WWII theme in literature. The theme of the great patriotic war in the works of twardovsky and sholokho - abstract

Manzhikova Dana

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MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION "SECONDARY EDUCATIONAL SCHOOL №18 named after BB Gorodovikov "

abstract

The theme of the Great Patriotic War in Russian literature of the 20th century

Performed:

11th grade student

Manzhikova Dana

Supervisor:

teacher of Russian language

and literature

Dordzhieva A.A.

Elista, 2017

Introduction

The Great Patriotic War died down long ago. Generations have already grown up knowing about it from the stories of veterans, books, films. The pain of loss has subsided over the years, the wounds have healed. It was rebuilt long ago, restored destroyed by the war. But why did our writers and poets turn and turn to those old days? Maybe the memory of the heart haunts them ...

War still lives on in the memory of our people, and not only in fiction. The military theme raises the fundamental questions of human existence. The main hero of military prose is an ordinary participant in the war, its inconspicuous worker. This hero was young, did not like to talk about heroism, but honestly fulfilled his military duties and turned out to be capable of feat, not in words, but in deeds.

The theme of the Great Patriotic War is one of the main themes in the literature of the 20th century. How many lives did the war take, at what cost was the victory won? Reading works about the Great Patriotic War, you involuntarily ask yourself these questions.

On the grave of the Unknown Soldier in Moscow, the words are carved: "Your name is unknown, your feat is immortal." Books about the war also look like a memorial to the dead. They solve one of the problems of upbringing - they teach the young generation love for the Motherland, endurance in trials, teach high morality on the example of fathers and grandfathers. Their importance is growing more and more in connection with the enormous relevance of the topic of war and peace in our days.

It is very difficult for us, the younger generation, to imagine war, we know about it only from the pages of books and the memoirs of veterans, who are getting smaller and smaller every day. But we are obliged to convey the memory of the war to our descendants, to convey the heroism and resilience of people who stood to death for their homeland.

1. B. Vasiliev. The story "Not on the lists"

To the depths of my heart, I was struck by the reading of B. Vasiliev's story “Not on the lists”. Brest. Legendary fortress. The granite path leading to the grave of the heroes glows in red. One of them, Nikolai Pluzhnikov, was told by Boris Vasiliev in his novel "Not included in the lists."

A happy young man who has just received the rank of lieutenant along with other graduates of the military school. Nikolai arrived at his destination on the night that separated the world from the war. He did not have time to register, and at dawn a battle began, which lasted for Pluzhnikov continuously for more than 9 months. Talking about the short life of the lieutenant, who by the time of his death was 20 years old, the writer shows how a young man becomes a hero, and all his behavior in the fortress is a heroic deed.

Nikolai - a hero not from birth, while still a cadet, developed a sense of duty and personal responsibility for the present and future of the Motherland - qualities without which the feat would not have taken place. In the harshest conditions of war, he is forced to make independent decisions, first of all, he thinks about the danger in which the Motherland is, and not about himself. After all, he could leave the fortress, and this would not be either desertion or betrayal of the order: he was not on any lists, he was a free man ... A sense of unity with other defenders of the fortress, with the whole people, is strengthened in the hero's mind. about the death of Vladimir Denshchik, who saved him, and understands that he survived only because someone died for him. N. Pluzhnikov bravely remains at the soldier's combat post until the end. On April 12, 1942, when it was already the tenth month of the war, a hoarse but triumphant laugh of the unconquered was heard from the fortress. It was Nikolai who saluted Moscow, having learned that the enemies could not take it. And on the same day, he went out, blind, exhausted, gray-haired, to say goodbye to the sun. “The fortress did not fall; she just bled out, ”and Pluzhnikov was her last straw.

1. V. Bykov. The story "Sign of Trouble"

In the center of V. Bykov's story "The Sign of Trouble" is a man at war. A person does not always go to war, she herself sometimes comes to his house, as happened with two Belarusian old men, peasants Stepanida and Petrok Bogatko. The farm they live on is occupied. Policemen come to the estate, and behind them - and fascists. They are not shown by V. Bykov as cruel and atrocious, they just come to someone else's house and are located there as owners, following the idea of ​​their Fuhrer that anyone who is not Aryan is not a person, in his house you can inflict complete ruin, but the inhabitants of the house themselves - perceived as a draft animal. And that is why it is so unexpected for them that Stepanida is not ready to obey them unquestioningly. Not allowing yourself to be humiliated is the source of this middle-aged woman's resistance in such a dramatic situation. Stepanida is a strong character. Human dignity is the main thing that drives her actions. “During her difficult life, she nevertheless learned the truth and, bit by bit, acquired her human dignity. And the one who once felt like a man will never become a cattle, ”V. Bykov writes about his heroine. At the same time, the writer does not just draw us this character - he reflects on the origins of its formation.

What was happening in the countryside before the war became the “sign of trouble” that Bykov speaks of. Stepanida Bogatko, who “for six years, not sparing herself, struggled with the laborers,” believed in a new life, was one of the first to enroll in a collective farm - it’s not without reason that she is called a rural activist. But she soon realized that there was no truth that she was looking for and waiting for in this new life. Fearing suspicion of pandering to the class enemy, it is she, Stepanida, who throws angry words to an unfamiliar man in a black leather jacket: “Is there no need for justice? You smart people, don't you see what is being done? " More than once Stepanid tries to interfere in the course of the case, to intercede for Levon, who was arrested on a false denunciation, to send Petrok to Minsk with a petition to the CEC chairman himself. And every time her resistance to untruth runs into a blank wall. Unable to change the situation alone, Stepanida finds an opportunity to preserve herself, her inner sense of justice, to move away from what is happening around: “Do what you want. But without me. " It was in the pre-war years that one should look for the source of the formation of Stepanida's character, and not in the fact that she was a collective farmer-activist, but in the fact that she managed not to succumb to the general rapture of deception, empty words about a new life, managed not to succumb to fear, managed to keep in herself human nature. And during the war years, it determined her behavior. In the finale of the story, Stepanida dies, but dies, not resigning himself to fate, but resisting it to the last. One of the critics remarked ironically that “there was great damage done by Stepanida to the enemy army”. Yes, the visible material damage is not great. But something else is infinitely important: by her death, Stepanida proves that she is a person, and not a working animal, which can be reproached, humiliated, forced to obey. Resistance to violence reveals that strength of character of the heroine, which, as it were, refutes death, shows the reader how much a person can, even if he is alone, even if he is in a desperate situation.
Next to Stepanida, Petrok is shown as a character, if not opposite to her, then, in any case, completely different - not active, but rather timid and peaceful, ready for compromise.
Petrok's infinite patience is based on a deep conviction that you can talk kindly with people. And only at the end of the story, this peaceful man, having exhausted all his patience, decides to protest, openly rebuff.
The folk tragedy, shown in the story of V. Bykov "The Sign of Trouble", reveals the origins of genuine human characters.

1. Yu. Bondarev. The novel "Hot Snow".

The novel Hot Snow by Yuri Bondarev is dedicated to the events near Stalingrad in the winter of 1942. His heroes not only perform deeds, but also comprehend their actions. And therefore this novel is a work not only about heroism and courage, but also about the inner beauty of our contemporary, who defeated fascism in a bloody war.

The novel takes place over the course of one day, starting from the moment when the battery of Lieutenant Drozdovsky was located at firing positions one hundred kilometers from Stalingrad and entered into battle with German tanks, breaking through to the rescue of Field Marshal Paulus and his sixth army, who were surrounded in the city on the Volga. and ending with that hour when the batteries were almost completely destroyed by their guns, nevertheless they did not let the enemy pass. Memorable figures on the pages of the novel are senior sergeant Ukhanov, gunners Nechaev and Evstigneev, foreman Skorik, sleds Rubin and Sergunenko, medical instructor Zoya Elagina. All of them were brought together by a sacred duty - to defend the Motherland.

Yu. Bondarev says that the soldier's memory inspired him to create this work: “I recalled a lot that over the years I began to forget: the winter of 1942, cold, steppe, ice trenches, tank attacks, bombing, the smell of burning and burning armor ... "

Conclusion

Preserving the memory of the victims is sacred. How high is the price of this victory! We do not know exactly how many people have died in these four years in the country: twenty million, twenty-seven million, or even more. But we know one thing: the instigators of the war are not people. And the more we know about the lessons of history, including about the war, the more vigilant we will be, the more we will appreciate the peaceful life, respect the memory of the fallen, be grateful to that generation of people who defeated the enemy, reached his very lair. The pain for the lost is the eternal pain of our people. And it is impossible to erase from memory everything that was in the war, because "This is not needed by the dead, this is needed by the living," that is, to all of us, including the youth.

The victory came to us thanks to the deep patriotism of the fighters. Every Soviet person understood that he had no right to surrender his homeland to his enemies.

I perceive the Great Patriotic War as a great grief and tragedy for millions of people. After all, almost every resident of Russia lost his relatives and friends in that war. And at the same time, I see this war as a grandiose triumph of patriotism, love for the Motherland. I think every fighter at that time was aware of our righteousness and the sanctity of the duty that lay on every citizen of the country.

I am deeply grateful to our veteran that I now live in free Russia. War is always scary. This is pain, grief, tears, torment, suffering, hatred.

The words of R. Rozhdestvensky sound like an incantation:

People!
As long as hearts are beating

Remember!
At what cost was wonhappiness ,

Please remember!

Bibliography.

1. Bocharov A. .. "Man and War".
2. Borshagovsky A.M. One battle and a whole life. Moscow 1999
3. Dukhan Ya.S. The Great Patriotic War in prose 70-80s Leningrad 1982
4. Zhuravleva A.A. Prose writers during the Great Patriotic War. Moscow "Education", 1978
5. Leonov. "Epic of Heroism".
6. Literature of the great feat. The Great Patriotic War in literature. Issue 3. Moscow 1980
7. Mikhailov O. “Loyalty. Homeland and Literature ”.
8. Ovcharenko A. “New heroes - new ways”.

It was widely covered in the literature, especially in Soviet times, since many authors shared their personal experiences and themselves experienced all the described horrors together with ordinary soldiers. Therefore, it is not surprising that first the war, and then the post-war years were marked by the writing of a whole series of works dedicated to the feat of the Soviet people in the fierce struggle against Nazi Germany. One cannot pass by such books and forget about them, because they make us think about life and death, war and peace, past and present. We bring to your attention a list of the best books on the Great Patriotic War, which are worth reading and rereading.

Vasil Bykov

Vasil Bykov (books are presented below) - an outstanding Soviet writer, public figure and participant in the Second World War. Probably one of the most famous authors of war novels. Bykov wrote mainly about a person during the most severe trials that befell him, and about the heroism of ordinary soldiers. Vasil Vladimirovich sang in his works the feat of the Soviet people in the Great Patriotic War. Below we will consider the most famous novels by this author: "Sotnikov", "Obelisk" and "Until Dawn".

