Bunin sunstroke heroes. AND

Sunstroke- a painful condition, a disorder of the brain due to prolonged exposure to sunlight on the uncovered surface of the head. This is a special form of heat stroke.

Sunstroke is characterized by the body acquiring more heat than the body is able to manage and cool properly. Not only sweating is disrupted, but also blood circulation (vessels dilate, blood “stagnates” in the brain), free radicals accumulate in the tissues. The consequences of such a blow can be very serious, even threatening cardiac arrest. Sunstroke is very dangerous in terms of its impact, primarily on the nervous system.

Symptoms of sunstroke

Sunstroke is accompanied by headache, lethargy, and vomiting. In severe cases - coma. Symptoms of overheating worsen as the ambient humidity increases. More specific signs of sunstroke largely depend on the degree of damage to the body. Let's look at them:

1. Mild degree

• increased heart rate and breathing;
• pupil dilation.

Measures: remove from the overheated zone, provide assistance. In case of nausea and vomiting, position the patient in such a way as to avoid choking on vomit.

2. Average degree

• severe adynamia;
• severe headache with nausea and;
• stunned;
• uncertainty of movements;
• unsteady gait;
• at times fainting;
• increased heart rate and breathing;
• nosebleed

3. Severe form

A severe form of sunstroke develops suddenly. Face, later pale cyanotic. There have been cases of changes in consciousness from mild to coma, clonic and tonic convulsions, involuntary release of urine and feces, delirium, hallucinations, increased body temperature to 41-42°C, and cases of sudden death. Mortality 20-30%.

The risk of getting sunstroke increases under the following conditions:

- direct exposure to sun rays on the head;

— increased environmental humidity;

- presence of special health problems (heart disease, endocrine disorders,);

- age up to 1 year (especially newborns) and elderly people (in children, the natural thermoregulation of the body is not yet sufficiently perfect, and in the elderly it already functions poorly);

- excess body weight;

- smoking;

- alcohol intoxication;

When observing the first symptoms, you should quickly respond by providing assistance to the victim. At the same time, do not forget that this will only be first aid, and it is better to immediately call an ambulance, since it is difficult for an ordinary person to determine the severity of the victim’s condition, and especially if it is an elderly person or a child.

— Transfer or transfer the victim to the shade or a cool room with sufficient oxygen and a normal level of humidity (the space should be open within the immediate radius, without crowds of people);

- Be sure to put the victim down;

— Legs should be raised, placing any things (for example, a bag) under the ankle area;

— Free from outer clothing (especially those that compress the neck and chest, free from the trouser belt; if the clothing is synthetic or made of thick fabric, it is better to remove it completely);

- Give the victim plenty of cool water (preferably mineral water) with added sugar and a teaspoon of salt on the tip, or at least plain cool water;

- Wet your face with cold water;

— Wet any cloth with cold water and pat your chest (you can pour water over the whole body at about 20°C or take a bath with cool water (18 - 20°C));

— Apply a cold compress (or a bottle of cold water, pieces of ice) to the head (on the forehead and under the back of the head);

- Fan the victim with frequent movements;

— Clear the airways from vomit;

- Wrap the body in a wet sheet or spray with cold water.

— Give a sniff of the vapor of ammonia (from a cotton swab) or a 10% ammonia solution (in case of clouding of consciousness);

- use a sun umbrella (light shades);

- from time to time wipe your face with a handkerchief dipped in cool water;

- If you feel unwell, seek help and take possible measures yourself.

To avoid sunstroke, in hot sunny weather it is recommended to wear hats made of light-colored material that reflects sunlight more strongly.

Be careful and careful when in direct sunlight!

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Tags: sunstroke, signs of sunstroke, sunstroke symptoms, help for sunstroke, first aid for sunstroke, treatment of sunstroke, sunstroke first aid, consequences of sunstroke, symptoms of sunstroke

They meet in the summer, on one of the Volga ships. He is a lieutenant, She is a lovely, small, tanned woman returning home from Anapa.

“I’m completely drunk,” she laughed. - Actually, I'm completely crazy. Three hours ago I didn’t even know you existed.

The lieutenant kisses her hand, and his heart skips a beat and terribly.

The steamer approaches the pier, the lieutenant begs her to get off. A minute later they go to the hotel and rent a large but stuffy room. As soon as the footman closes the door behind him, both of them merge so frantically in a kiss that they later remember this moment for many years: none of them have ever experienced anything like this.

And in the morning this little nameless woman, who jokingly called herself “a beautiful stranger” and “Princess Marya Morevna,” leaves. Despite the almost sleepless night, she is as fresh as she was at seventeen, a little embarrassed, still simple, cheerful, and already reasonable: she asks the lieutenant to stay until the next ship.

Nothing even similar to what happened has ever happened to me, and there never will be again. The eclipse definitely hit me... Or, rather, we both got something like sunstroke...

And the lieutenant somehow easily agrees with her, takes her to the pier, puts her on the ship and kisses her on the deck in front of everyone.

He easily and carefree returns to the hotel, but the room seems somehow different to the lieutenant. It is still full of it - and empty. The lieutenant's heart suddenly contracts with such tenderness that he has no strength to look at the unmade bed - and he covers it with a screen. He thinks this sweet “road adventure” is over. He cannot “come to this city, where her husband, her three-year-old girl, and in general her whole ordinary life are.”

This thought astonishes him. He feels such pain and the uselessness of his entire future life without her that he is overcome by horror and despair. The lieutenant begins to believe that this is really “sunstroke” and does not know “how to live this endless day, with these memories, with this insoluble torment.”

The lieutenant goes to the market, to the cathedral, then circles for a long time around the abandoned garden, but nowhere does he find peace and deliverance from this uninvited feeling.

How wild, how absurd everything is everyday, ordinary, when the heart is struck by this terrible “sunstroke”, too much love, too much happiness.

Returning to the hotel, the lieutenant orders lunch. Everything is fine, but he knows that he would die tomorrow without hesitation if it were possible by some miracle to return the “beautiful stranger” and prove how painfully and enthusiastically he loves her. He doesn’t know why, but this is more necessary for him than life.

Realizing that it is impossible to get rid of this unexpected love, the lieutenant resolutely goes to the post office with a telegram already written, but stops at the post office in horror - he does not know her last name or first name! The lieutenant returns to the hotel completely broken, lies down on the bed, closes his eyes, feeling tears rolling down his cheeks, and finally falls asleep.

The lieutenant wakes up in the evening. Yesterday and this morning are remembered to him as a distant past. He gets up, washes himself, drinks tea with lemon for a long time, pays for his room and goes to the pier.

The ship departs at night. The lieutenant sits under a canopy on the deck, feeling ten years older.

Today, Russia, for the umpteenth time in its history, is being tested for strength: the countries of Western civilization, led by the United States, have decided on almost overt aggression in Ukraine with the aim of establishing a collaborationist government there, whose tasks will ultimately include unleashing a war against Russia itself. Nikita Mikhalkov’s film “Sunstroke” thoughtfully appeared on screens in a timely manner. The painful question of the main character of the film, an officer of the tsarist army, which he asks himself while being captured by the Red Army, “How did it all happen?” is asked today by all more or less thinking people throughout the Russian World.

