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 two most important components of the life path of every person. 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.”

Comment: the topic is not covered; in the essay the author talks about defeating 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 down and torment him. Rodion realized that he had done something terrible, and his “victory” turned into defeat.

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.

The essay is evaluated according to five criteria:
1. relevance to the topic;
2. argumentation, attraction of literary material;

3. composition;

4. speech quality;
5. literacy

The first two criteria are required , and at least one of 3,4,5.

Victory and defeat

The direction allows you to think about victory and defeat in different aspects: socio-historical, moral-philosophical, psychological.

The reasoning can be related aswith external conflict events in the life of a person, country, world, and witha person's internal struggle with himself , its causes and results.
Literary works often show the concepts of “victory” and “defeat” in differenthistorical conditions and life situations.

Possible essay topics:

1. Can defeat become victory?

2. “The greatest victory is victory over oneself” (Cicero).

3. “Victory is always with those in whom there is agreement” (Publius).

4. “Victory achieved by violence is tantamount to defeat, because it is short-lived” (Mahatma Gandhi).

5. Victory is always desired.

6. Every small victory over oneself gives great hope in one’s own strength!

7. The winning tactic is to convince the enemy that he is doing everything right.

8. If you hate, it means you have been defeated (Confucius).

9. If the loser smiles, the winner loses the taste of victory.

10. Only the one who defeats himself wins in this life. Who conquered his fear, his laziness and his uncertainty.

11. All victories begin with victory over yourself.

12. No victory will bring as much as one defeat can take away.

13. Is it necessary and possible to judge the winners?

14 Do defeat and victory taste the same?

15. Is it difficult to admit defeat when you are so close to victory?

16. Do you agree with the statement “Victory... defeat... these lofty words are devoid of any meaning.”

17. “Losing and winning taste the same. Defeat tastes like tears. Victory tastes like sweat."

Possibleabstracts on the topic: "Victory and Defeat"

Victory. Every person has the desire to experience this intoxicating feeling. Even as a child, we felt like a winner when we received our first A's. As they grew older, they felt joy and satisfaction from achieving their goals, defeating their weaknesses - laziness, pessimism, maybe even indifference. Victory gives strength, makes a person more persistent and active. Everything around seems so beautiful.

Everyone can win. You need willpower, a desire to succeed, a desire to become a bright, interesting person.

Of course, both a careerist who has received another promotion and an egoist who has achieved some benefits by bringing pain to others experiences a kind of victory. And what a “victory” a money-hungry person experiences when he hears the clink of coins and the rustle of banknotes! Well, everyone decides for themselves what they strive for, what goals they set, and therefore “victories” can be completely different.

A person lives among people, so the opinions of others are never indifferent to him, no matter how much some people want to hide it. A victory appreciated by people is many times more pleasant. Everyone wants others to share their joy.

Victory over oneself becomes a way of survival for some. People with disabilities make efforts on themselves every day and strive to achieve results at the cost of incredible efforts. They are an example for others. The performances of athletes at the Paralympic Games are striking in how great the will to win these people are, how strong in spirit they are, how optimistic they are, no matter what.

The price of victory, what is it? Is it true that “winners are not judged”? You can think about this too. If the victory was achieved dishonestly, then it is worthless. Victory and lies, toughness, heartlessness are concepts that exclude each other. Only a fair game, a game according to the rules of morality and decency, only this brings true victory.

It's not easy to win. Much needs to be done to achieve it. What if you suddenly lose? What then? It is important to understand that in life there are many difficulties and obstacles along the way. To be able to overcome them, to strive for victory even after defeat - this is what distinguishes a strong personality. It’s scary not to fall, but not to get up later in order to move on with dignity. Fall and get up, make mistakes and learn from your mistakes, retreat and move on - this is the only way you should strive to live on this earth. The main thing is to move forward towards your goal, and then victory will definitely be your reward.

The victory of the people during the war years is a sign of the cohesion of the nation, the unity of people who have a common destiny, traditions, history, and a single homeland.

How many great trials our people had to endure, what enemies we had to fight. Millions of people died during the Great Patriotic War, giving their lives for the Victory. They were waiting for her, dreaming about her, bringing her closer.

What gave you the strength to survive? Of course, love. Love for the homeland, loved ones and loved ones.

The first months of the war were a series of continuous defeats. How hard it was to realize that the enemy was advancing further and further across his native land, approaching Moscow. Defeats did not make people helpless and confused. On the contrary, they united the people and helped them understand how important it is to gather all their strength to repel the enemy.

And how everyone rejoiced together at the first victories, the first fireworks, the first reports of the defeat of the enemy! The victory became the same for everyone, everyone contributed their share to it.

Man is born to win! Even the very fact of his birth is already a victory. You must strive to be a winner, the right person for your country, people, loved ones.

Quotes and epigraphs

The greatest is victory over oneself. (Cicero)

Man was not created to suffer defeat... Man can be destroyed, but he cannot be defeated. (Hemingway Ernest)

The joy of life is learned through victories, the truth of life - through defeats. A. Koval.

The consciousness of an honestly sustained struggle is almost higher than the triumph of victory. (Turgenev)

Wins and losses travel in the same sleigh. (Russian last)

Victory over the weak is like defeat. (Arabic last)

Where there is agreement, there. (Lat. seq.)

