Mikhail Sholokhov's story "The Fate of a Man" is dedicated to the theme of the Patriotic War, in particular the fate of a man who survived this difficult time. The composition of the work fulfills a certain setting: the author makes a short introduction, talking about how he met his hero, how they got into conversation, and ends with a description of his impressions of what he heard. Thus, each reader seems to personally listen to the narrator - Andrei Sokolov. Already from the first lines it becomes clear what a difficult fate this person is, as the writer makes a remark: “Have you ever seen eyes, as if sprinkled with ashes, filled with such inexpressible melancholy that it’s hard to look in them?”
The main character, at first glance, is an ordinary person with a simple destiny that millions of people had - he fought in the ranks of the Red Army during the Civil War, worked for the rich to help the family not die of hunger, but death still took all his relatives ... Then he worked in an artel, at a factory, learned to be a locksmith, eventually came to admiration for cars, became a driver. And family life, like many others, - married beautiful girl Irina (an orphan), children were born. Andrei had three children: Nastunya, Olechka and son Anatoly. He was especially proud of his son, as he was persistent in learning and capable of mathematics. And it is not for nothing that they say that the happy are all the same, but everyone has their own grief. It came to Andrey's house with a declaration of war.
During the war, Sokolov had to experience grief "up the nostril and above", to endure incredible trials on the verge of life and death. During the battle, he was seriously wounded, he was taken prisoner, he tried to escape several times, worked hard in the quarry, escaped, taking a German engineer with him. Hope for better flashed, and just as suddenly and died away, as two terrible news came: from a bomb explosion, a wife and girls died, and on the last day of the war, a son died. Sokolov withstood these terrible trials that fate sent him. He had the wisdom and courage of life, which were based on human dignity, which can neither be destroyed nor tamed. Even when he was from death in a moment, he still remained worthy of the high title of a person, did not yield with his conscience. Even the German officer Müller learned this: “That's what, Sokolov, you are a real Russian soldier. You are a brave soldier. I am also a soldier and respect worthy enemies. I won't shoot you. ” It was a victory of vital principles, since the war burned his fate, and could not burn his soul.
For the enemies, Andrei was terrible and indestructible, and he appears completely different near the little orphan Vanya, whom he met after the war. Sokolov was struck by the fate of the boy, since he himself had so much pain in his heart. Andrei decided to shelter this child, who did not even remember his own father, except for his leather coat. He becomes a natural father for Vanya - caring, loving, which he could no longer be for his children.
An ordinary person - this is probably too simplistic about the hero of the work, it would be more accurate to indicate - a full-fledged person for whom life is inner harmony, which is based on truthful, pure and bright life principles. Sokolov never stooped to opportunism, this was contrary to his nature, however, as a self-sufficient person, he had a sensitive and kind heart, and this did not add condescension, since he went through all the horrors of the war. But even after the experience, you will not hear any complaints from him, only “… the heart is no longer in the chest, but in the gourd, and it becomes difficult to breathe”.
Mikhail Sholokhov solved the problem of thousands of people - young and old - who became orphans after the war, having lost their loved ones. The main idea of \u200b\u200bthe work is formed during the acquaintance with the main character - people should help each other in any trouble that happens on the path of life, this is the real meaning of life.

Essay on literature on the topic: The hard time of war and the fate of man (based on the work "The Fate of a Man")

Other compositions:

1. Sholokhov is one of those writers for whom reality is often revealed in tragic situations and destinies. The story "The Fate of a Man" is a true confirmation of this. For Sholokhov it was very important to concisely and deeply concentrate the experience of the war in the story. Under the pen of Sholokhov, this Read More ......
2. Before our eyes in the "Cavalry" the unrequited bespectacled man turns into a soldier. But his soul still does not accept the cruel world of war, for the sake of whatever bright ideals it may be waged. In the short story "Squadron Trunov" the hero does not allow to kill captured Poles, but not Read More ......
3. The Great Patriotic War passed through the lives of millions of Soviet people, leaving a heavy memory of itself: pain, anger, suffering, fear. Many during the war years lost their dearest and closest people, many experienced severe hardships. Reconsideration of military events, human actions occurs later. Read More ......
4. In this story, Sholokhov portrayed the fate of an ordinary Soviet man who went through the war, captivity, who experienced a lot of pain, hardships, losses, hardships, but was not broken by them and managed to keep the warmth of his soul. For the first time we meet the main character Andrei Sokolov at the crossing. We know about it Read More ......
5. A question of fate, prosperous life path worried people, probably throughout the history of mankind. Why are some people happy and calm, while others are not, why does fate favor some, while others are haunted by evil fate? In the Explanatory Dictionary, we find several definitions Read More ......
6. War is a great lesson for all people. The writings of the writers allow us, who were born in peacetime, to understand how much hardship and grief the Great Patriotic War brought to the Russian people, how hard it is to rethink moral values \u200b\u200bin the face of death and how terrible death is. And Read More ......
7. On the cover of the book there are two figures: a soldier in a quilted jacket, riding breeches, tarpaulin boots and a hat with earflaps, and a boy of five or six years old, also dressed almost in military style. Of course, you guessed it: this is the fate of the man Mikhail Alexandrovich Sholokhov. Although more than forty years have passed since the story was created, Read More ......
8. Without a doubt, the work of M. Sholokhov is known all over the world. His role in world literature is enormous, because in his works this man raised the most problematic issues of the surrounding reality. In my opinion, a feature of Sholokhov's work is his objectivity and ability to convey events Read More ...

