What is the humanistic pathos of the work?

In the story “The Fate of a Man” by M.A. Sholokhov expresses the writer’s humanistic protest against the inhumanity of war. The writer depicts the great wartime national tragedy in this story. Sholokhov contrasts war with pictures of peaceful life.

In a small work, the reader experiences the life of the hero, incorporating the life of the Motherland. Andrei Sokolov is a peaceful worker who hates war. As the greatest treasure, he keeps in his heart the memory of the pre-war life of his family: “My wife was brought up in an orphanage. An orphan... Since childhood, she learned how much a pound is worth, maybe this affected her character. Looking from the outside, she wasn’t all that distinguished, but I wasn’t looking at her from the side, but point-blank. And for me there was no one more beautiful and desirable than her...”

The happiness of Sokolov's peaceful life was disrupted by the treacherous attack of enemies. Fascism and foreign land bring death and destruction. The war destroyed the family, Sokolov’s house. And here the motive of eternal separation begins to sound palpably. In captivity, the hero “talked almost every night, to himself, of course, with Irina and the children,” but they were no longer in the world. The hero Sholokhov faces considerable trials: injury, fascist captivity, the death of his family left behind, the tragic death of his beloved son Anatoly on the last day of the war. All this left its mark on the nature and position of the hero. “Why have you, life, maimed me so much? Why did you distort it like that?” - Sokolov asks himself and does not find an answer. And the writer’s humanism in this close attention to fate common man, in a sympathetic position.

Revealing the image of his hero, the writer uses portrait details. “Have you ever seen eyes as if sprinkled with ashes, filled with such an inescapable mortal melancholy that it is difficult to look into them?” - asks Sholokhov. Contrasting war and peaceful life, the writer skillfully uses landscapes. So, after a series of tragic pictures, the story gives a picture of nature: “In a forest flooded with hollow water, a woodpecker was tapping loudly. The warm wind still lazily stirred the dry earrings on the alder tree; the clouds still floated in the highest blue, as if under tight white sails, but the vast world, preparing for the great accomplishments of spring, for the eternal affirmation of the living in life, seemed different to me in these moments of mournful silence.” Here the author’s thought about the eternal confrontation between life and death is palpable.

The war destroyed millions of destinies. The little boy Vanyusha, who was sheltered by Andrei Sokolov, was left an orphan. And this love for the child turned out to be that life-giving moisture that began to heal the hero’s wounded heart. Left alone, Andrei Sokolov replaced the father of little Vanyushka. And this love became the life-giving force that gradually brought the hero back to life.

Critics correlated the image of Andrei Sokolov with the image of a fairy-tale soldier, emphasizing the folklore basis of the story. Like the fairy-tale soldier, Sholokhov’s hero was a jack of all trades, he emerged from all trials with honor, and he escaped death many times. In the plot we see a triplicity of events - the hero has three children, he was wounded three times, three times he talks about his guilt before his wife. The triplicity of events is a favorite folklore device. Also significant in the story is the confrontation between light and darkness, symbolizing the confrontation between peace and war. When Sokolov is captured, the German corporal orders him to go “towards sunset,” to where there is night and death. When the hero escaped, he headed “straight to the sunrise,” to where there is light and life. When his son Anatoly was found, “joy flashed in his life, like the sun from behind a cloud.”

In general, many expressive details remind us of the dialectical confrontation between life and death in the story. For example, portraits. The eyes of the boy adopted by the hero are as bright as the sky. Sokolov’s words are “as if sprinkled with ashes.”

We can help ourselves only by helping our neighbor - this is the writer’s humanistic position. War is a state contrary to human nature itself, to reason. And this position in the perception of the war brings M.A. closer together. Sholokhov with L.N. Tolstoy.

