Message topics in the literature of the civil war. Civil War in artwork

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

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

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

Bulgakov's characters are the Russian intelligentsia, the nobility, officers, and the events are presented from their point of view. The heroes of Fadeev, on the other hand, are people from the people (the only one who, at the very least, can be called an "intellectual" - Mechik, is presented as a representative of the "petty bourgeoisie"). These two writers are in different camps and, accordingly, Bulgakov has representatives common people, "peasants - God-bearers Dostoevsky" are presented negatively. These people do not care where the whites are, where the reds are, they only care about themselves, and the intelligentsia appears before us as the custodian of the people's memory, great culture and strong moral principles. With Fadeev, the opposite is true. The cultured and educated Mechik turns out to be a traitor, there is no inner strength allowing you to follow the people and serve them. Frost, as the personification of the common people, although somewhat impulsive, but intuitively feels the truth.

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

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

We see that such a grandiose event could not leave anyone indifferent. May exist different opinions on this occasion, but the way the revolution was reflected in various works different writers, can help us, descendants, to understand everything, to understand and comprehend our history ...

Works (list) on this topic: I. Babel "Cavalry", M. Bulgakov "White Guard", "Days of the Turbins", "Running" A. Vesely "Russia washed with blood", B. Lavrenev "Forty-first", B .Pasternak "Doctor Zhivago", Serafimovich "Iron Stream", A. Fadeev "Rout", I. Shmelev "The Sun of the Dead", M. Sholokhov "Don Stories"

At the end of the twentieth century, after the events that took place in our country, we can relatively impartially look at how our compatriots portrayed the events that were called the civil war. Of course, those who wrote about the war had their own clearly expressed position.

Bolshevik writers

These are Serafimovich, Sholokhov, Furmanov, Fadeev, for them:

• war is just
• waged against the enemies of the Soviet regime,
• the characters in their works are clearly divided into their own and others. Their enmity is irreconcilable.

Writers-intellectuals

For non-party writers (I. Shmelev, M. Bulgakov, B. Pasternak):

• fratricidal war,
• the power of the Bolsheviks brings destruction, destroys people,
• but White's actions are no less terrible.

All Russian writers agree on one thing: war is cruel, a person hardens in war, he has to transgress universal moral laws.

The concept of war and the image of man in the works

How fratricidal war appears in all works, regardless of socio-political assessments. Mikhail Sholokhov in the story "The Mole" shows how a father kills his son and only by the mole does he find out that he has become a son-killer. In Babel's Cavalry, a Red Army boy dictates a letter to the author, in which he tells how his elder brother tortured his father because he was an enemy, how he himself was later killed. The fratricidal nature of the civil war is felt by Yuri Zhivago, the hero of Boris Pasternak's novel, a doctor whose mission is to save people's lives. The hero of M. Bulgakov's play "Running", the White Guard General Khludov, carries with him a heavy burden the memory of the people who were hanged on his orders.

In almost all works in the center there is a person who takes responsibility for other people - the commander.

In the center of A. Fadeev's novel "Rout" is the image of the commander partisan detachment Levinson. The life of this man is subordinated to the service of the revolution, it is in the name of revolutionary expediency that the commander acts. He educates his fighters (Morozka), in any case he takes responsibility for himself. But revolutionary expediency requires cruelty not only to those who are and are considered enemies, but also to those who simply hinder the revolution. At the same time, Levinson's activities become absurd: he and his detachment are fighting for the working people, but in order to save the detachment, Levinson is forced to take away the pig from the Korean (a simple peasant, for whom the war is being waged), the Korean's family is likely to die of starvation in winter, Levinson gives the order to poison mortally wounded Frolov, as the wounded impede the advance of the detachment.

Thus, revolutionary expediency replaces the concept of humanism and humanity.

It is the officers who are the heroes of the novel and plays by M. Bulgakov. Alexei Turbin is a Russian officer who went through the German war, a real combat officer whose goal is to defend his homeland, and not to fight with his own people. Bulgakov shows that Petlyura's power in Kyiv is no better than the power of the Bolsheviks: robberies, careerism in power, violence against the civilian population. Alexei Turbin cannot fight his own people. And the people, according to the hero, support the Bolsheviks.

The result of the war is death, desolation.

It is the pathos of desolation, dead land, people without a future that sounds in Ivan Shmelev's "Sun of the Dead". The action takes place in the Crimea, which before the revolution was a blooming paradise, and now, after the civil war, has turned into a desert. The souls of people also turn into a desert.

Love and moral choice in civil war novels

The misunderstood idea of ​​social justice upsets the social balance and turns the proletarians into robbers, however, without making them richer for this.

Revolution and civil war are not the time for love.

