What is courage in times of war? It is this problem that Konstantin Mikhailovich Simonov addresses in his text.
Discussing the question posed, the author talks about a group of five gunners who heroically withstood the first clash with the Germans on the border, and argues that brave people are distinguished by a special personality type. To show the characters of the fighters who endured the hardships of the terrible war years, the use of dialogue allows: short, abrupt phrases speak of the confidence and determination of the soldiers.
As K. Simonov notes, warriors have amazing stamina and endurance: despite physical torment, fatigue and hunger, which are emphasized by expressive details (“five pairs of tired, overworked hands, five worn-out, dirty, whipped gymnasts with branches, five German ones taken in battle machine guns and a cannon"), they continue to fight and drag "on themselves" the only surviving gun deep into the country. These people are ready to fearlessly overcome any obstacles for the sake of protecting the Motherland; their whole life is service to the Fatherland and a bold "challenge to fate." However, the most important quality of a courageous person for a writer is an inner strength that commands respect for the strength of the spirit: this property can be seen both in the deceased commander, for whom "soldiers go through fire and water", and in the foreman with his "thick and strong" voice.
The position of the author can be formulated as follows: a truly courageous person is characterized by stamina, courage and unbending fortitude. I can agree with the opinion of K. Simonov, because brave warriors really show amazing endurance and selflessly cope with difficulties. In addition, in my opinion, the courage of a fighter is inextricably linked with the awareness of responsibility for the fate of the Motherland and his people.
The theme of the brave struggle for the freedom of the Fatherland sounds in A. Tvardovsky's poem "I was killed near Rzhev ...". In a kind of "testament" the slain soldier calls on his compatriots and heirs to always remember their country. The lyrical hero of the poem speaks of the responsibility of each warrior for the future of the Motherland and asks to fight courageously for the last inch of land, so that "if you leave it, then there is nowhere to put your foot that has stepped back."
Another example is B. Vasiliev's story "The Dawns Here Are Quiet". After the death of several girls from a small detachment, commandant Vaskov begins to doubt the correctness of the decision to fight the Germans on his own. However, Rita Osyanina convinces him that the Motherland does not begin with canals, where the Germans could be dealt with more easily and without losses, but with each of the soldiers: all citizens of the country are responsible for its freedom and must fight the enemy.
Thus, we can conclude that courage is the most important quality of the defender of the native land, which implies endurance, fearlessness, selflessness, understanding of responsibility for the fate of one's people.
Updated: 2018-08-07
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(1) Early in the morning, Lopatin and Vanin left for the first company. (2) Saburov stayed: he wanted to take advantage of the lull. (3) At first, they spent two hours with Maslennikov compiling various military reports, some of which were really necessary, and some seemed superfluous to Saburov and wound up only because of a long peaceful habit of all kinds of bureaucracy. (4) Then, when Maslennikov left, Saburov sat down for the postponed and burdensome business - for answers to letters that came to the dead. (5) Somehow it already happened to him almost from the very beginning of the war that he took upon himself the difficult duty of answering these letters. (6) He was angry with people who, when someone died in their unit, tried not to inform his relatives about this for as long as possible. (7) This apparent kindness seemed to him simply a desire to pass by someone else's grief, so as not to hurt himself.
(8) “Petenka, dear,” wrote Parfenov’s wife (it turns out his name was Petya), “we all miss you and are waiting for the war to end so that you return ... (9) The checkmark has become quite large and is already walking by itself, and almost does not fall ... "
(10) Saburov carefully read the letter to the end. (11) It was not long - greetings from relatives, a few words about work, a wish to quickly defeat the Nazis, at the end two lines of children's scrawl written by the eldest son, and then several unsteady sticks made by a child's hand, which was driven by the mother's hand, and a postscript: “And this was written by Galochka herself” ...
(12) What to answer? (13) Always in such cases, Saburov knew that only one thing could be answered: he was killed, he was gone, - and yet he always invariably thought about it, as if writing the answer for the last time. (14) What to answer? (15) In fact, what is the answer?
