At the great thought that I am a man,
I always rise in spirit.
V. Zhukovsky
On January 1, 1957, the newspaper “Pravda” published M. Sholokhov’s story “The Fate of a Man,” permeated from beginning to end with a bright sense of faith in the Russian man, who “will be able to endure everything, overcome everything on his way, if his homeland calls him to it.” "
It seems to me that, speaking about the humanistic pathos of this work, we should dwell on its plot and compositional originality. Before us is a typical example of a “story within a story,” brilliantly developed by such outstanding short story writers as A.P. Chekhov and I.A. Bunin.
In the center of the story is the fate of Andrei Sokolov, who carried the high title of Man through all the hardships and hardships.
Sholokhov prepares the reader for the meeting with Sokolov already in the introduction, depicting the “bad time of roadlessness” on the Don in the first post-war spring. In the external appearance of the hero, the writer emphasizes “the eyes, as if sprinkled with ashes, filled with such inescapable melancholy” that it becomes clear: the man has taken a sip of bitterness up to the nostrils and above.
And this man in a burnt-out quilted jacket and patched pants will tell a random person he meets about his “awkward” life.
Compositionally, the story of Andrei Sokolov falls into three parts: pre-war, war and post-war. And in each of them two themes sound piercingly: humanistic and tragic.
In the first part we see the fate of a peaceful man, father, husband, worker. A noteworthy detail: Andrei Sokolov was born in 1900, i.e., the same age as the century. Together with his country, he went through all the trials: civil war, famine. But gradually his life improved: he got married, became a father, and lived “no worse than people.” The war burst into this happy life “with a summons from the military registration and enlistment office.” So it goes into the story tragic theme: farewell to the family, Irina’s tears, her exclamation: “We won’t see each other... you and I... anymore... in this... world.”
In the second part, humanistic and tragic themes coexist, as if shading each other.
Let us remember the scene in the church where the prisoners of war settled down for the night. People were driven into Orthodox church, desecrating a holy place by shooting five soldiers. And here, without hesitation, Andrei commits murder. In the name of saving a young officer in an extreme situation, Sokolov steps over the Christian commandment “Thou shalt not kill!” Moreover, Andrey does not think for a minute about whether to intervene or stay on the sidelines. His psychology and character did not allow him to remain inactive: “I won’t let you, son of a bitch, betray your commander!”
And how clearly the humanism of the Russian soldier manifested itself in Miller’s scene. A man half dead from hunger turned out to be morally superior to well-fed fascists, amazed by the courage and fortitude of “Russian Ivan.” “I wanted to show them, the damned one, that although I am disappearing from hunger, I am not going to choke on their handouts, that I have my own, Russian dignity and pride.”
It seems to me that in the military unit the tragic theme still dominates. Andrei escapes from captivity, goes to Voronezh in the hope of meeting his family, but learns that Irina and her daughters have died. After some time, he finds his son at the front, dreams of simple human joys after the war, but on May 9, Anatoly dies, his hopes that he will live with his son and nurse his grandchildren are destroyed: “I buried my last joy and hope in a foreign German land. .., and it was as if something broke in me.”
It would seem that a person who has experienced so much grief has the right to live for himself. But Andrei Sokolov is so designed that he cannot help but give himself to others, not think about his neighbors. The story with Vanyusha is the highest manifestation of his humanism.
It is impossible to read the scene of Sokolov’s “confession” without tears: “A burning tear began to boil inside me, and I immediately decided: “We must not disappear apart!” And another meeting immediately comes to mind. Early spring. Kuren Melekhov in the Tatarsky farm. Gray-haired Gregory painfully peers at Mishatka. And here is the paradox: the “native blood” does not immediately recognize his father, but the orphan Vanyushka does not doubt for a minute that this stooped and tired driver is his father. Isn’t this where the high tragedy of Grigory Melekhov’s fate and the deep humanism of the story “The Fate of a Man” lie?
The story with Vanyushka is, as it were, the final feature of Andrei Sokolov’s story. After all, if the decision to become Vanyushka’s father means saving the boy, then the subsequent action shows that Vanyushka also saves Andrei and gives him a meaning for his future life.
