The fate of the people is the fate of the people. Checking homework

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Introduction

Purpose: Through the continuity of generations and the preservation of family traditions, to show the formation of the heroic character of our fellow countryman Nikolai Petrovich Nazymka and the establishment of the national idea of ​​fidelity to spiritual values.

To teach and generalize the experience of life and biography of a remarkable person N.P. Nazymka

Show how the formation of the personality of a patriot, his love for the Motherland, self-improvement, responsibility for his home, for his family, for the heroic present and past of his country passes through loyalty to family traditions.

On the example of the life of a person whose generation is the spiritual core of the people, to cultivate the best qualities of a worthy citizen of Russia.

Repeat the material about this person in the media (in the school newspaper "Change", in the regional press, in the All-Russian newspaper "Veteran", in the almanac "Orthodox Christian" With articles and reviews about the film on the fate of N.P. Nazymka, I want to draw attention to the personality still living participants in the Second World War. It is they who make up the salt and color of the nation. They want to learn to appreciate life and fight against the power of the golden calf.

The fate of man, the fate of the people.

(Life is a feat of Nikolai Petrovich Nazymk, holder of the Order of Alexander Nevsky.)

My name is Misha Kudryashov. I am 11 years old. For the third year I have been wearing a cadet uniform and I am proud of it. When the guys and I march in formation, taking first places, or meeting interesting people, with veterans, I feel a special feeling. It cannot be conveyed how we were shocked by the film by Natalya Anatolyevna Solovieva about Kaluga residents, defenders of the Fatherland, “The Soul of the Russian Victory”. Where 25, then still living veterans. Including N.P. Nazymok, talked about why our people defeated fascism, and at what cost we got the Victory. They all believed that the matter was in the strength of the spirit of our soldiers and commanders. Unfortunately, almost all of them have left us. One of the last - Cavalier of the Order of Alexander Nevsky N.P. Nazymok. He waited for a new film by N.A. Solovieva about himself, and this supported him. I would like to tell about his fate, the fate of an extraordinary person who lives with a reminder of the war in his chest (the bullet did not reach the heart a little, so as not to risk it, the doctors did not get it).

Nazymok Nikolai Petrovich was born in the village of Kerbutovka in 1925, into an ordinary peasant family. He grew up and studied with two brothers. There he graduated from elementary school. But before graduation, the war began. Then he was 17 years old. To think, he was only 5 years older than me! His brothers went to the front (they also became Knights of the Order of Alexander Nevsky), and Nikolai stayed at home. The first two years of the war he lived in Ukraine, where he was born in the occupied territory with his parents, but the spirit of this guy, like all people of his generation, was high.

“At first I was invited to the police, - says Nikolai Petrovich. Their village was occupied by the Germans. I refused. The day was kept under arrest. It worked out - the father rescued. However, I got into the black lists of unreliable. After that, of course, good things could not be expected. The Germans were faced with a choice: either sign up for the Russian Liberation Army of Vlasov, or to work in Germany. There is no third. But I found this third way - I went into the forests and hid there for three months, until our village was liberated. It was then that he developed a proud and very integral character.

In October 1943, Nazymok went to the front and studied at the regimental school for junior commanders. The first battles took place in the Chernobyl region in Ukraine, where 12 Nazis were taken prisoner. For this, he was awarded the combat medal "For Courage". Nazymok received the second medal "For Courage" and the Order of the "Red Star" for fearless battles in the Kovel region.

When I was preparing materials, I experienced with the hero. I imagine how Nikolai was wounded in the cheek by a grenade explosion in battle. Sharp pain. But the young commander did not leave the battlefield. But the young commander did not leave the battlefield. On the second day, a severe wound in the right leg. And the hospital. In May 1944, he completed the courses of radio operators on the 2nd Belorussian Front. And already in March 1944, at the age of nineteen, he was appointed commander of a rifle platoon.

“As a commander, I sometimes felt strange. In my regiment, people who were fit to be my fathers fought, and I, a guy of nineteen years old, led them into battle, ”Nikolai Petrovich says not without pride.

The last battle was the battle near the Polish city of Zopott on the coast of the Baltic Sea. Where he was wounded for the third time, the bullet hit the chest and remained there forever.

I read the dry lines of his award documents and never cease to admire. It says: “In the battles for the city, Zoppot acted bravely and skillfully. On March 22, on the outskirts of the city, with his platoon, he destroyed up to 20 enemy soldiers. He threw grenades at the house and personally destroyed 5 enemy soldiers, having occupied the house, entrenched himself in it and continued to move forward. In street battles, he also acted boldly, clearing house after house of the enemy. As a result of the rapid offensive, the city was cleared of the enemy. For skillful command and personal courage shown in the battle for the capture of the city of Tsoppot, he is worthy of a government award - the Order of the RED STAR.

And here are some more short lines from the archive: “On March 23, 1945, in the battle for the city of Tsoppot, he showed skill and courage, defeating an enemy superior in strength. Having burst into the outskirts of the city with a swift attack, his platoon was stopped by the enemy with a force of up to a company, entrenched in a group of stone buildings. An attack from the front of the enemy, fortified behind stone walls reinforced with embrasures with firing points, required great sacrifices. Junior Lieutenant Nazymok decided to defeat the enemy with a blow from the flank and rear. He sent one section of his platoon around to strike from the rear, and the second - to strike on the flank on the right, with the same section he diverted the attention of the enemy from the front. Having taken its starting position, the squad, on a signal, rushed to attack from three sides, the stunned enemy, did not expect a strike from the rear and flank, after a short resistance, was partially exterminated, the units managed to escape, while 30 enemy soldiers were captured and a further path was opened to the entire company » For the shown heroism, courage and courage, as well as the successful completion of combat missions, nineteen-year-old junior lieutenant Nazymok N.P. He was awarded the Order of Alexander Nevsky.

