The path of becoming frost. II

In 1927, A. Fadeev's novel "The Rout" was published, in which the author turned to the events of the revolution and the civil war. By that time, this topic was already sufficiently covered in the literature. Some writers considered the events that completely changed the life of the country as the greatest tragedy of the people, others portrayed everything in a romantic halo.

Aleksandrovich approached the coverage of the revolutionary movement somewhat differently. He continued the traditions of L. Tolstoy in the study human soul and created a psychological novel, which was often blamed on him by the "new writers" who rejected the classical traditions.

The plot and composition of the work

The action develops Far East, where the combined troops of the White Guards and the Japanese waged a fierce fight against the partisans of Primorye. The latter often found themselves in complete isolation and were forced to act independently without receiving support. It is precisely in such a situation that Levinson's detachment finds itself, about which Fadeev's novel "Rout" narrates. An analysis of his composition determines the main task that the writer set himself: to create psychological portraits people of the revolution.

The novel of 17 chapters can be divided into 3 parts.

Chapters 1-9 - an extensive exposition introducing the situation and the main actors: Frost, Mechik, Levinson. The detachment is on vacation, but its commander must maintain discipline in the "combat unit" and be ready to act at any moment. Here the main conflicts are outlined and the action begins.
10-13 chapters - the squad makes endless transitions and enters into minor collisions with the enemy. Fadeev Alexander Alexandrovich pays great attention to the development of the characters of the main characters, who often find themselves in difficult situations.
Chapters 14-17 - the climax of the action and the denouement. Of the entire detachment, forced to fight alone, only 19 people remain alive. But the main focus is on Frost and Mechik, who find themselves in equal conditions - in the face of death.

Thus, in the novel there is no heroic description of the military exploits of people who defend the ideas of the revolution. To show the influence of the events that took place on the formation of the human personality - A. Fadeev strove for this. “Defeat” is an analysis of a difficult situation when there is a “selection of human material”. In such conditions, according to the author, everything “hostile is swept away”, and “what has risen from the true roots of the revolution ... is tempered, grows, develops.”

Antithesis as the main device of the novel

Opposition in the work occurs at all levels. It also concerns the position of the opposing sides ("red" - "white"), and moral analysis the actions of people involved in the events that served as the basis of Fadeev's novel "The Rout".

An analysis of the images of the main characters, Frost and Sword, makes it clear that they are opposed in everything: origin and education, appearance, actions performed and their motivation, relationships with people, place in the squad. Thus, the author gives his answer to the question, what is the path of different social groups in the revolution.

Frost

The reader gets acquainted with the "miner in the second generation" already in the 1st chapter. This is a young man who goes through a difficult path

At first it seems that Morozka consists of only flaws. Rude, uneducated, constantly violating discipline in the detachment. He did all his actions thoughtlessly, and life was seen by him as "simple, unwise." At the same time, the reader immediately notices his courage: he, risking his life, saves a completely unknown person - Mechik.

Frost is given a lot of attention in Fadeev's novel "Rout". An analysis of his actions allows us to understand how the attitude of the hero towards himself and those around him changed. The first significant event for him was the trial for the theft of melons. Frost was shocked and frightened that he might be expelled from the detachment, and for the first time he gives the "miner's" word to improve, which he will never violate. Gradually, the hero realizes his responsibility to the detachment, learns to live meaningfully.

Frost's advantage was also the fact that he clearly knew why he came to the detachment. He was always drawn to the best people, which are many in Fadeev's novel "The Defeat". An analysis of the actions of Levinson, Baklanov, Goncharenko will become the basis for the formation of the best moral qualities in the former miner. A devoted comrade, a selfless fighter, a person who feels responsible for his actions - this is how Frost appears in the final, when at the cost of his own life he saves the squad.

sword

Absolutely different Paul. First introduced in the rushing crowd, he will not find a place for himself until the end of the novel.

The sword is introduced into Fadeev's novel "The Rout" not by chance. A city dweller, educated and well-mannered, clean (words with diminutive suffixes are often used in the description of the hero) - this is a typical representative of the intelligentsia, whose attitude to the revolution has always caused controversy.

The sword often causes contempt for itself. Once he imagined the romantic, heroic environment that would await him in the war. When the reality turned out to be completely different (“dirtier, lousier, tougher”), he experienced great disappointment. And the more Mechik was in the detachment, the thinner the connection between him and the partisans became. Pavel does not use the opportunity to become part of the "detachment mechanism" - Fadeev gives them to him more than once. The “rout”, the problems of which are also associated with the role of the intelligentsia cut off from the people’s roots in the revolution, ends moral decline hero. He betrays the detachment, and the condemnation of his own cowardice is quickly replaced by joy at the fact that his "terrible life" is now over.

Levinson

This character starts and ends the story. The role of Levinson is significant: he contributes to the unity of the detachment, unites the partisans into one whole.

The hero is interesting already because his appearance (because of his short stature and the wedge, he resembled the Dwarf's Sword) did not correspond in any way to the image of the heroic commander in a leather jacket created in the literature. But unsightly appearance only emphasized the originality of the individual. The attitude of all the heroes of Fadeev's novel "The Rout" towards him, the analysis of actions and thoughts prove that Levinson was an indisputable authority for everyone in the detachment. No one could even imagine the commander doubting, he always served as a model of a "special, correct breed." Even the moment when the last thing is taken away from the peasants to save the detachment is seen, for example, by Morozka not as a robbery, similar to the theft of melons, but as a necessary deed. And only the reader becomes a witness that Levinson is a living person with fears and insecurities inherent in everyone.

It is also noteworthy that difficulties only temper the commander, make him stronger. Only such a person, according to the writer, is able to lead people.

The idea of the novel as Fadeev saw it

“The Defeat”, the content and theme of which is largely explained by the author himself, shows how the true character of a person is manifested in the process of complex historical events.

"Huge remake of people" concerns representatives different ages and social groups. Some come out of trials with dignity, while others reveal emptiness and worthlessness.

Today, Fadeev's work is perceived ambiguously. So, the indisputable merits of the novel include a deep analysis of the psychology of the main characters, especially since it was practically the first attempt in post-revolutionary literature. But at the same time, it is difficult to agree with the opinion that for the sake of the triumph of an idea, all methods are good, even the murder of the mortally wounded Frolov. No goals can justify cruelty and violence - that's main principle inviolable laws of humanism, on which humanity rests.

Sections: Literature

Goals:

The proposed material should give the most complete and comprehensive coverage of the literary process of the 1920s; to show the living literary process, to outline the problems that stand in the literature of this period, the problems that will be discussed further when studying the monographic topics of the course.
Discussing specific plots, destinies, ideas to bring out modern student to the consideration of the deepest philosophical problems associated with the choice of a life position: man and time, personality and state, art and power, free will and state necessity.
To educate the development of a free, responsible person who is aware of himself and his surroundings.

Equipment: computer, reproductions of various artists about the revolution, portraits of writers who participated in the literary process of the 20s.

Vocabulary:

The literary processliterary life a certain country and era, including the evolution of genres, themes and the preservation and various use of the classical heritage, the rethinking of eternal themes, the emergence or extinction of certain communities, systems, and interconnections of literatures. The main concepts that characterize the literary process are - art systems, literary trends, directions, creative methods.

Plan:

1. Poetry of the 20s.

2. Literary groups 20s.

Proletkult and "Forge";
LEF;
Pass;
RAPP.

3. Prose of the 20s

official literature; informal literature;
Comparative characteristics heroes in A. Fadeev's novel "Rout".
The development of the dystopian genre;
Humorous prose of the 20s.

4. Journalism of the 20s.

M. Gorky "Untimely Thoughts";
I. Bunin "Cursed Days";
Korolenko's letters.

During the classes

Org. moment.

Teacher. For many years, the image of October 1917, which determined the nature of the coverage of the literary process in the 1920s, was very one-dimensional, simplified. It was monumentally heroic, one-sidedly politicized. Now readers know that in addition to the “revolution - the holiday of the working people and the oppressed”, there was another image: “ cursed days”, “deaf years”, “fatal burden”.

The well-known literary critic E. Knipovich recalled: “When I am asked now how I can briefly define the feeling of that time, I answer: “Cold, wet feet and delight.” Feet wet from leaky soles, delight at the fact that for the first time in my life it became visible around the entire width of the world. But this enthusiasm was not universal. Nor should one think that those who were essentially part of the ongoing reality and believed each other did not argue among themselves. Their dispute is a sign of the times, it is a sign of creative possibilities, of those forces raised by the revolution that wanted to realize themselves, to affirm their views. His understanding of the Soviet culture under construction.

These memories are the key to understanding the literary situation of the 1920s. And the writers themselves, who lived and worked at that difficult time, will become reliable assistants and guides for you.

The agonizing question: "To accept or not to accept the revolution?" - stood for many people of that time. Everyone answered it in their own way. But the pain for the fate of Russia is heard in the works of many authors.

