For a long time in literary criticism dominated the assertion that at the end 19th century Russian realism was going through a deep crisis, a period of decline, under the sign of which the realistic literature of the beginning of the new century developed until the emergence of a new creative method - socialist realism.
However, the state of the literature itself opposes this assertion. The crisis of bourgeois culture, which manifested itself sharply at the end of the century on a world scale, cannot be mechanically identified with the development of art and literature.
Russian culture of that time had its negative aspects, but they were not all-encompassing. Domestic literature, always associated in its peak phenomena with progressive social thought, did not change this even in the 1890-1900s, marked by the rise of social protest.
The growth of the labor movement, which showed the emergence of the revolutionary proletariat, the emergence of the Social Democratic Party, peasant unrest, the all-Russian scope of student actions, the increasing expression of protest by the progressive intelligentsia, one of which was a demonstration at the Kazan Cathedral in St. Petersburg in 1901 - all this spoke of a decisive a turning point in public sentiment in all strata of Russian society.
A new revolutionary situation arose. Passivity and pessimism of the 80s. have been overcome. All were seized with the expectation of decisive change.
Talk about the crisis of realism at the time of the heyday of Chekhov's talent, the emergence of a talented galaxy of young democratic writers (M. Gorky, V. Veresaev, I. Bunin, A. Kuprin, A. Serafimovich, etc.), at the time of Leo Tolstoy's speech with the novel " Resurrection is impossible. In the 1890-1900s. Literature experienced not a crisis, but a period of intense creative search.
Realism changed (the problems of literature and its artistic principles), but did not lose its strength and significance. His critical pathos, which reached its ultimate power in the Resurrection, has not dried up either. Tolstoy gave in his novel a comprehensive analysis of Russian life, its public institutions, her morals, her "virtues" and found everywhere social injustice, hypocrisy and lies.
G. A. Byaly rightly wrote: “The revealing power of Russian critical realism in late XIX century, during the years of direct preparation for the first revolution, it reached such an extent that not only major events in people's lives, but also the smallest everyday facts began to act as symptoms of a completely unsatisfactory social order.
Life after the reform of 1861 had not yet had time to “fit in”, but it was already becoming clear that a strong enemy was beginning to confront capitalism in the person of the proletariat, and that social and economic contradictions in the development of the country were becoming more and more complicated. Russia stood on the threshold of new complex changes and upheavals.
New heroes, showing how the old worldview is collapsing, how established traditions are breaking down, the foundations of the family, the relationship between fathers and children - all this spoke of a radical change in the problem of "man and environment". The hero begins to confront her, and this phenomenon is no longer isolated. Those who did not notice these phenomena, who did not overcome the positivist determinism of their characters, lost the attention of readers.
Russian literature displayed both acute dissatisfaction with life, and the hope for its transformation, and strong-willed tension, ripening in the masses. Young M. Voloshin wrote to his mother on May 16 (29), 1901, that the future historian of the Russian revolution “will look for its causes, symptoms and trends both in Tolstoy, and in Gorky, and in Chekhov’s plays, like historians french revolution see them in Rousseau and Voltaire and Beaumarchais.
The awakening civic consciousness of people, the thirst for activity, social and moral renewal of society, come to the fore in the realistic literature of the beginning of the century. V. I. Lenin wrote that in the 70s. “The crowd was still asleep. Only at the beginning of the 1990s did its awakening begin, and at the same time a new and more glorious period began in the history of all Russian democracy.
The turn of the century was a time of romantic expectations, usually preceded by major historical events. The very air seemed to be saturated with a call to action. Noteworthy is the judgment of A. S. Suvorin, who, not being a supporter of progressive views, nevertheless followed Gorky’s work in the 1990s with great interest: that something needs to be done! And this should be done in his writings – it was necessary.”
The tonality of the literature changed perceptibly. Gorky's words that the time for the heroic has come are widely known. He himself appears as a revolutionary romantic, as a singer of the heroic principle in life. The feeling of a new tone of life was also characteristic of other contemporaries. Much evidence can be cited to show that readers expected writers to call for vigor and struggle, and publishers, who caught these sentiments, wanted to contribute to the emergence of such calls.
