P. Total XX century began in 1914, when one of the most terrible and bloody conflicts broke out in the history of mankind. World War II forever changed the current time: four empires ceased to exist, the section of territories and colonies occurred, new states arose, there were huge reparations from the loser countries. Many nations felt humiliated and vtopanted in dirt. All this was the prerequisites for the policy of revissalism, which led to an unleash new war, even more bloody and terrible.

But back to the First World War: According to official data, human losses only killed about 10 million, not to mention the wounded, missing and lost her shelter. Frontoviki, who survived this hell, returned home (sometimes, in a completely different state) with a whole set of physical and psychological injuries. And spiritual wounds were often worse than bodily wounds. These people, most of which were not and thirty years old, could not adapt to a peaceful life: many of them were dispersed, someone went crazy, and some ended with them at all. They were dryly called "unrecorded victims of war."

In the European and American literature of the 1920-30 -30 tragedy of the "lost generation" - young people who passed Verpena and Somma's trenches - became one of the central the arts of the whole range of authors (especially worth noting 1929, when the books of Frontovikov writers were published Erich Mary Remarika, Ernest Hemingway and Richard Oldington).

We chose the most famous novels about the First World War.

Erich Maria Remarque

The famous Roman Remarik, who became one of the most popular works of German literature of the 20th century. "On the Western Front without change", there were multi-million editions around the world, and the writer himself even advanced for him to the Nobel Prize.

This is a story about boys whose lives broke (or more precisely) war. Yesterday, they were simple schoolchildren, today they are doomed to the death of the warriors of the Kaiserovskaya Germany, who were thrown into the meat grinder of the total war: dirty trenches, rats, lice, many hours, gas attacks, injuries, death, death and death ... They are killed and crippled, they themselves have to kill. They live in hell, and the reports with the advanced again and again it seeks: "On the Western Front without Change."

We distinguish the peashed faces, flat helmets. This is the French. They got to the remnants of wire barriers and have already suffered a loss noticeable eye. One of their chains is sticking with a machine gun next to us; Then he starts to give delays when charging, and the French are approaching closer. I see how one of them falls into the slingshot, highly lifting the face. The torso settles down, the hands take such a position as if he was going to pray. Then the torso falls off at all, and only hand-sneeled hands hang on the wire.

Ernest Hemingway

"A Farewell to Arms!" "The cult novel, who glorified Hemingway and brought him solid fees. In 1918, the future author of the "old man and the sea" signed up in the ranks of the Red Cross volunteers. He served in Italy, where he got a heavy wound during a mortar shelling on the front line. In the Milan hospital, he met his first love - Agnes von Kurovski. The story of their acquaintance and formed the basis of the book.

The plot, as often happens at the old hem, is pretty simple: the soldier who fell in love with the nurse decides, by all means to desert from the army and go along with his beloved away from this slaughter. But you can escape from the war, but from death? ..

He lay my feet to me, and in the short flashes of the world it was clear that both legs were fragmented above the knees. One torn off at all, and the other hung on the tendons and the rags of the pants, and the stump was wrung and twitched, as if by himself. He bit his hand and moaned: "O MAMMA MIA, MAMMA MIA!"

The death of the hero. Richard Oldington

"The death of the hero" - permeated by the harsh bitterness and hopelessness of the manifesto "lost generation", standing in one row with "on the Western Front without Change" and "Goodbye, weapons!". This is history young artistwho escaped the first world world from indifference and misunderstandings of parents and beloved women. In addition to front horrors, the book also describes the English society of the post-Victorian era, the patriotic pathos and the hypocrisy of which contributed to the unleashing of one of the bloodiest conflicts in the history of mankind.

According to Olddington: "This book is a tombstone, a monument, may be inexplicable, the generation, which hoped hotly, franked honestly and suffered deeply."

He lived among sparkling corpses, among the remains and dust, on some Adov cemetery. Runningly by catching the wall of the trench, he taped the ribs of the human skeleton. I ordered the new pit to dug a new hole for the overall place - and three times had to quit work, because every time there was a terrible black mash of decaying corpses.

The fire. Henri Barbus

"Fire (platoon diary)" was hardly the first novel dedicated to the tragedy of the First World War. The French writer Henri Barbuse signed up in the ranks of volunteers immediately after the start of the conflict. He served on the front line, participated in fierce battles with german army On the Western Front. In 1915, the prose was wounded and got into the hospital, where he began working on a novel, which was based on real events (as evidenced by the published diary entries And letters to his wife). A separate publication "Fire" came out in 1916, at the same time the writer was awarded the Honorov Prize for him.

Barbus book is extremely naturalistic. Perhaps it can be called the most cruel work that entered this selection. In it, the author described everything in detail (and very atmospheric!) Everything was described through which he had to go through the war: from tedious tedious everyday life in the dirt and uncleanness, under the whistle of bullets and shells, to suicide bayonet attacks, terrible wounds and death of colleagues.

Breaking the mound is seen the bottom; There are knees, as if begging about something, the corpses of soldiers of the Prussian Guard; In their backs, bloody holes are broken. From the pile of these corpses, the body of a huge Senegal arrow was pulled out; He petrified in that position, in what his death was covered, rolled out, he wants to rely on the void, clinging to her with his legs and intently looks at the brushes of his hands, probably cut off the broken grenade, which he held; All his face moves, tears with worms, as if he chews them.

Three soldiers. John Dos Passos

Like Ernest Hemingway, John Passos in the First World War served as a volunteer in a sanitary unit, stationed in Italy. "Three soldiers" were published shortly after the end of the conflict - in 1921 - and became one of the first works about the "lost generation". Unlike other books included in this selection, in this novel, the first place is not a description of the fighting and front-line everyday life, but a story about how the ruthless military car destroys the individuality of a person.

Whether she is cursed, this damn infantry! I'm ready for everything, just to get out of it. What is this life for a person when they appeal with him, as with a black man.
- Yes, for a person it is not life ...

In his new novel, "Fiesta", very important for him, Hemingway as an epigraph, as mentioned above, used the recent statement of the famous writer, his girlfriend Gertruda Stein: "You are all - lost generation." For some time, he was even going to call the novel "Lost Generation". Various versions Hemingway's story about the episode, which caused the remark to Gertruda Stein to life, shed some light to change their relationship. In an unpublished preface, written in September 1925, when he only finished to edit the manuscript, he rather straightly talks about this episode. Gertrude Stein traveled in the summer of the Department of En and put his car into a garage in a small village. One young mechanic seemed especially diligent. She praised his master of the garage and asked how he could find such good workers. The master of the garage replied that he himself taught him; Guys of this age are readily readiness. These are those who are now from twenty-two to thirty, those who went through the war - they will not teach them anything. They are "UNE Generation Perdue," said the master of the garage. In his preface, Hemingway made it clear that his generation was "lost" in particular, not as "lost generations" of past times.

The second version of the incident given by Hemingway thirty years later in the "festival, which is always with you," is told with a different mood, and the determination itself is perceived very ironically. For this later version, the young mechanic is a representative of the "lost generation", spent a year at the front. He was not enough "knowledgeable" in his case, and Gertrud Stein complained about him the master of the garage, maybe he implies Hemingway, because the mechanic simply did not want to serve her out of turn. The cartridge made him a reprimand, saying: "All you are Generation Perdue!" According to this version, Gertrud Stein accused of the "lost generation" - including Hemingway - that they have no respect and they all inevitably take them.

The story of Gertruda Stein about history with the "lost generation" is less detailed than Hemingue. For the first time, she heard this expression from the owner of the perrnol hotel in Belle, the city in the Department of En: "He said that every man becomes a civilized being between eighteen and twenty-five years. If he does not pass through the necessary experience at this age, he will not become a civilized person. Men who went to war in eighteen years have missed this period and never be able to become civilized. They are "Lost Generation."

After the end of World War I, in European and American literature, a whole literary direction has developed, associated with the description of the tragedy of the "lost generation". The appearance of 1929 was recorded, when three novels were published: "The death of the hero" of the Englishman of Olddington, "on the Western Front without a change" of the German remark and "Goodbye, weapons!" American Hemingway. In the literature, the lost generation was determined, named so with the mild Hamingue, who set the epigraph to his first novel "Fiesta. And the sun goes back "(1926) the words of Gertruda Stein" All you are lost generation. " These words turned out to be accurately determined. general sensation Losses and longing, which brought the authors of the named books, who passed through the war. In their novels, there were so many despair and pain that they were defined as a sorrowful crying for killed in war, even if the heroes were saved from the bullets. This is a requiem for the whole generation that did not consist of the war, which was crumbled, as if the Boutafors' castles, ideals and values, who were taught from childhood. The war has exposed the lie of many familiar dogmas and state institutions, such as family and school, turned inside out false moral values And he wondered the early men's challenges in the abyss of challenge and loneliness foreign literature of the twentieth century. M., 1997, p.76.

The heroes of the writers of writers "Lost Generation" are usually very young, one can say, with a school bench and belong to the intelligentsia. For them, the path of Barbus and his "clarity" are submitted. They are individualists and hope as heroes Hemingway, only on themselves, to their will, and if they are capable of a decisive public act, then a separate concluding "contract with war" and deserting. The spearhead heroes find consolation in love and friendship, without giving up Calvados. This is their peculiar form of protection against the world who takes the war as a solution political conflicts. The literature heroes of the "lost generation" are not available unity with the people, the state, the class, as was observed at Barbus. The "lost generation" contrasted the bitter irony deceived the world, the rage, the uncompromising and inclusive criticism of the false fake civilization, which determined the place of this literature in realism, despite his pessimism, which is common with the literature of modernism.