A few months ago, while preparing for exams, I read a harsh and, in my opinion, unfair review of A. Solzhenitsyn about the story “The Fate of a Man,” and I wanted to defend my beloved writer. Yes, Sholokhov said nothing about the filtration camps where former prisoners were sent, or about the suspicious attitude towards them. However, let us not forget that he was the first to write about the resilience of the Russian man, who in the hell of fascist captivity remained not only a man, but also a fighter. And this literary feat, in my opinion, is no less significant than the feat of the author of the book “The Gulag Archipelago”.
Human destiny can be quite difficult; this is clearly evidenced by the story written by Mikhail Sholokhov, “The Fate of Man.”
It seems that nothing foreshadowed trouble for Andrei Sokolov, the main character of the work. He lived, like all people in the pre-war period, started a family, built a house, worked, when suddenly all these peaceful phenomena of his life were destroyed in an instant with the outbreak of war.
Separating from his wife and children, he did not yet know what hellish stage of life was in store for him. When Sokolov was captured, he encountered human heartlessness, in the image of fascist soldiers, humanity, and in the image of a military doctor, betrayal, in the image of Kryzhnev, gratitude, in the image of a platoon commander. Having given trials under difficult conditions, fate strengthened the character and will of the protagonist. He was several times on the verge of death, but still survived, experienced unbearable suffering from the loss of his entire family and still retained strength and kindness, because he had to take care of an orphaned boy ahead of him.
The story describes how strong the spirit of the Soviet soldier was. Throughout his entire time in fascist captivity, he dreamed of only one thing: to quickly escape from this hell. Despite the fact that the first escape was unsuccessful, Andrei Sokolov’s spirit was not broken, although he was severely beaten by the Germans and also beaten by dogs. The spirit of the Russian hero did not break even before his execution, when the camp commandant Müller wanted to shoot him because Sokolov dared to speak out about his too hard work. The fascist wanted to humiliate the soldier of the Soviet army by inviting Andrei to drink vodka for a quick victory for Germany. But when Sokolov refused, he offered him an “alternative option”: to drink for own death. The behavior of the Soviet soldier impressed the commandant, he left him alive and gave him food, which Andrei Sokolov hastened to share with other prisoners of war.
The thought of his family: his wife, son and daughters never left him; it was she who made him not lose heart in the most difficult periods of his life. Once on German territory, he carried out his plan and escaped, reaching the Soviet military along with his “language.” Now there was supposed to be a meeting with his beloved and children, but fate again turned out to be unmerciful: Sokolov’s wife and daughters died during the bombing, and his son went to fight at the front. Despite such sad news, Andrei’s soul remained hopeful of meeting Anatoly, but his son also died tragically at the front.
Such events can cause any person to go crazy with grief, and this could have happened to Sokolov, he began to drink. However, meeting the little boy Vanyushka radically changed his life. Noticing a lonely child, Sokolov could not stand it; he hurried to get to know the baby. Having learned that the child was an orphan, Andrei introduced himself as his father. How much courage it took to take such a step! It already seemed to Andrei that his life was over, he was just dragging out a miserable existence: his family was dead, there were no relatives... And then suddenly there was such a sharp turn in fate. From now on, he has a new meaning in life, a little man for whom he is now responsible.
The story makes you think that the spirit of a person is the most important and powerful component of his personality; it is he who holds a person in all the sad vicissitudes of fate.
“I saw and see my task as a writer in that with everything that I have written and will write, I should repay the debt to this working people, this heroic people.” These words of M. Sholokhov, in my opinion, in the most precise way reflect the idea of one of the writer’s best works, the story “The Fate of a Man.” As in many other works, here Sholokhov turned to the problem of national character, to the depiction of the tragic life path Russian person. Reading “The Fate of Man,” you understand that the story was written in “controversy” with the writers of the “Lost Generation,” who believed that a person cannot preserve his “living soul” in war. Sholokhov was sure that this was possible.
