Speaking about the work of M. Sholokhov, first of all, it should be said about the era in which the writer lived and worked, since social and public upheavals are almost the main factor influencing creativity. Without a doubt, a revolution, civil and even Great Patriotic War had a huge influence on Sholokhov. For example, the novel Quiet Don"is one of best works who recreated the paintings historical reality. It should be noted that in his depiction of war, Sholokhov continues the traditions of Russian writers of the nineteenth and early twentieth centuries. Although, of course, the writer in reproducing such social cataclysms contributed a lot of new things.
"Quiet Don" tells the story of two most significant wars the beginning of the twentieth century, which shocked the whole country, and the whole world. The first one didn't finish yet World War, as another began, more cruel and bloody. It is important to note that Sholokhov is characterized by truthfulness and objectivity in the depiction of those events.
The First World War is shown in the darkest colors. Thus, the author conveys the attitude of ordinary people towards her: “At night, an owl roared in the bell tower. Unsteady and terrible screams hung over the farmstead, and the owl flew to the cemetery, moaning over the brown, grassy graves.
“It will be bad,” the old men prophesied. “The war will come.”
In my opinion, the scale of the war pictures drawn by Sholokhov is comparable only to the battles created by Leo Tolstoy in the novel “War and Peace.”
What strikes the reader in “Quiet Don” is, first of all, its accuracy and objectivity. One gets the feeling that the author is in the very center of the events he describes: “From the Baltic, the dandy stretched out like a deadly tourniquet. Plans for a wide offensive were being developed at headquarters, generals were poring over maps, orderlies were rushing to deliver ammunition, hundreds of thousands of soldiers were going to their deaths.”
It is worth saying that in order to cover the whole picture of the hostilities, Sholokhov resorts to a very justified technique. He “distributes” his characters to different sectors of the front. It is the war, shown through the eyes of the heroes, that allows the reader to better understand those terrible years and people's suffering. Reading through the episodes, we begin to experience anxiety and a terrible expectation of death: “The dear ones lay down with their heads on all four sides, poured Cossack blood and, dead-eyed, restless, decayed under an artillery funeral service in Austria, Poland, in Prussia... The Cossack color left the kurens and died there in death, in lice, in horror.”
Sholokhov cannot ignore what people call a feat: “And it was like this: people collided on the field of death..., they stumbled, were knocked down, delivered blind blows, mutilated themselves and their horses and scattered, frightened by a shot that killed a man, they drove away morally crippled . They called it a feat."
The civil war turned out to be a little different, more tragic, senseless. Her horrors had strong influence on heroes, changing them internally. The most unacceptable and monstrous thing was that brother went against brother, son against father, father against son. Many people found it difficult to decide which side they should take. It is enough to recall the throwings of Grigory Melekhov, who was alternately in the Red Army and then in the White Guard.
In 1951, Sholokhov wrote: “People like Grigory Melekhov walked to Soviet power along a very tortuous path. Some of them came to a final break with Soviet power. The majority became close to the Soviet government and took part in the construction and strengthening of our state.”
Although during civil war both whites and reds are equally alien to the Cossacks. No matter which side they fought on, they want only one thing: to return to their native lands, to their relatives and friends. Painfully hesitating between two camps, Grigory Melekhov is trying to find a third, non-existent path in the revolution. I think this is the tragedy not only of the hero Sholokhov, but also of the majority of those people who fought for some illusory ideal.
Thus, the writer creates pictures of two wars that are very different from each other. But at the same time, there is one thing in common that unites them and makes them similar - meaninglessness and cruelty.
The second volume of Mikhail Sholokhov's epic novel tells about the civil war. It included chapters about the Kornilov rebellion from the book “Donshchina”, which the writer began to create a year before “Quiet Don”. This part of the work is precisely dated: late 1916 - April 1918.
The slogans of the Bolsheviks attracted the poor who wanted to be free masters of their land. But the civil war raises new questions for the main character Grigory Melekhov. Each side, white and red, seeks its truth by killing each other. Once among the Reds, Gregory sees the cruelty, intransigence, and thirst for blood of his enemies. War destroys everything: the smooth life of families, peaceful work, takes away the last things, kills love. Sholokhov's heroes Grigory and Pyotr Melekhov, Stepan Astakhov, Koshevoy, almost everyone male population drawn into battles whose meaning they do not understand. For whose sake and what should they die in the prime of life? Life on the farm gives them a lot of joy, beauty, hope, and opportunity. War is only deprivation and death.
