Date of publication: 11/26/2016
Final essay on the topic “The most important victory is victory over oneself”, direction “Victory and defeat”
Introduction (intro):
Victory and defeat are very closely related. These are the two most important components of every person’s life path. Without one, the other cannot exist. To ultimately achieve victory, you need to suffer many failures, which are so common in our lives. When discussing these two concepts, the quote comes in handy: “The most important victory is victory over oneself.”
A comment: the topic is not covered; in the essay the author talks about victory over oneself, but does not explain what, in his opinion, it means to defeat oneself. According to the first criterion, “Compliance with the topic, failure.”
To correct it, you need to write what it means to defeat yourself and why this is the most important victory. The answers to these questions will serve as the thesis.
Argument 1:
The theme of victory and defeat is interesting for writers of different eras, since the heroes of literary works very often try to defeat themselves, their fear, laziness and uncertainty. For example, in Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment, the main character Rodion Raskolnikov is a poor but proud student. He has been living in St. Petersburg for several years, since he came to study at the university. But soon, Raskolnikov dropped out of school because his mother stopped sending him money. After this, the main character first comes to the old pawnbroker with the goal of pawning valuable things from her. Then he has the idea to kill the old woman and take possession of her money. Having thought about your intentions, Roskolnikov (RASKOLNIKOV) decides to commit a crime, but he himself does not fully believe in the possibility of its implementation. By killing not only the old woman, but also her pregnant sister, he gained victory over himself and his indecision, as it seemed to him. But soon the thought of the crime he had committed began to weigh and torment him. Rodion realized that he had done something terrible, and his “victory” turned into defeat.
A comment: There is a lot of information written that is not related to the topic. Ultimately, the argument comes down to the fact that Raskolnikov's victory turned out to be a defeat. An excellent argument, but unfortunately it is not suitable for this topic.
Speech errors - this is all right, but train yourself to use past tense verbs in your arguments; you mixed the present tense with the past, which will be regarded as a speech error. And you can do without them.
The proportions of the essay are broken, the argument needs to be shortened a little.
Argument 2:
The next striking example of thinking about victories and defeats (logical error - we talk about victory over ourselves), is the novel “Oblomov” by Ivan Alekseevich Goncharov. The main character Ilya Ilyich is a Russian landowner, approximately thirty-two or three years old. (thirty-two - thirty-three or simply “about thirty”) from birth. Oblomov all the time lying on the sofa and when I started reading, immediately fell asleep. But when getting acquainted (met) with Olga Sergeevna Ilyinskaya, who awakens (awakens) In the semi-literate Oblomov's interest in literature, the hero firmly decides to change and become worthy of his new acquaintance, with whom he managed to fall in love. But love, which carries within itself the need for action and self-improvement, is doomed in Oblomov’s case. Olga demands too much from Oblomov, but Ilya Ilyich cannot stand such a stressful life and gradually breaks up with her. Ilya Ilyich pondered the meaning of life, understood that it was impossible to live like this, but still did nothing. Oblomov failed to defeat himself. However, the defeat did not upset him so much. At the end of the novel, we see the hero in a quiet family circle, he is loved and cared for, as he once was in childhood. This is the ideal of his life, this is what he wanted and achieved. Also, however, having won a “victory”, because his life has become the way he wants it to be.
In the creative workshop of the writer, a complex plot plan is developed, which includes pressing issues of modern morality and philosophy. In September 1865, Dostoevsky informed the editor of the magazine “Russian Messenger” M.N. Katkov about the plan for the novel “Crime and Punishment”, informing him in a letter of the full plan of the planned work: “The action is modern, this year. A young man expelled from university students, a philistine by birth, and living in extreme poverty, due to frivolity, due to unsteadiness in concepts,
Having succumbed to some strange “unfinished” ideas that were floating in the air, I decided to immediately get out of my bad situation. He decided to kill one old woman, a titular councilor who gave money for interest.” He spends almost a month after the murder until the final catastrophe. There is not and cannot be any suspicion. This is where the whole psychological process of crime begins. Unsolvable questions confront the killer, unexpected feelings torment his heart. God's truth, earthly law takes its toll, and he ends up being forced to denounce himself. Forced, although to die in hard labor, to return again to the people; the feeling of disconnection from humanity that he felt after committing the crime tormented him. The law of truth and human nature have taken their toll... The criminal himself decides to accept torment in order to atone for his guilt.
The meaning of Rodion's suffering is that conscience and reason entered into a struggle with each other. Reason frantically defends the possibility for Raskolnikov to be a man of the “highest breed.” The hero relies entirely on his reason, on his “theoretical supports.” But his suppressed enthusiasm tragically fades away, and the hero of the novel, who was decisively unable to control himself at the moment of committing the crime, realizes that he did not kill the old woman, but “himself.” Conscience turned out to be much stronger than reason and, it must be said, that even before the murder of the pawnbroker it had a great influence on his behavior. Let us at least recall Raskolnikov’s thoughts after a “preparatory” visit to Alena Ivanovna: he left her in embarrassment, stopped several times on the stairs and already on the street exclaimed: “Oh God! how disgusting it all is! And really, really I... no, this is nonsense, this is absurdity! – he added decisively. “And could such horror really come into my head?” However, what filth is my heart capable of! The main thing: dirty, dirty, disgusting, disgusting!..”
So where is the real Raskolnikov - before or after the murder? There can be no doubt: both the theory and the attempt to implement it are Raskolnikov’s temporary delusion. It is interesting that he developed an increased desire for “business” after a letter to his mother, where she talks about his sister’s intention to marry Luzhin. At the end of the letter, she asks: “Do you still pray to God, Rodya, and do you believe in the goodness of our Creator and Redeemer?” The letter to Raskolnikov's mother outlines the idea of guilt and retribution, which ultimately represents the question - are you with God or not? And from here the hero’s path is already determined - guilt, retribution, repentance, salvation.
Dostoevsky is looking for reserves of healing for his hero not only in external influences on him (Sonya, Razumikhin, sister, Porfiry Petrovich), but also in himself, in his life experiences, including religious ones, which shaped his conscience and morality.
