C2- What heroes of Russian literature had a sense of superiority over others and how are they similar to the hero of "Old Woman Izergil"? "Oblomov". The tragic conflict of generations and its denouement

1. 1. M. Sholokhov "The Fate of Man" Mishchenko S.N.
2. 2. Themes of essays 1. Why is the story of M.A. Sholokhov called "The Fate of Man"? 2. How the war is depicted in M.A. Sholokhov "The Fate of Man" 3. How is the theme of achievement revealed in M.A. Sholokhov "The Fate of Man" 4. What helps Andrei Sokolov to endure the trials of fate? (According to M.A. Sholokhov's story "The Fate of a Man") 5. How does Andrei Sokolov manifest himself in a situation of moral choice? 6. Why does the author call Andrei Sokolov "a man of unbending will"? 7. The theme of the family in the story of M.A. Sholokhov "The Fate of Man". 8. What role did the meeting with Vanya play in the fate of Andrei Sokolov? (According to the story of M.A. Sholokhov "The Fate of Man".)
3. 3. Issues  Sholokhov revealed the tragedy of our people during the war years, showed the disasters and suffering that befell a person.  The problem of patriotism, defense of the Fatherland.  The problem of the inhumanity of war.  The problem of the fate of man.  The problem of the Russian national character.  The problem of good and evil. The problem of life and death.  The problem of home and family (pre-war life, farewell to the family, death of a son, meeting with Vanyushka).  The problem of honor and dishonor (an episode in the church).  Heroism as the highest manifestation of reason  The problem of human dignity, fortitude (duel with Muller).  The problem of universal values ​​(wife, children, home, work).  The problem of conscience, internal judgment on oneself (cannot forgive himself for pushing his wife away at the moment of parting).  The problem of mercy, compassion for the child.  The problem of choosing between life and death, between honor and dishonor.
4. 4.  “The fate of a man”  Time and history of creation  The story was written in 1956-1957, published in the Pravda newspaper in 1957. The plot of the story is based on real events. In the spring of 1946, while hunting, Sholokhov met a man who told him tragic story own life. The writer decided to reproduce this story in art form.  Plot  The action takes place in the first post-war spring. The narrator goes to the village. On the way, he meets Andrei Sokolov, who is leading a boy of five or six years old by the hand. While waiting for the crossing, the men began to talk. A new acquaintance tells about his life.  He is a native of the Voronezh province. During the Civil War he fought in the Red Army, then worked in the Kuban. His father, mother and sister died of starvation. He worked as a mechanic at a factory in Voronezh. He married the orphan Irina. A son was born, then two girls. Family life was prosperous. The hero began to work as a driver. He built a small house, and they lived "no worse than other people."  The war has begun. On the third day Sokolov was called to the front. The whole family accompanied him. He remembered the words of his wife that they would not see each other again in this world. Then Sokolov even got angry with her.  In May 1942, he was taken prisoner. With a column of other prisoners, Sokolov ends up in a camp - in some village. They are herded into a ruined church. At night, Andrey hears a conversation: one soldier is going to betray his platoon commander in the morning, indicating that he is a communist. Sokolov strangled the traitor, outraged by his meanness.
5. 5.  Sokolov spent two years in captivity. He works in a stone quarry. The norm is four cubic meters per day per capita. Andrei was indignant about this, and someone reported this to the camp commandant Muller. The next day he summoned Sokolov to his place. All the camp authorities sat at the table. Andrei behaved with dignity, showing courage and courage. He refused to drink to the victory of the German arms, although he was threatened with execution. His dignified behavior won the respect of the Germans. For the fact that Sokolov, even in such a situation, retained human pride, the commandant spared his life. He rewards him with a loaf of bread and a piece of lard. Sokolov brings food to the barracks and shares it with his comrades.  The captivity continues for some time. Andrei carries a German engineer with the rank of army major. He was sent to the front line to build defensive structures. In Polotsk, he escaped from captivity, stunning the major and bringing him to his own. Sokolov is sent to the hospital. He writes a letter home, but his neighbor carpenter Ivan Timofeevich answers him, who reports that in June 1942 the Germans bombed the aircraft factory, and one bomb hit his hut directly. His wife and daughters died, and his son went to the front as a volunteer.  Sokolov goes to Voronezh. He walked to the place where his house had once been, but could not stay there and went back to the division.  His son Anatoly wrote Andrei a letter to the front. It turns out that he received the rank of captain, commands a battery, has six orders and medals.  Sokolov dreams of the end of the war, of how he will marry his son, how he will be a carpenter and nurse his grandchildren. But his dreams were not destined to come true: on the morning of the ninth of May, on Victory Day, Anatoly was killed by a German sniper.  When the war ended, Sokolov got a job as a driver in an auto company, carried various cargoes. One day he saw little boy, a ragamuffin who fed near the teahouse. Sokolov took him with him, telling him that he was his father.  Then a friend of the narrator appeared, and he and Sokolov parted.
6. 6.  Poetics, composition, idea  The genre of the work is a story.  The theme of the story is the heroic fate of the Russian soldier, who fell to the lot of the Great Patriotic War. Sholokhov for the first time in the story touched on the topic of soldiers who were captured by the Nazis.  The story has a clear composition and is divided into several parts: exposition, plot, main part - the story-confession of the protagonist (in which several parts are also distinguished), denouement, ending.  In the exposition - a picture of the spring flood. Awakening nature rages around as a sign of the rebirth of life after destructive war. The narrator, "submitting to silence and loneliness", feels this power of rebirth. Suddenly he sees a man with a boy walking towards him. We get acquainted with the hero of the story - Andrei Sokolov. It is shown to us through the perception of the narrator. The portrait of the hero emphasizes his “rough, callous”, overworked hands of a simple person, as well as his eyes, “as if sprinkled with ashes, filled with ... inescapable mortal longing.”  It is important how the heroes are dressed: Vanyusha's clothes are much neater than Sokolov's clothes - the hero does not pay attention to himself, caring only about his son.  Further, the author gives the floor to the hero himself: Andrey Sokolov tells him about his life, revealing his emotional experiences.  This story is the center of the work. It also has its own internal composition: the plot, the development of the action, the climax.  There is a story about the plight of man. After the trials of youth, fate smiles at him: he has a family, a house. We can say that this is a typical fate of a simple person. Life is happy - he does what he loves, he has a friendly family, a loving wife, children. Sholokhov emphasizes that Sokolov is a simple Russian man, of whom there are millions in Russia.
7. 7.  Further developments- the behavior of the hero during the war, the way he manifests himself in captivity (does not lose heart, keeps human dignity) - convince the reader of the strength of the spirit of this person. And in captivity, in conditions when many people lost their “human face”, there were people whose fortitude resisted inhuman trials, the writer emphasizes.  Even in the face of mortal danger (the culminating episode of the hero's conversation with Lagerführer Müller), Sokolov behaves with dignity. His behavior earns respect from the enemy. Even the Germans respect the unbending character of the Russian soldier.  But the hero continues, after escaping from captivity, waiting for the suffering that befell millions of people: the loss of a family during the war. He remains alone - completely devastated, having lost the meaning of life.  But it is important for the author to emphasize the ability of a person to resurrect, to restore vitality: the hero’s life does not end - he becomes a hope and support for an even more unfortunate and weak being. The meeting with the orphan Vanyusha did not allow Sokolov himself to die. This boy became a son for the hero, his meaning of life.  With the help of various artistic techniques - a portrait, a confession story, a speech characteristic - the writer reveals the character of his hero as fully as possible.  The idea of ​​the work is intelligible and accurate: terrible trials fell to the lot of Andrei Sokolov, his fate can be called tragic, but neither the war nor the death of loved ones could break him. He found the meaning of his life in helping another person.  The title of the story - "The Fate of a Man" - emphasizes the humanistic pathos of the work. The private history of the “little man” is a story typical of many people who have endured the hardships of the war on their shoulders and defended their homeland.
8.  Read the following fragment of the work and complete tasks 1.1.1-1.1.3.  And here it is, the war. On the second day, a summons from the military registration and enlistment office, and on the third - welcome to the echelon. All four of me accompanied me: Irina, Anatoly and daughters - Nastenka and Olyushka. All the guys were doing well. Well, the daughters - not without that, tears sparkled. Anatoly only twitched his shoulders, as if from cold, by that time he was already in his seventeenth year, and Irina was mine ... I had never seen her like that in all the seventeen years of our life together. At night, on my shoulder and on my chest, the shirt did not dry out from her tears, and in the morning the same story ... They came to the station, but I can’t look at her from pity: my lips were swollen from tears, my hair was knocked out from under the scarf, and my eyes were cloudy, senseless, like those of a person touched by the mind. The commanders announce the landing, and she fell on my chest, clasped her hands around my neck and trembled all over, like a cut down tree ... And the kids persuade her and I, - nothing helps! Other women talk to their husbands and sons, but mine clung to me like a leaf to a branch, and only trembles all over, but cannot utter a word. I tell her: “Pull yourself together, my dear Irinka! Tell me a goodbye word." She speaks and sobs behind every word: “My dear ... Andryusha ... we won’t see you ... you and I ... more ... in this ... world ”...  Here, from pity for her, her heart is torn to pieces, and here she is with such words. I should understand that it’s not easy for me to part with them either, I’m not going to my mother-in-law for pancakes. Evil has taken me! By force, I parted her hands and lightly pushed her on the shoulders. I kind of pushed it lightly, but my strength was stupid; she backed away, stepped back three paces, and again walked toward me with small steps, stretched out her hands, and I shouted to her: “Is that how they say goodbye? Why are you burying me alive ahead of time?!” Well, I hugged her again, I see that she is not herself ...  He abruptly cut off the story in the middle of a sentence, and in the ensuing silence I heard something bubbling and gurgling in his throat. Another's excitement was transferred to me. I glanced askance at the narrator, but I did not see a single tear in his seemingly dead, extinct eyes. He sat with his head bowed dejectedly, only his large, limply lowered hands trembled slightly, his chin trembled, his hard lips trembled...
