PUBLICISM. During the Great Patriotic War, not only poetry genres developed, but also prose. It is represented by journalistic and essay genres, war stories and heroic stories. Publicistic genres are very diverse: articles, essays, feuilletons, proclamations, letters, leaflets. Articles were written by: L. Leonov, A. Tolstoy, M. Sholokhov, V. Vishnevsky, N. Tikhonov. With their articles, they brought up high civic feelings, taught them to be implacable about fascism, and revealed the true face of the "organizers of the new order." Soviet writers contrasted great human truth to the false fascist propaganda. Hundreds of articles contained irrefutable facts about the atrocities of the invaders, quoted letters, diaries, and witness statements from prisoners of war, named names, dates, numbers, and made references to secret documents, orders and orders of the authorities. In their articles, they told the harsh truth about the war, supported the bright dream of victory among the people, called for perseverance, courage and perseverance. "Not one step further!" - this is how A. Tolstov's article "Moscow is threatened by the enemy" begins. By mood and tone, military journalism was either satirical or lyrical. In satirical articles, the Nazis were mercilessly ridiculed. The pamphlet became the favorite genre of satirical journalism. Articles addressed to the homeland and the people were very diverse in genre: articles - appeals, appeals, appeals, letters, diaries. Such, for example, is L. Leonov's letter to the "Unknown American Friend". Publicism had a tremendous impact on all genres of wartime literature, and above all on the essay. From the sketches, the world first learned about the names of Zoya Kosmodemyanskaya, Liza Chaikina, Alexander Matrosov, about the feat of the Young Guard, who preceded the novel "Young Guard". Very common in 1943-1945 was an essay about the feat of a large group of people. So, there are essays about the night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others. Essays on the heroic rear are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes as to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, Kolosov wrote about the people of the rear. The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which represent the artistic chronicle of military operations. This is evidenced by the essays: “Moscow. November 1941 "by Lidin," July - December "by Simonov. PROSE. During the Great Patriotic War, such works were also created, in which the main attention was paid to the fate of a person in the war. Human happiness and war - this is how one can formulate the basic principle of such works as "Just Love" by V. Vasilevskaya, "It was in Leningrad" by A. Chakovsky, "Third Chamber" by Leonidov. In 1942, the story of V. Nekrasov's war, "In the trenches of Stalingrad", appeared. This was the first work of a then unknown front-line writer who rose to the rank of captain, who fought at Stalingrad all the long days and nights, participated in its defense, in the terrible and unbearable battles that our army waged. In the work, we see the author's desire not only to embody personal memories of the war, but also to try to psychologically motivate a person's actions, to explore the moral and philosophical origins of the soldier's feat. The reader saw in the story a great test, about which it was written honestly and reliably, faced with all the inhumanity and cruelty of the war. This was one of the first attempts at psychological comprehension of the heroic deed of the people. The war has become a great misfortune and misfortune for everyone. But it is at this time that people show a moral essence, "it (war) is like a litmus test, as a special developer." For example, Valega is an illiterate person, “... he reads syllables, and if you ask him what his homeland is, he, by God, will not really explain. But for this homeland ... he will fight to the last bullet. And the cartridges will run out - with fists, teeth ... ". The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their duty. They are opposed in the novel by the image of Kaluzhsky, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be carried out, despite any losses, throwing people under the destructive fire of machine guns. Reading the story, you feel the author's faith in the Russian soldier, who, despite all the suffering, misfortune, failure, has no doubts about the justice of the liberation war. The heroes of V. Nekrasov's story live by faith in future victory and are ready to give their lives for it without hesitation. In the same harsh forty-second, the events of V. Kondratyev's story "Sashka" take place. The author of the work is also a front-line soldier, and he fought near Rzhev in the same way as his hero. And his story is dedicated to the exploits of ordinary Russian soldiers. V. Kondratyev, like V. Nekrasov, did not deviate from the truth, he spoke honestly and talentedly about that cruel and difficult time. The hero of V. Kondratyev's story Sashka is very young, but he has been on the front line for two months. The neutral strip, which is only a thousand paces, is shot through. And Sasha will crawl there at night in order to get his company commander boots from the killed German, because the lieutenant has such pimas that they cannot be dried over the summer, although Sasha's shoes are even worse. The image of the main character embodies the best human qualities of a Russian soldier, Sashka is smart, quick-witted, dexterous - this is evidenced by the episode of his capture of the "language". One of the main points of the story is Sashka's refusal to shoot a captured German. When asked why he did not follow the order, did not start shooting at the prisoner, Sashka replied simply: "We are people, not fascists." The main character embodies the best traits of the national character: courage, patriotism, striving for heroism, hard work, endurance, humanism and deep faith in victory. But the most valuable thing in him is the ability to think, the ability to comprehend what is happening. Sashka understood that “both the commanders and the privates have not yet learned how to fight properly. And that studies are on the go, in battles it goes through Sashka's life itself. He understood and grumbled like the others, but he didn’t defy him and did his soldier's work as best he could, although he didn’t perform any special heroic acts. ” “The story of Sashka is the story of a man who found himself in the most difficult time in the most difficult position in the most difficult position - a soldier's”, - K. Simonov wrote about Kondratyev's hero. The theme of a man's heroic deeds in war was developed in the literature of the post-war period.

40. General characteristics of the literary life of 1930 - 1953: the most important literary events, changes in the relationship between literature and life, literature and the state, educational function of literature

The Communist Party began to formally regulate literature with the beginning of the first five-year plan (1928-1932); it was strongly promoted by the Russian Association of Proletarian Writers (RAPP). The result was an incredible amount of production prose, poetry and drama that almost never rose above the level of monotonous propaganda or reporting. This invasion was anticipated by the novels of FV Gladkov, whose most popular work Cement (1925) described the heroic work of restoring a dilapidated plant. From prose, Pilnyak's novel about the construction of a huge dam that changes the course of the Moskva River, the Volga flows into the Caspian Sea (1930), where, in a strange way, more sympathy for the old than for the new builders is shown; two books by Leonov Sot (1930) and Skutarevsky (1933), which, like the then countless production novels, are overloaded with redundant technical details, but in the depiction of characters, Leonov's usual interest in the "inner man" and his spiritual life is still noticeable; and Time, forward! (1932) Kataeva, where the story of the socialist competition of cement manufacturers is not devoid of humor and amusement. Sholokhov's Virgin Soil Upturned (1932) is far from many novels about collectivization, perhaps because his protagonist Davydov is a deep image endowed with human charm and not at all similar to the schematic images of industrial prose. Stalin's consolidation of his dictatorial power in the early 1930s predetermined the complete subordination of literature and art. In 1932, the Central Committee ordered the dissolution of all literary associations and the founding of a single nationwide Union of Soviet Writers, which was established two years later at the First All-Union Congress of Soviet Writers. However, given the need for international campaigning in the 1930s in the spirit of the Popular Front, some tolerance was shown towards the most talented writers. So, for example, although the main characters of Fedin's excellent novel The Rape of Europe (1933-1935) and strive to be at the height of party tasks, they still cannot hide their negative attitude towards some particularly ridiculous attitudes; the communist hero Kurilov in Leonov's novel The Road to the Ocean (1935) sadly reflects at the end of the narrative how much he missed in life, devoting it entirely to the sacrificial service of the party. An autobiographical novel by N. Ostrovsky How Steel Was Tempered (1934), which was a huge success. His hero Pavel Korchagin became an example of a "positive hero" or "new Soviet man", but his character lacks authenticity, since the world in which he lives and fights has an unnatural black and white color. During this period, Sholokhov completed the great novel Quiet Don (1928-1940), which was recognized as a classic work of Soviet literature and awarded the Nobel Prize in 1965. This is a broad epic panorama of the events of war, revolution and fratricidal strife, culminating in the subjugation of the Cossacks by the Red Army. Socialist realists have produced many dramatic plays about contemporary Soviet reality. Much better than others Aristocrats (1934) NF Pogodin on the material of the construction of the White Sea-Baltic Canal by the forces of prisoners and his two plays about Lenin: The Man with a Gun (1937) and the Kremlin Chimes (1941); Distant (1935) A. N. Afinogenov, the play is more Chekhovian than an example of socialist realism; excellent is Leonov's drama Polovchanskie Sady (1938), where the ideological attitude is subordinated to the task of psychological disclosure of the image. Of all genres, poetry is the most difficult to regulate, and among the mass of poetic production of the 1930s, published by such leading Soviet poets as N.S. Tikhonov, S.P. Shchipachev, A.A. Prokofiev, M.A. Svetlov, A.A. Surkov, S.I.Kirsanov, M.V. Isakovsky, N.N. Aseev and A.T. Tvardovsky, the only significant work that seems to have preserved artistic value is the Land of Ant (1936) Tvardovsky a long poem, the hero of which, a typical peasant Nikita Morgunok, after many misadventures, joins the collective farm. Here socialist realism does not interfere in any way; skillfully fused with the logic of events, it kind of contributes to their artistic credibility. Several collections of B.L. Pasternak (1890-1960) were published in the 1930s, but they mostly contained his old poems. From 1937 Pasternak began to give preference to poetic translations, and he himself wrote less and less. During the Stalinist repressions in the second half of the 1930s, many writers were arrested - some were shot, others spent many years in camps. After Stalin's death, some of the disappeared were posthumously rehabilitated, like Pilnyak or the remarkable poet OE Mandelstam; and those who were excommunicated from literature, like A.A. Akhmatova, were allowed to publish again. Many writers of the Stalinist era, in an effort to avoid the dangers of modern themes, began to write historical novels and plays. The appeal to history suddenly became popular with the rise of nationalism, which the party encouraged in the face of the growing threat of war. Attention is often drawn to key moments of the glorious military past, as in Sergeev-Tsensky's Sevastopol (1937-1939) Passion, a thrilling narrative of Russian heroism during the siege of Sevastopol in the Crimean War. The best of the historical novels of that time was Peter I (1929-1945) by A.N. Tolstoy. Immediately after the German invasion in 1941, literature was mobilized to support the belligerent country, and until 1945 almost every printed word contributed to the defense of the fatherland in one way or another. The creativity of those years was for the most part short-lived, but some of the works of talented writers had outstanding artistic merit. Pasternak, K.M.Simonov and O.F. Berggolts created excellent examples of lyrics. Several impressive narrative poems about the war were published, including Kirov with us (1941) Tikhonova, Zoya (1942) M.I. Aliger, Pulkovo Meridian (1943) V.M. Inber and Vasily Terkin (1941-1945) Tvardovsky - the image of the Russian soldier, which has become almost legendary. Perhaps the most notable works of fiction at that time are Days and Nights (1944) by Simonov, The Seizure of Velikoshumsk (1944) by Leonov, The Son of the Regiment (1945) by Kataev and the Young Guard (1945) by Fadeev. Among the most successful wartime plays - Front (1942) by A.E. Korneichuk, which exposed the incompetence of Soviet generals of the old school; Russian People (1943) Simonova - an image of the dedication of Soviet soldiers and non-military citizens in the face of death; and two plays by Leonov, Invasion (1942) and Lenushka (1943), both about the fierce struggle of the Russian people under the conditions of the German occupation. Soviet writers hoped that the party would expand the limits of the relative creative freedom granted to them during the war, but a decree of the Central Committee on Literature of August 14, 1946 put an end to these hopes. Art should be inspired politically, said the Soviet politician A.A. Zhdanov, and "partisanship" and socialist realism should be a guide for the writer. After Stalin's death in 1953, the growing dissatisfaction with the strict regulation was reflected in the story of I.G. Ehrenburg Ottepel (1954), about the unfortunate fate of artists forced to create under the control of their superiors. And although the party henchmen harshly reprimanded the rebellious authors at the Second Congress of Writers (1954), the speech of the First Secretary of the CPSU Central Committee N. Khrushchev at the 20th Party Congress, where Stalin's crimes were exposed, generated a wave of protest against interference in the creative process.

over a thousand writers served in the active army.

two periods: 1) prose of the war years: stories, essays, stories written directly during hostilities, or rather, in short intervals between offensives and retreats; 2) post-war prose, in which there was an understanding of many painful questions, how, for example, why did the Russian people endure such difficult trials? Why did the Russians find themselves in such a helpless and humiliating position in the first days and months of the war? Who is to blame for all the suffering?

The Great Patriotic War is reflected in Russian literature deeply and comprehensively, in all its manifestations: the army and the rear, the partisan movement and the underground, the tragic beginning of the war, individual battles, heroism and betrayal, the greatness and drama of Victory. The authors of military prose, as a rule, are front-line soldiers, in their works they rely on real events, on their own front-line experience. In the books about the war of front-line writers, the main line is soldier's friendship, front-line comradeship, the severity of a field life, desertion and heroism. In their works, they express the point of view that the outcome of the war is decided by the hero, who recognizes himself as a particle of the warring people, carries his cross and common burden. The prose of the war years is characterized by the strengthening of romantic and lyrical elements, the widespread use of declamatory and song intonations, oratorical turns, the appeal to such poetic means as allegory, symbol, metaphor.

One of the first books about the war was the story of V.P. Nekrasov "In the trenches of Stalingrad", published immediately after the war in the magazine "Banner" in 1946. Front-line writers: V.P. Astafiev, V.V. Bykov, B.L. Vasiliev, M.A. Sholokhov.

