It is very dangerous to write the truth about the war, and it is very dangerous to seek the truth... When man goes to the front to seek the truth, he can find death instead. But if twelve go and only two return, the truth that they bring with them will be the truth, and not the distorted rumors that we pass off as history. Whether it is worth the risk to find this truth is for the writers themselves to judge.
Ernest Hemingway
According to the encyclopedia "Great Patriotic War", over a thousand writers served in the 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 big losses. They are explained by the fact that writers, most of whom became front-line journalists, sometimes it happened not only to engage in their direct correspondent duties, but to take up arms - this was how the situation developed (however, bullets and fragments did not spare even those who did not fall into such situations). units, in the militia, in the partisans!
Two periods can be distinguished in military prose: 1) prose of the war years: stories, essays, novels written directly during hostilities, or rather, in short intervals between offensives and retreats; 2) post-war prose, in which there was a comprehension of many painful questions, such as, for example, for what the Russian people fell to the lot of such ordeal? 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 still, this is a conditional division, because literary process- this phenomenon is sometimes contradictory and paradoxical, and understanding the theme of war in postwar period was more difficult than during the war.
The war was the greatest test and test of all the forces of the people, and they passed this test with honor. The war was a serious test for Soviet literature as well. 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 would hold our fighter under the elbow, ignite and not let the burning in the hearts of Soviet people fade away hatred for enemies and love for the motherland. The theme of the Great Patriotic War still remains extremely modern.
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 the 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 books about the war written by front-line soldiers, the main line is soldier friendship, front-line camaraderie, the severity of camp life, desertion and heroism. Dramatic human destinies unfold in war, sometimes life or death depends on a person’s act. 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 recognizes himself as a particle of the warring people, who carries his cross and common burden.
Relying on heroic traditions Russian and Soviet literature, the prose of 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 by artists of declamatory and song intonations, oratorical turns, and the appeal to such poetic means as an 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 "Znamya" in 1946, and in 1947 the story "Star" by E.G. Kazakevich. One of the first A.P. Platonov wrote dramatic story the return of a front-line soldier home in the story "Return", which was published in the "New World" already in 1946. The hero of the story, Alexei Ivanov, is in no hurry to go home, he has found a second family among his fellow soldiers, he has lost the habit of being at home, of his family. The heroes of Platonov's works "... were now going to live 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, who was 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. Kondratiev, V.O. Bogomolov, K.D. Vorobyov, 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 prose works we find a kind of chronicle of the war, reliably conveying all the stages great battle Soviet people with fascism. Writers-front-line soldiers, contrary to prevailing in Soviet time tendencies to varnish the truth about the war, portrayed the harsh and tragic military and post-war reality. Their works are true evidence 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", front-line writers who entered the great literature in the late 1950s and early 1960s. These are such prose writers as Bondarev, Bykov, Ananiev, Baklanov, Goncharov, Bogomolov, Kurochkin, Astafiev, Rasputin. In the work of writers-front-line soldiers, in their works of the 50-60s, in comparison with the books of the previous decade, the tragic accent in the depiction of the war intensified. The war in the image of front-line prose writers is not only and not even how much spectacular heroic deeds, outstanding deeds, how much tedious 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 creativity to the military theme. Prose writers, on the one hand, used their military experience, and on the other hand, their 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 one, which has been at the center of the creative search of our writers for more than sixty years, has been and is the problem of heroism. This is especially noticeable in the work of front-line writers, who showed in their works the heroism of our people, the resilience of soldiers in close-up.
Front-line writer Boris Lvovich Vasiliev, author of the books loved by all "The Dawns Here Are Quiet" (1968), "Tomorrow there was a war", "He was not on the lists" (1975), "Aty-baty soldiers were walking", which were filmed in the Soviet time, in an interview Russian newspaper"On May 20, 2004, he noted the demand for military prose. A whole generation of young people was brought up on the military stories of B.L. Vasiliev. Everyone remembered the bright images of girls who combined truthfulness and stamina (Zhenya from the story "The Dawns Here Are Quiet ..." , Spark from the story "Tomorrow there was a war", etc.) and sacrificial devotion to a high cause and loved ones (the heroine of the story "I was not on the lists", etc.). In 1997, the writer was awarded the A.D. Sakharov Prize "For civil courage".
The first work about the war by E.I. Nosov was the story "Red Wine of Victory" (1969), in which the hero met Victory Day on a state bed in the hospital and received, along with all the suffering wounded, a glass of red wine in honor of this long-awaited holiday. "A genuine comfrey, an ordinary soldier, he does not like to talk about the war ... The wounds of a soldier will speak more and more strongly about the war. You can’t ruffle the 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 - he had no family, no home, no health, but, nevertheless, he remained kind and generous. Yevgeny Nosov wrote a number of works at the turn of the century, about which Alexander Isaevich Solzhenitsyn said, presenting him with an award in his own name: grief closes Nosov's half-century wound great war and everything that has not been told about it even today.” Works: “Apple Spas”, “Commemorative Medal”, “Fanfares and Bells” are 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 "correct, beautiful and brilliant formation with music and drums, and battle, with flying 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 “leaves our literature for the same reason ... why valor, honor, self-sacrifice have gone ... The heroic has been expelled from everyday life, why do we need another war, where is this inferiority most obvious? " Incomplete truth" and outright lies about the war for many years belittle 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" causes protest among many Russian readers. He shows ruthlessness Soviet soldiers towards the locals. The plot is this, 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 security and secrecy of the task. No less terrible story by Vasil Bykov - "On a swamp stitch" - is " 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 would 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. Artworks Belarusian writer front-line soldier Vasil Bykov causes not only controversy, but also reflections.
Leonid Borodin published the story "The Detachment Left". The military story also depicts another truth about the war, about partisans, the heroes of which are soldiers surrounded by the first days of the war, in the German rear in a partisan detachment. The author takes a fresh look at 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 traitor headman, but his own man for the villagers, with only one word against. This story can be put on a par with the works of Vasil Bykov in depicting a military conflict, a psychological struggle between good and bad, meanness and heroism.