(16) He remembered the small figure of Parfyonov, lying supine on the cement floor, his pale face and field bags placed under his head. (17) This man, who died with him on the very first day of the fighting and whom he knew very little before, was for him a comrade in arms, one of many, too many who fought next to him and died next to him, then How did he stay intact. (18) He got used to it, got used to the war, and it was easy for him to say to himself: here was Parfyonov, he fought and was killed. (19) But there, in Penza, on Marx Street, 24, these words - “he was killed” - were a disaster, the loss of all hopes. (20) After these words, there, on Karl Marx Street, 24, the wife ceased to be called a wife and became a widow, the children ceased to be called simply children - they were already called orphans. (21) It was not only grief, it was a complete change in life, the whole future. (22) And always, when he wrote such letters, he was most afraid that the one who reads would not think that it was easy for him who wrote. (23) He wanted those who read it to think that it was written by their comrade in grief, a person who is as grieving as they are, then it is easier to read. (24) Maybe not even that: it’s not easier, but it’s not so offensive, it’s not so sad to read ...
(25) People sometimes need a lie, he knew that. (26) They certainly want the one they loved to die heroically or, as they say, die the death of the brave ... (27) They want him not only to die, so that he will die, having done something important, and they they certainly want him to remember them before he dies.
(28) And Saburov, when answering letters, always tried to satisfy this desire, and when necessary, he lied, lied more or less - this was the only lie that did not bother him. (29) He took a pen and, tearing a sheet out of a notebook, began to write in his quick, sweeping handwriting. (30) He wrote about how they served together with Parfenov, how Parfenov died heroically here in the night battle, in Stalingrad (which was true), and how he himself shot three Germans before falling (which was not true), and how he died in Saburov's arms, and how before his death he remembered his son Volodya and asked him to tell him to remember his father.
(31) This man, who died with him on the very first day of the fighting and whom he knew very little before, was for him a comrade in arms, one of many, too many who fought next to him and died next to him, then How did he stay intact. (32) He got used to it, got used to the war, and it was easy for him to say to himself: here was Parfyonov, he fought and was killed.
(By K. M. Simonov*)
* Konstantin Mikhailovich Simonov - Russian Soviet prose writer, poet, screenwriter, journalist and public figure.
Explanation.
What is compassion? Are all people able to manifest it? The text of the author is devoted to the search for answers to these questions.
In this text, K. M. Simonov poses the problem of showing compassion towards other people.
Saburov took on a huge responsibility from the very beginning of the war. Notifying the relatives of military personnel about the death was not an easy test for him. In sentences 5-6, we see that Saburov felt disdain for those people who did not care about the relatives of the deceased. Thus, they showed indifference and indifference, which only increased the emotional pain of their relatives. Saburov himself was a man of good heart. Responding to letters, he tried to show compassion, which helped the relatives of the dead so much. In 22-23 sentences, the author writes that in this way Saburov could alleviate the grief of a serious loss.
Konstantin Mikhailovich Simonov is convinced that compassion is an integral part of all people. In war or in peacetime, each of us is able to make this world kinder. Indifference, in his opinion, only leads to disastrous consequences.
To prove the validity of this position, I will cite as an example the novel "War and Peace" by L. N. Tolstoy. Natasha Rostova is a truly kind and sympathetic person. She saved many of the wounded by providing them with shelter, food and proper care. Natasha did not have a second to think, because from the very beginning she knew that this was not a duty for her, but a spiritual urge.
Not only adults, but also children need support from others. In the work “The Fate of Man” by M. A. Sholokhov, we see confirmation of this. Having lost his family and relatives, Andrei Sokolov did not lose heart. Once he met an orphaned boy Vanya, and without thinking twice, he firmly decided to replace his father. By showing compassion and helping him, Andrei made the boy a truly happy child.
Read the review snippet. This fragment examines the language features of the text. Some terms used in the review are missing. Fill in the gaps (A, B, C, D) with the numbers corresponding to the number of the term from the list. The sequence of numbers in the order in which they are written by you in the text of the review at the place of the gaps, write down without spaces, commas and other additional characters.
Show text (K.M. Simonov)
“Konstantin Simonov tells about the life of a soldier in the war in such a way that the reader becomes involved in the fate of the hero. The reader sees a picture of military events, understands the state of people. The lexical tool helps the writer to show all this - (A) __________ (“thrown” in sentence 11) and tropes - (B) __________ (“ bitter expression" in sentence 41). Syntactic means - (B) __________ (in sentences 4, 11, 20) and reception - (D) __________ (“instantly” in sentence 26, “circle” in sentence 44) help to understand the thoughts of the author.
