jesus spoke about his death; but they thought that he was talking about an ordinary dream.” External and internal views are clearly correlated here. The external manifestation of the internal state, when the deceased comes out of the coffin, “wrapped up on his arms and legs with funeral shrouds; and his face was tied with a scarf,” - Sonya Marmeladova read this passage “loudly and enthusiastically, trembling and growing cold, as if she had seen it with her own eyes” [ T. 5, p. 211]. K. Kedrov believes that Dostoevsky’s ancient folklore performance about a harlot saving a sinful world always ends in a classic reversal: the harlot turns out to be the greatest righteous woman, an immaculate bride saving the groom. The culmination of the sensual attraction of the bride and groom in a mystery marriage is the vow of chastity [Kedrov, userline] and recalls that in the archaic origins of the Easter mystery, a sacred harlot was sacrificed to crucifixion in the pre-biblical era for the sake of the resurrection of the groom. “For her, the gold of the iconostasis shone and all the candles on the chandelier and in the candlesticks were burning, for her there were these joyful chants: “The Passover of the Lord, rejoice, people.” And everything that was good in the world was all for her” [Kedrov, userline]. In Crime and Punishment, it is the harlot Sonya who reads Raskolnikov’s parable about the resurrection of Lazarus, just as in the Gospel Mary the sinner stands at the crucifixion of Christ, placed between two thieves. K. Kedrov writes that in the canonized gospels, selected from more than thirty apocryphal texts, the messianic role of the harlot Mary is not entirely clear and, perhaps, too commonplace and obscured. Having followed Christ, it is she who pours a vessel of pure spikenard ointment on him and wipes his feet with her hair. This action, incomprehensible to the uninitiated, causes murmurs among the disciples: wouldn’t it be better to sell this ointment for three hundred denarii and give the money to the poor? The answer is clear only to those who are privy to the secret of the “funeral-wedding” ritual. Thus, the groom explains, she prepared him for death and burial. The supposedly dead man is mourned by his bride, and she resurrects him with a kiss and living water [Kedrov, userline]. Thus, according to K. Kedrov, the episode of reading the legend of the resurrection of Lazarus is important from the point of view of understanding that Raskolnikov is dead, that his salvation is in resurrection, but K. Kedrov speaks about the special meaning of resurrection - about resurrection as the acquisition of new qualities, qualities of a “new man”, and sees the most important role of Sonya in this “creation” of a new man, thus bringing her image closer to the biblical image of Magdalene.

F.M. calls the novel a novelized mystery. Dostoevsky, another modern researcher Valentin Nedzvetsky, speaking about mystery in its original form of a religious sacrament, which gave a person direct comprehension of the living God, mystery as a ritual full of drama, accessible only to the initiated and the chosen. From the point of view of a researcher, Rodion Raskolnikov recognizes himself as the chosen one to resolve the age-old pan-human “thought.” The scientist calls the first need of Dostoevsky himself and his central characters their self-determination not in humanity (socio-historical, social), but in God, a religious definition, “since it was, according to the writer’s conviction, the key to success and everything else. The very nature of this need, generated by the holistic spiritual and moral essence of man, did not allow it to be realized in an abstract and speculative manner, that is, by means of reason alone. The only thing that was quite adequate for her was act, deed, which directly represents a challenge to God, direct opposition to him and thereby an inevitable direct meeting - a dispute between a person and him. In other words, an act that was mysterious, mystery-producing, was required. It is this genre that dominates...the main formative tendency of Dostoevsky’s novels as it appears at least in his famous “Pentateuch” from “ Crimes and Punishments" to " Brothers Karamazov"[Nedzvetsky, 2004, p. 45]. The researcher considers the gospel legend of the resurrection of Lazarus in its deepest moral and ethical development by the writer to be the formative basis of the novel, since, from his point of view, the early Christian motif of burial and coffin produces the internal form of the novel “ Crime and Punishment": " Rodion Raskolnikov doomed himself to spiritual and moral death when, having doubted the morality (and therefore the divinity) of human nature itself, he allowed himself to transgress the divine covenant (“principle”) “Thou shalt not kill.” Having fallen away from God and people as a result of this crime, having objectively embarked on the path of the Antichrist (Devil), Raskolnikov at the same time subjectively imagines himself as the true Messiah-Savior of at least the rude-proud (“power-having”) part of humanity, in which he anticipates the position and the tragedy of Ivan Karamazov. Unlike the last hero " Crimes and Punishments" At the same time, Dostoevsky is not deprived of the possibility of liberation from the devil’s obsession and thereby leaving the spiritual grave” [Nedzvetsky, 2004, p. 43].

