The fate of human, fate folk. Start in science abstract fate human fate people

The principle of the vitality of characters in the true romantic, according to the definition of Pushkin, and essentially in the realistic drama, advanced by the poet as opposed to the aesthetics of classicism. And the special resistance caused the style of the classic tragedy in Pushkin. "Except for this notorious tripleness," Pushkin wrote, having in mind the unity of time, places, actions, - there is a unity about which French criticism does not mention (probably not suggesting that it is possible to challenge his necessity), the unity of the syllable - this 4 - the necessary condition of the French tragedy, from which the Spanish theater is delighted, {90} english, and German »75. It is very important that Pushkin paid attention to this side, to the language of drama.

The unity of the syllable still in the ancient tragedy constituted the necessary basis for dramatic action. Heroes were: in defending their positions to be the same "intelligence" and therefore said the same way. This applies not only to the ancient drama. After all, Shakespeare was very generous, giving speeches of different, in ranked characters in different extent perfect poetic development. In the poetics of the classicism theater, the unity of the syllable was also associated with the nature of dramatic action, the concept of characters was responsible. So it was not that playwrights no clever individualize the speech of the characters. Pushkin, rejecting the unity of the syllable, concerned not by the external moments of the classical drama. After all, the predecessor of Pushkin, Griboedov, extremely approaching the verse of comedy to expressive spoken language, did not refuse the unity of the syllable.

"A dramatic writer should judge by law, they are recognized on themselves," Pushkin wrote in connection with the "grief from the mind." - Therefore, it is not condemned by a plan, no strings or decencies of Comedy Griboedov. The purpose of it is the characters and a sharp picture of the morals "76.

The word "sharp" Pushkin determined the peculiar approach, Griboedov to the dramatic characteristic of society, the political angle of view on the morals. The type of dramatic action itself ("Purpose - characters and ... the picture of the morals") was unacceptable for him.

Three unity, in the form, in which their classic poetics argued, have long lost their credibility, and Pushkin: limited here with one ironic phrase, not counting the need to develop this topic. But the problem of style is highlighted by them specifically, in itself it is devoted to the letter cited above to the publisher of the Moscow Bulletin, which is customary to consider as a preface to Boris Godunov. The poet insists that in the speech of the actors of the tragedy there is no system of alluzi, direct hints on certain circumstances of modernity. {91} Pushkin sought the national-historical definiteness of images, and it was more significant for the tragedy, for her ideological and artistic and political concept than any sharp and bold hints, from which the poet could still could not resist. He deliberately sought to rebuild the linguistic structure of the drama. "In my opinion," Pushkin notes in the midst of work on "Boris Godunov", "nothing can be useless than small amendments to the established rules: Alfiera is extremely amazed by ridiculous speeches. to the side, he abolishes them, but the monologues lengtheys, believing that it produced a whole coup in the tragedy system: what kind of childhood!

The plausibility of the provisions and the truthfulness of the dialogue is the true rule of the tragedy "77.

Pushkin constantly draws attention to the insensitive dialogue of the classic drama. In the same letter, he notes: "Lamagrap Philoktt, after hearing the Tirad of Pierra, says in the purest French:" Alas! I hear the sweet sounds of the Ellen Speech "." In another case, he writes: "In Rasin, the semi-Skef Ippolit speaks the language of young blade-spanging marquise." 78

In Boris Godunov, the traditional Alexandrian verse is replaced by a white five-colored yamb. Some scenes are written by prose ("even the designed prose humiliated"). But it's not only in these interruptions, there was nothing unwanted here. No wonder Pushkin recalls the English and Spanish drama. On the shape of verse, the tragedy is rather one. Based on this unity and is the difference in intonations that detect typical features. Pushkin, as shown by G. A. Gukovsky, in the lyrics decided the "problem of an objective rationale for the individual" 79. This method he moved to the tragedy.

