Works by F.M. Dostoevsky is included in the golden fund of world literature, his novels are read all over the world, and they still do not lose their relevance. “Crime and Punishment” is one of such timeless works, touching on the themes of faith and unbelief, strength and weakness, humiliation and greatness. The author masterfully depicts the setting, immersing the reader in the atmosphere of the novel, helping to better understand the characters and their actions, making them think.
The plot centers on Rodion Raskolnikov, a student who is mired in poverty. And it’s not just a lack of money for some kind of pleasure, it’s poverty that destroys and drives you crazy. This is a closet that looks like a coffin, rags and not knowing whether you will eat tomorrow. The hero is forced to leave the university, but cannot improve his affairs in any way; he feels the injustice of his situation, sees around him the same disadvantaged and humiliated people.
Raskolnikov is proud, sensitive and smart, the atmosphere of poverty and injustice weighs on him, which is why a terrible and destructive theory is born in his head. It lies in the fact that people are divided into lower (“ordinary”) and higher (“people”). The first ones are needed only to maintain the human population; they are useless. But the latter move civilization forward, putting forward completely new ideas and goals that can be achieved by any means. For example, the hero compares himself with Napoleon and comes to the conclusion that he is also capable of changing the world and putting his own price on the changes. In this sense, he is no different from the old money-lender who valued the things brought to her. Be that as it may, Rodion decided to test this theory on himself (“Am I a trembling creature or do I have rights?”), killing the old money-lender and not only that, saving thousands of people from her tyranny, and improving his own financial situation.
Why did Raskolnikov kill the old pawnbroker?
The hero hesitates for a long time and nevertheless confirms his decision after meeting with the official Marmeladov, who drinks heavily, driving himself, his wife Katerina Ivanovna, her children, and daughter Sonya into poverty (she is generally forced to work as a prostitute to help the family) . Marmeladov understands his fall, but cannot help himself. And when he was run over by a horse while drunk, the family’s situation turned out to be even more disastrous. He decided to help these people destroyed by poverty. Comparing their plight with the unfair contentment of Alena Ivanovna, the hero came to the conclusion that his theory was correct: society can be saved, but this salvation will require human sacrifice. Having decided and committed murder, Raskolnikov falls ill and feels lost for people (“I didn’t kill the old woman... I killed myself”). The hero cannot accept the love of his mother and sister Dunya, or the care of his friend Razumikhin.
Raskolnikov's doubles: Luzhin and Svidrigailov
Also a double is Svidrigailov, who tried to seduce Dunya. He is the same criminal, guided by the principle “a single evil is permissible” if the final goal is good.” It would seem similar to Rodion’s theory, but that’s not the case: his goal should be good only from a hedonistic point of view and for Svidrigailov himself. If the hero did not see pleasure in it for himself, then he did not notice anything good. It turns out that he did evil for the benefit of himself, and, moreover, for the benefit of his depravity. If Luzhin wanted a caftan, that is, material well-being, then this hero longed to satisfy his base passions and nothing more.
Raskolnikov and Sonya Marmeladova
Suffering and languishing, Raskolnikov becomes close to Sonya, who also broke the law, like the hero. But the girl remained pure in her soul, she is more a martyr than a sinner. She sold her innocence for a symbolic 30 rubles, just as Judas sold Christ for 30 pieces of silver. At this price she saved her family, but betrayed herself. The vicious environment did not prevent her from remaining a deeply religious girl and perceiving what was happening as a necessary sacrifice. Therefore, the author notes that the vice did not touch her spirit. With her timid demeanor and her incessant shame, the girl contradicted the vulgarity and arrogance of the representatives of her profession.
Sonya reads to Rodion about the resurrection of Lazarus, and he confesses to the murder, believing in his own resurrection. He did not confess to investigator Porfiry Petrovich, who already knew about his guilt, did not confess to his mother, sister, Razumikhin, but chose Sonya, feeling salvation in her. And this intuitive feeling was confirmed.
The meaning of the epilogue in the novel “Crime and Punishment”
However, Raskolnikov did not repent at all, he was only upset that he could not withstand moral torment and turned out to be an ordinary person. Because of this, he again experiences a spiritual crisis. Finding himself in hard labor, Rodion looks down on the prisoners and even on Sonya, who followed him. The convicts respond to him with hatred, but Sonya tries to make Raskolnikov’s life easier, because she loves him with all her pure soul. The prisoners responded sensitively to the heroine’s affection and kindness; they understood her silent feat without words. Sonya remained a martyr to the end, trying to atone for both her sin and the sin of her lover.
In the end, the truth is revealed to the hero, he repents of his crime, his soul begins to be reborn, and he is imbued with “endless love” for Sonya. The hero's readiness for a new life is symbolically expressed by the author in the gesture when Rodion joins the sacraments of the Bible. In Christianity he finds the consolation and humility necessary for his proud character to restore inner harmony.
“Crime and Punishment”: the history of the creation of the novel
F.M. Dostoevsky did not immediately come up with a title for his work; he had options “On Trial”, “The Tale of a Criminal”, and the title we know appeared only at the end of work on the novel. The meaning of the title “Crime and Punishment” is revealed in the composition of the book. At the beginning, Raskolnikov, overwhelmed by the delusions of his theory, kills the old money-lender, breaking moral laws. Next, the author debunks the hero’s misconceptions, Rodion himself suffers, then ends up in hard labor. This is his punishment for putting himself above everyone around him. Only repentance gave him a chance to save his soul. The author also shows the inevitability of punishment for any crime. And this punishment is not only legal, but also moral.
In addition to the variation in the title, the novel initially had a different concept. While in hard labor, the writer conceived the novel as a confession of Raskolnikov, wanting to show the spiritual experience of the hero. Further, the scale of the work became larger, it could not be limited to the feelings of one character, so F.M. Dostoevsky burned the almost completed novel. And he started again, already as the modern reader knows him.
Subject of the work
The main themes of “Crime and Punishment” are the themes of poverty and oppression of the majority of society, about which no one cares, as well as the themes of rebellion and personal errors under the yoke of social disorder and suffocating poverty. The writer wanted to convey to readers his Christian ideas about life: for harmony in the soul, you need to live morally, according to the commandments, that is, not to give in to pride, selfishness and lust, but to do good to people, love them, sacrificing even your interests for the good of society. That is why at the end of the epilogue Raskolnikov repents and comes to faith. The problem of false beliefs raised in the novel is still relevant today. The main character's theory of permissiveness and the crime of morality for the sake of good goals leads to terror and tyranny. And if Raskolnikov overcame the split in his soul, repented and came to harmony, overcoming the problem, then in larger cases this is not the case. Wars began because some rulers decided that the lives of thousands of people could easily be sacrificed for their goals. That is why the novel, written in the 19th century, does not lose its sharp meaning to this day.
