Numerology in the novel “Crime and Punishment. The magic of number in the novel by F.M. Dostoevsky "Crime and Punishment" Number 3 in Crime and Punishment
The work was done by students of grade 10 A: Salakhova Vita, Taranov Alexey, Panyukova Natalya The number "7" in the novel by F.M. Dostoevsky "Crime and Punishment" Moscow, 2014
The symbolism of the number 7 According to the teachings of the Pythagoreans, the number 7 is a symbol of holiness, health and reason, The number 7 is called the "truly holy number", since the number 7 is a combination of the number 3, symbolizing divine perfection, and the number 4, the number that is related to numbers world order. The conclusion suggests itself that the number 7 is a symbol of the "union" of God with man, a symbol of communication between God and his creation. 7 is considered a lucky number and the personification of harmony.
Associations with the number 7 Rainbow - 7 colors 7 basic notes in music musical interval, consisting of 7 steps - seventh 7 wonders of the world 7 deadly sins 7 days of the week
Number 7 in the novel The novel itself consists of 6 parts and an epilogue. The first and second parts of the novel consist of 7 chapters. 7 o'clock of the fan is a fatal time for Raskolnikov, since at this time he appoints the murder of an old pawnbroker. 7 years of hard labor - such a term is defined as a punishment for the hero of the novel. Svidrigailov lived for 7 years with his wife, Marfa Petrovna. 7 children at the tailor Kapernaumov. Raskolnikov, at the age of 7, sees a dream in which he imagines himself as a seven-year-old boy. 730 steps to the house of the old pawnbroker.
Part I “It was not long for him to walk; he even knew how many steps from the gate of his house: exactly seven hundred and thirty. (Chapter 1) “At this time, a whole party of drunkards, already already drunk, came in from the street, and the sounds of a hired hurdy-gurdy and a childish, cracked seven-year-old voice singing "Khutorok" were heard at the entrance. (Chapter 2) “And then the pouring rain rose, and Dunya, insulted and disgraced, had to travel with a peasant for seventeen miles in an uncovered cart.” (Chapter 3) “... and my credit suddenly increased, and I probably know that Afanasy Ivanovich will believe me now, on account of the pension, even up to seventy-five rubles ...” (Chapter 3) ““ Twenty policeman, three Nastasya for the letter, - “That means that yesterday he gave the Marmeladovs forty-seven or fifty kopecks,” he thought, counting for something, but soon forgot even why he pulled the money out of his pocket. (chapter 5) "He is about seven years old and walks on a holiday, in the evening, with his father outside the city." (chapter 5)
“Come back tomorrow, at seven o'clock, sir. And they will come." (Chapter 5) “He found out, he suddenly, suddenly and completely unexpectedly found out that tomorrow, at exactly seven o’clock in the evening, Lizaveta, the old woman’s sister and her only concubine, would not be at home and that, therefore, the old woman, at exactly seven o’clock in the evening, she will stay at home alone. (Chapter 5) "Gives four times less than the cost of the thing, and takes five and even seven percent a month, etc." (Chapter 6) "- This hour is long ago!" (chapter 6)
Part II "He was twenty-seven years old." (Chapter 4) "Others were over forty, but there were also seventeen years old, almost all with black eyes." (Chapter 6) “Pochinkov’s house, number forty-seven, in the apartment of the official Babushkin ...” (Chapter 6)
Part III “He spoke with extraordinary concern, but with restraint and somehow intensely serious, just like a twenty-seven-year-old doctor at an important consultation ...” (Chapter 1) they carried her through the corridor from the kitchen ... "(Chapter 2) "They got up at seven o'clock or even earlier." (Chapter 2) 3)
Part IV “I used the whip, in all our seven years, only twice…” (chapter 1) “(I owed seventy thousand in total)” (chapter 1) “I didn’t leave the village for seven years.” (Chapter 1) “And I really, all seven years, started this watch myself every week, but if I forget it, it always reminds me.” (chapter 1) "There the seven-year-old is depraved and a thief." (chapter 4)
Part V “Von Varents lived with her husband for seven years, left two children, cut off her husband at once in a letter ...” (Chapter 1) “Come to me here at seven o'clock that way.” (Chapter 1)
Part VI “I lived for seven years in the village with Marfa Petrovna, and therefore, having now pounced on a smart person like you ...” (Chapter 3) years and lashed out.” (Chapter 4) “I, Rodya, killed myself six or seven days ago, looking at your dress, how you live, what you eat and what you wear.” (chapter 7)
Epilogue “(Three hundred and seventeen silver rubles and three two kopecks were found in the purse; some of the upper, largest, pieces of paper were extremely spoiled from a long lying under a stone)” (Chapter 1) “They had another seven years left; until then, so much unbearable torment and so much endless happiness!” (chapter 2) "Seven years, only seven years!" At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days. » (chapter 2)
Thank you for your attention!
and literature
1. Introduction
About numerology 1
2. Numerology in Dostoevsky's novel "Crime and Punishment"
2.1 Number four 4
2.2 Number three, thirty -
2.3 Number eleven 5
2.4 Number seven -
3. Conclusion
What did numerology help me understand in Dostoevsky's novel
"Crime and Punishment" 7
4. References 8
Numerology is the parascience of numbers. It is often called the magic of numbers.
Numerology has its roots in ancient times - even primitive tribes used numbers. Consciously or unconsciously, people obey her: an odd number of flowers in a bouquet, especially in Germany, where flowers are most often sold in 10 pieces, a service for six or twelve people, repeat three times. Numerical magic is reflected in superstitions: in many countries there are no planes with tail number 13, no floor with the number "13", no 13th room in hotels, etc.