The hard time of war and the fate of man (based on the work "The Fate of a Man")

The Great Patriotic War passed through the lives of millions of Soviet people, leaving a heavy memory of itself: pain, anger, suffering, fear. Many during the war years lost their dearest and closest people, many experienced severe hardships. Reconsideration of military events, human actions occurs later. The literature appears works of art, in which, through the prism of the author's perception, an assessment is given of what is happening in a difficult wartime.

Mikhail Sholokhov could not pass by a topic that was exciting for everyone and therefore wrote a short

The story "The Fate of a Man", touching upon the problems of the heroic epic. In the center of the narration are wartime events that changed the life of Andrei Sokolov - the main character of the work. The writer does not describe military events in detail; this is not the author's task. The goal of the writer is to show the key episodes that influenced the formation of the hero's personality. The most important event in the life of Andrei Sokolov is a prisoner. It is in the hands of the fascists, in the face of mortal danger, that various aspects of the character's character are manifested, it is here that the war appears to the reader without embellishment, revealing the essence of people: the vile, vile traitor Kryzhnev; a real doctor who "did his great work both in captivity and in the dark"; "Such a thin, snub-nosed kid", platoon commander. Andrei Sokolov had to endure inhuman torments in captivity, but the main thing is that he managed to preserve his honor and dignity. The climax of the narrative is the scene at the commandant Müller's, where the exhausted, hungry, tired hero was brought, but even there he showed the enemy the strength of a Russian soldier. Andrey Sokolov's act (he drank three glasses of vodka without a snack: he didn’t want to choke on a handout) surprised Muller: “That's what, Sokolov, you are a real Russian soldier. You are a brave soldier. " The war appears before the reader without embellishment: after escaping from captivity, already in the hospital, the hero receives terrible news from home about the death of his family: his wife and two daughters. A heavy military machine spares no one: neither women nor children. The last blow of fate is the death of the eldest son Anatoly from the hands of a German sniper on May 9 on Victory Day.

War takes away from people the most precious thing: family, loved ones. In parallel with the life of Andrei Sokolov, the storyline of the little boy Vanyusha, who was also made an orphan by the war, depriving his own mother and father, also develops.

This is the assessment the writer gives to his two heroes: "Two orphaned people, two grains of sand, thrown into foreign lands by a military hurricane of unprecedented strength ...". War dooms people to suffering, but it also fosters will, character, when one wants to believe “that this Russian man, a man of unbending will, will endure, and one who, having matured, will be able to endure everything, overcome everything on his way, will grow up. , if his homeland calls for it. "

“Why did you, life, cripple me so? Why is it so distorted

la? There is no answer for me either in the dark or in the clear sun ... "

M. Sholokhov

M.V. Isakovsky has a poem:

“Enemies burned down his native hut, Ruined his entire family. Where should the soldier go now, Who can carry his sorrow? "

M. Sholokhov heard a tragedy very similar to this family tragedy in the first post-war year. Once near a river crossing, the writer met a man with a boy. They lit a cigarette, started talking. And the man, mistaking Sholokhov for his brother-driver, told about the painful fate. This meeting excited the writer, and he decided to write a story. But only ten years later the plan was realized. So in 1956 the story "The Fate of a Man" was published. He immediately attracted the attention of readers. It could not have been otherwise. The war was still fresh in the memory of people, whose destinies were crippled, broken. And there are tens of millions of them.

"The fate of man." Already in the title itself, the writer concentrates the main idea of \u200b\u200bthe work. From the first pages we learn that this is a story about the fate of an ordinary , an ordinary Russian man Andrey Sokolov, about his life, full of hardships and difficult trials. The Russian man went through all the horrors of the war and remained a Man, and not everyone succeeded in this!

