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What is the internal contradiction of Raskolnikov? What is the internal inconsistency of Raskolnikov What is the internal inconsistency of Raskolnikov.

Municipal educational institution

average educational school with an in-depth study of subjects of the artistic and aesthetic cycle No. 23

Related project

"What is the inconsistency of the rebellion of Rodion Romanovich Raskolnikov"

(based on the novel by F. M. Dostoevsky “Crime and Punishment”)

Performed:

Barannik Vitalina Igorevna

11th grade student B

Supervisor:

Myachina Ludmila Veniaminovna

teacher of Russian language and literature

Allowed to protect:

FULL NAME. __________________

"____" ______________ 20__

Komsomolsk-on-Amur

2016

2. History of the creation of the novel

"Crime and Punishment", the history of which lasted almost 7 years, is one of the most famous novels Fyodor Dostoevsky, both in Russia and abroad.It was formed from the spiritual experience of the author during his stay in hard labor. The novel was published in the Russky Vestnik magazine in 1866.In this creation of the classic of Russian literature, his talent as a psychologist and connoisseur of human souls was revealed more than ever. What prompted Dostoevsky to write a work about a murderer and pangs of conscience, because this topic was not characteristic of the literature of that time?

There was everything in the life of Fyodor Mikhailovich Dostoevsky: loud fame and poverty, dark days in Peter and Paul Fortress and many years of hard labor, addiction to gambling and conversion to the Christian faith.

In Russian literature, Fyodor Mikhailovich is given the place of the main psychologist and expert on human souls. Some literary critics(for example, Maxim Gorky), especially Soviet period, called Dostoevsky "an evil genius", because they believed that the writer in his works defended the "infidels" Political Views- conservative and in some period of life even monarchical. However, one can argue with this: Dostoevsky's novels are not political, but always deeply psychological, their goal is to show the human soul and life itself as it is. And the work "Crime and Punishment" is the most striking confirmation of this.

The novel was created in an era when the old moral laws were rejected, and new ones were not developed. Society has lost the moral guidelines that were embodied in the image of Christ, and Dostoevsky was able to show the full horror of this loss. He was against violence and, with his novel, argued with the revolutionaries, who argued that the path to universal happiness was “to call Rus' to the ax.” main idea Dostoevsky: it is impossible to come to good through crime. He was the first in world literature to show the fatality of the individualistic ideas of a “strong personality” and their immorality.

Raskolnikov's idea grows out of the depths of the historical disappointment experienced by the younger generation after the crash. revolutionary situation 60s, on the basis of the crisis of utopian theories. His violent rebellion both inherits the strength of the social negation of the sixties and falls away from their movement in its concentrated individualism. All the threads of the story converge on Raskolnikov. He absorbs everything around him (grief, troubles and injustice). We see how human tragedies, crashes - both very distant (the girl on the boulevard), and those that seriously enter his life (the Marmeladov family), and those closest to him (Dunya's story) - charge the hero with protest, overwhelm with determination.

Throughout the first part of the novel, the writer makes it clear: for Raskolnikov, the problem is not in correcting his own “extreme” circumstances .. For Raskolnikov, obediently accepting fate as it is means giving up any right to act, live and love. The protagonist lacks that egocentric concentration that completely forms Luzhin's personality in the novel.

Raskolnikov is one of those who, first of all, do not take from others, but give them. However, he is ready to do it without asking - dictatorially, against the will of another person. The energy of goodness is ready to turn into self-will, “violence of goodness”.

4. The inconsistency of the actions of the hero

Raskolnikov wanted to do good, but with all this to kill;

The hero wanted to surrender to the police, but not go to jail;

He was a mentally developed person, but made an inhuman decision;

Conscientious, but proud. (see appendix 6)

The moral and psychological consequences of the crime are directly opposite to those expected by Raskolnikov. Elementary human ties are falling apart.

The internal tragedy of Raskolnikov is connected with the separation of the hero from people and with the creation of the inhuman theory of "blood according to conscience." In his actions, a person is free and independent of social circumstances. The incessant internal struggle indicates that in Rodion Romanovich, at the same time, a martyr's dream of saving people from suffering and an egoistic confidence in their own right to "step over other obstacles" in order to "become a Napoleon" coexist.

