Crime and punishment are all Raskolnikov's dreams. even if for a noble purpose

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

Dreams in psychology

The study of human personality is a very subtle science, balancing between precise guidelines and philosophical conclusions. Psychology often operates with such mysterious and ambiguous categories as “consciousness,” “unconscious,” and “psyche.” Here, to explain a person’s actions, the dominant thing is his inner world, sometimes hidden even from the patient himself. He pushes his immoral thoughts and feelings deep inside, ashamed to admit them not only to others, but even to himself. This causes mental imbalance and contributes to the development of neuroses and hysteria.

To unravel the human condition, true reasons Psychologists often use hypnosis or dream solving to deal with his moral suffering. It is a dream in psychology that is an expression of the unconscious in the psyche of a person, his suppressed self.

Sleep as a technique of psychoanalysis in a novel

Dostoevsky is a very subtle psychologist. It’s as if he turns the souls of his characters inside out in front of the reader. But he does this not explicitly, but gradually, as if painting a picture in front of the viewer, in which everyone should see special patterns. In the work “Crime and Punishment,” a dream 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. This 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 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 one to grasp the deep meaning of the work, allow the reader to feel the internal contradictions of the hero, his “heavy thoughts”. This happens in the case of the first dream, in which to some extent there is an internal struggle of the hero. This is very important point. This is a dream before the murder of the old pawnbroker. It is necessary to focus attention on it. This is a system-forming episode, from which, like a stone thrown into water, waves spread across every page of the novel.

Raskolnikov's first dream is the product of a morbid imagination. He sees him in his “little room” after he met a drunk girl on the boulevard. The dream takes 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 can dilute the “gray time”. Moreover, Dostoevsky portrayed Raskolnikov’s dream in dark, repulsive tones. The only contrast is created 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 opposed to each other: a tavern and a church in a cemetery. A church in a cemetery is a certain symbol: just as a person begins his life in a church, so he ends it there. And the tavern, in turn, is associated by Rodion with anger, baseness, ossification, drunkenness, dirt and depravity of its inhabitants. The fun of the inhabitants of the tavern, both among those around him and in the little Rodya himself, evokes only fear and disgust.

And it is no coincidence that these two centers - the tavern and the church - are located 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 living 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 childhood 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 a nightmare that he witnessed in early childhood: Rodion and his father go to the cemetery to visit the grave of his little brother, who died at the age of 6 months. And their path ran through a tavern. At the tavern stood a draft horse, which was harnessed to a cart. A drunken horse owner came out of a tavern and began inviting his friends to ride a cart. When the old horse did not budge, Mikola began to whip it with a whip, which he then replaced with a crowbar. After several blows, the horse dies, and Rodion, seeing this, rushes at him with his fists.

Analysis of the first dream

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 planned, but real. The first dream contains a meaning that carries a huge semantic and symbolic load. He clearly demonstrates where the hero developed his sense of injustice. This feeling is the product of Rodion’s quest and mental suffering.

Just one of Raskolnikov’s dreams in the work “Crime and Punishment” is a thousand-year experience of oppression and enslavement of people to each other. It reflects the cruelty that rules the world, and an incomparable longing for justice and humanity. This thought with amazing skill and clarity by 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, he for a long time 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 drink from the spring suggests that all is not lost. He can still renounce his “experience”, avoid this terrible experiment, which should confirm his extravagant theory that the murder of a “harmful” (bad, vile) person will certainly bring relief to society and make life better. good people better.

On the verge of unconsciousness

In a feverish fit, when the hero understands little due to delirium, Raskolnikov sees how the owner of his apartment is allegedly beaten by Ilya Petrovich. It is impossible to separate this episode, which occurred in the second part of the novel, into 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”, an “outcast”, i.e. on a subconscious level he knows that punishment awaits him. 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), who, 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), has another dream, which gradually turns into delirium. Raskolnikov's next dream is similar to the first. This is a nightmare: the old money-lender is alive in her dream, and she responds to Raskolnikov’s fruitless attempts to kill herself with laughter, a “sinister and unpleasant” laugh. Raskolnikov tries to kill her again, but the hubbub of the crowd, which is clearly unkind and angry, does not allow him to do the job. Dostoevsky thereby shows the torment and tossing of the protagonist.

Psychoanalysis by the author

This dream fully reflects the state of the hero, who was “broken”, since his experiment showed him that he was not able to step over human lives. The old woman’s laughter is a laugh at the fact that Raskolnikov turned out to be not “Napoleon”, who can easily juggle human destinies, but insignificant and funny 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 thoughts 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 will bring Rodion to the line, to the possibility of later being “reborn from the ashes.”

Last dream

Raskolnikov’s last dream in the novel “Crime and Punishment” is another kind of half-dream, half-delirium, in which one must look for hope for the possibility of the hero’s rebirth. This dream relieves Rodion of the doubts and searches that tormented him so much all the time after the murder. Raskolnikov's last dream is a world that must disappear due to illness. It’s as if there are spirits in this world who are endowed with intelligence, who have a will that can subjugate people, making them puppets, possessed and crazy. Moreover, the puppets themselves, after infection, consider themselves truly smart 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 the “sun”. He thereby approaches the threshold behind which lies a new life.

