Sleep is the expression of the unconscious in the human psyche. Therefore, as an element of an artistic work is one of the ways to create an image, the ability to show the inner world of the hero, his dear thoughts hidden from him .

The role of dreams in the disclosure of the inner world of Skolnikova

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

• The first dream of the heroe is the reflection of his inner state before the murder, the state of the painful perception of injustice of the world, the peace of humiliated and offended. Sleep about the murder of a horse (in the perception of the child) characterizes the inhumanity of this world, as well as the kindness of the Skolnikov himself, has a composite twin - the death of Katerina Ivanovna ("Klyach");

• Second Sleep Skolnikova (on beating a quarterly apartment hostess Hero), on the one hand, the continuation of the topic of the lawlessness of this world, on the other hand, the monitoring of the future cut off the hero from people, i.e. His punishment. Composite "Double" - the killing of the old woman of the percentagers and licable.

• The third Skolnikov dream ( repeated murder Old women) - analogue of real murder, secondary accommodation of the deed. The conquest of the old woman (the literary double of the old Countess from the "peak lady" A.S. Pushkin) is a symbol of the defeat of the theory of the hero.

• The last dream of the hero (he sees it at the Katorga) - the allegorical embodiment of the realization of the theory, the symbol of the release of the hero from the power of theoretical constructions, reviving him to life. The literary analogue is the philosophical treatise of Voltaire about madness of mankind. This dream does not have a real composite twin, which is symbolic.
  The hero refuses the theory - it cannot be realized.

Skolnikov'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 author's personal permission - Ph.D. Masneva O.A. (See "Our Library")

In his novels F. M. Dostoevsky reveals complex processes The inner life of their heroes, their feelings, emotions, secret desires, experiences and fears. In this context, the characteristics of the characters acquire special significance. Sleep, like a composite element, can perform various functions and carry its special semantic load. Let's try to figure out what the role and importance of dreams in the novel "Crime and Punishment".

The first time Dostoevsky introduces a dream in the first part of the work, even before the murder of the old woman. Slowing out on the street because of a painful state and drunk on the eve of a glass, Raskolnikov sees their childhood: a little knowing with his father walks outside the city in a bright festive day, but soon I idyll violates one scary episode. The young man of the Molik, coming out of the Kabaka, begins to whip his "skinny savory klyachonka", which is not under the power of the cargo in the form of a short ten man, and then finishing it with iron scrap. The first thing that lies on the surface is what pure children's Skolnikov nature protests against violence. Little Rodion runs up to the klyachonka and kisses it into a bloody face, and then with his cams rushes for a broken "horse" Molts. The fact that it is precisely a child look at the situation is that it is no coincidence. Children's consciousness is clean and unsubscribed by any theories, the child lives - with a heart. And in the soul of Raskolnikov, this child struggles with his mind that gives rise to so destructive casuistic theories. Here is the duality of nature of the main character. About the painful splitness of Skolnikov also testify the two opposite images from his sleep - the church and the Kabak. Kabak - is a symbol of what people are ruined, this is the focus of evil, debauchery, recklessness, this is the place where a person loses his human appearance (it is no coincidence that morally dodged Svidrigaylov - frequenter of kabaks and other "cluck", because one of the signs of depravity is the lack of a certain aesthetic feeling). The church personifies the whole best that is in human nature. It is characteristic that the Church loved to walk to the church, and Kabak always made it a "unpleasant impression." Thus, the Kabak and the church in the metaphorical plan are moral guidelines of a person in real life. It is symbolic that Rodion is delayed at the Kabaka along the way to church and does not fall into it. In my opinion, it can be interpreted in two ways. For example, this may mean on the one hand that the splitters turned from the true path, and on the other, that he did it still not in his will, but in the name of the horse Molka, symbolizing all "humiliated and offended." It is noteworthy that with this episode of Sleep Skolnikova echoes the bitter exclamation of Katerina Ivanovna: "Klyach leated! Trank-AR!".