Cry, fire element,
In pillars of thunderous fire!
Russia, Russia, Russia -
Go crazy burning me!
In your fatal partings,
In your deaf depths -
Winged spirits flow
Your lucid dreams.
Don't cry: bend your knees
There, in the hurricanes of fire,
In the thunder of seraphic chants,
Into the streams of cosmic days!
Dry deserts of shame
Seas of inexhaustible tears -
Beam of a wordless gaze
The descended Christ will warm.
Let in the sky - and the rings of Saturn,
And milky ways silver, -
Boil phosphorically violently
Earth's fire core!
And you, fire element,
Go crazy burning me
Russia, Russia, Russia -
Messiah of the coming day.

This poem by Andrei Bely was written in 1917. It perfectly characterizes the situation that prevailed in the country, in creativity. How did the poets of the beginning of the 20th century react, behind whom the “silver age” of Russian poetry had already marched, to the October Revolution that had taken place in the country?

Video film.

Work of the 1st group of students.Poetry of the 20s.

I. Poetry consultant of the 1920s.

Modern look on the poetry of the 20s about October, on the figures of poets who saw the twentieth century in a completely different way than before the revolution suggests a new approach to understanding many works. The forces of attraction to the revolution and at the same time shocked by its severity, the depth of pain for a person and at the same time admiration for everyone who remained a person in the revolution, faith in Russia and fears for her path created a striking composition of colors, techniques at all levels of many works. New problems forced to update the poetics. After analyzing the poems of the 20s of the twentieth century, we came to conclusions.

Poems for analysis.

proletarian poetry.

Expressive reading of the poem.

We are innumerable. formidable legions
Labor
We have conquered the expanse of the seas,
oceans and land
By the light of artificial suns we
set fire to the cities
Ours are burning with the fire of revolts
proud souls.
We are at the mercy of the rebellious, passionate
hops
Let them shout to us: “You are executioners
beauty..”
In the name of our Tomorrow - we will burn
Raphael
Destroy the museums, trample the arts
flowers.
V. Kirillov "We".

These lines are characteristic of proletarian poetry. The cultural heritage of the past was decisively discarded, the bourgeois "I" was replaced by the proletarian "we". The author sincerely tried to poeticize political speech - the language of newspapers and posters.

1. O. Mandelstam "The Twilight of Freedom"

Individual task (analysis of the poem) textbook V. Chalmaev, S. Zinin Grade 11 p.296.

2. N. Tikhonov

He revived the ballad genre.

“I threw my youth into the Iron Age,” said Nikolai Tikhonov (1896-1979) about himself. At the age of eighteen, he ended up in the trenches of the First World War. After demobilization, he went to the front again - already in the ranks of the Red Army. “Defended Petrograd from Yudenich. I spent a hundred hours on duty without a shift, fell down at the hundred and fourth ... I sat in the Cheka and cursed with different commissars and will continue to curse. But I know one thing: that Russia, the only one that exists, is here.” Tikhonov brought fame to poetry. Compiled his first two books - "Horde" (1921) and "Braga" (1922). It is these early poems - clear, chased, dynamic. Echoes of biblical legends were heard in them. Book images and folk songs; but the main thing was the experience of a man whose youth was "On the roads under the stars"

Life taught with an oar and a rifle,
Strong wind. On my shoulders
Knotty whipped with a rope,
To become calm and dexterous.
Like iron nails, simple.
"Look at the unnecessary boards ..." 1917-1920

Everyday details in Tikhonov's poetry were intertwined with symbolism:

We have forgotten how to give to the poor,
Breathe over the salty sea,
Meet the dawn and buy in the shops
For copper garbage - gold of lemons.
“We have forgotten how to give to the poor…” 1921.

M. Gorky spoke about Tikhonov's talent: “He is fascinated by strong people, heroism. Activity is just everything that is absolutely necessary for Russia and that the old literature did not educate in the Russian people. Courage, will, fidelity to duty - the main theme of Tikhonov's soldier's ballads, swift in rhythm, which resembles the faltering breathing of a running man.

Elbows cut the wind, beyond the field - a log,
The man ran. Blackened, lay down.
"The Ballad of the Blue Package", 1922

Genuine flashes of inspiration over time, Tikhonov became less and less. The sincerity of the early poems was replaced by artificial pathos. At the end of his life, in the poem "Our century will pass ..." (1969), Tikhonov wrote about the highest justice - the futility of trying to hide the "secret twists" of history and fate.

The faces of other gods will then fade,
And every trouble will be exposed,
But what was truly great
It will remain great forever.

3. Khlebnikov and the revolution.

Khlebnikov, like many poets of that time, believed that the revolution had a universal and even universal meaning. After February 1917, he wrote the "Appeal of the Presidents of the Globe", which denied the borders that separate nations and states, and proclaimed a single future for all mankind.

But "zemsharost" did not save from pain for a hungry, blood-drenched homeland. Poems about Russia during the famine that takes millions of lives are terrible. The poet does not describe, but, as it were, bestows sight - the reader observes terrible pictures.

Volga! Volga!
Are you corpse eyes
Are you turning on me?
Did you raise dead squirrels
Samoyed villages, doomed to sleep,
In the eyelashes of blizzards, Dead eyesores of their cities,
Lost in the snow?
Do you clang
Boarded up villages?
Volga! Volga!”, 1921

Khlebnikov declares a fight against the triumphant satiety of speculators profiting from the plight of the country:

Not then high
We have the will of truth
In sable trotters
To ride mocking.
Not then at the enemy
Blood flowed cheaply
To carry pearls
The hands of every merchant.
"Don't be naughty!" 1922

During the Civil War, Khlebnikov's best poem Ladomir (1920), dedicated to the revolution, was written. Revolution is not only, and perhaps last but not least, a social phenomenon. For Khlebnikov, this is a philosophical phenomenon. The revolution returns man to the original nature.

The poem contains pictures of that terrible era that are striking in their power of artistic expressiveness and symbolism:

Like a bloody row of owls,
The high palaces are on fire.

It's at the death of the cliffs
Surf of humanity...

But the title of the poem is optimistic. The revolution must set the world in a new "way".

Khlebnikov believes in the possibility of a scientific reorganization of the world. To the omnipotence of the human mind, which the revolution has liberated.

4. A. Akhmatova “I am not with those who left the earth ...”

(Determine the theme and idea of the poem) Independent work.

II.Literary groups of the 20s

(presentation of works made on a computer) List the names of literary groups.

Teacher.

In the first months after October 1917, literary life was concentrated in the editorial offices of newspapers and magazines, which were closed every now and then. The spirit of the programs of those years was extremely despotic. In the chronicle for 1918 we read: “The Constituent Assembly of the All-Russian Union of Proletarian Writers: “The Union of Writers must be a perfect machine for the production of uncomplicated ideas of the revolutionary proletariat.”

Gradually, literary groups and associations began to emerge and be established.

Proletcult and "Forge" - Appendix 1;
LEF - Annex 2;
Pass - Appendix 3;
RAPP - Annex 4 .

These are the few bands that existed in the 1920s. There were also the LCC (literary center of the constructivists), the Serapion Brothers, which included V.A. Kaverin, M. Zoshchenko, Vsevolod Ivanov, N. Tikhonov, the theorist of this group was Lev Lunts, OBERIU ) - in poetry they cultivated poems from words and stanza-cubes with candle sound repetitions, folding lines from the same words. These abstruse poetic constructions came in handy for creating books for children:

I thought for a long time where the tiger came from on the street:
thought-thought
thought-thought
thought-thought
thought-thought
And at this time the wind blew,
And I forgot what I was thinking.
I still don't know where the tiger came from on the street.
D. Harms.

III . Prose of the 20s. Work of 2 groups.

Teacher: The beginning of the 1920s in literature was marked by increased attention to prose. She enjoyed an advantage on the pages of the first Soviet magazine Krasnaya Nov, published since the summer of 1921. The historical events that took place around affected everyone and everyone and required not only the expression of emotions, but also their comprehension. Soviet prose of the 1920s was not homogeneous either at the time of its appearance, or later, in the process of reader's perception.

Prose Consultant: Working with a table

1. Work with A. Fadeev's novel "Defeat".

For Fadeev proletarian writer and an active figure in the RAPP, it is very important to oppose heroes in class, socio-political terms. The opposition is always straightforward and unambiguous. Antithesis is the main theme of the novel. Contradiction occurs at different levels:

External ("red" and "white").
Internal (instinct - consciousness, good - evil, love - hate).

The system of images also has an obvious antithesis. This is the opposition of two heroes - Sword and Frost. Frost is a worker, Mechik is an intellectual. With this opposition, Fadeev decides the question: what are the paths of the people and the intelligentsia in the revolution. To answer this question, it is necessary to compare the images of the Sword and Frost in the novel "The Rout".

Comparative analysis of images.

Frost

sword

What is the path of becoming Frost? (1 chapter)

Difficult, through ups and downs, the path of becoming a person. Awareness of oneself as a person begins when a person begins to ask questions: what is the meaning of my existence? Frost, until the moment he got into the detachment, did not ask himself such questions.

What event made Morozka look at life differently?

