Introduction

dostoevsky writer work

The precious features inherent in classical Russian literature of the 19th century and due to its role as the center of the spiritual life of the people are an intense search for goodness and social truth, saturation with inquisitive, restless thought, deep criticism, a combination of amazing responsiveness to difficult, painful questions and the contradictions of modernity with an appeal to sustainable , constant "eternal" themes of the existence of Russia and all mankind. These features received the deepest and most vivid expression in the works of two great Russian writers of the second half of the 19th century. - Fyodor Mikhailovich Dostoevsky and Leo Tolstoy. The creations of each of them acquired world significance. Both of them not only had the broadest influence on literature and the entire spiritual life of the 20th century, but in many ways continue to remain our contemporaries today, immensely pushing the boundaries of the art of the word, deepening, updating and enriching its possibilities.

The work of Fyodor Mikhailovich Dostoevsky (1821-1881) is primarily philosophical and ethical in nature. In his works, the moment of moral choice is the impulse of the inner world of man and his spirit. Moreover, the works of Dostoevsky are so deep in terms of worldview ideas and moral issues that the latter often do not fit into the framework of the literary and artistic genre. The constant and eternal dilemma of good and evil, Christ and Antichrist, God and the devil - this dilemma, from which a person cannot escape and hide anywhere, even in the most hidden corners of his inner "I".

The defeat of the circle of the utopian socialist Petrashevsky, of which Dostoevsky was a member, the arrest, sentence and penal servitude, the growth of individualism and amoralism in post-reform Russia and the bleak results of the European revolutions instilled in Dostoevsky disbelief in social upheavals, strengthened the moral protest against reality.

aim present work is a study of the problem of man in the works of F.M. Dostoevsky.

1. Humanism

The main works in which they are reflected philosophical views Dostoevsky, are "Notes from the Underground" (1864), "Crime and Punishment" (1866), "Idiot" (1868), "Demons" (1871-72), "Teenager" (1875), "The Brothers Karamazov" (1879 -80).

G.M. Friedländer writes: “Deep sympathy for human suffering, in whatever complex and contradictory forms it manifests itself, interest and attention to all the humiliated and rejected “pariahs” of the noble-bourgeois world - talented person, fatally lost in the confusion of his own ideas and ideas, a fallen woman, a child - made Dostoevsky one of the greatest humanist writers in the world.

Developing the theory of "soilism" close to Slavophilism, Dostoevsky assigned a special role to the Russian people in the humanistic improvement of mankind. He focuses on the desire to realize the ideal of a "positively beautiful" person, looking for its artistic embodiment. In the theory of “environmental influence” developed by the French materialists, Dostoevsky is not satisfied with the removal of moral responsibility from a person declared a product of social conditions (“piano key”, according to figurative expression one of the heroes of Dostoevsky). The relationship between "circumstances" and morality does not appear to him as a universal law.

humanistic ideal human personality for Dostoevsky it was Christ. It was in him that goodness, truth and beauty were combined for him. At the same time, the era in which the artist lived was actively destroying the ethical and religious ideal of Christ, and Dostoevsky was forced to resist this influence, which could not but give rise to doubts in him (the writer even admitted that Christ could be outside the truth).

Dostoevsky defined as the main, defining feature of his humanism the desire to "find a person in a person." To find "man in man" meant in Dostoevsky's understanding, as he repeatedly explained in polemics with the vulgar materialists and positivists of that era, to show that a person is not a dead mechanical "brad", a "piano key" controlled by the movement of someone else's hand (and more broadly - any extraneous, external forces), but that it itself contains the source of internal self-movement, life, the distinction between good and evil. And therefore, according to Dostoevsky, a person, in any, even the most unfavorable circumstances, is always ultimately responsible for his own actions. No impact external environment cannot serve as an excuse for the evil will of the criminal. Any crime inevitably contains moral punishment, as the fate of Raskolnikov, Stavrogin, Ivan Karamazov, the murderous husband in the story "The Gentle One" and many others testifies to this. tragic heroes writer.