Erich Maria Remark (1898 - 1970) belongs to the generation of writers, whose views were formed under the influence of the First World War, which long years determined the number of the characters of his heroes, their worldview and life Path. Right from the school bench, the remark stepped into the trenches. Returning from the front, I could not find myself for a long time: I was a journalist, a small merchant, a school teacher, worked in the car repair shop.

From a deep inner need to talk about what he shocked and terrible, he turned his ideas about good and evil, his first novel was born "on the Western Front without Change" (1929), who brought him success.

In the epigraph to the novel, he writes: "This book is not a charge nor confession, it is only an attempt to tell about the generation that ruined the war, about those who became her victim, even if they saved from shells." But the novel went out of these framework, becoming confession and accusation.

The young heroes of the novel, yesterday's schoolchildren who fell into the battle of war, and nineteen years old. Everything that seemed to be holy and unshakable, in the face of hurricane fire and fraternal graves - insignificantly and no one. They have no life experience, what they taught at school cannot help alleviate the last flour dying, teach crawling under fire, drag the wounded, sit in a funnel.

The novel became an indictment that Remark was so brightly revealed the tragedy of the whole generation. REMARK branded war, showing her cruel beast. His hero dies not in the attack, not in battle, he is killed in one of the days of the clutch. Human life died, once this and unique. Paul Boymer always says "We", he has the right to this: such as he, there was a lot. He speaks on behalf of the whole generation - alive, but spiritually killed war, and the dead remaining in the fields of Russia and France. They will later be called "Lost Generation". "War made us worthless people ... We are cut off from reasonable activities, from human aspirations, from progress. We no longer believe in them, "says Boymer Remark E.M. On the Western Front without change. M., 1989, p.92.

A continuation of the front topics at the remark will be the novels "Return" (1931) and "Three Comrades" (1938) - the truthful stories about the victims of the war, whom shells were bypassed. Tired, devastated, lost hope, they will not be able to take care of post-war weekdays, although they confess the moral survival - friendship and fraternity.

The scene of the novel "Three Comrades" (1938) - Germany 20-30s: unemployment, inflation, suicide, hungry, pale shadows before sparkling shop windows of food stores. The story of the three comrades - representatives of the "lost generation" are deployed on this gray, whose hopes are killed by a war incapable of resistance and struggle. Friends, ready to go for each other into fire and water, powerless something to change because they are convinced that nothing can be changed. "And what, in fact, prevents us from living, Otto?" - Smashes the Lokamp question, but it does not receive a response. Does not answer this question and remark remark E.M. Three comrades. M., 1997. from. 70.

The remark rejected the war, was an anti-fascist, but his anti-fascism, in contrast, let's say, from the position of the Barbus, did not include collective resistance.

In 1946, Remark publishes the Roman "Triumphal Arch" about Paris of 1938, in which again the anti-fascist resistance appears as an individual act of revenge. In the Roman Remark all the most persistent sounds the idea that human life is meaningless. The image of Ravik, who entered the novel, broke up, in the novel there is a completely different person. This is one of the people of "lost generation" without faith in life, in a person, in progress, even without faith in friends.

Pacifist individualism prevails at the remark over open antifascia. In the novel "Time to live and time to die" (1954) We first meet the new hero of the remark - this is a person who thinks and seeking response, aware of its responsibility for what is happening.

Baker from the first day of the war at the front of France, Africa, Russia. He goes on vacation, and there, in an embrace fear, a big degraded love for Elizabeth is born. "Small happiness tone in the bottomless bog of common disasters and despair."

The rowing begins to think, whether he is to blame for crimes against humanity, whether he should return to the front to increase the number of crimes to its participation than to atone. At the end of the novel, the babble guard of the captured partisans and finally, after painful thinking, decides to release them from the basement to freedom. But the Russian guerrilla kills him of their rifle, from which a minute before the ridder killed the Nazis. Such is the verdict of the remark man who decided to go dear active struggle. In all its novels, remark claims: for everyone who will go dear political struggle, "time to die" will come.

The hero of the novel is a young man George Westrbuorn, at the age of 16, who read all poets, starting from Choser, the individualist and Estete, who sees around himself the hypocrisy of "family morality", screaming social contrasts, decadent art.

After hitting the front, it becomes the sequence number 31819, is convinced of the criminal nature of the war. The front does not need personalities, do not need talents, there are only obedient soldiers. The hero could not and wanted to adapt, did not learn to lie and kill. Having arrived on vacation, he looks at life and society completely differently, sharply feeling her loneliness: neither parents nor wife, nor a friend could comprehend the measure of his despair, understand him poetic soul Or at least not to injure its calculation and businesslikeness. The war left him, the desire disappeared to live, and in one of the attacks, he substitute himself under the bullet. The motifs of "strange" and the very non-derochive death of George are not strong for others: about his personal tragedy Few guess. His death was more likely suicide, voluntary exit from hell of cruelty and unscrupiance, honest choice of uncompromising talent, his suicide - recognition of its inability to change the world, recognition of weakness and hopelessness.

An Olddington Roman is a "tombstone" of foreign literature of the twentieth century. M., 1997, p.79. Despair overwhelms the author so much that neither compassion, nor sympathy, nor love, so-saving for the heroes of remark and Hemingway, cannot help. Even in a number of other books "Lost Generation", uncompromising and sharp, Roman Oldngton on the strength of the denial of the notorious Victorian values \u200b\u200bis not equal.

Hamingue's difference from other writers who covered the "lost generation" theme is that Hemingway belongs to the "lost generation", unlike Olddington and the remark not only does not humble with his lot - he argues with the concept of "lost generation" as synonymous doom. Heroes Hemingway courageously opposed fate, it is precisely overcome by alienation. Such is the stem of the moral searches of the writer - the famous Heminghayev Code or Canon of the Stoic confrontation of the tragedy of being. He is followed by Jake Barnes, Frederick Henry, Harry Morgan, Robert Jordan, an old man Santiago, Colonel - all the real heroes of Hemingway.

Tolmachev V.M. "Lost Generation" and creativity E. Hemingway

Tolmachev V.M. - "Foreign literature of the twentieth century" - 2nd ed. - M., 2000

The 1920s - the period of "replacement" in the US literature. It is noted as a versatile comparison of the historical and cultural shift, and the introduction of the new literary generation, the idea of \u200b\u200bwhich one way or another was associated with the "lost generation" image. These words (pronounced in French, and then translated into English) are attributed to the writer of the city of Stein and were addressed to young people who visited the fronts of the First World War, shocked her cruelty and failing in the post-war on the previous grounds "Enter Kola" peaceful life. He glorified the Sainting Stein ("All of You - Lost Generation") E. Hemingway,

He made it in the form of one of the epigraphs on the title list of its first novel "and the sun rises" (1926).

However, the meaning of this, as it turned out, the epocal characteristic was destined to grow "hamletism" of unwanted young people. "Lost" in wide sense - This is a consequence of the gap and with the system of values \u200b\u200bascending to Puritanism, "the tradition of decency", etc., and with a pre-war idea of \u200b\u200bwhat the theme and style of artwork should be. Unlike the generation of B. Show and the city of Wells, "Lost" showed a pronounced individualistic skepticism in relation to any manifestations of progressism. At the same time, the painful understanding of the "sunset of the West", its own loneliness, as well as the heavily nostalgia on the organic wholeness of the world, led them to persistent search for the new ideality, which they formulated primarily in terms of artistic skills. Hence the resonance who received Eliotovskaya "barren earth" in America. The cruelty and chaos of the world can withstand the "rage" of creative efforts - this is the subtext of the shittomatic works of the "lost generation", the common features of which are tragic tonality, interest in the topic of self-knowledge, as well as lyric tension.

The motives of "Lost" declared themselves in such novels as "three soldiers" (1921) J. Dos Passos, "Hasal Camera" (1922) E. E. Cummings, "Great Gatsby" (1925) F. with . Fitzgerald, "Soldier's Award" (1926) W. Falkner, "And the Sun" (1926) rises "(1926)," Goodbye, weapons! " (1929) E. Hemingway. They should include novels published in Europe, but those who had a great success in the United States: "On the Western Front without Change" (1929), E. M. Remarka, "Hero's death" (1929) R. Oldington.

Not all named writers took part in the war (in particular, Fitzgerald, Falkner), but also for them "Lost" - the fact is more than significant: a person's abandonation rate in history, deprived of the usual contours, and aggravated artistic susceptibility.

The cruelty of modernity could not do not clothe in the metaphor of war. If at the beginning of the 1920s, it is interpreted quite specifically, by the end of the decade, it becomes the personification of the most important measurement of human existence at all. Such a clutch of military and post-war experience under a common tragic sign in particular is significant for the novels published in 1926-1929., I.e., when the events of the past were taken as an artistic event and received, according to one of the contemporaries, the status of the tragic "Alibi ": A person is constantly in a state of" military "actions with hostile-indifferent world, the main attributes of which are the army, bureaucracy, plutocracy. "I grew up with my peers under

The fight of the Barabanov of the First World War, and our story has not ceased to be a history of murder, injustice or violence, "wrote later by A. Kama, as if seeing in American writers of the 1920s of literary predecessors of existentialism. The most bright about the protest against the "norms" of civilization in the light of Somma's experience and Verdena tells Hemingway by the mouth of Lieutenant Frederick Henry, the central character of the novel "Farewell, weapons!": "Abstract words, such as" glory "," feat "," Valor " Or "shrine", were obscene near the concrete names of villages, road numbers, the names of rivers, regiments and dates. "

Expressing the rejection of the valuables that allowed the slaughter and the question of the corresponding values literary dictionHemingway deliberately holds the apology of a kind of primitive and often states with himself as anti-gram. However, such a characteristic should not question its "anti-grantic romanticism". In favor of this, historical and literary contexts of his creativity are said.

