Composition: The fate of a human fate of the people in the story of Sholokhov The fate of a person. The fate of a human fate of the people in the story of Sholokhov the fate of a person Checking homework
The era of the Time of Troubles (late 16th - early 17th centuries) attracted the attention of Russian playwrights as an exceptionally dramatic, turning point in Russian history. The characters of its main actors- Godunov, False Dmitry, Shuisky - were full of genuine drama, sharp contradictions. This theme was most vividly reflected in the Russian drama of the first third of the 19th century, as you know, in Pushkin's tragedy "Boris Godunov" (1825).
Pushkin considered the writing of this tragedy to be his literary feat, understood its political meaning and said: "I could not hide all my ears under the cap of a holy fool - they are sticking out." Interest in Pushkin's history is natural and deep. The most bitter reflections on the fate of Russia did not give rise to historical pessimism in him. By this time, volumes X and XI of "History of the Russian State" by Karamzin had been published, and this sharpened attention to the era of "Time of Troubles". It was a turning point, a critical time in the history of Russia: the Polish intervention, popular discontent, the shaky rule of impostors. "Boris Godunov" is born as a concept, from the need to comprehend the world through history, the history of Russia. Stay in Mikhailovsky, contact with folk life played here a role no less than the great creation of Karamzin - "History of the Russian State." Attempts to comprehend the "mechanism" human history- not an abstract philosophical task, but a burning personal need of Pushkin, who begins to realize himself as a social poet, endowed, moreover, with a certain prophetic mission; “This is an attempt to penetrate into the secret of Russia's historical destinies, to comprehend scientifically as a unique person, to restore the historical and spiritual genealogy, which was“ canceled ”by the revolution of Peter.
He peers into the nature of the Russian statehood, associated with the character of the people, studies the era of one of those upheavals that this statehood has undergone. " In Karamzin, Pushkin also found a version of Boris's involvement in the murder of Tsarevich Dmitry, the son of Ivan the Terrible, in Uglich. Modern science leaves this question open. For Pushkin, this version helps to show Boris's pangs of conscience with psychological depth. Doubts about Boris's involvement in the crime were widespread. In a letter to S. Shevyrev, Pogodin writes: “Write the tragedy“ Boris Godunov ”without fail. He is not to blame for Dmitry's death: I am absolutely convinced of this ...
It is necessary to remove from him the disgrace imposed, except for centuries, by Karamzin and Pushkin. Imagine a person whom all circumstances have flocked to accuse, and he sees it and trembles from future curses. " It was this interpretation that Pogodin made the basis of his drama about Boris Godunov, opposing it to Pushkin's. In 1831. he completed the drama "The Story in the Faces of Tsar Boris Fedorovich Godunov". The very title "History in faces ..." in its own way emphasizes the author's point of view on the history and features of the artistic development of the historical theme. The past is revealed to them not through the struggle of social forces, but through the clash of virtuous and vicious persons. Pogodin comes to the conviction: the goal of history is "to teach people to curb passions", which sounds quite in the spirit of Karamzin, and this specific, fairly rational moralism will remain one of the characteristic features his views. But Pushkin in many respects disagreed with Karamzin in the interpretation of this material. The problem of the relationship between the drama "Boris Godunov" and the story of Karamzin is very complex and cannot be simplified. We must see what connects her with Karamzin, and the deep difference between them.
The fact is that Karamzin's History is both a historical scientific work, and at the same time work of fiction... Karamzin recreated the past in pictures and images, and many writers, using factual materials, disagreed with Karamzin in their assessments. Karamzin in the historical past of Russia wanted to see an amicable union and harmony between the tsars and the people) "History belongs to the tsar"), and Pushkin saw a deep gap between the autocracy of the tsar and the people. The drama is distinguished by a completely new quality of historicism. Before Pushkin, neither the classicists nor the romantics were able to recreate the exact historical era. They took only the names of the heroes of the past and endowed them with the thoughts of the people of the 19th century. Before Pushkin, writers could not show history in its movement, they modernized it, modernized it. Pushkin's historicism of thinking lies in the fact that he saw history in development, the change of eras. According to Pushkin, in order to make the material of the past topical, it does not need to be artificially adapted to the present. Pushkin's motto: "It is necessary to recreate the historical truth and then the past itself will be relevant, because the past and the present are linked by the unity of history."
