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...He forgot; It seemed strange to him that he did not remember how he could have ended up on the street. It was already late evening. The dusk deepened, the full moon grew brighter and brighter; but somehow the air was especially stuffy. People walked in crowds along the streets; artisans and busy people went home, others walked; it smelled of lime, dust, and stagnant water. Raskolnikov walked sad and worried: he remembered very well that he left the house with some intention, that he had to do something and hurry, but he forgot what exactly. Suddenly he stopped and saw that on the other side of the street, on the sidewalk, a man was standing and waving at him. He walked towards him across the street, but suddenly this man turned and walked as if nothing had happened, with his head down, without turning around and without giving any sign that he was calling him. “Come on, did he call?” - thought Raskolnikov, but began to catch up. Not ten steps away, he suddenly recognized him and was frightened; it was a tradesman from a long time ago, in the same robe and hunched over in the same way. Raskolnikov walked from afar; his heart was beating; We turned into the alley - he still didn’t turn around. “Does he know that I’m following him?” - thought Raskolnikov. A tradesman entered the gates of a large house. Raskolnikov quickly walked up to the gate and began to look: would he look back and call him? In fact, having gone through the entire gateway and already going out into the yard, he suddenly turned around and again seemed to wave to him. Raskolnikov immediately passed 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, two stairs up, someone else's measured, unhurried steps could be heard. Strange, the stairs seemed familiar! There's a window on the first floor; the moonlight passed sadly and mysteriously through the glass; here is the second floor. Bah! This is the same apartment in which the workers smeared... How did he not find out immediately? The steps of the man in front died down: it means that he stopped or hid somewhere.” Here is the third floor; should we go further? And how quiet there is, it’s even scary... But he went. The noise of his own steps frightened and worried him. God, how dark! The tradesman must be hiding in a corner somewhere. A! the apartment is wide open to the stairs; he thought and entered. The hallway was very dark and empty, not a soul, as if everything had been taken out; Quietly, on tiptoe, he walked into the living 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 into the windows. “It’s been so quiet for a month,” thought Raskolnikov, “he’s probably asking a riddle now.” He stood and waited, waited for a long time, and the quieter the month was, the stronger his heart beat, and it even became painful. And all silence. Suddenly, an instant dry crack was heard, as if a splinter had been broken, and everything froze again. The awakened fly suddenly hit the glass and buzzed pitifully. At that very moment, in the corner, between the small wardrobe and the window, he saw a cloak as if hanging on the wall. “Why is there a cloak here? - he thought, “after all, he wasn’t there before...” He approached slowly and guessed that it was as if someone was hiding behind the cloak. He carefully pulled back his cloak 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 her head bowed, so that he could not see her face, but it was her. He stood over 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, trying with all her might so that he would not hear her. Suddenly it seemed to him that the door from the bedroom opened slightly and that there, too, seemed to be laughing and whispering. Fury overcame him: with all his might he began to beat the old woman on the head, but with each blow of the ax, laughter and whispers from the bedroom were heard more and more loudly, and the old woman was shaking all over with laughter. He rushed to run, but the entire 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 the people, head to head, everyone was watching - but everyone was hiding and waiting, silent... His heart was embarrassed, his legs don’t move, they’re frozen... He wanted to scream and woke up.

Crime and Punishment. Feature film 1969 Episode 1

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

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.

...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 manage a little at a walk, 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).

The role of dreams in Dostoevsky’s novel “Crime and Punishment”

Dreams in Russian literature have been repeatedly used as an artistic device. A. S. Pushkin resorted to him in “Eugene Onegin”, M. Yu. Lermontov in “A Hero of Our Time”, I. A. Goncharov in “Oblomov”.

Dostoevsky's novel is a social and philosophical work. This is a brilliant polyphonic novel, where the author showed how theory and reality merge, forming unity, how perfectly different types of consciousness coexist, giving rise to polyphony. The deepest psychologism of Dostoevsky in “Crime and Punishment” manifested itself in many things, and first of all in the way the author confronts his heroes with many problems of reality, how he reveals their souls through the description of difficult life situations in which the heroes find themselves. Thus, the author allows the reader to see the very essence of the characters; he reveals to him implicit conflicts, mental tossing, internal contradictions, versatility and paradoxical nature of the inner world.

