Works of art during the Second World War. Abstract: The Great Patriotic War in literature and cinema

I. Introduction

II. Literature during the Second World War

Sh. Art during the Second World War

3.1. Cinematography and theatrical art.

3.2. Propaganda poster, How main view visual arts during the Second World War.

I . Introduction

During the Great Patriotic War, the struggle for freedom and independence of the Motherland became the main content of the life of Soviet people. This struggle required them to exert extreme spiritual and physical strength. And it is precisely the mobilization of spiritual forces Soviet people during the Great Patriotic War, the main task of our literature and our art, which became a powerful means of patriotic agitation.

II . Literature during the Second World War

The Great Patriotic War was a difficult test that befell the Russian people. The literature of that time could not remain aloof from this event.

So on the first day of the war, at a rally of Soviet writers, the following words were spoken: “Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of the sacred people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, writers felt “mobilized and called upon.” About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Y. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.

Front-line writers fully shared with their people both the pain of retreat and the joy of victory. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We lived our good life as people, and for people.”

Writers lived the same life with the fighting people: they froze in the trenches, went on the attack, performed feats and... wrote.

Russian literature of the Second World War period became literature of one theme - the theme of war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstov, was “the voice of the heroic soul of the people.” The slogan “All forces to defeat the enemy!” directly related to writers. Writers of the war years mastered all types of literary weapons: lyricism and satire, epic and drama. Nevertheless, the lyricists and publicists said the first word.

Poems were published by the central and front-line press, broadcast on the radio along with information about the most important military and political events, and sounded from numerous improvised stages at the front and in the rear. Many poems were copied into front-line notebooks and learned by heart. The poems “Wait for me” by Konstantin Simonov, “Dugout” by Alexander Surkov, “Ogonyok” by Isakovsky gave rise to numerous poetic responses. The poetic dialogue between writers and readers testified that during the war years a cordial contact unprecedented in the history of our poetry was established between poets and the people. Spiritual closeness with the people is the most remarkable and exceptional feature lyrics of 1941-1945.

Homeland, war, death and immortality, hatred of the enemy, military brotherhood and camaraderie, love and loyalty, the dream of victory, thinking about the fate of the people - these are the main motives of military poetry. In the poems of Tikhonov, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the awareness of the cruel necessity of war.

During the war, the feeling of homeland intensified. Torn away from their favorite activities and native places, millions of Soviet people seemed to take a new look at their familiar native lands, at the home where they were born, at themselves, at their people. This was reflected in poetry: heartfelt poems appeared about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and about the Smolensk region by Isakovsky.

Love for the fatherland and hatred for the enemy is that inexhaustible and the only source of, from which our lyrics drew their inspiration during the Second World War. Most famous poets of that time there were: Nikolai Tikhonov, Alexander Tvardovsky, Alexey Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.

In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyrical-epic (ballads, poems).

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

Articles written by: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. With their articles they instilled high civic feelings, taught an uncompromising attitude towards fascism, and revealed the true face of the “organizers of the new order.” Soviet writers contrasted fascist false propaganda with great human truth. Hundreds of articles presented irrefutable facts about the atrocities of the invaders, quoted letters, diaries, testimonies of prisoners of war, named names, dates, numbers, and made references to secret documents, orders and instructions of the authorities. In their articles, they told the harsh truth about the war, supported the people's bright dream of victory, and called for perseverance, courage and perseverance. "Not a step further!" - this is how Alexei Tolstov’s article “Moscow is threatened by an enemy” begins.

Journalism had a huge influence on all genres of wartime literature, and above all on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Liza Chaikina, Alexander Matrosov, and about the feat of the Young Guards who preceded the novel “The Young Guard.” An essay about the feat was very common in 1943-1945 large group of people. Thus, essays appear about the U-2 night aviation (Simonov), about the heroic Komsomol (Vishnevsky), and many others. The essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, and Kolosov wrote about people on the home front.

The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which represent artistic chronicle military operations. This is evidenced by the essays: “Moscow. November 1941” by Lidin, “July - December” by Simonov.

During the Great Patriotic War, works were also created in which the main attention was paid to the fate of man in war. Human happiness and war - this is how one can formulate the basic principle of such works as “Simply Love” by V. Vasilevskaya, “It Was in Leningrad” by A. Chakovsky, “The Third Chamber” by Leonidov.

The war became a great misfortune and misfortune for everyone. But it is precisely at this time that people show their moral essence, “it (war) is like a litmus test, like some kind of special manifestation.” For example, Valega is an illiterate person, “...reads syllables, and ask him what his homeland is, he, by God, won’t really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, teeth...” Battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as much as possible human lives to fulfill your duty. They are contrasted in the novel with the image of Kaluzhsky, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be completed, despite any losses, throwing people under the destructive fire of machine guns.

