Alexander Solzhenitsyn - right brush. "Live" and "Dead" in the story of A.I

Methodical design lesson.

This lesson is a continuation of the conversation about the understanding of the tragedy. little mandefenseless before the dead ideology. Lesson by story A.I. Solzhenitsyn is held to awaken the motivation of a young man to reflect on personal issues moral choice at any life situation. Therefore, the "peak", the culmination of the lesson should be the answer to an unexpected issue of the similarity of absolutely different people - similarity in the space of non-volatility, for the choice, perfect by them, is false, ideas are false, there is no understanding.

Position of the Teacher: A person who has done the choice in life is not truth, not conscientious - there is no vitality, for he is incomprehensible, and therefore takes pity. A student reflects on his choice during the lesson.

All methodological techniques used by the teacher are a different kind of catalysts of the situation of insight, which can occur at the lesson, and may not happen. Such "catalysts" are situations of accumulation, when students systematize the material, detecting similarities, differences, key characters; The situation of "cooling into the image"; creature mental maps, Sinwans, interview with adults after reading the work out loud.

The choice of work for a conversation on this topic is unuschaued, since A. Shmeman in the articles of the 70s of the last century wrote about the special spiritual gift of Solzhenitsyn, about the writer's manual, truth and freedom writer.

Theme lesson:"Living" and "Dead" in the story of A.I. Solzhenitsyn "Right Brush".

The purpose of the lesson:answer interest in personality, creativity and worldview A.I. Solzhenitsyn.

Tasks lesson:

1. Comprehend copyright In relation to violence, lies, "dead" ideas and schemes.
2. Develop the ability to see the actualization of the artistic word.
3. Shape joint group interaction skills.
4. Work out the skills of independent meaningful reading.

The methods used in the lesson:

• looking into the image: Creating a monologue from the Hero face, the acting embodiment of the image of the hero;
• group work;
• creation of mental cards;
• creating schemes, reference tables;
• writing synquins;
• reading by children of the work out loud parents at home;
• interview with parents based on the results of the work read aloud.

Basic concepts: Live and dead as categories internal freedom, Saineko, the principle of "inverted situation", antithesis.

Preliminary preparation.

This lesson is the final reflection on the story of the "Right Brush".

In the first lesson, we are talking about the "miracle" of the phenomenon of Solzhenitsyn in the Russian literature, the brightest pages of his fate, the uniqueness of the person, the features of the stylistics. The main thesis of the lesson was the idea of \u200b\u200bthe topic of the victim, self-denial of as the main in the work and the fate of this artist. A. Alexander Schmeman believed that "Miracle Solzhenitsyn is that he was distinguished by his uncompromising commitment to the truth to the victim, as his fate shows."

The second lesson we were dedicated to reading aloud Story "Right Brush" and compilation mental maps Initial perception of artistic text.

When preparing for the lesson, homework were given:

Questions for interviews:

1. Bobrov: culprit or victim?
2. How do you feel about the former Chekist T. Bobrov?
3. What do you think, why t. Bobrov is not experiencing a flour of conscience?
4. Why do you think why the story does not happen?
5. What do you think I wanted to tell the reader the author?

2. Group Task: Make comparative table Portraits of Sack and Chekist, highlighting key artistic details.

3. Group task: meaning of the name of the story. The role of the symbol of the "right brush".

4. Individual task: "Log in image." To tell about the basic situation of the story "Right Brush" on the face of Chekist, Sanitary.

5. Group task: Choose examples of "subtleties" of vocabulary and tell about what the author expresses, using the expressions: "Two strengthens", "nonpougalian spring", "stupid alabaster busts", "looked at a dog" ...

6. Group task: choose the most adequate epigraph to the story "Right Brush", justifying it.

Material for choosing epigraph:

1. "I am defering and AZ Wait" (L.N. Tolstoy "Anna Karenina").
2. "Life has passed, but as if not lived" (A.P. Cherry Garden Chekhov).
3. "The first law of history is not to dare to say no lies. Then - not to dwell to keep anything about any truth and that no suspicion of any suspicion, nor in hostility "(Cicero).
4. "The angel in the soul of a man lives, the mesudrey is captured, but love will crush the seal ..." (N.S. Leskov "Imprinted Angel").
5. ... few for eternity live,
   But if you are instant concerned -
   Your lot is terrible and your house is fragile! (O.E. Mandelstam 1912).
6. "... the fate of a person who misunderstood the main thing in his era is terrible. No matter how well he is decent - he is doomed to reveal everything, stupidity and palls "(L.K. Chukovskaya).
7. "... you won't pick such such souls anywhere. Only in my city. Bezless Souls, Ruthless Souls, Deaf Souls, Chain Souls, Legal Souls, Putting Souls ... Burrying Souls, Sales Souls, Located Souls, dead Souls... "(E. Schwartz," Dragon ").
8. "I'm exhausting and, bent under the grave crown, went ahead, putting out the simplest from the skills from the fate - to reduce the person to kill a person" (I.E. Babel, "Konarmy").
9. "Everyone will be given on his faith" (MA Bulgakov, Master and Margarita).)

During the classes

Pupils are sitting in groups that have been performed by group tasks: (stylists, meaning of the name, 2 portrait, "Log in image", epigraph.

Exposition of the lesson.

On the board slide with the text about the death of the hero (the teacher intentionally includes an excerpt about the death of the hero immediately into the literary context, so that from the very beginning of the lesson, to show how A.I. Solzhenitsyn continues tradition best masters Russian literature 19th century).

Story A.I. Solzhenitsyn "Right Brush".

"The veteran deeply went into the bench. Head and even shoulders of him as if downtown in the body. The helpless fingers shed. Hung open coat. The round bloated belly is implausably lying in the bend on the hips. "

Story I.A. Bunin "Mr. from San Francisco."

"... he rushed forward, wanted to pour air - and wildly stuck; The lower jaw dropped him, illuminated the whole mouth of the seal with gold, the head fell on his shoulder and climbed, the chest of the shirt twisted the box - and the whole body, wriggling, joining the carpet with heels, crawled the floor to the floor fighting for someone. "

Teacher's question:Would you like to die so much?

Students express their reflections.

Teacher's word: What do we see in the story final? The helpless, patient of the old cake, "veteran" of the punitive detachment of Chon, who is not assisted, and he is alone, may be dying, and a storyteller - a patient of the "cancer corps", 10 years old out of 35 of his life in Stalin's camps and after that exiled in the eternal link

Let's try to see the situation of the final from the point of view of the former Chekist.

The word is given a student who "born" into the image of a former Chekist, catches its possible inner monologue - thinking about his perception of the situation of the story.

Teacher's question: What is your attitude to this person? What did your parents talk about when you interviewed them?

Teacher's withdrawal 1:Freedom of choice is given to a person from birth, and therefore we will not rate now different points Vision, but if you complain (and this is the most living feeling) of the hero, you are thinking, because "averaged is devoid of compassion" (L. Borges).

Teacher's withdrawal 2:The main situation of the story: a man in the face of death is the key for Russian literature. Death as an assessment of life, checking the viability of everything that the person lived, what he believed. "Right Brush" A.I. Solzhenitsyn is a story symbol. Here the death of the hero is to understand not only his life, his moral values, but also an assessment of the ideology of the state, evaluating the revolution, assessing the human worldview of the Soviet era.

Testing lesson.