But writers cannot but speak of the eternal. The heroes of B. Lavrenev's story "Forty-First" are the White Guard officer Govorukha-Otrok and the Red Army soldier Maryutka. By the will of fate and the author, they find themselves on an island far from the civil war, a feeling flares up between them. But Maryutka kills her beloved when she faces a social choice - the revolution is above all, above human happiness and eternal love.

The abstract idea of ​​universal human love obscures love for a specific person before the heroes of the revolution and civil war.

So, the hero of "Chevengur" by A. Platonov Kopenkin devotedly loves Rosa Luxemburg, whom he has never seen.

Any war confronts a person with the problem of moral choice.

As already mentioned, for revolutionaries such a moral choice is unequivocal: everything that serves the revolution is expedient.

For the Russian intelligentsia, this choice is extremely difficult.

• On the one hand, it was the intelligentsia that took part in the revolution or sympathized with it.
• On the other hand, the horror of the civil war, the Bolshevik terror turned the intelligentsia away from what was happening or forced them to serve their ideas, despite internal contradictions.

The savagery of the whites and reds competed in cruelty, alternately increasing in response to one another, as if multiplying. The blood made me sick, it came up to my throat, rushed to my head, my eyes swam with it, ”

- so writes Boris Pasternak. His hero does not want to be on anyone's side, as a truly Russian intellectual, he is attracted by universal truth. But no one manages to stay away from the war. A completely different fate is the fate that brings the heroine to the camp of the Bolsheviks, with Lyubov Yarovaya. The position of the author of the play, K. Trenev, is unequivocal - the life of Lyubov Yarovaya acquires meaning only in serving the people, the revolution, i.e. the Bolsheviks. True, the heroine must sacrifice her husband, Lieutenant Yarovoy.

“Russia, washed with blood” is the name of the novel by Artem Vesely, a writer who died in Stalin's dungeons. Many-voiced Russia, fighting, confused in the choice, passionate, strong, this is how the country appears in the novel. Its name is symbolic. In this way it is possible to determine the relation of all domestic writers to the topic of civil war, regardless of their political and social orientation.

Reading works about the civil war, at the end of the 20th century we cannot but recall the words of Pushkin:

"God forbid to see a Russian rebellion, senseless and merciless."

Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A.

Did you like it? Do not hide your joy from the world - share

A man became one to another - the devil,
Blood is a soldering of souls.
The struggle for life is the law;
And duty is revenge.

M. Voloshin “To Descendants”

Purpose: to give an idea of ​​the coverage of the theme of revolution and civil war in the works of various writers and show that for many of them the civil war has become a national tragedy

1) help students master the ideological and artistic originality of works about the civil war;

2) produce comparative analysis, i.e. help to see the place of the writer in the general historical and literary process.

Educational:

• develop the ability to compare, generalize, highlight the main thing in the material being studied;
• develop independence of thought, using preliminary independent homework, observation of the text.

Educational:

• make students think about their position in life;
• be convinced of the incorruptibility of the principle of humanism in human relations;
• ascertain the need for national consensus.

During the classes

Introductory speech of the teacher

The events of the revolution and the civil war affected everyone and everyone and required not so much the expression of emotions as their comprehension. Soviet prose of the 1920s was heterogeneous neither at the moment of its appearance, nor much later, in the process of reader's perception. Other works found their reader immediately, and soon they were able to put a textbook gloss on them. Others have been and are being read by different generations with unflagging interest. Still others only now occupy a worthy place in the history of literature and force us to take a different look at the paths and destinies of the young Soviet literature, their comprehension is yet to come. Now it becomes clear: the literature of the 1920s was a heterogeneous phenomenon and sometimes did not fit into the general framework. In essence, it was the literature of the young, in their work trying not only to pose, but also to resolve the most burning issues of our time. It was literature today and literature “for the future”.

The meaning of spiritual confrontation is deeply creative, its task is positive: the creation of a new democratic culture after the revolution. The writers of the 1920s saw the real, by no means smoothed, face of revolutionary Russia and understood where the country was heading. Until quite recently, it seemed to us that the artists who proclaimed the priority of moral values ​​in turning points history, but the changes taking place today in all spheres of our life testify to their historical correctness.

AT last years publications on the topic “Revolution and Literature” became available to the mass reader: “Untimely Thoughts” by M. Gorky, “ cursed days” Bunin, “Letters to Lunacharsky” V.G. Korolenko. We are familiar with each of these journalistic articles separately. Today, in the lesson, excerpts from these works will be heard, in which there are warnings, anxiety, pain.

In the tragic time of the fratricidal civil war, they raised their voice in defense of universal human values.

