The theme of the Second World War The Great Patriotic War in literature: the best works about the feat of the Soviet people
Terminological minimum Keywords: periodization, essay, "general's" prose, "lieutenant's" prose, memoirs, epic novel, "trench" literature, writer's diaries, memoirs, genre of documentary prose, historicism, documentary.
Plan
1. General characteristics of the literary process during the Great Patriotic War (1941–1945).
2. The theme of the war as the main one in the development of the literary process of the late 1940s - early 1960s. (the opposition of "general" and "lieutenant" prose).
3. "Trench Truth" about the war in Russian literature.
4. Memoirs and fiction in the literature about the Great Patriotic War.
Literature
Texts to study
1. Astafiev, V.P. Cursed and killed.
2. Bondarev Yu. V. Hot snow. Coast. The battalions are asking for fire.
3. Bykov, V. V. Sotnikov. Obelisk.
4. Vasiliev, B. L. Tomorrow was the war. Didn't appear on the list.
5. Vorobyov, K. D. This is us, Lord!
6. Grossman, V. S. Life and fate.
7. Kataev, V.P. The son of the regiment.
8. Leonov, L. M. Invasion.
9. Nekrasov, V.P. In the trenches of Stalingrad.
10. Simonov, K. M. Living and dead. Russian character.
11. Tvardovsky, A. T. Vasily Terkin.
12. Fadeev, A. A. Young Guard.
13. Sholokhov, M.A. They fought for their Motherland. The fate of man.
Main
1. Gorbachev, A. Yu. The military theme in the prose of the 1940s–90s. [Electronic resource] / A. Yu. Gorbachev. – Access mode: http://www. bsu.by>Cache /219533/.pdf (date of access: 04.06.2014)
2. Lagunovsky, A. General characteristics of the literature of the period of the Great Patriotic War [Electronic resource] / A. Lagunovsky. – Access mode: http://www. Stihi.ru /2009/08/17/2891 (date of access: 06/02/2014)
3. Russian literature of the XX century / ed. S. I. Timina. - M. : Academy, 2011. - 368 p.
Additional
1. Bykov, V. “These young writers saw the sweat and blood of war on their tunic”: correspondence between Vasily Bykov and Alexander Tvardovsky / V. Bykov; intro. Art. S. Shaprana // Questions of Literature. - 2008. - No. 2. - S. 296-323.
2. Kozhin, A. N. On the language of military documentary prose / A. N. Kozhin // Philological Sciences. - 1995. - No. 3. - P. 95–101.
3. Chalmaev, V. A. Russian prose 1980–2000: At the crossroads of opinions and disputes / V. A. Chalmaev // Literature at school. - 2002. - No. 4. - S. 18–23.
4. Man and war: Russian fiction about the Great Patriotic War: bibliographic list / ed. S. P. Bavin. - M. : Ipno, 1999. - 298 p.
5. Yalyshkov, V. G. Military stories of V. Nekrasov and V. Kondratiev: experience of comparative analysis / V. G. Yalyshkov // Moscow University Bulletin. - Ser. 9. Philology. - 1993. - No. 1. - S. 27-34.
1. The Great Patriotic War is an inexhaustible theme in Russian literature. The material, the author's tone, plots, heroes change, but the memory of the tragic days lives on in books about it.
More than 1,000 writers went to the front during the war. Many of them directly participated in battles with the enemy, in the partisan movement. For military merit, 18 writers received the title of Hero of the Soviet Union. About 400 members of the Writers' Union did not return from the battlefields. Among them were both young, who published one book each, and experienced writers known to a wide range of readers: E. Petrov, A. Gaidar
and etc.
A significant part of professional writers worked in newspapers, magazines, mass media. A war correspondent is the most common position for representatives of fiction.
Lyrics turned out to be the most “mobile” kind of literature. Here is a list of publications that appeared already in the first days of the war: on June 23, on the first page of Pravda, A. Surkov's poem “We swear by victory” appeared, on the second - by N. Aseev “Victory will be ours”; June 24 Izvestia publishes The Holy War by V. Lebedev-Kumach; June 25 Pravda publishes A. Surkov's Song of the Brave; On June 26, the Krasnaya Zvezda newspaper begins to publish a series of essays by I. Ehrenburg; On June 27, Pravda opens its journalistic cycle with the article “What We Defend”
A. Tolstoy. Such dynamics is indicative and reflects the demand for artistic material.
It is noteworthy that the theme of the lyrics has changed dramatically since the very first days of the war. Responsibility for the fate of the Motherland, the bitterness of defeat, hatred of the enemy, steadfastness, patriotism, loyalty to ideals, faith in victory - that was the leitmotif of all poems, ballads, poems, songs.
The lines from A. Tvardovsky's poem "To the Partisans of the Smolensk Region" became indicative: "Arise, all my land desecrated, against the enemy!" The "Holy War" by Vasily Lebedev-Kumach conveyed a generalized image of time:
May noble rage
Rip like a wave
- There is a people's war
Holy War![p.87]7
Odic verses, expressing the anger and hatred of the Soviet people, were an oath of allegiance to the Fatherland, a guarantee of victory, reflecting the inner state of millions of Soviet people.
The poets turned to the heroic past of the motherland, drew historical parallels, so necessary to raise morale: "The Word about Russia" by M. Isakovsky, "Rus" by D. Bedny, "The Thought of Russia"
D. Kedrina, "Field of Russian Glory" by S. Vasiliev.
The organic connection with Russian classical lyrics and folk art helped the poets to reveal the features of the national character. Such concepts as "Motherland", "Rus", "Russia", "Russian heart", "Russian soul", often put in the title of works of art, acquired unprecedented historical depth and strength, poetic volume and imagery. So, revealing the character of the heroic defender of the city on the Neva, a Leningrader during the siege, O. Bergholz states:
You are Russian - by breath, blood, thought.
You were not united yesterday
Peasant Patience Avvakum
And the royal fury of Peter [p.104].
A number of poems convey the feeling of a soldier’s love for his “small homeland”, for the house in which he was born, for the family that remained far away, for those “three birches”, where he left part of his soul, his pain, hope, joy ( "Motherland" by K. Simonov).
The mother woman, a simple Russian woman, who accompanied her brothers, husband and sons to the front, experienced the bitterness of irreparable loss, endured inhuman hardships, hardships and hardships on her shoulders, but did not lose faith, the most touching lines of many writers of this time are dedicated.
Memorized every porch
Where did you have to go
I remembered all the women in the face,
Like my own mother.
They shared bread with us -
Whether wheat, rye, -
They took us to the steppe
Hidden path.
Our pain was sick to them, -
Own misfortune does not count [p.72].
M. Isakovsky's poems "To the Russian Woman", lines from K. Simonov's poem "Do you remember, Alyosha, the roads of the Smolensk region ..." sound in the same key.
The truth of time, faith in victory permeate the poems of A. Prokofiev (“Comrade, have you seen ...”), A. Tvardovsky (“The Ballad of a Comrade”) and many other poets.
The work of a number of major poets is undergoing a serious evolution. So, the lyrics of A. Akhmatova reflect the high citizenship of the poetess, purely personal feelings received a patriotic sound. In the poem "Courage", the poetess finds words, images that embodied the irresistible stamina of the fighting people:
And we will save you, Russian speech,
Great Russian word.
We will carry you free and clean.
And we will give to our grandchildren, and we will save from captivity
Forever! [p.91].
The fighting people equally needed both angry lines of hatred and sincere poems about love and fidelity. Examples of this are K. Simonov’s poems “Kill him!”, “Wait for me, and I will return ...”, A. Prokofiev “Comrade, you saw ...”, his poem “Russia”, full of love for the Motherland.
Front-line songs occupy a special place in the history of the development of Russian verse. Thoughts and feelings set to music create a special emotional background and perfectly reveal the mentality of our people (“Dugout” by A. Surkov, “Dark Night” by V. Agatov, “Spark”
M. Isakovsky, “Evening on the roadstead” by A. Churkin, “Roads” by L. Oshanin, “Here the soldiers are coming” by M. Lvovsky, “Nightingales” by A. Fatyanov, etc.).
We find the embodiment of the socio-moral, humanistic ideals of a struggling people in such a large epic genre as a poem. The years of the Great Patriotic War became for the poem no less fruitful period than the era of the 1920s. "Kirov with us" (1941) N. Tikhonova, "Zoya" (1942) M. Aliger, "Son" (1943) P. Antakolsky, "February Diary" (1942) O. Bergholz, "Pulkovo Meridian" (1943)
V. Inber, "Vasily Terkin" (1941-1945) by A. Tvardovsky - these are the best examples of poetic creativity of that period. A distinctive feature of the poem as a genre at this time is pathos: attention to specific, easily recognizable details, the synthesis of personal thoughts about family, love and great history, about the fate of the country and the planet, etc.
The evolution of the poets P. Antakolsky and V. Inber is indicative. From the glut of associations and reminiscences of pre-war poetry
P. Antakolsky moves from thinking about the fate of a particular person to all of humanity as a whole. The poem "Son" captivates with a combination of lyricism with high pathos, heartfelt sincerity with a civil beginning. Here, the poignantly personal turns into the general. High civil pathos, socio-philosophical reflections determine the sound of V. Inber's military poetry. "Pulkovo Meridian" is not only a poem about the humanistic position of the Russian people, it is a hymn to the feelings and feat of every person who fights for the Motherland and freedom.
The poem of the war years was distinguished by a variety of stylistic, plot and compositional solutions. It synthesizes the principles and techniques of the narrative and lofty romantic style. So, M. Aliger's poem "Zoya" is marked by an amazing fusion of the author with the spiritual world of the heroine. It inspiredly and accurately embodies moral maximalism and integrity, truth and simplicity. Moscow schoolgirl Zoya Kosmodemyanskaya, without hesitation, voluntarily chooses a harsh share. The poem "Zoya" is not so much a biography of the heroine as a lyrical confession on behalf of a generation whose youth coincided with a formidable and tragic time in the history of the people. At the same time, the three-part construction of the poem conveys the main stages in the formation of the spiritual image of the heroine. At the beginning of the poem, with light but precise strokes, only the appearance of the girl is outlined. Gradually, a great social theme enters the beautiful world of her youth (“We lived in the world light and spacious ...”), a sensitive heart absorbs the anxieties and pain of the “shocked planet”. The final part of the poem becomes the apotheosis of a short life. About the inhuman torture that Zoya is subjected to in the fascist dungeon, it is said sparingly, but strongly, journalistically sharp. The name and image of the Moscow schoolgirl, whose life ended so tragically early, have become a legend.
A. T. Tvardovsky's poem "Vasily Terkin" became world famous - the largest, most significant poetic work of the era of the Great Patriotic War. Tvardovsky achieved a synthesis of the particular and the general: the individual image of Vasily Terkin and the image of the Motherland are different in the artistic concept of the poem. This is a multifaceted poetic work, covering not only all aspects of front-line life, but also the main stages of the Great Patriotic War. In the immortal image of Vasily Terkin, the features of the Russian national character of that era were embodied with special force. Democracy and moral purity, grandeur and simplicity of the hero are revealed by means of folk poetry, the structure of his thoughts and feelings is related to the world of images of Russian folklore.
The era of the Great Patriotic War gave rise to poetry, remarkable in its strength and sincerity, angry journalism, harsh prose, and passionate dramaturgy.
During the war years, more than 300 plays were created, but few were lucky enough to survive their time. Among them: "Invasion" by L. Leonov, "Front" by A. Korneichuk, "Russian people" by K. Simonov, "Officer of the Navy" by A. Kron, "Song of the Black Sea" by B. Lavrenev, "Stalingraders" by Y. Chepurin and others .
Plays were not the most mobile genre of that time. The turning point in dramaturgy was 1942.