To create a more accurate psychological portrait of Rodion Raskolnikov, the author resorts to using various artistic techniques, among which dreams play an important role. After all, it is in a dream that the essence of a person is revealed, he becomes himself, throws off all masks and, thus, expresses his feelings and expresses his thoughts more freely. Revealing the character of the hero through the description of his dreams is a technique that allows you to deeper and more accurately reveal the characteristics of the character of the hero, to show him as he is, without embellishment and without falsehood.

In Chapter V of the first part of the novel, a description of the main character’s first dream appears. This dream is reminiscent of a poem from Nekrasov’s cycle “About the Weather.” The poet paints an everyday urban picture: a skinny horse was dragging a huge cart and suddenly stood up, because it did not have the strength to go further. The driver mercilessly beats the horse with a whip, then takes a log and continues the atrocities.

In the novel, Dostoevsky intensifies the tragedy of the scene: in the dream, an absolutely disgusting portrait of a driver named Mikolka is drawn, who beats a small horse to death. Dostoevsky specifically calls the hero of the dream the same name as the dyer who took Raskolnikov’s guilt upon himself. Both of these heroes bear the name of St. Nicholas and symbolize the two moral poles between which Raskolnikov rushes - pure faith and the cruel “I have the right.” Mikolka, who killed the horse, voices the essence of Raskolnikov’s theory, but here this theory is contrasted with the childish consciousness of the hero. Dostoevsky emphasizes the connection between Raskolnikov, who is preparing for a crime, and seven-year-old Roday. This is achieved by a special artistic technique - the repetition of the pronoun “he” (“he wraps his arms around his father,” “he wants to catch his breath,” “he woke up covered in sweat,” “Thank God, it’s just a dream!” he said”).

Before introducing the reader to Rodion’s second dream, Dostoevsky says that the hero “is trembling all over, like a driven horse. lay down on the sofa." And again the reader sees the image of an animal from a dream, emphasizing the duality of the hero’s nature: he is both an executioner and a victim in relation to himself and to the world.

Raskolnikov’s second dream is more reminiscent of oblivion: “He dreamed everything, and all the dreams were strange.” It seems to the hero that he is “in some oasis”, “drinking water straight from the stream,” which seems wonderful to him. Here the connection between this passage and Lermontov’s poem “Three Palms” is clearly visible. After describing the idyll in both works, the reader sees murder. But the connection is not only plot: here the hero’s thirst for a pure life is symbolized by the images of an oasis and a stream.

In Chapter II of the second part, the author depicts Raskolnikov’s third dream. It is very vaguely similar to a dream, more like a hallucination. It seems to the hero that his mistress is being brutally beaten by the assistant district warden Ilya Petrovich: “Ilya Petrovich is here and beating the mistress! He kicks her, bangs her head on the steps! When Raskolnikov asks Nastasya why the mistress was beaten, he receives the answer: “It’s blood.” It turns out that no one beat the mistress, that all this seemed to Rodion, and Nastasya only meant that it was the blood in Raskolnikov that was “screaming” because “there is no way out for it.” But Raskolnikov does not understand that Nastasya puts a completely different meaning into these words than he does, that she means illness, but he sees here a symbol of shed blood, sin, crime. For him, the words “blood screams” mean “conscience torments.” In this passage, Dostoevsky shows that since the hero is tormented by his conscience, it means that he has not yet lost his human face.

Describing the hero’s fourth dream, Dostoevsky seeks to show how Raskolnikov’s theory builds a wall between him and society: “. “Everyone has left and is afraid of him, and only occasionally they open the door a little to look at him, threaten him, agree on something among themselves, laugh and tease him.” The reader understands that Raskolnikov cannot find a common language with the people around him. It is clear that it is very painful for the hero to establish relationships with people, that he has withdrawn very much from everyone.

Raskolnikov's next, fifth dream, like the first, is nightmarish. In the fifth dream, the hero tries to kill Alena Ivanovna, but to no avail. It seems to him that he “quietly released the ax from the noose 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.”

Dostoevsky strives to show how Raskolnikov turned out to be not a ruler, not Napoleon, who has the right to easily step over other people’s lives in order to achieve his own goal. Fear of exposure and pangs of conscience make him pitiful. The image of a laughing old woman teases Raskolnikov and completely subjugates him. During this nightmare, or better said, delirium, Raskolnikov sees Svidrigailov, which is also very important. Svidrigailov becomes part of Raskolnikov’s theory, disgustingly embodies the idea of ​​human self-will. Talking about this last dream of the hero, one can see the clear beginning of the collapse of his theory. Raskolnikov dreams that “the whole world is condemned to be a victim of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe.” Some new “trichinas, microscopic creatures that inhabited people’s bodies” appeared, and people who accepted them became “immediately possessed and crazy.” Dostoevsky, with the help of the image of this dream, wants to emphasize the consequences of the spread of the individualistic theory of the protagonist - the infection of humanity with the spirit of revolutionary rebellion. According to the writer (a convinced Christian), individualism, pride and self-will are madness, and it is from this that his hero is so painfully and slowly freed.