How could the February 2014 neo-Nazi revolution happen in Kyiv? How did some Ukrainian citizens become fascists and deny another part of the citizens - Russians - the right to speak and teach children in Russian? How could it happen that one part of Ukrainian citizens began to use heavy artillery, multiple launch rocket systems, phosphorus and cluster bombs, even ballistic missiles against another part? How could it happen that parts of historical Rus' - Galicia, Little Russia and even Novorossiya - ended up being part of another state? How and when did this happen: as a result of the 1917 revolution or earlier? The answer to the last question literally cries out to us from the film “Sunstroke”: the revolution of 1917 and the civil war of 1918-1920 were not the result of the actions of a group of conspirators (February 1917 is today attributed to the British, and October 1917 to the Germans). The experiences of the main characters of the film, who lost the Civil War, convincingly show the viewer that these tragic events of Russian history were prepared by the very way of life of the upper classes of Russia, who, having removed themselves from the people as a result of Peter’s cultural revolution, finally moved away from both Christ and the culture of the Russian people. The events of 1917-1920 were allowed by God, “for in its general, main outlines, history is not formed according to human arbitrariness, although it is left to him to draw patterns from them”.

Before moving on to proving the above statement using an analysis of the film “Sunstroke” itself, it is necessary to point out some general provisions from the standpoint of which this analysis will be done. We proceed from the fact that criticism of any work of art (and not only art) can be constructive, or at least understandable by the reader, if the author of the criticism clearly points out the ideals that he uses as a kind of criterion when starting to analyze a particular work . Otherwise, the inquisitive reader is subjected to a double test: he must not only strain, analyzing what corresponds to his impression of the work and what does not, but also look between the lines for the position of the author of the criticism. Therefore, let’s say right away that as the indicated measure, the author of the article uses the Christian doctrine and historiosophy of our outstanding Russian thinker Nikolai Yakovlevich Danilevsky, who back in 1869 in the book “Russia and Europe” anticipated the events brilliantly shown to us by Nikita Mikhalkov in the film under discussion, and gave answer to the main character’s question: this all happened because Russia, instead of abandoning the “European vaccination,” engaged in national suicide: it abandoned development on the basis of the original folk principles of the Russian state-forming people, establishing Western European values ​​in all spheres of life. We will also rely on the opinion of Ivan Lukyanovich Solonevich, who is historically closest to the creative heritage of N.Ya. Danilevsky and the forecasts of the holy martyrs of the Russian Orthodox Church about the future of Russia, made by them even before the revolution.

The action of the film takes place on November 21, 1920, most likely in Sevastopol or some other city of Crimea (although in 8 hours, as one of the heroes of the film says, it is possible to reach Ochakov by sea on the tugboat that is shown to the viewer only from Odessa and it is impossible neither from one port of Crimea). Sevastopol is mainly supported by the presence of real political figures in the plot - Bela Kun and Zemlyachka. The only missing person is the third person of the Bolshevik troika that carried out the repressions in Crimea, Georgy Pyatakov. Although his presence is also indicated by the image of Commissar Georgy Sergeevich, whom fate 13 years ago in 1907 collided (when he was still a teenager) with the main character of the film, at that time a second lieutenant.

November 21, 1920. Sevastopol. The place is a prisoner-of-war camp for White Army officers, which the victors still call a checkpoint. A part of the city area fenced with barbed wire. Commissioner Georgy Sergeevich, with a nice Volga or Vologda accent and with the inner state of a person who has comprehended the meaning of life, registers officers who are asked to sign a paper about voluntary repentance and renunciation of armed resistance to Soviet power. In return, the new government gives two opportunities to choose: either stay to live and work in Russia or freely go abroad. At the moment of this registration, the director introduces the viewer to the main characters. This is a nervous captain who tries to defend the officer’s honor, refusing to cut off his shoulder straps and rudely poking the commissar. The viewer expects some kind of sharp response from the commissioner, but nothing of the kind. The “cursing” winner, clearly from the lower classes of Tsarist Russia, is not even nervous, but only calmly remarks: “Don’t poke me, I didn’t drink champagne with you and I didn’t touch the governesses.” The viewer perceives in this scene the higher inner spiritual mood of the commissar in comparison with the captain’s. This impression is further strengthened by the commissar’s apology to the captain - for what? The captain shows the commissioner an engraved watch, given to him once by the “Great General Selivanov” (obviously Andrei Nikolaevich Selivanov, a participant in the Russian-Japanese War), to which the commissioner notices that “Great” is not written on the watch and immediately apologizes, seeing that this is unpleasant for the captain, he even allows his shoulder straps not to be cut off.

A viewer who knows the story guesses that the fate of the officers has already been decided, they are all doomed to death, which is why the commissar behaves so calmly: why unnecessary complications. But still, the image of Commissar Georgy Sergeevich is depicted in such a way that the viewer, even at the end of the film, after the tragic ending, remains some kind of strange sympathy for him. Understanding this particular image requires the greatest tension from the viewer, so we will dwell on it more than once.

The next officer, second lieutenant of the Life Guards Uhlan Regiment, Baron Nikolai Gulbe-Levitsky, also turns out to be not at the proper height to which his membership in the highest elite of the outgoing Russia obliges him. The second lieutenant baron, signing the act of surrender for his entire previous life, makes fun of the spelling and, noting that Soviet power will not last long, invites rudeness. Again Georgy Sergeevich wins another verbal duel. He calmly replies that the new spelling rules do not apply to the old classes and asks the baron to write his name shorter, to which he inappropriately reveals his family nickname - “Coca”. Taking advantage of this, the commissioner after some time asks the question: “What is your name?” The Baron asks again: “Who?” Commissioner: “I know you, you are Koka, what is the dog’s name?”, perhaps expecting to hear that the dog has a human name (the baron was captured along with his dog). This is a firm “You are Coca!” sounds like a complete defeat for the young baron in a verbal feud of his own making. At the same time, the viewer may notice that the failure to confiscate an entire suitcase of collectible cigarettes from the baron does not bode well for the denouement of the film.

Next, a young cadet approaches the commissar, whose entire behavior shows that he does not understand at all the historical events of what scale he happened to become a participant: his parents are already in Paris, everything that happens to him seems like the adventure of one of the heroes of the French novels on which he was brought up .

The main character of the film, an army captain, behaves appropriately to the situation. He is immersed in himself, in his inner experiences: “How did this all happen, where did it all start?..”. At the same time, he involuntarily speaks out loud, the commissioner hears, but does not understand what he wants to ask him. Due to his immersion in his experiences, the main character of the film does not recognize Georgiy Sergeevich as the altar boy Yegor, with whom fate brought him together in the summer of 1907 in one of the Volga towns, where he ended up as a result of a fleeting affair with a married stranger. And Yegory recognizes in the army captain the same lieutenant to whom he forgot to return his pocket watch and whose ship he ran for a long time, shouting: “Watch, Mr. Lieutenant, you forgot your watch!!!”

Next, the images of a mannered rear service colonel with the talent of an opera singer, a naval officer with the rank of captain and captain are introduced. By the behavior and words of all these characters, the viewer can judge the reaction of the higher officer classes to the causes of the tragedy that befell them. Looking ahead, let's say: the viewer did not receive a single opinion about these reasons, except to indicate the absence of the necessary repressive reaction on the part of the state against the revolutionaries. One might suspect that the director put his own opinion into the mouths of his characters. But in this case this is not the case, we will talk about this at the end of the article.

What do the main characters of the film say about the reasons for their defeat?

The most radical point of view is expressed by the nervous captain: all the rebels should have been hanged, hanged and hanged in advance, even before the revolution, then nothing would have happened. He is opposed by a sea captain who believes that no one should be deprived of life.

Gives an example from the history of the mutiny on the cruiser Ochakov. None of the officers agreed to command the execution of Lieutenant Schmidt, except for one officer - Lieutenant Stavraki, Schmidt's classmate. The captain objects: the tragedy with Russia occurred precisely because there were only a few people like Lieutenant Stavraki, while people like the sea captain were the majority.

At the same time, the captain calls on the prisoners of war officers to act, start a riot in the camp, kill all the Reds, his call reveals disbelief in the commissars, even the confidence that nothing good awaits them, so “it’s better to show off for the last time.”