Be proud only of the victories you have won over yourself. (Tungsten)

You should not start a battle or war unless you are sure that you will gain more in victory than you will lose in defeat. (Octavian Augustus)

None will bring as much as one defeat can take away. (Gaius Julius Caesar)

Victory over fear gives us strength. (V. Hugo)

To never know defeat means to never fight. (Morihei Ueshiba)

No winner believes in chance. (Nietzsche)

Achieved by violence is tantamount to defeat, because it is short-term. (Mahatma Gandhi)

Nothing but a lost battle can compare even with half the sadness of a won battle. (Arthur Wellesley)

The winner's lack of generosity reduces the meaning and benefits of victory by half. (Giuseppe Mazzini)

The first step to victory is objectivity. (Tetcorax)

The winners sleep sweeter than the losers. (Plutarch)

World literature offers many arguments for victory and defeat :

L.N. Tolstoy "War and Peace" (Pierre Bezukhov, Nikolai Rostov);

F.M. Dostoevsky “Crime and Punishment (Raskolnikov’s act (the murder of Alena Ivanovna and Lizaveta) - victory or defeat?);

M. Bulgakov “Heart of a Dog” (Professor Preobrazhensky - did he defeat nature or lose to it?);

S. Alexievich “War does not have a woman’s face” (the price of victory in the Great Patriotic War is crippled lives, the fate of women)

I suggest 10 arguments on the topic: “Victory and defeat”

A.S. Griboedov “Woe from Wit”

A.S. Pushkin "Eugene Onegin"

N.V. Gogol “Dead Souls”

I.A.Goncharov "Oblomov"

A.N. Tolstoy “Peter the Great”

E. Zamyatin “We”

A.A. Fadeev “Young Guard”

A.S. Griboedov “Woe from Wit”

The famous work of A.S. Griboedov “Woe from Wit” is still relevant in our time. It has a lot of problems, bright, memorable characters.

The main character of the play is Alexander Andreevich Chatsky. The author shows his irreconcilable clash with Famus society. Chatsky does not accept the morality of this high society, their ideals, principles. He expresses this openly.

I don't read nonsense
And even more exemplary...

Where? show us, fathers of the fatherland,
Which ones should we take as models?
Aren't these the ones who are rich in robbery?

The regiments are busy recruiting teachers,
More in number, cheaper in price...

The houses are new, but the prejudices are old...

The ending of the work, at first glance, is tragic for the hero: he leaves this society, misunderstood in it, rejected by his beloved girl, literally flees from Moscow:"Give me a carriage, carriage ! So who is Chatsky: the winner or the loser? What is on his side: victory or defeat? Let's try to understand this.

The hero brought such a commotion into this society, in which everything is so scheduled by day, by hour, where everyone lives according to the order established by their ancestors, a society in which opinion is so important “Princess Marya Alekseevna " Isn't this a victory? To prove that you are a person who has your own point of view on everything, that you do not agree with these laws, to openly express your views about education, about service, about the order in Moscow - this is a real victory. Moral. It is no coincidence that they were so frightened of the hero, calling him crazy. And who else in their circle could object so much if not a madman?

Yes, it’s hard for Chatsky to realize that he was not understood here. After all, Famusov’s house is dear to him, his youth passed here, here he first fell in love, he rushed here after a long separation. But he will never adapt. He has a different road - the road of honor, service to the Fatherland. He does not accept false feelings and emotions. And in this he is a winner.

A.S. Pushkin "Eugene Onegin"

Evgeny Onegin, the hero of A.S. Pushkin’s novel, is a contradictory personality who has not found himself in this society. It is no coincidence that in literature such heroes are called “superfluous people.”

One of the central scenes of the work is Onegin’s duel with Vladimir Lensky, a young romantic poet passionately in love with Olga Larina. Challenging an opponent to a duel and defending one’s honor was common practice in noble society. It seems that both Lensky and Onegin are trying to defend their truth. However, the result of the duel is terrible - the death of young Lensky. He was only 18 years old and had his life ahead of him.

Will I fall, pierced by an arrow,
Or she will fly by,
All good: vigil and sleep
The certain hour comes;
Blessed is the day of worries,
Blessed is the coming of darkness!

Is the death of a man whom you called a friend a victory for Onegin? No, this is a manifestation of Onegin’s weakness, selfishness, unwillingness to overcome the insult. It is no coincidence that this fight changed the hero’s life. He began to travel around the world. His soul could not find peace.

So victory can become defeat at the same time. What matters is what the price of victory is, and whether it is necessary at all, if the result is the death of another.

M.Yu. Lermontov “Hero of Our Time”

Pechorin, the hero of the novel by M.Yu. Lermontov, evokes conflicting feelings among readers. So, in his behavior with women, almost everyone agrees - the hero here shows his selfishness, and sometimes simply callousness. Pechorin seems to be playing with the destinies of the women who love him.(“I feel in myself this insatiable greed, devouring everything that comes my way; I look at the sufferings and joys of others only in relation to myself, as food that supports my spiritual strength.”)Let's remember Bela. She was deprived by the hero of everything - her home, her loved ones. She has nothing left except the hero’s love. Bela fell in love with Pechorin, sincerely, with all her soul. However, having achieved her by all possible means - both deception and dishonest acts - he soon began to grow cold towards her.(“I was wrong again: the love of a savage is little better than the love of a noble lady; the ignorance and simple-heartedness of one are just as annoying as the coquetry of the other.”)Pechorin is largely to blame for the fact that Bela died. He did not give her the love, the happiness, attention and care that she deserves. Yes, he won, Bela became his. But is this a victory? No, this is a defeat, since the beloved woman did not become happy.

