Direction "Victory and defeat" of the final essay 2016-2017 in literature: examples, samples, analysis of work
Examples of writing essays on literature in the direction of "Victory and defeat." Statistics are provided for each essay. Some essays are for school, and can be used as ready-made samples It is not recommended for the final essay.
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Below are video analyzes of work in the thematic area “Victory and Defeat.”
Victory is always desirable. We are waiting for victory with early childhood, playing catch up or board 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 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, cherry orchard my! 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 departure former owners, Firs is forgotten in a boarded-up house... Does such a play have a morning?
In the story “The Garnet Bracelet” by Alexander Ivanovich Kuprin, the focus is on fate young man who dared to love a woman outside his circle. G.S.J. He has long and devotedly loved Princess Vera. His gift is garnet bracelet- immediately attracted the woman’s attention, because the stones suddenly lit up like “lovely thick 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 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 eternal values, distorts moral principles life.
Total: 508 words
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, and address special attention on 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. 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 events became tragic character, but this might not have happened if not for the despotic nature of her mother-in-law, Marfa Kabanova, who considers the basis of “pedagogy” to be fear. 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 may be “infected” by such a bad example, and how would she future husband I didn’t later reproach my mother-in-law for not being strict enough in raising my 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 prohibition is imposed on loud, open, wide activity" there is no possibility for her. If she cannot enjoy her feeling, her will legally, "in the light broad daylight, in front of all the people, if something that is so dear to her is snatched from her, then she doesn’t want anything in life, she doesn’t even want life..."
Katerina did not want to put up with the reality that kills human dignity, could not live without moral purity, love and harmony, and therefore got rid of suffering in the only way possible in those circumstances. “... 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 tragic ending dramas - Katerina’s suicide is not a defeat, but an assertion of strength free man, 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 tyrant power.” And in this sense, Katerina’s suicide is her victory.
Total: 780 words
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. Let us prove it using examples from the well-known writer Nikolai Vasilyevich Gogol from the story “Taras and Bulba”.
Firstly, I believe that 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 talks about ordinary life which can happen to someone, but we must remember that when admitting our mistakes we must immediately and not only when it is proven by fact, but in its essence, but for this we must have a conscience.
Total: 164 words
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 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 the comedy by A.S. Griboedov “Woe from Wit” main character A.A. Chatsky, after a three-year absence, returns to the society in which he grew up. Everything is familiar to him, about each representative secular society he has a categorical judgment. “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 the invited and the 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 “carbonarius”, dangerous person, 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! IN climax 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 younger generation- nihilist Bazarov and nobleman P.P. Kirsanov. One lived an idle life, spent the lion's share of the allotted time on love for a famous beauty, socialite- Princess R. But, despite this way of life, he gained experience, experienced, probably, the most important feeling that overtook him, washed away everything superficial, knocked down arrogance and self-confidence. 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 my 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 have to put aside self-confidence, look around, re-read the classics so as not to be mistaken making the right choice. After all, this is your life. And when defeating someone, think about whether this is a victory!
Total: 608 words
“The Fate of a Man” (1956) is a work that tells about the difficult life of a simple Russian driver, and then a soldier, Andrei Sokolov. This is a story about strength human spirit, incredible courage, heroism and endless self-victory.
Andrei Sokolov often found himself in conditions in which he had to overcome himself. Sometimes this was necessary for the hero to survive, and sometimes just to start moving on and not become isolated in his grief.
As a child, in order not to die of hunger, the boy had to go to Kuban and start working for the “kulaks”. After returning to Voronezh for some time, Andrei Sokolov managed to live normal life, start a family and a household, but soon there was a tragic turn in the hero’s fate again: the war began, and the man was called to the front.
Despite the fact that Andrei Sokolov considered it his duty to protect his native country, parting with loved ones was not easy for him. The man saw the suffering separation from him caused his beloved wife Irina, and looked with sadness at his “orphaned” children huddled together in a group, but he had to step over these feelings and still go to war.
The real trials began for the hero when, almost at the very beginning of his service, he was captured by the Germans. Every day spent in the enemy camp, every minute lived in these difficult, truly inhuman conditions, became for soldier Sokolov an unconditional victory over himself.
Supported only by thoughts of his loved ones and by some unknown unknown force, this man was able to survive hard labor in a stone quarry, where the Germans forced the Russians to produce four cubic meters of output per day, while one would have been enough “for the grave of each” of them. prisoners. With honor and dignity, he was able to endure constant hunger, cold, as well as all the beatings and bullying of the Germans, without turning from a man “into a beast.”
Having returned from captivity, Andrei Sokolov was sure that now his life would finally begin to improve, but the news of the death of his wife and daughters made the hero again experience a state of shock. On the first try, the man cannot even finish reading the letter with the tragic news, but in order to conquer himself again and regain composure, he only needs to “lie down on his bed” for a few minutes. Despite the fact that this man experiences severe mental anguish, he finds the strength to live on for the sake of his son, who, as he knows, at the moment also fights for home country among the front-line soldiers.
