The first dream is an excerpt from childhood. Rodion is only seven years old. He goes with his father to church (the way of the cross) twice a year. The road passes by a tavern, personifying dirt, drunkenness and debauchery. Passing by the tavern, Raskolnikov saw several drunken men beating the “old horse” (“But the poor horse is bad. She is choking, stops, twitches again, almost falls”). As a result, the horse is killed and everyone except Rodion and the old man standing in the crowd do not try to stop the drunken men. In this dream, Raskolnikov sees the injustice of the world. The unjust abuse of an animal strengthens his conviction that his theory is correct. Raskolnikov understands that the world is cruel. Putting an impossible task before the horse, she was killed for not following the order. As Mikolka kills his horse (“my goodness, I do what I want ...”), so Raskolnikov kills the old woman mercilessly (“am I a trembling creature or have the right”).

Raskolnikov sees the second dream after the murder of the old woman and her sister. It seems to me that this is no longer a dream, but a game of the imagination, although you can also see the symbolism of the work in it. The main character dreams that Ilya Petrovich beats the hostess. (“He kicks her, bangs her head on the stairs…”). For Raskolnikov, this is a shock. He could not even think that people could be so cruel (“He could not imagine such atrocity, such frenzy” “But why, why, and how is this possible!”). Probably Raskolnikov is subconsciously trying to justify his act, thinking that he is not the only one so cruel.

In the third dream, Raskolnikov is lured into the old woman's apartment. He finds her sitting on a chair and tries to kill her again, but she only “bursts with laughter” in response to attempts to kill her (“Raskolnikov looked into her face from below, looked and turned dead: the old woman sat and laughed, and burst into quiet, with an inaudible laugh, bracing himself with all his strength so that he would not hear her. It turns out an absurd situation: Raskolnikov is tormented by conscience, and he again tries to kill the old woman, but he fails. Then people appear who begin to laugh at Raskolnikov. In fact, they laugh at Raskolnikov's theory. She crashed. Everything secret once becomes clear, and the act of the protagonist is no exception. Raskolnikov begins to realize that the murder of the old woman and sister did not make him Napoleon.

Raskolnikov has a fourth dream in the epilogue of the novel. He is in the hospital. It's Holy Week. It seems to me that this dream shows that Raskolnikov realized the failure of his theory. Dostoevsky dreamed of a world in which everyone became "Raskolnikov". Everyone was seized with confidence in their rightness - the correctness of their theory ("... smart and unshakable in the truth"). Our world began to live according to the laws of Raskolnikov's theory, everyone began to consider themselves "Napoleons" ("As if the whole world was condemned to the sacrifice of some terrible, unheard of and unprecedented pestilence"). Raskolnikov, seeing all this, realizes the failure of his theory. After this dream, he starts a new life. He was worried about Sonya, who was in the hospital, began to notice everything that surrounded him (“There, in the boundless steppe drenched in the sun, nomadic yurts blackened with barely noticeable dots. There was freedom, and other people lived, completely different from the local ones, there, as it were, time itself stopped, as if the centuries of Abraham and his flocks had not yet passed.

It is also interesting to consider Svidrigailov's dream about the girl whom he found and warmed and who laughed so slyly and invitingly. This girl, who is only 5 years old, is the embodiment of Petersburg corruption of morals, where even children, who have long been considered the purest creatures on earth, indulged in such vulgarity and baseness that even Svidrigailov was horrified: “How! five year old! this... what is this? This dream can also characterize Svidrigailov as a person who is not able to be reborn: he wanted to admire the child's innocent dream, looking under the covers, but he saw a depraved and impudent smile.

Many Russian writers, both before and after Dostoevsky, used dreams as an artistic device, but it is unlikely that any of them could describe the psychological state of the hero so deeply, subtly and vividly through the depiction of his dream. Dreams in the novel have different content, mood and artistic microfunction (function in a given episode of the work), but the general purpose of the artistic means used by Dostoevsky in the novel is the same: the most complete disclosure of the main idea of ​​the work - the refutation of the theory that kills a person in a person when this person realizes possibility of killing another person.

In part 4 of the novel, ch. 4, Sonya says to Raskolnikov: “Come now, this very minute, stand at the crossroads, bow down, first kiss the earth that you defiled, and then bow to the whole world, on all four sides, and tell everyone out loud: “I killed!” What is the symbolism of these gestures Indicate 5-6 more symbolic details in the novel.

Sonya offers to repent, in a Christian way, to repent before all the people .... But this is a way out for the sinful soul of Raskolnikov. At least he did not go to the people to repent. and went to the station with a frank confession.

Body cross. At the moment when the pawnbroker was overtaken by her godfather
suffering, around her neck, along with a tightly stuffed purse, hung "Sonin
scapular", "Lizavetin's Copper Cross and Cypress Cross".
Raskolnikov's cypress cross means not just suffering, but the Crucifixion. Such symbolic details in the novel are the icon, the Gospel.
Religious symbolism is also noticeable in proper names: Sonya
(Sofia), Raskolnikov (schism), Capernaumov (the city in which Christ
worked miracles) Marfa Petrovna (the parable of Martha and Mary), in numbers: "thirty rubles", "thirty kopecks", Number 7. The novel has 7 parts: 6 parts and an epilogue. The fatal time for Raskolnikov is 7 pm. The number 7 literally haunts Raskolnikov. Theologians call the number 7 a truly holy number, since the number 7 is a combination of the number 3, symbolizing divine perfection (Holy Trinity) and the number 4, the number of the world order. Therefore, the number 7 is a symbol of the "union" of God and man. Therefore, by “sending” Raskolnikov to murder precisely at 7 pm, Dostoevsky dooms him to defeat in advance, because he breaks this union. Number 4 "Stand at the crossroads, bow to the whole world on all four sides." The reading about Lazar takes place four days after Raskolnikov's crime, i.e. four days after his moral death. In the house of Marmeladov through the eyes of Raskolnikov, the reader sees horrific poverty. Children's things are scattered around the dwelling, a sheet with holes in it is stretched across the room, two chairs, a peeled sofa and an old kitchen table, covered with nothing and never painted, serve as pieces of furniture. Lighting is the stub of a candle, which symbolizes death, the breakup of a family. Stairs in the novel have the same unsightly appearance, they are cramped and dirty. Researcher Bakhtin M. M. notes that the whole life of the heroes of the novel takes place on the stairs, in plain sight. Raskolnikov is talking to Sonya at the door, so that Svidrigailov hears the whole conversation. Neighbors, huddled near the door, witness the death throes of Marmeladov, the despair of Katerina Ivanovna and the death of her husband. On the way home, a priest rises up the stairs towards Raskolnikov. The decor of Svidrigailov's hotel room, where he spends his last night on the eve of his suicide, is also filled with symbolic meaning. The room is like a cage, the walls are like nailed together boards, which makes readers think of a coffin, hinting at upcoming events.

