home › Chassis › "Analysis of the work. "History of creation and analysis of the story "One day in Ivan Denisovich" One day in Ivan Denisovich's main episodes

"Analysis of the work. "History of creation and analysis of the story "One day in Ivan Denisovich" One day in Ivan Denisovich's main episodes

The story "One Day in the Life of Ivan Denisovich" is a story about how a man from the people relates himself to the forcefully imposed reality and its ideas. It shows in a condensed form that camp life, which will be described in detail in other major works of Solzhenitsyn - in the novel The Gulag Archipelago and In the First Circle. The story itself was written while working on the novel In the First Circle, in 1959.

The work is a continuous opposition to the regime. This is a cell of a large organism, a terrible and inexorable organism of a large state, so cruel to its inhabitants.

In the story there are special measures of space and time. Camp is a special time that is almost still. The days in the camp are rolling, but the deadline is not. A day is a measure. Days are like two drops of water similar to each other, all the same monotony, thoughtless mechanicalness. Solzhenitsyn is trying to fit the whole camp life in one day, and therefore he uses the smallest details in order to recreate the whole picture of life in the camp. In this regard, they often talk about a high degree of detail in the works of Solzhenitsyn, and especially in small prose - stories. Behind every fact lies a whole layer of camp reality. Each moment of the story is perceived as a frame of a cinematic film, taken separately and viewed in detail, under a magnifying glass. "At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks." Ivan Denisovich overslept. I always got up on the rise, but today I didn’t get up. He felt sick. They take everyone out, line them up, everyone goes to the dining room. Ivan Denisovich Shukhov's number is Sh-5h. Everyone strives to be the first to enter the dining room: they pour it thicker first. After eating, they are again built and searched.

The abundance of details, as it seems at first glance, should burden the narrative. After all, there is almost no visual action in the story. But this, nevertheless, does not happen. The reader is not burdened by the narrative, on the contrary, his attention is riveted to the text, he is intensely following the course of events that are real and taking place in the soul of one of the characters. Solzhenitsyn does not need to resort to any special tricks to achieve such an effect. It's all about the material itself. Heroes are not fictional characters, but real people. And these people are placed in conditions where they have to solve problems on which their life and destiny most directly depend. To a modern person, these tasks seem insignificant, and therefore an even more terrible feeling remains from the story. As V. V. Agenosov writes, “every little thing for the hero is literally a matter of life and death, a matter of survival or dying. Therefore, Shukhov (and with him every reader) sincerely rejoices at every particle found, every extra crumb of bread.

There is another time in the story - metaphysical, which is also present in other works of the writer. In this time - other values. Here the center of the world is transferred to the convict's consciousness.

In this regard, the topic of metaphysical understanding of a person in captivity is very important. Young Alyoshka teaches the already middle-aged Ivan Denisovich. By this time, all Baptists were imprisoned, but not all Orthodox. Solzhenitsyn introduces the theme of religious understanding of man. He is even grateful to the prison for turning him towards spiritual life. But Solzhenitsyn noticed more than once that at this thought, millions of voices arise in his mind, saying: “Because you say so, you survived.” These are the voices of those who laid down their lives in the Gulag, who did not live to see the moment of liberation, did not see the sky without an ugly prison net. The bitterness of loss runs through the story.

Separate words in the text of the story are also associated with the category of time. For example, these are the first and last lines. At the very end of the story, he says that Ivan Denisovich's day was a very successful day. But then he sadly notes that "there were three thousand six hundred and fifty three such days in his term from bell to bell."

The space in the story is also interesting. The reader does not know where the camp space begins and ends, it seems as if it flooded all of Russia. All those who ended up behind the wall of the Gulag, somewhere far away, in an unattainable distant city, in the countryside.

The very space of the camp turns out to be hostile to the prisoners. They are afraid of open areas, they strive to cross them as quickly as possible, to hide from the eyes of the guards. Animal instincts awaken in a person. Such a description completely contradicts the canons of Russian classics of the 19th century. The heroes of that literature feel comfortable and easy only in freedom, they love space, distance, associated with the breadth of their soul and character. The heroes of Solzhenitsyn flee from space. They feel much safer in cramped cells, in stuffy barracks, where they can at least afford to breathe more freely.

The main character of the story becomes a man from the people - Ivan Denisovich, a peasant, a front-line soldier. And this is done deliberately. Solzhenitsyn believed that it is people from the people who ultimately make history, move the country forward, and bear the guarantee of true morality. Through the fate of one person - Ivan Denisovich - the author of the Brief contains the fate of millions, innocently arrested and convicted. Shukhov lived in the countryside, which he fondly remembers here in the camp. At the front, he, like thousands of others, fought with full dedication, not sparing himself. After being wounded - back to the front. Then the German captivity, from where he miraculously managed to escape. And for this he now ended up in the camp. He was accused of espionage. And what kind of task the Germans gave him, neither Ivan Denisovich himself nor the investigator knew: “What kind of task - neither Shukhov himself could come up with, nor the investigator. So they left it just - the task. By the time of the story, Shukhov had been in the camps for about eight years. But this is one of the few who, in the exhausting conditions of the camp, did not lose his dignity. In many ways, his habits of a peasant, an honest worker, a peasant help him. He does not allow himself to humiliate himself in front of other people, lick plates, inform on others. His age-old habit of respecting bread is still visible today: he keeps bread in a clean rag, takes off his hat before eating. He knows the value of work, loves it, is not lazy. He is sure: "who knows two things with his hands, he will also pick up ten." In his hands the case is argued, the frost is forgotten. He treats his tools with care, carefully monitors the laying of the wall, even in this forced labor. The day of Ivan Denisovich is a day of hard work. Ivan Denisovich knew how to carpentry, could work as a mechanic. Even in forced labor, he showed diligence, laid a beautiful even wall. And those who did not know how to do anything carried sand in wheelbarrows.

