"Camp" theme in the works of A. Solzhenitsyn and V. Shalamov
Our dispute is not a church one about the age of books,
Our dispute is not spiritual about the benefits of faith,
Our dispute is about freedom, about the right to breathe,
About the will of the Lord to knit and decide.
V. Shalamov
The "camp" theme rises sharply again in the 20th century. Many writers such as Shalamov, Solzhenitsyn, Sinyavsky, Aleshkovsky, Ginzbur, Dombrovsky, Vladimov testified about the horrors of the camps, prisons, and isolation wards. All of them looked at what was happening through the eyes of people deprived of freedom, choice, who knew how the state itself destroys a person through repression, destruction, violence. And only those who have gone through all this can fully understand and appreciate any work about political terror, concentration camps. For us, the book only slightly opens the curtain, which, fortunately, is not given to look behind. We can only feel the truth with our hearts, somehow experience it in our own way.
Alexander Solzhenitsyn most reliably describes the camp in his legendary works One Day in the Life of Ivan Denisovich, The Gulag Archipelago, and Varlam Shalamov in Kolyma Tales. The Gulag Archipelago and Kolyma stories” were written for more than one year and are a kind of encyclopedia of camp life.
In their works, both writers, when describing concentration camps and prisons, achieve the effect of life-like persuasiveness and psychological authenticity, the text is filled with signs of unimagined reality. In Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" most of characters - real heroes taken from life, for example, foreman Tyurin, captain Buinovsky. Only main character Shukhov's story contains collective image an artillery soldier of the battery commanded at the front by the author himself, and prisoner Shch-262 Solzhenitsyn. Shalamov's "Kolyma stories" are closely connected with the exile of the writer himself in Kolyma. This proves and high degree detail. The author pays attention terrible details, which cannot be understood without mental pain - cold and hunger, sometimes depriving a person of reason, purulent ulcers on the legs, cruel lawlessness of criminals. In the story “The Carpenters”, Shalamov points to a deafly enclosed space: “thick fog, that a person could not be seen in two steps”, “a few directions”: a hospital, a watch, a dining room, which is also symbolic for Solzhenitsyn. In the story “One Day in the Life of Ivan Denisovich”, open sections of the zone are hostile and dangerous to the prisoners: each prisoner tries to run across the sections between the premises as quickly as possible, which is the complete opposite of the heroes of Russian literature, who traditionally love expanse and distance. The described space is limited by a zone, a construction site, a barrack. The prisoners are even fenced off from the sky: from above they are constantly blinded by searchlights, hanging so low that they seem to deprive people of air.
But still, in the works of Solzhenitsyn and Shalamov, the camp also differs, is subdivided in different ways, since each person has his own views and his own philosophy on the same things.
In Shalamov's camp, the heroes have already crossed the line between life and death. People seem to show some signs of life, but in essence they are already dead, because they are deprived of any moral principles, memory, will. In this vicious circle, forever stopped time, where hunger, cold, bullying reign, a person loses his own past, forgets the name of his wife, loses contact with others. His soul no longer distinguishes between truth and lies. Even any human need for simple communication disappears. “I don’t care if they lie to me or not, I was outside the truth, outside the lie,” Shalamov points out in the story “Sentence”.
Relations between people and the meaning of life are vividly reflected in the story "Carpenters". The task of the builders is to survive "today" in a fifty-degree frost, and "further" than two days, it did not make sense to make plans. People were indifferent to each other. Frost has arrived human soul, she froze, shrunk and, perhaps, will remain cold forever.
In the Solzhenitsyn camp, on the contrary, living people are preserved, like Ivan Denisovich, Tyurin, Klevshin, Buchenwald, who keep their inner dignity and “do not drop themselves”, do not humiliate themselves because of a cigarette, because of a ration, and even more so they do not lick plates , do not inform on comrades for the sake of improving their own fate. The camps have their own laws: “In the camps, this is who dies: who licks the bowls, who hopes for the medical unit, and who goes to the godfather to knock,” “Groan and rot. And if you resist, you will break", "Whoever can, he will gnaw at him." The camp, according to Solzhenitsyn, is a huge evil, violence, but suffering and compassion contributed to moral purification, and the state of insatiability of the heroes introduces them to a higher moral existence. Ivan Denisovich proves that the soul cannot be captured, it cannot be deprived of its freedom. Formal release can no longer change inner world hero, his value system.
