Elena PORUBOVA,
11th grade, Lyceum No. 1,
Norilsk
(teacher -
Natalia Nikolaevna Gerasimova)

Review of the story by A.I. Solzhenitsyn "One Day in the Life of Ivan Denisovich"

In 1961, the XXII Congress of the CPSU took place, which adopted a program for building communism in our country. The party documents clearly outlined the task assigned to Soviet writers: to create works whose heroes would be the builders of a bright future. And a year later, in the magazine “New World”, a work appeared that no one had ever seen before. famous writer Alexander Isaevich Solzhenitsyn, a work that amazes with its novelty. After some time, the whole world will know the name of the new Russian writer, awarded Nobel Prize.

And so, we are talking about the story “One Day in the Life of Ivan Denisovich.” This work was written in 1959, and appeared in print only three years later under the name “Shch-854. One day of one prisoner,” but due to problems with publication, the title had to be changed later to a more neutral one.

The work made a deafening impression on its first readers and became a striking event not only in literary, but also in public life. What caused this? First of all, because Solzhenitsyn based his story on the material of the recent historical past, of which he himself was a witness and direct participant. On the other hand, the author in the work addressed a new and unusual topic for that time - the topic of the fate of the individual in the harsh conditions of totalitarianism.

Everything was an event: theme, plot, system of images, language. The peculiarity of the composition is that the author does not divide the story into chapters and parts, so one day of the hero appears to us as a single and continuous time stream.

Language plays an important ideological and artistic role in the story. It is simple and accessible. The author's language is practically indistinguishable from the language of the hero - Ivan Denisovich Shukhov - everything in the work is presented as seen through the eyes of a prisoner.

The title of the story is noteworthy, clearly echoing Tolstoy’s work “The Death of Ivan Ilyich” and warning that before us is a man.

What is the main character like? The foundation of the personality of the prisoner Shukhov is his attitude to work. In the camp, the hero encounters only hard and exhausting work, but thanks to his experience, he does not become a person unsettled.

The author’s choice of Shukhov’s social status is of fundamental importance. Ivan Denisovich is a peasant, a former ordinary soldier of the Red Army - in a word, the one who makes up the concept of “people”. However, according to official political terminology, Shukhov is an “enemy of the people.” In times of totalitarianism, through the efforts of the government, which called itself “the people’s,” the people themselves were declared the enemy of the people and “safely” exterminated or sent to camps. Not everyone could survive in the conditions of prison labor, but Ivan Denisovich managed to adapt. He turned out to be very keen in the field of crafts - in the past he was a peasant, in the camp he becomes a first-class mason, and in his free, “unofficial” time he continues to work, but for himself: he sews slippers for someone, patches a quilted jacket for someone, in a word, he earns extra money. Working extra money is the only possible way for Shukhov to earn money. It is important that Solzhenitsyn’s hero, even in the difficult conditions of the camp, does not become either a “snitch” or a “six”, and does not stoop to licking bowls and raking garbage pits in search of scraps.

The forty-year-old prisoner Shukhov is endowed with cunning and ingenuity (remember, for example, the episode when he managed to smuggle a hacksaw into the camp), as well as enormous worldly wisdom. In one of the scenes of the story, Ivan Denisovich argues with Alyosha the Baptist. This episode proves the hero’s ability to understand the most complex issues of existence: “willingly believing in God,” in difficult times asking: “Lord! Save: don’t give me a punishment cell!”, for God is the prisoner’s only hope; he denies the existence of heaven and hell. At first glance, he rejects traditional ideas about good and evil, but, being in the “earthly hell” - the camp, the only true moral law laid down by God in the human soul, he believes to live according to his conscience.

Following his hero, the author gradually leads the reader to the idea that even harsh prison conditions cannot kill the true qualities in a person if he himself does not want it, and will not make him a hater towards life and towards others.

However, the authorities made every effort to suppress the personality in a person (Solzhenitsyn was not even afraid to write about this). This happens in the episode when Shukhov meets a convict in the dining room who belongs to the noble class and is strikingly different from the rest. We recognize his number - Yu-81, which takes on a symbolic meaning in the story: the number is a clear sign of the destruction of a personal name - now you were a nobleman, and now you have become “nobody”.

How did the writer, in a story about one day, manage to touch upon not only the problems of the camp world, but also raise issues affecting the entire country?