"... The concept of historical and national types of culture," writes G. A. Gukovsky about the tragedy of Pushkin, - determines in it and the actions, and thoughts, and character, and the most emotions, and the spectacle of the heroes "80. In the work of G. A. Gukovsky "Pushkin and the problems of realistic {92} styles »It is shown that the comparison, comparison of two types of cultures - Russian, Dopererovskaya, and European Renaissance in the Polish version - passes through the entire play. In such a comparison and acts as a significant structural certainty of national and historical.

Multilingualism "Boris Godunova" is especially noticeable in the national color of speech. German words sound in one of the scenes. The impostor pronounces the phrase in Latin. But these are only signs that emphasize differences. G. A. Gukovsky found that the impostor speaks as it were in two languages, in some cases - in Russian, in others - in Polish, such is the style of the style of verse 14 in the scene "Krakow. The house of Vishenetsky "The impostor can hear other adverbs. With Chernikov, he is rather explained by Latin. Its speech is changing when he turns to Kurbsky, to the Pole, to the Karell, who came from Don, to the Polish poet. Not only speech is changing, - the impostor, talking to each in his language, assimilates, trying to understand the construction of thought, cultural and household lines of each of their interlocutors. So Pushkin also emphasizes the differences in national and cultural types. In the most changeability, the provisions of the impostor detects its individual and general. With everything remains Russian, the national grain is preserved, makes itself felt with all turns. This is the dramatic essence of character.

Pushkin joined different types of heroes and different types of dramatic situations in one tragedy. He built a play on the principle of Shakespeare's composition, where each scene is relatively independent in its dramatic string. In the fate of Boris Godunova, Pushkin has a lot of Shakespeare's features. The scene at the fountain is a variation in Rasinsky topics. But it is through these analogies that acts a completely different understanding of a dramatic nature, its historicism, national-cultural certainty. The novelty of Pushkinsky decision could not be immediately perceived and evaluated. Even Belinsky refused to admit a dramatic beginning in Boris Godunov, believed that the tragedy of epic. But, offering another possible version of the tragic interpretation of the fate of Godunov, the critic returned to the principles of the romantic tragedy, attached to the Pushkin hero of a completely different type of drama.

{93} Belinsky seemed that Pushkin made a mistake, following Karamzin in explaining the causes of the death of Godunov. The motive of the villainous killing of Tsarevich attaches the tragedy, considered critic, melodramatism. But Pushkin is nothing did not explain. The former crime throws a fold and on the fate of Godunov. And through this topic, the folk point of view with its deep moral pathos is introduced into all the peripetics of the tragedy. There is a well-known community of characters, from whistle to the king, on the basis of which dialogue was possible, dramatic communications. After all, and Godunov carries a particle of popular consciousness, thinks by common moral categories. Pushkin did not quite rightly imagined the patriarchal unity of Doparerovsky Rus. But it was precisely from these historical delusions of the poet that the dramatic concept grew, which led politically to the denial of autocracy, in the artistic - to a new understanding of the character in the drama. The fact that Godunov is not turned off a completely out of a nationwide point of view and makes it a dramatic character. The impostor grabbed Western culture, but feels and acts as Russian. It exposes the same dramatic logic, although it seems to be a different historical tendency.

Belinsky believed that "drama, as a poetic element of life, is a collision and a lie (collision) oppositely and hostile to each other's ideas that are manifested as passion like Paphos" 81. From this point of view, the Russian history of troubled time, believed a critic, does not give grounds for the drama. The tragedy of Boris Godunova, as it seemed to him, could consist in the crash elevated above all the individuals, which, however, is devoid of genius, it is not able to put forward a completely new historical idea, turn the state to a fundamentally different way, as Peter I.

In fact, Pushkin faced the heroes of different historical ideas. The impostor represented the western version of absolutism. At the same time, Boris did attempts to find new class supports for his power, he has plans similar to {94} petrovsky reforms. This is the meaning of the Basmanov line. But the fact of the matter is that this move once again confirmed the overall logic of dramatic action through which the national beginning was found. From the contradictions of the people's consciousness and there was a dramatic collision of the tragedy, which in his own way was reflected in each of the characters.

