Hot snow Bondarev characters. "Hot Snow": two different actions

Yuri Vasilievich Bondarev" Hot snow"

1. Biography.

2. Place and time of action of the novel "Hot Snow".

3. Analysis of the work. A. The image of the people. b. The tragedy of the novel. With. Death is the greatest evil. d. The role of the heroes' past for the present. e. Portraits of characters.

f. Love in the work.

g. Kuznetsov and people.

b. Drozdovsky.

V. Ukhanov.

h. The closeness of the souls of Bessonov and Kuznetsov

Yuri Vasilyevich Bondarev was born on March 15, 1924 in the city of Orsk. During the Great Patriotic War The writer, as an artilleryman, went a long way from Stalingrad to Czechoslovakia. After the war, from 1946 to 1951, he studied at the M. Gorky Literary Institute. Began publishing in 1949. And the first collection of stories, “On the Big River,” was published in 1953.

The writer of the story became widely famous

"Youth of Commanders", published in 1956, "Battalions

asking for fire" (1957), "Last Salvos" (1959).

These books are characterized by drama, accuracy and clarity in the description of events in military life, subtlety psychological analysis heroes. Subsequently, his works “Silence” (1962), “Two” (1964), “Relatives” (1969), “Hot Snow” (1969), “Shore” (1975), “Choice” were published "(1980), "Moments" (1978) and others.

Since the mid-60s, the writer has been working on

creating films based on their works; in particular, he was one of the creators of the script for the epic film "Liberation".

Yuri Bondarev is also a laureate of the Lenin and State Prizes of the USSR and the RSFSR. His works have been translated into many foreign languages.

Among Yuri Bondarev's books about the war, "Hot Snow" occupies a special place, opening up new approaches to solving moral and psychological problems posed in his first stories - "Battalions Ask for Fire" and "The Last Salvos". These three books about the war represent a holistic and developing world, which in “Hot Snow” reached its greatest completeness and imaginative power. The first stories, independent in all respects, were at the same time a kind of preparation for a novel, perhaps not yet conceived, but living in the depths of the writer’s memory.

The events of the novel “Hot Snow” unfold near Stalingrad, south of the 6th Army of General Paulus, blocked by Soviet troops, in the cold December 1942, when one of our armies withstood in the Volga steppe the attack of the tank divisions of Field Marshal Manstein, who sought to break through a corridor to Paulus’s army and get her out of the encirclement. The outcome of the Battle of the Volga and maybe even the timing of the end of the war itself largely depended on the success or failure of this operation. The duration of the novel is limited to just a few days, during which Yuri Bondarev’s heroes selflessly defend a tiny patch of land from German tanks.

In "Hot Snow" time is compressed even more tightly than in the story "Battalions Ask for Fire." “Hot Snow” is the short march of General Bessonov’s army disembarking from the echelons and the battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Knowing no respite and lyrical digressions, as if the author’s breath was taken away from constant tension, the novel “Hot Snow” is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the novel's heroes, their very destinies are illuminated by the disturbing light of true history, as a result of which everything acquires special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all the reader's attention; the action is concentrated primarily around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are a part of the great army, they are the people, the people to the extent that the typified personality of the hero expresses the spiritual, moral traits of the people.

In “Hot Snow” the image of a people who have risen to war appears before us in a completeness of expression previously unknown in Yuri Bondarev, in the richness and diversity of characters, and at the same time in integrity. This image is not limited to the figures of young lieutenants - commanders of artillery platoons, nor the colorful figures of those who are traditionally considered to be people from the people - such as the slightly cowardly Chibisov, the calm and experienced gunner Evstigneev, or the straightforward and rough rider Rubin; nor by senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov. Only collectively understood and accepted emotionally as something unified, despite all the differences in ranks and titles, do they form the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity is achieved as if by itself, captured without much effort by the author - with living, moving life. The image of the people, as the result of the entire book, perhaps most of all feeds the epic, novelistic beginning of the story.

Yuri Bondarev is characterized by a desire for tragedy, the nature of which is close to the events of the war itself. It would seem that nothing corresponds to this artist’s aspiration more than the most difficult time for the country at the beginning of the war, the summer of 1941. But the writer’s books are about a different time, when the defeat of the Nazis and the victory of the Russian army are almost certain.

The death of heroes on the eve of victory, the criminal inevitability of death contains a high tragedy and causes a protest against the cruelty of the war and the forces that unleashed it. The heroes of “Hot Snow” die - battery medical instructor Zoya Elagina, shy Edova Sergunenkov, member of the Military Council Vesnin, Kasymov and many others die... And the war is to blame for all these deaths. Let the callousness of Lieutenant Drozdovsky be to blame for the death of Sergunenkov, and let the blame for Zoya’s death fall partly on him, but no matter how great Drozdovsky’s guilt, they are, first of all, victims of war.

