Works dedicated to the war of 1812.

Storublevskaya Maria 9 and class

The work discusses the session of Derzhakov, Zhukovsky, Krylov and other writers of the 19th century, in which the main topic of the Patriotic War of 1812 sounds

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Introduction

1. Playing about the war of 1812

a.) The works of Derzhavin

b.) Works of Zhukovsky

in.) Basni Krylov

1. Pushkin about the Patriotic War of 1812

I G.

1. "Letters of the Russian officer" F. Glinka

1. Patriotic War in the works of historical fiction. Three ancient Russian novels

a.) Works p.m. Zotov

b.) Works N.I. Grecha

c.) Works N.M. Conshina.

1. Hot watches 1812

Conclusion. I.

Introduction

On the first day of the new, 1813, the Russian army, pursuing the remnants of the defeated Napoleonic troops, Nemman moved. The Theater of Martial Action was transferred to the territory of Western Europe. There was still a long and difficult path, heavy, bloody battles, but the most important, the most dramatic period of fighting Napoleonic invasion was completed: here, on the shores of Neman, for Russia ended

Patriotic War.

Contemporary and participant of the war Sergey Glinka wrote

a quarter of a century later, that g "Events are gigantic, tested to the fate of human genus, ripen, ripen and ripen in a gradual and insurmount of time. We, "he said," Maybe they saw the first letters of what he would fully read the offspring on the srices of the history of mankind. "

The greatest in the new history of Russia, the event - the Patriotic War of 1812 - also had to "dive in a gradual and insurmount of time" J. For the true scale of what the Russian people committed in 1812 was so huge, and the influence that the People's War had had a historical destiny of Russia, Rtol. . Doctorfully that all this could indeed be in fairly fully realized only with time, after one years and years.

1. Works about the war of 1812.

In Russian literature, the Patriotic War entered immediately, one can say, in the very first days. And the first word about it, as probably, and always at such times, sounded in poetry. It was a word-appearance, a vagault call to weapons, to the sacred struggle with a cruel and insidious "all-European conqueror".

The sound of the pipe was heard, thunder thunder thunder: people, debauchery rejoiced, threatens to us slavery and the yoke!

Now do we sleep alone,

Russia true sons?!

Let's go, let's go in the rost

let's go - and in the horrors of war

friends, Fatherland, people

watching fame and freedom

il everything fall in the native fields!

(F. Glinka "Military Song, written during approximation

enemy to the Smolensk province ")

In verses, there is proud contempt for the enemy, unshakable faith in the coming victory .. The guarantee of this victory is the whole history of Russia, the great acts of her "Heroes of Glory."

The modern reader is likely to seem to be somewhat strange that F ^ CT, which, widely responding to events associated with the war, the poetry of that pore H gives, as a rule, a particular image of the events themselves. Ham, for example, Borodino or Smolensk battles, the poet does not seek to capture any characteristic details, but creates a picture of a particularly generalized battle, a picture in which only names remain from real historical reality; Nevertheless, the rest is allegory, symbols, mythical likelihoods, etc.

Kutuzov, like an alkid, a studio of new in the arms is tested. From the reviving land holding up high, he does not give him to his forces

A string giant, rotating a turbulent eye, still over the pasty in the ground beats.

The monsters, he is obedient, - the like of the fasteners of centaurs and chimera - lie around it exposed, soulless. There Wittgenstein Troim dragons sting the storing.

(A. East "To Russians")

It was the style of the era, the monumental style of Russian classicism, which goes from its roots in the XVIII century, in the poetry of Lomonosov and Derzhavin. In poetry 1810-g. He began to be cloning to the sunset, close-up with new literary flows - sentimentalism and predocutantism, - but the time of the Patriotic War was his time, his "starry hour", for it was his powerful and multi-time palette that was consonant with the high civilian patriotic pathos,

which distinguished Russian poetry of 1812.

A huge multifigure canvas dedicated to the Patriotic War creates at this time himself G.R. Derzhanin. This is "LarEpic anthem to the forefront of the French from the Fatherland."

The epic of the fight against the Napoleonic invasion of Derzhavin depicted as a giant, truly universal confrontation of the world forces, the scale of which can be represented only by contacting the Giant Phantasmagories of the Apocalypse.

F g j? *

Opened secular door! The huge beast was exhausted from the abyss, Dragon Ile Demon Serpentine; Around his echidna C6 wings Death and Smeramy shake, the Sun of the Sun of the Prut; Returning around the whole sphere, burning in the air pimp sulfur, hivet with breather Pont, pour the night to the horizon \\ and drive the axis of all universe. All mortals are fleeing from the prince of darkness and crocodile herds. They are root, whistling and everyone is frightened ...

Before the "Prince of Darkness", everything trembles, everything falls. And only one - one in the whole universe - exposes the sword. This is a leader

North, "Smrenal, Meek, but Drawberny" Lamb, who amazes "Snake-Golyana".

At this immense Ecumenical background, the poet and projects specific historical events, surveying a certain sense in them, some prediction of world destiny. Allegoria, personification, biblical and mythological associations, to which he addresses throughout the narrative, is sometimes unnecessary, unclear, or even dark; Momens, heavy, archaic and style of its descriptions and reasoning. But it is Derzhavin. The power of creative imagination, shine and courage of painting, the majestic beauty of the old poetic "verb" - all this makes his "anthem" one of the most significant works of that time.

The outstanding phenomenon of Russian poetry was the poem "Singer in the Fish of Russian Warriors" (1812)] written and in fact "in the camp of Russian warriors" on the eve of the famous Tarutinsky battle, it immediately acquired enormous popularity and quickly spread in the army in a variety of lists. The author of "Matching notes of the Russian officer" I.I. Paristers (later, one of the most prominent Russian writers) recalled: "Often in society, the military read and disassemble the" singer in the village of Russian warriors. " Almost all of ours were already learned by this Pesu by heart. I believe and now, how did Tyrtea driven to the victory of building the Greeks. What kind of poetry! What an inexplicable gift to enthodiate the soul of warriors! "

The extraordinary success of the poem was explained, of course, primarily his high artistic advantages. Bright imagery, lightweight, elegant verse, freshness and vibrant vitality of lyrical feeling - all this was noticeable allocated "Pan" ([Ritual military anthem of the ancient Greeks) Zhukovsky against the background of the poetry of classicism of the time. For the first time, he helped to feel his time, his world, his war - the most, which was a formidable day.

The genre in which the poem also entered into a certain proportion of literary convention and in other samples, including Zhukovsky himself ("Bard's song over the coffin of Slavyan winners", 1806), clearly closed with the traditional classicists. However, fully using the artistic possibilities of this genre, Zhukovsky is very little considered with the restrictions imposed by him, boldly goes to reality, to "nature", which allows you to create a whole gallery of expressive historical portraits, not less rich and colorful than the famous Military Gallery of the Winter Palace.

In the "Gallery" of Zhukovsky, all the most famous heroes of the twelfth year are presented, and each of them enters here with some characteristic characteristic feature, according to which he especially remembered to contemporaries. Such are the portraits of Kutuzov, Bagration, Raevsky, Platov, Davydov, Vorontsov and others. Introducing them in full brilliance of their martial glory, in the halo, the feat, with which each of them entered the story, the poet sees in them not just a brilliant "Sons of Heroes", alienated and closed in their greatness, but above all the living people, their contemporaries, Members of the Unified Brotherhood, in which the glory of Victory leaders are inseparable from the glory of each warrior. This brotherhood, this family lives a single life, leading a common account and loud victories, and bitter loss. Therefore, as deeply, the personal reader is experiencing the delight with which the poet describes Kutuzov in front of the shelves, and the admiration, which sounds verses about the "Vikhore Ataman" of the Platov, and that deep sadness with which the singer leads a story about the death of Kutaisov, Kul'eva And Bagration.

Subsequently, Zhukovsky still turns out to turn to the topic of the Patriotic War. Already soon the poems of the "leader of the winners" and the "singer in the Kremlin" appear, and twenty-seven years later, in the days of the celebrations dedicated to the opening of the monument to the heroes of Borodin, he will write the "Borodino anniversary". But "the singer in the village of Russian warriors" (1812) will forever remain in his work not only the very first, but also the most brilliant, the most inspired by his work about the heroes of the Great People's Epopea. "Nobody more than you - Pushkin will write to him," didn't go the right to say: voice Lyra, voice of the people. "

Against the background of a high-terrible pathetic lyrics of 1812, Basny I.A. is very sharply Krylova.

Bass, as you know, does not belong to genres, in which large historical problems are solved. Basni Krylova - an amazing exception. None of the Russian writers of that time did not approach the understanding of a truly popular nature of the Patriotic War so close, no one expressed that it was a popular look at her with such a statement, with what a great Russian Basinista did it.

One of the eloquent examples in this regard is the famous Bass "Crow and Chicken", where the wings conduct a thought, a clearly opposing point of view of government circles, - the thought of historical right

M.I. Kutuzov, who, "anti-daring to the art of the art, spent the new network and left to the death of Moscow left." The people believe Kutuzov, understands it in this difficult, but the only right decision is to leave the ancient Russian capital.

Then all the inhabitants, and small, and big, not spending hours, gathered and won from the walls of Moscow rose, as from the beehive swarm.

And this is what a significant conversation takes place between the two inhabitants of the Moscow castors - Vorona and Chicken: "!1

Crow with a roof here for all the trouble

Calmly, cleaning nose looks. "And what are you, Kumushka, on the road? - She shouts with a chicken. "After all, they say that the threshold is our Supostat." - "What is the case before that? - Bestunya to her in response. - I'll stay safe here. Here are your sisters - as they want;

But the raven is not frying, neither cook: so I'm not wonderful with guests to get along, and maybe it will still be possible to get used to the cheese, Ile the bone ... "

G.

Conversation and in fact significant. For in this innocent dialogue of two "shivered birds" with the ultimate, truly patrimonial clarity is exposed to one of the complex and very painful moral and social situations of the time, the situation in which the striking misconception of the interests of various sections of Russian society in their attitude towards a great nationwide case - Defense of the Fatherland. In the carefree speeches of the crows - not just the carelessness of the creature, accustomed to live "how God puts on the soul." The meaning of them is much deeper, more definite, causar. For their external frivolism - a custody intent, a secret hope for friendship with the enemy, with whom there is nothing to share, "in a word, everything that quite definitely appeared in the social psychology of the famous part of the highest society of that time.

The thin and sharp epigram is hidden in the Pike and Cat Basna, the epigram on Admiral Chichagov, the inept actions of which allowed Napoleon to slip out of the environment on Berezin. The fife of the "Wolf on Psarn" wants to call the epic - so clearly and fully expressed the wings in it the most "plot" of the People's War. Once, after the battle under the red, having traveled with the trophies the whole army, our sat down in the open air, in the midst of the generals close to it and the approximate officers, took out the handwritten fables of I. A. Krylov from his pocket and read it out loud. Under the words: "You are gray, and I, a friend, Sed", spoken with a special expressiveness, he removed the cap and pointed to his seeds. All those present were delighted with this spectacle. .

Various "realities" of epochs are read in the subtext and many other Bassen of the Great Russian Basinist, and the insightful contemporaries always knew how to read them.

■ I.

2. Pushkin about the domestic warrior

1812.

At the end of the Patriotic War in "Military Literature", some calm comes, in general, it is quite natural and explained: the Great National Epopeus demanded deep reflection.

In the very image of the war, the previous tradition continues for quite a long time: her contemporaries are written about the war, and it is not surprising that they only as if they continue their former, long-defined theme.

For example, F. "Glinka, who wrote his first military song in July 1812 near the walls of Smolensk, after the war, creates a whole" suite ", which reflected the most significant events of the Patriotic War - the battle near Smolensky (" Farewell to the Russian Warrior Song "), Borodino Battle ("The Song of the Warrior Warrior", etc.), the fire of Moscow ("The Song of the Russian Warrior at the sight of the last minute"), etc. Like the whole poetry of the pore, they are deprived of historical concreteness - events are guessed only by the names of those who act in them Yes, by geographic names.

N. Karamzin "Liberation of Europe and Slava I" (1814), where he consistently spends a very significant idea that he has a very significant idea that the figures like Napoleon are, the more simple, which are in the blatant contradiction with the spirit of time , what

This Lutchy Tiger, not a man,

Appeared in the enlightened age.

He appeared at the time when: "

" * /

We have already been proud of science, mind is a fruit, good Lagair and famous for the art of living; We already knew that the owner of the father of people must be, to love not power, but virtue; And that the victories of Slav only just a war.

Napoleon's crime is harder that it is directed against Absolute conquests of mankindwho has no right to atocle any selfhood. This was the very essence of Karamzin's thoughts - in warning to all kings, including Alexander I, although it is presented here as a weapon of providence, an enlightened ruler, capable of protecting the unshakable human rights and poetoblige Tsar obey these rights.

Update the theme of the Patriotic War, its new turn

starts with Pushkin.

In the youthful of his poems, Pushkin still largely follows the tradition, its famous predecessors - especially Derzhavin, whose heavy Lira is heard in the "memories of the royal village", and in Napoleon on the Elbe.

However, already in the poem ("Napoleon" (1821), the poet comes far beyond the tradition of the tradition of both the purely poetic and the one that existed in understanding the historical experience associated with the Patriotic War. Pushkin for the first time in Russian poetry rises to understanding it in the context of real history. Europe, in the context of those grand political upheavals, the beginning of which laid the Great French Revolution.

The image of Napoleon is seen in the poet not only in the dazzling brilliance of the former glory and as a "terrible Beach of the Universe", but as a great and deeply tragic figure, whose tragedy consists primarily in that he betrayed the best ideals of mankind, the best of his hopes, which depended precisely From him, the genius, born and ascended by the revolution.

When in the area of \u200b\u200brebellious I in the praha, the royal corpse lay and the day is the great, inevitable - freedoms got up a bright day, - then in the excitement of folk storms, anticipating the wonderful feet, in his hopes of noble, you despised.

And the renewed people you are a violence of Young Smiril, newborn freedom, suddenly Onhen, lost his strength ...

It was in this that the poet was the most serious and fatal crime of Napoleon, a crime from which the predetermined and inevitable fall of the usurper began, since the victory of the Russian people over Napoleon now also acquired a completely different scale, and a completely new historical meaning, appearing not only as victory Above the conqueror, but also as a victory over Tiran, the "freedom kidnapper."

Therefore, branding Tirana, Pushkin gives him and praise for

what

He pointed out the Russian people to the Russian people, Mira's eternal freedom from the gloomy referenced.

i- I *

In the words "High Lot", not only the point was that the Russian people were the main force, crushing the All-Eway dominion of Napoleon, but also - in particular - the one that, during the titanic struggle against the enemy invasion, the Russian people first realized their right to social freedom. Five years later, this was announced by Nicholas I Decembist A. A. A. Bestuzhev. "Napoleon invaded Russia, and then the Russian people for the first time felt his strength - He will write in his letter to the king from the Petropavlovsk fortress, - then the sense of independence was awakened in all the hearts, and later the folk. Here is the beginning of the freightness of Russia ... I still lasted the war when the warriors, returning to the houses, the first ruled the ropot in the class "people." We shed blood, "they said," and we will try to sweat on the barbecue again. We saved the homeland from Tirana, And we again tirante the Lord "... then they began to say the military:" For that, we freed the Europe to impose her chains on ourselves? In order to put the Constitution of France, so as not to dare to talk about her, and bought the championship between her People, so that we are humiliated at home? " .

As B. V. Timashevsky said rightly, "Pushkin's reflections on the war of 1812 were never retros percanive judgments of the historian, these are always - responses to the requests of modernity." The works of Pushkin of the 1830s are especially characteristic of this respect: the poem "before the saint tomb" and "commander" and the prose Etude "Roselleslav".

The poem "Before the sulfur grace" was written in 1831, when there were calls for a new campaign to Russia in connection with the Polish uprising in Europe.

Slanders of Russia, her sworn enemies, plotting a new crusade on her, the poet throws a proud challenge:

So send us, Vities, their embittered sons: there is a place for them in the fields of Russia, among the facts of the coffins.

In 1835, Pushkin writes the poem "commander", wonderful not only by the fact that it was recreated by the expressive portrait of an outstanding commander Barclay de Tolly, but also the fact that, revealing the invaluable Barclay services in front of the fatherland, sadness and drama of his fate, it, Like all Pushkin works about the Patriotic War, sharply opposed the official point of view, which all the content of the Great People's Epopea reduced only to the triumph of the Russian king.