Reading the story, you feel the author’s faith in the Russian soldier, who, despite all the suffering, troubles, failures, has no doubts about justice liberation war. The heroes of the story by V. P. Nekrasov live in faith in a future victory and are ready to give their lives for it without hesitation.

Sh. Art during the Second World War

The Great Patriotic War revealed to the artist’s gaze a wealth of material that concealed enormous moral and aesthetic riches. The mass heroism of people has given so much to art as human studies that the gallery of folk characters that was started in those years is constantly replenished with new and new figures. The most acute collisions of life, during which the ideas of loyalty to the Fatherland, courage and duty, love and camaraderie were revealed with particular vividness, are capable of nourishing the plans of the masters of the present and future.

3.1. Cinematography and theatrical art.

Played a major role in the development of art, starting from the first war years. theatrical dramaturgy A. Korneychuk, K. Simonov, L. Leonov and others. Based on their plays “Partisans in the steppes of Ukraine”, “Front”, “The Guy from Our City”, “Russian People”, “Invasion”, films were later made based on these plays .

Propaganda and journalism, a caricature and a poem, an entry from a front-line notebook and a play published in a newspaper, a novel and a radio speech, a poster figure of the enemy and an image of a mother elevated to pathos, personifying the Motherland - the multi-colored spectrum of art and literature of those years included cinema, where many types and genres martial art melted into visible, plastic images.

During the war years, different than in peaceful conditions, became the value different types movie.

In art, newsreels have come to the forefront as the most efficient form of cinema. A wide range of documentary filming, prompt release of film magazines and thematic short films and feature films- film documents allowed the chronicle as a type of information and journalism to take its place next to our newspaper periodicals.

The literature of the Great Patriotic War began to take shape long before June 22, 1941. In the second half of the 30s. inevitably approaching our country big war became conscious historical reality, almost main theme propaganda of that time, gave rise to a large body of “defense” - as it was called then - literature.

And immediately two opposing approaches emerged in it, which, transforming and changing, made themselves felt both during the war and long years after the Victory, they created a field of high ideological and aesthetic tension in literature, every now and then giving rise to hidden and conspicuous dramatic collisions, which were reflected not only in the work, but also in the destinies of many artists.

“Ebullient, mighty, invincible by anyone,” “And we will defeat the enemy on enemy soil with little blood, with a mighty blow” - all this became the bravura leitmotif of poems and songs, stories and tales, it was shown in films, recited and sung on the radio, recorded on records. Who didn’t know the songs of Vasily Lebedev-Kumach! Nikolai Shpanov’s story “The First Strike” and Pyotr Pavlenko’s novel “In the East” were published in editions unheard of at that time; the movie “If Tomorrow is War” never left the screen; in them, in a matter of days, if not hours, our potential enemy suffered a crushing defeat, the army and state of the enemy who attacked us fell apart like House of cards. In fairness, it should be noted that the mischief in literature was a reflection of the Stalinist military-political doctrine, which brought the army and the country to the brink of destruction.

However, the ordered and voluntary hating campaign also had principled opponents in literature who were in an unequal position; they had to constantly defend themselves against demagogic accusations of “defeatism” and denigration of the mighty, invincible Red Army. The war in Spain, in which Soviet volunteers also took part, our “small” wars - the Khasan and Khalkhin-Gol conflicts, especially the Finnish campaign, which revealed that we are not at all as skillful and powerful as they loudly and enthusiastically broadcast from the highest the tribune and the state troubadours filled with nightingales, showing that victories over even a not very strong enemy are given to us by no means “with a little blood” - this albeit not very large military experience set some writers in a serious mood, mainly those who had already visited under fire, smell gunpowder modern warfare, caused them to be repulsed by the hat-throwing, aversion to the sonorous victorious timpani, to the obsequious varnishing.

Polemics with smug empty talk, often hidden, but sometimes expressed openly, directly, permeate the Mongolian poems of Konstantin Simonov, the poems of Alexei Surkov and Alexander Tvardovsky about “that unfamous war” in Finland. War in their poems is a difficult and dangerous matter. Surkov writes about a soldier waiting for the signal to attack: “He is in no hurry. He knows that you can’t break through to victory right away, you have to endure, you have to stick it out. Is it hard? That’s what war is for.”