First of all, the author expands the plot boundaries of the work, introducing memories and reasoning of the characters. This is how we learn about the fate of Brigadier Tyurin, Cavtorang, Latvian and Shukhov himself. In addition, using camp jargon - larghetto - and combining it with modern literary language, Solzhenitsyn makes the work sincere and truthful.

Alexander Solzhenitsyn’s story demonstrated the skill of a writer who was able, within such small narrative limits, to reveal a multifaceted world in which we recognize people who carry traditional traits that are essential for understanding the historical past, a world with many shades and relationships that go beyond the “camp theme.”

(1959) was written Alexander Isaevich Solzhenitsyn in forty days; it became the first work about Soviet concentration camps. The author exposes the political system of the “native” state, showing the fate of an ordinary Russian man, deprived of his freedom for no reason, accused of treason: “...in February 1942, their entire army was surrounded in the North-West... And there was nothing to shoot with. And so little by little the Germans caught them in the forests and took them...". Ivan Denisovich Shukhov spent only “a couple of days” in captivity, then escaped and miraculously reached his own. For his patriotism and heroism, his native country repaid Shukhov with a prison term. The author tells with bitterness how Shukhov helped the investigator come up with "Corpus delicti"- a non-existent task of German intelligence, which was “carried out” by Ivan Denisovich in the ranks of the Red Army. Showing the cruelty and immorality of power, the author emphasizes the kindness and nobility of his hero - common man from the people. Shukhov managed to preserve his soul, did not become embittered, did not isolate himself from the world around him with resentment. And this world is wretched and terrible. All orders and laws in force in the camp are aimed at suppressing the individual and destroying human dignity. A hungry existence, the rudeness of the camp authorities, a well-functioning system of punishment for the slightest offense, the dominance of the “thieves” deprive the prisoner of confidence that he will live to see liberation, that, leaving the bunk at dawn, he will lie down on it in the evening. It would seem that in such conditions Shukhov should sink, morally die, but this does not happen. Ivan Denisovich firmly holds on to the system of moral prohibitions developed in camp life: DO NOT beg, DO NOT “jackal,” DO NOT snitch, DO NOT lick plates, DO NOT shirk work ( “This is who is dying in the camp: who is relying on the medical unit and who is going to knock on their godfather’s door.”). Shukhov steadfastly bears his burden. It is people like him who resist the inhumane regime; they live not according to wolf laws imposed on them by the state, but according to their conscience ( “That’s what... Nikolai Semyonovich... I seem to be... sick - Shukhov said conscientiously, as if coveting someone else’s property.”). Main character the story is a native speaker of Russian national character. Its most striking feature is the need for labor. Despite the fact that the labor is forced, Shukhov works at the construction site with passion, making sure that cement does not go to waste. He has “golden” hands: Ivan Denisovich is a mason, a shoemaker, a carpenter, and a roofing paper cutter. “He who knows two things with his hands can also do ten”, - the author says about him. With all his behavior, Shukhov confirms Tolstoy’s idea, voiced by Pierre Bezukhov: the soul cannot be taken prisoner. That is why Ivan Denisovich “I didn’t know whether he wanted it or not”: formal liberation will not change anything in the value system of the hero, who has internal freedom - freedom of spirit. This idea is manifested as a result of the comparison of Shukhov with other camp prisoners: a simple peasant surpasses Captain Buinovsky, the intellectual film director Caesar and others in his spiritual qualities. “Live not by lies”, follow the principle "do not trust, do not fear, do not ask"- the norm of behavior of Ivan Denisovich and the author himself. (As you know, the prototypes of this hero were an artillery soldier from a battery commanded by Solzhenitsyn at the front, and the author himself, prisoner No. 854).Despite the artistic form, the story is close to documentary - the realities of camp life are so accurate in it. However, the effect of life-like persuasiveness and psychological authenticity produced by the story is the result not only of the writer’s desire for maximum accuracy, but also of the skill with which the story is built composition works. The narrative is built around psychological "knots"- points of highest tension, when Shukhov repeatedly finds himself between life and death within one day. Using "cinematic" technique, the author gives close-up the smallest details on which the life of his hero depends. Extreme detail does not make the narrative monotonous due to the psychological tension with which the reader follows the events of one day, which is synecdoche life of Ivan Denisovich. It should be noted that time compression and space concentration are one of the basic laws by which fiction A.I. Solzhenitsyn.Precisely because one day is a model of the protagonist’s entire life, chronological and chronometric details are present in the story. symbolic meaning. The concepts of “day” and “life” are brought together by the concept of “term” and are presented as synonyms; On the pages of the work, time is repeatedly mentioned, a clock with moving hands, which the convicts are watching - their lives in prison, the lives taken from them, are counting down. “There were three thousand six hundred and fifty-three such days in his term from bell to bell.Due to leap years, three extra days were added", - the author states dryly, emphatically restrained, concluding the story.Art space story multi-component: real, physical - densely populated by convicts, wardens, guards. This is a space of unfreedom. Its density is uneven: it has “dead zones” (areas that need to be passed as quickly as possible so as not to catch the eye of the camp authorities) and relatively safe niches (for example, a barracks with its life-saving cramped space). The camp space - a space of unfreedom - is built concentrically: barracks - zone - steppe - construction site. The internal space - the space of freedom (it contains Shukhov's native village, Russia, the world) - lives in the memory of the main character. Each hero carries within himself his own inner space - made up of memories and ideas about the future.It should be noted the artistic originality language this work. The whole story is improperly direct speech, in which the voices of the author and his hero merge together. This achieves the depth of the narrative: it tells both what is understandable to Shukhov and what is within the competence of only the author. The language of the story contains elements tale: dialectal and colloquial words that mark the speech of the main character, as well as “camp” words, i.e. slang words that convey the atmosphere of a special world - the world of unfreedom. Solzhenitsyn almost does not use metaphors, achieving the maximum effect of “naked” speech. The author uses as means of expression proverbs