This order was awarded to front-line officers from platoon commander to division commander for skillful leadership of a successful operation, where the enemy was inflicted great damage in manpower and military equipment. The order was awarded to Nikolai Petrovich in May 1945 upon his return from the hospital.

N.P. Nazymok survived a lot: cold, hunger, a terrible post-war hunger strike in Ukraine. Despite this, at the end of 1947 he entered the railway technical school. In 1949 he married his classmate. Raised two children. Graduated from the All-Union Institute of Railway Engineers. He became an Honorary Veteran of the Moscow Railway and an Honorary Railway Worker. He headed the organization of veterans - railwaymen of the Kaluga distance of the way. Created a committee of holders of the military order of Alexander Nevsky and in 1992 headed it.

There are fewer and fewer amazing people among us, unusual for our time, who have passed alongside death, hunger, but at the same time remained true to themselves. Their memories, surviving documents, records and photographs are our history, the history of my Fatherland.

The life and feat of this hero became the pain of my heart. And I am proud that there are boys like me - Cadets, who are ready to go for their Fatherland, for their countrymen, for their loved ones. It was the veterans who gave us the strength of their spirit. We remember the past, we live in the present, we think about the future.

Nikolai Petrovich and Ekaterina Panteleevna Nazymok with their daughter Valentina and son Vitaly, Kaluga, 1965.

The guys from our class and I watched the video film "Life is a feat"

Here are the results of my research

Liked the movie - 100%

The film made a big impression

He is realistic -100%

He is playful -40%

He is a child - 60%

He is educational - 70%

He is interesting - 50%

It has the spirit of a good family - 70%

He is instructive - 70%

He teaches to remember the lessons of the past. Lessons from World War II -90%

Here is what the cadets of my class wrote in response to the video

Nastya Sukhareva: I really liked the video film by N.A. Solovieva “Life is a feat”. The main character is so brave and smart. From the biography of N.P. Nazymk, the theme of childhood and military youth of N.P.

Nikita: The film is so educational. I completely immersed myself in this film. I think the guys do too.

Angelina Mikhalchuk: Great movie. Our happiness is that our veteran is still alive. And about such a living person, this film was shot. It seems to me that such films make us stronger and better.

Liza Kuzmina: The guys played the hero's childhood and youth so expressively. His older brothers shaped him as a person, as a hero. All three brothers turned out to be heroes, survived and were proud of each other. Nikolai Petrovich himself brought up this spirit of a good family in his children. His children and grandson told how proud they were of Nikolai Petrovich. At the end of the film, the song "I love you, life" was played. It's like a motto, like years the motive of Nikolai Petrovich's whole life.

Popova: I was excited by the history of the siege and victory in the town of Tsopot. Both the young commander himself and his soldiers were not taken aback. Nikolai Petrovich showed leadership talent in this battle. He is a real leader.

Misha Minenko: I was very touched by this film. He is so realistic and insightful.

Anya Slepova: I was breathless when I saw this person - a hero from the screen. Believe everything that is shown in the film.

Sonya Bogomolova: The guys - the actors played wonderfully. Although I didn't feel comfortable with the truth. The most interesting scenes about the war.

Leva Loskutov: The film is so informative that you feel proud of this person. After all, the bullet almost hit the heart and remained there for the rest of my life, so that we, now, would have peace and happiness.

I will also express my opinion. The film is so interesting and instructive that, having studied the biography of Nikolai Petrovich, I watched it with enthusiasm. Such films are very important, because we must not forget about the exploits of our people. In the film, human fate is intertwined with the fate of the entire nation. We must not forget the past. Otherwise, it may return.

Conclusion:

Human development is both the main goal and a necessary condition for the progress of modern society. This is our absolutely national priority today and in the long term.

The future of Russia, our successes depend on the education and health of people, on their desire for self-improvement and the use of their skills and talents (from the speech of the President of the Russian Federation V.V.

Literature:

Books:

1. Anatoly Demidov. Family of defenders of the fatherland from Kerbutovka. Kaluga. 2007
2. Evgeny Komlev, "Winners" pp. 85-121
3. Sergei Mikheenkov. Platoon, prepare to attack!.. Lieutenants of the Great Patriotic War. 1941-1945:. Tarusa. 2007
4. N.A. Solovieva "Relay race of memory", pp. 13-14. Kaluga, 2007
5. Video film, "Life is a feat"; N.A. Solovieva and A.V. Travina, 2017

Magazines:

1. "100 lines about war and peace from veterans of the Great Patriotic War", magazine Zhit Horosho June 3, 2016
2. Gudok magazine. Issue 07/25/2008 7th page. Vyacheslav Stepovoy "The Third Way of Nikolai Nazymka".
3. Road territorial organization ROSPROFZHEL on the Moscow railway. Natalya Dubnikova. "Heroes of the Great Patriotic War with us" posted April 27, 2016

The documents:

1. Order of April 7, 1944
2. Award sheet dated March 30, 1945
3. Order "No. 131 of April 12, 1945
4. Order No. 2 /N of January 15, 1944
5. Award sheet dated March 24, 1945

Appendix.

In his work, junior cadet Misha Kudryashov tells not only the fate of the veteran, but also the role of the family in the formation of the character of N.P. Nazymka. He showed that our work is like a haven for the memory of this man, about whom many kind words have been written and said. On the video film by N.A. Solovieva, which Misha watched with classmates, is another interesting and fascinating page in the biography of the protagonist.

