Many fundamental questions that arise again and again in every generation among the majority of thinking people do not and cannot have a specific answer, and all arguments and disputes on this issue are nothing but empty polemics. What is a sense of life? What is more important: to love or to be loved? What are feelings, God and man on the scale of the universe? This kind of reasoning also includes the question of in whose hands is the dominance over the world - in the cold fingers of the mind or in the strong and passionate embrace of feelings?

It seems to me that in our world everything is a priori organic, and the mind can have some value only in conjunction with feelings - and vice versa. A world in which everything is subject only to reason is utopian, and the complete primacy of human feelings and passions leads to excessive eccentricity, impulsiveness and tragedies, which are described in romantic works. However, if we approach the question directly, omitting all sorts of “buts”, then we can come to the conclusion that, of course, in the world of people, vulnerable beings who need support and emotions, it is feelings that take on the managerial role. It is on love, on friendship, on spiritual connection that the true happiness of a person is built, even if he himself actively denies it.

In Russian literature, there are many contradictory personalities who unsuccessfully deny the need for feelings and emotions in their lives and proclaim reason as the only true category of existence. Such, for example, is the hero of the novel by M.Yu. Lermontov "A Hero of Our Time". Pechorin made his choice towards a cynical and cold attitude towards people as a child, faced with misunderstanding and rejection from the people around him. It was after his feelings were rejected that the hero decided that the “salvation” from such emotional experiences would be the complete denial of love, tenderness, care and friendship. Grigory Alexandrovich chose mental development as the only right way out, a defensive reaction: he read books, talked with interesting people, analyzed society and "played" with people's feelings, thereby compensating for his own lack of emotions, but this still did not help replace him with simple human happiness. In pursuit of mental activity, the hero completely forgot how to be friends, and the moment when sparks of a warm and tender feeling of love still lit up in his heart, he forcibly suppressed them, forbidding himself to be happy, tried to replace it with travel and beautiful landscapes, but in the end he lost every desire and aspiration to live. It turns out that without feelings and emotions, any activity of Pechorin was reflected in his fate in black and white and did not bring him any satisfaction.

The hero of the novel, I.S., found himself in a similar situation. Turgenev "Fathers and Sons". The difference between Bazarov and Pechorin is that he defended his position in relation to feelings, creativity, faith in a dispute, formed his own philosophy, built on denial and destruction, and even had a follower. Eugene stubbornly and not in vain was engaged in scientific activities and devoted all his free time to self-development, but the fanatical desire to destroy everything that is not subject to reason turned against him in the toga. The whole nihilistic theory of the hero was shattered by unexpected feelings for a woman, and this love not only cast a shadow of doubt and confusion on all of Yevgeny's activities, but also very much shook his worldview position. It turns out that any, even the most desperate attempts to destroy feelings and emotions in oneself are nothing compared to a seemingly insignificant, but such a strong feeling of love. Probably, the resistance of the mind and feelings has always been and will be in our lives - such is the essence of a person, a creature that is "amazingly vain, truly incomprehensible and eternally hesitant." But it seems to me that in this totality, in this confrontation, in this uncertainty lies the whole charm of human life, all its excitement and interest.

Official comment:
The direction involves thinking about reason and feeling as the two most important components of a person’s inner world, which influence his aspirations and actions. Reason and feeling can be considered both in harmonious unity and in complex confrontation, which constitutes the internal conflict of the personality.
The theme of reason and feeling is interesting for writers of different cultures and eras: the heroes of literary works often face a choice between the command of feeling and the prompting of reason.

Aphorisms and sayings of famous people:
There are feelings that replenish and obscure the mind, and there is a mind that cools the movement of feelings.
M.M. Prishvin
If the feelings are not true, then our whole mind will be false.
Lucretius
A feeling held captive by a crude practical need has only a limited meaning.
Karl Marx
No imagination can come up with such a multitude of contradictory feelings as usually coexist in one human heart.
F. La Rochefoucauld
To see and feel is to be, to think is to live.
W. Shakespeare

