Sleep is an expression of the unconscious in the human psyche. Therefore, as an element of a work of art, this is one of the means of creating an image, an opportunity to show the inner world of the hero, his latent thoughts, hidden from himself .

The role of dreams in revealing the inner world of Raskolnikov

Each of these episodes has its own "double" in real life.

• The hero's first dream is a reflection of his inner state before the murder, a state of painful perception of the injustice of the world, the world of the humiliated and insulted. The dream about killing a horse (as perceived by a child) characterizes the inhumanity of this world, as well as the kindness of Raskolnikov himself, has a compositional double - the death of Katerina Ivanovna ("We drove in a nag");

• Raskolnikov's second dream ( on the beating of the hero's apartment owner), on the one hand, the continuation of the theme of the lawlessness of this world, on the other hand, the anticipation of the hero's future cut off from people, i.e. his punishment. The compositional "double" is the murder of the old woman pawnbroker and Lizaveta.

• Raskolnikov's third dream (repeated murder of the old woman) is an analogue of a real murder, a second living of the deed. The revived old woman (the literary double of the old countess from The Queen of Spades by A.S. Pushkin) is a symbol of the defeat of the hero's theory.

• The hero's last dream (he sees him in hard labor) is an allegorical embodiment of the realization of the theory, a symbol of the hero's liberation from the power of theoretical constructions, his revival to life. A literary analogue is Voltaire's philosophical treatise on the madness of mankind. This dream has no real compositional double, which is symbolic.
  The hero refuses the theory - it cannot be realized.

Raskolnikov's dreams are a kind of dotted line, which at different levels reflects the ideological and artistic content of the novel.

Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A. (see "Our Library")

In his novels FM Dostoevsky reveals the complex processes of the inner life of his characters, their feelings, emotions, secret desires, experiences and fears. In this context, the dreams of the characters are of particular importance. Sleep, as a compositional element, can perform various functions and carry its own special semantic load. Let's try to figure out what is the role and meaning of dreams in the novel "Crime and Punishment".

For the first time, Dostoevsky introduces a dream in the first part of the work, even before the murder of the old woman-pawnbroker. Falling asleep on the street due to his painful condition and a glass he had drunk the day before, Raskolnikov sees his childhood: little Rodya walks with his father outside the city on a bright holiday, but soon the idyll is disturbed by one terrible episode. The young peasant Mikolka, leaving the tavern, begins to whip his "skinny savrass nag", which cannot carry a load in the form of nearly ten people, and then finishes her off with an iron crowbar. The first thing that lies on the surface is that Raskolnikov's pure childish nature protests against violence. Little Rodion runs up to the nag and kisses her bloody muzzle, and then with fists rushes to the killed "horse" Mikolka. It is no coincidence that we have been given a childlike view of the situation. The child's consciousness is pure and unblinded by any theories, the child lives - with his heart. And in the soul of Raskolnikov, this child is struggling with his mind, which gives birth to such destructive casuistic theories. The duality of the protagonist's nature is manifested here. Raskolnikov's painful duality is also evidenced by two opposite images from his dream - the church and the tavern. The tavern is a symbol of what destroys people, this is the focus of evil, debauchery, recklessness, this is the place where a person loses his human appearance (it is no coincidence that the morally degraded Svidrigailov is a frequenter of tavern aesthetic sense). The Church, on the other hand, embodies all the best that is in human nature. It is characteristic that little Rodya liked to go to church, and the tavern always made a "most unpleasant impression" on him. Thus, in a metaphorical sense, the tavern and the church represent the moral guidelines of a person in real life. It is symbolic that Rodion pauses at the tavern on the way to the church and never gets into it. In my opinion, this can be interpreted in two ways. For example, this can mean, on the one hand, that Raskolnikov turned from the true path, and on the other, that he did it not of his own free will, but in the name of Mikolka's horse, symbolizing all the "humiliated and insulted." It is noteworthy that this episode of Raskolnikov's dream echoes the bitter exclamation of Katerina Ivanovna: "We've gone away the nag!

However, it is worth dwelling in more detail on the horse and its symbolism. In addition to the fact that she represents those for whose good Raskolnikov is fighting, she at the same time symbolizes that very "useless louse", the old woman who became his victim. That is, this dream predicts the very bloody events in the future. Therefore, waking up, Raskolnikov renounces his "cursed dream" and asks: "Can it really be, can I really take an ax, start hitting on the head, smash her skull ... I will slide in sticky warm blood, break the lock , steal and tremble; hide, all covered in blood ... with an ax. Lord, really? ". And if the horse is an old woman-pawnbroker, then it would be logical to assume that Mikolka is Raskolnikov. And here the reasoning again touches on the topic of Raskolnikov's duality, that a sinless naive child and a terrible killer can get along in him. It is noteworthy, in my opinion, that Mikolka's name appears in the text more than once. Indeed, a parallel can be drawn between Mikolka from a dream and Mikolka, who confessed to a crime. The first Mikolka Raskolnikov is related to a perfect atrocity, as for the second Mikolka, it is interesting that Porfiry Petrovich mentions that Mikolka is one of the "schismatics". Surely, this is not a simple coincidence, but a conscious author's reference to the main hero. Thus, the second Mikolka, as it were, sets an example for Raskolnikov, shows how he needs to act in this situation. Although Mikolka appears only in a few episodes of the novel, his image is very important. He is a symbol of voluntary suffering, only through him, according to Dostoevsky, can one atone for one's sins, be cleansed and morally reborn.

Raskolnikov sees his third dream already in hard labor. In this dream, he seems to rethink the events that have taken place, his theory. It seems to Raskolnikov that the whole world is condemned as a sacrifice to "a terrible ... pestilent plague." Some new microscopic creatures, trichinas, have appeared, infecting people and making them 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 senseless rage. Fires start, hunger, everything around dies. All over the world, only a few people, “pure and chosen,” can be saved, but no one has ever seen them. This dream is an extreme embodiment of the individualistic theory of Raskolnikov, showing the threatening results of its pernicious influence on the world and humanity. It is characteristic that individualism is now identified in Rodion's consciousness with devilry and madness. In fact, the hero's idea of ​​strong personalities, Napoleons, to whom “everything is permitted”, now seems to him a disease, insanity, a clouding of mind. Moreover, the spread of this theory around the world is what causes Raskolnikov's greatest fears. 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.