However, it is worth it in more detail on the horse and its symbolism. In addition to the fact that it represents, whose benefit is fighting, she symbolizes that the most "useless loss", the old woman who has become a victim. That is, this dream predicts the very bloody events in the future. Therefore, waking up, the Raskolnikov rejects from their "damned dreams" and wonders: "Yes, really, really, I really take an ax, I will hit the head, smake her skull ... I will slide in a sticky warm blood, hack the castle in a sticky blood , steal and tremble; hide, all blood flooded ... with an ax. Lord, really? " And if the horse is an old-year older, then it will be logical to assume that Molka is a splitter. And then the reasoning again affects the theme of the duality of the Raskolnikov that it can be a sinless naive child and a terrible killer. It is noteworthy, in my opinion, and the fact that the name of the Molka appears in the text more than once. Indeed, between Molts from Sleep and Molts, created in a crime, you can take a parallel. With the first Molka Raskolnikov, the perfect atrocity relates to the second Molka, it is interesting that Porphyry Petrovich mentions that Molka from Raskolnikov. Surely, this is not a simple coincidence, but a conscious author's reference to the flower hero. Thus, the second Molka seems to make an example of Raskolnikov, shows how he needs to enter the situation. Molka although it appears only in several episodes of the novel, its image is very important. He is a symbol of voluntary suffering, only through him on Dostoevsky you can redeem my sins, clean and morally reborn.

She sees his third dream of the Raskolnikov already at Katorga. In this dream, he, as it were, rethinking the events that occurred, his theory. Raskolnikov seems to be as if the whole world was convicted of "terrible ... by marine ulcer." There were some new microscopic beings, Trikhins, infecting people and making them barely, do not hear and do not understand others, considering only their opinion absolutely faithful and the only right. Leaving his classes, crafts and agriculture, people kill each other in some meaningless malice. Fires begin, hunger, digest everything around. Only a few people, "clean and elected" can be saved all over the world, but no one has ever seen them. This dream is the extreme embodiment of the individualistic theory of Raskolnikov, showing the threatening results of the detrimental effect of it on peace and humanity. Scarcterno that individualism is now identified in the mind of Rodion with non-innovation and madness. In fact, the idea of \u200b\u200bthe hero about strong personalities, Napoleons, which "everything is permitted," is now present to him the disease, madness, turbidity of the mind. Moreover, the spread of this theory around the world is what causes the greatest concerns of Skolnikov. Now the hero is aware that the idea of \u200b\u200bhim is opposed to the human nature, mind, divine world order. Understanding and accepting all this with his soul, the splitters are experiencing moral enlightenment. It is not for nothing after this dream, he begins to realize his love for the Son, who opens his faith in life.

Another person besides Skolnikov, who sees dreams, - Svirigaylov. And it is noteworthy that this fact to some extent determines their dough. Conscience to the end does not leave one, nor the other. On the eve of the suicide, Svidrigayilov sees a few dreams, one goes into another. It is essential that the transitions of Svidrigaylov from one sleep to another have their inner logic: "... In dreams there is a deprait theme increasing from the first to the third"; In the first dream, where the mouse appears, the topic of debauchery "is given only by the hint, only a feeling of slippery, nasty", in the second dream there is a drowned girl, "the victim of debauchery", in the third dream - a five-year-old "girl", "debauchery completely mastered it" . The image of a five-year-old, which emerged in Svidrigaylov's dream, is deeply symbolic, because it embodies the possible limit of the human fall, which is terrifying even Svidrigaylov. This dream can also characterize Swidrigaila as a person who is not able to revive. As the age of his "victims" varies from twelve to sixteen, it seems it is quite possible that one day it can "lower the bar". Children for Dostoevsky - Sacred, so it is not difficult to guess that the deeds of Svidrigaylov are regarded by the author as hardly the worst sin. And perhaps suicide - there was an ethnic way out of this hell, in which hero himself himself and drove.

The first dream is an excerpt from childhood. Rodion is just seven years old. He goes with his father to church (the path of the cross) twice a year. The road passes by Kabaka, personifying dirt, drunkenness and debauchery. Passing by Kabak Raskolnikov saw some drunken men beat the "old Klyach" ("But a poor horse is bad. She suffers, stops, again pulls, almost falls"). As a result, the horse is killed and all besides Rodion and an old man standing in the crowd, do not try to stop drunken men. In this dream, the Raskolnikov sees the injustice of the world. Injustful animal violence strengthens his belief in the correctness of his theory. Raskolnikov understands that the world is cruel. By putting the wrong task before the horse, she was killed for non-compliance with the order. As Molka kills his horse ("My good, what I want to do it ..."), so the splitters kills the old woman ruthlessly ("Whether I am trembling or I have").

