After the revolutionary era of 1917-1921. The Great Patriotic War was the largest and most significant historical event that left the deepest, indelible mark on the memory and psychology of the people, in its literature.

In the very first days of the war, writers responded to the tragic events. At first, the war was reflected in operational small genres - an essay and a story, individual facts, cases, individual participants in the battles were captured. Then came a deeper understanding of events and it became possible to depict them more fully. This led to the emergence of stories.

The first stories "Rainbow" by V. Vasilevskaya, "Unconquered" by B. Gorbatov were built on the contrast: the Soviet Motherland - Nazi Germany, a just, humane Soviet man - a murderer, a fascist invader.

Two feelings possessed writers - love and hatred. The image of the Soviet people appeared as a collective, undifferentiated, in the unity of the best national qualities. The Soviet man, fighting for the freedom of the motherland, was portrayed in a romantic light as an exalted heroic personality, without vices and shortcomings. Despite the terrible reality of the war, already the first stories were filled with confidence in victory, optimism. romantic line the image of the feat of the Soviet people later found its continuation in the novel by A. Fadeev "The Young Guard".

Gradually, the idea of ​​war, of its way of life, of the not always heroic behavior of a person in difficult military conditions, deepens. This made it possible to reflect the war time more objectively and realistically. One of the best works, objectively and truthfully recreating the harsh everyday life of the war, was the novel by V. Nekrasov "In the trenches of Stalingrad", written in 1947. The war appears in it in all its tragic grandeur and dirty bloody everyday life. For the first time, she is shown not as a “person from the outside”, but through the perception of a direct participant in the events, for whom the absence of soap may be more important than the presence of a strategic plan somewhere in the headquarters. V. Nekrasov shows a person in all his manifestations - in the greatness of a feat and the baseness of desires, in self-sacrifice and cowardly betrayal. A man in war is not only a fighting unit, but mainly a living being, with weaknesses and virtues, passionately thirsting for life. In the novel, V. Nekrasov reflected the life of the war, the behavior of army representatives at different levels.

In the 1960s, writers of the so-called "lieutenant" conscription came to literature, creating a large layer of military prose. In their works, the war was depicted from the inside, seen through the eyes of an ordinary warrior. More sober and objective was the approach to the images of the Soviet people. It turned out that this was not at all a homogeneous mass, seized by a single impulse, that Soviet people behave differently in the same circumstances, that the war did not destroy, but only muffled natural desires, obscured some and sharply revealed other qualities of character . Prose about the war of the 1960s and 1970s for the first time put the problem of choice at the center of the work. By placing their hero in extreme circumstances, the writers forced him to make a moral choice. Such are the stories Hot Snow”, “Coast”, “Choice” by Y. Bondarev, “Sotnikov”, “Go and not return” by V. Bykov, “Sashka” by V. Kondratiev. The writers explored the psychological nature of the heroic, focusing not on the social motives of behavior, but on the internal ones, determined by the psychology of a warring person.

The best stories of the 1960s and 1970s depict not large-scale, panoramic events of the war, but local events that, it would seem, cannot radically affect the outcome of the war. But it was from such “private” cases that the general picture of wartime was formed, it was the tragedy of individual situations that gives an idea of ​​​​the unthinkable trials that befell the people as a whole.

The literature of the 1960s and 1970s about the war expanded the notion of the heroic. The feat could be accomplished not only in battle. V. Bykov in the story "Sotnikov" showed heroism as the ability to resist the "terrible force of circumstances", to preserve human dignity in the face of death. The story is built on the contrast of external and internal, physical appearance and the spiritual world. The main characters of the work are contrasting, in which two options for behavior in extraordinary circumstances are given.

Rybak is an experienced partisan, always successful in battle, physically strong and hardy. He does not particularly think about any moral principles. What goes without saying for him is completely impossible for Sotnikov. At first, the difference in their attitude to seemingly unprincipled things slips through in separate strokes. In the cold, Sotnikov goes on a mission in a cap, and Rybak asks why he didn’t take a hat from some peasant in the village. Sotnikov, on the other hand, considers it immoral to rob those men whom he is supposed to protect.

Once captured, both partisans try to find some way out. Sotnikov is tormented that he left the detachment without food; The fisherman only cares about his own life. The true essence of each is manifested in an extraordinary situation, in front of the threat of death. Sotnikov does not make any concessions to the enemy. His moral principles do not allow him to retreat before the Nazis even a single step. And he goes to the execution without fear, suffering only because he could not complete the task, which caused the death of other people. Even on the verge of death, conscience, responsibility to others do not leave Sotnikov. V. Bykov creates the image of a heroic personality who does not perform an obvious feat. He shows that moral maximalism, unwillingness to compromise one's principles even in the face of the threat of death, is tantamount to heroism.

Rybak behaves differently. Not an enemy by conviction, not a coward in battle, he turns out to be cowardly when faced with the enemy. The absence of conscience as the highest measure of actions makes him take the first step towards betrayal. The fisherman himself does not yet realize that the path he has set foot on is irreversible. He convinces himself that, having escaped, having escaped from the Nazis, he will still be able to fight them, take revenge on them, that his death is inappropriate. But Bykov shows that this is an illusion. Having taken one step on the path of betrayal, Rybak is forced to go further. When Sotnikov is executed, Rybak essentially becomes his executioner. Ry-baku no forgiveness. Even death, which he so feared before and which he now longs for in order to atone for his sin, departs from him.

The physically weak Sotnikov turned out to be spiritually superior to the strong Rybak. At the last moment before his death, the eyes of the hero meet the eyes of a boy in Budyonovka in a crowd of peasants driven to execution. And this boy is a continuation of life principles, Sotnikov's uncompromising position, a guarantee of victory.

In the 1960s and 1970s, military prose developed in several directions. The trend towards a large-scale depiction of the war was expressed in K. Simonov's trilogy The Living and the Dead. It covers the time from the first hours of hostilities to the summer of 1944, the period of the Belarusian operation. The main characters - political officer Sin-tsov, regiment commander Serpilin, Tanya Ovsyannikova - go through the whole story. In the trilogy, K. Simonov traces how an absolutely civilian Sintsov becomes a soldier, how he matures, hardens in the war, how he changes spiritual world. Serpilin is shown as a morally mature, mature person. This is a smart, thinking commander who went through a civil war, well, an academy. He protects people, does not want to throw them into a senseless battle just for the sake of reporting to the command about the timely capture of the point, that is, according to the Staff plan. His fate reflected tragic fate the whole country.

The "trench" point of view on the war and its events is expanded and supplemented by the view of the military leader, objectified by the author's analysis. The war in the trilogy appears as an epic co-existence, historical in meaning and nationwide in scope of resistance.

In the military prose of the 1970s, the psychological analysis of the characters set in extreme conditions, aggravated interest in moral problems. The strengthening of realistic tendencies is complemented by the revival of romantic pathos. Realism and romance are closely intertwined in the story “The Dawns Here Are Quiet…” by B. Vasiliev, “The Shepherd and the Shepherdess” by V. Astafiev. High heroic pathos permeates the work of B. Vasiliev, terrible in its naked truth, “He was not on the lists”. material from the site

Nikolai Pluzhnikov arrived at the Brest garrison on the evening before the war. He had not yet been added to the lists of personnel, and when the war began, he could have left with the refugees. But Pluzhnikov fights even when all the defenders of the fortress are killed. For several months, this courageous young man did not allow the Nazis to live in peace: he blew up, shot, appeared in the most unexpected places and killed enemies. And when, deprived of food, water, ammunition, he came out of the underground casemates into the light, a gray-haired, blinded old man appeared before the enemies. And on this day, Kolya turned 20 years old. Even the fascists bowed to courage Soviet soldier giving him military honour.

Nikolai Pluzhnikov died unconquered, death is right death. B. Vasiliev does not wonder why, knowing that Nikolai Pluzhnikov is fighting the enemy so stubbornly, knowing that he is not a warrior alone in the field, he is still a very young man who has not had time to live. He draws the very fact of heroic behavior, seeing no alternative to it. All defenders Brest Fortress fight heroically. B. Vasilyev continued in the 1970s the heroic-romantic line that originated in military prose in the first years of the war (Rainbow by V. Vasilevskaya, Invictus by B. Gorbatov).

Another trend in the depiction of the Great Patriotic War is associated with artistic and documentary prose, which is based on tape recordings and eyewitness accounts. Such “tape-recorded” prose originated in Belarus. Her first work was the book “I am from a fiery village” by A. Adamovich, I. Bryl, V. Kolesnikov, which recreates the tragedy of Khatyn. Terrible years Leningrad blockade in all its undisguised cruelty and naturalism, making it possible to understand how it was, what it felt, when it could still feel, a hungry person, stood on the pages of the "Blockade Book" by A. Adamovich and D. Granin. The war that went through the fate of the country did not spare either men or women. About women's destinies - the book by S. Aleksievich "War does not have a woman's face."

Prose about the Great Patriotic War is the most powerful and largest thematic branch of Russian and Soviet literature. From the external image of the war, she came to comprehend the deep internal processes that took place in the mind and psychology of a person placed in extreme military circumstances.

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Literature during the Great Patriotic War (gg.) The Great Patriotic War is an ordeal that befell the Russian people. The literature of that time could not remain aloof from this event.

On the first day of the war, at a rally of Soviet writers, the following words were heard: "Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of a holy people's war against the enemies of our Motherland." About two thousand writers went to the front, more than four hundred of them did not return (A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young). Front-line writers fully shared with their people both the pain of retreat and the joy of victories. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We lived our good age as people, and for people.”

Russian literature of the period of the Second World War became the literature of one theme - war, the theme of the Motherland. Writers felt like "trench poets" (A. Surkov), and all literature as a whole, according to apt expression A. Tolstova, was "the voice of the heroic soul of the people." The slogan "All forces - to defeat the enemy!" related directly to writers. Homeland, war, death and immortality, hatred of the enemy, military brotherhood and comradeship, love and loyalty, the dream of victory, reflection on the fate of the people - these are the main motives of military poetry. The theme of war, the theme of the motherland ...

Writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote. Oh book! Treasured friend! You're in a duffel bag fighter Went all the way victorious Until the very end. Your great truth Led us along. Your reader and author Went together into battle.

Changed in the lyrics of the war years and the nature of the so-called lyrical hero: first of all, he became more earthly, closer than in the lyrics of the previous period. Poetry, as it were, entered the war, and the war, with all its battle and everyday details, into poetry. Heroes often endure severe, sometimes inhuman hardships and suffering: It is time to lift ten generations The burden that we have lifted. (A. Surkov).

Representatives of literature during the war years 1. A.A. Surkov; 2. K.M. Simonov; 3. A.T. Tvardovsky; 4. A.N. Tolstoy; 5. M.I. Sholokhov; 6. A.A. Fadeev; 7. B.L. Gorbatov; 8. V.A. Sokolov; 9. V.S. Vysotsky; 10. V.A. Smolensky; 11. V.V. Mayakovsky; 12. V.L. British; 13. O. Bergholz.

In the poetry of the war years, three main genre groups of poems can be distinguished: 1) lyrical (ode, elegy, song), 2) satirical; 3) lyric-epic (ballads, poems). During the Great Patriotic War, not only poetic genres, but also prose were developed. It is represented by: - ​​journalistic and essay genres, - a military story and a heroic story. Journalistic genres are very diverse: - articles, - essays, - feuilletons, - appeals, letters, - leaflets. Articles were written by: Leonov, Alexei Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov.