"Sotnikov"

The story was written in 1968. This is another example of how it was described in fiction. Initially, the arbitrariness was called "Liquidation", and the plot was based on the author's meeting with a former brother-soldier whom he considered dead. In 1976, the film "Ascent" was made on the basis of this book.

The story tells about a partisan detachment that badly needs food and medicine. Rybak and the intellectual Sotnikov are sent for supplies, who is ill, but volunteers to go, since there were no more volunteers. Long wanderings and searches lead the partisans to the village of Lyasiny, here they rest a little and get a sheep carcass. Now you can go back. But on the way back, they run into a detachment of policemen. Sotnikov is seriously injured. Now the Fisherman must save the life of his comrade and bring the promised provisions to the camp. However, he fails, and together they fall into the hands of the Germans.

"Obelisk"

A lot was written by Vasil Bykov. The writer's books were often filmed. One of these books was the story "Obelisk". The work is built on the type of "story within a story" and has a pronounced heroic character.

The hero of the story, whose name remains unknown, comes to the funeral of Pavel Miklashevich, a village teacher. At the commemoration, everyone remembers the deceased with a kind word, but then they talk about Frost, and everyone is silent. On the way home, the hero asks his fellow traveler what kind of relationship some Moroz has to Miklashevich. Then he is told that Moroz was the teacher of the deceased. He treated the children like relatives, took care of them, and Miklashevich, who was oppressed by his father, took to live with him. When the war began, Moroz helped the partisans. The village was occupied by the police. Once his students, including Miklashevich, sawed down the pillars of the bridge, and the police chief, along with his assistants, was in the water. The boys were caught. Frost, who had fled to the partisans by that time, surrendered to free the students. But the Nazis decided to hang both the children and their teachers. Before the execution, Moroz helped Miklashevich escape. The rest were hanged.

"Until Dawn"

Tale of 1972. As you can see, the Great Patriotic War in literature continues to be relevant even after decades. This is also confirmed by the fact that Bykov was awarded the USSR State Prize for this story. The work tells about the everyday life of military intelligence officers and saboteurs. Initially, the story was written in Belarusian, and only then translated into Russian.

November 1941, the beginning of the Great Patriotic War. Lieutenant of the Soviet army Igor Ivanovsky, the protagonist of the story, commands a sabotage group. He will have to lead his comrades behind the front line - to the lands of Belarus, occupied by the German invaders. Their task is to blow up a German ammunition depot. Bykov talks about the feat of ordinary soldiers. It was they, not the staff officers, who became the force that helped win the war.

In 1975, the book was filmed. The script for the film was written by Bykov himself.

"And the dawns here are quiet ..."

The work of the Soviet and Russian writer Boris Lvovich Vasiliev. One of the most famous front-line stories largely thanks to the 1972 film adaptation of the same name. "And the dawns here are quiet ..." Boris Vasiliev wrote in 1969. The work is based on real events: during the war, soldiers serving on the Kirov railway prevented German saboteurs from blowing up the railway. After a fierce battle, only the commander of the Soviet group survived, who was awarded the medal "For Military Merit".

"And the dawns here are quiet ..." (Boris Vasiliev) - a book describing the 171st patrol in the Karelian wilderness. Here is the calculation of anti-aircraft installations. The soldiers, not knowing what to do, start drinking and messing around. Then Fyodor Vaskov, the commandant of the patrol, asks to "send non-drinkers." The command sends two squads of female anti-aircraft gunners to him. And somehow one of the newcomers notices German saboteurs in the forest.

Vaskov realizes that the Germans want to get to strategic targets and understands that they need to be intercepted here. To do this, he collects a detachment of 5 anti-aircraft gunners and leads them to the Sinyukhina ridge through the swamps by the path he alone leads. During the campaign, it turns out that the Germans are 16 people, so he sends one of the girls for reinforcements, and he himself pursues the enemy. However, the girl does not reach her own people and dies in the swamps. Vaskov has to enter into an unequal battle with the Germans, and as a result, the four girls who remained with him perish. But nevertheless, the commandant manages to capture the enemies, and he takes them to the location of the Soviet troops.

The story describes the feat of a man who himself decides to confront the enemy and not allow him to walk with impunity on his native land. Without an order from his superiors, the main character himself goes into battle and takes 5 volunteers with him - the girls volunteered themselves.

"There was a war tomorrow"

The book is a kind of biography of the author of this work, Boris Lvovich Vasiliev. The story begins with the fact that the writer tells about his childhood, that he was born in Smolensk, his father was the commander of the Red Army. And before becoming at least someone in this life, choosing his profession and deciding on a place in society, Vasiliev became a soldier, like many of his peers.

"Tomorrow Was the War" - a work about the pre-war period. Its main characters are still very young students of the 9th grade, the book tells about their growing up, love and friendship, idealistic youth, which turned out to be too short because of the outbreak of the war. The work tells about the first serious confrontation and choice, about the collapse of hopes, about the inevitable growing up. And all this against the backdrop of an impending painful threat that cannot be stopped or avoided. And in a year, these boys and girls will find themselves in the thick of a fierce battle, in which many of them are destined to burn out. However, in their short life, they will learn what honor, duty, friendship and truth are.

"Hot Snow"

A novel by the front-line writer Yuri Vasilyevich Bondarev. The Great Patriotic War in the literature of this writer is represented especially widely and became the main motive of all his work. But the most famous work of Bondarev is precisely the novel Hot Snow, written in 1970. The story is set in December 1942 near Stalingrad. The novel is based on real events - the attempt of the German army to unblock the sixth army of Paulus, surrounded by Stalingrad. This battle was decisive in the battle for Stalingrad. The book was filmed by G. Egiazarov.

The novel begins with the fact that two artillery platoons under the command of Davlatyan and Kuznetsov will have to gain a foothold on the Myshkov River, and then hold back the advance of German tanks rushing to the rescue of Paulus's army.

After the first wave of the offensive, Lieutenant Kuznetsov's platoon is left with one gun and three fighters. Nevertheless, the soldiers continue to repel the onslaught of enemies during the day.

"The fate of man"

“The Fate of a Man” is a school work that is studied within the framework of the theme “The Great Patriotic War in Literature”. The story was written by the famous Soviet writer Mikhail Sholokhov in 1957.

The work describes the life of a simple chauffeur Andrei Sokolov, who had to leave his family and home with the beginning of the Great Patriotic War. However, the hero did not have time to get to the front, as he immediately gets wounded and finds himself in Nazi captivity, and then in a concentration camp. Thanks to his courage, Sokolov manages to survive the captivity, and already at the end of the war he manages to escape. Having got to his own people, he gets a vacation and goes to his small homeland, where he learns that his family died, only his son survived, who went to war. Andrei returns to the front and learns that his son was shot by a sniper on the last day of the war. However, this is not the end of the hero's story, Sholokhov shows that even having lost everything, one can find new hope and gain strength in order to live on.

"Brest Fortress"

The book of the famous and journalist was written in 1954. For this work, the author was awarded the Lenin Prize in 1964. And this is not surprising, because the book is the result of a decade of Smirnov's work on the history of the defense of the Brest Fortress.

The work "Brest Fortress" (Sergei Smirnov) is a part of history itself. To write literally bit by bit, he collected information about the defenders, wishing that their good names and honor were not forgotten. Many of the heroes were captured, for which they were convicted after the end of the war. And Smirnov wanted to protect them. The book contains many memories and testimonies of the participants in the battles, which fills the book with true tragedy, full of courageous and decisive actions.

"The Living and the Dead"

The Great Patriotic War in the literature of the 20th century describes the life of ordinary people who, by the will of fate, turned out to be heroes and traitors. This cruel time grinded many, and only a few managed to slip between the millstones of history.

"The Living and the Dead" is the first book of the famous trilogy of the same name by Konstantin Mikhailovich Simonov. The second two parts of the epic are called "Soldiers are not born" and "The last summer". The first part of the trilogy was published in 1959.

Many critics consider the work to be one of the brightest and most talented examples of the description of the Great Patriotic War in the literature of the 20th century. At the same time, the epic novel is not a historiographic work or a chronicle of the war. The characters in the book are fictional people, although they have certain prototypes.

"War has not a woman's face"

Literature dedicated to the Great Patriotic War usually describes the exploits of men, sometimes forgetting that women also contributed to the common victory. But the book of the Belarusian writer Svetlana Aleksievich, one might say, restores historical justice. The writer has collected in her work the stories of those women who took part in the Great Patriotic War. The title of the book was the first lines of the novel "War under the Roofs" by A. Adamovich.

"Not on the lists"

Another story, the theme of which was the Great Patriotic War. In Soviet literature, Boris Vasiliev, whom we have already mentioned above, was quite famous. But he gained this fame precisely thanks to his military work, one of which is the story "Does not appear in the lists."

The book was written in 1974. Its action takes place in the very Brest fortress, besieged by the fascist invaders. Lieutenant Nikolai Pluzhnikov, the protagonist of the work, ends up in this fortress before the start of the war - he arrived on the night of June 21-22. And at dawn, the battle already begins. Nikolai has the opportunity to leave here, since his name is not on any military list, but he decides to stay and defend his homeland to the end.

"Babi Yar"

Anatoly Kuznetsov published the documentary "Babi Yar" in 1965. The work is based on the childhood memories of the author, who during the war ended up in the territory occupied by the Germans.

The novel begins with a small author's introduction, a short introductory chapter, and several chapters, which are combined into three parts. The first part tells about the withdrawal of the retreating Soviet troops from Kiev, the collapse of the South-Western Front and the beginning of the occupation. Also included were scenes of the execution of Jews, the explosions of the Kiev-Pechersk Lavra and Khreshchatyk.

The second part is completely devoted to the occupation life of 1941-1943, the hijacking of Russians and Ukrainians as workers to Germany, about hunger, about clandestine production, about Ukrainian nationalists. The final part of the novel tells about the liberation of the Ukrainian land from the German occupiers, the flight of the policemen, the battle for the city, and the uprising in the Babi Yar concentration camp.

"The Story of a Real Man"

Literature about the Great Patriotic War also includes the work of another Russian writer who went through the war as a war journalist, Boris Polevoy. The story was written in 1946, that is, almost immediately after the end of hostilities.

The plot is based on an event in the life of a military pilot of the USSR Alexei Meresiev. Its prototype was a real character, the hero of the Soviet Union Alexei Maresyev, who, like his hero, was a pilot. The story tells how he was shot down in a battle with the Germans and seriously wounded. As a result of the accident, he lost both legs. However, his willpower was so great that he managed to return to the ranks of Soviet pilots.

The work was awarded the Stalin Prize. The story is imbued with humanistic and patriotic ideas.