The baron-second lieutenant, keeper of his father’s collection of cigarettes, in one of the last scenes expresses a similar point of view: “there is nothing, neither father, nor tsar... I hate Russian literature, for a hundred years we have been pouring shit on ourselves, everything in a row: priests, gentlemen, power , any power. Nekrasov is a drunk, a gambler: “he will pave a wide, clear road for himself...” Paved... I hate it! There is no shame, no sin, nothing. We lost everything, everything is possible, everything. We did everything ourselves, with our own hands. What, I didn't see something? Didn't we see something? I saw everything, understood everything. I just didn’t want to touch anything with my hands. And they calmed down - it’s a big country: if we mess it up there, we’ll switch to clean grass, it will work out somehow, but it didn’t work out! What a country they ruined, with these hands, a Russian man, they ruined the Russian state. How to live with this now... how to live, captain?..” At the same time, last night the baron-second lieutenant committed lynching of the colonel, who reported to Commissar Georgy Sergeevich against the captain, after which he disappeared. This belated decision to start “touching with our hands” what could pollute the country reveals the complete emptiness of the baron-second lieutenant’s inner world: “how strange it is: in the war you had to shoot at people, something was moving inside, but here your Russian officer with your own hands strangled and nothing - emptiness.” The main character, an army captain, to whom the baron confesses, reveals a similar spiritual mood; seeing the baron’s bloody hands, he complains that he did not put on gloves when he strangled him.

In the scene of clearing out a landfill on the city stairs, Yesaul stumbles upon a baby carriage with some objects from his life. Saddened by the question of where that life went, he still goes further than his comrades, questioning everything that constituted the main content of his previous life: the French language, Tolstoy, Dostoevsky, Montaigne in the original... Why was all this necessary if it goes somewhere? did it disappear? None of the characters in the film rise above this question. The upper classes of Tsarist Russia, who managed to emigrate, could not find an answer to it over the long years of emigration, having dissolved in Western culture.

Through all the scenes of the film there is a painful question of the main character: “How did it all happen?”, which is interspersed with the question posed by Esaul - “Why was that old life needed?”, and “When did it all start?”

The main character tries to remember something from the past in search of answers to the questions that concern him, but his memory stubbornly returns to only one episode of his life: a love affair with a married stranger, which began on a trip along the Volga in the summer of 1907. It is these memories that reveal the entire worthlessness of the life of the upper classes, including in them the emerging intelligentsia of Tsarist Russia. What could a Russian person, a Christian, leaving Russia in 1920 remember if he had lived an original Russian life? He would remember his pilgrimages to the service of Father John of Kronstadt, the love and trust of the people for whom was so enormous that in another year donations of up to a million rubles passed through his hands, which he spent not only specifically for those in need, but for the creation of Houses of industriousness, society sobriety; I would certainly remember the celebrations for the canonization of St. Seraphim of Sarov in 1903, at which a special commission recorded the miracles of healing the sick, etc.

Memories of the main character of the film

The memories of the film's protagonist about pre-revolutionary life are presented by the director in the form of episodes that cut through the flow of dramatic events taking place in the concentration camp. Transitions are made masterfully through binoculars, through which someone (most often a stranger) examines what is happening, or through the painful questions of the main character, or through the officers’ mesmerizing counting of the steps of the city stairs, along which a baby stroller is rolling as a symbol of the old peaceful life. The stroller rolls down the steps, everyone counts, gives way to it, and then it turns over after the 89th step. The end of the count at the number eighty-nine gives the protagonist the impetus to remember the ninth room of the cabin in which his stranger was traveling, about his romantic adventure in the summer of 1907.

A young officer travels along the Volga on a river passenger steamer. A stranger from the upper deck examines the new passengers through binoculars and fixes her attention on the officer, who has not yet seen her. Her blue shawl flies away, she goes down after it, turns around and with a lightning glance attracts the attention of the young man. What is this? The innocent coquetry of a young woman bored on the road or the art of seduction? Second! - this is evidenced by the entire further course of events. The officer accepts the invitation to courtship. Walks along the deck, watching a stranger talk to children, believing that they are her children. The stranger leaves, forgetting the enchanted shawl and glasses. The officer, who has lost his head, takes the shawl in his hands, passionately inhales the scent of the stranger, asks the boy Petya, who has returned for forgotten things, to tell his mother that if she returns, he will willingly give way to her. Instead of the object of sighs, the real mother of Petya and his sister, Tatyana Darmidontovna, appears, who takes the officer’s courtship personally. At this point they are caught by her foreign husband, who does not trust his wife at all and rudely points out her indecent behavior.

The appearance of the second female heroine, a mother of two children who is not averse to “romancing” with a fellow traveler, leads the viewer to question the values ​​of women of the upper classes of Tsarist Russia. Memory suggests the example of Anna Karenina, the debauchery of pre-revolutionary St. Petersburg... As if in addition to the thought that arose, two young girls appear, already taking the path of abandoning a chaste life. Having confused the passenger of the ship, the little-known writer Grigorin, with Chekhov (who died in 1904, three years before the events), they ask him to write something about love in their albums!

The officer, meanwhile, is constantly struggling with solving the problem of meeting a stranger. The cabins are nearby. The officer hears how a stranger is working with Tatyana Darmidontovna’s children. With a draft, the notorious shawl flies out the window. Noise. The officer looks out the window and once again meets the gaze of a stranger, inviting him to the desired acquaintance. The director gives the shawl's flight enchanted properties: the shawl flies all over the ship, flies away from it, and returns.

The officer runs around like a teenager: the deck, the engine room, the upper deck... In the end, the shawl lands on the face of a sleeping priest, whose image obviously personifies the church “mercenaries” spoken of in the Gospel - shepherds who fled from their homes after the revolution. parishes abroad or became renovationists.

The prize seems to go to Petya, who returns the shawl to the stranger. But the officer does not give up. He has some sunglasses in stock, forgotten by the stranger. He is already knocking on her cabin with a prepared phrase: “Let me return to you a colorful view of the world!” But the stranger is not there. He enters an empty cabin. Spellbound, he touches her things, picks her up, examines her family photograph, from which it is clear that the stranger is married, has a husband and two children, but this fact does not stop him. The mechanism of a romantic adventure (in Christian terms - prodigal passion), on which the heroes of the film were brought up, has already been launched.

The officer rushes in search of the stranger. Finds her in the wardroom, where a magician is showing mystical tricks to the assembled passengers. The audience longs for a free miracle. Most of all - Father. The officer gives the artist his gold watch for the experience of “destruction with reconstruction.” The magician grinds them in a mortar, intending to pull them out whole. But it turns out that the boy assistant, instead of lubricating the mechanism, ate it. As a result of the mechanism jamming, the magician actually grinds the officer's gold watch, but gets out of the situation by slipping his cheap watch to the officer. The officer is very upset, but doesn’t show it. After all, She is looking at him! Before the lady of your heart you must be a hussar! The public is being deceived. Only in the cabin does the officer give vent to his feelings. She complains that why did she get in the way, the watch was replaced in front of her eyes, a gold nugget... Her gaze falls on a photograph of a young girl. The viewer learns that our Romeo has a young bride. The loss of a gold watch, which led to the memory of his bride, somewhat pacifies his passion for the stranger. But suddenly, at the next stop, he sees that his stranger has gone ashore. Passion boils with renewed vigor. He rushes from the ship after her, hastily grabbing his things. He runs up from behind, the woman turns around - mistake, it’s Tatyana Dormidontova! She, mistaking the officer’s appearance for courting her, begins to speak quickly: “Why are you here, are you pursuing me, what a passion, I’m just like you, I’ll definitely come...”. In a word, she expresses complete readiness to cheat on her husband, but only later, by prior agreement.