Another person besides Raskolnikov who sees dreams is Svirigailov. And it is noteworthy that this fact to some extent determines their duality. Conscience leaves neither one nor the other to the end. On the eve of suicide, Svidrigailov sees several dreams, one turns into another. It is significant that Svidrigailov's transitions from one dream to another have their own internal logic: "... in dreams there is a theme of debauchery, growing from the first to the third"; in the first dream, where a mouse appears, the theme of debauchery "is given only by a hint, only by the feeling of slippery, nasty", in the second dream a drowned girl appears, a "victim of debauchery", in the third dream - a five-year-old "girl", "debauchery has completely taken possession of her" ... The image of a five-year-old that arose in Svidrigailov's dream is deeply symbolic, since it embodies the possible limit of human fall, which even Svidrigailov terrifies. This dream can also characterize Svidrigailov as a person unable to be reborn. Since the age of his "victims" varies from twelve to sixteen, it seems quite possible that one day he may "lower the bar." Children for Dostoevsky are sacred, so it is not difficult to guess that the actions of Svidrigailov are regarded by the author as almost the most serious sin. And perhaps suicide was the only way out of this hell, in which the hero himself drove himself.

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 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 into the inner world of 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 attitudes and philosophical inferences. Psychology often operates with such mysterious and ambiguous categories as "consciousness", "unconscious", "psyche". Here, to explain a person's actions, his inner world is dominant, sometimes hidden even from the patient himself. 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 reasons for 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, of his suppressed "I".

Sleep as a method of psychoanalysis in the novel

Dostoevsky is a very subtle psychologist. It is as if he turns the souls of his heroes inside out in front of the reader. But he does this not explicitly, but gradually, as if drawing a picture in front of the viewer, in which everyone should see special patterns. In the work "Crime and Punishment", sleep 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 tavern

Throughout the entire work, Rodion Romanovich sees dreams five times. More precisely, three dreams and two semi-deliriums occurring on the verge of consciousness and unreality. Raskolnikov's dreams, summary which allows you to grasp the deep meaning of the work, allow the reader to feel the inner contradictions of the hero, his "hard reflections." This happens in the case of the first dream, in which to some extent the hero's inner struggle is going on. This is a very important point. This is a dream before the murder of an old money-lender. It is necessary to focus on it. This is a system-forming episode, from which, like from a stone launched into water, waves radiate along each page of the novel.

Raskolnikov's first dream is a product of a morbid imagination. He sees him in his "little 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 in holidays nothing is able to dilute the "gray time". Moreover, Dostoevsky portrayed Raskolnikov's dream in dark, repulsive tones. The contrast is created only by the green dome of the church and red and blue shirts that belong to drunken men.

In this dream, there are two places that are opposites to each other: a tavern and a church in the cemetery. The church in the cemetery is a certain symbol: as a person begins his life in the church, and ends it there. And the tavern, in turn, is associated by Rodion with malice, baseness, ossification, drunkenness, filth and depravity of its inhabitants. The fun of the inhabitants of the tavern, both among those around and among 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 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 childish 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 the 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 the tavern. There was a draft horse at the tavern, which was harnessed to a cart. The drunken owner of the horse came out of the tavern and began to invite his friends to ride the cart. When the old horse did not budge, Mikola began to whip 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.

First dream analysis

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 was not conceived, but real. The first dream contains a meaning that carries a huge semantic and symbolic load. He clearly demonstrates where the hero developed a sense of injustice. This feeling is the product of Rodion's quest and mental suffering.

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

Raskolnikov's second dream

Interestingly, after Raskolnikov had his first dream, for a long time he no longer sees 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 get drunk from the source suggests that all is not yet lost. He can still abandon his "experience", avoid this terrible experiment, which should confirm his extravagant theory that killing a "harmful" (bad, mean) person will certainly bring relief to society and make the life of good people better.

On the verge of unconsciousness

In a feverish seizure, when the hero does not understand much because of delirium, Raskolnikov sees how the owner of his apartment is allegedly beaten by Ilya Petrovich. 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 mostly "delirium and auditory hallucinations." Although this to some extent suggests that the hero has a presentiment that he will be a "renegade", "outcast", i.e. on a subconscious level, he knows that punishment awaits him. But it is also, perhaps, a game of the subconscious, which speaks of the desire to destroy another "trembling creature" (the owner of the apartment), which, 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 in the process), has another dream, which gradually turns into delirium. Raskolnikov's next dream is similar to the first. This is a nightmare: the old woman-pawnbroker is alive in her sleep, and she answers Raskolnikov's fruitless attempts to kill herself with a laugh, a laugh "ominous and unpleasant." Raskolnikov tries to kill her again, but the hubbub of the crowd, which is clearly unfriendly and spiteful, does not allow him to do the job. Dostoevsky by this 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 is not able to step over human lives. The old woman's laugh is a laugh at the fact that Raskolnikov turned out not to be "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 and bring Rodion to the line, to the possibility of further "reborn from the ashes."

The last dream

The last in the novel "Crime and Punishment" Raskolnikov's dream is another kind of half-asleep, half-delirious, in which you need to look for hope for the possibility of the hero's rebirth. This dream relieves Rodion of doubts and searches that tormented him so much after the murder. Raskolnikov's last dream is a world that must disappear due to illness. It is as if there are spirits in this world that are endowed with intelligence, who have a will capable of subduing people, making them puppets, possessed and insane. Moreover, the puppets themselves, after infection, consider themselves truly intelligent 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 mankind.

Healing

Thus, Raskolnikov rethought his whole life, drastically changing his worldview. Raskolnikov's main achievement 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, though difficult, painful and filled with suffering, but still cleansing and spiritually regenerating. It is precisely Dostoevsky's suffering that is the path to real happiness.

Final chord

The article outlined Raskolnikov's dreams briefly and succinctly, 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 as much as possible on the plot twists and turns, on the system of images that the author introduces. The hero's dreams prepare the reader for subsequent scenes and have great importance to understand the main ideas of the novel. They are also significant for the work in the artistic and pictorial sense.

In addition, dreams are very important in helping to determine psychological condition 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 state of mind. He then tried to match his aversion to killing a horse with the sensations of the actual killing he had in mind. Perhaps, if he listened to his feelings, he could avoid an 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 he has compassion and a desire to protect the weak. This allows you to look at the "dastardly killer" from a different angle.

Dreams in a novel have their own distinct functions and moods in each specific episode of the novel, but their general purpose remains 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" people. 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 sleep, amazes not only the layman, but also true connoisseurs of literature.