The teacher provides the word group "epigraph", which materials were issued in advance with quotes from works studied in the course of literature, from which students had to choose the most adequate epigraph to the "right brush" story, justifying it.

A group that chose epigraphs is given a word.

After the group tells about his choice, the teacher can also express his reflections on the epigraph.

Teacher's word: Thus, the classics of Russian literature expressed their attitude towards any form of violence and lies, any manifestation of humiliation of human dignity, claiming the unvisability of the idea that is not based on humanity.

In order to see when and how "collapsed" the life of the main characters, turn to the text of the work and see how the author allows the reader to look into the world, the soul of the heroes, to understand what they live

• How does the author express his attitude towards the hero?

The word is given to the group, which, comparing portraits of 2 heroes, highlights key words-symbols.

Before the speech of the group comparing portraits of heroes, the word is given by the group of "stylists", which answer the question why Solzhenitsyn calls his heroes by "foliage".

On the board slide with a table compiled by the group:

"Two scraps"

Solzhenitsyn highlights the item that the Chekist has no vitality in counterweight, which only comprehends the taste of life.

• Why?

Remember the works of A.P. Chekhov, who fought in all his works for the dignity of a person and considered the cause of moral weakness of a person, the absence of a common idea, the harness of the worldview and harmony of the whole life. The general idea he called the meaning of life, the absence of which deprives the personality of integrity and disconnects with the surrounding people. A person who knows the meaning of life, generous, tolerant, condestees to the disadvantages of others, internally free.

Not only key symbol The portrait of the former Chekist, but also the key symbol of the entire story is the image of the right hand just like the "Motive of dissection, destroying" (from the point of view of the researcher A.V. Urmanova) in all books of Solzhenitsyn.

The word is given by the group of students who prepared reflection on the meaning of the text name.

The slide is projected on the board with the result of the work of the "meaning of the name" group (see Appendix 1).

Teacher's withdrawal: The image of the right brush is the symbol of the whole "dead": the absence of truth, the symbol of non-free, and therefore the death of everything that does not have the highest sense: violence, lies, humiliation of human dignity, non-free, ideas of the justification of violence for the greatest purpose. The main character of the work is a brush, not a person, so the motive of retaliation is not central.

The main hero of this story, as in the novel by Turgenev "fathers and children," is life itself. She is the main criterion for evaluating the actions of heroes. Ability to be open Life and truth - stability evaluation criterion inner world Hero, his vitality, which means freedom as a moral category.

Teacher's question: Name the manifestations of the "living" and "dead" in the story, using our definition of the lesson: Live is what has the highest meaning.

Pupils call examples of the manifestation of "living", and in the course of further conversation and "measure" in the text.

The word is given to the group of "stylists" to explain why Solzhenitsyn calls the spring "nonpoughan". During the conversation, we also appeal to the help of this group.

The table made by the teacher is closed on the board. After the guys offer their own options, the table can be opened.

The word is given by the student from the group "Log in the image", which was preparing an internal monologue of the Sanitary.

The teacher thus prepares the situation of surprise, insulting, in which the guys, summarizing the previous material, comparing the known known as the proposed teacher, make small independent discoveries.

Teacher's question: What do you feel listening to this heroine?

Teacher's question: What unites a nurse and former Chekist?

After listening to the replies of students, the teacher can make a view of the situation: Both heroes do not know "order", they chose false valuesAnd it causes pain from the reader, pity, compassion, because they are doomed to disappointment and bitterness, once having met with the idea that their life "passed," and they seemed to live ...

Teacher's withdrawal:The principle of an inverted situation helps the reader to evaluate the actions of the hero, to see the copyright position, which seemed to be directly expressed directly. The author not only expresses the idea of \u200b\u200bthe unacceptability of violence, but also claims that lifeless everything that does not relieve on high idea Humanity and freedom of personality. If the price of building a great future is a beggar, a lonely cripple, it makes no sense. The tragedy of the fate of a little man is that all the main human values They were replaced with opposite, and he turned out to be defenseless before such "order." The class works with the substitution table, comprehending its data.

The teacher asks the "epigraph" group to remind all the words she chose in the quality of the epigraph to the lesson: "... the fate of a person who misunderstood the main thing in his era. No matter how well he is decent - it is doomed to rest in everything, to do stupid and dullness "(L.K. Chukovskaya) to make sure that their choice was accurate.

Teacher's question:What is the main idea of \u200b\u200bthe author, which he brings to the reader? Is the idea of \u200b\u200bretribution main in the work?

Teacher's word: Keywords To understand this - order. This is in the world of Solzhenitsyn what opposes chaos, what has the highest meaning, which means that vitality. Everything that does not make sense - lifeless, dead, and a person who does not understand this is not free and worthy in the first place Pity. Perhaps during the lesson, the guys themselves will come to the definition of what a real order is: "I need to regret people," "to love lives!", In suffering, everything is equal, it is impossible to build a life on faith in the dead, which do not mean things, because The finale of the life of a non-free person can be meaningless and terrible. It is necessary to refer to another person on the principle of humanity. Life, humanity, compassion, mercy is inextricably linked. If there is no it in our lives, it will become meaningless and "dead", and our final can be misunderstood and terrible. Let's save each other from this.

"This dialogue always remains risky, but will never be hopeless."

