Which is better, truth or compassion? What is more needed? Which is better, truth or compassion? Reflections on the pages of the play "At the Bottom" Gorky M.

Man is the truth!

You have to respect the person!

M. Gorky

It is unlikely that anyone will argue that Gorky is a humanist and great writer who went through a great school of life. His works were not written to please the reading public - they reflect the truth of life, attention and love for a person. And with full right this can be attributed to his play "At the Bottom", written in 1902. She still worries about the questions posed in it by the playwright.

Indeed, what is better - truth or compassion? If the question had been formulated a little differently - true or false, I would have answered unequivocally: true. But truth and compassion cannot be made mutually exclusive concepts, opposing one to the other; on the contrary, the whole play is pain for a person, this is the truth about a person. Another thing is that the bearer of the truth is Satin, a gambler, a cheater, himself far from the ideal of a person who he sincerely and with pathos proclaims: "Man! This is great! This sounds ... proud!" Luke is opposed to him - kind, compassionate and "crafty", deliberately evoking a "golden dream" for the suffering night-beds. And next to Luka and Satin there is another person who also argues about truth and compassion - M. Gorky himself. It is he who, it seems to me, is the bearer of the truth of compassion. This follows from the play itself, from the way it was enthusiastically received by the audience.

The play was read in a rooming house, the tramps cried, shouted: "We are worse!" They kissed and hugged Gorky. It sounds modern even now, when they began to tell the truth, but forgot what mercy and compassion are. So, the action takes place in the Kostylevs' rooming house, which is a "cave-like basement", under "heavy stone vaults", where prison twilight reigns. Here tramps eke out a miserable existence, having fallen "to the bottom of life", where they were ruthlessly thrown out by a criminal society.

Someone very accurately said: “At the bottom” is a stunning picture of a cemetery where people who are valuable in their inclinations are buried alive. "It is impossible to see the world of poverty and lawlessness painted by the playwright, the world of anger, disunity, the world of alienation and loneliness, hear screams, threats, ridicule. The heroes of the play have lost their past, they have no present, only Kleshch believes that he will break out of here: "I'll get out ... I'll tear off my skin, and I'll get out ..." There is a faint hope for another life with Natasha at the thief, thief's son "Vaska Ash, dreams of pure love the prostitute Nastya, however, her dreams cause malicious mockery among those around her. The rest resigned themselves, resigned themselves, do not think about the future, lost all hope and finally realized their uselessness.

And in fact, all the inhabitants are buried alive here. Pitiful and tragic Actor, drunk, forgetting his name; crushed by life, patiently suffering Anna, who is near death, is not needed by anyone (her husband is waiting for her death as liberation); smart Satin, a former telegraph operator, is cynical and embittered; insignificant is the Baron, who "does not expect anything", with him "everything is already in the past"; Bubnov is indifferent to himself and others. Ruthlessly and truthfully, Gorky draws his heroes, " former people", writes about them with pain and anger, sympathizes with them, who are at an impasse in life. The tick declares in despair:" There is no work ... there is no strength! Here is the truth! Shelter... there is no shelter! It is necessary to die ... here it is true! .. "It is to these people, seemingly indifferent to life and to themselves, that the wanderer Luke comes, addressing with a greeting: "Good health, honest people!" This is for them, rejected, renounced Gorky has an unequivocal attitude to the passportless Luka: "And all the philosophy, all the preaching of such people is alms given by them with hidden disgust, and under this sermon the words are also poor, plaintive." Is he so poor, and what drives him when he preaches his comforting lie, does he himself believe in what he calls for, is he a swindler, a charlatan, a swindler, or a person sincerely thirsting for good?

