Sholokhov fate of man expressive means. "Artistic peculiarity of the story" The Fate of Man "

Twelve years after the Great Patriotic War In 1957, MA Sholokhov writes the story of the "Fate of Man", whose main character is a simple Russian man - Andrei Sokolov.

The identity of Andrei Sokolova M. Sholokhov opens up using various artistic techniques, characterizing the actions, showing the relationship of the hero with different people, putting it in various life situations. The story of the fate of Andrei Sokolov is conducted from the first person, which makes the story more objective for the reader, the hero itself characterizes its actions. The author with the help of artistic and expressive means gives an evaluation heard. Thus, the reader learns the position of the writer. For example, meeting Andrei Sokolova, the narrator drew attention to his "big dark hands", testifying to the heavy insoluction work, which fell into his share, and on the "eyes, like sprinkled as ashes", talking about the experience.

Before the war, Andrei Sokolov lived usually: "He studied Avtodelo, sat down at the Baranka on the cargo," he married his beloved Irinka, his son and two daughters were born, "worked ... these ten years and day and night", "earned well ... lived ... not worse people" War changed his life. Andrei Sokolov remembers the scene of farewell to his wife, who "pressed ... like a leaf to a branch, and only all trembling, and he can't put out words," he pushed his wife then his wife and could not forgive him for years, because then it was Their last meeting. This is how the author describes Andrei Sokolov's condition after the told: "... I didn't see the same tears in his as if dead, extinct eyes." This item shows the ratio of the hero to the past: for him the events of those days are still the most important in life, Sokolov is still alive, but has "dead eyes".

During the war years, the hero has a real test - captivity. Resistance, soulful hardness, the power of character showed Andrei Sokolov and there: without thinking, he killed a traitor who wanted to give his platoon commander; tried to run. Significant scene at the commandant Muller, where he led the hungry, tired after heavy work Sokolova. And here the hero did not flinch: "I drank the rotor" Three glasses of vodka, but I did not eat anything, because I wanted ... to them, damned, show that although I disappear with the hunger, but I'm not going to give up my gun that I have my own , Russian dignity and pride and that in the cattle they did not turn me out, no matter how hard. " The courage of the Russian soldier struck Muller. Having received a loaf of bread and a piece of Sala, Andrei Sokolov divided food between prisoners equally, "divided without resentment." This fact also testifies to the latitude of the Russian soul. Blowing out of the captivity, in the hospital, the hero learns about the death of his wife and daughters. The death of loved ones did not harm him, he again dreams about happiness now with her son Anatoly: "Starkovsky dreams began at night: how the war will end like a son of Zhenya and he himself will live with young people, to buy and grandchildren to nurse." But the war took away from Andrei Sokolov and Son. The only thing that did not take the war from the hero is a sense of self-esteem, honor, love for people. The Russian soldier did not harm himself, he was able to overcome himself and find a relative soul in a small orphan siren. Andrey Sokolov - owner strong character: He was able to survive in the inhuman conditions of the fascist captivity, survived the death of loved ones, found a new son.

The name of the story "The Fate of Man" is important for understanding the essence of the nature of a simple Russian soldier. The life of a particular person is summarized by the writer and becomes the fate of thousands of Russian people who survived the war and lost their loved ones, but those who retain the main thing - human soul. The humanistic focus of the story allows the writer to talk about Andrei Sokolov as a real man. The main means of disclosing the image of the chief hero is the monologue-story of a soldier about himself. Here the author acts as a listener, not giving direct assessments of events, but only watching the status of Andrei Sokolov: "The narrator for a minute silent, and then said already with another, intermittent and quiet voice." The sincerity of the hero made him closer to the author: "A stranger, but the man who became close to me rose, stretched out a big, hard, like a tree, hand ..."

Thus, the image of Andrei Sokolov, the character of the hero is revealed by the writer through his speech, his own characteristic of actions, the author's assessment heard, through the name of the story of the "Fate of Man".