About the leader is unhappy! .. Surov was a lot yours: everyone sacrificed you brought you a stranger to you. Lithuanible for the look of Mobile Wild, and, in the name of your sound, the sound is alien without tamping, with their cries pursuing you, the people, the mysteriously saved to you, they swore over your sacred siren.

Explaining this historical injustice quite objective reasons - a disadvantage of popular confidence in a foreigner, "Pushkin, thereby emphasized precisely the crucial importance of this confidence in the fate of the Patriotic War. "One Kutuzov could offer the Borodino battle," he wrote, explaining the meaning of the "commander", "one Kutuzov could give Moscow to the enemy, one Kutuzov could stay in this wise inaction, capealing Napoleon on the fire of Moscow and waiting a fatal minute: for Kutuzov alone clothed He was in the people's power of attorney, which he justified so wonder! ".

Only two years shared the "commander" and Lermontov "Borodino" (1837). "Total" - because they share not just two works, but two poetic generations: a generation of contemporaries of the Patriotic War and the generation of those for whom she was already weaving a remote story. However, it is more correct to talk about the meeting of generations, because in 1830 - 1837. Lermontov wrote a poem "Field of Borodin", in which there is no reason to see the first version of the future "Borodin". It is on the example of these two options it is easier to understand that new, which brought a generation of Lermontov in the subject of the Patriotic War.

According to his "genre" "Field of Borodin", as well as the classic Borodino, represents the story of the old warrior about the Borodino battle. There are also a number of characteristic expressions, stylistic ingots, which in "Borodina" will become a kind of supporting, key:

"Guys, not Moscow? Let's be sure of Moscow, as our brothers died! "And we to die Rbaced and the oath of loyalty was kept in Borodinsky fight.

The arm of the fighters is tired, and the kernels passed the mountain of bloody bodies.

However, this is still only individual finds; The general figurative structure bears obvious traces of the old conditional and romantic palette. For example:

L ","

Noisy storm until dawn; I, lifting my head from the bootheet, Comrade said: "Brother, listen to the Song of the weather: She's wild, like a freedom." But, remembering the previous years, the comrade did not hear.

Or:

My comrade fell, the blood was depressed, the soul was shaking from a messenger, and the bullet was carried away from my rifle.

Borodino - top of stylistic wholeness and, from here, fine perfection. He was affected here, probably, and outraged Lermontov's talent, but the main thing was in another - in the limitless artistic possibilities that opened for poetry with the victory of realism. Pushkin realism. It was a fundamentally new level, a type of poetic thinking, which guarantees an immeasurably greater completeness of the artistic reflection, an immeasurably greater variety of fine means. This new level, achieved and approved in the work of Pushkin and Lermontov, will become the starting point with which the triumphal march of Russian realism will begin in the second half of the XIX century.

) I "

* G.

3. "Letters of the Russian officer" F. Glinka

In 1815-1816. "Letters of the Russian officer" Fedor Glinka came out. The book represented the greater interest that these were not so many memoirs as "live reports" about the events in which the author had the opportunity to participate. "Surrounded by the noise of spring storms, he recalled," I dedicate all my time to one service responsibilities. Sometimes only, in minutes of general inspiration, with the light of the field lights, often at the very place of the battle, I poured, as I knew how my thoughts and feelings on paper. " Confirmed this and K.N: Batyushkov: "One Glinka was painted in the campaign."

It's great that already in a letter of May 10, 1812, that is, for a month and a half before the start of the war, the writer not only predicts its early start, but also indicates what it will be, this coming war: "This war should be unusually A terrible! .. Napoleon, defeating most of Europe, stands like a cloud, and frowning over Neman. He is similar to a turbulent river, in charge of a thousand absorbed sources; Russian breast is a dam, holding the desire: breaks up - and flood 6) ^ t unlawful! Oh, my friend! Caught disasters of invasions repeat on our days? .. Couldn't repeat? Not! Russians will not give their lands! If the warriors are missing, then everyone will leav from us from us, and the other fight for the fatherland! ".

In the first days of wars £ 1, he joins the army and takes part in the battles near Smolensky. In the letters of these days, he talks about the unparalleled heroism of the defenders of the city, about the broadest intelligence of the People's War, in which the struggle against Napoleonic invasion turned in his eyes. "A friend of mine! - he writes. - The times of minina and a fire! Everywhere we rare the weapon, people move everywhere! Spirit People, after a two hundred years of sleep, awakens, sick threat of military. "

I admire the courage and resistance of Russian soldiers, the courage and dedication of people's militia, who came under the walls of Smolensk, a writer, however, sometimes some perplexity is experiencing. For example, it is clearly puzzled by the fact that the growing day of the People's War day not only does not meet in government circles of due vocation, but, on the contrary, even scares them. "Spirit awakens, the souls are ready, * - he writes on July 19. - The people asks Will, so as not to lose liberty. But the war is very nov for us. It seems to be afraid to unleash your hands. Until now, there is not a single proclamation, allowing to gather, arm and act where, how and to whom you can ".

Glinka's combat path goes through the whole war. The Warrior Writer is constantly in battles, in the most "hot" places, in the angroup of retreating troops, in the forefront of the coming. He participates in all the main battles of the twelfth year - by Smolensky and in Borodina, and Vyazma ... Together with his Absheron regiment, he moves the entire foreign campaign of the Russian Army 1813-1814.

The first chapters of the "letters of the Russian officer" began to be published in 1812 and immediately attracted great attention to themselves. "These letters," recalled one of the contemporaries, "before the emergence of his brilliant success ^, they read with greed in all layers of society, in all ends of Russia. An eloquent story about fresh, very worried events, lively, bright paintings, boldly drawn in moments of impressions, enthusiastic love for the whole native, domestic and military glory, all spoiled contemporaries in them. I remember with what delight our, then the young, generation repeated the initial lines of the letter dated August 29, 1812: "I groaned the Deml and awakened the soldiers on it. Flowered the fields, but the Reda was deceased. So it began unparalleled battle Borodino. "

In 1839, Glinka wrote "essays of the Borodino battle" - the detailed, colorful description of this greatest battle of the Patriotic War, a description, which, according to V. G. Belinsky, "breathes with something homeric, as if she was drawn from the epic, and impress similar to the one that the feuds of the "Iliad" characters are per capita ... Essays of the main dyostants y, Glinka Bright and alive; With a tireless interest, with strong heartbeat and reinforced pulse, you follow every one of them, give him all, and forget about the moment everything else. General explosions are described at least alive and act with some kind of deafening force. " "Ksenofu Borodina" - with such an inscription in Giving Glinka V. A. Zhukovsky his "singer in a camp of Russian warriors."

4. Patriotic War in the works of historical fiction. Three ancient Russian novels ...

In the late 1820s - early 1830s. The topic of the Patriotic War begins to revive in the works of historical fiction. The first experiments in this kind - "Isidor and Annie" A. Pogorelsky and "Signboard" O. Somov - True, quite modest (especially the story of Pogorelsky), but as the first approaches to the topic, they still deserve a certain attention.

For the story of O. Somov, Nvzya cannot recognize even certain and very significant artistic advantages. This is a good knowledge of the subject, and the involvement of the narration, and the naturalness and simplicity of the style. The story of the hardest fate of the provincial French hairdresser, about his misadventures during the campaign to Russia, Somov seeks to see the war with the eyes of a soldier by the enemy army, reveal the inhuman essence of the Napoleonic invasion as it were from the inside. In the description of the events that Somov invest in the mouth of the Frenchman, however, Russian sources are felt ("Letters of the Russian officer" F. Glinka, "Hiking Notes of the Russian Officer" I. Lazhchchnikova), but this peculiar overpass of the observations of Russian participants in the war in the impression of the Napoleonic soldier produced writer, I must say, is quite skillful.

In 1831, Roman M. N. Zagorsky "Roslaslev, or Russians in 1812" appears. "1 It was a real, "full-length" historical novel with a wide coverage of events, with a mass of acts, with an acute dramatic plot. The contemporaries showed a living interest to him, the more clear that two years before Tovkin wrote the first historical novel "Yury Miloslavsky, or Russians in 1612" and has already managed to decide the glory of Russian

Walter Scott. "

In the preface to the new novel, Zagoskin wrote: "In order to compose these two novels, I meant to describe the Russians in two memorable epochs, similar to them, but separated by two centuries; I wanted to prove that although the external forms and physiognomy of the Russian nation changed completely, but did not change with them our unshakable loyalty to the throne, attachment to the faith of ancestors and love for his beloved side. " At this morally political "triade" and the content of the novel is based.

From the side of a purely literary new Roman Zagoskina not too infuriated "Yuri Miloslavsky." The same image animation in him, the same good knowledge of Russian life, was the fascination of the story. However, now all this was perceived in many ways in a different way. If "Yuri Miloslavsky" narrated about almost immanent times, then in Roslavlén, it was about the very recent past, which was not only not forgotten, but also continued to live in the present in the form of a number of more acute moral and social problems. That is, in other words, the new Roman 3 "Agos, Kina, unlike the first, was not so much novel as historical, but a novel about the day. And therefore the criteria with which contemporaries came to the new novel, differed in many ways from those that They used to "Yuri Miloslavsky": if in the image of life VII century The image of the war of 1812, they had the opportunity to come from the point of view of their own experience, learn or not know themselves in the heroes "Roslavlev", and it was already another, much more specific and strict criterion. Therefore, it is not surprising that, despite the rather wide "mass "Success, in a serious criticism, a new novel of Zagoskin was met very cold. True, the always advantages of the magazine-artist - the ability to" draw separate scenes and pictures of common and pom Eckless Rustic Life "(V. Blinsky) - marked here, but it was all that was said in the praise of his new novel.

Roman, it should be assumed, would leave the story in the history of Russian literature and even less noticeable, if it were not for the unexpected and in some way special attention, which showed Pushkin to him. No, Pushkin did not overestimate the advantages of the novel. Its general opinion did not diverge either by estimating Belinsky, nor even with the destroying judgment of P. A. Vyazemsky, who considered that "in" Roslavl "there is no truth in any thought, in no sense, in no position." Another reason was: Soon after the appearance of Roslavlev, Pushkin is accepted to write something like a "answer" on it, and it does it in a very peculiar form: on behalf of some lady, allegedly knew the main character of the Zagoskinsky novel - Polina, he intends to present his version Events that were discussed in the novel.

Bright, penetrating, with sincere admiration and love writes a storyteller moral and spiritual portrait of his girlfriend. Polina is smart, educated, independent. Her judgments are filled with depth and originality. She is inherent in some kind of special moral courage. But that, perhaps, it is especially striking and admires, is some kind of amazing delicate and aggravated sense of national dignity, the feeling that is equal to alien and stupid "fucking" cv, and no less stupid and humiliating boring disregard for national traditions. Polina is experiencing a burning shame, the true humiliation, when the sled, its compatriots, these "monkeys of enlightenment", frankly bored in the society of the great Madame de Stelle, but they hurry to grab and disseminate her not too modest Calambar, thrown by it as if in the form of mercy. However, she sincerely delighted as the same Madame de Stelle said to one "old, unpaid firing", which from the fault, he decided to laugh at Russian beards: "The people who, the one hundred. g, defended his beard, goes to our time and his head. "

Patriotic sense of polyna is extremely demanding and scrupulously. True love for Fatherland, in her representation, implies high spirituality and only because it can be elevated to sacrifice. That was equally disgusting and the wretched publicity of "secular mobile", and the sullen chauvinism of the "Kuznetsky Bridge's persecutors", which in the days when the death hazard was hung over the fatherland, turned around with ordinary cowardice, hasty fees "in Saratov villages", in the hope that "fierce The people "himself will raise the banner of Minin and Pozharsky.

This patriotism is a feeling too high and obliging that it is to humiliate to the clouds in all ingenic, to a ridiculous anti-flaring of the burning of the "dozen French brochiles" or the abnormal of the lafit in favor of acidic. Polina understands it. And in order to express the whole depth of her contempt for this "agreed change and cowardice", she "on the boulevard, in the Presnensky ponds, the French spoke on French; At the table in the presence of the servant, the patriotic boasting was deliberately siled, on purpose about the numerous Napoleonic troops, about his military genius. " And we, of course, understand it when, in response to ukoles "in commitment to the enemy of the Fatherland", she proudly declares: "Give God that all Russians love their Fatherland, as I love it."

Soon Pushkin left a job on Roslavlev and did not return to him anymore. Considering the fact that the intention of events in comparison with the novel of Zagoskina, the version of events remained in comparison with the novel, naturally, as if suggesting that Pushkin simply did not complete his story. However, such an assumption would still be solid. For the main thing, and it is better to say the only goal for which he, in fact, entered into such an unusual controversy with a burden, was undoubtedly achieved and did not need any other plot confirmations. It was important for him to express his understanding of true patriotism, and he brilliantly decided this task, creating a bright and irresistible convincing image of Polina, who, well by canceling the version of Zagoskina, did any further explanations with it completely excessive. Moreover, for the expression of his thought, Pushkin was even more laconic and therefore an even more causing form: publishing an etude-five years later in the "contemporary", he cut it smoothly. ^ E, closed the story by the phrase "Napoleon was such a Bestiya, M-ME DE STAEL PREPARK STUD! " Thus, he not only gave the story a completely new plot dynamics, but also heavily strengthened his modern sound, showing that the capital's "big light" of the 1830s remained the same stupid as he was and a quarter of a century ago. "Recently, Polyna's girlfriend concludes his story," I told all this in one very decent society. " "Maybe," -ME De Stael was not something else like Napoleon's spy, and Princess delivered her necessary information. " - "Verify," I said, - Me De Stael, ten years old by Napoleon, noble, good -me de stael, Nasil who fled to the patronage of the Russian emperor, -Me de Stael, a friend of Chateass and Bairon, - Me De Stael will be spy Napoleon! .. "-" Very, very might become, objected to the B.-Napoleon's B. - Napoleon was such a festival, and - Me de Stael a preparing thing! ".

A few years later, Gogol in the "Dead Souls" will give an eloquent analogue to this scene, bringing a "sweeping assumption" of the inhabitants of the provincial city about that "that there is no chischiki disguised Napoleon" ...

4. Patriotic War in the works of historical fiction. Three vintage Russians

Romana

Let us dwell on the fate of three forgotten writers. They do not accidentally attract our attention to the way, addressing the development of Russian historical prose, it is impossible to bypass Rafail Zotov, one of the most prolific novelists of their time, the activities of Nicholas Grech, not less worthy of respect: he was not only the author of one of the most popular novels, but noticeable (and Not unequivocal!) The figure of the literary life of the 10-30s, the creator of the kotrel-like educational books in the Russian language, finally the writer, / who left us interesting memoirs. Nikolai Konshin is less known, but his personality constantly paid attention to researchers: in his fate and his work, the most characteristic features of the era of literary romanticism were reflected.

So, these writers are also interesting today, and their novels and now remain not only the monument of the literature of the past, but they are able and worried about us, and lead to reflection on important issues.

Under the court of Paul 1, the palace grenader Mikhail Zotov, who was distinguished by an extraordinary force: he could carry a person on an elongated hand and, surprisingly the public, easily threw the horseshoes. This is an officer, the grandson of Batu-Khan, the brother of the last Crimean lord of Ghgin-Gurya, the son of Tatar Ataman, was Father The future writer Rafail Mikhailovich Zotov (1795 - 1871). My mother was a simple peasant ...

Endowed from nature outstanding abilities, young Rafail, after graduating from St. Petersburg gymnasium at the age of 14, perfectly knew German and French and was a passionate lover of literature and dramatic ideas. Therefore, he did not accidentally arrive at the service to the chief director of the theaters of Ober-Camera L. Naryshkin. For a short time, however, this service lasted: Introduced 1812, I turned the fate of Russians. Performed by the patriotic impulse, the sixteen-year-old Rafail Zotov enters the militia. On September 5, together with his column, he leaves the northern capital and since then until the end of a campaign with complete dedication (he was wounded 10 times) participates in the anti-Napolation company, passing from the Russian army to the whole of Europe. Peripetics of his military fate

Zotov will later truthfully describe in the "stories about the campaigns of 1812 and 1813 of the ensign of St. Petersburg militia".

Upon returning from the campaign, he resigns, marries in 1816 on M. I. Piculina and with his head goes to theatrical life. Being from 1818 to 1836 by the head of the repertoire of the Russian theater, he writes for the scene and translates. His theater heritage is more than 100 plays in verse and prose. At this time, appear on the stage of his work. So, in 1818 he was presented at the St. Petersburg theater "Ermak", and then the Opera "Kulikovsky Battle", followed by "Alexander and Sofia or Russians in Livonia", "Yohnna's youth, or the invasion of Tamerlan to Russia" and others. These productions were distinguished by the definity of the author's attitude towards events, burglar monologues, extraordinary coincidences, spectacular scenes; Heroes here were clearly delimited on positive, decent, with "bright soul" and negative, unworthy, dishonest. This kind of straightness is observed in the prose R. Zotov, the style of which had some impact "theatrical thinking of the author."