"Madonna of the rationed bread"

Maria Glushko is a Crimean Soviet writer who went to the front at the beginning of the Second World War. Her book "Madonna of the rationed bread" is about the feat of all mothers who had to survive the Great Patriotic War. The heroine of the work is a very young girl Nina, whose husband goes to war, and at the insistence of her father she goes to evacuation to Tashkent, where her stepmother and brother are waiting for her. The heroine is in the last stages of pregnancy, but this will not protect her from the flow of human troubles. And in a short time, Nina will have to learn what was previously hidden from her behind the well-being and tranquility of pre-war existence: how differently people live in the country, what life principles, values, attitudes they have, how they differ from her, who grew up in ignorance and wealth. But the main thing that the heroine has to do is to give birth to a child and save him from all the misfortunes of the war.

"Vasily Terkin"

Such characters as the heroes of the Great Patriotic War, literature painted the reader in different ways, but the most memorable, cheerful and charismatic, undoubtedly, was Vasily Terkin.

This poem by Alexander Tvardovsky, which began to be published in 1942, immediately received popular love and recognition. The work was written and published throughout the Second World War, the last part was published in 1945. The main task of the poem was to maintain the fighting spirit of the soldiers, and Tvardovsky successfully completed this task, largely thanks to the image of the protagonist. The brave and cheerful Terkin, who is always ready for battle, won the hearts of many ordinary soldiers. He is the soul of the unit, a merry fellow and a joker, and in battle - an example to follow, resourceful and always achieving his goal warrior. Even being on the verge of death, he continues to fight and already comes into battle with Death itself.

The work includes a prologue, 30 chapters of the main content, divided into three parts, and an epilogue. Each chapter is a short front-line story from the life of the protagonist.

Thus, we see that the literature of the Soviet period widely covered the exploits of the Great Patriotic War. We can say that this is one of the main themes of the middle and second half of the 20th century for Russian and Soviet writers. This is due to the fact that the whole country was involved in a battle with the German invaders. Even those who were not at the front worked tirelessly in the rear, providing soldiers with ammunition and provisions.

Terminological minimum: periodization, essay, "generals" prose, "lieutenant" prose, memoirs, epic novel, "trench" literature, writers' diaries, memoirs, genre of documentary prose, historicism, documentary.

Plan

1. General characteristics of the literary process during the Great Patriotic War (1941-1945).

2. The theme of war as the main one in the development of the literary process in the late 1940s and early 1960s. (opposition of "general" and "lieutenant" prose).

3. "Trench Truth" about the war in Russian literature.

4. Memoirs and fiction in the literature about the Great Patriotic War.

Literature

Study texts

1. Astafiev, V. P. Cursed and killed.

2. Bondarev, Yu. V. Hot snow. Coast. The battalions are asking for fire.

3. Bulls, V. V. Sotnikov. Obelisk.

4. Vasiliev, BL Tomorrow was a war. Not on the lists.

5. Vorobiev, KD It's us, Lord!

6. Grossman, V. S. Life and destiny.

7. Kataev, V. P. Son of the regiment.

8. Leonov, L. M. Invasion.

9. Nekrasov, V. P. In the trenches of Stalingrad.

10. Simonov, KM The Living and the Dead. Russian character.

11. Tvardovsky, A. T. Vasily Terkin.

12. Fadeev, A. A. Young Guard.

13. Sholokhov, MA They fought for the Motherland. The fate of a person.

The main

1. Gorbachev, A. Yu. The military theme in prose of the 1940–90s. [Electronic resource] / A. Yu. Gorbachev. - Access mode: http: // www. bsu.by> Cache /219533/.pdf (date accessed: 04.06.2014)

2. Lagunovsky, A. General characteristics of the literature of the period of the Great Patriotic War [Electronic resource] / A. Lagunovsky. - Access mode: http: // www. Stihi.ru / 2009/08/17/2891 (date of access: 02.06.2014)

3. Russian literature of the XX century / ed. S. I. Timina. - M.: Academy, 2011 .-- 368 p.

Additional

1. Bykov, V. “These young writers saw the sweat and blood of war on their tunic”: correspondence between Vasily Bykov and Alexander Tvardovsky / V. Bykov; entry Art. S. Shaprana // Questions of literature. - 2008. - No. 2. - P. 296–323.

2. Kozhin, A. N. On the language of military documentary prose / A. N. Kozhin // Philological sciences. - 1995. - No. 3. - P. 95–101.

3. Chalmaev, V. A. Russian prose 1980–2000: At the crossroads of opinions and disputes / V. A. Chalmaev // Literature at school. - 2002. - No. 4. - P. 18–23.

4. Man and War: Russian fiction about the Great Patriotic War: bibliographic list / ed. S.P.Bavin. - M.: Ipno, 1999 .-- 298 p.

5. Yalyshkov, V. G. Military stories of V. Nekrasov and V. Kondratyev: the experience of comparative analysis / V. G. Yalyshkov // Bulletin of Moscow University. - Ser. 9. Philology. - 1993. - No. 1. - P. 27–34.

1. The Great Patriotic War is an inexhaustible topic in Russian literature. The material, the author's tonality, plots, heroes change, but the memory of the tragic days lives on in the books about her.

More than 1000 writers went to the front during the war. Many of them directly participated in battles with the enemy, in the partisan movement. For military merits, 18 writers received the title of Hero of the Soviet Union. About 400 members of the Writers' Union did not return from the battlefields. Among them were both young people, who published one book each, and experienced writers known to a wide range of readers: E. Petrov, A. Gaidar
and etc.

A significant part of professional writers have worked in newspapers, magazines, and the mass press. War correspondent is the most common job for fiction writers.

Lyrics turned out to be the most "mobile" kind of literature. Here is a list of publications that appeared in the first days of the war: on June 23, on the first page of Pravda, A. Surkov's poem “We Oath of Victory” appeared, on the second - by N. Aseev “Victory will be ours”; June 24 Izvestia publishes The Sacred War by V. Lebedev-Kumach; June 25 Pravda publishes A. Surkov's Song of the Brave; June 26 the newspaper "Krasnaya Zvezda" begins to publish a series of essays by I. Ehrenburg; June 27 "Pravda" with the article "What are we defending" opens the journalistic cycle
A. Tolstoy. Such dynamics is indicative and reflects the demand for artistic material.

It is noteworthy that the subject matter of the lyrics changed dramatically from the very first days of the war. Responsibility for the fate of the Motherland, the bitterness of defeat, hatred of the enemy, perseverance, patriotism, loyalty to ideals, faith in victory - that was the leitmotif of all poems, ballads, poems, songs.

The lines from the poem by A. Tvardovsky "To the partisans of Smolensk" became indicative: "Arise, my whole region, defiled, against the enemy!" The "Holy War" by Vasily Lebedev-Kumach conveyed a generalized image of time:

May the noble rage

Boils like a wave

- There is a people's war,

Holy war! [P.87] 7

Odic poems, expressing the anger and hatred of the Soviet people, were an oath of loyalty to the Fatherland, a guarantee of victory, and reflected the inner state of millions of Soviet people.

Poets turned to the heroic past of their homeland, drew historical parallels that are so necessary for raising the fighting spirit: "The Word about Russia" by M. Isakovsky, "Rus" by D. Bedny, "Duma of Russia"
D. Kedrin, "Field of Russian Glory" by S. Vasiliev.

The organic connection with Russian classical lyrics and folk art helped the poets to reveal the traits of their national character. Concepts such as "Motherland", "Rus", "Russia", "Russian heart", "Russian soul", often included in the title of works of art, acquired unprecedented historical depth and strength, poetic volume and imagery. So, revealing the character of the heroic defender of the city on the Neva, the Leningrad woman of the blockade period, O. Bergholz states:

You are Russian - with breath, blood, thought.

You weren't united yesterday

Habakkuk's peasant patience

And the royal fury of Peter [p.104].

A number of verses convey the soldier's feeling of love for his "small homeland", for the house in which he was born, for the family that remained far away, for those "three birches" where he left part of his soul, his pain, hope, joy ( "Homeland" by K. Simonov).

The most touching lines of many writers of that time are dedicated to a mother-woman, a simple Russian woman who accompanied her brothers, husband and sons to the front, who survived the bitterness of irreparable loss, who endured inhuman hardships, hardships and hardships on her shoulders, but did not lose faith.

Memorized every porch

Where did I have to step

I remembered all the women in the face,

Like your own mother.

They shared bread with us -

Whether wheat, rye, -

They took us out to the steppe

A secret path.

Our pain was sick with them, -

Your own misfortune does not count [p.72].

The poems of M. Isakovsky "Russian woman", lines from K. Simonov's poem "Do you remember, Alyosha, the roads of Smolensk ..." sound in the same tone.

The truth of the times, the belief in victory permeate the poems of A. Prokofiev ("Comrade, you saw ..."), A. Tvardovsky ("The Ballad of a Comrade") and many other poets.

The work of a number of major poets is undergoing a serious evolution. So, the lyrics of A. Akhmatova reflect the high civic consciousness of the poetess, the patriotic sound was received by purely personal experiences. In the poem "Courage" the poetess finds words, images that embody the irresistible fortitude of the fighting people:

And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean.

We will give it to our grandchildren, and we will save from captivity

Forever! [p.91].

The fighting people equally needed angry lines of hatred and soulful poems about love and fidelity. Examples of this are the poems of K. Simonov "Kill him!", "Wait for me, and I will return ...", A. Prokofiev "Comrade, you saw ...", his poem "Russia", full of love for the Motherland.

Front songs occupy a special place in the history of the development of Russian verse. Thoughts and feelings set to music create a special emotional background and reveal the mentality of our people in the best possible way ("Dugout" by A. Surkov, "Dark Night" by V. Agatov, "Ogonyok"
M. Isakovsky, "Evening on the Road" by A. Churkin, "Roads" by L. Oshanin, "Here are the soldiers coming" by M. Lvovsky, "Nightingales" by A. Fatyanov, etc.).

We find the embodiment of the social, moral, humanistic ideals of the fighting people in such a large epic genre as the poem. The years of the Great Patriotic War were no less fruitful for the poem than the era of the 1920s. "Kirov is with us" (1941) by N. Tikhonova, "Zoya" (1942) by M. Aliger, "Son" (1943) by P. Antakolsky, "The February Diary" (1942) by O. Bergholz, "Pulkovo Meridian" (1943)
V. Inber, "Vasily Terkin" (1941-1945) by A. Tvardovsky - these are the best examples of poetry of that period. A distinctive feature of the poem as a genre at this time is pathos: attention to specific, easily recognizable details, synthesis of personal reflections about family, love and great history, about the fate of the country and the planet, etc.

The evolution of the poets P. Antakolsky and V. Inber is indicative. From oversaturation with associations and reminiscences of pre-war poetry
P. Antakolsky moves from reflections on the fate of a particular person to all of humanity as a whole. The poem "Son" captivates with a combination of lyricism with high pathos, heartfelt sincerity with a civic principle. Here the touching personal turns into the general. High civic pathos, social and philosophical reflections determine the sound of V. Inber's military poetry. Pulkovo Meridian is not only a poem about the humanistic position of the Russian people, it is a hymn to the feelings and deeds of every person fighting for the Motherland and freedom.