The first milestone of self-awareness was the trial of him (Chapter 5). Frost at first did not understand why he was being tried. But when he felt hundreds of curious eyes on him, he heard Dubov’s words that he “dishonored coal tribe". Frost trembled, became pale, like a canvas, “his heart fell in him, as if lined.” The threat of expulsion from the detachment turned out to be unexpected and terrible for him: “Yes, if only I ... did this. Yes, I’ll give blood by the vein for everyone, and not that it’s a shame or what!

What do we learn about Morozka's life aspirations?

Frost knows exactly why he is in the detachment. He is at home in the revolutionary stream, because, despite his antics and spontaneous breakdowns, he was drawn to the “right” people: “He tried with all his might to get on the road that seemed to him straight, clear and correct, along which such people as Levinson, Baklanov, Dubov. (chapter 12).

Frost's thoughts that someone stubbornly prevents him from entering this road did not lead him to the conclusion that this enemy is in himself, it is especially pleasant for him to think that he suffers because of the meanness of people like Mechik .

How does the image of the Sword develop in the novel?

Fadeev from the very beginning contrasts Frost with a clean, handsome Sword. The sword is shown for the first time together with people rushing about in panic: “in a short-haired city jacket, clumsily dragging a rifle, a lean boy was running, limping.” Also, the Sword will rush about when, having betrayed his comrades, he will be saved from the chase. "The guy's face was pale, beardless, clean, although smeared with blood." Fadeev describes Mechik in such a way that both his pitiful appearance and the author's attitude towards him immediately become clear. Frost saves him, risking his own life. In the last chapter, Frost saves the entire squad, betrayed by Mechik, at the cost of his life.

Chapter 2 of the novel is dedicated to Mechik, thus in the first two chapters the main antithesis is determined, a conflict is outlined: “To tell the truth, Frost did not like the rescued at first sight.”. So the author immediately evaluates Mechik through Frost, emphasizing it with various words: “bore”, “yellow-mouthed”, “snotty”.

When describing the Mechik, Fadeev often uses words with diminutive suffixes that give the image a contemptuous tone: “in a city jacket”, a cheerful city motive whistled cheerfully” - the “urban” origin is constantly emphasized. The sword blushes every now and then, speaks uncertainly, "squints his eyes in horror."

What caused the internal conflict of the Sword?

Drawn into the meat grinder of the civil war, the Mechik was horrified by the dirt, violence Yu, mismatch of two worlds - internal and external. At first, he had a vague idea of what awaited him. Once in the detachment, he saw that the people around him did not at all resemble those created by his ardent imagination. These were dirtier, liceier, tougher and more direct. External cleanliness and dirt will be opposed to internal, only they will change places. In fact, the Mechik dreams of peace, sleep, silence. He reaches out to the kind, caring Varya, and immediately betrays his former love. However, he also feels "almost filial gratitude" to Varya. Collisions with reality bring more and more disappointments to Mechik in his romantic ideas about life (episode with a horse in chapter 9).

Fadeev builds the novel in such a way that Mechik provides a number of opportunities to merge with the detachment, to understand the inner essence of what is happening, but Mechik never saw the main springs of the detachment mechanism and did not feel the need for everything that was being done.

Which episode reveals the true essence of Frost and Sword?

The toughest test of a person is the situation of choice between life and death. In the last chapter, Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what his moral core is. The death of Frost, his feat showed that he is the one new person which the revolution should educate. Without thinking about himself, Morozka gives his life for the sake of his comrades: “He felt them so vividly in himself. These tired, unsuspecting people who trusted him, that thoughts arose in him of some other possibility for himself, besides the possibility of warning them of danger.

The sword, sent on patrol, "slid off the saddle." This is predetermined by the author: Mechik poorly understood why he was sent ahead, but obeyed. Sword's betrayal is highlighted by his humiliating body movements; he flounders on all fours, makes incredible jumps, saving his life. And he suffers not so much because people died because of him, but because “the indelibly dirty stain of this act contradicted the good and pure that he found in himself”

How does the author solve the problem of the intelligentsia and the revolution through the images of Morozka and Sword?

Frost is characterized by a sober, real attitude to reality, a growing awareness of what is happening, an understanding of the meaning and purpose of the struggle. Mechik is a romantic, full of not life-real, but bookish knowledge, a person who did not have a clear, clear vision of events and did not yet realize his place in life, and most importantly, was not burdened with political and moral principles.

Teacher: The main reason for both irresponsibility, and cowardice, and weakness of the Mechik, Fadeev considers his egoism, individualism, and an overdeveloped sense of personality. Betrayal, according to Fadeev, is the natural ending to which the intellectual comes, not connected by deep roots with the people, the masses, with the proletariat and its party. However, Fadeev shows that even among the intelligentsia there are people devoted to the cause of the revolution. These are people of a “special breed”.

2. Individual report on the topic "Development of the dystopian genre";

3. An individual report on the topic "Humorous prose of the 20s."

III. Publicism. Work of the 3rd group.

Publicity Consultant:(Working with a presentation – Annex 5 made on a computer)

Today, when there is a decisive revision of many conflicts in the history of our country, we must carefully look at the perception and assessment of the events of 1917 by major figures in literature and art of the pre-October period. These people, who were to a large extent the human, civil and artistic conscience of their time, foresaw and foresaw the dangers and tragedies that could result from the violent breaking of all the traditional foundations of life.

Writer's journalism is an integral part of literature.

It's a genre literary works, standing at the junction of fiction and scientific (socio-political) prose. The main purpose of journalism– to raise socially significant and actual problems modern life, she adopts the oratorical word, her style is characterized by increased and open emotionality.

In the course of our study, similarities and differences in the views of writers were revealed and their civic position was determined. All writers are united by the common theme of understanding the revolution, which is in contact with the problem of the intelligentsia, the people and culture. All writers are looking for the origins of the catastrophe of 1917, the barbaric attitude towards cultural heritage, talking about the fault of the intelligentsia who forgot to remind the people that they also have duties, they have responsibility for their country. Both V. Korolenko, and I. Bunin, and M. Gorky sarcastically assess the imposition of a new system, the facts of violence, the ban on original thought. They urge to take care of the cultural heritage of the country and people.

For Gorky the revolution- "convulsions", which should be followed by a slow movement towards the goal, set by the act of revolution. I. Bunin and V. Korolenko consider the revolution a crime against the people, a cruel experiment that cannot bring spiritual rebirth.
People. M. Gorky considered in him a wild, unprepared mass, which cannot be trusted with power. For Bunin, the people were divided into those who are called "Nikami Robbery", and those who carry centuries-old Russian traditions. V.Korolenko claims that the people are an organism without a backbone, soft-bodied and unstable, obviously delusional and allowing themselves to be led along the path of lies and dishonor.

The historical events that followed October 1917 forced many writers to change their views: M. Gorky was forced to adapt to the Bolshevik ideology. I. Bunin and V. Korolenko became even more firmly established in their convictions and did not recognize Soviet Russia until the end of their days.

The teacher draws conclusions from the lesson.

Today in the lesson we tried to comprehensively cover the literary process of the 20s, outlined the problems that stood in the literature of this period.

Discussing specific plots, fates, ideas, we considered philosophical problems related to the choice of life position: man and time, personality and state, art and power, free will and state necessity.

Our lesson has come to an end, but I want you to remember that many of the issues that concern us today are echoes of that time. The change of the political regime in the 90s of the twentieth century led to the fact that, as in that distant seventeenth year, instability again reigns in society. There is no confidence in the future, the spiritual heritage of the ancestors is forgotten.

Turning to the history of our country, we will be able to comprehend, reevaluate, draw conclusions and avoid similar mistakes that lead the country into deadlocks, the way out of which is painful for the whole people.

Homework: make a test on the topic "The October Revolution and the literary process of the 20s."

What is the path of becoming Frost?

Frost is devoted to the first chapter of the novel. The theme of the image of Frost is a difficult, through ups and downs, the path of becoming a person. Awareness of oneself as a person probably begins from the moment when a person begins to ask questions: what is the meaning of my existence? Why was I born? What is the essence of life? Morozka never asked himself such questions before joining the detachment. He was a "second generation miner". He was born "in a dark barracks, near mine number 2, when a hoarse whistle called the morning shift to work." The description of this joyful event - the birth of a person - is described in a harsh, business-like manner with dark colors. Frost appeared on the whistle, and his further life seemed programmed: “At the age of twelve, Frost learned to get up on the whistle, roll the trolleys, speak unnecessary, big swear words and drink vodka.” The writer emphasizes the typicality, ordinariness of the hero's life: "In this life, Morozka did not look for new roads, but walked along the old, already verified paths." Several episodes even begin the same way: “When the time has come...” There were no hints of revolutionary spirit. Only the fact that Morozka did not betray the instigators of the strike to the police attracts attention. But in general, “he did everything thoughtlessly: life seemed to him simple, unwise, like a round Murom cucumber ...”

What event made Morozka look at life differently?

The first milestone in self-awareness was for the hero the trial of him (Chapter V). Frost at first did not understand that he was being judged: just think, he stole a melon; in the village "miners" often stole watermelons, cucumbers - it was in the order of things. But when he felt “hundreds of curious eyes” on himself, when he stumbled upon the stern faces of his comrades, when he heard Dubov’s heavy words that he “dishonored the coal tribe”, Morozka trembled and became “pale as a sheet”, “his heart fell in him, as if ". The threat of his expulsion from the detachment turned out to be unexpected and terrible for him: “Yes, would I ... do such a thing ... Yes, I will give blood in the vein for everyone, and not that it’s a shame or what! ..” Having given the “miner’s” word Frost held him until the end.