Here is one such evidence. On February 8, 1904, a novice writer N. M. Kataev informs Gorky’s comrade from the Znanie publishing house K. P. Pyatnitsky that the publisher Orekhov refused to publish a volume of his plays and stories: the publisher aims to print books of “heroic content”, and in Kataev's works do not even have a "cheerful tone".
Russian literature reflected the beginning in the 90s. the process of straightening the previously oppressed personality, revealing it both in the awakening of the consciousness of the workers, and in the spontaneous protest against the old world order, and in the anarchist rejection of reality, like the Gorky tramps.
The process of straightening was complex and covered not only the "lower classes" of society. Literature has covered this phenomenon in many ways, showing what unexpected forms it sometimes takes. In this regard, Chekhov turned out to be insufficiently understood, striving to show with what difficulty - "drop by drop" - a person overcomes the slave in himself.
Usually the scene of Lopakhin returning from the auction with the news that The Cherry Orchard now belongs to him, was interpreted in the spirit of the newly-minted master's intoxication with his material strength. But Chekhov has something else behind this.
Lopakhin buys an estate where the gentlemen fought his disenfranchised relatives, where he himself spent a joyless childhood, where his relative Firs still servilely serves. Lopakhin is intoxicated, but not so much with his bargain, but with the consciousness that he, a descendant of serfs, a former barefoot boy, is becoming higher than those who previously claimed to completely depersonalize their "slaves". Lopakhin is intoxicated with the consciousness of his equalization with the bars, which separates his generation from the first buyers of forests and estates of the ruined nobility.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983
First half. 20th century - an abundance of experiments in literature, new forms, new techniques, new religions are invented. Modernism of the 20th century is entering a new stage, which is called. "vanguardism". But Realism becomes the most striking direction. Along with tard. Classic Forms of realism, in the 20th century. fantastic absurdity, the poetics of sleep, and deformation are widely used in this direction. The realism of the 20th century is distinguished by the fact that it uses previously incompatible techniques. The concept of man is emerging in the literature. The scope of the concept has expanded throughout the century. There are discoveries in the field of psychology - Freud, existentialism, the teachings of Marxists. Paraliterature, that is, mass literature, appears. It is not art, it is popular commercial literature that brings instant income. mass art is a convenient means of manipulating consciousness. Mass culture should be under control.
The main themes are the theme of war, socio-political catastrophes, the tragedy of the individual (the tragedy of the individual who seeks justice and loses spiritual harmony), the problem of faith and unbelief, the relationship between personal and collective, morality and politics, spiritual and ethical problems.
Features of realism of the 20th century - refused the priority of the principle of imitation. Realism began to use the methods of mediated knowledge of the world. In the 19th century, a descriptive form was used, in the 20th century - analytical studies (the effect of detachment, irony, subtext, grotesque, fantastic and conditional modeling. Realism of the 20th century began to actively use many modernist techniques - stream of consciousness, suggestiveness, absurdity. Realism becomes more philosophical, Philosophy enters literature as a technique deeply penetrating into the structure of the work, which means that the genre of the parable develops (Camus, Kafka).
The heroes of realism also change. The person is portrayed as more complex, unpredictable. The literature of realism poses more complex tasks - to penetrate into the sphere of the irrational, into the sphere of the subconscious, exploring the sphere of instincts.
Of the genres, the novel remains, but its genre palette is changing. It becomes more diverse, uses other genre varieties. There is an interpenetration of genres. In the 20th century, the structure of the novel loses its normativity. There is a turn from the society to the individual, from the pitiful to the individual, the interest in the subject dominates. A subjective epic appears (Proust) - the individual consciousness is in the center and it is the object of research.
Along with new trends, there continues to be a trend classical realism. Realism is a living and developing method, the discovery of the masters of the past and is constantly enriched with new techniques and images.
The end of the 19th-beginning of the 20th - a time of unprecedented upheavals and revolutions: Russo-Japanese War(); revolution years; February Revolution 1917; October 1917; first World War ().
Russian literature of the late XIX - early XX century. Review. Renewal of literature, its modernization will cause the emergence of new trends and schools. The rethinking of the old means of expression and the revival of poetry will mark the onset of the Silver Age of Russian literature.
