Description of the Cossacks from the story Taras Bulba. The historical basis of the story "Taras Bulba". Real historical events underlying the story. The main differences between the two sons of the protagonist
In the image of the Sich and its heroes, Gogol combines the historical concreteness characteristic of a realist writer and the high lyrical pathos characteristic of a romantic poet. The organic fusion of various artistic colors creates the poetic originality and charm of Taras Bulba. Belinsky, the first among Gogol's contemporary critics to guess the originality of this story, wrote that it is nothing more than "an excerpt, an episode from the great epic of the life of an entire people." Here is an explanation of the genre originality of the creation created by Gogol. Belinsky called this work an epic story, a folk-heroic epic. “If in our time a Homeric epic is possible, then here is its highest example, ideal and prototype!...”.
In Gogol's story, the whole life of the Cossacks looms before us - its private and public life, its life in peacetime and wartime, its administrative structure and everyday customs. The amazing capacity of "Taras Bulba", the compositional scope and depth of its content - this is what significantly pushes the genre boundaries of this unique epic story and makes it one of the remarkable events in the history of the Russian historical novel. Gogol's work on "Taras Bulba" was preceded by a thorough, in-depth study of historical sources. Among them are Beauplan's "Description of Ukraine", Myshetsky's "History of the Zaporizhian Cossacks", handwritten lists of Ukrainian chronicles - Samovydets, Velichko, Grabyanka, etc. But these sources did not completely satisfy Gogol.
He lacked a lot in them: first of all, characteristic everyday details, living signs of the time, a true understanding of the past era. Special historical studies and chronicles seemed to the writer too dry, sluggish and, in fact, did little to help the artist to comprehend the spirit folk life, characters, psychology of people. In 1834, in a letter to I. Sreznevsky, he wittily noted that these chronicles, created not in the hot pursuit of events, but “when memory gave way to oblivion,” remind him of “the owner who nailed the castle to his stable when the horses were already stolen."
Among the sources that helped Gogol in his work on Taras Bulba was another, the most important one: Ukrainian folk songs, especially historical songs and thoughts. Gogol considered the Ukrainian folk song to be a treasure trove for the historian and poet, who wished to "explore the spirit of the past century" and comprehend the "history of the people." From annalistic and scientific sources, Gogol drew historical information, the factual details he needed regarding specific events. Thoughts and songs gave him something much more substantial. They helped the writer to understand the soul of the people, His national character, living signs of his way of life.
He extracts plot motifs from a folk song, sometimes even entire episodes. For example, the dramatic story about Mosiah Shila, who was captured by the Turks and then deceived them and rescued all his comrades from enemy captivity, was inspired by Gogol by the well-known Ukrainian thought about Samoil Kishka. Yes, and the image of Andriy was created under the undoubted influence of Ukrainian thoughts about the apostate Teterenko and the traitor Savva Chal. Gogol takes a lot in folk poetry, but he takes it as a writer, sensitive and receptive to its artistic structure, with his own attitude to reality, to the material. The poetics of the folk song had a huge impact on the entire artistic and visual system of Taras Bulba, on the language of the story. A vivid pictorial epithet, a colorful comparison, a characteristic rhythmic repetition - all these techniques reinforce
- New!
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Taras Bulba is a typical person: in his image, the artist depicts a personality with such properties that could develop under the influence of certain historical conditions and that characterize an entire social environment. Taras Bulba is a representative of the Zaporozhye Cossacks with its dark and light sides. He is distinguished by a rough straightforwardness of temper: when meeting with his sons who have just returned from the Kyiv bursa, he laughs at their long-haired scrolls and, instead of gentle parental greetings, begins to fight with his fists with his eldest son Ostap. The same trait is visible in his treatment of his wife: he does not heed the voice of her mother's heart and, despite her pleas, takes his sons to the Sich on the very day of their arrival at home.