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

Healing

Thus, Raskolnikov rethought his entire life, radically 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. I have walked a path that, although difficult, painful and filled with suffering, is still cleansing and spiritually regenerating. Dostoevsky's suffering is the path to real happiness.

Final chord

The article presented Raskolnikov's dreams briefly and concisely, 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 extremely on the twists and turns of the plot, 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 visual terms.

In addition, dreams are very important because they help determine psychological condition Rodion, his feelings and emotions. The author, through the dreams of the main character, conducts an important psychological analysis. Raskolnikov's dream, in which he sees himself as a child, allows us to understand his mental well-being. He then tried to compare his disgust at killing a horse with the sensations of the actual murder he had planned. Perhaps if he had listened to his feelings, he could have avoided the 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 is characterized by compassion and a desire to protect the weak. This allows you to look at the “dastardly killer” from a different angle.

Dreams in the novel have their own individual functions and moods in each specific episode of the novel, but their general purpose is 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”. An idea that shows that no one “has the right” to decide human destinies. An idea that testifies to how severe the pangs of conscience are.

Many writers have used dreams in their works, but few have been able to achieve what F.M. achieved. Dostoevsky. The way he subtly, deeply and at the same time vividly described the psychological state of the character using a dream amazes not only the average person, but also true connoisseurs of literature.

/ DREAMS OF RASKOLNIKOV

RASKOLNIKOV'S DREAMS

In his novels, Dostoevsky reveals the complex processes of the inner life of the characters, their feelings, emotions, secret desires and fears. In this aspect, the characters' dreams are especially important. However, Dostoevsky’s dreams often also have plot-forming significance.

Let's try to analyze Raskolnikov's dreams and dreams 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 travels out of town. Here they see a terrible picture: a young man, Mikolka, coming out of a tavern, with all his might he whips his “skinny... savras nag”, which is not able to carry an oversized cart, and then finishes her off with an iron crowbar. Rodion's pure childish nature protests against violence: with a cry, he rushes to the slaughtered Savraska and kisses her dead, bloody face. And then he jumps up and throws himself at Mikolka with his fists. Raskolnikov experiences here a whole range of very different feelings: horror, fear, pity for the unfortunate horse, anger and hatred for Mikolka. This dream shocks Rodion so much that, upon waking up, he renounces “his damned dream.” This is the meaning of sleep directly in external action novel. However, the meaning of this dream is much deeper and more significant. Firstly, this dream anticipates future events: red shirts of drunken men; Mikolka’s red, “like a carrot” face; woman "in red"; an ax that can be used to kill the unfortunate nag at once - all this predetermines future murders, hinting that blood will still be shed. Secondly, this dream reflects the painful duality of the hero’s consciousness. If we remember that a dream is an expression of a person’s subconscious desires and fears, it turns out that Raskolnikov, fearing own desires, still wanted the unfortunate horse to be beaten to death. It turns out that in this dream the hero feels like both Mikolka and a child, whose pure, kind soul does not accept cruelty and violence. This duality and contradictory nature of Raskolnikov in the novel is subtly noticed 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.” “It’s as if two opposite characters are alternately replaced in him,” exclaims Razumikhin. Two opposing images from his dream – a tavern and a church – also testify to Raskolnikov’s painful duality. The tavern is what destroys people, it is the center of depravity, recklessness, evil, this is the place where a person often loses his human appearance. The tavern always made a “most unpleasant impression” on Rodion; there was always a crowd there, “they were screaming, laughing, cursing... ugly and hoarsely singing and fighting; There were always such drunken and scary faces 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 typical that little Rodion loved church and went to mass with his father and mother twice a year. He liked the ancient images and the old priest, he knew that funeral services for him were served here deceased grandmother. The tavern and the church here, thus, metaphorically represent the main guidelines of a person in life. It is characteristic that in this dream Raskolnikov does not reach the church, does not enter it, which is also very significant. He is delayed by the scene near the tavern.

The image of a skinny peasant Savras woman who cannot withstand an unbearable burden is also significant here. 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 misfortunes of the Marmeladov family, a symbol of Sonya’s situation. This episode from the hero’s dream echoes the bitter exclamation of Katerina Ivanovna before her death: “They drove away the nag! I tore myself!”

The image of Raskolnikov’s long-dead father is also significant in this dream. The father wants to take Rodion away from the tavern and 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 leads him to the cemetery, to the grave of his deceased brother, towards the church. This is precisely, in our opinion, the function of Raskolnikov’s father in this dream.

