Bessonov hot snow characteristic. Abstract: Yuri Vasilyevich Bondarev "Hot snow"

The author of "Hot Snow" raises the problem of man in war. Is it possible among death and
violence not harden, not become cruel? How to maintain self-control and the ability to feel and empathize? How to overcome fear, to remain a man, finding himself in unbearable conditions? What reasons determine the behavior of people in war?
The lesson can be structured as follows:
1. introduction teachers of history and literature.
2. Defense of the project "Battle of Stalingrad: events, facts, comments".
Z. Protection of the project Historical meaning battle on the Myshkova River, its place during the Battle of Stalingrad.
4. Defense of the project "Yu. Bondarev: front-line writer".
5. Analysis of the novel by Y. Bondarev " Hot Snow».
6. Defense of the projects "Restoration of the destroyed Stalingrad" and "Volgograd today".
7. The final word of the teacher.

We turn to the analysis of the novel "Hot Snow"

Bondarev's novel is unusual in that its events are limited to only a few days.

- Tell us about the time of action and the plot of the novel.
(The action of the novel takes place over the course of two days, when Bondarev's heroes selflessly defend a tiny patch of land from German tanks. In "Hot Snow" time is compressed more densely than in the story "Battalions Ask for Fire": this is a short march of the army of General Bessonov unloaded from the echelons and the battle who decided so much in the fate of the country; these are cold
frosty dawns, two days and two endless December nights. Without lyrical digressions, as if the author's breath was caught from constant tension.

The plot of the novel "Hot Snow" is connected with the true events of the Great Patriotic War, with one of its defining moments. The life and death of the heroes of the novel, their destinies are illuminated by an alarming light. true history, as a result of which everything under the writer's pen acquires weight, significance.

- During the battle on the Myshkova River, the situation in the Stalingrad direction is tense to the limit. This tension is felt on every page of the novel. Remember what General Bessonov said at the council about the situation in which his army found itself. (Episode at the icons.)
(“If I believed, I would have prayed, of course. On my knees I asked for advice and help. But I don’t believe in God and I don’t believe in miracles. 400 tanks - that’s the truth for you! And this truth is put on the scales - a dangerous weight on scales of good and evil. A lot now depends on this: a four-month
the defense of Stalingrad, our counteroffensive, the encirclement of the German armies here. And this is true, as well as the fact that the Germans launched a counteroffensive from the outside, but the scales still need to be touched. Is it enough
do I have the strength? .. ")

In this episode, the author shows the moment of maximum tension of human strength, when the hero is faced with eternal questions being: what is truth, love, goodness? How to make the good outweigh on the scales, can one person do it? It is no coincidence that in Bondarev this monologue takes place at the icons. Yes, Bessonov does not believe in God. But the icon here is a symbol historical memory about the wars, the sufferings of the Russian people, who won victories with extraordinary fortitude, backed up Orthodox faith. And the Great Patriotic War was no exception.

(The writer assigns almost the main place to the Drozdovsky battery. Kuznetsov, Ukhanov, Rubin and their comrades are a part of the great army, they express the spiritual and moral traits of the people. In this wealth and variety of characters, from the private to the general, Yuri Bondarev shows the image of the people, who stood up for the defense of the Motherland, and does it brightly and convincingly, it seems, without much effort, as if it were dictated by life itself.)

How does the author present the characters at the beginning of the story? (Analysis of the episodes "In the Car", "The Bombing of the Train".)
(We discuss how Kuznetsov, Drozdovsky, Chibisov, Ukhanov behave during these events.
We draw attention to the fact that one of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. We compare the descriptions of the appearance of Drozdovsky and Kuznetsov. We note that Bondarev does not show Drozdovsky's inner experiences, but reveals Kuznetsov's worldview in great detail through internal monologues.)

- During the march, Sergunenkov's horse breaks his legs. Analyze Behavior
characters in this episode.
(Rubin is cruel, he offers to beat the horse with a whip to get up, although everything is already pointless: it is doomed. Shooting at the horse, it does not hit the temple, the animal suffers. He swears at Sergunenkov, who is unable to hold back tears of pity. Sergunenkov is trying to feed the dying horse Ukhanov wants to support young Sergunenkov and cheer him up.
restrains rage at the battery being out of order. “Drozdovsky’s thin face seemed calmly frozen, only restrained rage splashed in the pupils.” Drozdovsky screams and
orders. Kuznetsov dislikes Rubin's vicious determination. He proposes to lower the next gun without horses, on the shoulders.)

Everyone experiences fear in war. How do the characters in the novel deal with fear? How does Chibisov behave during shelling and in the case of a scout? Why?
(“Kuznetsov saw Chibisov’s face, gray as earth, with frozen eyes, his hoarse mouth: “Not here, not here, Lord ...” - and up to individual hairs, visible, as if the stubble on his cheeks had left gray skin. he pressed his hands against Kuznetsov's chest and, pressing his shoulder and back into some narrow non-existent space, cried out
prayerfully: “Children! After all, children ... I have no right to die. No! .. Children! .. "". Out of fear, Chibisov pressed himself into the trench. Fear paralyzed the hero. He cannot move, mice crawl over him, but Chibisov does not see anything, does not react to anything, until Ukhanov called out to him. In the case of the scout, Chibisov is already completely paralyzed by fear. They say about such at the front: "The living dead." “Tears rolled from Chibisov’s blinking eyes down the untidy, dirty stubble of his cheeks and the balaclava pulled over his chin, and Kuznetsov was struck by an expression of some kind of dog longing, insecurity in his appearance, misunderstanding of what had happened and is happening, what they want from him. At that moment, Kuznetsov did not realize that it was not physical, devastating impotence and not even the expectation of death, but animal despair after everything Chibisov experienced ... Probably, that in blind fear he shot at the scout, not believing that this was his own, Russian , was the last thing that finally broke him. “What happened to Chibisov was familiar to him in other circumstances and with other people, from whom, with longing before endless suffering, everything that restrained seemed to be pulled out, like some kind of rod, and this, as a rule, was a premonition of his death. Such people were not considered alive in advance, they were looked at as if they were dead.

- Tell us about the case with Kasyankin.
- How did General Bessonov behave during the shelling in the trench?
How does Kuznetsov deal with fear?
(I don't have the right to do that. I don't! It's disgusting impotence... I have to take panoramas! I
afraid to die? Why am I afraid to die? Shrapnel to the head… Am I afraid of a shrapnel to the head? .. No,
now I'm jumping out of the trench. Where is Drozdovsky? .. "" Kuznetsov wanted to shout: "Wrap up
winding now!” - and turn away so as not to see these knees of his, this, like a disease, his invincible fear, which suddenly pierced sharply and at the same time, like the wind that arose
somewhere the word "tanks", and, trying not to succumb and resisting this fear, he thought: "Don't
May be")
The role of a commander in a war is extremely important. The course of events and the lives of his subordinates depend on his decisions. Compare the behavior of Kuznetsov and Drozdovsky during the battle. (Analysis of the episodes "Kuznetsov and Ukhanov take off their sights", "Tanks attack the battery", "Kuznetsov at Davlatyan's gun").