S.S. Averintsev

Reading is always a dialogue of equal. Does this mean that the books of A.I. Solzhenitsyn with teenagers read pointless: will not understand? No, it is necessary to, setting up your own and their mind, consciousness, feelings, soul on the literature of thought, on a special tonality of truth, to a meeting with the warrior of the Spirit, to think about the "autonomy of the human person", on a certificate that you can give life . Is it easy to join the dialogue with Pushkin's "Prophet"? But the hero is A.I. Solzhenitsyn is disturbing the same. Christian motifs repentance, vocation, fat human spirit, "Lights and darkness, memory of mortal, martyrdom, Christian love, forgiveness, preventing evil" - the basis of his fabric best booksFor, as George Niva wrote: "The world of Solzhenitsyn spiritualized," pneumaic "- he purses the breath of the beautiful - the true one," which determines the tone, the spirit of works, their poetics. Therefore, the holistic - spiritual and aesthetic analysis of the works of Solzhenitsyn, to which he paid attention to and L.E. Gerasimova: "it is impossible to understand the GULAG Archipelago, without recalling the author's thoughts about the "last situation of a person in the world", not absorbing the experience of repentance and faith. " I would like to add: it is impossible to understand without feeling the air of the inner freedom, courage, daring, dedication. Metropolitan Anthony Surozhsky wrote that "... a person who is not ready to pay all his life to stand in truth, in loyalty, will never live with his own power. It will always be held for fear, no matter how to die, as if not to suffer, no matter how risk more than he is ready ... "A.I. Solzhenitsyn was ready for this, and his reader had the opportunity to at least ask this question to himself in a dialogue with the author and heroes of his books. "Solzhenitsyn is destined, apparently to take a tragic place of an exorcist of the Russian consciousness, the liberator from all idols, captivating and captured him," said Father Alexander Schmeman, reflecting that it was "violated love - the mysterious combination of love and vision where the love, purified by "vision" from any illusion, addiction, blindness, becomes genuine love, and vision, in-depth love becomes complete, able to accommodate the whole truth, and not torn her scraps and underlies Solzhenitsynsky creativity to us Some miracle of conscience, truth and freedom. " Amazing manner, plunging into the world of A.I. Solzhenitsyn, read himself can gain a vision of history, if first of all the teacher will be ready to break through to himself through the dialogue with the author and text, ready to understand the questions of good and evil, ready to be a joyful interlocutor, willing to work on understanding every word, because it is in It, according to the author, "constant breathing of the writer", every sound and intonation, for a linguistic commentary, understanding the rhythm, the tone of the narrative, the sound movement of the phrase, vocabulary - important keys to understanding the world of this author. About Stylistics A.I. Solzhenitsyn wrote the most bright thinkers of the XX century. N. A. Struve: "He has an unmatched style of style, according to the richness of the dictionary, in the explosive of syntax. This is already enough to enjoy a big artist. Propes of such energy with jams, perhaps, was not. One energy, in the other, on the contrary, "poetry", or the refinement of the language, like Lermontov, in which a fencing prose (this is the expression of Solzhenitsyn himself). Or Gogol - a juiciency, colorfulness, thrill, etc. Everyone has its own. In addition, Solzhenitsyn is peculiar, which is called a little scientific, chronotop language, that is, the structure of time and space. " Georges Niva: "Solzhenitsyn restores the initial energy of the words" Beethoven Power of His Art, his vision, a special density of his text - is obvious. The richness of the tonalities, the cruelty of irony, the heat of the controversy is raising him over all the prose of his country ... The verbal fabric of his creations is a symphony, perhaps who does not have analog. " A.M. Skirovsky: "... The Russian language of the era of socialism comes to life, gains quality inherent in only classical Russian literature. This means that, as if on top of the sounds of the "Divine Ellinsky Speech" and "Acute Gallic Men", overflows "Words about the regiment of Igor" and the frightening depth of the insights of Tolstoy and Dostoevsky, he put angular, tough, even rude verbal "stones", And they increased, played, resurrected! " S.S. Averintsev: "Pure literary Solzhenitsyn is stronger than just when it acts as, conditionally, the" battalist "... When he depicts the actions and events of purely dynamic, unpredictable outcome of which is solved from a second by a second ... In their gowns, choirs, Districtcoma - entered The dead archipelago, without a mittens, in the circuit chtz, "yes, there was no such furious dancer of rhythmic prose under the sharp born in the Russian literature since the time of Andrei White." A. V. Urmanov noted that "the narration in most works of Solzhenitsyn is based not only on plotting-head deployment historical events and human fate, but and, in significant degree in rhythmic repetitions and associative connections, repeated metaphors and symbolic images, motifs and leitmotims. "

Summary of the lesson by the story of A.I. Solzhenitsyn "Right Brush"

Methodical design lesson:

1. This lesson is to continue the conversation about the understanding of the tragedy of a small man, defenseless before the dead ideology. Lesson by story A.I. Solzhenitsyn is carried out to awaken the motivation of a young man to think about the issues of personal moral choice in any life situation. Therefore, the "peak", the culmination of the lesson should be the answer to an unexpected question about the similarity of absolutely different people - similarities in the space of non-volatility, for the choice, perfect by them, is false, the ideas are false, comprehension - no.

Position of the Teacher: A person who has done the choice in life is not truth, not conscientious - there is no vitality, for he is incomprehensible, and therefore takes pity. A student reflects on his choice during the lesson.

All methodological techniques used by the teacher are a different kind of catalysts of the situation of insight, which can occur at the lesson, and may not happen. Such "catalysts" are situations of accumulation, when students systematize the material, detecting similarities, differences, key characters; The situation of "cooling into the image"; Creation of mental cards, syncweins, interviews with adults after reading the work out loud.

Theme lesson:

"Living" and "Dead" in the story of A.I. Solzhenitsyn "Right Brush".

The purpose of the lesson:

Answer interest in personality, creativity and worldview A.I. Solzhenitsyn.

Tasks lesson:

Develop the ability to see the actualization of the artistic word.

Shape joint group interaction skills.

Work out the skills of independent meaningful reading.

The methods used in the lesson:

Looking into the image: Creating a monologue from the Hero face, the acting embodiment of the image of the hero;

Group work;

Creation of mental cards;

Creating schemes, reference tables;

Writing synquins;

Reading by children of the work out loud parents at home;

Interview with parents based on the results of the work read aloud.

Basic concepts: live and dead as the categories of internal freedom, synengo, the principle of "inverted situation", antithesis.

Preliminary preparation:

This lesson is the final reflection on the story of the "Right Brush".

In the first lesson, we are talking about the "miracle" of the phenomenon of Solzhenitsyn in the Russian literature, the brightest pages of his fate, the uniqueness of the person, the features of the stylistics. The main thesis of the lesson was the idea of \u200b\u200bthe topic of the victim, self-denial of as the main in the work and the fate of this artist. A. Alexander Schmeman believed that "Miracle Solzhenitsyn is that he was distinguished by his uncompromising commitment to the truth to the victim, as his fate shows."

The second lesson we were dedicated to reading aloud Story "Right Brush" and compilation mental maps Initial perception of artistic text.

(Mindmepping (Mindmapping, mental cards) is a convenient and effective technique for imaging thinking and alternative recording. It can be used to create new ideas, fixing ideas, analysis and streamlining of information, decision-making. This is not a very traditional, but very natural way to organize thinking, having several undeniable advantages over the usual ways to record). The principle of compiling mental cards is that in the center of the sheet is recorded key conceptAnd while reading the text out of the teacher, the student records all the thoughts and feelings arising from him.

When preparing for the lesson, homework were given:

Questions for interviews:

t. Bobrov: culprit or victim?

How do you feel about the former Chekist T. Bobrov?

What do you think, why t. Bobrov is not experiencing a flour of conscience?

Why do you think why the story does not happen?

What do you think I wanted to tell the reader the author?

2. Group task: make a comparative table of portraits of a zack and security officer, highlighting key artistic details.

3. Group task: meaning of the name of the story. The role of the symbol of the "right brush".

4. Individual task: "Log in image." To tell about the basic situation of the story "Right Brush" on the face of Chekist, Sanitary.

5. Group task: Choose examples of "subtleties" of vocabulary and tell about what the author expresses, using the expressions: "Two strengthens", "nonpougalian spring", "stupid alabaster busts", "looked at a dog" ...

6. Group task: choose the most adequate epigraph to the story "Right Brush", justifying it.

Material for choosing epigraph:

1. "I am defering and Az We will repay" (L.N. Tolstoy "Anna Karenina").

2. "Life has passed, but as if not lived" (A.P. Chekhov "Cherry Garden").

3. "The first law of history is not to dare to say no lies. Then - not to dwell to keep anything about any truth and that no suspicion of any suspicion, nor in hostility "(Cicero).

4. "Angel in the soul of a human man lives, the mesuds are captured, but love will crush the seal ..." (N.S. Leskov "Imprinted Angel").

5. ... Low for eternity live,

But if you are instant concerned -

Your lot is terrible and your house is fragile! (O.E. Mandelstam 1912).

6. "... The fate of a person who misunderstood the main thing in his epoch is terrible. No matter how well he is decent - he is doomed to reveal everything, stupidity and palls "(L.K. Chukovskaya).

7. "... such a souls will not pick up anywhere. Only in my city. Bezless Souls, Ruthless Souls, Deaf Souls, Chain Souls, Legal Souls, Putting Souls ... Burrying Souls, Sales Souls, Located Souls, Dead Souls ... "(E. Schwartz," Dragon ").