Pushkin recreated the historical past with amazing accuracy. Readers of Pushkin's drama face an era of troubled times: here is the chronicler Pimen, the boyars, the "holy fool", etc. Pushkin not only recreates the external features of the era, but he reveals the main social conflicts. Everything is grouped around the main problem: king and people. First of all, Pushkin shows the tragedy of Boris Godunov and gives us his explanation. It is in the understanding of Boris Godunov and his tragic fate first of all, Pushkin is at odds with Karamzin. According to Karamzin, Boris's tragedy is entirely rooted in his personal crime, this is the tsar - a criminal who came to the throne illegally. For this he was punished by God's judgment, by the pangs of conscience. Condemning Boris as a tsar - a criminal who shed innocent blood, Karamzin defended the legality of the succession to the throne. For Karamzin, this is a moral and psychological tragedy. He examines the tragedy of Boris in a religiously instructive sense. Much in this understanding of life, the fate of Boris was close to Pushkin.
This is the topic of crime and punishment. Pushkin further enhances this moral and psychological drama by the fact that for Pushkin Boris is an outstanding personality. The tragedy of a criminal conscience is revealed in Boris's monologues, Boris himself admits: “the one in whom the conscience is unclean is pitiful”. Unlike the tragedies of the classicists, the character of Boris is shown widely, multifaceted, even in evolution. If at first Boris is impenetrable, then later he is shown as a man with a broken will. It is shown and how loving person, father. He cares about enlightenment in the state and teaches his son how to govern the country) "First tighten, then loosen up"), with the nakedness of suffering, he somewhat resembles Shakespeare's heroes (Macbeth, Gloucester in "Richard III"). And the fact that he addresses the holy fool by his name - Nikolka and calls him unhappy, like himself, makes him related to himself, is not only evidence of the immensity of Boris's suffering, but also the hope for a possible redemption of these sufferings. It is important to take into account that Pushkin shows the people's point of view on what he has done. Boris is not just a usurper tsar.
Pushkin emphasizes that it was not an adult rival that was killed, but an infant. Boris stepped through the blood of an innocent baby - a symbol of moral purity. Here, according to Pushkin, the moral sense of the people is insulted and it is expressed by the mouth of the holy fool: "I will not, Tsar, pray for Tsar Herod, the Mother of God does not order." No matter how great the significance of the moral and psychological drama of Boris, the main thing for Pushkin in the drama is the tragedy of Boris as a tsar, ruler, statesman, whom he looks at from a political point of view. Pushkin shifts the emphasis from the personal suffering of Boris to the consequences of the crime for the state, the social consequences.
"Human destiny, people's destiny" in the tragedy of Alexander Pushkin "Boris Godunov"
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Fate human destiny folk in the story of Sholokhov The fate of a person
M.A. Sholokhov went through the Great Patriotic War practically from start to finish - he was a war correspondent. On the basis of frontline notes, the writer created chapters of the book “They Fought for the Motherland”, stories “The Science of Hatred”, “The Fate of Man.” “The Fate of a Man” is not just a description of military events, but a deep artistic study of the inner tragedy of a man whose soul was crippled by the war ... The hero of Sholokhov, the prototype of which is a real man Andrei Sokolov, with whom Sholokhov met ten years before the creation of the work, talks about his difficult fate. The first test that Sokolov passes is fascist captivity. Here the hero witnesses with his own eyes how all the best and worst human qualities are manifested in extreme conditions, how closely courage and cowardice, fortitude and despair, heroism and betrayal coexist. The most indicative in this respect is the night episode in the destroyed church, where the Russian prisoners of war were herded. So, on the one hand, we face the image of a doctor who, even in such a desperate situation, does not lose his presence of mind, tries to help the wounded, remaining faithful to his professional and moral duty. On the other hand, we see a traitor who is going to hand over the platoon commander Kryzhnev to the fascists, following the logic of opportunism and cowardice and declaring that "the comrades remained behind the front line" and "their shirt is closer to the body." This person becomes the one who for the first time in his life is killed by Sokolov (until that time worked as a military driver) on the grounds that a traitor is “worse than someone else's.” Descriptions of the existence of prisoners of war in forced labor are terrifying: constant hunger, backbreaking work, severe beatings , persecution by dogs and - most importantly - constant humiliation ... But Sholokhov's hero also withstands this test, a symbolic proof of which can serve as his moral duel with the camp commandant Muller, when Sokolov refuses to drink for the victory of German weapons and, rejecting