Analysis of the episode "Raskolnikov's Dream" based on the novel by F. Dostoevsky "Crime and Punishment"

The description of the dream of a literary hero is a technique often used by writers and poets for a deeper disclosure of the image of their character. Pushkin leads Tatyana Larina in her dream to a strange hut standing in a mysterious forest, revealing to us the Russian soul of a girl who grew up on fairy tales and traditions of the "common people of antiquity." Goncharov grants Oblomov a return to childhood, to the serene paradise of Oblomovka, devoting an entire chapter to the hero's sleep. In the dreams of Vera Pavlovna, Chernyshevsky embodies his utopian dreams. Dreams of literary characters bring us closer to them, help us penetrate into their inner world, understand the root causes of certain actions. After reading the novel "Crime and Punishment" by FM Dostoevsky, I realized that comprehending the image of Raskolnikov, his restless soul, would be incomplete without comprehending the depth of his subconscious, reflected in the dreams of this hero.

In "Crime and Punishment" four dreams of Rodion Raskolnikov are described, but I want to consider and analyze the first dream that the hero had after he made the final decision to confirm his theory of "trembling creatures" and "having the right to" , that is, the decision to kill the old woman-interest-woman. Fearing the very word "murder", he constantly asks himself: "... but how can that be?" The very possibility of carrying out his plans plunges him into horror, but trying to prove to himself that he belongs to the caste of higher beings who dare to shed "blood according to his conscience" the role of a noble savior. But Rodion's dream, described by Dostoevsky, nullifies all the cynical reasoning of the hero, revealing to us his vulnerable soul, helpless in his wandering.

Raskolnikov dreams of his childhood, his hometown. Childhood is usually associated with the most carefree period of life, devoid of the need to make vital decisions, to take full responsibility for their actions. And it is no coincidence that Raskolnikov returns to childhood in a dream. Already by this one can judge that the problems adulthood he is oppressed, he wants to abandon them, not know them at all. In addition, childhood implies an instinctive distinction between good and evil. The image of the father with whom little Ro-dion walks in a dream is also symbolic. After all, the father is traditionally a symbol of protection, safety. The tavern they pass by and the drunken men running out of there are already images of the real world that has tortured the hero. One of the mu-zhiks, Mikolka, invites the others to ride on his cart, which is harnessed to "a small, thin, greedy peasant nag." Everyone agrees and sits down. Mikolka beats the horse, forcing it to pull the cart, but due to frailty it cannot even walk. The boy sees with horror how the horse "is being whipped in the eyes, in the very eyes!" Among the cries of a drunken crowd, one can hear "With her ax, what!" Then the owner frenziedly finishes the nag. Raskolnikov the child looks at everything that happens in terrible fear, then, in a fit of pity and indignation, he rushes to defend the horse, but, alas, it is too late. The atmosphere around what is happening is hot to the limit. On the one hand - the vicious aggression of the drunken crowd, on the other - the intolerable despair of a child, in front of whom a terrible act is carried out in its cruelty, shaking his soul with a thirst for the "poor horse". And in the center of everything - the horror and tears of the nag. To convey the expressiveness of the episode, the writer ends almost every phrase with an exclamation mark.

The dream, first of all, shows us a rejection of Raskolnikov's murder in kind. And the whole meaning of it, at first glance, consists in revealing the true spiritual state of the hero, who, upon waking up, even turns to God with a prayer: “Lord ... show me my way, and I renounce this damned one .. . my dreams! " However, the student will nevertheless carry out his terrible plan, and here one can discern the second, hidden, meaning of the dream. Indeed, in this dream, as in Raskolnikov's real life, we are talking about the ability to dispose of someone else's life - in this case, the life of a horse. A horse is a worthless and useless creature due to its weakness: "... but the mare is etta, brothers, only my heart breaks: so, it seems, he killed her, he eats bread for free." As well as "a stupid, senseless, insignificant, angry, sick old woman, useless to anyone and, on the contrary, harmful to everyone, who does not know what she lives for, and who will die by itself tomorrow." Her life in the view of Raskolnikov is equal to "the life of a louse, a cockroach."

Thus, the first dream of Raskolnikov, on the one hand, reveals to the hero all the horror of what he had conceived, on the other hand, it pushes him to commit a crime. But as the plot develops, Dostoevsky leads us to the idea of ​​the fidelity of only the first meaning of sleep - the cry of the soul about the inadmissibility of atrocities.

In FM Dostoevsky's novel Crime and Punishment, there are many symbolic scenes that play an important role in the meaning of the work. A striking example is Raskolnikov's dreams and their meaning. Through the images that appear to the hero in dreams, important decisions come to him, and the reader more accurately understands the inner experiences of the hero.

Convenient table for Raskolnikov's dreams

Raskolnikov's dreams occupy an important place in the novel. Each of them is significant for the fate of Raskolnikov. They come in especially vivid states and have a very symbolic meaning. It is most convenient to display the symbolism and meaning of the hero's dreams in the table "Raskolnikov's Dreams".

Using this table, you can write an essay on the theme "Raskolnikov's Dreams", indicate their meaning and symbolic meaning.

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

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

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

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

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

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

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

Dreams in psychology

The study of human personality is a very subtle science, balancing between precise attitudes and philosophical inferences. Psychology often operates with such mysterious and ambiguous categories as "consciousness", "unconscious", "psyche". Here, in order to explain a person's actions, the dominant is his inner world, sometimes hidden even from the patient himself. He drives his immoral thoughts and feelings deep inside, ashamed to admit them not only to those around him, but even to himself. This causes mental imbalance, contributes to the development of neuroses and hysteria.