8. "I'm exhausting and, banging under the grave crown, went ahead, putting out the simplest of the ability to reduce the person" (I.E. Babel, "Karmia").

9. "Everyone will be given by his faith" (MA Bulgakov, "Master and Margarita").)

During the classes:

Pupils are sitting in groups that have been performed by group tasks: (stylists, meaning of the name, 2 portrait, "Log in image", epigraph.

Exposition of the lesson:

On the board slide with the text about the death of the hero (the teacher intentionally includes an excerpt about the death of the hero immediately into the literary context, so that from the very beginning of the lesson, as A.I. Solzhenitsyn continues the tradition of the best masters of Russian literature of the 19th century).

Story A.I. Solzhenitsyn "Right Brush":

"The veteran deeply went into the bench. Head and even shoulders of him as if downtown in the body. The helpless fingers shed. Hung open coat. The round bloated belly is implausably lying in the bend on the hips. "

Story I.A. Bunin "Mr. San Francisco":

"... he rushed forward, wanted to pour air - and wildly stuck; The lower jaw dropped him, illuminated the whole mouth of the fill with gold, the head fell on his shoulder and climbed, the chest of the shirt twisted the box - and the whole body, wriggling, joining the carpet with heels, crawled on the floor fighting for someone

Teacher's question:

Would you like to die so much?

Students express their reflections.

Teacher's word: What do we see in the story finals?

The helpless, patient of the old cake - "veteran" of the punitive detachment of Chon, who is not assisted, and he is alone, maybe dying, and the narrator - the patient " crack case", 10 years old from 35 of your life who spent in Stalin's camps and after that exiled in the eternal reference.

Let's try to see the situation of the final from the point of view of the former Chekist.

The word is given a disciple who, "born" into the image of a former Chekist, reads his possible inner monologue - thinking about his perception of the situation of the story.

Monologue of Chekist (created by the student in the process individual work):

"I am very tired ... it's very hard for me ... I do not understand why no one around the attention around me. And I'm a well-deserved person! Veteran revolution! I personally filled with Sergey Mironovich Kirov near Tsaritsyn! I have to pay a personal pension! And everything happens on the contrary, but because the archives are burned, the documents are lost, the witnesses of my meaningful cases do not collect. Yes, I, probably, is to blame for the help of the help, one, just I have, the best of my document. After all, in the past, I was a great man, served the great goal - destroyed the enemies of the new Soviet state, his hand burned down these reptiles. But now old old, I don't need anyone, and now I arrived in Tashkent, despite the fact that I needed to the Urals and I have a Uralskaya's registration, but the disease grabbed, I didn't have any power, I could not breathe, I can't breathe , everything around seems black, dim, meaningless ... Moved me in one city, then in another. During the illness, where I just visited, but nowhere found no person who would help me. But I am worthy of gratitude for my great, significant past. I'm tired ... no strength ... what to do, I do not know. No relatives, there are no friends, there are no friends either. I do not know who to turn "comrades, comrades!" "I scream, I say, and people pass by, and no one pays attention to me." The hot sun jumps on me head, I'm tired, the body itches, clothes are dirty, the disease does not give rest, I can not even think about anything other than this disease. And here one man is still a patient, even gave me three rubles, which I asked, helped to go to the registry. This patient was the only person who listened to me and was not indifferent to me. He asked to wait for him at the entrance, and he went to the reception room, but I still, despite the fact that I was very hard, I decided to go after him. But when I was inside, heard the nurse told the man that I could not accept me, since I did not come in an ambulance. I gave my friend my help to show her receipt. I was sure that she could not refuse me. After all, I am a well-deserved person! Veteran revolution! I consisted in a nice detachment Special purpose The name of the world revolution and his hand chopped many reptiles. Nurse can not accept me. But she did not even look at this help.

I'm very tired ... I sat on the bench. Weakness won me. Probably, something is wrong in this reference, probably not so it is written, since this young girl refused to me. I am very hard ... ".

Teacher's question: What is your attitude to this person? What did your parents talk about when you interviewed them?

Teacher's withdrawal 1.: Freedom of choice is given to a person from birth, and therefore we will not raise different points of view, but if you complaint (and this is the most living feeling) of the hero, you are people thinking, because "averaging is deprived of compassion" (L. Borges).

Teacher's withdrawal 2. : The main situation of the story: a man in the face of death is the key for Russian literature. Death as an assessment of life, checking on the viability of everything that the person lived, what he believed. "Right Brush" A.I. Solzhenitsyn is a story symbol. Here, the death of the hero is to understand not only his life, its moral values, but also an assessment of the ideology of the state, evaluating the revolution, assessing the human worldview of the Soviet era.

Testing lesson:

The teacher provides the word group "epigraph", which materials were issued in advance with quotes from works studied in the course of literature, from which students had to choose the most adequate epigraph to the "right brush" story, justifying it.

A group that chose epigraphs is given a word.

After the group tells about his choice, the teacher can also express his reflections on the epigraph.

Solzhenitsyn, as the heir of Russian literature of the 19th century, assesses the viability of the event, ideas, a deed of the cost of life of one human life.

Raskolnikov, driven by the thought that "break, what needs ... suffering to take over ... Freedom and power over everything tremble wit and above all anthill! Here is the goal"

…great person It is able to take power into their hands, despite any victims, for the sake of great goals, "give yourself a permit to step over blood," at the end of the novel says: "I'm not an old woman, I killed myself ...".

Bazarov before death sees in a dream of red dogs, and this is possible, reflection on a godless theory, proving the absence of spirituality, which collapsing in contact with life and against theoretics will introduce it to the world so violently denied spirituality.

"Professor Preobrazhensky - You're Creator (Pomaksa), - We read in the story of Bulgakov" dog's heart»Evaluation by the author of the idea of \u200b\u200bviolent improvement of the human breed ...

Teacher's withdrawal: Thus, the classics of Russian literature expressed their attitude towards any form of violence and lies, any manifestation of humiliation of human dignity, arguing the unvisability of the idea that is not based on humanity.

In order to see when and how "collapsed" the life of the main characters, turn to the text of the work and see how the author allows the reader to look into the world, the soul of the heroes, to understand what they live

The word is given to the group, which, comparing portraits of 2 heroes, highlights key words-symbols.

Before the speech of the group comparing the portraits of heroes, the word is given by the group of "stylists", which answer the question why Solzhenitsyn calls his heroes by "strengthening", give a linguistic comment to this word.