In one of his interviews, Mikhail Dunaev, a teacher at the Moscow Theological Academy, said that the passage from the Gospel about the resurrection of Lazarus, placed by F. M. Dostoevsky in the novel Crime and Punishment, carries the main ideological load: “... for the sake of this passage the novel was written! ...Sonya reads to Raskolnikov about the last miracle of Christ, which he performed before his arrest and Holy Week. Great miracle! Lazarus died four days ago, his body had already begun to decompose. And yet Christ resurrects Lazarus, saying: for man it is impossible - for God everything is possible! Raskolnikov is, after all, the deceased Lazarus. He didn’t kill the old woman, he killed himself. He is spiritually dead. If this passage from the Gospel is not noticed, how can we explain what is capable of resurrecting Raskolnikov?<...>Dostoevsky understood perfectly well that the resurrection of a person, a people, is a long process. Neither a person nor a society will be resurrected on their own. It is the occult preachers who say that man can do anything. The saints claim that God can save us. But only if we ourselves want our own salvation... In order for Raskolnikov to be resurrected, he must turn his hopes to God. This is what Sonya Marmeladova instills in him” [Dunaev, 2002, IMAGE].

“The possibility of interpreting the motif of death and resurrection simultaneously within the framework of the liturgical cycle of liturgical texts and in Russian literature of modern times represents an apocryphal monument,” says M.V. Rozhdestvenskaya [Rozhdestvenskaya, 2001, p. 69] and gives interesting information that the “Word on the Resurrection of Lazarus” is the original Old Russian apocrypha of the late 12th - early 13th centuries. It has survived in two editions, the lists of one of them, the Brief, are usually placed in collections surrounded by patristic “words” on the 6th Saturday of Great Lent, when the miracle of the resurrection of Lazarus is celebrated (John 11, 12). The other, lengthy edition of the “Word on the Resurrection of Lazarus” is not limited to the story of how, after the crying and prayer of Adam, who, together with Lazarus, the prophets and forefathers, was tormented in hell, Christ raised Lazarus. In this edition, Lazarus conveys to Christ Adam’s plea to free the captives, Christ descends into hell, destroys hellish constipations, and brings Adam and Eve and everyone else out of there. The lists of the lengthy edition of the “Word on the Resurrection of Lazarus” are usually surrounded in manuscripts by also apocryphal works - these are the translated Greek “words” of Eusebius of Alexandria “The Tale of the Descent of John the Baptist into Hell” and Epiphanius of Cyprus “on the Burial of the Lord”, “The Word of Isaiah the Prophet about the Last days” and some others. Thus, both editions of “The Homilies on the Resurrection of Lazarus” differ not only in content, but also ideologically: the lists of the Brief Edition are devoted to the theme of resurrection and are included in the context of the homilies for Lazarus Saturday by Clement of Ohrid, John Chrysostom, Titus of Bostria, and Andrew of Crete. The lengthy edition is introduced into the literary context of the theme of the descent into hell. In the homilies of early Christian writers the idea is repeated that Christ, through the resurrection of Lazarus, gave an image of his future resurrection. Lazarus also appeared as the second Forerunner, as Eusebius of Alexandria called him in “The Tale of the Descent of John the Baptist into Hell.” The Gospel story about Lazarus the Four Days, as one of the most important plots of Christian history, became in ancient Slavic and ancient Russian literature the semantic core around which the interpretation of the world motif about the descent into hell and resurrection unfolded. It is significant that the miracle of Lazarus in Russian literature of the modern era is described in the context of this motif. For F.M. Dostoevsky, from the point of view of M.V. Rozhdestvenskaya, as a writer deeply attentive to the abysses of the human soul, the themes of hell and resurrection were closely connected with the image of the Gospel Lazarus. The researcher believes that the significance in the composition, structure, ideological and philosophical basis of the novel “Crime and Punishment” of the legend of the resurrection of Lazarus is not just significant, but formative: “... a lot has already been written about Raskolnikov’s narrow closet, reminiscent of a coffin, in which his suffering sinful woman rushes about soul, about Sonya Marmeladova’s reading to him at the fateful moment of the Gospel text about the four-day Lazarus and about the fact that Raskolnikov’s entire fate is decided in those same terrible three days, on the fourth day. Through the Gospel, Raskolnikov is resurrected in hard labor for a new and better life. The brother of Mary and Martha, the evangelical Lazarus became, according to legend, the bishop of the city of Kitae in Cyprus. Projecting Raskolnikov’s tossing onto the illness and temporary death of Lazar, F.M. Dostoevsky reads the Gospel in St. Petersburg. The space of Holy Scripture is superimposed on the topography of St. Petersburg, and the city is included in the Jerusalem context" [Rozhdestvenskaya, 2001, p. 71]. M.V. Rozhdestvenskaya, summing up her conclusions, writes: “Based on the Gospel story about Lazarus, Christian F.M. Dostoevsky wrote a novel about the resurrection" [Rozhdestvenskaya, 2001, p. 71].