Alexey Alexandrovich Surkov () Russian Soviet poet, public figure, lieutenant colonel (1943). Hero of Socialist Labor (1969). Winner of two Stalin Prizes (1946, 1951). Member of the CPSU (b) since 1925. During the Great Patriotic War In AA Surkov, as a war correspondent, he participated in the liberation campaigns in Western Belarus, the war with the White Finns, and then in the Great Patriotic War. His "December Diary" (1940), realistically depicting the difficulties of a harsh winter campaign and the "faces of camping friends", served as an approach to poems written during the Great Patriotic War collections: December near Moscow: June - December. "Roads Lead to the West": January-May 1942 I Sing Victory: 1943-1945. Particularly popular were his songs "The fire is beating in a quiet stove ...", the Song of the Bold (1941) and a number of poems, awarded in 1946 with the State Prize of the USSR.

Fire beats in a cramped stove, Resin on the logs, like a tear. And the accordion sings to me in the dugout About your smile and eyes. The bushes whispered to me about you In the snow-white fields near Moscow. I want you to hear how my living voice yearns. Poems by Aleksey Alexandrovich Surkov Here is a bomb-swept path, A black wall of knocked-out tanks. From this gati rolled back the German iron wave. Here trampled into snowdrifts, into virgin soil Steel helmets, flat bayonets. From here, for the first time in the entire war, Forward, to the west, regiments poured. We will save in songs for posterity The names of those burnt villages, Where beyond the last bitter frontier The night ended and the day began. Near Moscow, 1941

Konstantin Mikhailovich Simonov (), Soviet writer, public figure. Hero of Socialist Labor (1974). Laureate of Lenin (1974) and six Stalin Prizes (1942, 1943, 1946, 1947, 1949, 1950). Deputy Secretary General of the USSR Writers' Union. Member of the CPSU (b) since 1942. With the beginning of the war, he was drafted into the army, worked in the newspaper "Battle Banner". In 1942 he was awarded the rank of senior battalion commissar, in 1943 the rank of lieutenant colonel, and after the war, colonel. Most of his military correspondence was published in the Red Star. During the war years, he wrote the plays "Russian People", "Wait for Me", "So It Will Be", the story "Days and Nights", two books of poems "With You and Without You" and "War". As a war correspondent, he visited all fronts, passed through the lands of Romania, Bulgaria, Yugoslavia, Poland and Germany, and witnessed the last battles for Berlin. After the war, his collections of essays “Letters from Czechoslovakia”, “Slavic Friendship”, “Yugoslavian Notebook”, “From the Black Sea to the Barents Sea. Notes of a war correspondent.

1. Stalin Prize first degree (1942) for the play "A Boy from Our Town" 2. Stalin Prize of the second degree (1943) for the play "Russian People" 3. Stalin Prize of the second degree (1946) for the novel "Days and Nights" 4. Stalin Prize of the first degree (1947) for the play "The Russian Question" 5. Stalin Prize of the first degree (1949) for the collection of poems "Friends and Enemies" 6. Stalin Prize of the second degree (1950) for the play "An Alien Shadow" In the days of the farewell of the Soviet people to Stalin were published the following lines of K. M. Simonov: There are no such words to describe with them All the intolerance of grief and sadness. There are no such words to tell them, How we mourn for you, Comrade Stalin ... For special merits in the field of literary creativity, K. Simonov was awarded:

Wait for me and I will come back. Just wait a lot. Wait for the yellow rains to make you sad, Wait for the snow to sweep, Wait for the heat, Wait for others not to wait, Forgetting yesterday. Wait until no letters come from distant places, Wait until everyone who is waiting together gets bored. Wait for me and I'll be back, Don't wish good to everyone who knows by heart, That it's time to forget. Let the son and mother believe In the fact that there is no me, Let friends get tired of waiting, Sit by the fire, Drink bitter wine For the memory of the soul ... Wait. And with them at the same time Do not rush to drink.

Poems of the war years - they will help - to re-experience the richest range of feelings born of this time, and their unprecedented strength and sharpness - they will help to avoid the erroneous, one-sided idea of ​​a war-victory with unfurled banners, orchestras, orders, general rejoicing or about war - defeat with failures, deaths, blood, tears standing in the throat; - paint an objective picture, tell future generations the truth about unforgettable days. The liberation war is not only about death, blood and suffering. It's also giant ups and downs human spirit- selflessness, selflessness, heroism.

Terminological minimum Keywords: periodization, essay, "general's" prose, "lieutenant's" prose, memoirs, epic novel, "trench" literature, writer's diaries, memoirs, genre of documentary prose, historicism, documentary.

Plan

1. general characteristics literary process of the period of the Great Patriotic War (1941–1945).

2. The theme of the war as the main one in the development of the literary process of the late 1940s - early 1960s. (the opposition of "general" and "lieutenant" prose).

3. "Trench Truth" about the war in Russian literature.

4. Memoirs and fiction in literature about the Great Patriotic War.

Literature

Texts to study

1. Astafiev, V.P. Cursed and killed.

2. Bondarev Yu. V. Hot snow. Coast. The battalions are asking for fire.

3. Bykov, V. V. Sotnikov. Obelisk.

4. Vasiliev, B. L. Tomorrow was the war. Didn't appear on the list.

5. Vorobyov, K. D. This is us, Lord!

6. Grossman, V. S. Life and fate.

7. Kataev, V.P. The son of the regiment.

8. Leonov, L. M. Invasion.

9. Nekrasov, V.P. In the trenches of Stalingrad.

10. Simonov, K. M. Living and dead. Russian character.

11. Tvardovsky, A. T. Vasily Terkin.

12. Fadeev, A. A. Young Guard.

13. Sholokhov, M.A. They fought for the Motherland. The fate of man.

Main

1. Gorbachev, A. Yu. The military theme in the prose of the 1940s–90s. [Electronic resource] / A. Yu. Gorbachev. – Access mode: http://www. bsu.by>Cache /219533/.pdf (date of access: 04.06.2014)

2. Lagunovsky, A. General characteristics of the literature of the period of the Great Patriotic War [Electronic resource] / A. Lagunovsky. – Access mode: http://www. Stihi.ru /2009/08/17/2891 (date of access: 06/02/2014)

3. Russian literature of the XX century / ed. S. I. Timina. - M. : Academy, 2011. - 368 p.

Additional

1. Bykov, V. “These young writers saw the sweat and blood of war on their tunic”: correspondence between Vasily Bykov and Alexander Tvardovsky / V. Bykov; intro. Art. S. Shaprana // Questions of Literature. - 2008. - No. 2. - S. 296-323.

2. Kozhin, A. N. On the language of military documentary prose / A. N. Kozhin // Philological Sciences. - 1995. - No. 3. - P. 95–101.

3. Chalmaev, V. A. Russian prose 1980–2000: At the crossroads of opinions and disputes / V. A. Chalmaev // Literature at school. - 2002. - No. 4. - S. 18–23.

4. Man and war: Russian fiction about the Great Patriotic War: bibliographic list/ ed. S. P. Bavin. - M. : Ipno, 1999. - 298 p.

5. Yalyshkov, V. G. Military stories of V. Nekrasov and V. Kondratiev: experience of comparative analysis / V. G. Yalyshkov // Moscow University Bulletin. - Ser. 9. Philology. - 1993. - No. 1. - S. 27-34.

1. The Great Patriotic War is an inexhaustible theme in Russian literature. The material, the author's tone, plots, heroes change, but the memory of the tragic days lives on in books about it.

More than 1,000 writers went to the front during the war. Many of them directly participated in battles with the enemy, in the partisan movement. For military merit, 18 writers received the title of Hero of the Soviet Union. About 400 members of the Writers' Union did not return from the battlefields. Among them were both young, who published one book each, and experienced writers known to a wide range of readers: E. Petrov, A. Gaidar
and etc.

A significant part of professional writers worked in newspapers, magazines, mass media. War correspondent - this is the most common position of representatives fiction.

Lyrics turned out to be the most "mobile" type of literature. Here is a list of publications that appeared already in the first days of the war: on June 23, on the first page of Pravda, A. Surkov's poem “We swear by victory” appeared, on the second - by N. Aseev “Victory will be ours”; June 24 Izvestia publishes The Holy War by V. Lebedev-Kumach; June 25 Pravda publishes A. Surkov's Song of the Brave; On June 26, the Krasnaya Zvezda newspaper begins to publish a series of essays by I. Ehrenburg; On June 27, Pravda opens its journalistic cycle with the article “What We Defend”
A. Tolstoy. Such dynamics is indicative and reflects the demand for artistic material.

It is noteworthy that the theme of the lyrics has changed dramatically since the very first days of the war. Responsibility for the fate of the Motherland, the bitterness of defeat, hatred of the enemy, steadfastness, patriotism, loyalty to ideals, faith in victory - that was the leitmotif of all poems, ballads, poems, songs.

The lines from A. Tvardovsky's poem "To the Partisans of the Smolensk Region" became indicative: "Arise, all my land desecrated, against the enemy!" The "Holy War" by Vasily Lebedev-Kumach conveyed a generalized image of time:

May noble rage

Rip like a wave

- There is a people's war

Holy War![p.87]7

The odic verses, which expressed the anger and hatred of the Soviet people, were an oath of allegiance to the Fatherland, a guarantee of victory, reflected internal state million Soviet people.

The poets turned to the heroic past of the motherland, drew historical parallels, so necessary to raise morale: "The Word about Russia" by M. Isakovsky, "Rus" by D. Bedny, "The Thought of Russia"
D. Kedrina, "Field of Russian Glory" by S. Vasiliev.

An organic connection with Russian classical lyrics and folk art helped poets to reveal the features national character. Such concepts as "Motherland", "Rus", "Russia", "Russian heart", "Russian soul", often put in the title of works of art, acquired unprecedented historical depth and strength, poetic volume and imagery. So, revealing the character of the heroic defender of the city on the Neva, a Leningrader during the siege, O. Bergholz states:

You are Russian - by breath, blood, thought.

You were not united yesterday

Peasant patience Avvakum

And the royal fury of Peter [p.104].

A number of poems convey the feeling of a soldier’s love for his “small homeland”, for the house in which he was born, for the family that remained far away, for those “three birches”, where he left part of his soul, his pain, hope, joy ( "Motherland" by K. Simonov).

The mother woman, a simple Russian woman, who accompanied her brothers, husband and sons to the front, experienced the bitterness of irreparable loss, endured inhuman hardships, hardships and hardships on her shoulders, but did not lose her faith, the most touching lines of many writers of this time are dedicated.

Memorized every porch

Where did you have to go

I remembered all the women in the face,

Like my own mother.

They shared bread with us -

Whether wheat, rye, -

They took us to the steppe

Hidden path.

They hurt our pain,

Own misfortune does not count [p.72].

M. Isakovsky's poems "To the Russian Woman", lines from K. Simonov's poem "Do you remember, Alyosha, the roads of the Smolensk region ..." sound in the same key.

The truth of time, faith in victory permeate the poems of A. Prokofiev (“Comrade, have you seen ...”), A. Tvardovsky (“The Ballad of a Comrade”) and many other poets.

The work of a number of major poets is undergoing a serious evolution. So, the lyrics of A. Akhmatova reflect the high citizenship of the poetess, purely personal feelings received a patriotic sound. In the poem "Courage", the poetess finds words, images that embodied the irresistible stamina of the fighting people:

And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean.

And we will give to our grandchildren, and we will save from captivity

Forever! [p.91].

The fighting people equally needed both angry lines of hatred and sincere poems about love and fidelity. Examples of this are K. Simonov’s poems “Kill him!”, “Wait for me, and I will return ...”, A. Prokofiev “Comrade, you saw ...”, his poem “Russia”, full of love for the Motherland.

Front-line songs occupy a special place in the history of the development of Russian verse. Thoughts and feelings set to music create a special emotional background and perfectly reveal the mentality of our people (“Dugout” by A. Surkov, “Dark Night” by V. Agatov, “Spark”
M. Isakovsky, “Evening on the roadstead” by A. Churkin, “Roads” by L. Oshanin, “Here the soldiers are coming” by M. Lvovsky, “Nightingales” by A. Fatyanov, etc.).

