Yuri bondarev hot snow analysis of the work. Abstract: Yuri Vasilievich Bondarev "Hot Snow"

Belongs to the glorious galaxy of front-line soldiers who, having survived the war, reflected its essence in bright and complete novels. The authors took the images of their heroes from real life. And the events that we in peacetime perceive calmly from the pages of books took place for them with their own eyes. The summary of "Hot Snow", for example, is the horror of the bombing, and the whistle of stray bullets, and frontal tank and infantry attacks. Even now, reading about this, an ordinary peaceful person plunges into the abyss of gloomy and formidable events of that time.

Front-line writer

Bondarev is one of the recognized masters of this genre. When you read the works of such authors, you are inevitably amazed at the realism of the lines reflecting various aspects of the difficult military life. After all, he himself went through a difficult front path, starting at Stalingrad and ending in Czechoslovakia. That's why the novels make such a strong impression. They amaze with the brightness and truthfulness of the plot.

One of the vivid, emotional works that Bondarev created, "Hot Snow", just tells about such simple but immutable truths. The very title of the story speaks volumes. There is no hot snow in nature; it melts under the sun's rays. However, in the work he is hot from spilled blood in heavy battles, from the number of bullets and shrapnel that fly at brave fighters, from the intolerable hatred of Soviet soldiers of any rank (from private to marshal) to the German invaders. This is such a stunning image created by Bondarev.

War is not only a fight

The story "Hot Snow" (the summary, of course, does not convey all the liveliness of the style and tragedy of the plot) provides some answers to the moral and psychological literary lines begun in the author's earlier works, such as "Battalions Ask for Fire" and "Last Volleys".

Like no one else, telling the cruel truth about that war, Bondarev does not forget about the manifestation of ordinary human feelings and emotions. "Hot snow" (the analysis of his images surprises with the lack of categoricality) is just an example of such a combination of black and white. Despite the tragedy of the military events, Bondarev makes it clear to the reader that even in war there are quite peaceful feelings of love, friendship, elementary human hostility, stupidity and betrayal.

Fierce battles at Stalingrad

It is rather difficult to retell the summary of Hot Snow. The story takes place near Stalingrad, the city where the Red Army in fierce battles finally broke the back of the German Wehrmacht. A little to the south of the blocked 6th Army of Paulus, the Soviet command creates a powerful line of defense. The artillery barrier and the infantry attached to it must stop another "strategist", Manstein, who is rushing to the rescue of Paulus.

As is known from history, it was Paulus who was the creator and inspirer of the infamous Barbarossa plan. And for quite understandable reasons, Hitler could not allow the whole army, moreover, led by one of the best theorists of the German General Staff, to be surrounded. Therefore, the enemy spared no effort and resources in order to break through for the 6th Army an operational passage from the encirclement created by the Soviet troops.

Bondarev wrote about these events. "Hot Snow" tells about the battles on a tiny patch of land, which, according to Soviet intelligence, has become "tank dangerous". A battle must take place here, which, possibly, will decide the outcome of the battle on the Volga.

Lieutenants Drozdovsky and Kuznetsov

The task of blocking enemy tank columns is given to the army under the command of Lieutenant General Bessonov. It is in its composition that the artillery unit described in the story, commanded by Lieutenant Drozdovsky, is included. Even a brief summary of Hot Snow cannot be left without describing the image of a young commander who has just received an officer's rank. It should be mentioned that even at the school Drozdovsky was in good standing. Disciplines were given easily, and his position and natural military bearing amused the eyes of any combat commander.

The school was located in Aktyubinsk, from where Drozdovsky went straight to the front. Together with him, another graduate of the Aktobe Artillery School, Lieutenant Kuznetsov, was assigned to one unit. By coincidence, Kuznetsov was given command of a platoon of the very battery commanded by Lieutenant Drozdovsky. Surprised by the vicissitudes of military fate, Lieutenant Kuznetsov reasoned philosophically - his career is just beginning, and this is far from his last appointment. It would seem, what kind of career when there is a war around? But even such thoughts were visited by people who became prototypes of the heroes of the story "Hot Snow".

The summary should be supplemented by the fact that Drozdovsky immediately dotted the "i" s: he was not going to remember the cadet time, where both lieutenants were equal. Here he is the battery commander, and Kuznetsov is his subordinate. At first, reacted calmly to such vital metamorphoses, Kuznetsov begins to murmur quietly. He does not like some of Drozdovsky's orders, but it is known that it is forbidden to discuss orders in the army, and therefore the young officer has to come to terms with the current state of affairs. Part of this irritation was facilitated by the obvious attention to the commander of the medical instructor Zoya, who, deep down, liked Kuznetsov himself.

A motley team

Concentrating on the problems of his platoon, the young officer completely dissolves into them, studying the people he was to command. The people in Kuznetsov's platoon were controversial. What images did Bondarev describe? "Hot Snow", a summary of which will not convey all the subtleties, describes in detail the stories of the fighters.

For example, Sergeant Ukhanov also studied at the Aktobe artillery school, but due to a stupid misunderstanding he did not receive an officer's rank. Upon arrival at the unit, Drozdovsky began to look down on him, considering him unworthy of the title of a Soviet commander. Lieutenant Kuznetsov, on the other hand, perceived Ukhanov as an equal, maybe because of petty revenge on Drozdovsky, or maybe because Ukhanov was really a good artilleryman.

Another subordinate of Kuznetsov, Private Chibisov, already had rather sad combat experience. The unit where he served was surrounded, and the private himself was taken prisoner. And with his irrepressible optimism, gunner Nechaev, a former sailor from Vladivostok, amused everyone.

Tank strike

While the battery was advancing to the designated line, and its fighters got to know each other and rubbed themselves together, strategically, the situation at the front changed dramatically. This is how events unfold in the story Hot Snow. A summary of Manstein's operation to liberate the 6th Army, which was trapped in an encirclement, can be conveyed as follows: a concentrated tank strike back to back between two Soviet armies. The fascist command entrusted this task to the master of tank breakthroughs. The operation had a loud name - "Winter Thunderstorm".

The blow was unexpected and therefore quite successful. The tanks entered end-to-end between the two armies and plunged 15 km into the Soviet defensive lines. General Bessonov receives a direct order to localize the breakthrough in order to prevent tanks from entering the operational space. For this, Bessonov's army is reinforced with a tank corps, making it clear to the army commander that this is the last reserve of the Headquarters.

The Last Frontier

The line to which Drozdovsky's battery advanced was the last one. It is here that the main events about which the work "Hot Snow" is written will take place. Arriving at the scene, the lieutenant is ordered to dig in and prepare to repel a possible tank attack.

The commander understands that Drozdovsky's reinforced battery is doomed. The more optimistic divisional commissar Vesnin disagrees with the general. He believes that thanks to their high fighting spirit, Soviet soldiers will withstand. A dispute arises between the officers, as a result of which Vesnin goes to the front line to cheer up the soldiers preparing for battle. The old general does not really trust Vesnin, considering in the depths of his soul his presence at the command post is superfluous. But he has no time to conduct a psychological analysis.

"Hot snow" continues with the fact that the battle on the battery began with a massive raid of bombers. The first time hit by bombs, most of the soldiers are afraid, including Lieutenant Kuznetsov. However, pulling himself together, he realizes that this is only a prelude. Very soon, he and Lieutenant Drozdovsky will have to apply all the knowledge that they were given at the school in practice.

Heroic Efforts

Self-propelled guns soon appeared. Kuznetsov, together with his platoon, bravely accepts the battle. He is afraid of death, but at the same time he is disgusted with it. Even a brief summary of "Hot Snow" allows you to understand the tragedy of the situation. The tank destroyers sent round after round at their enemies. However, the forces were not equal. After some time, only one serviceable gun and a handful of fighters remained from the entire battery, including both officers and Ukhanov.

The number of shells became less and less, and the fighters began to use bundles of anti-tank grenades. When trying to undermine a German self-propelled gun, young Sergunenkov dies, following Drozdovsky's order. Kuznetsov, in the heat of battle, throwing away the chain of command, accuses him of the senseless death of a soldier. Drozdovsky himself takes a grenade, trying to prove that he is not a coward. However, Kuznetsov is holding him back.

And even in battle conflicts

What does Bondarev write about next? "Hot snow", a summary of which we present in the article, continues with the breakthrough of German tanks through the battery of Drozdovsky. Bessonov, seeing the desperate situation of the entire division of Colonel Deev, is in no hurry to bring his tank reserve into battle. He does not know if the Germans used their reserves.

And the battle was still going on on the battery. Medical instructor Zoya dies senselessly. This makes a very strong impression on Lieutenant Kuznetsov, and he again accuses Drozdovsky of the stupidity of his orders. And the surviving soldiers are trying to get hold of ammunition on the battlefield. The lieutenants, taking advantage of the relative calm, organize assistance to the wounded and prepare for new battles.

Tank reserve

Just at this moment, the long-awaited reconnaissance returns, which confirms that the Germans have introduced all the reserves into the battle. The soldier is sent to the observation post of General Bessonov. The commander, having received this information, orders to bring into battle his last reserve - the tank corps. To speed up his exit, he directs Deev to meet the unit, but he, having run into the German infantry, dies with a weapon in his hands.

