What we learn about frosty life aspirations. Development of a lesson on the topic "A.A. Fadeev

Fadeev's "defeat", which we will analyze in this article, was written in 1927. For the first time in Russian literature, Alexander Alexandrovich focused on depicting the inner world of participants in the civil war and revolution - fictional characters, ordinary heroes. In the novel, everything is subordinated to the solution of this problem - from the peculiarities of the composition, the choice of the situation to the methods of psychological analysis used in the text. This is the peculiarity of Fadeev's "The Defeat". An analysis of it, as well as a summary of this novel, we bring to your attention.

The author's choice of time and place of action

Fadeev, talking about the partisan movement unfolding in the Far East during the civil war, chooses for his story a tragic situation, which is indicated in the title: we are talking about the defeat of one detachment of partisans. The characters of various heroes are revealed most vividly in these tests, as our analysis shows. "The Defeat" (Fadeev) is a work in which the idea of ​​personality transformation plays an important role. According to the author himself, "people are being altered".

The depiction of the psychology of heroes

A detailed introduction is made up of the first 8 chapters of Fadeev's "The Defeat". Analyzing them, one can notice that a number of them are named after the main characters of the novel: "Levinson", "Mechik", "Frost". It can also be noted that the author deliberately slows down the pace of development of the action in order to present the stories of the main characters to the readers, describe their relationship, prepare them to understand their behavior during battles.

Depicting the psychology of the heroes, the writer uses the tradition of classical Russian literature. Analyzing the novel "The Defeat" by Fadeev, it should be noted that Alexander Alexandrovich mostly relies on the work of Leo Tolstoy. The author follows his principles, despite the fact that the time at which the work was created was marked by a violent denial of the past, including the literary, and attention to the analysis of the inner world was considered "psychotic". In the traditions of Tolstoy, the text contains the techniques of psychological analysis: landscape and portrait details, as well as internal monologues that reveal the secret reasons for the actions of the heroes, their feelings and thoughts (chapters Nineteen, Cargo, Levinson).

Use of the antithesis technique, its analysis

"The Defeat" (Fadeev A. A.) is a work that uses the method of antithesis, which reveals the tension of psychological, moral, and historical conflicts. In contrast to Morozka and Levinson, as well as the latter and Mechik, the significance of consciousness, conviction in the formation of the human personality is shown.

So, in the work Mechik and Morozka collide. Analysis of the novel "The Defeat" by Fadeev reveals what is their confrontation. From the very beginning, this reveals the superiority of the "class instinct" inherent in the proletarians over the doubts of this "clean" intellectual, who is interested not in the revolution as such, but in himself in it. After reading the work, we can be convinced that the class principle clearly dominates in the novel when a person is evaluated. This is primarily due to the historical limitations inherent in the views of the author.

The image of the inner formation of a person

The main attention in the novel "The Defeat" Fadeev (analysis of the work proves this) pays such a moment as the formation of the personality of a person fighting for a new life, his moral and psychological formation. The process of his maturation is most fully revealed on the example of Ivan Morozov, a miner nicknamed Morozka. 12 chapters out of 17 are connected with it in one way or another. The work depicts successively changes in the thoughts and feelings of this person. Levinson, the squad leader, plays a special role in this process. The feat was the result of the short life of Ivan Morozov. He saved his comrades at the cost of his own life.

The hero who could not stand the test

As we have already noted, Fadeev builds his novel "The Defeat" on the antithesis. Analysis of the work shows that the antipode of Ivan Morozov is Pavel Mechik, who has not withstood the tests of the harsh reality. The author interprets each of his actions as an expression of selfishness, weakness, lack of a moral core. All these traits ultimately push Mechik to betrayal. In debunking this hero, the author is consistent. For him, this person is initially cowardly, shallow, and his sufferings are insignificant, superficial. In the description of this intellectual, we do not find the desire to depict a contradictory, complex personality, characteristic of the author's contemporaries.

We have highlighted only the main points that are present in the work "The Defeat" by Fadeev. Our analysis can be supplemented. After all, each of us understands literature in his own way. Try to find some other features of the novel "The Defeat" (Fadeev) on your own. Chapter-by-chapter analysis will help you better understand the work and identify interesting patterns.

The work tells that Levinson, the commander of a partisan detachment, orders Morozka, his orderly, to take a package to another detachment. Tom doesn't want to go, so he suggests sending someone else. The commander, having heard about this, calmly orders his orderly to surrender the weapon, and then go wherever he pleases. After thinking it over, Morozka decides to take the letter and goes with the assignment, noticing that he cannot "leave the squadron" in any way. It is no coincidence that Fadeev ("The Defeat") notes this. The analysis of Morozko, the main character of the novel, reveals his complex character and inner struggle. How it ends, you will find out by reading to the end the summary of the work.

Frost's backstory, the hero picks up the Sword

Let's describe further events. Then comes the backstory of Ivan Morozov. He worked as a miner, already in the second generation. Morozka thoughtlessly did everything in his life, including marrying Vara, a walking hauler, and then he also left to defend the Soviets in the eighteenth year.

On the way to the detachment under the command of Shaldyba, where the orderly is taking the package, he notices a battle between the partisans and the Japanese. Russian soldiers flee, leaving behind a wounded boy dressed in a city jacket. Frost picks him up and returns to his commander Levinson. Analyzing the story "The Defeat" by Fadeev, we have already mentioned Pavel Mechik. Below we will introduce you to this hero in more detail.

Mechikov in the infirmary

Pavel Mechik, who was picked up by Ivan, woke up only in the forest infirmary, noticed nurse Varya (who is Morozka's wife) and Doctor Stashinsky. The wounded is bandaged. It is reported in the backstory of this character that when he was still living in the city, he wanted to become heroic, so he decided to go to the partisans. However, I was disappointed when I got to the red. He is trying to talk to Dr. Stashinsky in the infirmary. But he, having learned that this man was making friends mainly with the maximalist Socialist-Revolutionaries, is reluctant to talk with Mechik.

Frost's offense

Morozka didn't like the wounded hero at once. His opinion of him was strengthened when Morozka visited his wife in the infirmary. After that, he tried to steal melons from Ryabets, the village chairman. However, he was forced to retire, caught by the owner. The chairman complains to Levinson, and he gives the order to take away the weapon from Morozka. A village gathering was called for the evening to discuss the orderly's misconduct. Having crowded among the men, Levinson finally understands that the detachment needs to retreat, since the Japanese are already very close. The partisans gather at the appointed hour, and the commander sets out what the matter is, offering to decide for everyone how to deal with Morozka.

Morozka makes a promise, guesses about the relationship between his wife and Mechikov

Dubov, a partisan, a former miner, says that it is necessary to expel the orderly from the detachment. This has such a strong effect on the guilty hero that he pledges never to disgrace the title of a former miner and partisan in any way. Morozka, on one of his trips to the infirmary, realizes that Mechik and his wife have a special relationship. Having never been jealous of his spouse before, this time he feels anger both towards his wife and towards this "mama's son" (the definition that Mechik Frost awards).

Mechik gets a horse

Everyone in the squad thinks that Levinson is a person of the "correct", "special" breed. The partisans believe that the commander understands and knows everything, although he sometimes experienced hesitation and doubts. Levinson, having collected information from all sides, orders his detachment to retreat. The mechik, who has already recovered, returns to the squadron. The commander orders to provide him with a horse. So Mechik gets a "mournful tearful" mare named Zyuchikha. The offended partisan does not know how to deal with her. Not being able to get close to other members of the squad, he is not able to see the "main springs" of his mechanism.

Mechikov and Baklanov go on reconnaissance

Mechikov, together with Baklanov, decide to send them to reconnaissance. They run into a Japanese patrol in the village and kill three in a shootout. Having found the main forces of the Japanese, the two partisans return to their detachment.

The Frolov story

It is necessary to retreat, it is required to evacuate the hospital, but the mortally wounded Frolov cannot be taken with you. Stashinsky and Levinson therefore decide to give him poison. Mechik overhears their conversation by chance. He tries to interfere with the doctor. He shouts at him. Frolov understands what the matter is, and agrees to drink the poison.

Events in the village

The detachment retreats, Levinson goes to check the guards during the night, starts a conversation with Mechik, who is at the sentry's post. He tries to explain to the commander that he feels bad in the detachment, but after this conversation Levinson gets the impression that this partisan is an "impenetrable confusion." The commander sends Blizzard to reconnaissance. He sneaks into the village where the Cossacks are at that time, climbs the fence of the house in which the squadron commander temporarily lives. The Cossacks find him, lock him up in a barn, and interrogate him the next morning, after which they lead him to the square. Here a man in a vest steps forward, leading a frightened shepherd boy by the hand. Blizzard left his horse for this boy the day before, having met him in the forest. The head of the Cossacks wants to interrogate the child "in his own way", but Blizzard, trying to strangle, rushes at him. The chief shoots - and the Blizzard dies.

Battle with the Cossacks

Alexander Fadeev ("The Defeat") continues his work. Analyzing the further content, the following key points can be highlighted. The Cossack squadron leaves along the road. At this time, he is discovered by partisans, who ambush him, putting the Cossacks to flight. Frost's horse is killed during the battle. The partisans, having occupied the saddle, by order of the commander, shoot the aforementioned man in the vest. The enemy cavalry arrives in the village at dawn. Levinson's detachment, significantly thinned, retreats into the forest, to the swamps, but gets stuck there, because there is a bog in front. Then Levinson decides to drive the swamp. Having accomplished this, the detachment makes its way to the bridge, where the Cossacks set up an ambush. Mechik goes on patrol, but escapes, discovered by the Cossacks, being afraid to warn Levinson's detachment. Frost, who was driving after him, shoots three times, as agreed, and dies. Levinson's squad rushes into the attack, only 19 people remain alive.

So, we examined the work that Fadeev created ("The Defeat"). A summary, its analysis were presented to you. We hope you found this article helpful.

Sections: Literature

Goals:

1. The proposed material should provide the most complete and comprehensive coverage of the literary process of the 1920s; to show a living literary process, to outline the problems that stand in the literature of this period, problems, the conversation about which will be continued while studying the monographic topics of the course.
2. Discussing specific plots, destinies, ideas, lead the modern schoolchild to consider the deepest philosophical problems associated with the choice of a life position: man and time, personality and state, art and power, free will and state necessity.
3. To foster the development of a free, self-conscious and environmentally responsible person.

Equipment: computer, reproductions of various artists about the revolution, portraits of writers who participated in the literary process of the 1920s.