The very military situation, the course of the battles demanded an immediate response. A new military-patriotic creativity was born. From the pages of book publications, literature moved to newspaper pages, to radio broadcasts. A new genre of Russian literature - front-line correspondence and essays.

During the four years of the war, prose underwent a significant evolution. Initially, the war was covered in an essay, sketchy-fictionalized version. These are the numerous stories and tales of the summer, autumn, and early winter of 1942. Later, the front-line reality was comprehended by writers in a complex dialectic of the heroic and the everyday. 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 the story of Vasily Grossman "The people are immortal. A characteristic feature of the military prose of 1942-1943 is the appearance 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 Alexei Tolstoy, "The Sea Soul" by L. Sobolev, "March-April" by V. Kozhevnikov were constructed.
The achievements of these writers were continued and developed by K. Simonov in the story "Days and Nights" - the first major work dedicated to the battle on the Volga.

The deepening of historicism, the expansion of temporal and spatial horizons are undoubted merit of the story of 1943-1944. Simultaneously, there was an enlargement of characters.

Towards the end of the war, prose gravitates toward a broad epic understanding of reality. Two artists - M. Sholokhov and A. Fadeev - are especially sensitive to the tendency of literature. "They fought for the Motherland" by Sholokhov and "Young Guard" by Fadeev are distinguished by their social scale, opening new ways in interpreting the theme of war.

PUBLIC

The greatest masters of the word - A. Tolstoy, L. Leonov, M. Sholokhov - 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.

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, to the national origins of patriotism gave their speeches special power. An important feature of journalism of that time was the widespread use of leaflets, posters, cartoons.

PAMFLETS AND ARTICLES BY I. ERENBURG During the war years, about 1.5 thousand articles and pamphlets of the writer were published, which made up four voluminous volumes under the general title "War". The first volume, which was published in 1942, opened cycle of pamphlets "Raging Wolves", in which the leaders of fascist criminals are presented with merciless sarcasm: Hitler, Goebbels, Goering, Himmler. In each of the pamphlets, on the basis of reliable biographical information, the murderous characteristics of the executioners "with dull faces" and "dull eyes" are given. In the pamphlet “Adolf Hitler” we read: “In ancient times he was fond of painting. There was no talent, as the artist was rejected. The indignant exclaimed: "You will see, I will become famous." Justified his words. It is unlikely that you will find a more famous criminal in the history of modern times.

PATRIOTIC PUBLICISM A.N. TOLSTOY, in which the breadth of coverage was combined with the depth of thought, excitement and emotionality - with high artistic skill, the feeling of the Motherland prevailed in his articles over all others. Already in his first article "What are we defending", which appeared in "Pravda" on June 27, 1941, the writer consistently carried out the idea that the heroism and courage of the Russian people developed historically and this "wondrous force of historical resistance" has never been overcome. ... The motive of the greatness of our country sounded in full force in his article "Motherland", published on November 7, 1941, simultaneously in Pravda and in Krasnaya Zvezda. Prophetic words of the writer "We will do it!" became a symbol of the struggle of Soviet soldiers.

The writer repeatedly met with the participants in the battles (for example, Konstantin Semenovich Sudarev).

Among the articles and essays calling for revenge on the Nazis, of particular importance was essay by M.A. Sholokhov "Science of Hate", which appeared in Pravda on June 22, 1942.

Wartime journalism was distinguished by deep lyricism, selfless love for the native land, and this could not but affect the readers.

One of the main topics of military journalism is the liberation mission of the Red Army. The peculiarity of the journalism of the Great Patriotic War is that the traditional newspaper genres - articles, correspondence, essays - were given the quality of fiction by the pen of the master of the word.

Problems and artistic originality of A. Akhmatova's poems "Requiem" and "Poem without a Hero". Late lyrics by A. Akhmatova.

Akhmatova 1889-1966 "Requiem"

Akhmatova began to write Requiem (1935–1940) in the fall of 1935, when N. Punin and L. Gumilyov were arrested almost simultaneously. Requiem the immensity of biblical scenes acquired, Russia in the 1930s was likened to Dante's hell, Christ was mentioned among the victims of terror; Akhmatova called herself, "the three-hundredth with the transfer", "the streltsy woman." Requiem occupies a special place in the series of anti-totalitarian works. Akhmatova did not go through the camp, was not arrested, but for thirty years "lived under the wing of death", in anticipation of an imminent arrest and in constant fear for the fate of her son. V Requiem the atrocities of the executioners or the "steep route" of the prisoner are not depicted. Requiem- a monument to Russia, in the center of the cycle - the suffering of the mother, lamentation for the innocent victims, the oppressive atmosphere that reigned in the years of "Yezhovism". Akhmatova expressed the age-old consciousness of the Russian woman - grieving, protecting, mourning. Turning to her descendants, she bequeathed to erect a monument to her not where her happy, creative years passed, but under the “red, blinded wall” of Kresty.

In 1938 L.N. Gumilyov was arrested again, in fact, only for the fact that he had parents that were disagreeable to the regime. This year dates II and IV of the ten poems of the main body of the cycle-poem and the first part of the X poem - "The Crucifixion". Already in them, the heroine appears in three faces: a sick woman somewhere on the "quiet Don", who, however, has the fate of Akhmatova herself, a "merry sinner in Tsarskoye Selo" (this is her past, which now seems not sad, but cheerful), and, finally, to the Mother, to whom the unnamed son (Son) said: "Oh, do not weep for Me ..." in terms of the sacred. The cruciform shape of the prison buildings, as it were, once again motivated the use of the highest symbol for a believer: even before the Crucifixion, the white nights “About your high cross / And they talk about death” (poem VI. 1939). The heroine of "Requiem" seeks consolation in death ("VII. Towards death", 1939) and succumbs to madness ("IX. Already madness with a wing ...", mad with torment 1940); the great sorrow, however, makes her like a new Mother of God, extremely elevates her too. and the grief she experiences is more significant and majestic than the sobbing or even "petrification" of others, even if they are also close people.

Magdalene is the only name that appears in the Requiem (“Magdalene fought and sobbed ...”).

Requiem is one of the first poems dedicated to the victims of the Great Terror of the 1930s. This is a cycle of lyric poems, and a single work - a poem of epic proportions.

The poem has a ring structure. His own personal is the basis of the central part, ten numbered poems, while the general is more represented in an extensive frame (epigraph, "Instead of a preface", "Dedication", "Introduction", two-part "Epilogue"), approximately equal in volume to the main part, but precisely Here, for the first time, Akhmatova has the Derzhavin-Pushkin theme of the monument, which can be staged not by the many-sided lyrical heroine of early creativity, but to a specific person with a real biography, whose personal grief at the same time symbolizes the enormous national grief. Akhmatova not only as a mother (in The Crucifixion), but also as a poet takes on the role of the Mother of God - the patroness of the suffering. After the prologue, the first four chapters follow. These are the peculiar voices of mothers from the past - the times of the Streltsy revolt, her own voice, the chapter as if from a Shakespearean tragedy and, finally, her own Akhmatov's voice from the 10s. Chapters V and VI are the culmination of the poem, the apotheosis of the heroine's suffering. The next four verses deal with the topic of memory.

Along with the solemn high syllable in Requiem, vernacular, folk expressions sound: twice mentioned are "black marusi", a woman who is ready "to howl under the Kremlin towers", "screams" for seventeen months, when arrested suggests seeing a "pale with fear house manager" (Sovietism ) - this and other specifics correspond not to the lyrical, but to the narrative, "poem" beginning.

Late lyrics.

The impressions of the first days of the war and the blockade were reflected in poems The first long-range in Leningrad, Birds of death are at the zenith…, Nox... At the end of September 1941 Akhmatova was evacuated outside the siege ring. Poem by Akhmatova Courage was published in Pravda and then reprinted many times, becoming a symbol of resistance and fearlessness. In 1943 Akhmatova received a medal "For the Defense of Leningrad." Compassion, great sorrow were combined in them with an appeal for courage, a civic note: pain was melted into strength.

In the last decade of his life, Akhmatova was occupied with the theme of time - his movement, running. "Where does the time go?" - a question that sounded in a special way for a poet who outlived almost all his friends, pre-revolutionary Russia, the Silver Age. What wars, what plague? - the end is visible to them soon, / The verdict is almost pronounced to them. / But who will protect us from the horror that / Was the running of time once named?- wrote Akhmatova. Such a philosophical attitude was not understood by many of her contemporaries, who focused on the bloody events of the recent past. But the last poems of Akhmatova are by no means inspired by "senile reconciliation" - what has always been characteristic of her poetry has emerged more clearly: secret knowledge, belief in the priority of unknown forces over the material appearance of the world, the discovery of the heavenly in the earthly.

Later, Akhmatova's work is a "procession of shadows." In a loop Rosehip blossoms, Midnight verses, Wreath of the dead Akhmatova mentally calls out the shadows of her friends - living and dead. The word "shadow", which was often found in the early lyrics of Akhmatova, was now filled with a new meaning: freedom from earthly barriers, partitions of time. A meeting with the “sweet shadows of the distant past”, a providential lover never met on earth, comprehension of the “secret of secrets” are the main motives of her “fruitful autumn”.

Since 1946, many of Akhmatova's poems are dedicated to Isaiah Berlin, an English diplomat, philologist and philosopher who visited her in 1945 at the Fountain House. Conversations with Berlin became for Akhmatova an outlet into the living intellectual space of Europe, set in motion new creative forces, she mythologized their relationship, linked the beginning of the Cold War with their meeting

7. Drama of the war years (on the example of one work).

Over the years of the war, over three hundred plays were created, but not all of them saw the light of day. We saw: "Front" by A. Korneichuk, "Invasion" by L. Leonov, "Russian people" by K. Simonov,
The life and heroic deeds of our fleet became the theme of a number of interesting dramatic works. Among them are the psychological drama of A. Kron "Officer of the Navy" (1944), B. Lavrenev "Song of the Black Sea Fleet" (1943).

A prominent place in the drama of wartime was occupied by the theme of the partisan struggle of the Soviet people against the fascist invaders. "Invasion" and "Lyonushka" by L. Leonov, "Partisans in the steppes of Ukraine" by A. Korneichuk.

In addition, during the war years, plays were created about our heroic rear, for example, B. Romashov's Noble Family.

Also, certain achievements were made during this period by the historical drama. A. Tolstoy "Ivan the Terrible".

Open journalism, swift and dynamic development of action, tension of dramatic situations, dialogue saturated with deep excitement and strength of feelings - these are the characteristic features of the drama of the war years.

The first plays about the Great Patriotic War - "On the Eve" by A. Afinogenov, "In the Steppes of Ukraine" by A. Korneichuk and others - appeared two or three months after its beginning.

The plays, which appeared at the very beginning of the war and were created in the wake of pre-war sentiments, turned out to be far from the tragic situation of the first months of heavy fighting. The turning point in drama was 1942.

Soviet wartime dramaturgy achieved its greatest successes in 1942-1943, when the plays "Russian People" by K. Simonov, "Invasion" by L. Leonov, "Front" by A. Korneichuk, "Ivan the Terrible" by A. Tolstoy appeared one after the other. ...

Drama L. Leonov "Invasion" (1943) was created in the most difficult time. The small town where the events of the play unfold is a symbol of the nationwide struggle against the invaders. The significance of the author's intention lies in the fact that local conflicts are comprehended by him in a broad socio-philosophical key. The theme of the invincibility of the Soviet people, their immeasurable moral superiority over the enemy was embodied in the form of a socio-psychological drama that included elements of satire.
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 a three-year imprisonment, where he was serving a sentence for the attempt on the life of his beloved woman. Fyodor is gloomy, cold, alert. 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 buffoon's mask Fyodor hid his pain, the longing of a lonely, unhappy person, but they could not accept his old one. Kolesnikov's refusal to take Fyodor into his detachment hardens the heart of young Talanov even more.
It took time for this man, who once lived only for himself, to become a people's avenger. Captured by the Nazis, Fyodor 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, it is natural to be interested not only in the hero, but in the human character in all the complexity and contradictions of his nature, which is formed from the social and national, moral and psychological. Simultaneously with the identification of the patterns of struggle on the gigantic front of battles, the artist-philosopher, the artist-psychologist did not go away from the task of showing the struggles of individual passions, feelings and human aspirations.
The playwright also used the same technique of nonlinear depiction when creating images of negative characters: at first inconspicuous, vengeful Fayunin, shyly obsequious Kokoryshkin, who instantly changes his guise when changing power, a whole gallery of fascist thugs. Fidelity to the truth makes the images vital even if they appear in satirical, grotesque lighting.
The scenic history of Leonov's works during the Great Patriotic War (apart from Invasion, the drama Lenushka, 1943 was also widely known), which bypassed all the main theaters of the country, once again confirms the injustice of reproaches from individual critics who wrote about the inaccessibility, intimacy of Leonov's plays, about the overcomplicated images and language. In the theatrical embodiment of Leonov's plays, their special dramatic nature was taken into account. So, when staging "Invasion" at the Moscow Maly Theater (1942), I. Sudakov first saw Fyodor Talanov as the main figure, but during rehearsals the accents gradually shifted and Fyodor's mother, his nanny Demidievna, became the center of the stage as the personification of the Russian mother. At the Mossovet Theater, director Y. Zavadsky interpreted the performance as a psychological drama, the drama of an extraordinary man Fyodor Talanov.