On the one hand, Hemingway, with the same success, by the myth, and writings, and in his writings, in life, is undoubtedly performing a bayron scale and style figure. On the other hand, the tragic "searches of the Absolute", which are in question in Hemingway creativity, are not involved in the situation inherent in the classical romanticism of the "dowemirine" situation, but in the Postnishevskaya Sustaintary world.

Cognition through denial, searching for the ideal in disappointment, the illusion of the "nightingale song" through the "wild voice of a catastrophe" (Khodasevich), - these are the romantic signs of the "lost generation" world-fashioned, which help to understand the creative dependence of the US writers of the 1920s from their senior English contemporaries (R. Kipling, J. Konrad). Recognition of debt in front of the conradical ideas of "victory in defeat" and painting style - leitmotif of creative aesthetics not only Hemingway, but also Fitzzhald.

Comparison of the novels of these writers makes it possible to understand how the dispute was unfolded between two influential versions of romantic thinking.

In the perception of contemporaries, Francis Scott Fitzgerald (1896-1940) became one of the chronicles of the "Jazz century", the epoch, directly preceding the times of the "Great Depression". Almost all the life of Fitzgerald, born in Saint-Field (the Catholic capital of the Middle West), retained in childish naive and partly the "carnival" idea of \u200b\u200bsuccess - that "everything is possible." The motive of wealth is central in Fitzgerald works, but the attitude of the writer to the two most

Interested in his welfare symbols (a rocky woman, nuvorish) ambiguously, missed through his own experience of a teenager who dream of glory, hopelessly in love with King Ginevore (a girl from a wealthy St. Family), then young man, whose marriage with South Beauty Zel-Doy Seyra became possible due to the sensational success of his first novel "on the other side of paradise" (1920), but ultimately did not bring him happiness. By the end of the 1920s, sild had a mental illness.

In their best works - the novels "The Great Gatsby", (1925), "Night of Liberal" (1934) -fitzgerald seeks to be a Frokomian, but on temperament he is too lyric, too fascinated by the poetry of the material redundancy of the world. Therefore, the most close to the writer is the character - he himself, Fitzgerald, and the world of rich - the world's blood-related world. This will imbued with the meaning of his statement: "We are obliged to the well-being of society. All the best is created when rich right. " So the romantic relationship was born, which established Fitzgerald Dick Dyver between the writer, the wealthy expatriate of Gerald Murfi, and the author of the novel "Night".

In an attempt to be "wrong" Fitzgerald, in his prose, always suffered a defeat, which was extremely outraged by Hemingway with his slogan of the "letter of letter truth." He believed that Morfi would never behave in Fitzgerald, and therefore even earlier accused his friend in the "cheap Irish love in defeat", in "idiotic gravestone romanticism."

However, the beauty implemented in wealth (Ragtime, sparkling Nickel Pakkard, a fashionable bar), interests Fitzgerald not by itself, but in its fragility. The writer through the prism of his idea of \u200b\u200bthe variability of success is too attentive to beauty, not to notice her duality: secrets, shine and rock, curses. Beauty contrasts as material modern tragedy - Nakhodka Fitzgerald. His wealth is subject to the law of a kind of Spencersky equilibrium. Dick Diver and Nicole are changing places with the same immutableness as Herror with Kerry at the Driver.

It is natural that OI KITSA threw the most intimate strings of the writing soul. He confessed that he could never read "ODU Solovy" without tears in his eyes, and a string of this poem ("like a night of gentle!") Massed the title of the novel about the tragedy of the four divers. In turn, the "Ode of Greek Vaza" was read by Fitzgerald in terms of an inexorable romantic issue - as an attempt to explain the contradiction between reality, fading (transient) and imperishable (the eternity of beauty and imagination). "You saw you died!" - Could tell Fitzgerald together with the lyrical hero of Kitsovskaya OD. The American writer has a romantic skepticism on this occasion, the image of "beautiful and damned" (the name of the second novel), "all sad young people" is acquired.

The clash of the statics and dynamics, the experience of life as the fatal destination in the spirit of Wilde, the intention to see "I" in the mirror "of the other" - all this makes the creative method of Fitzgerald quite holistic. "I would like that readers perceive my new novel as another variation on the topic of illusion (it will probably be the most important thing in my serious things) - a variation where more ... in a romantic key, thoughtful than the content" Paradise "," he wrote in connection with the release of the "Great Gatsby". In the avenue, Fitzgerald emphasizes the romantic focus, calling his protagonist as an idealist and a "priest".

Wealth in this perspective unexpectedly becomes the Fitzgeraddov equivalent of the Stoic Code at Hemingway. His ambitions, those who have the opportunity to approve themselves in the "Will to possession" - the paradoxical analogy with Hemingueevsky Poor (Matadoram, Gangstera, Barmenham, etc.), - an example of the fact that "the search for grail", no matter how much they acquired in a coarse And the unemployed era, always echoes the tragedy.

Comparison of composite principles of the story "Heart of Darkness" and "Great Gatsby" (Nick Carrageway performs at Fitzgerald the same function as Konrad - Figure Marlow) helps to understand what exactly the American writer is similar, and what is strikingly different from the prose Like English inertics, to the picturesque show of the world in the context "here and now." The rod of the best Fitzgeraddov novel is formed not the actual side of a fairly traditional American melodrama - descriptions of attempts to return the past mysteriously, to tie their fate with a woman, the union with which was previously unthinkable due to the social and material Mesallians. Turn the same romance from the waterway in the tragedy of the themes of self-knowledge and history, primarily associated with the fate of Nick Karrauei.

Nick is not only a narrator who collects information about his mysterious friend Gatsby, but also a writer, gradually begin to compose an autobiographical work, in which Gatsby is a reliable reference point, or, in harmony with a dictionary of James, "point of view". The Carrageway line (checking his own views on life, its honesty, as well as the commitment of the traditionalist system of values \u200b\u200bof the Middle West) develops in parallel with the Gatsby line, the conflict of which

The swarm reveal an insoluble contradiction between the Platonic Dream - in the next, Gatsby is really unauthorized, "great" - and roughly materialistic, "great" except in a purely ironic sense, means of achieving it.

Thanks to this, the parallelism it turns out that nickname is a single character of the novel, the nature and looks of which are changing in the course of action. The cognitive property of the "Great Gatsby" is like a lyrical enzyme of this novel. Romantic dissatisfaction about the searches of Eldorado, the fatal belatedness and disappointing self-determination issues in Fitz-Gerald not so much a student of Conrad, how many continuer of the tradition of James. It is the ability to a deep understanding that makes ultimately from Nick not an inuctive "naturalist" (like a collector of the butterflies, Mattein from the Konradovsky novel "Lord Jim"), and the "Last Puritanina".

Carrageway's path - from stiffness to flexibility, from too daily judgments in the spirit of James Winterborne to unclear regrets and spiritual heat. He becomes an involuntary witness of vulgarization as a Platonic start in man and his desire for the ideal and magic of wealth, this is the only species of "religion", which is capable of an abundance society. "Roman Education" Karrauey is improved by Fitzgeradd as the theme of America.

"Wines" Gatsby - Communication, generic fault of all Americans, lost childhood and purity, which were generally peculiar to the first Novoangalian settlers. On the last pages of the novel, the true face of the "dreams" is represented by memoirs of the narrator on the celebration of Christmas in the snow depths of America. Both Carrageway, and Gatsby, and Dazi - all of them "prodigal children" of the Midwest, lost in the Babylon of the northeast.

Ernest Hemingway (1899-1961) studied to write approximately the same literary mentors as Fitzgerald. In his work, he touched about the same problems affected by his friend's opponent, but he gave them a different reading. Accusing Fitzgerald in love in rock and creative undisciplinedness, as well as declareing his hostility to all elevated, "romantic", Hemingway created a concept of fundamentally "necnique" style. Antitz Fitzgerald / Hemingway allows you to recall the situation in the English literature of the ages. Changing the Hero - Wilded Artist-Pre-Faelitis on a colonial army soldier in Kipling - spoke of a decline in interest in a relatively traditional type of romantic personality and attention to the symbolism of a practically formulated question "How to live?". It is concise, this new mood is reflected in the Cywarest poem "Queen" (1896): "Romance, goodbye forever!"

Thematic Hemingway is very much obliged to Conrad. And in the other writer, the character is abandoned, as Hemingway says, in the "Other Country," - is placed independently of his will in the conditions when a person is tested for strength on the Space Theater Space Theater (depth of Africa, civil war in Latin America, Typhoon; Boy Arena, Latin Quarter in Paris, Civil War in Spain), but faces first of all in a duel with himself.

"Victory in defeat", by conducer and Hemingway, is a stoic follow-up personally formulated on honor, which, by and large, cannot bring any practical advantages in the world, which has lost the coordinates of the common sense. A comparison of the works of Conrad and Hemingway indicates that the American Prose a much more follower of his predecessor worked on the idea of \u200b\u200bstyle, which would have passed an idea of \u200b\u200bthe cruelty of the world not directly, and in symbolistic sussu. Hemingway with the emotional side deeply knew what he wrote about.