Belinsky argued with Pushkin. But he perceived the dramatic logic of Boris Godunova, when he moved to the assessment of the poetic speech of the tragedy, deepened in her style.

"... Hermit Pimen," wrote a critic, disassembled the monologue of the old monk, "could not look so high on his vocation as a chronicler; But if in his time this look was possible, Pimen would not be expressed differently, namely, how he made him express Pushkin "82.

In such a historical and national settlement, the system of characters is the truth of the dialogue. Through the historical logic of thinking of actors, the special dramatic content of the tragedy was opened. It was not for nothing that Pushkin's play forced Belinsky to formulate the concept of drama as a collision of multidirectional vitality, that is, to make a historical and revolutionary meaning in Gegelian categories. At the same time, he did not immediately perceived the historicism of the decision, which offered Pushkin. But essentially he studied him in his definition.

Belinsky approached Boris Godunov with a prevailing view of the Drama. The tragedy of Pushkin entered the contradiction with these ideas. Since the critic not only compared his theory with the creation of the poet, but analyzed him, Belinsky's point in the course of reasoning changed, although he did not go full on the position of the playwright. This made it possible to criticize not only to open the special drama of the Pushkin tragedy, but to catch her contradictions. Truth was born in the dramatic relationship of criticism and writer in their nature. Therefore, Belinsky's creativity for the first time in history gained artistic effects, directly washed with the literary process.

{95} As the Formula of Belinsky follows, the hostility of the encountered ideas in itself does not constitute drama, although it is certainly a necessary point. In order for the struggle of ideological trends as a dramatic conflict, they must "manifest themselves as passion like Paphos." The collision of historical opposites acquires a dramatic character when it is reflected in the struggle of human passions and the will, when the general historical trends of time make their way to the surface in the form of the relationship of people, completely permeate the actions, human life behavior, they grow up with its nature. Meanwhile, the "Truth of Passion, the likelihood of feelings in the alleged circumstances" was the essence of the dramatic for Pushkin. Pushkin refused the old approaches to the hero inherent in the classic drama, opened a character in which historical content discovered his dramatic essence. And it was the general path of the future development of the drama. The complexity was that Pushkin was still thought of the tragedy as a form that distinguishes dramatic from real connections, artistically enlightened contradiction. These cursors were forced to Belinsky talk about melodramaticism.

The literature already occurred the restructuring of the system of genres. The novel penetrated the contradiction of life at the level of the ordinary flow. At the same time he did not pass the dramatic sides. Belinsky believed that modern literature could not do without a dramatic element.

The drama retreated in the genre system into the background. But did not lose its value as the main form of detection of dramatic content. The impact of prose has not passed and for her. Pushkin prepared soil for this. He introduced multilingualism, destroyed the classic monitoring of the development of action, "Shakespirized" drama.

The decisive step in the "proseization" of the drama was made by Ostrovsky. But he moved in Pushkin river. The basis of effective relations and the island remains speech. Dramaism acts in the image system, only in connection with other character detects itself as typical and dramatic.

MA Sholokhov passed the Great Patriotic War almost from beginning to end - he was a military correspondent. Based on front notes, the writer created the heads of the book "They fought for their homeland", the stories "Science of Hate", "The Fate of Man".

"The fate of a person" is not just a description of the military events, and a deep artistic study of the internal tragedy of a person, the soul of which was crossed by the war. Hero Sholokhov, whose prototype is the real person, with whom Sholokhov met for ten years before creating a work, - Andrei Sokolov, tells about his difficult fate.

The first test that Sokolov passes is the fascist captivity. Here, the hero of the sideline observes how all the best and worst human qualities are manifested in extreme conditions, how closely the courage and cowardice, durability and despair, heroism and betrayal are tailored. The most significant in this regard is the night episode in the destroyed church, where Russian prisoners of war were driven.