9. 9. Don't, friend, don't remember! I said softly, but he probably didn’t hear my words and, having overcome his excitement with some enormous effort of will, he suddenly said in a hoarse, strangely changed voice: “Until my death, until my last hour, I will die, and I won’t forgive myself that then I pushed her away! ..  He fell silent again and for a long time. He tried to roll a cigarette, but the newsprint was torn, tobacco fell on his knees. Finally, he nevertheless somehow made a twist, several times greedily puffed and, coughing, continued:  I broke away from Irina, took her face in my hands, kissed her, and her lips were like ice. I said goodbye to the kids, ran to the car, jumped on the bandwagon already on the go. The train took off quietly; to drive me - past my own. I look, my orphaned children are huddled together, they wave their hands at me, they want to smile, but it doesn’t come out. And Irina pressed her hands to her chest; her lips are white as chalk, she whispers something with them, looks at me, does not blink, but she herself leans forward all over, as if she wants to step against strong wind... This is how she remained in my memory for the rest of my life: hands pressed to her chest, white lips and wide open eyes, full of tears ... For the most part, I always see her like that in a dream ... Why did I push her away then? The heart is still, as I recall, as if cut with a blunt knife...  (MA Sholokhov, "The Fate of a Man")  1.1.1 What traits of Andrey Sokolov's character appeared in this fragment? 1.1.2. What role do artistic details play in the given fragment? 
10. 10.  Compare the fragment of the story M.A. Sholokhov "The Fate of a Man" with an episode from the novel by L.N. Tolstoy "War and Peace": farewell of Prince Andrei and his family before a military campaign. What is the difference between the manifestations of heroes in a similar situation?  Well, now goodbye! - He<старый князь Болконский>He gave his son his hand to kiss and embraced him. “Remember one thing, Prince Andrei: if they kill you, it will hurt me, an old man ...” He suddenly fell silent and suddenly continued in a loud voice: “And if I find out that you did not behave like the son of Nikolai Bolkonsky, I will be ... ashamed! he screeched.  You could not tell me this, father, - the son said smiling. The old man was silent. “I also wanted to ask you,” continued Prince Andrei, “if they kill me and if I have a son, do not let him go away from you, as I told you yesterday, so that he grows up with you ... please.  Do not give to your wife? - said the old man and laughed. They stood silently facing each other. The old man's quick eyes were fixed directly on his son's eyes. Something quivered in the lower part of the old prince's face.  Goodbye ... go! he suddenly said. - Get up! he shouted in an angry and loud voice, opening the study door.  What is what? - asked the princess and princess, seeing Prince Andrei and for a moment the figure of an old man in a white coat, without a wig and in the old man's glasses, shouting in an angry voice, leaned out. Prince Andrew sighed and did not answer.  Well, - he said, turning to his wife, and this "well" sounded like a cold mockery, as if he were saying: "Now do your tricks."  Andre, deja?1 - said the little princess, turning pale and looking at her husband with fear.  He hugged her. She screamed and fell unconscious on his shoulder.  He carefully moved the shoulder on which she was lying, looked into her face and carefully seated her on a chair.  Adieu, Marie, - he said quietly to his sister, kissed her hand in hand and with quick steps left the room.  part 2. The theme of the family in the story of M.A. Sholokhov "The Fate of Man". 
11. 11.  Explanatory dictionaries interpret the concept of fate in this way: 1. The confluence of life circumstances; a course of events that does not depend on the will of a person (according to superstitious ideas - the will of God, which predetermines everything that happens in life). 2. Fate, share, life path. Circumstances, conditions for the further existence of the development of something; future.
12. 12.  WORK “The fate of the family in the fate of the country (according to the story of M. A. Sholokhov “The Fate of a Man”)”  War is a great lesson for all people. The works of writers allow us, who were born in Peaceful time, to understand how much hardship and grief the Great Patriotic War brought to the Russian people, how hard it is to rethink moral values in the face of death and how terrible death is. Therefore, I believe that the humanistic significance of works about the war, especially those in which the main attention is paid to the problem of man, is very great. In 1957, the story “The Fate of a Man” was published in the Pravda newspaper, which amazed everyone with its artistic power. The protagonist of this work is a simple Russian man. His life absorbed the history of the country. He is a peaceful worker who hates war. With heartfelt trepidation, Sokolov recalls his pre-war life, when he had a family and was happy. About his wife, the hero says: “And it was not more beautiful and desirable for me, it was not in the world and never will be!” Andrey Sokolov complains that his house was near the aircraft factory: “If my shack were in another place, maybe life would have turned out differently ...”. He bitterly recalls how, at parting, he pushed his wife away, clinging to him: “Why did I push her away then? The heart is still, as I remember, as if they are cut with a blunt knife ... ". This man with unparalleled stamina endured all the trials that fell to his lot: a difficult parting with his family when leaving for the front, injury, fascist captivity, the death of the family left behind. He also withstood the tragic death of his beloved son Anatoly on the last day of the war - May 9: “Be of good cheer, father! Your son, Captain Sokolov, was killed today at the battery. Losing your child is the hardest grief for parents, but main character understands that his son's life ended heroically, in the line of duty. They say that children often repeat the fate of their fathers and mothers, and, most likely, Anatoly was similar to Andrei Sokolov in character. He, like his father, could not cowardly stay away. The suffering experienced was not in vain, they sprinkled Sokolov's eyes and soul with ashes, but did not kill the man in him. No matter how great the personal grief of the hero was, but in all the trials he was supported by love for the Motherland, a sense of responsibility for its fate. He bravely fulfilled his military duty at the front.
13. 13.  Left alone in this world, this man retained in his wounded heart the warmth that he gave to the orphan Vanyusha, replacing his father. Sokolov’s love for the orphan boy became the source of life: “I went to bed with him and for the first time in a long time I fell asleep calmly. However, he got up four times during the night. I wake up, and he nestled under my arm, like a sparrow, softly sniffing, and before I feel joyful in my soul, you can’t say it in words ... ". The writer ends the story with the thought that “this Russian man, a man of unbending will, will survive, and one will grow up near his father’s shoulder, who, having matured, will be able to endure everything, overcome everything in his path, if the Motherland calls for this.” The family is the most important thing in the life of every person, it is his support and what is called "personal happiness". But even this irrefutable truth was refuted by the Great Patriotic War. Often, choosing between personal happiness and the happiness of the whole country, Russian people chose the latter. Fathers and mothers lost children, children lost their parents. But it was precisely at this high price that the Victory over the Nazis was paid - with the lives of relatives and friends, brothers, sisters, fathers and mothers. The story "The fate of a man" is not a story about a specific person. Andrei Sokolov is a generalized image. There were thousands like him during the war. Having lost everything, having lost loved ones, left alone in the world, he did not become callous and soulless. The hero found the meaning of life in Vanyusha, he again found his own person. It was the same in reality: having survived the war, former soldiers again became caring parents. With only one difference - for them the family became even more valuable, even more expensive. The war revealed a new truth for many. Home country- a single big family, for the honor and freedom of which it is sometimes necessary to sacrifice a lot, but these sacrifices will be justified and worthily appreciated by future generations.
14. 14.  Option 6  What is the originality of Sholokhov's interpretation of the heroic in the story "The Fate of a Man"?  The story "The Fate of a Man" became innovative in the military prose of the first post-war decade. Following the tradition of L. N. Tolstoy, M. A. Sholokhov depicts episodes of “war and peace” in his work.  Argument your answer to the question (thesis) with examples from the episode and comments on them. Describe the behavior of Sholokhov's hero in the trials that fell to his lot. Emphasize the observation and ingenuity of Sokolov. Show how he goes through dangers, maintaining his inner dignity (“That’s why you are a man, that’s why you are a soldier, to endure everything, endure everything, if the need called for it”).  Note that M. A. Sholokhov portrays a simple person. The tale form of narration allows the writer to form an individual-author's style of the hero-narrator, whose speech is rich in proverbs and sayings. Meager descriptions of places and events, sketches of characters are given through the perception of the protagonist.  Summing up, indicate that the story “The Fate of a Man” indicated new stage in development military prose. Against the backdrop of semi-official works praising the strategic skills of army commanders and staff officers, heroic-romantic stories and stories about the exploits of Soviet soldiers, the confession of an orphan soldier became a true embodiment of the tragedy of the people. The "soldier's prose" of M. Sholokhov went hand in hand with the "lieutenant's prose" of V. Nekrasov, G. Baklanov, V. Kondratiev. She continued artistic achievements lyrics of poets of the military generation K. Simonov, M. Isakovsky, Yu. Drunina, O. Bergholz, N. Mayorova, A. Mezhirov and others.
15. 15.  In what epic works In Russian literature of the 20th century, the theme of heroism is presented, and what is the similarity or difference between its artistic solution and “The Fate of a Man”?  Give at least two examples to answer the question. Include the story "The Fate of a Man" in the context of the military-historical prose of the 20th century. Justify your choice. Note that in the epic of M. A. Sholokhov "Quiet Flows the Don", the true heroism of the central character Grigory Melekhov, who deserved the title of Knight of St. George, is presented. He received his first George Cross when he carried a wounded officer from the battlefield.  Consider how the problem of heroism is solved in the works of V. V. Bykov "Obelisk" and "Sotnikov". In the story "Obelisk" modernity and the past are conjugated. Teacher Moroz did a lot for his fellow villagers and students: despite his disability, he went on business in Grodno, drew up papers. During the occupation, he continued to teach children: “I did not humanize these guys for two years in order to dehumanize them”; "We will not teach, they will fool." V. V. Bykov, like M. A. Sholokhov, affirms the idea that the feat of a person who always stays with people is no less majestic than death on the battlefield.  In another story by V. V. Bykov (“Sotnikov”), partisans Rybak and Sotnikov go behind enemy lines for food. Weak, sick Sotnikov turns out to be morally stronger and more courageous than the strong and dexterous Rybak. Once captured, Sotnikov accepts death with dignity, while Rybak tries to win his life at any cost. Here you can comment on the firmness of spirit of Sotnikov and Sokolov, which the heroes show with equal force in moments of confrontation with the enemy.  In conclusion, reveal how the idea of ​​heroism changed and was interpreted in military prose of the 20th century. 
