Fratricidal war in the prose of the 20s. Civil War in artwork

The events of the revolution and civil war were reflected in new literature x years. The revolution brought enthusiasm, faith in a new world order, but it also brought misfortune, the tragedy of the whole country. The coverage of the war was simplistic, one-dimensional, monumentally heroic. It is now known that in addition to the "revolution - the holiday of the working people and the oppressed" there was another image: "cursed days" (Bunin), "deaf years" (Mandelstam), "vomit of war - October fun" (Gippius). But this point of view had no right to exist!

Starting the countdown of the new time and intending to create an earthly paradise, they began to destroy right and left. They sang: "He who was nothing will become everything," but the people have already been persecuted, fooled, hungry and poor! They sang: “Let's renounce the old world, but we renounced Gumilyov and Chaliapin, Bunin and Akhmatova. And from 1.6 million of the most talented scientists and writers who emigrated abroad. demolished ancient temples and monasteries, they killed the clergy!

Maxim Gorky: “Our revolution gave scope to all the bad and bestial instincts that have accumulated under the lead roof of the monarchy. People's Commissars treat Russia as material for experiment, the Russian people for them are the same horse that bacteriologists inoculate with typhus in order for the horse to develop anti-typhoid serum in its blood. This is precisely such a cruel and doomed to failure experiment that the commissars conduct on the Russian people, not thinking that the exhausted, half-starved horse can die.

There is a red terror in the country. But those who pinned their hopes on the white movement are also wrong. In an atmosphere of bloody confusion, the Whites could not give anything significant to the people, who in their mass, naturally, were neither angels nor noble knights. Neither the Reds nor the Whites could give anything to the people, but behind the Reds, as behind a new force, there was a serious psychological advantage.

In the outbreak of the civil war, Russia lost from 1918 to 1922 - millions of people! (according to other sources 16 million): military losses - 800 thousand emigration - 1.5 - 2 million people sickness - 5.1 million people. The remaining 5-7 million were illegally shot (Krondshtatsky, Tambov and other rebellions). The war began from the moment the new government was born.

Literary positions 20s "Winners" "Defeated" "Neither with the one nor the other" Dmitry Furmanov "Chapaev" Alexander Serafimovich "Iron Stream" Alexander Fadeev "The Rout" and others Mikhail Bulgakov "The White Guard" Ivan Shmelev "The Sun of the Dead" , “The Story of an Old Woman” Marina Tsvetaeva “The Swan Camp” Boris Lavrenyov “The Forty-First” Boris Pilnyak “The Hungry Year”, “The Tale of the Unextinguished Moon” Vitaly Veresaev “At a Dead End” Isaac Babel “Cavalry” Artyom Vesely “Russia, Washed with Blood”

"Winners" Revolution and civil war - a heroic time In the crucible of civil war, the formation of personality takes place The Bolsheviks play a leading role in overcoming the spontaneity of the masses The Bolsheviks are positive heroes, people from the people Works are always optimistic, even if the ending is tragic

Maxim Gorky: “Our commissars treat Russia as a material for experiment, the Russian people for them are the same horse that bacteriologists inoculate with typhus so that the horse develops anti-typhoid serum in its blood. This is precisely such a cruel and doomed to failure experiment that the commissars conduct on the Russian people, not thinking that the exhausted, half-starved horse can die.

After 1917, the literary process went in three directions:

Literature of the Russian diaspora in a foreign land (emigrants).

"Hidden" (returned to the reader in the 80s) literature.

Soviet (legal) literature.

Emigrants (1) and those who wrote “on the table” (2) professed the ideology of the “white” movement - they advocated the preservation of traditions, the priority of eternal values ​​over the temporary, transient, subject to momentary politics.

Soviet writers (3) shared the position of the authorities of the young Soviet republic (“the Reds”) and defended a common view of the world for all, advocated the reorganization of the world and man according to a certain ideological standard.

The authorities tried to bring artists to ideological solidity and artistic uniformity, but even absolutely Soviet The writers resisted the party guidelines with their very creativity, defending the right, with a single ideology, at least for a variety of artistic means and forms. Therefore, various groups of writers were formed within Soviet literature (this process went on only until the beginning of the 1930s - until the creation of the Union of Writers of the USSR, which completed the process of monopolization of Soviet art). The most notable writing groups in post-revolutionary literature are:

"Serapion brothers" (Vs. Ivanov, M. Zoshchenko, V. Kaverin, K. Fedin, N. Tikhonov, E. Zamyatin, V. Shklovsky) - opposed the narrow class way of life in literature, for the preservation of the best traditions of Russian literature, for attracting new art forms.

RAPP (Russian Association of Proletarian Writers) - professed the ideology of proletarian literature: the education of a new person in the name of the communist reorganization of society.

Soviet literature formed a new literary trend - socialist realism. It is based on the idea of ​​the priority of the class principle over universal human values ​​and the need for a violent "organization" of human nature.

However, contrary to these ideological attitudes, the classics (M. Gorky, L. Leonov, M. Sholokhov, V. Kaverin, V. Kataev, M. Prishvin), and formal innovators, modernists (E. Zamyatin, A. Platonov, Yu .Olesha, I.Babel).

One of the main literary questions of that time was about the relationship of art to reality: art is the knowledge of life and man, or art is a means of remaking people.

A specific divide was observed in a different approach to depicting a new life, a revolution, a civil war, and a person in a critical era (the positions of the “whites” and “reds”).

Works to read and study:

M.A. Sholokhov. Early stories. Quiet Don.

A.A. Fadeev. "Destruction".

I.E.Babel. "Cavalry".

M. Voloshin. " Civil War».

I.A. Bunin. "Cursed Days".

M. Gorky. "Untimely Thoughts".

E. Zamyatin. "We"

A. Platonov. "Pit"

Additionally - for independent reading:

N.A. Ostrovsky. "As the Steel Was Tempered".

M.A. Bulgakov. "White Guard".

A.A. Fadeev. "Destruction". Main problems, key episodes, heroes

1. The problem of character development of heroes in extreme conditions wars. Episodes:

Frost's inconsistency at the beginning of the novel (chapter "Frost").

Episode of stealing melons ("The Sixth Sense").

A gradual change in Frost in the court scene ("The Peasants and the Coal Tribe").

Rough explanation of Frost with Varya and Mechik ("Enemies").

Morozka's moral experiences ("First move", "Ways-roads").

A breakdown from longing for a horse and love (“Three Deaths”).

Frost's heroic deed ("Nineteen").

Development of Vari's character.

The complexity of the character of the Sword, the pattern of his betrayal.

2. The problem of the relationship between the leader and the masses:

Rural gathering - the trial of Morozka ("Men and the Coal Tribe").

Levinson's adjustment of the Metelitsa plan ("Levinson").

Internal struggle in Levinson ("Sword in the detachment").

Transformation into a force standing above people - an episode of silencing a fish ("Strada").

The episode of swamp gateniya ("Swamp").

Levinson's return to life ("Nineteen").

The problem of humanism:

Episodes with the killing of fish, with the Korean pig and with the dying Frolov ("Strada").

The revolution is too large an event not to be reflected in literature, and a rare writer who survived it did not touch it in any way in his work.

There are different approaches to this topic. For example, Babel's "Konarmiya" or Sholokhov's "Don Stories" are a series of episodes that are not very interconnected, lining up in huge mosaic canvases, and Mikhail Afanasyevich Bulgakov's "White Guard" is a classic novel. Different writers present events from different points of view: Serafimovich in Iron Stream - from the point of view of the people, Bulgakov and most emigre writers - from the point of view of the nobility. In general, Sholokhov does not investigate the struggle between the oppressors and the oppressed, but the contradictions that arise within the people themselves in the course of a fratricidal war. There is another approach to the topic - historical. Mark Aldanov in the novel "The Ninth Thermidor" describes not our revolution, but the French one. Revolution for this author is not just a change of power or even a social formation, but an explosion of animal instincts, the return of humanity to a brutal state. He writes: "The revolution is terrible not against the monarchy, but against the handkerchief," that is, against culture.

And yet, among the many opinions, two main approaches to this topic can be distinguished. It will be most convenient to analyze this process on the example of two novels - "The Defeat" by Fadeev and "The White Guard" by Bulgakov.

Bulgakov's characters are the Russian intelligentsia, the nobility, officers, and the events are presented from their point of view. The heroes of Fadeev, on the other hand, are people from the people (the only one who, at the very least, can be called an "intellectual" - Mechik, is presented as a representative of the "petty bourgeoisie"). These two writers are in different camps and, accordingly, Bulgakov's representatives of the common people, "peasants - God-bearers Dostoevsky" are presented negatively. These people do not care where the whites are, where the reds are, they only care about themselves, and the intelligentsia appears before us as the custodian of the people's memory, great culture and strong moral principles. With Fadeev, the opposite is true. A cultured and educated Mechik turns out to be a traitor, he does not have the inner strength to follow and serve the people. Frost, as the personification of the common people, although somewhat impulsive, but intuitively feels the truth.

Fadeev also has another idea: "The end justifies the means." The image of Levinson, who does not stop at any cruelty in order to save the squad, is indicative. He can be compared with Khludov from Bulgakov's "Run", but at the end of the drama Khludov realizes his mistake, realizes the perniciousness of this idea. Levinson, on the contrary, is convinced that he is right, and Fadeev justifies him.

Naturally, from all of the above it is clear that Fadeev and Bulgakov have diametrically opposed views on the revolution itself. If Fadeev presented this event as necessary and natural, which liberated the people (and in general, despite the tragic fates of the heroes, the novel “The Rout” is an optimistic thing), then for Bulgakov the revolution is a prototype of the apocalypse, the death of old Russia, the destruction of culture and everything that is dear to man.