Dostoevsky was able to very subtly, deeply and vividly describe the psychological state of the hero, using such an artistic technique as revealing the character through the description of his dreams. There are very different dreams in the novel, and they have a common purpose - to reveal as fully as possible the main idea of ​​the work, to refute Raskolnikov’s idea, to prove the inconsistency of his individualistic theory.

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• the role of dreams in Dostoevsky's novel Crime and Punishment

RASKOLNIKOV'S DREAMS

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

Let's try to analyze Raskolnikov's dreams and dreams 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 travels out of town. Here they see a terrible picture: a young man, Mikolka, coming out of a tavern, with all his might he whips his “skinny... savras nag”, which is not able to carry an oversized cart, and then finishes her off with an iron crowbar. Rodion's pure childish nature protests against violence: with a cry, he rushes to the slaughtered Savraska and kisses her dead, bloody face. And then he jumps up and throws himself at Mikolka with his fists. 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.” This 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: red shirts of drunken men; Mikolka’s red, “like a carrot” face; woman "in red"; an ax that can be used to kill the unfortunate nag at once - 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 like both Mikolka and a child, whose pure, kind soul does not accept cruelty and violence. This duality and contradictory nature of Raskolnikov in the novel is subtly noticed by Razumikhin. In a conversation with Pulcheria Alexandrovna, 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 are alternately replaced in him,” exclaims Razumikhin. Two opposing images from his dream – a tavern and a church – also testify to Raskolnikov’s painful duality. The tavern is what destroys people, it is the center of depravity, recklessness, evil, this is the place where a person often loses his human appearance. The tavern always made a “most unpleasant impression” on Rodion; there was always a crowd there, “they were screaming, laughing, cursing... ugly and hoarsely singing and fighting; There were always such drunken and scary faces wandering 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 typical that little Rodion loved church and went to mass with his father and mother twice a year. He liked the ancient images and the old priest; he knew that memorial services for his deceased grandmother were served here. The tavern and the church here, thus, metaphorically represent the main guidelines of a person in life. It is characteristic that in this dream Raskolnikov does not reach the church, does not enter it, which is also very significant. He is delayed by the scene near the tavern.

The image of a skinny peasant Savras woman who cannot withstand an unbearable burden is also significant here. 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 dead end, a symbol of the misfortunes of the Marmeladov family, a symbol of Sonya’s situation. This episode from the hero’s dream echoes the bitter exclamation of Katerina Ivanovna before her death: “They drove away the nag! I tore it!”

The image of Raskolnikov’s long-dead father is also significant in this dream. The father wants to take Rodion away from the tavern and does not tell him to look at the violence being committed. The father here seems to be trying to warn the hero against 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 his deceased brother, towards the church. This is precisely, in our opinion, the function of Raskolnikov’s father in this dream.

In addition, let us note the plot-forming role of this dream. It appears as “a kind of core of the entire novel, its central event. Concentrating in itself the energy and power of all future events, the dream has a formative significance for other storylines, “predicts” them (the dream is dreamed in the present tense, talks about the past and predicts the future murder of the 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 development,” note G, Amelin and I. A. Pilshchikov. Indeed, threads from this dream stretch throughout the novel. Researchers identify character “triples” in the work, corresponding to the roles of “tormentor,” “victim,” and “compassionate.” In the hero’s dream it 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” is “Raskolnikov - Porfiry Petrovich - Mikolka Dementyev.” The same motives are heard in the development of all plot situations here. Researchers note that in all three plots the same textual formula begins to unfold - “to stun” and “with a butt on the head.” So, in Raskolnikov’s dream, Mikolka uses a crowbar to “bash her poor little horse with all her might.” In much the same way, the hero kills Alena Ivanovna. “The blow hit the very top of the head...”, “Then he hit with all his might, once and twice, all with the butt and all on the top of the head.” Porfiry also uses the same expressions in a conversation with Rodion. “Well, tell me, who, of all the defendants, even the most humble peasant, doesn’t know that, for example, they will first begin to lull him to sleep with extraneous questions (as you happily put it), and then suddenly they will hit him right in the head with a butt of a blow - s...”, the investigator notes. Elsewhere we read: “On the contrary, I should have<…>distract you in the opposite direction, and suddenly, like a blow to the head (in your own expression), and stun you: “What, they say, sir, did you deign to do in the apartment of the murdered woman at ten o’clock in the evening, and almost not at eleven?"