16. 16.  What is the meaning of the title of the story by M.A. Sholokhov "The Fate of Man"  The story of M. Sholokhov “The Fate of a Man” is one of famous works domestic literature. It tells about the life of a single person, Andrei Sokolov, whose fate fell on the most terrible epoch-making events: revolution, war, which crippled a person’s life, which, in my opinion, prompted the author of the name of the story.  Only the fate of a truly worthy person could be described in a work. The difficult life of Sokolov, who managed to go through severe trials, retained his humanity and kindness, faith and hope, stamina and dignity, love for life and people, was suitable for this.  Three times Sokolov, a native of the Voronezh province, experiences losses. And what! In the hungry 22nd year, he loses his parents, but finds the strength to live, work, love. Andrei meets his only Irinka. He will know happiness at that time: his home, his beloved children. Happiness that will be destroyed by war.  From the first days of the Great Patriotic War Sokolov at the front. He fights heroically, but is captured. But even in captivity, he remains a Man, does not lose his dignity, the pride of a Russian soldier. How much nobility sounds in his words "... they did not turn me into a beast, no matter how hard they tried." And how Andrei is experiencing a meeting with his native land after a successful escape from German captivity. Here he recalls: "... fell to the ground and kissed her, and I have nothing to breathe ...". Freedom! Your people around! And suddenly a terrible blow of fate: a bomb hit his house in Voronezh. The wife and daughter died. As if Andrey's heart will harden, and only faith in the son of Anatoly and life together with him gave the soldier strength.  The last days of the war… Victory! What a joy! And Sokolov has grief: the damned fascists will kill him in the days of the triumph of his heroic son. Here it is, destiny!  But the Soviet people do not give up: not everything is still petrified in his heart! He decides to adopt a boy, a child of war. “Two orphaned people, two grains of sand thrown into foreign lands by a military hurricane of unprecedented strength” find each other by the irony of an evil fate and become the closest people.  Thus, M.A. Sholokhov, forming new views and depicting in all certainty the fate of a single person of the era, depicts the fate of the whole country. Having lost the opportunity to be happy due to evil fate, the Russian people did not lose the most important thing, human dignity and the desire to live. I think that is why the story of M.A. Sholokhov is called that.
17. 17.  Composition. What is the meaning of the title of the story by M. A. Sholokhov "The Fate of Man"?  A special work that raised the problem of personality psychology during the war to a new height is famous story M. A. Sholokhov "The fate of man." The reader is presented not just the life story of a soldier, but the fate of a man who embodied the typical features of the national Russian character. A modest worker, the father of the family lived and was happy in his own way. And suddenly the war ... Sokolov went to the front to defend his homeland. Like thousands of others like him, the war confronted Andrei with inevitable and unavoidable horrors.  She tore him away from his home, from his family, from work. And the whole life of A. Sokolov turned over as if: the monster of military atrocities fell upon him, life suddenly began to beat and whip him with all its might for no reason. Why is this man so punished? Sokolov's suffering is not an episode connected with the private fate of a person.  The horrors of the Second World War were imposed on the Russian people, and at the cost of enormous sacrifices and personal losses, tragic upheavals and hardships, he defended his homeland. This is the meaning of the story "The fate of man." The feat of a man appeared in Sholokhov's story mainly not on the battlefield and not on the labor front, but in the conditions of fascist captivity, behind the barbed wire of a concentration camp.  In the spiritual combat with fascism, the character of Andrei Sokolov, his courage, is revealed. Far from his homeland, Andrei Sokolov survived all the hardships of the war, the inhuman abuse of fascist captivity. And more than once death looked into his eyes, but each time he found titanic courage in himself and remained a man to the end. But not only in a collision with the enemy, Sholokhov sees the manifestation of a heroic person in nature.
18. 18.  No less serious test for the hero of his loss, the terrible grief of a soldier deprived of loved ones and shelter, his loneliness. After all, Andrei Sokolov emerged victorious from the war, returned peace to the world, and in the war he lost everything that he had in life “for himself”: family, love, happiness. Ruthless and heartless fate did not leave the soldier even a haven on earth. In the place where his house, built by him, stood, there was a dark crater from a German air bomb. History cannot present Andrei Sokolov with an account.  He fulfilled all human obligations to her. But here she is in front of him for him personal life- in debt, and Sokolov is aware of this. He says to his random interlocutor: “Sometimes you don’t sleep at night, you look into the darkness with empty eyes and think:“ Why did you, life, cripple me like that? Andrey Sokolov, after all that he experienced, it would seem that he could call life a plague.  But he does not grumble at the world, does not close himself in his grief, but goes to people. Left alone in this world, this man gave all the warmth that remained in his heart to the orphan Vanyusha, replacing his father. He adopted an orphan soul and that is why he began to gradually return to life. With all the logic of his story, M. A. Sholokhov proved that his hero is in no way broken by his difficult life, he believes in himself.  I believe that the meaning of the name is that a person, despite all the hardships and hardships, still managed to find the strength in himself to continue to live on and enjoy his life!
19. 19.  The problem of honor and dishonor in the story of M.A. Sholokhov "The fate of man."  How will a person prove himself in a war - the hardest test that fate has in store for him? Will he remain true to honor, moral principles, or will he cross the line beyond which - betrayal, meanness, shame, dishonor?  Andrey Sokolov in M. Sholokhov's story "The Fate of a Man" - a generalized image Soviet people who survived the war, survived in it, in spite of everything and in spite of everything. It is no coincidence that the author gives such a name to the story - he writes about a man during the war, about those people who remained faithful to their duty, did not tarnish their honor. ("That's why you are a man, that's why you are a soldier, to endure everything, to demolish everything, if need called for it.") Every day in the war is already a feat, a struggle for life, the expulsion of enemies from their native land. Isn't it a feat when Andrei went on the attack, when he stood in German captivity, hitting even his enemies (“I wanted to show them, damned, that although I’m dying of hunger, I’m not going to choke on their sop, that I have my own, Russian dignity and pride, and that they didn’t turn me into cattle, no matter how hard they tried.”)
20. 20.  Didn’t he accomplish a moral feat when, after the war, he remained a man who sympathized with others, adopting the boy Vanyushka? Moral ideals and values, to which he was faithful to the end, helped Andrey to remain a man of honor, not to drop his human dignity. (“Two orphaned people, two grains of sand thrown into foreign lands by a military hurricane of unprecedented strength ... Is something waiting for them ahead? on his way, if his Motherland calls him to this.”) Unfortunately, the meanness of the soul of some people who, in order to save their lives, became traitors, was also manifested in the war. To survive at any cost was the main thing for them. What kind of honor and conscience can we talk about if she, death, is nearby? So they thought in those moments, crossing the line of decency, humanity. Let us recall a soldier who was ready to hand over his officer to the Germans in order to stay alive (an episode in the church when Andrei was captured and killed this traitor: “For the first time in his life he killed, and then his own ... But what is he like his own? He is worse than someone else’s, a traitor.”) In the war, the character of a person was tested. Honor or dishonor, betrayal or heroism - what a person chose, it depended on those moral principles and ideals that underlay his life position. But we won the war because there were far fewer dishonest ones. The people were united by the will to win, patriotism, love for the motherland. The fate of man and the fate of the country, the people merged into one.
21. 21. Analysis of the episode in the church  What types of human behavior does Sholokhov depict in this scene (a Christian soldier, Kryzhnev, a platoon commander, a doctor)? Which position is closer to Sokolov?  In the episode in the church, Sholokhov reveals the possible types of human behavior in inhuman circumstances. Different characters here embody different life positions. But only the position of the doctor, “who did his great work both in captivity and in the dark,” causes Sokolov sincere respect and admiration. In any conditions, to remain oneself, not to change one's duty - this is the position of Sokolov himself.  The hero does not accept either humility or opposing his life to strangers. That is why he decides to kill Kryzhnev in order to save the platoon leader. It is not easy for Sokolov to kill, especially to kill his own. It's hard on his heart. But he cannot allow one person to save his own life at the cost of the death of another, for he sees salvation only in the unity of people.
22. 22. Analysis of the episode of Andrey Sokolov's duel with Lagerführer Müller  The dialogue with Müller is not an armed battle between two enemies, but a psychological duel, from which Sokolov emerges victorious, which Müller himself is forced to admit. The camp commandant wanted a repeat of Stalingrad, he got it in full. Victory Soviet troops on the Volga and the victory of Sokolov are events of the same order, since the victory over fascism is, first of all, a moral victory.  So an ordinary person becomes for Sholokhov the embodiment of a national character. Fascism is opposed by a hero and great power patience, so characteristic of the Russian people. The readiness to endure, to “survive” becomes Sokolov’s life credo: “That’s why you are a man, that’s why you are a soldier, to endure everything, to demolish everything, if the need called for it.”
23. 23. The finale of the story  Andrey Sokolov will never be consoled, will not help to forget the experience, will not compensate for his terrible losses. At the same time, he, a simple man, not only was not broken, but also retained the most precious thing in himself - a living soul. These two orphaned people find in each other their new common destiny, mutually affirming each other in life. It was important for the writer and the reader together with him to see what the soldier took out of this war, with what he would live on. A wonderfully integral character was created by M. Sholokhov - a character that today helps to understand how a person should be. At the end of the story M.A. Sholokhov speaks with a journalistic fragment. He draws the reader's attention to the tragic ending, “And I would like to think that this Russian man, a man of unbending will, will survive ...” This “I would like to” means “I don’t think, but I really want these thoughts to come.”  The author's impressions from the meeting with Andrei Sokolov lead the author to a real feeling: the people had the strength to win and survive, they still have the strength to work, but little strength to live. Therefore, both Andrei Sokolov and Vanya leave at the end of the story, and Vanya waves his hand in farewell.   Heroes go to the future, as if to war, preparing to overcome. This means that the war has not ended for them, peaceful life has not come, and death is approaching.  The motive of the road makes the story "The Fate of a Man" a work of tragic sound.