Pechorin himself is capable of condemning himself for his actions. But he can’t and doesn’t want to change anything about himself: “Whether I am a fool or a villain, I don’t know; but it is true that I am also very worthy of pity, perhaps more than she: my soul is spoiled by light, my imagination is restless, my heart is insatiable; I can’t get enough...", "I sometimes despise myself..."

N.V. Gogol “Dead Souls”

The work “Dead Souls” is still interesting and relevant. It is no coincidence that performances are staged based on it, and multi-part feature films are created. The poem (this is the genre indicated by the author himself) intertwines philosophical, social, moral problems and themes. The theme of victory and defeat also found its place in it.

The main character of the poem is Pavel Ivanovich Chichikov. He clearly followed the instructions of his father:“Take care and save a penny... You can change everything in the world with a penny.”Since childhood, he began saving it, this penny, and carried out more than one dark operation. In the city of NN, he decided on a grandiose and almost fantastic enterprise - to redeem dead peasants according to the “Revision Tales”, and then sell them as if they were alive.

To do this, he must be inconspicuous and at the same time interesting to everyone with whom he communicated. And Chichikov succeeded in this:“... knew how to flatter everyone,” “entered sideways,” “sat down at an angle,” “answered by bowing his head,” “put a carnation in his nose,” “brought a snuff-box with violets at the bottom.”

At the same time, he tried not to stand out too much(“not handsome, but not bad-looking, neither too fat nor too thin, one cannot say that he is old, but not that he is too young”)

Pavel Ivanovich Chichikov at the end of the work is a real winner. He managed to fraudulently make himself a fortune and left with impunity. It seems that the hero clearly follows his goal, follows the intended path. But what awaits this hero in the future if he chose hoarding as his main goal in life? Isn’t Plyushkin’s fate destined for him too, whose soul was completely at the mercy of money? Anything is possible. But the fact that with each acquired “dead soul” he himself morally falls is certain. And this is defeat, because human feelings in him were suppressed by acquisitions, hypocrisy, lies, and selfishness. And although N.V. Gogol emphasizes that people like Chichikov are “a terrible and vile force,” the future does not belong to them, yet they are not the masters of life. How relevant are the words of the writer addressed to young people:“Take it with you on the journey, emerging from the soft years of youth into stern, embittered courage, take with you all human movements, do not leave them on the road, you will not pick them up later!”

I.A.Goncharov "Oblomov"

Victory over yourself, over your weaknesses and shortcomings. It is worth a lot if a person reaches the end, the goal that he has set. Ilya Oblomov, the hero of I. A. Goncharov’s novel, is not like that. Sloth celebrates victory over his master. She sits so firmly in him that it seems that nothing can make the hero get up from his sofa, simply write a letter to his estate, find out how things are going there. And yet the hero tried to make an attempt to overcome himself, his reluctance to do something in this life. Thanks to Olga and his love for her, he began to transform: he finally got up from the couch, began to read, walked a lot, dreamed, talked with the heroine. However, he soon abandoned this idea. Outwardly, the hero himself justifies his behavior by saying that he cannot give her what she deserves. But, most likely, these are just more excuses. Laziness dragged him away again, returned him to his favorite sofa("...There is no peace in love, and it keeps moving somewhere forward, forward...")It is no coincidence that “Oblomov” has become a common noun, denoting a lazy person who does not want to do anything, who does not strive for anything. (Stolz’s words: “It began with the inability to put on stockings and ended with the inability to live."

Oblomov pondered the meaning of life, understood that it was impossible to live like this, but did nothing to change everything:“When you don’t know why you live, you live somehow, day after day; you rejoice that the day has passed, that the night has passed, and in your sleep you plunge into the boring question of why you lived this day, why you will live tomorrow.”

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 achieved. Also, however, having won a “victory”, because his life has become the way he wants it to be. But why is there always some kind of sadness in his eyes? Maybe because of unfulfilled hopes?

L.N. Tolstoy "Sevastopol Stories"

“Sevastopol Stories” is a work by a young writer that brought fame to Leo Tolstoy. An officer, himself a participant in the Crimean War, the author realistically described the horrors of war, the grief of people, the pain and suffering of the wounded.(“The hero, whom I love with all the strength of my soul, whom I tried to reproduce in all his beauty and who has always been, is and will be beautiful, is true.”)

The center of the story is the defense and then the surrender of Sevastopol to the Turks. The entire city, along with the soldiers, defended itself; everyone, young and old, contributed to the defense. However, the forces were too unequal. The city had to be surrendered. Outwardly it is a defeat. However, if you look closely at the faces of the defenders, the soldiers, at how much hatred they have for the enemy, the unbending will to win, then we can conclude that the city has been surrendered, but the people have not accepted their defeat, they will still regain their pride, victory is certain will be ahead.(“Almost every soldier, looking from the northern side at abandoned Sevastopol, sighed with inexpressible bitterness in his heart and threatened his enemies."Failure is not always the end of something. This could be the beginning of a new, future victory. It will prepare this victory, because people, having gained experience and taken into account mistakes, will do everything to win.