Chronological framework period can be defined as follows: silver Age- the period of development of literature (poetry) between 1890 and 1917, the exit from the era of timelessness, the beginning of a social upsurge in the country, the manifesto and collection "Symbols" by D. Merezhkovsky, the first stories of M. Gorky, etc.) 1917. According to another point of view, the chronological end of this period can be considered years (the collapse of past illusions, the mass emigration of figures of Russian culture from Russia that began after the death of A. Blok and N. Gumilyov, the expulsion of a group of writers, philosophers and historians from the country).
Realism (from lat. realis - real) - creative method and literary trend in Russian and world literature XIX and XX centuries ( critical realism, socialist realism). Realism is based on the principles of reproducing life in its patterns, typical features and properties, i.e. recognizes the existence of objective causes of social and historical patterns.
Modernism (from French moderne - the latest, modern) - common name new (non-realistic) phenomena in the literature of the first half of the 20th century. General task for aesthetic programs this time - the search for new artistic means of depicting a new reality.
Symbolism - literary movement, which arose in Russia in the early 90s of the XIX century. It is based on philosophical ideas Nietzsche and Schopenhauer, as well as the teachings of V.S. Solovyov about the Soul of the world. traditional way knowledge of reality, the symbolists opposed the idea of creating worlds in the process of creativity. Therefore, creativity in the understanding of the symbolists is contemplation " secret meanings» - available only to the poet-creator. The symbol becomes central aesthetic category this literary movement.
Acmeism (from Greek akme - blooming power, the highest degree of something) is a literary trend in poetry that opposed the aesthetics of symbolism with a “clear view of life”. () Representatives - N.S. Gumilyov, A.A. Akhmatova, O.E. Mandelstam (circle "Workshop of poets").
Futurists 1) "Association of ego-futurists", 1911 (I. Severyanin and others); 2) "Gilea" of 1912 (cubo-futurists V.V. Khlebnikov, V.V. Mayakovsky, D.D. Burliuk and others); 3) "Centrifuge" 1913 (N.N. Aseev, B.L. Pasternak and others); 4) "Mezzanine of poetry" (R. Ivnev, V. G. Shershenevich and others)
Realism as a method arose in Russian literature of the first thirds of XIX century. The main principle of realism is the principle of life's truth, the reproduction of characters and circumstances explained socio-historically (typical characters in typical circumstances).
Realist writers deeply, truthfully depicted various aspects of contemporary reality, recreated life in the forms of life itself.
The basis of the realistic method early XIX centuries are positive ideals: humanism, sympathy for the humiliated and offended, the search for goodie in life, optimism and patriotism.
By the end of the 19th century, realism reached its peak in the works of such writers as F. M. Dostoevsky, L. N. Tolstoy, A.P. Chekhov.
The 20th century set new tasks for realist writers, forced them to look for new ways of mastering life material. In the conditions of the rise of revolutionary sentiments, literature was increasingly imbued with forebodings and expectations of impending changes, "unheard of revolts."
The sense of impending social shifts caused such intensity artistic life which one did not know yet Russian art. Here is what L. N. Tolstoy wrote about the turn of the century: “ New Age brings the end of one worldview, one faith, one way of communicating people and the beginning of another worldview, another way of communication. M. Gorky called the 20th century a century of spiritual renewal.
At the beginning of the twentieth century, they continued their search for the secrets of existence, the secrets of human existence and the consciousness of the classics of Russian realism L.N. Tolstoy, A.P. Chekhov, L.N. Andreev, I.A. Bunin and others.
However, the principle of the old "realism was increasingly criticized from different literary communities, demanding a more active intrusion of the writer into life and influence on it.
This revision was started by L. N. Tolstoy himself, in last years of his life, calling for the strengthening of the didactic, instructive, preaching principle in literature.
If A.P. Chekhov believed that the “court” (i.e., the artist) is only obliged to raise questions, draw the attention of the thinking reader to important problems, and the “jury” (public structures) are obliged to answer, then for realist writers of the early twentieth centuries, it seemed no longer enough.
So, M. Gorky bluntly stated that “for some reason, the luxurious mirror of Russian literature did not reflect flashes popular anger... ", and accused literature of the fact that "she was not looking for heroes, she loved to talk about people who were strong only in patience, meek, gentle, dreaming of heaven in heaven, silently suffering on earth."
