The Civil War in 20th century literature in brief. The theme of the civil war in Russian literature of the twentieth century based on one or several works - abstract
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The main theme of the writers of the 1920s is the revolution and the civil war. She was the main nerve of the works of both the writers of the Russian diaspora and those who worked in Soviet Russia. As the émigré writer B. Osorgin wrote in the novel Sivtsev Vrazhek, there were two truths: “The truth of those who believed both the homeland and the revolution were desecrated by new despotism and violence, and the truth of those who understood their homeland differently, ... who saw the desecration not in an obscene peace with the Germans, but in deceiving the hopes of the people. " Ideologically, there were two lines in the image civil war... Some writers perceived the October Revolution as an illegal coup, and the civil war as "bloody, fratricidal." The hatred for Soviet power and everything she did, was manifested in the "Cursed Days" by I. Bunin, in the novels "Icy Walk" by R. Gulya, "The Sun of the Dead" by I. Shmelev.
Born out of personal grief (the shooting by the Bolsheviks of the son of Sergei), the book "The Sun of the Dead" is a terrible mosaic of the revolution. Shmelev shows revolutionary leaders as a blind force. These "red star" life renewers "are capable of only killing. From the standpoint of Christian morality, they have no justification. The sacrifices are spiritually superior to them. Their suffering, the pain of their souls, is shown by Shmelev as the suffering of the entire Russian people, not poisoned by ideology. In a novel consisting of separate stories, the leitmotif is image of the dead the sun is a tragic symbol of the desecrated Motherland dying under the rule of the Bolsheviks.
From a general humanistic point of view, the civil war is depicted in M. Bulgakov's novel “ White Guard", In the novel by A. Tolstoy" Sisters ".
In the novel "The White Guard" the surrounding chaos, inconstancy, ruin is opposed by the stubborn desire to preserve one's Home with "cream curtains", with a tiled stove, and the warmth of the family hearth. External signs of the past have no material value, they are symbols of the former stable and indestructible life.
The Turbins family - military and intellectuals - is ready to defend their House to the end; in broad terms - the City, Russia, the Motherland. These are people of honor and duty, real patriots. Bulgakov shows the events of 1918, when Kiev passed from hand to hand, as apocalyptic and tragic events. The biblical prophecy “and the blood was made” is recalled when pictures of the savage atrocities of the Petliurists, scenes of the massacre of “Pan Kurennoy” with his defenseless victim appear. In this world standing on the brink of an abyss, the only thing that can keep from falling is love for the House, Russia.
Bulgakov portrayed his White Guard heroes from a humanistic position. He sympathizes and sympathizes with honest and clean people plunged into the chaos of the civil war. With pain, he shows that the most worthy, the flower of the nation, are perishing. And this in the context of the entire novel is regarded as the death of all of Russia, the past, history.
In contrast to the works that were generally humanistic and critical of the revolution, in the 1920s, works appeared that glorified the revolution and considered the civil war a necessary and inevitable step of Soviet power. These works were different in the principles of depicting a person and history, in their stylistic features. In some of them, a generalized poetic image of the people, embraced by the elements of revolution, was created. A revolutionary mass, "multitudes", "red lava" acted in them. Such are the “Fall of Dair” by A. Malyshkin, “Partisan stories” by Vs. Ivanova, "The Naked Year" by B. Pil-nyak.
In The Naked Year, Pilnyak shows the revolution as an element that unleashes the cavernous, base in man. This is a revolt of the Asiatic principle, destroying the European one. Wild rout, bestial instincts, cynicism clash with lofty ideals " the best people"- the Bolsheviks. Pilnyak's Bolsheviks are not individualized, psychologically not outlined. He records only external signs, as a result, "leather jackets" have entered the literature, which have become the image-symbol of more wikis.
Other writers who were apologetic about the revolution strove for the psychological comprehension of the revolutionary people. In "Iron Stream" A. Serafimovich showed how from a motley, unbridled, wild crowd in the process of transition, a stream welded together by a single goal is born. The crowd pushes, pushes out of itself the leader, who only by cruelty, willpower, dictate can turn it into a single - iron - stream. And when Kozhukh brings this "iron stream" to the intended goal, then people will suddenly notice with surprise that Kozhukh has "blue eyes."
In the novels of D. Furmanov "Chapaev" and A. Fadeev "The Defeat" each character is already psychologically outlined. According to Fadeev, he set the task of showing that “in a civil war there is a selection of human material, everything hostile is swept away by the revolution, everything that is incapable of a real revolutionary struggle… is eliminated. ... This alteration is taking place successfully because the revolution is being led by ... the communists ... "The tasks are quite determined by the requirements of socialist realism. The idea of alteration in the course of the revolution of "human material" is created by the face in the novel by Morozko, and the idea of selection and "sifting" is created by Mechik. In the same type life situations there is a comparison of heroes, the identification of their moral and psychological potential. According to the socialist realist interpretation, Morozko in many situations turns out to be higher than Mechik, that is, “proletarian humanism” (allowing the killing of a wounded comrade, because he interfered with the advance of the detachment) is higher than universal concepts. In the finale, Morozko performs a feat of self-sacrifice, saving the detachment, while Mechik leaves. The opposition of heroes in the novel is not psychological, but social.
Fadeev showed Morozka's shortcomings ("troubledness", the habit of suspecting others of baseness, avoiding the case himself, the ability to lie, steal) as superficial, conditioned by the circumstances of life. Under the influence of participation in the revolution, this should disappear.
Mechik is drawn differently. An intelligent young man who romantically accepted the revolution, but did not accept its filth, blood, vulgarity, is unequivocally negatively assessed by Fadeev. The writer shows that the soul of a traitor and an egoist lurks under a decent appearance. Fadeev simplified the idea of "intelligentsia and revolution" by simply throwing the intellectual out of it. Material from the site
Fadeev's achievement was the portrayal of the communist Levinson - an unprepossessing person with weaknesses, but a strong spirit, intelligently able to control himself and others.
"Inseparability and lack of merging with the revolution" - this is the position of I. Babel in the "Cavalry". Seeing in the revolution not only strength and romance, but also blood and tears, Babel portrayed reality tragically. Without denying the revolution, Babel shows it in a naturalistic way, with all the "everyday atrocities". He sees in her the sublime and the low, the heroic and the vulgar, the kind and cruel. The writer is convinced that the revolution is an extreme state, and therefore must have an end like any super-ordinary situation. But actions that are permissible in an extreme situation become commonplace. This is what is terrifying, this is the tragedy of the Cavalry.
The revolution and the civil war were portrayed in different ways: as an element, a blizzard, a whirlwind ("The Hungry Year" by Pilnyak), as the end of culture and history ("Cursed Days" by Bunin, "Sun of the Dead" by Shmelev), as the beginning of a new world (" Defeat ”by Fadeev,“ Iron Stream ”by Serafimovich). The writers who embraced the revolution filled their works with heroic and romantic pathos. Those who saw an unbridled element in the revolution, portrayed it as an apocalypse, reality presented itself in a tragic tone.
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On this page material on topics:
- revolution and civil war in Russian prose of the 20th century
- the theme of revolution and civil war of the 20th century
- the theme of homeland and revolution in poetry of the 1920s
- revolution and civil war in literature of the 20s
- works about the revolution in Russia
PRACTICE PLANS
ON RUSSIAN LITERATURE OF THE XX CENTURY (II part)
PRACTICAL LESSON № 3.
M. Bulgakov's novel "The Master and Margarita".
Plan.
1. The history of the creation and publication of the novel.
2. The versatility of the plot and composition (a novel in a novel), the meaning of comparing Yershalaim and Moscow (landscape, season, plot parallels). Comparison of characters' images in the historical and modern parts of the novel.
3. The depiction of Soviet reality in the 20s - 30s of the XX century in the novel.
4. "Eternal" problems of good and evil, human freedom and the meaning of life, freedom of creativity. The image of the Master.
