Start in science. Essay: Human destiny, folk destiny in Sholokhov’s story Human destiny Reflection on the topic human destiny, folk destiny

The principle of the vitality of characters in truly romantic, as defined by Pushkin, and essentially in realistic drama was put forward by the poet in contrast to the outdated aesthetics of classicism. And the stylistic homogeneity of classicist tragedy aroused particular resistance in Pushkin. “Besides this notorious trinity,” wrote Pushkin, referring to the unity of time, place, action, “there is also a unity that French criticism does not mention (probably not suggesting that its necessity can be disputed), the unity of the syllable - this 4 -th necessary condition of French tragedy, from which the Spanish theater is spared, {90} English and German" 75. It is very important that Pushkin paid attention precisely to this side, to the language of drama.

Even in ancient tragedy, unity of syllable formed the necessary basis for dramatic action. The heroes had to be equally “reasonable” in defending their positions and therefore spoke the same way. This applies not only to ancient drama. After all, Shakespeare was very generous, giving the speeches of different characters of different ranks a perfect poetic development to varying degrees. In the poetics of classical theater, the unity of syllable was also associated with the nature of dramatic action and corresponded to the concept of characters. So it wasn't that the playwrights didn't know how personalize the characters' speech. Pushkin, rejecting the unity of style, did not at all concern the external aspects of classical drama. After all, Pushkin’s predecessor, Griboedov, bringing comedy verse as close as possible to the expressiveness of spoken language, did not abandon the unity of the syllable.

“A dramatic writer should be judged by the laws that he has recognized over himself,” Pushkin wrote in connection with “Woe from Wit.” - Consequently, I do not condemn either the plan, the plot, or the decency of Griboedov’s comedy. Its goal is characters and a sharp picture of morals” 76.

With the word “sharp” Pushkin defined Griboyedov’s unique approach to the dramatic characterization of society, the political angle of view on morals. The very type of dramatic action (“the goal is characters and ... a picture of morals”) was unacceptable to him.

The three unities, in the form in which classicist poetics affirmed them, had long ago lost their authority, and Pushkin limited himself here to one ironic phrase, not considering it necessary to develop this topic. But he specifically highlights the problem of style; in fact, the letter quoted above to the publisher of the Moskovsky Vestnik, which is usually considered as a preface to Boris Godunov, is dedicated to it. The poet insists that in the speech of the characters in the tragedy there is no system of allusions, direct allusions to certain circumstances of our time. {91} Pushkin sought national-historical certainty of images, and this was more essential for the tragedy, for its ideological, artistic and political concept, than any sharp and bold hints, from which the poet still could not resist. He consciously sought to rebuild the linguistic structure of drama. “In my opinion,” notes Pushkin in the midst of work on “Boris Godunov,” “nothing can be more useless than minor amendments to the established rules: Alfieri is extremely amazed at the absurdity of speeches to the side, he abolishes them, but lengthens the monologues, believing that he has made a whole revolution in the system of tragedy: what childishness!

Plausibility of situations and truthfulness of dialogue - this is the true rule of tragedies” 77.

Pushkin constantly draws attention to the implausibility of the dialogue in classicist drama. In the same letter, he notes: “At La Harpe, Philoctetes, having listened to Pyrrhus’s tirade, says in the purest French: “Alas! I hear the sweet sounds of Hellenic speech." In another case, he writes: “In Racine, the half-Scythian Hippolytus speaks in the language of a young, well-bred marquis” 78 .

In Boris Godunov, traditional Alexandrian verse is replaced by white iambic pentameter. Some scenes are written in prose (“He stooped even to despicable prose”). But it’s not just these interruptions; there was nothing unprecedented here. It is not for nothing that Pushkin recalls English and Spanish drama. In the form of the verse, the tragedy is rather united. On the basis of this unity, the difference in intonations appears, revealing typical features. Pushkin, as G. A. Gukovsky showed, solved “the problem of objective substantiation of personality” in his lyrics 79 . He carried this method into tragedy.

“... The concept of historical-national types of culture,” writes G. A. Gukovsky about Pushkin’s tragedy, “determines in it actions, thoughts, character, and the very emotions, and the very speech of the heroes” 80. In the work of G. A. Gukovsky “Pushkin and the problems of realistic {92} style" it is shown that comparison and juxtaposition of two types of cultures - Russian, pre-Petrine, and European Renaissance in the Polish version - runs through the entire play. In such a comparison, it acts as a significant structural certainty of the national and historical.