In the fate of junior lieutenant N.P. Nazymka reflected the fate and truth of a whole generation of liberators. In the fate of man - the fate of the people.

Podkopayeva V.S.

Nazymok N.P. second row third from right

The principle of the vitality of characters in a truly romantic, according to Pushkin's definition, but in essence in a realistic drama, was put forward by the poet as opposed to the aesthetics of classicism that had outlived its time. And the stylistic homogeneity of the classicist tragedy aroused particular resistance in Pushkin. “In addition to this notorious triplicity,” Pushkin wrote, referring to the unity of time, place, and action, “there is also a unity that French criticism does not even mention (probably not suggesting that its necessity can be disputed), the unity of the syllable is this 4 the necessary condition of French tragedy, from which the Spanish theater is spared, {90} English, and German" 75 . It is very important that Pushkin paid attention precisely to this side, to the language of drama.

Even in ancient tragedy, the unity of the style was the necessary basis for dramatic action. The heroes had to: in defending their positions, be equally "reasonable" and therefore spoke in the same way. This applies not only to ancient drama. After all, Shakespeare was very generous, giving the speech of different characters, according to the rank, to a different extent a perfect poetic development. In the poetics of the theater of classicism, the unity of the style was also associated with the nature of the dramatic action, and corresponded to the concept of characters. So it was not that the playwrights didn't know how personalize the speech of the characters. Pushkin, rejecting the unity of the style, did not deal with the external moments of the classical drama. After all, Pushkin's predecessor, Griboedov, while bringing the comedy verse as close as possible to the expressiveness of the spoken language, did not renounce the unity of the syllable.

“A dramatic writer must be judged according to the laws he himself has recognized over himself,” Pushkin wrote in connection with Woe from Wit. - Therefore, I do not condemn either the plan, or the plot, or the propriety of Griboyedov's comedy. Its goal is characters and a sharp picture of morals.

The word "sharp" Pushkin defined Griboyedov's peculiar approach to the dramatic characterization of society, the political angle of view on mores. The very type of dramatic action (“the goal is characters and ... a picture of morals”) was unacceptable to him.

The three unities, in the form in which classicist poetics asserted them, had long since lost their authority, and Pushkin limited himself here to one ironic phrase, not deeming it necessary to develop this theme. But the problem of style is specially singled out by him, in fact, the letter quoted above to the publisher of the Moskovsky Vestnik, which is usually considered as a preface to Boris Godunov, is devoted to it. The poet insists that in the speech of the characters of the tragedy there is no system of allusions, direct allusions to certain circumstances of our time. {91} Pushkin sought national-historical certainty of images, and this was more essential for tragedy, for its ideological, artistic and political concept, than any sharp and bold hints, from which the poet still could not resist. He consciously sought to rebuild the linguistic structure of the drama. “In my opinion,” Pushkin notes in the midst of work on Boris Godunov, “nothing can be more useless than minor amendments to the established rules: Alfieri is extremely amazed at the absurdity of speeches to the side, he abolishes them, but lengthens the monologues, believing that he has made a whole revolution in the system of tragedy: what childishness!

The plausibility of situations and the veracity of dialogue - this is the true rule of tragedies.

Pushkin constantly draws attention to the implausibility of the dialogue of the classic drama. In the same letter, he notes: “At La Harpe, Philoctetes, after listening to Pyrrhus’s tirade, pronounces in the purest French: “Alas! I hear the sweet sounds of Hellenic speech.” On another occasion, he writes: “At Racine, the semi-Scythian Hippolytus speaks the language of a young well-bred marquis” 78 .

In "Boris Godunov" the traditional Alexandrian verse is replaced by white iambic pentameter. Some scenes are written in prose ("Degraded even to despicable prose"). But it's not just these interruptions, there has not yet been anything unprecedented. No wonder Pushkin recalls English and Spanish drama. Tragedy is rather uniform in the form of verse. On the basis of this unity, there is a difference in intonations that reveal typical features. Pushkin, as shown by G. A. Gukovsky, in the lyrics solved "the problem of the objective substantiation of personality" 79 . He transferred this method to tragedy.

“... The concept of historical-national types of culture,” writes G. A. Gukovsky about Pushkin’s tragedy, “determines in it the actions, thoughts, character, and the very emotions, and the very speech of the characters” 80 . In the work of G. A. Gukovsky "Pushkin and the problems of realistic {92} style" it is shown that comparison, comparison of two types of cultures - Russian, pre-Petrine, and European renaissance in the Polish version - runs through the entire play. In such a comparison, it appears as a significant structural certainty of the national and historical.

The multilingualism of "Boris Godunov" is especially noticeable in the national coloring of speech. In one of the scenes German words are heard. The impostor says a phrase in Latin. But these are only signs that emphasize the differences. G. A. Gukovsky discovered that the Pretender speaks, as it were, two languages, in some cases - in Russian, in others - in Polish, such is the stylistic coloring of verse 14 in the scene “Krakow. Vyshnevetsky's house" in the Pretender you can hear other dialects. With Chernikovsky, he rather explains himself in Latin. His speech changes when he turns to Kurbsky, to the Pole, to Karel, who came from the Don, to the Polish poet. It is not only speech that changes - the Pretender, speaking with everyone in his language, assimilates, tries on the structure of thought, the cultural and everyday way of each of his interlocutors. So Pushkin again and again emphasizes the differences between national and cultural types. In the very variability, the changeability of the Pretender, his individual and general are revealed. Despite everything, he remains Russian, the national grain is preserved, makes itself felt at all turns. This is the dramatic essence of the character.

