Children's images in crime and punishment. The theme of childhood in Dostoevsky's novel Crime and Punishment. The image of a child in Dostoevsky's novel "Crime and Punishment"

Listen, if everyone must suffer in order to buy eternal harmony with suffering, then what have the children to do with it, tell me, please It is completely incomprehensible why they also had to suffer and why they should buy harmony through suffering It is not worth the tear of even one tortured child Ivan Karamazov, Brothers Karamazov. The character system of the novel Crime and Punishment includes a large number of actors, having their own character, position and role in the novel. Rodion Raskolnikov is the main character Sonya, Dunya, Pulcheria Alexandrovna, Svidrigailov, Luzhin are also noticeable and therefore understandable characters to us.

But there are also characters of the second plan, about whom we can learn less. Among all the minor characters, we should single out children, the influence of the collective image of which we can trace throughout the novel, these are the children of Katerina Ivanovna, and the bride of Svidrigailov, and the drowned girl who dreams to him in a dream, this is a drunken girl who met Raskolnikov on the boulevard - all these characters cannot be ignored, because, despite their small participation in the development of the action in the novel, they play an important role, like the whole theme of the child and childhood.

Consider the image of the children of Katerina Ivanovna. The fact that Marmeladov's wife Katerina Ivanovna married him with three children, we learn from Marmeladov's conversation with Raskolnikov. The father of the children was Katerina Ivanovna's first husband, an infantry officer with whom she ran away from home. When her husband died, Katerina Ivanovna was left alone with three young children.

She married her first husband, an infantry officer, for love, and fled with him from her parents' house. The husband started playing cards, got on trial, and with that he died. And after him she remained with three young children in the distant and brutal county. Katerina Ivanovna had two daughters Polechka and Lena - and a son Kolya. This is how F.M. Dostoevsky describes them, the eldest girl, about nine years old, tall and thin as a match, with big, big dark eyes that seemed even larger on her emaciated and frightened face Polechka, the smallest girl, six years old Lena, a boy a year older e Kolya. The children were badly dressed. Polechka was dressed in a shabby tunic, probably sewn for her two years ago, because now it did not reach her knees, and a thin shirt torn everywhere, Kolya and Lena were dressed no better. All the children had only one shirt, which Katerina Ivanovna washed every night.

Although the mother tried to take care of the children, they were often hungry, since the family did not have enough money, the younger ones often cried and were beaten and intimidated. For Katerina Ivanovna is of such a character, and as soon as the children cry, even if they are hungry, they immediately begin to beat.

In the guise of Sonya, the stepdaughter of Katerina Ivanovna and the daughter of Marmeladov, despite the fact that she is much older than all the children and earns money in this way, we also see a lot of children, she is unrequited, and her voice is so meek blond, her face is always pale, thin, angular , tender, sickly, small, meek blue eyes.

It was the desire to help Katerina Ivanovna and her unfortunate children that made Sonya transgress through herself, through the moral law. She sacrificed herself for others. And only then did he understand what these poor, little orphans and this pitiful, half-mad Katerina Ivanovna, with her consumption and banging against the wall, meant to her. I am a dishonorable, great, great sinner, to what monstrous pain I tormented her, and for a long time, the thought of her dishonorable and shameful position.

If it weren’t for the fate of her family, and Katerina Ivanovna and the children really were Sonya’s only family so deplorable, Sonechka Marmeladova’s life would have turned out differently. And if Sonya’s life had been different, then F.M. to show us that, being immersed in vice, Sonya kept her soul pure, because she was saved by faith in God. Yes, tell me, finally, how such a shame and such baseness in you, next to other opposite and holy feelings, are combined - Raskolnikov asked. Here Sonya is a child, a defenseless, helpless person with her childish and naive soul, who, it would seem, will die, being in a destructive atmosphere of vice, but Sonya, in addition to a childish pure and innocent soul, has tremendous moral stamina, a strong spirit, and therefore she finds strength in herself be saved by faith in God, so she saves her soul. What would I be without God Proving the necessity of faith in God was one of the main goals that Dostoevsky set for his novel.

Therefore, we see that the image of children was necessary for the writer to reveal the image of Sonya and achieve his intention.