“Crime and Punishment” is one of the greatest works of world literature, imbued with humanism and faith in man. Despite the apparent depressive nature of the story, there is hope for the best, that one can always be saved and saved.
Interesting? Save it on your wall!Plot, composition, genre features of the novel “Crime and Punishment”
F. M. Dostoevsky, as a writer, attached great importance to the entertaining nature of the narrative, and was an unsurpassed master of a sharp, adventurous plot that captivates the reader and keeps him in suspense
From the first to the last pages of the novel. No one before has been able to combine a detective story with the subtlest psychologism and depth of philosophical meaning.
“Crime and Punishment” is a novel about a crime, but it cannot be classified as a “criminal, detective” genre; it is called a confessional novel, a tragedy novel, one of the greatest philosophical and psychological novels. In the novel, there is no mystery for the reader about who the killer is; the plot develops around someone else: the narrative is structured in such a way that throughout its entire length we intensely follow every movement of Raskolnikov’s inflamed thought, the lonely
The wanderings of his soul, behind the feverish change of decisions and contradictory actions.
The other characters in the novel are depicted in such a way that, without losing much independent significance, they, each in their own way, “explain” the drama that unfolds in Raskolnikov’s mind between thoughts and soul. “. Raskolnikov is the only hero of the book. Everyone else is a projection of his soul. This is where the phenomenon of doubles finds an explanation. Each character, right down to random passers-by, right down to the horse beaten to death from Raskolnikov’s dream, reflects a piece of his personality” (P. Weil, A. Genis. “The Last Judgment”). In Crime and Punishment, the story of the main character is closely intertwined with two storylines: the history of the Marmeladov family and the fate of Dunechka and Pulcheria Alexandrovna, as well as the related stories of Svidrigailov and Luzhin. These two parallel developing plots are closely connected with Raskolnikov and his theory.
But Raskolnikov is not the only compositional center. The tragic tossing of his spirit draws all the characters into its orbit, each in their own way trying to explain the contradictions of his personality, to unravel the secret of his fatal duality. He has a passionate argument with them in his internal monologues. “Every face comes in. into his inner speech not as a character or type, not as a plot face of his life plot (sister, sister's fiancé, etc.), but as a symbol of a certain life attitude and ideological position, as a symbol of a certain life solution to the very ideological issues that he is being tortured” (M. M. Bakhtin). Razumikhin, Svidrigailov, Luzhin, Marmeladov, Sonya, Porfiry Petrovich become for Raskolnikov, as it were, an embodied solution to his own question, “a solution that does not agree with the one he himself came to, so everyone touches him to the quick and receives a firm role in his inner life.” speech." Thus, Raskolnikov becomes the spiritual and ideological center of the novel.
The perfection of the composition “Crime and Punishment” has no equal in F. M. Dostoevsky. Consisting of six parts and an epilogue, the novel, “built on a skillful orchestration of tensions, moves through two climaxes, followed by catharsis. The first such point is crime. The second is punishment” (P. Weil, A. Genis. “The Last Judgment”). Moreover, Dostoevsky writes more about punishment than Raskolnikov’s crime: out of six parts, only one is devoted to a description of the crime, but the rest represent a kind of analysis of the psychological state of the individual, the mental life of the hero, and the motives of his crime. But even not punishment, but the “restoration of a lost person” most of all worries Dostoevsky as an artist and thinker, therefore, replacing each other, the motives of condemnation and defense of Raskolnikov are heard in the novel, growing to the epilogue, where the path to the revival of the hero and his gradual renewal is outlined , for which one must “pay. a great, future feat.” The entire poetics of the novel is subordinated to the main goal - the resurrection, the transformation of the hero. Landscape plays a special role in the epilogue. From the gloomy, stuffy, oppressive Petersburg, the action is transferred to the banks of a wide and deserted river: “From the high bank a wide surrounding area opened up. There, in the sun-drenched vast steppe, nomadic yurts were blackened as barely noticeable dots. There was freedom and other people lived there. “Raskolnikov is depicted in harmony with the world and with himself in the epilogue, “he was resurrected, and he knew it, he felt it with his entire being renewed. “. Raskolnikov’s rejection of the inhuman “unfinished theory” and return to eternal values occurs only in the epilogue and is emphasized by the repeated epithet: “endless happiness”, “endless sources of life”, “endlessly loves”, “with endless love he will now atone for all her suffering.” On the pages of the epilogue, for the third time in the novel, the Gospel and the resurrection of Lazarus are mentioned (the first time - in a conversation with Porfiry Petrovich about Raskolnikov’s article, the second time - when Sonya reads this legend to him, returning the reader to the main, deep thought of Dostoevsky - to his hope for “restoration fallen man” through the introduction to the Christian ideal of “great, common harmony, fraternal final agreement of all according to Christ’s gospel law.”
Essays on topics:
- “Crime and Punishment” is a novel about a crime, however, it does not in any way fit the definition of detective fiction: the narrative does not develop...
- F. M. Dostoevsky, as a writer, attached great importance to the entertaining nature of the narrative, and was an unsurpassed master of a sharp, adventurous plot that captivates the reader and holds him...
- It is well known that the novel “Crime and Punishment” is on the list of the most read works on earth. The relevance of the novel increases with each new generation...
- Through the eyes of Rodion Romanovich Raskolnikov wandering around St. Petersburg, the reader sees dirty streets and dark alleys, squalid dwellings and slum hotels, houses...
I decided to analyze and compare dreams in three works of Russian literature: “Crime and Punishment” by F.M. Dostoevsky (Raskolnikov’s dream), “Eugene Onegin” by A.S. Pushkin (Tatyana’s dream), “Oblomov” by I.A. Goncharov ( Oblomov's dream). F.M.Dostoevsky. A.S. Pushkin. I.A. Goncharov.
Slide 5 from the presentation "Dream in Literature". The size of the archive with the presentation is 625 KB.
Literature 11th grade
“Publicism” - Our culture has two faces. The fascinating world of native speech. What worries publicists? Types of journalistic narration. Dialogue. Use of expressive vocabulary. The field of journalism. Literary figures. Khinshtein Alexander Evseevich. What needs to be done. Point of view. Use of evaluative vocabulary. Expressiveness. Press. Stable combinations. Fundamental questions. Valentin Grigorievich Rasputin.
