In the novel by M. A. Sholokhov, Cossack women are perhaps the only ones who are not influenced by political passions. However, in the "Quiet Don" there is also the heiress of the "progressives" of F. Dostoevsky - the fiery revolutionary Anna Pogudko. M. Sholokhov the artist does not demonize the heroine, she is characterized by human weaknesses, love-pity for Bunchuk, but the spiritual nature, the spiritual essence of this type of personality - a destructive woman - remains unchanged. She voluntarily joins the team of Red Guard machine gunners to learn how to kill. M. Sholokhov gives an expressive description: “Anna Pogudko delved into everything with keen curiosity. She importunately molested Bunyk, grabbed him by the sleeves of the clumsy demi-season, relentlessly stuck out near the machine gun.
The author notes Anna's "unfaithful and warm gleam of eyes", her passion for speeches, fanned by sentimental romanticism. This pity for the distant is paradoxically combined with hatred for the near. The desire to kill for the sake of a utopian dream is enormous: “a wrong, stumbling trot” leads Pogudko people into the attack. Retribution follows immediately, her death is terrible, naturalism in the description of the agony is deliberately accentuated by the author. From a blooming woman, the heroine turns into a half-corpse, she seems to be burning alive in hell: “Blue-yellow, with streaks of frozen tears on her cheeks, with a pointed nose and a terribly painful fold of her lips”, the dying constantly requires water, which is not able to fill her inner, all-burning fire.
The passion for victory at any cost, including death, is higher than love, even on a date with Bunchuk, Anna did not forget about machine guns. She "enchants" Bunchuk until the final spiritual and physical death, his behavior after the death of his girlfriend is infernal - he is likened to a beast. It seems symbolic that his executioner-volunteer Mitka Korshunov kills him, giving him the following assessment: "Look at this devil - he bit his shoulder to blood and died like a wolf, silently."
Unrealized female ambitions, lack of humility result in a desire to destroy everything and everything. People with "new" ideas are very welcome here.
And yet in Anna there is a feminine, maternal principle, which is dissolved in different degrees in almost every true love women for a man: both in the love of Natalya and Aksinya for Grigory, and in the love of the "deep-eyed" Anna Pogudko for Bunchuk ... If for Bunchuk three weeks of his typhoid unconsciousness were weeks of wandering "in another, intangible and fantastic world", then for ideologically exalted girl became a test of her first feelings, when “for the first time she had to look so close and so nakedly at the inside of communication with her beloved”, to face in “dirty care” with lousy, ugly emaciated, foul-smelling flesh and its grassroots secretions. “Inwardly, everything reared up in her, resisted, but the dirt of the outer did not stain the deeply and securely stored feeling”, “love and pity that had not been experienced before”, love here is motherly self-sacrificing. Two months later, Anna herself came to bed with him for the first time, and Bunchuk, dried up, blackened from execution work in the Revolutionary Tribunal (although he left there that day), turned out to be powerless - all the erotic moisture of this, albeit ideologically playing himself, executioner on the service of the revolution burned out in horror and breakdown. Anna managed to overcome "disgust and disgust" and, after listening to his stuttering, feverish explanations, "silently hugged him and calmly, like a mother, kissed him on the forehead." And only a week later, Anna's caress, maternal care warmed up Bunchuk, pulled him out of male impotence, burnt out, a nightmare. But on the other hand, when Anna painfully dies in the arms of Bunchuk from a wound in battle, the loss of the woman she loves makes everything in him and around him meaningless, brings him into a state of complete apathy, dispassionate automatism. It does not help at all with what he was strong and fierce before: hatred, struggle, ideas, ideals, historical optimism ... everything flies into hell! Indifferently, half asleep, he adjoins the expedition of Podtelkov, simply "just to move, just to get away from the longing that followed him on the heels." And in the scene of the execution of the podtelkovites, Bunchuk alone keeps looking “into the gray distance swaddled with clouds”, “at the gray haze of the sky” - “it seemed that he was waiting for something unrealizable and gratifying”, perhaps from childhood superstitions long trampled about meetings after the coffin , insanely hoping for the only thing that could satisfy his immense longing, that longing that had dropped him as an inflexible Bolshevik and humanized him.
Dunyasha
After the death of Natalya and Ilyinichna, Dunyashka becomes the mistress of the Melekhov kuren, she will have to reconcile the antagonist heroes in the same house: Melikhov and Koshevoy. Dunyashka is a particularly attractive female character in the novel.