Shalamov, unlike Solzhenitsyn, emphasizes the difference between a prison and a camp. The picture of the world is turned upside down: a person dreams of getting out of the camp not to freedom, but to prison. In the story “Tombstone” there is a clarification: “Prison is freedom. This the only place where people, without fear, said whatever they thought. Where do they rest their souls?
Creativity and philosophy of two really amazing writers lead to different conclusions about life and death.
According to Solzhenitsyn, life remains in the camps: Shukhov himself no longer imagined his “existence” in freedom, and Alyoshka the Baptist is glad to remain in the camp, because there a person’s thoughts approach God. Outside the zone, life is full of persecution, which is already "incomprehensible" to Ivan Denisovich. Having condemned the inhuman system, the writer creates a genuine folk hero who managed to go through all the trials and save best qualities Russian people.
In Shalamov's stories, not just Kolyma camps, fenced off with barbed wire, outside of which they live free people, but everything that is outside the zone is also drawn into the abyss of violence and repression. The whole country is a camp where everyone living in it is doomed. The camp is not an isolated part of the world. This is a mold of that society.
Having gone through all the suffering and pain, Solzhenitsyn and Shalamov turned out to be folk heroes who were able to convey the whole true picture of the society of that time. And they are united by the presence of a huge soul, the ability to create and contemplate.
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"One day of Ivan Denisovich" is connected with one of the facts of the author's biography - the Ekibastuz special camp, where in the winter of 1950-1951 general works ah this story was created. The main character is Ivan Denisovich Shukhov, an ordinary prisoner of the Stalinist camp. On behalf of his hero, the author tells about only one day out of almost four thousand days of the term of Ivan Denisovich. But even this is enough to understand what kind of situation prevailed in the camp, what orders and laws existed, what life was like for prisoners. The camp in the work is a special world that exists separately, parallel to the world of the free. There are other laws here, everyone here survives in their own way. The place of detention is shown from the inside of a person who knows about it in his own way. personal experience. Perhaps that is why the story is striking in its realism.
"Glory to you, Lord, another day has passed!" - Ivan Denisovich finishes his story. - "The day passed, nothing marred, almost happy." On that day, Shukhov was really lucky: the brigade was not sent to Sotsgorodok to pull wire in the cold without heating, he passed the punishment cell - he got off with only washing the floors in the supervisor's room, received an extra portion of porridge for lunch, and got the familiar job - laying a wall at the thermal power station. He laid it cheerfully, brought a hacksaw to the camp, worked part-time with Caesar in the evening, bought two glasses of self-garden from a Latvian. And most importantly, I didn't get sick.
Ivan Denisovich does not beg, he does not humiliate himself. He tries to earn everything only by his own labor: he sews slippers, brings felt boots to the foreman, takes a queue for parcels, for which he receives honestly earned money. Shukhov retained the notions of pride and honor, so he will never slide down to the level of Fetyukov, because he just earns money, and does not try to serve. Like any peasant, Shukhov is a surprisingly economic person: he cannot just pass by a piece of a hacksaw, knowing that a knife can be made from it, and this is an opportunity to earn extra money. deserves respect and former captain second rank Buynovsky, who "looks at camp work as at naval service: if you say to do it, then do it." He does not try to evade common work, he is used to doing everything conscientiously, not in an escapist way. Shukhov says that he "looked up tightly behind last month Buynovsky cannot come to terms with the arbitrariness of the guard, therefore he starts a dispute with Volkovsky about an article of the criminal code, for which he received ten days in the punishment cell. , like a father, always tries to defend the interests of the brigade: to get more bread, profitable job. Ivan Denisovich's words that "a good foreman will give a second life" are completely suitable for characterizing Tyurin as a foreman. These people, in spite of everything, survive at the expense of their labor. They would never have been able to choose for themselves the path of survival of Fetyukov or Panteleev. Alyoshka the Baptist evokes pity. He is very kind, but very weak-hearted - "only he who does not want does not command him." The conclusion for him is the will of God, he sees only the good in his conclusion, he himself says that "there is time to think about the soul." But Alyoshka cannot adapt to camp conditions and, according to Ivan Denisovich, he will not last long here. The grip that Alyoshka the Baptist lacks is possessed by Gopchik, a sixteen-year-old boy who is cunning and does not miss the opportunity to "grab" a piece. He was convicted for carrying milk to the forest for the Bandera people.