In numerology, certain properties, concepts and images are assigned to each single-digit number. Numerology is used in the analysis of a person's character in order to determine the character, natural talents, strengths and weaknesses, predict the future, choose the best place to live, discover the most appropriate time for making decisions and for action. Some people also use numerology to choose their partners - in business, marriage, and also in society.
Story.
Now it is impossible to establish exactly when numerology was born, for the reason that in ancient times (in Babylon, India, Egypt, Greece and Rome) such a separate area of \u200b\u200bknowledge was not distinguished. In those days, the philosopher and mathematician easily understood each other and did not think of their sciences as being separated from each other by impenetrable barriers. Therefore, the same scientists studied numbers from the point of view of both philosophy and mathematics. Plato and Aristotle demanded that their students be proficient in mathematics, and most of the mathematicians of antiquity were well acquainted with the philosophy of their time.
Provisions of Pythagoras
The main provisions of the current version of Western numerology were developed in the VI century BC. e. the ancient Greek philosopher and mathematician Pythagoras, who combined the mathematical systems of the Arabs, Druids, Phoenicians and Egyptians with the sciences of human nature
Reducing numbers to digits
Various systems have been developed to reduce large numbers to elementary ones. The simplest and most popular method for obtaining these digits from numbers is to add all the decimal places of this number, then, if 10 or more is formed, add these digits as well. This process is continued until an elementary number from 1 to 9 is obtained (in some variants of numerological calculations, two-digit numbers 11 and 22, also called dominant, are not reduced to single digits). Any number can be subjected to such an “analysis”: date of birth, phone number, apartment number, etc. Mathematically, this procedure is equivalent to replacing the original number with its remainder of an integer division by 9.
From a numerological point of view, time moves in endlessly repeating cycles from 1 to 9. Within centuries and decades, each new year brings with it a new number. Days and months within a year can also be divided into cycles.
The connection between numerology and the Bible
As one of the ways to resolve a difficult life situation, some numerologists recommend writing down the problem on paper, calculating the full numerological number from the numerological table, and further searching for clues from the Bible text. As the clearest example of the effectiveness of this method, the coincidence associated with King Solomon is used: the numerological addition of the phrase "King Solomon" gives the resulting number 11. And it is in the 11th book of the Bible (3rd Book of Kings), in the first 11 chapters (not counting individual mentions in 2 Samuel), a biography of King Solomon is given, and chapter 11 verse 11 gives the reason for Solomon's punishment by God. However, such coincidences are quite rare, and they have to be purposefully searched for.
In fairy tales and myths of many nations, the numbers 3, 7, 12 are widely used.
Pythagoras told his students that numbers rule the world. His numerological teaching was based on the axiom that numbers hide and contain the secret of the universe. Plato, true to the Pythagorean tradition, concluded that the mathematical code - an integral property of the universe - underlies all phenomena. Ideas expressed by numbers are absolute, unchangeable and perfect. The secret series of numbers is small, there are only eleven of them. They are 1, 2, 3, 4, 5, 6, 7, 8, 9, 11 and 22.
Odd numbers speak of the processes of beginning and creation and are considered feminine, while even numbers speak of the processes of completion and maturation and are considered masculine. Each number embodies some idea, and which one and how you can use the numerology of numbers in our daily life - this is what the science of numerology tells about. Every person is a mystery, and numerology gives us the key to the cipher, the secret code.
The soul of each person is associated with its individual numerological code. Numerical ratios bring both good, joy and prosperity, as well as evil, grief and decline. A person who has comprehended the mystical meaning of his numerological code becomes a free creator of his own destiny. Each person in its versatility is like a nesting doll or a huge palace with a suite of halls, and not a single number can be the only key to his fate. Our destinies are influenced by the numerology of the first name, patronymic and last name, day and month of birth, year of birth and hour, address and documents, car and telephone numbers. Each vibration is a key to one of the doors of the palace of our destiny, a secret numerological code to one of the aspects of our life, for example - numerological compatibility.
As we know, Pythagoras, his students and followers reduced all numbers to numbers from 1 to 9 inclusive, since they are the original numbers from which all others can be obtained (this is the system that modern numerology has adopted).
Various systems have been developed to reduce large numbers to elementary ones. The simplest method is to add up all the digits of that number, then if there are 10 or more, add those digits as well. This process is continued until an elementary number from 1 to 9 is obtained (the value of the received number is interpreted further).
As a simple example, we take the number 125. We decompose it like this: 1+2+5=8. Thus, 8 will represent the vibrating symbol 125. Let's take the "animal number" from the Apocalypse - 666. Add: 6+6+6=18, and then 1+8=9. This is a very appropriate vibration considering the universal influence represented by the number 9.
A more complex example is the number 684371. We add: 6+8+4+3+7+1=29; further: 2+9=11; further 1+1=2. Thus, 2 becomes the vibrating symbol for this number.
The sum of 13 will be reduced to 4 (1+3) as well as 31 (3+1). None of these numbers will have any other vibrating meaning than that represented by the final number 4.
Numerology is used in the modern world in various areas of life.
In Dostoevsky's novel "Crime and Punishment" I was interested in the figures that are constantly repeated there. Having learned that Dostoevsky knew the Gospel and Russian folklore well, I decided to look at the novel through the prism of numerology, observe the magic of numbers, and analyze them.
"...therefore, in fourth floor, along this staircase and on this landing, for a while, only one old woman's apartment remains occupied.
L. Downer drew attention to the number "four" often repeated in the novel: "However, since Raskolnikov's painful hesitation, symbolizing his mental discord and moral confusion, should still represent his possible mental and moral integrity, the stairs and the number four are connected, so how the staircase literally leads to a certain repeating level of height - to the fourth floor.
