“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov).
“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov). (Based on one or more works of Russian literature of the 19th century)
“A poet in Russia is more than a poet,” this idea has long been familiar to us. Indeed, Russian literature, starting from the 19th century, became the bearer of the most important moral, philosophical, ideological views, and the writer began to be perceived as a special person, a prophet. Already Pushkin defined the mission of a real poet in this way. In his programmatic poem, which is also called “Prophet”, he showed that in order to fulfill his task, the poet-prophet is endowed with very special qualities: the sight of a “frightened eagle”, a hearing capable of listening to “the trembling of the sky”, a language similar to the sting of a “wise snake ". Instead of an ordinary human heart, the messenger of God, the "six-winged seraphim", who prepares the poet for a prophetic mission, puts "coal burning with fire" into his chest cut with a sword. After all these terrible, painful changes, the chosen one of Heaven is inspired on his prophetic path by God himself: "Rise up, prophet, and see, and listen, / Be done by my will ...". This is how the mission of a true writer, who brings to people the word inspired by God, has been determined since then: he must not entertain, not give aesthetic pleasure with his art, and not even promote some, albeit the most wonderful ideas; his job is to “burn the hearts of people with the verb.”
How difficult the mission of the prophet was already realized, who, following Pushkin, continued to fulfill the great task of art. His prophet, “ridiculed” and restless, persecuted by the crowd and despised by it, is ready to flee back to the “desert”, where, “preserving the law of the Eternal”, nature heeds his messenger. People often do not want to listen to the prophetic words of the poet, he sees too well and understands what many would not like to hear. But Lermontov himself, and those Russian writers who, after him, continued the fulfillment of the prophetic mission of art, did not allow themselves to show cowardice and abandon the heavy role of a prophet. Often suffering and sorrow awaited them for this, many, like Pushkin and Lermontov, died untimely, but others took their place. Gogol, in a lyrical digression from the UE of the chapter of the poem "Dead Souls", openly told everyone how difficult the path of a writer who looks into the very depths of the phenomena of life and strives to convey to people the whole truth, no matter how unattractive it may be. They are ready not only to praise him as a prophet, but to accuse him of all possible sins. “And, only seeing his corpse, / How much he did, they will understand, / And how he loved while hating!” this is how another Russian poet-prophet wrote about the fate of the writer-prophet and the attitude of the crowd towards him.
Now it may seem to us that all these wonderful Russian writers and poets, who constitute the "golden age" of Russian literature, have always been as highly revered as they are in our time. But after all, even now recognized throughout the world as a prophet of future catastrophes and a harbinger of the highest truth about man, Dostoevsky began to be perceived by his contemporaries as the greatest writer only at the very end of his life. Indeed, "there is no prophet in his own country"! And, probably, now somewhere near us lives someone who can be called a “real writer”, similar to an “ancient prophet”, but do we want to listen to someone who sees and understands more than ordinary people, this is main question.
Monument to those tortured during the investigation,
shot in cellars, slaughtered
on the stages and in the camps - created.
L. Chukovskaya
The truth is well known: each era creates its own hero, who most fully embodied its problems, contradictions, and aspirations. Literature plays an important role in this. The great masters of the word not only created their literary heroes, bearers of the spirit of the times, but also became the masters of thoughts for many generations. Therefore, we are talking about the era of A. Pushkin, F. Dostoevsky, L. Tolstoy, A. Blok.
The 20th century turned out to be extremely rich in events, leaders, arbiters of destinies. Where are they, these idols of millions, now? The rapid movement of time erased the names of many from the memory of the people, only a few remained, among them - Alexander Solzhenitsyn. How much effort has been made to make people forget that name! All in vain. A. Solzhenitsyn is forever "registered" in the history of Russia and its great literature.
Today, literary critics, politicians, and philosophers are struggling with the question of who Solzhenitsyn is: a writer, publicist or public figure? I think that Solzhenitsyn is a phenomenon, an example of the harmonious unity of the talent of a writer, the wisdom of a thinker and the amazing personal courage of a patriot.
But how did a brilliant student of the Faculty of Physics and Mathematics at Rostov University, an active Komsomol member, grow into a great fighter against totalitarianism? Solzhenitsyn himself identified three milestones on the path of his civic development: war, camp, cancer.
Having passed the front roads from Orel to East Prussia, Solzhenitsyn was arrested and received eight years in labor camps. Having barely freed himself, being in an eternal settlement, he falls ill and is forced to go to Tashkent, to an oncological clinic. But here, too, Solzhenitsyn proved to be the winner. It was at this moment that he realized his future fate: “I was not killed at the front, did not die in the camp, did not die of cancer in order to be able to write about the atrocities that have been happening in our country for decades.”
The camp theme is present in almost every work of Solzhenitsyn. However, his civil and literary feat was the Gulag Archipelago, which has the following dedication: “To everyone who did not have enough life to tell about it. And may they forgive me that I didn’t see everything, didn’t remember everything, didn’t guess everything.