The theme of love in the novel. Features of the author's moral and philosophical position. The image of Margarita and the problem of Orthodox morality.
The role of Woland and his retinue in the novel. Distortion of the biblical and Orthodox canon in the creation of the image of Woland.
Genre and style originality of the work, a combination of concrete historical and grotesque-fantastic imagery, peculiarities of the language of the novel.
LITERATURE:
1. Bulgakov M.A. "The Master and Margarita" (any edition).
2. Amusin M. "Your novel will bring you more surprises" (On the specifics of the fantastic in "The Master and Margarita") // Voprosy literatury. - 2005. - No. 2. - P. 111.
3. Boborykin V. Mikhail Bulgakov. - M., 1991.
4. Gavryushin N. Litostroton, or a master without Margarita // Questions of literature. - 1991. - No. 8.
5. Zerkalov A. The Gospel of Mikhail Bulgakov. - M., 2003.
6. Zolotonosov M. "Satan in unbearable brilliance" // Literary review. - 1991. - No. 5.
7. Kachurin M.G., Shneerson M.A. "Here is your eternal home": The personality and work of Mikhail Bulgakov. - SPb, 2000.
8. Kovalchuk D.A. Man and Time in M. Bulgakov's Novel "The Master and Margarita". - Sat: Russian Literature XIX- XX centuries: Actual problems of research. - Armavir, 2001 .-- S. 118.
9. Korablev E. Secret action in "The Master and Margarita" // Questions of literature. - 1991. - No. 5.
10. Lazareva M.A. Genre originality"The Master and Margarita" by M. Bulgakov // Philological sciences... - 2000. - No. 6. - P. 22.
11. Lakshin V. The World of Mikhail Bulgakov. / Enter. Art. to the meeting. op. M. Bulgakov. In 5 volumes. - T. 1. - M., 1989. - S. 5-68.
12. Materials of the International Conference "Mikhail Bulgakov in the XXI century". On the occasion of the 40th anniversary of the publication of the novel "The Master and Margarita" // Russian Literature. - 2007. - No. 3. - P. 243.
13. Novikov V.V. Mikhail Bulgakov is an artist. - M., 1996.
14. Palievsky B.V. The last book M. Bulgakov. / In the book: Bulgakov M. Master and Margarita. - M., 1989 .-- S. 474-482.
15. Petelin V.V. Bulgakov's life. - M., 2000.
16. Sokolov B. Bulgakov's encyclopedia. - M., 1996.
17. Sokolov B. Mikhail Bulgakov. - M., 1991.
18. Yablokov E.A. Motives of prose by Mikhail Bulgakov. - M., 1997.
19. Yanovskaya L.M. creative path of Mikhail Bulgakov. - M., 1983.
PRACTICAL LESSON № 4.
M. Sholokhov's novel "Quiet Don".
Plan.
2. Cossacks and revolution. The tragedy of the civil war in the novel.
3. The image of Grigory Melekhov, the hero's search for the "third way" and the hero's tragedy. Discussions about the hero in criticism.
4. Female images epics as the embodiment of Russian national character(Natalya, Ilyinichna, Dunyasha). The image of Aksinya. The theme of love and family in the novel.
5. Compositional and stylistic features of the epic. The natural world and its philosophical function in the novel.
LITERATURE:
1. Sholokhov M. Quiet Don. (any edition)
2. "Quiet Don": imaginary and real riddles // Voprosy literatury. - 1989. - No. 8.
3. "Sholokhov's question": continuation of the conversation // Questions of literature. - 1991. - No. 2.
4. Biryukov F.G. Comprehending the secrets of artistry (notes on the style of M. Sholokhov) / In the book: The Writer and Life. - M., 1987.
5. Gura V. How the "Quiet Don" was created. - M .. 1989.
6. Ermolaev G.S. Mikhail Sholokhov and his work. - SPb, 2000.
7. Ermolaev G.S. Unknown Historical Sources " Quiet Don"// Russian Literature. - 2006. - No. 4. - P. 184.
8. Kolodny L. Manuscript of "Quiet Don" // Moscow. - 1991. - No. 10.
9. Litvinov V. Mikhail Sholokhov. - M., 1985.
10. Petelin V.V. Sholokhov's life. The tragedy of the Russian genius. - M., 2002.
11. Plevako N. next to Sholokhov // Our contemporary. - 2000. - No. 5. - p. 152.
12. Semyonov S. Philosophical and metaphysical facets of the "Quiet Don" // Questions of literature. - 2002. - No. 1. - P. 71.
13. Semanov S.N. In the world of "Quiet Don". - M., 1987.
14. Tamarchenko E. The idea of truth in "Quiet Don" // New world. – 1990. – № 6.
15. Hietso G. Who wrote "Quiet Don". - M., 1989.
PRACTICAL LESSON No. 5
The theme of revolution and civil war in prose of the 20s of the XX century.
Plan.
1. A look at the revolution and the events of the civil war from the standpoint of revolutionary morality and class humanism in the novels "Iron Stream" by A. Serafimovich, "The Defeat" by A. Fadeev, "Chapaev" by D. Furmanov, "Walking Through the Torment" by A. Tolstoy ...
2. The theme of revolution and civil war, the problem of the intelligentsia and revolution in the "Ice Campaign" by R. Gulya, the novel "The White Guard" by M. Bulgakov, "Don stories" by M. Sholokhov. The problem of Christian humanism in these works.
LITERATURE:
1. Boris Pilnyak: Experience of today's reading. Sat. Art. - M., 1996.
2. Golubkov M.M. Russian Literature of the XX century: After the split. Tutorial for universities. - M., 2002.
4. Civil war in poetry and prose. In 2 vols. / Comp., Entry. Art., comment. S.N.Semanova, P.I. Rudneva. - M., 2003.
5. Groznova N.A. Early Soviet prose: 1917-1925. - L., 1976.
6. Stuttering S.V. A. Fadeev's novel "The Defeat" / In the book: Russian literature: XX century: Reference materials/ Comp. L.A. Smirnova. - M., 1995. p. 206-228.
7. History of Russian literature of the XX century (1910-1930). In 4 books: Textbook / Ed. L.F. Alekseeva. Book. I, II, III, IV. - M., 2005. - S. 239-256; S. 274-286.
8. History of Russian literature of the XX century (First half): Textbook for universities. - In 2 books. - Stavropol, 2004. p. 487-529; S. 584-638.
9. Kovalenko A.G. Russian literature of the XX century. 20s - 30s - M., 1994.
11. Malakhov V. Harbor of the turning of times (Ontology of the House in the "White Guard" by Mikhail Bulgakov) // Questions of literature. - 2000. - No. 5.
12. Musatov V.V. History of Russian literature of the first half of the XX century (Soviet period). - M., 2001 .-- S. 53-61, S. 62-71, S. 129-144.
13. Pavlov Yu.M. Cross over the Dnieper. On the religiosity of the author of the "White Guard" // Our contemporary. - 2007. - No. 3. - P. 249.
14. Pavlov Yu.M. Revolution, civil war and ideological and moral quest personalities in the literature of the 10s - 30s (A. Serafimovich, R. Gul, A. Tolstoy, M. Tsvetaeva, S. Yesenin). / In collection: Russia at the junction of historical eras. - Moscow-Armavir, 1998 .-- P. 31
15. Ryabtsev V.P. "Exodus" to a new life, or the theme of the civil war in the prose of A. Fadeev and B. Lavrenev // In collection: Russia at the junction of historical eras. - Moscow, Armavir, 1998 .-- P. 18.
16. Chalmaev V. "Don stories": towards universal human ideals through the psychosis of hatred / Russian literature of the XX century. Essays. Portraits. Essay. Part 2. - M., 1994.
17. Chalmaev V. Serafimovich. Neverov. - M., 1982 (ZhZL)
Similar information.
Man became one to another - the devil,
Blood is a ridge of souls.