/ DREAMS OF RASKOLNIKOV

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 dreams of the characters seem to be 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 peasant, Mikolka, leaving the tavern, with all his might whips his "skinny ... greedy nag" with all his might, which cannot be carried by an overwhelming cart, and then finishes her with an iron crowbar. Rodion's pure childish nature protests against violence: with a cry, he rushes to the downtrodden Savraska and kisses her dead bloody face. And then he jumps up and throws himself with fists at Mikolka. Raskolnikov experiences here a whole spectrum of the most varied feelings: horror, fear, pity for the unfortunate horse, anger and hatred for Mikolka. This dream shocks Rodion so much that, waking up, he renounces "his accursed dream." This is the meaning of sleep directly in the external action of the novel. However, the meaning of this dream is much deeper and more significant. First, this dream anticipates future events: the red shirts of drunken men; Mikolka's red, "carrot-like" face; woman "in kumach"; an ax that can put an end to the unfortunate nag at once - all this predetermines future murders, hinting that blood will be shed after all. Secondly, this dream reflects the painful duality of consciousness of the hero. 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 to beat the unfortunate horse to death. It turns out that in this dream the hero feels himself to be both Mikolka and a child, whose pure, kind soul does not accept cruelty and violence. This duality, contradictory nature of Raskolnikov in the novel is subtly noted 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." “Precisely in him, two opposite characters are alternately replaced,” exclaims Razumikhin. Raskolnikov's painful duality is also evidenced by two opposite images from his dream - a tavern and a church. The tavern is what destroys people, it is the focus of debauchery, recklessness, evil, this is the place where a person often loses his human appearance. The tavern always made “the most unpleasant impression” on Rodion, there was always a crowd, “they shouted, laughed, swore… ugly and hoarsely they sang and fought; such drunken and terrible faces were always 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 characteristic that little Rodion loved church, twice a year he went with his father and mother to mass. He liked the old icons and the old priest, he knew that funeral services were served here for his deceased 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 get into it, which is also very significant. He is delayed by the scene near the pub.

Significant here is the image of a skinny peasant savraska, which cannot withstand an unbearable burden. This unhappy 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 disasters of the Marmeladov family, a symbol of Sonya's position. This episode from the hero's dream echoes the bitter exclamation of Katerina Ivanovna before her death: “We’ve gone to the nag! I tore it up! "

Significant in this dream is the image of the long-dead father of Raskolnikov. 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 against his fatal act. Recalling the grief that befell their family when Rodion's brother died, Raskolnikov's father takes him to the cemetery, to the grave of his deceased brother, towards the church. This, in our opinion, is precisely 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 whole novel, its central event. Having concentrated in itself the energy and power of all future events, the dream has a formative meaning for other plot lines, "predicts" them (the dream is 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 nucleus subject to textual development, ”note G, Amelin and IA Pilshchikov. Indeed, threads from this dream are drawn throughout the novel. Researchers distinguish character "threes" in the work, corresponding to the roles of "tormentor", "victim" and "compassionate". In the hero's dream it is "Mikolka - a horse - Raskolnikov-child", in real life it is "Raskolnikov - an old woman - Sonya". However, in the third "three" the hero himself acts as a victim. This "troika" is "Raskolnikov - Porfiry Petrovich - Mikolka Dementyev". In the development of all plot situations, the same motives sound here. Researchers note that in all three plots, the same textual formula begins to unfold - "to shock" and "with a butt on the crown of the head." So, in Raskolnikov's dream, Mikolka with a crowbar "shocks his poor horse on a grand scale." In about the same way, the hero kills Alena Ivanovna. "The blow hit the very crown ...", "Then he struck with all his might once and again, all with a butt and all on the crown." Porfiry uses the same expressions in conversation with Rodion. “Well, who, tell me, of all the defendants, even the most humble peasant, does not know that, for example, they will first start to lull him to sleep with extraneous questions (in your happy expression), and then suddenly they will stun him into the very crown of his head, with ... ", - the investigator notes. In another place we read: “I, on the contrary, should have distracted you in the opposite direction, but suddenly, like a butt on the crown of your head (in your own expression), and stunned:“ And what, they say, sir, did you please in the apartment of the murdered to do at ten o'clock in the evening, but almost also 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, and all around are magnificent palm trees. Nearby, a stream gurgles, and “wonderful, wonderful, such 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. Kondratyev, the camel here is a symbol of humility (Raskolnikov resigned himself, renounced his "accursed 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 himself the 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's) landlady. This vision reveals Raskolnikov's latent 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 precinct, had to explain himself with the assistant to the quarterly overseer, experiencing a deadly feeling of fear and almost no control over 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 "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 overseer is a figure from his "new" life, the countdown of which was laid by 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 painful in his new position, that in his subconsciousness it is imprinted as damage, harm done 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 fancies the faces of people from his childhood, the bell tower In the th church; "A billiard in one tavern and some officer at the billiard, the smell of cigars in some basement tobacco shop, a drinking house, a back staircase ... from somewhere you can hear Sunday bells ringing ...". 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 have something in common with the images from Rodion's first dream. There he saw a tavern and a church, here - the bell tower of the E-th church, the ringing of bells and a tavern, the smell of cigars, a drinking house. The symbolic meaning of these images is preserved here.