The poem of the war years was distinguished by a variety of stylistic, plot and compositional solutions. She synthesizes the principles and techniques of the narrative and sublime romantic style. Thus, M. Aliger's poem "Zoya" is marked by the amazing fusion of the author with the spiritual world of the heroine. It inspires and accurately embodies moral maximalism and integrity, truth and simplicity. Moscow schoolgirl Zoya Kosmodemyanskaya voluntarily chooses a harsh lot without hesitation. The poem "Zoya" is not so much a biography of the heroine as a lyrical confession on behalf of a generation whose youth coincided with a terrible and tragic time in the history of the people. At the same time, the three-part structure of the poem conveys the main stages in the formation of the heroine's spiritual image. At the beginning of the poem, with light but precise strokes, only the appearance of the girl is outlined. Gradually, a big social theme enters the wonderful world of her youth (“We lived in the world bright and spacious ...”), a sensitive heart absorbs the anxieties and pain of the “shaken planet”. The apotheosis of a short life becomes the final part of the poem. About the inhuman torture that Zoya is subjected to in the fascist dungeon, it is said sparingly, but strongly, journalistically sharply. The name and image of the Moscow schoolgirl, whose life ended so tragically early, became a legend.

World famous poem by AT Tvardovsky "Vasily Terkin" - the largest, most significant poetic work of the era of the Great Patriotic War. Tvardovsky has achieved a synthesis of the private and the general: the individual image of Vasily Terkin and the image of the Motherland of different sizes in the artistic concept of the poem. This is a multifaceted poetic work, embracing not only all aspects of front-line life, but also the main stages of the Great Patriotic War. In the immortal image of Vasily Terkin, the features of the Russian national character of that era were embodied with special force. Democracy and moral purity, greatness and simplicity of the hero are revealed by the means of folk poetry, the structure of his thoughts and feelings is related to the world of images of Russian folklore.

The era of the Great Patriotic War gave birth to poetry of remarkable strength and sincerity, angry publicism, harsh prose, passionate drama.

Over the years of the war, over 300 plays were created, but few were fortunate enough to survive their time. Among them: "Invasion" by L. Leonov, "Front" by A. Korneichuk, "Russian People" by K. Simonov, "Officer of the Fleet" by A. Kron, "Song of the Black Sea Fleet" by B. Lavrenev, "Stalingraders" by Y. Chepurin, etc. ...

Plays were not the most mobile genre of the time. The turning point in drama was 1942.

The drama "Invasion" by L. Leonov was created at the most difficult time. The small town where the events of the play unfold is a symbol of the nationwide struggle against the invaders. The significance of the author's intention lies in the fact that he comprehends local conflicts in a broad socio-philosophical key, reveals the sources that feed the force of resistance. The play takes place in the apartment of Dr. Talanov. Unexpectedly for everyone, Talanov's son Fyodor returns from prison. The Germans entered the city almost at the same time. And along with them appears the former owner of the house in which the Talanovs live, the merchant Fayunin, who soon became the mayor of the city. The tension of the action grows from scene to scene. The honest Russian intellectual doctor Talanov does not think of his life aside from the struggle. Next to him are his wife Anna Pavlovna and daughter Olga. There is no question about the need to fight behind enemy lines for the chairman of the city council Kolesnikov: he is the head of a partisan detachment. This is one - the central - layer of the play. However, Leonov, a master of deep and complex dramatic collisions, is not content with just such an approach. Deepening the psychological line of the play, he introduces another person - the Talanovs' son. Fyodor's fate turned out to be confusing and difficult. Spoiled in childhood, selfish, selfish, he returns to his father's house after three years of imprisonment as punishment for the attempt on the life of his beloved woman. Fyodor is gloomy, cold, alert. The words of his father said at the beginning of the play about the nationwide grief do not touch Fyodor: personal hardships overshadow everything else. He is tormented by the lost trust of people, which is why Fedor is uncomfortable in the world. With their minds and hearts, the mother and the nanny realized that under the fool's mask Fyodor hid his pain, the longing of a lonely, unhappy person, but they could not accept his former self. Kolesnikov's refusal to take Fyodor into his detachment hardens the heart of young Talanov even more. It took a while for this man, who once lived only for himself, to become a people's avenger. Fyodor, captured by the Nazis, pretends to be the commander of a partisan detachment in order to die for him. Psychologically convincing Leonov draws Fyodor's return to people. The play consistently reveals how war, nationwide grief, suffering ignite hatred and a thirst for revenge in people, a willingness to give their lives for the sake of victory. This is how we see Fedor in the finale of the drama.

For Leonov, interest in the human character is natural in all the complexity and contradictory nature of his nature, which consists of social and national, moral and psychological. The stage history of Leonov's works during the Great Patriotic War (apart from Invasion, the drama Lenushka, 1943 was widely known), which bypassed all the main theaters of the country, once again confirms the skill of the playwright.

If L. Leonov reveals the theme of heroic deed and the invincibility of the patriotic spirit by means of in-depth psychological analysis, then K. Simonov in the play "Russian People" (1942), posing the same problems, uses the methods of lyricism and journalism of open folk drama. The play takes place in the fall of 1941 on the Southern Front. The focus of the author's attention is both the events in Safonov's detachment, located not far from the city, and the situation in the city itself, where the invaders are in charge. “Russian People” is a play about the courage and resilience of ordinary people who owned very peaceful professions before the war: about the driver Safonov, his mother Marfa Petrovna, nineteen-year-old Vale Anoschenko, who drove the chairman of the city council, paramedic Globa. They should build houses, teach children, create beautiful things, love, but the cruel word "war" dispelled all hopes. People take rifles, put on overcoats, go into battle.

The play "Russian People" in the summer of 1942, at the most difficult time of the war, was staged on the stage of a number of theaters. The play's success was also explained by the fact that the playwright showed the enemy not as a primitive fanatic and sadist, but as a sophisticated conqueror of Europe and the world, confident in his impunity.

The theme of a number of interesting dramatic works was the life and heroic deeds of our fleet. Among them: psychological drama
A. Krona "Officer of the Navy" (1944), a lyrical comedy by Vs. Azarov,
Sun. Vishnevsky, A. Krona "The sea is wide spread" (1942), B. Lavrenev's oratorio "Song of the Black Sea people" (1943).

Historical drama achieved certain achievements during this period. Such historical plays were written as the tragedy of V. Solovyov "The Great Sovereign", the dilogy of A. Tolstoy "Ivan the Terrible" and others. The turning points, the hard times of the Russian people - this is the main component of such dramas.

However, the greatest flourishing during the Great Patriotic War is reached by publicism. The greatest masters of artistic expression - L. Leonov, A. Tolstoy, M. Sholokhov - also became outstanding publicists. The bright, temperamental word of I. Ehrenburg was popular at the front and in the rear. A. Fadeev, V. Vishnevsky, N. Tikhonov made an important contribution to the journalism of those years.

A. N. Tolstoy (1883–1945) owns more than 60 articles and essays created during the period 1941–1944. ("What are we defending", "Motherland", "Russian soldiers", "Blitzkrieg", "Why Hitler should be defeated", etc.). Referring to the history of his homeland, he convinced his contemporaries that Russia would cope with a new misfortune, as it had done more than once in the past. "Nothing, we'll do it!" - such is the leitmotif of A. Tolstoy's journalism.

LM Leonov also constantly turned to national history, but he spoke with particular acuteness about the responsibility of every citizen, because only in this he saw the guarantee of the coming victory ("Glory to Russia", "Your brother Volodya Kurylenko", "Fury", "Massacre "," An unknown American friend ", etc.).

The central theme of the military journalism of I. G. Ehrenburg is the defense of universal human culture. He saw in fascism a threat to world civilization and emphasized that representatives of all nationalities of the USSR were fighting for its preservation (articles "Kazakhs", "Jews", "Uzbeks", "Caucasus", etc.). Ehrenburg's journalism style was distinguished by the sharpness of colors, the suddenness of transitions, and metaphor. At the same time, the writer skillfully combined documentary materials, a verbal poster, a pamphlet, and a caricature in his works. Essays and publicistic articles of Ehrenburg compiled the collection "War".

The second most mobile after a publicistic article was a military essay . Documentaryism became the key to the popularity of publications
V. Grossman, A. Fadeev, K. Simonov - writers whose words, created in hot pursuit, were awaited by readers at the front and in the rear. He owns descriptions of military operations, portrait travel sketches.

Leningrad became the main theme of V. Grossman's essay. In 1941 he was enrolled in the staff of the newspaper "Krasnaya Zvezda". Throughout the war, Grossman kept records. His Stalingrad essays, stern, devoid of pathos ("Through the eyes of Chekhov" and others), formed the basis of the idea of ​​a large work, which later became the dilogy "Life and Fate".

Since most of the stories, novellas, which were few in those years, were built on a documentary basis, the authors most often resorted to the psychological characteristics of the heroes, described specific episodes, and often retained the names of real people. So, in the days of the war, a kind of hybrid form of an essay-story appeared in Russian literature. This type of works includes "The Honor of the Commander" by K. Simonov, "The Science of Hatred" by M. Sholokhov, the series "Stories by Ivan Sudarev"
A. Tolstoy and "Sea Soul" by L. Sobolev.

The art of journalism has gone through several major stages in four years. If in the first months of the war it was characterized by a naked-rationalistic manner, often abstract-schematic ways of depicting the enemy, then at the beginning of 1942 journalism was enriched with elements of psychological analysis. In the fiery word of the publicist, both a rally note and an appeal to the spiritual world of a person sound. The next stage coincided with a turning point in the course of the war, with the need for an in-depth socio-political examination of the fascist front and rear, clarification of the root causes of the impending defeat of Hitlerism and the inevitability of just retribution. These circumstances caused the appeal to such genres as pamphlet and review.

At the final stage of the war, there was a tendency towards documentation. For example, in "Windows TASS", along with the graphic execution of posters, the method of photomontage was widely used. Writers and poets introduced diaries, letters, photographs and other documentary evidence into their works.

The journalism of the war years is a qualitatively different stage in the development of this martial and active art in comparison with previous periods. The deepest optimism, unshakable faith in victory - this is what supported the publicists even in the most difficult times. The appeal to history and the national origins of patriotism gave special power to their speeches. An important feature of journalism of that time was the widespread use of leaflets, posters, cartoons.

In the first two years of the war, over 200 stories were published. Of all the prose genres, only an essay and a story could compete in popularity with a story. The story is a genre very characteristic of the Russian national tradition. It is well known that in the 1920s – 1930s. dominated by the psychological, everyday, adventure and satirical-humorous varieties of the genre. During the Great Patriotic War (as well as during the Civil War), the heroic, romantic story came to the fore.