It was not for nothing that front-line writers complained that not the whole truth about the war had been written. Time passed, a historical distance appeared, which allowed us to see the past and experienced in the true light, the necessary words came, other books about the war were written, which will lead us to spiritual knowledge of the past. Now it's hard to imagine contemporary literature about the war without a large number memoir literature, created not just by participants in the war, but by outstanding generals.
Alexander Beck (1902-1972)
Born in Saratov in the family of a military doctor. In Saratov, his children's and youth, and there he graduated from a real school. At the age of 16, A. Beck during civil war volunteered for the Red Army. After the war, he wrote essays and reviews for national newspapers. Beck's essays and reviews began to appear in Komsomolskaya Pravda and Izvestiya. Since 1931, A. Beck collaborated in the editorial offices of Gorky's History of Factories and Plants. During World War II he was a war correspondent. He gained wide popularity with the story "Volokolamsk Highway" about the events of the defense of Moscow, written in 1943-1944. In 1960 he published the novels A Few Days and General Panfilov's Reserve.
In 1971, the novel "The New Appointment" was published abroad. The author finished the novel in mid-1964 and submitted the manuscript to the editors of Novy Mir. After lengthy ordeals in various editions and instances, the novel was never published in the homeland during the author's lifetime. According to the author himself, already in October 1964 he gave the novel to friends and some close acquaintances to read. The first publication of the novel at home was in the Znamya magazine, N 10-11, in 1986. The novel describes life path 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 Alexander Beck's "Volokolamsk Highway": after heavy fighting in October 1941 near Volokolamsk, the battalion of the Panfilov division breaks through the enemy ring and joins with the main forces of the division. Beck closes the story with a single battalion. Beck is documentary accurate (this is how he characterized his creative method: "Searching for heroes active in life, long-term communication with them, conversations with many people, patient collection of grains, details, relying not only on one's own observation, but also on the vigilance of the interlocutor .. . "), and in the "Volokolamsk Highway" he recreates the true history of one of the battalions of the Panfilov division, everything corresponds to what was in reality: 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 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, talking with the hero, the writer inquired about what seemed important to him, Beck, and assembled from these stories both the image of Momysh-Ula himself and the image of General Panfilov, "who knew how to manage, influence not by shouting , but in the mind, in the past, an ordinary soldier who retained a 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.
"Volokolamsk Highway" is an original documentary work associated with the literary tradition that personifies in literature XIX V. 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 constrain the imagination, created characters, scenes to the best of my ability ...” Of course, both in the author’s declarations of documentary quality, and in his statement that that he did not constrain the imagination, there is some slyness, they seem to have a double bottom: it may seem to the reader that this is a trick, a game. But Beck's naked, demonstrative documentary is not a stylization well known to literature (let's recall, for example, "Robinson Crusoe"), not poetic clothes of a sketch-documentary cut, but a way of comprehending, researching and recreating life and man. And the story "Volokolamsk Highway" is distinguished by impeccable reliability (even in small things - if Beck writes that on the thirteenth of October "everything was covered in snow", there is no need to turn to the archives of the meteorological service, there is no doubt that this was the case in reality), it is peculiar, but an accurate chronicle of the 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 "Volokolamsk Highway" should be listed as fiction, and not journalism. Behind the professional army, military concerns - discipline, combat training, battle tactics, which Momysh-Uly is absorbed in, for the author there are moral, universal problems, exacerbated to the limit by the circumstances of the war, constantly putting a person on the verge between life and death: fear and courage, selflessness and selfishness, loyalty and betrayal. In the artistic structure of Beck's story, a polemic with propaganda stereotypes, with battle clichés, a controversy overt and hidden, occupies a considerable place. Explicit, because such is the nature of the protagonist - he is sharp, not inclined to bypass sharp corners, does not even forgive himself for weaknesses and mistakes, does not tolerate idle talk and pomp. Here is a typical episode:
"Thinking, he said:" Knowing no fear, the Panfilovites rushed into the first battle ... What do you think: a suitable start?
"I don't know," I said hesitantly.
“So the corporals of literature write,” he said harshly. - In these days that you live here, I purposely ordered you to take you to such places where two or three mines sometimes burst, where bullets whistle. I wanted you to experience fear. You don't have to confirm, I know without admitting that you had to suppress fear.
So why do you and your fellow writers imagine that some supernatural people and not the same as you? "
The hidden, authorial controversy that permeates the entire story is 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. In Beck's archive, a draft of the author's preface has been preserved, which states this 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. It happens, probably, that a lie is useful. Otherwise, why would it exist? I know that this is how many people who write, my comrades in the shop, act. Sometimes I want to be the same. But at the desk, talking about our cruel and beautiful century, I forget about this intention. At my desk, I see nature in front of me and lovingly copy it, - the way I know it. "
It is clear that Beck did not publish this preface, it exposed the position of the author, it contained a challenge that he would not have gotten away with so easily. But what he talks about has become the foundation of his work. And in his story, he was 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. Early childhood spent in the Vilna 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 years of the civil war, Fadeev took an active part in the hostilities in the Far East. In the battle near Spassk he was wounded. Alexander Fadeev wrote his first completed story "Spill" in 1922-1923, the story "Against the Current" - in 1923. In 1925-1926, while working on the novel "Rout", he decided to engage in literary work professionally.
During the Great Patriotic War, Fadeev worked as a publicist. As a correspondent for the newspaper Pravda and the Soviet Information Bureau, he traveled to a number of fronts. On January 14, 1942, Fadeev published in Pravda a correspondence titled "Destroying Fiends and Creators," in which he spoke about what he saw in the region and the city of Kalinin after the expulsion of the fascist occupiers. In the autumn of 1943, the writer traveled to the city of Krasnodon, liberated from enemies. Subsequently, the material collected there formed the basis of the novel "The Young Guard".