We see that such a grandiose event could not leave anyone indifferent. There may be different opinions on this matter, but the way the revolution was reflected in different works of different writers can help us, the descendants, understand everything, understand and comprehend our history...

Volgograd 2004

Literature abstract

« The Civil War in the Works of Russian Writers

Completed:

11A student

Arkhipov Alexey

Teacher:

Skorobogatova O.G.

Introduction………………………………………………………………….3

1.1. A.A. Fadeev - "the most important initiator of Soviet literature

Tours, singer of the youth of the new world and the new man.

The novel "The Defeat"………………………………………………__

1.2. The contradictions inherent in life in the epoch of class struggle,

depicted in the novel by M.A. Sholokhov "Quiet Flows the Don"…….__

1.3. The conflict between the human destiny of the intelligentsia and

the course of history in the works of M.M. Bulgakov "Days

Turbinnykh" and "White Guard"………………………………__

1.4. Cavalry by I.E. Babel - "chronicle of everyday atrocities",

times of revolution and civil war…………………...__

Conclusion……………………………………………………………….__

Bibliography………………………………………………………__

Introduction

and the battlefield is the hearts of people!

F. M. Dostoevsky

The civil war of 1918-1920 is one of the most tragic periods in the history of Russia; it claimed the lives of millions, forced the masses of people of different classes and political views, but of one faith, one culture and history, to face in a cruel and terrible struggle. War in general, and civil war in particular, is an action that is initially unnatural, but after all, at the origin of any event is a Man, his will and desire: even L. N. Tolstoy argued that an objective result in history is achieved by adding up the wills of individual people into a single whole, into one resultant. Man is a tiny, sometimes invisible, but at the same time irreplaceable detail in the huge and complex mechanism of war. Domestic writers, who reflected in their works the events of 1918-1920, created a number of vital, realistic and vivid images, putting the fate of Man in the center of the story and showing the impact of war on his life, inner world, scale of norms and values.

Any extreme situation puts a person in extremely difficult conditions and makes him show the most significant and deepest properties of character; in the struggle between good and evil principles, the soul wins the strongest, and the act performed by a person becomes the result and consequence of this struggle.

The revolution is too huge an event not to be reflected in literature. And only a few writers and poets who were under her influence did not touch this topic in their work.

It must also be borne in mind that the October Revolution - the most important stage in the history of mankind - gave rise to the most complex phenomena in literature and art.

A lot of paper was written in response to the revolution and counter-revolution, but only a little that came out from the pen of the creators of stories and novels could fully reflect everything that moved the people in such difficult times and in that direction. , in which it was necessary for the highest posts that did not have a single person. Also, the moral breakdown of people who have fallen into the most difficult position of the beast of the revolution is not everywhere described. And the one who stirred up, unleashed a war ... Did they feel better? Not! They, too, ended up in the hands of the monster that they themselves gave birth to. These people are from high society, the flower of the entire Russian people - the Soviet intelligentsia. They were subjected to the most difficult trials by the second, most of the population of the country, who intercepted progress, further development wars. Some of them, especially young people, broke down ...

Many writers have used various methods of embodying and conveying all their thoughts about the revolution in full and in the form that they themselves experienced, being in the very centers of the civil war.

For example, A.A. Fadeev was the same person of revolutionary cause as his heroes. His whole life and its circumstances were such that A.A. Fadeev was born into a family of rural progressive-minded intellectuals. And immediately after school, he rushed into battle. About such times and the same young guys drawn into the revolution, he wrote: “Here we all parted for the summer, and when we came together again in the fall of 18, a white coup had already taken place, there was already a bloody battle in which there was , all the people were drawn in, the world split up ... Young people whom life itself led directly to the revolution - such were we - did not look for each other, but immediately recognized each other by voice; the same thing happened to young people who went into the counter-revolution. The one who did not understand who was floating with the flow, carried away by fast or slow, sometimes even muddy waves unknown to him, he grieved, was offended why he was so far away from the shore, on which they could still see yesterday still close people ... "

But the choice did not yet determine fate. Among those who left with A.A. Fadeev to partisans, there were also "falconers", there were also those who "came not to fight, but simply to hide from the possibility of being mobilized into Kolchak's army."

Another example is M.A. Bulgakov "a man of amazing talent, internally honest and principled and very smart" makes a great impression. It should be said that he did not immediately accept and understand the revolution. He, like A.A. Fadeev, saw a lot during the revolution, he happened to go through a difficult period of the civil wave, which was later described in the novel "The White Guard", the plays "Days of the Turbins", "Running" and numerous stories, including the Hetmanate and Petliurism in Kyiv, the decomposition of Denikin's army. There is much autobiographical in the novel The White Guard, but it is not only a description of one's life experience during the years of the revolution and the civil war, but also an insight into the problem of Man and the Epoch; it is also the study of an artist who sees inseparable bond Russian history with philosophy. This is a book about destiny. classical culture in the formidable era of scrap centuries old traditions. The problems of the novel are extremely close to Bulgakov, he loved The White Guard more than his other works. Bulgakov fully accepted the revolution and could not imagine life without a cultural upsurge, he worked constantly, intensely and selflessly, contributed to the development of literature and art, became a major Soviet writer and playwright.

Finally I.E. Babel, working as a correspondent for the newspaper "Red Cavalryman" under the pseudonym K. Lyutov in the First Cavalry Army, wrote on the basis of diary entries cycle of stories "Cavalry".

Literary critics note that I.E. Babel is very complex in human and literary understanding, in connection with which he was persecuted during his lifetime. After his death, the question of the works created by him has not yet been resolved, so the attitude towards them is not unambiguous.

We agree with the opinion of K. Fedin: “If the artist’s biography serves as a concrete channel for his idea of ​​the world, then one of the most stormy, deepest currents that the social revolution in Russia knows has fallen on Sholokhov’s worldly share.”

Path of B. Lavrenev: in the autumn I went with an armored train to the front, stormed the Petliura Kyiv, went to the Crimea. Gaidar’s words are also known: “When they ask me how it could happen that I was such a young commander, I answer: this is not my biography, it’s not ordinary, but the time was extraordinary.”

Thus, it is clear that many writers could not stay away from the events of their homeland, among the many social, political, spiritual differences and the reigning confusion, but always honestly fulfilled their writing and civic duty.

How, in what centuries, the stages of the movement of art differ? Features of the conflict? The emergence of previously undeveloped plots, genres? The progress of artistic technique, finally?

Of course, all this, and many others too. But, above all, the emergence of a new type of personality, expressing the leading features of the time, embodying the people's desire for the future, for the ideal.

A person in history, literature, philosophy, art is always a priority, more weighty than everything else, relevant at all times. It is from this position that we regard the increase in the relevance of the topic under study, because on the fronts of the civil war, at the head, first of all, people described in works of art - Cha¬paev, Klychkov, Levinson, Melekhov ...

Literature in vivid images captured the features of real heroes, created collective figures of writers' contemporaries, reflecting the thoughts, aspirations, ideological ordeals and worldview of a whole generation of Russian society, from which its mentality is formed.

These literary aspects allow descendants to substantiate many historical processes, explain the spiritual potential, psychology of the current generation.

That's why this topic is significant and relevant.

We have set the following tasks:

To reveal the formation of a historical idea of ​​the literary process, revealing the theme of the revolution and the civil war in Russia, the significance of the historical conditionality of this subject and problems in Russian literature.

To study and analyze the theme of revolution and civil war in the works of A.A. Fadeev, M.A. Sholokhov, I.E. Babel, M.A. Bulgakov, the views and assessment of literary critics on the reflection of the historical problem by these authors.

Create a view and identify the most character traits personalities given period, the main socio-spiritual conflicts and values ​​reflected in the literature about the revolution and the civil war.

The value of the works of art we are considering lies in true image revolution and civil war, those who, drawn into the era, made a revolution and fought on the fronts.

What was the man like during the revolution and civil war? Why did he go into battle? What was he thinking? How has his attitude changed? It is interesting for people of our generation to know how this person changed, what was new in him, how those qualities that were demanded of them by a cruel, bloody time were strengthened and established in him, what lessons of history were learned from the experienced humanity.

To this end, we proceed to the presentation of the study.

Chapter 1. The theme of revolution and civil war

in the work of Russian writers.

1.1. A.A. Fadeev is "the most important initiator of Soviet literature, the singer of the youth of the new world and the new man." The novel "Destruction"

Where is he, god? -

lame man chuckled. -

There is no god ... no, no,

no, vigorous louse!

A.A. Fadeev,

The novel, which is still in circulation, which has withstood the test of time, is A.A. Fadeev. In the novel, “the cramped world of a partisan detachment is an artistic miniature of a real picture of a large historical scale. The system of images of The Defeat, taken as a whole, reflected the real-typical correlation of the main social forces of our revolution. It is no coincidence that the core of the partisan detachment was made up of workers, miners, the "coal tribe" constituted the most organized and conscious part of the detachment. These are Dubov, Goncharenko, Baklanov, selflessly devoted to the cause of the revolution. All partisans are united by a single goal of struggle.

With all his passion as a communist writer and revolutionary A.A. Fadeev sought to bring daylight hours communism. This humanistic faith in a beautiful person permeated the most difficult pictures and situations in which his heroes fell.

For A.A. Fadeev, a revolutionary is not possible without this striving for a bright future, without faith in a new, beautiful, kind and pure person.

