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1. Brief biography of the writer

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1. Brief biography of the writer

Vasily Vladimirovich Bykov was born in 1924 into a peasant family in the Vitebsk region. Before the war he studied at the Vitebsk Art School. When the war began, Bykov was studying at the Saratov Infantry School for accelerated graduation. A nineteen-year-old junior lieutenant is sent to the front. He takes part in many military operations and has had to endure a lot. This is evidenced by the following fact: on the obelisk on one of the mass graves near Kirovograd, his name is included in the long list of victims. He was saved from death by accident: being seriously wounded, he crawled out of the hut, which a few minutes later was demolished by fascist tanks that broke through. Bykov fought on the territory of Ukraine, Belarus, Romania, Hungary, and Austria. Was wounded twice. He was demobilized only in 1955. Collaborated in newspapers in Belarus. Bykov's first stories are not about the war, but about the post-war life of rural youth: "Happiness", "At Night", "Fruza". In 1956-1957 he created his first war stories. For the stories "Obelisk" and "To Live Until Dawn" V. Bykov was awarded the USSR State Prize. In 1984, the writer was awarded the title of Hero of Socialist Labor.

2. The place of the work, military themes in the writer’s work

The theme of war is the main theme in the works of the talented Belarusian prose writer Vasil Bykov. But he created his first war stories only in 1956-1957 and remained faithful to the military theme in his subsequent works. “Crane Cry”, “Front Page”, “The Third Rocket”, “Alpine Ballad”, “Trap”, “Until Dawn”, “Obelisk”, “Sotnikov”, “Wolf Pack”, “Sign of Trouble”. This is not a complete list of his works about the war. The author of “Obelisk” is one of the most authoritative writers on military topics in modern literature. His numerous stories about the war, created in different years, constitute, as it were, a single cycle, a kind of chronicle of the courage shown by Soviet people in extremely dramatic, “ultimate” situations. The heroes of these works by V. Bykov - army soldiers, partisans, residents of Belarus - go through the most cruel trials, fight truly on the edge of human capabilities, and die in unequal battles. The severity of the depiction of war, the sharpness of events, as a rule, serve as the writer’s fundamental basis, the basis for ethical and philosophical sharpness. In a polemically intense manner, he poses the problems of choice, personal responsibility, and the fidelity of ideas. Based on the material of military events, the writer poses serious moral problems: what is a heroic act when all circumstances turn against a person? How will a person behave in this case? What are its capabilities?

3. History of the creation of the work

The all-Union search for those who died the death of the brave continues further and further, and more and more names are revealed. Vasily Vladimirovich Bykov became a participant in the war at the age of eighteen. There was a military school, there was a front. First infantry, then destroyer anti-tank artillery. Like Vasily Terkin from the poem by Alexander Tvardovsky, he experienced everything that a fighter was supposed to experience: he was wounded, he was killed without a trace, even his name remained on one of the mass graves of those years. Therefore, in the all-Union search, which is conducted in various directions, including literature, the writer Vasily Bykov also has his own path. It was she who led him to the obelisk, on which were listed five names of teenagers who died during the war, and after years and years another name appeared - their teacher Ales Ivanovich Moroz. The whole world knows about the feat of the Polish teacher Janusz Korczak, who died in a gas chamber along with his students, but did not leave his children, despite the offer of a fascist officer. How many teachers died, remaining unknown to the world? V. Bykov’s story “Obelisk,” written in 1972, sounds like a requiem about them and becomes a literary obelisk dedicated to them. But this appeal to the past does not exhaust the content of the work. In it, the reader seeks to consider in its entirety the fates of those who died in the war, and those who survived, but continue to feel like fighters. A fighter for justice, for restoring the names and feats of the dead. The story is permeated with an atmosphere of reflection characteristic of Bykov’s work; it opens the reader’s heart to perceive the moral meaning of the feat. The author is strict with himself and his generation, because the feat of the war period for him is the main measure of civic value and a modern person.

4. The meaning of the title of the story. How is it implemented in its content, ideas

“This obelisk, slightly taller than a man, changed its color several times in the ten years that I remembered it: it was either snow-white, whitewashed with lime before the holidays, or green, the color of a soldier’s uniform; once driving along this highway I saw it shiny silver, like the wing of a jetliner. Now it was gray, and, perhaps, of all the other colors, this most suited his appearance." These are lines from Vasil Bykov's story "Obelisk". Books about the heroes of the past war are being written, and obelisks are being erected for them. The memory of those who gave their lives for the happiness of today's generations beats in the hearts of those who fought and returned with victory, and those who did not fight, but are constantly and with strong emotional ties merged with the memory of the fallen.

V. Bykov depicts war and man at war in the best Tolstoyan traditions - “without embellishment, without bragging, without varnishing - what it is.” He, by his own admission, is not interested in combat technology, but in the moral world of man, his behavior in war in crisis, tragic, hopeless situations. The author writes about the war as an eyewitness, as a person who has experienced the bitterness of defeat, the severity of losses and losses, and the joy of victory. The writer is interested in the cruelly severe test that each of his heroes must go through: can he not spare himself in order to fulfill his duty to the Motherland, his duties as a citizen and patriot? War was such a test of a person’s ideological and moral strength.

6. Action and feat on the pages of the story. The image of her heroes: their concept of the heroic and the ordinary, of life and death

Perhaps one of the skeptical readers of the story will ask: was there actually a feat? After all, teacher Moroz did not kill a single fascist during the war. This is, firstly. In addition, he worked under the occupiers, teaching children at school, as before the war. The injustice of such doubt is obvious. After all, the teacher came to the Nazis when they arrested his five students and demanded the arrival of him, Moroz. This is the feat. True, in the story itself the author does not give an unambiguous “yes or no” to this question. He simply introduces two polemical positions: Ksendzov and Tkachuk. Ksendzov is just convinced that there was no feat, that the teacher Moroz was not a hero and, therefore, in vain his student Pavel Miklashevich, who miraculously escaped in those days of arrests and executions, spent almost the rest of his life ensuring that the name of Moroz was imprinted on obelisk above the names of the five dead students. The dispute between Ksendzov and the former partisan commissar Tkachuk flared up on the day of the funeral of Miklashevich, who, like Moroz, taught in a rural school and by this alone proved his loyalty to the memory of Ales Ivanovich. People like Ksendzov have enough rational arguments against Moroz: after all, it turns out that he himself went to the German commandant’s office and got the school opened. But Commissioner Tkachuk knows more: he penetrated into the moral side of Moroz’s act. “If we don’t teach, they will fool us” - this is a principle that is clear to the teacher, which is also clear to Tkachuk, who was sent from the partisan detachment to listen to Moroz’s explanations. Both of them learned the truth: the struggle for the souls of teenagers continues during the occupation. Teacher Moroz waged this struggle until his very last hour. Undoubtedly, he understood that the Nazis’ promise to release the guys who sabotaged the road if their teacher appeared was a lie, a hypocrisy. But he also had no doubt about something else: if he didn’t show up, his fanatical enemies would use this fact against him and discredit everything he taught the children. And he went to certain death. He knew that everyone would be executed - both him and the guys. And such was the moral strength of his feat that Pavlik Miklashevich, the only survivor of these guys, carried the ideas of his teacher through all the trials of life. Having become a teacher, he passed on Morozov's “leaven” to his students. And Tkachuk, having learned that one of them, Vitka, had recently helped catch a bandit, remarked with satisfaction: “I knew it. Miklashevich knew how to teach. He’s also a genius, you can see right away.” The story thus outlines the paths of three generations: Moroz, Miklashevich, Vitka. Each of them fulfills his heroic path with dignity, not always clearly visible, not always recognized by everyone. The writer makes you think about the meaning of heroism and feat, unlike the usual one, helps to delve into the moral origins of a heroic act. Before Moroz, when he went from a partisan detachment to the fascist commandant’s office, before Miklashevich, when he sought the rehabilitation of his teacher, before Vitka, when he rushed to protect the girl, there was the possibility of choice. Should I do this or not? The possibility of formal justification did not suit them. Each of them acted, guided by the judgment of their own conscience. A person like Ksendzov would most likely prefer to withdraw; There are also those who like to blame and teach, who are not capable of self-sacrifice, who are not ready to do good for the sake of others. The dispute that takes place in the story "Obelisk" helps to understand the continuity of heroism, selflessness, and true kindness.

7. A man at war as interpreted artistically by the author. The author's attitude towards the characters

The author's attitude to the characters and situations is felt in the system of images and the tone of the narrative. Bykov's heroes are simple at first glance, but through their characters important features of the people's war are revealed. Therefore, although in the center of the story there are only a few episodes and two or three heroes act, behind them one can feel the scale of the nationwide battle in which the fate of the Motherland is being decided. The character of “Obelisk” Tkachuk says, referring to the legacy of the war years: “something very important must remain from the moral strength of people, it cannot but remain. This will not be lost. It will sprout, remember, as in Nekrasov: “Go into the fire for honor of the fatherland, for conviction, for love, go and die blamelessly, you will not die in vain: a thing is strong when blood flows underneath it. "Look! And here a lot of blood was shed! It cannot be in vain." Tkachuk is referring to the feat of self-sacrifice performed by the teacher Alexei Ivanovich Moroz, as well as the ascetic activity of the recently deceased Pavel Miklashevich, also a teacher and devoted student of Moroz. And his thoughts, already an old man, are about the future, about the fire of justice, goodness, and courage burning and flaring up. This chronicle of heroism is tragic. But it is also bright because it proves: there is no limit to the moral strength and greatness of man. The reader undoubtedly draws this conclusion from the story “Obelisk.” In this work, the polemical charge is manifested not only in the very logic of the action: the story about Moroz, narrated by Tkachuk, is filled with open debate, and more than once indignation arises in him about the “grouse” who were unable to understand and appreciate the teacher’s feat. After all, the name Moroz appeared on the obelisk recently, only after long, persistent efforts undertaken by Miklashevich. The teacher's name was added to the names of the five schoolchildren executed by the occupiers and became ahead of them. Frost did not take part in the daring attack of the teenagers, which had such a fatal consequence, he did not even know about it. But he was a teacher of the children, their mentor. The main thing is that he voluntarily shared their fate and went with them to execution. This act is exceptional. Only by thinking about it (and V. Bykov’s story, in essence, is a reflection), only taking into account all the circumstances, can one fully comprehend it. "Capercaillie", they, as they say, were and are.