The author introduces us to the youngest of the Melekhovs - Dunyasha - when she was still a long-armed, big-eyed teenager with thin pigtails. Growing up, Dunyasha turns into a black-browed, slender and proud Cossack woman with an obstinate and persistent Melekhovsky character.
Having fallen in love with Mishka Koshevoy, she does not want to think about anyone else, despite the threats of her father, mother and brother. All the tragedies with the household are played out before her eyes. The death of his brother, Daria, Natalya, father, mother, niece takes Dunyasha very close to his heart. But, despite all the losses, she needs to move on. And Dunyasha becomes the main person in the ruined house of the Melekhovs.
Dunyasha is a new generation of Cossack women who will live in a different world than her mother and brothers, Aksinya and Natalya. She entered the novel as a sonorous, ubiquitous, hardworking teenage girl and went all the way to the beautiful Cossack woman, without tarnishing her dignity in anything. The image is imbued with lyricism and dynamism of youth, openness to the whole world, immediacy of manifestation and trepidation of the first dawn of feelings, which Sholokhov associates with the dawn - the rising hope for life in new conditions. In the act of the daughter, with which Ilyinichna was forced to come to terms, there is a rejection of some outdated elements of the traditionally Cossack (and not only Cossack) family, but there is no destruction of its foundations here. Yes, the personal choice of the future spouse seems to be more “happy” for Dunyasha to create a family. But he also considers parental blessing obligatory, and, despite all the difficulties, he receives it. With difficulty, but still, he achieves from the atheist and "utterly evil at himself and everything around" Mikhail Koshevoy the church consecration of their marriage. She maintains an unshakable faith in the healing power of the Orthodox canons of family love.
Perhaps she managed to understand something in the new time that was not understood by many of her contemporaries: people are embittered and commit acts, sometimes vile and tragic in their consequences, not at all due to natural depravity, but becoming victims of circumstances. They should not only feel sorry for them, but to the best of their ability to help them become themselves.
Conclusion
So, as a result of our study, the hypothesis that was put forward as a working one was proved: the female images created by M. Sholokhov in the novel “Quiet Flows the Don” reflect the Russian concept of femininity and the tradition of creating the image of a woman in Russian culture.
Actually, the intention of the author of The Quiet Flows the Flows River can be considered as a confrontation of his heroes with the cruel circumstances of the time of troubles, in which both base and sublime impulses of the human soul are manifested. Here are people going to death in the name of an idea (Bunchuk, Yesaul Kalmykov, Shtokman), and ready to kill in its name (Podtelkov, Mikhail Koshevoy) and avengers for loved ones (Daria Melekhova). In all the confusion of what is happening, only love can save a person and keep him alive, while hatred destroys him - the main idea of the novel. And exactly female images novels embody this idea most clearly.
The novel "Quiet Don" is also a work about the life of a whole people, a coethnos - the Don Cossacks. National traits determine both the features of the narrative, and the meaning of the title, and, of course, the means of creating images. Aksinya, Natalya, Ilyinichna, Dunyasha reflects all the best that the author saw in Cossack women, who not only kept the family hearth, but were real helpers and "shorelines" of the border Cossack host.
In the complex, sometimes merciless struggle of the moral and the immoral, the beautiful and the ugly, the creative and the destructive in love, Sholokhov's heroines, the spiritual and everyday culture of the unique co-ethnos of the Russian nation, the Don Cossacks, unfolds deeper and more vividly before the reader. But the author is not limited to the general female characters. With extreme subjectivity, Sholokhov draws both the original appeal of Cossack women and their tragic fate in the era of breaking the traditional Orthodox way of life, the destruction of the patriarchal Cossack family.
Among the Cossacks, of course, there were also "playful natures", but they are not typical of the Don ethnos. Aksinya, for example, is not at all cheating on her husband because of vindictive cunning. She did not hide the feelings that horrified her with her "sinfulness". Having drunk to the bottom the bitter cup of ridicule of the farmers, the beatings of Stepan, Aksinya remained open and consistent in her desire to keep Grigory to her tragic end. All the more pure and immaculate Natalya, brought up on the Orthodox holiness of family love, it never even occurred to her to answer her "unlucky" husband for offended love with infidelity.
Cossack women were well aware of the personal responsibility "for the preservation of the family during the absence of her husband." The motivation of devotion to a spouse, the sanctity of family ties among Donetsk women was of a deeper nature than among representatives of other ethnic groups of the Russian nation. This “other” was felt by the older generation of farmers, when Aksinya, in response to warning remarks, only “laughed defiantly” and “she carried her criminal head high without conscience and without hiding.” Here new forms of morality were introduced, contradicting the traditional Orthodox ones.