What a shock the hero again has to experience when he learns that his son was shot by a German sniper right on Victory Day. It would seem that in such circumstances a person must certainly withdraw into his grief, but Andrei Sokolov’s spiritual strength is so great that he again overcomes himself and begins to move on in life, looking for new meaning in it.
And the hero finds this meaning in an orphaned boy, Vanyusha, just like him. The war took the lives of this child’s parents, and therefore Andrei Sokolov decides to replace the baby’s father. It is at this moment in his life that the man meets the author, to whom he tells his sad story. We don’t know what the fate of the father and child will be like next, but we, together with the author, would like to hope that these people will be able to “withstand” all the trials that will befall them in the future.
“War does not solve any problems: victory is as destructive as defeat” (Agatha Christie).
The famous English writer Agatha Christie argued: “War does not solve any problems: victory is just as destructive as defeat.” In my opinion, war is not only military actions between states, but also hostility between individuals. Why, according to A. Christie, does victory have a destructive effect? Logically, victory should bring happiness, joy, pride, satisfaction from the recognition of one’s superiority in something. But in reality this is not how things happen. Sometimes victory brings moral defeat, destroys the personality, and destroys the soul.
Sometimes it happens that a person wins a victory over his opponent, but then realizes that this victory brought him a moral defeat.
Let us consider the episodes associated with the duel between the heroes of A.S. Pushkin’s novel “Eugene Onegin”.
Evgeny Onegin was angry with his friend Vladimir Lensky because the young poet persuaded him to come visit the Larins for his name day. Lensky promised that there would be few people, only his own people. Seeing many guests, Onegin swore in his soul to take revenge on Lensky for this. Evgeniy constantly invites Lensky's fiancée Olga to dance, causing annoyance and jealousy in the soul of the inexperienced young man. It seemed that Onegin should celebrate his victory: he enraged Lensky and took revenge on him. Lensky challenges his friend to a duel. Without hesitation, Evgeniy accepts the challenge to a duel brought to him by the famous gossip Zaretsky. But left alone with himself, Onegin subjects himself to strict judgment and feels dissatisfaction with himself - the first sign of moral defeat.
He is dissatisfied with his actions, he understands that he was wrong to make fun of his friend’s feelings. Eugene turned out to be not a winner, but a slave public opinion, was afraid that he would be accused of cowardice. The result of this duel is sad: Onegin kills his friend and leaves the village, where the bloody shadow of the young poet appeared to him every day.
We looked at the problem of moral failure. Now let's look at examples where military victory becomes the beginning of defeat. In L.N. Tolstoy’s novel “War and Peace,” after the Battle of Borodino, Napoleon and his army enter empty Moscow, abandoned by its inhabitants. This victory does not bring moral satisfaction to Napoleon, since the vanquished do not want to greet their winner. Soon Napoleon's army degenerates morally, turning into marauders. The real victory is celebrated by the Russian people, who rose as one to defend their Fatherland, and then took pity on the defeated enemy.
We have come to the conclusion that war and hostility cannot solve any problems, and victory can be just as destructive as defeat. (381 words).
Official comment:
The direction allows you to think about victory and defeat in different aspects: socio-historical, moral and philosophical,
psychological. Reasoning can be associated both with external conflict events in the life of a person, country, world, and with internal struggle a person with himself, its causes and results.
IN literary works the ambiguity and relativity of the concepts of “victory” and “defeat” are often shown in different historical conditions and life situations.
Aphorisms and sayings famous people:
Greatest Victory- victory over oneself.
Cicero
The possibility that we may be defeated in battle should not stop us from fighting for a cause that we believe is 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
Socio-historical aspect
Here we will talk about external conflict social groups, states, about military actions and political struggle.
Peru A. de Saint-Exupéry 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.
"The Tale of Igor's Campaign" - famous monument literature 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. Main idea- the idea of the unity of the Russian land. Princely civil strife, weakening the Russian land and leading to the ruin of its enemies, makes the author bitterly sadden and lament; victory over his enemies fills his soul with ardent delight. However, this work is about defeat, not victory. ancient Russian literature, 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.
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.
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. 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. 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, thanks in large part to Russian troops The battle of Schöngraben was won, and this gave strength and inspiration to the sovereigns of Russia and Austria. 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 not conducted with the goal of achieving the best and the right decision, and, 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 schoolchildren reading his disposition, that he was not dealing with only fools, but with people who could teach him in military affairs.”
And yet main reason we see 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 firmly decided 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. “We lost, so we ran away!” If we had not said this before the evening, God knows what would have happened tomorrow. We won't say that." 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.
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» M.A. Sholokhov.
When one country goes to war with another, terrible events occur: hatred and the desire to defend themselves forces people to kill their own kind, women and old people are left alone, children grow up orphans, cultural and material values are destroyed, cities are destroyed. But the warring parties have a goal - to defeat the enemy at any cost. And any war has a result - victory or defeat. Victory is sweet and immediately justifies all losses, defeat is tragic and sad, but it is the starting point for some other life. But "in civil war every victory is defeat" (Lucian).