And yet, there is a big difference between the indifferent, narrow-minded head of the district Ksendzov, for whom something unclear and dubious is associated with the name of Moroz to this day, and the partisan commander Seleznev. The most difficult time for organizing resistance to the enemy. Seleznev is completely concerned about the detachment and its combat effectiveness. Moroz's intention to leave is a violation, and, this is obvious to Seleznev, it is not unjustified, it is senseless. Is it really possible to believe the Germans who announced: let the teacher come and surrender, then the teenagers will be released? Of course, they won’t let them go, they and the teachers will be hanged. This is clear to Moroz himself. He does not object when they tell him that going to Seltso is “the most reckless suicide”; he even agrees: “That’s true.” But then “very calmly” he adds: “And still we have to go.” Tkachuk, the commissar of the partisan detachment, who knew Moroz well from the pre-war period, feels the strength of this calm conviction, although he cannot understand what the point is. And what, exactly, did it mean then - to realize? Agree for Frost to go to his death? And later, when Tkachuk, together with the commander, signed information about the retired partisans, Moroz found himself on the list of those captured: there was no time to figure it out, and, probably, the reporting procedure itself did not allow for a variety of options. Tkachuk began the fight for Moroz, for his good heroic name, many years later. He led it together with Miklashevich and, as one can understand, under his strong influence: he saw in this sick, wounded, courageous man, the only one who miraculously survived among those teenagers sentenced to death, the spiritual successor of Moroz, the personified continuation of good mentoring deeds. So where did it come from, Moroz’s conviction in the correctness of the choice made, a conviction now understood by Tkachuk, even earlier fully felt by Miklashevich? Frost, at the cost of his life, supported faith in man in his students and in the village residents - that faith that the occupiers so persistently sought to destroy. He went to Seltso because the mothers of the captured children, guided not by reason, but by their hearts, hoped that Ales Ivanovich would come up with something and save them. I went to help the doomed with my courage, to help those who would be next to them and with them in a terrible hour. He went, because such an act follows from everything that happened at Selts’ school during his teaching there. This time was short-lived: only two years. But the students managed to become close to the teacher. A whole series of living, eloquent details tell us how strong this relationship is, how natural it is for children to consider school a second home. It happened that she was the only home: Moroz settled the guy with him, saving him from his father’s beatings. And in general, the teacher accepted all the affairs and concerns of the children as his own. I found out that a poor widow does not let her daughters go to school: the shoes are bad for winter, and it’s a long walk. He fixed the girls’ shoes, even though he lived very poorly, and entrusted the senior schoolboy with accompanying them when they had to return in the dark (or he would even accompany them himself). Moroz strove for help to the weak, to everyone who needs it, to become the norm in relations between children, so that everyone feels the other’s elbow - whether in learning, or in joint work, and feels like a person they can rely on. And first of all, one could rely, they saw it, they knew it for sure, on Moroz himself, who did not separate himself from the students, faithfully serving them with his exactingness and love. A subtle, creative teacher, Moroz broadly understood his tasks, acted not according to the letter of instructions, but based on the real interests of teaching and education, as Tkachuk put it, “he was a master of confusing postulates” if it served a good purpose. Not only at school, throughout the village the authority of the young teacher was high, people consulted him on everyday matters, they trusted his opinion and word. Even when the occupation began, this teaching authority helped Moroz maintain his school, influence on children, and also work usefully for the partisans. It is very important to keep in mind: Seltso is located in Western Belarusian lands, which were liberated only in September 1939 and reunited with Soviet Belarus. It was then that Frost arrived here, and then he began his work. He felt himself not just a teacher - a representative of a system based on the principles of social justice and humanity. He wanted the guys to quickly and deeply “understand that they are people, not cattle, not some kind of vakhlaks, as the gentlemen used to consider their fathers, but the most full-fledged citizens,” “equals in their country.” That is why Moroz was so concerned about introducing children to the richness of culture (remember the exciting scene of reading War and Peace aloud), that is why he tried in every possible way to “humanize” them, awaken and strengthen their self-esteem. The specificity of the social-historical circumstances gives special depth and poignancy to the entire main conflict of the story and illuminates Moroz’s feat in a special way. And, one might say, Tkachuk looks at the root of things when he angrily retorts Ksendzov, who declared - what exactly did Moroz do, did he kill at least one German? “He did more than if he killed a hundred,” Tkachuk exclaims. - He put his life on the chopping block. Myself. Voluntarily. Do you understand what this argument is? And in whose favor" "This will not go to waste. Will sprout"

8. The meaning of landscape sketches on the pages of the story, their style. The idea of man and nature

There are few landscape sketches on the pages of the story. They are stingy, but accurate, sometimes disharmonious with the state and feelings of the heroes: “Nature was filled with the peaceful calm of a fine autumn,” but “this pacifying goodness of nature, however, did not calm me down, but only oppressed and angered me. I was late, I felt it, I was worried and cursed myself for my outdated laziness and spiritual callousness.” Against the backdrop of such tranquility of autumn nature, the reader feels with particular acuteness the hero’s state of mind and involuntarily begins to empathize with him. The situation in which the writer’s heroes find themselves and act is extreme, alternative, tragic. “Everyone had their hands tied behind them. And all around are fields, places familiar from childhood. Nature has already moved towards spring, the buds on the trees are cracking. Miklashevich said, such melancholy attacked him, even if he screamed out loud.” The action is concentrated on a small area of space and is closed in a short time period.

And such hopelessness emanates from this landscape sketch! The language of the work is characterized by deep imagery and philosophy. Of the artistic techniques, the author most often uses symbolic details: the road, cars rushing quickly along a smooth highway, headlights, individual objects snatching out of the darkness. V. Bykov evaluates a person’s peacetime and wartime similarly; the moral dimensions are the same, its true dramatic basis is common, and it is best revealed when a person acts, when in front of him there is space, a field, a battlefield, a road.

To rush to a funeral, to be late, to find yourself in the midst of a wake, to listen to some kind of incomprehensible speeches and arguments, to feel like a stranger and superfluous, to leave, to find yourself with a fellow traveler, unfamiliar and unpleasant - that is, it seems to be exhausted - mediocre, in vain! - the whole plot of this languid, catching up time, and suddenly on the night road, thanks to that fellow traveler, to feel its true meaning, touching the long-standing tragedy of the war years, this beginning of a protracted sad drama. The journalist and the old teacher Tkachuk walk along the highway towards the city, and Tkachuk talks about Moroz and Miklashevich. Even a story within a story appears in a story “on the move” - on the road, in motion, losing, perhaps, in unhurried detail and gaining in energy, conciseness and passion.

9. Traditions and innovations in the depiction of war and man at war

The form of the story "Obelisk", seemingly simple-minded, is in fact quite complex: it is a "story within a story", the story of Moroz appears in the excited words of Tkachuk, which, in turn, are conveyed by the hero-narrator, who also has a reason for the emotional perception of events. This form corresponds well to the discursive, “reflective” spirit of the work. At the same time - and here, perhaps, you feel especially well the high, strict art of V. Bykov - in a “multi-layered”, personally colored narrative, to preserve all the precisely selected realistic, psychological details. This helps the reader form an objective idea of Moroz and the motives behind his actions. The story "Obelisk", which tells about the military past from our days, is imbued with sensitive attention to the details of life, which in one way or another correlates with the long-term influence exerted by the personality, deed, and feat of Moroz. For example, we learn about a lad who boldly entered into a fight with three bandits, suffered cruelly, but saved people - it turns out that this lad studied at Miklashevich’s school. about this Tkachuk. But do the excitement and anxiety experienced by both Tkachuk and the hero-narrator mean little to the overall moral atmosphere of the work? The first one reproaches himself for having done less than he could for Moroz’s memory. The second is that he did not respond to Miklashevich’s appeal in time, did not even ask what its essence was (and the matter, it turned out, was about Moroz; professional help from a journalist was needed). It is not without reason that the hero-narrator curses the vanity, the “bearish slowness” with which “it was not long before you could live out the years allotted to you, without doing anything that, perhaps, alone could constitute the meaning of your existence on this sinful earth.” It is not without reason that he asserts: if life “is filled with something significant, it is, first of all, reasonable human kindness and care for others - people close or even distant to you.”

For Bykov, teaching is not only a social role, but a category of life, a life credo, the spiritual orientation of the human image, which is based on the thought of the future, concern for it, responsibility for it. And this responsibility extends, first of all, to those who are just beginning to live, to whom the future belongs. And it wasn’t that he believed that he would rescue the boys by his voluntary surrender; he simply considered it his duty to be with the students in their most difficult moments. Could Frost have acted differently? Probably he could, but in his mind this was the only correct path, and he followed it, guided by this capacious “must,” without thinking that he was performing a feat of humanity. However, to many then Moroz’s act, which cost him his life, seemed reckless and priceless. And years later, despite the fact that Moroz’s good name was restored, there were some, like the head of the district Ksendzov, who did not regard this act that way. It took a lot of work and health for the miraculously surviving student of Moroz to prove that the teacher’s act was not recklessness, but a feat. Miklashevich himself also became a teacher and continued the work of Moroz, absorbing his wealth and humanity into his soul. Miklashevich is the result of Moroz’s asceticism, and behind Miklashevich there is someone else, already one of his students - like the guy who was not afraid one against three, and many more. As one of the characters in the story rightly says, “it can’t help but stay. This doesn’t disappear. It will sprout. In a year, five, ten, something will hatch.” The pathos of "Obelisk" is pointed against a narrow, myopic understanding of benefit, which does not go beyond self-evidence, and does not take into account the deep spiritual and moral connections, according to the writer, stretching between the past and the future. It was precisely this kind of myopia that suffered from those who were unable to see what a huge, spiritually significant meaning the act of teacher Moroz carried.