Drama L. Leonov "Invasion" was created in the most difficult time. The small town where the events of the play unfold is a symbol of the nationwide struggle against the invaders. The significance of the author's intention lies in the fact that the conflicts of the local plan are comprehended by him in a broad socio-philosophical key, the sources that feed the power of resistance are revealed. The action of the play takes place in Dr. Talanov's apartment. Unexpectedly for everyone, Talanov's son Fyodor returns from prison. Almost simultaneously, the Germans enter the city. And with them appears the former owner of the house in which the Talanovs live, the merchant Fayunin, who soon became the mayor. The intensity of the action grows from scene to scene. The honest Russian intellectual doctor Talanov does not imagine his life away from the struggle. Next to him is his wife Anna Pavlovna and daughter Olga. There is no question of the need to fight behind enemy lines for the chairman of the city council, Kolesnikov: he heads a partisan detachment. This is one - the central - layer of the play. However, Leonov, a master of deep and complex dramatic collisions, is not content with just this approach. Deepening the psychological line of the play, he introduces one more person - the son of the Talanovs. The fate of Fedor turned out to be confusing, difficult. Spoiled as a child, selfish, selfish, he returns to his father's house after a three-year imprisonment as punishment for an attempt on the life of his beloved. Fedor is gloomy, cold, wary. The words of his father spoken at the beginning of the play about the nationwide grief do not touch Fyodor: personal adversity overshadows everything else. He is tormented by the lost trust of people, which is why Fedor is uncomfortable in the world. With their minds and hearts, the mother and the nanny realized that Fyodor hid his pain, the longing of a lonely, unhappy person under a jester's mask, but they cannot accept his former. Kolesnikov's refusal to take Fyodor into his detachment hardens the heart of young Talanov even more. It took time for this man who once lived only for himself to become a people's avenger. Fedor, captured by the Nazis, pretends to be the commander of a partisan detachment in order to die for him. Psychologically convincing Leonov draws Fedor's return to the people. The play consistently reveals how war, nationwide grief, suffering kindle in people hatred and a thirst for revenge, a willingness to give their lives for the sake of victory. This is how we see Fedor in the finale of the drama.
For Leonov, the interest in the human character in all the complexity and inconsistency of his nature, which is made up of social and national, moral and psychological, is natural. The stage history of Leonov's works during the Great Patriotic War (except for "Invasion", the drama "Lenushka", 1943, was also widely known), which bypassed all the main theaters of the country, once again confirms the skill of the playwright.
If L. Leonov reveals the theme of heroic deed and indestructibility of the patriotic spirit by means of in-depth psychological analysis, then K. Simonov in the play "Russian People" (1942), posing the same problems, uses the techniques of lyrics and journalism of open folk drama. The action in the play takes place in the autumn of 1941 on the Southern Front. The focus of the author's attention is both the events in Safonov's detachment, located not far from the city, and the situation in the city itself, where the occupiers are in charge. “Russian People” is a play about the courage and steadfastness of ordinary people who had very peaceful professions before the war: about the driver Safonov, his mother Marfa Petrovna, nineteen-year-old Valya Anoshchenko, who drove the chairman of the city council, paramedic Globa. They would build houses, teach children, create beautiful things, love, but the cruel word "war" dispelled all hopes. People take rifles, put on overcoats, go into battle.
The play "Russian People" in the summer of 1942, during the most difficult time of the war, was staged in a number of theaters. The success of the play was also explained by the fact that the playwright showed the enemy not as a primitive fanatic and sadist, but as a sophisticated conqueror of Europe and the world, confident in his impunity.
The theme of a number of interesting dramatic works was the life and heroic deeds of our fleet. Among them: psychological drama
A. Kron "Officer of the Navy" (1944), lyrical comedy Vs. Azarova,
Sun. Vishnevsky, A. Kron "The wide sea spread" (1942), oratorio by B. Lavrenev "Song of the Black Sea" (1943).
Certain achievements were achieved during this period by the historical drama. Such historical plays were written as V. Solovyov's tragedy "The Great Sovereign", A. Tolstoy's dilogy "Ivan the Terrible" and others. Turning stages, difficult times of the Russian people - this is the main component of such dramas.
However, journalism reaches its peak during the Great Patriotic War. The largest masters of the artistic word - L. Leonov, A. Tolstoy, M. Sholokhov - also became outstanding publicists. The bright, temperamental word of I. Ehrenburg enjoyed popularity at the front and in the rear. An important contribution to the journalism of those years was made by A. Fadeev, V. Vishnevsky, N. Tikhonov.
A. N. Tolstoy (1883–1945) wrote more than 60 articles and essays during the period 1941–1944. (“What We Defend”, “Motherland”, “Russian Warriors”, “Blitzkrieg”, “Why Hitler Must Be Defeated”, etc.). Turning to the history of the motherland, he convinced his contemporaries that Russia would cope with a new disaster, as it happened more than once in the past. "Nothing, we'll do it!" - such is the leitmotif of A. Tolstoy's publicism.
L. M. Leonov also constantly turned to national history, but he spoke with particular poignancy about the responsibility of each citizen, because only in this he saw the guarantee of the coming victory (“Glory to Russia”, “Your brother Volodya Kurylenko”, “Rage”, “Massacre ”,“ To an unknown American friend ”, etc.).
The central theme of the military journalism of I. G. Ehrenburg is the defense of universal culture. He saw fascism as a threat to world civilization and emphasized that representatives of all nationalities of the USSR were fighting for its preservation (the articles “Kazakhs”, “Jews”, “Uzbeks”, “Caucasus”, etc.). The style of Ehrenburg's journalism was distinguished by the sharpness of colors, the suddenness of transitions, and metaphor. At the same time, the writer skillfully combined documentary materials, a verbal poster, a pamphlet, and a caricature in his works. Ehrenburg's essays and journalistic articles were compiled in the collection "War".
The second most mobile after a journalistic article was a military essay .
Documentaryism has become the key to the popularity of publications
V. Grossman, A. Fadeev, K. Simonov - writers whose words, created in hot pursuit, were awaited by readers at the front and in the rear. He owns descriptions of military operations, portrait travel sketches.
Leningrad became the main theme of V. Grossman's essay writing. In 1941, he was enrolled in the staff of the Krasnaya Zvezda newspaper. Grossman kept records throughout the war. His Stalingrad essays, harsh, devoid of pathos (“Through Chekhov's Eyes”, etc.), formed the basis for the idea of a large work, which later became the dilogy “Life and Fate”.
Since most of the short stories, which were few in those years, were built on a documentary basis, the authors most often resorted to the psychological characteristics of the characters, described specific episodes, and often kept the names of real people. So, in the days of the war, a certain hybrid form of essay-story appeared in Russian literature. This type of works includes "The Honor of the Commander" by K. Simonov, "The Science of Hatred" by M. Sholokhov, the cycles "Stories of Ivan Sudarev"
A. Tolstoy and "Sea Soul" L. Sobolev.
The art of journalism has gone through several major stages in four years. If in the first months of the war she was characterized by a nakedly rationalistic manner, often abstractly schematic ways of depicting the enemy, then at the beginning of 1942 journalism was enriched with elements of psychological analysis. In the fiery word of the publicist, both a meeting note and an appeal to the spiritual world of a person sound. The next stage coincided with a turning point in the course of the war, with the need for an in-depth socio-political examination of the fascist front and rear, ascertaining the root causes of the impending defeat of Hitlerism and the inevitability of just retribution. These circumstances caused an appeal to such genres as pamphlet and review.
At the final stage of the war, there was a tendency towards documentary. For example, in "Windows TASS", along with the graphic design of posters, the method of photomontage was widely used. Writers and poets introduced diary entries, letters, photographs and other documentary evidence into their works.
Publicism of the war years is a qualitatively different stage in the development of this martial and effective art compared to previous periods. The deepest optimism, unshakable faith in victory - that's what supported publicists even in the most difficult times. Their speeches were especially powerful due to the appeal to history, the national origins of patriotism. An important feature of the journalism of that time was the widespread use of leaflets, posters, and cartoons.
Already in the first two years of the war, more than 200 stories were published. Of all the prose genres, only the essay and the short story could compete in popularity with the short story. The story is a genre that is very characteristic of the Russian national tradition. It is well known that in the 1920s and 1930s psychological-everyday, adventure and satirical-humorous varieties of the genre dominated. During the Great Patriotic War (as well as during the Civil War), the heroic, romantic story came to the fore.
The desire to reveal the harsh and bitter truth of the first months of the war, the achievements in the field of creating heroic characters marked the "Russian story" (1942) by Pyotr Pavlenko and the story of V. Grossman "The people are immortal." However, there are differences between these works in the way the theme is implemented.
A characteristic feature of the military prose of 1942-1943. - the emergence of short stories, cycles of stories connected by the unity of characters, the image of the narrator or a lyrical cross-cutting theme. This is how the “Stories of Ivan Sudarev” by A. Tolstoy, “Sea Soul” by L. Sobolev, “March-April” by V. Kozhevnikov are constructed. The drama in these works is set off by a lyrical and at the same time sublimely poetic, romantic feature that helps to reveal the spiritual beauty of the hero. Penetration into the inner world of a person deepens. The socio-ethical origins of patriotism are revealed more convincingly and artistically.
By the end of the war, the tendency of prose to a broad epic comprehension of reality is noticeable, which is convincingly proved by two famous writers - M. Sholokhov (the novel that the author never managed to finish - "They fought for the Motherland") and A. Fadeev ("The Young Guard" ). The novels are notable for their social scale, the discovery of new ways in the interpretation of the theme of war. So, M. A. Sholokhov makes a bold attempt to portray the Great Patriotic War as a truly national epic. The very choice of the main characters, ordinary infantry - the grain grower Zvyagintsev, the miner Lopakhin, the agronomist Streltsov - indicates that the writer seeks to show different sectors of society, to trace how the war was perceived by different people and what paths led them to a huge, truly national Victory.
The spiritual and moral world of Sholokhov's heroes is rich and diverse. The artist paints broad pictures of the era: sad episodes of retreats, scenes of violent attacks, the relationship between soldiers and civilians, short hours between battles. At the same time, the whole gamut of human experiences is traced - love and hate, severity and tenderness, smiles and tears, tragic and comic.
If the novel by M. A. Sholokhov was not completed, then the fate of other works was remarkable, they, like in a mirror, reflected the era. For example, the autobiographical story by K. Vorobyov “This is us, Lord!” was written in 1943, when a group of partisans, formed from former prisoners of war, was forced to go underground. Exactly thirty days in the Lithuanian city of Siauliai, K. Vorobyov wrote about what he had experienced in fascist captivity. In 1946, the manuscript was received by the editors of the Novy Mir magazine. At that moment, the author had submitted only the first part of the story, so the issue of its publication was postponed until the end appeared. However, the second part was never written. Even in the personal archive of the writer, the whole story was not preserved, but some of its fragments were included in some other works of Vorobyov. Only in 1985 the manuscript “This is us, Lord!” was discovered in the Central State Archive of Literature and Art of the USSR, where it was handed over together with the archive of the "New World". In 1986, the story of K. Vorobyov finally saw the light of day. The protagonist of the work, Sergei Kostrov, is a young lieutenant who was captured by the Germans in the first year of the war. The whole story is devoted to describing the life of Soviet prisoners of war in German camps. In the center of the work is the fate of the protagonist, which can be described as "the path to freedom."
If the work of K. Vorobyov is a tracing paper of his life, then A. Fadeev relies on specific facts and documents. At the same time, Fadeev's "Young Guard" is romantic and revealing, just like the fate of the author of the work.
In the first chapter, a distant echo of anxiety sounds, in the second, a drama is shown - people leave their native places, mines are blown up, a sense of folk tragedy permeates the narrative. There is a crystallization of the underground, the connections of the young fighters of Krasnodon with the underground workers appear and grow stronger. The idea of the continuity of generations determines the basis of the plot construction of the book and is expressed in the image of the underground (I. Protsenko, F. Lyutikov). Representatives of the older generation and Young Guard Komsomol members act as a single people's force opposing Hitler's "new order".