The biography of A. Solzhenitsyn is typical for a person of his generation and, at the same time, represents an exception to the rule. It is distinguished by sharp turns of fate and events that amaze with a special high meaning.
An ordinary Soviet schoolboy, student, Komsomol member. Participant of the Great Patriotic War, awarded government awards for military services. Prisoner of the Gulag. Middle school math teacher.

He emerged victorious in the fight against a terrible disease - cancer and has since believed that as long as he writes, life has been granted to him from above. An artist who created his own concept of the history of Russia in the 20th century and embodied it in his work. An involuntary emigrant, expelled from his native country and never recognizing voluntary emigration. World-famous writer, Nobel Prize laureate. A passionate publicist who is driven to argue and write answers to the most difficult questions.

The plot of the work by A.I. Solzhenitsyn’s “One Day in the Life of Ivan Denisovich” is a chronology, a sequential reproduction of an unclouded, almost happy day. The intensity of the action is due to the fact that everything happens in a special camp.

One after another, Shch-854 has “many successes.” At first he manages to escape the punishment cell “with withdrawal”. This punishment awaited Ivan Denisovich for not getting up at the wake-up signal, although he never woke up. The hero always used the morning time before the divorce to do some extra work: sew, serve, sweep or bring something.
He felt sick that morning, so he didn't want it to come. The guard, who is not on duty in turn and therefore unexpectedly approaches, takes the hero not to the punishment cell, but to the headquarters barracks to wash the floor.

The author lists all the successes of his hero. I was lucky with the gruel - more thick stuff got into it. The bread ration was only about twenty grams short of the required five hundred and fifty. On the line, Caesar let Shukhov finish his cigarette. The crew did not get to work in an open field. At lunchtime I managed to grab a second bowl of oatmeal. During the search, they did not take away a piece of the hacksaw. Caesar gave him all the gruel and rations for dinner, and also shared the parcel. I bought tobacco from a Latvian, and most importantly, I didn’t get sick, I “overcame it.”

Even the memories of the day’s work make the hero happy - “I laid the wall with joy.” And all this against the backdrop of the inhuman life of the convicts, everyday attempts to turn them into a dumb herd, spending all their strength on forced hard work.

Preservation of life and soul seems almost impossible. The hero has no time for idle memories, and yet he cannot forget his native land, where he left on the twenty-third of June forty-one. There is a wife and two adult daughters left at home, who write twice a year, from which it is not possible to understand their life. Memories of peaceful life, impressions of the war (medical battalion, captivity, death of comrades) and eight years in the camp are strung together.

Years of wandering formed the hero's special system of moral values. He, like all the Russians in the camp, “and forgot with which hand to be baptized.” Ivan Denisovich is ready to believe in God, thinking not only about earthly and mortal things. But he does not expect miracles from above. First of all, he must remain human.

The story is narrated on behalf of the author, who not only thoroughly knows camp life, but also being, as it were, a member of the brigade where the hero works. This allows him, without being Shukhov’s double, to show the perception of what is happening from the inside, based on his experience as a “camp inmate.” The boundary between the author’s description and the hero’s internal monologue appears “blurred.”