Raskolnikov sees his second dream after his crime. He dreams that he is again going to Alena Ivanovna's apartment and is trying to kill her, but the old woman, as if mocking, bursts into a quiet, inaudible laugh. Laughter and whispers are heard in the next room. Raskolnikov is suddenly surrounded by a multitude of people - in the hallway, on the landing, on the stairs - silently and expectingly, they look at him. Terrified, he cannot move and soon wakes up. This dream reflects the hero's subconscious desires. Raskolnikov is burdened by his position, wishing to reveal his "secret" to someone, it is hard for him to carry it within 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 longs for people, he wants community, unity with them. In this dream, the motive of laughter reappears, accompanying the hero throughout the entire novel. After committing the crime, Raskolnikov feels that "he killed himself, not the old woman." This truth is supposedly open to people surrounding the hero in a dream. An interesting interpretation of the hero's dream is offered by S. B. Kondratyev. The researcher notes that laughter in Raskolnikov's dream is "an attribute of Satan's invisible presence," 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 have taken place, his theory. It seems to Raskolnikov that the whole world is condemned as a sacrifice to "a terrible ... pestilent plague." There are some new microscopic creatures, trichines, infecting people and making them 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 senseless rage. Fires start, hunger, everything around dies. All over the world, only a few people, “pure and chosen,” can be saved, 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 Rodion's mind with demoniacal and madness. In fact, the hero's idea of ​​strong personalities, Napoleons, to whom “everything is permitted”, now seems to him a disease, insanity, a clouding of mind. Moreover, the spread of this theory around the world is what causes Raskolnikov's greatest fears. 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 out of the hero's dreams. In addition, the plots in these visions resonate with 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, back in his hometown. 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, gray-haired 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 furiously and finishes it. Raskolnikov-child at the first moment looks at everything that happens in horror, then rushes to defend the horse, but too late.
The atmosphere of what is happening is heated with strong feelings. On the one hand, this is the malicious, aggressive passion of the unbridled crowd, on the other, 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 nag they are trying to achieve. It is no coincidence that, creating this terrible picture, Dostoevsky uses a lot of exclamation marks.
The main idea of ​​the episode is the rejection of the murder by the nature of the person, and in particular by the nature of Raskolnikov. Before going to bed, the hero thinks about the usefulness of killing an old money-lender who has outlived her age and “seizes” someone else's, but after Raskolnikov wakes up in a cold sweat and horrified by the scene he saw in his 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, the nature of man is revealed in them, and we see that murder is disgusting to the soul and heart of Raskolnikov. But in reality, thoughts and concerns about the mother and sister, the desire to prove their theory about “ordinary” and “extraordinary” people in practice prompts us to think about murder and its usefulness, to drown out the torments of nature.
Dostoevsky puts his thoughts on the reasons for the crime and on the unnaturalness of murder into the protagonist's first dream.
The hometown is a symbol of St. Petersburg itself. A tavern, drunken men, a stifling 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 main character, drawing him into 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.
Sleep with many threads is connected with what happens next in the reality of the novel. Raskolnikov, shuddering at what he planned, will nevertheless kill the old woman and also Li-Covenant, as helpless and downtrodden as a nag: she would not even dare to raise her hand to protect her face from the killer's ax. Then the dying Katerina Ivanovna will breathe out along with the consumptive blood: “We've hit the nag! “But Raskolnikov in this strange reality will act already as an executioner, as part of a rough, cruel world that has arrogated to itself the right to kill, no matter whether he is arguing whether he is 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 the poem by N. A. Nekrasov "On the Weather". The action of the dream unfolds sequentially, in contrast, for example, to Nikolenka's dream in Leo Tolstoy's novel War and Peace, where events are feverishly replacing each other. But Raskolnikov's first dream is not the only one: it will be followed by three more dreams, 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 “punishment” by Raskolnikov, Dostoevsky will show that it is in the soul that all the main truths about the attitude of people to each other are kept: “Do not judge”, “Do not kill”, “ Love your neighbor as yourself. " And Raskolnikov will be punished first of all by the fact that his heart will not accept pr

Elena anufrieva

Dreams are important in the novel. There is practically no border between sleep and reality. Sleep smoothly turns into reality, reality into sleep. 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 the reality itself in the novel is fantastic, which is facilitated by the image of St. Petersburg, its atmosphere of stuffiness, which has a symbolic meaning.

Throughout the novel, Rodion Raskolnikov dreams five times. He sees his first dream in his room after meeting a drunk girl on the boulevard. It is born of the hero's morbid imagination. The action takes place in the distant childhood of Raskolnikov. Life in his hometown is so common 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 is blackened", "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 the joyful spots.

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

And after sleep, the thought arises in Raskolnikov's head: “Can it really be, can I really take an ax, start hitting her on the head, crush her skull ... I will slide in sticky warm blood, pick the lock, steal and tremble; to hide, all covered in blood ... with an ax? Lord, really? “It will be difficult for Rodion to commit this murder, because his attitude towards violence has changed little since childhood. Despite the intervening years, he still abhors violence, much less murder. This dream is the most vivid and memorable and carries the greatest meaning. He clearly reveals the source of the feeling of shocked injustice, generated by the quest and aspirations of the hero. This is one of the most important moments of the novel, in which the thousand-year experience of the enslavement and oppression of some people by others, the age-old cruelty on which the world has long been held, and the passionate longing for justice and humanity, expressed with great skill, are concentrated in a succinct 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 "trial" and
meeting with Marmeladov.
Sleep is heavy, painful, exhausting and unusually
rich in characters:
Raskolnikov the boy loves to go to church,
personifying 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 love; tavern is that eerie, worldly, earthly,
what destroys a person in a person.
In the scene at the pub - the murder of a helpless horse by a crowd
drunk - little Raskolnikov tries to protect
unhappy animal, screams, cries; apparently, in its own way
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 possible
violence against a human person is disgusting for him,
unnatural.
It is significant that after this dream Raskolnikov
for a long time he does not see dreams.
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,
multi-colored stones, golden sand.
This dream is contrasting.
He is opposed to the real life of Raskolnikov -
pathetic, colorless, gray. (H, 1, Ch. VI)
Dream about Ilya Petrovich and the hostess
Delirious after the crime Raskolnikov
sees a dream about Ilya Petrovich, who beats the hostess.
In a dream, Raskolnikov felt fear that perhaps
they came for him: "All of a sudden Raskolnikov trembled like a leaf ...
Ilya Petrovich is here and beats the mistress ... But, therefore,
and they will come to him now, if so, "because ...
right, all this is from the same ... because of yesterday ... "
"... Fear, like ice, overlaid his soul, tortured him,
stiffened him up ... "
At the same time, even in a dream, he does not undertake
nothing to escape, shut down, surrender to the police.
(Part 2, Chapter II)
Dream of a laughing old woman
Before the arrival of Svidrigailov, Raskolnikov saw
a delusional dream about a murdered old woman-pawnbroker.
In a dream, Raskolnikov goes to the old woman's apartment after
some bourgeois who calls him there.
In the corner, in the living room, he discovers an old woman sitting.
The old woman laughs.
Raskolnikov strikes her with an ax, but only laughter
intensified.
Raskolnikov rushed to run, but there were people everywhere-
on the stairs, indoors, etc.: "... everyone is looking, -
but everyone hid and waited, they were silent ...
His heart was shy, his legs did not move, they had grown ...
He wanted to cry out 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 judgment.
He was afraid of being disgraced in front of the crowd.
This fear was embodied in a dream (Ch. 3, Ch. VI)
Doomsday dream
This is Raskolnikov's last dream.
Already in hard labor, Raskolnikov once fell ill and fell
in hospital.
In a painful delirium, he saw several times a repetitive
a dream about 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 unprecedented
a pestilent plague extending from the depths of Asia to Europe.
All were to die, except for a few, very
a few, a select few ... "
Raskolnikov dreams of this last dream after the trial,
in 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 the purification and renewal of the soul.
Raskolnikov.
The dream is very vivid and emotional speaks of
active inner work on yourself
Raskolnikov.