8. Ways of development of the poem 50-60-ies. (for example 1-2 pieces).

Poems 2nd floor 50-60s imbued with the pathos of comprehending historical. and the social origins of events and characters (cycle of poems by V. Lugovsky "Middle of the Century", "The Wall" by Y. Martsinkevichius, "Oz" by A. Voznesensky). The diversity and dissimilarity of genre varieties of P. was reflected in contradictory judgments about P. in lit. discussion on this genre.

A new stage in the development of the country and literature - the 50s-60s - was marked in the poem of Tvardovsky by further advancement in the sphere of lyric epic - the lyric epic "Beyond the Distance - Dal", the satirical fairy-tale poem "Terkin in the Next World" and lyric poetry - tragic poem-cycle "By the Right of Memory". Each of these works in its own way was a new word about the fate of time, country, people, man. Together they represent a living and holistic, dynamic artistic system. Thus, a number of themes and motifs of "Vasily Terkin" become "cross-cutting", are echoed in subsequent works: for example, the very theme of war, life and death sounds in its own way in the poems "Beyond the Distance," and "Terkin in the Next World." The same applies to the theme of the family, native Smolensk, the image of a "childhood friend" and the war years, motives of "memory". All this, being the components of the artist's poetic world, testifies to his unity and integrity.

Tvardovsky is working on a satirical fairy tale poem "Terkin in the next world"(1954-1963), depicting the "inertia, bureaucracy, formalism" of our life. According to the author, "the poem" Terkin in the Next World "is not a continuation of" Vasily Terkin ", but only refers to the image of the hero of the" Book about the Fighter "to solve special problems of the satirical and publicistic genre."

Tvardovsky based his work on a conventionally fantastic plot. The hero of his poem of the war years, alive and not discouraged under any circumstances, Vasily Terkin now finds himself in the world of the dead, the ghostly kingdom of shadows. Everything hostile to man, incompatible with living life, is mocked. The whole environment of fantastic institutions in the "next world" emphasizes the heartlessness, inhumanity, hypocrisy and falsehood that grow under the conditions of a totalitarian regime, an administrative-command system.

At first, once in the "afterlife", very much reminiscent of our earthly reality with a whole series of recognizable everyday details, Terkin does not distinguish between people at all. They talk to him, state and faceless clerical, bureaucratic "tables" ("Accounting table", "Check table", "Medical treatment table", etc.), devoid of even the slightest sign of participation and understanding, look at him. And in the future, the corpses pass in front of him - "seemingly like people", to match which the entire structure of the "afterlife": "System", "Network", "Organs" and their derivatives - "Committee on Affairs / Eternal Perestroika" , "Underworld Bureau", "Grobgazeta", etc.
Before us there is a whole register of imaginary, absurd, devoid of content objects and phenomena: "anhydrous shower", "tobacco without smoke", "ration beyond the grave" ("Designated in the menu, / And in nature, no") ... Indicative characteristics :, Candidate of the Otherworldly / Or Doctor of Ashes-Sciences "," Inscription: "Fiery Orator" - / And a washcloth from the mouth. " Through all this realm of the dead and soulless, the soldier is guided by the "force of life." In the hero of Tvardovsky, symbolizing the vitality of the people, who found himself in such an unusual situation and underwent difficult trials, his inherent human qualities prevailed, and he returns to this world to fight for the truth.
Tvardovsky himself waged an irreconcilable struggle with the darkest, deadening legacy of Stalinism, with the spirit of blind obedience, inertia and bureaucracy brought to the point of absurdity. And he did it from the standpoint of affirming life, truth, humanity, and a high moral ideal. In a combination of a fantastic plot and realistic everyday details in the depiction of the afterlife, the author's creative principle was realized: "With a good invention alongside / The truth is alive ..."

SUMMARY "Terkin in the next world" Terkin in the next world Terkin, killed in battle, appears in the next world. It's clean, it looks like a subway. The commandant orders Terkin to take shape. Accounting table, check table, pitch table. They require a certificate from Terkin, they require a photograph, a certificate from a doctor. Terkin is undergoing medical treatment. There are pointers, inscriptions, tables everywhere. Complaints are not accepted here. The editor of Grobgazeta doesn't even want to listen to Terkin. There are not enough beds, they are not allowed to drink ... Terkin meets a front-line comrade. But he seems to be not happy to meet. He explains to Terkin: there are two other worlds - ours and the bourgeois one. And our that light is “the best and the most advanced”. Comrade shows Terkin the Military Department, Civil. Here, no one does anything, but only leads and takes into account. Dominoes. "Certain Members" discuss the draft of the novel. Right there - a "fiery orator". Terkin wonders: why is all this necessary? “Nomenclature,” a friend explains. A friend shows the Special Section: here are the victims in Magadan, Vorkuta, Kolyma ... The Kremlin leader himself manages this department. He is still alive, but at the same time "with them and with us," because "he erects monuments to himself during his lifetime." The comrade says that Terkin can receive a medal, which he was awarded posthumously. He promises to show Terkin the Stereotube: this is only "for the afterlife." The neighboring, bourgeois other world is visible in it. Friends treat each other to tobacco. Terkin is real, and his friend is beyond the grave, smokeless. Terkin remembers everything about the land. Suddenly the sound of a siren is heard. This means - an emergency: a living seeped into the other world. He needs to be placed in the "waiting room" so that he becomes a "full-fledged ghoul." A friend suspects Terkin and says that he must report to his superiors. Otherwise, he may be sent to the penal battalion. He persuades Terkin to give up the desire to live. And Terkin thinks how to return to the world of the living. The comrade explains: trains carry people only there, not back. Terkin guesses that empty people are coming back. The friend does not want to run away with him: they say, on earth he might not have been included in the nomenclature. Terkin jumps on the empty step, they don't notice him ... But at some moment both the step and the train disappeared. And the road is still far away. Darkness, Terkin goes to the touch. All the horrors of war pass before him. Here he is already at the very border .... And then through a dream he hears: "A rare case in medicine." He is in the hospital with a doctor over him. There is a war behind the walls ... Science marvels at Terkin and concludes: "He will live for another hundred years!"

After the completion and publication of "Terkin in the Next World" Tvardovsky conceives, and in the last years of his life writes a lyric poem-cycle "By the Right of Memory"(1966-1969) - a work of tragic sound. This is a social and lyrical-philosophical meditation about the difficult paths of history, about the fate of an individual, about the dramatic fate of his family: father, mother, brothers. Deeply personal, confessional, "By the Right of Memory" at the same time expresses the popular point of view on the complex, tragic phenomena of the past.
Tvardovsky's poem was never published during his lifetime. It appeared in print only decades later - in 1987. And the reason for this was the author's striving for the uncompromising truth, as he understood it, that resurrects "living reality" and does not let go of the pain of the tragic events of our history.

"By the Right of Memory" is the poet's comprehension of the experience of his entire life, which reflected the difficult contradictions of the time. The very motive of the search for truth, as truth and justice, is endless in the poem - from addressing oneself in the opening lines: "In the face of the past / You have no right to bend your soul" - and to the final words about the healing infusion of "the truth of existence", obtained at the cost of a cruel experience.
The poem develops and deepens the motives that sounded in the book "Beyond the Distance - Far" (the theme of repression in the chapters "Childhood Friend", "So It Was"), but here they acquire a more personal character. After all, all this has truly been achieved by the poet, since we are talking about the fate of his family and his own fate.

What was it like for the poet's father - an honest peasant-worker who earned bread with his own hands, covered with calluses, to endure the cruel and unfair, as the poet says, “blind and wild / For a round number, the verdict” according to which he and his family ended up “in those parts where frost hung / From the walls and ceiling of the barracks ... "The hypocrisy of the words" The son does not answer for his father ", as if casually dropped by the" ruler of the earth "- Stalin, only emphasizes and aggravates the guilt of not only him, but also those of his heirs , who - "To forget, to forget they say silently, / They want to drown into oblivion / Living reality."
And this "living reality" consists in the fact that the words of the "father of nations" turned into a demand to violate the basic biblical commandments. “Here Tvardovsky is sometimes textually accurate. The Bible says: Honor your father and your mother. In the text of the poem: "Leave your father and your mother." Further. Do not bear false testimony against your neighbor - "bear false witness", do not kill - "be atrocious", do not create an idol for yourself - "follow me." The voice of the father of nations sounds like a sermon in the poem, but the sermon of Satan. "
The painful and bitter memory of the cruel era, of the horrors and crimes of the Stalinist era, the truth about the Brezhnev times that continue and cover it, full of lies and ostentatiousness, permeates Tvardovsky's last poem. This, in its own way, is the final and in some way the key work for all of his work, including and especially - the poem.

In genre and thematic terms, this is a lyrical and philosophical meditation, a "travel diary", with a weakened plot. The characters of the poem are the immense Soviet country, its people, the rapid turn of their deeds and accomplishments. The text of the poem contains a joking confession of the author - a passenger of the Moscow-Vladivostok train. Three distances the artist begins to see clearly: the immensity of the geographical expanses of Russia; historical distance as the continuity of generations and the realization of the inextricable connection of times and destinies, and finally, the bottomlessness of the moral storehouse of the soul of the lyrical hero.
The poem "By the Right of Memory" was originally conceived by the author as one of the "additional" chapters to the poem "Beyond the Distance," and acquired an independent character in the course of work. Although "By the Right of Memory" does not have a genre designation in the subtitle, and the poet himself, faithful to the concepts of literary modesty, sometimes called this work a poetic "cycle", it is quite obvious that this is a lyric poem, the last major work of the author of "Vasily Terkin". It was completed and prepared for publication by the poet himself two years before his death. In the introduction, Tvardovsky declares that these are frank lines, a confession of the soul: Before the face of those who have departed by the past You do not have the right to bend your soul, - After all, these were paid for by We at the greatest price ... The poem compositionally falls into three parts. In the first part, the poet with a warm feeling, a little ironically recalls his youthful dreams and plans. And where, which of us will have, In what year, in what edge For that hoarse cock, To hear his youth. These dreams are pure and lofty: to live and work for the good of the Motherland. And if need be, then give your life for her. Beautiful youthful dreams. The poet with slight bitterness recalls that naive time and youths who could not even imagine how many grievous and severe trials fate was preparing for them: We were ready for the campaign What could be easier: To love our native mother land, So that for it into fire and water ... And if - then give your life ... Only from ourselves now add. Which is easier - yes. But which is more difficult? The second chapter, "The Son Is Not Responsible for His Father," is the most tragic both in the poem and in all of his work. The illegally dispossessed Tvardovsky family was exiled to Siberia. Only Alexander Trifonovich remained in Russia due to the fact that he lived separately from his family in Smolensk. He could not alleviate the fate of the exiled. In fact, he abandoned the family. This tormented the poet all his life. This unhealed wound of Tvardovsky resulted in the poem "By the Right of Memory". The end of your dashing adversity, stay cheerful, do not hide your face. Thank the father of nations. That he forgave your father. A difficult time, which philosophers cannot understand already fifty years later. And what can we say about a young man who piously believes in official propaganda and ideology. The duality of the situation is reflected in the poem. Yes, he could, without reservations, Suddenly - as he would bake - Any of his miscalculations heap Transfer to someone's account: To someone's enemy's distortion of the One that announced the covenant. On someone's dizziness From their predicted victories. The poet seeks to comprehend the course of history. Understand what was the fault of the repressed peoples. Who allowed this state of affairs when one decided the fate of peoples. And all were guilty before him for the fact that they were alive. In the third chapter of the poem, Tvardovsky asserts the human right to memory. We have no right to forget anything. As long as we remember, our ancestors, their deeds and deeds are "alive". Memory is a person's privilege, and he cannot voluntarily refuse God's gift for the sake of anyone else. The poet asserts: He who jealously hides the past is unlikely to be in harmony with the future ... This poem is a kind of Tvardovsky's repentance for his youthful deeds and mistakes. We all make mistakes in our youth, sometimes fatal, but this does not give rise to poems in us. In a great poet, even grief and tears are poured into brilliant poems. And you, that now strive To return the past grace, So you call Stalin - He was God - He can get up.

Lesson topic: The theme of the Great Patriotic War in the literature of the twentieth century 1941-1945 and the last decades

Number of hours: 2 hours

Lesson type: traditional

Lesson type: lesson-lecture using information technology

Interdisciplinary connections: history, music, fine arts

Ahead homework: 40s and 50s of the twentieth century - comprehending the Great

1945 victories

Goals and objectives of the lesson

1. Educational:

to acquaint with the peculiarities of the development of literature of the period

WWII; it is necessary that in the process of studying

topics the students understood how rich and diverse literature is

the war years, how high its civil and artistic merit.

2. Developing:

develop expressive reading skills (correct

intonation and placement of logical stress); continue work

on the formation and improvement of the ability to find and choose

the necessary information from different sources, and speak with it in front of

audience, as well as the ability to thoughtfully listen to speakers and

represent what they are talking about.