The author draws us Andrei Sokolov as a man of great charm. Already at the beginning of the story, Sholokhov makes one feel that we see a person kind and strong, simple and open, modest and gentle. This tall "stooped man", dressed in a quilted jacket, burnt in several places, shod in rough boots, immediately attracted to himself.

Sholokhov does not reward his hero with either an exceptional biography or the qualities of an outstanding personality. Andrei Sokolov tells about himself: “At first my life was ordinary ... In the civil war I was in the Red Army. In a hungry twenty-second year, he left for the Kuban, to work for the kulaks, and therefore remained alive. And father and mother and little sister died of hunger. " In the future, Andrei also had everything like everyone else. He worked, worked, worked ... Then he got married and worked even more. But fate thanked Andrey Sokolov for his kindness, humanity, hard work: a wonderful wife - a friend, wonderful daughters, a talented son, prosperity in the house.

However, Andrei did not have to bask for long at the hearth, created by him with such love. The war destroyed happiness. It hit the country like a terrible calamity, like a severe test. Andrey Sokolov went to the front. Here, as in a peaceful life, he showed himself with better side... A distinctive feature of Andrei Sokolov is the desire to do good to people. At any moment, he is ready to risk his life in the name of saving his comrades. Here, for example, is his story about a front-line incident: the howitzer battery was left without shells, the battle was raging all around, it was impossible to slip through with shells. But Andrey reflects: “My comrades are there, maybe they are dying, but I’ll be sick here?” And he went. He raced at great speed, although he understood that "not a potato lucky." Sokolov did not have time to slip through the fire, but his readiness to help his comrades at any cost is important to us.

And the price, indeed, turned out to be prohibitively high - fascist captivity. However, even here, in an atmosphere that required the mobilization of all spiritual forces, when it seemed impossible to preserve human dignity, when it would seem that other manifestations are impossible, except for the instinct of self-preservation, the spiritual power, nobility, beauty and greatness of the Russian soldier Andrei Sokolov. Confirmation of the above is the episode where he morally defeats the fascist Mueller. Andrei Sokolov knows that he is being shot, and it is difficult for him to part with his life, but he behaved in such a way that he aroused the respect of even such a hardened fascist as Mueller.

While in captivity, Andrei Sokolov constantly thinks about escape, but this is not only the desire to gain personal freedom. His thoughts are aimed at helping his own. And the plan succeeded! He not only managed to break free, but also took with him a German major with very important documents.

After escaping from captivity, kissing his native land and gasping for joy, Andrei Sokolov did not yet know that the war dealt a new blow to him - in Voronezh, his family died from a fascist bomb.

Sholokhov has a sketch that has a symbolic meaning: in a war, trees, like people, each have their own destiny. Here is a clearing. Death reigns over her. The pine tree falls from the projectile as if it had been mown. In its own way, the oak endures the most terrible fire: "A ragged gaping hole dried up half the tree, but the second half ... in the spring came to life and was covered with fresh foliage." The fate of the oak is the fate of An-drey Sokolov. The war distorted his life, but did not break him. He did not lose his love for people, he found the strength to return to life. Material from the site

Andrei Sokolov also felt joy. He fell in love with an abandoned steam-niche, "a kind of little raggy: his face is all in watermelon juice .., unkempt, and his eyes are like stars at night after the rain," Sokolov says, and in the very tone of his story we feel how indifferent he is to human fate. And now Andrei Sokolov is ready to adopt this homeless boy.

Life made sense again. There were touching concerns about dressing and feeding the baby. Now Andrei Sokolov knows whom to give his affection and tenderness to: "At night, you stroke his sleepy one, then you smell the hairs on the whirlwinds, and the heart leaves, it becomes easier, and yet it has turned to stone with grief."

The works of M. Sholokhov are usually based on contrast. It is here also: quiet family happiness, useful work - and war; humanity, kindness - and the astonishment of the fascist executioners; devotion to the homeland - and betrayal. In general, this is the confrontation of two forces: life, nature, love - and the destruction of all foundations of civilization, humanism. Light and darkness. This is the contrast of our century.

Andrei Sokolov personifies the desire for goodness and justice.