Perhaps, by this time it also includes his acquaintance with Pushkin, Gogol, Lermontov, who sometimes in the evenings

him looked.

In 1836, quarreling on one service case with the omnipotent director of the imperial theaters of A. M. Gideonov, Zotov called him a duel. It entailed his resignation and closed the doors to the service career. He earned a fifteen years to life, - making a sample from political foreign publications in the heading "Overseas Izvestia" for the Grech newspaper "Northern Bee". "So he interrupted ..." From the Kulka to the Rhozec "] as they say, and lived, not diligent, with a sin in half, nor Shalko Narotko, - recalled one of the contemporaries. - Between the four and five hours of the day of Rafail Mikhailovich, it was possible to meet in winter in Bakesh with a beaver collar, in the summer - in a thick coat, with a cane in his hand on Nevsky Avenue, where he walked, graduating from work, singing about himself a opera motive and going through the thought in the former Non-return time ... "Recommendance again helped the case. Once in the "Northern Pchele", Zotov placed Faken on the opening of the Annunciation Bridge. In Faken, there were poems that seemed to be a very flattering minister of communications of the Clastic Clapper. He suggested that the zotov is a member of the message board member. But this will happen in 1852.

In the meantime, the novel of the novel wrote to him with the enthusiasm of Zotov: in the thirties, Niklas, Bear Lap, Ataman smugglers, or some features of Friedrich II, are published, the historical story "Student and Princess, or the return of Napoleon from Elba Island" and "Napoleon On the island of St. Elena ", the five-party" military history of the Russian state "," The coat of a whisk, or a trildie. The historic romance from the times of Elizabeth and Catherine, "in the fortieth -" Borodino core and Berezinskaya crossing "," Fraceabolo, or recent years of Venice. " In the fifties, "historical essays of the reign of Emperor Nikolai I" appear, "mysterious forces, or, some features from the reign of Emperor Paul I", "Two sisters, or Smolensk in 1812." This is not a complete list written by Rafail Mikhailovich Zotov.

Interest in history accompanied the writer all his life: he was deepened in Russian antiquity, then she was recent military time, he wrote about the epoch of Alexander I, about the greatness of the Russian Army -Sibers, about the glorious people of the Russian army. He, the "old servant", was inherent in the sincerity of civil-didactic beliefs, the soldier's rectilinear clarity in the submissions about the debt, honor and oath ...

The active character of the writer was manifested not only in numerous literary experiments. He was concerned about the benefit of Russia, "arrangement of state affairs". He performs with a variety of projects that have the goal of universal well-being. It writes about the need to build the railway between Petersburg and Odessa, it is submitted avenue for the protection of Russian, rivers, about the establishment of civil guards, about the new highway, or about the universal military service for no more than three years, about helping the poor ...

Among R. Zotov Romanov "Leonid, or some features from Napoleon's life" was one of the most popular; He endured four publications, which testified to the readers to him. This popularity was explained primarily by the addiction of contemporaries to the historical genre: everyone reached for history. "Nowadays," wrote Peter Sumarokov in the preface to his own stories, - thousands of romance are bought away, read and praised, maybe only for the fact that the magic word is touched historical " But not only in this case. When the novels of Dostoevsky, Tolstoy, and the former Antosha Chekhonte became already famous for Chekhov, - Zotov published, reissued; The last luxurious publication of one of the writer's novels was reached by Sotin in 1905. The reader was usually fascinated by Zotov's plot: the events of one another are unexpected indifferent here, dozens of unforeseen (often almost impossible) coincidences, surprising incidents were literally not allowed to come to his senses.

The story is saturated with the mention of the most famous commander, diplomats, government officials, they all seem involuntarily face the main character of the novel, the face created by the imagination of the writer, talk to him, take part in his fate. Thus, not the hero acts in history, and the story serves as a reason for the story of

unusual hero.

In how fate makes shape, there is a fabulous hyperbolic incredibility: Leonid is successfully fighting against Napoleon, and then in an amazing way, without leaving the thoughts of his fatherland, it turns out to be in his service, even performs the role of his spy in Austria and passing through the mass Adventures, returns to his homeland.

"Turns" of events in the novel were determined by an amazing case chance. Here, for example, in martial arts with a mass of French soldiers, already almost overturned by them, Leonid falls by the Palash on the Watching Wheel on the wheel; The smoldering end of it concerns the seed of the gun, the shot is heard, and the hero is saved, - swept over the wheels to the soot. The author wonderfully leaves the alive and other hero - Eugene: "Eugene was shot down from his feet, and academy squadron rushed through him. According to some incredible happiness, which, however, is so often found in war, no horse has come to Eugene, and when everyone was rushed, he ... went slowly to the forest ... " A lot of similar in the novel, but these miracles are on the verge of likely - it could be that. It happened!

Amazing and the feats performed and the hero performed. Leonid twice saves her friend Eugene, then his sister Natasha, later - a soldier of Varlam and many others; He barely captures Napoleon's captivity, withstands the fight against the battery with a premium of French soldiers, prevents a voluptuous rascal to Selmar to deprive the German girl; Skillful actions destroy the whole division of the French army and so on by the regiment, etc.

Leonid (this name means in Greek Low), Self-deception designed to admire the imagination of everyone, always suddenly triumph, slips unscathed out of the most, it would seem hopeless circumstances. He is sobering examples of nobility, modesty, courtesy,

god-fearing and at the same time - courage, determination, dedication, kindness and sense of duty.

At the same time, the hero was the "ideal" son of his century and his environment: a decent, deep and sincerely devoted not only to the Russian emperor, but the very idea of \u200b\u200bthe "Askannik of God". A degrading in front of any vengeance, he considers him a debt to serve him, although deprived of blind loyal fanaticism and always retains his human dignity. At least he is all the power of the soul sincerely seeks good, as he understands him, to beauty, as he feels it. In short - he seeks to be a man who comes noble, according to the laws of honor. It is these features that marked by the author, one way or another attract

our sympathies.

Recurrements of historically explained loyal feelings, the peculiarity of patriotism, the professionable hero, will not prevent the modern reader to feel the true patriotic sentiments that dominate Russian society during the French invasion of 1812, and sympathetically respond to the soul on the sincere impulses of love for the Fatherland. Isn't it forever modernly said by the Zotov Hero Leonid about patriotism: "God forbid that this feeling never weakened in the hearts of Russians. The first day of indifferees of our to Fatherland - will be the last day of his glory and power. God forbid that this feeling never weakened in the hearts of the Russians. The first day of indifference to our fatherland - will be the last day of his glory and the power of the life of God or the children nor the grandchildren of our live before that. "Draft, Leonid does not always withstand the test of life, makes misconduct, rash steps. But his mistakes are so clear and, as a rule, involuntary, his repentance is so obvious that ultimately, despite its oddities and prejudices, some social damage to ideas,

defining in relation to other people, and even moral drops that occur due to minute hearts, the halo of the hero and the person of all the advantages remains with it.

We would be in vain to search in the Roman R. Zotov's desire to the deep penetration in history, which was distinguished by the best samples of the Decembrist historical prose, the most significant works of N. Field, M. Zagoskin, and I. Lazhchchnikova or an unsurpassed story N. Gogol "Taras Bulba " Historical events are Zotov, as already mentioned, scenery, background, on which dramatic incidents from the life of the chief hero are played. Wanting to give these events a special fascination, the author, as it were, "caresses" them under his idea and for this introduces the mysterious figure of the Countess B. into his romance, which is the secret organizer of many interstate relations and military clashes with its intended outcome. At the same time, one of the main accomplices of anti-Napoleon plan is ... Talleyran.

Here (as in other cases) Zotov is based on not only on fantasy. After all, "complex" relationship between Napoleon and Talleyran is a historical fact. Already meeting Alexander I and Bonaparte in Erfurt (September 28, 1808) found an surprisingly position of Talleyian, who was convinced by alone the Russian emperor "save Europe", for "Russian Sovereign must be an ally of the French people," and later speaking as "Anna Ivanovna" spying in favor and at the expense of Emperor Alexander I. "

Or, for example, completely complies with historical data that for one and a half years before the start of the Russian company Napoleon began "not only to reflect out loud about war with Russia, but also seriously study this question." A similar fact presented in the novel by the zotor by the multi-way monologues of Napoleon and disputes arising in its environment is depicted with naive frankness, and the psychological prepayment of verbal battles is noticeably simplified.

So, in Leonid ... "there were a lot of author's vitality, fantasies on the topic of history, which was quite consistent with a romantic attitude to the image of the past; In a partly, these were even "techniques", returning to the experiments of pre-gate prose. However, the successes of the domestic historical novels, the personal life experience of the author, the influence of Walter Scott could not but affect the artistic style of the novel, and the visibility of reliability was one of the guards of his plot. Therefore, many household scenes, some military and "secular" episodes, the most developed intrigue, finally the "screensaver", in which the broad panorama of the era is given.

Historical inconsistencies are forgotten in the bright dynamism of events. Constantly emerging moral issues are forced to monitor the "fluctuations" of characters and circumstances. Thus, the contours of the events of the entire history of Napoleonic wars are still scheduled and the most importantly - sentiment and sensations of their participants (a lot of zotov knew on his own experience).

It is believable in the novel some secular, provincial, army intergroups, caste relations, and the author, naturally, transfers them from the standpoint of his warring and based on historical realities.

Recall in connection with this that Zotov spends his hero in many ways through the same events and encounters many of those social and historical phenomena, which many years later will artistically understand; Ji. N. Tolstoy in its world-famous realistic Romain-Epopea "War and Peace": here and battles, and famous diplomatic meetings, finally secret international societies (Masonov, etc.). By the way, the Roman R. Zotov was L. Tolstoy known, among many other books served him with the material during operation ...

However, in the artistic development of the material between these works, the abyss is truly running!

Not only the life of the hero, but also the features of the time are recreated by R. Zotov - a member of those events, so to speak, superficially on the household level. Tolstoy - even the facts of the very personal life of the heroes, as it were, connect to the main task: to reflect in the historical movement "Folk thought". Hence the multifaceted historical events, and their complex reflection through the experiences and reflections of various persons in different public levels and represent the widest layers of the people.

Tolstoy fills the circumstances of the heroessignificant Weeks of time, introduces them to the world, "where the future was preparing, on which fate of millions," private events in the overall picture comes, which is felt by the reader as inevitable in its objective pattern. After all, almost every epochal event is reflected in judgments, intentions and actions of many Tolstsky heroes, reveals the features of their characters, reveals their relationship to each other and affects not only their fate, but also on significant changes in their inner appearance. From here - the truthful connection to the history of the "most ordinary simple individuals and

events related between sobody art

necessity. "

We will not, however, judge R. Zotov for the fact that he is not Tolstoy. That surface objectivity, which is created by him - eyewitness, contains a lot of valuable for us; Even out of naturalistic elements, from numerous

secondary facts make up mosaic, but nevertheless

not interesting picture ...

Meanwhile, the modern R. Zototov critic was to the writer merciless. For example, COP. Field, estimating the novel as "the rack of incidents coming from horror when they are broughtliers", the denying truth of the image, gave a harsh officially as a result of the hero and his random, moral drops and believed that the author can only praise for that "he wanted to write a good book." Surov was V. G. Belinsky, ironically noticed: Zotov "has an amazing ability to write fruit and widely: reading one part of his novel, you think that you read entire five novels."

Later estimates were fair. Thus, the reviewer of the "Historic Bulletin", noting that the writer used at one time great fame, indicated that "R. Zotov, inferior at the strength of Lazhchchnikov and Zagoskin, occupies a place in the literature directly behind these novelists, "and noticed that, unlike the names of the names of Zotov," depicted persons having a worldwide meaning. " This note it was true that in the Zotovsky novel "In addition to companies of Napoleon from 1806 to 1814, diplomatic intrigues, secret societies, conspiracies, hostilities of that era, depicted the morals of our society, the loss of landowners who used all the outrageous rights of serfdom, barely endured The ignorance of the people under the oppression of eternal slavery, the life of our soldier under the severity of cruel disciplinary conditions. "

All this will notice in the novel of Zotov and the modern reader.

[After two from a small month after the beginning of the Patriotic War of 1812, the first issue of the weekly historical, political and literary magazine "Son of Fatherland" was published in St. Petersburg Nikolai Ivanovich Spring (1787-1867). The task of this publication was to inspire Russian society to combat Napoleonic invasion. At that time, patriotic forces were rallied around the magazine. It was printed inspired "Message to Russian" Adjunct -Professor of the moral and political sciences of the Tsarsko Selo Lyceum A. P. Kurtyna, who claimed the idea of \u200b\u200bpeople's heroism in the fight against the invaders, Patriotic Basni I. A. Krylov and many other writings performed by the sacred hatred of conquerors, a high integrity. The patriotic goal was placed in the journal of appeal and many political articles, as well as a series of anti-drug cartoons. This well-known contemporary magazine flourished thanks to an energetic, well-educated editor who has already experienced journalism (together with other writers, he has already published three magazines: "Genius of Times", "Journal of the latest travel", "European Museum").

The foundation of the "son of the Fatherland", consolidation around him progressive writers was not an accident in the biography of N. I. Grech, journalist, philologist, writer, the diverse activity of which quite deserves the attention of the descendants. It would be wrong, having remembered that arose later, after 1825, Soyuz N. I. Grech with F. V. Bulgarine and even a well-known confrontation with A. S. Pushkin in 1830-1831 (in connection with the publication of the contempor magazine ), unambiguously consider the writer with a hopeless conservative and a champion of orthodox monarchical politics. (Activity N. I. Grech is more difficult and brought a lot of benefits of domestic literature. It is enough in connection with this to mention friendships that have been preserved at Grech with Pushkin until the end of his days, or remember one of the final essays of the late N. I. Grech "Notes About my life, "" containing by no means not well-free, but very critical judgments and the life-speaking sketches of the monarchist tip, to this day causing items. We must not forget the merit of N. Grech in the field of philology: his "Russian Literature Study", "Experience" The stories of Russian literature, "practical Russian grammar" and others. In a word, proximity to the Bulgarine does not define the face of the social and literary biography of N. I. Grech and especially - Grech - a writer, known to us by the novels - "Trip to Germany" (1831 ) And the "black woman" (1834) ".

In the first of these works, written in the form of travel entries and letters, following the traditions of the traditions of moral and doedactic novels, Greek appeals to the lives of St. Petersburg Germans, talks about the life and history of romantic love of noble and enthusiastic

Mstislavsva. The second is also not exhausted by the "family history" and tells about the most different, sometimes mysterious phenomena. It is not by chance that this work was fond of contemporaries ...

Not only the area of \u200b\u200bhistory, but open by romantic sphere of fantastic, rising to folk motifs and containing the "Gusts of the Human Spirit" to an unknown, mysterious, high, appears here to read here. In mystics, in hidden, incomprehensible phenomena, fraught, as assumed, the unlimited possibilities of the authorities over the surrounding, in the still incomprehensible consciousness of a person with secret connections with the "Forces of Nature", influencing our lives, the thought and feelings of people as if * penetrated "other The world ", in which self-affirmation of the personality is unlimited. Here, romantic writers dragged material for "wonderful samples. Often the plot of fantastic works developed in connection with the image of surrounding everyday life, with a narrative of the life of modern society or against the background of well-known historical events. This works belongs to the "black woman" of Grech. Her main character, prince Alexey Komsska, an educated young man who lives her spiritual life and is an example of kindness, responsive immediacy in relation to people and internally concentration, - often forgets about the sad surprises of life and does not know how to imagine how the goats can do The people around him, like his consolidated sister Alevty, nephews of "Egoist and souseless" or insidious Lemeshikov and Strana Roggy. But whenever it is misfortune, bitter disappointment or deception expect him - suddenly Black woman as a vision preceding a gloomy event or warning from

fatal act.

However, the writer did not confess only the blind faith in otherworldly. His look at the mysterious dialectic, and in this one can make sure of the arguments of the hero about "visions": "Is it a thought of the imagination in visible forms, whether the memory of the former chance, which in memory disappeared ..." at the same time Kemsky thinks that "visions in reality when a person has all the reason and all the feelings," "have a connection with ... the mental movements that have been true and future", and the "the voice of the spiritual world" is permanently, "who is gifted by his ability to hear".