Dr. Jürgen Spies, in the article “Dostoevsky and the New Testament,” discusses the role of the story of the resurrection of Lazarus in the novel “Crime and Punishment.” The researcher emphasizes the significance of the fact that Dostoevsky refers to this story from the Gospel of John three times in the novel “Crime and Punishment”: “First of all, in the first conversation of investigator Porfiry with Raskolnikov. Raskolnikov speaks of the new Jerusalem as the goal of the entire history of mankind. Completely amazed, Porfiry asks him: “So you still believe in the New Jerusalem? “I believe,” Raskolnikov answered firmly; saying this and continuing his entire long tirade, he looked at the ground, choosing a point on the carpet for himself. - Do you believe in God? Sorry for being so curious. “I believe,” Raskolnikov repeated, raising his eyes to Porfiry. - Do you believe in the resurrection of Lazarus? - I believe. Why do you need all this? - Do you literally believe? - Literally” [T. 5, p. 191].

The scientist notes that faith in the new Jerusalem, that is, faith in heaven on Earth, was shared by many people in the 19th and even in the 20th century. An indefinite faith in God, in other words, faith in some higher power, is characteristic not only of the 19th, but also of the 20th century. But faith in the resurrection of Lazarus already means faith in a specific historical event, which is evidence of the power of Christ.

After this conversation, Raskolnikov visits Sonya and sees on her dresser a book of the New Testament, which was translated into Russian in 1821, the same year Dostoevsky was born. “The book was old, second-hand, bound in leather” [T. 5, p. 211]. Raskolnikov turns to Sonya with a request to read him the story of the resurrection of Lazarus; Apparently, Jürgen Spies believes, he needs this in order to remember what he “literally” believes in [Spies, 2004]. The scientist, analyzing the episode, draws attention to the fact that after reading, silence sets in for five minutes and reflects: “Anyone who has at least once tried, while in a room with several people, to remain silent for at least one minute, knows how depressingly long this minute can last” [Shpis, 2004]. According to Yu. Shpis, Raskolnikov is shocked because he understands that the story he read is close to his situation - he is dead and close to decay. Life is what he wants, resurrection is what he needs. That is why he is so amazed by Jesus’ phrase: “I am the resurrection and the life” (John 11:25) [Shpis, 2004].

The researcher draws attention to the fact that in the epilogue the story of Lazarus comes up for the third time and, reflecting on the question: how can one explain Dostoevsky’s emphasized attention to this story, he cites the opinion of Ludolf Müller, who suggests that this is due to the influence of the book of David on Dostoevsky Friedrich Strauss's "The Life of Christ - in Critical Treatment", in which the story of the resurrection of Lazarus is ranked among the most incredible miracles described in the New Testament. While still a student, Dostoevsky read this book, which had a significant influence on his contemporaries. Apparently, this is why he returns to this story again and again.

Researcher N.V. Kiseleva in her article “From the Bible to a Work of Art” writes that the theme of the spiritual resurrection of the individual permeates all the novels of F.M. Dostoevsky, and calls one of the key episodes of “Crime and Punishment” “the one in which Sonya Marmeladova reads to Raskolnikov the biblical legend about the return to life of Lazarus: “Jesus said to her: I am the resurrection and the life; whoever believes in Me, even if he dies, will live, and whoever lives and believes in Me will never die. Do you believe this? (John, XI, 25-26)"[Kiselev, Orthodox educational portal]. According to Sonya, Raskolnikov, who committed a crime, must “believe” and repent. This will be his spiritual cleansing, figuratively speaking, the resurrection from the dead. N.V. Kiseleva believes that “this symbolic scene has a logical and artistic continuation: at the end of the novel, Raskolnikov, a convict, having repented, is reborn to a new life, and Sonya’s love plays a significant role in this: “They were both pale and thin; but in these sick, pale faces the dawn of a renewed future was already shining. Full resurrection into new life. They were resurrected by love, the heart of one contained endless sources of life for the heart of the other."[Kiselev, Orthodox educational portal] . However, we cannot completely agree with the position of the researcher, since in the epilogue of the novel we see only Raskolnikov’s “approaching” to repentance, and not the repentance itself, therefore we can interpret the episode of reading the legend of the resurrection of Lazarus as an “omen” of what will happen outside the novel. N.V. Kiseleva as well as I.K. Kedrov, believes that F.M. Dostoevsky correlates the images of the nameless harlot and Mary Magdalene forgiven by Christ with the image of Sonya Marmeladova [Kiselev, Orthodox educational portal] and gives an interesting detail: the Gospel Mary Magdalene lived not far from the city of Capernaum, which Christ visited; Sonya rents an apartment from the Kapernaumovs (it was here that she read Raskolnikov the legend of the resurrection of Lazarus [Kiselev, Orthodox educational portal].