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On this page material on topics:

• period of war in the story the fate of man
• To what work of MASholokhov could be used as an epigraph for MV Isakovsky's poem "Enemies burned down their home"? Enemies burned down his native hut, Ruined his entire family.
• an essay on the theme of war in the fate of man
• the fate of nosov during the war
• the fate of the Russian man during the war

IMAGE OF THE PEOPLE'S CHARACTER OF WAR IN THE STORY OF M. SHOLOKHOV "THE FATE OF A MAN"

Features of the composition of the story. Panorama of the Great Patriotic War in the story of M.A. Sholokhov

There are two storytellers in Fate of Man. One of them does not say anything concrete about himself, occupies a subordinate position. It can be assumed that in the person of this narrator the writer appears before us. The image of the author is already the personality of the writer, and this "part" also undergoes artistic transformation. “It is necessary to see this multi-stage story: Sholokhov created art world, in which the author speaks, in front of our eyes depicting spring, himself and the hero, - a hero who, in turn, tells about his fate. The image of the author in the story is very complex in itself: it develops, changes throughout the story ”(29, pp. 77-78).

Such a construction led to the fact that the author-narrator was deprived of the right of omniscience, he - actor, he can judge with sufficient completeness only about what he sees, what he has learned. The main interest of the work is associated with the tragic fate of Andrei Sokolov. Apparently, the story of the creation of the work itself was of some sort, far from decisive, in the fact that the traditional form of “story in story” was used in The Fate of Man. When working on it, the author relied on an actual meeting with Sokolov's prototype. But the hero-storyteller is often introduced in order to give the story a special persuasiveness and sincerity. Sholokhov seeks "to reveal the deep essence of the phenomenon, without destroying its natural outlines, without resorting to conventions that break with the forms of life itself." It is very important for him to ensure that the reader believes in the purely concrete reality of the reality being recreated.

The position of the author-narrator does not allow in the chosen situation to deeply reveal inner world and the fate of Sokolov without his detailed monologue. Both storytellers play an active role in the work, complement each other and at the same time lead relatively independent "parties". “The author-narrator helps us not only to experience, but also to comprehend one human life as a phenomenon of the era. See her huge general human content and meaning ”(29, pp. 79-80). The form of the narration in the first person allows "to achieve ease" (K. Fedin), free, close to the spoken presentation. The hero - the storyteller helps to convey a peculiar view of the world, to determine the original tonality of the work, to focus everything from a single angle of view. This unity is achieved by the fact that all the events depicted are passed through the consciousness of the narrator, “that in the gaze of the narrator there is a unifying idea of \u200b\u200bthe plot and thus, to a certain extent, its compositional axis” Gura V.V., Abramov F.A. Seminary M. A. Sholokhov - Leningrad: GUPI Min. Enlightenment of the RSFSR, 1962. - From 84 .. When narrating in the first person, much depends on the character of the narrator, on his desire to talk about himself, about his innermost thoughts and desires. Andrei Sokolov wanted to pour out his soul in front of a random person he met. At the same time, he is restrained in the manifestation of feelings. Sokolov usually first talks about what caused him a painful reaction, then this often ends with an apt expression taken from folk colloquial speech.

The "heart" becomes in the story a see-through detail filled with symbolic content. Organically interacting with other artistic elements of the work, this detail helps to reveal the outcome of the confrontation between darkness and sunlight, life and death, good and evil. The author, who was so closely in touch with the tragic sufferings of the hero, felt how “suddenly, as if a soft, but clawed paw squeezed” his heart. Sokolov suffered just as much if his story about it influenced the author so strongly. "Elderly men who have turned gray during the war years" "cry ... and in reality." “The main thing here is to be able to turn away in time”, to divert grief from Vanyusha's heart, which has already crushed the child so hard, to bring more light and joy into his life. And that is why the concluding phrase of the story says: "The most important thing here is not to hurt the child's heart, so that he does not see a burning and avaricious man's tear running down your cheek ...". Sokolov's narration is, in fact, a tale. When using this form, the weight of the subjective principle in the work increases, since the originality of the narrator is felt in relief, his thoughts and feelings permeate the entire narrative.

M. Sholokhov managed to overcome the negative aspects of the fairy tale form, introducing a second narrator, choosing a narrator from the midst of the people, including him in the struggle of world social forces. Sokolov's story is characterized by a dialogic nature, it includes questions and answers. The hero, reflecting on what happened to him, wants to better understand life. To the question: "Ask any elderly person, did he notice how he lived his life?" - the answer is immediately given: "He did not notice a damn thing." In essence, this is a conversation between the hero and himself. His questions enliven the story, diversify the intonation, accentuate the expressed thought more strongly, concretize it. The story "The Fate of a Man" - "is, in essence, an epic, only compressed to the size of a story, that is, to the very noun, to the most important - to one human destiny, which has absorbed the essence and meaning of the great feat of the people" (29, p. 82).

The genre features of the story made it necessary to deviate from some essential features of the "canonical" epic form. The writer used the stories of two authors, starting in different keys and coming to unity. And this allowed The Fate of Man to absorb a huge amount of epic material - the life of a man, his fate for a quarter of a century, to reveal the typical features of the Russian Soviet character.

