The theme of the Second World War in the literature of the war years. Literature during the war years

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, fair, 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. The romantic line of the depiction 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.

AT best stories The 1960s and 1970s depict not large-scale, panoramic events of the war, but local cases that, it would seem, cannot radically affect the outcome of the war. But it was precisely from such “special” cases that the overall picture wartime, it is the tragedy of individual situations that gives an idea of ​​the unimaginable 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 his spiritual world changes. 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 the tragic fate of 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 characters placed in extreme conditions deepened, interest in moral issues. 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 of the 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 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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on the course “History of Russia”

on the topic: “The Great Patriotic War in literature and cinema ”

1. Literature and war

During the years of the Great Patriotic War of the Soviet people, the pen of a writer and poet, the brush of an artist, the chisel of a sculptor, the camera of a cameraman became the sharpest weapon in the fight against a hated enemy. Many figures of literature and art owned a bayonet and a machine gun no less skillfully than a pen and a brush. They fought in a single formation of fighters, commanders, political workers of the army in the field.

More than a thousand Soviet writers went to the front, including M. Bazhan, A. Bezymensky, P. Brovka, V. Vishnevsky, A. Gaidar, V. Grossman, E. Dolmatovsky, A. Korneichuk, V. Kozhevnikov, K. Krapiva, Yu. Krymov, M. Lynkov, S. Mikhalkov, P. Pavlenko, E. Petrov. A. Prokofiev, V. Sayanov, M. Svetlov, K. Simonov, L. Slavin, V. Stavsky, A. Surkov, M. Tank, A. Tvardovsky, N. Tikhonov, M. Sholokhov. 900 members of the Union of Artists, the entire military studio named after Grekov, went to the front. Composers A. Alexandrov, V. Muradeli and others went to the front; artists P. Sokolov-Skalya, B. Prorokov, P. Shukhmin and others; artists K. Baiseitova, E. Gogoleva, I. Ilyinsky, G. Yura and others.

Many of the writers and artists overcame serious obstacles on their way to the Active Doctors' Resistance Army. A. Gaidar was not allowed to go to the front because of an old severe concussion, Yu. only an employee of the editorial office of a military newspaper, located in the rear. Soon, without anyone's consent, he moved from this newspaper to the Active Army and became a courageous intelligence officer.

275 writers gave their lives for the freedom and independence of the motherland. 500 writers were awarded military orders and medals, 10 of them became Heroes of the Soviet Union.

Front-line writers accomplished many heroic deeds on the fronts of the Great Patriotic War. Their lives and their names are forever imprinted in the memory of the Soviet people. S. Borzenko was in the forefront of the landing on the Kerch Peninsula. For 40 days and nights he was in continuous battles. He was awarded the title of Hero of the Soviet Union. In the besieged Sevastopol in the last days of his heroic struggle was the writer Yevgeny Petrov. Yu. Krymov died covering the withdrawal of a group of fighters with light machine gun fire. A. Gaidar stood under the bullets of a German machine gun to warn his fellow partisans about the danger. B. Lapin did not leave the encirclement along with the others, but remained to certain death, refusing to leave his seriously wounded friend Z. Khatsrevin. Refused to take off on a plane from the encirclement and died in battle J. Altauzen. Together with the crew of the submarine, A. Lebedev met death on the seabed. The whole world knows the feat of Musa Jalil, committed by him in fascist dungeons.

Soviet writers also accomplished an outstanding literary feat. From the first hour of the war, they gave the Soviet people - both the soldiers of the front and the workers of the rear, in which there was an urgent need - a fighting artistic word.

It was difficult for a Soviet person, peace-loving by nature, to be imbued with an understanding of the seriousness of the situation, to be filled with sizzling hatred for the enemy. Here it was necessary with a fiery word to penetrate to the very depths of his soul, to convey to every convolution of the brain the consciousness of the need for a courageous defense of the Motherland, to burn hearts with the idea of ​​a holy Patriotic war. And this task was fulfilled with honor by Soviet writers, poets, playwrights and journalists.

In the first issue of the Pravda newspaper of the war days, on June 23, poems by A. Surkov and N. Aseev were published. The next day, Izvestia published the lines of V. Lebedev-Kumach's "Holy War" filled with angry passion, which then, after being set to music by composer A. Aleksandrov, became the anthem of the Great Patriotic War. From June 26, I. Ehrenburg's combative, smashing journalism begins with a speech in the Krasnaya Zvezda newspaper, and A. Tolstoy from June 27 in Pravda. Inspirational patriotic articles by A. Tolstoy, M. Sholokhov and A. Fadeev, exciting essays by N. Tikhonov from besieged Leningrad, all Soviet literature, all art, all the work of hundreds and thousands of glorious representatives of our culture, the culture of all the peoples of the USSR, awakened in people the flame of hatred to the invaders, brought up courage, tempered the will to fight.

The idea of ​​defending the Soviet Motherland has become the main idea of ​​all literature. Its main leading theme is selfless devotion to the motherland, mortal hatred of the enemy, the heroism of the people, the humanism of the liberation war, faith in victory. The fighting people, the man in the war became the main character of the works of literature. Referring to the age-old history of the struggle of the Russian and other peoples of the USSR against foreign invaders, to examples of heroism that entered the world annals of glory, L. Leonov wrote: “In difficult times, ask them, these strict Russian people, who collected our homeland bit by bit, and they will tell you what to do, even when you are alone among the enemy multitude.