The multilingualism of “Boris Godunov” is especially noticeable in the national coloring of speech. In one of the scenes, German words are heard. The impostor pronounces a phrase in Latin. But these are only signs emphasizing the differences. G. A. Gukovsky discovered that the Pretender speaks, as it were, in two languages, in some cases in Russian, in others in Polish, this is the stylistic coloring of verse 14 in the scene “Krakow. House of Vishnevetsky” you can hear other adverbs in the Pretender. With Chernikovsky, he rather speaks in Latin. His speech changes when he turns to Kurbsky, to Pole, to Karel, who came from the Don, to the Polish poet. Not only the speech changes, but the Impostor, speaking with everyone in his own language, assimilates and adapts to himself the structure of thought, the cultural and everyday way of life of each of his interlocutors. Thus, Pushkin again and again emphasizes the differences between national and cultural types. In the very fickleness and changeability of the Pretender, his individual and general aspects are revealed. Despite everything, he remains Russian, the national grain is preserved, makes itself felt at all turns. This is the dramatic essence of the character.

Pushkin combined different types of heroes and different types of dramatic situations in one tragedy. He built the play on the principle of Shakespearean composition, where each scene is relatively independent in its dramatic plot. Pushkin has many Shakespearean features in the fate of Boris Godunov. The scene at the fountain is a variation on Racine's themes. But it is precisely through these analogies that a completely different understanding of dramatic character emerges, its historicism, and national-cultural certainty. The novelty of Pushkin's solution could not be immediately perceived and appreciated. Even Belinsky refused to recognize the dramatic beginning in Boris Godunov and believed that the tragedy was epic. But, offering another possible version of the tragic interpretation of Godunov’s fate, the critic returned to the principles of romantic tragedy and gave Pushkin’s hero a completely different type of drama.

{93} It seemed to Belinsky that Pushkin made a mistake by following Karamzin in explaining the reasons for Godunov’s death. The motive for the villainous murder of the prince gives the tragedy, the critic believed, a touch of melodrama. But Pushkin himself is nothing didn't explain. The past crime also casts a shadow on Godunov’s fate. And through this theme, the people’s point of view with its deep moral pathos is introduced into all the vicissitudes of the tragedy. There is a certain commonality of characters here, from the holy fool to the king, on the basis of which dialogue and dramatic connection were possible. After all, Godunov also carries within himself a piece of the people’s consciousness, he thinks in general moral categories. Pushkin did not quite correctly imagine the patriarchal unity of pre-Petrine Rus'. But it was precisely from these historical misconceptions of the poet that a dramatic concept grew, which led, politically, to the denial of autocracy, and artistically, to a new understanding of character in drama. The fact that Godunov is not completely excluded from the national point of view makes him a dramatic character. The impostor has picked up Western culture, but feels and acts like a Russian. It reveals the same dramatic logic, although it seems to represent a different historical trend.

Belinsky believed that “drama, as a poetic element of life, lies in the collision and collision (collision) of ideas that are opposite and hostile to each other, which manifest themselves as passion, as pathos” 81. From this point of view, the Russian history of the time of troubles, the critic believed, does not provide grounds for drama. The tragedy of Boris Godunov, as it seemed to him, could consist in the collapse of a personality elevated above everyone, who at the same time is devoid of genius, unable to put forward a completely new historical idea, to turn the state onto a fundamentally different path, as Peter I did, for example.

In fact, Pushkin pitted heroes of different historical ideas against one another. The impostor represented the Western version of absolutism. At the same time, Boris made attempts to find new class supports for his power; he had plans similar to {94} Peter's reforms. This is the meaning of Basmanov’s line. But the fact of the matter is that this move once again confirmed the general logic of dramatic action, through which the popular principle revealed itself. From the contradictions of the people's consciousness arose the dramatic collision of the tragedy, which was reflected in its own way in each of the characters.

Belinsky argued with Pushkin. But he perceived the dramatic logic of “Boris Godunov” when he moved on to evaluate the poetic speech of the tragedy and delved into its stylistics.

“... The hermit Pimen,” the critic wrote, analyzing the monologue of the old monk, “could not look so highly at his calling as a chronicler; but, if such a view had been possible in his time, Pimen would have expressed himself no differently, but precisely the way Pushkin forced him to express himself” 82.