The narrator understands the importance of the fact that the gruel must be hot (“one joy in the gruel can be hot, but Shukhov now got it completely cold”), that the bread must be hidden in the mattress, that from the food parcel everyone becomes agitated, disheveled, as if drunk, at the end of the term it becomes clear that such people are not allowed home, they are driven into exile. The author, enlarging the details of convict life, builds a system, bringing them into line with a generalized assessment of what is happening in the recent past. One day turns out to be a fragment of a mirror, in which the inhuman essence of “people’s” power is visible as clearly as the whole, which only moral strength, hidden in the soul of a Russian person.

In the 1962 magazine version, “One Day...” had the genre designation “story.” The editors of Novy Mir suggested that the author call this work a story “for the sake of it.” Later, the writer himself agreed that he had succumbed to external pressure. At the same time, the work contains such significant epic potential that it is limited by the genre definitions of a story or tale.

The most important principle of the composition of the work is the “knot”, which will later become the basis for large epic paintings by A. Solzhenitsyn. The features of the composition are determined by the author's intention. One day in the life of an ordinary prisoner focuses on the most pressing problems, which are covered in brushstrokes and individual remarks.

The work is based on facts, and the images of the characters have a real prototype. Here the author makes a conscious commitment to minimal fiction. The most important criterion for him is life truth, without which there is no artistic truth.

Goal: to familiarize students with the life and work of a. I. Solzhenitsyn, the history of the creation of the story “One Day in the Life of Ivan Denisovich”, its genre and compositional features, artistic and expressive means, the hero of the work; note the features of the writer’s artistic skill; deepen students’ understanding of the artistic originality of prose a. I. Solzhenitsyn; improve students' analysis skills work of art, developing the ability to highlight the main, significant moments in the development of an action, determine their role in revealing the theme and idea of ​​the work, and draw independent conclusions; promote the development of an active life position, the ability to defend one’s own point of view. equipment: textbook, portrait of a. I. Solzhenitsyn, text of the story “One Day in the Life of Ivan Denisovich.”

Projected

Results: students talk about the life and work of a. I. Solzhenitsyn; know the history of the creation of the story “One Day in the Life of Ivan Denisovich”; determine the plot compositional features stories; have an idea of ​​the artistic originality of the writer’s prose. lesson type: lesson on learning new material.

DURING THE CLASSES

I. Organizational stage

II. Updating of reference knowledge

Hearing several creative works(cm. Homework previous lesson)

III. Setting the goals and objectives of the lesson.

Motivation for learning activities

Teacher. In 2008, the book L. was published in the “Biography Continues” (ZhZl*) series. I. Saraskina about Alexander Isaevich Solzhenitsyn. This book has already been awarded a literary prize. Yasnaya Polyana» named after L. N. Tolstoy in the “XXI Century” category. The name of Alexander Isaevich Solzhenitsyn, for a long time which was banned, has now rightfully taken its rightful place in the history of Russian literature of the Soviet period.

Creativity a. I. Solzhenitsyn attracts the reader with truthfulness, pain for what is happening, and insight. A writer, a historian, he always warns us: don’t get lost in history!..

It is difficult for us today to understand what happened in literature in the early 1950s. But then it became a real revelation: human life is diverse, in it there is not only production and public interests. literature became interested in the common man, everyday life, in which everyone constantly has to solve not only social, but also ethical and moral problems.

This is how the most piercing literary masterpieces of the era were revealed. The first and brightest among them is the published

* ZhZl - the life of remarkable people - a series produced in 1890-1924. In 1933, Gorky metro station was restored. From issue 127-128 to this day it has been published by the Young Guard publishing house. in 1962 in the magazine “New World” a story by A. I. Solzhenitsyn’s “One Day in the Life of Ivan Denisovich,” which immediately became an event in public life. In it, the author practically opened the camp theme for the domestic reader.