The hero of Solzhenitsyn has largely become the subject of malicious accusations among critics. In their view, this integral folk character should be almost perfect. Solzhenitsyn, on the other hand, portrays an ordinary person. So, Ivan Denisovich professes camp wisdom, laws: “Groan and rot. And if you resist, you will break." It was negatively received by critics. Particular bewilderment was caused by the actions of Ivan Denisovich, when, for example, he takes away a tray from an already weak convict, deceives the cook. It is important to note here that he does this not for personal benefit, but for his entire brigade.

There is another phrase in the text that caused a wave of discontent and extreme surprise among critics: “I didn’t know myself whether he wanted freedom or not.” This idea was misinterpreted as Shukhov's loss of hardness, of his inner core. However, this phrase echoes the idea that prison awakens spiritual life. Ivan Denisovich already has life values. Prison or freedom will not change them, he will not refuse it. And there is no such captivity, such a prison that could enslave the soul, deprive it of freedom, self-expression, life.

The value system of Ivan Denisovich is especially evident when comparing him with other characters who were imbued with camp laws.

Thus, in the story, Solzhenitsyn recreates the main features of that era when the people were doomed to incredible torment and hardship. The history of this phenomenon does not actually begin in 1937, when the so-called violations of the norms of state and party life begin, but much earlier, from the very beginning of the existence of the totalitarian regime in Russia. Thus, the story presents a clot of the fate of millions of Soviet people who are forced to pay for honest and devoted service through years of humiliation, torment, and camps.

Solzhenitsyn Alexander Isaevich

During the classes

Analysis of the story "One Day in the Life of Ivan Denisovich"

The purpose of the lesson: to show the publicity of the story, its appeal to the reader, to evoke an emotional response when analyzing the story.

Methodical methods: analytical conversation, commented reading.

During the classes

1. Teacher's word. The work "One day ..." has a special place in literature and public consciousness. Story written in 1959 city (and conceived in the camp in 1950), was originally called "Shch-854 (One day of one convict)".

2. Why is the story about the camp world limited to a description of one day? Solzhenitsyn himself writes about the idea of the story: It was just such a camp day, hard work, I was carrying a stretcher with a partner and I thought: how should I describe the whole camp world - in one day ... morning until evening. And everything will be. This idea was born in my 52nd year. In the camp. Well, of course, then it was crazy to think about it. And then years passed. I wrote a novel, got sick, died of cancer. And now ... in 1959, one day I think: it seems that I could already apply this idea. For seven years she lay so simply. Let me try to describe one day of one prisoner. Sat down - and how it poured! With terrible tension! Because many of these days are concentrated in you at once. And just so you don't miss anything." Written in 40 days.

3. Why did the author define the genre as short story? This emphasized the contrast between the small form and the deep content of the work. Tvardovsky called the story "One day ...", realizing the significance of Solzhenitsyn's creation.

4. This work opened the patient to the public consciousness of the period of the "thaw" the theme of the recent past of the country associated with the name of Stalin. The author was seen as a man who told the truth about a forbidden country called the Gulag Archipelago.

5. At the same time, some reviewers expressed doubt: why did Solzhenitsyn portray as his hero not a communist who undeservedly suffered from repressions, but remained true to his ideals, but a simple Russian peasant?

6. Plot- the events of one day are not the author's fiction. The compositional basis of the plot is a clearly lined time, determined by the camp regime.

7. problem question: why does the hero consider the day depicted in the story happy? At first glance, because nothing happened that day that would worsen the position of the hero in the camp. On the contrary, even luck accompanied him: he mowed down porridge, bought tobacco, picked up a piece of a hacksaw and did not get caught with it on a shmona - 54 , Tsezar Markovich received a parcel ( 87-88), therefore, something was interrupted, the brigade was not sent to build a social town, he survived, he did not get sick, the foreman closed the percentage well, Shukhov laid the wall cheerfully. Everything that seems ordinary to Ivan Denisovich, to which he has become accustomed, is essentially terribly inhuman. The author’s assessment sounds completely different, outwardly calmly objective and therefore even more terrible: “ There were 3,653 such days in his term from bell to bell. Due to leap years, 3 extra days were added.

8. And here already there was a pretext for Solzhenitsyn's polemic with the official criticism of the 60s.

9. The fact that this day is successful, Solzhenitsyn writes without any irony, seriously. There is absolutely no intonation here that, they say, well, the requests of a person!

10. And negative criticism blamed Solzhenitsyn for this, soldering the label “non-Soviet person”: no struggle, no high demands: he mowed down the porridge, he is waiting for handouts from Caesar Markovich: 98 – 99 .