V.G. turns to the analysis of the episode associated with the legend of the resurrection of Lazarus. Odinokov in his work “Religious and ethical problems in the works of F.M. Dostoevsky and L.N. Tolstoy." Professor V.G. Odinokov believes that both the fate of Sonya and the fate of Raskolnikov are associated with the resurrection of Lazarus [Odinokov, 1997, p. 113]. That is why the shocked heroine reads the text so excitedly and the hero listens to this text so greedily and passionately. To characterize Raskolnikov, this kind of emotional emphasis is especially important as an indicator of the faith living in him. In the Gospel of Luke we read: “Then Abraham said to him: If they do not listen to Moses and the prophets, then even if someone were raised from the dead, they would not believe it” [Luke XII, 31]. The researcher explains that the point here is that Christ and the apostles performed the resurrection of the dead long ago, but this had no effect on the unbelieving Pharisees. Now, if we take into account Raskolnikov’s pharisaism, the described situation testifies to his overcoming his pharisaical beliefs and sentiments. Of course, such overcoming must be and is accomplished with great difficulty and gigantic moral efforts, but still, “transformation” occurs. And Dostoevsky shows in detail its individual stages. V. G. Odinokov believes that the focus of the author’s attention in this episode is not the plot of the parable itself (one can argue with this), and the professor explains the state of Raskolnikov and Sonya, who are faced with the question: how and why to live? her personal destiny and constituted her spiritual secret. Raskolnikov understood this (“he understood too well how difficult it was for her now to reveal and expose everything yours. He realized that these feelings really seemed to constitute a real and already long-standing, perhaps secret her...” [T. 5, p. 210]). At the same time, the hero guessed how “she painfully wanted to read it herself, despite all the melancholy and all the fears, and it was precisely to him, so that he hears, and certainly Now- no matter what happens later! He read it in her eyes, understood it from her enthusiastic excitement...” [T. 5, p. 211]. Let us add that this understanding of the hero is also due to his spiritual secret and is connected with his fate. V.G. Odinokov draws attention to how Sonya’s state is conveyed during reading: Sonya, having suppressed the “throat spasm,” continues reading “the eleventh chapter of the Gospel of John,” which she began with the words “A certain Lazarus, from Bethany, was sick. .." [T. 5, p. 211]. The professor considers it necessary to “restore” the verses of the parable that Dostoevsky missed, since, in his opinion, it is they, especially the fourth verse, that predetermine Raskolnikov’s fate [Odinokov, 1997, p. 114]. The Gospel indicates that Lazarus’ sisters “said to Him: Lord! Behold, the one you love is sick” (John XI, 3). “Jesus, having heard That, said: “This disease is not for death, but for the glory of God, that through it the Son of God may be glorified” (John XI: 4).

The researcher sees in this moment of particular importance for understanding the process of spiritual transformation of the hero of the novel, explaining this by the fact that the reader from the previous presentation could be convinced that Raskolnikov is “sick”, his soul is devastated, and he himself essentially sentenced himself to death, as and his “double” Svidrigailov. However, Raskolnikov’s “illness” does not lead to death, since his “sin,” according to the writer’s plan, should belong to the category of sins “not leading to death.” To confirm this, the professor cites words from the First Council Epistle of the Holy Apostle John the Theologian: “If anyone sees his brother sinning a sin that does not lead to death, then let him pray, and God will give him life that is sinning sin not to death. There is a sin that leads to death: I do not mean that he should pray” (1 Jn. 16). The meaning of the statement boils down to the fact that it is possible and necessary to pray for those who have not completely fallen away from faith and love, who have not withdrawn from the influence of grace-filled forces. Sonya, with her sensitive heart, realized that Raskolnikov was just such a person.

She says verse 25 with trembling hope: “Jesus said to her: I am the resurrection and the life; He who believes in me, even if he dies, will live” [John II, 25]. Sonya is convinced that her listener, blinded and lost, “will also now hear” the words of Jesus and “now, now” will believe like those unbelieving Jews about whom the Gospel says: “Then many of the Jews who came to Mary and saw what Jesus had done believed in Him” (John II, 45). Next V.G. Odinokov writes: “Having brought the narrative to the highest point of ideological and emotional tension, Dostoevsky does not turn towards an easy solution to the problem of the hero’s spiritual salvation. The reader observes the slow and painful process of moral resolution” [Odinokov, 1997, p. 114]. Thus, V.G. Odinokov, like other researchers whose opinions were given above, sees in the parable of Lazar a “projection” on the fate of the hero, uniting him with Sonya Marmeladova. This is, of course, the reading given by the author of the novel, and one cannot but agree with him.

When referring to the full text of the eleventh chapter of the Gospel of John in its comparison with the text quoted by F.M. Dostoevsky, in the episode of Sonya reading the parable of the resurrection of Lazarus, draws attention to the fact that F.M. Dostoevsky “releases” some verses from the canonical text, which raises the question of what hidden role such a construction of the author may play.

Having read verse 45: “Then many of the Jews who came to Mary and saw what Jesus had done believed in Him” [John II, 45], Sonya stopped reading, as it is said in the novel: “...and could not read...”. Sonya could not read about the conspiracy of the Pharisees, who coldly decided that killing Jesus would be useful for the people, since his death for the people would help “...gather the scattered children of God together...” [John II, 52], “From that day they laid him down kill" [John II, 53]. The rational decision of the Pharisees hides their fear of losing power over people (“If we leave Him like this, then everyone will believe in Him, and the Romans will come and take possession of both our place and our people” [John II, 48]). Thus, the idea of ​​power and possession of life (in the sense of dominion over it) leads to the idea of ​​the need to destroy God, who brings love, compassion and hope. Sonya not only cannot read these verses - she becomes stern, strict when she stops reading, having reached this place: “All about the resurrection of Lazarus,” she whispered abruptly and sternly and stood motionless, turning to the side, not daring and as if ashamed to look up at him” [T. 5, p. 212]. Her severity is explained by her absolute inner inability to even hear about such an atrocity.

