My attitude to the works of Sholokhov. help me please

26.06.2020

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The answer left the guest

The story "Asya" is about love and only about love, which, in the opinion
Turgenev, "stronger than death and fear of death" and by which
and life moves. " This story has an extraordinary
poetic charm, beauty and purity.
The story is told in the first person, on behalf of the main character - the master
N. The story itself is named after the heroine - Asya. From the first
the minutes of its appearance on the pages of the story, the reader begins
to feel that the heroine is enveloped in some kind of mystery. Gagin presents
her as her sister. But she was not in the least like her brother.
Asya's secret will be revealed after a while from the memories of Gagin,
when the origin of the girl becomes clear and the reader sees what
difficult childhood fell to her lot. Romantic reticence
the image of Asya, the seal of the mystery that lies on her character and behavior,
give it attractiveness, charm, and the whole story -
inexplicable poetic flavor.
The author reveals the character traits of the heroine through a description
appearance, actions. The narrator says about Asya's face: “... the most
changeable face that I have only seen. " And then he writes: “Her large
her eyes looked straight, bright, bold, but sometimes her eyelids slightly screwed up,
and then her gaze suddenly became deep and gentle ... "
and Asya's entire appearance, apparently, to match the character of the hostess, has a predisposition
to a quick and sudden change. Turgenev
almost does not name the feelings that possess the heroine in one way or another
period of time, he is in changes, in motion paints her portrait
- and the reader understands what is happening in her soul. The writer carefully
monitors not only the content of speeches that are exchanged
heroes, but also for the tone in which the speeches are made, and for the "duel"
gazes, facial expressions, for wordless communication of interlocutors.
The main idea of the heroine is formed from her actions.
and behavior in different situations. Asya's behavior can be completely
at least called extravagant. She climbs with a glass in her hand
through the ruins, then sits over an abyss, then laughs and plays pranks,
putting a broken branch on your shoulder and tying a scarf around your head;
then he puts on his best dress on the same day and comes to dinner
carefully combed, tied and gloved; then in the old
dress quietly sits behind the hoop - just like a simple Russian
young woman; then breaking all the rules of decency, ready for anything, appoints
a date with a young man in private; finally decisively
breaks with him and finally leaves the city to lose
your loved one forever. What is the reason for such extravagance,
and sometimes the heroine's exaltation? As a subtle psychologist, Turgenev
often, without resorting to the scalpel of analytical thought, forces
the reader himself draw conclusions by comparing the facts.
Another trick is used by the author to give a more complete picture.
about the heroine - reviews of other persons about her. First of all, it is
her brother. Talking about Asya's childhood, he draws attention
abnormal conditions of upbringing, which could not but affect
increased vulnerability, on pride. And the heroine herself is constantly
reflects on himself, revealing his soul in as if by accident
abandoned words. And then we find out that she dreams of “going somewhere-
somewhere far away, to prayer, to a difficult feat ... And then the days go by
life will go away, but what have we done? »Far from being an ordinary girl, she
dreams, as Gagin says, of a hero, an extraordinary person or
a picturesque shepherd in a mountain gorge. And so the hero appears in her
life. Who is he? This is a young man of about twenty-five.

Topics that reveal the student's attitude to the hero of a literary work can be formulated in different ways: "Which of the heroes (work) is closer to me and why?", "My attitude to the hero (s) of the work", "My favorite literary hero", etc. .NS.

Essays in which students directly express their attitude towards literary characters must be preceded by the experience of characterizing the literary character. We begin to write essays-characteristics from the 5th grade, mastering in the process of text analysis such theoretical and literary concepts as "portrait of a literary hero", "speech of a hero", "author's attitude to the hero" (author's position). The comparative characteristics of the heroes of one work are the next stage in the work on the literary image.

As the literary and age-related development of students increases, we increase the context of the comparison (comparing literary heroes of different works of art, eras, trends, heroes of Russian and world literature), complicating the goals and objectives of the work. Thus, the topic “My attitude to the heroes of IS Turgenev’s story“ Asya ”, proposed in the 8th grade, in the future, at the next stage of literary development, can be developed in a broader, philosophical context. For example, in the mainstream of Dmitry Likhachev's reflections on the originality of the Russian character: “One feature, noticed long ago, really constitutes the misfortune of Russians: in everything to go to extremes, to the limit of what is possible, and at the same time in the shortest possible time ... the line was always on the verge of extreme danger - this is beyond any doubt, and in Russia there was no happy present, but only the dream of the future replacing it. "

At the initial stage - the characteristics of the literary hero, the expression of their attitude towards him - such works, as a rule, do not cause great difficulties for students. Nevertheless, the most common mistake in their writing is the absence in the work of a direct characterization of the hero, which would motivate the expressed attitude towards him. Often, the student is in a hurry to express his opinion, skipping an important stage of work - thinking about the image of the hero, attention to the author's position - which are possible only on the specific material of the analyzed literary text. In order to sharpen the attention of the students to the disclosure of the characters' images, we will somewhat change the traditional theme: instead of “My attitude to the heroes of I. Turgenev’s story“ Asya ”” - “Heroes of I. Turgenev’s story“ Asya ”and my attitude to them ".

Concentration on the characterization of the hero, reliance on the material that the text gives (portrait, speech, actions, the author's attitude to the hero), help the student to avoid unreasonable assessment, superficial judgments. In real life, this contributes to the development of such qualities in students as observation, the desire for objectivity in expressing their own opinions.

Since any creative work in literature is directly related to the analysis of the work, directly or indirectly motivated by its nature, goals and objectives, we recommend referring to the materials of the textbook for grade 8, ed. VG Marantzman, as well as methodological recommendations for the textbook, which will help the teacher to plan lessons for the work.

Experience shows that students read the story with interest: the topic of human feelings and relationships is interesting to adolescents. The main difficulty is the understanding of the image of the main heroine of the story - Asya and the feeling of the lyrical leitmotif of the story - “happiness has no tomorrow”.

The naturalness and openness of nature, the strength and fearlessness of feelings, the ability to respond with the heart to everything that happens in life are far from always close to the consciousness of a modern person: a rational, pragmatic one is enough. The understanding of the uniqueness of a meeting, a "moment" that fate gives a person only once and for which he is most often not ready, as the hero of Turgenev's story, is not close to a 13-14-year-old reader. And this is explained not only by his small life experience, but also by a different outlook of a person of the XXI century, who lives in the era of virtual reality: everything can be replicated, repeated, scrolled, like in a movie, duplicated. Uniqueness, uniqueness, uniqueness as characteristics of certain life situations, feelings, relationships are today denied as such. Popular culture puts forward an alternative thesis: everything is repeatable, reproducible, replaceable. Attempts of self-expression most often ultimately lead to unification - since initially they are based on a veiled desire to “be like everyone else”.

On the one hand, the essay "The heroes of I. S. Turgenev's story" Asya "and my attitude towards them" is a teaching work, the purpose of which is to teach students to express their attitude towards literary heroes, actively using a literary text to argue their thoughts and feelings. (reliance on the characteristics of the image), on the other hand, it enables students to better understand the characters of the heroes and the author's position in the work, once again think about the actions of the heroes and their attitude towards them.

Below we present the work of students, accompanied by a brief analysis and recommendations for further work. We have selected essays that differ in the level of mastering the material, the style of thinking. They will help you see how the essay process is progressing for different students. All of them are given without stylistic corrections, although almost every one contains speech errors, shortcomings, which, in our deep conviction, reflect the inaccuracy, first of all, of the thought itself.