The truthfulness of the dialogue lies in such historical and national consistency in the structure of the characters’ speech. Through the historical logic of thinking of the characters, the special dramatic content of the tragedy was revealed. It is not without reason that it was Pushkin’s play that forced Belinsky to formulate the concept of drama as a collision of multidirectional life tendencies, that is, to introduce historical and revolutionary meaning into Hegelian categories. However, he did not immediately accept the historicism of the solution that Pushkin proposed. But essentially he took it into account in his definition.

Belinsky approached “Boris Godunov” with an established view of the nature of drama. Pushkin's tragedy came into conflict with these ideas. Since the critic not only compared his theory with the poet’s work, but analyzed it, Belinsky’s point of view changed in the course of his reasoning, although he did not completely switch to the position of a playwright. This made it possible for the critic not only to reveal the special drama of Pushkin’s tragedy, but also to grasp its contradictions. The truth was born in the dramatic nature of the relationship between the critic and the writer. Therefore, for the first time in history, Belinsky’s work acquired artistic effectiveness, directly connecting with the literary process.

{95} As follows from Belinsky’s formula, the hostility of clashing ideas in itself does not constitute drama, although it is an absolutely necessary element. For the struggle of ideological tendencies to act as a dramatic conflict, they must “manifest as passion, as pathos.” The clash of historical opposites acquires a dramatic character when it is reflected in the struggle of human passions and wills, when the general historical trends of time make their way to the surface in the form of relationships between people, completely permeate the actions, life behavior of a person, and merge with his nature. Meanwhile, “the truth of passions, the plausibility of feelings in the supposed circumstances” constituted the essence of the dramatic for Pushkin. Pushkin abandoned the old approaches to the hero characteristic of classical drama and discovered a character in which the historical content revealed its dramatic essence. And this was the general path for the future development of drama. The difficulty was that Pushkin still thought of tragedy as a form that distinguishes the dramatic from real connections, artistically enlarging contradictions. These italics made Belinsky talk about melodrama.

A restructuring of the genre system has already taken place in literature. The novel penetrated into the contradictions of life at the level of its everyday course. At the same time, he did not avoid dramatic sides. Belinsky believed that modern literature generally cannot do without a dramatic element.

Drama receded into the background in the system of genres. But it did not lose its importance as the main form of revealing dramatic content. The influence of prose was not in vain for her either. Pushkin prepared the ground for this. He introduced multilingualism, destroyed the classic unilinear development of action, and “Shakespeareanized” drama.

The decisive step in the “proseization” of the drama was taken by Ostrovsky. But he moved in Pushkin’s channel. Ostrovsky’s speech remains the basis of effective relationships. Drama appears in the system of images; only in connection with others does the character reveal itself as typical and dramatic.

Chapters of the book “They Fought for the Motherland” and the stories “The Science of Hate” and “The Fate of Man” were created.

“The Fate of a Man” is not just a description of military events, but a deep artistic study of the inner tragedy of a person whose soul was crippled by war. Sholokhov's hero, whose prototype is a real person whom Sholokhov met ten years before the creation of the work, Andrei Sokolov, talks about his difficult fate.

Sokolov’s dignified overcoming of the most difficult 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 the hero’s extraordinary courage, iron will and extraordinary fortitude.

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, takes on symbolic meaning. The war, as it were, equalizes the heroes in their deprivation and, at the same time, allows them to compensate for spiritual losses, overcome loneliness, “leaving” in distant Voronezh their father’s leather coat, which Vanya accidentally remembers.

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 year also symbolizes constant renewal, the rebirth of life.

The Great Patriotic War is one of the most significant and, at the same time, most tragic pages in the history of Russia. This means that books written about this war, including “The Fate of Man,” will never lose the power of their ideological and artistic influence on the reader and will remain literary classics for a long time.

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Introduction

Goal: Through the continuity of generations and the preservation of family traditions, to show the formation of the heroic character of our fellow countryman Nikolai Petrovich Nazymko and the establishment of the national idea of fidelity to spiritual values.

To teach and summarize the life experience and biography of a wonderful person N.P. Nazymka

Show how, through loyalty to family traditions, the formation of a patriot’s personality, his love for the Motherland, self-improvement, responsibility for his home, for his family, for the heroic present and past of his country.

Using the example of the life of a person whose generation constitutes the spiritual core of the people, cultivate in oneself the best qualities of a worthy citizen of Russia.

Repeat material about this person in the media (in the school newspaper “Peremena”, in the regional press, in the All-Russian newspaper “Veteran”, in the almanac “Orthodox Christian”) With articles and reviews about the film on the fate of N.P. Nazymka, I want to draw attention to the personality still living participants of the Second World War. They are the salt and color of the nation. From them you want to learn to value life and fight against the power of the golden calf.