We find the embodiment of the socio-moral, humanistic ideals of a struggling people in such a large epic genre as a poem. The years of the Great Patriotic War became for the poem no less fruitful period than the era of the 1920s. "Kirov with us" (1941) N. Tikhonova, "Zoya" (1942) M. Aliger, "Son" (1943) P. Antakolsky, "February Diary" (1942) O. Bergholz, "Pulkovo Meridian" (1943)
V. Inber, "Vasily Terkin" (1941-1945) A. Tvardovsky - here the best samples poetry of that period. A distinctive feature of the poem as a genre at this time is pathos: attention to specific, easily recognizable details, the synthesis of personal thoughts about family, love and great history, about the fate of the country and the planet, etc.

The evolution of the poets P. Antakolsky and V. Inber is indicative. From the glut of associations and reminiscences of pre-war poetry
P. Antakolsky moves from thinking about the fate of a particular person to all of humanity as a whole. The poem "Son" captivates with a combination of lyricism with high pathos, heartfelt sincerity with a civil beginning. Here, the poignantly personal turns into the general. High civil pathos, socio-philosophical reflections determine the sound of V. Inber's military poetry. "Pulkovo Meridian" is not only a poem about the humanistic position of the Russian people, it is a hymn to the feelings and feat of every person who fights for the Motherland and freedom.

The poem of the war years was distinguished by a variety of stylistic, plot and compositional solutions. It synthesizes the principles and techniques of the narrative and lofty romantic style. So, M. Aliger's poem "Zoya" is marked by an amazing fusion of the author with the spiritual world of the heroine. It inspiredly and accurately embodies moral maximalism and integrity, truth and simplicity. Moscow schoolgirl Zoya Kosmodemyanskaya, without hesitation, voluntarily chooses a harsh share. The poem "Zoya" is not so much a biography of the heroine as a lyrical confession on behalf of a generation whose youth coincided with a formidable and tragic time in the history of the people. At the same time, the three-part construction of the poem conveys the main stages in the formation of the spiritual image of the heroine. At the beginning of the poem, with light but precise strokes, only the appearance of the girl is outlined. Gradually, a great social theme enters the beautiful world of her youth (“We lived in the world light and spacious ...”), a sensitive heart absorbs the anxieties and pain of the “shocked planet”. apotheosis short life becomes the final part of the poem. About the inhuman torture that Zoya is subjected to in the fascist dungeon, it is said sparingly, but strongly, journalistically sharp. The name and image of the Moscow schoolgirl, whose life ended so tragically early, have become a legend.

A. T. Tvardovsky's poem "Vasily Terkin" became world famous - the largest, most significant poetic work of the era of the Great Patriotic War. Tvardovsky achieved a synthesis of the particular and the general: the individual image of Vasily Terkin and the image of the Motherland are different in the artistic concept of the poem. This is a multifaceted poetic work, covering not only all aspects of front-line life, but also the main stages of the Great Patriotic War. In the immortal image of Vasily Terkin, the features of the Russian national character of that era were embodied with special force. Democracy and moral purity, grandeur and simplicity of the hero are revealed by means of folk poetry, the structure of his thoughts and feelings is related to the world of images of Russian folklore.

The era of the Great Patriotic War gave rise to poetry, remarkable in its strength and sincerity, angry journalism, harsh prose, and passionate dramaturgy.

During the war years, more than 300 plays were created, but few were lucky enough to survive their time. Among them: "Invasion" by L. Leonov, "Front" by A. Korneichuk, "Russian people" by K. Simonov, "Officer of the Navy" by A. Kron, "Song of the Black Sea" by B. Lavrenev, "Stalingraders" by Y. Chepurin and others .

Plays were not the most mobile genre of that time. The turning point in dramaturgy was 1942.

Drama L. Leonov "Invasion" was created in the most difficult time. The small town where the events of the play unfold is a symbol of the nationwide struggle against the invaders. The significance of the author's intention lies in the fact that the conflicts of the local plan are comprehended by him in a broad socio-philosophical key, the sources that feed the power of resistance are revealed. The action of the play takes place in Dr. Talanov's apartment. Unexpectedly for everyone, Talanov's son Fyodor returns from prison. Almost simultaneously, the Germans enter the city. And with them appears the former owner of the house in which the Talanovs live, the merchant Fayunin, who soon became the mayor. The intensity of the action grows from scene to scene. The honest Russian intellectual doctor Talanov does not imagine his life away from the struggle. Next to him is his wife Anna Pavlovna and daughter Olga. There is no question of the need to fight behind enemy lines for the chairman of the city council, Kolesnikov: he heads a partisan detachment. This is one - the central - layer of the play. However, Leonov, a master of deep and complex dramatic collisions, is not content with just this approach. Deepening the psychological line of the play, he introduces one more person - the son of the Talanovs. The fate of Fedor turned out to be confusing, difficult. Spoiled as a child, selfish, selfish, he returns to his father's house after a three-year imprisonment as punishment for an attempt on the life of his beloved. Fedor is gloomy, cold, wary. The words of his father spoken at the beginning of the play about the nationwide grief do not touch Fyodor: personal adversity overshadows everything else. He is tormented by the lost trust of people, which is why Fedor is uncomfortable in the world. With their minds and hearts, the mother and the nanny realized that Fyodor hid his pain, the longing of a lonely, unhappy person under a jester's mask, but they cannot accept his former. Kolesnikov's refusal to take Fyodor into his detachment hardens the heart of young Talanov even more. It took time for this man who once lived only for himself to become a people's avenger. Fedor, captured by the Nazis, pretends to be a commander partisan detachment to die for him. Psychologically convincing Leonov draws Fedor's return to the people. The play consistently reveals how war, nationwide grief, suffering kindle in people hatred and a thirst for revenge, a willingness to give their lives for the sake of victory. This is how we see Fedor in the finale of the drama.

For Leonov, the interest in the human character in all the complexity and inconsistency of his nature, which is made up of social and national, moral and psychological, is natural. The stage history of Leonov's works during the Great Patriotic War (except for "Invasion", the drama "Lenushka", 1943, was also widely known), which bypassed all the main theaters of the country, once again confirms the skill of the playwright.

If L. Leonov reveals the topic heroic deed and the indestructibility of the patriotic spirit by means of in-depth psychological analysis, then K. Simonov in the play "Russian People" (1942), posing the same problems, uses the techniques of lyrics and journalism of an open folk drama. The action in the play takes place in the autumn of 1941 on the Southern Front. The focus of the author's attention is both the events in Safonov's detachment, located not far from the city, and the situation in the city itself, where the occupiers are in charge. “Russian People” is a play about the courage and steadfastness of ordinary people who had very peaceful professions before the war: about the driver Safonov, his mother Marfa Petrovna, nineteen-year-old Valya Anoshchenko, who drove the chairman of the city council, paramedic Globa. They would build houses, teach children, create beautiful things, love, but the cruel word "war" dispelled all hopes. People take rifles, put on overcoats, go into battle.

The play "Russian People" in the summer of 1942, during the most difficult time of the war, was staged in a number of theaters. The success of the play was also explained by the fact that the playwright showed the enemy not as a primitive fanatic and sadist, but as a sophisticated conqueror of Europe and the world, confident in his impunity.

The theme of a number of interesting dramatic works was the life and heroic deeds of our fleet. Among them: psychological drama
A. Kron "Officer of the Navy" (1944), lyrical comedy Vs. Azarova,
Sun. Vishnevsky, A. Kron "The wide sea spread" (1942), oratorio by B. Lavrenev "Song of the Black Sea" (1943).

Certain achievements were achieved during this period by the historical drama. Such were written historical plays, as the tragedy of V. Solovyov "The Great Sovereign", A. Tolstoy's dilogy "Ivan the Terrible", etc. turning points, the difficult times of the Russian people - this is the main component of such dramas.

However, journalism reaches its peak during the Great Patriotic War. The largest masters of the artistic word - L. Leonov, A. Tolstoy, M. Sholokhov - also became outstanding publicists. The bright, temperamental word of I. Ehrenburg enjoyed popularity at the front and in the rear. An important contribution to the journalism of those years was made by A. Fadeev, V. Vishnevsky, N. Tikhonov.

A. N. Tolstoy (1883–1945) wrote more than 60 articles and essays during the period 1941–1944. (“What We Defend”, “Rodina”, “Russian Warriors”, “Blitzkrieg”, “Why Hitler Must Be Defeated”, etc.). Turning to the history of the motherland, he convinced his contemporaries that Russia would cope with a new disaster, as it happened more than once in the past. "Nothing, we'll do it!" - that's the keynote journalism of A. Tolstoy.

L. M. Leonov also constantly turned to national history, but with particular acuteness he spoke about the responsibility of every citizen, because only in this he saw the guarantee of the coming victory (“Glory to Russia”, “Your brother Volodya Kurylenko”, “Rage”, “Massacre”, "Unknown American Friend", etc.).

The central theme of the military journalism of I. G. Ehrenburg is the defense of universal culture. He saw fascism as a threat to world civilization and emphasized that representatives of all nationalities of the USSR were fighting for its preservation (the articles “Kazakhs”, “Jews”, “Uzbeks”, “Caucasus”, etc.). The style of Ehrenburg's journalism was distinguished by the sharpness of colors, the suddenness of transitions, and metaphor. At the same time, the writer skillfully combined documentary materials, a verbal poster, a pamphlet, and a caricature in his works. Ehrenburg's essays and journalistic articles were compiled in the collection "War".

The second most mobile after the journalistic article was the military feature article . Documentaryism has become the key to the popularity of publications
V. Grossman, A. Fadeev, K. Simonov - writers whose words, created in hot pursuit, were awaited by readers at the front and in the rear. He owns descriptions of military operations, portrait travel sketches.

Leningrad became main theme essay writing by V. Grossman. In 1941, he was enrolled in the staff of the Krasnaya Zvezda newspaper. Grossman kept records throughout the war. His Stalingrad essays, harsh, devoid of pathos ("Through Chekhov's Eyes", etc.), formed the basis of the idea great work, which later became the dilogy "Life and Fate".

Since most of the short stories, which were few in those years, were built on a documentary basis, the authors most often resorted to the psychological characteristics of the characters, described specific episodes, and often kept the names of real people. So, during the days of the war, a certain hybrid form appeared in Russian literature. essay-story. This type of works includes "The Honor of the Commander" by K. Simonov, "The Science of Hatred" by M. Sholokhov, the cycles "Stories of Ivan Sudarev"
A. Tolstoy and "Sea Soul" L. Sobolev.

The art of journalism has gone through several major stages in four years. If in the first months of the war she was characterized by a nakedly rationalistic manner, often abstractly schematic ways of depicting the enemy, then at the beginning of 1942 journalism was enriched with elements of psychological analysis. In the fiery word of the publicist, both a meeting note and an appeal to the spiritual world of a person sound. The next stage coincided with a turning point in the course of the war, with the need for an in-depth socio-political examination of the fascist front and rear, ascertaining the root causes of the impending defeat of Hitlerism and the inevitability of just retribution. These circumstances caused an appeal to such genres as pamphlet and review.

At the final stage of the war, there was a tendency towards documentary. For example, in "Windows TASS", along with the graphic design of posters, the method of photomontage was widely used. Writers and poets introduced diary entries, letters, photographs and other documentary evidence into their works.

Publicism of the war years is a qualitatively different stage in the development of this martial and effective art compared to previous periods. The deepest optimism, unshakable faith in victory - that's what supported publicists even in the most difficult times. Their speeches were especially powerful due to the appeal to history, the national origins of patriotism. Important feature journalism of that time - the widespread use of leaflets, posters, cartoons.