Alexey Kemsky just belonged to those who make the voice of the spiritual world and generally belong to people

extreme sensitivity.

At the same time, it is a model of true enlightenment and humanity and heads the gallery of the wonderful heroes of the novel, always seeking true humanity, sincerely fit and kindness to people, towering culture and impartially opposing themselves to ignorance, coarse illness of morals and human defects. Maybe somewhere in the evaluation of heroes the author and sins straightforwardness, but his sincere sympathy for good and beauty and equally sincere condemnation of confusion and heartlessness, the certainty of these moral evaluations cannot but cause sympathy from modern readers. Grech's hero is vividly responding, and suggesting the nobility in others the most characteristic of him, it is often incredible in very difficult circumstances. However, the purity of thoughts, faith in good, the power of the spirit of the presence of Komski, noble friends-acquaintances, who were met by him in a life path, finally warn him about the danger - ultimately help him to post the korestolubovy and obscene enemies.

In his "spirituality" and insights, Kemsky is not alone: \u200b\u200bAnother uncommon person is depicted in the novel, "Naturalist, Testor of Nature Sacraments" Alimari, who has such abilities and at the same time convinced that scientific recovery will discover someday the reasons for what seemed to be inexplicable miracle, "and all this" will seem to us in the form of a phenomenon or the action of nature, understandable; and even in the nature of things necessary. " This kind of views make up the unorthodox religiosity of an alimar, which is more like a peculiar moral and philosophical system of Christian sense. The wonderful this Inogen is characterized by the most kind of character properties, and therefore his friendship with our hero is clear.

We have reason to disagree with a number of scientists of the views of Aliari, but we cannot do not sympathize with the general direction of his aspirations for spirituality, to the high and beautiful in humanity, the aspirations he follows

all ones life.

All true noble characters of the novel: Alexey Komkov, Alimari, Natasha, the artist Berilov and others unites not only benevolence, but the sense of duty is highly represented by them. It invariably manifests itself in its peculiar patriotism, that sacred feeling, "which is forever causing a person to the only, beloved Fatherland, to

his people. "

Many years after the publication of the "Black Woman", in one of the letters to V.Ganke (1847), the divided German N.Grech fully determined his patriotic aspirations, defending Russian identity and declares of a sense of hostility to him of some ingenians "for the obvious and vowel attachment

to ... Slavic Fatherland ... ".

Therefore, in war, selflessly serving, "animated some kind of higher force," is submitted by Kurski "his comrades and subordinate an example of brilliant courage", ready to "fight to the last drop". Therefore, even Alimari, "Italy by origin, a Catholic for religion, the Slav of Mother and Russian at the place of birth," the sons loves her ALMA MATER: "I was born in Russia," he says, "I hope and die in Russia: Her glory and nobility of me are precious." Therefore, he sincerely grieve, when "legends and ruins of the sacred antiquity, Parental covenants ... - All this is exterminated by the integral influence of egoism, the authorities and greed of gold ...". These mood of heroes are undoubtedly relate to the characteristic features of the era.

Positive heroes of Roman also combines a feeling of true dignity that determines their scrupulousness and conscientiousness. Conscience and shamelessness - this is what inspisely distinguishes people. This thought, developed in numerous clashes of heroes, nevertheless always deserves the attention of the reader. Therefore, despite some artificiality in the clutch of the incidents, the idea of \u200b\u200bthe novel, we do not leave the sympathy of the hero, which supports and unreacted attention to the development of romantic intrigue, in the sophisticated enseeration of which N. I. Greek reached, can be said, high mastery.

By the way, the poetics of his detective-faewastic narration influenced fabulously -fantastic prose of his time, giving her examples of tense fascination of the fabul.

The life and adventures of Prince Vyazemsky are located in the center of the novel. Images of the past: the rapid time of Suvorov's campaigns and Napoleonic wars does not remain forgotten. Moreover, the participation of the heroes of the "incidents of the era" patterns: according to the already in those years, the facilitated ideas, all worthy of respect, the person had to beat for the fate of the Fatherland. The writer introduces historical persons to his novel: Suvorov, Bagration, Napoleon and many others. Roman comes to the reader's hearing of the editions of the end of the XVIII - the first quarter of the XIX century. True, the author did not strive for any full or deep image, and the lives - to be heroes goes in the novel as a whole as if in itself. But many characteristic phenomena of Russian public life have clearly affected the work of Grech, and quite realistic. It is enough to mention the wardings of the Komkov at the receptionist notable specimen, the gallery of various official types, perfectly characterizing the routine Petersburg bureaucracy, the dirty deltsi her, like a shameless rogger, or the "new" youth, similar to Gregory,) Platon and Kitty, Komkov's nephews.

On the slope of the years, the writer very categorically spoke of historical works: "The story is only then good when he speaks the truth, not shy by the departing of someone, without any purpose, in addition to the presentation of cases, as they were." And yet, historical events ended up the complete picture, complemented the detective fantastic plot, and all this in general gave the Roman Grech to the Pestry fascination and made a peculiar blister of the 30s of the nineteenth century ...

On June 7, 1834, a "black woman" acquired a "black woman", .. in the article "Literary dreams" (1835) V. G. Belinsky has repeatedly mentioned this work, with his oppositeness and irony, he took N. Grech To the "geniuses of the Smpdine period" and later called him a "venerable and famous author of the" Black Woman "," obviously, not counting his romance deserving a serious assessment. This is understandable: in the heat of literary controversy, claiming the principles of realism and historicism, he could not otherwise perceive the artistic reality, to which he belonged to Roman N. Grech.

And many contemporaries of Grech such a difference was still not available, and often, without understanding the essential dilution of fiction N. Grech, A. S. Pushkin, compared the "black woman" with this Pushkinskaya tag. Other contemporaries assessed the novel as the first attempt in the literature to portray the "Communication of a man with nature", where the spring was elected "wonderfully natural, although inexplicable yet", as an essay in which the author managed to "correctly painting the internal work of the spirit in the eternal struggle between good and evil, on the way to personal cultivation. "

Meanwhile, after some time, V. G. Belinsky again touched the creativity of N. Grech and admitted that the "black woman" "read soon and with pleasure", and it distinguishes "a wonderful story, many well and rightly captured traits from society And the time, lots of sensible thoughts, comments, even the warmth of the story - all this makes what "Roman is read". " It seems that the modern reader, even armed with a critical thought, is not without interest, this work will read ...

Among the many books of the Pushkin Library there is a small Tomik: "Two Tale N. Konshin St. Petersburg. 1833 (from his notes about Finland). " On Forzace, it is written: "Alexander Sergeyevich Pushkin from the author." The sheets of the book are cut: Apparently, she was read by the poet ... On December 22, 1836, in a letter, a letter, with the assistance of Pushkin, the place of the director of the Tver province, the poet, in particular, wrote: "... Having taught the place of Lazhechnikov, whether you will not do , following the example of your predecessor, and novels. And so much good! ". It is difficult with the proper degree of reliability to argue whether Pushkin's Roman N. Konshin "Count Oboyansky ..." But his advice testifies not only about the desire to merge his acquaintance for the creation of historical works, but suggests the author the ability to fulfill this advice.

Nikolai Mikhailovich Konshin (1739-1859) did not possess large artistic giving, but his literary works were spotted by contemporaries. However, as his biographer noted remarkable "the most nails of his life - a lovely, a frivolous officer-player turns into a passionate literature and his diligent worker, then in the official, finally in a serious teacher who is entrusted to lead at first, and then the highest educational institutions. Being closely familiar with E. A. Bratynsky, he entered the number of members of the so-called Pushkin mug, K. A. Deliv engine, E. F. Tyane, in. A. Ertel and others, becomes in 1821 by a valid member of the Volny Society of Russian Literature Fans. Konshin printed a few his poems in the "well-dimensional", "Enlightenment and Chargen Competor", "News of Literature", "Nevsky Almanac", "Russian Personal" and other publications. In 1830, he acted as the publisher of the Almanach "Tsarskoye Selo", which entered the poem A. S. Pushkin, A. A. Deliv engine, E. A. Vorotnsky, F. N. Glinka and finally Konshin himself.

He was a notable participant in the literary life of the 20-30s, is known not only as a poet, but also as a translator. So, in 1822-1823, Konshin published in the "Enlightenment Competor" two reversal from the "History of Charles V" of the historian of William Robertson: the first - about renunciation from the throne and the death of the king, the second - about the Order of Jesuit. Later he publishes in the same magazine Speech Musico about French, etc.

Literary activity was not interrupted by the military and civilian career of the writer. Being still in 1811, it was produced in a field artillery ensign; He participated in the company of 1812, then in 1814 - in the entry of the allied troops to Paris. After a short resignation - Konshin again in the army, where, as already mentioned, served by a regular commander in Finland.

Since 1824, he is the Assistor, an official of special instructions at the Kostroma State Chamber, and since then until the end of the days serves in different institutions, first the ruler of the Tsarsko Selo Palace Board, and then in Tver, Yaroslavl, and commenced in 1856 in the rank of valid Stat adviser.

Three years later, however, he again received an appointment. In June 1859 he headed at the place of service by the main inspector of the School of Western Siberia. But I could not accept the position of Konshin: having left the patient from St. Petersburg or having witrated on the road, he had a long sick and on October 31, 1859, he died in Omsk.

Konshin, like his contemporaries, "visited this world in his moments of the fatal" (F. Tyutchev). OR met the Patriotic War of 1812 by an officer of equestrian artillery. He was not destined to take part in the battle under Borodin: because of sudden illness (strong poisoning) he was sent to the rear. But the first months of the war were full of many tests and enriched a young officer with a lot of new impressions, most importantly of which are a new mood in the army who spent on a campaign against the Supostat - the conqueror. N. Konshin's memories with comprehensive appreciation, frankness and amazing simplicity was then outlined in the notes of 1812.

Participation in the historical campaign in Europe begins for the writer in the spring of 1814, when, together with its battery, he falls into Warsaw, and then - in Krakow and Shklov. Konshin meets here with a French teacher in the Shklovsky corps by Archpriest Alexander Starinkevich, the man of "wonderful mind and modesty", the owner of the selected library "in all languages." Under his influence, "Konshin is very fond of reading." It is possible that historical essays are already starting to hold it at this time. The previously mentioned translations were, of course, only the beginning of his admission to history. Meanwhile, travel on business affairs in wine, Liflandia, St. Petersburg, then transfer (1816) to the Moldavian army, return to the capital, service in Finland. From everything he removed a lot of new information. His closer observation helped to see and remember many colorful figures, paintings by local life, bright episodes of hiking life, and this served as a source of his future writings. But the literary concepts of Konshin are still painful to the sentimental principles of the times of Karamzin.

A year after the publication of the "two leaders" N. Konshin produces his romance from the Russian history "Count Oboyansky, or Smolensk in 1812. Disabled stories "(1834).! There is this work to dozen years earlier - it would probably become a literary event. But after "Roslavleva ..." and "Yuri Miloslavsky ..." M. Zagoskin and many others, Roman Konshin seemed in artistic attitude to a weak imitation was passed, although it contained a number of interesting episodes, as well as a bright household material, based undoubtedly, On personal impressions, finally, the images of some well-known participants in the Patriotic War, for example, Denis Davydov, depicted under the name of Denis Svislocha.

However, events associated with Varyina 1812 make up a smaller part of the novel. The basis of his plot is the story of the Chart of Oboyansky and the landowner of Boguslav.

The life of the heroes, outlined often with romantic naivety and conventional, it causes an understanding and sympathy for narration, by no means deprived of historical and psychological interest.

The categorical assessment of the novel V. G. Belinsky was for N. Koshin by irreparable blow. Since then, he has not tried to write novels. However, domestic history continues to pass it. Permanently leading historical locations, he publishes the article "A look at the ancient Tver" and then completely immersed in historical research, finds a new list of Domostrous in Novgorod, prepares the works "Boyarin M. B. Shein", "Something about the king

Boris Godunov "," Heretics of the XVII century "and other studies. Many of his work remained in the manuscript ..

Three old Russian novels are only a small part of the enormous continent of Russian mass fiction in the 20s of the 1920s of the XIX century, which served in many ways to fruitful soil for the artistic development of domestic literature. 1 Our classic grew up at the takeoff of those ideas that clearly sounded already in a romantic prose. These were the ideas of patriotism, selfless love for the debris, the ideas of humanism and the approval of the integral rights of the individual to the freedom of thought and the words, deep sympathy for the person and the involvement of the whole world. Bright samples of high morality, imprinted by romantic fiction, were organically perceived by the writers of subsequent generations. And we will not be mistaken ^ if we say that in the spiritual atmosphere created by romantic literature,

tolstoy and Dostoevsky, Leskov and Czechs were formed and that indirectly its influence is felt and so on. From the first romantic works to the tops of the Russian romance classics, the path of the development of the human spirit in all of our literature is running. So do we have the right to forget it? And should not be all wider to discover the reader new layers of our literature, her forgotten heritage, her inconspicable wealth?

V V T.

5. "Hot Layers" 1812

Thirty years - the time of a peculiar "memoir explosion." One after another, books of memoirs of participants in the Patriotic War - famous heroes, well-known and not too well-known writers, simple "self-lovers of certain significant events, etc. Some of them were written for a long time ago, as they were called hot pursuit, and only now they saw the light, others were the result of many years of work, but all together were the widest and multi-stage panorama of those distant events that could create only them, "People of the Twelve Year" .

Almost thirty years have pasted in the archive of the note M. F. Orlova on the surrender of Paris, which in March 1814, on behalf of the Russian command, they received their author, a talented military figure and a diplomat, a brilliant writer and a scientist, the future Decembrist Mikhail Fedorovich Orlov. Written in the mid-1910, immediately after the end of the campaign, they are also striking by artistic disorders, the depth of thought and gloss. Here, for example, his arguments about the national character of Russian and Frenchmen: "Nothing does not show so little with a true Frenchman, like a real Russian. These two creatures are completely different, converge only at two points: instinctual swelling of the mind and careless contempt of danger. But they are not tight in this. The Frenchman grabs the idea itself better, he controls his delicately, arterily decorates it, more extracts witty conclusions from it. But, on the other hand, it is easily blinded by the brightness of the most brilliant assumptions of his assumptions, enjoys his tendency to utopias, wanders in distracted details and often neglect practical conclusions or extends far beyond the proper limits of the logical consequences of their first grounds. Russian, on the contrary, consumes its mind differently. His horizon is closer, but the look is more faithful; He sees less things suddenly, but it seems better and clearer the goal that he wants to achieve ... Give both the nations to develop some idea, some incident, and you will see that French workout will develop beautiful leaves, magnificent flowers, but I doubt So that the feet collection surpassed or even compared with what under the same conditions will be able to get Russian. In relation to courage, the militant virtues of both nations are more similar, but nevertheless differ among themselves. Russian more However, both and the other proved that when they are under the authorities of a skillful commander, then these qualities are not so exclusive in them so that they cannot success with success and glory to go from one to another. " Thoughts these are the more noteworthy that they developed them by M. F. Orlov in conversations with French officers in their battle camp, when he fulfilled his parliamentary mission ...

In the same 1810 He began writing his military memoirs and Denis Davydov. "I am writing that I have seen within 1812, 1813 and 1814 and has already finished the first part, that is, before the occupation of Moscow. I am now digging - an extensive field Brahi !!! ", - he writes in 1815. And three years old "later:" In idle hours I am engaged in order My search diary (i.e., partisan actions) and almost half wrote. There, I'm all: Duener Lee is good, but my feelings and thoughts are everything there. "

The appearance of these notes is a Russian reader, it is necessary to believe, waited with a special look: The name of the famous poet-partisan was one of the glorious names of the twelfth year. Solva about his exploits went throughout Russia. The loud fame of the poet Gusar, accompanying him in the 1800s, during the Patriotic War I turned into the widest glory of the National Hero.

Davydov loved to repeat that he is "the poet is not on rhymes and footsteps, but by feeling" and above all - "on the fall of the war of military operations." It was his style, his "handwriting", which with a special brilliance; With a special brightness, he manifested itself in the Patriotic War when, at the head of major partisan detachments, he performed bold raids on the reasons of the Napoleonic army and won a number of brilliant victories.