Vocabulary:

Literary process - the literary life of a particular country and era, including the evolution of genres, themes and the conservation and various uses of the classical heritage, the rethinking of eternal themes, the emergence or extinction of certain communities, systems, and interrelationships of literatures. The basic concepts that characterize the literary process are artistic systems, literary trends, trends, creative methods.

Plan:

1. Poetry of the 20s.

2. Literary groups of the 20s.

• Proletkult and "Forge";
• LEF;
• Pass;
• RAPP.

3. Prose of the 20s

• Official literature; unofficial literature;
• Comparative characteristics of the heroes in A. Fadeev's novel "The Defeat".
• Development of the genre of dystopia;
• Humorous prose of the 20s.

4. Journalism of the 20s.

• M. Gorky "Untimely Thoughts";
• I. Bunin "Cursed Days";
• Korolenko's letters.

During the classes

Org. moment.

Teacher. For many years, the image of October 1917, which determined the character of the coverage of the literary process in the 1920s, was very one-sided and simplified. He was monumental heroic, one-sidedly politicized. Now readers know that in addition to the "revolution - a holiday of the working people and the oppressed" there was another image: "cursed days", "dead years", "fatal burden".

The well-known literary critic E. Knipovich recalled: “When I am asked now how I can briefly define the feeling of that time, I answer:“ Cold, wet feet and delight ”. Feet wet from leaky soles, delight that for the first time in my life it became visible around the entire width of the world. But this delight was not universal. Nor should we think that those who were essentially a part of the current reality and believed each other did not argue with each other. Their dispute is a sign of the times, it is a sign of creative possibilities, of those forces raised by the revolution that wanted to realize themselves, to assert their views. Your own understanding of the building of Soviet culture ”.

These memories are the key to understanding the literary situation of the 1920s. And the writers themselves, who lived and worked at that difficult time, will become reliable helpers and guides for you.

The agonizing question: "To accept or not to accept the revolution?" - stood for many people of that time. Each answered it in his own way. But the pain for the fate of Russia is heard in the works of many authors.

Cry, fire element,
In the pillars of thunderous fire!
Russia, Russia, Russia -
Crazy burning me!

Into your fatal parting
Into your deaf depths, -
Wing-handed spirits are streaming
Your luminous dreams.

Don't cry: bend your knees
There, in hurricanes of lights,
Into the thunder of seraphic chants,
Into the streams of cosmic days!

Dry deserts of shame
Seas of endless tears -
With a ray of unspoken gaze
The descended Christ will warm.

Let the rings of Saturn be in the sky,
And silver of the milky ways, -
Boil phosphorically violently
Earth's core of fire!

And you, the element of fire,
Crazy burning me
Russia, Russia, Russia -
Messiah of the day to come.

This poem by Andrei Bely was written in 1917. It perfectly characterizes the situation that reigned in the country, in creativity. How did the poets of the early twentieth century react, behind whose backs the “silver age” of Russian poetry had already walked to the October Revolution that took place in the country?

Video film.

Work of 1 group of students.Poetry of the 20s.

I. Consultant on poetry of the 1920s.

The modern look at the poetry of the 1920s about October, at the figures of poets who saw the 20th century in a completely different way than before the revolution, suggests a new approach to understanding many works. The forces of attraction to the revolution and at the same time being shocked by its severity, the depth of pain for a person and at the same time admiration for everyone who remained a person in the revolution, faith in Russia and fears for its path created an amazing composition of colors, techniques at all levels of many works. New problems forced poetics to be renewed as well. After analyzing the poems of the 20s of the twentieth century, we came to conclusions.

Poems for analysis.

Proletarian poetry.

Expressive reading of a poem.

We are countless. formidable legions
Labor
We conquered the space of the seas
oceans and land,
By the light of artificial suns we
lit the cities
Ours are burning with the fire of uprisings
proud souls.
We are at the mercy of a rebellious, passionate
hops,
Let them shout to us: “You are the executioners
beauty .. "
In the name of our Tomorrow - we will burn
Raphael,
Destroy museums, trample art
flowers.
V. Kirillov "We".

These lines are characteristic of proletarian poetry. The cultural heritage of the past was decisively discarded, the bourgeois "I" was replaced by the proletarian "we". The author sincerely tried to poeticize political speech - the language of newspapers and posters.

1. O. Mandelstam "Twilight of Freedom"

Individual task (analysis of the poem) textbook V. Chalmaev, S. Zinin Grade 11 p. 296.

2. N. Tikhonov

Revived the ballad genre.

“I threw my youth into the Iron Age,” Nikolai Tikhonov (1896-1979) said of himself when he was eighteen, he found himself in the trenches of the First World War. Demobilized, he went to the front again - already in the ranks of the Red Army. “He defended Petrograd from Yudenich. I was on duty for a hundred hours without a shift, at one hundred and fourth I fell ... I sat in the Cheka and swore with various commissars and will swear. But I know one thing: that Russia, the only one that exists, is here. " Poems brought fame to Tikhonov. The composers of his first two books are Horde (1921) and Braga (1922). It is these early poems that are clear, chased, dynamic. The echoes of biblical legends were heard in them. Book images and folk songs; but the main thing was the experience of a person whose youth passed "On the roads under the stars"

Life taught with an oar and a rifle,
By the strong wind. Over my shoulders
I whipped with a knotted rope,
So that I become calm and dexterous.
Like iron nails, simple.
"Look at the unnecessary boards ..." 1917-1920

Everyday details in Tikhonov's poetry were intertwined with symbolism:

We have forgotten how to serve beggars,
Breathe above the salty sea,
Meet the dawn and buy in shops
For copper trash - gold of lemons.
"We have forgotten how to serve the poor ..." 1921.

M. Gorky spoke about Tikhonov's talent: “He is carried away by strong people, heroism. Activity is just everything that is absolutely necessary for Russia and that the old literature did not bring up in the Russian people. " Courage, will, loyalty to duty - the main theme of Tikhonov's soldier ballads, impetuous in rhythm, which resembles the intermittent breathing of a running man.

Elbows cut the wind, beyond the field - a log,
The man ran up. Blackened, lay down.
"The Ballad of the Blue Package", 1922

Over time, Tikhonov had fewer and fewer genuine flashes of inspiration. The sincerity of the early poems was replaced by artificial pathos. At the end of his life, in the poem "Our century will pass ..." (1969) Tikhonov wrote about the highest justice - the futility of attempts to hide the "secret twists" of history and fate.

Then the faces of some gods will fade,
And all trouble will be exposed
But what was truly great
Will stay great forever.

3. Khlebnikov and the revolution.

Khlebnikov, like many poets of that time, believed that the revolution had a universal and even universal meaning. After February 1917, he wrote the "Proclamation of the Presidents of the Globe", which denied the boundaries separating nations and states, and proclaimed a single future for all mankind.

But "dredging" did not save me from pain for a hungry homeland drowning in blood. Poems about Russia during the famine taking millions of lives are terrible. The poet does not describe, but, as it were, bestows sight - the reader observes terrible pictures.

Volga! Volga!
Are you corpse eyes
Are you raising it on me?

Have you erected dead squirrels
The Samoyeds sat down, doomed to sleep,
In the eyelashes of snowstorms, Dead thorns of their cities,
Lost in the snow?
Are you clanking
Boarded up villages? ..
“Volga! Volga! ", 1921

Khlebnikov declares a battle of the triumphant satiety of speculators profiting from the plight of the country:

Not then high
The will of truth is with us,
In sable trotters
To ride mockingly.
Not then at the enemy
Blood was pouring cheap
To carry pearls
The hands of every tradeswoman.
"Don't be naughty!" 1922 g.

During the Civil War, Khlebnikov's best poem "Ladomir" (1920), dedicated to the revolution, was written. The revolution is not only, and perhaps last but not least, a social phenomenon. For Khlebnikov, this is a philosophical phenomenon. The revolution returns man to his original nature.

The poem contains pictures of that terrible era, striking in their strength of artistic expression and symbolism:

Like a bloody row of owls,
Tall palaces are burning.

It's at the death of the cliffs
Surf of humanity ...

But the title of the poem is optimistic. The revolution must set the world in a new "way".

Khlebnikov believes in the possibility of a scientific reorganization of the world. The omnipotence of the human mind, which was liberated by the revolution.

4. A. Akhmatova "Not with those who left the ground ..."

(Determine the theme and idea of ​​the poem) Independent work.

II.Literary groups of the 20s

(presentation of work performed on a computer) List the names of the literary groups.

Teacher.

In the first months after October 1917, literary life was concentrated in the editorial offices of newspapers and magazines, which were now and then closed. The spirit of the programs of those years was extremely oppressive. In the chronicle for 1918 we read: "The Constituent Assembly of the All-Russian Union of Proletarian Writers:" The Writers' Union must be a perfect machine for the production of unclouded ideas of the revolutionary proletariat. "

Literary groups and associations gradually began to emerge and be established.

• Proletkult and "Forge" - Appendix 1;
• LEF - Appendix 2;
• Pass - Appendix 3;
• RAPP - Appendix 4.

These are the few bands that existed in the 1920s. There were also "LCC" (literary center of constructivists), "Serapion brothers", which included VA Kaverin, M. Zoshchenko, Vsevolod Ivanov, N. Tikhonov, the theorist of this group was Lev Lunts, "OBERIU" (association of real art ) - in poetry, they cultivated poems from words and stanzas-cubes with candle sound repetitions, folding lines from the same words. These ingenious poetic constructs came in handy for creating books for children:

I thought for a long time where the tiger came from on the street:
I thought, I thought
I thought, I thought
I thought, I thought
I thought, I thought
And at this time the wind blew
And I forgot what I was thinking.
I still don't know where the tiger came from on the street.
D. Harms.

III . Prose of the 20s. Group 2 work.

Teacher: The beginning of the 1920s in literature was marked by increased attention to prose. She took advantage of the pages of the first Soviet magazine, Krasnaya Nov ', published since the summer of 1921. The historical events that took place around, touched everyone and everyone and required not only the expression of emotions, but also their comprehension. Soviet prose of the 1920s was not homogeneous either at the time of its appearance or later, in the process of reader's perception.

Prose Consultant: Working with a table

1. Work with A. Fadeev's novel "The Defeat".

For Fadeev, as a proletarian writer and active leader of the RAPP, it is very important to contrast heroes in the class, socio-political plane. This opposition is always straightforward and unambiguous. Antithesis- the main device of the novel. The opposition takes place at different levels:

1. External ("red" and "white").
2. Internal (instinct - consciousness, good - evil, love - hate).

Antithesis is also evident in the system of images. This is a juxtaposition of two heroes - Mechik and Frost. Morozka is a worker, Mechik is an intellectual. With this opposition, Fadeev solves the question: what are the ways of the people and the intelligentsia in the revolution. To answer this question, it is necessary to compare the images of Mechik and Morozka in the novel "Defeat".

