Essay on the topic: Heroism and courage in the story The Fate of a Man, Sholokhov. Sokolov’s life feat (About the story “The Fate of a Man”) How the theme of military feat is revealed in the story

The feat of a soldier in M. Sholokhov’s story “The Fate of a Man”

M. Sholokhov posed and resolved serious philosophical and moral problems in his works. In all the writer’s works, in one context or another, the interweaving of two main themes can be traced: the theme of man and the theme of war.

In “The Fate of Man,” Sholokhov reminds the reader of the disasters that the Great Patriotic War brought to the Russian people, of the fortitude of a person who withstood all the torment and did not break. Sholokhov's story is permeated with boundless faith in the spiritual strength of the Russian person.

The plot is based on vivid psychological episodes. Farewell to the front, captivity, attempted escape, second escape, news of the family. Such rich material would be enough for a whole novel, but Sholokhov managed to fit it into a short story.

Sholokhov based the plot on a real story told to the author in the first post-war year by a simple driver who had just returned from the war. There are two voices in the story: “led” by Andrei Sokolov, the main character. The second voice is the voice of the author, the listener, the random interlocutor. Andrei Sokolov's voice in the story is a frank confession. He told a stranger about his entire life, pouring out everything that he had kept in his soul for years. The landscape background for Andrei Sokolov's story was surprisingly unmistakably found. The junction of winter and spring. And it seems that only in such circumstances could the life story of a Russian soldier be heard with the breathtaking frankness of confession.

This man had a hard time in life. He goes to the front and is captured in inhuman living conditions. But he had a choice; he could have ensured a tolerable life for himself by agreeing to inform on his own comrades.

Once at work, Andrei Sokolov carelessly spoke about the Germans. His statement cannot be called a remark thrown at the enemy, it was a cry from the soul: “Yes, one square meter of these stone slabs is enough for the grave of each of us.”

A well-deserved reward was the opportunity to see my family. But, having arrived home, Andrei Sokolov learns that the family has died, and in the place where the family home stood there is a deep hole overgrown with weeds. Andrei's son dies in the last days of the war, when the long-awaited victory was just around the corner. The author's voice helps us to comprehend human life as a phenomenon of an entire era, to see in it universal human content and meaning. But in Sholokhov’s story, another voice was heard - a ringing, clear child’s voice, which seemed not to know the full extent of all the troubles and misfortunes that befall the human lot. Having appeared at the beginning of the story so carefree and loud, he then leaves, this boy, in order to become a direct participant in the final scenes, the protagonist of a high human tragedy. All that remains in Sokolov’s life are memories of his family and an endless road. But life cannot consist of only black stripes. The fate of Andrei Sokolov brought him together with a boy of about six years old, as lonely as he was. Nobody needed the grimy boy Vanyatka. Only Andrei Sokolov took pity on the orphan, adopted Vanyusha, and gave him all his unspent fatherly love.

It was a feat, a feat not only in the moral sense of the word, but also in the heroic one. In Andrei Sokolov’s attitude towards childhood, towards Vanyusha, humanism won a great victory. He triumphed over the inhumanity of fascism, over destruction and loss. Sholokhov teaches humanism. This concept cannot be turned into a beautiful word. After all, even the most sophisticated critics, discussing the topic of humanism in the story “The Fate of Man,” talk about a great moral feat. Joining the opinion of critics, I would like to add one thing: you need to be a real person in order to be able to endure all the grief, tears, parting, death of relatives, the pain of humiliation and insults and not after that become a beast with a predatory look and an eternally embittered soul, but remain human.

Text based on the story by M.A. Sholokhov “The Fate of Man”

Andrei Sokolov's feat lies in his resilience, devotion to duty, his humanity and compassion for those around him who need his help. These noble feelings were not killed in him either by the war, or by the grief of losing loved ones, or by the difficult years of captivity.

Take in an orphan boy, while realizing the burden of responsibility for his fate.

on the shoulders - not every person will decide to do this, especially after undergoing trials. It would seem that a person, exhausted both spiritually and physically, should lose strength, break down, or isolate himself from life with a veil of indifference.

Sokolov is not like that.

With the advent of Vanyusha, a new stage opens in his life. And the hero of the story will go through the rest of his life with the highest degree of dignity.

Although “The Fate of Man” is a work of a small genre, it presents a picture of epic proportions. The fate of the main character reflects the labor biography of the country in peacetime and the tragedy of the entire people during the war years, his unbroken spirit and fortitude. The image of one person symbolizes the portrait of an entire generation.

Glossary:

feat of Andrey Sokolov
which gives reason to consider the act of the hero of human destiny as a feat
Andrey Sokolov's act

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Clear, convincing in its simplicity and harsh truth, the work of M. Sholokhov still makes the reader indignant and shudder, passionately love and keenly hate.

Before us is an unforgettable image of an ordinary Soviet soldier - Andrei Sokolov. A man who endured everything, overcame everything... The great Sholokhov art of portraiture: it is fresh, extremely compressed and expressive. From two or three phrases dropped by the author as if in passing, we learn that Sokolov is “tall, stooped,” that his hand is “large, callous,” and he speaks in a “muffled bass voice.” And only after the narrator uttered the first phrase of his story: “Well, and there, brother, I had to take a sip of grief up the nostrils and up,” does his portrait immediately appear before us, drawn with one or two unforgettable features.

The portrait of the second character in the story, the commandant of the Muller camp, is just as briefly and vividly sculpted to the point of physical palpability.

And the image of the warm-hearted, intelligent wife of Andrei Sokolov, the orphan Irinka, who grew up in an orphanage. With her devotion, holy sacrificial love, she resembles the beautiful images of Nekrasov’s Russian women. And again he is so visibly sculpted plastically, and not only externally, but also in the most complex mental movements. The author achieves particular power in the scene of farewell at the station in the first days of the war.

The volume of the story is striking: the whole life of the family, and the war, and captivity. Even more amazing is the revelation of the image of Andrei Sokolov. On the small “platform” of the story, a person is shown in joy, and in trouble, and in hatred, and in love, and in peaceful work, and in war. Behind this image stands a multimillion-strong, great, kind, long-suffering working people. And how this peaceful people is transformed during the years of military disasters!

Russian soldier! What historian, artist fully depicted and glorified his valor?! This is a sublime and complex image. Much is fused and intertwined in him that made him “not only invincible, but also a great martyr, almost a saint - traits that consisted of an ingenuous, naive faith, a clear, good-natured, cheerful outlook on life, cold and businesslike courage, humility in the face of death, pity for the vanquished, endless patience and amazing physical and moral endurance” (A. Kuprin).

The typical features of a Russian soldier are embodied in the image of Andrei Sokolov. This man’s extraordinary endurance, fortitude, and high moral qualities in the most difficult moments of war, captivity, and post-war life evoke a feeling of admiration. “...And I began to gather my courage to look into the hole of the pistol fearlessly, as befits a soldier, so that my enemies would not see at my last minute that it was still difficult for me to part with my life...” says Sokolov. The noble pride of a soldier who does not want to show the enemy the fear of death because shame is worse than death.

Even among cruel enemies in whom fascism has burned out everything human, the dignity and self-control of the Russian soldier evokes respect. “That's what, Sokolov, you are a real Russian soldier. You are a brave soldier. I am also a soldier and respect worthy opponents. I won't shoot you. Moreover, today our valiant troops reached the Volga and completely captured Stalingrad,” says Muller.

The ability to bring the breadth of life's display to an epic sound is characteristic only of enormous talent. Carefully reading the structure of the story, one cannot help but notice the fairytale technique that the author resorts to, showing the single combat of the Lagerfuhrer and “Russian Ivan”: as in epics and ancient tales that have come down to us from the depths of the people, M. Sholokhov uses the technique of triple amplification. The soldier drank the first glass, preparing for death, and did not take a bite. He drank the second glass and again refused the snack. And only after the third, stretched glass of schnapps, “he took a bite of a small piece of bread and put the rest on the table.”

This is a traditional fairy-tale increase in the drama of the action over time. The writer used it quite naturally, and this technique of storytellers harmoniously merges with his modern story. The work of M. Sholokhov is national in language. The writer reveals the typical image of the Russian soldier Andrei Sokolov in the structure of thought and speech, full of apt, original words and folk sayings.

But not only in the noted external signs, such as the technique of triple amplification and the saturation of the language with vivid expressions and proverbs, but, as Belinsky said, in the very “fold of the Russian mind, in the Russian way of looking at things,” the writer’s nationality is manifested. A sensitive artist, M. Sholokhov was connected with the life of his people, with their thoughts and hopes, with all his life and all his thoughts. His creativity was nourished by the life-giving springs of folk wisdom, its great truth and beauty. This determined the fidelity to every detail, every intonation of his work. The main advantage of the story is probably that it is built on the correct disclosure of the deep movements of the human soul.

It would seem that the strength of Andrei Sokolov, mercilessly beaten by life, was about to dry up. But no! An inexhaustible source of love lurks in his soul. And this love, this good beginning in a person guides all his actions.

Finishing the story, M. Sholokhov did not put a plot point. The writer leaves his heroes in a spring field: a former front-line soldier and his adopted child, connected by the great power of love, are walking along the road, and a great life lies before them. And we believe that these people will not disappear, they will find their happiness...

No one is able to read the following monologue by Andrei Sokolov at the beginning of the story without excitement: “Sometimes you don’t sleep at night, you look into the darkness with empty eyes and think: “Why have you, life, maimed me so much? Why did you distort it like that?” I don’t have an answer, either in the dark or in the clear sun... No, and I can’t wait!”

Millions of Sokolov’s peers who did not return from the battlefields, who died from wounds and premature diseases in peacetime, after the Victory, will never receive a painful answer to this question.

Only very recently have we begun to openly talk about the enormous, often completely futile, sacrifices of the Second World War; that it might not have existed at all if Stalin’s policy towards Germany had been more far-sighted; about our completely immoral attitude towards our compatriots who were in German captivity... But the fate of a person cannot be turned back, cannot be remade!

And at first, Sokolov’s life developed like that of many of his peers. “During the civil war I was in the Red Army... In the hungry 1922, I went to Kuban to fight the kulaks, and that’s why I survived.” Fate generously rewarded Sokolov for his ordeal, giving him a wife like his Irinka: “Tender, quiet, does not know where to seat you, she struggles to prepare sweet kvass for you even with little income.” Maybe Irinka was like this because she was brought up in an orphanage and all the unspent affection fell on her husband and children?

But people often don’t appreciate what they have. It seems to me that he underestimated his wife even before leaving for the front. “Other women are talking with their husbands and sons, but mine clung to me like a leaf to a branch, and only trembles all over... She speaks and sobs behind every word: “My dear... Andryusha... we won’t see you.” ... you and I... more... in this... world...” Andrei Sokolov appreciated those farewell words much later, after the news of the death of his wife and daughters: “Until my death, until my last hours, I’ll die, and I won’t forgive myself for pushing her away then!..”

The rest of his actions during the war and after the Victory were worthy and masculine. Real men, according to Sokolov, are at the front. He “couldn’t stand those slobbery guys who wrote to their wives and sweethearts every day, whether on business or not, smearing their snot on the paper. It’s hard, they say, it’s hard for him, and just in case he’s killed. And here he is, a bitch in his pants, complaining, looking for sympathy, slobbering, but he doesn’t want to understand that these unfortunate women and children had no better time in the rear than ours.”

Sokolov himself had a hard time at the front. He fought for less than a year. After two minor wounds, he suffered a severe contusion and captivity, which was considered a disgrace in the official Soviet propaganda of that time. However, Sholokhov successfully avoids the pitfalls of this problem: he simply does not touch upon it, which is not surprising if we remember the time the story was written - 1956. But Sholokhov meted out trials in full to Sokolov behind enemy lines. The first test is the murder of the traitor Kryzhnev. Not every one of us will decide to help a complete stranger. And Sokolov helped. Maybe he did this because shortly before this, a completely unfamiliar military officer helped Sokolov? He set his dislocated arm. There is the humanism and nobility of one and the baseness and cowardice of the other.

Sokolov himself cannot be denied courage. The second test is an escape attempt. Andrei took advantage of the guards’ oversight, fled, went forty kilometers, but he was caught, the dogs were released on the living... He survived, did not bend, did not remain silent, “criticized” the regime in the concentration camp, although he knew that this would mean certain death. Sholokhov masterfully describes the scene of the confrontation between the Russian soldier Sokolov and the commandant of the concentration camp Müller. And it is decided in favor of the Russian soldier. Even a great connoisseur of the Russian soul, who spoke Russian no worse than us, Muller was forced to admit: “That's what, Sokolov, you are a real Russian soldier. You are a brave soldier. I am also a soldier and I respect worthy opponents. I will shoot you I won't."

Sokolov repaid Muller and all his enemies in full for the gift of life, having successfully escaped from captivity and taking an invaluable tongue - his construction major. It seemed that fate should have mercy on Sokolov, but no... A chill passes through the skin when you learn about two more blows that befell the hero: the death of his wife and daughters under bombing in June 1942 and his son on Victory Day.

What kind of soul must Sokolov have been so as not to break after all the tragedies and even adopt Vanyushka! “Two orphaned people, two grains of sand, thrown into foreign lands by a military hurricane of unprecedented force... What awaits them ahead?” - Sholokhov asks at the end of the story.

Over 60. I really want Ivan’s generation to withstand all the hardships of the present time. Such is the fate of the Russian man!

M. A. Sholokhov’s story “The Fate of Man” was created in 1956, a decade after the Great Patriotic War, during the Khrushchev Thaw. It was then that the need arose to sum up the results of the past war, to comprehend the fate of the people and the fate of the individual, and to reveal the origins of the feat.

The main character of the story, Andrei Sokolov, is the same age as the century.

The story of his life is also the history of the country. At first glance, before us is an ordinary person, just like everyone else, a simple man from the people, and his fate is inseparable from the fate of his Motherland. A native of the Voronezh province, during the civil war he was in the Red Army. In the hungry year of twenty-two, he worked for the kulaks and thereby saved himself from hunger. He worked at a factory, married an orphan.

Sholokhov does not idealize his hero. Returning from work tired and angry, he spoke rudely to his wife and sometimes drank. But he got a wife - gold, quiet, affectionate, meek and patient. Thanks to her kindness, there was peace in the family, and Andrei had peace in his soul.

Exploring the character of his hero, Sholokhov tries to understand how a simple and inconspicuous driver, a hard worker, turns out to be capable of heroic deeds during the war years.

From the very beginning of the war, Andrei Sokolov showed strength of character, perseverance, and courage. In his letters to his wife, he never complained about difficulties, realizing that it was also not easy for women in the rear.

While carrying out a dangerous task - it was necessary to transport shells to the battery - Sokolov came under artillery fire and lost consciousness. So Andrei was captured.

He had to endure a lot: bullying, beatings from the Germans, hunger, and hard work, but the soldier did not lose his human dignity and retained his strength of spirit. His duel with the camp commandant Müller ended in a moral victory for the ordinary Russian soldier. Going to the commandant’s office, Sokolov was preparing for death, but managed to gather his courage “to look into the hole of the pistol fearlessly, as befits a soldier, so that his enemies would not see at the last... minute” that it was difficult for him to part with his life.

Muller appreciated the bravery of the Russian soldier and gave him life.

Andrei Sokolov not only managed to escape from captivity, but also delivered an important German general to our unit.

But the main test awaited the ordinary Russian soldier after the war. An air bomb hit Sokolov’s house, killing his wife and daughters. Anatoly’s son was killed by a German sniper on Victory Day. How to live when there are no loved ones and relatives?

The soldier’s heart did not harden; it retained the capacity for love, mercy, and compassion. Andrey adopted an orphan boy, Vanyushka, with eyes as clear as stars. The heart of a man thaws near the child, with eyes “as if sprinkled with ashes, filled with such inescapable melancholy that it is difficult to look into them.”

And there is no higher spiritual, moral feat when a person, “distorted by war,” retains a living soul within himself and gives the warmth of his heart to the one who needs it most - a child orphaned during the war.

March 02 2011

Clear, convincing in its simplicity and harsh truth, M. Sholokhov still makes the reader indignant and shudder, passionately love and keenly hate.

The volume of the story is striking: the whole life of the family, and the war, and captivity. Even more amazing is the revelation of Andrei Sokolov. On the small “platform” of the story, a person is shown in joy, and in trouble, and in hatred, and in love, and in peaceful work, and in war. Behind this image stands a multimillion-strong, great, kind, long-suffering working people. And how this peaceful people is transformed during the years of military disasters!

This is a traditional fairy-tale increase in the drama of the action over time. The writer used it quite naturally, and this technique of storytellers harmoniously merges with his modern story. The work of M. Sholokhov is national in language. The typical image of the Russian soldier Andrei Sokolov reveals a structure of thoughts and speech, full of apt, original words and folk sayings.

But not only in the noted external signs, such as the technique of triple amplification and the saturation of the language with vivid expressions and proverbs, but, as Belinsky said, in the very “fold of the Russian mind, in the Russian way of looking at things,” the writer’s nationality is manifested. A sensitive artist, M. Sholokhov was connected with the life of his people, with their thoughts and hopes, with all his life and all his thoughts. he was fed by the life-giving springs of folk wisdom, its great truth and beauty. This determined the fidelity to every detail, every intonation of his work. The main advantage of the story is probably that it is built on the correct disclosure of the deep movements of the human soul.

And at first, Sokolov’s life developed like that of many of his peers. “In civilian life I was in the Red Army... In the hungry 1922, I went to Kuban to fight the kulaks, and that’s why I survived.” Fate generously rewarded Sokolov for his ordeal, giving him a wife like his Irinka: “Tender, quiet, does not know where to seat you, she struggles to prepare sweet kvass for you even with little income.” Maybe Irinka was like this because she was brought up in an orphanage and all the unspent affection fell on her husband and children?

But people often don’t appreciate what they have. It seems to me that Andrei Sokolov also underestimated his wife before leaving for the front. “Other women are talking with their husbands and sons, but mine clung to me like a leaf to a branch, and only trembles all over... She speaks and sobs behind every word: “My dear... Andryusha... we won’t see each other... you and I... more ... in this ... world...” Andrei Sokolov appreciated those farewell words much later, after the news of the death of his wife along with his daughters: “Until my death, until my last hour, I will die, and I will not forgive myself for pushing her away then!” ."

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