bread and lard, demonstrates “his own, Russian dignity and pride ". Andrei Sokolov managed to survive in such inhuman conditions - and this testifies to his courage. However, despite the fact that the hero saved his life in a physical sense, his soul was devastated by the war, which took away his home and all his relatives: “There was a family, his house, all this was molded for years, and everything collapsed in a single moment ... ". A casual acquaintance of Sokolov, to whom he retells the story of his difficult fate, is first of all amazed at the look of his interlocutor: "Have you ever seen eyes, as if sprinkled with ashes, filled with such inescapable mortal melancholy that it is difficult to look in them?" Alone with himself, Sokolov mentally asks: “Why did you, life, cripple me so? Why did you distort it so? "We see that the most cruel test for Andrei Sokolov was precisely the peaceful, post-war life in which he could not find a place for himself, turned out to be, as it were, unnecessary, spiritually unclaimed:" Yes, I dreamed of my awkward life ? ". In a dream, the hero constantly sees his children, a crying wife, separated from him by the barbed wire of a concentration camp. Thus, in a small work, the complex, ambiguous attitude of the writer to wartime events is revealed, the terrible truth of the post-war time is revealed: the war did not pass without leaving a trace the minds of each of its participants are painful pictures of violence and murder, and in the heart there is an unhealed wound of the loss of relatives, friends, and fellow soldiers. The author regards the war for the Motherland as a holy, just cause, believing that a person defending his country shows the highest degree of courage. However, the author emphasizes that the war itself, as an event that makes millions of people physical and moral cripples, is unnatural and disgusting to human nature. A little boy Vanyushka helped Sokolov to be spiritually reborn, thanks to whom Andrei Sokolov did not remain alone. After all he had experienced, loneliness for him would be tantamount to death. But he found a man who needed love, care, affection. This saves the hero, whose "grief-stricken" heart is gradually "receding, becoming softer." walking on Russian land ”is an artistic summary of the fate of millions of our compatriots, whose lives were scorched by the war. The author uses the method of maximum typification, reflecting in the fate of the main character of the story the most characteristic features of the Russian national character. Sokolov's worthy overcoming of the hardest trials, the experience of the most terrible events - the death of loved ones, general destruction and destruction and his return to a full life, speak of extraordinary courage, iron will and the extraordinary strength of the hero's spirit. symbolic meaning... The war, as it were, equalizes the heroes in their deprivation and, at the same time, allows them to make up for mental losses, overcome loneliness, "leaving" in distant Voronezh his father's leather coat, which Vanya accidentally recalls. human destiny. It is also no coincidence that the narrator meets the hero in the spring - this time of the year also symbolizes constant renewal, the rebirth of life. Patriotic War- one of the most significant and, at the same time, the most tragic pages in the history of Russia. This means that the books written about this war, including The Fate of Man, will never lose the power of ideological and artistic influence on the reader, and will remain literary classics for a long time.
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M.A. Sholokhov went through the Great Patriotic War practically from start to finish - he was a war correspondent. On the basis of frontline notes, the writer created chapters of the book "They Fought for the Motherland", stories "Science of Hatred", "The Fate of Man".
"The Fate of Man" is not just a description of military events, but a deep artistic study of the inner tragedy of a man whose soul was crippled by the war. The hero of Sholokhov, the prototype of which is a real person, with whom Sholokhov met ten years before the creation of the work, Andrei Sokolov, talks about his difficult fate.
The first test that Sokolov passes is fascist captivity. Here the hero witnesses with his own eyes how all the best and worst human qualities are manifested in extreme conditions, how closely courage and cowardice, fortitude and despair, heroism and betrayal coexist. The most indicative in this respect is the night episode in the destroyed church, where Russian prisoners of war were herded.
So, we face, on the one hand, the image of a doctor who, even in such a desperate situation, does not lose his presence of mind, tries to help the wounded, remaining faithful to his professional and moral duty to the end. On the other hand, we see a traitor who is going to hand over the platoon commander Kryzhnev to the fascists, following the logic of opportunism and cowardice and declaring that "the comrades remained behind the front line" and "their shirt is closer to the body." This person becomes the one who, for the first time in his life, is killed by Sokolov (who until that time worked as a military chauffeur) on the grounds that a traitor is "worse than someone else's."