The characterization of the Bolshevik Levinson, the hero of the novel "Rout", as a person striving and believing in the best, is contained in the following quote: "... everything he thought about was the deepest and most important thing he could think of, because in overcoming this poverty and poverty was the main meaning of his own life, because there was no Levinson, but there would have been someone else if there had not lived in him a huge, incomparable with any other desire, a thirst for a new, beautiful, strong and kind person. But how can there be talk about a new, beautiful person as long as huge millions are forced to live such a primitive and miserable, such an incomprehensibly meager life.

Novels by A.A. Fadeev became huge events in literary life, disputes often arose around them, and they did not leave anyone indifferent. And "Rout" is no exception to this polemical list.

If we take a purely external shell, the development of events, then this is really the story of the defeat of Levinson's partisan detachment. But A.A. Fadeev uses to narrate one of the most dramatic moments in the history of the partisan movement on Far East, when the combined efforts of the White Guard and Japanese troops inflicted heavy blows on the partisans of Primorye.

The optimistic idea of ​​"The Defeat" is not in the final words: "... it was necessary to live and fulfill one's duties", not in this call that united life, struggle and overcoming, but in the entire structure of the novel, precisely in the arrangement of the figures, their destinies and their characters.

You can pay attention to one feature in the construction of "Thunder": each of the chapters not only develops some kind of action, but also contains a complete psychological development, an in-depth characterization of one of the characters. Some chapters are named after the names of the heroes: "Frost", "Sword", "Levinson", "Reconnaissance of Mete¬litsa". But this does not mean that these persons act only in these chapters. They take an active part in all events in the life of the entire detachment. Fadeev, as a follower of Leo Tolstoy, explores their characters in all complex and sometimes compromising circumstances. At the same time, creating more and more new psychological portraits, the writer seeks to penetrate into the innermost corners of the soul, trying to foresee the motives and actions of his characters. With each turn of events, new sides of character are revealed.

To determine the main meaning of the novel, I chose the method of finding the main character of the work. Thus, one can consider how the children of the revolution grow up from ordinary, everyday children, as from normal workers who do not differ from each other in any way.

But it is not so easy to answer such a seemingly naive question. One main character can be seen in the commander of the partisan detachment Levinson. Another personality can be imagined by merging together the images of Levinson and Metelitsa, because with their special features they together embody the true heroism of the struggle. The third compositional coloring of the novel lies in the conscious opposition of two images: Frost and Mechik, and in connection with such an intention of the writer, Morozka's personality comes to the fore. There is even such an option, where the true hero of the novel becomes a collective - a partisan detachment, composed of many more or less detailed characters.

But still, the theme of such a multi-heroic novel is "led" by Levinson, he is given a voice in the most important reflections on the goals of the revolution, on the nature of the relationship between the leaders and the people. Almost all the main characters are correlated, compared and contrasted with him.

For the young Baklanov, the “heroic assistant” to the detachment commander, Levinson is “a person of a special, correct breed”, from whom one should learn and follow: “... he knows only one thing - business. Therefore, it is impossible not to trust and not obey such a right person ... ”Imitating him in everything, even in external behavior, Baklanov at the same time quietly adopted valuable life experience - wrestling skills. Morozka refers to the same people of the “special, correct breed” the platoon commander of the miner Dubov, the demolition worker Goncharenko. For him, they become an example worthy of emulation.

In addition to Baklanov, Dubov and Goncharenko, who consciously and purposefully participate in the struggle, the image of Metelitsa, a former shepherd, is also associated with Levinson, who “was all fire and movement, and his predatory eyes always burned with an insatiable desire to catch up with someone and fight." According to Baklanov, the possible path of Metelitsa is also outlined: “Has it been a long time since she pastured the horses, and in two years, look, he will command us all ...” This is a person for whom the revolution is the goal and meaning of existence.

Frost and Mechik are also correlated with the image of Levinson - the two most important figures in the novel. As A.A. Fadeev: “As a result of a revolutionary check, it turned out that Morozka is a human type higher than Mechik, because his aspirations are higher - they determine the development of his personality as higher.”

As for the young Sword, he had one of the main moments in choosing a life path. And as a young and inexperienced man, he chose the romantic path for him. About such moments in the life of A.A. Fadeev said: “... a white coup had already taken place, a bloody battle was already underway, into which all the people were drawn, the world was split, the question arose before every young man, not figuratively, but vitally: “In which camp to fight?”

A.A. Fadeev, putting Mechik in various positions, shows that his drama is not in the collision of a romantic dream with the harsh reality of life. Sword's consciousness perceives only the external, superficial side of phenomena and events.

The last thing to understand the young man and his fate is a night conversation with Levinson. By this time, quite a few grievances had accumulated. The sword turned out to be little adapted to partisan life. As an outsider, looking at the detachment from the side, he tells Levinson with the utmost, bitter frankness: “Now I don’t trust anyone ... I know that if I were stronger, they would obey me, they would be afraid of me, because everyone here only this is considered, everyone is only looking to fill his belly, at least to steal from his comrade, and no one cares about everything else ... It even seems to me sometimes that if they got to Kolchak tomorrow , they would also serve Kolchak and just as cruelly crack down on everyone, but I can’t, and I can’t do this! .. "

A.A. has Fadeev and another idea: "The end justifies the means." In this regard, Levinson appears before us, who does not stop at any cruelty in order to save the detachment. Stashinsky, who took the Hippocratic oath, helps him in this matter! And the doctor himself and, it would seem, Levinson come from an intelligent society. To what extent you need to change to kill a person. This process of “breaking” a person can be observed, taking into account how Mechik is transformed: “People are different here, I need to break somehow…”

At the end of the novel, we have before us a weeping Levinson, the commander of a defeated partisan detachment:

“... he sat looking down, slowly blinking his long wet eyelashes, and tears rolled down his beard ... Every time Levinson managed to forget himself, he began to look around again in confusion and, remembering that Baklanov was not there, began to cry again.

So they left the forest - all nineteen.

Sam A.A. Fadeev, defined the main theme of his novel: “In a civil war, the selection of human material takes place, everything hostile is swept away by the revolution, everything incapable of a real revolutionary struggle, accidentally falling into the camp of the revolution, is eliminated, and everything that has risen from genuine The roots of the revolution, from the millions of people, are tempered, grow, develop in this struggle. A tremendous transformation of people is taking place.”

In the main theme of the re-education of man in the revolution, more fully than in others, ideological content novel; this is reflected in all elements of the work: composition, individual images, the entire figurative system. Emphasizing this idea, ?A. Bushnin? writes: “Each of the main characters of “The Rout” has its own finished, individually expressed image. At the same time, the cohesion of human figures in the novel, the totality of all social, cultural, ideological and moral varieties (Bolshevik Levinson, workers - Morozka, Oaks, Goncharenko, Baklanov, peasants - Metelitsa, Kubrak, intellectuals - Stashinsky, Mechik, etc. .d.) form a complex "contradictory picture of the spiritual formation of a new person, a Soviet citizen, in the practice of revolution"

The invincibility of the revolution lies in its vitality, in the depth of penetration into the minds of people who were often the most backward in the past. Like Frost, these people rose to conscious action for the highest historical goals. In Morozok, Fadeev showed a generalized image of a man from the people, the re-education of people in the fire of revolution and civil war, the “reworking of human material”, gave a history of the development of a new consciousness experienced by millions of people in the first years of the new government.

A. Fadeev wrote: “Morozka is a man with a difficult past. He could steal, he could swear rudely, he could treat a woman rudely, he did not understand a lot in life, he could lie, drink. All these traits of his character are undoubtedly his great shortcomings. But in difficult, decisive moments of the struggle, he did what was necessary for the revolution, overcoming his weaknesses. The process of his participation in the revolutionary struggle was the process of the formation of his personality. This was the main optimistic idea of ​​the tragic novel "The Rout", which even now makes it possible to turn to the question of revolutionary humanism, which, having absorbed the progressive ideas of the past, was a new degree of moral development of mankind.

Summing up all the above, it can be noted that the writer in the novel "The Defeat" affirmed the triumph of the revolutionary cause, linking it with a truthful, historically concrete reproduction of reality, which he portrayed with all its contradictions, showing the struggle of the new with the old , showing at the same time a special interest in showing the process of the birth of a new person in the conditions of the new time.

Describing this feature of the novel, K. Fedin wrote: “... in the twenties, A. Fadeev was one of the first who set himself the task of fundamental importance for all literature - the creation goodie- and completed this task in the novel "The Rout" ... "

Concretizing this idea, we can cite the statement of A. Fadeev himself, who, characterizing his creative method, said that he sought, first of all, more fully “to convey the processes of change in ________ that occur in people, in their desires, aspirations, to show under the influence of what these changes occur, to show through what stages development takes place, the formation of a new person socialist culture".

"Destruction" appeared significant event in the history of early Soviet prose, becoming for a while the focus of heated debate about further destinies literature. The success of Fadeev's novel, an innovative work, is based on high ideological and artistic merits. Having talentedly depicted the process of the formation of a new person, in revolution and civil war, Fadeev established himself as an excellent master psychological analysis, a thoughtful soulful artist who embraced the traditions classical literature.

1.2. The contradictions inherent in the life of the era of the class struggle, depicted in the novel by M.A. Sholokhov "Quiet Flows the Don"

"I would like my books

helping people become better

become purer in soul, awaken

love for a person, striving actively

fight for the ideas of humanism and the progress of mankind.