The rough directness of temper is so inherent in the nature of Taras Bulba that he retains it even when he is in danger: while in prison, where he goes incognito to meet with Ostap, he does not hesitate to call the haiduk "devil's son" because the latter called the Cossacks dogs and began to blaspheme their faith. A particularly remarkable trait in Taras's character is his extraordinary fortitude, which he manifests in the last minutes of his life. Being a Cossack himself, Taras wants to see brave warriors in his sons. “What do you care? he tells them. Your tenderness - an open field and a good horse - this is your tenderness. Do you see this sword? here is your mother! Here, I'd better send you to Zaporozhye. That's where science is, that's science! There's a school for you; there you will only gain wisdom! ”
Bulba is pleased with the courageous anger of Ostap when he rushes at him with his fists, protecting himself from his father's ridicule; on the contrary, Bulba makes fun of Andrey, calls him a "mazunchik" because he is affectionate with his mother. Taras puts up with Andrey only when he showed his prowess. In general, the successes of his sons in feats of war please Taras. He admires Ostap and Andrei during the campaign against Poland, because they both stood out among their comrades for their military prowess. But Taras gives preference to Ostap: he sincerely rejoices, seeing him as the head of the Cossack detachment; grieves greatly for Ostap when he learns that he has been taken prisoner by the hated Poles.
Having settled down in a Jewish wagon under a pile of bricks, Taras Bulba makes his way to Warsaw, where Ostap is to be executed. When, during the execution, Ostap, like a giant who endured terrible tortures, exclaims to inspire himself: “Father! where are you? Do you hear everything? Taras, standing in the crowd, loudly shouts: "I hear!" With this “I hear!”, from which the whole people shuddered, Taras Bulba expresses that he deservedly appreciated the courage of the giant Cossack and that Poland must pay a heavy price for the death of his son, as one of the best representatives of the Cossack honor. And, indeed, after the heroic death of Ostap, Taras celebrates a commemoration for him, well describing the rudeness and cruelty of that century: he walks around Poland with his regiment, burns villages and churches, burns everything, sparing neither women nor children.
Above all, Taras puts partnership, the task of which is to protect the faith and the homeland. “There is no bond more holy than fellowship,” he says. When the Koschevoi gives advice to the Cossacks to leave the Poles and go to the Tatars in order to take away the Cossack belongings plundered by them, Taras does not approve of such a proposal. Do you want us to disrespect the first holy law of camaraderie, to leave our brethren to be flayed from the living? What are we? I ask all of you. For the sake of camaraderie, Taras resumes his warlike life and travels to the Sich with his sons; on the way there, he thinks of his comrades, and the memory of them brings tears to his eyes. The Zaporizhian Cossack in the eyes of Taras is the highest being in the world.
He even elevates some aspects of his character to an ideal: “Oh, how important it turned around! Feet, what a curvaceous figure!” - Taras says with delight about the Cossack, who was sleeping in the very middle of the street with outstretched arms and legs. Love for the motherland and comradeship takes possession of the whole being of Taras and does not leave him even in the last minutes of his life. Tied by enemies to a tree under which a fire was lit, he forgets about himself, thinks only about how to save his comrades, and his eyes sparkle with joy when he sees that they are saved. Turning to his comrades, Taras asks them not to worry about his terrible fate, invites them to come here next summer and "have a good walk," but a blow to the head with a butt ends his speech.
Bulba does not consider those Cossacks who violate the holy law of partnership, they are his enemies. He quarrels with those of his comrades who were inclined towards the Warsaw side, who adopted Polish customs, and calls them serfs of the Polish lords. The same feeling of comradeship and the belief in the sanctity of the Cossack duty associated with it arouses in Taras's soul an irreconcilable hatred for his own son Andrei, who betrayed his homeland, and he kills him with his own hands. Taras takes pity on his son: after the murder, he looks sadly at his lifeless corpse for a long time; but he is sad because a Cossack died in him. “What would a Cossack be? - says Taras, - and the camp is high, and black-browed, and the face is like that of a nobleman, and the hand was strong in battle! Gone! disappeared ingloriously, like a vile dog!