Thus, the legend of the resurrection of Lazarus, staged by F.M. Dostoevsky in the fourth part, the fourth chapter of the novel, indeed, becomes the ideological core of the work, which is emphasized even by the compositional decision, which becomes symbolic: Raskolnikov came to Sonya on the fourth day after the crime committed - Lazarus was resurrected by Jesus on the fourth day after death. Raskolnikov goes to Sonya’s room along a dark corridor, does not know which door might be behind the entrance to the girl’s room, where the first thing he sees is a candle - all this can symbolize an intuitive search for salvation, that is, a search for God. Thus, the story of Raskolnikov, seemingly told in the novel, is the story of Lazarus rising from the dead with the help of God.

To summarize, we note that the plot and compositional inclusion of the parable of the resurrection of Lazarus in the novel indicates that it was the religious and philosophical aspect of its problems that was emphasized by the author; in other words, the writer’s strategy included not only an artistic study of crime and punishment, but also the possibility of resurrection, the rebirth of the person who committed the crime.

The Bible in general and the New Testament in particular occupy a very special place in Dostoevsky’s novel Crime and Punishment. This work is rightfully considered a masterpiece even among the five great novels of this writer. It is like a kind of epicenter of his work; it contains the seeds of all those ideas that will be developed in more detail in his other works.
At the center of “Crime and Punishment” is an episode of reading chapter XI of the Gospel of John about the resurrection of Lazarus. This scene forms the rest of the fabric of the novel around itself.
Raskolnikov committed a crime, he must “believe” and repent. This will be his spiritual cleansing. The hero turns to the Gospel and, according to Dostoevsky, must find answers there to the questions that torment him, must gradually be reborn, move into a new reality for him. Dostoevsky pursues the idea that a person who has committed a sin is capable of spiritual resurrection if he believes in Christ and accepts his moral commandments.
The image of Raskolnikov's resurrection is indeed connected with the Gospel story of the resurrection of Lazarus by Christ, which Sonya reads to Raskolnikov. While reading, Sonya herself mentally compares him with the Jews who were present at the unheard-of miracle of the resurrection of the already stinking Lazarus and who believed in Christ. And at the end of the novel, when Sonya from afar accompanies Raskolnikov, who set out on his way of the cross - to voluntarily confess to the crime he committed and suffer the appropriate punishment, the main character is clearly compared with Christ, who was followed from afar by myrrh-bearing women on His way of the cross.
That is, it turns out that Raskolnikov of the novel embodies three characters at once: Lazarus himself, and the doubting Jews, and even Christ. Crime and punishment are only a small part of the gospel story. The novel ends at the moment when “the dead man came out” and Jesus said: “Unloose him; Let him go". The last words read by Sonya to Raskolnikov are no longer about the novel’s plot, but about the impact it should have on readers. It is not for nothing that these words are highlighted in Dostoevsky’s italics: “Then many of the Jews who came to Mary and saw what Jesus had done believed in Him.”
For Dostoevsky, the use of biblical myths and images is not an end in itself. They served as illustrations for his thoughts about the tragic fate of the world, Russia and the human soul as part of world civilization. Dostoevsky considered the key to the revival of all this to be an appeal to the idea of ​​Christ.

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The material consists of a lesson for grade 10 and a presentation (13 slides).

During the lesson, the episode “Raskolnikov’s first visit to Sonya” is analyzed, the parable of the resurrection of Lazarus is heard in the lesson, and the phenomenon of foolishness in Rus' is explained (using the example of the image of Xenia of Petersburg). The refrain is a quote from the first letter to the Corinthians: “Love is patient, merciful...endures everything...” The images of Lizaveta and Sonya are interpreted from this position. Religion in “Crime and Punishment” is a way of resolving moral problems; the Christian humility of Sonechka Marmeladova destroys the individualism (egoism) of Rodion Raskolnikov and directs him to the path of redemptive suffering.

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Slide captions:

Topic: “...faith, hope, love; but love is the greatest of these.” Love is patient, merciful...endures everything... First Epistle to the Corinthians by St. ap. Paul (chap. 13)

Sonya Marmeladova “Her many sins are forgiven because she loved much...” (Bible)

Healing of the paralytic in Capernaum “And Raskolnikov went straight to the house on the ditch where Sonya lived... where Capernaum’s tailor lives.” “When Jesus entered Capernaum, a centurion came to Him and asked Him: “Lord! My servant lies at home in relaxation and suffers cruelly.” Jesus says to him: “I will come and heal him”...He healed all the sick...He took upon Himself our infirmities and bore our sicknesses.” (Matthew, 8) merciful healing forgiveness of sins trampling on pride

“Love is patient, merciful...endures everything...”