Human destiny, people's destiny.

(Life is a feat of Nikolai Petrovich Nazymko, holder of the Order of Alexander Nevsky.)

My name is Misha Kudryashov. I am 11 years old. This is the third year I have worn the cadet uniform and I am proud of it. When the guys and I march in formation, taking first places, or meet interesting people, veterans, I feel a special feeling. I can’t express how shocked we were by Natalya Anatolyevna Solovyova’s film about the Kaluga residents, defenders of the Fatherland, “The Soul of Russian Victory.” Where are 25, then still living veterans. Including N.P. Namely, they talked about why our people defeated fascism, and at what cost we got the Victory. They all believed that it was the strength of spirit of our soldiers and commanders. Unfortunately, almost all of them left us. One of the latter is N.P. Nazymok, Knight of the Order of Alexander Nevsky. He waited for N.A. Solovyova’s new film about herself, and this supported him. I want to tell you about his fate, the fate of an extraordinary man who lives with a reminder of the war in his chest (the bullet didn’t reach his heart a little, so as not to risk it, the doctors did not get it out).

Nazymok Nikolai Petrovich was born in the village of Kerbutovka in 1925, into an ordinary peasant family. He grew up and studied with two brothers. He graduated from elementary school there. But before he got to the prom, the war began. He was 17 years old then. Just think, he was only 5 years older than me! His brothers went to the front (they also became Knights of the Order of Alexander Nevsky), and Nikolai remained at home. For the first two years of the war, he lived in Ukraine, where he was born in occupied territory with his parents, but the spirit of this guy, like all people of his generation, was high.

“At first I was invited to join the police,” says Nikolai Petrovich. Their village was occupied by the Germans. I refused. They kept him under arrest for 24 hours. It worked out - my father helped me out. However, I ended up on the black list of unreliable people. After which, of course, nothing good could be expected. The Germans were given a choice: either enroll in Vlasov’s Russian Liberation Army, or go to work in Germany. There is no third. But I found this third way - I went into the forests and hid there for three months until our villages were liberated.” It was then that he developed a proud and very integral character.

In October 1943, Nazymok went to the front and studied at the regimental school for junior commanders. The first battles took place in the Chernobyl region in Ukraine, where 12 fascists were captured. For this he was awarded the military medal "For Courage". Nazymok received the second medal “For Courage” and the Order of the Red Star for fearless battles in the Kovel region.

When I prepared the materials, I worried along with the hero. I imagine how during the battle Nikolai was wounded in the cheek by a grenade explosion. Acute pain. But the young commander did not leave the battlefield. But the young commander did not leave the battlefield. On the second day I was seriously wounded in my right leg. And the hospital. In May 1944, he completed radio operator courses on the 2nd Belorussian Front. And already in March 1944, at nineteen years old, he was appointed commander of a rifle platoon.

“As a commander, I sometimes felt strange. In my regiment there were people old enough to be my fathers, and I, a boy of nineteen, led them into battle,” Nikolai Petrovich says, not without pride.

The last battle was the battle near the Polish city of Tsopott on the Baltic Sea coast. Where he was wounded for the third time, the bullet hit the chest and remained there forever.

I read the dry lines of his award documents and never cease to admire. It says: “In the battles for the city, Tsoppot acted bravely and skillfully. On March 22, on the outskirts of the city, with his platoon he destroyed up to 20 enemy soldiers. March 23, 1945. He was the first to break into the outskirts of the city with his platoon and began to storm houses occupied by the enemy. He threw grenades at the house and personally destroyed 5 enemy soldiers, occupied the house, entrenched himself in it and continued to move forward. In street battles he also acted boldly, clearing house after house of the enemy. As a result of the rapid offensive, the city was cleared of the enemy. For skillful command and personal courage shown in the battle for the capture of the city of Tsoppot, he is worthy of a government award - the Order of the RED STAR.”