“One of the first, Dostoevsky correctly felt that rebellion against the old, bourgeois morality by simply turning it inside out does not lead and cannot lead to anything good.” The slogans “kill”, “steal”, “everything is permitted” can be subjectively, in the mouths of those who preach them, directed against the hypocrisy of bourgeois society and bourgeois morality, for, proclaiming in theory: “do not kill”, “do not steal”, an imperfect world in practice raises murder and robbery into an everyday, “normal” law of social life.

The roots of good and evil, according to Dostoevsky, go not so much to the social structure, but to human nature and deeper - to the universe. "Man for Dostoevsky is the highest value." But in Dostoevsky this is not an abstract, rationalistic humanism, but earthly love, a humanism addressed to real people, even if they are “humiliated and insulted”, “poor people”, heroes of the “dead house”, etc. Although Dostoevsky's humanism should not be understood as an unlimited tolerance for any evil and absolute forgiveness. Where evil turns into chaos, it must be adequately punished, otherwise good itself turns into its opposite. Even Alyosha Karamazov, when asked by his brother Ivan, what to do with the general, who hunted down the dogs in front of the mother of her child - “shoot?”, Answers: “Shoot!”.

It is important to emphasize that for Dostoevsky the main concern is, first of all, the salvation of the person himself and care for him. It is no coincidence that during the conversation between Ivan and Alyosha Karamazov, Ivan, at the end of his long philosophical tirade about God, the world and man, says to Alyosha: “You didn’t need to talk about God, but only needed to find out how your beloved brother lives.” And this is the highest pathos of Dostoevsky's humanism. “In leading his man to the God-man and thereby caring for man, Dostoevsky sharply differs from Nietzsche, who preaches the idea of ​​a man-god, i.e. puts man in the place of God. This is the essence of his idea of ​​the superman. Man is considered here only as a means for the superman.

One of the main problems that constantly torments Dostoevsky is whether it is possible to reconcile God and the world that he created? Is it possible to justify the world and the actions of people, even in the name of a bright future, if it is built on the tear of at least one innocent child. His answer here is unequivocal - "no lofty goal, no future social harmony can justify the violence and suffering of an innocent child." In no case can a person be a means for other people, even for their best plans and intentions. Through the mouth of Ivan Karamazov, Dostoevsky says that "I accept God directly and simply", but "I do not accept the world created by him, God's world, and cannot agree to accept it."

And nothing can justify the suffering and the tear of even a single innocent child.

. On the tragic inconsistency of man

Dostoevsky is an existential thinker. The most important and defining theme of his philosophy is the problem man, his fate and the meaning of life. But the main thing for him is not the physical existence of a person, and not even those social conflicts that are associated with him, but the inner world of Man, the dialectic of his ideas, which constitute the inner essence of his heroes: Raskolnikov, Stavrogin, Karamazov, etc. Man is a mystery, he is all woven from contradictions, the main of which, in the end, is the contradiction of good and evil. Therefore, for Dostoevsky, man is the most precious creature, although, perhaps, the most terrible and dangerous. Two beginnings: the divine and the devilish initially coexist in a person and fight among themselves.

In the novel The Idiot, created during the years of wandering abroad, Dostoevsky made an attempt, competing with other great novelists, to create the image of a “positively beautiful” person. The hero of the novel is a man of exceptional spiritual disinterestedness, inner beauty and humanity. Despite the fact that Prince Myshkin by birth belongs to an old aristocratic family, he is alien to the prejudices of his environment, childishly pure and naive. For every person with whom fate confronts him, the prince is ready to be treated like a brother, ready to sincerely sympathize with him and share his suffering. The pain and feeling of rejection, familiar to Myshkin from childhood, did not harden him; on the contrary, they gave rise in his soul to a special, ardent love for all living and suffering. With his characteristic disinterestedness and moral purity, which make him related to Don Quixote of Cervantes and Pushkin's "knight of the poor", the "prince-Christ" (as the author called his beloved hero in the drafts of the novel) does not accidentally repeat the suffering path of the gospel Christ, Don Quixote, Pushkin's "knight of the poor". And the reason for this is not only that, surrounded by real, earthly people with their destructive passions, the prince involuntarily finds himself captured by the cycle of these passions.

