The depiction of the civil war as a national tragedy in the novel by M. A

Civil war in the image of M. A. Sholokhov

In 1917, the war turned into a bloody turmoil. This is no longer a national war requiring sacrificial duties from everyone, but a fratricidal war. With the onset of the revolutionary era, relations between classes and estates change dramatically, moral foundations and traditional culture are rapidly destroyed, and with them the state. The disintegration that was generated by the morality of war embraces all social and spiritual ties, brings society into a state of struggle of all against all, to the loss of the Fatherland and faith by people.

If we compare the face of the war depicted by the writer before this milestone and after it, then an increase in tragedy becomes noticeable, starting from the moment the world war turned into a civil one. Cossacks, tired of bloodshed, hope for it imminent end, after all, the authorities "must end the war, because both the people and we do not want war."

The First World War is portrayed by Sholokhov as a national disaster,

Sholokhov with great skill describes the horrors of war, crippling people both physically and morally. Death, suffering awaken sympathy and unite soldiers: people cannot get used to war. Sholokhov writes in the second book that the news of the overthrow of the autocracy did not evoke joyful feelings among the Cossacks, they reacted to it with restrained anxiety and expectation. The Cossacks are tired of the war. They dream of finishing it. How many of them have already died: not one Cossack widow voted for the dead. The Cossacks did not immediately understand the historical events. Having returned from the fronts of the world war, the Cossacks did not yet know what tragedy of the fratricidal war they would have to endure in the near future. The Upper Don uprising appears in the image of Sholokhov as one of the central events civil war on the Don.

There were many reasons. Red terror, unjustified cruelty of representatives Soviet power on the Don in the novel are shown with great artistic power. Sholokhov showed in the novel that the Upper Don uprising reflected a popular protest against the destruction of the foundations peasant life and the age-old traditions of the Cossacks, traditions that became the basis of peasant morality and morality, which evolved over the centuries, and are inherited from generation to generation. The writer also showed the doom of the uprising. Already in the course of events, the people understood and felt their fratricidal character. One of the leaders of the uprising, Grigory Melekhov, declares: “But I think that we got lost when we went to the uprising.”

The epic covers a period of great upheavals in Russia. These upheavals had a strong impact on the fate of the Don Cossacks described in the novel. Eternal values determine the life of the Cossacks as clearly as possible in that difficult historical period, which Sholokhov reflected in the novel. Love to native land, respect for the older generation, love for a woman, the need for freedom - these are the basic values without which a free Cossack cannot imagine himself.

Depiction of the civil war as a tragedy of the people

Not only civil, any war for Sholokhov is a disaster. The writer convincingly shows that the cruelties of the civil war were prepared by the four years of the First World War.

Dark symbolism contributes to the perception of the war as a nationwide tragedy. On the eve of the declaration of war in Tatarsky, “at night, an owl roared in the bell tower. Unsteady and terrible cries hung over the farm, and the owl flew from the bell tower to the cemetery, soiled by calves, groaned over the brown, haunted graves.

“To be thin,” the old people prophesied, hearing owl voices from the cemetery.

“The war will come.”

The war broke into the Cossack kurens like a fiery tornado just at the time of harvesting, when the people cherished every minute. The orderly rushed in, raising a cloud of dust behind him. The fateful...

Sholokhov demonstrates how just one month of war changes people beyond recognition, cripples their souls, devastates them to the very bottom, makes them look at the world around them in a new way.

Here the writer describes the situation after one of the battles. In the middle of the forest, corpses are completely scattered. “They lay flat. Shoulder to shoulder, in various poses, often obscene and scary.

A plane flies by, drops a bomb. Next, Yegorka Zharkov crawls out from under the rubble: “The released intestines smoked, shimmering with pale pink and blue.”