For the future, for the formation of its moral and spiritual essence, Moroz’s act is a truly heroic act, undeniable in its spiritual impact. And not only the act itself, but also the spiritual sensitivity and moral insight manifested in it. V. Bykov emphasizes that not only the concrete, obvious, momentary result of something perfect is important, but the spiritual impulse contained in it and transmitted along the chain of human souls, elevating and educating them, is important. At the center of the writer’s artistic world is a man in the space and time of war. The circumstances associated with this time and space encourage (and force) a person to truly exist. There is something in it that causes admiration, and something that disgusts and frightens. But both are genuine. In this space, that fleeting hour is chosen when a person has nothing and no one to hide behind, and he acts. This is a time of movement and action. Time of defeat and victory. A time of resistance to circumstances in the name of freedom, humanity and dignity.

bulls war story landscape

Used Books

1. Mikhail Silnikov. For the glory of the fallen, for the sake of the living. Moscow "Young Guard", 1985

2. Dukhan Y. S. The Great Patriotic War in prose of the 70-80s. Leningrad "Knowledge" 1982

3. Shklovsky E.A. A man among people. Moscow "Knowledge" 1987

4. Dedkov I. Vasily Bykov. The story of a man who survived. - M.: Soviet writer, 1990.

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Practice No. 11. Practical work on

works of A.P. Platonov

The story “The Hidden Man” (1928)

Where does the story begin?

Do you consider Foma Pukhov an insensitive person? Is it only to characterize the main character that the writer at the very beginning depicts a scene of Pukhov cutting sausage on his wife’s coffin? (The coffin is a terrible symbol of that time. There is famine and devastation in the country, there is

Civil War. Strength is needed to defend the revolution.) How does Pukhov try to prove himself as a person? (The hero always reveals himself as a professional mechanic by vocation.)

What is the attitude of the main character to revolutionary events? How does “comprehension” of events occur?

What does the word “hidden” mean?

What is the meaning of the title "The Hidden Man"? Main value

in man is a free independent personality, possessing independence and originality, that is, intimacy

The story “Doubting Makar.”

Why did the Soviet government evaluate Platonov’s story as harmful? (Platonov was one of the first writers to sense the growth of the bureaucracy, the numerical growth of the “sidents.” His hero Makar Ganushkin expressed concern for the “humanistic values of the revolution”).

Read for yourself the dystopian novel by A.P. Platonov “Chevengur” and the historical story about the reform activities of Peter I “Epiphanian Locks”. Prepare the story “The Pit” for

written analysis.

There are few events in Platonov’s story, but each of them is “full of deep symbolic meaning.

Questions and tasks for independent work:

2. Describe your impression of the story you read.

3. What thoughts and feelings did it evoke?

4. Briefly retell the contents of the work “The Pit”. Analyze some episodes:

a) An episode describing an activist who took part in collectivization. (The activist has no name. This is a satirical image-generalization. “He read each new directive with the curiosity of future pleasure...

with the stinginess of assured happiness, the activist stroked his exhausted

chest loads" The activist’s fate is tragic: no one in the village regretted his death.)

b) Episode of rafting fists on the river.(“People wanted to notice their homeland forever.” The writer clearly sympathizes with the fists.)

– 5. Which years of Russia’s historical path are shown in “The Pit” How? What world does the author depict?

– 6. How does Platonov describe collectivization, the individual stages of this process, and working conditions? Why does he criticize collectivization?

– 7. How are the heroes of the story who took part in complete collectivization shown?

8. Tell us about Voshchev.(The surname Voshchev is from the words “in general” and “in vain,” that is, the hero is looking for the meaning of common existence, but his search for truth remains in vain.) Why does he go wandering around the world? What is a sense of life? Did Plato's hero find happiness? (“... he felt doubt in his life without truth, he could not continue to work and walk along the road, not knowing the exact structure of the whole world and where to strive”).

9. What is a person's happiness? How does the digger Safronov talk about this?

10. What do heroes live for? What is the purpose of digging a pit? How do they see the land on which they will build a house?(People are obsessed with the dream of a “single common proletarian home.” The dream is “embodied” for them in the little heroine Nastya.)

11 What does the author want to say by depicting the tragic ending of the story: Nastya’s death? Comment on the meaning of the heroine's name in the context of the plot. (Anastasia is “resurrected.” But it is the death of the girl that ends the story. “The tragic dissonance of Nastya’s name and fate is the logical result of the “common cause” of the builders of the mirage.” The house became unnecessary; after the death of the girl, there is no one to live in it).

12. What does the disabled person Zhachev say after Nastya’s death?

13 How do you understand the meaning of the title? ( The name is symbolic. Workers are digging a pit. But at the same time, this name reflects Plato’s vision of everything that happens. The pit is a symbolic image of a burial place, “where the aspirations and hopes of people are buried, carried out by violent methods of building socialism”).

14. Tell us about the uniqueness of the language and style of the work?

15. What are the moral lessons of the story?

The emigrant poet Joseph Brodsky, a contemporary of the author of “The Pit,” wrote about Platonov: “He wrote in the language of this utopia, in the language of his era, and no other form of being determines consciousness the way language does... Platonov himself subordinated himself to the language of the era, seeing in it such abysses, having looked into which once he could no longer could slide across the literary surface, engaging in intricacies and stylistic laces..."

A distinctive feature of Platonov’s language is “ unbalanced" syntax, “arbitrariness” in the combination of words. The language is rough, but memorable and bright. The writer uses various artistic techniques: hyperbole, grotesque, irony,

rethinking well-known concepts, slogans, cliches, clericalism.

Platonov’s word is not only an independent semantic unit, it has many contextual meanings.

Practice No. 12. Practice based on Sholokhov's novel

"Quiet Don"

Reports on Sholoov’s novel “Quiet Don” 1. A word about Sholokhov. The concept and history of the creation of the novel "Quiet Don".

2. Pictures of the life of the Don Cossacks on the pages of the novel. “Family Thought” in the novel “Quiet Don”. (Work on individual episodes of the first part of the novel, determining its place in the overall plan of the novel, in its compositional plan.)

3. “The monstrous absurdity of war” as depicted by Sholokhov.

4. “In a world split in two.”

The civil war on the Don as depicted by Sholokhov.

5. The fate of Grigory Melekhov.

Questions and assignments for the second topic:

1. Find in the first part of the novel answers to the questions: who are the Cossacks? What were they doing? How did you live? Why does Sholokhov write about them with love? Whom does he speak about with particular affection?

2. Highlight the most striking episodes of the first part. How do they convey the beauty of the peasant life of the Cossacks, the poetry of their work? In what situations does the writer show his characters?

3. Highlight the description of the Don nature, the Cossack farm. What is their role? : “The Story of Prokofy Melekhov” (chapter 1), “Morning in the Melekhov family”, “Fishing” (chapter 2), “On haymaking” (chapter 9), scenes of matchmaking and wedding of Grigory and Natalya (chapter 15 -22), conscription for military service, Gregory undergoing a medical examination (part two, chapter 21).

Practice No. 13. Military themes in the works of eyewitness writers and war correspondents in Russian literature of the 1st half of the 20th century

Stalingrad was the center of fierce fighting, with explosions thundering day and night.

On the banks of the Volga, the outcome of not only the Great Patriotic War, but also the entire Second World War was decided. Tell us about “Stalingrad Poetry”.

5. Why does the Great Patriotic War continue to dominate the hearts of people when our country now has enough other pressing issues? How can we explain such a great interest of modern literature in this topic?

6. Tell us about Yu’s works . Drunina, E. Asadov, V. Vysotsky and other poets on military themes.

WAR DRAMATURGY

The modern reader simply needs to get acquainted with the content of dramatic works K. Simonov, L. Leonov, A. Korneychuk. They are able to show us the beauty of the inner world of Russian people (the main characters of these works). The moral origins of their heroism are revealed in the plays “Russian People” by K. Simonov and “Invasion” by L. Leonov. The essence of the clash between two styles of military leadership is polemically revealed in the play “Front” by A. Korneychuk.

These best military plays were very popular. It was no coincidence that all of them appeared in 1942, during the period of greatest danger for our Motherland.

Read the play by K. Simonov "Russian people" and answer the questions asked:

1. What period of the heroic struggle of one of the detachments of our army did Simonov depict?

2. Which episodes were you most excited about?

3. Tell us about the fate of the main characters.

5. Do you agree with the opinion that Simonov’s drama was sometimes called a “sketch play,” “a piece snatched from front-line sketches”?

6. Initially, the playwright wanted to call the play “In a Small Town,” deliberately emphasizing the everydayness of the episode. The final title sounds lyrically excited. How do you understand it?

“Private soldier of national feat” in the works of Vasil Bykov.

Interest in the personality and work of V. Bykov, desire to read and

the fate of the heroes does not leave the reader to this day, because the author’s attention is focused on the actions and states

person in tragic situations that dictate the need

make a choice.

Vasil Bykov was born in 1924 in Belarus in a peasant

family, studied at the Vitebsk Art School. Front-line soldier,

Having gone through the entire war and being wounded twice, he described the events of the war in his works. V. Bykov's military roads were laid

across the fields and cities of Ukraine, Hungary, Romania, Austria. This

a modern writer who entered literature in the late 50s of the 20th century, the most popular author of books about the Great Patriotic War. A passionate desire to tell the harsh truth about the war, as it was on the front line, in Belarusian villages occupied by the Germans, in partisan detachments, led him to literature after the Victory.

V. Bykov creates literary works in the military genre

a story where the principles of psychologism are combined with

documentation and authenticity. Heroes of V. Bykov,

sometimes finding themselves in a hopeless situation, they commit mu

courageous actions, fight to the end, save

"humanity in inhumane circumstances."