The victim's apartment is on the fourth floor of the building; Raskolnikov hides the stolen things in the yard where a four-story house is being built; Marmeladov's miserable room is on the fourth floor; the police office is on the 4th floor of this building, and Raskolnikov heads to the fourth room. In each case, this setting marks a critical moment in Raskolnikov's psychic evolution: the murder, the search for a hiding place (hideout), the first meeting with Sonya, and the final confession. After the crime, Raskolnikov was in a delusional state for four days. In the story of the resurrection of Lazar, which Sonya reads to Rodion Raskolnikov, Lazar was dead for four days. This story is placed in the 4th Gospel (the Gospel of John). Raskolnikov has four main delusions. Thus, we have eight (twice four) manifestations of the number "4", all associated with Raskolnikov's crime, his guilt and confession.
The number 4 is fundamental. There are 4 seasons, four directions, four cell stages in embryonic development, four stages of human life, four "worlds", four "elements".
To this it should be added that the symbolism of numbers in Dostoevsky's works, in particular in Crime and Punishment, goes back to folklore and biblical numerical symbolism: the four cardinal directions are Sonya's words: "stand at the crossroads, bow, kiss the earth first ... bow all over the world in all four directions"; four gospels. B - 4 animals; 4 angels, 4 corners of the earth, 4 winds; 4 names of Satan; 4 items created by God; 4 names of the people, etc.
After citing numerous examples of the "strikingly stable image" of four-story houses and the fourth floor in Crime and Punishment, he concludes: "This four-term the vertical structure is semantically confined to the motifs of narrowness, horror, violence, poverty, and thus is opposed to the four-term horizontal structure (on all four sides), associated with the idea of space, goodwill, salvation. This second, sacred aspect of numbers, opposed to profane numbers, suitable only for "low life", again brings us back to the archaic schemes of myth-thinking and, in particular, to the practice of ritual measurements of the main parameters of the world. And in Dostoevsky, the number is introduced into the world and determines not only the size, but also its highest essence. To approach it, to penetrate it, the fullness of life is necessary.
Probably, Dostoevsky was also familiar with the teachings of the Pythagoreans, followers of the ancient Greek philosopher Pythagoras, who assigned secret meanings to various numbers. The Pythagoreans claimed that numbers are the basic beginning and essence of things, and they defined in detail the quality and types of numbers, creating the Pythagorean mathematical symbolism and the mysterious mysticism of numbers.
«… thirty rubbed the rubles silently.
Folklore-Gospel number "three" (in folklore - three roads, three meetings, three sons, three obstacles; in the Gospel - three denials of Peter, Jesus at the Lake of Gennesaret turned to Peter with a question 3 times, 3 years the owner was looking for fruits on a fig tree) plays a significant role in the novel Crime and Punishment. Marfa Petrovna left Dunya three thousand rubles in her will, Sonya gave Marmeladov her last thirty kopecks for a hangover, and he, like Katerina Ivanovna before, to whom Sonya “silently laid out thirty rubles”, could not help but feel like a Judas in this shameful minute for himself . Marfa Petrovna ransomed Svidrigailov for thirty thousand pieces of silver, and he betrayed her (he attempted on her life), as he once betrayed, according to the gospel story, Judas Christ for 30 pieces of silver; Svidrigailov wanted to offer Dunya "up to thirty thousand." Raskolnikov rang the old woman's bell three times, hit her three times with an axe. Raskolnikov's "Three Meetings" with Porfiry Petrovich condense the philosophical content of the novel. On the third day after the murder, "the most unexpected fact is suddenly announced"; Dunya shoots in three steps; Sonya Svidrigailov gives three tickets; Razumikhin waits three hours for Raskolnikov to wake up; “Three times” Marfa Petrovna came to Svidrigailov; Sonya has three roads, Raskolnikov thinks, when she stood three paces from the table; Svidrigailov talks about three thousand; Sonya has a "large room with three windows", etc.
In the State Library of the USSR named after there is a copy of the Gospel, donated to Dostoevsky in Tobolsk by the wives of the Decembrists before sending the Petrashevites to hard labor. Dostoevsky kept this gospel until the end of his life. Separate marks testify that the writer singled out gospel numbers as well.
« It was almost eleven hours…"
The repeated reference to eleven o'clock in the novel is directly related to the gospel text. “It was past eleven when he went out into the street,” Dostoevsky notes the time Raskolnikov left the deceased Marmeladov. And here is the time of coming to Sonya: “I'm late ... Is there eleven o'clock? he asked, still not looking up at her. “Yes,” Sonya muttered. - Oh yes, there is! - she suddenly hurried, as if this was the whole outcome for her, - now the owners have struck ... and I myself heard ... Yes.
After visiting Sonya, “the next morning, at exactly eleven o’clock, Raskolnikov entered the house of the first unit, the department of the bailiff of investigative affairs, and asked Porfiry Petrovich to report on himself.”
The number 11 is not accidental here. Dostoevsky well remembered the gospel parable that "the kingdom of heaven is like the owner of the house, who went out early in the morning to hire laborers in his vineyard." He went out to hire workers at the third hour, at the sixth, at the ninth, and finally went out at the eleventh. And in the evening, when paying, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the latter became the first in fulfillment of some higher justice.
Dostoevsky could hear the same gospel parable in the sermon of St. John Chrysostom, read in Orthodox churches during Easter matins.
Referring Raskolnikov's meeting with Marmeladov, Sonya and Porfiry Petrovich to 11 o'clock, Dostoevsky recalls that it is still not too late for Raskolnikov to confess and repent at this gospel hour and become the first from the last who came at the eleventh hour. (It was not without reason that for Sonya the “whole outcome” was that at the moment Raskolnikov came to her, the Kapernaumovs struck 11 hours.)