The desire to reveal the harsh and bitter truth of the first months of the war, achievements in the field of creating heroic characters are marked "Russian story" (1942) by Peter Pavlenko and V. Grossman's story "The people are immortal." However, there are differences between these works in the way the theme is embodied.

A characteristic feature of the military prose of 1942-1943. - the emergence of short stories, cycles of stories connected by the unity of the characters, the image of the narrator or a lyrical cross-cutting theme. This is how the "Stories of Ivan Sudarev" by A. Tolstoy, "The Sea Soul" by L. Sobolev, "March - April" by V. Kozhevnikov were constructed. The drama in these works is set off by a lyrical and at the same time sublimely poetic, romantic feature that helps to reveal the spiritual beauty of the hero. Penetration into the inner world of a person deepens. The socio-ethical origins of patriotism are revealed more convincingly and artistically.

By the end of the war, prose gravitated towards a broad epic understanding of reality, which is convincingly proved by two well-known writers - M. Sholokhov (a novel that the author did not manage to finish - "They Fought for the Motherland") and A. Fadeev ("Young Guard" ). The novels are notable for their social scale, opening new ways in the interpretation of the theme of war. So, M. A. Sholokhov makes a bold attempt to portray the Great Patriotic War as a truly national epic. The very choice of the main characters, the rank and file of the infantry - the grain grower Zvyagintsev, the miner Lopakhin, the agronomist Streltsov - testifies to the fact that the writer seeks to show various strata of society, to trace how the war was perceived by different people and what paths led them to a huge, truly popular Victory.

The spiritual and moral world of Sholokhov's heroes is rich and diverse. The artist paints broad pictures of the era: sorrowful episodes of retreats, scenes of violent attacks, relationships between soldiers and civilians, short hours between battles. At the same time, the whole gamut of human experiences can be traced - love and hatred, severity and tenderness, smiles and tears, tragic and comic.

If the novel by M. A. Sholokhov was not completed, then the fates of other works were remarkable, in them, as in a mirror, the era was reflected. For example, K. Vorobyov's autobiographical story "It's us, Lord!" was written in 1943, when a group of partisans, formed from former prisoners of war, was forced to go underground. Exactly thirty days in the Lithuanian city of Siauliai K. Vorobyov wrote about what he had to endure in Nazi captivity. In 1946 the manuscript was received by the editorial office of the Novy Mir magazine. At that moment, the author presented only the first part of the story, so the question of its publication was postponed until the end appeared. However, the second part was never written. Even in the personal archive of the writer, the story has not been preserved in its entirety, but some of its fragments were included in some other works of Vorobyov. Only in 1985 the manuscript "This is us, Lord!" was discovered in the Central State Archive of Literature and Art of the USSR, where it was handed over together with the archive of the "New World". In 1986, K. Vorobyov's story finally saw the light of day. The protagonist of the work, Sergei Kostrov, is a young lieutenant who was taken prisoner by Germany in the very first year of the war. The whole story is devoted to the description of the life of Soviet prisoners of war in German camps. In the center of the work is the fate of the protagonist, which can be described as “the path to freedom”.

If the work of K. Vorobyov is a copy of his life, then A. Fadeev relies on specific facts and documents. At the same time, Fadeev's Young Guard is romantic and revealing, just like the fate of the author of the work himself.

In the first chapter, a distant echo of alarm sounds, in the second, a drama is shown - people leave their homes, blow up mines, the feeling of a folk tragedy permeates the narrative. The crystallization of the underground is going on, the ties of young fighters of Krasnodon with the underground are being manifested and strengthened. The idea of ​​the continuity of generations determines the basis of the plot structure of the book and is expressed in the depiction of underground workers (I. Protsenko, F. Lyutikov). Representatives of the older generation and the Young Guard Komsomol members act as a united national force opposing Hitler's "new order".

The first completed novel about the Patriotic War was A. Fadeev's Young Guard, published in 1945 (the second book was published in 1951). After the liberation of Donbass, Fadeev wrote an essay about the death of Krasnodon youth "Immortality" (1943), and then conducted a study of the activities of an underground youth organization that independently operated in a town occupied by the Nazis. Harsh and austere realism coexists with romance, the objectified narrative is interspersed with the agitated lyrics of the author's digressions. When recreating individual images, the role of the poetics of contrast is also very significant (Lyutikov's stern eyes and the sincerity of his nature; the boyish appearance of Oleg Koshevoy and not at all childish wisdom of his decisions; the dashing carelessness of Lyubov Shevtsova and the audacious courage of her actions, unbreakable will). Even in the outward appearance of the heroes, Fadeev does not deviate from his favorite technique: “clear blue eyes” by Protsenko and “demonic sparks” in them; "Severely tender expression" of Oleg Koshevoy's eyes; white lily in Ulyana Gromova's black hair; "Blue children's eyes with a hard steel sheen" by Lyubov Shevtsova.

The history of the existence of the novel in world literature is remarkable. The fate of the work is indicative of the literary samples of the Soviet era.

Brainstorming technology applications

Carrying out conditions: performing a pre-lecture assignment, dividing into groups (4–5 people).

Technology name	Technology options	Conditions / task	Predicted result
Changing point of view	Points of view of different people	Network version of the abstract	Revealing the difference and commonality of views of literary scholars and public figures. Conclusion about pressure on the author of the novel
Grouping changes	Knowledge of the texts of the novel by A. A. Fadeev "The Defeat" and the author's abstract of O. G. Manukyan	To consolidate the idea of ​​the inner world of writers, to compare the difference in the perception of the writer and critics
Auto-letter		A letter to yourself about the perception of the information contained in the abstract	Awareness of the author's position and identification of the peculiarities of the perception of his views by scientists
Curtsy		Assumes reproduction of the exact opposite of the stated position in the conclusions of the abstract	Promotes mental flexibility, the emergence of original ideas, understanding of the author's position and empathy

If in the 1945 edition A.A.Fadeev did not dare to write about the existence in Krasnodon of yet another - non-Komsomol - anti-fascist underground, then in the new version of the novel (1951), ideologically conditioned deceit is added to this default: the author claims that the creators and the leaders of the Young Guard organization were communists. Thus, Fadeev denies his favorite heroes an important initiative. In addition, this book served as the basis for criminal prosecution, often unfounded, of real people who became the prototypes of negative heroes.

And yet, in our opinion, it should be noted that to this day this novel has not lost its relevance, including pedagogical.

2. The theme of the Great Patriotic War occupies a special place in Russian multinational literature. In the 1940s – 1950s, it developed a tradition of depicting war as a heroic period in the life of the country. From this perspective, there was no room left to show its tragic aspects. Throughout the 1950s. in the literature about the war, there is clearly a tendency to panoramic images of the events of the past in large canvases. The emergence of epic novels is one of the characteristic features of Russian literature in the 1950s – 1960s.

The turning point occurred only with the beginning of the "thaw", when the novels of front-line writers were published: "The battalions are asking for fire" (1957) by Yu. Bondarev, "South of the main blow" (1957) by G. Baklanov, "Crane cry" (1961), " Third rocket "(1962) V. Bykov," Starfall "(1961) V. Astafiev," One of us "(1962) V. Roslyakov," Scream "(1962)," Killed near Moscow "(1963) K. Vorobyov and others. Such a surge of interest in the military theme predetermined the emergence of a whole trend called "lieutenant prose."

"Lieutenant Prose" - this is the works of writers who went through the war, survived and brought to the reader's judgment their combat experience in one form or another. As a rule, this is fiction, mostly of an autobiographical nature. The aesthetic principles of "lieutenant prose" had a noticeable impact on the entire literary process of the second half of the 20th century. However, today there is no generally accepted definition of this literary movement. It is interpreted in different ways: as prose created by front-line soldiers who went through the war with the rank of lieutenant, or as prose, the protagonists of which are young lieutenants. The “general's prose” is characterized in a similar way, which means works created in the “general's” (epic novel) format by the “generals” of literature (for example, K. Simonov).

Speaking about the works created by front-line writers who study the formation of a young participant in the war, we will resort to the concept of "lieutenant prose" as the most widely used one. At its origins was V. Nekrasov's novel In the Trenches of Stalingrad. The author himself, having gone through the war as an officer of a sapper battalion, was able to show in artistic form the "trench truth", in which the heroes were a simple soldier, a simple officer. And ordinary people won the victory - the people. This theme became central to the best military prose of the 1950s – 1960s.

In this regard, the following authors and their works can be mentioned. The story of K. Vorobyov (1919-1975) "Killed near Moscow" (1963) is written very emotionally, but realistically. Plot: a company of Kremlin cadets under the command of a slender, fit captain Ryumin was sent to defend Moscow. A company of soldiers and the defense of Moscow! The company died, and Captain Ryumin shot himself - he put a bullet in his heart, as if atoning for his sin for the death of inexperienced boys. They, the Kremlin cadets, are slender, one meter one hundred and eighty-three centimeters tall, everything is as if on selection and are sure that the command values ​​them, because they are a special unit. But the cadets are abandoned by their command, and Captain Ryumin leads them into an obviously unequal battle. There was practically no battle, there was an unexpected and stunning attack by the Germans, from which it was impossible to escape anywhere - from behind they were controlled by the NKVD troops.

In his novel Hot Snow (1965-1969), Yu. Bondarev tried to develop the traditions of “lieutenant prose” at a new level, entering into a latent polemic with its characteristic “remarkism”. Moreover, by that time, the "lieutenant's prose" was going through a certain crisis, which was expressed in a certain monotony of artistic techniques, plot moves and situations, and in the repetition of the very system of images of works. The action of Yu. Bondarev's novel fits within a day, during which the battery of Lieutenant Drozdovsky, which remained on the southern coast, repelled the attacks of one of the tank divisions of Manstein's group, which was rushing to help the army of Marshal Paulus, which had fallen into the circle of encirclement at Stalingrad. However, this particular episode of the war turns out to be the turning point from which the victorious offensive of the Soviet troops began, and for this reason the events of the novel unfold, as it were, on three levels: in the trenches of an artillery battery, at the headquarters of the army of General Bessonov and, finally, at the headquarters of the Supreme Commander-in-Chief, where the general, before being assigned to the active army, has to endure a difficult psychological duel with Stalin himself. The battalion commander Drozdovsky and the commander of one of the artillery platoons, Lieutenant Kuznetsov, personally meet with General Bessonov three times.

Describing the war as a "test of humanity", Yuri Bondarev only expressed what determined the face of the military story of the 1960s – 1970s: many battle prose writers focused in their works on the image of the inner world of heroes and the refraction of the experience of war in it , on the transfer of the very process of a person's moral choice. However, the writer's partiality to his favorite characters was sometimes expressed in the romanticization of their images - a tradition established by A. Fadeev's novel "Young Guard" (1945). In this case, the character of the characters did not change, but only very clearly revealed in the exceptional circumstances in which the war placed them.

