Shalam rain analysis. Analysis of several stories from the cycle "Kolyma stories

Shalam rain analysis. Analysis of several stories from the cycle "Kolyma stories
08.03.2020

The main topic, the main story of the Shalamovsky life view, all the books of his "Kolyma Story" is to find a response to the question: can a person survive in extreme conditions and remain a person? What is the price and what is the meaning of life, if you already visited the one hundred-rone? Revealing his understanding of this problem, Vamlam Shalamov helps the reader more accurately understand the author's concept, actively applying the principle of contrast.

The ability to "be combined in a single material by contradiction, the relationship between different magnitudes, destinies, characters, and at the same time represent a certain integer" - One of the stable properties of artistic thought. Lomonosov called it '' The conjugation of distant ideas ", P. Paliyevsky - '' thinking with the help of life contradiction."

Contradictions are rooted inside the material and from it is removed. But from all their difficulty, from the hitrophically intertwined the life of the threads, the writer makes a certain dominant, driving an emotional nerve, and it is it that makes it the content of the work of art based on this material.

And the paradox, and the contrast, so richly used by Shalamov, contribute to the most active emotional perception of art. And in general, "how strong in the art is the ability to combine heterogeneous, incompatible, largely dependent imagery, freshness, novelty of its works" .

Shalamov causes the reader to shuddly, remembering Leite-Nantes of the candle troops of the candlestone ('' Domino "), which on the world" was evident that he eaten the meat of human corpses from the morgue. " But the effect is strengthened by the author at the expense of purely external contrast: the cannibal is "a gentle rose-colored young man," who calmly explains his addiction to "not fat, of course," human flesh!

Or a meeting of the storyteller with the Kominternovsky figure of Schneide-Rum, an educated person, an expert in Goethe ("Typhoic Caran Tin"). In the camp he is in the retinue of BLANIES, in the crowd of beggars. Schneider is happy that he was trusted to scratch his heels glad to bloody sequence.

Understanding the moral degradation, the amorality of the candlestone and Schneider, the victims of the Gulag, is achieved by non-verbal reasoning, but using the artistic reception of contrast. Thus, the contrast performs in the structure of artwork and communicative, and meaningful, and artistic functions. He makes it exacerbily, to see and feel the environment.

Shalaov attached great importance to the composition of his books, thoroughly built the stories in a certain sequence. Therefore, the appearance of a number of two contrasting artistic and emotional essences of works is not an accident.

Podaradosalnna story Story: Doctor, vocation and debt of which - Assistance to those in need, all his strength and knowledge directs to expose the zek-simulant, testing "horror before the world, where he came to the hospital and where he I was afraid to return. " The story is filled with a detailed description of the barbaric, sadistic procedures, conducted by doctors, so as not to give the exhausted, exhausted '' "" free ". Following the book there is a story "Slynik". This lyrical novel gives the reading the opportunity to rest, move away from the horrors of the previous race. Nature, unlike people, humane, generous and good.

Comparison of the world of nature and the world of people from Shalamov - always not in favor of man. In the story '' Bitch Tamara, "is opposed to on-, head of a plot and a dog. The boss put the people subordinate to him in such conditions that they were forced to convey each other. And nearby - the dog whose '' hardness morally disliked Vi-giving views and those who were in all bindings of the residents of the village. "

In the story "Bears" we encounter a similar situation. Under the conditions of Gulag, every award cares only about himself. Meeting the same Bear '' clearly took danger of herself,oRT., the male, faster-owned life to save his girlfriend, he distracted death from her, he covered her flight. "

The camp world is essentially antagonistic. Hence the use of contrast shalamum at the level of the image system.

Hero of the story of the aortic aortic aorta, the doctor of the Zaitsev, a professional and a humanist, is opposed to the immoral chief of the hospital; In the story of the "Predackeok of the Decembrist" constituest, in fact, the heroes: Decembrist Mikhail Lunin, '' Knight, clever, non-accomplice -Hailovich Lunin, doctor of the camp hospital. The difference in the heroes of the story '' Ryabokon "is not only internally, essential, but also external: '' The huge body of the Latvian was like a drowned man - Iscin-white, the roller neck, swollen from hunger ... Ryabokon was not like a drowned one. OG-ROME, Kosty, with withered cores. " People of different life orientations faced the end of life at the general hospital pro-journey.

Sherry Brandy, the story about the last days of the life of the Osip of Man-Delstam, is all permeated by opposition. The poet dies, but life again enters him, giving birth to thoughts. He was dead, and again became alive. He thinks about creative immortality, overlapping already, in essence, life line.

A dialectically contradictive chain is lined up: life - death - resurrection - immortality - life. The poet recalls, Sochi-nits poems, philosophically - and immediately crying that the cereal gibush did not go to him. The one who just quoted Tyutchev, '' Bread Bread with Qregotny's teeth, the gums bleeded, the teeth were strung, but he did not feel pain. He pressed his mouth, stuffed her mouth in his mouth, suck him, Rivz, gnawed ... "Similar splitness, in-her misstitution, the inconsistency is characterized by many Heroes of Shala-Mova, which turned out to be in the adversal conditions of the camp. Zeka often with surprise recalls himself - another, former, free.

It is scary to read the lines about the camp Konogon Glebov, glorifying, walked in the barrack that the name of his wife forgot. " In the "free" life of Glebov ... Professor of Philosophy (story "The tombstone").

In the story of the "first tooth" we learn the story of a sectarian Peter Zaita - a young, black-haired, black giant. Meeting after some time a RVSK "Chrome, a gray-haired old man, coughing," is he him.

Such contrasts inside the image, at the level of the hero - not only artistic reception. This is the expression of the Shalama conviction that the normal person is not able to withstand the hell of the GU-Lag. The camp is capable only to trample and destroy. In this, as it is known, V. Hashamov dared with ^ Solzhenitsyn, convinced of the opportunity to remain a person and in the camp.

In Prose Shalamov, the absurdity of the Gulag world often exhibits in the inconsistency of the real position of the person and its official status. For example, in the story, the "typhoid quarantine" is an episode when one of the heroes achieves honorable and very profitable work ... a lambes.