"Come, tomorrow, at one o'clock seventh» .
The number 7 is the most stable and apparently symbolic number in Crime and Punishment. The novel itself is seven-membered (6 parts and an epilogue), the first two parts consist of seven chapters each, the fatal time for Raskolnikov is 7 o'clock yesterday. The number 7 literally haunts Raskolnikov: "At seven o'clock, tomorrow"; “He found out, he suddenly, suddenly and completely unexpectedly found out that tomorrow, at exactly seven o’clock in the evening, Lizaveta, the old woman’s sister and her only concubine, would not be at home and that, therefore, the old woman, at exactly seven o’clock in the evening, stay at home alone"; “He had just taken out a mortgage, when suddenly someone shouted somewhere in the yard: “This hour has long been!”
And the number 7 here, of course, is not accidental. According to the teachings of the Pythagoreans, the number 7 is a symbol of holiness, health and reason. Theologians call the number 7 "a truly holy number", since the number 7 is a combination of the number 3, symbolizing divine perfections, and the number 4, the number, the number of the world order; therefore, the number 7 itself is a symbol of the "union" of God with
man, a symbol of communion between God and his creation. The Bible says that on the 7th day, after six days of creation, God rested. “And every clean cattle… by seven, male and female,” Noah must take into the ark (First Book of Moses, Genesis, ch. 7). There were 7 good years in Egypt and 7 bad ones too. Every 7th day and every 7th year are holy, and after 7x7 years there is a year of jubilee, etc., etc.
It can be assumed that by “sending” his hero to kill precisely at 7 o’clock, Dostoevsky thereby dooms him to defeat in advance, since he wants to break the “union” of God and man. That is why, in order to restore this "union" again, in order to become a man again, Raskolnikov must again go through this "truly holy number." Therefore, in the epilogue of the novel, the number 7 appears again, but not as a symbol of death, but as a saving number: “They still had seven years left; until then, so much unbearable torment and so much endless happiness! Seven years, only seven years! At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days.
Raskolnikov's double, Svidrigailov, also lived with Marfa Petrovna for seven years, but for him they were not like seven days of happiness, but like seven years of hard labor. It is curious that Svidrigailov persistently mentions these seven years in the novel: “... in all our seven years ...”, “I didn’t leave the village for seven years”, “... for all seven years I started every week ...”, “I lived without a break for seven years ... " etc.
We can also note the seven children of the tailor Kapernaumov, the seven-year-old voice singing "Khutorok", Raskolnikov's dream when he imagines himself as a seven-year-old boy, seven hundred and thirty steps to the old woman's house, seventy thousand debts of Svidrigailov, etc.
In the article "The Magic Number Seven Plus or Minus Two", the American psychologist J. Miller, using extensive experimental material, showed the limitations of a person's working memory, which can operate with no more than seven symbols or objects at the same time. The Soviet researcher O. Riess rightly writes that among the sevenfold combinations that intrigued Miller, known in nature, everyday life, mythology, etc. (seven days of the week, seven primary colors, seven tones of the musical scale, seven wonders of the world, seven daughters of Atlanta etc.), it is necessary to add a pearl of folk wisdom - a solid advice to measure or check seven times before you want to do something important.
Thus, the main task of numerology is human life. And I was convinced that Dostoevsky did not accidentally use the symbolism of numbers. He strives to either strengthen the motives of narrowness, horror, violence, poverty with the help of them, or to focus on the folklore and gospel meaning of the numbers "three", "seven", "eleven" and reveal the motives of betrayal, the opportunity to repent, doom to defeat.
It seems to me that it was numerology that helped me more deeply into the characters of the characters, their behavior.
Bibliography
1. . M. "Enlightenment", 1980
2. "Crime and Punishment". Comments. M. "Enlightenment", 1980
3. "The life and work of F. M. Dostoevsky". M. "Children's Literature", 1979
4. Lebedev. 2 v. M. "Enlightenment", 1992
5. “Studying Dostoevsky’s novel “Crime and Punishment” at school. Izh., 1971
6. "". L. "Enlightenment", 1971
7.http://www. /numerology/numerology. html
What number plays a significant role in F. M. Dostoevsky's novel "Crime and Punishment"? and got the best answer
Answer from Anna[guru]
11, 7, 4, 3 - they are there, symbolic numbers, to a fig))) for example, referring Raskolnikov’s meetings with Marmeladov, Sonya and Porfiry Petrovich to 11 o’clock, Dostoevsky recalls that it is still not too late for Raskolnikov to throw off his obsession, even it is not too late in this gospel hour to confess and repent and become the first from the last who came at the eleventh hour. (Not without reason for Sonya was "the whole parish" in the fact that at the moment Raskolnikov came to her, eleven o'clock struck at the Kapernaumovs.)
7 - it can be assumed that by "sending" his hero to kill at exactly seven o'clock, Dostoevsky thereby dooms him to defeat in advance, since he wants to break the "union" of God with man. That is why, in order to restore this "union" again, in order to become a man again, Raskolnikov must again go through this "truly holy number". Therefore, in the epilogue of the novel, the number 7 appears again, but not as a symbol of death, but as a saving number: “They still had seven years left; but until then, so much unbearable torment and so much endless happiness!< . .>Seven years, only seven years! At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days. The double of Raskolnikov, Svidrigailov persistently mentions in the novel: “. . All our seven years. .”, “I didn’t leave the village for seven years”, “. . All seven years every week he wound up. .", ". . Lived without a break for seven years. ."
also - the seven children of the tailor Kapernaumov, the seven-year-old voice singing "khutorok", Raskolnikov's dream when he imagines himself as a seven-year-old boy, seven hundred and thirty steps from Raskolnikov's house to the old woman's house, seventy thousand Svidrigailov's debt.