The second dream of the Raskolnikov sees after the murder of the old woman and her sisters. It seems to me that this is no longer a dream, but the game of imagination, although in it you can also see the symbolism of the work. The chief hero is dreaming that Ilya Petrovich hits the hostess. ("He hits her legs, kogotit her head about the step ..."). For Raskolnikova is shock. He could not think that people could be such cruel ("he could not imagine such atrocities, such a frenzy" "But for what, for what, and how it is possible!"). Probably the splitters subconsciously trying to justify his act, thinking that he was not one such cruel.

In the third dream, the Skolnikov lures the old woman in the apartment. He finds her sitting on a chair, and is trying to kill again, but she only "poured a laugh" in response to attempts to kill her ("Rasks looked at her face, looked and died: the old woman was sitting and laughed, - and picked up, Sound laughter, from all his strength, so that he did not hear her. "). It turns out that the situation is obtained: Skolnikova torments conscience, and he again tries to kill the old woman, but he does not work. Then people who begin to laugh at the Raskolnikov appear. In fact, they laugh at the theory of Skolnikov. She failed. All the secret once becomes clear, and the act of the main character is no exception. Raskolniki begins to realize that the killing of the old woman and sister did not make it Napoleon.

Fourth sleep dreams of Roman's epilogue. He lies in the hospital. There is a passionate week. It seems to me that this dream shows that Raskolnikov understood the failure of their theory. Dostoevsky in a dream portrayed the world in which everyone became "Raskolnikov". All covered confidence in their rightness - the correctness of their theory ("... smart and unshakable in truth"). Our world began to live according to the laws of the Raskolnikov theory, everyone began to consider themselves "Napoleon" ("as if the whole world was convicted of a sacrifice of some terrible, unheard and unprecedented shine ulcers"). Raskolnikov, seeing all this, aware of the failure of his theory. After this sleep, he starts new life. He was worried about the Sona, who was in the hospital, began to notice all that he was surrounded ("there, in the sun-dilapidated steppe, the nomadic yurts were stupid, slightly noticeable points. There was freedom, and other people lived, not similar to the local, There, as it was, the century of Abraham and her student were not passed, they did not take another time.

It is also interesting to consider the dream of Svidrigaylova about the girl, which he found and warmed up and who so smoked and prisoner laughed. This girl, which is only 5 years old, - the embodiment of the St. Petersburg corruption of morals, where even the children who have come from the most pure creatures on Earth, betrayed such vulgarity and the lowestness that even Swidrigiles were horrified: "How! Five-year-old! This ... What is it? ". This dream can also characterize Svidrigaylova as a person who is not able to revive: he wanted to admire the children's innocent sleep, looking under the lounge, and saw the depraved and brazen grin.

Many Russian writers and before and after Dostoevsky used dreams as an artistic technique, but hardly any of them could be so deep, thin and brightly described psychological condition Hero by image of his sleep. Dreams in the novel have a different content, mood and artistic microfunction (function in this episode of the work), but the general purpose of artistic means used by Dostoevsky in the novel, one thing: The most complete disclosure of the main idea of \u200b\u200bthe work is to refute the theory that kills a person in person in a sense of this person The possibility of killing them another person.

In 4 parts of the novel, ch. 4, Sonya says Raskolnikov: "Look now, I'm a minute, become at the crossroads, worship, the kiss first the land that you defiled, and then worship all the world, on all four sides, and tell everyone, out loud:" I killed! " What the symbolism of these gestures indicate another 5 - 6 symbolic details in the novel.

Sonya offers to repent, in Christian, before all the people repent .... But this is a way out for the sinful soul of Raskolnikov. He though did not go to the people to repent. And I went to a plot with sincere recognition.