What do we learn about Morozka's life aspirations?

Frost knows exactly why he is in the detachment. He is at home in the revolutionary stream, because, despite all his antics and spontaneous breakdowns, he always reached out to the best, to the “right” people: “He tried with all his might to get on that which seemed to him straight, clear and correct, the road along which such people as Levinson, Baklanov, and dubov were going” (Chapter XII Morozka’s “Evil” thoughts that someone stubbornly prevents him from entering this “correct road” did not lead him to the conclusion that “this enemy is sitting in himself, it was especially pleasant and bitter for him to think that he was suffering because of the meanness of people - such as Mechik, first of all.

How does the image of the Sword develop in the novel?

From the very beginning, Fadeev contrasts the rowdy, drunkard and foul-mouthed Frost with a clean, handsome Sword. The sword is shown for the first time together with people rushing about in panic: “in a short-haired city jacket, clumsily dragging a rifle, a lean boy was running, limping.” Also, the Sword will rush about when, having betrayed his comrades, he will be saved from the chase (isn't his name also from these throwings?). "The guy's face was pale, beardless, clean, although smeared with blood." Note that this blood is random, as if the hero was not wounded, but only stained his "clean" face. Fadeev describes Mechik in such a way that both his pitiful appearance and the author's attitude towards him immediately become clear. Frost saves him, risking his own life. In the last chapter, Frost saves the entire squad, betrayed by Mechik, at the cost of his life.

The second chapter of the novel is devoted to Mechik, thus in the first two chapters the main antithesis is determined, a conflict is outlined: “To tell the truth, Frost did not like the rescued at first sight” - Frost here shows a “class”, intuitive flair. “Frost did not like clean people. In his life practice, these were fickle, worthless people who could not be trusted. Frost's first impression is fully justified at the end of the novel. So the author, through Frost, immediately gives an assessment to Mechik, emphasizing it with various derogatory names: “bore”, “yellow-mouthed”, “snotty”.

When describing Mechik, Fadeev often uses words with diminutive suffixes, which give the image a contemptuous connotation: “in a short city jacket”, “cheerfully whistled a cheerful city motive” - the “urban” origin of the hero is constantly emphasized. The sword blushes every now and then, sighs, speaks uncertainly, “closes his eyes in horror.”

What caused the internal conflict of the Sword?

Drawn into the meat grinder of the civil war, Mechik was horrified by the dirt, violence, the discrepancy between the two worlds - internal and external. At first, he "had a very vague idea of what awaited him." Once in the detachment, he saw that “the surrounding people did not at all resemble those created by his ardent imagination. These were dirtier, liceier, tougher and more direct. External “cleanliness” and “dirt” will be opposed to internal ones, only they will change places. In reality, Mechik dreams of "peace, sleep, silence". He reaches out to the kind, caring Varya, and immediately betrays his former love - “a girl in blond curls”: when Varya accidentally stepped on the photo with her foot, “The swordsman was ashamed even to ask for the card to be raised”, and then he himself tears the portrait of the girl in shreds. However, Sword's love for Vara is not real. He feels “almost filial gratitude” for her, dreams of “pink-quiet clouds”, about braids, “golden as noon”, about “ good words". Immediately, the author directly says that "everything Mechik thought about was not real, but the way he would like to see everything."

Collisions with reality bring Mechik more and more disappointments in his romantic ideas about life. For example, in Chapter IX (the episode with the horse), the hero's "boyishly proud hopes" collapse. Instead of a good horse, he was ordered to look after "a tearful mournful mare, dirty white, with a sagging back and a chaff belly." He felt humiliated and decided that he would not take care of the mare - "let him die." So the author reveals the failure of Mechik, explains the dislike for him in the detachment - everyone considered him a quitter and a pusher.

If Morozka is drawn to the “right people”, then Mechik got along with Pika, Chizh, and learned the worst from them.

Fadeev constructs the novel in such a way that it provides Mechik with a number of opportunities to merge with the detachment, to understand the inner essence of what is happening. But Mechik never saw "the main springs of the detachment mechanism and did not feel the need for everything that was being done." The sword loves, first of all, himself, pities himself, justifies himself.

Which episode reveals the true essence of Frost and Sword?

The most cruel test of a person is the situation of choice between life and death. In the last chapter, Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what his moral core is. The death of Morozka, his feat showed that he was a true comrade, that he was the same "new man" that the revolution should give birth to and educate. Without thinking about himself, Morozka gives his life for the life of his comrades: “He felt them so clearly in himself, these tired, unsuspecting people who trusted him, that the thought of any other possibility for himself, except for the possibility warn them of the danger."

The sword, sent on patrol, "slid off the saddle." This is predetermined by the author: Mechik "poorly understood why he was sent ahead, but obeyed"; he even dozed off in the saddle and "there was neither end nor beginning to that sleepy, dull, unconnected with the outside world state in which he himself was." Sword's betrayal is highlighted by his "humiliating gestures"; he "flounders on all fours", "makes incredible jumps", saved his life. And he is tormented not so much because dozens of people who trusted him died because of him, but because "the indelibly dirty, disgusting stain of this act contradicted all that good and pure that he found in himself."

How does the author solve the problem of the intelligentsia and the revolution through the images of Morozka and Sword?

Frost is characterized by a sober, real attitude to reality, a growing awareness of what is happening, an understanding of the meaning and purpose of the struggle. Mechik is not full of life-real, but bookish knowledge, a person who did not have a clear, clear vision of events and did not yet realize his place in life, and most importantly - not burdened with political and moral principles. Comparison of Morozka and Mechik demonstrates, according to Fadeev, the superiority of one and the inferiority of the other.

Methodical methods: lecture with elements of conversation, control of students' knowledge - test.

During the classes.

I. Teacher's lecture

Alexander Alexandrovich Fadeev went from a novice writer, whose first novel was highly appreciated by Soviet critics, to the post of chairman of the Writers' Union of the USSR, and this path ended tragically.

1. A story about the life, work and death of A. A. Fadeev.

2. A brief review of the literary situation at the time of the creation of the novel "The Rout" by Fadeev.

"Blood" and "morality", "violence" and "morality", "goal" and "means" - these are the fundamental questions of life and revolution that have occupied the great minds of all times, painfully solved by the classics of world and Russian literature, and especially painfully by Dostoevsky and Tolstoy , in the first years after October revolution acquired unprecedented intensity.

The revolution and civil war, which split society and the country in two, forced everyone to make a tough choice, inevitably raising questions: with whom am I? who am I for? These questions arose especially sharply and uncompromisingly before the representatives of the intelligentsia, who, on the one hand, sympathized with the people, the ideas of the revolution, and, on the other hand, defended the values of culture from destruction, defended the principles of humanism and morality as the highest criteria of human existence. During these years, V. Ivanov, K. Fedin, M. Sholokhov, B. Lavrenev, K. Trenev, L. Seifullina.

The civil war, which shook a huge country, was perceived in literature in different ways: both as a tragedy of the people, entailing irreversible consequences, and as a romantically colored great event that cemented the victory of the Bolsheviks in the revolution. Under the conditions of the "dictatorship of the proletariat" the point of view that justified any means in the way of revolutionary gains, of course, dominated and won. The new “morality” was clearly expressed, for example, by L. Seifullina, who, of all human emotions, preferred “class hatred”: “Compassion and love can be deceived; hatred is a sacred, fighting feeling in a person’s struggle with evil, allows a person to see this evil in all its blackness through all sorts of embellishments.

Characteristic not only for those, but for many subsequent years, was romanticization of the civil war . A terrible tragedy that had irreversible consequences for the country, in works of art Soviet years was shrouded in a kind of heroic and romantic halo. Let's read at least M. Svetlov's poem "Grenada", let's remember a series of films about "elusive avengers". Revolutionary romance is characterized by extraordinary circumstances, the “elevation” of heroes, the author’s obvious predilection for his heroes, the glorification of “ours” and the belittling of “strangers”, the mythologization of reality.

The author of "The Rout", published separate edition in 1927, was a young writer who knew firsthand about the events of the civil war. He was its direct participant, an eyewitness. The book was immediately highly acclaimed. It was called "a work of great ideological and artistic scale", they said that its hero is "an era and struggle", M. Gorky attributed it to the number of books that give "a broad, truthful and talented picture of the civil war." Fadeev was recognized worthy successor of Tolstoy's epic tradition : a clear similarity of intonations, methods of revealing characters, close attention to detail, psychology . The novel is distinguished by a romantic worldview, the lyrical voice of the author, who clearly defined his place in the revolution.

Myself Fadeev saw the idea of his novel in the alteration of "human material" during the revolution under the leadership of the communist organizer“In a civil war, the selection of human material takes place, everything hostile is swept away by the revolution, everything incapable of a real revolutionary struggle, accidentally falling into the camp of the revolution, is sifted out, and everything that has risen from the true roots of the revolution, from the millions of people, is tempered, grows, develops in this struggle.