... He forgot; it seemed strange to him that he did not remember how he could have found himself on the street. It was already late evening. Twilight deepened, the full moon brightened brighter and brighter; but somehow it was especially stuffy in the air. People crowded through the streets; artisans and busy people went home, others walked; it smelled of lime, dust, stagnant water. Raskolnikov walked sad and preoccupied: he remembered very well that he left the house with some intention, that he had to do something and hurry, but he forgot exactly what. Suddenly he stopped and saw that on the other side of the street, on the sidewalk, a man was standing and waving his hand. He went to him across the street, but suddenly this man turned and walked as if nothing had happened, head down, not turning around and not giving the appearance that he was calling him. “Come on, did he call?” thought Raskolnikov, but he began to catch up. Before reaching ten paces, he suddenly recognized him and was frightened; he was the old tradesman, in the same dressing gown and just as hunched over. Raskolnikov walked afar off; his heart was beating; turned into an alley - he still did not turn around. "Does he know I'm following him?" thought Raskolnikov. The tradesman entered the gates of a large house. Raskolnikov hurried up to the gate and began to look: would he look around and call him? In fact, having gone through the whole doorway and already going out into the yard, he suddenly turned around and again, as if he waved to him. Raskolnikov immediately went through the gateway, but the tradesman was no longer in the yard. Therefore, he entered here now on the first staircase. Raskolnikov rushed after him. In fact, someone else's measured, unhurried footsteps were still heard two stairs up. Strange, the stairs seemed to be familiar! There is a window on the first floor; the moonlight passed sadly and mysteriously through the glass; here is the second floor. Ba! This is the same apartment in which the workers smeared ... How did he not find out right away? The footsteps of the person walking in front of him fell silent: therefore, he stopped or hid somewhere. Here is the third floor; whether to go further? And what a silence there, even scary ... But he went. The noise of his own footsteps frightened and disturbed him. God, how dark! The tradesman must have been lurking in a corner somewhere. A! the apartment is wide open to the stairs; he thought and entered. In the hall it was very dark and empty, not a soul, as if everything had been carried out; quietly, on tiptoe, he went into the drawing-room: the whole room was brightly bathed in moonlight; everything is the same here: chairs, a mirror, a yellow sofa and framed pictures. A huge, round, copper-red moon looked straight out the windows. “It’s been such a silence since the month,” thought Raskolnikov, “it’s true that now he is guessing a riddle.” He stood and waited, waited for a long time, and the quieter the month was, the stronger his heart beat, it even became painful. And all is silence. Suddenly there was an instant dry crack, as if a splinter had been broken, and everything again froze. The awakened fly suddenly hit the glass from a raid and buzzed plaintively. At that very moment, and in the corner, between the small cupboard and the window, he saw what seemed to be a cloak hanging on the wall. “Why is the salop here? - he thought, - after all, he was not there before ... ”He approached slowly and guessed that it was as if someone was hiding behind the coat. He cautiously moved the coat away with his hand and saw that there was a chair standing there, and an old woman was sitting on a chair in the corner, all hunched over and bowing her head, so that he could not make out the face, but it was her. He stood over her: "Afraid!" - he thought, quietly released the ax from the noose and hit the old woman on the top of the head, once and twice. But strange: she did not even move from the blows, like a wooden one. He was frightened, leaned closer and began to examine her; but she bowed her head even lower. He then bent down completely to the floor and looked into her face from below, looked and became dead: the old woman was sitting and laughing - she burst into quiet, inaudible laughter, trying with all her might so that he would not hear her. Suddenly it seemed to him that the door from the bedroom opened a little, and that there, too, it was as if they were laughing and whispering. Fury overcame him: with all his strength he began to beat the old woman on the head, but with each blow of the ax the laughter and whispers from the bedroom were heard louder and louder, and the old woman swayed all over with laughter. He rushed to run, but the whole hallway was already full of people, the doors on the stairs were wide open, and on the landing, on the stairs and down there - all people, head with head, everyone was watching - but everyone was hiding and waiting, silent ... His heart was embarrassed, his legs do not move, they are rooted ... He wanted to scream and - woke up.

Crime and Punishment. 1969 feature film 1 episode

F. M. Dostoevsky "Crime and Punishment", part 3, chapter VI. Read also articles:

... He lay in the hospital for the entire end of the fast and the Holy. Already recovering, he remembered his dreams when he was still lying in a fever and delirium. In his illness, he dreamed that the whole world was condemned to the sacrifice of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe. All were to perish, except for a few, very few, chosen ones. Some new trichinas appeared, microscopic creatures that inhabited the bodies of people. But these beings were spirits endowed with mind and will. People who took them into themselves immediately became demon-possessed and crazy. But never, never did people consider themselves as smart and unshakable in the truth as the infected thought. They never considered their judgments, their scientific conclusions, their moral convictions and beliefs more unshakable. Entire villages, entire cities and nations were infected and went mad. Everyone was in anxiety and did not understand each other, everyone thought that the truth was in him alone, and he was tormented, looking at others, he beat his chest, wept and wringed his hands. They did not know whom and how to judge, they could not agree what to consider evil, what good. They didn't know who to blame, who to justify. People were killing each other in some senseless malice. Whole armies gathered at each other, but the armies, already on the march, suddenly began to torment themselves, the ranks were upset, the soldiers rushed at each other, stabbed and cut, bit and ate each other. In the cities, the alarm was sounded all day: everyone was summoned, but no one knew who was calling and for what, and everyone was in alarm. They left the most ordinary crafts, because everyone offered his thoughts, his own amendments, and could not agree; agriculture stopped. In some places, people ran into heaps, agreed to do something together, swore not to part, but immediately began something completely different from what they themselves immediately assumed, began to accuse each other, fought and cut themselves. Fires started, hunger began. Everyone and everything died. The ulcer grew and moved further and further. Only a few people could be saved all over the world, they were pure and chosen, destined to start a new kind of people and a new life, renew and cleanse the earth, but no one saw these people anywhere, no one heard their words and voices.

Raskolnikov was tormented by the fact that this senseless delirium echoes so sadly and so painfully in his memoirs that the impression of these feverish dreams does not pass for so long ...

F. M. Dostoevsky "Crime and Punishment", epilogue, chapter II. Read also the articles: Raskolnikov's first dream (about a downtrodden nag), Raskolnikov's second dream (about a laughing old woman) and a summary of Crime and Punishment.

