The description of the dream that Rodion Romanovich Raskolnikov saw on the evening before the murder of the old woman pawnbroker (in Chapter V of Part I of the novel) is one of the key moments of the Crime and Punishment plot. At first glance, this withdrawal into the unconscious temporarily pulls the protagonist out of the framework of the surrounding reality, in which a terrible plan invented by him begins to develop, and gives the poor student a little respite from the painful fever into which he drove himself with his crazy theory. At first, it seems to us that, finding himself in the unusual environment of the Islands, surrounded by greenery, freshness and flowers instead of the usual city dust, limestone and crowding and crushing houses (remember along the way the hero's thoughts about the need to build fountains), Rodion Romanovich really miraculously gets rid of from these spells, from witchcraft, charm, from glamor and plunges into the world of his childhood. That before us the spiritual world of seven-year-old little Rodi opens up, who experiences the most unpleasant impression and even fear, as soon as he passes by the city tavern with his father, and all trembles from the sounds coming from him and the sight of drunken and terrible faces wandering around in a circle. When the hero recalls with warmth the poor little city church with a green dome and the ancient images in it, and the old priest with a trembling head, and his own incredibly touching reverence for the little grave of his younger brother who died for six months, whom he did not know at all and could not remember, it seems to us that from under everything superficial, born of life circumstances in the current Raskolnikov, a poor student and a slum dweller, the soul of a child is resurrected, unable not only to kill a person, but also calmly look at the murder of a horse.
.. my dreams! However, literally in a day, Raskolnikov will nevertheless carry out his terrible plan, and Dostoevsky for some reason does not allow the reader to forget about this first dream of his character almost until the very end of the novel: like circles spreading in water from a thrown stone, or echoes of a spoken aloud phrases, throughout the text of Crime and Punishment, the smallest images are scattered, again and again returning him to the content of a dream. Then, hiding the jewelry stolen from the old woman under the stone, Raskolnikov returns home trembling like a driven horse, and he fancies that the assistant to the quarter warden Ilya Petrovich beats his landlady on the stairs. Then with a shout: Have gone nag! the exhausted Katerina Ivanovna Marmeladova dies. Then suddenly, in a miraculous way, the dream of the protagonist Mikolka materializes, who, however, turned out to be not a stalwart man with a red muzzle and such a thick neck, but a modest dyer. But he appears at the same time with a certain innkeeper Dushkin, who, according to Razumikhin, tells his grandmother's dream and at the same time lies like a horse (the comparison is as unexpected as it is deliberate). All these fleeting directions sound annoying

In the center of Dostoevsky's novel Crime and Punishment is the character of the hero of the sixties of the nineteenth century, a poor student, Rodion Raskolnikov. Raskolnikov commits a crime: he kills an old woman - a usurer and her sister, harmless, ...

FM Dostoevsky's novel Crime and Punishment is social and psychological. In it, the author raises important social issues that worried people of that time. The peculiarity of this novel by Dostoevsky lies in the fact that it shows psychology ...

FM Dostoevsky is the greatest Russian writer, an unsurpassed realist artist, an anatomist of the human soul, a passionate champion of the ideas of humanism and justice. His novels are distinguished by a keen interest in the intellectual life of the heroes, the disclosure of complex ...

The novel Crime and Punishment was written by Dostoevsky after hard labor, when the writer's convictions took on a religious connotation. The search for truth, exposure of the unjust order of the world, the dream of "the happiness of mankind" are combined in Dostoevsky with disbelief ...