The closer to the end of the novel, the more clearly in Oblomov's relationship with the generation of "Stoltsev" the motive of misunderstanding invades. The heroes consider this motive fatal. As a result, towards the end, the plot of the novel takes on the features of a kind of “tragedy of rock”: “Who cursed you, Ilya? What did you do? You are kind, smart, gentle, noble... and... you are dying!”

In these parting words of Olga, Oblomov's "tragic guilt" is fully felt. However, Olga, like Stolz, has her own “tragic guilt”. Carried away by the experiment on the re-education of Oblomov, she did not notice how love for him grew into a dictate over the soul of a person of a different, but poetic nature in her own way. Demanding from Oblomov, and often in an ultimatum form, to become “like them”, Olga and Stolz, by inertia, together with the “Oblomovism”, rejected in Oblomov and the best part his soul. Olga's words, dismissively thrown at parting - "And tenderness ... Where it is not!" - undeservedly and painfully hurt Oblomov's heart.

So, each of the parties to the conflict does not want to recognize for the other the right to the intrinsic value of its spiritual world, with all the good and bad that is in it; everyone, especially Olga, certainly wants to remake the personality of the other in his own image and likeness. Instead of throwing a bridge from the poetry of the "past century" to the poetry of the "present century", both sides are themselves erecting an impenetrable barrier between the two epochs. Dialogue of cultures and times does not work. Is it not this deep layer of the content of the novel that is hinted at by the symbolism of its title? After all, it clearly guesses, albeit etymologically, the meaning of the root "bummer", that is, a break, a violent break in evolution. In any case, Goncharov was well aware that the nihilistic perception of the cultural values ​​of patriarchal Russia would first of all impoverish the cultural self-awareness of the representatives of the "New Russia".

And for the misunderstanding of this law, both Stolz and Olga pay in their joint fate either with bouts of "periodic stupor, sleep of the soul", or Oblomov's "dream of happiness" that suddenly crept up from the darkness of the "blue night". Unaccountable fear then seizes Olga. This fear cannot be explained to her by the "smart" Stolz. But the author and us, the readers, understand the nature of this fear. This Oblomov "idyll" imperiously knocks on the hearts of admirers of the "poetry of the deed" and demands recognition of its rightful place among the spiritual values ​​of the "new people" ... "Children" are obliged to remember their "fathers".

How to overcome this "cliff", this abyss in the historical and cultural chain of generations - the heroes of Goncharov's next novel will directly suffer from this problem. It's called "The Break". And as if to Stolz and Olga, who allowed themselves to be frightened and ashamed of a strange sympathy for Oblomov's "dream of happiness", this inner voice of calm reflection of one of central characters"Cliff" - Boris Raisky, merging this time with the voice of the author himself; “And as long as people are ashamed of this power, cherishing “serpentine wisdom” and blushing “pigeon simplicity”, referring the latter to naive natures, as long as intellectual height will be preferred to moral, until then the achievement of this height is unthinkable, therefore, true, lasting, human progress is also unthinkable.