In CMD edited by I.N. Dry acquaintance with creativity MA Sholokhova begins in the 7th grade studying the story of the "Fate of Man".

In accordance with the program, schoolchildren are proposed to compare the story of MA Sholokhov with his film interpretation. Therefore, the teacher's preparation is required for such work, creating interpretations.

In 1959, film director S.F. was released on the screens. Bondarchuk, the scenario to which Y. Lukin, F. Shakhmagonov and M.A. Sholokhov. Contractor leading role S.F. became Bondarchuk.

The film is very close to the text of the story, so see the director's interpretation is not easy not only to students. Differences arise at the level of motifs.

In the story of MA Sholokhov about the price of victory many characters - images and motifs, the author connects specific fate and broad generalization.

Through the whole story passes the motive of the road and off-road. The topic of the road is connected with the war and opposed peaceful life, the topic of the house. Andrei Sokolov is broken away from the family at the station, and all his stay in the war turns into motion, from work a driver on the front before moving to Germany and work on its mines. And between them - the movement of prisoners to the west, an attempt to escape, returning with the prisoner of the fascist to the East ... The war for a person turned into a lack of stability, a constant change in reality, territory, streams of people greeted, lack of home.

At the same time, this is a movement on fate from life to death. Andrei Sokolov tells the fellowship only some episodes of their military destiny, and all of them are combined with one logic: these are moments when she was inevitable, whether it was a contusion during the actuat on the way to battery, or escape, or a dialogue with Lagerführer Müller.

Not an exception and the last, successful escape of Andrei Sokolov from the captivity - a return to his also threatened to him camps, only Stalinsky, and it was necessary to very try to spare their own.

The movement on the roads of the war, no matter how it was done, is always determined by one word - the commander sending Andrei Sokolov to the battery with full car shells: "Surfate, falcons?" It is always a situation offering the hero to choose between life and death, between honor and dishonor. The spiritual choice is even closer to the hero to death, the struggle for life brings to dishonor.

It is not known whether this movement will stop the little Vanya, found by Andrey a new son.
By the end of the story of pain in the heart, they give themselves everything is stronger, and dreams every night the deceased family.

The first post-war spring, on the contrary, is associated with the motive of off-road, as if nature itself seeks to stop this constant movement, but can not. The earth was recently freed from under the snow. Water already melted, thawed hearts, and Andrei Sokolov is still on the road. Not only because the driver works. The longing it takes it, if it is staying for a long time in one place, and it periodically changes the place of residence. The case on the road is shot down, but not a wounded cow - it seems to help the hero to stop: a minor event leads to the deprivation of driver's license, the "Shofinger Book". But the hero finds a workaround of how to recover documents, and again goes on it. At the crossing, on the border of the two states, Andrei Sokolov met with the author-storyteller.

Motive path at MA Sholokhov contributes to the fact that the reader makes the image of a person - a tree with screwdrived roots. New roots are impossible, return to life is against the laws of nature. At the end of the story, Andrei Sokolov resembles the author is no longer a plant, but a dry sand grade, abandoned in other people's edges by military hurricane of unprecedented force. And the fact that two such grains of two - a man and a child helps to understand that this state is universal, it combines many of these and other known and unknown author of people. This is a dangerous state: the people of the country can form a desert.

At the end of the story M.A. Sholokhov stands up with a journalistic fragment, which seems to be issued beyond the limits of the artisticity. But he focuses on the reader's attention on the tragic final "and I would like to think that this Russian man, a person of an inflexible will, exhausted ..." It would like, "mean" I don't think, but I really want these thoughts to come. " The impressions of the author from the meeting with Andrei Sokolov, lead the author to the real feeling: the people had enough strength to defeat and survive, there are still forces to work, but little to live. Therefore, Andrei Sokolov, and Vanya at the end of the story are removed, and Vanya waves a handle with a goodbye.