The play is read, and, at first glance, the appearance of Luka brought only harm, evil, misfortune, death to the rooming houses. He disappears, disappears imperceptibly, but the illusions that he planted in the devastated hearts of people make their life even more bleak and terrible, deprive them of hope, plunge their tormented souls into darkness. Let's once again see what drives Luka when, after carefully looking at the tramps, he finds words of consolation for everyone. He is sensitive, kind to those who need help, and gives them hope. Yes, with his appearance under the arches of a gloomy rooming house, hope settles, previously almost imperceptible against the background of scolding, coughing, growling, groans. And the hospital for drunkards at the Actor, and saving Siberia for the Ash thief, and real love for Nastya. "People are looking for everything, everyone wants - the best ... give them, Lord, patience!" - Luka says sincerely and adds: "Whoever seeks will find ... They only need help ..." No, it is not self-interest that drives Luka, he is not a swindler and he is not a charlatan. Even the cynical Bubnov, who does not trust anyone, understands this: "Here is Luka ... he lies a lot ... and without any benefit to himself ..." Pepel, unaccustomed to sympathy, inquires: "No, you tell me why you are doing all this. .." Natasha asks him: "Why are you so kind?" And Anna simply asks: "Talk to me, dear ... I'm sick." And it becomes clear that Luka is a kind person who sincerely wants to help, inspire hope.

But the whole trouble is that this kindness is built on lies, deceit. Sincerely wishing for good, he resorts to lies, believes that earthly life cannot be different, and therefore leads a person into a world of illusions, into a non-existent righteous land, believing that "it is not always true to cure the soul." And if you can not change life, then you can at least change a person's attitude to life. Interestingly, what is Gorky's attitude towards his hero in the play? Contemporaries recall that the writer was best able to read the role of Luke, and the scene at the bedside of the dying Anna brought tears to him, and delight to the audience. Both tears and delight are the result of the merging of the author and the hero in a fit of compassion. And was it not because Gorky argued so furiously with Luka that the old man was part of his soul?! But Gorky is not opposed to consolation in itself: "The main question I wanted to pose is what is better: truth or compassion? Is it necessary to bring compassion to the point of using a lie, like Luke?"

That is, truth and compassion are not mutually exclusive concepts. From the truth that Tick is aware of: “To live - the devil - you can’t live ... here it is - the truth! ..”, Luka leads away, saying: “She, really, maybe swell for you ... But is it really possible heal with a butt? The old man thinks: "... It is necessary to feel sorry for people! .. I will tell them - to feel sorry for a person in time ... it happens well!" And he tells how he regretted and saved the night robbers-robbers. Bubnov, on the other hand, opposes Luke's stubborn, bright faith in man, in the saving power of pity, compassion, kindness: "In my opinion, I will give the whole truth as it is! Why be ashamed?" For him, the truth is a cruel, murderous oppression of inhuman circumstances, and the truth of Luke is so unusually life-affirming that the downtrodden, humiliated roommates do not believe in it, taking it for a lie. But Luke wanted to inspire faith and hope in his listeners: "What you believe is what you are..."

Luke brings to people the true, saving, human faith, the meaning of which he caught and clothed in famous words Satin: "Man - that's the truth!" Luka thinks that words, pity, compassion, mercy, attention to a person can raise his soul, so that the very last thief understands: "You need to live better! You need to live like this ... so that you can ... respect yourself ..." Thus, for Luke there is no question: "Which is better - truth or compassion?" For him, what is human is true. Then why is the ending of the play so hopelessly tragic? Although we hear that they are talking about Luke, he inspired Satin to a fiery speech about a beautiful and proud man, but the same Satin indifferently throws the Actor at his request to pray for him: "Pray yourself ..." And to him, who is leaving forever, after his passionate monologue about a man shouts: "Hey, you, Sicambre! Where to?". His reaction to the death of the Actor seems terrible: "Eh ... ruined the song ... fool-cancer!" It's scary that an inhuman society kills and maims human souls.

But the main thing in the play, in my opinion, is that Gorky made his contemporaries even more acutely feel the injustice social order, which destroys people, destroys them, made me think about a person, his freedom. And what moral lessons did we extract? One must live without reconciling with untruth, injustice, lies, but not to destroy the person in oneself with his kindness, compassion and mercy. We often need comfort, but without the right to speak the truth, a person cannot be free. "Man - that's the truth!" And he has to choose. A person always needs real hope, not a comforting lie, even if it is for salvation.