Sholokhov tells about the feat in a different way: “But it was like this: people who collided on the field of death, who had not yet had time to break their hands in the destruction of their own kind, in the animal horror that declared them, stumbled, knocked down, inflicted blind blows, disfigured themselves and horses and fled, frightened by a shot, killed a man, departed morally crippled.

They called it a feat."

People at the front are cutting each other in a primitive way. Russian soldiers hang like corpses on wire fences. German artillery destroys entire regiments to the last soldier. The ground is thickly stained with human blood. Everywhere settled hills of graves. Sholokhov created a mournful cry for the dead, cursed the war with irresistible words.

But even more terrible in the image of Sholokhov is the civil war. Because she is fratricidal. People of the same culture, one faith, one blood engaged in an unheard-of extermination of each other. This "conveyor belt" of senseless, terrible in terms of cruelty, murders, shown by Sholokhov, shocks to the core.

... Punisher Mitka Korshunov spares neither the old nor the young. Mikhail Koshevoy, satisfying his need for class hatred, kills his centenary grandfather Grishaka. Daria shoots the prisoner. Even Gregory, succumbing to the psychosis of the senseless destruction of people in the war, becomes a murderer and a monster.

There are many amazing scenes in the novel. One of them is the massacre of the podtelkovites over forty captured officers. “The shots were fired feverishly. The officers, colliding, rushed in all directions. Lieutenant with beautiful woman's eyes, in a red officer's hood, ran clutching his head with his hands. The bullet made him jump high, as if through a barrier. He fell and didn't get up. The tall, brave Yesaul was cut down by two. He clutched at the blades of the checkers, blood poured from his cut palms onto his sleeves; he screamed like a child, fell on his knees, on his back, rolled his head in the snow; his face showed only bloodshot eyes and a black mouth drilled with a continuous scream. His flying checkers slashed across his face, along his black mouth, and he was still screaming in a voice thin with horror and pain. Having squatted over him, the Cossack, in an overcoat with a torn off strap, finished him off with a shot. The curly-haired cadet almost broke through the chain - he was overtaken and killed by some ataman with a blow to the back of the head. The same chieftain drove a bullet between the shoulder blades of the centurion, who was running in his overcoat, which had opened from the wind. The centurion sat down and scratched his chest with his fingers until he died. The gray-haired podsaul was killed on the spot; parting with his life, he kicked a deep hole in the snow and would have beaten like a good horse on a leash, if the pitying Cossacks had not finished it. These mournful lines are extremely expressive, filled with horror before what is being done. They are read with unbearable pain, with spiritual trepidation and carry the most desperate curse of a fratricidal war.

However, Podtelkov is mistaken, presumptuously believing that people dispersed because of the recognition of his innocence. They could not endure the inhuman, unnatural spectacle violent death. Only God created man, and only God can take his life.

Two “truths” collide on the pages of the novel: the “truth” of the Whites, Chernetsov and other killed officers, thrown in the face of Podtelkov: “Traitor to the Cossacks! Traitor!" and the “truth” opposing it, Podtelkov, who thinks that he is defending the interests of the “working people.”

Blinded by their "truths", both sides mercilessly and senselessly, in some kind of demonic frenzy, exterminate each other, not noticing that there are fewer and fewer of those for whom they are trying to approve their ideas. Talking about the war, about the military life of the most combative tribe among the entire Russian people, Sholokhov, however, nowhere, not in a single line, praised the war. No wonder his book, as noted by the well-known Sholokhov expert V. Litvinov, was banned by the Maoists, who considered the war the best way social improvement of life on Earth. " Quiet Don is a passionate denial of any such cannibalism. Love for people is incompatible with love for war. War is always a people's misfortune.

Despising the extermination of man by man in war, knowing what trials moral sense in front-line conditions, Sholokhov, at the same time, on the pages of his novel, painted the classic pictures of mental stamina, endurance and humanism that took place in the war. A humane attitude towards one's neighbor, humanity cannot be completely destroyed. This is evidenced, in particular, by many of the actions of Grigory Melekhov: his contempt for looting, the protection of the Pole Frani, the salvation of Stepan Astakhov.