The author of The Quiet Flows the Don does not deny his heroines female attractiveness either. But here, too, Sholokhov retreats from the temptation to leave them the so-called "folklore", where the Cossack woman is "white-white, and thin in the belt, her face is white, her eyebrows are black, pointed<...>even thin cord. It is noteworthy, however, that the reader, noticing the discrepancy between Sholokhov's heroines and "folk relatives", easily makes up for this "shortcoming", switching to comparing them with mythological characters of other cultures.
The school, or, as it is sometimes said, the incubator of the education of the senses, is first and foremost the family. Here, individual inclinations and traits are filled with moral and social content, mature and correct. In the parental home, Aksinya could not go through such a school. The ancestral roots of Christian Orthodox purity and holiness of family relations were cut down: at the age of sixteen, her father abused her. Stepan also failed to fill her life with all the richness and specific beauty of mutual feelings and relationships that characterize a happy family. From the very first wedding night, he began to beat Aksinya, often and terribly get drunk, but he did not “throw her out of the door” (according to established custom) and did not tell anyone about her girlish shame. As if in gratitude for her silence, she tried to captivate her husband with the intensity of sensual passions, learned to extinguish his vindictive annoyance in caresses, stopping in the development of family relations at their lowest, only sexual phase. For a year and a half, Stepan did not forgive the offense, until the birth of a child. But her daughter died before she was a year old ... It is clear that everything that happened at the very take-off of life is not Aksinya's fault, but Aksinya's misfortune. And yet, no matter what caused this stop in the development of a culture of feelings, for her husband she remained “corrupted”, and from a socio-ethnic point of view (already because of her behavior) - “not her own”. M.A. Sholokhov was not fond of speaking names, but in this case he also has some closeness, the consonance of the name Aksinya, Ksyusha with Xenia, that is, “alien”.
Gregory could not go through such an education of feelings to the necessary extent. Pantelei Prokofievich, due to the too thick mixture of oriental blood, turned out to be an insufficiently consistent assistant to Ilyinichna in raising his son. Could not help Gregory and the experience of early youthful love. At the very first disagreements with Aksinya, when her parents demanded to end the relationship with her "husband's wife", such traits of her character appeared that not only alerted the young Cossack, but also decisively influenced his choice.
Natalya, deeply offended by the actions and words of her husband, is having a hard time with "spitting on her happiness." The ingenuous and truthful look of her bold eyes, which Grigory meets during the wedding conspiracy, goes out, is replaced by often flooded with tears, mournful and longing. After a tough conversation with his father, Grigory and Aksinya leave for the Listnitsky estate. Being spiritually unprepared for such a humiliation, Natalia cannot cope with the blow of fate unexpected for her. In a desperate rush to non-existence, she violates one of the main commandments of Christianity - the inviolability, the holiness of the gift of life.
So, the female images of the novel "Quiet Flows the Don" are built on a deep penetration into the peculiarities of the national culture and traditions of the Don Cossacks, reflect not only the system of values, but also the author's perception of the fate of the Cossacks during the years of the revolution and civil war.
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For four days he didn't even get a good look at her. It was semi-dark in the basement, and it was uncomfortable and there was no time to look at her face. On the fifth day in the evening they went out together. She walked ahead; climbing the last step, she turned to him with some question, and Bunchuk inwardly gasped, glancing at her in the evening light. She, straightening her hair with a habitual gesture, was waiting for an answer, slightly throwing her head back, squinting her eyes in his direction. But Bunchuk listened; he slowly ascended the steps, squeezed by a sweet-painful feeling. Her pink nostrils, illuminated by the low sun, slightly stirred from tension (it was embarrassing to manage her hair without throwing off her handkerchief). The lines of the mouth were masculine and at the same time childishly tender. A tiny fluff darkened on the raised upper lip, more clearly shading the soft whiteness of the skin.
Bunchuk bent his head, as if under a blow, and said with pretentious jocularity:
- Anna Pogudko ... machine gunner number two, you are good, like someone else's happiness!
- Nonsense! she said confidently and smiled. - Nonsense, comrade Bunchuk! .. I ask, what time will we go to the shooting range?
From a smile it became somehow easier, more accessible, more earthly. Bunchuk stopped next to her; looking dazedly at the end of the street, where the sun was stuck, flooding everything with a crimson flood, he answered quietly:
- At the shooting range? Tomorrow. Where do you want to go? Where do you live?