He dreamed in his illness, as if the whole world was condemned to the sacrifice of some terrible, unheard of and unprecedented pestilence - Some new trichines appeared ...- At the end of 1865 - beginning of 1866, disturbing reports were published in Russian newspapers about creatures unknown at that time to medicine - trichines and about the epidemic disease caused by them. A brochure was urgently published: Rudnev M. About Trichins in Russia. Unresolved issues of trichin disease. SPb., 1866.

In the composition of the novel by F.M. Dostoevsky's "Crime and Punishment", Raskolnikov's dreams occupy the most important place, being an integral part of the construction of the work. Dreams in the novel are a reflection of the inner world of the hero, his ideas, theories, thoughts hidden from his consciousness. This is an important component of the novel, which gives the reader the opportunity to penetrate into the inner world of Raskolnikov, to understand the very essence of his soul.

Dreams in psychology

The study of a person's personality is a very delicate science, balancing between precise attitudes and philosophical conclusions. Psychology often operates with such mysterious and ambiguous categories as "consciousness", "unconscious", "psyche". Here, to explain the actions of a person, his inner world, sometimes hidden even from the patient himself, is dominant. He drives his immoral thoughts and feelings deep inside, ashamed to admit them not only to others, but even to himself. This causes mental imbalance, contributes to the development of neuroses and hysteria.

To unravel the state of a person, the true causes of his moral suffering, psychologists often use hypnosis or solving dreams. It is a dream in psychology that is an expression of the unconscious in the human psyche, his repressed "I".

Sleep as a method of psychoanalysis in the novel

Dostoevsky is a very subtle psychologist. He seems to turn the souls of his characters inside out in front of the reader. But he does this not explicitly, but gradually, as if painting a picture in front of the viewer, in which everyone should see special patterns. In the work "Crime and Punishment" a dream is a way of revealing Raskolnikov's inner world, his experiences, emotions and thoughts. Therefore, it is so important to determine the content of Raskolnikov's dreams, their semantic load. It is also necessary in order to understand both the novel itself and the personality of the hero.

Church and bar

During the entire work, Rodion Romanovich dreams five times. More precisely, three dreams and two semi-delusions occurring on the verge of consciousness and unreality. Raskolnikov's dreams, the brief content of which allows you to catch the deep meaning of the work, allow the reader to feel the internal contradictions of the hero, his "heavy thoughts". This happens in the case of the first dream, in which the hero's internal struggle is going on to some extent. This is a very important point. This is a dream before the murder of an old pawnbroker. It needs to be focused on. This is a system-forming episode, from which, like a stone thrown into the water, waves diverge on each page of the novel.

Raskolnikov's first dream is the product of a morbid imagination. He sees him in his "room" after he met a drunk girl on the boulevard. The dream brings Rodion back to his distant childhood, when he lived in his hometown. Life there is so simple, ordinary and boring that even on holidays nothing can dilute the “gray time”. Moreover, Raskolnikov's dream was portrayed by Dostoevsky in gloomy, repulsive tones. The contrast is created only by the green dome of the church and the red and blue shirts that belong to drunken men.

In this dream, there are two places that are in opposition to each other: a tavern and a church in a cemetery. The church in the cemetery is a certain symbol: as a person begins his life in the church, so he ends it there. And the tavern, in turn, is associated by Rodion with malice, meanness, ossification, drunkenness, filth and depravity of its inhabitants. The fun of the inhabitants of the tavern, both in those around them and in the smallest Rodi, causes only fear and disgust.

And these two centers - a tavern and a church - are not accidentally located at a short distance from each other. By this, Dostoevsky wants to say that a person, no matter how disgusting he may be, can at any moment stop his low life and turn to the all-forgiving God. To do this, you just need to start a new, “clean” life, a life without sins.

Old childhood nightmare

Let us now turn not to the symbols of this dream, but to Rodion himself, who in a dream plunged into the world of his childhood. He relives a nightmare he witnessed in early childhood: Rodion, together with his father, goes to the cemetery to visit the grave of his little brother, who died at the age of 6 months. And their path ran through a tavern. At the tavern stood a draft horse, which was harnessed to a cart. The drunken owner of the horse came out of the tavern and began to invite his friends for a ride on the cart. When the old horse did not budge, Mikola began whipping it with a whip, which he then exchanged for a crowbar. After several blows, the horse dies, and Rodion, seeing this, rushes at him with his fists.

Analysis of the first dream

It is this dream in the novel "Crime and Punishment" that is the most important component of the entire novel. It allows readers to see the murder for the first time. Only the murder is not conceived, but real. The first dream contains a meaning that carries a huge semantic and symbolic load. It clearly demonstrates where the hero developed a sense of injustice. This feeling is the product of the quest and mental suffering of Rodion.

Only one in the work "Crime and Punishment" Raskolnikov's dream is a thousand-year experience of oppression and enslavement of each other by people. It reflects the cruelty that governs the world, and an incomparable longing for justice and humanity. This idea with amazing skill and clarity F.M. Dostoevsky was able to show in such a short episode.

Raskolnikov's second dream

Interestingly, after Raskolnikov saw the first dream, he no longer sees dreams for a long time, except for the vision that visited him before the murder - a desert in which there is an oasis with blue water (this is a symbol: blue is the color of hope, the color of purity). The fact that Raskolnikov decides to drink from the source suggests that all is not lost. He can still give up his “experience”, avoid this terrible experiment, which should confirm his extravagant theory that the murder of a “harmful” (bad, vile) person will certainly bring relief to society and make the life of good people better.

On the edge of the unconscious

In a feverish fit, when the hero does not think much because of delirium, Raskolnikov sees how Ilya Petrovich allegedly beats the owner of his apartment. It is impossible to single out this episode, which took place in the second part of the novel, as a separate dream, since it is more “delusions and auditory hallucinations”. Although this to some extent suggests that the hero anticipates that he will be a "renegade", "outcast", i.e. subconsciously knows that he will be punished. But also, perhaps, this is a game of the subconscious, which speaks of the desire to destroy another “trembling creature” (the landlady), who, like the old pawnbroker, is not worthy, according to his theory, to live.

Description of Raskolnikov's next dream

In the third part of the work, Rodion, who has already dealt with Alena Ivanovna (also killing the innocent Lizaveta Ivanovna at the same time), has another dream, gradually turning into delirium. Raskolnikov's next dream is similar to the first. This is a nightmare: the old pawnbroker is alive in her dream, and she responds to Raskolnikov's fruitless attempts to kill herself with laughter, laughter "ominous and unpleasant." Raskolnikov tries to kill her again, but the hubbub of the crowd, which is clearly unfriendly and vicious, does not allow him to do the job. Dostoevsky thus shows the torment and throwing of the protagonist.