In addition, we note the plot-shaping role of this dream. It appears as “a kind of core of the entire novel, its central event. Concentrating in itself the energy and power of all future events, a dream has a formative significance for other events. storylines, “predicts” them (the dream is in the present tense, talks about the past and predicts the future murder of the old woman). The most complete 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 core subject to textual development,” note G, Amelin and I. A. Pilshchikov. Indeed, threads from this dream stretch throughout the novel. Researchers identify character “triples” in the work, corresponding to the roles of “tormentor,” “victim,” and “compassionate.” In the hero’s dream it is “Mikolka – the horse – Raskolnikov the child”, in real life this is “Raskolnikov - old woman - Sonya”. However, in the third “troika” the hero himself acts as a victim. This “troika” is “Raskolnikov - Porfiry Petrovich - Mikolka Dementyev.” The same motives are heard in the development of all plot situations here. Researchers note that in all three plots the same textual formula begins to unfold - “to stun” and “with a butt on the head.” So, in Raskolnikov’s dream, Mikolka uses a crowbar to “bash her poor little horse with all her might.” In much the same way, the hero kills Alena Ivanovna. “The blow hit the very top of the head...”, “Then he hit with all his might, once and twice, all with the butt and all on the top of the head.” Porfiry also uses the same expressions in a conversation with Rodion. “Well, tell me, who, of all the defendants, even the most humble peasant, doesn’t know that, for example, they will first begin to lull him to sleep with extraneous questions (as you happily put it), and then suddenly they will hit him right in the head with a butt of a blow - s...”, the investigator notes. In another place we read: “On the contrary, I should have distracted you in the opposite direction, and suddenly, like a blow to the head (in your own expression), and stunned: “What, they say, sir, did you want in the apartment of the murdered woman?” to do at ten o’clock in the evening, and almost at eleven?”

In addition to dreams, the novel describes three visions of Raskolnikov, three of his “dreams”. Before committing a crime, he sees himself “in some kind of oasis.” The caravan is resting, camels are lying peacefully, and there are magnificent palm trees all around. A stream gurgles nearby, and “wonderful, wonderful blue water, cold, runs over multi-colored stones and over such pure sand with golden sparkles...” And in these dreams the painful duality of the hero’s consciousness is again indicated. As B.S. notes Kondratiev, the camel here is a symbol of humility (Raskolnikov resigned himself, renouncing his “damned dream” after his first dream), but the palm tree is “the main symbol of triumph and victory,” Egypt is the place where Napoleon forgets the army. Having abandoned his plans in reality, the hero returns to them in a dream, feeling like a victorious Napoleon.