- How does Kuznetsov decide to remove the sights? Does Kuznetsov follow Drozdovsky's order to open fire on the tanks? How does Kuznetsov behave at Davlatyan's gun?
(During shelling, Kuznetsov struggles with fear. You need to remove the sights from the guns, but getting out of the trench under continuous fire is certain death. By the authority of the commander, Kuznetsov can send any fighter to this task, but he understands that he has no moral right to do so. " I
I have and I don’t have the right, flashed through Kuznetsov’s head. “Then I will never forgive myself.” Kuznetsov cannot send a person to certain death, it is so easy to dispose of a human life. As a result, they remove the sights together with Ukhanov. When the tanks were advancing on the battery, it was necessary to let them in at a minimum distance before opening fire. To discover oneself ahead of time means to fall under direct enemy fire. (This happened with Davlatyan's gun.) In this situation, Kuznetsov shows extraordinary restraint. Drozdovsky calls the command post, furiously orders: "Fire!". Kuznetsov waits to the last, thereby saving the gun. Davlatyan's gun is silent. Tanks are trying to break through in this place and hit the battery from the rear. Kuznetsov alone runs to the gun, not yet knowing what he will do there. Takes the fight almost alone. "I'm going crazy," thought Kuznetsov ... only in the corner of his consciousness realizing what he was doing. His eyes impatiently caught in the crosshairs black stains of smoke, oncoming bursts of fire, the yellow sides of tanks crawling in iron herds to the right and left in front of the beam. His trembling hands threw shells into the smoking throat of the breech, his fingers nervously, groping in a hurry to press the trigger.)

- And how does Drozdovsky behave during the battle? (Commented reading of the episodes “U
Davpatyan's guns", "Death of Sergunenkov").What does Drozdovsky accuse Kuznetsov of? Why?How do Rubin and Kuznetsov behave during Drozdovsky's order?How do the heroes behave after the death of Sergunenkov?
(Having met Kuznetsov at Davlatyan's gun, Drozdovsky accuses him of desertion. This
The accusation seems at that moment completely inappropriate and absurd. Instead of understanding the situation, he threatens Kuznetsov with a gun. Only Kuznetsov's explanation is a bit
calms him down. Kuznetsov quickly orients himself in a battle situation, acts prudently, intelligently.
Drozdovsky sends Sergunenkov to certain death, does not appreciate human life does not think
about people, considering himself exemplary and infallible, he shows extreme egoism. People for him are only subordinates, not close, strangers. Kuznetsov, on the contrary, is trying to understand and get closer to those who are under his command, he feels his inextricable connection with them. Seeing the “tangibly naked, monstrously open” death of Sergunenkov near the self-propelled gun, Kuznetsov hated Drozdovsky and himself for not being able to interfere. Drozdovsky, after the death of Sergunenkov, is trying to justify himself. “Did I want him dead? - Drozdovsky's voice broke into a squeal, and tears sounded in it. Why did he get up? .. Did you see how he got up? For what?")

- Tell us about General Bessonov. What caused his severity?
(The son has gone missing. As a leader, he has no right to be weak.)

- How do subordinates treat the general?
(Fawning, unnecessarily caring.)

Does Bessonov like this subservience?
Mamaev kurgan. Be worthy of the memory of the fallen ... (No, it irritates him. “Such a small
vain play with the aim of winning sympathy always disgusted him, irritated him in others, repelled him, like the empty lightness or weakness of a person who is insecure in himself”)

- How does Bessonov behave during the battle?
(During the battle, the general is at the forefront, he observes and manages the situation, he understands that many soldiers are yesterday’s boys, just like his son. He does not give himself the right to weakness, otherwise he will not be able to make tough decisions. He gives the order: “ Stand to the death! Not a step back "The success of the entire operation depends on this. Severe with subordinates, Including Vesnin)

- How does Vesnin soften the situation?
(Maximum sincerity and openness of relations.)
- I'm sure that all of you remember the heroine of the novel, Zoya Elagina. On her example, Bondarev
shows the gravity of the position of women in the war.

Tell me about Zoe. What attracts you to her?
(Zoya is revealed to us throughout the novel as a person ready for self-sacrifice, capable of embracing the pain and suffering of many with her heart. She, as it were, goes through many trials, from intrusive interest to rude rejection, But her kindness, her patience, her sympathy are enough for The image of Zoya somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, harsh reality femininity, affection and tenderness.

Probably the most mysterious thing in the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. War, its cruelty and blood, its terms overturn the usual ideas about time. It was the war that contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of one's feelings. And it begins with the quiet, incomprehensible jealousy of Kuznetsov: he is jealous of Zoya for Drozdovsky.)

- Tell us how the relationship between Zoya and Kuznetsov developed.
(At first, Zoya is carried away by Drozdovsky (confirmation that Zoya was deceived in Drozdovsky was his behavior in the case with the scout), but imperceptibly, without noticing how, she singles out Kuznetsov. She sees that this naive, as it seemed to her, boy, being in a hopeless situation, one fights against enemy tanks. And when Zoya is threatened with death, covers her with his body. This person thinks not about himself, but about his beloved. The feeling that appeared between them so quickly, just as quickly ended.)

- Tell us about the death of Zoya, about how Kuznetsov is going through the death of Zoya.
(Kuznetsov bitterly mourns the deceased Zoya, and it is from this episode that the title is taken
novel. When he wiped his face wet from tears, “the snow on the sleeve of the quilted jacket was hot from his
tears”, “He, as in a dream, mechanically took hold of the edge of his overcoat and went, still not daring to look there, in front of him, down where she lay, from where it breathed a quiet, cold, deadly emptiness: no voice, no groan, no living breath ... He was afraid that he would not stand it now, he would do something furiously crazy in a state of despair and his unthinkable guilt, as if his life had ended and there was nothing now. Kuznetsov cannot believe that she is gone, he tries to reconcile with Drozdovsky, but the latter’s attack of jealousy, so unthinkable now, stops him.)
- Throughout the story, the author emphasizes Drozdovsky's exemplary bearing: a girl's waist, tightened with a belt, straight shoulders, he is like a tight string.

How is it changing appearance Drozdovsky after Zoya's death?
(Drozdovsky walked in front, faintly and loosely swaying, his always straight shoulders were hunched, his arms turned back, holding the edge of his overcoat;
bandage on his now short neck, the bandage slipped onto the collar)

Long hours of battle, the senseless death of Sergunenkov, the mortal wound of Zoya,
to which Drozdovsky is partly to blame - all this forms an abyss between two young
officers, their moral incompatibility. In the finale, this abyss is also indicated
sharper: four surviving gunners “consecrate” the newly received orders in a soldier's bowler hat; and the sip that each of them will take is, first of all, a sip of commemoration - it contains bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him, he is the surviving) wounded commander of the standing battery, the general does not know about Drozdovsky's grave guilt and most likely will never know. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

- Is it possible to talk about the similarity of the characters of Kuznetsov and Bessonov?