4 - citing numerous examples of the "astonishingly stable image" of four-story houses and the fourth floor in Crime and Punishment, the super-philologist Toporov concludes: "This four-term vertical structure is semantically timed to the motives of narrowness, horror, violence, poverty, and thus is opposed to the four-term horizontal structure (on all four sides), associated with the idea of space, goodwill, salvation. This second, sacred aspect of numbers, opposed to profane numbers, suitable only for "low life", again brings us back to the archaic schemes of myth-thinking and, in particular, to the practice of ritual measurements of the main parameters of the world. And in Dostoevsky, the number is introduced into the world and determines not only the size, but also its highest. To approach it, to penetrate it, the fullness of life is necessary.
3 - of course, too) . Its connection with gospel motifs is undeniable. So, for example, Marfa Petrovna ransomed Svidrigailov for thirty thousand pieces of silver, as once betrayed, according to the gospel story, Judas Christ for thirty pieces of silver. Sonya took out her last thirty kopecks to Marmeladov for a hangover, and he, as before Katerina Ivanovna, whom Sonya “silently laid out thirty rubles”, could not help but feel like a Judas in this shameful minute for him.
the last two numbers are so ... universal. 4 in general is of fundamental importance (4 seasons, 4 directions, four-cell stages in embryonic development, 4 stages of human life, 4 "worlds", 4 elements.
The symbolism of numbers in Dostoevsky's work, of course, goes back to folklore and biblical numerical symbolism.
In the revelations of John the Theologian - 4 animals; 4 angels, 4 corners of the earth, 4 winds; 4 names of Satan; 4 items created by God; 4 names of the people, etc.
Folklore - Evangelical number "three" (in folklore - 3 roads, 3 meetings, 3 sons, 3 obstacles; in the Gospel - 3 denials of Peter, Jesus at the Lake of Gennesaret turned to Peter with a question 3 times, etc.) even for a reason. And which one is the most significant?
Anna
Enlightened
(21572)
Well, why not)) there will be a duel))
Answer from Biakya[guru]
There are three numbers -3;7; and 30
Answer from User deleted[guru]
seven
Answer from 2 answers[guru]
Hello! Here is a selection of topics with answers to your question: What number plays a significant role in F. M. Dostoevsky's novel "Crime and Punishment"?
The numerical symbolism of "Crime and Punishment" as a key to understanding the ideological problems of the novel by F.M. Dostoevsky.
The novel by F.M. Dostoevsky "Crime and Punishment" was and is treated differently by both readers and critics. Dostoevsky can rightly be called a psychologist of the soul. LN Tolstoy noted that the genius of Dostoevsky is undeniable, he feels the slightest psychological nuances of the state of his heroes. The writer was not understood during his lifetime, the problems that tormented him turned out to be inaccessible to understanding by his contemporaries, and his prophecies seemed to be a figment of the imagination. Dostoevsky "leads" us to the knowledge of life in a special, hard-won way and teaches us readers to look for the spark of good in every person. The questions that worried the writer are age-old, old as the world, and new as tomorrow. In the work, the author tried to solve such complex moral problems: the protection of the disadvantaged, the manifestation of mercy and humanism, love for people, faith and unbelief, moral choice and self-improvement. All these questions cannot leave us indifferent.
Dostoevsky is considered to be a humanist writer.. In the center of the novel is an extraordinary, mysterious personality - Rodion Romanovich Raskolnikov. He is somewhat similar to E. Bazarov, a student who dreams of education, a certain business, usefulness to society. Raskolnikov knows how to feel someone else's pain and compassion, to feel someone else's misfortune more acutely than his own.. The writer was interested in how such a humane, compassionate person decides to kill, why it is committed, what pushed the hero onto this path, where the will comes from, how their brain and heart work when committing a crime. Who are these people who take on so much human life, in the name of which such atrocities are committed? Dostoevsky penetrates into the soul of a criminal and behind the idea of deluding a good heart, killing for the love of people, discovers the most terrible and monstrous idea - the "idea of Napoleon", dividing humanity into two unequal parts: the majority - "trembling creature" and the minority - "rulers", called from birth to govern the majority, standing outside the law and having the right.
The composition of the novel is built on the debunking of this idea. Dostoevsky tells us, the readers, what is the fallacy of Raskolnikov's theory. In the novel, Raskolnikov was looking for proof of the moral law in a logical way and did not understand that the moral law does not require proof, must not, cannot be proved, because it receives its supreme sanction not from outside, but from itself. Why is the personality of every person a sacred thing? No logical basis can be given for this - such is the law of human conscience, the moral law. The writer leads us to the idea that conscience, nature turned out to be stronger than theory, despite its logical invulnerability. In order to show the enormity of this theory, the writer created a new geometry of art, supplementing the Euclidean three-dimensional world with the "fourth dimension" - spirituality. Everything here is in the style of Dostoevsky: both the portrait and the landscape, the place and time of the action - obey the laws of the "fourth dimension".
V. Belov in the comments to the novel noted: “Each hero of “Crime and Punishment” has his own purely individual language, but they all speak the “one” language - the language of the “fourth dimension” of the writer. In the world of Dostoevsky, time, like space, is a function of human consciousness, it is spiritualized and can, depending on the spiritual state of the characters, either stretch endlessly, or shrink, or almost disappear.. Not without reason, in one of the draft notebooks for Crime and Punishment, Dostoevsky writes: “What is time? Time does not exist; time is numbers, time is the relation of being to non-being.” Therefore, even such, at first glance, an insignificant detail as the numbers repeated in Crime and Punishment, which are important for revealing the ideological problems of the novel, is very important..