When Ostap asks his father to bury his brother's corpse, Taras coldly says: “They will bury him without us! He will have mourners and comforters!” This is how the character of its main character is described in Gogol's story. There are also comic sides to Taras's character: it's funny, for example, how he fights with his fists with his son and seriously advises him to beat everyone, as he beat his dad. But this is purely external comedy; in essence, Taras Bulba is a tragic face: this is a man of the idea that he lived by, to which he sacrificed his life.
Quote characteristic of Taras Bulba:
The Fatherland is what our soul is looking for, what is sweeter for it than anything. My homeland is you.
Father! where are you! do you hear all this? (Ostap) - I hear! (Taras Bulba)
What, son, did your Poles help you?
I gave birth to you, I will kill you!
Turn around, son! How funny you are!
There is life in the old dog yet?!
There is no bond more holy than fellowship!
Be patient, Cossack, you will be an ataman!
Okay, son, okay!
Damn you, steppes, how good you are! if it helped, thank you, okay?!
Work:
Taras Bulba
Taras Bulba is the central character in N.V. Gogol. This man is a real warrior, a true Cossack. And his character was appropriate. That's what N.V. says about his character. Gogol: “Taras was one of the native, old colonels: he was all created for abusive anxiety and was distinguished by the rude directness of his temper. Restless forever, he considered himself the legitimate defender of Orthodoxy. Taras is very strong. And, despite his advanced age, the military prowess and spirit of the Cossack have not yet died out in him. In battle, Ta-ras is no worse than young Cossacks. He is cruel and merciless to his enemies. Taras Bulba did not even forgive his son Andriy for betrayal. He personally took the life of his son: "I gave birth to you, I will kill you!" Taras did not kill his son, he shot at the enemy. Our hero respected his comrades, he never left the Cossacks in trouble. For him, the meaning of life was military campaigns. Like all Cossacks, he was a patriot of the Orthodox Russian land, and saw his duty in protecting it from the hated infidels. Taras cannot be called definitely kind or cruel. Everything depends on the position of the person in the consciousness of Taras. For example, he was cruel to Andriy, because he became an enemy, and even when Ostap offered to bury his brother, Taras refused. “They will row him without us! He will have mourners and comforters!” Taras said. But when Ostap died, our hero arranged a magnificent wake for his son. He robbed and killed all the Poles. And the Polish government decided to stop Taras. Hetman Potocki was instructed to kill the Cossack. For several days the Ukrainian soldiers left the chase. But still, Pototsky caught up with Taras's regiment. Taras decided to break through the ranks of the Poles. But in the heat of battle, the Cossack dropped the cradle that accompanied him in all battles. He bent down to pick it up and suddenly Pototsky's soldiers jumped on him. Taras was tied up and decided to execute. A tree was chosen for execution, the top of which was broken by a thunderstorm. The Cossack was chained to a tree and set on fire. During the execution, Taras behaved courageously. Even at the stake, he remained an ataman and, in a word, helped the Cossacks to escape. I think Taras is a hero of his time.