In 1917, he, without having passed the military commission, went to Italy, was a chauffeur of a sanitary car on Italo-Austrian front, it turned out to be seriously wounded. At the end of the war, Hemingway was a correspondent of Toronto Star in the Middle East. In the 1920s, he conducted mainly in Paris among the artistic bohemian (Rynen, J. Joyce, E. Pound) and purposefully studied the art of prose. Extremely hard writer experienced the suicide of the Father.

The topic of the war is formed by the nerve of the first books of Hemingway stories "in our time" (1925), "Men without Women" (1927). Composition of the book "Nowadays" indicates explicit acquaintance Her author with "Winesburg, Ohio" Sh. Anderson. However, the line "Roman of Education" was carried out by Hemingway much more decisive than his mentor. The main discovery, which is performed by Nick Adams and to him like young people who returned from the German war in the provincial quiet of America (Krebs in the story "Houses") is the discovery of the fact that the war for visiting it a certain sense never ends. The most famous Hemingway novels ("Cat in the rain", "on Big River", "White Elephants") are built on the same effect: the main thing in them from an emotional point of view is not pronounced, issued for brackets; This core content comes in contradiction with an impressionistic description of current events, it corresponds to it. The presence of "double visions" is ironically reflected in the title "Nowadays", which consists of a fragment of prayer about the "world of the whole world". Chief Lesson Education Nick Adams is reduced to the fact that the brittleness of being and human cruelty, peculiar to "our time", erase the face between the "war" and "world".

Hemingway loved to compare the principles of the expressiveness of the text with iceberg, only one eighth rising above the surface of the water: with real knowledge of the writer of his topic, almost any fragment of the narrative can be omitted without prejudice to the overall emotional impact. Hemingueevsky illusionism is largely based on the idea of \u200b\u200brefusing the "rhetoric", in one time the symbolists proclaimed by French poets. The writer prefers not to describe, but to call; It does not recreate reality as much as the conditions for its existence describe. The foundation of this description is the verbs of motion, nouns, the same type remarks, repeated use of the connecting union "and". Hemingway creates a scheme of perception of elementary stimuli (the heat of the sun, cold water, the taste of wine, etc.), which only in readership becomes the most sensory experience. The passage of the writer in connection with this sesanne and other post-acceptance systems is natural.

As you know, Mature Cezann sought to create a canvase, which would have revealed in a somewhat extended flatness, not impressionistic fluidity of life, and its "structures", not subject to change. Cesannovsk articular space (for example, "Bridge over the Kreya River") - a little serious, almost intentionally compressed - is in a real estate. This impression is created thematically. Natural paints of nature (green, yellow, blue), as if shifting the volume with a strict pattern, "stop a moment" - begin to symbolize the shape, a kind of lightweight heavy substance, but not ephemeral, but closed in itself, a cold-shiny, crystal, a special substance Cezanne which he himself entertained in the formula "Nature-in-depths" turned out to be close to the creative intentions of American prose: "Painting Cezanna taught me that the real simple phrases Little to give the story of the volume and depth, which I tried to achieve. I studied with him very much, but could not clearly explain what exactly. It seems important for Hemingway and the other Imperative Cezanne: "Impressionism should be given something ... Museum".

Like the handwriting Verpena, Hemingway style is discharged. To some extent it is achieved due to the fact that Hemingway characters seem to have a soul. Their consciousness is decorative, dissolved in the "patterns" of the outside world (bar stand, a city in the rain, a grid of Paris streets). Handing of facts, collecting them in the "landscape" is subordinate to a fairly rigid logic, which indicates the limited pleasure (the bar must be closed, perno drunk, and the trip to the mountains is completed), which reports several monotonous, monochrome naturalization of the inner world in Hemingway tragic. The brightness of the paints, the tangibility of forms ("Apollonian") protrude turnover "Nothing" ("Dionysk" beginning), which has no outlines, which can only be represented in the reflected form and forms a variety of black lining for the pattern of the pebbles.

In a suggestive description of death, in the recreation of the silhouette of the phenomenon against the background of the Black Square - one of the catchy features of Hemingueevsky Primitivism as the stylistics of the modern tragedy.

In essence, in the interpretation of "nothing" Hemingway acts as a writer, "from the opposite", in a parody aspect approaching Christian issues. It did not escape J. Joyce: "Does Hemingway shoot me or not, but I will venture to say ... that I have always considered it a deeply religious person." Also, the famous American critic M. Cowuli stressed in the preface to the first edition of Heminguel "Favorites" (1942) that his contemporary gives in the novel "and the sun rises" the interpretation of the same problem that occupied by T. S. Eliot in "Besle-free land" .

Hemingueevsky equivalent of "search for grail" (the leitmotif of "fruitless land") paradoxal. Methods for overcoming the "erosion of contours" and "disease" (this is also the topic of the "magic mountain" T. Manna) are intentionally given by the American writer in a number of reduced, "domestic": professionalism of Matador or reporter, relations between a man and a woman, etc. ., In a number of facts, the right to real, and not the "book" knowledge of which is capable of the logic of Hemingway's creativity to provide only one thing: the experience of death as the main lot of human existence, as a religious phenomenon.

"And the sun rises" - the novel about the search for the absolute meaning. This is indicated by two epigraphs arguing. The author of one - G. Stein, the other is represented by verse from Eckelesiast about the ever-income and ascending sun.

Jake Barnes, the narrator and the central acting face of the novel, acts as a fundamental "anti-gramant." In war, he was applied to the painful injury - Barnes is oskend "weapons". He tragically craves love, which is not able to divide the woman with his close to him. In an effort to sobriety and fear of self-deception, Barnes is trying to stricter to control his emotions. Against the background of the Stoic Code of its behavior, which in the novel is consistently characterized as proper, gradually becomes the outlined and position perceived by the "unfinished", "romantic".

False, poses, multi-clime in the novel represents Robert Kon. The subject of the application of due and the short-sized lady of Bret Ashley is made, and the collision is a "other country" of the Spanish Fiesta. The top of the romanticism of Kona in the assessment of Barnes is manifested in the tendency to self-gathering, in dreams of fatal love. Malvotractic for Barnes features Kona are emphasized by his inability to be ironic and abide by the lifestyle of American expatriates in Paris in the 1920s: if a woman leaves a man, then demand explanations on this occasion is not serious; If you have a conversation, it is certainly restrained, in the language of taxi drivers or jockeyev, etc. The right of Jake and his friends on a special code of behavior is indestructible. Unlike Kona, never encountered with serious life tests, they are crumpled by war, which saves them from the "holiday" of free life in his purely bourgeois version.

The tragic tonality of the narration does not be blown even in the second, it would seem that the Pastoral part of the novel, where the Barnes trip is tested with his friend Bill Mountain on fishing in Spanish mountains. It is impossible not to notice that for Jake is important not so much serenity of nature, how much to participate in it - a dedicated, the connoisseur that enjoys the stay in the mountains is not "naturally", but according to the rules system. Therefore, it is still not the beauty of the streams, but the presence of a friend's close to Barnece gives a temporary - carefully calculated by the clock and minutes, the number of eaten and drunk, - only two per year, overcoming loneliness.

Jake would manage to become happy and in Paris if he was constantly desperately beloved by Bret. His special feeling of aesthetic can remove the same pure pleasure from lunch in a restaurant, as well as from fishing: The essence of the case is not in the influence of the medium - the environment does not have a decisive impact on individualistic consciousness, although the person is biodegradable from it is ne-shy and suffers from his biological "inferiority" - and in purely personal decision The question ("I don't care what the world is. All I want to know is - how to live in it") about the "art of life".

The beauty of nature in Burghet is somewhat incompeted, too serene, hardly able to satisfy until the end of a person who visited the forefront and collided there with the "rampant" of nature, with the elements, the quintessence of which is "nothing." That is why the main value reference point of the novel is the realization of art, and not nature - the aesthetic principles of combat battle. Corrida is the central symbol of the novel, the tradition, canon (absolute purity of the reception) and innovation are combined in it. Matador is constantly obliged to to invent new moves, otherwise his fight will begin to simulate the danger (the history of Matador Belmont).

The proximity of death attaches the proximity of death to this to the smallestly ritualized act. Matador fights in the "bull zone". It is worth it for a moment to retreat from the rules of the play - allow the doomed animal to "charm", hypnotize itself, - and death will not be able to power. Thus, the Corrida and the Behavioral Code of Matador symbolize in the novel all the main faces of overcoming the loss.

In this perspective, brilliant Matador Romero is not at all the people's hero, and the hero of art, to comprehend the principles of which the narrator seeks and which is originally not available to understand the Kona, bored and in the mountains on the lap of nature, and on the fight, but without the end of the hairdresser. Varna clearly brings something to his perception something that ordinary Spaniards are unlikely to understand, lovers of the flexibility of bulls.

Jake considers himself a mystic in the light of a close collision with death in the war. Unlike advanced death in the Stadium arena, it is concluded in the framework of the "theater", where the absurd cruelty of life is denied by the rules system and conditionally concerned with art. Significantly notice that the Corrida for residents of Pamplona is not self-valley, but is an integral part of seven-day catholic holiday. The narrator in the festive events is interested only in "carnival" aspects. In other words, the narrator intends to distinguish in what is happening not traditional (the rite of the church holiday, which is partly associated by Barnes with a public hospiter), and unconventional - the situation of reassessing values. Bringing the corrida to a religious sample becomes apparent in the novel when it comes to Christianity, which is attractive for Barnes, first of all as a "form", filled with purely personal content.