Psychoanalysis of the author

This dream fully reflects the state of the hero, who was "broken", as his experiment showed him that he was not able to step over people's lives. The laughter of the old woman is a laugh at the fact that Raskolnikov turned out to be not a "Napoleon", who can easily juggle human destinies, but an insignificant and ridiculous person. This is a kind of triumph of evil over Raskolnikov, who failed to destroy his conscience. Purely compositionally, this dream is a continuation and development of Raskolnikov's reflections on his theory, according to which he divided people into "trembling creatures" and those who "have the right." This inability to step over a person will lead Rodion to the line, to the possibility of "reborn from the ashes" in the future.

last dream

Raskolnikov's last dream in the novel "Crime and Punishment" is another kind of half-asleep-half-delusion in which one must look for hope for the possibility of the hero's rebirth. This dream saves Rodion from the doubts and searches that tormented him all the time after the murder. Raskolnikov's last dream is a world that must disappear due to illness. As if there are spirits in this world who are endowed with a mind, who have a will that can subjugate people, making them puppets, possessed and crazy. Moreover, the puppets themselves, after infection, consider themselves truly smart and unshakable. Infected people kill each other like spiders in a jar. After the third nightmare, Rodion is healed. He becomes morally, physically and psychologically free, healed. And he is ready to follow the advice of Porfiry Petrovich, ready to become the "sun". He is thus approaching the threshold beyond which lies a new life.

In this dream, Raskolnikov looks at his theory with completely different eyes, now he sees that it is inhuman, and regards it as dangerous for the human race, for all of humanity.

Healing

Thus, Raskolnikov rethought his whole life, drastically changing his worldview. The main achievement of Raskolnikov is his rejection of an untenable theory. His victory is that he was able to free himself from delusions. The hero gradually approached spiritual and moral perfection, i.e. passed the path, although difficult, painful and filled with suffering, but still purifying and spiritually regenerating. It is suffering in Dostoevsky that is the path to true happiness.

Final chord

The article outlined Raskolnikov's dreams briefly and concisely, but as accurately as possible, without losing important points. These dreams are very important in the content of the work. They, like a thread, connect the events in the novel. It is the descriptions of dreams that contribute to the fact that the reader concentrates to the utmost on the plot twists and turns, on the system of images that the author introduces. The hero's daydreams prepare the reader for subsequent scenes and are of great importance for understanding the basic ideas of the novel. They are also significant for the work in artistic and visual terms.

In addition, dreams are very important in that they help determine the psychological state of Rodion, his feelings and emotions. The author, through the dreams of the protagonist, conducts an important psychological analysis. Raskolnikov's dream, in which he sees himself as a child, allows us to understand his spiritual well-being. He then tried to balance his distaste for killing a horse with the feeling of actually killing him, which he planned. Perhaps, if he had listened to his feelings, he could have avoided the internal split, which became a terrible tragedy for him. In addition, the first dream clearly makes it clear to the reader that Raskolnikov is not a lost person, that compassion and a desire to protect the weak are inherent in him. This allows you to look at the "despicable killer" from a different angle.

Dreams in the novel have their separate functions and moods in each specific episode of the novel, but their general purpose is unchanged. The meaning of Raskolnikov's dreams is to reveal the main idea of ​​the work. The idea that tells us that every person is a value cannot be divided into "lice" and "useful". An idea that shows that no one "has the right" to decide human destinies. An idea that testifies to how heavy the pangs of conscience are.

Many writers used dreams in their works, but few were able to achieve what F.M. Dostoevsky. The way he subtly, deeply and at the same time vividly described the psychological state of the character with the help of a dream amazes not only the layman, but also true connoisseurs of literature.

/ RASKOLNIKOV'S DREAMS

RASKOLNIKOV'S DREAMS

In his novels, Dostoevsky reveals the complex processes of the characters' inner life, their feelings, emotions, secret desires and fears. In this aspect, the dreams of the characters are especially important. However, Dostoevsky's dreams often have a plot-forming meaning.

Let's try to analyze the dreams and dreams of Raskolnikov in the novel Crime and Punishment. The hero sees his first dream on Petrovsky Island. In this dream, Rodion's childhood comes to life again: together with his father on a holiday, he goes out of town. Here they see a terrible picture: a young man, Mikolka, leaving the tavern, with all his might whips his “skinny ... ugly nag”, which is not strong enough to carry an unbearable cart, and then finishes it off with an iron crowbar. The pure childish nature of Rodion protests against violence: with a cry he rushes to the downtrodden savraska and kisses her dead, bloody muzzle. And then he jumps up and rushes with his fists at Mikolka. Raskolnikov experiences here a whole range of very different feelings: horror, fear, pity for the unfortunate horse, anger and hatred for Mikolka. This dream shocks Rodion so much that, upon waking up, he renounces "his damned dream." Such is the meaning of the dream directly in the external action of the novel. However, the meaning of this dream is much deeper and more significant. Firstly, this dream anticipates future events: the red shirts of drunken men; Mikolka's red, "like a carrot" face; a woman "in kumach"; an ax that can immediately end the unfortunate nag - all this predetermines future murders, hinting that blood will still be shed. Secondly, this dream reflects the painful duality of the hero's consciousness. If we remember that a dream is an expression of a person’s subconscious desires and fears, it turns out that Raskolnikov, fearing his own desires, still wanted the unfortunate horse to be beaten to death. It turns out that in this dream the hero feels himself both Mikolka and a child, whose pure, kind soul does not accept cruelty and violence. This duality, the inconsistency of Raskolnikov's nature in the novel, is subtly noticed by Razumikhin. In a conversation with Pulcheria Aleksandrovna, Razumikhin notes that Rodion is “gloomy, gloomy, arrogant and proud”, “cold and insensitive to the point of inhumanity”, and at the same time “generous and kind”. “It’s as if two opposite characters alternate in him,” exclaims Razumikhin. Two opposite images from his dream - a tavern and a church - testify to the painful split of Raskolnikov. A tavern is what destroys people, it is the focus of depravity, recklessness, evil, this is the place where a person often loses his human appearance. The tavern always made an “unpleasant impression” on Rodion, there was always a crowd, “so they shouted, laughed, swore ... ugly and hoarsely sang and fought; such drunken and terrible faces always wandered around the tavern. The tavern is a symbol of depravity and evil. The church in this dream personifies the best that is in human nature. It is characteristic that little Rodion loved the church, twice a year he went with his father and mother to mass. He liked the old images and the old priest, he knew that funeral services were served here for his dead grandmother. The tavern and the church here, thus, metaphorically represent the main landmarks of a person in life. It is characteristic that in this dream Raskolnikov does not reach the church, does not fall into it, which is also very significant. He is delayed by the scene near the tavern.