The children of Katerina Ivanovna played a certain role in the fate of each of the main characters of the work. Using the image of children, the writer shows us that Marmeladov, who caused so much grief and pain to his family, still thought about his wife and children, and this consisted in the fact that he tried not to drink for a while. When he was crushed by a wagon and he died, they found a gingerbread in his pocket, which he and the children in his pocket of a gingerbread cockerel found dead drunk, but he remembers about children.

Thus, the writer uses the image of children to show us that in the soul of Marmeladov, a man who caused grief to himself and his family, love, care and compassion still lived. Therefore, we cannot consider the manifestation spiritual qualities retired official only as purely negative.

The image of Svidrigailov only becomes even more mysterious and incomprehensible when we see that a vulgar, depraved person, for whom there is no moral laws, commits Noble act and spends his money on arranging Katerina Ivanovna's children in a boarding school. And here the writer again weaves the image of children into the fabric of the novel. But even such a noble deed cannot overshadow all the sins of Svidrigailov.

Throughout the novel, we can see the lowest in nm, in his soul, all the worst qualities of cruelty, selfishness, the ability to step over a person to satisfy their interests, including the ability to kill his wife, Marfa Petrovna, because, judging by everything, it can be said that Svidrigailov killed his wife, posing as an apoplexy, all the baseness of Svidrigailov's nature is manifested in the episode with Dunechka, when she secretly met with him for the last time, in order to find out about her brother.

Is it possible that what you write is hinting at a crime allegedly committed by a brother. You promised to prove it, you say it - Dunya is indignant. Svidrigailov drew Dunya to him, locked the door and began to kiss and hug her, but then opened the door, realizing that Dunya hated him and would never love him. It was a difficult test for Dunya, but at least she knew what kind of person Svidrigailov, and if it were not for the love of his brother, he would never have gone to this man.

This is proved by Dunya's words. We have already turned the corner, now our brother will not see us. I declare to you that I will not go any further with you. But even more reveals the depth of debauchery in which Svidrigailov's soul is mired, the story of the deaf-mute niece of a petty pawnbroker, Svidrigailov's friend, the German Resslich. There was a rumor in St. Petersburg that the girl committed suicide because she was severely offended by Svidrigailov. Although he himself denies everything, on the night before the suicide he had a dream and in the middle of the hall, on the tables covered with white satin shrouds, there was a coffin. Garlands of flowers twined around him on all sides.

All in flowers lay a girl in nm, in a white tulle dress, with arms folded and pressed to her chest, as if carved from marble. But her loose hair, the hair of a fair blonde, was wet, a wreath of roses wrapped around her head. The strict and already ossified profile of her face was also, as it were, carved from marble, but the smile on her pale lips was complaints. Svidrigailov knew this girl, no image, no lighted candles were at this coffin and no prayers were heard.

This girl was a drowned suicide. She was only fourteen years old, but it was already a broken heart, and it ruined itself, offended by the insult that horrified and surprised this young childish consciousness, filling undeserved shame and an angelically pure soul and tearing out the last cry of despair, not heard, but brazenly scolded in the dark night, in the darkness, in the cold, in the damp thaw, when the wind howled Svidrigailov with his permissiveness, with the complete absence of any moral principles and moral ideals, encroached on the most sacred, according to Dostoevsky for the soul of a child.

With this episode and, especially, with a dream, the writer wanted to show Svidrigailov as an example, because, although Arkady Ivanovich has a specific name, this is a collective image of many dozens of similar Svidrigailovs who are just as immoral and depraved people, that such immoral people, acting only in for the benefit of their almost always vile interests, destroy innocent souls. The image of a girl here contains the image of all those who are purer, more innocent, brighter than all the others in this world and therefore weaker, and therefore they are mocked, tortured and destroyed by all those who have no moral principles at all.

One can only be glad for Svidrigailov's bride that their wedding did not take place. Because, despite the fact that the girl fell in love with her fiancé in her own way. We all left for a minute, we were left alone, she suddenly throws herself on my neck, for the first time, hugs me with both arms, kisses and swears that she she will be an obedient, kind and beneficent wife to me, that she will make me happy - Svidrigailov told Raskolnikov, he remained the same depraved person, she just did not understand this, he would have ruined her soul. This problem of immorality and spiritual purity also occupied Dostoevsky, but he understood that people like Svidrigailov would always be, and it was not without reason that the weaker ones, the image of which the children personified, the child, would continue to torment and destroy their souls, served as confirmation. Svidrigailov's laughter I love children in general, I love children very much.