The presence of a tragicomic element in the depiction of Prince Myshkin is quite obvious, the tragedy of which is constantly highlighted and enhanced by the comic situations that the hero finds himself in, as well as his lack of a “sense of proportion and gesture”. And what could be more absurd and tragic than the figure of Christ (who became the prototype of Myshkin) in the setting of pragmatic bourgeois St. Petersburg and capitalizing Russia? "The origins of hopelessly tragic fate Myshkin, ending in madness - not only in the disorder and awkwardness of the world around him, but also in the prince himself. For just as humanity cannot live without spiritual beauty and harmony, it (and the author of The Idiot is aware of this) cannot live without struggle, strength and passion. That is why, next to disharmonic, suffering, seeking and struggling natures, Myshkin finds himself helpless at a critical moment in his life and the lives of those around him.

Among the greatest works of Dostoevsky, which had a tremendous impact on subsequent world literature, is the novel Crime and Punishment. The action of the novel "Crime and Punishment" takes place not on squares with fountains and palaces, and not on Nevsky Prospekt, which for contemporaries was a kind of symbol of prosperity, position in society, pomp and magnificence. Dostoevsky's Petersburg is disgusting slums, dirty taverns and brothels, narrow streets and gloomy nooks and crannies, cramped well-yards and dark backyards. It is stuffy here and there is nothing to breathe from the stench and dirt; on every corner there are drunks, ragamuffins, corrupt women. Tragedies constantly occur in this city: from the bridge in front of Raskolnikov, a drunken woman throws herself into the water and drowns, Marmeladov dies under the wheels of a dandy gentleman's carriage, Svidrigailov commits suicide on the avenue in front of the tower, Katerina Ivanovna bleeds on the pavement ...

The hero of the novel, a raznochintsy student Raskolnikov, is expelled from the university due to poverty. He drags out his existence in a tiny closet, more like a "coffin", or "wardrobe", where "you are about to hit your head on the ceiling." It is not surprising that here he feels crushed, downtrodden and sick, "a trembling creature." At the same time, Raskolnikov - a man of fearless, sharp thought, great inner directness and honesty - does not tolerate any lies and falsehood, and his own poverty opened his mind and heart wide to the suffering of millions. Not wanting to put up with the moral foundations of that world, where the rich and strong dominate with impunity over the weak and oppressed, and where thousands of healthy young lives perish, crushed by poverty, Raskolnikov kills the greedy, repulsive old usurer. It seems to him that by this murder he throws down a symbolic challenge to all that slavish morality to which people have obeyed since time immemorial - a morality that asserts that a person is just a powerless louse.

Some destructive and unhealthy passion seems to be dissolved in the very air of St. Petersburg. The atmosphere of hopelessness, despondency and despair that prevails here takes on sinister features in Raskolnikov's inflamed brain, he is haunted by images of violence and murder. He is a typical offspring of St. Petersburg, he, like a sponge, absorbs the poisonous fumes of death and decay, and a split occurs in his soul: while his brain bears the idea of ​​murder, his heart is overwhelmed with pain for the suffering of people.

Raskolnikov, without hesitation, gives the last penny to Katerina Ivanovna and Sonya, who are in trouble, tries to help his mother and sister, does not remain indifferent to an unfamiliar drunk prostitute on the street. But nevertheless, the split in his soul is too deep, and he crosses the line that separates him from other people in order to "take the first step" in the name of "universal happiness." Raskolnikov, imagining himself a superman, becomes a murderer. The thirst for power, the desire to achieve great goals by any means lead to tragedy. It seems impossible for Raskolnikov to say a “new word” without a crime: “Am I a trembling creature, or do I have a right?” He wants to play leading role in this world, that is, in fact, to take the place of the Supreme Judge - God.

But it is not enough that one murder entails another, and that the same ax strikes the right and the guilty. The murder of the usurer reveals that in Raskolnikov himself (although he was not aware of this) a deeply hidden proud, proud dream of dominating the “trembling creature” and over “the entire human anthill” was hidden. A dreamer who proudly plans to help other people by his example turns out to be a potential Napoleon, burned by a secret ambition that threatens humanity.