"The greatest ethical height, philosophical thought novel, as well as its emotional
tension reaches in the finale, when there is an unexpected rapprochement between Bessonov and
Kuznetsova. Bessonov rewarded his officer on a par with the others and moved on. For him
Kuznetsov is just one of those who stood to death at the turn of the Myshkov River. their closeness
turns out to be more sublime: this is a kinship of thought, spirit, outlook on life. For example,
shocked by the death of Vesnin, Bessonov blames himself for the fact that his lack of sociability and suspicion prevented him from developing a warm and friendly relations with Vesnin. And Kuznetsov worries that he could not help the calculation of Chubarikov, who was dying before his eyes, is tormented by the piercing thought that all this happened "because he did not have time to get close to them, understand everyone, fall in love ...".

“Separated by the disproportion of duties, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards the same virgin land, not only military, but also spiritual. Suspecting nothing of each other's thoughts, they think about the same thing and seek the truth in the same direction. Both of them demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and are related, like father and son, and even like brother and brother, by love for the Motherland and belonging to the people and to humanity in the highest sense of these words.

— The novel expresses the author's understanding of death as a violation of higher justice andharmony. Can you confirm this?
We recall how Kuznetsov looks at the murdered Kasymov: “Now there was a shell box under Kasymov’s head, and his youthful, beardless face, recently alive, swarthy, turned deathly white, thinned by the terrible beauty of death, looked in surprise, moist cherry
with half-open eyes at his chest, at his torn to shreds, excised quilted jacket, as if
and after death he did not comprehend how it killed him and why he could not get up to the sight. Kuznetsov feels even more acutely the loss of his rider Sergunenkov. After all, the mechanism of his death is revealed here. The heroes of "Hot Snow" are dying: the battery medical officer Zoya Elagina, a member of the Military Council Vesnin and many others ... And the war is to blame for all these deaths.

In the novel, the feat of the people who went to war appears before us in an unprecedented fullness of expression in Bondarev, in the richness and diversity of characters. This is a feat of young lieutenants - commanders of artillery platoons - and those who are traditionally considered to be people from the people, such as ordinary Chibisov, a calm and experienced gunner Evstigneev or a straightforward and rude riding Rubin, a feat of senior officers, such as a division commander Colonel Deev or an army commander General Bessonov. But all of them in that war were, first of all, soldiers, and each in his own way fulfilled his duty to the Motherland, to his people. And the great Victory that came in May 1945 became their Victory.

LITERATURE
1. GORBUNOVA E.N. Yuri Bondarev: essay on creativity. - M., 1981.
2. ZHURAVLEV S.I. The memory of burning years. - M .: Education, 1985.
3. SAMSONOV A.M. Stalingrad battle. - M., 1968.
4. Stalingrad: the lessons of history (memoirs of the participants in the battle). - M., 1980.
5. Hieromonk PHILADELPH. Intercessor Zealous. — M.: Shestodnev, 2003.
6. World of Orthodoxy, NQ 7 (184), July 2013 (online version).

In the book Yuri Bondarev"Hot snow" describes two acts. The two heroes of the novel find themselves in similar situations, and act differently. Every minute a person is tested for strength and humanity. One remains a man, while the second cannot stand it and goes into another state in which he can send a subordinate to a deliberate and unjustified death.

"Hot Snow" is the fourth novel by Yuri Bondarev. Written in 1970. The events of the Great Patriotic War take place in 1942. The scene of action is the territory near Stalingrad.
The action of the novel takes place literally within two days, although in the book the characters, as Bondarev always does, often turn to the past, and the narrative is interspersed with scenes from civilian life (General Bessonov, Lieutenant Kuznetsov), from the hospital (Bessonov), memories of school and a military school (Kuznetsov) and a meeting with Stalin (Bessonov).

I will not recount the plot of the novel, which everyone can read and get an idea of ​​what Soviet soldiers experienced when they resisted fascism.

I will dwell on two points that seemed important to me after the event that happened to me - acquaintance with the film "Ascent" Larisa Shepitko. The film has two Soviet soldier face a terrible choice: to betray and live, or to remain faithful to the Motherland and die a painful death.

With Bondarev, the situation, it seems to me, is even more complicated, because there is no betrayal. But there is a lack of something human in the personality of Lieutenant Drozdovsky, without which even the desire to destroy fascism loses its meaning. That is, in my opinion, it loses for this personality itself. It is characteristic that the central figure of the novel, General Bessonov, feeling in Drozdovsky this absence of an important human component (perhaps the ability to love), says in surprise: “Why die? Instead of the word "die" it is better to use the word "survive". Don't be so determined to make a sacrifice, Lieutenant."

It is difficult to analyze the actions of Bondarev's heroes, but I will give a few convex fragments to highlight the thought that seemed important to me.

Act of Lieutenant Drozdovsky

The antagonist of the novel, battalion commander Lieutenant Vladimir Drozdovsky, during the battle, decided to send his subordinate Sergunenkov to his death.

They [Kuznetsov and Drozdovsky] ran into the firing room, both fell on their knees by the gun with a pierced knurler and shield, with an ugly breech crawling back, a black mouth gaping, and Kuznetsov uttered in a fit of never-ceasing anger:

- Now look! How to shoot? Do you see the kicker? And the self-propelled gun hits because of the tanks! All clear?
…
Kuznetsov answered and saw Drozdovsky as if through a cold thick glass, with a feeling of the impossibility of overcoming it.

- If not for the self-propelled gun ... Hidden in the smoke behind the wrecked tanks. He is hitting Ukhanov from the flank... He must go to Ukhanov, he can hardly see her! There is nothing for us to do here!

A German self-propelled gun, hidden by a tank, fired at the remnants of the battalion. Drozdovsky decided that it needed to be blown up.
Drozdovsky, sitting down under the parapet, looked around the battlefield with narrowed, hasty eyes, his whole face instantly narrowed, drew up, asked intermittently:

- Where are the grenades? Where are the anti-tank grenades? Three grenades were issued for each gun! Where are they, Kuznetsov?
“What the hell are grenades for now!” A self-propelled gun is a hundred and fifty meters from here - can you get it? Can't you see the gun too?
“What did you think, we’ll wait like that?” Quick grenades over here! Here they are!.. Machine guns are everywhere in war, Kuznetsov!..

On Drozdovsky's bloodless face, disfigured by a spasm of impatience, an expression of action appeared, readiness for anything, and his voice became piercingly ringing:

- Sergunenkov, grenades here!
- Here they are in the niche. Comrade Lieutenant...
- Grenades here!