It was M. Gorky, a realist writer younger generation, was the founder of the new literary direction which later became known as "socialist realism".
The literary and social activities of M. Gorky played a significant role in uniting the new generation of realist writers. In the 1890s, on the initiative of M. Gorky, the literary circle "Environment" appeared, and then the publishing house "Knowledge". Around this publishing house, young, talented writers A.I. Kuprii, I.A. Bunin, L.N. Andreev, A. Serafimovich, D. Bedny and others.
Dispute with traditional realism conducted at different poles of literature. There were writers who followed traditional direction trying to update it. But there were those who simply rejected realism as an outdated trend.
In these difficult conditions, in the confrontation of polar methods and trends, the work of writers, traditionally called realists, continued to develop.
The originality of Russian realistic literature of the early twentieth century lies not only in the significance of the content, acute social themes, but also in artistic searches, the perfection of technology, and stylistic diversity.
Although it is generally recognized that the art of the 20th century is the art of modernism, but a significant role in literary life of the last century has a realistic direction, ĸᴏᴛᴏᴩᴏᴇ on the one hand represents a realistic type of creativity. On the other hand, it is in contact with that new direction, ĸᴏᴛᴏᴩᴏᴇ received a very conditional conceptʼʼsocialist realismʼʼ, is more precisely the literature of revolutionary and socialist ideology.
The realism of the 20th century is directly related to the realism of the previous century. And how did this artistic method in the middle of the 19th century, having received the legitimate name of ʼʼclassical realismʼʼ and having experienced various kinds of modifications in the literary work of the last third of the 19th century, it was influenced by such unrealistic trends as naturalism, aestheticism, impressionism.
The realism of the 20th century takes shape in its definite history and has a destiny. If we cover the 20th century collectively, then realistic creativity manifested itself in heterogeneity, multicomposition in the first half of the 20th century. At this time, it is obvious that realism is changing under the influence of modernism and popular literature. He connects with these artistic phenomena as with revolutionary socialist literature. In the second half, there is a dissolution of realism, which has lost its clear aesthetic principles and poetics of creativity in modernism and postmodernism.
The realism of the 20th century continues the traditions of classical realism on different levels- from aesthetic principles to the techniques of poetics, the traditions of which were inherent in the realism of the 20th century. The realism of the last century acquires new properties that distinguish it from this type of creativity of the previous time.
The realism of the 20th century is characterized by an appeal to social phenomena reality and social motivation of the human character, personality psychology, the fate of art. As obvious is the appeal to the social topical problems of the era, which are not separated from the problems of society and politics.
Realistic art of the 20th century, like the classical realism of Balzac, Stendhal, Flaubert, is different a high degree generalization, typification of phenomena. Realistic art tries to show the characteristic and regular in their causality and determinism. For this reason, realism is characterized by a different creative embodiment of the principle of depicting a typical character in typical circumstances, in the realism of the 20th century, which is keenly interested in a separate human personality. Character as a living person - and in this character the universal and typical has an individual refraction, or is combined with the individual properties of the personality. Along with these features of classical realism, new features are also obvious.
First of all, these are the features that manifested themselves in the realistic at the end of the 19th century. Literary creativity in this era, it acquires the character of a philosophical and intellectual, when philosophical ideas were the basis of modeling artistic reality. At the same time, the manifestation of this philosophical principle is inseparable from the various properties of the intellectual. From the author's attitude to the intellectually active perception of the work in the process of reading, then the emotional perception. An intellectual novel, an intellectual drama, takes shape in its specific properties. Classic example of intellectual realistic novel gives Thomas Mann (ʼʼMagic Mountainʼʼ, ʼʼConfession of the adventurer Felix Krulʼʼ). This is also palpable in the dramaturgy of Bertolt Brecht.
The second feature of realism in the 20th century is the strengthening and deepening of the dramatic, more tragic beginning. This is obviously in the work of F.S. Fitzgerald (ʼʼTender is the nightʼʼ, ʼʼThe Great Gatsbyʼʼ).