Any theory is absurd. You can't live by theory.

The writer depicts the collision of theory with the logic of life. In his opinion, life always refutes any theory, even the most advanced revolutionary one. and criminal. Dostoevsky's task is to show what power an idea can have over a person and how terrible and criminal it can turn out to be. Philosophical questions over which Raskolnikov suffered, occupied the minds of many thinkers. The German philosopher F. Nietzsche created the theory of the “superman”, to whom everything is allowed. Later, it served as the basis for the creation of a fascist ideology, which brought innumerable disasters to all mankind.

The mistake of the protagonist lies in the fact that he sees the cause of evil in the very nature of man, and the law that gives the right strong of the world this to do evil, he considers eternal. Instead of fighting against the immoral order and its laws, he follows them. It seems to Raskolnikov that he is responsible for his actions only to himself and the court of others is indifferent to him. Rodion is not at all touched by the crime he committed. He is too confident in the correctness of his ideas, confident in his originality and exclusivity.

What's the big deal if he killed? He killed only one "louse, the most useless of all lice." When he hears the word "crime", he shouts back: "Crime! What crime?.. the fact that I killed a nasty, malicious louse, an old pawnbroker who is not needed by anyone, who will be forgiven for forty sins to kill, who sucked the juice out of the poor, and this is a crime? I don’t think about it, and I don’t think about washing it off!

Yes, in Raskolnikov's theory there are thoughts that an abnormal person may have, but they are immediately suppressed by common sense and the law. Perhaps, if the theory had remained only on paper, it would have seemed the product of a poor man's exhausted fantasy. But Raskolnikov began to implement it! The old pawnbroker is “an abscess that needs to be removed”, she does not benefit anyone, she must die, she is the same “trembling creature”. But why, in this case, does the innocent Lizaveta perish? So Raskolnikov's theory begins to gradually collapse. It is impossible to divide people only into “bad” and “good”, and it is not the business of one person to judge others. You can not kill a person, even for the sake of great and good goals. Life is the most valuable thing we have, and no one has the right to pass judgment on it just like that, on their own whim.

The individualistic theory is the source of the hero's constant suffering, the source of the ongoing inner struggle. There is no consistent logical refutation of Raskolnikov's "idea-feeling" in the novel. And is it possible? And yet, Raskolnikov's theory has a number of vulnerabilities: how to distinguish between ordinary and extraordinary people; What will happen if everyone thinks they are Napoleons? The inconsistency of the theory is also revealed in contact with "real reality". The future cannot be predicted arithmetically. We see that the very “arithmetic” that the unfamiliar student spoke about in the tavern is suffering a complete collapse.

At the end of the novel, Raskolnikov comes to spiritual resurrection not as a result of renunciation of the idea, but through suffering, faith and love. The gospel parable of the resurrection of Lazarus is bizarrely refracted in the fates of Sonya and Raskolnikov. "They were resurrected by love, the heart of one contained the endless sources of life of the heart of the other." [1.33.]

What explains internal inconsistency Rodion Raskolnikov?

Show full text

All people are inherently contradictory: in each of us, such qualities as mercy and cruelty, kindness and heartlessness coexist. F.M. Dostoevsky, a world-famous writer-psychologist, in his work “Crime and Punishment” created the image of a controversial hero, who simultaneously has good nature and misanthropy, the ability to compassion and selfishness ... Let us turn to the analysis of the novel in order to understand what explains the internal inconsistency character.

Already the name of the hero indicates his internal split, separation, lack of integrity. The exhibition features a portrait former student Raskolnikov: this is a young man of pleasant appearance, with delicate features. He was dressed in rags, in which a decent person would be ashamed to go out into the street, on his head was an old red hat, full of holes and frayed. Raskolnikov was not worried about how others see him. His modest dwelling resembled a coffin: it is a small miserable closet with low ceilings. The author pays great attention to the interior and landscape in order to show the reader in what an irritable state, "similar to hypochondria", was main character. He was crushed by poverty, was in spiritual exhaustion.

An internal struggle took place in the soul of the hero: environment, egoism, social injustice and partly poverty stifled in him a generous, educated man. Raskolnikov becomes obsessed with the "Napoleonic" theory that there are "extraordinary" people who have the right to sacrifice other people's lives for the common good. But killing in the name of helping humanity cannot be justified: the scales will definitely tip to one side.