The story of the story of the "aunt field" is built on the same contrasting inconsistency. The heroine is a prisoner, taken in the servants of O-child. She was a slave in the house and at the same time, '' by a griddled ar-bit in the quarrels of her husband and wife "," by a man who knows the shadow sheds of the house. " She is good in slavery, she grateful to fate for a gift. The fallen body is placed in a separate ward, from which the pre-'' ten floor pulled out into the cold corridor to free the day of the day boss. " The military, their wives came to the aunt the field in the hospital with a request to clarify them ever. And after the death of the '"All-idle" aunt field deserved only a wood-inland tag with a number on the left shin, because she is just' 'Zeka, "slave. Instead of one dayth, the other will come, the same Besfa-Milny, having only a personal number of personal cause. Human personality in the conditions of the camp nightmare should not.

It has already been noted that the use of contrasting is activated-roll reader's perception.

Shalamov, as a rule, is a stingy for detailed, detailed descriptions. When they are used, mostly are detailed opposition.

It is extremely significant in this regard. Description in the story "My Process": "There are few shows a spectacle so expressive, as they put the bale near the alcohol from alcohol, crushed, cargo, ion-joyful figures of the camp bosses in brilliant, like the sun, new , stinking sheepskin coats, in fur rass-writer Yakut Malahi and mittens- "Cragues" with a bright pattern - and figures '' dotting ", torn off '' wicks" with "smoking" whirlwind of cotton wool worn tellyrek, "dotting" With the same muddy bony faces and the hungry shine of the woven eyes. "

Hyperbolization, pedaling of negatively perceived parts in the appearance of the '' camp authorities "is especially noticeable in comparison with the dark, dirty mass of '' gain.

Contrast of this kind - and in the description of the bright, colorful, solvent Vladivostok and rainy, gray-sad landscape of the Bay of the Gaevo ('' "Ada Pier"). Here, the contrast landscape expresses differences in the inner state of the hero - hope in Vladivostok and the expectation of death in Nagaevo Bay.

An example of a contrast description is interesting - in the story "Marseil Prist." A small episode: the prisoner of the Dutch communist Fritz David sent a velvet pants from the house and a clay scarf. The exhausted Fritz David died of hunger in this shrik, but it was impossible to exchange clothes in the camp, which "even on bread at a lawsuit could not be exchanged." This contrasting item according to its emotional impact can be compared with horrors in the stories of F.Kafki or E.P. The difference is that Shalamov did not invent anything, did not construct the absurd world, but only remembered what was witness.

Describing different ways to use the artistic principle of contrast in the Shalamovsky stories, it is appropriate to consider its implementation at the word level.

The verbal contrasts can be divided into two groups. The very meaning of which is contrasting, opposing and outside the context, and to the second - the words, whose combinations are co-in-building, the paradox is already in a particular context.

First examples from the first group. '' Immediately carrying concluded by clean slender parties up, in taiga, and a dirty bunch of ot-drops - from above, back from the taiga "('' 'Conspiracy of Lawyers"). Double oppression ('' Clean "- '' dirty", '' up "- '' from above"), aggravated by a diminutive suffix, on the one hand, and a dream-shaped phrase "a bunch of garbage" - on the other, creates VPE CHAT I saw the pictures of two oncoming human streams.

"I rushed, that is, I shoved in the workshop" ('' Handwriting "). Explicitly contradictory lexical values \u200b\u200bare equal to each other, telling the reader about the extreme degree of depletion and the introspectness of the hero much brighter than any extensive description. In general, Shalov, recreation of the absurd world of the Gulag, often unites, and does not oppose the antinomic words according to its meaning of the word and youth. In several works (in particular, in the stories '' brave eyes "and" Resurrection of larch ") are equalring, moldandspring, lifeanddeath:”...mold also ka-last spring, green, it seemed also alive, and dead trunks defeated the smell of life. Green Mold. ... seemed a symbol of weight. And in fact, this is the color of stiffness and the nut. But Kolyma asked us questions and ledger, and the similarity of life and death is not smoothing us”.

Another example of the similarity of contrasting: "Graphite is eternity. The highest hardness passed into the highest softness "(" graphite ").

The second group of verbal contrasts - oxymifers, the use of which gives rise to new semantic quality. '' Inverted "World of Camp makes such expressions: '' Tale, the joy of loneliness", '' Dark Cozy Carecher, and the like.

Color palette of Shalamov's stories is not very intense. Hu-devil Skupo paints the world of his works. It would be an excellent statement that the writer always consciously chooses one or another paint. It uses color and unintentionally, intuitive. And, as a rule, paints have a natural, genuine function. For example: '' Mountains are blushing from the lingonberry, Cherelli from a dark blue goal-bracks, ... The yellow large waterproof rowan poured ... "('' Cant"). But in some cases, the color in the stories of Shalamov carries the substantive and ideological load, especially when contrasting color gamut is used. This happens in the story '' Children's Pictures. Once-riding a trash bunch, the story-prisoner found a tete-random with children's drawings in it. The grass on them is green, the sky is blue-blue, the sun islas. Paints are clean, bright, without halftone. The typical palette of the children's drawing is not: '' People and at home ... were fenced with yellow dashing fences, cracked black lines of barbed wire. "

Children's impressions of the little Kolyanin rest in the bunty fences and a black barbed wire. Shalamov, as always, does not finish the reader, it is not started in reasoning about this. Collision of colors helps the artist to strengthen the emotional impact of this episode, to convey the author's thought about the tragedy of not only prisoners, but also kolyma children, early by adults.

The art form of the works of Shalamov is interesting and other manifestations of paradoxical. I have noticed a contradiction, which is based on the inconsistency of the manner, pathos, the "tonality" of the narration and the essence of the described. This artistic welcome is adequate to the Shalami camp world, all values \u200b\u200bin which are literally inverted.

Examples of '' Mix Styles "in the stories set. It is characteristic of the artist reception, in which the pathetically elevated says about everyday events and facts. For example, about meals. For the ace, this is not an ordinary day event. This is a ritual action that gives a "passionate, selfless feeling" ('' at night ").