In 1842 N.V. Gogol wrote the story "Taras Bulba", which was later included in his collection "Mirgorod". In the story, Nikolai Vasilievich showed in the main character a real patriot, a defender of his native land. Taras Bulba is a true Cossack. His whole appearance was "created for abusive anxiety", he "was distinguished by the rude directness of his temper" and most of all "loved simple life Cossacks”, therefore the Zaporizhzhya Sich is a real home for him, therefore he spends most of his time there, not in a hurry to see his wife, and that is why he immediately decides to go to Zaporozhye after the arrival of his sons from Kyiv home to check Ostap and Andriy in their loyalty to the Cossack service. Taras Bulba loves his children, like his wife, but does not understand her, because for him the main thing is to be a real warrior, protector, comrade, patriot, and not a family man, so the wife “saw her husband two or three days a year, and then for several years no one heard of him." The old Cossack considered himself a true defender of Orthodoxy and did not tolerate luxury and wealth in any form. Being distrustful of everything new, not loving teaching, Taras understands the need for education in the conditions of the new time. It was for this purpose that his sons were sent to the Kyiv bursa, where they were trained in the sciences. Loving his sons equally strongly, the old Cossack better understands the older Ostap, for whom, just like for his father, the bonds of comradeship are the main thing. According to Taras Bulba: "There are no ties holier than comradeship! ... since only one person can become related by kinship by soul, and not by blood." Andriy betrayed the bonds of comradeship and became an enemy to his father, while Ostap remained faithful to his duty to the end, and therefore Taras nearly ruined himself, trying to save not just his son, but his comrade. The life of the old Cossack ends tragically, at the stake, but even here he behaves like a true hero, caring not about alleviating his fate, but about the lives of other Cossacks “but Taras did not look at the fire, he did not think about the fire with which they were going to burn him; he looked, cordially, in the direction where the Cossacks were shooting back: from a height he could see everything in full view. By the strength and power of Taras, Bulba can be compared with the epic hero, the old Cossack is the very embodiment of Russian strength, and "is there such fires, torments and such strength in the world that overpowered Russian strength." In the story "Taras Bulba" N.V. Gogol described the real national hero in the image of the main character. For the writer, the most important thing was not the historical validity of events, but the gigantic strength, the heroism of the protagonist, the desire of Taras Bulba to defend his homeland to the last drop of blood.
TARAS BULBA - the hero of the story by N.V. Gogol "Taras Bulba" (first edition 1835, second - 1842). The historical prototypes of the image of T.B. are outstanding figures of the national liberation movement of Ukraine in the 15th-17th centuries: Nalivaiko, Loboda, Taras Tryasylo, Gunya, Ostranitsa. Some biographical features link T.B. and Bohdan Khmelnitsky. However, T.B. is a collective image, and folklore served as the main source for Gogol: Ukrainian folk songs and thoughts, historical songs, heroic epics and tales of heroes. The image of T.B. epic, heroine and scale. His fate unfolds against the backdrop of formidable historical events - the struggle of the Zaporizhzhya freemen against the Polish gentry, Turkish and Tatar rule. T.B. is a type of positive hero, for he is an integral part of the tribal unity of the Cossack brotherhood; his actions are mainly governed by the code of chivalry; he fights and dies in the name of the interests of the Russian land and the Orthodox faith; it has "the broad, riotous manner of Russian nature." The positive beginning of the image of T.B. balances the lack of ideality of the images of "freaks" and "existents" (Gogol creates the image of T.B. simultaneously with his work on "Dead Souls"). In the image of T.B. the idea of camaraderie, which holds together the elements of the collective, opposes the egoism of the detached individuality, and the utopian republic of the Zaporozhian Sich with its freedom, equality, and fraternity is opposed to the narrowness, pettiness, admiration for the ranks and capital of cold and soulless Petersburg (G.A. Gukovsky). Portrait of T.B. hyperbolic. Heroic strength, bodily power, severity and straightforwardness, alien to any cunning, form the basis of T.B.'s appearance: “Bulba jumped on his Devil, who recoiled furiously, feeling a twenty-pound burden on himself, because Taras was extremely heavy and fat”; “... he hung even lower on his eyes his gloomy, blackish-white eyebrows, like bushes that grew on the high top of the mountain, whose tops were covered right up by the needle-like northern frost”; "he was all created for abusive anxiety and was distinguished by the rude directness of his