Spanish experience so hardly changed something in the life of the narrator. Staying on the "festival in the festival" (the priestess of whom the Bret Ashley acts) only rooted him in the "art" suffer. The Stoic Code of Barnes is once again tested in increasingly cruel "love-flour". Donating Bret Ashley Matador Romeo in accordance with the artistic spirit of the Dionysian-carnival fun, Varna cannot disagree that it is capable of finding, only constantly leavingly losing. Accordingly, Bret Ashley sacrifices with his hobby "master of beauty" for the "cruel" love for Jake Barnes. The final rows of the novel (newly met Varna and Ashley are circling in the car in the area) hints at the "eternal return" -nuistic suffering of the physical being, from the depth of the awareness of which the shoots of the beauty of despair depend on the depth.

The "choice" of Barnes is definitely the choice of existential concepts, "hopeless" optimism whose optimism anticipates that concept of action that philosophically and aesthetically justified in France only at the turn of the 1930-1940s. Far from arbitrarily z.-p. Sartre (a refusal of love in the end of "nausea" and the figure of self-taught ways allow us to remember the final chapters "and the sun" and the figure of Kona), analyzing the "outstanding" stone, it was considered to call Hemingway among the predecessors of his fellow according to Peru.

Roman "Farewell, weapons!" We can consider the prologue to the situation that is derived in "and the sun rises." And in this work Hemingway used a quote in the title of his book. She is taken from the poem of English playwright and poet of the late XVI century. George Saw, written about the care of the famous warrior. The Irony of Hemingway is obvious: in his novel, it is not shown the glory of weapons, but a tragic defeat. What kind of "weapons" are we talking about? First of all, about the romantic idea of \u200b\u200bthe war associated with the figure of Napoleon, the war of planned offensive and waste, with the solemn surrender of cities, consecrated by the ritual, in a word, about the idea, the content of which is brilliantly beaten by L. N. Tolstiv in the "War and the World". Illogy, the cruel absurdity of the modern slaughter (shooting under the quorieto) destroys the illusion of Lieutenant Frederick Henry on the debt against the system of military and social relationship, allowing the celebration of chaos, but at the same time consecrated loud, but ill-gracious slogans about "heroism".

According to the author, "Goodbye, weapons!" Not an antimylitarian novel like "Fire" by A. Barbus. Lieutenant Henry is not against war as such, the war in his representation is a courageous craft of a real man. However, as Hemingway shows, this ritual completely loses its common sense against the background of battles that are deadly illogical and play people like puppets. The front line on this "new" war, where in essence there is no one, nor strangers (Austrians in the novel are practically not personified), purely conditional. The discovery of this measurement of the war occurs under the influence of injury, and as a result of the conversations of the lieutenant with simple people, who, as often happens at Hemingway, act as connoisseurs of the most reliable truths ("" War do not win victories "). It does not give Frederick anything, except for the lesson of self-knowledge: the war becomes an indisputable, existential event of his inner world. From this war, of course, it is no longer possible to desert it, which once again underlines the ironic multigid name of the novel.

As the war begins to identify with the absolute cruelty of the world, love is put forward to the first narration plan, which before that was considered for the real man, unlike the "glorious root cases" by a biological trap. Rinaldi, Frederick friend, for example, sick syphilis. As a result of the development of the topics of love, the novel with full right could be called and "Goodbye, love!". That is, goodbye "romantic", sublime love, as impossible in the modern world, as well as the romantic war. Frederick and Catherine are aware of this when they argue about how the impersonal car of the war ("they") kills the most worthy. Without building any illusions regarding your future, Hemingway heroes are doomed, as in the novel "and the sun rises", on love-flour, love-loss.

The scenery is changed, the gloomy mountain (towering over the advanced) and the storm gives way to the Sun of Switzerland, but it does not abolish the tragic pattern: Catherine dies during the execution of exclusively peaceful debt, in childbirth. Following the Rock drama turns Chamingue characters in the revelation seekers, the essence of which they define only "from the opposite". "Losing - Care" - this traditional paradox for the works of the American writer points to Hemingway's intention to make sense the absence of meaning: the harder the defeat, the more persistently declares itself the desire of a person in order to approve their dignity.

The best works of Hemingway - about metaphysical hunger. This topic in the first two novels is placed in the context of the problems of art and love. In the novel, the bell calls "(1940) the traditional Heminghaue Individualist is tested by politics.

Hemingway's book about Spain, perhaps, and not so much from a creative point of view (it is noticeable of self-removal elements), but this is compensated by the capacity of its generalizations. If the characters of early Hemingway felt the impossibility of getting away from the vague of war even in a peaceful life, the heroes of the "bell" would probably agree with the words of T. S. Eliota from Essay about Milton: "The civil war never ends ..." as the eyes of Spanish Events, Hemingway considered it possible to put the epigraph to the novel similar to the content with the elipe formula fragment from the preaching of John Donna. "... I am one with all humanity, and therefore the bell calls, the bell calls: he calls you" - in this statement of the poet Hemingway found confirmation with his observations of the Civil War in Spain: human in man is more important than its political affiliation. The writer seemed to foresee the criticism of Soviet propaganda for an impartial image in the novel of the Spanish Communists and the leaders of InterBrigade, when the mouth of their character, the Soviet journalist Karkov (his prototype was M. Koltsov), accused Robert Jordan in "weak political development". In the 1960s, D. Ibarrury sent a special letter to the Politburo of the CPSU, where he was talking about the undesirability of the publication of Heminguel Roman in the USSR. As a result, domestic readers still get acquainted with the translation, which is full of censorship passes.

The depth of the "bell" is that it is a novel and anti-fascist, and antitativeitarian. Antiphashism in it above all political position, and the manifestation of personal courage and the category of personal freedom. Contrasting Frankists and Republicans Hemingway makes conditional: and those and others differ in cruelty. Demagogue, cowardice, propaganda falsy writer is quite familiar for himself, confronts with the Stoic courage of ordinary people (El Cudo, Anselmo), who are fighting, as the land plow, and kill, hating murder. The attentive reader cannot pass by the double paradox of the final pages of the narration. From the position of the military strategy, the death of Jordan - he covers a partisan's waste alone - it doesn't make much sense, but, as in the similar novels A. Malro ("Manchanival"), which are devoted to the "strange" civil wars, the hero wins when refuses From any forms of "korestoloby" and sacrifices for the sake of others. But the bridge should die two in different degrees of decent people: both the Republican Jordan and the first who will hit his automaton on the tragic irony - the royalist Lieutenant Berrendo.

The central theme of the novel, which the author saw him, should therefore formulate as a human knowledge of himself contrary to society, which only visibility to solving the problem of freedom offers. In the "bell" it is actually about two wars: the war of ideologies (on the plain) and the war of the partisan (in the mountains). It was the double sacrifice - "Almost" the test of death, as well as the love of the Spanish girl - shows the price of true courage, allows the American-to-the-intellectual dreamer who has fallen into Spain, to get away from the beautiful ("book") idealism and approve hers In the idealism "Antyshudby". In his artistic vision of the Spanish events, Hemingway was not alone. In some ways, similar accents are characteristic of the work of J. Orwell ("Tribute Catalonia", 1938), Poetry W. Kh. Oden Rowing 1930-1940s.

The post-war creativity of Hemingway (Roman "behind the river, in the shade of trees", 1950; the story "Old man and the sea", 1952) inferior in terms of its works of 1920-1930s. However, this circumstance could no longer change the reputation of Hemingway (Nobel Prize 1954) as one of the main creators of the artistic mythology of modern individualism.

After the first world in the native cities from the front returned special people. When the war began, they were still boys, but the debt made them stand on the defense of the Motherland. "Lost generation" - so they were called. What, however, the reason for this loss? This is used today, when we are talking about writers who worked in the break between the first and second world wars, which have been tested for all mankind and almost all of all of all of all of the usual, peaceful rut.

The expression "lost generation" once sounded from the mouth later the case during which it happened was described in one of the books of Hemingway ("a holiday that is always with you"). He and other writers of lost generation raise the problem of young people who returned from the war and who did not make their homes, their relatives in their works. Questions about how to live on how to remain a person how to learn to rejoice in life - this is what is paramount in this literary flow. Let's talk about it in more detail.

Literature on the lost generation is not only similar to those. This is also a recognizable style. At first glance, this is an impartial report on what is happening - be it a military or post-war time. However, if you read, you can see a very deep lyrical subtext, and the severity of spiritual throwing. For many authors, it turned out to be difficult to escape from these thematic frameworks: too hard to forget the horrors of war.

Theme of war in the work of E. Hemingway

"Lost Generation" "Lost Generation" - the definition used in relation to the group of foreign writers who spoke in 20 years of century with a series of books that expressed disappointment in capitalist civilization, aggravated by the tragic experience of the I World War. The expression "Lost Generation" for the first time used the American writer Gertruda Stein (Gertrude Stein) in a conversation with E.Hehmingway. Then the "lost generation" began to be called people who passed through the First World War, spiritually injured, who were fascinated in Ura-Patriotic ideals, once who were fascinated, sometimes internally devastated, sharply feeling their inaccuracy and alienation from society. "The lost generation" is because it is named so that, having passed the circles of an unnecessary, meaningless war, worsering in the natural need to continue the kind of his own, dismantled in his life and the future. [29; 17]

Democratically minded intellectuals of America, France, England, Germany, Russia and other countries drawn into war were internally convinced: unwanted, unnecessary, not his war. It was felt by many, that's where this spiritual proximity between people standing during the war on different sides of the barricades.