So, before us arises, on the one hand, the image of a doctor who, even in such a desperate situation, does not lose the presence of the spirit, trying to help the wounded, to the end, while maintaining loyalty to his professional and moral duty. On the other hand, we see a traitor who is going to issue the Navigators of the Voice - Communist Kryzhneva, following the logic of adapting and failing and stating that "comrades remained behind the front line" and "their own shirt to the body closer." This person and becomes the one who for the first time in his life kills Sokolov (until that time worked by a military driver) on the grounds that the traitor is "worse than someone else."

Descriptions of the existence of prisoners of war on forced work are horrified: constant hunger, unbearable work, cruel beatings, trauma dogs and - the main thing - constant humiliation ... But the Hero of Sholokhov is withstanding this test, the symbolic proof of what his moral match with the camp commandant Muller can serve when Sokolov Refuses to drink for the victory of German weapons and, rejecting bread with lard, demonstrates "his own, Russian dignity and pride." Andrei Sokolov managed to survive in such inhuman conditions - and this testifies to his courage.

However, despite the fact that the hero has retained his life in a physical sense, his soul was devastated by the war, which took his home and all his relatives: "There was a family, his home, it was all so far, and everything collapsed in a single moment ..." . Casual familiar Sokolova, to whom he retells the story of his challenging destiny, is primarily affected by the look of his interlocutor: "Have you ever seen eyes, like sprinkled ashes, filled with such an ineveless death that is difficult to look at them?" Alone with him Sokolov mentally promises: "For what are you, life, I so crippled? What did I disaccustomer? "

We see that the most cruel test for Andrei Sokolova was the peaceful, post-war life, in which he could not find a place, turned out to be excessful, spiritually unclaimed: "Didn't my intense life dreamed of me?" In a dream, the hero constantly sees his children, weeping his wife separated from him barbed wire concentration camp.

Thus, in a small amount of work, a complex, ambiguous character of the writer to the events of military time is revealed, the terrible truth of the post-war time is exposed: the war has not passed without a trace, leaving the most painful paintings of violence and murder in the minds of each participant, and in the heart - the wound of the loss of relatives , friends, fellow soldiers. The author refers to war for his homeland as a holy right case, considering that a person who protects his country exhibits the highest degree of courage. However, the author emphasizes that the war itself as an event making millions of people with physical and moral cripples is unnatural and nasty human nature.

Sokolov helped spiritually a little vanyushka boy, thanks to whom Andrei Sokolov did not stay alone. After all over the lonely, it would be equivalent to death. But he found a little man who needed love, care, caress. It saves the hero, "the heart of which gradually" leaves, becomes softer ".

The fate of Sholokhov's heroes is "two orphaned people, two sands, abandoned in other people's edges of the military hurricane of unprecedented power," alone survived and after all of everything experienced together "walking along Russian Earth", is a fiction summary of the fate of the millions of our compatriots, whose life has fallen war. The author uses the reception of maximum typification, reflecting the most characteristic features of the Russian national nature in the fate of the main character of the story of the main character.

A worthy overcoming the fallen hard tests, the experience of the terrible events - the death of close, universal destruction and destruction and his return to a full-fledged life, speak of the extraordinary courage, an iron will and the extreme power of the hero.

In this regard, the recognition of the familiar family Andrei Sokolov is that he literally is a father who also lost the family of Vanyushki, acquires a symbolic meaning. War, as it were, equalizes the heroes in their depreciation and, at the same time, allows them to fill out spiritual loss, to overcome loneliness, "leaving" in the distant Voronezh the leather father's coat, about which Vanya is accidentally remembered.

Piercing all the work of the image of the road acts as a symbol of the eternal movement, changing life, human destiny. It is also not accidental that the narrator meets with the hero that is in the spring - this time of year also symbolizes the constant update, the revival of life.

The Great Patriotic War is one of the most significant and, at the same time, the most tragic pages of Russia's history. This means that books written about this war, including the "fate of a person," will never lose the forces of ideological and artistic impact on the reader, will remain a literary classics for long times.