To unravel the state of a person, the true reasons for his moral suffering, psychologists often use hypnosis or solving dreams. It is a dream in psychology that is an expression of the unconscious in the human psyche, of his suppressed "I".

Sleep as a method of psychoanalysis in the novel

Dostoevsky is a very subtle psychologist. It is as if he turns the souls of his heroes inside out in front of the reader. But he does this not explicitly, but gradually, as if drawing a picture in front of the viewer, in which everyone should see special patterns. In the work "Crime and Punishment", sleep is a way of revealing Raskolnikov's inner world, his experiences, emotions and thoughts. Therefore, it is so important to determine the content of Raskolnikov's dreams, their semantic load. It is also necessary in order to understand both the novel itself and the personality of the hero.

Church and tavern

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

Raskolnikov's first dream is a product of a morbid imagination. He sees him in his "little room" after he met a drunk girl on the boulevard. The dream brings Rodion back to his distant childhood, when he lived in his hometown. Life there is so simple, ordinary and boring that even in holidays nothing is able to dilute the "gray time". Moreover, Dostoevsky portrayed Raskolnikov's dream in dark, repulsive colors. The contrast is created only by the green dome of the church and the red and blue shirts that belong to drunken men.

In this dream, there are two places that are opposites to each other: a tavern and a church in the cemetery. The church in the cemetery is a certain symbol: as a person begins his life in the church, and ends it there. And the tavern, in turn, is associated by Rodion with malice, baseness, ossification, drunkenness, filth and depravity of its inhabitants. The fun of the inhabitants of the tavern, both among those around and among the smallest Rodi, causes only fear and disgust.

And these two centers - a tavern and a church - are not accidentally located at a short distance from each other. By this, Dostoevsky wants to say that a person, no matter how disgusting he may be, can at any moment stop a low life and turn to an all-forgiving God. To do this, you just need to start a new, "clean" life, a life without sins.

Old childish nightmare

Let us now turn not to the symbols of this dream, but to Rodion himself, who in a dream plunged into the world of his childhood. He relives the nightmare he witnessed in early childhood: Rodion, together with his father, goes to the cemetery to visit the grave of his little brother, who died at the age of 6 months. And their way ran through the tavern. There was a draft horse at the tavern, which was harnessed to a cart. The drunken owner of the horse came out of the tavern and began to invite his friends to ride the cart. When the old horse did not budge, Mikola began to whip it with a whip, which he then exchanged for a crowbar. After several blows, the horse dies, and Rodion, seeing this, rushes at him with his fists.

First dream analysis

It is this dream in the novel "Crime and Punishment" that is the most important component of the entire novel. It allows readers to see the murder for the first time. Only the murder is not conceived, but real. The first dream contains a meaning that carries a huge semantic and symbolic load. He clearly demonstrates where the hero developed a sense of injustice. This feeling is the product of Rodion's quest and mental suffering.

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

Raskolnikov's second dream

It is interesting that after Raskolnikov had his first dream, for a long time he no longer sees dreams, except for the vision that visited him before the murder - a desert in which there is an oasis with blue water (this is a symbol: blue is the color of hope, the color of purity). The fact that Raskolnikov decides to get drunk from the source suggests that all is not yet lost. He can still abandon his "experience", avoid this terrible experiment, which should confirm his extravagant theory that killing a "harmful" (bad, mean) person will certainly bring relief to society and make the life of good people better.

On the verge of unconsciousness

In a feverish seizure, when the hero does not understand much because of delirium, Raskolnikov sees how the owner of his apartment is allegedly beaten by Ilya Petrovich. It is impossible to single out this episode, which took place in the second part of the novel, as a separate dream, since it is mostly "delirium and auditory hallucinations." Although this to some extent suggests that the hero has a presentiment that he will be a "renegade", "outcast", ie on a subconscious level he knows that he will be punished. But also, perhaps, this is a game of the subconscious, which speaks of the desire to destroy another "trembling creature" (the owner of the apartment), which, like the old woman-pawnbroker, is not worthy, according to his theory, to live.

Description of Raskolnikov's next dream

In the third part of the work, Rodion, who has already dealt with Alena Ivanovna (also killing the innocent Lizaveta Ivanovna in the process), has another dream, which gradually turns into delirium. Raskolnikov's next dream is similar to the first. This is a nightmare: the old woman-pawnbroker is alive in her sleep, and she answers Raskolnikov's fruitless attempts to kill herself with a laugh, a laugh "ominous and unpleasant." Raskolnikov tries to kill her again, but the hubbub of the crowd, which is clearly unfriendly and spiteful, does not allow him to do the job. Dostoevsky by this shows the torment and throwing of the protagonist.

Psychoanalysis of the author

This dream fully reflects the state of the hero, who was "broken", as his experiment showed him that he is not able to step over human lives. The old woman's laugh is a laugh at the fact that Raskolnikov turned out not to be "Napoleon", who can easily juggle human destinies, but an insignificant and ridiculous person. This is a kind of triumph of evil over Raskolnikov, who failed to destroy his conscience. Purely compositionally, this dream is a continuation and development of Raskolnikov's reflections on his theory, according to which he divided people into "trembling creatures" and those who "have the right". This inability to step over a person and bring Rodion to the line, to the possibility of further "reborn from the ashes."

The last dream

The last in the novel "Crime and Punishment" Raskolnikov's dream is another kind of half-asleep, half-delirious, in which you need to look for hope for the possibility of the hero's rebirth. This dream relieves Rodion of doubts and searches that tormented him so much after the murder. Raskolnikov's last dream is a world that must disappear due to illness. As if there are spirits in this world that are endowed with intelligence, who have a will that can subdue people, making them puppets, possessed and insane. Moreover, the puppets themselves, after infection, consider themselves truly intelligent and unshakable. Infected people kill each other like spiders in a jar. After the third nightmare, Rodion is healed. He becomes morally, physically and psychologically free, healed. And he is ready to follow the advice of Porfiry Petrovich, ready to become a "sun". Thus he is approaching the threshold beyond which lies a new life.