The fight for life is by law;
And the duty is revenge.
M. Voloshin "Descendants"
Purpose: to give an idea of \ u200b \ u200bthe coverage of the topic of revolution and civil war in the works of various writers and to show that for many of them the civil war has become a national tragedy
1) help students to master the ideological and artistic originality of works about the civil war;
2) produce benchmarking, i.e. help to see the place of the writer in general historical literary process.
Developing:
- develop the ability to compare, generalize, highlight the main thing in the material being studied;
- develop independence of thought, using preliminary independent homework, observation of the text.
Educational:
- make students think about their position in life;
- make sure of the incorruptibility of the principle of humanism in human relations;
- make sure of the need for national accord.
During the classes
Introductory speech of the teacher
The events of the revolution and the civil war touched everyone and everyone and required not so much the expression of emotions as their comprehension. Soviet prose of the 1920s was heterogeneous neither at the time of its appearance, nor much later, in the process of reader's perception. Other works found their readers immediately, and soon they were able to bring a textbook gloss to them. Others have been read and are being read by different generations with unflagging interest. Still others are only now occupying a worthy place in the history of literature and are forcing us to take a different look at the paths and destinies of young Soviet literature, their comprehension is yet to come. It is now becoming clear: the literature of the 1920s was a heterogeneous phenomenon and sometimes did not fit into the general framework. In essence, it was the literature of the young, who in their work tried not only to pose, but also to resolve the most burning issues of our time. It was literature today and literature “for the future”.
The meaning of spiritual confrontation is deeply constructive, its task is positive: the creation of a new democratic culture after the revolution. The writers of the 1920s saw the real, by no means smoothed out appearance of revolutionary Russia and understood where the country was heading. Not so long ago it seemed to us that the artists who proclaimed the priority of moral values in turning points history, but the changes taking place today in all spheres of our life testify to their historical correctness.
V last years Publications on the topic “Revolution and Literature” became available to the general reader: “Untimely Thoughts” by M. Gorky, “Cursed Days” by Bunin, “Letters to Lunacharsky” by VG Korolenko. We are familiar with each of these publicistic articles separately. Today in the lesson you will hear excerpts from these works, in which warnings, anxiety, pain.
In the tragic time of the fratricidal civil war, they raised their voices in defense of universal human values.
Reading quotes by students. The writer S. Zalygin called such artists “Knights of morality and justice” in his introductory article to Korolenko's letters.
Our time has brought forward with all its acuteness the task of a new understanding of works already well known to readers in connection with the definition of their role and place in the formation of Soviet literature. This refers to the collection of short stories by M. Sholokhov “Don Stories”. The discovery of the Don cycle by M. Sholokhov was that he showed the criminality of the civil war, its devastating destructive consequences both for the fate of the “quiet Don” and for Russia as a whole. Sholokhov showed the soul-stunning senselessness and sinfulness of fratricide. Very early in his mind the thought that both sides are wrong in this war, for which he sometimes received the label of a dubious fellow traveler. It is no accident that Grigory Melekhov, the hero of The Quiet Don, beloved by the author, will express this idea in a chased epic formula: “If I’m looking for directions, neither these nor these are conscientious.”
Reading snippets with comments
Choose from all the titles of the stories one, which would be the name of the entire collection. (This is "Kolovert")
Why? (It is precisely the shaking that takes place in the destinies and souls of Sholokhov's heroes)
"Birthmark" (student message)
The main characters- the father and son Koshevs, whom the revolution put on opposite sides of the barricade. Nikolka hardly remembered his Cossack father, grew up an orphan, although his memory retains an important detail from childhood - how his father taught him to the Cossack service, put him on a horse and taught him to ride. This love for horses, as well as “immeasurable courage” was inherited by Nikolka from his father, and therefore he is famous in his 18 years as a combat and skillful commander.
Find Nikolka's reflections on the "twisted" course of his life on the eve of the tragic fight with his father. (This unambiguous assessment of the civil war is supplemented by a multivalued detail: the courier drove the horse)
What can you say about the state of mind of Nikolka's father, the chieftain of the gang? (Experiencing somehow "wonderful and incomprehensible" pain of the soul)
The story contains the points of view of another character - the old miller Lukich. (Read out)
Lyudmila Grigorievna Satarova, Ph.D. in Philology, defined the main theme of the Don Tales as “dehumanization of both red and white during the war and rare moments of the triumph of a very difficult reverse process - reincarnation.”
For example, the story “Shibalkovo Seed”.
Red Cossacks in relation to the Shibalka child?
And Shibalka retains the Christian idea of the unconditional value of every human person. ("And I feel sorry for the shooter to the extreme ...")
The author places not only the spiritual principle, but also the carnal, vital principle above the “morality” of the class struggle.
Those. Sholokhov is not so much interested in the vicissitudes of the struggle between the reds and whites, as in the fact that both reds and whites can be both animals and people. (Prodcomissar ")
The story "Alien Blood" is the crown of the Don cycle in terms of moral issues. (Message)
Starting the conversation with an analysis of the senselessness and suicidal nature of the confrontation between the parties in the civil war ("Birthmark") M. Sholokhov comes to the idea of the necessity of New Testament morality: love your enemies.
Whites and reds gave different reasons for the need to fight for their ideals.
And M. Sholokhov did not sing about the civil war in any of his stories, it is a crime for him. And in this context, his political statement of the 1920s can be interpreted differently:
“Some writer who hasn’t sniffed gunpowder speaks very touchingly about the civil war, the Red Army men - certainly“ little brothers ”, about the odorous gray feather grass, and the shocked audience - mostly lovely girls from second grade schools - generously reward the reader with enthusiastic applause.”
M. Sholokhov assessed the civil war as a national catastrophe, in which there were no and could not be winners. And this is not only the truth of life, captured by the hand of the Don artist, but also a warning, a prophecy for future times.
At the same time as Sholokhov was working on Don Stories, Fadeev's novel The Defeat was being written. At the workshop lesson, we talked about the fact that the idea of the novel was formulated by the author himself, the system of images reflects a very definite balance of power in the conflict between the new ideals of the revolution and the legacy of the old world. At the same time, Levinson's detachment, according to the literary critic S. Zinin, is a kind of “Noah's Ark” of the revolution, in which only the worthy, who has withstood the test of the terrible time, can be found.
Who can be attributed here? (Shepherd Blizzard, representative of the "coal tribe" Morozka and others, who united their fate with the fate of the revolution)
In contrast to them, Fadeev created types of people “superfluous” for the revolution - the “blessed” old man Piku, the smug Chizh, the weak, weak-willed Mechik.
Mechik is a representative of the "vacillating" intelligentsia, thrown into political oblivion by the course of the revolution.
The interpretation of this image was reduced to Levinsonian definition as "worthless empty flower?"
However, in recent years, the meaning of this image has been filled with new shades.
What is the reason?
In recent years, many different publications have appeared, and in fiction and there are almost no “no-go zones” left for journalism. Among the most illuminated was the question of the relationship between the intelligentsia and the revolution.
This problem is seen today as a tragedy of people lost in the fire element of a revolutionary fire, who did not find their place in an atmosphere of fierce struggle of irreconcilable forces.
How is this problem solved in Fadeev's novel? (Student messages)
A. Fadeev showed the truth of the civil war as he saw it and experienced it from personal experience, being a participant in it, and embodying in the novel the “Levinsonian” wisdom of the revolution.
Let's try to look at the events of the civil war from a different point of view, universal.
Bulgakov's creative individuality is also characterized by a keen interest in the "former" classes that suffered in the revolution. Bulgakov, probably the first among the writers of the 1920s, showed in the White Guard (1925) not only the tragedy of the white officers, which consists in the fact that decent, honest people found themselves on the sidelines of historical progress, but also the tragedy of a country in which culture and its carriers fell under the wheel of history. Quite remarkable is the characterization of the "White Guard" given by M. Voloshin. On one of his watercolors, presented to the writer in 1925, he wrote: "To dear Mikhail Afanasyevich - the first who captured the soul of Russian strife, with deep love." The heroes of Bulgakov's work were representatives of the class that was defeated in this struggle.