Guidelines:
The dialectical unity of reason and feeling is the central problem of many works of art in world and Russian literature. Writers, depicting the world of human intentions, passions, actions, judgments, one way or another relate to these two categories. Human nature is arranged in such a way that the struggle between reason and feeling inevitably gives rise to an internal conflict of personality, and therefore provides fertile ground for the work of writers - artists of human souls.
The history of Russian literature, represented by the change of one literary trend by another, showed a different correlation between the concepts of "reason" and "feeling".
In the Age of Enlightenment, reason becomes a key concept that determines the worldview of a person of that time. This was naturally reflected in the writers' ideas about literary creativity, about what the heroes of their works and the system of personal values ​​should be like. Feelings and personal interests were relegated to the background, giving way to duty, honor, service to the state and society. This did not mean that the heroes are devoid of passions, emotions - often they are very ardent young men who are able to sincerely love. For classicism, something else is more important - to what extent the heroes are able to overcome their personal interests and, with a cold mind, fulfill a sense of duty to the Fatherland.
Comedies by D.I. Fonvizin "Undergrowth" and A.S. Griboyedov "Woe from Wit". The conversations of Starodum and Pravdin, Starodum and Milon about the duty, honor of a person, about his most important spiritual and moral qualities, which dictate his actions, ultimately boil down to exalting reason over feelings. Or Alexander Andreyevich Chatsky's devotion to his ideals and beliefs, connected with the realization of the need to eradicate the old orders of Famusov's Moscow, with the change in society and the consciousness of the younger generation, is evidence of his rational approach to himself and the surrounding reality.
Thus, in the era of the dominance of classicism in literature, unconditional primacy is given to reason, actions are dictated by balanced decisions, life experience, and social problems come to the fore.
Sentimentalism comes to replace classicism, and later romanticism with a radical turn to the category of “feeling”.

In the story of N.M. Karamzin's "Poor Liza", the heroine is guided by the feelings of sincere pure love for her chosen one Erast, which, unfortunately, ultimately leads to an irreparable tragedy. Deception leads to the collapse of hopes, the loss of the meaning of life for Liza.
The feelings of the hero, his passions and experiences become key aspects of artistic research by romantic writers. V.A. Zhukovsky, A.S. Pushkin in his early works, M.Yu. Lermontov and many other Russian classics portrayed strong characters who were guided by the desire for an ideal, an absolute, aware of the vulgarity of the surrounding reality and the impossibility of finding that very ideal in this world. This gave rise to their inevitable conflict with the world, led to exile, loneliness, wandering, and often even to death.
Feelings of love, longing for a loved one push Svetlana from the ballad of the same name by V.A. Zhukovsky to look into the other world in order to know his fate and meet his chosen one. And the heroine experiences an unlimited feeling of fear, falling into that terrible reality filled with demonic forces.
Not the mind, but the command of the heart pushes Mtsyri from the poem of the same name by M.Yu. Lermontov to escape from the monastery and return to his homeland in order to find a home, friends, or at least "graves of relatives." And having known himself, the nature of his inner freedom, the hero understands with his mind that he can never become a part of the monastic world, the world of "imprisonment" and prison, and therefore makes a choice towards death as eternal freedom.
During the period of the fading of romanticism and the coming to replace it with realism, many writers acutely felt the need to reflect this process in works of art. One of the ways to implement this is the clash in the work of images of heroes, symbolizing different types of personalities - romantics and realists. A classic example is the novel by A.S. Pushkin "Eugene Onegin", in which two opposites inevitably collide - "wave and stone, poetry and prose, ice and fire" - Vladimir Lensky and Eugene Onegin. The time of romantics with their dreams and ideals, as Pushkin shows, is gradually leaving, giving way to rationally thinking, pragmatic personalities (in this case, it is appropriate to recall the epigraph to the sixth chapter of the novel, in which the duel between the characters takes place - “Where the days are cloudy and short , // A tribe will be born that does not hurt to die").

The second half of the 19th century, with the dominance of realism in Russian literature, greatly complicated the dichotomy of the concepts of "reason" and "feeling". The choice of heroes between them becomes much more difficult, thanks to the use of psychologism, this problem becomes more complicated, often determining the fate of the literary image.
A magnificent example of Russian classics is the novel by I.S. Turgenev "Fathers and Sons", in which the author intentionally collides feelings and reason, leading the reader to the idea that any theory has the right to exist if it does not contradict life itself. Evgeny Bazarov, putting forward rationalization ideas for changing society, the old way of life, preferred the exact sciences that could benefit the state, society, humanity, while denying all the spiritual components of human life - art, love, beauty and aesthetics of nature. Similar denial and unrequited love for Anna
Sergeevna leads the hero to the collapse of his own theory, disappointment and moral devastation.
The struggle of reason and feelings is shown in the novel by F.M. Dostoevsky "Crime and Punishment". The clearly thought-out theory of Raskolnikov does not cause the hero to doubt his competence, which leads him to commit murder. But the pangs of conscience that haunt Rodion after committing a crime do not allow him to live in peace (a special role in this aspect is given to the dreams of the hero). Of course, one should not lose sight of the fact that this problem is complicated in the novel by bringing the religious context to the fore.