The first completed novel about the Patriotic War was "The Young Guard" by A. Fadeev, published in 1945 (the second book - in 1951). After the liberation of Donbass, Fadeev wrote an essay on the death of the Krasnodon youth "Immortality" (1943), and then conducted a study of the activities of an underground youth organization that independently operated in the town occupied by the Nazis. Severe and austere realism coexists with romance, the objectified narrative is interspersed with the excited lyrics of the author's digressions. When recreating individual images, the role of the poetics of contrast is also very significant (Lyutikov’s strict eyes and the sincerity of his nature; Oleg Koshevoy’s emphatically boyish appearance and not at all childish wisdom of his decisions; Lyubov Shevtsova’s dashing carelessness and impudent courage of her actions, invincible will). Even in the appearance of the heroes, Fadeev does not deviate from his favorite technique: Protsenko's “clear blue eyes” and “demonic sparks” in them; the "severely tender expression" of Oleg Koshevoy's eyes; white lily in Ulyana Gromova's black hair; "blue children's eyes with a hard steel tint" in Lyubov Shevtsova.
The history of the existence of the novel in world literature is remarkable. The fate of the work is indicative of the literary samples of the Soviet era.
Application of brainstorming technology
Terms and conditions: performance of the pre-lecture task, division into groups (4-5 people).
| Technology name | Technology Options | Conditions / task | Predicted result |
| Changing point of view | Points of view of different people | Network version of the abstract | Revealing the difference and commonality of views of literary critics and public figures. Conclusion about the pressure on the author of the novel |
| Grouping Changes | Knowledge of the texts of the novel by A. A. Fadeev "The Rout" and the abstract of O. G. Manukyan | To consolidate the idea of the inner world of writers, to compare the difference between the perception of the writer and critics | |
| autowriting | A letter to yourself about the perception of the information contained in the abstract | Understanding the position of the author and identifying the peculiarities of the perception of his views by scientists | |
| Curtsy | Assumes the reproduction of the exact opposite of the stated position in the conclusions of the abstract | Promotes flexibility of the mind, the emergence of original ideas, understanding of the author's position and empathy |
If in the 1945 edition A. A. Fadeev did not dare to write about the existence in Krasnodon of another - non-Komsomol - anti-fascist underground, then in the new version of the novel (1951) an ideologically conditioned slyness is added to this default: the author claims that the creators and Communists were the leaders of the organization of the Young Guard. Thus, Fadeev denies his beloved heroes an important initiative. In addition, this book served as the basis for criminal prosecution, often unfounded, of real people who became the prototypes of negative characters.
And yet, in our opinion, it should be noted that to this day this novel has not lost its relevance, including pedagogical.
2. The theme of the Great Patriotic War occupies a special place in Russian multinational literature. In the 1940s and 1950s, it developed a tradition of portraying the war as a heroic period in the life of the country. With this angle, there was no room to show her tragic aspects. Throughout the 1950s. in the literature about the war, a tendency to panorama of the depiction of the events of the past in large artistic canvases is clearly revealed. The appearance of epic novels is one of the characteristic features of Russian literature of the 1950s–1960s.
The turning point occurred only with the beginning of the “thaw”, when the novels of front-line writers saw the light of day: “Battalions ask for fire” (1957) by Y. Bondarev, “South of the main blow” (1957) by G. Baklanov, “Crane cry” (1961), “ The Third Rocket (1962) by V. Bykov, Starfall (1961) by V. Astafyeva, One of Us (1962) by V. Roslyakov, Scream (1962), Killed near Moscow (1963) by K. Vorobyov and others. Such a surge of interest in the military theme predetermined the emergence of a whole trend called "lieutenant prose."
"Lieutenant's prose" is the work of writers who went through the war, survived and brought to the reader's judgment their combat experience in one form or another. As a rule, this is fiction, most of which has an autobiographical character. The aesthetic principles of "lieutenant prose" had a noticeable impact on the entire literary process of the second half of the 20th century. However, to date there is no generally accepted definition of this literary movement. It is interpreted in different ways: as prose created by front-line soldiers who went through the war with the rank of lieutenants, or as prose, the main characters of which are young lieutenants. The “general's prose” is characterized in a similar way, which refers to works created in the “general's” (epic novel) format by the “generals” of literature (for example, K. Simonov).
Speaking about the works created by front-line writers who explore the formation of a young participant in the war, we will resort to the concept of "lieutenant prose" as the most widely used. At its origins was the novel by V. Nekrasov "In the trenches of Stalingrad." The author, having himself gone through the war as an officer of a sapper battalion, was able to show in artistic form the “trench truth”, in which the heroes were a simple soldier, a simple officer. And the victory was won by ordinary people - the people. This theme became central to the best military prose of the 1950s and 1960s.
In this regard, the following authors and their works can be mentioned. The story of K. Vorobyov (1919-1975) "Killed near Moscow" (1963) is written very emotionally, but realistically. Plot: A company of Kremlin cadets under the command of a slender, fit captain Ryumin was sent to defend Moscow. A company of soldiers and the defense of Moscow! The company died, and Captain Ryumin shot himself - he put a bullet in his heart, as if atoning for his sin for the death of inexperienced boys. They, the Kremlin cadets, are slender, one hundred and eighty-three centimeters tall, everything is just right and they are sure that the command values them, because they are a special unit. But the cadets are abandoned by their command, and Captain Ryumin leads them into a deliberately unequal battle. There was practically no battle, there was an unexpected and stunning attack by the Germans, from which it was impossible to escape anywhere - they were controlled by the NKVD troops from behind.
Y. Bondarev in the novel "Hot Snow" (1965-1969) tried to develop the traditions of "lieutenant's prose" at a new level, entering into a covert polemic with its characteristic "Remarqueism". Moreover, by that time, “lieutenant prose” was experiencing a certain crisis, which was expressed in a certain monotony of artistic techniques, plot moves and situations, and in the repetition of the very system of images of works. The action of the novel by Y. Bondarev fits into a day, during which the battery of Lieutenant Drozdovsky, which remained on the southern coast, repelled the attacks of one of the tank divisions of the Manstein group, rushing to help Marshal Paulus's army, which was encircled near Stalingrad. However, this particular episode of the war turns out to be the turning point from which the victorious offensive of the Soviet troops began, and for this reason alone the events of the novel unfold, as it were, on three levels: in the trenches of an artillery battery, at the headquarters of the army of General Bessonov, and, finally, at the headquarters of the Supreme Commander, where the general, before being appointed to the active army, has to endure the most difficult psychological duel with Stalin himself. Battalion commander Drozdovsky and the commander of one of the artillery platoons, Lieutenant Kuznetsov, personally meet General Bessonov three times.
Describing the war as a “test of humanity”, Y. Bondarev only expressed what determined the face of the military story of the 1960s–1970s: many battle prose writers focused in their works precisely on the depiction of the inner world of the characters and the refraction of the experience of war in it. , on the transfer of the very process of a person's moral choice. However, the writer's predilection for favorite characters was sometimes expressed in the romanticization of their images - a tradition set by A. Fadeev's novel The Young Guard (1945). In this case, the character of the characters did not change, but only revealed as clearly as possible in the exceptional circumstances in which the war placed them.
This trend was most clearly expressed in the stories of B. Vasiliev "The Dawns Here Are Quiet" (1969) and "I Was Not on the Lists" (1975). The peculiarity of the writer's military prose is that he always chooses episodes that are insignificant from the point of view of global historical events, but which speak a lot about the highest spirit of those who were not afraid to oppose the superior forces of the enemy and won. Critics saw a lot of inaccuracies and even "impossibility" in B. Vasiliev's story "The Dawns Here Are Quiet", the action of which develops in the forests and swamps of Karelia (for example, the White Sea-Baltic Canal, which is targeted by a sabotage group, has not been active since the autumn of 1941 ). But the writer was not interested in historical accuracy here, but in the situation itself, when five fragile girls, led by foreman Fedot Baskov, entered into an unequal battle with sixteen thugs.
The image of Baskov, in essence, goes back to Lermontov's Maxim Maksimych - a man, perhaps poorly educated, but whole, wise in life and endowed with a noble and kind heart. Vaskov does not understand the intricacies of world politics or fascist ideology, but he feels with his heart the bestial essence of this war and its causes, and cannot justify the death of five girls with any higher interests.
In the image of anti-aircraft gunners, the typical fates of women of the pre-war and war years were embodied: different social status and educational level, different characters, interests. However, with all the accuracy of life, these images are noticeably romanticized: in the image of the writer, each of the girls is beautiful in her own way, each is worthy of her biography. And the fact that all the heroines die underlines the inhumanity of this war, affecting the lives of even the most distant people from it. The fascists are opposed by the contrast to the romanticized images of girls. Their images are grotesque, deliberately reduced, and this expresses the main idea of the writer about the nature of a person who has embarked on the path of murder. This thought illuminates with particular clarity that episode of the story in which Sonya Gurvich's dying cry sounds, which escaped because the knife was intended for a man, but fell into a woman's chest. With the image of Liza Brichkina, a line of possible love is introduced into the story. From the very beginning, Vaskov and Liza liked each other: she was to him - figure and sharpness, he to her - male solidity. Lisa and Vaskov have a lot in common, but the heroes did not succeed in singing together, as the foreman promised: the war destroys the nascent feelings in the bud. The end of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who became an accidental witness of Vaskov's return to the place of death of the girls, along with Rita's son, Albert, adopted by him. Thus, the return of the hero to the place of his feat is shown through the eyes of a generation whose right to life was defended by people like Vaskov. Such a symbolization of images, a philosophical understanding of situations of moral choice are very characteristic of a military story. Prose writers thus continue the reflections of their predecessors on the "eternal" questions about the nature of good and evil, the degree of human responsibility for actions seemingly dictated by necessity. Hence the desire of some writers to create situations that, in their universality, semantic capacity and categorical moral and ethical conclusions, would approach a parable, only colored by the author's emotion and enriched with quite realistic details.
It was not for nothing that the concept of “philosophical story about the war” was born, associated primarily with the work of the Belarusian prose writer Vasil Bykov, with his stories such as “Sotnikov” (1970), “Obelisk” (1972), “Sign of Trouble” (1984) . V. Bykov's prose is often characterized by a too straightforward opposition of a person's physical and moral health. However, the inferiority of the soul of some heroes is not revealed immediately, not in everyday life: a “moment of truth” is needed, a situation of categorical choice that immediately reveals the true essence of a person. Rybak, the hero of V. Bykov's story "Sotnikov", is full of vitality, knows no fear, and Rybak's comrade, ailing, not distinguished by power, with "thin hands" Sotnikov gradually begins to seem like a burden to him. Indeed, largely due to the fault of the last sortie of two partisans ended in failure. Sotnikov is a purely civilian person. Until 1939 he worked at a school, his physical strength was replaced by stubbornness. It was stubbornness that prompted Sotnikov three times to try to get out of the encirclement in which his defeated battery found itself, before the hero got to the partisans. Whereas Rybak, from the age of 12, was engaged in hard peasant labor and therefore endured physical stress and hardship more easily. It is also noteworthy that Rybak is more inclined to moral compromises. So, he is more tolerant of the elder Peter than Sotnikov, and does not dare to punish him for serving the Germans. Sotnikov, on the other hand, is not inclined to compromise at all, which, however, according to V. Bykov, testifies not to the limitations of the hero, but to his excellent understanding of the laws of war. Indeed, unlike Rybak, Sotnikov already knew what captivity was, and managed to pass this test with honor, because he did not compromise with his conscience. The "moment of truth" for Sotnikov and Rybak was their arrest by the police, the scene of interrogation and execution. The fisherman, who has always found a way out of any situation before, tries to outwit the enemy, not realizing that, embarking on such a path, he will inevitably come to betrayal, because he has already placed his own salvation above the laws of honor and camaraderie. Step by step, he yields to the enemy, refusing first to think about saving the woman who sheltered them with Sotnikov in the attic, then about saving Sotnikov himself, and then his own soul. Finding himself in a hopeless situation, Rybak, in the face of imminent death, chickened out, preferring animal life to human death.