M.A. Sholokhov

M.A. Sholokhov came to literature with the theme of the birth of a new society in the heat and tragedies of the class struggle. His novels The Quiet Flows the Don and Virgin Soil Upturned received the unanimous and wide recognition of millions of people as truthful. artistic chronicle historical destinies, social aspirations and spiritual life of the people who made the revolution and built a new society. The writer sought to embody the heroism and drama of the revolutionary era, to reveal the strength and wisdom of his native people, to convey to readers “the charm of humanity, and the disgusting essence of cruelty and treachery, meanness and money-grubbing as a terrible creation of a vicious world.

During the Civil War, Sholokhov lived on the Don, served in the food detachment, and participated in the fight against white gangs. After the end of the civil war, Sholokhov worked as a bricklayer, laborer, statistician, accountant.

Sholokhov belongs to that generation of Soviet writers who were shaped by the revolution and the civil war.

In The Quiet Don Sholokhov appears, first of all, as a master of epic narration. The artist widely and freely unfolds a vast historical panorama of turbulent dramatic events. Quiet Don covers a period of ten years - from 1912 to 1922. Those were years of unprecedented historical saturation: the First World War, the February coup, the October Revolution, the civil war. From the pages of the novel, a holistic image of the era of the greatest changes, revolutionary renewal emerges. Heroes live the life that is the ideal of millions and millions of people. Who are they? Cossacks, workers, farmers and warriors. They all live in the Tatarsky farm, located on the high bank of the Don. A considerable distance separates this farm from the nearest city, news from big world to the Cossack kurens. But it was the farm with its way of life and traditions, mores and customs, it was the restless soul, the “simple and ingenuous mind” of Grigory Melekhov, the fiery heart of Aksinya, the impatient and angular nature of Mishka Koshevoy, the kind soul of the Cossack Christoni, that were for the artist the mirror in which they reflected developments big story and changes in everyday life, consciousness and psychology of people.

The Quiet Don dispelled the legend of class solidity, social and caste isolation of the Cossacks. The same laws of social stratification and class differentiation operate on the Tatar farm as in any place in peasant Russia. Narrating the life of the farm, Sholokhov, in essence, gives a social cross-section of modern society with its economic inequality and class contradictions.

Inevitably "walks" through the pages  Quiet Don history, the fates of dozens of characters who find themselves at the crossroads of the war are drawn into the epic action. Thunderstorms rumble, warring camps clash in bloody battles, and in the background the tragedy of mental throwing of Grigory Melekhov, who turns out to be a hostage of war, is played out: he is always in the center of terrible events. The action in the novel develops on two levels - historical and domestic, personal. But both plans are given in inseparable unity. Grigory Melekhov is at the center of the "Quiet Don" not only in the sense that more attention is paid to him: almost all the events in the novel either take place with Melekhov himself or are somehow connected with him. “Our era is the era of the intensification of the struggle for the Melekhovs ... in the context of the worldwide popularity of the Sholokhov epic, the inaccuracy and limited approach to the image of Melekhov as the image of a renegade, a morally degrading person who is supposedly waiting for inevitable death are especially striking . This contradicts the attitude of the author himself and the majority of readers towards him. Sholokhov teaches the wise combination of political insight and adherence to principles with humanity and sensitivity,” these words belong to A.I. Metchenko, who highly appreciated Sholokhov's epic novel in his articles "The Great Power of Words" and "The Wisdom of the Artist". Sholokhov, with Shakespearean depth, sculpts an image that nowhere and never loses such a human quality as the charm of a person. A.I. Metchenko argues that we have before us not only the image of a Don Cossack who got lost at the crossroads of history, but also the type of era and that common psychological and political situation in which a person must make his choice: past or future, already experienced and experienced or unknown, unclear .

AT recent times the opinion is expressed that "the educational impact of the image of Melekhov is increasing." What is it, first of all? Probably, in a frenzied search for truth, in ethical uncompromisingness. In our opinion, this book is instructive and important for young readers because it reminds of the right and obligation of everyone to make their own choice. Despite the fact that Grigory Melekhov is seriously mistaken in his actions, he never prevaricates. The greatness of Melekhov lies in the fact that there is no “second person” in him.

Melekhov is characterized in the novel in many ways. His youthful years are shown against the backdrop of the life and life of the Cossack village. Sholokhov truthfully depicts the patriarchal structure of the life of the village. The character of Grigoriy Melekhov is formed under the influence of conflicting impressions. The Cossack village brings up in him with early years courage, straightforwardness, courage, and at the same time it inspires him with many prejudices that are transmitted from generation to generation. Grigory Melekhov is smart and honest in his own way. He passionately strives for truth, for justice, although he does not have a class understanding of justice. This person is bright and large, with large and complex experiences. It is impossible to fully understand the content of the book without understanding the complexity of the path of the protagonist, generalizing the artistic power of the image.

The combination of the epic depiction of great historical events with the amazing lyricism of the narration, the transfer of the most subtle intimate experiences of people, the disclosure of their most innermost feelings and thoughts, and to a greater extent this applies to the description of female images of ordinary Russian women.

From a young age he was kind, sympathetic to someone else's misfortune, in love with all living things in nature. Once, in a hayfield, he accidentally slaughtered a wild duckling and “with a sudden feeling of acute pity, he looked at the dead lump lying in his palm.” The writer makes us remember Gregory in harmony with the natural world.

As a tragedy, Gregory experienced the first human blood shed by him. In the attack, he killed two Austrian soldiers. One of the murders could have been avoided. The realization of this weighed heavily on my soul. The mournful appearance of the dead man appeared later in a dream, causing “internal pain”. Describing the faces of the Cossacks who got to the front, the writer found an expressive comparison: they resembled “stalks of mowed, withering and changing grass.” Grigory Melekhov also became such a beveled withering stem: the need to kill deprived his soul of moral support in life.

Grigory Melekhov many times had to observe the cruelty of both whites and reds, so the slogans of class hatred began to seem fruitless to him: “I wanted to turn away from everything seething with hatred, hostile and incomprehensible world ... I was drawn to the Bolsheviks - I walked, led others, and then he took thought, his heart turned cold.

Civil strife exhausted Melekhov, but the human in him did not die out. The more Melekhov was drawn into the whirlpool of the civil war, the more desirable his dream of peaceful labor. From the grief of loss, wounds, throwing in search of social justice, Melekhov aged early, lost his former prowess. However, he did not lose the "human in a person", his feelings and experiences - always sincere - were not dulled, but perhaps aggravated.

The manifestations of his responsiveness and sympathy for people are especially expressive in the final parts of the work. The hero is shocked by the spectacle of the dead: “baring his head, trying not to breathe, carefully,” he circles a dead old man, stretched out on scattered golden wheat. Passing through the places where the chariot of war rolled, he sadly stops in front of the corpse of a tortured woman, straightens her clothes, and invites Prokhor to bury her. He buried the innocently killed, kind, hardworking grandfather Sashka under the same poplar tree where the latter had buried him and Aksinya's daughter. In the scene of Aksinya's funeral, we see a heartbroken man who has drunk a full cup of suffering to the brim, a man who has grown old before his time, and we understand that only a great, albeit wounded heart could feel the grief of loss with such deep strength.

In the final scenes of the novel, Sholokhov reveals the terrible emptiness of his hero. Melekhov lost his most beloved person - Aksinya. Life has lost all meaning and meaning in his eyes. Even earlier, realizing the tragedy of his situation, he says: “I fought off the whites, I didn’t stick to the reds, and I swim like manure in an ice-hole ...”. The image of Gregory contains a large typical generalization. The impasse in which he found himself, of course, did not reflect the processes that took place in the entire Cossacks. The typical character is not that. The fate of a man who has not found his way in life is tragically instructive. The life of Grigory Melekhov was not easy, his journey ends tragically in the Quiet Don. Who is he? A victim of delusions, who experienced the full burden of historical retribution, or an individual individualist who broke with the people and became a pitiful renegade? The tragedy of Grigory Melekhov was often perceived by critics as the tragedy of a man who had become estranged from the people, or as a tragedy of historical error. It would seem that such a person cannot cause anything but hostility and contempt. The reader is left with the impression of Grigory Melekhov as a bright and strong person; not without reason, in his image, the writer sought not only to show the perniciousness of decisions and actions due to the illusions of a possessive world, but also to convey the “charm of a person”.

In the difficult situation of the civil war, Gregory cannot find the right way due to political illiteracy, prejudices of their country. Sholokhov, depicting the path of painful searches for the truth that Grigory followed, drawing the roads that led him to the camp of the enemies of the revolution, and severely condemning the hero for the crime against the people and humanity, nevertheless constantly reminds that, in his inner inclinations, deeply rooted moral aspiration ¬niyam this original man of the people was constantly drawn to those who fought in the camp of the revolution. Therefore, it is no coincidence that his short stay with the Reds was accompanied by the acquisition peace of mind, moral stability.

The image of Gregory cannot be understood by analyzing only his actions and not taking into account his condition. inner world those motives that explain his actions.

The path of the hero in the novel ends tragically, and the motif of suffering sounds stronger and more tense, our desire for a successful outcome of his fate becomes more relentless. This motive reaches a special tension in the scene of Aksinya's death. The psychologically penetrating portrait of Gregory and the image of the infinite cosmic world, before which he appeared one on one, conveys the depth of the tragedy.

But still, the tragedy does not obscure the motive of historical optimism in the novel, the idea of ​​a real possibility of overcoming tragic conflicts in the course of historical cataclysms. This is precisely the pathos of "The Quiet Don" as an epic of folk life at a steep historical turning point. Sholokhov showed that the process of any renewal, restructuring, requires the exertion of all forces, brings deprivation, gives rise to acute conflicts and confusion among the masses. This is reflected in the fate of Grigory Melekhov. His image acts as the personification of high human capabilities, which, due to tragic circumstances have not been fully implemented.