(1) It was in the morning.(2) The battalion commander Koshelev called Semyon Shkolenko to him and explained, as always without long words: - You need to get the “Language”.
- (3) I'll get it, - said Shkolenko.
(4) He returned to his trench, checked the machine, hung three discs on his belt, prepared five grenades, two simple and three anti-tank, put them in a bag, then looked around and, thinking, took the copper wire stored in the soldier’s bag and hid it in pocket.(5) It was necessary to go along the coast.(6) After the morning rain, the ground had not yet dried out, and the tracks leading into the forest were clearly visible on the path.
(7) There were thickets ahead.(8) Shkolenko crawled through them to the left; there was a pit, weeds grew around it.(9) From the pit, in the gap between the weeds, a mortar was standing very close and a light machine gun a few steps away: one German stood at the mortar, and six sat, gathered in a circle, and ate from bowlers.
(10) There was no need to hurry: the goal was in sight.(11) He firmly rested his left hand on the bottom of the pit, grabbed the ground so that his hand did not slip, and, rising, threw a grenade.(12) When he saw that six were lying motionless, and one, the one who stood at the mortar, continued to stand near him, looking in surprise at the barrel mutilated by a fragment of a grenade, Shkolenko jumped up and, coming close to the German, without taking his eyes off him, showed with signs that he should unfasten his parabellum and throw it on the ground, so that he could put the machine gun on his shoulders.(13) The German obediently bent down
And raised the gun. (14) Now both hands were occupied.
(15) So they went back - in front of a German with a machine gun slung over his shoulders, behind Shkolenko.
(16) Shkolenko got to the command post of the battalion only in the afternoon.
- (17) Well, - said the regiment commander, - one task, - he nodded at Captain Koshelev, - you have completed, now complete mine: you must find out where their other mortars are.
- (18) I find out, - Shkolenko said shortly, - will I go alone?
- (19) One, - said Koshelev.
(20) Shkolenko sat for about half an hour, threw up his machine gun and, without adding grenades, again went in the same direction as in the morning.
(21) Now he took to the right of the village and closer to the river, hiding in the bushes that grew along the sides of the road.(22) I had to go along a long dell, making my way through a thick hazel that scratched my hands and face, through undergrowth.(23) Near a large bush, three mortars were clearly visible, standing in a beam.
(24) Shkolenko lay down flat and pulled out a paper on which he decided in advance to draw for accuracy exactly where the mortars were.(25) But at the moment when he made this decision, the seven Germans who were standing at the mortars approached each other and sat down at the mortar closest to Shkolenko, just eight meters from him.(26) The decision was born instantly, maybe so instantly because only today, in exactly the same situation, he was already lucky once.(27) The explosion was very strong, and the Germans lay dead.(28) Suddenly, two dozen steps away from him, there was a strong rustle in the bushes.(29) Pressing a machine gun to his stomach, Shkolenko fired a long burst there like a fan, but his good friend Satarov, a soldier of the 2nd battalion, who was taken prisoner a few days ago, jumped out of the bushes instead of the Germans.(30) Following him, sixteen more people came out of the bushes.(31) Three were bloodied, one of them was supported in their arms.
- (32) Did you shoot? Satarov asked. -(33) Here, he hurt them, - Satarov showed his hand to the bloody people. -(34) Where is everyone?
- (35) And I'm alone, - answered Shkolenko. -(36) What are you doing here?
- (37) We dug a grave for ourselves, - said Satarov, - two submachine gunners guarded us, when they heard the explosion, they ran away.(38) And you, then, are alone?
- (39) One, - Shkolenko repeated and looked at the mortars. -(40) Rather, take the mortars, now let's go to our own.
(41) He walked behind those rescued from captivity and saw the bloodied bodies of the wounded, and a bitter expression appeared on his face.