The change in the approach to conflicts in military prose can also be traced when analyzing the works of different years of one writer. Already in the first stories, V. Bykov sought to free himself from stereotypes when depicting war. In the field of view of the writer is always extremely tense situations. Heroes are faced with the need to make their own decisions. So, for example, it was with Lieutenant Ivanovsky in the story “To Live Until Dawn” (1972) - he risked himself and those who went on a mission with him and died. The warehouse with weapons for which this sortie was organized was not found. In order to somehow justify the sacrifices already made, Ivanovsky hopes to blow up the headquarters, but he could not be found either. In front of him, mortally wounded, a convoy appears, into which the lieutenant, having collected the remaining forces, throws a grenade. V. Bykov made the reader think about the meaning of the concept of "feat".
At one time, there were disputes about whether teacher Frost in Obelisk (1972) can be considered a hero if he did not do anything heroic, did not kill a single fascist, but only shared the fate of the dead students. Characters and other stories of V. Bykov did not correspond to the standard ideas about heroism. Critics were embarrassed by the appearance of a traitor in almost every one of them (Rybak in Sotnikov, 1970; Anton Golubin in Go and Not Return, 1978, etc.), who until the fateful moment was an honest partisan, but gave in when he had to take risks for the sake of saving your own life. For V. Bykov, it was not important from which observation point the observation was being made, it was important how the war was seen and portrayed. He showed the versatility of actions performed in extreme situations. The reader was given the opportunity, not rushing to condemn, to understand those who were clearly wrong.
In the works of V. Bykov, the connection between the military past and the present is usually emphasized. In The Wolf Pack (1975), a former soldier recalls the war, having come to the city to look for the baby he once saved and make sure that such a high price was not paid for his life in vain (his father and mother died, and he, Levchuk, became disabled) . The story ends with a premonition of their meeting.
Another veteran, Associate Professor Ageev, is digging up a quarry (Quarry, 1986), where he was once shot, but miraculously survived. The memory of the past haunts him, makes him rethink the past again and again, ashamed of thoughtless fears about those who, like the priest Baranovskaya, bore the label of the enemy.
In the 1950s–1970s several major works appear, the purpose of which is an epic coverage of the events of the war years, understanding the fate of individuals and their families in the context of the nation's destiny. In 1959, the first novel "The Living and the Dead" of the trilogy of the same name by K. Simonov was published, the second novel "Soldiers Are Not Born" and the third "Last Summer" were published, respectively, in 1964 and 1970–1971. In 1960, a draft of V. Grossman's novel "Life and Fate", the second part of the dilogy "For a Just Cause" (1952), was completed, but a year later the manuscript was arrested by the KGB, so that a general reader at home could get acquainted with the novel only in 1988 G.
In the first book of K. Simonov's trilogy "The Living and the Dead" the action takes place at the beginning of the war in Belarus and near Moscow in the midst of military events. War correspondent Sintsov, leaving the encirclement with a group of comrades, decides to leave journalism and join the regiment of General Serpilin. The human history of these two heroes is the focus of the author's attention, not disappearing behind the large-scale events of the war. The writer touched on many topics and problems that were previously impossible in Soviet literature: he spoke about the country's unpreparedness for war, about the repressions that weakened the army, about the mania of suspicion, and the inhumane attitude towards man. The writer's success was the figure of General Lvov, who embodied the image of a Bolshevik fanatic. Personal courage and faith in a happy future are combined in him with a desire to mercilessly eradicate everything that, in his opinion, interferes with this future. Lvov loves abstract people, but is ready to sacrifice people, throwing them into senseless attacks, seeing in a person only a means to achieve lofty goals. His suspicion extends so far that he is ready to argue with Stalin himself, who freed several talented military men from the camps. If General Lvov is the ideologist of totalitarianism, then his practitioner, Colonel Baranov, is a careerist and a coward. Speaking loud words about duty, honor, courage, writing denunciations against his colleagues, he, being surrounded, puts on a soldier's tunic and "forgets" all the documents. Telling the harsh truth about the beginning of the war, K. Simonov at the same time shows the people's resistance to the enemy, depicting the feat of the Soviet people who stood up to defend their homeland. These are also episodic characters (artillerymen who did not abandon their cannon, dragging it in their arms from Brest to Moscow; an old collective farmer who scolded the retreating army, but at the risk of his life saved the wounded in his house; Captain Ivanov, who collected frightened soldiers from broken units and leading them into battle), and the main characters are Serpilin and Sintsov.
General Serpilin, conceived by the author as an episodic person, did not accidentally gradually become one of the main characters of the trilogy: his fate embodied the most complex and at the same time the most typical features of a Russian person of the 20th century. A participant in the First World War, he became a talented commander in the Civil War, taught at the academy and was arrested on the denunciation of Baranov for telling his listeners about the strength of the German army, while all the propaganda insisted that in the event of war we would defeat the small blood, and we will fight on foreign territory. Released from the concentration camp at the beginning of the war, Serpilin, by his own admission, “didn’t forget anything and didn’t forgive anything,” but he realized that it was not the time to indulge in insults - it was necessary to save the Motherland. Outwardly stern and laconic, demanding of himself and his subordinates, he tries to take care of the soldiers, suppresses any attempts to achieve victory at any cost. In the third book of the novel, K. Simonov showed the ability of this person to great love. Another central character in the novel, Sintsov, was originally conceived by the author solely as a war correspondent for one of the central newspapers. This made it possible to throw the hero to the most important sectors of the front, creating a large-scale chronicle novel. At the same time, there was a danger of depriving him of his individuality, making him only a mouthpiece for the author's ideas. The writer quickly realized this danger and already in the second book of the trilogy he changed the genre of his work: the novel-chronicle became a novel of destinies, in the aggregate recreating the scale of the people's battle with the enemy. And Sintsov became one of the acting characters, who suffered injuries, encirclement, participation in the November parade of 1941 (from where the troops went straight to the front). The fate of the war correspondent was replaced by a soldier's lot: the hero went from a private to a senior officer.
Having finished the trilogy, K. Simonov sought to supplement it, to emphasize the ambiguity of his position. This is how Different Days of the War appeared (1970–1980), and after the writer's death Letters about the War (1990) were published.
Quite often, the epic novel by K. Simonov is compared with the work of V. Grossman "Life and Fate". The war, the Battle of Stalingrad are only one of the components of the grandiose epic of V. Grossman "Life and Fate", although the main action of the work takes place precisely in 1943 and the fate of most of the heroes in one way or another turns out to be connected with the events taking place around the city on the Volga. The image of a German concentration camp in the novel is replaced by scenes in the dungeons of the Lubyanka, and the ruins of Stalingrad are replaced by the laboratories of an institute evacuated to Kazan, where the physicist Strum is struggling with the mysteries of the atomic nucleus. However, it is not “folk thought” or “family thought” that determines the face of the work - in this the epic of V. Grossman is inferior to the masterpieces of L. Tolstoy and M. Sholokhov. The writer is focused on something else: the concept of freedom becomes the subject of his thoughts, as evidenced by the title of the novel. V. Grossman contrasts fate as the power of fate or objective circumstances that dominate a person with life as a free realization of the personality, even in conditions of its absolute lack of freedom. The writer is convinced that one can arbitrarily dispose of the lives of thousands of people, essentially remaining a slave like General Neudobnov or Commissar Getmanov. And you can die unconquered in the gas chamber of a concentration camp: this is how military doctor Sofya Osipovna Levinton dies, until the last minute only caring about how to alleviate the torment of the boy David.
The latent thought of V. Grossman, that the source of freedom or lack of freedom of the individual is in the personality itself, explains why the defenders of the House of Grekov, doomed to death, turn out to be much freer than Krymov, who came to judge them. Krymov's consciousness is enslaved by ideology, he is in a sense a "man in a case", albeit not as blinkered as some other heroes of the novel. Even I. S. Turgenev in the image of Bazarov, and then F. M. Dostoevsky convincingly showed how the struggle between “dead theory” and “living life” in the minds of such people often ends in the victory of theory: it is easier for them to recognize the “wrongness” of life than unfaithfulness "the only true" idea, designed to explain this life. And therefore, when Obersturmbannfuehrer Liss convinces the old Bolshevik Mostovsky in a German concentration camp that there is much in common between them (“We are a form of a single entity - a party state”), Mostovsky can answer his enemy only with silent contempt. He almost feels with horror how “dirty doubts” suddenly appear in his mind, not without reason called by V. Grossman “dynamite of freedom”. The writer still sympathizes with such “hostages of the idea” as Mostovsky or Krymov, but he is sharply rejected by those whose ruthlessness towards people stems not from loyalty to established beliefs, but from the absence of such. Commissar Getmanov, once secretary of the regional committee in Ukraine, is a mediocre warrior, but a talented whistleblower of "deviators" and "enemies of the people", sensitively picking up any fluctuation in the party line. For the sake of receiving a reward, he is able to send tankers who have not slept for three days to the offensive, and when the commander of the tank corps, Novikov, in order to avoid unnecessary casualties, delayed the start of the offensive for eight minutes, Getmanov, kissing Novikov for his victorious decision, immediately wrote a denunciation of him to the Headquarters.
3. Among the works about the war that have appeared in recent years, two novels attract attention: “Cursed and Killed” by V. Astafiev (1992–1994) and “The General and His Army” by G. Vladimov (1995).
Works that restore the truth about the war cannot be bright - the theme itself does not allow, their goal is different - to awaken the memory of descendants. The monumental novel by V. Astafiev "Cursed and Killed" deals with the military theme in an incomparably tougher way. In its first part, The Devil's Pit, the writer tells the story of the formation of the 21st Rifle Regiment, in which, even before being sent to the front, those who were beaten to death by a company commander or shot for unauthorized absence die, those who are called upon to defend the Motherland will soon be maimed physically and spiritually. The second part of the Bridgehead, dedicated to the crossing of the Dnieper by our troops, is also full of blood, pain, descriptions of arbitrariness, bullying, and theft that flourish in the army. Neither the occupiers nor the homegrown monsters can be forgiven by the writer for his cynically callous attitude towards human life. This explains the angry pathos of the author's digressions and descriptions, beyond their ruthless frankness, in this work, whose artistic method is not without reason defined by critics as "cruel realism".
The fact that G. Vladimov himself was still a boy during the war determined both the strengths and weaknesses of his sensational novel The General and His Army (1995). The experienced eye of a front-line soldier will see in the novel many inaccuracies and overexposures, including unforgivable even for a work of art. However, this novel is interesting as an attempt to look at the events that once became a turning point for the entire world history from a "Tolstoy" distance. No wonder the author does not hide the direct echoes of his novel with the epic "War and Peace" (for more information about the novel, see the chapter of the textbook "Modern Literary Situation"). The very fact of the appearance of such a work suggests that the military theme in literature has not exhausted itself and will never exhaust itself. The key to this is the living memory of the war among those who know about it only from the lips of its participants and from history books. And a considerable merit in this belongs to the writers who, having gone through the war, considered it their duty to tell the whole truth about it, no matter how bitter it may be.
Warning of warrior-writers: “whoever lies about the past war brings the future war closer” (V.P. Astafiev). Comprehension of trench truth is a matter of honor for any person. War is terrible, and in the body of a new generation a stable gene must be developed to prevent such a thing from happening again. After all, it was not in vain that V. Astafiev chose the saying of the Siberian Old Believers as the epigraph of his main novel: “It was written that everyone who sows unrest, wars and fratricide on earth will be cursed and killed by God.”
4. During the Great Patriotic War, it was forbidden to keep diaries at the front. After analyzing the creative activity of front-line writers, it can be noted that such writers as A. T. Tvardovsky, V. V. Vishnevsky, V. V. Ivanov gravitated towards diary prose, and G. L. Zanadvorov kept a diary during the occupation. The specific features of the poetics of the writers' diary prose - the synthesis of lyrical and epic principles, aesthetic organization - are confirmed in many memoirs and diaries. Despite the fact that writers keep diaries for themselves, works require artistic skill from the creators: diaries have a special style of presentation, characterized by the capacity of thought, aphoristic expression, and accuracy of the word. Such features allow the researcher to call the writer's diaries independent micro-works. Emotional impact in the diaries is achieved by the author through the selection of specific facts, author's commentary, subjective interpretation of events. The diary is based on the transmission and reconstruction of the real through the author's personal ideas, and the emotional background depends on his state of mind.