Descriptions of the existence of prisoners of war in forced labor are terrifying: constant hunger, backbreaking work, severe beatings, dog-baiting and, most importantly, constant humiliation ... But Sholokhov's hero also withstands this test, symbolic proof of which can be his moral duel with the camp commandant Muller, when Sokolov refuses to drink to the victory of German arms and, rejecting bread and lard, demonstrates "his own Russian dignity and pride." Andrei Sokolov managed to survive in such inhuman conditions - and this is evidence of his courage.
However, despite the fact that the hero saved his life in a physical sense, his soul was devastated by the war, which took away his home and all his relatives: "There was a family, a home, all this was molded for years, and everything collapsed in a single moment ..." ... A casual acquaintance of Sokolov, to whom he retells the story of his difficult fate, is first of all amazed at the look of his interlocutor: "Have you ever seen eyes, as if sprinkled with ashes, filled with such inescapable mortal melancholy that it is difficult to look in them?" Alone with himself, Sokolov mentally asks: “Why did you, life, cripple me so? Why did you distort it so? "
We see that the most cruel test for Andrei Sokolov was precisely the peaceful, post-war life in which he could not find a place for himself, turned out to be superfluous, spiritually unclaimed: "Didn't I really dream of my awkward life?" In a dream, the hero constantly sees his children, a crying wife, separated from him by the barbed wire of a concentration camp.
Thus, in a small volume of work, a complex, ambiguous attitude of the writer to the events of wartime is revealed, the terrible truth of the post-war time is exposed: the war did not pass without a trace, leaving in the minds of each of its participants painful pictures of violence and murder, and in the heart - an unhealed wound of the loss of relatives , friends, fellow soldiers. The author regards the war for the Motherland as a holy, just cause, believing that a person defending his country shows the highest degree of courage. However, the author emphasizes that the war itself, as an event that makes millions of people physically and mentally crippled, is unnatural and contrary to human nature.
A little boy Vanyushka helped Sokolov to be spiritually reborn, thanks to whom Andrei Sokolov did not remain alone. After all he had experienced, loneliness for him would be tantamount to death. But he found a man who needed love, care, affection. This saves the hero, whose heart "turned to stone with grief" gradually "departs, becomes softer."
The fate of Sholokhov's heroes - “two orphaned people, two grains of sand thrown into foreign lands by a military hurricane of unprecedented strength”, who survived alone and after all they experienced together “walking on Russian land”, is an artistic generalization of the fate of millions of our compatriots whose lives were scorched by the war. The author uses the technique of maximum typification, reflecting in the fate of the main character of the story the most characteristic features of the Russian national character.
Sokolov's worthy overcoming of the hardest trials, the experience of the most terrible events - the death of loved ones, total destruction and destruction and his return to a full life, speak of extraordinary courage, iron will and extraordinary strength of spirit of the hero.
In this regard, the recognition of Andrei Sokolov, who lost his family, that he is literally the father of Vanyushka, who also lost his family, acquires symbolic meaning. The war, as it were, equalizes the heroes in their deprivation and, at the same time, allows them to make up for mental losses, overcome loneliness, "leaving" in distant Voronezh his father's leather coat, which Vanya accidentally recalls.
The image of the road that permeates the entire work is a symbol of eternal movement, changing life, and human destiny. It is also no coincidence that the narrator meets the hero in the spring - this time of the year also symbolizes constant renewal, the revival of life.
The Great Patriotic War is one of the most significant and, at the same time, the most tragic pages in the history of Russia. This means that the books written about this war, including The Fate of Man, will never lose the power of ideological and artistic influence on the reader, and will remain literary classics for a long time.
The epic novel by Mikhail Sholokhov " Quiet Don”Became a discovery in world literature, and its author was among brilliant artists XX century, whose books forever stood on the "golden shelf" of literature. Sholokhov was able to show the tragedy of man and the tragedy of the people during the great breakdown of the social system. The fates of the heroes are given as part of a single whole, but at the same time, each person of the writer retains the uniqueness of personality and life path.
The past, present and future of the people, the history and fate of the most interesting part of it - the Don Cossacks
- this is the theme of the novel, the center of the writer's thoughts. On the example of one family, a story unfolds about how the life of an individual, a family, a farm is fused and intertwined with the life of the country. By the will of history, the Melekhovsky farm is at the center of events that determine the future not only of their family, but of the whole of Russia for many years to come. It is symbolic that it is through the Melekhovsky farm that the line of defense runs during the Civil War. He is occupied now by reds, now by whites, and this is similar to the throwing and searching of one of the heroes, Grigory Melekhov, who seeks and cannot find the truth from either one or the other.