I. Ehrenburg made a great contribution to the education of national hatred for the fascist invaders. He exposed the Nazis as recidivist murderers who had long deserved for their atrocities death penalty. “This war,” I. Ehrenburg wrote, “is not like previous wars. For the first time in front of our people were not people, but vicious and vile creatures, savages, equipped with all the achievements of technology, monsters acting according to the charter and referring to science, who turned the extermination of infants into the last word of state wisdom. A. Tolstoy called on Soviet soldiers: “You love your wife and child, turn your love inside out so that it hurts and oozes blood. ... Kill the beast, this is your sacred commandment."

Soviet literature by no means portrayed the enemy as weak, nor did it orient itself toward an easy victory over him. She showed both his strength and his weakness. This strength consisted in all-round preparation for an aggressive war, in the drilledness of the army, in its military experience, in the anger, greed and cynicism of the invaders. This weakness consisted in the absence of lofty ideals, in the baseness of goals, in their contradiction to the inexorable laws of history. The fortitude of the Soviet man and his devotion to socialism were incomparable with the gloomy semblance of ideals with which fascism acted.

The most important task in the days of the war was to ensure that its deep meaning and patterns become the property of every person. And this task, along with other forms of educational, patriotic, ideological work, was solved by Soviet literature. Creating images of workers who rose to fight to the death, she showed strength and invincibility on these examples. She strongly defended our ideals and our worldview. The theme of patriotism was the leading theme in the literature of the peoples of the USSR throughout the Great Patriotic War.

The feat of the writers was inseparable from the feat of the whole people, closely intertwined with it. During the harsh years of the war, the national character of Soviet literature was immeasurably strengthened. This nationality was manifested in the fact that writers, poets, playwrights said what the people were eager to hear from them. They spoke the truth about the tragedy experienced by the people, and about its great, sizzling anger, which could not but save our Motherland and all of humanity from enslavement by fascism. They expressed with all the force of the artistic word the irreversibility of world history, which was reflected in the victory of socialism in our country and the profound changes to which this victory led.

The people at war, the people in the rear, the people in the besieged cities - this is the main character fiction war years. Soviet literature has convincingly shown the decisive role of the popular masses in the struggle against fascism and in winning the coming victory.

The feat of Soviet literature received the legitimate recognition of the people. It was reflected in the growing interest of Soviet people in poetry and prose during the war. Characteristically, during the war years, 169.5 million copies of works of fiction were published.

Poetry turned out to be an effective, mobile, incendiary norm artistic creativity. At the front and in the rear, poems and songs by D. Dzhambul, M. Isakovsky, G. Leonidze, V. Lebedev-Kumach, Y. Kolas, A. Kuleshev, Y. Kupala, S. Neris, M. Rylsky, K. Simonov sounded , A. Surkov, A. Tvardovsky, P. Tychina and many others. In the autumn of 1941, N. Tikhonov wrote a poem about besieged Leningrad at the front, "Kirov with us." The poem "Russia" by A. Prokofiev, "Son" by P. Antokolsky, "Funeral of a friend" by P. Tychina, "Banner of the Brigade" by A. Kuleshev, "Zoya" by M. Aliger painted the heroic characters of the Soviet people who accepted, without flinching, a mortal battle with the enemy. Zoya in poem of the same name M. Aliger, before his death, with faith in the future, says: “I will die, but the truth will win!”

K. Simonov, like many other poets, closely associated with the soldiers of the Soviet Armed Forces, deeply realized their need for lyrical lines. He created a number of poems of high lyrical sound, in which a purely personal theme rises to the highest level of heroic citizenship. One of the most beloved poems of front-line lyrics, very characteristic of it, was his poem "Wait for me." In this poem, a fighter addresses his girlfriend with words of love and confidence in her unwavering loyalty, that her expectation will save him in the midst of the fire of war. This and many other front-line lyrical poems by K. Simonov, M. Isakovsky, A. Surkov and other poets, filled with a deep patriotic feeling, became popular folk songs war years. The songs of V. Lebedev-Kumach were raised to fight the enemy, and above all his "Holy War", which perfectly described the formidable strength of the Soviet people, who rose to their full heroic height in a sacred battle with the black fascist force, with the damned horde.

In the autumn of 1942, A. Tvardovsky began to publish, chapter by chapter, his wonderful poem Vasily Terkin.

In the poem "Vasily Terkin" a generalized image of a Soviet front-line soldier is created, considering his military exploits as everyday military labor. But this work is illuminated by the light of a lofty patriotic idea - the idea of ​​defending the great gains of socialism from the enemy. Terkin - a hero who absorbed energy popular struggle with fascism. He is the bearer of the best features of the Russian folk character, the personification of the people's intelligence and people's strength. He is full of a clear mind, cordiality, love of life, fervent humor, warmth and subtle sadness. Terkin is a patriot in the best, highest sense of the word. For him, there is no doubt that victory will be wrested from the enemy.

Terkin - collective image. Such images stood next to the real heroes sung by Soviet literature. One of the outstanding merits of Soviet literature is that it widely shed light on the heroic deeds of Soviet soldiers, made these deeds widely known, turned them into the property of the whole country and the whole people. Thanks to this, many such feats were repeated a thousand times. His faithful sons and daughters forever entered the epic of the heroic Soviet people: partisan Zoya Kosmodemyanskaya and pilot Alexei Maresyev, battalion commander Bourdzhan Momysh-Uly and infantryman Alexander Matrosov.