The Bolsheviks Shtokman and Bunchuk see the country exclusively as an arena of class battles, where people are tin soldiers in someone else's game, where pity for a person is a crime. The burdens of war fall primarily on the shoulders of the civilian population, ordinary people; it is up to them to starve and die, not to the commissars. Bunchuk arranges lynching of Kalmykov, and in his defense he says: “They are us or we are them!.. There is no middle ground.” Hatred blinds, no one wants to stop and think, impunity gives a free hand. Grigory witnesses how Commissioner Malkin sadistically mocks the population in the captured village. He sees terrible pictures of robbery by fighters of the Tiraspol detachment of the 2nd Socialist Army, who rob farmsteads and rape women. As the old song says, you have become cloudy, Father Quiet Don. Grigory understands that in fact it is not the truth that people mad with blood are looking for, but real turmoil is happening on the Don.
It is no coincidence that Melekhov rushes between the two warring sides. Everywhere he encounters violence and cruelty that he cannot accept. Podtelkov orders the execution of prisoners, and the Cossacks, forgetting about military honor, chop down unarmed people. They carried out the order, but when Gregory realized that he was chopping up prisoners, he fell into a frenzy: “Who did he chop down!.. Brothers, I have no forgiveness! Hack to death, for God’s sake... for God’s sake... To death... deliver!” Christonya, dragging the “enraged” Melekhov away from Podtelkov, says bitterly: “Lord God, what is happening to people?” And the captain, Shein, who had already understood the essence of what was happening, prophetically promises Podtelkov that “the Cossacks will wake up and they will hang you.” The mother reproaches Gregory for participating in the execution of captured sailors, but he himself admits how cruel he became in the war: “I don’t feel sorry for the children either.” Having left the Reds, Grigory joins the Whites, where he sees Podtelkov executed. Melekhov tells him: “Do you remember the battle near Glubokaya? Do you remember how the officers were shot?.. They shot on your orders! A? Now you're burping! Well, don't worry! You're not the only one to tan other people's skins! You have left, Chairman of the Don Council of People’s Commissars!”
War embitters and divides people. Grigory notices that the concepts of “brother,” “honor,” and “fatherland” disappear from consciousness. The strong community of Cossacks has been disintegrating for centuries. Now everyone is for himself and for his family. Koshevoy, using his power, decided to execute the local rich man Miron Korshunov. Miron's son, Mitka, avenges his father and kills Koshevoy's mother. Koshevoy kills Pyotr Melekhov, his wife Daria shot Ivan Alekseevich. Koshevoy takes revenge on the entire Tatarsky farm for the death of his mother: when leaving, he sets fire to “seven houses in a row.” Blood seeks blood.
Peering into the past, he recreates the events of the Upper Don Uprising. When the uprising began, Melekhov perked up and decided that now everything would change for the better: “We must fight those who want to take away life, the right to it...” Having almost driven his horse, he rushes off to fight the Reds. The Cossacks protested against the destruction of their way of life, but, striving for justice, they tried to solve the problem with aggression and conflict, which led to the opposite result. And here Gregory was disappointed. Having been assigned to Budyonny's cavalry, Grigory does not find an answer to bitter questions. He says: “I’m tired of everything: both the revolution and the counter-revolution... I want to live near my children.”
The writer shows that there can be no truth where there is death. There is only one truth, it is not “red” or “white”. War kills the best. Realizing this, Grigory throws down his weapon and returns to his native farm to work for native land, raise children. The hero is not yet 30 years old, but the war turned him into an old man, took him away, burned him out the best part souls. Sholokhov in his immortal work raises the question of the responsibility of history to the individual. The writer sympathizes with his hero, whose life is broken: “Like a steppe scorched by fires, Gregory’s life became black...”
In the epic novel, Sholokhov created a grandiose historical canvas, describing in detail the events of the civil war on the Don. The writer became for the Cossacks national hero, creating an artistic epic about the life of the Cossacks in a tragic time of historical change.