Along with the obligatory structural components of diary prose, specific artistic samples may contain specific mechanisms for expressing attitudes towards reality. The diary prose of the writers of the period of the Great Patriotic War is characterized by the presence of such inserted plots as poems in prose, short stories, landscape sketches. Memoirs and diaries of the Great Patriotic War are confessional and sincere. Using the potential of wartime memoirs and diaries, the authors of memoirs and diaries were able to express the mood of the era, create a vivid picture of life in the war.
An important role in the study of the Great Patriotic War is played by the memoirs of military leaders, generals, officers, and soldiers. They were written by direct participants in the war, and, therefore, are quite objective and contain important information about the course of the war, its operations, military losses, and so on.
Memoirs were left by I. Kh. Bagramyan, S. S. Biryuzov, P. A. Belov,
A. M. Vasilevsky, K. N. Galitsky, A. I. Eremenko, G. K. Zhukov,
I.S. Konev, N.G. Kuznetsov, A.I. Pokryshkin, K.K. for Transcarpathia", "Stalingrad epic", "Liberation of Belarus" and so on. Memoirs were also left by the leaders of the partisan movement: G. Ya. Bazima,
P. P. Vershigor, P. K. Ignatov and others.
Many books of memoirs of military leaders have special appendices, diagrams, maps that not only explain what is written, but are in themselves an important source, as they contain features of military operations, lists of commanding staff and methods of warfare, as well as the number of troops and some other information. .
Most often, events in such memoirs are arranged in chronological order.
Many military figures based their diaries not only on personal memories, but also actively used elements of a research nature (referring to archives, facts, and other sources). So, for example, A. M. Vasilevsky in his memoir “The Work of All Life” indicates that the book is based on factual material, well known to him and confirmed by archival documents, a significant part of which has not yet been published.
Such memoirs become more reliable and objective, which, of course, increases their value for the researcher, since in this case there is no need to check every stated fact.
Another feature of memoirs written by military people (as well as other memoirs of the Soviet period, by the way) is the strict control of censorship over the facts described. The presentation of military events required a special approach, since the official and stated versions should not have discrepancies. The memoirs about the war should have indicated the leading role of the party in defeating the enemy, facts that were “shameful” for the front, miscalculations and mistakes of the command, and, of course, top secret information. This must be taken into account when analyzing a particular work.
Marshal of the Soviet Union G.K. Zhukov left a rather significant memoir "Memories and Reflections", which tells not only about the Great Patriotic War, but also about the years of his youth, the Civil War, and military clashes with Japan. This information is extremely important as a historical source, although it is often used by researchers only as illustrative material. The memoirs of four times Hero of the Soviet Union G.K. Zhukov “Memories and Reflections” were first published in 1969, 24 years after the victory in the Great Patriotic War. Since then, the book has been very popular not only among ordinary readers, but also among historians, as a source of quite important information.
In Russia, the memoirs were reprinted 13 times. The 2002 edition (used in writing the work) was dedicated to the 60th anniversary of the Battle of Moscow and the 105th anniversary of the birth of G.K. Zhukov. The book has also been published in thirty foreign countries, in 18 languages, with a circulation of more than seven million copies. Moreover, on the cover of the edition of memoirs in Germany it is indicated: "One of the greatest documents of our era."
Marshal worked on "Memoirs and Reflections" for about ten years. During this period, he was in disgrace and was ill, which affected the speed of writing memoirs. In addition, the book was heavily censored.
For the second edition, G.K. Zhukov revised some chapters, corrected errors and wrote three new chapters, as well as introduced new documents, descriptions and data, which increased the volume of the book. The two-volume edition was published after his death.
When comparing the text of the first edition (published in 1979) and subsequent ones (published after his death), distortion and the absence of some places are striking. In 1990, a revised edition was published for the first time, based on Marshal's own manuscript. It differed significantly from others in the presence of sharp criticism of government agencies, the army and the policy of the state as a whole. The 2002 edition consists of two volumes. The first volume includes 13 chapters, the second - 10.
Questions and tasks for self-control
1. Determine the periodization of the theme of the Great Patriotic War in the history of the development of Russian literature, supporting your opinion with an analysis of works of art by 3–4 authors.
2. Why do you think in the period 1941-1945. writers did not cover the horrors of war? What pathos prevails in the works of art of this period?
3. In the school literature course on the Great Patriotic War, it is proposed to study "The Son of the Regiment" (1944) by V. Kataev about the serene adventures of Vanya Solntsev. Do you agree with this choice? Determine the author of the school curriculum in literature.
4. Determine the dynamics of the image of the Russian character in different periods of the development of the topic in literature. Have the dominants of behavior and the main character traits of the hero changed?
5. Suggest a list of literary texts about the Great Patriotic War, which can become the basis of an elective course for students in the 11th grade of a comprehensive school.
Lecture 6
Literature of the 60s of the XX century.
WWII REPORT TOPICS
Domestic and foreign policy factors that contributed to the coming to power of the Nazis in Germany
National Socialist ideology in Germany, its essence (political, economic and ideological aspects. How did it attract a significant part of the Germans? Why did big capital support the Nazis? What is the role of international capital in strengthening the economic and military power of Germany?)
Economic, military potential of Germany and the USSR by 1939: a comparative analysis.
Economic and military potential of Germany and the USSR by June 1941: a comparative analysis.
The military strategy of Germany: its essence and results (on the example of military operations in European countries in 1939-1941)
Military doctrine of the USSR in the prewar years: its essence and practical implementation.
Comparative technical characteristics of the armored vehicles of Germany and the USSR in 1991-1945.
Comparative technical characteristics of aviation in Germany and the USSR in 1941-1945.
"Blitzkrieg" strategy, its essence and practical implementation (on the example of the combat operations of the German troops in the European theater of war and in the war against the USSR)
War of two ideologies. What attracted the ideas of Nazism to a significant part of the German population and what are the origins of the patriotism of the Soviet people, including youth.
What were the reasons for the failures of the Red Army in the initial period of the war?
Assessment of the possible military potential of the Wehrmacht in heavy weapons (guns, mortars, armored vehicles, etc.), tanks, aircraft by the summer of 1941, based on the industrial potential of the capacities of Germany and the countries it conquered.
Participation in hostilities on the Soviet front of Romanian, Italian and Finnish units, armed formations consisting of representatives of other nationalities (troop strength, quantity and quality of weapons, participation in military operations, etc.)
I.V. Stalin: a portrait against the backdrop of the era
Assessment of the military potential of the USSR by the beginning of the war in heavy weapons, tanks, aircraft.
Confrontation between the Army Group "Center" and the Western Military District: the balance of forces, the firepower of the troops, the tactics of the parties.
Reasons for the defeat of the Red Army in the central sector of the front in the summer of 1941: objective and subjective factors.
"Lilia Molotova", its construction, engineering component, technical and fire support
- "Stalin Line" - history of creation, engineering scheme, state at the beginning of the war
War through the eyes of eyewitnesses, my interlocutors
War in the fate of my family
War through the eyes of children
Actual problems of the war in foreign and domestic sources (comparative analysis)
The origins of the patriotism of Soviet soldiers, partisans, underground workers, home front workers.
Evacuation of Belarusian enterprises, agricultural machinery to the East in 1941, labor of evacuated Belarusians
Interethnic conflicts in the expanses of the former Soviet Union at the end of the 20th and beginning of the 21st centuries. and during the Great Patriotic War. What are the origins of Hitler's miscalculation, who staked on the collapse of the USSR from within on interethnic grounds?
Manifestations of the policy of genocide of the occupiers in my small homeland.
Belarusian Church during the Nazi occupation (according to Soviet and contemporary sources)
The Union of Belarusian Youth during the years of occupation: the history of creation, structure, nature of activity
The policy of the occupiers in the field of culture, health, education
Youth policy of the occupiers
Punitive operations against partisans as part of the policy of genocide
Compatriots - Heroes of the Soviet Union
The streets of my village, city are named after them.
My countrymen are holders of military orders (Kutuzov, Suvorov, Nakhimov, etc.)
The most significant sabotage and other operations committed by partisans, underground workers in my small Motherland during the years of occupation
Activities in the partisan and underground movement in Belarus of patriotic internationalists
Military glory of our grandfathers and grandmothers (based on materials from school and district museums of military glory, family archives)
My countrymen on the fronts of the Great Patriotic War
My countrymen (countryman) are commanders
Defense of Minsk in 1941
Defense of Mogilev in 1941
Defense of Borisov in 1941
Defense of Gomel in 1941
Senno counterattack in 1941
Counterattack near Bialystok in 1941
Possible dates for the start of the Great Patriotic War (according to Soviet and foreign sources)
The battle for the Dnieper - the beginning of the liberation of Belarus
Gomel-Rechitsa offensive operation 1943
Kalinkovichi-Mozyr offensive operation of 1943
Gorodok offensive operation 1943
The interaction of partisans and the Red Army during the operation "Bagration"
Participation of partisans of Belarus in the operation "Bagration"
Students and teachers of BNTU (BPI) - participants of the Great Patriotic War
Students and teachers of BNTU (BPI) partisans and underground workers
Participation of Belarusians (my countrymen) in the Moscow battle
Participation of Belarusians (my countrymen) in the Battle of Stalingrad
Participation of Belarusians (my countrymen) in the Battle of Kursk
Participation of Belarusians (my countrymen) in the liberation of Europe
Participation of Belarusians (my countrymen) in the battle for Bellin
Strategy and tactics of the offensive operation in Manchuria
Participation of Belarusians (my countrymen) in the Manchurian offensive operation
Soviet-Finnish war of 1939-1940, strategy and tactics, participation of Belarusians in it
Norwegian campaign 1940
The resistance movement in Europe in 1940-1941
Diplomatic confrontation in Europe in 1939-1941
War in the air "Battle of England" 1940
Military operations of the Wehrmacht in North Africa in 1940-1943.
Balkan Campaign 1941 Capture of Crete
People's militia in Belarus destruction battalions in 1941
Belarusian Ostarbeiters during the war
The problem of collaboration on the territory of Belarus
The situation and life of the population in the occupied territory
Features of military tactics of partisans during the war
Material and combat support of the partisans, assistance from the "Great Land"
Partisan zones in the territory of Belarus occupied by the enemy
- "Vitebsk gates" as a phenomenon of the period of occupation of Belarus
Rail war of partisans of Belarus
The underground of my city (district center, district) during the war years
Polish underground and Home Army on the territory of Belarus
Summer campaign of 1942 Causes of the failures of the Red Army
Lend-Lease problem. Allied deliveries to the USSR and their significance
Struggle in the northern sea lanes of the USSR. Northern convoys
Belarusians in the European Resistance Movement
- "Bobruisk boiler" as an integral part of the operation "Bagration"
The liberation of Minsk during the operation "Bagration"
The price of victory: assessing the scale of losses
The name of Alexander Trifonovich Tvardovsky, the greatest Soviet poet, laureate of the Lenin and State Prizes, is widely known in our country.
Freedom, humor, truthfulness, prowess, naturalness of immersion in the elements of folk life and folk speech conquered and still conquer the readers of Tvardovsky.
His poems enter the mind of the reader from childhood: “Country Ant”, “Terkin in the next world”, “House by the road”, “Beyond the distance”, lyrics, etc.
Alexander Tvardovsky is one of the most dramatic figures in literature and Soviet reality of the mid-20th century, a great national poet.
Alexander Trifonovich Tvardovsky was born in 1910 on one of the farms in the Smolensk region, into a peasant family. For the formation of the personality of the future poet, the relative erudition of his father, love for the book, which he brought up in his children, also mattered. “Entire winter evenings,” writes Tvardovsky in his autobiography, “we often devoted ourselves to reading a book aloud. My first acquaintance with "Poltava" and "Dubrovsky" by Pushkin, "Taras Bulba" by Gogol, the most popular poems by Lermontov, Nekrasov, A.K. Tolstoy, Nikitin happened exactly in this way.