Pushkin combined in one tragedy different types of heroes and different types of dramatic situations. He built the play on the principle of Shakespearean composition, where each scene is relatively independent in its dramatic plot. In the fate of Boris Godunov, Pushkin has many Shakespearean features. The fountain scene is a variation on Racine's themes. But it is precisely through these analogies that a completely different understanding of the dramatic character emerges, its historicism, national-cultural certainty. The novelty of Pushkin's solution could not be immediately perceived and appreciated. Even Belinsky refused to recognize the dramatic beginning in Boris Godunov, he believed that the tragedy was epic. But, offering another possible version of the tragic interpretation of Godunov's fate, the critic returned to the principles of romantic tragedy, giving Pushkin's hero a completely different type of drama.

{93} It seemed to Belinsky that Pushkin had made a mistake by following Karamzin in explaining the causes of Godunov's death. The motive of the villainous murder of the prince gives the tragedy, the critic believed, a touch of melodrama. But Pushkin is nothing didn't explain. The past crime also casts a light on the fate of Godunov. And it is through this theme that the people's point of view with its deep moral pathos is introduced into all the vicissitudes of the tragedy. There is a well-known community of characters, from the holy fool to the king, on the basis of which a dialogue, a dramatic connection, was possible. After all, Godunov also carries a particle of the people's consciousness, thinks in general moral categories. Pushkin did not quite correctly imagine the patriarchal unity of pre-Petrine Russia. But it was from these historical delusions of the poet that a dramatic concept grew, which led politically to the denial of autocracy, and artistically to a new understanding of character in drama. The fact that Godunov is not completely excluded from the public point of view is what makes him a dramatic character. The impostor has picked up Western culture, but feels and acts like a Russian. It reveals the same dramatic logic, although it seems to represent a different historical trend.

Belinsky believed that "dramatism, as a poetic element of life, consists in a collision and clash (collision) of opposite and hostile ideas directed against each other, which manifest themselves as passion, as pathos" 81. From this point of view, the Russian history of the Time of Troubles, the critic believed, does not provide grounds for drama. The tragedy of Boris Godunov, as it seemed to him, could consist in the collapse of a personality that has risen above all, which, at the same time, is devoid of genius, is not able to put forward a completely new historical idea, to turn the state onto a fundamentally different path, as, for example, Peter I did.

In fact, Pushkin pushed the heroes of different historical ideas together. The impostor represented the Western version of absolutism. At the same time, Boris also made attempts to find new class supports for his power; he had plans similar to {94} Peter's reforms. This is the meaning of Basmanov's line. But the fact of the matter is that this move once again confirmed the general logic of dramatic action, through which the principle of the people revealed itself. From the contradictions of the people's consciousness, a dramatic conflict of tragedy arose, which was reflected in its own way in each of the characters.

Belinsky argued with Pushkin. But he perceived the dramatic logic of "Boris Godunov" when he proceeded to assess the poetic speech of the tragedy, delved into its style.

“... The hermit Pimen,” the critic wrote, analyzing the monologue of the old monk, “could not look at his calling as highly as a chronicler; but if such a view had been possible in his time, Pimen would have expressed it no differently, namely, exactly as Pushkin forced him to express it.

In such a historical and national consistency in the structure of the speech of the characters lies the truthfulness of the dialogue. Through the historical logic of the thinking of the characters, a special dramatic content of the tragedy was revealed. No wonder it was Pushkin's play that forced Belinsky to formulate the concept of drama as a clash of life's multidirectional tendencies, that is, to introduce historical and revolutionary meaning into Hegel's categories. At the same time, he did not immediately accept the historicism of the solution proposed by Pushkin. But in essence he took it into account in his definition.

Belinsky approached Boris Godunov with an established view of the nature of drama. Pushkin's tragedy came into conflict with these ideas. Since the critic not only compared his theory with the work of the poet, but analyzed it, Belinsky's point of view changed in the course of his reasoning, although he did not completely switch to the position of a playwright. This made it possible for critics not only to reveal the special drama of Pushkin's tragedy, but also to catch its contradictions. Truth was born in the dramatic relationship between the critic and the writer. Therefore, for the first time in history, Belinsky's work acquired artistic effectiveness, directly linking with the literary process.

{95} As follows from Belinsky's formula, the hostility of the clashing ideas does not in itself constitute drama, although it is an absolutely necessary moment. In order for the struggle of ideological tendencies to act as a dramatic conflict, they must "manifest themselves as passion, as pathos." The clash of historical opposites acquires a dramatic character when it is reflected in the struggle of human passions and wills, when the general historical trends of the time break through to the surface in the form of human relationships, completely permeate the actions, life behavior of a person, grow together with his nature. Meanwhile, "the truth of passions, the plausibility of feelings in the alleged circumstances" was for Pushkin the essence of the dramatic. Pushkin abandoned the old approaches to the hero, characteristic of classical drama, opened a character in which the historical content revealed its dramatic essence. And this was the general path for the future development of drama. The difficulty lay in the fact that Pushkin still conceived of tragedy as a form that singles out the dramatic from real connections, artistically enlarging the contradictions. It was these italics that forced Belinsky to talk about melodramatism.

In literature, a restructuring of the system of genres was already taking place. The novel penetrated the contradictions of life at the level of its ordinary course. At the same time, he did not pass the dramatic sides. Belinsky believed that modern literature in general cannot do without a dramatic element.