It was a complete surprise for Gotha, as a result of which the breakthrough of the German forces was localized. Moreover, Bessonov is ordered to build on his success. The strategic plan was a success. The Germans pulled all the reserves to the site of Operation Winter Thunderstorm and lost them.

Hero rewards

Observing a tank attack from his NP, Bessonov notices with surprise a single gun, which is also firing at German tanks. The general is shocked. Not believing his eyes, he takes out all the awards from the safe and, together with the adjutant, goes to the position of the defeated Drozdovsky battery. Hot Snow is a novel about the unconditional masculinity and heroism of people. That, regardless of their regalia and ranks, a person must fulfill his duty, not caring about awards, especially since they themselves find heroes.

Bessonov is amazed at the resilience of a handful of people. Their faces were smoked and burned. No insignia are visible. The commander silently took the Order of the Red Banner and distributed it to all the survivors. Kuznetsov, Drozdovsky, Chibisov, Ukhanov and an unknown infantryman received high awards.

Yuri Vasilievich Bondarev "Hot Snow"

1. Biography.

2. Place and time of action of the novel "Hot Snow".

3. Analysis of the work. a. The image of the people. b. The tragedy of the novel. With. Death as the greatest evil. d. The role of the past heroes for the present. e. Character portraits.

f. Love in the work.

g. Kuznetsov and people.

b. Drozdovsky.

v. Ukhanov.

h. The proximity of the souls of Bessonov and Kuznetsov

Yuri Vasilievich Bondarev was born on March 15, 1924 in the city of Orsk. During the Great Patriotic War, the writer as an artilleryman came a long way from Stalingrad to Czechoslovakia. After the war, from 1946 to 1951, he studied at the M. Gorky Literary Institute. Began to publish in 1949. And the first collection of stories "On the Big River" was published in 1953.

The novelist brought wide fame

"Youth of commanders", published in 1956, "Battalions

asking for fire "(1957)," Last volleys "(1959).

These books are characterized by drama, accuracy and clarity in describing the events of military life, the subtlety of the psychological analysis of the heroes. Subsequently, his works "Silence" (1962), "Two" (1964), "Relatives" (1969), "Hot Snow" (1969), "Shore" (1975), "Choice "(1980)," Moments "(1978) and others.

Since the mid-60s, the writer has been working on

the creation of films based on their works; in particular, he was one of the creators of the screenplay for the epic "Liberation".

Yuri Bondarev is also a laureate of the Lenin and State Prizes of the USSR and the RSFSR. His works have been translated into many foreign languages.

Among the books by Yuri Bondarev about the war "Hot Snow" occupies a special place, opening up new approaches to solving the moral and psychological problems posed in his first stories - "The battalions are asking for fire" and "The last volleys". These three books about war are a holistic and developing world, which reached the greatest completeness and imaginative power in Hot Snow. The first stories, independent in all respects, were at the same time a kind of preparation for a novel, perhaps not yet conceived, but living in the depths of the writer's memory.

The events of the novel Hot Snow unfolds near Stalingrad, south of General Paulus's 6th Army, which was blocked by Soviet troops, in the cold December 1942, when one of our armies withstood the strike of Field Marshal Manstein's tank divisions in the Volga steppe, who was trying to break through a corridor to Paulus's army and take her out of the environment. The outcome of the battle on the Volga and maybe even the timing of the end of the war itself largely depended on the success or failure of this operation. The duration of the novel is limited to only a few days, during which the heroes of Yuri Bondarev selflessly defend a tiny patch of land from German tanks.

In Hot Snow, time is even more tightly compressed than in the story The Battalions Ask for Fire. "Hot Snow" is a short march of General Bessonov's army unloaded from the echelons and a battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Not knowing respite and lyrical digressions, as if the author's breath was caught from constant tension, the novel "Hot Snow" is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the novel, their very fates are illuminated by the disturbing light of the true story, as a result of which everything takes on special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is mainly concentrated around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army, they are the people, the people to the extent that the typified personality of the hero expresses the spiritual, moral traits of the people.

In "Hot Snow" the image of a people who have embarked on a war appears in front of us in a plenitude of expression unprecedented before in Yuri Bondarev, in the richness and variety of characters, and at the same time in integrity. This image is not limited to the figures of young lieutenants - commanders of artillery platoons, nor to the colorful figures of those who are traditionally considered to be people from the people, such as the slightly cowardly Chibisov, the calm and experienced gunner Evstigneev, or the straightforward and rude riding Rubin; nor senior officers, such as the divisional commander, Colonel Deev, or the army commander, General Bessonov. Only collectively understood and accepted emotionally as something single, with all the difference in ranks and titles, they make up the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity was achieved, as it were, by itself, captured without much effort by the author - living, moving life. The image of the people, as the result of the entire book, perhaps most of all nourishes the epic, novel beginning of the narrative.

Yuri Bondarev is characterized by an aspiration for tragedy, the nature of which is close to the events of the war itself. It would seem that nothing meets this aspiration of the artist as the most difficult time for the country when the war began, in the summer of 1941. But the writer's books are about another time, when the defeat of the fascists and the victory of the Russian army are almost certain.

The death of heroes on the eve of victory, the criminal inevitability of death contains a high tragedy and evokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the medical instructor of the battery Zoya Elagina, the shy Eedovoy Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ... And the war is to blame for all these deaths. Let the heartlessness of Lieutenant Drozdovsky be to blame for the death of Sergunenkov, let the blame for the death of Zoya fall partly on him, but no matter how great Drozdovsky's guilt is, they are primarily victims of the war.

The novel expresses the understanding of death - as a violation of the highest justice and harmony. Let us recall how Kuznetsov looks at the murdered Kasymov: “now under Kasymov’s head lay a shell box, and his youthful, beardless face, recently alive, swarthy, which had become deathly white, thinned by the eerie beauty of death, looked in amazement with wet cherry half-open eyes at his chest, torn to shreds, excised quilted jacket, as if after death he did not comprehend how it killed him and why he could not get up to the sight. ”In this unseeing squint of Kasymov there was a quiet curiosity about his not lived his life on this earth and at the same time a quiet secret death, into which he was overturned by the red-hot pain of the fragments as he tried to climb to the scope. "

Kuznetsov feels even more acutely the irreversibility of the loss of the rideable Sergunenkov. After all, the very mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness of how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will forever curse himself for what he saw, was present, but could not change anything.

In "Hot Snow", with all the intensity of events, everything human in people, their characters are revealed not separately from the war, but interconnected with it, under its fire, when, it seems, you can't even raise your head. Usually the chronicle of battles can be retold separately from the individuality of its participants - the battle in "Hot Snow" cannot be retelled otherwise than through the fate and characters of people.

The past of the characters in the novel is significant and weighty. For some it is almost cloudless, for others it is so difficult and dramatic that the old drama is not left behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The events of the past determined the military fate of Ukhanov: a gifted, full of energy officer who could command a battery, but he is only a sergeant. Ukhanov's cool, rebellious character also determines his movement within the novel. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), responded with fear in him and determine a lot in his behavior. One way or another, the past of Zoya Elagina, and Kasymov, and Sergunenkov, and the unsociable Rubin, whose courage and loyalty to the soldier's duty, we will be able to appreciate only by the end of the novel, slips through the novel.

The past of General Bessonov is especially important in the novel. The thought of his son, who was captured by Germany, complicates his position both at Headquarters and at the front. And when a fascist leaflet announcing that Bessonov's son was taken prisoner falls into the front counterintelligence service in the hands of Lieutenant Colonel Osin, it seems that there is a threat to Bessonov's service.

All this retrospective material enters the novel so naturally that the reader does not feel it separate. The past does not require for itself a separate space, separate chapters - it merged with the present, opened its depths and the living interconnection of one and the other. The past does not burden the story of the present, but gives it great dramatic acuteness, psychologism and historicism.

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only by the end of the novel or with the death of the hero, the author creates a complete portrait of him. How unexpected in this light is the portrait of the always taut and collected Drozdovsky on the very last page - with a relaxed, broken-sluggish gait and unusually bent shoulders.

and immediacy in the perception of characters, sensations

their real, living people, in which it always remains

the possibility of mystery or sudden insight. Before us

the whole person, understandable, close, and yet we are not

leaves the feeling that we have only touched

the edge of his spiritual world - and with his death

you feel that you have not yet had time to fully understand it

inner world. Commissar Vesnin, looking at the truck,

thrown from a bridge onto the ice of the river, says: "What a monstrous destruction war is all the same. Nothing has a price." The enormity of war is expressed most of all - and the novel reveals this with brutal directness - in the murder of a person. But the novel also shows the high price of life given for the Motherland.

Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. War, its cruelty and blood, its timing, overturning the usual notions of time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of your feelings. And it all begins with Kuznetsov's quiet, incomprehensible jealousy of the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it was from these lines that the title of the novel was taken, when Kuznetsov was wiping his face wet with tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Deceived at first in Lieutenant Drozdovsky,

the best cadet then, Zoya throughout the novel,

reveals itself to us as a moral, integral person,

ready for self-sacrifice, able to embrace

heart pain and suffering of many. .Zoe's personality is learned

in a tense, as if electrified space,

which almost inevitably arises in the trench with the appearance

women. She goes through many trials,

from annoying interest to rude rejection. But her

kindness, her patience and compassion is enough for everyone, she

truly a sister to the soldiers.