As you know, the art of the 20th century lives by its special interest not just in a person, but in his inner world. The study of this world is connected with the desire of the writers to ascertain, depict moments of the unconscious and subconscious. To this end, many writers use the stream of consciousness technique. This can be traced in the short story by Anna Zegers ʼʼWalk dead girlsʼʼ, W.Köppen's work ʼʼDeath in Romeʼʼ, dramatic works Y.O'Neill ʼʼLove under the Elmsʼʼ (influence of the Oedipus complex).
Another feature of the realism of the 20th century is the active use of conditional art forms. Especially in realistic prose second half of the 20th century artistic convention extremely common and diverse (for example, Y. Brezan ʼʼKrabat, or the Transformation of the Worldʼʼ).
Literature of revolutionary and socialist ideology. Henri Barbusse and his novel ʼʼFireʼʼ
realistic direction in the literature of the 20th century is closely connected with another trend - socialist realism, or, more precisely, the literature of revolutionary and socialist ideology. In the literature of this trend, the first criterion is ideological and ideological (ideas of communism, socialism). In the background in the literature of this level is aesthetic and artistic. This principle is truthful image life under the influence of a certain ideological and ideological attitude of the author. The literature of the revolutionary and socialist ideology is in its origins connected with the literature of the revolutionary socialist and proletarian turn XIX-XX centuries, but the pressure of class views, ideologisation in socialist realism is more palpable.
Literature of this kind often appears in conjunction with realism (the depiction of a truthful, typical human character in typical circumstances). This direction received direction until the 70s of the XX century in the countries of the socialist camp (Poland, Bulgaria, Hungary, Czechoslovakia, Germany), but also in the work of writers of the capitalist countries (panoramic-epic version of the work of Dimitar Dimov ʼʼTobaccoʼʼ). In the work of socialist realism, the polarization of two worlds is noticeable - the bourgeois and the socialist. The same is noticeable in the system of images. Indicative in this regard is the work of the writer Erwin Stritmatter (GDR), who, under the influence of the socialist realist creativity of Sholokhov (ʼʼVirgin Soil Upturnedʼʼ), created the work ʼʼOle Binkopʼʼ. In this novel, like in Sholokhov, modern to the author the village, in the image of which the author sought to reveal, not without drama and tragedy, the assertion of new, revolutionary socialist foundations of existence, like Sholokhov, recognizing the significance above all ideological principle, sought to depict life in its revolutionary development.
In the first half of the 20th century, socialist realism became widespread in many countries of the "capitalist world" - in France, Great Britain, and the USA. The works of this literature include ʼʼ10 days that shook the worldʼʼ J. Reed, A. Gide ʼʼreturn to the USSRʼʼ and others.
Just as in Soviet Russia Maxim Gorky was considered the founder of socialist realism, Henri Barbusse (years of life: 1873-1935) is recognized in the West. This writer, very controversial, entered literature as a poet who felt the influence of symbolist lyrics (ʼʼMournersʼʼ). The writer whom Barbusse admired was Émile Zola, to whom Barbusse dedicated the book ʼʼZolaʼʼ (1933 ᴦ.) at the end of his life, which is considered by researchers as a model of Marxist literary criticism. At the turn of the century, the writer was significantly influenced by the Dreyfus Affair. Under its influence, Barbusse affirms in his work universal humanism, in which goodness, prudence, cordial responsiveness, a sense of justice, the ability to come to the aid of another who is dying in this world to a person. This position is captured in the 1914 short story collection ʼʼWeʼʼ.
In the literature of revolutionary and socialist ideology, Henri Barbusse is known as the author of the novels ʼʼFireʼʼ, ʼʼClarityʼʼ, the 1928 collection of short stories ʼʼTrue Talesʼʼ, and the essay book ʼʼJesusʼʼ (1927 ᴦ.). AT latest work the image of Christ is interpreted by the writer as the image of the world's first revolutionary, in that ideological and ideological certainty, in which the word ʼʼrevolutionaryʼʼ was used in the 20-30s of the last century.