Drama receded into the background in the system of genres. But it did not lose its significance as the main form of revealing dramatic content. The influence of prose was not in vain for her either. Pushkin prepared the ground for this. He introduced multilingualism, destroyed the classic unilinear development of the action, and "Shakespearianized" the drama.

The decisive step in the "prosaicization" of the drama was made by Ostrovsky. But he moved in the channel of Pushkin. Ostrovsky, too, remains the basis of effective relations with speech. Dramaticism appears in the system of images, only in connection with others does the character reveal itself as typical and dramatic.

The fate of human destiny is folk in the story of Sholokhov The fate of man
M.A. Sholokhov went through the Great Patriotic War almost from beginning to end - he was a war correspondent. On the basis of front-line notes, the writer created the chapters of the book “They Fought for the Motherland”, the stories “The Science of Hate”, “The Fate of a Man.” “The Fate of a Man” is not just a description of military events, but a deep artistic study of the inner tragedy of a person whose soul was crippled by war . The hero of Sholokhov, whose prototype is a real person whom Sholokhov met ten years before the creation of the work, Andrei Sokolov, talks about his difficult fate. The first test that Sokolov goes through is fascist captivity. Here the hero observes with his own eyes how all the best and worst human qualities are manifested in extreme conditions, how courage and cowardice, steadfastness and despair, heroism and betrayal closely coexist. The most indicative in this regard is the night episode in the destroyed church, where Russian prisoners of war were driven. So, we have, on the one hand, the image of a doctor who, even in such a desperate situation, does not lose his presence of mind, tries to help the wounded, remaining faithful to his professional and moral duty. On the other hand, we see a traitor who is going to hand over to the fascists a platoon leader - communist Kryzhnev, following the logic of opportunism and cowardice and declaring that "comrades remained behind the front line" and "his shirt is closer to the body." This person becomes the one who is killed for the first time in his life by Sokolov (until that time he worked as a military driver) on the grounds that the traitor is “worse than someone else’s.” Descriptions of the existence of prisoners of war in forced labor are terrifying: constant hunger, overwork, severe beatings , dog-baiting and - most importantly - constant humiliation ... But Sholokhov's hero endures this test, a symbolic proof of which can be his moral duel with the camp commandant Müller, when Sokolov refuses to drink for the victory of German weapons and, rejecting bread with bacon, demonstrates "his own, Russian dignity and pride. Andrei Sokolov managed to survive in such inhuman conditions - and this testifies to his courage. However, despite the fact that the hero saved his life in the physical sense, his soul was devastated by the war, which took away his house and all his relatives: “There was a family, his house, all this was molded for years, and everything collapsed in a single moment ... ". A casual acquaintance of Sokolov, to whom he retells the story of his difficult fate, is first of all amazed at the look of his interlocutor: “Have you ever seen eyes, as if sprinkled with ashes, filled with such inescapable mortal longing that it is difficult to look into them? Alone with himself, Sokolov mentally asks: “Why did you, life, cripple me like that? Why did you distort it like that?” We see that the most cruel test for Andrei Sokolov was precisely the peaceful, post-war life in which he could not find a place for himself, turned out to be superfluous, spiritually unclaimed: “I didn’t dream about my awkward life ? In a dream, the hero constantly sees his children, his crying wife, separated from him by the barbed wire of a concentration camp. in the minds of each of its participants, painful pictures of violence and murder, and in the heart - an unhealed wound of the loss of relatives, friends, fellow soldiers. The author refers to the war for the Motherland as a holy and just cause, believing that a person who defends his country shows the highest degree of courage. However, the author emphasizes that the war itself, as an event that makes millions of people physical and moral cripples, is unnatural and contrary to human nature. Sokolov was helped to spiritually revive the little boy Vanyushka, thanks to whom Andrei Sokolov did not remain alone. After all he had experienced, loneliness for him would be tantamount to death. But he found a little man who needed love, care, affection. This saves the hero, whose heart “hardened from grief” gradually “departs, becomes softer.” The fate of Sholokhov’s heroes is “two orphaned people, two grains of sand thrown into foreign lands by a military hurricane of unprecedented strength”, who survived alone and after everything experienced together “ walking on Russian soil”, is an artistic summary of the fate of millions of our compatriots, whose lives were scorched by the war. The author uses the technique of maximum typification, reflecting in the fate of the protagonist of the story the most characteristic features of the Russian national character. Sokolov's worthy overcoming of the most difficult trials, the experience of the most terrible events - the death of loved ones, general destruction and destruction and his return to a full life, speak of extraordinary courage, iron will and the extraordinary fortitude of the hero. In this respect, the recognition of Andrei Sokolov, who lost his family, that he is literally the father of Vanyushka, who also lost his family, acquires a symbolic meaning. The war, as it were, equalizes the heroes in their deprivation and, at the same time, allows them to make up for their spiritual losses, overcome loneliness, “leaving” their father’s leather coat in distant Voronezh, which Vanya accidentally recalls. The image of the road that permeates the entire work is a symbol of perpetual motion, changing life, human destiny. It is also no coincidence that the narrator meets the hero in the spring - this time of year also symbolizes constant renewal, the revival of life. The Great Patriotic War is one of the most significant and, at the same time, the most tragic pages in the history of Russia. This means that the books written about this war, including The Fate of Man, will never lose their ideological and artistic influence on the reader, and will remain literary classics for a long time.