And here are some more short lines from the archive: “On March 23, 1945, in the battle for the city of Tsoppot, he showed skill and courage, defeating a superior enemy. Having rushed into the outskirts of the city with a swift attack, his platoon was stopped by the enemy with a force of up to a company, entrenched in a group of stone buildings. An attack from the front of the enemy, fortified behind stone walls, reinforced with embrasures with firing points, required great sacrifices. Junior Lieutenant Nazymok decided to defeat the enemy with a strike from the flank and rear. He sent one squad of his platoon around to strike from the rear, and the second to strike the flank on the right, and with one squad he diverted the enemy’s attention from the front. Having taken their starting position, the squad, at a signal, rushed to attack from three sides, the stunned enemy did not expect an attack from the rear and flank after a short resistance was partially destroyed, the unit managed to escape, while 30 enemy soldiers were captured and the further path was opened for the entire company » For demonstrated heroism, bravery and courage, as well as the successful completion of combat missions, nineteen-year-old junior lieutenant Nazymok N.P. was awarded the Order of Alexander Nevsky.

This order was awarded to front-line officers from platoon commander to division commander for skillful leadership of a successful operation in which great damage was inflicted on the enemy in manpower and military equipment. The order was presented to Nikolai Petrovich in May 1945 upon his return from the hospital.

N.P. Nazymok survived a lot: cold, hunger, a terrible post-war hunger strike in Ukraine. Despite this, at the end of 1947 he entered the railway technical school. In 1949 he married his classmate. Raised two children. Graduated from the All-Union Institute of Railway Transport Engineers. Became an Honorary Veteran of the Moscow Railway and an Honorary Railway Worker. He headed the organization of veterans of the Kaluga railway distance. He created a committee of gentlemen of the military order of Alexander Nevsky and headed it in 1992.

Among us there are fewer and fewer people who are amazing, unusual for our time, who have lived close to death and hunger, but at the same time remained true to themselves. Their memories, surviving documents, records and photographs are our history, the history of my Fatherland.

The life and feat of this hero became the pain of my heart. And I am proud that there are boys like me - cadets who are ready to go for their Fatherland, for their fellow countrymen, for their loved ones. It was the veterans who passed on to us the strength of their spirit. We remember the past, live in the present, think about the future.

Nikolai Petrovich and Ekaterina Panteleevna Nazymok with their daughter Valentina and son Vitaly, Kaluga, 1965.

The guys from our class and I watched the video “Life is a Feat”

Here are the results of my research

Liked the film - 100%

The film made a great impression because

It's realistic -100%

He's gaming -40%

It is childish - 60%

He is educational - 70%

He's interesting - 50%

He has the spirit of a good family - 70%

It is instructive - 70%

He teaches us to remember the lessons of the past. Lessons from World War II -90%

This is what the cadets of my class wrote in response to the video

Nastya Sukhareva: I really liked N.A. Solovyova’s video “Life is a Feat.” The main character is so brave and smart. From the biography of N.P. Nazymka, the theme of N.P. Nazymka’s childhood and military youth especially struck a chord.

Nikita: The film is so educational. I was completely immersed in this film. It seems to me that the guys do too.

Angelina Mikhalchuk: A great movie. We are lucky that our veteran is still alive. And this film was made about such a living person. It seems to me that such films make us stronger and better.

Lisa Kuzmina: The guys played the hero’s childhood and youth so expressively. His older brothers shaped him as a person, as a hero. All three brothers turned out to be heroes, remained alive and were proud of each other. Nikolai Petrovich himself brought up this spirit of a good family in his children. His children and grandson told how they were always proud of Nikolai Petrovich. At the end of the film the song “I love you, life” was played. This is like a motto, like the motive of Nikolai Petrovich’s entire life.

Popova: I was excited by the story of the siege and victory in Tsopot. Both the young commander himself and his soldiers were not at a loss. Nikolai Petrovich showed leadership talent in this battle. He is a real commander.

Misha Minenko: This film really touched me. He is so realistic and heartfelt.

Anya Slepova: I took my breath away when I saw this man - a hero - on the screen. You believe everything they show in the film.

Sonya Bogomolova: The guys - the actors played wonderfully. Although I was uncomfortable with the truth. The most interesting scenes about the war.

Leva Loskutov: The film is so educational that you feel proud of this person. After all, the bullet almost hit the heart and remained there for the rest of our lives, so that we today could have peace and happiness.

I will also express my opinion. The film is so interesting and instructive that after studying the biography of Nikolai Petrovich, I watched it with enthusiasm. Such films are very important, because we must not forget about the exploits of our people. In the film, human fate is intertwined with the fate of the entire people. We must not forget about the past. Otherwise it may come back.

Conclusion:

Human development is both the main goal and a necessary condition for the progress of modern society. This is our absolutely national priority today and in the long term.