"Young guard"
During the Great Patriotic War of 1941-1945. Fadeev writes a number of essays, articles about the heroic struggle of the people, creates the book "Leningrad in the days of the blockade" (1944). Heroic, romantic notes, more and more strengthened in the work of Fadeev, sound with special force in the novel "The Young Guard" (1945; 2nd edition 1951; State Prize of the USSR, 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 Nazi invaders. The bright socialist ideal was embodied in the images of Oleg Koshevoy, Sergei Tyulenin, Lyubov Shevtsova, Ulyana Gromova, Ivan Zemnukhov and other Young Guardsmen. The writer paints his characters in romantic light; the book combines pathos and lyricism, psychological sketches and author's digressions. In the 2nd edition, taking into account criticism, the writer included scenes showing the connections of Komsomol members with senior underground communists, the images of which deepened, made more embossed.
Developing the best traditions of Russian literature, Fadeev created works that have become classic examples of the literature of socialist realism. Fadeev's last creative idea - the novel "Black Metallurgy", dedicated to modernity, remained unfinished. Fadeev's literary-critical speeches are collected in the book "For 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 are staged and screened, 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, in 1946-1954. - general secretary and chairman of the board of the joint venture of the USSR. 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)
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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 Faculty of Physics and Mathematics of Moscow University and graduated from it in 1929. Until 1932 he worked in the Donbass as a chemical engineer, then he began to actively collaborate in the journal "Literary Donbass": in 1934 his first story "Glukauf" (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 printing Glukauf in new edition in the almanac "Year XVII" (1934). Grossman moves to Moscow, becomes a professional writer.
Before the war, the writer's first novel "Stepan Kolchugin" (1937-1940) was published. During the Patriotic War, he was a correspondent for the Krasnaya Zvezda newspaper, having gone with the army all the way to Berlin, he published a series of essays on the struggle of the people against the fascist invaders. In 1942, the "Red Star" published the story "The People is 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, caused sharp criticism. In 1952 he began to publish the novel "For a Just Cause", which was also criticized because it did not correspond to the official point of view on the war. Grossman had to revise the book. The 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 saw the light of day. In parallel, Grossman has been writing another since 1955 - "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.
"People are immortal"
Vasily Grossman began to write the story "The People is 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 that burned the souls of the first months of the war, to identify what was the true 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 caught in the encirclement, in a fierce battle, suffering heavy losses, break through the enemy ring. But this local episode is considered by the author with an eye on Tolstoy's "War and Peace", moves apart, expands, the story acquires the features of a "mini-epos". The action is transferred from the headquarters of the front to the ancient city, which was attacked by enemy aircraft, from the front line, from the battlefield - to the village captured by the Nazis, from the front road - to the location German troops. The story is densely populated: our fighters and commanders - and those who turned out to be strong in spirit, for whom the beating trials became a school of "great hardening and wiser heavy responsibility", and bureaucratic optimists who always shouted "Hurrah", but broken by defeats; German officers and soldiers, intoxicated with the strength of their army and their victories; townspeople and Ukrainian collective farmers - both patriotic and ready to become servants of the invaders. All this is dictated by the "thought of the people", which for Tolstoy in "War and Peace" was the most important, and in the story "The People is Immortal" it is brought to the fore.
“Let there be no word more majestic and holy than the word “people!” writes Grossman. It is no coincidence that he made the main characters of his story not military personnel, but civilians - a collective farmer from the Tula region Ignatiev and a Moscow intellectual, historian Bogarev. They are significant detail - those who were drafted into 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 was running down their clothes. They walked, supporting each other, stepping heavily and slowly.
Symbolic and martial arts - "as if the ancient times of fights were revived" - Ignatiev with a German tankman, "huge, broad-shouldered", "passed through Belgium, France, trampling the land of Belgrade and Athens", "whose chest Hitler himself decorated with the" iron cross ". It reminds later described by Tvardovsky, Terkin’s fight with a “well-fed, shaved, cared for, gratuitously well-fed” German: ancient field battle, Instead of thousands, two fight, Chest to chest, that shield to shield - As if the fight will decide everything. “Semyon Ignatiev,” writes Grossman, “immediately became famous in the company. Everyone knew this cheerful, tireless person. He was an amazing worker: every instrument in his hands seemed to play, have fun. a person who looked at him for even a minute wanted to take up an ax, a saw, a shovel himself, in order to do work as easily and well as Semyon Ignatiev did. good voice, and he knew many old songs ... "How much Ignatiev has in common with Terkin. Even Ignatiev's guitar has the same function as Terkin's accordion. And the relationship of these heroes suggests that Grossman discovered the features of the modern Russian folk character.
"Life and Destiny"
The writer managed to reflect in this work the heroism of people in the war, the fight against the crimes of the Nazis, as well as the full truth about the events that took place then inside the country: exile to Stalin's camps, arrests and everything related to this. In the fates of the main characters of the work, Vasily Grossman captures the inevitable suffering, loss, and death during the war. The tragic events of this era give birth in a person internal contradictions violate its 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.
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 a victory won in spite of Stalin's arbitrariness is more weighty. Grossman shows not only the facts and events of the Stalin era: 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 the brave turn into cowards good people- in the cruel, and honest and persistent - in the faint-hearted. 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 thoughts 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. true story Vasily Grossman 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 this. The writer was convinced that "part of the truth is not the truth."
The heroes of the novel relate differently to the problem of life and fate, freedom and necessity. Therefore, they have a different attitude to responsibility for their actions. For example, Sturmbannfuehrer Kaltluft, the executioner at the stoves, who killed five hundred and ninety thousand people, is trying to justify himself by order from above, by the power of the Fuhrer, by fate (“fate pushed ... onto 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 influence on the personality of a person is destructive. Showing the weakness of a person, the inability to resist strength 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 the state in the Stalin era. Therefore, he knows the price of freedom: “Only people who have not experienced the similar power of an authoritarian state, its pressure, are able to be surprised at those who submit to it. a broken word, a timid, quick gesture of protest.
Work...
Yuri Bondarev (1924)
Bondarev Yury Vasilyevich (born March 15, 1924 in Orsk, Orenburg Oblast), Russian Soviet writer. In 1941 Yu.V. Bondarev, along 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 rifle division.