The second volume of Mikhail Sholokhov's epic novel tells about the civil war. It included chapters about the Kornilov rebellion from the book “Donshchina”, which the writer began to create a year before “Quiet Don”. This part of the work is precisely dated: late 1916 - April 1918.
The slogans of the Bolsheviks attracted the poor who wanted to be free masters of their land. But the civil war raises new questions for the main character Grigory Melekhov. Each side, white and red, seeks its truth by killing each other. Once among the Reds, Gregory sees the cruelty, intransigence, and thirst for blood of his enemies. War destroys everything: the smooth life of families, peaceful work, takes away the last things, kills love. Sholokhov's heroes Grigory and Pyotr Melekhov, Stepan Astakhov, Koshevoy, almost the entire male population are drawn into battles, the meaning of which is unclear to them. For whose sake and what should they die in the prime of life? Life on the farm gives them a lot of joy, beauty, hope, and opportunity. War is only deprivation and death.
The Bolsheviks Shtokman and Bunchuk see the country solely as an arena of class battles, where people are like tin soldiers in someone else’s game, where pity for a person is a crime. The burdens of war fall primarily on the shoulders of the civilian population, ordinary people; it is up to them to starve and die, not to the commissars. Bunchuk arranges lynching of Kalmykov, and in his defense he says: “They are us or we are them!.. There is no middle ground.” Hatred blinds, no one wants to stop and think, impunity gives a free hand. Grigory witnesses how Commissioner Malkin sadistically mocks the population in the captured village. He sees terrible pictures of robbery by fighters of the Tiraspol detachment of the 2nd Socialist Army, who rob farmsteads and rape women. As the old song says, you have become cloudy, Father Quiet Don. Grigory understands that in fact it is not the truth that people mad with blood are looking for, but real turmoil is happening on the Don.
It is no coincidence that Melekhov rushes between the two warring sides. Everywhere he encounters violence and cruelty that he cannot accept. Podtelkov orders the execution of prisoners, and the Cossacks, forgetting about military honor, chop down unarmed people. They carried out the order, but when Gregory realized that he was chopping up prisoners, he fell into a frenzy: “Who did he chop down!.. Brothers, I have no forgiveness! Hack to death, for God’s sake... for God’s sake... To death... deliver!” Christonya, dragging the “enraged” Melekhov away from Podtelkov, says bitterly: “Lord God, what is happening to people?” And the captain, Shein, who had already understood the essence of what was happening, prophetically promises Podtelkov that “the Cossacks will wake up and they will hang you.” The mother reproaches Gregory for participating in the execution of captured sailors, but he himself admits how cruel he became in the war: “I don’t feel sorry for the children either.” Having left the Reds, Grigory joins the Whites, where he sees Podtelkov executed. Melekhov tells him: “Do you remember the battle near Glubokaya? Do you remember how the officers were shot?.. They shot on your orders! A? Now you're burping! Well, don't worry! You're not the only one to tan other people's skins! You have left, Chairman of the Don Council of People’s Commissars!”
War embitters and divides people. Grigory notices that the concepts of “brother,” “honor,” and “fatherland” disappear from consciousness. The strong community of Cossacks has been disintegrating for centuries. Now everyone is for himself and for his family. Koshevoy, using his power, decided to execute the local rich man Miron Korshunov. Miron's son, Mitka, avenges his father and kills Koshevoy's mother. Koshevoy kills Pyotr Melekhov, his wife Daria shot Ivan Alekseevich. Koshevoy takes revenge on the entire Tatarsky farm for the death of his mother: when leaving, he sets fire to “seven houses in a row.” Blood seeks blood.
Looking into the past, Sholokhov recreates the events of the Upper Don Uprising. When the uprising began, Melekhov perked up and decided that now everything would change for the better: “We must fight those who want to take away life, the right to it...” Having almost driven his horse, he rushes off to fight the Reds. The Cossacks protested against the destruction of their way of life, but, striving for justice, they tried to solve the problem with aggression and conflict, which led to the opposite result. And here Gregory was disappointed. Having been assigned to Budyonny's cavalry, Grigory does not find an answer to bitter questions. He says: “I’m tired of everything: both the revolution and the counter-revolution... I want to live near my children.”
