What are the moral problems in the work. Research work "the problem of human moral quest in Russian literature"

The sixties of the twentieth century went down in history as the period of the “thaw”. Mass rehabilitation of the repressed, social politics, the liberalization of various aspects of life formed a new type of personality, unusual for Soviet generations - “sixties. They were children of the war, their youth came during the thaw, they made up the bulk of the emigration in the 80s. Vysotsky, Okudzhava, Galich, Shukshin, and Brodsky belonged to them...

The prose of these decades was defined by such names as Viktor Astafiev, Valentin Rasputin, Yuri Trifonov. Based on themes and issues, prose 60-80 is usually divided into urban and rural. Village prose(Shukshin, Astafiev, Rasputin, Abramov) explored the consequences of man’s separation from the earth. The authors of urban prose (Granin, Trifonov, Bitov) paid attention social processes. One of the most striking works of urban prose can be called Trifonov’s story “Exchange.”

The story begins in climax The life of the main character - Viktor Dmitriev - is a fatal illness of his mother and the apartment exchange started by his wife in connection with this. When Lena, Dmitriev's wife, talked to him about this sensitive topic, he felt neither pain nor anger. The thought flashed about the mercilessness of life, and Lena was part of this mercilessness.

The author puts the hero in a situation of choice, when the essence of a person is best revealed. Dmitriev needs to decide: with whom he is, with his wife, who does not like her mother-in-law, but is ready to forget this in order to become the owner of her own apartment, or with his mother, an uncompromising and impeccably honest woman. Dmitriev is not a hero, he is not ready for this choice, he is used to making compromises. His model of behavior is avoidance of solving problems, responsibility, and the desire to maintain the usual order of things at all costs. The result of the choice is a feeling of guilt and inferiority after the death of the mother.

The meaning of the name is not just about exchanging an apartment. Trifonov gives us a biography of two families, the Dmitrievs (husband's family) and the Lukyanovs (wife's family). Following Tolstoy, Trifonov sees a person as a representative of a race; he carries within himself a level of personality development, a type of thinking. A family is a combination of two “worlds”, and it cannot be conflict-free. New family, for Trifonov, this is a complex combination of two different elements, which of them will win, at what cost, by what laws the family will live, what compromises it is ready to make - this is the subject of the writer’s research. The Dmitriev family differs from the Lukyanov family in that they have ancient roots, they are attentive to their past, this ensures the continuity of moral principles. The drama of the hero is that he makes a substitution of these principles. Merger spiritual origin and practical leads in the victory of the latter.

The position taken by the hero is detachment. 20 years of spiritual isolation in a family cannot but leave a mark. Spiritual impoverishment occurs, and now the mother no longer recognizes her son, it is difficult for her to communicate with him. She is the conscience of the family, while she is alive, the son at least remembers moral principles, he is “uncomfortable” in front of his mother. Once Dmitriev’s grandfather, the head of the family, told him: “You are not a bad person, but not surprising.” It sounded like a sentence. There is no passion for work, no spiritualizing element in the hero’s life, which is why he turns out to be helpless in the confrontation with Lena’s family.

The Lukyanovs are people of practical acumen, “who know how to live.” This in itself is not bad, but relationships even between close relatives are based on the principles of profit; there is no love, warmth, or human participation. Dmitriev’s mother says that Lena has a “mental defect”, “underdevelopment” of feelings, and tactlessness.

Selfishness, as we know, is a powerful engine of life, but where does reasonable selfishness end and unreasonable one begin?

The ending of the story - the exchange took place, Dmitriev’s mother died, he had a hypertensive crisis, and after three weeks he looked as if he was not yet an old man, but already an elderly man.

Exchange is a difficult spiritual and psychological situation. It amazes with its sharpness also because everyday life becomes the main test of a person. During war and other upheavals, moral problems are exacerbated; they require endurance, courage, courage from a person, but, according to Trifonov, ordinary everyday life requires no less courage. Philistinism, the vulgarity of everyday, spiritual existence is a favorite theme of both Chekhov and Trifonov.

Trifonov’s story is a reflection on the diminishing relationships between relatives, the culture of family, raising children in the spirit of family, inheriting spiritual principles is disappearing.

As a form of art fiction reveals many moral, spiritual and social problems individual person and society as a whole. This is the main guideline of literature, and its moral core is always in the spotlight.

Moral problems of literature

We can identify those moral problems that literature focuses on most often. Everyone knows about the eternity of the question of good and evil, about the question of human dignity and conscience; fiction of all times and peoples raises the question of justice, honor and virtue.

The problem always remains acute life choice, which is not easy for literary heroes - just like for people in real life. The moral quests of a particular people are always reflected in the literature of a particular nation, and therefore a person’s ideals can be revealed from completely different moral aspects.

Whatever time period literature belongs to, it is always full of solutions to problems of a moral nature. And a problem of any nature - social or psychological - is considered from precisely this angle. The moral quests of the main characters reflect the main moral problems of a particular period.

