Sections: Literature
Lesson type: problem-developing
Lesson form: seminar
Lesson Objectives:
Educational:
- To reveal the essence of the image of Ivan Denisovich with the help of the main elements of Solzhenitsyn's artistic style;
- Show the fundamental novelty of the hero for Russian literature of the XX century;
- Identify the most important features of the writer's linguistic manner.
Developing:
- Improve the ability to analyze and evaluate piece of art and his heroes;
- To promote the development of oral and written speech in students;
- Strengthen the skills of generalization and the ability to draw conclusions.
Educational:
- Arouse interest in the work of Solzhenitsyn, the desire to learn about the tragic pages in the history of our state;
- Monitor the behavior of a person who finds himself in inhuman conditions;
- improve moral qualities students;
- To cultivate the ability to defend one's own point of view, respect for the opinion of classmates.
Lesson equipment:
- Portrait of A.I. Solzhenitsyn;
- The text of the story "One Day in the Life of Ivan Denisovich";
- Handout (for each desk) with a statement by the critic N. Sergovantsev;
- Sheets for each student for graphic design of lesson material (Appendix 1).
Two weeks before the lesson, the students were divided into groups (5 groups), each of which received its own task.
When compiling the tasks, the material of the practical textbook "Russian literature of the 20th century" grade 11 / ed. Yu.I. Lyssogo. M. "Mnemosyne". 2001, p.458.
Task for the 1st group:
- Restore the hero's past. How did he get into the camp?
- Is it possible to say that Shukhov was passive in the war, weak in soul?
- Is it possible to blame him for choosing life during the investigation?
Task for the 2nd group:
- Pay attention to how Shukhov treats everything that is created by human hands, supports his life? How does this characterize him?
- What is the originality of Shukhov's portrait?
Task for the 3rd group:
- By what moral laws does Shukhov live?
- Prove that Shukhov is faithful to these precepts.
- What is Shukhov's attitude to work, to business? (Compare the episodes of mopping in the supervisor's room and masonry walls at the CHP). Why is the character's behavior so different?
- How do you feel about Shukhov's ability to "serve"? (Remember the discussion about the work of dyeers in his native village of Temgenevo). How does the attitude to work characterize Ivan Denisovich?
Task for the 4th group:
- What are the parameters of the character system? Determine the main steps of the camp hierarchy (guards and prisoners; a strict hierarchy among prisoners - from the foreman to jackals and informers).
- What is the hierarchy of heroes in their relation to captivity? What is Shukhov's place in these coordinate systems? (An attempt to rebel against the camp system - Buinovsky; naive non-resistance - Alyoshka; Shukhov's "middle" position in the system of characters).
- How does Shukhov feel about those with whom he works in the brigade?
- How do the team members feel about him? Is it possible to say that Shukhov is "terribly lonely"?
- Is there a contrast between Shukhov and Tsezar Markovich (peasant and intellectual) in the story? If yes, what is it?
Task for the 5th group:
- Why does the author use indirect speech as the main narrative device?
- Is it possible to say that the whole story of Solzhenitsyn is an internal monologue of the hero? Show this with an example.
- How is the author's assessment expressed?
- Find and write down the proverbs used by Solzhenitsyn. Explain any 5. For what purpose does Solzhenitsyn introduce them into the text?
Epigraph to the lesson:
Do you want to know who am I? what am I? Where am I going? -
I am the same as I was and will be all my life:
Not cattle, not a tree, not a slave, but a man!
A. Radishchev. Ode "Liberty"
Lesson steps:
I. Organizational and motivational-target exposition of the lesson.
(Message topic, lesson objectives)
Teacher:
The focus of Russian literature traditionally remains moral issues. Good and evil, honor and conscience, devotion and betrayal - these are far from all the questions that Russian writers solve in their works.
Sometimes a person faces terrible, even cruel trials when he finds himself on the verge of life and death. But even in the most extreme conditions, a person always has a choice, which everyone determines in accordance with his moral ideal. Sometimes the fear of death becomes stronger, and a person crosses the line that separates him from the animal. But it also happens differently. A person, despite everything, remains a person, retains the human in himself, does not lose respect for himself - "is saved by dignity" - and this, probably, is the only correct choice (Reading the epigraph).
Today our conversation is about a man who, by the will of fate, found himself in inhuman conditions - in a prison camp. it the main character Solzhenitsyn's stories - Ivan Denisovich Shukhov. (Announcement of the topic of the lesson. Students make notes in notebooks).
The main goal of the lesson is to understand and reveal the essence of the hero Solzhenitsyn, to determine with what elements of the writer's artistic style this image is created.
II. Creating conditions for an independent search for patterns, information (acquaintance with a fragment of an article by critic N. Sergovantsev, derivation of a problematic issue)
And now I suggest you get acquainted with the statement of one critic. Read it (the material is printed for each desk).
“I would like to know how a simple person, put forward by the author as a deeply popular type, will comprehend the amazing environment that surrounds him.
And from life itself, and from the entire history of Soviet literature, we know that the typical folk character, forged by our whole life, is the character of a fighter, active, inquisitive, effective. But Shukhov is completely devoid of these qualities. He does not resist tragic circumstances in any way, he submits to them with his soul and body. Not the slightest internal protest, not a hint of a desire to understand the reasons for his plight, not even an attempt to learn about them from more knowledgeable people - Ivan Denisovich has none of this. His whole life program, his whole philosophy is reduced to one thing: to survive! Some critics were touched by such a program: they say, a person is alive! But after all, a terribly lonely person is alive, in his own way, adapted to hard labor conditions, truly not even understanding the unnaturalness of his position. Yes, Ivan Denisovich was muzzled. In many ways, the extremely cruel conditions dehumanized - this is not his fault. But the author of the story is trying to present him as an example of spiritual fortitude. And what kind of steadfastness is there when the hero's circle of interests does not extend beyond an extra bowl of "baland", "left" earnings and a thirst for warmth:
No, Ivan Denisovich cannot claim to be the folk type of our era.
N. Sergovantsev. The tragedy of loneliness and "continuous life". 1963.
Here is such a point of view. Is the critic correct in his assessment?