This tendency was most vividly expressed in the stories of B. Vasiliev "The Dawns Here Are Quiet" (1969) and "Not on the Lists" (1975). The peculiarity of the writer's military prose is that he always chooses episodes that are insignificant from the point of view of global historical events, but they speak a lot about the highest spirit of those who were not afraid to speak out against the superior forces of the enemy and won. Critics saw a lot of inaccuracies and even "impossibilities" in B. Vasiliev's story "The Dawns Here Are Quiet", the action of which develops in the forests and swamps of Karelia (for example, the White Sea-Baltic Canal, at which the sabotage group is aimed, has not operated since the fall of 1941 ). Ho the writer was interested here not in historical accuracy, but in the situation itself, when five fragile girls, led by foreman Fedot Baskov, entered into an unequal battle with sixteen thugs.

The image of Baskov, in essence, goes back to Lermontov's Maxim Maksimych - a man, perhaps poorly educated, but whole, wise with life and endowed with a noble and kind heart. Vaskov does not understand the intricacies of world politics or fascist ideology, but in his heart he feels the bestial essence of this war and its causes and cannot justify the death of five girls with any higher interests.

In the image of female anti-aircraft gunners, the typical fates of women of the pre-war and war years were embodied: different social status and educational level, different characters, interests. However, with all the accuracy of life, these images are noticeably romanticized: in the portrayal of the writer, each of the girls is beautiful in its own way, each is worthy of its own life story. And the fact that all the heroines perish underscores the inhumanity of this war, affecting the lives of even the most distant people from it. The fascists contrast with the romanticized images of girls. Their images are grotesque, deliberately reduced, and this expresses the main idea of ​​the writer about the nature of a person who has embarked on the path of murder. This thought with particular clarity illuminates the episode of the story in which Sonya Gurvich's dying cry is heard, which escaped because the knife was intended for a man, but fell into a woman's breast. With the image of Liza Brichkina, a line of possible love is introduced into the story. From the very beginning, Vaskov and Liza liked each other: she is to him - with a figure and sharpness, he is to her - with masculine solidity. Liza and Vaskov have a lot in common, but the heroes did not succeed in singing together, as the foreman promised,: the war ruins the incipient feelings at the root. The ending of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who accidentally witnessed Vaskov's return to the place of the girls' death, along with his adopted son Rita Albert. Thus, the return of the hero to the place of his feat is shown through the eyes of a generation whose right to life was defended by people like Vaskov. Such symbolization of images, philosophical comprehension of situations of moral choice are very characteristic of a military story. Thus, prose writers continue the reflections of their predecessors on the "eternal" questions about the nature of good and evil, the degree of human responsibility for actions that seem to be dictated by necessity. Hence the desire of some writers to create situations that, in their universality, semantic capacity and categorical nature of moral and ethical conclusions, would approach a parable, only colored by the author's emotion and enriched with quite realistic details.

It is not without reason that the concept of "a philosophical story about war" was born, associated primarily with the work of the Belarusian prose writer Vasil Bykov, with such stories as "Sotnikov" (1970), "Obelisk" (1972), "Sign of Trouble" (1984) ... Bykov's prose is often characterized by a too straightforward opposition between the physical and moral health of a person. However, the inferiority of the soul of some heroes is not immediately revealed, not in everyday life: a "moment of truth" is needed, a situation of categorical choice that immediately reveals the true essence of a person. The fisherman - the hero of V. Bykov's story "Sotnikov" - is full of vitality, knows no fear, and Rybak's comrade, sick, not distinguished by power, with "thin hands" Sotnikov gradually begins to seem to him only a burden. Indeed, largely due to the latter's fault, the sortie of the two partisans ended in failure. Sotnikov is a purely civilian man. Until 1939 he worked at school, his physical strength is replaced by stubbornness. It was stubbornness that prompted Sotnikov three times to try to get out of the encirclement in which his defeated battery ended up before the hero got to the partisans. Whereas Rybak from the age of 12 was engaged in hard peasant labor and therefore more easily endured physical exertion and deprivation. It is also noteworthy that Rybak is more inclined to moral compromises. So, he is more tolerant of the elder Peter than Sotnikov, and does not dare to punish him for serving the Germans. Sotnikov, on the other hand, is not inclined to compromise at all, which, however, according to V. Bykov, testifies not to the limitations of the hero, but to his excellent understanding of the laws of war. Indeed, unlike Rybak, Sotnikov already knew what captivity is, and was able to withstand this test with honor, because he did not compromise with his conscience. The "moment of truth" for Sotnikov and Rybak was their arrest by the police, the scene of interrogation and execution. The fisherman, who has always previously found a way out of any situation, tries to outwit the enemy, not realizing that, having embarked on such a path, he will inevitably come to betrayal, because he has already put his own salvation above the laws of honor and partnership. He yielded to the enemy step by step, refusing to first think about saving the woman who sheltered them with Sotnikov in the attic, then about saving Sotnikov himself, and then about his own soul. Finding himself in a desperate situation, Rybak, in the face of imminent death, chickened out, preferring the bestial life of human death.

A change in the approach to conflicts in military prose can also be traced in the analysis of the works of different years by the same writer. Already in the first stories V. Bykov tried to get rid of stereotypes when depicting war. Extremely tense situations are always in the writer's field of vision. Heroes are faced with the need to make their own decisions. So, for example, it was with Lieutenant Ivanovsky in the story "Until Dawn" (1972) - he risked himself and those who went on a mission with him and died. There was no warehouse with weapons for which this sortie was organized. In order to somehow justify the sacrifices already made, Ivanovsky hopes to blow up the headquarters, but he was not found either. In front of him, mortally wounded, there is a convoy, at which the lieutenant throws, having collected the remaining forces, a grenade. V. Bykov made the reader think about the meaning of the notion "feat".

At one time, there were debates about whether it was possible to consider the teacher Frost in "Obelisk" (1972) as a hero, if he did not do anything heroic, did not kill a single fascist, but only shared the fate of the dead students. The characters in other stories by V. Bykov did not correspond to the standard ideas about heroism. Critics were embarrassed by the appearance of almost in each of them a traitor (Rybak in Sotnikov, 1970; Anton Golubin in To Go and Not Return, 1978, etc.), who until the fateful moment was an honest partisan, but gave up when he had to risk preserving your own life. For V. Bykov, it was not important from which observation point the observation was carried out; it was important how the war was seen and depicted. He showed the versatility of actions taken in extreme situations. The reader was given the opportunity, without rushing to condemn, to understand those who were clearly wrong.

In the works of V. Bykov, the connection between the military past and the present is usually emphasized. In "Wolf Pack" (1975), a former soldier recalls the war, having arrived in the city to find the baby he had once saved and to make sure that such a high price was paid for his life (his father, mother died, and he, Levchuk, became disabled) ... The story ends with a premonition of their meeting.

Another veteran, Associate Professor Ageev, is digging a quarry (Quarry, 1986), where he was once shot, but miraculously survived. The memory of the past haunts him, makes him rethink the past again and again, ashamed of thoughtless fears about those who, like Baranovskaya's assassin, bore the label of an enemy.

In the 1950-1970s. several major works appear, the purpose of which is an epic coverage of the events of the war years, an understanding of the fate of individuals and their families in the context of national fate. In 1959 the first novel "The Living and the Dead" of the trilogy of the same name by K. Simonov was published, the second novel "Soldiers are not Born" and the third "The Last Summer" were published, respectively, in 1964 and 1970-1971. In 1960, a draft of V. Grossman's novel "Life and Fate", the second part of the dilogy "For a Just Cause" (1952), was completed, but a year later the manuscript was arrested by the KGB, so that a wide reader at home could get acquainted with the novel only in 1988 G.

In the first book of K. Simonov's trilogy "The Living and the Dead", the action takes place at the beginning of the war in Belarus and near Moscow in the midst of military events. War correspondent Sintsov, leaving the encirclement with a group of comrades, decides, leaving journalism, to join General Serpilin's regiment. The human story of these two heroes is in the focus of the author's attention, not disappearing behind the large-scale events of the war. The writer touched upon many topics and problems previously impossible in Soviet literature: he spoke about the country's unpreparedness for war, about the repressions that weakened the army, about the mania of suspicion, the inhuman attitude towards people. The writer's success was the figure of General Lvov, who embodied the image of a fanatic Bolshevik. Personal courage and faith in a happy future are combined in him with a desire to ruthlessly eradicate everything that, in his opinion, interferes with this future. Lviv loves abstract people, but is ready to sacrifice people, throwing them into senseless attacks, seeing in a person only a means to achieve lofty goals. His suspicion spreads so far that he is ready to argue with Stalin himself, who freed several talented military men from the camps. If General Lvov is the ideologist of totalitarianism, then his practitioner, Colonel Baranov, is a careerist and a coward. Having uttered loud words about duty, honor, courage, writing denunciations against his colleagues, he, being surrounded, puts on a soldier's tunic and "forgets" all the documents. Telling the harsh truth about the beginning of the war, K. Simonov simultaneously shows the people's resistance to the enemy, depicting the feat of the Soviet people who rose to defend their homeland. These are episodic characters (artillerymen, who did not abandon their cannon, dragging it in their arms from Brest to Moscow; an old collective farmer who scolded the retreating army, but at the risk of his life saved a wounded man in his house; Captain Ivanov, who collected frightened soldiers from broken parts and leading them into battle), and the main characters are Serpilin and Sintsov.
General Serpilin, conceived by the author as an episodic person, not accidentally gradually became one of the main characters of the trilogy: his fate embodied the most complex and at the same time the most typical features of a Russian man of the 20th century. A participant in the First World War, he became a talented commander in the Civil War, taught at the academy and was arrested on a denunciation by Baranov for telling his listeners about the strength of the German army, while all the propaganda insisted that in the event of a war we would defeat a small blood, and we will fight on foreign territory. Released from a concentration camp at the beginning of the war, Serpilin, by his own admission, "forgot nothing and did not forgive anything," but realized that it was not time to indulge in grievances - it was necessary to save the Motherland. Outwardly stern and laconic, demanding of himself and his subordinates, he tries to protect the soldiers, suppresses all attempts to achieve victory at any cost. In the third book of the novel, K. Simonov showed the ability of this person to great love. Another central character of the novel, Sintsov, was originally conceived by the author exclusively as a war correspondent for one of the central newspapers. This made it possible to throw the hero on the most important sectors of the front, creating a large-scale novel-chronicle. At the same time, there was a danger of depriving him of his individuality, making him only a mouthpiece of the author's ideas. The writer quickly realized this danger and already in the second book of the trilogy changed the genre of his work: the chronicle novel became a novel of destinies, which together recreate the scale of the people's battle with the enemy. And Sintsov became one of the active characters, who was injured, surrounded, and took part in the November 1941 parade (from where the troops went straight to the front). The fate of a war correspondent was replaced by a soldier's lot: the hero went from a private to a senior officer.