The hero of a work of art, his character, actions

Most often the definition of a hero work of art sounds like “an exponent of plot action.” And it is through the hero that the key content is revealed literary work, since his character, his choices and actions indicate what side of morality the author wants to show us.

Revealing and drawing our attention to character traits literary hero, the author shows the main idea of ​​the work and emphasizes a certain theme, of which there may be several in the work. Thus, the main moral lessons that the author laid down in his creation become clear to us; using the example of the hero, we become more aware of them.

Techniques for creating character in epic, lyric and drama

The techniques used to reveal the personality and character of the main character in a work depend on the genre. In the epic, a person is portrayed to a greater extent through his actions and behavior. In this genre, the characterization of the hero by the author himself is also appropriate. This is not so typical for drama; drama reveals character through the actions and speech of the hero, through his differences from other people.

In this it is very different from the epic, which forms character in a completely different way. At the center of the drama there can be only one problem, which reveals the moral bottom of the hero. And his choice speaks for itself; it is one specific action or decision that will show true character main character.

And in the lyrics, the hero is most often shown through feelings and experiences, through filling him inner world. Understanding what exactly the hero is experiencing, what emotions he shows, the reader realizes his true nature and recognizes his real face.

Questions of morality, the struggle between good and evil, are eternal. In any literature we will find works in which they are touched upon in one way or another. Even after decades and centuries, we again and again turn to the images of Don Quixote, Hamlet, Faust and other heroes of world literature.

Problems of morality and spirituality, good and evil, also worried Russian writers. You had to be a very brave person to speak as the unknown author of “The Tale of Igor’s Campaign” did; as one of the first Russian preachers, the Kiev-Pechersk abbot Theodosius, did, for which he incurred the prince’s wrath. In subsequent times, advanced Russian writers continued to perceive themselves as independent of the will of princes and tsars. They understood their responsibility to the people and national history, felt themselves to be higher in their calling than the mighty of the world this. It is worth remembering Radishchev, Pushkin, Lermontov, Gogol, Leo Tolstoy, Dostoevsky, and many other names of Russian writers of modern times.

At the present time, when we have just entered the 21st century, when in Everyday life literally at every step we have to deal with immorality and lack of spirituality, we, more than ever before, need to turn to moral lessons with all responsibility.

In the books of the wonderful writer Ch. Aitmatov, heroes are always looking for their place in life. They are able to “ascend day by day to the radiant perfection of the spirit.” For example, in the novel “The Scaffold,” the writer tried to “reflect the entire complexity of the world, so that the reader, along with him, would go through spiritual spaces and rise to a higher level.”

Main character works - the son of a priest Avdiy Kallistratov. According to the spiritual teachers of the seminary, he is a heretic. Obadiah strives to bring kindness and justice to a world full of cruelty and indifference. He believes that he can influence young people who collect marijuana, cleanse their souls of callousness and indifference to themselves and those around them. Obadiah strives for love and truth and has no idea at all what an abyss of immorality, cruelty and hatred will open before him.

The hero's meeting with marijuana collectors becomes a kind of test of strength and capabilities. Obadiah tries his best to convey to them the bright ideas of justice. But neither the leader of the “anashists,” Grishan, nor his partners can understand these ideas. They collect hemp for the money, and the rest is not important to them. They consider Avdiy a crazy “priest-repop”, a stranger in their circle.

Obadiah naively believes that the main weapon in the struggle for human souls, for morality in relations between people is the word. But it gradually becomes clear that the “anashists” and the Ober-Kandalovites speak to him in different languages. As a result, the drug addicts throw him out of the train car, and the Ober-Kandalovites crucify him on saxaul. With naive faith in the possibility of cleansing the world from evil and immorality with a sincere spiritual word, Obadiah ascended to his scaffold.

What makes a person turn away from the right way? What are the reasons for the changes happening to him? Unfortunately, the literature cannot give an unambiguous answer to such questions. A literary work only represents typical manifestations of the moral diseases of the time. The main choice remains with us - real people living in real time. Material from the site

Moral problems are a kind of second turn of the key in the stories of V. Bykov, which opens the door to the work, which at the “first turn” is an insignificant military episode. The writer is most interested in circumstances in which a person must be guided not by a direct order, but exclusively by his own moral principles. Ivanovsky ("To Live Until Dawn"), Moroz ("Obelisk"), Sotnikov ("Sotnikov"), Stepanida and Petrok ("Sign of Trouble") - these are far from full list heroes of V. Bykov who find themselves in a situation moral choice and come out of it with honor. Ales Moroz dies. But before his death, he “did more than if he had killed a hundred Germans.” Sotnikov's death turns out to be more honorable than the life bought by Rybak. Stepanida and Petrok die, until last minute in his life, defending his personal moral principles.

“The true indicator of civilization is not the level of wealth and education, not the size of cities, not the abundance of harvests, but the appearance of a person,” said R. Emerson. When we improve ourselves, we thereby improve the world around us. And it seems to me that the only way moral development human society will be able to reach the heights of perfection.