The image of Zoe somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with a feminine principle, affection and tenderness.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this conflict, it is exposed very sharply, and is easily traced from beginning to end. At first, the tension goes back to the prehistory of the novel; inconsistency of characters, manners, temperaments, even style of speech: it seems that it is difficult for the soft, thoughtful Kuznetsov to endure the abrupt, commanding, indisputable speech of Drozdovsky. The long hours of the battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms an abyss between the two young officers, the moral incompatibility of their existence.

In the finale, this abyss is indicated even more sharply: four surviving artillerymen consecrate the orders they have just received in a soldier's bowler hat, and the sip that each of them takes is, first of all, a sip of commemoration - it contains the bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him - he is the surviving, wounded commander of a surviving battery, the general does not know about Drozdovsky's grave wines and most likely will never find out. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the honest soldier's bowler hat.

It is extremely important that all Kuznetsov's connections with people, and above all with people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely unofficial - in contrast to the emphatically official relations, which Drozdovsky so strictly and stubbornly sets between himself and people. During the battle, Kuznetsov fights alongside the soldiers, here he shows his composure, courage, and lively mind. But he also matures spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together.

The relationship between Kuznetsov and senior sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired upon in the difficult battles of 1941, and for his military ingenuity and decisive character, he could probably have been an excellent commander. But life decided otherwise, and at first we find Ukhanov and Kuznetsov in a conflict: this is a clash of sweeping, harsh and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight both the heartlessness of Drozdovsky and the anarchist nature of Ukhanov. But in reality it turns out that without yielding to each other in any principled position, while remaining themselves, Kuznetsov and Ukhanov become close people. Not just people who are fighting together, but who have come to know each other and are now forever close. And the absence of the author's comments, the preservation of the rough context of life makes their brotherhood real, weighty.

The ethical, philosophical thought of the novel, as well as its emotional tension, reaches its greatest height in the finale, when there is an unexpected rapprochement between Bessonov and Kuznetsov. This is a rapprochement without immediate proximity: Bessonov rewarded his officer on an equal basis with others and moved on. For him, Kuznetsov is just one of those who table to death at the turn of the Myshkov River. Their closeness turns out to be more sublime: it is the closeness of thought, spirit, outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, because of his lack of communication and suspicion, he prevented the development of friendly relations between them ("the way Vesnin wanted, and what they should be"). Or Kuznetsov, who could do nothing to help Chubarikov's calculation dying before his eyes, tormented by the piercing thought that all this "seemed to have to happen because he did not have time to get close to them, to understand everyone, to love ...".

Shared by disproportionate responsibilities, Lieutenant Kuznetsov and the commander of the army, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about one and in one direction they seek the truth. Both of them demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and have in common, like a father with a son, and even like a brother with a brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.

List of used literature.

1. Yu.V. Bondarev, "Hot Snow".

2. A.M. Borschagovsky, "One battle and all life".

The author of Hot Snow raises the problem of man in war. Is it possible in the midst of death and
violence does not harden, does not become cruel? How to maintain composure and the ability to feel and empathize? How to overcome fear and remain human in unbearable conditions? What are the reasons for the behavior of people in war?
The lesson can be structured as follows:
1. Introductory remarks by teachers of history and literature.
2. Defense of the project "The Battle of Stalingrad: events, facts, comments".
H. Defense of the project "Historical significance of the battle on the Myshkov river, its place during the Battle of Stalingrad."
4. Defense of the project "Yu. Bondarev: front-line writer".
5. Analysis of the novel "Hot Snow" by Yu. Bondarev.
6. Defense of the projects "Restoration of the destroyed Stalin castle" and "Volgograd today".
7. Closing remarks from the teacher.

We turn to the analysis of the novel "Hot Snow"

Bondareva's novel is unusual in that its events are limited to just a few days.

- Tell us about the time of the action and the plot of the novel.
(The novel takes place over the course of two days, when Bondarev's heroes selflessly defend a tiny patch of land from German tanks. In Hot Snow, time is compressed more densely than in the story Battalions are asking for fire: this is a short march of General Bessonov's army unloaded from echelons and the battle , who decided so much in the fate of the country; these are cold
frosty dawns, two days and two endless December nights. Without lyrical digressions, as if the author's breath was caught from constant tension.

The plot of the novel "Hot Snow" is connected with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the novel, their fates are illuminated by the disturbing light of true history, as a result of which everything under the pen of the writer acquires weight and significance.

- During the battle on the Myshkova River, the situation in the Stalingrad direction is tense to the limit. This tension is felt on every page of the novel. Remember what General Bessonov said at the council about the situation in which his army found itself. (Episode at the icons.)
("If I believed, I would pray, of course. On my knees I asked for advice and help. But I do not believe in God and do not believe in miracles. 400 tanks - this is the truth for you! And this truth is put on the scales - a dangerous weight on scales of good and evil.A lot depends on it now: a four-month
the defense of Stalingrad, our counteroffensive, the encirclement of the German armies here. And this is true, as well as the fact that the Germans from the outside launched a counteroffensive, but the scales still need to be touched. Is it enough
do I have the strength? .. ")

In this episode, the author shows the moment of maximum tension of human strength, when the hero faces the eternal questions of being: what is truth, love, goodness? How to make the good outweigh it in the scales, is it within the power of one person? It is no coincidence that in Bondarev this monologue occurs among the icons. Yes, Bessonov does not believe in God. But the icon here is a symbol of the historical memory of the wars, the sufferings of the Russian people, who won victories with an extraordinary strength of spirit, backed up by the Orthodox faith. And the Great Patriotic War was no exception.

(The writer devotes almost the main place to Drozdovsky's battery. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army, they express the spiritual and moral traits of the people. In this wealth and variety of characters, from private to general, Yuri Bondarev shows the image of the people, who stood up to defend the Motherland, and does it brightly and convincingly, it seems, without much effort, as if it was dictated by life itself.)

- How does the author of the heroes represent us at the beginning of the story? (Analysis of the episodes "In the carriage", "Train bombing".)
(We are discussing how Kuznetsov, Drozdovsky, Chibisov, Ukhanov behave during these events.
We draw your attention to the fact that one of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. We compare the descriptions of the appearance of Drozdovsky and Kuznetsov. We note that Bondarev does not show Drozdovsky's inner experiences, but reveals Kuznetsov's worldview in great detail through his inner monologues.)

- During the march, Sergunyonkov's horse breaks his legs. Analyze the behavior
heroes in this episode.
(Rubin is cruel, offers to beat the horse with a whip to get up, although everything is already pointless: she is doomed. Shooting a horse does not hit the temple, the animal suffers. He swears at Sergunyonkov, who is unable to hold back tears of pity. Sergunyonkov is trying to feed a dying horse Ukhanov wants to support the young Sergunyonkov, to cheer him up.
restrains the rage that there is disorder on the battery. "Drozdovsky's thin face seemed calmly frozen, only restrained rage splashed in his pupils." Drozdovsky shouts And
orders. Kuznetsov dislikes Rubin's vicious determination. He suggests launching the next gun without horses, on shoulders.)

- Everyone experiences fear in war. How do the heroes of the novel experience fear? How does Chibisov behave during the shelling and in the case of the scout? Why?
(“Kuznetsov saw Chibisov’s face, gray as earth, with frozen eyes, his wheezing mouth:“ Not here, not here, Lord ... ”- and down to individual hairs visible, as if lagging behind gray skin, stubble on his cheeks. hands rested on Kuznetsov's chest and, pressing his shoulder, back into some narrow non-existent space, screamed
prayerfully: “Children! Children, after all ... I have no right to die. There is not! .. Children! .. "". From fear Chibisov pressed himself into the trench. Fear paralyzed the hero. He cannot move, mice are crawling on him, but Chibisov does not see anything, does not react to anything, until Ukhanov shouted at him. In the case of the scout, Chibisov is already completely dismissed by fear. They say about such people at the front: "Living dead". “Tears rolled from Chibisov's blinking eyes down the untidy-dirty stubble of his cheeks and the comforter pulled over his chin, and Kuznetsov was struck by the expression of some kind of dog’s longing, insecurity in his appearance, a lack of understanding of what had happened and was happening, what they wanted from him. At that moment Kuznetsov did not realize that it was not physical, devastating impotence and not even the expectation of death, but animal despair after everything Chibisov had experienced ... Probably the fact that in blind fear he shot at the scout, not believing that it was his own, Russian , was the last thing that finally broke him. " “What happened to Chibisov was familiar to him in other circumstances and with other people, from whom the longing before endless suffering seemed to pull out everything that was holding back, like a core of some kind, and this, as a rule, was a premonition of his death. Such people were not considered alive in advance, they were looked at as if they were dead.

