The theme of the Second World War in the works of writers of the 20th century. The Great Patriotic War in literature: the best works about the feat of the Soviet people

Municipal educational institution comprehensive school №5

Performed:

11th grade student

Novikova Svetlana

Introduction 3
"Keep the Human in You" 4
The feat of the people. 7
The problem of feat and betrayal. 10
Man at war. 12
"War has no woman's face" 14
"War - there is no more cruel word..." 18
The problem of moral choice. 20
Conclusion. 25
References: 27

Introduction

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

When the country orders to be a hero,
Anyone becomes a hero...

(From the song).

To write this essay, I chose the topic “The Great Patriotic War in the works of Russian writers of the 20th century,” because it interests me very much. The Great Patriotic War did not bypass my family either. My grandfather and great-grandfather fought at the front. From the stories of my grandmother, I learned a lot about that time. Like how they were starving. And in order to get a loaf of bread, they walked for many kilometers, and despite the fact that my family lived in a village where the Germans did not reach, they still felt their presence and suffered from the war.

It seems to me that writers of different times and peoples will turn to the topic of the Great Patriotic War for a very long time to come. And in our country, this piece of history will always be present in the memory of our grandmothers, and parents, and our children, because this is our history.

Does the gentle sun shine, does the January blizzard rustle, do heavy thunderclouds hang over Moscow, Orel, Tyumen or Smolensk, do people rush to work, scurry through the streets, crowd around bright shop windows, go to theaters, and then, having come home, gather the whole family and drink tea, discussing a peaceful day.

Then, too, there was sun, it was raining, and thunder rumbled, but only bombs and shells echoed it, and people ran through the streets in search of shelter. And there were no shop windows, theaters, amusement parks. There was a war.

My generation knows a lot about the war from grandparents, but this is not enough to have a complete picture of the Great Patriotic War. And it is simply necessary to know about it in order to remember and honor the memory of those people who put their lives on the battlefield for us, for our future, for the sun to have someone to shine on.

There is nothing more valuable than those works about the war, the authors of which themselves went through it. It was they who wrote the whole truth about the war, and, thank God, there are many such people in Russian Soviet literature.

K. Vorobyov himself was a prisoner in 1943, and this story is somewhat autobiographical. It tells about thousands of people who were captured during the Great Patriotic War.

K. Vorobyov describes the life, or rather the existence, (because what we used to call life is difficult to attribute to prisoners) of captive people.
These were days that dragged on like centuries, slowly and equally, and only the lives of prisoners, like leaves from an autumn tree, fell with amazing speed. That, indeed, was only existence, when the soul was separated from the body, and nothing could be done, but it was existence also because the prisoners were deprived of elementary human conditions for life. They lost their humanity. Now they were old people, exhausted by hunger, and not soldiers full of youth, strength and courage. They lost their comrades, walking along with them along the stage, only because they stopped from the wild pain in the wounded leg. The Nazis killed and killed them for a hungry stagger, killed for a raised cigarette butt on the road, killed "for the sake of sporting interest."

K. Vorobyov tells a horrific incident when the prisoners were allowed to stay in the village: two hundred voices of begging, pleading, hungry rushed to the basket with cabbage leaves that the generous old mother brought, "those who did not want to die of hunger attacked her."

But a machine-gun burst rang out - it was the escorts who opened fire on prisoners who had huddled together .... That was a war, that was a prisoner, and so ended the existence of many doomed people captured.

K. Vorobyov chooses the young lieutenant Sergei as the main character. The reader knows practically nothing about him, perhaps only that he is twenty-three years old, that he has a loving mother and a little sister. Sergey is a man who managed to remain a man, even with the loss of his human appearance, who survived when it seemed impossible to survive, who fought for life and held on to every tiny opportunity to escape ...

He survived typhus, his head and clothes were full of lice, and three or four prisoners huddled with him on the same bunk. And once he found himself under the bunks on the floor, where colleagues threw off the hopeless, for the first time he declared himself, declared that he would live, would fight for life at all costs.

Dividing one stale loaf into a hundred small pieces, so that everything was even and honest, eating one empty gruel, Sergei harbored hope and dreamed of freedom. Sergei did not give up even when there was not even a gram of food in his stomach, when severe dysentery tormented him.

The episode is poignant when Sergei's comrade, Captain Nikolaev, wanting to help his friend, cleansed his stomach and said: "There is nothing else in you." But Sergey, “feeling the irony in Nikolaev’s words,” protested, because “there really is too little left in him, but what is there, in the very depths of his soul, Sergey did not vomit.”

The author explains why Sergei remained a man in the war: “This is the most
“that” can be pulled out, but only with the tenacious paws of death. Only “that” helps to move one’s feet through the camp mud, to overcome a mad feeling of anger ...
It forces the body to endure until the last drop of blood is used up, it demands to take care of it, without soiling or staining it with anything!

Once, on the sixth day of his stay in the next camp, now in Kaunas, Sergei tried to escape, but was detained and beaten. He became a penitentiary, which means that the conditions were even more inhuman, but Sergey did not lose faith in the “last opportunity” and fled again, straight from the train that was rushing him and hundreds of other penitentiaries to bullying, beatings, torture and, finally, death. He jumped out of the train with his new friend Vanyushka. They hid in the forests of Lithuania, walked through the villages, asked for food from civilians and slowly gained strength. There are no limits to Sergey's courage and bravery, he risked his life at every turn - he could meet with the policemen at any moment. And then he was left alone: ​​Vanyushka fell into the hands of the police, and Sergei burned down the house where his comrade could be. “I will save him from torment and torture! I will kill him myself,” he decided. Perhaps he did this, because he understood that he had lost a friend, wanted to alleviate his suffering and did not want to take the life of young guy fascist. Sergei was a proud man, and self-esteem helped him.

Still, the SS men caught the fugitive, and the worst began: the Gestapo, the death row ... Oh, how amazing it is that Sergei continued to think about life when there were only a few hours left to exist.

Maybe that's why death retreated from him for the hundredth time. She retreated from him, because Sergei was above death, because this “that” is a spiritual force that did not allow surrender, ordered to live.

We part with Sergey in the city of Siauliai, in a new camp.

K. Vorobyov writes lines that are hard to believe: “... And again, in painful thought, Sergei began to look for ways out of freedom. was

Sergey has been in captivity for more than a year, and it is not known how many more words: “run, run, run!” - almost annoyingly, in time with the steps, minted in Sergey’s mind.

K. Vorobyov did not write whether Sergei survived or not, but, in my opinion, the reader does not need to know this. You just need to understand that Sergei remained a man in the war and will remain so until his last minute, that thanks to such people we won. It is clear that there were traitors and cowards in the war, but they were overshadowed by the strong spirit of a real person who fought for his life and for the lives of other people, remembering lines similar to those that Sergei read on the wall of the Panevėžys prison:

Gendarme! You are as stupid as a thousand donkeys!

You will not understand me, in vain the mind is power:

How am I from all the words in the world

Mileier I don’t know than Russia? ..

The feat of the people.

It is impossible to describe in words all the horrors that have happened in the terrible five years.

But during the war, Soviet people were very clearly divided into two groups.
Some fought for their homeland, not wanting either themselves or their subordinates, if they had any. These people fought to the last, they never voluntarily surrendered, did not rip off insignia from their military uniforms, they literally blocked the Germans' way into the interior of the country with their bodies. But there were others who, being generals or colonels, could pretend to be ordinary peasants or, smelling a threat to their lives, simply run away, desert. They earned their titles by sitting on soft chairs in their offices and pleasing their superiors. They did not want, did not want to go to war, endanger themselves, and if they went to war, they always tried to spare their precious lives. They did not fight for their country.

Very clearly, both types of these people are displayed in the novel by K. M. Simonov "The Living and the Dead."

The writer himself went through the whole hell of the war and knew about all its horrors firsthand. He touched on many topics and problems that were previously impossible in Soviet literature: he spoke about the country's unpreparedness for war, about the repressions that weakened the army, about the mania of suspicion, and the inhumane attitude towards man.

The protagonist of the novel is the war correspondent Sintsov, who learns about the beginning of the war on vacation in Simferopol. He immediately tries to return to his office, but, looking at other fighters who defended the fatherland with their breasts, decides to stay and fight. And his decisions were influenced by people who were ready to do everything for their native country, even knowing that they were going to certain death.

Sintsov is one of the active characters, who suffered injuries, encirclement, participation in the November parade of 1941 (from where the troops went straight to the front). The fate of the war correspondent was replaced by a soldier's lot: the hero went from a private to a senior officer.

The episode with the fighter pilot proves what a person is ready for for the sake of his Motherland. (At the very beginning of the war, new fast, maneuverable fighters had just begun to enter our arsenal, but they had not yet reached the front, so they flew on old ones, much slower and clumsier than the German Messerschmitts. Commander, Lieutenant General Kozyrev ( one of the best Soviet aces), in obedience to the order, sent several bombers to certain death - during the day, without cover. They were all shot down, however, only after completing the task. He flew to accompany the next group of bombers himself. He proved by his own example that "Messers" can also be fought on old planes. But, having jumped out of the plane, he opened his parachute very late and therefore lay almost paralyzed on the ground. But anyway, when he saw people - he thought they were Germans - Kozyrev released into almost the entire clip of them, and with the last cartridge he shot himself in the head.Before his death, he wanted to tear up the documents so that the Germans would not understand that they had one of the best Soviet pilots in their hands. in, but he did not have enough strength, so he just shot himself, did not give up, although not the Germans, but the Russians came up.)

The next character, just as deeply devoted to his Motherland, is the commander
Serpilin. This is generally one of the brightest images of Russian military prose. This is a man with one of those biographies that "break but do not bend." This biography reflected everything that happened at the top of the army in the 30s. All talented strategists, tacticians, commanders, leaders were exiled on completely ridiculous charges. So it was with Serpilin. The reason for the arrest was the warnings contained in his lectures and then out of fashion about the strengths of the tactical views of the revived
Hitler of the Wehrmacht. He was amnestied only a few days before the start of the war, but during the years spent in the camp, he never accused the Soviet authorities of what had been done to him, but “he didn’t forget anything and didn’t forgive anything.” He realized that it was not the time to indulge in insults - it was necessary to save the Motherland.
Serpilin considered this a monstrous misunderstanding, a mistake, stupidity. And communism remained for him a holy and unsullied cause.

In the USSR at that time, some soldiers thought that the Germans could not be killed, not stopped, and therefore they were afraid of them, while others knew that the German was mortal, therefore they beat him as best they could. Serpilin belonged precisely to those who understood that the enemy was not immortal, so he was never afraid of him, but did everything possible to kill, crush, trample. Serpilin always showed himself to be an experienced commander, able to correctly assess the situation, which is why he was able to subsequently get out of the encirclement. But he also proved himself to be a man willing to do anything to keep up the morale of the soldiers.

Outwardly stern and laconic, demanding of himself and his subordinates, he tries to take care of the soldiers, suppresses any attempts to achieve victory "at any cost."

Suffice it to recall the episode when Serpilin refused to kill his old friend, the senior General Zaichikov, arguing that if they were together, he would probably fulfill his request, but here, surrounded, such an act could affect the morale of the soldiers .

It should be remembered that Serpilin, leaving the encirclement, always wore insignia, which indicated that he would fight to the end, until his death.