Real Cossacks, pride and strength of the Cossacks - such are the Melekhovs. Healthy, beautiful, full of life the head of the family, Panteley Prokofievich, is a folding old man, temperamental, quick-tempered, hot, but kind and easy-going - not so much with his mind as with his soul, he understands the value of a house, a hearth, an old warm way of life. He is trying his best to hold on to what unites the family, to maintain support in the whirlwind of terrible events. But tragedy happens. The house is dying, collapsing, like the houses with the usual way of millions of people collapsed. The place where the closest people live, creating a sense of security, has become something unreal, impossible. The defense line, the fault line passed through the country, splitting friends, relatives, scattering them on different sides of the front.
The sons of Pantelei Prokofievich are also tied to their home. And the more tragic is their fate, which made them survive the collapse of the ideal of a family where everyone stands for each other. At a time when history is being redrawn, “heads and worlds are flying,” in the words of Marina Tsvetaeva, it is impossible to build life according to tradition. We have to look for new points of support, revise our views, think about where the truth is. The search for the truth is the lot of the few, such people cannot go with the flow. They must make their own choices. Their life is harder, and their fate is more desperate than the rest. And Sholokhov showed this on the example of the central hero of the novel - Grigory Melekhov. Melekhov is a truth-seeker. At the beginning of the novel, we see a happy, self-sufficient person, a bright, brilliant representative of the real Cossacks. Grigory Melekhov is happy, he enthusiastically gives himself up to any occupation. He is a born horseman, warrior, rural worker, fisherman, hunter. Don life gives him the best, he fits perfectly into it. The war of 1914 at first seems to him only a time of the highest realization, a craving for military glory in the blood of the Cossacks. But the reality of war is such that a thinking and feeling person cannot come to terms with senseless cruelty, absurdity, unnecessary and terrible human sacrifices and violence. Grigory Melekhov becomes bitter. What seemed indisputable now raises doubts: loyalty to “the tsar and the fatherland,” military duty. In the hospital, Melekhov thinks about the future.
The events of 1917 at first give many hope for a new starting point, a new truth. Changing values, political and moral, do not provide reliable guidance. Sholokhov shows how at first Grigory is carried away by the outside
Revolution, its slogans. He goes to fight on the side of the Reds. But again he faces senseless cruelty and loses faith. When the Reds come to the Don and the mass destruction of the Cossacks begins, Grigory Melekhov fights with them. He sees the cruelty of both whites and Bolsheviks, he comes to the conclusion that “they are all the same! All of them are yoked around the neck of the Cossacks ”. Melekhov does not accept the historical truth, because the people with whom he is bound by a common fate, such truth brings only death. Neither white officers nor Bolsheviks seem to him worthy to stand in power. Desperate to find the truth, Melekhov drowns out his emotional pain with drunkenness, indiscriminate female affection, and senseless cruelty. But Sholokhov does not allow us, the readers, to condemn the hero arrogantly. The writer returns to the idea that the most important thing in a person is his roots. In the darkest time, Grigory Melekhov lives with love for native land, to the father's house, family, and fate rewards him. He gets the only thing left in his life: the opportunity to stand on the threshold of his home, to hold his son in his arms.
The fate of the people in “Quiet Don” is terrible and majestic. Sholokhov managed to tell about people with difficult characters, hard lives in such a way that we do not just empathize with them, we believe in the need for moral searches, together with the heroes we begin to understand all the falsity of ready-made answers to the question: what is the truth, what is the meaning of human existence. And forever images of people remain in the soul, who have proved with their whole lives: the truth is to keep the warmth of the home, and the highest manifestation of love is the willingness to sacrifice everything for the sake of the one you love. History often follows indirect paths, and none of us knows at what time he will live. Therefore, Sholokhov's novel is relevant now, and we will look in it, if not for answers, then for support in difficult turning points, when everyone has to decide for himself where is the truth and where is lie, and choose his own path.
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M.A. Sholokhov went through the Great Patriotic War practically from start to finish - he was a war correspondent. On the basis of frontline notes, the writer created chapters of the book "They Fought for the Motherland", stories "Science of Hatred", "The Fate of Man".
"The Fate of Man" is not just a description of military events, but a deep artistic study of the inner tragedy of a man whose soul was crippled by the war. The hero of Sholokhov, the prototype of which is a real person, with whom Sholokhov met ten years before the creation of the work, Andrei Sokolov, talks about his difficult fate.