- Tell us about the case with Kasyankin.
- How did General Bessonov behave during the shelling in the trench?
- How does Kuznetsov fight fear?
(I have no right to do this. I have not! This disgusting impotence ... We need to shoot panoramas! I
afraid to die? Why am I afraid to die? A splinter in the head ... Am I afraid of a splinter in the head? .. Not,
I'll jump out of the trench now. Where is Drozdovsky? .. "" Kuznetsov wanted to shout: "Wind up
winding now! " - and turn away so as not to see these knees of his, this, like a disease, his unconquerable fear, which suddenly pierced sharply into him at the same time, like the wind that arose
somewhere the word "tanks", and trying not to give in and resisting this fear, he thought: "Do not
may be")
- The role of a commander in a war is extremely important. The course of events and the life of subordinates depend on his decisions. Compare the behavior of Kuznetsov and Drozdovsky during the battle. (Analysis of the episodes "Kuznetsov and Ukhanov take off their sights", "Tanks are advancing on the battery", "Kuznetsov at Davlatyan's gun").

- How does Kuznetsov make the decision to remove the sights? Is Kuznetsov obeying Drozdovsky's order to open fire on tanks? How does Kuznetsov behave at Davlatyan's gun?
(During the shelling Kuznetsov fights with fear. It is necessary to remove the sights from the guns, but getting out of the trench under continuous fire is sure death. By the power of the commander, Kuznetsov can send any soldier to this task, but he understands that he has no moral right to do so. " I AM
I have and have no right, - flashed through Kuznetsov's head. "Then I will never forgive myself." Kuznetsov cannot send a person to certain death, it is so easy to dispose of human life. As a result, they remove the sights together with Ukhanov. When the tanks were advancing on the battery, it was necessary to bring them up to a minimum distance before opening fire. Finding yourself ahead of time means getting under direct fire from the enemy. (This happened with Davlatyan's gun.) In this situation, Kuznetsov shows extraordinary restraint. Drozdovsky calls the command post, in a rage orders: "Fire!" Kuznetsov waits until the last, thereby saving the weapon. Davlatyan's weapon is silent. Tanks are trying to break through in this place and hit the battery from the rear. Kuznetsov alone runs to the gun, not yet knowing what he will do there. Accepts combat almost alone. “I'm going crazy,” thought Kuznetsov ... only out of the corner of his mind understanding what he was doing. His eyes eagerly caught in the crosshairs black streaks of smoke, oncoming bursts of fire, yellow sides of tanks, crawling to the right and to the left in iron herds in front of the beam. His trembling hands threw shells into the smoking throat of the breech, his nervous fingers pressed the trigger with a hurry.)

- And how does Drozdovsky behave during the battle? (Commented reading of the epieodes "U
weapons of Davpatian "," Death of Sergunyonkov ").What is Drozdovsky accused of Kuznetsova? Why?How do Rubin and Kuznetsov behave during Drozdovsky's order?How do the heroes behave after Sergunyonkov's death?
(Having met Kuznetsov at Davlatyan's gun, Drozdovsky accuses him of desertion.
the accusation seems at that moment completely inappropriate and ridiculous. Instead of understanding the situation, he threatens Kuznetsov with a pistol. Only Kuznetsov's explanation is a little
calms him down. Kuznetsov quickly finds his bearings in the battle situation, acts prudently and intelligently.
Drozdovsky sends Sergunyonkov to certain death, does not value human life, does not think
about people, considering himself exemplary and infallible, shows extreme selfishness. People for him are only subordinates, not close, strangers. Kuznetsov, on the contrary, is trying to understand and approach those who are under his command, he feels his inextricable connection with them. Seeing the "palpably naked, monstrously open" death of Sergunenkov near the self-propelled gun, Kuznetsov hated Drozdovsky and himself for not being able to interfere. Drozdovsky after the death of Sergunyonkov is trying to justify himself. “Did I want him dead? - Drozdovsky's voice broke into a screech, and tears sounded in him. - Why did he get up? .. Did you see how he got up? Why?")

- Tell us about General Bessonov. What caused its severity?
(The son is missing. As a leader, he has no right to be weak.)

- How do subordinates relate to the general?
(They curry favor, care too much.)

- Does Bessonov like this servility?
Mamaev kurgan. Be worthy of the memory of the fallen ... (No, it annoys him.
vain play with the aim of winning sympathy always abhorred him, irritated him in others, repulsed him, like empty lightness or weakness of an insecure person ")

- How does Bessonov behave during the battle?
(During the battle, the general is at the forefront, he himself observes and controls the situation, realizes that many soldiers are yesterday's boys, just like his son. He does not give himself the right to be weak, otherwise he will not be able to make tough decisions. Fight to the death! Not a step back "The success of the entire operation depends on this. Severe with subordinates, including Vesnin)

- How does Vesnin mitigate the situation?
(Maximum sincerity and openness of relations.)
- I am sure that you all remember the heroine of the novel Zoya Elagina. On her example, Bondarev
shows the gravity of a woman's position in war.

Tell us about Zoya. What attracts you to her?
(Zoe throughout the novel reveals itself to us as a person ready for self-sacrifice, able to embrace the pain and suffering of many with her heart. She seems to go through many trials, from annoying interest to rude rejection, The image of Zoe somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with a feminine principle, affection and tenderness. "

Probably the most mysterious in the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. War, its cruelty and blood, its timing upset the usual notions of time. It was the war that contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of your feelings. And it begins with the quiet, incomprehensible jealousy of Kuznetsov: he is jealous of Zoya for Drozdovsky.)

- Tell us how the relationship between Zoya and Kuznetsov developed.
(At first, Zoya is carried away by Drozdovsky (confirmation that Zoya was deceived in Drozdovsky was his behavior in the case of the scout), but imperceptibly, without noticing how, she singles out Kuznetsov. She sees that this naive, as it seemed to her, boy, in a hopeless situation, one fights against enemy tanks. And when Zoya faces death, he covers her with his body. This person thinks not about himself, but about his beloved. The feeling that appeared between them so quickly, just as quickly and broke off.)

- Tell us about the death of Zoya, about how Kuznetsov is going through the death of Zoya.
(Kuznetsov bitterly mourns the deceased Zoya, and it is from this episode that the title is taken
novel. When he wiped his face wet with tears, “the snow on the sleeve of the quilted jacket was hot from his
tears "," He, as in a dream, mechanically grabbed the edge of his greatcoat and walked away, not daring to look there, in front of him, down, where she lay, from where a quiet, cold, deadly emptiness emanated: no voice, living breathing ... He was afraid that he could not stand it now, would do something furiously crazy in a state of despair and inconceivable guilt, as if life had ended and there was nothing now ”. Kuznetsov cannot believe that she is not, is trying to make peace with Drozdovsky, but an attack of jealousy of the latter, so inconceivable now, stops him.)
- Throughout the story, the author emphasizes the exemplary bearing of Drozdovsky: a girl's waist, tightened with a belt, straight shoulders, he is like a tight string.

How does Drozdovsky's appearance change after Zoya's death?
(Drozdovsky walked in front, swooning and swaying loosely, his always straight shoulders were hunched over, his arms were twisted back, holding the edge of his greatcoat; he stood out with an alien whiteness
the bandage on his now short neck, the bandage slipped onto the collar)

The long hours of the battle, the senseless death of Sergunyonkov, the mortal wound of Zoya, in
to whom Drozdovsky is partly to blame - all this forms an abyss between two young
officers, their moral incompatibility. In the final, this abyss is also indicated
more sharply: four surviving artillerymen “consecrate” the orders they have just received in a soldier's bowler hat; and the sip that each of them will take is, first of all, a sip of commemoration - in it is the bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him, he survived) the wounded commander of a surviving battery, the general does not know about Drozdovsky's grave guilt and most likely will never find out. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

- Can we talk about the similarity of the characters of Kuznetsov and Bessonov?

“The highest ethical, philosophical thought of the novel, as well as its emotional
tension reaches in the finale, when there is an unexpected rapprochement between Bessonov and
Kuznetsova. Bessonov rewarded his officer on an equal basis with others and moved on. For him
Kuznetsov is just one of those who stood to death at the turn of the Myshkov River. Their closeness
turns out to be more sublime: this is the kinship of thought, spirit, outlook on life. " For instance,
shocked by the death of Vesnin, Bessonov blames himself for the fact that his lack of communication and suspicion prevented the development of warm and friendly relations with Vesnin. And Kuznetsov worries that he could not help Chubarikov's calculation dying before his eyes, he is tormented by the piercing thought that all this happened "because he did not have time to get close to them, to understand everyone, to love ...".

“Divided by disproportionate responsibilities, Lieutenant Kuznetsov and the commander of the army, General Bessonov, are moving towards one virgin soil only military, but also spiritual. Unaware of each other's thoughts, they think about the same thing and look for the truth in the same direction. Both of them demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and related, like father and son, or even like brother and brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words. "

- The novel expresses the author's understanding of death as a violation of the highest justice andharmony. Can you confirm this?
We recall how Kuznetsov looks at the murdered Kasymov: “Now under Kasymov's head there was a shell box, and his youthful, beardless face, recently alive, dark, turned deathly white, thinned by the eerie beauty of death, looked in amazement with wet cherry
with half-open eyes on his chest, on a torn to shreds, excised quilted jacket, as if
and after death did not comprehend how it killed him and why he could not get up to the sight. Kuznetsov feels even more acutely the loss of the rideable Sergunyonkov. After all, the very mechanism of his death is revealed here. The heroes of Hot Snow are dying: the medical instructor of the battery Zoya Elagina, a member of the Military Council Vesnin and many others ... And the war is to blame for all these deaths.