She named a side street. Let's go together. Begovoi caught up with them at the crossroads:
- Bunchuk, listen! How will we meet tomorrow?
On the way, Bunchuk explained that they were going to gather behind Quiet Grove, where Krutogorov and Khvylychko would bring a machine gun in a cab; gathering at eight in the morning. Botovoi walked two blocks with them and said goodbye. Bunchuk and Anna Pogudko walked for several minutes in silence. She asked with a sideways glance:
- Are you a Cossack?
- An officer in the past?
- Well, what an officer I am!
- Where are you from?
- Novocherkassk.
– How long have you been in Rostov?
- Several days.
- And before that?
- I was in Petrograd.
- Since what year in the party?
- From one thousand nine hundred and thirteenth.
- Where is your family?
“In Novocherkassk,” he muttered quickly, and extended his hand beggingly.
- Wait, let me ask: are you a native of Rostov?
- No, I was born in Yekaterinoslav, but Lately lived here.
- Now I will ask ... Ukrainian?
She hesitated for a moment, then answered firmly:
- Jewish?
- Yes. And what? Does my tongue betray me?
Why did you guess that I am Jewish?
He, trying to get in the leg, reducing his step, answered:
“It's good that you're with us.
- Why? she asked.
“You see, the Jews have gained fame, and I know that many workers think so—I’m a worker myself,” he remarked in passing, “that the Jews only guide, but don’t go under fire themselves.” This is erroneous, and here you are brilliantly refuting this erroneous opinion. Did you study?
Yes, I graduated from high school last year. And what is your education? I am asking this because the conversation reveals your non-work background.
– I read a lot.
They walked slowly. She deliberately circled the lanes and, briefly talking about herself, continued to question him about the Kornilov speech, about the mood of the St. Petersburg workers, about the October Revolution.
Somewhere on the embankment, rifle shots clattered wetly, and a machine gun abruptly cut through the silence. Anna did not hesitate to ask:
- What system?
What part of the tape is used up?
Bunchuk did not answer, admiring the orange tentacle of the searchlight strewn with emerald frost, armily stretching from the minesweeper at anchor to the top of the evening sky, burnt in the sunset.
After walking for three hours through the deserted city, they parted at the gate of the house where Anna lived.
Bunchuk returned home, warmed by unconscious inner satisfaction. "Good friend, a smart girl! It was good to talk to her like that - and now it's warm in my soul. You have grown coarse during this time, but friendly communication with people is necessary, otherwise you will become stale, like a soldier's cracker ... ”he thought, deceiving himself and himself realizing that he was deceiving.
Abramson, who had just come from a meeting of the Military Revolutionary Committee, began to ask about the training of machine gunners; Incidentally, he also asked about Anna Pogudko:
- How is she? If it is not suitable, we can send it to another job, replace it.
- No, what are you! Bunchuk got scared. “A very talented girl!
He had an almost irresistible desire to talk about her, and he only restrained himself by a great effort of will.
VI
On November 25, at noon, Kaledin's troops were pulled from Novocherkassk to Rostov. The offensive has begun. Along the line railway, on both sides of the embankment, there were liquid chains of the officer Alekseevsky detachment. On the right flank, the gray figures of the junkers moved more densely. Volunteers of the detachment of General Popov flowed around the red-clay bright on the left flank. Some, which from a distance seemed like tiny gray lumps, jumped into the ravine, moving to this side, pulled themselves up, stopped, and flowed again.
In the chain of the Red Guards, scattered on the outskirts of Nakhichevan, there was a fussy restlessness. The workers, many of whom took rifles for the first time, were afraid, crawled, soiling their black coats with autumn mud; others raised their heads, examined the distant figures of the whites, reduced by space.
Near the machine gun in the chain, Bunchuk knelt down and peered through binoculars.
On the eve, he exchanged his awkward demi-season for an overcoat, he felt familiar, calm in it.
Lesson topic
"Eternal" themes in the novel by M.A. Sholokhov "Quiet Flows the Don". Love and duty.
The purpose of the lesson: to consider the opposition of "love-passion" and "family love" in Russian classical literature. Determine which love is more organic for the Cossack way of life and why; what is the ideal of love according to Sholokhov.
Tasks:
to continue the formation of the ability to analyze a literary text, to reasonably prove one's own judgments;
check the degree of formation of deep reading skills of a work of art;
to develop the creative and speech activity of students through the expression of their ideas about the heroes of the work;
improve the ability to prove, analyze, compare, formulate generalized conclusions;
develop emotional susceptibility;
promote understanding of the value of the family.