Basic theoretical concepts

• Type, typical, "physiological sketch", novel of education, novel within a novel ( compositional technique), a “romantic” hero, a “practitioner” hero, a “dreamer” hero, a “doer” hero, reminiscence 1, allusion, antithesis, idyllic chronotope(connection of time and space), artistic detail, " flemish style”, symbolic overtones, utopian motifs, system of images.

Questions and tasks

1. What is typical in literature? What is the originality of the interpretation of this category by I. A. Goncharov?
2. Describe the idea of ​​Goncharov's "novel trilogy" as a whole. What is the historical and literary context for this idea?
3. What brings the novel "Ordinary History" closer to the artistic settings of the "natural school" and what distinguishes it?
4. Reveal in the novel "An Ordinary Story" reminiscences from texts of Russian classical literature familiar to you. What function do they perform in the text of the novel?
5. What are the circumstances of the creative history of the novel "Oblomov"? How do they help you understand author's intention works?
6. On what principle is the system of images of the novel "Oblomov" built?
7. What is the meaning of opposing the characters and destinies of the heroes (Oblomov and Stolz, Oblomov and Olga Ilyinskaya)?
8. What place does the storyline "Oblomov - Agafya Pshenitsyna" occupy in the system of images of the novel? Does this line complete Oblomov's final "debunking" or, conversely, does it somehow poeticize his image? Motivate your answer.
9. Expand the meaning of Oblomov's dream in the composition of the novel.
10. Consider the meaning artistic detail in the novels "Ordinary History" ( yellow flowers, Alexander's penchant for kisses, asking for a loan) and "Oblomov" (robe, greenhouse) to reveal the character of the hero and the essence of the conflict.
11. Compare the estate of the Aduevs Grachi with Oblomovka, paying attention to the features of "Oblomovism" in them.

1 Reminiscences - hidden quotes.

Lesson process on the topic: « The historical breadth and scale of Sholokhov's prose. Collection of M. Sholokhov "Don stories" carried out on the basis of independent work. The tasks for each group are designed so that students conduct an independent study of the development of the tragedy of Russia in the work of Sholokhov, due to the historical events of the period civil war on the Don

Download:

Preview:

Explanatory note

The study of Russian literature of the early 20th century allows you to comparative analysis development of the traditional theme in literature - the theme of Russia - in the work of A. Blok and S. Yesenin, M. Tsvetaeva and A. Akhmatova, M. Sholokhov and A. Fadeev.

Lesson process on the topic:The historical breadth and scale of Sholokhov's prose. Collection of M. Sholokhov"Don stories"carried out on the basis independent work. The tasks for each group are designed so that students conduct an independent study of the development of the theme of the tragedy of Russia in the work of Sholokhov, due to the historical events of the period of the civil war on the Don.

The stages of work on the lesson material help develop independent work skills, interest and creative imagination, cognitive activity of students:

1. acquaintance with the biography of M. Sholokhov and his personal participation in the civil war;
2. the first stories of the writer, included in the collection "Don stories";
3. documentary confirmation of the tragedy of the people, plunged against their will into the conflict;
4. development of the theme of Russia in Russian literature of the period of the civil war;
5. comparative analysis of the stories "Birthmark" and "Aleshkin's heart";
6. make crossword puzzle questions on the topic of the lesson and answer the questions;
7. preparation of materials for writing work.

SUBJECT: The historical breadth and scale of Sholokhov's prose. CollectionDon stories.

PURPOSE: to show by example artwork anti-humanistic meaning of war, consider moral aspects and the humanistic value of life;

Improve work on historicism in a work of art;

To form in students a sense of belonging and indifference towards each other.

LESSON TYPE: learning new material based on independent work; lesson is a process.

METHODS OF CARRYING OUT: conversation, work on the text of the story; dialogical, exploratory.

VISIBILITY, TCO: portrait of M.A. Sholokhov, collection " Don stories» , writer's book exhibitionrecord, informer cards, M.A. Sholokhov - Nobel laureate”, statements about the author and his book.

EPICGRAPH: When an era is buried,

The grave psalm does not sound,

Nettle, thistle

It is to be decorated.

And only gravediggers famously

They work. Things don't wait!

And quietly, so Lord, quietly,

What is heard as time is running. A.A. Akhmatova (1940)

RECORDS ON THE BOARD: “... a civil war is an incomparable national tragedy in which there have never been winners ...

... the brothers, who so generously and for a long time shed each other's blood, fought for Russia. For her tomorrow, which each of the parties saw and understood in its own way ... Let Mother Russia raise a wreath of sorrow and respect over the red and white obelisks. Then repentance will come. Only then will the civil war end.” B. Vasiliev

VOCABULARY WORK: oxymoron, metaphor.

1. Organizational moment.

1. Checking those present and the readiness of students for the beginning of the lesson.

2. Communication of the topic and purpose of the lesson.

1. The study of new material based on the independent work of students.

A. 1. introduction teacher.

The teacher reads the lines of A. Akhmatova, taken as an epigraph to the lesson: "When an era is buried." What era in question? The lines written in 1940 can be attributed to the events of the past in the history of our people: to the 30s - the period Stalinist repressions, to the period of the Great Patriotic War and even earlier tragic pages of the 20th century.

The first two decades of the 20th century were the most cruel in terms of value human life. This era ended with the bloodiest conflict in the country - the civil war. A legitimate question arises:

In the name of what ideals were so many human sacrifices, ruin in the country, inciting enmity between the citizens of one state?

2. According to the writer K. Fedin, “the merit of Mikhail Sholokhov is enormous in the courage that is inherent in his works. He never avoided the inherent contradictions of life, be it any era he depicts. His books show the struggle in its entirety, past and present."

"The strength of the truth of his works is such that the bitterness of life, no matter how terrible it may be, is outweighed, overcome by the will to happiness, the desire to achieve and the joy of achievement."

B. Consideration main theme collection "Don stories".

1. According to the memoirs of Mikhail Sholokhov, in 1918, when the occupation German troops approached Boguchar, he could not continue the teachings, since the Don region became the scene of a fierce civil war. ("Autobiography", March 10, 1934).
2. In 1926, the collection “Don Stories” was published, the author of which, despite his young age, survived the shock of the civil war, served as a census statistician, an educational program teacher, secretary of the village revolutionary committee, and clerk of the procurement office; having voluntarily joined the food detachment, he became a food commissar (an episode of the interrogation of a sixteen-year-old teenager by father Makhno, who, releasing the boy, threatened him with cruel reprisals for the future).
3. "IN " Don stories"I tried to write the truth of life, to write about what worried me most of all, what was the topic of the day for the people."

B. Outline of the main topic

collection of M. Sholokhov "Don stories"

1. The story "Azure Steppe"

2. The story "Aleshka's heart"

3. The story "Mortal Enemy"

4. The story "Mole"

5. The stories "Shibalkovo seed" and "Food commissar"

1. Improving work on the analysis of a work of art.

1. Consideration of the question "Nature and its role in revealing the artistic content of stories."

2. Work on information cards for individual stories.

3. Listening to messages on the topic of the lesson (individual work of students).

The meaning of "Don stories" lies in original name"Russia, washed with blood."

4. The optimism of the Don Stories is due to Sholokhov's inner conviction in the triumph of human life over strife, ruin and wars, a deep belief in its immutable value.

5. Eighteen-year-old Nikolka Koshevoy, the squadron commander, thinks wearily: “I would like to learn to go somewhere, but here is a gang, I didn’t have time to graduate from the parish school ... Blood again, and I’m tired of living like this ... Everything is disgusted ...” (Story “Birthmark”).

6. Lessons and consequences of the civil war.

1. The final stage of the lesson.

1. Grading and commenting.
2. Homework. pp. 61-69 (according to the textbook by V.A. Chalmaev, part 2)

Perform a written analysis of one story by M. Sholokhov.

Informant card No. 1

Memoirs of M. Sholokhov about the meeting with Nestor Makhno's gang

1) “He expected that yesterday's rebels would rise again against the Soviets. Makhno miscalculated. The Cossacks did not follow him. The brutalized bandits seized a number of farms, intended to take Veshenskaya. The bandits robbed farms, slaughtered livestock, and stole thousands of pounds of grain from the warehouses of the Karginsky sacking point. Ruthlessly dealt with the captured Red Army soldiers, communists, teachers.