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 (the same name as the dyer who took the blame on Raskolnikov). He seats 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 an iron crowbar. Rodion runs up to Savraska, grabs her dead, bloody face and kisses her, then rushes with his 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, got off 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 in reality by the same dreamer, 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. Raskolnikov had a terrible dream. 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 smoothed 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. Among the cemetery there 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. Everybody is drunk, everybody is singing songs, and by the porch of the tavern there is a cart, 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, strange to say, a small, skinny, greyish peasant nag was harnessed to such a big 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, they are always beaten so painfully by the peasants with whips, sometimes even in the face and in the eyes, but he is so sorry, so sorry to look at 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 have locked 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. - Bay dave with Matvey left, - he shouts from the cart, - and the mare etta, brothers, only my heart breaks: so, it seems, he killed her, she eats bread for free. 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 will be 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!" 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 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, in the eyes, whip, 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 Savraska. - Will pique! - they shout around. - Kill! - My good! - Mikolka shouts 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 inevitably fall, brothers, this is the end of it! 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, sank, 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! - shouts Mikolka and jumps up, as if he doesn’t remember himself, from the cart. Several guys, also red and drunk, grab whatever - whips, sticks, shafts, 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 run! - 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 face 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 are screaming out of his cramped chest. - Drunk, 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 midst 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 everything, and all these were strange dreams: 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 lying at ease; 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. He tiptoed to the door, opened it quietly 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 collapsed, 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 overcame, and in such a way 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 blade of an ax 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, screamed 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.

The 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 voice of the beating 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, illegible, 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, exclamations, ascending, knocking, slamming doors, and running away were heard. "But for what, for what, and how it is 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, numbed 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 their apartments, - gasp, argue, call out to each other, now raising their speech to a shout, 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 feverish woman himself beats. "Nastasya ... why did they beat the hostess? She looked at him intently." Who beat the hostess? " beat? and ... why did he 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 said timidly at last in a weak voice. "It's blood," she answered at last, quietly and as if speaking to herself. "Blood! .. What 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 was not sleeping… 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 begins to fancy ... You will eat something, or what? He did not answer. Nastasya was still 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. I only remembered taking one sip cold water and poured from a 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 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 into her face from below, 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 through 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 hasten, 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. "Yes, complete, 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 am following 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 recognize it right away? 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 on 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 silence from the month," Raskolnikov thought, "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, - he was not there before ... ”He approached slowly 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, with all her might, so that he would not hear her. Suddenly it seemed to him that the door from the bedroom was slightly opened 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.

The great master of the psychological novel, Fyodor Mikhailovich Dostoevsky, used a technique such as sleep for a deeper portrayal of his hero in the work "Crime and Punishment". With the help of dreams, the writer wanted to deeply touch the character and soul of a person who decided to kill. The protagonist of the novel, Rodion Raskolnikov, had four dreams. We will analyze the episode of Raskolnikov's dream, which he saw before the murder of the old woman. Let's try to figure out what Dostoevsky wanted to show with this dream, what is his main idea, how he is connected with real events in the book. We will also pay attention to the hero's last dream, which is called apocalyptic.

The Writer's Use of Sleep to Deeply Reveal the Image

Many writers and poets, in order to deeper reveal the image of their character, resorted to the description of his dreams. It is worth remembering Pushkin's Tatyana Larina, who in a dream saw a strange hut in a mysterious forest. By this, Pushkin showed the beauty of the soul of a Russian girl who grew up on old legends and fairy tales. The writer Goncharov managed to dip Oblomov into his childhood at night, to enjoy the serene paradise of Oblomovka. The writer devoted an entire chapter of the novel to this dream. Utopian features were embodied in the dreams of Vera Pavlovna Chernyshevsky (novel "What is to be done?"). With the help of dreams, writers bring us closer to the heroes, trying to explain their actions. The analysis of the episode of Raskolnikov's dream in Dostoevsky's Crime and Punishment is also very important. Without him, it would have been impossible to understand the restless soul of the suffering student who decided to kill the old woman-pawnbroker.

A brief analysis of Raskolnikov's first dream

So, Rodion saw his first dream after he decided to prove to himself that he was not "a trembling creature and has the right", that is, he dared to kill the hated old woman. Analysis of Rakolnikov's dream confirms that the very word "murder" frightened the student, he doubts that he will be able to do it. The young man is terrified, but still dares to prove that he belongs to the highest beings who have the right to shed "blood according to conscience." Raskolnikov is given courage by the idea that he will act as a noble savior for many poor and humiliated. Only now, Dostoevsky, with Rodion's first dream, breaks such reasoning of the hero, depicting a vulnerable, helpless soul, which is mistaken.

