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The second dream of Raskolnikov is a summary. Dreams and dreams of Raskolnikov and their meaning in the novel by F.M.

... Having entered the tavern, he drank a glass of vodka and ate a pie with some filling. He ate it again on the road. He had not drunk vodka for a very long time, and it instantly acted, although only one glass was drunk. His legs suddenly became heavy, and he began to feel a strong urge to sleep. He went home; but having already reached Petrovsky Island, he stopped in complete exhaustion, left the road, entered the bushes, fell on the grass and at the same moment fell asleep.

In a morbid state, dreams are often distinguished by their extraordinary convexity, brightness, and extreme resemblance to reality. Sometimes a monstrous picture is formed, but the situation and the whole process of the whole representation are so probable at the same time and with such subtle, unexpected, but artistically corresponding to the fullness of the picture details that they cannot be invented in reality by the same dreamer, be he the same artist, like Pushkin or Turgenev. Such dreams, painful dreams, are always remembered for a long time and make a strong impression on a disturbed and already excited human organism.

Raskolnikov had a terrible dream. He dreamed of his childhood, back in their town. He is about seven years old and walks on a holiday, in the evening, with his father outside the city. The time is grey, the day is suffocating, the terrain is exactly the same as it survived in his memory: even in his memory it has faded much more than it now seemed in a dream. The town stands openly, as if in the palm of your hand, not a willow around; somewhere very far away, at the very edge of the sky, a wood turns black. A few steps from the last city garden stands a tavern, a large tavern that always made him the most unpleasant impression and even fear when he walked past it, walking with his father. There was always such a crowd there, they yelled, laughed, cursed, sang so ugly and hoarsely, and fought so often; such drunken and terrible faces always wandered around the tavern ... Meeting them, he pressed close to his father and trembled all over. Near the tavern there is a road, a country road, always dusty, and the dust on it is always so black. She goes, wriggling, further and three hundred paces around the city cemetery to the right. In the middle of the cemetery is a stone church with a green dome, to which he went twice a year with his father and mother to mass, when memorial services were served for his grandmother, who had died long ago, and whom he had never seen. At the same time, they always took kutya with them on a white dish, in a napkin, and kutya was sugar made from rice and raisins pressed into the rice with a cross. He loved this church and the ancient icons in it, mostly without salaries, and the old priest with a trembling head. Near the grandmother's grave, on which there was a slab, there was also a small grave of his younger brother, who had died for six months and whom he also did not know at all and could not remember; but he was told that he had a little brother, and every time he visited the cemetery, he religiously and reverently crossed himself over the grave, bowed to her and kissed her. And now he dreams: they are walking with their father along the road to the cemetery and pass by a tavern; he holds his father by the hand and looks around fearfully at the tavern. A special circumstance attracts his attention: this time there seems to be a festivity, a crowd of dressed-up bourgeois women, women, their husbands and all sorts of rabble. Everyone is drunk, everyone sings songs, and near the porch of the tavern there is a cart, but a strange cart. This is one of those big carts that pull big draft horses and carry goods and wine barrels in them. He always liked to look at these huge draft horses, long-maned, with thick legs, walking calmly, with a measured step and carrying some whole mountain behind them, not at all pushing, as if it were even easier for them with wagons than without wagons. But now, strange to say, such a large wagon was harnessed to a small, skinny, savage peasant nag, one of those who - he often saw it - sometimes tear themselves with some tall load of firewood or hay, especially if the wagon gets stuck in the mud. or in a rut, and at the same time they are always so painful, so painfully beaten by peasants with whips, sometimes even in the very face and in the eyes, but he is so sorry, so sorry to look at it, that he almost cries, and mother always used to , takes him away from the window. But suddenly it becomes very noisy: they come out of the tavern with shouts, with songs, with balalaikas, drunk, drunk, big, drunken men in red and blue shirts, with Armenians slung over. “Sit down, everyone sit down! - shouts one, still young, with such a thick neck and with a fleshy, red, like a carrot face, - I'll take everyone, get in! But immediately there is laughter and exclamations:

- So lucky!

- Yes, you, Mikolka, in your mind, or something: you locked up such a mare in such a cart!

- But Savraska will certainly be twenty years old, brothers!

"Get in, I'll take you all!" - Mikolka shouts again, jumping first into the cart, takes the reins and stands on the front in full growth. “The bay dave and Matvey left,” he shouts from the cart, “and the mare Etta, brothers, only breaks my heart: it would seem that he killed her, eats bread for nothing. I say sit down! Jump comin! Jump will go! - And he takes the whip in his hands, with pleasure preparing to flog the savraska.

- Yes, sit down, what! - laugh in the crowd. "Listen, let's go!"

“She hasn’t jumped for ten years, I suppose.”

- It jumps!

- Do not be sorry, brothers, take every whip, prepare!

- And that! Seki her!

Crime and Punishment. 1969 feature film 1 episode

Everyone climbs into Mikolkin's cart with laughter and witticisms. Six people climbed in, and more can be planted. They take with them one woman, fat and ruddy. She is in kumachs, in a beaded kichka, cats on her legs, clicks nuts and chuckles. All around in the crowd they are also laughing, and indeed, how not to laugh: such a staring mare and such a burden will be lucky at a gallop! Two guys in the cart immediately take a whip to help Mikolka. It is heard: “Well!”, the nag pulls with all its might, but not only jumping, but even a little step can cope, it only minces its feet, grunts and crouches from the blows of three whips that fall on it like peas. Laughter doubles in the cart and in the crowd, but Mikolka becomes angry and in a rage flogs the mare with rapid blows, as if she really believes that she will gallop.

“Let me go, brothers!” - shouts one regaled guy from the crowd.

- Sit down! Everyone sit down! - shouts Mikolka, - everyone will be lucky. I'm noticing! - And he whips, whips, and no longer knows how to beat from a frenzy.

“Daddy, daddy,” he calls to his father, “daddy, what are they doing?” Daddy, the poor horse is being beaten!

- Let's go, let's go! - says the father, - drunk, naughty, fools: let's go, don't look! - and wants to take him away, but he breaks out of his hands and, not remembering himself, runs to the horse. But it's bad for the poor horse. She gasps, stops, jerks again, almost falls.

- Slash to death! - shouts Mikolka, - for that matter. I'm noticing!