Native Cross. At the time when the percentage overtakes her godfather
Suffering, her neck with a tight pussy wallet hung "Sonin
Presentations "," Lizavetin Copper Cross and cross from cypress. "
The Cypress Cross Skolnikova means not just suffering, but crucifix. Such symbolic details in the novel are icon, the gospel.
Religious symbolism is also noticeable in the names of their own: Sonya
(Sofia), Raskolnikov (split), capernaums (city in which Christ
wondered); Marfa Petrovna (parable about Marfe and Mary), in numbers: "Thirty Covers", "thirty kopecks", number 7. Roman has 7 parts: 6 pieces and epilogue. The outstanding time for Raskolnikova - 7 pm. The figure 7 literally pursues Skolnikov. Theologies call the number 7 of the truly holy number, since the number 7 is the compound of the number 3, symbolizing the divine perfection (Holy Trinity) and the number 4 - the number of world order. Consequently, the number 7 is a symbol of the "Union" of God and man. Therefore, "sending" Skolnikov to murder at least 7 o'clock in the evening, Dostoevsky tries in advance to defeat him, because he breaks this union. The number 4 "Become on the intersection, worship the whole world to all four sides." Reading about Lazarus takes place four days after the crime of Skolnikov, i.e. Four days after its moral death. In the house of Marmaladov, the reader sees the terrifying poverty. Baby things are scattered through the dwelling, breathing sheets stretched across the room, two chairs, an overwhelmed sofa and an old kitchen table, are not covered with anything and never painted. The lighting serves the candle's grinding, which symbolizes death, disintegration of the family. The stairs in the novel are distinguished by the same unsightly species, they are close and dirty. Researcher Bakhtin M. M. Notes that the whole life of the heroes of the novel passes on the stairs, in sight. Raskolnikov speaks with Sonya at the door, so the whole conversation hears Swirls. Neighbors, having broken around the doors, become witnesses to the deaths of Marmaladov, the despair of Katerina Ivanovna and her husband's death. On the way home, the priest rises towards the stairs to meet Raskolnik. The situation of the hotel room Svidrigaylova, in which he spends his last night on the eve of suicide, is also filled with symbolic meaning. The room is similar to a cage, the walls resemble the chilling boards, which leads readers to the thought of the coffin, hinting at the upcoming events.

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

Dreams in psychology

The study of a person's personality is a very subtle science that is balancing between accurate installations and philosophical conclusions. Psychology often operates with such mysterious and ambiguous categories as "consciousness", "unconscious", "psyche". Here, for clarification of a person's actions, his inner world is dominated, hidden sometimes even from the patient himself. He drives his immoral thoughts and feelings deeply inward, I am still confessed to them not only around them, but even myself. This causes a mental imbalance, contributes to the development of neurosis and hysteries.

To solve the state of a person, the true causes of its moral sufferings, psychologists often use hypnosis or breakdown of dreams. It is a dream in psychology - this is the expression of a person unconscious in the psyche, his depressed "I".

Sleep as a reception of psychoanalysis in the novel

Dostoevsky is a very subtle psychologist. He seems to turn inside out the soul of his heroes in front of the reader. But it does not clearly, but gradually, as if drawing a picture in front of the audience, on which everyone should see special patterns. In the work of "Crime and Punishment", a dream is a way to disclose the inner world of Raskolnikov, his experiences, emotions and a doom. Therefore, it is so important to determine the content of Raskolnikov's dreams, their semantic load. It is also necessary in order to figure out both in the novel, and in the identity of the hero.

Church and Kabak

Throughout the work, Rodion Romanovich sees dreams five times. More precisely, three sleep and two semi-breeds occurring on the verge of consciousness and unreality. Dreams Skolnikova, summary which allows you to catch the deep meaning of the work, allow the reader to feel the inner contradictions of the hero, his "heavy reflections". This is happening in the case of the first bed, in which the internal struggle of the hero is going to some extent. This is very important moment. This is a dream before the killing of the old woman. It needs to focus on it. This is a system-forming episode, from which, as from a stone, flew into the water, the waves are diverged on each page of the novel.

The first Skolnikov dream is the generation of the painful imagination. He sees him in his "room" after he met a drunken girl on the boulevard. Sleep returns Rodion in distant childhood when he lived in his hometown. Life there is so simple, usual and boring that even in holidays Nothing is able to dilute the "Serious Time". Moreover, Dostoevsky's sleep was depicted in gloomy, repulsive tones. Contrast creates only green and red and blue shirts that belong to drunken men.

In this dream there are two places that are opposed to each other: Cabaccy and church in a cemetery. The church in the cemetery is a specific symbol: how life begins his own man in the church, and ends it in the same place. And Kabak, in turn, is associated with Rodion with anger, lowness, hospitality, drunkenness, mud and depravity of his inhabitants. The fun inhabitants of the Kabaka like the surrounding and the smallest bullies cause only fear and disgust.

And the two of these cores - the Kabak and the Church are not by chance at a short distance from each other. This Dostoevsky wants to say that a person whatever he is disgusting can at any time stop low life and turn to the long-life God. To do this, just need to start a new, "clean" life, life without sins.

Old Children's Nightmare

We now turn out not to the symbols of this sleep, but to the very Rodion, which in a dream plunged into the world of his childhood. He again experiences a nightmare, whose witness was in early childhood: Rodion, along with his father, heads on the cemetery to visit the grave of a small brother who died at 6 months of age. And the path they ran through the zabak. Kabaka stood that was harnessed in the cart. A drunk owner of the horse came out of the Kabak and began to invite his buddies to ride on the cart. When it did not move, Mikola began to whip it with a whip, which he then changed into scrap. After several blows, the horse dies, and Rodion, seeing it, rushes on him with fists.