Reading quotes by students. "Knights of morality and justice," the writer S. Zalygin called such artists in his introductory article to Korolenko's letters.

Our time, with all its acuteness, put forward the task of a new understanding of works already well known to readers in connection with determining their role and place in the development of Soviet literature. This refers to the collection of stories by M. Sholokhov “Don stories”. The discovery of the Don cycle by M. Sholokhov consisted in the fact that he showed the criminality of the civil war, its disastrous destructive consequences both for the fate of the “quiet Don” and for Russia as a whole. Sholokhov showed the mind-boggling senselessness and sinfulness of fratricide. Very early, the idea ripens in him that both sides are wrong in this war, for which he sometimes received the label of a dubious fellow traveler. It is no coincidence that the hero of The Quiet Flows the Don, beloved by the author, Grigory Melekhov, will express this thought in a chased epic formula: “To me, if I tell the truth, neither one nor the other is not in my conscience.”

Reading fragments with comments

Choose from all the titles of the stories one that could be called the entire collection. (This is "Kolovert")

Why? (It is the bell that takes place in the fates and souls of Sholokhov's heroes)

“Mole” (student’s message)

Main characters- father and son Koshevoy, whom the revolution placed on opposite sides of the barricade. Nikolka almost did not remember his father, a Cossack, grew up an orphan, although his memory keeps him from childhood important detail- how his father accustomed him to the Cossack service, put him on a horse and taught him to ride. This love for horses, as well as “immeasurable courage”, was inherited by Nikolka from his father, which is why he is famous at the age of 18 as a fighting and skillful commander.

Find Nikolka's reflections on the "crooked" course of his life on the eve of the tragic duel with his father. (This unambiguous assessment of the civil war is supplemented by a meaningful detail: the courier drove the horse)

What can you say about the state of mind of Nikolka's father, the leader of the gang? (Experiences somehow “wonderful and incomprehensible” pain of the soul)

There are points of view of another character in the story - the old miller Lukic. (Read out)

Lyudmila Grigorievna Satarova, Candidate of Philological Sciences, defined the main theme of the “Don Tales” as “the dehumanization of both the Reds and the Whites during the war and rare moments of the triumph of a very difficult reverse process - incarnation.”

For example, the story "Shibalkovo Seed".

Red Cossacks in relation to the child Shibalka?

And Shibalk retains the Christian idea of ​​the unconditional value of every human person. (“And I feel sorry for the shooter to the extreme ...”)

Not only spirituality, but the carnal, blood is placed by the author above the "morality" of the class struggle.

Those. Sholokhov is not so much interested in the vicissitudes of the struggle between the Reds and Whites, but the fact that both Reds and Whites can be both animals and people. (Food Commissioner”)

The story “Alien Blood” is the crowning achievement of the Don cycle in terms of moral issues. (Message)

Starting the conversation with an analysis of the senselessness and suicidality of the confrontation of the parties in the civil war (“The Mole”), M. Sholokhov comes to the idea of ​​the necessity of the New Testament morality: love your enemies.

Whites and Reds justified the need to fight for their ideals in different ways.

But M. Sholokhov did not sing of the civil war in any story, for him it is a crime. And in this context, his political statement of the 1920s can be interpreted differently:

“Some writer who hasn’t smelled gunpowder very touchingly talks about the civil war, Red Army soldiers, - certainly “brothers”, about odorous gray feather grass, and the shocked audience - mostly cute girls from second-level schools - generously reward the reader with enthusiastic applause.

M. Sholokhov assessed the civil war as a national catastrophe in which there were and could not be winners. And this is not only the truth of life, captured by the hand of the Don artist, but also a warning, a prophecy for the future.

At the same time that Sholokhov was working on Don Stories, Fadeev's novel Defeat was being written. At the practical lesson, we talked about the fact that the idea of ​​the novel was formulated by the author himself, the system of images reflects a well-defined alignment of forces in the conflict between the new ideals of the revolution and the heritage of the old world. At the same time, Levinson's detachment, according to the literary critic S. Zinin, is like the "Noah's Ark" of the revolution, in which there is a place only for the worthy, who have stood the test of formidable time.

Who can be included here? (Shepherd Metelitsa, representative “ coal tribe” Morozka and others, who united their fates with the fates of the revolution)

In contrast to them, Fadeev created types of people “superfluous” for the revolution - the “blissful” old man Piku, the self-satisfied Chizh, the weak, weak-willed Mechik.

Mechik is a representative of the "wavering" intelligentsia, thrown back into political non-existence by the course of the revolution.

The interpretation of this image was reduced to Levinson's definition as "a worthless empty flower?"

However, in recent years, the meaning of this image has been filled with new shades.

What is the reason?