Svidrigailov is an atheist, he calls himself a sinner Why have you driven into virtue with all your drawbars? Have mercy, father, I am a sinful man.

Hehehehe. But he does not say this seriously, he laughs. Although Svidrigailov admits his sins, he does not even think of changing anything in his behavior, he does not believe in God, and his image is all the more terrible for us.

Svidrigailov will appear in the image of the devil; he destroys innocent souls. But we see that a person who has departed from God is not only not happy, he himself suffers from such a life, he himself suffers, having no spiritual and moral guidelines and not realizing that they are necessary. Svidrigailov, who lost touch with everything moral, lived in sin and before death he takes upon himself a terrible sin, he kills himself. Dostoevsky consistently proves to us that a person who does not believe in God, who has departed from him, cannot live. The writer also told us about this through Sonya. common topic children and childhood is also widely disclosed in the image of Rodion Raskolnikov.

Even Razumikhin, in order to prove the presence of the best qualities in the soul of a friend, especially emphasizes such episodes from his life as rescuing children from a burning house, giving all the last money to Katerina Ivanovna and her children. This shows his desire to help the humiliated and insulted, that is, those people whom he wanted to make happy with the money of the old usurer Alna Ivanovna.

It is compassion and pain for the humiliated, insulted and unfortunate, their collective image personifies the brutally killed defenseless horse that we see in Raskolnikov's dream. He is helpless in the form of a child in a dream and sees his helplessness in this in the real cruel world. Another meaning of Rodion Raskolnikov's dream is that we understand that Raskolnikov's soul is already in childhood, because he sees himself as a child protesting against crime, against cruelty and against the self-affirmation of a person at the expense of others, and Mikolka just wanted to boast of his strength, his power Do not touch my good. What I want, I do.

Sit still Everyone sit down I want Raskolnikov's surname to jump without fail. His soul is split by the lack of faith in God into two halves. This is proved by his words. He says Yes, maybe there is no god at all. In one, his theory about creatures that tremble and have the right to ripen, the idea of \u200b\u200btesting oneself, an attempt to feel like Napoleon.

The second half is like the soul of another person, compassionate and helping the humiliated and offended, protesting against the unjust structure of society, dreaming of doing thousands of good deeds. Not by chance main character performs so many good deeds of the quality of the other half of his soul with best qualities kindness, pity, compassion has power over him. The question of faith in God constantly arises before him. We can see that in childhood, Raskolnikov, precisely when the foundations of morality and virtue were being laid, was close to God, that is, he personified the image of that immaculate and innocent child, which was both the deaf-mute drowned woman and the children of Katerina Ivanovna.

We read about this in a letter to Pulcheria Alexandrovna Do you still pray to God, Rodya, as before, and do you believe in the goodness of our creator and redeemer I am afraid, in my heart, if the latest fashionable unbelief has visited you too .

Remember, dear, how even in your childhood, during the life of your father, you babbled your prayers on my knees, and how happy we were all then. Raskolnikov himself understands that the child is close to God, that he himself was close, and accepting in consideration of his words Children are the image of Christ. These are the kingdom of God. He tells them to honor and love - and all of the above that the image of children is full of purity, innocence, chastity, we can say with confidence that Dostoevsky's thought lies precisely in the fact that Children are the image of Christ.

It is worth recalling here Lizaveta, who was e childishly frightened at the moment when Raskolnikov zans an ax over her, a face whose expression is constantly, throughout the novel, remembered by the protagonist. they begin to be frightened of something, stare intently at the object that frightens them and are about to scream, he even notices the similarity in the expression of the faces of Sonya and Lizaveta of two deeply religious girls, he looked at not Sonya and suddenly, in her face, as if he saw the face of Lizaveta.

He clearly remembered the expression on Lizaveta's face when he approached her then with an ax, and she moved away from him to the wall, holding out her hand, with a completely childish fright in her face, just like little children when they suddenly start something. to be frightened, they look motionless and uneasily at the object that frightens them, step back and, stretching out their little hands, prepare to cry. Almost the same thing happened now with Sonya. Dostoevsky shows childish fear on the faces of Sonya and Lizaveta not by chance.