Grigory Melekhov showed extraordinary courage in the search for the truth. But for him, she is not just an idea, some idealized symbol of a better human existence. He is looking for its embodiment in life. Coming into contact with many small particles of truth, and ready to accept each one, he discovers their failure when confronted with life.

The internal conflict is resolved for Gregory by the rejection of war and weapons. Heading to his native farm, he threw it away, "thoroughly wiped his hands on the floor of his greatcoat."

Manifestations of class hostility, cruelty, bloodshed, the author of the novel contrasts the eternal dream of man about happiness, about harmony between people. He consistently leads his hero to the truth, which contains the idea of ​​the unity of the people as the basis of life.

What will happen to the man, Grigory Melekhov, who did not accept this hostile world, this “bewildered existence”? What will happen to him if he, like a female little bustard, which is not able to frighten off volleys of guns, having gone through all the roads of war, stubbornly strives for peace, life, work on earth? The author does not answer these questions. The tragedy of Melekhov, reinforced in the novel by the tragedy of all his relatives and dear people, reflects the drama of the whole region, which has undergone a violent "class alteration". The revolution and civil war tore and distorted the life of Grigory Melekhov. The memory of this terrible mess will be an unhealed wound on the soul of Gregory.

"Quiet Don" - the epic of folk life in historically significant years reproduced by the writer with its heroism and tragedy. Sholokhov showed how, in the course of revolution and civil war, the possibility opens up for the realization of the highest ideals of humanity, the age-old aspirations of the people. Sholokhov portrayed this era as a historical action, covered with heroism and tragedy.

1.3. The conflict between the human destiny of the intelligentsia and the course of history in the works of M.A. Bulgakov "Days of the Turbins" and " White Guard»

And why don't the "Days" go for a long time

Turbins" by playwright Bulgakov?

I.V. Stalin

In 1934, in connection with the 500th performance of The Days of the Turbins, M. Bulgakov’s friend P. S. Popov wrote: “The Days of the Turbins is one of those things that somehow enter into one’s own life and become an era for oneself ". The feeling expressed by Popov was experienced by almost all the people who had the good fortune to see the performance that was going on at the Art Theater from 1926 to 1941.

The leading theme of this work was the fate of the intelligentsia in the context of civil war and general savagery. The surrounding chaos here, in this play, was opposed by a stubborn desire to preserve a normal life, “a bronze lamp under a lampshade”, “a white tablecloth”, “cream curtains”.

The play "Days of the Turbins" by M.A. Bulgakov’s work was originally intended to show how the revolution changes people, to show the fate of people who accepted and did not accept the revolution. In the center is tragic fate an intelligent family against the backdrop of the collapse of the White Guard, the flight of the hetman, and the revolutionary events in Ukraine.

In the center of the play is the house of the Turbins. His prototype was largely the Bulgakovs' house on Andreevsky Spusk, which has survived to this day, and the prototypes of the heroes were people close to the writer. So the prototype of Elena Vasilievna was the sister of M. Bulgakov, Varvara Afanasyevna Karum. All this gave Bulgakov's work that special warmth, helped to convey that unique atmosphere that distinguishes the Turbins' house. Their house is the center, the center of life, and unlike the writer's predecessors, for example, romantic poets, symbolists of the early 20th century, for whom comfort and peace were a symbol of philistinism and vulgarity, M. Bulgakov's House is the center spiritual life, it is covered with poetry, its inhabitants value the traditions of the House and even in difficult times try to preserve them. In the play "Days of the Turbins" a conflict arises between human destiny and the course of history. The civil war breaks into the Turbins' house and destroys it. The "cream curtains" mentioned more than once by Lariosik become a capacious symbol - it is this line that separates the house from the world engulfed in cruelty and enmity. Compositionally, the play is built according to the circular principle: the action begins and ends in the Turbins' house, and between these scenes, the place of action becomes the office of the Ukrainian hetman, from which the hetman himself flees, leaving people to their fate; the headquarters of the Petlyura division, which enters the city; the lobby of the Alexander Gymnasium, where the junkers gather to repulse Pet-lyura and protect the city.

It is these events of history that drastically change life in the Turbins' house: Alexei is killed, Nikolka is crippled, and all the inhabitants of the Turbine house face a choice.

The Days of the Turbins is, of course, a psychological play. Together with a strongly pronounced lyrical beginning humor makes itself felt in the depiction of the exposure of the hetman, the bandit existence of the Petliurites. And the tragic end ends with the collapse of the convictions of an honest and strong man - Alexei Turbin. old world collapses and the remaining characters of the play face the problem of choice.

Let us dwell in more detail on the heroes of this immortal play. The Turbin family, a typical intelligent military family, where the older brother is a colonel, the younger is a cadet, and the sister is married to Colonel Thalberg. And all friends are military. A large apartment with a library, where they drink wine at dinner, where they play the piano, and when drunk they sing the Russian anthem out of tune, although the tsar has been gone for a year now, and no one believes in God. You can always come to this house. Here they will wash and feed the frozen captain Myshlaevsky, who scolds the Germans, and Petliura, and the hetman. Here, they will not be very surprised at the unexpected appearance of the “cousin from Zhytomyr” Lariosik and “shelter and warm him”. This is a friendly family, everyone loves each other, but without sentimentality.

For eighteen-year-old Nikolka, thirsty for battles, the elder brother is the highest authority. Alexey Turbin, in our current opinion, is very young: at the age of thirty he is already a colonel. Behind him is the just ended war with Germany, and talented officers are quickly promoted in the war. He is a smart, thinking leader. Bulgakov managed to give in his person a generalized image of a Russian officer, continuing the line of Tolstoy, Chekhov, Kuprin officers. Turbin is especially close to Roshchin from "Walking through the torment". Both of them are good, honest, smart people, rooting for the fate of Russia. They served the Motherland and want to serve it, but there comes a moment when it seems to them that Russia is perishing, and then there is no point in their existence.

There are two scenes in the play when Alexei Turbin appears as a character. The first is in the circle of friends and relatives, behind the “cream curtains” that cannot hide from wars and revolutions. Turbin talks about what worries him; despite the “seditiousness” of his speeches, Turbin regrets that earlier he could not foresee “what Petliura is.” He says that it is a "myth", a "fog". In Russia, according to Turbin, there are two forces: the Bolsheviks and the former tsarist military. The Bolsheviks will come soon, and Turbin is inclined to think that victory will be theirs. In the second climax scene Turbine is already in operation. He commands. Turbin disbands the division, orders everyone to remove their insignia and immediately go home. Turbin says bitter things: the hetman and his henchmen fled, leaving the army to its fate. Now there is no one to protect. And Turbin makes a difficult decision: he no longer wants to participate in "this booth", realizing that further bloodshed is pointless. Pain and despair grow in his soul. But the commanding spirit in him is strong. “Don't you dare!” he shouts when one of the officers suggests that he run to Denikin on the Don. Turbin understands that there is the same “headquarters mob” that forces officers to fight with their own people. And when the people win and “split the heads” of the officers, Denikin will also run away abroad. Turbin cannot push one Russian person against another. The conclusion is this: the white movement is over, the people are not with it, they are against it.

But how often in literature and cinema the White Guards were portrayed as sadists with a painful penchant for villainy! Alexey Turbin, having demanded that everyone take off their shoulder straps, remains in the division until the end. Nikolai, brother, correctly understands that the commander "waits death from shame." And the commander waited for her - he dies under the bullets of the Petliurists. Aleksey Turbin is a tragic image, he is a solid, strong-willed, strong, courageous, proud man who fell victim to the deceit and betrayal of those for whom he fought. The system collapsed and killed many of those who served it. But, dying, Turbin realized that he had been deceived, that those who were with the people had strength.

Bulgakov had a great historical sense and correctly understood the alignment of forces. For a long time they could not forgive Bulgakov for his love for his heroes. In the last act, Myshlaevsky shouts: “The Bolsheviks?.. Magnificent! I'm tired of portraying manure in the hole... Let them mobilize. At least I will know that I will serve in the Russian army. The people are not with us. The people are against us." Rough, loud-voiced, but honest and direct, a good comrade and a good soldier, Captain Myshlaevsky continues in the literature a well-known type of Russian military man - from Denis Davydov to the present day, but he is shown in a new, unprecedented yet civil war. He continues and finishes the thought of the elder Turbin about the death of the white movement, an important thought leading to the play.

There is a “rat running from the ship” in the house - Colonel Thalberg. At first he gets frightened, lies about a “business trip” to Berlin, then about a business trip to the Don, makes hypocritical promises to his wife, followed by a cowardly flight.

We are so accustomed to the name "Days of the Turbins" that we do not think about why the play is called that. The word "Dni" means time, those few days in which the fate of the Turbins, the whole way of life of this Russian intelligent family was decided. It was the end, but not a broken, ruined, destroyed life, but a transition to a new existence in new revolutionary conditions, the beginning of life and work with the Bolsheviks. People like Myshlaevsky will serve well in the Red Army, the singer Shervinsky will find an appreciative audience, and Nikolka will probably study. The finale of the piece sounds major. We want to believe that all the wonderful heroes of Bulgakov's play will really become happy, that they will bypass the fate of many intellectuals of the terrible thirties, forties, fifties of our difficult century.

