Composition on the topic: Grigory Melekhov in search of truth in the novel Quiet Don, Sholokhov. Grigory Melekhov in search of the truth Melikhov in search of the truth

We meet Grigory Melekhov during his youth. On the first pages of the novel “Quiet Flows the Don”, Mikhail Sholokhov presents to our attention a still completely inexperienced, restless young man who does not suspect what lies ahead for him.
After reading the first volume, it was difficult for me to express my attitude towards Gregory, to understand what is more in him - good or evil. It would seem, how can a kind person destroy someone else's family, look so indifferently at the suffering of a woman who is tied to him by marriage, make a father ashamed of his son.

But it soon becomes clear that these were only awkward manifestations of a young Cossack nature, and perhaps a person seeking freedom and truth.
The war is shown by Sholokhov from the most terrible side and Grigory's personality is revealed against its background. There is no longer any doubt that Gregory is humane and humane. He is tormented by the fact that he killed an Austrian, tries to save the servant Franya, denounces Chubaty and his cruelty, saves Stepan Astakhov. However, he also hardens, we see an already formed personality, for which the boundaries of good and evil are still blurred.
The conscious life of Gregory begins. He follows life and people, and from this his idea of ​​\u200b\u200bthe environment is formed. However, those very “blurred boundaries” prevent him from quickly approaching the truth that he is looking for.
Gregory fights either on the side of the Reds, or on the side of the Whites, but nowhere does he see what he needs. Each side sheds blood, often needlessly. Gregory's dual past does not allow him to live in peace, he finds himself in the midst of two fires and begins to envy people who blindly believed one of the parties and fought for "their" views.
Realizing that war is not a way to search for the truth, Grigory tries to escape from all these horrors with the love of his life - Aksinya, but here tragedy awaits him. The death of Aksinya brings Gregory to despair and the last thing he wants to do is to visit “home”, in his native places, to see his son.
Most often, when a person is born, he is surrounded by everything that he needs: a house, a family, soon a job, a favorite thing. Based on this, I think it can be said that Gregory came to what he was looking for, to the meaning and truth of life, even if a little late. Strange, but so often it happens that a person is looking for something from which he himself once fled. Sholokhov began the novel with the history of the ancestors of Grigory Melekhov, ended with the son of Grigory. It seems to me that by this he wanted to emphasize the importance of his native home, hearth, family.

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In search of social truth, he seeks an answer to the insoluble question about truth from the Bolsheviks (Garanzhi, Podtelkov), from Chubaty, from the Whites, but with a sensitive heart he guesses the immutability of their ideas. "Do you give land? Will? Compare? Our land is at least swallowed by it. Will is no longer needed, otherwise they will cut each other on the streets. Atamans were elected by themselves, and now they are imprisoning them... This power, apart from ruin, does not give anything to the Cossacks! They need masculine power. But we don't need generals either. Both communists and generals are one yoke. Grigory well understands the tragedy of his position, he realizes that he is only being used as a cog: "... learned people have confused us ... hobbled life and do their business with our hands."

Melekhov’s soul suffers, in his words, “because he stood on the verge of a struggle between two principles, denying both of them ...” Judging by his actions, he was inclined to seek peaceful ways to resolve life's contradictions. He did not want to respond with cruelty for cruelty: he ordered the release of the captive Cossack - khoprets, released the arrested from prison, rushed to save Kotlyarov and Koshevoy, was the first to extend his hand to Mikhail, but he did not accept his generosity:

“- Enemies you and I… — Were. - Yes, you can see it. - I don't understand. Why? - You are an unreliable person ... Grigory grinned: - You have a strong memory! You killed your brother Peter, but I don’t remind you of something ... If you remember everything, you have to live like wolves. - Well, well, I killed, I do not refuse! If only I could catch you then, I would have you, like a pretty one!

And Melekhov’s sore spills out: “I served my own. I don't want to serve anyone else. I have fought enough in my life and I am terribly tired of my soul. I'm tired of everything, both the revolution and the counter-revolution. Let it all go… Let it all go to hell!” This man is tired of the grief of loss, wounds, throwing, but he is much kinder than Mikhail Koshevoy, Shtokman, Podtelkov. Grigory did not lose the human, his feelings, experiences are always sincere, they were not dulled, but perhaps aggravated. The manifestations of his responsiveness and sympathy for people are especially expressive in the final parts of the work. The hero is shocked by the spectacle of the dead: "baring his head, trying not to breathe, carefully" he goes around the dead old man, sadly stops in front of the corpse of a tortured woman, straightens her clothes.

Meeting with many small truths, ready to accept each one, Grigory falls into Fomin's gang. Staying in a gang is one of his most difficult and irreparable mistakes, the hero himself clearly understands this. Here is how Mikhail Alexandrovich Sholokhov conveys the state of the hero, who has lost everything except the ability to enjoy nature. “The water roared, breaking through a ridge of old poplars that stood in its way, and quietly, melodiously, soothingly babbled, swaying the tops of the flooded bushes. The days were fine and windless. Only occasionally did white clouds float by in the clear sky, fluffed up in the high wind, and their reflections glided over the flood like a swan flock and disappeared, touching the far shore.

Melekhov loved to look at the wildly bubbling rapids sweeping along the coast, listen to the discordant sound of water and not think about anything, try not to think about anything that causes suffering. The depth of Gregory's experiences is connected here with the emotional unity of nature. This experience, the conflict with oneself, is resolved for him by the renunciation of war and weapons. Heading to his native farm, he threw it away, "thoroughly wiped his hands on the floor of his greatcoat."

“At the end of the work, Gregory renounces his whole life, dooms himself to longing and suffering. This is the longing of a man resigned to defeat, the longing of resignation to fate.

Who is he, Grigory Melekhov, the main character of the novel? Sholokhov himself, answering this question, said: "The image of Grigory is a generalization of the searches of many people ... the image of a restless person - a truth seeker ... bearing a reflection of the tragedy of the era." And Aksinya was right when, in response to Mishatka’s complaint that the guys didn’t want to play with him, because he is the son of a bandit, she says: “He is not your father’s bandit. He's so...unfortunate."

Only this woman always understood Gregory. Their love is the most wonderful love story in modern literature. This feeling reveals the spiritual subtlety, delicacy, passion of the hero. He recklessly otlaetsya love for Aksinya, perceiving this feeling as a gift, like fate. At first, Gregory will still try to break all the ties that connect him with this woman, with his usual rudeness and harshness, he will tell her a well-known saying. But neither these words nor the young wife will be able to tear him away from Aksinya. He will not hide his feelings either from Stepan or from Natalya, and he will answer directly to his father’s letter: “You asked me to prescribe whether I will or not live with Natalya, but I’ll tell you, dad, that you can’t glue the cut edge” .

In this situation, the main thing in Grigory's behavior is the depth, passion of feeling. But such love brings people more mental suffering than love joys. The drama is also the fact that Melekhov's love for Aksinya is the cause of Natalya's suffering. Grigory is aware of this, but to get away from Astakhova, to save his wife from torment - he is not capable of this. And not because Melekhov is an egoist, he is simply a “child of nature”, a man of flesh and blood, instinct. The natural is intertwined in him with the social, and for him such a solution is unthinkable.

Aksinya beckons him with the familiar smell of sweat, drunkenness, and even her betrayal cannot wrest love from his heart. He tries to forget himself from torments and doubts in guilt and revelry, but this does not help either. After long wars, vain exploits, blood, this person understands that only old love remains his support. “The only thing left for him in life was a passion for Aksinya that flared up with new and irrepressible force. She alone beckoned him to her, as she beckons a traveler into a chilling black night, a distant, quivering fire flame.

The last attempt to happiness of Aksinya and Grigory (flight to the Kuban) ends with the death of the heroine and the black wild sun. “Like the steppe scorched by the popes, the life of Gregory became black. He lost everything that was dear to his heart. Only the children remained. But he himself still convulsively clung to the ground, as if in fact his broken life was of some value to him and others.

The little that Gregory dreamed about during sleepless nights came true. He stood at the gate of his native house, holding his son in his arms. It was all he had left in his life.

The fate of a Cossack, a warrior who sheds his own and others' blood, rushing between two women and different camps, becomes a metaphor for the human destiny.

Grigory Melekhov in search of social truth

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The significance of M. Sholokhov's novel "Quiet Don" can be determined, first of all, from the point of view of recreating a certain historical era that influenced the fate of the people and the country as a whole. The epic novel includes the creation of a wide epic canvas, where events are in the center of attention, as well as a study of the psychology of behavior, the motivation of actions, the formation of views and beliefs of an individual, reflecting the typical features of many people. The time frame of the work is about nine years, full of many events that changed the usual way of life of the Don Cossacks. The initial intention of the writer was to show the process of the formation of a new power, since interest in the fate of a person was due to the comparison of the past, which cannot be returned, and the present, in which there were prerequisites for the future.

In Russian literature, one of the traditional issues is the spiritual search for heroes who seek to realize their destiny, determine their place and the range of issues that require resolution with his personal participation. The path of such searches has never been easy. Heroes overcame both external trials and their own prejudices. Most often, the path of searching for truth began from the moment when a person thought about what his life's work would be.

In the novel by M. Sholokhov, everything is somewhat different: most of the characters did not think about what they were called to. The Cossacks led a traditional way of life: they were engaged in their own household, worked hard and together in order to achieve prosperity; when the service time came, they took an oath and considered it a matter of honor to serve the Fatherland. But a whirlwind of change burst into this habitual measured life, destroyed everything that was possible; circled the Cossacks and scattered them in different directions. Habitual life plans and dreams turned out to be unnecessary in a new life. Now the question arose; how to live on? What to be guided by when choosing a solution? How to understand and not be mistaken if there is no clear idea of ​​the essence of what is happening? A man "at the turn of history" in search of the truth of life - this is what M. Sholokhov's novel "Quiet Flows the Don" is dedicated to.