“The persistent portrayal of the Russian intelligentsia as the best layer in our country” - this definition of Bulgakov prompted him precisely to the intelligentsia to present the most severe moral requirements.
See questions. (The desire of Bulgakov "to become above the red and white" was carried out from the position of the intelligentsia's worldview. The writer connected certain moral values that have an enduring eternal meaning and value.
Student messages:
The Turbin family is characterized by a high culture of everyday life, traditions, and human relations. They are welcoming, and cordial, and condescending to the weaknesses of people, but irreconcilable to everything that is beyond the threshold of decency, honor, justice. All this is captivating, and you yourself begin to evaluate the new characters entering the action in a Turbino way.
Here is Myshloevsky - "white-haired".
Thalberg, to him:
“Gray-haired bankers ran ... talented businessmen, homeowners ... industrialists, merchants, lawyers, public figures... Journalists fled, Moscow and St. Petersburg, corrupt, greedy, cowardly. Cocottes. Honest ladies from aristocratic families ... princes and altynniks, poets and usurers, gendarmes and actresses of imperial theaters ... "
Not because they are antipathetic to Bulgakov because they are “bankers”, “businessmen”, “lawyers”, but because, hiding behind the backs of the Germans, they burn their lives, overeat, and debauchery.
Because they hate the Bolsheviks with cowardly hatred hissing from around the corner.
The first part of the novel is almost entirely devoted to the demarcation of forces. And the further this delimitation goes, the more tragic the position of the Turbins and all that part of the intelligentsia about which the novel says: army officers, "hundreds of warrant officers and second lieutenants, former students ... knocked off the screws of life by the war and revolution" looks.
They have nothing in common with either the Germans, or the hetman, or the "bastards" swept out of both capitals by the blizzard of the revolution. But it is they who take upon themselves the most cruel blows of this blizzard, it is they who "will have to suffer and die."
It is in the "White Guard" that the writer's important ideological conclusions are contained. One of them is associated with the image of the clock, time (the student reads).
These vital constants - peace and hearth - were boldly put forward by Bulgakov in the form of priority tasks and eternal values in the mid 20s.
Today we have to talk about the new life of the repressed, half-forgotten, often unknown to many people, writers of the 1920s and 1930s. Their books were simplified by the efforts of critics, their ideas about the world were deliberately distorted. Such a fate befell Babel.
Curriculum Vitae (student message).
The demand in the First Horse caused Babel to resent violence and destruction.
Along with friendly notes about the people around him, he writes with pain: "Am I a stranger?" “Why do I have enduring longing? Babel asks. “Because we are far from home, because we are destroying, we are walking like a whirlwind, like lava, hated by everyone, life is scattering, I am at a large, incessant funeral service” (August 6, 1920).
This is how the tragic "inseparability and non-fusion" arose in his relationship to the revolution.
Let's turn to 2 stories from the Cavalry cycle (group assignment).
1. "My first goose"
2. "Death of Dolgushov"
In the first versions of the story there is a continuation: “And I accepted alms from Grishuk and ate his apple with sadness and reverence? -
Babel took it off, took it off, because he asked: who is right? Who is guilty? Who is higher?
Who is weak? Who is great?
He left these questions open - to the judgment of history. The time has come.
“Inseparability and non-fusion” with the revolution was a tragic feeling.
But something else is more important - it was a tragic reality. The reflection of the tragedy lay both on the heroes and on the narrator Lyutov.
Enriched with experience real life Babel saw in the revolution not only strength, but also “tears and blood”.
Babel saw a different face behind the pathos of the revolution: he realized that the revolution is an extreme situation that reveals the secret of man. What became permissible in the extreme situation of the revolution, Babel shows, leaves a stamp on future people. In contrast to death and destruction, Babel declared life to be the highest value. Separate stories from the "Cavalry" cycle began to be published in 1923, and in 1924 an article by Budyonny appeared. “Babizm Babel from“ Krasnaya Novi ”(newspaper) with the accusation of the writer of slandering the First Horse. We saw here a deliberate de-heroization of history, “the poetry of banditry”. Babel tried to defend himself, explaining that the creation of the heroic history of the First Horse was not part of his intentions. But the controversy did not subside. The unique artistic world of Babel remained unsolved for a long time. In his work, contemporaries did not grasp the foresight of impending tragedies.
Epigraph: from Voloshin's poem “To Descendants”.
Man became one to another - the devil;
Blood is a ridge of souls.
The fight for life is by law;
And the duty is revenge.
Maximilian Voloshin is another little-known name, the name of the poet who acutely understands that the civil war was a misfortune for the whole of Russia (student message, reading of the poem “Civil War”) from the “Strife” cycle.
Which artistic device lies at the heart of this poem?
How do you rate this position? (Perhaps incorrect, passive, but the poet's feeling deeply patriotically depicts the situation of a tragic split in Russian society, sorrow in the last stanza)
Conclusion: for many writers, the civil war is a national tragedy. In their works, they appear before us as true patriots, their position is very close to us today. These publicistic, prose and poetic works will sound today as a call for national accord and as a warning about a tragedy, a national catastrophe. This applies not only to Russia, but to all former republics country. We must realize the pricelessness human life, to abandon cruelty and violence, to remember the moral absolutes.
At the beginning of the 21st century, at the level of social experience of 7 decades, one can definitely say who expressed the deeper historical truth.
But let's not reject the books "The Defeat" by A. Fadeev, "Chapaev" by D. Furmanov,
"Iron Stream" by Serafimovich, "Armored train 14-69" by V. Ivanov.
They do not leave the history of literature, they simply take a different place, based on their real aesthetic weight and truthfulness.
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Two Russian literatures or one.docx
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I. Sukhikh Two Russian Literatures or One? 1920s
Face of the PresentDthe twentieth century in Russia was finally determined in 1917. Two revolutions, which took place at the beginning and end of one year, not only changed the name of the country, but also determined the new rules of its life for many decades.
The October Revolution was a great, enormous, epoch-making event - this was objectively realized by people of opposite convictions. This position was natural for her supporters. Mayakovsky blesses her in "Ode to Revolution" (1918) and begins to collaborate in "Windows ROSTA", composing propaganda poems and posters designed for the Red Army. The bloc calls on to listen to the "music of the revolution" and claims that the intelligentsia "can and must" cooperate with the new government.
But Mikhail Bulgakov, who was perceived by others and himself felt like an internal emigrant, will say in a letter to the Government of the USSR: "It is IMPOSSIBLE to write a libel against the revolution due to its extraordinary grandeur" (March 28, 1930). And Marina Tsvetaeva, who followed her husband, a white officer, went into exile, will remark: “Not a single major Russian poet of our time, whose voice did not flinch and grow after the Revolution, no” (The Poet and the Time, 1932). Writers' attitudes toward the revolution turned out to be part of common problem, which Tsvetaeva indicated in the title of her article:poet and time .
In building a new socialist society, the Bolsheviks assigned an enormous role to culture. Struggle for new culture in the era of "dictatorship" (in fact, not the proletariat, but the victorious Bolshevik party) began with all kinds of infringement, and often just the destruction of the old culture. Already in the first months after the October Revolution, practically all the old magazines and newspapers in which Saltykov-Shchedrin and Chekhov, Blok and Gorky were published, ceased to exist. In 1922, the Main Directorate for Literature and Publishing was organized (Glavlit) - a powerful censorship institution, which for almost seventy years determined the fate of magazines, books, individual writers. Since that time, preliminary censorship has been established in the USSR: mandatory consideration of all printed publications prior to their publication. Thus, under conditions of freedom, Russian literature lived for less than two decades: censorship was abolished during the 1905 revolution.