Man is the truth! You have to respect the person!
M. Gorky
It is unlikely that anyone will argue that Gorky is a humanist and a great writer who has gone through a great school of life. His works were not written to please the reading public - they reflect the truth of life, attention and love for a person. And with full right this can be attributed to his play "At the Bottom", written in 1902. She still worries about the questions posed in it by the playwright. Indeed, what is better - truth or compassion?
If the question had been formulated a little differently - true or false, I would have answered unequivocally: true. But truth and compassion cannot be made mutually exclusive concepts, opposing one to the other; on the contrary, the whole play is pain for a person, this is the truth about a person. Another thing is that the bearer of the truth is Satin, a gambler, a cheater, himself far from the ideal of a person who he sincerely and with pathos proclaims: "Man! This is great! This sounds ... proud!"
Luke is opposed to him - kind, compassionate and "crafty", deliberately evoking a "golden dream" for the suffering night-beds. And next to Luka and Satin there is another person who also argues about truth and compassion - M. Gorky himself.
It is he who, it seems to me, is the bearer of truth and compassion. This follows from the play itself, from the way it was enthusiastically received by the audience. The play was read in a rooming house, the tramps cried, shouted: "We are worse!" They kissed and hugged Gorky. It sounds modern even now, when they began to tell the truth, but forgot what mercy and compassion are.
So, the action takes place in the Kostylevs' rooming house, which is a "cave-like basement", under "heavy stone vaults", where prison twilight reigns. Here tramps eke out a miserable existence, having fallen "to the bottom of life", where they were ruthlessly thrown out by a criminal society.
Someone very accurately said: “At the bottom” is a stunning picture of a cemetery where people who are valuable in their inclinations are buried alive. "It is impossible to see the world of poverty and lawlessness painted by the playwright, the world of anger, disunity, the world of alienation and loneliness, hear screams, threats, ridicule. The heroes of the play have lost their past, they have no present, only Kleshch believes that he will break out of here: "I'll get out ... I'll tear off my skin, and I'll get out ..." There is a faint hope for another life with Natasha at the thief, the thief's son "Vaska Ash, the prostitute Nastya dreams of pure love, however, her dreams cause malicious ridicule from those around her. The rest resigned, resigned, do not think about the future, lost all hope and finally realized their uselessness. But in fact, all the inhabitants are buried here alive.
Pitiful and tragic Actor, drunk, forgetting his name; crushed by life, patiently suffering Anna, who is near death, is not needed by anyone (her husband is waiting for her death as liberation); smart Satin, a former telegraph operator, is cynical and embittered; insignificant is the Baron, who "does not expect anything", with him "everything is already in the past"; Bubnov is indifferent to himself and others. Ruthlessly and truthfully, Gorky draws his heroes, "former people", writes about them with pain and anger, sympathizes with them, who have fallen into a dead end in life. The tick declares in despair: "There is no work ... there is no strength! That's the truth! Shelter ... there is no refuge! You need to die ... that's the truth! .."
It is to these people, seemingly indifferent to life and to themselves, that the wanderer Luke comes, addressing with a greeting: "Good health, honest people!" This is for them, rejected, renounced all human morality!
Gorky has an unequivocal attitude towards Luka without a passport: "And all the philosophy, all the preaching of such people is alms given by them with hidden disgust, and under this sermon the words are also poor, plaintive."
And yet I want to understand it. Is he so poor, and what drives him when he preaches his comforting lie, does he himself believe in what he calls for, is he a swindler, a charlatan, a swindler, or a sincerely thirsty person?
The play is read, and, at first glance, the appearance of Luka brought only harm, evil, misfortune, death to the rooming houses. He disappears, disappears imperceptibly, but the illusions that he planted in the devastated hearts of people make their life even more bleak and terrible, deprive them of hope, plunge their tormented souls into darkness.