The second vision visits Raskolnikov after his crime. It’s as if in reality he hears how the quarter warden Ilya Petrovich terribly beats his (Raskolnikov’s) landlady. This vision reveals Raskolnikov’s hidden desire to harm the landlady, the hero’s feeling of hatred and aggression towards her. It was thanks to the landlady that he found himself in the police station, forced to explain himself to the assistant quarter warden, experiencing a mortal sense of fear and almost without self-control. But Raskolnikov’s vision also has a deeper meaning, philosophical aspect. This is a reflection painful state the hero 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 is obviously a symbol past life Raskolnikov, a symbol of what he loved so much (the story of the hero’s relationship with the landlady’s daughter). The quarterly warden is a figure from his “new” life, the start of which was 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 burdened in his new position, which is imprinted in his subconscious 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 imagines the faces of people from his childhood, the bell tower V-th church; “a billiard in a tavern and some officer at the billiard, the smell of cigars in some basement tobacco shop, a drinking room, a back staircase... from somewhere you can hear the ringing of Sunday bells...”. The officer in this vision is a reflection of the hero’s real life experiences. Before his crime, Raskolnikov hears a conversation between a student and an officer in a tavern. The very images of this vision echo the images from Rodion’s first dream. There he saw a tavern and a church, here - the bell tower of the Second Church, the ringing of bells and a tavern, the smell of cigars, a drinking establishment. 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 her, bursts into quiet, inaudible laughter. He can hear laughter and whispers in the next room. Raskolnikov is suddenly surrounded by a lot of people - in the hallway, on the landing, on the stairs - silently and expectantly, they look at him. Overwhelmed by horror, he cannot move and soon awakens. This dream reflects the subconscious desires of the hero. Raskolnikov is burdened by his position, wanting to reveal his “secret” to someone, it’s hard for him to carry it inside 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 yearns for people, he wants community, unity with them. In this dream, the motif of laughter, which accompanies the hero throughout the novel, reappears. After committing the crime, Raskolnikov feels that “he killed himself, and not the old woman.” This truth seems to be revealed to the people surrounding the hero in a dream. An interesting interpretation of the hero’s dream is offered by S.B. Kondratiev. The researcher notes that laughter in Raskolnikov’s dream is “an attribute of the invisible presence of Satan,” 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 happened and his theory. Raskolnikov imagines that the whole world is condemned to be a victim of a “terrible... pestilence.” Some new microscopic creatures, trichinae, have appeared, infecting people and making them possessed. The infected do not hear or understand others, considering only their own opinion to be absolutely true and the only correct one. Having abandoned their occupations, crafts and agriculture, people kill each other in some senseless rage. Fires begin, famine begins, everything around dies. In the whole world, only a few people, “pure and chosen,” can be saved, but no one has ever seen them.” This dream represents the 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 Rodion’s mind with demon possession and madness. In fact, the hero’s idea of strong personalities, Napoleons, to whom “everything is permitted” now seems to him to be illness, madness, clouding of the mind. Moreover, the spread of this theory throughout the world is what causes Raskolnikov's greatest concerns. 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 internal states, feelings, secret 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 from the hero’s dreams. In addition, the plots in these visions echo 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 is walking with his father and passes by a tavern from which drunk men are running out. One of them, Mikolka, invites the others to take a ride on his cart, which is harnessed to a “small, skinny Savras peasant nag.” The men agree and sit down. Mikolka beats the horse, forcing it to pull the cart, but due to weakness it cannot even walk. Then the owner begins to beat the nag with frenzy and finishes it off. Raskolnikov the child at first looks at everything that is happening in horror, then rushes to protect the horse, but is too late.
The atmosphere of what is happening is heated with strong feelings. On the one hand, this is the malicious, aggressive passion of an unbridled crowd, on the other, the unbearable despair of little Rody, shaking his heart with pity for the “poor horse.” And in the center of everything are the horror and tears of the finishing nag. It is no coincidence that when creating this terrible picture, Dostoevsky uses a lot of exclamation marks.
The main idea of the episode is the rejection of murder by the nature of a person, and in particular by the nature of Raskolnikov. Before going to bed, the hero thinks about the usefulness of killing the old pawnbroker, who has outlived her life and is “eating” someone else’s, but after that Raskolnikov wakes up in a cold sweat and horrified by the scene he saw in his dream. This change can be explained by the struggle between the soul and the mind, which constantly occurs in the main character. Dreams do not obey reason, human nature is revealed in them, and we see that murder is disgusting to Raskolnikov’s soul and heart. But in reality, thoughts and concerns about his mother and sister, the desire to prove his theory about “ordinary” and “extraordinary” people in practice prompt him to think about murder and its usefulness, to drown out the torment of nature.
Dostoevsky puts into the main character’s first dream his thoughts about the causes of the crime and the unnaturalness of murder.
The hometown is a symbol of St. Petersburg itself. A tavern, drunken men, a suffocating atmosphere - all these are integral components of St. Petersburg during 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, involving him in painful condition excitement. It is this state that pushes Raskolnikov to create a theory that takes possession of his mind and commands him.
The dream is connected with many threads to what will happen later in the reality of the novel. Raskolnikov, shuddering at what he had planned, will nevertheless kill the old woman and also Lizaveta, as helpless and downtrodden as a nag: she will not even dare to raise her hand to protect her face from the killer’s ax. Then the dying Katerina Ivanovna will exhale along with consumptive blood: “The nag has been run over! “But Raskolnikov in this strange reality will act as an executioner, as part of a rough, cruel world that has arrogated to itself the right to kill, no matter whether it’s for argument or inventing theories about strong and weak individuals.
The main character’s dream is described by the author with all the details and resembles a scene from the poem “About the Weather” by N. A. Nekrasov. The action of the dream unfolds sequentially, in contrast, for example, to Nikolenka’s dream in L.N. Tolstoy’s novel “War and Peace,” where the events taking place feverishly replace 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 main character's first dream played important role in a further work, since, developing the theme of Raskolnikov’s “punishment,” Dostoevsky will show that it is in the soul that all the main truths about the relationship of people to each other are stored: “Do not judge,” “Do not kill,” “Love your neighbor as yourself.” . And Raskolnikov will be punished primarily because his heart will not accept

Elena Anufrieva

Dreams are important in the novel. There is practically no boundary between dreams and reality. The dream smoothly turns into reality, reality into a dream. 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 reality itself in the novel is fantastic, which is facilitated by the image of St. Petersburg, its stuffy atmosphere, 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 generated by the hero’s morbid imagination. The action takes place in Raskolnikov's distant childhood. Life in his hometown is so ordinary and gray that “time is gray,” even on a holiday. And the whole dream is depicted by the writer in gloomy tones: “the forest turns black,” “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 the only joyful spots are the red and blue shirts of drunken men.

In the dream there are two opposite places: a tavern and a church in a cemetery. The tavern in the memory of Rodion Raskolnikov personifies drunkenness, evil, baseness and dirt of its inhabitants. The fun of drunken people does not inspire those around him, in particular little Rhoda, with anything but fear. A little further along the road there is a city cemetery, and on it there is a church. The coincidence of their location means that no matter who the person is, he will still begin his life in the church and end it there. It is no coincidence that the church is located three hundred steps from the tavern. This short distance shows that a person can stop his vulgar life at any moment and, turning to God, who will forgive everything, begin 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 planned, 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, crushing her skull... I will slide in sticky warm blood, pick the lock, steal and tremble; hide, 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 years that have passed, he still has an aversion to violence, especially murder. This dream is the most vivid and memorable and carries the greatest semantic load. He clearly reveals the source of the feeling of shocked injustice generated by the hero’s quests and aspirations. This is one of the most important moments of the novel, which condenses thousands of years of experience of enslavement and oppression of some people by others, centuries-old cruelty on which the world has long rested, and a passionate longing for justice and humanity, expressed with great skill.