Thus, the circle of thoughts and actions of Raskolnikov was tragically closed. And the author forces Raskolnikov to abandon his individualistic rebellion, painfully endure the collapse of his Napoleonic dreams, so that, having abandoned them, "to approach the threshold of a new life that would unite him with other suffering and oppressed people." The seed of gaining a new existence for Raskolnikov is his love for another person - the same "paria of society" as he is - Sonya Marmeladova.

So, according to Dostoevsky, a person is able to break out of a deterministic chain and freely determine his moral position on the basis of a correct distinction between good and evil. But Dostoevsky is aware of the duality of beauty and, in order to distinguish good and evil in it, relies only on conscience, turned to the personal ideal, which is embodied in the image of Christ.

3. Difficulties of freedom

The interpretation of good and evil offered by the theory of "reasonable egoism" does not satisfy Dostoevsky. He rejects reason as the basis of morality, for the reason that the evidence and persuasiveness to which reason appeals do not attract, but force, force one to a certain conclusion by the necessity of logic, abolishing the participation of free will in the moral act. Human nature, according to Dostoevsky, is characterized by the desire for "independent desire", for freedom of choice.

An important aspect of Dostoevsky's consideration of freedom concerns the fact that freedom is the essence of man and he cannot give it up if he wants to remain a man, and not be a "brad". Therefore, he does not want the coming social harmony and joy to live in a “happy anthill”, if this is associated with the denial of freedom. The true and highest essence of a person and his value lies in his freedom, in the thirst and possibility of his own, individual self-affirmation, "to live according to his own stupid will." But the nature of man is such that "set free", he immediately begins to rebel against the existing order. “It is here that his hidden individualism begins to appear and all the unsightly aspects of his “underground” are revealed, the inconsistency of his nature and freedom itself is revealed.”

At the same time, Dostoevsky perfectly reveals the dialectic of freedom and responsibility of the individual. Genuine freedom is the highest responsibility of a person for his actions, it is a very heavy burden and even suffering. Therefore, people, having received freedom, are in a hurry to get rid of it as soon as possible. “There is no concern more continuous and more painful for a person, how, remaining free, to quickly find someone to bow before.” That is why people rejoice when freedom is taken from their hearts and they are led "like a herd." This rigid relationship of freedom and responsibility, which exists for every true personality, does not promise happiness to a person. On the contrary, freedom and happiness for a person, if he is really a person, turn out to be practically incompatible. In this regard, Dostoevsky speaks of "such a terrible burden as freedom of choice." Therefore, there is always an alternative: either to be a "happy baby" but give up freedom, or to take on the burden of freedom and become "an unfortunate sufferer."

Freedom, according to Dostoevsky, is aristocratic, it is not for everyone, it is for strong in spirit capable of becoming sufferers. Therefore, the motive of suffering is also at the center of Dostoevsky's work. But by doing so, he does not humiliate man, but calls him to rise to the level of the God-man, to make his conscious choice between good and evil. The path of freedom can lead to both good and evil. So that a person does not turn into a beast, he needs God, and he can go to goodness only through suffering. At the same time, a person is driven either by destructive self-will, asserting his freedom by any means, or by a feeling of “delight” before beauty.

God-personality, according to Dostoevsky, alone can atone for human suffering and satisfy the human need for perfection, salvation and the good of both the whole world and each individual person, giving meaning to his existence and immortality. At the same time, Dostoevsky recognizes only free love man to God, not enslaved by fear and not enslaved by a miracle. Accepting the religious understanding of evil, Dostoevsky nevertheless, as a subtle observer, indicates its specific manifestations in contemporary life. This is individualism, self-will, i.e. assertion of one's "I" regardless of higher moral criteria sometimes leading to self-destruction. This is despotism, violence against someone else's will, no matter what goals (satisfaction of personal pride or achievement of universal human happiness) the bearers of these qualities are guided by. This is depravity and cruelty.

Unlimited freedom, to which the “underground man” aspires, leads to self-will, destruction, ethical anarchism. Thus, it turns into its opposite, leads a person to vice and death. This is a path unworthy of man, this is the path of a human deity who imagines that "everything is permitted" to him. This is the path of denying God and turning man into God. The most important proposition about man in Dostoevsky lies precisely in the fact that the one who denies God embarks on the path of human deity, as Kirillov does from his "Demons". According to Dostoevsky, the true path of freedom is the path leading to the God-man, the path of following God.