Attached files

The epic novel by Mikhail Sholokhov “Quiet Don” became a discovery in world literature, and its author was among the brilliant artists of the 20th century, whose books forever stood on the “golden shelf” of literature. Sholokhov was able to show the tragedy of man and the tragedy of the people during the period of the great breakdown of the social system. The fates of the heroes are given as part of a single whole, but at the same time, each person in the writer retains the uniqueness of his personality and life path.
The past, present and future of the people, the history and fate of the most interesting part of it - the Don Cossacks

- this is the theme of the novel, the center of the writer's thoughts. On the example of one family, a story unfolds about how the life of an individual, family, farm is fused and intertwined with the life of the country. By the will of history, the Melekhovsky farm is at the center of events that determine the future not only of their family, but of all of Russia for many years to come. It is symbolic that it is through the Melekhovsky farm that the line of defense passes during the Civil War. It is occupied either by the Reds or the Whites, and this is similar to the tossing and searching of one of the heroes, Grigory Melekhov, who is looking for and cannot find the truth from either one or the other.
Real Cossacks, the pride and strength of the Cossacks - such are the Melekhovs. The healthy, handsome, full of life head of the family, Pantelei Prokofievich, is a foldable old man, temperamental, quick-tempered, hot-tempered, but kind and quick-witted - not so much with his mind, but with his soul he understands the value of a house, a hearth, an old warm life. He tries his best to hold on to what unites the family, to maintain support in the whirlwind of terrible events. But tragedy happens. The house is dying, collapsing, as the houses with the usual way of life collapsed among millions of people. The place where the closest people live, creating a sense of security, has become something unreal, impossible. The line of defense, the fault line passed through the country, splitting friends and relatives, scattering them on different sides of the front.
The sons of Panteley Prokofievich are also tied to their home. And the more tragic is their fate, which forced them to survive the collapse of the ideal of the family, where everyone stands up for each other. At a time when history is being reshaped, “heads and worlds are flying,” as Marina Tsvetaeva puts it, it is impossible to build life according to tradition. We have to look for new points of support, reconsider views, think about where the truth is. The search for truth is the lot of the few, such people cannot go with the flow. They must make their own choice. Their life is harder, and the fate is more hopeless than the rest. And this Sholokhov showed on the example of the central character of the novel - Grigory Melekhov. Melekhov is a truth seeker. At the beginning of the novel, we see a happy, self-sufficient person, a bright, brilliant representative of the real Cossacks. Grigory Melekhov is happy, he enthusiastically gives himself to any occupation. He is a born rider, warrior, rural worker, fisherman, hunter. Don life gives him the best, he fits perfectly into it. The war of 1914 at first seems to him only a time of supreme realization, the craving for military glory is in the blood of the Cossacks. But the reality of war is such that a thinking and feeling person cannot put up with senseless cruelty, absurdity, unnecessary and terrible human sacrifices, and violence. Grigory Melekhov hardens. What seemed indisputable is now in doubt: loyalty to the “king and fatherland”, military duty. In the hospital, Melekhov thinks about the future.
The events of 1917 at first give many hope for a new starting point, a new truth. Changing values, political and moral, do not provide a reliable guide. Sholokhov shows how at first Grigory is fond of the outside
Revolution, its slogans. He goes to fight on the side of the Reds. But again he encounters senseless cruelty and loses faith. When the Reds come to the Don and the mass destruction of the Cossacks begins, Grigory Melekhov fights with them. He sees the cruelty of both whites and Bolsheviks, he comes to the conclusion that “they are all the same! All of them are a yoke around the neck of the Cossacks.” Melekhov does not accept historical truth, because the people with whom he is connected by a common fate, such truth brings only death. Neither the white officers nor the Bolsheviks seem to him worthy to stand in power. Desperate to find the truth, Melekhov drowns out his heartache with drunkenness, indiscriminate female caresses, and senseless cruelty. But Sholokhov does not allow us, the readers, to arrogantly condemn the hero. The writer returns to the idea that the most important thing in a person is his roots. In the darkest time, Grigory Melekhov lives with love for his native land, for his father's house, family, and fate rewards him. He gets the only thing left for him in life: the opportunity to stand on the threshold of his native home, to hold his son in his arms.
The fate of the people in the "Quiet Don" is terrible and majestic. Sholokhov managed to tell about people with difficult characters, hard lives in such a way that we not only empathize with them, we believe in the need for moral quests, together with the characters we begin to understand all the falsity of ready-made answers to the question: what is the truth, what is the meaning of human existence. And forever in the soul there are images of people who have proved with their whole lives: the truth is to keep the warmth of the native hearth, and the highest manifestation of love is the willingness to sacrifice everything for the sake of the one you love. History often goes in indirect ways, and none of us knows what time he will live. Therefore, Sholokhov's novel is still relevant today, and we will look in it, if not for answers, then for support in difficult turning points, when everyone has to decide for himself where the truth is and where the lie is, and choose his own path.