And one “beautiful day” “a sergeant came from the side patrol, bringing with him two armed men. One of them was a short Red Army soldier. The other one is tall beautiful person about forty, with an aquiline nose and noble gray hair visible from under the cap, giving significance to his youthful, clean, wrinkle-free face.

It was Colonel Baranov with a driver - a Red Army soldier, the very man who would do anything to stay alive. He ran away from the Germans, changed his tunic with colonel's insignia for a dilapidated soldier's and burned his documents. Such people are a disgrace to the Russian army. Even his chauffeur, Zolotarev, kept his documents to himself, and this one...

Serpilin's attitude towards him is immediately obvious, and they even studied at the same academy. True, Baranov had a hand in getting Serpilin arrested, but it’s not even because of this meanness that Serpilin despises the colonel
Baranov.

Baranov is a careerist and a coward. Speaking loud words about duty, honor, courage, writing denunciations of his colleagues, he, being surrounded, goes to any lengths to save his miserable skin. Even the Divisional Commander said that the advanced Zolotarev should command the coward Baranov, and not vice versa. At an unexpected meeting, the colonel, of course, began to recall that they studied and served together, but nothing came of it. As it turned out, this colonel did not even know how to handle weapons: when he was cleaning his machine gun, he shot himself in the head. Well, right! There is no place for such people in Serpilin's detachment.

And Serpilin himself, when leaving the encirclement, during the breakthrough, was wounded, as he fought in the forefront. But, even if I hadn’t achieved it, I think I would have gone to defend Moscow as a simple soldier, as Sintsov did later.

So, the war has put all points. Here it immediately became clear who is a real person and who is a false hero. Fortunately, the second was much less, but, unfortunately, they practically did not die. Only brave, courageous people perish in war, and all sorts of cowards, traitors only get richer and get great opportunities, great influence. But the novel by K. M. Simonov
"The Living and the Dead" is read with admiration. There is always a feeling of deep moral satisfaction that in Russia there are people capable of feats, and they are in the majority. Unfortunately, such people can sometimes be revealed only by such a terrible event as war.

The problem of feat and betrayal.

War is the misfortune of not one person, not one family, and not even one city. This is the problem of the whole country. And just such a misfortune happened to our country when, in 1941, the Nazis declared war on us without warning.

War... Just from the mere pronunciation of this simple and uncomplicated word, the heart stops and an unpleasant shiver runs through the body. I must say that in the history of our country there were many wars. But perhaps the most terrible in terms of the number of people killed, cruel and merciless, was the Great
Patriotic War.

With the outbreak of the war, Russian literature experienced some decline, as many writers went to the front as volunteers. At this time, the predominance of military lyrics was felt. With poems, front-line poets supported the spirit of our fighters. But after the end of the war, Soviet writers began to create novels, stories, novels about the war. In them, the authors reasoned, analyzed the events that had taken place. The main feature of the military prose of those years was that the authors described this war as victorious. In their books, they did not recall the defeats that the Russian army suffered at the beginning of the war, that the Germans approached Moscow, and at the cost of thousands of human lives they managed to defend it. All these authors created an illusion, a myth about a victorious war to please Stalin. Because it was promised: "... on the enemy's land, we will defeat the enemy with little blood, with a mighty blow ...".

And against such a background, in 1946, Viktor Nekrasov's story "In the trenches of Stalingrad" appears. This story struck the entire public and former front-line soldiers with its frankness and honesty. In it, Nekrasov does not describe brilliant victorious battles, does not represent the German invaders as inexperienced, uneducated boys. He describes everything as it was: at the beginning of the war, Soviet troops retreated, lost many battles, and the Germans were very cunning, smart, well-armed opponents. In general, the war for many people was a shock from which they could not recover.

The story takes place in 1942. The author describes the defense
Stalingrad, fierce battles, when the Germans break through to the Volga and there is nowhere to retreat. The war became a national grief, misfortune. But at the same time, “she is like a litmus test, like a special developer”, made it possible to really get to know people, to know their essence.

“In war, you really get to know people,” wrote V. Nekrasov.

For example, Valega is Kerzhentsev's orderly. He “reads in warehouses, gets confused in the division, ask him what socialism or the motherland is, he, by God, will not really explain ... But for the motherland, for Kerzhentsev, for all his comrades-in-arms, for Stalin, whom he never seen, will fight to the last bullet. And the cartridges will run out - with fists, teeth ... ". This is where the real Russian people are. With this, you can go into reconnaissance wherever you want - even to the ends of the world. Or, for example, Sedykh. This is a very young boy, he is only nineteen years old, and his face is not military at all: pink, with a golden fluff on his cheeks, and his eyes are cheerful, blue, slightly slanting, with long, like a girl's, eyelashes. He would have to drive geese and fight with the neighbor boys, but he was already wounded in the shoulder blade by a shrapnel and received the rank of sergeant. And still, on a par with his more experienced comrades, he fights, defends his homeland.

Yes, and Kerzhentsev himself or Shiryaev - the battalion commander - and many others are doing everything in their power to break the enemy and at the same time save as many human lives as possible. But in the war there were not only such brave, selfless people who love their homeland. Next to them were people like Kaluga, who was only thinking how to save his life, not to get to the front line. Or Abrasimov, who did not care about human losses - just to complete the task, at any cost. There were those who betrayed their homeland and people.

The whole horror of war lies in the fact that it forces a person to look into the eyes of death, puts him constantly in extreme situations and, worst of all, gives him a choice: life or death. War forces one to make the most decisive choice in human life - to die with dignity or to live vilely. And everyone chooses his own.

Man at war.

War is, it seems to me, an unnatural phenomenon for every person. Despite the fact that we are already living in the twenty-first century and fifty-eight years have passed since the end, the suffering, pain, poverty that the war brought is stored in almost every family. Our grandfathers shed blood, enabling us now to live in a free country. We should be grateful to them for this.

Valentin Rasputin is one of the writers who described things that really happened as they really were.

His story "Live and Remember" is a vivid example of how people actually lived during the war, what hardships they experienced. Valentin Rasputin describes in this work the very end of the war. People already had a presentiment of victory, and therefore they had an even greater desire to live. One of these was Andrei Guskov. He, knowing that the war was already coming to an end, tried to survive at any cost. He wanted to quickly return home, to see his mother, father, wife. This desire suppressed all his feelings, reason. He was ready for anything. He was not afraid of being wounded, on the contrary, he wanted to be easily wounded. Then he would have been taken to the hospital, and from there - home.

His wish came true, but not quite: he was injured and was sent to the hospital. He thought that a severe wound would free him from further service. Lying in the ward, he already imagined how he would return home, and he was so sure of this that he did not even call his relatives to the hospital to see him. The news that he was again sent to the front struck like a lightning bolt. All his dreams and plans were destroyed in an instant.
Andrey was afraid of this most of all. He was afraid that he would never come home again. In moments of spiritual turmoil, despair and fear of death, Andrei makes a fatal decision for himself - to desert, which turned his life and soul upside down, made him a different person. The war has ruined the lives of many.
People like Andrei Guskov were not born for war. Of course, he is a good, brave soldier, but he was born to plow the land, grow bread, and live with his family. Of all those who went to the front, he experienced this the hardest:
“Andrey looked at the village in silence and resentment, for some reason he was ready not to war, but to blame the village for being forced to leave it.” But despite the fact that it is hard for him to leave home, he says goodbye to his family quickly, dryly:
“What has to be cut off, must be cut off immediately ...”

Andrey Guskov deserts consciously, for the sake of his life, but Nastya, his wife, simply forces him to hide, thereby dooming her to live in a lie: “I’ll tell you right away, Nastya. No dog must know that I am here. Tell someone I'll kill you. Kill - I have nothing to lose. I have a firm hand on this, it won’t break, ”- with these words he meets his wife after a long separation. And Nastya had no choice but to simply obey him. She was at one with him until her death, although sometimes she was visited by thoughts that it was he who was to blame for her suffering, but not only for her, but also for the suffering of her unborn child, conceived not at all in love, but in a rude impulse, animal passion. This unborn child suffered along with his mother. Andrei did not realize that this child was doomed to live his whole life in disgrace. For Guskov, it was important to fulfill his masculine duty, to leave an heir, and how this child would live on, he was of little concern.

Nastya understood that both the life of her child and herself were doomed to further shame and suffering. Shielding and protecting her husband, she decides to commit suicide. She decides to rush into the Angara, thereby killing herself and her unborn baby. In all this, of course, Andrey Guskov is to blame. This moment is the punishment with which higher powers can punish a person who has violated all moral laws. Andrei is doomed to a painful life. Nastya's words: "Live and remember," will knock on his inflamed brain until the end of his days.

But Andrei cannot be completely blamed either. Don't be this terrible war, none of this would have happened. Guskov himself did not want this war. He knew from the very beginning that she would not bring him anything good, that his life would be broken. But he probably did not expect that life would be broken.
Nastena and their unborn child. Life did as it pleased.

The result of the war for the family of Andrey Guskov was three broken lives. But, unfortunately, there were many such families, many of them collapsed.

The war claimed a lot of lives. Without her, there would not be many problems in our country. In general, war is a terrible phenomenon. It takes away many lives dear to someone, destroys everything that was created by the great and hard work of the whole people.

It seems to me that the work of such writers will help our contemporaries not to lose their moral values. V. Rasputin's story "Live and Remember" is always a step forward in spiritual development society.

"War has no woman's face"

Here is how he said about the women participating in the Great Patriotic War,
Robert Rozhdestvensky:

Anti-aircraft gunners shouted

And they shot...

And rose again

For the first time protecting in reality

And your honor

(literally!)

And the motherland

And Moscow.

“War has no female face” - this thesis has been true for many centuries.

Very strong people are capable of surviving the fire, the horror of war, therefore it is customary to consider war to be a man's business. But the tragedy, the cruelty, the enormity of the war lies in the fact that along with the men, women stand shoulder to shoulder and go to kill and die.

The essence of war is contrary to human nature, and even more so to female nature. There has never been a single war in the world that women would have unleashed, their participation in a war has never been considered normal and natural.

A woman in war is an inexhaustible topic. It is this motif that runs through the story of Boris Vasilyev "The Dawns Here Are Quiet..."

The characters in this story are very different. Each of them is unique, has an inimitable character and a unique destiny, broken by the war. These young girls are united by the fact that they live for the same purpose. This goal is to protect the Motherland, protect their families, protect people close to them. And for this you need to destroy the enemy. For some of them, to destroy the enemy means to fulfill their duty, to avenge the death of their loved ones and relatives.

Rita Osyanina, who lost her husband in the first days of the war, gave the impression of a very firm, strong and self-confident woman, “she had a job, a duty and very real goals for hatred. And she learned to hate quietly and mercilessly "The war destroyed the family and Zhenya Komelkova, who," despite all the tragedies, was extremely sociable and mischievous "But hatred for the Nazis who killed her family and herself lived in her soul. The Moloch of War devours everything, knowing no boundaries. It destroys people's lives.
But it can also destroy the human soul, destroying the unreal.
Fantastic world living in it. Galya Chetvertak lived in the world she invented, fabulous and beautiful. She "dreamed all her life of solo parts, long dresses and universal worship." She tried to transfer this world she created into real life, constantly inventing something.