IV. Working on the lesson topic

1. introduction teachers

The literary debut of Alexander Isaevich Solzhenitsyn took place in the early 1960s, when the story “One Day in Willow on Alexander Solzhenitsyn Denisovich”, the stories “An Incident at Kochetovka Station” (1963), “Matronin’s Dvor” (1963) were published in Novy Mir. ). The unusualness of Solzhenitsyn's literary fate is that he made his debut at a respectable age - in 1962 he was 44 years old - and immediately declared himself as a mature, independent master. “I haven’t read anything like this for a long time. Good, clean, great talent. Not a drop of falsehood..." - this is the very first impression a. Comrade Tvardovsky, who read the manuscript of “One Day in the Life of Ivan Denisovich” at night, in one sitting, without stopping. and upon meeting the author personally, the editor of Novy Mir said: “You wrote an excellent thing. I don’t know what schools you attended, but you came away a fully formed writer. We don’t have to teach or educate you.” A. Comrade Tvardovsky made incredible efforts to ensure that the story was written by A. I. Solzhenitsyn saw the light.

Entry a. I. Solzhenitsyn’s contribution to literature was perceived as a “literary miracle”, which evoked a strong emotional response in many readers. One touching episode is noteworthy, which confirms the unusualness of A.’s literary debut. I. Solzhenitsyn. The eleventh issue of Novy Mir with the story “One Day in the Life of Ivan Denisovich” has gone to subscribers! and in the editorial office itself, this issue was being distributed to a select few lucky ones. It was a quiet Saturday afternoon. As A. later spoke about this event. Comrade Tvardovsky, it was like in church: everyone quietly came up, paid money and received the long-awaited number. readers welcomed the appearance of a new remarkable talent in literature. Let us also touch this book, touch it with trepidation, because behind the pages of the story is the fate of not only I. A. himself. Solzhenitsyn, but also the fate of millions of people who went through the camps and survived the repressions. Let's touch and answer the question: what did this story reveal to us, living in the 21st century, what did it suggest, how could it help? But first, about the author, Alexander Isaevich Solzhenitsyn.

2. Listening to “literary business cards” about life

And creativity a. And. Solzhenitsyn

(Students write theses.)

Sample abstracts

1918–1941 Childhood and “universities”. The beginning of creative activity.

1941–1956 Participation in the Great Patriotic War. arrest, prison, exile.

1956–1974 rehabilitation and release from prison. First successes in the writing field, recognition from readers and critics.

1974–1994 Exile. Solzhenitsyn's literary and social activities abroad. “Fund for Assistance to Political Prisoners and Their Families.” Creation and acquisition of the “All-Russian Memoir Library”.

1994–2000s Homecoming. A. I. Solzhenitsyn in the Stavropol region (1994).

3. Teacher's word

- “One Day in the Life of Ivan Denisovich” is associated with one of the facts of the biography of the author himself - the Ekibastuz special camp, where in the winter of 1950–1951. This story was created during general work. The main character of Solzhenitsyn's story is Ivan Denisovich Shukhov, a prisoner of the Stalinist camp. the author, on behalf of his hero, narrates about one day out of three thousand six hundred and fifty three days term of Ivan Denisovich. But this day is enough to understand what the situation was like in the camp, what orders and laws existed, to learn about the life of prisoners, to be horrified by it. the camp is a special world that exists separately, parallel to our free world. There are different laws here, different from those we are used to, here everyone survives in their own way. Life in the zone is shown not from the outside, but from the inside by a person who knows about it not by hearsay, but in his own way personal experience. That is why the story amazes with its realism.

4. Listening to the student’s message “the history of creation,

Appearance of the story “One Day in the Life of Ivan Denisovich” in print

And the public outcry caused by its publication"

5. analytical conversation

Š From the message we learned that the final title of the story was

"One day in the life of Ivan Denisovich." Why do you think Alexander Isaevich changed the name? What did the author want to convey to his reader through the title?

Š What semantic implications does this name contain? Compare: “Shch-854” and “One Day in the Life of Ivan Denisovich”, what difference do you see?

Š What is the role of exposure?

Š From the exhibition we learn life philosophy Main character. What is it?

Š Which episode of the story is the plot?

Š What moments in the development of action can be highlighted? What is their role?

Š How do these episodes reveal the main character's character?

Š What is the artistic function of detailing individual moments in the life of a camp inmate?

Š Describing the “shmon” before going to work, the author builds a semantic chain. Determine its role in revealing the idea of ​​the entire work.

Š Which episode of the story can be designated as the climax? Why does the author lay the walls? highest point in the development of the plot?

Š how does the story end? What is the denouement?

Š Why does the hero consider the day depicted in the story to be happy?

Is the author talking about only one day in Shukhov (and only Shukhov?)?

Š What features of the composition of the story “One Day in the Life of Ivan Denisovich” can be noted?