A.N. Tolstoy “Peter the Great”

A.N. Tolstoy’s historical novel “Peter the Great,” dedicated to the distant era of Peter the Great, fascinates readers even today. I read with interest the pages in which the author shows how the young king matured, how he overcame obstacles, learned from his mistakes and achieved victories.

More space is occupied by the description of the Azov campaigns of Peter the Great in 1695-1696. The failure of the first campaign did not break young Peter.(...Confusion is a good lesson... We are not looking for glory... And they will beat us ten more times, then we will overcome).
He began to build a fleet, strengthen the army, and the result was the greatest victory over the Turks - the capture of the Azov fortress. This was the first victory of the young king, an active, life-loving man, striving to do a lot(“Neither an animal nor a single person, probably, wanted to live with such greed as Peter... «)
This is an example of a ruler who achieves his goal and strengthens the power and international authority of the country. Defeat becomes an impetus for further development for him. The result is victory!

E. Zamyatin “We”

The novel “We”, written by E. Zamyatin, is a dystopia. By this, the author wanted to emphasize that the events depicted in it are not so fantastic, that under the emerging totalitarian regime something similar could happen, and most importantly, a person will completely lose his “I”, he will not even have a name - only a number.

These are the main characters of the work: he - D 503 and she - I-330

The hero has become a cog in the huge mechanism of the United State, in which everything is clearly regulated. He is completely subordinate to the laws of the state, where everyone is happy.

Another heroine of I-330, it was she who showed the hero the “unreasonable” world of living nature, a world that is fenced off from the inhabitants of the state by the Green Wall.

There is a struggle between what is allowed and what is forbidden. What should I do? The hero experiences feelings previously unknown to him. He goes after his beloved. However, in the end the system defeated him, the hero, part of this system, says:“I am confident that we will win. Because reason must win."The hero is calm again, he, having undergone the operation, having regained calm, looks calmly at how his woman dies under the gas bell.

And the heroine of I-330, although she died, remained undefeated. She did everything she could for a life in which everyone decides for themselves what to do, who to love, how to live.

Victory and defeat. They are often so close on a person's path. And what choice a person makes - to victory or defeat - depends on him too, regardless of the society in which he lives. To become a united people, but to preserve one’s “I” is one of the motives of E. Zamyatin’s work.

A.A. Fadeev “Young Guard”

Oleg Koshevoy, Ulyana Gromova, Lyubov Shevtsova, Sergei Tyulenin and many others are young people, almost teenagers who have just graduated from school. IN

During the Great Patriotic War, in Krasnodon, which was occupied by the Germans, they created their own underground organization “Young Guard”. The famous novel by A. Fadeev is dedicated to a description of their feat.

The characters are shown by the author with love and tenderness. The reader sees how they dream, love, make friends, enjoy life, no matter what (Despite everything that was happening around and in the whole world, the young man and the girl declared their love... they declared their love, as they declare only in their youth, that is, they talked about absolutely everything except love.) Risking their lives, they put up leaflets and burn the German commandant’s office, where lists of people who were supposed to be sent to Germany are kept. Youthful enthusiasm and courage are characteristic of them. (No matter how difficult and terrible the war is, no matter how cruel the losses and suffering it brings to people, youth with its health and joy of life, with its naive kind egoism, love and dreams of the future does not want and does not know how to see the danger behind the general danger and suffering and suffering for herself until they come and disrupt her happy walk.)

However, the organization was betrayed by a traitor. All its members died. But even in the face of death, none of them became a traitor, did not betray their comrades. Death is always a defeat, but fortitude is a victory. The heroes are alive in the hearts of people, a monument was erected to them in their homeland, a museum was created. The novel is dedicated to the feat of the Young Guard.

B.L. Vasiliev “And the dawns here are quiet”

The Great Patriotic War is a glorious and at the same time tragic page in the history of Russia. How many millions of lives she took! How many people became heroes defending their homeland!

War does not have a woman’s face - this is the leitmotif of B. Vasilyev’s story “And Here They Are Quiet.” A woman, whose natural destiny is to give life, to be the keeper of the family hearth, to personify tenderness and love, puts on soldier’s boots, a uniform, takes up a weapon and goes to kill. What could be worse?

Five girls - Zhenya Komelkova, Rita Osyanina, Galina Chetvertak, Sonya Gurvich, Liza Brichkina - died in the war against the Nazis. Everyone had their own dreams, everyone wanted love, and just life..(“...I lived all nineteen years in the feeling of tomorrow.”)
But the war took all this away from them.("It was so stupid, so absurd and implausible to die at nineteen years old.")
Heroines die in different ways. So, Zhenya Komelkova accomplishes a true feat, leading the Germans away from her comrades, and Galya Chetvertak, simply frightened of the Germans, screams in horror and runs away from them. But we understand each of them. War is a terrible thing, and the fact that they went to the front voluntarily, knowing that death could await them, is already a feat of these young, fragile, gentle girls.

Yes, the girls died, the lives of five people were cut short - this, of course, is a defeat. It is no coincidence that Vaskov, this battle-hardened man, is crying; it is no coincidence that his terrible face, filled with hatred, causes horror among the fascists. He, alone, captured several people! But still, this is a victory—a victory for the moral spirit of the Soviet people, their unshakable faith, their perseverance and heroism. And Rita Osyanina’s son, who became an officer, is a continuation of life. And if life continues, this is already a victory - a victory over death!