In the battles near Kotelnikovsky, he was shell-shocked, received frostbite and a slight wound in the back. After treatment in the hospital, he served as a gun commander in the 23rd Kiev-Zhytomyr division. Participated in the crossing of the Dnieper and the liberation of Kyiv. In the battles for Zhytomyr he was wounded and again ended up in a field hospital. From January 1944, Y. Bondarev fought in the ranks of the 121st Red Banner Rylsko-Kyiv Rifle Division in Poland and on the border with Czechoslovakia.
Graduated from the Literary Institute. M. Gorky (1951). The first collection of short stories - "On the big river" (1953). In the stories "Battalions ask for fire" (1957), "Last salvos" (1959; 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 continuation, the novel "Two" (1964) draw post-war life, in which people who went through the war are looking for their place and vocation.The collection of short 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). In the books of literary articles "The Search for Truth" (1976), "A Look into the Biography" (1977), "Keepers of Values" (1978), also in Bondarev's works of recent years "Temptation", " Bermuda Triangle"The prose writer's talent opened up with new facets. In 2004, the writer published new novel titled "No Mercy".
Awarded two orders of Lenin, orders October revolution, Red Banner of Labor, Patriotic War I degree, "Badge of Honor", two medals "For Courage", medals "For the Defense of Stalingrad", "For the Victory over Germany", the Order " Big Star Friendship of Peoples" (Germany), "Order of Honor" (Pridnestrovie), the gold medal of A.A. Fadeev, many awards from foreign countries. Laureate of the Lenin Prize (1972), two State Prizes of the USSR (1974, 1983 - for the novels "Coast" and "Choice"), State Prize RSFSR (1975 - for the script of the film "Hot Snow").
"Hot Snow"
The events of the novel "Hot Snow" unfold near Stalingrad, south of the 6th Army of General Paulus, blockaded by Soviet troops, in the cold December 1942, when one of our armies withstood the blow of the tank divisions of Field Marshal Manstein in the Volga steppe, who sought to break through the corridor to the army of Paulus and get her out of the way. 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 just 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 squeezed even tighter than in the story "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. Knowing no respite and 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 destinies are illuminated by an alarming light. true history, as a result of which everything acquires a special weight, significance.
In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is concentrated mainly around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are a part of the great army, they are a people, a 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 went to war appears before us in a fullness of expression, unprecedented before in Yuri Bondarev, in the richness and diversity of characters, and at the same time in integrity. This image is not exhausted either by the figures of young lieutenants - commanders of artillery platoons, or by the colorful figures of those who are traditionally considered to be people from the people - like the slightly cowardly Chibisov, the calm and experienced gunner Yevstigneev, or the straightforward and rude riding Rubin; nor by senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov. Only collectively understood and accepted emotionally as something unified, with all the difference in ranks and ranks, they constitute the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity is achieved as if by itself, imprinted without any special efforts of the author - a living, moving life. The image of the people, as the result of the whole book, perhaps most of all nourishes the epic, novelistic beginning of the story.
Yuri Bondarev is characterized by aspiration for tragedy, the nature of which is close to the events of the war itself. It would seem that nothing answers this aspiration of the artist so much as the most difficult time for the country to start the war, the summer of 1941. But the writer's books are about a different time, when the defeat of the Nazis 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 provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the medical officer of the battery Zoya Elagina, the shy eedov 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 Lieutenant Drozdovsky's heartlessness be blamed for the death of Sergunenkov, even if the blame for Zoya's death falls partly on him, but no matter how great Drozdovsky's fault, they are, first of all, victims of the war.
The novel expresses the understanding of death as a violation of higher justice and harmony. Recall how Kuznetsov looks at the murdered Kasymov: “now there was a shell box under Kasymov’s head, and his youthful, beardless face, recently alive, swarthy, turned deathly white, thinned by the terrible beauty of death, looked in surprise with moist cherry half-open eyes at his chest , on a torn to shreds, excised quilted jacket, as if even after death he did not comprehend how it killed him and why he could not get up to the sight. the calm mystery of death, into which the burning pain of the fragments overturned him when he tried to rise to the sight.
Even more acutely Kuznetsov feels the irreversibility of the loss of the driver Sergunenkov. After all, the mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness to how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will curse himself forever for what he saw, was present, but failed to change anything.
In "Hot Snow", with all the intensity of events, everything human in people, their characters are not revealed separately from the war, but interconnected with it, under its fire, when, it seems, one cannot even raise one's head. Usually the chronicle of battles can be retold separately from the individuality of its participants - a battle in "Hot Snow" cannot be retold except through the fate and characters of people.
The past of the characters in the novel is essential and weighty. For some it is almost cloudless, for others it is so complex and dramatic that the former 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 military fate Ukhanova: a gifted, full of energy officer who should have commanded a battery, but he is only a sergeant. The cool, rebellious character of Ukhanov also determines his movement within the novel. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), echoed in him with fear and determine a lot in his behavior. One way or another, the past of Zoya Elagina, and Kasymov, and Sergunenkov, and the unsociable Rubin slips in the novel, whose courage and loyalty to 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 being taken prisoner by the Germans makes his position both at Headquarters and at the front difficult. And when a fascist leaflet announcing that Bessonov's son was taken prisoner falls into the counterintelligence of the front 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 separateness. The past does not require a separate space for itself, separate chapters - it has merged with the present, opened its depths and the living interconnectedness of one and the other. The past does not burden the story about the present, but gives it great dramatic sharpness, psychologism and historicism.