After a terrible dream about the brutal murder of a horse by drunken men, he turns to God with a real prayer: “God! - he exclaimed, “is it really possible, am I really going to take an ax, hit her on the head, crush her skull... I’ll slide in the sticky, warm blood, pick the lock, steal and tremble; hiding, covered in blood... with an ax... Lord, really? And in the same internal monologue, a little further on, he again calls out to God: “Lord! - he prayed, “show me my path, and I will renounce this damned... dream of mine.”
Having become a murderer, Raskolnikov felt disconnected from people, outside of humanity. He looks warily and even guiltily into people's eyes, and sometimes begins to hate them. The murder, which he wanted to give an ideological appearance, immediately after its commission appeared before him as quite ordinary, and he, having become ill with all the usual anxieties and prejudices of criminals (up to their attraction to the place where the crime was committed), begins to feverishly revise his philosophical calculations and check the strength of your moral supports. His intense internal monologues with endless pros and cons do not refresh or calm him; the psychological process becomes extremely intense in him.
Through suffering, Dostoevsky humanizes the hero, awakens his consciousness. Raskolnikov meets Luzhin and Svidrigailov, sees in their example a possible path for his moral development, if he turns out to be a strong personality, and finally the writer directs Raskolnikov on a path closer to his soul - he introduces him to Sonya Marmladova, the bearer of world suffering and the idea of God.
V. S. Solovyov gives in one of his articles about Dostoevsky a clear psychological diagram of Raskolnikov’s spiritual evolution, taking into account the influence of many external and internal factors on the hero: “But suddenly that thing, which he considered only a violation of an external meaningless law and a bold challenge to social prejudice, “Suddenly it turns out to be something much more for his own conscience, it turns out to be a sin, a violation of internal moral truth.”
The suffering of Rodion Raskolnikov’s criminal conscience is a huge driving force; it leads him to God. Moreover, at the same time, his self-defense energy dries up. With amazing skill, Dostoevsky reveals this duality of the hero’s soul, adding more and more new signs of the victory of conscience over reason.
Any communication with people hurts him more and more, but he is increasingly drawn to God. After visiting Razumikhin, Raskolnikov exclaims: “Lord! tell me just one thing: do they know about everything or don’t know yet? Well, how do they know and just pretend, tease me while I’m lying there, and then they’ll suddenly come in and say that everything has been known for a long time and that’s the only way they’re doing it... What should I do now? So I forgot, as if on purpose; I suddenly forgot, now I remember!..”
After meeting Sonya Marmeladova, a new stage began in Raskolnikov’s spiritual development. Without abandoning his “idea,” he began to immerse himself more and more in the atmosphere of divine compassion, self-denial, purity, of which Sonya was the personification and bearer. Let us recall several episodes from the novel that happened to Raskolnikov after Marmeladov’s wake, where his first communication with Sonya took place.
“He went down quietly, slowly, all in a fever and, without realizing it, full of one, new, immense sensation of a sudden surge of full and powerful life. This feeling could be similar to that of a person sentenced to death who is suddenly and unexpectedly granted forgiveness.” This is the real beginning of Raskolnikov's resurrection. Sonya restored his faith in life, faith in the future. Raskolnikov first received a lesson in selfless Christian love, love for sinners. For the first time, he lived for some time in the divine side of his nature. Raskolnikov’s final spiritual restructuring is still ahead; many more times he needs to come into contact with such love, illuminated by divine light. True, the hero’s spiritual enlightenment did not last long - the awakened vital energy went into the darkness of his delusions. Here is Raskolnikov’s reaction to everything that happened:
"Enough! - he said decisively and solemnly, - away with mirages, away with feigned fears, away with ghosts!.. There is life! Wasn't I living now? My life has not yet died along with the old woman! The kingdom of heaven to her and - that’s enough, mother, it’s time to rest!”
After Raskolnikov meets Sonya Marmeladova, her image rapidly grows in its moral brightness. The drama of false thought gradually ends with the hope of redemption and peace of conscience at the cost of suffering. The real heroine of the novel is Sonya, the bearer of truly Christian ideas of mercy, love, humility and the holiness of suffering. A great religious thought is hidden in this “outcast” girl with a pale and thin face.
And what is extremely important is what determines the future fate of Rodion Raskolnikov and what alone could deprive him of theoretical ideas and the often overwhelming power of reason over him - communication with Sonya. It further forces Raskolnikov to look at his crime not as a subject of legal proceedings, not as the implementation of socio-philosophical inventions, but as a violation of moral norms, a violation of divine guidelines. Gradually, a kind of “disarming” of the demonic rational principle of the hero occurs.
It must be said that Raskolnikov was ambivalent about Sonya’s sacrifice. The logic of his reasoning was simple - Sonya killed herself in vain, her sacrifice and faith in God’s help are completely meaningless. But in the process of dialogue on this topic, Raskolnikov gets the feeling that Sonya knows something that he cannot understand; he himself needed his peculiar gloating about her life and religious ideas - this is his resistance to Sonya’s spiritual influence, his desire to defend his previous positions, but suddenly, perhaps unexpectedly for himself, some inexplicable “surrender of positions” occurs:
“He kept walking back and forth, silently and without looking at her. Finally he approached her; his eyes sparkled. Suddenly he quickly bent over and, falling to the floor, kissed her foot...
- What are you, what are you? In front of me! - she muttered, turning pale, and her heart suddenly squeezed painfully and painfully. He immediately stood up.
“I didn’t bow to you, I bowed to all human suffering...”
Worship of human suffering is already a Christian movement of the soul; worship of the “trembling creature” is no longer the old Raskolnikov. The most significant episode of “Crime and Punishment” is the one in which Sonya Marmeladova reads to Raskolnikov a description of one of the main miracles performed by Christ described in the Gospel - the resurrection of Lazarus. “Jesus said to her: I am the resurrection and the life; He who believes in Me, even if he dies, will live, and everyone who lives and believes in Me will never die. Do you believe this? Sonya, reading these lines, thought about Raskolnikov: “And he, he, too, is blinded and unbelieving, he will also hear now, he will also believe, yes, yes! Now, now." Raskolnikov, who committed a crime, must believe and repent.