On the board slide with a table compiled by the group:

"Two scraps"

World of Sake

The world of Chekist T. Bobrova ("Live Corpse")

the most painful and most beautiful spring in life

The eyes missed the world

Bliss - Lying on the green grass with a none, peacefully inhale herbal smell

"I was and so, but not like the sick surrounding me: I was a lot of them and forced to be silent. They came to date, relatives were crying about them, and one was their concern, one goal is to recover. And I could hardly recover from anything for: at a thirty-five-year-old, I didn't have anyone all over the world in that spring. I have not yet been - passports, and if I now recovered, I had to leave this greens, this multiple face and return to my desert, where I was exiled to be forever, under a vice supervision, with marks every two weeks, and Where did the Comfermit of the Command, I have not worked for me and dying to release for treatment. "

"I was pelt . My stupid face was on myself experienced - wrinkles of the camp forced gloominess, the ash's aspired by the death of the skin, recent poisoning of diseases of the disease and poisons of drugs, which also added greens to the color of the cheek. From the protective habit of obeying and hiding my spin was hugged. Striped jester jacket barely reached me to the abdomen, striped trousers ended above the ankle, from stupid camp kizzy shoes, corners of portites, brown from time to time

Handed hand

Desire to play tennis

Weak feet

taste of life

Last disease

Hechny eyes were mutted

some dullness found on the eyes

watched somehow in a dog

with difficulty holding hands

he often heavy exhaled, I caught

the speech was small, burned

even Capka tomila his

uncooked, dustless hair

not his neck, until the sickness of the driving, chicken, hung a lot of skin too much, and a three-way trunk kadyk walked separately

"I barely walk," we dragged

the right brush is so small, with swollen brown veins, with round-swollen joints, almost not able to stretch the certificate from the wallet ... The joints of her fingers were round-swollen, and the fingers interfered with each other ...

Non-spot little man, like beggar

"This man had a non-promotional belly, more than a pregnant woman - a bag of sagging, driving a dirty-protective gymnaste and dirty protective trousers. His boots with pagging soles were heavy and dust. Not by weather burdened The shoulders of a thick unbuttoned coat with a felling collar and lured abbreasses. On the head lay an oldest cape, a decent garden frightened.

"With difficulty holding a hand with a raised hand, he took this trius, laid it into his pocket - and immediately his liberated hand slapped on his knee. And the head again rested in the chin in the chest. "

Life of Polegla

It did not have a vitality

Solzhenitsyn highlights the item that the Chekist has no vitality in counterweight, which only comprehends the taste of life.

Why?

Remember the works of A.P. Chekhov, who fought in all his works for the dignity of a person and considered the cause of moral weakness of a person, the absence of a common idea, the harness of the worldview and harmony of the whole life. The general idea he called the meaning of life, the absence of which deprives the personality of integrity and disconnects with the surrounding people. A person who knows the meaning of life, generous, tolerant, condestees to the disadvantages of others, internally free.

Not only the key symbol of the portrait of the former Chekist, but also the key symbol of the entire story is the image of the right brush in the same way as the "motive of dissection, destroying" (from the point of view of the researcher A.V. Urmanova) in all books of Solzhenitsyn.

The word is given by the group of students who prepared reflection on the meaning of the text name.

The slide is projected on the board with the result of the work of the "meaning of the name" group. Pupils are talking about what conclusions they came, considering the name of the work in all possible contexts. Also in advance, the teacher puts the task before them not only to voice the result of his work, but also to tell how they came to such conclusions, what literature used, to which sources were based so that the rest of the students were clear, what is the algorithm for performing this type of work:

Conclusion: The image of the right brush is the symbol of the whole "dead": the lack of truth, the symbol of non-free, and therefore the death of everything that does not have the highest sense: violence, lies, humiliation of human dignity, non-vianess, ideas of justification of violence for the Great Goal. The main character of the work is a brush, not a person, so the motive of retaliation is not central.

An example of synkewine:

Right brush

Terrible, sagging, patient

Davit, impaines,

Deprives the hero of life

Suffering…

Question: What is the main character of this story?

Conclusion: The main character of this story, as in the Roman of Turgenev "fathers and children," is life itself. She is the main criterion for evaluating the actions of heroes. The ability to be open life and truth is the criterion for assessing the stability of the inner world of the hero, its vitality, which means freedom as a moral category.

The author builds a story on the principle of the antithesis of the living and dead, uses the reception of an inverted situation, comprehending why a person often replaces live dead. Teacher's question : Name the manifestations of the "living" and "dead" in the story, using our definition of the lesson: Living is what has the highest meaning.

Pupils call examples of the manifestation of "living", and in the course of further conversation and "measure" in the text.

The word is given to the group of "stylists" to explain why Solzhenitsyn calls the spring "nonpoughan". During the conversation, we also appeal to the help of this group.

Table made by a group of students as homeworkClosed on the board.

After the guys offer their own options, the table can be opened, giving the word to the group that made it for the comment to its product.

living

dead

Nature (painfully beautiful nonpougalian spring)

Mercy

Memory of the past

Empathy

Caring for near

Humanity

Women

Life itself

Desire

Disease

Suffering

A pity

Lively traffic

Order

Happiness

Flowers

Fruit Lark and teahouse

Trolley with ice cream

• Dead brush - Key symbol

  Certificate as a symbol of power

  Rudeness

  Egoism

  Coarseness

  Ignorance

  Cheerfulness

  Power

  Ideology (the idea of \u200b\u200bfair retribution)

  Stupid alabaster busts

  Alebaster Stalin with a stone smile in the eyes

  Impudence

  No pity

  Dog glance

  Contempt

  Comics about spy

  Muddy eyes

  Injustice

  Gusto-Lily Lipstick Nurse

  mourning

The word is given by the student from the group "Log in the image", which was preparing an internal monologue of the Sanitary.

"I am very tired of all the bustle of the working day, these patients are so picky: they are not so, this is not a case, do not please. Well, finally the evening, now you can sit down, maybe no one else will come. I put comics in the handbag in the morning. Here they are, and here is my new lipstick, you need to make lips, try, now I will get the mirror. I was told that it was very fashionable colorYes, really, beautiful. Well, now for the comics, just no one prevented, as I love spy stories. All the window I close, tired everything. Well, who else there, just sat down. Why do you? He is going to bring someone else, well, now, all my shift ends, enough of me these patients. With him now a whole eternity. They do not know order, here in the evening they wake up. It is necessary to answer breaking, let them know order. I don't want to talk more more, the window is killed and that's it. Yes, he also climbs into the window, maybe ZEK former, will scold still that they have on the mind, former? Let me move away away, you need to be careful with him. It is necessary to somehow explain to him, with what pleasure I will get away from them. Well, finally got out, I do not want to accept them and I will not. I still have to look at them, I got, he knocks on the wall, and the ports himself can not fix in the boots. Why he is so picked about this old man. What a matter of him, it seems not relatives. Well, no, I know the order, they came on their two, because they did not bring them the ambulance, it means that nothing would happen to them. I will spend time on them yet. Summarize diseases and served later. It seems to be taken away as I was tired. Now you can make a magazine to extract. So there is no way, he also owns a piece of paper. Take it. How annoying these patients ... "

The teacher thus prepares the situation of surprise, insightin which the guys, summarizing the previous material, comparing the unknown known as the proposed teacher, make small independent discoveries.

Teacher's question: What do you feel listening to this heroine? Is it possible to say that a nurse and former Chekist unites something?

Having heard the answers of the students, the teacher can express his opinion on the situation: Both heroes don't know "order", they chose false values, and it causes the reader pain, pity, compassion, because they are doomed to frustration and bitterness, once having met with the idea that their life "passed," and they As if did not live ...

Teacher's withdrawal:

The principle of an inverted situation helps the reader to evaluate the actions of the hero, to see the copyright position, which seemed to be directly expressed directly. The author not only expresses the idea of \u200b\u200bthe unacceptability of violence, but also claims that lifeless everything that does not relieve on the high idea of \u200b\u200bhumanity and freedom of personality. If the price of building a great future is a beggar, a lonely cripple, it makes no sense. The tragedy of the fate of a small man is that all the main human values \u200b\u200bwere replaced with opposite, and he turned out to be defenseless before such "order".