Along with the exploits of real heroes, Soviet literature also covered the equally real exploits of entire hero cities. The barbaric blockade of Leningrad lasted 900 days. And all these days, Vasily Ardamatsky, Nikolai Brown, Vera Inber, Vera Ketlinskaya, Alexander Kron, Pavel Luknitsky, Alexander Prokofiev, Vsevolod Rozhdestvensky, Vladimir Rudny, Vissarion Sayanov, Mikhail Svetlev, Nikolai Tikhonov, Zinaida Shishova were in the ranks of the heroic Leningraders. They dedicated their creativity to the hero-city.

O. Bergholz wrote that she found her happiness as a poet and citizen in a strong connection with the heroic fate of the city of Lenin, whose ordinary she felt herself to be.

M. Dudin dedicated his poems to the Hanko garrison. V. Grossman, M. Lukonin, K. Simonov and others wrote about the epic of Stalingrad.

Soviet prose of the war years began to develop rapidly somewhat later than poetry, approximately from the summer of 1942. Such outstanding works of our literature appeared as: “The Science of Hate” by M. Sholokhov, “Russian People” and “Days and Nights” by K. Simonov, “Unconquered » B. Gorbatov, “Volokolamsk Highway” by A. Beck, V. Grossman’s story “The People are Immortal”, “Rainbow” by V. Vasilevskaya, “Invasion” by L. Leonov, “Front” by A. Korneichuk, story by V. Kozhevnikov “March- April” and others. In many of these works, features of the folk heroic epic are visible. The great life-affirming power sounds even in the descriptions of the death of heroes whose courage is stronger than death. In the story of V. Grossman "The people are immortal" it is shown that the heroism of the fighters raises the greatness of the people even higher.

From the pages of M. Sholokhov's novel "They Fought for the Motherland" came fighters filled with such courage that death receded before. These people are deeply aware of the inseparability of their personal fate from the fate of the socialist homeland, and in this spirit, by their personal example, educate and inspire fighters and commanders to exploits. Even when seriously wounded, they remain in the ranks. The communist fighter Streltsov tells his friend Lopakhin: “A deaf person can fight next to his comrades.”

A. Beck's story "Volokolamsk Highway" shows the complex process of the formation of Soviet soldiers from people who did not own weapons in peacetime. These people, imbued with the ideas of defending the Motherland and hatred for the enemy, knowing his strengths and weak sides, in a short time became a formidable force capable of crushing the war machine of Nazi Germany. The story of A. Beck shows the friendship of the peoples of the USSR, their unity, reveals the features of the work of commanders and political workers in a severe war, their role in the upbringing and training of Soviet soldiers.

Many works of Soviet literature of the war years show the suffering of people who fell into fascist bondage. The story of V. Vasilevskaya "Rainbow" is devoted to this topic. The writer showed the devotion of the population of the occupied territory Soviet power, the indestructible strength of his moral character. In this story, as in many other works of Soviet writers, the immeasurable superiority of the morality and spirit of the Soviet people over the fascist barbarians is revealed.

A. Fadeev's novel "The Young Guard" was completed at the end of the war. This novel is based on true story heroic struggle and the tragic death of an underground Komsomol organization in the German-occupied mining town of Krasnodon. And in this novel, with great force of the artistic word, the origins of the heroism of Soviet people of the most diverse generations are revealed.

At the end of the war, literature appeared new topic: the dream of his beloved homeland of a fighter, whom the military paths-roads took far beyond its borders. This theme sounded in M. Blanter's song to the verses of M. Isakovsky "Under the Balkan Stars".

Soviet literature marched across the battlefields in a single formation with all Soviet soldiers. She made the exploits of individual fighters and commanders the property of the whole people, she played her role in making these exploits become a mass phenomenon. Soviet writers have shown that heroism at the front is a natural manifestation of the character of a person who defends his homeland. The Soviet people did just that, because they could not do otherwise.

Not only writers were visible and invisible in the combat formations of the troops. There were also figures of Soviet art. During the war, 42,000 actors and about 4,000 concert brigades visited the front, which held 1,350,000 concerts. This should also include the performances of the army and navy amateur performances, which were not taken into account. Composers created during the war a number of patriotic works of various genres. An important role was played by songs that were picked up by millions of Soviet soldiers as a reflection of their own feelings. Among the works close-up an outstanding place belongs to D. Shostakovich's Seventh Symphony, written in besieged Leningrad. The composer dedicated his work to the hero city and the coming victory over the enemy. In the symphony, by means of musical art, the invasion of the fascist hordes, their cruelty and heartlessness, the fight against the enemy for life and death and the final victory over fascism, the great triumph of freedom-loving humanity, are shown. Having created such a symphony in besieged Leningrad, its author himself performed an outstanding heroic feat. The symphony was first performed in Leningrad. From here she walked with extraordinary speed Earth, it was performed by the best symphony orchestras.