But the officer, having come to his senses, runs away to the ship that has already left the pier. This would have been the end of the officer’s romance, but it turned out that the stranger did not lose sight of him. She goes to the captain and convinces him to return and pick up the straggling passenger. The conditions for continuing the acquaintance were restored by the woman, who then skillfully used them in the scene in the ship's restaurant.

Before the officer had time to put his things in the cabin, he was invited to dinner at a restaurant by a magician as a thank you for helping him turn out in front of the public. A rich table, sterlet, caviar of all kinds, reminding the viewer of a statement about our intelligentsia, which never knows what it wants more - a constitution or stellate sturgeon with horseradish. As if to prove this point, the magician begins a painfully familiar derogatory speech about Russia, calling it “this country”, but speaking about Europe in superlatives. At the same time, the magician shows full awareness of Marx, and our hero in 1907 had not heard anything about him. The officer drinks a little too much and indulges in memories of his bride. “How she sings, Lizanka, my bride is engaged, how she sings!!!” The officer begins to hum his favorite aria, imagining in his mind that his bride Lizanka is singing! Passion for the stranger gives way to memories of Lizanka. But it was not there. The stranger is already starting to hunt him. She sits down at the piano and picks up in French: “Pour me to drink until I’m drunk, answer my tenderness, pour me wine, answer my tenderness, pour me drunkenness, hops, my heart opens to your voice...” The officer is crying, his head on the table. Suddenly the fog clears, and instead of the young bride Lizanka, a stranger sings this aria at the piano. Road passion returns with renewed vigor, enhanced by aria and alcohol.

The officer follows the stranger onto the deck. The noise of a steam engine and wheels. First he tries to observe the rules of decency and find out the name of the stranger. “Who are you, what is your name?” She ignores the question as if she doesn't hear him, he admits: "Okay, it doesn't matter!" and immediately moves on to the important: “Let’s get down, I ask you, I beg you, this is a matter of life and death!” She agrees. On the way there is silence in the carriage, she begins to whistle that same aria (“answer me my tenderness”), he picks it up.
In a hotel, a stranger hides her face and does not allow the maid to turn on the light. The initiative is completely on her side: “lock the door, wait...” Two passionate glances. The director should have stopped there. But he introduces an erotic scene, following the lead of the base desires of the public, corrupted by the values ​​of Western culture, and completely closes the possibility of using the picture as a textbook for the course of the history of the Fatherland. And so everything is clear to the viewer. It was enough to limit ourselves to two mise-en-scenes: immediately after the passionate glances in the hotel room, to show the farewell scene in the morning, when he is sleeping, and she, already fully dressed, is writing a note. Although in fairness it must be said that the director still limited himself in the naturalism of gender relations, when compared with what we see on screens today.

The officer wakes up. There is no cross on the neck. Instead of a cross, he finds an enchanted shawl. She's gone. Note: “Here’s some caramel for you. Farewell. What happened between us never happened to me and... (then two words are obscured) will never happen again.” Later he manages to read the carefully scrawled words: “the most terrible thing.” The viewer is faced with the question: why is it crossed out? This “will never happen” seems to sound like remorse and a desire not to repeat cheating on her husband again, and “the worst thing” clearly speaks of regret that this will not happen again, because it should not happen again in her life. The heroine, seeing her internal tossing between repentance and the desire for a new sin, does not simply cross out these words, but shades them out; she decides to hide from the outside world either her weakness and uncertainty in her behavior in the future, or the desire to repeat this experience.

Regarding our heroine-stranger, we cannot know her future if we assume that the life of a specific person stands behind her. But that’s why it’s art, with its ability to create collective images of a particular time in order to accurately reflect reality, in order to predict negative and positive images of the future people. And moreover: by creating positive images of the present, starting from popular ideals about good and evil, art can influence the possibility of achieving at least some harmonization of popular aspirations with reality. It is obvious that the author’s intention of the picture is only in part of solving the first problem: the authors of the picture strive to explore the truth of the civil war, to find its causes, but the life of the typical representatives of the upper classes of Russia they have chosen allows them to see only negative trends of both the past and the future. Today we see how the de-churching of the Russian people, the Westernization of the people’s way of life, which began with the upper classes of Tsarist Russia, affected the entire people, even led to persecution of the Church, and undermined the very foundations of the Christian family. Divorce and extramarital affairs have become commonplace. And if today we believe in the revival of our Fatherland, it is only because at the very time when the heroes of the film “Sunstroke” lived, other Russian people lived, ascetics of piety, whose lives have come down to us in the lives of the new martyrs. It is impossible not to talk about them, otherwise the picture of our past drawn by the authors is completely hopeless, but this is not so. Let us give an example of confessor Chionia of Arkhangelsk. She was born in 1883, which means that in 1907 she was about the same age as the main character of the film. Having become the wife of a priest, she gave birth to her first child in 1901, and her eighteenth in 1923. Life was difficult. Nine children survived. When her husband was arrested in 1937, she voluntarily followed him to prison: “Please take me, maybe I’ll see Father Tikhon there!” From prison, Khionia Ivanovna did not stop instructing her children: “My dears, take at least a small thing from my poor property as a keepsake of me. Dear Volodya asked for a card, give him... and my mug with the birds, it’s in Vera’s apartment, - Volodya. Lena - a sewing machine and a teaspoon. Irusha, if you haven’t received the money according to the receipt, then Lena has daddy’s money, not much, then spend it together, and don’t be stingy about your father and me, burn a lamp to the Lord and pray that the Lord will strengthen me and you in His holy faith. Don't judge me, but please forgive and pray. I feel very sorry for my dear Misha and Volodya, but if they get married at such a difficult time, then I regret it even more; but if they can’t help but marry, then choose a wife with God’s blessing, and don’t get together like a dog, you can get a blessing - you know how» .

Letter from Khionia Ivanovna from prison

Of course, confessor Chionia, by the concept “don’t get together like a dog,” meant the cohabitation of a man and a woman without a wedding. Unfortunately, such a marriage was not uncommon at that time and was called a civil marriage. But still, even in such a “marriage” people rely on some kind of moral obligations to each other, to loved ones, relatives and acquaintances. In the case of the film's heroes, the romantic adventure takes place exactly like a dog: lovers give in to lustful passion without even knowing each other's names. At the same time, the main character of the film considers this canine passion a matter of life or death. And at the end of the novel we see how the officer first rushes to the pier, then to the telegraph, but there he realizes that it is impossible to give a telegram without knowing either the name or address of the person. And when later, from the height of the hill, he sees a steamer leaving with a stranger, he unexpectedly sighs with relief and joy. New adventures are ahead! What happiness! Both heroes have parted forever, but rush towards new romances, perhaps not quite like a dog, but steadily contributing to the collapse of the Russian Christian family, this previously unshakable foundation of statehood. Here's some caramel for you! Is it not in this substitution of life values ​​that the answer to the question “How did this all happen?!”

After our hero stayed in an unfamiliar city and calmed down a little, he needs to restore his lost pectoral cross. Altar boy Yegory helps him with this. The authors of the film manage to create a surprisingly complete image of a person from a teenager to an adult who, since childhood, has been looking for the meaning of life and finds it in the revolution.

The special mood of Yegory’s inner world becomes clear when he explains to the officer that sitting on the pier all summer is a very interesting activity: “I look at the ships, all different people, all different. There’s nothing to do in winter - I’ll remember the ships!”

But Yegoriy is at a crossroads, being not just a church person, but an altar server, he thought about the truth of his Faith. A teacher from St. Petersburg settled in the town, who does not believe in God, but believes in the origin of man from apes based on the teachings of Charles Darwin. Our hero has not heard anything about Darwin, as he had previously heard about Karl Marx. The boy, as the eldest in age, and also an officer, tries to clarify the doubts sown in him by his atheist teacher, asks a question about Darwin’s book “The Origin of Species...” and asks the officer: “What does this mean? - Are you also from a monkey!? - And I, too, from a monkey!?..” The officer cannot give the guy anything and playfully brushes off his questions. Moreover, he crosses a certain line in communicating with a teenager, joking that their priest is definitely from a monkey, since he wants 10 rubles for the consecration of a cross.