In recent years, many different publications have appeared, and in fiction and there are almost no “forbidden zones” left for journalism. Among the most illuminated was the question of the relationship between the intelligentsia and the revolution.

This problem is seen today as a tragedy of people lost in the fiery element of the revolutionary conflagration, who did not find their place in the fierce struggle of irreconcilable forces.

How is this problem solved in Fadeev's novel? (Student messages)

A. Fadeev showed the truth of the civil war as he saw it and experienced it from personal experience, being a participant in it, and embodying the “Levinsonian” wisdom of the revolution in the novel.

Let's try to look at the events of the civil war from other positions, universal.

Bulgakov's creative individuality is characterized by a keen interest in the "former" classes that suffered in the revolution. Bulgakov, probably the first among the writers of the 1920s, showed in The White Guard (1925) not only the tragedy of the white officers, consisting in the fact that decent, honest people found themselves on the sidelines of historical progress, but also the tragedy of the country in which culture and its bearers fell under the wheel of history. The characteristic of the “White Guard” given by M. Voloshin is quite remarkable. On one of his watercolors, presented to the writer in 1925, he wrote: “To dear Mikhail Afanasyevich, the first who captured the soul of Russian strife, with deep love.” The heroes of Bulgakov's work were representatives of the class that had been defeated in this struggle.

“The stubborn portrayal of the Russian intelligentsia as the best stratum in our country,” Bulgakov’s definition prompted him precisely to the intelligentsia to make the most severe moral demands.

See questions. (Bulgakov’s desire to “stand above the reds and whites” was nevertheless carried out from the position of an intellectual worldview. The writer associated certain moral values which have an enduring eternal meaning and significance.

Student messages:

The Turbin family is characterized by a high culture of life, traditions, and human relations. They are hospitable, cordial, and indulgent to the weaknesses of people, but irreconcilable to everything that is beyond the threshold of decency, honor, justice. All this is captivating, and you begin to evaluate the new characters that come into action like a turbine.

Here is Myshloevsky - "white".

Thalberg, to him:

“Gray-haired bankers fled ... talented businessmen, homeowners ... industrialists, merchants, lawyers, public figures. Journalists fled, Moscow and St. Petersburg, corrupt, greedy, cowardly. Kokotki. Honest ladies from aristocratic families… princes and bartenders, poets and usurers, gendarmes and actresses of the imperial theaters…”

They are not antipathetic to Bulgakov not because they are “bankers”, “dealers”, “lawyers”, but because, hiding behind the backs of the Germans, they burn their lives, overeat, debauchery.

Because they hate the Bolsheviks with cowardly hatred, hissing from around the corner.

The first part of the novel is almost entirely devoted to the delimitation of forces. And the further this demarcation goes, the more tragic the situation of the Turbins and all that part of the intelligentsia, about which the novel says: army officers, “hundreds of ensigns and second lieutenants, former students ... knocked off the screws of life by war and revolution” looks.

They have nothing in common either with the Germans, or with the hetman, or with the "bastards" swept out of both capitals by the blizzard of the revolution. But it is they who take upon themselves the most cruel blows of this blizzard, it is they who “will have to suffer and die.”

It is in the "White Guard" that the important ideological conclusions of the writer are contained. One of them is connected with the image of the clock, time (the student reads).

These life constants - peace and hearth - Bulgakov boldly put forward in the form of priority tasks and eternal values ​​in the mid-20s.

Today we have to talk about the new life of the repressed, half-forgotten, often unknown to many people writers of the 20s and 30s. Through the efforts of critics, their books were simplified, their ideas about the world were deliberately distorted. Such a fate befell Babel.

Brief biographical information(student post).

The requirement in the First Cavalry caused Babel's rejection of violence and destruction.

Along with friendly notes about the people around him, he writes with pain: “Am I a stranger?” “Why do I have an everlasting longing? Babel asks. “Because we are far from home, because we are destroying, we are going like a whirlwind, like lava, hated by everyone, life is flying apart, I am at a big ongoing memorial service” (August 6, 1920).

Thus, in his attitude to the revolution, a tragic “inseparability and incongruity” arose.

Let's turn to the 2nd stories from the Cavalry Army cycle (group task).

1. “My first goose”

2. “Death of Dolgushov”

In the first versions of the story there is a continuation: “And I accepted alms from Grishuk and ate his apple with sadness and reverence? -

Babel took it off, took it off, because he asked: who is right? Who is guilty? Who is higher?

Who is weak? Who is great?

He left these questions open to the judgment of history. That time has come.

“Inseparability and inseparability” with the revolution – that was a tragic feeling.

But more importantly, it was a tragic reality. The reflection of the tragedy lay both on the heroes and on the narrator Lyutov.