What makes Ivan Denisovich the main character of the story? - this is a problematic question, which we can answer only based on the text of the work itself. Let's turn to the text.
III. Analytical work with text. Report of creative groups (checking d / z).
(During the performances, students work through the material, highlight the main thing, select and draw it up graphically)
You know that the image of any character is created using various means. Name them. (Portrait, behavior and actions of the hero, his speech, landscape, interior, assessment of the hero by other characters, etc.). We will consider those that will help us better understand the image of the hero of the story: the background of the hero, the portrait, everyday details, actions and deeds, relationships with other characters, the attitude of the author to the hero. Preparing for the lesson, you worked in groups, collecting material in your direction. Now the "commanders" of your groups will report on the work done. During performances, be careful, select the main thing and fix it in the table. The word is given to the "commander" of the first group. (Speech by the "commander" of group No. 1)
Teacher: Group No. 2 worked on revealing the image through the details of the portrait, household items. In fact, the text of the story is distinguished by a high degree of detail, each fact, as it were, is divided into the smallest components, each of which is presented in close-up. Solzhenitsyn loves such "cinematic" techniques. What seems to us a trifle, for the hero is a matter of life and death. (Speech by the "commander" of group No. 2)
Teacher: The third group considered the actions and deeds of the hero. (Speech by the "commander" of group No. 3)
Teacher: And now let's consider what place the hero occupies in the system of images. (Group Report #4)
Let's get back to the criticism. Do you agree with his assessment of the hero of the story?
What traditions of Russian literature can be traced in the image of Ivan Denisovich?
(A.I. Solzhenitsyn continues the traditions of L. Tolstoy: Ivan Denisovich Shukhov, like Platon Karataev, is the embodiment of the unlimited ability of the Russian people to endure and believe, contrary to personal fate. Love for work also makes Shukhov related to the characters of Nekrasov’s poem. He is just as talented and is happy at work, like a stonemason from Olonchan, who is able to "crush a mountain." Ivan Denisovich is not unique. He is a real, moreover, a typical character).
IV. Generalization of the material. An answer to a problematic question.
Summarizing. The uniqueness and significance of Solzhenitsyn's story lies in the fact that the author painted a tragic picture of people's lives under the conditions of a totalitarian regime and at the same time showed a truly popular character that asserts itself in these circumstances. Shukhov's strength lies in the fact that despite all the inevitable moral losses for a prisoner, he managed to keep a living soul. Shukhov's high degree of adaptability has nothing to do with opportunism, humiliation, loss of "self." Such moral categories as conscience, human dignity, decency determine his life behavior. Almost on every page we read that the years of penal servitude did not make Shukhov embittered, hardened. In spite of everything, kindness, responsiveness, a cordial, benevolent attitude towards people were preserved in him, for which he is paid the same in the brigade.
Ivan Denisovich does not resist the camp conditions of life. The hero firmly remembered the words of his first foreman Kuzemin: "Here, guys, the law is the taiga." Shukhov perfectly understands the futility of fighting the camp: he is great and resistance to him robs a person of the last strength necessary for life, it is better "... groan and rot. But if you resist, you will break." The Russian people have always perceived power as an inevitable evil that must be endured, since power is temporary, fickle, and the peasant has been living on earth unchanged for several centuries. The hero, whose name and patronymic the story is respectfully named, is the most ordinary ordinary peasant, a truly folk character.
We see that, in principle, even in terrible camp conditions, a person has a choice - you can sink to the bottom, lose a person in yourself; You can keep a person in yourself, or you can rise above yourself. In the story, these options are represented by different characters. On their example, we were convinced that the choice always remains with the person himself. We are not finishing this conversation today.
V. Suggestion of homework.
- Answer the following question in writing: How can one remain a free person in conditions of lack of freedom?
- Read "Kolyma stories" by V. Shalamov. Compare 2-3 stories with the story of A.I. Solzhenitsyn.
Literature used in the preparation of the lesson:
- A.I. Solzhenitsyn. One day of Ivan Denisovich. M., 2004
- Lakshin V.Ya. Ivan Denisovich, his friends and enemies.//In the book. "Shores of Culture"/Sb.st. M., 1994
- Niva J. Solzhenitsyn. M., 1992
- Chalmaev V.A. Alexander Solzhenitsyn. Life and creativity./Kn. for students. M., 1994
- Kamensky G.L. A.I. Solzhenitsyn "One day of Ivan Denisovich" / Prince. for students. M., 2005
Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" was written in 1959. The author wrote it during a break between work on the novel "In the First Circle". In just 40 days, Solzhenitsyn created One Day in the Life of Ivan Denisovich. The analysis of this work is the topic of this article.
The subject of the work
The reader of the story gets acquainted with life in the camp zone of a Russian peasant. However, the theme of the work is not limited to camp life. In addition to the details of survival in the zone, "One day ..." contains details of life in the village, described through the prism of the hero's consciousness. In the story of Tyurin, the foreman, there is evidence of the consequences that collectivization led to in the country. In various disputes between camp intellectuals, various phenomena of Soviet art are discussed (theatrical premiere of the film "John the Terrible" by S. Eisenstein). In connection with the fate of Shukhov's comrades in the camp, many details of the history of the Soviet period are mentioned.
The theme of the fate of Russia is the main theme of the work of such a writer as Solzhenitsyn. "One Day in the Life of Ivan Denisovich", whose analysis interests us, is no exception. In it, local, private themes fit organically into this general problem. In this regard, the theme of the fate of art in a state with a totalitarian system is indicative. So, the artists from the camp paint free pictures for the authorities. The art of the Soviet era, according to Solzhenitsyn, became part of the general apparatus of oppression. The episode of Shukhov's reflections on the village handicraftsmen who produce painted "carpets" supports the motif of the degradation of art.
