Biography Fadeeva 11th grade

Creativity Alexander Alexandrovich Fadeev - almost immediately after the appearance of the "defeat" he was published in - gg. This novel, addressed to the traditions of Russian classics, to nationwide issues, is not chronic, but plot, with sharply defined characters, should be considered among the true most important epic or lyro-epic works that have become classic Soviet literature: the “White Guard” by M.

Bulgakov, the “quiet Don” of the I-2nd Prince. Sholokhov, “Walking by torment” - and “Peter the Great” - A. Tolstoy, M. Romanov, it is enough to compare the humility of the fate of the wounded Andrei Bolkonsky “War and Peace” on the Austerlitz field in front of the omnipotent sky, the faith of Kutuzov in the abstract voyage of history, in the spirit of the army with the psychological state of Levinson in “Disgusting, the construction of Gati, the detachment of the detachment, From the white, as a clear similarity of intonations, techniques of slow-out-in-standing disclosure of the stream of the hero’s life-based stream: “I saw my detachment, exhausted and thinned out, delayed the stretching along the road, and realized how he was deadly tired and how powerless he was now doing something for these people, sadly winged behind him.

They were still the only thing that were not indifferent, close to him, these exhausted faithful people, closest to the rest, even closer to himself, but he seemed to be no longer doing anything the length of them, he no longer led them, and only they themselves did not know this and dutifully stretched after him, like a herd, accustomed to their leader.

” The dual use of the word “dull” and “dutifully” in the painting of the spontaneous, by the inertia of the movement of the mass, generally the emphasis of the overflow, almost the complete dissolution of the leader who has lost the will, in the equally limp mass is not very indicative: this is no longer the battle of the revolutionary mass, but a mournful procession, carrying the procession.

It is difficult to carry this burden as a cross at the Calvary, but it is also impossible to reset such paintings - the endless movements of the Levinson’s detachment by the taiga, almost wandering, their frequent defeats in the novel are much more than victories, finally, the death of a novel blizzard is almost independent, the salvation of only nineteen fighters - they can generally create the impression of the fatal doom of a person, and his triumph of his mind.

unkind laws, whirlpools of history. In fact, these “Berdanks” of Comrade, it is impossible to defeat him, if it is almost impossible to even survive one of the last two paintings of the battle, or rather the “defeat”, the Levinson detachment may probably even scare. The writer strengthens the impression of the disaster with an unexpected metaphor - shells float in the air like fish: “They were noticed - machine guns cracked after them, and the night lead bumblebees immediately sang over their heads.

Fire rattling fish again fluttered in the sky. They dived from heights, dismissing brilliant tails, and with a loud hiss stuck into the ground at the horses, looking back, Levinson saw a huge glow, blazing above the village, - a whole quarter burned, - against the backdrop of this dungeon, they rushed with lonely and groups of black fiery figures of people.

" In fact, the whole series of episodes, as it were, dates back to the situations of the outcome from the Old Testament on the path of the chosen people from Egypt to the promised land. Only faith can defeat misfortunes, the great idea of ​​the path is not from here in all scenes there is some kind of “unchanged”, enlightened element of worldview, faith in the path that is chosen by the partisans?

Fadeev writes not about death, not about death, but about victory over them, over all mournful disastrous circumstances. The concepts of "defeat" and "victory" are changing places. And the defeated detachment of Levinson is invincible, and the winners will eventually be defeated. Now, in the light of the whole fate of A. Fadeev, some episodes of the “Young Guard”, it is quite clear that in the “defeat”, with a clear orientation to the Tolstoye construction of the phrase, to the Tolstoy approach to the image of “vibrations” in the psyche, the stream of feelings, the solutions “dialectic of the soul”, a bright romantic worldview dominated.

Fadeev is the deepest lyricist in prose. He, of course, does not lose sight of the plot as a system of events, the alternation of meetings and the separation of the heroes, but always a powerful lyrical stream, admiration for a person, as it were, “washes” the objective world, an event outline. The element of lyricism is “entered” into details and details. In the novel “Young Guard”, at the moment when the author was to talk about the last days in the life of the young heroes-undergrounds of Krasnodon, arrested by the Nazis, the writer directly admits: “My friend!

My friend! I proceed to the most mournful pages of the story and involuntarily recall you can say that A. Fadeev, even being for many years, the secretary of the Writers' Union, a functionary from ideology, a bureaucratic “a horse of a scrap brev” for all bureaucratic affairs, and through the thickness of years broke through the thought and feeling in distant times of youth.

Lyubka Shevtsova and others.The novel “Propertle” “Propertle” is a lyro-epic work, which combines the Tolstoy “tread” prose and the “flight” of poetry, where the description and experience are merged in meaningful details, where even landscapes are romantic, emotionally significant. Here is an example of the psychological vigilance of A. caught by white snowstorm, a life -loving nature, the white officer interrogates.

Metelitsa is clear that death awaits him, and the whole interrogation is simply disgusting to him. Suddenly, an officer, looking at his prayed, pockmarked face, as if introducing an unnecessary, fake note of humanity, regret, fragile hope, as if bringing them together through barriers, about something stranger:-Osopi had long been sick for a long time? Why is this question?

Why random, not leading sentimentality? The snowstorm is annoyed, he did not accept such a tip of bridges, games in humanism, a false “humanization” of a duel. He does not want to cling to life, become relaxed, humiliated in front of the enemy: “He was confused because in the question of the boss, neither mockery nor mockery was felt, but it was clear that he was simply interested in his grouse.

However, understanding this. Metelitsa angry even more real detail in the novel is served in pointedly, clearly. To identify its essence, a special situation is created, a plot amendment. Pevzner - commander of a special communist detachment Baklanov - young assistant I. Pevzer Baranov; In the figure of the “confusing and red” Kanunnikov, the associates A. Fadeev recognized the partisan courier Kononov Morozov grabbed the Nagan and gave two shots to the officer.

The bandits gave a volley out of an ambush and killed my fighters. With their death, comrades Eshchenko and Morozov saved the detachment ”1,” said the researcher S. Roman A. XX century. Reference materials. How do realistic and romantic verbal colors combine when disclosing the character of Levinson? In the "defeat" the last situation is romantically transformed, pointed.

Frost is not frost, but less solid frost, which shaves his mischief, spontaneity, youth, not just shot the enemies that threatened him directly: he “grabbed the revolver and, raising it high above his head, shot three times, as the hero was conquered and the feeling of his rightness in the dispute with this self -player, and a deeper sense of relationship with the fighters, and a deeper sense of relationship with the fighting.

With people trusting him. The author experienced all this. These three shots are three points in the plot lines, in the dialogs with Levinson, who almost took his weapons from him after the theft of melons, with Varya, which he nevertheless loved, finally, with a sword, invulnerable in disputes, in the art of self-defense. Fadeev’s realism, figuratively speaking, is realism inspired by the dream, this realism led to all the art of concentration and not the registration of action, a sharp outline of the characters of Levinson, frost, snowstorms and their antipode of the sword.

The novel depicts many large and small acts in which this hero is a short man, vulnerable to the blows of fate, who knows, as we saw, doubts and the state of powerlessness - as if floating with the flow, by the will of events. The Japanese and Beloksaki step on the area - he leads the detachment, prepares hiking crackers in advance. He asks Dr. Stashinsky to reduce the torment of hopelessly patient Frolov to feed the detachment, he takes a pig from a Korez peasant.

Finally, being pressed to the Cossacks to the swamp, he, saving the detachment, orders to build a gat. In everyday life, he either re-educates a frost capable of stealing melons in melons, then carefully listens to the confession of Machik, amazing one thing: what a set of simple pride, consciousness of his exclusivity, disrespect for Shakhtera partisans, frost and snowstorm lives in it.

At one of the moments, Levinson suddenly, as a martyr Christ, overcomes the pain and suffering of his earthly body and "feels a surge of unusual forces that heated him to an unattainable height." The writer, however, is stipulated, “saving” the hero from the resemblance to unearthly Messiah: “And from this vast, earthly human height, he dominated his ailments, over his weakness Pasternak about the insight of his Hamlet Hrist in the“ Drum of Zhivago ”.

In fact, all the time in Levinson, an awareness of the inevitability of his path occurs. On the one hand, he sees all the poverty and poverty of the life of an old, “dilapidated” person who lives “still in mud and poverty, in the slow and lazy sun”, and on the other, he sees a different world, is able to strengthen the will to “overcome this poverty and poverty”, orders of the “evil and stupid god”.

What is the meaning of this struggle that reveals the life positions of frost and Machik? The nature of the frost, the orderly Levinson, perhaps the most lively folk character in the "defeat". The hero passes a difficult path before the spiritual gaze of the reader: from recklessness, irresponsibility before the detachment, to the miners, the “coal tribe”, from the disdain to Vara, his wrong wife from his own lumpen indifference to “subtle” feelings, he comes to the high sense of the brotherhood, to understanding his love in love.But if the psychological life of Levinson is either hidden, or fixed in his quote formulas about a new person, that “he turned into a force standing above the detachment,” then the frost is revealed in outwardly thoughtless actions, in dramatic situations.

Then he steals melons - not out of greed, but rather out of mischief: why does he need one a whole bag of melons? He saves Machik and again - almost unconsciously, in excitement. He simply saw an alien helplessness among the running in a panic, the weakness of “clumsy rifle, fled, limping, leaning, leaning guy” and, as it were, wanted to share his strength, courage, and the ability to compare the two heroes - a huge truth of the novel.

It seems to be a serious “non -thinking” frost that does not know his personality, which clearly forgets about her, and all the time concentrated only on himself, their “I” sword eventually come to the finale with its extremely opposite frost has a moral right to say about the mucker: “I escaped, bastard but it turned out that it was not one jealousy, not in the envy of frost, and the scholarship of Morotka is spontaneously He guessed that they and Machik had different ideas about happiness, about the future: they are outwardly one until things were going on successfully, while the danger was far away, but the danger to the detachment, for frost, like a sword.

The coward also turned out to be many -stringing: in the end, the same partisans who did not understand him, capable of “living such a low, inhuman, terrible life of Bulgakov,“ White Guard ”, M., are to blame. Sholokhov "Quiet Don", 1-2nd Prince. Tolstoy “walking through the torment” and “Peter the Great”-their detailed analysis in the chapters of the portraits-should be considered as the stage of development of the novel, a large-format genre of prose in a certain sense.

Subsequently - especially in the 40s. What has changed in the spiritual climate of the emigrant subsystem by the end of the X? If we summarize the main result of the discussions and disputes in exile, we can conclude: in the emigrant environment, confidence in all kinds of pessimistic prophecies about the “end of literature” in the USSR in the Council, as part of the emigration, that Russian literature said, only one present and future - this is the concept of “changing the vehicle” by the name of the collection “Change” milestone ”, published in Prague.

More and more often, in the environment of emigration, voices began to sound that the same harm to Russia brought both Black Hundreds and liberals, and therefore it was necessary to “clean the souls from them” by I.