“Actually, it was not a lie, but a desire masquerading as reality.” But the war, which "does not have a woman's face", did not spare the fragile world of the girl, unceremoniously invading it and destroying it. And its destruction is always fraught with fear, which the young girl could not cope with. Fear, on the other hand, always haunts a person in war: “Whoever says that it’s not scary in war knows nothing about war.” War awakens in the human soul not only fear, it sharpens all human feelings. Women's hearts are especially sensual and tender. Rita Osyanina outwardly seems very firm and strict, but inside she is a quivering, loving, worried person. Her dying wish was to take care of her son.
“My son is there, three years old. Alik's name is Albert. My mother is very sick, she won’t live long, and my father is missing.” But good human feelings lose their meaning. War everywhere establishes its perverted logic. Here, love, pity, sympathy, the desire to help can bring death to the person in whose soul these feelings are born. Lisa
Brichkina, driven by love and a desire to help people, perishes in a swamp. War puts everything in its place. It changes the laws of life. What could never happen in civilian life happens in war. Lisa B., who grew up in the forest, knew and loved nature, felt confident and comfortable in it, finds her last refuge here. Her a pure soul, radiating comfort and warmth, reaching for the light, hiding from it forever.
“Liza saw this blue beautiful sky for a long time. Wheezing, spitting out mud and reaching out, reaching out to him, reaching out and believing. Sonya Gurvich, seeking to bring joy to a person, driven only by a pure impulse of the soul, comes across a German knife. Galya Chetvertak sobs over her murdered friend when it's wrong to cry. Her heart is filled with only pity for her. This is how Vasiliev tries to emphasize the unnaturalness and enormity of war. To a girl with her fiery and tender hearts face the inhumanity and illogicality of war "War has no woman's face." This thought sounds piercingly in the story, echoing with unbearable pain in every heart.

The inhumanity of war and unnaturalness is emphasized in the image quiet dawns, symbolizing eternity and beauty in the land where the thin threads of women's lives are torn "I put you, I put all five ...". Vasiliev "kills" girls to show the impossibility of the existence of women in a war. Women in war perform feats, lead on the attack, save the wounded from death, sacrificing own life. They don't think of themselves when saving others. In order to protect their homeland and avenge their loved ones, they are ready to give their last strength. “And the Germans wounded her blindly, through the foliage, and she could have hidden, waited out and, maybe, left. But she shot while there were bullets. She shot lying down, no longer trying to escape, because strength was leaving along with the blood. ” They die, and the warmth, the love lurking in their hearts, lies forever in the damp earth:

We did not expect posthumous glory,

They did not want to live with glory.

Why in bloody bandages

The light-haired soldier lies?

(Yu. Drunina. "Zinka")

The destiny of a woman, bestowed upon her by nature, is perverted in the conditions of war. And a woman is the keeper of the hearth, the continuer of the family, which is a symbol of life, warmth and comfort. Red-haired Komelkova with magical green eyes and amazing femininity, it seems, is simply created for procreation. Lisa B., symbolizing a home, a hearth, was created for family life, but this was not destined to come true ... Each of these girls “could give birth to children, and those would be grandchildren and great-grandchildren, but now there will be no this thread. A small thread of the endless yarn of humanity, cut with a knife. This is the tragedy of the fate of a woman in war

But the men who survived the war will always be left with an eternal guilt complex in front of them. Men could not give them love, could not protect them. Therefore, Vasiliev asks whether such sacrifices in the war are justified, is it not too expensive a price for victory, because the lost threads of women's lives will never again merge with the common thread of humanity? “What is it you, a man of our mothers, could not protect from bullets? Why did you marry them with death, and you yourself are whole? You can look at the war through the eyes of a woman. True admiration is caused by the exploits of women, which become even more significant, as they are committed by fragile creatures.

I read the memoirs of one woman, she told me that during the war she somehow left the house, and when she returned, in its place she saw only a huge pit, the result of a bomb dropped by a German plane. Husband and children died. There was no point in continuing to live, and this woman went to the front in a penal battalion, hoping to die. But she survived. After the war, she again had a family, but surely nothing will ever drown out the pain that the war caused. And, probably, every woman who survived the war will not be able to free herself from it for the rest of her life. Part of her soul will always remain there...

Women, laying down their heads for a great cause, made victory possible, brought it closer. But the death of every woman in the war is a tragedy.
Eternal glory and memory to them!

"War - there is no more cruel word..."

The works of our writers - soldiers who went through this war, show a variety of people and the struggle of each of them with enemies. Their works are the reality of war. Before us appear people who were suddenly snatched out of peaceful life by the war and who know about it only from books.

Faced every day with painful moral problems, they must immediately solve them, and not only their own fate, but also the lives of other people often depend on this decision.

In Y. Bondarev's story "The Last Volleys", Lieutenant Aleshin is afraid to walk along the front line under the tracks and tank fire, but he can’t even imagine how it is possible to disobey the order, while the soldier Remeshkov begins to beg the commander not to send him under this fire. The desire to live wins in such a person all moral concepts of duty in relation to his comrades and the Motherland. But I think that we have no right to condemn these people without having experienced the same thing as them. Only people who find themselves in the same situation, but who have not forgotten about their honor, have the right to do so.

Captain Novikov does not forget about his subordinates for a minute either. He, like Boris Ermakov from the story "Battalions ask for fire", sometimes even has to be cruel towards a few in the name of many. Speaking with Lieutenant Yeroshin, Boris understands that he is harsh towards him, but he does not feel any remorse: "there is no place for sentiment in war." Captain Novikov could take anyone else with him to the front line, not Remeshkov, but he takes him, despite all the requests. And call him heartless in this case simply impossible: he is responsible for so many lives that pity for a coward looks simply injustice. In war, risking the life of one person for the sake of many is justified. It’s another matter when hundreds of people are doomed to death, who did their duty with the belief that help would come, and did not wait for it because it turned out to be much more convenient to use them as “diverting the attention of the Germans” than to continue the offensive together. Both Colonel Iverzev and Gulyaev accept this order without protest, and although an order is an order, this does not justify them.
After all, the most important thing is that they, it turns out, simply deceived the people who believed them. And dying without faith was the worst thing. Therefore, I think that people who tried to escape from tanks crawling right at them cannot be subjected to our condemnation. They had the right to do so, because they considered their death senseless. In fact, “none of the human torments are meaningless in this world, especially soldier’s torment and soldier’s blood,” Lieutenant Ivanovsky thought so from V. Bykov’s story “To Live Until Dawn”, but he understood that he was already doomed, while men from the battalion
Boris Ermakov did not believe in their death.

In the same story, Y. Bondarev describes another case that emphasizes the pricelessness of human life in war. Zhorka Vitkovsky leads to the commander of the captured Vlasov, who shot at his own, Russians.
Of course, he will not see mercy. "Have mercy on me... I haven't lived yet... Not by my own will... I have a wife and a child... Comrades..." - the captive pleads, but no one even listens to him. The battalion is in such a difficult situation that the commanders simply do not care about the man who betrayed his homeland, they are not interested in why he did it. Neither Zhorka, who shot this Vlasovite, nor
Boris, who gave this order, does not feel any pity for him.

The problem of moral choice.

Perhaps in many years people will again return to the theme of the Great
Patriotic War. But they will be able to reconstruct the events only by studying the documents and memoirs. It will be later...

And now those who courageously stood up for our country in the summer are still alive
1941. The memories of the horrors of war are still fresh in their hearts. Vasil Bykov can also be called such a person.

V. Bykov depicts the war and the man in the war - "without hairdressing, without bragging, without varnishing - what it is." In his works there is no pomposity, excessive solemnity.

The author writes about the war as an eyewitness, as a person who has experienced both the bitterness of defeat, and the severity of losses and losses, and the joy of victory. He, by his own admission, is not interested in the technology of combat, but in the moral world of a person, his behavior in a war in crisis, tragic, hopeless situations. His works are united by one general idea- the idea of ​​choice. The choice between death, but the death of a hero, and a cowardly, miserable existence. The writer is interested in the cruelly severe test that each of his heroes must go through: will he be able not to spare himself in order to fulfill his duty to
Motherland, their duties as a citizen and patriot? The war was such a test of a person's ideological and moral strength.

On the example of Bykov's story "Sotnikov" we will consider the difficult problem of heroic choice. Two main characters, two partisans... But how they differ in their attitude!

Rybak is an experienced partisan who risked his life more than once.
Sotnikov, who volunteered for the mission partly because of his pride. Sick, he did not want to tell the commander about it. Rybak asked why he kept silent, while the other two refused, to which Sotnikov replied: "Because he did not refuse, because the others refused."

From the first lines of the story, it seems that both characters will play a positive role until the very end. They are brave, ready to sacrifice their lives for the sake of the goal, from the very beginning one feels they are enough good relations to each other. But gradually the situation begins to change. Bykov slowly reveals Rybak's character. The first signs of something alarming appear in the scene of a conversation with the village headman. The fisherman was about to shoot the old man, but when he found out that it was not his first idea, he shied away ("... he did not want to become like someone else. He considered his intentions fair, but, having discovered someone similar to his own, he perceived own in a slightly different light). This is the first stroke in the formation of the image of Rybak.

At night, Rybak and Sotnikov stumble upon policemen. Rybak's behavior is the second stroke. Bykov writes: “As always, in the moment of the greatest danger, everyone took care of himself, took his fate into his own hands. As for Rybak, how many times during the war did his legs rescue him. Sotnikov falls behind, gets under fire, and his partner runs to save his own skin. And only one thought makes Rybak return: he thinks about what he will say to his comrades who remained in the forest...

At the end of the night, the partisans reach another village, where a woman with children hides them. But even then the police find them. And again one thought
Rybak: “... all of a sudden he wanted Sotnikov to get up first. All the same, he is wounded and sick, and it was he who coughed them both out with a cough, where he was more likely to surrender to captivity with great reason. And only the fear of death makes him get out of the attic. Stroke third.

The most striking, meaningful episode is the interrogation scene. And how different the behavior of the characters!

Sotnikov courageously endures torture, but even the thought did not cross his mind about betraying his comrades. Sotnikov is not afraid of death or his tormentors. He not only tries to take on the guilt of others and thereby save them, it is important for him to die with dignity. His main goal is to lay down his soul "for his friends", not trying to buy himself an unworthy life with prayers or betrayal.

And Rybak? From the very beginning of the interrogation, he fawns over the investigator, readily answers questions, although he tries to lie. The fisherman, who has always found a way out of any situation before, tries to outwit the enemy, not realizing that, embarking on such a path, he will inevitably come to betrayal, because he has already placed his own salvation above the laws of honor and camaraderie. Finding himself in a hopeless situation, Rybak, in the face of imminent death, chickened out, preferring animal life to human death.

When investigator Portnov offers him to become a policeman, Rybak thinks about it. “Through a moment of confusion in himself, he suddenly clearly felt freedom, spaciousness, even a slight breath of fresh wind in the field.” He began to cherish the hope that he could escape. In the basement, the heroes meet again. Rybak asks Sotnikov to confirm his testimony. A shameful thought creeps into his head: “... if Sotnikov dies, then he,
Rybak, the chances will improve significantly. He can say whatever he likes, there are no other witnesses here.” He understood all the inhumanity of his thoughts, but the fact that it would be better for him overshadowed all the "against". Rybak consoled himself with the fact that if he got out of it, he would pay for Sotnikov's life and for his fears.

And now comes the day of execution... Along with the partisans, innocent people must also go to the gallows: the woman who sheltered them, the village headman, the Jewish girl Basya. And then Sotnikov makes the only right decision for himself. On the steps of the gallows, he confesses that he is a partisan, that it was he who wounded the policeman last night. The fisherman fully reveals his essence, making a desperate attempt to save his life. He agrees to become a policeman... But that's not all. The fisherman crosses the last line when he personally kills his comrade.