temper." The breadth and mighty reach of T.B. in feasting and military affairs, they acquire epic, grandiose-spontaneous features: “We don’t need donuts, honey cakes, poppy seeds and other pundiks, bring us the whole ram, come on, forty-year-old honey! Yes, there are more burners, not with fantasies of a burner, not with raisins and all sorts of bastards, but a clean, foamy burner to play and hiss like crazy. T.B. smashes pots and flasks in anger. In the heat of battle, "Taras cuts and fights, pours goodies on the head of both of them ... chopping oncoming and transverse into cabbage." Wounded, T.B. crashed, "like a chopped oak, to the ground." “In the meantime, a gang suddenly ran up and grabbed him under his mighty shoulders. He was about to move with all his members, but the haiduks who had seized him no longer fell to the ground, as had happened before. But old age was not the fault: strength overcame strength. Few than thirty people hung from his arms and legs. The image of T.B. is ambiguous: it is characterized by cruelty and deceit, which are considered the ethical norm in the XV-XVII centuries. T.B. deposes the koshevoi, who refused to break the oath and resume the war, only because the two sons of T.B. must be hardened in battle. T.B. got the Cossacks drunk, persuaded them to arrange a general gathering, and the intoxicated Cossacks, at the instigation of T.B. Kir-dyag. After the execution of Ostap T.B. takes revenge on the gentry, celebrates a “commemoration” for his son: robs castles, burns out 18 towns, churches: “Do not regret anything!” - only Taras repeated. The Cossacks did not respect the black-browed ladies, white-breasted, fair-faced girls; they could not save themselves at the very altars: Taras burned them together with the altars, the cruel Cossacks did not heed anything and, lifting their babies with spears from the streets, threw them into the flames. In the image of T.B. two stylistic elements of Gogol's narrative merge: historical concreteness and realism of the image of the rude age, when the mutual ferocity of the Cossacks and Poles is a common occurrence, and, on the other hand, the solemnly lyrical pathos of the folk-poetic epic, the meaning of which is the apotheosis of the heroic power of the Russian land. Sonicide is motivated by the betrayal and betrayal of Andriy to the Russian land and the Orthodox faith, therefore, it is ethically justified: “So sell? sell faith? sell yours? I gave birth to you, I will kill you!” - said Taras ... "Gogol rethinks the biblical motif of the sacrifice of Abraham: Andriy (the sacrificial lamb Isaac) is not saved by God, but T.B. (Old Testament Abraham) sacrifices him to Orthodoxy: “like a young lamb, smelling deadly iron under its heart, it hung its head and fell on the grass without saying a single word.” In contrast to the traitor Andriy, Ostap, another son of T.B., was crucified by tormentors on the scaffold for faith, like Christ (“Ostap endured torment and torture like a giant”). T.B. “He stood in the crowd, bowing his head and at the same time proudly raising his eyes, and only saying approvingly: “Good, son, good!” Ostap’s fatherlessness and his cry, similar to the cry of Christ on the cross: “Father! where are you? Do you hear? (cf.: “My God, My God, why did You leave Me?” - Matt., 27:46) gives rise to an answering exclamation of T.B. (as if God’s answer to faithful Christians dying for him): “I hear!” (M.Weiskopf). Thus, the epic unity of the image of T.B. bifurcates in the images of his sons. The image of Ostap embodies the idea of an inextricable connection with the ancestral body, fidelity to knightly honor and the Fatherland, the image of Andriy embodies the idea of falling away, the egoistic disunity of people, separation from the whole: the collective, the people, God (the motif of the fall), which is typical of contemporary European civilization Gogol (cf. criticism of the latter in "Dead Souls" and St. Petersburg Tales). Bloody battle - element T.B. It has the motif of a mortal feast, as in the Tale of Igor's Campaign. The death of the knights for the Fatherland is pleasing to God (“And a young soul flew out. The angels lifted it by the arms and carried it to heaven”). The Cossacks, therefore, appear as God's army, and the winged words of T.E., encouraging them ("Is there still gunpowder in the powder flasks? Is the Cossack strength still strong? Are the Cossacks still bending?") God's providence for the glory of the Russian land. The Russian land acquires a messianic meaning in Gogol's understanding. The death of T.B. retains the same high Christian pathos, although it is lowered by the humorous motive of the lost T.B. cradles: “And the old chieftain bent down and began to look in the grass for his cradle with tobacco, an inseparable companion on the seas and on land, and on campaigns, and at home.” Poles burn T.B. on fire, crucifying on a tree trunk (cf. the traditional Christian symbol of the tree-cross): “But can there be such fires, torments and such a force in the world that would overpower the Russian force!”