Following the theory, the student wonders who he himself is: "having the right" or "a trembling creature." To answer him, Raskolnikov decides to kill an old pawnbroker who, being a "louse" herself, decides the fate of many people who turn to her. The theory is doomed to fail. Let us recall the psychological state of the hero before and after the murder. The struggle in his soul brought him to a frenzy, a feverish state. His whole being was opposed to theory. To show this, the author uses various elements of psychologism: the system of doubles (the characters Svidrigailov and Luzhin represent an extreme form of self-assertion), speech characteristic(internal mon

Criteria

2 of 3 K1 Depth of understanding of the topic and persuasiveness of arguments
2 of 2 K2 Level of theoretical and literary knowledge
3 of 3 K3 The validity of attracting the text of the work
2 of 3 K4 Compositional integrity and logical presentation
3 out of 3 K5 Following the rules of speech
TOTAL: 12 out of 14

First, let us recall what is typical for the 60s in Russia. The fundamental ideas of populism, which were first formulated by A.I. Herzen and further developed by N.G. Chernyshevsky, from the beginning of the 60s were adopted by almost all Russian revolutionaries. The main of these ideas are as follows: Russia can and must, for the benefit of its people, pass over to socialism, bypassing capitalism (as if jumping over it until it has established itself on Russian soil) and relying in this on the peasant community as the germ of socialism; for this, it is necessary not only to cancel serfdom, but also to transfer all the land to the peasants with the unconditional destruction of landownership, overthrow the autocracy and put in power the chosen ones of the people themselves.

After the Russian revolutionaries saw that the peasant reform of 1861 turned out to be half-hearted, they became disillusioned with the reforms and considered that a revolution by the forces of the peasantry was a more reliable means of achieving the goal, and it was they, the Narodniks, who had to raise the peasants to the revolution. The truth is, How to prepare a peasant revolution, the opinions of the populists differed. While the peasants were revolting, and since the spring of 1861 student unrest, unprecedented in Russia, began, the populists considered possible creation a broad anti-government front that would be able to rely on the will of the people and topple the government. For the sake of this, they turned with proclamations to the “lordly peasants”, “educated classes”, “to young generation"," to the officers. Contemporaries even called the beginning of the 60s "the era of proclamations." At a time when free speech was punished as a state crime, each proclamation became an event. Meanwhile, in 1861-1862. they appeared one after another, printed in underground printing houses or abroad, containing a wide range of ideas, and distributed in huge circulations for that time - in thousands of copies. So, the proclamation "Young Russia" was sent by mail, scattered at Moscow University and right on the streets, boulevards, at the entrances of houses. "Great Russian" offered the educated classes to organize an anti-government campaign demanding a constitution. The proclamation "To the Young Generation" demanded a complete renewal of the country, up to the introduction of a republic, preferably by peaceful means, but with the proviso: if it is impossible otherwise, we willingly call on the revolution to help the people. "Young Russia" unconditionally stood up for a revolution, bloody and inexorable - a revolution that should radically change everything, everything without exception, namely: destroy the autocracy (by exterminating "the entire house of the Romanovs" without exception) and landownership, secularize church and monastery property, even liquidate marriage and the family, which alone could, according to Young Russia, liberate woman in the coming social and democratic Russian republic. "Young Russia" not only embittered royal power but also shocked the revolutionaries.

The novel by F. M. Dostoevsky “Crime and Punishment” shows the character of a representative of the Raznochinskaya youth of the 60s of the XIX century. Raskolnikov is a poor Petersburg student. But him spiritual world in a complex way correlated in the novel not only with the spiritual world of his contemporary generation, but also with historical images of the past, partly named (Napoleon, Mohammed, Schiller's heroes), and partly not named in the novel (Pushkin's Hermann, Boris Godunov, the Pretender; Balzac's Rastignac, etc.). This allowed the author to expand and deepen the image of the protagonist to the maximum, to give it the desired philosophical scale.