This will be his spiritual cleansing, “resurrection from the dead.” Trembling and getting cold, Sonya repeated lines from the Gospel; “Having said this, he cried with a loud voice: Lazarus, get out. And the dead man came out.” It was after this episode that Raskolnikov invites Sonya to “go together,” performs repentance in the square, and confesses.
Only in penal servitude did Rodion Raskolnikov find “his faith” in the love that saves humanity, and from here - in the necessity and salvation of the spiritual improvement of each individual person. Love brought him to God. Here is this episode, which concludes Raskolnikov’s path from the criminal present to a new future: “How it happened, he himself did not know, but suddenly something seemed to pick him up and seem to throw him at her feet. He cried and hugged her knees. At the first moment she was terribly frightened, and her whole face turned pale. She jumped up from her seat and, trembling, looked at him. But immediately, in that very moment, she understood everything. Infinite happiness shone in her eyes; she understood, and there was no longer any doubt for her that he loved, loved her endlessly, and that this moment had finally come...”
Dostoevsky “overcomes” time at the moment of repentance and the beginning of Raskolnikov’s rebirth, when seven years of hard labor, a long term, become a short moment in anticipation of freedom and a new life.
Thus, the poetics of the novel is subordinated to one main and only task - the resurrection of Raskolnikov, the deliverance of the “superman” from the criminal theory and his introduction to the world of other people.
As an experienced guide who knows the only and true path, Dostoevsky leads readers through the labyrinth of Raskolnikov’s conscience. And one must be extremely attentive and spiritually sighted when reading “Crime and Punishment,” paying attention to literally everything in order to see at the end the candle that Dostoevsky holds.
Dostoevsky has been dead for a long time. But everything he wrote remains the property of humanity. World literature is unthinkable without Dostoevsky; much of his work is directed to the future, to the spiritual revival of all humanity.
“The most important victory is victory over oneself” Final essay
Victory and defeat are very closely related. These are the two most important components of every person’s life path. Without one, the other cannot exist. To ultimately achieve victory, you need to suffer many failures, which are so common in our lives. When discussing these two concepts, the following quote comes in handy: “The most important victory is victory over oneself.”
The theme of victory and defeat is interesting for writers of different eras, since the heroes of literary works very often try to defeat themselves, their fear, laziness and uncertainty. For example, in Fyodor Mikhailovich Dostoevsky's novel Crime and Punishment, the main character Rodion Raskolnikov is a poor but proud student. He has been living in St. Petersburg for several years, since he came to study at the university. But soon, Raskolnikov dropped out of school because his mother stopped sending him money. After this, the main character first comes to the old pawnbroker with the goal of pawning valuable things from her. Then he has the idea to kill the old woman and take possession of her money. Having considered his intentions, Roskolnikov decides to commit a crime, but he himself does not fully believe in the possibility of its implementation. By killing not only the old woman, but also her pregnant sister, he gained victory over himself and his indecision, as it seemed to him. But soon the thought of the crime he had committed began to weigh and torment him. Rodion realized that he had done something terrible, and his “victory” turned into defeat.
The next striking example of thinking about victories and defeats is the novel “Oblomov” by Ivan Alekseevich Goncharov. The main character, Ilya Ilyich, is a Russian landowner, approximately thirty-two or three years old. Oblomov lay on the sofa all the time and when he started reading, he immediately fell asleep. But when he meets Olga Sergeevna Ilyinskaya, who awakens an interest in literature in the semi-literate Oblomov, the hero firmly decides to change and become worthy of his new acquaintance, with whom he managed to fall in love. But love, which carries within itself the need for action and self-improvement, is doomed in Oblomov’s case. Olga demands too much from Oblomov, and Ilya Ilyich cannot stand such a stressful life and gradually breaks up with her. Ilya Ilyich pondered the meaning of life, understood that it was impossible to live like this, but still did nothing. Oblomov failed to defeat himself. However, the defeat did not upset him so much. At the end of the novel, we see the hero in a quiet family circle, he is loved and cared for, as he once was in childhood. This is the ideal of his life, this is what he wanted and achieved. Also, however, having won a “victory”, because his life has become the way he wants it to be.
So, summarizing what has been said, we can draw the following conclusion: Every person is, in one way or another, the main character of his life. Any small victory over oneself gives great hope in one’s own strength. And this is correct, because only the one who has conquered himself, who has conquered his fear, his laziness and his uncertainty, wins in this life.
St. Petersburg is one of the most beautiful and at the same time most controversial cities in the world. The combination of the cold, perfect beauty of this Northern Palmyra and something gloomy, gloomy even in its very splendor allowed Dostoevsky to call St. Petersburg “the most fantastic city in the world.” Often St. Petersburg in Russian literature of the 19th century is perceived as a lost or enchanted place where a person goes crazy or falls into the power of the Devil - this is exactly how this city is depicted in Dostoevsky’s novel - a city that has transgressed the laws of humanity. The writer takes the reader not to Nevsky Prospekt or Palace Square, but to the neighborhoods of the poor, where there are cramped streets and mud-drenched staircases, squalid dwellings that can hardly be called dwellings.
One of the main ideas of Russian literature is the idea of Home: Home is not just four walls, it is a special atmosphere of mutual understanding, security, human warmth, unity, but most of Dostoevsky’s heroes are deprived of such a home. “Cage”, “closet”, “corner” - this is what they call where they live. Raskolnikov’s closet “looked more like a closet than an apartment,” the Marmeladovs lived in a walk-through room “ten steps long,” Sonya’s room looked like a barn. Rooms like these that look either like a closet or like a barn give rise to a feeling of depression, loss, and mental discomfort. “Homelessness” is an indicator that something in the world has become loose, something has been displaced.
The city landscape of St. Petersburg in the novel amazes with its fantastic gloominess and discomfort. Consider the description of the city at the beginning of the novel: “The heat outside was terrible, plus it was stuffy, crowded, there was lime, brick, and dust everywhere.” The motif of stuffiness, lack of air becomes symbolic in the novel: as if from the St. Petersburg heat, Raskolnikov is suffocating from the inhumanity of his theory, which crushes him, oppresses him, it is no coincidence that Porfiry Petrovich will say: “Now you only need air, air!”