The era of the vague time (the end of the XVI - the beginning of the XVII centuries) attracted the attention of Russian playwrights as an exclusively dramatic, turning stage of domestic history. The characters of its main actors - Godunov, Falseedmitria, Shuisky - were fulfilled with genuine drama, sharp contradictions. The most vivid reflection in the Russian drama of the first third of the 19th century, this topic found, as you know, in the tragedy of Pushkin "Boris Godunov" (1825).

Pushkin considered the spelling of this tragedy with his literary feat, understood her political meaning and said: "It could not be stubbing all my ears under the honesty knife - sticking out." Interest in the history of Pushkin is natural and deep. The most bitter meditation over the fate of Russia did not give birth to historical pessimism. By this time, the X and XI volumes of the "history of the Russian state" of Karamzin came out and this aggravated the attention to the era of "troubled time". It was a turning time, critical in the history of Russia: Polish intervention, national discontent, shaky power of impostors. Boris Godunov is born as a plan, from the need to comprehend the world through history, the history of Russia. Stay in Mikhailovsky, contact with a folk life played a role here not less than the great creation of Karamzin - "The history of the Russian state". Attempts to comprehend the "mechanism" of human history is not an abstract philosophical task, but the burning personal need of Pushkin, which begins to realize himself with a social poet, endowed with a certain prophetic mission; "This attempt to penetrate the secret of the historical fate of the Russian Federation, to comprehend scientifically as a unique person, to restore the historical and spiritual pedigree, which" canceled "the revolution of Peter.

He peers in the nature of Russian statehood associated with the nature of the people, examines the era of one of those shocks that this statehood has undergone. " Karamzina Pushkin found a version of Boris's involvement in the murder of Tsarevich Dmitry, the son of Ivan Grozny, in Uglich. Modern science leaves this question open. Pushkin, this version helps with the psychological depth Show flour of the conscience of Boris. Doubts about Boris's involvement in the crime were very common. In a letter to S. Shevyrev, Pogodin writes: "Write certainly the tragedy" Boris Godunov ". He is not to blame for the death of Dmitry: I am convinced of this perfectly ...

It is necessary to remove the opal from it, imposed, except for centuries, Karamzin and Pushkin. Imagine a person whom to blame the glass all the circumstances, and he sees it and trembles from future curses. " It is this interpretation that I picked up and put on the basis of my drama about Boris Godunov, opposing it to Pushkinskaya. In 1831 They were completed by the drama "History in Persons about Tsar Boris Fedorovich Godunov". The title "History in Persons ..." in its own way emphasizes the author's point of view on the history and features of the artistic development of a historical topic. The past is revealed by him not through the struggle of social forces, but through the collision of virtuous and vicious persons. Pogodin comes to conviction: the purpose of history is to "teach people to curb passion", which sounds completely in the spirit of Karamzin, and this specific, quite reasonable moralism will continue to continue one of the characteristic features of his views. But Pushkin varied in many respects and with Karamzin in interpreting this material. The problem of the ratio of the drama "Boris Godunov" with the history of Karamzin is very difficult, it cannot be simplified. It is necessary to see what binds her with Karamzin, and a deep distinction between them.

The fact is that the "History" of Karamzin is also a historical scientific work, and at the same time an artistic work. Karamzin recreated the past in the paintings and images, and many writers, using actual materials, diverged with Karamzin in estimates. Karamzin in the historical past of Russia wanted to see the Full Union and the consent between the kings and the people) "The story belongs to the king"), and Pushkin saw a deep gap between the autocracy of the king and the people. The drama is distinguished by a completely new quality of historicism. Until Pushkin neither classicists, no romance could recreate the exact historical era. They only took the names of the heroes of the past and endowed their thoughts of the 19th century people. Before Pushkin, writers could not show the story in her movement, they upgraded it, visited. Pushkin's historicism of thinking is that he saw a story in the development, changing the epoch. According to Pushkin, in order to make the material of the past with topical, it is not necessary to artificially adapt to modernity. The motto of Pushkin: "We must recreate the historical truth and then the past is already in itself relevant, because the past and modernity are associated with the unity of history."