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Depiction of the civil war as a tragedy of the people

Not only civil, any war for Sholokhov is a disaster. The writer convincingly shows that the cruelties of the civil war were prepared by the four years of the First World War.

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Here the writer describes the situation after one of the battles. In the middle of the forest, corpses are completely scattered. “They lay flat. Shoulder to shoulder, in various poses, often obscene and scary.

A plane flies by, drops a bomb. Next, Yegorka Zharkov crawls out from under the rubble: “The released intestines smoked, shimmering with pale pink and blue.”

This is the merciless truth of war. And what blasphemy over morality, reason, betrayal of humanism became under these conditions the glorification of the feat. The generals needed a "hero". And he was quickly “invented”: Kuzma Kryuchkov, who allegedly killed more than a dozen Germans. They even began to produce cigarettes with a portrait of the "hero". The press wrote about him excitedly.
Sholokhov tells about the feat in a different way: “But it was like this: people who collided on the field of death, who had not yet had time to break their hands in the destruction of their own kind, in the animal horror that declared them, stumbled, knocked down, inflicted blind blows, disfigured themselves and horses and fled, frightened by a shot, killed a man, departed morally crippled.
They called it a feat."

There are many amazing scenes in the novel. One of them is the massacre of the podtelkovites over forty captured officers. “The shots were fired feverishly. The officers, colliding, rushed in all directions. A lieutenant with beautiful female eyes, in a red officer's hood, ran, clutching his head with his hands. The bullet made him jump high, as if through a barrier. He fell and didn't get up. The tall, brave Yesaul was cut down by two. He clutched at the blades of the checkers, blood poured from his cut palms onto his sleeves; he screamed like a child, fell on his knees, on his back, rolled his head in the snow; his face showed only bloodshot eyes and a black mouth drilled with a continuous scream. His flying checkers slashed across his face, along his black mouth, and he was still screaming in a voice thin with horror and pain. Having squatted over him, the Cossack, in an overcoat with a torn off strap, finished him off with a shot. The curly-haired cadet almost broke through the chain - he was overtaken and killed by some ataman with a blow to the back of the head. The same chieftain drove a bullet between the shoulder blades of the centurion, who was running in his overcoat, which had opened from the wind. The centurion sat down and scratched his chest with his fingers until he died. The gray-haired podsaul was killed on the spot; parting with his life, he kicked a deep hole in the snow and would have beaten like a good horse on a leash, if the pitying Cossacks had not finished it. These mournful lines are extremely expressive, filled with horror before what is being done. They are read with unbearable pain, with spiritual trepidation and carry the most desperate curse of a fratricidal war.

No less scary are the pages devoted to the execution of the "podtelkovtsy". People who at first “willingly” went to the execution “as if to a rare merry spectacle” and dressed up “as if for a holiday”, faced with the realities of a cruel and inhuman execution, are in a hurry to disperse, so that by the time the massacre of the leaders - Podtelkov and Krivoshlykov - there were completely few people.
However, Podtelkov is mistaken, presumptuously believing that people dispersed because of the recognition of his innocence. They could not endure the inhuman, unnatural spectacle of their violent death. Only God created man, and only God can take his life.

Blinded by their "truths", both sides mercilessly and senselessly, in some kind of demonic frenzy, exterminate each other, not noticing that there are fewer and fewer of those for whom they are trying to approve their ideas. Talking about the war, about the military life of the most combative tribe among the entire Russian people, Sholokhov, however, nowhere, not in a single line, praised the war. No wonder his book, as the well-known Sholokhov expert V. Litvinov notes, was banned by the Maoists, who considered war the best way to socially improve life on Earth. Quiet Don is a passionate denial of any such cannibalism. Love for people is incompatible with love for war. War is always a people's misfortune.