Heroes of the story "Asya" by I. S. Turgenev and my attitude to them

1. A draft of the composition of Olga Pantyukhova.

In the story of I. S. Turgenev "Asya" there are three main characters: Asya, Gagin and N. N.

Gagin is a nobleman, an educated person. He played the piano, composed music, painted pictures - in general, he led a secular life.

He considered his paternal sister Asya "kind, but with a bad head." “It's hard to get along with her,” he said. “You have to get to know her well in order to judge her!”

Asya was short, "graceful built, but as if not yet fully developed." Her hair was black, "cut and combed like a boy's," her face was swarthy, round, "with a small thin nose, almost childish cheeks and black eyes."

She was very mobile, “she did not sit still for a single moment; she got up, ran and ran again, sang in an undertone, often laughed, and in a strange way: it seemed that she was laughing not at what she heard, but at various thoughts that came into her head. Her large eyes looked straight, bright, bold, but sometimes her eyelids slightly squinted, and then her gaze suddenly became deep and gentle. "

N. N. was a free-thinking man, not bothering himself with anything, an ordinary nobleman who left to travel "without any goal, without a plan"; "He lived without looking back, did what he wanted, prospered, in a word." He was interested in traveling more than all faces, "living, human faces - the speech of people, their movements, laughter - that's what I could not do without," he said. NN loved to be in the crowd, to communicate with people. He often passed off all his fleeting hobbies as serious feelings, therefore, perhaps, he was not able to correctly address Asya, to understand her when she wanted to confess her feelings to him. He behaved tactlessly, accusing Asya of something that she did not think about, and even more so could not do: “You didn’t allow the feeling that was beginning to mature, you broke our connection, you didn’t trust me, you doubted inside me..."

Thus, when I read the story, I still thought about the question: why did not fate unite the heroes, why did it end that way? So unexpected and sad? After all, there were no obstacles for the heroes, they could influence their own destiny.

Only an act done or not done on time plays a role here. N.N. was to blame for the fact that everything turned out that way. He had a chance both at the moment when they met with Asya, and at the moment when he decided that "tomorrow he will be happy." But “happiness has no tomorrow; he does not have yesterday's either; it does not remember the past, does not think about the future; he has a present - and that is not a day - but a moment. " And N. N. missed his happiness. His frivolity ruined his fate. And he himself, having already lived his life, realized this, “condemned to the loneliness of a familyless boar”, “... what happened to me? What is left of me, from those blissful and anxious days, from those winged hopes and aspirations? "

Turgenev's story "Asya" is a story about unfulfilled love, irrevocably gone hope for happiness.

This work is the result of the student's attentive attitude to the text of the work, active participation in the analysis.

We see that the character of each of the heroes of the story as a whole is recreated correctly. The portrait of Gagin is not fully drawn in the work. Although he plays in the story not so significant in comparison with other characters in the story, his image is ambiguous. When characterizing Gagin, it is important, on the one hand, to note the irony with which the author speaks about his painting studies (and in this superficial relation to art, Gagin and N.N. are close), on the other hand, to emphasize Gagin's sincere attitude to the fate of Asya, the ability to understand her dissimilarity to others, to accept her for who she is - which N.N.

Asya's portrait is drawn in sufficient detail, but lacks appreciation. It remains not entirely clear how the author of the work relates to Asya, what associations the image created by the artist evokes. It is also necessary to think about how to better introduce her portrait into the composition. Some significant episodes of the narrative are overlooked in the analysis: "why people don't fly", a waltz scene. Referring to these episodes would help to "hear" the melody of love in the story, to join the style of the author's narration.

The advantage of the work is, undoubtedly, the reliance on the text of the work of art, the skillful introduction of quotations. But the "size" of each quote must be reduced to a minimum that reflects the essence of the thought.

The introduction leads directly to the topic of the essay, but stereotypically, devoid of a setting for dialogue. The final part of the work successfully reflects the general meaning of the story, but does not reveal the student's reading position. There are speech shortcomings.

2. Draft of the composition of Lukyanov Victor.

All of you, probably, have heard about the work of I. S. Turgenev "Asya" or read this story. This work is known to very many due to the fact that what is written in it is very bordering on reality. This is not some simple novel. This is a life where actions are so natural that sometimes it seems as if the writer did not invent a story, but only transferred what was in life to paper.

N.N. is an ordinary young nobleman who is looking for something new without having a definite goal in life.

Asya is a young girl who is interested in everything. She is honest and does not know how to behave in many situations.

N. N. fell in love with Asya, and she fell in love with him, it seemed that everything should go well, but this work is too similar to life for it to have such a happy ending. After all, a person's life cannot be ideal.

He is a nobleman, but she is not, what will happen after the wedding? He will lose everything, and this fear prevailed over love, and they parted.

Despite the fact that the heroes parted, N. N. continues to love Asya with his heart. And in the end love conquers fear, but it was too late. And there is nothing left but sadness. And she wins and warms his heart.

The characterization of the heroes is given too general, although their main features are correctly captured. The logic of thinking is interesting, according to which "Asya is honest", therefore in many situations she does not know how to behave. At first glance, it is illogical. But, if you think about it, a "natural" person does not have "preforms" of behavior for different life situations. It would be interesting to develop an idea in this direction.

It is necessary to supplement the characterization of the heroes: to emphasize the uniqueness of Asya, to highlight the attitude towards NN's life at the beginning of the story, to say a few words about Gagin; compare heroes. Introduce small quotes that accurately and figuratively characterize each of the characters. Is it possible to prove in the text that NN prevented her from marrying Asa because of her non-nobility (this is stated in the work). The work does not clearly express their own attitude towards the heroes of the story.

In the introduction, the dialogical character of the narrative is outlined, but in the future it is not developed. In general, what has been written is a sketch, sketches for future work. Lack of support in the text makes thinking, impoverishes thought.

It is necessary to develop independent thoughts, actively involving the text of the work and the results of analysis for this.

3. A draft of the composition of Svetlana Golubeva.

The main heroine of the story is Asya: short, gracefully built, short black curls, black eyes. Although her name was "Anna", for some reason everyone called her affectionately "Asya". She was seventeen years old. Dexterous, agile, even seemed a little impudent, and her whole being "strove for the truth." She believed that "flattery and cowardice are the worst vices."

In this story, a gullible, sweet, unlike other girl, attracts the attention of a young man - I. N. She gives rise to conflicting feelings in his heart. The hero of the story himself cannot fully understand his feelings for Asya, because he never had a serious relationship with girls of her age. I think that before meeting with Asya, NN was even cynical about girls. He soon began to forget his wrong feelings. And yet it seems to me that N.N. is a frivolous, windy person, incapable of real feelings. He was too amorous, careless, because all his life he did not bother himself with anything. As he himself tells about himself, "he lived without looking back", "did what he wanted." It did not even occur to him that it was impossible to live like that. Much later the hero will understand that "youth eats gilded gingerbread, and even thinks that this is their daily bread, and the time will come - and you will ask for a loaf of bread."

Gagin is an unusual person. There is something “soft” in all his appearance: soft curly hair, “soft” eyes. He loves nature, art, although he clearly did not have the patience and hard work for serious painting. But at the same time, he loves Asya strongly and sincerely like a brother, worries about her fate.