In the epic novel L.N. Tolstoy's "War and Peace" categories "reason" and "feeling" are brought to the fore. For the writer, it is important to what extent one side or another prevails in the characters, how they are guided in their actions. The inevitable punishment, according to the author, deserves those who do not consider the feelings of other people, who are prudent and mercenary (the Kuragin family, Boris Drubetskoy). Those who surrender to feelings, the dictates of the soul and heart, even if they make mistakes, are able to eventually realize them (remember, for example, Natasha Rostova's attempt to run away with Anatole Kuragin), are capable of forgiveness, sympathy. Of course, Tolstoy, as a true writer-philosopher, called for a harmonious unity of the rational and sensual in man.

These two categories receive an interesting embodiment in the work of A.P. Chekhov. For example, in “Lady with a Dog”, where the all-consuming power of love is proclaimed, it is shown how much this feeling can affect a person’s life, literally regenerating people to a new life. In this regard, the final lines of the story are indicative, in which it is stated that the heroes understood with their minds how many obstacles and difficulties lay ahead of them, but this did not frighten them: “And it seemed that a little more - and the solution would be found, and then a new, beautiful one would begin. life; and it was clear to both that the end was still far, far away and that the most difficult and difficult was just beginning. Or an opposite example - the story "Ionych", in which the hero replaces spiritual values ​​- namely, the desire to love, have a family and be happy - with material, cold calculation, which inevitably leads to moral and spiritual degradation of Startsev. The harmonious unity of mind and feeling is demonstrated in the story "Student", in which Ivan Velikopolsky comes to realize his destiny, thereby gaining inner harmony and happiness.

The literature of the 20th century also presented many works in which the categories of "mind" and "feeling" occupy one of the primary places. In the play “At the Bottom” by M. Gorky, there is a symbolic embodiment of concepts through a rational realistic understanding of the environment in which a person lives (Satine’s reasoning), and illusory ideas about a brighter future, inspired by hopes in the souls of the heroes by the wanderer Luke. In the story "The Fate of Man" M.A. Sholokhov - the bitter disappointment of Andrei Sokolov, who went through the war and lost everything that was most precious in his life, and the role of Vanechka in the fate of the protagonist, who gave him a new life. In the epic novel "Quiet Flows the Don" M.A. Sholokhov - the moral torment of Grigory Melekhov regarding feelings for Aksinya and duty to Natalya, dialogism in the choice of power. In the poem "Vasily Terkin" A.T. Tvardovsky - the Russian soldier's awareness of the need to defeat an external enemy, merged with a feeling of boundless love for the motherland. In the story "One day of Ivan Denisovich" A.I. Solzhenitsyn - the merciless conditions of detention of prisoners, accompanied by a bitter awareness of the objectivity of reality, and Shukhov's inner intentions, leading to the problem of preserving the human in oneself in such conditions.

1. "The Tale of Igor's Campaign":

Reason gave way to feeling, and Igor, instead of a reasonable decision to save the army and his life, after all the omens, decides to die, but not to shame his honor.

2. Denis Ivanovich Fonvizin "Undergrowth":

Reason is completely absent in the actions of Prostakova and Skotinin, they do not even understand the need to protect their serfs, since they have all the welfare of these "masters of life." Mitrofan shows complete control over feelings: when a mother is needed, he fawns over, says that he loves her, and as soon as the mother has lost all power, he announces:

Get off, mother!

He has no sense of responsibility, love, devotion.

3. Alexander Sergeevich Griboedov "Woe from Wit":

The main character - Chatsky - at first glance, is a model of reason. He is educated, understands his place well, determines the political situation, is literate in matters of law in general and serfdom in particular. However, the mind refuses him in an everyday situation, he does not know how to behave in relations with Sophia, when she says that he is not the hero of her novel. In relation to Molchalin, Famusov and the whole secular society, he is bold and daring and, as a result, ends up with nothing. A feeling of annoyance and loneliness squeezes his chest:

My soul here is somehow compressed by grief.

But he is not used to obeying feelings and does not take seriously discord with society, but in vain.