Both of these girls are saved by religion, by faith in God Sonya, from the terrible vicious atmosphere in which she has to be, and Lizaveta from intimidation and beatings of her sister. The writer once again confirms his idea that the child is close to God. In addition to the fact that the child is the image of Christ in the broadest sense of understanding the image, the child, according to Dostoevsky, is also the bearer of everything pure, moral, good that is inherent in a person from childhood, whose hopes, ideas and ideals are ruthlessly trampled, and this subsequently leads to development of an inharmonious personality, this leads to the development of such theories as Raskolnikov's theory.

Therefore, the image of a child is also the image of a defenseless person with his ideals, moral aspirations of a person who is weak before the influence of a ruthless imperfect world and a cruel ugly society, where moral values trampled, and at the head are such businessmen as Luzhin, who are only interested in money, profit and career.

This we can conclude from the fact that Jesus Christ has a dual nature, he is the son of God, descended from heaven, this manifests his divine nature, but he had a human appearance, took on human sins and suffering for them, so we can say that the image of Christ is not only the child himself as a symbol of spiritual morality and purity, heavenly holiness, but also an earthly person, moral ideals who are trampled upon in an atmosphere of vice.

In the stuffy terrible atmosphere of St. Petersburg, the defenseless souls of people are mutilated, everything that is best and moral in them is drowned out, development is nipped in the bud. But even Raskolnikov has hope for a spiritual rebirth. It begins when he takes the cross from Sonya. Then he will not attach any importance to this, he does not believe that he can help him in any way, because he blames himself only for the mistake of the Crosses, or something, I really didn’t need it. But then Rodion himself asks Sonya for the Gospel.

And although both Sonya and Raskolnikov were resurrected by love Love resurrected them - says Dostoevsky, it was faith in God that did not allow Sonya's soul to perish, which saved Raskolnikov. The need for faith in God, in bright ideals is main idea novel and the reason why the writer introduces the image of a child into the fabric of the work. Scientific work in Literature Images of children and their role in F.M. Dostoevsky's novel Crime and Punishment Author student 10th grade MOU Gymnasium 9 Morozova Maria Supervisor Kulikova L.A. 2002 List of references 1. Dostoevsky F.M. Crime and punishment, Moscow, publishing house Pravda, 1982. 2. Ozerov Yu.A. The world of the humiliated and insulted in F.M. Dostoevsky's novel Crime and Punishment, Moscow, publishing house Dom, 1995

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In Raskolnikov's theory, which allowed him to commit murder, the main argument is accusing society of cruelty. The very people who verbally recognize the need for love for their neighbor are indifferent to the real suffering of those around them. It is from this, and in itself a really correct observation, that Raskolnikov draws a conclusion about the duality, hypocrisy of generally accepted morality, about the need for "blood according to conscience" to overcome evil. But, accusing the world of cruelty, Raskolnikov first of all speaks of children. In this painful, ardent love for children, the ability of the protagonist of the novel to sympathize with someone else's grief is revealed with special force.

Children are defenseless, they cannot resist the merciless pressure of life. They are not guilty of the grief of those around them, and therefore their suffering is especially unjust. If a society "tramples" those who are not guilty of anything, it means that its structure is immoral, abnormal. Impressions from meetings with unfortunate children exacerbate Raskolnikov's hatred for the surrounding reality and strengthens confidence in the correctness of his theory.

Raskolnikov hears the sounds of a cracked seven-year-old voice - in a tavern, among drunken screams and abuse. These sounds complement the tragic story of Marmeladov. The next impression is a meeting with Katerina Ivanovna and her children. The sight of these unfortunate children makes Raskolnikov give almost his last pennies to the Marmeladovs. A terrible thought is fixed in his tormented soul: "And there are no barriers ..." And then another impression pushes Raskolnikov to the decision to "step over": he sees a deceived and disgraced girl on the boulevard.

Raskolnikov indignantly thinks of those scientists who claim that a certain percentage of people should die, and consider this normal. For him, behind this soothing word "percentage" is a living person, and Raskolnikov does not want and cannot put up with the death of at least one child. And here the author and his hero are close, but only in this. Moral indignation dictates fundamentally different conclusions to them - this is clearly reflected in the novel.

