The composition “A real writer is the same as the ancient prophet A. P. Chekhov (According to one of the works of Russian literature - N. V. Gogol Dead Souls). Essay on the topic “A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” A. Chekhov.

To the work of the great writer, laureate Nobel Prize It is scary to touch a person about whom a lot has been said, but I cannot but write about his story "Cancer Ward" - a work to which he gave, albeit a small, but part of his life.

They tried to deprive her long years... But he clung to life and endured all the hardships concentration camps, all their horror; he brought up his own views on what is happening around, not borrowed from anyone; these views he set out in his story.

One of her themes is that, whatever the person, good or bad, who has received higher education or, conversely, uneducated, no matter what position he occupies, when he comprehends almost incurable disease, ceases to be a high-ranking official, turns into an ordinary person who just wants to live.

Solzhenitsyn described life in cancer case, in the most terrible of hospitals, where people doomed to die lie. Along with the description of a person's struggle for life, for the desire to simply coexist without pain, without torment, Solzhenitsyn, always and under any circumstances distinguished by his thirst for life, raised many problems. Their range is wide enough: from thoughts about life, about the relationship between a man and a woman to the purpose of literature.

Solzhenitsyn pushes people in one of the chambers of different nationalities, professions, adherents of various ideas. One of these patients was Oleg Kostoglotov, an exile, a former convict, and the other was Rusanov, the complete opposite of Kostoglotov: a party leader, "a valuable worker, an honored person," loyal to the party.

Having shown the events of the story first through the eyes of Rusanov, and then through the perception of Kostoglotov, Solzhenitsyn made it clear that the government would gradually change, that the Rusanovs with their "questionnaire economy", with their methods of various warnings, would cease to exist, and the Kostoglotovs, who did not accept such concepts as "The remnants of bourgeois consciousness" and "social origin".

Solzhenitsyn wrote the story, trying to show different views on life: from the point of view of Vega, and from the point of view of Asya, Dema, Vadim and many others. In some ways, their views are similar, in some ways they differ. But mostly Solzhenitsyn wants to show the wrong of those who reflect, like Rusanov's daughter, Rusanov himself. They are used to looking for people somewhere below, to think only of themselves, not to think about others.

Kostoglotov is the spokesman for Solzhenitsyn's ideas; through Oleg's disputes with the chamber, through his conversations in the camps, he reveals the paradox of life, or rather the fact that there was no meaning in such a life, just as there is no meaning in the literature that Avieta extols. According to her, sincerity in literature is harmful. “Literature is to entertain us when we are in a bad mood,” says Avieta, not realizing that literature is really a teacher of life. If you need to write about what should be, then it means that there will never be truth, since no one can say for sure what exactly will be. And not everyone can see and describe what is, and it is unlikely that Avieta will be able to imagine even a hundredth part of the horror when a woman ceases to be a woman, but becomes a workhorse, which subsequently cannot have children.

Zoya reveals to Kostoglotov all the horror of hormone therapy, and the fact that he is deprived of the right to continue himself terrifies him: “At first I was deprived of my own life... Now they are being deprived of the right ... to continue oneself. Who and why will I be now? .. The worst of the freaks! On mercy? .. On charity? .. ”And no matter how much Ephraim, Vadim, Rusanov argue about the meaning of life, no matter how much they talk about him, for everyone he will remain the same - to leave someone behind. Kostoglotov went through everything, and this left its mark on his value system, on his concept of life.

The fact that Solzhenitsyn spent a long time in the camps also influenced his language and style of writing the story. But the work only benefits from this, since everything that he writes about becomes available to a person, he is, as it were, transferred to the hospital and takes part in everything that happens. But hardly any of us will be able to fully understand Kostoglotov, who sees the prison everywhere, tries to find everything and finds a camp approach, even in the zoo.

The camp crippled his life, and he realizes that it is unlikely that he will be able to start his old life, that the road back to him is closed. And millions more are the same lost people thrown out into the vastness of the country, people who, communicating with those who did not touch the camp, understand that there will always be a wall of incomprehension between them, just as Lyudmila Afanasyevna Kostoglotova did not understand.

We grieve that these people who have been crippled by life, disfigured by the regime, who have shown such an irrepressible thirst for life, have experienced terrible suffering, are now forced to endure the rejection of society. They have to give up the life they have longed for, the life they deserve.