Yegory continues: “Is it possible that both my mother and father and the Tsar himself are descended from a monkey? King from the monkey, Lord, have mercy! “If the king is from a monkey, empress, and their children and all the great princes, and our ruler, what happens?” The officer is not listening, from the windows of one of the houses the same aria (“return my tenderness”), the performance of which by a stranger completely deprived him of his head last night, pours out. Yegory continues: “So this means it’s true that man is from the monkey, and not from God, why then go to Church if there is no God at all?”

The officer decides to get some sleep before the arrival of the new ship, gives Yegory a watch (the same one from the magician) and asks him to wake him up at such and such a time, before that he feeds him lunch and gives Yegory the notorious caramel. Yegory wakes up the officer, accompanies him to the carriage, waves his hand, says goodbye, and suddenly, putting his hand in his pocket, he discovers that he forgot to give his watch. And he runs first after the stroller, then after the steamer along the shore and shouts continuously: “Clock! Mister Lieutenant, you forgot your watch!” But the officer doesn't hear.

All the scenes in the town are not made flat, but three-dimensional, perhaps with documentary accuracy. The viewer is struck by the driver’s address to the Russian officer, “Your Honor,” while he was about to engage in a completely ignoble task: cuckolding the husband of the family, whose photograph he saw (though, this husband is not at all sorry for, since in the photograph the viewer recognizes Mikhalkov himself , who, unfortunately, played many negative roles with which the stranger’s husband is involuntarily associated). “Run to your service,” the officer says to Yegor when he goes to serve at the altar. This emphasizes that from all faith the officer only had the habit of wearing a pectoral cross. The meaning of the scene from the photographer does not escape the viewer: a certain womanizer takes a photo of himself in tight hussar “leggings” as a gift to the bride for her name day, in order to emphasize all his masculine advantages. The officer spares 10 rubles for the consecration of the cross, but easily pays the same 10 rubles for his photograph with Yegor with the condition that it be displayed in the window (obviously in the hope of restoring communication with the stranger). The palette of background events is completed by a scene of a maid from a hotel who receives a forgotten witch's shawl.

The maid puts it on in a “noble” manner and goes for a walk around the city. This scene symbolizes the influence of the lifestyle of the upper classes on the lower ones: the baton of female frivolity has been passed on, the viewer can guess that this shawl will not lead the maid to anything good.

Before continuing further, we remind the reader that we are retelling the memories of the main character of the film, who is in a concentration camp for white officers who lost the Civil War, and whose fate is uncertain. These memories emerge in his memory as a painful question asked by the main character to himself: “How did this all happen?” Our memory, during hours of dangerous trials or after a long time, usually retains only what was actually important to us. Folk legend is based on this property of memory, with the help of which the self-reproduction of the people occurs in future generations. Since our hero has no other memories, the viewer has the right to conclude that it was love adventures that were the main content of the officer’s life in the pre-revolutionary period.

Denouement

Life in the camp is shown in the same volume as in the town. But since this is where the greatest place for the author’s fiction is, we will not dwell on its description. Let's say one thing: the authors of the film completely managed to convey the carefree inadequacy of about 800 officers who believed that the Bolsheviks would let them go. We will believe it too. All procedures for deceiving prisoners of war have been completed. Everyone signed promises not to fight anymore with Soviet power. The arrival of Zemlyachka, the head of the army's political department, accelerated events. The command was given to load onto the barge and depart to Ochakov. Everyone is happy. Voices are heard that, they say, we’ll chat for about eight hours, and freedom. The officers sing “Lord, save Thy people... granting victory to Orthodox Christians against resistance...”. My countrywoman likes it. Symbolically, she knows that people go to their deaths out of ignorance. The Junker photographer gives out addresses in French where you can get a group photo. A small curiosity - some officers, obviously from the Cossacks, do not know French. Commissioner Georgy Sergeevich detains the cadet and gives him something. The command “give up the mooring lines” sounds. Red sailors are battening down the hatches outside. The sea captain calms everyone down: don’t let the water flood. Lieutenant Koka, who last night strangled the colonel who betrayed the captain, began handing out collectible cigarettes. Maybe he was the only one who guessed how it would all end. Suddenly the cadet finds the main character of the film and gives him a package from Georgy Sergeevich. Unfolds: a watch, the same watch from the magician and, moreover, wrapped in the first page of Darwin’s book “The Origin of Species...”. The officer remembers everything, shouts out the porthole: “Egory, I’m sorry, I didn’t recognize you.” Yegory looks through binoculars and says goodbye. The barge is already filling with water and is sinking, noisily releasing air. Yegory raises his hand in a movement reminiscent of the sign of the cross, but when the hand reaches the top point, the red commander Georgy Sergeevich wins, the fingers never touch his forehead, the hand continues to move to the visor of his cap to straighten it.

The viewer can only guess about the feelings of Georgy Sergeevich: the reflection in his eyes, similar to tears, and the attempt at the sign of the cross and the transfer of the clock in the page of Darwin’s book, give some reason to think that Yegor the altar boy will win in it. But these are just guesses. But another thing is certain: next to Yegor in his youth there was simply no Russian believer who could dispel his doubts about the truth of the Faith. The officer he met in 1907, with his lack of faith and lack of education, and his behavior, pushed the teenager to the feeling that the St. Petersburg atheist teacher was right. Further life showed that since there is no God, then not only there is no need to go to Church, but there is no Eternal Life, there is no punishment from God. A man descended from a monkey does not inherit Eternal Life, but turns to dust and disappears after his death. This means that everything is possible and permitted. The strongest wins. Woe to the vanquished! You can drown them. After a short period of suffering, they will simply cease to exist, as if they had never lived. Most likely, this is exactly what Georgy Sergeevich reasoned, in the past Yegor, who became a red commander, the head of a special detachment, and wrapped the watch in a page of Darwin’s book to simply remind the former lieutenant who the parcel was from, and that he turned out to be right: there is no God, since they won atheists who believe in their descent from a monkey, whom you, Mr. Lieutenant, as a representative of the upper classes, constantly deceived, promising a heavenly life in heaven, but we want - here and now!

The whole picture leaves no doubt in the viewer’s mind that the answer to the protagonist’s question “How did this all happen?” is located in his de-Christianized, denationalized and Europeanized pre-revolutionary life. This disease of Russian life, introduced by Peter I, N.Ya. Danilevsky called it “Europeanism.” Overcoming this disease is a necessary and sufficient condition for the Revival of Russia.

Drama of the White Movement. Ilyin and Solonevich.

Nikita Mikhalkov and co-screenwriters Vladimir Moiseenko and Alexander Adabashyan managed to convey the historical truth: all subsequent decades of emigration showed that the White Movement never rose to the proper height of historiosophical understanding of the Russian tragedy of which they were participants. The defeat of the upper classes in the revolution and civil war remained in their perception rather as a historical curiosity, an operation that was accidentally lost, etc. This is eloquently evidenced by the works of I.A. Ilyin, who remained the most faithful singer of the White Guard until his death in 1954 and involuntarily showed that there were no actually Russian ideas adequate to the aspirations of the people’s principles in this movement.