11. And according to Solzhenitsyn, this is really a happy day for Shukhov, although this happiness is in a negative form: he didn’t get sick, he didn’t get caught ( 14 ), were not expelled, not imprisoned. It was the truth that brooked no half-truths. With such an angle of view, the author guaranteed the complete objectivity of his artistic testimony, and the more merciless and sharper was the blow. From N. Sergolantsev's article No. 4 - 1963 "October": " The hero of the story I. D. is not an exceptional nature. This is an ordinary person. His spiritual world is very limited, his intelligent life is not of particular interest.

And by life itself, and throughout the history of Soviet literature, we know that the typical folk character, forged by our whole life, is the character of a fighter, active, inquisitive, active. But Shukhov is completely devoid of these qualities. He does not resist tragic circumstances in any way, but submits to them with his soul and body. Not the slightest internal protest, not a hint of a desire to realize the reasons for their plight. Not even an attempt to learn about them from more knowledgeable people. His whole life program, his whole philosophy is reduced to one thing - to survive. Some critics were touched by such a program, they say, a person is alive, but after all, a terribly lonely person is alive, in his own way adapted to hard labor conditions, really not even understanding the unnaturalness of his position. Yes, Ivan Denisovich was muzzled, in many ways dehumanized by extremely cruel conditions. This is not his fault. But the author of the story is trying to present him as an example of spiritual fortitude. And what stamina is already here when the circle of interests of the hero does not extend beyond an extra bowl of gruel, leftist earnings and warmth.

If sum up judgments of a critic about Shukhov,

1) Ivan Denisovich adapts to inhuman life, which means he lost his human features,

2) Ivan Denisovich - the essence of animal instincts. Nothing left in him conscious, spiritual,

3) He is tragically lonely, disconnected from other people and almost hostile to them.

4) And the conclusion: no, Ivan Denisovich cannot claim to be the folk type of our era. (The article is written according to the laws of normative criticism, it does not rely much on the text).

12. temporary organization.

What is the meaning of the mention of maternity time (Shukhov's conversation with Buinovsky at the construction of a thermal power plant)? The time in the camp, scheduled by the minute by the regime, does not belong to a person ("and the sun obeys their decrees»).

Why does Ivan Denisovich always get up on the rise, an hour and a half before the divorce? Why does he always eat slowly? Why so appreciates the time after the recalculation?

Time in the camp does not belong to man. Therefore, the morning “ 1.5 hours of his time, not official", and meal time -" 10 minutes for breakfast, yes for lunch 5, yes 5 for dinner", When " camper lives for himself", and the time after the recalculation, when " prisoner becomes a free man».

Find chronological details in the story. Importance time categories in the story it is emphasized by the fact that his first and last phrases are devoted precisely to time.

The day is that "nodal" point through which all human life passes in Solzhenitsyn's story. That is why the chronological designations in the text also have a symbolic meaning. It is especially important that the concepts of “day” and “life” approach each other, sometimes almost becoming synonymous.

In what episodes does the scope of the narrative expand (memories of the characters)?

13. Spatial organization. Find the spatial coordinates in the story. What is the peculiarity of the organization of space? The space in which the prisoner lives is closed, limited on all sides by barbed wire. And from above it is covered with the light of searchlights and lanterns, which “ so many ... were poked that they completely lit up the stars. The prisoners are fenced off even from the sky: the spatial vertical is sharply narrowed. For them there is no horizon, no sky, no normal circle of life.

The space in the story is built up in concentric circles: first, a barrack is described, then a zone is outlined, then a transition across the steppe, a construction site, after which the space again shrinks to the size of a barrack. The closure of the circle in the artistic topography of the story takes on a symbolic meaning. The prisoner's field of vision is limited by a circle surrounded by wire.

Find verbs of motion in the text. What is their motive? small plots open space turn out to be hostile and dangerous, not by chance in verbs of motion ( hid, fussed, jogged, stuck, climbed, hurried, overtook, snuck etc.) often sounds the moment of shelter. The heroes of the story face a problem: how to survive in a situation where time is not yours, A space is hostile(such isolation and strict regulation of all spheres of life is evidence not only of the camp, but of the totalitarian system as a whole).

In contrast to the heroes of Russian literature, who traditionally love the expanse, the distance, the unrestricted space, Shukhov and his fellow campers dream of the saving tightness of the shelter. Barrack turns out to be their home.

How is the story space expanded? But there is also the inner vision of the prisoner - the space of his memory; closed circles are overcome in it and images of Russia, the village, the world arise.

14. subject detail. Give examples of episodes in which, in your opinion, the subject detail is the most detailed.

psychologically convincing description of the prisoner's feelings during the search;

· spoonwith a tattoo Ust-Izhma, 1944, which he carefully hides behind the top of his felt boot).

· Climb - With. 7 ,

· a clearly drawn plan of the zone with a watch, a medical unit, barracks;

morning divorce;

unusually carefully, scrupulously the author watches how his hero gets dressed before leaving the barracks - 19 how he puts on a rag-muzzle;

Or, as before the skeleton, he eats a small fish caught in the soup. Even such a seemingly insignificant "gastronomic" detail, like fish eyes floating in the stew, is awarded a separate "frame" in the course of the story;

Dining room scenes 50/1 ;

detailed image of the camp menu - 13, 18, 34, 48, 93 ,

self-gardening,

about boots and felt boots - 10,

episode with a hacksaw,

with the receipt of parcels, etc.