Let's pay attention to the name of the main character - Raskolnikov. She is extremely versatile. Firstly, she points to schismatics who did not obey the decisions of church councils and deviated from the path Orthodox Church, i.e. opposed their opinion to the conciliar one. Secondly, it points to a split in the very essence of the hero, who is truly a tragic hero - for he, having rebelled against society and God, still cannot reject, as worthless, the values associated with God and society. It is precisely a split, a crack that forms in Raskolnikov's value system, but the system does not crumble from this.

Raskolnikov’s friend Razumikhin also speaks of the inconsistency of Raskolnikov’s character: “ For a year and a half I have known Rodion: gloomy, gloomy, arrogant and proud; V Lately(and perhaps much earlier) hypochondriac is also hypochondriac. Magnanimous and proud. He does not like to express his feelings and will sooner do cruelty than the heart will express in words. Sometimes, in other matters, he is not a hypochondriac at all, but simply cold and insensitive to the point of inhumanity, really, as if in him two opposite characters are alternately replaced. Terribly taciturn sometimes! He has no time for everything, everyone interferes with him, but he himself lies, does nothing. Not mocking, and not because there was not enough wit, but as if he did not have enough time for such trifles. Doesn't listen to what they say. Never interested in what everyone is interested in at the moment. He values himself terribly highly and, it seems, not without some right to do so..

The inconsistency, duality of Raskolnikov is his weakness as an ideologist, this is what destroys him. Raskolnikov's actions are contradictory, now he is alone, in an hour he is already different. He sincerely regrets the deceived girl on the boulevard, gives the last pennies to the Marmeladovs, saves two babies from a burning house. Even his dreams are like a continuation of the struggle of the two sides of his being for and against the crime: in one he tries to save a horse from death, in the other he kills again. The second positive side of the hero does not allow him to die completely.

Raskolnikov is also dual, like the image of St. Petersburg in the novel. “He is remarkably good-looking, with beautiful dark eyes, dark blond, taller than average, thin and slender”; dreamer, romantic, lofty and proud spirit, noble and strong personality. But this man has his own Sennaya, his own dirty underground - the thought of murder and robbery.

Raskolnikov is new type hero of time. The hero is given on the eve of a mental explosion.

The theme of punishment in the interpretation of Dostoevsky. The moral state of Raskolnikov. Dostoevsky's psychological skill in depicting the hero's mental struggle. The ideological and artistic function of Raskolnikov's symbolic dreams.

Punishment in the novel is manifested through Raskolnikov's moral state, alienation and dreams.

Punishment is the suffering that falls to the lot of Raskolnikov, which nature itself inevitably imposes on those who rebel against it, against a new life, no matter how small and unmanifested it may seem.

Let's start with the moral state of the protagonist. Dostoevsky does not skimp on characterizing Raskolnikov's abnormal state: fever, stupefaction, heavy oblivion, a feeling that he is going crazy. Punishment begins immediately after the murder. The central part of the novel is mainly occupied with the depiction of seizures and that heartache in which the awakening of conscience is manifested. One by one, Dostoevsky describes the change of the same feelings: “Fear seized him more and more, especially after this second, completely unexpected murder”, “... some absent-mindedness, as if even thoughtfulness, began to gradually take possession of him: for minutes he seemed to forget ...”, “his head seemed to start again spinning," "he was lying on his back on the sofa, still dumbfounded from recent oblivion," "a terrible cold seized him; but the cold was also from a fever that had long since begun with him in a dream. , “... sleep and delirium again seized him at once. He forgot himself”, “again the unbearable chill froze him”, “... his heart was pounding so that it even hurt”, “he felt a terrible disorder in everything. He was afraid of not being able to control himself. He tried to cling to something and think about something completely extraneous, but he did not succeed, "" his thoughts, already sick and incoherent, began to interfere more and more ... " , “suddenly his lips trembled, his eyes lit up with rage ...”, “sometimes he was seized by a painfully painful anxiety, degenerating even into panic fear.”

Loneliness and alienation took hold of his heart: “… until then, his heart was suddenly empty. A gloomy feeling of painful, endless solitude and alienation suddenly consciously affected his soul.. Having committed a crime, Raskolnikov tore himself from the living and healthy people, and now every touch of life painfully affects him. He cannot see his friend or his relatives, as they annoy him, this is torture for him (“... he stood as if dead; an unbearable sudden consciousness struck him like thunder. And his arms did not rise to hug them: they could not ... He took a step, swayed and collapsed to the floor in a faint”).