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

Healing

Thus, Raskolnikov rethought his whole life, drastically changing his worldview. Raskolnikov's main achievement is his rejection of an untenable theory. His victory is that he was able to free himself from delusions. The hero gradually approached spiritual and moral perfection, i.e. passed the path, though difficult, painful and filled with suffering, but still cleansing and spiritually regenerating. It is precisely Dostoevsky's suffering that is the path to real happiness.

Final chord

The article outlined Raskolnikov's dreams briefly and succinctly, but as accurately as possible, without losing important points... These dreams are very important in the content of the work. They, like a thread, connect the events in the novel. It is the descriptions of dreams that contribute to the fact that the reader concentrates as much as possible on the plot twists and turns, on the system of images that the author introduces. The hero's dreams prepare the reader for subsequent scenes and have great importance to understand the main ideas of the novel. They are also significant for the work in artistic and pictorial terms.

In addition, dreams are very important in helping to determine psychological condition Rodion, his feelings and emotions. The author, through the dreams of the protagonist, conducts an important psychological analysis. Raskolnikov's dream, in which he sees himself as a child, allows us to understand his state of mind. He then tried to match his aversion to killing a horse with the sensations of the actual killing he had in mind. Perhaps, if he listened to his feelings, he could have avoided an internal split, which became a terrible tragedy for him. In addition, the first dream clearly makes it clear to the reader that Raskolnikov is not a lost person, that he has compassion and a desire to protect the weak. This allows you to look at the "dastardly killer" from a different angle.

Dreams in a novel have their own distinct functions and moods in each specific episode of the novel, but their general purpose remains unchanged. The meaning of Raskolnikov's dreams is to reveal the main idea of ​​the work. The idea that tells us that every person is a value cannot be divided into "lice" and "useful" people. An idea that shows that no one "has the right" to decide human destinies. An idea that testifies to how heavy the pangs of conscience are.

Many writers used dreams in their works, but few were able to achieve what F.M. Dostoevsky. The way he subtly, deeply and at the same time vividly described the psychological state of the character with the help of sleep, amazes not only the layman, but also true connoisseurs of literature.

/ DREAMS OF RASKOLNIKOV

RASKOLNIKOV'S DREAMS

In his novels Dostoevsky reveals complex processes the inner life of the characters, their feelings, emotions, secret desires and fears. In this aspect, the dreams of the characters seem to be especially important. However, Dostoevsky's dreams often have a plot-forming meaning.

Let's try to analyze the dreams and dreams of Raskolnikov in the novel "Crime and Punishment". The hero sees his first dream on Petrovsky Island. In this dream, Rodion's childhood comes to life again: together with his father on a holiday, he goes out of town. Here they see a terrible picture: a young man, Mikolka, leaving the tavern, with all his might whips his "skinny ... greedy nag" with all his might, which cannot be carried by an overwhelming cart, and then finishes her with an iron crowbar. Rodion's pure childish nature protests against violence: with a cry, he rushes to the downtrodden Savraska and kisses her dead bloody face. And then he jumps up and throws himself with fists at Mikolka. Raskolnikov experiences here a whole spectrum of the most varied feelings: horror, fear, pity for the unfortunate horse, anger and hatred for Mikolka. This dream shocks Rodion so much that, waking up, he renounces "his accursed dream." This is the meaning of sleep directly in the external action of the novel. However, the meaning of this dream is much deeper and more significant. First, this dream anticipates future events: the red shirts of drunken men; Mikolka's red, "carrot-like" face; woman "in kumach"; an ax that can put an end to the unfortunate nag at once - all this predetermines future murders, hinting that blood will be shed after all. Secondly, this dream reflects the painful duality of consciousness of the hero. If we remember that a dream is an expression of a person's subconscious desires and fears, it turns out that Raskolnikov, fearing his own desires, still wanted to beat the unfortunate horse to death. It turns out that in this dream the hero feels himself to be both Mikolka and a child, whose pure, kind soul does not accept cruelty and violence. This duality, the contradictory nature of Raskolnikov in the novel is subtly noted by Razumikhin. In a conversation with Pulcheria Alexandrovna, Razumikhin notes that Rodion is "gloomy, gloomy, arrogant and proud", "cold and insensitive to the point of inhumanity," and at the same time - "generous and kind." “Precisely in him, two opposite characters alternate,” exclaims Razumikhin. Raskolnikov's painful duality is also evidenced by two opposite images from his dream - a tavern and a church. The tavern is what destroys people, it is the focus of debauchery, recklessness, evil, this is the place where a person often loses his human appearance. The tavern always made “the most unpleasant impression” on Rodion, there was always a crowd, “they shouted, laughed, swore… ugly and hoarsely they sang and fought; such drunken and terrible faces were always wandering around the tavern. " The tavern is a symbol of depravity and evil. The church in this dream personifies the best that is in human nature. It is characteristic that little Rodion loved church, twice a year he went with his father and mother to mass. He liked the old icons and the old priest, he knew that there were memorial services for his deceased grandmother. The tavern and the church here, thus, metaphorically represent the main landmarks of a person in life. It is characteristic that in this dream Raskolnikov does not reach the church, does not get into it, which is also very significant. He is delayed by the scene near the pub.