Comparative analysis of images.

Which episode reveals the true essence of Frost and Sword?

The toughest test of a person is the situation of choosing between life and death. In the last chapter, Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what is his moral core. The death of Frost, his feat showed that he is the very new person that the revolution should bring up. Without thinking about himself, Morozka gives his life for the sake of his comrades: “He felt them so vividly in himself. These tired, unsuspecting people who trusted him, that he had thoughts of some other opportunity for himself, except for the possibility of warning them about the danger. "

The swordsman, sent on patrol, "slipped from the saddle." This is predetermined by the author: Mechik did not understand very well why he was sent ahead, but obeyed. Mechik's betrayal is emphasized by his demeaning gestures; he flounders on all fours, makes incredible jumps, saving his life. And he suffers not so much because people died because of him, but because "the indelibly dirty stain of this act contradicted the good and pure that he found in himself."

How does the author solve the problem of the intelligentsia and revolution through the images of Morozka and Mechik?

Frost is characterized by a sober, real attitude to reality, a growing awareness of what is happening, an understanding of the meaning and purpose of the struggle. Mechik is a romantic, filled not with real life, but with book knowledge, a person who did not have a clear, clear vision of events and did not yet realize his place in life, and most importantly, not burdened with political and moral principles.

Teacher: The main reason for Mechik's irresponsibility, cowardice and weakness, Fadeev considers his egoism, individualism, and an overdeveloped sense of personality. Betrayal, according to Fadeev, is a natural ending, to which comes an intellectual who is not deeply rooted with the people, the masses, with the proletariat and its party. However, Fadeev shows that among the intelligentsia there are people devoted to the cause of the revolution. These are people of a "special breed".

2. Individual report on the topic "Development of the genre of dystopia";

3. Individual report on the topic "Humorous prose of the 20s".

III. Journalism. Work of the 3rd group.

Journalism Consultant:(work with presentation - Appendix 5 made on a computer)

Today, when there is a decisive revision of many collisions in the history of our country, we must carefully look at the perception and assessments of the events of 1917 by major literary and artistic figures of the pre-October time. These people, who were to a great extent the human, civil and artistic conscience of their time, foresaw and foresaw the dangers and tragedies to which the violent breaking of all the traditional foundations of life could lead.

Writing journalism is an integral part of literature.

This is a genre of literary works that stands at the intersection of fiction and scientific (socio-political) prose. The main purpose of journalism- to raise socially significant and urgent problems of modern life, she takes the oratorical word into service, her style is characterized by increased and open emotionality.

In the course of our research, the features of similarity and differences in the views of writers were identified and their civic position was determined. All writers are united by a common theme of understanding the revolution, which comes into contact with the problem of the intelligentsia, people and culture. All writers are looking for the origins of the 1917 catastrophe, the barbaric attitude to cultural heritage, they talk about the fault of the intelligentsia, which forgot to remind the people that they also have responsibilities, they are responsible for their country. And V. Korolenko, and I. Bunin, and M. Gorky sarcastically assess the implantation of a new system, the facts of violence, the ban on the original thought. They urge to take care of the cultural heritage of the country and people.

1. For Gorky the revolution- "convulsion", which should be followed by a slow movement towards the goal set by the act of revolution. I. Bunin and V. Korolenko consider the revolution a crime against the people, a cruel experiment that cannot bring spiritual revival.
2. People... M. Gorky considered in him a wild, unprepared mass, which cannot be trusted with power. For Bunin, the people were divided into those who are called "robbery Nika", and those who carry age-old Russian traditions. V. Korolenko argues that the people are an organism without a backbone, soft and unstable, clearly deluded and allowing themselves to be dragged along the path of lies and dishonor.

The historical events that followed after October 1917 forced many writers to change their views: M. Gorky was forced to adapt to the Bolshevik ideology. I. Bunin and V. Korolenko became even more confirmed in their convictions and until the end of their days did not recognize Soviet Russia.

The teacher draws conclusions from the lesson.

Today in the lesson we tried to comprehensively illuminate the literary process of the 1920s, outlined the problems that stood in the literature of this period.

Discussing specific plots, destinies, ideas, we considered philosophical problems associated with the choice of a life position: man and time, personality and state, art and power, free will and state necessity.

Our lesson has come to an end, but I want you to remember that many of the issues that concern us today are echoes of that time. The change of the political regime in the 90s of the twentieth century led to the fact that, as in that distant seventeenth year, instability reigns in society again. There is no confidence in the future, the spiritual heritage of our ancestors has been forgotten.

Turning to the history of our country, we will be able to comprehend, overestimate, draw conclusions and prevent similar mistakes that lead the country into deadlock situations, the way out of which is painful for the entire people.

Homework: to compose a test on the topic "The October Revolution and the literary process of the 1920s."

Slide 1

Slide 2

Slide 3

The main problems of the novel:
The problem of human re-education during the civil war. The problem of the intelligentsia and revolution. The problem of humanism.
The image of Frost. The image of Mechik. Levinson's image.

Slide 4

The task set by Fadeev - not so much to tell about the revolution as to show the processes that took place in the mind of a person under the influence of the revolution - determined the ideological-figurative concept, features of the plot and composition of the novel. The story of a small partisan detachment served only as a real plot basis for researching the experiences and actions of the heroes. Eventuality in the novel is minimized. The battle scenes are not numerous at all. The author seems to be most interested in episodes of a clearly "secondary" nature (the theft by an orderly of Frost melons on a peasant melon, Mechik's feelings in connection with the clumsy filly given to him, Morozka's jealousy of Mechik, discord between Morozka and Varya, everyday scenes from the life of partisans, etc.). NS.). Meanwhile, it is these episodes that latently and consistently develop the main idea of ​​the work: how the revolution takes place in the minds and hearts of people, conditioning their behavior. The last episodes of the novel, connected with the defeat of the detachment, are called upon to play the role of a test, a test of human qualities. The betrayal of Mechik and the heroic death of Frost is the logical conclusion of their characters.

Slide 5

"Defeat"
Choosing the path of depicting reality, close to that followed by his favorite writers L. Tolstoy and M. Gorky, Fadeev solved the problem in his own way. The original principle of disclosing the problem of the birth of a new person was outlined in "Defeat" Fadeev deliberately chooses a small spatial and temporal plot. At the same time, unlike Gorky, Furmanov, Serafimovich, he focuses not so much on the process of forming new qualities as on its origins and results. It is no coincidence that instead of the term "alteration of human material" Fadeev uses another term - "selection".
"Defeat". Artist P.P.Sokolov-Skalya. 1932.

Slide 6

For Fadeev, as a proletarian writer and active leader of the RAPP, it is very important to contrast heroes in the class, socio-political plane. This opposition is always straightforward and unambiguous. Antithesis is the main device of the novel. The opposition takes place at different levels: External ("red" and "white"). Internal (instinct - consciousness, good - evil, love - hate).

Slide 7

Frost's image
Meanwhile, the novel is an unusually harmonious and complete work. The artistic concept is realized with surprising completeness, although the author does not seem to use the "key" psychological episodes of even one of the central characters - Morozka (a quarrel and reconciliation with his wife, jealousy of Mechik, etc.) to analyze his evolution. The fact is that Fadeev is primarily interested in its premises, possibilities and reasons. The behavior of the miner Morozka is not the result of a three-month stay in the detachment, but a consequence of his whole life, the natural result of his participation in the 1917 revolution.

Slide 8

Chapter 01. Frost. Frost rescues the wounded Sword. Artists V. and Yu. Rostovtsevs

Slide 9

Chapter 02. Sword. Frost in the partisan infirmary. Artist D. Dubinsky
Antithesis is also evident in the system of images. This is a juxtaposition of two heroes - Mechik and Frost. Morozka is a worker, Mechik is an intellectual. By this opposition, Fadeev solves the question: what are the paths of the people and the intelligentsia in the revolution. To answer this question, it is necessary to compare the images of Mechik and Morozka in the novel "Defeat".

Slide 10

Ch. 1, 5, 8, 13, 15, 16, 17 The spontaneous nature of Frost. - Ability for a heroic deed in an extreme situation (saving Mechik) Lack of elementary discipline in everyday life (conversation with Levinson) Portrait detail ("naughty curls") Background of the hero (eg explanations of his psychology, underdevelopment of consciousness) The nature of the relationship with Varya Enmity between Morozkoy and Mechikom The theft of melons and the episode of the trial (the influence of the collective's opinion on Morozka)

Slide 11

What is the path of Frost's formation? (Chapter 1)
Difficult, through ups and downs, the path of personality development. Self-awareness begins when a person begins to ask questions: what is the meaning of my existence? Morozka did not ask himself such questions until he got into the detachment.
What event made Morozka look at life differently?
The first milestone in self-awareness was his judgment (Chapter 5). At first, Morozka did not understand why he was being tried. But when he felt hundreds of prying eyes on himself, he heard Dubov's words that he "disgraces the coal tribe." Frost trembled, became pale, like a canvas, “his heart was falling in him, as if it had been knocked out.” The threat of expulsion from the detachment turned out to be unexpected and terrible for him: “But if I… would have done that. Yes, I will give blood on a vein for each, and not that a shame or something! "

Slide 12

What do we learn about Frost's life aspirations?
Frost knows exactly why he is in the squad. He is his own in the revolutionary stream, because, despite his antics and spontaneous breakdowns, he was drawn to the “right” people: “He tried with all his might to get on the road that seemed to him straight, clear and correct, along which people like Levinson, Baklanov, Dubov. " (chapter 12). Frost's thoughts that someone stubbornly prevents him from going out on this road did not lead him to the conclusion that this enemy is sitting in himself, he is especially pleased to think that he is suffering because of the meanness of people like Mechik ...

Slide 13

Fadeev from the very beginning opposes a clean, fine-looking Mechik to Frost. Mechik is shown for the first time with people rushing about in panic: "in a kurguz city jacket, clumsily dragging a rifle, a lean boy ran with a limp." The Mechik will also rush about when, having betrayed his comrades, he will flee from the pursuit. "The guy's face was pale, beardless, clean, though smeared with blood." Fadeev describes Mechik in such a way that both his miserable appearance and the author's attitude towards him become clear. Frost saves him, risking his own life. In the last chapter, Frost saves the entire squad, betrayed by Mechik, at the cost of his life.