Heroes go to the future, as if on the war, getting ready to overcome. So, the war did not end for them, the peaceful life did not come, and death is approaching.

The motive of the road makes the story of the "fate of a person" by the work of the tragic sound.

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F Ilm "The Fate of Man" begins the scenery of spring, but not early, like M.A. Sholokhov, and Late: The view of the viewer is the green trees, the fields already living new life land. It is even not clear why Vanya in a coat and rides a warm scarf. Go from the farm Heroes - and go along the solid road, which and leads them, and keeps. The titers of the film are given on the background of flooding, calm water, which flooded the roots of trees, but does not cross the way to people, there is peacefully and independently, does not interfere in the overall logic of life.

The roads of war Andrei Sokolov in the film are present as the author of the story, like a broken parcel, running through the forest and the field, as an infinite movement from the situation to the situation.

The film also appears other motifs of the road, which is not the writer. One of them is a train. A heavy, pushing black smoke Metal machine itself becomes a symbol of war, inexorable fate, finally, a symbol of Germany. The motive movement of the train is changing in the film - from the less aggressive to more aggressive, especially when the train rushes to the viewer, more precisely, on the camera laid between the rails. But the same motive reminds the reader: the hero is not only a twisted, but also the passenger. Externally, a frightening train is not so dangerous.

Finally, in the final Andrei Sokolov and Vanya go into the path, but for some reason not to the boat, waiting for the crossing, and then along the river on a solid and dry seeker.

There is a change in the meaning of the symbol of the motive. The road here is no longer a symbol of military instability, but the normal state of the hero. All life is a move along the road: I switched from one to another - that's right from the war in a peaceful life. The tragic sound of the Story finale is canceled in the content of this motive in the film.

The image-symbol of the road affects the content of the image of the hero. For example, the Hero S. Bondarchuk does not go to crossing, but turns around from its path to relax and tell about his life a random friend. But what about Andrei Sokolov's explanations, why did he rarely write his family from the front? He despised those who complain about difficulties and shifts their suffering on other people's shoulders. The logic of the behavior of the hero M.A. Sholokhov is simple: the hero sits on the shore in anticipation of the boat and tells about himself, "closing the pause." S.F. Bondarchuk Hero specially looking for an interlocutor in order to pour his experiences on him, that is, it stands more weak manwho wants to complain about fate.

The content of the motive of sleep is changing. We remember that in the story M.A. Sholokhova, a dream motive appears at the end of the story of Andrei Sokolov about himself. He already adopted Vanya, but the heart hurts more and more often and at night began to dream of the deceased family, separated from him barbed wire. In the dream, Andrei is trying to push the wire, and at this moment are close to disappear.

The reader understands this story that Andrei is getting closer closer to the last line, but has not yet connected with his relatives, although it seeks subconsciously. He is leading longing for them. On the other hand, this dream is associated with life: Andrey wakes up and sees a pillow in tears. It is the dream frees the consciousness of Andrei, Returns him the opportunity to feel, which means to squeeze out his temper and live on.

The movement of sleep in the story is double-digit: it means the line between life and death to which the hero is suitable, and the condition of returning to a new turn of life. Having reached the last face, Andrei Sokolov can turn back and repeat the attempt to build a house.

In the film S.F. Bondarchuk Andrei Sokolov repeatedly sees in the dream of his loved ones while "goes on the flour." But he tells the random meeting only those episodes of his fate when he looked into the face of death. Sleep becomes a sign of proximity to death, it is possible, perhaps a mystical motive: those who died close to the most critical moments help Andrei to avoid death.

But this use of the sleep motive in the film loses the value of the last feature to which Andrei comes to the end of all events. So, this dream can no longer be a lifeful for the exhausted soul Andrei Sokolov. He turns out to be an emotional sign of suffering that he is experiencing a hero.
In this dream, all homemade, including the lives of Anatoly Son, appear. Barbed wire It becomes not a symbol of death separating alive from the dead, but the symbol of the war itself, holding back the hero, depriving the right to return home.