2. The feat of filmmakers

With the beginning of the Great Patriotic War, newsreel operators, the vanguard of our cinematography, left for the front. They traveled the entire long path of the Soviet troops from the western borders of the USSR to the banks of the Volga and from the Volga to Berlin and the Elbe. Many of them died, but the debt of cinematography to the Motherland was fulfilled with honor. During the war, cameramen filmed over 3.5 million meters of film. They recorded the events that became the property of history, created the greatest documentary and historical values. Screenwriters and directors turn to this treasury again and again. In addition, during the war years, more than 500 issues of various film magazines, 67 short and 34 full-length military films were created and released on screens.

During the war years, a number of full-length documentaries were created from the materials of front-line cameramen, capturing the most important events of the thunderstorm years. On February 18, 1942, the film “The Defeat of German Troops near Moscow” (directed by L. Varlamov and I. Kopalin) began to be shown. Soon another documentary was released - "Leningrad in the fight" (directors R. Karmen, N. Komarevtsev, V. Solovtsev and E. Uchitel). On June 13, 1942, 240 cameramen in 40 places in the rear of the country and on the entire vast front from the White to the Black Seas filmed the film "War Day". In March 1943, a full-length documentary "Stalingrad" appeared, filmed by front-line cameramen directly in the battles that took place in the hero city. This film, widely shown outside the USSR, shocked with its documentary, which showed the courage and exploits of the heroic defenders of the city on the Volga. One of the American newspapers wrote: this film "represents the absolute pinnacle of this genre. Not a single picture could convey so powerfully and so vividly all the destructiveness of the war. This film in its portrayal of a struggling Russia is unmatched." A number of films were devoted to subsequent offensive operations of the Soviet Armed Forces.

The series of documentaries of great impressive power ends with two, the names of which speak for themselves - "Berlin" (directed by Y. Raizman and E. Svilova) and "The Defeat of Japan" (directed by A. Zarkhi and I. Kheifets). About this series of films, I. Bolshakov, who headed the Committee of Cinematography during the war, writes: “Many of them were distinguished by the novelty of directorial techniques, the brightness and extraordinary expressiveness of their shots, high professional cameramanship, good narration, excellent musical accompaniment.

In other words, all components of a documentary film - editing, photography, narration, music - have received a new development and reached a high level. And documentary cinema rightfully stood on a par with artistic cinematography in terms of its ideological, political and educational significance. Soviet documentary filmmakers have done a lot to raise the importance of documentary cinema to the level of artistic cinematography.”

Many documentaries were filmed in partisan detachments, as well as in the ranks of the foreign resistance movement, dedicated to the liberation from the German invaders of the countries they occupied. Such, for example, is the film "Liberated France" by S. Yutkevich.

It was difficult immediately with the outbreak of the war to create full-length feature films dedicated to its topics. Life gave birth to an operational form - short film novels. These short stories, among which there were comedies, were combined into "combat film collections". Such film collections in 1941-1942. 12 were created. Their success was determined by the fact that reliable facts were laid in the basis of the short stories.

The predominant theme of war films, as well as of all Soviet art and literature, is the heroism of the Soviet people. This topic is covered from different angles in the paintings “Zoya” by L. Arnshtam, “Once upon a time there was a girl” by V. Eisymont, “Man 217” by M. Romm, “Invasion” by A. Room, “It was in the Donbass” by L. Lukov, “Wait for me” by A. Stolper and B. Ivanov, “Sky of Moscow” by Y. Raizman, “Ivan Nikulin-Russian sailor” by I. Savchenko, “At six o'clock in the evening after the war” by I. Pyryev.

A number of films about the heroism of home front workers also appeared on the screens. A number of works of literature and fine arts are also dedicated to this.

Soviet writers, composers, artists, like the entire Soviet people, were in a single combat formation during the war. According to the Danish writer Martin Andersen Nekse, they were "forces of action, militant forces ... Soviet art and literature did a lot to bring the victory of democracy around the world." Their works brought up selfless heroism, moral purity and boundless devotion to the Motherland in Soviet people.

Placed at the service of the great cause of defeating the enemy, Soviet literature and art adequately fulfilled their civic patriotic duty and became a powerful spiritual weapon of the Great Patriotic War.

The development of literature during the Great Patriotic War and post-war decades- one of major topics in domestic art. It has a number of features that distinguish it from the military literature of other countries and periods. In particular, poetry and journalism acquire a huge role in the spiritual life of the people, since a difficult, full of hardships time requires small forms from genres.

For all literary works the war years are characterized by pathos. Heroic pathos and national pride have become invariable attributes of any book. In the very first days of the Nazi offensive, writers, poets, publicists and all creative people felt mobilized to the information front. This call was accompanied by very real battles, injuries and deaths, from which not a single Geneva Convention saved the Soviet intelligentsia. Of the two thousand authors who went to the front line, 400 did not return. Of course, no one counted injuries, illnesses and grief. That is why every poem, every story, every article is characterized by overflowing emotionality, drama, intensity of syllable and words, and the cordiality of a friend who is experiencing the same thing as you.

Poetry

Poetry becomes the voice of the Motherland, which appealed to her sons from posters. The most musical poems turned into songs and with teams of artists flew to the front, where they were indispensable, like medicines or weapons. The literature of the period of the Great Patriotic War (1941-1945) for the majority of Soviet people is poetry, because in the format of songs they flew around even the most remote corners of the front, announcing the fortitude and intransigence of soldiers. In addition, it was easier to declare them over the radio, diluting front-line reports. They were also published in the central and front-line press during the Great Patriotic War.