At the same time, the determination to act, indicated on the face of Drozdovsky, turned out to be the determination to destroy the self-propelled gun with the hands of a subordinate.

- Well! .. Sergunenkov! You do it! Or the chest in crosses, or ... Did you understand me, Sergunenkov? ..
Sergunenkov, raising his head, looked at Drozdovsky with an unblinking, fixed gaze, then asked in disbelief:
- How do I ... comrade lieutenant? Behind the tanks. Me... there?...
- Crawling forward - and two grenades under the tracks! Destroy the self-propelled gun! Two grenades - and the end of the reptile! ..

Drozdovsky said this indisputably; with trembling hands, with an unexpectedly sharp movement, he picked up grenades from the ground, handed them to Sergunenkov, who mechanically held out his palms and, taking the grenades, almost dropped them like red-hot irons.

“She’s behind the tanks, Comrade Lieutenant… She’s standing far away…”
- Take grenades! .. Do not hesitate!
- I got it...

It was obvious that Sergunenov would die.

- Listen, combat! Kuznetsov couldn't resist. - Can't you see? You have to crawl one hundred meters in the open! Don't you understand this?
- How did you think? - Drozdovsky said in the same ringing voice and hit his knee with his fist. - Shall we sit? Hands folded!.. And they put pressure on us? - And he turned abruptly and authoritatively to Sergunenkov: - Is the task clear? Crawling and dashes to the self-propelled gun! Forward! - Drozdovsky's team fired a shot. - Forward!..

Kuznetsov understood that Sergunenkov's death was not only inevitable, but also meaningless.

What was happening now seemed to Kuznetsov not only hopeless despair, but a monstrous, absurd, hopeless step, and Sergunenkov had to make it according to this order "forward", which, due to the iron laws that came into effect during the battle, no one - neither Sergunenkov nor Kuznetsov had the right not to execute or cancel, and for some reason he suddenly thought: “Now, if there were a whole gun and only one shell, there would be nothing, yes, nothing would happen.”

The rider Sergunenkov took grenades, crawled with them to the self-propelled gun and was shot point-blank. He could not undermine the fascist equipment.

Kuznetsov did not know what he would do now, not yet quite believing, but seeing this monstrously naked death of Sergunenkov near the self-propelled gun. Gasping for breath, he glanced at Drozdovsky, at his painfully twisted mouth, barely squeezing out: “I couldn’t stand it, I couldn’t, why did he get up? :

- Couldn't? So, you can, battalion commander? There, in the niche, is another grenade, do you hear? Last. If I were you, I would take a grenade - and to the self-propelled gun. Sergunenkov couldn't, you can! Do you hear?..

"He sent Sergunenkov, having the right to order ... And I was a witness - and for the rest of my life I curse myself for this! .."- flashed foggy and distant in the head of Kuznetsov, not fully aware of what he was saying; he no longer understood the extent of the reasonableness of his actions.

- What? What you said? - Drozdovsky grabbed with one hand the shield of the gun, with the other the edge of the trench and began to rise, throwing up his white, bloodless face with flaring thin nostrils. What, I wanted him dead? - Drozdovsky's voice broke into a squeal, and tears sounded in it. - Why did he get up? .. Did you see how he got up? ..

Shortly before Drozdovsky's act, Kuznetsov found himself in a situation where it was possible to send a subordinate under fire.

He knew that he needed to get up immediately, look at the guns, do something now, but his heavy body was pressed down, squeezed into the trench, it hurt in his chest, in his ears, and the diving howl, hot blows of air with the whistle of fragments pressed him more and more strongly to the shaky bottom of the ditch.
…
— Panoramas, Ukhanov! Hear, sights! - not paying attention to Chibisov, Kuznetsov shouted and instantly thought that he wanted and could order Ukhanov - he had the right to do this - to take panoramas, that is, by the power of the platoon commander to force him to jump out now under bombardment to the guns from the saving land, himself remaining in the ditch, but could not order it.

But he felt that he had no moral right to do so. He took the biggest risk, and sent a subordinate to the gun, located closer to the trench in which both were hiding. Kuznetsov chose a different solution for himself than Drozdovsky.

"I have and do not have the right," flashed through Kuznetsov's head. "Then I will never forgive myself ...".
…
- Ukhanov! .. Listen ... We need to remove the sights! Raskokosit to all hell! Not sure when this will end?
“I think so, lieutenant! Without sights, we will remain as naked! ..
Ukhanov, sitting in the trench, pulled up his legs, hit his cap with his mitten, pulling it closer to his forehead, put his hand on the bottom of the ditch to get up, but immediately Kuznetsov stopped him:
- Stop! Wait! As soon as they bombard in a circle, we will jump out to the guns. You - to the first, I - to the second! Let's take off the sights! .. You - to the first, I - to the second! Is that clear, Ukhanov? On my command, okay? - And, forcibly holding back a cough, he also pulled up his legs so that it was easier to get up.

“Now, Lieutenant. Ukhanov's bright eyes, from under a cap pulled over his forehead, looked narrowly at the sky. - Now...

Kuznetsov, looking out of the ditch, saw all this, hearing the leveled sound of the engines of the Junkers again coming in behind the smoke to bombard, he commanded:

- Ukhanov! .. We'll make it in time! Let's go!.. You go to the first one, I go to the second one...

And with unsteady weightlessness in his whole body, he jumped out of the ditch, jumped over the parapet of the firing position of the first gun, ran through the snow black from burning, along the earth radially sprayed from the craters to the second gun.

Soviet soldiers are described in Hot Snow in different ways. The book reveals the characters of several people, most of whom died, having accomplished a feat. Kuznetsov remained alive, and could not forgive himself for not stopping Drozdovsky, who sent Sergunenkov to undermine the self-propelled gun with a grenade. When he started talking about the dead rider, he finally understood that this death would forever remain in his memory as something unfair, cruel, and this despite the fact that he blew up two tanks, was shell-shocked, lost a loved one (medical instructor Zoya) almost the entire battalion.

- When we were coming here, Rubin said one terrible phrase to me: "Sergunenkov will never forgive his death to anyone in the next world." What it is?

- No one? asked Kuznetsov, and, turning away, he felt the icy iciness of his collar, as if it were scorching his cheek with wet emery. "But why did he tell you that?"

“Yes, and I’m to blame, and I won’t forgive myself for this,” Kuznetsov thought. “If I had the will to stop him then ... But what will I tell her about Sergunenkov’s death? how it was. But why do I remember it, when two-thirds of the battery died? No, for some reason I can't forget!.."

Bondarev himself wrote about his book "Hot Snow".

ABOUT last war you need to know everything. You need to know what it was, and with what immeasurable spiritual heaviness the days of retreats and defeats were connected for us, and what immeasurable happiness the VICTORY was for us. We also need to know what sacrifices the war cost us, what destruction it brought, leaving wounds both in the souls of people and on the body of the earth. In a question such as this, there should not be and cannot be oblivion.