- Why is there a cross on you, or something, no, goblin! shouts one old man from the crowd.

“Is it seen that such a horse was carrying such a load,” adds another.

- Freeze! shouts a third.

- Do not touch! My good! I do what I want. Sit down some more! Everyone sit down! I want to go jumping without fail! ..

Suddenly, laughter is heard in one gulp and covers everything: the filly could not bear the quick blows and, in impotence, began to kick. Even the old man could not stand it and grinned. And indeed: a sort of staring mare, and still kicks!

Two guys from the crowd take out another whip and run to the horse to flog it from the sides. Everyone runs on their own side.

- In her muzzle, in her eyes whip, in her eyes! Mikolka screams.

Song, brothers! - shouts someone from the cart, and everyone in the cart picks up. A riotous song is heard, a tambourine rattles, whistles in the refrains. The woman clicks nuts and chuckles.

... He runs beside the horse, he runs ahead, he sees how she is whipped in the eyes, in the very eyes! He is crying. His heart rises, tears flow. One of the secants hits him in the face; he does not feel, he wrings his hands, shouts, rushes to the gray-haired old man with a gray beard, who shakes his head and condemns all this. One woman takes him by the hand and wants to take him away; but he breaks free and again runs to the horse. She is already with the last effort, but once again begins to kick.

- And to those goblin! Mikolka screams in rage. He throws the whip, bends down and pulls out a long and thick shaft from the bottom of the cart, takes it by the end in both hands and with an effort swings over the savraska.

- Destroy! they shout around.

- My goodness! - shouts Mikolka and with all his might lowers the shaft. There is a heavy blow.

And Mikolka swings another time, and another blow from all over falls on the back of the unfortunate nag. She all settles with her backside, but jumps up and pulls, pulls with all her last strength in different directions in order to take her out; but from all sides they take it in six whips, and the shaft rises again and falls for the third time, then for the fourth, measuredly, with a swing. Mikolka is furious that he cannot kill with one blow.

- Living! they shout around.

- Now it will surely fall, brothers, and then it will end! one amateur shouts from the crowd.

- Ax her, what! End it at once, - shouts the third.

- Eh, eat those mosquitoes! Make way! - Mikolka screams furiously, throws the shaft, again bends down into the cart and pulls out an iron crowbar. - Watch out! he shouts, and with all his strength he stuns his poor horse with a flourish. The blow collapsed; the filly staggered, sank down, was about to pull, but the crowbar again fell on her back with all his might, and she fell to the ground, as if all four legs had been cut at once.

- Get it! - shouts Mikolka and jumps up, as if not remembering himself, from the cart. Several guys, also red and drunk, grab anything - whips, sticks, shafts, and run to the dying filly. Mikolka stands to one side and starts hitting the back with a crowbar in vain. The nag stretches its muzzle, sighs heavily and dies.

- Finished it! - shout in the crowd.

"Why didn't you jump?"

- My goodness! shouts Mikolka, with a crowbar in her hands and with bloodshot eyes. He stands as if regretting that there is no one else to beat.

- Well, really, you know, there is no cross on you! many voices are already shouting from the crowd.

But the poor boy no longer remembers himself. With a cry, he makes his way through the crowd to Savraska, grabs her dead, bloody 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 scream out from his tight chest.

- Drunk, naughty, none of our business, let's go! the father says. He wraps his arms around his father, but his chest is tight, tight. He wants to catch his breath, scream, and wakes up.

He woke up covered in sweat, his hair wet with sweat, gasping for breath, and he sat up in horror.

Thank God it's only a dream! he said, sitting down under a tree and taking a deep breath. “But what is it? Is it possible that a fever is beginning in me: such an ugly dream!

His whole body was as if broken; vague and dark at heart. He rested his elbows on his knees and propped his head on both hands.

"God! he exclaimed. hide, all covered in blood ... with an ax ... Lord, really? ...

He dreamed of his childhood, still in their town.- The description of this dream is inspired by autobiographical memories. Trembling with weakness, driven, skinny peasant nags, Dostoevsky could see in the village, in the estate of his parents, not far from Zaraysk. "Raskolnikov's dream of a driven horse" Dostoevsky chose to read at the evening in favor of pedagogical courses on March 21, 1880.

He runs beside the horse - he sees how her eyes are whipped ...- These lines resonate with Nekrasov's poems on the same topic: "and in weeping, meek eyes" (from the cycle "On the Weather", part II - "Until Twilight", 1859). Dostoevsky recalls these verses later in the novel The Brothers Karamazov (Part 2, Chapter IV, "Riot"). A similar motif is also found in V. Hugo ("Melancholia", 1846; publ. - 1856).

Raskolnikov had a terrible dream. He dreamed of his childhood, still in their town. He is about seven years old and walks on a holiday, in the evening, with his father outside the city. The time is grey, the day is suffocating, the terrain is exactly the same as it survived in his memory: even in his memory it has faded much more than it now seemed in a dream. The town stands openly, as if in the palm of your hand, not a willow around; somewhere very far away, at the very edge of the sky, a wood turns black. A few steps from the last city garden stands a tavern, a large tavern that always made him the most unpleasant impression and even fear when he walked past it, walking with his father. There was always such a crowd there, they yelled, laughed, cursed, sang so ugly and hoarsely, and fought so often; such drunken and terrible faces always wandered around the tavern ... Meeting them, he pressed close to his father and trembled all over. Near the tavern there is a road, a country road, always dusty, and the dust on it is always so black. She goes, wriggling, further and three hundred paces around the city cemetery to the right. In the middle of the cemetery there is a stone church with a green dome, to which he went with his father and mother twice a year to Mass, when memorial services were served for his grandmother, who had died long ago and whom he had never seen. At the same time, they always took kutya with them on a white dish, in a napkin, and kutya was sugar made from rice and raisins pressed into the rice with a cross. He loved this church and the ancient icons in it, mostly without salaries, and the old priest with a trembling head. Near the grandmother's grave, on which there was a slab, there was also a small grave of his younger brother, who had died six months and whom he also did not know at all and could not remember: but he was told that he had a little brother, and every time he visited cemetery, religiously and respectfully crossed himself over the grave, bowed to her and kissed her. And now he dreams: they are walking with their father along the road to the cemetery and pass by a tavern; he holds his father by the hand and looks around fearfully at the tavern. A special circumstance attracts his attention: this time there seems to be a festivity, a crowd of dressed-up bourgeois women, women, their husbands and all sorts of rabble. Everyone is drunk, everyone sings songs, and near the porch of the tavern there is a cart, but a strange cart. This is one of those big carts that pull big draft horses and carry goods and wine barrels in them. He always liked to look at these huge draft horses, long-maned, with thick legs, walking calmly, with a measured step and carrying some whole mountain behind them, not at all pushing, as if it were even easier for them with wagons than without wagons. But now, strange to say, such a large wagon was harnessed to a small, skinny, savory peasant nag, one of those who—he often saw it—exhausted himself sometimes with some tall load of firewood or hay, especially if the wagon got stuck in the mud or in a rut, and at the same time they are so painful, so painfully beaten always by peasants with whips, sometimes even in the very face and in the eyes, but he is so sorry, so sorry to look at it, that he almost cries, and mother always, it happened, takes him away from the window. But suddenly it becomes very noisy: they come out of the tavern with shouts, with songs, with balalaikas, drunk, drunk, big, drunken men in red and blue shirts, with Armenians slung over. “Sit down, everyone sit down! - shouts one, still young, with such a thick neck and with a fleshy, red, like a carrot face, - I'll take everyone, get in! But immediately there is laughter and exclamations:

- Such a nag, good luck!

- Yes, you, Mikolka, in your mind, or something: you locked up such a mare in such a cart!

- But Savraska will certainly be twenty years old, brothers!

- Yes, sit down, what! - laugh in the crowd. "Listen, let's go!"

“She hasn’t jumped for ten years, I suppose.”

- It jumps!

- Do not be sorry, brothers, take every whip, prepare!

- And that! Seki her!

Everyone climbs into Mikolkin's cart with laughter and witticisms. Six people climbed in, and more can be planted. They take with them one woman, fat and ruddy. She is in kumachs, in a beaded kichka, cats on her feet, clicks nuts and chuckles. All around in the crowd they are also laughing, and indeed, how not to laugh: such a staring mare and such a burden will be lucky at a gallop! Two guys in the cart immediately take a whip to help Mikolka. It is heard: “Well!”, the nag pulls with all its might, but not only jumping, but even a little step can cope, it only minces its feet, grunts and crouches from the blows of three whips that fall on it like peas. Laughter doubles in the cart and in the crowd, but Mikolka becomes angry and in a rage flogs the mare with rapid blows, as if she really believes that she will gallop.

“Let me go, brothers!” - shouts one regaled guy from the crowd.

- Sit down! Everyone sit down! - shouts Mikolka, - everyone will be lucky. I'm noticing! - And he whips, whips, and no longer knows how to beat from a frenzy.

“Daddy, daddy,” he shouts to his father, “daddy, what are they doing!” Daddy, the poor horse is being beaten!

- Slash to death! - shouts Mikolka, - for that matter. I'm noticing!

- Why is there a cross on you, or something, no, goblin! shouts one old man from the crowd.

“Is it seen that such a horse was carrying such a load,” adds another.

- Freeze! shouts a third.

- Don't touch! My good! I do what I want. Sit down some more! Everyone sit down! I want to go jumping without fail! ..

Suddenly, laughter is heard in one gulp and covers everything: the filly could not bear the rapid blows and, in impotence, began to kick. Even the old man could not stand it and grinned. And indeed: a sort of staring mare, and still kicks!

Two guys from the crowd take out another whip and run to the horse to flog it from the sides. Everyone runs on their own side.

- In her muzzle, in her eyes whip, in her eyes! Mikolka screams.

Song, brothers! someone shouts from the cart, and everyone in the cart joins in. A riotous song is heard, a tambourine rattles, whistles in the refrains. The woman clicks nuts and chuckles.

- And to those goblin! Mikolka cries out in rage. He throws the whip, bends down and pulls out a long and thick shaft from the bottom of the cart, takes it by the end in both hands and with an effort swings over the savraska.

- Break it! shout around.

- My good! - shouts Mikolka and with all his might lowers the shaft. There is a heavy blow.

- Living! shout around.

“Now it will surely fall, brothers, and then it will end!” one amateur shouts from the crowd.

- Ax her, what! End it at once, - shouts the third.

- Eh, eat those mosquitoes! Make way! Mikolka cries furiously, throws down the shaft, bends down into the cart again and pulls out the iron crowbar. — Watch out! he shouts, and with all his strength he stuns his poor horse with a flourish. The blow collapsed; the filly staggered, sank down, was about to pull, but the crowbar again fell on her back with all his might, and she fell to the ground, as if all four legs had been cut at once.

- Get it! shouts Mikolka, and jumps up, as if beside herself, from the cart. Several guys, also red-faced and drunk, grab anything - whips, sticks, shafts - and run to the dying filly. Mikolka stands on the side and begins to beat in vain on the back with a crowbar. The nag stretches its muzzle, sighs heavily and dies.

- Finished it! they shout in the crowd.

"Why didn't you jump?"

- My good! shouts Mikolka, with a crowbar in her hands and with bloodshot eyes. He stands, as if regretting that there is no one else to beat.

- Well, really, to know, there is no cross on you! many voices are already shouting from 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 scream out from his tight chest.

- Drunk, naughty, none of our business, let's go! the father says. He wraps his arms around his father, but his chest is tight, tight. He wants to catch his breath, scream, and wakes up.

He woke up covered in sweat, his hair wet with sweat, gasping for breath, and he sat up in horror.

Thank God it's only a dream! he said, sitting down under a tree and taking a deep breath. “But what is it? Is it possible that a fever is beginning in me: such an ugly dream!

His whole body was, as it were, broken; vague and dark at heart. He rested his elbows on his knees and propped his head on both hands.

- God! he exclaimed. hide, all covered in blood ... with an ax ... Lord, really?

He trembled like a leaf as he said this.

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

Dreams in psychology

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

To unravel the state of a person, the true causes of his moral suffering, psychologists often use hypnosis or solving dreams. It is a dream in psychology that is an expression of the unconscious in the human psyche, his repressed "I".