New Soviet magazines, most of which will exist throughout the 20th century,wereideologicalalready starting fromtitles: "Red nov", "Star", "New world", "October", "Banner". Their editors were appointed by people who had to be guided not only by literary tastes, but also by political interests: for any real or perceived omission, they could be dismissed or even persecuted. After the revolution, Russian culture and Russian literature are experiencing a great split: its consequences will have to be overcome throughout the 20th century.
Thus, the position of writers and their public reputation in the 1920s depended not so much on their creativity as on the camp they were brought into by criticism. Proletarian writers were cherished and supported, fellow travelers were constantly pulled up and brought up.
However, early Soviet literature was artistically diverse and spiritually distinctive. Many writers, poets, whose work began in the pre-revolutionary years, took their place in it: A. Akhmatova, M. Tsvetaeva, M. Gorky, V. Veresaev, V. Mayakovsky, B. Pasternak, O. Mandelstam, S. Yesenin.
The post-revolutionary decade was marked by the emergence of new writers' names: M. Sholokhov, A. Platonov, L. Leonov, A. Fadeev, I, Babel, M. Zoshchenko, M. Bulgakov, I. Ilf and E. Petrov.
The works about the revolution and the Civil War, published in 1926-1927, were, to a certain extent, a final one. In 1927, two novels were published: "The Defeat" by Fadeev and "White Guard" by M. Bulgakov. These works were staged burning questions the humanistic meaning of the revolution, polemicizing with each other. The authors of these novels belonged to different directions in Russian literature of the twenties.
Bulgakov continued the traditions of classical Russian culture, while Fadeev was a writer who tried to create images of the literature of the new era, a new hero of the revolution, who defended the position of revolutionary humanism. It illuminates spiritual values in a different way, such as the heroic, struggle, pity, love, loyalty, duty. If the heroes of Bulgakov, the level of their culture, perceived from several generations of the intelligentsia, does not allow them to sink, become a beast, then the heroes of Fadeev are cruel, merciless, dishonest. However, the living conditions of those and others are still incomparable.
For the heroes of Fadeev, moral is what is in the good of the workers and peasants, what serves the victory of the revolution and its defense. All means are admissible and crimes are justified the highest idea... Fadeev's heroes are guided by such moral principles.
Bulgakov is horrified by the civil war. He is especially frightened by the desire of dark personalities, who offer themselves as idols and leaders of the crowd, to use “little men anger” to achieve their own power.
Another book, written in 1926, attracts our attention. This is "Don Stories"M. Sholokhova. The author was only 21 years old, and behind him was already a lot: the shocks of the civil war, which instantly crossed out the childhood passed on the Don, in the village of Veshenskaya.“I had to be in different bindings,” Mikhail Sholokhov would later write in his autobiography. He will remember himself, sixteen, during the interrogation, which was led by Nestor Makhno himself, and how, when releasing the teenager, the “father” threatened him with cruel reprisals in the future. He will remember how he, the commander of the food detachment, was sentenced to death for abuse of power. The events of that time appeared actual material, which formed the basis of his first stories.In Don Stories, Sholokhov strove to portray the civil war, its consequences both for the fate of the Don and for the fate of Russia as a whole. In them, the author shows horror fratricidal war, which destroys the way of life of the Cossacks.
Civic lyrics sounded with unprecedented force, the most effective genres addressed directly to the masses were developed: a march, a song, a poetic appeal, a message: "Ode to the Revolution" by V. Mayakovsky, "May Day Anthem" by V. Kirillov, "Cantata" by S. Yesenin. Traditions lyrics of love, nature, philosophical reflections receded into the background.
M. Voloshin did not stay away from social upheavals. The October Revolution and the Civil War found him in Koktebel. Taking the revolution as a historical inevitability, Voloshin saw it as his duty to help the persecuted, regardless of "color" - "both the red leader and the white officer" found "refuge, protection and advice" in his house.
V. Bryusov publishes the collection "On such days". In the poems of this collection, the main motives are creation, "meeting of times", "friendship of peoples." He uses heroic associations that lead back into the depths of the centuries, archaism.
Tragic motives sounded in the lyrics of M. Tsvetaeva (collection "Versty" and "Swan Camp"). The main themes of her work are the theme of the Poet and Russia, the theme of separation, loss. This is associated with the appearance of folk, song motives in her poems.
Heroic romance colors E. Bagritsky's poems in the 1920s. Bagritsky's poems were distinguished by imaginative brightness, fresh intonation, rhythm and quickly brought him to the first row of poets of revolutionary romanticism. The poet truthfully showed all the tragedy of the Civil War, he stressed that it is almost impossible to get away from it, to take a neutral position.
Selected document for viewing Lesson summary - copy.docx
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shape
the ability to select the main thing;
,
Educational tasks: .
Developmental tasks students ability to
computer, projectop, screen
Methods
Lesson stage
Presentation slides
Teacher activity
Students' activities
Estimated answers:
Partial search method
songs.
Association method
2. Organization of perception and comprehension new information
Estimated answers:
Association method
3. Recording the topic of the lesson
You can go to slides No. 6 - No. 10 by hyperlinks so that you can not only hear, but also see information
Method analytical reading
Summarize, conclude
Expressive reading, conversation
1. Execute complex plan articles by I. Sukhikh.
Questions to choose from:
1. What is common and what differences in the depiction of the revolution and the civil war did you see in the works of M. Sholokhov and M. Bulgakov? (read the stories of M. Sholokhov "Birthmark", "Foal")
2. How did B. Lavrenev portray the events of the Civil War in the story "41"?
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Literature lesson in the 11th grade. Topic: "The depiction of the Civil War in the literature of the 20s"
Educational tasks:
shape
the ability to attract knowledge from various fields to solve a given problem;
the ability to select the main thing;
systematize phenomena united by one topic;
apply previously acquired knowledge in an unfamiliar situation;
develop the skills of monologue speech;
improve analysis skillsepisode of literary work,
Educational tasks: to educate an aesthetic taste, a sense of humanism.
Developmental tasks : develop associative thinking; develop teamwork skills; promote the formation ofstudents ability toself-assessment of the work.
Materials and equipment for the lesson:
article by I. Sukhikh “Two Russian Literatures or One? 1920 ",
an excerpt from A. Fadeev's novel "The Defeat",
poems by M. Tsvetaeva "Pasternak", "Oh, you are my fungus, mushroom, white milk mushroom", song on verses
M. Svetlova "Young drummer", poems by V. Nabokov, R. Rozhdestvensky,
computer, projectop, screen
Lesson type: group study.
Forms: frontal work, group work.
Methods : expressive reading, conversation; practical work related to the analysis of the episode.
Lesson stage
Teacher activity
Students' activities
Forms and methods used at the lesson stage
1. Stage of motivation, goal setting together with students
Presents to the 11th grade students the results of the questionnaire survey on the topic "Civil War in History and Literature". Identifies, together with students, problems:
(What problem did the survey reveal?)
Estimated answers:
works about the Civil War are little known to us;
you can learn about the historical era not only from historical sources but also from works of art;
it is interesting to know about the views of writers and poets who lived in such a difficult time.
Partial search method
2. Organization of perception and comprehension of new information
Listen to the song "Young Drummer" to the poetry
M. Svetlova (1903 - 1964). Write down the associations you have when listening
songs.
Asks the question: "Describe the era in which the song could have been written?"
They listen to a song, write down words-associations;
animation on the slide allows the teacher to show what associations he had during listening;
1-2 sentences answer the question
Association method
2. Organization of perception and comprehension of new information
Listen to the poet's poem "Pasternak"
M. Tsvetaeva (1892 - 1941), which was written in 1925. Write down the associations you have when listening to the poem.
The works you listened to were written at the same time. Why do they sound so different?
They listen to a poem performed by an actor, perform the same tasks.