Equipment:
Computer, multimedia projector. slide presentation (as an accompaniment to the lesson).
Preliminary preparation.
Tasks by groups:
Contrasting "love-passion" and "family love" in Russian classical literature.
Analyze the love triangle Aksinya-Grigory-Natalya from the point of view of two types of love.
Peter and Daria
Love in War: Contrasting Love and Duty (Bunchuk and Anna).
“Free love of Timofey and Lisa Mokhova.
The ideal of love according to Sholokhov.
During the classes.
I . Introduction by the teacher.
In the days of terrible historical upheavals, when all the usual foundations suddenly collapse, life takes on some monstrous forms, a person is so helpless! How to resist, survive, not break? What can become that straw that will support, save? Love is the basis of life.
What is true love - passion or duty? Madness, impulse or peace, security? What understanding of love is in tune with folk Christian traditions and, in particular, the Cossack way of life?
II . Work on the topic of the lesson.
Teacher. The traditional people's understanding of love is the continuation of the family, which means the choice is up to the family, duty, and ultimately - children.
Let us turn to Russian classical literature - the works of A.S. Pushkin, A.N. Ostrovsky, L.N. Tolstoy, N.A. Nekrasov. What is the choice of the main characters?
I a group of students.
Tatyana Larina chooses honor and duty (“But I am given to another / And I will be faithful to him for a century”), despite the strength of her love for Onegin. She cannot break her vow of allegiance given in the church.
The love of Katerina, the heroine of Ostrovsky's play "Thunderstorm", is the desire for light from the darkness and ignorance of the world of the Kabanovs; passion is opposed to the sanctimonious way of the husband's family. But vicious love violated the patriarchal order, therefore, a tragic outcome is inevitable.
Natasha Rostova (L.N. Tolstoy "War and Peace") from false (passionate) love for Anatol Kuragin (ready to go even against the family, discredit her name and jeopardize the honor of the family) through the comprehension of her duty comes to true love, leading a person to understand the higher purpose of a woman, when it is no longer important how she looks, but children, husband, family are important.
The wives of the Decembrists left their relatives, sacrificed their position in society, well-being in order to alleviate the fate of their husbands, to support in difficult times, fulfilling the promise given before God and people to be near in sorrow and in joy, in sickness and health.
Conclusion: in Russian classical literature there are many examples of understanding the family as a union of a man and a woman, based on fidelity, respect, mutual assistance, the main goal of which is the continuation of the family (slide 1).
Teacher: This position is closest to the Cossack understanding of the essence of the family. Spiritual world It is impossible to understand the Cossacks without realizing family relations, which were built on the basis of patriarchal Orthodox traditions, which was also reflected in folklore. Let's give as an example the lines of only some songs.
The Cossack, fulfilling his military duty, dreams of returning home as soon as possible, to his wife, family, children (the teacher quotes lines from the song "Kalinushka"):
Oh, how one of them prays to God,
Oh, yes, praying to God, asking to go home.
Oh, yes you, my colonel, let me go home,
Oh, let me go home to us on the Quiet Don.
Oh, let me go home to us on the quiet Don,
Oh, yes, to us on the Quiet Don, to my father and mother.
Oh, yes, to us on the quiet Don, to my father and mother,
Oh, yes, to my father and mother, and to my young wife.
Oh, yes, to the wife and the young, to the little kids,
Oh, yes, to small children, youngsters.
Special place occupied ideas about the Cossack traditions, among which one should highlight love of freedom, devotion to military duty, religious tolerance, moral and physical health. All this is very important for a Cossack, if a faithful Cossack woman is waiting for him at home (the teacher reads out the lines of the songs “The Cossack went”, “To the meadow” - see the appendix). If the girlfriend is unfaithful, life without love and fidelity loses its meaning (“The Cossack Rode”).
Let us turn to Sholokhov's novel "Quiet Flows the Don" and try to understand the attitude to love, family, folk traditions the main characters of the work.
Before us unfolds not only a social, but also a personal tragedy.
Analyze the relationship of Grigory, Aksinya and Natalia from the point of view of two types of love: “love is passion” and “family love”.
II a group of students.