Alexander doronin

Raskolnikov's last dream occurs already in hard labor. Rodion falls seriously ill with typhus and has a nightmare.
Peace. People are infected with an unknown disease transmitted by spirits. Everyone in the world is becoming easily controllable puppets, and people themselves consider themselves people of high intelligence and reason. The infected then kill each other, like spiders in a bath.
This dream is a turning point in Raskolnikov's life. After this nightmare, Rodion realizes the entire inconsistency of his own theory and, one might say, renounces it. The main character is spiritually healed, and begins to live a NEW life - to live free from all searches that tormented him so much all his life. This is where the hope of atonement for your sin comes in. It was there, in penal servitude, that Raskolnikov, like Lazarus from biblical legends, is raised 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, which is just as ridiculous and murderous. as with Raskolnikov.
Simply put, Dostoevsky shows himself - he also went through hard labor for his convictions, and subsequently renounced them.

A dream about a horse beaten by men.

On the eve of the crime, Raskolnikov has a dream: he is seven years old, he walks with his father on a holiday. They go to the cemetery past a tavern, near which a skinny horse is harnessed to a large cart. A drunk comes from the tavern.

Mikolka (same name as the dyer who took the blame on Raskolnikov). He puts a noisy crowd on the cart. The horse cannot move the cart. Mikolka mercilessly beats her with a whip, then with a shaft, two men whip the horse from the sides. The boy tries to intercede, cries, screams.

Mikolka finishes the animal with a crowbar. Rodion runs up to Savraska, grabs her dead, bloody face and kisses her, then rushes with fists at Mikolka. Raskolnikov "woke up covered in sweat, with his hair wet with sweat, panting, and stood up in horror." Meaning: the writer reveals the true soul of Raskolnikov, shows that the violence he conceived contradicts the nature of the hero.

This dream reflects the internal state of Rodion on the eve of the crime.

The symbolism of a slaughtered horse dream.

There is a church a few steps from the tavern, and this small distance shows that at any moment in life a person can stop sinning and start a righteous life. The dream has a compositional double in the novel - this is the death of Katerina Ivanovna ("They've gone away the nag! .." - she says, dying).

Full text of the episode "dream # 1"