Examples of essays:

№1 There is nothing more courageous than victory over yourself.

What is victory? Why is the most important thing in life to win over yourself? It is these questions that the statement of Erasmus of Rotterdam makes us think about: “There is nothing more courageous than victory over ourselves.”I believe that victory is always a success in the fight for something. Conquering yourself means overcoming yourself, your fears and doubts, overcoming laziness and uncertainty that interfere with achieving any goal. The internal struggle is always more difficult, because a person must admit to himself his mistakes, and also that the cause of failures is only himself. And this is not easy for a person, since it is easier to blame someone else than yourself. People often lose in this war because they lack willpower and courage. That is why victory over oneself is considered the most courageous.Many writers have discussed the importance of victory in the fight over one’s vices and fears. For example, in his novel “Oblomov,” Ivan Aleksandrovich Goncharov shows us a hero who is unable to overcome his laziness, which became the cause of his meaningless life. Ilya Ilyich Oblomov leads a sleepy and motionless lifestyle. Reading the novel, in this hero we see traits that are characteristic of ourselves, namely: laziness. And so, when Ilya Ilyich meets Olga Ilyinskaya, at some point it seems to us that he will finally get rid of this vice. We celebrate the changes that have happened to him. Oblomov gets up from his couch, goes on dates, visits theaters, and begins to become interested in the problems of the neglected estate, but, unfortunately, the changes turned out to be short-lived. In the fight with himself, with his laziness, Ilya Ilyich Oblomov loses. I believe that laziness is a vice of most people. After reading the novel, I concluded that if we were not lazy, many of us would reach high heights. Each of us needs to fight laziness; defeating it will be a big step towards future success.Another example confirming the words of Erasmus of Rotterdam about the importance of victory over oneself can be seen in the work of Fyodor Mikhailovich Dostoevsky “Crime and Punishment.” The main character Rodion Raskolnikov at the beginning of the novel is obsessed with an idea. According to his theory, all people are divided into two categories: “those with the right” and “trembling creatures.” The first are people who are capable of transgressing moral laws, strong personalities, and the second are weak and weak-willed people. To test the correctness of his theory, as well as to confirm that he is a “superman,” Raskolnikov commits a brutal murder, after which his whole life turns into hell. It turned out that he is not Napoleon at all. The hero is disappointed in himself, because he was able to kill, but “he didn’t cross.” The realization of the fallacy of his inhuman theory comes after a long time, and then he finally understands that he does not want to be a “superman”. Thus, Raskolnikov’s defeat in front of his theory turned out to be his victory over himself. The hero, in the fight against the evil that has gripped his mind, wins. Raskolnikov retained the man within himself and took the difficult path of repentance, which would lead him to purification.Thus, any success in the fight against oneself, with one’s wrong judgments, vices and fears, is the most necessary and important victory. It makes us better, makes us move forward and improve ourselves.

№2. Victory is always desired

Victory is always desired. We expect victory from early childhood, playing different games. We need to win at all costs. And the one who wins feels like the king of the situation. And someone is a loser because he doesn’t run so fast or the chips just fell out wrong. Is victory really necessary? Who can be considered the winner? Is victory always an indicator of true superiority?

In Anton Pavlovich Chekhov's comedy “The Cherry Orchard,” the conflict is centered on the confrontation between the old and the new. Noble society, brought up on the ideals of the past, has stopped in its development, accustomed to receiving everything without much difficulty, by right of birth, Ranevskaya and Gaev are helpless before the need for action. They are paralyzed, cannot make a decision, cannot move. Their world is collapsing, going to hell, and they are building rainbow projects, starting an unnecessary holiday in the house on the day of the estate auction. And then Lopakhin appears - a former serf, and now the owner of the cherry orchard. Victory intoxicated him. At first he tries to hide his joy, but soon triumph overwhelms him and, no longer embarrassed, he laughs and literally shouts:

My God, my God, my cherry orchard! Tell me that I'm drunk, out of my mind, that I'm imagining all this...
Of course, the slavery of his grandfather and father may justify his behavior, but in the face of, according to him, his beloved Ranevskaya, it looks, at least, tactless. And here it is already difficult to stop him, like a real master of life, a winner he demands:

Hey musicians, play, I want to listen to you! Come and watch how Ermolai Lopakhin takes an ax to the cherry orchard and how the trees fall to the ground!
Maybe, from the point of view of progress, Lopakhin’s victory is a step forward, but somehow it becomes sad after such victories. The garden is cut down without waiting for the former owners to leave, Firs is forgotten in the boarded-up house... Does such a play have a morning?