2) Sholokhov escaped by a miracle, apparently, due to his childhood, the fierce chieftain took pity on him. It is difficult to say what softened the Gulyai-Polye father then: either the completely boyish appearance of the prisoner shortened his anger, or the mistress of the hut where the interrogation was taking place, moved the bandit to pity with maternal feeling - he released the "enemy", strongly threatening to hang another time.

3) Only ardent faith in Soviet power, invincible firmness, and the enormous courage of the stanitsa Bolsheviks helped to survive in such a harsh time. All year the stanitsa and farm revolutionary committees were under arms. Dozens of large and small gangs scoured the area, leaving bloody footprints, destroyed homes. Cattle were slaughtered, seed grain was burned. Often all night long, the activists of the Soviet government, surrounded in the Karginsky church, fired back at the brutalized drunken bandits. They buried dead comrades in a mass grave and clutched their rifles even tighter. Verkhne-Donskaya Pravda wrote about one of the brutal murders on October 20, 1921:

“August 17, during the raid of the Kurochkin gang on the station. Shumilinskaya's teacher was hacked to death by bandits orphanage, female 16 years old, Ekaterina Kolycheva. To the demand of the bandits to show where the communists live, to all the threats with weapons, the brave girl, despite the fact that she was a non-party, refused to extradite the Soviet workers and was brutally killed for this. The bandits cut off her head and hands.”

Informant card No. 2

1. The story "Aleshka's heart"

1. “For two summers in a row, the drought licked the peasant fields black. For two summers in a row a cruel east wind blew from the Kirghiz steppes, ruffled the rusty tufts of bread and dried the eyes of the peasants fixed on the dried-up steppe and the stingy, prickly peasant tears. Hunger followed...

2. “A week has passed. Alyoshka's gums were festering. In the mornings, when from nauseating hunger he gnawed at the resinous bark of karaich, his teeth in his mouth swayed, danced, and convulsions squeezed his throat.

3. “After the run, behind the green wall of rustling buds of corn, the rye has faded. Every day Alyoshka drove past the loaves into the steppe to graze the purveyor's horses. Without a tripod, he let them go along the wormwood blades, along the feather grass, gray-haired and swirling, and he himself went into the bread. Alyoshka lay down carefully, trying not to crush the bread. Lying on his back, he rubbed the ear in his palms and ate the grain, soft and fragrant, poured with unhardened white milk to the point of nausea.

2. The story "Mortal Enemy"

1. “Through the farm, as if someone plowed a furrow and divided people into two hostile sides. On the one hand, Yefim and the farm poor; on the other - Ignat with his son-in-law, Vlas, the owner of a dropsy mill, five rich people and part of the middle peasants.

2. “And at night a she-wolf came down to the farm from the mountain and for a long time stood like a black motionless shadow near the windmill. The wind was blowing from the south, carrying hostile smells, alien sounds to the windmill ... "

3. “Yefim did not hear the creak, but, aimlessly looking at the window, he turned cold with horror: into the narrow gap through the windy hoarfrost, someone’s familiar gray eyes stared hard at him, squinting… Rising, he looked into the broken window; I saw someone running down the street at a trot, wrapped in snow dust.

4. “A blizzard broke, snow fell on Yefim’s face and no longer melted on his cold cheeks, where two tears of unbearable pain and horror froze.”

Informant card #3

1. The story "Mole"

1. "From his father, Nikolka inherited a love for horses, immeasurable courage and a mole, the same as his father's, the size of a pigeon's egg, on his left leg, above the ankle."

2. “Hanging himself from the saddle, he waved his saber, for a moment he felt how his body went limp under the blow and obediently slid to the ground. The ataman jumped down, pulled the binoculars off the dead man, and looked at his feet. He jerked, cursing angrily, tore off his boot with a stocking, and on his leg, above the ankle, he saw a mole the size of a pigeon's egg. Slowly, as if afraid to wake him up, he turned his chilling head upside down, smeared his hands in blood, peered, and only then awkwardly embraced his angular shoulders and said muffledly: “Son! .. Nikolushka! .. Dear!

1. “For seven years the ataman has not seen his native kurens. German captivity, then Wrangel, Constantinople melted in the sun, a camp in barbed wire, a Turkish felucca with a resinous salty wing, Kuban reeds, Sultan reeds and a gang.

2. “The notorious people in the gang, serving, experienced, but still the chieftain thinks hard: he rises in the stirrups, digs the steppe with his eyes, counts miles to the blue edge of the forests, stretched on the other side of the Don.”

3. “Here it is, ataman's life, if you look back over your shoulder. His soul has hardened, as in summer the traces of cloven ox hooves near the muzga of the steppe stale in the brazier. The pain, wonderful and incomprehensible, sharpens from the inside, fills the muscles with nausea, and the ataman feels: do not forget it and do not pour any moonshine into the fever lover.

4. “And in the evening, when horsemen loomed behind the copse, the wind carried voices, horse snorting and the ringing of stirrups, - a vulture kite reluctantly fell from the ataman’s shaggy head. It broke off and melted in the gray colorless autumn sky.

The main conclusions of the lesson

THE MAIN IDEA OF THE STORY "LAZOREVAYA STEPPE" REVEALS THE INEQUALITY OF PEOPLE BASED ON SOCIAL BELONGING, THE BUILDING OF A NEW LIFE WAS CARRIED OUT ON VIOLENCE, CRUELTY, BLOODSHED

THE MAIN MEANING OF THE STORY "ALOSHKA'S HEART" IS IN THE TRIUMPH OF THE HUMANIST VALUE OF HUMAN LIFE

THE FINAL OF THE STORY "A DEATH ENEMY" WITNESSES ABOUT THE FEROCIOUS NON-HUMAN MADNESS WHICH MADE COUNTLESS UNJUSTABLE SATISFACTIONS

THE WAR POSITIONED PEOPLE ON DIFFERENT SIDES OF THE BARRICADES AND DESTROYED GENERAL HUMAN POSTULATES: FATHERS KILL SONS, THEY DEAL WITH FATHERS, THE INSTINCT BECOMES UNCONTROLLED (THE STORIES "MOLE" AND "FOOD COMMISSIONER")

THE OPTIMISM OF THE "DON STORIES" IS DUE TO SHOLOHOV'S INTERNAL BELIEF IN THE TRIUMPH OF HUMAN LIFE OVER DIFFERENCES, DESTRUCTION AND WARS, A DEEP BELIEF IN ITS INCREDIBLE VALUE

We arrived in the city of Polotsk. At dawn, for the first time in two years, I heard our artillery rumble, and do you know, brother, how my heart beat? The bachelor still went to Irina on dates, and even then it didn’t knock like that! The fighting was already eighteen kilometers east of Polotsk. The Germans in the city became angry, nervous, and my fat man began to get drunk more and more often. During the day we go out of town with him, and he orders how to build fortifications, and at night he drinks alone. All swollen, bags hung under the eyes ...

“Well,” I think, “there is nothing more to wait, my hour has come! And I don’t have to run alone, but take my fat man with me, he will fit ours!

I found a two-kilogram weight in the ruins, wrapped it in a cleaning rag, in case I had to hit it so that there was no blood, I picked up a piece of telephone wire on the road, diligently prepared everything I needed, buried it under the front seat. Two days before I said goodbye to the Germans, in the evening I was driving from a gas station, I see a German non-commissioned officer walking drunk as dirt, holding on to the wall with his hands. I stopped the car, drove him into the ruins and shook him out of his uniform, took off his cap. I also put all this property under the seat and was like that.

On the morning of the twenty-ninth of June, my major orders me to take him out of town, in the direction of Trosnitsa. There he supervised the construction of fortifications. We left. The major in the back seat is quietly dozing, and my heart almost jumps out of my chest. I was driving fast, but outside the city I slowed down the gas, then I stopped the car, got out, looked around: far behind me two trucks were pulling. I took out the weight, opened the door wider. The fat man leaned back in his seat, snoring as if his wife were at his side. Well, I poked him in the left temple with a weight. He dropped his head too. To be sure, I hit him again, but I didn’t want to kill him to death. I had to deliver him alive - he had to tell our people a lot of things. I took the Parabellum from his holster, put it in my pocket, drove the tire iron behind the back of the rear seat, threw the telephone wire around the major's neck and tied it with a dead knot on the tire iron. This is so that he does not fall on his side, does not fall when driving fast. He quickly put on a German uniform and cap, well, and drove the car straight to where the earth was buzzing, where the battle was going on.