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
Raskolnikov sees his first dream (Part 1, Chapter V) shortly before
murders, having fallen asleep in the bushes in the park after the "test" and severe
meeting with Marmeladov.
The sleep is heavy, painful, exhausting and unusually
rich in symbols:
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 doesn't like; a tavern is something creepy, mundane, earthly,
what destroys a person in a person.
In the scene at the tavern - the murder of a helpless horse by a crowd
drunk - little Raskolnikov tries to protect
unhappy animal, screaming, crying; apparently, in his own way
by nature he is not at all cruel, merciless and contempt
to someone else's life, even a horse's, is alien to him and the possible
violence against human personality disgusting for him
unnatural.
It is significant that after this dream Raskolnikov
I haven’t seen dreams for a long time.
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 about 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.
It is contrasted with Raskolnikov’s real life -
pathetic, colorless, gray. (Part, 1, Chapter VI)
Dream about Ilya Petrovich and the hostess
Delirious after committing a crime, Raskolnikov
sees a dream about Ilya Petrovich, who beats the landlady.
In a dream, Raskolnikov felt fear that perhaps
they came for him: “Suddenly Raskolnikov began to tremble like a leaf...
Ilya Petrovich is here and beats the mistress... But, therefore,
and they will come to him now, if so, “because...
that's right, all this is from the same... because of yesterday... "
"...Fear, like ice, surrounded his soul, tormented him,
froze him..."
At the same time, even in his sleep he does not undertake
nothing to escape, to lock yourself away, not to surrender to the police.
(Part 2, Chapter II)
Dream about a laughing old woman
Before Svidrigailov arrived, Raskolnikov saw
a delusional dream about a murdered old pawnbroker.
In a dream, Raskolnikov goes to the old woman’s apartment following
some tradesman who invites him there.
In the corner of the living room he discovers an old woman sitting.
The old woman laughs.
Raskolnikov hits her with an ax, but only laughter
intensified.
Raskolnikov started to run, but there were people everywhere -
on the stairs, in rooms, etc.: “...everyone is watching,”
but everyone is hiding and waiting, silent...
His heart was embarrassed, his legs did not move, they were frozen...
He wanted to scream and woke up... "
In a dream, Raskolnikov experiences the fear that tormented
him in reality after the crime.
After the murder of the old woman, Raskolnikov was afraid of shame and
human court.
He was afraid of being embarrassed in front of the crowd.
This fear was embodied in a dream (Part 3, Chapter VI)
Dream about the end of the world
This is Raskolnikov's last dream.
Already in hard labor, Raskolnikov once fell ill and ended up
in hospital.
In his painful delirium, he saw several times a repeating
dream about the end of the world.
"In his illness he dreamed that the whole world was condemned
as a sacrifice of some terrible, unheard of and unprecedented
a pestilence coming from the depths of Asia to Europe.
Everyone had to die, except for a very few
few, chosen ones..."
Raskolnikov had 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 purification and renewal of the soul.
Raskolnikov.
The dream is very vivid and emotional, talking about
active internal work on oneself
Raskolnikov.

Alexander Doronin

Raskolnikov's last dream takes place already in hard labor. Rodion becomes seriously ill with typhus and has a nightmare.
World. People are infected with an unknown disease transmitted by spirits. Everyone in the world becomes easily controlled puppets, and people themselves consider themselves people of high intelligence and rationality. The infected then kill each other, like spiders in a bathhouse.
This dream is a turning point in Raskolnikov’s life path. After this nightmare, Rodion understands the 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 freed from all the quests that tormented him so much all his life. This is where hope for atonement for one's sin appears. It was there, in penal servitude, that Raskolnikov, like Lazarus from biblical tales, is resurrected from the dead.
It can also be said 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. like Raskolnikov.
Simply put, Dostoevsky shows himself - he, too, went through hard labor for his beliefs, and subsequently renounced them.

In his novels, F. M. Dostoevsky reveals the complex processes of the inner life of his heroes, their feelings, emotions, secret desires, experiences and fears. In this context, the characters' dreams take on special significance. Dream, as a compositional element, can perform various functions and carry its own special meaning. Let's try to figure out what the role and meaning of dreams are in the novel "Crime and Punishment."