Slide 14

How is the author's attitude towards Mechik manifested?
The second chapter of the novel is devoted to Mechik, thus in the first two chapters the main antithesis is determined, a conflict is outlined: "To tell the truth, Morozka did not like the saved one at first sight." So the author, through Morozka, immediately gives an assessment of Mechik, emphasizing it with various words: "bore", "yellow-mouthed", "snotty".
Chapter 09. Sword in the squad. Artist O. Vereisky

Slide 15

Mechik's image
Mechik's character and the author's attitude to the hero: Ch 2, 7, 9, 11, 12, 17 Mechik's background, romantic ideals Portrait of Mechik in Shaldyba's partisan detachment (humiliated, offended, he went to the detachment. "Swordsman in Levinson's partisan detachment (they made a check, gave the" offensive "horse Zyuchikha, humiliated -" a quitter and an asshole) Sword in the hospital. I really need to be discouraged? .. "Ch. 7. And there was also a thought: to leave the detachment. Ch. 4." ... I felt like a real partisan, I even turned up my sleeves, wanting to get tanned: a new life, which he began after a memorable conversation with his sister. ”Conclusion: not so much to be as to seem like a fighter.

Slide 16

Chapter 06. Levinson. Blizzard on the advice of a partisan detachment. Artist O. Vereisky
When describing Mechik, Fadeev often uses words with diminutive suffixes, which give the image a contemptuous shade: “in a city jacket”, cheerfully whistling a cheerful urban tune ”-“ urban ”origin is constantly emphasized. The swordsman now and then blushes, speaks uncertainly, "squeezes his eyes shut with horror."

Slide 17

Chapter 14. Exploration of the Blizzard. Blizzard in exploration. Artist I. Godin

Slide 18

Chapter 14. Exploration of the Blizzard. Blizzard and shepherd boy. Artist D. Dubinsky

Slide 19

What caused Mechik's internal conflict?
Drawn into the meat grinder of the civil war, Mechik was horrified by the dirt, violence, the discrepancy between the two worlds - internal and external. At first he had a vague idea of ​​what was to come. Once in the detachment, he saw that the people around him did not at all resemble those created by his ardent imagination. These were dirtier, lousier, tougher and more direct. External cleanliness and dirt will be opposed to internal ones, only they will change places. In fact, Mechik dreams of peace, sleep, silence. He reaches out to the kind, caring Vara, and immediately betrays his former love. However, he also feels "almost filial gratitude" to Varya. Collisions with reality bring Mechik more and more disappointments in his romantic ideas about life (episode with a horse in chapter 9).

Slide 20

Let us recall the episodes "Guerrillas take away a pig from a Korean." Chapter 11. “The murder of the wounded Frolov”. Ch. 11. “Shooting a man in a vest”. Chapter 15. "Break through the quagmire." Chapter 16.

Slide 21

"... but I ate the pig with everyone, because I was hungry."
"Mechik saw all this ..." Is it really impossible without it ... the faces of the peasants floated before him, from whom the last was taken away. " Not idle, trying to stop the doctor. "... a poor man in a vest" (shot without trial) Mechik shared all the trials with the partisans

Slide 22

Frolov learns about the decision to kill him ... "... how unhappy I am."
The partisans are “crushed, wet, angry”. The soldiers are leaving in a hurry, the sentries are running, "the partisans ... rushed to run." The swordsman is frightened, but, like everyone else, he breaks through, together with everyone else, saves the horse, unties the knot with his teeth ...

Slide 23

Fadeev builds the novel in such a way that provides Mechik with a number of opportunities to merge with the detachment, to understand the inner essence of what is happening, but Mechik never saw the main springs of the detachment mechanism and did not feel the need for everything that was being done.

Slide 24

Which episode reveals the true essence of Frost and Sword?
The toughest test of a person is the situation of choosing between life and death. In the last chapter, Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what is his moral core. The death of Frost, his feat showed that he is the very new person that the revolution should bring up. Without thinking about himself, Morozka gives his life for the sake of his comrades: “He felt them so vividly in himself. These tired, unsuspecting people who trusted him, that he had thoughts of some other opportunity for himself, except for the possibility of warning them about the danger. "

Slide 25

The swordsman, sent on patrol, "slipped from the saddle." This is predetermined by the author: Mechik did not understand very well why he was sent ahead, but obeyed. Mechik's betrayal is underscored by his humiliating gestures; he flounders on all fours, makes incredible jumps, saving his life. And he suffers not so much because people died because of him, but because "the indelibly dirty stain of this act contradicted the good and pure that he found in himself."

Slide 26

How does the author solve the problem of the intelligentsia and revolution through the images of Morozka and Mechik?
Frost is characterized by a sober, real attitude to reality, a growing awareness of what is happening, an understanding of the meaning and purpose of the struggle. Mechik is a romantic, filled not with real life, but with book knowledge, a person who did not have a clear, clear vision of events and did not yet realize his place in life, and most importantly, not burdened with political and moral principles.

Slide 27

Chapter 15. Three deaths. A blizzard before a fight with a White Guard officer. Artist I. Godin

Slide 28

The image of Mechik. "... a selfish individualist" or a "young romantic" who has lost his ideals? "
In the criticism of the time of the novel's appearance, the conversation about this hero was closely related to the theme of the depiction of the intelligentsia. Mechik bears in itself almost all the signs of a departing culture with the goodness of everyday life and mutual contacts of people. It can be considered that the author failed to solve the problem of a worthy and convincing place of the intelligentsia in the events of the revolution. The writer filled the image of each hero with a deep philosophical meaning. Mechik's fate was a response to those who saw violence in the collective; the answer to the question why Mechik was discarded by the revolution as an unnecessary element. Mechik refers to the detachment as to a hostile society, feeling like a renegade, a “hero”, not understood by the crowd, which he despises, defending his individuality. Every act of Levinson and other partisans was perceived by him as violence against a person (the death of Frolov, the shooting of a man in a waistcoat, an episode with the murder of a pig, etc.). The swordsman throws off his outer shell and at the decisive moment becomes a traitor.

Slide 29

Chapter 15. Three deaths. Artist O. Vereisky

Slide 30

Chapter 15. Three deaths. Levinson leads the party to the attack. Artist D. Dubinsky

Slide 31

The main reason for Mechik's irresponsibility, cowardice and weakness, Fadeev considers his egoism, individualism, and an overdeveloped sense of personality. Betrayal, according to Fadeev, is a natural ending, to which comes an intellectual who is not deeply rooted with the people, the masses, with the proletariat and its party. However, Fadeev shows that among the intelligentsia there are people devoted to the cause of the revolution. These are people of a "special breed".

Slide 32

Squad Leader Levinson is the hero of the novel
He is distinguished by revolutionary consciousness, the ability to organize and lead the masses. Outwardly, Levinson was unremarkable: small, unsightly in appearance, in his face only his eyes were attractive, blue, deep like lakes. However, the guerrillas see him as a person of the "right breed."

Slide 33

Levinson's image and the problem of humanism.
How does Fadeev draw the image of Levinson? The main features of Levinson: - isolation - restraint - will - composure - responsibility - determination - perseverance - knowledge of human psychology.

Slide 34

What gives Levinson such confidence and power over people? Can it be argued that Levinson is a supporter of the idea: "the end justifies the means"? Episode "Stifling a Fish" (Chapter 11) Episode "Confiscating a Pig from a Korean" (Chapter 11)

Slide 35

The commander was able to do everything: to develop a plan for the rescue of the detachment, and to talk with people about economic issues, and play in towns, and give orders in time, and, most importantly, convince people. Levinson has a political sagacity. Realizing that the strength of the partisans is in the support of the people, he strictly monitors that the partisans do not drop themselves in the eyes of the population. For educational purposes, he arranges a demonstrative condemnation of Morozka's misdeeds, proposes to make a decision obliging the partisans to help the population in their free time.

Slide 36

During Levinson's difficult moments of hesitation, no one noticed confusion in his soul, he did not share his feelings with anyone, he himself strove to find the right solution; in relations with people he was always firm. As a squad leader, Levinson had tremendous persuasive power. But there were times when there was a need for coercion. So, when food was needed, he was forced to give the order to steal cows from the peasants. He did this by virtue of revolutionary humanism in order to save the detachment. Revolutionary humanism also determined Levinson's behavior towards the ailing Frolov. The partisan was hopelessly ill. The detachment could not take him with them, there was no hospital nearby. The commander did not want to abandon his comrade. Believing that death would save Frolov from torment, Levinson accelerated it, seeing in this a manifestation of humanity.

Slide 37

Chapter 16. Bog. Artist O. Vereisky
The role of Levinson as the leader of the detachment, his authority, his will with extraordinary artistic persuasiveness are shown by Fadeev in the scene when the commander imperiously orders to drive the swamp, which blocked the detachment's only possible path. He appears with a torch among desperate people, reminiscent of Danko from the Gorky legend. The people obeyed his will and crossed the quagmire. Based on the vast experience of the revolutionary struggle, Levinson defines the tasks of the communist: "To see everything as it is, in order to change what is, bring closer what is born and should be."

Slide 38

Chapter 17. Nineteen. "So they rode out of the forest — all nineteen." Artist D. Dubinsky

Slide 39

Thus, in the fates of the characters in the novel, the writer's ideological plan was revealed - to show how in the revolution there was a "alteration of human material", everything alien to revolutionary ideals was eliminated, the characters of the future builders of socialism were formed and tempered in battle.

Methodological techniques: lecture with elements of conversation, control of students' knowledge - test.

During the classes.

I. Teacher's lecture

Alexander Alexandrovich Fadeev went from a novice writer, whose very first novel was highly appreciated by Soviet critics, to the post of chairman of the Union of Writers of the USSR, and this path ended tragically.

1. A story about the life, work and death of A. A. Fadeev.

2. A brief overview of the literary situation at the time of Fadeev's creation of the novel "The Defeat".

"Blood" and "morality", "violence" and "morality", "end" and "means" - these are the fundamental questions of life and revolution that occupied the great minds of all times, painfully solved by the classics of world and Russian literature and especially painfully by Dostoevsky and Tolstoy , in the first years after the October Revolution, acquired an unprecedented acuteness.

The revolution and the civil war, which split society and the country in two, forced everyone to make a tough choice, inevitably asked questions: who am I with? who am I for? These questions arose especially sharply and uncompromisingly before the representatives of the intelligentsia, who, on the one hand, sympathized with the people, the ideas of the revolution, and on the other, defended the values ​​of culture from destruction, defended the principles of humanism and morality as the highest criteria of human existence. V. Ivanov, K. Fedin, M. Sholokhov, B. Lavrenev, K. Trenev, L. Seifullina.