M.A. Bulgakov masterfully conveyed the events that took place in Kyiv and, first of all, the most difficult experiences of the Turbins, Myshlaevsky, Studzinsky, Lariosik. Coups, unrest and similar incidents aggravate the situation, after which we see not only the fate of intelligent people who are involved in these events and are forced to decide the question: to accept or not to accept the Bolsheviks? - but also that crowd of people who opposed the revolution - the hetman, its owners - the Germans. As a humanist, Bulgakov does not accept Petlyura's wild beginnings, and angrily rejects Bolbotun and Galanba. Also M.A. Bulgakov ridicules the hetman and his "subjects". He shows to what baseness and dishonor they reach, betraying the Motherland. Human meanness has its place in the play. Such events are the flight of the hetman, his baseness before the Germans. In the scene with Bolbotun and Galanba, the author, with the help of satire and humor, reveals not only an anti-human attitude, but also rampant nationalism.

Bolbotun says to the Sich deserter: “Do you know what the German officers and commissars are doing to our grain growers? They bury the living near the ground! Chuv? So I'll bury you yourself at the grave! Himself!”

The dramatic action in Days of the Turbins develops with great speed. And the driving force is the people who refuse to support the “Hetman of All Ukraine” and Petliura. And the fate of the hetman, and the fate of Petlyura, and the fate of honest intellectuals, including white officers - Alexei Turbin and Viktor Myshlaevsky, depend on this main force.

In the famous scene, when Alexei Turbin disbands the artillery battalion, consisting of cadets and students, the action reaches its the highest state. Everything is ready to explode. Junkers are ready to tear apart, to kill Alexei Turbin. But suddenly he directly asks: “Whom do you want to protect?” And he answers: “Hetman? Excellent! Today at three o'clock in the morning, the hetman, leaving the army to the mercy of fate, fled, disguised as a German officer, in a German train, to Germany ... Simultaneously with this canal, another canal was running in the same direction - His Excellency, the commander of the army, Prince Belokurov ... "

Through the rumble, confusion and confusion of the cadets and students, the voice of reason breaks through. Aleksey Turbin refuses to take part in the "farce" that began as early as three in the morning, does not want to lead the division to the Don, to Denikin, as Captain Studzinsky and some cadets suggest, because he hates the "staff bastard" and tells the cadets to open that they would meet "the same generals and the same staff horde" on the Don. As an honest and deeply reflective officer, he realized that the white movement had come to an end. It remains only to emphasize that the main motive that moved Turbin was his awareness of one event: “The people are not with us. He is against us."

Aleksey also tells the cadets and students about Denikin's men: "They will force you to fight with your own people." He predicts the inevitable death of the white movement: “I tell you: the end of the white movement in Ukraine. He will end in Rostov-on-Don, everywhere! The people are not with us. He is against us. So it's over! Coffin! Lid!.."

Looking into the history of the civil war, we noticed an interesting statement by General Pyotr Wrangel, who wrote about the offensive of Anton Denikin: , soon began to again experience the horrors of robberies, violence and arbitrariness. As a result - the collapse of the front and the uprising in the rear "...

The play ends with a tragic despair. Petliurists leave Kyiv, the Red Army enters the city. Each of the characters decides how to be. Myshlaevsky clashes with Studzinsky. The latter is going to run to the Don and fight the Bolsheviks there, while the other one objects to him. Myshlaevsky, like Aleksey, is sure of the collapse of the white movement as a whole - he is ready to go over to the side of the Bolsheviks: “Let them mobilize! At least I will know that I will serve in the Russian army. The people are not with us. The people are against us. Alyosha is right!

It is no coincidence that special attention was paid to Myshlaevsky in the conclusion. Viktor Viktorovich's confidence that there is truth behind the Bolsheviks, that they are capable of building a new Russia - this conviction characterizing the hero's choice of a new path expresses the ideological meaning of the play. Therefore, the image of Myshlaevsky turned out to be so close to M.A. Bulgakov.

Mikhail Afanasyevich Bulgakov is a complex writer, but at the same time he clearly and simply sets out the highest philosophical questions in his works. His novel "The White Guard" tells about the dramatic events unfolding in Kyiv in the winter of 1918-1919. The writer speaks dialectically about the deeds of human hands: about war and peace, about human enmity and wonderful unity - “the family, where only you can hide from the horrors of the surrounding chaos.”

In an epigraph from Pushkin's The Captain's Daughter, Bulgakov emphasized that we are talking about people who were overtaken by the storm of revolution, but who were able to find the right path, maintain courage and a sober view of the world and their place in it. The second epigraph is biblical. And with this, Bulgakov introduces us into the zone of eternal time, without introducing any historical comparisons into the novel.

The motive of the epigraphs is developed by the epic beginning of the novel: “The year was great and terrible after the birth of Christ 1918, from the beginning of the second revolution. It was abundant in summer with sun and in winter with snow, and two stars stood especially high in the sky: the shepherd's star Venus and red trembling Mars. The beginning style is almost biblical. Associations make you remember eternal book being, which in itself

uniquely materializes the eternal, as well as the image of the stars in heaven. The specific time of history is, as it were, soldered into the eternal time of being, framed by it. The confrontation of the stars, the natural series of images related to the eternal, at the same time symbolizes the collision of historical time. In the beginning of the work, majestic, tragic and poetic, there is a grain of social and philosophical problems associated with the opposition of peace and war, life and death, death and immortality. The very choice of the stars makes it possible to descend from the cosmic distance to the world of the Turbins, since it is this world that will resist enmity and madness.

In The White Guard, the sweet, quiet, intelligent Turbin family suddenly becomes involved in great events, becomes a witness and participant in terrible and amazing things. The days of the Turbins absorb the eternal charm of calendar time: “But the days, both in peaceful and bloody years, fly like an arrow, and the young Turbins did not notice how white, shaggy December came in a hard frost.

The House of the Turbins is opposed to the outside world, in which destruction, horror, inhumanity, and death reign. But the House cannot separate, leave the city, it is a part of it, like a city is a part of the earthly space. And at the same time, this earthly space of social passions and battles is included in the expanses of the World.

The city, according to Bulgakov's description, was "beautiful in the frost and in the fog on the mountains, above the Dnieper." But its appearance changed dramatically, “... industrialists, merchants, lawyers, public figures fled here. Journalists fled, Moscow and St. Petersburg, corrupt and greedy, cowardly. Cocottes, honest ladies from aristocratic families...” and many others. And the city began to live with “a strange, unnatural life...” The evolutionary course of history is suddenly and menacingly disrupted, and man finds himself at its breaking point.

The image of a large and small space of life grows in Bulgakov in opposition to the destructive time of war and the eternal time of Peace.

You can’t sit out a hard time, shutting yourself off from him like the landlord Vasilisa is “an engineer and a coward, a bourgeois and unsympathetic”. This is how Lisovich is perceived by Turbines, who do not like petty-bourgeois isolation, narrow-mindedness, hoarding, isolation from life. No matter what happens, they will not count the coupons, hiding in the dark, like Vasily Lisovich, who only dreams of surviving the storm and not losing the accumulated capital. Turbines meet a formidable time differently. They do not change themselves in anything, they do not change their way of life. Every day, friends gather in their house, who are met by light, warmth, and a laid table. Nikolkin's guitar rings with brute force - despair and defiance even in the face of an impending catastrophe.

Everything honest and pure, like a magnet, is attracted by the House. Here, in this comfort of Home, comes from scary world deadly frozen Myshlaevsky. A man of honor, like Turbins, he did not leave the post under the city, where in a terrible frost forty people waited for a day in the snow, without fires, to change,

which would never have come if Colonel Nai-Turs, also a man of honor and duty, could not, despite the disgrace that is happening at the headquarters, bring two hundred junkers, perfectly dressed and armed through the efforts of Nai-Turs. Some time will pass, and Nai-Tours, realizing that he and his cadets have been treacherously abandoned by the command, that his children are destined for the fate of cannon fodder, will save his boys at the cost of his own life. The lines of the Turbins and Nai-Tours will intertwine in the fate of Nikolka, who witnessed the last heroic minutes of the colonel's life. Admired by the feat and humanism of the colonel, Nikolka will do the impossible - he will be able to overcome the seemingly insurmountable in order to pay Nai-Turs his last duty - to bury him with dignity and become a loved one for the mother and sister of the deceased hero.

The fates of all truly decent people are contained in the world of the Turbins, whether they are courageous officers Myshlaevsky and Stepanov, or deeply civilian by nature, but not deviating from what befell him in the era of hard times, or even completely, it would seem, stupid Lariosik. But it was Lariosik who managed to quite accurately express the very essence of the House, opposing the era of cruelty and violence. Lariosik spoke about himself, but many could subscribe to these words, “that he suffered a drama, but here, at Elena Vasilyevna’s, his soul comes to life, because this is a completely exceptional person Elena Vasilievna and their apartment is warm and cozy , and cream-colored curtains on all windows are especially remarkable, thanks to which you feel cut off from the outside world ... And he, this outside world ... you will agree yourself, formidable, bloody and meaningless.

There, outside the windows, is the merciless destruction of everything that was valuable in Russia.

Here, behind the curtains, there is an unshakable belief that everything beautiful must be protected and preserved, that this is necessary under any circumstances, that this is feasible. “... Hours, fortunately, are absolutely immortal, both the Saardam Carpenter and the Dutch tile are immortal, like a wise scan, life-giving and hot in the most difficult time.”

And outside the windows - "the eighteenth year flies to the end and every day looks more menacing, bristly." And Aleksey Turbin thinks with anxiety not about his possible death, but about the death of the House: Captain's Daughter burn in the oven."

But, perhaps, love and devotion are given the power to protect and save, and the House will be saved?

