The fate of the Russian war in Sholokhov's story "The Fate of a Man"
At the end of 56g. M.A. Sholokhov published his story "The Fate of a Man". This is a story about a simple man in a big war, who, at the cost of losing loved ones, comrades, with his courage, heroism, gave the right to life and freedom to his homeland. Andrey Sokolov is a modest worker, the father of a large family lived, worked and was happy, but the war broke out. Sokolov, like thousands of others, went to the front. And then all the troubles of the war flooded over him: he was shell-shocked and captured, wandered from one concentration camp to another, tried to escape, but was caught. More than once death looked into his eyes, but Russian pride and human dignity helped him find courage in himself and always remain a man. When the camp commandant summoned Andrei to his place and threatened to personally shoot him, Andrei did not lose his human face, did not begin to drink for the victory of Germany, but said what he thought. And for this, even the sadistic commandant, who personally beat the prisoners every morning, respected him and let him go, rewarding him with bread and lard. This gift was divided equally among all the prisoners. Later, Andrei still finds an opportunity to escape, taking with him an engineer with the rank of major, whom he drove by car. But Sholokhov shows us the heroism of a Russian person not only in the fight against the enemy. A terrible grief befell Andrei Sokolov even before the end of the war - a bomb that hit the house killed his wife and two daughters, and his son was shot by a sniper already in Berlin on the very day of Victory, May 9, 1945. It seemed that after all the trials that fell to the lot of one person, he could become embittered, break down, withdraw into himself. But this did not happen: realizing how hard the loss of relatives and bleak loneliness, he adopts a 5-year-old boy Vanyusha, whose parents were taken away by the war. Andrei warmed, made happy the orphan soul, and thanks to the warmth and gratitude of the child, he himself began to return to life. Sokolov says: “At night, you stroke his sleepy, sniff the hairs in the whirlwinds, and the heart departs, it becomes easier, otherwise it turned to stone with grief.” With all the logic of his story, Sholokhov proved that his hero cannot be broken by life, because that there is something in him that cannot be broken: human dignity, love for life, for the motherland, for people, kindness that helps to live, fight, work. Andrey Sokolov first of all thinks about duties to relatives, comrades, Motherland, humanity. This is not a feat for him, but a natural need. And there are many such simple wonderful people. It was they who won the war and restored the ruined country so that life could go on and be better, happier. Therefore, Andrey Sokolov is close, understandable and dear to us always.
SOUTH FEDERAL UNIVERSITY
PEDAGOGICAL INSTITUTE
Department of Literature and Teaching Methods
Scientific and Educational Sholokhov Center
Research work:
Plan.
Introduction.
Military journalism in the work of Sholokhov M. A.
Publicism.
Articles and essays by Sholokhov during the Second World War.
Essays. General analysis of essays
Conclusion.
Bibliography.
Application. Introduction.
To begin with, I would like to explain why I chose this particular topic for my research work. The reason is that not much time is allotted at school to study works about the Second World War, and this war is one of the most cruel and difficult for the Russian people. A lot of works were written by our writers of that time, and so little we analyzed them at school. I read with pride about the exploits of our predecessors, and with tears in my eyes and sorrow in my heart for their deaths.
Sholokhov was also interesting to read because he wrote not just what he could hear, but what he himself went through and saw with his own eyes. Mikhail Aleksandrovich himself participated in hostilities and therefore all his essays are so plausible that they are breathtaking. After getting acquainted with the work of M. A. Sholokhov on a military theme, I became even more a patriot of my Motherland.
1. In general, wartime journalism, diverse in form, individual in creative embodiment, was the focus of greatness, boundless courage and devotion of people to their homeland. She knew no equal in the entire history of the world.
From the first days of the war, genres designed to describe the life of people at the front and in the rear, the world of their spiritual experiences and feelings, their attitude to various facts of the war, have taken a firm place on the pages of the periodical press.