In the story “The Garnet Bracelet” by Alexander Ivanovich Kuprin, the focus is on the fate of a young man who dared to fall in love with a woman outside his circle. G.S.J. He has long and devotedly loved Princess Vera. His gift - a garnet bracelet - immediately attracted the woman’s attention, because the stones suddenly lit up like “lovely, rich red living lights. “Definitely blood!” - Vera thought with unexpected alarm.” Unequal relationships are always fraught with serious consequences. The alarming premonitions did not deceive the princess. The need to put the presumptuous scoundrel in his place at all costs arises not so much from the husband as from Vera’s brother. Appearing in front of Zheltkov, representatives of high society a priori behave like winners. Zheltkov’s behavior strengthens them in their confidence: “his trembling hands ran around, fiddling with buttons, pinching his light reddish mustache, touching his face unnecessarily.” The poor telegraph operator is crushed, confused, and feels guilty. But only Nikolai Nikolaevich remembers the authorities to whom the defenders of the honor of his wife and sister wanted to turn, when Zheltkov suddenly changes. No one has power over him, over his feelings, except the object of his adoration. No authorities can prohibit loving a woman. And to suffer for the sake of love, to give one’s life for it - this is the true victory of the great feeling that G.S.Zh. was lucky enough to experience. He leaves silently and confidently. His letter to Vera is a hymn to a great feeling, a triumphant song of Love! His death is his victory over the insignificant prejudices of pathetic nobles who feel like masters of life.

Victory, as it turns out, can be more dangerous and disgusting than defeat if it tramples on eternal values ​​and distorts the moral foundations of life.

№3 . The greatest is victory over oneself.

Every person experiences victory and defeat throughout his life.A person's internal struggle with himselfcan lead a person to victory or defeat. Sometimes he himself cannot even immediately understand whether this is a victory or a defeat. Butthe greatest is victory over oneself.

To answer the question: “What does Katerina’s suicide mean - her victory or defeat?”, it is necessary to understand the circumstances of her life, the motives of her actions, to understand the complexity and inconsistency of her nature and the originality of her character.

Katerina is a moral person. 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. N.A. Dobrolyubov noted the image of Katerina precisely in the integrity of her character, in the 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. Katerina, humble in appearance, becomes for Marfa Kabanova the personification of a hidden danger that she senses 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!” 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. 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.” 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 under those circumstances. “... 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.

№4. P Defeat is not only a loss, but also an acknowledgment of this loss.

In my opinion, victory is the success of something, and defeat is not only a loss in something, but also the recognition of this loss. We will prove it using examples from the well-known writer Nikolai Vasilyevich Gogol from the story “Taras and Bulba”.

Firstly, I believe that the youngest son betrayed his homeland and Cossack honor, for the sake of love. This is both victory and defeat, victory is that he defended his love, and defeat is that the betrayal he committed: going against his father, his homeland is unforgivable.

Secondly, Taras Bulba, having committed his act: killing his son, is probably most of all a defeat. Even though it’s a war, you have to kill, and then live with it all your life, suffering, but it was impossible to do otherwise, since war, unfortunately, has no regrets.

Thus, to summarize, this story by Gogol tells about ordinary life that can happen to someone, but we must remember that admitting your mistakes is necessary immediately and not only when it is proven by fact, but in its essence, but for you need to have a conscience for this.

№5. Can victory become defeat?

There are probably no people in the world who would not dream of victory. Every day we win small victories or suffer defeats. Trying to achieve success over yourself and your weaknesses, getting up thirty minutes earlier in the morning, studying in the sports section, preparing lessons that are not going well. Sometimes such victories become a step towards success, towards self-affirmation. But this doesn't always happen. Apparent victory turns into defeat, but defeat is, in fact, victory.

In A.S. Griboyedov’s comedy “Woe from Wit,” the main character A.A. Chatsky, after a three-year absence, returns to the society in which he grew up. Everything is familiar to him; he has a categorical judgment about every representative of secular society. “The houses are new, but the prejudices are old,” the young, hot-blooded man concludes about the renewed Moscow. The Famusov society adheres to the strict rules of the times of Catherine:
“honor according to father and son”, “be bad, but if there are two thousand family souls - he and the groom”, “the door is open for those invited and uninvited, especially from foreigners”, “it’s not that they introduce new things - never” “they are judges of everything, everywhere, there are no judges above them.”
And only servility, veneration, and hypocrisy rule over the minds and hearts of the “chosen” representatives of the top of the noble class. Chatsky with his views turns out to be out of place. In his opinion, “ranks are given by people, but people can be deceived,” seeking patronage from those in power is low, one must achieve success with intelligence, and not with servility. Famusov, barely hearing his reasoning, covers his ears and shouts: “... to trial!” He considers young Chatsky a revolutionary, a “carbonari,” a dangerous person, and when Skalozub appears, he asks not to express his thoughts out loud. And when the young man does begin to express his views, he quickly leaves, not wanting to bear responsibility for his judgments. However, the colonel turns out to be a narrow-minded person and only catches discussions about uniforms. In general, few people understand Chatsky at Famusov’s ball: the owner himself, Sophia and Molchalin. But each of them makes his own verdict. Famusov would forbid such people from approaching the capital for a shot, Sophia says that he is “not a man - a snake,” and Molchalin decides that Chatsky is simply a loser. The final verdict of the Moscow world is madness! At the climactic moment, when the hero makes his keynote speech, no one in the hall listens to him. You can say that Chatsky is defeated, but this is not so! I.A. Goncharov believes that the hero of the comedy is a winner, and one cannot but agree with him. The appearance of this man shook up the stagnant Famus society, destroyed Sophia’s illusions, and shook Molchalin’s position.