Significant here is the image of a skinny peasant savraska, which cannot withstand an unbearable burden. This unfortunate horse is a symbol of the unbearable suffering of all the "humiliated and insulted" in the novel, a symbol of Raskolnikov's hopelessness and dead end, a symbol of the disasters of the Marmeladov family, a symbol of Sonya's position. This episode from the hero's dream is echoed by the bitter exclamation of Katerina Ivanovna before her death: “We have left the nag! I tore it up! "

Significant in this dream is the image of the long-dead father of Raskolnikov. Father wants to take Rodion away from the tavern, does not tell him to look at the violence being committed. The father here seems to be trying to warn the hero against his fatal act. Recalling the grief that befell their family when Rodion's brother died, Raskolnikov's father takes him to the cemetery, to the grave of his deceased brother, towards the church. This, in our opinion, is precisely the function of Raskolnikov's father in this dream.

In addition, let us note the plot-forming role of this dream. It appears as “a kind of core of the whole novel, its central event. Having concentrated in itself the energy and power of all future events, the dream has a formative meaning for other plot lines, “predicts” them (the dream is in the present tense, speaks of the past and predicts the future murder of the old woman). The fullest representation of the main roles and functions (“victim”, “tormentor” and “compassionate” in the terminology of Dostoevsky himself) sets the dream of killing a horse as a plot nucleus subject to textual development, ”note G, Amelin and IA Pilshchikov. Indeed, threads from this dream run throughout the novel. Researchers distinguish character "threes" in the work, corresponding to the roles of "tormentor", "victim" and "compassionate". In the hero's dream it is "Mikolka - horse - Raskolnikov-child", in real life it is "Raskolnikov - old woman - Sonya". However, in the third "three" the hero himself acts as a victim. This "troika" is "Raskolnikov - Porfiry Petrovich - Mikolka Dementyev". In the development of all plot situations, the same motives sound here. Researchers note that in all three plots, the same textual formula begins to unfold - "to shock" and "butt to the crown of the head." So, in Raskolnikov's dream, Mikolka with a crowbar "bewilders his poor horse on a grand scale." In about the same way, the hero kills Alena Ivanovna. "The blow hit the very crown of the head ...", "Then he struck with all his might once and again, all with a butt and all on the crown." Porfiry uses the same expressions in conversation with Rodion. “Well, who, tell me, of all the defendants, even of the most humble peasant, does not know that, for example, they will first start to lull him to sleep with extraneous questions (in your happy expression), and then suddenly they will stun him into the very crown of his head, with a butt - with ... ", - the investigator notes. In another place we read: “I, on the contrary, should have distracted you in the opposite direction, but suddenly, like a butt on the crown (in your own expression), and stunned:“ And what, they say, sir, did you please in the apartment of the murdered to do at ten o'clock in the evening, but almost still not at eleven? ".

In addition to dreams, the novel describes three visions of Raskolnikov, his three "dreams". Before committing a crime, he sees himself "in some kind of oasis." The caravan is resting, the camels are lying peacefully, and all around are magnificent palm trees. A stream is gurgling nearby, and "wonderful, wonderful, such blue water, cold, runs over multi-colored stones and such pure sand with golden sparkles ..." As B.S. Kondratyev, the camel here is a symbol of humility (Raskolnikov resigned himself, renounced his "accursed dream" after the first dream), but the palm tree is "the main symbol of triumph and victory", Egypt is the place where Napoleon forgets the army. Having renounced his plans in reality, the hero returns to them in a dream, feeling himself the victorious Napoleon.

The second vision visits Raskolnikov after his crime. As if in reality, he hears how the quarter warden Ilya Petrovich terribly beats his (Raskolnikov) landlady. This vision reveals Raskolnikov's latent desire to harm the landlady, the feeling of hatred, the hero's aggression towards her. It was thanks to the landlady that he ended up in the precinct, was forced to speak with the assistant of the quarterly overseer, experiencing a deadly feeling of fear and almost no control over himself. But Raskolnikov's vision also has a deeper, philosophical aspect. This is a reflection of the hero's agonizing state after the murder of the old woman and Lizaveta, a reflection of his feeling of alienation from his past, from "previous thoughts", "previous tasks", "previous impressions." The landlady here, obviously, is a symbol of Raskolnikov's past life, a symbol of what he loved so much (the story of the hero's relationship with the landlady's daughter). The quarterly overseer is a figure from his "new" life, the countdown of which was laid by his crime. In this “new” life, he “seemed to cut himself off from everyone with scissors,” and at the same time from his past. Raskolnikov is unbearably painful in his new position, that in his subconscious mind is imprinted as damage, harm caused to the hero's past by his present.

Raskolnikov's third vision occurs after his meeting with a tradesman who accuses him of murder. The hero fancies the faces of people from his childhood, the bell tower In the th church; "A billiard in one tavern and some officer at a billiard, the smell of cigars in some basement tobacco shop, a drinking house, a back staircase ... from somewhere you can hear Sunday bells ringing ...". The officer in this vision is a reflection of the real life impressions of the hero. Before his crime, Raskolnikov hears a conversation between a student and an officer in a tavern. The images of this vision themselves echo the images from Rodion's first dream. There he saw a tavern and a church, here - the bell tower of the E-th church, the ringing of bells and a tavern, the smell of cigars, a drinking house. The symbolic meaning of these images is preserved here.

Raskolnikov sees his second dream after his crime. He dreams that he again goes to Alena Ivanovna's apartment and tries to kill her, but the old woman, as if mocking, bursts into a quiet, inaudible laugh. Laughter and whispers are heard in the next room. Raskolnikov is suddenly surrounded by a multitude of people - in the hallway, on the landing, on the stairs - silently and expectingly, they look at him. Terrified, he cannot move and soon wakes up. This dream reflects the hero's subconscious desires. Raskolnikov is burdened by his position, wishing to reveal his "secret" to someone, it is hard for him to carry it within himself. He literally suffocates in his individualism, trying to overcome the state of painful alienation from others and himself. That is why in Raskolnikov's dream there are many people next to him. His soul longs for people, he wants community, unity with them. In this dream, the motive of laughter reappears, accompanying the hero throughout the entire novel. After committing the crime, Raskolnikov feels that "he killed himself, not the old woman." This truth seems to be open to people surrounding the hero in a dream. An interesting interpretation of the hero's dream is offered by S. B. Kondratyev. The researcher notes that laughter in Raskolnikov's dream is "an attribute of Satan's invisible presence," demons laugh and tease the hero.