main feature artwork on a historical theme - in that the author organically combines in it a story about events that actually took place, with the author's fiction. In this regard, the story of N.V. Gogol "Taras Bulba" is somewhat unusual in this regard: the historical events in it are not specified, moreover, when reading, it is sometimes quite difficult to determine at what time the actions unfold - in the 15th, 16th or 17th century. In addition, none of the heroes is a historical person, including Taras himself. Despite this, since the appearance of the work, it has been considered an epic story, sometimes called a novel. What is the strength and scale of "Taras Bulba"?
The history of the creation of the story
The writer's appeal to the theme of the Cossacks was not accidental. A native of the Poltava province, from childhood he had heard a lot about the heroic deed of the people during the struggle against numerous external invaders. Later, when Gogol had already begun to write, such brave and devoted people as Taras Bulba were of particular interest to him. There were many of them in the Sich. Often, former serfs became Cossacks - they found a home and comrades here.
N.V. Gogol studied many sources devoted to this issue, including manuscripts of Ukrainian chronicles, historical studies of Beauplan and Myshetsky. Not satisfied with what he read (in his opinion, they contained meager information, which was not enough to understand the soul of the people), Gogol turned to folklore. and thoughts dedicated to talking about the characteristics of the characters, customs and life of the Cossacks. They gave the writer excellent "live" material, which became an excellent addition to scientific sources, and some storylines in a revised form entered the story.
The historical basis of the story
"Taras Bulba" is a book about free people who inhabited the territory of the Dnieper region in the 16-17th centuries. Their center was the Zaporizhian Sich - its name is due to the fact that it was fortified on all sides by a fence of fallen trees - notches. It had its own way of life and management. Subjected to frequent attacks by the Poles, Turks, Lithuanians, the Cossacks had a very strong, well-trained army. They spent most of their time in battles and military campaigns, and the trophies obtained became the main means of subsistence. It is no coincidence that the rooms in the house where his wife lived alone include numerous signs of the host's camp life.
The year 1596 became fatal for the Ukrainian people, who at that time were under the rule of Lithuanians and Poles. adopted a union about the unification under the authority of the Pope of Rome of two Christian religions: Orthodox and Catholic. Decision the difficult relations between the Poles and the Cossacks, which resulted in open military confrontations, further complicated. Gogol devoted his story to this period.
Image of the Zaporozhian Sich
The main school for the education of persistent, courageous warriors was a special way of life and management, and experienced Cossacks, who more than once showed their prowess in battle, became teachers. One of them was Colonel Taras Bulba. His biography is a story about the formation of a true patriot, for whom the interests and freedom of the fatherland are above all else.
It reminded me of a large republic based on the principles of humanism and equality. Koshevoy was chosen by general decision, usually from among the most deserving. During the battle, the Cossacks had to obey him unconditionally, but in peacetime it was his duty to take care of the Cossacks.
In the Sich, everything was arranged to ensure the life and military campaigns of its inhabitants: all kinds of workshops and forges worked, and cattle were bred. Ostap and Andriy will see all this when Taras Bulba brings them here.
The history of the short existence of the Zaporozhye Republic showed a new way of organizing people's lives, based on brotherhood, unity and freedom, and not on the oppression of the weak by the strong.