The plot of the story
Chronicle is the plot of the story, which was created by Solzhenitsyn ("One Day in the Life of Ivan Denisovich"). The analysis shows that although the plot is based on events lasting only one day, the protagonist's pre-camp biography can be presented through his memories. Ivan Shukhov was born in 1911. He spent his pre-war years in the village of Temgenevo. There are two daughters in his family (the only son died early). Shukhov has been at war since its first days. He was wounded, then taken prisoner, from where he managed to escape. In 1943, Shukhov was convicted on a fabricated case. He served 8 years at the time of the plot action. The action of the work takes place in Kazakhstan, in a hard labor camp. One of the January days of 1951 was described by Solzhenitsyn ("One Day in the Life of Ivan Denisovich").
Analysis of the character system of the work
Although the main part of the characters is depicted by the author with laconic means, Solzhenitsyn managed to achieve plastic expressiveness in their depiction. We observe the diversity of individualities, the richness of human types in the work "One Day in the Life of Ivan Denisovich". The heroes of the story are depicted succinctly, but at the same time remain in the reader's memory for a long time. For a writer, sometimes only one or two fragments, expressive sketches, are enough for this. Solzhenitsyn (the photo of the author is presented below) is sensitive to the national, professional and class specifics of the human characters he created.
Relations between the characters are subject to a strict camp hierarchy in the work "One Day in the Life of Ivan Denisovich". Summary all prison life the main character, presented in one day, allows us to conclude that there is an unbridgeable gulf between the camp administration and the prisoners. Noteworthy is the absence in this story of the names, and sometimes the surnames of many guards and overseers. The individuality of these characters is manifested only in the forms of violence, as well as in the degree of ferocity. On the contrary, despite the depersonalizing numbering system, many of the campers in the mind of the hero are present with names, and sometimes with patronymics. This suggests that they have retained their individuality. Although this evidence does not apply to the so-called informers, idiots and wicks described in the work "One Day in the Life of Ivan Denisovich". These heroes also do not have names. In general, Solzhenitsyn talks about how the system unsuccessfully tries to turn people into parts of a totalitarian machine. Particularly important in this regard, in addition to the main character, are the images of Tyurin (brigadier), Pavlo (his assistant), Buinovsky (cator rank), Baptist Alyoshka and Latvian Kilgas.
The main character
In the work "One day of Ivan Denisovich" the image of the protagonist is very remarkable. Solzhenitsyn made him an ordinary peasant, a Russian peasant. Although the circumstances of camp life are obviously "exceptional", the writer in his hero deliberately accentuates the outward inconspicuousness, "normality" of behavior. According to Solzhenitsyn, the fate of the country depends on the innate morality and natural stamina of the common man. In Shukhov, the main thing is an indestructible inner dignity. Ivan Denisovich, even serving his more educated fellow campers, does not change the age-old peasant habits and does not drop himself.
His working skill is very important in characterizing this hero: Shukhov managed to acquire his own handy trowel; in order to pour later than a spoon, he hides the pieces; he turned a folding knife and skillfully hid it. Further, the seemingly insignificant details of the existence of this hero, his demeanor, a kind of peasant etiquette, everyday habits - all this in the context of the story takes on the meaning of values that allow the human in a person to survive in difficult conditions. Shukhov, for example, always wakes up 1.5 hours before a divorce. He belongs to himself in these morning minutes. This time of actual freedom is also important for the hero because he can earn extra money.
"Cinematic" compositional techniques
One day contains in this work a clot of a person's fate, a squeeze from his life. It is impossible not to notice a high degree of detail: each fact in the narrative is divided into small components, of which most of served close up. The author uses "cinematic" ones. He scrupulously, unusually carefully watches how, before leaving the barracks, his hero dresses or eats up to the skeleton a small fish caught in the soup. A separate "frame" in the story is awarded even to such, at first glance, an insignificant gastronomic detail, like fish eyes floating in stew. You will be convinced of this by reading the work "One Day in the Life of Ivan Denisovich". The content of the chapters of this story, with careful reading, allows you to find many similar examples.
The concept of "term"
It is important that in the text the works approach each other, sometimes becoming almost synonymous, such concepts as "day" and "life". Such rapprochement is carried out by the author through the concept of "term", universal in the narrative. The term is the punishment meted out to the prisoner, and at the same time the internal routine of life in prison. In addition, what is most important, it is a synonym for the fate of a person and a reminder of the last, most important period of his life. Temporary designations thus acquire a deep moral and psychological coloring in the work.
Scene
The location is also very important. The camp space is hostile to the prisoners, especially the open areas of the zone are dangerous. The prisoners rush to run as soon as possible between the rooms. They are afraid of being caught in this place, they rush to hide under the protection of the barracks. In contrast to the heroes of Russian literature who love distance and breadth, Shukhov and other prisoners dream of the tightness of the shelter. For them, the barrack is home.
What was one day of Ivan Denisovich like?
The characterization of the one day Shukhov spent is directly given by the author in the work. Solzhenitsyn showed that this day in the life of the protagonist was successful. Speaking about him, the author notes that the hero was not put in a punishment cell, the brigade was not sent to the Sotsgorodok, he mowed down his porridge at lunch, the brigadier closed the percentage well. Shukhov laid the wall cheerfully, did not get caught with a hacksaw, worked part-time with Caesar in the evening and bought tobacco. The main character didn't get sick either. Has passed nothing clouded day, "almost happy." Such is the work of its main events. The author's final words sound just as epically calm. He says that there were such days in Shukhov's term 3653 - 3 extra days were added due to
Solzhenitsyn refrains from an open display of emotions and loud words: it is enough for the reader to have the corresponding feelings. And this is guaranteed by the harmonious structure of the story about the power of man and the power of life.
Conclusion
Thus, in the work "One Day in the Life of Ivan Denisovich" problems were posed that were very relevant for that time. Solzhenitsyn recreates the main features of the era when the people were doomed to incredible hardships and torments. The history of this phenomenon does not begin in 1937, marked by the first violations of the norms of party and state life, but much earlier, from the beginning of the totalitarian regime in Russia. In the work, therefore, a bunch of fates of many Soviet people who were forced to pay with years of torment, humiliation, camps for devoted and honest service. The author of the story "One Day in the Life of Ivan Denisovich" raised these problems in order for the reader to think about the essence of the phenomena observed in society and draw some conclusions for himself. The writer does not moralize, does not call for something, he only describes reality. The product only benefits from this.