In I. S. Turgenev’s novel “Fathers and Sons,” two opponents collide in a heated argument: a representative of the younger generation, the nihilist Bazarov, and the nobleman P. P. Kirsanov. One lived an idle life, spent the lion's share of the allotted time in love with a famous beauty, a socialite - Princess R. But, despite this lifestyle, he gained experience, experienced, probably, the most important feeling that overtook him, washed away everything superficial, arrogance and self-confidence were knocked down. This feeling is love. Bazarov boldly judges everything, considering himself a “self-made man,” a man who made his name only through his own labor and intelligence. In a dispute with Kirsanov, he is categorical, harsh, but observes external decency, but Pavel Petrovich cannot stand it and breaks down, indirectly calling Bazarov a “blockhead”:
...before they were just idiots, and now they suddenly became nihilists.
Bazarov's external victory in this dispute, then in the duel turns out to be a defeat in the main confrontation. Having met his first and only love, the young man is unable to survive defeat, does not want to admit failure, but cannot do anything. Without love, without sweet eyes, such desirable hands and lips, life is not needed. He becomes distracted, cannot concentrate, and no amount of denial helps him in this confrontation. Yes, it seems that Bazarov won, because he so stoically goes to death, silently struggles with the disease, but in fact he lost, because he lost everything for which it was worth living and creating.

Courage and determination in any struggle are essential. But sometimes you need to put aside your self-confidence, look around, re-read the classics so as not to make a mistake in the right choice. This is how life is. And when you defeat someone, you should think about whether this is a victory!

№6 Essay topic: Are there winners in love?

The theme of love has concerned people since ancient times. In many works of fiction, writers talk about what true love is and its place in people’s lives. In some books you can find the idea that this feeling is competitive in nature. But is this true? Are there really winners and losers in love? Thinking about this, I can’t help but remember the story “The Garnet Bracelet” by Alexander Ivanovich Kuprin.
In this work you can find a large number of love lines between the characters, which can be confusing. However, the main one among them is the connection between the official Zheltkov and Princess Vera Nikolaevna Sheina. Kuprin describes this love as unrequited, but passionate. At the same time, Zheltkov’s feelings are not of a vulgar nature, even though he is in love with a married woman. His love is pure and bright, for him it expands to the size of the whole world, becomes life itself. The official does not spare anything for his beloved: he gives her his most valuable thing - his great-grandmother's garnet bracelet.
However, after the visit of Vasily Lvovich Shein, the princess’s husband, and Nikolai Nikolaevich, the princess’s brother, Zheltkov realizes that he will no longer be able to be in the world of Vera Nikolaevna, even at a distance. In essence, the official is deprived of the only meaning of his existence, and therefore he decides to sacrifice his life for the happiness and peace of mind of the woman he loves. But his death does not become in vain, because it affects the feelings of the princess.
At the beginning of the story, Vera Nikolaevna “is in a sweet slumber.” She lives a measured life and does not suspect that her feelings for her husband are not true love. The author even points out that their relationship has long flown into a state of true friendship. Vera's awakening comes with the appearance of a garnet bracelet with a letter from her admirer, which brings anticipation and excitement into her life. Complete relief from drowsiness occurs after the death of Zheltkov. Vera Nikolaevna, seeing the expression on the face of the already dead official, thinks that he is a great sufferer, like Pushkin and Napoleon were. She realizes that an exceptional love has passed her by, the kind that all women expect and few men can give.
In this story, Alexander Ivanovich Kuprin wants to convey the idea that in love there can be no winners or losers. This unearthly feeling that spiritually elevates a person is a tragedy and a great mystery.
And in conclusion, I would like to say that, in my opinion, love is a concept that has nothing to do with the material world. This is a sublime feeling from which the concepts of victory and defeat are far away, because few manage to comprehend it.

№7. The most important victory is victory over yourself

What kind of victory is there? And what is this anyway? Many, upon hearing this word, will immediately think of some great battle or even war. But there is another victory, and in my opinion it is the most important. This is a person's victory over himself. This is victory over your own weaknesses, laziness or some other large or small obstacles.
For some, just getting out of bed is already a great achievement. But life is so unpredictable that sometimes some terrible incident can happen as a result of which a person can become disabled. Upon learning of such terrible news, everyone will react completely differently. Someone will break down, lose the meaning of life and will not want to live further. But there are also those who, despite even the most terrible consequences, continue to live and become a hundred times happier than ordinary, healthy people. I always admire such people. For me these are truly strong people.
An example of such a person is the hero of V.G. Korolenko’s story “The Blind Musician.” Peter was blind from birth. The outside world was alien to him and all he knew about it was what some objects felt like to the touch. Life deprived him of his sight, but endowed him with incredible talent for music. Since childhood, he lived in love and care, so he felt protected at home. However, after leaving it, he realized that he knew absolutely nothing about this world. He considered me a stranger in him. All this weighed heavily on him, Peter did not know what to do. The anger and selfishness inherent in many disabled people began to arise in him. But he overcame all suffering, he renounced the egoistic right of a person deprived by fate. And despite his illness, he became a famous musician in Kyiv and just a happy person. For me, there is truly a real victory not only over circumstances, but also over myself.
In F. M. Dostoevsky’s novel “Crime and Punishment,” Rodion Raskolnikov also achieves victory over himself, only in a different way. His confession is also a significant victory. He committed a terrible crime, killing an old pawnbroker to prove his theory. Rodion could have run away, made excuses to avoid punishment, but he did not do this.
In conclusion, I would like to say that victory over oneself is truly the most difficult of all victories. And to achieve it you need to spend a lot of effort.