Dostoevsky saw in children that moral purity, kindness of soul, which adults have lost. It is no coincidence that all the best that is characteristic of the adult heroes of the novel is connected with the world of the child. It is impossible to talk about the theme of childhood in Crime and Punishment, having in mind only the children of Katerina Ivanovna. Like a child, weak, helpless, childishly pure, naive and bright soul, drawn by Sonya. She is like a child in her feelings, in her actions - sincerity and kindness. The pure and fair world of the child's soul is also revealed in Raskolnikov's dream. It is the child who protests against the cruelty of the adult world in this dream. That direct, unthinking kindness that Raskolnikov repeatedly shows - contrary to his own theory - is inextricably linked with the boy Rodey, with that moral "reserve" that has been preserved in the hero of the novel since childhood. Having killed the helpless, childishly defenseless Lizaveta, Raskolnikov seemed to have raised his hand to himself. It is the children who, atoning for their sins, are helped in "Crime and Punishment" by Svidrigailov.

Dostoevsky, of course, follows the Christian understanding. Children in the Gospels symbolize the moral closeness of a person to God, the purity of the soul, capable of believing - and being ashamed. Raskolnikov is dual in the novel: the natural, God-given, kindness of the hero is "obscured" by the pride and anger of an adult. Throughout the novel, the child in Raskolnikov struggles with an adult, kindness - with cruelty and pride. The moral change that occurred in Raskolnikov's soul in the epilogue of "Crime and Punishment" means the final victory of kindness, the return of the hero to himself - the child, the return to God. And here the author of the novel, having walked alongside his hero along his long, painful and contradictory path, for the first time, finally, "meets" him "face to face", as people of the same faith, one understanding of life meet ...

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Introduction. The system of images in Dostoevsky's novel Crime and Punishment. Raskolnikov's childhood. The origins of his theory. Sonya Marmeladova is an eternal child. Other images of children in the novel. Finding your child.

Dostoevsky's novel "Crime and Punishment" was conceived by the author in hard labor, where the author faced another life and met other people. Dostoevsky had a unique talent that made him a classic of Russian and world literature. The genre of this work can be described as psychological...

The image of a child in Dostoevsky's novel Crime and Punishment.

Plan.

Introduction. The system of images in Dostoevsky's novel "Crime and Punishment"

Raskolnikov's childhood. The origins of his theory.

Sonya Marmeladova is an eternal child

Other images of children in the novel. Finding your child.

Conclusion. The image of a child is the way to yourself.

In 1866, Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment was published, which became a completely new phenomenon in Russian literature. Its main difference from previous works was the rich polyphony of images. There are about ninety characters in the novel: there are policemen, and passers-by, and janitors, and organ grinders, and bourgeois, and many others. All of them, down to the most insignificant ones, make up the special background against which the action of the novel develops. Dostoevsky even introduces an unusual, at first glance, image of a big city (“Dostoevsky’s Petersburg!”), with its gloomy streets, “wells” of courtyards, bridges, thereby reinforcing the already painfully tense atmosphere of hopelessness and depression, which determines the mood of the novel. There is an even more unusual image of a child who is invisibly present everywhere. These are the children ruined by Svidrigalov, and the image of Raskolnikov - a child, and the image of a girl who "drunk and deceived ... for the first time ... understand?". Sonya Marmeladova is also a child, it is no coincidence that Raskolnikov addresses her so often. Sonya herself calls Katerina Ivanovna a child, but here it is rather a comparison with holy fools, whose entire behavior is childishness and spontaneity. Of course, the image of the child, like all other images in the novel, serves one purpose - the comprehensive and complete disclosure of the image of Rodion Raskolnikov.