227 people sent Solzhenitsyn their memories of the Gulag. On behalf of these people and many others, living and dead, the writer speaks of those horrors that were later covered up with quite decent words “the cult of personality”.
The Gulag Archipelago, consisting of seven parts, covers all periods of the life of prisoners: arrest, prison, stage, camp, exile, release, and much more, which we, people of the beginning of the 21st century, cannot even guess.
But the work is strong not only by this factual material. Solzhenitsyn actively uses here the images of Christian culture. The torment of a prisoner, reared up, is compared to the suffering of the Son of God. But the author himself hears a girl crying in a neighboring women's camp, left as a punishment in a forty-degree frost. Powerless to help, he swears: “To this fire and you, girl, I promise: the whole world will read about it.” And behind these words there are others spoken by Jesus Christ to Mary: “It will be said in memory of her and about what she did.”
Great Russian literature comes to the aid of the writer. He recalls the names of L. Tolstoy, F. Dostoevsky, A. Chekhov. With the name of Dostoevsky, who wrote about the tear of a ruined child, the book includes the theme “Gulag and Children”. It turns out that in 1934 the USSR adopted a decree according to which it is possible to arrest and execute citizens who have reached the age of twelve.
Recalling A.P. Chekhov, Solzhenitsyn writes: “If Chekhov’s intellectuals, who were all wondering what would happen in twenty or thirty years, would be answered that in forty years there would be a torture investigation in Rus' ..., all the heroes would go to a madhouse ".
As a result of all this, a terrible image of Evil is created in the book, which can be resisted only by maintaining the purity of the soul and moral principles, and the author himself acts as a prophet, burning our hearts with a “verb”.
And later, in the 1970s, Solzhenitsyn would never forget this lofty role. The result of his fight against Evil will be expulsion. But even there, in distant Vermont, he felt a blood connection with Russia.
In 1994, Solzhenitsyn returned to his homeland. He dreamed of being useful to his people. What a pity that we failed to hear and understand him, this great writer and faithful son of Russia!
Conceived in 1937 and completed in 1980, A.I. Solzhenitsyn’s “August 14th” is a significant milestone in the artistic coverage of the First World War. Critics have repeatedly noted his echoes with Leo Tolstoy's "War and Peace". Let's agree...
Alexander Isaevich Solzhenitsyn was born in 1918 in Kislovodsk; his father came from a peasant family, his mother was the daughter of a shepherd, who later became a wealthy farmer. After high school, Solzhenitsyn graduated from the Physics and Mathematics in Rostov-on-Don ...
PROCEDURE OF THE LESSON I. Organizational stage II. Actualization of basic knowledge Problematic issue ♦ Tell us about the fate of the hero of the story “One Day in the Life of Ivan Denisovich”, his life values. Which of the heroes of Russian literature is spiritually close to Shukhov?...
A. I. Solzhenitsyn? the greatest writer of the 20th century, life-builder philosopher, inspired defender of Russia. In his works, does he continue one of the central humanistic lines of Russian classical literature? the idea of a moral ideal, an inner...
“A real writer is the same as an ancient prophet: he sees more clearly than ordinary people” (A.P. Chekhov). (Based on one or more works of Russian literature of the 19th century)
“A poet in Russia is more than a poet,” this idea has long been familiar to us. Indeed, Russian literature, starting from the 19th century, became the bearer of the most important moral, philosophical, ideological views, and the writer began to be perceived as a special person, a prophet. Already Pushkin defined the mission of a real poet in this way. In his program poem, which is also called “Prophet”, he showed that in order to fulfill his task, the poet-prophet is endowed with very special qualities: the sight of a “frightened eagle”, a hearing capable of listening to “the trembling of the sky”, a language similar to the sting of a “wise snake ". Instead of the usual human heart, the messenger of God, the “six-winged seraph”, who prepares the poet for a prophetic mission, puts “coal burning with fire” into his chest cut with a sword. After all these terrible, painful changes, the chosen one of Heaven is inspired on his prophetic path by God himself: “Rise up, prophet, and see, and listen, / be fulfilled by my will…”. This is how the mission of a true writer, who brings to people the word inspired by God, has been determined since then: he must not entertain, not give aesthetic pleasure with his art, and not even promote some, albeit the most wonderful ideas; his job is to "burn the hearts of the people with the verb."
How difficult the mission of the prophet was already realized by Lermontov, who, following Pushkin, continued to fulfill the great task of art. His prophet, “ridiculed” and restless, persecuted by the crowd and despised by it, is ready to flee back to the “desert”, where, “preserving the law of the Eternal”, nature heeds his messenger. People often do not want to listen to the prophetic words of the poet, he sees too well and understands what many would not like to hear. But Lermontov himself, and those Russian writers who, after him, continued the fulfillment of the prophetic mission of art, did not allow themselves to show cowardice and abandon the heavy role of a prophet. Often suffering and sorrow awaited them for this, many, like Pushkin and Lermontov, died untimely, but others took their place. Gogol, in a lyrical digression from the UE of the chapter of the poem Dead Souls, openly told everyone how difficult the path of a writer who looks into the very depths of the phenomena of life and strives to convey to people the whole truth, no matter how unattractive it may be. They are ready not only to praise him as a prophet, but to accuse him of all possible sins. “And, only seeing his corpse, / How much he did, they will understand, / And how he loved while hating!” this is how another Russian poet-prophet Nekrasov wrote about the fate of the writer-prophet and the attitude of the crowd towards him.