· What is the artistic function of fine detail?

For a prisoner, there can be no trifles, because his life depends on every little thing(note how the experienced prisoner Shukhov noticed the oversight of Caesar, who did not hand over the parcel to the storage room before checking - 104 ). Any detail is conveyed psychologically concretely.

Such meticulousness of the image does not slow down the narrative, the reader's attention is sharpened. The fact is that Solzhenitsyn's Shukhov is placed in a situation between life and death: the reader is charged with the energy of the writer's attention to the circumstances of this extreme situation. Every little thing for the hero is literally a matter of survival or dying.

In addition, the monotony of careful descriptions is skillfully overcome by the writer's use of expressive syntax: Solzhenitsyn avoids extended periods by saturating the text short cut phrases, syntactic repetitions, emotionally colored exclamations and questions.

Any particular description passed through the perception of the hero himself- that's why everything makes you remember the emergency of the situation and the every minute dangers that await the hero.

15. Character system. What parameters are set? Determine the main steps of the camp hierarchy. Clearly into 2 groups :guards and zeks. But even among the prisoners there is a hierarchy (from the foreman to jackals and informers).

What is the hierarchy of heroes in their relation to captivity? They differ and attitude towards hardship. (From Buinovsky's attempts to "revolt" to Alyoshka's naive non-resistance).

What is Shukhov's place in these coordinate systems? In both cases, Shukhov finds himself in the middle.

What is the originality of Shukhov's portrait? Portrait sketches in the story are concise and expressive (portrait of Lieutenant Volkovy - 22, prisoner Yu-81 (94 pages), dining room (89), foreman Tyurin (31).

Find portrait sketches of the characters. Shukhov's appearance is barely outlined, he is absolutely inconspicuous. Portrait characteristics of Shukhov himself(shaved, toothless and as if shrunken head; his way of moving)

16. Play the biography of the hero, match her with biographies of other characters.

His biography is the ordinary life of a man of his era, and not the fate of an oppositionist, a fighter for an idea - 44 . The hero of Solzhenitsyn is an ordinary person, a “man of the middle”, in which the author constantly emphasizes normality, discreet behavior.

What makes Shukhov the main character? Ordinary people, according to the writer, ultimately decide the fate of the country, carry the charge of people's morality and spirituality.

· The ordinary and at the same time extraordinary biography of the hero allows the writer to recreate the heroic and tragic fate of a Russian person of the 20th century. Ivan Denisovich was born in 1911, lived in the village of Temgenevo, with a characteristic Russian name, honestly fought, like millions of Russian soldiers, honestly, wounded, not cured, hastened to return to the front.

· Escaped from captivity and ended up in the camp along with thousands of poor fellows encircled in the camp - allegedly carried out the task of German intelligence.

· 8 years of wandering around the camps, while maintaining inner dignity.

・does not change age-old masculine habits And " does not drop himself", does not humiliate himself because of a cigarette (unlike Fetyukov, he stands as if indifferently next to the smoking Caesar, waiting for a cigarette butt), because of soldering, and even more so does not lick the plates and does not inform on his comrades for the sake of improving his own fate.

According to a well-known peasant habit, Shukhov respects bread, wears in a special pocket, in a clean cloth; when eating- removes cap.

· Does not disdain extra earnings, but always earns by honest work. And therefore, they are not able to understand how it is possible to take big money for hack work (for painting “carpets” under the stencil).

Conscientiousness, unwillingness to live at someone else’s expense, to cause inconvenience to someone make him forbid his wife to collect parcels for him in the camp, justify the greedy Caesar and “ don't stretch your belly on someone else's good».

17. Compare Shukhov's life position with the positions of other heroes of the story: Buinovsky, Tsezar Markovich, etc.

1) Caesar Markovich , an educated person. Intelligent, received exemption from general work and even the right to wear fur, a hat, because " everyone put it on who needs it". But it is not this completely natural desire to alleviate one's lot that causes the author's condemnation, but his attitude towards people. He for granted accepts Shukhov's services (he also goes to the dining room for his rations, and takes the queue for the parcel). And although sometimes he treats Shukhov with smoke and shares rations, Ivan Denisovich interests him only when he needs him for some reason. Indicative in this regard is the scene in the foreman's room. The heroes argue about truth and beauty in art, they do not notice a living person, who for the author is the measure of all values.

Shukhov, who with difficulty obtained a bowl of porridge for Caesar, hurried through the frost to the foreman's room, patiently waits to be noticed and hopes to get a smoke for his service. But the arguing, sitting in the warmth, too engrossed in their conversation : 54.

2) Caesar will continue the dispute about art with kavtoragng (talking on watch) - 75-76 . Perhaps, from the point of view of an art historian, Caesar's view of Eisenstein's skill is more just than Buinovsky's rude words, but the correctness of the captain's rank is determined by his position: Caesar left the heated office, and Buinovsky worked all day in the cold. His position here is closer to that of Shukhov.