Let's look again at what drives Luka when, after carefully looking at the tramps, he finds words of comfort for everyone. He is sensitive, kind to those who need help, and gives them hope. Yes, with his appearance under the arches of a gloomy rooming house, hope settles, previously almost imperceptible against the background of scolding, coughing, growling, groans. And the Actor's hospital for drunkards, and saving Siberia for the Ash thief, and true love for Nastya. "People are looking for everything, everyone wants - the best ... give them, Lord, patience!" - Luka says sincerely and adds: "Whoever seeks will find ... They only need help ..."
No, it is not self-interest that drives Luka, he is not a swindler and he is not a charlatan. Even the cynical Bubnov, who does not trust anyone, understands this: "Here is Luka ... he lies a lot ... and without any benefit to himself ..." Pepel, unaccustomed to sympathy, inquires: "No, you tell me why you are doing all this. .." Natasha asks him: "Why are you so kind?" And Anna simply asks: "Talk to me, dear ... I'm sick."
And it becomes clear that Luka is a kind person who sincerely wants to help, inspire hope. But the whole trouble is that this kindness is built on lies, deceit. Sincerely wishing for good, he resorts to lies, believes that earthly life cannot be different, and therefore leads a person into a world of illusions, into a non-existent righteous land, believing that "it is not always true to cure the soul." And if you can not change life, then you can at least change a person's attitude to life.
Interestingly, what is Gorky's attitude towards his hero in the play? Contemporaries recall that the writer was best able to read the role of Luke, and the scene at the bedside of the dying Anna caused him tears, and delight from the audience. Both tears and delight are the result of the merging of the author and the hero in a fit of compassion. And isn't that why. Gorky argued so furiously with Luka that the old man was part of his soul?!
But Gorky is not opposed to consolation in itself: "The main question I wanted to pose is what is better: truth or compassion? Is it necessary to bring compassion to the point of using a lie, like Luke?" That is, truth and compassion are not mutually exclusive concepts.
From the truth that Tick is aware of: “To live - the devil - you can’t live ... here it is - the truth! ..”, Luka leads away, saying: “She, really, maybe swell for you ... But is it really possible heal with a butt? The old man thinks: "... It is necessary to feel sorry for people! .. I will tell them - to feel sorry for a person in time ... it happens well!" And he tells how he regretted and saved the night robbers-robbers. Bubnov, on the other hand, opposes Luke's stubborn, bright faith in man, in the saving power of pity, compassion, kindness: "In my opinion, I will give the whole truth as it is! Why be ashamed?" For him, the truth is a cruel, murderous oppression of inhuman circumstances, and the truth of Luke is so unusually life-affirming that the downtrodden, humiliated roommates do not believe in it, taking it for a lie. But Luke wanted to inspire faith and hope in his listeners: "What you believe is what you are..."
Luke brings people true, saving, human faith, the meaning of which was caught and clothed in the famous words of Satin: "Man - that's the truth!" Luka thinks that words, pity, compassion, mercy, attention to a person can raise his soul, so that the very last thief understands: "You need to live better! You need to live like this ... so that you can ... respect yourself ..." Thus, for Luke there is no question: "Which is better - truth or compassion?" For him, what is human is true.
Then why is the ending of the play so hopelessly tragic? Although we hear that they are talking about Luke, he inspired Satin to a fiery speech about a beautiful and proud man, but the same Satin indifferently throws the Actor at his request to pray for him: "Pray yourself ..." And to him, who is leaving forever, after his passionate monologue about a man shouts: "Hey, you, Sicambre! Where to?". His reaction to the death of the Actor seems terrible: "Eh ... ruined the song ... fool-cancer!"
It is terrible that an inhuman society kills and maims human souls. But the main thing in the play, in my opinion, is that Gorky made his contemporaries even more acutely feel the injustice of the social structure that destroys people, destroys them, made them think about a person, his freedom.
What moral lessons have we learned? One must live without reconciling with untruth, injustice, lies, but not to destroy the person in oneself with his kindness, compassion and mercy. We often need comfort, but without the right to speak the truth, a person cannot be free. "Man - that's the truth!" And he has to choose. A person always needs real hope, not a comforting lie, even if it is for salvation.