In his works - the story “The Crane Cry” (1960), the stories “The Death of a Man” (1957), “The Twentieth” (1958), etc. - the writer depicts the heroism of everyday life at the front, the courage of soldiers. The works of recent years are also devoted to the same topic - the books “The Third Rocket” (1962), “It Doesn’t Hurt the Dead” (1966), “Until Dawn” (1974), “Sotnikov” (1970), “Obelisk” (1972), “His Battalion”, “Sign of Trouble” (1983), “Quarry” (1988), “In the Fog” (1989). Vasil Bykov became a participant in the war at the age of 18. There was a military school, there was a front. First infantry, then anti-tank artillery. He was wounded, considered missing, even his name remained on one of the mass graves of those years. The writer, answering questions from journalists, said: “I always wrote about what I saw and experienced myself, what my comrades experienced. Of course, my books do not literally reproduce life situations. But everything I write about happened one way or another.” The story “Obelisk” was first published in 1972 and immediately caused a flow of letters, leading to a discussion that unfolded in the press.

It was about the moral side of the action of the hero of the story, Ales Moroz; one of the participants in the discussion viewed it as a feat, others as a rash decision. The discussion allowed us to penetrate into the very essence of heroism as an ideological and moral concept, and made it possible to comprehend the variety of manifestations of the heroic not only during the war, but also in peacetime. The content of the work is not limited to turning to the past. In the story, the writer seeks to consider in its entirety the fates of those who died in the war, and those who survived, but continue to feel like fighters. A fighter for justice, for restoring the names and feats of the dead. The story is permeated with Bykov’s characteristic atmosphere of reflection.

The author is strict with himself and his generation, 78 because the feat of the war period for him is the main measure of civic value and a modern person. At first glance, the teacher did not accomplish the feat. During the war he did not kill a single fascist. He worked under the occupiers and taught children at school, as before the war. But this is only at first glance. The teacher appeared to the Nazis when they arrested five of his students and demanded his arrival.

This is the feat. True, in the story itself the author does not give a clear answer to this question. He simply introduces two political positions: Ksendzov and Tkachuk. Ksendzov is just convinced that there was no feat, that the teacher Moroz was not a hero and, therefore, in vain his student Pavel Miklashevich, who miraculously escaped in those days of arrests and executions, spent almost the rest of his life ensuring that the name of Moroz was imprinted on obelisk above the names of the five dead students. The dispute between Ksendzov and the former partisan commissar Tkachuk flared up on the day of the funeral of Miklashevich, who, like Moroz, taught in a rural school and by this alone proved his loyalty to the memory of Ales Ivanovich.

People like Ksendzov have quite reasonable arguments against Moroz: after all, it turns out that he himself went to the German commandant’s office and got the school opened. But Commissioner Tkachuk knows more: he penetrated into the moral side of Moroz’s act. “If we don’t teach, they will fool us” - this is a principle that is clear to the teacher, which is also clear to Tkachuk, who was sent from the partisan detachment to listen to Moroz’s explanations. Both of them learned the truth: the struggle for the souls of teenagers continues during the occupation. Teacher Moroz waged this struggle until his very last hour. He understood that the Nazis’ promise to release the guys who sabotaged the road if their teacher appeared was a lie.

But he had no doubt about anything else: if he didn’t show up, his enemies would use this fact against him and discredit everything he taught the children. And he went to certain death. He knew that everyone would be executed - him and the boys. And such was the moral strength of his feat that Pavlik Miklashevich, the only survivor of these guys, carried the ideas of his teacher through all the trials of life. Having become a teacher, he passed on Morozov’s “leaven” to his students.

Tkachuk, having learned that one of them, Vitka, had recently helped catch a bandit, remarked with satisfaction: “I knew it. Miklashevich knew how to teach. There’s also that sourdough, you can see right away.” The story outlines the paths of three generations: Moroz, Miklashevich, Vitka. Each of them fulfills his heroic path with dignity, not always clearly visible, not always recognized by everyone. "The writer makes you think about the meaning of heroism and a feat that is not similar to the usual, helps to delve into the moral origins of a heroic act. Before Moroz, when he went from a partisan detachment to the fascist commandant's office, before Miklashevich, when he sought the rehabilitation of his teacher, before Vitka, when he rushed to defend the girl, there was a choice, but the possibility of a formal justification did not suit them.

Each of them acted, guided by the judgment of their own conscience. A person like Ksendzov would most likely prefer to eliminate himself. The dispute that takes place in the story “Obelisk” helps to understand the continuity of heroism, selflessness, and true kindness.

Class: 11

Goals:

formation of self-control skills;
improving the ability to organize joint activities when analyzing a work of art;
development of associative thinking;
development of skills to operate with language material;
foster responsibility for the results of work;
cultivate a sense of words.

Decor:

presentation;
dictionary:

Geftling – a prisoner,

Klumpes(s) – wooden shoes (lasts),

Trieste is a province in Italy; port on the Adriatic Sea.

1. Introductory speech by the teacher.

More than half a century ago, Nazi Germany began a war of aggression against the USSR. This war, which demonstrated, on the one hand, mass patriotism, heroism, and the great sacrifice of our people, on the other hand, brought untold troubles and suffering to the Fatherland.

Today in class we will talk about the problem of heroism, about the possibilities of the human spirit that manifest themselves in war based on V. Bykov’s story “The Alpine Ballad”.

You will have to work in groups (there are five of them: bibliographers, literary scholars, linguists, critics and artists). Despite the fact that each group carried out a small research work, we will try together, following the writer, to answer the questions posed in the story:

What is a person before the crushing force of circumstances?

What is he capable of when the possibilities of defending his life have been exhausted to the end?

2. Work on the development of associative thinking.

What associations do you have with the word CONCENTRATION CAMP?

(Students name associations)

Teacher: Perhaps the associations will intensify when you look at the slides, and, most importantly, listen to Hitler’s quotes from his book “Mein Kampf” and the words of other ideologists of the Third Reich.

(Showing slides with photographs of fascist concentration camps and self-exposing statements of the leaders and ideologists of the Third Reich from the books of Hitler “Mein Kampf”, Otto Strasser “Hitler and I”, Rauschning “Hitler Told Me”)

1. “There can only be one great power in Europe, and that power must be Germany... All other nations are bastards...”

2. “Everything that does not belong to the good race is scum.”

3. “We now begin our history of Europe. But it will not be written in ink. Our ink is blood.”

4. “The people who consider Leo Tolstoy a great writer cannot claim independent existence. Russia must be removed from the list of European powers.”

5. “The territory of Russia is inhabited by a low-quality race of Slavs who are not capable of creating their own statehood, their own culture.”

6. “National imperialism is associated with blood and finds its justification in it. Blood is the impulse that shapes history.”

Rosenberg

7. “Kill everyone who is against us, kill, kill... kill!!!”

8. “Whoever does not love us should at least be afraid of us, so that he does not dare to raise his hand against us.”

Goebbels

9. “A poorly educated but physically healthy person... is more useful to society than a mentally developed person.”

10. “Only cruelty brings a person closer to movement. If we want to create our great German Empire, we must first of all displace and exterminate the Slavic peoples - Russians, Poles, Czechs, Slovaks, Bulgarians, Ukrainians, Belarusians. There is no reason not to do this.”

11. “I need people with a strong fist, who are not stopped by principles when they need to kill someone... The world can only be governed by fear.”

And it was the vegetarian who killed 50 million people who spoke and instilled his terrible ideas in others.

Fascist ideology must not be allowed to grow again; death camps must not be allowed to reappear. The Belarusian writer Vasil Bykov convinces us of this with all his work.

3. A word about the writer - to bibliographers.

Slides (“Writers, sharing the burden of wars with their peoples, acquired the right to speak about war on behalf of these peoples,” - S. Narovchatov. - quote for the slide)

V. Bykov was faithful to one theme - the theme of the Great Patriotic War. One of the researchers of his work noted that in the writer’s heart “the ashes of burned Belarusian villages were knocking.”

(Indeed, during the war years on the territory of Belarus the Nazis burned 186 villages, where there is not a single family left; there existed about 260 death camps; died 2 million 230 thousand people- every fourth resident of this long-suffering country.)

Belarus is the birthplace of V. Bykov. He was born on June 19, 1924 in the village of Bychki, Vitebsk region, into an ordinary peasant family.

He was fond of the work of the Belarusian writer Yakub Kolas; among the Russians he singled out Tolstoy, noting his “ability to absorb and comprehend entire eras with their complexities and contradictions”; Dostoevsky, who amazed Bykov “with his extraordinary depth into man, into his inner world.” “Pushkin’s prose is also close to my writer’s nature,” said Bykov.

However, in his youth he did not think about writing. After finishing the seven-year school, he entered the sculpture department of the Vitebsk Art School.

When the war began, Bykov was sent to an engineering battalion to build defensive fortifications. He took part in heavy battles on the Southwestern Front; after graduating from the infantry school in Saratov, having received the rank of junior lieutenant, he fought again: in Ukraine, Romania, Bulgaria, Yugoslavia, Austria - until the Victory; was wounded twice.

V. Bykov is a recognized master; laureate of the State and Lenin Prizes, People's Writer of Belarus lived a difficult life. Beginning in the mid-90s, he had to endure persecution in the state press and the banning of his works. Already seriously ill, the writer was forced to leave his homeland and live abroad: in Finland, in Germany; in the Czech Republic he underwent a complex operation. In 2003, the writer returned to Minsk, where he only had a short time to live. The date of death of a man true to his theme in literature and in fate - June 22, 2003 - became symbolic.

4. About the story “Alpine Ballad”

Knowing the war firsthand, Bykov considered himself obligated to tell the truth about it - not only on behalf of those who survived, but also those who remained on the battlefields. Each work of Bykov became an event. The story “Alpine Ballad” appeared in 1964. and was a huge success.

Tell us the background to the creation of the story.

Vasil Bykov recalled:

“It happened at the end of the war in the Austrian Alps.