There is a huge transformation of people. This transformation of people is taking place because the revolution is led by the advanced representatives of the working class - the communists, who clearly see the goal of the movement and who lead the more backward and help them to re-educate. That way I can determine the theme of the novel” (1932).

However, the real work went beyond this schematic framework.

A novel about the formation of a personality in the struggle for a revolution in a partisan detachment in the Far East It's called "Destruction".

II. Preliminary conversation on the novel
- Why is the work with the large-scale title "The Rout" limited to the history of one unit ?

It was important for Fadeev to show not so much the breadth and scope of the revolution as its depth - influence on a person , it was important to investigate the changes that took place with an individual under the influence of great historical events . With the whole tone of the narration, the author emphasizes the significance and tragedy of the events described, while setting off the idea of the victory of "revolutionary humanism".

What are features of the composition of the novel ?

Roman contains seventeen chapters . In the first nine, an outline of the characters and the situation is given. In essence, this is the exposition of the novel. In X-XIII chapters, the inner world of the heroes is revealed, in XIV-XVII - a test of the characters "in action".

The plot composition is the defeat of the detachment, the evidence of this defeat is approaching with each chapter. The path to destruction - This is an external storyline. But at the same time, this is a gradual penetration into the inner world and the complicated relations of the characters. The three parts of the novel, which we have arbitrarily identified, are three stages on the way to the defeat of the detachment. But at the same time this gradual penetration into the inner world and the complicated relationship of the characters .

A detailed exposition introduces the state of affairs in the detachment, the situation around the detachment, gives the first characteristics of the heroes, their relationships and conflicts. The fighting is not shown. fifth week the team is on vacation . Levinson, the commander of the detachment, receives instructions from the city "save unit" , even if small, but strong, disciplined. This is plot of the novel .

The second part describes the endless transitions and the fight with the enemy in order to "save the combat unit", the detachment. There are no battle scenes, the author's attention stops at the scenes of respite, overnight stays, rest. It is in these scenes that key episodes in the problems of the novel : Frolov's death, the case of killing a fish, the confiscation of a pig from a Korean, Levinson's conversation with Mechik. These scenes are full of drama and dynamics no less than battle scenes, and for the main task - the preservation of the detachment - they are of decisive importance.

AT the last part has both a climax and a denouement . Fadeev draws a detachment in battle. Here the defeat of the detachment is depicted, all conflicts are resolved. Most importantly, it is shown what each hero is capable of at a decisive moment, how his essence is manifested .

III. Test on the work of A. M. Gorky, A. A. Blok, V. V. Mayakovsky(cm. )

Homework
Compare the images of Frost and the Sword: pick up episodes that characterize the characters.

For Fadeev, as a proletarian writer and active figure in the RAPP, it is very important opposition of heroes in class, socio-political terms . The opposition is always straightforward and unambiguous.

What feature of this opposition. ?

Antithesis - the main device of the novel . Contradiction occurs at different levels: external (“red” and “white”) and internal (instinct - consciousness, good - evil, love - hate, anarchy - discipline, etc.). The system of images also has an obvious antithesis. This is first of all opposition of two heroes - Sword and Frost . Frost is a worker, Sword is an intellectual. With this opposition, Fadeev decides in his own way the most important question: what are the ways of the people in the revolution . Let us recall how Bunin, Gorky, and Blok raised and resolved this question. Let's see how the author of "The Rout" answers this question.

II. Comparative analysis of the images of Frost and Sword

What Frost's way of becoming ?

Morozka is dedicated first chapter novel. The theme of Morozka's image is difficult, through ups and downs, the path of personality development .
Awareness of oneself as a person probably begins from the moment when a person begins to ask questions:
what is the meaning of my existence? Why was I born? What is the essence of life?
Morozka never asked himself such questions before joining the detachment. He was a "second generation miner". He was born "in a dark barracks, near mine number 2, when a hoarse whistle called the morning shift to work." The description of this joyful event - the birth of a person - is described in a harsh, business-like manner with dark colors. Frost appeared on the whistle, and his further life seemed programmed: “At the age of twelve, Frost learned to get up on the whistle, roll trolleys, speak unnecessary, more swear words and drink vodka.” The writer emphasizes typicality, ordinariness of a hero's life : "In this life, Morozka did not look for new roads, but walked along old, already verified paths." Several episodes even begin the same way: “When the time has come...” There were no hints of revolutionary spirit. Only the fact that Morozka did not betray the instigators of the strike to the police attracts attention. But in general, “he did everything thoughtlessly: life seemed to him simple, unwise, like a round Murom cucumber ...”

Which the event made Morozka look at life differently ?

The first milestone of self-awareness was for the hero his trial (chapter V) .
Frost at first did not understand that he was being judged: just think, he stole a melon; in the village "miners" often stole watermelons, cucumbers - it was in the order of things. But when he felt “hundreds of curious eyes” on him, when he stumbled upon the stern faces of his comrades, when he heard Dubov’s heavy words that he was “dishonoring the coal tribe”, Morozka trembled, became “pale as a sheet”, “his heart fell in him, as if padded." The threat of expulsion from the detachment turned out to be unexpected and terrible for him. : “Yes, would I ... do such a thing ... Yes, I will give blood for each vein, and not that it’s a shame or what! ..” Having given the “miner’s” word, Frost kept it to the end.

What do we learn about Frost's life aspirations ?

Frost knows exactly why he is in the detachment. He your own in the revolutionary stream , because, despite all his antics and spontaneous breakdowns, he always reached out to the best, to the “right” people: “He tried with all his might to get on that, which seemed to him straight, clear and correct, the road along which people like Levinson, Baklanov, Dubov walked”(Chapter XII). Frost's "evil" thoughts that someone stubbornly prevents him from entering this "correct path" did not lead him to the conclusion that "this enemy is in himself, it was especially pleasant and bitter for him to think that he suffers because of the meanness of people - such as Mechik, in the first place.

how the image of the Sword develops in a novel?

Fadeev from the very beginning opposes brawler, drunkard and foul-mouthed Morozka clean, handsome Sword .
The sword is first shown with panicked people : "in a short city jacket, clumsily dragging a rifle, a lean boy ran, limping." Also, the Sword will rush about when, having betrayed his comrades, he will be saved from the chase (isn't his name also from these throwings?). "The guy's face was pale, beardless, clean, although smeared with blood." Note that this blood is random, as if the hero was not wounded, but only stained his "clean" face. Fadeev describes Mechik in such a way that it immediately becomes clear both his pitiful appearance and the author's attitude towards him . Frost saves him, risking his own life. In the last chapter, Frost saves the entire squad, betrayed by Mechik, at the cost of his life.

Mechik is dedicated second chapter novel, thus in the first two chapters, the main antithesis is determined, a conflict is outlined : "To tell the truth, Frost did not like the rescued at first sight" - Frost here shows a "class", intuitive flair. “Frost did not like clean people. In his life practice, these were fickle, worthless people who could not be trusted. Frost's first impression is fully justified at the end of the novel. So the author immediately evaluates Mechik through Morozka , emphasizing it with various derogatory names : "bore", "yellow-mouthed", "snotty".

When describing the Mechik, Fadeev often uses words with diminutive suffixes that give the image contemptuous tone : “in a short city jacket”, “cheerfully whistled a cheerful city motive” - the “urban” origin of the hero is constantly emphasized. The sword blushes every now and then, sighs, speaks uncertainly, “closes his eyes in horror.”

What caused Mechik's internal conflict ?

Drawn into the meat grinder of civil war, The sword was horrified by the dirt, violence, the discrepancy between the two worlds - internal and external. At first, he "had a very vague idea of what awaited him." Once in the detachment, he saw that “the surrounding people did not at all resemble those created by his ardent imagination. These were dirtier, liceier, tougher and more direct. External “cleanliness” and “dirt” will be opposed to internal ones, they will only change places .
In reality, Mechik dreams of "peace, sleep, silence". He reaches out to the kind, caring Varya, and immediately betrays his former love - “a girl in blond curls”: when Varya accidentally stepped on the photo with her foot, “The swordsman was ashamed even to ask for the card to be raised”, and then he himself tears the portrait of the girl in shreds. However, Sword's love for Vara is not real. He feels “almost filial gratitude” for her, dreams of “pink-quiet clouds”, of braids, “golden as noon”, of “good words”. Here the author directly says that “everything that Mechik thought about was not real, but the way he would like to see everything” .

Collisions with reality bring Mechik more and more disappointments in his romantic ideas about life. For example, in Chapter IX (episode with a horse) "boyishly proud hopes" collapse hero. Instead of a good horse, he was ordered to look after "a tearful mournful mare, dirty white, with a sagging back and a chaff belly." He felt humiliated and decided that he would not take care of the mare - "let him die." So the author reveals the failure of Mechik , explains the dislike for him in the detachment - everyone considered him a quitter and an asshole. If Morozka is drawn to the “right people”, then Mechik got along with Pika, Chizh, and learned the worst from them.

how the composition of the novel shows the author's attitude to Mechik ?