1. Fedor Podtelkov is given in the work as an already formed Bolshevik, Persistent and convinced. He is one of the organizers of Soviet power on the Don. Together with Krivoshlykov, he organizes a military expedition to fight the Counter-Revolution. But...
2. Yes, you can survive in the heat, in a thunderstorm, in frost. Yes, you can starve and get cold, Go to death. But these three birches cannot be given to anyone during life. K. Simonov Nobody...
3. A lot of cruel reproaches are waiting for you, Labor days, lonely evenings: You will pump a sick child, Wait for a violent husband home, Cry, work - and think sadly, What did young life promise you, What did you give, ...
4. The problem of a person's moral choice has always been especially significant in Russian literature. It is in difficult situations, making this or that moral choice, that a person truly reveals his true moral qualities, showing how ...
5. During the Great Patriotic War, Mikhail Sholokhov was a war correspondent, author of essays, including The Science of Hatred (1942), which received great public outcry, chapters of the unfinished novel They Fought for the Motherland...
6. The heroes of Sholokhov's novel "Quiet Don" were ordinary peasants - workers, and not some outstanding personalities, however, they represent the Cossacks. One of them is Grigory Melekhov. Intertwined in his family and ...
7. P. V. Palievsky: “Almost all of us know that in our literature there is a writer of world significance - M. A. Sholokhov. But we are somehow poorly aware of this, despite ...
8. Each person has his own destiny, someone is satisfied with it, someone is not, and someone sees the meaning of life only in writing off all their troubles to fate. In Sholokhov's story "The Fate of Man"...
9. The novel by M. A. Sholokhov “Virgin Soil Upturned” today causes a lot of controversy. It is understandable. If a writer not only justifies, but also glorifies lawlessness and violence, declares enemies those who honestly and much...
10. The years 1930-1931 were especially fruitful on Sholokhov's creative path. At this time, along with hard work on Virgin Soil Upturned, the writer was completing the third book of The Quiet Flows the Don, completing and reworking its last ...
11. Among all the communists described in detail or only mentioned in the novel “Virgin Soil Upturned”, the most colorful and, oddly enough at first glance, the most representative is Makar Nagulnov. His weird, funny...
12. The unfair vulgarizing attitude towards Sholokhov's novel was also manifested in a seemingly private issue - the interpretation of the image of Shchukar's grandfather. In 1987, an article by the journalist L. Voskresensky was circulated in peripheral newspapers ...
13. How could it happen that the great book about the revolution, “about the whites and the reds”, was accepted simultaneously by both the “whites” and the “reds”? “Quiet Don” was highly appreciated by ataman P. Krasnov, whose hatred for the Soviet...
14. Mikhail Alexandrovich Sholokhov entered our literature as the creator of broad epic canvases - the novels “Quiet Flows the Don”, “Virgin Soil Upturned”. If in the center of interests of Sholokhov the novelist is the era, then in the center of interests of Sholokhov the novelist ...
15. The events of the civil war in Russia evoked opposite responses from its participants, they blamed each other, taught to hate and punish. When “years passed, passions subsided”, works began to appear that aspired to...
16. The novel by M. A. Sholokhov “Quiet Flows the Don” is a huge Russian national contribution to world literature. This is a true masterpiece in which Sholokhov appears as an innovative writer. Using the traditions of the classics, he ...
17. Many doubts were generated by the small age of M. Sholokhov during the years of his creation of the grandiose epic novel Quiet Flows the Don. But it seems to me that the book rang so piercingly in the souls of people, because it was the young “eagle ...
18. The action of Mikhail Sholokhov's novel "Virgin Soil Upturned" begins from the moment the new chairman of the collective farm arrives in Gremyachiy Log. When the former sailor Davydov, sent by the district committee to the farm to create a collective farm, arrives at ...
19. Fight - to achieve something, overcoming obstacles. S. I. Ozhegov “Dictionary of the Russian language” So the time has come, which is defined by the words “on the threshold of adulthood”. What will it be, my "adult life"? What kind...
20. In his novel “Virgin Soil Upturned”, Mikhail Sholokhov introduces us to many heroes - this is grandfather Shchukar, and Makar Nagulnov, and Semyon Davydov, and Varya, and Lushka, and many others ....

Lesson #3

Theme of the lesson: "Opera "Ivan Susanin"

“The fate of man is the fate of the people. My motherland! Russian land"

During the classes:

Musical greeting.

Log check.

Checking homework.

Repetition of the material covered:

• What is theater?

  What is opera? A musical performance in which everyone sings. This is a type of musical and theatrical art, which is based on the fusion of words, music and stage action.

  How is the word opera translated from Italian? (composition or work)

  In which country did opera performances originate for the first time? Italy.

  What are the types of operas? (epic, lyrical, comic, dramatic)

  Stages of stage action in a drama? (exposure, plot, development, climax, denouement)

  In a musical drama, a special role is played by…..? conflict.

  What is the name of the literary basis of the opera? Libretto.

  What parts is the opera divided into according to the laws of the theater? On actions - pictures - scenes.

  Usually an opera opens with an introduction called….? Overture.

  And who performs it? Symphony Orchestra.

  And why is she needed in the opera? To captivate and interest the viewer, to draw attention to what will now happen on the stage.

  The main characteristic of the main characters is their singing, but what are their musical numbers called? Aria, recitative, song, cavatina, trio, duet, choir, ensemble.

  What is an aria, recitative, song, cavatina, trio, duet, choir, ensemble?

  Have we received a musical letter? Guess what it sounds like?

  Correct Overture, but from which opera? (Ivan Susanin)

  What century is this composer? 19th century

  Find it among other portraits?

  What is the other name of this opera? Life for the king

  What is the basis of this opera? Real historical events of 1612.

  Who is the main character of this opera? The hero of this opera is the Kostroma peasant Ivan Susanin, who dies for the Fatherland.

5. New theme:

Today we will continue our conversation about the opera by the Russian composer M. I. Glinka "Ivan Susanin"

“... Who is Russian by heart, he is cheerful and bold,

And joyfully dies for a just cause!

Neither execution nor death, and I'm not afraid:

Without flinching, I will die for the tsar and for Russia!

Most of the opera was written before the words: I think such a curious story has never happened to any other opera.

The fact is that Glinka's first thought was not to write an opera, but something like paintings, as he said, or a symphonic oratorio.