The writer shows that there can be no truth where there is death. There is only one truth, it is not “red” or “white”. War kills the best. Realizing this, Grigory throws down his weapon and returns to his native farm to work on his native land and raise children. The hero is not yet 30 years old, but the war turned him into an old man, took him away, burned out the best part of his soul. Sholokhov in his immortal work raises the question of the responsibility of history to the individual. The writer sympathizes with his hero, whose life is broken: “Like a steppe scorched by fires, Gregory’s life became black...”
In the epic novel, Sholokhov created a grandiose historical canvas, describing in detail the events of the civil war on the Don. The writer became a national hero for the Cossacks, creating an artistic epic about the life of the Cossacks in a tragic time of historical change.
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We were led by youth
On a saber march,
Our youth abandoned us
On the Kronstadt ice.
War horses
They carried us away
On a wide area
They killed us.
But the blood is feverish
We rose
But the eyes are blind
We opened it.
A commonwealth arises
Crow with a fighter, -
Strengthen your courage
Steel and lead.
So that the earth is harsh
Bleeding out
So that youth is new
It rose from the bones.
E. G. Bagritsky
The novel "Destruction" clearly reflected the features of such literary direction like socialist realism. Fadeev, one of the main theoreticians of this literary movement, argued that “socialist realism is the truth of life, enriched with romance,” the opportunity to express the author’s dream, the author’s aspiration for the better through realistic means.
Romanticism, being a very popular trend in European culture early XIX centuries, developed his special philosophy lives and special artistic media for all types of art, including literature: the hero - an extraordinary person - alone resists a vicious society; The romantic writer pays the main attention to the feelings and thoughts of the hero, and the everyday background is usually ignored as an object not worthy of depiction; location in romantic work- remote corners of Europe or exotic countries, unusual nature which is in harmony with the emotional experiences of the hero; The language of the work is bright, full of metaphors, epithets and comparisons.
It was precisely this romantic (literary) view of the world that Mechik had when he volunteered to join a partisan detachment: “People in the hills (familiar only from newspapers) appeared before my eyes as if they were alive - in clothes made of gunpowder smoke and heroic deeds"(II). But this external romanticism, or rather, the romantic cliche, does not withstand the collision with real life: the real partisans did not at all resemble folk heroes, created by the ardent imagination of a city high school student: “These were dirtier, lousier, tougher and more spontaneous. They stole cartridges from each other, swore in irritated obscenities over every trifle, and fought until their blood bled over a piece of lard... But these were not bookish people, but real, living people” (ibid.). The discrepancy between dreams and reality frightens Mechik; life quickly “breaks” this romantic, as a result he can only dream of one thing: to hide somewhere in a quiet corner from the revolution and live calmly and comfortably.
Fadeev himself, as a writer, was more attracted by the task of showing not the external, but the internal, hidden romanticism in ordinary people- the real heroes of the novel. Unostentatious romanticism is associated in the novel with the image of Levinson, who sees the beauty of the harsh feat of the Red partisans and dreams of a new, beautiful, strong and kind “man of the future” (XIII). Levinson, like Mechik, also once had to experience a discord between a romantic dream and reality - he calls this discord disappointment in a fairy tale “about beautiful birds” that must “fly out from somewhere” (XIII). But Levinson, unlike Mechik, managed to abandon beautiful dreams and truly see beautiful dream in a real fight for new life. Of course, in order to discern the romance behind the everyday life, the rudeness, and the dirt of partisan life, one must have intelligence, observation, strong character, which Levinson is endowed with in the novel. A superficial view of the world, laziness and extreme selfishness prevented Mechik from understanding the essence of events: “... the vibrant life of the detachment passed Mechik by. He did not see the main springs of the detachment mechanism and did not feel the need for everything that was being done” (IX). Mechik remained an outsider to both the cause and the people, that is, a worthless romantic who was unable to fulfill his dream, or even bring it any closer.