Tsezar Markovich is in a special position in the camp, former director, who did not have time to shoot his first picture before he got to the camp. He receives parcels, so he can afford a lot of things that other prisoners cannot: wear a new hat and other forbidden things, work in an office, avoid general work. Although Caesar has been in this camp for quite a long time, his soul is still in Moscow: he discusses with other Muscovites the premieres in theaters, the cultural news of the capital. He avoids the rest of the prisoners, sticks only to Buinovsky, remembering the existence of others only when he needs their help. Largely due to his detachment from real world and parcels from the outside, he manages to survive in these conditions. He has business acumen, knows with whom to maintain relationships.
The story is written in the language of a simple camp prisoner, which is why a lot of "thieves" words and expressions are used. "Shmon, knock godfather, six, fool, bastard" - all this can often be found in the daily speech of prisoners. Unprintable words are also found in abundance throughout the text. To show life in the camp, the prevailing order and atmosphere, it was simply impossible to ignore them.
solzhenitsyn story camp stalin
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Varlam Tikhonovich Shalamov in his work reflected the theme of camps in Russian literature. Amazingly accurately and reliably, the writer reveals the whole nightmare camp life in the book " Kolyma stories". Shalamov's stories are piercing and invariably leave a painful impression on readers. The realism of Varlam Tikhonovich is not inferior to the skill of Solzhenitsyn, who wrote earlier. It would seem that Solzhenitsyn sufficiently revealed the topic, nevertheless Shalamov's manner of presentation is perceived as a new word in camp prose.
Future Writer Shalamov was born in 1907 in the family of a Vologda priest. Even in adolescence, he began to write. Shalamov graduated from Moscow University. The writer spent many years in prisons, camps and exile. He was first arrested in 1929, accused of distributing a false political testament of V. Lenin. This accusation was enough to get into the judicial machine for twenty years. At first, the writer spent three years in camps in the Urals, and then from 1937 he was sent to Kolyma. After the XX Congress of the CPSU, Shalamov was rehabilitated, but this did not compensate wasted years life.
The idea to describe camp life and create its epic, amazing in terms of its impact on the reader, helped Shalamov survive. "Kolyma Tales" is unique in its merciless truth about the life of people in the camps. Ordinary people, close to us in ideals and moods, innocent and deceived victims.
main topic"Kolyma Tales" - the existence of man in inhuman conditions. The writer reproduces the situations he has repeatedly seen and the atmosphere of hopelessness, moral impasse. The state of Shalamov's heroes is approaching "beyond human". Prisoners lose every day physical health and risk parting with the psychic. The prison takes away from them everything “superfluous” and unnecessary for this scary place: their education, experience, connections with normal life, principles and moral values. Shalamov writes: “The camp is a completely negative school of life. Nothing useful, necessary, no one will take out from there, neither the prisoner himself, nor his officer, nor his guards, nor unwitting witnesses - engineers, geologists, doctors - neither superiors nor subordinates. Every minute of camp life is a poisoned minute. There are many things that a person should not know, and if he saw it, it would be better for him to die.
Shalamov thoroughly knows camp life. He has no illusions and does not inspire them in the reader. The writer feels the full depth of the tragedy of everyone with whom his fate has collided over the long twenty years. He uses all his impressions and experiences to create the characters of Kolyma Tales. He argues that there is no such measure to measure the suffering of millions of people. For an unprepared reader, the events of the author's works seem phantasmagoric, unreal, impossible. Nevertheless, we know that Shalamov adheres to the truth, considering distortions and excesses, the wrong placement of accents, as unacceptable in this situation. He tells about the life of prisoners, their sometimes unbearable suffering, labor, struggle for food, illness, death, death. He describes events that are terrible in their static nature. His cruel truth devoid of anger and powerless exposure, there is no longer the strength to be indignant, feelings have died.