The novel expresses an understanding of death as a violation of the highest justice and harmony. Let us remember how Kuznetsov looks at the murdered Kasymov: “now a shell box lay under Kasymov’s head, and his youthful, mustacheless face, recently alive, dark, had become deathly white, thinned by the eerie beauty of death, looked in surprise with damp cherry half-open eyes at his chest, at the torn into shreds, dissected padded jacket, as if even after death he did not understand how it killed him and why he could not stand up to the gun sight. In this unseeing squint of Kasymov there was a quiet curiosity about his unlived life on this earth and at the same time a calm secret. death, into which he was knocked down by the red-hot pain of the fragments when he tried to rise to the sight."

In "Hot Snow", with all the tension of events, everything human in people, their characters are revealed not separately from the war, but interconnected with it, under its fire, when, it seems, they cannot even raise their heads. Usually the chronicle of battles can be retold separately from the individuality of its participants - the battle in “Hot Snow” cannot be retold otherwise than through the fate and characters of people.

The past of the characters in the novel is significant and significant. For some it is almost cloudless, for others it is so complex and dramatic that the former drama is not left behind, pushed aside by the war, but accompanies the person in the battle southwest of Stalingrad. The events of the past determined Ukhanov’s military fate: a gifted, full of energy officer who should have commanded a battery, but he is only a sergeant. Ukhanov’s cool, rebellious character also determines his movement within the novel. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), resonated with fear in him and determine a lot in his behavior. One way or another, the novel reveals the past of Zoya Elagina, Kasymov, Sergunenkov, and the unsociable Rubin, whose courage and loyalty to soldier’s duty we will be able to appreciate only by the end of the novel.

The past of General Bessonov is especially important in the novel. The thought of his son being captured by the Germans complicates his position both at Headquarters and at the front. And when a fascist leaflet informing that Bessonov’s son was captured falls into the hands of Lieutenant Colonel Osin from the counterintelligence department of the front, it seems that a threat has arisen to Bessonov’s service.

All this retrospective material fits into the novel so naturally that the reader does not feel it separate. The past does not require a separate space for itself, separate chapters - it merged with the present, revealed its depths and the living interconnectedness of one and the other. The past does not burden the story of the present, but gives it greater dramatic poignancy, psychologism and historicism.

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only towards the end of the novel or with the death of the hero does the author create a complete portrait of him. How unexpected in this light is the portrait of the always smart and collected Drozdovsky on the very last page - with a relaxed, sluggish gait and unusually bent shoulders.

and spontaneity in the perception of characters, sensations

their real, living people, in whom it always remains

the possibility of mystery or sudden insight. Before us

the whole person, understandable, close, and yet we are not

leaves the feeling that we have only touched

the edge of it spiritual world,-- and with his death

you feel that you have not yet fully understood him

inner world. Commissioner Vesnin, looking at the truck,

thrown from the bridge onto the river ice, says: “What a monstrous destruction war is. Nothing has a price.” The monstrosity of war is most expressed - and the novel reveals this with cruel directness - in the murder of a person. But the novel also shows the high price of life given for the Motherland.

Probably the most mysterious thing in the world of human relationships in the novel is the love that arises between Kuznetsov and Zoya. The war, its cruelty and blood, its timing, overturning the usual ideas about time - it was precisely this that contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle when there is no time to think and analyze one’s feelings. And it all begins with Kuznetsov’s quiet, incomprehensible jealousy of the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it is from these lines that the title of the novel is taken, when Kuznetsov wiped his face wet from tears, “the snow on the sleeve of his quilted jacket was hot from his tears.”

Having been deceived at first by Lieutenant Drozdovsky,

the best cadet then, Zoya throughout the novel,

is revealed to us as a moral, integral personality,

ready for self-sacrifice, capable of embracing

the heartache and suffering of many. .Zoe's personality is revealed

in a tense, as if electrified space,

which almost inevitably arises in the trenches with the advent of

women. She seems to be going through a lot of trials,

from annoying interest to rude rejection. But her

kindness, her patience and compassion are enough for everyone, she

truly a sister to soldiers.

The image of Zoya somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with the feminine principle, affection and tenderness.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space is given to this conflict, it is exposed very sharply, and is easily traced from beginning to end. At first there is tension, going back to the background of the novel; inconsistency of characters, manners, temperaments, even style of speech: the soft, thoughtful Kuznetsov seems to find it difficult to endure Drozdovsky’s abrupt, commanding, indisputable speech. Long hours of battle, the senseless death of Sergunenkov, the mortal wound of Zoya, for which Drozdovsky was partly to blame - all this forms a gulf between the two young officers, the moral incompatibility of their existences.

In the finale, this abyss is indicated even more sharply: the four surviving artillerymen consecrate the newly received orders in a soldier’s bowler hat, and the sip that each of them takes is, first of all, a funeral sip - it contains bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him, he is a survivor, a wounded commander of a surviving battery, the general does not know about Drozdovsky’s grave guilt and most likely will never know. This is also the reality of war. But it’s not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier’s honest bowler hat.

It is extremely important that all of Kuznetsov’s connections with people, and above all with the people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely non-official - in contrast to the emphatically official relations that Drozdovsky so strictly and stubbornly establishes between himself and people. During the battle, Kuznetsov fights next to the soldiers, here he shows his composure, courage, and lively mind. But he also matures spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together.

The relationship between Kuznetsov and Senior Sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired upon in difficult battles in 1941, and due to his military ingenuity and decisive character, he could probably be an excellent commander. But life decreed otherwise, and at first we find Ukhanov and Kuznetsov in conflict: this is a clash of a sweeping, harsh and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight both Drozdovsky’s callousness and Ukhanov’s anarchic nature. But in reality it turns out that without yielding to each other in any fundamental position, remaining themselves, Kuznetsov and Ukhanov become close people. Not just people fighting together, but people who knew each other and are now forever close. And the absence of author’s comments, the preservation of the rough context of life makes their brotherhood real and significant.

The highest ethical philosophical thought the novel, as well as its emotional intensity reaches in the finale, when an unexpected rapprochement between Bessonov and Kuznetsov occurs. This is rapprochement without immediate proximity: Bessonov awarded his officer along with others and moved on. For him, Kuznetsov is just one of those who died at the turn of the Myshkova River. Their closeness turns out to be more sublime: it is the closeness of thought, spirit, and outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, due to his unsociability and suspicion, he prevented friendly relations from developing between them (“the way Vesnin wanted and the way they should be”). Or Kuznetsov, who could do nothing to help Chubarikov’s crew, which was dying before his eyes, tormented by the piercing thought that all this “seemed to have happened because he did not have time to get close to them, to understand each one, to love them...”.

Separated by the disproportion of responsibilities, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards one goal - not only military, but also spiritual. Suspecting nothing about each other’s thoughts, they think about the same thing and seek the truth in the same direction. Both of them demandly ask themselves about the purpose of life and whether their actions and aspirations correspond to it. They are separated by age and related, like father and son, or even like brother and brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.

List of used literature.

1. Yu.V. Bondarev, "Hot Snow".

2. A.M. Borshchagovsky, "One battle and a whole life."

The theme of the Great Patriotic War became one of the main themes of our literature for many years. The story of the war sounded especially deep and truthful in the works of front-line writers: K. Simonov, V. Bykov, B. Vasilyev and others. Yuri Bondarev, in whose work war occupies a central place, was also a participant in the war, an artilleryman who went a long way from Stalingrad to Czechoslovakia. “Hot Snow” is especially dear to him because it is Stalingrad, and the heroes of the novel are artillerymen.

The action of the novel begins precisely at Stalingrad, when one of our armies withstood the attack of the tank divisions of Field Marshal Manstein in the Volga steppe, who sought to break through a corridor to Paulus’s army and lead it out of encirclement. The outcome of the Battle of the Volga largely depended on the success or failure of this operation. The duration of the novel is limited to just a few days, during which Yuri Bondarev’s heroes selflessly defend a tiny patch of land from German tanks. “Hot Snow” is a story about the short march of the army of General Bessonov, who unloaded from the echelons, when they literally had to go into battle “from the wheels.” The novel is distinguished by its directness, direct connection of the plot with the actual events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the work, their very destinies are illuminated by the disturbing light of true history, as a result of which everything acquires special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all the reader's attention; the action is concentrated, mainly, around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army. In “Hot Snow,” with all the tension of events, everything human in people, their characters are revealed not separately from the war, but in mutual connection with it, under its fire, when, it seems, they cannot even raise their heads. Usually the chronicle of battles can be retold separately from the individuality of its participants, and the battle in “Hot Snow” cannot be retold except through the fate and characters of the people. The image of a simple Russian soldier who has risen to war appears before us in a completeness of expression never before seen in Yuri Bondarev. This is the image of Chibisov, the calm and experienced gunner Evstigneev, the straightforward and rough driver Rubin, Kasymov. The novel expresses the understanding of death as a violation of the highest justice. Let us remember how Kuznetsov looks at the murdered Kasymov: “...now a shell box lay under Kasymov’s head, and his youthful, mustacheless face, recently alive, dark, had become deathly white, thinned by the eerie beauty of death, looked in surprise with damp cherry half-open eyes on his chest, on his torn to shreds, dissected padded jacket, as if even after death he did not understand how it killed him and why he was never able to stand up to the gun.” In this unseeing squint of Kasymov, readers feel his quiet curiosity about his unlived life on this earth.

Kuznetsov feels even more acutely the irreversibility of the loss of his driver Sergunenkov. After all, the very mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness to how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will forever curse himself for what he saw, was present, but was unable to change anything. The past of the characters in the novel is significant and significant. For some it is almost cloudless, for others it is so complex and dramatic that the former drama does not remain behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The past does not require a separate space for itself, separate chapters - it merged with the present, revealing its depths and the living interconnectedness of one and the other.

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only towards the end of the novel or with the death of the hero does the author create a complete portrait of him. Before us is the whole person, understandable, close, and yet we are not left with the feeling that we have only touched the edge of his spiritual world, and with his death you understand that you have not yet managed to fully understand his inner world. The monstrosity of war is most expressed - and the novel reveals this with cruel directness - in the death of a person.

The work also shows the high price of life given for one’s homeland. Probably the most mysterious thing in the world of human relationships in the novel is the love that arises between Kuznetsov and Zoya. The war, its cruelty and blood, its timing, overturning the usual ideas about time - it was precisely this that contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle when there is no time to think and analyze one’s experiences. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it is from these lines that the title of the novel is taken, when the hero wiped his face wet from tears, “the snow on the sleeve of his quilted jacket was hot from his tears.” It is extremely important that all of Kuznetsov’s connections with people, and above all with the people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely non-official - in contrast to the emphatically official relations that Drozdovsky so strictly and stubbornly establishes between himself and people.

During the battle, Kuznetsov fights next to the soldiers, here he shows his composure, courage, and lively mind. But he also matures spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together. The relationship between Kuznetsov and Senior Sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired upon in difficult battles in 1941, and due to his military ingenuity and decisive character, he could probably be an excellent commander. But life decreed otherwise, and at first we find Ukhanov and Kuznetsov in conflict: this is a clash of a sweeping, harsh and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight Ukhanov’s anarchic nature. But in reality it turns out that, without yielding to each other in any fundamental position, remaining themselves, Kuznetsov and Ukhanov become close people. Not just people fighting together, but people who knew each other and are now forever close.

Separated by the disproportion of responsibilities, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards one goal - not only military, but also spiritual. Suspecting nothing about each other’s thoughts, they think about the same thing and seek the truth in the same direction. They are separated by age and related, like father and son, or even like brother and brother, love for the homeland and belonging to the people and to humanity in the highest sense of these words.

The death of heroes on the eve of victory contains a high level of tragedy and provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of “Hot Snow” die - battery medical instructor Zoya Elagina, shy rider Sergunenkov, member of the Military Council Vesnin, Kasymov and many others die... And the war is to blame for all these deaths. In the novel, the feat of the people who went to war appears before us in all its richness and diversity of characters. This is a feat of young lieutenants - commanders of artillery platoons - and those who are traditionally considered to be people from the people, like the slightly cowardly Chibisov, the calm Evstigneev or the straightforward Rubin. This is also a feat for senior officers, such as division commander Colonel Deev or army commander General Bessonov. All of them in this war, first of all, were Soldiers, and each in his own way fulfilled his duty to his homeland, to his people. AND Great Victory, which came in May 1945, became their common cause.

Composition

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only towards the end of the novel or with the death of the hero does the author create a complete portrait of him. Before us is the whole person, understandable, close, and yet we are not left with the feeling that we have only touched the edge of his spiritual world, and with his death you understand that you have not yet managed to fully understand his inner world. The monstrosity of war is most expressed - and the novel reveals this with cruel directness - in the death of a person.

Separated by the disproportion of responsibilities, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards one goal - not only military, but also spiritual. Suspecting nothing about each other’s thoughts, they think about the same thing and seek the truth in the same direction. They are separated by age and related, like father and son, or even like brother and brother, love for the homeland and belonging to the people and to humanity in the highest sense of these words.

The death of heroes on the eve of victory contains a high level of tragedy and provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of “Hot Snow” die - battery medical instructor Zoya Elagina, shy rider Sergunenkov, member of the Military Council Vesnin, Kasymov and many others die... And the war is to blame for all these deaths. In the novel, the feat of the people who went to war appears before us in all its richness and diversity of characters. This is a feat of young lieutenants - commanders of artillery platoons - and those who are traditionally considered to be people from the people, like the slightly cowardly Chibisov, the calm Evstigneev or the straightforward Rubin. This is also a feat for senior officers, such as division commander Colonel Deev or army commander General Bessonov. All of them in this war, first of all, were Soldiers, and each in his own way fulfilled his duty to his homeland, to his people. And the Great Victory, which came in May 1945, became their common cause.

Yuri Vasilyevich Bondarev was born on March 15, 1924 in the city of Orsk. During the Great Patriotic War, the writer, as an artilleryman, traveled a long way from Stalingrad to Czechoslovakia. After the war, from 1946 to 1951, he studied at the M. Gorky Literary Institute. Began publishing in 1949. And the first collection of stories, “On the Big River,” was published in 1953.

The writer of the story became widely famous

"Youth of Commanders", published in 1956, "Battalions

asking for fire" (1957), "Last Salvos" (1959).

These books are characterized by drama, accuracy and clarity in the description of the events of military life, and the subtlety of the psychological analysis of the heroes. Subsequently, his works “Silence” (1962), “Two” (1964), “Relatives” (1969), “Hot Snow” (1969), “Shore” (1975), “Choice” were published "(1980), "Moments" (1978) and others.

Since the mid-60s, the writer has been working on

creating films based on their works; in particular, he was one of the creators of the script for the epic film "Liberation".

Yuri Bondarev is also a laureate of the Lenin and State Prizes of the USSR and the RSFSR. His works have been translated into many foreign languages.

In "Hot Snow" time is compressed even more tightly than in the story "Battalions Ask for Fire." “Hot Snow” is the short march of General Bessonov’s army disembarking from the echelons and the battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Knowing no respite or lyrical digressions, as if the author had lost his breath from constant tension, the novel “Hot Snow” is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the novel's heroes, their very destinies are illuminated by the disturbing light of true history, as a result of which everything acquires special weight and significance.

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only towards the end of the novel or with the death of the hero does the author create a complete portrait of him. How unexpected in this light is the portrait of the always smart and collected Drozdovsky on the very last page - with a relaxed, sluggish gait and unusually bent shoulders.

and spontaneity in the perception of characters, sensations

their real, living people, in whom it always remains

the possibility of mystery or sudden insight. Before us

the whole person, understandable, close, and yet we are not

leaves the feeling that we have only touched

the edge of his spiritual world - and with his death

you feel that you have not yet fully understood him

inner world. Commissioner Vesnin, looking at the truck,

Having been deceived at first by Lieutenant Drozdovsky,

the best cadet then, Zoya throughout the novel,

is revealed to us as a moral, integral personality,

ready for self-sacrifice, capable of embracing

the heartache and suffering of many. .Zoe's personality is revealed

in a tense, as if electrified space,

which almost inevitably arises in the trenches with the advent of

women. She seems to be going through a lot of trials,

from annoying interest to rude rejection. But her

kindness, her patience and compassion are enough for everyone, she

truly a sister to soldiers.

The image of Zoya somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with the feminine principle, affection and tenderness.

The ethical and philosophical thought of the novel, as well as its emotional intensity, reaches its greatest heights in the finale, when an unexpected rapprochement between Bessonov and Kuznetsov occurs. This is rapprochement without immediate proximity: Bessonov awarded his officer along with others and moved on. For him, Kuznetsov is just one of those who died at the turn of the Myshkova River. Their closeness turns out to be more sublime: it is the closeness of thought, spirit, and outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, due to his unsociability and suspicion, he prevented friendly relations from developing between them (“the way Vesnin wanted and the way they should be”). Or Kuznetsov, who could do nothing to help Chubarikov’s crew dying before his eyes, tormented by the piercing thought that all this, “it seemed, should have

happened because he did not have time to get close to them, to understand each one, to love each one..."

7. Analysis of the work of A.I. Kuprin" Garnet bracelet"

Story by A.I. Kuprin's "Garnet Bracelet", published in 1910, is one of the most poetic works of art Russian literature of the 20th century. It opens with an epigraph referring the reader to famous work J1. van Beethoven - sonata "Appassionata". To this same musical theme the author returns at the end of the story. The first chapter is a detailed landscape sketch, revealing the contradictory variability of the natural elements. In it A.I. Kuprin introduces us to the image of the main character - Princess Vera Nikolaevna Sheina, the wife of the leader of the nobility. At first glance, a woman’s life seems calm and carefree. Despite the financial difficulties, Vera and her husband have an atmosphere of friendship and mutual understanding in their family. Only one small detail alarms the reader: on her name day, her husband gives Vera earrings made of pear-shaped pearls. Doubt involuntarily creeps in that the heroine’s family happiness is so strong, so indestructible.

On Sheina’s name day, her younger sister comes to visit her, who, like Pushkin’s Olga, who sets off the image of Tatyana in Eugene Onegin, sharply contrasts with Vera both in character and in appearance. Anna is playful and wasteful, and Vera is calm, reasonable and economical. Anna is attractive but ugly, while Vera is endowed with aristocratic beauty. Anna has two children, but Vera has no children, although she passionately desires to have them. An important artistic detail that reveals Anna’s character is the gift she gives to her sister: Anna brings Vera a small notebook made from an old prayer book. She enthusiastically talks about how she carefully selected leaves, clasps and a pencil for the book. To faith, the very fact of converting a prayer book into a notebook seems blasphemous. This shows the integrity of her nature and emphasizes how much more seriously the older sister takes life. We will soon learn that Vera graduated from the Smolny Institute - one of the best educational institutions for women in noble Russia, and her friend is the famous pianist Zhenya Reiter.

Among the guests who arrived for the name day, General Anosov is an important figure. It is this man, wise in life, who has seen danger and death in his lifetime, and therefore knows the value of life, who tells in the story several stories about love, which can be described in artistic structure works as inserted novellas. Unlike the vulgar family stories told by Prince Vasily Lvovich, Vera’s husband and owner of the house, where everything is twisted and ridiculed and turns into a farce, General Anosov’s stories are filled with real life details. This is how a dispute arises in the story about what true love. Anosov says that people have forgotten how to love, that marriage does not at all imply spiritual closeness and warmth. Women often get married to get out of care and be the mistress of the house. Men are tired of single life. A significant role in marriages is played by the desire to continue the family line, and selfish motives are often not in last place. “Where is the love?” - asks Anosov. He is interested in the kind of love for which “to accomplish any feat, to give one’s life, to go to torment is not work at all, but one joy.” Here, in the words of General Kuprin, in essence, reveals his concept of love: “Love must be a tragedy. The greatest secret in the world. No life conveniences, calculations or compromises should concern her.” Anosov talks about how people become victims of their love feelings, about love triangles that exist contrary to all meaning.

Against this background, the story examines the love story of telegraph operator Zheltkov for Princess Vera. This feeling flared up when Vera was still free. But she did not reciprocate his feelings. Contrary to all logic, Zheltkov did not stop dreaming about his beloved, wrote tender letters to her, and even sent her a gift for her name day - a gold bracelet with garnets that looked like droplets of blood. An expensive gift forces Vera’s husband to take measures to stop the story. He, together with the princess's brother Nikolai, decides to return the bracelet.

The scene of Prince Shein's visit to Zheltkov's apartment is one of the key scenes of the work. A.I. Kuprin appears here as a genuine master-artist in the creation psychological portrait. The image of the telegraph operator Zheltkov is typical of Russian classical literature of the 19th century century image little man. A notable detail in the story is the comparison of the hero’s room with the wardroom of a cargo ship. The character of the inhabitant of this humble dwelling is shown primarily through gesture. In the scene of the visit of Vasily Lvovich and Nikolai Nikolaevich, Zheltkov either rubs his hands in confusion, or nervously unbuttons and fastens the buttons of his short jacket (and this detail becomes repetitive in this scene). The hero is excited, he is unable to hide his feelings. However, as the conversation progresses, when Nikolai Nikolaevich voices a threat to turn to the authorities in order to protect Vera from persecution, Zheltkov suddenly transforms and even laughs. Love gives him strength, and he begins to feel that he is right. Kuprin focuses on the difference in mood between Nikolai Nikolaevich and Vasily Lvovich during the visit. Vera's husband, seeing his opponent, suddenly becomes serious and reasonable. He tries to understand Zheltkov and says to his brother-in-law: “Kolya, is he really to blame for love and is it possible to control such a feeling as love - a feeling that has not yet found an interpreter.” Unlike Nikolai Nikolaevich, Shane allows Zheltkov to write a farewell letter to Vera. A huge role in this scene for understanding the depth of Zheltkov’s feelings for Vera is played by a detailed portrait of the hero. His lips become white, like those of a dead man, his eyes fill with tears.

Zheltkov calls Vera and asks her for a small thing - for the opportunity to see her at least occasionally, without appearing in front of her. These meetings could have given his life at least some meaning, but Vera refused him this too. Her reputation and the peace of her family were more valuable to her. She showed cold indifference to Zheltkov’s fate. The telegraph operator found himself defenseless against Vera’s decision. The strength of love and maximum spiritual openness made him vulnerable. Kuprin constantly emphasizes this defenselessness with portrait details: a child’s chin, a gentle girl’s face.

In the eleventh chapter of the story, the author emphasizes the motive of fate. Princess Vera, who never read newspapers for fear of getting her hands dirty, suddenly unfolds the very sheet on which the announcement of Zheltkov’s suicide was printed. This fragment of the work is intertwined with the scene in which General Anosov says to Vera: “...Who knows? - maybe yours life path, Verochka, crossed exactly the kind of love that women dream about and that men are no longer capable of.” It is no coincidence that the princess recalls these words again. It seems that Zheltkov was really sent to Vera by fate, and she could not discern selfless nobility, subtlety and beauty in the soul of a simple telegraph operator.

A unique plot structure in the works of A.I. Kuprin lies in the fact that the author gives the reader peculiar signs that help to predict further development narratives. In “Oles” this is a motive of fortune-telling, in accordance with which all further relationships between the characters develop; in “The Duel” it is a conversation between officers about a duel. In “The Garnet Bracelet,” the sign foreshadowing the tragic outcome is the bracelet itself, the stones of which look like droplets of blood.

Upon learning of Zheltkov’s death, Vera realizes that she foresaw a tragic outcome. In his farewell message to his beloved, Zheltkov does not hide his all-consuming passion. He literally deifies Faith, turning to her the words from the prayer “Our Father...”: “Hallowed be the Your name».

In literature " Silver Age“God-fighting motives were strong. Zheltkov, deciding to commit suicide, commits the greatest Christian sin, because the church prescribes to endure any spiritual and physical torment sent to a person on earth. But with the entire course of development of the plot, A.I. Kuprin justifies Zheltkov’s action. Not by chance main character The story's name is Vera. For Zheltkov, thus, the concepts of “love” and “faith” merge together. Before his death, the hero asks the landlady to hang a bracelet on the icon.

Looking at the late Zheltkov, Vera is finally convinced that there was truth in Anosov’s words. By his action, the poor telegraph operator was able to reach the heart of the cold beauty and touch her. Vera brings Zheltkov a red rose and kisses him on the forehead with a long, friendly kiss. Only after death did the hero receive the right to attention and respect for his feelings. Only with his own death did he prove the true depth of his experiences (before that, Vera considered him crazy).

Anosov's words about eternal, exclusive love become the running theme of the story. IN last time they are remembered in the story when, at Zheltkov’s request, Vera listens to Beethoven’s second sonata (“Appassionata”). At the end of the story by A.I. Kuprin sounds another repetition: “Hallowed be Thy name,” which is no less significant in the artistic structure of the work. He once again emphasizes the purity and sublimity of Zheltkov’s attitude towards his beloved.

Putting love on a par with such concepts as death, faith, A.I. Kuprin emphasizes the importance of this concept for human life as a whole. Not all people know how to love and remain faithful to their feelings. The story “The Garnet Bracelet” can be considered as a kind of testament to A.I. Kuprin, addressed to those who are trying to live not with their hearts, but with their minds. Their life, correct from the point of view of a rational approach, is doomed to a spiritually devastated existence, for only love can give a person true happiness.

You need to know everything about the past war. We need to know what it was, and what immeasurable emotional burden the days of retreats and defeats were associated with for us, and what immeasurable happiness VICTORY was for us. We also need to know what sacrifices the war cost us, what destruction it brought, leaving wounds in the souls of people and on the body of the earth. There should not and cannot be oblivion in a matter such as this.

K. Simonov

Many years have passed since the victorious salvoes of the Great Patriotic War died down. And the further we move away from that war, from those harsh battles, the fewer heroes of that time remain alive, the more expensive and valuable the military chronicle that writers created and continue to create becomes. In their works they glorify the courage and heroism of our people, our valiant army, millions and millions of people who bore on their shoulders all the hardships of war and accomplished feats in the name of peace on Earth.

Wonderful directors and screenwriters of their time worked on Soviet films about the war. They breathed into them pieces of their grief, their respect. These films are pleasant to watch because they put their soul into them, because the directors understood how important what they want to convey and show is. Generations grow up watching films about war, because each of these films is a real lesson in courage, conscience and valor.

In our research we want to compare the novel by Yu.V. Bondarev "Hot Snow"and G. Yegiazarov’s film “Hot Snow”

Target: compare the novel by Yu.V. Bondarev "Hot Snow"and G. Yegiazarov’s film “Hot Snow”.

Tasks:

Consider how the film conveys the text of the novel: plot, composition, depiction of events, characters;

Does our idea of Kuznetsov and Drozdovsky coincide with the play of B. Tokarev and N. Eremenko;

What excited you more – the book or the movie?

Research methods:

Selection of text and visual materials on the topic of the project;

Systematization of material;

Presentation development.

Meta-subject educational- information skills:

Ability to extract information from different sources;

Ability to make a plan;

Ability to select material on a given topic;

Ability to compose written abstracts;

Ability to select quotes.

The novel “Hot Snow” was written by Bondarev in 1969. By this time, the writer was already a recognized master of Russian prose. He was inspired to create this work by his soldier’s memory:

« I remembered a lot that over the years I began to forget: the winter of 1942, the cold, the steppe, icy trenches, tank attacks, bombings, the smell of burning and burning armor...

Of course, if I had not taken part in the battle that the 2nd Guards Army fought in the Volga steppes in the fierce December of 1942 with Manstein’s tank divisions, then perhaps the novel would have been somewhat different. Personal experience and the time that lay between that battle and work on the novel allowed me to write exactly this way and not otherwise ».