For the story, the law of a sharper than in large genres, the separation of the main character from the environment of episodic characters is important. M. Sholokhov focused his main attention on Sokolov, whose fate determined the architectonics of the work, became its central nerve and the main expression of the artistic idea. The title of the story accurately reflects the main problems of the work, then the main thing is what will be discussed. It has become an ideological focus that crystallizes the entire artistic structure around itself.

It is known that the epic describes, first of all, events, or rather, a person in a large - saturated large - saturated with historical meaning - event. In the epic, heroes cannot control circumstances, in it “circumstances and external accidents have the same meaning as subjective will” (14, pp. 54-56). In addition, the individual motives of the epic hero are wholly subordinated to the interests of the whole people. The problem of choice does not play such a big role for him as it does for the hero of the tragedy. The flow of artistic time in "The Fate of Man" depends on the very structure of the narrative. Dialogue, story, lyrical inclusions and digressions, various kinds of descriptions have their own characteristics in rhythm, in relation to real time... The combination of stylistic layers testifies to the synthesis of different time layers with different stresses of action, forming a complex structure of artistic time.

The high skill of M. Sholokhov was manifested in the fact that, achieving in the story the greatest artistic expression, he knows how to find a moment when it is necessary to translate the narrative plan into a dramatic-pictorial one, show the past in such a way that it creates the illusion of the present and thus has a stronger effect on the reader. Mikhail Sholokhov outlined new stage postwar soviet literature in the image of the tragic trials that befell the Soviet people during the terrible years of the Patriotic War. He showed the greatness and moral beauty of the heroic spirit of the Soviet people. In The Fate of a Man, the defining features of the Soviet people are revealed with amazing artistic power. The collective image of Sokolov - a vivid type of Russian character - naturally rose to the ranks of the best in its expressiveness and ideological content of the heroes of Soviet literature.

The story "The Fate of a Man" is strikingly vividly depicting human destiny, full of bitter drama, revealing the essential features of the Russian national character.

The story "The Fate of a Man" was published in Pravda on December 31, 1956 and January 1, 1957. It received national recognition. The exceptional power of its impact was evidenced by letters to M. Sholokhov Yurkovich M. Sholokhov about the fate of man // Foreign Literature, 1984, No. 6 ..

Many works of M. Sholokhov were written about the war. According to the writer, "everyone who undertakes to write" about a soldier needs to know his psychology, "his military work, his pure heart and moral endurance, his firmness." M. Sholokhov heard a lot about the events of the First World War from its participants. When he worked on The Don Stories and The Quiet Don, he was helped by personal impressions. "I saw the war since childhood, I know a little what it is ..." During the civil war M. Sholokhov lived on the Don and was an eyewitness to fierce battles. He participated in battles with kulak gangs. Sholokhov wrote about this: “Since 1920 he served and roamed about the Don land. He was a food worker for a long time. I chased the gangs that ruled the Don until 1922, and the gangs chased us ... We had to be in different bindings. "

Nothing can replace what the writer saw with his own eyes, what he felt during the difficult years of the Great Patriotic War. Subsequently, he recalled: “... I remember the first stanitsa farewell to the front ... I remember tears ... The first meeting ... The homeland is in danger - is there a more disturbing feeling ?! And I remember the lively, noble enthusiasm of the villagers, who gathered for the war without fuss, in a peasant manner.

In the difficult days of the Great Patriotic War, Sholokhov strives to go to the front - to fight the sworn enemy not only with a writing pen, but also with a military soldier's bayonet. He is convinced that without this, the Soviet artist of the word has no moral right to write about the heroic battles of his people with the enemy. When M. Sholokhov was told that the command might not allow him “to be in the most dangerous places,” he angrily objected: “So how is that ?! The soldiers will fight, and I only from a distance, from the headquarters, to look? How can I write about the people in the war today and then, after our victory ?! " Sholokhov once remembered how he first went on the attack, and this is how he explained his impulse: “I went not only because without this you cannot write about that terrible, but enveloping force that leads a person to death, but also because send soldiers, all send; and you, too, are a soldier, and the force called "camaraderie" leads you to bullets, to the enemy.

Sholokhov repeatedly referred to the idea of \u200b\u200bthe price of a great victory, of the terrible losses suffered by the Motherland during the Great Patriotic War: “Almost every family in our country came to the end of the war with losses. So I think: how much strength it took to start all over again. Much of the country was destroyed. I saw these completely burned villages, farms, villages, villages, cities, I saw devastated, deserted ... The price of victory. You feel and experience it most acutely on the day of the great fulfillment of hopes ... "

All this explains why Sholokhov so sharply perceives the past events of the Patriotic War, why he considers it his duty to full height depict a Soviet soldier who defeated a militarily powerful capitalist power.