Here was the deep rear of the German Reich and, as everywhere in its rear, there were many industrial enterprises working for the war and, of course, all sorts of camps.

One day we occupied some town and were waiting for a new command. The long column of the artillery regiment froze on the outskirts of the street.

And suddenly, near one of the distant cars, a girl caught my eye - puny, black-haired, in a striped jacket and a dark skirt, she looked over the faces of the fighters in the car and turned her head negatively.

“Who is Ivan?” she asked.

Of course, we had many Ivanovs, but not one of them seemed to her to be the one she was looking for.

We asked which Ivan she was looking for. The girl said something like this: her name is Julia, she is an Italian from Naples. A year ago, in the summer of 1944, during the bombing of a military plant, she fled to the Alps, where she met a Russian prisoner of war. They wandered in the mountains for several days, hungry and naked, crossed the mountain range and one foggy morning ran into a police ambush. She was captured and thrown back into the camp, but she doesn’t know what happened to Ivan.

I remembered this story 18 years later, when I took up literature. And then I wrote everything that you read in “Alpine Ballad”.

5. Reader perception.

How did you read this work? What are your reading experiences?

(The story is read in one breath. This is facilitated by both the tense plot and the contrast between the bright feeling of love and the tragic situation in which the two young people find themselves).

Tell us briefly about the characters. Who are they?

(In the center of the story is an ordinary ordinary fighter Ivan Tereshka. He comes from Belarus, he is a physically strong 25-year-old guy; the peasant labor he knew from childhood tempered him, made him strong and resilient.

By chance, Ivan was captured by the Germans. The episode of captivity constantly haunts him in nightmares (after all, then, according to the law of war, to surrender meant to aid the enemy, that is, to betray the Motherland. You must shoot yourself, but not allow the enemy to capture you alive). It is not for nothing that the writer focuses attention on this problem. “You can’t take your anger out on prisoners,” Ivan thinks bitterly, “captivity is not their offense, but a misfortune, they did not surrender - they were taken, and some were even surrendered, betrayed - that happened.”

Giulia Novelli is Italian; Taking advantage of the explosion in the same way as Ivan, she flees the camp. The writer lovingly depicts Julia to us, emphasizing how beautiful, graceful, and fragile she is: she has black expressive eyes, thick hair, a flexible and thin figure, and a ringing laugh. Thanks to the image of Giulia Novelli, the author forces his hero to pass the test of love).

What did Ivan have to experience during his fourth escape?

What episodes of the work clearly indicate that a person is alive in Ivan, his human dignity is alive? (Quote)

(He has to endure physical fatigue, hunger, cold, moral torment: let us remember the episode with the “Geftling” - a German who also escaped from the camp and threatened Ivan with the Gestapo (to give him bread or not to give him - and still give it), or the episode with the Austrian, from whom Ivan, due to circumstances, takes away a loaf of bread and a jacket. The moral sense of a man who is accustomed to work and not to commit robbery prevents Ivan from calming his conscience. The writer emphasizes that in the hero’s heart, despite the harsh conditions in which he finds himself, mercy and compassion, even for the animal with which Ivan had to fight).

What artistic means help the writer compare a dog and a person?

How did the fight between man and dog end?

(Ivan is like an animal, he fiercely resists, realizing that if he does not defeat the dog, then he will have to say goodbye to freedom and life. Verbs denoting not just actions, but desperate, strong-willed actions; characteristic epithets (many are repeated both in relation to a dog, and in relation to a person) help to convey the dynamics of the battle, to see a huge thirst for life... This is also noticeable at the phonological level: alliteration helps to convey the battle between a person and an animal: sounds [s]-[z]; [zh]-[w]; [r] (these sounds convey noise, wheezing, moaning, the clanging of dog teeth, blows...) One involuntarily recalls the lines from M.Yu. Lermontov’s poem “Mtsyri” (episode “Fight with the Leopard”):

And we, intertwined like a pair of snakes,
Hugging tighter than two friends,
They fell at once, and in the darkness
The battle continued on the ground.
And I was terrible at that moment;
Like a desert leopard, angry and wild,
I was on fire and screaming like him;
As if I myself was born
In the family of leopards and wolves...

Like Lermontov's hero, Ivan wins. Not only in the physical sense, but also in the moral sense. “Then he rose to his feet and, stepping aside, grabbed a stone in the grass. I wanted to hit the dog with it, but I changed my mind...")

How did Ivan behave in captivity? Have you reconciled yourself and given up?

Captivity changed Ivan, who never considered himself a “daredevil,” strengthened his spirit, and cultivated his character. “In the regiment he did not stand out among other infantrymen. For previous battles, I received three pieces of paper with gratitude from the command and two medals “For Courage” and thought that I was not capable of more. And already in captivity, where there was no one to inspire him to heroic deeds or reward him, where they paid for the slightest disobedience with their lives, the spirit of rebellion, insolence and stubbornness somehow manifested themselves in him.”

In what scene is the spirit of rebellion most evident?

(The hero’s clash with Commander Sandler. Sandler orders Ivan to polish his boots. And he resigns himself, because he is preparing himself at this moment for something completely different. Ivan even has to endure the fact that the officer shakes the ash from his cigarette on his head. Only when Ivan sees contempt to himself in the eyes of the captive women, he is no longer able to contain his anger - he hits the officer in the face... A sudden explosion saved Ivan from death, and this provided him with the opportunity to escape, at the same time grabbing Zandler’s pistol.)

6. The meaning of the title of the story.

Teacher: An important point in studying a work is the meaning of its title.

How do you explain the semantic title of the story?

(Ballad – a genre of lyric poetry that is narrative in nature;

A poetic story on a legendary or historical theme, the ballad is characterized by tragedy, mystery, abrupt narration, and dramatic dialogue;

A poem, which is most often based on a historical event, a legend with a sharp, intense plot. The main theme of the ballad is a collision with fate, fate.)

What features of the ballad genre do we find in V. Bykov’s story?

(In Bykov’s work there is a historical theme, tragedy, and dramatic dialogue - let’s remember at least the characters’ conversations about Ivan’s pre-war life, Julia’s questions about his homeland, about the village, about collective farms...

And yet the ballad is a romantic genre. And Bykov couldn’t do without romance, after all alpine ballad: in it the writer sings of the kind of love that ultimately conquers everything: cold and hunger, torment and suffering, war and death).

7. The theme of love in the work.

How does the traditional theme of love in Russian literature develop in the story?

(The love plot in “The Alpine Ballad” enriched the story, and it is inseparable from the story of the escape. Love in this story constitutes its pathos, its very important thought, and in the literature about the war you will find few pages in which the origin and the development of love - the highest, purest and natural human feeling - in the most inhuman conditions.)

Critic L.I. Lazarev recognizes the story of the escape and the pursuit of the fugitives by the Germans as interesting, but he definitely does not like the love plot of the story. “Why was this short story needed in the story, which suddenly flared up in spite of everyday circumstances, in spite of all the deaths - love?”

Do you agree with the critic's opinion?

(Lazarev is positively mistaken when he talks about a short, supposedly suddenly flared up love between the heroes of the story. This is not sudden love. Before getting closer and loving each other, Ivan and Julia will go through a long and difficult path, full of mortal dangers. Although they fled from the same camps, there was a whole abyss between them, they were strangers to each other, as if from different planets. They were separated by everything, from language to habits, way of thinking, feelings. They slowly approached each other, overcoming mutual hostility and even hostility, real and imaginary grievances, mistrust, misunderstanding, fighting off persecution, fighting cold, hunger, exhausted and wounded in fascist captivity.

Life itself - the struggle - leads the heroes to their hard-won happiness. Fate gave Ivan and Julia only three days. This is not much from the point of view of ordinary human standards, but true happiness has a different measure.)

Of the 24 chapters of the story, 6 are dedicated to the love of Ivan and Julia. What strikes you as you read these chapters?

(For a while, we forget about the circumstances under which the heroes met and fell in love with each other. And they themselves seemed to have forgotten about the cruel reality surrounding them. Around them is fabulous beauty: the splendor of nature, meadows of alpine poppies, sunlight and warmth. Bright landscape symbolizes the spirituality, purity and holiness of the characters’ feelings. All over the world, among the “dense primordial mountains" - there are only the two of them and their love, and it’s as if anxiety and a sense of danger recede.)

How does the vocabulary change in the chapters dedicated to the love of Ivan and Julia?

(“I laughed quietly from an excess of happiness”; “light in my heart”; “unexpected incomprehensible joy”; “reality was happier than the most joyful dream”; “something great and important was born in the souls of both.” Note that Ivan’s human essence is fully revealed only in his relationship with Julia - before he could not even imagine that he was capable of love and being happy.)

Find symbolic details. Explain their meaning.

(Poppy:

In Ukraine, this flower was considered a symbol of beauty and youth;

In Belarus, a wedding ritual has been preserved - distributing porridge made from millet and poppy seeds as bringing happiness;

Among the Germans, it is considered a symbol of fertility; Even in Germany there is a belief that poppy always grows in abundance on the battlefields. The people say: “These are not flowers, this is the blood of the murdered, which rises to us from the ground and, turning into bloody poppy flowers, asks us to pray for the repose of their souls.”

Sky: a traditional symbol and even a paraphrase of God, Providence, the power that governs the world. The sky symbolizes justice, eternity, the best that is in the human soul. The sea and rivers that originate in the sky, as well as mountains, are connected with the sky. The sky is an active creative force, a source of good and life: air, clouds, fog. If we recall Tolstoy’s heroes (Prince Andrei and Pierre), the sky is their assistant and interlocutor. In Tolstoy's novel, the motif of fog and clouds accompanies the description of both the battles of Austerlitz and Borodino. It was not for nothing that the clouds appeared to Prince Andrei precisely over the battlefield. According to the beliefs of many peoples, mythical creatures that control the sky carry those killed on the battlefield to the heavenly world. And our hero Ivan is haunted by the image of the sky (and in the last seconds of his life he sees the sky).