People who have passed through the meat grinder of war, those who managed to survive, returned home, leaving on the battlefields not only who are hand, who's physical health -, but also something more. Ideals were lost, faith in life, to the future. What seemed durable and unshakable - culture, humanism, mind, individual freedom of personality, was collapsed as a card house, turned out to be empty.

The chain of times was broken and one of the most significant and deep changes in the moral and psychological atmosphere was the emergence of a "lost generation" - generation, lost faith in those high concepts and feelings, respect for which it was brought up, rejected devalued values. For this generation, "all the gods died, all the battles" stayed behind, every "faith in a person was undermined."

Hemingway took the words "" You Are All A Lost Generation! "Epigraph to his novel" Fiesta (The Sun Also Rises) ", and the formula went to walk through the light, gradually losing real content and becoming a universal designation of time and people of this time. But Between people who experienced the same life experience pulled a sharp meal. Outwardly, everyone looked equally: demonstrative cynicism, persons curved in an ironic smile, disappointed, tired intonation. But the fact that for some was a true tragedy, for others, it became a mask for others, The game, common style of behavior.

They were injured, truly experienced the loss of ideals, in which, first of all, sacred believed, as personal, unpretentious pain, were tested by unpleasution, the detachment of the modern world. But carefully cherish it independent state Not collected; They wanted to work, and not idle to interpret about losses and unrealized plans.

The general meaning of the creative efforts of representatives of the "lost generation" - writers can be determined as the desire to bring a person from under the power of ethical dogma requiring total conformism and almost destroying the value of the human person. To do this, it was necessary to find, work out, create a new moral principle, a new ethical rate and even new philosophy Genesis. They were united by a taking place to the war itself and to those stations and principles (social, economic, political, ideological, moral), which in their development inevitably led to the universal tragedy. They just hated them and noted from the threshold. In the consciousness of the writers of "Lost Generation", the idea of \u200b\u200bthe need to burn out from the same principles, to bring a person from the herd state, so that he could realize himself as a person and develop its own life principles that are not subordinate to the "well-established values" of an antagonistic society. The heroes of these writers never resemble submissive alien will of puppets - living, independent characters, with their own characteristics, with their intonations, most often imaginary indifferent and imaginary ironic. What are the features of those who are called "lost generation"? Representatives of the "lost generation" are, in the overwhelming majority, are young people who have just graduated from school, and sometimes did not have time to finish. [ twenty; 65]

Honest and slightly naive young men, believing in the loud words of their teachers about the progress and civilization, reading the selling press and listening to chauvinistic speeches, went to the front with the consciousness that they fulfill a high and noble mission. Many walked to war voluntarily. The impression was terrible; Faced with the wrong reality, fragile junior ideals crashed. The cruel and meaningless war immediately scattered their illusion, showed the emptiness and falsehood of high-speed words about the debt, justice, humanism. But refusing to believe the chauvinistic propaganda, yesterday's schoolchildren do not understand the meaning of what is happening. It is not clear to them why people of different nationalities must kill each other. They begin to gradually free from nationalist hatred for soldiers of other armies, seeing the same unfortunate ordinary people, workers, peasants, which were themselves. In the boys awakens the spirit of internationalism. Post-war meetings with former opponents are even more strengthened in the "Lost Generation" internationalism. [ eighteen; 37]

As a result, the long reasoning soldiers begin to understand that the war serves as a means of enriching some people, they understand her unfair and come to denial of war . The experience of those who passed through the meat grinder of the First World War, for a lifetime, determined their relative hate for militarism, to cruel, meaningless violence, contempt for the state device, which generates and blesses hardwood slaughter. Writers "Lost Generation" created their anti-war works, believing this work with its moral debt not only to the fallen and survivors, but before future generations. [ eighteen; 43]

The best representatives of the "lost generation" show hardness and courage in all life trials, whether the military days with terrible shelling, the explosions of mines, cold and hunger, the death of comrades in the trenches and lazarets or difficult post-war years, when there is no work, no money, no money Life. Heroes meet all the difficulties silently, supporting each other, struggling with all their ways for their lives. The combination of "Lost" and personal courage in resistance to hostile circumstances is grain of that worldview, which underlies their nature. "Point of Support" of people cripped up war - front-line partnership, friendship. A partnership is the only value generated by the war. In the face of mortal danger and deprivation, the partnership remains durable. The soldiers hold on to this partnership, as for the only thread that connects them with pre-war past, with a peaceful life.

After returning to a peaceful life, where the former front-line people are looking for a "road to a new life" and where the estate and other differences are found between them, the entire illusion of this concept is gradually revealed.

But those who remained faithful front friendship, strengthened and enriched her in difficult years of peaceful and pre-war life. Comrades in the first call were rummaged to help their friends in the fight against the nascent fascism.

After returning from the war, the former soldiers feel confused. Many of them went to the front from school bench, they have no profession, it is difficult for them to find work, they can not get a job in life. Former soldiers do not need anyone. The world reigns evil and the kingdom it is not the end. Once deceiving, they are no longer able to believe in good. The surrounding reality is perceived by the former warriors of the mosaic of large and small human tragediesIn which the fruitless chase of a person for happiness was embodied, hopeless search for harmony inside herself, doomed to defeat a person's attempt to find some impassive spiritual values, the moral ideal. [ twenty; 57]

I realized that nothing had changed in the world that all beautiful slogans calling them to die for "democracy", "homeland" were a lie that they were deceived, - confused, lost faith by anything, have lost old illusions and not Found new, and, devastated, began to burn their lives, swapped her in digestive drunkenness, debauchery, searching for all new and new sensations. All this gave rise to loneliness of a separate person among people, loneliness as a consequence of the unconscious desire to go beyond the world of conformists, accepting the modern order of things as a norm or universal inevitability. Loneliness is tragic, it's not just to live alone, but the inability to understand the other and be understood. Lonely people are surrounded by a deaf wall, through which it is impossible to reach neither inside, nor outside. Many of the "lost" could not stand the struggle for life, someone committed suicide, someone fell into a crazy house, someone adapted and became the accompaniment of revengers.

In 1929, Roman E.M. Marka (Erich Maria Remarque June 22, 1898, Osnabruck - September 25, 1970) "All Quiet On The Western Front", in which the author sincerely and excitedly told the truth about the war. And so far this is one of the most striking anti-war books. The remark showed the war in all her terrible manifestations: paintings of attacks, artillery duels, many killed and cripped in this hello meat grinder. This book is worn from personal life experience writer. Together with other young men, 1898, Remark was called into the army in 1916 with a school bench. Remarik who participated in the battles in France and on other sections of the Western Front, was injured several times. [ eleven; 9] In August 1917, he fell into Lazare in Duisburg and in the letters sent from there to their part front-line comrades, Imprinted untouched pictures that prepared the soil for creating such memorable episodes of the novel after a dozen years. This novel contains a decisive and unconditional condemnation of the Spirit of Militarism, who prevailed in Kaiserovskaya Germany and contributed to the unleashing of the war in 1914. This book is about the recent past, but it is facing the future: the life itself turned it into a warning, because the 1918 revolution, which overthrow the Kaiser regime, the spirit of militarism did not eradicate. Moreover, nationalist and other reactionary forces used the defeat of Germany in the I World War for the propaganda of revenge.

With the anti-war spirit of the novel "All Quiet on the Western Front" closely connected its internationalism. Increasingly thinking soldiers, the heroes of the novel, over the fact that (or who) makes them kill people of another nationality. Many scenes of the novel tell about the partnership and friendship of the soldiers. Seven classmates got to the front, they fight in one company, together they spend rare hours of relaxation, together teach recruits to protect them from an imminent death in the first minutes of battle, together are worried about the horrors of war, go to attacks together, sit in the trenches during Artillery shelling, bury the dead comrades together. And here from seven classmates - the hero is one. [ eighteen; 56]

The meaning is revealed in the first lines of the epilogue: when it was killed the main character, on the whole front, it was so quiet and calm that military reports consisted of the phrase alone: \u200b\u200b"All Quiet on the Western Front." With light hand remark, this imbued bitter sarcasm of the formula has gained character phraseeological turnover. Cracker, with a deep subtext title of the novel allows the reader to expand the frames of the narrative and advise copyright ideas: if in the days when with a "high" point of view of the main command, everything remains without change on the front, so much awful, then what to say then about the periods of fierce , Blood battles? [ nineteen; 12]

The main romance of the remark is internally interconnected. This is how the continued chronicle of a single human destiny in the tragic era, the chronicle is largely autobiographical. Like his heroes, Remark passed through the meat grinder of the 1st World War, and this experience for his whole life identified their hate them to militarism relaxing, to a cruel, meaningless violence, contempt for the state-owned device, which creates and blesses hardhearts.