Military talent Davydov highly appreciated the largest Russian commander - Kutuzov, Bagration, Kulnev; He himself most thanked his glory of a recognized partisan leader, one of the main theorists of the partisan war as a war primarily folk. In the "Diary of Partizan Action", he talks a lot about the tactics of such a war, about how important for any military man know and understand the nature of the struggle that the people lead, to know and understand the "people's thought" (as later, after many years a lion will say Tolstoy ). For example, he says, with what alert the peasants of his partisan-hussarov, only because they were dressed in the army form and spoke not at quite a "folk" language. "To each village, one of us was forced to approach and talk to the inhabitants that we are Russian ... Often the answer was the shot or broken with a scope of the ax, from the blows of which fate saved us ... how many times I asked the inhabitants of the world's conclusion : "Why did you believed us by the French?" Each time they answered me: "Yes, you are hissing, my birthplace, it is a thing, we will wear them." - "Do I'm not talking about Russian?" - "Yes, they have any gathering people!". "Then," says Davydov, "I learned on the experience that in the People's War, it should not only speak in the language of mobiles, but to escalate to her and in customs and clothes." And immediately adds: "But not to write a syllable announcement announcements. It insults competent, which see the contempt that they are written by a square adverb, and it is known that written people are considerable to have an impact over illiterate. "

During the lifetime of Davydov, "Diary" was printed only in passages. But in passages, he is a genuine literary phenomenon of his time. Written by a direct member of great events, he combined the irresistible accuracy of the historical document and the wonderful expressiveness of the artistic narration. "We represent military people to judge the dignity of these articles, -You wrote V. G. Belinsky, - as for the literary, on this side they are the pearls of our poor literature: a live presentation, accessibility for everyone and everyone, interest, syllable it, Fast, picturesque, simple and noble, beautiful, poetic! As a prose, - concludes Belinsky, - Davydov has the full right to stand along with the best prosaicists of Russian literature. "

In 1836, the book, which was immediately spoken up. It was the book of Hope Durous "Cavalist-Maiden. Incident in Russia.

The book did not accidentally have such a subtitle "Incident in Russia". Written in the genre of ordinary military memoirs, a narrative of numerous campaigns and battles, the participant of which was its author, the book of Durov, however, had in mind some very special purpose, a special thought, which, apparently, had to make the reader perceive the narration Not just as a story about campaigns and battles, but as something, undoubtedly, a more significant, more important, relevant not only to military life.

"Incident" was the life of the hope of Durov, her fate itself. Incident unprecedented, unheard of - such, the exclusiveness of which was forced to think about much.

"The incident" begins on September 17, 1806, when the young daughter of the Sarapulsky Governing Hope Durov secretly leaves the parental home and under the name of Alexander Sokolov joins the Cossack shelf coming to Don. In the spring of next year, she is taken to the Konopolsky Ulan Regiment, and already in May it participates in hostilities against Napoleonic troops, showing uncommon courage and military skill.

He served some time in one of their most "prestigious" hussar regiments (Mariupol), where she was determined by order of the king, Durov then again translated into the Ulanna, to the Lithuanian regiment, with whom in the Patriotic War, a crowded path from Neman to Borodin was held.

In his perennial campaigns, she led notes, something like a diary. The writer instinct suggested to her that this is the paramount importance of the material that the contemporaries of real life will tell contemporaries about the actual life, about its most important moral and social problems. The spiritual world of a young contemporary, drama and poetry of his moral quest, who became a feat - this is the thought that the first book was the basis of her first book. This feature of the talent of Durone was finely caught Belinsky: "My God, what is wonderful, that for the wonderful phenomenon of the moral world of the heroine of these notes, with her youth ledge, the Knight's Spirit ... With her deep poetic feeling, with her sad, drank breaking on Razdar Military Life ... And what is behind the language, what a syllable and a cavalryman's girls! It seems that Pushkin himself gave her his prosaic feather, and he is obliged to be a courageous hardness and power, it is a bright expressiveness of his syllable, this is the picturesque fascination of his story, always full, imbued with somehow hidden thoughts. "

This "hidden thoughts" was, in essence, the very consistentness of the writer, then, maybe not quite clear, but never left her consciousness that the exclusivity of her fate itself is still largely a consequence of her loneliness, tragic loneliness in society, For which it can represent some interest only in the form of a certain "raritet" ...

This generalizing thought, melting in a deep subtext "Notes," makes them not only the fact of memoir literature, but also a much wider, artistic and large-scale. In Russian artistic prose, they can be considered one of the first and most bright samples.

Conclusion.

In the history of Russian literature, there was probably not a single writing generation that would not show the epoch of the Patriotic War of 1812 of the most lively creative interest and would not contribute to this great theme of its contribution and it is natural. For every generation, seeking to realize its place in the historical process, relates itself with the past, with the social and historical andmorally - Human experience, who defended this past and allocates some new things in it, in a special extent significant face for himself.

So, will undoubtedly, will continue, and from this point of view, probably all literary generations are quite between

equal.)

Everything, except, perhaps, one - in addition, the very first one for which the Patriotic War was not a story, not a legend, but heroic modernity, turbulent and formidable day. The writers of this generation have not only the very story of a certain privilege that they fell to a share to capture great events, witnesses and participants they were, but the fact that for all subsequent generations they became the "people of the twelfth year", that is, they were embodied in The consciousness of your era in all his unique originality and contradictory, in all the multi-deception of his creative manifestations. Therefore, no matter how conventional, distant from real historical reality seemed to us with the pictures, captured, say, in the poetry of Derzhavin or Zhukovsky, East or Waikov, Milonova or F. Glinka, these works will be for us the same living "documents of the epoch", such The same indispensable sources of knowledge, as well as directly documentary evidence of Davydov and Orlov, the same F. Glinka and Durov, Lazhchchenikov and Batyushkova. This literature has a special place. And - special meaning.

Bibliography

"Sons of the Fatherland Pro ... m A. Emelyanov, T ORNATSKAYA 1988 *

" Three Ancient forgotten novel!e V. T Roysky (

"FF" L / "

Course work

War of 1812 in Russian poetry

Introduction ........................................................................	3
1	The beginning of hostilities .............................................. ..	5
1.1	"Military Song" S.F. Glinka, verses A. East and M. Milonova ...	5
1.2	Poetry V.A. Zhukovsky .........................................................	8
1.3	"Hymn LarEpic" G.R. IDRAVIN ....................................	11
1.4	Modern realities in Basnya I.A. Krylova ........................... ..	12
2	Understanding the events of the war ................................................ ..	15
2.1	Poetry F.N. Glinka ..............................................................	15
2.2	Poetry N.M. Karamzin ...................................................... ..	16
2.3	Poetry A.S. Pushkin ............................................................	19
2.4	Theme of the war 1812 in poetry M.Yu. Lermontov ...........................	24
Conclusion ..................................................................... ..	30
List of references used ..........................................	33

Introduction

The events of 1812 belongs to a special place in our history. More than once rose Russian people to protect their land from invaders who came from the West and from the East. But neither before the threat of enslavement did not give rise to such a cohesion of the forces, such a spiritual awakening of the nation, as it happened in the days of the invasion of Napoleon.

The Patriotic War of 1812 is one of the most heroic pages of the history of our Motherland. The victory of the Russian people over the conqueror, who was considered the greatest military genius of the world and by the time of the attack on Russia was embanked by the halo of omnipotence and invincibility, struck the imagination of contemporaries and in now the descendants, serves for some of the subject of pride, for others - an unsolved mystery, for the third Terrible Caution - "Do not go to Moscow!". Therefore, the thunderstorm of 1812 again and again attracts the attention of researchers remaining among the eternal topics of historical science. " Russian oradoy "The contemporaries called her. It deals with the greatest number of studies compared to any other event of 1000-year history of pre-revolutionary Russia.

When the war began in 1812, the whole people had to defend their homeland and poets could not fail to respond to this event ... Recall the verses of Denis Davydov, the famous participant in this war, recall the brilliant Borodino. Lermontov. Until now, the creators turn to the theme of the war of 1812, when they want to remind us of the courage and a feud of the defenders of the Fatherland. The war of 1812 during the entire nineteenth century inspired poets to glorify the heroism of Russian defenders:

Borodino! Borodino!
On the battle of gigids new
You are glorious,
As an army field Kulikovo. (S. E. Rich)

In this course, the main historical milestones of the war of 1812 in the poetic reflection of Pushkina, Lermontov, Glinka, Zhukovsky and some other famous Russian poetics are considered. The goal of the course work was to not only analyze the genre and style diversity of responses to the heroic epic 1812, but also how the arrival in the literature of new poetic forces updated and coverage the topics of the Patriotic War.

The poetic chronicle of the war of 1812 brings to us that the amazing atmosphere of a patriotic lift that has engulfed Russia, that linking the tensions of the feelings, which raised Russian people from different locations and classes to the feat, which shook contemporaries and caused the legal pride of the descendants. Poetic masterpieces describing the Terrible events of those years are strong in their documentary reliability.

1. The beginning of hostilities

Early in the morning of June 12, 1812, the main forces of the "Great Army" of Napoleon with the number of more than 500 thousand people began the invasion of Nemman not far from the city of Kovno. The half-million army, headed by a large commander, collapsed with all his power to Russian land, hoping in a short time to conquer this country. The drawing of the French officer-eyewitty captured this terrible spectacle. Three long winding columns of the troops of the conquerors went down from the high left bank of the river and on the floodplain bridges were transferred to the other side. Napoleon, standing at the very edge of the cliff, kept out of the passage of the troops. It seemed that there was no strength that could withstand the power that the emperor of the French was collected from all over Europe ... However, the power of the French army was divided into the heroism of the Russian people, manifested in the struggle for their homeland. The Russian people got on the protection of the native land. The feeling of patriotism covered the army, the people and the best part of the nobility.

1.1 "Military Song" S.F. Glinka, verses A. Vostokova and M.Mylovova

In Russian literature, the Patriotic War entered immediately, one can say, in the very first days. And the first word about it, as probably, and always at such times, sounded in poetry. It was a word-appearance, a vagault call to weapons, to the sacred struggle with a cruel and insidious "all-European conqueror".

The sound of the pipe was rumored,

Round through the storms of the gross thunder:

The people, debauchery rejoiced

Fantats us with slavery and the yoke!

Now do we sleep alone,

Russia true sons?!

Let's go, let's come together in the rost

Let's go - and in the horrors of war

Friends, Fatherland, people

Watching fame and freedom

Il everything in fell in the native fields!

(F. Glinka. "Military song, written during the approach of the enemy to the Smolensk province")

In verses, there is proud contempt for the enemy, unshakable faith in the coming victory. The guarantee of this victory is the whole history of Russia, the great acts of her "Heroes of Glory."

On August 18, the French entered the burned and destroyed Smolensk. The smoking ashes silently said conquerors that the struggle would not go for life, but to death. The message about the capture of Smolensk, about the promotion of a formidable enemy to Moscow caused an unprecedented rise of patriotic feelings.

Radin, the heroes of Russian power!

Who and where, in what battles

Doesn't your land decay?

Branching gets up in native fields ... -

i wrote M. Milonov in the poetic proclamation "to patriots". These days were created by the Military Songs of Fyodor Glinka, simple, idle and truly expressing feelings, who were burning in the hearts of Russian soldiers.

Remember, brothers, Rosss glory

And let's break the enemies!

Protect your power:

Better death - than to live in slavery.

Slavs Sons! War Sons!

Do not give up Moscow!

We save the honor of the native country

Il add here chapters! ..

A special magazine began to leave, created with the aim of expressing anger and inspiration that engulfed the country to spiritually rally Russian society at an hour of struggle with a formidable enemy. He was called the "Son of the Fatherland". Many poems about the Patriotic War were also printed here, in particular Krylov's Basini, the Diffirable East "to the Russians".

At the end of August, the commander of the Russian army became Kutuzov, and on September 7, the general battle took place, which the legendary word Borodino was held in the talked of our history.

The modern reader is likely to seem somewhat strange the fact that, widely responding to events associated with the war, the poetry of the pore does not give, as a rule, the specific image of the events themselves. Ham, for example, Borodino or Smolensk battles, A. H. East workers in their poem, written in October 1812 does not seek to capture any characteristic details, but creates a picture of a particularly generalized battle, a picture in which from real historical reality Only names are saved; Nevertheless, the rest is allegories, symbols, mythical likes and so on.

Kutuzov like an alkid,

Antea new in the arms is tested.

From reviving land raising high

To gather with the forces to him, I will not give

Passing giant, rotating a dull eye,

Still lasting the fist of the land hits.

Monsters, obedient him, -

Similar to fasteners and chimeras -

Lying around it is ulcerated, soulless.

There Wittgenstein Troim Dragons sting erased.

(A. East. "To Russians")

It was the style of the era, the monumental style of Russian classicism, which goes from its roots in the XVIII century, in the poetry of Lomonosov and Derzhavin. In poetry of the 1810s. He began to be cloning to the sunset, close-up with new literary flows - sentimentalism and predocutantism, "But the time of the Patriotic War was his time, his" starry hour ", for it was his monumental forms, his powerful and multi-time palette was consonant with the high civilian patriotic pathos. which distinguished Russian poetry of the twelfth year.

1.2 Poetry V.A. Zhukovsky

An outstanding phenomenon of Russian poetry was the poem of V. A. Zhukovsky "Singer in the Fish of Russian Warriors" (1812). Written and in fact "in the camp of Russian warriors" on the eve of the famous Tarutinsky battle, it immediately gained enormous popularity and quickly spread in the army in a variety of lists. It may seem strange that it was Zhukovsky, a thin lyric that captivated until the imagination of his readers with the musicality of the melancholic elegi, fantastic and fragrant charming of the feudal ballad, surpassed glorified bards, for many years of the victory of Russian weapons. And maybe it is natural, maybe it is emotional tensions, agitated sincerity, ease and soundness of verse - All what happened in the village of Intimate Lyrics of Zhukovsky, sounded in the work on a socially significant topic, yes, this, which everyone worked, each had on the lips, it was one of the most undoubted creative success of the poet, one of his highest accomplishments. "The singer in the camp of Russian warriors" had an extraordinary success and for a long time determined the poetic reputation of Zhukovsky.

The author of the "hiking notes of the Russian officer" I. I. Lazhechnikov (later, one of the most prominent Russian writers) recalled: "Often in society, the military read and disassemble the" singer in the camp of Russians ", the newest work of the city of Zhukovsky. Almost all of ours were already learned by this Pesu by heart. I believe and now, how did Tyrtea driven to the victory of building the Greeks. What kind of poetry! What inexplicable gift to enthrall the soul of warriors! " Panom, that is, the ritual military anthem of the ancient Greeks, called the poem of Zhukovsky and P. A. Vyazemsky.

The extraordinary success of the poem was explained, of course, primarily his high artistic advantages. Bright imagery, lightweight, elegant verse, freshness and lively vitality of lyrical feeling - all this was noticeable allocated "Pan" Zhukovsky against the background of the archaic other poetry of the time challenged in heavy lats of classicism:

This Cup Vizhnya! Friends, in line!

And the sky is terrible to Dlann!

Block il mouth! Our fatal

Vow to God Brani.

But, perhaps, the most important thing is what the contemporaries saw his special novelty and special attractiveness, it was that in a multicast picture, deployed in front of them, they first felt their time, their world, finally, their war - the most which It was a formidable day.

Of course, the genre, in which poem is written, also entered into a certain proportion of literary conventions and in other samples, including Zhukovsky ("Bard's song over the coffin of the Slavs-winners", 1806), quite clearly closed with traditional odds classicists. However, fully using the artistic possibilities of this genre, Zhukovsky, in essence, very little is considered here with the restrictions imposed by them, boldly goes to reality, to "kind", and this allows him to create a whole gallery of expressive historical portraits, no less rich and colorful than the famous Military Gallery of the Winter Palace.

In the "Gallery" of Zhukovsky are one way or another all the most famous heroes of the twelfth year are presented, and each of them comes in here without fail with a characteristic characteristic feature of him, according to which he especially remembered to contemporaries. Such are the portraits of Kutuzov, Bagration, Raevsky, Kulnev, Platov, Davydov, Figner, Kutaisova, Vorontsova. Introducing them in full brilliance of their martial glory, in the halo, the feat, with which each of them entered the story, the poet sees in them not just a brilliant "Sons of Heroes", alienated and closed in their greatness, but above all the living people, their contemporaries, Members of a single fighting fraternity in which the glory of the "victory leaders" is inseparable from the glory of each warrior. This brotherhood, this family lives a single life, leading a common account and loud victories, and bitter loss. Therefore, as deeply, the personal reader is experiencing and the delight with which the poet describes Kutuzov in front of the shelves, and the admiration that sounds in verses about the "Vikhore-Ataman" of Platov, and that deep sadness with which the singer leads a story about the death of Kutaisov, Kulianva and Bagration.