4. Alexander Sergeevich Pushkin "Eugene Onegin":

From his youth, Onegin was used to subordinating feelings to reason: “the science of tender passion” is already proof of this. Having met Tatyana, he “did not give way to a sweet habit”, did not take this feeling seriously, deciding that he could cope with the feeling, as always, when he knew how to “shine with an obedient tear.” Reverse Tatiana. In her youth, she obeyed only feelings. Onegin read her a sermon in which he recommended: "learn to control yourself." The girl took note of these words and took up self-development. By the time of the next meeting with Onegin, she already masterfully controls her feelings, and Eugene could not see a single gram of emotion on her face. But happiness is no longer possible ...

5. Mikhail Yuryevich Lermontov "A Hero of Our Time":

The main character - Pechorin - is a man consisting of reason and feeling. When he is one on one with nature, with a diary or with a person with whom you do not have to pretend - it is a naked nerve, an emotion. A vivid example in the episode when he drove the horse down the road in pursuit of Vera. He cries in grief. This state lasts for a moment. But the moment passes, and another Pechorin rises above the “crying child” sobbing on the grass and soberly and sternly assesses his behavior. The triumph of reason does not give happiness to this person.

arguments for writing

Final essays on the topic "Sense and Sensibility" on our website:

- Do you agree with the statement of M. Prishvin: “There are feelings that replenish and obscure the mind, but there is a mind that cools the movement of feelings”?

- Do you agree with Firdousi's statement, “Let your mind guide things. He will not allow your soul to do evil"?

_____________________________________________________________________________________________

The problem of reason and feeling is devoted to a huge number of literary works.
the main characters belong to two warring clans - the Montagues and the Capulets. Everything is against the feelings of young people, and the voice of reason advises everyone not to succumb to the outbreak of love. But emotions are stronger, and even in death, Romeo and Juliet did not want to leave.
the feelings of the main character take precedence over her mind. Having fallen in love with the young nobleman Erast and trusting him, Liza forgets about her girlish honor. Karamzin writes about this fact with bitterness and reproaches the heroine, although he feels sorry for the kind, sincere girl with all his heart. But Karamzin also accuses Erast of recklessness, he directly says that the mind (especially in a man!) Should guide emotions. So, in response to the thoughts of a young man that he will not use the girl’s trust for evil and will always remain only her brother, the author exclaims:

Indeed, the girl’s feelings were deceived: Erast, having lost at cards in order to somehow improve his financial situation, marries a rich widow, and Liza commits suicide by drowning herself in the lake.
In a tragic discord, the mind and feelings of the protagonist

His heart burns with love for Sofya Famusova, it is for her sake that he returns to Moscow, but does not find reciprocal feelings in the girl. When the hero finds out that Sophia's chosen one is Molchalin, her father's secretary, he is unable to believe it.

exclaims Chatsky. The hero perfectly sees what Molchalin really is, sees what his true goals are. And this is career advancement and material well-being. For the sake of this, Molchalin does not shun hypocrisy, or subservience to his superiors, or meanness. It is such meanness on his part that courting the daughter of the boss becomes. Chatsky's mind refuses to believe in Sophia's love for Molchalin, because he remembers her as a teenager, when love broke out between them, he thinks that Sophia could not change over the years. But the reality turned out to be harsher than the dream. And now Chatsky, with all his mind, well versed in people, realizing that Famusov and his guests will not understand and share neither his ideas, nor opinions, nor actions, does not hold back and speaks out in front of them, so to speak, “casts pearls in front of pigs." The hero's mind cannot contain his overwhelming emotions. All Chatsky's behavior is so strange to the "famus society" that it is relieved to receive the news of the hero's madness.
we also see a clash between reason and feeling. Pyotr Grinev, having learned that his beloved Masha Mironova is forcibly held by Shvabrin, who wants to force the girl to marry him, contrary to the voice of reason, turns to Pugachev for help. The hero knows that this can threaten him with death, because the connection with a state criminal was severely punished, but he does not back down from his plan and eventually saves his own life and honor and gets Masha as his legal wife.
In another work

the theme of reason and feeling is also given an important place. After seven years of separation, Eugene, seeing the transformed Tatyana, falls in love with her. And although the hero knows that she is married, he cannot help himself. Onegin realizes that many years ago he could not fully discern in the young Tanya all the strength of her character and inner beauty. Now, the feelings of love for the heroine obscure all reasonable evidence in Eugene, he longs for mutual confessions. But in Tatyana, the voice of reason, speaking about the duty and honor of a married woman, takes precedence over emotions. Unlike Onegin, she finds the strength to resist the surging feelings and confesses:

also repeatedly subjected to a test of reason and feelings. But his mind is always above emotions. So, we see how the hero struggled with sympathy for Princess Mary and admitted to himself that another minute and he was ready to fall at her feet and ask to become his wife. But ... Pechorin does not give in to impulse, he knows that he is not intended for family life and does not want to make the girl unhappy. We see the same struggle when Pechorin, having read Vera's farewell letter, rushes in pursuit of her. But here, too, the cold mind cools the ardor of the hero, and, no matter how painful it was, he leaves the thought of reuniting with Vera.
the youngest son of Taras, Andriy, having fallen in love with a Polish girl, betrays the Cossacks and goes to fight against them. He says to his beloved:

Andriy's mind did not resist his feelings for long: all his thoughts about honor, duty, and relatives were burned by the fire of love, he even dies with the name of his beloved.
With another hero

Reason always takes precedence over emotions. Even having met a mysterious young stranger at the station (and here Gogol mentions a twenty-year-old youth who would forget everything in the world at the sight of such a young and charming creature), Chichikov does not succumb to romantic thoughts. On the contrary, his reasoning is quite practical (as Gogol says about him, he is a man of a prudently chilled character): the hero thinks about who the girl’s father can be and what his income is, and that if you give a girl two hundred thousand dowries, then from her it will be a very tasty morsel.
Feelings often take precedence over reason. She is natural, sincere, does nothing on purpose, trying to find her own benefit in this or that business. Yes, she is the “heroine of the heart”, but this, according to Tolstoy, is exactly what a real woman should be, that is why he loves her, and after him we do. In this she is opposite to her mother, and Sonya, and the little princess, and Helen Kuragina. We forgive her that she betrays Andrei Bolkonsky, turned by the courtship of Anatole Kuragin. After all, we see how sincerely she later repents, realizing that it was an impulse, a momentary hobby. But it is this incident that changes Natasha, makes her think about eternal values. Another time, the heroine, without hesitation, forces her mother to give carts to the wounded soldiers, on which things were to be taken out of their house in Moscow, awaiting Napoleon's invasion. In this "irrationality" of the heroine lies, according to Tolstoy, the main meaning of her being - kind, compassionate, loving.
Dmitry Gurov, a middle-aged man, married, while relaxing in Yalta, meets a young woman, Anna Sergeevna, whom he unexpectedly falls in love with. Falling in love for the first time in my life! He is discouraged by this, but this feeling changes the hero. He suddenly begins to notice how petty and petty life around him is, how petty and selfish people are. Gurov's external life (family, work in a bank, dinners with friends in restaurants, playing cards in a club) turns out to be fake, and real life is secret meetings with Anna Sergeevna in a hotel, their love. These two lives are very difficult to reconcile, but the heroes are not yet able to find a reasonable solution to the problem, although it seems to them that it is about to come and a new, wonderful time will begin.
Main character's heart

also at odds with his mind. He loves two women - his legal wife Tonya and Larisa Antipova. He loves differently, but equally strongly. He experiences his condition as a huge tragedy: torn between two families, the hero cannot find a solution until fate itself divorces him from his wife Tonya.

Argument:

The crowning achievement of the famous Russian writer A. S. Griboyedov is the play “Woe from Wit”. It is in this work that the author touches upon such important topics as the harm of servility and bureaucracy, the inhumanity of serfdom, education and enlightenment, honest service to the fatherland and duty, and the originality of national Russian culture. The writer also denounces the vices of people, which to this day are in each of us.

On the example of the central characters of the play, Griboyedov makes us think: is it always worth acting according to the will of the heart, or is cold calculation still better? The personification of commercialism, sycophancy, lies is Alexei Stepanovich Molchalin. This character is not harmless at all. With his obsequiousness, he successfully makes his way into high society. His "talents" - "moderation and accuracy" - provide him with a pass to "high society".

Molchalin is a staunch conservative who depends on the opinions of others and indulges "all people without exception." It would seem that this is the right choice, a cold mind and hard calculation is better than the vague feelings of the heart, but the author ridicules Alexei Stepanovich, showing the reader the insignificance of his existence. in the world of hypocrisy and lies, Molchalin lost all bright and sincere feelings, which led to the complete collapse of his sinister plans... Therefore, we can say with confidence that the great Russian writer wanted to convey to the hearts of readers that the most important thing is to remain yourself, to act conscience and listen to your heart.