Enriched with experience real life, Babel saw in the revolution not only strength, but also "tears and blood."

Behind the pathos of the revolution, Babel saw a different face: he realized that the revolution is an extreme situation that reveals the secret of man. What became permissible in the extreme situation of the revolution, Babel shows, leaves a seal on future people. In contrast to death and destruction, Babel declared life to be the highest value. Separate stories from the Cavalry cycle began to be published in 1923, and in 1924 an article by Budyonny appeared. “Babism of Babel from “Krasnaya nov” (newspaper) with the accusation of the writer of slandering the First Horse. We saw here the deliberate deheroization of history, the “poetry of banditry”. Babel tried to defend himself by explaining that it was not his intention to create the heroic history of the First Cavalry. But the controversy did not subside. The unique artistic world of Babel remained unsolved for a long time. In his work, contemporaries did not catch the foresight of impending tragedies.

Epigraph: from Voloshin's poem "To Descendants".

Man became one to another - the devil;
Blood is a soldering of souls.
The struggle for life is the law;
And duty is revenge.

Maximilian Voloshin is another little-known name, the name of a poet who acutely understands that the civil war was a misfortune for all of Russia (student report, reading a poem “ Civil War”) from the cycle “Strife”.

Which artistic technique at the heart of this poem?

How do you rate this position? (Perhaps incorrect, passive, but the feeling of the poet deeply patriotically depicts the situation of a tragic split in Russian society, sorrow in the last stanza)

Conclusion: for many writers, the civil war is a national tragedy. In their works they appear before us as true patriots, their position is very close to us today. These journalistic, prose and poetic works sound today as a call for national harmony and as a warning about a tragedy, a national catastrophe. This applies not only to Russia, but also to all the former republics of the country. We must realize the pricelessness of human life, renounce cruelty and violence, and remember moral absolutes.

At the beginning of the 21st century, at the level of the social experience of 7 decades, one can definitely say who expressed the deeper historical truth.

But let's not reject the books "Defeat" by A. Fadeev, "Chapaev" by D. Furmanov,

“Iron Stream” by Serafimovich, “Armored Train 14-69” by V. Ivanov.

They do not leave the history of literature, they simply occupy a different place, based on their real aesthetic weight and truthfulness.

100 r first order bonus

Choose the type of work Graduate work Course work Abstract Master's thesis Report on practice Article Report Review Test Monograph Problem solving Business plan Answers to questions creative work Essay Drawing Compositions Translation Presentations Typing Other Increasing the uniqueness of the text Candidate's thesis Laboratory work Help online

Ask for a price

* Now there is an opportunity to look at those events from different perspectives. Books about the civil war: stories by M. Sholokhov, stories by A. Malyshkin, A. Serafimovich, novel by Fadeev. Belonging to one camp or another determined the author's approach to events. Participants of the white movement created their books about Russia already in exile. In the 1920s, the series "Revolution and Civil War in the Descriptions of the White Guards" was published. Among them are "Essays on Russian Troubles" by Denikin, "From the Double-Headed Eagle to the Red Banner" by Krasnov. Thoughts on the fate of Russia.

Bunin wrote about Russia and the revolution (“Cursed Days”), Gippius “Petersburg Diaries”, Remizov “The Word about the Destruction of the Russian Land”. Sarcastic irony interspersed with a sense of shame and bitterness. Thoughts of repentance, faith in higher justice helped to overcome apocalyptic moods.

In 1923, V. Zazubrin wrote the story "Sliver". Her hero Srubov is a man with strong convictions, who considers himself a "vacuum cleaner of history." The subtitle of "Sliver" is "The Tale of Her and Her." "She" is the heroine of the soul. Revolution. She is a powerful stream carrying people-chips. "Let the taiga be burned, let the steppes be trampled... After all, only on cement and iron will an iron brotherhood be built - the union of all people."

Srubov's willingness to do anything for the sake of an idea turns him into an executioner. This readiness is emphasized by the attitude towards the father. The son of his warnings did not hear: "Bolshevism is a temporary, painful phenomenon, a fit of rage into which the majority of the Russian people fell." The finals of "Two Worlds" and "Sliver" echo. The first ended with a fire in the church, arranged by fanatics of the revolutionary idea. The events of the second take place in days Happy Easter. “It seems to Srubov that he is floating on a bloody river. Just not on a raft. It broke away and sways on the waves like a lone sliver.

Y. Libedinsky (“Week”, 1923), and A. Tarasov-Rodionov (“Chocolate”, 1922) included the motif of doubt, delirium in the story of the uncompromising firmness of the adherents of the revolutionary idea.