Ivan: “He looked at the sky for a long time - alone with the universe, with a hundred stars, large and barely noticeable, with the silvery path of the Milky Way across the entire sky - and an alarming uneasiness invaded his soul more and more persistently.”

Prince Andrei: “There was nothing above him anymore except the sky - a high sky, not clear, but still immeasurably high, with gray clouds quietly creeping across it... Yes! everything is empty, everything is deception, except this endless sky...”

Do you consider the names of the heroes symbolic?

(Julia –(Italian) is associated with the heroine of Shakespeare’s tragedy – Juliet (by the way, both of these names are from the Yuli family – “curly, lush”)

Ivan - “God's mercy” (he was sent to Julia to save her).

8. The culmination of the work.

Which episode is the climax?

Episode from a film (students watch the episode)

Teacher: Watch a clip from the film and think:

What feelings does Ivan experience at these moments?

(Pursued by enemies, the heroes fall into a trap: behind are Germans with dogs, in front is a gloomy gorge, a “foggy abyss.” This episode is the culmination of the entire work: life against death, love against hate, fortitude against weapons. There is no choice. In any case - death. And Ivan does the impossible).

Teacher: The director managed to convey the poignancy of this moment. But the film is based on the book. And when we pick up a book, the first thing that catches our eye is the cover. Word to a group of artists.

8. Creative task based on the story.

Think about the cover(s). Comment on the contents of the cover.

Illustrations for the work. Which episodes? Why?

Teacher: Bykov’s story ends with an epilogue, more precisely with a letter from Julia Novelli, which she wrote to the Belarusian village of Tereshki.

Read the keywords of the epilogue.

Quote: “Of course, you have not forgotten that terrible time in the world - the black night of humanity, when thousands of people died with despair in their hearts. Some, leaving life, accepted death as a blessed liberation from the torment prepared for them by fascism - this gave them the strength to meet the end with dignity and not sin before their conscience. Others, in heroic single combat, themselves brought death to their knees, showing humanity a high example of courage, and died, surprising even their enemies, who, having won, did not feel satisfied - their victory was so relative.”

What is the significance of the epilogue?

(Through the mouth of an Italian woman, the writer shows what imprint the feat of a simple soldier left on the souls of many thousands of people).

Teacher: We know that this was Ivan’s fourth escape from the camp. The number 4 symbolizes the cross, which means crucifixion and resurrection. Ivan suffered martyrdom, and therefore we have no right to forget those who gave their lives for peace and happiness, for love and tranquility, those from whom we can and must adopt the SCIENCE OF WIN.

Get to know the sayings.

What matters is not how long, but whether you lived right.

Seneca the Younger

There are many life-affirming feelings: grief and overcoming grief, suffering and overcoming suffering, overcoming tragedy, overcoming death.

M. Gorky

Each deceased redeems the death of another... We must always remember the feat of the departed; perhaps then evil will disappear and the most cherished human dream will come true - to bring the dead back to life.

Yu. Nagibin

Which of them can serve as a unique result of our thoughts on V. Bykov’s story “The Alpine Ballad”?

9. Homework.

Write a mini-essay commenting on the words of Yu. Nagibin:

“Each deceased redeems the death of another... We must always remember the feat of the departed; perhaps then evil will disappear and the most cherished human dream will come true - to bring the dead back to life...”

“Wow, Vasil Vladimirovich is harsh!” - they talked about the writer every now and then. It was true that he was rarely caught smiling.

Life and work of Vasil Bykov.

Vasil Vladimirovich Bykov was born in 1924 into a Belarusian peasant family, in the village of Cherenovshchina, Vitebsk region. In the pre-war years, he entered the sculpture department of the Vitebsk Art School, one of the best educational institutions in the country. But in 1940, due to the cancellation of the scholarship, Bykov was forced to quit his studies and look for income to feed his family. The war found him in Ukraine.

He fought as the commander of first a rifle platoon, then a platoon of machine gunners and a platoon of anti-tank guns. He was wounded twice and received well-deserved awards. He literally miraculously escaped in the Kirovograd region, where until very recently there was an obelisk, over the mass grave of which his name was carved. Bykov found out about this many years after the end of the war, having visited the site of the bloody battles, and then a happy accident saved him. Seriously wounded, he crawled out of the hut, which was destroyed by fascist tanks a few minutes later. He was picked up later, apparently by orderlies from another unit, and in the regiment where he fought, he was considered dead, sending his mother a “funeral”.

After the war, Bykov served in Ukraine, Belarus and the Far East. In the fall of 1955, he began working at Grodno Pravda, writing correspondence, essays, and feuilletons.