In such a city, it seemed impossible to remain healthy both physically and morally. The sickness of this world, manifesting itself outwardly, paints both the walls of houses and the faces of people in an unhealthy, irritating yellow color: yellow, shabby wallpaper in the rooms of Raskolnikov, Sonya, Alena Ivanovna; the woman who threw herself into the ditch has a “yellow, elongated, worn-out face”; before the death of Katerina Ivanovna, “her pale yellow, withered face fell backward.”
The world of the novel “Crime and Punishment” is a world of constant tragedies that have already become everyday and familiar. There is not a single death in the novel that could be called natural: the wheels of the master’s carriage crushed Marmeladov, Katerina Ivanovna burned from consumption, an unknown woman tried to commit suicide by throwing herself into a ditch, Raskolnikov’s ax crushed two lives. All this is perceived by others as something everyday, familiar, and even providing a reason for some kind of entertainment. Curiosity, offensive, cynical, soulless, reveals how lonely a person is in the world of such St. Petersburg. In cramped apartments, in a street crowd, a person finds himself alone with himself and with this cruel city. This peculiar “duel” between man and city almost always ends tragically for Dostoevsky’s heroes.
Traditionally, literature has developed a view of St. Petersburg as a city that combines the real and the fantastic, the concrete and the symbolic. In Dostoevsky's novel, St. Petersburg becomes a monster city that devours its inhabitants, a fatal city that deprives people of all hope. Dark, insane forces take possession of the human soul in this city. Sometimes it seems that the air itself, “infected by the city,” gives birth to half-real, half-fantastic phenomena - that tradesman, for example, who seemed to rise out of the ground and shouted to Raskolnikov: “Murderer!” Dreams in this city become a continuation of reality and are indistinguishable from it, like, for example, Raskolnikov’s dreams about a slaughtered horse or a laughing old woman. The very idea of the main character of Dostoevsky's novel appears as a phantom, born of the entire painful atmosphere of St. Petersburg; the city, having transgressed the laws of humanity, becomes an accomplice in the crime.
A person is not a “rag”, not a “louse”, not a “trembling creature”, however, in the Petersburg as Dostoevsky portrays it - a world of injustice and self-affirmation at the expense of people’s destinies and lives - a person often turns out to be turned into a “rag”. Dostoevsky's novel amazes with its brutal truth in its depiction of “humiliated and insulted” people driven to despair. All the misfortunes and humiliations that an unfairly structured world brings to a person are combined in the history of the Marmeladov family. This poor drunken official who tells his story to Raskolnikov, it turns out, thinks in the eternal categories of justice, compassion, and forgiveness: “After all, it is necessary that every person should have at least one place where he would be pitied!” Marmeladov is not only pitiful, but also tragic: he no longer has hope for the arrangement of his earthly life, his only hope is in the heavenly Judge, who will turn out to be more merciful than those on earth: “And he will take pity on us, who pitied everyone and who understood everyone and everything, he alone, he is the judge.” The author’s ardent interest in man, his compassion for the “humiliated and insulted” is the basis of Dostoevsky’s humanism. Not to judge, but to forgive and understand a person - this is Dostoevsky’s moral ideal.
Description of the presentation by individual slides:
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Final essay. Thematic area Victory and defeat Prepared by: Shevchuk A.P., teacher of Russian language and literature MBOU “Secondary School No. 1”, Bratsk
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"The Tale of Igor's Campaign." A.S. Pushkin “The Battle of Poltava”; "Eugene Onegin". I. Turgenev “Fathers and Sons.” F. Dostoevsky “Crime and Punishment.” L.N. Tolstoy “Sevastopol Stories”; “War and Peace”; "Anna Karenina". A. Ostrovsky “Thunderstorm”. A. Kuprin “Duel”; "Garnet bracelet"; "Olesya." M. Bulgakov “Heart of a Dog”; "Fatal Eggs"; "White Guard"; "Master and Margarita". E. Zamyatin “We”; "Cave". V. Kurochkin “In war as in war.” B. Vasiliev “And the dawns here are quiet”; "Don't shoot white swans." Yu. Bondarev “Hot Snow”; "The battalions are asking for fire." V. Tokareva “I am. You are. He is." M. Ageev “Romance with Cocaine.” N. Dumbadze “I, Grandmother, Iliko and Illarion” V. Dudintsev “White Clothes”. List of recommended literature in this area
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Official comment: The direction allows you to think about victory and defeat in different aspects: socio-historical, moral-philosophical, psychological. Reasoning can be associated both with external conflict events in the life of a person, country, world, and with a person’s internal struggle with himself, its causes and results. Literary works often show the ambiguity and relativity of the concepts of victory and defeat in different historical conditions and life situations.
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Methodological recommendations: The contrast between the concepts of victory and defeat is already inherent in their interpretation. From Ozhegov we read: “Victory is success in battle, war, complete defeat of the enemy.” That is, the victory of one implies the complete defeat of the other. However, both history and literature give us examples of how victory turns out to be defeat, and defeat turns out to be victory. It is about the relativity of these concepts that graduates are invited to speculate, based on their reading experience. Of course, it is impossible to limit ourselves to the concept of victory as the defeat of the enemy in battle. Therefore, it is advisable to consider this thematic area in different aspects.
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Aphorisms and sayings of famous people: - - The greatest victory is victory over oneself. Cicero The possibility that we may be defeated in battle should not prevent us from fighting for a cause that we consider just. A. Lincoln Man was not created to suffer defeat... Man can be destroyed, but he cannot be defeated. E. Hemingway Be proud only of the victories you have won over yourself. Tungsten
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Socio-historical aspect. Here we will talk about the external conflict of social groups, states, military operations and political struggle. Peru A. de Saint-Exupery comes up with a paradoxical, at first glance, statement: “Victory weakens the people - defeat awakens new forces in them...”. We find confirmation of the correctness of this idea in Russian literature.
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“The Tale of Igor’s Campaign” is a famous monument of literature of Ancient Rus'. The plot is based on the unsuccessful campaign of the Russian princes against the Polovtsians, organized by the Novgorod-Seversk prince Igor Svyatoslavich in 1185. The main idea is the idea of the unity of the Russian land. Princely civil strife, weakening the Russian land and leading to the ruin of its enemies, makes the author bitterly sadden and lament; victory over enemies fills his soul with ardent delight. However, this work of ancient Russian literature speaks about defeat, not victory, because it is defeat that contributes to rethinking previous behavior and gaining a new view of the world and oneself. That is, defeat stimulates Russian soldiers to victories and exploits.