Significant here is the image of a skinny peasant savra woman, who cannot withstand an unbearable burden. This unfortunate horse is a symbol of the unbearable suffering of all the “humiliated and insulted” in the novel, a symbol of Raskolnikov’s hopelessness and impasse, a symbol of the Marmeladov family’s disasters, a symbol of Sonya’s position. Katerina Ivanovna’s bitter exclamation before her death echoes this episode from the hero’s dream: “They left the nag! Broke it!”.

Significant in this dream is the image of the long-dead father Raskolnikov. The father wants to take Rodion away from the tavern, does not tell him to look at the violence being committed. The father here seems to be trying to warn the hero from his fatal act. Recalling the grief that befell their family when Rodion's brother died, Raskolnikov's father leads him to the cemetery, to the grave of the deceased brother, towards the church. This is, in our opinion, the function of Raskolnikov's father in this dream.

In addition, we note the plot-forming role of this dream. It appears as “a kind of core of the whole novel, its central event. Concentrating in itself the energy and strength of all future events, the dream has a formative significance for other storylines, “predicts” them (the dream is in the present tense, speaks of the past and predicts the future murder of an old woman). The most complete representation of the main roles and functions (“victim”, “tormentor” and “compassionate” in the terminology of Dostoevsky himself) sets the dream of killing a horse as a plot core subject to textual deployment,” G, Amelin and I. A. Pilshchikov note. Indeed, threads from this dream stretch throughout the novel. Researchers single out character “troikas” in the work, corresponding to the roles of “tormentor”, “victim” and “compassionate”. In the hero’s dream, this is “Mikolka - the horse - Raskolnikov the child”, in real life it is “Raskolnikov - the old woman - Sonya”. However, in the third "troika" the hero himself acts as a victim. This "troika" - "Raskolnikov - Porfiry Petrovich - Mikolka Dementiev." In the development of all plot situations, the same motives sound here. The researchers note that in all three plots, the same textual formula begins to unfold - "baffle" and "butt on the crown." So, in Raskolnikov's dream, Mikolka "bashes his poor horse in a big way" with a crowbar. About the same way the hero kills Alena Ivanovna. “The blow fell on the very top of the head ...”, “Here he hit with all his might once and again, all with the butt and all at the crown.” The same expressions are used by Porfiry in a conversation with Rodion. “Well, who, tell me, of all the defendants, even of the most meager peasant, does not know that, for example, they will first begin to lull him with extraneous questions (as your happy expression), and then suddenly they will be taken aback in the very crown, with a butt- s…” the investigator notes. In another place we read: “On the contrary, I should have distracted you, that way, in the opposite direction, and all of a sudden, like a butt on the crown of the head (in your own expression), and stunned:“ And what, they say, sir, did you deign in the apartment of the murdered to do at ten o'clock in the evening, and almost even at eleven?

In addition to dreams, the novel describes three visions of Raskolnikov, his three "dreams". Before committing a crime, he sees himself "in some kind of oasis." The caravan is resting, the camels are lying peacefully, magnificent palm trees are all around. A stream gurgles nearby, and “wonderful, such wonderful blue water, cold, runs over multi-colored stones and such clean sand with golden sparkles ...” And in these dreams, the hero’s painful duality of consciousness is again indicated. As B.S. Kondratiev, the camel here is a symbol of humility (Raskolnikov resigned himself, renounced his "cursed dream" after the first dream), but the palm tree is "the main symbol of triumph and victory", Egypt is the place where Napoleon forgets the army. Having renounced his plans in reality, the hero returns to them in a dream, feeling like a victorious Napoleon.

The second vision visits Raskolnikov after his crime. As if in reality, he hears how the quarter warden Ilya Petrovich terribly beats his (Raskolnikov) landlady. This vision reveals Raskolnikov's hidden desire to harm the landlady, the feeling of hatred, the hero's aggression towards her. It was thanks to the landlady that he ended up in the station, had to explain himself to the assistant quarter warden, experiencing a mortal sense of fear and almost not controlling himself. But Raskolnikov's vision also has a deeper, philosophical aspect. This is a reflection of the hero's agonizing state after the murder of the old woman and Lizaveta, a reflection of his feeling of alienation from his past, from "former thoughts", "former tasks", "former impressions". The landlady here, obviously, is a symbol of Raskolnikov's past life, a symbol of what he loved so much (the story of the relationship between the hero and the landlady's daughter). The quarter warden, on the other hand, is a figure from his “new” life, the countdown of which was marked by his crime. In this “new” life, he “as if with scissors cut himself off from everyone”, and at the same time from his past. Raskolnikov is unbearably painful in his new position, which is imprinted in his subconscious as damage, harm inflicted on the past of the hero by his present.

The third vision of Raskolnikov occurs after his meeting with a tradesman who accuses him of murder. The hero sees the faces of people from his childhood, the bell tower of the V-th church; “billiards in one tavern and some officer at the billiards, the smell of cigars in some basement tobacconist, a tavern, a back staircase ... from somewhere comes the Sunday ringing of bells ...”. The officer in this vision is a reflection of the real life impressions of the hero. Before his crime, Raskolnikov hears a conversation between a student and an officer in a tavern. The very images of this vision echo the images from Rodion's first dream. There he saw a tavern and a church, here - the bell tower of the B-th church, the ringing of bells and a tavern, the smell of cigars, a tavern. The symbolic meaning of these images is preserved here.

Raskolnikov sees the second dream after his crime. He dreams that he again goes to Alena Ivanovna's apartment and tries to kill her, but the old woman, as if mocking, bursts into quiet, inaudible laughter. Laughter and whispers can be heard in the next room. Raskolnikov is suddenly surrounded by many people - in the hallway, on the landing, on the stairs - silently and waiting, they look at him. Terrified, he cannot move and soon wakes up. This dream reflects the subconscious desires of the hero. Raskolnikov is burdened by his position, wanting to reveal his "secret" to someone, it is hard for him to carry it in himself. He literally suffocates in his individualism, trying to overcome the state of painful alienation from others and himself. That is why in Raskolnikov's dream there are many people next to him. His soul yearns for people, he wants community, unity with them. In this dream, the motive of laughter reappears, which accompanies the hero throughout the novel. After committing the crime, Raskolnikov feels that "he killed himself, not the old woman." This truth seems to be open to people who surround the hero in a dream. An interesting interpretation of the hero's dream is offered by S.B. Kondratiev. The researcher notices that laughter in Raskolnikov's dream is "an attribute of the invisible presence of Satan", demons laugh and tease the hero.

