One of the famous classical cultural texts that depicts the hero’s experience of guilt is Dostoevsky’s work “Demons” (1870), which examines the relationship of Stepan Trofimovich Verkhovensky with his loved ones and his feelings about this .Expressed descriptions of the experience of guilt and the feelings arising from it are highlighted, with further explanation: “... he was already ready to crucify himself for ingratitude; ... tell me that Varvara Petrovna is “an angel of honor and delicacy, but he is completely the opposite” [Dostoevsky, 2018, p. 14]; “he despises himself and decided to die a violent death, and from her he expects the last word that will decide everything...” [ibid., P. 14]; “You can’t... be more honest... duty... I will die if I don’t confess to her everything, everything!” [ibid., P. 15]. In these descriptions one can see a strong feeling of guilt, which relates to a greater extent to the guilt of one’s own non-fulfillment and causing trouble to Another. There is a strong desire for forgiveness on the part of the Other, but there are no attempts at sincere repentance and forgiveness, and the hero continues to live with a sense of guilt. Also, in those moments when he brings repentance and hears words of forgiveness in response, the guilt never disappears, but even more fills the hero with feelings: “I have always, always been guilty before you!” [ibid., P. 180]; “- Go, my friend, I am guilty of exposing you” [ibid., P. 436]. The personality is aimed at self-deprecation in comparison with other heroes and increasingly appears before others in in such a light: “Oh, I’m too, too guilty before you and ... before everyone, before everyone” [ibid., P. 112]. “Stepan Trofimovich firmly continued not to notice the insults. But the reported events made an increasingly stunning impression on him” [ibid., p. 299]. “He had the appearance of a man who seemed to have doomed himself to certain death for the fatherland” [ibid., P. 436]. Observing the development of the hero’s experiences and his interaction with others, it is impossible to determine with certainty whether his sense of guilt is a cause or a consequence, because it is completely authentic. The experienced guilt merges with the character of the hero, which in the end, without any actions, manifests itself again and again, in almost every statement, and it seems impossible for him to get rid of such guilt. With all the mental torment of Stepan Verkhovensky, the path to God opens up for him. Leaving his hometown, he ends up in the city of Spasov and there he confesses to Sofya Matveevna, a stranger to him, which speaks of the conscience that has awakened in him, leading him to insight regarding himself and even Russia, calling himself and his son demons from which she needs to be healed. Also A prominent representative of the description of the hero's experience of guilt is the work of Franz Kafka "The Trial" (1925). Here the experience of existential guilt for the failure to realize life is presented, and all stages, feelings, consequences and experiences with an internally felt feeling of guilt are revealed and described in detail, when a person does not accept and does not realize it. “... I am accused of something, but I don’t feel the slightest guilt about myself” [Kafka, 1965] “I am completely innocent!” [ibid.] Josef K. for a long time does not pay any attention to the process, but it haunts him more and more often in his experiences, relatives and colleagues find out about this and after some time he still begins to get involved in it, but only for the sake of deliverance. The following passage clearly shows the moment when the hero tries to write a petition about his innocence, which can be associated with the attempts of a person feeling guilty to find an excuse in past events to get rid of this feeling: “... the petition will require a long, almost endless work. Even with the most persistent character, a person might come to the conclusion that it is generally impossible to draw up such a paper. And not from laziness, not from baseness, ... and therefore ... you will have to describe your whole life, recall the smallest actions and events in your memory and check them from all sides. ...But now that a personit is necessary to preserve all the freshness of thought for work, when the hours fly by with infinite speed, ... now, when ... you want to enjoy life in such short evenings and nights, it is now that you must engage in the preparation of this document" [Kafka, 1965]. Peculiarities of existential guilt inherent the essence of a person is well expressed in the following passages: “But everything in the world has to do with judgment” - guilt covers a person’s entire life; “... I have never heard a single complete justification” - getting rid of existential guilt is impossible; “it is necessary not for a minute Don't lose sight of the process. ...the accused must be interrogated at least occasionally, the investigation must continue..." - guilt does not go away on its own, it occupies the entire human existence; "for the accused, movement is better than rest, because if you are at rest, then, perhaps, without knowing it “, you are already sitting on the scales with all your sins” - a person who feels guilty constantly tries to get rid of it, if he calms down, he feels even more guilty “Admission of guilt, unconditional admission of guilt, the door swings open. It leads to the house of the world, the muddy reflection of which is spread outside the walls" [ibid.] - only recognition of one’s guilt can free a person. The emergence of the experience of existential guilt covers a person’s entire existence, and getting rid of it seems almost impossible, which accompanies every thought and every the action of the culprit. Heroes play a special role in describing human spirituality among writers of the late twentieth century. We will consider the work of V. Makanin “Underground, or a Hero of Our Time” (1998), where the hero in his image represents most of his generation. M. Lermontov wrote about this work: “The hero... is a portrait, but not of one person: it is a portrait made up of the vices of our entire generation, in their full development” [Makanin, 2003, p. 5]. This work is a good example of displaying the suffering and spiritual experiences of people at the end of the twentieth century and is important for comparing changes in the experience of guilt. In this work, one of the clearly shown phenomena is the existential problem of loneliness. The difference is visible between Petrovich’s voluntary loneliness, which became for him “his authentic self” and the forced loneliness of his brother Venya, which became his identification with a certain “empty place.” Petrovich recognizes his loneliness, which serves as a catalyst for him to many changes within himself. But also with complete acceptance of himself as a “lonely man, out of business”: “No matter what a man says, he lives by random experience, slipped to him in his youth... He does not dare, he does not want to accept the fact that the world is simplified and that there is no other door for him - it simply does not exist” [Makanin, 2003, p. 20]. Remaining in his loneliness, Petrovich begins to feel a clarified feeling of guilt: “The feeling of guilt suddenly falls on me out of nothing. It happens; and is usually connected in some unclear way with brother Venya. I am not guilty before him, that is certain - but there is also a feeling of guilt. I don’t reflect on this subject anymore, I’m used to it...” [ibid., P. 128]. The experience of such guilt seems to be a situation-event for the hero and has the character of his being, which contributes to the spiritual and personal growth of maturity in the hero of the work. In contrast to this, there is another side of the hero, Petrovich, committing several murders, does not feel either guilt or responsibility before God, which is typical representatives of this period: conscience is controlled by the mind, and repentance is a weakness: “I was ready to think, to think as much as I wanted, just to avoid a failure: not to let into myself a monstrous, humiliating story about a repentant confession” [ibid., C 387]. The first murders take place with just such an attitude, but after the next one, a “spark of God” arises in Petrovich that his selfhood and writing self are God’s gift and this prompted him to save an old man in a psychiatric hospital from the hands of orderlies. This manifestation of compassion also served as his own salvation. The presented works show 87765370370