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The author of the Lay addresses all the Russian princes in turn, as if calling them to account and demandingly reminding them of their duty to their homeland. He calls on them to defend the Russian land, to “block the gates of the field” with their sharp arrows. And therefore, although the author writes about defeat, there is not a shadow of despondency in the Lay. The “Word” is as laconic and terse as Igor’s addresses to his squad. This is the call before battle. The whole poem seems to be addressed to the future, permeated with concern for this future. A poem about victory would be a poem of triumph and joy. Victory is the end of the battle, but defeat for the author of the Lay is only the beginning of the battle. The battle with the steppe enemy is not over yet. Defeat should unite the Russians. The author of the Lay does not call for a feast of triumph, but for a feast of battle. D.S. writes about this in the article “The Tale of the Campaign of Igor Svyatoslavich.” Likhachev.
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The “Lay” ends joyfully - with Igor’s return to the Russian land and the singing of his glory upon entering Kiev. So, despite the fact that the Lay is dedicated to the defeat of Igor, it is full of confidence in the power of the Russians, full of faith in the glorious future of the Russian land, in victory over the enemy. The history of mankind consists of victories and defeats in wars.
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In the novel “War and Peace” L.N. Tolstoy describes the participation of Russia and Austria in the war against Napoleon. Drawing the events of 1805-1807, Tolstoy shows that this war was imposed on the people. Russian soldiers, being far from their homeland, do not understand the purpose of this war and do not want to waste their lives senselessly. Kutuzov understands better than many that this campaign is unnecessary for Russia. He sees the indifference of the allies, the desire of Austria to fight with the wrong hands. Kutuzov protects his troops in every possible way and delays their advance to the borders of France. This is explained not by distrust of the military skill and heroism of the Russians, but by the desire to protect them from senseless slaughter. When the battle turned out to be inevitable, the Russian soldiers showed their always readiness to help the allies and take the main blow.
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For example, a detachment of four thousand under the command of Bagration near the village of Shengraben held back the onslaught of an enemy “eight times” outnumbered. This made it possible for the main forces to advance. The unit of officer Timokhin showed miracles of heroism. It not only did not retreat, but struck back, which saved the flanking units of the army. The real hero of the Battle of Shengraben turned out to be the courageous, decisive, but modest captain Tushin before his superiors. So, largely thanks to the Russian troops, the Battle of Schöngraben was won, and this gave strength and inspiration to the sovereigns of Russia and Austria.
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Blinded by victories, occupied mainly with narcissism, holding military parades and balls, these two men led their armies to defeat at Austerlitz. So it turned out that one of the reasons for the defeat of the Russian troops under the skies of Austerlitz was the victory at Schöngraben, which did not allow an objective assessment of the balance of forces. The entire senselessness of the campaign is shown by the writer in the preparation of the top generals for the battle of Austerlitz. Thus, the military council before the Battle of Austerlitz resembles not a council, but an exhibition of vanities; all disputes were conducted not with the goal of achieving a better and correct solution, but, as Tolstoy writes, “... it was obvious that the purpose... of the objections was mainly the desire to make General Weyrother feel , as self-confidently as he read his disposition to schoolchildren, that he was dealing not only with fools, but with people who could teach him in military affairs.”
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And yet, we see the main reason for the victories and defeats of the Russian troops in the confrontation with Napoleon when comparing Austerlitz and Borodin. Speaking with Pierre about the upcoming Battle of Borodino, Andrei Bolkonsky recalls the reason for the defeat at Austerlitz: “The battle is won by the one who is determined to win it. Why did we lose the battle at Austerlitz?.. We told ourselves very early that we lost the battle - and we lost. And we said this because we had no need to fight: we wanted to leave the battlefield as quickly as possible. “If you lose, then run away!” So we ran. If we hadn’t said this until the evening, God knows what would have happened. And tomorrow we won’t say this.”
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L. Tolstoy shows a significant difference between the two campaigns: 1805-1807 and 1812. The fate of Russia was decided on the Borodino field. Here the Russian people had no desire to save themselves, no indifference to what was happening. Here, as Lermontov said, “we promised to die, and we kept the oath of allegiance in the Battle of Borodino.” Another opportunity to speculate on how victory in one battle can turn into defeat in a war is provided by the outcome of the Battle of Borodino, in which Russian troops gain a moral victory over the French. The moral defeat of Napoleon's troops near Moscow was the beginning of the defeat of his army.
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The Civil War turned out to be such a significant event in the history of Russia that it could not help but be reflected in fiction. The basis for graduates’ reasoning can be “Don Stories”, “Quiet Don” by M.A. Sholokhov. When one country goes to war with another, terrible events occur: hatred and the desire to defend themselves forces people to kill their own kind, women and old people are left alone, children grow up orphans, cultural and material values are destroyed, cities are destroyed. But the warring parties have a goal - to defeat the enemy at any cost. And any war has a result - victory or defeat. Victory is sweet and immediately justifies all losses, defeat is tragic and sad, but it is the starting point for some other life. But “in a civil war, every victory is defeat” (Lucian).
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The life story of the central hero of M. Sholokhov's epic novel "Quiet Don" Grigory Melekhov, which reflected the dramatic destinies of the Don Cossacks, confirms this idea. War cripples from the inside and destroys all the most precious things that people have. It forces the heroes to take a fresh look at the problems of duty and justice, to look for the truth and not find it in any of the warring camps. Once among the Reds, Gregory sees the same cruelty, intransigence, and thirst for the blood of his enemies as the Whites. Melekhov rushes between the two warring sides. Everywhere he encounters violence and cruelty, which he cannot accept, and therefore cannot take one side. The result is logical: “Like a steppe scorched by fires, Gregory’s life became black...”.
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Moral, philosophical and psychological aspects Victory is not only success in battle. To win, according to the dictionary of synonyms, is to overcome, overcome, overcome. And often not so much the enemy as yourself. Let us consider a number of works from this point of view.