(42) After an hour and a half, they reached the battalion.(43) Shkolenko reported and, after listening to the captain's gratitude, walked five steps away and lay face down on the ground.(44) Fatigue immediately fell upon him: with open eyes he looked at the blades of grass growing around, and it seemed strange that he was living here, and grass was growing around, and everything around was the same as it was.
(According to K.M. Simonov*)
* Konstantin Mikhailovich Simonov (1915–1979) –
Russian Soviet journalist and prose writer, screenwriter.
List of terms:
1) anaphora
2) dialectism
3) lexical repetition
4) impersonation
5) spoken word
6) epithet
7) individual author's word
8) introductory words
9) rows of homogeneous members of the proposal
Correct answer: 5693
Explanation
“Konstantin Simonov tells about the life of a soldier in the war in such a way that the reader becomes involved in the fate of the hero. The reader sees a picture of military events, understands the state of people. All this is shown to the writer by a lexical means - (A) colloquial word(“thrown” in sentence 11) and trope - (B) epithet("bitter expression" in sentence 41 (figurative definition that gives the subject an additional characteristic)). Syntactic means - (B) rows of homogeneous sentence members(in sentences 4, 11, 20) and reception - (G) lexical repetition(“instantly” in sentence 26, “around” in sentence 44) help to understand the author’s thoughts.”
Read a fragment of a review based on the text. This fragment examines the language features of the text. Some terms used in the review are missing. Fill in the gaps with the necessary terms from the list. Gaps are indicated by letters, terms by numbers.
Fragment of the review:
“Konstantin Mikhailovich Simonov shows the reader the true price of one of the seemingly ordinary episodes of the war. To recreate the picture of the battle, the author uses a variety of means of expression. Thus, various syntactic means are used in the text, including (A) __________ (in sentences 14, 20), and tropes (B) __________ (“blood meters” in sentence 22, “despite the deafening fire” in sentence 29), as well as techniques, among which (IN) __________ (sentences 12-13). One more trick - (G) __________ (sentences 38-40; sentence 50) - helps to understand the author's thought.
List of terms:
1) citation
2) epithet
3) synonyms
4) phraseological unit
5) a number of homogeneous members of the proposal
6) parceling
7) question-answer form of presentation
8) litotes
9) metaphor
Text:
Show text
(1) Having made several heavy fire raids early in the morning, the Germans now conducted systematic mortar and gun fire. (2) Here and there tall pillars of snow shot up among the trunks.
(3) Ahead, in the grove, as intelligence found out, there were two lines of deep longitudinal snow trenches with three to four dozen fortified dugouts. (4) The approaches to them were mined.
(5) It was exactly twelve. (6) The midday sun shone through the trunks, and if not for the dull explosions of mines flying overhead, the forest would have looked like on a peaceful winter day.
(7) The assault groups slid forward first. (8) They walked through the snow, led by sappers, clearing the way for tanks.
(9) Fifty, sixty, eighty paces—the Germans were still silent. (10) But here's someone who couldn't resist. (11) Because of the high snow blockage, a machine-gun burst was heard.
(12) The assault group lay down, it did its job. (13) Called fire on herself. (14) The tank that was following her turned the gun on the move, made a short stop and hit the machine-gun embrasure seen once, twice, a third. (15) Snow and pieces of logs flew into the air.
(16) The Germans were silent. (17) The assault team rose and rushed forward another thirty paces.
(18) Again the same thing. (19) Machine gun bursts from the next dugout, a short spurt of the tank, several shells - and snow and logs flying upwards.
(20) The very air seemed to whistle in the grove, the bullets crashed into the trunks, ricocheted and fell helplessly into the snow. (21) Under this fire it was difficult to raise your head.
(22) By seven in the evening, parts of the regiment, having fought eight hundred snowy and bloody meters, reached the opposite edge. (23) The oak grove was taken.
(24) The day was hard, there were many wounded. (25) Now the grove is entirely ours, and the Germans opened heavy mortar fire on it.
(26) It was getting dark. (27) Between the trunks, not only snow pillars were visible, but also flashes of gaps. (28) Tired people, breathing heavily, lay in broken trenches. (29) Many of the tiredness, despite the deafening fire, closed their eyes.