I.A. Ilyin

Paying tribute to some prophetic forecasts of I.A. Ilyin regarding the future structure of post-communist Russia, we note that the logical constructions of I.A. Ilyin in the collection “Our Tasks” do not go beyond the lamentations of the heroes of the film “Sunstroke”: in order for Russia to live well and happily, it is necessary to punish by force all those responsible - the Bolsheviks. At the same time, Ilyin proceeds from the immutable conviction that this will be done by the West, led by the United States (whose political system of states should supposedly include historical Russia) in the upcoming war with the USSR, which for some reason he perceives as a war against communism, and not against historical Russia ; understands that the United States has an undeniable advantage in nuclear weapons (in the post-war period), which they have already used in Japan, and at the same time calls on the West in the upcoming war to be merciful to the Russian people (that is, to that part of them that will remain alive after the atomic bombings ) and not hold him responsible for the actions of the communists. Russian emigration represented by I.A. Ilyina, even after 1945, did not understand that the main reason for the collapse of Russian statehood in 1917-1920 was precisely this perception of Russia as an integral part of Western civilization, and a complete failure to perceive it as a distinctive country with its own special interests. What does this amazing blindness mean after the already accomplished facts of the forced extradition by the British of the Cossacks in Lienz and Judenburg to the Soviet Union in the early summer of 1945!? The USA and Great Britain gladly fulfilled their Yalta obligations and handed over to certain death tens of thousands of people (about 50 thousand) with women, children and the elderly as a foreign and dangerous national and political force - this alone explains the cruelty of the extradition operation: more than a thousand died people, half at the hands of English soldiers, half committed suicide by throwing themselves into the river (mostly women and children). I.A. Ilyin might not have known the fate of the atamans Krasnov and Shkuro and others executed in the Lefortovo prison on January 16, 1947, but could he not have known about the shameful events of the summer of 1945, which showed the Russian people all the hatred of the West towards the Russians!? After all, these events took place in the so-called “free world”, which I.A. valued so much. Ilyin.

Other examples can be given that prove the historical reliability of the assessment of the reasons (or rather, the complete absence of this assessment), as a result of which the heroes of the film ended up at the “checkpoint” of the Red Army in Sevastopol. But this is a topic for a separate study; it is enough to refer to the most venerable authority of the White Movement, Ivan Aleksandrovich Ilyin, which was done above, and contrast him with the opinion of Ivan Lukyanovich Solonevich: “The communist revolution in Russia is the logical result of the isolation of the intelligentsia from the people, the inability of the intelligentsia to find a common language and common interests with them, the reluctance of the intelligentsia to consider itself as a layer subordinate to the main lines of development of Russian history, and not as a cooperative of inventors vying with each other to offer the Russian people patents stolen from non-Russian philosophy for the complete reconstruction and re-education of a thousand-year-old statehood".

I.L. Solonevich

The roots of this isolation of I.L. Solonevich sees, just like N.Ya. Danilevsky in the Petrine-European cultural revolution, as a result of which two were formed in the Russian people: the Russian common people and the European upper classes, indistinguishable from foreigners in their entire way of life (clothing, language, manners, way of life...). “Every kingdom divided against itself is desolate; and every city or house divided against itself will not stand...”. The White Guard emigration never realized this main reason for the defeat even after decades of emigration, what can we say then about the heroes of the film “Sunstroke”!?

“How did it all happen” today in Ukraine?

And how can we, living citizens of Russia, answer this same question regarding the events taking place today in Ukraine? “How did it all happen” that the Russian people found themselves divided, living in different states, which gives the opportunity to the countries of Western civilization, already led by the United States, to begin a new stage of the notorious “Campaign to the East”? We have given a comprehensive answer to this question in a series of articles on the “Citizen Creator” website. Those who wish can read these materials in the "Editor's Column" and refute our point of view or join it. The stated topic of this article does not allow us to give further more extensive explanations other than those already given above. But one thing is worth stopping at.

As mentioned above, in the pre-revolutionary time of the life of the main character of the film, there was another Russia, which he did not know at all. This is the Russia of those ascetics of piety to whom in the future the Lord bestowed crowns of martyrdom, and who today are glorified as martyrs and confessors of the Russian Orthodox Church of the twentieth century. The future of Russia was no secret to them; they saw that our statehood of that historical period was heading towards collapse. They saw this, first of all, by the decline in the level of morality in society.

Hieroconfessor Nikolai (Lebedev) wrote in 1910: “When you cast your mind’s eye over the entire Russian land, when a terrible picture of those disorders, those ulcers that are corroding modern Russian life, modern Russian society appears before your eyes, you feel something terribly in your soul; terrible fear, fear for the future of Russia, for the future of the Russian people, involuntarily creeps into the heart of every Russian person who loves his homeland and is devoted to it. Those foundations, those foundations on which Orthodox Rus' has rested from time immemorial, are beginning to be shaken; those ideals, those beliefs, those holy covenants by which the Orthodox Russian people lived, by which their strength and power, the power of the Russian state were built, are trampled and desecrated. The Orthodox Russian people lost faith in God, forgot their Christ, forgot His holy covenants, abandoned the path of God's Truth and went along the crossroads of this century... After all, it is no secret to anyone that modern Russian society for the most part has become completely indifferent to the issues faith and religion and to the Church of Christ itself, as the custodian of this faith…. Modern Russian society has new concepts about honor, duty, property, about man and his purpose on earth. Theft and robbery replaced the former sacred right of property; Freedom as self-will, as complete unbridled passions, freedom from all laws of God and man, has found wide scope in Russian life. It is noticeable how the family hearth is gradually being destroyed, and the shrine of family life is losing its former charm, its former charm, and its place has been taken by refined and crude open debauchery. The desire for sensual pleasures, the passion for profit, for money gradually drowned out other, higher, spiritual interests and conquered everything. A person's personality is devalued. Murder for the purpose of robbery, for revenge, out of malice; suicide of all kinds - based on dissatisfaction with fate, disappointment in life, on the basis of need and severe deprivation - have become an ordinary phenomenon of modern Russian life and have ceased to worry Russian society and freeze the soul of the reader. Christian love for each other, mutual trust, justice and honesty, mercy for a weak brother and compassion have dried up, and they have been replaced by callous selfishness, the desire for only oneself to feel good, envy, greed, enmity, hatred and malice... And in Russian a beast began to awaken in man... The Orthodox Russian people remained Orthodox only in name, but in their lives they became pagans, and even worse than them» .

It is difficult not to see in the words of the clergyman Nikolai (Lebedev) the answer to the question “How did this all happen?” 10 years before the tragic events shown in the film “Sunstroke”. In the person of the main character, a stranger, Tatyana Darmidontovna, a ladies' man in tights, doesn't the viewer see the destruction of the family hearth; Isn’t it possible that in the brutal murder of officers, in the strangulation of the colonel, in the captain’s desire to show off for the last time by killing all the guards, there is an awakened beast at work in the Russian man, who has ceased to be Orthodox? If the reader takes the trouble to read the entire article of the priestly confessor Nicholas, he himself will find many similar pictures.

Hieroconfessor Andronik (Nikolsky), Archbishop of Perm, in 1916 prophesies, in fact, about the future fall of the Monarchy and the transition of the state to anti-Christian positions: “Wait, all hasty reformers of the Holy Church: regardless of our desire, there will also be a separation of Church and state, and after that the inevitable persecution of the Church not only from the irreligious, but also from the anti-Christian state... Whether we want it or not, but such a time is approaching us...» .

The moral state of society can be judged by the typical example of the struggle of the holy martyr Hermogenes, who in 1909, as Bishop of Saratov, tried to ban the plays “Anatema” and “Anfisa” by Leonid Andreev due to their anti-Christian content. But he didn’t succeed, since the plays were allowed by state censorship. The state refused to protect the moral foundations of people's life, which have their source in Orthodoxy.

The lives of the new martyrs and confessors of the Russian Orthodox Church, and especially their spiritual heritage, clearly indicate that they saw the tragic future of Russia and also saw the reasons for it. The upper classes, who moved away from faith and those who indulged in material pleasures, of course, could not see their future. They could not see that their way of life would end for some, at best, with work as taxi drivers in their beloved Paris, for others with death in the civil war, for others even with service in the Red Army “for the benefit of the working people.”