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A.S. Griboyedov "Woe from Wit". The conflict of the play represents the unity of two principles: public and personal. Being an honest, noble, progressive-minded, freedom-loving person, the main character Chatsky opposes Famus society. He condemns the inhumanity of serfdom, recalling “Nestor of the noble scoundrels,” who exchanged his faithful servants for three greyhounds; he is disgusted by the lack of freedom of thought in noble society: “And who in Moscow was not silenced at lunches, dinners and dances?” He does not recognize veneration and sycophancy: “For those who need it, they are arrogant, they lie in the dust, and for those who are higher, they wove flattery like lace.”
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Chatsky is full of sincere patriotism: “Will we ever be resurrected from the foreign power of fashion? So that our smart, cheerful people, even by language, do not consider us to be Germans.” He strives to serve the “cause” and not individuals; he “would be glad to serve, but it’s sickening to be served.” Society is offended and, in defense, declares Chatsky crazy. His drama is aggravated by a feeling of ardent but unrequited love for Famusov’s daughter Sophia. Chatsky makes no attempt to understand Sophia; it is difficult for him to understand why Sophia does not love him, because his love for her speeds up “every beat of his heart,” although “to him the whole world seemed like dust and vanity.” Chatsky can be justified by his blindness by passion: his “mind and heart are not in harmony.”
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Psychological conflict turns into social conflict. Society unanimously comes to the conclusion: “crazy in everything...”. Society is not afraid of a madman. Chatsky decides to “search the world where there is a corner for an offended feeling.” I.A. Goncharov assessed the ending of the play this way: “Chatsky is broken by the quantity of the old force, having dealt it, in turn, a fatal blow with the quality of the new force.” Chatsky does not give up his ideals, he only frees himself from illusions. Chatsky’s stay in Famusov’s house shook the inviolability of the foundations of Famusov’s society. Sophia says: “I’m ashamed of myself, the walls!” Therefore, Chatsky’s defeat is only a temporary defeat and only his personal drama. On a social scale, the victory of the Chatskys is inevitable.” The “past century” will be replaced by the “present century”, and the views of the hero of Griboyedov’s comedy will win.
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A.N. Ostrovsky "Thunderstorm". Graduates may ponder the question of whether Katherine's death is a victory or a defeat. It is difficult to give a definite answer to this question. Too many reasons led to the terrible ending. The playwright sees the tragedy of Katerina’s situation in the fact that she comes into conflict not only with Kalinov’s family morals, but also with herself. The straightforwardness of Ostrovsky's heroine is one of the sources of her tragedy. Katerina is pure in soul - lies and debauchery are alien and disgusting to her. She understands that by falling in love with Boris, she violated the moral law. “Oh, Varya,” she complains, “sin is on my mind! How much I, poor thing, cried, no matter what I did to myself! I can't escape this sin. Can't go anywhere. After all, this is not good, this is a terrible sin, Varenka, why do I love someone else?”
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Throughout the entire play there is a painful struggle in Katerina’s consciousness between the understanding of her wrongness, her sinfulness and a vague, but increasingly powerful sense of her right to human life. But the play ends with Katerina’s moral victory over the dark forces that torment her. She atones for her guilt immensely, and escapes from captivity and humiliation through the only path that was revealed to her. Her decision to die, rather than remain a slave, expresses, according to Dobrolyubov, “the need of the emerging movement of Russian life.” And this decision comes to Katerina along with internal self-justification. She dies because she considers death the only worthy outcome, the only opportunity to preserve that highest thing that lived in her.
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The idea that Katerina’s death is in fact a moral victory, a triumph of the real Russian soul over the forces of the “dark kingdom” of the Dikikhs and Kabanovs, is also strengthened by the reaction to her death of the other characters in the play. For example, Tikhon, Katerina’s husband, for the first time in his life expressed his own opinion, for the first time decided to protest against the stifling foundations of his family, entering (even if only for a moment) into the fight against the “dark kingdom.” “You ruined her, you, you...” he exclaims, turning to his mother, before whom he trembled all his life.
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I.S. Turgenev "Fathers and Sons". The writer shows in his novel the struggle between the worldviews of two political directions. The plot of the novel is based on the contrast of the views of Pavel Petrovich Kirsanov and Evgeny Bazarov, who are bright representatives of two generations who do not find mutual understanding. Disagreements on various issues have always existed between youth and elders. So here, the representative of the younger generation Evgeny Vasilyevich Bazarov cannot, and does not want to understand the “fathers”, their life credo, principles. He is convinced that their views on the world, on life, on relationships between people are hopelessly outdated. “Yes, I will spoil them... After all, this is all pride, lionish habits, foppishness...” In his opinion, the main purpose of life is to work, to produce something material.
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That is why Bazarov disrespects art and sciences that do not have a practical basis. He believes that it is much more useful to deny what, from his point of view, deserves denial, than to watch indifferently from the outside, not daring to do anything. “At the present time, the most useful thing is denial - we deny,” says Bazarov. And Pavel Petrovich Kirsanov is sure that there are things that cannot be doubted (“Aristocracy... liberalism, progress, principles... art..."). He values habits and traditions more and does not want to notice the changes taking place in society.
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Bazarov is a tragic figure. It cannot be said that he defeats Kirsanov in an argument. Even when Pavel Petrovich is ready to admit defeat, Bazarov suddenly loses faith in his teaching and doubts his personal need for society. “Does Russia need me? No, apparently I don’t,” he reflects. Of course, most of all a person manifests himself not in conversations, but in deeds and in his life. Therefore, Turgenev seems to lead his heroes through various trials. And the strongest of them is the test of love. After all, it is in love that a person’s soul reveals itself fully and sincerely. And then Bazarov’s hot and passionate nature swept away all his theories. He fell in love with a woman whom he valued highly.
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“In conversations with Anna Sergeevna, he expressed his indifferent contempt for everything romantic even more than before, and when left alone, he was indignantly aware of the romanticism in himself.” The hero is experiencing severe mental discord. “... Something... took possession of him, which he never allowed, which he always mocked, which outraged all his pride.” Anna Sergeevna Odintsova rejected him. But Bazarov found the strength to accept defeat with honor, without losing his dignity.