Raskolnikov dreams of childhood in his hometown. Childhood reflects a carefree period of life, when you do not need to make important decisions and be responsible for your actions. It is no accident that Dostoevsky brings Rodion back to childhood at night. This suggests that the problems adulthood brought the hero to a depressed state, he tries to escape from them. The struggle between good and evil is also associated with childhood.

Rodion sees his father next to him, which is very symbolic. The father is considered a symbol of protection and safety. The two of them walk past the tavern, drunk men run out of it. Rodion watched these images every day on the streets of St. Petersburg. One peasant, Mikolka, took it into his head to ride the others on his cart, in the harness of which was an emaciated peasant nag. The whole company gets into the cart with pleasure. A frail horse is not able to pull such a load, Mikolka beats the nag with all his might. Little Rodion watches with horror how the horse's eyes are filled with blood from the blows. The drunken crowd calls to finish her off with an ax. The frenzied owner finishes the nag. Raskolnikov the child is very scared, out of pity he rushes to the horse's defense, but with a delay. The intensity of passions reaches the limit. The vicious aggression of drunken men is opposed to the intolerable despair of the child. Before his eyes, a cruel murder of a poor horse took place, which filled his soul with pity for her. To convey the expressiveness of the episode, Dostoevsky puts an exclamation mark after each phrase, which helps to analyze Raskolnikov's dream.

What feelings are filled with the atmosphere of the first dream of Dostoevsky's hero?

The dream atmosphere is complemented by the strongest feelings. On the one hand, we see a malicious, aggressive, unbridled crowd. On the other hand, attention is paid to the unbearable despair of little Rodion, whose heart shakes with pity for the poor horse. But most of all, the tears and horror of the dying nag are impressive. Dostoevsky masterfully showed this terrible picture.

The main idea of ​​the episode

What did the writer want to show with this episode? Dostoevsky focuses on the rejection of murder by human nature, including the nature of Rodion. Before going to bed, Raskolnikov thought that it would be useful to kill an old money-lender who has outlived her life and makes others suffer. From the terrible scene seen in the dream, Raskolnikov was covered with cold sweat. So his soul struggled with reason.

When analyzing Raskolnikov's sleep, we are convinced that sleep does not have the property of obeying the mind, therefore, the nature of a person is visible in it. Dostoevsky's idea was to show with this dream Rodion's rejection of murder by his heart and soul. Real life, where the hero takes care of his mother and sister, wants to prove his theory about "ordinary" and "extraordinary" personalities, makes him commit a crime. He sees in killing a benefit that drowns out the torment of his nature. In the old woman, the student sees a useless, harmful creature that will soon die by itself. Thus, the writer put into the first dream the true reasons for the crime and the unnaturalness of the murder.

Connection of the first dream with further events of the novel

The first dream takes place in the hometown, which symbolizes St. Petersburg. Integral components Northern capital there were taverns, drunken men, a suffocating atmosphere. The author sees in St. Petersburg the cause and accomplice of Raskolnikov's crime. The atmosphere of the city, imaginary dead ends, cruelty and indifference so influenced the protagonist that they aroused a morbid state in him. It is this state that pushes the student to unnatural murder.

The harrowing in the soul of Raskolnikov after sleep

Rodion shudders after his dream, reinterprets it. Nevertheless, after mental anguish, the student kills the old woman and also Elizabeth, who resembles a downtrodden and helpless nag. She didn't even dare to raise her hand to defend herself against the assassin's ax. Dying, the old woman will say the phrase: "We drove a nag!". But in a real situation, Raskolnikov will already be an executioner, not a defender of the weak. He became part of a rough, cruel world.