Raskolnikov sees his third dream already in hard labor. In this dream, he, as it were, rethinks the events that have occurred, his theory. It seems to Raskolnikov that the whole world is condemned as a victim of a "terrible ... pestilence." Some new microscopic creatures, trichinas, have appeared, infecting people and making them demon-possessed. The infected do not hear and do not understand others, considering only their opinion to be absolutely correct and the only correct one. Leaving their occupations, crafts and agriculture, people kill each other in some kind of senseless malice. Fires start, hunger starts, everything around perishes. All over the world, only a few people can be saved, "pure and chosen", but no one has ever seen them. This dream is an extreme embodiment of Raskolnikov's individualistic theory, showing the threatening results of its harmful influence on the world and humanity. It is characteristic that individualism is now identified in the mind of Rodion with demonism and madness. In fact, the hero's idea of ​​strong personalities, Napoleons, to whom "everything is allowed," now seems to him a disease, madness, clouding of the mind. Moreover, the spread of this theory throughout the world is what Raskolnikov is most concerned about. Now the hero realizes that his idea is contrary to human nature itself, reason, the Divine world order. Having understood and accepted all this with his soul, Raskolnikov experiences moral enlightenment. It is not for nothing that it is after this dream that he begins to realize his love for Sonya, which reveals to him faith in life.

Thus, the dreams and visions of Raskolnikov in the novel convey his inner states, feelings, innermost desires and secret fears. Compositionally, dreams often anticipate future events, become the causes of events, move the plot. Dreams contribute to the mixing of real and mystical narrative plans: new characters seem to grow out of the hero's dreams. In addition, the plots in these visions echo the ideological concept of the work, with the author's assessment of Raskolnikov's ideas.

Raskolnikov's first dream and its meaning?

Katika

Raskolnikov dreams of his childhood, still in his native town. He walks with his father and passes by a tavern, from which drunken men run out. One of them, Mikolka, invites the others to take a ride on his cart, which is harnessed to a "small, skinny, savory peasant nag." The men agree and sit down. Mikolka beats the horse, forcing it to pull the cart, but due to weakness, she cannot even walk. Then the owner begins to beat the nag with a frenzy and finishes it off. Raskolnikov the child at first looks at everything that happens in horror, then rushes to protect the horse, but too late.
The atmosphere of what is happening is heated by the strongest feelings. On the one hand, this is the malicious, aggressive passion of the unbridled crowd, on the other hand, the unbearable despair of little Rodi, shaking his heart with pity for the “poor horse”. And in the center of everything - the horror and tears of the finished nag. It is no coincidence that Dostoevsky uses a lot of exclamation marks when creating this terrible picture.
The main idea of ​​the episode is the rejection of murder by the nature of a person, and in particular by the nature of Raskolnikov. Before going to bed, the hero thinks about the usefulness of killing an old pawnbroker who has outlived her life and “seizes” someone else’s, but after Raskolnikov wakes up in a cold sweat and horrified by the scene he saw in a dream. This change can be explained by the struggle of the soul and mind, which constantly occurs in the main character. Dreams do not obey reason, they reveal the nature of a person, and we see that murder is disgusting to the soul and heart of Raskolnikov. But in reality, thoughts and cares about mother and sister, the desire to prove one's theory about “ordinary” and “extraordinary” people in practice encourage one to think about murder and its usefulness, to drown out the pangs of nature.
Dostoevsky puts into the main character's first dream his thoughts about the causes of the crime and the unnaturalness of the murder.
The native town is a symbol of St. Petersburg itself. A tavern, drunken men, a suffocating atmosphere - all these are integral components of St. Petersburg in the time of Dostoevsky. The author believes that St. Petersburg is the cause and accomplice of Raskolnikov's crime. The city with its atmosphere, imaginary dead ends, cruelty and indifference affects the protagonist, involving him in a painful state of excitement. It is this state that pushes Raskolnikov to create a theory that takes possession of his mind and commands him.
The dream has many threads connected with what will happen later in the reality of the novel. Raskolnikov, shuddering at what he was up to, will still kill the old woman and also Li-Zaveta, as helpless and downtrodden as a horse: she does not even dare to raise her hand to protect her face from the killer's axe. Then the dying Katerina Ivanovna will exhale along with consumptive blood: “We drove the nag! ”But Raskolnikov in this strange reality will already act as an executioner, as part of a rude, cruel world that has arrogated to itself the right to kill, no matter how: whether it is in dispute, whether inventing theories about strong and weak personalities.
The dream of the protagonist is described by the author with all the details and resembles a scene from N. A. Nekrasov’s poem “About the Weather”. The action of the dream unfolds sequentially, unlike, for example, Nikolenka's dream in L. N. Tolstoy's novel "War and Peace", where the events taking place feverishly replace each other. But Raskolnikov's first dream is not the only one: three more dreams will follow, and each of the four has its own meaning. The first dream of the protagonist played an important role in the subsequent work, since, developing the theme of Raskolnikov’s “punishment”, Dostoevsky will show that it is in the soul that all the main truths about the attitude of people to each other are stored: “Do not judge”, “Do not kill”, “ Love your neighbor as yourself." And Raskolnikov will be punished in the first place by the fact that his heart will not accept

Elena anufrieva

Dreams play an important role in the novel. There is practically no border between dream and reality. The dream smoothly turns into reality, reality into a dream. When Raskolnikov sees a tradesman who accused him of the death of an old woman, he perceives him as a dream. This is due to the fact that reality itself in the novel is fantastic, which is facilitated by the image of St. Petersburg, its stuffy atmosphere, which has a symbolic meaning.

Throughout the novel, Rodion Raskolnikov has dreams five times. He sees his first dream in his little room after meeting a drunk girl on the boulevard. It is generated by the hero's morbid imagination. The action takes place in Raskolnikov's early childhood. Life in his hometown is so ordinary and gray that "the time is gray", even on a holiday. Yes, and the whole dream is depicted by the writer in gloomy colors: “the forest turns black”, “the road is always dusty, and the dust on it is always so black”. Only the green dome of the church contrasts with the dark, gray tone, and only the red and blue shirts of drunken men are joyful spots.

In a dream, there are two opposite places: a tavern and a church in a cemetery. The tavern in the memory of Rodion Raskolnikov personifies drunkenness, evil, meanness and filth of its inhabitants. The fun of drunk people does not inspire others, in particular little Roda, with nothing but fear. A little further along the road is the city cemetery, and on it is a church. The coincidence of their location means that no matter what the person, he will still start his life in the church and end it there. It is no coincidence that the church is located three hundred steps from the tavern. This short distance shows that a person can at any moment stop his vulgar life and, turning to God, who will forgive everything, begin a new, righteous life. This dream is an important part of the novel. In it, the reader first sees the murder, not only planned, but also carried out.