We know little about Raskolnikov's childhood. We only know that he lived in a dusty city, as dusty as St. Petersburg, in which the action takes place, we know that he went to church and that he had a younger brother, whom he never saw, but at whose grave he always cried. We also see a blurry image of the father, tightly holding the hand of Raskolnikov - the child. It is noteworthy that it is through the image of Raskolnikov's childhood, namely through the dream that he sees, falling asleep in the ditch before his crime, that Dostoevsky shows us the roots of the theory that grew and strengthened along with Raskolnikov. Indeed, the dream is terrible and tormenting, but the author himself gives us a hint so that we carefully look at this child, from whom a false Napoleon will subsequently grow: Sometimes a monstrous picture is formed, but the situation and the whole process of the whole performance are so probable and with such subtle, unexpected, but artistic details that correspond to the whole completeness of the picture, that they cannot be invented in reality ... "We see how the poor horse was beaten to death ", and how everyone looked at this terrible act, including Raskolnikov's father, and did nothing. Of course, an analogy is born in the mind of the reader, this unfortunate horse and the same unfortunate people who are beaten and beaten to death by life. We immediately remember Marmeladov, Katerina Ivanovna, Sonechka. We see the horror that a child experiences when he witnesses this picture of a murder, and it is unlikely that anyone who has seen something like this will have a soul the same as before. This dream further strengthens Raskolnikov in the thought that it is necessary to carry out his plans. But let's look at what Dostoevsky, the psychologist, is trying to tell us, repeating after Freud that the roots of all problems should be sought in childhood: “But the poor boy no longer remembers himself. With a cry, he makes his way through the crowd to Savraska, grabs her dead, bloodied muzzle and kisses her, kisses her in the eyes, on the lips ... Then he suddenly jumps up and in a frenzy rushes with his little fists at Mikolka. At this moment, his father, who had been chasing him for a long time, finally grabs him and carries him out of the crowd. - Let's go to! let's go to! - he says to him, - let's go home! - Daddy! Why did they...poor horse...kill! he sobs, but his breath is taken away, and the words are screaming out of his tight chest. Here is this sacramental question: “Why were they killed? ”, and here is the sacramental answer of Mikolka, the owner of the horse (by the way, the author will later call the false murderer of the old pawnbroker who almost hanged himself by the same name): “My goodness!”. Here it is - that sprout planted in the soul of a child: if mine is good, then I do what I want! And how to become the one who has this "good", how to become "having the right"? We know the answers to these questions. Who knows, maybe Raskolnikov should have killed Alena Ivanovna in order to return to his child, to himself, and to understand that the pain that he saw in the eyes of the “horse” was the same pain reflected in the eyes of the victim, however He just didn't see her. The return, repentance and forgiveness of oneself in childhood, for not saving the poor animal then - this is one of the roles assigned by the author to the image of the child.

But there are still people in the novel who, having matured, remain children. They live in peace with their child inside (again we quote Freud, but we cannot do without it, because the views of Dostoevsky and Freud are so similar) and in relative peace with themselves. This is, first of all, Sonya Marmeladova, who had no childhood as such. She was simply put out on the street, sacrificed, one child was sacrificed to three others, so that "Polenka would not follow the same path." And the faith of Sonechka Marmeladova is also somehow childish and naive, but all-consuming and bright. She herself is a child and sees this childishness in others, because she does not want to notice the dirt and vices of adult life. And they, thanks to the protection of this little child in her, did not touch her: “Of course, he understood that Sonya’s position was an accidental phenomenon in society, although, unfortunately, it was far from being isolated and not exceptional. But this very accident, this certain development and her whole previous life could, it seems, immediately kill her at the first step on this disgusting road. What kept her going? Isn't it debauchery? All this shame, obviously, touched her only mechanically; real debauchery had not yet penetrated a single drop into her heart: he saw it; she stood in front of him in reality ... "

There are still images of children in the novel, which are not expressed as clearly and clearly as those already considered. Through them, Dostoevsky poses another question to Raskolnikov and his theory: “Do children fall under his definition of“ trembling creatures ”? We remember that he killed not only the old pawnbroker, but also Lizaveta, that big child, who, apparently, was pregnant at the time of her death. We also remember that girl whom he noticed on a park bench and even gave twenty kopecks to "save her", but, of course, they were not enough. Let us remember the children ruined by Svidrigailov, the children of Katerina Ivanovna, who, when they grow up, will surely repeat the path of their parents (again we hear Freud's voice), we will finally remember Svidrigailov's dream before his suicide. This episode makes us think. We understand that many children, many innocent souls are doomed to follow the path of sin and depravity, for such is their fate, and even if you kill a thousand people, you still cannot save them, because the vice is inside, not outside. People who have lost their inner child, whether they are still children or adults, are doomed to suffering and death, terrible death, suicide. Throughout the novel, this thought occurs to many characters. A child, or people who have kept him in their souls, will never dare to do this, because this is a great sin, and Dostoevsky judges his heroes primarily from the standpoint of Christian morality. Yes, the child will not even think of committing suicide, he will simply continue to live, suffer and sometimes rejoice, as the eternal child Sonya Marmeladova does, because life is a gift, and they need to be disposed of conscientiously.