The class works with a substitution table, where the concepts (mythologies) are written in 1 column, which operates a former chekist, and now the nourishing crippled. The class task is to fill right in the class 2 of the Count words, expressions from the text, responding to the teacher's questions, comprehending the essence of the substitution and its lifeless result.

Main substitution: "Live" and "Dead"

Order

What keywords do you determine the world in which the hill are denied the right to life?

scheme, routine, bureaucracy

merit to Fatherland

What did the world answered on the "sacrifice" of the former Chekist?

indifference, cynicism of "ungrateful" compatriots

former Chekist

Who is the former respected person? What is the meaning of such a symbolic "fall"?

poor cripple

honored man

Through what detail of the text is revealed by the motive of the tragic irony relative to the thoughtless and meaningless victim of the main character, his devotion to false values?

comic about security officers

patriotism

feat

heroism

How to reveal in the text theme false heroism?

cruple a lot of reptiles

killed his compatriots

served in a special purpose squad (punisher)

faith in the idea

What detail of the text emphasizes the blind false faith of the hero?

stupid alabaster busts (a group of stylists gives a linguistic comment)

life of Polegla

The teacher asks the "epigraph" group to remind all the words she chose to the lesson in the quality of the epigraph, in order to make sure how much their choice was accurate.

Teacher's question : What is the main idea of \u200b\u200bthe author, which he raises to the reader? Is the idea of \u200b\u200bretribution main in the work?

The word teacher: Keywords for understanding this - order. This is in the world of Solzhenitsyn what opposes chaos, what has the highest meaning, which means that vitality. Everything that does not make sense - lifeless, dead, and a person who does not understand this is not free and worthy in the first place Pity .

Perhaps during the lesson, the guys themselves will come to the definition of what a real order is:

"You need to regret people," "Love the living need!"

In suffering, all are equal

You can not build a life on faith in the dead, who do not mean things, because the final of the life of a non-free person may be meaningless and terrible

It is necessary to refer to another person on the principle of humanity.

Slide on the board:Words N.A. Struve also reflect the main idea Story A.I. Solzhenitsyn: "He witnessed, heralds the truth. All his work is a hymn to a person who remains a person in all circumstances. Solzhenitsyn "Man" sounds holy, good, it is a crown of creation, but if a person is ready for suffering, on self-restriction in all senses. All his creativity is the rehabilitation of a person in the most inhuman eyelid "(N.A. Struve).

Finishing our conversation, I would like to hear the voice of another classic of Russian literature, for which the image of "life" was the main in creativity.

And must not a single slicker

Do not back out

But be alive, alive and only alive and only

Alive and only to the end ...

B. Pasternak.

Life, humanity, compassion, mercy is inextricably linked. If there is no it in our lives, it will become meaningless and "dead", and our final can be misunderstood and terrible. Let's save each other from this.

"Right brush" is a story symbol. Here, the death of the hero, it is not only the understanding of his life, its moral values, but also an assessment of the ideology of the state, evaluating the worldview of a person of the Soviet era. Her hero is helpless, patient old cripple, "veteran" punitive chon, who does not help, and he is alone, perhaps die. The narrator himself is one of the patients of the "Cancer Corps", ten of the thirty-five years of his life spent in Stalin camps and then referred to the eternal link. The former Chekist burned documents, and now it cannot prove that in the past was a great man and served the great goal - destroyed the enemies of the new Soviet state. In part, he vinit and himself that "references did not copy."

Here, in this story, Solzhenitsyn continues the Humanistic line classical literature. Russian writers have always expressed their attitude to any form of violence and lies, any manifestation of humiliation of human dignity, arguing the unvisability of the idea that is not based on humanity. So the key symbol of the whole story is the image of the right brush, just like "Motive dissection, destroying" (A.V. Urmanov), found in many books of the writer. Why is the author of his entire story building on the sycken, making the hero not man, and his brush: "In full swing demolished his head, neck, the shoulder part of this right brush"? The image is dead The right hand is a symbol of non-free, lack of truth, and therefore the death of everything that does not have the highest meaning: violence, lies, humiliation of human dignity. The main hero of this story is life itself. The ability to be open and truth is the criterion for evaluating characters. [Ponomareva I. 2010: p.34-35.]

In the plot of the "right hand", it clearly sounds through Solzhenitsyn's prose the motive of retaliation, but it would only be a clear simplification of the story. Symbolic meaning used solzhenitsyn artistic reception More consistently saturated than it appears at first glance. The right brush, the armed saber destroys, dissecting the "remaining reptiles" thoughtlessly, as if automatically, by itself. The motive of destroying, dissection, splitting, the main iconic element of which is an ax of an ax or functionally identical tools - the most important symbolic detention trajectory. These murder guns are archetyapically universal and most impressive emblem of inexorable merciless and primitive cruelty. [Urmanov A.V. 2004: p.324-325, 327.]

Solzhenitsyn "Right Brush" builds on the principle of antithesis of the living and dead, using the reception of an inverted situation, comprehending why a person often replaces the living dead. The author is no coincidence that gives the reader the opportunity to "meet" with one hero, a nurse, whose behavior is largely the personification of the "dead" in the work. Both hero of this story do not know "order", they chose false values, and it causes the reader pain, pity, compassion, because they are doomed to frustration and bitterness, once having met with the thought that their life "passed", and they As if did not live. The tragedy of the fate of a small man is that all the main human values \u200b\u200bwere replaced by opposite, and he turned out to be defenseless before such a "order." I want to remind the words of L. Chukovsky: "The fate of a person who misunderstood the main thing in his epoch was terrible. No matter how he was able and decent - he is doomed to restore everything, stupid and dullness." Life, humanity, compassion, mercy is inextricably linked. If there is no it in our life, it will become meaningless and "dead", and our final can be misunderstood and terrible. Yes, save each other from this! [Ponomareva I. 2010: p.36-37.]

Vyacheslav Lyuty

Remembrance of the true case

(Alexander Solzhenitsyn's story "Right Brush")

A.I. Solzhenitsyn in Chukovsky in Peredelkino. May, 1967

One of the first stories A.I. Solzhenitsyn The "right brush" was written in 1960 - "In the memory of the true case, when the author was lying in a cancer dispensary in Tashkent." No Soviet Journal printed this thing at the time, and she "went to Samizdate." Subsequently, the title of several collections of small prose writer abroad and in Russia they repeated the name of the story. And this circumstance determines how much importance attached to Solzhenitsyn said work - not very well known in reader circles, by the attention of criticism, repeatedly discussed the "one day of Ivan Denisovich", "Matrinin Dvor", "The case at the Kochetovka station" ...

Today, on the background of Slavostilovia and the censures to Solzhenitsyn, the judgments are increasingly sounding that he is more - public figure And the publicist than the artist. It is noteworthy that such characteristics are broken from liberal lips, even yesterday the artistry of the writer who singer "Osann" the writer's artwork, apparently - in the peak of a comprehensive look at his work - as a rule, negative. At the same time, a high-ranking lady-philologist notices in the television program that Solzhenitsyn "bother her" two hundred years together ", and" helps "-" Archipelago Gulag ". Thus, there is a sufficiently clear revaluation of the writer heritage, unfortunately, in many ways the tendency, and from an ideological point of view - is quite self-penetrating. Nevertheless, the journalistic works of Solzhenitsyn constitutes a critical at least because the author's opinions on the life of Russia concern the truly every reader who approxes them to the surrounding society, two decades are frankly immoral and predatory.