The film “Sunstroke” poses the question and answers how the tragedy of the revolution and civil war of 1918-1920 happened, and at the same time poses a similar question to us, demanding to determine our attitude to the events in Donbass and throughout Ukraine. What is this? Events in a country that is foreign to us do not concern us at all? Or are these events in the territory of residence of the artificially divided Russian people, and they completely concern us, and can affect us with the same horrors that the residents of Odessa experienced in May 2014 and the residents of Donbass are experiencing today?

What can you say about the reaction of Russian society? Let’s leave aside the humanitarian and other assistance that we provide to Donbass - it is negligible and allows people to barely survive. Today one thing is clear: if the events in Ukraine were perceived by society in Russia itself as a direct danger to national security emanating from “our Western partners,” then the assistance would be of a completely different quality and quantity, and the mood of society would be completely different. The best reflection of this mood is our television, which has not changed its broadcast schedule at all, with the exception of news.

Instead of focusing on everything Russian traditional, there are entertainment shows staged in the Western spirit in the “channel format”. A typical example is the activities of Channel One. On March 8, when the leaders of the “anti-Maidan” were already disappearing in Donetsk and Kharkov, and the events in Crimea threatened to develop into a massacre, Channel One showed the show “The Voice” with the participation of Bilan and Pelageya, the essence of which consists exclusively in the spiritual corruption of young singers.

Boy Ilya, 10 years old, sings Tom Jones’ song “Kiss” (“You don’t have to be rich to be my girl”) (translation of the first verse: “You don’t have to be beautiful, - To turn me on, - I need yours body, baby - From dusk to dawn, - You don't have to be experienced, - To turn me on, - Leave the rest to me, - And I'll show you what it's all about.") and moves in the manner of an adult who has already learned that such carnal pleasures. Pelageya goes berserk from the only happiness she understands: she neighs like a mare in heat, waves her arms, kicks her legs.

This show on Women's Day on March 8 is a coven of witches celebrating the victory of Western carnal culture over ours. Why drag children into this spiritual corruption? The answer is simple: everything that can be corrupted in the adult world has already been corrupted, the turn has come to sacrifice babies. Crazy mothers stand in line at this demonic altar and place their children on it themselves.
Time will pass, grown-up children will begin to have an early sexual life (even better, if with the opposite sex), will not create normal families, but will change husbands and wives depending not only on their preferences, but also on the needs of show life, which requires them to constantly love scandals, etc. and so on. This is what the face of our Russia looks like on TV today. The show “The Voice” successfully completed its 2014 season and today Channel One launched a new show: “Main Stage”.

Think about it, dear reader, what kind of evolution the moral state of our society has undergone: from the aria in French in “Sunstroke” performed by adults (“pour it so that I drink until I’m drunk, respond to my tenderness, pour me some wine...”) to a song in English performed by the boy Ilya, a little younger in age than Yegory the altar boy (“I need your body, baby”). The fall is catastrophic! Let's think: if the punishment for the way of life that our great-grandfathers and great-great-grandfathers lived was the horrors of the First World War and the Civil War, then what awaits us, now living, as a punishment for child molestation, which today, unfortunately, can be observed not only in our television programs? Will we really be able to sober up only when we hide in basements from shelling and bombing? When will the black earth regions from Krasnodar to Rostov, Kursk, Belgorod and Bryansk become battle fronts with neo-Nazis armed with American modern “lethal” weapons? Where will the “cultural figures” flee from show programs? The non-Black Earth region around Moscow will not be able to feed tens of millions of residents of the “financial center” of the country, who will “suddenly” lose their money, since there is simply no rural population in adequate numbers around the capital, and the Black Earth Region will be ruined? If this continues, then the generation of “boy Ilya” will not live to see the time when they can think about their lives and begin to correct it.

Hieromartyr Andronik, when the First World War began, protested against idle life in the rear: “Let us cast aside the gaiety and frivolity of our usual bustle of life and perk up in spirit before the unfolding great events of our lives along the paths of Divine Providence. Let the places of amusement, entertainment and all kinds of corruption be empty. It's not time for them. Let there be no feast during the plague! Let there be no shameless dancing on one side of the Fatherland, when at the end of it and beyond its borders our dear brothers will shed blood for us! In the name of their bloody feat, let everyone be strict with themselves. Let everyone holyly observe fasting, prayer, good deeds, abstinence before God...» Everything will work out for us if we realize that there, in the Donbass, our brothers are shedding blood for us, stopping at these borders the same “Campaign to the East” from the side of the united West, which our fathers and grandfathers stopped in the winter of 1941 near Moscow . And that is precisely why our peaceful life ended! And what about the question “How did this all happen?” and “how can this all end?” It’s wiser to ask now, while we live in the rear, deep, but still in the rear - regardless of whether we realize it or not!

Notes

N.Ya. Danilevsky “Russia and Europe, a look at the cultural and political relations of the Slavic world to the Germanic-Roman.” St. Petersburg, 1995, p. 42
This is evidenced by the views of I.A. given at the end of the article. Ilyin, as well as the modern history of Russia itself from the beginning of reforms from the mid-1980s to the present. The “Iron Curtain” was lifted, and we saw the descendants of the White emigration, in absolutely insignificant numbers, speaking Russian with the accent of a person of the Western world and not showing a hint of a desire to return to their long-suffering homeland.
The entire life of the confessor Khionia, her husband Hieromartyr Tikhon, as well as the most complete set of lives of the new martyrs and confessors of the Russian Church (about 1000 lives) are found in the books of the church historian, author-researcher Abbot Damascene: “Lives of the New Martyrs and Confessors of the Russian 20th Century”, “Martyrs” , confessors and devotees of piety of the Russian Orthodox Church of the twentieth century. Biographies and materials for them”, “Lives of the new martyrs and confessors of the Russian twentieth century of the Moscow diocese”. These materials are available on the Internet at www.fond.ru.
The authors of the film in 2014 managed, apparently for the first time in cinema, to subtly notice and show through the image of Yegory the influence that Darwin’s unproven hypothesis had on the worldview of several generations of people. Confirming the genius of the Russian scientist N.Ya. Danilevsky are the prophetic words he wrote 130 years ago: “From what has been said, it is clear that the question of whether Darwin is right or wrong is of paramount importance, not only for zoologists and botanists, but for every even more or less thinking person. Its importance is such that I am firmly convinced that there is no other question that would equal it in importance, neither in the field of our knowledge nor in any field of practical life. After all, this is, in fact, a question of “to be or not to be,” in the fullest, broadest sense.” Danilevsky N.Ya. Darwinism. Critical research. T. I. Part 1, St. Petersburg. 1885, p. 18-19.
I.A. Solonevich. People's monarchy. Moscow, 2010, p. 24
Gospel of Matthew, 12:25
www.gr-sozidatel.ru
Magazine "Towards the Light". 1910. No. 1. pp. 1-5. Quote by: Hegumen Damascene (Orlovsky). “Martyrs, confessors and devotees of piety of the Russian Orthodox Church of the twentieth century. Biographies and materials for them. Book 5." Tver. 2001. pp. 189-190.
Hieromartyr Andronik (Nikolsky), Archbishop of Perm. Creations. Book I. Articles and notes. Article “Our church life, as it is.” Tver. 2004. pp. 502-503.
Hegumen Damascene (Orlovsky). “The Lives of the New Martyrs and Confessors of Russia in the 20th Century. June". Hieromartyr Hermogenes (Dolganev) and those who suffered with him. Tver. 2008. pp. 259-261
Until the summer of 1918, according to various sources, from one to eight thousand officers of the Tsarist Army voluntarily entered service in the Red Army,” and after the announcement of mobilization more than 30 thousand officers, in total until 1921 - more than 50 thousand people. The role of the tsarist officers in the construction of the regular Red Army was kept silent for many years. Denikin bitterly acknowledges this fact in his memoirs.
Hegumen Damascene (Orlovsky). “The Lives of the New Martyrs and Confessors of Russia in the 20th Century. June". Hieromartyr Andronik (Nikolsky). Tver. 2008. P. 117.