In 1938, an important event took place in the life of Tvardovsky - he joined the ranks of the Communist Party. In the autumn of 1939, immediately after graduating from the Moscow Institute of History, Philosophy and Literature (IFLI), the poet participated in the liberation campaign of the Soviet Army in Western Belarus (as a special correspondent for a military newspaper). The first meeting with the heroic people in a military situation was of great importance for the poet. According to Tvardovsky, the impressions received then anticipated those deeper and stronger ones that flooded over him during the Second World War. Artists drew amusing pictures depicting the unusual front-line adventures of an experienced soldier Vasya Terkin, and poets composed text for these pictures. Vasya Terkin is a popular popular character who performed supernatural, dizzying feats: he got a tongue, pretending to be a snowball, covered his enemies with empty barrels and lit up, sitting on one of them, “he takes the enemy with a bayonet, like sheaves with a pitchfork.” This Terkin and his namesake - the hero of the poem of the same name by Tvardovsky, who gained nationwide fame - are incomparable.
For some slow-witted readers, Tvardovsky will subsequently specifically hint at the deep difference that exists between the genuine hero and his namesake:
Can't you conclude now?
What, they say, grief is not a problem,
What the guys got up, took
Tree without difficulty?
What about constant luck
Terkin accomplished the feat:
Russian wooden spoon
Eight Fritz laid down!
The first morning of the Great Patriotic War found Tvardovsky in the Moscow region, in the village of Gryazi, Zvenigorod district, at the very beginning of his vacation. In the evening of the same day he was in Moscow, and a day later he was sent to the headquarters of the South-Western Front, where he was to work in the front-line newspaper Red Army.
Some light on the life of the poet during the war is shed by his prose essays “Motherland and foreign land ~, as well as the memoirs of E. Dolmatovsky, V. Muradyan, E. Vorobyov, 0. Vereisky, who knew Tvardovsky in those years, V. Lakshin and V. Dementiev , to whom Alexander Trifonovich later told a lot about his life. So, he told V. Lakshin that “in 1941 near Kyiv ... he barely got out of the encirclement. The editorial office of the newspaper of the South-Western Front, in which he worked, was located in Kyiv. It was ordered not to leave the city until the last hour ... The army units had already retreated beyond the Dnieper, and the editorial office was still working ... Tvardovsky escaped by a miracle: the regimental commissar took him into his car, and they barely jumped out of the closing ring of German encirclement. In the spring of 1942, he was encircled for the second time - this time near Kanev, from which, according to I. S. Marshak, he came out again by a “miracle”. In mid-1942, Tvardovsky was moved from the Southwestern Front to the Western Front, and now, until the very end of the war, the editorial office of the front-line newspaper Krasnoarmeyskaya Pravda became his home. It became the home of the legendary Terkin.
During the war years, A. Tvardovsky created and his most famous poem "Vasily Terkin". His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, modernity, and autobiographical features that make him related to the author (it’s not for nothing that he is from Smolensk, and in the monument to Terkin, which is now decided to be erected on Smolensk land, it was not by chance that it was decided to designate the portrait resemblance of the hero and its creator).
They say that they were going to erect or have already erected a monument to the fighter Vasily Terkin. A monument to a literary hero is a rare thing in general, and especially in our country. But it seems to me that the hero of Tvardovsky deserved this honor by right. Indeed, along with him, millions of those who in one way or another resembled Vasily, who loved their country and did not spare their blood, who found a way out of a difficult situation and knew how to brighten up front-line difficulties with a joke, who loved to play the accordion and listen to music on halt. Many of them did not even find their own grave. Let the monument to Vasily Terkin be a monument to them.
If I were asked why Vasily Terkin became one of my favorite literary characters, I would say: "I like his love of life." Look, he is at the front, where every day is death, where no one is "bewitched by a foolish fragment, from any stupid bullet." Sometimes he freezes or starves, has no news from his relatives. And he does not lose heart. Live and enjoy life
"After all, he is in the kitchen - from the place,
From a place - into battle,
Smokes, eats and drinks with gusto
Any position."
Terkin is the soul of a soldier's company. No wonder comrades like to listen to his playful and even serious stories. Here they lie in the swamps, where the wet infantry even dreams of "at least death, but on dry land." It's raining. And you can’t even smoke: the matches are soaked. The soldiers curse everything, and it seems to them, "there is no worse trouble." And Terkin grins and begins a long discussion. He says that as long as a soldier feels the elbow of a comrade, he is strong. Behind him is a battalion, regiment, division. And then the front. What is there: the whole of Russia! Last year, when a German rushed to Moscow and sang "My Moscow", then it was necessary to twist. And now the German is not at all the same, "now the German is not a singer with this last year's song." And we think to ourselves that even last year, when it was completely sick, Vasily found words that helped his comrades. He has such a talent. Such a talent that, lying in a wet swamp, comrades laughed: it became easier on the soul. But most of all I like the chapter "Death and the Warrior", in which the wounded hero freezes and it seems to him that death has come to him. And it became difficult for him to argue with her, because he was bleeding and wanted peace. And why, it seemed, to hold on to this life, where all the joy is in either freezing, or digging trenches, or being afraid that they will kill you ... But Vasily is not like that to easily surrender to Scythe.
"I will peep, howl in pain,
Dying in the field without a trace
But you are willing
I will never give up"
He whispers. And the warrior conquers death.
"A book about a fighter" was very necessary at the front, it lifted the spirit of the soldiers, encouraged them to fight for the Motherland to the last drop of blood.
Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter "Who shot?" He shoots down an enemy plane with a rifle), and a man of extraordinary stamina - in the chapter "Crossing" it is told about the feat - Terkin swims across the icy river to report that the platoon is on the right bank - and a craftsman, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task:
"Let the reader be probable
He will say with a book in his hand:
- Here are the verses, but everything is clear,
Everything is in Russian."
Terkin embodies the best features of the Russian soldier and the people as a whole. A hero named Vasily Terkin first appears in the poetic feuilletons of the Tvardov period of the Soviet-Finnish war (1939-1940). The words of the hero of the poem:
"I am the second, brother, war
I'm fighting for the ages"
The poem is built as a chain of episodes from the military life of the protagonist, which do not always have a direct event connection with each other. Terkin tells young soldiers about the everyday life of the war with humor; says that he has been fighting since the very beginning of the war, he was surrounded three times, was wounded. The fate of an ordinary soldier, one of those who bore the brunt of the war on his shoulders, becomes the personification of the national fortitude, the will to live. Terkin swims across the icy river twice to re-establish contact with advancing units; Terkin occupies a German dugout alone, but comes under fire from his own artillery; on the way to the front, Terkin finds himself in the house of old peasants, helping them with the housework; Terkin steps into hand-to-hand combat with the German and, with difficulty, overcoming, takes him prisoner. Unexpectedly for himself, Terkin shoots down a German attack aircraft from a rifle; Terkin reassures the envious sergeant:
“Do not worry, the German has this
Not the last plane
Terkin takes over command of the platoon when the commander is killed and breaks into the village first; however, the hero is again seriously wounded. Lying wounded in the field, Terkin converses with Death, who persuades him not to cling to life; in the end, he is discovered by the fighters, and he tells them:
"Remove this woman,
I am a soldier still alive
The image of Vasily Terkin combines the best moral qualities of the Russian people: patriotism, readiness for a feat, love for work.
The character traits of the hero are interpreted by the poet as traits of the collective image: Terkin is inseparable and inseparable from the militant people. It is interesting that all fighters - regardless of their age, tastes, military experience - feel good with Vasily; wherever he appears - in battle, on vacation, on the way - contact, friendliness, mutual disposition are instantly established between him and the fighters. Literally every scene is about it. The fighters listen to Terkin's playful bickering with the cook at the first appearance of the hero:
And sitting under a pine tree,
He eats porridge, hunched over.
"Mine?" - fighters among themselves, -
"Mine!" - exchanged glances.
I do not need, brothers, orders,
I don't need fame.
In the field of view of A.T. Tvardovsky in the poem "Vasily Terkin" is not only the front, but also those who work in the rear for the sake of victory: women and the elderly. The characters of the poem not only fight - they laugh, love, talk with each other, and most importantly - dream of a peaceful life. The reality of war is united by what is usually incompatible: tragedy and humor, courage and fear, life and death.
The poem "Vasily Terkin" is distinguished by a kind of historicism. Conventionally, it can be divided into three parts, coinciding with the beginning, middle and end of the war. The poetic comprehension of the stages of the war creates a lyrical chronicle of events from the chronicle. A feeling of bitterness and sorrow fills the first part, faith in victory fills the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part of the poem. This is explained by the fact that A.T. Tvardovsky created the poem gradually, throughout the Great Patriotic War of 1941-1945.
The theme of war is deeply and fully revealed in the works of the great writer of the 20th century Mikhail Sholokhov.
Mikhail Sholokhov, everyone opens it in their own way. Everyone likes their hero of Sholokhov's stories. This is understandable. After all, the fate of the heroes, the problems raised by Sholokhov, are in tune with our time.
But my Sholokhov is not only the author of works. First of all, he is a man of interesting, bright destiny. Judge for yourself: at the age of sixteen, young Sholokhov miraculously survived, falling into the hands of the power-hungry Nestor Makhno, and at the age of thirty-seven he saved his friends from persecution and repression more than once. He was accused of plagiarism, sympathy for the white movement, they tried to poison him, kill him. Yes, many trials fell to the lot of this writer. But he did not become like grass, which "grows, obediently bending under the disastrous breath of worldly storms." Despite everything, Sholokhov remained a straightforward, honest, truthful person. In his work, Sholokhov expressed his attitude to the war, which was a tragedy for the people. It is disastrous for both sides, brings irreparable losses, cripples souls. The writer is right: it is unacceptable when people, rational beings, come to barbarism and self-destruction.
In the midst of the Great Patriotic War, Sholokhov "started work on the novel "They Fought for the Motherland". Since 1943, the first chapters began to be published in newspapers, and then they came out as a separate edition. The published chapters tell about the dramatic period of the retreat of Russian troops under the onslaught of superior forces Russian soldiers withdrew with heavy fighting, and then stood to death near Stalingrad.
The novel simply and truthfully reproduces the heroism of Soviet soldiers, front-line life, comradely conversations, unbreakable friendship sealed with blood. The reader closely got to know and fell in love with the worker-miner Pyotr Lopakhin, combine operator Ivan Zvyagintsev, agronomist Nikolai Streltsov, Siberian armor-piercer Akim Borzykh, corporal Kochetygov.
Very different in character, they are connected at the front by male friendship and boundless devotion to the Motherland.
Nikolai Streltsov is oppressed by the retreat of his regiment and personal grief: before the war, his wife left, left the children with his old mother. This does not prevent him from fighting heroically. In battle, he was shell-shocked and deaf, but he escapes from the hospital to the regiment, in which only twenty-seven people remained after the battles: “The blood from my ears has stopped flowing, the nausea has almost stopped. Why would I lay there... And then, I just couldn't stay there. The regiment was in a very difficult situation, there were not many of you left ... How could I not come? After all, even a deaf person can fight next to his comrades, right Petya?”
Pyotr Lopakhin "... wanted to hug and kiss Streltsov, but a hot spasm suddenly squeezed his throat ...".
Ivan Zvyagintsev, before the war, a combine operator, a hero, a simple-hearted man, seeks to console Streltsov, complains to him about his supposedly unsuccessful family life. Sholokhov describes this story with humor.
The words of the division commander Marchenko - "let the enemy temporarily triumph, but victory will be ours" - reflected the optimistic idea of the novel, its chapters, published in 1949.
Sholokhov's meeting with General Lukin led to the appearance of a new hero in the novel - General Streltsov, brother of Nikolai Streltsov. In 1936, Lukin was repressed, in 1941 he was released, restored to his rank and sent to the army. Lukin's 19th Army took on the attack of Goth's 3rd Panzer Group and part of the divisions of Strauss's 9th Army west of Vyazma. For a week, Lukin's army held back the German advance. General Lukin was seriously wounded and taken prisoner during the battle. He courageously endured all the hardships of captivity.