The material for Shalamov's books and the problems arising from it would be envied 19th realist writers century. The reader shudders at the realization of how "far" mankind has gone in the "science" of inventing torture and torment of their own kind.
Here are the words of the author, spoken in his own name: “The prisoner learns to hate work there - he cannot learn anything else there. He learns there flattery, lies, petty and big meanness, becomes an egoist. Returning to freedom, he sees that not only has he not grown up during the camp, but that his interests have narrowed, become poor and rude. Moral barriers have been pushed aside. It turns out that you can do mean things and still live... It turns out that a person who has committed meanness does not die... He values his suffering too highly, forgetting that every person has his own grief. He has forgotten how to treat other people's grief sympathetically - he simply does not understand him, does not want to understand ... He has learned to hate people.
In the story "Sentence", the author, like a doctor, analyzes the state of a person whose only feeling is anger. The most terrible thing in the camp, more terrible than hunger, cold and disease, is the humiliation that reduces a person to the level of an animal. It brings the hero to a state where all feelings and thoughts are replaced by "semi-consciousness". When death recedes and consciousness returns to the hero, he happily feels that his brain is working, and the forgotten word “maxim” emerges from the subconscious.
The fear that turns a person into a slave is described in the story "Typhoid Quarantine". The heroes of the work agree to serve the leaders of the bandits, to be their lackeys and slaves, in order to satisfy such a need familiar to us - hunger. The hero of the story Andreev sees in the crowd of such lackeys Captain Schneider, a German communist, educated person, an excellent connoisseur of Goethe's work, who now plays the role of a "heel scratcher" for the thief Senechka. Such metamorphoses, when a person loses his appearance, affect those around him. The main character of the story does not want to live after what he sees.
"Vaska Denisov, the thief of pigs" is a story about hunger and about the state to which it can bring a person. The main character Vaska sacrifices his life for food.
Shalamov claims and tries to convey to the reader that the camp is a well-organized state crime. Here there is a deliberate substitution of all categories familiar to us. There is no place for naive reasoning about good and evil and philosophical disputes. The main thing is to survive.
Despite all the horror of camp life, the author of Kolyma Tales also writes about innocent people who were able to save themselves in truly inhuman conditions. He affirms the special heroism of these people, sometimes bordering on martyrdom, for which no name has yet been invented. Shalamov writes about people “who weren’t, who didn’t know how and didn’t become heroes,” because the word “heroism” has a hint of splendor, brilliance, and short duration of an act.
Shalamov's stories became, on the one hand, piercing documentary evidence of the nightmares of camp life, on the other hand, philosophical reflection whole era. The totalitarian system appears to the writer as the same camp.
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"Camp" theme in the works of A. Solzhenitsyn and V. Shalamov
Our dispute is not a church one about the age of books,
Our dispute is not spiritual about the benefits of faith,
Our dispute is about freedom, about the right to breathe,
About the will of the Lord to knit and decide.
V. Shalamov
The "camp" theme rises sharply again in the 20th century. Many writers such as Shalamov, Solzhenitsyn, Sinyavsky, Aleshkovsky, Ginzbur, Dombrovsky, Vladimov testified about the horrors of the camps, prisons, and isolation wards. All of them looked at what was happening through the eyes of people deprived of freedom, choice, who knew how the state itself destroys a person through repression, destruction, violence. And only those who have gone through all this can fully understand and appreciate any work about political terror, concentration camps. For us, the book only slightly opens the curtain, which, fortunately, is not given to look behind. We can only feel the truth with our hearts, somehow experience it in our own way.
Alexander Solzhenitsyn most reliably describes the camp in his legendary works One Day in the Life of Ivan Denisovich, The Gulag Archipelago, and Varlam Shalamov in Kolyma Tales. The Gulag Archipelago and the Kolyma Tales were written for many years and are a kind of encyclopedia of camp life.