What is the result? We see that although in the novel the image of the child is not expressed as clearly as others, nevertheless its echoes pass through the entire narrative. And this is no coincidence. A child, like the Gospel, is another way to yourself. And Sonya and Raskolnikov found him, found him and Svidrigailov, who redeemed the blood of other children with his blood. And everyone in their own way became happy, having found a long-lost child, and, as it were, returned to childhood, the happiest of times. The author returned with them: “But here a new story begins, the story of the gradual renewal of man, the story of his gradual rebirth, his gradual transition from one world to another, acquaintance with a new, hitherto completely unknown reality. This could be the subject of a new story, but our present story is over.

Bibliography

For the preparation of this work, materials from the site http://www.easyschool.ru/ were used.

Urazalieva Nelya Ibragimovna

Russian teacher and

literature

Chagan OSOSH

Terektinsky district

WKO

Russian literature Grade 10

Topic: Children in the novel "Crime and Punishment" by F.M. Dostoevsky.

Target: show the image of children on the pages of the novel; through Raskolnikov's attitude towards children, show his humanism and strengthen confidence in the correctness of his theory;

through the fate of children in the novel, to show the crime of a society that leaves children in trouble - their future; develop the skill of working with a literary text; develop students' speech.

Equipment: the text of the novel "Crime and Punishment"; reproductions of paintings by V. Perov "Troika"; V. Makovsky "Date"; N. Bogdanova "At the door of the school"; B. Kustodiev "School in Moscow Rus'"; collection of poems by Nekrasov

vocabulary work: the meanings of the words are clarified: "humanism", "morality", "relevance"

During the classes:

I. Organizing moment

II 1) Recording: March seventeenth

Classwork

ChildrenVnoveleF.M. Dostoevsky "Crime and Punishment".

2) Goals and objectives of the lesson:

Through Raskolnikov's attitude towards children, show his humanism and strengthening

Confidence in the correctness of your theory;

Through the fate of children in the novel, to show the crime of a society that is leaving in trouble

children are your future;

Cultivate sensitivity and compassion for the misfortune of others.

3) Introductory speech of the teacher

In the last lesson, we talked about the fate of the author, about the "humiliated" heroes of the novel, about the fate of the "little man" in the literature of the 19th century. Tragically draws Dostoevsky and the fate of children. The writer puts most of his little heroes in difficult situations, sends "adult" suffering and trials to their lot.

4) Excursion to the art gallery.

The fate of children has always been relevant. Dostoevsky's contemporaries - artists Perov, Kustodiev, Bogdanov, Makovsky - also wrote about the life of children in the conditions of a capitalist city, about their bitter lot.

A short tour of the paintings of these artists will be held by Maksotova A..

(a student tells about the history of the creation of paintings, about the characters of the paintings, about the fate of disadvantaged children in Tsarist Russia)

Conclusion: artists condemned the system, which made children powerless, defenseless.

5) Poets about the fate of disadvantaged children.

Russian literature did not remain indifferent to the fate of children at all times. Let's listen to Nekrasov's poem "The Cry of Children" (read by Aida Sultangaliyeva)

Conclusion : child labor was exploited in factories and in Russia, so the poem was relevant.

6) A) vocabulary work :

Following his contemporaries, Dostoevsky devotes many bitter pages to children in the novel, because this topic worried the writer and characterizes him as a great humanist writer of his era.

Vocabulary work: humanism, humanist

b) Text conversation:

IN: When do we first meet children in the pages of the novel?

(an excerpt is read out - textbook p. 211, text p. 23)

IN: What can be said about the author of these lines through such a description of the children?

Conclusion: This meeting with the Marmeladov children had a strong effect on Raskolnikov. What painful and terrible we feel in the poses and appearance of children. The sight of these children makes Raskolnikov give Katerina Ivanovna the last money.

IN: What happens to the hero before this meeting? What terrible thought is fixed in his soul? Who is he blaming? (The idea is to "transgress", i.e. to commit a crime against bourgeois society, which makes children shed tears, because the "little" person "has nowhere else to go"

IN: Let's read Raskolnikov's conversation with Sonya about children. What thought constantly

worries him? What does he think and what conclusion does he come to?

(textbook p. 222 - And what will happen to them?)

Conclusion: For all the injustices in life, children suffer first of all, as the most unprotected creatures. The crime of society is manifested in the fact that children's tears are shed. This is the fate of many children in what was then Russia. Their suffering caused him to rebel against the injustice and criminality of this society. In this painful love for children, Raskolnikov's humanism is most revealed.