Raskolnikov sees his third dream already in hard labor. In this dream, he seems to rethink the events that have taken place, his theory. It seems to Raskolnikov that the whole world is condemned as a sacrifice to "a terrible ... pestilent plague." There are some new microscopic creatures, trichines, infecting people and making them possessed. The infected do not hear and do not understand others, considering only their opinion to be absolutely correct and the only correct one. Leaving their occupations, crafts and agriculture, people kill each other in some senseless rage. Fires start, hunger, everything around dies. All over the world, only a few people, “pure and chosen,” can be saved, but no one has ever seen them. " This dream is an extreme embodiment of Raskolnikov's individualistic theory, showing the threatening results of its harmful influence on the world and humanity. It is characteristic that individualism is now identified in the mind of Rodion with demoniacal and madness. In fact, the hero's idea of ​​strong personalities, Napoleons, to whom "everything is permitted" now seems to him a disease, insanity, a clouding of mind. Moreover, the spread of this theory around the world is what causes Raskolnikov's greatest fears. Now the hero realizes that his idea is contrary to human nature itself, reason, and the Divine world order. Having understood and accepted all this with his soul, Raskolnikov experiences moral enlightenment. It is not for nothing that it is after this dream that he begins to realize his love for Sonya, which reveals to him faith in life.

Thus, Raskolnikov's dreams and visions in the novel convey his inner states, feelings, innermost desires and secret fears. Compositionally, dreams often precede future events, become the causes of events, and move the plot. Dreams contribute to the mixing of real and mystical narrative plans: new characters seem to grow out of the hero's dreams. In addition, the plots in these visions resonate with the ideological concept of the work, with the author's assessment of Raskolnikov's ideas.

Raskolnikov's first dream and its meaning?

Katika

Raskolnikov dreams of his childhood, back in his hometown. He walks with his father and passes by a pub, from which drunken men run out. One of them, Mikolka, invites the others to take a ride on his cart, which is harnessed to "a small, skinny, gray-haired peasant nag." The men agree and sit down. Mikolka beats the horse, forcing it to pull the cart, but due to weakness she cannot even walk. Then the owner begins to beat the nag with a frenzy and finishes it. Raskolnikov-child at the first moment looks at everything that happens in horror, then rushes to defend the horse, but too late.
The atmosphere of what is happening is heated with strong feelings. On the one hand, this is the malicious, aggressive passion of the unbridled crowd, on the other, the unbearable despair of little Rodi, shaking his heart with pity for the “poor horse”. And in the center of everything - the horror and tears of the nag. It is no coincidence that, creating this terrible picture, Dostoevsky uses a lot of exclamation marks.
The main idea of ​​the episode is the rejection of the murder by the nature of the person, and in particular by the nature of Raskolnikov. Before going to bed, the hero thinks about the usefulness of killing an old money-lender who has outlived her age and “seizes” someone else's, but after Raskolnikov wakes up in a cold sweat and horrified by the scene seen in the dream. This change can be explained by the struggle of the soul and mind, which constantly occurs in the main character. Dreams do not obey reason, the nature of man is revealed in them, and we see that murder is disgusting to the soul and heart of Raskolnikov. But in reality, thoughts and concerns about the mother and sister, the desire to prove their theory about “ordinary” and “extraordinary” people in practice prompts us to think about murder and its usefulness, to drown out the torments of nature.
Dostoevsky puts into the first dream of the protagonist his thoughts about the reasons for the crime and the unnaturalness of murder.
The hometown is a symbol of St. Petersburg itself. A tavern, drunken men, a stifling atmosphere - all these are integral components of St. Petersburg in the time of Dostoevsky. The author believes that St. Petersburg is the cause and accomplice of Raskolnikov's crime. The city, with its atmosphere, imaginary dead ends, cruelty and indifference, affects the main character, drawing him into a painful state of excitement. It is this state that pushes Raskolnikov to create a theory that takes possession of his mind and commands him.
Sleep with many threads is connected with what happens next in the reality of the novel. Raskolnikov, shuddering at what he planned, will nevertheless kill the old woman and also Li-Covenant, as helpless and downtrodden as a nag: she would not even dare to raise her hand to protect her face from the killer's ax. Then the dying Katerina Ivanovna will breathe out along with the consumptive blood: “We drove in a nag! “But Raskolnikov in this strange reality will act already as an executioner, as part of a rough, cruel world that has arrogated to itself the right to kill, no matter whether he is arguing whether he is inventing theories about strong and weak personalities.
The dream of the protagonist is described by the author with all the details and resembles a scene from the poem by N. A. Nekrasov "On the Weather". The action of the dream unfolds sequentially, in contrast, for example, to Nikolenka's dream in Leo Tolstoy's novel War and Peace, where events are feverishly replacing each other. But Raskolnikov's first dream is not the only one: it will be followed by three more dreams, and each of the four has its own meaning. The first dream of the protagonist played an important role in the subsequent work, since, developing the theme of “punishment” by Raskolnikov, Dostoevsky will show that it is in the soul that all the main truths about the attitude of people to each other are kept: “Do not judge”, “Do not kill”, “ Love your neighbor as yourself. " And Raskolnikov will be punished first of all by the fact that his heart will not accept pr

Elena anufrieva

Dreams are important in the novel. There is practically no border between sleep and reality. Sleep smoothly turns into reality, reality into sleep. When Raskolnikov sees a tradesman who accused him of the death of an old woman, he perceives him as a dream. This is due to the fact that the reality itself in the novel is fantastic, which is facilitated by the image of St. Petersburg, its atmosphere of stuffiness, which has a symbolic meaning.