Yuri Bondarev does the same with portraits of characters: appearance and the characters of its 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 feeling of them as real, living people, in whom there always remains the possibility of a mystery or sudden insight. Before us is the whole person, understandable, close, but meanwhile we are not left with the feeling that we have touched only the edge of his spiritual world, and with his death you feel that you have not yet had time to fully understand him inner world. Commissar Vesnin, looking at the truck thrown from the bridge onto the river ice, says: "What a monstrous destruction war is. Nothing has a price." The enormity of war is expressed most of all - and the novel reveals this with brutal frankness - 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. The war, its cruelty and blood, its terms, overturning the usual ideas about time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short time marches and battles when there is no time for reflection and analysis of their feelings. And it all starts with a quiet, incomprehensible jealousy of Kuznetsov for the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the dead Zoya, and it is from these lines that the title of the novel is taken, when Kuznetsov wiped his face wet from 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 novel, opens up to us as a moral person, whole, ready for self-sacrifice, capable of embracing the pain and suffering of many with her heart ... Zoya's personality is known in a tense, as if electrified space, which is almost inevitable arises in the trench with the appearance of a woman. She seems to go through many trials, from intrusive interest to rude rejection. But her kindness, her patience and sympathy reach everyone, she is truly a sister to the soldiers. The image of Zoya somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, harsh reality femininity, 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 is easily traced from beginning to end. At first, tension that goes back to the background of the novel; the inconsistency of characters, manners, temperaments, even the style of speech: it seems difficult for the soft, thoughtful Kuznetsov to endure the jerky, commanding, indisputable speech of Drozdovsky. The long hours of 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 finale, this abyss is marked even more sharply: the four surviving gunners consecrate the newly received orders in a soldier's bowler hat, and the sip that each of them takes is, first of all, a funeral sip - 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 standing battery, the general does not know about Drozdovsky's grave guilt and most likely will never know. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's honest 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 service relations which Drozdovsky puts so strictly and stubbornly between himself and the people. During the battle, Kuznetsov fights next to the soldiers, here he shows his composure, courage, lively mind. But he also grows 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 on in the difficult battles of 1941, and in terms of military ingenuity and decisive character he could probably be an excellent commander. But life decreed otherwise, and at first we find Ukhanov and Kuznetsov in conflict: this is a collision of a sweeping, sharp and autocratic nature with another - restrained, initially modest. At first glance, it might seem that Kuznetsov will have to fight both the soullessness of Drozdovsky and the anarchist nature of Ukhanov. But in fact, it turns out that without yielding to each other in any principled position, remaining themselves, Kuznetsov and Ukhanov become close people. Not just people fighting together, but knowing each other and now forever close. And the absence of 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 intensity, reaches its highest height in the finale, when Bessonov and Kuznetsov suddenly approach each other. This is a rapprochement without close proximity: Bessonov rewarded his officer on an equal footing 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, due to his lack of sociability and suspicion, he prevented friendly relations between them from developing (“the way Vesnin wanted, and the way they should be”). Or Kuznetsov, who could not help the calculation of Chubarikov, who was dying before his eyes, tormented by the piercing thought that all this, "it seemed, should have happened because he did not have time to get close to them, understand everyone, fall in love ...".
Divided by the disproportion of duties, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about the same thing and seek the truth in the same direction. 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 father and son, and even like brother and brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.
We must not forget the terrible moments of the war, the grief and death of millions of Soviet people. Of course, it would be a crime not to honor the memory of the fallen and not to remember this time. The memory of the war, the heroism of our soldiers, the struggle for harmony between peoples on the planet is the main duty of all of us. One of the main themes in the works Soviet writers is an image of the terrible moments of the 1941 war. After all, she entered the life of every person, brought anxiety and sorrow.
The writer V. Bykov reveals the military theme in a peculiar way. He explores, using artistic techniques, the moral foundations of human behavior in their social conditioning. If we turn to his story "Sotnikov", we see how the writer showed us two images of Sotnikov and Rybak, who, with their attitude to the Motherland, revealed the essence of the origins of heroism and betrayal. After all, it is clearly seen that Sotnikov, having endured all the tortures, courageously dies, and Rybak, left alone with the enemy, cannot endure the torment and betrays his comrades.
V. Kozko's story "Judgment Day" reveals the theme of children whose childhood was interrupted by the war. As a result, they have a huge emotional wound. The events are described 10 years after the war in a small town in Belarus. The main character Kolka Letechka, as a child, was in a concentration camp, where they took blood from such guys for German soldiers. All the suffering that he endured, beats his memory. And when he is present at one of the courts, where traitors to the motherland - punishers are tried, the boy remembers everything, and this past kills him.
“The Fate of a Man” by M. Sholokhov and “Vasily Terkin” by Tvardovsky are still relevant, since these works depict the character of a Russian person with particular force. Andrei Sokolov and Vasily Terkin summarize the image of a real Russian warrior who passed all the tests and retained his courage, patriotism and love for the Fatherland.
There are many more works that reflect the pages of the Great Patriotic War, where the heroism of our soldiers is sung with special force. Books about the war bring up resilience in young people, teach them to love their Motherland.
Option 2
The Great Patriotic War was widely reflected in literature. He wrote to her and those who directly fought, and the post-war generation. They wrote not only prose, but also poetry. Writers and poets went to the front as war correspondents for both central and regional newspapers. Many of them died the death of the brave, as they did not spare themselves and climbed into the thick of it in order to truthfully reflect the events.
I like Konstantin Simonov's poem "Wait for me" the most. This is a kind of order from a soldier to his beloved woman. If he knows that they are waiting for him, it will be easier for him to fight. There is such a line in the poem "... you saved me with your expectation ..." and also "... you just knew how to wait like no one else."
The poem in verse by Alexander Tvardovsky "Vasily Terkin" is essentially a collective image of a Russian soldier. Practical, savvy, handy, brave. Here, for example, is how the author writes about crossing the river. Terkin was sent to report that “a platoon on the left bank is alive and well for the evil of the enemy ... asks for a light to be thrown there ...” Since it was winter, and so that Terkin would not go numb, they began to rub him with alcohol. Turley, rubbed, suddenly he asks for a drink, "... to warm me from the inside, so as not to spend everything on the skin." I drank a glass, warmed up and reported the situation. Peasant ingenuity worked.
These works were published in military newspapers, they were cut out, carefully kept in the pockets of gymnasts and tablets, copied from each other.
Olga Bergolts and her “Leningrad Poem” about besieged but not conquered Leningrad. About the "road of life", along which children, the elderly, wounded Red Army soldiers were taken out of the besieged city, and food was brought to the city. “... On the road of life, bread came to us, on the road of friendship of many to many, they still do not know a more terrible and joyful road on earth ...”
About the battle for Leningrad, Alexander Chakovsky wrote an epic novel called "Blockade". Pro Battle of Stalingrad Yuri Bondarev wrote the novel "Hot Snow". Both of these works have been filmed.