№8.

Essay topic: True defeat comes not from the enemy, but from oneself

A person's life consists of his victories and defeats. Victory, of course, makes a person happy, but defeat makes a person sad. But it’s worth thinking about whether a person himself is to blame for his own defeat?
Thinking about this question, I remember Kuprin’s story “The Duel.” The main character of the work, Romashov Grigory Alekseevich, wears heavy rubber galoshes one and a half quarters deep, covered to the top with thick, dough-like black mud, and an overcoat cut off at the knees, with fringe hanging at the bottom, with salted and stretched loops. He is a little clumsy and constrained in action. Looking at himself from the outside, he feels insecure, thereby pushing himself to defeat.
Considering the image of Romashov, we can say that he is a loser. But despite this, his responsiveness evokes special sympathy. So he stands up for the Tatar, in front of the colonel, and keeps the soldier Khlebnikov, driven to despair by bullying and beatings, from committing suicide. Romashov’s humanity also manifests itself in the case of Bek - Agamalov, when the hero, risking his life, protects many people from him. However, his love for Alexandra Petrovna Nikolaeva leads him to the most important defeat of his life. Blinded by his love for Shurochka, he does not notice that she just wants to escape from the army environment. The finale of Romashov’s love tragedy is the nighttime appearance of Shurochka in his apartment, when she comes to offer the terms of a duel with her husband and, at the cost of Romashov’s life, to buy her prosperous future. Grigory guesses this, but because of his strong love for this woman, he agrees to all the conditions of the duel. And at the end of the story he dies, deceived by Shurochka.
Summarizing what has been said, we can say that Second Lieutenant Romashov, like many people, is the culprit of his own defeat.

Roman F.M. Dostoevsky's "Crime and Punishment" is defined by its genre as a socio-psychological novel, since the author is concerned with both the acute social contradictions of society and the moral quest of the hero, lost among the philosophical theories of his time. Rodion Raskolnikov’s crime has material, social, and philosophical origins, but the struggle of ideas in Raskolnikov’s soul plays a special role in subsequent events. If the calculating and immoral egoism of Luzhin or the vulgar socialist ideas of Lebezyatnikov

The hero immediately rejects, then he had to choose between the cynical individualism of Svidrigailov and the Christian worldview of Sonechka in painful tossing. Svidrigailov’s ideas, inspired by Nietzsche’s teaching about the superiority of a strong man over others, attract the hero, but Svidrigailov’s immorality, revealed to him, repels him. Sonya's views both delight and irritate her with her preaching of Christian humility and submission. And so, tormented and asking himself the same questions for the hundredth time, Rodion keeps coming to Sonya. He tells her that he came to her for crosses, ready to repent, but privately admits to himself that he wanted to “look at a person.” For him, Sonya is the only person worthy of admiration, while most of the people around him are no better than him. He goes to the Sennaya for public repentance, as Sonya considered necessary, and he comes to this thought unexpectedly for himself. The “hopeless melancholy and anxiety” became simply unbearable for Rodion, so that the feeling that suddenly overwhelmed him forced him to fall to his knees and kiss the dirty ground “with pleasure and happiness.” But those around him laughed at him, considering him drunk. People's misunderstanding did not give Raskolnikov the opportunity for public repentance. But when he saw Sonya hiding behind the houses, he felt that “Sonya is now with him forever and will follow him even to the ends of the world, wherever his fate takes him.” Going up to the office, he again doubts whether he needs to go, he is afraid of what is to come. After talking with Ilya Petrovich about trifles, he still hesitates when he hears the news about Svidrigailov’s suicide. This news shocked Raskolnikov. He, like no one else, understands that this suicide is Svidrigailov’s admission of defeat. In confusion, he goes out into the yard and sees Sonya, pale and completely dead. She, of course, realized that the confession had not happened, and her desperate look forced Raskolnikov to return. He goes up to the office again and, pale, “with a fixed gaze,” pronounces what he intended - a confession to the murder of Lizaveta and her sister. This is a victory for Sonya, her worldview, the idea of ​​atonement for sin through suffering. This cannot yet be called the moral resurrection of the hero; it will happen much later, in hard labor. But this is already a defeat for the inhuman theory of Raskolnikov, the bourgeois individualism of Svidrigailov, the idea of ​​the cynical superiority of a strong man who has the right to “step over blood.”

The episode of Raskolnikov's confession is an expression of the humanistic position of the author, who shares Christian beliefs. This is a subtle analysis of the hero’s state of mind, his internal struggle. Raskolnikov’s internal monologue plays a big role here, revealing the author’s artistic skill and his understanding of the hero’s psychology. Finally, this is the logical ending of the novel about the crime committed by the hero, and most importantly, about the most terrible punishment he suffered - the torment of his own conscience.

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 notified the editor of the Russian Messenger magazine, 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 to be, teasing 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 price 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 does not 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.

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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"; "The 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 exist. 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 its destruction by 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 Kyiv. 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 the elderly 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: “Whoever needs 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 being served is sickening.” 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 “the whole world seemed to him 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 open 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 at 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 hunger.

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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 his moral prohibition. 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 small 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 senses 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 under 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.