(30) And along the hollow to the edge of the grove, bending down and running across in the intervals between gaps, there were thermosons with lunch. (31) It was the eighth hour, the day of the battle was ending. (32) At the headquarters of the division, they wrote an operational summary, in which, among other events of the day, the capture of Oak Grove was noted.
(33) It has become warmer, the thawed funnels are again visible on the roads; gray turrets of broken German tanks begin to appear again from under the snow. (34) Spring according to the calendar. (35) But as soon as five steps back from the road - and the snow is chest-deep again, and you can move only by breaking through the trenches, and you have to drag the guns on yourself.
(36) On the slope, from which white hills and blue copses are widely visible, there is a monument. (37) Tin star; the caring but hurried hand of a man going into battle again draws mean solemn words.
« (38) Selfless commanders - senior lieutenant Bondarenko and junior lieutenant Gavrish - died the death of the brave on March 27 in the battles near the Kvadratnaya grove. (39) Farewell, our fighting friends. (40) Forward to the west!"
(41) The monument stands high. (42) From here you can clearly see the winter Russian nature. (43) Perhaps the comrades of the dead wanted them to follow their regiment far away after death, now without them going west across the wide snowy Russian land.
(44) Groves spread ahead: Kvadratnaya, in the battle under which Gavrish and Bondarenko died, and others - Birch, Oak, Curve, Turtle, Noga.
(45) They were not called so before and will not be called then. (46) These are small nameless copses and groves. (47) Their godfathers were the commanders of the regiments fighting here for every edge, for every clearing in the forest.
(48) These groves are the site of daily bloody battles. (49) Their new names appear every night in divisional reports, sometimes mentioned in army reports. (50) But in the summary of the Information Bureau, only a short phrase remains from all this: "Nothing significant happened during the day."
(According to K.M. Simonov)
Konstantin (Kirill) Mikhailovich Simonov (1915-1979) - Russian Soviet prose writer, poet, screenwriter, journalist and public figure.
Probably, every nation, every epoch gives birth to artists who, with their whole being, with all their thoughts, with their whole life, with all their creativity, most accurately correspond to this particular time, to this particular people. They were born to be the spokesmen of their era. What is the first thing here - is it an artist, whose work makes his time close, understandable, told and illuminated, or time, which is looking for someone to express itself through, to be understood? Don't know. I only know that happiness here is mutual.
Such a strikingly modern artist was Konstantin Mikhailovich Simonov. Strikingly modern.
A huge, vast, blazing picture of the war can no longer exist in our minds without "Wait for me", without "Russian people", without "Military diaries", without "The Living and the Dead", without Simonov's "Days and Nights", without essays on the war years . And for thousands and thousands of his readers, Konstantin Simonov was those eyes with which they looked at the enemy, that heart that choked with hatred for the enemy, that hope and faith that did not leave people in the most difficult hours of the war. The time of war and Konstantin Simonov are now inseparable in the memory of people. It will probably be the same for those historians of our time who will come after us. For thousands and thousands of his readers, Simonov's work was the voice that tangibly conveyed the heat and tragedy of the war, the resilience and heroism of people. On the roads of life, along which this amazing man walked tirelessly, with unflagging interest, with amazing energy, with love for life until the end of his days, he met thousands and thousands of people. I also met him on these roads. And I, like everyone who met him, fell under the rare charm of a major personality of our time.
Somehow in 1974 I got a call from the literary editorial office of television and offered to participate with Konstantin Mikhailovich in a television program about A. T. Tvardovsky. I agreed with excitement, because I have great respect for Alexander Trifonovich Tvardovsky, a poet and citizen, and bow before the work of another outstanding poet - Konstantin Mikhailovich Simonov. To get into this company was both scary and desirable. I rarely read poetry, even on the radio. But here, having taken this work with me for the summer, I prepared with special care both for the transfer and for the meeting with Konstantin Mikhailovich.
I had met him before, while working on the film No Soldiers Are Born, but these were brief meetings, and there was no serious reason for Simonov to talk with me for a long time. In winter, shooting was finally scheduled at the dacha of Konstantin Mikhailovich in Krasnaya Pakhra. In his office with a huge window, behind which, in the snow, very close by were the beauties of birch trees, which became, as it were, part of the room, we settled down at the desk. It was some special table, specially made. Long, the full width of the huge window where he stood, made of light wood and without a single decoration or unnecessary trifle. Only a stack of blank paper, volumes of Tvardovsky, a transmission plan, and beautiful pens and felt-tip pens of different colors. It was a table-bridgehead on which the daily battle took place. Do things, life, at least to some extent determine a person? If so, then this table testified to the utmost concentration, the military habit of order and sweeping aside everything that interferes with work.