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So, did the nihilist Bazarov win or lose? It seems that Bazarov is defeated in the test of love. Firstly, his feelings and he himself are rejected. Secondly, he falls into the power of aspects of life that he himself denies, loses ground under his feet, and begins to doubt his views on life. His position in life turns out to be a position in which, however, he sincerely believed. Bazarov begins to lose the meaning of life, and soon loses life itself. But this is also a victory: love forced Bazarov to look at himself and the world differently, he begins to understand that in no way does life want to fit into a nihilistic scheme. And Anna Sergeevna formally remains among the winners. She was able to cope with her feelings, which strengthened her self-confidence. In the future, she will find a good home for her sister, and she herself will marry successfully. But will she be happy?
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F.M. Dostoevsky "Crime and Punishment". Crime and Punishment is an ideological novel in which non-human theory collides with human feelings. Dostoevsky, a great expert on human psychology, a sensitive and attentive artist, tried to understand modern reality, to determine the extent of the influence of the ideas of revolutionary reorganization of life and individualistic theories that were popular at that time on a person. Entering into polemics with democrats and socialists, the writer sought to show in his novel how the delusion of fragile minds leads to murder, shedding of blood, maiming and breaking young lives.
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Raskolnikov's ideas were generated by abnormal, humiliating living conditions. In addition, the post-reform disruption destroyed the centuries-old foundations of society, depriving human individuality of connection with the long-standing cultural traditions of society and historical memory. Raskolnikov sees violations of universal moral norms at every step. It is impossible to feed a family with honest work, so the petty official Marmeladov finally becomes an alcoholic, and his daughter Sonechka is forced to sell herself, because otherwise her family will die of starvation.
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If unbearable living conditions push a person to violate moral principles, then these principles are nonsense, that is, they can be ignored. Raskolnikov comes to approximately this conclusion when a theory is born in his fevered brain, according to which he divides all of humanity into two unequal parts. On the one hand, these are strong personalities, “super-men” like Mohammed and Napoleon, and on the other, a gray, faceless and submissive crowd, which the hero rewards with the contemptuous name - “trembling creature” and “anthill”.
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The correctness of any theory must be confirmed by practice. And Rodion Raskolnikov conceives and carries out a murder, removing the moral prohibition from himself. His life after the murder turns into real hell. A painful suspicion develops in Rodion, which gradually turns into a feeling of loneliness and isolation from everyone. The writer finds a surprisingly accurate expression characterizing Raskolnikov’s internal state: he “as if he had cut himself off from everyone and everything with scissors.” The hero is disappointed in himself, believing that he did not pass the test of being a ruler, which means, alas, he belongs to the “trembling creatures.”
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Surprisingly, Raskolnikov himself would not want to be the winner now. After all, to win means to die morally, to remain with your spiritual chaos forever, to lose faith in people, yourself and life. Raskolnikov's defeat became his victory - a victory over himself, over his theory, over the Devil, who took possession of his soul, but failed to forever displace God in it.
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M.A. Bulgakov "The Master and Margarita". This novel is too complex and multifaceted; the writer touched on many topics and problems in it. One of them is the problem of the struggle between good and evil. In The Master and Margarita, the two main forces of good and evil, which, according to Bulgakov, should be in balance on Earth, are embodied in the images of Yeshua Ha-Notsri from Yershalaim and Woland - Satan in human form. Apparently, Bulgakov, in order to show that good and evil exist outside of time and that people have lived according to their laws for thousands of years, placed Yeshua at the beginning of modern times, in the fictional masterpiece of the Master, and Woland, as the arbiter of cruel justice, in Moscow in the 30s. XX century.
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The latter came to Earth to restore harmony where it had been broken in favor of evil, which included lies, stupidity, hypocrisy and, finally, betrayal, which filled Moscow. Good and evil in this world are surprisingly closely intertwined, especially in human souls. When Woland, in a scene in a variety show, tests the audience for cruelty and beheads the entertainer, and compassionate women demand to put her in her place, the great magician says: “Well... they are people like people... Well, frivolous... well, well... and mercy sometimes knocks on their hearts... ordinary people... - and loudly orders: “Put on your head.” And then we watch how people fight over the ducats that fell on their heads.
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The novel “The Master and Margarita” is about man’s responsibility for the good and evil that is committed on earth, for his own choice of life paths leading to truth and freedom or to slavery, betrayal and inhumanity. It is about all-conquering love and creativity, elevating the soul to the heights of true humanity. The author wanted to proclaim: the victory of evil over good cannot be the end result of social and moral confrontation. This, according to Bulgakov, is not accepted by human nature itself, and the entire course of civilization should not allow it.
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Of course, the range of works in which the thematic direction of “Victory and Defeat” is revealed is much wider. The main thing is to see the principle, to understand that victory and defeat are relative concepts. R. Bach wrote about this in the book “Bridge over Eternity”: “The important thing is not whether we lose in the game, but what matters is how we lose and how we will change because of this, what new things we will learn for ourselves, how we can apply this in other games.” . In a strange way, defeat turns out to be victory.”
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An example of an essay on the thematic area Victory and defeat: True defeat comes not from the enemy, but from oneself (Romain Rolland) Defeat and the pangs of conscience that inevitably follow, reproaching self-doubts, hostility reaching the point of self-loathing - these feelings are familiar to any thinking person to one degree or another. A person who has made a mistake has suffered defeat in the eyes of others, but their reproaches, the triumph of enemies, the condemnation of the crowd are nothing compared to internal experiences. It is the reproaches of one’s own conscience that become a true defeat. A person’s inner life, his thoughts, feelings, experiences, vision of the world inevitably influence his actions. Sometimes ideas that arise in a person’s thoughts grow into large-scale projects that require implementation.
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So, a little push, encouragement is needed, and then, like a snowball, the idea acquires details, contours, a plan is nurtured, and finally implemented. The fact that a person was wrong comes later. Often, having accepted internal defeat, a person does not understand how such a thing could even come to mind; thoughts, reflection - this is the source of both great discoveries and terrifying mistakes. For example, in Fyodor Mikhailovich Dostoevsky’s novel “Crime and Punishment,” the real drama of the main character Rodion Raskolnikov is depicted. The idea that wanders into his head about how to save the world grows and becomes a fixed idea, but the hero himself does not fully believe in the possibility of its implementation. Let us remember the dream he had on the eve of the murder. Having woken up, he exclaims with horror and despair: “Am I really going to take an ax and hit him on the head like that?!”