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 at the same moment fell asleep. In a diseased state, dreams are often distinguished by an extraordinary bulge, brightness, and an extreme resemblance to reality. Sometimes the picture is monstrous, but the setting and the whole process of the entire performance are so probable and with such subtle, unexpected, but artistically corresponding to the entirety of the picture, details that they cannot be invented by the same dreamer in reality, be he the same artist. like Pushkin or Turgenev. Such dreams, painful dreams, are always remembered for a long time and produce strong impression on a frustrated and already excited human body. Horrible dream Raskolnikov dreamed. He dreamed of his childhood, back in their town. He is seven years old and walks on a holiday, in the evening, with his father outside the city. The time is gray, the day is suffocating, the terrain is exactly the same as it has survived in his memory: even in his memory it has become much more ironed out than it seemed now in a dream. The town stands openly, as if in the palm of your hand, not willow around; somewhere very far away, at the very edge of the sky, a forest is blackening. 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 him, walking with his father. There was always such a crowd, they shouted, laughed, swore, sang so ugly and hoarsely, and fought so often; such drunken and terrible faces were always wandering around the tavern ... When he met them, he pressed close to his father and trembled all over. Near the pub there is a road, a country road, always dusty, and the dust on it is always so black. She walks, meandering, further and three hundred steps around the city cemetery to the right. In the middle of the cemetery is a stone church with a green dome, in which he twice a year went with his father and mother to mass, when memorial 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 kutia with them on a white dish, in a napkin, and kutia was sugar made of rice and raisins, pressed into the rice with a cross. He loved this church and the ancient images in it, for the most part without salaries, and the old priest with a trembling head. Near 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 baptized himself over the grave, bowed to her and kissed her. And now he is dreaming: they are walking with their father on the road to the cemetery and pass by the pub; he holds his father's hand and looks back with fear at the pub. A special circumstance attracts his attention: this time it’s like a promenade, a crowd of dressed-up bourgeois women, women, their husbands and all kinds of rabble. Everyone is drunk, everyone is singing songs, and there is a cart near the inn's porch, but a strange cart. This is one of those large carts that harness large draft horses and transport goods and wine barrels in them. He always liked to look at these huge draft horses, long-maned, with thick legs, walking calmly, with a measured step and carrying some whole mountain behind them, not at all embracing, as if it was even easier for them with carts than without carts. But now, strangely enough, a small, skinny, gray-haired peasant nag was harnessed to such a large cart, one of those that - he often saw this - sometimes tear himself apart with a high cartload of firewood or hay, especially if the cart gets stuck in the mud or in a rut, and at the same time they are so painful, so painfully the peasants always beat them with whips, sometimes even in the very face and in the eyes, but he is so sorry, so sorry to see it that he almost cries, and mother always used to , takes him away from the window. But then suddenly it becomes very noisy: from the tavern they come out with shouts, with songs, with balalaikas, drunk, drunken big men in red and blue shirts, with saddle stitched Armenians. “Sit down, everyone sit down! - shouts one, still young, with such a thick neck and a fleshy face, red as carrots, - I'll take everyone, sit down! " But at once laughter and exclamations are heard: - Yes, you, Mikolka, in your mind, or something: you put such a 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, takes the reins and stands on the front end at full height. “The bay dave with Matvey left,” he shouts from the cart, “but the little mare, brothers, only breaks my heart: it would seem that he killed her, she eats bread for nothing. I say sit down! Jump comin! Jump will go! - And he takes the whip in his hands, with pleasure preparing to whip the savraska. - Yes, sit down, what! - they laugh in the crowd. - Hey, he'll go galloping! “She hasn't jumped for ten years already. - Jumping! - Do not regret, brothers, take all whips, cook! - And then! Seize her! Everyone climbs into Mikolka's cart with laughter and witticisms. Six people climbed, and you can still plant. They take with them one woman, fat and ruddy. She is wearing red calico, in a kitsch with beads, cats on her legs, snaps nuts and chuckles. All around in the crowd they are also laughing, and indeed, how can one not laugh: it’s such a dashing filly and such a burden to ride at a gallop! The two guys in the cart immediately take a whip to help Mikolka. It is heard: "Well!" The laughter in the cart and in the crowd doubles, but Mikolka gets angry and in a rage whips the filly with frequent blows, as if she really thinks that she will go at a gallop. - Let me go, brothers! - shouts one guy from the crowd who has burst into tears. - Sit down! Everybody sit down! - shouts Mikolka, - everyone will be lucky. I'll spot! - And it whips, whips, and no longer knows what to beat from the 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 naughty, fools: let's go, don't look! - and wants to take him away, but he breaks free from his hands and, not remembering himself, runs to the horse. But the poor horse is bad. She gasps, stops, twitches again, almost falls. - Seki to death! - shouts Mikolka, - for that matter. I'll spot! - Why is there a cross on you, or what, no, devil! - shouts one old man from the crowd. “You've seen such a horse carrying such a load,” adds another. - Freeze! Shouts a third. - Don't touch! My goodness! I do what I want. Sit down again! Everybody sit down! I want to gallop without fail! .. Suddenly laughter is heard in one gulp and covers everything: the mare could not bear the frequent blows and began to kick in powerlessness. Even the old man could not resist and grinned. And indeed: that kind of a dashing filly, and also kicks! Two guys from the crowd get another whip and run to the horse to whip it from the sides. Everyone runs from their side. - In the face of her, whip in the eyes, in the eyes! - shouts Mikolka. - Song, brothers! - shouts someone from the cart, and everyone in the cart picks up. A riotous song is heard, a tambourine rattles, a whistle in the refrains. Babenka snaps nuts and chuckles. ... He runs beside the horse, he runs ahead, he sees how it is flogged in the eyes, in the very eyes! He is crying. The heart in him rises, tears flow. One of the secants touches him in the face; he does not feel, he breaks his hands, shouts, 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 take him away; but he breaks free and again runs to the horse. She already with the last effort, but once again begins to kick. - And so that those devil! - exclaims Mikolka 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 Savrask. - Will pique! - they shout around. - Kill! - My good! - shouts Mikolka and lowers the shaft with all his might. A heavy blow is heard. - Seek her, seki! What have become! - shouted voices from the crowd. And Mikolka swings another time, and another blow with all its might falls on the back of the unfortunate nag. She sinks all backwards, but jumps up and jerks, pulls with all her last strength in different directions in order to take out; but from all sides they take it in six whips, and the shaft rises again and falls a third time, then a fourth, measuredly, with a swing. Mikolka is furious that he cannot kill with one blow. - Hardy! - they shout around. - Now it will certainly fall, brothers, here it will end! One amateur shouts from the crowd. - With her ax, what! End her at once, ”the third shouts. - Eh, eat those mosquitoes! Make way! - Mikolka cries out furiously, throws the shaft, bends down into the cart again and pulls out an iron crowbar. - Watch out! - he shouts, and with all his might he stuns his poor horse. The blow collapsed; the mare staggered, settled down, was about to jerk, but the crowbar again falls with all its might on her back, and she falls to the ground, as if all four of her legs had been hit at once. - Finish off! - Mikolka shouts and jumps up, as if he doesn’t remember himself, from the cart. Several guys, also red and drunk, grab whatever they find - whips, sticks, a shaft, and run to the dying filly. Mikolka stands to the side and starts hitting the back with a crowbar in vain. The nag stretches out its muzzle, sighs heavily and dies. - Finished! - shout in the crowd. - Why didn’t she ride! - My good! - shouts Mikolka, with a crowbar in his hands and with bloodshot eyes. He stands as if regretting that there is no one else to beat. - Well, really, to know, there is no 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, rushes with his fists at Mikolka. At that moment, his father, who had been chasing him for a long time, grabs him at last and carries him out of the crowd. - Let's go to! let's go to! - he says to him, - let's go home! - Daddy! Why did they ... the poor horse ... killed! - he sobs, but his breath catches, and the words cries out from his cramped chest. - Drunk, playing naughty, none of our business, let's go! - says the father. He wraps his arms around his father, but his chest is cramping, cramping. He wants to catch his breath, scream, and wakes up. He woke up drenched in sweat, hair damp with sweat, panting, and stood up in horror.

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A dream about an oasis in Egypt.

On the eve of the crime, Rodion dreams of an ideal world that will be created by him - the brilliant savior of mankind. He sees Egypt, an oasis, blue water, multi-colored stones, golden sand and dreams of creating a small oasis of happiness on earth in the middle of an endless desert of grief. Meaning: the dream, in the name of which the crime is conceived, is opposed to the gray real life.

The symbolism of the dream about Egypt.

The Egyptian campaign is the beginning of Napoleon's career.

The full text of the episode "dream number 2"

After dinner, he stretched out again on the sofa, but he could not sleep any more, but lay motionless, prone, his face buried in the pillow. He dreamed of everything, and all such strange dreams were: more often than not it seemed to him that he was somewhere in Africa, in Egypt, in some kind of oasis. The caravan is resting, the camels are quietly lying; all around the palm trees grow in a whole circle; everyone is having dinner. He still drinks water, right from the stream, which flows and murmurs right there, at the side. And so cool, and wonderful, wonderful, such blue water, cold, runs over multi-colored stones and on such pure sand with golden sparkles ... Suddenly he clearly heard that the clock was striking. He shuddered, woke up, raised his head, looked out the window, figured out the time and suddenly jumped up, completely recovering himself, as if someone had ripped him off the sofa. On tiptoe he went to the door, opened it softly and began to listen down the stairs. His heart beat terribly. But everything was quiet on the stairs, as if everyone was asleep ... It seemed wild and wonderful to him that he could have slept in such oblivion since yesterday and had not done anything, had not prepared anything ... And meanwhile, perhaps six hours were beating ... And extraordinary a feverish and some kind of bewildered bustle seized him suddenly, instead of sleep and dullness. However, there were few preparations. He strained every effort to figure everything out and not forget anything; and his heart was beating, beating so that it became difficult for him to breathe. First, it was necessary to make a loop and sew it to the coat - a matter of a minute. He crawled under the pillow and found in the linen stuffed under it one, completely ruined, old, unwashed shirt. From its rags he tore a band, one inch wide and eight inches long. He folded this braid in half, took off his wide, strong summer coat made of some kind of thick paper material (his only outer dress) and began to sew both ends of the braid under his left arm from the inside. His hands were shaking while sewing, but he overpowered, and so that nothing could be seen from the outside, when he put on his coat again. The needle and thread had already been prepared for a long time and lay in the table, in a piece of paper. As for the noose, it was a very clever invention of his own: the noose was assigned to the ax. You couldn't carry an ax in your hands down the street. And if you hide it under your coat, you still had to hold it with your hand, which would be noticeable. Now, with a loop, you just have to put the ax blade into it, and it will hang calmly, under the armpit from the inside, all the way. Having put his hand into the side pocket of his coat, he could hold the end of the clumsy handle so that it would not dangle; and since the coat was very wide, a real bag, it could not be noticeable from the outside that he was holding something with his hand through his pocket. He also invented this loop two weeks ago.

