Mans Tragedy in One Day in the Life of Ivan Denisovitch Essay

Mans Tragedy in One mean solar day in the Life of Ivan Denisovitch   Solzhenitsyns bit to hi level has extremely important consequences for his total literary heritage. As he himself has said, Literature that is non the very breath of contemporary bon ton does not deserve the name of literature. To be true literature, the pain and fears of society must be held before it, society must be warned against the moral and social dangers which threaten it.   tale to Solzhenitsyn, as to Leo Tolstoy, is the theater and the atomic number 18na in which the abominations as well as the glories of human behavior are revealed at their most powerful and on the grandest scale. This is not to say that Solzhenitsyn actually writes history, meaning by that a formal history text. Rather, his novel August 1914 is a vehicle for the telling the larger story of the human condition. As in One Day, characters are minutely inspected in order best to understand the diachronic environwork f orcet in which they participate as well as being affected by it. In other words, history at its present juncture provides Solzhenitsyn with concrete, living referents or the actual range against which the moral fiber of realistically depicted characters are not only revealed but above all tested and tempered. As in the later work, Gulag Archipelago, Solzhenitsyns historical novel about Leninist-Stalinist terror and the labor-camp system, so in August 1914 events do not simply happen, as though they were products of the action of Fate. It is precisely over the egression of Why Events Happen that Solzhenitsyn parts company with the prominent Russian writer, Tolstoy, who himself used history (War and Peace) as a mea... ..., not by means of dogmatic insistency upon historical law and ultimate truth.   So, for Solzhenitsyn, mans Tragedy does not consist in his being ground under by an historical juggernaut, a dumb push up guided by inexorable historical laws, inert fo rces, economic determinism, and so forth. Instead, man makes his own history. Ideologies, religions, policies do help shape the lines along which history pull up stakes be made, but above all for Solzhenitsyn, it is men who make history. It is they who can be patd. So can the makers of ideologies be blamed for the postulates they develop and the consequences which result from them. Who is to blame? the author of Gulag Archipelago asks in the chapter entitled, The Law Becomes a Man. He answers, with bitter irony Well, of course, it obviously could never be the Over-All Leadership Mans Tragedy in One Day in the Life of Ivan Denisovitch Essay Mans Tragedy in One Day in the Life of Ivan Denisovitch   Solzhenitsyns turning to history has extremely important consequences for his total literary heritage. As he himself has said, Literature that is not the very breath of contemporary society does not deserve the name of literature. To be true literature, the pai n and fears of society must be held before it, society must be warned against the moral and social dangers which threaten it.   History to Solzhenitsyn, as to Leo Tolstoy, is the theater and the arena in which the abominations as well as the glories of human behavior are revealed at their most powerful and on the grandest scale. This is not to say that Solzhenitsyn actually writes history, meaning by that a formal history text. Rather, his novel August 1914 is a vehicle for the telling the larger story of the human condition. As in One Day, characters are minutely inspected in order best to understand the historical environment in which they participate as well as being affected by it. In other words, history at its present juncture provides Solzhenitsyn with concrete, living referents or the actual background against which the moral fiber of realistically depicted characters are not only revealed but above all tested and tempered. As in the later work, Gulag Archipela go, Solzhenitsyns historical novel about Leninist-Stalinist terror and the labor-camp system, so in August 1914 events do not simply happen, as though they were products of the action of Fate. It is precisely over the issue of Why Events Happen that Solzhenitsyn parts company with the great Russian writer, Tolstoy, who himself used history (War and Peace) as a mea... ..., not by means of dogmatic insistence upon historical law and ultimate truth.   So, for Solzhenitsyn, mans Tragedy does not consist in his being ground under by an historical juggernaut, a dumb force guided by inexorable historical laws, impersonal forces, economic determinism, and so forth. Instead, man makes his own history. Ideologies, religions, policies do help shape the lines along which history will be made, but above all for Solzhenitsyn, it is men who make history. It is they who can be blamed. So can the makers of ideologies be blamed for the postulates they develop and the consequences which re sult from them. Who is to blame? the author of Gulag Archipelago asks in the chapter entitled, The Law Becomes a Man. He answers, with bitter irony Well, of course, it obviously could never be the Over-All Leadership