Analysis of the first sleep

It is this in the novel "Crime and Punishment" a dream is the most important component of the whole novel. It allows for the first time to see the readers of the murder. Only the murder is not conceived, but real. In the first dream, the meaning is laid, which carries a huge semantic and symbolic load. He clearly demonstrates where the hero has evolved a sense of injustice. This feeling is the generation of the quest and mental suffering of Rodion.

Only one in the work of "Crime and Punishment" Skolnikov's sleep is the millennial experience of oppression and enslave each other. It reflects the cruelty, which is managing the world, and with nothing comparable longing in justice and humanity. This thought with affecting skill and clarity F.M. Dostoevsky was able to show in such a short episode.

Second Sleep Skolnikova

Interestingly, after the Raskolnikov saw the first dream, he no longer sees dreams anymore, except for his visiting vision - a desert, in which there is an oasis with blue water (this is a symbol: blue - color of hope, color of purity). The fact that splitters decides to get drunk from the source, indicates that not all is lost. He can still refuse his "experience", to avoid this terrible experiment, which must confirm his crazy theory that the murder of the "harmful" (bad, gravily) person will certainly bring relief to society and makes the life of good people better.

On the verge of unconscious

In a feverish fit, when the hero is not much concerned about nonsense, the splitters see how the owner of his apartment allegedly beats Ilya Petrovich. It is impossible to allocate this episode that occurred in the second part of the novel, in a separate dream, as it is more "nonsense and auditory hallucinations." Although this to some extent suggests that the hero is to prefers, which will be a "renewent", "outcast", i.e. At the subconscious level, he knows that he is waiting for punishment. But also, perhaps this is the game of the subconscious, which speaks about the desire to destroy another "trembling creature" (hostess of the apartment), which is also like an old-year-older, is not worthy of his theory, live.

Description of the next Sleep Skolnikov

In the third part of the work of Rodion, who was already dealt with Alena Ivanovna (also killing the innocent Lizaven Ivanovna), another dream is dreaming, gradually turning into nonsense. Another dream of Skolnikov is like the first. This is a nightmare: the old woman in a dream is alive, and for fruitless attempts to kill himself, she meets the Raskolnikov laugh, laughter "sinister and unpleasant." Raskolnikov trying to kill her again, but Homon crowd, which is clearly tuned unfriendly and viciously, does not allow him to do a matter. Dostoevsky this shows the torment and throwing the main character.

Psychoanalysis of the author

This dream fully reflects the condition of the hero, which was "was broken," since his experiment showed him that he was not able to overtake through human lives. The laughter of the old woman is laughter over the fact that the Raskolnikov was not "Napoleon", which can easily juggle with human destinies, and an insignificant and funny person. This is a peculiar triumph of evil over failing to destroy the conscience of Raskolnikov. Purely composite this dream is a continuation and development of the reflection of Raskolnikov over its theory, according to which he shared people on the "creatures of trembling" and those who "right". This inability to step over through a person and will bring Rodion to the drawing, to the possibility of "reborn from the ash".

Last Son.

The last in the novel "Crime and Punishment" Skolnikov's dream is another peculiar half-hearth, in which you need to look for hope for the possibility of moving the hero. This dream eliminates Rodion from doubts and searches, so tormented it all the time after the murder. The last Skolnikov dream is a world that should disappear due to illness. As if in this world there are perfumes that are endowed with the mind who possess the will, capable of subordinate to people, making puppets, stand-noted and crazy. And the puppets themselves after infection consider themselves truly smart and unshakable. Infected people kill each other like spiders in a bank. After the third nightmare, Rodion is healed. It becomes moral, physically and psychologically free, healed. And he is ready to follow the advice of Petrophry Petrovich, is ready to become the "Sun". It approaches the threshold for which a new life lies.

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

Healing

Many writers used dreams in their works, but few could achieve what F.M. Dostoevsky. The way it is fine, deeply and at the same time brightly described the psychological state of the character with the help of sleep, strikes not only the average man, but also the true connoisseurs of literature.

The role of sleep in the works of Dostoevsky is different from Pushkinskaya. We can clearly see this by considering his novel "Crime and Punishment."