End of the story. The fisherman decides to hang himself. He is tormented by a conscience that he could not drown out. Saving himself, he not only executes his former comrade - he does not have enough determination even for Judas' death: it is symbolic that he is trying to hang himself in the restroom, even at some point he is almost ready to throw himself head down - but does not dare. However, spiritually Rybak is already dead (“And although they were left alive, they were also liquidated in some respects”), and suicide still would not save him from the shameful stigma of a traitor.

But even here Bykov shows us that repentance was not sincere: having decided to die, Rybak cannot part with such a valuable life for him, for the sake of which he betrayed the most sacred - military friendship and his honor.

Heroes Vasil Bykov teach us the lessons of honor, courage, humanity.
A person must always make a choice - war makes this choice tragic.
But the essence remains the same, it does not change, since Bykov's favorite heroes follow only the call of their hearts, act honestly and nobly. And only then can a person be called a "hero" in the best sense of the word.

“No person ... can be a means or tool either for the good of another person, or for the good of an entire class, or, finally, for the so-called common good,” wrote Vladimir Solovyov. In war, people become just such a means. War is murder, and to kill is to violate one of the commandments of the Gospel - to kill is immoral.

Therefore, another problem arises in war - to preserve human dignity. However, it helps many to survive, to stay strong spirit and for those who believe in a worthy future, it is precisely the idea - never to betray their own principles, to preserve humanity and morality in themselves. And if a person has taken these laws as the goal of his life and has never violated them, has never “put his conscience in his pocket”, then it will be easier for him to survive in the war.
An example of such a person is the hero of the story by Vyacheslav Kondratiev
"Sasha".

He, being in the most difficult situations, often faced the hardest choice, but always remained a man and chose morality.

Sashka lives honestly, so that "you wouldn't be ashamed to look people in the eye." He is sympathetic, humane, ready to go to his death if it helps another. The proof of these qualities of Sashka are all his actions.

For example, it deserves deep respect that he climbed under the bullets to get his company boots, sympathizing with his commander, who has to walk in wet boots: But it’s a pity for the commander!”

Sashka considers himself responsible for his comrades in the company. To do this, he again takes risks.

The hero of the story generously saves from trouble, perhaps, and the tribunal
- his quick-tempered, but honest and good comrade lieutenant
Volodya, taking his guilt upon himself.

Surprisingly persistently and honestly, Sasha keeps his word. He can never break his promise. "Propaganda," the German mutters. "What propaganda! Sasha is outraged. - This is your propaganda! And we have the truth."
Sashka promised that the leaflet, which says that the Soviet command guarantees life, food and human treatment to the Germans who surrendered, is true. And once said, Sasha is obliged to fulfill his promise, no matter how difficult it may be.

That is why he violates the order of the battalion commander by not shooting a German who refuses to testify, and failure to comply with the order leads to a tribunal.

Tolik cannot understand such an act, who believes: “Our business is calf - ordered - fulfilled!” But Sasha is not a "calf", not a blind performer. For him, the main thing is not just to fulfill the order, but to decide how best to fulfill the most important task, for which he gave the order. That is why
Sasha behaves this way in a situation where the Germans suddenly broke into the grove.
“In the middle of the patch crowded their broken - broken company near the political instructor wounded in the leg. He waved his carbine and shouted:

Not a step! Not a step back!

The order of the company commander is to retreat into the ravine! Sasha shouted. “And not a step from there!” Sashka cannot help but keep his word even when he promises to save the wounded man: “Do you hear? I'll go. Be patient, I'll be right there. I'll send paramedics. You believe me ... believe. And how can Sasha deceive a wounded person who believes him? Wounded in the hand, he not only sends orderlies, but goes along with them, under bullets, fearing that his mark on the ground has been erased, that the orderlies will not find the person to whom Sashka promised!

Performing all these acts that surprise with their kindness, responsiveness and humanity, Sashka not only does not demand to be thanked for this, but does not even think about it. It's just natural for him to help people at the risk of his own life.

But the one who thinks that Sasha, doing these things, is not afraid and does not want to live is mistaken. And Sashka “both in the offensive and in reconnaissance - all this is through force, overcoming himself, nailing fear and thirst to live deep, to the very bottom of the soul, so that they do not interfere with him doing what is supposed to be, what is necessary.”

However, not everyone will always be able to act like Sasha. Sometimes people get hardened in war, they don't always right choice. Hundreds of examples testify to this.

Thus, a person in war is constantly faced with a choice: the preservation of his life or his own dignity, devotion to an idea or self-preservation.

Conclusion.

In the center artistic world The writer remains a man in space and time of war. Circumstances associated with this time and space induce and compel a person to true being. It has something that causes admiration, and something that disgusts and frightens. But both are real. In this space, that fleeting hour has been chosen when a person has nothing to hide for and no one to hide behind, and he acts. This is a time of movement and action. Time of defeat and victory. Time to resist circumstances in the name of freedom, humanity and dignity.

Unfortunately, even in peaceful life a person does not always remain a person.
Perhaps, after reading some works of military prose, many will think about the issue of humanity and morality, they will understand that remaining human is the most worthy goal of life.

Our country won a victory over Germany only thanks to the courage of the people, their patience and suffering. The war crippled the lives of everyone who had anything to do with it. Not only the Great Patriotic War brought so much suffering. Today, the same suffering is caused by the war in
Chechnya and Iraq. Young people are dying there, our peers, who have not done anything yet either for their country or for their families. Even if a person comes from the war alive, he still cannot live ordinary life. Anyone who has ever killed, even against their will, will never be able to live like a common person They are called the "lost generation" for a reason.
I believe that there should never be a war at all. It only brings pain and suffering. Everything must be settled peacefully without blood and tears, suffering and grief.

In the park near Mamaev Kurgan.

In the park near Mamaev Kurgan

The widow planted an apple tree

I attached a plank to the apple tree,

Wrote the words on the board:

“My husband was a lieutenant at the front,

He died at 42

Where is his grave, I don't know

So I'll come here to cry."

The girl planted a birch:

“I didn’t know my father,

I only know that he was a sailor

I know that I fought to the end."

A woman planted a mountain ash:

In the hospital he died of his wounds,

But I have not forgotten my love

That's why I go to the mound."

Let the inscriptions be erased over the years

The tree will reach for the sun

And birds fly in the spring.

And the trees stand like soldiers

And they stand in the storm, and in the heat.

With them those who died once,

They come alive every spring.

(Inna Goff).

Bibliography:

1. Agenosov V.V. "Russian literature of the twentieth century" - a textbook for general education educational institutions. Moscow "Drofa" 1998

2. Krupina N.L. "Literature at school" - a scientific and methodological journal.

Moscow "Almaz-press" 272000

3. Krupina N.L. "Literature at school" - a scientific and methodological journal.

Moscow "Almaz-press" 372000

4. Dukhan Ya.S. The Great Patriotic War in the prose of the 70-80s.

Leningrad "Knowledge" 1982

5. Mikhail Silnikov. In honor of the fallen, in the name of the living. Moscow "Young Guard", 1985

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"Secondary school with in-depth study of individual individual subjects No. 7."

The Great Patriotic War

in the works of the XX century

Literature abstract

2012
Content

Introduction..............................................................................................................2-3

1. Stages of development of literature about the Great Patriotic War .................... 4-6

1.1. The first stage - .......................................................... ................. 4-5

1.2. The second stage - y .............................................. ................... 5

1.3. The third stage - y .............................................. ................... 5-6

2. The theme of war in the works of Russian writers .............................................. 7-20

2.1. Monument to the Russian soldier in the poem "Vasily Terkin" ............... 7-9

2.2. The fate of man is the fate of the people (according to the story of Sholokhov

"The fate of man ») .................................................................................10-13

2.3. The truth about the war through the eyes ("Killed under

Moscow”).................................................. .................................................. 14-17

Conclusion......................................................................................................18-19
Bibliography........................................................................................20

Introduction

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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

Time passes, but the years of the war, the greatness of our victory over German fascism, do not fade in human memory. It is difficult to overestimate its importance in history.

It seems to us that the Great Patriotic War has remained in the distant past. However, sixty-six years is an insignificant period in history. And the generations that follow us should not forget the terrible times of those years, or evaluate it incorrectly, or take it too lightly (“just think - there was a war, there was a victory!”). As you know, forgetfulness can lead to repetition.

The Great Patriotic War is an ordeal that befell the Russian people. In this war, the best features of the Russian national character: his courage, fortitude, mass heroism and patriotism. Our people broke the back of the fascist beast, under whose feet Europe dutifully lay down. Yes, we won, but this victory was too expensive. The war was not only a triumph for the people, but greatest tragedy. She left ruined cities, extinct villages. She brought death to a whole generation of young, healthy, talented people. The color of the nation was destroyed. How many of them, the great defenders of the motherland, died in air battles, burned down in tanks, killed in the infantry?! Everything was in this war: both heroism and tragedy, so the literature of that time could not stay away from these events.

The purpose of this work is the study of certain stages in the development of a military theme in literature, acquaintance and comparison individual works created during these years.

Thus, object my research is literature about the Great Patriotic War, and subject- the following works as: "Vasily Terkin", "The Fate of a Man", "Killed near Moscow".

The dead will not remind, but we, the living, understand how we need to know more about them. To remember them is the duty of all the living, because this life of ours, they, the fallen ones, paid with their own.

That is why I set out to study as broadly and in more detail as possible. selected works about the Great Patriotic War, united in one of the most important layers of Russian literature. They are dictated by pain, anger and sorrow, the joy of victory and the bitterness of loss. These works are of great value among others.

Stages of development of literature about the Great Patriotic War

During the Great Patriotic War and after it, a whole layer appeared in Russian literature devoted to military realities. These were works of different years, from poems written in the trenches to stories that appeared 10-20 years after the last battles, when people got the opportunity to realize what was happening.

So on the first day of the war, at a rally of Soviet writers, the following words were heard: "Every Soviet writer is ready to give all his strength, all his experience and talent, all his blood, if necessary, to give to the cause of a holy people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, the writers felt "mobilized and called." Every third of the writers who went to the front - about four hundred people - did not return from the war. These are big losses. Maybe they would be smaller, but very often writers, most of whom became front-line journalists, had to deal not only with their direct duties, but many simply ended up in the ranks - to fight in infantry units, in the militia, in partisans. The writer has never heard the heart of the people so clearly - for this he had to listen to his heart. The sense of community that united the people fighting against the invaders led them into battle. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: good age we lived as people, and for people.”

During the Great Patriotic War, not only poetic genres, but also prose were developed. It is represented by journalistic and essay genres, military stories and heroic stories. Journalistic genres are very diverse: articles, essays, feuilletons, appeals, letters, leaflets.

The literature of that time went through several stages in its development.

1.1. In the years it was created by writers who went to war in order to support the patriotic spirit of the people with their works, unite them in the fight against a common enemy, and reveal the feat of a soldier. The motto of the time is "Kill him!" (enemy), permeated this literature - a response to the tragic events in the life of a country that had not yet raised questions about the causes of the war and could not connect 1937 and 1941 in one plot, could not know the terrible price paid by the people for winning this war. The most successful, included in the treasury of Russian literature, was the poem "Vasily Terkin". The “Young Guard” about the feat and death of young Red Guards touches the soul with the moral purity of the heroes, but it is bewildering with the popular description of the life of young people before the war and the methods of creating images of the Nazis. The literature of the first stage was descriptive, non-analytical in spirit.