Subsequently, Zhukovsky still turns out to turn to the topic of the Patriotic War. Already soon the poems of the "leader of the winners" and the "singer in the Kremlin" appear, and twenty-seven years later, in the days of the celebrations dedicated to the opening of the monument to the heroes of Borodin, he will write the "Borodino anniversary". But the "singer in the camp of Russian warriors will forever remain in his work not only the very first, but also the most brilliant, most inspired by his work about the heroes of the Great People's Epopea. "Nobody more than you," Pushkin will write him, "did not have the right to say: voice lira, voice of the people."

After almost forty years, welcoming Zhukovsky shortly before his death, his friend and literary consultant Vyazemsky raised this particular page of his creative biography:

Singer kings, and rati, and people,

He is prophetic your, about Russian land,

In the Holy Brand of the Twelfth Year

Before the glow of the glowing Kremlin

On the rul thunderstorm responding to soul

Judging singer, dedicated the right son,

Like under a gun, he with the lyuring battle

Stood in the ranks of Tarutin's team.

And his song, prophetic evening

He burned the delight of joyful shelves,

And hit the victories for them the forerunner

And a vivid harbinger of enemies.

Zhukovsky himself believed that the events of the Patriotic War, the "right-wing brands with the villainages" should fight Derzhanin. "About the elder! Yes, I heard the voice of the Swan's voice, "he turned to the Patriarch of Russian poets. And Russia heard the voice of Derzhavin, the magnificent sounds of his poem "The Hymn Larepic to the forefront of the French from the Fatherland".

1.3 "Hymn LarEpic" G. Pedzavina

A huge multifigure canvas dedicated to the Patriotic War creates at this time the city of R. Derzhavin. This is "LarEpic anthem to the forefront of the French from the Fatherland." At that time, R. Derzhavin was already sixty-nine years.

The epic of the fight against Napoleonic invasion of Derzhavin depicts as a giant, truly universal confrontation of the world forces, the scale of which can be represented, only by contacting the Giganiy Fancerins of the Apocalypse.

Opened secular door!

The huge beast has existed from the abyss,

Dragon Ile Demon Serpentine;

Around his echidna

From the wings, death and Smeramy are shaking,

Rog Sun Prut;

Retreat of all overwhelming sphere,

Intim in the air pimple sulfur,

Kholmyat breatham Pont,

Pour the night on the horizon

And the axis of all universal is moving.

Run all mortal rejuvenges

From Prince Darkness and Crocodile Stud.

They are root, whistling and everyone is frightened ...

Before the "Prince of Darkness", everything trembles, everything falls. And only one - one in the whole universe - he exposes the punishing sword against him. This is the leader of the North, "smallest, meek, but Drawberny" Lamb, who amazes "Snake-Golyana".

At this immense Ecumenical background, the poet and projects specific historical events, surveying a certain sense in them, some prediction of world destiny. Allegory, personification, biblical and mythological associations, to which he addresses throughout its narration, is sometimes unnecessary, unclear, and even dark; Momens, heavy, archaic in many places and the style of its descriptions and reasoning. But it is Derzhavin. The power of creative imagination, shine and courage of painting, the majestic beauty of the old poetic "verb" - all this makes his "anthem" one of the most significant works of that time. There is in this work and so that Derzhavin surpassed all the events of 1812 at the same time. None of them showed the role of the people in the Patriotic War, as Derzhavin did.

The Patriarch of Russian poets gave the "hymn of the LarEpic" unrivaled and incredit characteristics of the Russian people. He saw and glorified the qualities of a Russian national nature, which with such force, with such a confirmation were confirmed over the next epochs:

About Ross! Ohweigany

The only one, generous,

Great, strong, glory son

The elegance of his kindness!

On the muscles you are tireless

In spirit, you are invincible,

The heart is simple, in feeling kind,

You are fortunately, in misfortunes of Bodr,

The king is welcome, noble

In patience only like yourself.

1.4 Modern realities in Basnya I.A. Krylova.

Against the background of the high-uniform pathetic lyrics of the twelfth year, Basni I. A. Krylov is highlighted.

Bass, as you know, does not belong to genres, in which large historical problems are solved. Basni Krylova - an amazing exception. For it will not be an exaggeration to say that, perhaps, none of the Russian writers of that time did not approach the understanding of a truly popular nature of the Patriotic War so closely, no one expressed a popular look at her with such a clearness, with what the great Russian Basinista did it.

One of the eloquent examples in this regard is the famous Basnie "Crow and Chicken".

Already in the exposition of the Basini, the wings conducts a thought, a clearly opposing point of view of government circles, "the thought of the historical rightness of M. I. Kutuzov, who," anti-dorry to the art of the art, put in vandals a new network and left Moscow to death. " The people believe Kutuzov, understands it in this difficult, but the only right decision is to leave the ancient Russian capital.

Then all the inhabitants, and small, and big,

Not spending hours, gathered

And won from the walls of Moscow rose,

How from the bee bee swarm.

And this is what a significant conversation takes place between the two inhabitants of the Moscow District - Vorona and Chicken:

Crow with a roof here for all this alarm

Calmly, cleaning the nose, looks.

"And what are you, Kumushka, on the road? -

To her with a chicken screaming.

After all, they say that the threshold

Our Supostat. "-" What is the case for this? -

Broadcasting her in response. - I'll stay safe here.

Here are your sisters - as they want;

But the raven is not frying, neither cook:

So I'm not wonderful with guests to get along,

And maybe it will be possible to get started

Cheese, il bone ... "

Conversation and in fact significant. For in this innocent dialogue of two "shivered birds" with the ultimate, truly parable clarity is exposed to one of the complex and very painful moral and social situations of the time, the situation in which the striking misconception of the interests of various layers of Russian society in their attitude towards the Great Nationwide - Defense of the Fatherland. In the carefree speeches of the crows - not just the carelessness of the creature, accustomed to live "how God puts on the soul." The meaning of them is much deeper, more definite, causar. For their external frivolism - a custody intent, a secret hope for friendship with the enemy, with whom she has nothing to share, "in a word, everything that quite definitely manifested itself in the social psychology of the famous part of the highest society of that time.

The thin and sharp epigram is hidden in the Pike and Cat Basna, the epigram on Admiral Chichagov, the inept actions of which allowed Napoleon to slip out of the environment on Berezin. The fife of the "Wolf on Psarn" wants to call the epic - so clearly and fully expressed the wings in it the most "plot" of the People's War. It is not by chance that one of the contemporaries testifies, she liked Kutuzov himself so much. "AND. A. Krylov, in his own hand, rewritten the fancy "Wolf on Psarn", gave her princess Katerina Ilyinichna, and she sent her to his brighter with his wife. Once, after the battles under the red, having traveled the entire army, the commander of our sat down in the open air, in the midst of the generals close to him and many officers, took out the handwritten fables of I. A. Krylov and read it out loud ... With the words: "You are gray , and I, buddy, Sed ", spoken with a lot of expressiveness, he removed the cap and pointed to his seeds. All those present were delighted were this spectacle, and joyful exclamations were distributed everywhere. "

Various "realities" of epochs are read in the subtext and many other Bassen of the Great Russian Basinist, and the insightful contemporaries always knew how to read them.

2. Remove the events of war

On the first day of the new, 1813, the Russian army, pursuing the remnants of the defeated Napoleonic troops, Nemman moved. The Theater of Martial Action was transferred to the territory of Western Europe. There was still ahead and difficult path, heavy, bloody battles, but the most important, the most dramatic period of the fight against Napoleonic invasion was completed: here, on the shores of Neman, the domestic war ended for Russia.

At the end of the Patriotic War in "Military Literature", some calm comes, in general, it is quite natural and explained: the Great National Epopeus demanded deep reflection.

In the image itself, the previous tradition continues to dominate for quite a long time. And it is also clear: its contemporaries write about the war, and it is not surprising that they only as if they continue their former, long-defined theme.

2.1 Poetry F.N. Glinka

The contemporary and participant of the war Fedor Nikolaev Glinka wrote a quarter of a century later, that "the events are giant, tested to the fate of the human race, ripen and ripen in a gradual and insurmount of time. We, "he said," Maybe they saw the first letters of what he would fully read the offspring on the srices of the history of mankind. "

The greatest in the new history of Russia is the event - the Patriotic War of 1812 - also had to "dive in a gradual and insurmount of time." For the true scale of what the Russian people made in 1812 were so huge, and the influence that the People's War had had a historical fate of Russia, so solely that all this could indeed be fully realized only with time, Through years and years.

For example, F. Glinka, who wrote his first military song in July 1812, at the walls of Smolensk, after the war, creates a whole "suite", which reflected (or rather, intended to reflect) the most significant events of the Patriotic War - the battle near Smolensky ("Farewell Song Russian warrior "), Borodino battle (" The Song of the Watch Warrior "and" The wounded warrior after the Borodino battle tells the peaceful settlements about the invasion of the enemy and excites the vigor to fight for the salvation of the Fatherland "), the fire of Moscow (" The song of the Russian Warrior at the sight of the last Moscow " ), the offensive under Tarutin ("avant-garde song") and others. Like the entire poetry of the pore, they are deprived of historical concreteness - events are guessed only by the names of the individuals in them in geographic names. A certain exception is, perhaps, only poems dedicated to D. Davydov, A. Salavin and A. Figneru, especially the latter, whose death is described very penetrating and bright.

A remarkable feature of these poems is and quite original, at the time, the orientation of F. Glinka to the national poetry, on the style of soldiers' songs, what he specifically speaks in the afterword to the collection "Gift Russian Soldier". But, as the explorer of the creativity of Glinka V. G. Bazanov, the "Nature of the Military Songs of Glinka is conditional, they do not go directly from folklore. Calculated in the end is not so much on the song performance, how many to the declamatory pronunciation, military songs sound unusually solemnly as civilian OD and Duma. "

2.2 Poetry N.M. Karamzin

N. Karamzin "Liberation of Europe and Slava I" (1814) became a notable phenomenon of poetry of the pore. It is known that already ten years before it was written, Karamzin moved away from literature, devoted himself entirely to creating labor, which considered the main thing to be his life, - "Russian state history." He set him a utopian, but the target in his humanism - to recreate the past for the healing of the values \u200b\u200bof the present, on the experience of the victims of victims, tested, to help people become people, enlighten their mind, explain what their debt consists, specify the path of good and justice. That is why Pushkin said that the work of Karamzin "There is not only a work of the Great Writer, but also a feat of an honest person."

Nothing made by Karamzin in the XIX century cannot be correctly understood outside the "Russian State History". But nothing in his artistic work of the last decades is not intertwined to such an extent with his historical labor as the "liberation of Europe". This is a work of a historian in no less, and maybe more than a poet. The point is not only in the notes that the author confirmed the accuracy of the facts mentioned by him not only in the scale of historical analogies. The point in the goal that Karamzine put in front of his poetic creation.

Last evil memories

There is already a benefit for hearts -

Forget evil, but arguing.

We experience to wisdom leads ...

Wisdom enlightens the minds of the kings and peoples, convinces them as necessary to take care of the main benefit of the world. Passed the times of the celebration atyl and chingiskhanov. Our century is the age of enlightenment. And can not enthusiame the one who

Run on the throne - People canray

And the land to implement in the grave,

Tears, bleeding with blood,

In the law put one power ...

... Vlaboreel

Father people must be

Love is not power, but virtue ...

Remaining in general, within the traditional presentation of the "History of Napoleon" and its traditional characteristics ("villain", "tyrant", "Lyuty Tiger, not a man", etc.), Karamzin, however, consistently conducts a very significant idea of that figures like Napoleon are all the more simple, which are in the blatant contradiction with the spirit of the time that

This Lutchy Tiger, not a man,

Appeared in the enlightened age.

He appeared at a time when

We have already been proud of science,

Mind is a fruit, good love

And famous for the art of living;

We already knew that the ruled

Father people must be

Love is not power, but virtue;

And that victories of Slav

Only a fair war.

Napoleon's crime is thus the hardest that it is directed against the absolute conquests of humanity, which is not eligible to atocle any selfhood. That was the very essence of Karamzin's thought - in caution to all kings, including Alexander I, although it is represented here as a tool of providence, an enlightened ruler, able to protect the unshakable human rights. Arriving due as the already achieved, the poet essentially obliges the king of the obstacles of these rights.

Let Napoleon's fate serve as a formidable caution of those who will "be" by violence, deception, "who will strive for the" multiplication of regions ", and not to the" peaceful happiness of people. "

The rulers live for war:

He is peace, keeper destination ...

At wild blood, the river flows:

There the warrior is the first person;

But the age of the mind is a civilian age.

In the calm stanas of Karamzin - teaching, caution, insight, sounding relevant and today. They will keep this sound while "the rulers", which did not lead to wisdom, neither Napoleon nor his unfortunate followers appear on Earth.

The Patriotic War ended, and in the history of the topic of 1812, only the first page was written. "The liberation of Europe" precesses its further development. There is still an immediate image of events and already understanding their meanings, their place in history. The work of Karamzin is still in them, but over them.

2.3 Poetry A.S. Pushkin

Update the theme of the Patriotic War, its new turn begins with Pushkin.

In the youthful of his poems, Pushkin still largely follows the tradition, its famous predecessors - especially Derzhavin, whose heavy Lira hears in the "memories of the royal village", and in the poems of the same lyceum years: "On the return of the emperor's sovereign from Paris in 1815 "And" Napoleon on the Elbe ".

In 1815, Pushkin wrote the poem "Napoleon on the Elbe", where the overthrown emperor was represented by the same exacerbation of hell, insidious and ruthless villain, which many loyaded-to-sayings were painted. Six years later, he created such a multifaceted and heartfelt image in Oda Napoleon, he gave such an analysis of the contradictions in the personality and activities of the French emperor, which to this day historians find the deepest and accurate words in her stanas.

In the poem "Napoleon" (1821), the poet comes far beyond the tradition of both the purely poetic and the one that existed in the understanding of the historical experience associated with the Patriotic War. Decisibly leaving from the usual ideas about the Patriotic War as a phenomenon only by National, Pushkin for the first time in Russian poetry rises to understanding it in the context of the real history of Europe, in the context of those grand political upheavals, the beginning of which laid the Great French Revolution.

The principal artistic discovery of Pushkin in this poem was the image of Napoleon. Navidted from the vertices, to which his genius, and completed his earthly path in the gloomy exile, Napoleon is now seen now the poet not only in the dazzling brilliance of the Fame, not only as the "Terrible Beach of the Universe", but as the Great and in the essence of his deeply tragic The figure whose tragedy consists primarily that he betrayed the best ideals of mankind, the best of his hopes, the execution of which depended precisely from him, the genius, born and ascended by the revolution.

When on the rebellious area

In the praha royal corpse lying

And the day is great, inevitable -

Freedoms a bright day got up, -

Then in the excitement of folk storms

Anticipating the wonderful goal,

In his hopes of noble

You mankind despised.

And updated people

You are a violence of young smirling,

Newborn freedom,

Suddenly Onmen, lost his strength ...

It is in this that the poet is the most serious and fatal crime of Napoleon, the crime from which it began to be not yet close, but already a predetermined and inevitable fall of the usurper. It was a very important accent, an important turn of the topic, because the victory of the Russian people over Napoleon now also acquired a completely different scale, and a completely new historical meaning, appearing not only as a victory over the conqueror, but also as a victory over Tiran, "Freedom's Kidney" . Therefore, the branding of Tirana, Pushkin gives him and praise for the fact that

... he is Russian people

High draw pointed

In the words "High Lot", not only the obvious meaning was that the Russian people were the main force, crushing the All-Eway dominion of Napoleon, but also - in particular - the one that during the titanic struggle against the enemy invasion the Russian people first realized their right to social freedom . Five years later, Nicholas I Decabrist A. A. Bestuzhev will be declared about this. "Napoleon invaded Russia, and then the people of Russian for the first time felt their strength," he will write in his letter to the king from the Peter and Paul Fortress, then the sense of independence was awakened in all hearts, and subsequently. Here is the beginning of the freight in Russia ... another war lasted when the warrior, returning to the houses, the first ruined the ropot in the class of the people. "We shed blood," they said, "and we again make sweat on the barbecine." We saved the homeland from Tirana, and we again rub the gentlemen "... then the military began to speak:" For that, we freed Europe to impose her chains on ourselves? In order to give the Constitution of France, so as not to dare to talk about it, and Bought blood championship between nations so that we were humiliated at home? ""

As B. V. Tomashevsky said rightly, "Pushkin's reflections about the war of 1812 were never retrospective judgments of the historian, these are always - responses to the requests of modernity." The work of Pushkin of the 1830s is especially characteristic of this regard: the poem "before the saint tomb" and "commander", and the prosaic etude "Roslavlev".