In a number of works of the early 1920s, the hero was the new army itself - the revolutionary crowd, "multitudes", heroically inclined, striving for victory. The fact that this path was bloody, involving the death of thousands of people, was relegated to the background.

A. Malyshkin was not an ordinary participant in the fighting in the Crimean region, but a member of the Headquarters. Accordingly, he knew about the losses on both sides, he knew about the mass execution of white officers, who were promised life if they surrendered their weapons. But The Fall of Daira (1921) is not about that. This is a romantic book, stylized as ancient historical stories. “And in the black night, in front, they saw - not eyes, but something else - a fierce and prickly massif, dark from the century, raised, and behind it the wonderful Dair - blue fogs of valleys, flowering cities, a starry sea.”

In Cavalry by I. Babel (1923-1925) they faced the reality of a revolutionary dream. Main character books (K. Lyutov) took a seemingly contemplative position, but was endowed with the right to judge. Lyutov's insurmountable loneliness does not interfere with his sincere desire to understand, if not justify, then try to explain the unpredictable actions of the Cavalrymen. The murder is perceived as a punishment coming from all over Russia.

For many writers, both those who accepted the revolution and its opponents, the main motive was the unjustification of the spilled rivers of blood.

B. Pilnyak portrayed a man connected with the revolution by ideas and deeds, his own and others' blood. In 1926, Novy Mir published and immediately banned The Tale of the Unextinguished Moon. Personifying totalitarian power, a non-hunched man sent the commander to his death. Gavrilov, dying on the operating table, also bore the blame for the spilled blood of people. The icy light of the moon illuminated the city.

And the moon will rise at night. She was not devoured by dogs: She was only not visible Because of the human bloody fight.

These poems by S. Yesenin were written in 1924. The moon appeared in many works of techlet, not a single science fiction book could do without it. The unextinguished moon of B. Pilnyak, as it were, gave additional light real world- the light is disturbing, alarming.

The historian and observer of the revolution, B. Pilnyak, did not admire the scope of the destruction, but made him feel the threat to all living things, especially to the individual, from the new state machine

genre diversity and style originality. Memoirs and diaries, chronicles and confessions, novels and stories. Some authors tried to be as objective as possible. Others are characterized by increased subjectivity, emphasized figurativeness, expressiveness.*

Philosophically comprehended the essence of events in Russia at the beginning of the century years later B. Pasternak in the novel "Doctor Zhivago". The hero of the novel turned out to be a hostage of history, which mercilessly intervenes in his life and destroys it. The fate of Zhivago is the fate of the Russian intelligentsia in the 20th century.

Fadeev's heroes are "ordinary". The strongest impression in “Rout” is made by deep Scan civil war-induced changes in spiritual world ordinary person. The image of Frost speaks clearly about this. Ivan Morozka was a second generation miner. His grandfather plowed the land, and his father mined coal. From the age of twenty, Ivan rolled trolleys, cursed, drank vodka. He did not look for new ways, he followed the old ones: he bought a satin shirt, chrome boots, played the harmonica, fought, walked, stole vegetables for the sake of mischief. He was in prison during the strike, but did not betray any of the instigators. He was at the front in the cavalry, received six wounds and two shell shocks. He is married, but a bad family man, does everything thoughtlessly, and life seems to him simple and uncomplicated. Frost did not like clean people, they seemed fake to him. He thought they couldn't be trusted. He himself strove for easy, monotonous work, and therefore did not remain Levinson's orderly. His comrades sometimes call him a "balda", "fool", "damn sweaty", but he is not offended, the matter is most important to him. Frost knows how to think: he thinks that life is becoming “tricky” and you have to choose your own path. Nashkodiv on melons, he cowardly fled, but after that he repents and is very worried. Goncharenko defended Morozka at the meeting, called him a “fighting guy” and vouched for him. Frost swore that he would give his blood for each of the miners, that he was ready for any punishment. He was forgiven. When Frost manages to calm people down at the crossing, he felt like a responsible person. He was able to organize the men, and he was pleased with it. In the detachment of miners, Morozka was a serviceable soldier and was considered a good one, the right person. He even tries to fight a terrible desire to drink, he understands that there is external beauty, but there is genuine, spiritual beauty. And thinking about it, I realized that he was deceived in his former life. Revelry and work, blood and sweat, but nothing good was visible ahead, and it seemed to him that all his life he had been trying to get on the straight, clear and correct road, but did not notice the enemy that was sitting in himself. People like Morozka are reliable, they can make their own decisions and are capable of remorse. And although they have weak will, they will never commit meanness. They will be able to find a way out of any, even the most hopeless situation. Only before the heroic death of Morozka did he realize that the Sword was a bastard, a cowardly bastard, a traitor who thought only of himself, and the memory of loved ones, dear people who rode behind him, forced him to go to self-sacrifice. In works about the civil war, the idea is important that often the winner is not the one who is more conscientious, gentler, more responsive, but the one who is more fanatical, who is more insensitive to suffering, who is more subject to his own doctrine. These works raise the theme of humanism, which is inextricably linked with a sense of civic duty. Commander Levinson took the only pig from the poor Korean, using weapons, forced the red-haired guy to flatter into the water for fish, gave the green light to Frolov's forced death. All this for the sake of saving the common cause. People suppressed personal interests, subordinating them to duty. This debt crippled many, making them tools in the hands of the party. As a result, people became callous, crossed the line of what was permitted. The "selection of human material" is waged by the war itself. More often the best die in battles - Metelitsa, Baklanov, Morozka, who managed to realize the significance of the team and suppress his selfish aspirations, and such as Chizh, Pika and the traitor Mechik remain.