“Finally approached her; his eyes sparkled. He took her shoulders with both hands and looked straight into her crying face. His gaze was dry, inflamed, sharp, his lips trembled violently... Suddenly he quickly bent over and, crouching to the floor, kissed her foot. What are you, what are you? In front of me! - she muttered, turning pale, and her heart sank painfully. I didn’t bow to you, I bowed to all human suffering...”

“He realized to what monstrous pain the thought of her dishonorable and shameful position tormented her. What kept her going? Real depravity had not yet penetrated a single drop into her heart: he saw it... - What would I be without God? - What is God doing to you for this? - Shut up, don't ask! You're not worth it! – she screamed. “Holy fool, holy fool!” - he repeated to himself.

Ksenia of St. Petersburg, blessed saint, fool for Christ's sake Foolishness (from the Slavic “ourod”, “fool” - crazy) is a deliberate attempt to appear stupid, insane. Fools for Christ's sake (blessed) are ascetics who renounced their usual prudence and way of life, endured reproach and persecution, but received the gifts of prophecy and miracles; “...it pleased God through the foolishness of preaching to save the believers.” (1 Cor. 1:21).

“...faith, hope, love; but love is the greatest of these."

Scene from the Gospel “The Raising of Lazarus” “Now a certain Lazarus from Bethany was sick...And many of the Jews came to Martha and Mary to console them in their grief about their brother. Then Martha said to Jesus: “Lord! If You had been here, my brother would not have died. Jesus tells her: “Your brother will rise again. I am the resurrection and the life..." Jesus shed tears. Then the Jews said: “Look how he loved him.” Jesus goes to the tomb. It was a cave, and a stone lay on it. Martha says to him: “Lord! He already stinks: for he has been in the grave for four days.” Jesus raised his eyes to heaven and said, “Father, I thank You that You have heard me.” And he cried out with a loud voice: “Lazarus! Get out." And the dead man came out, wrapped hand and foot in graveclothes...Then many of the Jews, who saw what Jesus had done, believed in him.

Number 4 – parable of the resurrection of Lazarus The victim’s apartment is located on the fourth floor of the building; Raskolnikov hides things in the yard under a stone where a four-story house is being built; Marmeladov’s wretched room is on the fourth floor; the police office is located on the fourth floor of the same building; The reading about Lazarus takes place four days after Raskolnikov’s crime, i.e. four days after his moral death. “And I count those four years as the time during which I was buried alive and buried in a coffin; leaving hard labor seemed to me like a bright awakening and resurrection into a new life,” Dostoevsky wrote to his younger brother Mikhail.

“Love is long-suffering, it is kind, love does not envy, love is not arrogant, is not proud, does not act rudely, does not seek its own, is not irritated, does not think evil, does not rejoice in unrighteousness, but rejoices with the truth; covers everything, believes everything, hopes everything, endures everything. Love never ceases... these three come: faith, hope, love, but love is the greatest of them.” First Epistle to the Corinthians by St. Apostle. Paul, ch. 13

Preview:

Lesson topic: “...faith, hope, love; but love is the greatest of these." (based on the novel “Crime and Punishment”,

Sonya and Raskolnikov.)

Epigraph: “Love is patient, merciful...endures everything...”

First Epistle to the Corinthians.

Lesson objectives:

Further development of skills in working with text;

Learn to analyze an episode and draw conclusions;

Lesson progress

1) Introductory speech by the teacher.

Today in class we will continue to study the novel by F.M. Dostoevsky "Crime and Punishment". “The sun of my life, Fyodor Dostoevsky,” Anna Grigorievna Snitkina wrote after her husband’s death. Their marriage can be called truly happy, they lived together for 15 years, passionately and tenderly loved each other until the last day. A.G. She helped Dostoevsky a lot: she learned to manage all financial and publishing affairs, surrounded him with love and care, and became a real guardian angel for him.

Will Raskolnikov have a guardian angel?

What does the name Sonya mean?

What is the meaning of the surname “Marmeladova”?

A special place in Dostoevsky’s novels belongs to meek women. Sophia - wisdom (Greek). In Dostoevsky, Sophia’s wisdom is “humility” (awareness of one’s imperfection, the understanding that everything that has been given to you has been given by the Lord), meekness.

“The Lord resists the proud, but gives grace to the humble.”

Marmeladova is a family-focus in which all the misfortunes of an incorrectly structured exploitative society are refracted, and “how sweet” this world is depicted by the bitterly ironic surname chosen by Dostoevsky.

2) Working with text, conversation.

What are the details of Sonya’s portrait that reveal her nature and character?(meek blue eyes and voice, “she is unrequited,” thin, “pale face”).

What is Sonya's fate?

In the name of what did Sonya step over?

Who is talking about this for the first time?(Marmeladov).