There is no clear answer to this question in the novel.

There is a confrontation between the center of peace and culture to the Petliura gangs, which are being replaced by the Bolsheviks.

One of the last sketches in the novel is a description of the Proletary armored train. Horror and disgust emanates from this picture: “He hissed softly and angrily, something oozed in the side shots, his blunt snout was silent and squinted into the Dnieper forests. From the last platform, a wide muzzle in a deaf muzzle was aimed at the heights, black and blue, for twenty versts and straight at the midnight cross. Bulgakov knows that in old Russia there were many things that led to the tragedy of the country. But people who point their muzzles of cannons and rifles at their fatherland are no better than those staff and government scoundrels who sent the best sons of the fatherland to certain death.

History will inevitably sweep away murderers, criminals, robbers, traitors of all ranks and stripes, and their names will be a symbol of dishonor and shame.

And the House of Turbins, as a symbol of the imperishable beauty and truth of the best people of Russia, its nameless heroes, humble workers, keepers of goodness and culture, will warm the souls of many generations of readers and prove with every manifestation that real man remains human even at the turn of history.

Those who violated the natural course of history committed a crime in front of everyone, including the tired and frozen guard at the armored train. In torn boots, in a torn overcoat, brutally, not humanly, a chilled person falls asleep on the go, and he dreams of his native village and his neighbor walking towards him. “And immediately a formidable guard voice in his chest tapped out three words:

“Sorry… sentry… you’ll freeze…”

Why is this man given up to a meaningless nightmare?

Why are thousands and millions of others given to this?

One can not be sure that little Petka Shcheglov, who lived in the wing and had a wonderful dream about a sparkling diamond ball, will wait for what the dream promised him - happiness?

Who knows? In an era of battles and upheavals, individual human life is more fragile than ever. But the strength of Russia is that there are people in it for whom the concept of “living” is tantamount to the concepts of “love”, “feel”, “comprehend”, “think”, be faithful to duty and honor. These people know that the walls of the House are not just a dwelling, but a place of connection between generations, a place where spirituality is preserved in incorruptibility, where it never disappears. spirituality, whose symbol is the main part of the House - bookcases filled with books.

And as at the beginning of the novel, in its epilogue, looking at the bright stars in the frosty sky, the author makes us think about eternity, about the life of future generations, about responsibility to history, to each other: “Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain, when the shadow of our bodies and deeds will not remain on the earth.”

1.4. Cavalry I.E. Babel - a chronicle of everyday atrocities" during the revolution and civil war.

This chronicle of everyday atrocities,

which oppresses me tirelessly,

like a heart defect.

I.E. Babel

The last book belongs to I.E. Babel. This legacy, which has come down to our times, has become a notable event in the literary life of the first post-revolutionary decade.

According to N. Berkovsky: "Cavalry" is one of the significant phenomena in fiction about the civil war.

The idea of ​​this novel is to reveal and show all the flaws of the revolution, the Russian army and the immorality of man.

Roman I.E. Babel's Cavalry is a series of seemingly unrelated episodes that line up in huge mosaic canvases. In Cavalry, despite the horrors of the war, the ferocity of those years is shown - faith in the revolution and faith in man. The author draws a poignant and dreary loneliness of a man in the war. I.E. Babel, seeing in the revolution not only strength, but also "tears and blood", "twisted" a person this way and that, analyzed him. In the chapters "Letter" and "Berestechko" the author shows the different positions of people in the war. In the “Letter”, he writes that on the scale of the hero’s life values, the story of how they “finished” first brother Fedno, and then dad, takes second place. This is the author's own protest against the assassination. And in the chapter "Berestechko" I.E. Babel tries to get away from reality because it is unbearable. Describing the characters of the heroes, the boundaries between their states of mind, unexpected actions, the author draws the infinite heterogeneity of reality, the ability of a person to simultaneously be sublime and ordinary, tragic and heroic, cruel and kind, giving birth and killing. I.E. Babel skillfully plays with transitions between horror and delight, between the beautiful and the terrifying.

Behind the pathos of the revolution, the author saw its face: he understood that the revolution is an extreme situation that reveals the secret of man. But even in the harsh everyday life of the revolution, a person who has a sense of compassion cannot come to terms with murder and bloodshed. Man, according to I.E. Babel, alone in this world. He writes that the revolution is “like lava, scattering life” and leaving its imprint on everything it touches. I.E. Babel feels like "at a big incessant memorial service." The hot sun is still dazzlingly shining, but it already seems that this “orange sun is rolling across the sky like a severed head”, and the “gentle light” that “lights up in the gorges of the clouds” can no longer relieve anxiety, because it’s not just a sunset , and "the standards of the sunset are blowing over our heads ..." The picture of victory before our eyes acquires an unusual cruelty. And when, following the “standards of sunset”, the author writes the phrase: “The smell of yesterday’s blood and dead horses drips into the evening cool,” with this metamorphosis, if he does not overthrow, then, in any case, he will greatly complicate his initial triumphant chant. All this prepares the finale, where in a hot dream the narrator sees fights and bullets, and in reality the sleeping Jewish neighbor turns out to be a dead old man, brutally stabbed by the Poles.

All Babel's stories are filled with memorable, vivid metamorphoses, reflecting the drama of his worldview. And we cannot but grieve about his fate, not sympathize with his inner torments, but admire his creative gift. His prose has not faded with time. His heroes have not faded. His style is still mysterious and irreproducible. His depiction of the revolution is perceived as an artistic discovery. He expressed his position on the revolution, became a "lonely man" in a world that is rapidly changing and teeming with change.

V. Polyansky noted that in Cavalry, as well as in L. Tolstoy’s Sevastopol Tales, “in the end, the hero is “truth” ... the rising peasant element, rising to the aid of the proletarian revolution, communism, albeit in a peculiar way understood."

Cavalry by I.E. Babel at one time caused a huge commotion in censorship, and when he brought the book to the Press House, after listening to sharp criticisms, he calmly said: “What I saw at Budyonny is what I gave. I see that I didn’t give a political worker there at all, I didn’t give much about the Red Army in general, I’ll give it further if I can” ...

From the blood spilled in battles

From dust turned to dust

From the torments of the executed generations,

From souls baptized in blood

Of hateful love

Of crimes, frenzy

Righteous Russia will arise.

I pray for her...

M. Voloshin

The last epigraph did not accidentally fit into big picture talk about the revolution. If we consider only Russia - Russia, then, of course, we can agree with M.A. Bulgakov, who accepted, preferred whatever the best way for our country. Yes, almost everyone agrees so, but not everyone thinks about the mysterious curve of the Leninist straight line. The fate of the country is in the hands of the country itself. But as the people themselves said, that from it is like from a wooden sheet, depending on who processes it ... Or Sergius of Radonezh, or Emelyan Pugachev. Although the second name is more suitable for the hetman, Kolchak and Denikin, as well as all those “staff bastards” who unleashed the very bloody massacre of the revolution, which was originally meant as “direct”. But, in general, out of all the turmoil, “out of blood”, “ashes”, “torments” and “souls”, “righteous Russia” arose! This is what M.A. Bulgakov, exclaiming through his heroes. I agree with his opinion. But we should not forget about M.A. Sholokhov and I.E. Babel, they showed practically all that “curve”, all that arose “from crimes”, “from hating love”, all that “in the end” was the Truth.

Conclusion

Having deeply studied a wide range of literary and artistic works of the last century, having analyzed literary criticism, it can be argued that the theme of revolution and civil war has long become one of the main themes of Russian literature of the 20th century. These events not only dramatically changed the life Russian Empire, redrawn the entire map of Europe, but also changed the life of every person, every family. Civil wars are usually called fratricidal. Any war is fratricidal in its essence, but in the civil war this essence of it is revealed especially sharply.

From the works of Bulgakov, Fadeev, Sholokhov, Babel, we have revealed: Hatred often brings together people who are related by blood in it, and the tragedy here is extremely naked. Awareness of the civil war as a national tragedy has become decisive in many works of Russian writers, brought up in the traditions of the humanistic values ​​of classical literature. This realization sounded, perhaps not even fully understood by the author, already in A. Fadeev's novel "The Rout", and no matter how much they look for an optimistic beginning in it, the book is primarily tragic - in terms of the events and fates of people described in it. Philosophically comprehended the essence of events in Russia at the beginning of the century years later B. Pasternak in the novel "Doctor Zhivago". The hero of the novel turned out to be a hostage of history, which mercilessly intervenes in his life and destroys it. The fate of Zhivago is the fate of the Russian intelligentsia in the 20th century. In many ways close to the poetry of B. Pasternak is another writer, playwright, for whom the experience of the civil war became his personal experience - M. Bulgakov, whose works ("Days of the Turbins" and "The White Guard") became a living legend of the twentieth century and reflected the impressions the author from life in Kyiv in the terrible years of 1918-19, when the city passed from hand to hand, shots were fired, the course of history decided the fate of a person.

In the course of the study, we found general trends that are characteristic of almost all literary works about revolution and civil war, which allowed us to draw the following conclusions.

The fate of a person in a period of severe historical upheavals and trials is subject to a painful search for his place and destination in new circumstances. The innovation and merit of the authors we have considered (Fadeev, Sholokhov, Bulgakov, Babel) lies in the fact that they gave the reader's world examples of personalities, restless, doubting, hesitant, for whom the old, well-established world collapses overnight, and they are captured by a wave of rapid innovative events which put the heroes in a situation of moral, political choice of their path. But these circumstances do not harden the heroes, they do not have malice, unaccountable hostility to everything indiscriminately. This is the manifestation of the enormous spiritual strength of man, his inflexibility before destructive forces, opposition to them.