The German forward edge slipped between two bunkers. Submachine gunners jumped out of the dugout, and I deliberately slowed down so that they could see that the major was coming. But they raised a cry, waving their hands, they say, you can’t go there, but I didn’t seem to understand, threw in the gas and went to all eighty. Until they came to their senses and began to hit the car with machine guns, and I was already winding in no man's land between the funnels no worse than a hare.

Here the Germans were beating me from behind, but here they outlined their own, scribbling towards me from machine guns. In four places, the windshield was pierced, the radiator was torn down with bullets ... But now there was a forest above the lake, our people were running to the car, and I jumped into this forest, opened the door, fell to the ground and kissed it, and I had nothing to breathe ...

(M. A. Sholokhov. "The fate of man".)

Use a separate sheet to complete the task. First formulate a direct coherent answer (5-10 sentences). Argument your judgments based on the analysis of the text of the work, do not distort author's position, do not make factual and logical errors.

What is the originality of Sholokhov's interpretation of the heroic in the story "The Fate of a Man"?

Chapter 5 "Artistic skill of Sholokhov"

1. Sholokhov's psychological analysis (traditions of the classics, innovation).

M. Sholokhov in the novel "Quiet Flows the Don" continued best traditions Russian classics (Tolstoy, Gogol, Chekhov) and at the same time acted as an innovator.

L. Tolstoy had a significant influence on Sholokhov. Criticism notes in Sholokhov's work and the tradition of the classics of world literature: Homer, Cervantes, Shakespeare. Despite the remoteness in time from each other, Sholokhov is related to them, first of all, a broad view of the world and sublime peace of mind in the tragic state of the world. Sholokhov is close to his great predecessors, as Fed notes, and his heroes, filled with a rebellious spirit, active action and unconditional objectivity. They perish (meaning not only physical death), undefeated, believing in the truth, in life for the sake of life. Sholokhov, like Shakespeare, has no guilty in the world, which indicates a deep awareness of social injustice, as well as the responsibility of society for the suffering of innocent people.

Speaking about the power of Sholokhov's realism, the critic most often draws parallels between Sholokhov and Tolstoy. Sholokhov in Tolstoy was attracted by the skill of depicting the complexities of life, its contradictions, showing people, the human soul, the natural world.

Sholokhov is related to Tolstoy by his approach to individuality, to the depiction of fate, intense external and internal collisions, and the versatility of character. He, like Tolstoy, is attracted by strong, searching, reflective characters. The desire to comprehend the truth, no matter how bitter it may be, the maximalism of convictions, the unacceptability of moral compromises - all these are components spiritual appearance Sholokhov's heroes, which are depicted in many dimensions. this applies not only to the heroes of the first plan (Grigory, Aksinya, Natalya, Ilyinichna), but also the second (Daria, Stepan, Peter, etc.). Criticism notes the "ferocity of realism" Sholokhov. As Palievsky notes, the atmosphere of life in which Sholokhov's heroes act is much more severe than usual for all the classics of world literature, for example, the scene of Aksinya's rape by his father.

The spiritual strength of the heroes is revealed in the tragic circumstances of life. And the more tragic the circumstances, the brighter their strength and steadfastness are revealed in the characters of the heroes (Grigory, Aksinya, Natalya, Ilyinichna). Spiritual strength is also revealed by the author in relation to the heroes towards death. Tolstoy's principle of depicting the "dialectics of the soul" of the hero, the subtlest nuances, play of moods, conveyed through a system of stylistic devices - the confession of the hero, internal monologue, improperly direct speech - inherited and continued in " Quiet Don».

The researchers associate the stylistic originality of Tolstoy's psychologism with the inner monologue, the inner speech of the hero. In Tolstoy, inner speech is always "pure", direct, and not always the hero's own direct speech. It is often mixed with ordinary speech, the author's intonation is introduced into it, and, conversely, the hero's intonation is woven into author's description. This weave achieves a dual approach to inner world character: as if third-party, authorial, with its objectivity, and the internal self-disclosure of the character with its subjectivity. These two principles (author's analysis and introspection of the hero) interpenetrate in Tolstoy. In this form of analysis, the inner life is exposed directly, bypassing its outer physical manifestation. In Sholokhov's psychological analysis, such "Tolstoy" characteristics occupy a significant place, - critic A.F. Britikov 1 .

Following the Tolstoy tradition in depicting the character of the hero, - the critic believes, - Sholokhov paves the way to the recesses of the human soul in his own way: he has a little less direct characteristics than Tolstoy, but much less often deployed in Tolstoy style, detailed. The direct inner speech of Sholokhov's heroes is especially laconic. In Gregory's self-characteristics, introspection rarely develops into an internal monologue. This is due, as Britikov notes, to the peculiarities of the circle of people about whom Sholokhov writes.

He not only "adapts" Tolstoy's forms, but on their basis develops forms close to the psychological make-up of his characters. He has a greater proportion than Tolstoy, has an indirect analysis of the state of mind - through external manifestations. Here Sholokhov the psychologist is most original. Tolstoy's method of direct analysis he enriched mediated image dialectics of the soul. Sholokhov's innovation lies in the transition from the details of the external expression of inner life to the continuous outline of the entire dialectic of its external manifestations. In the physical appearance of the heroes, the writer revealed the emotional rather than the intellectual life of the heroes. The outer drawing gives fullness and completeness to the inner life. Tolstoy conveys the inner through the outer, most often in impulsive and spontaneous natures.

Sholokhov, like Tolstoy, has improperly direct speech - one of the forms of psychological analysis, like none of his predecessors. Sholokhov's psychological analysis is different: semi-dialogical, semi-monological and always in the form of improperly direct speech, which is a fusion of monologue with dialogue, with the author's attitude, a monologue in the form of dialogue and chorus. The monologic form of psychological analysis is analytic in nature. Sholokhov's form of psychological analysis - choral - synthesizes, merges the individual moods of the hero into a single whole state. Sholokhov's "choral" beginning is a new, more enlarged and expanded form of psychological analysis, in which different voices and opinions are combined. The types of psychological analysis traditional for prose, as noted by critics, acquire a peculiar, synthetic-analytical form from the writer. Before us is something close in its inner essence to the "chorus" in ancient Greek tragedy: a judgment about a person, his thoughts, feelings and deeds - from the people, life, fate.

The "choral" beginning forms the center of almost every chapter last book Quiet Don. “And Gregory, dying of horror, realized that it was all over, that the worst thing that could have happened in his life had already happened ... he diligently pressed wet yellow clay on the grave mound with his palms and knelt near the grave for a long time, bowing his head, gently swaying. There was no need for him to rush now. It was all over..” (v.5, p.482).

As we can see from the text, the hero's experiences go beyond the scope of psychological analysis in its classical forms.

“Well, everything happened the way it was supposed to happen. And why should he, Gregory, be met differently? Why, in fact, did he think that a short-term honest service in the Red Army would cover all his past sins? And, perhaps, Mikhail is right when he says that not everything is forgiven and that old debts must be paid in full? (Vol. 4, P. 7)

The "choral" stylistic principle of "The Quiet Flows the Don" is interestingly refracted in the disclosure of the characters and relationships of the characters, in the analysis of their psychology, and above all, Aksinya and Grigory. Their relationship is in many ways different from the relationship of the heroes of Russian classical literature, who were looking for replenishment in each other. Anna's feelings for Vronsky, for example, are largely due to the heroine's dissatisfaction in her marriage to Karenin. In Vronsky's place there could be someone else, similar or unlike him, the connection would still take place. Andrei's feeling for Natasha is necessary, first of all, for Andrei's own resurrection. There is nothing of the kind in the relationship between Aksinya and Grigory. They are equal as characters and do not look for replenishment in each other. Without each other, they do not lose something essential in their character. This feeling, free from any secondary motives, is a strong feeling, which is not affected by either betrayal or separation.

Sholokhov's skill as a psychologist also affected portrait characteristics heroes: he has memorable visual images. In the portrait of the hero Sholokhov, not only expressiveness, characteristic appearance, but also the temperament of a person, the mood of a given moment.