However, we note that captain rank in many ways and opposed Shukhov. Should be analyzed behavior Buynovsky in the scene of the morning shmona ( 23 – 24 ) and Shukhov's assessment of his act. Shukhov himself does not rebel, because he knows: Grunt and rot. And if you resist, you will break,- but not subject to circumstances.

3) If we compare Shukhov with such heroes as Der (64), Shkuropatenko, Panteleev, then we note that they, the same prisoners, themselves participate in the evil done to people, which the main character of the story is incapable of.

4) Which of the characters in the story professes moral principles similar to those of Shukhov? Tyurin, Kuzemin.

5) Analyze the words of foreman Kuzemin: page 5 . Are there analogues to these principles in Russian classical literature? Does Shukhov agree with his first foreman? humiliate (" lick bowls”), to save one’s life at the expense of others (“ knock”) has always been unacceptable for folk morality, the same values were affirmed in Russian classical literature, but not to wait for help, compassion (“ And do not rely on the medical unit”) is already a sad experience of the twentieth century. Shukhov, realizing that the informers just survive, nevertheless, does not agree with his former foreman, since for him it is not about physical, but about moral death.

Shukhov's task is not to become free, and even not only to survive, but to remain a man even in inhuman conditions.

18. The peculiarity of the story. Analyzing improperly direct speech as the leading way of narration, let us find out why, bringing his position closer to the position of the hero, Solzhenitsyn refuses the tale form. Find episodes where the author's point of view comes to the fore in comparison with the hero's point of view.

As a rule, these are episodes where we are talking about things that are inaccessible to the understanding of the hero, so the author's point of view here cannot coincide with the point of view of the hero. For example, in disputes about art, the hero cannot judge who is right.

In this case, the very composition of the scenes becomes a means of expressing the author's position.

19. Features of the language. Find proverbs in the text of the story. What is their originality and artistic function? How does the language of Ivan Denisovich combine the signs of peasant speaking and camp jargon? In the speech of Ivan Denisovich, more than in the speech of other characters, there are more dialect words and only 16 words of camp jargon. Socially and individually colored, expressive peasant language is more resistant to camp vocabulary than neutral speech.

Indicative in this regard is the scene in which the brigade is waiting for a late Moldavian. The indignant crowd shouts a lot of abuse. Ivan Denisovich, indignant along with everyone else, confines himself to the word "plague».

Preservation of a word that could be attributed to the means of language extension. What word formation methods does the author use? Match the found words with commonly used synonyms. What is the expressiveness, semantic capacity, richness of shades of Solzhenitsyn's vocabulary?

Uses more often traditional ways of word formation and the morpheme composition available in the language, but an unusual combination of morphemes makes the word extremely concise, expressive, creates new shades of meanings:

warmed up, ripened, ripened, squeezed, examined, sat down (the team not only sat down around the stove, but also tightly surrounded it), cheated (deceived and passed at the same time), in a trap, trial, restraint, in a lull, haze, not spilling, drinking, trampled, annoyed) (adds a hint of fussiness), racing, little things, little snow, unraveling, hardened fingers, attentively (slowly, attentively and thoughtfully), shyly, staggeringly; zakoroykoy (not just the edge, but the very edge), burnt out, unfinished (an extremely concise designation of a person who is not able to get anything), a half-smoker (a cigarette butt that can be smoked); arrogant, strong-witted, quick-witted; captivity (i.e. captivity)

20. Reflection of the era in the story , pp. 293 - 294, textbook.

21. The originality of the Solzhenitsyn hero. Created a special type of hero. This is not a fighter with the system and not even a person who has risen to comprehend the essence of his era (only a few are capable of such things), but a “simple” person, the bearer of that folk morality, on which, according to the author, the fate of the country depends. The criterion for evaluating a person is not his social significance, but his ability to carry through inhuman trials pure soul.

After many years of dominance in literature by a strong man, thirsting for freedom, going against the odds and leading people, Solzhenitsyn returned to it a hero who embodied peasant thoroughness And work habit, patience And prudence, adaptability to inhuman conditions not humiliating, not participating in what is being created evil, ability to stay internally free in an atmosphere of total lack of freedom, to preserve their name, their language, their individuality.

Summing up results On his happy day, Shukhov more often notes not what happened to him, but what did not happen to him: 111.

But among these "not" he is silent, perhaps, about the most important thing: on this day he did not cease to be a man.

Analysis of the work

The story "One Day in the Life of Ivan Denisovich" is a story about how a man from the people relates himself to the forcefully imposed reality and its ideas. It shows in a condensed form that camp life, which will be described in detail in other, major works of Solzhenitsyn - in the novel The Gulag Archipelago and In the First Circle. The story itself was written while working on the novel In the First Circle, in 1959.

The work is a continuous opposition to the regime. This is a cell of a large organism, a terrible and inexorable organism of a large state, so cruel to its inhabitants.

In the story there are special measures of space and time. Camp is a special time that is almost still. The days in the camp are rolling, but the deadline is not. A day is a measure. Days are like two drops of water similar to each other, all the same monotony, thoughtless mechanicalness. Solzhenitsyn is trying to fit the whole camp life in one day, and therefore he uses the smallest details in order to recreate the whole picture of life in the camp. In this regard, one often speaks of a high degree of detail in Solzhenitsyn's works, and especially in short prose - short stories. Behind every fact lies a whole layer of camp reality. Each moment of the story is perceived as a frame of a cinematic film, taken separately and viewed in detail, under a magnifying glass. "At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks." Ivan Denisovich overslept. I always got up on the rise, but today I didn’t get up. He felt sick. They take everyone out, line them up, everyone goes to the dining room. Ivan Denisovich Shukhov's number is Sh-5h. Everyone strives to be the first to enter the dining room: they pour it thicker first. After eating, they are again built and searched.