Fadeev constructs the novel in such a way that provides the Mechic with a range of options to merge with the squad to understand the inner essence of what is happening. But Mechik never saw "the main springs of the detachment mechanism and did not feel the need for everything that was being done." The sword loves, first of all, himself, pities himself, justifies himself.

Which episode reveals the true essence of Frost and Sword ?

The most cruel test of a man - choice between life and death Yu. AT last chapter Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what his moral core is .
Morozka's death , his feat showed that he is a true comrade, that he that new man who the revolution should give birth to and nurture. Without thinking about himself, Morozka gives his life for the life of his comrades: “He felt them so clearly in himself, these tired, unsuspecting people who trusted him, that the thought of any other possibility for himself, except for the possibility warn them of the danger."

The sword, sent on patrol, "slid off the saddle." This is predetermined by the author: Mechik "poorly understood why he was sent ahead, but obeyed"; he even dozed off in the saddle and "there was neither end nor beginning to that sleepy, dull, unconnected with the outside world state in which he himself was." Sword's betrayal emphasized by his "humiliating gestures"; he "flounders on all fours", "makes incredible jumps", saved his life. And he is tormented not so much because dozens of people who trusted him died because of him, but because "the indelibly dirty, disgusting stain of this act contradicted all that good and pure that he found in himself."

how through the images of Frost and Mechik, the author solves the problem of the intelligentsia and the revolution ?

Morozke a sober, real attitude to reality, a growing awareness of what is happening, understanding the meaning and purpose of the struggle . sword- crowded not with life-real, but with book knowledge, a person who did not have a clear, clear vision of events and not yet aware of his place in life , and most importantly - not burdened with political and moral principles. Comparison of Frost and Sword demonstrates according to Fadeev, the superiority of one and the inferiority of the other .

III. Final word of the teacher

The main reason for both irresponsibility, and cowardice, and weakness of the "educated", "clean", "urban" Mechika Fadeev considers him overdeveloped sense of personality . Betrayal, according to Fadeev, is a natural finale, to which comes (and cannot but come!) an intellectual who is not connected by deep roots with the people, with the masses, with the proletariat and its party. However, Fadeev shows that even among the intelligentsia there are people devoted to the cause of the revolution. These are people of a “special breed”.

Homework
Pick up episodes that characterize the image of Levinson.

Lesson 3

Methodical methods: analytical conversation.

During the classes

I. Teacher's word

In Levinson, Fadeev embodied the image of a person who “always goes at the head”, harmoniously combining instinct, will and reason. This is a "special person". In the composition of the novel, he is also dedicated to a separate chapter (VI) . Levinson opens and closes the novel: he speaks in the first and last paragraphs of the novel.

The most important thing in the general movement of action is the fate of the entire collective, of the entire partisan detachment. Levinson is the bearer of a common, unifying, unifying and organizing principle.

It was very important for Fadeev to artistically reproduce in "Rout" a special type of relationship between the communist leader and the partisans : “In my experience of partisan struggle, I saw that with large elements of spontaneity in the partisan movement, the Bolshevik workers played a decisive, organizing role in it,” he said. - This thought... I wanted to emphasize in the novel "The Rout". Fadeev shows how the fundamental, class interests of people sometimes run counter to their private, temporary interests, desires and ideas. In the eyes of Fadeev Levinson is the center of precisely these main, fundamental interests of the people.

II. Conversation

How Fadeev draws image of Levinson ?

Levinson introduces himself unquestioned authority, a man of unbending will, self-confident, born to lead . Fadeev draws the image of Levinson through the attitude of other characters towards him : “no one in the detachment knew that Levinson could hesitate at all: he did not share his thoughts and feelings with anyone, he presented ready-made “yes” or “no”. Therefore, he seemed to everyone ... a man of a special, correct breed. Each partisan thought that Levinson “understands everything, does everything as it should ... Therefore, one cannot but trust and disobey such the right person... "The author emphasizes in Levinson a natural, intuitive sense of truth, the ability to navigate in an environment: "a special scent ... a sixth sense, like bat»; “He was extremely patient and persistent, like an old taiga wolf, which, perhaps, already lacks teeth, but which imperiously leads packs with the invincible wisdom of many generations” (Chapter III).

What is the significance of Levinson's memories of childhood ?

Memories of Levinson's Childhood , his appearance are in contradiction with his image of a "special breed" . “As a child, he helped his father sell used furniture, and his father wanted to get rich all his life, but he was afraid of mice and played the violin badly” - Levinson did not tell anyone such things. Levinson recalls "an old family photograph, where a puny jewish boy- in a black jacket, with big naive eyes - he looked with amazing, unchildish persistence at the place where, as he was told then, the bird should fly out.

Over time, Levinson became disillusioned with "false fables about beautiful birds" and came to "the simplest and most difficult wisdom:" To see everything as it is - in order to change what is, to bring closer what is born and should be".

What is role portrait characteristics ?

Appearance Levinson completely not heroic : "He was so small, unsightly in appearance - he all consisted of a hat, a red beard and ichigov above the knees." Mechiku Levinson resembles a "dwarf from a fairy tale." Fadeev emphasizes the hero's physical weakness, outward unsightliness, highlighting, however, his "foreign eyes", deep as lakes . This portrait detail speaks of the originality and significance of the individual.

What are Levinson's main character traits ?

In the scene of the trial of Frost, Levinson is shown as tough, subjugating people: “Morozka hesitated. Levinson leaned forward and, immediately seizing him, as if with pincers, with an unblinking glance, pulled him out of the crowd like a nail. Frost "was sure that the commander" sees everything through "and it is almost impossible to deceive him." Levinson can speak "surprisingly quietly", but everyone hears him, hangs on his every word. His words are convincing, although he may hesitate internally, have no plan of action, feel confused. However, he does not let anyone into his inner world.

Closure, restraint, will, composure, responsibility, purposefulness, perseverance, knowledge of people's psychology are its main features.

What gives Levinson such confidence and power over people? How does he understand his responsibility to them? ?

Levinson deeply believed that people are driven not only by a sense of self-preservation, but also by another, “no less important instinct, not even realized by most of them, according to which everything that they have to endure, even death, is justified by its ultimate goal.” This instinct, Levinson believes, "lives in people under a bushel of infinitely small, everyday, urgent needs and worries about their own - just as small, but alive - personality, because every person wants to eat and sleep, because every person is weak." People entrust "their most important concern" to people like Levinso n.

Development of a lesson on the topic:

Literary process of the 20s. Literary groups and magazines. A.A. Fadeev. The novel "Destruction".

Lesson type: introduction to new material

Class type: learning new material

Goals:

educational: Pthe proposed material should give the most complete and comprehensive coverage of the literary process of the 1920s; show a living literary process, outline the problems that stand in the literature of this period, problems that will be discussed further when studying the monographic topics of the course; give an idea of the personality of the writer, give a brief overview of the literary situation of the 1920s-1930s;

developing: develop Creative skills and skills, comparing, draw conclusions, generalize;

educational: into nurture the development of a free, responsible person who is aware of himself and his surroundings.

move lesson

1. Organizational moment (Recording the topic of the lesson in the journal. Preparing the workplace. Creating problem situations.) (1-5 min)

2. Checking the knowledge of students. Summing up the results of the check. ( 10 min)

Home check external task

3. Reporting the topic of the lesson, setting the goal and objectives of the lesson (5 min)

4. Presentation of new material, applied methodology (60 min)

1. Lecture of the teacher.

The literary process the literary life of a certain country and era, including the evolution of genres, themes, and the preservation and various uses of the classical heritage, the rethinking of eternal themes, the emergence or extinction of certain communities, systems, and interconnections of literatures. The main concepts that characterize the literary process are artistic systems, literary movements, trends, creative methods.

1. Features of the literature of the 20s.

In the field of literature, the split in society, which ended in revolution and civil war, was expressed in the fact that after 1917 the literary process developed according tothree opposite and often almost non-overlapping directions.

Emigrant literature

In the early 1920s, Russia experienced the emigration of millions of Russian people who did not want to submit to the Bolshevik dictatorship.

I. Bunin, A. Kuprin, V. Nabokov, I. Shmelev, M. Tsvetaeva.

Once in a foreign land, they not only did not succumb to assimilation, did not forget their language and culture, but created - in exile, in a foreign linguistic and cultural environment - the literature of the diaspora, the Russian diaspora.

Soviet literature:

It was created in our country, published and found its way to the reader.

This branch of Russian literature experienced the most powerful pressure from the political press.

Literary directions:

Realism.

Realism tried to adapt to the attitude of a person of the 20th century, to new philosophical, aesthetic realities.Updated realism.

socialist realism , a new aesthetic based on the assertion of normative characters in normative circumstances.

2. Prose of the 20s.

The beginning of the 1920s in literature was marked by increased attention to prose. She enjoyed an advantage on the pages of the first Soviet magazine Krasnaya Nov, published since the summer of 1921. The historical events that took place around affected everyone and everyone and required not only the expression of emotions, but also their comprehension. Soviet prose of the 1920s was not homogeneous either at the time of its appearance, or later, in the process of reader's perception.