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On this page there is material on the following topics:

• literature of moral purification
• essay 21st century society
• literature is the soul of humanity
• essay. problems of modern authors of literature
• literary situation in Russia at the end of the 90s and the beginning of 2000

Krasova A.A. 1

Smarchkova T.V. 1

1 State budget educational institution Samara region average comprehensive school With. Pestravka municipal district Pestravsky Samara region

The text of the work is posted without images and formulas.
Full version work is available in the "Work Files" tab in PDF format

I. Introduction.

We live in the 21st century.., in complex, but interesting times. Perhaps for last decades The most significant changes in history took place in the way of life of mankind. It has been historically proven that in an era of change, understanding honor, pride, and dignity is especially important for the formation younger generation. Recent 70th Anniversary Great Victory, the wars in Chechnya and Iraq - all this is directly connected by one link - man. A person is always faced with a choice in his personal or public life; it depends on him what will happen to him in the future. extreme situations. To the extent that he understands the importance of moral values ​​and morality in life, he feels responsible for his actions. This is what got me interested. What do our youth think about this now, both modern and ancient literature reflect the problems of humanity, the Russian people. These terms are the subject of this work.

Purpose of the research work:

To trace how the problem of honor, dignity, national pride Russian person.

Common tasks in the work have also emerged:

Deepen knowledge on ancient Russian literature, literature of the 19th century, literature of the war years.

Compare how ancient Russian literature shows attitudes towards moral values.

Analyze, as in Russian literature different years reflects the role of man in society at turning points.

To trace how the Russian national character is revealed in Russian literature of different years.

The main method is literary research.

II. The problem of human moral choice in Russian literature.

1.The theme of honor and national pride in Russian folklore.

Problem moral quest man's roots go back to ancient Russian literature and folklore. It is associated with the concepts of honor and dignity, patriotism and valor. Let's look into Dictionary. Honor and dignity - professional duty and moral standards business communication; worthy of respect and pride, moral qualities, human principles; personal non-property and inalienable benefits protected by law, meaning a person’s awareness of his social significance.

Since ancient times, all these qualities have been valued by man. They helped him in difficult life situations choice.

To this day we know the following proverbs: “Who has honor, there is truth”, “Without a root, not a blade of grass grows”, “A man without a homeland is a nightingale without a song”, “Take care of your honor from a young age, and take care of your dress again” 1. The most interesting sources on which it relies modern literature, are fairy tales and epics. But their heroes are heroes and fellows who embody the strength, patriotism, and nobility of the Russian people. These are Ilya Muromets, and Alyosha Popovich, and Ivan Bykovich, and Nikita Kozhemyaka, who defended their Motherland and honor, risking their lives. And although epic heroes - fictional characters, but their images are based on life real people. In ancient Russian literature, their exploits are certainly fantastic, and the heroes themselves are idealized, but this shows what a Russian person is capable of if the honor, dignity and future of his land are at stake.

2.1. The problem of moral choice in Old Russian literature.

The approach to the problem of moral choice in ancient Russian literature is ambiguous. Galicia-Volyn Chronicle of the 13th century... It is considered one of the most interesting monuments Old Russian literature relating to the period of the struggle of Russian principalities with foreign invaders. A very interesting fragment of an ancient Russian text concerns the trip of Prince Daniil of Galitsky to bow to Batu in the Horde. The prince had to either rebel against Batu and die, or accept the faith of the Tatars and humiliation. Daniel goes to Batu and feels trouble: “in great sorrow,” “seeing the trouble is terrible and menacing.” Here it becomes clear why the prince grieves in his soul: “I will not give up my half-fatherland, but I am going to Batu myself...” 2. He goes to Batu to drink mare's kumiss, that is, to take an oath of service to the khan.

Was it worth it for Daniel to do this, was it treason? The prince could not drink and show that he did not submit and die with honor. But he does not do this, realizing that if Batu does not give him the label to rule the principality, this will lead to the inevitable death of his people. Daniil sacrifices his honor to save his homeland.

Fatherly care, honor and pride force Daniel to drink the “black milk” of humiliation in order to ward off trouble from native land. The Galicia-Volyn Chronicle warns against a limited and narrow view of the problem of moral choice, of the understanding of honor and dignity.

Russian literature reflects complex world human soul, torn between honor and dishonor. Self-esteem, the desire to remain a Man in any situation with full right can be placed in one of the first places among the historically established traits of the Russian character.

The problem of moral quest has always been fundamental in Russian literature. It was closely connected with other deeper questions: how to live in history? what to hold on to? what to be guided by?

2.2. The problem of moral choice in the literature of the 19th century (based on the works of I.S. Turgenev).

Ivan Sergeevich Turgenev wrote the story “Mumu” ​​3, reflecting in it his experiences and concerns about the Russian destinies and the future of the country. It is known that Ivan Turgenev, like true patriot, thought a lot about what awaited the country, and the events in Russia at that time were far from the most joyful for the people.

