Essay on the topic: Victory and defeat in the novel Oblomov, Goncharov. Essay on the topic of the greatest victory: victory over oneself Who was able to defeat himself from literature

Victory and defeat

The direction allows you to think about victory and defeat in different aspects: socio-historical, moral-philosophical, psychological.

The reasoning can be related as with external conflict events in the life of a person, country, world, and with a person's internal struggle with himself, its causes and results.
Literary works often show the concepts of “victory” and “defeat” in different historical conditions and life situations.

Possible essay topics:

1.Can defeat become victory?

2. “The greatest victory is victory over oneself” (Cicero).

3. “Victory is always with those in whom there is agreement” (Publius).

4. “Victory achieved by violence is tantamount to defeat, because it is short-lived” (Mahatma Gandhi).

5. Victory is always desired.

6. Every small victory over oneself gives great hope in one’s own strength!

7. The winning tactic is to convince the enemy that he is doing everything right.

8. If you hate, it means you have been defeated (Confucius).

9. If the loser smiles, the winner loses the taste of victory.

10. Only the one who defeats himself wins in this life. Who conquered his fear, his laziness and his uncertainty.

11. All victories begin with victory over yourself.

12. No victory will bring as much as one defeat can take away.

13. Is it necessary and possible to judge the winners?

14 Do defeat and victory taste the same?

15. Is it difficult to admit defeat when you are so close to victory?

16. Do you agree with the statement “Victory... defeat... these lofty words are devoid of any meaning.”

17. “Losing and winning taste the same. Defeat tastes like tears. Victory tastes like sweat."

Possible abstracts on the topic:"Victory and Defeat"

1. Victory. Every person has the desire to experience this intoxicating feeling. Even as a child, we felt like a winner when we received our first A's. As they grew older, they felt joy and satisfaction from achieving their goals, defeating their weaknesses - laziness, pessimism, maybe even indifference. Victory gives strength, makes a person more persistent and active. Everything around seems so beautiful.

2. Everyone can win. You need willpower, the desire to succeed, the desire to become a bright, interesting person.

3. Of course, both a careerist who has received another promotion and an egoist who has achieved some benefits by bringing pain to others experiences a kind of victory. And what a “victory” a money-hungry person experiences when he hears the clink of coins and the rustle of banknotes! Well, everyone decides for themselves what they strive for, what goals they set, and therefore “victories” can be completely different.

4. A person lives among people, so the opinions of others are never indifferent to him, no matter how much some might want to hide it. A victory appreciated by people is many times more pleasant. Everyone wants others to share their joy.

5. Victory over oneself - this becomes a way of survival for some. People with disabilities make efforts on themselves every day and strive to achieve results at the cost of incredible efforts. They are an example for others. The performances of athletes at the Paralympic Games are striking in how great the will to win these people are, how strong in spirit they are, how optimistic they are, no matter what.

6. The price of victory, what is it? Is it true that “winners are not judged”? You can think about this too. If the victory was achieved dishonestly, then it is worthless. Victory and lies, toughness, heartlessness are concepts that exclude each other. Only fair play, playing according to the rules of morality and decency, only this brings true victory.

7. Winning is not easy. Much needs to be done to achieve it. What if you suddenly lose? What then? It is important to understand that in life there are many difficulties and obstacles along the way. To be able to overcome them, to strive for victory even after defeat - this is what distinguishes a strong personality. It’s scary not to fall, but not to get up later in order to move on with dignity. Fall and get up, make mistakes and learn from your mistakes, retreat and move on - this is the only way you should strive to live on this earth. The main thing is to move forward towards your goal, and then victory will definitely be your reward.

8. The victory of the people during the war is a sign of the cohesion of the nation, the unity of people who have a common destiny, traditions, history, and a single homeland.

9. How many great trials our people had to endure, what enemies we had to fight. Millions of people died during the Great Patriotic War, giving their lives for the Victory. They were waiting for her, dreaming about her, bringing her closer.

10. What gave you the strength to endure? Of course, love. Love for the homeland, loved ones and loved ones.

11. The first months of the war are a series of continuous defeats. How hard it was to realize that the enemy was advancing further and further across his native land, approaching Moscow. Defeats did not make people helpless and confused. On the contrary, they united the people and helped them understand how important it is to gather all their strength to repel the enemy.

12. And how everyone rejoiced together at the first victories, the first fireworks, the first reports of the defeat of the enemy! The victory became the same for everyone, everyone contributed their share to it.

13. Man is born to win! Even the very fact of his birth is already a victory. You must strive to be a winner, the right person for your country, people, loved ones.

Quotes and epigraphs

The greatest victory is victory over yourself. (Cicero)

Man was not created to suffer defeat... Man can be destroyed, but he cannot be defeated. (Hemingway Ernest)

The joy of life is learned through victories, the truth of life - through defeats. A. Koval.

The consciousness of an honestly sustained struggle is almost higher than the triumph of victory. (Turgenev)

Wins and losses travel in the same sleigh. (Russian last)

Victory over the weak is like defeat. (Arabic last)

Where there is agreement, there is victory. (Lat. seq.)

Be proud only of the victories you have won over yourself. (Tungsten)

You should not start a battle or war unless you are sure that you will gain more in victory than you will lose in defeat. (Octavian Augustus)

No victory can bring as much as one defeat can take away. (Gaius Julius Caesar)

Victory over fear gives us strength. (V. Hugo)

To never know defeat means to never fight. (Morihei Ueshiba)

No winner believes in chance. (Nietzsche)

Victory achieved by violence is tantamount to defeat, because it is short-term. (Mahatma Gandhi)

Nothing but a lost battle can compare even with half the sadness of a won battle. (Arthur Wellesley)

The winner's lack of generosity reduces the meaning and benefits of victory by half. (Giuseppe Mazzini)

The first step to victory is objectivity. (Tetcorax)

The winners sleep sweeter than the losers. (Plutarch)

World literature offers many arguments for victory and defeat:

L.N. Tolstoy "War and Peace" (Pierre Bezukhov, Nikolai Rostov);

F.M. Dostoevsky “Crime and Punishment (Raskolnikov’s act (the murder of Alena Ivanovna and Lizaveta) - victory or defeat?);

M. Bulgakov “Heart of a Dog” (Professor Preobrazhensky - did he defeat nature or lose to it?);

S. Alexievich “War does not have a woman’s face” (the price of victory in the Great Patriotic War is crippled lives, the fate of women)

I offer 10 arguments on the topic: “Victory and defeat”

1. A.S. Griboyedov “Woe from Wit”

2. A.S. Pushkin “Eugene Onegin”

3. M.Yu. Lermontov “Hero of Our Time”

4. N.V. Gogol “Dead Souls”

5. I.A. Goncharov “Oblomov”

6. L.N. Tolstoy “Sevastopol Stories”

7. A.N. Tolstoy “Peter the First”

8. E. Zamyatin “We”

9. A.A. Fadeev “Young Guard”

10. B.L. Vasiliev “And the dawns here are quiet”

Examples of essays:

There is nothing more courageous than victory over yourself.

What is victory? Why is the most important thing in life to win over yourself? It is these questions that the statement of Erasmus of Rotterdam makes us think about: “There is nothing more courageous than victory over ourselves.”
I believe that victory is always a success in the fight for something. Conquering yourself means overcoming yourself, your fears and doubts, overcoming laziness and uncertainty that interfere with achieving any goal. The internal struggle is always more difficult, because a person must admit to himself his mistakes, and also that the cause of failures is only himself. And this is not easy for a person, since it is easier to blame someone else than yourself. People often lose in this war because they lack willpower and courage. That is why victory over oneself is considered the most courageous.
Many writers have discussed the importance of victory in the fight over one’s vices and fears. For example, in his novel “Oblomov,” Ivan Aleksandrovich Goncharov shows us a hero who is unable to overcome his laziness, which became the cause of his meaningless life. Ilya Ilyich Oblomov leads a sleepy and motionless lifestyle. Reading the novel, in this hero we see traits that are characteristic of ourselves, namely: laziness. And so, when Ilya Ilyich meets Olga Ilyinskaya, at some point it seems to us that he will finally get rid of this vice. We celebrate the changes that have happened to him. Oblomov gets up from his couch, goes on dates, visits theaters, and begins to become interested in the problems of the neglected estate, but, unfortunately, the changes turned out to be short-lived. In the fight with himself, with his laziness, Ilya Ilyich Oblomov loses. I believe that laziness is a vice of most people. After reading the novel, I concluded that if we weren’t lazy, many of us would reach high heights. Each of us needs to fight laziness; defeating it will be a big step towards future success.
Another example confirming the words of Erasmus of Rotterdam about the importance of victory over oneself can be seen in the work of Fyodor Mikhailovich Dostoevsky “Crime and Punishment”. The main character Rodion Raskolnikov at the beginning of the novel is obsessed with an idea. According to his theory, all people are divided into two categories: “those with the right” and “trembling creatures.” The first are people who are capable of transgressing moral laws, strong personalities, and the second are weak and weak-willed people. To test the correctness of his theory, as well as to confirm that he is a “superman,” Raskolnikov commits a brutal murder, after which his whole life turns into hell. It turned out that he is not Napoleon at all. The hero is disappointed in himself, because he was able to kill, but “he didn’t cross.” The realization of the fallacy of his inhuman theory comes after a long time, and then he finally understands that he does not want to be a “superman”. Thus, Raskolnikov’s defeat in front of his theory turned out to be his victory over himself. The hero, in the fight against the evil that has gripped his mind, wins. Raskolnikov retained the man within himself and took the difficult path of repentance, which would lead him to purification.
Thus, any success in the fight against oneself, with one’s wrong judgments, vices and fears, is the most necessary and important victory. It makes us better, makes us move forward and improve ourselves.

№2. Victory is always desired

Victory is always desired. We expect victory from early childhood, playing different games. We need to win at all costs. And the one who wins feels like the king of the situation. And someone is a loser because he doesn’t run so fast or the chips just fell out wrong. Is victory really necessary? Who can be considered the winner? Is victory always an indicator of true superiority?

In Anton Pavlovich Chekhov's comedy “The Cherry Orchard” the conflict is centered on the confrontation between the old and the new. Noble society, brought up on the ideals of the past, has stopped in its development, accustomed to receiving everything without much difficulty, by right of birth, Ranevskaya and Gaev are helpless before the need for action. They are paralyzed, cannot make a decision, cannot move. Their world is collapsing, going to hell, and they are building rainbow projects, starting an unnecessary holiday in the house on the day of the estate auction. And then Lopakhin appears - a former serf, and now the owner of the cherry orchard. Victory intoxicated him. At first he tries to hide his joy, but soon triumph overwhelms him and, no longer embarrassed, he laughs and literally shouts:

My God, my God, my cherry orchard! Tell me that I'm drunk, out of my mind, that I'm imagining all this...
Of course, the slavery of his grandfather and father may justify his behavior, but in the face of, according to him, his beloved Ranevskaya, it looks, at least, tactless. And here it is already difficult to stop him, like a real master of life, a winner he demands:

Hey musicians, play, I want to listen to you! Come and watch how Ermolai Lopakhin takes an ax to the cherry orchard and how the trees fall to the ground!
Maybe, from the point of view of progress, Lopakhin’s victory is a step forward, but somehow it becomes sad after such victories. The garden is cut down without waiting for the former owners to leave, Firs is forgotten in the boarded-up house... Does such a play have a morning?

In the story “The Garnet Bracelet” by Alexander Ivanovich Kuprin, the focus is on the fate of a young man who dared to fall in love with a woman outside his circle. G.S.J. He has long and devotedly loved Princess Vera. His gift - a garnet bracelet - immediately attracted the woman’s attention, because the stones suddenly lit up like “lovely, rich red living lights. “Definitely blood!” - Vera thought with unexpected alarm.” Unequal relationships are always fraught with serious consequences. The alarming premonitions did not deceive the princess. The need to put the presumptuous scoundrel in his place at all costs arises not so much from the husband as from Vera’s brother. Appearing in front of Zheltkov, representatives of high society a priori behave like winners. Zheltkov’s behavior strengthens them in their confidence: “his trembling hands ran around, fiddling with buttons, pinching his light reddish mustache, touching his face unnecessarily.” The poor telegraph operator is crushed, confused, and feels guilty. But only Nikolai Nikolaevich remembers the authorities to whom the defenders of the honor of his wife and sister wanted to turn, when Zheltkov suddenly changes. No one has power over him, over his feelings, except the object of his adoration. No authorities can prohibit loving a woman. And to suffer for the sake of love, to give one’s life for it - this is the true victory of the great feeling that G.S.Zh was lucky enough to experience. He leaves silently and confidently. His letter to Vera is a hymn to a great feeling, a triumphant song of Love! His death is his victory over the insignificant prejudices of pathetic nobles who feel like masters of life.

Victory and defeat

It is known that all victories begin with victory over oneself. However, not all people manage to overcome their shortcomings and take a step towards self-development. Reading Ivan Goncharov’s novel “Oblomov”, we see how the main character is slowly but surely moving towards defeat. He does not have enough internal strength, resources and motivation to be reborn, to change his lazy character. Ilya Oblomov was born and raised in Oblomovka - on a family estate in which he felt warm, comfortable and happy.

He never worked, never mined

The food he ate did not make any effort to achieve what he wanted, which is why he remained an infantile child for the rest of his life. At the time of the events described by Goncharov, the hero is about 30 years old, 300 souls serve him, and he has been living in St. Petersburg on Gorokhovaya Street for 12 years without a break. With the rank of collegiate secretary, Oblomov served for only two years and resigned to lie on the sofa at home and do nothing but indulge in lengthy thoughts and groundless dreams.

This hero could not stand the battle with his own shortcomings. He failed to improve, no matter how hard his best friends tried. For a while, however, Andrei Ivanovich Stoltz, Oblomov’s childhood friend, managed to pull him out of this state. This man was the complete opposite of the main character. He was so energetic, active and pragmatic that he seemed to infect Ilya Ilyich with his love for useful activities. He introduced him to Olga Ilyinskaya, together with whom they were able to pull their friend out of the current “bummer”.

Olga became a reliable friend and lover of Oblomov. For her sake, he left his threadbare robe and sofa, began to take care of himself again, and ordered the dust and cobwebs to be removed from the house. Ilya Ilyich’s eyes lit up with life, his face acquired a blush. However, this revival did not last long. Soon he began to notice that Olga only loved in him what she herself changed. She was not interested in the real Oblomov. She could not trust such a person with her future. He was the first to express his desire to break up, and Olga steadfastly endured his confession, not succumbing to emotions.

Over time, Ilya Ilyich returned to his previous lifestyle. He lacked the willpower to overcome laziness and apathy. He again spent days on end on the sofa in an old, shabby robe. Until the end of his life, he remained a dependent person in need of care. He was lucky enough to meet Agafya Matveevna Pshenitsyna, who brightened up his days with her presence. This woman darned his robe, baked pies for him, did not reproach him for doing nothing for days on end, that is, she fully met Oblomov’s expectations.

By the end of the novel, Goncharov already had three couples. This is Oblomov’s lazy servant Zakhar with Anisya, Stolz with Olga and Oblomov with Agafya Pshenitsyna. They all found their true happiness and were happily married. Ilya Ilyich never became a noble official. He did not build his own house, did not raise his son. Laziness did not allow him to achieve a single victory in his life. He was entirely an insolvent person who was unable to overcome his shortcomings. After his death, he asked Stolz to take his son Andryusha to his upbringing, which he did.

Other works on this topic:

1. Oblomov and Olga Ilyinskaya Oblomov and Olga Ilyinskaya are the main characters of the novel “Oblomov” by I. A. Goncharov. Despite the difference in characters and worldviews, these two were...
2. Oblomov and “Oblomovism” in I. A. Goncharov’s novel “Oblomov” I. A. Goncharov’s novel “Oblomov” was published in 1859 and was first published in...
3. Laziness The novel “Oblomov” was written by I. A. Goncharov in the period from 1847 to 1859, just a few years before the key changes in the field...
4. He who does nothing is not mistaken. The main character of Goncharov's most famous novel is Ilya Ilyich Oblomov, a middle-aged nobleman who was by nature very...
5. Oblomov and Stolz comparative characteristics In I. A. Goncharov’s novel “Oblomov” one of the common techniques is antithesis. By contrast, the author compares the main character I.I....
6. Love is the desire to live Love in I. A. Goncharov’s novel “Oblomov” is one of the central themes. The author took a special approach to addressing this issue. He managed...
7. Choice of life path I. A. Goncharov’s novel “Oblomov” was written in the mid-19th century and best reflected the life style of the nobles of that time. For the first time he...

Description of the presentation by individual slides:

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"The Tale of Igor's Campaign." A.S. Pushkin “The Battle of Poltava”; "Eugene Onegin". I. Turgenev “Fathers and Sons”. F. Dostoevsky “Crime and Punishment.” L.N. Tolstoy “Sevastopol Stories”; “War and Peace”; "Anna Karenina". A. Ostrovsky “Thunderstorm”. A. Kuprin “Duel”; "Garnet bracelet"; "Olesya." M. Bulgakov “Heart of a Dog”; "Fatal Eggs"; "White Guard"; "Master and Margarita". E. Zamyatin “We”; "Cave". V. Kurochkin “In war as in war.” B. Vasiliev “And the dawns here are quiet”; "Don't shoot white swans." Yu. Bondarev “Hot Snow”; "The battalions are asking for fire." V. Tokareva “I am. You are. He is." M. Ageev “Romance with Cocaine.” N. Dumbadze “I, Grandmother, Iliko and Illarion” V. Dudintsev “White Clothes”. List of recommended literature in this area

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Official comment: The direction allows you to think about victory and defeat in different aspects: socio-historical, moral-philosophical, psychological. Reasoning can be associated both with external conflict events in the life of a person, country, world, and with a person’s internal struggle with himself, its causes and results. Literary works often show the ambiguity and relativity of the concepts of victory and defeat in different historical conditions and life situations.

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Methodological recommendations: The contrast between the concepts of victory and defeat is already inherent in their interpretation. From Ozhegov we read: “Victory is success in battle, war, complete defeat of the enemy.” That is, the victory of one implies the complete defeat of the other. However, both history and literature give us examples of how victory turns out to be defeat, and defeat turns out to be victory. It is about the relativity of these concepts that graduates are invited to speculate, based on their reading experience. Of course, it is impossible to limit ourselves to the concept of victory as the defeat of the enemy in battle. Therefore, it is advisable to consider this thematic area in different aspects.

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Aphorisms and sayings of famous people: - - The greatest victory is victory over oneself. Cicero The possibility that we may be defeated in battle should not prevent us from fighting for a cause that we consider just. A. Lincoln Man was not created to suffer defeat... Man can be destroyed, but he cannot be defeated. E. Hemingway Be proud only of the victories you have won over yourself. Tungsten

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Socio-historical aspect. Here we will talk about the external conflict of social groups, states, military operations and political struggle. Peru A. de Saint-Exupery comes up with a paradoxical, at first glance, statement: “Victory weakens the people - defeat awakens new forces in them...”. We find confirmation of the correctness of this idea in Russian literature.

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“The Tale of Igor’s Campaign” is a famous monument of literature of Ancient Rus'. The plot is based on the unsuccessful campaign of the Russian princes against the Polovtsians, organized by the Novgorod-Seversk prince Igor Svyatoslavich in 1185. The main idea is the idea of ​​the unity of the Russian land. Princely civil strife, weakening the Russian land and leading to the ruin of its enemies, makes the author bitterly sadden and lament; victory over enemies fills his soul with ardent delight. However, this work of ancient Russian literature speaks about defeat, not victory, because it is defeat that contributes to rethinking previous behavior and gaining a new view of the world and oneself. That is, defeat stimulates Russian soldiers to victories and exploits.

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The author of the Lay addresses all the Russian princes in turn, as if calling them to account and demandingly reminding them of their duty to their homeland. He calls on them to defend the Russian land, to “block the gates of the field” with their sharp arrows. And therefore, although the author writes about defeat, there is not a shadow of despondency in the Lay. The “Word” is as laconic and terse as Igor’s addresses to his squad. This is the call before battle. The whole poem seems to be addressed to the future, permeated with concern for this future. A poem about victory would be a poem of triumph and joy. Victory is the end of the battle, but defeat for the author of the Lay is only the beginning of the battle. The battle with the steppe enemy is not over yet. Defeat should unite the Russians. The author of the Lay does not call for a feast of triumph, but for a feast of battle. D.S. writes about this in the article “The Tale of the Campaign of Igor Svyatoslavich.” Likhachev.

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The “Lay” ends joyfully - with Igor’s return to the Russian land and the singing of his glory upon entering Kiev. So, despite the fact that the Lay is dedicated to the defeat of Igor, it is full of confidence in the power of the Russians, full of faith in the glorious future of the Russian land, in victory over the enemy. The history of mankind consists of victories and defeats in wars.

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In the novel “War and Peace” L.N. Tolstoy describes the participation of Russia and Austria in the war against Napoleon. Drawing the events of 1805-1807, Tolstoy shows that this war was imposed on the people. Russian soldiers, being far from their homeland, do not understand the purpose of this war and do not want to waste their lives senselessly. Kutuzov understands better than many that this campaign is unnecessary for Russia. He sees the indifference of the allies, the desire of Austria to fight with the wrong hands. Kutuzov protects his troops in every possible way and delays their advance to the borders of France. This is explained not by distrust of the military skill and heroism of the Russians, but by the desire to protect them from senseless slaughter. When the battle turned out to be inevitable, the Russian soldiers showed their always readiness to help the allies and take the main blow.

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For example, a detachment of four thousand under the command of Bagration near the village of Shengraben held back the onslaught of an enemy “eight times” outnumbered. This made it possible for the main forces to advance. The unit of officer Timokhin showed miracles of heroism. It not only did not retreat, but struck back, which saved the flanking units of the army. The real hero of the Battle of Shengraben turned out to be the courageous, decisive, but modest captain Tushin before his superiors. So, largely thanks to the Russian troops, the Battle of Schöngraben was won, and this gave strength and inspiration to the sovereigns of Russia and Austria.

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Blinded by victories, occupied mainly with narcissism, holding military parades and balls, these two men led their armies to defeat at Austerlitz. So it turned out that one of the reasons for the defeat of the Russian troops under the skies of Austerlitz was the victory at Schöngraben, which did not allow an objective assessment of the balance of forces. The entire senselessness of the campaign is shown by the writer in the preparation of the top generals for the battle of Austerlitz. Thus, the military council before the Battle of Austerlitz resembles not a council, but an exhibition of vanities; all disputes were conducted not with the goal of achieving a better and correct solution, but, as Tolstoy writes, “... it was obvious that the purpose... of the objections was mainly the desire to make General Weyrother feel , as self-confidently as he read his disposition to schoolchildren, that he was dealing not only with fools, but with people who could teach him in military affairs.”

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And yet, we see the main reason for the victories and defeats of the Russian troops in the confrontation with Napoleon when comparing Austerlitz and Borodin. Speaking with Pierre about the upcoming Battle of Borodino, Andrei Bolkonsky recalls the reason for the defeat at Austerlitz: “The battle is won by the one who is determined to win it. Why did we lose the battle at Austerlitz?.. We told ourselves very early that we lost the battle - and we lost. And we said this because we had no need to fight: we wanted to leave the battlefield as quickly as possible. “If you lose, then run away!” So we ran. If we hadn’t said this until the evening, God knows what would have happened. And tomorrow we won’t say this.”

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L. Tolstoy shows a significant difference between the two campaigns: 1805-1807 and 1812. The fate of Russia was decided on the Borodino field. Here the Russian people had no desire to save themselves, no indifference to what was happening. Here, as Lermontov said, “we promised to die, and we kept the oath of allegiance in the Battle of Borodino.” Another opportunity to speculate on how victory in one battle can turn into defeat in a war is provided by the outcome of the Battle of Borodino, in which Russian troops gain a moral victory over the French. The moral defeat of Napoleon's troops near Moscow was the beginning of the defeat of his army.

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The Civil War turned out to be such a significant event in the history of Russia that it could not help but be reflected in fiction. The basis for graduates’ reasoning can be “Don Stories”, “Quiet Don” by M.A. Sholokhov. When one country goes to war with another, terrible events occur: hatred and the desire to defend themselves forces people to kill their own kind, women and old people are left alone, children grow up orphans, cultural and material values ​​are destroyed, cities are destroyed. But the warring parties have a goal - to defeat the enemy at any cost. And any war has a result - victory or defeat. Victory is sweet and immediately justifies all losses, defeat is tragic and sad, but it is the starting point for some other life. But “in a civil war, every victory is defeat” (Lucian).

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The life story of the central hero of M. Sholokhov's epic novel "Quiet Don" Grigory Melekhov, which reflected the dramatic destinies of the Don Cossacks, confirms this idea. War cripples from the inside and destroys all the most precious things that people have. It forces the heroes to take a fresh look at the problems of duty and justice, to look for the truth and not find it in any of the warring camps. Once among the Reds, Gregory sees the same cruelty, intransigence, and thirst for the blood of his enemies as the Whites. Melekhov rushes between the two warring sides. Everywhere he encounters violence and cruelty, which he cannot accept, and therefore cannot take one side. The result is logical: “Like a steppe scorched by fires, Gregory’s life became black...”.

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Moral, philosophical and psychological aspects Victory is not only success in battle. To win, according to the dictionary of synonyms, is to overcome, overcome, overcome. And often not so much the enemy as yourself. Let us consider a number of works from this point of view.

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A.S. Griboyedov "Woe from Wit". The conflict of the play represents the unity of two principles: public and personal. Being an honest, noble, progressive-minded, freedom-loving person, the main character Chatsky opposes Famus society. He condemns the inhumanity of serfdom, recalling “Nestor of the noble scoundrels,” who exchanged his faithful servants for three greyhounds; he is disgusted by the lack of freedom of thought in noble society: “And who in Moscow was not silenced at lunches, dinners and dances?” He does not recognize veneration and sycophancy: “For those who need it, they are arrogant, they lie in the dust, and for those who are higher, they wove flattery like lace.”

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Chatsky is full of sincere patriotism: “Will we ever be resurrected from the foreign power of fashion? So that our smart, cheerful people, even by language, do not consider us to be Germans.” He strives to serve the “cause” and not individuals; he “would be glad to serve, but it’s sickening to be served.” Society is offended and, in defense, declares Chatsky crazy. His drama is aggravated by a feeling of ardent but unrequited love for Famusov’s daughter Sophia. Chatsky makes no attempt to understand Sophia; it is difficult for him to understand why Sophia does not love him, because his love for her speeds up “every beat of his heart,” although “to him the whole world seemed like dust and vanity.” Chatsky can be justified by his blindness by passion: his “mind and heart are not in harmony.”

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Psychological conflict turns into social conflict. Society unanimously comes to the conclusion: “crazy in everything...”. Society is not afraid of a madman. Chatsky decides to “search the world where there is a corner for an offended feeling.” I.A. Goncharov assessed the ending of the play this way: “Chatsky is broken by the quantity of the old force, having dealt it, in turn, a fatal blow with the quality of the new force.” Chatsky does not give up his ideals, he only frees himself from illusions. Chatsky’s stay in Famusov’s house shook the inviolability of the foundations of Famusov’s society. Sophia says: “I’m ashamed of myself, the walls!” Therefore, Chatsky’s defeat is only a temporary defeat and only his personal drama. On a social scale, the victory of the Chatskys is inevitable.” The “past century” will be replaced by the “present century”, and the views of the hero of Griboyedov’s comedy will win.

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A.N. Ostrovsky "Thunderstorm". Graduates may ponder the question of whether Katherine's death is a victory or a defeat. It is difficult to give a definite answer to this question. Too many reasons led to the terrible ending. The playwright sees the tragedy of Katerina’s situation in the fact that she comes into conflict not only with Kalinov’s family morals, but also with herself. The straightforwardness of Ostrovsky's heroine is one of the sources of her tragedy. Katerina is pure in soul - lies and debauchery are alien and disgusting to her. She understands that by falling in love with Boris, she violated the moral law. “Oh, Varya,” she complains, “sin is on my mind! How much I, poor thing, cried, no matter what I did to myself! I can't escape this sin. Can't go anywhere. After all, this is not good, this is a terrible sin, Varenka, why do I love someone else?”

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Throughout the entire play there is a painful struggle in Katerina’s consciousness between the understanding of her wrongness, her sinfulness and a vague, but increasingly powerful sense of her right to human life. But the play ends with Katerina’s moral victory over the dark forces that torment her. She atones for her guilt immensely, and escapes from captivity and humiliation through the only path that was revealed to her. Her decision to die, rather than remain a slave, expresses, according to Dobrolyubov, “the need of the emerging movement of Russian life.” And this decision comes to Katerina along with internal self-justification. She dies because she considers death the only worthy outcome, the only opportunity to preserve that highest thing that lived in her.

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The idea that Katerina’s death is in fact a moral victory, a triumph of the real Russian soul over the forces of the “dark kingdom” of the Dikikhs and Kabanovs, is also strengthened by the reaction to her death of the other characters in the play. For example, Tikhon, Katerina’s husband, for the first time in his life expressed his own opinion, for the first time decided to protest against the stifling foundations of his family, entering (even if only for a moment) into the fight against the “dark kingdom.” “You ruined her, you, you...” he exclaims, turning to his mother, before whom he trembled all his life.

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I.S. Turgenev "Fathers and Sons". The writer shows in his novel the struggle between the worldviews of two political directions. The plot of the novel is based on the contrast of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are bright representatives of two generations who do not find mutual understanding. Disagreements on various issues have always existed between youth and elders. So here, the representative of the younger generation Evgeny Vasilyevich Bazarov cannot, and does not want to understand the “fathers”, their life credo, principles. He is convinced that their views on the world, on life, on relationships between people are hopelessly outdated. “Yes, I will spoil them... After all, this is all pride, lionish habits, foppishness...” In his opinion, the main purpose of life is to work, to produce something material.

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That is why Bazarov disrespects art and sciences that do not have a practical basis. He believes that it is much more useful to deny what, from his point of view, deserves denial, than to watch indifferently from the outside, not daring to do anything. “At the present time, the most useful thing is denial - we deny,” says Bazarov. And Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted (“Aristocracy... liberalism, progress, principles... art..."). He values ​​habits and traditions more and does not want to notice the changes taking place in society.

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Bazarov is a tragic figure. It cannot be said that he defeats Kirsanov in an argument. Even when Pavel Petrovich is ready to admit defeat, Bazarov suddenly loses faith in his teaching and doubts his personal need for society. “Does Russia need me? No, apparently I don’t,” he reflects. Of course, most of all a person manifests himself not in conversations, but in deeds and in his life. Therefore, Turgenev seems to lead his heroes through various trials. And the strongest of them is the test of love. After all, it is in love that a person’s soul reveals itself fully and sincerely. And then Bazarov’s hot and passionate nature swept away all his theories. He fell in love with a woman whom he valued highly.

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“In conversations with Anna Sergeevna, he expressed his indifferent contempt for everything romantic even more than before, and when left alone, he was indignantly aware of the romanticism in himself.” The hero is experiencing severe mental discord. “... Something... took possession of him, which he never allowed, which he always mocked, which outraged all his pride.” Anna Sergeevna Odintsova rejected him. But Bazarov found the strength to accept defeat with honor, without losing his dignity.

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So, did the nihilist Bazarov win or lose? It seems that Bazarov is defeated in the test of love. Firstly, his feelings and he himself are rejected. Secondly, he falls into the power of aspects of life that he himself denies, loses ground under his feet, and begins to doubt his views on life. His position in life turns out to be a position in which, however, he sincerely believed. Bazarov begins to lose the meaning of life, and soon loses life itself. But this is also a victory: love forced Bazarov to look at himself and the world differently, he begins to understand that in no way does life want to fit into a nihilistic scheme. And Anna Sergeevna formally remains among the winners. She was able to cope with her feelings, which strengthened her self-confidence. In the future, she will find a good home for her sister, and she herself will marry successfully. But will she be happy?

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F.M. Dostoevsky "Crime and Punishment". Crime and Punishment is an ideological novel in which non-human theory collides with human feelings. Dostoevsky, a great expert on human psychology, a sensitive and attentive artist, tried to understand modern reality, to determine the extent of the influence of the ideas of revolutionary reorganization of life and individualistic theories that were popular at that time on a person. Entering into polemics with democrats and socialists, the writer sought to show in his novel how the delusion of fragile minds leads to murder, shedding of blood, maiming and breaking young lives.

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Raskolnikov's ideas were generated by abnormal, humiliating living conditions. In addition, the post-reform disruption destroyed the centuries-old foundations of society, depriving human individuality of connection with the long-standing cultural traditions of society and historical memory. Raskolnikov sees violations of universal moral norms at every step. It is impossible to feed a family with honest work, so the petty official Marmeladov finally becomes an alcoholic, and his daughter Sonechka is forced to sell herself, because otherwise her family will die of starvation.

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If unbearable living conditions push a person to violate moral principles, then these principles are nonsense, that is, they can be ignored. Raskolnikov comes to approximately this conclusion when a theory is born in his fevered brain, according to which he divides all of humanity into two unequal parts. On the one hand, these are strong personalities, “super-men” like Mohammed and Napoleon, and on the other, a gray, faceless and submissive crowd, which the hero rewards with the contemptuous name - “trembling creature” and “anthill”.

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The correctness of any theory must be confirmed by practice. And Rodion Raskolnikov conceives and carries out a murder, removing the moral prohibition from himself. His life after the murder turns into real hell. A painful suspicion develops in Rodion, which gradually turns into a feeling of loneliness and isolation from everyone. The writer finds a surprisingly accurate expression characterizing Raskolnikov’s internal state: he “as if he had cut himself off from everyone and everything with scissors.” The hero is disappointed in himself, believing that he did not pass the test of being a ruler, which means, alas, he belongs to the “trembling creatures.”

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Surprisingly, Raskolnikov himself would not want to be the winner now. After all, to win means to die morally, to remain with your spiritual chaos forever, to lose faith in people, yourself and life. Raskolnikov's defeat became his victory - a victory over himself, over his theory, over the Devil, who took possession of his soul, but failed to forever displace God in it.

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M.A. Bulgakov "The Master and Margarita". This novel is too complex and multifaceted; the writer touched on many topics and problems in it. One of them is the problem of the struggle between good and evil. In The Master and Margarita, the two main forces of good and evil, which, according to Bulgakov, should be in balance on Earth, are embodied in the images of Yeshua Ha-Notsri from Yershalaim and Woland - Satan in human form. Apparently, Bulgakov, in order to show that good and evil exist outside of time and that people have lived according to their laws for thousands of years, placed Yeshua at the beginning of modern times, in the fictional masterpiece of the Master, and Woland, as the arbiter of cruel justice, in Moscow in the 30s. XX century.

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The latter came to Earth to restore harmony where it had been broken in favor of evil, which included lies, stupidity, hypocrisy and, finally, betrayal, which filled Moscow. Good and evil in this world are surprisingly closely intertwined, especially in human souls. When Woland, in a scene in a variety show, tests the audience for cruelty and beheads the entertainer, and compassionate women demand to put her in her place, the great magician says: “Well... they are people like people... Well, frivolous... well, well... and mercy sometimes knocks on their hearts... ordinary people... - and loudly orders: “Put on your head.” And then we watch how people fight over the ducats that fell on their heads.

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The novel “The Master and Margarita” is about man’s responsibility for the good and evil that is committed on earth, for his own choice of life paths leading to truth and freedom or to slavery, betrayal and inhumanity. It is about all-conquering love and creativity, elevating the soul to the heights of true humanity. The author wanted to proclaim: the victory of evil over good cannot be the end result of social and moral confrontation. This, according to Bulgakov, is not accepted by human nature itself, and the entire course of civilization should not allow it.

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Of course, the range of works in which the thematic direction of “Victory and Defeat” is revealed is much wider. The main thing is to see the principle, to understand that victory and defeat are relative concepts. R. Bach wrote about this in the book “Bridge over Eternity”: “The important thing is not whether we lose in the game, but what matters is how we lose and how we will change thanks to this, what new things we will learn for ourselves, how we can apply this in other games . In a strange way, defeat turns out to be victory."

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An example of an essay on the thematic area Victory and defeat: True defeat comes not from the enemy, but from oneself (Romain Rolland) Defeat and the pangs of conscience that inevitably follow, reproaching self-doubts, hostility reaching the point of self-loathing - these feelings are familiar to any thinking person to one degree or another. A person who has made a mistake has suffered defeat in the eyes of others, but their reproaches, the triumph of enemies, the condemnation of the crowd are nothing compared to internal experiences. It is the reproaches of one’s own conscience that become a true defeat. A person’s inner life, his thoughts, feelings, experiences, vision of the world inevitably influence his actions. Sometimes ideas that arise in a person’s thoughts grow into large-scale projects that require implementation.

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So, a little push, encouragement is needed, and then, like a snowball, the idea acquires details, contours, a plan is nurtured, and finally implemented. The fact that a person was wrong comes later. Often, having accepted internal defeat, a person does not understand how such a thing could even come to mind; thoughts, reflection - this is the source of both great discoveries and terrifying mistakes. For example, in Fyodor Mikhailovich Dostoevsky’s novel “Crime and Punishment,” the real drama of the main character Rodion Raskolnikov is depicted. The idea that wanders into his head about how to save the world grows and becomes a fixed idea, but the hero himself does not fully believe in the possibility of its implementation. Let us remember the dream he had on the eve of the murder. Having woken up, he exclaims with horror and despair: “Am I really going to take an ax and hit him on the head like that?!”

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However, the idea, like a web, envelops the entire being of the hero, random coincidences seem to him to be conventional signs, inadvertently overheard conversations in a tavern, a cry outside the window, involuntarily received information at the market that at such and such an hour the old woman will be home alone flashes invitingly the ax in the slightly open door of the janitor's room - all this seems to be pushing Rodion, like someone's hand. A noble crime turns into a bloody double murder, and this blood falls on the hero’s conscience as a heavy burden, he immediately realizes that he was deeply mistaken, that his idea failed, that he committed a terrible, irreparable act, and new thoughts and torment surround him. “Did I kill the old lady? I killed myself!” – these piercing words come from the very depths of the hero’s soul.

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Alexander Ostrovsky’s play “The Thunderstorm” also shows the emotional turmoil of the main character Katerina Kabanova. Being a freedom-loving girl, she cannot come to terms with life with an unloved husband and an overbearing mother-in-law. She makes a mistake by cheating on her husband, and it is this sin that does not allow her to live on, the pangs of conscience weigh heavily on her, and in despair she commits suicide. Thus, our reasoning allows us to formulate the following conclusion: a person’s true defeat occurs precisely in himself; he himself is the strictest judge of his own actions

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Essay: What does Katerina’s suicide mean - her victory or defeat (“The Thunderstorm” Ostrovsky) To answer the question: “What does Katerina’s suicide mean - her victory or defeat?”, it is necessary to examine the circumstances of her life, study the motives of her actions, pay special attention to the complexity and contradictory nature of the heroine and the extraordinary originality of her character. Katerina is a poetic person, full of deep lyricism. She grew up and was brought up in a bourgeois family, in a religious atmosphere, but she absorbed all the best that the patriarchal way of life could give. She has a sense of self-esteem, a sense of beauty, and she is characterized by the experience of beauty, which was brought up in her childhood.

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N.A. Dobrolyubov saw the greatness of Katerina’s image precisely in the integrity of her character, in her ability to be herself everywhere and always, to never betray herself in anything. Arriving at her husband’s house, Katerina was faced with a completely different way of life, in the sense that it was a life in which violence, tyranny, and humiliation of human dignity reigned. Katerina’s life changed dramatically, and the events took on a tragic character, but this might not have happened if not for the despotic character of her mother-in-law, Marfa Kabanova, who considers fear to be the basis of “pedagogy”. Her philosophy of life is to frighten and keep in obedience with fear. She is jealous of her son towards the Young Wife and believes that he is not strict enough with Katerina. She is afraid that her youngest daughter Varvara might be “infected” by such a bad example, and that her future husband might later reproach her mother-in-law for not being strict enough in raising her daughter.

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Katerina, humble in appearance, becomes for Marfa Kabanova the personification of a hidden danger that she feels intuitively. So Kabanikha seeks to subjugate, break Katerina’s fragile character, force her to live according to her own laws, and so she sharpens her “like rusty iron.” But Katerina, endowed with spiritual gentleness and trepidation, is capable in some cases of showing both firmness and strong-willed determination - she does not want to put up with this situation. “Eh, Varya, you don’t know my character!” she says. “Of course, God forbid this happens! And if I get really tired of being here, you won’t be able to hold me back with any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to be here.” I won’t live like that, even if you cut me!”

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She feels the need to love freely and therefore enters into a struggle not only with the world of the “dark kingdom”, but also with her own beliefs, with her own nature, incapable of lies and deception. A heightened sense of justice makes her doubt the correctness of her actions, and she perceives the awakened feeling of love for Boris as a terrible sin, because, having fallen in love, she violated those moral principles that she considered sacred. But she also cannot give up her love, because it is love that gives her the much-needed feeling of freedom. Katerina is forced to hide her dates, but living a life of deception is unbearable for her. Therefore, she wants to free herself from them by her public repentance, but only further complicates her already painful existence. Katerina’s repentance shows the depth of her suffering, moral greatness, and determination.

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But how can she continue to live, if even after she repented of her sin in front of everyone, it did not become easier. It is impossible to return to your husband and mother-in-law: everything there is foreign. Tikhon will not dare to openly condemn his mother’s tyranny, Boris is a weak-willed man, he will not come to the rescue, and continuing to live in the Kabanovs’ house is immoral. Previously, they couldn’t even reproach her, she could feel that she was right in front of these people, but now she is guilty in front of them. She can only submit. But it is no coincidence that the work contains the image of a bird deprived of the opportunity to live in the wild. For Katerina, it is better not to live at all than to put up with the “miserable vegetation” that is destined for her “in exchange for her living soul.”

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N.A. Dobrolyubov wrote that Katerina’s character “is full of faith in new ideals and selfless in the sense that it is better for him to die than to live under those principles that are disgusting to him.” To live in a world of “hidden, quietly sighing sorrow... prison, deathly silence...”, where “there is no space and freedom for living thought, for sincere words, for noble deeds; a heavy tyrant ban is imposed on loud, open, widespread activity "There is no way for her. If she cannot enjoy her feeling, her will legally, “in broad daylight, in front of all the people, if something that is so dear to her is snatched away from her, then she doesn’t want anything in life, she doesn’t even want life...” . Katerina did not want to put up with the reality that kills human dignity, could not live without moral purity, love and harmony, and therefore got rid of suffering in the only way possible in those circumstances.

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“... Simply as a human being, we are glad to see Katerina’s deliverance - even through death, if there is no other way... A healthy personality breathes upon us with joyful, fresh life, finding within itself the determination to end this rotten life at any cost !..” - says N.A. Dobrolyubov. And therefore, the tragic ending of the drama - Katerina’s suicide - is not a defeat, but an affirmation of the strength of a free person, - this is a protest against Kabanov’s concepts of morality, “proclaimed under domestic torture, and over the abyss into which the poor woman threw herself,” this is “a terrible challenge to the tyrant power ". And in this sense, Katerina’s suicide is her victory.

It is known that all victories begin with victory over oneself. However, not all people manage to overcome their shortcomings and take a step towards self-development. Reading Ivan Goncharov’s novel “Oblomov”, we see how the main character is slowly but surely moving towards defeat. He does not have enough internal strength, resources and motivation to be reborn, to change his lazy character. Ilya Oblomov was born and raised in Oblomovka - on a family estate in which he felt warm, comfortable and happy.

He never worked, did not get the food he ate himself, did not make any efforts to achieve what he wanted, and that is why he remained an infantile child for the rest of his life. At the time of the events described by Goncharov, the hero is about 30 years old, 300 souls serve him, and he has been living in St. Petersburg on Gorokhovaya Street for 12 years without a break. With the rank of collegiate secretary, Oblomov served for only two years and resigned to lie on the sofa at home and do nothing but indulge in lengthy thoughts and groundless dreams.

This hero could not stand the battle with his own shortcomings. He failed to improve, no matter how hard his best friends tried. For a while, however, Andrei Ivanovich Stoltz, Oblomov’s childhood friend, managed to pull him out of this state. This man was the complete opposite of the main character. He was so energetic, active and pragmatic that he seemed to infect Ilya Ilyich with his love for useful activities. He introduced him to Olga Ilyinskaya, together with whom they were able to pull their friend out of the current “bummer”.

Olga became a reliable friend and lover of Oblomov. For her sake, he left his threadbare robe and sofa, began to take care of himself again, and ordered the dust and cobwebs to be removed from the house. Ilya Ilyich’s eyes lit up with life, his face acquired a blush. However, this revival did not last long. Soon he began to notice that Olga only loved in him what she herself changed. She was not interested in the real Oblomov. She could not trust such a person with her future. He was the first to express his desire to break up, and Olga steadfastly endured his confession, not succumbing to emotions.

Over time, Ilya Ilyich returned to his previous lifestyle. He lacked the willpower to overcome laziness and apathy. He again spent days on end on the sofa in an old, shabby robe. Until the end of his life, he remained a dependent person in need of care. He was lucky enough to meet Agafya Matveevna Pshenitsyna, who brightened up his days with her presence. This woman darned his robe, baked pies for him, did not reproach him for doing nothing for days on end, that is, she fully met Oblomov’s expectations.

By the end of the novel, Goncharov already had three couples. This is Oblomov’s lazy servant Zakhar with Anisya, Stolz with Olga and Oblomov with Agafya Pshenitsyna. They all found their true happiness and were happily married. Ilya Ilyich never became a noble official. He did not build his own house, did not raise his son. Laziness did not allow him to achieve a single victory in his life. He was entirely an insolvent person who was unable to overcome his shortcomings. After his death, he asked Stolz to take his son Andryusha to his upbringing, which he did.

Publilius Syrus, a Roman poet and contemporary of Caesar, believed that the most glorious victory is victory over oneself. It seems to me that every thinking person who has reached adulthood should win at least one victory over himself, over his shortcomings. Perhaps it is laziness, fear or envy. But what is victory over oneself in peacetime? Such a petty struggle with personal shortcomings. But victory in the war! When it comes to life and death, when everything around you becomes an enemy, ready to end your existence at any moment?

Alexey Meresyev, the hero of “The Tale of a Real Man” by Boris Polevoy, endured such a struggle. The pilot was shot down on his plane by a fascist fighter. Alexei’s desperately courageous act, who entered into an unequal fight with an entire unit, ended in defeat. The downed plane crashed into the trees, softening the blow. The pilot who fell into the snow suffered serious injuries to his feet. But, despite the unbearable pain, he, overcoming his suffering, decided to move towards his people, taking several thousand steps a day. Every step becomes torment for Alexey: he “felt that he was weakening from tension and pain. Biting his lip, he continued walking.” A few days later, blood poisoning began to spread throughout the body, and the pain became more and more unbearable. Unable to get to his feet, he decided to crawl. Losing consciousness, he moved forward. On the eighteenth day he reached people. But the main test was ahead. Alexey had both feet amputated. He lost heart. However, there was a person who was able to restore his faith in himself. Alexey realized that he could fly if he learned to walk with prosthetics. And again, torment, suffering, the need to endure pain, overcoming one’s weakness. The episode of the pilot’s return to duty is shocking, when the hero tells the instructor, who made a comment about shoes, that his feet will not freeze, since he doesn’t have any. The instructor's surprise was indescribable. Such a victory over oneself is a real feat. It becomes clear what the words mean: strength of spirit ensures victory.

In M. Gorky's story "Chelkash" the focus is on two people who are completely opposite in their mentality and goals in life. Chelkash is a tramp, a thief, a criminal. He is desperately brave, daring, his element is the sea, true freedom. Money is rubbish for him, he never seeks to save it. If they exist (and he gets them, constantly risking his freedom and life), he spends them. If not, don’t be sad. Another thing is Gavrila. He is a peasant, he came to the city to earn money, to build his own house, to get married, to start a farm. He sees his happiness in this. Having agreed to the scam with Chelkash, he did not imagine that it would be so scary. It is clear from his behavior how cowardly he is. However, seeing a wad of money in Chelkash’s hands, he loses his mind. Money intoxicated him. He is ready to kill a hated criminal just to get the amount needed to build a house. Chelkash suddenly takes pity on the poor, unlucky failed killer and gives him almost all the money. So, in my opinion, Gorky’s tramp overcomes his hatred of Gavrila, which arose at the first meeting, and takes a position of mercy. It seems that there is nothing special here, but I believe that conquering hatred in yourself means winning not only over yourself, but over the whole world.

So, victories begin with small forgiveness, honest actions, with the ability to enter into the position of another. This is the beginning of a great victory, whose name is life.