K.Simonov

Many years have passed since the victorious volleys of the Great Patriotic War died down. And the farther we go from that war, from those severe battles, the fewer heroes of that time remain alive, the more expensive, more valuable becomes the military chronicle that writers created and continue to create. In their works, they glorify the courage and heroism of our people, our valiant army, millions and millions of people who bore all the hardships of war on their shoulders and accomplished a feat in the name of peace on Earth.

Remarkable directors and screenwriters of their time worked on Soviet films about the war. They breathed into them particles of their grief, their respect. These films are pleasant to watch, because they put their soul into them, because the directors understood how important what they wanted to convey, to show. Generations are growing up on films about the war, because each of these films is a real lesson in courage, conscience and valor.

In our study, we want to compare the novel by Yu.V. Bondarev "Hot Snow"and G. Yegiazarov's film "Hot Snow"

Target: compare the novel by Yu.V. Bondarev "Hot Snow"and the film by G. Yegiazarov "Hot Snow".

Tasks:

Consider how the text of the novel is conveyed in the film: plot, composition, depiction of events, characters;

Does our idea of ​​Kuznetsov and Drozdovsky coincide with the game of B. Tokarev and N. Eremenko;

Which is more exciting, the book or the movie?

Research methods:

Selection of textual and visual materials on the topic of the project;

Systematization of the material;

Presentation development.

Metasubject educational- information skills:

Ability to extract information from different sources;

Ability to plan;

Ability to select material on a given topic;

Ability to write written abstracts;

The ability to select quotes.

The novel "Hot Snow" was written by Bondarev in 1969. By this time, the writer was already a recognized master Russian prose. The soldier's memory inspired him to create this work:

« I remembered many things that over the years I began to forget: the winter of 1942, the cold, the steppe, ice trenches, tank attacks, bombing, the smell of burning and burnt armor ...

Of course, if I had not taken part in the battle that the 2nd Guards Army fought in the trans-Volga steppes in the fierce December of 1942 with Manstein's tank divisions, then perhaps the novel would have been somewhat different. Personal experience and the time that lay between that battle and the work on the novel allowed me to write in this way and not otherwise ».

The novel tells about the grandiose Battle of Stalingrad, the battle that led to a radical turning point in the war. The idea of ​​Stalingrad becomes central in the novel.

The film "Hot Snow" (directed by Gavriil Egiazarov) is a film adaptation of novel of the same name front-line writerYuri Vasilyevich Bondarev. In the film "Hot Snow", as in a novel, the tragedy of war, the life of a person at the front, is recreated with fearless truthfulness and depth. Duty and despair, love and death, a great desire to live and self-sacrifice in the name of the Motherland - everything is mixed up in a fierce battle, where the personal fates of soldiers, officers, medical instructor Tanya (in Zoya's novel) become common destiny. The sky and the earth split from explosions and fire, even the snow seems hot in this battle...

The battle has not yet begun, and the viewer, as they say, with his skin feels a severe frost, and the impending anxiety before a close oncoming battle, and all the burden of everyday soldier work ... The battle scenes were especially successful - they are severe, without excessive pyrotechnic effects, full of true drama. Here the cinematography is not so much beautiful, as is often the case in battle films, but courageously truthful. The fearless truth of a soldier's feat is an indisputable and important merit of the picture.

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

The film makes a successful attempt at psychological deepening, individualization of some characters, their moral issues. Nominated for foreground the figures of lieutenants Drozdovsky (N. Eremenko) and Kuznetsov (B. Tokarev) are separated not only by the dissimilarity of characters.

In the novel, their backstory meant a lot, the story that Drozdovsky, with his “imperious expression of a thin, pale face”, was the favorite of the combatant commanders at the school, and Kuznetsov did not stand out in anything special.

There is no place in the picture for a backstory, and the director, as they say, on the go, on the march, breeds the characters. The difference between their characters can be seen even in the way they give orders. Towering on a horse, tied with a belt, Drozdovsky is commandingly adamant and sharp. Kuznetsov, looking at the soldiers slumped against the carriage, forgotten in a short rest, hesitates with the “rise” command.

In the finale, this abyss is indicated even more sharply: the four surviving artillerymen consecrate the newly received orders in a soldier's bowler hat. Drozdovsky also received the order, because for Bessonov, who awarded him, he is the surviving, wounded commander of a standing battery, the general does not know about Drozdovsky's grave guilt and most likely will never know. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

In the film, we also see the wounded battalion commander away from the fighters, perhaps he understood something for himself ...

Probably the most mysterious of the world of human relations in the novel is the love between Kuznetsov and Zoya. Having been deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the novel opens up to us as a moral person, whole, ready for self-sacrifice, capable of embracing the pain and suffering of many with her heart.

The picture shows the emerging love between Kuznetsov and Tanya. The war, with its cruelty and blood, contributed to the rapid development of this feeling. After all, this love developed in those short hours of the march and battle, when there is no time for reflection and analysis of one's experiences. And it all starts with a quiet, incomprehensible jealousy of Kuznetsov for the relationship between Tanya and Drozdovsky. After a short period of time, Kuznetsov is already bitterly mourning the dead girl. When Nikolai wiped his face, wet from tears, the snow on his sleevethe quilted jacket was hot from his tears ...

Conclusion: Bondarev's novel became a work about heroism and courage, about inner beauty our contemporary, who defeated fascism in a bloody war. In "Hot Snow" there are no such scenes in which love for the Motherland would be directly spoken of, there are no such arguments either. Heroes express love and hatred by their exploits, deeds, courage, amazing determination. This is probably what it is real love and the words don't mean much. Writers help us to see how great things are made out of small things.

The film "Hot Snow" shows with brutal frankness what a monstrous destruction war is. The death of the heroes on the eve of victory, the criminal inevitability of death provokes a protest against the cruelty of the war and the forces that unleashed it.

The film is more than 40 years old, many wonderful actors are no longer alive: G. Zhzhenov, N. Eremenko, V. Spiridonov, I. Ledogorov and others, but the film is remembered, people of different generations watch it with interest, it does not leave viewers indifferent, recalls young people about bloody battles , teaches to protect a peaceful life.

He has been in the army since August 1942, and was wounded twice in battle. Then - the artillery school and again the front. After participating in the battle of Stalingrad, Yu. Bondarev reached the borders of Czechoslovakia in artillery battle formations. He began to print after the war; in the forty-ninth year, the first story "On the Road" was published.
Having started working in the literary field, Y. Bondarev did not immediately take up the creation of books about the war. He seems to be waiting for what he saw and experienced at the front to “subside”, “settled”, to pass the test of time. The heroes of his stories, which compiled the collection "On the Big River" (1953), like the heroes of the first story"The Youth of Commanders" (1956), - people who returned from the war, people who join peaceful professions or decide to devote themselves to military affairs. Working on these works, Y. Bondarev masters the beginnings of writing skills, his pen gains more and more confidence. In the fifty-seventh year, the writer publishes the story "Battalions ask for fire."