The civil war, which shook a huge country, was understood in literature in different ways: both as a tragedy of the people, entailing irreversible consequences, and as a romantically colored great event that consolidated the victory of the Bolsheviks in the revolution. Under the conditions of the “dictatorship of the proletariat,” the point of view that justified any means on the path of revolutionary conquests prevailed and won, of course. The new “morality” was clearly expressed, for example, by L. Seifullina, who preferred “class hatred” of all human emotions: “Compassion and love can be deceived; hatred is a sacred, fighting feeling in the struggle of a person with evil, it allows a person to see this evil in all its blackness through all sorts of embellishments. "

Characteristic not only for those, but also for many subsequent years, was romanticization of the civil war ... A terrible tragedy, which had irreversible consequences for the country, was shrouded in a kind of heroic and romantic halo in the works of art of the Soviet era. Let us read at least M. Svetlov's poem "Grenada", recall a series of films about "elusive avengers". Revolutionary romance is characterized by extraordinary circumstances, the "elation" of the heroes, the author's obvious predilection for his heroes, the heroization of "ours" and the belittling of "strangers", the mythologization of reality.

The author of Razgrom, published in a separate edition in 1927, was a young writer who knew firsthand about the events of the Civil War. He was a direct participant in it, an eyewitness. The book was immediately highly appreciated. She was called "a work of great ideological and artistic scale", they said that her hero is "the era and the struggle", M. Gorky referred her to the number of books that give "a broad, truthful and talented picture of the civil war." Fadeev was recognized worthy successor of Tolstoy's epic tradition : a clear similarity in intonation, techniques for revealing characters, close attention to detail, psychologism ... The novel is distinguished by a romantic perception of the world, the lyrical voice of the author, who uniquely determined his place in the revolution.

Myself Fadeev saw the idea of ​​his novel in the alteration of "human material" during the revolution under the leadership of a communist organizer: “In a civil war, a selection of human material takes place, everything hostile is swept away by the revolution, everything incapable of a real revolutionary struggle that accidentally falls into the camp of the revolution is eliminated, and everything that has risen from the true roots of the revolution, from the millions of people, is tempered, grows, and develops in this struggle.

A tremendous transformation of people is taking place. This transformation of people occurs because the revolution is led by the advanced representatives of the working class - the communists, who clearly see the goal of the movement and who lead the more backward and help them to re-educate. This is how I can define the theme of the novel ”(1932).

However, the real work went beyond this schematic framework.

A novel about the formation of a personality in the struggle for revolution in a partisan detachment in the Far East called "The Defeat".

II. Preliminary conversation about the novel
- Why a work with a large-scale title "Defeat" limited by the history of one squad ?

It was important for Fadeev to show not so much the breadth and scope of the revolution as its depth - impact on a person , it was important to investigate the changes that took place with an individual under the influence of great historical events ... With all the tone of the narrative, the author emphasizes the significance and tragedy of the events described, while emphasizing the idea of ​​the victory of "revolutionary humanism".

What are features of the composition of the novel ?

The novel contains seventeen chapters ... The first nine provide an outline of the characters and the situation. In essence, this is an exposition of the novel. In the X-XIII chapters the inner world of the heroes is revealed, in XIV-XVII - the test of characters "in action".

The plot composition is such that the defeat of the detachment, the evidence of this defeat is approaching with each chapter. The path to defeat - this is the external plot outline. But at the same time, this is a gradual penetration into the inner world and the complicating relations of the heroes. The three parts of the novel, which we have tentatively identified, are three stages on the way to the defeat of the detachment. But at the same time it gradual penetration into the inner world and the complicating relations of the heroes .

The expanded exposition acquaints with the state of affairs in the detachment, with the situation around the detachment, gives the first characteristics to the heroes, their relationships and conflicts. The fighting is not shown. Fifth week the squad is on vacation ... Levinson, the squad leader, receives instructions from the city "Keep a combat unit" , at least small, but strong, disciplined. This is plot of the novel .

The second part describes the endless transitions and the struggle with the enemy in order to "save a combat unit", a detachment. There are no battle scenes, the author's attention is focused on scenes of respite, overnight stays, rest. It is in these scenes that key episodes in the novel : Frolov's death, the case of fish jamming, the confiscation of a pig from a Korean, Levinson's conversation with Mechik. These scenes are full of drama and dynamics no less than battle scenes, and for the main task - preserving the detachment - they are decisive.

IN the last part takes place both the climax and the denouement ... Fadeev draws a detachment in battles. It depicts the defeat of the detachment, all conflicts are resolved. The main thing is that it is shown what each hero is capable of at the decisive moment, how his essence manifests itself .

III. Test on the creativity of A.M. Gorky, A. A. Blok, V. V. Mayakovsky(cm. )

Homework
Compare the images of Frost and Sword: select the episodes that characterize the heroes.

For Fadeev, as a proletarian writer and active figure of the RAPP, it is very important opposition of heroes in class, socio-political terms ... This opposition is always straightforward and unambiguous.

In what the peculiarity of this opposition ?

Antithesis - the main device of the novel ... The opposition takes place at different levels: external ("red" and "white") and internal (instinct - consciousness, good - evil, love - hate, anarchy - discipline, etc.)... Antithesis is also evident in the system of images. This is primarily opposition of two heroes - Sword and Frost ... Morozka is a worker, Mechik is an intellectual. By this opposition, Fadeev, in his own way, decides the most important question: what are the ways of the people in the revolution ... Let us recall how Bunin, Gorky, Blok raised and resolved this issue. Let's see how the author of Razgrom answers this question.

II. Comparative analysis of the images of Morozka and Mechik

What the path of becoming Frost ?

Dedicated to frost first chapter novel. The subject of Frost's image is difficult, through ups and downs, the path of personality formation .
Self-awareness probably starts from the moment a person begins to ask questions:
what is the meaning of my existence? Why was I born? What is the essence of life?
Morozka never asked himself such questions before he got into the detachment. He was a "second generation miner". He was born "in a dark barrack, near mine No. 2, when a hoarse whistle called the morning shift to work." The description of this joyful event - the birth of a man - is described in a harsh, businesslike manner in dark colors. Morozka got a light on a beep, and his further life seemed to be programmed: "At the age of twelve, Morozka learned to get up on a beep, roll trolleys, speak unnecessary, more obscene words and drink vodka." The writer emphasizes typicality, ordinary life of the hero : "In this life, Morozka did not look for new roads, but walked along the old, already verified paths." Several episodes even begin the same: "When the time has come ..." There were no hints of revolutionary spirit. The only thing that attracts attention is the fact that Morozka did not betray the instigators of the strike to the police. But in general, "he did everything thoughtlessly: life seemed to him simple, unwise, like a round Murom cucumber ..."

Which the event made Morozka look at life differently ?

The first milestone in self-awareness was for the hero his trial (chapter V) .
Frost at first did not understand that he was being tried: just think, he stole a melon; in the village "minerskie" often stole watermelons, cucumbers - it was in the order of things. But when he felt “hundreds of curious eyes” on himself, when he stumbled upon the harsh faces of his comrades, when he heard Dubov’s heavy words that he “disgraces the coal tribe,” Morozka trembled, became “pale as a sheet,” “his heart fell in him, as if padded. " The threat of his expulsion from the detachment turned out to be unexpected and terrible for him. : "Yes, unless I ... did something like that ... Yes, I will give blood on a vein for each, and not that shame or whatever! .." Having given the "miner's" word, Morozka kept it to the end.

What will we learn about life aspirations of Frost ?

Frost knows exactly why he is in the squad. He your own in the revolutionary stream , since, despite all his antics and spontaneous breakdowns, he was always drawn to the best, to the "right" people: "He tried with all his might to get on that, which seemed to him straight, clear and correct, the road along which people like Levinson, Baklanov, Dubov walked."(chapter XII). Morozka's “evil” thoughts that someone stubbornly prevents him from entering this “correct road” did not lead him to the conclusion that “this enemy is sitting in him, he was especially pleased and bitter to think that he suffers because of the meanness of people - such as Mechik, in the first place. "

How Mechik's image develops in a novel?

Fadeev from the very beginning contrasts brawler, drunkard and foul language Clean Frost, fine mechik .
Mechik is shown for the first time with people rushing about in panic : "In a kurguz city jacket, clumsily dragging a rifle, ran, limping, a lean boy." Likewise, Mechik will rush about when, having betrayed his comrades, he will save himself from the pursuit (is not his name from these throwing too?). "The guy's face was pale, beardless, clean, though smeared with blood." Note that this blood is accidental, as if the hero was not wounded, but only stained his "clean" face. Fadeev describes Mechik in such a way that both his pitiful appearance and the author's attitude towards him immediately become clear ... Frost saves him, risking his own life. In the last chapter, Frost saves the entire squad, betrayed by Mechik, at the cost of his life.

Mechik is dedicated to second chapter novel thus in the first two chapters, the main antithesis is determined, a conflict is outlined : "To tell the truth, the rescued person did not like Morozka at first sight" - Morozka here shows a "class", intuitive flair. “Morozka didn’t like clean people. In his life practice, these were fickle, worthless people who cannot be trusted. " Morozka's first impression is fully justified at the end of the novel. So the author, through Morozka, immediately gives an assessment to Mechik highlighting it with various derogatory terms : "Bore", "yellow-mouthed", "snotty".

When describing Mechik, Fadeev often uses words with diminutive suffixes that give the image contemptuous connotation : “In a kurguz city jacket”, “a cheerful urban tune was cheerfully whistling” - the “urban” origin of the hero is constantly emphasized. The little sword now and then blushes, sighs, speaks uncertainly, "squeezes his eyes shut with horror."

What caused Mechik's internal conflict ?

Drawn into the meat grinder of the civil war The swordsman was horrified by the dirt, the violence, the discrepancy between the two worlds - internal and external. At first he "had a very vague idea of ​​what to expect." Once in the detachment, he saw that “the people around him did not at all resemble those created by his ardent imagination. These were dirtier, lousier, tougher and more direct. " External "cleanliness" and "dirt" will be opposed to internal ones, only they will change places .
In fact, Mechik dreams of "peace, sleep, silence." He reaches out to the kind, caring Vara, and immediately betrays his former love - “the girl in bright curls”: when Varya accidentally stepped on the photo with her foot, “Mechik was ashamed to even ask to raise the card,” and then he himself tears up the portrait of the girl to shreds. However, Mechik's love for Varya is not real either. He feels "almost filial gratitude to her", dreams of "pink-quiet clouds", of braids, "golden as noon", of "good words." The author immediately says that "Everything Mechik thought about was not real, but what he would like to see everything" .