Frames that pop up in the course of the film and in keeping the corresponding sleep Andrei Sokolov probably should replace the memories of the hero, who, being in captivity, talked for two years with the dead as alive. The memories of their relatives associated Andrei Sokolov with life, gave the forces to endure the torment of captivity.

As a result, there is a semantic contradiction: dreams - at the same time a symbol of death and a symbol of life, a sign of the feature and a sign lost House At the same time. And we cannot find the harmony of these two meanings or their dialectical interaction, on the contrary, there is a need to decide: either something or other.

The remoteness of sleep remains unclear, emotional and contributing to understanding.

Other alignment of accents, changing the meaning of motifs affect the content of the image of the hero in the film. Hero S.F. Bondarchuk says and does the same as the hero MA Sholokhov. Unexpected for the viewer, maybe anonymous angle and large plans. But they are becoming the "a little bit", which introduces other meanings.

From the screen on the viewer often looks beautiful person With a poetic look of expressive eyes, in which pain and surprise froze. The soul of the hero lives in them, which fell out of incredible suffering. Indeed, Andrei Sokolov MA Sholokhov - a man with tender loving heart. But, besides this, he is harsh and strong manwho does not seek the external manifestation of his tenderness.

Director and artist Main role S.F. Bondarchuk created an image of another Andrei Sokolov - more emotional and lyrical, less severe and courageous. His hero seems to emphasize how it hurts him.

And the smell in the nature of the main character entail and other understanding of the plot.
In the story of MA Sholokhov chain of events from the life of Andrei Sokolov every time is built in one scheme. At first, the author gives the reader to get acquainted with an alternative situation, then with the motive of choice, and, finally, the act of Andrei Sokolova. Each episode shows: Sokolov chooses spiritual motifDespite the fact that he brings the hero to death.

The physical destruction of Andrei is so simple, which is not even a task of hostile forces. Much more important to break the spirit. War seeks to break into inner world Hero, drain him soul and turn into a prudent creature.

The first meeting with the Germans who found a contused Andrey, prove it. One of the soldiers really wants to go through the Russian from the machine, because, seeing the enemy, he rises to meet death standing. The other stops the comrade, but not because it is spiritually stronger, but opposite - because absolutely prudent. It comes to the contudion, ties muscles and gives the disposal to go to the west. Primitive material calculation, thirst for money leads the enemy.

Each subsequent episode shows the state of the spirit of the hero and shows the spirit of the spirit of his enemies, whether it is an episode in the church with the murder of a traitor, an attempt of escape or a fight with Muller. The hero refuses to drink the victory of the German weapons, in addition, Muller Sokolov claims his right to live as you used, as he does, and not as the enemy offers him.

It is surprising that the chain of tests suddenly qualitatively changes with a paradoxical way: the hero of his actions is approaching the death not broken, but it turns out to be closer to life. Hero MA Sholokhov passes the test, wins spiritual victory and gets physical salvation. He is like a mighty oak in the wind.

Andrei Sokolov S.F. Bondarchuk not so much with the events, how much the will of the waves are given and floats downstream, as if unknown mighty power drives him on the roads of war, like a torn leaf.

At the beginning of the film, this is a person living with family happiness. During the war, he acquires a mountain, which tortured him. The hero suffering from the hero becomes a sign of this inner flour.

Hero S.F. Bondarchuk is painfully experiencing captivity. Compared with internal torments, physical seems not strong enough. Even shepherds who found a fugitive in OVE, do not torment it enough cruel. The writer - the dogs at the moment fought all his clothes and praised the body, and then beat the Germans; Brought a naked and bloody camp. We do not see such brutal scenes in the film. The hero rushes to escape in a picturesquely awesome gymnasther, which Sokolov holds when sheepdog joins it. At the end of the episode, we see the hero in the same gymnasther, which did not change much after escape. The hero does not expire blood.