To this day, the song lyrics of M. Isakovsky, V. Lebedev-Kumach, A. Surkov, K. Simonov, O. Berggolts, N. Tikhonov, M. Aliger, P. Kogan, Vs. Bagritsky, N. Tikhonov, A. Tvardovsky. A penetrating national feeling resounds in their poems. The poets sharpened their flair, their view of their native latitudes became filial, respectful, tender. The image of the Motherland is a specific, understandable symbol that no longer needs colorful descriptions. Heroic pathos penetrated into intimate lyrics.

Melodic poetry, with its inherent emotionality and declarative oratorical speech, very soon spreads on the fronts and in the rear. The heyday of the genre is logically determined: it was necessary to epicly reflect the pictures of the heroic struggle. Military literature outgrew poems and resulted in national epic. As an example, you can read A. Tvardovsky "Vasily Terkin", M. Aliger "Zoya", P. Antokolsky "Son". The poem "Vasily Terkin", familiar to us from school times, expresses the severity of military life and the indomitably cheerful disposition of the Soviet soldier. Thus, poetry during the Second World War acquired great value in cultural life people.

The main genre groups of military poems:

1. Lyric (ode, elegy, song)
2. satirical
3. Lyrical-epic (ballads, poems)

The most famous wartime poets:

1. Nikolay Tikhonov
2. Alexander Tvardovsky
3. Alexey Surkov
4. Olga Berggolts
5. Mikhail Isakovsky
6. Konstantin Simonov

Prose

Smaller forms of literature (such as short stories and novellas) enjoyed particular prominence. Sincere, inflexible and, in truth, people's characters inspired Soviet citizens. For example, one of the most famous works of that period, “The Dawns Here Are Quiet,” is still known to everyone from school. Its author, Boris Vasiliev, already mentioned above, in his works adhered to one main theme: the incompatibility of the natural human, life-giving and merciful principle, embodied, as a rule, in female images, and wars. The tone of the work, characteristic of many writers of that time, namely the tragedy of the inevitable death of noble and disinterested souls in a collision with the cruelty and injustice of the "force", combined with the sentimental-romantic idealization of "positive" images and plot melodramatism, captivates the reader from the first pages, but leaves a deep wound to impressionable people. Probably, this textbook example gives the most complete picture of the dramatic intensity of prose during the Second World War (1941-1945).

Major works appeared only at the end of the war, after the turning point. No one doubted victory, and the Soviet government provided the writers with conditions for creativity. Military literature, namely prose, has become one of the key areas of the country's information policy. The people needed support, they needed to realize the greatness of that feat, the price of which is human lives. As examples of prose from the time of the Second World War, one can name the novel by V. Grossman "The People is Immortal", the novel by A. Beck "Volokolamsk Highway", the epic by B. Gorbatov "The Unconquered".

Notable Wartime Prose Writers:

1. A. Gaidar
2. E. Petrov
3. Y. Krymov
4. M. Jalil,
5. M. Kulchitsky
6. V. Bagritsky
7. P. Kogan
8. M. Sholokhov
9. K. Simonov

Publicism

Outstanding wartime publicists: A. Tolstoy (“What are we defending”, “Moscow is threatened by the enemy”, “Motherland”), M. Sholokhov (“On the Don”, “Cossacks”, story-essay “The Science of Hatred”), I. Ehrenburg (“Survive!”), L. Leonov (“Glory to Russia”, “Reflections near Kyiv”, “Rage”). All these are articles published in those newspapers that the soldiers received in the trenches of the front and read before the battle. Exhausted by overwork, people greedily drilled these same lines with tired eyes. Publicism of those years has a great literary, artistic and historical value. For example, articles by Boris Vasiliev calling for the establishment of the priority of national culture over politics (an example of which was set by Vasiliev himself, having left the CPSU in 1989, in which he had been a member since 1952, and since the beginning of the 1990s, moving away from participating in "perestroika" political actions) . His journalistic materials about the war are distinguished by a sound assessment and the greatest possible objectivity.

The main journalistic genres of wartime:

1. articles
2. essays
3. feuilletons
4. appeals
5. letters
6. leaflets

The most famous publicists:

1. Alexey Tolstoy
2. Mikhail Sholokhov
3. Vsevolod Vishnevsky
4. Nikolay Tikhonov
5. Ilya Erenburg
6. Marietta Shahinyan

The most important weapon of journalism of those years was the facts of the violence of the Nazi invaders against the civilian population. It was the journalists who sought out and systematized documentary evidence that enemy propaganda was at odds with the truth in everything. It was they who convincingly argued for the doubting patriotic position, because only in it was salvation. No deals with the enemy could guarantee the disaffected freedom and prosperity. The people had to realize this, learning the monstrous details of the massacre of children, women and the wounded, which were practiced by the soldiers of the Third Reich.

Dramaturgy

The dramatic works of K. Simonov, L. Leonov, A. Korneichuk demonstrate the spiritual nobility of the Russian people, their moral purity and spiritual strength. The origins of their heroism are reflected in the plays "Russian People" by K. Simonov and "Invasion" by L. Leonov. The history of the confrontation between the two types of military leaders is polemically played out in the play "Front" by A. Korneichuk. Dramaturgy during the Great Patriotic War is a very emotional literature, filled with heroic pathos, characteristic of the era. It breaks out of the framework of social realism, becomes closer and more understandable to the viewer. Actors no longer play, they portray their own everyday life on stage, reliving their own tragedies anew, so that people are indignant and continue their courageous resistance.