Already in the first two years of the war, more than 200 stories were published. Of all the prose genres, only the essay and the short story could compete in popularity with the short story. The story is a genre very characteristic of the Russian national tradition. It is well known that in the 1920s and 1930s psychological-everyday, adventure and satirical-humorous varieties of the genre dominated. During the Great Patriotic War (as well as during the Civil War), the heroic, romantic story came to the fore.

The desire to reveal the harsh and bitter truth of the first months of the war, the achievements in the field of creating heroic characters marked the "Russian story" (1942) by Pyotr Pavlenko and the story of V. Grossman "The people are immortal." However, there are differences between these works in the way the theme is implemented.

A characteristic feature of the military prose of 1942-1943. - the emergence of short stories, cycles of stories connected by unity actors, the image of the narrator or a lyrical cross-cutting theme. This is how the “Stories of Ivan Sudarev” by A. Tolstoy, “Sea Soul” by L. Sobolev, “March-April” by V. Kozhevnikov are constructed. The drama in these works is set off by lyrical and at the same time sublimely poetic, romantic trait which helps to reveal the spiritual beauty of the hero. Penetration into the inner world of a person deepens. The socio-ethical origins of patriotism are revealed more convincingly and artistically.

By the end of the war, the tendency of prose to a broad epic comprehension of reality is noticeable, which is convincingly proved by two famous writers - M. Sholokhov (the novel that the author never managed to finish - "They fought for the Motherland") and A. Fadeev ("The Young Guard" ). The novels are notable for their social scale, the discovery of new ways in the interpretation of the theme of war. So, M. A. Sholokhov makes a bold attempt to portray the Great Patriotic War as truly folk epic. The very choice of the main characters, ordinary infantry - the grain grower Zvyagintsev, the miner Lopakhin, the agronomist Streltsov - indicates that the writer seeks to show different sectors of society, to trace how the war was perceived different people and what paths led them to a huge, truly national Victory.

The spiritual and moral world of Sholokhov's heroes is rich and diverse. The artist paints broad pictures of the era: sad episodes of retreats, scenes of violent attacks, the relationship between soldiers and civilians, short hours between fights. At the same time, the whole gamut of human experiences is traced - love and hate, severity and tenderness, smiles and tears, tragic and comic.

If the novel by M. A. Sholokhov was not completed, then the fate of other works was remarkable, they, like in a mirror, reflected the era. For example, the autobiographical story by K. Vorobyov “This is us, Lord!” was written in 1943, when a group of partisans, formed from former prisoners of war, was forced to go underground. Exactly thirty days in the Lithuanian city of Siauliai, K. Vorobyov wrote about what he had experienced in fascist captivity. In 1946, the manuscript was received by the editors of the Novy Mir magazine. At that moment, the author had submitted only the first part of the story, so the issue of its publication was postponed until the end appeared. However, the second part was never written. Even in personal archive the writer's story has not been preserved in its entirety, but some of its fragments were included in some other works of Vorobyov. Only in 1985 the manuscript “This is us, Lord!” was discovered in the Central State Archive of Literature and Art of the USSR, where it was handed over together with the archive of the "New World". In 1986, the story of K. Vorobyov finally saw the light of day. Main character works Sergei Kostrov - a young lieutenant who was captured by the Germans in the first year of the war. The whole story is devoted to describing the life of Soviet prisoners of war in German camps. In the center of the work is the fate of the protagonist, which can be described as "the path to freedom."

If the work of K. Vorobyov is a tracing paper of his life, then A. Fadeev relies on specific facts and documents. At the same time, Fadeev's "Young Guard" is romantic and revealing, just like the fate of the author of the work.

In the first chapter, a distant echo of anxiety sounds, in the second, a drama is shown - people leave their native places, mines are blown up, a sense of folk tragedy permeates the narrative. There is a crystallization of the underground, the connections of the young fighters of Krasnodon with the underground workers appear and grow stronger. The idea of ​​the continuity of generations determines the basis of the plot construction of the book and is expressed in the image of the underground (I. Protsenko, F. Lyutikov). Representatives of the older generation and Young Guard Komsomol members act as a single people's force opposing Hitler's "new order".

First completed the novel about the Patriotic War was "The Young Guard" by A. Fadeev, published in 1945 (the second book - in 1951). After the liberation of Donbass, Fadeev wrote an essay on the death of the Krasnodon youth "Immortality" (1943), and then conducted a study of the activities of an underground youth organization that independently operated in the town occupied by the Nazis. Severe and austere realism coexists with romance, objectified narration is interspersed with agitated lyrics of the author's digressions. When recreating individual images, the role of the poetics of contrast is also very significant (Lyutikov’s strict eyes and the sincerity of his nature; Oleg Koshevoy’s emphatically boyish appearance and not at all childish wisdom of his decisions; Lyubov Shevtsova’s dashing carelessness and impudent courage of her actions, invincible will). Even in the appearance of the heroes, Fadeev does not deviate from his favorite trick: Protsenko's “clear blue eyes” and “demonic sparks” in them; the "severely tender expression" of Oleg Koshevoy's eyes; White Lily in the black hair of Ulyana Gromova; "blue children's eyes with a hard steel tint" in Lyubov Shevtsova.

The history of the existence of the novel in world literature is remarkable. The fate of the work is indicative of the literary samples of the Soviet era.

Application of brainstorming technology

Terms and conditions: performance of the pre-lecture task, division into groups (4-5 people).

If in the 1945 edition A. A. Fadeev did not dare to write about the existence in Krasnodon of another - non-Komsomol - anti-fascist underground, then in the new version of the novel (1951) an ideologically conditioned slyness is added to this default: the author claims that the creators and Communists were the leaders of the organization of the Young Guard. Thus, Fadeev denies his beloved heroes an important initiative. In addition, this book served as the basis for criminal prosecution, often unfounded, of real people who became the prototypes of negative characters.

And yet, in our opinion, it should be noted that to this day this novel has not lost its relevance, including pedagogical.

2. The theme of the Great Patriotic War occupies a special place in Russian multinational literature. In the 1940s and 1950s, it developed a tradition of portraying the war as a heroic period in the life of the country. With this angle, there was no room to show her tragic aspects. Throughout the 1950s. in the literature about the war, there is clearly a tendency towards a panoramic image of the events that took place in large art canvases. The appearance of epic novels is one of the characteristic features Russian Literature of the 1950s–1960s

The turning point occurred only with the beginning of the “thaw”, when the novels of front-line writers saw the light of day: “Battalions ask for fire” (1957) by Y. Bondarev, “South of the main blow” (1957) by G. Baklanov, “Crane cry” (1961), “ The Third Rocket (1962) by V. Bykov, Starfall (1961) by V. Astafyeva, One of Us (1962) by V. Roslyakov, Scream (1962), Killed near Moscow (1963) by K. Vorobyov and others. Such a surge of interest in the military theme predetermined the emergence of a whole trend called "lieutenant prose."

"Lieutenant's prose" is the work of writers who went through the war, survived and brought to the reader's judgment their combat experience in one form or another. As a rule, this is fiction, most of which has an autobiographical character. The aesthetic principles of "lieutenant prose" had a noticeable impact on the entire literary process of the second half of the 20th century. However, to date there is no generally accepted definition of this literary movement. It is interpreted in different ways: as prose created by front-line soldiers who went through the war with the rank of lieutenants, or as prose, the main characters of which are young lieutenants. The “general's prose” is characterized in a similar way, which refers to works created in the “general's” (epic novel) format by the “generals” of literature (for example, K. Simonov).

Speaking about the works created by front-line writers who explore the formation of a young participant in the war, we will resort to the concept of "lieutenant's prose" as the most widely used. At its origins was the novel by V. Nekrasov "In the trenches of Stalingrad." The author, having himself gone through the war as an officer of a sapper battalion, was able to art form to show the "trench truth", in which the heroes were a simple soldier, a simple officer. And the victory was won by ordinary people - the people. This theme became central to the best military prose of the 1950s and 1960s.

In this regard, the following authors and their works can be mentioned. The story of K. Vorobyov (1919-1975) "Killed near Moscow" (1963) is written very emotionally, but realistically. Plot: A company of Kremlin cadets under the command of a slender, fit captain Ryumin was sent to defend Moscow. A company of soldiers and the defense of Moscow! The company died, and Captain Ryumin shot himself - he put a bullet in his heart, as if atoning for his sin for the death of inexperienced boys. They, the Kremlin cadets, are slender, one hundred and eighty-three centimeters tall, everything is just right and they are sure that the command values ​​them, because they are a special unit. But the cadets are abandoned by their command, and Captain Ryumin leads them into a deliberately unequal battle. There was practically no battle, there was an unexpected and stunning attack by the Germans, from which it was impossible to escape anywhere - they were controlled by the NKVD troops from behind.

Y. Bondarev in the novel "Hot Snow" (1965-1969) tried to develop the traditions of "lieutenant's prose" at a new level, entering into a covert polemic with its characteristic "Remarqueism". Moreover, by that time, “lieutenant prose” was experiencing a certain crisis, which was expressed in a certain monotony of artistic techniques, plot moves and situations, and in the repetition of the very system of images of works. The action of the novel by Y. Bondarev fits into a day, during which the battery of Lieutenant Drozdovsky, which remained on the southern coast, repelled the attacks of one of the tank divisions of the Manstein group, rushing to help Marshal Paulus's army, which was encircled near Stalingrad. However, this particular episode of the war turns out to be the turning point from which the victorious offensive of the Soviet troops began, and for this reason alone the events of the novel unfold, as it were, on three levels: in the trenches of an artillery battery, at the headquarters of the army of General Bessonov, and, finally, at the headquarters of the Supreme Commander, where the general, before being appointed to the active army, has to endure the most difficult psychological duel with Stalin himself. Battalion commander Drozdovsky and the commander of one of the artillery platoons, Lieutenant Kuznetsov, personally meet General Bessonov three times.

Describing the war as a “test of humanity”, Y. Bondarev only expressed what determined the face of the military story of the 1960s–1970s: many battle prose writers focused in their works precisely on the depiction of the inner world of the characters and the refraction of the experience of war in it. , on the transfer of the very process of a person's moral choice. However, the writer's predilection for favorite characters was sometimes expressed in the romanticization of their images - a tradition set by A. Fadeev's novel The Young Guard (1945). In this case, the character of the characters did not change, but only revealed as clearly as possible in the exceptional circumstances in which the war placed them.

This trend was most clearly expressed in the stories of B. Vasiliev "The Dawns Here Are Quiet" (1969) and "I Was Not on the Lists" (1975). The peculiarity of the writer's military prose is that he always chooses episodes that are insignificant from the point of view of global historical events, but which speak a lot about the highest spirit of those who were not afraid to oppose the superior forces of the enemy and won. Critics saw a lot of inaccuracies and even "impossibility" in B. Vasiliev's story "The Dawns Here Are Quiet", the action of which develops in the forests and swamps of Karelia (for example, the White Sea-Baltic Canal, which is targeted by a sabotage group, has not been active since the autumn of 1941 ). But the writer was not interested in historical accuracy here, but in the situation itself, when five fragile girls, led by foreman Fedot Baskov, entered into an unequal battle with sixteen thugs.

The image of Baskov, in essence, goes back to Lermontov's Maxim Maksimych - a man, perhaps poorly educated, but whole, wise in life and endowed with a noble and kind heart. Vaskov does not understand the intricacies of world politics or fascist ideology, but he feels with his heart the bestial essence of this war and its causes, and cannot justify the death of five girls with any higher interests.