Sleep as a method of psychoanalysis in the novel

Dostoevsky is a very subtle psychologist. He seems to turn the souls of his characters inside out in front of the reader. But he does this not explicitly, but gradually, as if painting a picture in front of the viewer, in which everyone should see special patterns. In the work "Crime and Punishment" a dream is a way of revealing Raskolnikov's inner world, his experiences, emotions and thoughts. Therefore, it is so important to determine the content of Raskolnikov's dreams, their semantic load. It is also necessary in order to understand both the novel itself and the personality of the hero.

Church and bar

During the entire work, Rodion Romanovich dreams five times. More precisely, three dreams and two semi-delusions occurring on the verge of consciousness and unreality. Dreams of Raskolnikov summary which allows you to capture the deep meaning of the work, allow the reader to feel the internal contradictions of the hero, his "heavy thoughts". This happens in the case of the first dream, in which the hero's internal struggle is going on to some extent. This is a very important point. This is a dream before the murder of an old pawnbroker. It needs to be focused on. This is a system-forming episode, from which, like a stone thrown into the water, waves diverge on each page of the novel.

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

In this dream, there are two places that are in opposition to each other: a tavern and a church in a cemetery. The church in the cemetery is a certain symbol: as a person begins his life in the church, so he ends it there. And the tavern, in turn, is associated by Rodion with malice, meanness, ossification, drunkenness, filth and depravity of its inhabitants. The fun of the inhabitants of the tavern, both in those around them and in the smallest Rodi, causes only fear and disgust.

And these two centers - a tavern and a church - are not accidentally located at a short distance from each other. By this, Dostoevsky wants to say that a person, no matter how disgusting he may be, can at any moment stop his low life and turn to the all-forgiving God. To do this, you just need to start a new, “clean” life, a life without sins.

Old childhood nightmare

Let us now turn not to the symbols of this dream, but to Rodion himself, who in a dream plunged into the world of his childhood. He relives a nightmare he witnessed in early childhood: Rodion, together with his father, goes to the cemetery to visit the grave of his little brother, who died at the age of 6 months. And their path ran through a tavern. At the tavern stood a draft horse, which was harnessed to a cart. The drunken owner of the horse came out of the tavern and began to invite his friends for a ride on the cart. When the old horse did not budge, Mikola began whipping it with a whip, which he then exchanged for a crowbar. After several blows, the horse dies, and Rodion, seeing this, rushes at him with his fists.

Analysis of the first dream

It is this dream in the novel "Crime and Punishment" that is the most important component of the entire novel. It allows readers to see the murder for the first time. Only the murder is not conceived, but real. The first dream contains a meaning that carries a huge semantic and symbolic load. It clearly demonstrates where the hero developed a sense of injustice. This feeling is the product of the quest and mental suffering of Rodion.

Only one in the work "Crime and Punishment" Raskolnikov's dream is a thousand-year experience of oppression and enslavement of each other by people. It reflects the cruelty that governs the world, and an incomparable longing for justice and humanity. This idea with amazing skill and clarity F.M. Dostoevsky was able to show in such a short episode.

Raskolnikov's second dream

Interestingly, after Raskolnikov saw the first dream, he no longer sees dreams for a long time, except for the vision that visited him before the murder - a desert in which there is an oasis with blue water (this is a symbol: blue is the color of hope, the color of purity). The fact that Raskolnikov decides to drink from the source suggests that all is not lost. He can still give up his “experience”, avoid this terrible experiment, which should confirm his extravagant theory that the murder of a “harmful” (bad, vile) person will certainly bring relief to society and make life good people better.

On the edge of the unconscious

In a feverish fit, when the hero does not think much because of delirium, Raskolnikov sees how Ilya Petrovich allegedly beats the owner of his apartment. It is impossible to single out this episode, which took place in the second part of the novel, as a separate dream, since it is more “delusions and auditory hallucinations”. Although this to some extent suggests that the hero anticipates that he will be a "renegade", "outcast", i.e. subconsciously knows that he will be punished. But also, perhaps, this is a game of the subconscious, which speaks of the desire to destroy another “trembling creature” (the owner of the apartment), who, like the old pawnbroker, is not worthy, according to his theory, to live.

Description of Raskolnikov's next dream

In the third part of the work, Rodion, who has already dealt with Alena Ivanovna (also killing the innocent Lizaveta Ivanovna at the same time), has another dream, gradually turning into delirium. Raskolnikov's next dream is similar to the first. This is a nightmare: the old pawnbroker is alive in her dream, and she responds to Raskolnikov's fruitless attempts to kill herself with laughter, laughter "ominous and unpleasant." Raskolnikov tries to kill her again, but the hubbub of the crowd, which is clearly unfriendly and vicious, does not allow him to do the job. Dostoevsky thus shows the torment and throwing of the protagonist.

Psychoanalysis of the author

This dream fully reflects the state of the hero, who was "broken", as his experiment showed him that he was not able to step over people's lives. The old woman's laughter is a laugh at the fact that Raskolnikov turned out to be not a "Napoleon", who can easily juggle human destinies, but an insignificant and funny man. This is a kind of triumph of evil over Raskolnikov, who failed to destroy his conscience. Purely compositionally, this dream is a continuation and development of Raskolnikov's reflections on his theory, according to which he divided people into "trembling creatures" and those who "have the right." This inability to step over a person will lead Rodion to the line, to the possibility of "reborn from the ashes" in the future.

last dream

Raskolnikov's last dream in the novel "Crime and Punishment" is another kind of half-asleep-half-delusion in which one must look for hope for the possibility of the hero's rebirth. This dream saves Rodion from the doubts and searches that tormented him all the time after the murder. Raskolnikov's last dream is a world that must disappear due to illness. As if there are spirits in this world who are endowed with a mind, who have a will that can subjugate people, making them puppets, possessed and crazy. Moreover, the puppets themselves, after infection, consider themselves truly smart and unshakable. Infected people kill each other like spiders in a jar. After the third nightmare, Rodion is healed. He becomes morally, physically and psychologically free, healed. And he is ready to follow the advice of Porfiry Petrovich, ready to become the "sun". He is thus approaching the threshold beyond which lies a new life.

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

Healing

Thus, Raskolnikov rethought his whole life, drastically changing his worldview. The main achievement of Raskolnikov is his rejection of an untenable theory. His victory is that he was able to free himself from delusions. The hero gradually approached spiritual and moral perfection, i.e. passed the path, although difficult, painful and filled with suffering, but still purifying and spiritually regenerating. It is suffering in Dostoevsky that is the path to true happiness.

Final chord

The article outlined Raskolnikov's dreams briefly and concisely, but as accurately as possible, without loss important points. These dreams are very important in the content of the work. They, like a thread, connect the events in the novel. It is the descriptions of dreams that contribute to the fact that the reader concentrates to the utmost on the plot twists and turns, on the system of images that the author introduces. The hero's daydreams prepare the reader for subsequent scenes and are of great importance for understanding the basic ideas of the novel. They are also significant for the work in artistic and visual terms.

In addition, dreams are very important in that they help determine the psychological state of Rodion, his feelings and emotions. The author, through the dreams of the protagonist, conducts an important psychological analysis. Raskolnikov's dream, in which he sees himself as a child, allows us to understand his spiritual well-being. He then tried to balance his distaste for killing a horse with the feeling of actually killing him, which he planned. Perhaps, if he had listened to his feelings, he could have avoided the internal split, which became a terrible tragedy for him. In addition, the first dream clearly makes it clear to the reader that Raskolnikov is not a lost person, that compassion and a desire to protect the weak are inherent in him. This allows you to look at the "despicable killer" from a different angle.

Dreams in the novel have their separate functions and moods in each specific episode of the novel, but their general purpose is unchanged. The meaning of Raskolnikov's dreams is to reveal the main idea of the work. The idea that tells us that every person is a value cannot be divided into "lice" and "useful". An idea that shows that no one "has the right" to decide human destinies. An idea that testifies to how heavy the pangs of conscience are.

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

/ RASKOLNIKOV'S DREAMS

RASKOLNIKOV'S DREAMS

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

Let's try to analyze the dreams and dreams of Raskolnikov in the novel Crime and Punishment. The hero sees his first dream on Petrovsky Island. In this dream, Rodion's childhood comes to life again: together with his father on a holiday, he goes out of town. Here they see a terrible picture: a young man, Mikolka, leaving the tavern, with all his might whips his “skinny ... ugly nag”, which is not strong enough to carry an unbearable cart, and then finishes it off with an iron crowbar. The pure childish nature of Rodion protests against violence: with a cry he rushes to the downtrodden savraska and kisses her dead, bloody muzzle. And then he jumps up and rushes with his fists at Mikolka. Raskolnikov experiences here a whole range of very different feelings: horror, fear, pity for the unfortunate horse, anger and hatred for Mikolka. This dream shocks Rodion so much that, upon waking up, he renounces "his damned dream." Such is the meaning of the dream directly in the external action of the novel. However, the meaning of this dream is much deeper and more significant. Firstly, this dream anticipates future events: the red shirts of drunken men; Mikolka's red, "like a carrot" face; a woman "in kumach"; an ax that can immediately end the unfortunate nag - all this predetermines future murders, hinting that blood will still be shed. Secondly, this dream reflects the painful duality of the hero's consciousness. If we remember that a dream is an expression of a person’s subconscious desires and fears, it turns out that Raskolnikov, fearing his own desires, still wanted the unfortunate horse to be beaten to death. It turns out that in this dream the hero feels himself both Mikolka and a child, whose pure, kind soul does not accept cruelty and violence. This duality, the inconsistency of Raskolnikov's nature in the novel, is subtly noticed by Razumikhin. In a conversation with Pulcheria Alexandrovna, Razumikhin notes that Rodion is “gloomy, gloomy, arrogant and proud”, “cold and insensitive to the point of inhumanity”, and at the same time “generous and kind”. “It’s as if two opposite characters alternate in him,” exclaims Razumikhin. Two opposite images from his dream - a tavern and a church - testify to the painful split of Raskolnikov. A tavern is what destroys people, it is the focus of debauchery, recklessness, evil, this is the place where a person often loses his human appearance. The tavern always made an “unpleasant impression” on Rodion, there was always a crowd, “so they shouted, laughed, swore ... ugly and hoarsely sang and fought; such drunken and terrible faces always wandered around the tavern. The tavern is a symbol of depravity and evil. The church in this dream personifies the best that is in human nature. It is characteristic that little Rodion loved the church, twice a year he went with his father and mother to mass. He liked the old images and the old priest, he knew that funeral services were served here for his dead grandmother. The tavern and the church here, thus, metaphorically represent the main landmarks of a person in life. It is characteristic that in this dream Raskolnikov does not reach the church, does not fall into it, which is also very significant. He is delayed by the scene near the tavern.

Significant here is the image of a skinny peasant savra woman, who cannot withstand an unbearable burden. This unfortunate horse is a symbol of the unbearable suffering of all the “humiliated and insulted” in the novel, a symbol of Raskolnikov’s hopelessness and dead end, a symbol of the disasters of the Marmeladov family, a symbol of Sonya’s position. Katerina Ivanovna’s bitter exclamation before her death echoes this episode from the hero’s dream: “They left the nag! Broke it!”.

Significant in this dream is the image of the long-dead father Raskolnikov. The father wants to take Rodion away from the tavern, does not tell him to look at the violence being committed. The father here seems to be trying to warn the hero from his fatal act. Recalling the grief that befell their family when Rodion's brother died, Raskolnikov's father leads him to the cemetery, to the grave of the deceased brother, towards the church. This is, in our opinion, the function of Raskolnikov's father in this dream.

In addition, we note the plot-forming role of this dream. It appears as “a kind of core of the whole novel, its central event. Concentrating in itself the energy and strength of all future events, the dream has a formative significance for other storylines, “predicts” them (the dream is in the present tense, speaks of the past and predicts the future murder of an old woman). The most complete representation of the main roles and functions (“victim”, “tormentor” and “compassionate” in the terminology of Dostoevsky himself) sets the dream of killing a horse as a plot core that is subject to textual deployment,” G, Amelin and I. A. Pilshchikov note. Indeed, threads from this dream stretch throughout the novel. Researchers single out character “troikas” in the work, corresponding to the roles of “tormentor”, “victim” and “compassionate”. In the hero’s dream, this is “Mikolka - the horse - Raskolnikov the child”, in real life it is “Raskolnikov - the old woman - Sonya”. However, in the third "troika" the hero himself acts as a victim. This "troika" - "Raskolnikov - Porfiry Petrovich - Mikolka Dementiev." In the development of all plot situations, the same motives sound here. The researchers note that in all three plots, the same textual formula begins to unfold - "baffle" and "butt on the crown." So, in Raskolnikov's dream, Mikolka "bashes his poor horse in a big way" with a crowbar. About the same way the hero kills Alena Ivanovna. “The blow fell on the very top of the head ...”, “Here he hit with all his might once and again, all with the butt and all at the crown.” The same expressions are used by Porfiry in a conversation with Rodion. “Well, who, tell me, of all the defendants, even of the most meager peasant, does not know that, for example, they will first begin to lull him with extraneous questions (as your happy expression), and then suddenly they will be taken aback in the very crown, with a butt- s…” the investigator notes. In another place we read: “On the contrary, I should have distracted you, that way, in the opposite direction, and suddenly, like a butt on the crown of the head (in your own expression), and stunned:“ And what, they say, sir, did you deign in the apartment of the murdered to do at ten o'clock in the evening, and almost even at eleven?

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

The second vision visits Raskolnikov after his crime. As if in reality, he hears how the quarter warden Ilya Petrovich terribly beats his (Raskolnikov) landlady. This vision reveals Raskolnikov's hidden desire to harm the landlady, the feeling of hatred, the hero's aggression towards her. It was thanks to the landlady that he ended up in the station, had to explain himself to the assistant quarter warden, experiencing a mortal sense of fear and almost not controlling himself. But Raskolnikov's vision also has a deeper, philosophical aspect. This is a reflection of the painful state of the hero after the murder of the old woman and Lizaveta, a reflection of his feeling of alienation from his past, from "old thoughts", "old tasks", "old impressions". The landlady here, obviously, is a symbol of Raskolnikov's past life, a symbol of what he loved so much (the story of the relationship between the hero and the landlady's daughter). The quarter warden, on the other hand, is a figure from his “new” life, the countdown of which was marked by his crime. In this “new” life, he “as if with scissors cut himself off from everyone”, and at the same time from his past. Raskolnikov is unbearably painful in his new position, which is imprinted in his subconscious as damage, harm inflicted on the past of the hero by his present.

The third vision of Raskolnikov occurs after his meeting with a tradesman who accuses him of murder. The hero sees the faces of people from his childhood, the bell tower In th church; “billiards in one tavern and some officer at the billiards, the smell of cigars in some basement tobacconist, a tavern, a back staircase ... Sunday ringing of bells comes from somewhere ...”. The officer in this vision is a reflection of the real life impressions of the hero. Before his crime, Raskolnikov hears a conversation between a student and an officer in a tavern. The very images of this vision echo the images from Rodion's first dream. There he saw a tavern and a church, here - the bell tower of the B-th church, the ringing of bells and a tavern, the smell of cigars, a tavern. The symbolic meaning of these images is preserved here.

Raskolnikov sees the second dream after his crime. He dreams that he again goes to Alena Ivanovna's apartment and tries to kill her, but the old woman, as if mocking, bursts into quiet, inaudible laughter. Laughter and whispers can be heard in the next room. Raskolnikov is suddenly surrounded by many people - in the hallway, on the landing, on the stairs - silently and waiting, they look at him. Terrified, he cannot move and soon wakes up. This dream reflects the subconscious desires of the hero. Raskolnikov is burdened by his position, wanting to reveal his "secret" to someone, it is hard for him to carry it in himself. He literally suffocates in his individualism, trying to overcome the state of painful alienation from others and himself. That is why in Raskolnikov's dream there are many people next to him. His soul yearns for people, he wants community, unity with them. In this dream, the motive of laughter reappears, which accompanies the hero throughout the novel. After committing the crime, Raskolnikov feels that "he killed himself, not the old woman." This truth seems to be open to people who surround the hero in a dream. An interesting interpretation of the hero's dream is offered by S.B. Kondratiev. The researcher notices that laughter in Raskolnikov's dream is "an attribute of the invisible presence of Satan", demons laugh and tease the hero.

Raskolnikov sees his third dream already in hard labor. In this dream, he, as it were, rethinks the events that have occurred, his theory. It seems to Raskolnikov that the whole world is condemned as a victim of a "terrible ... pestilence." Some new microscopic creatures, trichinas, have appeared, infecting people and making them demon-possessed. The infected do not hear and do not understand others, considering only their opinion to be absolutely correct and the only correct one. Leaving their occupations, crafts and agriculture, people kill each other in some kind of senseless malice. Fires start, hunger starts, everything around perishes. All over the world, only a few people can be saved, "pure and chosen", but no one has ever seen them. This dream is an extreme embodiment of Raskolnikov's individualistic theory, showing the threatening results of its harmful influence on the world and humanity. It is characteristic that individualism is now identified in the mind of Rodion with demonism and madness. In fact, the hero's idea of strong personalities, Napoleons, to whom "everything is allowed," now seems to him like an illness, madness, clouding of the mind. Moreover, the spread of this theory throughout the world is what Raskolnikov is most concerned about. Now the hero realizes that his idea is contrary to human nature itself, reason, the Divine world order. Having understood and accepted all this with his soul, Raskolnikov experiences moral enlightenment. It is not for nothing that it is after this dream that he begins to realize his love for Sonya, which reveals to him faith in life.

Thus, the dreams and visions of Raskolnikov in the novel convey his inner states, feelings, innermost desires and secret fears. Compositionally, dreams often anticipate future events, become the causes of events, move the plot. Dreams contribute to the mixing of real and mystical narrative plans: new characters seem to grow out of the hero's dreams. In addition, the plots in these visions echo the ideological concept of the work, with the author's assessment of Raskolnikov's ideas.

Raskolnikov's first dream and its meaning?