Having finished the trilogy, K. Simonov strove to supplement it, to emphasize the ambiguity of his position. This is how "Different Days of War" (1970-1980) appeared, and after the death of the writer, "Letters about the War" (1990) was published.

Quite often the epic novel by K. Simonov is compared with the work of V. Grossman "Life and Fate". The war and the Battle of Stalingrad are just one of the components of V. Grossman's grandiose epic Life and Fate, although the main action of the work takes place precisely in 1943 and the fate of most of the heroes in one way or another turns out to be connected with the events taking place around the city on the Volga. The image of the German concentration camp in the novel is replaced by scenes in the dungeons of the Lubyanka, and the ruins of Stalingrad are replaced by the laboratories of the institute evacuated to Kazan, where the physicist Strum fights over the riddles of the atomic nucleus. However, it is not “popular thought” or “family thought” that determines the face of the work - in this, V. Grossman's epic is inferior to the masterpieces of L. Tolstoy and M. Sholokhov. The writer is focused on something else: the concept of freedom becomes the subject of his reflections, as evidenced by the title of the novel. V. Grossman opposes life as the free realization of the personality even in the conditions of its absolute lack of freedom to fate as the power of fate or objective circumstances prevailing over a person. The writer is convinced that it is possible to arbitrarily dispose of the lives of thousands of people, in fact, remaining a slave like General Neudobnov or Commissar Getmanov. And you can die unconquered in the gas chamber of a concentration camp: this is how the military doctor Sophia Osipovna Levinton dies, until the last minute caring only about relieving the torment of the boy David.

The latent thought of V. Grossman that the source of freedom or lack of freedom of the individual is in the personality itself, explains why the defenders of the Grekov house, doomed to death, are much freer than Krymov, who came to judge them. Krymov's consciousness is enslaved by ideology, he is, in a sense, a "man in a case," albeit not as blinkered as some of the other heroes of the novel. Even I. S. Turgenev in the image of Bazarov, and then F. M. Dostoevsky convincingly showed how the struggle between the “dead theory” and “living life” in the minds of such people often ends in the victory of theory: it is easier for them to admit the “wrong” of life than to be unfaithful. "The only correct" idea, designed to explain this life. And therefore, when in a German concentration camp Obersturmbannführer Liss convinces the old Bolshevik Mostovsky that there is much in common between them ("We are the form of a single entity - the party state"), Mostovsky can only respond to his enemy with tacit contempt. He almost feels with horror when suddenly “dirty doubts” appear in his mind, not without reason that V. Grossman called “the dynamite of freedom”. The writer still sympathizes with such “hostages of the idea” like Mostovsky or Krymov, but he is strongly rejected by those whose ruthlessness towards people stems not from loyalty to established beliefs, but from their absence. Commissar Getmanov, once the secretary of the regional committee in Ukraine, is a mediocre warrior, but a talented exposer of "deviators" and "enemies of the people", sensitively picking up any fluctuations in the party line. For the sake of receiving a reward, he is able to send tankers who did not sleep for three days on the offensive, and when the commander of the tank corps Novikov, in order to avoid unnecessary casualties, delayed the start of the offensive for eight minutes, Getmanov, kissing Novikov for a victorious decision, immediately wrote a denunciation on him to Headquarters.

3.Among the works about the war that have appeared in recent years, two novels attract attention: "Cursed and Killed" by V. Astafiev (1992-1994) and "The General and His Army" by G. Vladimov (1995).

Works that restore the truth about the war cannot be light - the theme itself does not allow, their goal is different - to awaken the memory of descendants. V. Astafiev's monumental novel "Cursed and Killed" resolves the military theme in an incomparably tougher key. In its first part, "The Devil's Pit", the writer tells the story of the formation of the 21st Infantry Regiment, in which, even before being sent to the front, killed by company commanders or shot for unauthorized absence are killed, physically and spiritually crippled by those who are called to breastfeed to defend the Motherland. The second part "Bridgehead", dedicated to the crossing of the Dnieper by our troops, is also full of blood, pain, descriptions of arbitrariness, bullying, theft, flourishing in the army. The writer cannot forgive the cynical soulless attitude to human life neither to the occupiers, nor to home-grown monsters. This explains the wrathful pathos of the author's digressions and the descriptions beyond merciless frankness in this work, whose artistic method is not without reason defined by critics as "cruel realism."

The fact that G. Vladimov himself during the war was still a boy determined both the strengths and weaknesses of his sensational novel "The General and His Army" (1995). The experienced eye of a front-line soldier will discern many inaccuracies and overexposures in the novel, including those unforgivable even for a work of fiction. However, this novel is interesting in its attempt to look from a “Tolstoy's” distance at the events that once became crucial for the whole world history. It is not without reason that the author does not hide the direct echoes of his novel with the epic War and Peace (for more details about the novel, see the chapter of the textbook "The Modern Literary Situation"). The very fact of the appearance of such a work suggests that the military theme in literature has not exhausted itself and will never exhaust itself. The key to this is the living memory of the war among those who know about it only from the lips of its participants and from history textbooks. And considerable credit for this belongs to the writers who, having gone through the war, considered it their duty to tell the whole truth about it, no matter how bitter it may be.

A warning to warrior-writers: “whoever lies about the past war brings the future war closer” (V.P. Astafiev). Understanding the trench truth is a matter of honor for any person. The war is terrible, and in the organism of the new generation a stable gene must be developed for the impossibility of repeating such a thing. It was not in vain that V. Astafiev chose the dictum of the Siberian Old Believers as the epigraph of his main novel: "It was written that everyone who sows confusion, wars and fratricide on the earth will be cursed and killed by God."

4. During the Great Patriotic War, it was forbidden to keep diaries at the front. Having analyzed the creative activity of front-line writers, it can be noted that such writers as A.T. Tvardovsky, V.V. Vishnevsky, V.V. Ivanov gravitated towards diary prose; G.L.Zanadvorov kept a diary during the occupation. The specific features of the poetics of the writers' diary prose - a synthesis of lyrical and epic principles, aesthetic organization - are confirmed in many memoir-diary samples. Despite the fact that writers keep diaries for themselves, works require artistic skill from the creators: diaries are characterized by a special style of presentation, characterized by the capacity of thought, the aphoristic expression, the accuracy of the word. Such features allow the researcher to call the writer's diaries independent microproducts. The emotional impact in the diaries is achieved by the author through the selection of specific facts, author's commentary, subjective interpretation of events. The diary is based on the transfer and recreation of the real by the author's personal ideas, and the emotional background depends on his state of mind.

Along with the obligatory structural components of diary prose, specific artistic samples may contain specific mechanisms for expressing attitudes towards reality. The diary prose of writers of the period of the Great Patriotic War is characterized by the presence of such inserted subjects as prose poems, short stories, landscape sketches. Memoirs and diaries of the Great Patriotic War are confessional and sincere. Using the potential of wartime memoir-diary prose, the authors of memoirs and diaries were able to express the mood of the era, create a vivid idea of ​​life in war.

An important role in the study of the Great Patriotic War is played by the memoirs of military leaders, commanders, officers, soldiers. They were written by direct participants in the war, and, therefore, are quite objective and contain important information about the course of the war, its operations, military losses, and so on.

Memoirs were left by I. Kh.Bagramyan, S. S. Biryuzov, P. A. Belov,
A. M. Vasilevsky, K. N, Galitsky, A. I. Eremenko, G. K. Zhukov,
I.S.Konev, N.G. Kuznetsov, A.I. Pokryshkin, K.K. beyond Transcarpathia "," Stalingrad Epic "," Liberation of Belarus "and so on. The leaders of the partisan movement also left memoir samples: G. Ya. Bazim,
P. P. Vershigor, P. K. Ignatov and others.

Many books of memoirs of military commanders have special appendices, diagrams, maps that not only explain what was written, but are themselves an important source, as they contain the features of military operations, lists of commanding personnel and methods of conducting battles, as well as the number of troops and some other information ...

Most often, the events in such memoirs are arranged in chronological order.

Many military leaders based their diaries not only on personal memories, but also actively used elements of a research nature (referring to archives, facts, and other sources). So, for example, AM Vasilevsky in his memoir "The Work of All Life" indicates that the book is based on factual material, well known to him and confirmed by archival documents, a significant part of which has not yet been published.

Such memoir works become more reliable and objective, which, of course, increases their value for a researcher, since in this case there is no need to check every stated fact.

Another feature of the memoir literature written by military people (as, indeed, and other memoirs of the Soviet period) is the strict control of censorship over the facts described. The presentation of military events required a special approach, since the official version and the stated version should not have had discrepancies. The memoirs about the war were supposed to indicate the leading role of the party in the victory over the enemy, facts "shameful" for the front, miscalculations and mistakes of the command and, naturally, especially secret information. This must be taken into account when analyzing a particular work.

Marshal of the Soviet Union GK Zhukov left a rather significant memoir "Memories and Reflections", which tells not only about the Great Patriotic War, but also about the years of his youth, the Civil War, military clashes with Japan. This information is extremely important as a historical source, although it is often used by researchers only as illustrative material. Memoirs of the four times Hero of the Soviet Union GK Zhukov "Memories and Reflections" were first released in 1969, 24 years after the victory in the Great Patriotic War. Since then, the book has been very popular not only among ordinary readers, but also among historians, as a source of rather important information.

In Russia, the memoirs were reprinted 13 times. The 2002 edition (used to write the work) was timed to coincide with the 60th anniversary of the Battle of Moscow and the 105th anniversary of the birth of G.K. Zhukov. The book has also been published in thirty foreign countries, in 18 languages, with a circulation of over seven million copies. Moreover, the cover of the edition of the memoirs in Germany says: "One of the greatest documents of our era."

Marshal worked on Memories and Reflections for about ten years. During this period, he was in disgrace and was ill, which affected the speed of writing memoirs. In addition, the book was heavily censored.

For the second edition, G.K. Zhukov revised some chapters, corrected errors and wrote three new chapters, as well as introduced new documents, descriptions and data, which increased the volume of the book. The two-volume edition came out after his death.

When comparing the text of the first edition (published in 1979) and subsequent ones (published after death), the distortion and absence of some places are striking. In 1990, a revised edition was published for the first time, based on the manuscript of Marshal himself. It was significantly different from others in the presence of sharp criticism of government agencies, the army and the policy of the state in general. The 2002 edition consists of two volumes. The first volume includes 13 chapters, the second - 10.

Questions and tasks for self-control

1. Determine the periodization of the theme of the Great Patriotic War in the history of the development of Russian literature, backing up your opinion by analyzing the works of fiction by 3-4 authors.

2. What do you think, why in the period 1941-1945. the writers did not cover the horrors of war? What pathos prevails in the works of art of this period?