“Antonov Apples” - The third describes his hunt with his brother-in-law, Arseny Semyonich, as well as the onset of winter. The fourth describes the November day of small-scale people. But gradually the writer began to think about creating prose works, like “Antonov Apples.” Plot. Antonov apples. Antonovsky apples is a story written by Ivan Alekseevich Bunin and first published in 1900. History of creation.
“Literary movements of the early 20th century” - Acmeism. I. Repin “Barge Haulers”. Critical realism. Socialist realism. Anna Akhmatova. Decadence. The main literary movements of the early 20th century. Silver Age. Velimir Khlebnikov. Development of Russian literature of the 20th century. Futurism. Valery Bryusov "Woman". Symbolism. Modernism.
“Literary commentary” - Work. The purpose of literary commentary. Explanations. Attention specialists. Historical person. Comment by Yu.M. Lotman. Evgeny Onegin. Genre of literary commentary. Parallels with Western European literary texts. Linguistic features. Definition of the genre of literary commentary. Commentary by V.V.Nabokov. Comparative analysis of comments. Analytical genre.
“Biography of V.P. Astafiev” - Died on November 29, 2001. Lost my mother. Literature of the Second World War period. Script writer. Viktor Petrovich Astafiev. Russian literature. WWII period. Life layers. Volunteers to join the army. Life and work of V.P. Astafieva. Konstantin Simonov. Works by Astafiev. Treasured friend.
“The Life and Work of Bunin” - Multimedia presentation for a literature lesson in 11th grade. We always only remember about happiness, but happiness is everywhere. Read a fragment of the story “Mowers”. Read the poem, prove its connection with the fragment of the story. Problematic question of the lesson. Bunin's creativity. The last Russian classic. I.A. Bunin is a Russian classic. Working with text. Read the text, make a chronological table.
There are a total of 104 presentations in the topic “Literature 11th grade”
Features of realism in F. M. Dostoevsky’s novel “Crime and Punishment”
Features of Dostoevsky's realism
The writer's realism developed and was embodied during the period of development of capitalist relations in Russia. The advance of civilization on patriarchal Russia gave rise to the rebellion of the little man against humiliation. Whatever ideas captured the writer, he never forgot about the origins of the tragedies he created.
The images, ideas, ideals of his novels go back to Russian reality.
The characters of the novel are typical images, a typical environment
The basis of Dostoevsky's novels is the mixed-class, urban post-reform environment, half-educated, imagining more about itself than it is worth.
Raskolnikov, Sonya Marmeladova, Razumikhin, the old pawnbroker, Lizaveta, Luzhin, Svidrigailov - these and many other heroes of the novel “Crime and Punishment” were generated by the Russian reality of the 60s, the striking division of people into poor and rich, people crushed by poverty and those who bathed in luxury. However, the writer is primarily interested in the world of the humiliated and insulted, a world in which everyone is an executioner and a victim, in which everyone asks painful questions of existence. This is the main character of the novel, Rodion Raskolnikov. Dostoevsky’s heroes live in St. Petersburg in the 60s on specific streets, in specific houses. “Cage”, “wardrobe”, “cabin”, “chest”, “corner”, “kennel”, “coffin” - this is where Raskolnikov lives, this is where he breathes. This closet of the hero is an image of the world in which he lives, which “presses the soul and mind,” in which there is not enough “air.” But not only Raskolnikov lives in this world, all the heroes live and act in this world. This world is typical.
There is much in Raskolnikov that is typical for a young intellectual of the second half of the 19th century: he is a student, must work part-time to earn money for his studies, and is supported financially by his mother and sister. It was the poor students who were the most prepared soil for new social ideas in Russia.
The fate of the other heroes of the novel is also typical. Here, for example, is the story of the Marmeladov family. Marmeladov’s drunkenness is not the cause of poverty, but a consequence of unemployment, homelessness, despair: “.. and then he lost his job, and also not through his fault, but due to a change in the states, and then he touched!” - Marmeladov explains to Raskolnikov. The death of Katerina Ivanovna is also a pattern of this world. But the fate of her children is rather an exception. The novel contains a huge number of minor characters, the typicality of whose fate seems to push the hero to murder (for example, the scene with a drunk girl on the boulevard).
Psychological realism of the novel
Dostoevsky's novels are rightfully considered psychological novels.
All the characters painfully think about the meaning of life, about their place in it: Raskolnikov himself, Svidrigailov, Marmeladov... The author is also painfully searching for the meaning of life. Dostoevsky, cut off from the happy life of people who did not think about the meaning of life, dreamed of transformation, of a complete change in human nature, of a “geological revolution.” Every hero of the writer has the possibility of transformation.
A person falling into the abyss is not doomed; if something bright remains in his soul, this person can be saved.
Lebezyatnikov, who talks so much, is saved by helping to save Sonya from Luzhin’s accusations. Raskolnikov gradually finds a way out to save his soul: not when he repented in the square, not when he went to hard labor, but much later, when the great truth of the Gospel comes to him, then true love for Sonya comes.
Peculiarities of the author's attitude towards the characters
Dostoevsky's talent is cruel to the proud, but infinitely gentle to the fallen, who have lost not only excessive self-respect, but also almost do not consider themselves human.
Dostoevsky is infinitely attentive to them, and before his gaze, full of love, “nuggets in the dirt” open and begin to sparkle. Let us remember Marmeladov’s confession. At first we perceive it as another confirmation of the baseness of man and the world, but gradually his image from humiliatingly comic becomes tragic, rising to an extraordinary height of tragedy, which captures both those around him and the reader.
Realistic compositional solution of the novel
All of Dostoevsky's novels are extremely dynamic, despite the fact that a huge place in their composition is occupied by the reflections of the characters, their dialogues with themselves and other characters.
The action develops just as intensely in Crime and Punishment. We know that Raskolnikov’s plan does not arise spontaneously, it is prepared by many months of reflection, but in the novel, from the day when Raskolnikov goes to make a “test” to his confession, only... . The reader does not notice this, since together with the hero he painfully experiences what he has done.
Raskolnikov’s dreams are of great importance, which allow the writer to reveal the hero’s subconscious.