Having listened to Asya's confession, N.N. does not evaluate her act, and even pretends that he is indifferent to her. Asya is at a loss, in despair, she loses faith in everything that was so important to her. She had to endure and endure a lot. After all, she was so afraid of this disappointment, but it overtook her. Asya is naive, she does not yet know how difficult and cruel life is. The heroine evokes in me pity, sympathy and understanding. At the end of the story, NN admits that in fact he never felt such feelings for anyone as for Asya: “The feeling was burning, tender and deep only then. No! No eyes looked at me with such love! "

N. N. loses Asya. She remained in his memory the very girl he knew her at the best time of his life and as he saw her for the last time. He realized too late what a mistake he had made. Tomorrow I'll be happy, he thought. But “happiness has no tomorrow” ...

In the work, one can feel the student's "capture" by the feelings of the heroine. It is no coincidence that she writes that she understands the heroine.

Here we clearly see the "involvement" of a work of art with the psychological dominant of age - the experience of first falling in love. The inner state of the heroine at the moment of her meeting with N.N. is precisely understood: Asya “loses faith in everything that was so important to her”.

The characters of the heroes are described quite fully. The transition to Gagin's characterization was not entirely successful. There is no comparison with N. N. and conclusions. Lucky selection of quotes. Unfortunately, some important episodes of the story are not mentioned in the work, so the author did not quite manage to recreate the poetic atmosphere of the narrative, to convey the “music” of the text, which undoubtedly impoverishes the analysis of the story. Apparently, this layer of the work was somewhat ignored by the student. The focus is on the plot.

4. A draft of the composition of Stanislav Anikin.

At the literature lesson, we read the story "Asya" by I. S. Turgenev. I am very sorry that Asya and N.N. did not stay together. If NN did not live "tomorrow", they would be happy.

Asya had an extraordinary appearance. Almost childish cheeks, black eyes, small nose. She was gracefully built and resembled Raphael's Galatea. Her inner anxiety, a desire to show off, confused N.N. She laughed, then she was sad: "What a chameleon this girl is!" But he liked her soul.

Gagin, Asya's brother, loved to draw, but all the paintings remained unfinished. With his love for nature and art, he lacked hard work and patience. It is no coincidence that, describing one of Gagin's and NN's walks, when Gagin decided to "work," Turgenev notes that the heroes started talking with such pleasure, as if they were doing something useful. But, despite the ironic attitude of the author to the "artist", we see that Gagin was capable of sincere love for his sister, worried about her fate.

During the meeting, Asya was like a "frightened bird". She trembled, and at first NN felt sorry for her, his heart "melted" in him. Then, remembering Gagin, N.N. began to shout at Asya and gradually became more and more cruel. Asya did not understand the reasons for his cruelty. I. I. knew that he was deceiving her. Asya rushed to the door and ran away, and he stood "as if struck by thunder."

N.I. loved Asya. If he only said one word, they would be together. Fear gnawed at him, vexation gnawed at him. He felt regret, remorse. How can you marry a seventeen-year-old girl! And at the same time, he was almost ready to tell Gagin about this and decided to postpone it until tomorrow. "Tomorrow I'll be happy!" But “happiness has no tomorrow” ... The critic N. G. Chernyshevsky wrote that all Russian “Romeos” are like that.

On the whole, the student correctly grasped the meaning of Turgenev's story. The work contains episodes from the text, quotations, the point of view of Chernyshevsky. But the student finds it difficult to logically connect micro themes, the transition from the reproduction of the text to independent reflection. Own attitude towards the heroes is clearly not expressed enough, there is no involvement in the world of a work of art, in the world of the author and heroes. That is why so little attention is paid in the work to the experiences of the heroes, their feelings.

With all the drawbacks, the work is completely independent.

It is necessary to turn again to the materials for the essay, to think about the proposed questions.

5. A draft of the composition of Karpuzova Ulyana.

The heroes of Turgenev's story "Asya" aroused conflicting feelings in me. It's a little difficult for me to understand how I feel about them. I will try to reflect on this.

At first it was not clear to me why Asya changed so much throughout the story. At the beginning, the author describes her as follows: "Her big eyes looked straight, bright, bold", "her gaze became deep and gentle", "her movements were very sweet." "There was something restless in all her movements," by nature she was "bashful and timid." She was gracefully built and resembled Raphael's Galatea.

Even N. N. notices something strange in her, or rather, extraordinary. The reader gets the feeling that each chapter is describing a different girl. Now she is a peasant girl, now a funny child, now a socialite, now a woman who loves with all her heart. Asya is different, but always sincere. The heroine changes roles, remaining herself. Sincerity always shone in her big black eyes.

I noticed that Asya is very different from Gagin and N.N. There is something restless in her. Maybe this is a hot-tempered, impudent, constantly changing character, or maybe blood, in which there is both the simplicity and tenderness of a Russian woman, and the obstinacy and spoiledness of a secular young lady. Feeling any feelings, be it love or hate, she experiences them to the end, deeply, with all her soul. I think that this is what distinguishes the "Turgenev" girl from all the others. Asya is very close to me in spirit, I understand her every movement, look, words. It seems to me that we even look alike.

I see a friend in Gagin. A simple, interesting young man, a funny artist and a caring brother.

I have a completely different attitude to N.N. He seems to me courageous, sensual, but not capable of decisive action. He is curious, loves to travel, meet different people. But his trouble is that he is afraid of his feelings.

Gagin and N.N. are similar. They are always interested in being together. They find common topics of conversation. NN describes one of such conversations as follows: “Having been full and filled with a feeling of satisfaction, as if we had done something ...” He, as it were, ironically emphasizes the invariable feature of the Russian soul - the love of conversations.

We wonder why Asya and N.N. do not stay together. It seems that there are no obstacles to their relationship. Asya on a date trembled "like a frightened bird", she could hardly hold back the "tears boiling over." She was all so touching and helpless at that moment.

She sincerely loved N.N. and was ready for anything for love. And NN felt sorry for her, his "heart melted", he "forgot everything." But at some point he feels bitterness and begins to reproach her, knowing that he is deceiving both her and himself. “I am a deceiver,” he says later, when he admits his mistake.

"Tomorrow I will be happy" ... These words become fatal for N. N. If then he did not trust his reason, but hoped in his heart, everything would have ended differently. It's strange how just one act can rob us of our happiness forever.

It seems to me that the bitter destinies of the heroes of the story teach us to believe our feelings and always trust our heart.

A distinctive feature of the work is the author's lively "participation" in the fate of the heroes and a mature, independent attitude to their actions. Sympathy for the heroine of the story, discovery, recognition of oneself in her stimulates the student's creative imagination, which is especially noticeable in the analysis of the portrait of the heroine. The student managed to understand the motives of NN's actions, to "separate" feelings and reason in his characterization.

Unfortunately, important “poetic episodes” have been missed - the waltz scene, the dialogue between Asya and NN “why people don't fly ...”, the general musical tonality of the narrative has been ignored.

6. A draft of the composition of Zakharova Daria.

In the story of I. S. Turgenev "Asya" we are talking about the fates of the three main characters: Asya, N. N. and Gagin. While reading two other stories by Turgenev "First Love" and "Spring Waters", I came to the conclusion that the writer conducts his main characters through the test of love. What a person is in love - that is how he is.