Note that Gymnastrock Andrei Sokolov for two years of work on the mines in Germany remains its constant clothing, we do not see the hero in the form of a prisoner even in the concentration camp. It is clear that this is a fundamental solution to the creators of the film. Maybe the gymnastrine was supposed to emphasize the combat spirit of the soldier in captivity? But she becomes a sign that physical torments were as follows that even torn gymnastrrock did not suffer.

At the hero S.F. Bondarchuk Emotional suffering is higher than physical or spiritual.

Against this background, the scene appears in the house of Ivan Timofeevich, which is not in the story.

After the escape from captivity Andrei Sokolov receives a vacation home. In the story on vacation rides a man already knowing a president of a neighbor about tragic death His family. He came to the funnel at the place of the house, listened to the cemetery silence, "stood, killed his soul and again went to the station." But not the proportion of the soul, but deep suffering hid behind the phrase, which Sokolov exhaled: "Oh, and it was hard for me, my brother." And the reader understands that the hero has no strength to talk more than these a few words, because the pain settled in man forever. In the story, Andrei Sokolov everything is so withstanding in tone of severe simplicity, which only enhances the depth and tragedy of grief.

In the film S.F. Bondarchuk The hero remains at the neighbor, drinks bitter with him, then crying, smearing the tears in the face and, finally, in anger, breaks the patephone plate, reminding him of a peaceful home life. Empty bottles On the table complement the picture.

This episode simply contradicts the content of the image of the hero MA. Sholokhov. The writer has a hero lost the ability to cry. An extinguished look, as if sprinkled with ashes, the eyes struck the author-storyteller. The ability to cry with difficulty returns to Andrei Sokolov by the end of the events, after he adopted Vanya.

The director claims: the hero has lost the ability to cry after bitter news of the death of the family. This fully corresponds to his concept, according to which the captivity and the concentration camps were given a hero not so hard.

U M.A. Sholokhov Andrei Sokolov could no longer cry; After receiving the tragic news, he lost the ability to eat and every interest in the world, two weeks lay on the hospital bed.

An episode with Ivan Timofeevich in the film is contrary to the values \u200b\u200bof the author-storyteller. At the end of the work, he broke up with Andrei and Vanya, but the boy turned around and waved him again. The author was forced to quickly turn away, so that the child did not see the "miser male tears."

M Ottye tears is associated with the formation of a special aesthetics at M.A. Sholokhov. Traditionally, a comparison of the story of a writer with the story of E.Hemaniunga "Old man and the sea", in which the essence of the hero is the harsh manly of the fisherman. MA Sholokhov was in a dialogue with E.Hehmingway, creating an image of another person whose harsh masculinity was born not on household soil, but left fire, pain, humiliation for many years, finally, from the deepest grief. It is known that MA Sholokhov in front of a loud reading of a new story in the Publishing House "True" in December 1956 said that the fate of a person seems otherwise than Hemingway.

Buying a tear becomes a sign of a gentle and courageous heart: Men do not cry. The suffering of the child may awaken in this man "fuel to the tear" of pain and protest. Tears of drunk Andrei Sokolov in the film acquire the opposite meaning. Hero S.F. Bondarchuk, more lyric and feminine, in front of the audience reaches easy hysterics.

The closer to the final, the more in the story M.A. Sholokhov in the first place is not the external canvas of events, but the psychologist of the image of the hero. At the immersion of the reader in the inner state of the hero, the episode with Lagerführer Muller, and a story about treatment in the hospital, and goodbye to Anatoly Son. The tragic events in Sokolov's life, the reluctile he says, and now the author asks him, which was next.

Of course, psychologism is only strengthened in the history of the meeting with Vanya. In the story, this episode is distinguished by open recognition of feelings. I saw the Sokolov Vanya several times from the Tea and began to miss him, because he was "loved." The story about the first dialogue of Sokolov and Vanya transmits, to what extent an adult joined the situation in the state of the child. Here Vanya is sitting on the porch and "see everything, hungry", so he widely revealed the glaze, and here. The hero sensors captures internal states.