It is the hero’s last dream, in which his theory is embodied in allegorical form, that leads the hero to the realization of its inhumanity. The composition “Crime and Punishment,” like most of the writer’s novels, is based on a detective story, the story of a murder and its detection. A large place in the novel is occupied by the duel between Raskolnikov and the investigator Porfiry Petrovich, which allows us to penetrate deeper into the consciousness of the hero, and at the same time, meetings with Porfiry Petrovich force Rodion to painfully think about the theory he created, about what sacrifices he makes to test its authenticity.
The figurative system as a polyphonic structure of reality
At the center of the novel “Crime and Punishment” the main character is Rodion Raskolnikov, but in the system of images other heroes are contrasted and compared with him.
On the one hand, these are his opponents - the main one of which is Sonya. With her fate, her character, her sacrifice, Marmeladova does not fit into the framework of the theory created by the hero; Sonya is different. It embodies Dostoevsky’s favorite idea of the “man of God.”
On the other hand, in the novel there are doubles of the main character, those whose lifestyle and worldview correspond to the hero’s theory - Svidrigailov and Luzhin. It is they who visually make the hero and the reader understand how disgusting and inhuman Raskolnikov’s theory is.
One of the main artistic features of all Dostoevsky’s novels (and “Crime and Punishment” is no exception) is the polyphony of the novels, polyphony, in which the voice of each character (even an episodic one - an officer and a student, Katerina Ivanovna, Dunechka, Lizaveta) adds up to a whole world, the diverse world of human grief, suffering, humiliation.
This polyphony is complemented by a description of the environment in which the heroes live.
Petersburg, where the events unfold, also becomes the hero of the novel.
The gloominess of the city, its dirt, stench, its streets and boulevards where people die, confirms Raskolnikov’s theory, pushes him to crime; it is on these streets, in these closets that the theory of protest against this world can arise.
Dreams play an important role in the novel Crime and Punishment. Raskolnikov sees dreams that reflect:
Dostoevsky's realism is called fantastic because the world of his heroes combines reality and unreality (thoughts, feelings, experiences).
The main character of the novel, Raskolnikov, lives in such a world.
Dostoevsky is rightfully considered one of the most remarkable realists of the 19th century. But the interesting thing is that this particular writer turned out to be especially valued by the twentieth century, since the writer managed to:
- raise problems
- show characters,
- give a social assessment of those phenomena that have turned out to be vital for our century.
Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")
Did you like it? Don’t hide your joy from the world - share it
velikayakultura.ru
What is the genre of the novel Crime and Punishment?
No one doubts that “Crime and Punishment” is a novel, since ROMAN (from the French roman, originally a work in Romance languages) is a large form of the epic genre of literature, in which the reader is offered an action unfolding in an integral artistic space, and not just one episode or highlight that focuses on portraying a person in the complexities of life.
The more difficult question is what kind of novel this is. Many scientific works have been written about the genre of the novel “Crime and Punishment”. Scientists have come to the conclusion that this novel can be considered CRIMINAL, SOCIAL, PSYCHOLOGICAL, PHILOSOPHICAL, DETECTIVE.
Since the criminal background of life in St. Petersburg is presented by Dostoevsky as a panoramic picture of social mores and problems, Crime and Punishment can rightfully be called a SOCIAL NOVEL.
Since Dostoevsky reveals the inner world of the characters with outstanding skill in the novel, the work can be called a PSYCHOLOGICAL NOVEL.
In “Crime and Punishment” there are many monologues and dialogues in which different life positions of the characters collide, and there are intellectual disputes between Raskolnikov and Porfiry Petrovich, Raskolnikov and Svidrigailov. Each hero is the bearer of a certain life position, a certain idea that he wants to express and expresses. That is why the novel is called a PHILOSOPHICAL NOVEL, and Dostoevsky himself is the founder of this genre in world literature.
In addition, the presence in the plot of the novel of the crime investigation line, the appearance of false versions in it, the complex psychological struggle between the investigator and the criminal allow us to look at “Crime and Punishment” as a DETECTIVE NOVEL.
Because the novel has certain characteristics
1) the novel is associated with an interest in the private lives of individuals
2) novel - a large number of characters, especially plot-shaping ones
The plot-shaping hero is of fundamental importance. Without it, the plot of the novel will not develop or will develop completely differently - that is, the sequence of significant events that change the psychological motivations of the characters.
3) novel - a rigidly structured architectonics of both the general plot and individual storylines
4) a novel is the author of the novel as a full-fledged character, one of the main, if not the main plot-forming character - not only because the plot was invented and written down by him. The author's position, aesthetic views, worldview, life experience, everything that the writer wanted to say in the novel. A novel needs an author - as a person, visibly or invisibly present in the world he himself created.
3 characteristic features of the novel as a genre according to M. Bakhtin
1) the stylistic three-dimensionality of the novel, associated with the multilingual consciousness realized in it;
2) a radical change in the time coordinates of the literary image in the novel;
3) a new zone for constructing a literary image in a novel, namely the zone of maximum contact with the present (modernity) in its incompleteness.
F. M. Dostoevsky’s novel “Crime and Punishment” is socio-psychological. In it, the author raises important social issues that worried people of that time. The originality of this novel by Dostoevsky lies in the fact that it shows the psychology of a contemporary person who is trying to find a solution to pressing social problems. At the same time, Dostoevsky does not give ready answers to the questions posed, but makes the reader think about them.
Unified State Examination tasks in literature based on the novel “Crime and Punishment”
Unified State Exam assignments in literature from the FIPI website based on F. M. Dostoevsky’s novel “Crime and Punishment”
View document contents
“Unified State Examination tasks in literature based on the novel “Crime and Punishment””
“Let me, I want to ask you a serious question,” the student became excited. “I was joking now, of course, but look: on the one hand, a stupid, senseless, insignificant, evil, sick old woman, useless to anyone and, on the contrary, harmful to everyone, who herself does not know what she lives for, and who tomorrow will die by itself. Understand? Understand?
“Well, I understand,” answered the officer, carefully staring at his excited comrade.
- Listen further. On the other hand, young, fresh forces are wasted without support, and this is in the thousands, and this is everywhere! A hundred, a thousand good deeds and undertakings that can be arranged and the old woman’s money doomed to the monastery can be repaid! Hundreds, thousands, perhaps, of existences directed towards the road; dozens of families saved from poverty, from decay, from death, from debauchery, from venereal hospitals - and all this with her money. Kill her and take her money, so that with their help you can then devote yourself to serving all of humanity and the common cause: what do you think, won’t one tiny crime be atoned for by thousands of good deeds? In one life - thousands of lives saved from rot and decay. One death and a hundred lives in return - but this is arithmetic! And what does the life of this consumptive, stupid and evil old woman mean on the general scale? Nothing more than the life of a louse or a cockroach, and it’s not worth it, because the old woman is harmful. She eats up someone else's life: the other day she bit Lizaveta's finger out of spite; Almost got cut off!