Throughout the novel, Rodion Raskolnikov dreams five times. He sees his first dream in his room after meeting a drunk girl on the boulevard. It is born of the hero's morbid imagination. The action takes place in the distant childhood of Raskolnikov. Life in his hometown is so common and gray that "the time is gray", even on a holiday. Yes, and the whole dream is depicted by the writer in gloomy colors: "the forest is blackened", "the road is always dusty, and the dust on it is always so black." Only the green dome of the church contrasts with the dark, gray tone, and only the red and blue shirts of drunken men are the joyful spots.

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

And after sleep, the thought arises in Raskolnikov's head: “Can it really be, can I really take an ax, start hitting her on the head, crush her skull ... I will slide in sticky warm blood, pick the lock, steal and tremble; hide, all covered in blood ... with an ax? Lord, really? “It will be difficult for Rodion to commit this murder, because his attitude towards violence has changed little since childhood. Despite the intervening years, he still abhors violence, much less murder. This dream is the most vivid and memorable and carries the greatest meaning. He clearly reveals the source of the feeling of shocked injustice generated by the quest and aspirations of the hero. This is one of the most important moments of the novel, in which the thousand-year experience of the enslavement and oppression of some people by others, the age-old cruelty on which the world has long been held, and the passionate longing for justice and humanity, expressed with great skill, are concentrated in a succinct form.

The author's intention of Raskolnikov's dreams What is the significance of Raskolnikov's dreams in hard labor for revealing the author's intention?

Galina

Raskolnikov's dreams: description and essence
The first dream (Part 1, Ch. V) Raskolnikov sees shortly before
murder, falling asleep in the bushes in the park after "trial" and
meeting with Marmeladov.
Sleep is heavy, painful, exhausting and unusually
rich in characters:
Raskolnikov the boy loves to go to church,
personifying the heavenly principle on earth, that is
spirituality, moral purity and perfection.
However, the road to the church passes by a tavern, which
the boy does not love; tavern is that eerie, worldly, earthly,
what destroys a person in a person.
In the scene at the pub - the murder of a helpless horse by a crowd
drunk - little Raskolnikov is trying to protect
unfortunate animal, screams, cries; apparently, in its own way
nature he is not at all cruel, ruthlessness and contempt
to someone else's life, even a horse is alien to him and possible
violence against a human person is disgusting for him,
unnatural.
It is significant that after this dream Raskolnikov
for a long time he does not see dreams.
The position of dreams in the fabric of the novel is subtly thought out,
it allows the author to make the necessary accents
in the right places.

Dream of Africa
Raskolnikov also had this dream the day before.
crimes.
Raskolnikov sees Egypt, an oasis, blue water,
multi-colored stones, golden sand.
This dream is contrasting.
He is opposed to the real life of Raskolnikov -
pathetic, colorless, gray. (H, 1, Ch. VI)
Dream about Ilya Petrovich and the hostess
Delirious after committing a crime Raskolnikov
sees a dream about Ilya Petrovich, who beats the hostess.
In a dream, Raskolnikov felt fear that perhaps
they came for him: "All of a sudden Raskolnikov trembled like a leaf ...
Ilya Petrovich is here and beats the mistress ... But, therefore,
and they will come to him now, if so, "because ...
right, all this is from the same ... because of yesterday ... "
"... Fear, like ice, overlaid his soul, tortured him,
stiffened him up ... "
At the same time, even in a dream, he does not undertake
nothing to escape, shut down, surrender to the police.
(Part 2, Chapter II)
Dream of a laughing old woman
Before the arrival of Svidrigailov, Raskolnikov saw
a delusional dream about a murdered old woman-pawnbroker.
In a dream, Raskolnikov goes to the old woman's apartment after
some bourgeois who calls him there.
In the corner, in the living room, he discovers an old woman sitting.
The old woman laughs.
Raskolnikov strikes her with an ax, but only laughter
intensified.
Raskolnikov rushed to run, but there were people everywhere-
on the stairs, indoors, etc.: "... everyone is looking, -
but everyone hid and waited, they were silent ...
His heart was shy, his legs did not move, they had grown ...
He wanted to cry out and - woke up ... "
In a dream, Raskolnikov experiences fear that tormented
him in reality after the crime.
After the murder of the old woman, Raskolnikov was afraid of shame and
human judgment.
He was afraid of being disgraced in front of the crowd.
This fear was embodied in a dream (Part 3, Ch. VI)
Doomsday dream
This is Raskolnikov's last dream.
Already in hard labor, Raskolnikov once fell ill and fell
in hospital.
In a painful delirium, he saw several times the repetitive
a dream about the end of the world.
"He dreamed in illness, as if the whole world was condemned
as a sacrifice to some terrible, unheard of and unprecedented
a pestilent plague that runs from the depths of Asia to Europe.
All were to die, except for a few, very
a few, a select few ... "
Raskolnikov dreams of this last dream after the trial,
in hard labor.
Hard labor became for him the beginning of his new life, the beginning
atonement for his sin.
This dream is a symbol of the purification and renewal of the soul.
Raskolnikov.
The dream is very vivid and emotional speaks of
active inner work on yourself
Raskolnikov.