The basis of our research work was, first of all, a careful reading of a literary work and the text of the Gospel, which F.M. Dostoevsky repeatedly refers to in his work. And, of course, in our work we also turned to critical literature, which helped us to draw the most important conclusions on the stated topic.
Symbolism is an important toolForrevealing the position of the author. The use of symbolism of numbers is one of the most complex and at the same time one of the most refined, extraordinary artistic techniques. Sometimes what Dostoevsky does not directly say is supplemented by numbers that reveal the characteristics of a particular hero.. It is they who often allow the reader to immerse themselves in the atmosphere that reigns in the work, to come closer to understanding the author's intention..
The purpose of the work is: to consider the numerical symbolism of "Crime and Punishment" as a key to understanding the ideological problems of the novel by Fyodor Mikhailovich Dostoevsky.
To achieve this goal, we set the following tasks:
1. Research and reveal the meaning of the numbers "3; 4; 7; 11; 30" in the disclosure of the ideological issues of the novel.
2. Classify digital characters based on the analysis of the text of the novel.
3. Compare the characters and events of the novel "Crime and Punishment" with the text of the Gospel.
4. Through the symbolism of numbers, show the complexity and depth of the novel.
In the novel, the number-symbol is the main cipher of the novel. It is known that Christian motifs for Dostoevsky's work are traditional, so you can trace the connection of the numbers "4, 3, 7, 11, 30" with the gospel texts and correlate them with the text of the novel. Let's comment on them. Most often in "Crime and Punishment" the number "7" is repeated. Let's try to figure out what events make it especially significant and symbolic? We know that the number "7" is often found in everyday life, and in nature, and mythology: there are seven days of the week, seven primary colors, seven wonders of the world, seven daughters of Atlanta, etc.
Note that the novel consists of 6 chapters and an epilogue: in the first and second parts - 7 chapters each. Raskolnikov's "double", Svidrigailov, also lived with Marfa Petrovna for seven years, but for him they were not like seven days of happiness, but like seven years of hard labor. It is curious that Svidrigailov persistently mentions these seven years in the novel: "... in all our seven years ...", "I did not leave the village for seven years."
All fatal events in R's life occur at seven o'clock: He suddenly found out that tomorrow, at exactly seven o'clock in the evening, Lizaveta, the old woman's sister and her only concubine, would not be at home and that, therefore, the old woman, at exactly seven in the evening, would remain alone at home.” “Just as he took out the mortgage, when suddenly someone shouted somewhere in the yard: “It’s been seven o’clock a long time ago.”By “sending” Raskolnikov to murder precisely at 7 pm, Dostoevsky dooms him to defeat in advance, because this is done against God. For the protagonist, this is a "fatal number."“In the epilogue, the number “7” reappears in order for Rodion to repent in hard labor, get rid of the former criminal and become a man again. Raskolnikov reads the Gospel, and Dostoevsky reminds: “This book ... was the one from which it<Соня>read to him about the resurrection of Lazarus "and at the end of the novel, the number "7" is no longer a symbol of death, but a saving number. They still had seven years left; and until then, so much unbearable torment and so much endless happiness!<...>Seven years, only seven years! At the beginning of their happiness, at other moments, they were both ready to look at these seven years as if they were seven days.
Analyzing "Crime and Punishment", we paid attention to how the number "4" helps to reveal the inner world of the characters, their attitude to the surrounding reality. Raskolnikov has four main dreams, and after the crime, Raskolnikov is in a delusional state for four days. Also, the stairs and the number "4" are interconnected, since the stairs lead to a certain repeating level of height - to the fourth.The victim's apartment is on the fourth floor of the building; Raskolnikov hides the stolen items in the yard where a four-story house is being built; Marmeladov's miserable room is on the 4th floor; the police office is located on the 4th floor of this building.
V.N. Toporov concludes: “This four-membered vertical structure is semantically confined to the motifs of narrowness, horror, violence, poverty, and thus is opposed to the four-membered horizontal structure associated with the idea of space, good will, salvation. And in Dostoevsky, the number is introduced into the world and determines not only its dimensions, but also its highest essence.
Let us pay attention to the fact that the reading about Lazar takes place four days after the crime of Raskolnikov, that is, four days after his moral death. Yu. I. Seleznev notes: “The following detail is also significant: Sonya still does not know that Raskolnikov is a murderer, she only feels that he is “out of life.” Reading to him about the resurrection of Lazarus: “The sister of the deceased Martha says to him:“ Lord He stinks already, for four days he has been in the tomb. She hit the word "four" vigorously.If we remember that there is a direct connection between Raskolnikov's closet-coffin and his "coffin" idea, if, moreover, we recall that Raskolnikov himself "stinks for four days" - from the day of the crime, then the existence of the word and the image he creates simultaneously in two stylistic plans - current and eternal - becomes clear"
Thus, the number "4" is associated with Raskolnikov's crime, his guilt and confession.
We also identified a range of associations associated with the number "3". This number can be considered both folklore and evangelical at the same time. Many important events are connected with him: at the age of 30, Jesus began his ministry on earth; According to the Gospel, the price for which Judas Iscariot betrayed his teacher Jesus Christ is thirty pieces of silver. "Thirty pieces of silver" means payment for betrayal.