In the story "Asya", the heroine Asya evokes the greatest sympathy for me, because she is closer to me in spirit. She is not like everyone else. She gives me conflicting feelings. On the one hand, this is understanding and sympathy, but on the other, indignation and even indignation for her impudent, unpredictable behavior. Asya's portrait changes throughout the story. She kind of tries on different roles for herself. In the beginning, she “did not sit still for a single moment; I got up, ran into the house and ran again. " Then she decided to play a new role - "the role of a decent and well-bred young lady", then Asya chooses the role of "a capricious girl with a strained laugh." But most of all I was surprised by the image of a "simple girl", almost a "maid". At the end of the story, I see a completely different Asya - a woman who loves with all her heart, ready for anything for her love. Despite all the unpredictability of Asya's behavior, I consider her a kind, sincere girl.

I have a different attitude to N.N. He was an independent person, he loved to travel without any goal, without a plan. At first he lives as if in an idyll: he is slightly in love, he is also interested in new faces. After meeting Asya and Gagin, he begins to anticipate happiness. NN gazes at Asya, at her graceful movements, at "the most changeable face" that he has ever seen and for some reason begins to feel annoyed. It annoys him that he involuntarily constantly thinks about Asa. He does not think about the fact that happiness is near, but he is not ready for love.

It seems to me that N. N. and Gagin are similar. They were interested in together, they had common topics for conversation, because they were from the same noble circle, both were young and did not differ in particular diligence. In Gagin, I see a caring brother who goes to any lengths so that Asya's heart is not broken.

In order to understand the feelings of the main characters, you need to analyze the dating scene. Asya on a date "trembles like a frightened bird", and IN experiences bitterness. After an unsuccessful meeting, having abandoned Asya, N.N. suddenly realized that he loved her, began to lavish vows and confessions into the blackness of the night, and now he was annoyed with himself. “One word ... Oh, I'm a madman! This word ... I repeated it with tears ... among the empty fields ... but I did not tell her that I love her ... Yes, I could not pronounce this word then. When I met her in that fateful room. There was no clear awareness of my love in me; it did not wake up even when I was sitting with her brother in senseless and painful silence ... It flashed with irresistible force only a few moments later, when, frightened by the possibility of unhappiness, I began to look for and call her ... but then it was too late ".

Happiness postponed until tomorrow turns out to be impossible. "Tomorrow I'll be happy!" But “happiness has no tomorrow; he does not have yesterday's either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment. "

It is gratifying that the author of the work read and mentioned Turgenev's other stories about love, which testifies to the interest in the writer's work. The student writes that the heroine of the story is “close in spirit” to her, but, unfortunately, she does not fully reveal this kinship of souls, just as the whole appearance of Asya is not completely outlined in the composition. It is not a lack of understanding of the heroine that is felt here, but simply “lack of clarity”: the intuitive and emotional attitude towards the heroine is not fully clarified in her thoughts, not entirely realized. In general, NN's attitude to Asya is clearly indicated: the hero “refuses” happiness. To an insignificant extent, the content of the work was influenced by the article of the textbook, but on the whole the work is independent. It is interesting to note that the choice of all the guys who used the material in the textbook fell precisely on the phrase about the "idyll" in which the hero stays before meeting Asya, and on the idea that the hero does not notice that he is "on the threshold of love."

Apparently, this choice can be explained not so much by the desire to confirm one's own thoughts with someone else's successful comparison, as by the desire to express one's thought beautifully, as in a book. The very style of student essays does not give us grounds to talk about the lack of independence of work.

Out of sight remained, as in many other works, the theme of music and "flight" in the story.

7. A draft of the composition of Ryzhkov Vadim.

It is difficult to find a person who has not read or, in extreme cases, has not heard about "Asa" Turgenev. She, like, for example, "Poor Liza" by Karamzin, has turned over time into a kind of symbol. As soon as you pronounce the title of the story, everyone immediately understands that we are talking about a sad love story. The beautiful turns out to be unrealizable. It becomes sad and light because love has passed very close, touched and left. Such experiences are called "romantic".

First, you still need to read the story "Asya" very carefully. Secondly, to reflect on it, forgetting about the initial attitude. Before I read the story, it seemed to me that Asya was just another fairy tale about oaths and tears.

It turns out that Turgenev is realistic here to such an extent that you get scared and believe every word. The main character N.N. looks like a non-fictional character, so the author, I think, partially describes himself, his friends, and his contemporaries in general. Yes, I. I. is a thinking, reasonable person of the XIX-XX-XXI centuries. The hero is 25 years old, he has traveled around the world, has a position in society, was once carried away by a young widow. But, having met Asya, a young seventeen-year-old girl, for the first time he really fell in love.

Sympathy arises between them. Asya expresses it sincerely, openly. She "doesn't know how to pretend." And N. N., on the contrary, hides his love. He tries to be noble. He indulges Asya, not understanding himself. Until the last page of the story, the hero cannot decide on the proposal. NN lies to himself and does not doubt the correctness of what he is doing.

N.N.'s problem is not in the different social position between him and his beloved. It seems that happiness is so close. It is possible. IN says "I love her", but he is afraid of his feelings. It seems to me that the heroes are so different! They would have to show limitless patience to live together. NI is afraid of Asya's love and explosive temperament.

In the last lines of the story, the hero experiences slight regret and nostalgia for failed love. It seems to me that Asya deserves more pity than NN. Of course, NI is also worthy of sympathy, because what is it like "to stop in front of the door behind which there is happiness, and not open it because of your own fears and emotions."

The work stands out sharply for its "literary" quality. The student seeks, as it were, to distance himself from the narrative, choosing the role of a literary critic. It is interesting that in the story the student most of all likes the "realism" of the images and narration. The individual manner of thinking reveals the work of the real reader in the author. With all the roughness of some phrases, the thoughts expressed are interesting and independent.

Unfortunately, important episodes of the text have not been analyzed, the characters of the heroes have been outlined in less detail than the topic requires.

But the general background of thinking is wide enough, self-sufficient, interesting.

8. A draft of the composition of Nikolai Yakushev.

Turgenev's story "Asya" was read by many in the class easily and quickly. I liked her too.

The protagonist of this story, N.N., did whatever he wanted. It did not even occur to him that "man is not a plant and he cannot flourish for a long time." Nature had an extraordinary effect on him. He traveled without any goal, without a plan, stopped wherever he liked. He felt a longing desire to see new faces. That's how he met Asya.

But Asya was very unusual. Even in N.N. she aroused a contradictory feeling. He spoke of her like this: "What a chameleon this girl is," "the most changeable face I've ever seen." Asya was gracefully built. She had large black eyes, a small thin nose, and baby cheeks. And there was in her whole being some kind of insolence.

“She wanted ... to make the whole world forget her origins; she was ashamed of her mother and ashamed of her shame "- this is how Gagin told about Asya. “A life started wrongly” turned out “wrong”, but “the heart in it did not deteriorate, the mind survived”.

Gagin is a sweet young man. He loved Asya like a brother. When NN went on a date to Asya, all his thoughts got mixed up in his head. For a long time, different feelings fought in him. “I cannot marry her,” N.N. decided.

On a date, he saw Asya, who was trembling like a frightened bird. He felt sorry for her, but when he remembered Gagin, he behaved differently. NN walked around and spoke "as if in a fever", reproached Asya for something.

Then this bitterness was replaced by annoyance at myself: "How can I lose her?" "Madman! A madman, ”he repeated to himself. N. N. decides that "tomorrow he will be happy." But “happiness has no tomorrow; he does not have yesterday's either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment. "

The next day Asya left, and N.N. realized that he would never see her again. If that same night he would have said just one word to her! .. "One word ... I did not tell her that I love her."