In the image of anti-aircraft gunners, the typical fates of women of the pre-war and war years were embodied: different social status and educational level, different characters, interests. However, with all the accuracy of life, these images are noticeably romanticized: in the image of the writer, each of the girls is beautiful in her own way, each is worthy of her biography. And the fact that all the heroines die underlines the inhumanity of this war, affecting the lives of even the most distant people from it. The fascists are opposed by the contrast to the romanticized images of girls. Their images are grotesque, deliberately reduced, and this expresses the main idea of ​​the writer about the nature of a person who has embarked on the path of murder. This thought illuminates with particular clarity that episode of the story in which Sonya Gurvich's dying cry sounds, which escaped because the knife was intended for a man, but fell on a woman's chest. With the image of Liza Brichkina, a line is introduced into the story possible love. From the very beginning, Vaskov and Liza liked each other: she was to him - figure and sharpness, he to her - male solidity. Lisa and Vaskov have a lot in common, but the heroes did not succeed in singing together, as the foreman promised: the war destroys the nascent feelings in the bud. The end of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who became an accidental witness to the return of Vaskov to the place of death of the girls, along with his adopted son, Rita Albert. Thus, the return of the hero to the place of his feat is shown through the eyes of a generation whose right to life was defended by people like Vaskov. Such a symbolization of images, a philosophical understanding of situations of moral choice are very characteristic of a military story. Prose writers thus continue the reflections of their predecessors on the "eternal" questions about the nature of good and evil, the degree of human responsibility for actions seemingly dictated by necessity. Hence the desire of some writers to create situations that, in their universality, semantic capacity and categorical moral and ethical conclusions, would approach a parable, only colored by the author's emotion and enriched with quite realistic details.

Not without reason, even the concept " philosophical tale about the war”, associated primarily with the work of the Belarusian prose writer Vasil Bykov, with such stories as “Sotnikov” (1970), “Obelisk” (1972), “Sign of Trouble” (1984). V. Bykov's prose is often characterized by a too straightforward opposition of a person's physical and moral health. However, the inferiority of the soul of some heroes is not revealed immediately, not in everyday life: a “moment of truth” is needed, a situation of categorical choice that immediately reveals the true essence of a person. Rybak, the hero of V. Bykov's story "Sotnikov", is full of vitality, knows no fear, and Rybak's comrade, ailing, not distinguished by power, with "thin hands" Sotnikov gradually begins to seem like a burden to him. Indeed, largely due to the fault of the last sortie of two partisans ended in failure. Sotnikov is a purely civilian person. Until 1939 he worked at a school physical strength he is replaced by stubbornness. It was stubbornness that prompted Sotnikov three times to try to get out of the encirclement in which his defeated battery found itself, before the hero got to the partisans. Whereas Rybak, from the age of 12, was engaged in hard peasant labor and therefore endured it more easily. physical exercise and deprivation. It is also noteworthy that Rybak is more prone to moral compromises. So, he is more tolerant of the elder Peter than Sotnikov, and does not dare to punish him for serving the Germans. Sotnikov, on the other hand, is not inclined to compromise at all, which, however, according to V. Bykov, testifies not to the limitations of the hero, but to his excellent understanding of the laws of war. Indeed, unlike Rybak, Sotnikov already knew what captivity was, and managed to pass this test with honor, because he did not compromise with his conscience. The "moment of truth" for Sotnikov and Rybak was their arrest by the police, the scene of interrogation and execution. The fisherman, who has always found a way out of any situation before, tries to outwit the enemy, not realizing that, embarking on such a path, he will inevitably come to betrayal, because he has already placed his own salvation above the laws of honor and camaraderie. Step by step, he yields to the enemy, refusing first to think about saving the woman who sheltered them with Sotnikov in the attic, then about saving Sotnikov himself, and then his own soul. Finding himself in a hopeless situation, Rybak, in the face of imminent death, chickened out, preferring animal life to human death.

The change in the approach to conflicts in military prose can also be traced when analyzing the works of different years of one writer. Already in the first stories, V. Bykov sought to free himself from stereotypes when depicting war. In the field of view of the writer is always extremely tense situations. Heroes are faced with the need to make their own decisions. So, for example, it was with Lieutenant Ivanovsky in the story “To Live Until Dawn” (1972) - he risked himself and those who went on a mission with him and died. The warehouse with weapons for which this sortie was organized was not found. In order to somehow justify the sacrifices already made, Ivanovsky hopes to blow up the headquarters, but he could not be found either. In front of him, mortally wounded, a convoy appears, into which the lieutenant, having collected the remaining forces, throws a grenade. V. Bykov made the reader think about the meaning of the concept of "feat".

At one time, there were disputes about whether teacher Frost in Obelisk (1972) can be considered a hero if he did not do anything heroic, did not kill a single fascist, but only shared the fate of the dead students. Characters and other stories of V. Bykov did not correspond to the standard ideas about heroism. Critics were embarrassed by the appearance of a traitor in almost every one of them (Rybak in Sotnikov, 1970; Anton Golubin in Go and Not Return, 1978, etc.), who until the fateful moment was an honest partisan, but gave in when he had to take risks for the sake of saving your own life. For V. Bykov, it was not important from which observation point the observation was being made, it was important how the war was seen and portrayed. He showed the versatility of actions performed in extreme situations. The reader was given the opportunity, not rushing to condemn, to understand those who were clearly wrong.

In the works of V. Bykov, the connection between the military past and the present is usually emphasized. In The Wolf Pack (1975), a former soldier recalls the war, having come to the city to look for the baby he once saved and make sure that such a high price was not paid for his life in vain (his father and mother died, and he, Levchuk, became disabled) . The story ends with a premonition of their meeting.

Another veteran, Associate Professor Ageev, is digging up a quarry (Quarry, 1986), where he was once shot, but miraculously survived. The memory of the past haunts him, makes him rethink the past again and again, ashamed of thoughtless fears about those who, like the priest Baranovskaya, bore the label of the enemy.

In the 1950s–1970s several major works appear, the purpose of which is an epic coverage of the events of the war years, understanding the fate of individuals and their families in the context of the nation's fate. In 1959, the first novel "The Living and the Dead" of the trilogy of the same name by K. Simonov was published, the second novel "Soldiers Are Not Born" and the third "Last Summer" were published, respectively, in 1964 and 1970-1971. In 1960, a draft of V. Grossman's novel "Life and Fate", the second part of the dilogy "For a Just Cause" (1952), was completed, but a year later the manuscript was arrested by the KGB, so wide reader in his homeland he was able to get acquainted with the novel only in 1988.

In the first book of K. Simonov's trilogy "The Living and the Dead" the action takes place at the beginning of the war in Belarus and near Moscow in the midst of military events. War correspondent Sintsov, leaving the encirclement with a group of comrades, decides to leave journalism and join the regiment of General Serpilin. human history these two heroes and is in the focus of the author's attention, not disappearing behind the large-scale events of the war. The writer touched on many topics and problems that were previously impossible in Soviet literature: he spoke about the country's unpreparedness for war, about the repressions that weakened the army, about the mania of suspicion, inhumane attitude to a person. The writer's success was the figure of General Lvov, who embodied the image of a Bolshevik fanatic. Personal courage and faith in a happy future are combined in him with a desire to mercilessly eradicate everything that, in his opinion, interferes with this future. Lvov loves abstract people, but is ready to sacrifice people, throwing them into senseless attacks, seeing in a person only a means to achieve lofty goals. His suspicion extends so far that he is ready to argue with Stalin himself, who freed several talented military men from the camps. If General Lvov is the ideologist of totalitarianism, then his practitioner, Colonel Baranov, is a careerist and a coward. Speaking loud words about duty, honor, courage, writing denunciations against his colleagues, he, being surrounded, puts on a soldier's tunic and "forgets" all the documents. Telling the harsh truth about the beginning of the war, K. Simonov at the same time shows the people's resistance to the enemy, depicting the feat of the Soviet people who stood up to defend their homeland. These are also episodic characters (artillerymen who did not abandon their cannon, dragging it in their arms from Brest to Moscow; an old collective farmer who scolded the retreating army, but at the risk of his life saved the wounded in his house; Captain Ivanov, who collected frightened soldiers from broken units and leading them into battle), and the main characters are Serpilin and Sintsov.
General Serpilin, conceived by the author as an episodic person, did not accidentally gradually become one of the main characters of the trilogy: his fate embodied the most complex and at the same time the most typical features of a Russian person of the 20th century. A participant in the First World War, he became a talented commander in the Civil War, taught at the academy and was arrested on the denunciation of Baranov for telling his listeners about the strength of the German army, while all the propaganda insisted that in the event of war we would defeat the small blood, and we will fight on foreign territory. Released from the concentration camp at the beginning of the war, Serpilin, by his own admission, "forgot nothing and did not forgive anything", but he realized that it was not the time to indulge in insults - it was necessary to save the Motherland. Outwardly stern and laconic, demanding of himself and his subordinates, he tries to take care of the soldiers, suppresses any attempts to achieve victory at any cost. In the third book of the novel, K. Simonov showed the ability of this person to great love. Another central character novel - Sintsov - was originally conceived by the author solely as a war correspondent for one of central newspapers. This made it possible to throw the hero to the most important sectors of the front, creating a large-scale chronicle novel. At the same time, there was a danger of depriving him of his individuality, making him only a mouthpiece for the author's ideas. The writer quickly realized this danger and already in the second book of the trilogy he changed the genre of his work: the chronicle novel became a novel of destinies, in the aggregate recreating the scale folk battle with the enemy. And Sintsov became one of the acting characters, who suffered injuries, encirclement, participation in the November parade of 1941 (from where the troops went straight to the front). The fate of the war correspondent was replaced by a soldier's lot: the hero went from a private to a senior officer.

Having finished the trilogy, K. Simonov sought to supplement it, to emphasize the ambiguity of his position. This is how Different Days of the War appeared (1970–1980), and after the writer's death Letters about the War (1990) were published.

Quite often, the epic novel by K. Simonov is compared with the work of V. Grossman "Life and Fate". War, Battle of Stalingrad- only one of the components of the grandiose epic of V. Grossman "Life and Fate", although the main action of the work takes place precisely in 1943 and the fate of most of the heroes is somehow connected with the events taking place around the city on the Volga. The image of a German concentration camp in the novel is replaced by scenes in the dungeons of the Lubyanka, and the ruins of Stalingrad are replaced by the laboratories of an institute evacuated to Kazan, where the physicist Strum is struggling with the mysteries of the atomic nucleus. However, it is not “folk thought” or “family thought” that determines the face of the work - in this the epic of V. Grossman is inferior to the masterpieces of L. Tolstoy and M. Sholokhov. The writer is focused on something else: the concept of freedom becomes the subject of his thoughts, as evidenced by the title of the novel. V. Grossman contrasts fate as the power of fate or objective circumstances that dominate a person with life as a free realization of the personality, even in conditions of its absolute lack of freedom. The writer is convinced that one can arbitrarily dispose of the lives of thousands of people, essentially remaining a slave like General Neudobnov or Commissar Getmanov. And you can die unconquered in the gas chamber of a concentration camp: this is how military doctor Sofya Osipovna Levinton dies, until the last minute only caring about how to alleviate the torment of the boy David.

The latent thought of V. Grossman, that the source of freedom or lack of freedom of the individual is in the personality itself, explains why the defenders of the House of Grekov, doomed to death, turn out to be much freer than Krymov, who came to judge them. Krymov's consciousness is enslaved by ideology, he is in a sense a "man in a case", albeit not as blinkered as some other heroes of the novel. Even I. S. Turgenev in the image of Bazarov, and then F. M. Dostoevsky convincingly showed how the struggle between “dead theory” and “living life” in the minds of such people often ends in the victory of theory: it is easier for them to recognize the “wrongness” of life than unfaithfulness "the only true" idea, designed to explain this life. And therefore, when Obersturmbannfuehrer Liss convinces the old Bolshevik Mostovsky in a German concentration camp that there is much in common between them (“We are a form of a single entity - a party state”), Mostovsky can answer his enemy only with silent contempt. He almost feels with horror how “dirty doubts” suddenly appear in his mind, not without reason called by V. Grossman “dynamite of freedom”. The writer still sympathizes with such “hostages of the idea” as Mostovsky or Krymov, but he is sharply rejected by those whose ruthlessness towards people stems not from loyalty to established beliefs, but from the absence of such. Commissar Getmanov, once secretary of the regional committee in Ukraine, is a mediocre warrior, but a talented whistleblower of "deviators" and "enemies of the people", sensitively picking up any fluctuation in the party line. For the sake of receiving a reward, he is able to send tankers who have not slept for three days to the offensive, and when the commander of the tank corps, Novikov, in order to avoid unnecessary casualties, delayed the start of the offensive for eight minutes, Getmanov, kissing Novikov for his victorious decision, immediately wrote a denunciation of him to the Headquarters.