In addition to dreams, the novel describes three visions of Raskolnikov, three of his “dreams”. Before committing a crime, he sees himself “in some kind of oasis.” The caravan is resting, camels are lying peacefully, and there are magnificent palm trees all around. A stream gurgles nearby, and “wonderful, wonderful blue water, cold, runs over multi-colored stones and over such pure sand with golden sparkles...” And in these dreams the painful duality of the hero’s consciousness is again indicated. As B.S. notes Kondratiev, the camel here is a symbol of humility (Raskolnikov resigned himself, renouncing his “damned dream” after his first dream), but the palm tree is “the main symbol of triumph and victory,” Egypt is the place where Napoleon forgets the army. Having abandoned 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. It’s as if in reality he hears how the quarter warden Ilya Petrovich terribly beats his (Raskolnikov’s) landlady. This vision reveals Raskolnikov’s hidden desire to harm the landlady, the hero’s feeling of hatred and aggression towards her. It was thanks to the landlady that he found himself in the police station, forced to explain himself to the assistant quarter warden, experiencing a mortal sense of fear and almost without self-control. But Raskolnikov’s vision also has a deeper, philosophical aspect. This is a reflection of the hero’s painful state after the murder of the old woman and Lizaveta, a reflection of his feeling of alienation from his past, from “previous thoughts,” “previous tasks,” “previous impressions.” The landlady here is obviously a symbol of Raskolnikov’s past life, a symbol of what he loved so much (the story of the hero’s relationship with the landlady’s daughter). The quarterly warden is a figure from his “new” life, the start of which was his crime. In this “new” life, he “seemed to cut himself off from everyone with scissors,” and at the same time from his past. Raskolnikov is unbearably burdened in his new position, which is imprinted in his subconscious as damage, harm caused to the hero’s past by his present.

Raskolnikov's third vision 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 Second Church; “a billiard in a tavern and some officer at the billiard, the smell of cigars in some basement tobacco shop, a drinking room, a back staircase... from somewhere you can hear the ringing of Sunday bells...”. The officer in this vision is a reflection of the hero’s real life experiences. 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 Second Church, the ringing of bells and a tavern, the smell of cigars, a drinking establishment. The symbolic meaning of these images is preserved here.

Raskolnikov sees his 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 her, bursts into quiet, inaudible laughter. He can hear laughter and whispers in the next room. Raskolnikov is suddenly surrounded by a lot of people - in the hallway, on the landing, on the stairs - silently and expectantly, they look at him. Overwhelmed by horror, he cannot move and soon awakens. This dream reflects the subconscious desires of the hero. Raskolnikov is burdened by his position, wanting to reveal his “secret” to someone, it’s hard for him to carry it inside 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 motif of laughter, which accompanies the hero throughout the novel, reappears. After committing the crime, Raskolnikov feels that “he killed himself, and not the old woman.” This truth seems to be revealed to the people surrounding the hero in a dream. An interesting interpretation of the hero’s dream is offered by S.B. Kondratiev. The researcher notes 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 seems to rethink the events that happened and his theory. Raskolnikov imagines that the whole world is condemned to be a victim of a “terrible... pestilence.” Some new microscopic creatures, trichinae, have appeared, infecting people and making them possessed. The infected do not hear or understand others, considering only their own opinion to be absolutely true and the only correct one. Having abandoned their occupations, crafts and agriculture, people kill each other in some senseless rage. Fires begin, famine begins, everything around dies. In the whole world, only a few people, “pure and chosen,” can be saved, but no one has ever seen them.” This dream represents the 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 Rodion’s mind with demon possession and madness. In fact, the hero’s idea of ​​strong personalities, Napoleons, to whom “everything is permitted” now seems to him to be illness, madness, clouding of the mind. Moreover, the spread of this theory throughout the world is what causes Raskolnikov's greatest concerns. Now the hero realizes that his idea is contrary to human nature itself, reason, and 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, Raskolnikov’s dreams and visions in the novel convey his inner states, feelings, innermost desires and secret fears. Compositionally, dreams often precede future events, become the causes of events, and move the plot. Dreams contribute to the mixing of real and mystical narrative plans: new characters seem to grow from 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.