PRACTICE PLANS

IN RUSSIAN LITERATURE OF THE XX CENTURY (Part II)

PRACTICE #3

M. Bulgakov's novel "The Master and Margarita".

Plan.

1. History of the creation and publication of the novel.

2. The versatility of the plot and composition (a novel within a novel), the meaning of comparing Yershalaim and Moscow (landscape, season, plot parallels). Comparison of the images of characters in the historical and modern parts of the novel.

3. The depiction of Soviet reality in the 1920s and 1930s in the novel.

4. "Eternal" problems of good and evil, human freedom and the meaning of life, freedom of creativity. Master image.

The theme of love in the novel. Features of the moral and philosophical position of the author. The image of Margarita and the problem of Orthodox morality.

The role of Woland and his retinue in the novel. Distortion of the biblical and Orthodox canon in the creation of the image of Woland.

Genre-style originality works, a combination of concrete historical and grotesque-fantastic imagery, features of the language of the novel.

LITERATURE:

1. Bulgakov M.A. "The Master and Margarita" (any edition).

2. Amusin M. "Your novel will bring you more surprises" (On the specifics of the fantastic in "The Master and Margarita") // Questions of Literature. - 2005. - No. 2. - P. 111.

3. Boborykin V. Mikhail Bulgakov. - M., 1991.

4. Gavryushin N. Litostroton, or a master without Margarita // Questions of Literature. - 1991. - No. 8.

5. Zerkalov A. The Gospel of Mikhail Bulgakov. - M., 2003.

6. Zolotonosov M. "Satan in unbearable splendor" // Literary review. - 1991. - No. 5.

7. Kachurin M.G., Shneerson M.A. "Here is your eternal home": Personality and creativity of Mikhail Bulgakov. - St. Petersburg, 2000.

8. Kovalchuk D.A. Man and time in M. Bulgakov's novel "The Master and Margarita". – Sat: Russian literature XIX– XX centuries: Actual problems research. - Armavir, 2001. - P. 118.

9. Korablev E. Secret action in "The Master and Margarita" // Questions of Literature. - 1991. - No. 5.

10. Lazareva M.A. Genre originality"Masters and Margaritas" by M. Bulgakov // Philological Sciences. - 2000. - No. 6. - P. 22.

11. Lakshin V. World of Mikhail Bulgakov. /Intro. Art. to collection op. M. Bulgakov. In 5 vols. - T. 1. - M., 1989. - S. 5-68.

12. Materials of the International Conference "Mikhail Bulgakov in the 21st Century". To the 40th anniversary of the publication of the novel "The Master and Margarita" // Russian Literature. - 2007. - No. 3. - P. 243.

13. Novikov V.V. Mikhail Bulgakov is an artist. - M., 1996.

14. Palievskiy B.V. The last book M. Bulgakov. / In the book: Bulgakov M. Master and Margarita. - M., 1989. - S. 474-482.

15. Petelin V.V. Bulgakov's life. - M., 2000.

16. Sokolov B. Bulgakov Encyclopedia. - M., 1996.

17. Sokolov B. Mikhail Bulgakov. - M., 1991.

18. Yablokov E.A. Motives of Mikhail Bulgakov's prose. - M., 1997.

19. Yanovskaya L.M. creative way Mikhail Bulgakov. - M., 1983.

PRACTICE #4

Roman M. Sholokhov " Quiet Don".

Plan.

2. Cossacks and revolution. The tragedy of the civil war in the novel.

3. The image of Grigory Melekhov, the hero's search for the "third way" and the hero's tragedy. Discussions about the hero in criticism.

4. Women's images epics as the embodiment of Russian national character(Natalya, Ilyinichna, Dunyasha). Image of Aksinya. The theme of love and family in the novel.