Death in the perception of Sholokhov is what opposes life, its unconditional principles, especially violent death. In this sense, the creator of The Quiet Flows the Don is a faithful successor to the best humanistic traditions of both Russian and world literature.
Despising the extermination of man by man in war, knowing what tests the moral sense undergoes in front-line conditions, Sholokhov, at the same time, on the pages of his novel, painted the classic pictures of mental stamina, endurance and humanism that took place in the war. A humane attitude towards one's neighbor, humanity cannot be completely destroyed. This is evidenced, in particular, by many of the actions of Grigory Melekhov: his contempt for looting, the protection of the Pole Frani, the salvation of Stepan Astakhov.

The concepts of “war” and “humanity” are irreconcilably hostile to each other, and at the same time, against the backdrop of bloody civil strife, the moral possibilities of a person, how beautiful he can be, are especially clearly drawn. War severely examines the moral fortress, unknown to peaceful days. According to Sholokhov, everything good that is taken from the people, that alone can save the soul in the sizzling flames of war, is extremely real.

Ministry of General and Professional

education of the Sverdlovsk region

Department of Education of the Sosvinsky Urban District

MOU secondary school No. 1 p. Sosva

Topic: "Depiction of the tragedy of the Russian people in the literature dedicated to the Civil War."

Executor:

Kurskaya Ulyana,

11th grade student.

Supervisor:

V.V. Frantsuzova,

teacher of Russian language

and literature.

settlement Sosva 2005-2006 academic year

Civil war in Russia - the tragedy of the Russian nation

More than 85 years ago, Russia, the former Russian empire lay in ruins. The 300-year rule of the Romanov dynasty ended in February, and in October the bourgeois-liberal Provisional Government said goodbye to the levers of government. Throughout the vast, once great power, which had been gathering a span since the time of the Moscow principality of Ivan Kalita, the Civil War was blazing. From the Baltic to Pacific Ocean, from White Sea to the mountains of the Caucasus and the Orenburg steppes went bloody battles, and, it seems, except for a handful of provinces in Central Russia, there was no volost or district where various authorities of all shades and ideological colors would not replace each other several times.

What is any civil war? It is usually defined as an armed struggle for power between representatives of different classes and social groups. In other words, it's a fight inside countries, inside people, nation, often between fellow countrymen, neighbors, recent colleagues or friends, even close relatives. This is a tragedy that leaves an unhealed wound in the heart of the nation and fractures in its soul for a long time.

How did this dramatic confrontation proceed in Russia? What were the features our Civil war in addition to an unprecedented geographical, spatial scope?

You can learn, see, feel the whole palette of colors, thoughts, feelings of the Civil War era by studying archival documents and memoirs of contemporaries. Also, answers to piercing questions can be found in the works of literature and art of that fire era, which are testimonies before the court of History. And there are many such works, because the revolution is too huge an event in its scale not to be reflected in literature. And only a few writers and poets who were under its influence did not touch this topic in their work.

One of the best monuments of any era, as I said, is bright and talented works fiction. So it is with Russian literature about the Civil War. The creations of those poets and writers who went through the crucible of the Great Russian Troubles are very interesting. Some of them fought "for the happiness of all working people", others - "for a united and indivisible Russia". Someone made clear for himself moral choice, someone was only indirectly involved in the deeds of one of the opposing camps. And others even tried to get up over the fight. But each of them is a personality, a phenomenon in Russian literature, a talent, sometimes undeservedly forgotten.

For many decades we have viewed our history in two colors, black and white. Black is all enemies - Trotsky, Bukharin, Kamenev, Zinoviev and others like them, white is our heroes - Voroshilov, Budyonny, Chapaev, Furmanov and others. Halftones were not recognized. If it was a civil war, then the atrocities of the Whites, the nobility of the Reds, and, as an exception, confirming the rule, the "green" who accidentally crept between them - Makhno's father, who is "neither ours nor yours."