In their works, both writers, when describing concentration camps and prisons, achieve the effect of life-like persuasiveness and psychological authenticity, the text is filled with signs of unimagined reality. In Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" most of the characters are real heroes taken from life, for example, foreman Tyurin, captain Buinovsky. Only the main character of the story, Shukhov, contains a collective image of a soldier-artilleryman of the battery, which the author himself commanded at the front, and prisoner Shch-262 Solzhenitsyn. Shalamov's "Kolyma stories" are closely connected with the exile of the writer himself in Kolyma. This is evidenced by the high degree of detail. The author pays attention to terrible details that cannot be understood without mental pain - cold and hunger, sometimes depriving a person of reason, purulent ulcers on his legs, cruel lawlessness of criminals. In the story “The Carpenters”, Shalamov points to a deafly enclosed space: “thick fog, that a person could not be seen in two steps”, “a few directions”: a hospital, a watch, a dining room, which is also symbolic for Solzhenitsyn. In the story “One Day in the Life of Ivan Denisovich”, open sections of the zone are hostile and dangerous to the prisoners: each prisoner tries to run across the sections between the premises as quickly as possible, which is the complete opposite of the heroes of Russian literature, who traditionally love expanse and distance. The described space is limited by a zone, a construction site, a barrack. The prisoners are even fenced off from the sky: from above they are constantly blinded by searchlights, hanging so low that they seem to deprive people of air.
But still, in the works of Solzhenitsyn and Shalamov, the camp also differs, is subdivided in different ways, since each person has his own views and his own philosophy on the same things.
In Shalamov's camp, the heroes have already crossed the line between life and death. People seem to show some signs of life, but in essence they are already dead, because they are deprived of any moral principles, memory, will. In this vicious circle, forever stopped time, where hunger, cold, bullying reign, a person loses his own past, forgets the name of his wife, loses contact with others. His soul no longer distinguishes between truth and lies. Even any human need for simple communication disappears. “I don’t care if they lie to me or not, I was outside the truth, outside the lie,” Shalamov points out in the story “Sentence”.
Relations between people and the meaning of life are vividly reflected in the story "Carpenters". The task of the builders is to survive "today" in a fifty-degree frost, and "further" than two days, it did not make sense to make plans. People were indifferent to each other. "Frost" got to the human soul, it froze, shrank and, perhaps, will forever remain cold.
In the Solzhenitsyn camp, on the contrary, living people are preserved, like Ivan Denisovich, Tyurin, Klevshin, Buchenwald, who keep their inner dignity and “do not drop themselves”, do not humiliate themselves because of a cigarette, because of a ration, and even more so they do not lick plates , do not inform on comrades for the sake of improving their own fate. The camps have their own laws: “In the camps, this is who dies: who licks the bowls, who hopes for the medical unit, and who goes to the godfather to knock,” “Groan and rot. And if you resist, you will break", "Whoever can, he will gnaw at him." The camp, according to Solzhenitsyn, is a huge evil, violence, but suffering and compassion contributed to moral purification, and the state of insatiability of the heroes introduces them to a higher moral existence. Ivan Denisovich proves that the soul cannot be captured, it cannot be deprived of its freedom. Formal liberation will no longer be able to change the inner world of the hero, his system of values.
Shalamov, unlike Solzhenitsyn, emphasizes the difference between a prison and a camp. The picture of the world is turned upside down: a person dreams of getting out of the camp not to freedom, but to prison. In the story “Tombstone” there is a clarification: “Prison is freedom. This is the only place where people, without fear, said whatever they thought. Where do they rest their souls?
The creativity and philosophy of two truly amazing writers lead to different conclusions about life and death.
According to Solzhenitsyn, life remains in the camps: Shukhov himself no longer imagined his “existence” in freedom, and Alyoshka the Baptist is glad to remain in the camp, because there a person’s thoughts approach God. Outside the zone, life is full of persecution, which is already "incomprehensible" to Ivan Denisovich. Having condemned the inhuman system, the writer creates a true folk hero who managed to go through all the trials and preserve the best qualities of the Russian people.
In Shalamov's stories, not just the Kolyma camps, fenced off with barbed wire, outside of which free people live, but everything that is outside the zone is also drawn into the abyss of violence and repression. The whole country is a camp where everyone living in it is doomed. The camp is not an isolated part of the world. This is a mold of that society.