Yet the soul of the criminal awakens and protests against the violence committed against her. For example, about the death of Marmeladov, he is happy to take care of others. In addition, the scene between him and the girl Poley, whom he asks to pray for him.

After a conversation with Zametov “He came out trembling from some kind of wild hysterical sensation, in which, meanwhile, there was a part of unbearable pleasure - however, gloomy, terribly tired. His face was contorted, as if after some kind of seizure. His fatigue increased rapidly. His forces were excited and now suddenly came, with the first shock, with the first irritating sensation, and just as quickly weakened as the sensation weakened..

Dostoevsky masterfully describes Raskolnikov's inner monologues. Among the incoherent thoughts of the half-delirious Raskolnikov, his soul breaks through:

“Poor Lizaveta! Why did she turn up here! .. It is strange, however, why I hardly think about her, as if I didn’t kill her ... Lizaveta! Sonya! poor, meek, with meek eyes... Darlings! Why don't they cry. Why don't they moan. They give everything ... they look meekly and quietly ... Sonya, Sonya! quiet Sonya!..”, “But why do they themselves love me so much if I’m not worth it!”, “Do I love her, or something? After all, no, no? ... And I dared to hope so for myself, so dream of myself, I am a beggar, an insignificant me, a scoundrel, a scoundrel!

Raskolnikov's dreams are deeply symbolic. Dostoevsky writes: “Dreams in a diseased state are often distinguished by their extraordinary convexity, brightness and extreme resemblance to reality. Sometimes a monstrous picture is formed, but the situation and the whole process of the whole representation are so probable and with such subtle, unexpected, but artistic details corresponding to the whole completeness of the picture, 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 make a strong impression on the upset and already excited human body..

Raskolnikov's first dream about his childhood. Here you can apply a multi-level interpretation of sleep.

First level - historical. The episode with the beating of a horse in Raskolnikov's dream is traditionally considered an allusion to Nekrasov's poem "On the Weather". It turns out that Dostoevsky was amazed by the fact depicted in Nekrasov's poem to such an extent that he considered it necessary to duplicate what Nekrasov said in his novel.

Dostoevsky, of course, saw such scenes in reality, but if he considered it necessary to “reference” so clearly to a work of art, then, apparently, not because he was amazed at the fact reflected in it, but because he saw the work itself as some new fact life, really struck him.

This new fact consisted, firstly, in the purpose with which facts were chosen from reality and collected by those who had to incite their readers in a certain way; secondly, in the ratio of what is actually happening and perceived by a person who is tuned in a certain way. The "Nekrasov" perception of a horse trying to push an unbearable cart ("Nekrasov" - in quotation marks, because this is the perception of Nekrasov's readers, and not the poet himself), a horse, as if personifying the suffering and misfortune of this world, its injustice and ruthlessness, moreover - the very existence of this horse, weak and downtrodden - all these are the facts of Raskolnikov's dream. The poor Savraska, harnessed to a huge cart, into which a crowd of drunks got into, is only Raskolnikov's idea of \u200b\u200bthe state of the world. Here is what actually exists: “... one drunkard, who, for no one knows why and where, was being transported at that time along the street in a huge cart pulled by a huge draft horse ...”. This cart on the first pages of "Crime and Punishment" seemed to be riding out of Raskolnikov's dream.

Thus, only the size of the cart is adequately perceived, but not the load and not the strength of the horse harnessed to this cart, that is, the challenge to God is thrown on the basis of non-existent injustices, for everyone is given a burden according to their strength and no one is given more than he can bear .

An analogue of a horse from a dream is Katerina Ivanovna in the novel, falling under the weight of her unreal troubles and worries, which are very great, but bearable (especially since God does not take his hand away, and when the edge comes, there is always an assistant: Sonya, Raskolnikov, Svidrigailov), and under the burden of troubles and worries that she romantically imagined for herself, and it is precisely from these troubles, insults and sorrows that exist almost only in her inflamed brain that she eventually dies - like a "driven horse." Katerina Ivanovna exclaims to herself: "They left the nag!". And indeed, she kicks, fighting off the horror of life with her last strength, like a horse from Raskolnikov's dream. (“... such a staring mare, and still kicking! ... She all settles with her whole back, but jumps up and pulls, pulls with all her might in different directions ... ", but these blows, hitting the living people around her, are often as crushing as the blows of the horses' hooves that crushed Marmeladov's chest (for example, her act with Sonya).