In the climax of episode, the hero moves with a story about the past for the story in the present time, as if again experiencing this moment here and now. A piercing cry of a child lives in his memory, trembling his calf, fog in his own eyes, his own trembling ...

In contrast to the hero of E. Hehemingui, who also built his relationship with the boy, the hero M.A. Sholokhov frankly rejoices awakened feelings: "Heart is moving."

The last episode with Wannery against the background of such an image of the hero also acquires other shades of meaning.

Hero S.F. Bondarchuk expresses his experiences, having climbing the room or smoke by cigarette, but we almost do not see his eyes, and his hands are not trembling. The expression of experiences is not from the inside, and therefore the viewer perceives them not so strong and deep as the author of the story. He again in a situation that becomes more trial, again floats and in the course of the air is missing.

It can be assumed that the true hero of the film S.F. Bondarchuk is not Andrei Sokolov, but fate, which, like a hurricane, turns him into a cycle of life. But then, all actions of Andrei Sokolov become not a manifestation of his spiritual freedom and independence, but to adapt to this hurricane, not resistance, but assimilation.

As a result, we perceive two similar outwardly, but different heroes. The hero of the writer immediately forgets himself and always takes care of those "their" who were near, he is father and soldiers. His share fell unbearable tests. Sawing masculinity does not suppress feelings in it, it reflects a special state: the war destroyed the ability to feel. The opportunity to love he perceives as a life itself, because he lives with a soul, and his spirit is always strong and free.

The director's hero is undoubtedly honest, and therefore paying debt before "its". It passes heavy trials that, nevertheless, do not lead to the state of harsh masculinity. He is ready to return to peaceful life and does not understand why fate does not allow it. Hero insulted on fate, in claims for life, and therefore reception Son. Perceives as weak replacement loss.

This hero also lives soul, but his spirit weakens as a result of tests.

Comparison of the story and the film will undoubtedly help the students fully understand the image created by the writer, to evaluate its beauty and strength.

What is the humanistic pathos of the work?

In the story "The Fate of Man" M.A. Sholokhov is expressed by the humanistic protest of the writer against the inhumanity of the war. The great folk tragedy of wartime depicts a writer in this story. War is opposed to Sholokhov's paintings of peaceful life.

In a small amount of work in front of the reader, the life of the hero passes, which made the life of the Motherland. Andrei Sokolov is a peaceful worker who hate war. As the greatest jewel keeps him in the heart of the memory of the pre-war life of his family: "The wife brought up in an orphanage. Syrotka ... She has learned since childhood, with how much the pound of Liha stands, maybe it affected her character. From the side to look - not so she was prominent, but after all, I did not look from her, but in the focus. And there was no beautiful and welcome to me ... ".

The happiness of the peaceful life of Sokolov broke the treacherous attack of enemies. Fascism, someone else's land carry death, destruction. War destroyed the family, Sokolov's house. And here it begins to significantly sound the motive of the eternal separation. In captivity of the hero "Almost every night, about myself, of course, and with Irina, and with the kids talked," and they were no longer in the world. Hero Sholokhov falls out considerable tests: injury, fascist captivity, the death of the family remaining in the rear, tragic death Beloved Son Anatoly on the last day of war. All this imposed her mark on nature, the position of the hero. "For what you, life, I have so crippled? What did I disaccustomer? " - Sokolov asks itself and does not find a response. And humanism writer in this close attention to fate simple man, in a sympathetic position.