Soon the story "The Last Volleys" (1959) appears.
It is they, these two short stories, that make the name of the writer Yuri Bondarev widely known. The heroes of these books - young artillerymen, the author's peers, captains Ermakov and Novikov, lieutenant Ovchinnikov, junior lieutenant Alekhin, medical instructors Shura and Lena, other soldiers and officers - were remembered and loved by the reader. The reader appreciated not only the author's ability to accurately portray the dramatic combat episodes, the front-line life of artillerymen, but also his desire to penetrate the inner world of his heroes, to show their experiences during the battle, when a person is on the verge of life and death.
The stories “The Battalions Ask for Fire” and “The Last Volleys,” Y. Bondarev later said, “were born, I would say, from living people, from those whom I met in the war, with whom I walked along the roads of the Stalingrad steppes, Ukraine and Poland, pushed the guns with his shoulder, pulled them out of the autumn mud, fired, stood on direct fire ...
In a state of some kind of obsession, I wrote these stories, and all the time I had the feeling that I was bringing back to life those about whom no one knows anything and about which only I know, and only I must, must tell everything about them.

After these two stories, the writer departs from the topic of war for a while. He creates the novels "Silence" (1962), "Two" (1964), the story "Relatives" (1969), in the center of which there are other problems. But all these years he has been hatching the idea of ​​a new book, in which he wants to say more about the unique tragic and heroic time, on a larger scale and deeper than in his first military stories. Work on a new book - the novel "Hot Snow" - took almost five years. In the sixty-ninth year, on the eve of the twenty-fifth anniversary of our victory in the Great Patriotic War, the novel was published.
"Hot Snow" recreates the picture of the most intense battle that broke out in December 1942 southwest of Stalingrad, when the German command made a desperate attempt to save their troops encircled in the Stalingrad region. The heroes of the novel are soldiers and officers of the new, newly formed army, urgently transferred to the battlefield in order to thwart this attempt by the Nazis at any cost.
At first, it was assumed that the newly formed army would merge into the troops of the Don Front and would take part in the liquidation of encircled enemy divisions. It was precisely this task that Stalin set for the commander of the army, General Bessonov: “Bring your army into action without delay.

I wish you, comrade Bessonov, to successfully compress and destroy the Paulus group as part of the Rokossovsky front ... ”But at the moment when Bessonov’s army was just unloading northwest of Stalingrad, the Germans launched their counteroffensive from the Kotelnikovo area, ensuring a significant advantage in the breakthrough sector in power. At the suggestion of the Stavka representative, a decision is made to take Bessonov's well-equipped army from the Don Front and immediately regroup to the south-west against shock group Manstein.
In severe frost, without stopping, without halts, Bessonov's army moved from north to south in a forced march, so that, having covered a distance of two hundred kilometers, to reach the line of the Myshkov River before the Germans. This was the last natural frontier, beyond which the German tanks opened up a smooth, even steppe right up to Stalingrad itself. The soldiers and officers of the Bessonov army are perplexed: why did Stalingrad remain behind them? Why do they move not towards him, but away from him? The mood of the heroes of the novel is characterized by the following conversation taking place on the march between the two commanders of the firing platoons, lieutenants Davlatyan and Kuznetsov:

“Do you notice anything? - Davlatyan spoke, leaning towards Kuznetsov's step. - First we went west, and then turned south. Where are we going?
- To the front line.
- I myself know that I’m on the front line, you see, you guessed it! - Davlatyan even snorted, but his long, plum eyes were attentive. - Stalin, the hail is behind now. Tell me, you fought... Why didn't they announce the destination to us? Where can we come? It's a secret, no? Do you know anything? Really not in Stalingrad?
Anyway, to the front line, Goga, - Kuznetsov answered. - Only to the front line, and nowhere else ...
What is this, an aphorism, right? Am I supposed to laugh? I know myself. But where is the front here? We're going somewhere southwest. Do you want to look at the compass?
I know it's southwest.
Listen, if we're not going to Stalingrad, it's terrible. The Germans are being beaten up there, but are we somewhere in the middle of nowhere?”

Neither Davlatyan, nor Kuznetsov, nor the sergeants and soldiers subordinate to them knew at that moment what incredibly difficult combat trials lay ahead of them. Having left at night in a given area, parts of the Bessonov army on the move, without rest - every minute is precious - began to take up defensive positions on the northern bank of the river, began to bite into the frozen ground, hard as iron. Now it was already known to everyone for what purpose this was being done.
Both the forced march and the occupation of the line of defense - all this is written so expressively, so clearly that one gets the feeling that you yourself, burned by the steppe December wind, are walking along the endless Stalingrad steppe together with a platoon of Kuznetsov or Davlatyan, grabbing prickly snow with dry, weathered lips and it seems to you that if in half an hour, in fifteen, ten minutes there is no rest, you will collapse on this snow-covered earth and you will no longer have the strength to get up; as if you yourself, all wet with sweat, are pecking the deeply frozen, ringing earth with a pickaxe, equipping the firing positions of the battery, and stopping for a second to take a breath, you listen to the oppressive, frightening silence there, in the south, from where the enemy should appear ... But the picture of the battle itself is especially strongly given in the novel.
So write the battle could only be a direct participant, who was at the forefront. And so, in all the exciting details, only a talented writer could capture it in his memory, with such artistic power to convey the atmosphere of the battle to the readers. In the book "A look into the biography" Y. Bondarev writes:
“I well remember the furious bombardments, when the sky was blackened to the ground, and these sand-colored herds of tanks in the snowy steppe, crawling on our batteries. I remember the red-hot barrels of guns, the continuous thunder of shots, the screeching, clanking of caterpillars, the open jackets of soldiers, the hands of loaders flickering with shells, sweat black from soot on the faces of gunners, black-and-white tornadoes of explosions, swaying barrels of German self-propelled guns, crossed tracks in the steppe, hot the bonfires of the tanks set on fire, the smoky oil smoke that covered the dim, narrow patch of the frosty sun.

In several places, Manstein's shock army - the tanks of Colonel General Hoth - broke through our defenses, approached the encircled Paulus grouping by sixty kilometers, and the German tank crews already saw a crimson glow over Stalingrad. Manstein radioed Paulus: “We will come! Hold on! Victory is near!

But they didn't come. We rolled out guns in front of the infantry for direct fire in front of the tanks. The iron roar of engines burst into our ears. We fired almost point-blank, seeing the round mouths of the tank barrels so close that it seemed they were aimed at our pupils. Everything burned, tore, sparkled in the snowy steppe. We were suffocating from the oil smoke that was creeping up on the guns, from the poisonous smell of burnt armor. In the seconds between shots, they grabbed handfuls of blackened snow on the parapets, swallowed it to quench their thirst. She burned us just like joy and hatred, like an obsession with battle, for we already felt that the time for retreats was over.