Analysis of Raskolnikov's last dream

In the epilogue of the novel, readers see another dream of Rodion, it looks more like half-delirium. This dream already foreshadowed a moral recovery, getting rid of doubts. An analysis of Raskolnikov's (the latter's) dream confirms that Rodion has already found answers to questions about the collapse of his theory. Raskolnikov in his last dream saw the approach of the end of the world. The whole world plunged into a terrible disease and is about to disappear. Smart and strong-willed microbes (spirits) have spread around. They possessed people, making them crazy and deranged. Sick people considered themselves the smartest and justified all their actions. People humiliating each other were like spiders in a jar. Such a nightmare completely healed the hero spiritually and physically. He goes to new life where there is no monstrous theory.

The meaning of student dreams

The analysis of Raskolnikov's dreams in Crime and Punishment proves that in compositional terms they play an essential role. With their help, the reader draws attention to the plot, images, specific episodes. These dreams help to better understand the main idea of ​​the novel. With the help of dreams, Dostoevsky very deeply and fully revealed the psychology of Rodion. If Raskolnikov had listened to his inner self, he would not have committed a terrible tragedy that split his consciousness into two halves.

Rodion Raskolnikov, as you know, came up with his own theory, dividing people into "trembling creatures" and "having the right", thereby allowing "blood according to conscience." Throughout the entire work, the inconsistency of this hypothesis is proved. Dreams are one of the author's outstanding tools in the fight against the ideology of hatred. They are symbols, the decoding of which is the key to understanding Dostoevsky's complex and multi-tiered design.

• About a slaughtered horse... Already the first dream of the protagonist shows his true features and reveals his ability to compassion. Raskolnikov is transported to childhood, sees a horse being beaten with a whip by brutalized people. This episode proves the ambiguity of the character of the young theorist, who, while empathizing with the poor animal in his dream, in reality prepares to kill a person. This dream becomes a symbolic expression of a world overflowing with violence, suffering and evil. It contrasts the tavern, as the personification of an ugly, base world, and the church, with which Raskolnikov has sad but bright memories. The motive of salvation from the terrible world of reality with the help of faith will continue to be traced throughout the novel.
• About Africa... Shortly before the fatal act, Raskolnikov dreamed of Africa in a dream. He sees an oasis, golden sand and blue water, which is a symbol of purification. This dream is the antithesis of the dreadful Everyday life hero. An important detail is that Rodion dreams of Egypt. In this regard, the motive of Napoleonism appears in a dream. The Egyptian campaign was one of the first undertaken by Napoleon. But there the emperor faced failure: the army was struck by the plague. So the hero is not awaiting a triumph of will, but disappointment in the finale of his own campaign.
• About Ilya Petrovich... After the murder of the old woman-pawnbroker, the young man is in a fever. The fever provokes two more dreams. The first of them is about Ilya Petrovich, who beats up the owner of a rented apartment, Rodion. It can be seen from it that Raskolnikov does not tolerate bullying a person, no matter how bad he may be. It is also easy to understand that Rodion Romanovich Raskolnikov has a fear of formal punishment (law). This fact is embodied in the figure of a policeman.
• About the laughing old woman... Raskolnikov returns to the scene of the crime, where the murder he committed is almost repeated. The difference is that this time the old woman was laughing, mocking the hero. This may indicate that by killing the old woman, he ruined himself. Frightened, Raskolnikov flees from the crime scene. In this dream, Rodion feels the horror of exposure and the shame that torments him in reality. In addition, this nightmare confirms that the main character was morally incapable of murder, it was painfully perceived by him and became the reason for his further moral self-destruction.
• Sleep in hard labor... The last dream of the hero finally confirms the inconsistency of Rodion's hypothesis. “In illness, he dreamed that the whole world was condemned as a victim of some terrible, unheard-of and unprecedented plague plague” - the killer sees how his plan to “save” everything that exists is being realized, but in practice it looks terrible. As soon as, thanks to sophistic speculative reasoning, the line between good and evil disappears, people plunge into chaos and lose moral foundations on which society is based. The dream is opposed to the theory: the hero believed that “unusually few people are born with a new thought,” and in the dream it is said that the world is crumbling from a lack of “pure people”. Thus, this dream contributes to Raskolnikov's sincere repentance: he understands that what is needed is not pretentious philosophizing from the onion, but sincere and good deeds opposed to evil and vice.