Description of sleep that gave birth to Romanovich Romanovich Romannikov in the evening on the eve of the murder of the old-year-old agers, is one of the key points of the plot of "crimes and punishment".

At first glance, this departure to the unconscious time of the hero from the framework of the surrounding reality, which begins to develop a terrible plan, and gives a poor student a small respite from the painful fever, in which he drove himself with his crazy idea. At first, it seems that it seems to be in the unusual setting of the islands, surrounded by greenery, freshness of flowers, instead of ordinary city dust, lime and "candy houses" Rodion and is really a monstering of "from these char", from witchcraft, from vague and immersed in the world of their own childhood. When the hero with spiritual warmth recalls the poor small city church, with a green dome and the "old image in it", and the "Venne priest with a trembling head", and their own incredibly touching reverence of the "little grave of a smaller brother, who deceased six months, whom he I didn't know at all and could not remember, "it seems to us that from under the apparent life-born in life, in the current Raskolnikov, the student and the inhabitant of slums, the soul of the child will rise, are unable not only to kill a person, but calmly look at the killing of the horse. Thus, the entire meaning of the episode is to disclose the true mental state of the hero, which, awakening, even drawn with a prayer to God: "Lord, show me my way, and I will donate from this damn my dream." However, literally after a day, the splitters will still lead to his terrible plan, and for some reason Dostoevsky does not allow the reader to forget about this first dream of his character almost until the very end of the novel: how the circles diverting on the water from the abandoned stone or echoes uttered Ludge phrases throughout the text of "crime and punishment" the smallest images are scattered, again and re-returning it to the content of sleep. That, hiding under the stone stolen with the old women of jewelry, Raskolnikov returns home, trembling, like a drunk horse, and it seems that the assistant of the apartment supervisor Ilya Petrovich beats his apartment hostess, then with a cry: "Klyach leated!" - Katerina Ivanovna Marmaladova dies. All these fleeting instructions sound like an enthusiastic note, but do not reveal deep symbols of mysterious sleep.

Let us return to the circumstances in which this dream arises in the inflamed brain of Skolnikov. Trying to get rid of an obsessive idea, the hero tries to leave away from home: "It's a terribly disgusting to go home. (..,) And, he went where the eyes look." Wandering, thus, Rodion Romanovich falls into the remote part of St. Petersburg. Greens and freshness, "Dostoevsky writes," I liked it at first I was tired. There was neither a slightness, no catch, nor sulfting. But soon these new things, pleasant sensations switched to painful and annoying.

Alas, the deadly offense was too deep in the consciousness of the hero and could not knock out her simple variation of the situation.

Obviously, a terrible theory about the division of people on "trembling creatures" and "having the right" is hidden not in the St. Petersburg slums, but in the consciousness of the hero himself, and therefore the expected enlightenment during the walk through the green islands does not really happen. All the actions of the hero are distinguished by meaningless automatism: "Since he stopped and recalculated his money, but soon forgot, for which money pulled out of his pocket," and the impressions of what he saw did not reach his consciousness, do not leave a clear one-piece image in it: "Especially occupied His flowers, he looked at them for a long time. "

There is no real enlightenment and after the awakening of the hero - the author notes that the Skolnikov was "vaguely and dark on the soul." A small relief and very short-term, coming in his soul is associated with the final decision on its theory. But what was this decision?

"Let even no doubt in all these calculations, be it all that it is decided this month clearly, as a day, rightly, like arithmetic. Lord!" After all, I still do not decide! I do not exert! " So, it is obvious that the speech here is not about repentance, but only about whether the bold theorist will be able to carry out its idea personally. Sleep plays with a split-up joke, as if by providing him, the opportunity to perform a sample sample, after the hero, in the state of the same automatism, and in fact it goes to the old woman - for the second attempt.

It is not by chance that the author calls the vision of his hero "terrible", "painful", "monstrous picture." With all the apparent ordinance, this first dream in the novel is actually even more fantastic than the other who visited the Raskolnikov in the final of the third part, in which the hell again leads him to the apartment Alena Ivanovna and from which would seem to be in the narration of Svidrigaylov.

The description of this sleep is preceded by a rather unexpected copyright that in "the painful state of the dreams are often distinguished by emergency similarity with reality. A picture that introduced the hero first, thoroughly" masked "under everyday, real. The deception and fictionity of the dream is expressed here only in the fact that It is true of reality: "Even in his memory it is much more cade than it was now in a dream."