Konstantin Simonov wrote the novel The Living and the Dead about the defense of Moscow. The second book is called Soldiers Are Not Born. The third book is "Last Summer".
Yulia Drunina and Musa Jalil wrote about the Great Patriotic War.
Boris Vasilyev “The dawns here are quiet”, “Aty-bats, soldiers were walking”, “Not on the lists”. The novel The Dawns Here Are Quiet tells about anti-aircraft gunners who defended the skies in Karelia. Usual life interrupted when one of them accidentally discovered two fascist saboteurs. True, then there were about twenty of them. Five girls and the foreman went after them to destroy them. All five died a heroic death. The foreman still completed the task. And in the reports of the Sovinformburo there was only one line "... battles of local significance took place." And not a word about the feat of girls.
After the war, the foreman and the grown-up son of one of the dead girls in these places, on a large boulder, installed a memorial plaque with the names of the girls.
This is only a small part of the works about the Great Patriotic War. Much more has been written.
Composition The Great Patriotic War in the works of writers of the 20th century (Bykov, Sholokhov, Tvardovsky)
The war years from 1941 to 1945 became terrible, terrible and not forgotten to this day. After all, such an event cannot be forgotten, this event will remain in the memory of more than one generation. About the events of the Great Patriotic War, you can find a huge number of literary works, as well as a lot of poetry and prose. In those years, writers made an unforgettable contribution to literature. Poets tried to tell the people in their works about all the horrors of war. Also, some of all the writers known to this day had to take a personal part in the hostilities on the front lines, to liberate their homeland from the Nazis.
In the 21st century still remember famous writers that time. Such as Tolstoy, Vasily Bykov, Konstantin Simonov, Sholokhov, Terkin, Fadeev, Andrei Platonov, of course, their work was associated with the events of the Great Patriotic War. Among all the famous and unforgettable names, a few can be distinguished. For example, Vasily Bykov, he did not write about the bloody years in his works, he tried to focus on the behavior and character of the character in an extraordinary situation. He also did not make certain assessments of his characters, thus giving the reader the opportunity to talk about his work and draw their own conclusions. An example of this was his famous work "Sotnikov".
Definitely not possible to ignore the poems about fighting, about brave soldiers, about long-awaited victory, about the tears of the mothers of Konstantin Simonov. His poems helped the fighters on the front line at that difficult time. Inspiring them to win and convincing them of courage and courage. Today, his works are considered wartime masterpieces. And well-known poems such as, for example, the poem "Wait for me" are still remembered by heart by many people. And they tell with tears in their eyes.
The work of Terkin also remains unforgotten, in his works he wrote about the brave deeds of the Red Army, simple and courageous guys who came to the defense of their homeland.
Despite the fact that many years have passed since the end of the Great Patriotic War. These Hard times for the whole people remain, in the memory to this day. All the works of famous and beloved writers have not lost their relevance even in the 21st century. Since they contain the strength of our people, with the help of which they were able to defeat the Nazis at that time. Of course, the memory of that time rallied the multinational people of Russia, leaving the opportunity to look positively into the future. And make every effort to make it terrible world event didn't happen again.
Indeed, with the mere pronunciation of the words “Great Patriotic War”, a battle and a battle for the homeland immediately looms before your eyes. I don’t look at what has passed, for many years the pain in the soul has remained, for many who have lost their loved ones and relatives. Who was born during the war. Therefore, literary works are read, historical films are watched about the exploits of our grandparents. And the most important and long-awaited event for everyone was a victory. After all, Victory Day is considered a legendary day, it is pride for all the people who could provide protection without fear for their lives. And boldly, brave soldiers went to protect their wives, mothers and children.
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Popular topics today
- Composition What does the phrase unattainable ideal mean? Final
In other words, an unattainable ideal is called a utopia. For example, if you say in simple terms and examples, an unattainable ideal is a carrot, which is hung in front of the donkey's face so that it goes forward and does not stop.
The topic of my essay was not chosen by chance. The year 2005 marks the 60th anniversary of the Victory of the Soviet people in the Great Patriotic War. In my essay, I want to talk about the exploits of Soviet writers, which they performed along with ordinary soldiers who did not spare sweat and blood to save the country from the fascist threat ...
... The Great Patriotic War has long died down. Generations have already grown up who know about it from the stories of veterans, books, and films. The pain of loss subsided over the years, the wounds healed. It has long been rebuilt, restored destroyed by the war. But why did our writers and poets turn and turn to those ancient days? Maybe the memory of the heart does not give them rest ... The war still lives in the memory of our people, and not only in fiction. military theme raises fundamental questions of human existence. The main hero of military prose is an ordinary participant in the war, its inconspicuous worker. This hero was young, did not like to talk about heroism, but honestly performed his military duties and turned out to be capable of a feat not in words, but in deeds.
I like the stories and novels of Yuri Bondarev: “The Last Volleys”, “Battalions Ask for Fire”, “Hot Snow”. Reading these books, you understand how and in the name of what a person survived, what was the margin of his moral strength, what was spiritual world fighting people.
The theme of the Great Patriotic War became long years one of the main themes of 20th century literature. There are many reasons for this. This is the awareness of those irreplaceable losses that the war brought, and the sharpness of moral conflicts, which are possible only in extreme situation(and the events of the war are just such events), and the fact that every true word about modernity was banished from Soviet literature for a long time. The theme of the war sometimes remained the only island of authenticity in the stream of far-fetched, false prose, where all conflicts, according to the instructions "from above", were supposed to reflect the struggle between the good and the best. But the truth about the war did not come easily, something prevented her from telling it to the end.
Today it is clear that it is impossible to understand the events of those years, human characters, if you do not take into account that the year 1941 was preceded by the terrible year 1929 - the year of the “great turning point”, when, behind the liquidation of the “kulaks as a class”, they did not notice how everything was liquidated. the best in the peasantry - and, perhaps, the even more terrible year of 1937.
One of the first attempts to tell the truth about the war was V. Bykov's story "The Sign of Trouble". This story became a milestone in the work of the Belarusian writer. She was preceded by his works about the war: "Obelisk", "Sotnikov", "Survive until dawn" and others. After “The Sign of Trouble”, the writer’s work takes on a new breath, deepens into historicism, primarily in such works as “In the Fog”, “Round”.