A. Solzhenitsyn "One Day in the Life of Ivan Denisovich"
"One day of Ivan Denisovich" is associated with one of the facts
biographies of the author himself - by the Ekibastuz special camp, where
winter 1950–1951 this story was created at the common works.
The protagonist of Solzhenitsyn's story is Ivan Denisovich Shukhov,
prisoner of the Stalin camp. The author narrates on behalf of his hero
about one day out of three thousand six hundred and fifty three days
Ivan Denisovich. But even this day is enough to understand what kind of
the camp reigned in the camp, what orders and laws existed,
learn about the life of prisoners, be horrified by it. The camp is special
the former world, existing separately, parallel to ours, freely
my world. Here are other laws, different from those familiar to us,
here everyone survives in their own way. Life in the zone is shown not with
side, but from the inside by a person who knows about it firsthand
ke, but from my personal experience. That is why the story is amazing.
with its realism.
Questions for analysis:
What is the role of exposure?
From the exposition we learn the life philosophy of the chief
swarm. What is it?
What episode of the story is the plot?
How do events develop further?
What moments in the development of action can be highlighted?
What is their role?
How does the character of the protagonist appear in these episodes?
What is the artistic function of detailed detailing of individual
moments in the life of a camper?
Describing the “shmon” before going to work, the author builds
there is a semantic chain. Define her role for disclosure
the ideas of the whole work.
Which episode of the story can be designated as the culminating
ny? Why does the author make the wall masonry the highest point
in story development?
How does the story end? What is a disconnect?
Why does the hero consider the day depicted in the story to be happy?
you m?
Does Shukhov (and only Shukhov?) talk about only one day?
author?
How does the author achieve the expansion of time space?
What are the features of the composition of the story “One Day in the Life of Ivan De-
nisovich" can be noted?
What author's idea is expressed in the story?
What can be said about the spatial organization of the story?
Find the spatial coordinates in the work?
What parameters set the system of characters in the story?
What is the place of the protagonist in this system?
What heroes does the author single out from the general mass? Why?
What makes Ivan Denisovich stand out among these heroes?
According to what moral laws does the hero of the story live? Form-
pay attention to how he relates to everything that he created
but by the hands of man, keeps him alive. Find such
details that help characterize Ivan Denisovich.
How does Shukhov feel about those with whom he works in the brigade? As
members of the brigade belong to him: foreman Tyurin, bricklayer
Kildis, the deaf Klevshin, the young man Gopchik, and others? Is it possible to say
to say that Shukhov is "terribly lonely"?
What is Shukhov's attitude to work, to business? Compare to answer
episodes of washing the floors in the supervisory office and the storeroom
ki walls in the TEC (at the beginning and at the end of the story).
Why is the behavior of the hero so different? How do you feel about mind-
serve Niyu Shukhov?
Find the hero's thoughts about his military past, about
how he escaped from captivity and was accused of treason. (Epi-
zod: conversation with Kildis while working on construction
CHP). Is it possible to say that Shukhov is passive, weak in the war?
soul? Is it possible to blame him for the fact that during the investigation he was beaten out?
gives life (“if you sign it, you will live a little longer”)?
Shukhov remembers the words of the first camp foreman Kuzemin:
“In the camp, here’s who dies: who licks bowls, who goes to the medical unit
hopes that someone goes to the godfather [guard] to knock.” Prove-
those that Shukhov follows these rules.
On whose behalf is the story being told? Whose position expresses-
Xia: author or hero? What is the name of this way of depicting
zheniya? Why did the author choose him?
Additional:
Restore the past of Ivan Denisovich.
How did he get into the camp?
Why does the day described in the story seem to Shukhov
"almost happy"?
The day spent in the camp did not bring much trouble. This is already happiness in these conditions.
What "happy events" happen to
a hero?
"happy day"?
If such a day is happy, then what are unlucky ones?
What helps the hero to resist, to remain human?
Outline:
Analysis of the work "One Day in the Life of Ivan Denisovich"
History of creation.
The 60s are known for the "classification" of Russian history. The first decades of Soviet power were replaced by the plump dullness of faceless textbooks, what was valuable was drowned in the general stream of sayings. Giant hydroelectric power stations, BAM were declared milestones in history, banners "Glory to the CPSU" became the main decoration of cities and villages. In schools and universities, it was interpreted that history is a sequence of party congresses similar to each other, like two drops of water. In such an environment, one author suddenly had an insight: "For twelve years I calmly wrote and wrote. Only at the thirteenth I shuddered." It was the summer of 1960. Then he handed over the story "Sch-854" to the editors of Novy Mir.
"One day..." was conceived at general work in the Ekibastuz Special Camp in the winter of 1950-1951. Implemented in 1959, firstly as "Sch-854 (One day of one convict)".
After the 22nd Congress, the writer for the first time decided to propose something to the open press. The choice fell on the "New World" by A. Tvardovsky, where the manuscript went with an addition: "The camp through the eyes of a peasant, a very popular thing." Tvardovsky, who had gone to “read” with it in the evening, got up after two or three pages, got dressed, read it twice during a sleepless night, and immediately began to fight for its publication.
It was not by chance that Solzhenitsyn chose Tvardovsky as the publisher: “I had a true hunch-foreboding: to this peasant, Ivan Denisovich, the upper peasant A. Tvardovsky and the riding peasant N. Khrushchev cannot remain indifferent. And so it came true: not even poetry and It wasn’t even politics that decided the fate of my story, but this ultimate peasant essence of it, so much ridiculed, trampled and cursed with us since the Great Break and even earlier.
The story appeared in the eleventh issue of the same year. The author explains his idea as follows: "How was it born? Just such a camp day, hard work, I dragged a stretcher with a partner and thought how to describe the whole camp world - in one day. And everything will be. This thought was born to me in 52 For seven years she lay so simply. I'll try - I write one day one prisoner. I sat down, and how it poured! With terrible tension. "
The image of Ivan Denisovich was formed from the soldier Shukhov, who fought with the author in the Soviet-German war (and never sat), the general experience of the captives and the personal experience of the author, who was a bricklayer in the Special Camp. The rest of the faces are all from camp life, with their true biographies, - something like this Solzhenitsyn told about his heroes. At that time, he, being a teacher, modest, but knowing his own worth, firm, but not arrogant, complaisant, worried that the text would not be cut down in the editorial office: "I value the integrity of this thing more than its printing."