Fadeev saw romance not in exceptional heroes and not in ardent passions, like the romantic writers of the 19th century, but in revolutionary reality itself. The writer, like Levinson, knows that people gathered in a partisan detachment not so much because of a sense of self-preservation, but because of the belief in the possibility of a new life. For many (for example, Morozka), this faith was not even fully realized, hidden “under the cover of small, everyday, pressing concerns” (XI). However, a deep understanding real people And life circumstances allow the author, like the commander, to see the partisans as wonderful people and respect them for the courage and sacrifice that they demonstrate daily while fighting the White Cossacks and the Japanese.
Originality artistic manner Fadeev is explained, on the one hand, by a truthful reflection real life, on the other hand, by the search and poeticization of those human traits that elevate him above everyday life and make him a fighter, in a word, a hero. The writer consciously refuses the usual romantic cliches. The very choice of life material for the novel seems unprofitable from the point of view of romanticism: the author describes how Levinson’s detachment strives to escape persecution and defeat, but in the end falls into an ambush set up by Kolchak’s men, carrying huge losses, almost destroyed. The real heroes in the novel are deprived external signs romantic personality. Fadeev could show Morozka as an active participant in dangerous battles, daring guerrilla operations, which should have most decisively affected his civic growth and moral development. However, the writer chooses more hard way— to reveal the gradual spiritual transformation of a person in conditions of severe retreat partisan detachment.
Levinson, like Morozka, does not look like romantic hero: “small, unprepossessing in appearance - he all consisted of a hat, a red beard and ichigs above the knees” (V). But this external deheroization creates a contrast with the rich spiritual life, ideological conviction, even the dreaminess of the commander (his dream of a wonderful person). Levinson’s attractiveness is that he sincerely believes in the people he leads into battle and with whom he eats from the same pot at a rest stop. Deadly tired, exhausted by illness, he is deeply aware that these exhausted, sadly trailing people are “closer to him than everything else, closer even to himself” (XVII). And yet Fadeev did not make Levinson wonderful person from a dream. Why? Because in harmonious developed person, as the writer himself later explained, Levinson’s powerful intellect and the health and activity of Metelitsa must combine. Fadeev could have created a work about such an impeccable hero, but then the result would have been a completely different novel - a novel about a remarkable personality with high moral qualities, developed intellect, external attractiveness, exceptional social destiny. And in his first novel, Fadeev chose as his subject the images of ordinary (average) people, burdened with the remnants of the old society, heroes who had just taken the right path, such as Morozka. The author (and not only him) sincerely believed in 1927 that social revolution created the prerequisites for the education of a harmonious personality, but it will take years before such people appear in life.
Although Fadeev criticized the romantics in his articles of the 20s (his famous article “Down with Schiller!” 1929) and tried to avoid external romantic techniques, the artist in him defeated the theorist. The novel "Destruction" presents an open author's position, which is one of the signs of romanticism. The author’s sympathy for Morozka is expressed, for example, through a comparison of the hero with a bird in the episode of Mechik’s rescue: “A few seconds later, spread out like a bird, Morozka was flying across a barley field. The leaden and fiery webs screamed angrily above my head, a horse’s back fell somewhere into the abyss, barley whistled headlong under my feet” (I). The author admires Baklanov when, at the most desperate moment (before breaking through the machine-gun ambush of Kolchak’s men), he looks at the confused Levinson: “Baklanov’s naive, high-cheekboned face, leaning slightly forward, waiting for an order, burned with that genuine and greatest of passions, in the name of which they died the best people from their detachment" (XVII). The depiction of Mechik’s escape (humiliating body movements, crawling on all fours, incredible jumps) convincingly testifies to the author’s contempt for the hero: “Mechik did not look back and did not hear the chase, but knew that they were chasing him, and when three shots rang out one after another and a volley rang out (three shots were the signal of an ambush, which was sent by Morozka, and the volley was Kolchak’s shots at Morozka - O.P.), it seemed to him that they were shooting at him, and he ran even faster. Suddenly the ravine opened up into a narrow wooded valley. The sword turned first to the right, then to the left, until suddenly it rolled somewhere downhill” (XVII).