NN felt such a feeling only for Asya, and such a feeling never happened again in his life.

The student knows the text of the work well. The student contrasts NN's "usualness" and Asya's "unusualness", but does not further develop this idea.

In the essay, one can feel the student's empathy for what he writes about, the compassion of the author of the work for the heroes of the story. Unfortunately, the key episodes of the story and the author's position were ignored.

Apparently, the student did not have enough zeal for a more detailed analysis of the characters and actions of the heroes. Quotes are probably used from memory, which indicates good knowledge of the text and the ability to grasp the main thing. The conclusion also requires revision, since it is not directly related to the purpose of the work.

9. A draft of the composition of Alexander Drozdov.

Here I have read the last page of Turgenev's story "Asya", and I begin to go over everything in my head, remember how I treated the heroes of the story at the beginning of the work, and how at the end, and immediately I have a strange feeling and a question: “Why is it all are the heroes unhappy? " Now I will try to reflect on this.

Asya, the main character of the work, looked very unusual. She was gracefully built, she had large black eyes, short curls framed her face. “I have not seen a more mobile creature,” NN said when he saw Asya. Her life was very tragic: she is the daughter of a peasant serf and landowner. After the death of her father, Asya was left on her own and began to think early about her situation. And for the first time she faced such a feeling as love. It inspires her, gives her new strength, but remains unrequited. The man who fell in love with her, Mr. N.I., was weak-willed and indecisive, he was afraid to show her his feelings, although he often thought about her. He liked her, but her determination repelled him. On a date with Asya, N.N. begins to blame her for everything. He spoke as if "in a fever": "It's all your fault." And then he admitted to himself that he was deceiving himself and Asya.

Her brother Gagin, a young handsome man, took care of Asya and loved her like no one else, but he is not the main character in the story, although he tried to help Asya and N.N. find happiness.

"Tomorrow I'll be happy!" - so spoke N. N., but he did not yet know that “happiness has no tomorrow; he does not have yesterday's either; it does not remember the past, does not think about the future; he has only the present - and that is not a day, but a moment. "

If only everything were so simple! .. Life is only one, and you have to live it so as not to regret something later. Each person has his own happiness, but it is not always taken seriously. If you have found your happiness, then you need to take care of it and never let it go, then everything will be fine. We ourselves build our life and our happiness.

The author of the work is a rarely written student. The word is given to him with difficulty. Interest in the story, the reflections of classmates in the lesson prompted him to take up the pen himself. Note that the student accurately conveys the psychological states of the heroes (“feeling inspires her,” NN “deceived himself and Asya”, etc.).

The author of the work transfers what he experienced in a literary text to real life. At first glance, this "naive realism" is repulsive, but, on the other hand, in this frankness the inner world of the student is revealed, who practically does not speak in the lesson and reads very little, but here, although straightforwardly, he tries to project his changed mind (see the beginning work - “I'm sorting through my head”) into my own life.

10. A draft of the composition of Fedoseeva Tamara.

Turgenev's story "Asya" left in me sadness and tenderness. The story filled my soul with sadness, and the question involuntarily sounded: why did N.N. do this? Why did Asya leave the next morning? Why aren't the heroes together?

Asya is an unusual girl who feels and experiences everything a little differently, not like an ordinary society girl. She is not afraid of her feelings. Asya is very brave and sincere.

Asya's appearance is unusual, as is her character.

N.N. is an ordinary nobleman who left the capital only to forget his next hobby, which he passes off as true love. N. N. lives for tomorrow. He thinks that tomorrow he will be happy. At the end of the story, these words sound in two tenses: present and past. And only having lived life, he begins to understand that it was wasted: balls, light hobbies.

But nothing compares to the feelings that he had for Asya, for this strangely changeable girl with an unusual character. N.N. attracted her to Asa lively mood, a face that changed every minute, not like masks instead of faces at balls of society ladies.

N.N. depended on the environment where the relationship was feigned, and with Asya everything was so sincere that he simply could not help falling in love with this open girl. It seems to me that this characterizes him as a person who can truly feel, understand, empathize.

Gagin is a pleasant young man who loves Asya like his own sister. He loved to draw, play the piano, which characterizes him as a person who knows how to feel.

All the main characters respect each other. The question is: why does it all end so badly? After all, there are no barriers to II and Asya getting married and happy. But this is precisely the whole drama of Turgenev's story "Asya".

I think that Turgenev wanted to show us in the story true, real feelings in all forms. He wanted to say that love is such a feeling that fills the whole soul of a person and makes him omnipotent. NN and Asya nobody and nothing prevented them from being together. NN is to blame for this situation. I think that NN had never felt what he felt for Asya before. He could not cope with his new feeling, and therefore, on a date with Asya, he so unexpectedly turns from a very loving person into an indifferent, unexpectedly cruel person.

My attitude to all the characters in the story is different. Good, touching, sympathetic to Asya. To Gagin - indifferent.

And I treat N.N. as a person who has missed his happiness.

In the work, the emotional perception of the story is brought to the fore. The focus is on the theme of love, which has become the main one for the author of the work.

The student seeks to emphasize the "liveliness", the unusualness of Asya in comparison with secular ladies. The position from which the heroes are characterized is interesting. NN - Asya's "choice". Gagin is "ignored" by the author of the composition, apparently as a hero who has no direct relation to the feelings of Asya and N.N.

The author of a work does not always manage to find a grammatically correct form for expressing thoughts; the work is sinful with repetitions, sometimes with speech cliches, behind which the inaccuracy of thought is guessed - its lack of elaboration; emotion prevails over reflection.

It is necessary to revive the essay with key quotes, give examples of episodes in which the characters of the heroes are revealed.

Summing up the general result of the analysis of draft essays, we note the following.

1. All works represent the student's independent reflection on what has been read.
2. Communication with the work of art took place: the students, in varying degrees of expression, entered into a dialogue with the art text, heroes, and the author.
3. The material of art has become an incentive for reflection on human characters and actions.
4. Pupils have mastered the text well, actively use quotations.
5. Most of the works are distinguished by compositional and logical harmony.
6. Characterization of characters is given to students easily, but often it has a "curtailed" character, which, we believe, is explained not by ignorance of the material, but by the student's haste in expressing his attitude towards the hero; dislike for careful description, laziness.
7. Some key episodes and the musical leitmotif of the work were left without attention in some works.
8. Introductions and conclusions, on the whole, correspond to the topic, but they clearly do not sufficiently create attitudes towards dialogical thinking.

We will show how the work on the essay can go, highlight the stages of work.