The most striking thing in the story is the combination of high tragedy and humanity. The war, the loss of his family, the loss of his son, the torment that he had to endure in German captivity - the tragic filling of the life of the main character Andrei Sokolov - did not kill the “man” in him. When you read the story and follow the hero, you realize that in his image, in his “walk through torment,” the fate of an entire generation is indicated. The story evokes not only sad, but also joyful feelings, because all the hardest blows of fate could not kill his soul. And we can probably say that Sholokhov’s story is about the hero overcoming the tragedy of life thanks to willpower and beauty human soul. The plot of the story is based on actual events. Sholokhov's hero has a real prototype, but Sholokhov never learned his name. The writer’s meeting with the hero took place in 1946, and the story appeared 10 years later. There is a historical explanation for this. Obviously, such a work could not have been written during Stalin’s lifetime; its creation became possible only after the death of the “Father of Nations” and the 20th Party Congress. Sholokhov called his work a story, but it is absolutely clear that in terms of the breadth of generalization and typification, this work can rather be classified as an epic. For what is “The Fate of Man” if not a depiction of the fate of a people at a turning point? Andrey Sokolov represents the entire people. His confession forms the plot center of the story. What is the composition of the work? She is quite traditional. This is a story within a story. In addition, we can talk about two “planes” of the narrative: the voice of the hero and the voice of the author. The narrator becomes a listener here, while the central place in “The Fate of a Man” is given to Sokolov’s story about himself. What do we learn about the hero? The story of Andrei Sokolov allows us to comprehend an individual human life as the life of an entire generation, even an entire people. Main character born in 1900 - a significant detail that tells the reader that this is a story that reflects the fate of his contemporaries, “his life was ordinary.” What does Andrei Sokolov do? What B. Pasternak called “life-building,” the creation of simple human happiness: “I lived like that for ten years and did not notice how they passed. They passed as if in a dream.” Therefore, the hero’s life ideal is as follows: “Irina bought two goats. What else do you need? The children eat porridge with milk, have a roof over their heads, are dressed, have shoes, so everything is in order.”
His idea of happiness is a folk one, close to any Russian person. And war breaks into this well-being and happiness. It is here that Sholokhov’s hero changes the tone of the conversation. The writer “puts together” the story of his hero’s military ordeals from a number of striking episodes: here Sokolov is carrying shells for artillerymen under the threat of death, here he gets up, not wanting to die lying down, gives his boots along with his boots to the soldier taking him prisoner, saves the lieutenant by killing him , who wanted to hand over the snub-nosed boy to the Germans, wins a duel with the camp commandant and finally escapes from captivity. It becomes absolutely clear that both in the duel with Müller and with the German who takes him prisoner, it is not only his human dignity that saves the hero, but also his national dignity: “I took the glass and the snack from his hands, but as soon as I heard these words - I felt like I was on fire! I think to myself: “So that I, a Russian soldier, would drink German weapons for the victory?!” Would you like something, Herr Commandant? Damn it, I’m dying, so you’ll go to hell with your vodka.” It is probably important for the author to emphasize that Andrei Sokolov does not consider himself a hero. Moreover, in a number of episodes Sholokhov notes that his hero cares more about others than about himself. So, for example, he worries about his family and writes home that “everything is fine, we are fighting little by little,” but he doesn’t say a word about how difficult it is for him in the war, and even condemns those who “smear snot on paper.” “. He understands perfectly well that “these unfortunate women and children had it no worse than ours in the rear.” Or when he is carrying artillery shells, he thinks (without a shadow of pathos) not about his own safety, but about the fact that “his comrades may be dying there” - here it is, “the hidden warmth of patriotism.” We see the same thing in the episode of the murder in the church. Kryzhnev wants to betray his commander. And when Sokolov realizes that “a thin, snub-nosed boy, and very pale in appearance” will not be able to cope with this “fat, snout-faced gelding,” he decides to “finish him himself.”