The image of Gerasim reveals such magnificent qualities that Turgenev would like to see in a Russian person. For example, Gerasim has considerable physical strength, he wants and can work hard, things are in his hands. Gerasim is also neat and clean. He works as a janitor, and approaches his duties with responsibility, because thanks to him, the owner’s yard is always clean and tidy. The author shows his somewhat reclusive character, since Gerasim is unsociable, and even on the doors of his closet there is always a lock. But this formidable appearance does not correspond to the kindness of his heart and generosity, because Gerasim is open-hearted and knows how to sympathize. Therefore it is clear: it is impossible appearance judge internal qualities person. What else is visible in the image of Gerasim when analyzing “Mumu”? He was respected by all the servants, which was deserved - Gerasim worked hard, as if he carried out the orders of his mistress, and at the same time did not lose his sense of self-respect. The main character of the story, Gerasim, never became happy, because he is simple village man, but city life is built completely differently and flows according to its own laws. In the city there is no sense of unity with nature. So Gerasim, once in the city, realizes that he is being ignored. Having fallen in love with Tatyana, he is deeply unhappy because she becomes the wife of another.

At a difficult moment in life, when the main character is especially sad and hurt in his soul, suddenly a ray of light is visible. Here it is, hope for happy moments, little cute puppy. Gerasim saves the puppy, and they become attached to each other. The puppy received the nickname Mumu, and the dog is always with his great friend. Mumu watches at night and wakes up his owner in the morning. It seems that life is filled with meaning and becomes more joyful, but the lady becomes aware of the puppy. Having decided to subjugate Mumu, she experiences a strange disappointment - the puppy does not obey her, but the lady is not used to ordering twice. Is it possible to command love? But that's another question. The lady, accustomed to seeing her instructions carried out at the same moment and without complaint, cannot bear the disobedience of the little creature, and she orders the dog to be taken out of sight. Gerasim, whose character is well revealed here, decides that Mumu can be hidden in his closet, especially since no one comes to see him. He does not take into account one thing: he is deaf and mute from birth, while others hear the barking of a dog. The puppy reveals itself by barking. Then Gerasim realizes that he has no choice but to resort to drastic measures, and he kills the puppy who has become his only friend. The gloomy Gerasim cries when he goes to drown his beloved Mumu, and after her death he goes on foot to the village where he used to live.

In the image of Gerasim, the author showed an unfortunate serf. Serfs are “mute”, they cannot declare their rights, they simply submit to the regime, but in the soul of such a person there is hope that someday his oppression will come to an end.

New work by I.S. Turgenev's “On the Eve” 4 was a “new word” in Russian literature and caused noisy talk and controversy. The novel was read greedily. “Its very title,” according to the critic of “Russian Word,” “with its symbolic hint, which can be given a very broad meaning, indicated the idea of ​​​​the story, made one guess that the author wanted to say something Furthermore what is contained in it artistic images" What was the idea, features, and novelty of Turgenev’s third novel?

If in “Rudin” and “ Noble nest“Turgenev depicted the past, painted images of people of the 40s, then in “On the Eve” he gave an artistic reproduction of modernity, responded to those cherished thoughts that, during the period of social upsurge of the second half of the 50s, worried all thinking and progressive people.

Not idealistic dreamers, but new people, goodies, the devotees of the cause were brought out in the novel “On the Eve”. According to Turgenev himself, the novel was “based on the idea of ​​the need for consciously heroic natures in order for things to move forward,” that is we're talking about about the problem of choice.

In the center, in the foreground, stood female image. The whole meaning of the novel was fraught with a call to “active goodness” - to social struggle, to detachment from the personal and egoistic in the name of the general.

The heroine of the novel, the “amazing girl” Elena Stakhova, performed “ new person"Russian life. Elena is surrounded by talented young people. But neither Bersenev, who has just graduated from university and is preparing to become a professor; neither talented sculptor Shubin, in whom everything breathes intelligent lightness and happy gaiety of health, in love with antiquity and thinking that “there is no salvation outside Italy”; much less the “groom” Kurnatovsky, this “official honesty and efficiency without substance” 5, did not awaken Elena’s feelings.

She gave her love to Insarov, a Bulgarian foreigner, a poor man, who had one great goal in life - the liberation of his homeland from Turkish oppression and in whom lived “the concentrated deliberation of a single and long-standing passion.” Insarov conquered Elena by responding to her vague but strong desire for freedom, captivating her with the beauty of her feat in the struggle for a “common cause.”

The choice made by Elena seemed to indicate what kind of people Russian life was waiting for and calling. There were no such people among “our own people” - and Elena went to a “stranger”. She is a Russian girl from a rich noble family, became the wife of a poor Bulgarian Insarov, left home, family, homeland, and after her husband’s death she remained in Bulgaria, faithful to the memory and “life’s work” of Insarov. She decided not to return to Russia. "For what? What to do in Russia?