Richard Oldington (Richard Aldington July 8, 1892 - July 27, 1962) belonged to the post-war or "lost" generation of writers, since the flourishing of his creativity refers to the 20-30s. Xx in. Poet, novelist, novelist, biographer, translator, literary critic, critic, Oldington was an expressive of the sentiment of the "lost generation", spiritual confusion caused by war. The value of the World War II played the value in the works of Olddington. [ thirty; 2] "Death Of A Hero" (1929) - the first novel of the writer, who immediately received fame far beyond the limits of England. Externally, according to the plot intent, the novel is placed in the framework of the biographical novel (this is the history of the life of a separate person from birth to death), and on its own issues refers to the anti-war novel. At the same time, the novel breaks the framework of all familiar genre definitions. So, considering the problem of a military catastrophe, to reaping before its reason, it can be noted that less than half of the place are applied in it with front-line scenes. The history of his hero's life, the author disassembles fragmentary, making his way to touch through the scattered influences, but traces it from beginning to end, warning about the tragic outcome. However, the individual history appears as a typical history as the fate of the generation. The main stages of this development, a complex process of character formation, the path of individual destiny, taken in relationships, are presented as an example not a particular case. [ nine; 34]

The hero of the novel is a young man George Westrbuorn, at the age of 16, who read all poets, starting from Choser, the individualist and Estete, who sees around himself the hypocrisy of "family morality", screaming social contrasts, decadent art. After hitting the front, it becomes the sequence number 31819, is convinced of the criminal nature of the war. The front does not need personalities, do not need talents, there are only obedient soldiers. The hero could not and wanted to adapt, did not learn to lie and kill. Having arrived on vacation, he looks at life and society is completely different, she has sharply feeling her loneliness: neither parents nor his wife, nor a friend, to comprehend the measure of his despair, understand his poetic soul or at least not to injure its calculation and businesslikeness. The war left him, the desire disappeared to live, and in one of the attacks, he substitute himself under the bullet. The motives of "strange" and the completely non-dealer death of George are not strong for others: few people guess about his personal tragedy. His death was rather suicide, voluntary exit from hell of cruelty and unscrupiance, an honest choice of uncompromising talent, not visiting the war. Aldington seeks to analyze as much as possible psychological condition Hero at the highlights of his life to show how he breaks up with illusions and hopes. Family and school based on lies tried to form Wordborn in the spirit of the warlike singer of imperialism. The military theme and the consequences of the war of the Red Thread pass through all the novels and the stories of Oldington. All heroes of them are associated with the war, on all its destructive effects are reflected.

Francis Scott Key Fitzgerald (Francis Scott Key Fitzgerald, 1896-1940) is an American writer, known for his novels and stories describing the so-called American "Jazz Epoch" of the 1920s. Creativity F. S. Fitzgerald is one of the most remarkable pores of its top bloom of the 20th century. Its contemporaries were Driver and Falkner, Forest and Hemingway, Sandberg and T. Wulf. In this brilliant pleiad, the efforts of which American literature in the 20s - 30s of the twentieth century turned into one of the largest literature of the world, Fitzgerald belongs a vivid role. Writer of an extraordinary slim warehouse, he chronologically opened new epoch In the development of domestic literature, the first to speak from the face of the generation, which entered into life after the global catastrophe of the First World War, imprinted in deeply poetic, fulfilled at the same time expressive images not only his dreams and disappointments, but also the inevitability of the collapse of ideals from genuine Humanistic values. [31; eight]

Fitzgerald's literary success was indeed early and noisy. The first novel "This Side of Paradise" (1920) he wrote immediately after the end of the army service in Alabama. The edge expressed the mood of those who, not having to get to the front, nevertheless survived the war as a turning point in history, affecting everyone who fell To live in these years, when the usual order of things and the traditional system of values \u200b\u200bwere undermined. The book narrated about the "lost generation" for which "all the gods died, all wars were rarely, every faith disappeared." Conscious that after the historical disaster they became impossible former forms of human relations, the characters of the first novels and the stories of Fitzgerald feel around themselves the spiritual vacuum and they are transmitted to the thirst for intensive emotional life, freedom from traditional moral restrictions and taboo, but also mental vision , insecurity in the future, the outlines of which are lost behind the rapidness of the changes occurring in the world. [31; 23]

John Roderigo Dos Passos (John Roderigo Dos Passo; January 14, 1896, Chicago - September 28, 1970, Baltimore) - American Writer. He was Sanitar during the First World War. Participated in the war of 1914-1918 in the French, Italian and American armies, where he revealed itself as a pacifist. In his work "Three Soldiers" (1921), the author acts as a major realist artist. It gives a deep analysis of the psychology of Americans in the military era, with particularly convincing, outlining the state of the social crisis, which has become typical for the advanced elements of the army by the end of the war. His heroes were a musician, a farmer and seller of lenses - people from different social layers, with various views and concepts who lived in different ends of the country and united by terrible army weekdays. Each of them somehow revealed against his lotion, against violent death, cure and humiliation, against the suppression of an individual will of a powerful army machine. In their face suffered a whole generation. The tragic "I", which sounded from the pages of the books of contemporaries of Pass Passos, turned around the writer's tragic "we". [ eighteen; 22]

The best representatives of the "lost generation" did not lose humanistic feelings: conscience, human dignity, aggravated sense of justice, compassion, loyalty to loved, self-sacrifice. These features of the "lost generation" were manifested in society in all critical moments of history: during World War II and after it, during the "local wars". The presentity of works on the "lost generation" is enormous. Writers told the truth about this generation, showed their heroes with such as they were actually with all their positive and negative features. Writers influenced the worldview of readers, they condemned the foundations of antagonical society, resolutely and unconditionally condemned militarism, called for internationalism. With their works, they wanted to prevent new wars, warn people about their exceptional danger to humanity. At the same time, the creativity of the writers of "lost generation" is performed by humanistic aspirations, they call upon a person in any conditions to remain a person with high moral qualities: faith due to courage, honesty, in the value of stoicism, in the nobility of the Spirit, due to the high idea, loyal friendship, immutable ethical standards. [22; 102]

Ernest Hemingway as a representative of "Lost Generation"

Ernest Miller Hemingway (Ernest Miller Hemingway1899 - 1961) - American Writer, Laureate Nobel Prize In literature 1954. Ernest Hemingway has repeatedly participated in hostilities. Ernest Hemingway participated in the I World War, which went volunteer. In those years, when Europe was already covered by the war, in the USA, the consciousness of its capacity and invulnerability gave rise to the mood of self-satisfying isolationism and hypocritical pacifism. On the other hand, in the working, in the intellectual medium, conscious antimilitarism increased. [ sixteen; 7] However, the United States has become an imperialist and even colonial power from the beginning of the century. Both the government and the largest monopolies were interested in the markets, jealously followed the height of the colonies, spheres of influence, etc. The largest capitalists carried out enhanced capital exports. The Morgan House was completely unpaid was the Entente banker. But the official propaganda, this root monopoly, treating public opinion, screamed everything louder about German atrocities: an attack on Little Serbia, the destruction of Louven, finally, the underwater war and the sole "Luisania". Newspapers all more persistently demanded that the United States take part in the "War for Salving Democracy", in "War to Detect Wars." Hemingway, like many of his peers, rushed to the front. But he did not take it in the American army, and therefore, together with his comrade, he was recruited in April 1918 to one of the sanitary detachments, which the United States sent to the Italian army. [33; 10]

It was one of the most unreliable sections of the Western Front. And since the transfer of the American parts was slow, these voluntary sanitary columns were also to demonstrate the American form and thereby raise the spirit of reluctantly fought Italian soldiers. Soon, the carcolonna Hemingway fell on the site near the Foss Alta, on the Pialation River. But he was striving for the forefront, and he was instructed to distribute gifts in the trenches - tobacco, mail, brochures. On the night of July 9, Hemingway got out of the supervisory post nominated forward. There he was covered with a shell of the Austrian mortar, causing heavy contusions and many small wounds. Two Italians near him were killed. Come into consciousness, Hemingway dragged the third, which was seriously injured, to the trenches. He was discovered by the spotlight and hurt the machine gun, damaged knee and shin. The wounded Italian was killed. When inspection, hemingway immediately extracted twenty-eight fragments, and in total there were two hundred and thirty-seven. In Milan, where he was treated, Hemingway survived the first serious feeling to Agnes von Kurovski, a high black-haired nurse, a native of New York. Agnes von Kurovski largely served as a "model", with whom Catherine Barkley's nurse was written off in the novel "A FAREWELL TO ARMS!" Coming out of the hospital, Hemingway made his destination by Lieutenant in the infantry shock part, but was already October, and soon a truce - Hemingway was awarded the Italian military cross and a silver medal for a valor. Then, in Italy, 1918, Hemingway was not yet a writer, but a soldier, but, undoubtedly, the impressions and experiences of this six months on the front not only imposed an indelible seal for his entire further path, but also directly reflected in a number of his works. In 1918 Hamingway was returned home to the United States in the Hero Oleole, one of the first wounded, one of the first awarded. Maybe this is some time and stolen the pride of a young veteran, but very soon he was shared with this illusion. [33; eleven]

Later, he was repeatedly returned to the war, religious sensations experienced in mind. The experienced on the front left in the memory of the writer, in the smallestness itself, the non-heavenly wound. Hemingway has always attracted the image of people in extreme situations, when a true human character is manifested, in the "moment of truth", as he loved to speak, the highest physical and spiritual tension, collisions with mortal danger, when a genuine essence of man is highlighted with special relief.