5. Compositional and style features epics. The world of nature and its philosophical function in the novel.

LITERATURE:

1. Sholokhov M. Quiet Don. (any edition)

2. "Quiet Flows the Don": imaginary and real riddles // Questions of Literature. - 1989. - No. 8.

3. "Sholokhov question": continuation of the conversation // Questions of Literature. - 1991. - No. 2.

4. Biryukov F.G. Comprehending the secrets of artistry (notes on the style of M. Sholokhov) / In the book: Writer and Life. - M., 1987.

5. Gura V. How "Quiet Don" was created. – M.. 1989.

6. Ermolaev G.S. Mikhail Sholokhov and his work. - St. Petersburg, 2000.

7. Ermolaev G.S. Unknown historical sources"Quiet Don" // Russian literature. - 2006. - No. 4. - P. 184.

8. Kolodny L. Manuscript "Quiet Don" // Moscow. - 1991. - No. 10.

9. Litvinov V. Mikhail Sholokhov. - M., 1985.

10. Petelin V.V. Sholokhov's life. The tragedy of the Russian genius. - M., 2002.

11. Plevako N. next to Sholokhov // Our contemporary. - 2000. - No. 5. - p. 152.

12. Semyonov S. Philosophical and metaphysical facets of the "Quiet Don" // Questions of Literature. - 2002. - No. 1. - P. 71.

13. Semanov S.N. In the world of "Quiet Don". - M., 1987.

14. Tamarchenko E. The idea of ​​truth in the "Quiet Don" // New world. – 1990. – № 6.

15. Khyetso G. Who wrote "Quiet Flows the Don". - M., 1989.

PRACTICE #5

The theme of revolution and civil war in the prose of the 1920s.

Plan.

1. A look at the revolution and the events of the civil war from the standpoint of revolutionary morality and class humanism in the novels "The Iron Stream" by A. Serafimovich, "The Defeat" by A. Fadeev, "Chapaev" by D. Furmanov, "Walking Through the Torments" by A. N. Tolstoy .

2. The theme of revolution and civil war, the problem of the intelligentsia and revolution in R. Gul's Ice Campaign, M. Bulgakov's novel The White Guard, M. Sholokhov's Don Stories. The problem of Christian humanism in these works.

LITERATURE:

1. Boris Pilnyak: The experience of today's reading. Sat. Art. - M., 1996.

2. Golubkov M.M. Russian literature of the XX century: After the split. Tutorial for universities. - M., 2002.

4. Civil war in lyrics and prose. In 2 vols. / Comp., intro. Art., comment. S.N. Semanova, P.I. Rudneva. - M., 2003.

5. Groznova N.A. Early Soviet prose: 1917-1925. - L., 1976.

6. Zaika S.V. A. Fadeev's novel "Rout" / In the book: Russian literature: XX century: Reference materials/ Comp. L.A. Smirnova. - M., 1995. p. 206-228.

7. History of Russian literature of the XX century (1910-1930). In 4 books: Textbook / Ed. L.F. Alekseeva. Book. I, II, III, IV. - M., 2005. - S. 239-256; pp. 274-286.

8. History of Russian literature of the XX century (First half): Textbook for universities. - In 2 books. - Stavropol, 2004. p. 487-529; pp. 584-638.

9. Kovalenko A.G. Russian literature of the XX century. 20s - 30s - M., 1994.

11. Malakhov V. Harbor of the Turn of Times (Ontology of the House in Mikhail Bulgakov's "White Guard") // Questions of Literature. - 2000. - No. 5.

12. Musatov V.V. History of Russian Literature in the First Half of the 20th Century ( Soviet period). - M., 2001. - S. 53-61, S. 62-71, S. 129-144.

13. Pavlov Yu.M. Cross over the Dnieper. On the religiosity of the author of the "White Guard" // Our contemporary. - 2007. - No. 3. - P. 249.

14. Pavlov Yu.M. Revolution, civil war and ideological and moral searches of the individual in the literature of the 10s - 30s (A. Serafimovich, R. Gul, A. Tolstoy, M. Tsvetaeva, S. Yesenin). / In collection: Russia at the junction historical eras. - Moscow-Armavir, 1998. - P. 31

15. Ryabtsev V.P. "Exodus" to a new life, or the theme of the civil war in the prose of A. Fadeev and B. Lavrenev // In: Russia at the turn of historical eras. - Moscow, Armavir, 1998. - S. 18.

16. Chalmaev V. "Don stories": to universal ideals through the psychosis of hatred / Russian literature of the XX century. Essays. Portraits. Essay. Part 2. - M., 1994.

17. Chalmaev V. Serafimovich. Neverov. - M., 1982 (ZhZL)

Similar information.