In a wonderful article, dedicated to the novel“On the eve,” Dobrolyubov wrote: “The same concepts and demands as we see in Elena are already appearing; these demands are accepted by society with sympathy; Moreover, they strive for active implementation. This means that the old social routine is becoming obsolete: a few more hesitations, a few more strong words and favorable facts, and figures will appear... Then a complete, sharply and vividly outlined image of the Russian Insarov will appear in literature. And we won’t have to wait long for him: this is guaranteed by the feverish, painful impatience with which we await his appearance in life. It is necessary for us, without it our whole life somehow doesn’t count, and every day means nothing in itself, but serves only as the eve of another day. This day will finally come!” 6

Two years after “On the Eve,” Turgenev wrote the novel “Fathers and Sons,” and in February 1862 he published it 7. The author tried to show Russian society the tragic nature of the growing conflicts. The reader is exposed to economic turmoil, the impoverishment of the people, the decomposition of traditional life, the destruction of centuries-old ties between the peasant and the land. The stupidity and helplessness of all classes threatens to develop into confusion and chaos. Against this background, a dispute unfolds about the ways to save Russia, which is waged by heroes representing the two main parts of the Russian intelligentsia.

Russian literature has always tested the stability and strength of society, family and family relationships. Starting a Novel with an Image family conflict between father and son Kirsanov, Turgenev goes further, to a clash of social and political nature. The relationships between the characters and the main conflict situations are revealed primarily from an ideological angle. This is reflected in the peculiarities of the construction of the novel, in which the arguments of the heroes, their painful reflections, passionate speeches and outpourings, and the decisions they come to play such a large role. But the author did not turn his heroes into exponents of his own ideas. Turgenev's artistic achievement is his ability to organically connect the movement of even the most abstract ideas of his characters and their life positions.

For the writer, one of the decisive criteria in determining a personality was how this personality relates to modernity, to the life around it, to the current events of the day. If you look closely at the “fathers” - Pavel Petrovich and Nikolai Petrovich Kirsanov, the first thing that catches your eye is that they, essentially not very old people, do not understand and do not accept what is happening around them.

It seems to Pavel Petrovich that the principles that he learned in his youth distinguish him favorably from people who listen to modern times. But Turgenev, at every step, without much pressure, completely unambiguously shows that in this stubborn desire to show his contempt for modernity, Pavel Petrovich is simply comical. He plays a certain role, which from the outside is simply funny.

Nikolai Petrovich is not as consistent as his older brother. He even says that he likes young people. But in fact, it turns out that he understands in modernity only that which threatens his peace.

Turgenev brought out several people in his novel who strive to rush with time. This is Kukshina and Sit-nikov. In them this desire is expressed very clearly and unambiguously. Bazarov usually speaks to them in a dismissive tone. It’s more difficult for him with Arkady. He is not as stupid and petty as Sitnikov. In a conversation with his father and uncle, he quite accurately explained to them such a complex concept as a nihilist. He is good because he does not consider Bazarov “his brother.” This brought Bazarov closer to Arkady, forced him to treat him softer, more condescendingly than to Kukshina or Sitnikov. But Arkady still has a desire to grab something in this new phenomenon, to somehow get closer to it, and he grabs only external signs.

And here we are faced with one of the most important qualities Turgenev style. From the first steps of his literary activity, he widely used irony. In the novel “Fathers and Sons,” he awarded this quality to one of his heroes, Bazarov, who uses it in a very varied way: for Bazarov, irony is a means of separating himself from a person he does not respect, or “correcting” a person he does not respect. I haven't waved my hand yet. Such are his ironic antics with Arkady. Bazarov also masters another type of irony - irony directed at himself. He is ironic about both his actions and his behavior. Suffice it to recall the scene of Bazarov’s duel with Pavel Petrovich. He is ironic here at Pavel Petrovich, but no less bitterly and evilly at himself. At such moments, Bazarov appears in all the power of his charm. No complacency, no self-love.

Turgenev leads Bazarov in circles life trials, they reveal with real completeness and objectivity the measure of the hero’s rightness and wrongness. “Complete and merciless denial” turns out to be justified as the only serious attempt to change the world, putting an end to contradictions. However, for the author it is also indisputable that the internal logic of nihilism inevitably leads to freedom without obligations, to action without love, to quests without faith. The writer does not find creative in nihilism creative power: those changes that the nihilist envisages for real existing people, in fact, are tantamount to the destruction of these people. And Turgenev reveals the contradictions in the very nature of his hero.

Bazarov, having experienced love and suffering, can no longer be an integral and consistent destroyer, ruthless, unshakably self-confident, breaking others simply by the right of the strong. But Bazarov also cannot resign himself, subordinating his life to the idea of ​​self-denial, or seek consolation in art, in a sense of fulfilled duty, in selfless love for a woman - for this he is too angry, too proud, too unbridled, wildly free. The only possible resolution to this contradiction is death.

Turgenev created a character so complete and internally independent that the artist had only to avoid sinning against the internal logic of character development. There is not a single significant scene in the novel in which Bazarov would not participate. Bazarov passes away and the novel ends. In one of his letters, Turgenev admitted that when he “wrote Bazarov,” he ultimately felt not hostility, but admiration for him. And when he wrote the scene of Bazarov’s death, he sobbed bitterly. These were not tears of pity, these were the tears of an artist , who saw the tragedy of a huge man, in whom part of his own ideal was embodied.