An example of a work of socialist realism in its unity with realism can be called Barbusse's novel ʼʼFireʼʼ. ʼʼFireʼʼ is the first work about World War I, in which a new quality of conversation about this human tragedy was opened. The novel, which appeared in 1916, largely determined the direction of development of literature about World War I. The horrors of the war are described in the novel with a colossal amount of detail, his work pierced the picture of the war varnished by censorship. War is not an attack similar to a parade, it is super-monstrous fatigue, waist-deep water, mud. It was written under the direct influence of the impressions that the writer made while personally staying at the front on the eve of the war, as well as in the first months after it began. 40-year-old Henri Barbusse volunteered to go to the front, he knew the fate of a soldier as a private. He believed that he was saved from death by a wound (1915 ᴦ.), after which Barbusse spent many months in the hospital, where he generally comprehended the war in its various manifestations, the specifics of events and facts.
One of the most important creative guidelines that Barbusse set for himself when creating the novel "Fire" is connected with the writer's desire to show with all obviousness and ruthlessness what war is. Barbusse does not build his work according to tradition, highlighting certain storylines, but writes about the life of ordinary soldiers, from time to time snatching and giving close-up some characters from the soldiers' mass. Either this is La Mousse, the farmhand, or Paradis, the carter. This principle of organizing the novel without highlighting the organizing plot beginning is noted in the subtitle of the novel ʼʼDiary of a Platoonʼʼ. In the form of a diary entry of a certain narrator, to whom the author is close, a this story like a series of diary fragments. This form of non-traditional novel compositional solution fits into the number of various artistic searches, landmarks of the literature of the 20th century. At the same time, these diary entries they are authentic pictures, since what is imprinted on the pages of this diary of the first platoon is perceived artistically and reliably. Henri Barbusse purposefully in his novel depicts the simple life of soldiers with bad weather, hunger, death, disease and rare glimpses of relaxation. This appeal to everyday life is connected with Barbusse's conviction, as his narrator says in one of the entries: ʼʼwar - ϶ᴛᴏ not fluttering banners, not the invocative voice of a horn at dawn, this is not heroism, not the courage of deeds, but diseases that torment a person, hunger, lice and deathʼʼ.
Barbusse here turns to naturalistic poetics, giving repulsive images, describing the corpses of soldiers who are floating in the stream of water among their dead comrades, unable to get out of the trench during weeks of rain. Naturalistic poetics is also palpable in the writer’s appeal to a special kind of naturalistic comparisons: Barbusse writes about one soldier getting out of a dugout as a bear moving backwards, about another scratching his hair and suffering from lice, like a monkey. Thanks to the second part of the comparison, a person is likened to an animal, but Barbusse's naturalistic poetics is not an end in itself. Thanks to these techniques, the writer can show what war is, cause disgust, hostility. The humanistic beginning of Barbusse's prose is manifested in the fact that even in these people doomed to death and misfortune he shows the ability to show humanity.
Barbusse's second line of creative conception is connected with the desire to show the growth of the consciousness of the simple soldier masses. In order to trace the state of consciousness of the mass of soldiers, the writer turns to the method of non-personalized dialogue, and in the structure of the work, dialogue occupies such a significant place as the depiction of events in the life of the characters in reality, and as descriptions. The peculiarity of this technique is, in fact, that when fixing a replica actor The words of the author accompanying these remarks do not indicate exactly to whom personally, individually, the statement belongs (the narrator says ʼʼsomeone saidʼʼ, ʼʼsomeone’s voice was heardʼʼ, ʼʼshouted out one of the soldiersʼʼ, etc.).
Barbusse traces how a new consciousness of ordinary soldiers is gradually being formed, who were brought to a state of despair by war with hunger, disease, and death. Barbusse's soldiers realize that the Bosches, as they call the enemy Germans, are the same simple soldiers, as unfortunate as they are, the French. Some who have realized this declare it openly, in their exalted utterances they declare that war is opposed to life. Some say that people are born in order to be husbands, fathers, children in this life, but not for the sake of death. Gradually, a frequently repeated thought emerges, expressed by various characters from the soldier mass: after this war there should be no wars.
Barbusse's soldiers realized that this war was being waged not in their human interests, not in the interests of the country and the people. The soldiers, in their understanding of this ongoing bloodshed, single out two reasons: the war is being waged solely in the interests of the chosen "bastard caste" who are helped by the war to fill sacks of gold. War is in the careerist interests of other representatives of this "bastard caste" with gilded epaulettes, for whom war gives them the opportunity to rise to a new step on the career ladder.