Pushkin surprisingly accurately recreated the historical past. The readers of the Pushkin Drama arises the era of the vague time: here and the chronicler of Pimen, boyars, "wilderness", etc. Pushkin not only recreates the external features of the era, but it reveals the main social conflicts. Everything is grouped around the main problem: the king and the people. First of all, Pushkin shows the tragedy of Boris Godunov and gives us his explanation. It is in understanding Boris Godunov and his tragic fate, above all, Pushkin diverges with Karamzin. According to Karamzin, Boris's tragedy is completely rooted in his personal crime, this king is a criminal who joined the throne illegally. For this, he is punished by God's court, the flour of conscience. Condeming Boris as a king - a criminal, who shed innocent blood, Karamzin defended the legality of the Preconsession. For Karamzin, it is morally a psychological tragedy. Boris's tragedy is considering in religiously - asked. Much in such an understanding of life, the fate of Boris was close to Pushkin.

This is the subject of crime and punishment. Pushkin this moral and psychological drama increases even more in that for Pushkin Boris is an outstanding personality. The tragedy of criminal conscience is revealed in the monologues of Boris, Boris himself admits: "That, in whom the conscience of the Unclean." Unlike the tragedies of classicists, the nature of Boris is shown widely, multifaceted, even in evolution. If first Boris impenetrate, then it is shown as a man with a broken will. It is shown both like a loving person, father. He will be for the enlightenment in the state and teaches the Son to the Office of the country) "First tighten, then weaken"), he is somewhat reminiscent of Shakespeare's heroes (Macbeth, Gloucester in Richard III). And the fact that he applies to the obvious to the name - Nikolka and calls him unhappy, as well as himself, relates to himself, this is not only evidence of the suffering of Boris's suffering, but also hope for the possible redemption of these suffering. It is important to consider that Pushkin shows a popular point of view on the deed. Boris is not just a tsar usurper.

Pushkin emphasizes that not an adult rival killed, but a baby. Boris stepped through the blood of an innocent infant - a symbol of moral purity. Here, according to Pushkin, the moral sense of the people was offended and it was expressed by the mouth of the yurodoye: "I will not, the king, pray for the king of Herod, the Virgin Narodia." As not great, the meaning of the moral and psychological drama of Boris, everything is the main thing for Pushkin in Drama is the tragedy of Boris as a king, the ruler, a statesman who looks from a political point of view. Pushkin accent tolerates Boris's personal suffering on the consequences of a crime for the state, social consequences.

"The Fate of Human, Fate People" in the tragedy A. S. Pushkin "Boris Godunov"

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(373 words) The fate of each of us depends on how the fate of our peoples was. Based on the history of centuries, there is a special mentality, which determines the traditions, habits and values \u200b\u200bof a particular citizen. Therefore, the influence of the historical path in which the Motherland was held is very much reflected in our actions, thoughts and decisions.

This thesis is easy to find confirmation in the literature. In the story of Gorky Makar Mirara, the main character is Roma, so in his worldview we see a characteristic basis - independence. For his ideal, the old man considers the Union of Radd and Passionate Loyko, where even love could not eclipse freedom. He condemns the material dependence on one single place and contrasts her the will of the Schedule, who was detached from the worldly worries. Only such a person, in his opinion, will live an interesting life saturated with colors, and not sad stagnation surrounded by things. For his Russian listener, the revelation data is amazing, he did not think to look at the world at such an angle. The thing is that it is Gypsy, whose ancestors always nomaded and traveled, to put on all freedom. The story of his people says that this is the only right path. So Makar and lived his century, not going to fate.