Grigory Melekhov as the main character was chosen by M. Sholokhov not by chance. He is one of hundreds of thousands of people who find themselves in an unusually difficult situation. His path to change begins when he leaves home with Aksinya, throwing down a kind of challenge to tradition and custom. Such an act required decisiveness, but did not change Gregory, for him the main thing was still the house, family, household. He perceived his service on the estate as a temporary phenomenon and hoped that in the future he would be able to arrange his life. The beginning of the First World War coincided with the service of Gregory. He became an unwitting participant in dramatic events when people used by politicians in their own interests died. The scene of the first murder in Melekhov's life is described by M. Sholokhov.

Sholokhov is unusually bright and original: through individual details, as if perceived by Grigory, and a description of him after the battle, devastated and tired of his participation in this bloody massacre. After that battle, according to the author, he was never the same again, became withdrawn, irritable, and thought about something. For the first time, Grigory faced a choice when he had to decide not his own, but someone else's fate. He commits murder, first to protect himself, and then - in a fit of rage and anger, not remembering himself. It was the second murder that Grigory could not forget for a long time. He thought about himself, about what he was capable of. This made him look at the world around him with a different, closer look.

Thus, the events of the First World War, of which he was a witness and participant, became the first stage in the spiritual search for the hero, when he had to make decisions on which the future depended.

In the dramatic love story of Gregory, the author managed to recreate a situation where once a person who did not believe his feelings suffers for many years later, causing pain to other people. Gregory's indecisiveness led to that vital interweaving of destinies, which is difficult to unravel in one moment. The personal drama exacerbated the tragic sense of confusion in which Melekhov was at a turning point. The question: how to live on, certainly intertwined with another: with whom to live? Natalia is a home, children, Aksinya - passionate feelings, support and support in any troubles and trials. Gregory didn't choose. Fate decided everything for him, and very cruelly: death took both of them, and at one of the most difficult moments of his life, at a crossroads, he was left completely alone.

Civil war at any time, in any country is destructive and has tremendous destructive power. Grigory, like any sane person, cannot understand for a long time: how did it happen that former relatives, friends, neighbors, fellow villagers became irreconcilable enemies who sort things out with the help of weapons? He resists the anger and aggressiveness that has replaced the world with people, he is not calm, his thoughts disturb him, but it is not easy to figure everything out.

The writer showed the spiritual world of his hero through peculiar internal monologues, emphasizing the process of searching for truth and reflecting the anxious state of a person who cannot live indifferently and thoughtlessly. “I am looking for an EXIT myself,” Grigory says about himself. At the same time, the decisions made by him were most often dictated by the need for choice. So the entry of Gregory into the rebel detachment is, to some extent, a forced step. This was preceded by the excesses of the Red Army soldiers who came to the farm, their intentions to deal with the Cossacks, including Grigory. Later, he himself admits that if it were not for the threat of death to him and his loved ones, he would not have taken part in the uprising.

Gregory managed, thanks to his strong will, firmness of spirit, steadfastness under the blows of fate, to make a difficult decision. He sought to understand what was happening and did so by coming to the realization that selfish views would not lead to the truth. Therefore, the concept of human truth, which was originally inherent in the Cossacks, takes over.

In the finale, the circle of his search ends where it began - at the threshold of his native home, from where the war took him away, now he said goodbye to her, throwing weapons and awards into the waters of the Don. This is one of his main decisions: he will no longer fight. The main choice would have been made by Gregory long ago. Reflecting on his fate, Grigory is self-critical and sincere with himself: “I am wandering like a snowstorm in the steppe.” He calls his searches “futile and empty”, because no matter how much a person searches, the most important thing for him will remain what is commonly called universal values: native land, home, close and dear people, family, children, favorite business. Through the efforts of his will, Gregory overcame the desire to go to foreign lands, realizing that this was not a way out of the situation. His life path is not completed, he will probably face a moral choice more than once in search of the right decision, his fate will never be easy.

The long and difficult path of knowledge cannot be called complete, because as long as a person lives, he will always strive to search for truth, without which life is meaningless.

"Eternal laws of human existence" in the novel "Quiet Flows the Don"

Epic novel by M.A. Sholokhov's Quiet Flows the Don is undoubtedly his most significant and serious work. Here the author surprisingly succeeded in showing the life of the Don Cossacks, conveying his very spirit and connecting all this with specific historical events.

The epic covers a period of great upheavals in Russia. These upheavals had a strong impact on the fate of the Don Cossacks described in the novel. Eternal values ​​determine the life of the Cossacks as clearly as possible in that difficult historical period that Sholokhov reflected in the novel. Love for the native land, respect for the older generation, love for a woman, the need for freedom - these are the basic values ​​without which a free Cossack cannot imagine himself.

The life of the Cossacks is determined by two concepts - they are warriors and grain growers at the same time. It must be said that historically the Cossacks developed on the borders of Russia, where enemy raids were frequent, so the Cossacks were forced to defend their land with weapons in their hands, which was distinguished by its special fertility and rewarded a hundredfold for the work invested in it. Later, already under the rule of the Russian tsar, the Cossacks existed as a privileged military estate, which largely determined the preservation of ancient customs and traditions among the Cossacks. Sholokhov shows the Cossacks as very traditional. For example, from an early age they get used to the horse, which serves them not just as an instrument of production, but as a true friend in battle and a comrade in labor (he takes the description of the weeping hero Christoni from the Funnel taken away by the Reds by the heart). All Cossacks are brought up in respect for their elders and unquestioning obedience to them (Pantelei Prokofievich could punish Grigory even when hundreds and thousands of people were under the latter's command). The Cossacks are controlled by the ataman, elected by the military Cossack Circle, where Pantelei Prokofievich is sent to Sholokhov.

But it should be noted that among the Cossacks there are strong traditions of a different plan. Historically, the bulk of the Cossacks were peasants who fled from the landowners from Russia in search of free land. Therefore, the Cossacks are primarily farmers. The vast expanses of the steppes on the Don made it possible, with a certain industriousness, to obtain good harvests. Sholokhov shows them as good and strong owners. The Cossacks treat the land not just as a means of production. She is something more to them. Being in a foreign land, the Cossack's heart is drawn to his native kuren, to the land, to housework. Grigory, already a commander, often leaves home from the front to see his relatives and walk along the furrow, holding on to the plow. It is the love for the land and the craving for home that make the Cossacks abandon the front and not lead the offensive beyond the borders of the district.

Sholokhov's Cossacks are very freedom-loving. It was the love for freedom, for the ability to dispose of the products of their own labor that pushed the Cossacks to revolt, in addition to hostility towards peasants

(in their understanding, lazy and stupid) and love for their own land, which the Reds had to convey in an arbitrary way. The love of freedom of the Cossacks is to some extent explained by their traditional autonomy within Russia. Historically, people have sought to the Don in search of freedom. And they found it here, became Cossacks.

In general, freedom for the Cossacks is not an empty phrase. Brought up in complete freedom, the Cossacks negatively perceived attempts to encroach on their freedom by the Bolsheviks. Fighting against the Bolsheviks, the Cossacks do not seek to completely destroy their power. The Cossacks only want to liberate their land.

If we talk about the innate sense of freedom among the Cossacks, then we should recall the experiences of Gregory because of the responsibility to the Soviet authorities for his participation in the uprising. How disturbing Gregory is the thought of prison! Why? After all, Gregory is not a coward. The fact is that Gregory is afraid of the very thought of restricting his freedom. He failed to experience any coercion. Gregory can be compared to a wild goose, which was knocked out of its native flock by a bullet and thrown to the ground at the feet of the shooter.

Despite the fact that the family has a strict power of the head, here Sholokhov to a certain extent has the theme of freedom. The Cossack woman in the image of Sholokhov appears before us not as a faceless and unrequited slave, but as a person endowed with certain ideas about freedom. That is exactly what Daria and Dunyasha are like in the novel. The first is always cheerful and careless, even allowing herself to be witty towards the head of the family, talking to him as an equal. Dunyasha behaves more respectfully towards her parents. Her desire for freedom spills out after the death of her father in a conversation with her mother about marriage.

The motive of love is very widely represented in the novel. In general, the theme of love in the novel occupies a special place, the author pays a lot of attention to it here. In addition to Dunyasha and Koshevoy, the novel shows the love story of the protagonist Grigory Melekhov for Aksinya, who is undoubtedly one of Sholokhov's most beloved heroines. The love of Grigory and Aksinya runs through the whole novel, weakening at times, but flaring up again with renewed vigor. The influence of this love on the events in the novel is very great and manifests itself at various levels "from family and domestic to the fate of the entire region." Because of love, Aksinya leaves her husband.

The very essence of the Cossacks and all their actions is entirely dedicated to the land, freedom and love - the eternal laws of human existence. They live because they love, they fight because they are freedom-loving and wholeheartedly attached to the earth, but they are forced to die or break under the pressure of the Reds because of their disorganization and lack of conviction, the lack of an idea for which you can sacrifice all your property and life .

Thus, in the novel by M.A. Sholokhov "Quiet Flows the Don", the eternal laws of human existence, according to which the free Cossacks live, are widely presented. Moreover, it is on them that the plot of the epic novel is based.

The ideological and artistic content of M. Sholokhov's story "The Fate of a Man"

The name of Mikhail Alexandrovich Sholokhov is known to all mankind. Its outstanding role in the world literature of the 20th century cannot be denied even by the opponents of socialism. Sholokhov's works are likened to epoch-making frescoes. Penetration is the definition of Sholokhov's talent, skills. During the Great Patriotic War, the writer was faced with the task of smashing the enemy with his full of burning hatred, strengthening the love for the Motherland among the Soviet people. In the early spring of 1946, i.e. in the first post-war spring, Sholokhov accidentally met an unknown person on the road and heard his story-confession.

For ten years the writer nurtured the idea of ​​the work, the events were becoming a thing of the past, and the need to speak out was increasing. And in 1956, in a few days, the epic story "The Fate of a Man" was completed. This is a story about great suffering and great fortitude of a simple Soviet person. The protagonist Andrei Sokolov lovingly embodies the features of the Russian character, enriched by the Soviet way of life: stamina, patience, modesty, a sense of human dignity, merged with a sense of Soviet patriotism, with great responsiveness to someone else's misfortune, with a sense of collective cohesion. The story consists of three parts: the author's exposition, the hero's narration and the author's ending.

In the exposition, the author calmly talks about the signs of the first post-war spring, as if preparing us for a meeting with the main character, Andrei Sokolov, whose eyes, "as if sprinkled with ashes, filled with inescapable mortal longing." He recalls the past with restraint, wearily; before confession, he "hunched over", put his big, dark hands on his knees. All this makes us feel that we are learning about a difficult, and perhaps tragic fate. And indeed, the fate of Sokolov is full of such severe trials, such terrible losses, that it seems impossible for a person to endure all this and not break down, not lose heart.

It is no coincidence, therefore, that this person is taken and shown in the utmost tension of spiritual forces. The whole life of the hero passes before us. He is the age of the century. From childhood I learned how much "a pound is dashing", in the civil war he fought against the enemies of Soviet power. Then he leaves his native Voronezh village for the Kuban. He returns home, works as a carpenter, mechanic, driver, created a beloved family. The war broke all hopes and dreams. He goes to the front. From the beginning of the war, from its first months, he was twice wounded, shell-shocked, and, finally, the worst thing - he was taken prisoner. The hero had to experience inhuman physical and mental anguish, hardship, torment.

For two years Sokolov experienced the horrors of fascist captivity. At the same time, he managed to maintain the activity of the position. He tries to escape, but unsuccessfully, cracking down on a coward, a traitor who is ready, to save his own skin, to betray the commander. With great clarity, self-esteem, tremendous fortitude and endurance were revealed in the moral duel between Sokolov and Muller. The exhausted, exhausted, exhausted prisoner is ready to face death with such courage and endurance that it amazes even the commandant of the concentration camp, who has lost his human appearance. Andrei still manages to escape, he again becomes a soldier. But the troubles do not leave him: his home was destroyed, his wife and daughter were killed by a Nazi bomb.

In a word, Sokolov now lives with the hope of meeting his son. And this meeting took place. For the last time, the hero stands at the grave of his son, who died in the last days of the war. It would seem that everything is over, but life "distorted" a person, but could not break and kill the living soul in him. The post-war fate of Sokolov is not easy, but he steadfastly and courageously overcomes his grief, loneliness, despite the fact that his soul is full of a constant feeling of grief. This inner tragedy requires a great effort of strength and will of the hero.

Sokolov wages a continuous struggle with himself and emerges victorious from it, he gives joy to a little man by adopting an orphan like him, Vanyusha, a boy with "eyes as bright as the sky." The meaning of life is found, grief is conquered, life triumphs. “And I would like to think,” writes Sholokhov, “that this Russian man, a man of unbending will, will endure, and one will grow up near his father’s shoulder, who, having matured, will be able to endure everything, overcome everything in his path, if his Motherland calls him to this” .

Sholokhov's story is permeated with deep, bright faith in man. At the same time, its title is symbolic, because it is not just the fate of the soldier Andrei Sokolov, but it is a story about the fate of a person, about the fate of the people. The writer is aware of his obligation to tell the world the harsh truth about the huge price paid by the Soviet people for the right of mankind to the future. All this is due to the outstanding role of this short story. "If you really want to understand why Soviet Russia won a great victory in the Second World War, watch this film," wrote one English newspaper about the film "The Fate of a Man", and this says a lot about the story itself.

The image of a warrior in the story "The fate of man"

Andrei Sokolov - 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, Sokolov did not lose his human face. Andrei did not 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 the Russian people not only in the fight against the enemy. A terrible grief befell Andrei Sokolov even before the end of the war: his wife and two daughters were killed by a bomb that hit the house, 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 difficult the loss of relatives and bleak loneliness, he adopts a 5-year-old boy Vanyusha, whose parents were taken away by the war.

Andrey 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 one, smell the hairs in the whirlwinds, and the heart moves away, it becomes easier, otherwise it has turned to stone with grief.” With all the logic of his story, Sholokhov proved that his hero cannot be broken by life, because he has something 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.

The horrors of the Second World War were imposed on the Russian man, and at the cost of enormous sacrifices and personal losses, tragic upheavals and hardships, he defended his homeland. This is the meaning of the story "The fate of man." The feat of a man appeared in Sholokhov's story, basically, not on the battlefield and not on the labor front, but in the conditions of fascist captivity, behind the barbed wire of a concentration camp. In the spiritual single combat with fascism, the character of Andrei Sokolov, his courage, is revealed. Far from his homeland, Andrei Sokolov survived all the hardships of the war, the inhuman abuse of fascist captivity. And more than once death looked into his eyes, but each time he found titanic courage in himself, he remained a man to the end.

But not only in a collision with the enemy, Sholokhov sees the manifestation of a heroic person in nature. No less serious test for the hero are his loss, the terrible grief of a soldier deprived of loved ones and shelter, his loneliness. After all, Andrei Sokolov emerged victorious from the war, returned peace to the world, and in the war he lost everything that he had in life "for himself": family, love, happiness. Ruthless and heartless fate did not leave the soldier even a haven on earth. In the place where his house, built by himself, stood, there was a dark crater from a German air bomb.

History cannot present Andrei Sokolov with an account. He fulfilled all human obligations to her. But here she is in front of him for his personal life - in debt, and Sokolov is aware of this. He says to his random interlocutor: “Sometimes you don’t sleep at night, you look into the darkness with empty eyes and think:“ Why did you, life, cripple me like that? I can't wait!"

Andrey Sokolov, after all that he experienced, it would seem that he could call life a plague. But he does not grumble at the world, does not withdraw into his grief, but goes to the people. Left alone in this world, this man gave all the warmth that remained in his heart to the orphan Vanyusha, replacing his father. He adopted an orphan soul and that is why he began to gradually return to life.

With all the logic of his story, M. A. Sholokhov proved that his hero is in no way broken by his difficult life, he believes in himself.

The meaning of the title of the story is that a person, despite all the hardships and hardships, nevertheless managed to find the strength in himself to continue to live on and enjoy his life!

• Alexander Trifonovich Tvardovsky was born on June 21 (8), 1910 in the village of Zagorye, Smolensk province (now it is the Pochinkovsky district of the Smolensk region).
• Tvardovsky's father, Timofei Gordeevich, was a blacksmith. Through many years of work, he earned the first installment to the Land Bank for a small plot, deciding to feed himself from the land. In the 1930s he was dispossessed and exiled.
• Alexander Tvardovsky studies at a rural school. She has been writing poetry since childhood.
• After school, Tvardovsky enters the Smolensk Pedagogical Institute and graduates from it.
• 1925 - the future poet begins to work in Smolensk newspapers, publishes articles, essays, and sometimes his own poems in them. The first publication of the “selcor” refers to February 15, when the article “How re-elections of cooperatives take place” was published in the newspaper “Smolenskaya village”. On July 19 of the same year, Alexander Tvardovsky's poem "The New Hut" was first published.
• 1926 - Tvardovsky begins to travel regularly to Smolensk, now collaborating in the city newspapers.
• April 1927 - the newspaper "Young Comrade" (Smolensk) publishes a selection of poems by the seventeen-year-old poet and places a note about him along with it. All this is published under the heading "The creative path of Alexander Tvardovsky."
• The same year - Tvardovsky finally moved to Smolensk. But he fails to get a position as a full-time correspondent, and he has to accept a freelance position, which meant inconsistent and low earnings.
• 1929 - Alexander Tvardovsky sends his poems to Moscow, to the magazine "October". They are printed. Inspired by success, the poet goes to Moscow, and everything starts anew - the work of all the staff, rare publications and a half-starved existence.
• Winter 1930 - return to Smolensk.
• 1931 - Tvardovsky's first poem "The Path to Socialism" was published.
• 1932 - the story "The Diary of a Collective Farm Chairman" was written.
• 1936 - the poem "Country Ant" was published, which brought Tvardovsky fame.
• 1937 - 1939 - sequentially, one a year, collections of poems by the poet "Poems", "Road", "Rural Chronicle" are published.
• 1938 - a cycle of poems "About grandfather Danila" was published.
• 1939 - receiving a diploma from the Moscow Institute of Philosophy, Literature and History.
• 1939 - 1940 - military service. Tvardovsky is a war correspondent. In this capacity, he participates in the Polish campaign and the Russian-Finnish war.
• The same years - work on a cycle of poems "In the snows of Finland".
• 1941 - receiving the state award for the "Country of Ant". In the same year, a collection of poems by Alexander Tvardovsky "Zagorye" was published.
• 1941 - 1945 - military commissar Tvardovsky works for several newspapers at once. At the same time, in no case does he stop writing poems, which he combines into the Front Chronicle cycle.
• The first year of the war - the beginning of work on the poem "Vasily Terkin", which is given the subtitle "The Book of a Fighter". The image of Terkin was invented by the author back in Russian-Finnish, when he needed a character for a humorous column.
• September 1942 - "Terkin" first appears on the pages of the newspaper "Krasnoarmeyskaya Pravda". In the same year, the first version of the poem was published as a book.
• 1945 - completion of work on "Terkin". The book is immediately published and enjoys unprecedented popularity.
• 1946 - receiving the State Prize for "Vasily Terkin". In the same year, the poem "House by the Road" was written - also about the war, but from a tragic point of view.
• 1947 - State Prize for "House by the Road".
• The same year - Tvardovsky's prose work "Motherland and Foreign Land" was published.
• 1950 - Alexander Tvardovsky was appointed editor-in-chief of the Novy Mir magazine.
• 1950 - 1960 - work on the poem "For the distance, the distance."
• 1950 - 1954 - the post of Secretary of the Board of the Union of Writers of the USSR.
• 1954 - dismissal from the post of editor-in-chief of Novy Mir for "democratic tendencies" that appeared in the magazine immediately after Stalin's death.
• 1958 - return to the "New World" to the same position. Tvardovsky gathers a team of his like-minded people. In 1961, they even managed to publish Alexander Solzhenitsyn's story One Day in the Life of Ivan Denisovich in a magazine. After that, Tvardovsky becomes an "unofficial oppositionist."
• 1961 - receiving the Lenin Prize for the poem "For the distance, the distance."
• 1963 - 1968 - Vice-President of the European Society of Writers.
• 1967 - 1969 - work on the poem "By the Right of Memory", in which the poet describes the horrors of collectivization on the example, including his own father. During the life of the author, the work will not be published. Just like the poem "Terkin in the other world" (written in 1963) - too much "the other world" in the image of Tvardovsky resembles Soviet reality.
• Tvardovsky also acts as a literary critic, in particular, writes articles about the work of A.A. Blok, I.A. Bunina, S.Ya. Marshak, articles-speech about A.S. Pushkin.
• 1970 - the government again deprives the poet of his position in the "New World".
• 1969 - essays written by Tvardovsky back in the Soviet-Finnish campaign "From the Karelian Isthmus" were published.
• Alexander Trifonovich would have been married, his wife's name was Maria Illarionovna. The marriage produced two children, daughters Valentina and Olga.
• December 18, 1971 - Alexander Trifonovich Tvardovsky dies in Krasnaya Pakhra (Moscow region). He was buried at the Novodevichy cemetery.
• 1987 - the first publication of the poem "By the Right of Memory".

A. Tvardovsky's poem "Vasily Terkin"

1. This poem was written by the author during the period from 1941 to 1945; it consists of separate chapters, each of which has its own plot, and is united by the image of V.T. This peculiarity of the plot is explained by the fact that Tvardovsky printed the chapters as they were created, and not the entire text at once. This principle of construction allowed the author to create a broad canvas of military reality. “The book about a fighter” - the second title of the poem is more generalized and allows us to say that it is dedicated to all the soldiers who defended their Fatherland.

2. Particularly attractive to the reader was that the author did not idealize the hero, did not embellish military reality. For example, the author describes the accommodation of the fighters: the weight of wet overcoats, rain, cold, scratching of pine needles, hard tree roots on which they had to settle. A soldier in war needs not only courage, but also endurance. Terkin in the poem speaks of those who started the war from the most difficult test - defeat in battle and retreat, which was accompanied by reproaches from the people who remained in the occupation. Terkin does not lose his presence of mind even when he leaves the encirclement with other fighters.

3. The author describes in several chapters how difficult it was to leave the enemy native places for many. The chapter “Crossing” is well known to everyone, in which Tvardovsky conveyed both the soldier’s anxiety and the desire to survive and win, and the bitterness of loss from how many people died. In order to relieve tension after such a description, the author deliberately turns his attention to the description of the rescued Terkin.

4. The theme of friendship and love is reflected in the poem, because the poet was convinced that without the support of friends and memories of loved ones, of his home, the soldier would have had an even harder time. A simple soldier has a philosophical attitude to death: no one seeks to bring it closer, but what to be can not be avoided. The pages of the poem describe battles, battles. One of the chapters is called "Duel", where Terkin entered into hand-to-hand combat with a German; the further the hostilities develop, the more Tvardovsky describes how the troops are advancing to the West.

5. The author not only rejoices at the victories, but is also sad, because he regrets that many will die at the end of the war. It is no coincidence that the chapter on the death of the "Warrior" is placed by the author in the final part of the poem. The final chapters, such as On the Road to Berlin, are increasingly narrated by the author rather than the protagonist. This is due to the fact that a broad picture of events outside the borders of the Motherland is being created, and an ordinary fighter could hardly see so much. The entire poetic chronicle is permeated with the theme of cruelty towards man. Defending their fatherland, people sacrificed themselves, not expecting any blessings or gratitude.

6. The ability to enjoy life and appreciate it is one of the qualities of Terkin's character, thanks to which he withstood so many trials. Not many authors, like Tvardovsky, depicted military events so realistically. He created the image of a soldier, not a war hero, who would have looked like some kind of monument. Tvardovsky is so real that many were convinced of his real existence.

7. The concept of humor in literature is defined as follows: it is condemnation and ridicule in the character or behavior of a person. In this poem, the author does not act as someone who ridicules and condemns his hero. This is his hero - Terkin laughs easily and without malice at himself and at others. Moreover, he does this with a specific goal: to support his comrades in difficult times, to cheer them up, to defuse a difficult situation. There are elements of the comic in many chapters, for example, in the chapter "Crossing", the story of the tragic events ends with the successful crossing of Terkin, who jokes, despite the fact that he was so cold that he could not speak. It is his joke and the words of the author that the mortal battle is for the sake of life that allow us to believe in a future victory. The chapter "About the award" creates an image of a cheerful, talkative guy who communicates easily and dreams of the future. His words:

Why do I need an order?

I agree to a medal, -

you remember not because he boasted of himself, but precisely because of the dream that everything would end well and they would return home.

Chapter "Duel" about heavy hand-to-hand combat is interrupted by the author's commentary, in which it is easy to guess the voice of Terkin himself, although he is not in the mood for jokes. The irony of the author about the German is, as it were, a reflection of the thoughts of Terkin, who is waging an unequal battle. In this chapter, Tvardovsky managed to convey the atmosphere of a tense battle and an assessment of what is happening through the consciousness of the hero. Terkin is not only a joker and a merry fellow, he is a jack of all trades, and he does everything easily, regardless of work: he will set up a saw, and cook porridge, and fix a watch, and shoot down a plane with a rifle, and play the accordion like no one else. He succeeds a lot because he takes on everything with a joke and a joke, rejoicing at the opportunity, even in war, to do something necessary, and not to kill enemies. Even with death, he found a common language and managed to convince her, and only thanks to the fact that he managed to joke, death laughs at him and retreats.

Throughout the poem, the author uses various comic techniques, including peculiar comparisons with folk art, where Ivanushka, although a fool, can do everything, wins everyone. The comic in the character of Terkin manifests itself precisely because he is close to folk humor, where the heroes always sought to perceive life not tragically, but with irony and humor. Laughing at the enemy, ironically at his own expense, a person thereby retains the most important thing - self-confidence. This is what Tvardovsky writes about.

Hero and people in A.T. Tvardovsky's poem "Vasily Terkin"

Tvardovsky's poem "Vasily Terkin" is a completely unusual work both in terms of compositional and stylistic features, and in terms of fate. It was written during the war and in the war - from 1941 to 1945, and became a truly popular, or rather, soldier's poem. According to Solzhenitsyn's memoirs, the soldiers of his battery from many books preferred her and Tolstoy's "War and Peace" most of all. In my essay, I would like to dwell on what I like most in the poem "Vasily Terkin". Most of all, I like the language in the work of Alexander Trifonovich - light, figurative, folk. His poems are remembered by themselves. I like the unusualness of the book, the fact that each chapter is a complete, separate work.

The author himself said about it like this: "This book is about a fighter, without beginning or end." And what the author suggests: "In a word, we'll start the book from the middle. And then it will go ..." This, I think, makes the hero closer and more understandable. It is also very correct that the poet attributed to Terkin not so many heroic deeds. However, a crossing, a downed plane and a taken language are quite enough.

If I were asked why Vasily Terkin became one of my favorite literary characters, I would say: "I like his love of life." Look, he is at the front, where every day is death, where no one is "bewitched by a foolish fragment, from any stupid bullet." Sometimes he freezes or starves, has no news from his relatives. And he does not lose heart. Live and enjoy life

After all, he is in the kitchen - from the place,

From a place - into battle,

Smokes, eats and drinks with gusto

Any position.

He can swim across an icy river, dragging, straining, tongues. But here is a forced stop, "and the frost - neither stand nor sit down." And Terkin played the accordion:

And from that old harmonica,

Who was left an orphan

It suddenly got warmer

On the front road.

Terkin is the soul of a soldier's company. No wonder comrades like to listen to his playful and even serious stories. Here they lie in the swamps, where the wet infantry even dreams of "at least death, but on dry land." It's raining. And you can’t even smoke: the matches are soaked. The soldiers curse everything, and it seems to them, "there is no worse trouble." And Terkin grins and begins a long discussion. He says that as long as a soldier feels the elbow of a comrade, he is strong. Behind him is a battalion, regiment, division. And then the front. What is there: all of Russia! Last year, when a German rushed to Moscow and sang "My Moscow", then it was necessary to twist. And now the German is not at all the same, "now the German is not a singer with this last year's song."

And we think to ourselves that even last year, when it was completely sick, Vasily found words that helped his comrades. He has such a talent. Such a talent that, lying in a wet swamp, comrades laughed: it became easier on the soul. But most of all I like the chapter "Death and the Warrior", in which the wounded hero freezes and it seems to him that death has come to him. And it became difficult for him to argue with her, because he was bleeding and wanted peace. And why, it seemed, to hold on to this life, where all the joy is in either freezing, or digging trenches, or being afraid that they will kill you ... But Vasily is not like that to easily surrender to Kosoy.

I will peep, howl in pain,

Dying in the field without a trace

But you are willing

I will never give up

He whispers. And the warrior conquers death. "A book about a fighter" was very necessary at the front, it raised the spirit of the soldiers, encouraged them to fight for the Motherland to the last drop of blood.

"No, guys, I'm not proud, I agree to a medal," the hero of Tvardovsky laughs. They say that they were going to erect or even have already erected a monument to the fighter Vasily Terkin. A monument to a literary hero is a rare thing in general, and especially in our country. But it seems to me that the hero of Tvardovsky deserved this honor by right. Indeed, together with him, the monument will be received by millions of those who in one way or another resembled Vasily, who loved their country and did not spare their blood, who found a way out of a difficult situation and knew how to brighten up front-line difficulties with a joke, who loved to play the accordion and listen to music on halt. Many of them did not even find their own grave. Let the monument to Vasily Terkin be a monument to them. A monument to the Russian Soldier, whose patient and resilient soul was embodied in the hero Tvardovsky.

"Terkin - who is he?" (According to the poem by A. T. Tvardovsky "Vasily Terkin")

Fiction during the Great Patriotic War has a number of characteristic, unique features. In my opinion, one of its most important features is the patriotic heroism of people who truly love their homeland. And the most successful example of such heroism in a work of art can rightly be considered the poem of Alexander Trifonovich Tvardovsky - "Vasily Terkin".

The very first chapters of the poem "Vasily Terkin" were published in the front press in 1942. The author successfully called his work "a book about a fighter, without beginning, without end." Each subsequent chapter of the poem was a description of one front-line episode. The artistic task that Tvardovsky set for himself was very difficult, because the outcome of the war in 1942 was far from obvious.

The main character of the poem, of course, is a soldier - Vasily Terkin. No wonder his surname is consonant with the word "rub": Terkin is an experienced soldier, a participant in the war with Finland. He participated in the Great Patriotic War from the first days: "in service since June, in battle since July." Terkin is the embodiment of the Russian character. He is distinguished neither by significant mental abilities, nor by outward perfection:

Let's be frank:

Just a guy himself

He is ordinary:

Soldiers consider Terkin to be their boyfriend and are glad that he got into their company. Terkin has no doubts about the final victory. In the chapter "Two Soldiers" to the old man's question whether it will be possible to beat the enemy, Terkin replies: "We will beat him, father." The main character traits of Vasily Terkin can be considered modesty and simplicity. He is convinced that true heroism lies not in the beauty of the pose. Terkin thinks that in his place, every Russian soldier would have done exactly the same. It is also necessary to pay attention to Terkin's attitude to death, which is not indifferent in combat conditions.

Many years have passed since the cannons fell silent and its final stanzas filled with wisdom and bright sadness were inscribed in the "Book about a fighter". A different reader, a different life around, a different time ... What is the relation to this new time is "Vasily Terkin"? "A book about a fighter" and the image of Terkin could only be born in the war. The point is not only in the theme and not only in the completeness and accuracy with which the circumstances of a soldier's life, the experiences of a front-line soldier are captured here - from love for one's native land to the habit of sleeping in a hat. First of all, the organic and multilateral connection of its content and artistic form with that unique state of people's life and public consciousness, which was characteristic of the period of the Great Patriotic War, makes the poem of Alexander Tvardovsky a book of its wartime.

Hitler's invasion meant a mortal threat to the very existence of our society, the very existence of the Russian, Ukrainian and other nations. In the face of this threat, under the terrible weight of the great disaster that fell upon the country, all the worries of peacetime receded into the background. And the most characteristic feature of this period was unity. The unity of all strata of society, the unity of the people and the state, the unity of all nations and nationalities inhabiting our country. Love for the Motherland, anxiety and responsibility for it; feeling of kinship with the entire Soviet people; hatred for the enemy; longing for relatives and friends, grief for the dead; memories and dreams of the world; the bitterness of defeat in the first months of the war; pride in the growing strength and success of the advancing troops; finally, the happiness of a great victory - these feelings then owned everyone. And although this, so to speak, "nationality" of feelings did not at all exclude purely individual motives and experiences in people, in the foreground for everyone was what the author of "Terkin" said in such simple and such only words that everyone remembered:

The fight is holy and right

Mortal combat is not for glory -

For life on earth.

Often the hero of the poem has to face death. However, cheerfulness and natural humor help him cope with fear, thus defeating death itself. Terkin habitually risks his own life. For example, he crosses the river in icy water and establishes communication, ensuring a favorable outcome of the battle.

When the frozen Terkin receives medical attention, he jokes:

Rubbed, rubbed...

Suddenly he says, as in a dream:

Doctor, doctor, can't you

Should I warm up from the inside?

Terkin is ready to swim back, thus showing remarkable will and courage.

The poem "Vasily Terkin" can be considered one of the truly folk works. It is interesting that many lines from this work migrated into oral folk speech or became popular poetic aphorisms. A number of examples can be given: "Mortal combat is not for the sake of glory - for the sake of life on earth", "forty souls - one soul", "crossing, crossing - the left bank, the right bank" and many others.

Vasily Terkin, as they say, is a jack of all trades. In harsh military conditions, he does not stop working for the benefit of his comrades: he knows how to fix watches and sharpen an old saw. In addition, Terkin is a master of playing the harmonica, he entertains his comrades in arms, disinterestedly gives them moments of joy. Who is he - Vasily Terkin?

In a word, Terkin, the one who

A dashing soldier in the war

At the party, the guest is not superfluous,

At work, anywhere.

The prototype of Vasily Terkin is the whole fighting, fighting people. Today we can say with confidence that the poem "Vasily Terkin" remains one of the most beloved works about the Second World War.

Throughout its structure, "The Book of a Fighter" is a child of wartime, an era independent in its development, separated from us not only by time, but also by sharp turns of history. However, like many years ago, the poem "Vasily Terkin" remains today one of the most beloved and well-known books among the Russian people. Vasily Terkin combines all the features of the Russian, deep, incomprehensible soul, which even to this day is difficult for other nations to understand.

Poem by A. T. Tvardovsky "Vasily Terkin"

Alexander Trifonovich Tvardovsky was born in 1910 on one of the farms in the Smolensk region, into a peasant family. For the formation of the personality of the future poet, the relative erudition of his father, love for the book, which he brought up in his children, also mattered. “Entire winter evenings,” writes Tvardovsky in his autobiography, “we often devoted ourselves to reading a book aloud. My first acquaintance with “Poltava” and “Dubrovsky” by Pushkin, “Taras Bulba” by Gogol, the most popular poems by Lermontov, Nekrasov, A. K. Tolstoy, Nikitin happened in this way.”

In 1938, an important event took place in the life of Tvardovsky - he joined the ranks of the Communist Party. In the autumn of 1939, immediately after graduating from the Moscow Institute of History, Philosophy and Literature (IFLI), the poet participated in the liberation campaign of the Soviet Army in Western Belarus (as a special correspondent for a military newspaper).

The first meeting with the heroic people in a military situation was of great importance for the poet. According to Tvardovsky, the impressions received then anticipated those deeper and stronger ones that flooded over him during the Second World War. Artists drew amusing pictures depicting the unusual front-line adventures of an experienced soldier Vasya Terkin, and poets composed text for these pictures. Vasya Terkin is a popular popular character who performed supernatural, dizzying feats: he got a tongue, pretending to be a snowball, covered his enemies with empty barrels and lit up, sitting on one of them, “he takes the enemy with a bayonet, like sheaves with a pitchfork.” This Terkin and his namesake - the hero of the poem of the same name by Tvardovsky, who gained nationwide fame - are incomparable.

For some slow-witted readers, Tvardovsky will subsequently specifically hint at the deep difference that exists between a true hero and his namesake: “Is it possible to conclude now, // That, they say, grief is not a problem, // That the guys got up, took // The village without difficulty? / / What about constant luck // Terkin accomplished a feat: // With a Russian wooden spoon // Eight Fritz laid down!

However, the captions to the drawings helped Tvardovsky achieve ease of colloquial speech. These forms will be preserved in the “real” “Vasily Terkin”, having improved significantly, expressing a deep life content.

The first plans to create a serious poem about the hero of the people's war date back to the period 1939-1940. But these plans changed significantly later under the influence of new, formidable and great events.

Tvardovsky was always interested in the fate of his country at turning points in history. History and people are its main theme. Back in the early 1930s, he created a poetic picture of the complex era of collectivization in the poem "Country Ant". During the Great Patriotic War (1941 - 1945) A. T. Tvardovsky wrote the poem "Vasily Terkin" about the Great Patriotic War. The fate of the people was decided. The poem is dedicated to the life of the people in the war.

Tvardovsky is a poet who deeply understood and appreciated the beauty of the national character. Large-scale, capacious, collective images are created in “Country of Ants”, “Vasily Terkin”: events are enclosed in very broad plot frames, the poet turns to hyperbole and other means of fabulous convention. In the center of the poem is the image of Terkin, which unites the composition of the work into a single whole. Terkin Vasily Ivanovich - the protagonist of the poem, an ordinary infantryman from Smolensk peasants.

"Just a guy himself // He's ordinary." Terkin embodies the best features of the Russian soldier and the people as a whole. A hero named Vasily Terkin first appears in the poetic feuilletons of the Tvardov period of the Soviet-Finnish war (1939 - 1940). The words of the hero of the poem: “I am the second, brother, war // I am fighting forever.”

The poem is built as a chain of episodes from the military life of the protagonist, which do not always have a direct event connection with each other. Terkin tells young soldiers about the everyday life of the war with humor; says that he has been fighting since the very beginning of the war, he was surrounded three times, was wounded. The fate of an ordinary soldier, one of those who bore the brunt of the war on his shoulders, becomes the personification of the national fortitude, the will to live. Terkin swims across the icy river twice to re-establish contact with the advancing units. Terkin occupies a German dugout alone, but comes under fire from his own artillery; on the way to the front, Terkin finds himself in the house of old peasants, helping them with the housework; Terkin steps into hand-to-hand combat with the German and, with difficulty overcoming, takes him prisoner. Unexpectedly for himself, Terkin shoots down a German attack aircraft from a rifle; envying him sergeant Terkin reassures: “Do not worry, the German has this // Not the last plane”

Terkin takes over command of the platoon when the commander is killed and breaks into the village first; however, the hero is again seriously wounded. Lying wounded in the field, Terkin converses with Death, who persuades him not to cling to life; in the end, the fighters discover him, and he tells them: “Remove this woman, // I am a soldier still alive.” The image of Vasily Terkin combines the best moral qualities of the Russian people: patriotism, readiness for heroism, love for work.

The character traits of the hero are interpreted by the poet as traits of the collective image: Terkin is inseparable and inseparable from the militant people. Interestingly, all fighters - regardless of their age, tastes, military experience - feel good with Vasily. Wherever he appears - in battle, on vacation, on the way - contact, friendliness, mutual disposition are instantly established between him and the fighters. Literally every scene is about it. The fighters listen to Terkin's playful bickering with the cook at the very first appearance of the hero: "And sitting under a pine tree, // He eats porridge, hunched over. // "Your own?" - fighters among themselves, // “Own!” - exchanged glances.

Terkin is characterized by respect and careful attitude of the master to the thing, as to the fruit of labor. It is not for nothing that he takes away the saw from his grandfather, which he mangles, not being able to sharpen it. Returning the owner's finished saw, Vasily says: "Here, grandfather, take it, look. // It will cut better than a new one, // Don't measles the tool in vain."

Terkin loves work and is not afraid of it (from the conversation of the hero with death): "- I am a worker, // I would go into business at home. // - The house is destroyed. // - I am a carpenter. // - There is no stove. // - And the stove-maker ... "The simplicity of the hero is usually a synonym for his mass character, the absence of features of exclusivity in him. But this simplicity has another meaning in the poem: the transparent symbolism of the hero's surname, Terkin's “tolerate-tolerate” sets off his ability to overcome difficulties simply, easily. Such is his behavior even when he swims across an icy river or sleeps under a pine tree, completely content with an uncomfortable bed, etc. In this simplicity of the hero, his calmness, sober outlook on life, important features of the national character are expressed.

In the field of view of A. T. Tvardovsky in the poem “Vasily Terkin” is not only the front, but also those who work in the rear for the sake of victory: women and the elderly. The characters of the poem not only fight - they laugh, love, talk with each other, and most importantly - dream of a peaceful life. The reality of war is united by what is usually incompatible: tragedy and humor, courage and fear, life and death.

The poem "Vasily Terkin" is distinguished by a kind of historicism. Conventionally, it can be divided into three parts, coinciding with the beginning, middle and end of the war. The poetic comprehension of the stages of the war creates a lyrical chronicle of events from the chronicle. A feeling of bitterness and sorrow fills the first part, faith in victory - the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part of the poem. This is explained by the fact that A. T. Tvardovsky created the poem gradually, throughout the Great Patriotic War of 1941-1945.

The composition of the poem is also original. Not only individual chapters, but also periods, stanzas within chapters are distinguished by their completeness. This is due to the fact that the poem was printed in parts. And it should be accessible to the reader from “anywhere”.

The poem has 30 chapters. Twenty-five of them fully, comprehensively reveals the hero, who finds himself in a wide variety of military situations. In the last chapters, Terkin does not appear at all (“About an Orphan Soldier”, “On the Road to Berlin”). The poet has said everything about the hero and does not want to repeat himself, to make the image illustrative.

It is no coincidence that Tvardovsky's work begins and ends with lyrical digressions. An open conversation with the reader brings the work closer to the inner world, creates an atmosphere of common involvement in the events. The poem ends with a dedication to the fallen.

Tvardovsky talks about the reasons that pushed him to such a construction of the poem: “I did not long languish with doubts and fears about the uncertainty of the genre, the lack of an initial plan that embraces the whole work in advance, the weak plot connection of the chapters with each other. Not a poem - well, let yourself not a poem, - I decided; there is no single plot - let yourself not, do not; there is no very beginning of a thing - there is no time to invent it; the culmination and completion of the whole story is not planned - let it be written about what is burning, not waiting.

Of course, the plot in the work is necessary. Tvardovsky knew and knows this very well, but in an effort to convey to the reader the "real truth" of the war, he polemically declared his rejection of the plot in the usual sense of the word.

"There is no plot in war ... However, the truth is not to the detriment." The poet emphasized the veracity and reliability of broad pictures of life by calling Vasily Terkin not a poem, but a “book about a fighter”. The word “book” in this popular sense sounds somehow special in a significant way, as an object “serious, reliable, unconditional,” says Tvardovsky.

The poem "Vasily Terkin" is an epic canvas. But lyrical motifs also sound powerful in it. Tvardovsky could call (and called) the poem "Vasily Terkin" his lyrics, because in this work for the first time the appearance of the poet himself, the features of his personality, were so vividly, diversely and strongly expressed.

Lyrics of Tvardovsky.

Conventionally, Tvardovsky's poems are divided into 3 periods:

1. pre-war lyrics, in which Tvardovsky mainly writes about his native Smolensk places, about the changes in the life of the Russian village that occurred in the 20s and 30s. He shares his impressions of what he saw, talks about numerous meetings, because. He was a journalist and traveled a lot around the country. He was interested in many things: from collectivization to the relationship between people.

2. military lyrics. A large number of poems are devoted to the description of military events and meetings with war heroes. Many poems are based on real stories ("Tankman's Tale"). These lyrics include poems written by Tvardovsky after the war, but about her ( "I was killed near Rzhev", “On the day the war ended”, “I don’t know any of my fault”).

3. post-war lyrics - philosophical ("To fellow writers", "The whole point is in one - the only testament ...", "Thank you, my native land"). In these verses, he reflects on eternal questions: about the meaning of life, about its close connection with his native land. He devotes many poems to the memories of his relatives and friends. He dedicates the cycle “To the Memory of the Mother”, “Your beauty does not age” to his mother.

Similar information.

The “Quiet Don” reflects the era of great upheavals of the early 20th century, which had its impact on the fate of many people, which also influenced the fate of the Don Cossacks. Harassment by officials, landowners, the more prosperous part of the population, as well as the inability of the authorities to resolve conflict situations and fairly equip the life of the people, led to popular indignation, riots, and a revolution that turned into a civil war. In addition, the Don Cossacks rebelled against the new government, fought with the Red Army. Gangs of Cossacks dealt with the same poor peasants, with peasants who, like the Cossacks, wanted to work on their land. It was a difficult, troubled time when a brother went against his brother, and the father could turn out to be the murderer of his son.

The novel by M.A. Sholokhov “Quiet Flows the Don” reflects the turning point of wars and revolutions, shows the events that influenced the course of history. The writer depicted the age-old traditions of the Don Cossacks and the peculiarities of their life, the system of their moral principles and labor skills that formed the national character, which is most fully embodied by the author in the image of Grigory Melekhov.
The path of Grigory Melekhov is completely special, different from the search for the heroes of previous eras, since Sholokhov showed, firstly, the story of a simple Cossack, a farm boy with little education, not wiser with experience, not understanding politics. Secondly, the author reflected the most difficult time of upheavals and storms for the entire European continent and for Russia in particular.

In the image of Grigory Melekhov, a deeply tragic personality is presented, whose fate is entirely connected with the dramatic events taking place in the country. The character of the hero can be understood only by analyzing his life path, starting from the origins. It must be remembered that the hot blood of a Turkish grandmother was mixed in the Cossack's genes. The Melekhov family, in this regard, was distinguished by its genetic qualities: along with diligence, perseverance, love for the land, Gregory was noticeable, for example, a proud disposition, courage, self-will. Already in his youth, he confidently and firmly objected to Aksinya, who called him to foreign lands: “I won’t touch the earth anywhere. There is a steppe here, there is something to breathe, but there? Grigory thought that his life was forever connected with the peaceful labor of a farmer in his own household. The main values ​​for him are the land, the steppe, the Cossack service and the family. But he could not even imagine how loyalty to the Cossack cause would turn out for him, when the best years would have to be given to the war, the murder of people, ordeal on the fronts, and a lot would have to go through, having experienced various shocks.

Gregory was brought up in the spirit of devotion to Cossack traditions, he did not shy away from service, intending to fulfill his military duty with honor and return to the farm. He, as befits a Cossack, showed courage in battles during the First World War, “risked, went crazy,” but very soon realized that it was not easy to get rid of the pain that he sometimes felt. Gregory suffered especially hard the senseless murder of an Austrian who was running away from him. He even, "without knowing why, went up to the Austrian soldier he had hacked." And then, when he was moving away from the corpse, “his step was confusingly heavy, as if he was carrying an unbearable load behind his shoulders; I bend and bewilderment crumpled my soul.

After the first wound, while in the hospital, Grigory learned new truths, listening to how the wounded soldier of Garange "exposed the true causes of the outbreak of war, caustically ridiculed the autocratic power." It was difficult for the Cossack to accept these new concepts about the tsar, the motherland, about military duty: "all those foundations on which the consciousness rested smoked with ashes." But after a visit to his native farm, he again went to the front, remaining a good Cossack: "Grigory firmly cherished the Cossack honor, he caught the opportunity to show selfless courage ...". This was the time when his heart hardened and hardened. However, while remaining courageous and even desperate in battle, Grigory changed internally: he could not laugh carelessly and cheerfully, his eyes sunken in, his cheekbones sharpened, and it became difficult to look into the clear eyes of the child. “With cold contempt he played with his own and someone else's life, ... he served four St. George's crosses, four medals,” but he could not avoid the mercilessly devastating impact of the war. However, the personality of Gregory was still not destroyed by the war: his soul did not harden to the end, he could not fully come to terms with the need to kill people (even enemies).

In 1917, after being wounded and in the hospital, while at home on vacation, Grigory felt tired, "acquired by the war." “I wanted to turn away from everything seething with hatred, hostile and incomprehensible world. There, behind, everything was confused, contradictory. There was no solid ground under my feet, and there was no certainty which path to follow: “I was drawn to the Bolsheviks - I walked, led others, and then took thought, my heart went cold.” On the farm, the Cossack wanted to return to household chores and stay with his family. But he will not be allowed to calm down, because there will be no peace in the country for a long time. And Melekhov rushes between the "red" and "white". It is difficult for him to find political truth when human values ​​are rapidly changing in the world, and it is difficult for an inexperienced person to understand the essence of events: “Who can I lean against?” Gregory's throwing was not connected with his political moods, but with a lack of understanding of the situation in the country, when numerous participants in the warring forces seized power in turn. Melekhov was ready to fight in the ranks of the Red Army, but war is war, it could not do without cruelty, and wealthy Cossacks did not want to voluntarily give “food” to the Red Army. Melekhov felt the distrust of the Bolsheviks, their hostility towards him, as a former soldier of the tsarist army. And Gregory himself could not understand the uncompromising and ruthless activities of the food detachments that took away the grain. The fanaticism and bitterness of Mikhail Koshevoy were especially repulsed from the communist idea, and there was a desire to get away from the unbearable confusion. I wanted to understand and comprehend everything, to find my own, “real truth”, but, apparently, there is no one truth for everyone: “People have always fought for a piece of bread, for a plot of land, for the right to life ...”. And Gregory decided that "one must fight with those who want to take life, the right to it ...".

Cruelty and violence were manifested by all the warring parties: the White Guards, the rebel Cossacks, various gangs. Melekhov did not want to join them, but Grigory had to fight against the Bolsheviks. Not by conviction, but by forced circumstances, when the Cossacks from the farms were gathered into detachments by opponents of the new government. He had a hard time experiencing the atrocities of the Cossacks, their indomitable vindictiveness. While in the detachment of Fomin, Grigory witnessed the execution of a young non-party Red Army soldier who devotedly served the people's power. The guy refused to go over to the side of the bandits (as he called the Cossack detachment), and they immediately decided to “put him to waste”. "We have a short trial?" - says Fomin, referring to Grigory, who avoided looking into the eyes of the leader, because he himself was against such "courts".
And Grigory's parents are in solidarity with their son in matters of rejection of cruelty, enmity between people. Pantelei Prokofievich kicks out Mitka Korshunov, because he does not want to see the executioner in his house, who killed a woman with children in order to take revenge on the communist Koshevoy. Ilyinichna, Grigory’s mother, says to Natalya: “So the Reds could chop you and Mishatka and Polyushka for Grisha, but they didn’t chop it, they had mercy.” Wise words are also spoken by the old farmer Chumakov when he asks Melekhov: “Will you soon make peace with the Soviet government? They fought with the Circassians, they fought with the Turks, and that pacification came out, and you are all your own people and you don’t collide with each other in any way.

Gregory's life was also complicated by his unstable position everywhere and in everything: he was constantly in a state of search, deciding the question "where to lean." Even before serving in the Cossack army, Melekhov failed to choose a life partner for love, since Aksinya was married, and his father married Natalya. And all his short life he was in the “between” position, when he was drawn to his family, to his wife and children, but his heart called to his beloved. The desire to manage the land was no less tore at the soul, although no one exempted him from military duty. The position of an honest, decent person between the new and the old, between peace and war, between Bolshevism and the populism of Izvarin, and, finally, between Natalya and Aksinya only aggravated, increased the intensity of his throwing.

The need to choose was very exhausting, and, perhaps, the decisions of the Cossack were not always correct, but then who could judge people, pass a fair verdict? G. Melekhov fought earnestly in Budyonny's cavalry and thought that by faithful service he had earned forgiveness from the Bolsheviks for his previous deeds, but during the years of the Civil War there were cases of quick reprisals against those who either did not show loyalty to the Soviet government, or rushed from side to side. And in the Fomin gang, already fighting against the Bolsheviks, Grigory saw no way out, how to solve his problem, how to return to civilian life and not be an enemy to anyone. Grigory left the Cossack detachment of Fomin, and, fearing punishment from the Soviet authorities, or even lynching from any side, since he seemed to become an enemy to everyone, he tries to hide with Aksinya, to escape somewhere far away from his native farm. However, this attempt did not bring him salvation: an accidental meeting with Red Army soldiers from the food detachment, flight, chase, shots after him - and the tragic death of Aksinya stopped Grigory's throwing forever. There was nowhere to rush, no one to rush to.

The author is far from being indifferent to the fate of his main character. He bitterly writes that, because of homesickness, Grigory can no longer wander and, without waiting for an amnesty, he risks again, returns to the Tatarsky farm: “He stood at the gates of his home, holding his son in his arms ...”. Sholokhov does not end the novel with a message about the future fate of G. Melekhov, probably because he sympathizes with him and would like to finally give a man tired of battles a little peace of mind so that he can live and work on his land, but it is difficult to say whether it is possible This.
The writer's merit also lies in the fact that the author's attitude to the characters, his ability to understand people, to appreciate the honesty and decency of those who sincerely sought to understand the confusion of rebellious events and find the truth, is the author's desire to convey the movement of a person's soul against the backdrop of dramatic changes in the country. appreciated by both critics and readers. One of the former leaders of the rebellious Cossacks, an emigrant P. Kudinov, wrote to the scholar K. Priyma: "The Quiet Don" shook our souls and made us rethink everything, and our longing for Russia became even sharper, and brightened in our head. And those who, while in exile, read the novel by M.A. Sholokhov “The Quiet Don”, “who sobbed over its pages and tore their gray hair, these people in 1941 could not fight against Soviet Russia and did not go ". It should be added: not all, of course, but many of them.

Sholokhov's skill as an artist is also difficult to overestimate: we have a rare example, an almost historical document that depicts the culture of the Cossacks, life, traditions and speech features. It would be impossible to create vivid images (and to present them to the reader) if Grigory, Aksinya and other characters spoke neutrally, in a stylized language close to literary. It would no longer be the Don Cossacks, if we remove their centuries-old peculiarities of speech, their own dialect: “vilyuzhinki”, “crosswise”, “you are my good”. At the same time, representatives of the command staff of the Cossack troops, who have an education and experience in communicating with people from other territories of Russia, speak the language familiar to Russians. And Sholokhov objectively shows this difference, so the picture is reliable.

It should be noted the author's ability to combine the epic depiction of historical events with the lyricism of the narrative, especially those moments in which the personal experiences of the characters are reported. The writer uses the technique of psychologism, revealing the inner state of a person, showing the spiritual movements of a person. One of the features of this technique is the ability to give an individual characterization of the hero, combining it with external data, with a portrait. So, for example, the changes that happened to Grigory as a result of his service, participation in battles look very memorable: “... he knew that he would no longer laugh at him, as before; I knew that his eyes were hollow and his cheekbones were sharply sticking out ... ”.
The author's empathy for the heroes of the work is felt in everything, and the reader's opinion coincides with the words of Y. Ivashkevich that the novel by M.A. Sholokhov "Quiet Flows the Don" has "deep inner content - and its content is love for a person."

Reviews

It's amazing how this novel (certainly not socialist realism) was not banned in Soviet times. For Melekhov did not find the truth either among the Reds or the Whites.
There were many pseudo-innovative fabrications about this, such as "Cossack Hamlet". But Chekhov said it rightly: no one knows the real truth.
The best thing I read on the topic of the Civil War is Veresaev's "At a Dead End". There, too, "not for the Reds and not for the Whites." An honest and objective understanding of that time (the novel was written in 1923).

I do not accept extreme points of view in assessing such a global event as the Civil War. Dovlatov was right: after the communists, most of all I hate anti-communists.

Thanks for posting, Zoya. Makes you think about real literature. Do not forget to write about the work of worthy authors. And then many on the site are all about themselves, but about themselves. Yes, about their incorruptibles.
My respect.
03/03/2018 21:03 contact the administration.

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The purpose of the lesson: to show the inevitability of the tragic fate of Grigory Melekhov, the connection of this tragedy with the fate of society.

Methodological techniques: checking homework - correcting the plan drawn up by the students, talking according to the plan.

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Methodological development of a lesson on the topic "The fate of Grigory Melekhov as a way to search for the truth." Grade 11

The purpose of the lesson: to show the inevitability of the tragic fate of Grigory Melekhov, the connection of this tragedy with the fate of society.

Methodological techniques: checking homework - correcting the plan drawn up by the students, talking according to the plan.

During the classes

Teacher's word.

Sholokhov's heroes are simple, but outstanding people, and Grigory is not only brave to the point of despair, honest and conscientious, but also truly talented, and not only the hero's "career" proves this (a cornet from ordinary Cossacks at the head of a division is evidence of considerable abilities, although the Reds during the Civil War, such cases were not uncommon). This is also confirmed by his life collapse, since Gregory is too deep and complicated for the unambiguous choice required by time!

This image attracts the attention of readers with the features of nationality, originality, sensitivity to the new. But there is also something spontaneous in it, which is inherited from the environment.

Checking homework

Approximate plot plan "The Fate of Grigory Melekhov":

Book one

1. The predetermination of a tragic fate (origin).

2. Life in the father's house. Dependence on him ("like dad").

3. The beginning of love for Aksinya (thunderstorm on the river)

4. Skirmish with Stepan.

5 Matchmaking and marriage. ...

6. Leaving home with Aksinya to work as a laborer with the Listnitskys.

7. Call to the army.

8. Murder of an Austrian. Loss of anchor point.

9. Wounded. The news of death received by relatives.

10. Hospital in Moscow. Conversations with Garanzha.

11. Break with Aksinya and return home.

Book Two, Parts 3-4

12. Etching the truth of Garangi. Leaving for the front as a "good Cossack".

13.1915 Rescue of Stepan Astakhov.

14. Hardening of the heart. Influence of Chubatoy.

15. Premonition of trouble, injury.

16. Gregory and his children, desire for the end of the war.

17. On the side of the Bolsheviks. Influence of Izvarin and Podtelkov.

18. Reminder about Aksinya.

19. Wounded. Massacre of the prisoners.

20. Infirmary. "To whom to lean?"

21. Family. "I am for Soviet power."

22. Unsuccessful elections to detachment atamans.

23. Last meeting with Podtelkov.

Book Three, Part 6

24. Conversation with Peter.

25. Anger towards the Bolsheviks.

26. Quarrel with the father because of the loot.

27. Unauthorized departure home.

28. Red at the Melekhovs.

29. Dispute with Ivan Alekseevich about “male power”.

30. Drunkenness, thoughts of death.

31. Gregory kills sailors

32. Conversation with grandfather Grishaka and Natalya.

33. Meeting with Aksinya.

book four, part 7:

34. Gregory in the family. Children, Natalia.

35. Dream of Gregory.

36. Kudinov about Grigory's ignorance.

37. Quarrel with Fitzhalaurov.

38. Breakup of a family.

39. The division is disbanded, Gregory is promoted to centurion.

40. Death of a wife.

41. Typhus and convalescence.

42. An attempt to board the ship in Novorossiysk.

Part 8:

43. Gregory at Budyonny.

44. Demobilization, conversation with. Michael.

45. Leaving the farm.

46. ​​In the gang of Owl, on the island.

47. Leaving the gang.

48. The death of Aksinya.

49. In the forest.

50. Return home.

Conversation.

The image of Grigory Melekhov is central in M. Sholokhov's epic novel "Quiet Flows the Don". It’s impossible to tell right away if he’s a positive or a negative character. For too long he had wandered in search of the truth, his way. Grigory Melekhov appears in the novel primarily as a truth seeker.

At the beginning of the novel, Grigory Melekhov is an ordinary farm boy with the usual range of household chores, activities, and entertainment. He lives thoughtlessly, like grass in the steppe, following traditional principles. Even the love for Aksinya, which captured his passionate nature, cannot change anything. He allows his father to marry him, as usual, preparing for military service. Everything in his life happens involuntarily, as if without his participation, as he involuntarily cuts through a tiny defenseless duck while mowing - and shuddered at what he had done.

Grigory Melekhov did not come into this world for bloodshed. But the harsh life put a saber into his hardworking hands. As a tragedy, Gregory experienced the first shed human blood. The appearance of the Austrian killed by him then appears to him in a dream, causing mental pain. The experience of the war generally turns his life upside down, makes him think, look into himself, listen, look at people. Conscious life begins.

The Bolshevik Garanzha, who met Grigory in the hospital, seems to reveal to him the truth and the prospect of changes for the better. "Autonomist" Efim Izvarin, the Bolshevik Fedor Podtelkov played a significant role in shaping the beliefs of Grigory Melekhov. The tragically deceased Fyodor Podtelkov pushed Melekhov away, shedding the blood of unarmed prisoners who believed the promises of the Bolshevik who captured them. The senselessness of this murder and the soullessness of the "dictator" stunned the hero. He is also a warrior, he killed a lot, but here not only the laws of humanity are violated, but also the laws of war.

"Honest to the bottom," Grigory Melekhov cannot but see the deception. The Bolsheviks promised that there would be no rich and poor. However, a year has already passed since the “Reds” were in power, and the promised equality is no more like no: “a platoon commander in chrome boots, and“ Vanyok ”in windings.” Gregory is very observant, he tends to think over his observations, and the conclusions from his thoughts are disappointing: “If the pan is bad, then the boor is a hundred times worse.”

The civil war throws Gregory either into the Budennovsky detachment, or into the white formations, but this is no longer thoughtless submission to the way of life or a combination of circumstances, but a conscious search for the truth, the path. His native home and peaceful labor are seen by him as the main values ​​of life. In the war, shedding blood, he dreams of how he will prepare for sowing, and these thoughts make his soul warm.

The Soviet government does not allow the former hundredth ataman to live peacefully, threatens with prison or execution. The food requisition plant instills in the minds of many Cossacks the desire to "re-war", instead of the workers' power to put their own, the Cossacks. Gangs are formed on the Don. Grigory Melekhov, who is hiding from the persecution of the Soviet authorities, falls into one of them, Fomin's gang. But bandits have no future. For the majority of the Cossacks it is clear: it is necessary to sow, and not to fight.

The protagonist of the novel is also drawn to peaceful work. The last test, the last tragic loss for him is the death of his beloved woman - Aksinya, who received a bullet on the way, as it seems to them, to a free and happy life. Everything died. Gregory's soul is scorched. Only the last, but very important thread that connects the hero with life remains - this is his home. The house, the land waiting for the owner, and the little son are his future, his footprint on the earth.

With amazing psychological authenticity and historical validity, the depth of the contradictions through which the hero went through is revealed. The versatility and complexity of the inner world of a person is always in the center of attention of M. Sholokhov. Individual destinies and a broad generalization of the ways and crossroads of the Don Cossacks make it possible to see how complex and contradictory life is, how difficult it is to choose the true path.

What meaning does Sholokhov put in when he speaks of Grigory as a “good Cossack”? Why was Grigory Melekhov chosen as the main character?

(Grigory Melekhov is an extraordinary person, a bright personality. He is sincere and honest in his thoughts and actions (especially in relation to Natalya and Aksinya (see episodes: the last meeting with Natalya - part 7, chapter 7; Natalya's death - part 7, chapter 16 -18;death of Aksinya). He has a sympathetic heart, a developed sense of pity, compassion (duckling in the hayfield, Franya, the execution of Ivan Alekseevich).

Grigory is a man capable of an act (leaving Aksinya for Yagodnoye, a break with Podtelkov, a clash with Fitskhalaurov - part 7, chapter 10; the decision to return to the farm).

In what episodes is Grigory's bright, outstanding personality most fully revealed? The role of internal monologues. Does a person depend on circumstances or make his own destiny?

(He never lied to himself, despite doubts and throwing (see internal monologues - part 6, chapter 21). This is the only character whose thoughts the author reveals. War corrupts people to commit acts that a person in a normal state would never Grigory had a core that did not allow him to once commit meanness. Deep attachment to the house, to the earth - the strongest spiritual movement: "My hands need to work, not fight."

The hero is constantly in a situation of choice (“I myself am looking for a way out”). Fracture: dispute and quarrel with Ivan Alekseevich Kotlyarov, Shtokman. The uncompromising nature of a man who never knew the middle ground. Tragedyas if transferred to the depths of consciousness: "He painfully tried to sort out the confusion of thoughts." This is not political vacillation, but the search for truth. Gregory longs for the truth, "under whose wing everyone could warm up." And, from his point of view, neither the Whites nor the Reds have such a truth: “There is no one truth in life. It can be seen whoever defeats whom, he will devour him. And I was looking for the bad truth. My soul ached, swayed back and forth. ” These searches turned out to be, as he believes, "futile and empty." And this is also his tragedy. A person is placed in inevitable, spontaneous circumstances, and already in these circumstances he makes a choice, his own destiny.) “Most of all, a writer needs,” Sholokhov said, “he himself needs to convey the movement of a person’s soul. I wanted to tell about this charm of a person in Grigory Melekhov ... "

In your opinion, does the author of The Quiet Flows the Don manage to "transmit the movement of a person's soul" using the example of the fate of Grigory Melekhov? If so, what do you think is the main direction of this movement? What is its general character? Is there something in the image of the protagonist of the novel that you could call charm? If so, what is its charm? The main problem of "The Quiet Flows the Don" is revealed not in the character of one, even the main character, which is Grigory Melekhov, but in the comparison and opposition of many and many characters, in the entire figurative system, in the style and language of the work. But the image of Grigory Melekhov as a typical personality, as it were, concentrates the main historical and ideological conflict of the work and thereby unites all the details of a huge picture of the complex and contradictory life of many actors who are carriers of a certain attitude towards the revolution and the people in this historical era.

How would you define the main problems of The Quiet Flows the Don? What, in your opinion, allows us to characterize Grigory Melekhov as a typical person? Can you agree that it is in it that “the main historical and ideological conflict of the work” is concentrated? Literary critic A.I. Khvatov states: “In Gregory there was a huge reserve of moral forces necessary in the creative accomplishments of the emerging new life. No matter what complications and troubles befell him and no matter how painful the deed under the influence of a wrong decision fell on his soul, Gregory never looked for motives that would weaken his personal guilt and responsibility to life and people.

What do you think gives the scientist the right to assert that “a huge reserve of moral forces lurked in Gregory”? What actions do you think support this assertion? And against him? What “wrong decisions does the hero of Sholokhov make? Is it permissible, in your opinion, to talk about the “wrong decisions” of a literary hero? Reflect on this topic. Do you agree that "Gregory never looked for motives that weaken his personal guilt and responsibility to life and people"? Give examples from the text. “In the plot, the conjugations of motives are artistically effective in revealing the image of Grigory, the inescapability of love that Aksinya and Natalya give him, the immensity of Ilyinichna’s maternal suffering, the devoted comradely loyalty of fellow soldiers and peers,” especially Prokhor Zykov. Even those with whom his interests intersected dramatically, but to whom his soul was opened ... could not help but feel the power of his charm and generosity.(A.I. Khvatov).

Do you agree that the love of Aksinya and Natalia, the suffering of his mother, as well as the comradely loyalty of fellow soldiers and peers play a special role in revealing the image of Grigory Melekhov? If so, how does it manifest itself in each of these cases?

With which of the characters the interests of Grigory Melekhov "dramatically intersected"? Can you agree that Grigory Melekhov’s soul is revealed even to these heroes, and they, in turn, were able to “feel the power of his charm and generosity”? Give examples from the text.

Critic V. Kirpotin reproached (1941) Sholokhov's heroes for primitivism, rudeness, "mental underdevelopment": "Even the best of them, Grigory, is slow-witted. Thought for him is an unbearable burden.

Are there among the heroes of "The Quiet Flows the Flows the Don" those who seemed to you to be rude and primitive, "mentally undeveloped" people? If so, what role do they play in the novel?Do you agree that Sholokhov's Grigory Melekhov is a "slow-thinker", for whom thought is this "unbearable burden"? If yes, give concrete examples of the hero's "slow-thinking", his inability, unwillingness to think. Critic N. Zhdanov noted (1940): “Grigory could be with the people in their struggle ... but he did not become with the people. And this is his tragedy.

Is it fair, in your opinion, the statement that Gregory "did not stand with the people", unless the people are only those who are for the Reds?What do you think is the tragedy of Grigory Melekhov? (This question can be left as homework for a detailed written answer.)

Homework.

How do the events that seized the country relate to the events of Grigory Melekhov's personal life?