Just for every firefighter under the cut))) Under the sea, two pages of printed text, as for me - delusional nonsense, according to a teacher of literature - good essay))

Which is better: truth or compassion? What is more needed?
(Composition based on the play by M. Gorky "At the Bottom")

Showing the life of the inhabitants of the rooming house - people who have sunk to the very bottom of life, M. Gorky throughout the play tries to find the answer to the question: what is better, what people need: truth or compassion?
According to the author himself, compassion and pity give rise to "comforting lies" and carry only harm. And Gorky expresses his thoughts through Sateen's monologue: "Lie is the religion of slaves and masters. ... Truth is the god of a free man!" And Luka, as the antagonist character of Sateen, was introduced into the play precisely in order to show all the futility, senselessness of compassion, because in the end, after the old man left, everything became not only not better, but even worse! But, despite the author's intention, it is impossible to say unequivocally who is right - Satin or Luke, and what would be better for a person - a cruel truth or a comforting lie.
When the reader first meets the inhabitants of the rooming house, he sees degraded, desperate people thrown to the sidelines of life. No one cares about anyone, even the neighbors are only busy with their own problems. However, these people also have their own dreams, desires, someone, like the Baron, has memories of past life- and it is impossible to understand whether they are true or invented, like Nastya's "true love". And Luka, appearing for the first time in this dark and inhospitable place, finds for almost everyone good word. So, he tells the Actor about the hospital, Anna - that she will be fine in the next world, in words he believes Nastya's stories. And as if a sunbeam penetrates the rooming house - people are inspired with hope, they believe - or, like Vaska Pepel, want to believe - Luka, because his words coincide with their own dreams. Luka is crafty - he is not like Bubnov, who believes that "bring the whole truth as it is", Luka tells people exactly what they want to hear, even if it goes against the true state of affairs. Compassion is not alien to him, and he is ready to pity the people who have gathered in the rooming house. In his life, he saw a lot, and came to the conclusion that "you can't always cure the soul with the truth." A prime example this may be the story told by Luke about a man who believed in a righteous land: he lived, worked and endured hardships and hardships, because he believed that there is such a land! But, having learned the truth, he lost all meaning of life: "... went home - and strangled himself! .." The truth did not bring anything good to this man, only deprived him of the hope that he lived. And so is Luke - he supports the inhabitants of the rooming house, encourages them and gives hope, even if it is false. And under its influence, it would seem that completely desperate people begin to dream, even make plans. They change into better side, draw in the hope that has appeared strength to fight for their dream. Vaska Pepel is ready to leave for Siberia and start life there with clean slate, he says words that a completely downcast thief would not say: "We must live like this ... so that I can respect myself." The actor goes to work, saves money for a hospital, and even remembers his stage name. It would seem that everything is going well, because now people have hope, there is a goal in life - and this raises them above their previous position.
But what - as soon as Luka disappears, as the haze of bright hopes dissipates, the heroes are faced with the cruel truth of life, in which, however, Satin plays an important role with his sarcastic, contemptuous and incriminating remarks. And, having lost their hope, the heroes return to their former state, only now it is even more difficult for them to overcome adversity on their own. life path, their spiritual strength is already running out, and for someone like the Actor, this manifests itself to an extreme degree, like that person from the story of righteous land. And this, too, is Luke's fault. As Kleshch rightly put it: “he beckoned them somewhere ... but he didn’t say the way ...” Again, faced with the cruel truth, the heroes are disappointed in life. And the stronger their disappointment, the stronger was the hope for the best. And here again we can turn to the story of the righteous land. After all, the inhabitants of the rooming house do not understand it at all in the way that Luka wants to present it: "I could not stand the deception," says Natasha. Who and why told this man that a righteous land exists? Why give him false hope, if in the end the disappointment in life turned out to be so great that suicide turned out to be the best way out for the hero? After all, in fact, this story practically does not differ from the events unfolding in the play. And Luke's compassion, his comforting lie, told not at all for selfish purposes, but to encourage - all this went only to the detriment of the heroes.
But at the same time there is tragic ending and the fault of the characters themselves. After all, the words of the old man were not an absolute lie: Vaska Pepel could start his life from scratch in Siberia, and the Actor, even if he did not find a hospital, could rise from the bottom of life. Luke only gave them the initial impetus, I will give them hope and faith that the realization of their dreams is possible. Another thing is that, having lost external support and encouragement with the departure of Luke, they could not find in themselves that inner core that would allow them to continue to pursue their intended goal. Weak in spirit, they would need constant support from the outside - but there was only one person in the rooming house who was ready for this - Luka. But he left, and Satin remained, who is alien to such: "What good is it to you if I regret?" he asks Klesch. And oddly enough, it is Satin who best understands Luke and his motives: "The old man is not a charlatan!<…>I understand the old man... yes! He lied... but it was out of pity for you."
And after all, not everyone in the rooming house Luka gave advice or tried to encourage. Satin, Bubnov, Kleshch - Luka did not even approach them with consolations, because they do not need it. The tick clearly distinguishes between truth and lies, even if he himself doesn’t need the truth: “It’s true - what’s the truth here? And without it - there’s nothing to breathe ...” - he says. Bubnov does not dream, he is indifferent to others and is in favor of "blaming the whole truth as it is." Satin is a sharpie, a gambler - why does he need Luke's pity? After all, he himself does not accept pity, honoring himself " a free man":" You must respect the person! Don’t feel sorry… don’t humiliate him with pity… you have to respect him!” he says.
So which is better, truth or compassion? Strong people do not need any compassion or pity - in case of failure, faced with the true state of things, they will be able to survive it and move on with renewed vigor, if, of course, they themselves need it. The situation is different with people like the Actor: on the one hand, compassion and "white lies" can keep them hopeful, can give them the strength to endure and move on; on the other hand, faced with the cruel truth, the loss of hope can finally deprive them of the strength and desire to fight on. Thus, each person must decide for himself what is best for him: truth or compassion. In the end, as the same Luke said: "What you believe is what you are."