In the novel, the feat of the people who got up to the war appears before us in a plenitude of expression that was unprecedented before in Bondarev, in the richness and variety of characters. This is a feat of young lieutenants - commanders of artillery platoons - and those who are traditionally considered to be people from the people, such as Private Chibisov, calm and experienced gunner Evstigneev or straightforward and rude sled Rubin, a feat and senior officers such as division commander Colonel Deev or army commander General Bessonov. But all of them in that war, first of all, were soldiers, and each in his own way fulfilled his duty to the Motherland, to his people. And the great Victory that came in May 1945 became their Victory.

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Many years have passed since the victorious volleys of the Great Patriotic War died down. Very soon (February 2, 2013) the country will celebrate the 70th anniversary of the Battle of Stalingrad. And today, time reveals before us new details, unforgettable facts and sorrows of those heroic days. The further we go from those heroic days, the more valuable the military chronicle becomes.

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FKU IK-17 of the Federal Penitentiary Service of Russia in the Kirov region

Literature lesson at the All-Russian Internet Conference

"WHERE IS THE RUSSIAN LAND GONE"

prepared

teacher of Russian language and literature

Honored Teacher of the Russian Federation

Vasenina Tamara Alexandrovna

Omutninsk - 2012

"Pages of the fictional chronicle of the Great Patriotic War on the example of the novel" Hot Snow "by Yu.V. Bondarev

(to the 70th anniversary of the Battle of Stalingrad).

Goals:

1. Educational -to understand the essence of the radical change that took place at the front during the Great Patriotic War; to arouse students' interest in military literature, to the personality and work of Yu. Bondarev, in particular to the novel Hot Snow, to reveal the position of the heroes of the novel in relation to the question of heroism, creating a problematic situation, to encourage students to express their own point of view about life principles of lieutenants Drozdovsky and Kuznetsov, etc. Show the spiritual quest of the main characters of the novel. The protest of the writer-humanist against the violation of the natural human right to life.

2. Educational– show that the author's attention is focused on the actions and states of a person; help students to understand the great relevance of books about war and the issues raised in them;to contribute to the formation of students' own point of view in relation to such a concept as war; create situations in which students will understand what disasters and destruction the war brings, but when the fate of the Motherland is decided, then everyone takes up arms, then everyone stands up to its defense.

3. Developing - the formation of skills in group work, public speaking, the ability to defend their point of view.; continue to develop the skill of analyzing a work of art; continue fostering feelings of patriotism and pride for their country, their people.

Metasubject curriculum-information skills:

Ability to extract information from various sources;

Ability to draw up a plan;

Ability to select material on a given topic;

Ability to compose written abstracts;

Ability to select quotes;

Ability to compose tables.

Equipment: portrait of Yu.V. Bondarev, texts by art. works, film fragments of the film "Hot Snow" by G. Egiazarov

Methodical techniques: Educational dialogue, elements of role play, creating a problem situation.

Epigraph on chalkboard:

It is necessary to know everything about the past war. We need to know what it was, and with what immeasurable mental heaviness the days of retreat and defeat were connected for us, and what immeasurable happiness was for us VICTORY. It is also necessary to know about what sacrifices the war cost us, what destruction it brought, leaving wounds both in the souls of people and on the body of the earth. In a matter like this, there should not and cannot be oblivion.

K. Simonov

Time spending: 90 minutes

Lesson preparation

Prepare messages:

1. The path of the division to Stalingrad (chapters 1 and 2);

2. Battle of the batteries (chapters 13 - 18);

3. Death of medical instructor Zoe (chapter 23);

4 Interrogation of German Major Erich Diez (Chapter 25).

5. Two lieutenants.

6. General Bessonov.

7. Love in the novel "Hot Snow".

DURING THE CLASSES

Introductory speech of the teacher

Many years have passed since the victorious volleys of the Great Patriotic War died down. Very soon the country will celebrate the 70th anniversary of VICTORY in the Battle of Stalingrad (February 2, 1943). But even today, time reveals to us new details, unforgettable facts and events of those heroic days. And the farther we move away from that war, from those severe battles, the fewer heroes of that time remain alive, the more expensive and valuable the military chronicle that writers have created and continue to create becomes. In their works, they glorify the courage and heroism of our people, our valiant army, millions and millions of people who have borne all the hardships of war on their shoulders and have accomplished a feat in the name of peace on Earth.

The Great Patriotic War demanded from each person the exertion of all his mental and physical strength. She not only did not cancel, but made moral problems even more acute. After all, the clarity of goals and objectives in the war should not have served as an excuse for any moral promiscuity. It did not relieve a person from the need to be fully responsible for their actions. Life in war is life with all its spiritual and moral problems and difficulties. The most difficult thing at that time was for writers, for whom the war was a real shock. They were overwhelmed with what they had seen and experienced, so they strove to truthfully show at what a high price we got the victory over the enemy. Those writers who came to literature after the war, and during the years of trials fought on the front lines themselves, defended their right to the so-called "trench truth." Their work was called "prose lieutenants" .. The favorite genre of these writers is a lyrical story written in the first person, albeit not always strictly autobiographical, but thoroughly saturated with author's experiences and memories of front-line youth. In their books, general plans, generalized pictures, panoramic reasoning, heroic pathos were replaced by new experience. It consisted in the fact that the war was won not only by the headquarters and armies, in their collective meaning, but also by a simple soldier in a gray greatcoat, father, brother, husband, son. These works highlighted the close-ups of a man in the war, his soul, living in pain for the dear hearts left behind, his faith in himself and his comrades. Of course, each writer had his own war, but the ordinary front-line experience had almost no differences. They were able to convey it to the reader in such a way that the artillery cannonade and machine gun fires do not drown out groans and whispers, and in the powder smoke and dust from exploding shells and mines one can see determination and fear, anguish and rage in the eyes of people. And one more thing these writers have in common is the "memory of the heart", a passionate desire to tell the truth about that war.

In a different artistic manner, Yuri Bondarev tells about the heroic qualities of the people in the novel Hot Snow. This is a work about the endless possibilities of people for whom the defense of the Motherland and a sense of duty are an organic need. The novel tells how, despite the growing difficulties and tensions, the will to win increases in people. And every time it seems: this is the limit of human capabilities. But soldiers, officers, generals, exhausted by battles, insomnia, constant nervous tension, find the strength to again engage in a duel with tanks, go on the attack, save comrades... (Serafimova V.D. Russian literature of the second half of the twentieth century. Educational minimum for applicants. - M .: Higher school, 2008. - p. 169 ..)

The history of the creation of the novel "Hot Snow"

(Student message)

The novel Hot Snow was written by Bondarev in 1969. By this time, the writer was already a recognized master of Russian prose. To create this work he was prompted by the memory of a soldier (hereinafter written in italics read expressively):

« I recalled a lot that over the years I began to forget: the winter of 1942, cold, steppe, ice trenches, tank attacks, bombing, the smell of burning and burnt armor ...

Of course, if I had not taken part in the battle that the 2nd Guards Army fought in the Trans-Volga steppes in fierce December 1942 with Manstein's tank divisions, then perhaps the novel would have been somewhat different. Personal experience and the time that lay between that battle and work on the novel allowed me to write this way and not otherwise.».

The novel tells the story of the epic Battle of Stalingrad, a battle that led to a radical turning point in the war. The idea of ​​Stalingrad becomes central in the novel. It tells about the grandiose battle of our troops with Manstein's divisions, trying to break through to the encircled group of Paulus. But the enemy faced a resistance that surpassed all human capabilities. Even now, with a kind of surprised respect, those who were on the side of the Nazis in the last war remember the strength of the spirit of Soviet soldiers. And it is no coincidence that the already aged retired Field Marshal Manstein refused to meet with the writer Yuri Bondarev, having learned that he was working on a book about the Battle of Stalingrad.

Bondareva's novel became a work about heroism and courage, about the inner beauty of our contemporary, who defeated fascism in a bloody war. Talking about the creation of the novel Hot Snow, Yuri Bondarev defined the concept of heroism in war as follows:

« It seems to me that heroism is a constant overcoming in one's consciousness of doubts, uncertainty, fear. Imagine: frost, icy wind, one biscuit for two, frozen grease in the locks of automatic machines; fingers in frosty mittens do not bend from the cold; anger at the chef who is late for the front line; disgusting sucking under the spoon at the sight of Junkers entering the peak; death of comrades ... And in a minute you have to go into battle, towards everything hostile that wants to kill you. In these moments the whole life of a soldier is compressed, these minutes - to be or not to be, this is a moment of overcoming oneself. This heroism is "quiet", seemingly hidden from prying eyes. Heroism in oneself. But he determined victory in the last war, because millions fought. "

Let's turn to the title of the novel "Hot Snow"

In one interview, Yu. Bondarev noted that the title of the book is the most difficult link in the creative search, because the first sensation is born in the soul of the reader from the title of the novel. The title of the novel is a short expression of his idea. The title "Hot Snow" is symbolic and ambiguous. The novel was originally titled Days of Mercy.