The most clearly romantic way of depiction is associated with the image of Levinson, in the description of which light is constantly mentioned. Firstly, the author often returns to the portrait detail - Levinson’s amazing, all-seeing, “otherworldly” (I) eyes: they seem to illuminate everything, nothing can be hidden from them. Secondly, the expressive details of the image include the comparison of the commander with a “flame wick” (in the scene of the trial of Morozka), as well as the mention of a torch in his hands (in the scene of the battle in the swamp). IN the latter case Levinson is very similar to Gorky’s Danko: in darkness of the night the commander appears among the irritated, frightened people, “raising a lit torch in his hand” (XVI). He boldly and confidently gives the only correct orders that will help people get out of the quagmire by the dawn rising above the earth. And the hero with the burning torch, and rising Sun- these are typical romantic light symbols.
To summarize, it should be emphasized that “Destruction” is a novel of socialist realism, in which the features of strict realism and sublime romanticism are intertwined. Realistic principles were manifested in the fact that Fadeev truthfully, preserving everyday details, depicted a small episode guerrilla warfare on Far East, created typical, rather than ideal, characters of the heroic fighters of Levinson’s detachment. In ordinary, illiterate, rude men and miners, the author was able to discern remarkable characters, spiritual beauty and the truth. This depiction of the heroes revealed the author’s poeticization of the positive principles in life and in man, that is, romanticism. The reader sees that the communist Levinson, who dreams of the future, is the commander of an ordinary partisan detachment; the brave scout Metelitsa is a former shepherd; Morozka, who experiences complex internal experiences, is a former retarded miner.
Fadeev is not interested in traditional romantic techniques that have turned into cliches: the love triangle (Morozka - Varya Mechik), so beloved by romantics, is classified as a peripheral event in the novel; Mechik’s proud loneliness among the partisans is explained not by his superiority over the peasants, but by the insignificance of the hero himself, his laziness and cowardice. In other words, Fadeev is attracted to “deep” romanticism; he looks for romantic pathos in ordinary events and in an ordinary hero.
/ / / Depiction of war in Sholokhov’s epic novel “Quiet Don”
M. Sholokhov lived and worked at a time when the lands of Russia were filled with military events. First, it was the First World War, then the Civil War and the Second World War. Of course, so depressed social status could not but be reflected in the work of a talented person.
The epic novel “Quiet Don” captured a historical period of time on its pages. The author is trying to convey all the horror and darkness that the war brought with it. It follows the standard style of novel writing characteristic of the late nineteenth and early twentieth centuries. However, Sholokhov does not miss the opportunity to introduce something new and unusual into the lines of a grandiose work.
The historical events of the novel cover nine years in the life of a Russian person, when Russia was just coming to its senses after the First World War and immediately plunged into the hardships of the civil war. M. Sholokhov tried to describe all the events taking place around him with the greatest accuracy and truthfulness, without missing out on details and trifles.
The events of the First World War are described in the most terrible colors. Unsteady moans and screams were heard above the farm. The old people prophesied bad things. The military action itself is described by the author so accurately, if Sholokhov had independently taken part in it. The military front stretched for many kilometers. Generals pored over maps, developing large-scale operations to attack the enemy. Ammunition was quickly transported.
In order to make the described military episodes more understandable and poignant, Sholokhov divides the action into various combat areas. Such areas had their heroes who died in vain. The author notes that the Cossack color was forced to leave his native farms and go towards a certain, terrible and dirty death.
The author did not forget to mention the meaning of the word “feat”. It meant a battle when warriors clashed on the battlefield, mutilated themselves and their horses, mutilated their enemies with bayonets and scattered to the sides from loud shots. This was called a feat.
The civil war that enveloped the Russian lands had a different character. She was tragic and stupid and senseless. In this war, by political beliefs the son could kill his father, and the brother could sibling. During the Civil War, many people found themselves in confusion, because they could not make a choice, determine the best military camp.
The soul of the main character of the novel, Grigory Melekhov, was filled with such painful doubts. Most of The Cossacks, like Gregory, were not recognized by either the whites or the reds. They wanted their freedom, a return to their native villages and a quiet life.
In the text of the novel, the reader was able to see a clear picture of military actions that differed from each other in principles and goals. Both the First World War and the Civil War entailed terrible and dire consequences, destroyed families, maimed souls, poisoned the Russian land with peaceful blood.