On November 16, 1962, a signal version was received. In two or three days, the whole city was talking about the story of an unknown author, in a week - the country, in two - the whole world. The story obscured many political and everyday news: they talked about it in the subway and on the streets. In libraries, the eleventh issue of Novy Mir was torn out of hand, enthusiasts copied the text by hand. Tvardovsky wanted to please the author with such success, but Solzhenitsyn replied: "They wrote about me before. In the Ryazan newspaper, when I won the championship in athletics ..."
It was important for Solzhenitsyn not to become famous, but to say a truthful word about a page in the history of society. And if we are talking about studying the story at school, then the best epigraph to the topic "Lessons of Solzhenitsyn", perhaps, you will not pick up: "The word of truth will outweigh the whole world."
The book carried not only new and terrible things about Russian reality, not only gave a portrait of one day of the country. It is about the internal confrontation between man and the Gulag.
The theme of this book is affirmation of the victory of the human spirit over camp violence. The story answered the tormenting question of an anxious age: what needs to be done so that, in the words of B. Pasternak, "... not a single slice of the face."
Plotis built on the resistance of the living - inanimate, Man - Camp: "Here, guys, the law is the taiga. But people live here too. In the camp, that's who dies: who licks the bowls, who hopes for the medical unit, and who goes to knock on the godfather" (A. I. Solzhenitsyn, One Day in the Life of Ivan Denisovich, Moscow, 1990, p.
With Chekhov's conciseness and accuracy of the Russian word, the story conveys the essence of camp philosophy, which drives the plot of a person's internal resistance to the Gulag.
In obedience to the plot, a grouping of images is also organized: every day a drama of resistance to the Camp is played out: Alyoshka is a Baptist, Senka Klevshin, Pavlo is a pombrigade leader, Tyurin. Others lose and are doomed to death: Tsezar Markovich, the jackal Fetyukov, foreman Der, fools. Those who protect themselves "on someone else's blood" also perish. This is the conflict in the story.
Problem, i.e. the most important question that
Starting to work on the text, at the same time we find out the problems of the work.
1. The camp is like, the embodiment of malice, thoughtlessness, dirt taken into service system. - one of the leading problems of Solzhenitsyn's work.
At A.T. Tvardovsky is a reflection on the "wrong side" of a person, which prevails in moments of clouding of the soul and mind:
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The Solzhenitsyn Camp in the fate of millions of people is also a sign of the clouding of the soul and mind, a dangerous and cruel machine that grinds the weak. The camp is presented not as an exception to life, but as its order. A person can, having tempered his heart with courage, fight against extraordinary circumstances, but how to deal with what has become a long-term habit? By the time of imprisonment, a person is already developing skills for cleanliness, food culture, reading, and hobbies. In the camp "habits are temporary" and you can survive here only by resisting them. The camp pursues the main goal - to destroy the inner world of a person, many turn into "camp dust" here. And is it smart? There is quite a lot of description of camp life in the text: "A camper lives for himself only in the morning for ten minutes at breakfast, five at lunch, five at dinner..." you can’t, you have to try so that no warder sees you alone, but only in the crowd ... Maybe he is looking for a man to send to work, maybe there is no one to take evil away. Hungry convicts carried pieces of bread that had been bitten for reference in a suitcase, fought each time, because "the pieces are still similar, all from the same bread." Prisoners could only send two letters home a year.
The camp was created to kill a person: "The local life ruffled him from getting up to the end, leaving no empty memories ..." But Shukhov has the strength to resist the power of the Camp. He immediately separates "his" free time from hours of captivity, official time, dead and miserable. From these lines, thinking about the main thing begins, the competition between will and captivity, "one's own" and "official" begins. This competition is difficult, because in the camp everything is mixed up and often one’s own is also not one’s own. Through all this "longer-lasting day" there is a drama of resistance to the Camp.
In the morning, Ivan Denisovich has been unwell: "At least one side took it - either it would have scored in a chill, or the aches had passed. Otherwise, neither this nor that." But, as A. Tvardovsky wrote: "It's one thing - just a body, and then both the body and the soul." And this state of internal struggle runs through the whole story.
The camp renders any reasonable human action meaningless. Here the guard Ivan Denisovich is leading to wash the floors in the guard's room. But the guards themselves do not need cleanliness: "Hey, listen, 854th! You just wipe it off so that it's only wet, and get out of here." Ivan Denisovich is savvy: “Work is like a stick, there are two ends in it: if you do it for people, give quality, if you do it for a fool, give it a show. Otherwise, everyone would have died long ago, it’s a known thing.”
2. Attitude to work becomes one of the main facets of human evaluation in the story. This determines the relationship of people in the camp, in the Shukhov brigade. "Outside, the brigade is all in the same black pea coats and in the same numbers, but inside it is very uneven - they are walking on steps." On the bottom step - Fetyukov, on the middle - Ivan Denisovich. The hierarchy in the camp is more true than in the wild. "Jackal" Fetyukov, an opportunist and a hack, drove a car there, was a big boss. Ivan Denisovich "there" - a gray man from the point of view of the boss. Here they were equalized, and then rebuilt by another life, where there are fewer illusions that prevent you from seeing the essence of what is happening. Tyurin's brigade works conscientiously, skillfully, quickly, with this they resist captivity. (The wall is being laid; this is where real human values are revealed. "Whoever pulls hard works, he becomes like a foreman over his neighbors.") , who, by hacking, according to the precepts of the system, “tilts the stretcher and slurps out the solution to make it easier to carry ... Shukhov stabbed him in the back once: “Oh, nasty blood! And he was the director - I suppose he demanded from the workers? ”The masonry episode is described as if we are free workers, virtuosos in their field. Everything is alive in the hands of the bricklayer Shukhov:“ Cinder blocks are not all one to one. One with a broken corner, with a crumpled rib or a tide - Shukhov immediately sees this, and sees which side this cinder block wants to lie down on, and sees the place on the wall that the cinder block is waiting for.