It may seem to us now that all these wonderful Russian writers and poets, who constitute the “golden age” of Russian literature, have always been as highly revered as they are in our time. But after all, even now recognized throughout the world as a prophet of future catastrophes and a harbinger of the highest truth about man, Dostoevsky began to be perceived by his contemporaries as the greatest writer only at the very end of his life. Truly, "there is no prophet in his own country"! And, probably, now somewhere near us lives someone who can be called a “real writer”, similar to an “ancient prophet”, but do we want to listen to someone who sees and understands more than ordinary people, this is main question.
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It is terrible to touch the work of the great writer, Nobel Prize winner, a man about whom much has been said, but I cannot but write about his story "Cancer Ward" - a work to which he gave, albeit a small, but part of his life.
They tried to deprive him of it for many years. But he clung to life and endured all the hardships of the concentration camps, all their horror; he brought up in himself his own views on what was happening around him, not borrowed from anyone; he expressed these views in his story.
One of its themes is that no matter what a person is, good or bad, who has received a higher education or, conversely, uneducated, whatever position he holds, when an almost incurable disease befalls him, ceases to be a high-ranking official, turns into an ordinary person who just wants to live.
Solzhenitsyn described life in a cancer ward, in the most terrible of hospitals, where people are doomed to death. Along with the description of a person's struggle for life, for the desire to simply coexist without pain, without torment, Solzhenitsyn, who is always and under any circumstances distinguished by his craving for life, raised many problems. Their circle is quite wide: from thoughts about life, about the relationship between a man and a woman to the purpose of literature.
Solzhenitsyn brings together people of different nationalities, professions, adherents of various ideas in one of the chambers. One of these patients was Oleg Kostoglotov, an exile, a former convict, and the other was Rusanov, the exact opposite of Kostoglotov: a party leader, “a valuable worker, an honored person”, devoted to the party.
Having shown the events of the story first through the eyes of Rusanov, and then through the perception of Kostoglotov, Solzhenitsyn made it clear that power would gradually change, that the Rusanovs with their “questionnaire economy”, with their methods of various warnings, would cease to exist and the Kostoglotovs would live, who did not accept such concepts as "remnants of bourgeois consciousness" and "social origin".
Solzhenitsyn wrote the story, trying to show different views on life: both from the point of view of Vega, and from the point of view of Asya, Dema, Vadim and many others. In some ways, their views are similar, in some ways they differ. But basically Solzhenitsyn wants to show the wrongness of those who think like Rusanov's daughter, Rusanov himself. They are accustomed to looking for people somewhere below, to think only about themselves, not to think about others.
Kostoglotov - the spokesman for Solzhenitsyn's ideas; through Oleg's disputes with the ward, through his conversations in the camps, he reveals the paradoxical nature of life, or rather, that there was no point in such a life, just as there is no point in the literature that Avieta extols. According to her, sincerity in literature is harmful. “Literature is to entertain us when we are in a bad mood,” says Avieta, not realizing that literature is really a teacher of life. If you have to write about what should be, then it means that there will never be truth, since no one can say exactly what will happen. And far from everyone can see and describe what there is, and it is unlikely that Avieta will be able to imagine at least a hundredth of the horror when a woman ceases to be a woman, but becomes a workhorse, who subsequently cannot have children.
Zoya reveals to Kostoglotov the whole horror of hormone therapy, and the fact that he is deprived of the right to continue himself horrifies him: “First, they deprived me of my own life. Now they are also depriving them of the right to ... continue themselves. To whom and why will I now be? .. The worst of freaks! For mercy? .. For alms? .. ”And no matter how much Ephraim, Vadim, Rusanov argue about the meaning of life, no matter how much they talk about him, for everyone he will remain the same - leave someone behind. Kostoglotov went through everything, and this left its mark on his system of values, on his concept of life.
The fact that Solzhenitsyn spent a long time in the camps also influenced his language and style of writing the story. But the work only benefits from this, since everything that he writes about becomes available to a person, he is, as it were, transferred to a hospital and takes part in everything that happens. But it is unlikely that any of us will be able to fully understand Kostoglotov, who sees a prison everywhere, tries to find and finds a camp approach in everything, even in a zoo.
The camp has crippled his life, and he understands that he is unlikely to be able to start his former life, that the road back is closed to him. And millions more of the same lost people are thrown into the vastness of the country, people who, communicating with those who did not touch the camp, understand that there will always be a wall of misunderstanding between them, just as Lyudmila Afanasyevna Kostoglotova did not understand.
We grieve that these people, who were crippled by life, disfigured by the regime, who showed such an irrepressible thirst for life, experienced terrible suffering, are now forced to endure the exclusion of society. They have to give up the life that they have long sought, that they deserve.