Second level - moral. It is revealed when comparing the names of Mikolka from the dream and Nikolai (Mikolai) the dyer. Raskolnikov throws his fists at the killer Mikolka to punish him ( “... suddenly jumps up and in a frenzy rushes with his fists at Mikolka”. The dyer Nikolka will take upon himself the sin and guilt of the murderer Raskolnikov, defending him with his unexpected testimony at the most terrible moment for him from the torture of Porfiry Petrovich and from a forced confession ( "I ... the murderer ... Alena Ivanovna and their sister, Lizaveta Ivanovna, I ... killed ... with an ax"). At this level, Dostoevsky's cherished thought is revealed that everyone is to blame for everyone, that there is only one true attitude to the sin of your neighbor is to take his sin upon yourself, take his crime and guilt upon yourself - at least for a while, bear his burden so that he does not fall in despair from an unbearable burden, but sees a helping hand and the way of resurrection.

Third level - allegorical. Here the thought of the second level unfolds and is supplemented: not only everyone is to blame for everyone, but everyone is to blame for everyone. Torturer and victim can change places at any moment. In Raskolnikov's dream, young, well-fed, drunk, cheerful people kill a staring horse - in the novel reality, the drunk and exhausted Marmeladov dies under the hooves of young, strong, well-fed, well-groomed horses. Moreover, his death is no less terrible than the death of a horse: “The whole chest was mangled, crumpled and torn; several ribs on the right side are broken. On the left side, at the very heart, there was an ominous, large, yellowish-black spot, a cruel blow with a hoof ... the crushed man was captured in a wheel and dragged, twirling, about thirty steps along the pavement ” .

Fourth level (most important for understanding the meaning of the novel) is symbolic, and it is at this level that Raskolnikov's dreams are interconnected in a system. Waking up after a dream about killing a horse, Raskolnikov speaks as if he identifies himself with those who killed, but trembles at the same time as if all the blows that fell on the unfortunate horse hit him.

Perhaps the resolution of this contradiction is in the following words of Raskolnikov: “Yes, what am I! he continued, raising himself up again and as if in deep amazement, “after all, I knew that I would not be able to bear it, so why have I been torturing myself until now? After all, yesterday, yesterday, when I went to do this ... test, after all, yesterday I completely understood that I could not stand it ... Why am I now? What am I still doubting?. He, indeed, is both a “horse” and a killer-Mikolka, demanding that the horse harnessed to an unbearable cart “leaps”. The symbol of the horse rider is the most famous christian symbol the spirit that governs the flesh. This is his spirit, willful and daring, trying to force his nature, his flesh to do what it cannot, what disgusts it, against which it rebels. He will say this: “After all, from one thought in reality I was sick and horrified ...». It is about this that Porfiry Petrovich will later tell Raskolnikov: “He, let’s say, will lie, that is, a person with something, a special case, something incognito, and he will lie perfectly, in the most cunning manner; here, it seems, would be a triumph, and enjoy the fruits of your wit, and he clap! Yes, in the most interesting, in the most scandalous place, and he will faint. Let's say it's a sickness, stuffiness also sometimes happens in rooms, but all the same, sir! Still got the idea! He lied incomparably, but he didn’t manage to calculate on nature ”\u003e.

The second time he sees a dream in which he kills his victim a second time. This happens after a tradesman calls him a "murderer". The end of the dream is an allusion to Pushkin's "Boris Godunov" ("He rushed to run, but the whole hallway is already full of people, the doors on the stairs are wide open, and on the landing, and on the stairs and down there - all the people, head with head, everyone is looking - but everyone is hiding and waiting, they are silent! ..”). This allusion emphasizes the motive of the hero's imposture.

Another dream that Rodion Raskolnikov has in the epilogue of the novel is a nightmare describing the apocalyptic state of the world, where the coming of the Antichrist seems to be distributed to all of humanity - everyone becomes the Antichrist, a preacher of his own truth, truth in his own name. “He dreamed in his illness that the whole world was condemned to the sacrifice of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe. All were to perish, except for a few, a very select few.".