Collisions with reality bring Mechik more and more disappointments in his romantic ideas about life. For example, in Chapter IX (horse episode) "boyishly proud hopes" are crumbling hero. Instead of a good horse, he was ordered to look after "a tearful, mournful mare, dirty white, with a sagging back and a chaff belly." He felt humiliated and decided that he would not take care of the mare - "let him die." So the author reveals the insolvency of Mechik , explains the dislike for him in the detachment - everyone considered him a quitter and a bummer. " If Morozka is drawn to the "right people", then Mechik got along with Pika, Chizh, and he learned the worst from them.

How the composition of the novel shows the author's attitude to Mechik ?

Fadeev builds a novel in such a way that grants Mechik a variety of opportunities to merge with the squad , to understand the inner essence of what is happening. But Mechik never saw "the main springs of the detachment mechanism and did not feel the need for everything that was being done." The swordsman loves himself first of all, pity himself, justifies himself.

Which the episode reveals the true essence of Frost and Sword ?

The most cruel test of a person - a situation of choice between life and death Yu. IN last chapter Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what is his moral core .
Death of Frost , his feat showed that he is a real comrade, that he the same "new man" which the revolution should give birth to and bring up. Without thinking about himself, Morozka gives his life for the sake of the life of his comrades: “He felt them so clearly in himself, these tired, unsuspecting people who trusted him, that he did not conceive of any other possibility for himself, except for the possibility still warn them about the danger. "

The swordsman, sent on patrol, "slipped from the saddle." This is predetermined by the author: Mechik "did not understand very well why he was sent ahead, but he was repaired"; he even dozed off in the saddle and "there was neither end nor beginning to that sleepy, dull, unrelated state of affairs in which he himself was." Mechik's betrayal emphasized by his "humiliating body movements"; he "flounders on all fours", "makes incredible jumps", saved his life. And he suffers not so much because because of him dozens of people who trusted him died, but because "the indelibly dirty, disgusting stain of this act contradicted everything good and pure that he found in himself."

How through the images of Morozka and Mechik, the author solves the problem of the intelligentsia and the revolution ?

Frost inherent in a sober, real attitude to reality, a growing awareness of what is happening, understanding the meaning and purpose of the struggle . Mechik- filled not with real life, but with book knowledge, a person who did not have a clear, clear vision of events and not yet realizing his place in life , and most importantly - not burdened with political and moral principles. Comparison of Frost and Sword demonstrates according to Fadeev, the superiority of one and the inferiority of the other .

III. Final words of the teacher

The main reason for irresponsibility, cowardice, and weakness of the "educated", "clean", "urban" Mechika Fadeev considers him overdeveloped sense of personality . Betrayal, according to Fadeev, is a natural ending, to which comes (and cannot but come!) An intellectual who is not deeply rooted with the people, with the masses, with the proletariat and its party. However, Fadeev shows that among the intelligentsia there are people devoted to the cause of the revolution. These are people of a "special breed".

Homework
Pick up episodes that characterize Levinson's image.

Lesson 3. The image of Levinson and the problem of humanism in the novel by A. A. Fadeev "The Defeat"

Methodological techniques: analytical conversation.

During the classes

I. The teacher's word

In Levinson, Fadeev embodied the image of a person "always at the head", harmoniously combining instinct, will and reason. This is a "special person". In the composition of the novel, a separate chapter (vi) ... Levinson opens and closes the novel: he appears in the first and last paragraphs of the novel.

The most important thing in the general movement of action is the fate of the entire collective, the entire partisan detachment. Levinson is the bearer of a common, uniting, rallying and organizing principle.

It was very important for Fadeev to artistically reproduce in "Razgrom" a special type of relationship between the communist leader and the partisans “From my experience of partisan struggle, I saw that with great elements of spontaneity in the partisan movement, the Bolshevik workers played a decisive, organizing role in it,” he said. - This idea ... I wanted to emphasize in the novel "The Defeat". Fadeev shows how the fundamental, class interests of people sometimes run counter to their private, temporary interests, desires and ideas. In the eyes of Fadeev Levinson is the focus of precisely these main, fundamental interests of the people.

II. Conversation

How Fadeev draws Levinson's image ?

Levinson introduces indisputable authority, a man of unbending will, self-confident, born to lead ... Fadeev paints the image of Levinson through the attitude of other characters towards him : “No one in the detachment knew that Levinson could hesitate at all: he didn’t share his thoughts and feelings with anyone, he presented ready-made“ yes ”or“ no ”. Therefore, he seemed to everyone ... a person of a special, correct breed. " Each partisan thought that Levinson “understands everything, does everything as it should ... Therefore, one cannot not trust and obey such a right person ...” The author emphasizes in Levinson a natural, intuitive sense of truth, the ability to navigate the situation: “a special scent. .. sixth flair, like a bat "; “He was extremely patient and persistent, like an old taiga wolf, which, perhaps, already lacks teeth, but which imperiously leads packs - the invincible wisdom of many generations” (Chapter III).

What does it matter Levinson's childhood memories ?

Memories of Levinson's childhood , his looks are in contradiction with his image of a "person of a special breed" ... “As a child, he helped his father sell used furniture, and his father wanted to get rich all his life, but he was afraid of mice and played badly on the violin” - such things Levinson did not tell anyone. Levinson recalls "an old family photograph, where a puny Jewish boy - in a black jacket, with large naive eyes - looked with amazing, childish persistence at the place from which, as he was told then, the bird should fly out."

Over time, Levinson became disillusioned "with the false fables about beautiful birds" and came to "the simplest and most difficult wisdom:" To see everything as it is - in order to change what is, bring closer what is born and should to be".

What is role of portrait character?

Appearance Levinson completely not heroic : "He was so small, unprepossessing in appearance - all consisted of a hat, a red beard and ichigov above the knees." Mechiku Levinson resembles a "gnome from a fairy tale." Fadeev emphasizes the physical weakness, the external unpretentiousness of the hero, highlighting, however, his "Otherworldly eyes", as deep as lakes ... This portrait detail speaks of the originality and significance of the personality.

What are main character traits of Levinson ?

In the scene of the trial of Frost, Levinson is shown to be tough, subduing people: “Frost hesitated. Levinson leaned forward and, immediately grabbing him like a pair of pincers, with an unblinking gaze, pulled him out of the crowd like a nail. " Morozka "was sure that the commander" sees everything right through "and it is almost impossible to deceive him." Levinson may speak “surprisingly quietly,” but everyone hears him, catches his every word. His words are convincing, although he may internally hesitate, have no plan of action, feel confused. However, he does not let anyone into his inner world.

Closure, restraint, will, composure, responsibility, dedication, perseverance, knowledge of human psychology are its main features.

What gives Levinson such confidence and power over people? How does he understand his responsibility to them ?

Levinson deeply believed that people are driven not only by a sense of self-preservation, but also by another, no less important instinct, not realized even by most of them, according to which everything that they have to endure, even death, is justified by their ultimate goal. This instinct, Levinson believes, "lives in people under the cover of infinitely small, everyday, pressing needs and worries about his - just as small, but alive - personality, because every person wants to eat and sleep, because every person is weak." People entrust their "most important concern" to people like Levinso n.

Development of a lesson on the topic:

Literary process of the 20s. Literary groupings and magazines. A.A. Fadeev. The novel "Defeat".

Occupation type: familiarization with new material

Occupation type: learning new material

Goals:

educational: NSthe proposed material should provide the most complete and comprehensive coverage of the literary process of the 1920s; show a living literary process, outline the problems that stand in the literature of this period, problems, the conversation about which will be continued when studying the monographic topics of the course; to give an idea of ​​the personality of the writer, to give a brief overview of the literary situation in the 1920s-1930s;

developing: develop creativity and skills, comparing, drawing conclusions, generalizing;

educational: into nurture the development of a free, conscious person and a responsible person around him.

Stroke lesson

1. Organizational moment (Recording the topic of the lesson in the journal. Preparing the workplace. Creating problem situations.) (1-5 min.)

2. Testing the knowledge of students. Summing up the results of the check. ( 10 min)

House check shnego assignment

3. Presentation of the topic of the lesson, setting the goal and objectives of the lesson (5min)

4. Presentation of new material, applied methodology (60 min)

1. Lecture by the teacher.

Literary process - the literary life of a particular country and era, including the evolution of genres, themes and the conservation and various uses of the classical heritage, the rethinking of eternal themes, the emergence or extinction of certain communities, systems, and interrelationships of literatures. The basic concepts that characterize the literary process are artistic systems, literary trends, trends, creative methods.

1. Features of the literature of the 20s.

In the sphere of literature, the split of society, which ended in the revolution and civil war, was expressed in the fact that after 1917 the literary process developed according tothree opposite and often almost non-intersecting directions.

Emigrant literature

In the early 1920s, Russia experienced the emigration of millions of Russian people who did not want to submit to the Bolshevik dictatorship.

I. Bunin, A. Kuprin, V. Nabokov, I. Shmelev, M. Tsvetaeva.

Once in a foreign land, they not only did not succumb to assimilation, did not forget the language and culture, but created - in exile, in a foreign language and cultural environment - the literature of the Diaspora, the Russian diaspora.

Soviet literature:

It was created in our country, published and found a way to the reader.

This branch of Russian literature experienced the most powerful pressure from the political press.

Literary directions:

Realism.

Realism tried to adapt to the outlook of a man of the 20th century, to new philosophical and aesthetic realities.Updated realism.

Socialist realism , a new aesthetics based on the assertion of normative characters in normative circumstances.

2. Prose of the 20s.

The beginning of the 1920s in literature was marked by increased attention to prose. She took advantage of the pages of the first Soviet magazine, Krasnaya Nov ', published since the summer of 1921. The historical events that took place around, touched everyone and everyone and required not only the expression of emotions, but also their comprehension. Soviet prose of the 1920s was not homogeneous either at the time of its appearance or later, in the process of reader's perception.

3. Literary groupings.

RAPP

LEF

Imagists

"Pass"

OBERIU

Constructivists

"Serapion brothers"

OPOYAZ

RAPP - Russian Association of Proletarian Writers:

1925-1932

The printed organ is the magazine "On the post", "On the literary post".

Representatives - Dm. Furmanov, Al. Fadeev.