Composition

Monument to those tortured during the investigation,
shot in basements, killed
on stages and in camps - created.
L. Chukovskaya

The truth is well known: each epoch creates its own hero, who most fully embodied its problems, contradictions, and aspirations. Literature plays an important role in this. Great masters of the word not only created their own literary heroes, bearers of the spirit of the times, but they themselves became the masters of thoughts for many generations. Therefore, we are talking about the era of A. Pushkin, F. Dostoevsky, L. Tolstoy, A. Blok.
The XX century turned out to be extremely rich in events, leaders, rulers of destinies. Where are they, these idols of millions, now? The rushing movement of time erased from memory folk names many, only a few remained, among them - Alexander Solzhenitsyn. How many efforts have been made to make people forget this name! All in vain. A. Solzhenitsyn is forever “registered” in the history of Russia and its great literature.
Nowadays, literary scholars, politicians, philosophers are struggling with the question of who Solzhenitsyn is: a writer, publicist or public figure? I think that Solzhenitsyn is a phenomenon, an example of the harmonious unity of the talent of a writer, the wisdom of a thinker and the amazing personal courage of a patriot.
But how did a great fighter against totalitarianism grow out of a brilliant student of the Physics and Mathematics Faculty of Rostov University, an active Komsomol member? Solzhenitsyn himself singled out three milestones on the path of his civil formation: war, camp, cancer.
Having passed the front-line roads from Orel to East Prussia, Solzhenitsyn was arrested and sentenced to eight years in forced labor camps. Having barely freed himself, finding himself in an eternal settlement, he falls ill and is forced to go to Tashkent, to an oncological clinic. But here, too, Solzhenitsyn emerged victorious. It is at this moment that he realizes his further destiny: "I was not killed at the front, I did not die in the camp, I did not die of cancer in order to be able to write about the atrocities that have been happening in our country for decades."
Camp theme is present in almost every work of Solzhenitsyn. However, his civil and literary feat was “The Gulag Archipelago”, which has the following dedication: “To everyone who did not have enough life to tell about it. And may they forgive me that I did not see everything, I didn’t remember everything, I didn’t guess everything ”.
227 people sent their memories of the Gulag to Solzhenitsyn. On behalf of these people and many others, living and dead, the writer speaks of those horrors, which were later covered up with quite decent words “personality cult”.
"The GULAG Archipelago", consisting of seven parts, covers all periods of prisoners' life: arrest, prison, stage, camp, exile, release and much more about what we people are early XXI century, we can not even guess.
But the work is strong not only for this actual material... Solzhenitsyn actively uses images here Christian culture... The agony of a prisoner reared up on a rack is compared to the suffering of the Son of God. But the author himself hears a girl crying in a nearby women's camp, left as punishment in a forty-degree frost. In powerlessness to help, he swears: "To this fire and to you, girl, I promise: the whole world will read about it." And behind these words there are others, said by Jesus Christ to Mary: "It will be said in her memory and about what she did."
Great Russian literature comes to the aid of the writer. He recalls the names of L. Tolstoy, F. Dostoevsky, A. Chekhov. With the name of Dostoevsky, who wrote about the teardrop of a ruined child, the book includes the theme “GULAG and Children”. It turns out that in 1934 the USSR adopted a decree according to which citizens who have reached the age of twelve can be arrested and executed.
Recalling A. P. Chekhov, Solzhenitsyn writes: “If Chekhov's intellectuals, who were wondering what would happen in twenty or thirty years, were told that in forty years there would be a torture investigation in Russia ..., all the heroes would go to a madhouse ”.
As a result of all this, a terrible image of Evil is created in the book, which can be resisted only by maintaining the purity of the soul and moral principles, and the author himself acts as a prophet who burns our hearts with a “verb”.
And later, in the 70s, Solzhenitsyn would not forget this lofty role for a minute. The result of his fight against Evil will be expulsion. But even there, in distant Vermont, he felt a blood connection with Russia.
In 1994, Solzhenitsyn returned to his homeland. He dreamed of being useful to his people. What a pity that we were unable to hear and understand him, this great writer and faithful son of Russia!