However, there is something else to consider. With the passage of time, the outstanding significance of the Great Patriotic War in the history of our country and of all mankind is becoming more and more deeply realized. And it is quite natural that over the years the interest of Soviet writers in that truly sacred time for every honest person does not weaken. The immortal military feat of the Soviet people became an inexhaustible source for their creativity.

The immediate impetus to the emergence of the idea of \u200b\u200b"The Fate of Man" was the meeting of M. Sholokhov with the prototype of Andrei Sokolov in 1946.

"The fate of man" opened a new stage in the depiction of the events of the Patriotic War, outlined new paths leading to a deeper disclosure of the moral sources of the great feat of the Soviet people. This story once again emphasized that the image of the tragic can be associated with the task of asserting an optimistic outlook Yurkovich M. Sholokhov about the fate of a person // Foreign Literature, 1984, No. 6 ..

The great national wartime tragedy was embodied by Andrei Sokolov - the hero of the story "The Fate of a Man". He emerged victorious from cruel trials, without losing his humanistic, ideological and moral values, retaining his vitality, fulfilling his soldier and civic duty to the end. If we compare this work with the "Science of Hatred", then we can more clearly imagine Sholokhov's deeper comprehension of the tragic sides of wartime. To be convinced of this, it is enough to compare the farewell scenes in these stories. The terrible thought that these are the last minutes of their meeting in this world oppresses.

In the second half of the 50s - 60s, tragic images and pictures took a large place in Soviet prose.

None soul mate The nameless Polish doctor, a prisoner of Auschwitz, did not remain on earth: "My wife and daughter died in the gas chamber, the rest of their loved ones scattered around the world, like the wind blows dry leaves." And only a dog is his "last joy".

The horrors of war, the inhuman that it brings with it - death, suffering, destruction - do not become an end in itself in the work of Soviet writers, but obey the disclosure of the spiritual power of the Soviet people, the invincibility of its ideological and moral foundations.

The tragic fate of Sokolov, his adopted son Vanya, Ivan Buslov testifies to the bitterness of terrible losses, they emphasize, in the words of Sholokhov, that "at the cost of unheard-of sacrifices and people's suffering, we emerged victorious ... in the last, greatest of wars." The idea of \u200b\u200bSokolov's tragic share is also realized through the theme of loneliness, which runs through the entire work (it is not in the Science of Hatred) and plays a serious role in his ideological concept.

Researchers of Sholokhov's art have repeatedly noted the roll call of "The Fate of a Man" and E. Hemingway's story "The Old Man and the Sea" in the disclosure of this topic.

The tonality of the landscape picture given in the introduction determines the motive of silence, which then evokes the thought of loneliness: “It was good to sit on the fence like this, alone, completely surrendering to the silence and loneliness ...” Yes, it is good to enjoy the healing silence, to relax alone, breaking away for a short time from constant human worries. However, it is bad for a person if there is no one to take his soul with, if he has no loved ones left, if he is deprived of even his favorite job (because of the ridiculous incident with a cow, accidentally hit by a car). And that is why Sokolov says to the author, as if arguing with his thoughts: “Let me, I think, will come in and have a smoke together. Someone is sick of smoking and dying. "

In a wonderful work, the author showed unbending will, courage, heroism and at the same time the great generous heart of a simple Russian man who, in a time of the most difficult trials that befell his Motherland, and irreparable personal losses, was able to rise above his personal destiny filled with the deepest drama, managed to live and overcome death in the name of life. This is the pathos of the story, its main idea. All the main artistic elements of the work are placed by the author in an indissoluble, organic connection with this thought.

The composition of the piece is simple, artless. Almost the entire "space" of the story. Approximately four-fifths of the volume, in accordance with the title, is occupied by the narration of a stranger accidentally met by the author on the way about his tragic fate Petelin V.V. Humanism of Sholokhov - M .: "Soviet Writer", 1965. - P.96.

From the very first words of the story, the reader learns that the "first post-war spring" is being described. This description, we emphasize, is devoid of any allegoricality, has no author's "second plan." It is extremely real, replete with all kinds of everyday details. About the bad days of the war, which died down just a year ago, are reminiscent of the "bad off-road time", and the author's soldier clothes, and the "jeep" and "bad off-road time", and the hardships of the path just traveled. But it penetrates through it all. A life-affirming spring note is ringing. So already at the beginning of the work there are those two themes - war and spring, death and life, a complex and deep combination of which forms the “music” of the work. Even more clearly, more vividly, these two themes appear in the images of a man and a boy who approached the author. The exterior of both of them is outlined with a few scanty, albeit expressive, strokes.