What episodes help to understand the title of the novel?

What is the meaning of the title Hot Snow?

At home, you had to pick up episodes that help reveal the ideological intent of the writer.

Prepared pupils deliver the message.

Let's revisit these episodes again:

1.the path of the division to Stalingrad (chapters 1 and 2);

(The formed army of Bessonov is urgently transferred to Stalingrad. The train raced through the fields covered with white turbidity, "the low sun without rays hung over them like a heavy crimson ball." Outside the window, waves of endless snowdrifts, morning peace, silence: “The roofs of the village sparkled under the sun, low windows piled up by lush snowdrifts flashed with mirrors.” A troika of Messerschmitts dived into the train. Sparkling snow, which until recently was striking in its purity, is becoming the enemy: soldiers in gray greatcoats and short fur coats are defenseless on a white boundless field).

2. battle of batteries (chapters 13 - 18);

(The burning snow emphasizes the scale and tragedy of the battle, which is just an episode of the great battle on the Volga, the infinity of human possibilities when the fate of the Motherland is being decided. Everything was distorted, scorched, motionlessly dead. people of his platoon, whom he humanly did not yet have time to recognize ... The snow pellets covered white islands, and "the blacksmiths was amazed at this indifferent disgusting whiteness of the snow."

3. death of medical instructor Zoe (chapter 23);

(After the death of Zoya Yelagina, Kuznetsov, instead of the joy of a survivor, experiences an unrelenting feeling of guilt: the snow groats rustle, a mound with a sanitary bag powdered with snow turns white ... eyelashes, and she will say in a whisper: "Grasshopper, you and I dreamed that I died" ... something hot and bitter moved in his throat ... He cried so lonely, sincerely and desperately for the first time in his life, and when he wiped his face, snow on the sleeve of the quilted jacket was hot with tears. " The snow gets hot from the depth of human feeling.)

4 interrogation of the German major Erich Diez (chapter 25).

(Major Diez arrived from France a week and a half before the Battle of Stalingrad. The endless Russian expanses seemed to him dozens of Frances. " Empty winter steppes and endless snow frightened him. “France is the sun, the south, the joy ...” says Major Diez. - And snow is burning in Russia "

Two lieutenants (Episode and film analysis)

CONCLUSION. One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this conflict, it is exposed very sharply and can be easily traced from beginning to end. At first, the tension goes back to the prehistory of the novel; inconsistency of characters, manners, temperaments, even style of speech: it seems that it is difficult for the soft, thoughtful Kuznetsov to endure the abrupt, commanding, indisputable speech of Drozdovsky. The long hours of the battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms a chasm between the two young officers, the moral incompatibility of their existence.

In the finale, this abyss is indicated even more sharply: the four surviving artillerymen consecrate the orders they have just received in a soldier's bowler hat, and the sip that each of them takes is, first of all, a sip of commemoration - it contains the bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him, he was the surviving, wounded commander of a surviving battery, the general does not know about Drozdovsky's grave guilt and most likely will never find out. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

Two commanders (episode analysis and movie viewing)

THEME OF LOVE in the novel. (Student message and analysis of the film clip)

Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya.

War, its cruelty and blood, its timing, overturning the usual notions of time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short hours of march and battle, when there is no time for reflection and analysis of your feelings. And it all begins with Kuznetsov's quiet, incomprehensible jealousy of the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, andIt was from these lines that the title of the novel was taken, when Kuznetsov was wiping his face wet with tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Having been deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the entire novel reveals to us as a moral person, wholehearted, ready for self-sacrifice, capable of embracing with her heart the pain and suffering of many. She goes through many trials, as it were, from annoying interest to rude rejection. But her kindness, her patience and compassion are enough for everyone, she is truly a sister to the soldiers. The image of Zoe somehow imperceptibly filled the atmosphere of reality with femininity, affection and tenderness.

Hot snow (the poem is dedicated to Yuri Bondarev) Viewing the last frames of the film by G. Egiazarov, where a song to the words of M. Lvov "Hot Snow" is played or a prepared student reads.

A minute of silence. The text is read (prepared student)

From the message of the Soviet Information Bureau.

Today, February 2, the troops of the Don Front have completely completed the elimination of the German fascist troops surrounded in the Stalingrad region. Our troops broke the resistance of the enemy, surrounded north of Stalingrad, and forced him to lay down his arms. The last center of enemy resistance in the Stalingrad region was crushed. On February 2, 1943, the historic battle of Stalingrad ended with the complete victory of our troops.

The divisions entered Stalingrad.

The city was covered with deep snow.

The desert blew from the stone masses,

From ashes and stone ruins.

Dawn was like an arrow -

She broke through the clouds over the hillocks.

Explosions swept up crushed stone and ash,

And the echo answered them with thunder.

Go Guards!

Hello Stalingrad!

(In Kondratenko "Morning VICTORY")

LESSON OUTCOME

Bondareva's novel became a work about heroism and courage, about the inner beauty of our contemporary, who defeated fascism in a bloody war. Yuri Bondarev defined the concept of heroism in war as follows:

“It seems to me that heroism is a constant overcoming of doubts, uncertainty, and fear in one's consciousness. Imagine: frost, icy wind, one biscuit for two, frozen grease in the locks of automatic machines; fingers in frosty mittens do not bend from the cold; anger at the chef who is late for the front line; disgusting sucking under the spoon at the sight of Junkers entering the peak; death of comrades ... And in a minute you have to go into battle, towards everything hostile that wants to kill you. In these moments the whole life of a soldier is compressed, these minutes - to be or not to be, this is a moment of overcoming oneself. This heroism is "quiet", seemingly hidden from prying eyes. Heroism in oneself. But he determined victory in the last war, because millions fought. "

In "Hot Snow" there are no scenes that would directly speak of love for the Motherland, there are no such arguments either. Heroes express love and hatred by their exploits, deeds, courage, amazing decisiveness. They are doing what they did not even expect of themselves. This, probably, is true love, and words mean little. The war described by Bondarev is acquiring a nationwide character. She does not spare anyone: neither women nor children, therefore everyone came out to defend herself. Writers help us see how great things are accomplished, made up of small things. Emphasize the importance of what was happening

Years will pass and the world will be different. The interests, preferences, ideals of people will change. And then the works of Yu. V. Bondarev will again be read in a new way. True literature never gets old.

Addition to the lesson.

COMPARE the novel by Yu.V. Bondarev and the film by G. Egiazarov "Hot Snow"

How is the theme of the novel conveyed in the film: plot, composition, portrayal of events, heroes?

Does your idea of ​​Kuznetsov and Drozdovsky coincide with the game of B. Tokarev and N. Eremenko?

What is interesting about G. Zhzhenov in the role of Bessonov?

Which thrilled you more - the book or the movie?

Write a mini-essay "My impressions of the film and the book."

(It was suggested to watch the film "Hot Snow" in full on 6.12 on Channel 5)

Writing "My family during the Great Patriotic War" (offer optional)

List of used literature

1. Bondarev Yu. Hot snow. - M .: "Military publishing house", 1984.

2. Bykov V.V., Vorobiev K.D., Nekrasov V.P. The Great Patriotic War in Russian literature. - M .: AST, Astrel, 2005.

3. Buznik V.V. On the early prose of Yuri Bondarev, "Literature at school", No. 3, 1995 The Great Patriotic War in Russian literature. - M .: AST, Astrel, Harvest, 2009.

4. A wreath of glory. T. 4. The Battle of Stalingrad, M. "Contemporary", 1987.

5. Kuzmichev I. “The pain of memory. The Great Patriotic War in Soviet Literature ", Gorky, Volgo-Vyatka Book Publishing House, 1985

6. Kozlov I. Yuri Bondarev (strokes of a creative portrait), magazine "Literature at school" No. 4, 1976 p. 7-18

7. Literature of the great feat. The Great Patriotic War in Soviet Literature. Issue 4. - M .: Fiction. Moscow, 1985

8 .. Serafimova V.D. Russian literature of the second half of the twentieth century. The educational minimum for applicants. - M .: Higher school, 2008.

9. Article by L.T. Panteleeva. "Works about the Great Patriotic War in the lessons of extracurricular reading", the magazine "Literature at school". The number is unknown.

Yuri Vasilievich Bondarev was born on March 15, 1924 in the city of Orsk. During the Great Patriotic War, the writer as an artilleryman came a long way from Stalingrad to Czechoslovakia. After the war, from 1946 to 1951, he studied at the M. Gorky Literary Institute. Began to publish in 1949. And the first collection of stories "On the Big River" was published in 1953.

The novelist brought wide fame

"Youth of commanders", published in 1956, "Battalions

asking for fire "(1957)," Last volleys "(1959).

These books are characterized by drama, accuracy and clarity in describing the events of military life, the subtlety of the psychological analysis of the heroes. Subsequently, his works "Silence" (1962), "Two" (1964), "Relatives" (1969), "Hot Snow" (1969), "Shore" (1975), "Choice "(1980)," Moments "(1978) and others.