Katika

Raskolnikov dreams of his childhood, still in his native town. He walks with his father and passes by a tavern, from which drunken men run out. One of them, Mikolka, invites the others to take a ride on his cart, which is harnessed to a "small, skinny, savory peasant nag." The men agree and sit down. Mikolka beats the horse, forcing it to pull the cart, but due to weakness, she cannot even walk. Then the owner begins to beat the nag with a frenzy and finishes it off. Raskolnikov the child at first looks at everything that happens in horror, then rushes to protect the horse, but too late.
The atmosphere of what is happening is heated by the strongest feelings. On the one hand, this is the malicious, aggressive passion of the unbridled crowd, on the other hand, the unbearable despair of little Rodi, shaking his heart with pity for the “poor horse”. And in the center of everything - the horror and tears of the finished nag. It is no coincidence that Dostoevsky uses a lot of exclamation marks when creating this terrible picture.
The main idea of the episode is the rejection of murder by the nature of a person, and in particular by the nature of Raskolnikov. Before going to bed, the hero thinks about the usefulness of killing an old pawnbroker who has outlived her life and “seizes” someone else’s, but after Raskolnikov wakes up in a cold sweat and horrified by the scene he saw in a dream. This change can be explained by the struggle of the soul and mind, which constantly occurs in the main character. Dreams do not obey reason, they reveal the nature of a person, and we see that murder is disgusting to the soul and heart of Raskolnikov. But in reality, thoughts and concerns about mother and sister, the desire to prove one’s theory about “ordinary” and “extraordinary” people in practice encourages one to think about murder and its usefulness, to drown out the pangs of nature.
Dostoevsky puts into the main character's first dream his thoughts about the causes of the crime and the unnaturalness of the murder.
The native town is a symbol of St. Petersburg itself. A tavern, drunken men, a suffocating atmosphere - all these are integral components of St. Petersburg in the time of Dostoevsky. The author believes that St. Petersburg is the cause and accomplice of Raskolnikov's crime. The city with its atmosphere, imaginary dead ends, cruelty and indifference affects the protagonist, involving him in a painful state of excitement. It is this state that pushes Raskolnikov to create a theory that takes possession of his mind and commands him.
The dream has many threads connected with what will happen later in the reality of the novel. Raskolnikov, shuddering at what he was up to, will still kill the old woman and also Li-Zaveta, as helpless and downtrodden as a horse: she does not even dare to raise her hand to protect her face from the killer's axe. Then the dying Katerina Ivanovna will exhale along with consumptive blood: “We drove the nag! ” But Raskolnikov in this strange reality will already act as an executioner, as part of a rude, cruel world that has arrogated to itself the right to kill, no matter how: whether it’s a dispute, whether inventing theories about strong and weak personalities.
The dream of the protagonist is described by the author with all the details and resembles a scene from N. A. Nekrasov’s poem “About the Weather”. The action of the dream unfolds sequentially, unlike, for example, Nikolenka's dream in Leo Tolstoy's novel "War and Peace", where the events taking place feverishly replace each other. But Raskolnikov's first dream is not the only one: three more dreams will follow, and each of the four has its own meaning. The first dream of the protagonist played an important role in the subsequent work, since, developing the theme of Raskolnikov’s “punishment”, Dostoevsky will show that it is in the soul that all the main truths about the attitude of people towards each other are stored: “Do not judge”, “Do not kill”, “ Love your neighbor as yourself." And Raskolnikov will be punished in the first place by the fact that his heart will not accept

Elena anufrieva

Dreams play an important role in the novel. There is practically no border between dream and reality. The dream smoothly turns into reality, reality into a dream. When Raskolnikov sees a tradesman who accused him of the death of an old woman, he perceives him as a dream. This is due to the fact that reality itself in the novel is fantastic, which is facilitated by the image of St. Petersburg, its stuffy atmosphere, which has a symbolic meaning.

Throughout the novel, Rodion Raskolnikov has dreams five times. He sees his first dream in his little room after meeting a drunk girl on the boulevard. It is generated by the hero's morbid imagination. The action takes place in Raskolnikov's early childhood. Life in his hometown is so ordinary and gray that "the time is gray", even on a holiday. Yes, and the whole dream is depicted by the writer in gloomy colors: “the forest turns black”, “the road is always dusty, and the dust on it is always so black”. Only the green dome of the church contrasts with the dark, gray tone, and only the red and blue shirts of drunken men are joyful spots.

In a dream, there are two opposite places: a tavern and a church in a cemetery. The tavern in the memory of Rodion Raskolnikov personifies drunkenness, evil, meanness and filth of its inhabitants. The fun of drunk people does not inspire others, in particular little Roda, with nothing but fear. A little further along the road is the city cemetery, and on it is a church. The coincidence of their location means that no matter what the person, he will still start his life in the church and end it there. It is no coincidence that the church is located three hundred steps from the tavern. This short distance shows that a person can at any moment stop his vulgar life and, turning to God, who will forgive everything, begin a new, righteous life. This dream is an important part of the novel. In it, the reader first sees the murder, not only planned, but also carried out.

And after a dream, a thought arises in Raskolnikov’s head: “Yes, really, really, I’ll take an ax, I’ll beat her on the head, I’ll crush her skull ... I will slide in sticky warm blood, pick the lock, steal and tremble; hide, covered in blood... with an ax? Lord, is it? » It will be difficult for Rodion to commit this murder, because his attitude towards violence has changed little since childhood. Despite the years that have passed, he still has an aversion to violence, especially murder. This dream is the most vivid and memorable and carries the greatest semantic load. He clearly reveals the source of the feeling of shocked injustice generated by the searches and aspirations of the hero. This is one of the most important moments of the novel, in which a thousand years of experience in the enslavement and oppression of some people by others, the age-old cruelty on which the world has long been based, and a passionate longing for justice and humanity, expressed with great skill, are concentrated in a condensed form.

The author's intention of Raskolnikov's dreams What is the significance of Raskolnikov's dreams in hard labor for revealing the author's intention?

Galina

Raskolnikov's dreams: description and essence
The first dream (Part 1, Ch. V) Raskolnikov sees shortly before
murder, falling asleep in the bushes in the park after a "trial" and a severe
meeting with Marmeladov.
Sleep is heavy, painful, exhausting and unusually
rich in symbols:
Raskolnikov the boy loves to go to church,
personifying the heavenly beginning on earth, that is
spirituality, moral purity and perfection.
However, the road to the church passes by a tavern, which
the boy does not love; a tavern is that creepy, mundane, earthly,
what destroys a person in a person.
In the scene at the tavern - the murder of a helpless horse by a crowd
drunk - little Raskolnikov is trying to protect
unfortunate animal, screaming, crying; apparently in his
nature, he is not at all cruel, ruthlessness and contempt
to someone else's life, even a horse's life is alien to him and the possible
violence against the human person is disgusting to him,
unnatural.
It is significant that after this dream Raskolnikov
does not see dreams for a long time.
The position of dreams in the fabric of the novel is subtly thought out,
it allows the author to make the necessary accents
in the right places.

Dream of Africa
Raskolnikov also had this dream the day before.
crimes.
Raskolnikov sees Egypt, an oasis, blue water,
colorful stones, golden sand.
This dream is a contrast.
It is opposed to the real life of Raskolnikov -
miserable, colorless, grey. (Ch, 1, Ch. VI)
Dream about Ilya Petrovich and the hostess
Delirious after committing a crime Raskolnikov
sees a dream about Ilya Petrovich, who beats the hostess.
In a dream, Raskolnikov felt fear that perhaps
they came for him: "Suddenly Raskolnikov trembled like a leaf...
Ilya Petrovich is here and is beating the hostess ... But, therefore,
and they will come to him now, if so, "because ...
right, it’s all from the same… because of yesterday…”
"... Fear, like ice, overlaid his soul, tortured him,
numb him ... "
At the same time, even in a dream, he does not undertake
nothing to escape, shut down, surrender to the police.
(Part 2, Ch. II)
Dream of a laughing old woman
Before the arrival of Svidrigailov, Raskolnikov saw
crazy dream about a murdered old pawnbroker.
In a dream, Raskolnikov goes to the old woman's apartment after
some tradesman who calls him there.
In the corner, in the living room, he discovers an old woman sitting.
The old woman laughs.
Raskolnikov hits her with an ax, but only laughter
intensified.
Raskolnikov rushed to run, but there were people everywhere -
on the stairs, indoors, etc.: "... everyone is watching, -
but everyone is hiding and waiting, silent ...
His heart was embarrassed, his legs did not move, they were rooted ...
He wanted to scream and - woke up ... "
In a dream, Raskolnikov experiences fear that tormented
him in reality after the crime.
After the murder of the old woman, Raskolnikov was afraid of shame and
human court.
He was afraid of being embarrassed in front of the crowd.
This fear was embodied in a dream (Ch. 3, Ch. VI)
Dream of the end of the world
This is Raskolnikov's last dream.
Already in hard labor, Raskolnikov once fell ill and was
in hospital.
In his morbid delirium, he saw several times the repeated
dream of the end of the world.
"He dreamed in illness, as if the whole world was condemned
as a sacrifice to some terrible, unheard of and unseen
pestilence, coming from the depths of Asia to Europe.
All were to perish, except for some very
few, chosen…”
Raskolnikov has this last dream after the trial,
at hard labor.
Hard labor became for him the beginning of his new life, the beginning
atonement for his sin.
This dream is a symbol of purification and renewal of the soul.
Raskolnikov.
The dream is very vivid and emotional, speaks of
active internal work on oneself
Raskolnikov.

Alexander doronin

Raskolnikov's last dream takes place already in hard labor. Rodion falls seriously ill with typhus and has a nightmare.
Peace. People are infected with an unknown disease transmitted by spirits. Everyone in the world becomes easily controlled puppets, and the people themselves consider themselves people of high intelligence and reason. The infected then kill each other, like spiders in a bathhouse.
This dream is a turning point in Raskolnikov's life path. After this nightmare, Rodion understands the whole inconsistency of his own theory and, one might say, renounces it. Main character spiritually healed, and begins to live a NEW life - to live freed from all the searches that have tormented him so much all his life. This is where the hope of atonement for your sin appears. It is there, at hard labor, that Raskolnikov, like Lazarus from biblical legends, is resurrected from the dead.
It can also be said that Dostoevsky wanted in the third dream to show a future filled with people like Rodion, who have their own theory - just as ridiculous and murderous. like Raskolnikov.
Simply put, Dostoevsky shows himself - he also went to hard labor for his beliefs, and subsequently abandoned them.

RASKOLNIKOV'S DREAMS

In addition, we note the plot-forming role of this dream. It appears as “a kind of core of the whole novel, its central event. Concentrating in itself the energy and strength of all future events, the dream has a formative significance for other storylines, “predicts” them (the dream is in the present tense, speaks of the past and predicts the future murder of an old woman). The most complete representation of the main roles and functions (“victim”, “tormentor” and “compassionate” in the terminology of Dostoevsky himself) sets the dream of killing a horse as a plot core that is subject to textual deployment,” G, Amelin and I. A. Pilshchikov note. Indeed, threads from this dream stretch throughout the novel. Researchers single out character “troikas” in the work, corresponding to the roles of “tormentor”, “victim” and “compassionate”. In the hero’s dream, this is “Mikolka - the horse - Raskolnikov the child”, in real life it is “Raskolnikov - the old woman - Sonya”. However, in the third "troika" the hero himself acts as a victim. This "troika" - "Raskolnikov - Porfiry Petrovich - Mikolka Dementiev." In the development of all plot situations, the same motives sound here. The researchers note that in all three plots, the same textual formula begins to unfold - "baffle" and "butt on the crown." So, in Raskolnikov's dream, Mikolka "bashes his poor horse in a big way" with a crowbar. About the same way the hero kills Alena Ivanovna. “The blow fell on the very top of the head ...”, “Here he hit with all his might once and again, all with the butt and all at the crown.” The same expressions are used by Porfiry in a conversation with Rodion. “Well, who, tell me, of all the defendants, even of the most meager peasant, does not know that, for example, they will first begin to lull him with extraneous questions (as your happy expression), and then suddenly they will be taken aback in the very crown, with a butt- s…” the investigator notes. Elsewhere we read: “On the contrary, I should have<…>to distract you, that way, in the opposite direction, and suddenly, as if with a butt on the crown of the head (in your own expression), and stunned: “What, they say, sir, did you deign to do in the apartment of the murdered woman at ten o’clock in the evening, and almost not at eleven?

The third vision of Raskolnikov occurs after his meeting with a tradesman who accuses him of murder. The hero sees the faces of people from his childhood, the bell tower of the V-th church; “billiards in one tavern and some officer at the billiards, the smell of cigars in some basement tobacconist, a tavern, a back staircase ... Sunday ringing of bells comes from somewhere ...”. The officer in this vision is a reflection of the real life impressions of the hero. Before his crime, Raskolnikov hears a conversation between a student and an officer in a tavern. The very images of this vision echo the images from Rodion's first dream. There he saw a tavern and a church, here - the bell tower of the B-th church, the ringing of bells and a tavern, the smell of cigars, a tavern. The symbolic meaning of these images is preserved here.