I configure the reader and the hero on the wave of lyrical memories, sleep throws up all new and new details - about black dust on the road in the Kabak, about sugar curb on a white dish, about vintage images without salary .... And only immediately after that, as it were, in continuation of the same thought, the presentation of the sleep itself begins: "And so dreams of sleep ..."

This is the second part of the Vision Skolnikov has its own fiction: here a little boy suddenly begins to seem unusual most ordinary things. In fact, that, for example, such is that in urban kabask there is a walk - after all, the events described occur in the "Festive Day", in the evening, and the "crowd of all sorts" is engaged in the same way as always - the mountains of the song, frightening Little kind. Why standing near the "Kabatsky Porch" of the cart called "strange", if added that this is one of those big carts, in which the scrubbing horses are injured, as little boy loved to watch.

Indeed, it is, perhaps, just what has been harnessed in it, a small one, saving, the peasant gear, what is usually not maging to move from the spot even for her WHO firewood or hay and then it beat the men whips, sometimes in the face and Eyes, on which it is always so complaints about the compulsory child.

In the last part of the maintenance of Skolnikov, undoubtedly reflected the features of the terrible plan invented by him. After all, we are talking about the possibility of disposal of someone else's life - let the life of a horse - and the criteria for expediency, the benefits expected from the existence of others. "And this kobylenika, brothers, only my heart overslets: so, it seems, it killed her, and he eats bread." How close is the position of the poor horse, and a very real old-year-old old woman, who, according to the reviews of others, is nothing but "a stupid, meaningless, insignificant, evil old woman, who is not necessary for anyone, and on the contrary, all the harmful, which is not He knows why he lives, and that tomorrow, herself will die, "whose life costs an incomparably less horse, equal to the value of the" life of Vershi, Tarakan ".

Sleeping Skolnikova, as a kind of test, passes small details of the future murder: the horse is clogged ("her ax, what!" - Someone shouts), blood flows on her face. Molts, on which, like after Raskolnik, "No Cross," curses a whole crowd, just like an officer and a student with his conversation in the restaurant confirm the assessment, mentally given by the Romanovich's old woman, and convince him of the justice of his own intentions.

In this way, horrible dream Rodion Skolnikova, possessing the meaningfulness and symbolism inherent in dreams, is simultaneously a guide into the past Hero, a reflection of the struggle, which at that moment was in the soul of the hero, and at the same time - predestination, a kind of plan, according to which he was proposed to act. And only violating the conditions for this obsessive prophecy, the hero will be able to free themselves from the spell and put his demonic theory to then, over time, come to the true concept and resurrection.

Thus, the close connection of the episodes of the text, where everything picked up with something, everything was reflected in something, it allows to apply a multi-level interpretation to "crime and punish".

1. The first level is historical. The episode with the beating of a horse in a dream Skolnikova is traditionally considered an allusion on the poem N. Nekrasov "On the weather" (1859).

Under cruel hand

A little alive, ugly skin

Horse-crippled

Understanding burden.

So she looked and became

"Well!" - the drivers crawled grabbed

(It seemed to him a little) -

And I beat her, beat her, beat!

Legs, somehow laying wide

All, smoking, settling back,

Horse only sighs deep

And looked ... (so people look)

Conquering the wrong attacks,

He again: on the back, on the sides,

And forward running, on shovels

And on crying, meek eyes!

All in vain! Klyachonka stood.

Dostoevsky remembered these verses for life, he was amazed by the fact shown in the Nekrasov poem to such an extent that he considered it necessary to duplicate said Negasov in his novel.

Dostoevsky, of course, saw such scenes in reality, if the bill is so clearly, "refer" to the work of art, then, apparently, not because it was amazed by the facts reflected in it, but because the work itself he saw as some new fact Genesis really struck him. Nekrasovsky's perception of a horse trying to stronger the unbearable WHO, as if personifies the suffering and misfortune of this world, his injustice and ruthlessness, moreover, the very existence of this horse, weaving and scored - all these are the facts of sleep Skolnikov on the state of the world. But what really exists: "... one drunk, which is unknown why and where they were surrendered on the street in a huge cart, a huge lomber horse,". This cart, on the first villages of the novel "Crime and Punishment", as if I left Sleep Skolnikov.

Thus, only the cart is perceived adequately, its size, but not the cargo, and not the power of a horse, in this cart prodigated.