The poem "before the sulfur grace" was written in 1831, when in connection with the Polish "uprising in Europe, and above all in France, calls for a new campaign to Russia began to be heard. In the poem, as in the other two, related to the same time ("slanders of Russia" and "Borodino anniversary"), the poet reminds of the glory of Russian weapons, about the People's War, which any conqueror will inevitably meet, as Napoleon once met.

Slanders of Russia, her sworn enemies, plotting a new crusade on her, the poet throws a proud challenge:

So send us to us, Vities,

His embittered sons:

There is a place for them in the fields of Russia,

Among the inclined coffins.

In 1835, Pushkin writes the poem "commander", the poem, wonderful not only by the fact that it was recreated the expressive portrait of an outstanding commander - Barclay de Tolly, but also that, revealing the invaluable merit of Barclay in front of the Fatherland, the sad greatness and drama of his fate , it, as, however, and all Pushkin works about the Patriotic War, sharply opposed the official point of view, which all the content of the Great Folk Epopea reduced only to the triumph of the Russian king.

About the leader unhappy! .. Surov was drawing yours:

All sacrificed you brought the earth to you somehow.

Light-bluished Wild Mobile View

In silence there was one with the thoughts of the Great,

And, in the name of your sound, I do not care alone,

His shouts pursuing you

People, mysteriously saved to you,

They swore over your sacred sowning.

The commander of the Russian army Barclay de Tolly, exercising "the plan, respectable deeply", stubbornly shied away from the general battle and forced the enemy to move into the depths of endless Russian expanses. With each order for retreat in the country, discontent increased. The reasons for him were, of course, diverse. Protection circles feared, Whether the invasion of Napoleon will not be a feudal-absolutist order, whether he will not be in the territories-busy territories to cancel the serfdom. Wide masses perceived promotion of invaders deep into Russia as a serious national humiliation.

For the time being, these depth differences did not let them know. The time will pass, and these differences will be revealed with force, the greater, the more significant the role of the peasants, the dedication of which was crucially influenced by the outcome of the war. And the advanced noble intelligentsia will painfully feel the loss of unity, which concluded with her the people in the formile time of the twelfth year.

But now this unity seemed unshakable. Representatives of all classes covered by anger and anxiety have been eager to stop the enemy. Especially great was the indignation of the army. Barclaya to Tolly was loudly accused of cowardice and treason. Of course, these accusations were deeply unfair. The commander of the Russian army soberly and correctly estimated the situation.

And long, reinforced by can convince

You were not omitous before the community -

spent later about tactics Barclaya delighted Pushkin.

Explaining this historical injustice quite objective reasons - a disadvantage of popular confidence in a foreigner (a lack of a completely natural in the critical moment for the Fatherland), "Pushkin, thereby emphasized precisely the crucial importance of this confidence in the fate of the Patriotic War. "One Kutuzov could offer the Borodino battle," he wrote, explaining the meaning of the "commander", "one Kutuzov could give Moscow to the enemy, one Kutuzov could stay in this wise inaction, capealing Napoleon on the fire of Moscow and waiting a fatal minute: for Kutuzov alone clothed Was in the people's power of attorney, which he justified so wonderful! "

September 14, at 2 o'clock in the afternoon, the views of the French, which rose on the Poklonnaya Mountain, appeared huge, brightened by gold countless city. Napoleon's army entered into many capitals, but none of them met him as Moscow. There was no deputation with keys from Moscow and humiliated requests to spare the city.

No, I did not go Moscow

To him with a guy.

Not a holiday, not a reception gift,

She prepared fire

Impatient hero, -

pushkin wrote.

The shocked emperor watched from the windows of the Kremlin Palace on the Sea of \u200b\u200bFire, which covered the city center, Solyanka, Zamoskvorechye. "What a terrible spectacle! They ourselves ignite ... What a resolve! What people!" - he repeated.

2.4 The topic of war 1812 in poetry M.Yu. Lermontov

M.Yu. Lermontov showed a special interest in national history, looking for the hero of the Spirit, the bright personalities, whom they lacked so much in contemporaries. The young environment of the poet did not seek anything, among them there were no decent people, heroes, so Mikhail Yuryevich was looking for them in Russian history.

The most important events of the National History - the War of 1812. In poems devoted to this event, history is opposed to modernity. The poet, born in 1814 perceives the war of 1812, already as a story, looks at her not through the eyes of the descendant. The poem "Borodino" was written on the 25th anniversary of the Borodino battle. The young man, the contemporary of the poet, asks his relative about the past war:

Tell me, uncle, because not for nothing
Moscow, spalling by fire,
The Frenchman is given?

The old soldier talks about the battle, again experiencing everything that was on the battlefield. For the first time in Russian literature, Lermontov shows the course of events through the eyes of a simple participant in the war. The motifs of patriotism appear in the poem, the Russian national character is revealed.

That here is sick, perhaps for battle;
I'll go to break the steno,
I'll put on the head
For their homeland.

For M.Yu. Lermontov people are a totality of strong personalities.

Yes, there were people in our time,
Mighty, dust tribe:
Bogati - not you.

The soldier leading the narrative, not one, he only speaks on behalf of everyone. At the same time, the generality of patriotic goals is constantly emphasized:

And we promised to die

And the oath of loyalty was kept

We are in Borodinsky battle ...

The poet constantly emphasizes the general attitude towards war, as a serious military debt. This is perhaps the main thing in the poem: the community of people in the face of the enemy.

Russian history for M.Yu. Lermontov is an inexhaustible source of wealth and beauty of a man's soul. Lermontov appeals to history, describing the great, strong personalities, he did not see them in his contemporaries, so he was looking for heroes in Russian history, which, in his opinion, had to appear an example for his surrounding.

Only two years shared Pushkin "Communion" and Lermontov "Borodino" (1837). "Total" - because they are not just two works, but two poetic generations: the generation of contemporaries of the Patriotic War and the generation of those for whom she was already a very distant history. However, it is more correct, apparently, talking about a meeting of generations, because in 1830-1831. Lermontov wrote a poem "Field of Borodin", in which there is no reason to see the first version of the future "Borodin". And if it is paradoxically, but, perhaps, it is on the example of these two options that it is easier to understand that new, which brought a generation of Lermontov in the subject of the Patriotic War.

According to his "genre" "Field of Borodin", as well as the classic Borodino, represents the story of the old warrior about the Borodino battle. There are also a number of characteristic expressions, stylistic ingots, which in "Borodina" will become a kind of supporting, key:

"Guys, not Moscow after us?

Let's sweep in Moscow

How our brothers died! "

And we wondered promised

And the oath of loyalty was kept

We are in Borodinsky fight.

The arm of the fighters prick is tired,

And the nuclei interfered

Mount bloody bodies.

However, this is still only individual finds; The general figurative system bears on itself obvious traces of an old conditional and romantic palette. For example:

Noisy storm until dawn;

I, my head raising from the boiler

Comrade said:

"Brother, listen to the bad weather song:

She is wild, like a song of freedom. "

But, remembering the previous years,

Comrade did not hear.

My comrade fell, the blood was delayed,

The soul was shaking,

And the bullet of death suffered

From my rifle.

The sixteen-year-old poet truthfully described the picture of the battle:

March, march! went ahead and more

I do not remember anything.

Six times we gave way to field

Enemy and took him.

Yes, it was. And Bagrations Flash, and the Raevsky battery, and the village itself begodino repeatedly passed from hand to hand. "It is difficult to imagine the fierce of both sides in the Borodino battle," I remembered eyewitnesses. "Many of the fighting disassembled their weapons, joined each other, spread their mouths with each other, stroke each other in close embraces and fell dead together. The artillery rocked the corpses, as on a log pavement, squeezing the corpses into the ground, which fastened with blood ... Cast iron and iron refused to serve the rigidity of people; The hot guns could not withstand the actions of the gunpowder and burst with a crackle, hitting the artillery charges charged them ... "Lermontov could not see these terrible paintings. But they saw the participant of the Borodino battle of Vyazemsky. And after sixty, they stood before his eyes. He figured and brightly wrote:

Never else in the sublun

Did not boil such a terrible fight:

From guns hell cast iron

Breaking around, raised howl;

All day does not silent,

Monstering death around;

Building stations disappear

Under the murderous fire.

Borodino - top of stylistic wholeness and, from here, fine perfection. It was also affected by Lermontov's talent, but most importantly, perhaps, it was still in another - in the limitless artistic possibilities that opened for poetry with the victory of realism. Pushkin realism. It was a fundamentally different level of artistic development of reality, a fundamentally different type of poetic thinking, guaranteeing an immeasurably large full of artistic reflection, an immeasurably greater variety of fine means. This new level achieved and approved in the work of Pushkin and Lermontov will become the starting point with which the triumphal march of Russian realism will begin in the second half of the XIX century.

Lermontov researchers have repeatedly drawn attention to the fact that the "two giant" poem is clearly and intentionally focused on the populatory tradition. Here are fabulous or song formulas: "Beyond the mountains, for shares", "Far Sea". And the spacious vocabulary: "Together", "shook", "painted". And the image itself of the "Russian Vityaz" "in the header of gold cast" - the epic image of a hero, triumphant over the forces of evil. Of course, the antithesis "daring" algered and the old year-old "Russian Gagan" - the continuation of established, many and differently arising in different verses of opposing Napoleon and Kutuzov ("You are gray, and I, buddy, sad ..."), But Lermontov image is wider, collective. The Russian Giant is not only Kutuzov, this is the Russian people, this and the heart of Russia - the Kremlin, which Lermontov portrayed him later in the Poem "Sasha":

And this Kremlin is gentle, serene.

In vain I thought alien lord

With you, centenary Russian giant,

Even the cry and - deception

You will overthrow you. In vain

You have a naughty: you started - he fell!

In the poem "Two Giants", Lermontov showed the struggle of the Russian people with the invasion of Napoleon, he gives a picture of the struggle allegorically, in the form of two "heroes".

One of them is the "old Russian Gagan" - embodies the power and strength of Russia, and the other - "threened delets" - the daring and self-confidential delete of the Napoleonic troops, who believed after the capture of Moscow, that the victory was achieved.

Let's look at the "hero." Russian Vityaz is calm and calmly, as if it knows the outcome of the struggle ("With a smile Cathedral Russian, Vityaz answered"). The mighty head in the gold helmet as it would be like a gold-headed Moscow Kremlin. "Old Russian Giant" - the embodiment of the strength of all Russia, which has not surrender and did not conquer the French. And what same "Three-week delets"? Lermontov does not deny his strength nor courage, but also the strength and courage of the aliens "from distant alien countries" - the manifestation of reckless audacity.

The poem does not show the battle between the two giants: it can not be. The coming "with a thunderstorm of the military", however, dared to raise his hand on the "Russian Giant": "And the hand of a dazened to walk for the enemy crown," but he looked only, shook his glacial "and the newly" fell ". The image of Russian Vityaz is monumental and majestic. His calm and inner strength is opposed to the audacious claims of the aliel.

In pride, with what Lermontov writes about the victory of "Russian Giant", his patriotism is manifested, love for the military glory of the Fatherland. But not only that. At the end of the poem, there are images of storms, expanses, puchins - favorite images of Lermontov's poetry. They make you remember the tragicity of the last days of Napoleon, his link and death on the island of Saint Helena. In such a respect, new verge of Lermontov worldview manifests itself - humanity, condescension to the defeated.

Conclusion

Russia's victory over Napoleon unconditionally and brilliant, caused a shock of the minds of the whole world, the joy of European peoples enslaved by Napoleon. The Russian people and the army in 1812 caused a fatal defeat of the most severe at the time of the Napoleonic aggressive army. The victory of Russia is not easy miracle, the expression of adlexible will and the limitless determination of all the peoples of Russia, which rose in 1812 to the Patriotic War in defense of the national independence of their homeland.

The national liberation character of the war of 1812 led to the specific forms of participation of the masses in the protection of their homeland, and in particular the creation of a folk militia. The patriotism of the peasantry in the national liberation struggle was combined with the strengthening of their class self-consciousness. Fortress peasants designed to the militia, their military service tied up with hopes for the liberation of them from the fortress capture.

1812 was not only the most important page of the history of Russia, but also the principled value of the milestone in the history of Russian literature and poetry. Never before the artistic word did not become such a powerful expressive of the feelings that swept the society as it happened after the invasion of Napoleon. What kind of comparison can go on duty OI, who were written in the XVIII century to take the next fortress or the surfacing of enemy ships, with a wave of passions, anger, resentment, enthusiasm, which caused the poetry of those performed drama and greatness of months!

The historical scale of the events that took place in 1812 is so ambitious, their echo for so long and Gulko was given in the following decades, which is now even difficult to imagine, as relatively short in comparison with the duration of the consequences was the Patriotic War, as each other's paintings of this historical drama.

Who did the life of the witness of these events, kept the memory of them until the end of their days. Who did not see them for himself, he grew up in the atmosphere, shocked by their humorous echo. "Stories about the fire of Moscow, about the Borodino battle, about Berezine, about the capture of Paris were watered with a lullaby song, children's fairy tales, my Iliaia and Odyssey," wrote Herzen.

The poetic chronicle of the Patriotic War is so rich and expressive that everyone who wrote poems about 1812, invested in them the best thing in him as in the artist. Others appealed to this topic in one or two works, but for these works is restored by the most significant, which was a chopsiest worldview of their creator, the voices heard to which he spoke in the literature. Here he, a wise, always close wings, an irreconcilable, uncompromising, unreleased clay, passionate and in the celebration and in anger, irrepressible east and providers of Derzhavin.

Here is Lermontov. In quantitative terms, he wrote about 1812 a bit, but a place belonging to these verses and in his work, and in literature on the Patriotic War, it is difficult to overestimate. If Derzhavin was the first to felt the role played in the Days of the Patriotic War by the Russian people, then Lermontov managed to take a look at these events with the eyes of the people, the eyes of a simple man. This one was enough to make these verses a unique phenomenon for their time and especially close to our.

Borodino was written on the eve of the 25th anniversary of the Patriotic War. For a quarter of a century, separating the day of the Great Battle of the best of his poetic incarnations, Russian literature was a big, rich in search and acquired path. And all this time did not merque the memory of the feat, perfect by our people in the formile order of 1812, they did not whine the creative forces of poets, again and again appeal to talk about it to contemporaries and descendants.

It is not by chance that it is Borodino that entered the history of Russian literature as the most significant poem associated with the topic of 1812. It is not by chance that neither one-mindedness written in the XIX century did not sound with such force and so relevant during the Great Patriotic War as Borodino. Publicistics of military years Pedrela quotes from this work. It constantly sounded on the radio and performed by readers, and laid for music. Front newspaper "destroy the enemy!" I left in the winter of 1941 with anchlage: "Guys, not Moscow for us!" With rows from Borodin addressed 28 heroes-Panfilovtsam Polituk Klobkov on the eve of the legendary battle at Dubosekovo station. On July 27, 1941, on the day, when the country learned about the feat of Captain Gastello, "Pravda" wrote: "Borodino" is the greatest value of Russian literature. There is no Russian man who loving his homeland who did not know the daughter poem, which would not be obliged to Lermontov with his patriotic education. "

In conclusion, I wanted to add that the poetic masterpieces considered in this course work are for us the same living "epoch documents", the same indispensable sources of knowledge, as well as directly documentary evidence of Davydov and Orlov, the same F. Glinka and Durov, Lazhechnikov and Batyushkova. This literature has a special place. And - special meaning.

List of used literature

1. Belinsky. Lermontov poems. 1984.

2. Wulfson G.N., Ermolaev I.P., Kashafutdinov R.G., Smykov Yu.I. History

Russia. Issue.4. Kazan, 1998.

3. Golovatutenko A. History of Russia: controversial issues. M., "School-Press".

4. "Russia is faithful sons ..." in 2 tons / comp. L. Meelianova, T. Yornatskaya. L., 1988.

5. Zhilin P.A. The death of the Napoleonic army in Russia. M., 1968.

6. Leaflets of the Patriotic War of 1812. Sat documents. M., 1962.

7. Lermontov M.Yu. Complete essays in 5 volumes. Ed.

B.M. Eikenbauma. M., 1964.

8. L.G.Frizman. Borodino Field: 1812 in Russian poetry. M., 1984.

> Patriotic War of 1812 in Russian literature

No wonder I remember all Russia ...