The future of Russia, our successes depend on the education and health of people, on their desire for self-improvement and the use of their skills and talents (from the speech of the President of the Russian Federation V.V. Putin at the State Council Meeting “On the development strategy of Russia until 2020. 02/08/2008”

Literature:

Books:

Anatoly Demidov. A family of defenders of the fatherland from Kerbutovka.. Kaluga. 2007
Evgeny Komlev, “Winners” pp. 85-121
Sergey Mikheenkov. Platoon, prepare for attack!.. Lieutenants of the Great Patriotic War. 1941-1945:. Tarusa. 2007
N.A. Solovyova “Relay of Memory”, pp. 13-14. Kaluga, 2007
Video film, “Life is a feat”; N.A. Solovyova and A.V. Travina, 2017

Magazines:

“100 lines about war and peace from veterans of the Great Patriotic War”, Live Well magazine June 3, 2016
Gudok magazine. Issue 07/25/2008 7th page. Vyacheslav Stepovoy “The Third Way of Nikolai Nazymko.”
Road territorial organization ROSPROFZHEL on the Moscow railway. Natalya Dubnikova. “Heroes of the Great Patriotic War are with us” posted April 27, 2016

Documentation:

Order of April 7, 1944
Award sheet dated March 30, 1945
Order No. 131 of April 12, 1945
Order No. 2 /N dated January 15, 1944
Award sheet dated March 24, 1945

Application.

In his work, junior cadet Misha Kudryashov tells not only the fate of the veteran, but also the role of the family in the development of N.P.’s character. Nazymka. He showed that our work is a refuge for the memory of this man, about whom many kind words have been written and said. The video film by N.A. Solovyova, which Misha watched with his classmates, is another interesting and fascinating page in the biography of the main character.

In the fate of junior lieutenant N.P. The name reflected the fate and truth of an entire generation of liberators. In human destiny there is a people's destiny.

Podkopaeva V.S.

Nazymok N.P. in the second row third from the right

Mikhail Sholokhov's epic novel “Quiet Don” became a discovery in world literature, and its author was among the brilliant artists of the 20th century, whose books forever stood on the “golden shelf” of literature. Sholokhov managed to show the tragedy of man and the tragedy of the people during the period of great disruption of the social system. The destinies 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 his personality and life path.
The past, present and future of the people, the history and fate of its most interesting part - the Don Cossacks

- this is the theme of the novel, the center of the writer’s thoughts. Using the example of one family, a story unfolds about how the life of an individual, family, and farm is fused and intertwined with the life of the country. By the will of history, the Melekhovo farm finds itself at the center of events that determine the future of not only their family, but all of Russia for many years to come. It is symbolic that the line of defense during the Civil War passed through the Melekhovo farm. He is occupied either by the Reds or the Whites, and this is similar to the tossing and searching of one of the heroes, Grigory Melekhov, who is looking for and cannot find the truth in either one or the other.
Real Cossacks, the pride and strength of the Cossacks - these are the Melekhovs. The healthy, handsome, full-of-life head of the family, Pantelei Prokofievich, is a well-built old man, temperamental, quick-tempered, hot-tempered, but kind and easy-going - not so much with his mind as with his soul, he understands the value of a home, a hearth, and an old warm way of life. He tries his best to hold on to what unites the family, to maintain support in the whirlwind of terrible events. But tragedy occurs. The house is dying, collapsing, just as millions of people’s homes with their usual way of life collapsed. The place where the closest people live, creating a feeling of security, has become something unreal, impossible. A line of defense, a fault line, passed through the country, splitting friends and relatives, scattering them on different sides of the front.
The sons of Pantelei Prokofievich are also attached to their home. And the more tragic is their fate, which forced them to endure the collapse of the ideal of a family where everyone stands for each other. At a time when history is being reshaped, “heads and worlds fly,” as Marina Tsvetaeva puts it, it is impossible to build life according to tradition. We have to look for new points of support, reconsider our views, and think about where the truth is. The search for truth is the destiny of the few; such people cannot go with the flow. They must make their own choice. Their life is harder and their fate more hopeless than that of others. And Sholokhov showed this using the example of the central character 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 devotes himself to any activity. He is a born horseman, warrior, farm worker, fisherman, and hunter. Don life gives him the best, he fits perfectly into it. At first, the war of 1914 seems to him only a time of highest realization; the desire for military glory is 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 embittered. What seemed indisputable is now in doubt: loyalty to “the Tsar and the Fatherland,” military duty. In the hospital, Melekhov thinks about the future.
The events of 1917 initially give many people 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 external side
Revolution, its slogans. He goes to fight on the side of the Reds. But again he encounters senseless cruelty and loses faith. When the Reds come to the Don and the mass extermination of the Cossacks begins, Grigory Melekhov fights with them. He sees the cruelty of both the Whites and the Bolsheviks, he comes to the conclusion that “they are all the same! They are all a yoke on the neck of the Cossacks.” Melekhov does not accept historical truth, because for the people with whom he is connected by a common fate, such truth only brings death. Neither the white officers nor the Bolsheviks seem worthy of being in power. Desperate to find the truth, Melekhov drowns out his emotional pain with drunkenness, random female caresses, and senseless cruelty. But Sholokhov does not allow us, the readers, to arrogantly condemn the hero. The writer returns to the idea that the most important thing in a person is his roots. In the darkest times, Grigory Melekhov lives with love for his native land, his father’s house, his 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 talk about people with difficult characters and difficult lives in such a way that we not only empathize with them, we believe in the need for moral searches, together with the heroes we begin to understand the falsity of ready-made answers to the question: what is the truth, what is the meaning of human existence. And forever in the soul remain images of people who have proven with their whole lives: the truth is to preserve the warmth of your 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 what time he will live in. Therefore, Sholokhov’s novel is still 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 themselves where the truth is and where the lie is, and choose their own path.