What is truth? Truth (in my understanding) is the absolute truth, that is, the truth that is the same for all cases and for all people. I don't think this can be true. Even the fact, it would seem, is an obvious unequivocal event, different people are perceived differently. So, for example, the news of death can be understood as news of another, new life. Often the truth cannot be absolute, the same for everyone, because the words are ambiguous, because the meaning of the same word is understood differently. Therefore, I would not speak about truth - an unattainable concept - but about the truth, which is designed for the "average" person.

The juxtaposition of truth and compassion lends the word "truth" a certain harshness. The truth is the harsh and cruel truth. Souls are wounded by the truth and therefore need compassion.

It cannot be said that the heroes of the play "At the Bottom" are a more or less homogeneous mass of people - impersonal, spineless. Each of the characters feels, dreams, hopes or remembers. More precisely, they carry something precious and secret inside themselves, but since the world in which they live is heartless and cruel, they are forced to hide all their dreams as far as possible. Although the dream, which would be at least some proof in the harsh real life, could help weak people - Nastya, Anna, Actor. They are these weak people- overwhelmed by the hopelessness of real life. And in order to live, only to live, they need a saving and wise lie about the "righteous land". As long as people believe and strive for the best, they will find the strength and desire to live. Even the most pathetic of them, even those who have lost their name, can be cured by pity and compassion and even partly resurrected. If only the people around knew about it! Maybe then, out of self-deception, even a weak person would build for himself a better, acceptable life for him? But those around them do not think about it, they expose the dream, and the man ... "went home - and strangled himself! .."
Is it worth it to blame the old man for lying, who is the only one of the inhabitants of the rooming house who thinks not about himself, not about money, not about drinking, but about people? He tries to caress (“To caress a person is never harmful”), he inspires hope with calmness and pity. It was he, in the end, who changed all the people, all the inhabitants of the rooming house ... Yes, the Actor hanged himself. But not only Luke is guilty of this, but also those who did not regret, but cut to the heart with the truth.