So, God for Dostoevsky is the basis, substance and guarantee of morality. A person must pass the test of the burden of freedom, through all the suffering and torment associated with it, in order to become a person.

Dostoevsky expressed the idea that the development of any society is based on only one single law, which is given by nature only to him: “Peoples,” he says through the mouth of the character of the novel “Demons” by the nihilist Shatov, “are composed by a different force, commanding and dominating, but whose origin is unknown and inexplicable. This force is the force of an insatiable desire to reach the end and at the same time it denies the end. This is the power of unceasing and tireless confirmation of one's existence and the denial of death... true. God is the synthetic personality of the whole people, taken from its beginning to its end. It has never happened before that all or many peoples had one common God, but each one always had a special one. great writer emphasized the exclusivity of each nation, that each nation has its own ideas about truth and lies, about good and evil. And “... if a great people does not believe that there is one truth in it (precisely in one and precisely exclusively), if it does not believe that it alone and is recognized to resurrect and save everyone by its truth, then it immediately turns into ethnographic material, and not to a great people. A true great nation can never come to terms with secondary role in humanity, or even paramount, but certainly and exclusively the first. Whoever loses faith is no longer a people...”.

In general, it turned out that Dostoevsky could not reconcile God and the world created by him. And this, of course, is not accidental. And here we are really confronted with a fundamental and insoluble contradiction within the framework of religious thought. On the one hand, God is an almighty creator, ideal and perfection, and on the other hand, his creations turn out to be imperfect and therefore discredit their creator. Several conclusions can be drawn from this contradiction: either God is not omnipotent, or he is imperfect, or we ourselves inadequately perceive and realize this world.

Conclusion

So, Dostoevsky's attempts to connect the humanistic social ideal with personal improvement are contradictory. His ethics is based not on the knowledge of the laws of reality and not on the orientation of the moral judgment on them, but on the will to affirm the absolute. Dostoevsky prefers to "stay with Christ rather than with the truth."

Dostoevsky looked at the future of mankind and the future of Russia with great hope, passionately striving to find ways leading to the coming "world harmony", to the brotherhood of people and peoples. The pathos of rejection of the evil and ugliness of bourgeois civilization, the assertion of a constant search, moral implacability to evil both in the life of an individual and in the life of society as a whole are inseparable from the image of Dostoevsky as an artist and humanist thinker. The great works of Dostoevsky - for all their sharp internal contradictions - belong to the present and the future.

The aspiration of Dostoevsky's thought to real life, passionate love for people, the persistent desire of the great Russian novelist to find in the “chaos” of the life phenomena of his transitional era a “guiding thread” in order to “prophetically” guess the paths in the movement of Russia and all of humanity towards the moral and aesthetic ideal of goodness and social justice, informed him artistic quest for that exactingness, breadth and majestic scale, which allowed him to become one of the greatest artists Russian and world literature, truthfully and fearlessly capturing the tragic experience of the search and wanderings of the human mind, the suffering of millions of "humiliated and insulted" in the world of social inequality, enmity and moral separation of people.

List of used literature

Buzina T.V. Dostoevsky. Dynamics of fate and freedom. - M.: RGGU, 2011. - 352 p.

Bulgakova I.Ya. Problems of freedom of choice of good and evil in Russian religious philosophy of the late 19th - early 20th century // Socio-political journal. - 1998. - No. 5. - S. 70-81.

Vinogradov I.I. On a Living Trail: Spiritual Quests of Russian Classics. Literary-critical articles. - M.: Sov. writer, 1987. - 380 p.

Dostoevsky F.M. Sobr. op. in 12 vols. / Under the total. ed. G.M. Friedlander and M.B. Khrapchenko. - M.: Pravda, 1982-1984.

Klimova S.M. Suffering in Dostoevsky: consciousness and life // Bulletin of the Russian State University for the Humanities. - 2008. - No. 7. - S. 186-197.

Literary Dictionary(electronic version) // #"justify">. Nogovitsyn O. Freedom and evil in the poetics of F.M. Dostoevsky // Questions of Cultural Studies. - 2007. - No. 10. - S. 59-62.