A striking description of the breakfast, on which the herring is distributed. The artistic time here is stretched to the limit, as much as possible to real. The writer is noticed by all the details, the nuances of this exciting event: '' While the distributor is approaching, everyone has already calculated, which piece will reach this indifferent hand. Everyone managed to disappear, to appeal, cook-smiling to the miracle, reach the edge of despair, if he was mistaken in his caring calculations "('Bread"). And all this gamma of feelings is caused by the expectation of the village-daughter soldering!

Grandist and Majestic seen by a teller in a dream of a ban-ka condensed milk, compared with him with a night sky. '' Milk is pro-sketched and flowed with a wide stream of the Milky Way. And I easily handed my hands to the sky and eat thick, sweet, starry milk "('' Condicated milk). Not only a comparison, but also inversion ("and easily reached") help here the creation of a solemn pathos.

A similar example - in the story "How it started," where the guess that '' shoal lubricant is fat, oil, food, "compared with Archimedes '' Evrica.

Exalted and refined description of berries, touched by the first moro-zom ('' berries ").

The thrill and worship in the camp causes not only food, but also fire, heat. In the description in the story of "Carpenters" - truly Homer-sky notes, Pafos of Holy Development: '' Faceted steel before the open door of the stove, before the fire of fire, one of the first gods of mankind ... They shifted their hands to warm ... "

The trend towards the elevation of ordinary, even low, manifests itself in those stories of Shalamov, where we are talking about conscious personality in the camp. For many prisoners, it was the only one, the last opportunity to survive. Make yourself crawled at all. Durable preparation was required. '' The stone had to collapse and crush my leg. And I am forever a disabled! This passionate dream was to pay ... a day, an hour and minute were appointed and came "(''" Rain ").

The beginning of the story '' piece of meat "is rich in the sublime vocabulary; Here are mentioned Richard III, Macbeth, Claudius. Titanic passions of Shakespeare's heroes are equalized with the feelings of the gang of Golubev. He sacrificed his appendix to avoid a religious camp to survive. "Yes, Golubev brought this bloody sacrifice. A piece of meat is cut out of his body and thrown to the legs of the omnipotent of the camps. To deliver God ... Life repeats Shakespeare's plots more often than we think. "

In the stories of the writer often contrasts the sublime perception of some person and its true entity, low, as a rule, status. The fleeting meeting with the '' What a former or Justice Prostitute "allows the storytellor to reason" about her wisdom, about her great heart, "to compare her words with the hetevski rows about the mountain peaks ('' Rain"). Razdatchik of the herds and tails perceive is impossible to prisoners by Almighty Giant ('' Bread "); The duty doctor of the camp hospital is likened to '' Angel in a white coat "('' Glove"). In the same way, Shalamov shows the reader the OK-rushing heroes camp world of Kolyma. The description of this world is often raised, pathetical, which is in conflict with the essential picture of reality. "In this silence, I heard no wind noise, heard the musical phrase from the sky and clear, melodic, ringing human voice ..." ('' pursuit behind the steam smoke ").

In the story, the "best praise" find a description of sounds in prison: '' This special ringing, and even the roar of the door lock, locked by two turns, ... Yes, click on the copper waist buckle ... Here are three elements of symphony ' 'Specific "prison music, which is remembered for a lifetime."

The unpleasant metal sounds of prison are compared with the phonic sound of the symphony orchestra. I note that the examples of the "sublime" tone of the narrative are taken from those works, whose hero or was not yet in a terrible camp (prison and loneliness are positive for Shalamov), or not in it (the narrator became a paramedic). In the works, there is practically no place in the work of the Lamp of Being Pattaics. The exception is, perhaps, the story "Bogdanov". The action in it occurs in 1938, the most terrible and for Shalamov, and for millions of other concluded. It happened that the Commissioner of the NKVD Bogdanov was overwhelmed in the shreds of his wife's letters, from which the narrator did not have information two terrible kolya years. To transmit your strongest shock, Shalamov, remembering this episode, resorts to the unusual, in general, to him the patteer. An ordinary case grows into a true man-proof tragedy. "Here are your letters, the fascist bastard!" "Bogdanov ripped into a blind and threw letters from my wife to the burning stove from my wife, letters I waited for more than two years, waited in the blood, in Ras-Strelah, in the beatings of the Kolyma Golden Movies."

In his kolyma epopea, Shalamov uses opposition-false reception. It consists on everyday life, even a reduced tone of the pending on the facts and phenomena of exceptional, tragic in its consequences. These descriptions are marked by epic calm. '' This calm, slowness, inhibition - not only a reception, allowing us to consider this forensic world more closely ... The writer does not give us to turn away, not see " .

It seems that the epically calm story reflects the habit of prisoners to death, to cruelty of camp life. To the fact that E.Shklovsky called '' Mattery of Agony . He was convinced that ... suffering, wines, death ... In no way detract from the meaning of life, but, on the contrary, in principle, they can always transform into something positive. There is no doubt that the poet is incomparably better and easier than a scientist, hence the essence of such a parcel to an inexperienced reader."[Ibid.: 23].

« Kolyma stories"Shalamov is an artistic and philosophical study of the inner world of a person in the camp of death. In particular, they analyzes the psychology of bodily and spiritual dying. When creating "death poetics", the writer uses the language of symbols, metaphor, alluzius, reminiscence.

List of used literature

1. APANOVICH F.. Philippics against power // Shalamovsky collection. Vologda, 1997. Vol. 2.

2. Geller M. Ya. "Kolyma stories" or "left bank"? // Russian thought \u003d La Pensee Russe. Paris, 1989. 22 Saint. № 3794.

3. Esipov B.. Code of literature and the norm of being: Notes on writing fate: Notes on the writer's fate of Varlam Shalamov / / Free thought. M., 1994. №4.