Special mention should be made of the beginning poets of that time - students Literary Institute them. Gorky, IFLI, Moscow University. It was large group talented young people, they then called themselves the generation of the forties, then, after the war, they appeared in criticism as the front-line generation, and Vasil Bykov called it the “killed generation” - it suffered the greatest losses in the war. Mikhail Kulchitsky, Pavel Kogan, Nikolai Mayorov, Ilya Lapshin, Vsevolod Bagritsky, Boris Smolensky - they all laid down their heads in battle. Their poems were published only in the post-war, or more precisely, already in the “thaw” years, revealing their deep meaning, but not in demand in pre-war times. The young poets clearly heard the “distant rumble, subsoil, unclear hum” (P. Kogan) of the approaching war with fascism. They were aware that a very brutal war awaited us - not for life, but for death.

Hence the motif of sacrifice that sounds so clearly in their poems - they write about people of their generation who - this is their fate - will be included “in mortal reports”, will die “near the Spree river” (P. Kogan), who “died without finishing the uneven lines without finishing, without finishing, without finishing” (B. Smolensky), “they left without finishing, without finishing the last cigarette” (N. Mayorov). They foresaw their own destiny. Probably this motive of sacrifice, generated by the fact that a difficult, bloody war was rising on the historical horizon, was in pre-war years one of the main obstacles that blocked their way into the press, aimed at easy and quick victories.

But even the writers who rejected the fanfare of mischief, who understood that we would face severe trials, none of them could imagine what the war would actually be like. In the very nightmare I couldn’t imagine that it would continue for four long, seemingly endless years, that the enemy would reach Moscow and Leningrad, Stalingrad and Novorossiysk, that our losses would amount to twenty-seven million people, that dozens of cities would be turned into ruins, hundreds of villages into ashes. Having drank on the Western Front in the first weeks of the war during a retreat that was hot to the point of tears, having learned first-hand what “cauldrons” are, enemy tank breakthroughs, his air supremacy, Simonov will write lines full of melancholy and pain that will be published only a quarter of a century later. :

Yes, the war is not the same as we wrote it, -
This is a bitter thing...

("From the Diary")

Ilya Erenburg in his book “People, Years, Life” recalled: “Usually war brings with it the censor’s scissors; and in our country, in the first year and a half of the war, writers felt much freer than before.” And in another place - about the situation in the editorial office of Red Star, about its editor-in-chief, General Ortenberg: “... and in the editorial post he showed himself to be brave... I cannot complain about Ortenberg; sometimes he was angry with me and still published the article.” And this freedom gained in harsh times bore fruit. During the war years - and living conditions then were not conducive to concentrated creative work- a whole library of books was created that have not faded over the past half century, have not been crossed out by time - the strictest judge in matters of literature. High level literature reached the truth - such that in the coming peacetime, in the first post-war or last Stalinist years, at a time of new ideological darkness, it voluntarily or involuntarily looked back at it, equaled it, tested itself with it.

Of course, the writers did not know everything then, did not understand everything in the chaos of grief and valor, courage and disaster, cruel orders and boundless dedication that befell the country, of which they themselves were a small part, but their relationship with the truth, as they saw and understood it, were not, as in previous and subsequent years, so complicated by external circumstances, party and state instructions and prohibitions. All this - unquestioning recommendations and demonstrably terrifying elaborations - began to arise again as soon as the visible contours of victory appeared, from the end of forty-three.

Persecution in literature began again. The devastating criticism of essays and stories by A. Platonov, poems by N. Aseev and I. Selvinsky, “Before Sunrise” by M. Zoshchenko, “Ukraine on Fire” by A. Dovzhenko (the blow was also applied to manuscripts) was not accidental, as it might have seemed It seemed to many then that this was the first call, the first warning: the political and ideological helmsmen of the country had recovered from the shock caused by heavy defeats, felt themselves back on the horse and were returning to the old ways, restoring the previous tough course.

In December 1943, the Secretariat of the Central Committee of the All-Union Communist Party of Bolsheviks adopted two closed resolutions: “On control over literary and artistic magazines” and “On increasing the responsibility of secretaries of literary and artistic magazines.” The editors were instructed to completely exclude the possibility of so-called “anti-artistic and politically harmful works” appearing in magazines, examples of which were M. Zoshchenko’s story “Before Sunrise” and I. Selvinsky’s poem “Whom Russia Cradled.” This was the first approach to the notorious decrees of the Central Committee on literature and art of 1946, which froze the spiritual life of the country for many years.