Possible theses:

1. Commercialism leads to spiritual degradation

2. A person who does not follow his heart is risking his own happiness.

"At the bottom" - a play by M. Gorky

Argument:

The plot of the play was the life of the inhabitants of the rooming house, people who have nothing: no money, no status, no social status, no simple bread. They do not see the meaning of their existence. But even in seemingly unbearable conditions, such topics as the question of truth and lies are raised.

Reflecting on this topic, the author compares the central characters of the play. Satin and the wanderer Luka are antipodes. When Elder Luka appears in the rooming house, he tries to inspire each of the residents. With all the sincerity of feelings, he tries to inspire the unfortunate, not to let them wither away. In Luke's opinion, they could not be helped by telling the truth that nothing would change in their lives. Therefore, he lied to them, thinking that this would bring salvation for them, change their attitude to what was happening, give them hope. The hero wholeheartedly wanted to help the unfortunate, to make their life at least a little brighter. He did not think about the fact that the sweet lie is worse than the bitter truth. Therefore, I am more impressed by the realist hero.

Sateen was sharp, he relied only on his thoughts and soberly looked at the situation. Luke's "Tales" made him angry, because he is a realist and is not used to "fictitious happiness." This hero called people not to blind hope, but to fight for their rights.

Gorky posed the question to his readers - which of them is more right?
I think that it is impossible to give an exact answer to this question, because it was not in vain that the author left it open. Everyone must decide and choose one path for themselves.

(229 words)

Possible theses:

1. Does common sense always lead us on the right path?

2. What to listen to: mind or heart?

An example of an essay in 1 direction "Mind and feeling"

For many years people have been arguing about what is the mind without feelings or feelings without the mind? Some believe that you can discard feelings and rely on the mind, while others, on the contrary, prefer feelings rather than reason. There are still others who say that the mind and feelings should live in harmony. I'm one of those. “Reason and feelings are two forces that equally need each other, they are dead and insignificant one without the other,” said V.G. Belinsky. And I agree with him. After all, you must agree that without feelings, guided only by logic, we will cease to understand other people, and life will lose all its colors. We will drag out a miserable existence, unable even to express love, affection, joy, compassion, sadness, anger, jealousy, despair and many other feelings. But, on the other hand, one cannot live only with feelings. After all, no matter how beautifully poets of all times paint them, it is because of feelings that humanity makes most mistakes. And if feelings are not limited by the mind, then irreparable things can happen. One has only to imagine what will happen if every person in the world acts on a pure outburst of feelings, forgetting about all logic and sanity. Therefore, feelings and reason must be in harmony within a person, because they are exactly what makes us human. To prove my words, I will give a few examples.

My first example will be the book "We", the author of which is Evgeny Zamyatin. It tells about a future where each person is guided only by reason. And society gets rid of those who promote feelings. Main characterD- 503 is no exception, guided by reason alone, he obeys all the rules. But one day, having met a girl, he feels something that he has never experienced. He begins to change, not immediately, gradually he is overcome by feelings. He is torn between sanity and a feeling that has firmly settled in his heart. The citizen of the United State, according to the author, fell ill: his soul was formed. And, as is often the case in many works, the feeling wins over the mind, and the main character is ready for anything for the sake of his beloved. This book is a vivid example of a cold mind and hot feelings breaking through the thickness of prohibitions in the hero's painful struggle with himself. To the sun, to the light, to the grass, to the animals - to life, to love. Saving a child is the peak of the victory of feelings over prudence.

My second example will be the series of books "Legendary Moon Sculptor". The author of this series is Hyesung Nam. These works tell about a hero whose mind prevails over feelings. The protagonist is prudent, smart and knows how to turn any situation in his favor. His name is Weed, which means "weed". He was born into a poor family. His parents died, leaving him only debts, a little sister and a sick grandmother. But thanks to luck and his prudence, Weed earns money and repays debts. Although he is always guided only by reason, impulses of feelings are often visible in his actions. This is especially evident when the girl Seoyoon appears in his life. Although Weed is stingy, he gives her a chicken, but… the most unnecessary one. After meeting Soyungera, this piece doesn't change as much as the previous character I talked about earlier. But in it the predominance of feelings over reason is clearly beginning to be traced. I also consider this series a good example of how in one person there is both a calculating mind and impulsive feelings.

Summing up, I affirm that in every person there should be a harmony of feelings and reason. After all, only in their harmony lies the road to the prosperity of the human soul.

Babiak Mikhail