(Slide 2: "Grigory and Aksinya"). The relationship between Grigory and Aksinya is love - passion, a challenge to the patriarchal way of life of the Cossacks, the destruction of the norm, the impossibility of peace. "Having desired his neighbor's wife," Gregory obeys reckless attraction. Aksinya (slide 3) is beautiful in her passion, her willingness to follow her lover to the ends of the world, in her inextinguishable desire for freedom. Despising everything in the name of love for Gregory, violating all laws and foundations, she fights for her love (“I’ll throw my husband and everything, if only you were ...”, “I’ll go on foot, I’ll crawl after you, but I won’t be left alone anymore!” “I will follow you everywhere, even to death”). Aksinya suffered her right to love: she had to step over a lot, give up many. The strength, pride, directness of the heroine deserve respect. Undoubtedly, she is worthy of happiness, but not at the cost of the misfortune of other people.
Teacher: The measure of the truth of the relationship between a man and a woman in the Cossack environment, as well as throughout the Christian world, is the family hearth and children. God gave Aksinya the happiness of motherhood. Why did Pantelei Prokofievich no longer insist on his son returning to the farm after the birth of his daughter?
Remember the scene in Yagodnoye - Natalya's attempt to defend her love and retreat in front of the "gloomy black eyes of Grigory" looking at her from the face of a child (1-3-XIX). (Slide 4)
Students: The birth of a child connected Grigory and Aksinya stronger than other ties, leaving your child is the greatest sin.
But God takes the daughter away from Aksinya, as if punishing her for her sins.
Teacher: What is Grigory's love for Natalia?
Love for Natalia (slide 5) embodies the craving for the norm, Cossack traditions, peace, family hearth, settled life. Natalia, true to her duty, is rewarded with the birth of children (slide 6). She is the embodiment of true love, which is spoken of in Scripture:
“Love is long-suffering, merciful, love does not envy, love does not exalt itself, does not pride itself, does not behave rudely, does not seek its own, is not irritated, does not think evil, does not rejoice in iniquity, but rejoices in the truth; covers everything, believes everything, hopes everything, endures everything. Love never ceases, although prophecy will cease, and tongues will be silent, and knowledge will be abolished.
The relationship between Gregory and Natalia is full of drama: self-realization as "unloved", a timid attempt to defend their love, motherhood and pride in children, Gregory's betrayal, the offended feeling of mother and wife, the death of relatives, a break with his brother, collapsed hopes for saving the family.
Teacher: Can Natalya be called the ideal of a woman?
Students: Natalia is not ideal. She, a loving wife and mother, being offended in her feelings, turns out to be capable of killing an unborn child, asks God to send death to the father of her children (4-7-XVI). The world, family, destinies are crumbling.
Teacher: The death of Natalia is a tragic outcome of life and retribution for violence against nature. Grief and despair obscured from her a simple, universal truth: the unborn child is not to blame for anything and should not pay for the sins of his father. Natalya paid for the death of a child with her own life. But before her death, the heroine, as a true Christian and a loving woman, forgave all insults ("... love covers all sins").
What wins in Gregory: love - passion or love - duty?
Students: For Gregory, who is unable to make a choice between the opposing political forces, it turns out to be a painful choice in the love sphere as well. Two very different feelings are equally strong. It is no coincidence that he himself admits to himself the impossibility of choosing between his beloved women: “He would not mind living with both of them, loving each of them in different ways ...” (4-7-XVIII)
Teacher: How was this situation resolved?
Students: Gregory was very upset by the death of Natalia (4-7-XVII). With the death of Aksinya, daylight faded for him: “... I saw a black sky above me and a dazzlingly shining black disk of the sun” - an old folk symbol of trouble in the world (4-8-XVII).
Teacher: The hero returns to what he left: to his family, to his native kuren. True, only the younger sister and son remained from the family, and the chicken has long been a stranger. On the last pages, “family thought” sounds with renewed vigor, an understanding of the great significance of the family, home, hearth, love and fidelity. They are the meaning of life and salvation. “He stood at the gates of his native house, holding his son in his arms ... It was all that remained in his life, which still made him related to the earth and to all this huge world shining under the cold sun.”
Teacher: Give an assessment from the point of view of a person of a patriarchal way of life to the relationship between Daria and Peter Melekhov.
III a group of students.
These relationships cannot be considered truly family. It is not given to Daria, shameless and walking, destroying the foundations of the Cossack family with the cynicism of her behavior for centuries, to become a loving mother (the only child who has not yet been named died early). She never remembered the child, never regretted that she no longer had children. There is no loyalty or love in this family.
Teacher: Daria bypassed a deep feeling for a man. She was only capable of "dog love." All her life she went on about her own carnal desires, not knowing other joys, and this ruined her. Daria thoughtlessly flew through life, leaving behind neither offspring nor a good memory.