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However, the idea, like a web, envelops the entire being of the hero, random coincidences seem to him to be conventional signs, inadvertently overheard conversations in a tavern, a cry outside the window, involuntarily received information at the market that at such and such an hour the old woman will be home alone flashes invitingly the ax in the slightly open door of the janitor's room - all this seems to be pushing Rodion, like someone's hand. A noble crime turns into a bloody double murder, and this blood falls on the hero’s conscience as a heavy burden, he immediately realizes that he was deeply mistaken, that his idea failed, that he committed a terrible, irreparable act, and new thoughts and torment surround him. “Did I kill the old lady? I killed myself!” – these piercing words come from the very depths of the hero’s soul.
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Alexander Ostrovsky’s play “The Thunderstorm” also shows the emotional turmoil of the main character Katerina Kabanova. Being a freedom-loving girl, she cannot come to terms with life with an unloved husband and an overbearing mother-in-law. She makes a mistake by cheating on her husband, and it is this sin that does not allow her to live on, the pangs of conscience weigh heavily on her, and in despair she commits suicide. Thus, our reasoning allows us to formulate the following conclusion: a person’s true defeat occurs precisely in himself; he himself is the strictest judge of his own actions
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Essay: What does Katerina’s suicide mean - her victory or defeat (“The Thunderstorm” Ostrovsky) To answer the question: “What does Katerina’s suicide mean - her victory or defeat?”, it is necessary to examine the circumstances of her life, study the motives of her actions, pay special attention to the complexity and contradictory nature of the heroine and the extraordinary originality of her character. Katerina is a poetic person, full of deep lyricism. She grew up and was brought up in a bourgeois family, in a religious atmosphere, but she absorbed all the best that the patriarchal way of life could give. She has a sense of self-esteem, a sense of beauty, and she is characterized by the experience of beauty, which was brought up in her childhood.
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N.A. Dobrolyubov saw the greatness of Katerina’s image precisely in the integrity of her character, in her ability to be herself everywhere and always, to never betray herself in anything. Arriving at her husband’s house, Katerina was faced with a completely different way of life, in the sense that it was a life in which violence, tyranny, and humiliation of human dignity reigned. Katerina’s life changed dramatically, and the events took on a tragic character, but this might not have happened if not for the despotic character of her mother-in-law, Marfa Kabanova, who considers fear to be the basis of “pedagogy”. Her philosophy of life is to frighten and keep in obedience with fear. She is jealous of her son towards the Young Wife and believes that he is not strict enough with Katerina. She is afraid that her youngest daughter Varvara might be “infected” by such a bad example, and that her future husband might later reproach her mother-in-law for not being strict enough in raising her daughter.
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Katerina, humble in appearance, becomes for Marfa Kabanova the personification of a hidden danger that she feels intuitively. So Kabanikha seeks to subjugate, break Katerina’s fragile character, force her to live according to her own laws, and so she sharpens her “like rusty iron.” But Katerina, endowed with spiritual gentleness and trepidation, is capable in some cases of showing both firmness and strong-willed determination - she does not want to put up with this situation. “Eh, Varya, you don’t know my character!” she says. “Of course, God forbid this happens! And if I get really tired of being here, you won’t be able to hold me back with any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to be here.” I won’t live like that, even if you cut me!”
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She feels the need to love freely and therefore enters into a struggle not only with the world of the “dark kingdom”, but also with her own beliefs, with her own nature, incapable of lies and deception. A heightened sense of justice makes her doubt the correctness of her actions, and she perceives the awakened feeling of love for Boris as a terrible sin, because, having fallen in love, she violated those moral principles that she considered sacred. But she also cannot give up her love, because it is love that gives her the much-needed feeling of freedom. Katerina is forced to hide her dates, but living a life of deception is unbearable for her. Therefore, she wants to free herself from them by her public repentance, but only further complicates her already painful existence. Katerina’s repentance shows the depth of her suffering, moral greatness, and determination.
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But how can she continue to live, if even after she repented of her sin in front of everyone, it did not become easier. It is impossible to return to your husband and mother-in-law: everything there is foreign. Tikhon will not dare to openly condemn his mother’s tyranny, Boris is a weak-willed man, he will not come to the rescue, and continuing to live in the Kabanovs’ house is immoral. Previously, they couldn’t even reproach her, she could feel that she was right in front of these people, but now she is guilty in front of them. She can only submit. But it is no coincidence that the work contains the image of a bird deprived of the opportunity to live in the wild. For Katerina, it is better not to live at all than to put up with the “miserable vegetation” that is destined for her “in exchange for her living soul.”
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N.A. Dobrolyubov wrote that Katerina’s character “is full of faith in new ideals and selfless in the sense that it is better for him to die than to live under those principles that are disgusting to him.” To live in a world of “hidden, quietly sighing sorrow... prison, deathly silence...”, where “there is no space and freedom for living thought, for sincere words, for noble deeds; a heavy tyrant ban is imposed on loud, open, widespread activity "There is no way for her. If she cannot enjoy her feeling, her will legally, “in broad daylight, in front of all the people, if something that is so dear to her is snatched away from her, then she doesn’t want anything in life, she doesn’t even want life...” . Katerina did not want to put up with the reality that kills human dignity, could not live without moral purity, love and harmony, and therefore got rid of suffering in the only way possible in those circumstances.
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“... Simply as a human being, we are glad to see Katerina’s deliverance - even through death, if there is no other way... A healthy personality breathes upon us with joyful, fresh life, finding within itself the determination to end this rotten life at any cost !..” - says N.A. Dobrolyubov. And therefore, the tragic ending of the drama - Katerina’s suicide - is not a defeat, but an affirmation of the strength of a free person, - this is a protest against Kabanov’s concepts of morality, “proclaimed under domestic torture, and over the abyss into which the poor woman threw herself,” this is “a terrible challenge to the tyrant power ". And in this sense, Katerina’s suicide is her victory.