Sitnikova Yu.V. F.M. Dostoevsky on Freedom: Is Liberalism Right for Russia? // Personality. Culture. Society. - 2009. - T. 11. - No. 3. - S. 501-509.

Skaftymov A.P. Moral quest Russian writers. - M.: Fiction, 1972. - 548 p.

Dictionary of Ethics / Ed. I.S. Kona. ? M., 1981 // #"justify">.Kharabet K.V. Life and work of F.M. Dostoevsky in the context of deviantology // Russian Justice. - 2009. - No. 5. - S. 20-29.

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From works early period F. M. Dostoevsky’s work, I read such stories as “The Christmas Tree and the Wedding”, “White Nights”, “The Little Hero”, “The Boy at Christ on the Christmas Tree”. Although they are only a small part of the total creative heritage Dostoevsky, already by these stories one can judge the ideological and artistic originality works of the great Russian writer.
Dostoevsky pays special attention to the depiction of the inner world of man, his soul. In his works there is a deep psychological

Analysis of the actions and deeds of the characters, considering these actions not as an activity from the outside, from the outside world, but as a result of intense inner work performed in the soul of each person.
Interest in spiritual world personality is especially clearly reflected in the "sentimental novel" "White Nights". Later, this tradition develops in the novels Crime and Punishment, The Idiot, The Brothers Karamazov, and Demons. Dostoevsky can rightly be called the creator special genre psychological novel, in which the human soul is depicted as a battlefield where the fate of the world is decided.
Along with this, it is important for the writer to emphasize the danger of such a sometimes invented life, in which a person closes on his inner experiences, breaking away from the outside world. Such a dreamer is depicted by Dostoevsky in White Nights.
On the one hand, we have before us a kind, sympathetic, open-hearted young man. On the other hand, this hero is like a snail, which “mostly settles somewhere in an inaccessible corner, as if hiding in it even from living light, and even if climbs to itself, then it will grow to its corner.
In the same work, the theme “ little man”, typical for the work of Dostoevsky and for the entire Russian literature XIX century. The writer seeks to emphasize that the life of a "little man" is always full of "big" - serious, difficult - problems, his experiences are always complex and multifaceted.
IN early prose Dostoevsky, we also see the image of an unjust, cruel, vicious society. About this is his story “The Boy at Christ on the Christmas Tree”, “The Christmas Tree Wedding”, “Poor People”. This theme is developed in the later novel of the writer “Humiliated and Insulted”.
Faithful to Pushkin's traditions in depicting social vices, Dostoevsky also sees his vocation in "burning people's hearts with the verb." Upholding the ideals of humanity, spiritual harmony, ideas of the good and the beautiful is an integral feature of the entire work of the writer, the origins of which are already laid in his early stories.
A striking example of this is the wonderful story "Little Hero". This is a story about love, human kindness, all-responsiveness to someone else's pain. Later, the “little hero”, who grew up as Prince Myshkin, will say the famous words that have become an aphoristic appeal: “Beauty will save the world!”.
The individual style of Dostoevsky is largely due to the special nature of the realism of this writer, main principle which is a feeling of another, higher being in real life. It is no coincidence that F. M. Dostoevsky himself defined his work as “fantastic realism”. If, for example, for L. N. Tolstoy there are no “dark”, “otherworldly” forces in the surrounding reality, then for F. M. Dostoevsky these forces are real, constantly present in Everyday life any, even the most simple, ordinary person. For the writer, it is not so much the events depicted that are important, but their metaphysical and psychological entity. This explains the symbolism of the places of action, the details of life in his works.
It is no coincidence that already in the White Nights Petersburg appears to the reader as a special city, filled with vibes of otherworldly forces. This is a city where the meetings of people are predetermined and mutually conditioned. Such is the meeting of the young dreamer with Nastenka, which influenced the fate of each of the heroes of this “ sentimental romance”.
It is also not surprising that the most common word in the works early Dostoevsky- this is the word “suddenly”, under the influence of which outwardly simple and understandable reality turns into complex and mysterious plexuses of human relationships, experiences and feelings, everyday events are fraught with something unusual, mysterious. This word indicates the significance of what is happening and reflects the author's view of a particular statement or action of the characters.
The composition and plot of most of Dostoevsky's works, starting from the early stories, are based on strict timing of events. The time component is important part plot. For example, the composition of "White Nights" is strictly limited to four nights and one morning.
Thus, we see that the fundamentals artistic method The writer's ideas were laid down in his early works, and Dostoevsky remained faithful to these traditions in his subsequent work. One of the first in Russian classical literature he turned to the ideals of goodness and beauty. Problems of the human soul and questions of the spirituality of society as a whole.
Dostoevsky's early stories teach us to understand life in its various manifestations, to find true values ​​in it, distinguishing good from evil and resisting misanthropic ideas, to see true happiness in spiritual harmony and love for people.