And after a dream, a thought arises in Raskolnikov’s head: “Yes, really, really, I’ll take an ax, I’ll beat her on the head, I’ll crush her skull ... I will slide in sticky warm blood, pick the lock, steal and tremble; hide, covered in blood... with an ax? Lord, is it? » It will be difficult for Rodion to commit this murder, because his attitude towards violence has changed little since childhood. Despite the years that have passed, he still has an aversion to violence, especially murder. This dream is the most vivid and memorable and carries the greatest semantic load. He clearly reveals the source of the feeling of shocked injustice generated by the searches and aspirations of the hero. This is one of the most important moments of the novel, in which a thousand years of experience in the enslavement and oppression of some people by others, the age-old cruelty on which the world has long been based, and a passionate longing for justice and humanity, expressed with great skill, are concentrated in a compressed form.

The author's intention of Raskolnikov's dreams What is the significance of Raskolnikov's dreams in hard labor for revealing the author's intention?

Galina

Raskolnikov's dreams: description and essence
The first dream (Part 1, Ch. V) Raskolnikov sees shortly before
murder, falling asleep in the bushes in the park after a "trial" and a severe
meeting with Marmeladov.
Sleep is heavy, painful, exhausting and unusually
rich in symbols:
Raskolnikov the boy loves to go to church,
personifying the heavenly beginning on earth, that is
spirituality, moral purity and perfection.
However, the road to the church passes by a tavern, which
the boy does not love; a tavern is that creepy, mundane, earthly,
what destroys a person in a person.
In the scene at the tavern - the murder of a helpless horse by a crowd
drunk - little Raskolnikov is trying to protect
unfortunate animal, screaming, crying; apparently in his
nature, he is not at all cruel, ruthlessness and contempt
to someone else's life, even a horse's life is alien to him and the possible
violence against the human person is disgusting to him,
unnatural.
It is significant that after this dream Raskolnikov
does not see dreams for a long time.
The position of dreams in the fabric of the novel is subtly thought out,
it allows the author to make the necessary accents
in the right places.

Dream of Africa
Raskolnikov also had this dream the day before.
crimes.
Raskolnikov sees Egypt, an oasis, blue water,
colorful stones, golden sand.
This dream is a contrast.
It is opposed to the real life of Raskolnikov -
miserable, colorless, grey. (Ch, 1, Ch. VI)
Dream about Ilya Petrovich and the hostess
Delirious after committing a crime Raskolnikov
sees a dream about Ilya Petrovich, who beats the hostess.
In a dream, Raskolnikov felt fear that perhaps
they came for him: "Suddenly Raskolnikov trembled like a leaf...
Ilya Petrovich is here and is beating the hostess ... But, therefore,
and they will come to him now, if so, "because ...
right, it’s all from the same… because of yesterday…”
"... Fear, like ice, overlaid his soul, tortured him,
numb him ... "
At the same time, even in a dream, he does not undertake
nothing to escape, shut down, surrender to the police.
(Part 2, Ch. II)
Dream of a laughing old woman
Before the arrival of Svidrigailov, Raskolnikov saw
crazy dream about a murdered old pawnbroker.
In a dream, Raskolnikov goes to the old woman's apartment after
some tradesman who calls him there.
In the corner, in the living room, he discovers an old woman sitting.
The old woman laughs.
Raskolnikov hits her with an ax, but only laughter
intensified.
Raskolnikov rushed to run, but there were people everywhere -
on the stairs, indoors, etc.: "... everyone is watching, -
but everyone is hiding and waiting, silent ...
His heart was embarrassed, his legs did not move, they were rooted ...
He wanted to scream and - woke up ... "
In a dream, Raskolnikov experiences fear that tormented
him in reality after the crime.
After the murder of the old woman, Raskolnikov was afraid of shame and
human court.
He was afraid of being embarrassed in front of the crowd.
This fear was embodied in a dream (Ch. 3, Ch. VI)
Dream of the end of the world
This is Raskolnikov's last dream.
Already in hard labor, Raskolnikov once fell ill and was
in hospital.
In his morbid delirium, he saw several times the repeated
dream of the end of the world.
"He dreamed in illness, as if the whole world was condemned
as a sacrifice to some terrible, unheard of and unseen
pestilence, coming from the depths of Asia to Europe.
All were to perish, except for some very
few, chosen…”
Raskolnikov has this last dream after the trial,
at hard labor.
Hard labor became for him the beginning of his new life, the beginning
atonement for his sin.
This dream is a symbol of purification and renewal of the soul.
Raskolnikov.
The dream is very vivid and emotional, speaks of
active internal work on oneself
Raskolnikov.

Alexander doronin

Raskolnikov's last dream takes place already in hard labor. Rodion falls seriously ill with typhus and has a nightmare.
World. People are infected with an unknown disease transmitted by spirits. Everyone in the world becomes easily controlled puppets, and the people themselves consider themselves people of high intelligence and reason. The infected then kill each other, like spiders in a bathhouse.
This dream is a turning point in Raskolnikov's life path. After this nightmare, Rodion understands the whole inconsistency of his own theory and, one might say, renounces it. The protagonist is spiritually healed, and begins to live a NEW life - to live freed from all the quests that have tormented him so much all his life. This is where the hope of atonement for your sin appears. It is there, at hard labor, that Raskolnikov, like Lazarus from biblical legends, is resurrected from the dead.
You can also say that Dostoevsky wanted in the third dream to show a future filled with people like Rodion, who have their own theory - just as ridiculous and murderous. like Raskolnikov.
Simply put, Dostoevsky shows himself - he also went to hard labor for his beliefs, and subsequently abandoned them.

Oksana MOSKALENKO

The Poetics of Dreams in Crime and Punishment

Preparatory stage

I always precede the lesson “Poetics of Dreams” with the lesson “The role and place of the episode in a literary text”, in which we take episodes from “Crime and Punishment” (for example, “Raskolnikov on the Nikolaevsky Bridge”) as a sample of analysis.

After this theory lesson on the analysis of the episode and a joint attempt with the teacher to analyze a particular episode on their own, the lesson on dreams in the novel proceeds more consciously. It is already easier for the children to see the plot and ideological chains from the episode to the whole novel as a whole, they can see the details and strokes better. This peculiar block of lessons on the analysis of the episode and Raskolnikov's dreams completes the homework on one of three topics to choose from:

• Sonya and Raskolnikov read the Gospel
• "The meeting of Raskolnikov and Marmeladov in the tavern",
• "The Role of the Epilogue in the Novel".

During the classes

Life is a dream.
Calderon

Let's give an approximate scheme of conversation, questions and answers, highlighting in italics what, in our opinion, it would be worth leading the students. You can start with a short introduction about the theme of sleep in the literature of different eras. Here is one of the options.

Since ancient times, the artistic representation of dreams has played an important role in folklore and literature. Homer distinguishes between prophetic and false dreams. Plato said that it is not a dream that is false, but life itself.

In medieval Europe, people superstitiously followed prophetic dreams; the dream book was one of the most popular books. These superstitions even passed into the Renaissance, Shakespeare, through the mouth of his hero, declared:

We ourselves are made of dreams
And this little life of ours
Dreams surround...