5. Mishin About life. About death. About eternal // Literature at school. 1995. № 3.

6. Toper P.. Tragic in the art of the XX century // Questions of literature. 2000. № 2.

7. Shalamov V. T. Favorites. St. Petersburg., 2003.

8. Shalamov V. T. New book: memories. Notebooks. Correspondence. Investigative. M, 2004.

9. Shalamov V. T. About prose // Shalamov V. Several of my lives. Prose. Poetry. Essay. M., 1996.

10. Frank Man in search of sense. M., 1990.

11. Jaspers K.. The spiritual situation of time // Jaspers K. Meaning and destination of history. M., 1994.

For a long time, I have long wanted to make it detailed for a long time, to scatter at least one product of such a recognized authority in the area of \u200b\u200bthe description of the pitch horrors of the Gulag, the second Matra after the Great Solzhenitsyn, like Varlam Shalamov.

And she accidentally got into the hands of the issue of the magazine "New World" for 1989. I reread, and finally decided that without a detailed analysis could not do. Analysis is not from the point of view of literary criticism, but based on elementary logic and common sense, designed to simply answer the question: did the author be honest with us, can it be believed to be permissible to accept the described in his stories for an objective and historical picture?

Enough to show on the example of one story - "Lesha Chekanov, or One-Room on Kolyma".
But first - about the "creative method" Shalamov from his own words. This is what the author thinks about objectivity and reliability: " It is important to resurrect feeling<...>need extraordinary new details, descriptions in a new way to force Believe in the story, in everything else not as in information, and how to open heart wound ".
And we will see that the whole story comes down to the fact that the facts described in there themselves as such as sharply differ in how he seeks to "submit." Facts are facts. And the conclusions are the fact that Shalamov urgently suggests us, imposes their eyes as a priori objective. Let's see how first and the second are docked with each other.

So let's go: "On the Kolyma we were lucky to die and from December 1937 threw in Garanian executions, in the beatings, in hunger. The lists of the shifted read the day and night."(from RP: Why to read the links of the unacceptable to the zeks - after all, they do not particularly know each other, especially to do it at night?)

"On the Kolyma We were lucky to die "-this is a leading leitmotif in all Shalam's stories. It is expanding this means the following: Gulag and in particular his Kolyma branches - were death camps, destruction campsThose who got there were doomed to death. This is repeated for different frets on each page in many times. Therefore, our task will be impartially, not amenable to the author's shrews and sobs, consider relying only in his own words to find out - and is it really?

"All who did not die on a serpentine - investigative prison of mining management, and there were tens of thousands under the buzz of tractors in 1938, they shot on the lists, daily at the orchestra, under the carcass readable twice a day on divorces - day and night shift." - There are already strange inconsistencies in such a short segment of the text.

First: Why did you need to carry dozens and hundreds of thousands of prisoners for the thirty lands, very far, on the edge of geography, spend on them products in the way, diesel engine and coal for steam locomotives and ships, products and money for thousands of convoirs, build camp and t .P. - If no one interfered to shoot all these people (if they wanted to shoot them) in the basements of those prisons, in which they were planted with arrest? What prevented? UN? Journalists? LJ community with his gossip? Then there was no such thing. Nothing prevented in the technical plan.

The second, it is incomprehensible, how did a paste shot of tens of thousands of people looked from a legal point of view? No, I am not idealizing justice of that time. But still - the sentence is a sentence, he will endure the court. And if the court sentenced - imprisonment, as you can shoot, I emphasize, not just to make it easier at work, starve hunger, etc. - Namely is officially massive? The stage came to the head of the camp - 1000 people, each has its own time, its own article, its business. And he is all alone in one fear - Rr-times! And under the buzz of tractors! How will he explain this to the authorities that he became empty camp? All-all were killed while trying to escape? He was sent to him to keep and guard, and he sprayed everyone. By what right, the order, how would he confirm that they did not eat?

(from RP: By the way, where is the graves of tens and hundreds of thousands shot? After all, they must be comparable to a minimum of Babi Yar. For 20 years of the reign of anti-Soversists, no such burial found - and the archives and aerial photography and the rest should be at their disposal and everything else. And everything is simple - there are no of these graves of dozens and hundreds of thousands shot on Kolyma. At all.)

And again - we return to the first item: why was it for 15,000 kilometers? What, in the European part of the USSR there were no tractors?

Third. Tractors and orchestra are completely unlocked. Tractors - they (if you accept that they were and buuddered) to hide from prisoners the fact of executions. And shooting under the orchestra, at all - to show: So it will be with each. Is it like going? To simultaneously did not know, but fluttered? Or to be afraid, but did not suspect about the shootings?

"I" wondered "dozens times, wandered from a hammer to the hospital and back" - This is about life in the camp of death, destruction and total mora. Shalamov honestly writes that he did not give me tens of times. He was led or carried to the hospital, and there he was keen. Why did you sit down, and not just - "recovering"? Yes, because it is just to recover, "hang out", you can two or three times. Not dozens. There can not be an extremely emotional organism - difficulty, cold, beatings - in itself jerked.

Here one of two:
- either the "camps of death" did not put the goal of the destruction of their prisoners, since dozens of times stretched out of the grave
- Either, if Shalamov himself recovered tens of times, the living conditions and labor were not at all such hell as they draw them.

"The means of physical destruction of political enemies of the state is the main role of a brigadier in production, and even on such that serves the camp of the destruction" - This is once again the "camp of destruction." But new details are found. It turns out that they were shot not all (and how little is higher, what is "all", under the orchestras from tractors?). It turns out that the labor process is needed in which the main role is assigned to the brigadier, the appointment of which is to destroy the enemies of the state (political, remember this).

"The crimes of brigadiers on Kolyma are not inclined - they are the physical performers of the high policies of Moscow of the Stalinist years" -a little higher - "The brigadier is like the breadwinner and the sights of the brigade, but only in the countries that he was allocated. He himself under strict control, they will not go far in the registry - the marchshider in the next measurement will expose fake, advanced cubes, and then a lid brigadier. Therefore The brigadier goes on the proven, in a reliable way - to knock out these cubes from the worm-order, knock out in the most real physical sense - Kyle on the back ".

It turns out that the main perpetrators are the same sub-million people ( "For five people, a permanent brigadier is standing out, not liberated from work, of course, and the same hardware"), Tom - in the known limits - the breadwinters and the heads of their brigades, whose crime is that they forcing their comrades to work. How to see further.
"That was why it was noted in a few statistics and numerous memoirs, the exact, historically mined formula:" A person can swim in two weeks. "This is the norm for a strongman, if you keep it on Kolyomsky, fifty - sixty degrees, cold to fourteen hours On hard work, beat, feed only camp soldering and not to go to sleep ... Two weeks - this is the term that turns a healthy person in order. I knew all this, I understood that there was no salvation in work, and wandered from the hospital to the bottom and back eight years" .