Composure, purposefulness, deep sincere respect for the personality of Tvardovsky, for his poetry, which were read in every word of Konstantin Mikhailovich, a respectful, but demanding attitude towards the entire group filming this film, created some kind of working, comradely, businesslike tone.
It seems that A. Krivitsky called Konstantin Mikhailovich a cheerful and tireless worker. It is not for me to judge these features of the character of K. M. Simonov, but in the short time that I knew him, I never saw him idle, without duties, without problems or troubles. Even in the last days of his life, when it was probably already very difficult for him, he was full of plans, hopes and plans. The last time I saw Konstantin Mikhailovich was in the hospital, where he was once again. I came to visit him, did not find him in the ward and went to look for him on the territory of the hospital. Soon I saw him. He looked very bad. Very. He probably knew it himself. He walked breathing heavily and smiling weakly, told that he was going to the Crimea. But he probably did not want to talk about the disease, and he began to say that he would like to make a film, and specifically a television film, Days and Nights. Of course, it was not the task to once again make a picture of this book - he thought about it for the sake of being able to say once again that it was mostly young people who fought, eighteen or twenty years old. It is very important to say this to today's guys. Awaken in them both responsibility and involvement in the affairs of the Motherland.
When he learned that he had been elected a member of the Central Audit Commission of the Central Committee of the CPSU, he was delighted. But again, not so much for himself, but because this high trust gave him the opportunity to do a lot and help many. He said so: “Now I can help many people.” And he helped tirelessly. He promoted books in print, defended the young, defended the interests of literature. No matter how much I had to be with him at different meetings, he always persuaded someone, negotiated with someone, explained something important to someone.
It was probably a necessity for him, a vital necessity - to help, rescue, support, stretch, protect. This was another feature, without which the image of Konstantin Mikhailovich Simonov would be incomplete. Such people for me are, as it were, islands of a true land, where you can take a breath, gain strength before the next voyage on the stormy sea of life. Well, if you suffer a shipwreck, then such islands will accept you, save you, give you the opportunity to live. Such a faithful, reliable island was Konstantin Simonov - one of those real people in the most uncompromising sense of this concept, with whom I had to meet. For this I am grateful to fate.
The war was his main theme. It's not just books and poetry. These are well-known television programs dedicated to the soldier. These are films. And somehow it turned out that the conversation about trying to make a film about Georgy Konstantinovich Zhukov arose almost immediately, as soon as we met Konstantin Mikhailovich on a TV show about Tvardovsky.
At first, Simonov did not intend to write the script himself, he agreed to be only a consultant, or something. But, perhaps, this thought captured him more and more. He invited me to his place and gave me to read the notes about G.K. Zhukov, made during the war and after. Konstantin Mikhailovich once said in a conversation: “It is necessary to make not one, but three films about Zhukov. Imagine a trilogy about this man. The first film "Khalkhin-Gol" - the beginning of G.K. Zhukov. First heard of him. The second film "Battle of Moscow" is one of the most dramatic periods of the Great Patriotic War. The third film is "Berlin". Surrender. Zhukov, on behalf of the people, dictates the terms of surrender to the defeated Germany. Representative of the Nation.
This theme became more and more of a subject for him. And when, due to various circumstances that had nothing to do with the history of the war, or the personality of G. Zhukov, or the great meaning of possible films, these plans were rejected in the bud, Konstantin Mikhailovich immediately suggested that television make a documentary about Zhukov. But, unfortunately, these plans of Konstantin Mikhailovich were not destined to come true.
This would be true, because a soldier would also write about this, who until the end of his days did not leave the trench and did not throw down his weapon. In the literal sense, until his last breath, not knowing tiredness and rest, he devoted his whole beautifully and honestly lived life to the struggle for a fair, lively, new and sincere.
It was a happy life. Needed by people, needed by business, needed by time.