What is compressed here, compressed to three paragraphs, occupies a central place in the novel, constitutes its counterpoint. Tank-artillery battle lasts the whole day. We see its growing tension, its vicissitudes, its moments of crisis. We see both through the eyes of the commander of the firing platoon, Lieutenant Kuznetsov, who knows that his task is to destroy German tanks climbing onto the line occupied by the battery, and through the eyes of the army commander, General Bessonov, who controls the actions of tens of thousands of people in battle and is responsible for the outcome of the entire battle to the commander and the Military Council of the front, in front of the Headquarters, in front of the party and the people.
A few minutes before the bombing of German aviation on our front line, the general, who visited the firing positions of the gunners, turns to the battery commander Drozdovsky: “Well ... Everyone, take cover, lieutenant. As they say, survive the bombing! And then - the most important thing: the tanks will go ... Not a step back! And knock out tanks. Stand - and forget about death! Don't think abouther under no circumstances!" Giving such an order, Bessonov understood how dearly his execution would be paid, but he knew that "everything in the war must be paid with blood - for failure and for success, because there is no other payment, nothing can replace it."
And the gunners in this stubborn, difficult, day-long battle did not take a single step back. They continued to fight even when only one gun survived from the entire battery, when only four people from the platoon of Lieutenant Kuznetsov remained in the ranks with him.
"Hot Snow" is primarily a psychological novel. Even in the stories "Battalions ask for fire" and "Last volleys", the description of battle scenes was not for Yu. Bondarev the main and only goal. He was interested in psychology Soviet man in the war, attracted by what people experience, feel, think at the moment of battle, when at any second your life can be cut short. In the novel, this desire to depict the inner world of the characters, to study the psychological, moral motives of their behavior in the exceptional circumstances that developed at the front, became even more tangible, even more fruitful.
The characters of the novel are Lieutenant Kuznetsov, in whose image the features of the author’s biography are guessed, and Komsomol organizer Lieutenant Davlatyan, who was mortally wounded in this battle, and battery commander Lieutenant Drozdovsky, and medical instructor Zoya Elagina, and commanders of guns, loaders, gunners, riders, and commander division colonel Deev, and the army commander, General Bessonov, and a member of the Military Council of the army, divisional commissar Vesnin - all these are truly living people, differing from each other not only in military ranks or positions, not only in age and appearance. Each of them has his own mental salary, his own character, his own moral foundations, his own memories of the now seemingly infinitely distant pre-war life. They react differently to what is happening, behave differently in the same situations. Some of them, captured by the excitement of battle, really stop thinking about death, others, like the castle Chibisov, are fettered by fear of it and bend to the ground ...

At the front, people's relations with each other also develop differently. After all, war is not only battles, it is also preparation for them, and moments of calm between battles; it is also a special, front-line life. The novel shows the complex relationship between Lieutenant Kuznetsov and the battery commander Drozdovsky, to whom Kuznetsov is obliged to obey, but whose actions do not always seem right to him. They knew each other back in the artillery school, and even then Kuznetsov noticed excessive self-confidence, arrogance, selfishness, some spiritual callousness of his future battery commander.
It is not by chance that the author delves into the study of the relationship between Kuznetsov and Drozdovsky. This is essential for ideological concept novel. It's about different perspectives on value. human personality. Selfishness, spiritual callousness, indifference turn around at the front - and this is impressively shown in the novel - with unnecessary losses.
Battery orderly Zoya Elagina is the only female character in the novel. Yuri Bondarev subtly shows how, by her very presence, this girl softens the harsh front-line life, ennobles the hardened male souls, evoking tender memories of mothers, wives, sisters, loved ones with whom the war separated them. In her white coat, in neat white felt boots, in white embroidered mittens, Zoya looks like “not a military at all, everything from this is festively clean, wintery, as if from another, calm, distant world ...”

The war did not spare Zoya Elagina. Her body, covered with a cloak, is brought to the firing positions of the battery, and the surviving gunners silently look at her, as if expecting that she will be able to throw back the cloak, answer them with a smile, movement, an affectionate melodious voice familiar to the entire battery: “ Dear boys, why are you looking at me like that? I am alive..."
In "Hot Snow" Yuri Bondarev creates a new image for him of a large-scale military leader. Army Commander Pyotr Alexandrovich Bessonov is a professional soldier, a man endowed with a clear, sober mind, far from any kind of hasty decisions and groundless illusions. In commanding troops on the battlefield, he shows enviable restraint, wise prudence and the necessary firmness, determination and courage.

Perhaps only he knows how incredibly difficult it is for him. It is difficult not only because of the consciousness of the enormous responsibility for the fate of the people entrusted to his command. It is also difficult because, like a bleeding wound, his son's fate relentlessly worries him. A graduate of a military school, Lieutenant Viktor Bessonov, was sent to the Volkhov Front, was surrounded, and his name does not appear on the lists of those who left the environment. It is possible, therefore, that the worst thing is enemy captivity ...
Possessing complex nature, outwardly gloomy, withdrawn, difficult to get along with people, unnecessarily, perhaps official in dealing with them even in rare moments of rest, General Bessonov is at the same time surprisingly human inwardly. This is most clearly shown by the author in the episode when the commander, having ordered the adjutant to take awards with him, leaves in the morning after the battle to the position of artillerymen. We remember this exciting episode well both from the novel and from the final shots of the film of the same name.
“... Bessonov, at every step coming across what yesterday was still a battery full membership, walked along the firing lines - past the cut and completely swept away, like steel braids, parapets, past broken guns ulcerated with fragments, earthen heaps, blackly spread mouths of funnels ...

He stopped. It caught my eye: four gunners, in impossibly grimy, sooty, rumpled overcoats, stretched out in front of him near the last gun of the battery. The campfire, fading away, smoldered right at the gun position ...
On the faces of four there was pockmarked burnt-on skin, dark, congealed sweat, an unhealthy sheen in the bones of the pupils; powder coating border on sleeves, on hats. The one who, at the sight of Bessonov, quietly gave the command: “Attention!”, A gloomy calm, short lieutenant, stepped over the frame and, pulling himself up a little, raised his hand to his hat, preparing to report ...
Interrupting the report with a gesture of his hand, recognizing him, this gloomy gray-eyed, with parched lips, the lieutenant's nose aggravated on his emaciated face, with torn off buttons on his overcoat, in brown spots of shell grease on the floors, with worn-out enamel cubes in buttonholes covered with mica frost, Bessonov said:
I don’t need a report ... I understand everything ... I remember the name of the battery commander, but I forgot yours ...
The commander of the first platoon, Lieutenant Kuznetsov...
So your battery knocked out these tanks?
Yes, Comrade General. Today we fired at the tanks, but we only had seven shells left... The tanks were knocked out yesterday...
His voice, in the official way, still struggled to gain a passionless and even fortress; there was a gloomy, non-boyish seriousness in his tone, in his eyes, without a hint of shyness in front of the general, as if this boy, the platoon commander, had gone through something at the cost of his life, and now this understood something stood dry in his eyes, frozen, not spilling.