3. Literary groupings.

RAPP

LEF

Imagists

"Pass"

OBERIU

Constructivists

"Serapion Brothers"

OPOYAZ

RAPP - Russian Association of Proletarian Writers:

1925-1932

The printed organ is the magazine "On the post", "On the literary post".

Representatives - Dm. Furmanov, Al. Fadeev.

Ideas: support for proletarian literary organizations, learn from the classics, develop communist criticism, denial of romanticism, fight against new-bourgeois influence in literature, Akhmatova, Khodasevich, Tsvetaeva, Bunin - “class enemies”, Mayakovsky, Prishvin, K. Fedin - “fellow travelers”, theory of the living person.

LEF - left front of the arts:

1922-1929

The printed organ is the magazine "LEF", "New LEF".

Representatives - Mayakovsky V., B. Pasternak, O. Brik.

Ideas: the creation of an effective revolutionary art, criticism of the passive "everyday-reflecting psychologism", the theory of " literary fact”, which denies fiction, requiring coverage in art of the facts of the new reality.

Imagism:

literary movement

1919-1927

The printed organ is "Soviet Country".

Representatives - S. Yesenin, N. Klyuev, V. Shershenevich.

Ideas: "eating the image of meaning", which was expressed in the violation of grammatical forms that determine the meaning.

"Pass":

literary association

End 1923-beginning 1924 - 1932

The printed organ is the magazine Krasnaya Nov.

Representatives - V. Kataev, E. Bagritsky, M. Prishvin, M. Svetlov.

Ideas: opposed "wingless everyday life", stood up for the preservation of continuity with the artistic mastery of Russian and world classical literature, put forward the principle of sincerity, intuitionism, humanism.

OBERIU - an association of real art:

literary and theatrical group.

1927-1928

Representatives - D. Kharms, N. Zabolotsky, A. Vvedensky.

Ideas: at the heart of creativity is “the method of a concrete materialistic sensation of a thing and a phenomenon”, they developed certain aspects of futurism, turned to the traditions of Russian satirists of the late 19th-early. 20th century

Constructivism:

literary movement

1923-1930

Representatives - I. Selvinsky, V. Ibner, V. Lugovskoy.

Ideas: expediency, rationality, cost-effectiveness of creativity; the slogan: “Briefly, concisely, in small things - a lot, in a point - everything!”, the desire to bring creativity closer to production (constructivism is closely connected with the growth of industrialization), they rejected unmotivated decorativeness, the language of art was reduced to schematism.

"Serapion brothers":

literary group.

1921

representatives - K. Fedin, V. Kaverin, M. Slonimsky.

Ideas: “search for methods of mastering new material” (war, revolution), search for a new art form, the goal is to master the techniques of writing

OPOYAZ - society for the study of poetic language

Russian literary school.

1914-1925

Representatives - Y. Tynyanov, V. Shklovsky.

The heyday of Russian dramaturgy:

M. Bulgakov "Days of the Turbins", "Zoyka's apartment";

N. Erdman - "Mandate", "Suicide";

E. Zamyatin - "Flea";

V. Mayakovsky - "Bug".

Search and experiment time in the literature:

main theme there was a depiction of revolution and civil war in literature:

M. Bulgakov "The White Guard"

Furmanov "Chapaev"

B. Pilnyak "The Naked Year"

A. Serafimovich "Iron Stream"

M. Sholokhov "Don stories"

A. Malyshkin "Dair's Fall"

I. Babel "Cavalry"

A. Vesely "Russia, washed with blood."

Artists made extensive use of the grotesque, fantasy, irony and satire:

M. Zoshchenko Stories

A. Platonov "City of Gradov"

M. Bulgakov "Heart of a Dog"

E. Zamyatin "We"

I. Ilf and E. Petrov "The Twelve Chairs", "The Golden Calf"

A. Green "Scarlet Sails" and "Running on the Waves"

1929: Everything has changed.

This year marked the beginning of the persecution of M. Bulgakov, A. Platonov, B. Pilnyak.

Since that year, the relative balance of power has been sharply disturbed.

The methods of merciless political struggle were transferred to literature.

A new time was coming with new heroes and a new understanding of things in the works.

It was the general drama of the Russian intelligentsia, experienced by it at the turn of the 20s and 30s.

4. Publicism.

Writer's journalism is an integral part of literature.

This is a genre of literary works, standing at the junction of fiction and scientific (socio-political) prose.The main purpose of journalism - to raise socially significant and topical problems of modern life, she adopts an oratorical word, her style is characterized by increased and open emotionality.

All writers are united by the common theme of understanding the revolution, which is in contact with the problem of the intelligentsia, the people and culture. All writers are looking for the origins of the catastrophe of 1917, the barbaric attitude to cultural heritage, they talk aboutthe fault of the intelligentsia who forgot to remind the people that they also have duties, they have responsibility for their country. Both V. Korolenko, and I. Bunin, and M. Gorky sarcastically assess the imposition of a new system, the facts of violence, the ban on original thought. They urge to take care of the cultural heritage of the country and people.

For Gorkythe revolution - "convulsions", which should be followed by a slow movement towards the goal, set by the act of revolution. I. Bunin and V. Korolenko consider the revolution a crime against the people, a cruel experiment that cannot bring spiritual rebirth.

People . M. Gorky considered in him a wild, unprepared mass, which cannot be trusted with power. For Bunin, the people were divided into those who are called "Nikami Robbery", and those who carry centuries-old Russian traditions. V.Korolenko claims that the people are an organism without a backbone, soft-bodied and unstable, obviously delusional and allowing themselves to be led along the path of lies and dishonor.

5. Poetry of the 20s.

A modern look at the poetry of the 1920s about October, at the figures of poets who saw the 20th century in a completely different way than before the revolution, suggests a new approach to understanding many works. The forces of attraction to the revolution and at the same time shocked by its severity, the depth of pain for a person and at the same time admiration for everyone who remained a person in the revolution, faith in Russia and fears for her path created a striking composition of colors, techniques at all levels of many works. New problems forced to update the poetics. After analyzing the poems of the 20s of the twentieth century, we came to conclusions.

2. Acquaintance with the biography of A. Fadeev.

3. Work with A. Fadeev's novel "Defeat".

For Fadeev, as a proletarian writer and an active figure in the RAPP, it is very important to oppose heroes in class, socio-political terms. The opposition is always straightforward and unambiguous.Antithesis is the main theme of the novel. Contradiction occurs at different levels:

External ("red" and "white").

Internal (instinct - consciousness, good - evil, love - hate).

The system of images also has an obvious antithesis. This is the opposition of two heroes - Sword and Frost. Frost is a worker, Mechik is an intellectual. With this opposition, Fadeev decides the question:what are the paths of the people and the intelligentsia in the revolution. To answer this question, it is necessary to compare the images of the Sword and Frost in the novel "The Rout".

Comparative analysis of images.

What is the path of becoming Frost? (1 chapter)

What event made Morozka look at life differently?

The first milestone of self-awareness was the trial of him (Chapter 5). Frost at first did not understand why he was being tried. But when he felt hundreds of curious eyes on him, he heard Dubov's words that he "dishonored the coal tribe." Frost trembled, became pale, like a canvas, “his heart fell in him, as if lined.” The threat of expulsion from the detachment turned out to be unexpected and terrible for him: “Yes, if only I ... did this. Yes, I’ll give blood by the vein for everyone, and not that it’s a shame or what!

What do we learn about Morozka's life aspirations?

How does the image of the Sword develop in the novel?

What caused the internal conflict of the Sword?

Drawn into the meat grinder of the civil war, the Mechik was horrified by the dirt, violenceYu, mismatch of two worlds - internal and external. At first, he had a vague idea of what awaited him. Once in the detachment, he saw that the people around him did not at all resemble those created by his ardent imagination. These were dirtier, liceier, tougher and more direct. External cleanliness and dirt will be opposed to internal, only they will change places. In fact, the Mechik dreams of peace, sleep, silence. He reaches out to the kind, caring Varya, and immediately betrays his former love. However, he also feels "almost filial gratitude" to Varya. Collisions with reality bring more and more disappointments to Mechik in his romantic ideas about life (episode with a horse in chapter 9).

Which episode reveals the true essence of Frost and Sword?

The toughest test of a person is the situation of choice between life and death. In the last chapter, Fadeev puts the heroes in such a situation, and the same for both. The choice of a person depends on what he lived before, what his moral core is. The death of Morozka, his feat showed that he is the same new person that the revolution should educate. Without thinking about himself, Morozka gives his life for the sake of his comrades: “He felt them so vividly in himself. These tired, unsuspecting people who trusted him, that thoughts arose in him of some other possibility for himself, besides the possibility of warning them of danger.

How does the author solve the problem of the intelligentsia and the revolution through the images of Morozka and Sword?

5. Consolidation of the studied material, the applied technique (5 min.).

Conversation.

Which historical event highlighted in the novel? (Civil War)

Where do events take place? (In the Far East)

Who is the main character of the novel? (Levinson, Frost, Mechik)

Why is the work with the large-scale title "The Rout" limited to the history of one detachment?