There is nothing immoral in this murder: popular morality allows it, because the murder was committed “for a just cause.” Just before the murder scene, Sholokhov again reminds us that Andrei Sokolov thinks about others, admiring the behavior of a military doctor: “This is what a real doctor means!” He did his great work both in captivity and in the dark.” Paying tribute to the doctor, Sholokhov's hero does not understand that he is doing the same thing. The juxtaposition of episodes of the murder of a traitor and the unnoticed feat of a military doctor is a sign of the writer’s skill. Thanks to this, we clearly see that two life positions collide on the pages of the story. The first can be expressed in the words of Sokolov: “One is sick of smoking and dying.” The second - in the words of Kryzhnev: “Your shirt is closer to your body.” There is a clash between the idea of national unity and the idea that destroys this unity. The episode with the commandant is no less important. It is the unconscious sense of self-esteem that forces the hero to do this and exactly that. “... although I was dying of hunger, I’m not going to choke on their handout, I have my own, Russian dignity and pride, and they didn’t turn me into a beast, no matter how hard they tried.” Therefore, in this context, the commandant’s reaction is normal. The story involuntarily comes to mind B. Vasilyeva “Not on the lists.” Just as Andrei Sokolov forced the Germans to see him as a man, so Nikolai Pluzhnikov, who in the finale comes out to the German soldiers, involuntarily forces them, shocked by his feat, to salute him. What are the origins of courage. Sokolov? First of all, in the memories of his family, his children, about Irina: his loved ones helped him survive. After all, he defended his family, his home, his homeland. It is no coincidence that the place of the destroyed family in the heart of Andrei Sokolov is taken by little Vanyushka, thereby taking the place of the hero. feeling guilty before Irina for pushing her away, and before Vanyushka for being left without parents. Sokolov’s story becomes an indictment of the war, “which crippled and distorted a person.” Here we immediately remember the portrait of the main character of the story, drawn by Sholokhov at the beginning. works: “large dark hands”, “eyes as if sprinkled with ashes, filled with inescapable melancholy.” What we have here is a metaphor enhanced by hyperbole. The eyes are a reflection of the soul, and we understand that everything inside Sokolov seems to have burned out. Here one cannot help but recall the words of M. Lotman: “History passes through a person’s home, through his private life, destiny. It is not titles, orders or royal favor, but the “independence of a Man” that turns him into a historical figure.”
Writers have always thought about humanism. In the 20th century, the humanistic theme was also heard in works dedicated to the events of the Great Patriotic War.
War is a tragedy. It brings destruction and sacrifice, separation and death. Millions of people were orphaned at that time.
War is inhumane: after all, man kills man. He is required to be cruel and evil, to forget about moral laws and God's commandments.
Is it possible at such a time to preserve yourself, your soul, everything that makes up humanity - love for people, the ability to do good, responsiveness and sensitivity?
The answer to this question can be found in M. Sholokhov’s story “The Fate of a Man.” The main character of the work is the driver Andrei Sokolov. It is in his actions that the humanistic theme is reflected.
The ordinary soldier had to endure a lot. He was wounded three times, captured (“whoever hasn’t experienced this on his own skin will not immediately get into his soul for him to understand in a human way what this thing means”), all the horrors of the concentration camps (“They beat him easily for the purpose of so that someday he might be killed to death, so that he would choke on his last blood and died from beatings."). Andrei’s family died: “A heavy bomb hit my little house. Irina and her daughters were just at home... they didn’t find a trace of them.” Son, "last joy and last hope"The hero is killed by a German sniper exactly on May 9, Victory Day. “From such a blow, Andrei’s vision darkened, his heart clenched into a ball and would not unclench.”
These severe troubles and hardships became a real test for Sholokhov’s hero - a test of humanity. His eyes, which, as we know, are the mirror of the soul, although “as if they were sprinkled with ashes,” still there is no vengeful misanthropy, no poisonous skepticism towards life, no cynical indifference in them. Fate “distorted” Andrei, but could not break or kill the living soul in him.
With his story, Sholokhov refutes the opinion of those who believe that perseverance and courage do not get along with tenderness, responsiveness, affection, and kindness. On the contrary, the writer believes that only strong and unyielding people are able to show humanity, as if this is a “sign” of such a character.
Sholokhov deliberately does not show details of front-line life and camp ordeals, wanting to concentrate on depicting the “culmination” moments, when the character of the hero and his humanity are manifested most strongly and vividly.
Thus, Andrei Sokolov withstands the “duel” with the Lagerfuhrer with honor. The hero manages, even if for a moment, to awaken something human in the Nazis: Müller, in recognition of his soldier’s valor (“So that I, a Russian soldier, would drink German weapons for the victory?!”) saves Andrei’s life and even presents “a small a loaf of bread and a piece of bacon.” But the hero understood: the enemy is capable of any treachery and cruelty, and at that moment, when a shot in the back was about to thunder, it flashed in his head: “He’ll shine between my shoulder blades now and I won’t bring this grub to the guys.” In a moment of mortal danger, the hero thinks not about his life, but about the fate of his comrades. Müller’s gift was “divided without offense” (“everyone equally”), although “everyone got a piece of bread the size of a matchbox... well, lard... - just to anoint your lips.” And Sholokhov’s hero commits such a generous act without hesitation. For him, this is not even the only correct, but the only possible solution.