“Of course, she doesn’t deserve to live,” the officer noted, “but it’s nature here.”
- Eh, brother, but nature is corrected and directed, and without this we would have to drown in prejudices. Without this, not a single great person would exist. They say: “duty, conscience” - I don’t want to say anything against duty and conscience - but how do we understand them? Wait, I'll ask you one more question. Listen!
- No, you stop; I'll ask you a question. Listen!
“Now you’re talking and orating, but tell me: will you kill the old woman yourself or not?”
- Of course not! I am for justice... It’s not about me here...
“But in my opinion, if you don’t make up your mind, then there is no justice here!” Let's go have another party!
(F.M. Dostoevsky, “Crime and Punishment.”)
— The student and the officer express different points of view on the possibility of killing the old woman and on social justice. Indicate the term that in a work of fiction refers to the clash of views and life principles of the characters.
— What is the name of the conversation between two characters (in this case, a student and an officer) in a literary work?
— In the student’s remarks, words are repeatedly used that denote an exaggeratedly large number (“one hundred, a thousand good deeds and undertakings”, “hundreds, thousands… existences”, “thousands of lives”, etc.). What artistic trope is used here?
— In the conversation between the student and the officer, important, typical features of life are indicated, described objectively. Which literary movement of the second half of the 19th century widely used this method of depicting reality?
— The excitement of a student’s speech is created by exclamatory and interrogative sentences that do not require an answer. What are such questions and exclamations called in literary criticism?
— Who accidentally witnessed the conversation between the student and the officer?
— In what city does the conversation between a student and an officer take place?
8. How did the conversation between the student and the officer influence the development of Raskolnikov’s idea?
9. Which characters in Russian literature are close in their inner essence to the image of the old money-lender? Give reasons for your answer.
Raskolnikov came out of the barn to the very bank, sat down on the logs piled near the barn and began to look at the wide and deserted river. From the high bank a wide vicinity opened up. A song could be heard faintly from the farther bank. There, in the sun-drenched vast steppe, nomadic yurts were blackened as barely noticeable dots. There was freedom and other people lived there, completely different from those here, it was as if time itself had stopped, as if the centuries of Abraham and his flocks had not yet passed. Raskolnikov sat and looked motionless, without looking up; his thoughts turned into dreams, into contemplation; he didn’t think about anything, but some kind of melancholy worried and tormented him.
Suddenly Sonya found herself next to him. She came up barely audibly and sat down next to him. It was still very early, the morning chill had not yet subsided. She was wearing her poor old burnous and a green scarf. Her face still bore signs of illness; it had become thinner, pale, and haggard. She smiled at him warmly and joyfully, but, as usual, timidly extended her hand to him.
She always extended her hand to him timidly, sometimes she didn’t even give it at all, as if she was afraid that he would push her away. He always seemed to take her hand with disgust, always greeted her with annoyance, and sometimes remained stubbornly silent throughout her visit. It happened that she trembled at him and left in deep sorrow. But now their hands did not separate; He briefly and quickly glanced at her, said nothing and lowered his eyes to the ground. They were alone, no one saw them. At that time the guard turned away.
How it happened, he himself did not know, but suddenly something seemed to pick him up and seem to throw him at her feet. He cried and hugged her knees. At the first moment she was terribly frightened, and her whole face turned pale. She jumped up from her seat and, trembling, looked at him. But immediately, in that very moment, she understood everything. Infinite happiness shone in her eyes; she understood, and there was no longer any doubt for her that he loved, loved her endlessly, and that this moment had finally come.
They wanted to talk, but could not. There were tears in their eyes. They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining. They were resurrected by love, the heart of one contained endless sources of life for the heart of the other.
(F.M. Dostoevsky “Crime and Punishment”)
— Indicate the term that in literary criticism refers to an important element of composition that helps the author create an emotional atmosphere of action in a work. (From the words “From the high bank a wide vicinity opened up...” to the words “Raskolnikov sat, looked motionless...”.)
- Indicate a term denoting the opposition of life phenomena or states (for example, Raskolnikov’s life - a fortress, a prison, guards - and that free, free world that the hero sees “from a high bank”: “nomadic yurts”, “sun-drenched steppe”, etc. .d.).
— Name a means of creating the image of Sonya, based on a description of her appearance: “She was wearing her poor, old burnous and a green scarf. Her face still bore signs of illness; it had lost weight, turned pale, and haggard. She smiled warmly and joyfully at him...”
— About changes in the heroes of F.M. Dostoevsky writes: “They were both pale and thin; but in these sick and pale faces the dawn of a renewed future, a complete resurrection into a new life, was already shining.” Indicate the name of the artistic medium used in this description.
8. What helps Raskolnikov to resurrect for a “new life”?
9. Which heroes of Russian literature returned to real life through a painful search for answers to the most important questions?
The small room into which the young man walked, with yellow wallpaper, geraniums and muslin curtains on the windows, was at that moment brightly lit by the setting sun. “And then, therefore, the sun will shine in the same way. “- flashed through Raskolnikov’s mind, as if by chance, and with a quick glance he looked around everything in the room in order to study and remember the location if possible. But there was nothing special about the room. The furniture, all very old and made of yellow wood, consisted of a sofa with a huge curved wooden back, a round oval table in front of the sofa, a toilet with a mirror in the wall, chairs along the walls and two or three penny pictures in yellow frames depicting German young ladies with birds in your hands - that’s all the furniture. In the corner in front of a small icon a lamp was burning. Everything was very clean: both the furniture and the floors were polished; everything sparkled. “Lizaveta’s work,” thought the young man. Not a speck of dust could be found in the entire apartment.
“It’s the wicked and old widows who have such purity,” Raskolnikov continued to himself and glanced curiously at the chintz curtain in front of the door to the second, tiny room, where the old woman’s bed and chest of drawers stood and where he had never looked. The entire apartment consisted of these two rooms.
- Anything? - the old woman said sternly, entering the room and still standing right in front of him to look him straight in the face.
- I brought the deposit, here you go! - And he took out an old flat silver watch from his pocket. On the back of their tablet was a depiction of a globe. The chain was steel.
- Yes, I’ll give the old one the deadline. It's just three days since the month has passed.
– I’ll pay you another month’s interest; be patient.
“But my good will, father, is to endure or sell your thing now.”
– How much for a watch, Alena Ivanovna?
- And you walk around with trifles, father, it’s literally worth nothing. Last time I paid you two tickets for the ring, but you can buy it new from a jeweler for one and a half rubles.
“Give me four rubles, I’ll buy it, my father’s.” I'll receive the money soon.
- One and a half rubles, sir, and a percentage in advance, if you want, sir.
- One and a half rubles! – the young man screamed.
- Your will. - And the old woman handed him back the watch. The young man took them and became so angry that he wanted to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for something else.
- Let's! - he said rudely.
The old woman reached into her pocket for the keys and went into another room behind the curtains. The young man, left alone in the middle of the room, listened curiously and thought. You could hear her unlock the chest of drawers. “It must be the top drawer,” he thought. “It means she carries the keys in her right pocket.” Everything is on one bundle, in a steel ring. And there is one key there, three times larger than all of them, with a jagged beard, of course, not from the chest of drawers. Therefore, there is still some kind of box, or styling. This is interesting.
The styling has all the same keys. But how vile it all is. »
“Here, sir, father: if there is a hryvnia per month per ruble, then for one and a half rubles you will be charged fifteen kopecks, a month in advance, sir.” Yes, for the previous two rubles, you still owe twenty kopecks in advance on the same account. And in total, therefore, thirty-five. Now you only have to get fifteen kopecks for your watch. Here you get it, sir.
- How! So now the ruble is fifteen kopecks!
— What is the name of a character that carries an element of his characteristics (for example, the name of Raskolnikov, associated with the word “schism”)?
— Establish a correspondence between the characters active and mentioned in this fragment and the elements of their portraits. For each position in the first column, select the corresponding position from the second column.
“The young man took it [the watch] and became so angry that he wanted to leave; but he immediately changed his mind, remembering that there was nowhere else to go and that he had also come for something else.” What is the name of the depiction of a person’s mental life in a literary work?
— What is the name of the literary movement that flourished in the second half of the 19th century and whose principles were embodied in “Crime and Punishment”?
— In this episode, Raskolnikov expresses his thoughts several times, not uttering words out loud, but as if addressing himself. Name this way of speaking.
— On my father’s watch, which Raskolnikov brought, there was a globe depicted. What is expressive detail in a work of art called?
— Indicate the genre to which F.M.’s work belongs. Dostoevsky "Crime and Punishment".
Genre and stylistic originality of F. M. Dostoevsky’s novel “Crime and Punishment”
Dostoevsky novel crime punishment
The genre of “Crime and Punishment” (1866) is a novel in which the main place is occupied by the social and philosophical problems of contemporary Russian life for the writer. In addition, in “Crime and Punishment” one can note genre features: detective (the reader knows from the very beginning who the killer of the old pawnbroker is, but the detective intrigue remains until the end - Raskolnikov admits, will he fall into the trap of investigator Porfiry Petrovich or slip out?), everyday an essay (a detailed description of the poor quarters of St. Petersburg), a journalistic article (Raskolnikov’s article “On Crime”), spiritual writing (quotes and paraphrases from the Bible), etc.
This novel can be called social because Dostoevsky depicts the life of the inhabitants of the slums of St. Petersburg. The theme of the work is to show the inhuman conditions of existence of the poor, their hopelessness and embitterment. The idea of “Crime and Punishment” is that the writer condemns his contemporary society, which allows its citizens to live in hopeless need. Such a society is criminal: it dooms weak, defenseless people to death and at the same time gives rise to a retaliatory crime. These thoughts are expressed in Marmeladov’s confession, which he pronounces in a dirty tavern in front of Raskolnikov.
Dostoevsky shows in detail the life of poor St. Petersburg neighborhoods. He depicts Raskolnikov’s room, which looks like a closet, Sonya’s ugly apartment, and the passage room-corridor where the Marmeladov family huddles. The author describes the appearance of his poor heroes: they are dressed not just poorly, but very poorly, so that it is a shame to appear on the street. This concerns Raskolnikov when he first appears in the novel. Marmeladov, met by a beggar student in a tavern, “was dressed in a black, old, completely tattered tailcoat, with crumbling buttons.
Despite his open sympathy for these heroes, Dostoevsky does not try to embellish them. The writer shows that both Semyon Zakharovich Marmeladov and Rodion Romanovich Raskolnikov are largely to blame for their sad fate. Marmeladov is a sick alcoholic who is ready to rob even his small children for the sake of vodka. He does not hesitate to come to Sonya and ask her for the last thirty kopecks for a drink, although he knows how she earns this money.
Dostoevsky has an ambiguous attitude towards Raskolnikov. On the one hand, the writer sympathizes with the student who must earn his poor living with penniless lessons and translations. On the other hand, Dostoevsky portrays Raskolnikov’s friend, student Razumikhin: life is even more difficult for him than for the main character, since he does not have a loving mother who sends him money from her pension. At the same time, Razumikhin works hard and finds the strength to endure all adversities. He thinks little about himself, but is ready to help others, and not in the future, as Raskolnikov plans, but now.
In the novel, the social content is closely intertwined with the philosophical (ideological): Raskolnikov's philosophical theory is a direct consequence of his desperate life circumstances. An intelligent and determined man, he thinks about how to correct an unjust world. Maybe through violence? But is it possible to forcibly impose a fair society on people against their will? The philosophical theme of the novel is a discussion of the “right to blood,” that is, consideration of the “eternal” moral question: does a high goal justify criminal means? The philosophical idea of the novel is formulated as follows: no noble goal justifies murder, it is not a human matter to decide whether a person is worthy of living or unworthy. Alena Ivanovna is disgusting, starting with the above portrait and the despotic attitude towards her sister Lizaveta and ending with her usurious activities; she looks like a louse (5, IV), sucking human blood.
However, according to Dostoevsky, even such a nasty old woman cannot be killed: any person is sacred and inviolable, in this respect all people are equal. According to Christian philosophy, a person’s life and death are in the hands of God, and people are not allowed to decide this (therefore, murder and suicide are mortal sins).
From the very beginning, Dostoevsky aggravates the murder of the malicious pawnbroker with the murder of the meek, unrequited Lizaveta. So, wanting to test his capabilities as a superman and preparing to become a benefactor of all the poor and humiliated, Raskolnikov begins his noble activity by killing (!) the old woman and the holy fool, who looks like a big child, Lizaveta.
The writer’s attitude towards the “right to blood” is clarified, among other things, in Marmeladov’s monologue. Speaking about the Last Judgment, Marmeladov is confident that God will ultimately accept not only the righteous, but also degraded drunkards, insignificant people like Marmeladov: “And he will say to us: “You pigs! the image of the beast and its seal; but come too!” (...) And he will stretch out his hands to us, and we will fall... and cry... and we will understand everything! Then we will understand everything!..” (1, II).
“Crime and Punishment” is a psychological novel, since the main place in it is occupied by the description of the mental anguish of a person who committed a murder. In-depth psychologism is a characteristic feature of Dostoevsky's work. One part of the novel is devoted to the crime itself, and the remaining five parts are devoted to the emotional experiences of the killer. Therefore, the most important thing for the writer is to depict Raskolnikov’s torments of conscience and his decision to repent. A distinctive property of Dostoevsky’s psychologism is that it shows the inner world of a person “on the brink”, in a half-delusional, half-insane state, that is, the author tries to convey a painful mental state, even the subconscious of the heroes. This distinguishes Dostoevsky's novels, for example, from the psychological novels of Leo Tolstoy, where the harmonious, varied and balanced inner life of the characters is presented.
So, the novel “Crime and Punishment” is an extremely complex work of art, which closely combines pictures of Russian life contemporary to Dostoevsky (60s of the 19th century) and discussions about the “eternal” question of humanity - the “right to blood.” The writer sees the way out of the economic and spiritual crisis for Russian society in turning people to Christian values. He gives his solution to the posed moral question: under no circumstances does a person have the right to judge whether another person should live or die; the moral law does not allow “blood according to conscience.”
In Dostoevsky's novel “Crime is Punishment,” interiors are depicted in ugly, gloomy, oppressive colors. They emphasize the circumstances, the state of mind of the characters, and sometimes, on the contrary, they contrast with the characters. An example of this is the attractive portrait of Raskolnikov and the room in which he lives: miserable, reminiscent of a coffin or closet, with a low ceiling, with faded yellow wallpaper. The interior is complemented by tattered old chairs, a sofa and a small painted table.
Describing the main character's room, the writer emphasizes the desolation and lifelessness of the home, causing fear and oppression. The deadness of the room is complemented by a large layer of dust on the books and notebooks lying on the table. There is no life in this yellow room. Its owner voluntarily renounced action and society; he lies motionless in it and thinks about the hopelessness of his situation.
Dostoevsky is a subtle psychologist in describing the situation. Thus, the room of the old pawnbroker is very neat, the furniture and the floor in it shine, indicating the cleanliness that is characteristic of “evil and old widows.”
In almost all the homes of the characters in the novel, the interior testifies to the extreme poverty of their owners, and, in addition, to the unsettled life, lack of comfort and warmth. The heroes are not protected in their homes; they cannot hide in them from problems and misfortunes. It seems that even in relation to their residents, these little rooms reveal inhospitability and alienation, driving them out onto the street. In most rooms, yellow becomes the predominant tone. This life-affirming, sunny color turns in the novel into the color of lifelessness, lack of energy and positivity, the color of illness and disharmony. Dostoevsky replaces the bright rich color with a dull, dirty, blurry, dull yellow color, indicating the lifelessness of the heroes.
Interiors in the novel “Crime and Punishment” play an important role; they become not only the background of events, but also an element of the composition and ideological sound of the novel.
“Crime and Punishment” is one of the most famous and widely read novels by F.M. Dostoevsky. The novel brought him fame. Here he touches on the same theme as in the novels “The Idiot” and “The Brothers Karamazov”, the theme of sin and redemption. In most of his works, Dostoevsky talks about the degradation of Russian society and family. This novel was no exception, since it is about a poor student Raskolnikov, who kills the old pawnbroker Alena Ivanovna and her sister Lizaveta Ivanovna, killing for the highest goal, to free people from her oppression.
Since the novel contains murder planning, investigation and a judge's decision, it can be called a crime novel. But the novel also contains elements of other genres. It is considered psychological, since Raskolnikov’s inner world before and after the crime, the path to Siberia, where he is serving his sentence, is completely revealed.
Also, through the life of Raskolnikov, we can follow the life of the alcoholic Marmeladov and his family: his sick wife Katerina Ivanovna and daughter Sonya, who will sacrifice her life for the sake of the family.
In addition, there is the family of Marfa Petrovna, who, together with other characters, symbolize poverty, revealing through them the kingdom of the poor. The novel can be called social, since there is a clear division of society into rich and poor. In addition, the novel has philosophical tendencies, since it tells the story of a murder committed for ethical reasons, in which Raskolnikov passionately believes.
He created the idea of extraordinary people who have a greater right to break laws in order to achieve the highest goal that will help humanity. The novel consists of 6 parts and an epilogue. The murder and the killer are presented in the first part, the investigation and internal battles of Raskolnikov in subsequent parts.
Genre: novel
Subject: Raskolnikov is tormented by the idea of justice, and he will understand this as soon as he kills Alena Ivanovna, the old pawnbroker, making the poor happier with their money. After the murder, his conscience does not allow him to live in peace.
Place: Russia
Time: 19th century
Crime and punishment retelling
The time span of the plot is only 9 and a half days, the action takes place in St. Petersburg, Russia. Everything takes place in the 19th century. The story unfolds around a young, poor law student, Rodion Raskolnikov. He misses more and more lectures, and absorbs more and more ideas from Western Europe.
Raskolnikov believes that humanity is divided into two parts. Ordinary mortals who must live in harmony with the laws and exceptions, such as Napoleon, who can commit any crime if in return they can offer something more valuable to humanity.
Raskolnikov decides to implement his ideas in life by killing Alena Ivanovna. She was an old, greedy pawnbroker; by killing her, at least more than a thousand people would be saved. With her disappearance, many would be simply happy, for example, her sister Lizaveta Ivanovna, who suffers from the harassment of her older sister. At first, Raskolnikov pushes these thoughts away from himself, although he had already decided to develop a murder plan for himself, but was not entirely sure that he would be able to pull off this plan.
He depends on many small details that incite him to commit crimes, such as letters from his mother. Conversations with Marmeladov, meeting with Sonya. His mother wrote that the only way to save her sister from Svidrigailov was to marry her to Luzhin. The money and position that she can get will help Raskolnikov graduate from law school. He was not able to accept such a sacrifice from his sister, and the sad Sonya also plunges him into even greater depression. In the end, he finds out that the old pawnbroker is left alone at about 7 o'clock.