3. Among the works about the war that have appeared in recent years, two novels attract attention: “Cursed and Killed” by V. Astafiev (1992–1994) and “The General and His Army” by G. Vladimov (1995).

Works that restore the truth about the war cannot be bright - the theme itself does not allow, their goal is different - to awaken the memory of descendants. The monumental novel by V. Astafiev "Cursed and Killed" decides military theme in an incomparably harsher manner. In its first part, The Devil's Pit, the writer tells the story of the formation of the 21st Rifle Regiment, in which, even before being sent to the front, those who were beaten to death by a company commander or shot for unauthorized absence die, those who are called upon to defend the Motherland will soon be maimed physically and spiritually. The second part of the Bridgehead, dedicated to the crossing of the Dnieper by our troops, is also full of blood, pain, descriptions of arbitrariness, bullying, and theft that flourish in the army. Neither the invaders nor the homegrown monsters can be forgiven by the writer for his cynically callous attitude towards human life. This explains the angry pathos of the author's digressions and descriptions, beyond their ruthless frankness, in this work, whose artistic method is not without reason defined by critics as "cruel realism".

The fact that G. Vladimov himself was still a boy during the war determined both strong and weak sides his acclaimed novel The General and His Army (1995). The experienced eye of a front-line soldier will see in the novel many inaccuracies and overexposures, including unforgivable even for a work of art. However, this novel is interesting as an attempt to look at the events that once became a turning point for the entire world history from a "Tolstoy" distance. No wonder the author does not hide the direct echoes of his novel with the epic "War and Peace" (for more information about the novel, see the chapter of the textbook "Modern Literary Situation"). The very fact of the appearance of such a work suggests that the military theme in literature has not exhausted itself and will never exhaust itself. Pledge to that - living memory about the war from those who know about it only from the lips of its participants and from history books. And a considerable merit in this belongs to the writers who, having gone through the war, considered it their duty to tell the whole truth about it, no matter how bitter it may be.

Warning of warrior-writers: “whoever lies about the past war brings the future war closer” (V.P. Astafiev). Comprehension of trench truth is a matter of honor for any person. War is terrible, and in the body of a new generation a stable gene must be developed to prevent such a thing from happening again. After all, it was not in vain that V. Astafiev chose the saying of the Siberian Old Believers as the epigraph of his main novel: “It was written that everyone who sows unrest, wars and fratricide on earth will be cursed and killed by God.”

4. During the Great Patriotic War, it was forbidden to keep diaries at the front. After analyzing the creative activity of front-line writers, it can be noted that such writers as A. T. Tvardovsky, V. V. Vishnevsky, V. V. Ivanov gravitated towards diary prose, and G. L. Zanadvorov kept a diary during the occupation. The specific features of the poetics of the writers' diary prose - the synthesis of lyrical and epic principles, aesthetic organization - are confirmed in many memoirs and diaries. Despite the fact that writers keep diaries for themselves, works require creators to artistic skill: diaries are characterized by a special style of presentation, characterized by the capacity of thought, the aphorism of the statement, the accuracy of the word. Such features allow the researcher to call the writer's diaries independent micro-works. Emotional impact in the diaries is achieved by the author through the selection of specific facts, author's commentary, subjective interpretation of events. The diary is based on the transmission and reconstruction of the real through the author's personal ideas, and the emotional background depends on his state of mind.

Along with the obligatory structural components of diary prose, specific artistic samples may contain specific mechanisms for expressing attitudes towards reality. The diary prose of the writers of the period of the Great Patriotic War is characterized by the presence of such inserted plots as poems in prose, short stories, landscape sketches. Memoirs and diaries of the Great Patriotic War are confessional and sincere. Using the potential of wartime memoirs and diaries, the authors of memoirs and diaries were able to express the mood of the era, create a vivid picture of life in the war.

An important role in the study of the Great Patriotic War is played by the memoirs of military leaders, generals, officers, and soldiers. They were written by direct participants in the war, and, therefore, are quite objective and contain important information about the course of the war, its operations, military losses, and so on.

Memoirs were left by I. Kh. Bagramyan, S. S. Biryuzov, P. A. Belov,
A. M. Vasilevsky, K. N. Galitsky, A. I. Eremenko, G. K. Zhukov,
I. S. Konev, N. G. Kuznetsov, A. I. Pokryshkin, K. K. Rokossovsky and others. Collections of memoirs devoted to a specific topic (battle or branch of service), such as, for example, “In for Transcarpathia", "Stalingrad epic", "Liberation of Belarus" and so on. Memoirs were also left by the leaders of the partisan movement: G. Ya. Bazima,
P. P. Vershigor, P. K. Ignatov and others.

Many books of memoirs of military leaders have special applications, diagrams, maps, which not only explain what was written, but are in themselves an important source, as they contain features of hostilities, lists of commanding staff and methods of warfare, as well as the number of troops and some other information.

Most often, events in such memoirs are arranged in chronological order.

Many military figures based their diaries not only on personal memories, but also actively used elements of a research nature (referring to archives, facts, and other sources). So, for example, A. M. Vasilevsky in his memoir work “The Work of All Life” indicates that the book is based on factual material, well known to him and confirmed by archival documents, a significant part of which has not yet been published.

Such memoirs become more reliable and objective, which, of course, increases their value for the researcher, since in this case there is no need to check every stated fact.

Another feature of memoirs written by military people (as, indeed, other memoirs Soviet period), is a strict control of censorship over the described facts. The presentation of military events required a special approach, since the official and stated versions should not have discrepancies. The memoirs about the war should have indicated the leading role of the party in defeating the enemy, facts “shameful” for the front, miscalculations and mistakes of the command, and, of course, top secret information. This must be taken into account when analyzing a particular work.

Marshal of the Soviet Union G.K. Zhukov left a rather significant memoir "Memories and Reflections", which tells not only about the Great Patriotic War, but also about the years of his youth, civil war, military clashes with Japan. This information is extremely important as a historical source, although it is often used by researchers only as illustrative material. The memoirs of four times Hero of the Soviet Union G.K. Zhukov “Memories and Reflections” were first published in 1969, 24 years after the victory in the Great Patriotic War. Since then, the book has been very popular not only among ordinary readers, but also among historians, as a source of quite important information.

In Russia, the memoirs were reprinted 13 times. The 2002 edition (used in writing the work) was dedicated to the 60th anniversary of the Battle of Moscow and the 105th anniversary of the birth of G.K. Zhukov. The book has also been published in thirty foreign countries, in 18 languages, with a circulation of more than seven million copies. Moreover, on the cover of the edition of memoirs in Germany it is indicated: "One of the greatest documents of our era."

Marshal worked on "Memoirs and Reflections" for about ten years. During this period, he was in disgrace and was ill, which affected the speed of writing memoirs. In addition, the book was heavily censored.

For the second edition, G.K. Zhukov revised some chapters, corrected errors and wrote three new chapters, as well as introduced new documents, descriptions and data, which increased the volume of the book. The two-volume edition was published after his death.

When comparing the text of the first edition (published in 1979) and subsequent ones (published after his death), distortion and the absence of some places are striking. In 1990, a revised edition was published for the first time, based on Marshal's own manuscript. It differed significantly from others in the presence of sharp criticism of government agencies, the army and the policy of the state as a whole. The 2002 edition consists of two volumes. The first volume includes 13 chapters, the second - 10.

Questions and tasks for self-control

1. Determine the periodization of the theme of the Great Patriotic War in the history of the development of Russian literature, supporting your opinion with an analysis of works of art by 3-4 authors.

2. Why do you think in the period 1941-1945. writers did not cover the horrors of war? What pathos prevails in the works of art of this period?

3. In the school literature course on the Great Patriotic War, it is proposed to study "The Son of the Regiment" (1944) by V. Kataev about the serene adventures of Vanya Solntsev. Do you agree with this choice? Determine the author of the school curriculum in literature.

4. Determine the dynamics of the image of the Russian character in different periods of the development of the topic in literature. Have the dominants of behavior and the main character traits of the hero changed?

5. Suggest a list literary texts about the Great Patriotic War, which can become the basis of an elective course for students in the 11th grade of a comprehensive school.

7 Military lyrics of the Great War. - M .: Hood. lit., 1989. - 314 p.

Grossman, V. S. Life and destiny / V. S. Grossman. – M.: Hood. lit., 1999. - S. 408.

The Great Patriotic War is an ordeal that befell the Russian people. The literature of that time could not remain aloof from this event. So in On the first day of the war, at a rally of Soviet writers, the following words were heard: "Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of a holy people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, the writers felt "mobilized and called". About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.Front-line writers fully shared with their people both the pain of retreat and the joy of victories. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We lived our good age as people, and for people.”Writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote.Oh book! Treasured friend!You're in a fighter's duffel bagWent all the way victorious Until the very end. your big truthShe led us along.Your reader and authorWe went to battle together.Russian literature of the period of the Second World War became the literature of one theme - the theme of war, the theme of the Motherland. The writers felt like "trench poets" (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstov, was "the voice of the heroic soul of the people." The slogan "All forces - to defeat the enemy!" related directly to writers. The writers of the war years owned all sorts literary weapons: lyrics and satire, epic and drama. Nevertheless, the first word was said by the lyricists and publicists.Poems were published by the central and front-line press, broadcast on the radio along with information about the most important military and political events, sounded from numerous impromptu scenes at the front and in the rear. Many poems were copied into front-line notebooks, memorized. The poems "Wait for me" by Konstantin Simonov, "Dugout" by Alexander Surkov, "Spark" by Isakovsky gave rise to numerous poetic responses. The poetic dialogue between writers and readers testified to the fact that during the war years a cordial contact was established between the poets and the people, unprecedented in the history of our poetry. Intimacy with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945.Homeland, war, death and immortality, hatred of the enemy, military brotherhood and comradeship, love and loyalty, the dream of victory, reflection on the fate of the people - these are the main motives of military poetry. In the poems of Tikhonov, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the consciousness of the cruel necessity of war.During the war, the feeling of homeland intensified. Cut off from their favorite occupations and native places, millions of Soviet people, as it were, took a fresh look at their familiar native lands, at the house where they were born, at themselves, at their people. This was also reflected in poetry: heartfelt poems about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and Isakovsky about the Smolensk region appeared.The character of the so-called lyrical hero also changed in the lyrics of the war years: first of all, he became more earthly, closer than in the lyrics of the previous period. Poetry, as it were, entered the war, and the war, with all its battle and everyday details, into poetry. The "landing" of the lyrics did not prevent the poets from conveying the grandeur of events and the beauty of the feat of our people. Heroes often endure severe, sometimes inhuman hardships and suffering:It's time to raise ten generationsThe weight we lifted.(Wrote in his poetry A. Surkov)Love for the fatherland and hatred for the enemy - this is the inexhaustible and only source from which our lyrics drew their inspiration during the Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexei Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyric-epic (ballads, poems).
PROSE. During the Great Patriotic War, not only poetic genres, but also prose were developed. It is represented by journalistic and essay genres, military stories and heroic stories. Journalistic genres are very diverse: articles, essays, feuilletons, appeals, letters, leaflets.Articles were written by: Leonov, Alexei Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. By their articles they instilled lofty civic feelings, taught them to take an uncompromising attitude towards fascism, and revealed the true face of the "organizers of the new order."Soviet writers opposed fascist false propaganda with great human truth. Hundreds of articles cited irrefutable facts about the atrocities of the invaders, cited letters, diaries, testimonies of prisoners of war, named names, dates, numbers, made references to secret documents, orders and orders of the authorities. In their articles, they told the harsh truth about the war, supported the bright dream of victory among the people, called for steadfastness, courage and perseverance. "Not one step further!" - so begins the article by Alexei Tolstov "Moscow is threatened by the enemy."mood, tone military journalism was either satirical or lyrical. Fascists were subjected to ruthless ridicule in satirical articles. The pamphlet has become a favorite genre of satirical journalism. Articles addressed to the motherland and people were very diverse in genre: articles - appeals, appeals, appeals, letters, diaries. Such, for example, is Leonid Leonov's letter to "An Unknown American Friend."Publicism had a huge impact on all genres of literature of the war years, and above all on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Lisa Chaikina, Alexander Matrosov, about the feat of the Young Guards, who preceded the novel The Young Guard. Very common in 1943-1945 was an essay on a feat large group of people. So, essays about night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others appear. Essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, Kolosov wrote about the people of the rear.The defense of Leningrad and the battle near Moscow were the reason for the creation of a number of event essays, which are an artistic chronicle of military operations. Essays testify to this: "Moscow. November 1941" by Lidin, "July - December" by Simonov.