1st stage. Preparation for writing.
1.1. Clarifying to students the purpose of the work.
1.2. Selection of material: portraits of heroes, selection of episodes in which the characters of the heroes are most clearly revealed.
1.3. Writing out keywords, quotes that help the author create images of the heroes.
1.4. Revealing the author's position.
1.5. Determination of your own attitude towards each of the heroes. With a successful analysis of the work, this work is already done in the lesson (on the questions and tasks of the textbook, methodological recommendations to the topic). Let's outline questions that will help students in their work. It will be better if these questions are the result of collective reflection on what to look for in the disclosure of the topic of the essay.
1) What attracted N.N. to Asa?
2) How does N.N. characterize himself at the beginning of the novel? How do we see the hero at the beginning and at the end of the story?
3) How are N.N. and Gagin similar and what distinguishes them?
4) In what moments does the hero feel happy?
5) How are the characters revealed during the date?
6) Why did N.N. do this? How does he himself explain his action?
7) Why does “happiness have no tomorrow”?
8) How does the author relate to his heroes? Compare the intonation of the narrator at the beginning and at the end of the story.
9) Does my attitude towards the characters change throughout the story? Which of the heroes is closer to me and why?
10) When is the music in the text? What role does it play in revealing the characters of the heroes, the author's position?
2nd stage. Draft of the main part of the essay
2.1. Writing characteristics of the main characters using selected material.
2.2. Expression of your own attitude towards the heroes.
3rd stage. Work on the composition of the main part
3.1. How will the heroes be characterized?
3.2. Will the outline for characterizing each be the same?
3.3. In what part of the characterization of the hero is it more appropriate to express the author's position and one's own attitude towards the hero?
4th stage. Writing an introduction and conclusion to work
4.1. Do the introduction and conclusion relate to the main body of the essay?
4.2. How are the introduction and conclusion related?
4.3. To whom are the opening and closing words of the composition addressed?
4.4. Are the finale and the beginning of work original or traditional enough?
5th stage. Editing a draft of a work
5.1. Is the writing style consistent with the theme and genre of the work?
5.2. Are there unjustifiably long quotations, repetitions in the work?
5.3. Are the author's and reader's positions clearly expressed?
5.4. Does the essay have an addressee? (Speech conversion).
5.5. What is the nature of the reflections: a statement of the materials presented, reflection on them, the desire to include an imaginary interlocutor in the dialogue?
6th stage. Discussion of written papers in class
6.1. Reading drafts of essays in class (fragments of works, separate compositional parts).
6.2. Reading out 1-2 works. (Encouragements, comments, recommendations).
7th stage. Writing an essay
8th stage. Analysis of works. Grade

Svirina N.M. Literature Grade 8. Part 2: textbook / ed. V.G. Marantzman, M. : Enlightenment. 2001.S. 105-152.
Svirina N. M. "Happiness has no tomorrow." The story of IS Turgenev "Asya" // Literature: guidelines. Grade 8 / ed. V.G. Marantzman. M.: Education, 2004.S. 128-140.

Before me is V. Marchenko's article "Our Daily Bread" ("Literary Russia".). I read: “Stalinist collectivization ... through the efforts of the leaders of the revolution turned the Russian (and not only Russian) peasant into a farm laborer, alienated from the land, devoid of traditions, a wise comprehension of rural life ... No society in all world history, no state allowed itself the luxury of so hate their peasantry, like ours ... ". Heavy, cruel words. More and more people like them are heard from the stands, in various speeches and reports. Yes, the “great turning point” in the countryside, the “revolution from above” turned out to be unnecessary, destructive, leading to a dead end. The causes of the tragedy and its perpetrators are mostly known, although historians still have a lot of work to do. But most people get their idea of a particular era not from the works of scientists, but from fiction. And our descendants will judge about collectivization by novels and stories. But a brighter work about that time than Virgin Soil Upturned has not yet been created. It is not for nothing that publicists, speaking about the period of collectivization, often take examples from Sholokhov. This novel, no matter how you judge it, has firmly and forever entered the golden fund of Russian literature. In the history of literature, we will read that many have written about the era of collectivization. Why are F. Panferov's "Bars", P. Zamoysky's "Lapti" and other works forgotten, while Sholokhov's novel lives on? The work has many merits. It is written in the language of the master, the book is full of genuine humor, beautiful descriptions of nature, easy to read. The Cossack way of life is excellently described, the language and way of thinking of the Cossacks are accurately and vividly reproduced. Carefully reading the book, comparing it with the facts that became known, with the later works about the village of the 20-30s by V. Belov, B. Mozhaev, A. Antonov and others, we will see that in most cases Sholokhov accurately reflected era. Doubts and hesitations of peasants (justified!), Mass slaughter of cattle, coercion of the Cossacks with a pistol, complete arbitrariness in dispossession of kulaks, dispossession of the middle peasants, confusion of the authorities after the release of Stalin's hypocritical article "Dizziness with success" and much more are depicted by the writer vividly and truthfully. But, speaking about the book and the attitude towards it, all the time you experience some kind of duality. Indeed, along with the truth, Sholokhov also admits its distortion in order to please political demands. Thus, in the novel, a former White Guard creates a secret organization, the Union for the Liberation of the Don, in order to overthrow Soviet power. It is known that these organizations were invented by Stalin and his entourage in order to justify arbitrariness and repression. And the murder of Davydov and Nagulnov? Historians have long proved that stories about the horrors of "kulak terror" served as a cover for terror against the peasants. And the robbed and embittered peasants killed the leaders many times less than the heads of collective farms were killed by the authorities themselves. And nevertheless, I think that Sholokhov, like many of our cultural workers of that time, sincerely believed that the country was building a wonderful future. The writer's youth passed in the fire of the Civil War. Perhaps that is why the violence did not seem to him as terrible as we do. It is known that Mikhail Aleksandrovich himself was involved in the creation of collective farms a lot, fought against shortcomings, mistakes and excesses in the collective farm movement on the Don, saved many honest communists, Soviet workers, ordinary workers from unreasonable repression. Probably, it seemed to him that these difficulties and "excesses" could be overcome, that happy days would indeed come in the life of the peasants. In the second part of Virgin Soil Upturned, written 20 years later, one feels that the author is writing without the same enthusiasm and optimism. I personally like the novel Virgin Soil Upturned. I am heartily laughing at the antics and stories of grandfather Shchukar, I am worried together with Kondrat Maidannikov and other Cossacks when they tear “with tears and blood” the “umbilical cord that connects… with property, with bulls, with their native land share”. It's funny how Makar Nagulnov learns English, listens to roosters at night. I feel sorry for Davydov, who is tormented because he cannot break with Lushka, and I admire Varya Kharlamova and her pure feelings for Davydov. I feel sorry for the handsome Timofey Rvany to tears. Real life is described in the novel. But there is nothing in this work that has always distinguished Russian literature. Apparently, there is a lack of humanism. Indeed, in almost all scenes in which arbitrariness is described, the author, as it were, silently sympathizes with the rapists. The fate of Virgin Soil Upturned proves once again that one cannot serve the idea that calls for building happiness through cruelty. A writer is first of all a philanthropist, and only then a politician. Sholokhov, fulfilling Stalin's order, seemed to justify with his talent those unheard-of outrages and lawlessness that they perpetrated on the peasantry. The attitude towards the heroes of the novel is also contradictory. This is especially true of Davydov and Nagulnov. A former Baltic sailor, a locksmith of the Krasnoputilovsky plant, captivates with his strength, honesty, ability to understand and admit mistakes, lack of arrogance. We sympathize with him when he plows his tithing with effort. One cannot help but be sad over his death. But we cannot help but be surprised at the ease with which this city dweller undertakes to judge agriculture. We are repulsed by his attitude to the "kulaks". Never once did the thought come to him that these are, first of all, people who have the same right to happiness, life and freedom as he does! After talking with the secretary of the district committee, he ponders; “Why can't it - to the nail? No, bro, I'm sorry! Through your tolerance of faith, you dismissed your fist ... with its root as a wrecker. " Makar Nagulnov is devoted to the core of the idea of a world revolution. This is a person who personally does not need anything, an ascetic who lives for the sake of higher interests. But it becomes scary when you read his confessions: “Zha-le-e-sh? Yes, I ... get thousands of grandfathers, kids, women at once ... Yes, tell me that they need to be sprayed ... For the revolution you need ... I have them from a machine gun ... ". Aren't they like Nagulnov, with a light heart for the sake of the "revolution" and destroyed thousands of innocent people? Makar not only speaks. He did not think of using force to force the Cossacks to surrender their grain. No! It is not force, not coercion, that lifts people to a real, happy life. A person should feel that he is the master of his own destiny, and not a cog in a huge state machine. A person wants to be the master over the earth, not in a song, but in his own, albeit small, plot. He must eat bread grown on his land and with his hands, and not "released" by the authorities. Laws have already been passed to revive the peasantry. The revival of the Cossacks began. Virgin Soil Upturned is an outstanding work, despite all its shortcomings. It will always remain a monument to the life of the Cossacks, a historical evidence of a difficult era, a reminder that a bright future cannot be built on violence.