The numbers "3.30" play a significant role in the novel "Crime and Punishment": Marfa Petrovna bought Svidrigailov out of the debt hole for 30 thousand, and he betrayed her; she left Dunya three thousand rubles in her will; at nine o'clock in the evening Sonya laid out 30 rubles in front of Katerina Ivanovna; Marmeladov took out her last thirty kopecks for a hangover, and he, as before Katerina Ivanovna, whom Sonya “silently laid out thirty rubles”, could not help feeling like a Judas in this shameful minute for him. Raskolnikov rang the old woman's bell three times, hit her three times with an ax, and so on..
We believe that the introduction of this number, as well as others, was not accidental and has several meanings: firstly, it is a symbol of misfortune, secondly, it is a symbol of renewal and hope, and thirdly, the mentions in the text of this number are connected with betrayal.
The number “11” has a symbolic significance in the work, and it is directly connected with the gospel text-parable that “the kingdom of heaven is like the owner of the house, who went out early in the morning to hire workers in his vineyard. He went out to hire workers at the third hour, at the sixth, at the ninth, and finally went out at the eleventh. And in the evening, when paying, the manager, by order of the owner, paid everyone equally, starting with those who came at the eleventh hour. And the last became the first in fulfillment of some higher justice. Referring Raskolnikov's meeting with Marmeladov, Sonya, Porfiry Petrovich to 11 o'clock, Dostoevsky recalls that it is not too late at this gospel hour to confess and repent, and to become the first from the last who came at the eleventh hour..
Thus, the number "11" is the number of supreme justice, with which all noble deeds and repentance are associated.
Summing up my work, I would like to say that a significant place in the artistic world of Dostoevsky is occupied by symbolic images. It can be noted that Dostoevsky F.M., referring to the symbolism of numbers, affects the conscious and subconscious level of perception of the text.Analyzing the work, one can be convinced that the numbers carry a huge symbolic load. Therefore, we traced the filling of numbers, established the connection of numbers with the problems, the heroes of the work., Determined the symbolism and functions of numbers in the novel.We were convinced that Dostoevsky is indeed the greatest connoisseur of the human soul, depicting heroes in their complex spiritual development. The main idea of Dostoevsky's novel is a protest against all kinds of anti-human theories. The writer makes us readers think about what terrible consequences the “idea of permissiveness” can have when moral laws can be transgressed for the sake of a great goal, and teaches “cautious handling” of social theories that can ignite in the souls of people, enslaving their consciousness and will. turning them into soulless performers.
Fundamental in "Crime and Punishment" is the idea of the tragic consequences of violation of the moral law both for the individual and for all mankind as a whole.The symbolism is divided between two poles of semantic opposition: the ideas of moral nihilism and the idea of moral renewal of people. In the image of Raskolnikov, Dostoevsky executes the denial of the sanctity of the human person and shows with the whole content of the novel that any human person is sacred and inviolable and that in this respect all people are equal. Therefore, the poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the "superman" from the criminal theory and his familiarization with the world of people.Chingiz Aitmatov wrote: "And in today's world with its atomic bombs ... torn apart by racial problems and rampant violence, Dostoevsky's alarming alarm hums incessantly, calling for humanity, humanism."
Bibliography.
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2. Belov S.V. Do not kill. //Baikal.- 1981.- No. 1.- 127 - 130s.
3. Belov. S. V. Dostoevsky's novel "Crime and Punishment". 4.Belov S.V. Non-random words and details in "Crime and Punishment" / / Russian speech. - 1975. - No. 1. - 40s.
5. Dostoevsky F.M. Crime and Punishment. - Sverdlovsk, 1972.-424p.
6. Karasev L.V. On the symbols of Dostoevsky. // Questions of Philosophy.- 1994.- №10.-90-111s.
7.Karyakin.Yu.N. Somo deception of Raskolnikov. The novel by F.M. Dostoevsky "Crime and Punishment". - M.: Art.lit., 1976.-158s
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Sections: Literature
- through numerical symbolism to show the complexity and depth of Dostoevsky's novel, the role of biblical motifs in the novel "Crime and Punishment";
- formation of skills of independent research work;
- to instill an attentive attitude to the text, to educate a competent, thinking reader.
Work form: group, individual
Working methods: observation, research, “immersion” in the text.
The goal is to explore the symbolic meaning of the number 7, find confirmation in the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 4, find confirmation in the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 11, find confirmation in the text of the entire novel, and present the results.
The goal is to explore the symbolic meaning of the number 30, find confirmation in the text of the entire novel, and present the results.
The goal is to find key words, sentences, phrases in the text of the novel that confirm the phrase (see below).
Individual tasks
- Analyze Raskolnikov's dream in the epilogue and correlate it with the Gospel, draw conclusions. When does true repentance occur?
- Consider the symbolic meaning of the word "BRIDGE"
During the classes
1. The word of the teacher. Message about the purpose of the lesson.
Image-symbols are those key vertex points around which the action of the novel "Crime and Punishment" is concentrated. Acquaintance with the gospel text will help us comprehend the entire philosophical and poetic system of the writer. The poetics of the novel is subordinated to the main and only task - the resurrection of Raskolnikov, the deliverance of the "superman" from the criminal theory, and his familiarization with the world of people.
Dostoevsky was influenced by the Gospel not only as a religious and ethical book, but also as a work of art. In 1850, in Tobolsk, before being sent to hard labor, the wives of the Decembrists presented Dostoevsky with a copy of the Gospel. It was the only book allowed in prison. Dostoevsky recalls: “They blessed us on a new path and baptized us. For four years this book lay under my pillow in hard labor. After hard labor, Dostoevsky convinces himself that Christ is the embodiment of purity and truth, the ideal of a martyr who took upon himself the salvation of mankind.
The symbolism of the novel is connected with the gospel parables. Let's present the results of our research.