Oh, that's what's the point! Yes, our author is a simulant !! So far, as he claims - strongholds reach "in two weeks" (and again, our main question: why were they going for 15,000 km?), Varlam Tikhonovich wanders from the hospital before slaughter and back 8 years. Apparently, he was warmed by the idea that while other "wake", he should survive to tell...

But Lafa and the tuft ends:
"Brigadier he (New decommant - approx.) Immediately asked about my labor behavior. The characteristic was given negative (here is strange! - approx).

- Well, B ..., "Lesha Chekanov said loudly, looking straight in his eyes," you think, if we are out of one prison, you don't need to work? " I do not help the films. Labor deserves. Honest labor.

From this day I began to drive more diligently than before. "

Here it is - the constant fallacy of the accomplication high policies in Moscow Stalin's years.

Here, you understand, Varlam Tikhonovich survived his dead-in-two-two-soul-sled, and he began to drive more diligently. Note, he was not planted into the Cake, they did not cut the soldering, did not scold the kidneys, they did not even shoot. Just began to pay more attention as it works.

Then Shalamov will send them to the correction to the brigade to the excitement, and that's what happens to it:
"Every day, on the eyes of the whole brigade, Sergey Semi-Puzzle hit me: legs, fists, full, handle Kyle, shovel. I knocked out of me. . Polipan knocked me a few teeth, she donated the rib ".

I am afraid to seem cynical, but let me be wounded or corrected people with medical education: Shalamov writes that they beat many days and weeks in a row. Biled Kyle (siren picking), lomik, full and simply fists. Tell me, knowledgeable people, especially I would like to hear the opinion of forenswhelters or Pallaananians: how can it live, and get rid of just a few teeth and an inadequate edge, whom the person is bullied with a lomik and Kyloma - beat many, many days in a row ???? I do not know how much that liberty we were wearing and then Kaylo, but clearly at least a few kilograms. Describe, please, what happens to the bones and the soft tissues of a person who charged the edge of the Kyle or scrap on the head, or hand, or just on the body? ( From RP: Trotsky had a single impact of the ice ax - in fact Kyle. One strike with a lobster, as a rule, interrupts the hand, almost always if the dice of the brush falls, after several blows on the soft tissues, and the victims of the victim, the victim cannot work for sure.)

There was a citizen of Shalamov ...
But all the bad one ends, and here s / to Shalamov goes to "Central Northern Office - in the village of berry, like a malicious Philon, to initiate a criminal case and a new term".
"In an insulator, chasing investigative on work, seeking to knock out at least one working hour from the transit day, and the investigative does not like this rooted tradition of camps and trains.
But I went to work, not then, of course, to try to knock out some kind of norm in a hole from a stone, but simply breathe air, ask if they give an excess bowl of soup.
In the city, even in the camp city, which was the village of berry, it was better than in an insulator, where the mortal was missing later every log. For the exits to work gave soup and bread, or soup and porridge, or soup and herring. "

We continue to be affected by the orders in the system of "destruction camps." Not for the work done, but only for access to it, give soup and porridge, and you can even twist an excess bowl.

For comparison, how to feed in real destruction camps, in German:
"On August 6, 1941, the Supreme Command of the German Army issued a declaration of the food diet of Soviet Prisoners of Secand; according to this order, for 28 days each of them was supposed to:
6 kg Bread - 200 gr. in a day,
400 g meat - 15 gr. in a day,
440 g fats - 15 gr per day and
600 g of sugar - 21 grams per day. "
It can be assumed that unnecessary bowls were not given.
But how to eat in a blockade Leningrad: "The fifth decline of food norms - up to 250 grams of bread on the day of workers and 125 grams of the rest - occurred on November 20, 1941"

But how did the comrade Shalamov fed for his exits to work? Like this:
"Number of power No. 1 (basic) prisoner Gulag in 1948 (for 1 person per day in grams) :

  1. 700 bread (800 for busy on hard work) - !!! Compare with German and blockade soldering !!!
  2. Wheat flour 10.
  3. Crupes of different 110.
  4. Pasta and Vermichel 10
  5. Meat 20.
  6. Fish 60.
  7. Fat 13.
  8. Potatoes and vegetables 650
  9. Sugar 17.
  10. Salt 20.
  11. Surrogate tea 2.
  12. Tomato-mashed 10
  13. Pepper 0,1
  14. Bay leaf 0.1 "- from here

"The consequence of my ended nothing, I did not make a new time. Someone the highest reasoned that the state would receive a little use by adding me again a new term." - I wonder why the state reasoned otherwise, shooting tens of thousands of people, convicted on the same 58th article under the buzz of tractors, as shalms? .. What was changed so sharply in the state? Or maybe shalama above the text just lying?

And finally, the story ends the fact that the hated monster of the semi-penny kill, as well as words "Then cut in brigadir heads a lot, and on our vitamin business trip to Boltari, a hated brigadier saw a two-handed saw head." .

Remember, I asked to remember about the fact that the brigadiers were the murder of the political enemies of the state? But in these words we see how the brigadier is killed by some political, namely Boltari - they kill cruelly and sophisticated - for what to force to work. Shalmov with Bollantari solidarity. I didn't have enough spirit to do anything, only to the Philone, but it is solidar.

Here is such a story. Lie on lies. Fale flavored by Paphos and hypocrisy. Who has another opinion?

Ukrainian

Sections: Literature

Objectives lesson:

  • introduce the tragic fate of the writer and poet Varlam Shalamov; identify the features of the plot and poetics of "Kolyma Story";
  • develop the skills of literary analysis, the ability to conduct a dialogue;
  • to form a civil position of high school students.