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Dream about Ilya Petrovich.

Rodion dreams that Ilya Petrovich is beating up his mistress. The dream is filled with eerie sounds: "she howled, screeched and wail," the voice of the beating wheezed, "such unnatural sounds, such howling, screaming, grinding, tears, beatings and curses, he has never heard or seen." In the mind of the hero, the dream is confused with reality. He thinks about the blood he shed, about the people he had killed. The whole being of the hero resists the murder committed. When Ilya Petrovich beats the hostess, questions arise in Raskolnikov's head: "But why, why ... and how is this possible!" Rodion understands that he is as much a "genius" as Ilya Petrovich.

The meaning of the dream about Ilya Petrovich.

Murder is alien to human nature. The dream was introduced by the author to show the horror and inconsistency of Raskolnikov's theory.

Symbolism: the staircase, which is the scene of the dream, symbolizes the struggle between good and evil.

Full text of the episode "dream number 3"

He came to his house in the evening, therefore, only six hours passed. Where and how he walked back, he did not remember anything. Undressing and trembling like a driven horse, he lay down on the sofa, pulled on his greatcoat and immediately forgot himself ... He woke up in full twilight from a terrible cry. God, what a cry! Such unnatural sounds, such howling, screaming, grinding, tears, beatings and curses, he had never heard or seen. He could not even imagine such an atrocity, such a frenzy. In horror, he got up and sat down on his bed, every moment freezing and tormenting. But the fights, screams and curses grew stronger and stronger. And now, to the greatest amazement, he suddenly heard the voice of his mistress. She howled, squealed and wail, hurrying, hurrying, letting out words in such a way that it was impossible to make out, begging for something - of course, that they should stop beating her, because they beat her mercilessly on the stairs. The beating man's voice became so terrible with anger and rage that it was only hoarse, but nevertheless the beating one also said something like that, and too soon, indistinctly, hurrying and choking. Suddenly Raskolnikov trembled like a leaf: he recognized this voice; it was the voice of Ilya Petrovich. Ilya Petrovich is here and beats the hostess! He kicks her, bangs her head on the steps - this is clear, you can hear it from the sounds, from the screams, from the blows! What is it, the light turned over, or what? You could hear a crowd gathering on all floors, along the entire staircase, voices and exclamations were heard, ascending, knocking, slamming doors, running. "But for what, for what, and how is it possible!" he repeated, seriously thinking that he was completely mad. But no, he hears too clearly! .. But, therefore, they will come to him now, if so, "because ... sure, all this is from the same ... because of yesterday ... Lord!" He wanted to lock himself on the hook, but his hand did not rise ... and it was useless! Fear, like ice, overlaid his soul, tortured him, numb him ... But finally, all this din, which lasted ten minutes, began to gradually subside. The hostess moaned and groaned, Ilya Petrovich was still threatening and cursing ... But at last, it seems, he became quiet too; I can't even hear him; “Really gone! God!" Yes, the hostess is leaving, still groaning and crying ... and her door slammed shut ... So the crowd disperses from the stairs to the apartments, - gasp, argue, call each other, now raising the speech to a cry, then lowering it to a whisper. There must have been many; almost the whole house came running. “But God, is all this possible! And why, why did he come here! ”Raskolnikov fell helplessly on the sofa, but could no longer sleep a wink; he lay for half an hour in such suffering, in such an intolerable sensation of boundless horror that he had never experienced before. Suddenly a bright light illuminated his room: Nastasya entered with a candle and a bowl of soup. Looking at him carefully and seeing that he was awake, she put the candle on the table and began to lay out what she had brought: bread, salt, a plate, a spoon. “I suppose I haven't eaten since yesterday. The whole day went by, and the feisty herself beats. "Nastasya ... why did they beat the hostess? She looked at him intently." Who beat the hostess? " beat? and ... why did you come? .. Nastasya silently and frowned at him and looked at him for a long time. He felt very unpleasant from this examination, even scared. - Nastasya, why are you silent? - He timidly said at last in a weak voice. - It's blood, - she answered at last, quietly and as if speaking to herself. - Blood! .. What kind of blood? .. - he muttered, turning pale and moving away to the wall. Nastasya continued to stare at him in silence. "Nobody beat the hostess," she said again in a stern and decisive voice. He looked at her, barely breathing. “I myself heard… I didn’t sleep… I was sitting,” he said even more timidly. - I listened for a long time ... An assistant came to the warden ... Everyone ran to the stairs, from all the apartments ... - Nobody came. And this is the blood in you screaming. This is when she has no way out and she starts to bake with liver, and then she starts imagining ... Will you eat something? ”He did not answer. Nastasya kept standing over him, staring at him and not leaving. “Give me a drink… Nastasya. She went downstairs and two minutes later returned with water in a white clay mug; but he no longer remembered what happened next. He only remembered how he took a sip of cold water and poured it out of the mug on his chest. Then unconsciousness set in.

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A dream about a laughing old woman.

In a dream, Raskolnikov goes to the old woman's apartment after some tradesman who calls him there. This is a second living by the hero of the crime he committed. Rodion tries to kill the pawnbroker - he hits her on the head with an ax, but "she did not even move from the blows, like a wooden one." He "looked down into her face, looked in and died: the old woman sat and laughed."

Raskolnikov tries to run, but there is nowhere to run - people are everywhere. He wanted to be above this crowd ("trembling creatures"), but they laugh at his pathetic attempt to change the world through murder. The old woman is alive and also laughs at him, because by killing her, Raskolnikov killed himself - his soul.