Estimated answers:
The authors had different attitudes towards the events taking place in the country, they have different perceptions of time: for M. Svetlov, this is an era of heroism and sacrifice in the name of the victory of the revolution, for Tsvetaeva it is a tragedy that will lead to a split and separation of people.
Association method
The method of comparing works by nature, subject matter, artistic idea
3. Recording the topic of the lesson
On the slide, the portraits of the writers, which will be discussed in the lesson, students will learn about them from the article by I. Sukhikh.
Making notes in notebooks
4. Organization of the study of new material
He offers to get acquainted with the text of the article by I. Sukhikh "Two literatures or one?"
Acquaintance with assignments in groups, attentive listening to instructions for completing assignments.
Search and selection method the information you need in the text
5. Discussion of the results of the groups' activities
Checks the completion of the task, determines the level of formation of the ability to work with the text of an information article
They answer the questions in the group, introduce the results of the work in the group to the whole class.
Planning techniques and forms of work that ensure the activity and independence of thinking of students (system of questions)
6. Analysis of an episode from the novel "The Defeat" on issues of different levels
Offers analysis of the episode in groups of problematic issues(the last question is supposed to establish a connection between works of art written in different time- in the exam in literature, task C2)
Read and analyze the episode according to the question proposed for the group.
Analytical reading method
After discussing the work performed, it is proposed to turn to the general conclusion, which will allow students to summarize all the material developed in groups.
Summarize, conclude
7. Acquaintance with the position of writers who have risen "above the battle" of white and red
On the slide is an excerpt from Bulgakov's novel "The White Guard" and Tsvetaeva's poem. Suggests thinking about the question: "What thought unites a passage from Bulgakov's novel and Tsvetaeva's poem?"
The supposed conclusion on the question: "Bulgakov and Tsvetaeva depict the events of the civil war from a universal human point of view."
Expressive reading, conversation
8. Generalization of what was learned in the lesson and its introduction into the system of previously acquired knowledge
Whites and reds could be judged by time. The split that occurred in the country as a result of the war brought tragedy to the lives of people who had to live in a critical era
Reading by heart the poems of Nabokov and Rozhdestvensky.
Expressive recitation
10. Summing up the lesson, homework
Selected document for viewing Criteria for assessing the student's activity in the group.docx
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| Criteria for assessing the student's activity in a group | 1 student | 2 student | 3 student | learner | learner |
| Generating ideas, expressing your point of view in the group | |||||
| Verbal response in the lesson containing the conclusions of the group | |||||
| Searches for ways to solve the problem | |||||
| Asks questions, advises other group members | |||||
| Demonstrates the ability to work with information, analyze the text of a work of art | |||||
| Scored score |
Selected document for viewing Excerpt from the novel by A. Fadeev.docx
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Excerpt from A. Fadeev's novel "The Defeat". Chapter 11 "Strada"
The little swordsman went deeper into the thicket, lay down under the bushes and forgot himself in an anxious doze ...
I woke up suddenly, as if from a jolt. Heart beat unevenly, sweaty shirt
stuck to the body. Behind the bush, two were talking: Mechik recognized Stashinsky and
Levinson. He carefully parted the branches and peered out.
All the same, - Levinson said gloomily, - it is unthinkable to stay in this area any longer. The only way- to the north ... - He unbuttoned his bag and took out a map. - Here ... Here you can go through the ridges, and go down the Khaunikhedze. Far away, but what can you do ... Stashinsky was looking not at the map, but somewhere into the depths of the taiga, as if weighing every mile of sweat drenched in human sweat. Suddenly he quickly blinked his eye and looked at Levinson.
And Frolov? .. you forget again ...
Yes - Frolov ... -Levinson sat down heavily on the grass ... The swordsman saw his pale profile right in front of him.
Of course, I can stay with him ... - Stashinsky said dully after a pause. - In essence, this is my responsibility ...
Nonsense! Levinson waved his hand. - No later than tomorrow for dinner, the Japanese will come here on fresh tracks ... Or is it your duty to be killed?
And then what to do?
Do not know...
Mechik had never seen such a helpless expression on Levinson's face.
It seems that there is only one thing left ... I already thought about it ... -Levinson stumbled and fell silent, clenching his jaw sternly.
Yes? .. - Stashinsky asked expectantly.
The swordsman, sensing unkindness, leaned forward more strongly, almost betraying his presence.
Levinson wanted to name in one word the only thing that remained to him, but, apparently, this word was so difficult that he could not pronounce it... Stashinsky looked at him with apprehension and surprise and ... understood.
Without looking at each other, trembling and stumbling and tormented by this, they started talking about something that was already clear to both of them, but which they did not dare to name in one word, although it could immediately express everything and end their torment."They want to kill him ..." - realized Mechik and turned pale. His heart beat in him with such force that, it seemed, behind the bush, too, would be heard.
How bad is he? Very? .. - Levinson asked several times. - If not for this ... Well ... if it were not for us ... in a word, does he have any hope of recovery?
No hope ... is that really the point?
It’s easier somehow, ”Levinson admitted. He was immediately ashamed that he was deceiving himself, but he really felt better. After a pause, he said quietly: “We’ll have to do it today ... just make sure no one guesses, and most importantly, he himself ... is it possible? ..
He won't guess ... soon he will be given bromine, instead of bromine ... Or maybe we will postpone it until tomorrow? ..
Why pull ... anyway ... - Levinson hid the card and stood up. - You have to - you can't do anything ... You need to? .. - He involuntarily sought support from the person whom he himself wanted to support.
"Yes, we must ..." - thought Stashinsky, but did not say.
Listen, - Levinson began slowly, - tell me straight, are you ready? You better tell me straight ...
Am I ready? - said Stashinsky. -- Yes, I'm ready.
Let's go ... - Levinson touched his sleeve, and they both walked slowly towards the barracks.
"Will they really do this? .." The sword fell prone to the ground and buried his face in his palms. He lay there for an unknown amount of time. Then he got up and, clinging to the bushes, staggering like a wounded man, walked after Stashinsky and Levinson.
The cold, unsaddled horses turned their tired heads towards him; the partisans snored in the clearing, some were cooking dinner. Mechik looked for Stashinsky and, not finding him, almost ran to the barracks. He was in time. Stashinsky, standing with his back to Frolov, stretching out into the light
trembling hands, poured something into a beaker.
Wait! .. What are you doing? .. - shouted Mechik, rushing to him with eyes wide with horror. - Wait! I heard everything! ..
Stashinsky, startled, turned his head, his hands trembled even more. Suddenly he stepped towards Mechik, and a terrible crimson vein swelled up on his forehead.
Get out! .. - he said in an ominous, choked whisper. - I will kill! ..
The little sword screeched and, not remembering himself, jumped out of the hut. Stashinsky immediately caught himself and turned to Frolov.
What ... what is this? .. - he asked, cautiously looking sideways at the beaker.
This is bromine, drink it ... - Stashinsky said insistently, sternly.
Their gazes met and, understanding each other, froze, bound by a single thought ...
"The end ..." - thought Frolov and for some reason was not surprised, did not feel any fear, excitement, or bitterness. Everything turned out to be simple and easy, and it was even strange why he suffered so much, clung so stubbornly to life and was afraid of death, if life promised him new suffering, and death only saved him from them. He hesitantly looked around, as if
looked for something, and stopped at an untouched dinner, near, on a stool. It was milk jelly, it had already cooled down, and flies were circling over it. For the first time during his illness, a human expression appeared in Frolov's eyes - pity for himself, and perhaps for Stashinsky. He dropped his eyelids, and when he opened them again, his face was calm and gentle.
It will happen, you will be on Suchan, - he said slowly, - tell me so that it doesn't hurt there ... they kill themselves ... Everyone will come to this place ... yes ... Everyone will come, - he repeated with such an expression , as if the idea of the inevitability of the death of people was not yet completely clear and proved to him, but it was precisely the thought that deprived the personal -him, Frolova, - death of her special, separate
terrible sense and made it - this death - something ordinary, characteristic of all people. After a little thought, he said: - I have my little son there at the mine ... Call Fedya ... To remember him when everything turns around - to help there with something or how ... Yes, come on, or something! .. he suddenly cut short in a damp and trembling voice.