In the works of Fadeev, Sholokhov, Bulgakov, Babel, one can clearly see how history breaks into people's lives, how the 20th century tempers them. Behind their thunderous tread, the voice of an individual is not heard, devalued his life. Like the era, so the person faces the problem of moral choice in the literature of this time. This is Levinson, and Melekhov, and Myshlaevsky ... The tragic outcome of this choice repeats the tragic course of history. The choice that Alexei Turbin faced at the moment when the cadets subordinate to him were ready to fight was cruel - either to remain faithful to the oath and officer honor, or to save the lives of people. And Colonel Turbin gives the order: "Tear off your shoulder straps, throw away your rifles and immediately go home." The choice made by him is given to a regular officer, "who has endured the war with the Germans", as he himself says, is infinitely difficult. He utters words that sound like a sentence to himself and the people of his circle: "The people are not with us. They are against us." It is hard to admit this, to back down from the military oath and betray the honor of an officer is even harder, but Bulgakov's hero decides to do this in the name of highest value - human life. It is this value that turns out to be the highest in the minds of Alexei Turbin and the author of the play himself. Having made this choice, the commander feels complete hopelessness. In his decision to stay in the gymnasium, there is not only a desire to warn the outpost, but also a deep motive, unraveled by Nikolka: "You, the commander, are waiting for death from shame, that's what!" But this expectation of death is not only from shame, but also from complete hopelessness, the inevitable death of that Russia, without which such people cannot imagine life. Similar reflections on the tragedy of the heroes were noted in the considered works. That's why fiction about revolution and civil war has become one of the most profound artistic comprehension of the tragic essence of man in the era of revolution and civil war. At the same time, each hero experienced the evolution of his worldview, attitude to what is happening, his assessment and, in connection with this, his further actions in this world.

The characteristic position of the authors themselves is also interesting. These works are largely autobiographical or connected with their relatives, comrades-in-arms in combat operations. All writers, without exception, are captivated by discussions about the enduring values ​​of our world - duty to the Motherland, friends, family. It was difficult for the authors themselves at that time to figure out who to follow, whom to oppose, on whose side the truth is, they often, like their heroes, turned out to be hostages of their own oath and sense of honor, were subjected to the conditions of growing Soviet censorship, which did not give them the opportunity to to clearly and directly indicate their position in the works, to speak out to the end. Indicative in this respect is the end of any considered work, where there is no clear logical conclusion in its problematics. So the novel by M. Bulgakov “The White Guard” ends with the words: “Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain, when the shadow of our bodies and deeds will not remain on earth. There is not a single person who does not know this. So why don't we want to turn our attention to them? Why? “There are eternal values ​​that do not depend on the outcome of the civil war. Stars are a symbol of such values. It was in serving these eternal values ​​that the writer Mikhail Bulgakov, like Mikhail Sholokhov, and Alexander Fadeev, and Isaac Babel saw his duty.

The best books about the revolution and the civil war, which are "Rout", "Quiet Don", "Konarmiya", "Days of the Turbins", "White Guard" are still widely read, in demand, are not only of interest, but also contain educational aspects for the formation of humanism, patriotism, a sense of duty, love of neighbor, political vigilance among young people, the ability to find their place and vocation in any life circumstances, the ability to make the right decision, which does not contradict universal moral values.

LIST OF USED LITERATURE.

1.Babel I.E. Works. In 2 vols. T. 2: Cavalry; Stories 1925-1938; Plays; Memoirs, portraits; Articles and speeches; Screenplays / Comp. And prepare. Text by A. Pirozhkva; Comment. S. Povartsova; Artistic V. Veksler.-M.: Artist. Lit., 1990.- 574 p.

2. Bulgakov M.A. Pieces. - M .: Soviet writer, 1987.- 656 p.

3. Bulgakov M.A. "And the dead were judged...": Novels. Tale. Plays. Essay / Comp., cr. Biochronika, approx. B.S. Myagkova; Intro. Art. V.Ya. Lakshina.- M.: Shkola-Press, 1994.- 704 p.

4. Fadeev A.A. Novels./ Ed. Krakovskaya A.- M.: Khudozh. Literature, 1971. - 784 p.

5. Fadeev A.A. Letters. 1916-1956 / Ed. Platonova A.- M.: Artist. Literature, 1969. - 584 p.

6.A. Dementiev, E. Naumov, L. Plotkin "Russian Soviet Literature" - M.: Uchpedgiz, 1963. - 397 p.

In general, the topic of civil war is the leading theme of prose, dramaturgy and poetry of the 1920s. A huge number of diversified works, novels, short stories, short stories, essays, all from different points of view, because there is no strict censorship yet, tk. authors need capture this very recent moment in history. These are attempts to understand the war as a phenomenon, represented. har-ry of people who have fallen. into the wheel of history. In the 20s. in Russia, novels, short stories, stories about the war are written by: Serafimovich (“Iron Stream”), Furmanov (“Chapaev”), Babel (“Cavalry”), Fedin (“Cities and Years”), Leonov (“Badgers”), Sholokhov (“Don Stories”, “Azure Steppe”, the beginning of the “Quiet Don”, finished in the 30s), Fadeev (“Rout” 1927), Malyshkin (“The Fall of Dair”), Bulgakov (“White Guard” 1924), Lavrenev (stories), Platonov ("The Secret Man", "Chevengur").

The first 2 novels about gr. war appeared in 1921 - This is a novel Notch "Two Worlds" and romance Pilnyak "The Naked Year". Zazubrin was mobilized. first to Kolchakovsk. army, but fled from there to the Reds, seeing the bullying of the Reds by Kolchak. (Kr. Army he described later in story "Sliver").

In exile war and revolution are also reflected. in prose, the war is perceived more unambiguously: Bunin's Cursed Days, Remizov's Whirled Russia, Shmelev's Sun of the Dead, Gazdanov's stories and Claire's Evening, etc.

Serafimovich. "Iron Stream". Novel. Here naib. brightly expressed. this idea: a man in the stream of history.. The iron stream of history has been crushed. everyone who stands in his way, even if the person did not choose this place for himself:

Fadeev. "Destruction". Roman (1927). Among the characters, represented. in the novel, stand out in its own way. triangle: Levinson on top, Sword and Frost. Levinson is the ideal leader of a partisan detachment. He is calm, self-possessed, hardy, Levinson, as a kind of. the core of the detachment remains alive. Only at the end of the novel did he show weakness: crying about the death of his young assistant. Frost, the son of a miner, a miner himself, excellent. from Levinson, all in plain sight, he is open, impulsive, there is something recklessly rebellious in him: The sword is an intellectual. boy, "clean", "yellow-mouthed", only after the gymnasium. After being wounded, he hit. to Levinson's squad. He has long been cursing himself for having gone to the partisans, in excellent. from Levinson and Morozka does not see the point in what he is doing, but sees only that he is being offended. The sword, preoccupied only with his being, when he is sent as a sentinel ahead of the detachment, stumbles upon the Cossacks and saves his own. life instead of a warning. squad and die. When he understands that he did meanness, he becomes sorry for not dying. because of him people, and his former self, "so good and honest, who did not wish harm to anyone."

Bulgakov. "White Guard". Roman (1923-1924). Conceived in 1921, was conceived as a trilogy, and the "White Guard" originally. called "Midnight Cross" (or "White Cross"). a number of images are displayed. These are the Turbin family, family friends - Myshlaevsky, Karas, Shervinsky, Colonel Nai-Tours, for whom honor is most important.

Babel. "Cavalry". The dominant feature was the image of the characters of the cavalrymen from the inside, with the help of their own. voices .. In such a fantastic style, the short stories "Salt", "Treason", "Biography of Pavlichenko, Matvey Rodionovich", "Letter" and others were written. Many short stories were written on behalf of intellectuals. narrator Lyutov. His loneliness, his alienation, his heart trembling at the sight of cruelty, his desire to merge with the mass, which is coarser than him, but also more victorious, his curiosity, his appearance - all this is biographical. reminded B.

Lavrenev's stories of the 20s. ("41", "7th satellite").

"Forty-first"(1924). In battle in Turkestan. 25 Red Army soldiers remain alive in the desert: “crimson commissar Evsyukov, twenty-three and Maryutka” .. They attack the caravan, and there an officer and 5 other people shoot back. Maryutka already wants to shoot the officer, her 41st, but misses from the cold. they take him prisoner, the captured officer turns out to be a blue-eyed handsome man named Govorukha-Otrok. On the Aral, they get into a storm, two that were with the lieutenant and Maryutka are washed overboard. Maryutka and an officer reach Barsy Island.

"Seventh Companion"(1926-1927). Cr. content. Action in 1918-1919, in St. Petersburg and its environs. Ch. the hero of the story Evgeny Pavlovich Adamov - old man, ex. general, professor academy .. Hungry time, he goes to the market to sell cufflinks and sees the decree on persecution on the wall. former in retaliation for the attempt. on Lenin (appeal on the Red Terror). On the same day he was taken to the arrest house.

In these two stories, L. is displayed the image of a military intellectual. But these are intellectuals who have done it. different choice. Lieutenant Govoruha-Otrok is fighting on the side of Kolchak, and cannot think of anything else. Another thing is E.P. On the one hand, he realizes that “everything has become crooked”, but on the other hand, he speaks of the new government, “We don’t judge, but they won’t condemn us either”, it seems to him that some kind of husk is flying from the city, from the streets, but at the same time the city looks like not for the sick, but for the convalescent