War is inhumane, so situations arise that require solutions on the verge of cruelty and humanism, on the verge of what is permitted and what is not permitted... under normal conditions. Andrei Sokolov was subjected to such a test of moral principles, finding himself forced to deal with Kryzhnev in order to save the platoon commander - “a snub-nosed boy.” Is killing a person humane? For Sholokhov, in the current circumstances, the strangulation of Kryzhnev, a traitor guided by the principle “your shirt is closer to your body,” has “humanistic legitimacy.” The writer is convinced that spiritual responsiveness and tenderness, the ability for active (namely active) love, shown by Andrei Sokolov when he encounters kind, fair people who need his protection, is the moral basis of intransigence, contempt, courageous firmness (ability to step over the moral law - to kill) in relation to cruelty and betrayal, lies and hypocrisy, and apathy and cowardice.
That is why, trying to convince the reader of the humanity of Andrei’s act, Sholokhov creates the image of “Comrade Kryzhnev” as exclusively negative, trying to arouse contempt and hatred for the “big-faced” traitor, “fat gelding.” And after the murder, Andrei “felt unwell”, “terribly wanted to wash his hands,” but only because it seemed to him as if “he was strangling some kind of creeping thing,” and not a person.
But the hero also accomplishes a truly humanistic and civic feat. He adopts a “little ragamuffin,” an orphan baby: “It’s impossible for us to disappear separately.” “Twisted”, “crippled by life” Andrei Sokolov does not try to motivate his decision to adopt Vanyushka philosophically; for him this step is not connected with the problem of moral duty. For the hero of the story, “protecting the child” is a natural manifestation of the soul, the desire for the boy’s eyes to remain clear, “like the sky,” and for his fragile soul to remain undisturbed.
Andrey gives all his unspent love and care to his little son: “Go, dear, play near the water... Just make sure you don’t get your feet wet!” With what tenderness he looks at his blue “little eyes.” And “the heart goes away,” and “the soul becomes joyful, which cannot be said in words!”
Having adopted a boy who no one needs, but in whose soul there was still hope for a “good share,” Sokolov himself becomes the personification of the indestructible humanity of the world.
Thus, in the story “The Fate of Man,” the author showed that despite all the hardships of war and personal losses, people have not become hardened in heart, they are capable of doing good, they strive for happiness and love.
The story is written about wartime events, so the humanistic theme takes on a unique coloring and sound. The hero of the work is a Russian soldier, no different from millions of people of his generation. Sholokhov does not reward Andrei Sokolov with either an exceptional biography (“my life was ordinary”) or the qualities of an outstanding personality. Thus, the author emphasizes the greatness of the entire Russian people, capable of enduring any difficulties without forgetting about mercy and humanism.
(the essay is divided into pages)
The theme of human destiny, which takes shape under the influence of various historical events, has always been one of the most important in Russian literature. Tolstoy, Turgenev, and Dostoevsky turned to her. The famous writer, master of wide epic canvases M. A. Sholokhov did not bypass her either. In his works he reflected all the most important stages of history in the life of our country. The writer painted the fate of his hero, a simple Russian man, against the background of military battles and peaceful battles, showing that not only history administers its strict judgment, but also man makes history, carrying its heavy load on his shoulders.
In 1956, Sholokhov amazingly short term- in just a few days - he writes his famous story “The Fate of Man”. However, the creative history of this work takes many years: a whole ten years pass between the author’s chance meeting with a man, the prototype of Andrei Sokolov, and the appearance of the story. And all these years, the writer has a persistent need to speak out and convey to people the confession he once heard.
“The Fate of a Man” is a story about great suffering and the great perseverance of a common man, in whom all the traits of the Russian character were embodied: patience, modesty, responsiveness, a sense of human dignity, merged with a sense of great patriotism, devotion to one’s Fatherland.
From the very beginning of the story, describing the signs of the first post-war spring, the author prepares us for a meeting with the main character Andrei Sokolov. Before us appears a man in a burnt, roughly darned padded jacket, whose eyes are “filled with inescapable mortal melancholy.” Having found an interlocutor in the author, he restrainedly and tiredly, placing his large dark hands on his knees, hunched over, begins his confession about the past, in which he had to “sip the bitterness up to the nostrils and beyond.”
Sokolov's fate is full of such difficult trials, such irreparable losses that it seems impossible for a person to endure all this and not break down, not lose heart. But this simple soldier and worker, overcoming all physical and moral suffering, retains a pure soul, wide open to goodness and light. His difficult fate reflects the fate of the entire generation.