There is another time in the story - metaphysical, which is also present in other works of the writer. This time, there are other values. Here the center of the world is transferred to the convict's consciousness.

The main character of the story becomes a man from the people - Ivan Denisovich, a peasant, a front-line soldier. And this is done deliberately. Solzhenitsyn believed that it is people from the people who ultimately make history, move the country forward, and bear the guarantee of true morality. Through the fate of one person - Ivan Denisovich - the author Briefly contains the fate of millions, innocently arrested and convicted. Shukhov lived in the countryside, which he fondly remembers here in the camp. At the front, he, like thousands of others, fought with full dedication, not sparing himself. After being wounded - back to the front. Then the German captivity, from where he miraculously managed to escape. And for this he now ended up in the camp. He was accused of espionage. And what kind of task the Germans had given him, neither Ivan Denisovich himself nor the investigator knew: “What kind of task, neither Shukhov himself could come up with, nor the investigator. So they left it just - the task. By the time of the story, Shukhov had been in the camps for about eight years. But this is one of the few who, in the exhausting conditions of the camp, did not lose his dignity. In many ways, his habits of a peasant, an honest worker, a peasant help him. He does not allow himself to humiliate himself in front of other people, lick plates, inform on others. His age-old habit of respecting bread is still visible today: he keeps bread in a clean rag, takes off his hat before eating. He knows the value of work, loves it, is not lazy. He is sure: "who knows two things with his hands, he will also pick up ten." In his hands the case is argued, the frost is forgotten. He treats his tools with care, carefully monitors the laying of the wall, even in this forced labor. The day of Ivan Denisovich is a day of hard work. Ivan Denisovich knew how to carpentry, could work as a mechanic. Even in forced labor, he showed diligence, laid a beautiful even wall. And those who did not know how to do anything carried sand in wheelbarrows.

The value system of Ivan Denisovich is especially evident when comparing him with other characters who were imbued with camp laws.

Plan

1. Memoirs of Ivan Denisovich about how and why he ended up in a concentration camp. Memories of German captivity, of the war.
2. Memories of the main character about the village, about the peaceful pre-war period.
3. Description of the life of the camp.
4. A good day in the camp life of Ivan Denisovich.

Solzhenitsyn, Analysis of the work One Day in the Life of Ivan Denisovich, Plan

This page searched for:

one day of ivan denisovich analysis of the work
analysis of the work One Day by Ivan Denisovich
Solzhenitsyn one day of Ivan Denisovich analysis of the work
one day in the life of ivan denisovich analysis
analysis one day ivan denisovich solzhenitsyn

The story "One Day in the Life of Ivan Denisovich" is a true depiction of the Siberian everyday life of the victims of Stalin's repressions. The work allows the reader to imagine what fate awaited those who did not please the Soviet regime. At school, they study it in high school. The analysis of the work presented in the article will help you quickly prepare for the lesson and refresh your knowledge about the story before the exam.

Brief analysis

Year of writing - 1959.

History of creation- AI Solzhenitsyn conceived the work in the winter of 1950-1951, when he was in a camp in northern Kazakhstan. The idea was realized only 9 years later in 1959 in Ryazan.

Subject- The work develops the theme of the camp life of political prisoners, victims of the Stalinist regime.

Composition- A. I. Solzhenitsyn described one day in the life of a prisoner, so the time frame from morning to evening, or rather, from getting up to lights out, became the basis for the composition. The analyzed work is an interweaving of stories, reflections, in which details play an important role.

Genre- A story, although before publication the editor recommended A. Solzhenitsyn to call his work a story, and the author heeded the advice.

Direction- Realism.

History of creation

The history of the creation of the work is connected with the camp life of A. Solzhenitsyn. The writer conceived it in 1950-1951. Then he served time in northern Kazakhstan. Later, Alexander Isaevich recalled: “In 1950, on some long winter camp day, I was carrying a stretcher with a partner and thought: how to describe our entire camp life?” He decided that a detailed description of one day in the life of those who were in "eternal exile" was enough. Alexander Isaevich began to implement the plan 9 years later, after returning from exile. It took about a month and a half to write the story (May-June 1959).

1961 - the year of writing a version of the work without some of the sharpest political moments. In the same 1961, Solzhenitsyn handed over the manuscript to the editor-in-chief of the journal Novy Mir, A. Tvardovsky. The author did not sign the work, but A. Berzer, an employee of the editorial office, added the pseudonym A. Ryazansky. The story made a “great impression” on the editor, as evidenced by the entry in his workbook.

The editors suggested that Alexander Isaevich change the name: and the manuscript was called “Sch-854. One day for one convict. The publishers also made adjustments to the genre definition, suggesting that the work be called a story.