Sholokhov took an active part in the struggle against fascism, against the threat of a new war. He acutely felt its approach and could not hide his ardent hatred of fascism. Speaking in March 1939 at the 18th Party Congress, Sholokhov said excitedly:
“If the enemy attacks our country, we, Soviet writers, at the call of the party and the government, will lay down our pen and take up other weapons so that in a volley of the rifle corps, our lead will fly and smash the enemy, heavy and hot, like our hatred of fascism! .. Having defeated the enemies, we will still write books about how we beat these enemies. These books will serve our people and will remain as an example to those of the invaders who accidentally turn out to be unfinished ... "
Getting ready for military trials. Sholokhov was full of peaceful plans and ideas. He is working on the completion of the second book of Virgin Soil Upturned, he is thinking of a new novel about the work of the collective farm intelligentsia and about great changes in the countryside. The writer devotes a lot of energy to social activities. From distant steppe farms, from the Don villages
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walkers reach out to their deputy in order to solve the pressing issues of their lives together with him. Together with the communists of the Vyoshensky district and the entire Rostov region, Sholokhov establishes a socialist new in his native Don.
The enormous constructive and creative work of the writer and public figure was disrupted by the Great Patriotic War. The writer met the beginning of difficult trials for the Motherland in his native village, full, like the whole people, of determination to defend the independence of his Fatherland.
July 23, 1941 in Vyoshenskaya, on the old village square, a crowded rally gathered. Residents of the village and surrounding farms came to see off the Cossacks who were leaving for the front. Sholokhov, speaking to the fellow villagers, expressed confidence in the victory of our people over the Nazi invaders. “Fascist rulers,” he said, “who have thoroughly forgotten history, should remember that in the past the Russian people more than once smashed the German hordes, mercilessly suppressing their movements to the east, and that the keys to Berlin have already been in the hands of Russian military leaders.”
On the same day, Sholokhov sent a telegram to Moscow, in which he asked that the Stalin Prize of the first degree awarded to him for the novel “The Quiet Don” be credited to the USSR Defense Fund and expressed his readiness at any moment “to join the ranks of the Workers and Peasants Red Army and to the last drop of blood to defend the socialist motherland"
2. The very definition of journalism (from Latin Publicus - public) is a kind of production dedicated to topical problems and phenomena of the current life of society.
Publicism of the period of the Great Patriotic War knew no equal in the entire history of the world. Writers, publicists, poets, journalists, playwrights stood up with the entire Soviet people in defense of their Fatherland.
Sholokhov's work occupies a special place in military prose. And that's why. The writer ended up at the front in the very first days of the Great Patriotic War and, starting in 1941, one after another, his front-line essays were published: “In the Cossack villages”, “On the way to the front”, “People of the Red Army”, “Prisoners of war”, On South" and others. The prophetic lines from the famous story "The Science of Hate" found the greatest response in the hearts of those who fought.
“The Science of Hatred” is a story about fascist cannibals, about well-thought-out routines in death camps, about the extreme brutality of thugs and hangmen, who systematically, methodically accurately carried out the program of extermination and enslavement of peoples. The more justified the hatred of the Soviet people sounds in the story, that their mighty force of resistance,
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which was stronger than armored vehicles.
Immediately after the victory, summarizing the journalism of the war years, Sholokhov creates the “Word of the Motherland”. It is both a hymn to the liberated land and a requiem for the dead. The position taken by the writer, evaluating and comprehending the experience of formidable battles, is typical of the literature of the war and post-war years. This is a position of ardent intransigence towards the enemies of the Fatherland, grief for millions of victims, steadfast optimism and confidence in future victories.
Here, for example, is the symbolic picture the author draws in The Word of the Motherland: a half-filled trench, the skeleton of a murdered Nazi, a face dissected by a fragment and a mouth full of fertile black soil, from which a curly twig studded with flowers is already stretching towards the wall of the trench. “Yes, we have a lot of fertile land. And it is more than enough to fill the mouths of everyone who decides to move from talking about all-out fights to action with it.
The leading genre of artistic journalism during the Second World War was an essay - a genre that combines logical-rational and emotional-figurative ways of reflecting reality, setting out and analyzing real facts and phenomena of social life, accompanied by a direct interpretation by their author. The most common during the war years were essays about events, portrait essays dedicated to the heroes of the war, and the sketch diary genre. The essays of the war period were distinguished by deep lyricism, selfless love for their native land, and this could not but affect the reader. During the war years, the essay went through several stages - from the first days of the war, the days of the retreat, when the word of a publicist united people to repel the enemy and called forward, to the victorious march of the Red Army through the countries liberated from the fascist yoke. Essays of the war time presented us with a gallery of brightly individual heroes, aroused a feeling of hatred for the enemy and love for the Motherland.