The main school for the Cossack - military brotherhood
How the formation of young warriors took place can be judged by the example of the sons of Taras, Ostap and Andriy. They graduated from the bursa, after which their path lay in Zaporozhye. The father meets his sons after a long separation not with hugs and kisses, but with a test of their strength and dexterity on his fists.
The life of Taras Bulba was unpretentious, as evidenced by the feast in honor of the arrival of his sons (“bring ... the whole ram, the goat ... and more burners” - with these words the old Cossack addresses his wife) and sleep in the open, under the open sky.
Ostap and Andriy did not even stay at home for a day, when they set off for the Sich, where the best camaraderie in the world and glorious deeds for their homeland and religion awaited them. Their father was convinced that only participation in military battles could become a real school for them.
Cossacks
Approaching the Sich, Taras and his sons saw a Cossack sleeping picturesquely in the middle of the road. He sprawled out like a lion and was admired by all. Wide as the sea, bloomers, proudly tossed forelock (it was certainly left on shaved head), a good horse - this is what a real Cossack looked like. Not by chance main character The story appeals to his sons with an appeal to immediately change their "demonic" clothes (in which they came from the bursa) to another, worthy of a Cossack. And they really immediately changed in morocco boots, wide trousers, scarlet Cossacks and mutton hats. The image was complemented by a Turkish pistol and a sharp saber. Admiration and pride were caused by the good fellows sitting on glorious stallions from the father.
The historical basis of the story "Taras Bulba" obliged the author to treat the Cossacks impartially. With all due respect to them and their valor, Gogol truthfully says that sometimes their behavior caused condemnation and misunderstanding. This referred to the riotous and drunken life that they led in between battles, excessive cruelty (for the murder of the criminal, they were buried in the grave along with the victim alive) and a low cultural level.
The power of camaraderie
The main advantage of the Cossacks was that at the moment of danger they could quickly mobilize and act as a single army against the enemy. Their selflessness, partisanism, courage and devotion to the common cause had no boundaries. In the story, Taras Bulba himself proved this more than once. The biography of other prominent warriors, including the experienced Tovkach, Kukubenko, Pavel Gubenko, Mosiy Shilo and the young Ostap, also emphasizes this.
Bulba said well about the unity and main purpose of the Cossacks in his speech on the eve of the decisive battle: “There are no ties holier than camaraderie!” His speech is an expression of great wisdom and holy faith that he and his brethren are defending a just cause. At a difficult moment, the words of Taras encourage the Cossacks, remind them of their sacred duty to protect their comrades, always remember the Orthodox faith and devotion to the motherland. The most terrible thing for a Cossack was betrayal: this was not forgiven to anyone. Taras kills his own son, having learned that because of his love for a beautiful Polish woman, he preferred personal interests to public ones. So the bonds of brotherhood were more important than blood. The fact that this fact corresponded to reality is evidenced by the historical basis of the story.
Taras Bulba - the best representative of the Cossacks
A colonel with a stern character, who went through a glorious military path. A glorious ataman and comrade who could support with an encouraging word and give good advice in difficult times. He had a burning hatred for the enemy who encroached on the Orthodox faith, and did not spare his own life for the sake of saving his homeland and his brothers in arms. Accustomed to a free life, he was content with a clean field and was absolutely unpretentious in everyday life. This is how Gogol portrays the main character. He spent his whole life in battles and always found himself in the most dangerous place. Weapons, a smoking pipe and the glorious horse of Taras Bulba were his main wealth. At the same time, he could joke and joke, he was satisfied with life.
The hero, disappointed in his youngest son, felt great pride in Ostap. Risking his life, Bulba came to the place of execution to see him for the last time. And when Ostap, who had steadfastly endured deathly torments, called him at the last minute, he expressed his pride, approval and support not only to his son, but to his comrade-in-spirit, comrade-in-arms with one word that made the whole square shudder. Until the end of his life, Taras will grieve for his son and avenge his death. The experience will add to him cruelty and hatred for the enemy, but will not break his will and fortitude.