3. In the school course of literature on the Great Patriotic War, it is proposed to study "Son of the Regiment" (1944) by V. Kataev about the serene adventures of Vanya Solntsev. Do you agree with this choice? Identify the author of the school literature curriculum.

4. Determine the dynamics of the image of the Russian character in different periods of the development of the topic in literature. Have the dominants of behavior and the main characters of the hero changed?

5. Offer a list of fiction texts about the Great Patriotic War, which can become the basis of an elective course for 11th grade students of a comprehensive school.

Lecture 6

Literature of the 60s of the XX century.

We will talk about poetry that reflects the theme of the Great Patriotic War. A terrible world war took place in the 20th century. It began in 1939 and ended in 1945. Its main segment is the Great Patriotic War, which began on June 22, 1941, and ended on May 9, 1945. Over the years, many outstanding works of Russian poetry have been created. The most famous book, "Vasily Terkin", was written by a person who did not participate in the war, but who witnessed it - Alexander Tvardovsky (see Fig. 1).

Rice. 1. Alexander Trifonovich Tvardovsky

The book took shape quickly, the poet wrote it almost instantly. Great poetry books are not written like that, but the war made such a revolution in his consciousness that Tvardovsky's talent was concentrated and at the end gave a brilliant book for all time. This book is not about generals and battles, it is about a soldier, about a private who endured a grandiose and terrible war on his shoulders. The mood that Tvardovsky was supposed to maintain in his reader could not be tragic. The book was written and published during the war. The poet supported the reader thanks to the cheerful character of his hero.

Vasily Terkin is a person who does not separate himself from the people, is a part of it and looks at everything that happens through his eyes:

- No, guys, I'm not proud.

Without looking into the distance

So I will say: why do I need an order?

I agree to a medal.

For a medal. And that is not in a hurry.

That used to end the war,

I wish I would come on vacation

To the home side.

Am I still alive? - Hardly.

Fight here, not guess.

But I will say about the medal:

Give it to me then.

Provide, if I am worthy.

And you must understand everything:

The simplest thing is

The man came from the war.

So I came from a stop

To his native village council.

I came, and here is a party.

No partying? Okay, no.

I'm on another collective farm and on a third--

All districts in plain sight.

Somewhere I'm in the village council

I'll get to the party.And I would sit, guys,

There, my friends,

Where little boy hid under the bench

Your feet are bare.

The rhythm of the piece is perky. Introduce your first readers. War. Battlefield. Friends are lost. The funeral is coming. And the bright ray of hope, which is contained in the tone of the poem, affects the reader. The simplicity of the style allows everyone to read the book: professors and workers, generals and miners, marshals and housewives. It is rare in literature that a book is immediately for everyone. Alexander Tvardovsky managed to create a book about a fighter, which everyone reads and takes as his own.

Works that are dedicated to the people's war sometimes become popular themselves. This happened with the poem "Cranes" by the poet Rasul Gamzatov (see Fig. 2).

Rice. 2. Rasul Gamzatovich Gamzatov

It sometimes seems to me that the soldiers

From the bloody fields that did not come,

Once upon a time they did not fall into this ground,

And they turned into white cranes.

This poem, set to music, became a song. It sounds like folk music sounds. Nobody remembers the author, but everyone knows the words and the music. The people's war, reflected in literature, turns literature into a popular one.

Outstanding lyricist of the late Soviet era Bulat Okudzhava (see Fig. 3). He wrote songs in his own words. Such creativity is called the poetry of the bards.

Bard is a singer or poet, usually a solo performer of songs of his own composition.

Rice. 3. Bulat Shalvovich Okudzhava

Ah, war, what have you done, mean:

our courtyards became quiet,

our boys raised their heads,

they have matured for the time being,

barely looming on the doorstep

and went after the soldier soldier ...

Goodbye boys! Boys,

try to go back(see fig. 4)

Rice. 4. Frame of the chronicle of the Great Patriotic War

It is no coincidence that works about the war are associated with the element of song. Tvardovsky's book is not set to music, but it also sounds like a ballad, an epic. As if there is a musical mood inside the text. Rasul Gamzatov's poems are intended to become a song. And the poems of Bulat Okudzhava were written so that they could be performed with a guitar and quietly sung, living that Great War every time anew. This is one of the wonders of literature: it is able to return us mentally and heart to events that are gone forever.

Read the poem Vasily Terkin.

We offer you to watch a one-man show based on the poem by AT Tvardovsky "Vasily Terkin".

Listen to Bulat Okudzhava's song "Oh, war, what have you done, mean one."

Read Bulat Okudzhava's story "Be healthy, schoolboy."

Listen to the song "Cranes" to lyrics by R. Gamzatov performed by M. Bernes.

The theme of the Great Patriotic War in modern literature

Approximate text of the essay

The Great Patriotic War has already become history for us. We learn about it from books, films, old photographs, memories of those who were lucky enough to live to see Victory. Participants and eyewitnesses of those tragic events wrote about her. And now this topic continues to excite writers who open up new aspects and problems in it. Among the remarkable works about the war are B. Vasiliev's novellas "The Dawns Here Are Quiet", "Not on the Lists", Yu. Bondarev's novel "Hot Snow" and many others.

But I want to turn to V. Grossman's novel "Life and Fate", which was written in 1960, but only in the late 80s became known to the general public. Therefore, it is perceived as a contemporary work about the war. In the center of the image is the Battle of Stalingrad, which was a turning point in the course of the Great Patriotic War. However, Grossman's novel amazes with the breadth of coverage of military reality, the variety of destinies and characters, the author's deep and interesting thoughts. As a full-fledged character, the Soviet totalitarian state enters into the novel, with which the heroes of Grossman are waging a fierce duel. Terrible, powerful, omnipresent, it breaks and destroys human destinies, imperiously intervenes in front-line everyday life, affirming the cult of violence with its authority.

When you read the novel, you get the impression that Soviet soldiers and home front workers are waging an exhausting struggle not only against fascism for the liberation of Russia, but for their personal freedom from the totalitarian might of their native state. Among the heroic defenders of Stalingrad, Captain Grekov stands out. The desperate daredevil, in whom an ineradicable sense of freedom lives, has already been noted as a peddler of sedition, a dangerous element. The captain, who gathered people in the besieged house "six fractions one", repulsed 30 attacks, destroyed 8 tanks, is accused of guerrilla warfare. The political administration of the front sends combat commissar Krymov to the surrounded house in order to establish Bolshevik order there and, if necessary, remove Grekov from command. Yes, he famously fights the Germans, despising death, but his willful behavior is unacceptable, because it violates the unshakable order. Indeed, he can easily disrupt the wireless connection with the house simply because he is tired of the strict suggestions of the command, flatly refuse to keep a diary of military operations, boldly respond to the commissioner's interrogation with partiality. While Grekov's fighters are fighting heroically with the enemy, the division commander is more concerned with the question of how to liquidate this "state within a state", to eradicate the spirit of freedom that the fighters have become infected with. But even the experienced commissar Krymov did not manage to cope with this responsible task, because in the house "six fractions one" he encountered free people who do not give in to the party's envoy. They feel strong and confident, they do not need the moral support of the commissar. They have enough courage to boldly face death. Instead of respectful attention, Krymov hears mocking questions from the soldiers about when the collective farms will be liquidated, how the principle of communism will be implemented in practice: "To each according to his needs." When the angry Krymov speaks directly about his goal - to overcome the unacceptable partisanship, Grekov boldly asks: "Who will overcome the Germans?" The deadly fight with fascism, oddly enough, gives people a feeling of fearlessness, independence, freedom, which for several decades was ruthlessly suppressed by the state. And during the war, this national disaster, the methods of imposing violence remained the same - denunciations accusing a person of non-existent sins. From this familiar ending Grekov is saved by a heroic death during the German offensive.

Courage is required for Grossman's heroes not only to fight the Nazis. It is necessary in order to take responsibility for the correct humane decision, which is contrary to orders from above. Such a bold act is being done by the commander of a tank corps, Novikov. He voluntarily extends the artillery barrage by 8 minutes, contrary to the orders of the front commander and Stalin himself. Novikov did this in order to keep as many of the "unshorn guys from the replenishment" as possible alive. In war, murder is a common thing, but you can avoid unnecessary casualties with clear, well-thought-out decisions. From the point of view of Commissar Getmanov, the corps commander committed a daring and reckless act, which should be reported where it should be. For Getmanov, the need to sacrifice people for the cause always seemed natural and undeniable, and not only during the war. Here Grossman touches upon the problem of moral exploit, which reveals the height of the human spirit, reveals powerful inner forces, often hidden behind a modest, inconspicuous appearance.

The teacher Ales Moroz from the story "Obelisk" by V. Bykov became such a hero. He died during the Great Patriotic War, but his memory continues to live in the hearts of people. They remember, talk, argue about him, without coming to one opinion, differently assessing his last act. The writer invites the reader to take a close look at this extraordinary person, whose figure is gradually acquiring new, real, visible features in Tkachuk's story. Why, many years after the war, the personality of Moroz continues to excite the old partisan so much? He knew Ales Ivanovich even in peacetime, when he worked as the head of the district. And even then he felt the originality of this modest rural teacher, his dissimilarity from his colleagues. Ales Ivanovich could shelter a boy who was abused by his father, without fear of scandal and a summons to court, he could read for hours with Tolstoy's children in order to teach them to listen and understand the beautiful, and not talk about the delusions of the classics, as the school curriculum recommended. Only now, years later, Tkachuk realizes that what was most important for Moroz was not the knowledge acquired by the students, but what kind of people they would become. So when the war started. Moroz did not go, like many, to a partisan detachment, but continued to teach children, causing sidelong glances and unkind suspicions. He did this in order to prevent the "dehumanization" of these guys by the fascists, for he had invested too much in them. Indeed, he raised them as patriots, fighters against injustice and evil. Without initiating the teacher into their plans, they tried to kill a local policeman, but were captured by the Nazis and sentenced to death. The teacher managed to escape, but he leaves the partisan detachment to voluntarily surrender to the Germans. Why did he do this reckless act? After all, he could not believe the Nazis, who promised to release the students if the teacher himself surrendered. Yes, he really couldn't save the guys. They were executed by the Nazis together with Moroz. But in this difficult situation, he could not do otherwise, he simply had to morally support the teenagers in the most terrible moments of their life. True, one of them, Pavlik Miklashevich, miraculously managed to escape. But his health was finally undermined by the fact that with a piercing wound to the chest, he lay in a ditch with water until local residents found him. It was on his initiative that a modest obelisk with the names of the children executed by the Nazis was erected near the school where he worked as a teacher. How much effort he had to exert to make the name of Moroz appear here; a person who has accomplished a great moral feat, who sacrificed his life for the sake of the children.

Writings about the Great Patriotic War, telling about the terrible, tragic events, make us understand at what price the victory was won. They teach goodness, humanity, justice. Books about the war are a miraculous monument to Soviet soldiers who defeated fascism in a fierce battle with the enemy.