3. Educational:

instill interest in literature about the Great Patriotic War;

foster pride in your people, civic position, humanism;

to reveal to students the patriotic feelings of people in the days

wars, their readiness to do everything possible to defend the Fatherland;

Advance homework (group work):

1 group - analytical - together with the teacher they prepare the introductory (motivational) part of the lesson and generalize the material of the speaking groups;

Group 2: material on journalism during the Second World War and the first post-war years

(I.G. Erenburg, O. Berggolts, M. Sholokhov, A. N. Tolstoy, V. Grossman, B. Gorbatov)

Group 3 explores the main motives of the lyrics of the war years, as well as some biographical information about poets, analysis of poems (V.I. Lebedev-Kumach,

A. Surkov, O. Berggolts, A. Akhmatova, K. Simonov, N. Mayorov, those who “... left, disliked, not smoking the last cigarette”: Pavel Kogan, Mikhail Kulchitsky, Musa Jalil;

4 group - prepares messages "Prose about the war of 1941-1945" (K. Simonov, Emmanuil Kazakevich, A. Bek, B. Polevoy, A. Fadeev, V. Nekrasov, M. Sholokhov).

(Two dates are written in close-up on the screen, an epigraph)

Two calendar pages.

Two days of life Planet Earth.

Two days of the history of Mankind.

Pupil: There was a great war

There was a bloody war

One thousand four hundred and eighteen days.

Student: There is a strong thread between these dates. Without one, there would be no other. More precisely, there simply could not have been another.

Pupil: For 1418 days and nights fighting raged. The Soviet people waged a liberation war for 1418 days and nights. The path to Victory was long and difficult!

Student: This war, according to Hitler's plans, was to become a "blitzkrieg" - a lightning war. The fascist troops, victorious and terrifyingly marching across Europe, were confident of an easy and quick victory in the east. This was not just a war on the battlefield. Hundreds of thousands of boys and girls and children were driven away from our country to Germany. And now, gloves made of human skin have been preserved in museums in Germany. In children's concentration camps, terrible experiments were carried out on children, new medicines were tested, exsanguinating children in order to transfuse blood to the Nazis. There is almost no family in our country that would not have lost their loved ones in this war, who died in battles with the Nazis or died of hunger and cold. Therefore, every citizen of our country knew "The battle is holy and right, mortal battle is not for the sake of glory, for the sake of happiness on earth." This means that June 22 will eternally throw our memory back to 1941, and May 9 - to 1945.

Teacher: This year, all progressive mankind celebrates the 60th anniversary of the Victory Day over fascism. We will remember those who died in the battles, congratulate war and home front veterans with Victory and learn more and more about the Second World War. , about our Victory.

Do you guys think there is a need to remember the war? Or, as foreign writers reasoned, referring to the writers of Russia, Belarus, that

“… How long it is possible to reconstruct what happened so long ago. This is against the laws of memory, which is supposed to forget everything difficult, calm down, lie down. War is a huge, but extinct, cooled volcano of the 20th century. There is so little kindness in the world, the deficit of mercy is obvious. Doesn't Russian literature, which has lived in the memory of the war for so long, preserve its aggressive belligerence? It does not allow a person to live in peace, peace, and now and then sinking into the crater of an extinct volcano. "

Student: The question is not that simple. In many countries of Eastern Europe liberated during the war by the Soviet Army, even the Baltic states, monuments, obelisks, graves to our fallen soldiers are being demolished and desecrated, former accomplices of the Nazis are praised, such "chronicles" of the war are written in which there is no place for the exploits and victims of Russia. And therefore, it seems to me, the poet Yevgeny Vinokurov was and will be right, in spite of everything, in his poem: "And he remembers the saved world, the eternal world, the living world Seryozha with Malaya Bronnaya and Vitka with Mokhovaya"

From the above, you have already guessed what topic we will be studying in the lesson.

What goals and objectives will you set for yourself while studying this topic?

Students formulate the topic and objectives of the lesson.

Teacher: We begin the study of the "Great Patriotic War in the literature of the XX century 1941-1945 and the last decades"

Today in the lesson we will get acquainted with "Features of the development of literature during the Great Patriotic War 1941-1945". The main thing is that in the process of studying the topic, you understand how rich and diverse the literature of the war years is, how high its civil and artistic merits are.

Teacher: First of all, we will turn to the dictionary and consider what the basic concepts on the topic of the lesson are:

(On the screen):

Military prose (lieutenant, trench)

Documentary prose

Marching song

Chronicle of military events

Newsreel

Photo chronicle

Frontal reporting

Radio article

War correspondent

Military journalism

Military journalism is a genre in which information about events is directly associated with evaluativeness and emotionality, often with the performance of extra-artistic, socio-political functions by literature, with direct intervention in history.

Literature about the Second World War began without a pause, without a preparatory stage, without a distance of time - with publicistic speeches of writers, their essays, reports from the battlefields. What was the peculiarity of the writer's publicistic word?

Group work.

(Students should prepare messages for the presentation according to the plan:

a) brief biographical information about writers-publicists;

b) tell about creativity, convictions, activities during the Second World War, contribution to the Victory.

Group 2:

1. Such a person was the creator of several books, articles, essays under the general title "War" - Ilya Grigorvich Ehrenburg (1891-1967)…

2. Alexey Nikolaevich Tolstoy, the creator of the epics "Walking in agony" and "Peter 1" as a publicist focused on a different moral aspect ...

3. They actively worked in the genre of journalism during the Second World War

M. Sholokhov "People of the Red Army" 1941, "Science of Hatred" 1942

K. Simonov "June-December 1941," Days and Nights "1942," Song "1943

N. Tikhonov "Odessa in battle, 1941)

A. Fadeev "Unity of Slavic peoples in the struggle against Hitlerism" 1941, "Children" 1941, B Polevoy "In the partisan region"

B. Gorbatov "Camp on Maidanek" 1944, "Surrender"

A. Tvardovsky "Holiday Morning" 1945.

Publicistic articles by L. Leonov, K. Fedin, A. Platonov, E. Vorobyov, Vs. Vishnevsky, A. Surkov and many other writers

4. The contribution to the journalism of those years was especially distinctive. V. Grossman(1904-1964). He was a correspondent for the Krasnaya Zvezda newspaper during the Second World War ...

5. O.F. Bergholz(1910-1975). She developed a completely special genre of a publicist, more precisely, a radio journalist, made her the principle of her whole life in besieged Leningrad ...

Teacher: What was the journalism of the war years? Summarize the material.

Output: The appearance of a publicistic article of the war years took shape in a hurry, in such a strain of the writers' efforts that there was no time to remember about the observance of any canons, aesthetic norms, and loyalty to the genre. The mortal danger for the Motherland turned the very idea of ​​its salvation, the idea of ​​the utmost mobilization of all the forces of the fighting people into the material of the article, determined its structure, the sound of the writer's voice. “Our cause is just. The enemy will be defeated. Victory will be ours ”- these formulas, ideas were voiced already in June 22, 1941 in a speech by VM Molotov, and then on July 3 in a speech by IV. Stalin, it was necessary to immediately, promptly deploy, assert, turn into a "science of hate." The word is a commander, not a resonator of his weakness. It was necessary "to broadcast like a bell on a veche tower in the days of celebrations and people's troubles." And they did this - the publicists of the war years - they wrote the "history of modernity", it was their pen that created a large number of articles about the exploits of partisans, about the heroism of home front workers, essays depicting the victorious march of our troops liberating the peoples of Europe from fascist slavery.

The assistance of publicists to their belligerent people was broad and varied. It consisted, first of all, in confronting enemy propaganda and agitation and in revealing the true face of fascism before its people and world public opinion. Through the heads of the governments, the publicists turned directly to the public opinion of the allied countries, appealed to vigilance, to activity. But, perhaps, the main thing in the journalism of those years was that it reflected the aspirations and expectations of the fighting people. They expressed his thoughts and feelings, appealed to him for help, they saw in him the highest authority, judgment and hope for saving the world from enslavement.

Group 3

The main motives of the lyrics of the war years.

(Sounds "Holy War", then "Song of the Brave." Show photographs of poets.)

1. Poets reacted unusually quickly to the beginning of the war: on June 24, 1941, a poem appeared in the central newspapers IN AND. Lebedev-Kumach set to music by A. Alexandrov, and on June 25, "Song of the Brave", A. Surkova... Both poetic texts were examples of the so-called marching song, combining will, energy, determination to defeat the "dark fascist force." The whole form of poetic phrase, rhythm, invariably chased, marching, repetitions of a key word, imperative intonation - these songs were designed to embody "noble joy", the spirit of loyalty, the spirit of patriotism.

2. The lyrics of the war years lived the theme of the unity of the people, she crossed lines heart relationships of people. And this unifying role was played not only by such verses as a request poem "Wait for me" K. Simonov(1941), but also a poem - an oath on behalf of the people "Courage" A.A. Akhmatova(1942).

Teacher: I suggest listening to the reading of these poems in the author's performance.

3 ... A huge role was played in those years by a song or poems that became songs :

"Oh my fogs, fogged ...",

"Goodbye, cities and houses",

"Ogonyok"

"Where are you, where are you, brown eyes ...",

"In the forest near the front ..." M.V. Isakovsky,

"Roads" by L. Oshanin,

"Song of the Dnieper", "My beloved ...".

Performance of the song "Officer's Waltz" by E. Dolmatovsky.

4. The hero of the songs was stronger than the war, he remained a spiritualized person even during the war.

So in the song of A. Surkov. which originally existed in the form of a poem "Beats in close fire in the stove ... ", the omnipotence of war, the kingdom of cruelty is, as it were, denied, reduced by such an appeal to the beloved:

The song "Beats in close fire in the stove ... "...

5. You can always say that the possibilities of the human heart are not limitless, that "death, to which there are four steps" - is stronger than all the prayers of the beloved, who is now "far, far away", but A. Surkov will say: the hero will not break the ring of death by surrendering and sneaking away from the realm of death. He, like the hero of Isakovsky, is strong in a different solution: "the road to her goes through the war."

6. Analysis of the poem-song "Nightingales" which is considered a masterpiece of the song epic. Alexei Fatyanov.

(The song sounds).

7. Message about "Moabit Notebook" by Musa Jalil.

Reading - "Barbarism"

On the screen are photographs of concentration camps ...

8. Message: "Vasily Terkin" - a book about the fighter A. Tvardovsky "

Display of illustrative material on the work.

Sounds "Requiem" by Mozart

Teacher: Many poets died in the war, "... they left, disliking, not having smoked the last cigarette," without having time to say the main thing (students name their names and read excerpts of poems:

(On screen)

Musa Jalil,

Mikhail Kulchitsky,

N. Otrada,

Pavel Kogan,

Nikolay Mayorov,

Vsevolod Loboda

and many others.

Let's conclude, what are the main motives of the lyrics of the war years?

Output: the poets of those years realized and assimilated the main expectation of the reader: it is never too late to say about your time, to find a place for verse in the ranks of the fighting people. Therefore, no one was embarrassed by the fact that the commandment "Thou shalt not kill" was relegated to the background, and the frank invocative character of such poems as: "Kill him!" K. Simonova, “You are the enemy! And long live punishment and revenge "by A. Tvardovsky," Let us bend the enemy, so that the beast and the coward drank grief to death "by N. Tikhonov. In the poetry of the war years, motives of pride for their Fatherland, thirst for retribution, Faith in Victory, courage and resilience of the human spirit, motives of happiness, love, hatred sounded ...

Teacher: But the path of literature from the flight of verse to the tread of prose, to the analytical study of characters and a multifaceted depiction of war was quite difficult. There was a notable consistency in the highlighting of genres :

Lyrical miniature

Song

Article

Feature article

Drama

The story

Novel - even in the works of writers who owned all these genres: K. Simonov, L. Leonov, A. Platonov.

So how did the prose of the war years develop?

4 group.

1. In 1943, A.A. Beck's semi-documentary story "Volokolamskoye Shosse" about the battles near Moscow of General Panfilov's division appeared: 28 soldiers performed their feat in the area of ​​his division, stopping Nazi tanks at the Dubosekovo junction ...

2. K. Simonov - one of the most efficient writers who boldly invaded difficult situations of war - after a series of poems, essays, reports from the front, he created the play "Russian People" (1943), and a year later - the first story about the Battle of Stalingrad "Days and Nights" ...

(on the screen)

3. They performed major prose works during the war years and shortly after it.

E. Kazachevich, who wrote a story about the exploit of a group of scouts "Zvezda" (1947)

Vera Panova, depicting the work of doctors and nurses of an ambulance train in the story "Satellites" (1946), which became the basis for the film "Train of Mercy"

Towards Sunset (1945)

Leonid Sobolev, who spoke about the exploits of the sailors in the book "Sea Soul" (1942)

Boris Polevoy, who unfolded the fate of the pilot Alexei Meresiev, is a real event in the "tale of a real man" (1947).

The novels "Young Guard" (first edition 1945) by AA Fadeev, "In the trenches of Stalingrad" by V. Nekrasov (1947) and the unfinished novel by M. Sholokhov "They Fought for the Motherland" (started in 1943) became the true masterpieces of prose of the war years.

4. A short message about the works of M. Sholokhov "They fought for the Motherland and" The fate of a man. "

Teacher: What conclusion can be drawn to the topic of the lesson?

Sounds "Requiem" by Mozart

Conclusion: The theme of the Second World War will never cease to excite the reader - this is the history of the country - be it journalism, poetry or prose. We must remember the heroic deed in 1941-1945, keep the eternal flame "not for the sake of glory, for the sake of life on earth."

Publicists and essays during the Great Patriotic War

From the first days of the war, the genres of journalism, designed to reveal the life of people at the front and in the rear, the world of their spiritual experiences and feelings, their attitude to various facts of the war, took a firm place on the pages of periodicals, radio broadcasts. Publicism has become the main form of creativity of the greatest masters of the artistic word.