Ideas: supporting proletarian literary organizations, learning from the classics, developing communist criticism, denying romanticism, fighting the new bourgeois influence in literature, Akhmatova, Khodasevich, Tsvetaeva, Bunin - "class enemies", Mayakovsky, Prishvin, K. Fedin - "fellow travelers", the theory of a "living person".

LEF - the left front of the arts:

1922-1929

The press organ - the magazine "LEF", "New LEF".

Representatives - V. Mayakovsky, B. Pasternak, O. Brik.

Ideas: the creation of effective revolutionary art, criticism of the passive “reflective psychologism”, the theory of “literary fact”, which denies artistic fiction, requiring the illumination of the facts of new reality in art.

Imagism:

literary movement

1919-1927

The printed organ is "Soviet Country".

Representatives - S. Yesenin, N. Klyuev, V. Shershenevich.

Ideas: "eating of meaning by the image", which was expressed in the violation of grammatical forms that determine the meaning.

"Pass":

literary association

End of 1923-beginning. 1924 - 1932

The printed organ is the Krasnaya Nov 'magazine.

Representatives - V. Kataev, E. Bagritsky, M. Prishvin, M. Svetlov.

Ideas: opposed "wingless everyday life", advocated the preservation of a continuous connection with the artistic skill of Russian and world classical literature, put forward the principle of sincerity, intuitionism, humanism.

OBERIU is a union of real art:

literary and theater group.

1927-1928

Representatives - D. Kharms, N. Zabolotsky, A. Vvedensky.

Ideas: at the heart of creativity - "the method of concrete materialistic sensation of things and phenomena", developed certain aspects of futurism, turned to the traditions of Russian satirists late 19-early. 20th century

Constructivism:

literary movement

1923-1930

Representatives - I. Selvinsky, V. Ibner, V. Lugovskoy.

Ideas: expediency, rationality, economy of creativity; the slogan: "Briefly, succinctly, in the small - a lot, at the point - everything!", the desire to bring creativity closer to production (constructivism is closely associated with the growth of industrialization), rejected unmotivated decorativeness, the language of art was brought to schematism.

"Serapion brothers":

literary group.

1921 g.

representatives - K. Fedin, V. Kaverin, M. Slonimsky.

Ideas: "the search for methods of mastering new material" (war, revolution), the search for a new artistic form, the goal is to master the techniques of writing

OPOYAZ - Society for the Study of Poetic Language

Russian literary school.

1914-1925

Representatives - Yu. Tynyanov, V. Shklovsky.

The heyday of Russian drama:

M. Bulgakov "Days of the Turbins", "Zoykina's apartment";

N. Erdman - "Mandate", "Suicide";

E. Zamyatin - "Flea";

V. Mayakovsky - "Bedbug".

Search and experiment times in literature:

The main theme in the literature was the depiction of the revolution and the civil war:

M. Bulgakov "White Guard"

Furmanov "Chapaev"

B. Pilnyak "Naked Year"

A. Serafimovich "Iron Stream"

M. Sholokhov "Don Stories"

A. Malyshkin "The Fall of Dyr"

I. Babel "Cavalry"

A. Vesely "Russia, washed in blood".

Artists made extensive use of grotesque, fantasy, irony and satire:

M. Zoshchenko Stories

A. Platonov "City of Gradov"

M. Bulgakov "Heart of a Dog"

E. Zamyatin "We"

I. Ilf and E. Petrov "Twelve Chairs", "The Golden Calf"

A. Green "Scarlet Sails" and "Running on the Waves"

1929: Everything has changed.

This year marked the beginning of the persecution of M. Bulgakov, A. Platonov, B. Pilnyak.

Since that year, the relative balance of power has been sharply disrupted.

Methods of merciless political struggle were transferred to literature.

A new time has come with new characters and a new understanding of things in works.

This was a common drama of the Russian intelligentsia, which it experienced at the turn of the 20s and 30s.

4. Journalism.

Writing journalism is an integral part of literature.

This is a genre of literary works that stands at the intersection of fiction and scientific (socio-political) prose.The main purpose of journalism - to raise socially significant and urgent problems of modern life, she takes the oratorical word into service, her style is characterized by increased and open emotionality.

All writers are united by a common theme of understanding the revolution, which comes into contact with the problem of the intelligentsia, people and culture. All writers are looking for the origins of the 1917 catastrophe, the barbaric attitude to cultural heritage, they talk aboutthe fault of the intelligentsia , which forgot to remind the people that they also have responsibilities, they are responsible for their country. And V. Korolenko, and I. Bunin, and M. Gorky sarcastically assess the implantation of a new system, the facts of violence, the ban on the original thought. They urge to take care of the cultural heritage of the country and people.

For Gorkythe revolution - "convulsion", which should be followed by a slow movement towards the goal set by the act of revolution. I. Bunin and V. Korolenko consider the revolution a crime against the people, a cruel experiment that cannot bring spiritual revival.

People ... M. Gorky considered in him a wild, unprepared mass, which cannot be trusted with power. For Bunin, the people were divided into those who are called "robbery Nika", and those who carry age-old Russian traditions. V. Korolenko argues that the people are an organism without a backbone, soft and unstable, clearly deluded and allowing themselves to be dragged along the path of lies and dishonor.

The historical events that followed after October 1917 forced many writers to change their views: M. Gorky was forced to adapt to the Bolshevik ideology. I. Bunin and V. Korolenko became even more confirmed in their convictions and until the end of their days did not recognize Soviet Russia.

5. Poetry of the 20s.

The modern look at the poetry of the 1920s about October, at the figures of poets who saw the 20th century in a completely different way than before the revolution, suggests a new approach to understanding many works. The forces of attraction to the revolution and at the same time being shocked by its severity, the depth of pain for a person and at the same time admiration for everyone who remained a person in the revolution, faith in Russia and fears for its path created an amazing composition of colors, techniques at all levels of many works. New problems forced poetics to be renewed as well. After analyzing the poems of the 20s of the twentieth century, we came to conclusions.

2. Acquaintance with the biography of A. Fadeev.

3. Work with A. Fadeev's novel "The Defeat".

For Fadeev, as a proletarian writer and active leader of the RAPP, it is very important to contrast heroes in the class, socio-political plane. This opposition is always straightforward and unambiguous.Antithesis - the main device of the novel. The opposition takes place at different levels:

External ("red" and "white").

Internal (instinct - consciousness, good - evil, love - hate).

Antithesis is also evident in the system of images. This is a juxtaposition of two heroes - Mechik and Frost. Morozka is a worker, Mechik is an intellectual. With this opposition, Fadeev solves the question:what are the ways of the people and the intelligentsia in the revolution. To answer this question, it is necessary to compare the images of Mechik and Morozka in the novel "Defeat".

Comparative analysis of images.

Difficult, through ups and downs, the path of personality development. Self-awareness begins when a person begins to ask questions: what is the meaning of my existence? Morozka did not ask himself such questions until he got into the detachment.

What event made Morozka look at life differently?

The first milestone in self-awareness was his judgment (Chapter 5). At first, Morozka did not understand why he was being tried. But when he felt hundreds of prying eyes on himself, he heard Dubov's words that he "disgraces the coal tribe." Frost trembled, became pale, like a canvas, “his heart was falling in him, as if it had been knocked out.” The threat of expulsion from the detachment turned out to be unexpected and terrible for him: “But if I… would have done that. Yes, I will give blood on a vein for each, and not that a shame or something! "

What do we learn about Frost's life aspirations?

Frost knows exactly why he is in the squad. He is his own in the revolutionary stream, because, despite his antics and spontaneous breakdowns, he was drawn to the “right” people: “He tried with all his might to get on the road that seemed to him straight, clear and correct, along which people like Levinson, Baklanov, Dubov. " (chapter 12).

Frost's thoughts that someone stubbornly prevents him from going out on this road did not lead him to the conclusion that this enemy is sitting in himself, he is especially pleased to think that he is suffering because of the meanness of people like Mechik ...

How does Mechik's image develop in the novel?

Fadeev from the very beginning opposes a clean, fine-looking Mechik to Frost. Mechik is shown for the first time with people rushing about in panic: "in a kurguz city jacket, clumsily dragging a rifle, a lean boy ran with a limp." The Mechik will also rush about when, having betrayed his comrades, he will flee from the pursuit. "The guy's face was pale, beardless, clean, though smeared with blood." Fadeev describes Mechik in such a way that both his miserable appearance and the author's attitude towards him become clear. Frost saves him, risking his own life. In the last chapter, Frost saves the entire squad, betrayed by Mechik, at the cost of his life.

The second chapter of the novel is devoted to Mechik, thus in the first two chapters the main antithesis is determined, a conflict is outlined: "To tell the truth, Morozka did not like the saved one at first sight." So the author, through Morozka, immediately gives an assessment of Mechik, emphasizing it with various words: "bore", "yellow-mouthed", "snotty".

When describing Mechik, Fadeev often uses words with diminutive suffixes, which give the image a contemptuous shade: “in a city jacket”, cheerfully whistling a cheerful urban tune ”-“ urban ”origin is constantly emphasized. The swordsman now and then blushes, speaks uncertainly, "squeezes his eyes shut with horror."

What caused Mechik's internal conflict?

Drawn into the meat grinder of the civil war, Mechik was horrified by the dirt, violenceYu, the discrepancy between the two worlds - internal and external. At first he had a vague idea of ​​what was to come. Once in the detachment, he saw that the people around him did not at all resemble those created by his ardent imagination. These were dirtier, lousier, tougher and more direct. External cleanliness and dirt will be opposed to internal ones, only they will change places. In fact, Mechik dreams of peace, sleep, silence. He reaches out to the kind, caring Vara, and immediately betrays his former love. However, he also feels "almost filial gratitude" to Varya. Collisions with reality bring Mechik more and more disappointments in his romantic ideas about life (episode with a horse in chapter 9).

Fadeev builds the novel in such a way that provides Mechik with a number of opportunities to merge with the detachment, to understand the inner essence of what is happening, but Mechik never saw the main springs of the detachment mechanism and did not feel the need for everything that was being done.

Which episode reveals the true essence of Frost and Sword?

The toughest test of a person is the situation of choosing between life and death. In the last chapter, Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what is his moral core. The death of Frost, his feat showed that he is the very new person that the revolution should bring up. Without thinking about himself, Morozka gives his life for the sake of his comrades: “He felt them so vividly in himself. These tired, unsuspecting people who trusted him, that he had thoughts of some other opportunity for himself, except for the possibility of warning them about the danger. "

The swordsman, sent on patrol, "slipped from the saddle." This is predetermined by the author: Mechik did not understand very well why he was sent ahead, but obeyed. Mechik's betrayal is emphasized by his demeaning gestures; he flounders on all fours, makes incredible jumps, saving his life. And he suffers not so much because people died because of him, but because "the indelibly dirty stain of this act contradicted the good and pure that he found in himself."