The other thing is the works of art, where the image is dominated, the art of the story, the ability of the narrator to dispose of events and details within the world, which he recreates in the presence of the interlocutor entrusted to him. Here everything is ambiguous, words live own lifeAnd the writer often appears to another person compared to how we know it in a visible reality. In this - the secret of creativity.

Therefore, there is all the grounds in order to carefully look at Solzhenitsyn's prose once again and try to see the features in it, previously escaping from philological eye.

Fabul "Right Brush" is not distinguished by difficulty, the author in the note calls what has happened "case". In the same way, the events at the Station of the Kochetovka in the famous story of Solzhenitsyn already in the title of a similar genre note. In the domestic literature, such a reception is usually used to show the time, environment, person - and wider: characteristic features Epochs. It is enough to mention the story of the literary antagonist Solzhenitsyn M.A. Sholokhov "The Fate of Man", which begins as an essay, but then turns into a brilliant - in short, simplicity of presentation and moral depth - a picture of a Russian share during the years of military likholety.

The scale of the story in the "right brush" is not so significant, since the author had to speak extremely restrained, only the horizon of subsequent literary and documentary plots. We can say that the whole early prose A.I. Solzhenitsyn entered the Soviet reading circle as a certain chain of "cases", the time and space between which was filled in initially hidden from a prayer look and hearing with personal reader dramas. And subsequently, as if he rose from the non-existence of a huge mainland of Russian unhappiness - and the former "case-passages" found context.

"Right brush" retells easy and not long. The main character From the site of references by illness translated into the hospital in Tashkent. Yesterday he died of cancer, but today the disease retreated, and it seems to look at the world. In the hemough, the old man in Istropitan clothes barely audibly appeals for help to others, in his arms he has a direction for treatment. The hero escorts him to the receiving department and it turns out that in the years of the civil war, he fought under Queen. Hospital registrar, young girl, refuses to take a patient. Weekly right hand The old man with difficulty gets a dilapidated piece of paper, which states that its submitter served in a special purpose squad and "I chopped the remaining reptiles." The hero draws attention to the right brush of the old chonic, sometime with the horse of the swing enemy's swoiling saber, - now these fingers are helpless. He leaves the old man from the registry window and leaves.

Two characters of the story are essentially mutual opposites.

The fate of the main character is crippled by the punitive system of the communist state, and he himself almost steps from the face of the earth terrible disease. In the world bodies spring, and former ZEK., standing on the side of the earthly existence, greedily observes a lot of smallest things, which, mutually connecting, make up a living, volumetric, playing with paints and forms.

"Not yet daring to admit himself that I recover, even in the most valuable dreams measuring my life-added me without years, but for months, I slowly stepped over the gravel and asphalt paths of the park, scared between the corps of the Medical Institute. I needed to sit down often, and sometimes, from the tearing X-ray nausea, and lay down, lowering the head.<...> I already knew that the truth that the authentic taste of life was not comprehended in many ways, but in small. Here in this unsure overlap wealthy legs. In careful, not to cause injections in the chest, inhale. In one not beaten by frost, potatoes caught out of soup. So this spring was for me the most painful and the most beautiful in life. "

It is amazing this description of the most ordinary will take the daily reality, seen attentive, greedy eyes of a man who returned almost from non-existence. Almost a third of the story occupies such a panorama. The ability to unusually sharply see, hear, to obey the diversity of the world - the main feature of the hero in comparison with all the other figures, at least fleeing the "right hand" pages. And one more property makes the words of the narrator significant - a look into your own camp of the past, the connection of his grievous experience with the fate of everyone who fell into the monstrous Soviet "Cool Calm".

"I was pity. My stupid face was hurt<...> But I have not seen myself. And my eyes<...> transparent<...> I passed inside me - the world. "

So in the consciousness of the main character, the background arises, and his vision is able to see the past and present.

"The awkward little man, like a beggar" at the gate of the hospital park "in the grooving voice" mumbles, appealing to passersby: "- Comrades ... Comrades ...". But he is not interested in anyone, and only yesterday's suicide seems to him with the words: "What do you say, my brother?" Here, as soon as the author, the author is indicated by the difference between the word "comrade", the erased revolutionary era, from the narrow-circular circular circulation of the "brother", which preserved the warmth.

The registrar, "a very young sister with a nose-shoe, with lips, made not red, and the dense-lilac lipstick" is indifferent to the merits of the "veteran of the revolution" ("Sergey Mironich Kirov under Tsaritsyn's hand shook his hand"). Then like the storyter, such details of the battle past cause alienation, and sometimes - shudder. IN a definite sense civil War It has not been over for him, and the camp of the biography of the hero confirms it. Nevertheless, he calls a sick old man "Dadasha", as if by grinding the ongoing naming of that distance, which gradually manifests itself in their little-sexual communication.

For bureaucratic social system The figure is barely excessive. At Solzhenitsyn, this image becomes generalizing for the hidden characteristics of the October Change of 1917: the revolution is not only devouring his children, as the "Lenin Guard" came out with the "Lenin Guard" in 1934 and 1937; She throws away, as if Juice was already squeezed, even the fate of his fanatical fighter. Only once the old man called the hero of "Son", mentioning about his own past, as if emphasizing the age difference and as if learning the younger. In other cases, he utters almost like Molub: "Comrade" ...

We are dressed and the hero, and his weak interlocutor is similar. At one - "The striped jester jacket barely reached ... to the abdomen, striped trousers ended above the ankle, from stupid camp kizzy shoes, corners of portites, brown,"; another - "dirty-protective gymnastrock and dirty-protective trousers"; Heavy dust boots "with paved soles"; "Tolst coat with a felling collar and covertly"; "Student Istrong Cap".

There are two constantly repetitive signs of this "awkward little little man": "Non-promotional belly, more than a pregnant woman - a bag of sagging" - "as if the old man turned to the fore"; "He was mutted by his eyes" - "Some dullness found on the eyes." Here it is clear the visual parallel in relation to the hero-storyteller: "From the protective habit of obeying and hiding my spin was attached"; View transparently looked at the world.

How similar these figures are externally ("So we went, two scraps<...> Past of stupid alabastra busts "leaders) - they are so opposite in their spiritual projection.

Looking at the old Gonman Pelon, it seems that it prevents from seeing not only objects and figures that really surround it. "The dullness" of vision does not allow the "veteran of the revolution" to track the insurmountable uglyness of the human relationship, which reigned in the communist state, in whose name it personally, "a lot of rest of the reptiles."

From position today's day Already in other things, it is meaningful, the characteristic of the old man in the mouth of the main character is also understood: "His illness was powered by medical certificates, and if you look at the very last disease. Printing on many patients, I distinguished it clearly that there was no vitality in it. His lips relaxed, the speech was small ... ". A strange way in these judgments is highlighted by the thought of the inevitable collapse of the country of the Soviets. The words in the story "Right Brush" now live somehow otherwise, leaving not only outside the "writing case", presented by the author to the reader, simplisticly speaking, with a moral-asked goal - something sponsored and even timeless was manifested. And in the correlation with a fierce, irreconcilable journalism of Solzhenitsyn, the Christian subtext also comes to life in the story.