Since 1956, his stories began to appear in the republican press. However, Vasil Bykov traces his literary destiny back to 1951, when in the Kuril Islands he wrote the stories “The Death of a Man” and “Oboznik”, published several years later. At the same time, the first researcher of V. Bykov’s work, N. Buran, noted that in 1949 two stories were published in Grodno Pravda - “On That Day” and “In the First Battle”, which were never republished. Apparently, this is due to the fact that Bykov considered it necessary not to include his early literary experience in his creative period.
War will become not only the main, but almost the only theme of the writer. When asked why he only writes about the war, V. Bykov answered: “Probably because the past war was comprehensive and there was a place for everything... During the war, as never before, neither before nor after it, the importance of human morality, the inviolability basic moral criteria."
Thus, the revelation of the spiritual world of man lies at the origins of the writer’s creative path. Starting from the first stories and tales, Bykov raises those deep layers of the moral life of society and man, which even now are in a conflict of opinions.
In Bykov's works there are no grandiose tank battles or decisive operations. “I am interested,” he wrote, “first of all, not in the war itself, not even in its way of life and the technology of combat, although all this is also important for art, but, mainly, in the moral world of man, the possibilities of his spirit.” The spatio-temporal organization of Bykov's works is focused on extreme situations, borderline between life and death. A person under these conditions always finds himself at the extreme limit of his moral and physical strength. Step by step, Bykov leads his heroes through a chain of cruel circumstances, gradually revealing the main thing that is inherent in them - strength of spirit, unshakability of convictions, moral uncompromisingness in some, cowardice, unprincipledness, spiritual callousness, cruelty in others. Thus, it is morality and ethics that determine a person’s behavior and choice in critical situations.
Bykov's early work dates back to the 50-60s.
In the first story, according to the writer, “The Death of a Man,” the world extends no further than the gaze of a seriously wounded soldier lying on the ground. At first it is tall forest grass, fern bushes, and young alder branches overhead. Then, when he moves towards the road, he sees terrible traces of the recent battle. Thus, in this story, exactly as much war as it can contain is carried within this person. In the stories “Oboznik”, “Loss” (1956), “The Fourth Failure” (1962), Bykov shows a person’s mastery of life near constant mortal danger and the honest fulfillment of his duties. Thus, the driver Maxim Koren (“Oboznik”), the young machine gunner Matuzko (“Loss”), and the unlucky infantryman Turok (“Fourth Failure”) were able to resist in difficult times and find in themselves “the strength with which it became easier to live in war." Of particular importance in the writer’s creative laboratory are the stories of 1959 - “Duel”, “Relay Race”, “At Sunrise”, as well as “Order” (1958), which are something too fleeting, barely outlined, but completed in their own way. “The Duel,” like The Death of a Man, is characterized by the absence of the names of the heroes and the name of the area where the action is taking place. By this, Bykov emphasizes that such an event could happen to many and in many places. “The Duel” is the bottom of violence, “a bloody symbol of terrible human villainy,” where four captured soldiers will be torn to pieces by angry German shepherds. Starting with this story, Bykov and in his subsequent works thought about and re-experienced war as a state of life when, it seems, all the established norms and rules of human existence are shifted, crossed out, inverted. But he, a participant in the war, was most struck by man’s resistance to this new, unnatural state of life.
At the first stage of the creative path, the tragic collision was stated in the very title of the work, for example, “The Death of a Man”, “The Last Fighter”, “Loss”, “It Doesn’t Hurt the Dead”, etc. Even the seemingly neutral title of the story “The Crane Cry” creates, on the one hand, an allusion to ancient legends about birds carrying away the souls of the dead, on the other hand, a symbol of separation, farewell.
In 1956-1959, Bykov would write several “peaceful” stories related to the memory of the war - “At Night”, “Traces on the Ground”, “Bad Weather”, “Happiness”, etc. And only with the story “Crane Cry”, written by in 1959, the writer returned to depicting war and discovered a new “unit” of artistic thought - the genre of the story. A few years later, Bykov would say the following about this choice: “When starting a new thing, I know for sure that it will be a story... I don’t feel cramped in this genre that I’ve lived with. I think it's a very rich form of prose."
In 1962, the magazine “Friendship of Peoples” published three stories “Crane Cry” (1959), “Front Page” (in Belarusian - “Treason” (1960) and “The Third Rocket” (1961), which brought the aspiring writer a wide fame and was awarded the Republican Prize named after Yakub Kolas. The stories “Alpine Ballad” and “Trap” (1964), “It Doesn’t Hurt the Dead” (1966), “Attack on the Move” (1968), “Kruglyansky Bridge” also belong to this stage "(1969), etc.
In “The Crane Cry,” all the events—several hours in the life of a small group of fighters—are interpreted by the writer in the aspect of the heroes’ attitude to their military duty. When exploring characters in the structure of a local story (limited space, short duration of action), the writer introduces the “binocular principle”, which is close directly to the reader. An enlarged plan of the hero’s vision allows us to highlight the main thing in the character.
The principle of organization of the story “The Crane Cry” is determined by the goal - to analyze the motives of people’s behavior, heroism and cowardice, fluctuations between duty and fear. The story, consisting of short story chapters dedicated to each of the characters, reveals the inconsistency and complexity of the inner lives of Pshenichny, Glechik, and Fischer. The spatio-temporal boundaries of the story are “opened” by retreats into the heroes’ past, into pre-war life. In flashbacks-memories, the “history” of character, its formation, is revealed.
In the story “Front Page,” there is a noticeable complication of the situation itself, in which a person’s moral capabilities are tested: the moral “duel” of three soldiers returning to their own after an unsuccessful battle. Blishchinsky, who has taken the path of betrayal, is opposed by Shcherbak and Timoshkin, courageous, honest, and principled people. Timoshkin's thoughts about the future are the most important fragment of the narrative in revealing the ideological content and general pathos of the story. There is reason to talk about the journalistic nature of this fragment, when Timoshkin’s private thoughts about the future move into the general, author’s plan of philosophical and journalistic understanding of what is happening.
In Bykov’s work, the most important part of the plots was the constant overcoming of the war space by the heroes, which requires full dedication of vitality and absolute concentration on momentary action (“Wolf Pack”, “Alpine Ballad”, “Sotnikov”, “Until Dawn”, etc.).
Thus, the events of the story “Kruglyansky Bridge” begin to unfold only at the very goal, at the bridge. However, it was important for the writer to show what a difficult space full of dangers the group of guerrilla bombers overcame. Therefore, in the compositional-narrative outline, their path could not be omitted or only indicated as a technical detail.
In this work, Bykov poses the problem of human responsibility, the artistic solution of which becomes polemical and acute. Firstly, the writer turns to the image of a guerrilla war, where most often there is no order on how to act, and a person is guided by conscience, life principles (the problem is complicated by the fact that a military operation is carried out at the cost of a child’s life) and, secondly, thanks to the collision of various , irreconcilable points of view (Britvin, Stepka, Maslakov, Danila) in relation to such concepts as duty, conscience, cruelty. The open end of the story is seen as a kind of decision that goes beyond the competence of the heroes. It is the reader who is given the right to “administer” a fair trial according to the laws of high morality.
However, in our opinion, in no other work by Bykov does the battlefield gain such spatial strength and material authenticity as in the story “To Live Until Dawn.” It carries the very pressure of war and the unpredictability of circumstances in the fall of forty-one. Thus, by the will of blind chance, the fate of Ivanovsky, like that of the experienced intelligence officer Captain Volokh, developed into a chain of cruel and tragic failures. Ivanovsky, at the head of a sabotage group, went to the rear of the Germans with the goal of destroying an ammunition depot. However, upon reaching the place, I realized that they did not have time - the base was redeployed. Having sent the group back, Ivanovsky, taking with him the fighter Pivovarov, goes in search of the warehouse. At night they will stumble upon the German headquarters, where they will be accidentally noticed. Such harsh circumstances, constantly haunting the hero, reflected the real picture of that time. And Ivanovsky’s strength is that he fights to the end, until dawn.
Thus, the circumstances in which Bykov’s heroes act are changeable, unexpected, full of vicissitudes and tragic turns. At the same time, they lack any degree of conventionality; they completely belong to war time and space. These circumstances are either related to the difficulties of a certain period of the war (“Crane Cry”, “Until Dawn”), or to the course of military operations on a certain segment of the front (“Front Page”, “The Third Rocket”, “It Doesn’t Hurt the Dead”). .
The second stage of creativity, which brought Bykov official recognition and world fame, began in the 70s. At this time, the stories “Sotnikov” (1970), “Obelisk” (1972), “Until Dawn” (1973), “The Wolf Pack” (1975), “His Battalion” (1976), “To Go and Never Return” were written "(1978). These works were given particular relevance and depth by the fact that the events of the war were most often presented as memories of the surviving characters. Appealing to the memory of the heroes seemed to expand the artistic space of the stories. The plot time, compressed to several days and sometimes hours, was supplemented - according to the psychology of memories - by events throughout the lives of the characters. Thus, in “The Wolf Pack” Bykov shows one episode that is not plot-related to the main line of the story, but plays a significant role in revealing the character of the main character. One day in the winter of '43, Levchuk and a wounded comrade were surrounded on the ice of a lake by a wolf pack. Then Sashka Kolobov invites Levchuk to leave him alone and make his way to the village for help. Having agreed, Levchuk realized as soon as he heard the shots that he had made an unforgivable mistake. Having rushed back, he did not have time - the Germans “committed their reprisals instead of wolves.” Remembering that night when “another paid for his life with his own life,” remembering the high responsibility of a person to people and to himself for his actions, one day Levchuk will carry a child in his arms from the roaring hell. And thirty years later, the hero, going to meet the saved one, dreams of only one thing, that he be “first of all... a man.”
In addition to the central character Levchuk, the only one who survived and whose memories form the main plot of the work, three characters are brought to the fore - Griboyed, Klava and Tikhonov, in whose images Bykov showed ordinary Soviet people who steadfastly and courageously endured, even at the cost of life, hardships and trials of war.
The uniqueness of Bykov's creative style lies in the fact that each of his works, for all its independence, completeness and completeness, is at the same time a certain kind of continuation of his previous books. This trend can be seen especially clearly in the stories of the so-called “partisan” cycle: “Kruglyansky Bridge” (1969), “Sotnikov” (1970), “Obelisk” (1972), “The Wolf Pack” (1975), “To Go and Not to Return” (1978). In them, as in other works, Bykov strives to show those moral components of a person’s spiritual world and those facets of character that predetermine his behavior, revealing strength or weakness, heroism or betrayal. However, while focusing on the psychology of heroism, the writer, in our opinion, does not always pay sufficient attention to the other side of heroism - its effectiveness. Thus, Lyakhovich, Preobrazhensky, Sotnikov, and Moroz reveal themselves fully only at the moment when they are left alone with the enemy and their own conscience. At the same time, the reader knows practically nothing about their actions and actions until the last, decisive milestone. So, about Sotnikov’s struggle until the moment he was captured, it is only said that he covered the retreat of his comrades with fire. However, the lack of decisiveness and combat activity is explained by the fact that the main characters of these stories are shown mainly on a moral plane. Strong in spirit, they turn out to be weak physically (the frail “bespectacled” Lyakhovich, the elderly Preobrazhensky suffering from a cough, the frostbitten Sotnikov, the disabled Moroz). While their moral antipodes - Britvin, Rybak, Ksendzov - are shown as strong and decisive people. The hero of the story “To Live Until Dawn” appears differently (for this story, as well as for the story “Obelisk,” the writer was awarded the USSR State Prize), Lieutenant Ivanovsky, a spiritually integral and active person. This is a typical image of a first-line commander who shared all the hardships of trench life with ordinary soldiers.
Among the “partisan” stories, there is not a single one that does not depict children. The Jewish girl Basya and the children of Demchikha ("Sotnikov"), Vitka, who died on the bridge ("Kruglyansky Bridge"), Volodka, who died quietly in a forest dugout ("Wolf Pack"), the boys of Moroz ("Obelisk") - all of them rarely end up in the center of the author's attention, but every time their depiction shows pain and a keen sense of their defenselessness in the face of what is about to happen.
“Sign of Trouble” (1982) becomes a kind of transition to the modern stage (80-90s), followed by the stories “Quarry” (1986), “In the Fog” (1987), “Roundup” (1990), “Cold” "(1993). During these years, Bykov discovered a new ideological and thematic range with a clearly stated epic tendency, with an appeal to the era of the 30s.
In the story “Sign of Trouble,” the writer expands the horizons of his creative search, artistically exploring new layers of folk life. In 1986, Bykov received the Lenin Prize for this work. One of the first to respond to the appearance of “Sign of Trouble” was G. Baklanov, who correctly noted that “in none of his (Bykov’s) previous works was the simple course of life so naturally conveyed.” For the first time, the heroes’ past, which carries the most important additional meaning and historical depth, acquired artistic equality with the present. Thus, Bykov showed the connecting role of events, which largely determined the fate of a generation and the fate of the country. It is no coincidence that at the very beginning of the story he speaks of “timeless all-encompassing human memory, endowed with the eternal ability to transform the past into the present, to connect the present and the future.”
Starting with the “partisan” stories, Bykov’s attention was drawn to the hidden life of peasant villages, but still located, as it were, on the sidelines of the main events. And only in the story “Sign of Trouble” does village life shift to the center of the narrative. The work opens with a picture of devastation, deathly desolation. This is the very beginning of autumn forty-one, a roadside farm in one of the remote corners of Belarus. The reader is enveloped in an oppressive atmosphere of unhappiness and misfortune, clearly felt already in the title of the story. In their declining years, an abyss opened up before the heroes - “a new life, terrible in its unfamiliarity, under a German.” The plot of the work develops slowly, but with each new sign of trouble, the ring of circumstances around Stepanida and Petrok shrinks, filling with viscous, anxious anticipation. Axes are clattering by the river - the Germans are building a bridge, I am having difficult dreams, a crow is cawing over a farmstead, I am remembering a dead lark from that long-ago, happy spring, when, after being a farm laborer, they plowed their land for the first time in my life, I can see before my eyes the painful death of a village boy, Yankee, with whom it was as if a strong peasant family was cut short. Thus, the sense of moving time in the story “Sign of Trouble,” during which the characters and various circumstances change significantly, is not created by indicating large time intervals, but is achieved mainly through the gradual unfolding of the characters’ inner lives.
For the first time, Bykov spoke not about people united by one trench, one combat mission, one partisan sortie (the story “The Quarry” had not yet been written), but about those whom the war found at home, within their own walls, in their usual peasant circle. The cautious, quiet, always striving to “beware of trouble” Petrok and the decisive, proud, hard-working Stepanida are generally new images for Bykov. During their lives, Petrok and Stepanida became witnesses and participants in the country’s grandiose epochal events: revolution, civil war, collectivization and the Patriotic War. Transferring events to the times of collectivization, Bykov shows that life for these old people was never easy. But they always tried to live according to those unclouded moral laws that were formed over centuries in the consciousness of the people. Stepanida always knew how to stand up for herself. And then, when she and Petrok received, during the division of the estate of Pan Adolf Jachimovsky, for whom “for six years, without sparing herself, she worked as a farm laborer,” a piece of land - a loamy hillock, so cursed and barren that they nicknamed it Golgotha; and then, when, with the beginning of collectivization, she, without hesitation, signed up for the collective farm; and when she was the first to oppose the dispossession of the middle peasant Ivan Guzhov. Petrok and Stepanida had the firm conviction that “you need to live with people kindly if you want to be treated like a human being”, that “man is so constructed that he responds good to good and can hardly return good to evil . Evil cannot give birth to anything other than evil; it is not capable of anything else.” Therefore, the heroes of the story openly challenge the enemy, burning their house and themselves, proudly and rebelliously accepting death, without revealing to the police the secret of burying the bomb. At this critical moment, they reveal the main thing in themselves that has been suppressed for the time being by a difficult life, exorbitant work and everyday worries.
Bykov’s choice of a military theme was due to two reasons: historical (people should know at what human cost the victory over fascism was won) and modern (as he himself emphasized) - we don’t go on reconnaissance today, but we still need those moral principles that nourished during the war years, heroism, honesty, courage, sense of responsibility, etc. And if at the beginning of his creative career the writer glorifies the feat of a person who fights to the last drop of blood, then later he will analyze the origins of this feat - the inexhaustible moral possibilities of the human spirit. In this sense, the movement of works with similar plot conflicts is indicative - from the romantic story “The Death of a Man” to the fulfilled
the deepest realistic psychologism of the story “Until Dawn”.