And with a prickly convulsion in his throat from this voice, from the look of the lieutenant, from this seemingly repeated, similar expression on the three rough, bluish-red faces of the gunners standing between the beds, behind his platoon commander, Bessonov wanted to ask if the battery commander was alive, where he was which of them endured the scout and the German, but did not ask, could not ... The burning wind furiously pounced on the fire, bent the collar, the hems of the sheepskin coat, squeezed tears out of his inflamed eyelids, and Bessonov, not wiping these grateful and bitter burning tears, no longer embarrassed by the attention of the commanders who were quiet around him, he leaned heavily on his stick ...

And then, presenting all four with the Order of the Red Banner on behalf of the supreme power, which gave him the great and dangerous right to command and decide the fate of tens of thousands of people, he forcefully said:
- Everything that I personally can ... Everything that I can ... Thank you for the knocked out tanks. It was the main thing - to knock out their tanks. That was the main...
And, putting on a glove, he quickly went along the message towards the bridge ... "

So, "Hot Snow" is another book about the Battle of Stalingrad, added to those that have already been created about it in our literature. But Yuri Bondarev was able to talk about the great battle that turned the tide of World War II in his own way, freshly and impressively. By the way, this is another convincing example of how truly inexhaustible the theme of the Great Patriotic War is for our word artists.

Interesting to read:
1. Bondarev, Yuri Vasilievich. Silence; Choice: novels / Yu.V. Bondarev.- M. : Izvestia, 1983 .- 736 p.
2. Bondarev, Yuri Vasilievich. Collected works in 8 volumes / Yu.V. Bondarev.- M. : Voice: Russian Archive, 1993.
3. Vol. 2: Hot snow: novel, stories, article. - 400 s.

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Composition

The theme of the Great Patriotic War long years became one of the main themes of our literature. The story about the war sounded especially deep and truthful in the works of front-line writers: K. Simonov, V. Bykov, B. Vasiliev and others. Yuri Bondarev, in whose work war occupies the main place, was also a participant in the war, an artilleryman who had come a long way from Stalingrad to Czechoslovakia. "Hot Snow" is especially dear to him, because this is Stalingrad, and the heroes of the novel are artillerymen.

The action of the novel begins precisely near Stalingrad, when one of our armies in the Volga steppe withstood the blow of the tank divisions of Field Marshal Manstein, who sought to break through the corridor to the army of Paulus and withdraw it from the encirclement. The outcome of the battle on the Volga largely depended on the success or failure of this operation. The duration of the novel is limited to just a few days, during which the heroes of Yuri Bondarev selflessly defend a tiny patch of land from German tanks. “Hot Snow” is a story about a short march of the army of General Bessonov, unloaded from the echelons, when literally “from the wheels” they had to join the battle. The novel is notable for its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the work, their very destinies are illuminated by the alarming light of true history, as a result of which everything acquires special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is concentrated, for the most part, around a large number characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army. In Hot Snow, for all the intensity of events, everything human in people, their characters are revealed not separately from the war, but in mutual connection with it, under its fire, when it seems that one cannot even raise one's head. Usually the chronicle of battles can be retold separately from the individuality of its participants, and the fight in "Hot Snow" cannot be retold except through the fate and characters of people. The image of a simple Russian soldier who went to war appears before us in a fullness of expression that had never been seen before in Yuri Bondarev. This is the image of Chibisov, the calm and experienced gunner Evstigneev, the straightforward and rude rider Rubin, Kasymov. The novel expresses the understanding of death as a violation of higher justice. Let us recall how Kuznetsov looks at the murdered Kasymov: “... now a shell box lay under Kasymov’s head, and his youthful, beardless face, recently alive, swarthy, turned deathly white, thinned by the terrible beauty of death, looked in surprise with moist cherry half-open eyes on his chest, on a torn to shreds, excised quilted jacket, he didn’t even understand after death how it killed him and why he couldn’t get up to the sight. In this unseeing squint of Kasymov, readers feel his quiet curiosity for his unlived life on this earth.

Kuznetsov feels even more acutely the irreversibility of the loss of Sergunenkov. After all, the mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness to how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will curse himself forever for what he saw, was present, but failed to change anything. The past of the characters in the novel is essential and weighty. For some it is almost cloudless, for others it is so complex and dramatic that the former drama is not left behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The past does not require a separate space for itself, separate chapters - it has merged with the present, opened its depths and the living interconnectedness of one and the other.

Yuri Bondarev does the same with portraits of characters: appearance and the characters of his heroes are shown in development, and only by the end of the novel or with the death of the hero does the author create a complete portrait of him. Before us is the whole person, understandable, close, but meanwhile we are not left with the feeling that we have touched only the edge of it. spiritual world, and with his death you understand that you have not had time to fully understand his inner world. The enormity of war is expressed most of all - and the novel reveals this with brutal frankness - in the death of a person.

The work also shows the high price of life given for the homeland. Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. The war, its cruelty and blood, its terms, overturning the usual ideas about time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of one's experiences. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it is from these lines that the title of the novel is taken, when the hero wiped his face wet from tears, "the snow on the sleeve of the quilted jacket was hot from his tears." It is extremely important that all Kuznetsov's connections with people, and above all with people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely non-official - in contrast to the emphatically official relations that Drozdovsky puts so strictly and stubbornly between himself and people.

During the battle, Kuznetsov fights next to the soldiers, here he shows his composure, courage, lively mind. But he also grows spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together. The relationship between Kuznetsov and senior sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired on in the difficult battles of 1941, and in terms of military ingenuity and decisive character he could probably be an excellent commander. But life decreed otherwise, and at first we find Ukhanov and Kuznetsov in conflict: this is a collision of a sweeping, sharp and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight against the anarchist nature of Ukhanov. But in reality, it turns out that, without yielding to each other in any principled position, remaining themselves, Kuznetsov and Ukhanov become close people. Not just people fighting together, but knowing each other and now forever close.

Divided by the disproportion of duties, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about the same thing and seek the truth in the same direction. They are separated by age and are related, like father and son, and even like brother and brother, love for the motherland and belonging to the people and to humanity in the highest sense of these words.

The death of heroes on the eve of victory embodies a high tragedy and provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the medical officer of the battery Zoya Elagina, the shy driver Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ... And the war is to blame for all these deaths. In the novel, the feat of the people who have risen to war appears before us in all the richness and diversity of characters. This is a feat of young lieutenants - commanders of artillery platoons - and those who are traditionally considered to be people from the people, like the slightly cowardly Chibisov, the calm Evstigneev or the straightforward Rubin. This is also a feat of senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov. All of them in this war, first of all, were Soldiers, and each in his own way fulfilled his duty to his homeland, to his people. AND a great victory, which came in May 1945, became their common cause.