In the center of the story “The Sign of Trouble” is a man at war. A person does not always go to war, sometimes she herself comes to his house, as happened with two Belarusian old men, peasants Stepanida and Petrok Bogatko. The farm where they live is occupied. The policemen come to the estate, and behind them the fascists. They are not shown by V. Bykov as cruel and atrocious, they just come to someone else's house and settle down there as owners, following the idea of their Fuhrer that anyone who is not an Aryan is not a person, in his house you can cause complete ruin, but the inhabitants of the house themselves - be treated like work animals. And that is why it is so unexpected for them that Stepanida is not ready to obey them unquestioningly. Not allowing yourself to be humiliated is the source of this middle-aged woman's resistance in such a dramatic situation. Stepanida - a strong character. Human dignity is the main thing that drives her actions. “For my hard life she nevertheless learned the truth and, bit by bit, found her own human dignity. And the one who once felt like a man will never become cattle, ”V. Bykov writes about his heroine. At the same time, the writer does not just draw this character for us, he reflects on the origins of its formation. Thinking about the meaning of the title of the story, you remember the lines from the poem by A. Tvardovsky, written in 1945: “Before the war, as if as a sign of trouble...” What happened before the war in the village became that “sign of trouble”, oh which says Bykov.
Stepanida Bogatko, who “for six years, not sparing herself, toiled as laborers,” believed in a new life, one of the first to enroll in a collective farm - it’s not for nothing that she is called a rural activist. But soon she realized that there was no truth that she was looking for and waiting for in this new life. Fearing suspicion of pandering to a class enemy, it is she, Stepanida, who throws angry words at an unfamiliar man in a black leather jacket: “Don't you need justice? You, smart people don't you see what's going on?" More than once, Stepanida tries to intervene in the course of the case, intercede for Levon, who was arrested on a false denunciation, send Petrok to Minsk with a petition to the CEC chairman himself. And every time her resistance to untruth stumbles upon a blank wall. Unable to change the situation alone, Stepanida finds an opportunity to save herself, her inner sense of justice, to move away from what is happening around her: “Do what you want. But without me." It was in the pre-war years that one should look for the source of the formation of Stepanida's character, and not in the fact that she was a collective farmer activist, but in the fact that she managed not to succumb to the general rapture of deceit, empty words about a new life, she managed not to succumb to fear, she managed to keep in herself human beginning. And during the war years, it determined her behavior. At the end of the story, Stepanida dies, but dies, not resigning herself to fate, but resisting it to the last. One of the critics remarked ironically that "the damage inflicted by Stepanida on the enemy's army was great." Yes, the visible material damage is not great. But something else is infinitely important: Stepanida, by her death, proves that she is a person, and not a working animal that can be subdued, humiliated, forced to obey. In resistance to violence, that strength of character of the heroine is manifested, which, as it were, refutes death, shows the reader how much a person can, even if he is alone, even if he is in a hopeless situation.
Essay
Subject: Literature
On the topic: The Great Patriotic War in the Literature of the 20th Century
Completed: student: 11th grade Kolesnikov Igor Igorevich
Checked: Surabyants Rimma Grigorievna
S. Georgievskoe
Plan:
1. Introduction.
2. Monument to the Russian soldier in the poem "Vasily Terkin".
3. "Young Guard" A. Fadeev.
4. "Sasha" by V. Kondratiev.
5. The theme of war in the works of V. Bykov.
6. "Hot snow" Y. Bondarev.
7. Conclusion.
War - there is no crueler word,
War - there is no sadder word,
War - there is no holier word.
In the anguish and glory of these years,
And on our lips is different
It can't be and isn't.
/ A. Tvardovsky /
At all times
immortal earth
to twinkling stars
driving ships,
about the dead
meet the tremulous spring,
people of the earth.
damn
People of the earth!
/R. Christmas/
The topic of my essay was not chosen by chance. The year 2005 marks the 60th anniversary of the Victory of the Soviet people in the Great Patriotic War. In my essay, I want to talk about the exploits of Soviet writers, which they performed along with ordinary soldiers who did not spare sweat and blood to save the country from the fascist threat ...
... The Great Patriotic War has long died down. Generations have already grown up who know about it from the stories of veterans, books, and films. The pain of loss subsided over the years, the wounds healed. It has long been rebuilt, restored destroyed by the war. But why did our writers and poets turn and turn to those ancient days? Maybe the memory of the heart haunts them... The war still lives in the memory of our people, and not only in fiction. The military theme raises fundamental questions of human existence. The main hero of military prose is an ordinary participant in the war, its inconspicuous worker. This hero was young, did not like to talk about heroism, but honestly performed his military duties and turned out to be capable of a feat not in words, but in deeds.
I like the stories and novels of Yuri Bondarev: “The Last Volleys”, “Battalions Ask for Fire”, “Hot Snow”. Reading these books, you understand how and in the name of what a person survived, what is the margin of his moral strength, what was the spiritual world of the fighting people .
Captain Novikov (in the story "The Last Volleys") got to the front from the first year of the institute. He learned early the hard truth of the war and therefore hates beautiful, lively - peppy words. He will not embellish the situation if there is a difficult fight ahead. He will not console the dying soldier, but will only say: "I will not forget you." Novikov will not hesitate to send a cowardly fighter to the most dangerous area.
“He often did not recognize anything deliberately affectionate,” Y. Bondarev writes about him, “he was too young and saw too much evil in the war, human suffering, released by fate to his generation ... Everything that could be beautiful in a peaceful human life - he left for after the war, for the future.
This man did not stand out from the others. And the situation in which the hero is depicted, although dramatic, is at the same time common for military conditions. But, revealing the inner world of Novikov, the author shows what a huge moral strength is required to howl not a person, in order to simply honestly fulfill his duty, so as not to be afraid of death, in order to withstand the meanness and selfishness of another. Every hour of this man's life was a feat, because he passed side by side with the constant need to sacrifice himself.