Alexander doronin

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

A great writer always carefully thinks over what he wants to write about, and never tries to omit descriptions of nature, interior, streets, exterior, dreams - everything that is considered small details, nuances. Such a writer, I consider Fyodor Mikhailovich Dostoevsky, a wonderful person, whose works are always modern and relevant.

Very many people know that Fyodor Mikhailovich paid great attention to trifles, insignificant details, which are sometimes unnoticed by an inattentive reader. And this is true, despite the fact that many will deny it. No, I do not accuse people who are indifferent to books, but I also do not approve of their disdain for the masterpieces of Russian literature. In my turn, as a person who respects Dostoevsky's work, I will try to figure out what he wanted to convey to the reader, what meaning he put into the dreams of Rodion Raskolnikov, who visit him throughout the novel, in the famous novel Crime and Punishment.

Let us turn to the first of the dreams of a student, Rodion Romanovich. He sees this dream even before the murder of the old woman-pawnbroker, "lice ... useless, disgusting, pernicious," as he himself says after. So let's get to sleep ... this " horrible dream", an excerpt from childhood, it would seem, the very, that is, a bright, kind and wonderful period of human life, but this is not what we feel when we read the lines about beating a horse" But the poor horse is bad. She gasps, stops, twitches again, almost falls. ”We see all this through the eyes of a seven-year-old boy who has forever remembered the embodiment of cruelty.

Beating an animal once again reminds him of violence in the world, strengthens his conviction in the correctness of his theory, which he nurtured, being in a sick state and dreaming of the "role of the ruler," "Napoleon." Raskolnikov does not see the difference between man and animal. In the form of a horse, he again sees humiliated and insulted people. In this dream, the word "ax" is mentioned several times and this is not accidental. After all, here the ax is a murder weapon, but not only the horse "With her ax, why! End her at once", but also the old women are already in the real world. Little Rodion, already at the age of seven, is trying to restore justice, waving his fists "in a frenzy rushes with his fists at Mikolka", but it's too late ... the horse is dead "The nag stretches out his face, sighs heavily and dies." And this means that his efforts alone are too little to change the consciousness of people, to eradicate the instinct of self-destruction of mankind. The abundance of violence in this dream was another impetus that forced Raskolnikov to commit murder.

The second dream visits Raskolnikov after the murder. He is in a semi-conscious state. Rodion Romanovich dreams that Ilya Petrovich is beating the hostess "He kicks her, bangs her head on the steps." Raskolnikov was struck by the cruelty of people, which was reflected in this dream: "He could not imagine such atrocity, such frenzy." Most likely, here Raskolnikov subconsciously justifies himself, as if saying: "I'm not the only one." The reader is able to understand here that not only Ilya Petrovich is portrayed here as a cruel murderer, but any person is capable of a crime if it is prompted by fate or circumstances, and maybe even a distorted understanding of everything that is happening around, what is capable of pushing murder.

In the next dream, the student Rodion again commits the murder of the old woman, he seems to be returning to the place where he once committed an injustice, following the principles of his theory. But now he feels guilty, he sees a huge number of people laugh at him. Even the old woman, whom he cannot kill again, laughs, but for some reason tries not to show her laughter to our hero "... he looked down into her face, looked in and died: the old woman sat and laughed, - so she burst into quiet, inaudible laughter, from trying hard so that he would not hear her. " Something terrible is going on in Radion's soul, he feels oppression because of the murder of the pawnbroker and her unfortunate sister Lisa, who was in the wrong place at the wrong time. Raskolnikov understands that, having killed the old woman, he did not feel freer, he did not become a "master", did not prove the correctness of his theory.

Rodion Raskolnikov's last dream, described in the novel, again sees delirium. He is in hard labor, lying in the hospital, draws a line that summarizes all his suffering. This dream has an important role not only in the life of Rodion, but also generalizes the essence of society and man in general. Dostoevsky was able to predict for many years to come the structure of human relationships, as well as reveal the prospects for changing human consciousness, but at the same time saying: "Everything and everything perished. Only a few people could be saved in the whole world, but no one saw these people anywhere, no heard their words and voices. " Dostoevsky understood that there may not be such people, therefore, at the end of the dream, there is not that clarity that the reader wanted to receive.

Perhaps Fyodor Mikhailovich had to work hard on the dreams that visited Raskolnikov. Each of them is a mirror of the soul of Rodion Romanovich, which reflects exactly what the author wanted to convey to us. I believe that it is with the help of Raskolnikov's dreams that we can empathize with the hero, feel the atmosphere of that time, and most fully understand the goals and thoughts of the people of the nineteenth century. After all, only in a dream is the human subconscious released and is able to tell the reader a lot.

Works related to the title:

• 1. "Poor people" in FM Dostoevsky's novel "Crime and Punishment"
• 2. "Pain about man" in the novel by F. M. Dostoevsky "Crime and Punishment"
• 3. "Little People" in FM Dostoevsky's novel "Crime and Punishment"
• 4. "A trembling creature or do I have the right?" (based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 5. "The humiliated and insulted" in the novel by F. M. Dostoevsky "Crime and Punishment" (1)
• 6. "The humiliated and insulted" in the novel by FM Dostoevsky "Crime and Punishment"
• 7. "Steps" of Raskolnikov towards crime (Based on the novel by F. M. Dostoevsky "Crime and Punishment") (1)
• 8. "Steps" of Raskolnikov to a crime (Based on the novel by FM Dostoevsky "Crime and Punishment") // option
• 9. "I killed myself!" (the crime and punishment of Rodion Raskolnikov in the novel by F. M. Dostoevsky "Crime and Punishment")
• 10. Author and hero in FM Dostoevsky's novel "Crime to Punishment"
• 11. The author's position and means of its expression in the novel by F.M. Dostoevsky's "Crime and Punishment"
• 12. What is the tragedy of Raskolnikov? (Based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 13. Humanism in the novel by F.M. Dostoevsky's "Crime and Punishment" (1)
• 14. Humanism in F.M. Dostoevsky's "Crime and Punishment"
• 15. Humanism of Fyodor Dostoevsky's novel "Crime and Punishment"
• 16. Doubles of Raskolnikov in the novel "Crime and Punishment" (2)
• 17. Doubles of Raskolnikov in the novel "Crime and Punishment"
• 18. Doubles of Raskolnikov in FM Dostoevsky's novel "Crime and Punishment"
• 19. Spiritual resurrection of Rodion Raskolnikov (based on the novel by FM Dostoevsky "Crime and Punishment")
• 20. Ideological and artistic role of the image of Svidrigailov in the novel by FM Dostoevsky "Crime and Punishment"
• 21. Ideological and artistic peculiarity of FM Dostoevsky's novel "Crime and Punishment"
• 22. Ideological meaning of FM Dostoevsky's novel "Crime and Punishment"
• 23. Raskolnikov's idea and its collapse (Based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 24. The idea of ​​suffering and purification in F.M. Dostoevsky's "Crime and Punishment"
• 25. What are the reasons for the crime of Raskolnikov (based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 26. As I understand the tragedy of Raskolnikov (based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 27. The collapse of the "unfinished" idea (Based on the novel by F. M. Dostoevsky "Crime and Punishment") (1)
• 28. The collapse of the "unfinished" idea (based on the novel by FM Dostoevsky "Crime and Punishment")
• 29. Criticism of the individualistic rebellion in the novel by F. M. Dostoevsky "Crime and Punishment" (1)
• 30. Criticism of the individualistic rebellion in the novel by F. M. Dostoevsky "Crime and Punishment"
• 31. The collapse of the "Napoleonic theory" of Raskolnikov in the novel by FM Dostoevsky "Crime and Punishment"
• 32. Personality in the novel by F. M. Dostoevsky "Crime and Punishment"
• 33. Luzhin and Svidrigailov in the novel by F.M. Dostoevsky's "Crime and Punishment"
• 34. Mercy and compassion in the novel by F.M. Dostoevsky's "Crime and Punishment"
• 35. The world of the "humiliated and insulted" in the novel by FM Dostoevsky "Crime and Punishment"
• 36. The variety of themes of the novel by F.M. Dostoevsky's "Crime and Punishment"
• 37. My thoughts on the novel by F. M. Dostoevsky "Crime and Punishment"
• 38. My reflections on the novel by FM Dostoevsky "Crime and Punishment"
• 39. Motives for the crime of Raskolnikov in the novel by FM Dostoevsky "Crime and Punishment"
• 40. Motives of Rodion Raskolnikov's crime in FM Dostoevsky's novel "Crime and Punishment"
• 41. Moral issues in the novel by F. M. Dostoevsky "Crime and Punishment"
• 42. Moral and philosophical aspects in the novel by F. M. Dostoevsky "Crime and Punishment"
• 43. Moral law and objective reality in the novel by F. M. Dostoevsky "Crime and Punishment"
• 44. The moral ideal in the novel by F.M. Dostoevsky's "Crime and Punishment" (1)
• 45. The moral ideal in the novel by F.M. Dostoevsky's "Crime and Punishment" (2)
• 46. ​​The exposure of the criminal society in the novel by F. M. Dostoevsky "Crime and Punishment"
• 47. The image of the "eternal Sonya" in the novel by FM Dostoevsky "Crime and Punishment"
• 48. The image of St. Petersburg in the novel by F. M. Dostoevsky "Crime and Punishment"
• 49. The image of Raskolnikov (based on the novel "Crime and Punishment")
• 50. The image of Rodion Raskolnikov in the novel by Fyodor Dostoevsky "Crime and Punishment"
• 51. The image of a child in F.M. Dostoevsky's "Crime and Punishment"
• 52. Raskolnikov's first dream and his role in FM Dostoevsky's novel "Crime and Punishment"
• 53. Petersburg in Dostoevsky's novel "Crime and Punishment"
• 54.
• 55. Petersburg in the novel by F. M. Dostoevsky "Crime and Punishment"
• 56. The Truth of Sonechka Marmeladova (Based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 57. The world of objects in the novel by F. M. Dostoevsky "Crime and Punishment"
• 58. Raskolnikov's confession of a crime (analysis of an episode from chapter 8 of part 6 of FM Dostoevsky's novel "Crime and Punishment")
• 59. The problem of choosing the path in the novel by F. M. Dostoevsky "Crime and Punishment"
• 60. The problem of good and evil in the novel by F. M. Dostoevsky "Crime and Punishment"
• 61. Contradictions of Raskolnikov's theory (based on the novel by F. M. Dostoevsky "Crime and Punishment")
• 62. Psychological doubles of R. Raskolnikov in the novel by F. M. Dostoevsky "Crime and Punishment" (1)
• 63. Psychological doubles of R. Raskolnikov in the novel by F. M. Dostoevsky "Crime and Punishment" (2)
• 64. Psychological doubles of R. Raskolnikov in FM Dostoevsky's novel "Crime and Punishment"
• 65. Psychological doubles of Raskolnikov and their role in the novel by F.M. Dostoevsky's "Crime and Punishment"
• 66. Psychological analysis in the novel by F. M. Dostoevsky "Crime and Punishment"
• 67. Repentance and redemption in the novel by F. M. Dostoevsky "Crime and Punishment"
• 68. Raskolnikov in the system of images of the novel "Crime and Punishment"
• 69. Raskolnikov and his "double" (Based on the novel by FM Dostoevsky "Crime and Punishment")
• 70.