Curling his white lips, shivering and blinking terribly with one eye, Stashinsky brought up the beaker. Frolov supported her with both hands and drank.
Questions for the analysis of the episode
How does the novel solve the question of the value of human life in an era of turning point?
Fadeev introduced the concept of "revolutionary humanism" into literature. How do you understand its meaning? Can the word "humanism" have definitions?
Who is right - Levinson, the commander of the detachment, and the doctor Stashinsky or Mechik, who learned about the impending assassination of the partisan Frolov?
What gives Levinson the strength to make the terrible decision to kill the hopelessly ill Frolov?
Which Russian writer of the 19th century also put his hero before a choice and how did he solve the problem of humanism on the pages of his work?
Selected document for viewing Poems by Nabokov and Rozhdestvensky.docx
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Small church. The candles are swollen.
The stone is whitened by the rains.
The former are buried here. Former.
Cemetery of Sant Genevieve des Bois.
Dreams and prayers are buried here.
Tears and valor.
"Goodbye!" and "Hurray!"
Staff captains and midshipmen.
Colonel and Junker grabbing.
White guard, white flock.
White army, white bone ...
Grass grows on wet slabs.
Russian letters. French churchyard ...
There was no glory. The Motherland was gone.
The heart was gone. And the memory was ..
Your lordships, their honors -
Together at Sant Genevieve des Bois.
They lie tightly, knowing enough
Their torments and their roads.
After all, they are Russians. It seems to be ours.
Only not ours, rather, nobody's ...
How are they after - forgotten, former
Cursing everything now and henceforth,
They were eager to look at her -
Victory, albeit incomprehensible,
May she not forgive
Dear land, and die ...
Noon.
Birch reflection of peace.
Russian domes in the sky.
And the clouds, as if white horses,
Race over Sant Genevieve des Bois.
Robert Rozhdestvensky
Shooting V. Nabokov
There are nights: just go to bed,
The bed will float to Russia;
And now they lead me to the ravine,
Lead to the ravine to kill.
Wake up, and in the dark, from a chair,
Where matches and clocks lie
Into the eyes, like a close muzzle,
The burning dial is looking.
Covering my chest and neck with my hands, -
Just about now it will shoot at me! -
I dare not look away
From a circle of dim fire
Numb consciousness
The ticking of the clock will touch
Safe exile
I can feel the cover again.
But, heart, how would you like
So that it really was like this:
Russia, stars, the night of the shooting
And the ravine is covered with cherry trees!
Selected document for viewing The topic of the Civil War in the literature of the 20s - 30s.ppt
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Lessons 47–48
Revolution and civil war
In literature 20- x years
Goals : to note the peculiarities of the sounding of the theme of revolution and civil war in the works of writers and poets of the 1920s; deepen the concept of historicism in literature; develop skills of independent work with the text.
Lesson progress
History does not tolerate frivolity,
Her folk path is difficult,
Her blood-stained pages
Can't love with thoughtless love
And not to love without memory is impossible.
Ya. Smelyakov. "Russia Day"
I. Lecture by the teacher.
Literature, no less (and sometimes more) than science, forms the idea of history. Having created many myths about the revolution, literature, nevertheless, back in the 20s, in hot pursuit of events, captured a complex, extremely controversial image time, this is its historicism. It reflected the diversity of ideas about the changes that took place before the eyes of the artists (Pilnyak called them "the harness of history"). For a long time, we did not imagine the entirety of this picture of the time, since a number of artistically significant works that did not correspond to the official ideas about how the revolution and the civil war should be depicted were removed from the literary process. Return of journalism and works of art by I. Bunin, M. Gorky, V. Korolenko, M. Bulgakov, I. Babel, B. Pilnyak, V. Zazubrin, A. Platonov, V. Veresaev, books of emigrants I. Shmelev, M. Osorgin , M. Aldanova, a deeper reading of the classics Soviet period in many ways changed the idea of both history and the literary process of the 20th century.
One of the most striking features of the literature of the 20s is the originality of its historical consciousness.
The fact is that works about the revolution and the civil war, created in the 1920s, were viewed primarily as books about modernity (exceptions were made for The Quiet Don, Walking Through the Torment, and, with some reservations, The White Guard) ... "At a Dead End" by V. Veresaev, "Sivtsev Vrazhek" by M. Osorgin, "The Tale of the Unquenched Moon" by B. Pilnyak - these and many other works of the 1920s told not about the distant historical past, but about personal experience, about native country and people at the turning point of history.
Understanding the present as a historical reality became the brightest feature of Russian literature of the first third of the XX century. Time itself contributed to the formation of this idea. The situation at the turn of the century, the crisis state of the world and the human personality clearly felt by the artists, the largest social upheavals of the beginning of the 20th century - wars and revolutions, great scientific discoveries - all this could not but increase interest in the topic of history.
The writers were not mere chroniclers of events; the significance of their works is not limited to a true depiction of the events of those years. There was an active search for the "idea of time", the meaning of history. The artists strove to understand what was happening in a historical perspective, to explore the origins of conflicts, to see the future of Russia, its place in world history. The thought of Russia, which, according to N. Berdyaev, "is infinitely dearer than the fate of classes and parties, doctrines and teachings," became central in the literature of the century.
Artists could not help but reflect on the fate of man and eternal values at a turning point historical era... Despite the differences in views, the intransigence and severity of political discussions, natural for that time, writers in best works prevailed over the historical limitations of their own beliefs and preferences.
The historical whirlwind has destroyed not only the old social relations. The revolution led to a reassessment of moral norms, everything that people lived with, what they believed in, and this was not an easy, often painful process, which art also told about.
II. Poetry of the 20s.
1. Teacher. "... It may turn out that the artist has done more than he conceived (he could do more than he thought!), Other than he conceived." These words of Marina Tsvetaeva are one of the links in her chain of reflections on the lessons of art, the laws of creativity. In them, the poetess reflected a characteristic feature of the 20th century, which - perhaps more than ever before - firmly fused the fate of the poetic word with human destiny its creator, this was reflected in the poetry of the 1920s. In Tsvetaeva's article “Art in the Light of Conscience,” we read: “There is no poet who does not accept any element. A person does not accept (rejects and even spews out) ... The only prayer of the poet about not hearing voices: I will not hear - but I will not answer. For to hear for a poet is already to answer ... "
2. Student message based on Tsvetaeva's poem "Perekop" (or "Swan Camp").
Output. A note of reconciliation with good wishes to all - both courageous soldiers and faint-hearted apostates:
Come on, God, red and white -
Tu - for the bed, friend - for the run!
In these "Perekop" lines of Tsvetaeva, one can hear the response of her own poems from "Swan Camp":
White was - red became:
The blood turned red.
Was red - white became:
Death has whitened.
Thus, in the bitter, deadly hour, human unity was revealed dead soldiers... This is how a theme, seemingly unexpected and at the same time deeply natural in the work of Russian poets of this era, was outlined - the theme of warring brothers, going back to the biblical motive of fratricide: Cain killing Abel.
- What do you know about the story of Cain and Abel?
And in Tsvetaevsky "Perekop" we more than once we hear this motive - now in an episodic remark ("Brother to brother!"), now in direct appeal to the biblical story ("Cain, where is your brother? .."), then, finally, in the parting words of the regimental priest:
- Brothers, here she is
The extreme rate!
The third year already
Abel with Cain
3. Poems by émigré poets.
Teacher . The émigré poets, who were a direct participant in the Civil War and wanted, first of all, to convey their approach to the theme of warring brothers element experienced. For them, this theme is condensed to a hint, a short stroke in a lyrical confession, or to a laconic, long-suffering assessment in a narrative verse.