Content:

In world literature, Dostoevsky is credited with the discovery of inexhaustibility and multidimensionality. human soul. The writer showed the possibility of combining low and high, insignificant and great, vile and noble in one person. Man is a mystery, especially the Russian man. “Russian people in general are broad people ... wide, like their land, and extremely prone to fanatical, to disorderly; but it’s a misfortune to be broad without much genius,” says Svidrigailov. In the words of Arkady Ivanovich lies the key to understanding the character of Raskolnikov. The very name of the hero indicates the duality, the internal ambiguity of the image. A
now let's listen to the characterization that Razumikhin gives to Rodion Romanovich: “I have known Rodion for a year and a half: gloomy, gloomy, arrogant and proud; lately ... a hypochondriac is also suspicious ... Sometimes, however, not a hypochondriac at all, but simply cold and
insensitive to the point of inhumanity, right, as if in him two opposite characters, are alternately replaced ... terribly highly values himself and, it seems, not without some right to
That".
The tormenting internal struggle does not subside for a minute in Raskolnikov. Rodion Romanovich is tormented not by a primitive question - to kill or not to kill, but an all-encompassing problem: "Is a person a scoundrel, the whole race in general, that is, the human race." Marmeladov's story about the greatness of Sonya's sacrifice, his mother's letter about the fate of Dunechka, the dream about Savraska - all this flows into the general stream of consciousness of the hero.
Meeting with Lizaveta, memories of a recent conversation in a tavern of a student and
officer about the murder of an old pawnbroker, Raskolnikov is brought to a fatal
decision.
Dostoevsky's attention is focused on understanding the root causes of Raskolnikov's crime.
The words "kill" and "rob" can lead the reader down the wrong path.
The fact is that Raskolnikov does not kill at all in order to rob.
And not at all because he lives in poverty, because "the environment is stuck." Couldn't he, without waiting for money from his mother and sister, provide himself financially, as he did
Razumikhin? According to Dostoevsky, man is initially free and makes his own
choice. This fully applies to Raskolnikov. Murder is the result
free choice. However, the path to "blood in conscience" is quite complicated and lengthy.
Raskolnikov's crime includes the creation arithmetic theory"rights to
blood". The internal tragedy and inconsistency of the image lies
precisely in the creation of this logically almost invulnerable theory. The very same "great idea"
is a response to the crisis state of the world. Raskolnikov is by no means a phenomenon
unique. Many people express similar thoughts in the novel: a student in a tavern,
Svidrigailov, even Luzhin...
The hero sets out the main provisions of his inhuman theory in confessions to Sonya, in conversations with Porfiry Petrovich, and before that, with hints, in a newspaper article. Rodion Romanovich comments: “... an extraordinary person has the right ... to allow his conscience to step over ... over other obstacles, and only if the execution of his idea (sometimes saving for all mankind) requires it ... People, according to the law of nature, are divided, in general , into two categories: the lowest (ordinary) ... and actually people ... ”Raskolnikov, as we see, justifies his idea with a reference to the benefit of all mankind, calculated arithmetically. But can the happiness of all mankind be based on blood, on crime? However,
the reasoning of the hero, who dreams of "freedom and power ... over all trembling creatures," is not devoid of selfishness. “Here’s what: I wanted to become Napoleon, because ...
and killed, ”admits
Raskolnikov. “You departed from God, and God struck you, betrayed you to the devil!” - with fear
Sonya says.
The moral and psychological consequences of a crime are directly opposite to those
expected by Raskolnikov. Elementary human ties are falling apart. Hero
confesses to himself: “Mother, sister, how I loved them! Why do I hate them now? Yes, I hate them, I hate them physically, I can’t stand them next to me ... ”At the same time, Rodion Romanovich decisively overestimates the scale of his own personality:“ The old woman is nonsense! .. The old woman was only a disease ... I wanted to cross as soon as possible ... I didn’t kill a person, I killed the principle! I killed the principle, but I didn’t cross over, I stayed on this side ... Eh, aesthetically I’m a louse, and nothing else! It should be noted that Raskolnikov does not renounce theory in general, he only denies himself the right to kill, only removes himself from the category of "extraordinary people."
The individualistic theory is the source of the hero's constant suffering, the source of the ongoing inner struggle. There is no consistent logical refutation of Raskolnikov's "idea-feeling" in the novel. And is it possible? And yet, Raskolnikov's theory has a number of vulnerabilities: how to distinguish between ordinary and extraordinary people; What will happen if everyone thinks they are Napoleons? The inconsistency of the theory is also revealed in contact with the "real
reality." The future cannot be predicted arithmetically.
The same “arithmetic” that an unfamiliar student spoke about in a tavern suffers a complete collapse. In Raskolnikov's dream about the murder of an old woman, the blows of the ax do not reach the goal. “He ... quietly released the ax from the noose and hit the old woman on the crown of the head, once and twice. But it’s strange: she didn’t even move from the blows, like a wooden one ... The old woman sat and laughed ... ”Raskolnikov’s impotence, not subject to the will of those around him, is expressed by complex figurative symbolism. The world is far from unraveled, it cannot be unraveled, the usual cause-and-effect relationships are absent. "A huge, round, copper-red moon looked straight out the window." “It’s been such a silence since the month,” thought Raskolnikov, “he must be guessing a riddle now.” Thus, the theory is not refuted, but, as it were, is forced out of the consciousness and subconsciousness of the hero. The essence of Raskolnikov's spiritual resurrection is to gain through suffering "living life", love, faith in God. A cautious dream about a pestilence marks the way out of the darkness of the labyrinth. The gap between the hero and ordinary convicts is shrinking,
horizons of the hero's personality.
Let's sum up some results. The inner tragedy of Raskolnikov is connected with the separation of the hero from people and with the creation of the inhuman theory of "blood according to conscience." In his actions, a person is free and independent of social circumstances. The incessant internal struggle indicates that in Rodion Romanovich, at the same time, a martyr's dream of saving people from suffering and an egoistic confidence in their own right to "step over other obstacles" in order to "become a Napoleon" coexist. At the end of the novel, Raskolnikov comes to spiritual resurrection not as a result of renunciation of the idea, but through suffering, faith and love. The gospel parable of the resurrection of Lazarus is bizarrely refracted in the fate of Sonya and
Raskolnikov. “They were resurrected by love, the heart of one included endless
sources of life of another's heart. In the epilogue, the writer leaves the characters on the threshold of a new,
unknown life. Before Raskolnikov opens the prospect of an infinite
spiritual development. This shows the faith of the humanist writer in man - even in
killer! - the belief that humanity has not yet said its main word. All
ahead!