In the nineties, the following definition appeared in our literary criticism: “unclaimed talent”.
"Unclaimed" by time, epoch, readers. This definition can rightfully be attributed to M.A. Bulgakov. Why
Was the writer's powerful, unique, perspicacious talent not suited to the court of his contemporaries? What is the mystery of today
universal admiration for the work of Bulgakov? According to polls public opinion, the novel "The Master and Margarita"
named the best Russian novel of the twentieth century.

The point is, first of all, that it was in Bulgakov's work that a type of person emerged who actively opposed himself to the system with its demand to completely obey and serve the totalitarian power. In an atmosphere of universal fear and lack of freedom, such human type, of course, turned out to be dangerous and unnecessary, this type was destroyed in the truest sense of the word. But today he is rehabilitated and finally took his place in history and literature. So Bulgakov found a second life, turned out to be one of our most widely read writers. And we saw in the era depicted by Bulgakov, not only a panorama of a certain segment of history, but, more importantly, the most acute problem human life: will a person survive, will he retain his human principles, if it is reduced to naught, culture is destroyed.

Bulgakov's era is a time of exacerbation of the conflict between power and culture. The writer himself fully experienced all the consequences of this clash of culture and politics: bans on publications, productions, creativity and free thinking in general. This is the atmosphere of life, and, consequently, of many of the artist's works and, first of all, of his novel "The Master and Margarita".

The central theme of The Master and Margarita is the fate of the bearer of culture, artist, creator in the world of social distress and in a situation of destruction of culture as such. Sharply satirically outlined new intelligentsia in the novel. Cultural figures of Moscow - MASSOLIT employees - are engaged in the distribution of summer cottages and vouchers. They are not interested in issues of art, culture, they are occupied with completely different problems: how to successfully write an article or a little story to get an apartment or at least a ticket to the south. All of them are alien to creativity, they are bureaucrats from art, nothing more. This is the environment, this is new reality, in which there is no place for the Master. And the Master is actually outside of Moscow, he is in a "psychiatric hospital". It is inconvenient for the new "art" and, therefore, isolated. Why is it inconvenient? First of all, because he is free, he has a power that can undermine the foundations of the system. This is the power of free thought, the power of creativity. The master lives by his art, cannot imagine life without not! th. Bulgakov is close to the image of the Master, although it would be a mistake to identify the hero of the novel with its author. The master is not a fighter, he accepts only art, but not politics, he is far from it. Although he perfectly understands: freedom of creativity, freedom of thought, insubordination of the artist's personality state system violence - an integral part of any creativity. In Russia, a poet, a writer is always a prophet. This is the tradition of the Russian classical literature so beloved by Bulgakov. The world, power, state, destroying their prophet, do not gain anything, but they lose a lot: reason, conscience, humanity.

This idea was especially clearly and vividly manifested in the Master's novel about Yeshua and Pontius Pilate. For Pilate, the modern reader is free to see anyone, any leader of a totalitarian state, vested with power, but deprived of personal freedom. Another thing is important: the image of Yeshua is read as the image of a contemporary of Bulgakov, who was not broken by the power, who did not lose his human dignity therefore doomed. Before Pilate stands a man capable of penetrating into the deepest recesses of the soul, preaching equality, common good, love for one's neighbor, that is, that which does not exist and cannot be in totalitarian state... And the worst thing, from the point of view of the procurator as a representative of power, is Yeshua's thoughts that “... all power is violence against people” and that “the time will come when there will be no power of either the Caesars or any other power. A person will pass into the kingdom of truth and justice, where no power will be needed at all. " Obviously, that's what Boo himself thought! lgakov, but it is even more obvious that Bulgakov was tormented by the artist's dependent position. The writer invites those in power to listen to what the artist says to the world, because the truth is not always on their side. It is not for nothing that the procurator of Judea, Pontius Pilate, had the impression that he "did not finish something with the convict, or perhaps he did not listen to something." So the truth of Yeshua remained “unclaimed”, just as the truth of the Master and Bulgakov himself was not “in demand”.

What is this truth? It lies in the fact that any strangulation of culture, freedom, dissent by the authorities is disastrous for the world and for the authorities itself, in the fact that only a free person is able to bring a living stream into the world. Bulgakov's main idea is that the world from which the artist was expelled is doomed to perish. Maybe because Bulgakov is so modern that this truth is revealed to us only now.