Pupil 1. Poems of the White Army Warrior Vladimir Smolensky- a formidable reproach thrown at the ruler of hell:
You took my country away from me
My family, my home, my easy lot ...
You drove me through the cold, heat and smoke
Threatened to kill me by the hand of my brother ...
This biblical motive seems to be concretized in another poem by Smolensky - a capacious lyrical recollection:
Over the Black Sea, over the White Crimea
The glory of Russia flew like smoke ...
Russian bullets flew like a hail,
They killed a friend next to me
And the Angel wept over the dead angel ...
We left the sea with Wrangel.
"Russian bullets" were sent by the hand of a brother - a compatriot, an enemy ...
Pupil 2. He defended the White Crimea in the ranks of the Volunteer Army and Yuri Terapiano, which "was on fire of Perekop" and forever preserved the last Crimean memory:
The one that became the banner of Russia,
A strip of disappearing land.
Like Smolensky, Terapiano acutely feels the enmity of the brothers, which not only hardens the heart, but also devastates it, makes a person lonely. And all that remains is to confess to God:
Backslidden from grace
We have lost You - and now
There are no sisters and brothers in this world ...
Pupil 3. But the poet Arseny Nesmelov recalls the Civil War (under this pseudonym was the former white Kolchak officer Arseny Mitropolsky), he recalls it as “the fratricidal of wars” when Russia split in two ”. But, having witnessed such a split, “listening to the human accumulated anger in the roars of the night,” Nesmelov finds his unexpected turn in tragic topic when he writes about a fellow writer on the other side of the barricades. These are poems about Vladimir Mayakovsky, with whom Nesmelov was personally acquainted and appreciated his talent. "The genius of Mayakovsky" and he devotes his poetic story about werewolf, which in the jungle "Was once a buffalo", among the enemies "caused a stir", and now "wears bull horns", "brought from the cold depths his bestial stubbornness", his power:
He raises with a pitchfork
Rusty steel obstacle!
But the most remarkable thing in this story about the werewolf poet is the significant detail of his appearance changing before our eyes:
And his eye, throwing up an eyelid,
Hypnotizes the enemy.
Such mesmerizing the eye becomes fatal to enemies. But after all, he also attracts, causing the desire to peer at the werewolf in order to see a person in him - maybe, as she saw Mayakovsky Tsvetaeva, hypnotized his verses: "All power, his power pays tribute." And isn't this Mayakovsky, seeing attracted They were an enemy, he decided: “I’ll give a white hand, perhaps ...” And I saw in him not an abstract, poster-like figure, but namely a compatriot, albeit one who made a fatal mistake ...
The civil war destroyed families, destroyed lives, deprived people of shelter in home country... In this regard, Arseny Nesmelov's verses about the country that "rejected" him are indicative:
In a living country, in Russia these days,
I have no dear, as in Bombay!
Do not receive letters from my homeland
With a simple, short one:
"Come back, honey!"
The last braid has been cut
Its ends are severed - miles.
These poems open Nesmelov's book with a long-suffering, telling title - "Without Russia" (Harbin, 1931). It polemically echoes Tsvetaeva's "After Russia" (this book by Marina Tsvetaeva was published three years earlier, in 1928, in Paris). Nesmelov corresponded with Tsvetaeva, closely followed her work. Such a high landmark helped him - in recognizable roll call - to find, clarify the title of his book in order to clearly express, convey the drama of the worldview of a person who has realized in his heart that he is “not needed and alien”, that his homeland is “lost like a precious stone” for him.
4. Outcome.
Student. The Civil War became a tragedy for the entire Russian people, standing on different "sides of the barricades." Lust for freedom, lust for life, in spite of heavy losses and death, united "in fatal moments" white and red, the poet-emigrant Korvin-Piotrovsky argues about this in the poem "Defeat":
Here all the minutes are registered -
Live fuller, breathe fuller, -
Replaced hunched over care -
The impetuous flight of the soul.
And here she is with bewilderment
Looks from the air
Over time and over oblivion
Everything that you once was.
Before death, everyone is equal. Probably, we need a monument to the victims of this fratricidal war, which would make us look at them, as if lifting “above time and above oblivion,” as the memorial erected by Franco in Spain to the victims of the civil war in this country made it do.
Here is how the writer Zinaida Shakhovskaya, living in Paris, says about this memorial: “Do you know about the cemetery, where the bones of all the heroes,“ white ”and“ red, ”lie together? This shared tomb is impressive. If it were so everywhere, there would be peace on earth. " In this regard, Tsvetaeva's lines come to mind:
All lie in a row -
Do not break the line.
Look: soldier.
Where is yours, where is a stranger?
White was - red became:
The blood turned red.
Was red - white became:
Death has whitened.
That's the way it is in art by the light of conscience: where is your own, where is a stranger? It is not for nothing that after the death of the "most revolutionary of the poets" Vladimir Mayakovsky, Marina Tsvetaeva remembered him as an unexpected herald white Volunteering. Remembered, emphatically tearing apart the partitions of politicians, division into friends and foes, so that, having paid tribute to the one who "overcame the poet in himself", exhale: "You are my dear enemy!"
III. The fate of a man in prose works about the Civil War.
1. The conversation is going on independently read books:
- A. Fadeev. "The Defeat", I. Babel. "Cavalry".
- A. Remizov. Cry.
- I. Shmelev. "Sun of the Dead".
- B. Pilnyak. "The Naked Year", "The Tale of the Unquenched Moon".
- B. Lavrenev. "Wind".
- D. Furmanov. Chapaev.
Who is he, real hero Civil War? Fighter for justice and people's happiness? The builder of a new life, sweeping away everything in his path, what is stopping him? Or a Man who, in the fire of war, was able to protect himself from spiritual fall, preserving honor, conscience and love?
2. Disciple. Problem friends and foes as important in prose as it is in 1920s poetry. Here is a look at the enemy in the famous in the 30s and - without exaggeration - the outstanding film of the Vasiliev brothers "Chapaev". The culminating scene in the film is the psychic attack of the Kappelites. When reading the script, the film frames come to life in front of your eyes:
“White is marching in a tight, closed formation.
Black, "special" form. Shining shoulder straps on the shoulders. These are the officers ...
Kappelevites, as if on a parade ground, do not pay attention to the shots, measure their step to the beat of the drum ...
The officer columns are very close. The Red Army soldiers are firing nonstop. In the ranks of the Kappelevites, here and there black pieces are falling. But the ranks immediately close, and they go on with the same training step. The fire does not seem to harm them.
The Red Army soldier in the chain involuntarily spat.
- They're coming beautifully!
The neighbor nodded sympathetically.
- Intellectuals!
The Kappelevites are getting closer and closer ... "
Noteworthy is the comment of one of the creators of the film "Chapaev" - Sergei Vasiliev, who talks about "the principle of showing the Kappelev battle": "... not a single close-up of whites and only close-ups of red. It's about people here. Here is a clash of two wills, and it is important to resolve on our people, and not on whites. "
How significant is this attitude: "not a single close-up of whites" - a clear disregard for the experiences, the inner world of enemies-compatriots. Remember: Mayakovsky's Wrangel fragment of the poem "Good!" quite differently. Giving Wrangel a close-up, the poet shows him not "looking at politics", but - I repeat Tsvetaev's - "in the growth" of the misfortune that befell him, "in the growth of tragedy."
In the film "Chapaev" close-up in the battle scene, as we see, he basically bypasses the whites. And already the next step: the emphasized division into "ours" and "not ours" - consigns to complete oblivion the concept compatriot. And here the striking feature of the episode of Kappel's attack in "Chapaev" is highlighted. The White Guards appear as some kind of foreign force that came to the fields of Russia from somewhere outside, alien to her, far from her.
In that tragedy Civil war: brother goes against brother, there are no winners.
Homework: write an essay-reasoning, reflecting your impressions of what you read, on the topic "A man in the fire of the Civil War."