In the novel, General Streltsov, who returned from "places not so remote" to his brother's house, is resting. Unexpectedly, he was summoned to Moscow: “Georgy Konstantinovich Zhukov remembered me! Well, let's serve the Motherland and our Communist Party!”
All battle episodes produce a strong emotional impact. Here we see how "one hundred and seventeen fighters and commanders - the remnants of a regiment brutally battered in recent battles - walked in a close column," how the soldiers retained the regimental banner.
Lopakhin is grieving the death of Lieutenant Goloshchekov, who fought heroically. Sergeant Major Poprishchenko said at the grave of Goloshchekov: “Maybe you, Comrade Lieutenant, will still hear our walk ...” With admiration, Lopakhin says about Kochetygov: “How did he set fire to the tank? The tank had already crushed him, falling asleep halfway, crushing his entire chest. He was bleeding from his mouth, I saw it myself, and he got up in the trench, dead, got up, on his last breath! And he threw a bottle ... And lit it!
Chef Lisichenko evokes warm feelings, who uses every opportunity to be at the forefront. Lopakhin asks him: "... where is the kitchen and what are we going to eat today by your grace?" Lisichenko explains that he filled the boiler with cabbage soup and left two wounded men to look after the cabbage soup. “Here I’ll fight a little, I’ll support you, and when it’s time for dinner, I’ll crawl into the forest, and hot food will be delivered if possible!”
Lopakhin knocked out a tank and shot down a heavy bomber during the battle.
During the retreat, Streltsov worries: “... with what eyes do the inhabitants see us off ...” Lopakhin also worries about this, but replies: “They beat us? So, they hit right. Fight better, you sons of bitches!"
Combine operator Zvyagintsev sees burning ripe bread for the first time in the steppe. His soul was "suffocated". He speaks to the ear: “My dear, how smoked you are! You stink of smoke - like a gypsy ... That's what the damned German, his ossified soul, did to you.
Descriptions of nature in the novel are linked to the military situation. For example, before the eyes of Streltsov there is a killed young machine gunner who fell between blooming sunflowers: “Maybe it was beautiful, but in war external beauty looks blasphemous ...”
It is appropriate to recall one meeting between Sholokhov and Stalin, which took place on May 21, 1942, when Sholokhov arrived from the front to celebrate his birthday. Stalin invited Sholokhov to his place and advised him to create a novel in which "truthfully and vividly ... both the heroes of the soldiers and the brilliant commanders, participants in the current terrible war ..." were depicted. In 1951, Sholokhov admitted that "the image of the great commander does not work."
Based on the novel "They Fought for the Motherland", S. Bondarchuk directed a film approved by Sholokhov himself.
The novel "They Fought for the Motherland" deeply reveals the Russian national character, which clearly manifested itself in the days of severe trials. The heroism of the Russian people in the novel is devoid of outwardly brilliant manifestation and appears before us in a modest attire of everyday life, battles, transitions. Such an image of the war leads the reader to the conclusion that the heroic is not in individual feats, although they are very bright, calling for them, but the whole front-line life is a feat.
Mikhail Alexandrovich Sholokhov is a wonderful master of words, who managed to create monumental canvases of folk life, penetrate into the spiritual world of a person, he conducts a serious conversation with the reader "without the slightest concealment, without the slightest falsehood."
During the Great Patriotic War, the writer was faced with the task of hitting the enemy with his full of burning hatred, strengthening the love for the Motherland among the Soviet people. In the early spring of 1946, i.e. in the first post-war spring, Sholokhov accidentally met an unknown person on the road and heard his story-confession. For ten years the writer nurtured the idea of the work, the events were becoming a thing of the past, and the need to speak out was increasing. And in 1956, in a few days, the epic story "The Fate of a Man" was completed. This is a story about great suffering and great resilience of a simple Soviet man. The protagonist Andrei Sokolov lovingly embodies the features of the Russian character, enriched by the Soviet way of life: stamina, patience, modesty, a sense of human dignity, merged with a sense of Soviet patriotism, with great responsiveness to someone else's misfortune, with a sense of collective cohesion.
The fate of Sokolov, the protagonist of this story, is full of such severe trials, such terrible losses, that it seems impossible for a person to endure all this and not break down, not lose heart. It is no coincidence, therefore, that this person is taken and shown in the utmost tension of spiritual forces. The whole life of the hero passes before us. He is the age of the century. From childhood I learned how much "a pound is dashing", in the civil war he fought against the enemies of Soviet power. Then he leaves his native Voronezh village for the Kuban. He returned home, worked as a carpenter, mechanic, driver, created a beloved family. The war broke all hopes and dreams. He goes to the front. From the beginning of the war, from its first months, he was twice wounded, shell-shocked, and, finally, the worst thing was captured. The hero had to experience inhuman physical and mental anguish, hardship, torment. Sokolov has been experiencing the horrors of fascist captivity for two years. At the same time, he managed to maintain the activity of the position. He tries to escape, but unsuccessfully, cracking down on a coward, a traitor who is ready, to save his own skin, to betray the commander. With great clarity, self-esteem, great fortitude and endurance were revealed in the moral duel between Sokolov and Muller. The exhausted, exhausted, exhausted prisoner is ready to meet death with such courage and endurance that it amazes even the commandant of the concentration camp, who has lost his human appearance. Andrei still manages to escape, he again becomes a soldier. But the troubles do not leave him: his home was destroyed, his wife and daughter were killed by a fascist bomb. In a word, Sokolov lives now - the hope of meeting his son. And this meeting took place. For the last time, the hero stands at the grave of his son, who died in the last days of the war. It would seem that everything is over, but life "distorted" a person, but could not break and kill the living soul in him. The post-war fate of Sokolov is not easy, but he steadfastly and courageously overcomes his grief, loneliness, despite the fact that his soul is full of a constant feeling of grief. This inner tragedy requires a great effort of strength and will of the hero. Sokolov wages a continuous struggle with himself and emerges victorious from it, he gives joy to a little man by adopting an orphan like him, Vanyusha, a boy with "eyes as bright as the sky." The meaning of life is found, grief is conquered, life triumphs. “And I would like to think,” writes Sholokhov, “that this Russian man, a man of unbending will, will survive, and one will grow up near his father’s shoulder, who, having matured, will be able to withstand everything, overcome everything in his path, if his Motherland calls him to this” .
Sholokhov's story is permeated with deep, bright faith in man. At the same time, its title is symbolic, because it is not just the fate of the soldier Andrei Sokolov, but it is a story about the fate of a person, about the fate of the people. The writer is aware of his obligation to tell the world the harsh truth about the huge price paid by the Soviet people for the right of mankind to the future. All this is due to the outstanding role of this short story. "If you really want to understand why Soviet Russia won a great victory in the Second World War, watch this film," wrote one English newspaper about the film "The Fate of a Man", and therefore about the story itself.
Let us recall the time in which the works of Tvardovsky and Sholokhov were created. The inhuman Stalinist policy was already triumphant in the country, general fear and suspicion penetrated all sectors of society, collectivization and its consequences destroyed centuries-old agriculture and undermined the best forces of the people. All this left its mark on literature. Therefore, most of the works of pre-war literature depicted the Russian people as dark and downtrodden. All manifestations of living feelings were considered sedition.
But the Great Patriotic War broke out, which demanded the exertion of all physical and spiritual forces from the country. The country's leadership understood that without a popular upsurge, the war could not be won. Yes, and the people themselves, feeling a mortal threat not only to their freedom, but also to the very existence of the Russian land, from the first days of the war showed miracles of stamina and heroism.
This manifestation of popular character was noticed by military literature. Works by I. Ehrenburg, A. Tolstoy, K. Simonov, A. Tvardovsky, A. Surkov, M. Sholokhov appear in front-line newspapers, in which a simple Russian person is portrayed with warmth and sympathy, the authors treat the courage of their heroes with respect and love . In this row are the heroes of the works of Tvardovsky and Sholokhov - Vasily Terkin and Andrei Sokolov. At first glance, they seem to be completely opposite figures. Indeed, Terkin is a merry fellow, they say about such people, "that you won't get into your pocket for a red word." Sokolov, on the other hand, is a tragic figure, each of his words is endowed with suffering, carries the burden of worldly suffering. But, despite the apparent difference, there is something that unites these heroes. Both of them are representatives of the people, bright bearers of its original individuality, those features that are inherent in the character of the whole people. These features are common in Terkin and Sokolov.
The main of these traits is love and affection for one's native country. The heroes of both writers always remember their native places, their homeland. In these heroes, mercy, the greatness of the soul attracts. They went to war not because of a warlike instinct, but "for the sake of life on earth." The defeated enemy evokes in them only a feeling of pity (Terkin's appeal to the German).
Another important feature of the heroes is modesty. Terkin, although he can boast sometimes, tells his friends that he does not need an order, he "agrees on a medal." In Sokolov, the same trait is evidenced by the obvious reluctance with which he began a bitter story about his life. After all, he has nothing to be ashamed of! In his youth, he made mistakes, but the dedication that he showed during the years of trials should atone for his sins a hundredfold.
The heroes of Sholokhov and Tvardovsky have such charming features as worldly intelligence, a mocking attitude towards enemies and any difficulties. Terkin is the most characteristic exponent of these qualities. Let us recall his playful appeal to Death. The next trait is heroism. Let us recall the behavior of Andrei Sokolov in captivity, the heroism of Terkin at the front, when in November he had to cross the Dnieper twice in order to save his own and ask for reinforcements.
All of the above leads us to an important conclusion about the great vitality of the heroes, the strength of the national character. Here Sholokhov and Tvardovsky continue the tradition begun in Russian literature by the works of Pushkin, Gogol, Tolstoy, Leskov and other writers, in which a simple Russian person is the focus of the strength and vitality of the people. The actions of Terkin and Sokolov lead the reader to the realization of the greatness of the Russian people, they refute the dogmas of the stilted literature of the "class approach".
Culture in years Great Patriotic wars
Abstract >> Culture and art... Great Patriotic war was a time of powerful upsurge in all areas of artistic creativity... central topics in creativity artist. Tem no less... poets: K.M. Simonov, A.N. Tolstoy, M.I. Sholokhov, A.T Tvardovsky, A.A. Fadeev, B.L. Gorbatov and more...
Topic wars in modern literature
Abstract >> Literature and Russian languageYet, nevertheless…” (A.T. Tvardovsky) Introduction. In one of ... the time of this terrible Great Patriotic war!.. Topic wars still... conscience. What is the depth creativity writer Bykov? In that ... M. Sholokhov wrote: “I am interested in the fate of ordinary people in the past war…» ...
Patriotic history from the beginning to the end of the twentieth century
Cheat sheet >> HistoryWere scared topics patriotic ... associated with it creation Turgenev, Nekrasov, ... Tolstoy, Goethe, Shakespeare, Sholokhov, Gorky, Pasternak, A. ... May 1945) Great Patriotic wars. Military operations in ... led by A.T. Tvardovsky. Some have been published. production...
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, "The Unconquered" by B. Gorbatov were built on the contrast: the Soviet Motherland - fascist Germany, a just, humane Soviet man - a murderer, a fascist invader.
Two feelings possessed writers - love and hatred. The image of the Soviet people appeared as a collective, undifferentiated, in the unity of the best national qualities. The Soviet man, fighting for the freedom of the motherland, was portrayed in a romantic light as an exalted heroic personality, without vices and shortcomings. Despite the terrible reality of the war, already the first stories were filled with confidence in victory, optimism. 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.
The best stories of the 1960s and 1970s depict not large-scale, panoramic events of the war, but local events that, it would seem, cannot radically affect the outcome of the war. But it was precisely from such “private” cases that the general picture of wartime was formed, it was the tragedy of individual situations that gives an idea of the unthinkable trials that befell the people as a whole.