The first test that Sokolov passes is fascist captivity. Here the hero witnesses with his own eyes how all the best and worst human qualities are manifested in extreme conditions, how closely courage and cowardice, fortitude and despair, heroism and betrayal coexist. The most indicative in this respect is the night episode in the destroyed church, where Russian prisoners of war were herded.
So, we face, on the one hand, the image of a doctor who, even in such a desperate situation, does not lose his presence of mind, tries to help the wounded, remaining faithful to his professional and moral duty to the end. On the other hand, we see a traitor who is going to hand over the platoon commander Kryzhnev to the fascists, following the logic of opportunism and cowardice and declaring that "the comrades remained behind the front line" and "their shirt is closer to the body." This person becomes the one who, for the first time in his life, is killed by Sokolov (who until that time worked as a military chauffeur) on the grounds that a traitor is "worse than someone else's."
Descriptions of the existence of prisoners of war in forced labor are terrifying: constant hunger, backbreaking work, severe beatings, dog-baiting and, most importantly, constant humiliation ... But Sholokhov's hero also withstands this test, symbolic proof of which can be his moral duel with the camp commandant Muller, when Sokolov refuses to drink to the victory of German arms and, rejecting bread and lard, demonstrates "his own Russian dignity and pride." Andrei Sokolov managed to survive in such inhuman conditions - and this is evidence of his courage.
However, despite the fact that the hero saved his life in a physical sense, his soul was devastated by the war, which took away his home and all his relatives: "There was a family, a home, all this was molded for years, and everything collapsed in a single moment ..." ... A casual acquaintance of Sokolov, to whom he retells the story of his difficult fate, is first of all amazed at the look of his interlocutor: "Have you ever seen eyes, as if sprinkled with ashes, filled with such inescapable mortal melancholy that it is difficult to look in them?" Alone with himself, Sokolov mentally asks: “Why did you, life, cripple me so? Why did you distort it so? "
We see that the most cruel test for Andrei Sokolov was precisely the peaceful, post-war life in which he could not find a place for himself, turned out to be superfluous, spiritually unclaimed: "Didn't I really dream of my awkward life?" In a dream, the hero constantly sees his children, a crying wife, separated from him by the barbed wire of a concentration camp.
Thus, in a small volume of work, a complex, ambiguous attitude of the writer to the events of wartime is revealed, the terrible truth of the post-war time is exposed: the war did not pass without a trace, leaving in the minds of each of its participants painful pictures of violence and murder, and in the heart - an unhealed wound of the loss of relatives , friends, fellow soldiers. The author regards the war for the Motherland as a holy, just cause, believing that a person defending his country shows the highest degree of courage. However, the author emphasizes that the war itself, as an event that makes millions of people physically and mentally crippled, is unnatural and contrary to human nature.
A little boy Vanyushka helped Sokolov to be spiritually reborn, thanks to whom Andrei Sokolov did not remain alone. After all he had experienced, loneliness for him would be tantamount to death. But he found a man who needed love, care, affection. This saves the hero, whose heart "turned to stone with grief" gradually "departs, becomes softer."
The fate of Sholokhov's heroes - “two orphaned people, two grains of sand thrown into foreign lands by a military hurricane of unprecedented strength”, who survived alone and after all they experienced together “walking on Russian land”, is an artistic generalization of the fate of millions of our compatriots whose lives were scorched by the war. The author uses the technique of maximum typification, reflecting in the fate of the main character of the story the most characteristic features of the Russian national character.
Sokolov's worthy overcoming of the hardest trials, the experience of the most terrible events - the death of loved ones, total destruction and destruction and his return to a full life, speak of extraordinary courage, iron will and extraordinary strength of spirit of the hero.
In this regard, the recognition of Andrei Sokolov, who lost his family, that he is literally the father of Vanyushka, who also lost his family, acquires symbolic meaning. The war, as it were, equalizes the heroes in their deprivation and, at the same time, allows them to make up for mental losses, overcome loneliness, "leaving" in distant Voronezh his father's leather coat, which Vanya accidentally recalls.
The image of the road that permeates the entire work is a symbol of eternal movement, changing life, and human destiny. It is also no coincidence that the narrator meets the hero in the spring - this time of the year also symbolizes constant renewal, the revival of life.
The Great Patriotic War is one of the most significant and, at the same time, the most tragic pages in the history of Russia. This means that the books written about this war, including The Fate of Man, will never lose the power of ideological and artistic influence on the reader, and will remain literary classics for a long time.