Since the mid-60s, the writer has been working on

the creation of films based on their works; in particular, he was one of the creators of the screenplay for the epic "Liberation".

Yuri Bondarev is also a laureate of the Lenin and State Prizes of the USSR and the RSFSR. His works have been translated into many foreign languages.

Among the books by Yuri Bondarev about the war "Hot Snow" occupies a special place, opening up new approaches to solving the moral and psychological problems posed in his first stories - "The battalions are asking for fire" and "The last volleys". These three books about war are a holistic and developing world, which reached the greatest completeness and imaginative power in Hot Snow. The first stories, independent in all respects, were at the same time a kind of preparation for a novel, perhaps not yet conceived, but living in the depths of the writer's memory.

The events of the novel Hot Snow unfolds near Stalingrad, south of General Paulus's 6th Army, which was blocked by Soviet troops, in the cold December 1942, when one of our armies withstood the strike of Field Marshal Manstein's tank divisions in the Volga steppe, who was trying to break through a corridor to Paulus's army and take her out of the environment. The outcome of the battle on the Volga and maybe even the timing of the end of the war itself largely depended on the success or failure of this operation. The duration of the novel is limited to only a few days, during which the heroes of Yuri Bondarev selflessly defend a tiny patch of land from German tanks.

In Hot Snow, time is even more tightly compressed than in the story The Battalions Ask for Fire. "Hot Snow" is a short march of General Bessonov's army unloaded from the echelons and a battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Not knowing respite and lyrical digressions, as if the author's breath was caught from constant tension, the novel "Hot Snow" is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the novel, their very fates are illuminated by the disturbing light of the true story, as a result of which everything takes on special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is mainly concentrated around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army, they are the people, the people to the extent that the typified personality of the hero expresses the spiritual, moral traits of the people.

In "Hot Snow" the image of a people who have embarked on a war appears in front of us in a plenitude of expression unprecedented before in Yuri Bondarev, in the richness and variety of characters, and at the same time in integrity. This image is not limited to the figures of young lieutenants - commanders of artillery platoons, nor to the colorful figures of those who are traditionally considered to be people from the people, such as the slightly cowardly Chibisov, the calm and experienced gunner Evstigneev, or the straightforward and rude riding Rubin; nor senior officers, such as the divisional commander, Colonel Deev, or the army commander, General Bessonov. Only collectively understood and accepted emotionally as something single, with all the difference in ranks and titles, they make up the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity was achieved, as it were, by itself, captured without much effort by the author - living, moving life. The image of the people, as the result of the entire book, perhaps most of all nourishes the epic, novel beginning of the narrative.

Yuri Bondarev is characterized by an aspiration for tragedy, the nature of which is close to the events of the war itself. It would seem that nothing meets this aspiration of the artist as the most difficult time for the country when the war began, in the summer of 1941. But the writer's books are about another time, when the defeat of the fascists and the victory of the Russian army are almost certain.

The death of heroes on the eve of victory, the criminal inevitability of death contains a high tragedy and evokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the medical instructor of the battery Zoya Elagina, the shy Eedovoy Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ... And the war is to blame for all these deaths. Let the heartlessness of Lieutenant Drozdovsky be to blame for the death of Sergunenkov, let the blame for the death of Zoya fall partly on him, but no matter how great Drozdovsky's guilt is, they are primarily victims of the war.

The novel expresses the understanding of death - as a violation of the highest justice and harmony. Let us remember how Kuznetsov looks at the murdered Kasymov: “now there was a shell box under Kasymov's head, and his youthful, beardless face, recently alive, swarthy, which had become deathly white, thinned by the eerie beauty of death, was staring in surprise with wet cherry half-open eyes at his chest, torn to shreds, excised quilted jacket, as if after death did not comprehend how it killed him and why he could not get up to the sight. death, into which he was overturned by the red-hot pain of the fragments as he tried to climb to the scope. "

Kuznetsov feels even more acutely the irreversibility of the loss of the rideable Sergunenkov. After all, the very mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness of how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will forever curse himself for what he saw, was present, but could not change anything.

In "Hot Snow", with all the intensity of events, everything human in people, their characters are revealed not separately from the war, but interconnected with it, under its fire, when, it seems, you can't even raise your head. Usually the chronicle of battles can be retold separately from the individuality of its participants - the battle in "Hot Snow" cannot be retelled otherwise than through the fate and characters of people.

The past of the characters in the novel is significant and weighty. For some it is almost cloudless, for others it is so difficult and dramatic that the old drama is not left behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The events of the past determined the military fate of Ukhanov: a gifted, full of energy officer who could command a battery, but he is only a sergeant. Ukhanov's cool, rebellious character also determines his movement within the novel. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), responded with fear in him and determine a lot in his behavior. One way or another, the past of Zoya Elagina, and Kasymov, and Sergunenkov, and the unsociable Rubin, whose courage and loyalty to the soldier's duty, we will be able to appreciate only by the end of the novel, slips through the novel.

The past of General Bessonov is especially important in the novel. The thought of his son, who was captured by Germany, complicates his position both at Headquarters and at the front. And when a fascist leaflet announcing that Bessonov's son was taken prisoner falls into the front counterintelligence service in the hands of Lieutenant Colonel Osin, it seems that there is a threat to Bessonov's service.

All this retrospective material enters the novel so naturally that the reader does not feel it separate. The past does not require for itself a separate space, separate chapters - it merged with the present, opened its depths and the living interconnection of one and the other. The past does not burden the story of the present, but gives it great dramatic acuteness, psychologism and historicism.

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only by the end of the novel or with the death of the hero, the author creates a complete portrait of him. How unexpected in this light is the portrait of the always taut and collected Drozdovsky on the very last page - with a relaxed, broken-sluggish gait and unusually bent shoulders.

and immediacy in the perception of characters, sensations

their real, living people, in which it always remains

the possibility of mystery or sudden insight. Before us

the whole person, understandable, close, and yet we are not

leaves the feeling that we have only touched

the edge of his spiritual world - and with his death

you feel that you have not yet had time to fully understand it

inner world. Commissar Vesnin, looking at the truck,

thrown from a bridge onto the ice of the river, says: "What a monstrous destruction war is all the same. Nothing has a price." The enormity of war is expressed most of all - and the novel reveals this with brutal directness - in the murder of a person. But the novel also shows the high price of life given for the Motherland.

Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. War, its cruelty and blood, its timing, overturning the usual notions of time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of your feelings. And it all begins with Kuznetsov's quiet, incomprehensible jealousy of the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it was from these lines that the title of the novel was taken, when Kuznetsov was wiping his face wet with tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Deceived at first in Lieutenant Drozdovsky,

the best cadet then, Zoya throughout the novel,

reveals itself to us as a moral, integral person,

ready for self-sacrifice, able to embrace

heart pain and suffering of many. .Zoe's personality is learned

in a tense, as if electrified space,

which almost inevitably arises in the trench with the appearance

women. She goes through many trials,

from annoying interest to rude rejection. But her

kindness, her patience and compassion is enough for everyone, she

truly a sister to the soldiers.

The image of Zoe somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with a feminine principle, affection and tenderness.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this conflict, it is exposed very sharply, and is easily traced from beginning to end. At first, the tension goes back to the prehistory of the novel; inconsistency of characters, manners, temperaments, even style of speech: it seems that it is difficult for the soft, thoughtful Kuznetsov to endure the abrupt, commanding, indisputable speech of Drozdovsky. The long hours of the battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms an abyss between the two young officers, the moral incompatibility of their existence.

In the finale, this abyss is indicated even more sharply: four surviving artillerymen consecrate the orders they have just received in a soldier's bowler hat, and the sip that each of them takes is, first of all, a sip of commemoration - it contains the bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him - he is the surviving, wounded commander of a surviving battery, the general does not know about Drozdovsky's grave wines and most likely will never find out. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the honest soldier's bowler hat.

It is extremely important that all Kuznetsov's connections with people, and above all with people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely unofficial - in contrast to the emphatically official relations, which Drozdovsky so strictly and stubbornly sets between himself and people. During the battle, Kuznetsov fights alongside the soldiers, here he shows his composure, courage, and lively mind. But he also matures spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together.

The relationship between Kuznetsov and senior sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired upon in the difficult battles of 1941, and for his military ingenuity and decisive character, he could probably have been an excellent commander. But life decided otherwise, and at first we find Ukhanov and Kuznetsov in a conflict: this is a clash of sweeping, harsh and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight both the heartlessness of Drozdovsky and the anarchist nature of Ukhanov. But in reality it turns out that without yielding to each other in any principled position, while remaining themselves, Kuznetsov and Ukhanov become close people. Not just people who are fighting together, but who have come to know each other and are now forever close. And the absence of the author's comments, the preservation of the rough context of life makes their brotherhood real, weighty.