Š what can be said about the spatial organization of the story? Find the spatial coordinates in the work? The space in which the heroes live is closed, limited on all sides by barbed wire, even when the column “goes out into the steppe”, it is accompanied by “a convoy, to the right and left of the column, twenty steps away, and one after another through ten steps,” from above it is obscured by the light of searchlights and lanterns, of which “so many... were stuck that they completely illuminated the stars.” Small areas of open space turn out to be hostile and dangerous, it is no coincidence that in the verbs of motion - hid, slammed, jogged, stuck, climbed, hurried, overtook, threw - the motive of shelter is often heard. With this, the author once again shows that the heroes are faced with a problem: how to survive in a situation where time does not belong to you, and space is hostile, and notes that such isolation and strict regulation of all spheres of life is a property not only of the camp, but of the totalitarian system as a whole .

6. teacher's generalization

The story “One Day in the Life of Ivan Denisovich” was written in 1959, and appeared in print only three years later under the title “Shch-854. One day of one prisoner,” but due to problems with publication, the title had to be changed later to a more neutral one.

The work made a deafening impression on its first readers and became a striking event not only in literary, but also in public life. what caused this? First of all, because a. I. Solzhenitsyn based his story on the material of the recent historical past, of which he himself was a witness and direct participant. On the other hand, the author in the work addressed a new and unusual topic for that time - the topic of the fate of the individual in the harsh conditions of totalitarianism.

In the genre definitions of his works, the author seeks to “belittle” the genre: he calls the story “One Day in the Life of Ivan Denisovich” a story, the novel “Cancer Ward” - a story.

This genre interpretation is explained by the peculiarity art world Solzhenitsyn. The very title of “One Day...”, for example, reveals the principle of compression of artistic time: in one day of a camp prisoner. I. Solzhenitsyn manages to show almost his entire life, which reflected one of the facets national life mid-20th century reflecting on the compression of time and space, the author recalled the emergence of this idea: “How was this born? It was just such a camp day, hard work, I was carrying a stretcher with my partner and I thought how I should describe the entire camp world - in one day. Of course, you can describe your ten years of the camp, there, the entire history of the camps, but it is enough to collect everything in one day, as if in fragments; it is enough to describe only one day of one average, unremarkable person from morning to evening. And everything will be... Let me try to write one day of one prisoner. I sat down and how it started pouring! with terrible tension! Because many of these days are concentrated in you at once.

And just so as not to miss anything.” such a deliberate compression of the time frame is necessary for the writer in order to combine in one work two much-needed aspects of the genre content: the novel, associated with the depiction of private life, and the national-historical, showing the fate of the nation at a critical and tragic moment in its development. At the artistic level, this is manifested in the fact that the private fates of the heroes a. I. Solzhenitsyn are given in the context of global historical processes that cripple and destroy these private destinies, interfering with the realization of urgent human aspirations, first of all, love and family, that is, what is the most natural subject of depiction in the novel genre.

Everything was an event: theme, plot, system of images, language. The peculiarity of the composition is that the author does not divide the story into chapters and parts, so one day of the hero appears to us as a single and continuous time stream.

Language plays an important ideological and artistic role in the story. It is simple and accessible. The author's language is practically indistinguishable from the language of the hero - Ivan Denisovich Shukhov - everything in the work is presented as seen through the eyes of a prisoner. The title of the story is noteworthy, clearly echoing Tolstoy’s (the story “The Death of Ivan Ilyich”) and warning that before us is a man.

V. Reflection. Summing up the lesson

♦ Century of life a. I. Solzhenitsyn, which preceded “One Day...”, did not just last much “longer”. It was very dramatic, full of difficult trials. How do you assess the path of life a. I. Solzhenitsyn? What is instructive in the experience of his self-creation, the improvisation of fate?

♦ Read the statements of a. I. Solzhenitsyn “From the notes to the story “One Day in the Life of Ivan Denisovich” about how the idea for the work arose. Did you feel the “documentary” nature of the work when reading it yourself? How does it manifest itself?

♦ How did the idea of ​​“describing the entire camp world in one day” determine the composition of the work?

♦ is it possible to say that “in one day of one average, unremarkable person” many of these days are concentrated at once, “the whole history of the camps” is shown?

One day of Ivan Denisovich

At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks. An intermittent ringing faintly passed through the glass, frozen into two fingers, and soon died down: it was cold, and the warden was reluctant to wave his hand for a long time.

The ringing died down, and outside the window everything was the same as in the middle of the night, when Shukhov got up to the bucket, there was darkness and darkness, and three yellow lanterns came through the window: two in the zone, one inside the camp.

And for some reason they didn’t go to unlock the barracks, and you never heard of the orderlies picking up the barrel on sticks to carry it out.

Shukhov never missed getting up, he always got up on it - before the divorce he had an hour and a half of his own time, not official, and whoever knows camp life can always earn extra money: sew someone a mitten cover from an old lining; give the rich brigade worker dry felt boots directly on his bed, so that he doesn’t have to trample barefoot around the pile, and doesn’t have to choose; or run through the quarters, where someone needs to be served, sweep or offer something; or go to the dining room to collect bowls from the tables and take them in piles to the dishwasher - they will also feed you, but there are a lot of hunters there, there is no end, and most importantly, if there is anything left in the bowl, you can’t resist, you will start licking the bowls. And Shukhov firmly remembered the words of his first brigadier Kuzyomin - he was an old camp wolf, he had been in prison for twelve years by the year nine hundred and forty-three, and he once said to his reinforcement, brought from the front, in a bare clearing by the fire:

- Here, guys, the law is the taiga. But people live here too. Here's who's dying in the camp: who's licking bowls, who's relying on the medical unit, and who's godfather goes to knock.

As for the godfather, of course, he turned down that. They save themselves. Only their care is on someone else's blood.

Shukhov always got up when he got up, but today he didn’t get up. Since the evening he had been uneasy, either shivering or aching. And I didn’t get warm at night. In my sleep I felt like I was completely ill, and then I went away a little. I still didn’t want it to be morning.

But the morning came as usual.

And where can you get warm here - there is ice on the window, and on the walls along the junction with the ceiling throughout the entire barracks - a healthy barracks! - white cobweb. Frost.

Shukhov did not get up. He was lying on top linings, covering his head with a blanket and pea coat, and in a padded jacket, in one sleeve turned up, putting both feet together. He didn’t see, but from the sounds he understood everything that was happening in the barracks and in their brigade corner. So, heavily walking along the corridor, the orderlies carried one of the eight-bucket buckets. Considered disabled, easy work, but come on, take it out without spilling it! Here in the 75th brigade they slammed a bunch of felt boots from the dryer onto the floor. And here it is in ours (and today it was our turn to dry felt boots). The foreman and sergeant-at-arms put on their shoes in silence, and their lining creaks. The brigadier will now go to the bread-slicer, and the foreman will go to the headquarters barracks, to the contractors.

And not just to the contractors, as he goes every day, - Shukhov remembered: today fate is being decided - they want to transfer their 104th brigade from the construction of workshops to the new Sotsgorodok facility. And that Social Town is a bare field, in snowy ridges, and before you do anything there, you have to dig holes, put up poles and pull the barbed wire away from yourself - so as not to run away. And then build.

There, sure enough, there won’t be anywhere to warm up for a month – not a kennel. And if you can’t light a fire, what to heat it with? Work hard conscientiously - your only salvation.

The foreman is concerned and is going to settle things. Some other brigade, sluggish, should be pushed there instead. Of course, you can’t come to an agreement empty-handed. The senior foreman had to carry half a kilo of fat. Or even a kilogram.

The test is not a loss, shouldn't we try it in the medical unit? touch, free from work for a day? Well, the whole body is literally torn apart.

And one more thing - which of the guards is on duty today?

On duty - I remembered - Ivan and a half, a thin and long black-eyed sergeant. The first time you look, it’s downright scary, but they recognized him as one of the most flexible of all the guards on duty: he doesn’t put him in a punishment cell, or drag him to the head of the regime. So you can lie down until you go to barracks nine in the dining room.

The carriage shook and swayed. Two stood up at once: at the top was Shukhov’s neighbor Baptist Alyoshka, and at the bottom was Buinovsky, a former captain of the second rank, cavalry officer.

The old orderlies, having carried out both buckets, began to argue about who should go get boiling water. They scolded affectionately, like women. An electric welder from the 20th brigade barked:

- Hey, wicks!- and threw a felt boot at them. - I’ll make peace!

The felt boot thudded against the post. They fell silent.

In the neighboring brigade the brigadier muttered slightly:

- Vasil Fedorych! The food table was distorted, you bastards: it was nine hundred and four, but it became only three. Who should I miss?

He said this quietly, but of course the whole brigade heard and hid: a piece would be cut off from someone in the evening.