“Fathers and Sons” caused fierce controversy throughout Russian history. literature of the 19th century century. And the author himself stopped with bewilderment and bitterness before the chaos of contradictory judgments: greetings from enemies and slaps in the face from friends. In a letter to Dostoevsky, he wrote with disappointment: “No one seems to suspect that I tried to imagine in him tragic face- and everyone is saying, - why is he so bad? or - why is he so good? 8

Turgenev believed that his novel would serve the cause of uniting the social forces of Russia, would help many young people make the right, less tragic choice, that Russian society will listen to his warnings. But the dream of a united and friendly all-Russian cultural layer of society did not come true.

3.1. The problem of moral choice in literature about the Great Patriotic War.

But it also happens that human dignity and honor are the only weapons in the conditions of the cruel laws of existence on this earth. It helps to understand small piece Soviet writer 20th century M. Sholokhov “The Fate of Man” 9, opening the forbidden Soviet literature theme of fascist captivity. The work raises important questions about national dignity and pride, about a person’s responsibility for his moral choice.

There were many obstacles on the life path of Andrei Sokolov, the main character of the story, but he proudly carried his “cross.” The character of Andrei Sokolov manifests itself in conditions of fascist captivity. Here is both patriotism and the pride of the Russian people. Call to the commandant of the concentration camp - difficult test for the hero, but he comes out of this situation as a winner. Going to the commandant, the hero mentally says goodbye to life, knowing that he will not ask for mercy from the enemy, and then one thing remains - death: “I began to gather my courage to look into the hole of the pistol fearlessly, as befits a soldier, so that the enemies would not we saw […] that it was still difficult for me to part with life...” 10

Andrei does not lose pride in front of the commandant himself. He refuses to drink schnapps for the victory of German weapons, and then he could not think about the glory of the enemy, pride for his people helped him: “So that I, a Russian soldier, would drink for the victory of German weapons?! Is there something you don't want, Herr Commandant? Damn it, I have to die, so get lost with your vodka.” Having then drunk to his death, Andrei snacks on a piece of bread, half of which he leaves whole: “I wanted to show them, the damned, that although I am disappearing from hunger, I am not going to choke on their handout, that I have my own, Russian dignity and pride and that they did not turn me into a beast, no matter how hard they tried” 11 - this is what the original Russian soul of the hero says. A moral choice has been made: the fascists have been challenged. A moral victory has been won.

Despite his thirst, Andrei refuses to drink “to the victory of German weapons”, does not drink the “black milk” of humiliation and keeps his honor unsullied in this unequal battle, evoking the respect of the enemy: “...You are a real Russian soldier, You are a brave soldier” 12, - The commandant says to Andrey, admiring him. Our hero is a bearer of traits national character- patriotism, humanity, fortitude, perseverance and courage. There were many such heroes during the war years, and each of them performed his duty, and therefore a life feat.

The words of the great Russian writer are true: “Over the course of their history, the Russian people have selected, preserved, and raised to the level of respect such human qualities, which are not subject to revision: honesty, hard work, conscientiousness, kindness... We know how to live. Remember this. Be human". 1

The same human qualities are shown in Kondratiev’s work “Sashka” 13. In this story, the events, as in “The Fate of Man,” take place in war time. The main character is soldier Sashka - and truly a hero. Not the least qualities for him are mercy, kindness, and courage. Sashka understands that in battle a German is an enemy and very dangerous, but in captivity he is a man, an unarmed man, an ordinary soldier. The hero deeply sympathizes with the prisoner, wants to help him: “If it weren’t for the shelling, they would have turned the German on his back, maybe the blood would have stopped...” 14 Sashka is very proud of his Russian character, he believes that this is what a soldier should do, a Man. He opposes himself to the fascists, rejoices for his Motherland and the Russian people: “We are not you. We don’t shoot prisoners.” He is sure that a person is a person everywhere and should always remain so: “...Russian people do not mock prisoners” 15. Sashka cannot understand how one person can be free over the fate of another, how one can control someone else’s life. He knows that no one has a Human right to do this, that he will not allow this to happen to himself. What is invaluable about Sashka is his enormous sense of responsibility, even for things for which he should not be responsible. Feeling that strange feeling of power over others, the right to decide whether to live or die, the hero involuntarily shudders: “Sashka even somehow felt uneasy... he’s not the type to mock prisoners and the unarmed” 16.

There, during the war, he understood the meaning of the word “must”. “It’s necessary, Sashok. You see, it’s necessary,” the company commander told him, “before ordering anything, and Sashka understood that it was necessary, and did everything that was ordered, as it should be” 17. The hero is attractive because he does more than is necessary: ​​something ineradicable in him forces him to do it. He does not kill a prisoner on orders; wounded, he returns to hand over his machine gun and say goodbye to his brother soldiers; he himself accompanies the orderlies to the seriously wounded person, so that he knows that that person is alive and saved. Sashka feels this need within himself. Or is it the conscience that commands? But another conscience may not command - and confidently prove that it is pure. But there are not two consciences, “conscience” and “another conscience”: conscience either exists or it does not, just as there are not two “patriotisms”. Sashka believed that a Man, and especially he, a Russian, must preserve his honor and dignity in any situation, and this means remaining a merciful person, honest to himself, fair, true to his word. He lives according to the law: he was born a man, so be real inside, and not an outer shell, under which there is darkness and emptiness...