Pantelei Prokofievich is remembered not only for his external expressiveness: he was dry in the bones, chrome, he wore a silver crescent earring in his left ear. We learn the essential thing that determined his behavior in a variety of life circumstances: “In anger he went to unconsciousness, and, apparently, this prematurely aged his once beautiful, and now completely entangled in a web of wrinkles, portly wife.” In his approach to describing a person, Sholokhov approaches Tolstoy: the portrait is always permeated with a certain mood, feeling. Example. Aksinya saw the cart drive into the Melekhovsky yard. Gregory lay in it. “There was not a drop of blood in her face,” the writer notes. She stood leaning against the wattle fence, her hands folded lifelessly. Tears did not shine in her clouded eyes, but there was so much suffering and silent prayer in them that Dunyashka said: “Alive, alive” (vol. 3., p. 34).

Sholokhov always combines in the portrait the description of the feeling itself, the mood with its external expression. This psychologism of Sholokhov's portrait is connected with the development of Tolstoy's tradition.

One of the most important principles portrait painting Sholokhov becomes the highlight in the appearance of that stable, characteristic that finds its correspondence in the spiritual warehouse, the moral image of the hero.

“The black eyes of Aksinya are a constant, outwardly memorable sign of her appearance. But her eyes are never depicted only in "color". They either “burn with a frenzied fire of passion and love for Gregory,” or “are sprinkled with the ashes of fear.”

The color of the hero's eyes is always accompanied psychological characteristic which introduces the reader to inner essence character. Mitka's "yellow oily eyes, round with a glimmer", Darya's "beautiful arches of eyebrows", her waggling gait give an idea of ​​her moral qualities. The Melekhov family traits are revealed in portrait details. Grigory has a drooping vulture nose, with blue tonsils of hot eyes in slightly slanting slits. The portrait is always given in dynamics.

Nature. Poetics and semantic role of landscape. Classical traditions.

Criticism from the very beginning drew attention to the interaction between nature and man in Sholokhov's epic. One of the most important and essential features artistic thinking Sholokhov. The world of people and the world of nature are given as a single stream of eternally creative life.

Not only people, but also historical events organically fit into the Sholokhov landscape. Sholokhov is characterized by a pantheistic idea of ​​nature as a great life-giving force. Sholokhov's nature is independent of a person and his desires, his psychological state, a force.

Sholokhov's self-contained landscapes were linked by critics with the traditions of the classics. They, according to A. Britikov, are opposed to people with their constant struggle.

In the composition of The Quiet Don, the landscape plays essential role. Landscape paintings contribute to the epicization of events, help to trace the sequence of events. The image of labor processes (in the 1st book) is given against the background of periods. The epic picture is made up of landscape paintings, alternating with pictures of the life and work of the Cossacks.

In the development of the plot of the novel, many landscape paintings perform the function of artistic anticipation. This technique harmonizes with the epic-tragic content of the novel, acts as a semantic and lyrical prelude to dramatic events. They sound a hint of future suffering, blood, sacrifice. Before describing the beginning of the First World War, the writer gives a detailed picture of nature, in which, according to popular beliefs, there is a lot of unkindness, foreshadowing death, heavy loss.

“It has been an unusually dry summer. Shallow Don ... At night, clouds thickened behind the Don, burst dry and rolling thunderclaps, but did not fall on the ground, bursting with feverish heat, rain, lightning fired in vain. At night, an owl roared in the bell tower ... To be thin, the old people prophesied, having heard owl voices from the cemetery ... ”(vol. 2, p. 242-243).

In the description of the civil war, the technique of anticipating events is important: landscapes anticipate a string of bloody human deeds. The death of the Podtelkov detachment is preceded by a landscape sketch, which contains a premonition of trouble: “Clouds were thickening in the west. It was getting dark... the glow shone faintly, covered with black captivity of the cloud... Even the herbs that had not yet given flowers emitted an indescribable smell of decay” (vol. 3, p. 367).

In the composition of the novel, landscapes contribute to the epicization of events. They often play the role of epic parallelism, which is included in those moments in the development of the action when the story reaches its climax. In epic parallelisms, the image of nature unfolds very widely, which is what the writer achieves the inherent value and artistic significance of the image of nature. Images of nature in epic parallelisms are independent. In such completeness, as in Sholokhov, epic parallelisms are not found in any of the writers of the twentieth century. They traced the inseparability of people's destinies, the course of historical events from perpetual motion nature.

In the 3rd book, the image of the turbulent flow of the Don, pouring from a wide channel into a narrow throat, is given as a parallel to the growing indignation of farms and villages at the news of the execution of arrested Cossacks.

“From the depths of the stilled whirlpools, the Don falls onto a placer. The current winds curly there. Don is waddling, in a peaceful, quiet overflow. But where the channel is narrow, taken into captivity, the Don gnaws a deep slot in the teklin, with a strangled roar, swiftly drives a white-maned wave dressed with foam ... in the pits, the current forms a twirl. The water circulates there in a bewitching terrible circle. The second term of parallelism: “From a scattering of calm days, life has fallen into a slot. Boiled Upper-Don district. Two currents pushed, the Cossacks went rogue, and the bell whirled along ... ”(vol. 3, p. 147).

In epic parallelisms, the image of nature unfolds very widely, as if without regard to the second member. This makes the image of nature, as it were, self-valuable and artistically significant, regardless of its plot and semantic function.

As A. Britikov notes, “epic parallelism means, as it were, a continuous stream of images of nature, merging into an integral landscape background, with its own independent plot, and this natural plot moves parallel to the epic action. This, on the one hand, emphasizes the inherent value of nature, and on the other hand, makes the landscape a kind of mirror of everything complex. plot and compositional movement of the novel" 1 .

In the compositional-plot structure of "The Quiet Flows the Don" there is a great role philosophical landscapes which are adequate to the tragic state of the world. In the scene of the death and burial of the Knave, nature acts as an active actor.

“After half a month, a tiny mound was overgrown with plantain and young wormwood, wild oat stalked on it, colza turned yellow on the side<...>there was a smell of chobor, we are talking. Soon an old man from a nearby farm came, dug a hole in the head of the grave, and erected a chapel on a freshly hewn oak abutment. The old man left, and the chapel remained in the steppe, to mourn the eyes of passers-by with a dull look, to awaken an incomprehensible longing in their hearts "(vol. 3, p. 392).

This landscape contains the motif of a fratricidal war that will flare up in subsequent books, as well as the idea of ​​the indestructibility of life, triumphant, it would seem, in death: "And yet, in May, little bustards fought for a female, for the right to life, to love, to reproduce<...>" (3, 397).

Sholokhov, a landscape painter, constantly correlates the world human feelings with the life of nature. The writer resorts to analogies with the life of nature especially often during periods spiritual crisis heroes. The relationship between man and nature is given in evolution. They are most clearly seen in the images of women (Aksinya, Natalya, Daria, Ilyinichna), as well as Grigory.

In the poetics of the image of Aksinya, the motif of flowering, the motif of spring prevails; in the image of Natalia - the motif of cold, ice, snow. Details natural world, surrounding Natalia, are sad: these are dreary, deadly smelling herbs.

The scale of feelings of Aksinya and Grigory corresponds to such images of nature as wind, forest, steppe, Don, aromas of flowers.

Pictures of nature, connected at the end with Gregory, his fate, acquire a tragic meaning: the steppe scorched by fires, the black sun, symbolizing the depth of Grigory's grief.

Sholokhov's landscapes revealed the aesthetic and emotional richness of the Don nature. In the description of nature, attention is paid to color, sounds, temperature sensations, which helps the writer to create plastically tactile images. Criticism includes about 250 descriptions of nature in "Quiet Don".

Folk symbolism is widely used in the poetics of landscapes. The poetics of landscapes associated with the fate of the main characters is characterized by a dark, black color, indicating sadness and loss. These are images of a black cloud, black silence, black wormwood, dark forest, black steppe scorched by fires, black sky and black disk of the sun.

Black color from the designation of a certain specific phenomenon and object grows to philosophical generalization, symbol.

The image of the Quiet Don is ambiguous - both as a river (water) and as the Don land, the Cossack region. One of the most complex images of nature in "Quiet Don" is the image of the Sun, which has both philosophical, historical and psychological content.

The artistic discovery of Sholokhov was the description of the Don steppe, which is given in all seasons. One of the unique images of the Don steppe is steppe grasses, which enter the life of heroes as a natural component.