How does the author solve the problem of the intelligentsia and revolution through the images of Morozka and Mechik?

Frost is characterized by a sober, real attitude to reality, a growing awareness of what is happening, an understanding of the meaning and purpose of the struggle. Mechik is a romantic, filled not with real life, but with book knowledge, a person who did not have a clear, clear vision of events and did not yet realize his place in life, and most importantly, not burdened with political and moral principles.

Teacher: The main reason for Mechik's irresponsibility, cowardice and weakness, Fadeev considers his egoism, individualism, and an overdeveloped sense of personality. Betrayal, according to Fadeev, is a natural ending, to which comes an intellectual who is not deeply rooted with the people, the masses, with the proletariat and its party. However, Fadeev shows that among the intelligentsia there are people devoted to the cause of the revolution. These are people of a "special breed".

5. Consolidation of the studied material, the applied method (5 min.).

Conversation.

What historical event is covered in the novel? (Civil War)

Where are the events taking place? (In the Far East)

Who is the main character of the novel? (Levinson, Morozka, Mechik)

Why is a work with a large-scale title "Defeat" limited to the history of one unit?

6. Summing up (3 min)

7 ... Literature required to prepare for the lesson.

1. Zinin S.A., Sakharov V.I.Russian literatureh. 1.2 10 cl. - M.: " Russian word", twenty 14 .

8. Homework assignments for students (2 min.)

Textbook: p. 310-362;

The novel "The Defeat" by A. Fadeev

The main idea A. Fadeev defined the novel “The Defeat” as follows:"In a civil war, the selection of human material takes place ... Everything that is incapable of fighting is eliminated ... People are being remade."No matter how contradictory the assessment of the events of the civil war from the standpoint of today is, the undoubted merit of Fadeev is that he showed the civil war from the inside. The author highlights not military actions, but a person.
It is not by chance that Fadeev chooses for the description in the novel the time when the detachment has already been defeated. He wants to show not only the successes of the Red Army, but also its failures. In the dramatic events of this time, the characters of people are deeply revealed.

The central place in the novel is occupied by the images of the squadron commander Levinson, Morozka and Mechik. They are all connected by the same living conditions, and this helps the reader to judge the characters of these heroes.
Ivan Morozov , or Frost , as they call him, did not look for new roads in life. This is a natural in his actions, chatty and raunchy guy of twenty-seven years old, a miner in the second generation. Throughout life, he walked the old, long-verified paths. Saving Mechik became, as it were, the impetus for reworking Frost. We see that the hero has compassion for Mechik, he shows courage, but he also has contempt for this man, whom he considers “clean”.
Frost is greatly hurt that Varya falls in love with Mechik. "In entogo, mom's, or what?" - he asks her and contemptuously calls Mechik "yellow-mouth". There is pain and anger in it. And here he is stealing melons. And he is very afraid that he will be kicked out of the army for this offense. This is impossible for him, he has already got used to these people. He has nowhere to go. At the “trial,” he sincerely says: “But would I ... have done such a thing ... if I had thought ... but would it have been me, brothers! Yes, I will give blood on a vein for each, and not something that would be a shame or something! "
Frost has crashed in personal relationships. After all, he has no one closer to Varya, and he has to cope with personal problems on his own. He is lonely and seeks salvation in the squad. He is truly loyal to his squadmates. Morozka respects Levinson, Baklanov, Dubov, and even tries to imitate them. They saw in Morozka not only a good fighter, but also a sympathetic person, they always supported him. Frost can be trusted - after all, it is he who is sent on the last reconnaissance. And this hero, at the cost of his life, warns people about the danger. Even in the last minutes of his life, he does not think about himself, but about others. For dedication to the cause and courage, for kindness - after all, Morozka did not take revenge on Mechik for his lost wife - the author loves his hero and conveys this love to the reader.
Like Morozka, the squad leaderLevinson Fadeev shows a living person with vibrations and feelings inherent in him. The author does not idealize this hero. Outwardly, he is inconspicuous, like a dwarf with his small stature and red beard. He was always on the lookout: he was afraid that his squad would be taken by surprise, and began to prepare for resistance, but so that no one knew about it. He is alert and perceptive. All partisans considered him “correct”.
But Levinson himself saw his own weaknesses, as well as the weaknesses of other people. When the squad gets into a difficult situation, Levinson tries to be an example to others. When this does not work, he begins to use the force of power, coercion (remember how he drives a fighter into the river at gunpoint). To be sometimes cruel, he is forced by a sense of duty, which is above all for Levinson. He gathers all his strength, and the detachment under his leadership breaks forward ... But after the breakthrough, Levinson no longer has any strength. When physical fatigue almost wins, Baklanov comes to his aid. This young naive “boy” was able to lead the detachment forward. Levinson is weak, but this suggests that it is not the commander, but the person who comes to the fore in his behavior. Fadeev sees the shortcomings of his hero and believes that he lacks vitality, courage, and will. In Levinson, we are attracted by the fact that all his thoughts and actions express the interests of the detachment, people. His personal experiences fade into the background.
The images of Frost, Blizzard and other members of the squad are contrasted with the imageMechika. This is a young man of nineteen who voluntarily came to the detachment to amuse his pride and vanity. Therefore, he rushes to the hottest place in order to prove himself as quickly as possible. This person fails to get close to the rest of the squad, because most of all he loves himself. He always thought only of himself, so he was a stranger in the detachment. Mechik has the idea of ​​desertion, although he himself came to the detachment. This is precisely what speaks of Mechik's true intentions. He did not serve the cause, but simply wanted to show off his prowess.
Therefore, we can say that the detachment is a single whole, and Mechik stands apart from the rest. And when he eventually deserts, the reader is not surprised by this. And what does Mechik think about when he deserts? “... How could I do this, - I, so good and honest and did not want any harm to anyone ...” And after all, it is Mechik who is the cause of Frost's death. It seems to me that this hero is best characterized by the words of Levinson, who called Mechik a "worthless empty flower", weak, lazy and weak-willed. And although the collective hero of A. Fadeev's novel "The Defeat" is a military detachment operating in the Far East, he does not appear before us as something single. Too different people enter it. Each person is a person with their own social roots, dreams and moods. This is confirmed by the images of Morozka, Levinson and Mechik so different from each other.

Alexander Fadeev's novel was written at the beginning of the twentieth century, at that time there were two views: social democrats and maximalist Social Revolutionaries. In the novel, there are two heroes Frost and Mechik who have these convictions. To better understand these areas, we will compare the heroes. The author pushes us to compare them, showing how they behave in different situations in relation to each other and to their comrades.

How is Frost shown in the novel?

(text work) students read out episodes characterizing Morozka.

How is Mechik depicted? (work with the text and filling in the table) the students read out the episodes characterizing Mechik.

Frost and Mechik

Social background

Morozka is a second generation miner. From the age of twelve he worked in the mine, "did not look for new ways, but walked the old, already verified paths."

Mechik, on the contrary, was born in an intelligent family, in a city, he received ideas about the world from books in which everything was fine. In general, when he grew up and entered life, it turned out that he was not at all ready for it.

Education

Morozka was not educated, did not see a beautiful life, but learned to break through the harsh reality, earning his own piece of bread, rolling heavy trolleys with ore

Mechik graduated from high school and lived without worries on the money of his parents

Appearance

Morozka's appearance is described by its resemblance to a horse: "the same clear, green-brown eyes, the same squat and bow-legged, just the same rustic cunning and lascivious",

The swordsman was "clean", blond, with curly hair.

Upbringing

From an early age, Morozka learned to drink vodka, swear, lead a walking lifestyle. Bala he has another bad feature - he did not recognize any authorities, but there is also a bright spot - he never betrayed his comrades, for which everyone respected him and considered him their man.

Mechik was a "mama's son", for him the best pastime was reading books.

Life experience

Before getting into Levinson's detachment, Morozka visited the front, where he received many wounds, was shell-shocked twice, after which he quit cleanly and went to the partisans

Mechik, joining the party of Socialist Revolutionaries-maximalists, was assigned to Shalbybin's partisan detachment, and, thirsting for "bookish" feats, he went to the detachment, but his dreams quickly dissipate at the first meeting with the partisans - they beat him up without knowing who he was. When the Japanese attacked Shaldyba's detachment, Mechik was wounded and rescued by Morozko, who was sent to take the package to their detachment. So Mechik got into Levinson's squad.

Attitude of others to heroes

The people around him treated Moroz in different ways, he was respected for the fact that he always looked after the horse, kept his weapons clean and never betrayed his comrades, this was the main thing for the partisan, and he was considered one of his own. But there was also a negative side, he was arrogant and did not obey anyone, they wanted to find justice for him and waited for the moment. That moment has come. Once he could not resist and stole melons from someone else's garden, he was condemned, but pardoned, taking from him the word of honor of a miner and a partisan that he would reform.

Almost no one recognized Mechik for the fact that, firstly, he was a maximalist Socialist-Revolutionary, secondly, he could not, or rather did not want to keep an eye on the weapon and the horse, and thirdly, having made friends with Chizh, who taught him to shirk from work, did not fulfill the requirements of the detachment commander. In the detachment, the opinion was that he was "an impenetrable confusion", "lazy and weak-willed", "worthless empty flower".

Service attitude

Mechik dozed off in the saddle and almost fell into the hands of the Cossacks, after which he fled. Because of this, Frost was killed, but he still managed to shoot up three times to warn his

Mechik fled at this time, saving his life. Realizing his guilt, he decided to shoot himself, but realizing that this was beyond his power, he returned to the city, not thinking about what kind of power was there.

Conclusion

People like Morozka can be remade, because he is loyal to his people, and if he gave his word of honor that he would correct himself, he would fulfill his promise, even if it cost him his life.

The swordsman, as he was "clean", will remain so, having betrayed his comrades, he is an egoist, "because more than anything in the world he still loved himself."

The life positions of the heroes are not important here, but most importantly their humanity. I am very upset by Mechik's actions, because he betrayed his savior, abandoned, and had to stay and die with him, and maybe they would have survived if Mechik had not fallen asleep in the saddle. Yes, it's absurd to go on an exploration and fall asleep! This is complete irresponsibility! And most importantly, he was left to live with it without much remorse. Here Moroz is a hero. Knowing that he was about to die, he did his duty and died like a real hero.