During the Great Patriotic War, such works were also created in which the main attention was paid to the fate of a person in the war. Human happiness and war - this is how one can formulate the basic principle of such works as "Simply Love" by V. Vasilevskaya, "It Was in Leningrad" by A. Chakovsky, "Third Chamber" by Leonidov.

In 1942, a story about the war by V. Nekrasov "In the trenches of Stalingrad" appeared. This was the first work of a front-line writer unknown at that time, who rose to the rank of captain, fought all the long days and nights near Stalingrad, participated in its defense, in the terrible and overwhelming battles waged by our army. In the work, we see the author's desire not only to embody personal memories of the war, but also to try to psychologically motivate a person's actions, to explore the moral and philosophical origins of a soldier's feat. The reader saw in the story a great test, about which it is written honestly and reliably, faced with all the inhumanity and cruelty of the war. It was one of the first attempts at psychological understanding of the feat of the people.

The war became a great misfortune for all. But it is at this time that people manifest their moral essence, "it (war) is like a litmus test, like a special developer." Here, for example, Valega is an illiterate person, “... reads in syllables, and ask him what a homeland is, he, by God, will not really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, teeth ... ". Battalion commander Shiryaev and Kerzhentsev are doing their best to save as much as possible human lives to do your duty. They are opposed in the novel by the image of Kaluga, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be carried out, despite any losses, throwing people under the destructive fire of machine guns.

Reading the story, you feel the author's faith in the Russian soldier, who, despite all the suffering, troubles, failures, has no doubts about the justice of the liberation war. The heroes of the story by V.P. Nekrasov live by faith in a future victory and are ready to give their lives for it without hesitation.

In the same harsh forty-second, the events of V. Kondratyev's story "Sasha" take place. The author of the work is also a front-line soldier, and he fought near Rzhev in the same way as his hero. And his story is dedicated to the exploits of ordinary Russian soldiers. V. Kondratiev, just like V. Nekrasov, did not deviate from the truth, spoke honestly and talentedly about that cruel and difficult time. The hero of the story by V. Kondratyev, Sashka, is very young, but he has been on the front line for two months, where “just to dry, get warm is already a lot of luck” and"...With bread is bad, no gain. Half a pot ... millet for two - and be healthy.

The neutral zone, which is only a thousand steps, is shot through. And Sashka will crawl there at night to get his company commander boots from a dead German, because the lieutenant has such pimas that they cannot be dried over the summer, although Sashka himself has even worse shoes. The best human qualities of a Russian soldier are embodied in the image of the main character, Sashka is smart, quick-witted, dexterous - this is evidenced by the episode of his capture of the "language". One of the main moments of the story is Sasha's refusal to shoot the captured German. When asked why he did not comply with the order, did not shoot at the prisoner, Sasha answered simply: "We are people, not fascists."

The main character embodied the best features of the national character: courage, patriotism, the desire for a feat, diligence, endurance, humanism and a deep faith in victory. But the most valuable thing in it is the ability to think, the ability to comprehend what is happening. Sashka understood that “they have not yet learned how to fight properly, both commanders and privates. And that learning on the go, in battles goes through Sasha's life itself. "Understood and grumbled, like others, but did not disbelieve and did his soldier's business as best he could, although he did not commit any special heroism."

“The story of Sasha is the story of a man who found himself at the most difficult time in the most difficult place in the most difficult position - a soldier,” wrote K. M. Simonov about Kondratyev’s hero.

The theme of a man's feat in war was developed in the literature of the post-war period.

References:

• History of Russian Soviet Literature. Under the editorship of prof. P.S. Vykhodtsev. Publishing house "Higher School", Moscow - 1970

• For life on earth. P. Toper. Literature and war. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985

Russian literature of the twentieth century. Ed. "Astrel", 2000

2. The Great Patriotic War in Russian literature of the 40-90s.

Literature of the war years 1941-1945. Publicism.

The main weakness of the journalism of the war years: it was too "one-dimensional" and too "with anguish", even in the most lively articles. In this journalism, the strongest creative impulses of the 40s choked. High rhetorical style. Headlines: "Only victory and life!" A. Tolstoy; "We will stand!" I. Ehrenburg.

The best: M. Sholokhov "On the way to the front":" To me, a resident of the almost treeless Don steppes, the nature of the Smolensk region is alien. I watch with interest the unfolding scenery. On the sides of the road stand a green wall pine forests. They exude a cool and strong resinous smell. There, in the dense forest, it is half-dark even during the day, and there is something sinister in the twilight silence, and this land seems unkind to me. "People of the Red Army": The scout carefully examines me with brown sharp eyes, smiling, says: “For the first time I see a living writer. I read your books, saw portraits of different writers, but I see a living writer for the first time. I look with no less interest at a man who went to the rear of the Germans sixteen times, risking his life daily, impeccably brave and resourceful. I also meet a representative of this military profession for the first time.” "Letter to American Friends". A little naive, but very, very good. A. Platonov. The publication of Platonov's works was allowed during the Patriotic War, when the prose writer worked as a front-line correspondent for the Krasnaya Zvezda newspaper and wrote stories on a military theme. American friends. A little naive, but very, very good. Essays: "Nikodim Maximov": “Nikodim Maksimov smiled: there was a light and he got it, people scare children with states. A soldier begins with the thought of the fatherland. Where did you figure out such a truth, or did you hear, or what, from whom? .. In war, Ivan Efimovich, learning comes soon ... I’m not a special kind of person, but I live and think like that. "Rose Girl":“Whoever saw Rosa said that she was beautiful in herself and so good, as if sad, sad people had deliberately invented her for their own joy and consolation. she had already been executed once, and after the execution she fell to the ground, but remained alive; the corpses of other fallen people were placed on top of her body, then they overlaid the dead with straw, doused them with gasoline and burned the dead; Rosa was not dead then, two bullets only harmlessly damaged the skin on her body, and she, covered from above by the dead, did not wither in the fire, she saved herself and came to her senses, and in the gloomy time of the night she got out from under the dead and went free through the ruins of the prison fence, brought down by bombs. But in the afternoon, the Nazis again took Rosa in the city and took her to prison. And she again began to live in prison, waiting for her death a second time.

Prose during WWII

1942 - the story of Vasily Grossman "The people are immortal." In August 1941, the death of Gomel. The story of V. Vasilevskaya "Rainbow" - female images. The story of V. Gorbatov "Unconquered" - the occupied territory. Romantic-pathetic style. L. Leonov story "The Capture of Velikoshumsk" (1944). The first completed novel about the Great Patriotic War was Fadeev's novel The Young Guard (1945). Historical novels developed patriotic ideas. A. Beck "Volokolamsk Highway" (1943-1944). The psychological state of the characters, their relationship. Formation in the conditions of war of the person's personality. M. Sholokhov, excerpts from the novel "They fought for the Motherland." War through the eyes of a simple Russian soldier.

K. Vorobyov "This is us, Lord!" He worked on the story during the war. In 1943, his partisan group was forced to hide underground, he sat in the attic of a house in Siauliai and hurried to leave people his memory of what he experienced in the Nazi camps. Lieutenant Sergei Kostrov. Three years - from camp to camp, from captivity to captivity - these are the young years of Sergei. The protagonist of the story and his entourage had to go through a lot. He was captured by the Germans, fled, was caught again, taken to a concentration camp. “An eerie silence fills the barracks. Rarely does anyone turn in a whisper to a friend with a request, a question. The lexicon of the doomed consisted of ten to twenty words. Only later did Sergei find out that it was a painful attempt by people to save energy. Movements were also strictly spent. Thirty slow steps a day was considered the norm for a useful walk. In the "Valley of Death" the Germans created an unsurpassed system of keeping people in a half-dead state. Sergei did not dream of dying like that. It is no coincidence that the epigraph to the story is taken from the lines from “The Tale of Igor's Campaign”: “It is better to be killed by swords than by the hands of filthy captives!” The hero thinks about death: “... he then realized that, in essence, he was not afraid of it, only ... he just wanted to die beautifully!” If death, then death worthy of a person. Having written in 1943 "This is us, Lord!" Yevgeny Nosov: "The story cannot be read in one gulp: written immediately after the Nazi captivity, it bleeds with every line. To write the naked truth. The voice of a boy in captivity: "Six miles to the house ... If only my mother knew ... I would have brought boiled potatoes. "White downy sock, full of lice. Seventeen slices of bread that were given to the child of a Lithuanian prisoner. The story remained in the editorial archive, of course, not because it was not finished, but, most likely, because the fate of those who were in captivity, even through no fault of its own, has long remained a taboo subject in literature.