1.2. The second stage in the development of the military theme in literature falls on the years. These are novels, short stories, poems about victory and meetings, about salutes and kisses - unnecessarily jubilant and triumphant. They did not tell the terrible truth about the war. Generally lovely story"The Fate of a Man" (1957) hid the truth about where former prisoners of war ended up after returning home, although the author himself argued: "A writer must be able to directly tell the reader the truth, no matter how bitter it may be." But this is not his fault, but the fault of time and censorship.

Tvardovsky will later say about this:

And to the end, having experienced alive

That way of the cross half dead -

From captivity captivity - under the thunder of victory

1.3. The real truth about the war was written in the 60-80s; when those who fought themselves, sat in the trenches, commanded a battery and fought for a “span of land” came to literature, were captured. The literature of this period was called "Lieutenant's prose" (Yu. Bondarev, G. Baklanov, V. Bykov, K. Vorobyov, B. Vasiliev, V. Bogomolov). She made the picture of the war all-encompassing: the front line, captivity, the partisan region, the victorious days of 1945, the rear - that's what these writers resurrected in high and low manifestations. They were beaten hard. They were beaten because they "Narrowed" the scale of the image of the war to the size of "a span of land", a battery, a trench, a fishing line ... They were not published for a long time for "deheroization" of events. And they, knowing the price of everyday feat, saw him in the everyday work of a soldier. Lieutenant writers wrote not about victories at the fronts, but about defeats, encirclement, the retreat of the army, about stupid command and confusion at the top. The writers of this generation took Tolstoy's principle of depicting war as a model - "Not in the correct, beautiful and brilliant order, with music ... with waving banners and prancing generals, but ... in blood, in suffering, in death." The analytical spirit of the "Sevastopol Tales" entered the domestic literature on the war of the XX century.

Monument to the Russian soldier in the poem "Vasily Terkin".

During the Great Patriotic War and in the first post-war decade, such works were created in which the main attention was paid to the fate of a person in the war. Human life, personal dignity and war - this is how the main principle of works about war can be formulated.

The poem "Vasily Terkin" is distinguished by a kind of historicism. Conventionally, it can be divided into three parts, coinciding with the beginning, middle and end of the war. The poetic comprehension of the stages of the war creates a lyrical chronicle of events from the chronicle. A feeling of bitterness and sorrow fills the first part, faith in victory - the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part of the poem. This is explained by the fact that he created the poem gradually, throughout the Great Patriotic War, Mr.

This is the most amazing, most life-affirming work, from which, in fact, it began military theme in our art. It will help us understand why, despite Stalinism and the slavish status of the people, the great victory over the brown plague took place.

"Vasily Terkin" is a poem-monument to a Russian soldier, which was erected long before the end of the war. You read it and, as it were, immerse yourself in the element of a living, natural, precise word, flavored with humor, a trick (“And what time of the year is it better to die in a war?”), Oral language that gives astringency to the language (“and at least spit in her face”) , phraseological units ("here's your cover now"). Through the language of the poem, a cheerful, honest people's consciousness is transmitted to themselves and others.

Without you, Vasily Terkin,

even death, but on dry land. It rains. And you can’t even smoke: the matches are soaked. The soldiers curse everything, and it seems to them, “there is no worse trouble.” And Terkin grins and begins a long discussion. the soldier feels the elbow of a comrade, he is strong. Behind him is a battalion, a regiment, a division. Or even a front. Why, all of Russia! Just last year, when a German rushed to Moscow and sang "My Moscow", then it was necessary And now the German is not at all the same, "the German is not a singer with this last year's song." And we think to ourselves that even last year, when it was completely sickening, Vasily found words that helped his comrades. "Such a talent that, lying in a wet swamp, his comrades laughed: it became easier in his soul. He accepts everything as it is, Not busy only with himself, does not lose heart and does not panic (chapter "Before the fight"). He is not alien to the feeling of gratitude , consciousness of unity with his people, not the statutory "understanding of duty", but with his heart. He is savvy, brave and merciful to enemy. All these features can be summarized in the concept of "Russian national character". Tvardovsky emphasized all the time: "he is an ordinary guy." Ordinary in its moral purity, inner strength and poetry. It is these heroes, not supermen, who are able to charge the reader with cheerfulness, optimism and "good feelings" for everything that is called LIFE.

The fate of a person is the fate of the people (according to Sholokhov's story "The Fate of a Man").

One of the works in which the author sought to tell the world the harsh truth about the huge price paid by the Soviet people for the right of mankind to the future is the story “The Fate of a Man”, published in Pravda on December 31, 1956 - January 1, 1957. Sholokhov wrote this story in an amazingly short time. Only a few days of hard work were devoted to the story. However creative history it takes many years: between a chance meeting with a man who became the prototype of Andrei Sokolov, and the appearance of "The Fate of a Man" ten years have passed. It must be assumed that Sholokhov turned to the events of wartime not only because the impression of the meeting with the driver, which deeply excited him and gave him an almost finished plot, did not disappear. The main and decisive was something else: the past war was such an event in the life of mankind that without taking into account its lessons, not one of the most important problems could be comprehended and solved. modern world. Sholokhov, exploring the national origins of the character of the protagonist Andrei Sokolov, was faithful to the deep tradition of Russian literature, the pathos of which was love for the Russian person, admiration for him, and was especially attentive to those manifestations of his soul that are connected with the national soil.

Andrei Sokolov is a truly Russian man of the Soviet era. His fate reflects the fate of his native people, his personality embodied the features that characterize the appearance of a Russian person who went through all the horrors of the war imposed on him and, at the cost of enormous, irreparable personal losses and tragic hardships, defended his homeland, affirming the great right to life, freedom and independence of his homeland.

The story raises the problem of the psychology of a Russian soldier - a man who embodies the typical features of a national character. The reader is presented with a life story ordinary person. A modest worker, the father of the family lived and was happy in his own way. It personifies those moral values ​​which are inherent in working people. With what tender penetration he recalls his wife Irina (“Looking from the side, she wasn’t so prominent, but I didn’t look at her from the side, but point-blank. And it was not more beautiful and desirable for me than her, never existed in the world and never will!"") How much paternal pride he puts into words about children, especially about his son ("And the children made me happy: all three were excellent students, and the elder Anatoly turned out to be so capable of mathematics that about him even in central newspaper wrote...").

And suddenly the war ... Andrey Sokolov went to the front to defend his homeland. Like thousands of others just like him. The war tore him away from his home, from his family, from peaceful labor. And his whole life seemed to go downhill. All the troubles of the war time fell upon the soldier, life suddenly for no reason began to beat and whip him with all his might. The feat of a person appears in Sholokhov’s story, mainly not on the battlefield and not on the labor front, but in the conditions of fascist captivity, behind the barbed wire of a concentration camp (“... Before the war, I weighed eighty-six kilograms, and by autumn I was no longer pulling more than fifty. One skin remained on the bones, and it was impossible to wear your own bones. In the spiritual single combat with fascism, the character of Andrei Sokolov, his courage, is revealed. A person is always faced with a moral choice: to hide, to sit out, to betray, or to forget about the impending danger, about his “I”, to help, save, rescue, sacrifice himself. Andrey Sokolov had to make such a choice. Without hesitation for a minute, he rushes to the rescue of his comrades (“My comrades may be dying there, but will I sniff around here?”). At this point, he forgets about himself.

Away from the front, the soldier survived all the hardships of the war, the inhuman abuse of the Nazis. Andrei had to endure many terrible torments during the two years of captivity. After the Germans poisoned him with dogs, so much so that the skin and meat flew to shreds, and then they kept him in a punishment cell for a month for escaping, beat him with fists, rubber sticks and all kinds of iron, trampled underfoot, while almost not feeding him and forced him to work hard. And more than once death looked into his eyes, each time he found courage in himself and, in spite of everything, remained a man. He refused to drink on the orders of Müller for the victory of German weapons, although he knew that he could be shot for this. But not only in a collision with the enemy, Sholokhov sees the manifestation of a heroic person in nature. No less serious tests are his loss. The terrible grief of a soldier deprived of loved ones and shelter, his loneliness. , who emerged from the war as a winner, who returned peace and tranquility to people, he himself lost everything he had in life, love, happiness.

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The truth about the war through the eyes ("Killed near Moscow").

War is a reason to talk

about good and bad people.

These words of V. Bykov express the essence of the tasks solved by the literature on the war of the third stage - to give a ruthless, sober analysis of time and human material. tore off the lush veils ... A lover of loud and correct phrases sometimes turned out to be a coward. An undisciplined fighter accomplished a feat ”(V. Bykov). The writer is convinced that historians should deal with war in the narrow sense, while the writer's interest should be focused exclusively on moral problems: "who is a citizen in military and civilian life, and who is a selfish person?"

Vorobyov "Killed near Moscow" was published in Russia only in the 80s. - afraid of the truth. The title of the story, like a blow of a hammer, is precise, brief, immediately raising the question: by whom? The military leader and historian A. Gulyga wrote: “In this war, we lacked everything: cars, fuel, shells, rifles .... The only thing we did not regret was people.” The German General Golwitzer was amazed: "You do not spare your soldiers, you might think that you command a foreign legion, and not your compatriots." Two statements raise the important problem of killing one's own by one's own. But what K. Vorobyov managed to show in the story is much deeper and more tragic, because the whole horror of the betrayal of his boys can only be depicted in a work of art.

The first and second chapters are expositional. The Germans are pushing the army to Moscow, and the Kremlin cadets are sent to the front line, "boyishly loudly and almost joyfully" reacting to the flying Junkers, in love with Captain Ryumin - with his "arrogantly ironic" smile, drawn out and slim figure, with a twig stack in his hand, with a cap slightly shifted to the right temple. Alyosha Yastrebov, like everyone else, "carried in himself an irrepressible, hidden happiness", "the joy of a flexible young body." The landscape also corresponds to the description of youth, freshness in the guys: “...Snow is light, dry, blue. He smelled Antonov apples... something cheerful and cheerful was communicated to the legs, as with music. They ate biscuits, laughed, dug trenches and rushed into battle. And they had no idea about the impending disaster. “Some kind of soul-searching smile” on the lips of the NKVD major, the lieutenant colonel’s warning that 240 cadets would not receive a single machine gun alerted Alexei, who knew Stalin’s speech by heart that “we will beat the enemy on his territory.” He figured out the deception. “There was no place in his soul where the incredible reality of war would lie down,” but the reader guessed that the cadet boys would become hostages of the war. The plot of the plot is the appearance of reconnaissance aircraft. Sashka's whitened nose, an inexorable feeling of fear not from the fact that cowards, but from the fact that the Nazis do not expect mercy.

Ryumin already knew that “the front has been broken in our direction,” a wounded soldier told about the true situation there: “Although the darkness has perished there, there are still more alive! Now we're wandering." “Like a blow, Alexei suddenly felt an agonizing feeling of kinship, pity and closeness to everything that was around and nearby, ashamed of the painfully welling tears,” this is how Vorobyov describes the psychological state of the protagonist.