And when the work was completed - Ivan Denisovich is experiencing his "moment of truth", and no one in the world can interfere with him: "Shukhov, even though there is now an escort with dogs, he ran back along the site, looked. Nothing. Now he ran up - and through the wall , left, right. Eh, the eye is a spirit level! Exactly! The hand is not getting old yet. "
This is the legitimate pride of an inwardly free person for the work that he has done as a master should: “This is how Shukhov is arranged in a stupid way, and for eight years in the camps they can’t wean him in any way: he regrets every thing and work, so that he doesn’t perish in vain.” And at work, everything else settled in Shukhov: when the day was already over, Shukhov decided to wet himself without doctors: "These doctors will heal in a wooden pea jacket." So it's over with the reliable that others can solve your problems - whether doctors, bosses ... They won't solve it. For everything, only the person himself is responsible.
To defend freedom in a hard labor camp means to depend as little as possible on its regime. This is difficult for the open and conscientious Shukhov. peasant life, her custom, embedded in the genes, whether in the soul, does not allow the hero to hope for the medical unit. The imaginary care of the state about the health of the camper is expressed in the image of an imaginary paramedic, a student of the Literary Institute.
3. Another problem - waste of the people. The young poet Kolya Vdovushkin, in the camp hospital, is finishing the poems he had not finished in the wild; the peasant Shukhov has to “rewind” eight years at the logging site; artists "paint free paintings for the bosses, and they also go to divorce rooms to paint in turn." (Is this the purpose of the artist? "By the command of God, O muse, be obedient..."); the foreman of the 104th "has been sitting for nineteen years"; the first Shukhov brigadier by 1943 had already served twelve; the guards, too, "not butter in such a frost to stomp on the towers," the hard workers are at least busy with business, but are they? Together they are the people! Some were forcibly taken out of life during the years of "complete collectivization", others from the military stream. The indefinite, endless absurdity that our long-suffering people went through is presented in detail on the pages of the story.
4. This is how the problem arises moral, spiritual judgment over everything that happens. Awareness of real human life opposes the monstrous in its habitual outrage against people: the convoy conducts a thorough recount "by the heads", "a person is more precious than gold. If one head is missing behind the wire - you will add your own head there." What could be a greater mockery of the very concept of human value?
5. Sad news from the house of Ivan Denisovich reveals the problem transformations of "WILL" in a kind "ZONE".
It turns out that there is also no proper order in the wild, but there is system, in essence, little different from the camp. The fellow villagers are not busy with the real business; there is no one to work on the collective farm. Hacks - "dyes" flourish. Ridiculous, like in the camp. Shukhov feels himself mentally more secure in the camp than in this will, incomprehensible to him, where the “free” have to prevaricate and dodge day after day, while the camp resident Shukhov “never gave or took from anyone in the camp didn't learn." Personal spiritual resistance, a person's defense of the frailty of his inner world can resist the absurdity of the spirit of "will" or "zone". The hero finds the source of spiritual strength in useful work.
6. Work as opposition to the camp. In Shukhov, the "gene" of industriousness has been preserved, he cannot work, like all the generations of his ancestors, through the sleeves. The work began - and "how all thoughts were swept out of my head. Shukhov did not remember anything now and did not care, but only thought - how to make pipe elbows and remove them so that they do not smoke." Shukhov can agree when he hears the words of Senka Klevshin: "If you mess up, you'll be lost." But he reinterprets them in his own way: "That's right. Groan and rot. But if you resist, you will break." To bend so as not to break requires more strength and stamina than to resist.
7. Decay and decay at the very foundation of the Camp:"They steal here, and they steal in the zone, and even earlier they steal in the warehouse. And all those who steal do not work themselves with a pick." This infection, cultivated in the bowels of the Gulag, spreads everywhere, giving metastases far beyond the barbed wire, asserting itself in the wild: in production, culture and other areas of human life. The camp system, as in a mirror, reflects the policy of the state, aimed at depriving a person of independent thinking and behavior. "In the camps and prisons, Ivan Denisovich has lost the habit of laying out what's for tomorrow, what in a year and how to feed his family. The authorities think about everything for him - it seems to be easier" ...
Year after year there was a great ruin of common sense and the very ability to think.
8. Art as a source of human spiritual strength.
People in the camp remain people, help each other to master the science of survival, support the weak as best they can. Shukhov, having "cut down" two bowls of porridge, notes with satisfaction that one of them went to Kavtorang. “And according to Shukhov, it’s right that they gave it to the captain. The time will come, and the captain will learn to live, but for now he doesn’t know how.” In the next episode, the conversation is about the same urgency of spiritual bread.
In the foreman's room between Caesar Markovich, a film director, and X-123, "a convict by sentence, a twenty-year-old, a wiry old man," there is an argument about Eisenstein's film "Ioann the Terrible." “Antics,” X-123 says with contempt and anger. “There is so much art that it’s no longer art ... Geniuses do not adjust the interpretation to the taste of tyrants ...” To Caesar’s objection that art is not “what”, but “ how", exclaims with fervor: "No, to hell with your "how", if it does not awaken good feelings in me!" Art cannot isolate itself from the world of people into its delights.
Another episode: Caesar and Pyotr Mikhailovich are discussing a review in the fresh Moscow "Vechorka" for Zavadsky's premiere. Why did she interest the zeks?
It's January 1951. In literature, on the stage, in the cinema, the lacquered ball of socialist everyday life rolls. Zavadsky did not escape the embellishment of reality.
It was about this time that A. Tvardovsky wrote in the poem "Beyond the distance - the distance": "And everything around is dead and empty, / And it's scary in this emptiness." Heroes-intellectuals in the story did not see false pathos in the review. They continue to "go past life."