But now we know how complex and confusing this whole process was in fact in the early 20s of the 20th century, the process of selecting human material, we know that it is impossible to approach the assessment of those events in a black and white image and literary works dedicated to them. After all, even the civil war itself, historians are now inclined to consider that it began not in the summer of 1918, but from October 25, 1917, when the Bolsheviks carried out a military coup and overthrew the legitimate Provisional Government.

Estimates of the Civil War are very dissimilar and contradictory, starting with its chronological framework. Some researchers dated it to 1918-1920, which, apparently, cannot be considered fair (here we can only talk about the war in European Russia). The most accurate dating is 1917-1922.

The civil war began, without exaggeration, "on the day after" the seizure of power by the Bolshevik Party during the October Revolution.

I was interested in this topic, its embodiment in the literature of that time. I wanted to get acquainted in more detail with various assessments of the events taking place, to find out the point of view of writers standing on opposite sides of the barricades, who assess the events of those years in different ways.

I set myself a goal

get acquainted with some works about the civil war, analyze them and try to understand all the ambiguity of this tragedy in our country;

look at it from different angles different points vision: from complete worship of the revolution ("The Defeat" by Alexander Fadeev) to sharp criticism ("Russia Washed with Blood" by Artyom Vesely);

prove on the example of literary works that any war, in the words of Leo Tolstoy, is "contrary to the human mind and all human nature event".

I became interested in this topic after I got acquainted with the journalistic notes of Alexei Maksimovich Gorky "Untimely Thoughts", which were previously inaccessible to the reader. The writer condemns the Bolsheviks for many things, expresses his disagreement and condemnation: "The new bosses are as rude as the old ones. They yell and stomp their feet, and grab bribes, like the former bureaucrats grabbed them, and drive people in herds into prisons."

Soviet readers did not read "Cursed Days" by Ivan Alekseevich Bunin, who called the time of revolution and civil war that way, "Letters to Lunacharsky" by Valentin Galaktionovich Korolenko and other previously banned works.

How fratricidal war("why did they go to their brother, chopping and smashing ...."), as the destruction of the "bright culture of their homeland" perceived the civil war and revolution, not previously included in school programs Silver Age poet Igor Severyanin.

Maximilian Voloshin sympathized with both whites and reds:

... And here and there between the rows

The same voice sounds:

Who is not for us is against us!

No indifferent! True, with us!

And I stand alone between them

In roaring flames and smoke.

And with all my strength

I pray for both.

More than eight decades have passed since the Civil War, but we are only now beginning to understand what a misfortune it was for all of Russia. More recently, heroism came to the fore in the depiction of the Civil War in literature. The prevailing idea was: Glory to the victors, shame to the vanquished. The heroes of the war were those who fought on the side of the Reds, on the side of the Bolsheviks. These are Chapaev ("Chapaev" by Dmitry Furmanov), Levinson ("Rout" by Alexander Fadeev), Kozhukh ("Iron Stream" by Alexander Serafimovich) and other soldiers of the revolution.

However, there was other literature that sympathetically depicted those who stood up to defend Russia from the Bolshevik rebellion. This literature condemned violence, cruelty, "red terror". But it is quite clear that such works were banned during the years of Soviet power.

Once the famous Russian singer Alexander Vertinsky sang a song about the junkers. For this, he was summoned to the Cheka and asked: "Are you on the side of the counter-revolution?" Vertinsky replied: "I pity them. Their lives could be useful to Russia. You can't forbid me to pity them."

"We'll forbid breathing if we find it necessary! We'll manage without these bourgeois fosterlings."

I met various works about the civil war, both poetic and prose, and saw different approaches authors to the depicted, different points of view on what is happening.

In more detail in the abstract, I will analyze three works: the novel by Alexander Fadeev "The Rout", the unfinished novel by Artyom Vesely "Russia, Washed with Blood" and the story by Boris Lavrenyov "Forty-First".