6. Summing up (3 min)

7 . Literature necessary to prepare for the lesson.

1. Zinin S.A., Sakharov V.I.Russian literatureh. 1.2 10 cells - M .: " Russian word", 20 14 .

8. Homework assignments for students (2 min.)

Textbook: p. 310-362;

The novel “The Rout” by A. Fadeev

main idea A. Fadeev defined the novel “Defeat” as follows:“In a civil war, the selection of human material takes place ... Everything that is unable to fight is eliminated ... People are being remade.”No matter how contradictory the assessment of the events of the civil war from the standpoint of today, the undoubted merit of Fadeev is that he showed civil war from within. The author highlights not military actions, but a person.
It is no coincidence that Fadeev chooses to describe in the novel the time when the detachment was already defeated. He wants to show not only the successes of the Red Army, but also its failures. In the dramatic events of this time, the characters of people are deeply revealed.

The central place in the novel is occupied by the images of the detachment commander Levinson, Frost and Mechik. All of them are connected by the same conditions of life, and this helps the reader to judge the characters of these heroes.
Ivan Morozov , or Frost , as it is called, did not look for new roads in life. This is a natural in his actions, a talkative and broken guy of twenty-seven years, a miner in the second generation. Through life, he walked the old, long-established paths. The rescue of the Mechik became, as it were, the impetus for the remaking of Frost. We see that the hero feels compassion for Mechik, he shows courage, but there is also contempt for this person, whom he considers “clean”.
Frost is greatly offended that Varya falls in love with Mechik. “In entogo, mother’s, or what?” - he asks her and contemptuously calls Mechik "yellow-mouthed". It contains pain and anger. And now he steals melons. And he is very afraid that he will be expelled from the army for this offense. It is impossible for him, he has already got used to these people. And he has nowhere to go. At the “court” he sincerely says: “Would I... have done such a thing... if I had thought... but would I, brothers! Yes, I’ll give blood by the vein for everyone, and not that it would be a shame or something!”
Frost failed in personal relationships. After all, he has no one closer to Varya, and he has to cope with personal problems on his own. He is alone and seeks salvation in the detachment. He is truly devoted to his teammates. Frost respects Levinson, Baklanov, Dubov, even tries to imitate them. They saw in Frost not only a good fighter, but also a sympathetic person, they always supported him. Frost can be trusted - after all, it is he who is sent on the last reconnaissance. And this hero, at the cost of his life, warns people of danger. Even in last minutes life he thinks not about himself, but about others. For devotion to work and courage, for kindness - after all, Morozka did not take revenge on Mechik for his lost wife - the author loves his hero and conveys this love to the reader.
Like Frost, the commander of the detachmentLevinson Fadeev shows a living person with his inherent fluctuations, feelings. The author does not idealize this hero. Outwardly, he is inconspicuous, similar to a gnome with his small stature and red beard. He was always on the alert: he was afraid that his detachment would be taken by surprise, and began to prepare for resistance, but in such a way that no one knew about it. He is alert and insightful. All partisans considered him "correct".
But Levinson himself saw his own weaknesses, as well as the weaknesses of other people. When the squad gets into a difficult situation, Levinson tries to be an example for the rest. When this does not work, he begins to use the force of power, coercion (remember how he drives a fighter into the river at gunpoint). Being sometimes cruel makes him a sense of duty, which for Levinson is above all. He gathers all his strength in himself, and the detachment under his leadership breaks forward ... But after the breakthrough, Levinson no longer has the strength. When physical fatigue almost wins, Baklanov comes to his aid. This young naive "boy" was able to lead the detachment forward. Levinson is weak, but this suggests that it is not the commander that comes to the fore in his behavior, but the person. Fadeev sees the shortcomings of his hero and believes that he lacks vitality, courage, and will. In Levinson, we are attracted by the fact that all his thoughts and actions express the interests of the detachment, people. His personal experiences fade into the background.
The images of Frost, Metelitsa and other members of the detachment are opposed to the imageSword. This is a nineteen-year-old young man who voluntarily came to the detachment to amuse his pride and vanity. Therefore, he rushes to the hottest place in order to prove himself as quickly as possible. This person fails to get close to the rest of the squad, because most of all he loves himself. He always thought only of himself, so he was an outsider in the detachment. Mechik has the idea of desertion, although he himself came to the detachment. This is exactly what speaks of the true intentions of the Sword. He did not serve the cause, but simply wanted to show off his prowess.
Therefore, we can say that the detachment is a single entity, and the Sword stands apart from the rest. And when he finally deserts, the reader is not surprised. And what does Mechik think about when he deserts? “... How could I do this - I, so good and honest and who did not wish harm to anyone ...” And after all, it was the Sword that caused Frost's death. It seems to me that this hero of the work is best characterized by the words of Levinson, who called Mechik a “worthless empty flower”, weak, lazy and weak-willed. And although the collective hero of A. Fadeev's novel "Rout" is a military detachment operating in the Far East, he does not appear to us as something unified. Too different people enter it. Each person is a person who has his own social roots, dreams and moods. This is confirmed by the images of Frost, Levinson and Mechik, which are so different from each other.

The novel by Alexander Fadeev was written at the beginning of the 20th century, at that time there were two views: the Social Democrats and the Socialist-Revolutionary Maximalists. There are two heroes in the novel, Frost and Sword, who have these beliefs. To better understand these directions, we will compare the heroes. The author prompts us to compare them, showing how they behave in different situations in relation to each other and to their comrades.

How is Frost shown in the novel?

(work with text) students read out the episodes that characterize Frost.

How is the Sword depicted? (working with the text and filling out the table) students read out the episodes that characterize Mechik.

Frost and sword

social background

Frost is a miner in the second generation. From the age of twelve he worked in a mine, "did not look for new ways, but followed the old, already verified paths."

Mechik, on the contrary, was born in an intelligent family, in the city, he received ideas about the world from books in which everything was fine. In general, when he grew up and entered into life, it turned out that he was not at all ready for it.

Education

Frost was not educated, did not see a beautiful life, but learned to make his way in harsh reality, earning his living by rolling heavy trolleys with ore

Mechik graduated from high school and lived without worries on the money of his parents

Appearance

Frost's appearance is described by his resemblance to a horse: "the same clear, green-brown eyes, just as squat and bow-legged, just as simple-cunning and lascivious",

The sword was "clean", blond, with curly hair.

Upbringing

From an early age, Morozka learned to drink vodka, swear, lead a walking lifestyle. Bala has one more bad trait - he did not recognize any authorities, but there is also a bright spot - he never betrayed his comrades, for which everyone respected him and considered him his man.

Mechik was a "mama's boy", for him the best activity was reading books.

Life experience

Before joining Levinson’s detachment, Morozka visited the front, where he received many wounds, was shell-shocked twice, after which he quit his job and joined the partisans

Mechik, having joined the Maximalist Socialist-Revolutionary Party, received a referral to Shalbybin’s partisan detachment, and, longing for “bookish” exploits, he joined the detachment, but his dreams quickly dissipate at the first meeting with the partisans - he is beaten without understanding who he is. When the Japanese attacked Shaldyba's detachment, Mechik was wounded and rescued by Frost, who was sent to take a package to their detachment. So Mechik ended up in Levinson's detachment.

The attitude of others towards the characters

The people around treated Morozka differently, he was respected for the fact that he always looked after his horse, kept his weapons clean and never betrayed his comrades, this was the main thing for the partisan, and he was considered his own. But there was also negative side, he was arrogant and did not obey anyone, they wanted to find justice for him and waited for the moment. Such a moment has come. Once he could not resist and stole melons from someone else's garden, he was convicted, but pardoned, taking from him honestly miner and partisan, that he will improve.

Almost no one recognized the sword for the fact that, firstly, he was a maximalist Social Revolutionary, secondly, he could not, or rather did not want to follow the weapon and the horse, and thirdly, having made friends with Chizh, who taught him to shirk work, did not comply with the requirements of the commander of the detachment. There was an opinion in the detachment that he was "an impenetrable confusion", "lazy and weak-willed", "a worthless empty flower".

Service attitude

The sword dozed off in the saddle and almost fell into the hands of the Cossacks, after which he took to flight. Because of this, Frost was killed, but he still managed to shoot three times into the air to warn his

The sword at this time fled, saving his life. Realizing his guilt, he decided to shoot himself, but, realizing that this was beyond his power, he returned to the city, not thinking about what kind of power there.

Conclusion

People like Morozka can be remade, because he is loyal to his people, and if he gave his word of honor that he would improve, then he would fulfill his promise, even if it cost him his life

The sword, as he was "clean", will remain so, having betrayed his comrades, he is an egoist, "because more than anything in the world he still loved himself."

Not important here life positions heroes, and most importantly their humanity. I am very upset by the actions of the Sword, because he betrayed his savior, abandoned him, but had to stay and die with him, or maybe they would have survived if the Sword had not fallen asleep in the saddle. Yes, it's absurd, go to reconnaissance and fall asleep! This is complete irresponsibility! And most importantly, he was left to live with it without much remorse. Here Frost is a hero. Knowing that he would die now, he fulfilled his duty, and died like a real hero.

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