The analogue of the horse from Sleep Skolnikov is in the novel of Katerina Ivanovna, falling under the load of his unrealities and worries, which are very high, and demolish (all the more so God does not take his hand, and when the region comes - always there is a helper: Sonya, Raskolnikov, Svidrigaylov), and under the load of troubles and care to her romantically constant, namely, only from these troubles, insults and sorrowers, existing only in the inflamed brain, she, in the end, and dies like a "drunk horse." Katerina Ivanovna exclaims to herself: "Klyach leated!". And, indeed, she dares, fights away from the horror of life from the last strength, like a klyach from Skullnikov's sleep, but these strikes, hitting living people around her, are often as crushing like shocks of horses, crushing the chest of Marmaladov.

2. The second level is moral. It is revealed when comparing the names of Molts from Sleep and Nicholas (Mikolaya) - a dyesman. At the murderer - Molts Raskolnikov rushes with screams. Nikolka's collapse will take a sin and guilt of the killer Raskolnikov, defending it with his unexpected "indication" into the most terrible minute for him from the torture of Petrophrys Petrovich and from forced recognition. At this level, the cherished thought of Dostoevsky is revealed that everything for everyone is to blame that there is only one true attitude towards the sin of the neighbor - it is to take his sin on yourself, to take his crime and blame for yourself - at least for the time to bring his burden to He did not fell into despair from the unbearable Nesh, but saw the hand of help and the road of the Resurrection.

3. Third level - allegorical. Here, the second level thought is deployed and complements: not only everyone is to blame for everyone, but everything is to blame. The torture and sacrifice at any time can be changed in places.

In the Skolnikov, young, full, drunk, drunk people kill horseradish - in reality, perficed and exhausted marmalands die under the hooves of young, strong, fastened, well-groomed horses. Moreover, his death is no less terrible than the death of horsenche: "All his chest was freer, express, exposed; a few ribs on the right side is broken:" On the left side, on the heart, it was ominous, a large, yellowish-black spot, cruel hit with hoof. (...) crushed, climbed into the wheel and dragged, sprout, thirty steps on the pavement. "

4. But the fourth level is the most important to understand the meaning of the novel, the fourth level is symbolic, it is at this level that Skolnikov's dreams are connected between them. Waking up after sleeping for the murder of the horse, the Raskolnikov speaks as if all the blows that fell on the unfortunate horse, crushed it.

Perhaps the resolution of this contradiction in the following words of Raskolnikova: "Yes, what is me! - He continued, exclaving again and, as it were, in deep amazement, - after all, I knew that I would not carry this, so I still myself I was tormented? After all, yesterday, yesterday, when I went to do this ... Trial, because I understood yesterday, I didn't fully endure ... What am I now? What I still doubt ... ".

"I studied myself." He is really a "horse", and the murderer - a Molka, requiring the horses-shaped horsepower for him to "break through."

The rider symbol on the horse is the most famous Christian symbol of the Spirit, controlling the flesh. This is his spirit, a timely and daring, trying to force his nature, his flesh, to do what she can't, that she would like, against which she rises.

So he will say: "After all, I was finished from one thought and threw it into horror ...".

It is about this that the Rasfiry Petrovich Petrovich will later say: "He is, put it, and Salge, that is, the person is, the private is the case - C, and Salge is excellent, the most good manner: there would be a triumph, and enjoy the fruits His wit, and he is a clap! Yes, in the most interesting, in the scandalous place and falls into fainting. It, we put, the disease, the duchot is also sometimes in the rooms, but still - with! Still, the thought filed! Lital - then he is unlikely, and on nature - it failed to calculate. "

Interestingly, this thought is about nature, the flesh, which is opposed to the ingenuity of the Spirit, Dostoevsky - and from Pushkin.

In the poem "What's the night, frost of a cracker ..." (1827), the hero is the rider on horseback, the scramble, "Homeshnik removed".

Hurry up, he flies on a date.

In the chest boils the desire.

He says: "My horse is dyewo,

My faithful horse! Fly an arrow!

Early, more likely ... but the horse is the rob

Suddenly waved a wicker mane

They became. In the mole between the pillars

On the crossbar of Oakovaya

Put the corpse. Stern ride

Under it was ready for

But the bombing horse beats under the lady,

Snoring and sniffs and beats

Here, as it were, in the picture, the inner fight of man is deployed, and it is surprising that sin, the crime of God will encourage the spirit of the Spirit, and the sins of the Spirit horrifies the flesh. However, the elders said that the sins of the flesh are more secure, because they humble a person, show him to disobey him, but the sins of spiritual truly terrible and disgusting - the fact that they often allow themselves to be proud of themselves, and, it means to riss and bother in this bog.