In Marmeladov’s story about his family, we hear the story of the coming of Christ: “And where is the daughter, that her stepmother is evil and consumptive, that she betrayed herself to strangers and young children? Where is the daughter who took pity on her earthly father, an obscene drunkard, without being horrified by his brutality? And he will say: “Come! I have already forgiven you once... And now your many sins are forgiven, because you loved much...” (Part 1, Chapter 2)

In Dostoevsky there is an ellipsis next, but it would be interesting to know the continuation of the phrase? Have you guessed where Marmeladov quotes these lines from?(From the Bible: “Her many sins are forgiven because she loved much, but he who is forgiven little loves little.”)

How do you understand the words “loved many things”? Whom did Sonya “love”?(Loves people and believes in God, through this love and faith he rises to the love of God. “For God is love.”)

3) Analysis of the episode “Raskolnikov’s first visit to Sonya” (part 4, chapter 4).

What did Raskolnikov understand about Sonya?(she performed a feat of sacrifice in the name of love for people, her father, children, Katerina Ivanovna, stepping over one of the commandments - “do not commit adultery.”). "Love endures everything..."

Why does Raskolnikov not want to see his family and at the same time goes to Sonya?(Sonya is also a criminal for Raskolnikov. It is no coincidence that he tells her that he chose her a long time ago.).

In whose house does Sonya live?(“the house was three-story, old and green.” Green is the color of revival, a color that gives hope for transformation. (Sonya in Siberia in hard labor with Raskolnikov in a green scarf). This is the house where Capernaum’s tailor lives. This name is more than once appears in the novel. It is symbolic.

Slide "Capernaum"

The name Capernaum appears in all four Gospels. It appears in connection with the following facts: merciful healing;

Forgiveness of sins;

Illuminating the light of God's truth;

Trampling on pride.

Sonya tells Raskolnikov: “The owners are very good, very affectionate... And they are very kind.” "Love is kind." Raskolnikov came to Sonya for healing of his soul.

Why, according to Raskolnikov, is he going to Sonya?(for support, justification). Sonya is not given the opportunity to condemn the criminal, because... she considers herself a “great sinner.” That is why he was open to her. Not judging is the only way to understand a person.

How did Sonya appear before Raskolnikov?(working with text). (“it was clear that an awful lot was touched in her when Raskolnikov touched upon Katerina Ivanovna in a conversation, that she terribly wanted to express something, to say, to intercede. Some kind of insatiable compassion... was expressed in all the features of her face.”

What heart can be compassionate?(Only a loving heart can be so compassionate. Love is merciful.)

Raskolnikov's endless loneliness can be defeated, absorbed only by such endless, “insatiable suffering.”

But is it possible to live with such pity? How can Sonya live like this?

Raskolnikov begins to experience what Sonya’s pity is and asks painful questions about Polechka. (after all, the same thing will happen to her).

How does Sonya respond?(God will not allow it! God will protect her.)

Slide “Raskolnikov bowed to Sonya”

“Finally approached her; his eyes sparkled. He took her shoulders with both hands and looked straight into her crying face. His gaze was dry, inflamed, sharp, his lips trembled violently... Suddenly he quickly bent over and, crouching to the floor, kissed her foot.

What are you, what are you? In front of me! - she muttered, turning pale, and her heart sank painfully.

I didn’t bow to you, I bowed to all human suffering...”

What do you think is in this bow from Raskolnikov?(he renounced his “theory” before he even had time to think about it.)

Before meeting Sonya, he could still think that he was mistaken in himself, but in the “theory” he was right (he put himself in the wrong “category”, but it is necessary for the “categories” themselves to exist). Now he bowed to “all human suffering,” the indifference of “human beings and categories.” This is the very beginning, the approaches to resurrection, not realized by Raskolnikov.

What does a person bow to?(bows before the shrine, Raskolnikov did not believe in God, but felt the holiness of human suffering. A whole revolution in the soul, when someone else’s, not one’s own, suddenly became so superior to one’s own that one can bow before it.)

The meek Sonya very firmly puts the idea of ​​the saving power of compassion and love before Raskolnikov, and when all the characters leave the novel in the epilogue, Sonya will be left alone with the criminal. "Love is patient..."

What helps Sonya not to fall, to have compassion? Love your neighbor?(Faith in God).

Sonya is condemned to realize her shame; she holds on to a feeling of repentance and does not allow anyone to be condemned. Compassion and love for Sonya are her whole life. “faith, hope, love, but love is the greatest of these.” Raskolnikov saw this and understood. But Sonya didn’t believe it, he couldn’t allow it (“he was already a skeptic, he was young, distracted and, therefore, cruel”).

Why does he refuse to believe?(she lives in the very dirt of “this world”, but feels as if “not of this world”: she has compassion, pity, love. Real depravity has not penetrated a single drop into her heart.)

Raskolnikov, looking at Sonya, asks persistently: “How can she live like this? Is it possible to do it like she does?” Find Raskolnikov’s thoughts about Sonya’s madness in the text.

Slide “The Holy Fool”

“He realized to what monstrous pain the thought of her dishonorable and shameful position tormented her. What kept her going? True depravity had not yet penetrated a single drop into her heart: he saw it...