Equipment:portrait of V.Shalamova, multimedia presentation

During the classes

1. Stage of goal.

Music. "Requiem" V. Mozart

Teacher (reads on the background of music)

Everyone who Claimed was the artist fifty eighth
Who and in a dream was surrounded by dogs, with a row of convoy,
Who is in court, without trial, we are consisting of special
was doomed to the prison robe to the coffin,
Who was fate engaged shackles, barr, chains
They are our tears and grief, our eternal memory! (TRUZLOV)

Today at the lesson we have to talk about political repression in the Soviet Union, about people affected by them, about the writer of amazing fate - Varlam Tikhonovich Shalamov - and his prose. Open the notebook and write down the topic of today's lesson

(Slide 1). At home you have read the stories of Varlam Shalamov. What purpose do we put on today's lesson? (Student responses: to get acquainted with the work of V.Shalamov, his biography, to comprehend his works).

Varlam Tikhonovich Shalamov spent for almost 20 years in Soviet camps, survived, survived and found the strength to write about it in the work of "Kolyma stories", with some of whom you managed to meet. How did you take these stories? What surprised, struck, outrageous? (Student Answers)

What is the mystery of "Kolyma stories"? Why does the author himself consider his works of "new prose"? These are key questions of our lesson (slide 2).

2. Actualization of students' knowledge.

But in order to understand the prose of Shalamov, it is necessary to imagine the historical events of those years.

Message student "History of repression in the USSR"

A.I. Solzhenitsyn said: "No Chingiz-Khan destroyed so much a man as the glorious bodies, driven by the party." Of course, all this could not touch the literary process. Recall some facts.

Message of student "Repression in literature"(The following facts should be mentioned: Dropped from the lack of air freedom Alexander Blok in 1921. Shot: Nikolai Gumilev in 1921 on charges of counter-revolutionary plot, Boris Pilnyak in April 1938, Nikolai Klyuyev and Sergey Klychkov in October 1937, Isaac Babel In January 1940, Osip Mandelstam died in a camp in 1938. I committed suicide, without preparing the fight with the totalitarian regime, Sergey Yesenin in 1925, Vladimir Mayakovsky in 1930, Marina Tsvevaeva in 1941. Died in exile Ivan Bunin, Zinaida Hippius , Dmitry Merezhkovsky, Igor Northernik, Vyacheslav Ivanov, Konstantin Balmont, Joseph Brodsky, Alexander Galich. We were persecuted by Anna Akhmatova, Mikhail Zoshchenko, Boris Pasternak. Gulag Alexander Solzhenitsyn, Anatoly Zhigulin, Nikolai Zabolotsky, Yaroslav Mobility, Joseph Brodsky. In the House of Writers A memorial plaque in Moscow is hanging in memory of those writers who died in the war - 70 people. They offered to hang the same board with and Mena repressed, but then they understood - there is no enough places. All walls will be written.)

Teacher. Let's call another name in this sorrowful list - V.T.Shalamov, one of those who raised their task - to survive and tell the truth. This topic sounds in the works of A. Solzhenitsyn, and Yuri Dombrovsky, and Oleg Volkov, and Anatoly Zhigulin, and Lydia Chukovskaya, but the strength of Books V.Shalamova is simply amazing (Slide 3).

Two starts collided in the fate of Shalamov: on the one hand, his character, beliefs, on the other hand, the pressure of time, the state that has undertaken to destroy this person. His talent, his passionate thirst for justice. Fearlessness, willingness to prove the word: all this was not only not in demand by time, but also became too dangerous for him.

3. Studying a new material. Work in groups to study the biography of Varlam Shalamov.

Work in groups. (Students are divided into groups in advance).

Each table has texts with a biography of V.T.Shalamov. Read, highlight the main milestones of the biography (marker), be prepared to answer questions.

Questions:

  1. Where and when was Shalamov born? What can be said about his family?
  2. Where did I study V. Hashamov?
  3. When V. Shalamov was arrested and for what?
  4. What was the sentence?
  5. When and where was the punishment of Shalamov?
  6. When was Shalamov again arrested? What is the reason?
  7. Why did he extended the term in 1943?
  8. When shalammes are released from the camp? And when will return to Moscow?
  9. What year does it begin to work on the "kram" stories "?

(Answers to questions are accompanied by slides with photos)

Teacher: Werelam Shalamov died on January 17, 1982, who lost his hearing and vision, completely defenseless in the house of persons with disabilities of a lithofand, to the end of the focus on a bowl of non-recognition.

  • "Kolyma stories" - the chief work of the writer. 20 years he gave on their creation. The reader learned 137 stories collected in 5 compilations:
  • "Kolym stories"
  • "Left Coast"
  • "Artist shovel"
  • "Resurrection of larch"
  • "Glove, or KR-2"

4. Analysis of "Kolyma Story".

  • What stories did you read? (Student Answers)

Work in pairs.

Let's make a cluster with the word "Kolyma". Try to reflect your perception of the world Kolyma, what feelings do you prevail in it? We work in pairs, try to negotiate. Clusters secure on the board and read.

Let us turn to the story "Tombstone". Questions for analysis:

1. What impression is the story, starting with the words: "Everyone died:"? All: Who is who, why, how? (Answers) Yes, these are people about whom Shalamov himself will say: "This is the fate of martyrs who have not been who who did not know the heroes." But they remained in humans in such conditions - and this means much. The writer shows it a few, just one detail. The item is very important in the prose of Chalam. Here is such, for example, a small detail: ": Brigadier Barbe - Comrade, who helped me pull out a large stone from a narrow shurfe." The brigadier, which in the camp is usually an enemy, the killer is called a friend. He helped the ance, and did not nail it. What opens for this? (With a friendly relationship, the plan was not fulfilled, because it was possible to perform it only with inhuman, deadly load. On Barbe they were conveyed, and he died.)

2. Stories are terrible, terrible stories. What do people dream of Christmas night? (Answers) And here is the voice of Volodya Dobrovoltseva (pay attention to the name): "- And I, - and his voice was faded and leisurely, - I would like to be a hardwood. Human hardwood, you see, without hands, without legs. Then I would find In itself, spit them into a face for everything they do with us. " Why does he want to be hard?

3. What is the story story? (Death). Death, non-existence is the artistic world in which the story takes place. And not only here. The fact of death is preceded by the start of the plot. Agree that it is unusual for Russian prose.