The story "The Fate of a Man" is constructed in such a way that portrait sketches of characters, author's remarks, lyrical landscapes are fused together with its plot basis, which is Andrei Sokolov's narrative about his experiences during the war years.

Sholokhov builds the hero's confession in such a way that it "enters" our souls, igniting reciprocal feelings of compassion to the deepest grief for a person and admiration for his unbending courage and stamina. Sholokhov achieves such a force of influence of Andrei Sokolov's confession on the reader due to the fact that he arranges the events he experienced according to the degree of ever-increasing tragic drama: the first hours of captivity; revenge of a traitor; cruel retribution for the first failed escape. The picture of the single combat of a captured soldier with Müller is one of the most striking in the story. As one of its compositional peaks, this picture has a relative internal independence. It has its own theme, its own idea and even its own genre.

About the next one and a half years of his life in captivity, Andrei Sokolov talks rather succinctly, but in detail he recreates the episode of the escape, which is understandable. This episode is a direct continuation and completion of what we saw in the picture of the spiritual combat between Sokolov and Muller, with the only difference that a symbolic victory was won over Mueller, and in the planned and carried out action with a fat German major - an actual victory.

The greatness and inexhaustibility of the life-giving power of Andrei Sokolov's soul was reflected in his attitude towards the homeless Vanyushka, who lost his parents in the war. In spiritual combat with Muller, Andrei Sokolov defends the dignity and honor of a patriot of his Fatherland, when Vanyushka is adopted, he reveals to us such reserves of spiritual generosity, which are clearly given to only a person whose need is to live tirelessly for people, to give people joy and happiness.

The artistic logic of the story "The Fate of a Man" convinces that a man like Andrei Sokolov "can endure everything, overcome everything on his way, if his homeland calls for it." The most characteristic feature “The fate of man” is the frank expressiveness of her language Ognev A.V. Sholokhov M.'s story "The fate of man": textbook. allowance - M .: Higher school, 1984. - S. 18 ..

One of the first scenes of fascist captivity was seen with a strikingly "cold gaze", without softening epic or melodramatic filters. At night, in a church turned by the Germans into a temporary prison, Sokolov's neighbor, a beast-like self-porter, threatens a young platoon commander, who has thrown off his commander's tunic to save himself, that he will betray him tomorrow. We are not even shown Sokolov listening to this conversation. But as soon as the prisoners fall asleep, he appears next to the doomed sighing lieutenant and confidently, as if this is not the first time for him, orders: "Keep his feet." And while we look at the frightened-surprised face of the lieutenant, skillfully and quickly carries out his single-handed sentence. Then, getting up, disgustedly and wearily wipes his hands on his tunic, and they, backing away and not taking their eyes off the body invisible to us, retreat into the black depths of the church ... Where feat was expected, it turns out to be just a disgusting necessity.

Likewise, the entire flow of the work is fraught with some very sensitive violations of linearity. So, with the development of the plot, we move further and further away from the initial setting on the "story of an experienced person" and find ourselves in completely different relations with reality, especially in an episode in the commandant's office of a concentration camp. Here the author uses the motive of the last wish, the last glass or pipe, which is due to the condemned before execution. The custom is as legendary as it is everyday. Moreover, the emotional and semantic weight of this episode is so great that it rebuilds the perception of the thing as a whole anew.

Tearing himself away from the festive table, Mueller announces to Sokolov that “on such a day” he decided to do Sokolov a great honor and shoot him personally. It is not clear why the commandant needs this execution precisely during a gala dinner? And most importantly, what are these ceremonies with an ordinary prisoner for? The explanation can be found right there, when he pours a glass of vodka and offers Sokolov a drink to the victory of German weapons. The commandant is performing a kind of magic ritual: after killing another Russian, he can, as it were, merge with his victorious army, which has just reached the Volga. Moreover, he needs not just death, but the extreme humiliation of the enemy, that is, a repetition of what, in his opinion, happened at Stalingrad.

In a broader sense, Müller wants to reproduce the main Nazi myth, but not as a spectacle, but rather as an experiment to prove it right. That is why, being confident in his unlimited power, he does not force Sokolov, but gives him the opportunity to do it of his own free will. He needs not a miserable extra for the role of an "inferior race", but its true fall in the person of its full-fledged representative. The myth has no past tense and should be performed here and now, and not as an imitation of something already past.