The first time Dostoevsky introduces a dream is in the first part of the work, even before the murder of the old pawnbroker. Having fallen asleep on the street due to his painful condition and the glass he drank the night before, Raskolnikov sees his childhood: little Rodya is walking with his father outside the city on a bright holiday, but soon the idyll is disrupted by one terrible episode. The young man Mikolka, coming out of the tavern, begins to whip his “skinny Savras nag”, which is not strong enough to carry a load of nearly ten people, and then finishes her off with an iron crowbar. The first thing that lies on the surface is that Raskolnikov’s pure childish nature protests against violence. Little Rodion runs up to the nag and kisses its bloody face, and then with his fists rushes at Mikolka, who killed the “horse”. It is no coincidence that we are given a child’s view of the situation. A child's consciousness is pure and unblinded by any theories, the child lives with his heart. And in Raskolnikov’s soul this child struggles with his mind, which gives birth to such destructive casuistic theories. Here the duality of the protagonist’s nature is manifested. Raskolnikov’s painful duality is also evidenced by two opposing images from his dream - the church and the tavern. The tavern is a symbol of what destroys people, it is the center of evil, depravity, recklessness, this is the place where a person loses his human appearance (it is no coincidence that the morally degraded Svidrigailov is a regular at taverns and other “cesspools”, since one of the signs of depravity is the absence of someone aesthetic feeling). The Church personifies all the best that is in human nature. It is characteristic that little Rodya loved to go to church, but the tavern always made a “most unpleasant impression” on him. Thus, the tavern and the church, metaphorically, represent the moral guidelines of a person in real life. It is symbolic that Rodion lingers at the tavern on the way to church and never gets into it. In my opinion, this can be interpreted in two ways. For example, this may mean, on the one hand, that Raskolnikov turned away from the true path, and on the other, that he did this not of his own free will, but in the name of the horse Mikolka, symbolizing all the “humiliated and insulted.” It is noteworthy that this episode of Raskolnikov’s dream echoes the bitter exclamation of Katerina Ivanovna: “They drove away the nag! She tore herself!”

However, it is worth taking a closer look at the horse and its symbolism. In addition to the fact that she represents those for whose good Raskolnikov is fighting, she at the same time symbolizes that very “useless louse,” the old woman who became his victim. That is, this dream predicts those very bloody events in the future. Therefore, upon waking up, Raskolnikov renounces his “damned dream” and asks questions: “Can it really be, will I really take an ax, start hitting her on the head, crush her skull... I’ll slide in the sticky warm blood, pick the lock , steal and tremble; hide, covered in blood... with an ax. And if the horse is the old money-lender, then it would be logical to assume that Mikolka is Raskolnikov. And here the argument again touches on the theme of Raskolnikov’s duality, that a sinless, naive child and a terrible murderer can coexist in him. It is also noteworthy, in my opinion, that Mikolka’s name appears in the text more than once. Indeed, a parallel can be drawn between the Mikolka from the dream and the Mikolka who confessed to the crime. Raskolnikov is related to the first Mikolka by his committed atrocity; as for the second Mikolka, it is interesting that Porfiry Petrovich mentions that Mikolka is one of the “schismatics.” Surely, this is not a mere coincidence, but a conscious author’s reference to the main hero. Thus, the second Mikolka, as it were, sets an example for Raskolnikov, shows how he needs to act in the current situation. Although Mikolka appears only in a few episodes of the novel, his image is very important. It is a symbol of voluntary suffering; only through it, according to Dostoevsky, can one atone for one’s sins, cleanse oneself and be morally reborn.

Raskolnikov sees his third dream already in hard labor. In this dream, he seems to rethink the events that took place and his theory. Raskolnikov imagines that the whole world is condemned to be a victim of a “terrible... pestilence.” Some new microscopic creatures, trichinae, have appeared, infecting people and making them possessed. The infected do not hear or understand others, considering only their own opinion to be absolutely correct and the only correct one. Having abandoned their occupations, crafts and agriculture, people kill each other in some senseless rage. Fires begin, famine begins, everything around dies. In the whole world, only a few people, “pure and chosen,” can be saved, but no one has ever seen them. This dream represents the 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 Rodion’s mind with demonic possession and madness. In fact, the hero’s idea of strong personalities, Napoleons, to whom “everything is permitted” now seems to him to be illness, madness, clouding of the mind. Moreover, the spread of this theory throughout 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.

Another person besides Raskolnikov who sees dreams is Svirigailov. And it is noteworthy that this fact to some extent determines their duality. Conscience does not leave either one or the other alone until the end. On the eve of his suicide, Svidrigailov sees several dreams, one turning into another. It is significant that Svidrigailov’s transitions from one dream to another have their own internal logic: “... in dreams there is a theme of debauchery, growing from the first to the third”; in the first dream, where a mouse appears, the theme of debauchery “is given only by a hint, only by a feeling of slippery, disgusting”; in the second dream, a drowned girl appears, “a victim of debauchery”; in the third dream, a five-year-old “girl” appears, “debauchery has completely taken possession of her” . The image of the five-year-old that appeared in Svidrigailov’s dream is deeply symbolic, since it embodies the possible limit of human fall, which terrifies even Svidrigailov. This dream may also characterize Svidrigailov as a person unable to be reborn. Since his "victims" range in age from twelve to sixteen, it seems entirely possible that he might one day "lower the bar." Children for Dostoevsky are sacred, so it is not difficult to guess that the actions of Svidrigailov are regarded by the author as perhaps the most serious sin. And perhaps suicide was the only way out of this hell into which the hero himself drove himself.