Having gone through all the suffering and pain, Solzhenitsyn and Shalamov turned out to be folk heroes who were able to convey the whole true picture of the society of that time. And they are united by the presence of a huge soul, the ability to create and contemplate.
Bibliography
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Text content of presentation slides: Presentation for the lesson of literature in grade 11 Teacher of the highest qualification category Dubovik Irina Vasilievna MBOU, Irkutsk Secondary School No. 12 "Camp" theme in the works of A. Solzhenitsyn and V. Shalamov Our dispute is not church about the age of books, Our dispute is not spiritual about the benefits of faith, Our the dispute is about freedom, about the right to breathe, about the will of the Lord to knit and decide. V. Shalamov Shalamov, Solzhenitsyn, Sinyavsky, Aleshkovsky, Ginzbur, Dombrovsky, Vladimov looked at what was happening through the eyes of people deprived of freedom, choice, who knew how the state itself destroys a person through repression, destruction, violence. The Gulag Archipelago and the Kolyma Tales were written for many years and are a kind of encyclopedia of camp life. But nevertheless, in the works of Solzhenitsyn and Shalamov, the camp differs, is subdivided in different ways, since each person has his own views and his own philosophy on the same things. Soul My soul, sadness About everyone in my circle, You have become the tomb of the tortured alive. Embalming their bodies, Dedicating a verse to them, With a sobbing lyre, Mourning them, In our time, selfish For conscience and fear, You stand as a grave urn, Resting their ashes. Their combined torments bowed you down. You smell of cadaverous dust of the dead and tombs. My soul, skudelnitsa, Everything seen here, Grinding like a mill, You turned into a mixture. And then grind Everything that was with me, As for almost forty years, Into the churchyard humus. B. Pasternak 1956 TOTALITAR DICTIONARY - based on the complete domination of the state over all aspects of society, violence, the destruction of democratic freedoms and individual rights. T. mode. Totalitarian state. DICTATURA1. Government, ensuring the complete political domination of a certain class, party, group. Fascist D. D. of the proletariat (in Russia: the power of the working class proclaimed by the Bolshevik Party).2. Unlimited power based on direct violence. Military d.TERROR1. Intimidation of their political opponents, expressed in physical violence, up to destruction. Political t. Individual t. (single acts of political assassinations).2. Hard intimidation, violence. T. tyrant. GULAG - abbreviation: the main administration of the camps, as well as an extensive network of concentration camps during the mass repressions. Prisoners of the Gulag. ZEK - the same as a prisoner. Dissident is the name of the participants in the movement against the totalitarian regime in the former socialist countries late 1950s - mid 80s. IN different forms advocated for the observance of the rights and freedoms of man and citizen (human rights activists) SLON - the Solovetsky special purpose camp was founded in 1923 It is not difficult to guess that the term "ZeK" means "prisoner" and is derived from the abbreviation "z / k". It was this abbreviation that was used in official documents in the 1920s and 1950s. And how many people know that ZeK is a “prisoned canal soldier”? That is what they called those who built the White Sea-Baltic Canal. And, as you know, it was built mainly by prisoners. A. Solzhenitsyn "One day of Ivan Denisovich" In the story of A.I. Solzhenitsyn "One day of Ivan Denisovich" describes a day from the life of a prisoner Shch-854, Ivan Denisovich Shukhov, a collective farmer. The author's idea was born in 1952 in the Ekibastuz Special Camp: " It was just such a camp day, hard work, I was carrying a stretcher with a partner and I thought: how should I describe the whole camp world - in one day ... person from morning to evening. And everything will be. The story was published in 1962 in Novy Mir. The author was accused of slandering Soviet reality, but thanks to the authoritative opinion of the editor-in-chief of the journal A.T. Tvardovsky, the story was published. Tvardovsky wrote: "The life material underlying A. Solzhenitsyn's story is unusual in Soviet literature. It bears an echo of those painful phenomena in our development connected with the period of the personality cult debunked and rejected by the Party, which, although not so far behind us in time, seem to us a