After an internal struggle, he comes to Alena’s apartment. Kills an old, greedy woman. But things become more complicated as Lizaveta unexpectedly appears. Raskolnikov had to kill her too.
He begins to panic because he does not know what to take with him at this moment. He grabs a few things and runs away. After the murder, he falls ill and spends several days in a semi-conscious state. Razumikhin, his friend, takes care of him. While Raskolnikov is sick and lying in bed, Luzhin, his sister's rich fiancé, visits him.
In fact, Luzhin is looking for a poor and useful woman who will be grateful to him for the rest of her life. He wants to find someone who will serve him and remain faithful always. Raskolnikov asks him to leave, because he is against the superiority that he demonstrates towards his sister.
When Raskolnikov gets better, he gets out of bed and decides to go out and read the newspapers. He wants to find out the description of the crime from the newspapers. He comes close to telling the cop everything and makes himself suspect number one as he returns to the crime scene.
Raskolnikov is surrounded by terrible things. He witnessed the death of Marmeladov. He is hit by a cart when he tries to cross the road drunk. Raskolnikov wants to help by giving money to the widow.
He finds Dunya's sister and mother in his room. They are preparing for the wedding, but Raskolnikov is against this marriage. He doesn't want his sister to marry such a pathetic and terrible man. Also Svidrigailov, Dunya's ex-employer, whose wife died a suspicious death, comes to the city.
Dunya hired herself to work for him as a nanny, and Svidrigailov wanted to seduce her. He asks Raskolnikov to arrange a meeting for him with Dunya, and even offers a lot of money, but Dunya and Raskolnikov come to the conclusion that a connection with such a suspicious person would be out of the ordinary.
While the plot turns towards the lovers Razumikhin and Dunya, Raskolnikov asks the police to come and take away the watch that he pawned to Alena. He is put in an awkward position because Porfiry Petrovich asks a tricky question. The plot suddenly takes an unexpected turn when the artist Nikoy confesses to the crime.
Now he can be happy and free from accusations, but Raskolnikov’s conscience does not give him peace. He wants to confess to the murder.
He comes to Marmeladov’s daughter Sonya. Since her family is now in even greater distress, she has no choice but to turn to prostitution to support her family.
Despite her job, she is a woman of high morals, and is very religious. She advised Raskolnikov to confess and repent for his crimes. He soon learns that Nikolai confessed only because he was a religious fanatic, believing that he could atone for his sins by taking on others.
The story takes a turn when Svidrigailov overhears a conversation between Raskolnikov and Sonya, in which he confesses to the murder of Alena. Since he receives valuable information, he decides to use it to blackmail Dunya. Dunya rejects and shoots him. The bullet only scratches him, but then he takes the gun and kills himself.
Svidrigailov leaves all the money to Duna, Sonya and Marmeladov’s children. So he decided to do one good thing by undoing his bad life.
In the end, Raskolnikov admits to what he did. He is sentenced to eight years in Siberia. Sonya decides to join him and next to her he goes through spiritual renewal.
Characters: Rodion Raskolnikov, Marmeladov, Katerina Ivanovna, Alena Ivanovna, Lizaveta, Sonya, Dunya, Porfiry, Svidrigailov, Pulcheria Aleksandrovna Raskolnikova, Razumikhin, Luzhin...
Character Analysis
Rodion Raskolnikov- the main character of the novel. He is tall and has dark eyes. Forced to live in a small room in St. Petersburg, which reminds him of a coffin, where the streets are dirty with waste. He is described as a law student with a sensitive character, representing both a criminal and a righteous man.
One of the starting points of a crime novel is the motive of the crime.
(revenge, passion, mental imbalance...) The hero enjoys moments when he feels in control of the situation. Raskolnikov is a more complex character than an ordinary criminal. He wants to prove his point by committing murder, and for him the crime is nothing more than a moral decision, since he kills the fearful pawnbroker who is harassing other people. In this way he tested his moral and mental strength.
The protagonist thinks that if he is able to kill the reptile who has been the cause of pain in society, then he clearly belongs to the chosen ones, the driving force that will be perceived as the creation of history.
A person can take someone's life only for a higher purpose. The main character wants to help the Marmeladov family. He doesn't think about the profit from killing.
He fell ill in Siberia, and his ego was also hurt. He did not suffer, accepting life broadly, but not being able to achieve the highest goal. And only love could cure him; Sonya forces him to read the Gospel. The Christian way of thinking overcomes his mind and he becomes a different person
Alena Ivanovna- an old, greedy pawnbroker who is killed by Raskolnikov. He wanted to kill her with good intentions for humanity.
Marmeladov– an alcoholic whose family lives in poverty. He is a true example of life, becomes unhappy due to sad events, and becomes a victim of his vice
Sonya– Marmeladov’s daughter becomes a prostitute to feed her family. She helps Raskolnikov change.
Dunya– Raskolnikov’s sister, is described as a person capable of doing something for her family. She was even ready to get married for money.
Fyodor Dostoevsky biography
Fyodor Mikhailovich Dostoevsky (1821 – 1881) Russian novelist, side by side with Tolstoy, one of the best writers of Russian realism. He lived a difficult life in poverty and suffered from epilepsy. He suffered a death sentence, a Siberian prison and the death of loved ones.
To please his father, he entered the military academy in January 1838, when he was 16 years old. He never liked studying there. He began writing at the age of 20, and in May 1845 he wrote his first novel, Poor People.
A big turn in life was his participation in the utopian idea of a socialist society, because of which he was sentenced to death in 1849. But he was saved by hard labor in Siberia, where he spent 10 years.
Early in his career he followed in Gogol's footsteps and introduced some ideas of social policy. After serving his sentence, described in the work “Notes from Underground” in 1861, he not only abandoned the path of revolution, but also condemned this idea (the novel “Demons” from 1871 - 1872) and plunged deeply into the world of mysticism and the Orthodox Church.
Dostoevsky worked as a journalist. He began traveling around Western Europe, where he became a gambler, which led to financial difficulties. For some time he borrowed money, but in the end, he became one of the most read Russian writers.
His books have been translated into more than 170 languages. His main novels are “Crime and Punishment”, “Poor People”, “Notes from Underground”, “The Idiot” and “The Brothers Karamazov”.
He died in January 1881 from pulmonary hemorrhage.