M. Lermontov "Borodino"

The events of 1812 belongs to a special place in the history of our country. Patriotic War is one of its heroic pages. More than once rose Russian people to protect their land from the invaders, but never threatened the enslavement of such a cohesion of the forces, such a spiritual awakening of the nation, as it happened during the invasion of Napoleon. The deep and bright track of the war left in the development of Russian literature, embodied in the line of artwork works of many writers. Until now, the creators turn to the theme of the war of 1812, when they want to remind us of the courage and a feud of the defenders of the Fatherland.

The poetic chronicle of the war of 1812 brings to us that the amazing atmosphere of a patriotic lift that has engulfed Russia, which raised Russian people from different locations and classes to the feat, which shook contemporaries and caused the pride of descendants. Poetic masterpieces describing the formidable events of those years strongly by their documentary reliability.

In Russian literature, the Patriotic War entered immediately, one can say, in the very first days. And the first word about her sounded in poetry. It was a word-appearance, a vagault call to weapons, to the sacred struggle with a cruel and insidious "all-European conqueror".

The sound of the pipe was rumored,

Round through the storms of the gross thunder:

People, debauchery rejoiced,

Fantats us with slavery and the yoke!

Now do we sleep alone,

Russia faithful sons?

(F. Glinka "Military Song, written during the approach of the enemy to the Smolensk province").

After taking the French, Smolensk began to leave a special magazine, created with the aim of expressing anger and inspiration that swept the country to spiritually rally Russian society at an hour of combating a formidable enemy. He was called the "Sons of the Fatherland". Here, many poems on the Patriotic War were printed here, in particular the Diffirams of East "to the Russians", Basni Krylov and other works.

Against the background of the high-terrible pathetic lyrics of the twelfth year, Basni I.A. Krylov, with modern realities, highlighted quite sharply. The bass does not belong to the genres in which large historical problems are solved, but Krylov's fables are an amazing exception. "Wolf on Psarn" is one such that I want to call the epic - so clearly and fully expressed the wings in it the most "plot" of the People's War. It is ridiculed by Napoleon, who fell into a hopeless position. It's not by chance, she liked Kutuzov himself so much.

You are gray, and I, buddy, sad,

And I know your wolf for a long time;

And because my custom is:

With wolves otherwise do not do the world,

How to remove the skin with a lot of them ...

The positive phenomenon of Russian poetry was the poem of V.A. Zhukovsky "Singer in Fencing of Russian Warriors" (1812). Written and in fact "in the camp" on the eve of the famous Tarutinsky battle, it immediately acquired enormous popularity and spread in the army in a variety of lists.

This Cup is a good movie! Other in line!

And to the sky of Grozny Dlann!

Block il mouth!

Our fatal vow is before God.

In the "gallery" Zhukovsky present, one way or another, all the most famous heroes of the twelfth year: Kutuzov, Bagration, Raevsky, Davydov. Presenting them in full brilliance of combat fame, the poet sees in them not just a brilliant "sleep of heroes", and above all the living people, their contemporaries, in which the glory of the Victory leaders are inseparable from the glory of each warrior.

A huge little curly canvas dedicated to the Patriotic War, creates G.R. Derzhanin. This is "LarEpic anthem to the forefront of the French from the Fatherland." There is such a thing in this work, in which Derzhavin surpassed all those who wrote at the same time about the events of 1812. The Patriarch of Russian poets saw and glorified the qualities of a national character, which were confirmed with such force during the next epoch.

About Ross! About the valiant people

The only one, generous,

Great, strong, glory son

The elegance of his kindness!

Update the theme of the Patriotic War begins with A.S. Pushkin. In 1815, he wrote a poem "Napoleon on the Elbe", where the overthrown emperor was represented by the same way of hell, which poems had previously painted. Six years later, he created such a multifaceted and penetrated image in Oda "Napoleon", he gave such an analysis of the contradictions in the personality and activities of the French emperor, which to this day historians find the deepest and accurate words in its stanza. Pushkin for the first time in Russian poetry rises to the understanding of the war in the context of the real history of Europe.

When on the rebellious area

In the praha, the royal corpse lay,

And the day is great, inevitable -

Freedoms a bright day got up, -

Then in the excitement of folk storms,

Anticipating wonderful

In his hopes of noble

You mankind despite ...

Gavrilina Lyudmila

The presentation describes how the Patriotic War of 1812 caused a national - patriotic rise in the folk masses and in circles of the progressive noble intelligentsia, which was directly reflected in the works of poets and writers of the XIXVEK and gave the impetus to the emergence of the "new phase" of Russian literature.

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"The twelfth year was a great epoch in Russia's life ..." V. G. Belinsky War of 1812 in Russian literature

The Patriotic War of 1812 caused the national - patriotic rise in the folk masses and in the circles of the progressive noble intelligentsia. The war left a deep and bright footprint and in the development of Russian literature.

The patriotic moods and the topics of the war of 1812 were directly reflected in a number of Bassen I. Krylov, d Slash the Russian people inspires A. Griboyedov, A. Pushkin, M. Lermontov, V. Zhukovsky and, of course, L. Tolstoy, who created, perhaps A well-known work about this event "War and Peace", as well as many other writers.

I. A. Krylov in his basins dedicated to the Patriotic War of 1812, the writer was molded by Napoleon, who had fallen into a hopeless position ("Wolf on Psarn"), and the fate of the French, starving in Moscow ("Crow and Chicken"). Basin "Toms" approves the clever slowness of Kutuzov in the fight against Napoleon. The admiration of Admiral Chichagov, who failed to cut off Napoleon the path of retreat across the Berezin River, ridiculous in the Basna "Pike and Cat".

A.S. Griboedov, the valor of the Russian people inspires the writer to create a folk tragedy "1812". A positive hero is a simple warrior-militant - a fortress peasant - turned out to be a genuine patriot. The consciousness of the danger, hung over the Fatherland, leads him to the heroic feat, to the participation of "in the general militia without noble", that is, in partisan detachments. At the same time, the playwright wanted to show that the rise of a patriotic feeling awakens in the hero-militia and the consciousness that he is the same man as his gentlemen and should also defend his homeland.

A. S. Pushkin The attitude of Pushkin to the person and actions of Bonaparte has been changed over the course of life, so the topic of the war of 1812 occupies one of the most important places in his work. In the poem "Hero", the reader became a member of the dialogue between the poet and his friend trying to understand: what is the truth and glory? Responding to these questions, the poet appeals to the fate of Bonaparte. Pushkin amazes Napoleon's act in Jaffa in 1799 while visiting them a plague hospital when Bonaparte to encourage patients, shook his hand. At the same time, for mature Pushkin Napoleon - a typical sample of egoism. "We are all looking at Napoleon," Ironia says the poet in Evgenia Onegin, receiving news of the death of the Great Communion, Pushkin wrote a poem "Napoleon", in which the image of Bonaparte is based on the principle of combining incompatible. On the one hand, Pushkin speaks about him, as a beautiful commander, and on the other, he understands how many misfortunes brought this man to the people.

M. Yu. Lermontov Certainly, one of the most famous creations about the war of 1812 is the poem of Lermontov "Borodino". It is devoted to the Borodino battle and written in the twenty-fifth anniversary of this battle. Before us, the dialogue of the experienced soldier and a young man who is bitterly aware that Moscow was still given to the French and burned. Asking about the Borodino battle, he wants to know what is significant this day, which "all Russia" does not remember. " The story of a soldier-artillery officer about the battle will penetrate pride for Russian people - they are named hero. "Two giants" - another creature M.Yu. Lermontov in an allegorical form depicts the defeat of Napoleon. The junior of pride for his people and their homeland is imbued with this youthful poem. It is how Lermontov writes about the victory of "Russian Giant", shows his true patriotism, love for the military glory of the Fatherland.

V. A. Zhukovsky, under the impression of Borodino battle, Zhukovsky creates the famous ODU "Singer in the Fish of Russian Warriors", which glorifies the wonderful Russian commander of 1812. Zhukovsky depicted a singer (poet), inspires and encourages warriors, as if leads them for himself. The singer makes warriors in a hundred times stronger, recalling them about the validity of ancestors and glorious victories. The poet lists the heroes of the war - alive and fallen, glorifying them, he seeks to strengthen the combat spirit of compatriots, help them reversal the course of the war.

K. N. Batyushkov K. N. Batyushkov also touched on the theme of the Patriotic War of 1812 in his work, creating a poem "to Dashkov". For the poet, war is the death, blood, destruction, he tells about her horror and meaninglessness. Batyushkova poem is not so closely tied to a certain period of history. The only thing that shows in it to the actions of 1812 is the mention of burnt Moscow. Otherwise, this is a philosophical reflection on the topic "War. Peace. Poet".

L. N. Tolstoy the largest and inclusive work of the war of 1812, rightly, can be considered the novel "War and Peace". With unsurpassed skill, the author not only describes the tragic days of the Patriotic War, but also courage, patriotism and an insurmountable sense of debt of the Russian people. The novel is saturated with many plot lines, a variety of heroes, each of which, thanks to the subtle psychological alarm of the author, is perceived as an absolutely real person, together with its spiritual searches, experiences, perception of peace and love. The war in the work is not just the background on which events occur is a kind of hero of the work, thanks to which heroes are changed, improved during the novel.

The novel "War and the World" first of all teaches the difference between real and false patriotism. Natasha Rostov, Prince Andrei, Tushin - True patriots, who, without thinking, sacrifice many for their homeland, do not require recognition for this. It is enough to remember how Natasha gives the submaching wounded, while depriving his family or a tushin battery ... All this shows us that everyone sought to do everything possible to save the native country.

M. N. Zagoskin Roman Zagoskin "Roslavlev, or Russians in 1812" (1831) - was the most popular product of the Patriotic War of 1812 before the emergence of the "war and the world" of Lion Tolstoy. The work is based on the tragic history of relations between the Russian officer Vladimir Roslavlev and his bride Polina. The author himself was a member of the war, so the work turned out to be surprisingly reliable and truthful. Roman tells about the confrontation of debt and passion, fatal love and unpreasual friendship, true patriotism and nobility of brave warriors.

N. A. Durov Speaking about the events of the Patriotic War of 1812, it is impossible not to remember the first woman officer-n. Durov, created by autobiographical "Cavalist-Maiden's notes". The work tells about the heroic fate of a woman officer who fought with the French. Creativity N. A. Durov was highly appreciated by A. S. Pushkin and V. G. Belinsky, but unfortunately, now being forgotten and does not cause literary interest.

The feat of the people during the Patriotic War of 1812 also worries both modern writers: N.A. Zadonsky, N. I. Rynkova, G. V. Serebryakov and many others. Battle near Maloyaroslavets

N. A. Zagoskin "Denis Davydov" Historical chronicle, recreated the image of a wonderful Russian poet, partisan, hero of the Patriotic War of 1812. Denis Davydov's life is drawn in the book against the background of that huge patriotic lift, which swept the Russian people during the fight against invasion of Halior Napoleon. N. I. Rynkov "On the Old Smolensk Road" in this historical story, it is told about the heroism and courage of Russian soldiers and officers, Smolensk peasants and peasants who fought with Napoleon invaders. G.V. Serebryakov "Denis Davydov" the name of Denis Davydov became legendary in his life. The hero of the Patriotic War of 1812, a faithful follower of Suvorov traditions, he was one of the initiators of the partisan movement in Russia. Denis Davydov is also known as an original poet, and as the author of works on the history of martial art. About the life of the "singer-hero", full of courage and courage, always ready to rebel for their homeland, and the author says.

Folk creativity During the period of the Patriotic War of 1812 during the period of the war of 1812, when the threat of submission to foreign conquerors hung over the country, wide peasant masses are actively involved in the military-political life of the state. This gave rise to active creativity, outlining the heroic image of the people. A lot of soldiers' songs are created that support and lead fighters into battle. The songs said about innumerable disasters who brought war, about bloody battles and ruin. At least Moscow in the hands of the French ... - Russian Soldier's song Russian Cossack Song

The meaning of the Patriotic War of 1812 for the development of literature is not reduced, however, to the emergence of a number of works on war topics. The "twelve year", shocked by the whole of Russia, out of end to the end, awakened her sleeping forces and opened new, Dotole unknown sources ... opened the people's consciousness and folk pride, and all this contributed to the birth of publicity as the beginning of public opinion, " - pointed Belinsky. After the Patriotic War of 1812, "All Russia entered a new phase," Herzen notes. Enters the new phase and Russian literature.

There is an opinion that Bonaparte broke his teeth about Russia. This war deprived of his last forces and residues of ambitions. After an inglorious retreat, the defeat was inevitable. Does the campaign against Russia become a decisive blow to Napoleon's empire? Books about the war of 1812 will sing light on those events, tell about the details of the fighting, commander, partisan movement and other factors of our victory.

German military historian who served in the Russian Empire during all military events. This gave him the opportunity to explore from the inside the action of domestic commander and create his own theory that "War is a continuation of politics"

The official coverage of hostilities, published in the 1840s on the Imperial Decree. The author of the book fought under the beginning of Kutuzov, was seriously injured, many battles passed. This work is essentially the first look at the accomplished events from the inside.

The author of O. Mikhailov is the literary critic of the 20th century, known for its biographical research of many key people for our country. In particular, the historical and artistic work of "Kutuzov" is devoted entirely to the life and work of the Great Communion.

This work differs from a large number of historical books about the war of 1812 by which contains many contradictory documents, facts, letters, relationships and intrigues. The author paints portraits of major key individuals, assesses the causes and consequences of their actions.

This work is highlighted by its fundamental and unusual depth of the study, since, in addition to historical views, the author covers the socio-economic situation of both countries, the equipment of the armies, their approach to planning and general military politics.

The diary records of General Knevankura, who passed the entire war hand in hand with Napoleon, being his main adviser and the interlocutor sheds the light on the identity of the French emperor, his plans and motives, hopes and aspirations during a trip to Russia.

The main character of this work is the people, his greatest feat, his unity and victory. An important place in the book is a description of the partisan war. The book is imbued with respect and admiration for the nationwide heroic feat, which ensured Russia victory.

The desperate heroine, officer, under the beginning of Kutuzov, took part in the battle of Borodino, was injured, and later awarded many times, and, in addition to all this, it turned out to be an incredibly talented writer who wrote about his memories.

This work tells about serious aspects in a manner accessible to children, and at the same time extremely fascinating. The book contributes to the study of history, responds to the questions of interest to the children, brings up respect for the domestic feat.

The events of 1812 made many great names, this book tells only a hundred most significant. The main facts and interesting details about the life and work of one hundred heroes, thoughts, solutions and actions of which were most significant for Russia.

The author of the book is an American historian who considered the phenomenon of war 1812 from different sides, including a lot of previously unknown material. In addition to reliable facts, he did not care and human motives, and the depth of the suffering brought by the war.

The maximum full assembly of poems and poems about the war of 1812, including military songs. The publication is mostly addressed to schoolchildren, but may also be interested in other fans of poetry, not indifferent to the life of the state and its inhabitants at that time.

The author is a key figure of events of 1812, undeservedly criticized, underestimated. This work is the story of the commander about his motives, about the first time decisions to retreat, about his strategy, ultimately led the country to the invaluable victory.

The most famous and significant military event leaves the minds and the hearts of many art leaders. Boris Yulin explored this phenomenon from the new side and came to previously unspoken conclusions, sometimes shocking, but always fresh and worthy.

It is impossible to overestimate the importance of documents, memories and memoirs left behind the great commander. The character of the hero is clearly revealed in the book, a variety of personal letters and details are given, as well as military diplomatic documents.

This work is interesting not so much historical facts or chronological statement of battles and key milestones of war, first of all, it is devoted to the military and is written with great love for people, thanks to which the victory in the war was won.

The work is devoted to the great commander Peter Bagration, who died in battle. It colorfully reveals his outstanding personality, leads many reliable and documented facts, imbued with respect for the human feat.

This extensive work is studied in detail all significant events, mentions many important names, highlights a new forgotten facts, throws a deep scientific and historical look at events. However, the exclusive behalf of the narrative makes it interesting to all readers.

Labor illuminates the birth of the partisan movement in the war of 1812, it is interesting for the events that sometimes go down when studying this outstanding phenomenon of heroism. Brightly present the facts about the execution of the lieutenant colonel, who was subsequently declared a hero.

The classic, most significant and well-known artwork about the Patriotic War, is replete as the descriptions of hostilities and peaceful life. The characters of the heroes and fate and the formation of the author's views on world events and war are deeply revealed.