He argued that the war was the most fertile topic, because it concentrates. The idea that military experience is extremely important for the writer that several front-day days can be the weighty of many "peaceful" years, repeatedly repeated them. However, the process of finding the clarity of the understanding of the true nature and nature of the disaster has not been rapid and simple. He took place gradually, throughout the first post-war decade, and in many respects stimulated by reflections on the fate of front-line, those whom will be called "lost generation." He constantly thought about the experienced on the front, assessed, weighed, gave his impressions to "cool", tried to be as objective as possible. [ sixteen; 38] Next, the topic of the First World War can be traced in his work - he works a lot in Germany, France, Lausanne. He writes about the riots inspired by the fascist regime, about the humbled France. Later the author of the novels "Farewell, weapons!" and "the command calls the bell" will take part in World War II, in English aviation, fantastic with the Summer Aircraft pilots, FAu-1, will lead the movement of French partisans and will actively fight against Germany, for which in 1947 he will be awarded bronze medal. Thus, a journalist with such a rich military experience could be much deeper compared to many of their contemporaries to delve into the international problem.

Brave reporter, better known as the talented writer Ernest Hemingway wrote his reports from a hot spot - Spain, covered by the Civil War. Often, he was surprisingly accurately noticed all the features of the move of war and even predicted its possible development. He showed himself not only as the author of impressive landscapes, but also as a capable analyst.

The problem of "lost generation" is deployed in full force in the Roman E.Hehmingway "Fiesta (The Sun Also Rises)", published in 1926. It was possible to write a novel to such a deadline, only possessing the incredible health of Hemingway. But there was another circumstance, even more significant - he wrote a novel about his generation, about people he knew to the last dash of their nature, who watched for several years, living next to them, drinking with them, arguing, having fun, Body together on Borda in Spain. He wrote about himself, putting his personal experience in Jake Barnes in the image of Jake Barnes, much experienced by him. At one time, Hemingway decided to abandon the name of the novel "Fiesta" and decided to call him a "lost generation", but then changed his mind, put the words about the "lost generation" by the epigraph, and next to him put another - a quote from Ecclesiast about the Earth, which dwells forever. [17; 62]

Working on the novel, Hemingway went from life, from living characters, so the heroes of his novel are not single-pool, not mashans of one paint - pink or black, these are living people who have and positive and negative character traits. In the Hamingway Roman is captured specific traits The famous part of the "lost generation", that part of his part, which really was morally destroyed by the war. But himself, and many people close to him in the spirit of people, Hemingway did not want to rank with the "lost generation." But the "lost generation" is heterogeneous.

The pages of the novel arise characters - named and unnamed, - which are indisputable and definable at first sight. Those who are fashionable by their "lost", appeal to the "courageous" idleness, "soldiers'" directness, even though they know only the first-head. The Roman Hemingway, the features of many people familiar to him; The novel arose multipoint and beautiful image Earth, the image of Spain, which he knew and loved. [ fourteen; 76]

All the work of Hemingway Autobiographical and its own experiences, excitement, thoughts and views on events in the world are expressed in his works. So, the novel "A FAREWELL TO ARMS!" dedicated to the events of the First World War, in which the protagonist deserts, but not because of his human qualitiesBecause he is opposed to war, all what he wants is to live with his beloved woman, and in war he only crips himself. Lieutenant Frederick Henry (Frederic Henry), - Face is largely autobiographical. Creating this novel, Hemingway was highly self-critical, continuously ruled, reworked written. He made 32 options for the Roman's finale, until he stopped at a good ending. It was, according to his recognition, painful work. A lot of effort was spent on the inventing name. [ fifteen; 17]

Immediately after entering the novel led the list of bestsellers. Roman marked the beginning of Hemingway World Glory. This is one of the most readable works of literature of the XX century. Roman "Farewell, weapon!" The people of all generations are read with the same interest. War occupied a significant place in the work of Hemingway. The ratio of the writer to the imperialist wars was unambiguous. In his novel, Hemingway shows all the horrors of war, which is a mosaic of large and small human tragedies. The story is conducted on behalf of Henry and begins with the descriptions of front-line life in the days of the lull. In this image, a lot of personal, tested and experienced Hemingway. Lieutenant Henry is not against war as such. Moreover, in his presentation, this is a courageous craft of a real man. Getting to the front, he experiences the loss of illusions, deep disappointment in the war. Personal experience, friendly communication with Italian soldiers and officers awaken him from a chauvinistic fugue and lead to an understanding that the war is a meaningless, cruel slaughter. The disorderly retreat of the Italian army symbolizes the lack of harmony in the world. To avoid execution in a ridiculous sentence, scratched indifferent hand in a pocket notebook, Frederick takes an attempt to escape. He succeeds. Henry's flight is a decision to get out of the game, break ridiculous connections with society. He violates the oath, but his military debt is depicted in the book as a debt before subordinates. But neither Frederick himself nor his subordinates have not realized their own debt towards the war at all, they did not see meaning in it. They are solved only the feeling of elbow and genuine mutual respect. Whatever Hemingway wrote about, he always returned to his main problem - to a person in tragic tests that fell into his share. Heminghai confessed the philosophy of stoicism, giving him due to human courage in the most distingar circumstances. [21; sixteen]

The theme of the Civil War in the work of Hemingway emerged in no coincidence. She rose from reports about Italy on the soil of the author's hatred to the fascist regime and the desire to withstand him with any available way. It is amazing that an American, at first glance - an overview observer, so deeply and sincerely perceived mentalities perfectly of different nations. Danger of nationalist ideas fascist Italy And Germany became clear from the very beginning. There was loved by the desire for the liberation of its territory with Patriots of Spain, and an obvious is a smaller threat to humanity by communism.

Spain is an unusual country. She represents the known world of scatteries - Catalonia, Valencia, Andalusia - all residents of the provinces over the past history compete with each other and in every way emphasize their own independence. But during the Civil War, as Hemingway writes, it played a significant role. It would seem - such a division should influence negatively on the course of hostilities, the inability to contact the neighboring provinces usually scares and reduces the enthusiasm of the fighters. But in Spain, this fact played a diametrically opposite role - even in the war, representatives of different provinces compete with each other and it leads to the fact that the conclusion of the areas of each other attached only the strength of the combat spirit - everyone wanted to show his heroism to whom there are no equal among his heroism neighbors. About this fact, Ernest Hemingway mentions in a series of Spanish reports dedicated to Madrid. He writes about the enthusiasm emergence of officers, after the enemy cut them off from neighboring sections of the front. The civil war in Spain began during the conflict between the Communist Party supported by the two great powers - the Soviet Union and the United States and the party led by General Franco - enlisted support for Germany and Italy. And in fact it became the first open opposition to the fascist regime. Hemingway, Lyuto hated this ideology, and, who fought against her, instantly rose on the side of his like-minded people. Already then the writer understood that these actions later would not turn the "little victorious war", the struggle against fascism would not end in Spain, and much more large-scale military operations unfold. [25; 31]

In the play "The Fifth Column" and the novel "For Whom The Bell Tolls", the author openly criticizes fascism. Hemingway criticizes everything in the dictator - from decisions in appearance to decisive actions taken in the people's management. He makes a man who reads the French-English dictionary to the legs, acting in front of the peasants of Duelyanta. In his articles, the writer repeatedly called on the world to draw attention to the raised phenomenon in order to wrap him to the root. After all, the American, understood that the fascist regime would not disappear for the year and a half, as his contemporaries believed. The writer was able to adequately appreciate the Policy of Mussolini and Adolf Hitler. He hated fascism and fought against him with all possible ways - and as a journalist, and as a voluntary participant of hostilities. In his struggle against fascism, he even reached the fact that he joined the Communist Party, without sharing her views. Since communism was considered as the only equivalent opposition to the aggressor, advocate on his side the greatest success In such a battle. In this civil war wore a dramatic character for him - he is forced to stand on the side of other people's views, going away from his own. The writer transfers the same contradictory feelings to Robert Jordan (Robert Jordan) - the main character of the novel "For Whom The Bell Tolls". His hero gets the task to go to the front line and when the offensive of the Republican Army will begin, with the help of the partisan squad to blow up the bridge in the rear from the fascists to prevent them from throwing reinforcements. It would seem that the plot is too simple and uncomplicated for big RomanaBut Hemingway in this novel solved a number of moral problems, solved them for himself in a new way. And first of all it was a problem of value. human life In correlation with moral debt, voluntarily adopted in the name of a high idea. Roman is permeated by the feeling of tragedy. With this feeling lives his hero Robert Jordan. The threat of death is vital over the entire partisan detachment, then in the form of fascist aircraft, then in the guise of fascist patrols appearing in the location of the detachment. But this is not a tragedy of helplessness and doomed in the face of death, what was she in the novel "A FAREWELL TO ARMS!"

Understanding that the task may end the death of Jordan, nevertheless, it claims that everyone has to fulfill its debt from the execution of debt depends a lot - the fate of the war, and maybe more. "So to replace individualism of Frederick Henry, who thinks only about Tom. In order to preserve his life and his love, in the new hero Hemingue in the conditions of the eve of the warrior, not an imperialist, and the revolutionary, the main thing is the sense of debt to humanity, before the high idea of \u200b\u200bthe fight for freedom. Yes, and love in the novel rises to other heights, gossy with the idea of \u200b\u200bpublic debt. [33; 30]

The idea of \u200b\u200bdebt in front of people permeates all the work. And if in the novel "A FAREWELL TO ARMS!" Hemingway, the mouth of his city denied the "high" words, then in the application of the War in Spain, these words again acquire their original value. The tragic sound of the novel gets its completion in Epilogue - Jordan performs the task, the bridge is blown up, but he himself gets a heavy wound.

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