In the section on the question, what contradictions in Raskolnikov's behavior did you find? Help, I really need it!! given by the author VERONICA the best answer is I think you are interested in the hero of F. M. Dostoevsky's novel "Crime and Punishment".
The contradictions in the behavior of Rodion Romanovich Raskolnikov are primarily due to the fact that his human compassionate nature is struggling with his inhuman theory.
Raskolnikov considers himself to be among the powers that be, that is, he believes that, according to his own theory, he belongs to people who have the right to speak their own word, to people like Lycurgus, Napoleon, and he himself shows pity towards the Marmeladovs, a drunken girl on the boulevard, the first gives his last pennies, pays the cab driver to take the girl home. Each time, showing mercy, Rodion pulls himself up, condemns himself, because neither Lycurgus nor Napoleon would even notice the suffering of little people. It is no coincidence that immediately after Raskolnikov's merciful act, his contemptuous reflections follow, for example, about the girl: “Let it be! This, they say, is as it should be. Such a percentage, they say, should go every year ... somewhere ... to hell ... "
The contradictions of the nature of the protagonist of Dostoevsky's novel are also manifested in the motivation of the crime. “But the motivations for the hero’s behavior in the novel are constantly bifurcated, because the hero himself, captured by an inhuman idea, is deprived of integrity. Two people live and act in it at the same time: one Raskolnikov’s “I” is controlled by the consciousness of the hero, and the other “I” at the same time. it's time to make unconscious mental movements and actions. It is no coincidence that Raskolnikov's friend Razumikhin says that Rodion's "two opposite characters are alternately replaced"". (Quote from the site).

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