Svidrigailov's dreams

Svidrigailov is a character who also dreams symbolic dreams imbued with deep meaning. Arkady Ivanovich is a man fed up with life. He is equally capable of both cynical and dirty deeds, and noble ones. Several crimes are on his conscience: the murder of his wife and the suicide of the servant and the girl he insulted, who was only 14 years old. But his conscience does not bother him, only dreams convey the hidden side of his soul, unknown to the hero himself, it is thanks to his dreams that Arkady Ivanovich begins to see all his meanness and insignificance. There he beholds himself or the reflection of his qualities, which terrify him. In total, Svidrigailov sees three nightmares, and the line between dream and reality is so blurred that it is sometimes difficult to understand whether it is a vision or reality.

• Mice... In the first dream, the hero sees mice. The mouse is considered the personification of the human soul, an animal that quickly and almost imperceptibly escapes, like a spirit at the moment of death. In Christian Europe, the mouse was a symbol of evil, destructive activity. Thus, we can come to the conclusion that in Svidrigailov's dream the rodent is a harbinger of trouble, the inevitable death of the hero.
• About a drowned girl. Arkady Ivanovich sees a suicide girl. She had "an angelically pure soul that pulled out the last cry of despair, not heard, but blatantly mocked in a dark night ...". It is not known exactly, but there were rumors about Svidrigailov that he seduced a fourteen-year-old girl. This dream seems to describe the hero's past. It is possible that it is after this vision that his conscience awakens, and he begins to realize the whole baseness of the actions from which he previously received pleasure.
• About a five-year-old girl... In the last, third dream, Svidrigailov dreams of a little girl, whom he helps without any malicious intent, but suddenly the child transforms and begins to flirt with Arkady Ivanovich. She has an angelic face, in which the essence of a base woman is gradually emerging. She has a deceptive beauty that outwardly covers the soul of a person. This five-year-old girl reflected all the lasciviousness of Svidrigailov. This frightened him the most. In the image of demonic beauty, one can see the reflection of the duality of the character of the hero, a paradoxical combination of good and evil.

Waking up, Arkady Ivanovich feels his complete spiritual exhaustion and understands: he has no strength and desire to live on. These dreams reveal the hero's complete moral bankruptcy. And, if the second dream reflects an attempt to resist fate, then the last one shows all the ugliness of the hero's soul, from which there is no escape.

The meaning and role of dreams

Dostoevsky's dreams are a bare conscience, not spelled out by any soothing, glorious words.

Thus, in dreams, the true characters of the heroes are revealed, they show what people are afraid to admit even to themselves.

Interesting? Keep it on your wall!