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16. The first work of Dostoevsky, which brought him fame and glory as a great writer, was the epistolary novel “Poor People”, in which the young author resolutely stood up for the “little man” - a poor official leading a meager ... F. M. Dostoevsky in his work showed the immensity of the suffering of humiliated and offended people and expressed great pain for this suffering. The writer himself was humiliated and offended by the terrible reality that broke ...
17. According to Dostoevsky, known to us from the records of the 60s (“Masha lies on the table.”, “Socialism and Christianity”), in the mind of a civilized person there is a painful martial art of egoism and altruism, “I” and “not ...

Fedor Mikhailovich Dostoevsky(1821-1881) - a great humanist writer, a brilliant thinker, occupies a large place in the history of Russian and world philosophical thought.

Main works:

• - "Poor people" (1845);
• - "Notes from the Dead House" (1860);
• - "Humiliated and Insulted" (1861);
• - "Idiot" (1868);
• - "Demons" (1872);
• - "The Brothers Karamazov" (1880);
• - "Crime and Punishment" (1886).

Since the 60s. Fyodor Mikhailovich professed the ideas of pochvennichestvo, which was characterized by a religious orientation of the philosophical understanding of the fate of Russian history. From this point of view, the entire history of mankind appeared as the history of the struggle for the triumph of Christianity. The role of Russia on this path consisted in the fact that the messianic role of the bearer of the highest spiritual truth fell to the lot of the Russian people. The Russian people are called to save humanity through "new forms of life, art" due to the breadth of its "moral grip".

Three truths propagated by Dostoevsky:

• - individuals, even the best people, do not have the right to violate society in the name of their personal superiority;
• - public truth is not invented by individuals, but lives in the feeling of the whole people;
• - this truth has a religious meaning and is necessarily connected with the faith of Christ, with the ideal of Christ. Dostoevsky was one of the most typical exponents of the principles destined to become the foundation of our peculiar national moral philosophy. He found the spark of God in all people, including bad and criminal ones. The ideal of the great thinker was peacefulness and meekness, love for the ideal and the discovery of the image of God even under the cover of temporary abomination and shame.

Dostoevsky emphasized the "Russian solution" of social problems, which was associated with the denial of revolutionary methods of social struggle, with the development of the theme of Russia's special historical vocation, which is capable of uniting peoples on the basis of Christian brotherhood.

Dostoevsky acted as a thinker of an existential-religious plan in matters of understanding a person; he tried to solve the “last questions” of being through the prism of individual human life. He considered the specific dialectic of the idea and living life, while the idea for him has an existential-energy power, and in the end, the living life of a person is the embodiment, the realization of the idea.

In The Brothers Karamazov, Dostoevsky, with the words of his Grand Inquisitor, emphasized an important idea: “Nothing has ever been more unbearable for a person and for human society than freedom”, and therefore “there is no concern more boundless and painful for a person, how, having remained free, to find as soon as possible who to bow before."

Dostoevsky argued that it is difficult to be a person, but it is even more difficult to be a happy person. The freedom and responsibility of a true person, which require constant creativity and constant pangs of conscience, suffering and worries, are very rarely combined with happiness. Dostoevsky described the unexplored mysteries and depths of the human soul, the boundary situations in which a person finds himself and in which his personality collapses. The heroes of Fyodor Mikhailovich's novels are in conflict with themselves, they are looking for what is hidden behind the outside of the Christian religion and the things and people around them.