The exact opposite example we see in the novel of Sholokhov "Quiet Don". Gregory is tied to his land, for him she is part of the soul. He returns to her after heavy fighting to gain strength and patience to live on. His passion for the Khutura even competes with love for Axier, who asks him to run with her, leaving the Peresa behind. But Melekhov, like his ancestors, honors his native land, as the will of the Father, who ordered him to an unhappy marriage. He jealously protects the traditions of a kind: boldly goes to the attack, hesitates enemies, firmly keeps in the saddle, whatever happens. He is frank with everyone: honestly admits his wife that she does not like her, for example. If the Cossack threatened one enemy, as it was in the story of Taras Bulba, the hero would have become someone like Ostap. However, breaking between the parties in search of truth, he confused finally and lost contact with the roots, then the denying royal power, then defending it. So reflected on it the fate of the people.

The relationship between man and his people is stronger than it seems. The domestic history is that and the matter makes itself felt in the trifles of everyday life: from the character of the nature of citizens to the characteristics of their lifestyle. But the louder of all calls of the ancestors is heard in stressful situations, when the person is looking for a poppoples under his feet - native land.

In this story, Sholokhov portrayed the fate of the Private Soviet man who was held, captive, who had experienced a lot of pain, losses, losses, deprivation, but not broken by them and managed to preserve the warmth of the soul.
For the first time we meet the main character of Andrei Sokolov at the crossing. We get an idea about him through the impression of the storyteller. Sokolov, high, stubble man, he has big dark hands, eyes "like aspen with ash, filled with such an inequate death that is difficult to look in them." Life left deep and terrible traces in his appearance. But he speaks of his life that she was His ordinary, although, as we learned later, in fact she was full of terrible shocks. But Andrei Sokolov does not believe that God must give him more than others.
And during the war, many Russian people have suffered the same tragic fate. Andrei Sokolov, as if nonsense, told the random oncoming gestrate, which occurred with him, and in front of our eyes the generalized image of a Russian man, endowed with the features of genuine humanity and real heroism.
Sholokhov used the composition "Story in the story" here. Sokolov himself tells about his fate, this writer seeks that everything sounds sincere and reliably, and we believe in the real existence of the hero. Much has accumulated, piled in his soul, and here, meeting a random listener, he told him about his whole life. Andrei Sokolov passed his way, like many Soviet people: it became possible to serve in the Red Army, and a terrible hunger, from which all his close, test, and on the fists "to wake up". Then he went to the plant, became a worker.
When Sokolov married, a light strip appeared in his life. His happiness was in the family. About Irina's wife, he responded with love and tenderness. She was a skillful keeper of a homely hearth, tried to create a comfort and warm atmosphere in the house, and it did it worked for that her husband was immensely grateful. There was a complete mutual understanding between them. Andrew was aware that she also bored a lot of grief in life, for him in Irina was not an appearance; He saw her main dignity - a wonderful soul. And she, when H came angry from work, did not hear in response, did not get off his barbed wall from him, but she sought to relieve the stress of caress and love, realizing that her husband had a lot and hard to work hard to provide them with a comfortable existence. They created their little world for each other, where she tried not to let the evil of the outside world, which she managed, and they were happy together. When they had children, Sokolov broke off comrades with their boosters, began to bring all the pay home. This was shown by his quality of absolute absence of egoism in relation to the family. Andrei Sokolov found her simple happiness: the wife of the clever, children are excellent, their own house, modest wealth, that's all he needed. Sokolova has very simple requests. For him, spiritual values \u200b\u200bare important, and not material.
But the war destroyed his life, like thousands of lives of other people.
Andrei Sokolov went to the front to fulfill his civil debt. It seemed that he seemed farewell to his family. The heart of his wife anticipate that this separation is forever. Then he pushed for a moment, he was angry, having considered that she was "buried alive," and everything came out on the contrary: he returned, and the family died. This loss for him is a terrible grief, and now he blames himself for each trifle, remembers each of his step: if a wife did not hurt him if he had ever made mistakes where he found his loved ones. And with an inexpressible pain, he says: "To the very death, until the last hour, I will die, and I will not forgive myself that she pushed it!" This is because there is nothing to return, nothing can be changed, all the most expensive wound forever. But Sokolov unfairly accuses himself, because he did everything he could, to return alive, and honestly performed this debt.