Thus, the dreams and visions of the novel’s characters convey their internal states, feelings, innermost desires and secret fears. Compositionally, dreams often precede future events. In addition, dreams resonate with the ideological concept of the work and with the author’s assessment of certain events.

Rodion Raskolnikov, as you know, came up with his own theory, dividing people into “trembling creatures” and “those with the right,” thereby allowing “blood according to conscience.” Throughout the entire work, the inconsistency of this hypothesis is proven. One of the author’s outstanding means in the fight against the ideology of hatred is dreams. They represent symbols, the decoding of which is the key to understanding Dostoevsky’s complex and multi-layered plan.

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

Dreams of Svidrigailov

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

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

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

The meaning and role of dreams

Dostoevsky's dreams are a naked conscience, not charmed by any soothing, glorious words.

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

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In the composition of the novel by F.M. Dostoevsky’s “Crime and Punishment,” Raskolnikov’s dreams occupy a very important place, being an integral part of the structure 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 Raskolnikov, to understand the very essence of his soul.

Dreams in psychology

To unravel a person’s condition and the true causes of his moral suffering, psychologists often use hypnosis or dream solving. It is a dream in psychology that is an expression of the unconscious in the psyche of a person, his suppressed self.

Sleep as a technique of psychoanalysis in a novel

Dostoevsky is a very subtle psychologist. It’s as if he turns the souls of his characters inside out in front of the reader. But he does this not explicitly, but gradually, as if painting a picture in front of the viewer, in which everyone should see special patterns. In the work "Crime and Punishment" a dream 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. This 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 dreams five times. More precisely, three dreams and two semi-deliriums, occurring on the verge of consciousness and unreality. Raskolnikov's dreams, a brief summary of which allows one to grasp the deep meaning of the work, allow the reader to feel the internal contradictions of the hero, his “heavy thoughts.” This happens in the case of the first dream, in which to some extent there is an internal struggle of the hero. This is a very important point. This is a dream before the murder of the old pawnbroker. It is necessary to focus attention on it. This is a system-forming episode, from which, like a stone thrown into water, waves spread across every page of the novel.

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

Old childhood 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 a nightmare that he witnessed in early childhood: Rodion and his father go to the cemetery to visit the grave of his little brother, who died at the age of 6 months. And their path ran through a tavern. There was a cart harnessed to a cart at the tavern. A drunken horse owner came out of a tavern and began inviting his friends to ride a cart. When she didn’t budge, Mikola began to whip her with a whip, which he then replaced with a crowbar. After several blows, the horse dies, and Rodion, seeing this, rushes at him with his fists.

Analysis of the first dream

Raskolnikov's second dream

It is interesting that after Raskolnikov had his first dream, for a long time he no longer 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 drink from the spring suggests that all is not lost. He can still renounce his “experience”, avoid this terrible experiment, which should confirm his extravagant theory that killing a “harmful” (bad, vile) person will certainly bring relief to society and make the lives of good people better.

On the verge of unconsciousness

Description of Raskolnikov's next dream

Psychoanalysis by the author

This dream fully reflects the state of the hero, who was “broken”, since his experiment showed him that he was not able to step over human lives. The old woman’s laughter is a laugh at the fact that Raskolnikov turned out to be not a “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 thoughts 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 will bring Rodion to the line, to the possibility of later being “reborn from the ashes.”

Last dream

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

Healing

The role of dreams in Dostoevsky’s novel “Crime and Punishment”

Dreams in Russian literature have been repeatedly used as an artistic device. A. S. Pushkin resorted to him in “Eugene Onegin”, M. Yu. Lermontov in “A Hero of Our Time”, I. A. Goncharov in “Oblomov”.

Dostoevsky's novel is a social and philosophical work. This is a brilliant polyphonic novel, where the author showed how theory and reality merge, forming a unity, how beautifully they coexist Various types consciousness, giving rise to polyphony. The deepest psychologism of Dostoevsky in “Crime and Punishment” manifested itself in many things, and first of all in the way the author confronts his heroes with many problems of reality, how he reveals their souls through the description of difficult life situations, which the heroes find themselves in. Thus, the author allows the reader to see the very essence of the characters; he reveals to him implicit conflicts, mental tossing, internal contradictions, versatility and paradoxical nature of the inner world.

To create a more accurate psychological portrait of Rodion Raskolnikov, the author resorts to using various artistic techniques, among which dreams play an important role. After all, it is in a dream that the essence of a person is revealed, he becomes himself, throws off all masks and, thus, expresses his feelings and expresses his thoughts more freely. Revealing the character of the hero through the description of his dreams is a technique that allows you to deeper and more accurately reveal the characteristics of the character of the hero, to show him as he is, without embellishment and without falsehood.