Of course, the main character of military literature has always been the people and a man from the people. In the first post-war years, writers, it seems to me, preferred "legendary" heroes, bright, strong, extraordinary personalities. These are the heroes of A. Fadeev ("Young Guard"), B. Polevoy ("The Tale of a Real Man"), E. Kazakevich ("Star") and others. The heroes of these books are in acute, sometimes incredible situations, when a person is required to have great courage, special endurance or military foresight.
I believe such writers who themselves were front-line soldiers or war correspondents: K. Simonov, M. Sholokhov, G. Baklanov, V. Bykov, A. Tvardovsky, B. Vasiliev, K. Vorobyov, V. Kondratiev. They were personally convinced that in the face of the threat of death, people behave differently. Some are courageous, bold, striking with endurance and a high sense of camaraderie. Others turn out to be cowards, opportunists. In a difficult moment, good is sharply separated from evil, purity from meanness, heroism from betrayal. All their beautiful clothes fly off people, and they appear as they really are.
“In this war, we not only defeated fascism and defended the future of mankind,” writes Vasil Bykov. “In it, we also realized our strength and realized what we ourselves are capable of…. In 1945, it became clear to the world: a titan lives in the Soviet people, whom one cannot but reckon with and it is impossible to fully know what this people is capable of.
In most of his stories and short stories, V. Bykov puts actors in such circumstances when they are alone with their conscience. It may turn out that no one will know how they behaved in a difficult moment, in "a moment that will not be worse than that."
No one is forcing Vitka Svist ("Crane Cry") to throw himself under a fascist tank. And the young unshooted Glechik has every opportunity to follow the example of the clever and cunning Ovseev and try to escape. But both of them prefer to die than to gain the right to life at the cost of betrayal.
Man is responsible for his own behavior and supreme court is the judgment of his own conscience. “No one tyrannizes a person more than he himself,” says Lukyanov, the hero of The Third Rocket.
Modern literature about the war in the works of the best writers of Russia turned to the most difficult periods during the Great Patriotic War, to critical moments in the fates of the heroes, revealed the humanistic nature of the fighting soldier.
In V. Kondratiev's story "Sashka" a psychological picture of front-line everyday life near Rzhev is deployed. From the autumn of 1941 to March 1943, fierce battles were fought here with the German Army Group Center. The memory of these exhausting, protracted battles prompted A. Tvardovsky one of the most bitter military poems “I was killed near Rzhev ...”
The front was burning, not subsiding,
Like a scar on the body.
I'm dead and don't know
Is our Rzhev finally?
... In the summer, in the forty-second,
I am buried without a grave.
Everything that happened after
Death has betrayed me.
From "I" the story goes to the soldier's "we":
... That it was not for nothing that they fought
We are for the motherland,
You must know him.
Twenty-year-old Sasha is fighting near Rzhev. Whether he survived, how far he went along the roads of the war, how he distinguished himself, we never found out. Sashka experienced his first love for a nurse, brought his first prisoner, went to the neutral zone for felt boots for the commander, who he looked after even in the battle of "local significance"
on a dead German.
In the mud, cold and hunger, in the days when few of those who stood on the same line with him dreamed or hoped to live to victory, Sashka honestly solves the moral problems set before him by life and emerges from trials matured and spiritually strengthened.
After reading such works, you involuntarily think again about the character of the Soviet soldier, about his behavior in the war. And, of course, I recall the beautifully written, life-like and artistically authentic image of Andrei Knyazhko from Y. Bondarev's novel "The Shore". May Days 1945, the world celebrates the victory over Nazi Germany. Before the survivors, the paths to the life that they dreamed of four severe, bloody years. In those days, the joy of life, the happiness of living in peace was felt with special force, and the thought of death seemed incredible. And suddenly, so unexpected, absurd in the midst of silence, a sudden attack of fascist self-propelled guns. Again the fight, again the victims. Andrei Knyazhko goes to his death (you can’t say otherwise!), wishing to prevent further bloodshed. He wants to save the frightened and miserable German youths from the Werwolf, who have settled in the forestry building: “There were no shots. The howling cries of people did not subside in the forestry. Knyazhko, short, narrow at the waist, calm in appearance, now looking like a boy himself, walked across the clearing, stepping measuredly and flexibly with his boots on the grass, waving his handkerchief.
In a duel of nobility and philanthropy, the living personification of which is the Russian lieutenant, with misanthropy, embodied in the commander of the "Werewolf" - a red-haired SS man, Knyazhko wins. The author describes this hero so perfectly, his appearance, smartness, that every time he appeared in a platoon, a feeling was born of something fragile, sparkling, “like a narrow ray on green water.” And this ray, the short and wonderful life of the deceased lieutenant, shines from the distant past to the people of our generation. The novel "The Shore" is imbued with the moral atmosphere of the good that our army brought to the German people.
The war is not forgotten in the heart of a soldier, but not just as a memory, albeit tragically sublime, but as a memory, as a living debt of the present and future to the past, as an "inspiring feat of war."
The sacred land of the fathers is our great Fatherland, abundantly watered with blood. “If it erects all the monuments, as it should be, for the battles that were here, there will be nowhere to plow,” says one of the heroes of Evgeny Nosova.
And we, the current generation, must remember “at what price happiness is won” to live in peace, enjoy the clear sky and the bright sun.
Chapter "Literature of the period of the Great Patriotic War" in academic history Russian Soviet literature began like this: “June 22, one thousand nine hundred and forty-one Nazi Germany attacked Soviet Union. Mirnaya creative activity the Soviet people was interrupted. At the call of the party and the government, the whole country rose to fight against fascist aggression and rallied into a single fighting camp. In the development of our literature, as in the life of the entire Soviet people, the Patriotic War constituted a new historical period. Responding to the requirements of the time, literature was reorganized in a military way. The formulations that have become familiar, erased from countless repetitions, are often perceived as indisputable. It seems to be the way it was. But in fact, yes, but not so, everything was much more complicated. If only because the suddenness, which was put forward by Stalin as main reason our grievous defeats in the first year of the war was very relative. It was not the war itself that was sudden, but our unpreparedness for them, contrary to all the broadcast statements of the leaders of the party and government.