Fyodor Podtelkov is given in the work as an already formed Bolshevik, Steadfast and convinced. He is one of the organizers of Soviet power on the Don. Together with Krivoshlykov, he organizes a military expedition to fight the Counter-Revolution. But...
Yes, you can survive in the heat, in thunderstorms, in frosts. Yes, you can go hungry and cold, go to your death. But these three birches cannot be given to anyone during their lifetime. K. Simonov Nobody...
Many cruel reproaches await you, Days of work, lonely evenings: You will rock a sick child, Wait for your violent husband to come home, Cry, work - and think sadly, What your young life promised you, What it gave you...
The problem of a person’s moral choice has always been especially significant in Russian literature. It is in difficult situations, making this or that moral choice, that a person truly reveals his true moral qualities, showing how...
During the Great Patriotic War, Mikhail Sholokhov was a war correspondent, author of essays, including “The Science of Hate” (1942), which received great public attention, chapters of the unfinished novel “They Fought for the Motherland”...
The heroes of Sholokhov’s novel “Quiet Don” were ordinary peasants - workers, and not some outstanding personalities, although they represent the Cossacks. One of them is Grigory Melekhov. His family is intertwined and...
P. V. Palievsky: “Almost all of us know that in our literature there is a writer of world significance - M. A. Sholokhov. But we are somehow poorly aware of this, despite...
Each person has his own destiny, some are happy with it, some are not, and some see the meaning of life only in blaming all their troubles on fate. In Sholokhov's story “The Fate of Man”...
M. A. Sholokhov’s novel “Virgin Soil Upturned” today causes a lot of controversy. This is understandable. If a writer not only justifies, but also glorifies lawlessness and violence, declares as enemies those who are honest and generous...
The years 1930-1931 were especially fruitful on Sholokhov’s creative path. At this time, along with intense work on “Virgin Soil Upturned,” the writer was completing the third book of “Quiet Don”, completing and revising its last...
Among all the communists described in detail or only mentioned in the novel “Virgin Soil Upturned,” the most colorful and, strange as it may seem at first glance, the most representative is Makar Nagulnov. His strange, funny...
An unfair, vulgarizing attitude towards Sholokhov’s novel was also manifested in a seemingly private issue - the interpretation of the image of Grandfather Shchukar. In 1987, an article by journalist L. Voskresensky was circulated in peripheral newspapers...
How could it happen that the great book about the revolution, “about the whites and the reds,” was accepted simultaneously by both the “whites” and the “reds”? “Quiet Don” was highly appreciated by Ataman P. Krasnov, whose hatred of the Soviet...
Mikhail Aleksandrovich Sholokhov entered our literature as the creator of broad epic canvases - the novels “Quiet Don”, “Virgin Soil Upturned”. If the era is at the center of interests of Sholokhov the novelist, then the center of interests of Sholokhov the novelist...
The events of the civil war in Russia evoked directly opposite responses from its participants; they blamed each other, taught to hate and punish. When “the years passed and passions subsided,” works began to appear that sought...
M. A. Sholokhov’s novel “Quiet Don” is a hugely significant Russian national contribution to world literature. This is a true masterpiece in which Sholokhov appears as an innovative writer. Using the traditions of the classics, he...
Many doubts were generated by M. Sholokhov’s small age during the years of his creation of the grandiose epic novel “Quiet Don”. But, it seems to me, the book rang so piercingly in people’s souls because it was the young “eagle...
The action of Mikhail Sholokhov’s novel “Virgin Soil Upturned” begins with the arrival of the new collective farm chairman in Gremyachiy Log. When the former sailor Davydov, sent by the district committee to the farm to create a collective farm, arrives...
To fight – to achieve something by overcoming obstacles. S.I. Ozhegov “Dictionary of the Russian Language” The time has come, which is defined by the words “on the threshold of adulthood.” What will it be like, my “adult life”? Which...
In his novel “Virgin Soil Upturned,” Mikhail Sholokhov introduces us to many heroes - this is grandfather Shchukar, and Makar Nagulnov, and Semyon Davydov, and Varya, and Lushka, and many others....