Reality itself seemed to the Romantics a bitter dream. We find ingenious lyrical-psychological experiments in this area in Lermontov (especially in the poem "Dream", which, by the way, was loved by Dostoevsky). A dream is mysterious and mystical in Zhukovsky's ballad "Svetlana".

After Zhukovsky, the most significant masters of the word resorted to depicting a dream.

In the work of which Russian writers did you come across the depiction of dreams?

(Pushkin, Lermontov, Gogol, Goncharov.)

Dreams in the prose of Pushkin and Gogol had a special influence on Dostoevsky.

What dreams from Pushkin's works can you remember?

(Otrepiev's dreams in "Boris Godunov" - he dreams of a fall from a height; the motive of falling from a height in a metaphorical form is also included in The Queen of Spades, where Hermann stumbles and falls down the steps at the coffin of an old woman; Hermann's dream with a vision of an old woman.)

What are the features of the use of dreams in Gogol's work?

(Gogol's dreams are even more varied, dramatic, sometimes mysterious. In Nevsky Prospekt and Portrait, Gogol brilliantly developed the stunning effect of imaginary awakening, thanks to which he inserts one dream into another, like nesting dolls. Gogol's influence on Dostoevsky in the field of dream transmission was apparently decisive*.)

Researcher of Dostoevsky's creativity M.M. Bakhtin argues that in all European literature there is no writer in whose work dreams play such a big role as in Dostoevsky. According to Bakhtin, in Dostoevsky's work, a dream leads to a sharp turning point in a person's inner life, to his rebirth and renewal.

Dostoevsky believed that in a dream, the forgotten experiences of people float into spheres controlled by consciousness, and therefore, through their dreams, a person knows himself better. The dreams of the heroes reveal their inner essence - the one that the waking mind does not want to notice.

In Dostoevsky, the subconscious is, as a rule, a prison for remorse. In the dreams of his heroes, conscience or fear breaks out of this prison. According to Dostoevsky, the mind, the servant of lower and dangerous desires, is immoral, and in the subconscious of a person there lives an elemental love for all living things, a craving for other people.

In order to study the dreams of Dostoevsky's heroes, their genesis, internal poetic structure and functions in the work, we will conduct a concise analysis of dreams in the novel Crime and Punishment.

1. Dream about a downtrodden horse

What is this dream about? (Short retelling.)

The main symbol of this dream was borrowed by Dostoevsky from a street scene in Nekrasov's cycle of poems "On the Weather".

An excerpt from a poem by Nekrasov is read.

What is the difference between Nekrasov's and Dostoevsky's depictions of this street scene?

(In Nekrasov, the narrator is an outsider, the narration is in tones of mournful indignation. In Dostoevsky, the picture of this atrocity is detailed, the reaction of the observer, throwing his fists at the peasant and kissing the horse, is sharply intensified.)

And now let's compare this dream with Oblomov's dream. What will be the basis for comparison?

(Childhood of heroes.)

Compare these dreams. How are the characters' childhood memories different?

(The idylls of lordly childhood in sleepy Oblomovka are contrasted by another province and another childhood - darkness, barbarism, cruelty.)

Let's get a grasp of the details of Raskolnikov's dream. Where does the event take place? What realities of the city catch your eye?

(Tavern and church.)

Let's think about what associations arise when these images are mentioned in this context?

(The atmosphere of a tavern city, people's indifference to each other; drunken, scary faces are the result of a crazy world in which all ties with God have been lost.)

What is the emotional response of little Rodi to the church and the tavern?

(He is afraid of the tavern, but he loves the church ...)

Let us trace why these images appear in Raskolnikov's dream. What events in the novel predetermined the appearance of these images in Raskolnikov's dream?

(There was a letter from the mother -> there is a story about Dunya in it -> Dunya's wedding (a hint of a wedding, that is, a church) = Dunya's sacrifice = Sonya's sacrifice -> the price and essence of compassion.

The Church is also a kind of symbol of the feminine, invariably merciful, compassionate, maternal. And the tavern, on the contrary, is the masculine principle, which in the children's consciousness was invariably identified with violence.

And thus we come to understand the secret meaning of this dream: the hero rushes between mercy and violence, good and evil. He split in two.)

What prepared the appearance of this dream? What was the story behind it? Where are the "hooks" of sleep with what happened before? What are the points of contact?

(1. When Raskolnikov “goes on trial” (connection with the murder), he meets a huge cart with a dray horse and some drunk.

2. A letter to the mother and a reminder that “babbled” prayers at father kneeling, that is, a kind of call to remember childhood.)

What is the role of this episode in the novel?

(Dostoevsky characterizes Raskolnikov with this dream as a humane person who does not accept bloodshed. The “humane subconsciousness” collides with the embittered mind of the hero. The dream dramatizes his spiritual struggle and constitutes the most important event in the novel, threads stretch from it to other events - Katerina Ivanovna screams about herself: “They left the nag”; Mikolka from sleep and Mikolka the painter. Raskolnikov's dream means the rebellion of his nature against the deluded mind.)

2. Dream of killing the old woman again

Retell (briefly) this dream.

Analyze the sound palette of sleep ... (silence - laughter).

What image in Russian literature is consonant with the image of a laughing old woman pawnbroker?

(The Countess winking in her coffin and the Queen of Spades winking on the map in The Queen of Spades.)

Raskolnikov beats this laughing old woman and runs away. Who does he meet along the way?

(Crowds of people silently looking at him.)

Where, in what dream in Russian literature is there a crowd, a mass of people?

(“Boris Godunov” is Otrepiev’s three-time prophetic dream with masses of people in the square, ridicule of the impostor and his fall from a height.)

What can this moment of sleep, created, perhaps, under the influence of Otrepiev's dreams, mean?

(Internal defeat of Raskolnikov and a premonition of popular condemnation and shame. The hero subconsciously realized that he was not Napoleon. And this dream will affect his future behavior.)

3. Raskolnikov's last dream about trichines

Why do you think this dream is called the “philosophical” outcome of the novel? (Short retelling.)

What led mankind to destruction?

(Rejection of general criteria of truth, of supra-personal moral unity.)

How is this dream connected with the fate of Raskolnikov?

(This dream is the only motivation for the hero's rebirth. There was no repentance, but the dream of trichines produced a decisive turning point in his soul. His idea in the subconscious took shape to the end, found its logical conclusion - the denial of dogmas, the commandments of philanthropy, morality leads to universal destruction, which turns the hero towards people.

Dostoevsky gives Raskolnikov the opportunity to experience the nightmare of life, and then awakens to reality - to ethical reality, to reunion with the people's existence.)

It makes sense to lead on the board reference abstract lesson. He may look like this.