The solemn tone, the "eagle's gaze", the appeal to Sokolov - all this suggests that "Herr Lagerführer" already feels himself inside the myth. Everything individual disappeared in him, and only the generic remained. It was to be expected that the confrontation between these characters would open up the confrontation between two mirror myths: the Nazi and the Soviet. And the question of which of them will come true will be an internal collision of further action. "Well, Russ-Ivan, drink before you die," Mueller pauses, "for the victory of German arms!" "Thanks for the treat, Herr Lagerführer, but I am a teetotaler."

The author's calculation is that from the story about the pre-war life, we know what kind of "teetotal" he is. This unexpected comic, stronger than any heroic gesture, raises Sokolov above situations of waiting for death, so impressively developed in this and in the previous scene, during Sokolov's journey from the barrack to the commandant's office. L. Yakimenko. Selected Works. In 2 volumes.Vol.2. Creativity of M.A.Sholokhov - M .: Art. Lit., 1982 .-- From 247 ..

Then Muller invites Sokolov to drink to his death. A Russian soldier raises a faceted glass, a Frenchman picks up a sword knocked out of the enemy's hands, and a noble cowboy manages to snatch a seven-shot Colt before the villain ... "After the first I don't have a snack!" And where does the unshakable confidence suddenly arise that he has already won, and the rest is a matter of time? After all, he still stands on unsteady legs, emaciated, unarmed, sentenced to be shot, in the face of his executioner. It's just that Herr Lagerfuehrer does not understand that the commandant was in a trap set up by himself. He is no longer in his own, but in someone else's myth, where the role of defeated evil is destined for him. In this threefold test, which was supposed to humiliate and then destroy the hero, but in fact raised him to the utmost, there is something that defies rational explanation and description. The weak, mortal, individual is supplanted by the ineradicable generic. Mueller wants to repeat Stalingrad, and he gets it. This is evident if only because the bread and bacon, which he hands over to Sokolov at the end of their meeting, are perceived not as a handout, but rather as a trophy taken by our soldier. And in general, the defeat of the Germans turns out to be predetermined precisely after the scene at the commandant, which is manifested both in those exploits in the enemy's rear that the hero performs without much effort, and in the general degradation of the enemy, noticeable even at a purely anthropological level. The fascists whom Sokolov had met before, for all their minus-humanity, could not at least, deny masculinity.

Suffice it to recall how Sokolov, after the third, victorious glass, clutching a loaf of bread and bacon to his chest, takes a step to the door and suddenly hears in the silence that one of the Germans suddenly clinks a spoon behind him. From this faint sound, he shudders and freezes in place.

Thanks to this final detail, the commandant's psychological coloring of the entire scene changes. When the tension of the duel seemed to have subsided, something that all the time overflowed the soul of the main character of the picture - fear. Fear and desire to survive even in a situation where the heroic code prescribes death. Having climbed to the mythological height, he suddenly reveals his normal human weakness, as if giving us a sign from there that he is alive. This is how the completeness of the image is achieved, without which millions would not be able to say: Andrei Sokolov is us.

At the turn of the 50s and 60s, "The Fate of Man" was able to fully realize the then existing possibility of a single self-description of the nation.

War is a terrible and tragic event in the life of people. When pronouncing this word, the most terrible pictures, terrifying, flash in a person's head. War is the theme of the works of many authors. The writers wanted to convey to every reader what a deep mark the war left in the lives of people. Such an author was M.A. Sholokhov. His historical work "The fate of man" reflects the hard fate of the Russian people during the Great Patriotic War.

The story is about a simple man who lost all his relatives, comrades, but he did not break down - he survived!

Another incident that took place in a church where Russian prisoners were kept reveals Sokolov as a just, moral hero. Upon learning that next to him there was a traitor who was going to hand over the Russian platoon commander to the Nazis, Andrei strangled him, after which he said: “Before that I felt unwell after that, and I really wanted to wash my hands, as if I were not a man, but some kind of creeping bastard ... "Thanks to the strength of his character, Sokolov even managed to escape from captivity. Once on the home side, the main character he was happy for a long time, he did not live on the Russian land. Andrey recalls: "I fell to the ground and kiss her, and I have nothing to breathe ..."

The war took away from Sokolov the most important thing in his life, the most precious - his family: parents, wife, children. A lot of sorrows and trials fell on the shoulders of the protagonist, but he did not give up, did not lose heart, but lived on. Vanyusha was the only ray of happiness for him. An orphan boy, as lonely as Sokolov. Andrei gave him his care, affection and love, like a family. What tremendous mental strength a person must possess in order to commit such acts!

After going through a long series of tests, the main character did not lose heart, did not give up, he honestly and courageously fought for his Motherland, performed incredible feats in the name of the Fatherland. Here he is, a real hero!