The description of the dream that Rodion Romanovich Raskolnikov saw on the evening before the murder of the old woman pawnbroker (in Chapter V of Part I of the novel) is one of the key moments of the Crime and Punishment plot. At first glance, this withdrawal into the unconscious temporarily pulls the protagonist out of the framework of the surrounding reality, in which a terrible plan invented by him begins to develop, and gives the poor student a little respite from the painful fever into which he drove himself with his crazy theory. At first it seems to us that, finding himself in the unusual environment of the Islands, surrounded by greenery, freshness and flowers instead of the usual city dust, lime and crowding and crushing houses (remember along the way the hero's thoughts about the need to build fountains), Rodion Romanovich really miraculously gets rid of from these spells, from witchcraft, charm, from glamor and plunges into the world of his childhood. That before us the spiritual world of seven-year-old little Rodi opens up, who experiences the most unpleasant impression and even fear, as soon as he passes by the city tavern with his father, and all trembles from the sounds coming from him and the sight of drunken and terrible faces wandering around in a circle. When the hero recalls with warmth the poor little city church with a green dome and the ancient images in it, and the old priest with a trembling head, and his own incredibly touching reverence for the little grave of his younger brother, who died for six months, whom he did not know and could not remember, it seems to us that from under everything superficial, born of life circumstances in the current Raskolnikov, a poor student and a slum dweller, the soul of a child is resurrected, unable not only to kill a person, but also to calmly look at the murder of a horse.
.. my dreams! However, literally in a day, Raskolnikov will nevertheless carry out his terrible plan, and Dostoevsky for some reason does not allow the reader to forget about this first dream of his character almost until the very end of the novel: like circles diverging in water from a thrown stone, or echoes of a spoken aloud phrases, throughout the text of Crime and Punishment, the smallest images are scattered, again and again returning him to the content of a dream. Then, hiding the jewelry stolen from the old woman under a stone, Raskolnikov returns home trembling like a driven horse, and he imagines that the assistant to the quarter warden, Ilya Petrovich, beats his landlady on the stairs. Then with a shout: Have gone nag! the exhausted Katerina Ivanovna Marmeladova dies. Then suddenly, in a miraculous way, the dream of the protagonist Mikolka materializes, who, however, turned out to be not a stalwart man with a red muzzle and such a thick neck, but a modest dyer. But he appears at the same time with a certain innkeeper Dushkin, who, according to Razumikhin, tells his grandmother's dream and at the same time lies like a horse (the comparison is as unexpected as it is deliberate). All these fleeting indications sound like an annoying note, but they do not reveal the deep symbolism of the mysterious dream. Let's return again to the circumstances in which this dream arises in Raskolnikov's inflamed brain. Trying to get rid of the obsession, the hero seeks to get away from home as far as possible: It suddenly became terribly disgusting for him to go home: there, in the corner, in this awful closet, all this had been ripening for over a month, and he went wherever he went looking. Wandering in this way, Rodion Romanovich finds himself in a remote part of Petersburg. Greenery and freshness, writes Dostoevsky, liked him at first tired eyes... There was no stuffiness, no stench, no drinks. But soon these new, pleasant sensations turned into painful and annoying ones.
And is it only in the external environment that the whole matter lies? Raskolnikov is too complex a person for him, without his voluntary consent, to be simply eaten by the environment. Prior to this, Rodion Romanovich himself begins to search much later, talking with Sonya in the fifth part of the novel: Razumikhin is working! Yes, I was angry and did not want to. I then, like a spider, huddled into my corner. Oh, how I hated this kennel! Still, he did not want to leave it. I didn’t want to! Obviously, the terrible theory about the division of people into trembling creatures and those who have the right is still hidden not in the Petersburg slums, although they contributed a lot to it, but in the consciousness of the hero himself, and therefore the expected enlightenment during a walk on the green Islands does not actually occur. All the actions of the hero here are distinguished by senseless automatism: ... since he stopped and counted his money ... but soon forgot why he took the money out of his pocket, and the impressions of what he saw did not seem to reach his consciousness, did not leave a clear integral image in him: he was especially interested his flowers; he looked at them the longest; he also met lush carriages, riders and riders; he watched them with curiosity with his eyes and forgot about them before they disappeared from sight. Real enlightenment does not occur, and after the awakening of the hero, the author notes that Raskolnikov's soul was vague and dark. A slight relief and a very short-term, as it will turn out later, the pacification that came in his soul is more likely associated with the adoption of the final, as he thought, decision regarding his theory. But what kind of decision it was. Even if there is no doubt about all these calculations, whether it is everything that has been decided in this month, it is clear as day, as fair as arithmetic. God! After all, I still won't make up my mind! I can’t bear it, I won’t bear it !. So, it is obvious that this is not about repentance, but only about whether the brave theorist will be able to carry out his plan with his own hand.