Everyone was united by the literature of the war years: in each play, the main idea was a call for the unity of all social forces in the face of an external threat. For example, in Simonov's play "Russian People" the protagonist is an intellectual, seemingly alien to the proletarian ideology. Panin, a poet and essayist, becomes a military commissar, just like the author himself once did. However, his heroism is not inferior to the courage of the battalion commander Safonov, who sincerely loves a woman, but still sends her on combat missions, because his feelings towards his homeland are no less significant and strong.

The role of literature during the war years

The literature of the period of the Great Patriotic War (1941-1945) is notable for its purposefulness: all writers, as one, strive to help their people withstand the heavy burden of occupation. These are books about the motherland, self-sacrifice, tragic love for one's country and the duty that it obliges every citizen to defend the fatherland at any cost. Crazy, tragic, merciless love revealed the hidden treasures of the soul in people, and writers, like painters, exactly reflected what they saw with their own eyes. According to Aleksey Nikolayevich Tolstoy, "in the days of the war, literature becomes a truly folk art, the voice of the heroic soul of the people."

The writers did not separate from the front-line soldiers and home front workers, they became understandable and close to everyone, since the war united the nation. The authors froze and starved at the fronts as war correspondents, cultural workers and died with soldiers and nurses. An intellectual, a worker or a collective farmer - all were at the same time. In the first years of the struggle, masterpieces were born in one day and remained in Russian literature forever. The main task of these works is the pathos of defense, the pathos of patriotism, raising and maintaining military spirit in the ranks. Soviet army. What is now called “on the information front” was then really needed. Moreover, the literature of the war years is not a state order. Writers like Simonov, Tvardovsky, Ehrenburg turned out by themselves, absorbing impressions on the front line and transferring them to notebooks to the sound of exploding shells. Therefore, these books really believe. Their authors suffered what they wrote and risked their lives to pass on this pain to their descendants, in whose hands the world of tomorrow was supposed to be.

List of popular books

Books will tell about the collapse of simple human happiness in military realities:

1. "Simply love" by V. Vasilevskaya,
2. "It was in Leningrad" by A. Chakovsky,
3. "Third Chamber" Leonidov.
4. “The Dawns Here Are Quiet” B. Vasiliev
5. "The Fate of a Man" by M. Sholokhov

Books about heroic deeds in the conditions of the bloodiest battles during the Second World War:

1. "In the trenches of Stalingrad" V. Nekrasov,
2. "Moscow. November 1941 "Lidina,
3. "July - December" Simonov,
4. "Brest Fortress" S. Smirnov,
5. "They fought for their homeland" M. Sholokhov

Soviet literature on betrayal:

1. "Battalions ask for fire" Y. Bondarev
2. "Sotnikov" by V. Bykov
3. "Sign of trouble" by V. Bykov
4. "Live and remember" V. Rasputin

Books dedicated to the siege of Leningrad:

1. Blockade book by A. Adamovich, D. Granin
2. "Road of Life" by N. Hodza
3. "Baltic Sky" by N. Chukovsky

About children participating in the war:

1. Young Guard: Alexander Fadeev
2. Tomorrow there was a war - Boris Vasiliev
3. Goodbye boys - Boris Balter
4. Boys with bows - Valentin Pikul

About women participating in the war:

1. War has no female face - Svetlana Alekseevich
2. Madonna with ration bread - Maria Glushko
3. Partisan Lara - Nadezhda Nadezhdina
4. Girls' team - P. Zavodchikov, F. Samoilov

Alternative view of military leadership:

1. Life and Fate - Vasily Grossman
2. Penal battalion: Eduard Volodarsky
3. In war as in war - Viktor Kurochkin

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 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.

Frontline 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 bag

Went all the way victorious

Until the very end.

your big truth

She led us along.

We 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 of 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 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 generations

The 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. 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).

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 a 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 provided 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, Liza 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 about the feat of a large group of people. So, there are essays about night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others. 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 "Just 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 ... ". The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their 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 lines for two months already, where “just to dry, warm up is already a lot of luck” and “... it’s bad with bread, there’s no fat. 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 in the most difficult time in the very difficult place in the most difficult position - a soldier, ”K. M. Simonov wrote about the hero Kondratiev.

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

References:

Ø History of Russian Soviet literature. Under the editorship of prof. P.S. Vykhodtseva. Publishing house "Higher School", Moscow - 1970 Ø For the sake of life on earth. P. Toper. Literature and war. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985

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

Essays on the history of Soviet publishing. M., 1952, p. 233. 16. Vasiliev V.I. Publishing and printing complex and publishing repertoire of the Academy of Sciences during the war. - Science and scientists of Russia during the Great Patriotic War of 1941-1945. M., 1996, p. 221-235; his own. To the Periodization of the History of Russian Academic Book Publishing: Publishing Repertoire of the Great Patriotic War Period

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The Great Patriotic War had a huge impact both on the further course of history and on the development of world and especially Russian culture. Literature could not fail to respond to the great misfortune of the people. Poets and prose writers felt called upon to maintain a high patriotic upsurge at the front and in the rear, confidence in victory, steadfastness in overcoming all the trials that befell the country and people.

Fiction about the war glorifies the feat of a soldier, fully comprehends the lessons of severe trials, shows the truth of war artistic features, but this ultimately determined the topic and purpose of our study.