When it was necessary to take ammunition battery, it turned out without shells under enemy fire, the authors' commander asked: "Surfate Sokolov?" But for him this question was originally solved: "And there was nothing to ask. There, my comrades may die, and I will hurt here? " For the sake of comrades, he did not think, he was ready to expose himself any danger, even sacrifice himself: "What can be caution here, when there guys are fighting with empty hands when the road is completely shot in the whole arthogne." And shell got into his car, and Sokolov turned out to be a prisoner. He had a lot of pain, burden, he underwent in captivity, but in any situation he kept his human dignity. When the German ordered to relieve his boots, he handed it to this and span, than put the fascist in a stupid position in the eyes of his comrades. And the enemies laughed not to humiliate the Russian soldier, but over their own.
This Quality Sokolov manifested itself in the scene in the church, when he heard that one of the soldiers threatened to give him a young commander. Sokolov is contrary to the idea that the Russian man is capable of such a vile betrayal. Andrei stranked the villain, and he became so disgusting, "as if he was not a man, and some kind of reptile stood." Sokolov tried to flee from captivity, he wanted to return to his. " However, for the first time he failed, he was found with dogs, beaten, hesitated and planted to the Cake for a month. But it did not break it, he had a dream about shooting. He supported the idea that he was waiting for his homeland, and should wait. In captivity, he experienced "nonhuman flour", like thousands of other Russian prisoners of war. They were brutally beaten, Morious hunger, fed so that - would only be kept on their feet, crushed out of mind. Finished the news about German victories. But this did not break the unreleased spirit of the Russian soldier, the bitter words of protest broke out of his chest: "They need four cubic meters to work out, and for each of us and one cubometer is enough through the eyes." And some kind of scoundrel tells the commander of the camp about it. Called Sokolov to the Lagerfürera, and this meant a shot. Andrei walked and rushed with the world around, but he did not regret himself in these moments, and his wife Irina and Children, but first of all he thought about going with the Spirit and fearlessly to look into the face of death, not to drop the honor of the Russian soldier in front of the enemies.
But ahead of him was still expected to test. The German in front of the execution suggested Andrei to have a drink for the victory of the German weapon and gave a piece of bread with lard. It was a serious challenge for a huge to death. But Sokolova had an inflexible and striking power of patriotism. Even before his death, he came to physical exhaustion, he did not come with his principles, did not drink the victory of the enemies, he drank for his death, he did not eat after the first, and after the second glass and only after the third bit a little piece. Even the Germans who did not consider Russian prisoners for people were amazed by amazing resistance and feeling of the highest human dignity of the Russian soldier. His courage saved his life, he was even awarded with bread and ladies, which he honestly divided with his comrades.
In the end, Sokolov managed to escape, but then he was thinking about the debt to his homeland and brought with him a German engineer with valuable information. Andrei Sokolov thereby is a model of patriotism inherent in the Russian people.
But life was not spared Andrew, he was not an exception among thousands of tragic fate. The war took his family from him, and on the very day of victory his pride is the only son. But she could not destroy the spirit of the Russian man. Andrei managed to preserve the warmth for a little boy, the orphans, who found tea and became a father for him. Sokolov could not live only for himself, it seemed to him meaninglessly, he needed to take care of someone, to pay for someone not a pretty love for lost on the ever-family. In this boy focused now the whole life of Sokolova. And even when he was postgraded by another failure: the ill-fated cow turned up under the car on the road, and driving license was unjustly selected, he did not get out, because he now had a little man for whom it is worth living and maintaining peace of mind.
So Sholokhov presented a difficult life of one ordinary Russian man before us. He is an ordinary soldier - worker, which in the Soviet army there were millions of. And even the tragedy, experienced by him, is not exceptional: in the years of the invasion of the fascists on our country, many people have lost their most expensive and relatives.
Thus, we see for this personal, individual fate of the fate of the entire Russian people, the people of the hero, who endured all the horrors of the war in their shoulders, which was in the unbearable struggle against the enemy's freedom of their homeland.