All musical creation in its main features was already in his head; I remember he wanted to limit himself only three paintings: the rural scene, the Polish scene and the final triumph. The high patriotism, noble citizenship of Ryleev's thought, whose hero gives his life for his homeland, were close to Glinka's consciousness. Zhukovsky became his adviser and even composed the text of the epilogue of the opera, and recommended Baron Rosen, secretary of the heir to the throne, as a librettist.

The text was composed to ready-made music, the entire layout of the action belonged to the composer.

Glinka's opera tells about the events of 1612 connected with the campaign of the Polish gentry against Moscow. The struggle against the Poles acquired a national character. The enemies were defeated by Russian militias led by Minin and Pozharsky. One of the brightest episodes of this struggle was the feat of the peasant of the village of Domnina Ivan Susanin, about which numerous Kostroma legends tell. The majestic image of the peasant, who has become a symbol of heroism and patriotic fidelity, is embodied in the opera as a living folk type, endowed with richness of thought, depth of feelings, shown against the broad background of Russian folk life and nature.

The opera consists of four acts with an epilogue.

Let's get acquainted with the main characters of the opera:

Ivan Susanin, a peasant in the village of Domnina,

Antonida (his daughter)

Vanya (adopted son of Susanin),

Bogdan Sobinin, militia, fiance of Antonida.

Act one The peasants of the village of Domnina, among whom are Ivan Susanin, his daughter Antonida and adopted son Vanya, meet the people's militias. The people are determined to defend their homeland. “Who dares to Russia, you will find death. Everyone disperses, only Antonida remains. She yearns for her fiancé Bogdan, who left to fight the Poles. : this is Bogdan Sobinin with his retinue. Sobinin brought joyful news: the Nizhny Novgorod peasant Minin is gathering a militia to liberate Moscow captured by the pans and finally defeat the Poles. However, Susanin is sad: the enemies are still in charge of their native land. He answers the requests of Sobinin and Antonida about their wedding refusal: "Now it's not about weddings. Battle time!"

Action two A magnificent ball at the Polish king Sigismund. Intoxicated by temporary successes, the Poles arrogantly brag about the booty looted in Russia. Panenki dream of famous Russian furs and precious stones. In the midst of the fun, a messenger from the hetman appears. He brought bad news: the Russian people rose up against their enemies, the Polish detachment was besieged in Moscow, the hetman's army was fleeing. The dancing stops. However, the boastful knights, in the heat of their enthusiasm, threaten to seize Moscow and capture Minin. The interrupted fun is resumed.

The first is called Russian, it tells about how the Poles attacked Russia and the people gather the militia to fight the enemy.

The second act is called Polish. Here the composer showed a ball in the castle of the Polish king.

In the third act, two forces collide.

And the fourth act is the denouement and feat.

Act Three Vanya, the adopted son of Susanin, is making a spear for himself, singing a song about how the named father took pity and sheltered him. Entered Susanin reports that Minin came with the militias and settled down in the forest. Vanya believes his father's cherished dreams - to become a warrior as soon as possible and go to defend the homeland.

And so, let's listen to the unpretentious song of the adopted son of Ivan Susanin Vanya, unpretentious and full of tenderness and nobility to his father. Susanin's voice joins the singing and a duet is obtained.

Watching a video from the opera Vanya's Song

Meanwhile, the Susanin family is preparing for the wedding. Peasants come to wish well Antonida. Left alone, Antonida, Sobinin, Susanin and Vanya talk about their joy - this long-awaited day has finally come. Then Sobinin leaves. Suddenly, the Poles burst into the hut. Threatening Susanin with death, they demand that they be led to Minin's camp and to Moscow. At first, Susanin refuses: "I'm not afraid of fear, I'm not afraid of death, I'll lie down for holy Russia," he says proudly. But then he matures a bold, daring plan to lead enemies into the wilderness and destroy them. Feignedly tempted by money, Susanin agrees to lead the Poles to Minin's camp. Quietly, he tells Vanya to quickly run to the settlement to gather people and warn Minin about the invasion of enemies. The Poles take Susanin away. Antonida weeps bitterly. In the meantime, the unknowing girlfriends of Antonida come with a wedding song, and then Sobinin with the peasants. Antonida tells about what happened. The peasants, led by Sobinin, rush in pursuit of the enemies.

We listen to Antonida's romance "My girlfriends are not sad about that."

act four. At night, Vanya comes running to the fence of the monastery settlement. An alarm rises in the camp, the soldiers arm themselves and prepare for the campaign. Further into the wilderness Susanin leads enemies. They are trying to find out where the Russian peasant led them. "I brought you there ... where you will die from a fierce blizzard! Where you will die of starvation!" Susanin answers with dignity. In spiteful bitterness, the Poles kill Susanin.

FROM We watch the video of the scene in the forest.

Epilogue. Picture one. At the gates leading to Red Square, elegant crowds of people pass by. The bells are ringing festively. Everyone praises the tsar, great Russia, the Russian people, native Moscow. Here - Antonida, Vanya, Sobinin. When asked by one of the soldiers why they are so sad, Vanya tells about the heroism and death of his father. The soldiers comfort them: "Ivan Susanin will live forever in the memory of the people." Picture two. Red Square in Moscow is filled with people. The glory of Russia sounds powerful. Warriors address the children of Susanin with words of consolation. Minin and Pozharsky appear. The people welcome the glorious generals. A solemn greeting sounds.

Listen to the chorus "Glory"

6. The result of the lesson:

Today we have turned the pages of our history.

The opera "Ivan Susanin" recreated the atmosphere of a folk feat in the Time of Troubles at the beginning of the 17th century.

Music teaches us to love, protect Russia and be proud of our Motherland.

7. Chanting.

8. Learning a song.