The appearance of political instructor Anisimov gave rise to hope. He "called on the Kremlin to perseverance and said that communications were being pulled here from the rear and neighbors were coming." But it was another deception. A mortar attack began, shown by Vorobyov in naturalistic detail, in the suffering of Anisimov wounded in the stomach: “Cut off ... Well, please, cut off ...”, he begged Alexei. An "unnecessary tearful cry" accumulated in Alexei's soul. A man of "rapid action", Captain Ryumin understood: nobody needs them, they are cannon fodder to divert the attention of the enemy. "Only forward!" - Ryumin decides to himself, leading the cadets into the night battle. They didn't yell "Hurrah! For Stalin!" (like in the movies), something "wordless and hard" was torn from their chests. Alexey no longer "shouted, but howled." The patriotism of the cadets was expressed not in a slogan, not in a phrase, but in an act. And after the victory, the first in their lives, the young, ringing joy of these Russian boys: “... They smashed it to smithereens! Understand? Rip!”

But the German air attack began. Vorobyov amazingly depicted the hell of war with some new images: “trembling of the earth”, “dense carousel of aircraft”, “rising and falling fountains of explosions”, “waterfall fusion of sounds”. The author’s words seem to reproduce Ryumin’s passionate internal monologue: “But only night could lead the company to this line of final victory, and not this bashful little baby of the sky - day! Oh, if Ryumin could drive him into the dark gates of the night!..”

The climax occurs after the attack of tanks, when Yastrebov, who was running from them, saw a young cadet clinging to a hole in the ground. “A coward, a traitor,” Aleksey suddenly and terribly guessed, still not connecting himself with the cadet in any way. He suggested that Alexei report upstairs that he, Yastrebov, had shot down the cadets. “Shkurnik,” Alexey thinks of him, threatening to be sent to the NKVD after their argument about what to do next. In each of them, fear of the NKVD and conscience fought. And Aleksey realized that “death has many faces”: you can kill a comrade, thinking that he is a traitor, you can kill yourself in a fit of despair, you can throw yourself under a tank not for the sake of heroic deed but simply because instinct dictates it. K. Vorobyov-analyst explores this diversity of death in war and shows how it happens without false pathos. The story strikes with laconism, chastity of the description of the tragic.

The denouement comes unexpectedly. Alexei crawled out from under cover and soon found himself on a field with stacks and saw his own people, led by Ryumin. Before their eyes, a Soviet hawk was shot in the air. "Bastard! After all, all this was shown to us in Spain a long time ago! Ryumin whispered. “…We can never be forgiven for this!” Here is a portrait of Ryumin, who realized the great crime of the high command in front of the hawk, the boys, their gullibility and love for him, the captain: listening to something and trying to comprehend the thought eluding him ... "

And Alexei was also expecting a duel with a tank. Good luck: the tank caught fire. “The dumbfounded surprise at what he witnessed during these five days of his life” will sooner or later subside, and then he will understand who was to blame for the retreat, for the death of the purest and brightest. He just won’t understand why the gray-haired generals there, near Moscow, sacrificed their “children”.

In Vorobyov’s story, three truths seemed to collide: the “truth” of bloody fascism, the “truth” of cruel Stalinism, and the high truth of young men who lived and died with one thought: “I am responsible for everything!”.

Such prose made the picture of the war all-encompassing: the front line, captivity, the partisan region, the victorious days of 1945, the rear - this is what K. Vorobyov, A. Tvardovsky, and others resurrected in high and low manifestations.

Conclusion

"Whoever thinks about the past, he also has in mind the future. Whoever thinks about the future, he has no right to forget the past. Having passed through the fire of many battles, I know the severity of the war and do not want this fate to again fall to the lot of peoples"

In the works I have read and described, I am struck by the meticulous knowledge and exact description the realities of war, the truth of life. But after all, the most fundamental truth about war is not how bullets whistle, how people writhe in suffering and die. The truth is that they, people at war, think, feel, fighting, suffering, dying, killing the enemy.
To know this means to know the whole truth about a person, the truth - that a positive hero is never alone. Heroes always feel their belonging to all life on earth. Living is forever. Everything that has arisen with the aim of killing, enslaving, will surely fail. The heroes feel this with their hearts, with some special flair that the authors endow them with, who are able to show how that strongest, most invincible feeling, which is called an idea, is born in a person. A person obsessed with an idea knows his worth - this is his human essence. And no matter how different best books about the war, one thing united them without exception: the firm conviction that this bloody, terrible war was won by the people, they bore its incredible weight on their shoulders.
Now those who saw the war not on TV, who endured and survived it themselves, are becoming less and less every day. Years make themselves felt, old wounds and experiences that now fall to the lot of old people. The further, the more vivid and majestic they will unfold in our memory, and more than once our heart will want to relive the sacred, heavy and heroic epic of the days when the country fought from small to large. And nothing else but books will be able to convey to us this great and tragic event - the Great Patriotic War, the trials of which were a test of civil maturity, the strength of communication literary work with life, with the people, its viability artistic method.
About the price of victory, which our people paid with the lives of their best sons and daughters, about the price of peace that the earth breathes, you think today, reading bitter and such profound works of Soviet literature.

Bibliography

1. Vorobyov near Moscow. - M .: Fiction, 1993.

2. Korf about the writers of the twentieth century. - M .: Publishing house Sagittarius 2006.

3. Lazarenko reference book for schoolchildren. - M .: Bustard 2006.

4. Ants. - M .: Enlightenment 1981.

5. Tvardovsky Terkin. Collected works in six volumes. Volume three. - M .: Fiction, 1983.

6. Sholokhov of man. - M .: Roman-newspaper for teenagers and youth, 1988.

7. website: http://www. *****.

8. site: http://new. *****.

And the memory of that, probably

My soul will be sick

For now, an irrevocable misfortune

There will be no war for the world ...

A. Tvardovsky "Cruel Memory"

The events of the Great Patriotic War are fading farther and farther into the past. But the years do not erase them from our memory. The historical situation itself prompted great feats of the human spirit. It seems that, as applied to the literature on the Great Patriotic War, one can speak of a significant enrichment of the concept of the heroic of everyday life.

In this great battle, which determined the fate of mankind for many years to come, literature was not an outside observer, but an equal participant. Many writers have come forward. It is known how soldiers not only read, but also kept essays and articles by Sholokhov, Tolstoy, Leonov, poems by Tvardovsky, Simonov, Surkov close to their hearts. Poems and prose, performances and films, songs, works of art found a warm response in the hearts of readers, inspired heroic deeds, instilled confidence in victory.

In the plot of stories and novels, at first, a tendency to simple events was indicated. For the most part, the work was limited to the range of events related to the activities of one regiment, battalion, division, their defense of positions, and the exit from the encirclement. Events, exceptional and ordinary in their exclusivity, became the basis of the plot. In them, first of all, the movement of history itself was revealed. It is no coincidence that the prose of the 1940s includes new plot constructions. It differs in that it does not have the contrast of characters, traditional for Russian literature, as the basis of the plot. When the criterion of humanity became the degree of involvement in the history that was taking place before our eyes, the conflicts of characters faded before the war.

V. Bykov "Sotnikov"

“First of all, I was interested in two moral points,” Bykov wrote, “which can be simplified as follows: what is a person in the face of the crushing force of inhuman circumstances? What is he capable of when the possibilities to defend his life are exhausted to the end and it is impossible to prevent death? (V. Bykov. How the story "Sotnikov" was created. - "Literary Review, 1973, No. 7, p. 101). Sotnikov, who dies on the gallows, will forever remain in the memory of people, while Rybak will die for his comrades. A clear, characteristic conclusion without omissions is a characteristic feature of Bykovskaya prose.

The war is portrayed as everyday hard work with full dedication of all forces. In the story K. Simonova "Days and nights" (1943 - 1944) it is said about the hero that he felt the war, "as a general bloody suffering." A man works - this is his main occupation in the war, to the point of exhaustion, not just at the limit, but above any limit of his strength. This is his main military feat. The story mentions more than once that Saburov was "accustomed to the war", to the worst thing in it, "to the fact that healthy people who had just talked, joked with him, ceased to exist in ten minutes." Proceeding from the fact that in war the unusual becomes ordinary, heroism becomes the norm, the exceptional is translated by life itself into the category of the ordinary. Simonov creates the character of a restrained, somewhat stern, silent person who became popular in post-war literature. The war re-evaluated in people the essential and the inessential, the main and the unimportant, the true and the ostentatious: “... people in the war became simpler, cleaner and smarter… Good things came to the surface because they were no longer judged by numerous and obscure criteria… People in the face of death, they stopped thinking about how they look and how they seem - they had neither time nor desire for this.

V. Nekrasovlaid the tradition of a reliable depiction of the everyday course of the war in the story "In the trenches of Stalingrad" (1946) - ("trench truth"). In general, the narrative form gravitates towards the genre of the diary novel. The genre variety also influenced the formation of a deeply suffered, philosophical and lyrical, and not just an externally pictorial reflection of the events of the war. The story of everyday life and bloody battles in the besieged Stalingrad is conducted on behalf of Lieutenant Kerzhentsev.

In the foreground are the momentary concerns of an ordinary participant in the war. The author outlines a "local history" with a predominance of individual episodes presented in close-up. V. Nekrasov interprets heroism rather unexpectedly for the war years. On the one hand, his characters do not strive to accomplish feats at all costs, but on the other hand, the fulfillment of combat missions requires them to overcome the boundaries of personal capabilities, as a result, they gain true spiritual heights. For example, having received an order to take a hill, Kerzhentsev clearly understands the utopian nature of this order: he has no weapons, no people, but it is impossible not to obey. Before the attack, the hero's gaze is turned to the starry sky. The high symbol of the Bethlehem star becomes a reminder to him of eternity. Knowledge of celestial geography elevates him above time. The star indicated the severe need to stand to the death: “Right in front of me is a big star, bright, unblinking, like a cat's eye. Brought and became. Here and nowhere."

Story M.A. Sholokhov "The Fate of Man" (1956) continues the theme of the Great Patriotic War. Before us is a collision of man with history. Talking about his life, Sokolov draws the narrator into a single circle of experiences. After the Civil War, Andrey Sokolov had "relatives even with a rolling ball, nowhere, no one, not a single soul." Life spared him: he got married, had children, built a house. Then came a new war that took everything from him. He has no one again. The narrator seems to concentrate all the pain of the people: "... eyes, as if sprinkled with ashes, filled with such inescapable mortal longing that it hurts to look into them." From the pain of loneliness, the hero is saved by caring for an even more defenseless creature. The orphan Vanyushka turned out to be such - “a sort of little ragamuffin: his face is all in watermelon juice, covered with dust, dirty as dust, unkempt, and his eyes are like stars at night after the rain!”. A consolation appeared: “at night you stroke his sleepy one, then you sniff the hairs in the whirlwinds, and the heart departs, it becomes softer, otherwise it turned to stone with grief ...”.

It is hard to imagine how powerful an influence on the upbringing of more than one generation had a novel about the feat of the underground Komsomol members. IN "Young Guard" (1943, 1945, 1951) A.A. Fadeeva there is everything that excites a teenager at all times: an atmosphere of mystery, conspiracy, sublime love, courage, nobility, deadly danger and heroic death. Restrained Seryozhka and proud Valya Borts, capricious Lyubka and taciturn Sergey Levashov, shy Oleg and thoughtful, strict Nina Ivantsova ... "Young Guard" is a novel about the feat of the young, about their courageous death and immortality.