The poem is dedicated fictional character- Vasily Terkin, soldier of the Great Patriotic War. The protagonist is "hard in torment and proud in grief"; “sometimes serious, sometimes funny”; "holy and sinful Russian miracle - man"; looks like an epic hero or a soldier from fairy tales; a master of all trades: now he is a fighter, now a carpenter, now a stove-maker, now an accordion player. In the Great Patriotic War, he participates from the first days: "in service since June, in battle since July." Terkin is the embodiment of the Russian character. It does not stand out in any significant mental faculties, nor outward perfection. He is truly an ordinary fighter. Terkin has no doubts about the final victory. He is convinced that true heroism lies not in the beauty of the pose. Terkin thinks that in his place, every Russian soldier would have done exactly the same. Describing everyday life and battles, the author shows the hero in different situations, emphasizing his ingenuity, resourcefulness, enthusiasm, courage, the ability not to lose heart in a difficult moment of life, to ignite others with his optimism.

"A book about a fighter" is a book about the people, the best features of which were embodied by the hero: love for the Motherland, selflessness, sincere openness and generosity, sharpness and kind cunning.

In the harsh years of the war, poets did not just write, but supplied "mental ammunition to the front." Poetry, as the most operative genre, combined lofty and patriotic feelings with deeply personal experiences of the lyrical hero.

Problems and ideological and artistic originality of prose about the Great Patriotic War.

§one. The problem of "feat and betrayal" in the artistic comprehension of the authors of prose about the Great Patriotic War.

What can be called true heroism? What are the motives of human behavior in war, the moral origins of heroism and betrayal?

In the sixth grade, we read the story of M. Sholokhov. "Destiny of Man". In this epic story, we have a generalized image of a Citizen of the Country, endowed with the features of true humanity and real heroism. Actually, thanks to this work, we chose the theme of the work.

Andrei Sokolov cannot accept Kryzhnev's betrayal. “Your shirt is closer to your body,” he says. And in fact, the ideal Sokolov, willy-nilly, becomes a murderer. He strangled the traitor with his own hands and did not experience either pity or shame, but only disgust: “. as if I was not a man, but some creeping reptile strangled. ". But what about ideality, moral ideals? Of course, ideality is always demanding, but Sokolov did his soldier's duty.

Sokolov experienced the strongest, most acute test when he met the commandant of the B-14 camp, when the real threat of death hung over him. It was here that the fate of Sokolov as a soldier, as a real son of the Motherland, was decided. The dialogue with Muller is not an armed battle between two enemies, but a psychological duel, from which Sokolov emerges victorious, which Muller himself is forced to admit. This is a victory over fascism, a moral victory. So ordinary person becomes for Sholokhov the embodiment of the national character. “That’s why you are a man, that’s why you are a soldier, in order to endure everything, to demolish everything, if the need called for it,” says Sokolov.

Based on a story by Sholokhov in 1959 directed by Sergei Fyodorovich Bondarchuk. The film "The Destiny of Man" was filmed. He also played the main role.

“An act is a form of incarnation of a person. It is unpretentious in appearance and extremely difficult to perform. Basically ungrateful. A feat seeks a form and requires a person, implies a reward. The act exists without it. And I can understand a feat only as a particular type of act that can serve as a general example ”(A. Bitov).

§2. Woman at war.

If the death of a soldier is a feat in the name of life, then the death of a woman is the death of life itself. But here's the paradox: war, battle, and death are feminine words. Although it must be admitted that glory, and honor, and victory are also feminine words.

“War does not have a woman’s face” - this thought sounds piercingly in B. L. Vasiliev’s story “The Dawns Here Are Quiet”. It was written in 1969, was awarded the State Prize of the USSR, and the author received the Lenin Komsomol Prize for the script for the film.

Distant days of 1942. German saboteurs are thrown into the location of the anti-aircraft battery under the command of foreman Vaskov. And the girls need to take the fight. War conflicts with female beauty, tenderness, kindness. But a sense of duty to her husband makes Rita Osyanina take up arms; beautiful Zhenya's whole family was shot; the fragile Sonya Gurvich left her family in occupied Minsk; Lisa Brichkina did not have a personal life because of the war; Galya Chetvertak's hopes did not come true.

Let us recall the words of Vaskov: “After all, a woman is a mother in whom hatred for murder is inherent in her very nature.” Rita kills the first German. She's shaking. And Zhenya also experiences the same state when he first kills a German with a butt.

Having received an order not to let the Germans through to the railway, the girls own lives fulfilled it. All five girls who went on a mission died, but they died heroically, for their homeland. “Motherland does not begin with canals. Not from there at all. And we protect her. First her, and only then the channel,” says the dying Rita, with the death of which, as with the death of every girl, breaks, according to the foreman, “a small thread in the endless yarn of humanity.”

§3. Children at war.

The story of V. Bogomolov "Ivan" touched the hearts of readers. Based on this work, A. Tarkovsky made the film "Ivan's Childhood". The film adaptation appeared in 1962.

The story is written from the point of view of a young lieutenant - a hero who has taken such a significant place in the literature about the war - and contains several chance meetings with Ivan, a twelve-year-old intelligence officer, all of whose relatives died. The story is written in relation to the hero "from the outside", with the good documentation that has become hallmark young military prose.