2. Student performances. Submit your research text.
Group results
As we can see, Dostoevsky does not accidentally use this number in the novel. The number 30 is associated with a parable in which Judas betrayed Christ for 30 silver coins.
Group results
The number 7 is also the most stable and frequently repeated in the novel. The novel has 7 parts: 6 parts and an epilogue. The fatal time for Raskolnikov is 7 pm. The number 7 literally haunts Raskolnikov. Theologians call the number 7 a truly holy number, since the number 7 is a combination of the number 3, symbolizing divine perfection (Holy Trinity) and the number 4, the number of the world order. Therefore, the number 7 is a symbol of the "union" of God and man. Therefore, by “sending” Raskolnikov to the murder at exactly 7 pm, Dostoevsky dooms him to defeat in advance, since he wants to break this union. 
That is why, in order to restore this union, in order to become human again, the hero must again pass through this truly holy number. In the epilogue of the novel, the number 7 appears, but not as a symbol of death, but as a saving number.
Group results
The number 4 is often repeated in the novel. The stairs and the number 4 are connected, since the stairs lead to a certain repeated level of height - to the fourth.
In each case, this setting marks a critical moment in Raskolnikov's psychic evolution: the murder, the search for the hiding place, the first meeting with Sonya, and the final confession.
Conclusions: The number 4 is fundamental. There are four seasons, four gospels, four cardinal points. Here, for example, are Sonya's words: "Stand at the crossroads, bow to the whole world on all four sides."
The reading about Lazar takes place four days after Raskolnikov's crime, i.e. four days after his moral death.
The connection between Raskolnikov and Lazar is not interrupted throughout the novel. Raskolnikov's room is likened to a coffin more than once. Under the stone he buried the loot. The words of Christ “take away the stone” mean: repent, confess your crime.
The juxtaposition with Lazarus is developed deeply and consistently in the novel.
Group results
If we write out from Crime and Punishment all the places where Raskolnikov is somehow likened to dead, then in each quote there will be any one sign of the deceased, all together they will make up a complete description of him. The writer first described the dead man in one sentence, which he then broke up and scattered debris throughout the book. And if you collect the pieces, picking one up to the other, as children make up a cut picture, then the following will be revealed:
A pale dead man lies in a coffin, they hammer the coffin with nails, carry him out, bury him, but he rises again.
Here is how the “wreckage” of this imaginary phrase is laid out:
Dostoevsky constantly emphasizes the pallor of Raskolnikov.
“all pale as a handkerchief”
“he turned terribly pale”
“turned his deathly-pale face towards her,” etc.
The adjective "dead" follows Raskolnikov like a shadow, and he himself is constantly likened to the dead.
“he stopped and fell silent as if dead”, etc.
Raskolnikov often rolls around and lies motionless
“He lay down on the sofa and turned to the wall in complete exhaustion”
“He lay silent all the time, on his back,” etc.
Dostoevsky constantly emphasizes that Raskolnikov's apartment looks like a coffin.
“What a bad apartment you have, Rodya, like a coffin,” said Pulcheria Alexandrovna.
HAMMER THE LID WITH NAILS
The writer explains this episode, not related to the events of the novel
“Some kind of sharp, incessant knocking came from the yard; something somewhere seemed to be hammered in, some kind of nail”
The fact that they endure him, it seems to him delirious
“It seemed to him that a lot of people were gathering around him and they wanted to take him and take him out somewhere”
Raskolnikov is about to leave, his mother and sister reproach him for not being with them enough.
“Something you are definitely burying me or saying goodbye forever,” he said in a strange way.
RESURRECTS
“But he was resurrected, and he knew it, he felt it with all his renewed being”
The resurrection is briefly described in the epilogue. But the whole novel fits in between the phrases.
Group results
The repeated reference to the number 11 in the novel is directly related to the gospel text.
The number 11 is not accidental here. Dostoevsky well remembered the gospel parable about the vinedresser and workers.
(students tell a story).
Referring Raskolnikov's meeting with Marmeladov, Sonya and Porfiry Petrovich to 11 o'clock, Dostoevsky recalls that it is not too late at this gospel hour to confess and repent, to become the first from the last to come at the eleventh hour.
Individual tasks
Let's see why Raskolnikov crosses the bridge so often.
Student response:
- On the bridge, as if on the border of life and death, Raskolnikov either dies or comes to life.
- Having stepped onto the bridge after a terrible dream on Vasilyevsky Island, he suddenly feels that he is free from the spell that has tormented him lately.
- Full of strength and energy after playing “cat and mouse” with Zametov, he steps on the bridge, he is seized by complete apathy ... "
He also crosses the bridge when he goes to confess to the murder.
The bridge is a kind of Lethe (in mythology, the river of the dead).
Many times Raskolnikov crosses the Neva - as a kind of Leta - and each time Dostoevsky notes his crossing with special care.
Let us turn to the gospel name Martha. Why did the writer call Svidrigailov's wife that name? What role does this parable play in the novel?
Student's answer: (The parable of Martha and Mary).
Student answer: (analysis of the episode “Raskolnikov’s Dream in the Epilogue”)
Conclusions: The idea of the purifying power of suffering is clearly formulated by Dostoevsky in the epilogue. Raskolnikov's dream echoes a parable
Gospels about the end of the world.
Lesson Conclusions
Teacher's word.
Dostoevsky can rightly be called an artist-prophet. He foresaw the tragic situation in which humanity and the modern world found themselves. The writer is afraid of everything: the power of money, the decline of morality, the abundance of crimes. Only today, when our state and the whole world are on the brink of an abyss, when it has become clear that violence in any form can lead to a catastrophe, to the destruction of life on Earth, is the prophetic meaning of Dostoevsky's formula “Humble yourself, proud man!”