Alexey Tolstoy, Nikolai Tikhonov, Ilya Erenburg, Mikhail Sholokhov, Konstantin Simonov, Boris Gorbatov, Leonid Sobolev, Vsevolod Vishnevsky, Leonid Leonov, Marietta Shaginyan, Alexey Surkov, Vladimir Velichko are publicists of this time.

The main theme of their works is the theme of the Motherland. In the difficult conditions of war, when the fate of the country was being decided, works calling for its protection, for overcoming all obstacles and hardships, could not leave indifferent the readership. This was how the articles “Homeland” by A. Tolstoy, “The Power of Russia” by N. Tikhonov, “Reflections at Kiev” by L. Leonov, “Ukraine on Fire” by A. Dovzhenko, “Soul of Russia” by I. Erenburg, “Lessons of History” by Vs. Vishnevsky.

The theme of the Motherland occupies the main place in A. Tolstoy's journalistic work from the first days of the war. On June 27, 1941, Pravda published his first military article, "What are we defending." In it, the author contrasted the predatory aspirations of fascist Germany with the firm confidence of the Soviet people in the rightness of their cause, for they defended their homeland.

The theme of the Motherland reached an exceptional journalistic intensity in the article "Motherland", published on November 7, 1941 in the newspaper "Krasnaya Zvezda" and then reprinted by many publications. Prophetic words: “We will do it!”.

In the work of A. Tolstoy - both artistic and journalistic - two themes are closely intertwined - the Motherland and the inner wealth of the national character of the Russian person. This unity was most fully embodied in the "Stories of Ivan Sudarev", the first cycle of which appeared in "Krasnaya Zvezda" in April 1942, and the last - "Russian character" - not in the pages of the same newspaper on May 7, 1944.

During the war years A. Tolstoy wrote about 100 articles, texts for speeches at rallies and meetings. Many of them sounded on the radio and were published in newspapers.

June 23, 1941 - on the second day of the war - the journalistic activities of Ilya Ehrenburg of the war period began. His article “On the first day,” which appeared in print, carried with it a high civic pathos, a desire to instill in the minds of people an unyielding will to destroy the fascist invaders. Two days later, I. Ehrenburg, at the invitation of the editorial board of "Krasnaya Zvezda", came to the newspaper and on the same day wrote an article "Hitler's Ode", which was published on June 26. His articles and pamphlets were also published in many central and front-line newspapers.

He saw his main task in inculcating hatred of the invaders among the people. I. Ehrenburg's articles “About hatred”, “Justification of hatred”, “Kiev”, “Odessa”, “Kharkov” and others exacerbated the feeling of hatred towards the enemy. This was achieved due to exceptional concreteness. Ehrenburg wrote about the facts of the atrocities of the invaders, cited testimony, references to secret documents, orders of the German command, personal records of killed and captured Germans.

Ehrenburg's journalism reached a special intensity during the crisis days of the battle for Moscow. On October 12, 1941, Krasnaya Zvezda published his article "Stand Out!" This passionate cry became the leading theme of the articles "Days of Trials", "We Will Stand", "Trial".

During the war years, Ehrenburg wrote about 1.5 thousand pamphlets, articles, correspondence, four volumes of his pamphlets and articles entitled "War" were published. The first volume, published in 1942, opened with a cycle of pamphlets "Raging Wolves", in which the images of the fascist leaders - Hitler, Goering, Goebbels, Himmler - were created with exceptional revelatory power.

A significant place in the work of Ehrenburg during the war was occupied by articles and correspondence for a foreign reader. They were transmitted through the Sovinformburo and telegraph agencies to newspapers in America, England and other countries. Over 300 publications made up this cycle. All of them then entered the book "Chronicle of Courage".

Konstantin Simonov is a tireless correspondent for Krasnaya Zvezda, who traveled thousands of kilometers along the roads of war and saw everything that she brought with her.

People liked the harsh, courageously restrained correspondence and sketches of K. Simonov. “Parts of the Cover”, “On a Festive Night”, “Jubilee”, “Fighter of Fighters”, “Songs” and others shook with the truth of life, the ability to look into the spiritual world of a person whose life could end in a moment.

K. Simonov witnessed many decisive battles and wrote about what he personally saw. The specific address is already present in the titles of the materials: “In Kerch stone quarries”, “Siege of Ternopil”, “On the coast of Romania”, “On the old Smolensk road”, etc.

The result of a trip to Feodosia, which had just been liberated by a Soviet landing force and was fiercely bombarded by enemy aircraft, was the first story in Simonov's creative biography, "The Third Adjutant." His plot was prompted by a meeting with one of the paratroopers - a former Donetsk miner, firmly convinced that "the brave are killed less often than the cowards." The story was published in Krasnaya Zvezda on January 15, 1942.

A day earlier, the poem “Wait for Me” appeared in Pravda. Hundreds of newspapers have reprinted it.

Vasily Grossman, a war correspondent for Krasnaya Zvezda, was among the publicists who were in the army. In the essays "Battle of Stalingrad", "Volga - Stalingrad", "Vlasov" and others, in numerous correspondences, he introduced the reader to the atmosphere of the fighting Stalingrad.

The cycle of eventful essays about Stalingrad included “The Fire of Stalingrad” by E. Krieger, “Pavlov's House” by P. Shebunin, “Hero City” by B. Polevoy, “Stalingrad Ring” by Vas.Koroteev and others.

The main thing in the journalism of the war period was that it expressed the fortitude and aspirations of the fighting people. In wartime journalism, a special place was taken by M. Sholokhov's essays "Science of Hatred", "Vileness", his articles "On the way to the front", "People of the Red Army". Their leitmotif was the author's conviction that the moral strength of the people, their love for the Motherland will have a decisive impact on the outcome of the war, will lead to victory. This idea permeated the essays of L. Sobolev “The Sea Soul”, A. Fadeev “Immortality”, A. Platonov “The Son of the People” and others.

The high skill of the writers who came to military journalism, their original creative "handwriting" gave it an extremely diverse in form and sharply individual in style.

Boris Gorbatov, for example, turned to the epistolary form of conversation with the reader. His "Letters to a Comrade" carry a tremendous charge of patriotism. They are not only personal, but also very lyrical. Most of them were written when it was necessary to retreat, and the front line approached Moscow. The first four letters under the general title Rodina were published in September 1941 in Pravda. B. Gorbatov's Peru also owns the essays “Aleksey Kulikov, a soldier”, “After death”, “Power”, “From a front-line notebook”, included in the collection “Stories about a soldier's soul”, published in 1943.

At the end of the war, a large number of travel sketches are created. Their authors L. Slavin, A. Malyshko, B. Polevoy, P. Pavlenko and others talked about the victorious battles of the Soviet troops that liberated the peoples of Europe from fascism, wrote about the capture of Budapest, Vienna, and the storming of Berlin.

Party and state leaders: M. Kalinin, A. Zhdanov, A. Shcherbakov, V. Karpinsky, D. Manuilsky, E. Yaroslavsky made publicistic and problematic articles in the press and on the radio.

The feat of labor of people in the rear is captured in the journalism of B. Agapov, T. Tess, M. Shaginyan. E. Konenko, I. Ryabov, A. Kolosov devoted their essays to the problems of providing the front and the population of the country with food.

Radio journalism possessed a great power of emotional impact. A. Gaidar, L. Kassil, P. Manuilov, K. Paustovsky, E. Petrov, L. Sobolev performed on the radio.

During the war years, photo-journalism developed noticeably. The names of the photo-publicists of Pravda, Izvestia, Krasnaya Zvezda, Komsomolskaya Pravda A. Ustinov, M. Kalashnikov, B. Kudoyarov, D. Baltermants, M. Bernstein, V. Temin, P. Troshkin, G. Khomzer , A. Kapustyansky, S. Loskutov, Y. Khalip, I. Shagin stood on a par with the names of the writers of the pen and documentary filmmakers.

Through the efforts of experienced masters of photography, literature and graphics, in August 1941, the literary and art magazine "Front illustration" began to be published. Almost at the same time, another illustrated edition, “Fotogazeta”, began to appear, with a frequency of six times a month. “Fotogazeta” to publish another illustrated edition - “Fotogazeta”, with a frequency of six times a month. “Photogazeta” was published before the Victory Day.

Satirical genres and humorous publications remained an invariably powerful force in the arsenal of wartime journalism. Satirical material appeared frequently in the central press. So, in “Pravda” a creative team worked on them, which included the artists Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) and the poet S. Marshak. On some fronts, satirical magazines were created: Front-line humor, Draft and others.

Soviet journalism in all its activities contributed to the creation of the personality cult of Stalin. His personal merit was given to the victories in the first five-year plans, in the democratic gains proclaimed in the new Constitution of the USSR, in the successes of building socialism. The press became a tribune for the ideological and theoretical substantiation of Stalinism. Stalin's books "On the Foundations of Leninism", "A Short Course in the History of the All-Union Communist Party of Bolsheviks" and others were regarded as the greatest examples of the creative development of Marxism. into journalism, which has become an integral part of the apparatus of the totalitarian system.

The Great Patriotic War was the most difficult test for the Soviet state. The war, which lasted almost four years, was crowned with the greatest victory in the history of mankind, in the achievement of which it is impossible to diminish the role of Soviet journalism.

The war immediately changed the entire face of the Soviet press: The number of military newspapers increased. The volume of the civilian press is decreasing. The number of even central newspapers has more than halved. The number of local publications has dropped significantly. Many central sectoral newspapers, such as Lesnaya promyshlennost, Tekstilnaya promyshlennaya, and others ceased to appear. Some specialized central newspapers were merged. So, instead of "Literaturnaya gazeta" and "Soviet art" the newspaper "Literatura i iskusstvo" began to appear.

In addition to Komsomolskaya Pravda and Leningrad's Smena, all Komsomol newspapers were closed, and republican, regional and regional party newspapers began to appear five times a week on two pages. District newspapers, which were translated into a weekly edition, also became two-page. Even Pravda, which was published during the war years instead of six on four pages, underwent a reduction in volume.

The measures to reorganize the press made it possible to largely overcome the difficulties in organizing print propaganda at the front.

By the end of 1942, the task of creating a mass press in the Armed Forces in accordance with the requirements of the wartime was solved: by this time, 4 central, 13 front-line, 60 army, 33 corps, 600 division and brigade newspapers were published. At the fronts and in the army there were many newspapers in the languages ​​of the peoples of the USSR

The Directorate of the Soviet Army issued a leaflet "News from the Soviet Motherland" with a print run of one and a half million, which constantly informed Soviet people in the territory temporarily occupied by the enemy about the situation at the front and in the rear.

A huge number of newspapers and leaflets were published behind enemy lines.

Among the underground publications published in the occupied territory, the most famous were the newspapers For Soviet Ukraine, Bolshevik Pravda, Vitebsk Rabochy, Into the Battle for the Motherland! ...

In addition to Krasnaya Zvezda and Krasniy Fleet, two more central military newspapers arose: in August 1941, Stalin's Sokol began to be published, and in October 1942, Krasny Sokol.

Significant changes have also taken place in journal periodicals. The magazines "Slavs", "War and the working class", literary and art magazine "Front illustration" were created. Of particular importance were the magazines for individual combat arms: "Artillery Journal", "Communication of the Red Army", "Military Engineering Journal". The satirical magazines Front-line Humor (Western Front), Skvoznyak (Karelian Front) and others enjoyed unchanged success.

In connection with the need for a more efficient transmission of events at the front and in the rear, on June 24, 1941, it was created Soviet Information Bureau. The task of the Sovinformburo included operational and truthful information not only for Soviet people, but also for foreign countries.

During the war years, the most efficient means of information became especially irreplaceable - broadcasting, the first military transmission of which appeared simultaneously with the government announcement of the attack on the Soviet Union by Nazi Germany. Invariably, starting with the very first radio broadcasts about events at the front, they ended with calls: "The enemy will be defeated, victory will be ours!"

The increased role of radio broadcasting in war conditions is evidenced by the prompt creation of branches of the All-Union Radio Broadcasting in various cities of our country (in Kuibyshev, Sverdlovsk, Komsomolsk-on-Amur). In November 1942, broadcasting began in the Ukrainian and Belarusian languages ​​from Moscow. The radio programs "Letters to the Front" and "Letters from the Fronts of the Patriotic War" became unchanged. More than two million letters were used in them, thanks to which more than 20 thousand front-line soldiers found their loved ones, evacuated to the eastern regions of the country.

At the final stage of the war, Soviet journalism was supplemented by another type of printing: newspapers were created for the population of the states liberated from the Nazi invaders, as evidenced by the names of these publications - "Free Poland", "Hungarian Gazeta".

Entering the war against the USSR, Hitler declared that it would be a merciless struggle, ideologies and racial differences, that it would be waged with unprecedented brutality. Following this principle, the Hitlerites fought for the enslavement of the Soviet people not only with the force of military weapons, but also with the weapon of speech. In the temporarily occupied territory, the Nazis published dozens of newspapers, from the pages of which it was asserted that it was not Hitler's Germany, but the Soviet state, that was to blame for unleashing an unprecedented war in the history of mankind. This lie was spread both in newspapers and in the radio broadcasts of the Nazis.

Already in 1941, the Germans began to establish their own radio broadcasting.