The author sent the story to fellow writers and asked them to write reviews about it. So he hoped to advance his work for publication. However, Alexander Isaevich understood that the work might not pass censorship. They turned to N. Khrushchev for help, and he obtained permission to publish it. Solzhenitsen's story "One Day in the Life of Ivan Denisovich" saw the world on the pages of the Novy Mir magazine in 1962.

The publication of the work was a grandiose event. Reviews about him appeared in all magazines and newspapers. Criticism considered that the story became a destructive force for the hitherto dominant socialist realism.

Subject

For a better assimilation of the material on the story of A. Solzhenitsyn "One Day in the Life of Ivan Denisovich", its analysis should begin with a description of the motives.

In the literature of the "post-Stalin" period, the motives of repressions and exiles are actively developing. They occupy a special place in the work of writers who happened to be in the camps. The analyzed work reveals the theme of the life of political prisoners in exile. Main heroes stories - prisoners and guards.

A. Solzhenitsyn describes only one day in the life of a man exiled to the northern regions, Ivan Denisovich Shukhov, which determined and the meaning of the name.

This is a peasant who honestly defended his homeland at the front. Shukhov was taken prisoner, but he managed to escape, for which he was sent into exile. Inhuman conditions of life could not kill a truly peasant soul. Ivan Denisovich retained his innocence and kindness. At the same time, he was cunning. The inner core helped him survive.

In addition to Ivan Denisovich, there are other images of prisoners in the work. With undisguised admiration, A. Solzhenitsyn tells about Alyosha the Baptist, who, under the pressure of conditions, did not renounce his views, about Ukrainians praying before eating. Also, the reader can watch the commander, who took care of his wards, like a real father.

Each image is a tool for revealing a certain facet of camp life. In the context of the main theme, the problems of the story are formed. Particular attention should be paid to such problems: human cruelty, the injustice of the regime, mutual assistance as a way of survival, love for one's neighbor, faith in God. The author only raises questions that are acute for his era, but the reader must draw his own conclusions.

story idea- to show how the political regime can destroy destinies, cripple human bodies and souls. A. Solzhenitsyn condemns the repressions so that the descendants do not make such mistakes.

Composition

The structure of the story is dictated by its content and the time frame of the events described. First, A. Solzhenitsyn talks about getting up at five in the morning. This is the exposition, which takes the reader to the camp barracks and introduces him to the main character.

The development of events - all the troubles that Ivan Denisovich gets into during the day. First, he is caught lying after the “rise”, then he is sent to wash the floors in the guard's room. Conversations with Alexei the Baptist and an agreement with a prisoner who received a rich package also belong to the development of events.

There are at least two climaxes in the work - the episode when the warder leads Shukhov to serve his sentence and the scene where Caesar hides food from the guards. The denouement - lights out: Shukhov falls asleep, realizing that he lived the day happily.

Main characters

Genre

A. I. Solzhenitsyn, at the urging of the editors, defined the work as a story. Actually, it's a story. In it, one can notice such signs of a small literary genre: a small volume, the author's attention is concentrated on Shukhov's storyline, the system of images is not very ramified. The direction of the work is realism, since the author truthfully describes human life.

Artwork test

Analysis Rating

Average rating: 4.2. Total ratings received: 770.

"One Day in the Life of Ivan Denisovich" Solzhenitsyn

"One day of Ivan Denisovich" analysis of the work - theme, idea, genre, plot, composition, characters, problems and other issues are disclosed in this article.

The story "One Day in the Life of Ivan Denisovich" is a story about how a man from the people relates himself to a forcefully imposed reality and its ideas. It shows in a condensed form that camp life, which will be described in detail in other major works of Solzhenitsyn - in the novel The Gulag Archipelago and In the First Circle. The story itself was written while working on the novel In the First Circle, in 1959.

The work is a complete opposition to the regime. This is a cell of a large organism, a terrible and inexorable organism of a large state, so cruel to its inhabitants.

In the story there are special measures of space and time. Camp is a special time that is almost still. The days in the camp are rolling, but the deadline is not. A day is a measure. Days are like two drops of water similar to each other, all the same monotony, thoughtless mechanicalness. Solzhenitsyn is trying to fit the whole camp life in one day, and therefore he uses the smallest details in order to recreate the whole picture of life in the camp. In this regard, they often talk about a high degree of detail in the works of Solzhenitsyn, and especially in small prose - stories. Behind every fact lies a whole layer of camp reality. Each moment of the story is perceived as a frame of a cinematic film, taken separately and viewed in detail, under a magnifying glass. "At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks." Ivan Denisovich overslept. I always got up on the rise, but today I didn’t get up. He felt sick. They take everyone out, line them up, everyone goes to the dining room. The number of Ivan Denisovich Shukhov is Sh-5h. Everyone strives to be the first to enter the dining room: they pour it thicker first. After eating, they are again built and searched.

The abundance of details, as it seems at first glance, should burden the narrative. After all, there is almost no visual action in the story. But this, nevertheless, does not happen. The reader is not burdened by the narrative, on the contrary, his attention is riveted to the text, he is intensely following the course of events, real and occurring in the soul of one of the characters. Solzhenitsyn does not need to resort to any special tricks to achieve such an effect. It's all about the material of the image itself. Heroes are not fictional characters, but real people. And these people are placed in such conditions where they have to solve problems on which their life and destiny most directly depend. To a modern person, these tasks seem insignificant, and therefore an even more terrible feeling remains from the story. As V. V. Agenosov writes, “every little thing for the hero is literally a matter of life and death, a matter of survival or dying. Therefore, Shukhov (and with him every reader) sincerely rejoices at every particle found, every extra crumb of bread.