And Shukhov lay and lay on the compressed sawdust of his mattress. At least one side would take it - either the chill would strike, or the aching would go away. And neither this nor that.

While the Baptist was whispering prayers, Buinovsky returned from the breeze and announced to no one, but as if maliciously:

- Well, hold on, Red Navy men! Thirty degrees true!

And Shukhov decided to go to the medical unit.

And then someone’s powerful hand pulled off his padded jacket and blanket. Shukhov took off his pea coat from his face and stood up. Below him, with his head level with the top bunk of the carriage, stood a thin Tatar.

This means that he was not on duty in line and sneaked in quietly.

- Another eight hundred fifty-four! - Tatar read from the white patch on the back of his black pea coat. – Three days kondeya with output!

And as soon as his special, strangled voice was heard, in the entire dim barracks, where not every light bulb was on, where two hundred people were sleeping on fifty bedbug-lined carriages, everyone who had not yet gotten up immediately began to stir and hastily get dressed.

- For what, citizen chief? – Shukhov asked, giving his voice more pity than he felt.

Once you're sent back to work, it's still half a cell, and they'll give you hot food, and there's no time to think about it. A complete punishment cell is when without withdrawal.

– Didn’t get up on the way up? “Let’s go to the commandant’s office,” Tatar explained lazily, because he, Shukhov, and everyone understood what the condo was for.

Nothing was expressed on Tatar’s hairless, wrinkled face. He turned around, looking for someone else, but everyone was already, some in the semi-darkness, some under the light bulb, on the first floor of the carriages and on the second, pushing their legs into black cotton trousers with numbers on the left knee or, already dressed, wrapping them up and hurrying to the exit - wait for Tatar in the yard.

If Shukhov had been given a punishment cell for something else, where he deserved it, it wouldn’t have been so offensive. It was a shame that he was always the first to get up. But it was impossible to ask Tatarin for time off, he knew. And, continuing to ask for time off just for the sake of order, Shukhov, still wearing cotton trousers that had not been taken off for the night (a worn, dirty flap was also sewn above the left knee, and the number Shch-854 was inscribed on it in black, already faded paint), put on a padded jacket (she had two such numbers on her - one on the chest and one on the back), chose his felt boots from the pile on the floor, put on his hat (with the same flap and number on the front) and followed Tatarin out.

The entire 104th brigade saw Shukhov being taken away, but no one said a word: there was no point, and what can you say? The brigadier could have intervened a little, but he wasn’t there. And Shukhov also didn’t say a word to anyone, and didn’t tease Tatarin. They'll save breakfast and they'll guess.

So the two of them left.

There was frost with a haze that took your breath away. Two large spotlights hit the zone crosswise from the far corner towers. The area and interior lights were shining. There were so many of them that they completely illuminated the stars.

Felt boots creaking in the snow, the prisoners quickly ran about their business - some to the restroom, some to the storeroom, others to the parcel warehouse, others to hand over the cereal to the individual kitchen. All of them had their heads sunk into their shoulders, their peacoats were wrapped around them, and they were all cold, not so much from the frost as from the thought that they would have to spend a whole day in this frost.

And Tatar, in his old overcoat with stained blue buttonholes, walked smoothly, and the frost seemed to not bother him at all.

They passed by a high plank dam around the BUR - a stone intra-camp prison; past the thorn that guarded the camp bakery from prisoners; past the corner of the headquarters barracks, where, held up by a thick wire, a worn-out rail hung on a pole; past another pillar, where, in a quiet place so as not to show too low, covered in frost, hung a thermometer. Shukhov glanced hopefully at his milky-white pipe: if he had shown forty-one, they shouldn’t have sent him to work. It just didn’t feel like forty today.

We entered the headquarters barracks and immediately entered the guard's room. It was explained there, as Shukhov had already realized on the way: there was no punishment cell for him, but simply the floor in the guard’s room had not been washed. Now Tatar announced that he forgives Shukhov and ordered him to wash the floor.

Cleaning the floor in the guard's room was the job of a special prisoner who was not taken out of the zone - a direct job for an orderly in the headquarters barracks. But, having long ago settled down in the headquarters barracks, he had access to the offices of the major, and the head of the regime, and the godfather, served them, sometimes heard things that the guards did not know, and for some time now he considered that he had to wash the floors for ordinary guards as would be low. They called him once, twice, understood what was going on, and began pull on the floors of hard workers.