Human fate, folk fate in Sholokhov's story The Fate of Man
M.A. Sholokhov went through the Great Patriotic War almost from beginning to end - he was a war correspondent. Based on front-line notes, the writer created chapters of the book “They Fought for the Motherland”, the stories “The Science of Hate”, “The Fate of a 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 person whose soul was crippled by war . Sholokhov's hero, whose prototype is a real person 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 observes with his own eyes how the best and worst human qualities manifest themselves in extreme conditions, how closely courage and cowardice, perseverance and despair, heroism and betrayal coexist. The most indicative in this regard is the night episode in the destroyed church, where Russian prisoners of war were driven. So, before us appears, 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. On the other hand, we see a traitor who is going to hand over his platoon commander, the communist Kryzhnev, to the Nazis, 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 man becomes the one whom Sokolov (until that time working as a military driver) kills for the first time in his life on the grounds that a traitor is “worse than a stranger.” Descriptions of the existence of prisoners of war in forced labor are terrifying: constant hunger, backbreaking labor, brutal beatings , persecution by dogs and - most importantly - constant humiliation... But Sholokhov’s hero withstands this test, symbolic proof of which can be his moral duel with camp commandant Muller, when Sokolov refuses to drink German weapons for the victory and, rejecting bread and lard, demonstrates “his, 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 the physical sense, his soul was devastated by the war, which took away his home and all his relatives: “There was a family, your house, all this was put together over the 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 by the look of his interlocutor: “Have you ever seen eyes, as if sprinkled with ashes, filled with such an inescapable mortal melancholy that it is difficult to look into them? “Alone with himself, Sokolov mentally asks: “Why have you, life, maimed me so much? Why did she distort it like that?” 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, superfluous, spiritually unclaimed: “Didn’t I just dream about 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 writer’s complex, ambiguous attitude to the events of wartime is revealed, the terrible truth of the post-war period is exposed: the war did not pass without a trace, leaving in the minds of each of its participants there are painful images of violence and murder, and in the heart there is an unhealed wound of the loss of relatives, friends, and fellow soldiers. The author treats the war for the Motherland as a holy, just cause, believing that a person who defends 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 morally crippled, is unnatural and contrary to human nature. Sokolov was helped to regenerate spiritually by the little boy Vanyushka, thanks to whom Andrei Sokolov was not left alone. After everything he had experienced, loneliness for him would be tantamount to death. But he found a little man who needed love, care, affection. This saves the hero, whose heart, “hardened by grief,” gradually “moves away and becomes softer.” The fate of Sholokhov’s heroes is “two orphaned people, two grains of sand, thrown into foreign lands by a military hurricane of unprecedented force,” surviving alone and after everything they experienced together “ walking on Russian soil,” is an artistic summary of the destinies 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 most difficult trials, the experience of the most terrible events - the death of loved ones, universal destruction and destruction and his return to a full life, speak of extraordinary courage and iron will and the extraordinary fortitude 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, takes on symbolic meaning. The war, as it were, equalizes the heroes in their deprivation and, at the same time, allows them to compensate for spiritual losses, overcome loneliness, “leaving” in distant Voronezh their father’s leather coat, which Vanya accidentally remembers. 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 year also symbolizes constant renewal, the rebirth of life. The Great Patriotic War is one of the most significant and, at the same time, most tragic pages in the history of Russia. This means that books written about this war, including “The Fate of Man,” will never lose the power of their ideological and artistic influence on the reader and will remain literary classics for a long time.

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