We will work with the story of the Snake Caster. Each group receives its task. Group 1 - Read the beginning of the story, find words and phrases that act on the reader's feelings. What feelings arise? 2 Group - What "thin" and "fat" questions arose with you when reading the story? 3 Group - what fragments of the story require reflection and reflections?

In the process of analyzing the story, we will definitely pay attention to those difficult questions that you have. Let's try to figure out together.

  • Why is the story called "snake camp"? Who can be considered a snake caster?
  • Why did Platon agreed to tell the novels yet? Is it possible to condemn it?
  • The consent of Platonova "to squeeze novels" is the manifestation of force or weakness?
  • Why did Platon have developed a heart disease?
  • What is the copyright attitude to such a way to improve your position? (Sharply negative)
  • How is the sequence? What does he personify himself?

(At first glance, it seems that the story about the confrontation of political and thoughts, but if you look deeper, then it is not by chance that Platonov - a film-based intellectual is opposed to Boltarim, those. Spirituality is opposed to gross strength. But there is another plan associated with the theme "Artist and Power "," Artist and Society. "" Tuscannagna Romanov "- this phrase of Blouth Zhargon itself is a powerful satirical metaphor: such a" typny "in favor of the strong world of this is an ancient and difficult to fit the line of literature, Shalaov managed to show his negative attitude And to the "snakes", and to "Caps".)

The story "The Last Fight of Major Pugacheva". The researcher of Creativity Shalamov Valery Esipov writes that "Shalamov did not write a single word just like that."

  • What tells this story?
  • Why at the beginning of the story the author compares the arrests of the 1930s and 1940s? What was the difference between former frontoviki from other prisoners?
  • Tell us about the fate of Major Pugacheva. What is the fate of his comrades? How did the experience of war affected them?
  • How did prisoners behave during escape?
  • Why did not have wounded prisoners in the hospital? Why were the soldiers treated?
  • Why does the story ends the death of Pugachev?

What feeling remains after reading the story? How is the copyright attitude towards heroes? (Surname - Pugachev, and the fact that the author constantly calls him by the rank is Major, emphasizing that he is a fighter who quit the charting authorities, and the Major's smile with the memories of the dead comrades before his own death. Shalamov He will say about him - "Hard Men's Life", before his death will give him a tasteless to the bossman, twice will repeat the words "best people" and remember his smile, experiencing the joy of the fact that there is a spiritual height in man.)

Why should Shalam, who argued that there could be no successful shoots on Kolyma, glorified Major Pugachev? What is the feat of Major Pugachev? (The feat of Pugacheva and his comrades is not that they defended their freedom with weapons in their hands, is not that they turned their cars against Soviet power, not that they are all to one - preferred the death of the hand. They He was heroes because they refused to accept the system of thinking and feeling imposed on them. Realizing the camp as an outstanding system, they refused to exist. Escape - from the camp in Taiga - from the camp to the world - was undoubtedly a miracle of physical courage, but above all the brainchild Brave thoughts.)

Having written a fairy tale, very important for the writer personally, Shalamov displays a new camp law - the law of preserving a person, answers the question of how to get out of this world of death. At that moment, when Shalamov set himself the task of "remember and write", he, like Pugachev and his comrades, led the fight in his rules - from the prisoner became a writer, suffered a battle with an offshore system for a foreign camp and his native territory of culture itself.

Teacher: Guys, did we manage to get closer to the mystery of the mystery of "Kolyma stories?" What features of Shalamov's prose, called "new prose," will we celebrate?

(The mystery of "Kolyma stories" is that with all the negative the author managed to show that people remain people even in inhuman conditions, there is a way to fight this system - not to take her rules, win her strength of art and harmony. Features "new prose" Shalamov: Documentary, Laconism of the narrative, the presence of a detail - symbol.)

Let's try in groups to make synkievins by themes: "Kolyma stories", "man", "Varlam Shalamov" so that you can express your feelings after our lesson.

Homework: Write a review for one stories Shalamov, using the pyramid "Critica"; Watch the film "Lenin's Testament.

Literature.

2. Valery Esipov. "Dispel this fog" (late prose V.Shalamova: motivation and problematics) // www.shalamov.ru/research/92/

3. N.L. Krupina, N.A.Sosnina. RESPONSIBLE OF TIME. - M., "Enlightenment", 1992

Literature lesson in grade 11

"Lingvostilistic analysis of the stories of V.Shalamova" Berries "," single measurement ""

Objectives lesson:

1. Educational:

* Improving the skill of a linguity literal analysis of the text;

* The formation of the ability to analyze the text of the artistic style;

* Activation of educational research activities of students.

2. Developing:

* Further development of communicative, linguistic and language competences of students;

* Development of the creative abilities of the personality of students and the intensification of their mental activity through the use of elements of critical thinking technology;

* Improving the ability to argue and prove its point of view on the problematic issue;

* Development of social competence of students.

3.Toist:

* Promote the moral development of the personality of students, the definition of true life values.

Technology: Critical Thinking Technology; Technology of problem learning, workshop of value orientations.

Tasks:

* Reveal the main idea of \u200b\u200bthe stories of V.Shalamova "Berries"

* Tale LinguityList Analysis of Stories "Single Measurement"

* Analyze language (expressive) funds.

Type of lesson: The lesson for the integrated application of knowledge, skills and skills of students.

Methods: Problem-search, problem

Type of lesson: Workshop workshop

Forms of work: Frontal, individual.

On the desk:

Everything that was expensive is extruded into dust; Civilization and culture flies with a person in the shortest period calculated by weeks.

The overseas ovens and shame of Kolyma proved that art and literature - zero ...

V.Shalamov

On the Powerboard: (Concepts are recorded during the lesson)

Totalitarianism

Suppression

Destruction personality

Grain of sand

State car

Camp

Model of society

At the end of the lesson with these words to make proposals - conclusions.

On the left wing:

Story

Composition

Tools of artistic expressiveness

During the classes:

1. The words of the teacher

At home you met the stories of V.Shalamova. Did you read the works of this author before?