Alexander Fadeev's novel "Rout" is one of the most striking works depicting the heroism of the civil war.

The youth of Fadeev himself passed on Far East. There he actively participated in the events of the Civil War, fighting in the red partisan detachments. The impressions of those years were reflected in the story "Against the Current" (1923), in the story "Spill" (1924), the novel "Rout" (1927) and the unfinished epic "The Last of the Udege" (1929-1940). When Fadeev's idea for the novel "Rout" was born, they still continued to blaze recent fights in the Far Eastern outskirts of Russia. “The main outlines of this topic,” Fadeev noted, “appeared in my mind as early as 1921-1922.”

The book was highly appreciated by readers and many writers. They wrote that "Rout" "reveals truly new page of our literature", that "the main types of our era" were found in it, attributed the novel to the number of books "giving a broad, truthful and talented picture of the civil war", emphasized that "The Rout" showed "what a large and serious force our literature has in Fadeev". In "Rout" there is no background of the characters that precedes the action. But in the narrative of life and struggle partisan detachment within three months, the writer, without deviating from the main plot, includes essential details from past life heroes (Levinson, Frost, Mechik, etc.), explaining the origins of their character and moral qualities.

There are about thirty characters in the novel (including episodic ones). This is unusually small for a work that tells about the civil war. This is explained by the fact that the focus of Fadeev's attention is the image of human characters. He loves to study an individual for a long time and carefully, to observe him at different moments of public and private life.

The civil war, in my opinion, is the most cruel and bloody war, because sometimes close people fight in it, who once lived in one whole, single country, who believed in one God and adhered to the same ideals. How does it happen that relatives stand on opposite sides of the barricades and how such wars end, we can trace on the pages of the novel - the epic of M. A. Sholokhov "Quiet Flows the Don". In his novel, the author tells us how the Cossacks lived freely on the Don: they worked on the land, were reliable support Russian tsars, fought for them and for the state. Their families lived by their own labor, in prosperity and respect. Cheerful, joyful, full of work and pleasant worries, the life of the Cossacks is interrupted by the revolution. And before the people there was a hitherto unfamiliar problem of choice: whose side to take, whom to believe - red, promising equality in everything, but denying faith in the Lord God; or white, those whom their grandfathers and great-grandfathers served faithfully.

But does the people need this revolution and war? Knowing what sacrifices would have to be made, what difficulties would have to be overcome, the people would probably answer in the negative. It seems to me that no revolutionary necessity justifies all the victims, broken lives, destroyed families.

And so, as Sholokhov writes, “in a mortal fight, brother goes against brother, son against father.” Even Grigory Melekhov, main character novel, previously opposed to bloodshed, he easily decides the fate of others. Of course, the first murder of a man Mr. Luboko strikes him painfully, makes him spend many sleepless nights, but the war makes him cruel. "I've become terrible to myself ...

Look into my soul, and there is blackness, like in an empty well, ”Grigory admits. Everyone became cruel, even women. Recall at least the scene when Daria Melekhova without hesitation kills Kotlyarov, considering him the murderer of her husband Peter. However, not everyone thinks about what blood is shed for, what is the meaning of war. Is it possible that “the rich are driven to death for the needs”?

Or to defend the rights common to all, the meaning of which is not very clear to the people. A simple Cossack can only see that this war is becoming meaningless, because you can’t fight for those who rob and kill, rape women and set fire to houses. And such cases were both on the part of the whites and on the part of the reds.

“They are all the same ... they are all a yoke around the neck of the Cossacks,” says the main character. In my opinion, the main reason for the tragedy of the Russian people, which affected literally everyone in those days, Sholokhov sees in the drama of the transition from the old, centuries-old way of life, to a new way of life.

Two worlds are colliding: everything that used to be an integral part of people's lives, the basis of their existence, suddenly collapses, and the new one still needs to be accepted and used to it.