There is another time in the story - metaphysical, which is also present in other works of the writer. In this time, there are other values. Here the center of the world is transferred to the conscience of the convict.

In this regard, the topic of metaphysical comprehension of a person in captivity is very important. Young Alyoshka teaches the already middle-aged Ivan Denisovich. By this time, all Baptists were imprisoned, but not all Orthodox. Solzhenitsyn introduces the theme of religious comprehension of man. He is even grateful to prison for turning him in the direction of spiritual life. But Solzhenitsyn noted more than once that at this thought, millions of voices arise in his mind, saying: “Because you say so, you survived.” These are the voices of those who laid down their lives in the Gulag, who did not live to see the moment of liberation, did not see the sky without an ugly prison net. The bitterness of loss runs through the story.

The space in the story is also interesting. The reader does not know where the space of the camp begins and ends, it seems as if it flooded all of Russia. All those who ended up behind the wall of the Gulag, somewhere far away, in an unattainable distant city, in the countryside.

The very space of the camp turns out to be hostile to the prisoners. They are afraid of open areas, they strive to cross them as quickly as possible, to hide from the eyes of the guards. Animal instincts awaken in a person. Such a description completely contradicts the canons of Russian classics of the 19th century. The heroes of that literature feel comfortable and easy only in freedom, they love space, distance, associated with the breadth of their soul and character. The heroes of Solzhenitsyn flee from space. They feel much safer in cramped cells, in stuffy bar-kas, where they can at least afford to breathe more freely.

The main character of the story becomes a man from the people - Ivan Denisovich, a peasant, a front-line soldier. And this is done consciously. Solzhenitsyn believed that it is people from the people who ultimately make history, move the country forward, and bear the guarantee of true morality. Through the fate of one person - Ivan Denisovich - the author shows the fate of millions, innocently arrested and convicted. Shukhov lived in the countryside, which he fondly remembers here in the camp. At the front, he, like thousands of others, fought with full dedication, not sparing himself. After being wounded - back to the front. Then the German captivity, from where he miraculously managed to escape. And for this he now ended up in the camp. He was accused of espionage. And what kind of task the Germans had given him, neither Ivan Denisovich himself nor the investigator knew: “What kind of task, neither Shukhov himself could come up with, nor the investigator. So they left it just - the task. By the time of the story, Shukhov had been in the camps for about eight years. But this is one of the few who, in the exhausting conditions of the camp, did not lose his dignity. In many ways, his habits of a peasant, an honest worker, a peasant help him. He does not allow himself to humiliate himself in front of other people, lick plates, inform on others. His age-old habit of respecting bread is still visible today: he keeps bread in a clean rag, takes off his hat before eating. He knows the value of work, loves it, is not lazy. He is sure: "who knows two things with his hands, he will also pick up ten." In his hands the matter is argued, the frost is forgotten. He takes care of the tools, tremblingly follows the laying of the wall, even in this forced labor. The day of Ivan Denisovich is a day of hard work. Ivan Denisovich knew how to carpentry, could work as a mechanic. Even in forced labor, he showed diligence, laid a beautiful even wall. And those who did not know how to do anything carried sand in wheelbarrows.

The hero of Solzhenitsyn has largely become the subject of malicious accusations among critics. According to them, this integral national character should be almost perfect. Solzhenitsyn, on the other hand, portrays an ordinary person. So, Ivan Denisovich professes camp wisdom, laws: “Groan and rot. And if you resist, you will break." It was negatively received by critics. Particular bewilderment was caused by the actions of Ivan Denisovich, when, for example, he takes away a tray from an already weak convict, deceives the cook. It is important to note here that he does this not for personal benefit, but for his entire brigade.

There is another phrase in the text that caused a wave of discontent and extreme surprise from critics: “I didn’t know myself whether he wanted the will or not.” This idea was misinterpreted as Shukhov's loss of hardness, of his inner core. However, this phrase echoes the idea that prison awakens spiritual life. Ivan Denisovich already has life values. Prison or freedom will not change them, he will not refuse it. And there is no such captivity, such a prison that could enslave the soul, deprive it of freedom, self-expression, life.

The system of values of Ivan Denisovich is especially visible when comparing him with other characters imbued with camp laws.

Thus, in the story, Solzhenitsyn recreates the main features of that era when the people were doomed to incredible torment and hardship. The history of this phenomenon does not actually begin in 1937, when the so-called violations of the norms of state and party life begin, but much earlier, from the very beginning of the existence of the totalitarian regime in Russia. Thus, the story presents a clot of the fate of millions of Soviet people who are forced to pay for their honest and devoted service through years of humiliation, torment, and camps.

Plan

Memoirs of Ivan Denisovich about how and why he ended up in a concentration camp. Memories of German captivity, of the war.
Memoirs of the protagonist about the village, about the peaceful pre-war period.
Description of the life of the camp.
A good day in the camp life of Ivan Denisovich.

Popular in category: