The article deals with the key unit of artistic chronotope — space. It is proved that space in F. M. Dostoevsky's novel «Crime and Punishment» reflects the psychological state of the hero, and also determines his mental transformations, which leads to the murder.
Keywords: main character, space, artistic space, novel.
В статье рассматривается ключевая единица художественного хронотопа — пространство. Доказывается, что пространство в романе Ф. М. Достоевского «Преступление и наказание» отражает психологическое состояние героя, а также определяет его душевные трансформации, что приводит к совершению убийства.
Ключевые слова: главный герой, пространство, художественное пространство, роман.
The concept of space in works originated in the times of antiquity. Even then ancient Greek philosophers wrote that this term is very important because it helps to understand the main idea of the author. In the XX century the interest in the study of space as an independent category increases. Many linguistic scientists address this topic: G. Bashlyar, D. Likhachev, V. Toporov and Y. Lotman. According to Manuel Castells «The chronotope is a double-sided concept: on one side, it can be seen as the time of space (the historical dimension of geography); on the other side, it can be seen as the space of time (the geographical dimension of history)» [7, p.15]. The category of space is important for understanding the structure of a work. It embodies the author's intention and helps to reveal the images of the main characters. The purpose of our work: to study the space of F. M. Dostoevsky's novel «Crime and Punishment». In the work, the heroes live in an environment that negatively affects their condition.
The description of St. Petersburg is introduced already from the first pages and is of great importance for revealing the image of the main character in the novel. The city influences Rodion Raskolnikov's emotional state and his behavior. St. Petersburg appears stuffy, dusty: «the heat in the street was terrible, in addition, there was stuffiness, crowding, everywhere limestone, scaffolding, bricks, dust and that special summer stench» [3, p.1], there are a lot of taverns, so one can often meet drunks on the street («the drunks, who were caught every minute, despite the weekday hours, completed the disgusting and sad coloring of the picture» [3, p.1]). [3, p.2]). The city does not allow people to live, to enjoy life. The inhabitants suffer, lose their life goals, go mad. It is not without reason that Svidrigailov says that «there are many people in Petersburg, walking around, talking to themselves. It is a city of half-crazy people» [3, p.471]. The image of St. Petersburg buildings in the novel is presented in the same way: cramped, gloomy, dreary colors, «huge, cramped and pressing houses» [3, p.378]. The architecture depicted by the author narrows the space and complements the picture with sad and desperate characters. Initially Rodion Raskolnikov was a just and honest man, but in St. Petersburg he begins to behave differently: he thinks about murder, death, wealth, poverty and miserable life. The hero first thinks about his theory when he walks around the city, and then translates his thoughts into reality — commits murder. Undoubtedly, his emotional state is influenced by the city and the very atmosphere that forces him to commit the crime.
Rodion's room also negatively affects his condition. On the one hand, it is a shelter from the stuffy, imperfect city, on the other hand, it is a cell in which Raskolnikov suffocates, it does not allow him to live. T. A. Kuznetsova in her article «The Chronotope of the Room in F. M. Dostoevsky's Novel» notes that the author «emphasizes that the space narrows, the hero cannot breathe, and, having committed murder, buries himself alive». [4, p.408]. The place where Rodion lives is so small that he walks hunched over: «it was a tiny cell, six steps long, which had the most pathetic appearance with its yellow, dusty and everywhere wallpaper that had fallen off the wall» [3, p.65]. The hero feels the influence of the room on himself, he cannot think, it constricts his soul, drives him into a dead end, as if into a coffin. The hopelessness and drudgery of Rodion's life is felt.
The space of the «threshold» also plays an important role in understanding the work. It emphasizes the significant events that occur in the novel. The French researcher D. Arban believes that «threshold» is a space defined as a short, delimiting two moments, but belonging to both of them, simultaneously both entrance and exit. To cross the threshold means to perform an act of transition. [1, p.47]. Undoubtedly, this is an unreal space, it is abstract, but it also influences the actions of the young man. An example is the episode in which Rodion has a dream where the old woman and the crowd laugh at him. Svidrigailov appears at the door, and at this moment Raskolnikov awakens, but he is between two extremes — dream and reality. In this scene, the «threshold» serves as a metaphor that personifies the sinfulness of the protagonist. It fulfills the same function in the episode when Rodion is on penal servitude and has a dream about the end of the world. When he wakes up, he has a long discussion on the subject, trying to find the truth. That is, every time being in a borderline state, the protagonist makes an act of transition. Rodion transcends his theory, through himself, he repents. This image shows the contradiction of the hero himself, his desire to become on the true path.
Thus, space in F. M. Dostoevsky's novel «Crime and Punishment» plays an important role. It affects the mental state of the protagonist, does not allow him to rejoice, develop and breathe. Space is constantly narrowing, and existence seems to become impossible. Rodion Raskolnikov becomes a hostage of the city, the room, his ideas, he goes mad, commits a terrible crime, begins to search for the true path in life. Thanks to the artistic space, the image of the protagonist, his character and psychological state, which are important for understanding the work, are fully revealed.
References:
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