Today we will open for themselves the world of Shalamovskaya prose, the world is cruel and merciless and faithful to the limit. To understand the motives for writing such works, you need to get acquainted with the author's brief biography.

2. Presentationprepared by the student - Biography V.Shalamova

3. Conversation

What awakes in a writer's biography?

He sat in camps on Kolyma 20 years, was political prisoner. Consequently, everything that he wrote was experienced and felt by the author himself. "Kolyma stories" - personal experience.

What do we know about those times, camps?

4. Message of the student about the system of sentences in camps.

So, what stories you read.

- "Single measurement", "berries".

What topic combines these stories?

The main topic is the existence of a person in the camp.

Where is the action?

In the north. Kolyma, the most severe camps.

Who is in the center of the narration?

Poski (thoughts, political prisoners), supervisors.

What intonation is imbued with the story?

The intonation is impassive, ordinary, without emotions. Such intonation gives stories a note of doom.

As a rule, in any prosaic artistic work there are all types of speech: narration, description, reasoning. What is in the stories of V.Shalamova? Prove.

There is a narrative and description.

Why in the stories of V.Shalamov there is no reasoning?

ZKK cannot argue. He is a camp, "nobody", "camp dust."

What episodes are the description of?

These episodes are associated with a description of food. This is a strong emotion under constant hunger. Explicit parallel traced: food \u003d life, man \u003d animal.

Is there a story?

Yes, this is the basis of the stories. The life of the actions consists of a series of actions aimed at preserving and maintaining their own life: exhausting, meaningless work, the fight against constant hunger and cold, actions to extract food.

What is the problematics of the stories?

1. Termination of the opposition of the person and the totalitarian machine of the state. 2.The problem of changing (deformation) of human values \u200b\u200bin the camp.

3. The problem of the price of human life.

5. Analysis of the story "Single measurement"

Genre declared in Shalamov in the title of the collection - "Kolyma stories"

What is a story? Let us turn to the dictionary.

The story is a small epic genre, a prose product of a small volume, in which, as a rule, one or more events of the hero's life are depicted.

What is the classic story composition?

Tie, development, culmination, junction.

Are the stories of V. Shalamov classical form?

Not. The introduction is absent, the climax is shifted by the end of the work.

This is the intentional retreat from literary canons. Shalamov was convinced that the literature died (the one who "teaches" is the literature of Dostoevsky, Tolstoy).

The narrative of the last day of the story of the story is ordinary, without emotions. Dougaev's death is statistics.

Why is there an entry and imprisonment in the story?

V. Shalamov must show the essence, not burdened by her prehistory of the hero. Under the conditions of the camp, it does not matter who a man was before. Shalamov writes about a person who stands at the line that shares life and death.

The surrounding indifferent to the fate of the comrade. (Read 1 paragraph story, analyze the behavior of the partner and the brigadier)

What does Dougaev feel in the camp?

The main feeling is hunger. It is he who defines the course of the thoughts of the hero (read the passage). The second is indifference (read the passage).

In the camp a man stupid, turns into an animal. Dougaev does not know how to steal (and this is in the camp "Main Northern Virtue"), so quickly weakens. He tries to fulfill the norm ("none of his comrades will grumble, that he does not fulfill the norm"). When Dougaev finds out that he fulfilled only 25%, he is surprised, because "the work was so heavy." He is so tired that even "the feeling of hunger has long left him."

Find the climax of the story and his junction.

Culmination and junction are combined in the last paragraph (read). When Dugaev understood why he was leading to a high fence with barbed wire, he "regretted that he worked in vain, this last time was made in vain."

6. Analysis of the story "Berries"

What unites the stories "single size" and "berries"?

In the story of "berries", Shalamov draws camp weekdays, as in the "single measurement". The hero, on behalf of whose narration, like Dougaev, clings for life, although he understands that his life and the life of comrades should not.

1. With the camp, everyone for himself.

2. Gold - a painful sharp feeling, pushing a person for risk and rapid acts.

3. All the moral qualities of a person gave way to physiological needs - there is to sleep, be warm.

Why fishermen, comrade narrator, got the berries in a jar?

If the fishermen picks up a full jar, the cook of the guard will give bread. The company Rybakova immediately became an important thing to "get food - the most important thing in the camp.

Why didn't fishermen ask for help in collecting berries?

He would have to share bread, and the "camp ethics" does not imply such human actions. Therefore, once again confirmed the thought of Shalamov, that in the camp everyone for himself.

What episode is intonational and meaningful of general narration?

Episode description of berries. This is real poetry. The narrator with the intonation of gourmet and the expert draws berries. Nothing in the life of the ace causes such strong emotions. Only food.

Analyze the episode telling about the death of Rybakov.

Rybakova shot the convoir of SEROSHAKA for the fact that the zek broke the boundary of the designated zone. SEROSHAKA made it everyday life, without regret. Convoir knew that fishermen would not run away, but killed the award from the first shot. The author focuses on the reader's attention on the fact that the fishermen killed the first shot that should be preventive. The second was produced formally - it is necessary to make two shots. Neither Convoir SEROSHAKA, nor the Zeki thought about the observance of legality, because the camp is the territory of lawlessness, and "the price of camp dust is zero"

The death of a comrade is an ordinary event. There is no sensation of losses, troubles. Man is nothing. A jar with berries is value, as it can be replaced by bread.

Once again, read the words of V.Shalamov about civilization and culture. Was it clear after acquaintance with the stories, why does the author adheres to such a point of view? In response, use the support words recorded on the board during the lesson.

V.Shalamamov thinks so because the camp has proven that the physical and spiritual forces of a person in a collision with a car of the totalitarian state is limited. Evil's forces break and destroy the personality, because the possibilities of a person are finite, and the evil may be infinite. The horror story was not afraid to show scary in man. Showing the "Calculation of the World", Shalamov turned out to be a prophet: cruelty increases everywhere, while never aesthetized inhumanity. He sought the reader to see and appreciate what it is in real life. Everything is allowed - the terrible reality of the history of mankind, which is to resist - to such conviction, the reader leads by the author of "Kolym Story"

Homework: Feedback on the story of V.Shalamova "Condensed Milk"