The thirst for revenge driven by Ivan Buslov is shown as a deep, unchildlike passion (Kholin “didn’t even think that a child could hate so much”). And to a certain extent, Ivan is really more mature than Senior Lieutenant Galtsev. The fact that for the elders fit into the formulas of the mind and became a source of conscious fulfillment of duty was reflected in Ivan's soul by a sharpened emotional shift. That is why there is a line that imperceptibly separates Ivan from adults in this war - not only from the young lieutenant Galtsev, but also from the dashing intelligence officer Captain Kholin, from his sensible friend Katasonich and Lieutenant Colonel Gryaznov, who is paternally attached to him. “For adults, war is not only a duty, but also a job. Each of them performs it honestly, not sparing himself. Everyone, if necessary, risk their lives. But for Ivan in the war there is no rest and time, there is no life and rear, subordination and awards - there is nothing but the war itself. The need to be in the war is absolute, it is above any ranks, ”it is above any attachments - he loves Kholin, and Katasonich, and Gryaznov, but without hesitation leaves them along the blurry roads of war as soon as the threat of being sent to the rear becomes real. “I have no one,” he says to Gryaznov, “I am alone.”

The child and the war Images of war and violence are the only absolute reality for Ivan. He is freed from them only in dreams.

In the film "Ivan's Childhood" the authors lead us to where, naturally, the author of the story could not lead - beyond Ivan's hatred. At the end of the film, the director cut in footage from the German chronicle. The charred, twisted corpse of Goebbels, five long, pale corpses of his own children killed by him. Documentary footage turned into a metaphor. It is more complex and associative than any other film metaphor. Here is the motive of retribution, emphasized, as if in rhyme, by an empty SS uniform on the wall (someone's empty uniform on the NP for a minute personified the concept of "enemy" for Ivan). Here is the counter motif of a crippled and destroyed childhood. And just a designation: the end of fascism, its suicide.

The hero's story ends in the Gestapo, but the film ends differently. Again a smiling mother's face, summer white sand, a girl and a boy running into the light, rippling water surface, and an ebony tree entering the frame as a formidable, warning sign. The finale of the picture is not difficult to interpret as a kind of "afterword" by the authors themselves, since it can no longer be interpreted as Ivan's dream. But an attentive viewer will guess something more here. This is not just an instructive author's "afterword" to Ivanov's crippled and murdered childhood, but also a strong-willed effort towards harmonious and holistic ideal humanity.

Review of used literature.

During our work, we encountered a problem common to all authors of the reports: a sufficiently large number of books about the war provided a minimum of information related to the topic of our study. And yet.

We got a book outstanding writer and public figure Sholokhova M. A. "The fate of man." In this epic story about the fate of Andrei Sokolov, we are confronted with a generalized image of a Citizen of the Land of the Soviets, endowed with features of genuine humanity and real heroism. Actually, thanks to this work, we chose the topic of our work, because this story could not leave us indifferent.

The book of the famous English journalist Werth A. "Russia in the War 1941-1945" is a peculiar but, no doubt, interesting story about the Great Patriotic War, many events of which were witnessed by the author himself. This publication helped us to outline the objectives of our study.

An important role in our work was played by the book for teachers "Memory of Burning Years" by S. Zhuravlev, which helped us comprehend the work of V. Bogomolov "Ivan". Also, thanks to this book, we found some explanations and comments of the authors to the works we read.

The book “Russian Soviet Literature” by P. Kupriyanovskiy and P. Shames helped us form an idea of ​​what a person could be like in a war and what a Russian soldier was like in the war of 1941-1945. Also, the materials of this book prove that the role of a writer, a poet in the time of the war is very significant. It was they who were supposed to deliver and delivered "mental ammunition to the front."

In conclusion, we want to say that, thanks to the books with which we were lucky to work, we seemed to have traveled into the past, witnessed fierce battles, witnessed the suffering of women and children, the heroism of ordinary soldiers who defended our Motherland.

Conclusion.

The purpose of our work was to study the features of the artistic comprehension of the theme of the Great Patriotic War in modern prose. As a result long work On the abstract, we succeeded by consistently implementing the tasks set in the introduction.

Writers and poets, responding to the great national misfortune, supported with their works a high patriotic upsurge at the front and in the rear, confidence in victory, steadfastness in overcoming all the trials that befell the country and people.

Fiction about the war glorifies the feat of a soldier, fully comprehends the lessons of severe trials, shows the truth of war. Heroes of works most often do not stand out for either significant mental abilities or external perfection. They are truly "ordinary heroes", whose "small deeds" paid for the Great Victory. Describing everyday life and battles, writers showed heroes in different situations, not forgetting to emphasize their ingenuity, resourcefulness, enthusiasm, courage, ability not to lose heart in a difficult moment of life, to ignite others with their optimism.

Artistic works about the Great Patriotic War are books about a Man at war, about people at war, about women and even children, some of whom tried to survive at all costs, while others honestly served their Motherland.

We think that the topic of our research is fraught with inexhaustible possibilities. Any conversation about the Great Patriotic War always leads everyone to philosophical reflections, and the problem of “man and war” today can help in solving a number of important questions of life: what is the role of the spiritual qualities of a person participating in the liberation struggle, what is the impact of the dramatic conflicts of war on the moral world of people .

We are confident that the knowledge and skills we have acquired in the course of our work will certainly be useful to us in the future.