Before me is V. Marchenko's article "Our Daily Bread" ("Literary Russia".). I read: “Stalin's collectivization ... through the efforts of the leaders of the revolution turned the Russian (and not only Russian) peasant into a farm laborer, alienated from the land, devoid of traditions, a wise comprehension of rural life ... Not a single society in all world history, not a single state allowed itself the luxury of so hate their peasantry, like ours ... ”. Heavy, cruel words. More and more people like them are heard from the stands, in various speeches and reports. Yes, the “great turning point” in the countryside, the “revolution from above” turned out to be unnecessary, destructive, leading to a dead end. The causes of the tragedy and its perpetrators are mostly known, although historians still have a lot of work to do. But most people get their idea of a particular era not from the works of scientists, but from fiction. And our descendants will judge about collectivization by novels and stories. But a brighter work about that time than Virgin Soil Upturned has not yet been created. It is not for nothing that publicists, speaking about the period of collectivization, often take examples from Sholokhov.
This novel, no matter how you judge it, has firmly and forever entered the golden fund of Russian literature. In the history of literature, we will read that many have written about the era of collectivization. Why are F. Panferov's "Bars", P. Zamoysky's "Lapti" and other works forgotten, while Sholokhov's novel lives on? The work has many merits. It is written in the language of the master, the book is full of genuine humor, beautiful descriptions of nature, easy to read. The Cossack way of life is excellently described, the language and way of thinking of the Cossacks are accurately and vividly reproduced. Carefully reading the book, comparing it with the facts that became known, with the later works about the village of the 20-30s by V. Belov, B. Mozhaev, A. Antonov and others, we will see that in most cases Sholokhov accurately reflected era. Doubts and hesitation of peasants (justified!), Mass slaughter of cattle, coercion of the Cossacks with a pistol, complete arbitrariness in dispossession of kulaks, dispossession of the middle peasants, confusion of the authorities after the release of Stalin's hypocritical article "Dizziness with success" and much more are depicted by the writer vividly and truthfully.
But, speaking about the book and the attitude towards it, all the time you experience some kind of duality. Indeed, along with the truth, Sholokhov also admits its distortion in order to please political demands. Thus, in the novel, a former White Guard creates a secret organization, the Union for the Liberation of the Don, in order to overthrow Soviet power. It is known that these organizations were invented by Stalin and his entourage in order to justify arbitrariness and repression. And the murder of Davydov and Nagulnov? Historians have long proved that stories about the horrors of "kulak terror" served as a cover for terror against the peasants. And the robbed and embittered peasants killed the leaders many times less than the heads of collective farms were killed by the authorities themselves. And nevertheless, I think that Sholokhov, like many of our cultural workers of that time, sincerely believed that the country was building a wonderful future. The writer's youth passed in the fire of the Civil War. Perhaps that is why the violence did not seem to him as terrible as we do.
It is known that Mikhail Aleksandrovich himself was involved in the creation of collective farms a lot, fought against shortcomings, mistakes and excesses in the collective farm movement on the Don, saved many honest communists, Soviet workers, ordinary workers from unreasonable repression. Probably, it seemed to him that these difficulties and "excesses" could be overcome, that happy days would indeed come in the life of the peasants. In the second part of Virgin Soil Upturned, written 20 years later, one senses that the author is writing without the same enthusiasm and optimism. I personally like the novel Virgin Soil Upturned. I am heartily laugh at the antics and stories of grandfather Shchukar, I am worried together with Kondrat Maidannikov and other Cossacks when they tear “with tears and blood” the “umbilical cord that connects… with property, with bulls, with a native share of the earth”. It's funny how Makar Nagulnov learns English, listens to roosters at night. I feel sorry for Davydov, who is tormented because he cannot break with Lushka, and I admire Varya Kharlamova and her pure feelings for Davydov. I feel sorry for the handsome Timofey Rvany to tears. Real life is described in the novel.
But there is nothing in this work that has always distinguished Russian literature. Apparently, there is a lack of humanism. Indeed, in almost all scenes in which arbitrariness is described, the author, as it were, silently sympathizes with the rapists. The fate of Virgin Soil Upturned proves once again that one cannot serve an idea that calls for building happiness through cruelty. A writer is first of all a philanthropist, and only then a politician. Sholokhov, fulfilling Stalin's order, seemed to justify with his talent those unheard-of outrages and lawlessness that they perpetrated on the peasantry. The attitude towards the heroes of the novel is also contradictory. This is especially true of Davydov and Nagulnov. A former Baltic sailor, a locksmith of the Krasnoputilovsky plant, captivates with his strength, honesty, ability to understand and admit mistakes, lack of arrogance. We sympathize with him when he plows his tithing with effort. One cannot help but be sad over his death. But we cannot help but be surprised at the ease with which this city dweller undertakes to judge agriculture. We are repulsed by his attitude towards “kulaks”. Never once did the thought come to him that these are, first of all, people who have the same right to happiness, life and freedom as he does! After talking with the secretary of the district committee, he ponders; “Why can't it - to the nail? No, bro, I'm sorry! Through your tolerance of faith, you opened your fist ... with its root as a wrecker. " Makar Nagulnov is devoted to the core of the idea of a world revolution. This is a person who personally does not need anything, an ascetic who lives for the sake of higher interests. But it becomes scary when you read his confessions: “Zha-le-e-sh? Yes, I ... get thousands of grandfathers, kids, women at once ... Yes, tell me that they need to be sprayed ... For the revolution you need ... I have them from a machine gun ... ”. Aren't they like Nagulnov, with a light heart for the sake of the "revolution" and destroyed thousands of innocent people? Makar not only speaks. He is not. thinks of using force to force the Cossacks to surrender their grain.
No! It is not force, not coercion, that lifts people to a real, happy life. A person should feel that he is the master of his own destiny, and not a cog in a huge state machine. A person wants to be the master over the earth, not in a song, but in his own, albeit small, plot. He should eat bread grown on his land and with his hands, and not “released” by the authorities. Laws have already been passed to revive the peasantry. The revival of the Cossacks began. Virgin Soil Upturned is an outstanding work, despite all its shortcomings. It will always remain a monument to the life of the Cossacks, a historical evidence of a difficult era, a reminder that a bright future cannot be built on violence.