Revealing the image of his hero, the writer uses portrait details. "Have you ever seen eyes like sprinkled as ashes filled with such an inequate mortal longing that it is difficult to watch in them?" - asks Sholokhov. Constating war and peaceful life, the writer skillfully uses landscapes. So after a series tragic paintings The story gives a picture of nature: "In the flooded, the Woodpecker told the woods of the forest. All the same lazily moved dry earrings on Alder Warm Wind; Everything, as if under the tight white sails, floated the clouds in the highest blue, but it was already different to me in these moments of a mournful silence of a vulgar world, preparing to the great silence of spring, to eternal statement living in life. " The author's thought is tangible here about the eternal confrontation of life and death.

War destroyed millions of destinies. Little boy Vanyusha, who sheltered Andrei Sokolov remained the orphan. And this love for the child turned out to be the lifeful moisture, which began to heal the hero's heart wounded. Left alone, Andrei Sokolov replaced the father to a small Vanyushka. And this love became the giving force that gradually returned the hero to life.

The image of Andrei Sokolov critics corrected with the image of a fabulous soldier, emphasizing the folk basis of the story. Like a fabulous soldier, Hero Sholokhov was a master for all his hands, he came out of all the tests, he left the death repeatedly from death. In the plot we see the timing of events - the hero has three children, he was injured three times, talking three times about his fault before his wife. Trioral events - favorite folklore reception. Also significantly in the story confrontation of light and darkness, symbolizing the confrontation of peace and war. When Sokolov is captured, the German corner orders to go to him "at sunset", where the night, death. When the hero made escape, he kept the way "right on the sunrise", where the light and life. When the son of Anatoly was found, then in his life he was shone, as the sun, because of the clouds. "

In general, many expressive details are reminded about the dialectical confrontation of life and death in the story. For example, portrait. The eyes of a boy, adopted by the hero, are bright as nebushko. Sokolova - "Like aspirated ashes."

/ / / Uniqueness of the composition of the story of Sholokhov "The Fate of Man"

Originality composition famous work Mikhail Sholokhova "The Fate of Man" is that it is a story in the story.

A description of the coming nature is included in the text not for the elegance of the syllable, but for the Association with the fate of a person who also comes to life after adversity.

The taught the story begins with the advent of the main character. Strong man Together with a small boy picked up to the author on the woven. They expected a boat at the crossing, and to pass the time, began a relaxed conversation.

The story of the main character about himself can be considered climax common text. If you consider it separately, then its compositional parts are allocated. Exposition - the pre-war life of Sokolov. Tie - care to the front, farewell to the family. Culmination is a trial, a conversation with a commandant, an explanation with Vanya.

The junction at the story on behalf of the main character - no. But there is a magazine, the general one is the main character and the boy leave, and the narrator looks after it and tries not to cry, so as not to hurt the heart of a little boy.

A peculiar composition of the work includes two stories: external and internal. And, accordingly, this implies two narratives. The first story is on behalf of the author, and the second on behalf of the main character. This construction of the story allows you to deeper the image of the main character.

Talks about his fate, paying attention to events and their feelings. But he does not see anything special in himself. The author, on the contrary, appreciates the hero himself, notes the high moral qualities of the real person in it.

Thanks compositional reception "Story in the story" The author applied all three ways to image in the literature: Epos, lyrics and drama. At the beginning of the story placed epic description spring Day. There is nothing special in the fact that every year comes spring. However, this has symbolic meaning "In the same way that nature comes to life - the person comes to life after the troubles suffered.

In the story of the main character there are elements of drama. As in the play, the hero opens its image through monologues. And the remarks of the author helps in its complete disclosure. As in Drama, there is a tense conflict - a person against war, humanity against cruelty.

Lyrics are also a lot in the story. The main character Speaks about his feelings and experiences. Andrei's recognition scene is that he is his dad, stunning with his emotionality.

In the final, the narrator says that he almost cannot hold back tears, looking after the heroes. He tries to understand what he feels: respect, admiration, pity in relation to a new acquaintance. This acquaintance left a bright track in the soul of the story.

The image of Andrei Sokolova is depicted multifaceted and realistic. He talks about himself very simply using the integral expressions. And the story talks about him respectful.