9. Liberation from illusions many come too late.
Tyurin talks about his life "without pity, if not about himself." He comprehended the essence of the system that drove him, a Red Army soldier, "out of the ranks" in 1930, pursued him at every turn, overtook him and forever hid him in the camp. He recalls the Leningrad student trainees who treated him kindly: "they are passing by life, the semaphores are green" ... The bitter and sympathetic smile of an experienced prisoner, already free from universal lies. One of the main tools for liberation is truth. People who bring the truth to others are visible everywhere and always.
Here is the old man Yu-81: “of all the camp backs, his back was excellently straight, and at the table it seemed as if he had put something over the bench under him. they didn’t squirm after everything that was going on in the dining room, but on top of Shukhov they unseeingly rested on their own. he was all exhausted, but not to the weakness of a wick - an invalid, but to a hewn, dark stone. , will not reconcile: he does not lay down his three hundred grams, like everyone else, on an unclean table in splashes, but on a washed rag.
The old man is distinguished from all by his unbending firmness, integrity, fidelity to some idea. Forgot nothing. Didn't back down from anything.
10. Spiritual dispute of characters The story is accompanied by the power of the arguments of each of the outstanding people. The camp gathered many of them, with their own voices and faces.
Alyoshka the Baptist finds solace in his God, thus moving away from the majority of atheist convicts. He is right in that “we should not pray for a parcel to be sent or for an extra portion of gruel to be. What is high among people is an abomination before God! We need to pray for the spiritual, so that the Lord removes scale from our hearts ...” Prayers make life easier this people, but they won’t make common life easier, they won’t “remove” the evil scum of the Camp from it: “In general, Ivan Denisovich decided, no matter how much you pray, they won’t throw off the deadline.
This idea, in its own way, also looks "above" the person, also "unseeingly rested on its own." Many different things came together in the Gulag.
It is the many faces and polyphony of the Camp that deprive any of the characters in the story of the right to be the authoritative and sole spokesman for the truth about the Camp and about human resistance to it. Solzhenitsyn is an epic artist. He needed all the voices put together to express the truth, to be heard.
Gleb Nerzhin, the hero of the novel "In the First Circle", thought that over time, people who passed through the camp "would easily trample on their prison past ... and even say that it was reasonable, not ruthless - and, perhaps, none of them is going to remind today's executioners what they did with human hearts! But Nerzhin felt his duty and his calling all the more for them all. He knew in himself the meticulous ability to never stray, never cool down, never forget. "
Such a person wrote "One Day in the Life of Ivan Denisovich".
Ivan Denisovich is the protagonist of Solzhenitsyn's story "One Day in the Life of Ivan Denisovich". His prototypes were followed by two really existing people. One of them is a middle-aged warrior named Ivan Shukhov, who served in the battery, the commander of which was the author himself, who is at the same time the second prototype, who once served time in prison under Article 58.
This is a 40-year-old man with a long beard and shaved head, who is in prison because he and his comrades escaped from German captivity and returned to their own. During interrogation, without any resistance, he signed papers stating that he himself voluntarily surrendered and became a spy, and he returned back for reconnaissance. Ivan Denisovich agreed to all this only because this signature gave a guarantee that he would live a little longer. As for clothing, it is the same as that of all campers. He is wearing wadded trousers, a quilted jacket, a pea coat and felt boots.
Under the jacket he has a spare pocket where he puts a piece of bread to eat later. He seems to be living the last day, but at the same time with the hope of serving time and going free, where his wife and two daughters are waiting for him.
Ivan Denisovich never thought about why there are so many innocent people in the camp, who also allegedly "betrayed their homeland." He is the kind of person who simply appreciates life. He never asks himself unnecessary questions, he simply accepts everything as it is. Therefore, for him, the satisfaction of needs, such as food, water and sleep, was paramount. Perhaps it was then that he got accustomed there. This is an amazingly resilient person who was able to adapt to such terrifying conditions. But even in such conditions, he does not lose his own dignity, does not “drop himself”.
For Shukhov, life is work. In his work, he is a master who knows his business perfectly and receives only pleasure from it.
Solzhenitsyn draws this hero as a person who has developed his own philosophy. It is based on the camp experience and the hard experience of Soviet life. In the face of this patient man, the author showed the entire Russian people, who are able to endure a lot of terrible suffering, bullying and still survive. And at the same time, do not lose morality and continue to live, treating people normally.
Composition on Shukhov Ivan Denisovich
The main character of the work is Shukhov Ivan Denisovich, presented by the writer in the form of a victim of Stalinist repressions.
The hero is described in the story as a simple Russian soldier of peasant origin, distinguished by a toothless mouth, a bald patch on his shaved head, and a bearded face.
For being in fascist captivity during the war, Shukhov was sent to a special hard labor camp for a ten-year term under the number Shch-854, from which he has already served eight years, leaving his family at home in the village, consisting of his wife and two daughters.
Shukhov's characteristic features are his self-esteem, which allowed Ivan Denisovich to retain his human appearance and not become a jackal, despite the difficult period of his life. He realizes that he is unable to change the current unfair situation and the cruel order established in the camp, but since he is distinguished by his love of life, he resigns himself to his difficult situation, while refusing to crawl and kneel, although he does not hope to gain the long-awaited freedom.
Ivan Denisovich seems to be a proud, not arrogant person, capable of showing kindness and generosity towards those convicts who have broken down from being in prison conditions, respecting and pitying them, while being able to show some kind of cunning that does not harm others.
Being an honest and conscientious person, Ivan Denisovich cannot afford to take time off from work, as is customary in prison camps, feigning illness, therefore, even when seriously ill, he feels guilty, forced to turn to the sanitary unit.
During his stay in the camp, Shukhov showed himself to be a rather hardworking, conscientious person, a master of all hands, not shy of any work, participating in the construction of a thermal power plant, sewing slippers and laying stone, becoming a good professional bricklayer and stove-maker. Ivan Denisovich tries by any possible means to earn extra money to get additional rations or cigarettes, receiving not only extra earnings from work, but also real pleasure, carefully and economically treating the assigned prison work.
At the end of the ten-year term, Ivan Denisovich Shukhov is released from the camp, allowing him to return to his native places with his family.
Describing the image of Shukhov in the story, the writer reveals the moral and spiritual problem of human relations.