Nikolai Alekseevich Nekrasov was not a fashionable poet, but he was a favorite author for many. Yes, he was and still remains beloved by modern readers, albeit a few, but I am one of them. The amazing lines of Nekrasov's lyrics were forever imprinted in my soul: "Why are you eagerly looking at the road?" (here - whole tragic fate), “There are women in Russian villages, with calm importance of faces, with beautiful strength in movements, with gait, with the gaze of tsaritsa” (before us is a song “to a stately Slavic woman”), “Cherry orchards are drenched in milk, they make a quiet noise” (and here, with one or two expressive strokes, a lovely picture of central Russia - the motherland of the great poet) is created. "Quietly"! So tender and amazing popular word snatched by the poet from the very thick of folk life, from its deepest layers.
Melodious, sincere, wise verses of Nekrasov, often similar to folk song(and many who have become songs) draw the whole world Russian life, complex and multicolored, lost over time and continuing today. What amazes me most about Nekrasov's poetry? First of all, it is his ability to feel, understand and take upon himself the pain of another person, "the wounded heart of a poet", about which F.M.Dostoevsky spoke so sincerely: his poetry. "
Reading Nekrasov's poems, you are convinced that his talent was inspired great power love for the Russian people and the poet's incorruptible conscience, you understand that his poems are not intended for entertainment and thoughtless admiration, since they reflect the struggle of the "humiliated and offended", the struggle of the Russian people for better life, for the liberation of the worker from bondage and oppression, for purity and truthfulness, for love between people.
Can't your heart not flinch when you read the famous poems about Petersburg street scenes, it would seem, such a distant past, the past nineteenth century! But no! Painfully sorry for the unfortunate nag, beaten in front of the laughing crowd, sorry for the young peasant woman who was cut off with a whip on Sennaya Square, sorry for that young serf woman Grusha, whose fate was mutilated by the gentlemen.
It seems that A.S. Pushkin, talking about his successors in poetry, prophetically pointed precisely to Nekrasov as a poet called into the world to express in his work the entire depth of human suffering:

And the hard-won verse,
Piercingly dull
Will hit the hearts
With an unknown force.
Yes, that's right, that's right!

Pushkin, as you know, rarely resorted to epithets, but in this case they are abundant and all-encompassing in defining the lyrics of this future poet: for his Russian strings ".

I was called to celebrate your suffering
Patience amazing people!

These lines of Nekrasov could have been taken as an epigraph to my reflections on the poet's lyrics, if I had not known other motives of his poetry.
His Muse is the Muse of anger and sorrow. The author's anger was caused by a world of evil and injustice. And contemporary life presented reasons for the poet's indignation in abundance, sometimes it was enough for him to look out the window to be convinced of this. So, according to the memoirs of Avdotya Panaeva, one of the best works- "Reflections at the front door." How much love and sympathy he has for the peasant walkers for the truth, how much deep respect for these fair-haired, meek village people! And how murderously bilious his anapest becomes, like nails nailing pillory"The owner of luxurious chambers" - for his indifference, "deafness to good", for his useless, wingless, well-fed and calm life!

I took the book, rising from my sleep,
And I read in it:
There have been worse times
But there was no mean! ..
I threw the book far away.
Are you and me
Sons of such a century,
O friend - my reader?

When I read these lines filled with anger, I suddenly realized that Nekrasov was not at all outdated, as many interpret today. No and no! Isn't it about our crazy time said by the author of the nineteenth century, the poet-prophet:

I fell asleep. I dreamed plans
About going to pockets
Good-natured Russians ...

God! Why, this is about the endless bursting "MMM", the Northern and other banks that deceived our parents and other gullible workers!

Noisy in your ears
Like bells are ringing
Homeric kush,
Million cases
Fabulous salaries,
Underreaction, division,
Rails, sleepers, banks, deposits -
Can't figure it out ...

The lines from Nekrasov's poem "Attending to the horrors of war ..." - about the grief of a mother who lost her son:

Among our hypocritical deeds
And all the vulgarity and prose
I spied some in the world
Holy, sincere tears -
Those are the tears of poor mothers!
They will not forget their children
Those killed in the bloody field
How not to lift weeping willow
Of your drooping branches.