distant past. Solzhenitsyn recreates the details of camp life: we see what and how the convicts eat, what they smoke, where they get smoke, how they sleep, what they wear and put on shoes, where they work, how they talk to each other and how with the authorities, what they think about the will, what is stronger everything they fear and what they hope for. The author writes in such a way that we learn the life of a convict not from the outside, but from the inside, from “him”. Where and how do prisoners live? What do convicts eat? BUR - a barrack of enhanced regime ... the walls there are stone, the floor is cement, there is no window, they heat the stove, only so that the ice from the wall melts and there is a puddle on the floor. Sleep - on bare boards, if you don’t shake your teeth, bread a day - three hundred grams, and gruel - only on the third, sixth and ninth days. Ten days! Ten days of the local punishment cell, if you serve them strictly to the end, it means losing your health for life. Tuberculosis, and you won't get out of hospitals anymore. And for fifteen days of strict who served - they are already in the damp land. In Solzhenitsyn's story, most of the characters are real heroes taken from life, for example, foreman Tyurin, captain Buinovsky. Only the main character of the story, Shukhov, contains a collective image of a soldier-artilleryman of the battery, which the author himself commanded at the front, and prisoner Shch-262 Solzhenitsyn. Kolya VdovushkinSenka KlevshinCaesar MarkovichStudent of the Faculty of Literature, arrested from the second year for writing free-thinking poems. The camp doctor advised him to become a paramedic, put him to work, and Kolya began to learn how to give intravenous injections. And now it would never occur to anyone that he was not a paramedic, but a student of the literary department. He sat in Buchenwald, was there in underground organization, weapons in the zone carried for the uprising. The Germans were hung up by the hands and beaten with sticks. He hears very badly. In Caesar, all nations are mixed: either he is a Greek, or a Jew, or a gypsy - you won’t understand. Still young. Filmed for cinema. But the first did not catch on how he was imprisoned. His mustache is black, merged, thick. Because they didn’t shave it off here, because in fact it was filmed like that, on the card. the problem of moral, spiritual judgment over everything that happens Awareness of the present human life opposes the monstrous in its usual outrage against people: the convoy conducts a thorough recount "by the heads", "a person is more expensive than gold. If one head is missing behind the wire - you will add your own head there." What could be a greater mockery of the very concept of human value? Talking about the camp and camp inmates, Solzhenitsyn writes not about how they suffered there, but about how they managed to survive, preserving themselves as people. Shukhov forever remembered the words of his first brigadier, the old camp wolf Kuzemin: “That’s who dies in the camp: who licks bowls, who hopes for the medical unit, and who goes to knock on the godfather.” How does Ivan Denisovich behave in the medical unit? How does he solve the problem of hunger? Can such behavior of Shukhov be called "adaptability"? He behaves conscientiously, as if preying on something else. He works the best he can. This adaptability of Shukhov has nothing to do with humiliation, loss human dignity. It is very important for him to preserve this dignity, not to become a degraded beggar, like Fetyukov. How does Ivan Denisovich feel about work? He has a special attitude to work: “Work is like a double-edged sword, you do it for people - give quality, for bosses - window dressing.” Shukhov is a master of all trades, he works conscientiously, without feeling the cold, as he does on his collective farm. Work for Shukhov is life. The Soviet government did not corrupt him, did not teach him to hack. way of life peasant life, its age-old laws were stronger. A healthy sense and sober look help him survive. He hides only to close up the windows, tries to hide the trowel between the walls, tries to make the work of others easier, at the risk of being punished for it, stays late at work, because he feels sorry for the remaining solution.
So what do Solzhenitsyn and his main character teach us? So that under no circumstances does a person lose his sense of dignity, no matter how hard life is, no matter what trials it prepares, you always need to remain a person, not to make deals with your conscience.