IN: Raskolnikov's meeting with the children of Marmeladov, Sonya's story, had a very painful effect on the hero. But he observed similar scenes on the streets of St. Petersburg.

(let's read an excerpt about a deceived and disgraced girl on the boulevard, who was hunted by a fat dandy) text pp. 40-41.

Conclusion: this case is the fate of many children of Russia at that time. Compassion for this child and hatred for criminals again weighs heavily on Raskolnikov's soul and again pushes him to "transgress."

IN: How do you understand the meaning of the name Raskolnikov?

7) a) Children's images of Dostoevsky.

The image of a child is one of the ideals of the author. The author's position is felt in the novel - the writer with pity, tenderly portrays the unfortunate little heroes. In addition, Sonya Marmeladova and Lizaveta are compared with children. Sonya is shy all the time, like a child, a “childish fright” appears on her face, like frightened children. Lizaveta had the same look before her death. If Dostoevsky endows his favorite heroes with some childish traits, this childishness means a holy soul and purity. Why do children suffer in the novel? Their suffering is a sacrifice that must be brought to this world.

Impressions from meetings with unfortunate children exacerbate Raskolnikov's hatred for the surrounding reality. The bourgeois morality of the society strengthens in him the confidence of his theory: in a society where evil reigns, the shedding of blood is allowed in conscience in the name of eradicating this evil.

ІІІ AssociationI"Children in Dostoevsky's Novel"

poor humiliated

Children in the novel

"Crime and Punishment"

without light

future disenfranchised

deprived defenseless

childhood

IN : What do you think, should the fate of children worry society? Why?

IN : Is the novel relevant in ourdays?How do children live in our country today?

Composition

All his stories and novels are a fiery river of his own experiences. This is a passionate desire to confess one's inner truth. AV Lunacharsky Fyodor Mikhailovich Dostoevsky treats his characters reverently, carefully and sincerely. Describing women and children, he, like a litmus test, tests society for a humane, fair attitude towards the weak and disadvantaged, is this why his novels always contain children - pure angelic souls who came into this world to suffer and die from the injustice and cruelty of adults? The writer is trying to find the true heroes in the surrounding reality, and in relation to the orphans and the destitute, he checks his characters, their truly human nature. The episode in the novel "Crime and Punishment" is not accidental, when Raskolnikov saves a drunk girl from a pursuer, sending her home with a policeman. Ivan Petrovich ("Humiliated and Insulted") takes an active part in saving Nelly from possible villainy in the house of the petty bourgeois Bubnova. Sonya Marmeladova (“Crime and Punishment”) goes to the panel for the sake of her stepbrothers and sisters, saving them from starvation. But the writer also brought out polemical characters: Nelly's mother, Katerina Ivanovna, in blind pride does not see the evil that they inflict on their own children. Nelly's mother does not want to "bow down" to the prince even for the sake of salvation, she prefers to die than to be indebted to this terrible man. And Nellie, a pure soul, is drawn into the bottomless abyss of poverty and grief. She well remembers the order of the “mother”: “Be poor, Nellie, and when I die, do not listen to anyone or anything. Don't go to anyone; be alone, poor, and work, but there is no work, so ask for alms, but do not go to them. It's almost a blessing on gi-5el. In a fit of madness, Katerina Ivanovna drives the children into the street to also beg for alms from passers-by. Having lost faith in justice, they push their children to death, but the humanist writer could not agree to such a fate for a child. Therefore, Svidrigailov repents ("Crime and Punishment"), ensures the future of Katerina Ivanovna's children, trying to save his soul in the face of eternity. The last months of Nelly's life are facilitated by the old Ikhmenevs ("Humiliated and Insulted"), taking the orphan into the house. But the writer does not delude himself. He understands that this is not a way out of the situation, cardinal changes are needed in society in order to protect the most defenseless? from death, to create conditions under which the unfortunate i will disappear in the first place - innocent children will stop suffering, answering for the sins of adults. In The Brothers Karamazov, Dostoevsky becomes even more uncompromising in his rejection of evil when he says through Yves to Karamazov that he rejects a future happy society if it is based on a child's tear. What a great idea But time is running, and not only children's tears are shed, but also blood. Adults can stop this if they come to their senses. F. M. Dostoevsky, the greatest humanist of the 19th century, calls for prudence in his works.