Every day, Hitler's newspapers and radio assured readers and radio listeners of the failure of the Soviet army, of the failure of Bolshevism, that Britain and the United States were weaker than Germany, and reported that Germany would win.

The anti-Soviet Hitlerite propaganda in the temporarily occupied territory demanded even more urgently the restructuring of all Soviet journalism, the strengthening of its cadres with the most qualified workers. In this regard, for the first time in the history of the national mass media, hundreds and hundreds of Soviet writers were sent to the editorial offices of newspapers, radio broadcasting, information agencies. Already on June 24, 1941, the first volunteer writers went to the front, including B. Gorbatov, A. Tvardovsky, E. Dolmatovsky, K. Simonov.

The word was of great importance during the war. The press carried a certain ideology, raised the fighting spirit of the soldiers. Her functions also included the transfer of experience, types of defense and other information necessary for the success of the Soviet army.

There were 943 writers in the personnel of the Red Army and the Navy during the Great Patriotic War. The work of writers full of dangers as war correspondents allowed them to be in the midst of hostilities, provided the richest material for bright fiction and journalistic works.

Their purpose was twofold. And they coped with it. Being both military men and journalists, war correspondents made a huge contribution to the history of our country, to the formation of the USSR mass media system, to the victory of the Soviet army over Nazi Germany. The problems of Soviet journalism during the Great Patriotic War are extremely diverse. But several thematic areas remained central: coverage of the country's martial law and military operations of the Soviet Army; a comprehensive display of the heroism and courage of Soviet people at the front and behind enemy lines; the theme of the unity of the front and rear; characteristics of military operations of the Soviet Army in the territories of European countries liberated from fascist occupation, and Germany.

The journalism of the period of the Great Patriotic War had no equal in the whole world history. Writers, publicists, poets, journalists, playwrights stood up with the entire Soviet people to defend their Fatherland. Wartime journalism, diverse in form, individual in creative embodiment, is the focus of greatness, boundless courage and devotion of Soviet people to their Motherland.

The years of the Great Patriotic War gave rise to various forms and methods of work of Soviet journalism, which intensified its impact on the masses. Many editorial offices and military journalists were closely associated with fighters and commanders, with workers, collective farmers, corresponded with them, and attracted them to participate in the work of newspapers and on the radio.

Writing the truth about the war is very dangerous and it is very dangerous to seek the truth ... When a person goes to the front to seek the truth, he may find death instead. But if twelve go, and only two return, the truth that they bring with them will really be the truth, and not distorted rumors that we pass off as history. Is it worth the risk to find this truth - let the writers themselves judge.

Ernest Hemingway

According to the Great Patriotic War encyclopedia, more than a thousand writers served in the active army, out of eight hundred members of the Moscow writers' organization in the first days of the war, two hundred and fifty went to the front. Four hundred and seventy-one writers did not return from the war - these are great losses. They are explained by the fact that writers, most of whom became front-line journalists, sometimes happened to be engaged not only in their direct correspondent duties, but also to take up arms - this was the situation (however, bullets and shrapnel did not spare those who did not get into such situations) ... Many simply found themselves in the ranks - they fought in army units, in the militia, in the partisans!

In military prose, two periods can be distinguished: 1) prose of the war years: stories, essays, stories written directly during hostilities, or rather, in short intervals between offensives and retreats; 2) post-war prose, in which there was an understanding of many painful questions, how, for example, why did the Russian people endure such difficult trials? Why did the Russians find themselves in such a helpless and humiliating position in the first days and months of the war? Who is to blame for all the suffering? And other questions that arose with closer attention to the documents and memories of eyewitnesses in a distant time. But nevertheless, this is a conventional division, because the literary process is sometimes a contradictory and paradoxical phenomenon, and understanding the topic of war in the post-war period was more difficult than during the period of hostilities.

The war was the greatest test and test of all the forces of the people, and he passed this test with honor. The war was also a serious test for Soviet literature. During the Great Patriotic War, literature, enriched with the traditions of Soviet literature of previous periods, not only immediately responded to the events, but also became an effective weapon in the fight against the enemy. Noting the intense, truly heroic creative work of writers during the war, M. Sholokhov said: “They had one task: if only their word would strike the enemy, if only it held our soldier under the elbow, ignited and did not let the burning hatred for enemies and love for the Motherland. " The theme of the Great Patriotic War remains extremely modern even now.

The Great Patriotic War is reflected in Russian literature deeply and comprehensively, in all its manifestations: the army and the rear, the partisan movement and the underground, the tragic beginning of the war, individual battles, heroism and betrayal, the greatness and drama of Victory. The authors of military prose, as a rule, are front-line soldiers, in their works they rely on real events, on their own front-line experience. In the books about the war of front-line writers, the main line is soldier's friendship, front-line comradeship, the severity of a field life, desertion and heroism. In war, dramatic human destinies unfold, sometimes his life or death depends on a person's deed. Front-line writers are a whole generation of courageous, conscientious, experienced, gifted individuals who have endured military and post-war hardships. Front-line writers are those authors who, in their works, express the point of view that the outcome of the war is decided by the hero, who realizes himself as a part of the warring people, who carries his cross and common burden.

Based on the heroic traditions of Russian and Soviet literature, prose during the Great Patriotic War reached great creative heights. The prose of the war years is characterized by the strengthening of romantic and lyrical elements, the widespread use of declamatory and song intonations, oratorical turns by artists, and an appeal to such poetic means as allegory, symbol, metaphor.

One of the first books about the war was the story of V.P. Nekrasov "In the trenches of Stalingrad", published immediately after the war in the magazine "Banner" in 1946, and in 1947 was written the story "Star" by E.G. Kazakevich. One of the first A.P. Platonov wrote the dramatic story of a front-line soldier returning home in the short story "The Return", which was published in Novy Mir already in 1946. The hero of the story, Aleksey Ivanov, is in no hurry to go home, he has found a second family among his fellow soldiers, he has lost the habit of his family and his family. The heroes of Platonov's works "... now went to live exactly for the first time, vaguely remembering themselves as they were three or four years ago, because they turned into completely different people ...". And in the family, near his wife and children, another man appeared, orphaned by the war. It is difficult for a front-line soldier to return to another life, to children.

The most reliable works about the war were created by front-line writers: V.K. Kondratyev, V.O. Bogomolov, K. D. Vorobiev, V.P. Astafiev, G. Ya. Baklanov, V.V. Bykov, B.L. Vasiliev, Yu.V. Bondarev, V.P. Nekrasov, E.I. Nosov, E.G. Kazakevich, M.A. Sholokhov. On the pages of prose works we find a kind of chronicle of the war, which reliably conveyed all the stages of the great battle of the Soviet people against fascism. Front-line writers, contrary to the tendencies that developed in Soviet times to varnish the truth about the war, portrayed the harsh and tragic military and post-war reality. Their works are a true testimony of the time when Russia fought and won.

A great contribution to the development of Soviet military prose was made by the writers of the so-called "second war", writers at the front, who entered big literature in the late 1950s and early 1960s. These are such prose writers as Bondarev, Bykov, Ananiev, Baklanov, Goncharov, Bogomolov, Kurochkin, Astafiev, Rasputin. The tragic emphasis in the depiction of the war intensified in the works of the writers-front-line soldiers, in their works of the 50-60s, in comparison with the books of the previous decade. War in the portrayal of front-line prose writers is not only and even not so much spectacular heroic deeds, outstanding deeds, how much tiring everyday work, hard work, bloody, but vital. And it was in this everyday work that the writers of the "second war" saw the Soviet man.

The distance of time, helping front-line writers to see the picture of the war much more clearly and in a larger volume, when their first works appeared, was one of the reasons that determined the evolution of their creative approach to the military theme. The prose writers, on the one hand, used their military experience, and on the other, artistic experience, which allowed them to successfully realize their creative ideas. It can be noted that the development of prose about the Great Patriotic War clearly shows that among its main problems, the main problem, which has been at the center of the creative search of our writers for more than sixty years, is and is the problem of heroism. This is especially noticeable in the work of front-line writers, who showed close-ups in their works the heroism of our people, the staunchness of the soldiers.

Front-line writer Boris Lvovich Vasiliev, author of the beloved books "The Dawns Here Are Quiet" (1968), "Tomorrow Was a War", "Not on the Lists" (1975), time, in an interview with "Rossiyskaya Gazeta" on May 20, 2004, noted the demand for military prose. On the war stories of B.L. Vasiliev brought up a whole generation of young people. Everyone remembered the bright images of girls who combined love of truth and perseverance (Zhenya from the story "The Dawns Here Are Quiet ..." the lists did not appear ", etc.). In 1997, the writer was awarded the Prize. HELL. Sakharov "For Civil Courage".

The first work about the war E.I. Nosov had a story "Red Wine of Victory" (1969), in which the hero met Victory Day on a state bed in a hospital and received, along with all the suffering wounded, a glass of red wine in honor of this long-awaited holiday. "A true comfrey, an ordinary soldier, he does not like to talk about the war ... The wounds of a soldier will tell more and more about the war. You can’t flap holy words in vain. As well, you can’t lie about the war. And it’s a shame to write badly about the suffering of the people." In the story "Khutor Beloglin" Alexey, the hero of the story, lost everything in the war - neither his family, nor his home, nor his health, but, nevertheless, he remained kind and generous. At the turn of the century, Yevgeny Nosov wrote a number of works about which Alexander Isaevich Solzhenitsyn said, presenting him with the award of his name: “And, delivering the same military theme 40 years later, with bitter bitterness Nosov shook what hurts even today. ... This undivided sorrow closes Nosov half a century wound of the Great War and everything that has not been told about it even today. " Works: "Apple Spas", "Commemorative Medal", "Fanfare and Bells" - from this series.

In 1992 Astafiev V.P. published the novel "Cursed and Killed". In the novel "Cursed and Killed" Viktor Petrovich conveys the war not in "the correct, beautiful and brilliant system with music and drums, and battle, with fluttering banners and prancing generals", but in "its real expression - in blood, in suffering, in of death".

The Belarusian front-line writer Vasil Vladimirovich Bykov believed that the military theme "is leaving our literature because ... why valor, honor, self-sacrifice have gone ... The heroic has been banished from everyday life, why do we still need a war, where is this inferiority most evident?" The incomplete truth "and outright lies about the war have over the years diminished the meaning and significance of our military (or anti-war, as they sometimes say) literature." The depiction of the war by V. Bykov in the story "Swamp" evokes protest from many Russian readers. It shows the ruthlessness of Soviet soldiers towards local residents. The plot is as follows, judge for yourself: in the rear of the enemy, in occupied Belarus, paratroopers landed in search of a partisan base, having lost their bearings, they took a boy as a guide ... and they kill him for reasons of safety and secrecy of the mission. No less terrible story by Vasil Bykov - "On a swamp stitch" - this is a "new truth" about the war, again about the ruthless and cruel partisans who dealt with the local teacher just because she asked them not to destroy the bridge, otherwise the Germans will destroy the entire village ... The teacher in the village is the last savior and protector, but she was killed by the partisans as a traitor. The works of the Belarusian front-line writer Vasil Bykov cause not only controversy, but also reflections.

Leonid Borodin published the story "The Detachment Gone". The military story also depicts another truth about the war, about the partisans, the heroes of which are soldiers - the soldiers of the first days of the war, in the German rear in a partisan detachment. The author considers in a new way the relationship between the occupied villages and the partisans whom they must feed. The commander of the partisan detachment shot the headman of the village, but not the traitorous headman, but his own man for the villagers, only for one word against. This story can be put on a par with the works of Vasil Bykov in depicting a military conflict, the psychological struggle between bad and good, meanness and heroism.

It was not for nothing that front-line writers complained that not the whole truth about the war was written. Time passed, a historical distance appeared, which made it possible to see the past and experienced in its true light, the right words came, other books about the war were written, which will lead us to spiritual knowledge of the past. Now it is difficult to imagine modern literature about the war without a large amount of memoir literature, created not just by participants in the war, but by outstanding military leaders.

Alexander Beck (1902-1972)

Born in Saratov in the family of a military doctor. In Saratov, he spent his childhood and adolescence, and there he graduated from a real school. At the age of 16, A. Beck volunteered for the Red Army during the civil war. After the war, he wrote essays and reviews for national newspapers. Beck's essays and reviews began to appear in Komsomolskaya Pravda and Izvestia. Since 1931, A. Beck collaborated on the editorial boards of the Gorky "History of Factories and Plants". During the Great Patriotic War he was a war correspondent. He gained wide popularity with his story "Volokolamskoe Shosse" about the events of the defense of Moscow, written in 1943-1944. In 1960 he published the novellas "Several Days" and "General Panfilov's Reserve".

In 1971, the novel "New Assignment" was published abroad. The author finished the novel in mid-1964 and submitted the manuscript to the editorial board of Novy Mir. After lengthy ordeals for various editions and authorities, the novel was never published in his homeland during the life of the author. According to the author himself, in October 1964 he gave the novel to his friends and some close acquaintances to read. The first publication of the novel at home was in the Znamya magazine, No. 10-11, in 1986. The novel describes the life of a major Soviet statesman who sincerely believes in the justice and productivity of the socialist system and is ready to serve it faithfully, despite any personal difficulties and troubles.