People's writer of Belarus Vasil Bykov died on June 22, 2003 at 20:30 in the intensive care unit of the oncology hospital in Borovlyany, near Minsk.

Captain (1944). He was awarded the Soviet Order of Lenin (06/18/1984), the Order of the Patriotic War 1st degree (03/11/1985), the Order of the Red Banner of Labor (06/28/1974), the Order of the Red Star (1944), the Russian Order of Friendship (1994), and medals.

Laureate of the Lenin Prize (1986), State Prize of the USSR (1974), State Prize of the Belarusian SSR named after Yakub Kolas (1978).

In the city of Vitebsk (Belarus), a memorial plaque was installed on the building of the former art school (now there is a children's art school), where V.V. Bykov studied.

In memory of Vasil Bykov

I remember in the biblical land,
faithful to my friends' shadows,
with whom life has already flown by,
how did you ascend your Golgotha
along the burning bloody steps,
cross - carrying your bitter truth.
I will consecrate a candle at the Holy Sepulcher
flame of star rays
on this hectic day I -
and I will light a candle on Calvary
in memory of your Golgotha
and your Ascension.

David Simanovich

The main theme of the works of Vasil Bykov (Sotnikov).
Vasil Bykov in his work mainly covered military topics, but in his works there are few battle scenes or descriptions of spectacular historical events, but he manages to convey with amazing depth the feelings of an ordinary soldier in a big war.

Describing the most insignificant situations, the author gives answers to complex questions. Unlike our writers such as Bondarev, Baklanov, Ananyev, who like to describe large-scale battles, Vasil Bykov builds his plots only on the dramatic moments of a war of local, as they say, significance with the participation of ordinary soldiers.

Step by step, analyzing the motives for the behavior of fighters in extreme situations, the writer reveals to the reader the depths of the psychological states and experiences of his heroes. This quality of Bykov’s prose distinguishes many of his works: “Alpine Ballad”, “Trap”, “It Doesn’t Hurt the Dead” and others.

The plot of the story “Sotnikov” is simple: partisans Sotnikov and Rybak go to the village to get food for the detachment. Sotnikov is tormented by a “tearing” cough, which will betray him and his partner to the enemy. The soldier could easily evade the mission, but he wants to show his comrades that he is not afraid of “dirty work” or danger, and volunteers to go.

The fisherman is healthy, strong and ready for anything. It seems to the reader that the strong and quick-witted soldier Rybak is more prepared to commit a brave act than the frail and sick Sotnikov.

But if Rybak, who all his life “managed to find some way out,” is internally ready to commit betrayal, then Sotnikov remains faithful to the duty of a man and citizen until his last breath.

Of course, Rybak is not devoid of positive human qualities, but after he and his comrade are captured, his moral decline begins. In order to stay alive, he joins the ranks of the police, betrays his friend and even becomes his executioner.

Sotnikov behaves like a real defender of the Motherland. He does not think about himself, a simple soldier who will be killed like so many other fighters. “Well, I had to muster my last strength to face death with dignity. Otherwise, what is life for then? It is too difficult for a person to be careless about its end.”

Even when Sotnikov is led to the gallows, he still tries to protect innocent people. He does everything right so that the Fatherland is proud of his actions. Victory in the fight against the enemy was built on people like Sotnikov.

The work of Vasil Bykov is tragic in its sound, just as the war itself is tragic, taking tens of millions of human lives. The writer talks about people who are strong in spirit, capable of rising above circumstances and death itself.

I believe that Bykov is right in paying tribute to ordinary soldiers and glorifying their heroism, since it was thanks to their courage that our Motherland survived that difficult war. The names of many fighters may be unknown, but their feat is immortal.

Now the great country that Sotnikov defended, for which he died with dignity, no longer exists. But that's not the point at all. Vasil Bykov's heroes live their lives outside of political upheavals. For me, Sotnikov will always be an example of courage and perseverance. I would feel poorer spiritually if there were no heroes of Vasil Bykov in literature.

Sotnikov in ordinary life would be an unremarkable person. He would not have climbed into management, he would not have sought to somehow stand out among people. He would honestly fulfill his duty and treat everything conscientiously. And they would say about him that he is a very decent person.

That's what's important about Sotnikov. No one could accuse him of dishonesty. I have met such people. I am sure that in an extreme situation they would behave exactly like Sotnikov, because otherwise they do not know how to live.

A Man at War (based on the story “Sotnikov” by Vasil Bykov)
The theme of the Great Patriotic War occupies an important place in the work of Vasil Bykov. Honor, conscience, dignity, fidelity to one's duty - these are the problems addressed by the writer. But still, the main theme of Bykov’s work remains, of course, the theme of heroism. Moreover, the writer is interested not so much in its external manifestation, but in how a person comes to feat, to self-sacrifice, why, in the name of what he performs a heroic act.

A characteristic feature of Bykov's war stories is that in the center of the image there is a person in an extreme situation, and the situation is such that the hero must immediately make a choice: heroic death or the shameful life of a traitor. And it is not by chance that the author resorts to such a technique, because in an ordinary environment a person’s character cannot be fully revealed. In this regard, the story “Sotnikov” is no exception.

On the first pages of the story, we are presented with two fighters from one of the partisan detachments - Sotnikov and Rybak, who set out on a mission on a frosty, windy night. They are tasked with obtaining food for their tired, exhausted comrades at all costs. But we see that the fighters are in an unequal position: Sotnikov goes on a mission with a severe cold. And to Rybak’s question why he didn’t refuse to go if he was sick, he answers: “That’s why he didn’t refuse, because others refused.” These words of Sotnikov tell us about his highly developed sense of duty, consciousness, courage, endurance...

As the story progresses, we see that the main characters are haunted by one failure after another. Firstly, the farm where they hoped to get food was burned down. Secondly, Sotnikov was wounded in a shootout with the enemy.

This detail is interesting - the author accompanies external action with internal action. This is especially noticeable in the development of the image of the Fisherman. At first, Rybak is a little unhappy with Sotnikov, his illness, which does not allow them to move fast enough. This slight discontent is replaced either by pity and sympathy, or by involuntary irritation. But Bykov shows the completely worthy behavior of Rybak, who helps Sotnikov carry the weapon, and does not leave him alone when he cannot walk due to injury.

By nature, Rybak is by no means a traitor, much less a disguised enemy, but a normal person with his own merits and demerits. The fisherman is a strong and reliable guy, in whom there lives a feeling of brotherhood, camaraderie, and mutual assistance. But this is how it is in a normal combat situation. Left alone with the wounded Sotnikov, choking from coughing, among the snowdrifts, without food and in constant anxiety of being captured by the Nazis, Rybak breaks down. And when he is captured, a breakdown occurs in his soul. He wants to live. The fighter does not want to betray his homeland, he is trying to find a way out of the situation in which he finds himself. His conversation with Sotnikov after the interrogation is noteworthy:

“Listen,” Rybak whispered hotly after a pause. - We need to pretend to be humble. You know, they offered me to join the police,” Rybak said, somehow without meaning to. Sotnikov’s eyelids trembled, his eyes sparkled with hidden, anxious attention. - That's how it is! So what, will you run? - I won’t run, don’t be afraid. I'll bargain with them. “Look, you’ll bargain,” Sotnikov hissed sarcastically.”

The fisherman agrees to serve as a policeman. He hopes to take advantage of this to escape to his own people. But Sotnikov was not mistaken, foreseeing that the powerful Hitler machine would destroy Rybak, that the cunning would turn into betrayal.

The ending of the story is very tragic: a former partisan, on the orders of the Nazis, executes his former squad comrade. After this, Rybak’s life, previously so dear to him, suddenly loses its meaning and turns out to be so unbearable that he thinks about suicide. But he fails to do this either, since the police took his belt off. This is “the insidious fate of a man lost in war,” writes the author.

What about Sotnikov? He has a different path. He chooses death, thereby trying to save innocent people. A heroic death to save the lives of other people is the only possible path for him. It was not for nothing that before the execution, Sotnikov noticed among the villagers herded to this place a little boy in his father’s old Budenovka. The fighter smiled at him with only his eyes, thinking at the same time that for the sake of people like this little guy he was going to die.

V. Bykov's works about the Great Patriotic War reveal to us the full horror of this formidable and tragic event, making us understand at what cost the victory was won. They teach goodness, humanity, justice.

ABSTRACT
on the topic of:
"The life and work of Vasil Bykov."

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Writer Vasil Vladimirovich Bykov - biography, creativity and interesting facts. Presentation on the topic: "The life and work of Vasil Bykov when a person commits one or another moral act, then by this he is not yet virtuous; he is virtuous only in that."