/ The author’s opinion may not coincide with the editorial position /

Characteristics of the hero

A passenger on a ship who accidentally met a beautiful woman during the trip. An unexpected passion flares up between the heroes, and they decide to go ashore in one port to spend the night together in a hotel. At first, the hero does not take this road adventure seriously. In the morning, he tries to persuade the stranger to continue the journey together, but she does not agree. He accepts her refusal easily and sees her off to the ship, feeling cheerful and free. But when P. arrives at the hotel, he feels acute pain because this woman is not around. Everything in the room reminds of her, everywhere are traces of her recent presence. “The room without her seemed somehow completely different than it was with her. It was still full of her - and empty. It was strange! There was still the smell of her good English cologne, her unfinished cup was still standing on the tray, but she was no longer there... And the lieutenant’s heart suddenly sank with such tenderness that the lieutenant hurried to light a cigarette and walked back and forth around the room several times.” With every minute P. realized more and more that he unexpectedly loved this woman, he needed her, he could not imagine his future life without her. He even realized that, without hesitation, he would die the next day if he could spend this one with her, again feeling her charm. P. ran away from the hotel in the hope of forgetting. He goes to the post office, deciding to send this woman a telegram and say that further life without her makes no sense. But he doesn't know her name. The woman wished to remain just a beautiful stranger. The hero realizes with horror that he will never see her again. He lost the meaning of his future life. In the evening he went further by boat. “The lieutenant sat under a canopy on the deck, feeling ten years older.”

One of the key characters of the work is the beautiful Stranger, without name, age, address, whom the main character meets on the deck of the ship.

The writer presents the heroine in the form of a small, gentle woman returning from Anapa home to her family, husband and three-year-old daughter, perhaps after treatment or rest.

While traveling on a sea liner, a woman meets a young lieutenant, a bright and charming man, for whom meeting the Stranger becomes fatal. A passionate and uncontrollable feeling suddenly flares up between the young people, like a sunstroke, leading to a unique voluptuous night of love.

The next morning, the lovers part, and the Stranger leaves on a ship to go home to her own family, realizing that everything that happened was just a clouding of the mind, a momentary weakness. The writer suggests that the reasons that prompted a woman to rush into the arms of the first man she met may lie in the lack of male attention on the part of her husband and the lack of personal female happiness in family life. The stranger experiences embarrassment, bitterness and pain of parting with the man she likes, but, trusting her feminine intuition, she decides to immediately end the relationship that has not yet begun.

The lieutenant easily parts with the Stranger, but upon returning to the hotel room, he realizes that his heart is filled with touching tenderness and an emerging sincere feeling for this woman. The aroma of her perfume, the left cup of unfinished coffee, the unmade bed - everything reminds him of a unique night of love.

The feeling that gripped the man prevents him from living peacefully, reasoning and thinking sensibly, rushing to different places in the city and feeling a tormenting spiritual emptiness. The lieutenant heads to the post office with the desire to send a telegraph message to his beloved, but on the way he is overtaken by the thought that he does not know either the address or the name of the Stranger. The man realizes with despair that this meeting will never happen again in his life.

Returning to his rented hotel room, the lieutenant feels several decades older.

Narrating about a separate episode that took place in the life of the heroes of the story, the writer talks about the true meaning of love, which brings fleeting moments of happiness, and then makes a person suffer painfully, realizing the irretrievable loss of these voluptuous minutes.

Option 2

The main action in this story is the meeting of a man and a woman. When they meet, both of them develop fiery feelings for the other. A woman’s passion grows almost at lightning speed. The stranger did not deign to give her real name throughout the entire story. The one who met this mysterious woman was the lieutenant. He was also struck by her beauty and could no longer think about anything but her. This work is called “Sunstroke” for a reason. The name alone seems possible to describe the feelings that both people experienced. And the natural environment surrounding them - hot sun, pleasant breeze, sea and sand - only enhances the feelings of a couple in love.

Describing the girl’s appearance, the author highlights her rather short stature. In addition, she is attractive to the lieutenant also because she returns to the ship tanned and cheerful. She easily gets off the ship with a man unfamiliar to her. The woman has a particularly noticeable lightness, good-natured laughter, hugs from a stranger, and unbridled passion. On her part, only a passionate impulse stands out. She doesn’t have even a small particle of love, only a crazy whirlwind of passion.

She spends one night with a strange lieutenant, after which she safely and hastily leaves. From her, a man is left with only unforgettable sensations, but nothing more. It was a fleeting feeling of passion and nothing more. After this incident, the woman finally understands that it is time for her to return to her family. To my beloved husband and daughter. At this point, everything becomes business as usual for both of them again. It was as if nothing had happened in that short period of time.

From this we can highlight the following. The author shows fleeting weakness in this work. That is, the tendency of adults to have an instant passionate whirlwind. A. Bunin reveals here one of the types of love relationships. They could not go further than passion, as various combinations of circumstances prevented this. You can’t even call it a relationship, because it’s a desire to get quick pleasure. The stranger never told the lieutenant what her real name was. This leaves the man in pain.

Essay about the Stranger

The main plot in the romantic work by I.A. Bunin's "Sunstroke" revolves around the meeting of a woman and a man. Their love made them hostages of feelings and fate. The romantic relationship between the lieutenant and the mysterious Stranger, who did not dare, and perhaps did not want to give her name, became passionate and exciting with lightning speed. The very title of the story, “Sunstroke,” speaks of this sudden feeling that overwhelmed young people and threw them into the abyss of emotions. According to the Stranger, she didn’t even understand how this happened to her.

Relaxing on the beach, where the vacationers are surrounded by clean sand, the rustle of the wind, and the waves crashing against the shore only intensified the already inflamed emotions.

The Mysterious Stranger appears before the reader in the form of a young and fragile girl, short in stature, but very attractive. Having rested and sunbathed enough, she returns back on the ship. Having met the lieutenant, the Stranger perfectly understands and feels with her whole body how attractive she is to a stranger.

Not at the call of the heart, but at the call of the flesh, she, without fear of anything, and perhaps out of curiosity, goes to the room with a stranger. There they fall into each other's arms. The next morning they will part ways. The girl did not give her name, perhaps because she did not expect the romance to continue. It seemed to her that this was just a passing hobby that would pass as quickly as it began. But in her heart she is very worried, since for the first time she betrayed her husband, succumbing to a fleeting passion.

Then everything goes as usual again, hot sun and hot sand, the man and woman are happy and each enjoying their vacation. But having gone back to his room, the lieutenant is overcome by terrible sadness and melancholy. A strange feeling arises in his soul, as if he had lost something very important and valuable to himself. Suddenly the thought of sending a letter to the Stranger arises in his head. But he suddenly remembers that he doesn’t know not only her address, but even her last name and first name.

The meaning of the plot of the work “sunstroke” is to show a person that love and passion can overtake at any moment, you cannot protect yourself from this. This ardent and passionate feeling covers from head to toe, no one can hide from it. A person’s life cannot be perfect; separation is painful for any person, especially if there is a strong feeling. The Mysterious Stranger greatly changed the lieutenant. Thanks to the woman, he was able to experience such a strange, but attractive and strong feeling - love. But in this story she did not bring peace to the human soul, but only irresistible sadness and melancholy.

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