The same age as the century, Andrei participates in the civil war, fighting in the ranks of the Red Army against the enemies of Soviet power. In the hungry twenties, he left his native Voronezh village and ended up in Kuban. At this time, my father, mother and sister die of hunger at home. Returns back to Voronezh, works as a carpenter, mechanic, and driver. He meets a girl, Irina, with whom he will create a wonderful family. He dreams of happy life with his “wife-friend” and children. But the war destroys all plans and hopes. Andrei, like millions of Soviet people, goes to the front.
His path on the roads of the great war was difficult and tragic. And the milestones on this path are the feats accomplished mainly not on the battlefield, but in conditions of fascist captivity, behind the barbed wire of a concentration camp. In inhuman conditions, the hero proves his moral superiority over the enemy, his fortitude and courage. Intolerant of cowardice, cruelty and cowardice, he deals with the traitor who tried to betray his platoon commander to the Germans.
Deprived of the opportunity to fight the enemy with weapons, Sokolov demonstrates his superiority in a duel with the camp commandant Muller, who turned out to be powerless before the proud dignity and human greatness of the Russian soldier. The exhausted, exhausted, exhausted prisoner was ready to face death with such courage and endurance that it further amazes the commandant, who had lost his human appearance. “That’s what, Sokolov, you are a real Russian soldier. You are a brave soldier. I am also a soldier and I respect worthy opponents,” the German officer is forced to admit.
But it is not only in a clash with the enemy that Sholokhov shows the manifestation of this heroic nature. The loneliness that the war brought him becomes a serious test for the hero. After all, Andrei Sokolov, a soldier who defended the independence of his homeland, who returned peace and tranquility to people, himself loses everything he had in life: family, love, happiness. The harsh fate does not even leave him shelter on earth. It would seem that everything is over, but life “distorted” this man, but could not break him, kill the lustful soul in him. Sokolov is lonely, but he is not a loner.
The Fate of a Man by Sholokhov is a work where the author reveals the theme of the fate of a person using the example of the hero’s life. In the work, the author showed the life of a hero who had to survive the years of war.
Sholokhov wrote his work quickly, and it was based on the story of one person, the prototype of the main character, who shared his life story. This story became his confession, which the writer could not remain silent about. So he gave the world a work in which he spoke about the suffering he experienced, about the invincibility of a simple soldier, in whose character true Russian traits are manifested. We will write on the topic The Fate of Man, which will help students write their final work on literature.
The fate of man short essay reasoning
M. A. Sholokhov wrote the story in 1956. The work begins with a meeting between the author and the hero of the story, Sokolov. This was a man whose eyes seemed to be covered with ashes, filled with mortal melancholy. And Sokolov saw his interlocutor, who wanted to pour out his soul and he told about his fate. At the same time, we see that the fate of one hero reflected the fate of the entire people.
After reading the work, I would like to note that he was an ordinary hard worker. He had to live in a period civil war, he also survived the hungry twenties. Afterwards he settled in Voronezh, met his wife and dreamed of a family with many children. But the war came and destroyed all his plans.
Sokolov also went to the front. However, he is captured by the Nazis. He had to suffer a bitter fate, living behind the barbed wire of a concentration camp. Listening to his story about the inhuman conditions in which the prisoners lived, we understand the cruelty of the enemy. Sokolov confesses in his confession to the murder of a man. On the enemy, your own. But it’s hard to call him one of our own, because he committed betrayal. Even Sokolov, exhausted by hunger, thinks first of all not about himself, but about his comrades, carrying food and sharing it in half with his comrades.
Our hero managed to survive captivity and returned home. Only no one meets him. The site of his house is now a bomb crater. The war not only brought him difficult trials of captivity, but also loneliness, pain, taking away his wife, home, and hope for happiness forever. Having defended the right to a free life and elections for the independence of the Motherland, our hero loses everything at once.
It is amazing that in spite of everything, this man was not broken, not bitter, his kind nature continued to live in him. Yes, he cannot understand why fate is so cruel to him, why such torment, but a living soul still strives for life. And so fate, as if having mercy on him, sent a meeting with a little boy from whom the war had taken away his family and friends. Two loneliness met to be reunited. Sokolov adopted the child, giving him all his warmth. And here we see the true manifestation of humanity.