Ivan Denisovich is real national character. It has features of the classic little man". Solzhenitsyn admires his Ivan, turning him into a collective image of the entire long-suffering Russian people. He is a peasant and an infantryman, that is, the most ordinary person(like Vasily Terkin at Tvardovsky). He does not grumble, on the contrary, Ivan Denisovich has the highest wisdom - to get used to his fate. His hero could “cook porridge from an ax”, he is a jack of all trades. A creative person, able to work with enthusiasm, conscientiously, and not out of fear .. It is not for nothing that he is respectfully called “master” in the brigade (also called M. Bulgakov Margarita and her beloved writer). His resourcefulness and peasant thriftiness evoke well-deserved respect (the episode in which Shukhov “protects the mortar” was especially liked by Khrushchev). Such is the Russian character. Yes, Ivan Denisovich may be cunning - but for the sake of the brigade, he is ready, as they say, to “serve”, because he cannot survive otherwise. But it is precisely “vitality”, the absence of false pride, that is dear to the author in it. For Solzhenitsyn, it is a guarantee of the strength and strength of the country. But the hero will never give up moral law: he will not go to the scammers, will not chase the "long ruble" V. Shalamov "Kolyma stories" In this book, Shalamov described the horror that he experienced, saw and endured during the years of imprisonment. Many people died, perished in the Kolyma. Objective evidence of this is easy to find: the described cemeteries of people in the permafrost far east still exist ... One of the most severe camps Soviet period was Kolyma. In 1928, the richest gold deposits were found in Kolyma. By 1931, the authorities decided to develop these deposits by the forces of prisoners. Damn you, Kolyma, What is nicknamed a wonderful planet! This is also proved by the high degree of detail. The author pays attention to terrible details that cannot be understood without mental pain - cold and hunger, sometimes depriving a person of reason, purulent ulcers on his legs, cruel lawlessness of criminals. I was the representative of those people who opposed Stalin - no one ever believed that Stalin and Soviet authority- one and the same thing... I was ready to love and hate with all my youthful soul. From school I dreamed of self-sacrifice, I was sure that my spiritual strength would be enough for big things. Of course, I was still a blind puppy then. But I was not afraid of life and boldly entered into a struggle with it in the form in which my heroes fought with life and for life. youthful years- all Russian revolutionaries. “I didn’t care whether they would lie to me or not, I was outside the truth, outside the lie,” Shalamov points out in the story “Sentence”. Shalamov, unlike Solzhenitsyn, emphasizes the difference between a prison and a camp. The picture of the world is turned upside down: a person dreams of getting out of the camp not to freedom, but to prison. In the story “Tombstone” there is a clarification: “Prison is freedom. This is the only place where people, without fear, said whatever they thought. Where do they rest their souls? “The camp is a negative school of life entirely. No one will take anything useful, necessary from there, neither the prisoner himself, nor his boss, nor his guards, nor unwitting witnesses - engineers, geologists, doctors - neither bosses, nor subordinates ”V. Shalamov According to Solzhenitsyn, life remains in the camps. Outside the zone, life is full of persecution, which is already "incomprehensible" to Ivan Denisovich. Having condemned the inhuman system, the writer creates a true folk hero who managed to go through all the trials and preserve the best qualities of the Russian people. According to Shalamov, the whole country is a camp where everyone living in it is doomed. It is impossible to remain human in the camp. The camp is not an isolated part of the world. This is a mold of that society. Shalamov, talking about Kolyma, wrote a requiem. “The Gulag Archipelago” was created by Solzhenitsyn as an instrument of political activity. Shalamov believed that Solzhenitsyn “sold his soul to the devil”, using the camp theme for the purpose of political struggle, while literature should remain within the limits of culture: politics and culture are two things for Shalamov incompatible. Features of the camp prose: * autobiographical, memoir character * documentary, setting truthfulness; * the time interval of both the author's experience and the reflected phenomenon is the Stalin era; * the author's conviction of the abnormality of such a phenomenon as a camp; * revealing pathos; * the seriousness of intonation, the absence of irony. It is possible to be late for the train, Not to catch the ship to sail, Not to finish the will, Go to bed on the road of discovery. Do not have time to finalize the poems, Do not cope with the task by the deadline - This is, in essence, all nonsense. God forbid to be late with repentance! Ernst Neizvestny. Mask of sorrow. Magadan Time? Time is given. This is non-negotiable. You are subject to discussion, Placed in this time. N. Korzhavin