The ethical, philosophical thought of the novel, as well as its emotional tension, reaches its greatest height in the finale, when there is an unexpected rapprochement between Bessonov and Kuznetsov. This is a rapprochement without immediate proximity: Bessonov rewarded his officer on an equal basis with others and moved on. For him, Kuznetsov is just one of those who table to death at the turn of the Myshkov River. Their closeness turns out to be more sublime: it is the closeness of thought, spirit, outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, because of his lack of communication and suspicion, he prevented the development of friendly relations between them ("the way Vesnin wanted, and what they should be"). Or Kuznetsov, who could do nothing to help Chubarikov's crew, dying before his eyes, tormented by the piercing thought that all this, "it seemed, should have

happen because he did not have time to get close to them, to understand everyone, to love ... ".

Shared by disproportionate responsibilities, Lieutenant Kuznetsov and the commander of the army, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about one and in one direction they seek the truth. Both of them demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and have in common, like a father with a son, and even like a brother with a brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.

7. Analysis of the work of A.I. Kuprin "Garnet Bracelet"

The story of A.I. Kuprin's Pomegranate Bracelet, published in 1910, is one of the most poetic works of art in Russian literature of the 20th century. It opens with an epigraph referring the reader to the well-known work J1. van Beethoven's sonata Appassionata. The author returns to the same musical theme in the finale of the story. The first chapter is a detailed landscape sketch that reveals the contradictory changeability of the natural elements. In it A.I. Kuprin introduces us to the image of the main character - Princess Vera Nikolaevna Sheina, the wife of the leader of the nobility. At first glance, a woman's life seems calm and carefree. Despite financial difficulties, Vera and her husband have an atmosphere of friendship and mutual understanding in the family. Only one small detail alarms the reader: on her birthday, her husband gives Vera earrings made of pear-shaped pearls. Involuntarily, doubt creeps in that the heroine's family happiness is so firm, so indestructible.

On her name day, her younger sister comes to Sheina, who, like Pushkin's Olga, shading the image of Tatyana in Eugene Onegin, contrasts sharply with Vera both in character and in appearance. Anna is playful and wasteful, and Vera is calm, reasonable and economical. Anna is attractive, but ugly, and Vera is endowed with aristocratic beauty. Anna has two children, and Vera has no children, although she passionately desires to have them. An important artistic detail that reveals Anna's character is the gift she gives to her sister: Anna brings Vera a small notebook made from an old prayer book. She enthusiastically recounts how she carefully selected leaflets, clasps and a pencil for the book. To faith, the very fact of altering the prayer book into a notebook seems blasphemous. This shows the integrity of her nature, emphasizes how much the older sister takes life more seriously. We soon learn that Vera graduated from the Smolny Institute, one of the best educational institutions for women in noble Russia, and her friend is the famous pianist Zhenya Reiter.

General Anosov is an important figure among the guests who have come to the name-day. It is this man, wise in life, who has seen danger and death in his lifetime, and therefore knows the value of life, who tells several love stories in the story, which can be designated in the artistic structure of the work as inserted novellas. Unlike the vulgar family stories told by Prince Vasily Lvovich, Vera's husband and owner of the house, where everything is twisted and ridiculed, turns into a farce, the stories of General Anosov are filled with real life details. Gak arises in the story of a dispute about what true love is. Anosov says that people have forgotten how to love, that marriage does not at all imply emotional closeness and warmth. Women often marry in order to get out of care and be the mistress of the house. Men - from fatigue from single life. The desire to continue the race plays a significant role in marriage unions, and selfish motives are often not in the last place. "And where is love?" - Anosov asks. He is interested in such a love for which "to accomplish any feat, to give up his life, to go to torment is not labor at all, but one joy." Here, in the words of General Kuprin, in fact, reveals his concept of love: “Love must be a tragedy. The greatest secret in the world. No life comforts, calculations and compromises should concern her. " Anosov talks about how people become victims of their love feelings, about love triangles that exist contrary to all meaning.

Against this background, the story of the telegraph operator Zheltkov's love for Princess Vera is considered in the story. This feeling flared up when Vera was still free. But she did not reciprocate. Contrary to all logic, Zheltkov did not stop dreaming about his beloved, wrote her tender letters, and even sent a gift for her name day - a gold bracelet with pomegranates that looked like drops of blood. An expensive gift makes Vera's husband take steps to end the story. Together with the brother of Princess Nikolai, he decides to return the bracelet.

The scene of Prince Shein's visit to Zheltkov's apartment is one of the key scenes of the work. A.I. Kuprin appears here as a true master-rsalist in creating a psychological portrait. The image of the telegraph operator Zheltkov is a typical image of a little man for Russian classical literature of the 19th century. A notable detail in the story is the comparison of the hero's room with the wardroom of a cargo ship. The character of the inhabitant of this modest dwelling is shown primarily through a gesture. In the scene of the visit of Vasily Lvovich and Nikolai Nikolaevich Zheltkov, he rubs his hands in confusion, then nervously unfastens and fastens the buttons of a short jacket (and this detail in this scene becomes a repetitive one). The hero is agitated, he cannot hide his feelings. However, as the conversation develops, when Nikolai Nikolaevich voices a threat to turn to the authorities in order to protect Vera from persecution, Zheltkov suddenly transforms and even laughs. Love gives him strength, and he begins to feel his own righteousness. Kuprin focuses on the difference in mood between Nikolai Nikolaevich and Vasily Lvovich during the visit. Vera's husband, seeing a rival, suddenly becomes serious and judicious. He tries to understand Zheltkov and says to his brother-in-law: "Kolya, is he really to blame for love and is it possible to control such a feeling as love - a feeling that has not yet found an interpreter for itself." In contrast to Nikolai Nikolaevich, Shane allows Zheltkov to write a farewell letter to Vera. A huge role in this scene for understanding the depth of Zheltkov's feelings for Vera is played by a detailed portrait of the hero. His lips turn white like that of a dead man, his eyes fill with tears.

Zheltkov calls Vera and asks her for little - about the opportunity to see her at least from time to time without showing her eyes. These meetings could give his life at least some meaning, but Vera denied him that too. Her reputation and the peace of mind of her family were dear to her. She showed cold indifference to the fate of Zheltkov. The telegraph operator turned out to be defenseless against Vera's decision. The strength of love feelings and maximum spiritual openness made him vulnerable. Kuprin constantly emphasizes this defenselessness with portrait details: a child's chin, a gentle girlish face.

In the eleventh chapter of the story, the author emphasizes the motive of fate. Princess Vera, who had never read newspapers for fear of getting her hands dirty, suddenly unfolds the very sheet containing the announcement of Zheltkov's suicide. This fragment of the work is intertwined with the scene in which General Anosov says to Vera: “... Who knows? - maybe your life path, Vera, has crossed exactly the kind of love that women dream about and which men are no longer capable of ”. It is no coincidence that the princess recalls these words again. One gets the impression that Zheltkov was really sent to Vera by fate, but she could not discern selfless nobility, subtlety and beauty in the soul of a simple telegraph operator.

The peculiar construction of the plot in the work of A.I. Kuprin lies in the fact that the author makes the reader a kind of signs that help to predict the further development of the narrative. In "Olesa" this is the motive of fortune-telling, in accordance with which all further relationships of the heroes are formed, in "Duel" - the officers' conversation about a duel. In The Pomegranate Bracelet, the bracelet itself is a sign foreshadowing a tragic denouement, the stones of which look like drops of blood.

Having learned about the death of Zheltkov, Vera realizes that she had a presentiment of a tragic outcome. In his farewell message to his beloved, Zheltkov does not hide an all-consuming passion. He literally deifies Faith, referring to her the words from the prayer "Our Father ...": "Hallowed be thy name."

In the literature of the "Silver Age" there were strong theomachic motives. Zheltkov, deciding to commit suicide, commits the greatest Christian sin, because the church prescribes to endure any spiritual and physical torment sent to a person on earth. But throughout the course of the development of the plot A.I. Kuprin justifies the act of Zheltkov. It is no coincidence that the main character of the story is named Vera. For Zheltkov, thus, the concepts of "love" and "faith" merge into one. Before dying, the hero asks the landlady to hang a bracelet on the icon.

Looking at the late Zheltkov, Vera is finally convinced that there was truth in Anosov's words. By his act, the poor telegraph operator was able to reach out to the heart of the cold beauty and touch her. Vera brings Zheltkov a red rose and kisses him on the forehead with a long, friendly kiss. Only after death did the hero receive the right to attention and respect for his feelings. Only by his own death did he prove the true depth of his feelings (before that Vera considered him crazy).

Anosov's words about eternal exclusive love become the through-going motive of the story. The last time they are recalled in the story is when, at the request of Zheltkov, Vera listens to Beethoven's second sonata (Appassionata). In the finale of the story, A.I. Kuprin sounded another repetition: "Hallowed be thy name", no less significant in the artistic structure of the work. He once again emphasizes the purity and sublimity of Zheltkov's relationship to his beloved.

Putting love on a par with concepts such as death, faith, A.I. Kuprin emphasizes the importance of this concept for human life in general. Not all people know how to love and stay true to their feelings. The story "Garnet Bracelet" can be regarded as a kind of testament to A.I. Kuprin, addressed to those who are trying to live not with their heart, but with their reason. Their life, correct from the point of view of a rational approach, is doomed to a spiritually devastated existence, for only love can give a person true happiness.