Transcript

1 “Goals and means” - arguments for the final essay According to one version, it was the founder of the Jesuit order, Ignatius de Loyola, who argued: “If the goal is the salvation of the soul, then the goal justifies the means.” This saying was the motto of the order and, accordingly, the basis of morality, according to which the Jesuits “corrected the depravity of means with purity of purpose.” The conviction that any means are justified in achieving great goals was defended by many politicians (for example, Machiavelli) and philosophers. Thus, the English materialist philosopher Thomas Hobbes argued: “Since everyone has the right to self-preservation, then everyone has the right to use all means and perform every act without which he is not able to preserve himself.” But I.S. Turgenev expressed the exact opposite opinion: “Some Jesuits argue that every means is good, as long as one achieves the goal. Not true! Not true! It is unworthy to enter a clean temple with feet defiled by the mud of the road.” So, the question of goal and means (does a good goal justify bad means of achieving it?) is not resolved unambiguously. Moreover, he seems to have two opposite correct answers, so that his positive solution for one situation may well turn out to be criminal in another. How does this work? On the one hand, we can say that joy in this world is not worth grief at all; Moreover, the joy of some is not worth the grief of others; For this reason alone, good goals do not justify cruel means, and crimes even with the best intentions (that is, felt by the criminal as the best) remain crimes. On the other hand, if you have to weigh not joy and grief, but grief and grief, and with less grief you can avoid more, then such a goal justifies such a means, even requires it, and only a morally blind, hypocrite does not see this. These are the different answers. And the very meaning of the question of ends and means is completely different in different situations, so attempts to solve the problem posed by abstract reasoning are doomed to failure. Analysis of the relationship between ends and means makes sense only in the context of a specific situation. Everything is good, everything is evil, the difference is in the details.

2 Consequently, it is possible to answer the question supposedly stated in the topic of this direction only by turning to specific works of Russian and foreign literature. If the goal is to preserve one’s own life, i.e. self-preservation. A.S. Pushkin " Captain's daughter» The story “The Captain's Daughter” is based on real events peasant war under the leadership of Emelyan Pugachev. However, the most valuable thing in the story is not historical accuracy, but moral problems. The heroes find themselves in difficult situations where they need to make a choice, show cruelty or mercy, and find the right path to their goal. Main character story Pyotr Grinev, nobleman, officer. In any situation he acts with unchanging dignity, always defends his honor. The main trials in the hero's life begin on the day of the capture of the fortress by Pugachev, who called himself the legitimate Tsar Peter the Third and demanded that everyone take an oath of allegiance to him. Many defenders of the fortress preferred death to betrayal. For example, the commandant, Captain Mironov, fights the Pugachevites to the end and honestly fulfills his duty, remaining faithful to the oath given to him. During the capture Belogorsk fortress and Grinev shows strength of character, loyalty to the oath and the empress, and courage. Of course, a certain role in the fact that he was not executed along with the others was played by the hare sheepskin coat that Peter gave to the counselor on the way to the fortress. But even after the pardon, having accepted the help and patronage of Pugachev, Grinev did not change his principles: he refused to serve the impostor, refused to kiss his hand and swear allegiance. For Grinev, the desecration of noble and officer honor and violation of the military oath was much worse than death, and it is not for nothing that he tells Pugachev: “I am a natural nobleman; I swore allegiance to the Empress: I cannot serve you.” It was this moral fortitude and willingness to accept death for one’s convictions that determined Pugachev’s attitude towards Grinev. So, the most precious thing for a person is life. To preserve her goal, worthy of many sacrifices. However, for both Grinev and the majority of the defenders of the fortress, betrayal (namely, it should become the very means that justifies the goal) turned out to be impossible. Even such a goal as “self-preservation” has not become something that can justify any action.

3 However, in the work there is a hero who, in order to achieve his goals, is ready for both meanness and betrayal. This is Shvabrin, an educated young man, a nobleman and an officer. During the duel with Peter, Shvabrin, wanting to win, does not hesitate to take advantage of the ambiguity of the situation to deliver a dishonorable blow. At the first opportunity he goes over to Pugachev’s side. The concepts of honor and duty are alien to him; he tries to save his life at any cost. And for the sake of his personal goals, Shvabrin is ready to commit any dishonorable act. He betrays his oath, using force, tries to force Masha Mironova to marry, and even after the defeat of the rebels, being arrested, he slanderes Grinev. Thus, we can conclude that Shvabrin is absolutely convinced: “The end justifies the means.” But this conviction does not bring him happiness: the hero has no friends, both his own and others treat him with contempt, and at the end of the work he gets what he deserves. If the goal is to prove the correctness of one’s own beliefs, theories, principles. F. M. Dostoevsky’s novel “Crime and Punishment” is a story about “how long and difficultly the human soul doubted, hesitated, struggled, and tossed between conscience and reason, good and evil.” On the pages of the novel, the author examines in detail the casuistry of Rodion Raskolnikov. The relationship between ends and means is an old, well-known theory. According to Raskolnikov's theory, all people are divided into two categories. Some, “ordinary” people, are obliged to live in humility, obedience and obedience; they do not have the right to transgress legal laws, because they are ordinary. These are “trembling creatures,” “material,” “not people,” as Raskolnikov calls them. Other “extraordinary” people have the right to transgress the law, to commit all sorts of atrocities, outrages, and crimes precisely because they are extraordinary. Raskolnikov speaks of them as “the people themselves,” “Napoleons,” “the engines of human history,” and argues that “extraordinary people” can and should “transgress the laws,” but only for the sake of an idea “saving for humanity.” This is the great goal that justifies any means. Of course, when creating his theory, Raskolnikov considered himself in absentia to be “people.” But he needs to test this in practice. This is where the old pawnbroker appears. And on it the hero wants to test his calculation, his theory: “One death and a hundred lives

4 in return - but this is arithmetic! And what does the life of this consumptive, stupid and evil old woman mean on the general scale? Nothing more than the life of a louse or a cockroach, and it’s not worth it, because the old woman is harmful.” So, not having the necessary material condition, he decides to kill the moneylender and thus obtain the means to achieve his goal. And Raskolnikov at the beginning (before the crime) sincerely believes that his crime will be committed “in the name of saving humanity.” Then he admits: “Freedom and power, and most importantly power! Over all the trembling creatures, over the entire anthill! That’s the goal!..” And subsequently he explains to Sonya: “I wanted to become Napoleon, that’s why I killed.” He longed to be among those to whom “everything is allowed”: “he who dares a lot has the rights.” And here is the last confession that defines his goal: “I didn’t kill to help my mother. Nonsense! I did not kill so that, having received funds and power, I could become a benefactor of humanity. Nonsense! I just killed, I killed for myself, for myself alone... I needed to find out then and quickly find out whether I was a louse, like everyone else, or a man? Will I be able to cross or not? Am I a trembling creature or do I have the right? This means that the result and means of the crime did not coincide with the lofty goals that he proclaimed? “The end justifies the means” is Raskolnikov’s casuistry. But he did not have such a right goal. Here the end itself does not justify the means, but points to the incorrectness and worthlessness of such means and results as murder. The ideological “opponents” of Raskolnikov’s theory are Sonya, investigator Porfiry Petrovich, Razumikhin, Dunya, painter Mikolka and other heroes of the novel. For various reasons they reject the “right to blood.” Sonya Marmeladova expresses the Christian point of view on “blood according to conscience,” according to which the ban on murder is one of the main commandments of the rules of life. For Sonya, it is absolutely clear that the murder of a person cannot be justified by anything, no good goals. Therefore, when Raskolnikov confesses to her the murder and tries to explain his motives (“... if suddenly all this was given to your decision: to live this way or that way in the world, that is, should Luzhin live and do abominations, or die to Katerina Ivanovna? ​​Then how would you decide: which of them should die?”), she does not understand these motives: “Why are you asking, what cannot be asked?.. And who made me the judge here: who should live and who should not live?” Thus, from Sonya’s point of view, God gives life to man and only He, and not man, can take it. A similar idea was already expressed at the beginning of the novel in Marmeladov’s confession.

5 Razumikhin, together with Raskolnikov, composes the traditional fiction the antithesis of the hero is his friend, which is emphasized even by their surnames: the “split” of the soul (madness) in one, “reason” (common sense) in the other. Razumikhin rejects Raskolnikov’s entire far-fetched theory simply because the crime is contrary to common sense. Dostoevsky created a hopeless concept of the world in his novel, showing the tragic state of both society and the individual. According to the writer, resistance and violence cannot correct the world, the only way is humility. Dostoevsky, despite the fact that he sees all the difficult circumstances in Raskolnikov’s life and recognizes the injustice of the world around him, makes an unequivocal and decisive verdict on the “eternal” issue: “blood according to conscience” is unacceptable, because it contradicts the moral law. If the goal is personal happiness N.S. Leskov "Lady Macbeth" Mtsensk district» “Lady Macbeth of Mtsensk” is a story of love passion and its terrible consequences. The love of the young merchant's wife Katerina Izmailova for the clerk Sergei is insane and unrestrained, literally unrestrained by anything, unlimited. In the image of the most ordinary woman, Katerina Lvovna, who comes from an ordinary, bourgeois environment, the writer shows how the outbreak of a passionate feeling completely transforms her and she rebels against the conventions of the world in which she had previously spent her whole life. Katerina Lvovna, “a very pleasant woman in appearance,” lives in the prosperous house of the merchant Izmailov with her widowed father-in-law Boris Timofeevich and her middle-aged husband Zinovy ​​Borisovich. Katerina Lvovna has no children, and “with all the contentment,” her life “with an unkind husband” is the most boring. But after five years, a passionate love for her husband’s employee Sergei unexpectedly arises in Katerina’s life. This feeling is considered to be one of the brightest and most sublime, but for Izmailova it becomes the beginning of her death and leads an overly passionate and ardent woman to a sad ending. But she simply loved very much and wanted to be happy with her lover. But the means by which Katerina Lvovna tried to achieve her goal have no justification. Katerina, without hesitation, is ready for the sake of what is dear to her

6 people for any sacrifice and violation of all moral standards. The woman, without any remorse, kills not only her father-in-law and husband, who have long been disgusted with her, but also the boy Fedya, who has not harmed anyone, an innocent and pious child. The all-consuming passion for Sergei destroys in Katerina the feeling of fear, compassion, mercy, because before they were inherent in her, like almost any representative of the fairer sex. But at the same time, it is this boundless love that gives rise to previously unusual courage, resourcefulness, cruelty and the ability to fight for her right to constantly be with her loved one and the ability to get rid of any obstacles that interfere with the fulfillment of this desire. All means, in her opinion, are good. Thus, she turns into a real hostage of her feelings, a reliable slave of a man, although initially Izmailova occupies a more significant position. social status than her husband's employee. During the interrogation, Katerina does not hide the fact that she committed several murders solely for the sake of her lover, that passion pushed her to such terrible acts. All her feelings are focused only on Sergei, the newborn baby does not evoke any emotions in her, the woman is indifferent to the fate of her child. Everything around is absolutely indifferent to Katerina; only a gentle glance or a kind word from her beloved can have an impact on her. Love, tenderness, a kind word are such wonderful goals and such terrible deeds that have no justification. In her last moments, Katerina believes that she has nothing more to do in the world, because her love, the meaning of her life, is completely lost to her. Due to boundless passion, a woman’s personality is completely destroyed, Katerina Izmailova becomes a victim of her own feelings and the inability to manage them. A.S. Pushkin “Eugene Onegin”, “Dubrovsky” The heroines of A.S.’s works behave differently. Pushkin. Tatyana Larina, even after getting married, did not forget her love for Onegin. But, in her opinion, it is impossible to achieve personal happiness with the help of treason, betrayal, or the suffering of a loved one: I love you (why lie?), But I am given to someone else; I will be faithful to him forever. This is the belief of the heroines of another novel: Masha, in love with Dubrovsky and forcibly married to another, refuses personal happiness, because it is possible only through the refusal of her word, her oath

7 fidelity: “I got married late, I am the wife of Prince Vereisky. I agreed, I took an oath.” For both heroines, who sincerely and strongly love, the impossibility of using such a means as betrayal, even to reunite with their beloved, is obvious. If the goal is the salvation of other people, A. Fadeev “Destruction” Fadeev theorist agreed with the principles of communist morality, which justifies any means to achieve higher goals, and even admitted his desire to develop in “Destruction” the idea that there is no abstract, “universal "Eternal morality. With reference to Lenin's famous postulate, the writer speaks of "such an understanding of morality when all actions and actions are directed in the interests of the revolution... Everything that violates the interests of the revolution is not moral." However, in order to understand the writer’s position in terms of the relationship between ends and means, it is worth considering two scenes from “Destruction”: the expropriation of a pig from a Korean and the mortal cup, or rather a beaker, for Frolov. Is it possible to talk about the “socialist humanism” of Levinson, who took away the last pig from a Korean peasant who treated the wounded Frolov cruelly? How can Levinson be considered a classic example of a communist organizer, worthy of imitation? Does the goal Levinson is pursuing justify the means? Answering these questions, one of the researchers of A. Fadeev’s work writes: “Fadeev correctly assessed the extreme, monstrous, inhuman situation, which can be treated differently. You can, along with Mechik, be horrified by the act of Levinson and Stashinsky. You can try to justify it as extreme a measure forced by extraordinary circumstances. But it is hardly possible to imagine this act as something moral feat". Yes, in the novel, the poison for the mortally wounded Frolov, who is delaying the detachment, does not at all look like some kind of moral feat of Levinson and Stashinsky. There is nothing of the feat in the description: “Without looking at each other, trembling and stuttering and tormented by this, they started talking about something that was already clear to both, but which they did not dare to describe in one word...” “And how bad is he? Very?.. Levinson asked several times... There are no hopes... but perhaps

8 Is this the point?.. It’s somehow easier, Levinson admitted. He immediately felt ashamed that he was deceiving himself, but he really felt better." The heartbreaking details of the episode make not only Mechik suffer, but also Levinson, whose act is not at all elevated to the rank of virtue by Fadeev. And the way Levinson faltered and fell silent, sternly squeezing jaws, and the way the doctor (by the way, had previously offered to stay with Frolov) handed the beaker, curling his white lips, shivering and blinking terribly, suggests that the heroes are not performing a feat, but dooming themselves to pangs of conscience, to a feeling of inescapable tragic guilt The episode is revealed by the author not only as absolutely unacceptable for Mechik, but also as extremely difficult and dramatic for Levinson and Stashinsky. Fadeev not only sympathizes with Mechik, but he also understands Levinson, who fell into the power of harsh necessity and believed in the right of the revolution to cruelty. In the episode with the Korean peasant, polemics can only come from Soviet criticism, which declared what they did as a model of socialist humanism and an example to follow. Fadeev, as they say, is not responsible for this. Let us remember why Levinson does not raise the Korean who threw himself at his feet: “He was afraid, Fadeev writes, that having done this, he would not be able to stand it and would cancel his order.” Another phrase of the novel is also significant: “Shoot, all the same,” Levinson waved and winced, as if they were supposed to shoot at him.” Fadeev makes it clear that Levinson, forced to commit cruel acts, is afraid of getting used to cruelty, which makes the figure of this literary hero not too typical. In "Destruction" Fadeev's humanistic position was manifested in the fact that he made it clear: his hero does not and cannot have absolute justifications for his actions and at the same time there is no other way out. For him, the decision made, which allows, by sacrificing one, to save many, is not at all simple, painful. But he sees no other way out and dooms himself to torment of conscience. This means that the all-forgiving “the end justifies the means” cannot be true. M.A. Sholokhov “The Fate of a Man” Captured by the Nazis, Andrei Sokolov, the hero of the story, saves a platoon commander who is unfamiliar to him. Kryzhnev wants to hand over the commander to the Germans, the same as Sokolov himself, an ordinary soldier, for whom his former “comrades remained behind the front line, and his shirt is closer to his body,” and Andrei is forced to strangle the traitor, after which he “terribly wanted to wash his hands, as if Not

9 people, and strangled some creeping reptile for the first time in my life, and that was my own.” So the murder of one person became a means of salvation for another. Andrei Sokolov considered that the end in this case justifies the means, but this decision was not at all easy for him. This means that again it seems impossible to give a clear answer in a dispute about ends and means. If the goal is progressive transformations in the life of society and the state. V. Rasputin “Farewell to Matera” The second half of the twentieth century was a time full of changes in the history of the country. And the achievements of the scientific and technical industry, which contributed to the transition to a higher level of development, often led to serious contradictions in society. One such example is the construction of a powerful power plant, the Bratsk Hydroelectric Power Station, near the writer’s native village, Atalanka. As a result, it ended up in a flood zone. It would seem like such a trifle: to destroy a small village in order to bring considerable benefit to the whole country. But no one thought about the fate of its old residents. These events could not help but touch the soul of the writer, whose childhood and youth were spent in the outback. Therefore, Rasputin’s story “Farewell to Matera” is also a bitter reflection on what the author himself had to endure. Matera is both an island and a village of the same name. Life on this island goes on slowly and calmly, and Matera has made many people happy. However, they decided to build a powerful power plant on the river - a good goal. But to achieve this goal, the island must be flooded and the entire village must be relocated to a new village on the banks of the Angara. This is the remedy. And again the question: “Can such a goal (technological progress, improving people’s lives) justify the means (destruction of an island, village, memory)?” At the center of the story tragic fates its indigenous inhabitants: Daria, Nastasya, Katerina, “old old women” who dreamed of ending their lives here and sheltered the useless Bogodul. And then everything falls apart for them. Neither stories about a comfortable apartment in a new village on the banks of the Angara, nor fiery speeches of the young (Andrey, Daria's grandson) that the country needs this, can convince them of the advisability of destroying their home. The content of the last months of the old-timers' stay on the island is supplemented by a number of terrible events. The burning of Katerina's house by her own drunkard son. An unwanted move to Nastasya’s village and watching how the hut without a mistress immediately became orphaned. Finally, the outrages of “officials”

10 sent SES to destroy the cemetery. No good intentions can explain such a barbaric act of the authorities, committed in front of the residents. To the pain of having to leave the graves of dear people to be drowned, another one was added - to see crosses being burned. So the old women with sticks had to stand up to protect them. But it was possible to “do this cleanup in the end” so that the residents would not see. The essence of the opposition is that for strangers this island is just a territory, a flood zone. So, the newly minted builders tried to demolish the cemetery on the island. According to their logic, this is natural, this is a priority task, since burial places washed away by a man-made sea can be a source of disease. And the opposite side, Daria, comes to the conclusion that the sense of conscience has begun to be lost in people and society. “There are a lot more people,” she thinks, and conscience, come on, our same conscience has grown old, she has become an old woman, no one looks at her. What about conscience, if this is happening!” And it turns out that this very loss of conscience, attention and respect for ordinary people, understanding of their needs becomes a means for resolving issues of national importance. A terrible remedy that led to a tragic ending: people in a boat caught in the fog, lost in the middle of the river, having lost their bearings in life. Among them is a son main character, Pavel, who was never able to tear his native places out of his heart. And also the old women who remained on the island at the time of its flooding, and with them an innocent child. Towering, unbroken, neither fire took him, nor an ax, nor even a modern chainsaw, foliage as proof eternal life. Contents of one of best works V. Rasputin still sounds like a warning many years later. The writer is not against change, he does not try in his story to protest against everything new, progressive, but makes one think about such transformations in life that would not destroy the humanity in people. In order for life to continue and the connection with the past not to be lost, you must always remember your roots, that we are all children of the same mother earth. And it is everyone’s duty to be on this earth not guests or temporary residents, but guardians of everything that has been accumulated by previous generations. And no good state goals can justify the destruction of memory. Of course, the range of works that reveal thematic direction“Ends and Means” is much broader. But, perhaps, in most of them we will find a general answer to the question “What determines the justification of a goal?”

11 This can only be the social significance of the goal. Social significance is good and moral principles. This means that the goal justifies everything that adds up to the public good and does not contradict the moral principles accepted in society. The goal must be moral. If the goal must always be moral, then the means must also be moral. A good goal cannot be achieved by using immoral means.

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Sometimes a person sets goals that are not so easy to achieve without harming himself and others. The result can be a radical change in your own life, but sometimes not for the better. So is it possible to agree with N. Machiavelli, who believed that a significant goal justifies any means? Many writers have thought about this topic, but we will present arguments from the literature where certain answers to this question are given.

1. The main goal of most of the heroes of M.Yu. Lermontov - freedom. This was also the case with Mtsyri, the hero poem of the same name. The young man cherished this dream in his soul all his life; for the sake of freedom, he ran away from the monastery where he grew up, and then hid, fought with a leopard, and tried to find his way home. And all for the sake of looking at native nature, inhale its scent, and finally feel like a living and free person who can find his own land. For the sake of three days of happiness, Mtsyri sacrificed his whole life, and his position deserves respect. Unfortunately, the hero could not achieve his goal, he lost his way and returned to his hated native monastery, died, burned in the flames of his soul. But from his example we are convinced that a noble goal can indeed justify the means. But if other people suffer from this goal, then it ceases to be noble, because the freedom of one person ends where the freedom of another begins.
2. The problem of ends and means is raised in the novel by F.M. Dostoevsky "Crime and Punishment". The author explains his position using the example of the fate of Rodion Raskolnikov. The purpose of the first is to test the theory of “extraordinary” and “ordinary people”, dividing humanity into those who move society forward, which means everything is allowed to them, and those who are needed only to maintain the population. The way to test this idea is to kill the old pawnbroker, “an insignificant, evil, sick old woman,” who not only did not bring any good, but only sowed evil. However, the theory did not justify itself, because the murder of Alena Ivanovna destroyed something in the soul of the hero himself, he almost went crazy, only repentance saved him. This means that even such a lofty goal that Rodion set does not justify such immoral and cruel means as murder. Such ways of solving problems change the goal, although the person does not notice it. How can you save someone by taking the life of another? How can society feel calm and happy while someone is destroying its members? No, no one can agree to such a price for prosperity, since at any moment you could become next on the list of “unnecessary” people.
3. Sonya Marmeladova from the same novel had a different goal: she wanted to help her family survive. This religious, kind and selfless girl cared not only for herself and her father, but also for her stepmother and her children. But at what cost! Marmeladova “went on a yellow ticket” and was forced to commit a terrible sin in the name of a noble goal. Perhaps it was only the fact that she sacrificed only herself, and retained in the heroine spiritual purity and freshness, the ability not only to get rid of the dirt of the environment, but also to save others. Thus, it was through her care that Raskolnikov’s soul was saved. That is, the author divides the sinners: Sonya, like Christ, ascended Calvary herself, that is, she did not measure the great goal by the lives of others, but only by her own, but Rodion sacrificed other people to his mission, and spared himself. This means that Sonya’s means, no matter how terrible they were, really justified the goal, just as she justified the crucifixion of Christ. But Raskolnikov, no matter how hard he tried, even in his theory could not find a justification for the real murder, and therefore repented of what he had done.
4. In V. Bykov’s novel “Sotnikov,” the heroes, partisans Sotnikov and Rybak, have common goals - to complete the task of the partisan detachment, not to break down in a difficult situation, not to bring the Nazis to their comrades, and to stay alive. However, they rank these goals differently in terms of importance in their minds. Sotnikov’s main task is the safety of the detachment and civilians. And the Fisherman has his own salvation. Therefore, the latter spares no expense to implement it: he betrays everyone he can, showing monstrous cowardice, despite the fact that he was known in the detachment as a brave fighter. In the name of the main actor It is no coincidence that the work is named: he does not give away his own. On the contrary, he is trying to help the woman who hid him and his partner from the Nazis. The fisherman remained alive, but there was an indelible stain on his conscience, and Sotnikov tried his best to save others and died a hero. This means that in one case the desire did not justify the effort expended, but in the other it did. It turns out that everything depends on the goal for which we go against ourselves. The fisherman had a selfish motive, so we regard the fact that he became a policeman, against his will, as unjustified, vile means. But we consider the fact that Sotnikov betrayed himself and gave his life an act worthy of respect, since he did it for the sake of victory over the enemy. Thus, the end justifies the means if it is truly important and exceeds in scope human personality who sacrifices herself. If we think otherwise, it means we admit that all the soldiers who died in the war took risks in vain: victory does not justify their death.
5. Another story on a military theme, “The Fate of a Man” by M.A. Sholokhov, also raises the question of goals and means for the heroes. For ordinary soldier Andrei Sokolov, the main goals are to help the Motherland fight off the enemy and return home to his family, and the first goal is more important. The main character is captured, where his life is constantly in danger, but he managed to remain human, despite all the efforts of the Nazis to kill this humanity. The author pits Sokolov against a hero who sees his mission at the front only as survival. In the church where the prisoners were taken to spend the night, Andrei accidentally overheard a conversation between the commissar and a soldier. The latter wanted to betray his commander in order to curry favor with the enemy. The main character strangled a traitor and saved the life of an honest soldier. This end justified the means: a living traitor would have brought much more evil. Unfortunately, war always puts a person before a choice of two evils, where a third is not given, and all that remains is to choose the lesser crime. People are forced to kill, but they are driven and justified by the desire to protect their country from the encroachments of other states.
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Sholokhov's work "The Fate of Man" was first published ten years after the Great Patriotic War ended, in 1956-1957. The theme of the story is atypical for the literature of that time dedicated to the war. The author first spoke about the soldiers who were captured by the Nazis.

Then we learn the fate of this character from his lips. Andrey is extremely frank with a random interlocutor - he does not hide personal details.

We can safely say that this hero had a happy life. After all, he had a loving wife, children, and he was doing what he loved. At the same time, Andrei’s life is typical for that time. Sokolov is a simple Russian man, of whom there were millions in our country at that time.

Andrey's feat ("The Fate of Man", Sholokhov)

The essay “War in the life of the main character” can be built on the contrast of the attitude of Andrei and other people who meet in his life path. In comparison with them, the feat that, in fact, is his whole life seems even more majestic and terrible to us.

The hero, unlike others, shows patriotism and courage. This is confirmed by the analysis of the work “The Fate of Man” by Sholokhov. So, during the battle, he plans to accomplish the almost impossible - to deliver shells to the Russian troops, breaking through the enemy’s barrier. At this moment he does not think about the impending danger, about his own life. But the plan could not be implemented - Andrei was captured by the Nazis. But even here he does not lose heart, maintains his dignity and calmness. So, when a German soldier ordered him to take off the boots that he liked, Sokolov, as if mocking him, also takes off his foot wraps.

The work reveals various problems of Sholokhov. The fate of a person, anyone, not just Andrei, was tragic at that time. However, in front of her different people behave differently. Sholokhov shows the horrors that occur in captivity of the Germans. Many people in inhuman conditions lost their face: in order to save life or a piece of bread, they were ready to commit any betrayal, humiliation, even murder. The stronger, purer, higher the personality of Sokolov, his actions and thoughts appear. Problems of character, courage, perseverance, honor - these are what interests the writer.

Conversation with Mueller

And in the face of the mortal danger threatening Andrei (conversation with Muller), he behaves with great dignity, which even commands respect from his enemy. In the end, the Germans recognize the unbending character of this warrior.

It is interesting that the “confrontation” between Muller and Sokolov took place precisely at the moment when the fighting was taking place near Stalingrad. Andrei's moral victory in this context becomes, as it were, a symbol of the victory of the Russian troops.

Sholokhov also raises other problems (“The Fate of Man”). One of them is the problem of the meaning of life. The hero experienced the full echoes of the war: he learned that he had lost his entire family. Hopes for a happy life disappeared. He is left completely alone, having lost the meaning of existence, devastated. The meeting with Vanyusha did not allow the hero to die, to sink. In this boy, the hero found a son, a new incentive to live.

Mikhail Alexandrovich believes that perseverance, humanism, and self-esteem are traits typical of the Russian character. Therefore, our people managed to win this great and terrible war, as Sholokhov believes (“The Fate of Man”). The writer has explored the theme of man in some detail; it is even reflected in the title of the story. Let's turn to him.

The meaning of the story's title

The story “The Fate of Man” is named so not by chance. This name, on the one hand, convinces us that the character of Andrei Sokolov is typical, and on the other, it also emphasizes his greatness, since Sokolov has every right to be called a Man. This work gave impetus to the revival of the classical tradition in Soviet literature. It is characterized by attention to the fate of the simple, " little man", worthy of full respect.

Using various techniques - a confessional story, a portrait, speech characteristics- the author reveals the character of the hero as fully as possible. This is a simple man, majestic and beautiful, self-respecting, strong. His fate can be called tragic, since Andrei Sokolov suffered serious trials, but we still involuntarily admire him. Neither the death of loved ones nor the war could break him. “The Fate of Man” (Sholokhov M. A.) is a very humanistic work. The main character finds the meaning of life in helping others. This is what, above all, the harsh post-war times required.