There is some stereotype about the truth. It is often assumed that the truth is always good. Of course, it is valuable if you always live the truth, reality, but then dreams are impossible, and after them - a different vision of the world, poetry in the broadest sense of the word. It is a special view of life that gives birth to the beautiful, serves as the basis of art, which in the end also becomes a part of life.

How is compassion perceived more strong people? Here is Bubnov, for example. Bubnov, in my opinion, is the toughest and most cynical of all the inhabitants of the rooming house. Bubnov "mumbles" all the time, stating naked, heavy truths: "no matter how you paint yourself, everything will be erased", he does not need a conscience, he is "not rich" ... Vasilisa Bubnov, without hesitation, calmly calls Vasilisa Bubnov a fierce woman, but in inserts in the middle of the conversation that the threads are rotten. Usually no one specifically talks to Bubnov, but from time to time he inserts his remarks into a variety of dialogues. And the same Bubnov, Luka's main opponent, dull and cynical, in the final treats everyone with vodka, growls, shouts, offers to "take the soul"! And only the drunken, generous and talkative Bubnov, according to Alyoshka, "looks like a man." Apparently, Luka also touched Bubnov with kindness, showed him that life is not in the despondency of everyday melancholy, but in something more cheerful, encouraging - in dreams. And Bubnov dreams!

The appearance of Luka rallied the "strong" inhabitants of the rooming house (Satin, Klesch, Bubnov in the first place), there was even a solid general conversation. Luka is a man who sympathized, pitied and loved, managed to influence everyone. Even the Actor remembered his favorite poems and his name.

Human feelings and dreams inner world dearest and most valuable of all, because the dream does not limit, the dream develops. The truth does not give hope, the truth does not believe in God, and without faith in God, without hope, there is no future.

War is a terrible word... How much grief and misery she brought. How many tears were shed in homes that have seen a funeral. Russian people hate war, and for good reason.
More than 70 years have passed since the time when the Nazis attacked the Russian land. We don't hear the drone of German planes, people do not rush into bomb shelters. But terrible period of 1941-1945 will remain forever in the memory of the survivors of the war people.

My grandfather is a veteran. When I "m at his house, he tells me about the harsh realities of wartime. Now, thanks to your grandfather I know how hard the road was to the great day of 9 May 1945. The victory over the Nazis was forged and artillery, and infantry, and tank crews, and pilots. My grandfather was a Rifleman scout the third division of the 508 regiment of the First Byelorussian front. In fierce battles at the Kursk bulge, he received a severe wound in the leg: the bone was highly fragmented, had a infection. As a result, doctors had to amputate the leg to the knee.My grandfather in his 17 years became the invalid of II group! How many bitter tears they had shed, so many thoughts thought out - even life is not worth living... "Who am I without a leg you need me?" he shouted. But there was at that time kind people who were able to persuade my grandfather that everything in his life will soon get better, and there is work on the shoulder. All turned out well. He worked in the postwar period as a head horse farm. All my life my grandfather passed a wooden crutch.Only when I recalled the events of the war years and his fellow soldiers, he secretly wiped his tears involuntarily sliding down his cheek. How much hardship I had to endure him on his youthful shoulders: and hungry days and cold nights and physical exhaustion. Many times my grandfather went out in exploration, constantly risking their lives for the sake of their descendants, who now live in a free, modern country. And I now know firsthand how difficult it is to got to the Russian people the victory over the Nazis. Unfortunately, fewer and fewer veterans of that terrible war. In July last year died and my beloved grandfather.

I thank my grandfather and all involved in the war soldiers and officers for life in a free country, under the peaceful blue sky. And we, largely, to date, depends on the preservation of the memory of those killed in world war II. This memory is sacred. Because our grandfathers and great grandfathers fought for the independence of their homeland from foreign invaders, for our happiness. Eternal, immortal memory to all those who died in that horrific war, and low to earth bow to all survivors!