The style in the "right hand" leaves the impression of roughness. He, no matter how present here at all, leaving the background: only a perception of a small story about returning to life; The choice of the details of the outside world, which must be displayed "new", greedy eyes; Fate, marked scoop - exit from dying and memory of the years of camp life. This small artistic inventory, coupled with the exactly prescribed appearance of the anti-hero, is enough to make the image made in the title of the story, the reader worried about the years - when the realities have changed dramatically, and the horrors of long-time partly mythologized, and is largely forgotten or distorted.

It seems that there is no other, unobtrusive and strikingly accurate literary prints of that era when the country passed from one social state To another - as if more humane in relation to its own citizens. Although, in practice, the soul of the microscopic chief is still not interested in someone else's pain, everything is also a separate person - as if a penny among major banknotes of state concerns and exorbitant personal selfishness of self-causing people.

Note: in the very the general sense The hero asks for his antagonist. And asks "side", friendly towards her fanatical adept, which she now ruthlessly rejects. Yesterday, the system found the "Social Dead" of the story, considering him a stranger for himself. And today, the already former revolutionary for her is rather a thing, rather than a living old man who needs care. The hero leaves them against each other - the builder and its creation: "I quietly put her assigned a certificate on top of the book and, turning around, all the time stroking the breast from nausea, went to the exit ...". By the way, I read the registrar, "Apparently, comic about spies": "On the page upside down I saw a noble Chekist, jumped on the window sill with a gun."

Here, the nausea of \u200b\u200bthe hero may have not only a medical symptomatic nature. Associatively here and knowledge of the past of Chonztsa, and sharing, existent only in reality, parallel: a former Chekist next to "his" boulevard, exhausted to comic in life.

Now, the Soviet construction is decisively extinguished from everyday life, the public anatheme is committed to all his features - black and bright, without parsing. The air is written by calculation and cynicism, the word "partnership" is revered by an element of the prokuchny, oblique Soviet Dictionary, although almost two centuries ago it has undoubtedly height and meaning. It is now that it is important to look at the story, rejected by Soviet magazines, to date, almost forgotten - and understand what his tumping meaning is why the accuracy of the time shown permeates and becomes artistic truth.

The "right brush" contains a certain trail of the monstrous damage to the Russian soul in the XX century. This existent damage was not smooth to this day, although the temples are no longer locked, and books are available. The renunciation of his own past cripples the Russian man, does not allow him to move into the future - he likes everything on the same close patch of the present many dozen years. So the hero of Solzhenitsyn in the story looks wiser and the author's tolerant, in fact known to its hard irrigation to all of the Soviet, despite the way that the "right brush" is written "in the reality of the true case."

The narrator - alter-ego writer - helps an anti-hero, without becoming his "Siaminnth Comrade." When the terrible revolutionary past of the patient old man is clarified, the hero silently repeats the petition in favor of the already spent, the erased screw of the communist mechanism for the new "man of the system": "Going to the plywood state, I pressed it again ...". They are driven by an unlightened aloud and straightly not addressable sense of moral debt - not before the Old Veteran-Chonets, but before the humiliated and an insulted person. Christ is a teaching that you need to hate sin, and not the carrier of sin, read it is quite clear here. The lack of direct reference to the evangelical text, but the use of a kind of spiritual submarine make the "right brush" truly Christian narrative - against the background of many modern prosaic writings, tightened into the doytactics and colorless church rhetoric.

The story "Right Brush" is distinguished by the constant peering of the recoverable hero in a multi-zone space. Natural beauty is distorted by the social scheme, but even in it there is something originally living: sympathy and help - although burdened by alienation and dislike, but those who defeat them - and thus returning the Russian soul lost once an incredibly important part.

Read:

Solzhenitsyn Alexander Isaevich (1918-2008), publicist, dissident, is considered a great writer.

Right brush

In that winter I came to Tashkent almost the dead. I came here and dying.

And I was returned to live again.

It was a month, month and another month. Non-Poougured Tashkent Spring passed outside the windows, entered the summer, everywhere Guso is already green and it was very warm when it became and I go to walk with unspecified legs.

Not yet daring to admit himself that I recover, still in the most valuable dreams measuring my life added to me without the years, but months- I slowly stepped over the gravel and asphalt paths of the park, which ranging between the corps of the Medical Institute. I needed to sit down often, and sometimes, from the disassembling X-ray nausea, and lay down, lowering the head sliding.

I was and so, but not like the sick surrounding me: I was much insolent to them and forced to be silent. They came to date, relatives were crying about them, and one was their concern, one goal is to recover. I almost didn't get well to me: at a thirty-five-year-old, I did not have anyone in the whole world native to that spring. I have not yet been - passports, and if I now recovered, then I had to leave this greens, this many-fret side - and go back to my desert, where I was exiled to be forever, under the vice supervision, with the marks every two Weeks, and from where the commandant's command did not have fallen for a long time and dying to release for treatment.

About this, I could not tell the surrounding me free Patients.

If B told, they did not understand ...

But but, holding ten years behind herself, I already knew that the truth that the authentic taste of life was not fasted in many ways, but in small. Here in this unsure overlap wealthy legs. In careful, so as not to cause injections in the chest, inhale. In one not beaten by frost, potatoes caught out of soup.

So this spring was for me the most painful and the most beautiful in life.

Everything was forgotten for me or not seen, everything is interesting: even a cart with ice cream; Even a berthalter with a branded place; even merchant with bunches of oblong radishes; And even more so - the fooder, waged on the grass through a break in the wall.

Day of day I was drowned away from my clinic and then - in the park, planted, must be, even at the end of the last century, when these good brick buildings were placed with an open branch of the seams. From the sunrise of the solemn sun, the whole southern day is fast and even deep in the yellow-electric evening the park was filled with a lively movement. Quickly again healthy, slowly pated patients.

Where a few allests flocked, in one, going to the main gate, - Bell is a big alabaster, Stalin with a stone smile in a mustache. Further along the way to the gate with uniform discharge were placed by other leaders, smaller.

Then stood a written kiosk. Plastic pencils and tempting notebooks were sold in it. But not only my money was severely read, - and I already had a notebook records in my life, then got not there, And I judged, that it is better to never have them.

The most gates were located fruit lawn and teahouse. Us, patients, in the striped our pajamas, inthe teahouse was not allowed, but the fence was open, and through it it was possible to watch. Alive teahouse I did not see in my life - these individuals for each teapot with green or black tea. There was a European part, with tables, and Uzbek - with a solid table. Beyond the tables ate-drank quickly, in the silence of the pile left a trifle for pile and left. On the side of the same, at the o'clocks under a reed tente, stretched from hot days, sat and flew by hours, who and days, drank the kettle behind the kettle, played the bones, and as if no responsibilities had called for a long day.

Fruit strap traded for patients too - but my reference pencils were hung from prices. I viewed with the attention of the slide of Uryuk, Izyuma, fresh sweet cherries - and went away.

Then there was a high wall, the patients were also not released for the gate. Through this wall, two and three times a day were transferred to the medical town orchestral mourning marches (because the city is a million, and the cemetery was here, nearby). For ten minutes they sounded here until the slow procession passed the town. The blows of the drum hit the torn rhythm. At the crowd, this rhythm did not act, her twitching were more often. Healthy just looked around and hurried again, where they needed (they all knew well what was needed). And patients with these marches stopped, listened for a long time, they were treated from the windows of the buildings.

The fact that I was released from the disease, the more right it became that I stayed alive, the time I looked around: I was already sorry to leave it.