The democratic mass of Henri Barbusse, growing in its awareness of life, gradually not only feels, but also realizes the unity of all people from simple classes, doomed to war, in their aspiration they oppose anti-life and anti-human war. Moreover, Barbusse's soldiers are ripening in their international moods, as they realize that this war is not to blame for the militarism of a particular country and Germany as having unleashed the war, but for world militarism, in this regard simple people must, like world militarism, unite, because in this universal international unity they will be able to resist war. Then one feels the desire that after this war there would be no more wars in the world.
In this novel, Barbusse is revealed as an artist using various artistic means to reveal the main idea of the author. In connection with the depiction of the growth of consciousness and consciousness of the people, the writer does not turn to a new device of novelistic symbolism, which is manifested in the title of the last chapter, which contains the climax of the growth of the international consciousness of soldiers. This chapter is usually called ʼʼDawnʼʼ. In it, Barbusse uses the technique of a symbol, which appears as a symbolic coloring of the landscape: according to the plot, it rained endlessly for many months, the sky was completely covered with heavy clouds hanging to the ground, pressing on a person, and it is in this chapter, where the climax is contained, that the sky begins clear, the clouds disperse, and between them the first ray of the sun timidly breaks, indicating that the sun exists.
In Barbusse's novel, the realistic is organically combined with the properties of the literature of revolutionary and socialist ideology, in particular, this is manifested in the depiction of the growth of popular consciousness. This ideological stretch with his inherent French humor was beaten by Romain Rolland in a review of ʼʼFireʼʼ, which appeared in March 1917 ᴦ. revealing different sides question, Rolland speaks of the justification for a truthful and merciless depiction of the war and that under the influence of military events, the everyday life of war, there is a change in the consciousness of the simple soldier mass. This change in consciousness, Rolland notes, is symbolically emphasized by the timidly breaking first ray of the sun in the landscape. At the same time, Rolland declares that this ray does not yet make the weather: the certainty with which Barbusse strives to show and depict the growth of consciousness of the soldiers is still very far away.
ʼʼFireʼʼ is a product of its time, the era of the spread of socialist and communist ideology, their implementation in life, when there was a holy faith in the possibility of their implementation in reality through revolutionary upheavals, to change life for the good of every person. In the spirit of the time, living with revolutionary socialist ideas, this novel appreciated by contemporaries. A contemporary of Barbusse, communist writer Raymond Lefebvre called this work (ʼʼFireʼʼ) an ʼʼinternational epicʼʼ, stating that this is a novel that reveals the philosophy of the proletariat of war, and the language of ʼʼFireʼʼ is the language of proletarian war.
The novel ʼʼFireʼʼ was translated and published in Russia at the time of its release in the country of the author. It was far from the establishment of social realism, but the novel was perceived as a new word about life in its cruel truth and movement towards progress. This is exactly how the leader of the world proletariat V.I. Lenin. In his reviews, he repeated the words of M. Gorky from the preface to the publication of the novel in Russia: ʼʼeach page of his book is a blow of the iron hammer of truth on what is generally called warʼʼ.
The literature of revolutionary and socialist ideology continues to exist in the socialist and capitalist countries until the end of the 1980s. With this literature late period its existence (60-70s) is associated with creativity German writer from the German Democratic Republic by Hermann Kant (ʼʼAssembly Hallʼʼ - a novel in retro style (70s), and also returning the reader to the events of the Second World War ʼʼStopoverʼʼ).
Of the writers of the capitalist countries of the West, the poetic and romantic works of Louis Aragon are associated with literature of this kind (a number of novels in the cycle ʼʼ Real worldʼʼ - historical novel ʼʼ Holy Weekʼʼ, novel ʼʼCommunistsʼʼ). AT English Literature- J. Albridge (his works of socialist realism - ʼʼI don’t want him to dieʼʼ, ʼʼHeroes of desert horizonsʼʼ, dilogy ʼʼDiplomatʼʼ, ʼʼSon of a foreign land (ʼʼPrisoner of a foreign landʼʼ)).
Features of realism of the XX century - the concept and types. Classification and features of the category "Features of realism of the XX century" 2017, 2018.