Nekrasov "In the trenches of Stalingrad" (1946) . With the outbreak of World War II, Nekrasov goes to the front, having traveled from Rostov to Stalingrad. He was an engineer of sapper troops, commanded a battalion. Came to literature after the war. The appearance in the magazine "Znamya" of the story of V. Nekrasov "In the trenches of Stalingrad". The literary community was at a loss: the author is a simple officer, unknown to anyone, in the story itself there is not a word about the party and only a few mentions of Stalin. Someone told Nekrasov, a Stalingrader, that he had “a thin gut” to write about Stalingrad). But Nekrasov's story attracted attention and was remembered by the very theme, restraint of tone, behind which deep pain was hidden, and a truthful story about one of the most important battles of the war. Nekrasov: “But you never see anything in war except what is going on under your very nose.” The story is largely autobiographical. The main character, on behalf of whom the story is being told, is Lieutenant Yuri Kerzhentsev, like Nekrasov, a native of Kyiv, graduated from an architectural institute, was fond of philately. Once in the war, he became a sapper. The book, first of all, is about those who managed to survive and win - about people. In the conditions of war, the characters of people manifest themselves in different ways. At first glance, it seems that the writer does not give an assessment of what is happening, but the intonation itself puts everything in its place. Nekrasov speaks of death every time with pain from its everyday routine. Nekrasov refutes the opinion that in war they get used to the fear of death: there is a well-known moment when a cigarette butt was still smoking on the lip of the deceased. Nekrasov said that it was the most terrible thing he had seen before and after the war. Salvation from the horrors of war Kerzhentsev finds in the memories of pre-war life. The war became the boundary between what was and what is. Today - the bitterness of retreats, losses, trenches, death. And in the past, “neatly trimmed lindens surrounded by lattices”, “large milky-white lanterns”, “centenary elms of the palace garden”, “Dnieper, blue distances, vast sky”. In war, the color of gray dust is everywhere. Nekrasov describes the events of the Battle of Stalingrad as he himself saw, without embellishing: “We are shooting again. The machine gun is shaking like it's in a fever. Ahead is a nasty gray earth. Only one, clumsy, like a hand with arthritic fingers, a bush. Then he disappears - the machine gun cuts off. Compressed time. Kerzhentsev is often surprised that he lives years in minutes. Heroes. All people are different and come to the front in different ways, but everyone is concerned about the question: how did it happen that since the beginning of the war the army has only retreated. Nekrasov himself only once tries to answer this question: "We relied on others." Kerzhentsev: "Swearing won't help the cause." The story ends with the alleged offensive in the Stalingrad region. The story was awarded the Stalin Prize. The story "In the hometown". Published in Znamya. A year after the publication of the story, the Znamya magazine was smashed: the editor-in-chief V. Vishnevsky was removed, Kazakevich's story was attached. Nekrasov later began to print abroad, he was expelled from the party for this. They took away, bastards, the medal "For the defense of Stalingrad." Since 1974, Nekrasov settled in Paris. Died in 1987. The theme of Stalingrad was also explored in the works of V. Grossman (For a Just Cause), K. Simonov (No Soldiers Are Born), Y. Bondarev (Hot Snow) and others. After Nekrasov, a whole stream of “lieutenant prose” came into literature: G. Baklanov, Y. Bondarev, V. Bykov. They, like Nekrasov, knew the war from personal experience. Their generation discovered a new type of hero. They were interested in the process of formation of character in the tragic circumstances of the war. Confessional intonation of the authors. The moral aspect is the main one. Bondarev: “Battalions ask for fire” and “Last volleys”, “Crane cry” by V. Bykov, “Killed near Moscow” by Vorobyov, “Ivan”, “Zosya”, “In August forty-fourth” by Bogomolov. Andrey Platonov. Prose. Stories. "Spiritual People". Platonov did not shy away from journalism in his military prose. But she was very far from the poster. His contemporaries so often strove to write about "high ideas", but it turned out only "about the earthly". He wrote, in essence, about the earthly - and went out into completely different spaces. Platonov wrote his first story about the war even before the front, in evacuation. Then he became a correspondent at the front. His tasks: “Depicting what is essentially killed is not just bodies. A great picture of life and lost souls, opportunities. Peace is given, as it would be with the activities of the dead - a better peace than the real one: that's what dies in the war. "Return".

Poetry. Military lyrics 1941-1945

It is important that wartime poets did not watch the war from the outside, but lived it. Of course, the measure of their personal participation in the war was different. For example, Yulia Drunina volunteered for the front in 1941 and fought until victory. Some poets and writers were privates and officers in the army in the war. Others - war correspondents, others - participants in some individual events. Poetry during the war united people, did a great job. Surkov wrote that "never in the history of poetry has such direct, close, cordial contact been established between writers and readers as during the days of the Patriotic War." Nikolai Chukovsky recalled that during the siege Leningrad lived a tense spiritual life. There was an amazing amount of reading. Read everywhere. And they wrote a lot of poetry. Poems suddenly assumed extraordinary importance, and were written even by those who normal time it would not have occurred to me to do so. The special need for poetry in times of distress. As a kind of literature, poetry in wartime occupied a dominant position. Tikhonov: "The verse received a special advantage: it was written quickly, did not take up much space in the newspaper, and immediately entered service." The poetry of the war years is poetry of extraordinary intensity. During the war years, many of its genres became more active. Now we are interested in lyrics. The lyrical poetry of wartime reflected the thirst for humanity. Separation from loved ones, from loved ones, trials in the war - all this hardened people and they wanted humanity, love, fidelity. Here is the famous poem by K. Simonov "Wait for me" (1941). It was published in various front-line newspapers, sent to each other in letters. Thanks to this poem, the genre of the poetic message came to life.

Tvardovsky's poetry is lyrical, lyricism is even recognized as the basis of his talent. Of course, this quality manifests itself more freely in poems than in individual poems. With this, perhaps, Tvardovsky's attraction in general to the genre of the poem is connected. During the war years the theme of a small (Smolensk region) and a large homeland. During the war, the memory of the native home became relentless and close to everyone, wherever he was. The theme of the small motherland is always connected with the theme of the great motherland - all of Russia. Motherland is always a length, always a path, a road (About the Motherland, The path is not walked). Poems dedicated to bitter memory of the war. The most impressive, of course, is "I was killed near Rzhev" (1945-46). This poem was supposed to be included in the “book about a fighter” (V.T.), - in the author’s plan in part 2 it was written: “a song through the lips of a fighter killed in the first days of the war.” But this poem was not included in the poem, and became a separate poem, sounding on behalf of the fallen warrior. Everything that a soldier killed in the war could say if he could speak. "The day the war ended." The poem is written on behalf of those who survived. Sadness about how dead friends leave. This motif is constant in Tvardovsky's lyrics. In another 20 years, he will be in the poem "I know, no fault of mine." Part of the collection "Last Poems" (1952) is devoted to the military theme. Victory in the war, faith in the strength and capabilities of the people. Theme of literary creativity. "I know this better than anyone in the world - living and dead, only I know." No one will say the way he himself will say. "A word about words". Late 50s Thaw. Philosophical topics. "I don't know how I would love." "You and me". "About Being".

The theme of maternal love and son's love for mother passed through all his work, and in the last verses - the cycle "In Memory of the Mother". Consciousness with the dignity of the life lived - "On the day of my life."

M.V. Isakovsky (1900-1973). Born into a peasant family in the Smolensk region. Lit. his activity began in the newspaper of the city of Yelnya (not far from Smolensk). He himself considers the year 1924 to be the beginning of his poetic work, although he began to write poetry very early. The first collection of Isakovsky's "Wires in the Straw" was published in 1927. The collection was noticed by Gorky: "His poems are simple, good, very exciting with their sincerity." Isakovsky in Russian poetry is one of the direct followers of Nikolai Nekrasov. Isakovsky is also not a peasant poet, but a folk one. Isakovsky worked in many genres, but achieved particular success in lyrics, in song genre. His poems: Katyusha, Farewell, Spark, Migratory birds are flying, etc. Tvardovsky's remark about his songs: “The words of Isakovsky’s songs are poems that have an independent meaning and sound, a living poetic organism, which by itself suggests the melody with which it is destined to merge and exist together. Isakovsky is not a lyricist or a songwriter; he is a poet, whose verses are originally inherent in the beginning of song, and this has always been one of the important features of Russian lyrics. Isakovsky himself believed that one should be able to speak even about the most complex things in the most ordinary words and phrases - ordinary, but at the same time capacious, precise, colorful, poetically convincing. It seems that the main reason for the success and universal love for his work is the complete fusion of the thoughts and feelings of the poet and the people. In the frontline forest, Oh, my fogs. In the postwar years, Isakovsky began to work a lot as a translator. Most often he translated Ukrainian and Belarusian poets Kupala, Shevchenko, Ukrainka.

Prose about the Great Patriotic War. Its beginning lies in 1941. The last works, it seems, have not yet been completed. And yet the century is coming to an end. And "revaluation of values" is an eternal inevitability. What the ancestors cried over, the descendants often seem false and insincere. On the other hand, things noticed only “in passing” suddenly become necessary after half a century or a century. Contemporaries habitually divided prose about the war into well-established headings (here is what the prose writers of the older generation who were at the front in the role of military correspondents wrote, here is the prose of those who went through the war almost as a boy - or, if you “switch the register”: here is a “panoramic” novel, here story, short story, essay...). Time “enlarges” the vision and makes us look with different eyes: what the 40s, 50s, 60s told us - and further, further, walking for decades. And every ten years to find the most important thing, without which the Russian literature of the twentieth century simply cannot be imagined.

Prose of the 40s. Wartime prose could not do without journalistic pressure. And that’s why not only Vasilevskaya’s Rainbow or Gorbatov’s Invictus, but also Velikoshumsk’s Capture, Ivan Sudarev’s Stories, Days and Nights, and immediately, “on hot traces" inscribed in the "modern classics" and immediately sent "for revision" "Young Guard". Expressive pieces, and monstrous failures, diligently credited by literary historians of that time to "the artistic originality of the novel by Alexander Fadeev", - tens, hundreds of pages, written in a newspaper style ("A feature of Lyutikov, as well as this type of leaders in general ...") and at times reminiscent of the style of a denunciation (“Of all the people who inhabited the city of Krasnodon, Ignat Fomin was the most terrible person, especially terrible because he had not been a person for a long time”). And although the best pages of A. Beck’s Volokolamsk Highway still exist, even though Vorobyov’s story “This is us, Lord!” appeared in 1943, which anticipated all the “lieutenant’s prose”, even though Mikhail Sholokhov began publishing excerpts from his military novel, nevertheless, the main prose about the war in the 40s was written by Andrei Platonov.

Song lyrics.

Alexey Fatyanov. "She sang a Russian song and her artisan" - this is how Yaroslav Smelyakov described him. Aleksey Ivanovich comes from the village of Maloye Petrino, in the Vladimir region. He took a lot from the natural beauty of these places. Here the origins of his song and poetic gift are easily and unmistakably guessed. In the late twenties, the Fatyanov family moved to the Moscow region. Fatyanov becomes a student of the theater school. HELL. Popov at the Central Theater of the Red Army. Soon introduced into performances. And in 1938-1939 he was already touring with the theater around the country (up to the Far East). Since 1940, he served in the ensemble of the Oryol military district. He was a certified actor. In the same years, he begins to write a lot, publishes his first essays and poems in the Oryol regional "Molodezhka", becomes its permanent correspondent. In June 1941 the ensemble ends up in the air garrison near Bryansk. Here he found the war. Already the first days determined the military place of Private Fatyanov. In addition to two or three daily performances in front of the soldiers, he has to write topical, satirical ditties and skits, poems and songs. Fatyanov repeatedly appeals to the command with a request to let him go to the front. But all requests were denied. However, by and large, there was nowhere to let go: the ensemble was already front-line. Why did his songs sound on all fronts? Everything in them is clear and understandable: what needs to be defended, for whom to fight and with what attitude to go into battle. And in general, after his songs, it seems that Russians win wars only when they defend their own and their own. And here they win everyone and always. Alexei Fatyanov had a chance to work with many composers. His most famous songs were written with Vasily Solovyov-Sedym: “We haven’t been at home for a long time”, “Where are you, my garden?”, “Because we are pilots”, “Golden lights”, “Where are you now, fellow soldiers ?”, “The accordion sings over Vologda”, “Road-road”. In the midst of the war, in 1942, in the same community, one of the most "main" and popular, both at the front and in the rear, songs of the Great Patriotic War - "Nightingales" was born.

3. The compositional role of details (details) in works of fiction Attention to detail from the tendency to the most accurate correlation of the word with the phenomenon of reality. The use of details is one of the techniques for constructing a literary text. Like any technique, it can be successful and unsuccessful. Unsuccessful are those details that clutter up the text and do not carry a semantic, aesthetic load.

A truly artistic detail depicts the general in the particular, the concrete, and in this sense it is always figurative. Pushkin has a lot of the most precise details, found unmistakably, selected from reality. Adhesive sheets. Chekhov - original details. Thick and thin. Who smelled like.

By compositional role Parts can be divided into two main types:

1) Descriptive details, - depicting, painting a picture, situation, character

Currently. Above: Chekhov and Pushkin. 2) Narrative details - indicating movement, a change in the picture, situation, character. A gun that fires. Narrative details are necessarily repeated in the text at least twice, often appearing in a modified form in different episodes of the narrative. emphasizing the development of the plot.

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