What would I be without God?

What is God doing to you for this?

Keep quiet, don't ask! You're not worth it! – she screamed.

“Holy fool, holy fool!” - he repeated to himself.

Vocabulary work.

What does “holy fool” mean?(crazy for Christ's sake).

Slide "St. bl. Ksenia Petersburgskaya."

Why does Raskolnikov call Sonya a “holy fool”?(her faith in God seems to him like madness - from the imaginary heights of a mind ossified in pride).

Do you know any examples of foolishness in the history of Christianity?

Holy Blessed Xenia of Petersburg is known for her great humility, her feat of spiritual and physical poverty, and her love for her neighbors.

Slide “...it pleased God through the foolishness of the preaching to save the believers.”

And Raskolnikov sees his salvation in Sonya. Raskolnikov became one more step closer to Sonya. He suddenly admitted that God does everything for Sonya. “Because he trusted in me (hoped, believed), I will deliver him, I will cover him, for he knew my name.”

Raskolnikov takes a book from the chest of drawers - the New Testament, or Gospel (which means “joyful, good news”).

Where did Sonya get this book from?(from Lizaveta Sonya left the most significant trace - the “eternal book”. The murdered Lizaveta is a patient woman who silently and defenselessly accepted death. Lizaveta and Sonya are “both holy fools.” “... here you yourself will become a holy fool! Contagious!

Reference: “Lizaveta was a tall, clumsy, timid and humble girl, almost an idiot, 35 years old, who was in complete slavery to her sister Alena Ivanovna, worked for her day and night, trembled before her and suffered beatings.” “She will see God,” Sonya said about her to Raskolnikov.”

4) Implementation of homework.

Scene from the reading of the Gospel story about the resurrection of four-day-old Lazarus.

When human words are not enough to break through to the heart, the word of God sounds, the word about God’s love for man. Raskolnikov asks Sonya to read this scene.

Slide “The Raising of Lazarus”

Did Sonya immediately agree to read? Why didn’t you dare?(it was hard for her to reveal and expose everything that was hers. He realized that “these feelings really constituted a real and long-standing secret of her... she was terribly afraid of something, but she painfully wanted to read... and it was him and certainly now...”).

Reading the scene.

Think about the meaning of the number “4”. Give examples from the text that contain the number “4”.

Slide “Number “4”

The number “4” is the number of the world order, it is of fundamental importance (there are 4 seasons, 4 Gospels, 4 cardinal directions). Reading about Lazarus takes place 4 days after Raskolnikov’s crime, i.e. 4 days after his moral, spiritual death. (“there are three types of death: physical, mental, eternal). Raskolnikov suffers spiritual death, i.e. “the separation of God’s grace from the soul...”

The Divine word sounded about the greatest miracle - the resurrection of Lazarus after physical death, who remained in the tomb for 4 days. God, out of love for Lazarus, for man, raised him up. Lazarus cannot resurrect himself, “this is impossible for men, but with God all things are possible.” (Matthew 19:26)

Historical information.Tradition says that after his resurrection, Lazarus remained alive for another 30 years. He was a bishop on the island of Cyprus, where he worked hard to spread Christianity, and died peacefully there. In the 9th century, the holy relics of the righteous Lazarus were found in the city of Kitia, where they lay in the ground, in a marble ark, on which was written: “Lazarus of the four days, friend of Christ.”

The Word of God came from a loving, compassionate heart. It was addressed to another person who felt a lot, suffered a lot, stood on the brink in order to believe. After all, “love is kind, patient and longsuffering.” So Sonya hopes that Raskolnikov will believe. “Where two are gathered in My name, there I am in the midst of them,” says Christ.

Did Raskolnikov's heart open?(it didn’t open up, as Sonya “dreamed.” He didn’t believe. “I came to talk about business... We are cursed together, together we will go!”).

What does Sonya understand when she hears his words?(he is terribly, endlessly unhappy). “There remains freedom and power, and most importantly power! Over all the trembling creatures and over the entire anthill! That’s the goal!” - says Raskolnikov.

5) Conclusion.

Raskolnikov's reading of the scene from the Gospel about the resurrection of Lazarus is far from accidental.

Will there be a resurrection of Raskolnikov? Will he believe, as Sonya’s compassionate, loving heart dreams of?

Slide “Virgin Mary”

Slide “Sonya and Raskolnikov.”

We still have to learn about this in the continuation of the novel. In the meantime, reading the Gospel causes Raskolnikov to burst into pride. It’s as if he is frozen into his sin, into his pride, into his crime, into his four-day oblivion - and cannot freeze. But “love is patient, kind, and endures all things. Love never fails…faith, hope, love, but love is the greatest of these.”

The love of Christ resurrects Lazarus, but will the warmth of Sonya Marmeladova’s compassionate love resurrect Raskolnikov’s lost soul?

Homework.

Analysis of the scenes “Raskolnikov’s second and third visits to Sonya” (part 5, chapter 4, part 6, chapter 8).