III. Questioning.

I tried to identify the important moral values for 10th grade students. For the research, I took questionnaires from the Internet (the author is unknown). Conducted a survey in 10th grade, 15 students participated in the survey.

Mathematical and statistical processing of results.

The survey I conducted showed that for many children moral values ​​are important.

Conclusion:

Since ancient times, valor, pride, and mercy in man have been revered. And from then on, the elders passed on their instructions to the young, warning against mistakes and serious consequences. Yes, how much time has passed since then, and not obsolete moral values, live in every person. Since those times, a person was considered a Human if he could educate himself and possessed the following qualities: pride, honor, good nature, firmness. “Kill neither the right nor the wrong, and do not order him to be killed,” 18, Vladimir Monomakh teaches us. The main thing is that the person is in front of himself worthy of life his. Only then will he be able to change something in his country, around him. Many misfortunes and troubles can happen, but Russian literature teaches us to be strong and keep “our word, for if you break an oath, you will destroy your soul” 1, teaches us not to forget about our brothers, to love them as relatives, to respect each other. And the main thing is to remember that you are a Russian person, that you have the strength of heroes, nursing mothers, the strength of Russia. Andrei Sokolov did not forget about this in captivity, did not turn either himself or his Motherland into a laughing stock, did not want to give up HIS Russia, his children Senya from Rasputin’s story, to desecration.

We see what a person, son and protector should be like, using the example of Prince Daniel, he gave everything so that his Motherland, country, people would not perish, but would survive. He agreed to the condemnation that awaited him after accepting the Tatar faith, he fulfilled his duty, and it is not for us to judge him.

In Bazarov, the hero of the novel by I.S. Turgenev, there is also a difficult time ahead life path. And each of us has our own road, which we must definitely go out on, and everyone goes out on it, only someone realizes too late that they are going along it in the other direction...

IV.Conclusion.

A person always faces a moral choice. A moral choice is a decision consciously made by a person, it is the answer to the question “What to do?”: pass by or help, deceive or tell the truth, succumb to temptation or resist. When making a moral choice, a person is guided by morality and his own ideas about life. Honor, dignity, conscience, pride, mutual understanding, mutual assistance - these are the qualities that have helped Russian people at all times to defend their land from enemies. Centuries pass, life in society changes, society changes, and people change. And now our modern literature is sounding the alarm: the generation is sick, sick with unbelief, godlessness... But Russia exists! And that means there is a Russian person. Among today's youth there are those who will revive faith and return moral values ​​to their generation. And our past will be a support and help in all situations; it is from it that we need to learn, moving towards the future.

I didn’t want the work to turn out to be an essay, read and forgotten. If, after reading my thoughts and “discoveries,” at least someone thinks about the meaning of this work, about the purpose of my actions, about questions and calls for us - for modern society - then my efforts were not in vain, then this creativity will not become “dead” weight , will not gather dust somewhere in a folder on a shelf. It is in the thoughts, in the mind. Research- this is, first of all, your attitude to everything, and only you can develop it and give impetus to further transformations, first in yourself, and then, perhaps, in others. I gave this push, now it’s up to each of us.

Write similar work- half the battle, but to prove that it is really important and necessary, to make sure that it reaches people’s minds and strikes like thunder among clear skies, delighted me, like a problem solved at an unexpected moment - this is much more difficult to do.

V. Literature.

1. M. Sholokhov, “The Fate of Man”, story, Verkhnevolzhskoye book publishing house, Yaroslavl 1979
2. V. Kondratyev, “Sashka”, story, ed. “Enlightenment”, 1985, Moscow.
3. "Stories of Russian Chronicles", ed. center "Vityaz", 1993, Moscow.
4. I. S. Turgenev “Mumu”, ed. "AST", 1999, Nazran.
5. IN AND. Dal "Proverbs and sayings of the Russian people", ed. "Eksmo", 2009
6. I.S. Turgenev “On the Eve”, ed. "AST", 1999, Nazran
7. I.S. Turgenev “Fathers and Sons”, ed. "Alpha-M", 2003, Moscow.
8. V.S. Apalkova “History of the Fatherland”, ed. "Alpha-M", 2004, Moscow.
9. A.V. Century "History of Russia from ancient times to the present day", ed. “Modern writer”, 2003, Minsk.
10. N.S. Borisov “History of Russia”, ed. ROSMEN-PRESS", 2004, Moscow.
11. I.A. Isaev “History of the Fatherland”, ed. “Lawyer”, 2000, Moscow.
12. IN AND. Dal "Proverbs and sayings of the Russian people", ed. "Eksmo", 2009
13. "Stories of Russian Chronicles", ed. Center "Vityaz", 1993, Moscow.
14. I.S. Turgenev “Mumu”, ed. "AST", 1999, Nazran. The story "Mumu" was written in 1852. First published in Sovremennik magazine in 1854.
15. I.S. Turgenev “On the Eve”, ed. "AST", 1999, Nazran. The novel "On the Eve" was written in 1859. In 1860 the work was published.
16. I. S. Turgenev “On the Eve”, ed. "AST", 1999, Nazran
17. I. S. Turgenev “Tales, short stories, prose poems, criticism and comments,” ed. "AST", 2010, Syzran
18. I.S. Turgenev “Fathers and Sons”, ed. "Alpha-M", 2003, Moscow. The work “Fathers and Sons” was written in 1961 and published in 1862 in the magazine “Russian Messenger”.
19. I. S. Turgenev “Tales, short stories, prose poems, criticism and comments,” ed. "AST", 2010, Syzran.
20. M.A. Sholokhov “The Fate of Man”, story, Verkhnevolzhsky book publishing house, Yaroslavl, 1979.
21. M.A. Sholokhov “The Fate of Man”, story, Verkhnevolzhsky book publishing house, Yaroslavl, 1979.
22. M.A. Sholokhov “The Fate of Man”, story, Verkhnevolzhsky book publishing house, Yaroslavl, 1979.
23. M.A. Sholokhov “The Fate of Man”, story, Verkhnevolzhsky book publishing house, Yaroslavl, 1979.
24. The story was published in 1979 in the magazine “Friendship of Peoples”.
25. V.L. Kondratiev “Sashka”, story, ed. “Enlightenment”, 1985, Moscow.
26. V.L. Kondratiev “Sashka”, story, ed. “Enlightenment”, 1985, Moscow
27. V.L. Kondratiev “Sashka”, story, ed. “Enlightenment”, 1985, Moscow
28. V.L. Kondratiev “Sashka”, story, ed. “Enlightenment”, 1985, Moscow
29. "Teaching of Vladimir Monomakh" - literary monument XII century, written by the Grand Duke of Kyiv Vladimir Monomakh.

Valentin Rasputin in his story raises, perhaps, the most important problem modern society- the problem of morality. The title of the book “Live and Remember,” like any title, carries a semantic load, moreover, the main idea of ​​the work.

However, these words contain not just the idea of ​​the work, but also the boundary separating any moral, moral life, full of love, pity, justice, from the world of baseness and betrayal, cruelty and violence. The words “live and remember” are, as it were, a guardian of the human conscience.

The events described in the story take place in the winter of 1945, in Last year war, in the village of Atamanovka, which used to be called even more frighteningly - Razboynikovo, since the ancestors of the villagers at one time “sinned” with such a profitable craft. However, by the time of the events taking place in the story, the inhabitants of the village had long been quiet, harmless and at the same time absolutely devastated and indifferent people. After all, it is before their eyes that the tragedy of the human soul occurs.

The main character of the story is Andrei Guskov, “an efficient and brave guy who married Nastya early and lived with her for four years before the war.” Andrei Guskov was not a hero, but he fought honestly almost until the very end of the war, was wounded in 1944 and ended up in the hospital. He believed that being seriously wounded would help him return to native village, to his wife, without waiting for the end of the war. While still in the hospital, he planned his later life. However, the hope for demobilization did not materialize.

The turning point of his entire fate was the news of being sent to the front. The hero is missing moral forces rise above your own misfortune, put the people's misfortune in the foreground; the awareness of the need for further struggle cannot cope in his soul with dreams of personal happiness and peace. And from this moment the human personality disintegrates. He decides to desert. A person who refuses a positive moral choice then goes with the flow. In the text of the story, moral decay is emphasized by the description of an uncomfortable atmosphere that seems to envelop the heroes.

Andrei’s meeting with Nastena takes place not in the house, but in a cold, unheated bathhouse (the bathhouse, as is known, in Russian folklore symbolizes the gathering place for all “evil spirits”). Andrei gradually, the further, the more, his soul hardens and becomes cruel. The example of how Andrei pounces on the calf and “bullies” it shows that he has lost human image. When he shot a roe deer, he did not finish it off, but stood and carefully watched how the unfortunate animal suffered. “Just before the end, he lifted her up and looked into her eyes - they widened in response...

He was waiting for the last, final movement in order to remember how it would be reflected in his eyes.” It comes to the point that the hero learned to howl like a wolf (as if turning from a man into a werewolf). Andrey is moving more and more away from people and even from his wife. “If you tell anyone, I’ll kill you. I have nothing to lose,” he tells her.

For Nastena, the news that her husband Andrei Guskov was a traitor also came turning point in life. “...Where were you, man, what toys were you playing with when your destiny was assigned? Why did you agree with her? Why, without thinking, did you cut off your wings, just when you need them most, when you need to run away from trouble in the summer, not by crawling?” - the heroine reflects. Not every person is given the opportunity to experience such grief and shame.

Nastya loves and pities Andrei, but when shame for her husband’s action filled her soul, she commits suicide (killing her unborn child at the same time). She dies in the abyss of the Angara River between two banks: the bank of her traitor husband and the bank of the people.

Andrei thought that the birth of a child was the finger of God indicating a return to normal human life, and I was wrong. The death of loved ones is retribution and a lesson!

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