Conclusion: Such an attitude towards marriage is alien to the Cossack environment. Trampled all the foundations: loyalty, mutual understanding, procreation. Vicious women have always been condemned, disgracing the family, despising their duties, dropping their honor and the honor of their husband.
Teacher: In terrible years civil war the question arose: is love possible during social upheavals? Perhaps it is worth postponing dreams of happiness to a more appropriate time, to the future? In an age of revolution, one must devote oneself entirely to the fulfillment of duty. A similar position is inherent in Bunchuk and Anna. What distinguishes the relationship between Anna and Bunchuk from the love of the main characters of the novel?
IV a group of students.
The relationship between Bunchuk and Anna is not love - a passion, like Grigory and Aksinya, and not family love, like Natalya. The originality was initially determined by the characters and their ancestral history: Bunchuk is a Cossack, but an urban one, Anna is a former gymnasium student, then a worker from the Asmolov factory, “a faithful comrade” is an epithet devoid of gender. In a truly popular understanding of the feminine essence, war and a woman are not compatible concepts, especially a woman and murder. And Anna is a machine-gunner, raising soldiers - men to attack, supporting Bunchuk in the difficult service of the executioner of the Revolutionary Tribunal, i.e. in killing unarmed people. The only natural female share fell to Anna when she cared for the sick Bunchuk. But just as Bunchuk was emasculated by his “execution” service (the impossibility of justifying the monstrous sacrifices for today’s happiness tomorrow, the impossibility of growing a beautiful garden for a son on the blood of the executed is confirmed by the fact that it is service in the Revolutionary Tribunal that robs Bunchuk of the opportunity to become a father), so Anna lost the ability to embody a truly popular ideal of love for a woman - a mother. Anna puts service to the idea above the possible motherhood.
Anna's death (slide 7) was not only a loss for Bunchuk loved one, but also the final collapse of hopes for the birth of a son, which made all his activities and life meaningless (2-5-XXV).
Conclusion: Anna Pogudko and Bunchuk devote themselves to building a happy future, that "bright tomorrow" in which their son will live. But, in order to grow a beautiful garden for their son, as they think, you first need to "destroy human dirty tricks", "clean off the dirt." However, life convinces of the opposite: human happiness cannot be built on blood and violence.
Teacher: Tell us about the history of the relationship between Timofey and Liza Mokhova. How is their "free love" different from the love of Aksinya and Grigory? (1-3-XI)
It is noteworthy that the story of this love appears in the chapter that tells about the war, morally crippling simple souls with its murderous permissiveness. In the list of changes taking place with the Cossacks at the front, a story from the diary of a murdered student, immodestly read by clerks, is suddenly inserted. Therefore, love itself is perceived as vulgar and immorally frank from the very beginning. Its content only complements the initial feeling: if the student had money - rise, ran out - decline, gap.
What Liza and Aksinya have in common is only the initial description: both are beautiful and vicious. However, by the end of the novel, this epithet in Aksinya's description disappears, because she begins to think only about Gregory, forgetting about herself. Lisa remains vicious.
Can this relationship be called love? I think not. Calculation, lust, physiology - nothing more. Such a relationship does not oblige you to anything, but is it good? Freedom - yes. But freedom from what? From kindness, understanding, care, fidelity, children ... What remains? Emptiness…
Teacher: Everyone understands what love is in their own way. But no matter how life changes, people, “eternal values” remain unchanged. Love, family - the essence of life of any person. What is the ideal of love according to Sholokhov?
VI group.
The ideal is “family love”. None of the couples are perfect. The closest thing to him is the relationship of Grigory and Natalya, because thanks to them the Melekhov family did not stop. The possibility of creating a full-fledged family of Aksinya and Grigory, which emerged after their last meeting, was destroyed by the war. Gregory returns home, to raise a son. Therefore, the ideal is home, family, children.
It is gratifying to see that attention to the family and children has increased so much lately. A strong state consists of happy people. Complete happiness is possible only in the family. I would like to finish with the words from Scripture: “Most of all, put on love, which is the bond of perfection.”
Homework.
Prepare for an essay based on the novel by M.A. Sholokhov "Quiet Don".
Sample essay topics:
Problem moral choice in the novel Quiet Flows the Don.
Love in the fates of Sholokhov's heroes.
The tragic fate of Grigory Melekhov.
The theme of motherhood in the novel "Quiet Flows the Don"
Truth private and general (based on the novel by M.A. Sholokhov "Quiet Flows the Don").
The meaning of the title of the novel "Quiet Flows the Don".