"Volokolamsk highway"

The plot of "Volokolamskoye Shosse" by Alexander Bek: after heavy fighting in October, 1941 near Volokolamsk, a Panfilov division battalion breaks through the enemy ring and joins up with the main forces of the division. Beck closes the story with one battalion. Beck is documentary accurate (this is how he characterized his creative method: “The search for heroes acting in life, long-term communication with them, conversations with many people, patient collection of particles, details, relying not only on his own observation, but also on the vigilance of the interlocutor .. . "), and in" Volokolamskoe Shosse "he recreates the true history of one of the battalions of the Panfilov division, everything corresponds to what it actually was: the geography and chronicle of battles, characters.

The narrator is the battalion commander Baurjan Momysh-Uly. Through his eyes we see what happened to his battalion, he shares his thoughts and doubts, explains his decisions and actions. The author recommends himself to the readers only as an attentive listener and "a conscientious and diligent scribe", which cannot be taken at face value. This is nothing more than an artistic device, because, while talking with the hero, the writer inquired about what seemed to him, Bek, important, composed from these stories both the image of Momysh-Ula himself, and the image of General Panfilov, "who knew how to control, to influence not by shouting , but intellectually, in the past an ordinary soldier who retained his soldier's modesty until his death "- this is how Beck wrote in his autobiography about the second hero of the book, very dear to him.

Volokolamskoe Shosse is an original documentary work associated with the literary tradition that he embodies in the literature of the 19th century. Gleb Uspensky. "Under the guise of a purely documentary story," Beck admitted, "I wrote a work subject to the laws of the novel, did not restrain my imagination, created characters and scenes to the best of my ability ..." that he did not restrain the imagination, there is a certain slyness, they seem to have a double bottom: the reader may think that this is a device, a game. But Beck's nude, demonstrative documentary is not a stylization well known to literature (let us recall, for example, "Robinson Crusoe"), not poetic clothes of essay-documentary cut, but a method of comprehending, researching and recreating life and man. And the story "Volokolamskoe Shosse" is distinguished by impeccable reliability (even in the smallest details - if Beck writes that on the thirteenth of October "everything was in the snow", there is no need to refer to the archives of the meteorological service, there is no doubt that it was so in reality), it is peculiar, but an accurate chronicle of bloody defensive battles near Moscow (as the author himself defined the genre of his book), revealing why the German army, having reached the walls of our capital, could not take it.

And most importantly, because of what "Volokolamskoe Shosse" should be considered fiction, not journalism. Behind the professionally army, military concerns - discipline, combat training, battle tactics, in which Momysh-Uly is absorbed, for the author there are moral, universal human problems, aggravated to the limit by the circumstances of war, constantly putting a person on the brink between life and death: fear and courage, selflessness and selfishness, loyalty and betrayal. In the artistic structure of Beck's story, a considerable place is occupied by polemics with propaganda stereotypes, with battle clichés, explicit and hidden polemics. Obvious, because this is the nature of the protagonist - he is harsh, not inclined to go around sharp corners, does not even forgive himself for weaknesses and mistakes, does not tolerate idle talk and pomp. Here is a typical episode:

"After thinking, he said:" Not knowing fear, Panfilov's men were eager for the first battle ... What do you think: a suitable start? "
“I don’t know,” I said hesitantly.
“That is what the corporals of literature write,” he said harshly. - These days that you live here, I deliberately ordered to lead you to such places where sometimes two or three mines burst, where bullets whistle. I wanted you to experience fear. You do not have to confirm, I know without admission that you had to suppress fear.
So why do you and your fellow writers imagine that some supernatural people are fighting, and not just like you? "

The hidden, authorial polemics that permeate the entire story are deeper and more comprehensive. It is directed against those who demanded from literature to "serve" today's "requests" and "instructions", and not to serve the truth. Beck's archive preserved a sketch of the author's preface, which says about it unequivocally: “The other day I was told: - We are not interested in whether you wrote the truth or not. We are interested in whether it is useful or harmful ... I did not argue. that a lie is useful. Otherwise, why would it exist? I know, so many writing people, my colleagues in the shop, do this. Sometimes I want to be the same. But at the writing table, talking about our cruel and beautiful century, I forget about this intention. At the writing table I see nature in front of me and sketch it in love, as I know it. "

It is clear that Beck did not publish this preface, it laid bare the author's position, there was a challenge in it that would not have gotten away with it so easily. But what he talks about became the foundation of his work. And in his story, he turned out to be true to the truth.


Work...


Alexander Fadeev (1901-1956)

Fadeev (Bulyga) Alexander Alexandrovich - prose writer, critic, literary theorist, public figure. Born on December 24 (10), 1901 in the village of Kimry, Korchevsky district, Tver province. He spent his early childhood in years. Vilno and Ufa. In 1908, the Fadeev family moved to the Far East. From 1912 to 1919, Alexander Fadeev studied at the Vladivostok Commercial School (he left without completing the 8th grade). During the civil war, Fadeev took an active part in hostilities in the Far East. In the battle near Spassk he was wounded. Alexander Fadeev wrote the first completed story "Spill" in 1922-1923, the story "Against the Current" - in 1923. In 1925-1926, while working on the novel "The Defeat", he decided to engage in literary work professionally.

During the Great Patriotic War, Fadeev worked as a publicist. As a correspondent for the Pravda newspaper and the Sovinformburo, he traveled around a number of fronts. On January 14, 1942, Fadeev published in Pravda the correspondence "Fiends-destroyers and people-creators", in which he told about what he saw in the region and the city of Kalinin after the expulsion of the fascist invaders. In the fall of 1943, the writer traveled to Krasnodon, liberated from enemies. Subsequently, the material collected there formed the basis of the novel "Young Guard".


"Young guard"

During the Great Patriotic War of 1941-1945. Fadeev writes a number of essays, articles on the heroic struggle of the people, creates the book "Leningrad in the days of the blockade" (1944). Heroic, romantic notes, more and more consolidated in the work of Fadeev, with particular force sound in the novel "Young Guard" (1945; 2nd edition 1951; USSR State Prize, 1946; film of the same name, 1948) , which was based on the patriotic affairs of the Krasnodon underground Komsomol organization "Young Guard". The novel glorifies the struggle of the Soviet people against the German fascist invaders. In the images of Oleg Koshevoy, Sergei Tyulenin, Lyubov Shevtsova, Ulyana Gromova, Ivan Zemnukhov and other Young Guard, the bright socialist ideal was embodied. The writer paints his characters in romantic lighting; the book combines pathos and lyricism, psychological sketches and author's digressions. In the second edition, taking into account the criticism, the writer included scenes showing the connections of Komsomol members with senior underground communists, whose images he deepened, made them more vivid.

Developing the best traditions of Russian literature, Fadeev created works that have become classic examples of the literature of socialist realism. The last creative idea of ​​Fadeev - the novel "Ferrous Metallurgy", dedicated to the present, remained unfinished. Fadeev's literary critical speeches are collected in the book "Over Thirty Years" (1957), showing the evolution of the literary views of the writer who made a great contribution to the development of socialist aesthetics. Fadeev's works were staged and filmed, translated into the languages ​​of the peoples of the USSR, many foreign languages.

In a state of mental depression, he committed suicide. For many years Fadeev was in the leadership of writers' organizations: in 1926-1932. one of the leaders of the RAPP; in 1939-1944 and 1954-1956 - Secretary, 1946-1954 - Secretary General and Chairman of the Board of the USSR JV. Vice President of the World Peace Council (since 1950). Member of the Central Committee of the CPSU (1939-1956); at the 20th Congress of the CPSU (1956) he was elected a candidate member of the Central Committee of the CPSU. Deputy of the Supreme Soviet of the USSR of the 2nd-4th convocations and the Supreme Soviet of the RSFSR of the 3rd convocation. He was awarded 2 Orders of Lenin, as well as medals.


Work...


Vasily Grossman (1905-1964)

Grossman Vasily Semenovich (real name - Grossman Iosif Solomonovich), prose writer, playwright, was born on November 29 (December 12) in the city of Berdichev in the family of a chemist, which determined the choice of his profession: he entered the Physics and Mathematics Faculty of Moscow University and graduated from 1929 year. Until 1932 he worked in Donbass as a chemical engineer, then began to actively collaborate in the Literaturny Donbass magazine: in 1934 his first story “Gluckauf” (from the life of Soviet miners) appeared, then the story “In the city of Berdichev”. M. Gorky drew attention to the young author, supported him by publishing "Gluckauf" in a new edition in the almanac "Year XVII" (1934). Grossman moved to Moscow and became a professional writer.

Before the war, the first novel of the writer "Stepan Kolchugin" (1937-1940) was published. During the Patriotic War, he was a correspondent for the Krasnaya Zvezda newspaper, having walked the way to Berlin with the army, published a series of essays on the struggle of the people against the fascist invaders. In 1942, Krasnaya Zvezda published the story "The People Are Immortal" - one of the most successful works about the events of the war. The play "According to the Pythagoreans", written before the war and published in 1946, drew sharp criticism. In 1952, he began to publish the novel For a Just Cause, which was also criticized because it did not meet the official point of view on the war. Grossman had to revise the book. Continuation - the novel "Life and Fate" was confiscated in 1961. Fortunately, the book survived and in 1975 came to the West. In 1980, the novel was released. At the same time, since 1955, Grossman wrote another - "Everything flows", also confiscated in 1961, but the version, completed in 1963, was published through samizdat in 1970 in Frankfurt am Main. V. Grossman died on September 14, 1964 in Moscow.


"The people are immortal"

Vasily Grossman began writing the story "The People Are Immortal" in the spring of 1942, when the German army was driven away from Moscow and the situation at the front stabilized. It was possible to try to put in some order, to comprehend the bitter experience of the first months of the war that burned the souls, to reveal what was the real basis of our resistance and inspired hopes for victory over a strong and skillful enemy, to find an organic figurative structure for this.

The plot of the story reproduces a very common front-line situation of that time - our units that were surrounded, in a fierce battle, suffering heavy losses, break through the enemy ring. But this local episode is viewed by the author with an eye to Tolstoy's "War and Peace", moves apart, expands, the story takes on the features of a "mini-epic". The action is transferred from the front headquarters to the ancient city, which was attacked by enemy aircraft, from the front line, from the battlefield to a village captured by the Nazis, from the front road to the location of German troops. The story is densely populated: our fighters and commanders - and those who turned out to be strong in spirit, for whom the trials that have fallen have become a school of "great tempering and wisdom heavy responsibility", and official optimists, always shouting "hurray", but broken by defeats; German officers and soldiers, intoxicated by the strength of their army and the victories won; the townspeople and Ukrainian collective farmers - both patriotic and ready to become servants of the invaders. All this is dictated by the "people's thought", which was the most important for Tolstoy in "War and Peace", and in the story "The People are Immortal" it was highlighted in the foreground.

“Let there not be a more dignified and holy word than the word“ people! ”- writes Grossman. It is no coincidence that he made the main heroes of his story not regular military men, but civilians - a collective farmer from the Tula region Ignatiev and a Moscow intellectual, the historian Bogarev. detail, - called up to the army on the same day, symbolize the unity of the people in the face of the fascist invasion. The ending of the story is also symbolic: "From where the flame burned out, two people walked. Everyone knew them. They were Commissar Bogarev and Red Army soldier Ignatiev. Blood ran over their clothes. They walked, supporting each other, stepping heavily and slowly. "

Martial arts are also symbolic - "as if the ancient times of fights were revived" - Ignatiev with a German tanker, "huge, broad-shouldered," "who passed through Belgium, France, trampled the ground of Belgrade and Athens," "whose chest Hitler himself adorned with an" iron cross. " the battle of Terkin, described later by Tvardovsky, with a "well-fed, shaved, careful, gratuitous good fed" German: As on an ancient battlefield, Instead of thousands, two fight, Chest on chest, like shield on shield, - As if the fight will decide everything. "Semyon Ignatiev, - writes Grossman, - immediately became famous in the company. Everyone knew this cheerful, indefatigable person. He was an amazing worker: every instrument in his hands seemed to be playing, having fun. And he possessed an amazing ability to work so easily, cordially that a person, who even looked at him for a minute, wanted to take up an ax, a saw, a shovel himself, so that he could do the job just as easily and well as Semyon Ignatiev did. He had a good voice, and he knew a lot of old songs ... "How much Ignatiev and Terkin have in common. Even Ignatiev's guitar has the same function as Terkin's accordion. And the kinship of these heroes suggests that Grossman discovered the features of modern Russian folk character.






"Life and Fate"

The writer was able to reflect in this work the heroism of people in the war, the fight against the crimes of the Nazis, as well as the complete truth about the events that took place inside the country: exile to Stalin's camps, arrests and everything connected with it. In the fates of the main characters of the work, Vasily Grossman captures the suffering, loss and death inevitable during the war. The tragic events of this era give rise to internal contradictions in a person, violate his harmony with the outside world. This can be seen in the example of the fate of the heroes of the novel "Life and Fate" - Krymov, Shtrum, Novikov, Grekov, Evgenia Nikolaevna Shaposhnikova.

The people's suffering in the Patriotic War in Grossman's Life and Fate is more painful and profound than in previous Soviet literature. The author of the novel leads us to the idea that the heroism of the victory won in spite of Stalin's arbitrariness is more weighty. Grossman shows not only the facts and events of Stalin's time: camps, arrests, repressions. The main thing in the Stalinist theme of Grossman is the influence of this era on the souls of people, on their morality. We see how brave people turn into cowards, kind people turn into cruel ones, and honest and staunch people turn into faint-hearted ones. We are no longer even surprised that the closest people are sometimes permeated with distrust (Evgenia Nikolaevna suspected Novikov of denouncing her, Krymov - Zhenya).