V. Panova "Satellites" (1946).

The heroes of this story come face to face with the war during the first flight of an ambulance train to the front line. It is here that the test of the spiritual strength of a person, his dedication and devotion to the cause is carried out. The dramatic trials that befell the heroes of the story at the same time contributed to the identification and approval of the main, authentic in a person. Each of them must overcome something in himself, give up something: Dr. Belov to suppress a huge grief (he lost his wife and daughter during the bombing of Leningrad), Lena Ogorodnikova to survive the collapse of love, Yulia Dmitrievna to overcome the loss of hope to start a family. But these losses and self-denial did not break them. Suprugov's desire to preserve his little world turns into a sad result: the loss of personality, the illusory nature of existence.

K. Simonov "The Living and the Dead"

From chapter to chapter, a wide panorama of the first period of the Patriotic War unfolds in The Living and the Dead. All the characters in the novel (and there are about one hundred and twenty of them) merge into a monumental collective image - the image of the people. Reality itself: the loss of vast territories, colossal human losses, terrible torments of encirclement and captivity, humiliation by suspicion and much that the heroes of the novel saw and went through, makes them ask questions: why did this tragedy happen? Who is guilty? Simonov's chronicle has become the history of the consciousness of the people. This novel convinces that, having merged together in a sense of their own historical responsibility, the people are able to defeat the enemy and save their fatherland from destruction.

E. Kazakevich "Star"

"Star" is dedicated to scouts who are closer than others to death, "always in her sight." A scout has freedom unthinkable in an infantry formation; his life or death depends directly on his initiative, independence, and responsibility. At the same time, he must, as it were, renounce himself, be ready to “disappear at any moment, dissolve in the silence of the forests, in the unevenness of the soil, in the flickering shadows of twilight” ... The author notes that “in the lifeless light of German missiles” intelligence officers as if "seeing the whole world." The callsigns of the reconnaissance groups and divisions Zvezda and Zemlya receive a conditionally poetic, symbolic meaning. The conversation of the Star with the Earth begins to be perceived as a "mysterious interplanetary conversation", in which people feel "as if lost in the world space." On the same poetic wave, the image of the game arises (“an ancient game in which there are only two existing persons: man and death”), although there is a certain meaning behind it at the extreme stage of mortal risk, too much belongs to chance and nothing can be predicted.

The review includes more than well-known literary works about the Great War, we will be glad if someone wants to pick them up and flip through the familiar pages ...

KNKH Librarian M.V. Krivoshchekova

Vladimir Bogomolov "In August forty-four" - a novel by Vladimir Bogomolov, published in 1974. Other names of the novel are “Killed during detention ...”, “Take them all! ..”, “Moment of truth”, “Extraordinary search: In August forty-fourth”
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Boris Vasiliev "I was not on the lists" - a story by Boris Vasilyev in 1974.
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Alexander Tvardovsky "Vasily Terkin" (another name is "The Book of a Fighter") - a poem by Alexander Tvardovsky, one of the main works in the poet's work, which received national recognition. The poem is dedicated to a fictional character - Vasily Terkin, a soldier of the Great Patriotic War
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Yuri Bondarev "Hot snow » is a 1970 novel by Yuri Bondarev set near Stalingrad in December 1942. The work is based on real historical events- attempt German band armies "Don" of Field Marshal Manstein to release the 6th Army of Paulus surrounded near Stalingrad. It was that battle described in the novel that decided the outcome of the entire Battle of Stalingrad. Director Gavriil Egiazarov made a film of the same name based on the novel.
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Konstantin Simonov "The Living and the Dead" - novel in three books(“The Living and the Dead”, “Soldiers Are Not Born”, “Last Summer”), written by the Soviet writer Konstantin Simonov. The first two parts of the novel were published in 1959 and 1962, the third part in 1971. The work is written in the genre of an epic novel, the storyline covers the time interval from June 1941 to July 1944. According to literary critics of the Soviet era, the novel was one of the brightest domestic works about the events of the Great Patriotic War. In 1963, the first part of the novel The Living and the Dead was filmed. In 1967, the second part was filmed under the title "Retribution".
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Konstantin Vorobyov "Scream" - the story of the Russian writer Konstantin Vorobyov, written in 1961. One of the most famous works a writer about the war, telling about the participation of the protagonist in the defense of Moscow in the autumn of 1941 and his falling into German captivity.
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Alexander Alexandrovich "Young Guard" - novel Soviet writer Alexander Fadeeva, dedicated to the underground youth organization operating in Krasnodon during the Great Patriotic War called the Young Guard (1942-1943), many of whose members died in Nazi dungeons.
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Vasil Bykov "Obelisk" (Belarusian Abelisk) is a heroic story by the Belarusian writer Vasil Bykov, created in 1971. In 1974, for "Obelisk" and the story "Survive Until Dawn" Bykov was awarded the State Prize of the USSR. In 1976, the story was filmed.
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Mikhail Sholokhov "They fought for the Motherland" - a novel by Mikhail Sholokhov, written in three stages in 1942-1944, 1949, 1969. The writer burned the manuscript of the novel shortly before his death. Only a few chapters of the work were published.
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Anthony Beevor, The Fall of Berlin. 1945" (Eng. Berlin. The Downfall 1945) is a book by the English historian Anthony Beevor about the assault and capture of Berlin. Released in 2002; published in Russia by the AST publishing house in 2004. It was a No. 1 bestseller in seven countries outside of the UK, and was in the top five in nine other countries.
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Boris Polevoy "The Tale of a Real Man" - the story of B.N. Polevoy of 1946 about the Soviet pilot-ace Meresyev, who was shot down in the battle of the Great Patriotic War, seriously wounded, lost both legs, but by force of will returned to the ranks of active pilots. The work is imbued with humanism and Soviet patriotism. More than eighty times it was published in Russian, forty-nine - in the languages ​​of the peoples of the USSR, thirty-nine - abroad. The prototype of the hero of the book was a real historical character, pilot Alexei Maresyev.
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Mikhail Sholokhov "The Fate of Man" is a short story by the Soviet Russian writer Mikhail Sholokhov. Written in 1956-1957. The first publication is the Pravda newspaper, No. December 31, 1956 and January 2, 1957.
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Vladimir Dmitrievich "Privy Advisor to the Leader" - a novel-confession by Vladimir Uspensky in 15 parts about the personality of I.V. Stalin, about his entourage, about the country. Time of writing the novel: March 1953 - January 2000. For the first time the first part of the novel was published in 1988 in the Alma-Ata magazine "Prostor".
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Anatoly Ananiev "Tanks are moving in a rhombus" - a novel by the Russian writer Anatoly Ananyev, written in 1963 and telling about the fate of Soviet soldiers and officers in the early days Battle of Kursk 1943.
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Yulian Semyonov "The Third Map" - a novel from a cycle about the work of the Soviet intelligence officer Isaev-Stirlitz. Written in 1977 by Yulian Semyonov. The book is also interesting in that it involves a large number of real-life personalities - OUN leaders Melnik and Bandera, SS Reichsführer Himmler, Admiral Canaris.
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Konstantin Dmitrievich Vorobyov "Killed near Moscow" - the story of the Russian writer Konstantin Vorobyov, written in 1963. One of the most famous works of the writer about the war, which tells about the defense of Moscow in the autumn of 1941.
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Alexander Mikhailovich "Khatyn story" (1971) - A story by Ales Adamovich, dedicated to the struggle of partisans against the Nazis in Belarus during the Great Patriotic War. The culmination of the story is the destruction of the inhabitants of one of the Belarusian villages by the punitive Nazis, which allows the author to draw parallels both with the tragedy of Khatyn and with the war crimes of subsequent decades. The story was written from 1966 to 1971.
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Alexander Tvardovskoy "I was killed near Rzhev" - a poem by Alexander Tvardovsky about the events of the Battle of Rzhev (the First Rzhev-Sychev operation) in August 1942, at one of the most intense moments of the Great Patriotic War. Written in 1946.
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Vasiliev Boris Lvovich "The Dawns Here Are Quiet" - one of the most poignant in its lyricism and tragedy of works about the war. Five female anti-aircraft gunners, led by foreman Vaskov, in May 1942, at a distant junction, confronted a detachment of selected German paratroopers - fragile girls enter into a deadly battle with strong, trained to kill men. The bright images of girls, their dreams and memories of loved ones, create a striking contrast with the inhuman face of the war, which did not spare them - young, loving, tender. But even through death they continue to affirm life and mercy.
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Vasiliev Boris Lvovich "Tomorrow there was a war" - Yesterday these boys and girls were sitting at school desks. Crowd. They quarreled and reconciled. Experienced first love and misunderstanding of parents. And dreamed of a future - clean and bright. And tomorrow...Tomorrow was a war . The boys took their rifles and went to the front. And the girls had to take a sip of military dashing. To see what a girl's eyes should not see - blood and death. To do what is contrary to woman's nature - to kill. And die themselves - in the battles for the Motherland ...

Sitdikova Adilya

Information and abstract work.

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Republican scientific and practical conference of schoolchildren

them. Fatiha Karima

Section: The theme of the Great Patriotic War in Russian literature.

Information and abstract work on the topic:

"Reflection of the Great Patriotic War

in the work of Russian writers and poets.

Performed :

Sitdikova Adilya Rimovna

10th grade student

MBOU "Musabay-Zavodskaya secondary school"

Scientific director:

Nurtdinova Elvira Robertovna,

teacher of Russian language and literature

MBOU "Musabay-Zavodskaya secondary school"

Tukaevsky municipal district of the Republic of Tatarstan

Kazan - 2015

Introduction………………………………………………………………….………….3

Main part…………………………………………………………………………4

Conclusion…………………………………………………………………….……10

List of used literature……………………………………….……..11

Introduction

The relevance of the topic of the Great Patriotic War in Russian literature is dictated by the presence of a number of problems that have matured in the modern society of the younger generation.

There is a need to rethink the theme of the Great Patriotic War in Russian literature, which requires a new reading of the creative heritage of the writers of the war years, reorienting it in accordance with modern sociocultural reality.

There are many dogmatic and outdated conclusions in the public mind that hinder adequate education of the younger generation.

The theme of the Great Patriotic War in Russian literature is heterogeneous, original and requires an increase in the assessment of its artistic and socio-historical significance.

Also, the need to expand the research horizons by including new little-studied works of authors written on military topics is highlighted.

So, the relevance of this information and abstract work lies in the fact that modern society, which is currently undergoing global socio-cultural, political, economic changes, needs protection from the destruction and distortion of the nation's historical value repository. Russian literature in this sense undeniably acts as the keeper of the memory of generations and serves as a serious support for the patriotic, humanistic orientation and moral disposition of the younger generation.

Target of this work is to describe the problem of depicting the Great Patriotic War in Russian literature on the basis of theoretical sources.

The aim of this work is to solve the following tasks :

• define the research problem, justify its significance and relevance;
• study several theoretical sources on the topic;
• summarize the experience of the researchers and formulate their conclusions.

This work is based on the provisions of the theoretical sources of the following authors: Agenosova V.V., Zhuravleva V.P., Linkov L.I., Smirnov V.P., Isaev A.I., Mukhin Yu.V.

The degree of knowledge. real theme work is covered in the works of such authors as Gorbunov V.V.,Gurevich E.S., Devin I.M., Esin A.B., Ivanova L.V., Kiryushkin B.E., Malkina M.I., Petrov M.T. and others.Despite the abundance of theoretical works, this topic needs further development and expansion of the range of issues.