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The story "One Day in the Life of Ivan Denisovich" brought popularity to the writer. The work was the author's first published work. It was published by Novy Mir magazine in 1962. The story described one ordinary day of a camp prisoner under the Stalinist regime.
History of creation
Initially, the work was called “Sch-854. One day for one convict, but censorship and a lot of obstacles from publishers and the authorities influenced the name change. chief actor described history was Ivan Denisovich Shukhov.
The image of the main character was created on the basis of prototypes. The first was a friend of Solzhenitsyn, who fought with him at the front in the Great Patriotic war, but did not get into the camp. The second is the writer himself, who knew the fate of the camp prisoners. Solzhenitsyn was convicted under Article 58 and spent several years in the camp working as a bricklayer. The action of the story takes place in the winter month of 1951 at hard labor in Siberia.
The image of Ivan Denisovich stands apart in Russian literature of the 20th century. When there was a change of power, and it became permissible to speak aloud about the Stalinist regime, this character became the personification of a prisoner in a Soviet labor camp. The images described in the story were familiar to those who suffered such a sad experience. The story served as an omen of a major work, which turned out to be the novel The Gulag Archipelago.
"One day of Ivan Denisovich"
The story describes the biography of Ivan Denisovich, his appearance and how the daily routine in the camp is drawn up. The man is 40 years old. He is a native of the village of Temgenevo. Leaving for the war in the summer of 1941, he left his wife and two daughters at home. By the will of fate, the hero ended up in a camp in Siberia and managed to serve eight years. At the end of the ninth year, after which he will again be able to lead a free life.
According to the official version, the man received a term for treason. It was believed that, having been in German captivity, Ivan Denisovich returned to his homeland on the instructions of the Germans. I had to plead guilty to stay alive. Although the reality was different. In battle, the detachment found itself in a disastrous position without food and shells. Having made their way to their own, the fighters were met as enemies. The soldiers did not believe the story of the fugitives and handed them over to the court, which determined hard labor as a punishment.
First, Ivan Denisovich ended up in a camp with a strict regime in Ust-Izhmen, and then he was transferred to Siberia, where the restrictions were not enforced so strictly. The hero lost half of his teeth, grew a beard and shaved his head. He was assigned the number Shch-854, and the camp clothes make him a typical little man, whose fate is decided by higher authorities and people in power.
For eight years of imprisonment, the man learned the laws of survival in the camp. His friends and foes among the prisoners had the same sad fate. Relationship problems were a key disadvantage of being incarcerated. It was because of them that the authorities had great power over the prisoners.
Ivan Denisovich preferred to be calm, behave with dignity and observe subordination. A savvy man, he quickly figured out how to ensure his survival and a worthy reputation. He had time to work and rest, correctly planned the day and food, skillfully found a common language with those with whom he needed. The characteristic of his skills speaks of the wisdom inherent at the genetic level. Similar qualities were demonstrated by serfs. His skills and experience helped him become the best foreman in the team, earning respect and status.
Illustration for the story "One Day in the Life of Ivan Denisovich" Ivan Denisovich was a full-fledged manager of his own destiny. He knew what to do in order to live in comfort, did not disdain work, but did not overwork himself, could outwit the warder and easily bypassed sharp corners in dealing with prisoners and with superiors. Ivan Shukhov's happy day was the day when he was not put in a punishment cell and his brigade was not assigned to Sotsgorodok, when the work was done on time and it was possible to stretch the rations for a day, when he hid the hacksaw and it was not found, and Tsezar Markovich let him earn some money for tobacco.
Critics compared the image of Shukhov to a hero - a hero from the common people, broken by an insane state system, found himself between the millstones of a camp machine that breaks people, humiliates their spirit and human self-consciousness.
Shukhov set a bar for himself, below which it was impermissible to fall. So he takes off his hat as he sits down at the table, ignoring the fish eyes in the gruel. So he preserves his spirit and does not betray honor. This elevates the man above the prisoners licking bowls, vegetating in the infirmary and knocking on the authorities. Therefore, Shukhov remains free in spirit.
The attitude to work in the work is described in a special way. The laying of the wall causes unprecedented excitement, and the men, forgetting that they are camp prisoners, put all their efforts into its rapid construction. Production novels filled with a similar message supported the spirit of socialist realism, but in Solzhenitsyn's story it is more of an allegory to " Divine Comedy» .
A person will not lose himself if he has a goal, so the construction of a thermal power plant becomes symbolic. Camp existence is interrupted by satisfaction from the work done. Purification, brought by the pleasure of fruitful work, even allows you to forget about the disease.
The main characters from the story "One Day in the Life of Ivan Denisovich" on the stage of the theater The specificity of the image of Ivan Denisovich speaks of the return of literature to the idea of populism. The story raises the theme of suffering in the name of the Lord in a conversation with Alyosha. The convict Matrona also supports this theme. God and imprisonment do not fit into the usual system of commensuration of faith, but the argument sounds like a paraphrase of the Karamazovs' discussion.
Productions and film adaptations
The first public visualization of Solzhenitsyn's story took place in 1963. The British channel "NBC" released a teleplay with Jason Rabards Jr. leading role. Finnish director Kaspar Reed made the film One Day in the Life of Ivan Denisovich in 1970, inviting actor Tom Courtney to collaborate.
Tom Courtenay in One Day in the Life of Ivan Denisovich The story is of little demand for film adaptation, but in the 2000s it found a second life on the theater stage. A deep analysis of the work, carried out by the directors, proved that the story has great dramatic potential, describes the past of the country, which should not be forgotten, and emphasizes the importance of eternal values.
In 2003, Andriy Zholdak staged a performance based on the story at the Kharkiv Drama Theater. Solzhenitsyn did not like the production.
Actor Alexander Filippenko created a one-man show in collaboration with theater designer David Borovsky in 2006. In 2009, at the Perm Academic Opera and Ballet Theatre, Georgy Isaakyan staged an opera to music by Tchaikovsky based on the story One Day in the Life of Ivan Denisovich. In 2013, the Arkhangelsk Drama Theater presented a production by Alexander Gorban.