In the journalism of the Great Patriotic War, the artistic originality of writers and journalists was convincingly manifested. The peculiarity of journalism lies in the fact that the pen of the master of the word betrayed to it the qualities of artistic prose. “In the days of the war, the newspaper is air,” wrote Ilya Ehrenburg at the height of the Great Patriotic War. People open a newspaper before opening a letter from a close friend. The newspaper now has a letter addressed to you personally. Your fate depends on what is in the newspaper. These words succinctly characterize the strength of the charge of optimism, confidence in victory carried from the pages of newspapers and magazines by journalists and writers, what role their speeches played in
education of patriotism.
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On July 4, 1941, the first military essay by M.A. appears in Pravda. Sholokhov "On the Don". This is a story about how the Soviet people met the news of the war, how it boiled
noble fury, what a granite wall he rose to defend the Fatherland. The writer draws portraits of his fellow countrymen, makes them express their thoughts about the events that shook the world, utter an excited word about the Motherland. The war has destroyed
peaceful life, brought grief to people.
“They are coming at us again. You, Fedya, look there, don’t let them go!” (Volume 8) - says a young swarthy woman, escorting her husband to the front. And on the square, one after another, the villagers appear, and there was no one who would tremble, from whom a word of cowardice and confusion would escape from his lips.
Excited appeals, fatherly orders to sons, parting speeches - "beat the enemy mercilessly, until complete destruction, both in the air and on the ground ...". This was the time when the military registration and enlistment offices received an endless stream of applications with a request to be sent to the front ... People broke away from the most urgent matters and took up a rifle.
The essay is extremely concise, laconic, but it widely reflects the breath of the troubled time, since what was said about the village was then in all corners of our country.
Sholokhov is restrained in expressing his own feelings, his essays do not contain pathetic words and exclamations. The strength of their influence lies elsewhere... To hate the enemy, one must look into his eyes, see the black darkness of his soul. It is not only hatred that gives strength to defeat him, but also contempt. Different as if the Nazis who were captured. The writer tells about them in his essay “Prisoners of War”. Corporal Berkmann "considers himself a cultured, decent person and, of course, a resolute opponent of unnecessary cruelty" (volume 8). His "culture" is just a mask, barely covering the grin of the beast.
Disgust and disgust are caused by the images of Hitler's thugs, drawn in the essays "Prisoners of War", "In the South" ... Having been captured, hungry and ragged, they "like animals pounce on food and, burning themselves, champing, almost without chewing, swallow hastily, greedily ... "(Volume 8). The writer does not resort to artistic tricks, showing the essence of those who imagine themselves to be the highest race. They are arrogant and self-confident when they torture unarmed civilians. “In captivity, their external image changes dramatically” (volume 8). The artist is not limited to forcing details that enhance the repulsive impression.
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“This is how they look here. But let's give the floor to those who saw them in a different setting" (8
volume). The old collective farmer Kolesnichenko, who recently escaped from German captivity, talks about the monstrous atrocities committed by the fascist beast on Soviet soil. His speech is unhurried, but how much bitterness, hidden excitement and burning hatred,
breathtaking.
In Sholokhov's essays, the main, cherished idea - the idea of the inevitability of the death of the enemy - finds a kind of artistic embodiment. Even the composition of his essays is dictated by her: the beginning and laconic ending, written in the form of the author's thoughts or sketches of what he saw during his wanderings at the front, act as a kind of frame that gives completeness and completeness to the entire essay.
At the end of the essay, the image of a captured German, a peasant with large calloused hands, shocked by the terrible thought that "the entire German people will have to pay" for the atrocities inflicted on the peoples. Even more consistently and clearly the same artistic principle is realized in the essay "In the South". “The owners of Donbass – that’s who we are, and we’re going to put the blown up and flooded mines in order. It's clear?" (Vol. 8) - this is how a stocky, broad-shouldered man answered, walking along the steppe road to the west in a column of people.
M.A. Sholokhov writes "The Word about the Motherland". This is a word of love and pride, anxious excitement and sad memories of the past: “Winter. Night. Stay a little in silence and solitude, my dear compatriot and friend, remember the recent past and you will see with your mind’s eye ... ”(Vol. 8) - the writer addressed the people so penetratingly and simply, as if together with them giving himself up to thoughts inspired by the memory of the past. The writer entrusts him, a compatriot and friend, with his gift to take a mental look at the expanses of the Motherland and think about everything that now worries, excites, pleases and saddens millions of people in their native land. The lyrical image of the Motherland that appears at the beginning of the essay conquers. Quite recently, a military hurricane swept over Russian soil and left traces of destruction that have not yet been erased. However, not only this arouses heavy thoughts: “Remembering the past, you will involuntarily think, you cannot help but think about how many orphaned people, how bitter is the widow’s tear, how painful is the sigh of a child who has not waited for his father, how tragic is old age in its inconsolable grief. ".
When in Sholokhov's essay the image of the Motherland appears before the mind's eye and portraits of those who were orphaned by the war emerge, you realize the humanistic legitimacy of the Soviet writer's call for sacred hatred of the enemy: "My
etc.................
Part of the finished work:
Introduction 3
1. The first works of the writer about the war 5
2. Features of the image of the Great Patriotic War in the works of M. Sholokhov 6
3. The novel "They fought for the Motherland" as the author's attempt to create a panorama of the Great Patriotic War 8
4. War on the pages of the story "The fate of man" 12
5. Military journalism in the work of Mikhail Sholokhov 15
Conclusion 17
Literature 19
Bibliography
- 1. BiryukovF. Sholokhov. - M., 1998
2. Biryukov F.G. Courage: Military prose and journalism M.A. Sholokhov // Our contemporaries, 1980, No. 5.
3. Biryukov F.G. Artistic discoveries of Mikhail Sholokhov. - M., 1980.
- 4. Bocharova A. Man and War. - M., 1978
- 5. Britikov A.F. Mastery of Mikhail Sholokhov. - M., 1964
- 6. Mikhailov O.N. Mikhail Sholokhov. Life. Fate. Creativity. - M., 1976.
- 7. Novikov V. The visual power of the Sholokhov word. - // Literary studies, 1985 No. 3
8.SivovolovG. Mikhail Sholokhov. Biography pages. - Rostov-on-Don, 1995.
9. Khvatov A.I. Artistic world of Sholokhov. - M., 1970.
- 10. Sholokhov M.A. Collected works in 8 volumes - M., 1960
- 11. Yurkovich M. Sholokhov about the fate of man // Foreign Literature, 1984, No. 6
Excerpt from work
1. The first works of the writer about the war
All the works of Mikhail Sholokhov, his stories, novels, novels - this is a single book about the fate of the Russian people at different stages of the formation and development of the state. The beginning of this great book, which reflected the path of the artist himself, shared with the people, was the Don Stories. This is the first work of art in which the military theme sounded in the work of M. Sholokhov.
Thematically, "Don stories" are connected with the years of the civil war, most of them are about the great national tragedy of this war, about the difficult and bloody overcoming of hostility on the Don. The very first collection of the writer included the stories "The Mole", "Shibalkovo Seed", "Chairman of the Revolutionary Military Council of the Republic", "The Shepherd", "Kolovert", "Aleshka's Heart", "Two-husband", "Bakhchevnik".
In the center of the collection is the tragic reality of the Don region, which was engulfed in the flames of the civil war. At this moment, the struggle was not for life, but for death, even the most blood, family ties collapsed in it, and people died "ugly simply."
In the preface to this collection, A. Serafimovich wrote: “Like a steppe flower, Sholokhov’s stories stand as a living spot. Simple, bright, and you feel what is being told - it is before your eyes. Concise, and this conciseness is full of life, tension and truth. A sense of proportion in acute moments, and that's why they penetrate. Thin grasping eye. The ability to choose the most characteristic of many signs.
"Don Stories" opened a completely new page in the still young Soviet literature. At the same time, this small collection became proof of the original talent of the writer, the author was able to show his close connection with the fate of the people. It is also important to note that through these stories the young writer saw and showed the history of the people who went through the crucible of revolution and civil war, and he also managed to combine the life and struggle of the Don Cossacks in this harsh and cruel time with the life of the whole people. In this small collection, at the same time, we see the author's position in relation to the war as a way to resolve the conflict. Sholokhov could never come to terms with the fact that the need to serve any idea required evidence through cruelty in relation to even close people.
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