The meaning of a dream about a laughing old woman.

The hero's subconscious speaks of the futility of killing, but he is not yet ready for repentance.

Symbolism: the old woman's laughter is used as a way to debunk the Napoleonic principle in the hero.

Full text of the episode "dream number 4"

He forgot himself; it seemed strange to him that he did not remember how he could find himself on the street. It was already late evening. Twilight deepened, the full moon brightened brighter and brighter; but the air was somehow especially stuffy. People walked in droves along the streets; artisans and busy people went home, others walked; smelled of lime, dust, stagnant water. Raskolnikov walked sad and worried: he remembered very well that he had left the house with some intention, that he had to do something and hurry, but what exactly he had forgotten. 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 across the street towards him, but suddenly the man turned and walked as if nothing had happened, bowing his head, not turning around and not giving the appearance that he was calling him. "Oh full, did he call?" - Raskolnikov thought, but he began to catch up. Before reaching ten paces, he suddenly recognized him and - was frightened; it was a former tradesman, in the same dressing gown and also hunched over. Raskolnikov walked from afar; his heart beat; turned into an alley - it still did not turn around. "Does he know that I'm going after him?" thought Raskolnikov. The bourgeois entered the gates of a large house. Raskolnikov hurried up to the gate and began to look: wouldn't he look around and call him? Indeed, having passed the entire gateway and already leaving into the courtyard, he suddenly turned around and again seemed to wave to him. Raskolnikov immediately passed the gateway, but the tradesman was no longer in the courtyard. Therefore, he entered the first staircase here now. Raskolnikov rushed after him. In fact, two stairs higher still someone's measured, unhurried steps could be heard. Strange, the stairs seemed familiar! There is a window on the first floor; the moonlight passed sadly and mysteriously through the glass; here is the second floor. Bah! This is the very apartment in which the workers smeared ... How could he not immediately recognize? The footsteps of the man walking in front died down: "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 bourgeois must have lurked somewhere in the corner. A! the apartment is wide open onto the stairs; he thought about it and entered. In the hall it 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. "This is such a silence from the month," thought Raskolnikov, "he must be asking a riddle now." He stood and waited, waited a long time, and the quieter the month was, the harder his heart beat, it even hurt. And all is 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 from the raid and whirred plaintively. At that very moment, and in the corner, between the small cabinet and the window, he made out, as it were, a cloak hanging on the wall. “Why is there a cloak? - he thought, - after all, he was not there before ... ”He approached on the sly and guessed that it was as if someone was hiding behind the cloak. He carefully pulled his cloak away with his hand and saw that there was a chair, 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 freed the ax from the loop and hit the old woman on the crown, once and again. But it’s strange: she didn’t even move from the blows, as if it were made of wood. He was frightened, bent down closer and began to examine her; but she bent her head even lower. Then he bent down completely to the floor and looked into her face from below, looked in and died: the old woman sat and laughed, and burst into a quiet, inaudible laugh, trying hard 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, 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 still swaying 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 to head, everyone was looking - but everyone was hiding and waiting, silent ... His heart was shy, legs do not move, rooted ... He wanted to cry out and - woke up.

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Dream of Trichinas.

Raskolnikov's last dream shows the result of his difficult and long internal struggle With myself. Dream events unfold in a fantasy world.

The hero sees terrible pictures of the end of the world, which is approaching due to a terrible disease caused by new microbes - trichinas. They penetrate the brain and inspire
man, that he alone is right in everything. Infected people kill each other.

Moral guidelines are lost. However, there are several people who have had the disease and were able to survive. It is they who can save humanity, but no one sees or hears them. Meaning: Dostoevsky shows a way out - you need to overcome moral nihilism, and then people will be able to understand God, discover the truth. The hero abandons his theory, realizes what permissiveness can lead to.

Symbolism: sleep - purification and revival of the hero.

The meaning of dreams. Dreams help to understand the psychology of the hero and show how Raskolnikov's worldview is changing.

In the novel "Crime and Punishment" a certain place is given to the description of the dreams that he sees the main character... These dreams allow the reader to look into the innermost corners of his mind and better understand the reasons for his actions. The novel presents four dreams of Rodion Raskolnikov. Of these, he sees two before committing a crime and two after.

Raskolnikov's first terrible dream brings him back to childhood. But there is nothing bright and iridescent in this dream.

On the contrary, the city of Raskolnikov's childhood is very reminiscent of St. Petersburg, with its gloomy and suffocating atmosphere of the middle streets. The "heroes" of the dream are also similar to the inhabitants of the capital: all the same drunken men who crave cruel entertainment. A special place in the dream is occupied by the description of a miserable nag, which is brutally beaten to death. What is happening is so monstrous and meaningless that the heart of little Rodi is overwhelmed by an aching feeling of compassion and bitterness from the realization of his own helplessness. The writer deliberately describes the murder scene in great detail, with great care. He seeks to emphasize the unnaturalness of violence and human cruelty. Waking up, Raskolnikov himself is horrified by what he had planned. The human essence of the hero resists the intended crime, his bright soul repulses the idea of ​​killing the old woman.

Raskolnikov's second dream takes place in the desert. But in this hot desert there is a wonderful oasis with palm trees, camels, and most importantly, with clean and cool water. In a dream, water is a symbol of life. The inner "I" of the protagonist strives for pure and life-giving moisture, and not at all for death and violence. Unfortunately, Raskolnikov is in no hurry to listen to his inner voice.

After committing the murder, Raskolnikov sees his next dream. The hero returns to the scene of the crime and relives the moment of the strike. In a dream, he tries to kill the old woman-pawnbroker, but she sits on the floor and silently laughs at him, at his theory. Perhaps, in this way, Raskolnikov's subconsciousness convinces him of the inhumanity and senselessness of the murder. However, the hero is not yet ready for repentance.

Raskolnikov had a fourth dream already in hard labor. The events of this dream unfold in a fantasy world. The writer paints a gruesome picture of the apocalypse. The whole world has gone mad: moral guidelines have been lost, people no longer distinguish between good and evil, they brutally kill each other. The world is doomed to self-destruction, because each person began to consider only himself significant, and his point of view - the only correct one. Human life has lost all value. After this dream, Raskolnikov realized the fallacy of his "Napoleonic" theory and understood what the "principle of permissiveness" could lead to.