The story does not contain the usual description of Taras Bulba for the hero, since this is not so important. The main thing is that he has such qualities, thanks to which it was possible to survive in that cruel time.
Hyperbolization of Taras in the execution scene
The characterization of the hero is supplemented by a description of his death, which is largely absurd. The hero is captured, as he bends down to pick up the fallen pipe - even he does not want to give it to the damned enemy. Here Taras resembles a folk hero: a dozen or three people could hardly defeat him.
In the last scene, the author does not describe the pain from the fire that the hero experienced, but his anxiety for the fate of his brothers floating down the river. At the moment of death, he behaves with dignity, remaining true to the main principles of fellowship. Most importantly, he was sure that he had not lived his life in vain. This is what a real Cossack was like.
The significance of the work today
The historical basis of the story "Taras Bulba" is the liberation struggle of the people against the invaders who encroached on their country and faith. Thanks to such strong-willed people as Taras Bulba, his son and comrades, it was possible more than once to defend independence and freedom.
The work of N.V. Gogol and his heroes have become a model of masculinity and patriotism for many, so it will never lose its relevance and significance.
The historical meaning of the Little Russian Cossacks was the struggle for nationality and faith. This struggle with the Turks, Tatars and Poles hardened the national character, gave the Cossacks of Ukraine the features of iron energy, which often lingered and hid under the guise of cunning and ingenuous cunning, even phlegm and laziness, then suddenly broke free and took on the wide dimensions of elemental force, not who knew restraint and limits. The life of the Cossacks was difficult: they had to fight both by cunning and by force, they had to be both a diplomat and a soldier. This is exactly how Gogol describes this life in Taras Bulba. The needs of the time required a lot of practical knowledge: every Cossack had to be a plowman, a hunter, a cattle breeder, a gardener, a doctor, and an artisan. This developed versatility, resourcefulness, enterprise, but did not tie a person to any one particular business. Gogol shows that the Cossack's constant readiness to face danger, uncertainty about the future, taught him to look indifferently into the eyes of death, not to value his own head, but not to be embarrassed by someone else's fate ... (See Image of Taras Bulba.)
Attack of the Cossacks in the steppe. Painting by F. Roubaud, 1881
From the descriptions of "Taras Bulba" it is clear that family life Cossacks went dissolutely and carelessly. The Cossack did not need a family and a home; these affections were replaced by the spirit of "camaraderie", which tied them into a free squad of daring "knights" who gathered in the Zaporizhzhya Sich. Gogol shows that a harsh life, full of danger, developed in the harsh hearts of the Cossacks the spirit of daring and, at the same time, the ability to look at all dangers with indifferent calmness, even with humor.
For people like Taras Bulba, little was "holy" in life, the Christian faith, the homeland, and a sense of camaraderie. These few and simple ideals, however, filled the life of the Cossacks with meaning, cleansed and ennobled their existence, made them "knights", as they called themselves, justified, in their own eyes, both robbery raids on the shores of the Black Sea, and cruel reprisals against Jews and Catholics .
The Cossacks of the time of Taras Bulba selflessly served patriotism, he was the main ideal of their life, a harsh and cruel ideal, obscuring all other attachments and aspirations (to the family, to a woman, to peaceful pursuits). Many of these traits were preserved in the soul of the Little Russians until the time of Gogol, and in his Evenings, in Viya, he collected all these crushed remnants of former feelings, shackled by a brilliant past, but no longer finding explanation in the present ... In " Taras Bulba ”Gogol explained where this lazy indifference came from among the Little Russians, this phlegm, this humor and stubbornness, all those national traits that he collected and embodied in the characters of his heroic story. What in modern life seemed ridiculous, even caricatured, then in the historical coverage of the heroic story about Taras acquired a serious and deep interest. That is why both this story by Gogol and its main character are of great historical significance.