The novel tells the story of the epic Battle of Stalingrad, a battle that led to a radical turning point in the war. The idea of Stalingrad becomes central in the novel.

The film “Hot Snow” (directed by Gavriil Egiazarov) is an adaptation of the novel of the same name by a front-line writerYuri Vasilievich Bondarev. In the film “Hot Snow”, as in the novel, the tragedy of war, the life of a person at the front, is recreated with fearless truthfulness and depth. Debt and despair, love and death, a great desire to live and self-sacrifice in the name of the Motherland - everything is mixed up in a fierce battle, where the personal fates of soldiers, officers, medical instructor Tanya (in Zoya's novel) become a common fate. The sky and earth split apart from explosions and fire, even the snow seems hot in this battle...

The battle has not yet begun, and the viewer, as they say, feels with his skin the severe frost, and the impending anxiety before a close oncoming battle, and all the hardship of everyday soldier’s work... The battle scenes were especially successful - they are harsh, without unnecessary pyrotechnic effects, full of true drama. Here the cinematography is not so much beautiful, as is often the case in battle films, but rather courageously truthful. The fearless truth of the soldier's feat is the indisputable and important advantage of the picture.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space is given to this conflict; it arises very abruptly and is easily traced from beginning to end. At first there is tension, going back into the background of the novel; incompatibility of characters, manners, temperaments, even style of speech: the soft, thoughtful Kuznetsov seems to find it difficult to endure Drozdovsky’s abrupt, commanding, indisputable speech. Long hours of battle, the senseless death of Sergunenkov, the mortal wound of Zoya, for which Drozdovsky was partly to blame - all this forms a gap between the two young officers, the moral incompatibility of their existences.

The film makes a successful attempt at psychological deepening, individualization of some characters, explores them moral issues. The figures of lieutenants Drozdovsky (N. Eremenko) and Kuznetsov (B. Tokarev) brought to the fore are separated not only by the dissimilarity of characters.

In the novel, their backstory meant a lot, the story about how Drozdovsky, with his “imperious expression on his thin pale face,” was the favorite of the combatant commanders at the school, and Kuznetsov did not stand out in anything special.

There is no place for backstory in the film, and the director, as they say, is on the move, on the march, separating the characters. The difference in their characters can be seen even in the way they give orders. Towering on a horse, tied with a belt, Drozdovsky is commandingly adamant and harsh. Kuznetsov, looking at the soldiers leaning against the carriage, lost in a short rest, hesitates with the command “rise.”

In the finale, this abyss is indicated even more sharply: the four surviving artillerymen consecrate their newly received orders in a soldier’s bowler hat. Drozdovsky also received the order, because for Bessonov, who awarded him, he is a survivor, a wounded commander of a surviving battery, the general does not know about Drozdovsky’s grave guilt and most likely will never know. This is also the reality of war. But it’s not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier’s cauldron.

In the film, we also see the wounded battalion commander standing apart from the fighters; perhaps he realized something for himself...

Probably the most mysterious thing in the world of human relationships in the novel is the love between Kuznetsov and Zoya. Having initially been deceived by Lieutenant Drozdovsky, the best cadet at that time, Zoya throughout the novel reveals herself to us as a moral, integral person, ready for self-sacrifice, capable of embracing with her heart the pain and suffering of many.

The film shows the emerging love between Kuznetsov and Tanya. The war, with its cruelty and blood, contributed to the rapid development of this feeling. After all, this love was formed in those short hours of march and battle, when there is no time for reflection and analysis of one’s experiences. And it all begins with Kuznetsov’s quiet, incomprehensible jealousy of the relationship between Tanya and Drozdovsky. After a short period of time, Kuznetsov is already bitterly mourning the dead girl. When Nikolai wiped his face wet from tears, snow covered his sleevethe quilted jacket was hot from his tears...

Conclusion: Bondarev’s novel has become a work about heroism and courage, about the inner beauty of our contemporary, who defeated fascism in a bloody war. In “Hot Snow” there are no scenes that directly talk about love for the Motherland, and there are no such arguments. The heroes express love and hatred through their exploits, actions, courage, and amazing determination. This is probably true love, and words mean little. Writers help us see how great things are accomplished from small things.

The film “Hot Snow” shows with cruel directness what a monstrous destruction war really is. The death of heroes on the eve of victory, the criminal inevitability of death, provokes a protest against the cruelty of the war and the forces that unleashed it.

The film is over 40 years old, many wonderful actors are no longer alive: G. Zhzhenov, N. Eremenko, V. Spiridonov, I. Ledogorov and others, but the film is remembered, people of different generations watch it with interest, it does not leave the audience indifferent, it reminds young people about bloody battles , teaches us to take care of a peaceful life.