Personal contribution The author of this work sees the solution of the problems highlighted in the fact that its results can be used in the future when teaching lessons at school, when planning class hours and extracurricular activities dedicated to the Victory Day in the Great Patriotic War and writing scientific papers on this topic.

Reflection of the Great Patriotic War in the work of Russian writers and poets.

Enough time has passed separating us from the cold horror of the Great Patriotic War. However, this topic will worry the distant future generations for a long time to come.

The upheavals of the war years (1941-1945) caused a response in fiction, which gave rise to a huge number of literary works, but most of the works about the Great Patriotic War were created in post-war years. It was impossible to comprehend and cover completely and immediately the large-scale tragedy that occurred with all its cause-and-effect relationships.

After the country was swept by a wave of news about the German attack on the USSR, passionate and majestic speeches by literary figures, journalists, correspondents thundered with a call to rise in defense of their Great Motherland. On June 24, 1941, the song by A.V. Alexandrov on a poem by V.I. Lebedev-Kumach, which later became almost the anthem of the war - "Holy War" (5).

Russian literature during the Great Patriotic War was multi-genre and multi-problem. At the beginning of the period, “operational”, that is, small genres prevailed (6).

Poetry during the war years was in great demand: in all the newspapers of the country, poems on the theme of the Great Patriotic War were published one after another. At the front, poems were popular: they were read, memorized, turned into fighting songs. The soldiers themselves composed new poems, even if imperfect, but touching and sincere. It is impossible to even imagine what was going on in the soul of the soldiers going through the war years. But the inner qualities of the Russian character are striking: in difficult and harsh conditions, think about poetry, compose, read, memorize.

The heyday of the poetry of the forties is marked by the names of: M. Lukonin, D. Samoilov, Yu. Voronov, Yu. Drunina, S. Orlov, M. Dudin, A. Tvardovsky. Their poems are based on violent themes of condemning the war, glorifying the exploits of soldiers, and front-line friendship. Such were the attitudes of the military generation (7).

Poems of the war years, such as “Dark Night” by V. Agatov, “Nightingales” by A. Fatyanov, “In the Dugout” by A. Surkov, “In the Frontline Forest”, “Spark” by M. Isakovsky and many others, have become part of the spiritual life of the Motherland . These poems are exclusively lyrical, the theme of war is present in them indirectly, the psychological nature of human experiences and feelings comes to the fore.

The poems of K. Simonov gained great popularity during the war. He wrote the famous "Do you remember, Alyosha, the roads of the Smolensk region", "Attack", "Roads", "Open letter" and others. His poem "Wait for me and I will return ..." was rewritten by many soldiers hundreds of thousands of times. It has high emotional notes, penetrating to the very heart.

The poem "Vasily Terkin" by A. Tvardovsky became the pinnacle of wartime poetic creativity. The hero - an "ordinary guy" - fell in love with the people: not discouraged, brave and courageous, not shy in front of his superiors. The fighters used some of the stanzas from the poem as sayings. Each new chapter of the poem was immediately published in newspapers, issued as a separate brochure. And, indeed, the language of the poem is well-aimed, precise, in every line sounds boldness and freedom. This work of art is written in such an unusual, accessible soldier's language.

Speaking about the language of works of art on the topic of war, it is important to note that the literature of those years demanded clarity and sincerity, rejecting falsehood, blurring of facts and hack work. The works of writers and poets various levels artistic skill, but all of them are united by the theme of moral greatness Soviet man over a soldier of the fascist army, causing the right to fight enemies.

An important role in Russian literature during the war years was played by prose works. Prose was based on the heroic traditions of Soviet literature. Such works as "They fought for the Motherland" by M. Sholokhov, "The Young Guard" by A. Fadeev, "The Russian Character" by A. Tolstoy, "The Unsubdued" by B. Gorbatov and many others (2) entered the golden fund.

In the first post-war decade, the theme of the Great Patriotic War continued its development with renewed vigor. During these years, M. Sholokhov continued to work on the novel "They Fought for the Motherland." K. Fedin wrote the novel "Bonfire". The works of the first post-war decades were distinguished by a pronounced desire to show the comprehensive events of the war. Hence they are usually called "panoramic" novels ("The Tempest" by O. Latsis, "White Birch" by M. Bubyonnov, "Unforgettable Days" by Lynkov and many others) (7).

It is noted that many "panoramic" novels are characterized by some "romanticization" of the war, the events are varnished, psychologism is very weakly manifested, negative and positive characters are directly opposed. But, despite this, these works made an undeniable contribution to the development of the prose of the war years.

The next stage in the development of the theme of the Great Patriotic War is the entry into Russian literature at the turn of the 50s - 60s of the writers of the so-called "second wave" or front-line writers. Here are the following names:Yu. Bondarev, E. Nosov, G. Baklanov, A. Ananiev, V. Bykov, I. Akulov, V. Kondratiev, V. Astafiev, Yu. Goncharov, A. Adamovich and others. All of them were not just eyewitnesses of the war years, but also direct participants in the hostilities, who had seen and personally experienced the horrors of the reality of the war years.

Front-line writers continued the traditions of Russian Soviet literature, namely the traditions of Sholokhov, A. Tolstoy, A. Fadeev, L. Leonov (3).

The circle of vision of the problems of the war in the works of front-line writers was limited mainly to the limits of the company, platoon, battalion. The trench life of soldiers, the fate of battalions, companies were described, and at the same time, the utmost closeness to a person in war was shown. Events in the works focused on a single combat episode. Thus, the point of view of front-line writers merges with the "soldier's" view of the war.

Such a narrow strip drawn through the whole war passes through many early works of art writers-prose writers of the middle generation: "Last volleys", "Battalions ask for fire" by Yu. Bondarev, "Third Rocket", "Crane Cry" by V. Bykov, A Patch of the Earth", "South of the main blow", "The dead have no shame" by G. Baklanov, "Killed near Moscow", "Scream" by K. Vorobyov others (4 ).

Front-line writers had an undeniable advantage in their arsenal, namely, direct experience of participation in the war, its front line, trench life. This knowledge served them as a powerful tool for conveying extremely vivid and realistic pictures of the war, made it possible to highlight the smallest details of military life, to strongly and accurately show the terrible and tense minutes of the battle. This is all that they, the front-line writers, experienced themselves and saw with their own eyes. This is the naked truth of war, portrayed on the basis of a deep personal shock. The works of front-line writers are striking in their frankness (7).

But the artists were not interested in battles and not the bare truth of the war. Russian literature of the 1950s and 1960s had a characteristic tendency to depict the fate of a person in its connection with history, as well as the inner worldview of a person and his connection with the people. This direction can be characterized as a humanistic understanding of the war in the works of Russian literature (2).

The works of the 50-60s, written on the theme of the Great Patriotic War, also differ in a very significant feature. Unlike previous works, they sound more tragic notes in the depiction of the war. The books of front-line writers reflect cruel and merciless drama. It is no coincidence that in the theory of literature these works received the term "optimistic tragedies". The works are very far from calm and measured illustrations, the heroes of these works were officers and soldiers of one platoon, battalion, company. The plot reflects the harsh and heroic truth of the war years.

The theme of the war among front-line writers is revealed not so much through the prism of heroic deeds and outstanding deeds, but rather through work, inevitable and necessary, independent of the desire to perform it, forced and tiring. And depending on how much the efforts of each are applied to this work, so much will the approach of victory be. It was in such daily work that front-line writers saw the heroism and courage of a Russian person.

The writers of the “second wave” mainly used small genres in their work: short stories and short stories. The novel has been relegated to the background. This allowed them to more accurately and strongly convey personal experience seen and experienced directly. Their memory could not forget, their hearts overflowed with feelings to speak out and convey to the people something that should never be forgotten.

So, the works of the so-called "second wave" are characterized by the personal experience of depicting the war of front-line writers, the events described are local in nature, time and space are extremely compressed in the works, and the number of heroes is reduced to a narrow circle.

Since the mid-60s, the novel as a genre has not only regained popularity, but also undergoes some changes caused by social need, which consists in the requirement to objectively and fully provide facts about the war: what was the degree of readiness of the Motherland for war, the nature and causes of those or other events, the role of Stalin in managing the course of the war, and much more. All these historical events greatly excited the souls of the people and they were no longer interested in the fiction of stories and stories about the war, but in historical events based on documents (5).

The plots of the novels of the mid-60s on the theme of the Great Patriotic War are based on documents, facts and reliable events of a historical nature. Real characters are introduced into the story. The purpose of the novels on the theme of the Great Patriotic War is to describe the events of the war as broadly, comprehensively and at the same time, historically reliable and accurate.

Fiction in conjunction with documentary evidence is a characteristic trend of the novels of the mid-60s and early 70s: “July 41” by G. Baklanov, “The Living and the Dead” by K. Simonov, “Origins” by G. Konovalov, “Victory” A. Chakovsky, "Sea Captain" A. Kron, "Baptism" I. Akulov, "Commander" V. Karpov and others.

In the 1980s and 1990s, the theme of the Great Patriotic War in Russian literature again underwent a new comprehension. During these years, the heroic-epic works of V. Astafyev “Cursed and Killed”, G. Vladimov “The General and His Army”, A. Solzhenitsyn “On the Edge”, G. Baklanov “And Then Marauders Come” and others saw the light. The works of the 80-90s basically contain important generalizations on military topics: at what cost was the victory given to our country, what was the role of such historical figures of the war years as Stalin, Khrushchev, Zhukov, Vlasov and others. rises new topic: O future fate military generation in the postwar years.

Thus, the theme of the Great Patriotic War has developed and changed over the years.

Conclusion

In this paper, an attempt was made to highlight, on the basis of several theoretical sources, the image of the theme of the Great Patriotic War by writers of different years.

Russian literature indisputably acts as a repository of the memory of generations. And this is manifested with particular force in works that depict the horrors of the Great Patriotic War.

Never before has the power of the word of writers on events been so clearly and impressively manifested. historical significance, as in the years of the Great Patriotic War.

During the war years, literature became a weapon. The reaction of creative figures was instantaneous.

The traditions of Soviet literature during the Great Patriotic War are based on a clear understanding of the most important role of the people in the war, without their participation, without heroism and courage, devotion and love for their country, it would be impossible to achieve those historical successes and feats that are known today.

Despite the originality of the image of a person in the war, all writers are inherent in common feature- the desire to portray the sensitive truth about the war.

In fact, in the 1940s, there were practically no significant and large works on the theme of the war. Many eternal and fundamental questions of human existence arose before the writers: what does evil mean and how to resist it; what is the cruel truth of war; what is freedom, conscience and duty; and many others. The writers answered these questions in their works.

List of used literature:

1. Agenosova V.V. Russian literature of the XX century, M.: Bustard. - 2000
2. Zhuravleva V.P. Russian literature of the XX century, - M., Education, - 1997
3. Linkov L.I. Literature. - St. Petersburg: Trigon, - 2003
4. About exploits, about valor, about glory. 1941-1945 - comp. G.N. Yanovsky, M., - 1981
5. Smirnov V.P. A Brief History of World War II. - M.: Ves Mir, - 2009
6. Isaev A.I. Myths of the Great Patriotic War. Military history collection. - M.: Eksmo, - 2009
7. Mukhin Yu.V. Lessons of the Great Patriotic War. - M.: Yauza-Press, - 2010