It is no coincidence that the author himself calls the vision of his hero a terrible, painful, monstrous picture. For all its seeming routine, this first dream in the novel is actually even more fantastic than the other one that visited Raskolnikov in the finale of the third part, in which the devil again brings him to Alena Ivanovna's apartment and from which it seems to enter the Svidrigailov narrative. What Raskolnikov saw, no doubt, refers to those strange and different dreams that he does not dare to tell even Sonya. The fact is that before us is by no means a memory of the hero's childhood. It is not for nothing that his description is preceded by a rather unexpected author's argument that in a painful state, dreams are often distinguished by an extreme similarity to reality, and the following statement is that such a likely situation cannot be invented by the same dreamer, whether he is an artist like Pushkin or Turgenev , hardly refers to the terrible, but everyday picture of the murder of a horse. Most likely, the author here, in his characteristic unobtrusive manner, warns the reader that, for all its plausibility horrible dream Raskolnikov is not so simple. The picture presented to the hero is at first diligently disguised as everyday and real: ... the time is gray, the day is suffocating, the area is exactly the same as it has survived in his memory. The deception and phantasmagoricity of the dream are expressed here only in the fact that it is more truthful than reality: ... even in his memory it (the locality. DM) was much more ironed out than it was now imagined in the dream. Having tuned the hero (and readers) to the wave of lyrical memories, the dream throws them more and more details about black dust on the road to a tavern, about sugar booze on a white dish, about old images without salaries.
In fact, what is so wrong, for example, in the fact that in a city pub it seems like a walk is taking place, because the events described develop on a holiday, in the evening, and the crowd of all rabble is doing the same thing as always, bawling songs, frightening little Rodya. Why is the cart standing near the inn's porch called strange, if it is immediately added that this is one of those large carts, into which large draft horses are harnessed, which the little boy liked to watch so much Really strange is, perhaps, only that this time harnessed into her a small, skinny, greedy, peasant nag2, which usually cannot move even the carton of firewood or hay intended for her, and then the peasants beat her with whips, sometimes even in the face and eyes, which was always so sorry to look at the compassionate to kid. These newly recurring deviations in the mind of the reader, as it were, gradually put in the idea of ​​the complete worthlessness and uselessness of the poor horse, and the scene that unfolds further turns out to be, in fact, a foregone conclusion. The last part of Raskolnikov's vision undoubtedly reflected the features of the terrible plan he had invented. After all, we are talking here about the opportunity to dispose of someone else's life, even if the life of a horse (My goodness! The drunken Mikolka shouts) and about the criteria of expediency, the benefits expected from the existence of others: and killed, eating bread for free.
(Raskolnikov will then try to convey this phrase from the conversation overheard in the tavern to Sonya.) blood; Mikolku, on which, as after and on Raskolnikov, there is no cross, a whole crowd encourages at the same time, just as the student and the officer, by their conversation in the tavern, confirm the assessment mentally given by Rodion Romanovich to the old woman pawnbroker, and convince him of the peculiar justice of their own plans. However, the dream, being, in fact, a condensed presentation of the entire novel, as if insidiously prompts the main character and a possible way to escape from the inevitably approaching tragedy to pretend that he is here and has nothing to do with it, to take the place of an outside observer, or, even worse, to pretend to be that a horse that was almost seized by unbearable living conditions. And indeed, as in a dream, Raskolnikov sees the murder he planned from the outside, and in real life, in case Napoleon does not come out of him, the philosopher still has an imaginary chance to fight, dumping his blame on the dyer-sectarian who turned up so in time with his obsession with suffering. Thus, the nightmare of Rodion Raskolnikov, possessing the polysemy and symbolism inherent in dreams, is at the same time an excursion into the hero's past, a reflection of the struggle that was taking place in the hero's soul at that moment, and at the same time, a predestination, a kind of plan, according to which he is invited to act ...

An essay on literature on the topic: Raskolnikov's dream about killing a horse (Analysis of an episode from chapter 5 of part 1 of FM Dostoevsky's novel "Crime and Punishment".)

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