Annex 1.
KALINUSHKA
Oh yes, you, Kalinushka, rasmalinushka,
Oh, don't stand, don't stand on the steep mountain.
Oh, don't stand, don't stand on the steep mountain,
Oh, don't let go of the leaf in the blue sea
Oh, don't let go of the leaf, but in the blue sea.
Oh yes, the ship is sailing in the blue sea,
Oh yes, the ship is sailing, already the water is roaring.
Oh yes, the ship is sailing, even the water is roaring.
Ah yes, how on that ship there are three regiments of soldiers
Oh yes, there are three regiments of soldiers on that ship,
Oh yes, three regiments of soldiers, young guys.
Oh yes, three regiments and soldiers, young guys,
Oh yes, how one of them prays to God.
Oh yes, how one of them prays to God,
Oh yes, praying to God, asking to go home.
Oh yes you, my colonel, let me go home
Oh yes let go home to us on the Quiet Don
Oh, let me go home to us on the Quiet Don,
Oh yes, to us on the Quiet Don, with my father and mother.
Oh yes, to us on the Quiet Don, with my father and mother,
Oh, yes, to my father and mother, and to my young wife.
Oh, yes, to the little wife, yes, to the young, to the little children,
Oh yes, to the little kids, the little ones.
Appendix 2
NOT FOR ME
Spring is not for me
Don will spill not for me,
And a girl's heart will beat
With delight of feelings - not for me.
Gardens bloom not for me
The grove blossoms in the valley.
There the nightingale meets spring,
He will not sing for me.
Streams murmur not for me,
They flow like diamonds.
There is a girl with black eyebrows,
She doesn't grow for me.
Easter is not for me
All relatives will gather at the table,
"Christ is Risen" will pour out of the mouth.
Easter day is not for me.
Flowers don't bloom for me
The rose will dissolve the fragrant color.
Pick a flower and it will wither.
This life is not for me.
And for me a piece of lead
He digs into the white body,
And bitter tears will shed.
Such a life, brother, awaits me.
Appendix 3
THE COSSACK WENT
The Cossack went to a foreign land far away
On a good horse he is his raven.
For a while he left his country,
He could not return to his father's house.
In vain his young Cossack
And morning and evening looks to the north,
Everything is waiting, waiting: from a distant land -
Her dear Cossack, her soul will fly.
The Cossack was dying, and asked, and prayed
Pour earthen mounds in their heads,
On that mound Kalinka b native
She would grow up, show off in azure colors.
On that mound in the far side,
When spring spills over the Don,
Perhaps, dear, stray bird
Sometimes it chirps about the life of a Cossack.
Long beyond the mountains, where blizzards, blizzards,
Where evil frosts crackle from the wind,
Where the pines moved menacingly, and ate -
Cossack bones lie under the snow.
Appendix 4
AT THE MEW
At the meadow, meadow, meadow,
With a wide field
At the station herd
The horse was free to walk.
The horse walked freely
Cossack involuntarily.
"You walk, walk, my horse,
As long as it's your will.
You walk, walk, my horse,
As long as it's your will.
How will I catch, I will bore
Silk knot.
I'll sit on a horse
On your bay.
I will strike, I will strike under the sides,
I'll shoot with an arrow.
You fly, fly, horse.
Fly, don't stumble.
Against the millin yard
Stop, stop.
Stand in front of the gate
Hit your hooves
To come out kindly
With black eyebrows.
And I myself get off the horse,
I will go to the shrine.
I will wake up sweet Dreams
Darlings of a girl."
The girl didn't sleep
I took by the hands,
I took by the hands,
Yes, I kissed you.
Appendix 5
RIDE COSSACK
The Cossack rode through the valley,
Through the German fields.
Below him is a restless raven horse,
The earth trembles under the horseman.
He galloped, a lone rider,
Clinging to the saddle pommel,
And the thought - about the sweet, about the distant -
The ring glittered on her hand.
The Cossack gave a ring,
When the Cossack went on a campaign.
She gave, said:
"I'll be yours in a year."
A year has passed - the Cossack strives
Hurry to the native village
I saw a house under the mountain -
The Cossack's heart beat.
An old woman walked towards him,
Joking speech saying:
“In vain you, Cossack, strive,
You are really torturing the horse.
The Cossack cheated on you
I gave happiness to another.
Then the Cossack took a turn to the left
And galloped into the open field.
He took off his rifle
And ended his life forever.
Let the Cossack remember
Me, a Don Cossack.
Me, dashing, young,
That life ended forever.