In Chapter V of the first part of the novel, a description of the main character’s first dream appears. This dream is reminiscent of a poem from Nekrasov’s cycle “About the Weather.” The poet paints an everyday urban picture: a skinny horse was dragging a huge cart and suddenly stood up, because it did not have the strength to go further. The driver mercilessly beats the horse with a whip, then takes a log and continues the atrocities.

In the novel, Dostoevsky intensifies the tragedy of the scene: in the dream, an absolutely disgusting portrait of a driver named Mikolka is drawn, who beats a small horse to death. Dostoevsky specifically calls the hero of the dream the same name as the dyer who took Raskolnikov’s guilt upon himself. Both of these heroes bear the name of St. Nicholas and symbolize the two moral poles between which Raskolnikov rushes - pure faith and the cruel “I have the right.” Mikolka, who killed the horse, voices the essence of Raskolnikov’s theory, but here this theory is contrasted with the childish consciousness of the hero. Dostoevsky emphasizes the connection between Raskolnikov, who is preparing for a crime, and seven-year-old Roday. This is achieved by a special artistic technique - the repetition of the pronoun “he” (“he wraps his arms around his father,” “he wants to catch his breath,” “he woke up covered in sweat,” “Thank God, it’s just a dream!” he said”).

Before introducing the reader to Rodion’s second dream, Dostoevsky says that the hero “is trembling all over, like a driven horse. lay down on the sofa." And again the reader sees the image of an animal from a dream, emphasizing the duality of the hero’s nature: he is both an executioner and a victim in relation to himself and to the world.

Raskolnikov’s second dream is more reminiscent of oblivion: “He dreamed everything, and all the dreams were strange.” It seems to the hero that he is “in some oasis”, “drinking water straight from the stream,” which seems wonderful to him. Here the connection between this passage and Lermontov’s poem “Three Palms” is clearly visible. After describing the idyll in both works, the reader sees murder. But the connection is not only plot: here I thirst pure life The hero is symbolized by the images of an oasis and a stream.

In Chapter II of the second part, the author depicts Raskolnikov’s third dream. It is very vaguely similar to a dream, more like a hallucination. It seems to the hero that his mistress is being brutally beaten by the assistant district warden Ilya Petrovich: “Ilya Petrovich is here and beating the mistress! He kicks her, bangs her head on the steps! When Raskolnikov asks Nastasya why the mistress was beaten, he receives the answer: “It’s blood.” It turns out that no one beat the mistress, that all this seemed to Rodion, and Nastasya only meant that it was the blood in Raskolnikov that was “screaming” because “there is no way out for it.” But Raskolnikov does not understand that Nastasya puts a completely different meaning into these words than he does, that she means illness, but he sees here a symbol of shed blood, sin, crime. For him, the words “blood screams” mean “conscience torments.” In this passage, Dostoevsky shows that since the hero is tormented by his conscience, it means that he has not yet lost his human face.

Describing the hero’s fourth dream, Dostoevsky seeks to show how Raskolnikov’s theory builds a wall between him and society: “. “Everyone has left and is afraid of him, and only occasionally they open the door a little to look at him, threaten him, agree on something among themselves, laugh and tease him.” The reader understands that Raskolnikov cannot find mutual language with the people around you. It is clear that it is very painful for the hero to establish relationships with people, that he has withdrawn very much from everyone.

Raskolnikov's next, fifth dream, like the first, is nightmarish. In the fifth dream, the hero tries to kill Alena Ivanovna, but to no avail. It seems to him that he “quietly released the ax from the noose and hit the old woman on the crown, once and twice. But it’s strange: she didn’t even move from the blows, like she was made of wood. He got scared, leaned closer and began to look at her; but she also bent her head even lower. He then bent down completely to the floor and looked into her face from below, looked in and froze: the old woman was sitting and laughing.”

Dostoevsky strives to show how Raskolnikov turned out to be not a ruler, not Napoleon, who has the right to easily step over other people’s lives in order to achieve his own goal. Fear of exposure and pangs of conscience make him pitiful. The image of a laughing old woman teases Raskolnikov and completely subjugates him. During this nightmare, or better said, delirium, Raskolnikov sees Svidrigailov, which is also very important. Svidrigailov becomes part of Raskolnikov’s theory, disgustingly embodies the idea of human self-will. Talking about this last dream of the hero, one can see the clear beginning of the collapse of his theory. Raskolnikov dreams that “the whole world is condemned to be a victim of some terrible, unheard of and unprecedented pestilence coming from the depths of Asia to Europe.” Some new “trichinas, microscopic creatures that inhabited people’s bodies” appeared, and people who accepted them became “immediately possessed and crazy.” Dostoevsky, with the help of the image of this dream, wants to emphasize the consequences of the spread of the individualistic theory of the protagonist - the infection of humanity with the spirit of revolutionary rebellion. According to the writer (a convinced Christian), individualism, pride and self-will are madness, and it is from this that his hero is so painfully and slowly freed.