The life story of the central hero of M. Sholokhov’s epic novel “Quiet Don” by Grigory Melekhov, reflecting the dramatic nature of destinies 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...”.
Moral, philosophical and psychological aspects
Victory is not only about 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.
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 man, 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.” Chatsky is full of sincere patriotism: “Will we ever be resurrected from the foreign power of fashion? So that our smart, cheerful people, even by language, do not consider us to be Germans.” He strives to serve the “cause” and not individuals; he “would be glad to serve, but it’s sickening to be served.” Society is offended and, in defense, declares Chatsky crazy. His drama is aggravated by a feeling of ardent but unrequited love for Famusov’s daughter Sophia. Chatsky makes no attempt to understand Sophia; it is difficult for him to understand why Sophia does not love him, because his love for her speeds up “every beat of his heart,” although “to him the whole world seemed like dust and vanity.” Chatsky can be justified by his blindness by passion: his “mind and heart are not in harmony.” 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 foundations Famusov 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.
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?” Throughout the entire play there is a painful struggle in Katerina’s consciousness between the understanding of her wrongness, her sinfulness and the vague, but increasingly powerful feeling 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. 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 “ dark kingdom" “You ruined her, you, you...” he exclaims, turning to his mother, before whom he trembled all his life.
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. 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.
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 here it's hot and passionate nature Bazarova swept away all his theories. He fell in love with a woman whom he valued highly. “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.
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 life position turns out to be a pose in which, however, he sincerely believed. Bazarov begins to lose the meaning of life, and soon loses life itself. But this is also a victory: love forced Bazarov to look at himself and the world differently, he begins to understand that in no way does life want to fit into a nihilistic scheme.
And Anna Sergeevna formally remains among the winners. She was able to cope with her feelings, which strengthened her self-confidence. In the future, she will find a good home for her sister, and she herself will marry successfully. But will she be happy?
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.
Raskolnikov's ideas were generated by abnormal, humiliating living conditions. In addition, the post-reform disruption destroyed the age-old foundations of society, depriving human individuality of connection with ancient cultural traditions society, 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. If unbearable living conditions push a person to violate moral principles, which means that 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”.
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.”
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.
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. 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 deprives the entertainer of his head, 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.
The novel “The Master and Margarita” is about man’s responsibility for the good and evil that happens on earth, for his own choice 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.
Of course, the range of works that reveal thematic direction“Victory and Defeat” is much broader. The main thing is to see the principle, to understand that victory and defeat are relative concepts.
Wrote about this R. Bach 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 it, what new things we will learn for ourselves, how we can apply it in other games. In a strange way, defeat turns out to be victory."
People love to win. The taste of victory gives pleasure for a long time. Victories can be global, or they can be daily and small. There is victory over your own fears and laziness. Victory makes us stronger and faster. Nobody likes to be defeated, but not everyone can always remain a winner.
It turns out that defeat can become victory. It turns out this way because a person has already been able to overcome his uncertainty, fear and laziness. And having suffered a defeat, he became closer to victory, so every defeat is a small victory. A victory that made a person stronger and more resilient.
Final essay on the topic: Can defeat become victory?
Victory is a word that is filled with a special meaning for each of us. Every day we take action, every day we strive to become better. Every day we fight bad habits. If we overcome difficulties, try not to be lazy and strive to develop, then we are already winning. But there are also great victories in our lives.
We can win competitions, become candidates of science, learn languages, overcome fears. Every victory has its price, which, of course, is achieved through defeat. Defeat always comes next to victory. We can say that every defeat is a small victory. It is impossible to win without suffering a single defeat. Defeat is what makes us stronger and brings us closer to victory.
The main thing is to learn to accept defeat with dignity. This quality makes people stronger, shows their persistent character and desire for development. The fear of defeat must be overcome, this will allow you not to be afraid of battles and competitions in the future.
I want to learn to accept every defeat with dignity. I believe that this will make me stronger.
Many writers in Russian literature have discussed the topic of victory and defeat, many people on earth have suffered hundreds of defeats and won. I consider the greatest victory of the Russian people to be the defeat of the German invaders who tried to bring the Russian people to their knees. In great battles Patriotic War Hundreds and thousands of defeats were won, which led to a great world victory. It seems to me that defeat allowed victory to be dominant.
Conclusion
Therefore, it is important to remember this example of never despairing when you cannot win. And remember that every defeat is a small victory, a victory over oneself, over doubts, uncertainty and laziness.
Final essay for 11th grade. Arguments
Several interesting essays
- The image and characteristics of Old Man Santiago in the novel The Old Man and the Sea by Hemingway essay
The main character of the work is an old Cuban fisherman named Santiago, who lives in a small village on the sea coast.
- The image and characteristics of Manuilikha in the story by Oles Kuprin, essay
One of the most romantic and tender works in Russian literature is the story Olesya, which was written by Alexander Ivanovich Kuprin in 1898.