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Fyodor Mikhailovich Dostoevsky is a very talented psychologist. In his works, he puts heroes in difficult, extreme life situations, in which their inner essence is revealed, the depths of psychology and inner world are revealed. To reflect the psychological state of the main character in the novel “Crime and Punishment,” Dostoevsky used a variety of artistic techniques, among which dreams play an important role, since in an unconscious state a person becomes himself, loses everything superficial, alien, and thus his thoughts manifest themselves more freely and feelings.

In the novel “Crime and Punishment,” the reader is vividly told only three dreams of Rodion Raskolnikov, although this hero is so self-absorbed that the line between sleep and reality here is, in principle, practically erased. However, without these dreams it is impossible to fully understand his state of mind. They not only represent an understanding of the hero’s life situation, but also foreshadow future changes in life.

Raskolnikov has his first dream shortly before the murder, having fallen asleep in the bushes in the park after the “test” and a difficult meeting with Marmeladov. Before falling asleep, he wanders around St. Petersburg for a long time and thinks about the usefulness of killing the old pawnbroker, who has outlived her life and is “eating” someone else’s.

Raskolnikov dreams of his childhood, back in his hometown. He is walking with his father and passes by a tavern from which drunk men are running out. One of them, Mikolka, invites the others to take a ride in his cart, which is harnessed to a “small, skinny, brown-haired peasant nag.” The men agree and sit down. Mikolka beats the horse, forcing it to pull the cart, but due to weakness it cannot even walk. Then the owner begins to beat the nag with frenzy and as a result kills it. Raskolnikov the child at first looks at everything that is happening in horror, then rushes to protect the horse, but is too late.

The main idea of ​​this episode is the rejection of murder by the nature of a person, and in particular by the nature of Raskolnikov. Thoughts and concerns about his mother and sister, the desire to prove his theory about “ordinary” and “extraordinary” people in practice prompt him to think about murder, drown out the torment of nature and ultimately lead him to the apartment of the old money-lender.

This dream is symbolic:

· Raskolnikov the boy loves to go to church, which personifies the heavenly principle on earth, that is, spirituality, moral purity and perfection.

· However, the road to the church passes by a tavern, which the boy does not like. The tavern is that terrible, worldly, earthly thing that destroys a person in a person.

These symbols show that inside the hero there is a constant struggle between soul and mind, which will continue long after the crime and only in the epilogue of the novel will the soul win.

· Raskolnikov, shuddering at what he had planned, will still kill the old woman and also Lizaveta, as helpless and downtrodden as a nag: she will not even dare to raise her hand to protect her face from the killer’s ax;

· Dying Katerina Ivanovna will exhale along with consumptive blood: “The nag has gone!”;

· Having hidden the jewelry stolen from the old woman under a stone, Raskolnikov returns home “trembling like a driven horse”;

· The innkeeper Dushkin, who meets Raskolnikov, will tell “his grandmother’s dream” and at the same time “lie like a horse”...

All these fleeting indications sound like an annoying note, but do not reveal the deep symbolism of the mysterious dream.

The first dream of Rodion Romanovich Raskolnikov is also prophetic. This dream is an omen that he should not commit a crime, that he will not succeed. Just as in a dream little Rodya tries to protect a horse, but turns out to be powerless against cruel drunken men, in life he is a small man, unable to change the social system. If Raskolnikov had listened not to the call of his mind, but to the call of his heart, which sounded in a dream, the terrible crime would not have been committed.

Thus, in Raskolnikov’s first dream, not only the true spiritual qualities of the hero are shown, but also an omen of an inevitable mistake is given, a prophecy of impending death (“Did I kill myself or the old woman?”).

Between the first and second dreams, immediately before the murder, Raskolnikov has a vision: a desert and in it an oasis with blue water (traditional color symbolism is used here: blue is the color of purity and hope, elevating a person). Raskolnikov wants to get drunk, which means that all is not lost for him, there is an opportunity to refuse the “experiment on himself.” However, again not taking into account the call of his heart, Raskolnikov still goes to Alena Ivanovna with an ax dangling in a loop under his coat...

Raskolnikov sees his second dream after the murder, immediately before the arrival of Svidrigailov - a demonic image that uniquely personifies evil. Before going to bed, Raskolnikov thinks about the jewelry he hid in the courtyard of the old house under a stone.

Raskolnikov dreams of events he has already experienced: he goes to the old money-lender. “... An old woman was sitting on a chair in the corner, all hunched over and her head bowed, so that he could not see her face, but it was her. He stood in front of her: “Afraid!” - he thought, quietly released the ax from the loop and hit the old woman on the crown, once and twice. But it’s strange: she didn’t even move from the blows, like she was made of wood. He got scared, leaned closer and began to look at her; but she also bent her head even lower. He then bent down completely to the floor and looked into her face from below, looked and froze: the old woman was sitting and laughing - she burst into quiet, inaudible laughter... Fury overcame him: with all his might he began to beat the old woman on the head, but with With every blow of the ax, laughter and whispers from the bedroom were heard more and more loudly, and the old woman was shaking with laughter all over.”

This dream is amazing in its psychological accuracy and artistic power. Dostoevsky intensifies and thickens the colors (the old woman’s laughter is “sinister”, the hubbub of the crowd outside the door is clearly unfriendly, angry, mocking) in order to reflect as clearly and reliably as possible the state of the hero’s desperate soul, especially intensified after the failure of the “experiment on himself.”

Raskolnikov turns out to be not Napoleon, not a ruler who has the right to easily step over other people’s lives in order to achieve his goal; the torments of conscience and the fear of exposure make him pitiful, and the old woman’s laughter is the laughter and triumph of evil over Raskolnikov, who failed to kill his conscience.

The second dream of Rodion Romanovich is the dream of a man who made sure that he did not kill the old woman, but killed himself. And murder is as futile as trying to kill an old woman. The dream sequence gives the answer to the main character and the reader that the experiment was started in vain; a premonition that a needless murder will entail punishment.

In fact, the punishment came into force long before the crime was committed and will continue immediately after the awakening of the main character - Raskolnikov will meet with Svidrigailov...

Svidrigailov is a man who stands on the other side of good and evil, on the verge of a normal and a sick psyche. His image is a double of Raskolnikov's image. Svidrigailov has many sins, but he does not think about them, because for him crime is a normal occurrence. After the death of his wife, he is subject to visions: Marfa Petrovna appears to him everywhere, talks to him; he constantly has a dream in which his wife reminds him of his unwound watch. Svidrigailov cannot endure suffering and decides to commit the last, most terrible sin in his life - suicide.

The image of Svidrigailov is also very deeply shown by Dostoevsky through dreams and visions and personifies the path that Raskolnikov could have taken if he had been weaker in soul.

But Raskolnikov turns out to be superior and, supported by Sonechka Marmeladova, confesses to his crime and goes to hard labor.

The main character sees the last, third dream in hard labor, already on the path to moral rebirth, looking at his theory with different eyes. Raskolnikov is ill and delirious. Under the pillow is the Gospel, brought by Sonya at his(!) request (however, it has never been opened to him before).

He dreams of pictures of the apocalypse: “Entire villages, entire cities and peoples became infected and went crazy. Everyone was in anxiety and did not understand each other, everyone thought that the truth lay in him alone, and he was tormented, looking at others, beating his chest, crying and wringing his hands. They didn’t know who to judge and how, they couldn’t agree on what to consider as evil and what as good. They didn’t know who to blame, who to justify. People killed each other in some senseless rage..."

In this dream, Raskolnikov looks at his theory in a new way, sees its inhumanity and regards it as a possible cause of a situation that is threatening in its consequences (this apocalypse is the consequences of bringing Raskolnikov’s theory to life). It is now, when comprehending the third dream, that the hero rethinks the meaning of life, changes his worldview, gradually approaches spiritual perfection - that is, Raskolnikov’s moral revival takes place, difficult, painful, but still cleansing and bright, bought at the price of suffering, and it is precisely through suffering, according to Dostoevsky, a person can come to real happiness.

Dreams in the novel have different content, mood and artistic function, but their common purpose is one: the most complete disclosure of the main idea of ​​the work - a refutation of the theory that kills a person in a person when that person realizes the possibility of killing another person.

The first dream of Rodion Raskolnikov (Chapter 5 of the first part) in the novel by F. M. Dostoevsky « Crime and Punishment"

Essay plan:

1. Sleep in nature. A dream about killing a horse is an excursion into the hero’s past.

The essence of Raskolnikov, his soul of a pure, compassionate person, a dream helps to understand the hero, to penetrate into the hidden corners of the human soul,

In the scene of the killing of a horse, Dostoevsky identifies Raskolnikov’s internal contradictions,

The hero's path from fall to purification is outlined,

The ambiguity and symbolism of the dream (images, artistic details, colors are determined, which will subsequently determine the events and fates of the heroes),

3. The dream is a kind of plan according to which Raskolnikov is invited to act - “God! - he exclaimed, - can I really take an ax, start hitting her on the head, crushing her skull ... "

4 . Raskolnikov's first dream is one of the key moments in the plot of the novel Crime and Punishment.

Working materials for the essay

(analysis - study of the text of the novel “Crime and Punishment”)

Dream content:

How old was the hero in the first dream? (“He is about seven years old and is walking on a holiday, in the evening, with his father outside the city.”

What attracts little Rodya? (“A special circumstance attracts his attention: this time it’s like there’s a party here... He and his father are walking along the road to the cemetery and pass by a tavern..."

What struck Rodya? (“a small, skinny, ugly peasant nag was harnessed to such a large cart... Everyone climbed into Mikolka’s cart with laughter and witticisms...” -

What happens in the cart and in the crowd? (“The laughter in the cart and in the crowd doubles, but Mikolka gets angry and, in a rage, whips the little filly with rapid blows, as if he really believes that she will gallop.. Suddenly laughter is heard in one gulp and covers everything, the little filly could not bear the rapid blows and, powerless, began kick".

How does little Rodya react to this? (“Daddy, why did they... kill that poor horse!” he sobs, but his breath is taken away, and the words burst out in screams from his constricted chest... He wraps his arms around his father, but his chest is constricting, constricting him." The soul of a seven-year-old boy rebels, he I feel sorry for the poor horse.

2.What does Raskolnikov’s first dream reveal? The secret meaning of sleep.

The hero rushes between mercy and violence, good and evil. The hero is split in two.

The dream dramatizes Raskolnikov's mental struggle and constitutes the most important event in the novel: threads stretch from it to other events.

Trying to get rid of his obsession, Raskolnikov strives to get as far from home as possible. Falls asleep in nature. It is obvious that the terrible theory about the division of people into “trembling creatures” and “those with rights” is hidden not in the St. Petersburg slums, but in the consciousness of the hero himself.

The dream plays a cruel joke on Raskolnikov, as if giving him the opportunity to make a “trial test”, after which the hero goes to the old pawnbroker for a second attempt.

“The last part of the dream undoubtedly reflected the features of the terrible plan he had come up with - let it be horses for now. (Daria Mendeleeva).

Raskolnikov's nightmare has ambiguity and symbolism, is an excursion into the past and at the same time predestination, a kind of plan according to which he had to act.

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

Dreams in psychology

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

To unravel a person’s condition and the true causes of his moral suffering, psychologists often use hypnosis or dream solving. It is a dream in psychology that is an expression of the unconscious in the psyche of a person, his suppressed self.

Dream as a technique of psychoanalysis in a novel

Dostoevsky is a very subtle psychologist. It’s as if he turns 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. This is also necessary in order to understand both the novel itself and the personality of the hero.

Church and tavern

Throughout the entire work, Rodion Romanovich dreams five times. More precisely, three dreams and two semi-deliriums, occurring on the verge of consciousness and unreality. Raskolnikov's dreams, a brief summary of which allows one to grasp 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 to some extent there is an internal struggle of the hero. This is a very important point. This is a dream before the murder of the old pawnbroker. It is necessary to focus attention on it. This is a system-forming episode, from which, like a stone thrown into water, waves spread across every page of the novel.

Raskolnikov's first dream is the product of a morbid imagination. He sees him in his “little room” after he met a drunk girl on the boulevard. The dream takes 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 brighten up the “gray time”. Moreover, Dostoevsky portrayed Raskolnikov’s dream in dark, repulsive tones. The only contrast is created by the green and red and blue shirts that belong to drunken men.

In this dream there are two places that are opposed to each other: a tavern and a church in a cemetery. A church in a cemetery is a certain symbol: just as a person begins his life in a church, so he ends it there. And the tavern, in turn, is associated by Rodion with anger, baseness, ossification, drunkenness, dirt and depravity of its inhabitants. The fun of the inhabitants of the tavern, both among those around him and in the little Rodya himself, evokes only fear and disgust.

And it is no coincidence that these two centers - the tavern and the church - are located 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 living a low life and turn to an 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 that he witnessed in early childhood: Rodion and his father go 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. There was a cart harnessed to a cart at the tavern. A drunken horse owner came out of a tavern and began inviting his friends to ride a cart. When she didn’t budge, Mikola began to whip her with a whip, which he then replaced with 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 planned, but real. The first dream contains a meaning that carries a huge semantic and symbolic load. He clearly demonstrates where the hero developed his sense of injustice. This feeling is the product of Rodion’s quest and mental suffering.

Just one of Raskolnikov’s dreams in the work “Crime and Punishment” is a thousand-year experience of oppression and enslavement of people to each other. It reflects the cruelty that rules the world, and an incomparable longing for justice and humanity. This thought with amazing skill and clarity by F.M. Dostoevsky was able to show in such a short episode.

Raskolnikov's second dream

It is interesting that after Raskolnikov had his first dream, for a long time he no longer dreams, 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 spring suggests that all is not lost. He can still renounce his “experience”, avoid this terrible experiment, which should confirm his extravagant theory that killing a “harmful” (bad, vile) person will certainly bring relief to society and make the lives of good people better.

On the verge of unconsciousness

In a feverish fit, when the hero understands little due to delirium, Raskolnikov sees how the owner of his apartment is allegedly beaten by Ilya Petrovich. It is impossible to separate this episode, which occurred in the second part of the novel, into a separate dream, since it is mostly “delirium and auditory hallucinations.” Although this to some extent suggests that the hero has a presentiment that he will be a “renegade”, an “outcast”, i.e. on a subconscious level he knows that punishment awaits him. But also, perhaps, this is a game of the subconscious, which speaks of the desire to destroy another “trembling creature” (the owner of the apartment), who, like the old woman-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), has another dream, which gradually turns into delirium. Raskolnikov's next dream is similar to the first. This is a nightmare: the old money-lender is alive in her dream, and she responds to Raskolnikov’s fruitless attempts to kill herself with laughter, a “sinister and unpleasant” laugh. Raskolnikov tries to kill her again, but the hubbub of the crowd, which is clearly unkind and angry, does not allow him to do the job. Dostoevsky thereby shows the torment and tossing of the protagonist.

Psychoanalysis by the author

This dream fully reflects the state of the hero, who was “broken”, since his experiment showed him that he was not able to step over human lives. The old woman’s laughter 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 thoughts 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 bring Rodion to the line, to the possibility of later being “reborn from the ashes.”

Last dream

Raskolnikov’s last dream in the novel “Crime and Punishment” is another kind of half-dream, half-delirium, in which one must look for hope for the possibility of the hero’s rebirth. This dream relieves Rodion of the doubts and searches that tormented him so much all the time after the murder. Raskolnikov's last dream is a world that must disappear due to illness. It’s as if there are spirits in this world who are endowed with intelligence, 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 thereby approaches the threshold behind which lies a new life.

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

Healing

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

Dreams of Rodion RaskolnikovF. M. Dostoevsky
"Crime and
punishment"
Danilina T.V.

Raskolnikov's first dream. (Part 1, chapter 5)

A painful dream that carries
great semantic load. He
reveals to us the true state
souls of Rodion, shows that
the murder he planned contradicts
his nature. There are 2 in the dream
opposite places: tavern and
church in the cemetery. Kabak is
the personification of evil, violence, blood, and
the church is the personification of purity, in
life begins and ends there
on the ground.

Raskolnikov's second dream (part 1, chapter 6)

Raskolnikov dreamed that he was in Africa
in Egypt near some oasis. This
a small oasis of happiness among
endless desert of grief,
inequality and sadness. Raskolnikov
dreams in that eternal peace that
I saw it many times in my dreams.

Raskolnikov's third dream (part 2, chapter 2)

Rodion dreams after the murder
old women. In a dream, a quarterly
warden Ilya Petrovich strongly
beats up the landlady
Raskolnikov. The vision reveals
hidden desire to harm the old woman,
feeling of hatred, aggression of the hero
towards her.

Raskolnikov's fourth dream (part 3, chapter 6)

Rodion dreams that he is pursuing
tradesman. According to the dream book this means
realizing one's own mistake,
which, unfortunately, is no longer possible
to correct. He also dreams of an old woman,
who laughs at him. Rodion
trying to kill her, but she's getting louder
laughs. Rodion becomes scared:
his heart rate increases. Before him
the horror begins to sink in
deed.

Raskolnikov's fifth dream (Epilogue, Chapter II)

Rodion dreams of being in hard labor. To him
I dream that the whole world is about to perish
from a disease that there is a virus that
inhabits people, making them
crazy, although infected
consider themselves smart and healthy.
After Raskolnikov's last nightmare
healed - both physically and
spiritually.

...Entering the tavern, he drank a glass of vodka and ate a pie with some filling. He finished it again on the road. He had not drunk vodka for a very long time, and it took effect instantly, although he only drank one glass. His legs suddenly became heavy, and he began to feel a strong urge to sleep. He went home; but having already reached Petrovsky Island, he stopped in complete exhaustion, left the road, entered the bushes, fell on the grass and fell asleep at that very moment.

In a painful state, dreams are often distinguished by their extraordinary convexity, brightness and extreme similarity to reality. Sometimes a monstrous picture emerges, but the setting and the whole process of the entire presentation are so plausible and with such subtle, unexpected, but artistically corresponding to the entire completeness of the picture, details that the same dreamer could not invent them in reality, even if he were such an artist, like Pushkin or Turgenev. Such dreams, painful dreams, are always remembered for a long time and make a strong impression on the upset and already excited human body.

Raskolnikov had a terrible dream. He dreamed about his childhood, back in their town. He is about seven years old and is walking on a holiday, in the evening, with his father outside the city. The time is gray, the day is suffocating, the area is exactly the same as it remained in his memory: even in his memory it has been much more erased than it was now imagined in a dream. The town stands open, clear in the open, not a willow tree around; somewhere very far away, at the very edge of the sky, a forest grows black. A few steps from the last city garden there is a tavern, a large tavern, which always made an unpleasant impression on him and even fear when he passed by it while walking with his father. There was always such a crowd there, they shouted, laughed, cursed, sang so ugly and hoarsely and fought so often; There were always such drunken and scary faces wandering around the tavern... When he met them, he pressed himself closely to his father and trembled all over. Near the tavern there is a road, a country road, always dusty, and the dust on it is always so black. She walks, twisting, then, about three hundred paces, she bends around the city cemetery to the right. Among the cemetery is a stone church with a green dome, to which he went twice a year with his father and mother to mass, when funeral services were served for his grandmother, who had died a long time ago and whom he had never seen. At the same time, they always took kutya with them on a white dish, in a napkin, and the kutya was sugar made from rice and raisins, pressed into the rice with a cross. He loved this church and the ancient images in it, mostly without frames, and the old priest with a trembling head. Near his grandmother’s grave, on which there was a slab, there was also a small grave of his younger brother, who had died for six months and whom he also did not know at all and could not remember; but he was told that he had a little brother, and every time he visited the cemetery, he religiously and respectfully crossed himself over the grave, bowed to it and kissed it. And then he dreams: he and his father are walking along the road to the cemetery and passing a tavern; he holds his father's hand and looks back at the tavern with fear. A special circumstance attracts his attention: this time there seems to be a party, a crowd of dressed-up bourgeois women, women, their husbands and all sorts of rabble. Everyone is drunk, everyone is singing songs, and near the tavern porch there is a cart, but a strange cart. This is one of those large carts into which large draft horses are harnessed and goods and wine barrels are transported in them. He always loved to look at these huge draft horses, long-maned, with thick legs, walking calmly, at a measured pace, and carrying some whole mountain behind them, without getting too tired at all, as if they were even easier with carts than without carts. But now, strangely, harnessed to such a large cart was a small, skinny, shabby peasant nag, one of those who - he often saw this - sometimes work hard with some tall cart of firewood or hay, especially if the cart gets stuck in the mud or in a rut, and at the same time it’s so painful, the men always beat them so painfully with whips, sometimes even in the very face and in the eyes, and he’s so sorry, so sorry to look at it that he almost cries, but mother always used to , takes him away from the window. But suddenly it becomes very noisy: big, drunken men in red and blue shirts, with saddle-backed army coats, come out of the tavern, shouting, singing, with balalaikas. “Sit down, everyone sit down! - shouts one, still young, with such a thick neck and a fleshy, red face like a carrot, “I’ll take everyone, sit down!” But immediately there is laughter and exclamations:

- Such a nag, good luck!

- Are you, Mikolka, out of your mind or something: you locked such a little mare in such a cart!

“But Savraska will certainly be twenty years old, brothers!”

- Sit down, I’ll take everyone! - Mikolka shouts again, jumping first into the cart, taking the reins and standing on the front at his full height. “The bay one left with Matvey,” he shouts from the cart, “and this little mare, brothers, only breaks my heart: it would seem that he killed her, she eats bread for nothing.” I say sit down! Let me gallop! Let's gallop! - And he takes the whip in his hands, preparing to whip the Savraska with pleasure.

- Yes, sit down, what! - the crowd laughs. - Listen, he’s going to gallop!

“She hasn’t jumped for ten years, I guess.”

- He's jumping!

- Don’t be sorry, brothers, take all kinds of whips, prepare them!

- And then! Whack her!

Crime and Punishment. Feature film 1969 Episode 1

Everyone climbs into Mikolka’s cart with laughter and witticisms. Six people got in, and there are still more to be seated. They take with them one woman, fat and ruddy. She's wearing red coats, a beaded tunic, cats on her feet, cracking nuts and chuckling. All around in the crowd they are also laughing, and indeed, how can one not laugh: such a frothing mare and such a burden will be carried at a gallop! The two guys in the cart immediately take a whip each to help Mikolka. The sound is heard: “Well!”, the nag pulls with all her might, but not only can she gallop, but she can even barely manage a step; she just minces with her legs, grunts and crouches from the blows of three whips raining down on her like peas. The laughter in the cart and in the crowd doubles, but Mikolka gets angry and, in a rage, strikes the filly with rapid blows, as if he really believed that she would gallop.

- Let me in too, brothers! - shouts one overjoyed guy from the crowd.

- Sit down! Everyone sit down! - Mikolka shouts, - everyone will be lucky. I'll spot it! - And he whips, whips, and no longer knows what to hit with out of frenzy.

“Daddy, daddy,” he shouts to his father, “daddy, what are they doing?” Daddy, the poor horse is being beaten!

- Let's go, let's go! - says the father, - drunk, playing pranks, fools: let's go, don't look! - and wants to take him away, but he breaks out of his hands and, not remembering himself, runs to the horse. But the poor horse feels bad. She gasps, stops, jerks again, almost falls.

- Slap him to death! - Mikolka shouts, - for that matter. I'll spot it!

- Why don’t you have a cross on, or something, you devil! - shouts one old man from the crowd.

“Have you ever seen such a horse carry such luggage,” adds another.

- You'll starve! - shouts the third.

- Don't touch it! My goodness! I do what I want. Sit down again! Everyone sit down! I want you to go galloping without fail!..

Suddenly, laughter erupts in one gulp and covers everything: the little filly could not stand the rapid blows and, helpless, began to kick. Even the old man couldn’t resist and grinned. And indeed: it’s such a kicking little filly, and it kicks too!

Two guys from the crowd take out another whip and run to the horse to whip it from the sides. Everyone runs from their own side.

- In her face, in her eyes, in her eyes! - Mikolka shouts.

- A song, brothers! - someone shouts from the cart, and everyone in the cart joins in. A riotous song is heard, a tambourine clangs, and whistles are heard in the choruses. The woman cracks nuts and chuckles.

...He runs next to the horse, he runs ahead, he sees how it is being whipped in the eyes, right in the eyes! He is crying. His heart rises, tears flow. One of the attackers hits him in the face; he doesn’t feel, he wrings his hands, screams, rushes to the gray-haired old man with a gray beard, who shakes his head and condemns all this. One woman takes him by the hand and wants to lead him away; but he breaks free and runs to the horse again. She is already making her last efforts, but she begins to kick again.

- And to those devils! - Mikolka screams in rage. He throws the whip, bends down and pulls out a long and thick shaft from the bottom of the cart, takes it by the end in both hands and swings it with effort over the Savraska.

- It will explode! - they shout all around.

- My goodness! - Mikolka shouts and lowers the shaft with all his might. A heavy blow is heard.

And Mikolka swings another time, and another blow lands with all its might on the back of the unfortunate nag. She sinks all over, but jumps up and pulls, pulls with all her last strength in different directions to take her out; but from all sides they take it with six whips, and the shaft again rises and falls for the third time, then for the fourth, measuredly, with a sweep. Mikolka is furious that she cannot kill with one blow.

- Tenacious! - they shout all around.

“Now it will certainly fall, brothers, and this will be the end of it!” - one amateur shouts from the crowd.

- Ax her, what! Finish her at once,” shouts the third.

- Eh, eat those mosquitoes! Make way! - Mikolka screams furiously, throws the shaft, bends down into the cart again and pulls out the iron crowbar. - Be careful! - he shouts and with all his strength he stuns his poor horse. The blow collapsed; the filly staggered, sagged, and wanted to pull, but the crowbar again fell with all its might on her back, and she fell to the ground, as if all four legs had been cut off at once.

- Finish it off! - Mikolka shouts and jumps up, as if unconscious, from the cart. Several guys, also flushed and drunk, grab whatever they can - whips, sticks, shafts - and run to the dying filly. Mikolka stands on the side and starts hitting him on the back with a crowbar in vain. The nag stretches out his muzzle, sighs heavily and dies.

- Finished! - they shout in the crowd.

- Why didn’t you gallop!

- My goodness! - Mikolka shouts, with a crowbar in her hands and with bloodshot eyes. He stands there as if regretting that there is no one else to beat.

- Well, really, you know, you don’t have a cross on you! - Many voices are already shouting from the crowd.

But the poor boy no longer remembers himself. With a cry, he makes his way through the crowd to Savraska, grabs her dead, bloody muzzle and kisses her, kisses her on the eyes, on the lips... Then suddenly he jumps up and in a frenzy rushes with his little fists at Mikolka. At that moment his father, who had been chasing him for a long time, finally grabs him and carries him out of the crowd.

- Let's go to! let's go to! - he tells him, - let's go home!

- Daddy! Why did they... kill the poor horse! - he sobs, but his breath is taken away, and the words burst out in screams from his constricted chest.

“They’re drunk and acting out, it’s none of our business, let’s go!” - says the father. He wraps his arms around his father, but his chest is tight, tight. He wants to catch his breath, scream, and wakes up.

He woke up covered in sweat, his hair wet with sweat, gasping for breath, and sat up in horror.

“Thank God it’s just a dream! - he said, sitting down under a tree and taking a deep breath. - But what is it? Is it possible that I’m starting to feel a fever: such an ugly dream!”

His whole body seemed to be broken; vague and dark at heart. He put his elbows on his knees and supported his head with both hands.

"God! - he exclaimed, “is it really possible, am I really going to take an ax, hit her on the head, crush her skull... I’ll slide in the sticky, warm blood, pick the lock, steal and tremble; hide, covered in blood... with an ax... Lord, really?

He dreamed of his childhood, back in their town.- The description of this dream is inspired by autobiographical memories. Dostoevsky could see trembling from weakness, driven, skinny peasant nags in the village, on his parents’ estate, not far from Zaraysk. Dostoevsky chose “Raskolnikov’s Dream of a Cornered Horse” to be read at an evening in favor of pedagogical courses on March 21, 1880.

He runs next to the horse - he sees how it is being slashed in the eyes...- These lines echo Nekrasov’s poems on the same topic: “and by the crying, meek eyes” (from the cycle “About the Weather”, part II - “Before Twilight”, 1859). Dostoevsky recalls these verses later in the novel “The Brothers Karamazov” (Part 2, Chapter IV, “Revolt”). A similar motif is also found in V. Hugo (“Melancholy”, 1846; published - 1856).