The conflict between man and the state is conveyed in the reflections of the heroes about collectivization, about the fate of the "special settlers", it is felt in the picture of the Kolyma camp, in the thoughts of the author and the heroes about the thirty-seventh year. Vasily Grossman's truthful story about the previously hidden tragic pages of our history gives us the opportunity to see the events of the war more fully. We notice that the Kolyma camp and the course of the war, both in reality and in the novel, are interconnected. And it was Grossman who was the first to show it. The writer was convinced that "part of the truth is not the truth."

The heroes of the novel have different attitudes towards the problem of life and fate, freedom and necessity. Therefore, they have different attitudes towards responsibility for their actions. For example, Sturmbannführer Kaltluft, the killer executioner who killed five hundred and ninety thousand people, is trying to justify himself with an order from above, the power of the Fuhrer, fate ("fate pushed ... the path of the executioner"). But then the author says: "Fate leads a person, but a person goes because he wants, and he is free not to want." Drawing a parallel between Stalin and Hitler, the fascist concentration camp and the Kolyma camp, Vasily Grossman says that the signs of any dictatorship are the same. And its effect on a person's personality is destructive. Having shown the weakness of a person, the inability to resist the power of a totalitarian state, Vasily Grossman at the same time creates images of truly free people. The significance of the victory in the Great Patriotic War, won in spite of Stalin's dictatorship, is more weighty. This victory became possible precisely thanks to the inner freedom of a person who is capable of resisting everything, no matter what fate has in store for him.

The writer himself fully experienced the tragic complexity of the conflict between man and state in the Stalin era. Therefore, he knows the price of freedom: “Only people who have not experienced such a force of an authoritarian state, its pressure, are able to wonder at those who submit to it. a broken word, a timid, quick gesture of protest. "


Work...


Yuri Bondarev (1924)

Bondarev Yuri Vasilievich (born March 15, 1924 in Orsk, Orenburg region), Russian Soviet writer. In 1941, Yu.V. Bondarev, together with thousands of young Muscovites, participated in the construction of defensive fortifications near Smolensk. Then there was an evacuation, where Yuri graduated from the 10th grade. In the summer of 1942, he was sent to study at the 2nd Berdichev Infantry School, which was evacuated to the city of Aktyubinsk. In October of the same year, the cadets were sent to Stalingrad. Bondarev was enlisted as the commander of the mortar crew of the 308th Regiment of the 98th Infantry Division.

In the battles near Kotelnikovsky, he was wounded, received frostbite and was slightly wounded in the back. After treatment in the hospital, he served as a gun commander in the 23rd Kiev-Zhitomir division. Participated in the crossing of the Dnieper and the liberation of Kiev. In the battles for Zhitomir he was wounded and again ended up in a field hospital. Since January 1944, Yu. Bondarev fought in the ranks of the 121st Red Banner Rylsko-Kiev Infantry Division in Poland and on the border with Czechoslovakia.

Graduated from the Literary Institute. M. Gorky (1951). The first collection of stories - "On the Big River" (1953). In the novellas "The battalions are asking for fire" (1957), "The last volleys" (1959; the film of the same name, 1961), in the novel "Hot Snow" (1969) Bondarev reveals the heroism of Soviet soldiers, officers, generals , the psychology of participants in military events. The novel Silence (1962; film of the same name, 1964) and its sequel, The Two (1964), portray a post-war life in which people who have gone through the war are looking for their place and vocation. The collection of stories "Late in the evening" (1962), the story "Relatives" (1969) are dedicated to modern youth. Bondarev is one of the co-authors of the script for the film "Liberation" (1970). Talent the prose writer opened up new facets. In 2004, the writer published a new novel entitled Without Mercy.

He was awarded two Orders of Lenin, the Orders of the October Revolution, the Red Banner of Labor, the First Class of the Patriotic War, the "Badge of Honor", two medals "For Courage", medals "For the Defense of Stalingrad", "For Victory over Germany", the Order "Big Star of Friendship of Peoples "(Germany)," Honorary Order "(Transnistria), A.A. Fadeev, many awards of foreign countries. Winner of the Lenin Prize (1972), two State Prizes of the USSR (1974, 1983 - for the novels "Shore" and "Choice"), the State Prize of the RSFSR (1975 - for the script of the film "Hot Snow").


"Hot Snow"

The events of the novel "Hot Snow" unfold near Stalingrad, south of General Paulus's 6th Army, which was blocked by Soviet troops, in the cold December 1942, when one of our armies withstood the strike of Field Marshal Manstein's tank divisions in the Volga steppe, which sought to break through the corridor to Paulus's army and take her out of the environment. The outcome of the battle on the Volga and maybe even the timing of the end of the war itself largely depended on the success or failure of this operation. The duration of the novel is limited to only a few days, during which the heroes of Yuri Bondarev selflessly defend a tiny patch of land from German tanks.

In Hot Snow, time is even tighter than in the story The Battalions Ask for Fire. "Hot Snow" is a short march of General Bessonov's army unloaded from the echelons and a battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Not knowing respite and lyrical digressions, as if the author's breath was caught from constant tension, the novel Hot Snow is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the novel, their very fates are illuminated by the disturbing light of the true story, as a result of which everything takes on special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is mainly concentrated around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army, they are the people, the people to the extent that the typified personality of the hero expresses the spiritual, moral traits of the people.

In "Hot Snow" the image of the people who have embarked on a war appears before us in a plenitude of expression unprecedented before in Yuri Bondarev, in the richness and variety of characters, and at the same time in integrity. This image is not limited to the figures of young lieutenants - commanders of artillery platoons, nor to the colorful figures of those who are traditionally considered to be people from the people, such as the slightly cowardly Chibisov, the calm and experienced gunner Evstigneev, or the straightforward and rude riding Rubin; nor senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov. Only collectively understood and accepted emotionally as something single, with all the difference in ranks and titles, they constitute the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity was achieved, as it were, by itself, captured without much effort by the author - living, moving life. The image of the people, as the result of the entire book, perhaps most of all nourishes the epic, novel beginning of the narrative.

Yuri Bondarev is characterized by an aspiration for tragedy, the nature of which is close to the events of the war itself. It would seem that nothing meets this aspiration of the artist as the most difficult time for the country when the war began, in the summer of 1941. But the writer's books are about another time, when the defeat of the fascists and the victory of the Russian army are almost certain.

The death of heroes on the eve of victory, the criminal inevitability of death contains a high tragedy and evokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the medical instructor of the battery Zoya Elagina, the shy Eedova Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ... And the war is to blame for all these deaths. Let the heartlessness of Lieutenant Drozdovsky be to blame for the death of Sergunenkov, let the blame for the death of Zoya fall partly on him, but no matter how great Drozdovsky's guilt is, they are primarily victims of the war.

The novel expresses the understanding of death - as a violation of the highest justice and harmony. Let us recall how Kuznetsov looks at the murdered Kasymov: "now under Kasymov's head lay a shell box, and his youthful, beardless face, recently alive, dark, turned deathly white, thinned by the eerie beauty of death, looked in amazement with wet cherry half-open eyes at his chest , on the torn to shreds, excised quilted jacket, as if after death did not comprehend how it killed him and why he could not get up to the sight. the quiet mystery of death, into which the red-hot pain of the shards knocked him over as he tried to climb to the sight. "

Kuznetsov feels even more acutely the irreversibility of the loss of the rideable Sergunenkov. After all, the very mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness of how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will forever curse himself for what he saw, was present, but could not change anything.

In "Hot Snow", with all the intensity of events, everything human in people, their characters are revealed not separately from the war, but interconnected with it, under its fire, when it seems that you can't even raise your head. Usually the chronicle of battles can be retold separately from the individuality of its participants - the battle in "Hot Snow" cannot be retelled otherwise than through the fate and characters of people.

The past of the characters in the novel is significant and weighty. For some, it is almost cloudless, for others it is so difficult and dramatic that the old drama is not left behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The events of the past determined the military fate of Ukhanov: a gifted, full of energy officer who could command a battery, but he is only a sergeant. Ukhanov's cool, rebellious character also determines his movement within the novel. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), responded with fear in him and determine a lot in his behavior. One way or another, in the novel slips the past of Zoya Elagina, Kasymov, Sergunenkov, and the unsociable Rubin, whose courage and loyalty to the soldier's duty we will be able to appreciate only by the end of the novel.

The past of General Bessonov is especially important in the novel. The thought of his son, who was captured by the Germans, complicates his position both at Headquarters and at the front. And when a fascist leaflet informing that Bessonov's son was taken prisoner falls into the front counterintelligence service in the hands of Lieutenant Colonel Osin, it seems that there is a threat to Bessonov's service.

All this retrospective material enters the novel so naturally that the reader does not feel its separate nature. The past does not require for itself a separate space, separate chapters - it merged with the present, opened its depths and the living interconnection of one and the other. The past does not burden the story of the present, but gives it great dramatic acuteness, psychologism and historicism.

Yuri Bondarev does the same with portraits of characters: the appearance and characters of his heroes are shown in development, and only by the end of the novel or with the death of the hero, the author creates a complete portrait of him. How unexpected in this light is the portrait of the always taut and collected Drozdovsky on the very last page - with a relaxed, broken-sluggish gait and unusually bent shoulders.

Such an image requires from the author special vigilance and immediacy in the perception of the characters, the sensation of them as real, living people, in whom there is always the possibility of mystery or sudden insight. Before us is a whole person, understandable, close, and yet we are not left with the feeling that we have only touched the edge of his spiritual world - and with his death you feel that you have not yet had time to fully understand his inner world. Commissar Vesnin, looking at a truck thrown from a bridge onto the river ice, says: "What a monstrous destruction after all. Nothing has a price." The enormity of war is expressed most of all - and the novel reveals this with cruel directness - in the murder of a person. But the novel also shows the high price of life given for the Motherland.

Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. War, its cruelty and blood, its timing, overturning the usual notions of time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of your feelings. And it all begins with Kuznetsov's quiet, incomprehensible jealousy of the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it was from these lines that the title of the novel was taken, when Kuznetsov was wiping his face wet with tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Having been deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the entire novel reveals to us as a moral person, whole, ready for self-sacrifice, capable of embracing with her heart the pain and suffering of many ... Zoya's personality is known in a tense, as if electrified space, which is almost inevitable appears in the trench with the appearance of a woman. She goes through many trials, as it were, from annoying interest to rude rejection. But her kindness, her patience and compassion are enough for everyone, she is truly a sister to the soldiers. The image of Zoe somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with a feminine principle, affection and tenderness.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this conflict, it is exposed very sharply, and can be easily traced from beginning to end. At first, the tension goes back to the prehistory of the novel; inconsistency of characters, manners, temperaments, even style of speech: it seems that it is difficult for the soft, thoughtful Kuznetsov to endure the abrupt, commanding, indisputable speech of Drozdovsky. The long hours of the battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms an abyss between the two young officers, the moral incompatibility of their existence.

In the final, this abyss is indicated even more sharply: four surviving artillerymen consecrate the orders they have just received in a soldier's bowler hat, and the sip that each of them takes is, first of all, a sip of commemoration - it contains bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him - he is the surviving, wounded commander of a surviving battery, the general does not know about Drozdovsky's grave wines and most likely will never find out. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the honest soldier's bowler hat.

It is extremely important that all Kuznetsov's connections with people, and above all with people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely non-official - in contrast to the emphatically official relations, which Drozdovsky so strictly and stubbornly sets between himself and people. During the battle, Kuznetsov fights alongside the soldiers, here he shows his composure, courage, and lively mind. But he also matures spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together.

The relationship between Kuznetsov and senior sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired upon in the difficult battles of 1941, and for his military ingenuity and decisive character, he could probably have been an excellent commander. But life decided otherwise, and at first we find Ukhanov and Kuznetsov in a conflict: this is a clash of sweeping, harsh and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight both the heartlessness of Drozdovsky and the anarchist nature of Ukhanov. But in fact, it turns out that without yielding to each other in any principled position, while remaining themselves, Kuznetsov and Ukhanov become close people. Not just people who are fighting together, but who have come to know each other and are now forever close. And the absence of the author's comments, the preservation of the rough context of life makes their brotherhood real, weighty.

The ethical, philosophical thought of the novel, as well as its emotional tension, reaches its greatest height in the finale, when there is an unexpected rapprochement between Bessonov and Kuznetsov. This is a rapprochement without immediate proximity: Bessonov rewarded his officer on an equal basis with others and moved on. For him, Kuznetsov is just one of those who stood to death at the turn of the Myshkov River. Their closeness turns out to be more sublime: it is the closeness of thought, spirit, outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, because of his lack of communication and suspicion, he prevented the development of friendly relations between them ("the way Vesnin wanted, and what they should be"). Or Kuznetsov, who could do nothing to help Chubarikov's calculation dying before his eyes, tormented by the piercing thought that all this "seemed to have to happen because he did not have time to get close to them, to understand everyone, to love ...".

Shared by disproportionate responsibilities, Lieutenant Kuznetsov and the commander of the army, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about one and in one direction they seek the truth. Both of them demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and have in common, like a father with a son, or even like a brother with a brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.