The literature of the 1960s and 1970s about the war expanded the notion of the heroic. The feat could be accomplished not only in battle. V. Bykov in the story "Sotnikov" showed heroism as the ability to resist the "terrible force of circumstances", to preserve human dignity in the face of death. The story is built on the contrast of external and internal, physical appearance and the spiritual world. The main characters of the work are contrasting, in which two options for behavior in extraordinary circumstances are given.
Rybak is an experienced partisan, always successful in battle, physically strong and hardy. He does not particularly think about any moral principles. What goes without saying for him is completely impossible for Sotnikov. At first, the difference in their attitude to seemingly unprincipled things slips through in separate strokes. In the cold, Sotnikov goes on a mission in a cap, and Rybak asks why he didn’t take a hat from some peasant in the village. Sotnikov, on the other hand, considers it immoral to rob those men whom he is supposed to protect.
Once captured, both partisans try to find some way out. Sotnikov is tormented that he left the detachment without food; The fisherman only cares about his own life. The true essence of each is manifested in an extraordinary situation, in front of the threat of death. Sotnikov does not make any concessions to the enemy. His moral principles do not allow him to retreat before the Nazis even a single step. And he goes to the execution without fear, suffering only because he could not complete the task, which caused the death of other people. Even on the verge of death, conscience, responsibility to others do not leave Sotnikov. V. Bykov creates the image of a heroic personality who does not perform an obvious feat. He shows that moral maximalism, unwillingness to compromise one's principles even in the face of the threat of death, is tantamount to heroism.
Rybak behaves differently. Not an enemy by conviction, not a coward in battle, he turns out to be cowardly when faced with the enemy. The absence of conscience as the highest measure of actions makes him take the first step towards betrayal. The fisherman himself does not yet realize that the path he has set foot on is irreversible. He convinces himself that, having escaped, having escaped from the Nazis, he will still be able to fight them, take revenge on them, that his death is inappropriate. But Bykov shows that this is an illusion. Having taken one step on the path of betrayal, Rybak is forced to go further. When Sotnikov is executed, Rybak essentially becomes his executioner. Ry-baku no forgiveness. Even death, which he so feared before and which he now longs for in order to atone for his sin, departs from him.
The physically weak Sotnikov turned out to be spiritually superior to the strong Rybak. At the last moment before his death, the eyes of the hero meet the eyes of a boy in Budyonovka in a crowd of peasants driven to execution. And this boy is a continuation of life principles, Sotnikov's uncompromising position, a guarantee of victory.
In the 1960s and 1970s, military prose developed in several directions. The trend towards a large-scale depiction of the war was expressed in K. Simonov's trilogy The Living and the Dead. It covers the time from the first hours of hostilities to the summer of 1944, the period of the Belarusian operation. The main characters - political officer Sin-tsov, regiment commander Serpilin, Tanya Ovsyannikova - go through the whole story. In the trilogy, K. Simonov traces how an absolutely civilian Sintsov becomes a soldier, how he matures, hardens in the war, how 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, and interest in moral problems intensified. 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 Nazis bowed to the courage of the Soviet soldier, giving him military honor.
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. Vasiliev continued in the 1970s the heroic-romantic line that originated in military prose in the first years of the war (Rainbow by V. Vasilevskaya, Invictus by B. Gorbatov).
Another trend in the depiction of the Great Patriotic War is associated with artistic and documentary prose, which is based on tape recordings and eyewitness accounts. Such “tape-recorded” prose originated in Belarus. Her first work was the book “I am from a fiery village” by A. Adamovich, I. Bryl, V. Kolesnikov, which recreates the tragedy of Khatyn. The terrible years of the Leningrad siege in all their undisguised cruelty and naturalism, making it possible to understand how it was, what a hungry person felt, when he could still feel, stood on the pages of A. Adamovich and D. Granin's "Blockade Book". 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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- an essay on the theme of the Great Patriotic War of the 20th century based on the work of Platonov
- essays on the theme of the Great Patriotic War in Russian literature of the 20th century
- war and the people of literature of the 20th century
THE THEME OF THE GREAT PATRIOTIC WAR IN MODERN LITERATURE
This topic belongs to free themes. This means that the author of the work is free to choose those works that will become the literary basis of his written work. The theme of the Great Patriotic War occupies a significant place in modern literature. The works of V. Bykov, B. Vasiliev, V. Grossman, Yu. Bondarev and many other writers about the past war are widely known, because it still contains an inexhaustible source of new material of tremendous dramatic power and expressiveness. The terrible threat of fascism hanging over our country made us look at many things with different eyes. The war gave the concepts of "motherland" and "Russia" a new meaning and value. The fatherland in peacetime seemed to be something unshakable and eternal, like nature. But when the enemy invasion began to seriously threaten the very existence of our country, when the danger of its loss arose, the idea of saving Russia was perceived with heightened sensitivity. The war presented in a new light many familiar concepts and norms, highlighting the high value of human life.
Turning to the military theme, the writers make an attempt to understand the complex processes of life, people of difficult fate, tragic collisions generated by the war. The drama of wartime circumstances has served as the theme of many books by contemporary writers. In the stories of B. Vasiliev and V. Bykov, the authors are often interested in the "microcosm" of war. Writers focus mostly not on global, large-scale actions. In their field of vision, as a rule, is either a small section of the front, or a group that has broken away from its regiment. In the center of the image, therefore, is a person in an extreme situation, which often occurs in a military situation.
The stories of V. Bykov about the past war are still exciting, they are read with unflagging interest, because the problems raised in them are always relevant and modern. This is honor, conscience, human dignity, fidelity to one's duty. And, revealing these problems on a bright and rich material, the writer educates the younger generation, forming its moral character. But the main problem of Bykov's work is, of course, the problem of heroism. However, the writer is not so much interested in its external manifestation, but in what way a person comes to a feat, to self-sacrifice, why, in the name of what he performs a heroic deed. Perhaps one of the characteristic features of Bykov's military stories is that he does not spare his heroes, putting them in inhumanly difficult situations, depriving them of the opportunity to compromise. The situation is such that a person must immediately choose between a heroic death or a shameful life as a traitor. And the author does this not by chance, because in a normal situation, a person’s character cannot be fully revealed. This is what happens with the heroes of the story "Sotnikov". Two heroes pass through the whole story - fighters of one partisan detachment, who go on a mission on a frosty, windy night. By all means they need to get food for their tired, exhausted comrades. But they immediately find themselves in an unequal position, for Sotnikov went on a mission with a severe cold. When Rybak asked him with surprise why he did not refuse if he was ill, Sotnikov answered briefly: "Because he did not refuse, because others refused." This expressive detail speaks quite a lot about the hero - about his highly developed sense of duty, consciousness, courage, endurance. Sotnikov and Rybak are haunted by one failure after another: the farm, where they hoped to get food, is burned; making their way back, they get into a shootout in which Sotnikov was wounded. The external action described by the author is accompanied by an internal action. With deep psychologism, the writer conveys the feelings and experiences of Rybak. At first, he feels a slight dissatisfaction with Sotnikov, his indisposition, which does not allow them to move fast enough. It is replaced either by pity and sympathy, or by involuntary irritation. But Rybak behaves quite worthily: he helps Sotnikov to carry weapons, does not leave him alone when he cannot walk due to a wound. But more and more often in the mind of Rybak, the thought arises of how to be saved, how to preserve the one and only life. He is not a traitor by nature, and even more so not an enemy in disguise, but a normal, strong, reliable guy. A sense of brotherhood, comradeship, mutual assistance lives in it. No one could doubt him while he was in a normal combat situation, honestly enduring all the difficulties and trials with the detachment. But, left alone with the wounded Sotnikov, who was choking with a cough, among the snowdrifts, without food and in constant anxiety of being captured by the Nazis, Rybak could not stand it. An internal breakdown takes place in a hero in captivity, when he is especially powerfully possessed by an indestructible desire to live. No, he was not going to commit a betrayal at all, he was trying to find a compromise in a situation where it was impossible. During the interrogation, partially confessing to the investigator, Rybak thinks of outwitting him. His conversation with Sotnikov after the interrogation is noteworthy:
“Listen,” Rybak whispered hotly after a pause. “We must pretend to be quiet. You know, I was offered to the police,” said Rybak, somehow without wanting to.
Sotnikov's eyelids twitched, and his eyes flashed with concealed, anxious attention.
That's how! So what - will you win?
I won't run, don't be afraid. I will deal with them.
Look, you're bargaining, - Sotnikov snarled caustically.
Rybak decides to agree to the investigator's offer to serve as a policeman in order to take advantage of this to run to his own. But Sotnikov turned out to be right, who foresaw that the powerful Nazi machine would grind Rybak to powder, that the cunning would turn into betrayal. At the end of the story, the former partisan, on the orders of the Nazis, executes his former comrade in the detachment. After that, even the very thought of escaping seems implausible to him. And, surprisingly, life, so dear and beautiful, suddenly seemed so unbearable to Rybak that he thought about suicide. But even this he failed to do, because the policemen took off his belt. Such is "the insidious fate of a man who got lost in the war," the author writes.
Sotnikov chooses a different path, for whom it is much harder to endure frost, persecution, and torture. Deciding to die, he tries to save innocent people with his confession. The choice was made by him long ago, even before these tragic events. Heroic death in the name of a great goal, in the name of the happiness of the future generation - this is the only possible path for him. Not without reason, before the execution, Sotnikov noticed among the villagers driven to this place a little boy in his father's old Budyonovka. He noticed and smiled with one eye, thinking in the last minutes that for the sake of people like this kid, he goes to death.
The problem of the continuity of generations, the inseparable connection of times, loyalty to the traditions of fathers and grandfathers has always deeply worried the writer. It acquires even greater concreteness and depth in the story "Obelisk". Here the writer raises a serious problematic question: what can be considered a feat, are we not narrowing this concept, calculating it only by the number of downed aircraft, blown up tanks, destroyed enemies? Can the deed of the rural teacher Ales Ivanovich Moroz be considered a feat? Indeed, from the point of view of Zavraiono Ksendzov, he did not kill a single German, did nothing useful for the partisan detachment, in which he did not stay long. His actions and statements generally became unconventional, not fitting into the narrow framework of established norms.
Working as a teacher in Seltsa, Moroz did not teach children according to established programs, in which it was customary to talk about the shortcomings and errors of the great geniuses of Russia - Tolstoy and Dostoevsky. “And Frost did not stir up Tolstoy’s delusions - he simply read to his students and absorbed it completely into himself, absorbed it with his soul. A sensitive soul, she will perfectly understand for herself where good is, and where so-so. It will answer like a grain from a chaff in the wind. Now I understand it perfectly, but then what ... I was young, and even the boss," Timofey Tkachuk, an old partisan who was the head of the district before the war, tells the author. And under the Germans, Ales Ivanovich continued to teach, causing suspicious looks from those around him. Moroz himself answered Tkachuk’s question directly and frankly: “If you mean my current teaching, then leave your doubts. I won’t teach bad things. And school is necessary. these guys to be dehumanized now. I'll still fight for them. As much as I can, of course." The words of Ales Moroz turned out to be prophetic. He really did everything he could for his students. The teacher committed an act that, even after the war, received diametrically opposed assessments. Ales Ivanovich, having learned that the Nazis promise to release the guys arrested for trying to kill a local policeman, if the teacher voluntarily surrenders himself, goes to the Nazis. The partisans are well aware that the Nazis cannot be trusted, that Frost will not be able to save the guys with his self-sacrifice. Ales Moroz also understood this, but nevertheless he left the detachment at night to share their terrible fate with his students. He could not do otherwise. He would have punished himself all his life for leaving the guys alone, not supporting them at the most difficult moment of their short life. A few days later, the brutally beaten Frost was hanged next to his students. One of them, Pavlik Miklashevich, miraculously managed to escape. He survived and, like Frost, became a teacher in Selce. But his health turned out to be forever undermined, and he dies still quite a young man. But Tkachuk sees an excellent continuity in the affairs of Miklashevich and Moroz. And it was expressed in character, kindness and integrity, which will definitely show through in a few years already in his students.
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