Essay on literature on the topic: My attitude to the works of Sholokhov

Other compositions:

Before me is V. Marchenko's article "Our Daily Bread" (Lite - Raturnaya Rossiya, October 1990). I read: “The Stalinist collective - Tivization ... through the efforts of the leaders of the revolution turned the Russian - Go (and not only Russian) peasant into a farm laborer, alienated - Nogo from the land, deprived of Read More ......
Mikhail Alexandrovich Sholokhov, born in 1905, became a contemporary of many events in Russian history of the last century. He participated in hostilities on the Don during the civil war, that is, he experienced not only all the hardships and hardships of frontline life, but Read More ...
In recent years, we have read many works about forced collectivization and mass slaughter of the peasantry. The books by S. Zalygin On the Irtysh, Peasants and Women B. Mozhaev, A Pair of Bay V. Tendryakov, Oblava V. Bykov, Pit A. Platonov, told us about the tragedy of a Russian peasant Read More ......
Sholokhov's novels "Quiet Don" and "Virgin Soil Upturned" can be called an encyclopedia of Cossack life. And although the narrative in them as a whole does not cover even 10 years, a lot can be learned about the history of this service class before and after the revolution. The hereditary Cossack himself, Read More ......
Duel - a duel (with the use of weapons) between two persons to challenge one of them. The aim of this duel is to restore honor. In the 19th century in Russia there were special dueling rules, naturally unwritten, because duels were prohibited. At that time Read More ......
Mikhail Sholokhov. Everyone opens it in their own way. Everyone likes their hero of his works. This is understandable. After all, the fate of the heroes, the problems raised by Sholokhov, are consonant with our time. But my Sholokhov is not only a writer. First of all, he is a man of an interesting, bright destiny. Judge Read More ......
Mikhail Sholokhov, everyone opens it in their own way. Everyone likes their own character in Sholokhov's stories. This is understandable. After all, the fate of the heroes, the problems raised by Sholokhov, are consonant with our time. But my Sholokhov is not only the author of works. First of all, he is a man of an interesting, bright destiny. Judge for yourself: Read More ......
In 1932, the magazine "New World" published the first part of the novel "Virgin Land Upturned". This book has had an unusual fate. The Great Patriotic War began, M. Sholokhov went to the front from its first days. Work on the novel was interrupted for a long time. Read More ......

My attitude to the works of Sholokhov

Composition

This novel, no matter how you judge it, has firmly and forever entered the golden fund of Russian literature. In the history of literature, we will read that many have written about the era of collectivization. Why are F. Panferov's "Bars", P. Zamoysky's "Lapti" and other works forgotten, while Sholokhov's novel lives on? The work has many merits. It is written in the language of the master, the book is full of genuine humor, beautiful descriptions of nature, easy to read. The Cossack way of life is excellently described, the language and way of thinking of the Cossacks are accurately and vividly reproduced. Carefully reading the book, comparing it with the facts that became known, with the later works about the village of the 20-30s by V. Belov, B. Mozhaev, A. Antonov and others, we will see that in most cases Sholokhov accurately reflected era. Doubts and hesitations of peasants (justified!), Mass slaughter of cattle, coercion of the Cossacks with a pistol, complete arbitrariness in dispossession of kulaks, dispossession of the middle peasants, confusion of the authorities after the release of Stalin's hypocritical article "Dizziness with success" and much more are depicted by the writer vividly and truthfully.

But, speaking about the book and the attitude towards it, all the time you experience some kind of duality. Indeed, along with the truth, Sholokhov also admits its distortion in order to please political demands. Thus, in the novel, a former White Guard creates a secret organization, the Union for the Liberation of the Don, in order to overthrow Soviet power. It is known that these organizations were invented by Stalin and his entourage in order to justify arbitrariness and repression. And the murder of Davydov and Nagulnov? Historians have long proved that stories about the horrors of "kulak terror" served as a cover for terror against the peasants. And the robbed and embittered peasants killed the leaders many times less than the heads of collective farms were killed by the authorities themselves. And nevertheless, I think that Sholokhov, like many of our cultural workers of that time, sincerely believed that the country was building a wonderful future. The writer's youth passed in the fire of the Civil War. Perhaps that is why the violence did not seem to him as terrible as we do.

It is known that Mikhail Aleksandrovich himself was involved in the creation of collective farms a lot, fought against shortcomings, mistakes and excesses in the collective farm movement on the Don, saved many honest communists, Soviet workers, ordinary workers from unreasonable repression. Probably, it seemed to him that these difficulties and "excesses" could be overcome, that happy days would indeed come in the life of the peasants. In the second part of Virgin Soil Upturned, written 20 years later, one feels that the author is writing without the same enthusiasm and optimism. I personally like the novel Virgin Soil Upturned. I am heartily laughing at the antics and stories of grandfather Shchukar, I am worried together with Kondrat Maidannikov and other Cossacks when they tear “with tears and blood” the “umbilical cord that connects… with property, with bulls, with their native land share”. It's funny how Makar Nagulnov learns English, listens to roosters at night. I feel sorry for Davydov, who is tormented because he cannot break with Lushka, and I admire Varya Kharlamova and her pure feelings for Davydov. I feel sorry for the handsome Timofey Rvany to tears. Real life is described in the novel.

But there is nothing in this work that has always distinguished Russian literature. Apparently, there is a lack of humanism. Indeed, in almost all scenes in which arbitrariness is described, the author, as it were, silently sympathizes with the rapists. The fate of Virgin Soil Upturned proves once again that one cannot serve the idea that calls for building happiness through cruelty. A writer is first of all a philanthropist, and only then a politician. Sholokhov, fulfilling Stalin's order, seemed to justify with his talent those unheard-of outrages and lawlessness that they perpetrated on the peasantry. The attitude towards the heroes of the novel is also contradictory. This is especially true of Davydov and Nagulnov. A former Baltic sailor, a locksmith of the Krasnoputilovsky plant, captivates with his strength, honesty, ability to understand and admit mistakes, lack of arrogance. We sympathize with him when he plows his tithing with effort. One cannot help but be sad over his death. But we cannot help but be surprised at the ease with which this city dweller undertakes to judge agriculture. We are repulsed by his attitude to the "kulaks". Never once did the thought come to him that these are, first of all, people who have the same right to happiness, life and freedom as he does! After talking with the secretary of the district committee, he ponders; “Why can't it - to the nail? No, bro, I'm sorry! Through your tolerance of faith, you dismissed your fist ... with its root as a wrecker. " Makar Nagulnov is devoted to the core of the idea of a world revolution. This is a person who personally does not need anything, an ascetic who lives for the sake of higher interests. But it becomes scary when you read his confessions: “Zha-le-e-sh? Yes, I ... get thousands of grandfathers, kids, women at once ... Yes, tell me that they need to be sprayed ... For the revolution you need ... I have them from a machine gun ... ". Aren't they like Nagulnov, with a light heart for the sake of the "revolution" and destroyed thousands of innocent people? Makar not only speaks. He did not think of using force to force the Cossacks to surrender their grain.

No! It is not force, not coercion, that lifts people to a real, happy life. A person should feel that he is the master of his own destiny, and not a cog in a huge state machine. A person wants to be the master over the earth, not in a song, but in his own, albeit small, plot. He must eat bread grown on his land and with his hands, and not "released" by the authorities. Laws have already been passed to revive the peasantry. The revival of the Cossacks began. Virgin Soil Upturned is an outstanding work, despite all its shortcomings. It will always remain a monument to the life of the Cossacks, a historical evidence of a difficult era, a reminder that a bright future cannot be built on violence.

My attitude to the works of Sholokhov. help me please

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