And this, unfortunately, is also the bitter truth of today - the tears of orphaned mothers, whether Georgian, Russian or Chechen ... "everything hurts."
It seems that the poet, as from a mosaic creating a terrible face of this world, it is difficult to breathe from anger, recalls the fair lines of K. Balmont that Nekrasov is “the only one who reminds us that while we are all breathing here, there are people who are suffocating ... ". This intonation of righteous anger against the unjust order of the world is also permeated with his short poem about the desired storm:

It's stuffy! Without happiness and will
The night is endlessly dark.
Would a storm break out, or what?
The rimmed bowl is full!

Often contemporary poet life seemed to him "darkness" when the beast "roams freely" and the man "wanders fearfully"; he passionately wanted to bring the happy time closer, but, realizing the futility of the dream, he lamented:

It's a pity - to live in this beautiful time
You won't have to - neither for me, nor for you.

But Nekrasov's disappointment in the possibility of happiness did not extinguish faith in happy life in my soul. It is with great joy that I take with me on a long journey in life his poems, which teach me to be a thinking, compassionate, fair, responsive person. My soul agrees with the poet when I read the lines from his "Bear Hunt":

There is no holiday life for that
Who does not work on weekdays ...
So - don't dream of glory,
Don't be greedy for money
Work hard and desire
So that the work is always sweet.

The Russian people endured enough ...
Whatever the Lord sends!
Will endure everything - and wide, clear
He will make his way with his chest ...

Yes, "you have to live, you have to love, you have to believe." Otherwise, how to live?

« Real writer the same as the ancient prophet: he sees clearer than ordinary people"(A. P. Chekhov). (Based on one or more works of Russian literature XIX century)
“A poet in Russia is more than a poet,” this idea has long been familiar to us. Indeed, Russian literature, starting from the 19th century, became the bearer of the most important moral, philosophical, ideological views, and the writer began to be perceived as special person prophet. Already Pushkin defined the mission of a real poet in this way. In his program poem, the so-called "The Prophet", he showed that in order to fulfill his task, the poet-prophet is endowed completely special qualities: the sight of a "frightened eagle", a hearing capable of listening to the "shudder of the sky", a tongue similar to the sting of a "wise snake". Instead of an ordinary human heart, the messenger of God "six-winged seraphim", preparing the poet for the prophetic mission, puts "coal blazing with fire" into his chest cut by a sword. After all these terrible, painful changes, the chosen one of Heaven is inspired to his prophetic path by God himself: "Rise up, the prophet, and see, and listen, / Fulfill my will ...". This is how the mission of a true writer has been defined since then, who carries the word inspired by God to people: he should not entertain, not give aesthetic pleasure with his art, and not even promote some, even the most wonderful ideas; his business is "to burn the hearts of people with a verb."
How difficult the mission of the prophet was already realized by Lermontov, who, following Pushkin, continued to fulfill the great task of art. His prophet, "ridiculed" and restless, driven by the crowd and despised by it, is ready to flee back to the "desert", where, "keeping the law of the Eternal," nature listens to his messenger. People often do not want to listen to the prophetic words of the poet too well, he sees and understands what many would not like to hear. But both Lermontov himself and those Russian writers who, after him, continued to fulfill the prophetic mission of art, did not allow themselves to show cowardice and abandon the heavy role of a prophet. Often suffering and sorrow awaited them for this, many, like Pushkin and Lermontov, died prematurely, but others took their place. Gogol in lyrical digression from the UP chapter of the poem " Dead Souls”Openly told everyone how difficult the path of the writer is, looking into the very depths of the phenomena of life and striving to convey to people the whole truth, no matter how ugly it may be. They are ready not only to praise him as a prophet, but to accuse him of all possible sins. "And, as soon as they saw his corpse, / How much he did, they will understand / And how he loved while hating!" this is how another Russian poet-prophet Nekrasov wrote about the fate of the writer-prophet and the attitude of the crowd towards him.
It may seem to us now that all these wonderful Russian writers and poets who make up the "golden age" domestic literature, have always been as highly revered as they are in our time. But after all, even now recognized throughout the world as a prophet of impending catastrophes and a harbinger of the highest truth about man, Dostoevsky only at the very end of his life began to be perceived by his contemporaries as greatest writer... Truly, "there is no prophet in his own country"! And, probably, now somewhere near us lives someone who can be called a "real writer", similar to an "ancient prophet", but whether we want to listen to someone who sees and understands more than ordinary people, this is main question.