And yet, the spirit of freedom, born in the trials of war, which nourished literature and was nourished by it, could no longer be completely destroyed, it was alive and one way or another made its way into the works of literature and art. In the epilogue of the novel Doctor Zhivago, Pasternak wrote: “Although the enlightenment and liberation that were expected after the war did not come with victory, as they thought, the harbinger of freedom was still in the air. post-war years, making up their only historical content" This characteristic public consciousness helps to correctly understand the true historical content of literature during the Great Patriotic War.

After the revolutionary era of 1917-1921. The Great Patriotic War was the largest and most significant historical event, who left the deepest, indelible mark in the memory and psychology of the people, in their literature.

In the very first days of the war, writers responded to the tragic events. At first, the war was reflected in small operational genres - essays and stories; individual facts, incidents, individual participants in the battles were captured. Then a deeper understanding of events came and it became possible to depict them more fully. This led to the appearance of stories.

The first stories “Rainbow” by V. Vasilevskaya and “The Unconquered” by B. Gorbatov were built on the contrast: the Soviet Motherland - fascist Germany, a fair, humane Soviet man - a murderer, a fascist invader.

Writers were possessed by two feelings: love and hatred. The image of the Soviet people appeared as a collective, undivided, in the unity of the best folk qualities. The Soviet man, fighting for the freedom of his Motherland, was portrayed in a romantic light as a sublime heroic personality, without vices or shortcomings. Despite the terrible reality of the war, already the first stories were filled with confidence in victory and optimism. Romantic line The depiction of the feat of the Soviet people was later continued in A. Fadeev’s novel “The Young Guard.”

The idea of war, its everyday life, and the always heroic behavior of a person in difficult military conditions is gradually deepening. This made it possible to reflect wartime more objectively and realistically. One of best works, objectively and truthfully recreating harsh everyday life war, there was a novel by V. Nekrasov “In the Trenches of Stalingrad,” written in 1947. The war in it appears in all its tragic grandeur and dirty, bloody everyday life. For the first time, she is shown not by an “outside person,” but through the perception of a direct participant in the events, for whom the absence of soap may be more important than the presence of a strategic plan somewhere at headquarters. V. Nekrasov shows man in all his manifestations - in the greatness of feat and baseness of desires, in self-sacrifice and cowardly betrayal. A person in war is not only a fighting unit, but mainly a living being, with weaknesses and virtues, passionately thirsting to live. In the novel, V. Nekrasov reflected the life of the war, the behavior of army representatives at different levels.

In the 1960s, writers of the so-called “lieutenant” conscription came into literature, creating a large layer of military prose. In their works, the war was depicted from the inside, seen through the eyes of an ordinary soldier. The approach to the images of Soviet people was more sober and objective. It turned out that this was not at all a homogeneous mass, seized by a single impulse, that Soviet people behave differently in the same circumstances, that the war did not destroy, but only muffled natural desires, obscured some and sharply revealed other qualities of character . Prose about the war of the 1960s and 1970s for the first time put the problem of choice at the center of the work. By placing their hero in extreme circumstances, the writers forced him to do moral choice. These are the stories " Hot Snow", "Shore", "Choice" by Yu. Bondarev, "Sotnikov", "To Go and Never Return" by V. Bykov, "Sashka" by V. Kondratyev. Writers explored the psychological nature of the heroic, focusing not on social motives of behavior, but on internal ones, determined by the psychology of the fighting person.

IN best stories The 1960-1970s depict not large-scale, panoramic events of the war, but local incidents that, it would seem, cannot fundamentally influence the outcome of the war. But it was precisely from such “special” cases that the overall picture of wartime was formed; it was the tragedy of individual situations that gives an idea of the unimaginable trials that befell the people as a whole.

The literature of the 1960s and 1970s about war expanded the idea of the heroic. The feat could be accomplished not only in battle. V. Bykov in the story “Sotnikov” showed heroism as the ability to resist the “formidable force of circumstances”, to preserve human dignity in the face of death. The story is built on the contrast between external and internal, physical appearance and spiritual world. The main characters of the work are contrasting, in which two options for behavior in extraordinary circumstances are given.

The fisherman is an experienced partisan, always successful in battle, physically strong and resilient. He doesn't really think about anything moral principles. What is self-evident for him is completely impossible for Sotnikov. At first, the difference in their attitude towards things, seemingly unprincipled, slips through in separate strokes. In the cold, Sotnikov goes on a mission wearing a cap, and Rybak asks why he didn’t take a hat from some guy in the village. Sotnikov considers it immoral to rob those men whom he is supposed to protect.

Having been captured, both partisans try to find some way out. Sotnikov is tormented by the fact that he left the detachment without food; The fisherman only cares own life. True essence each one manifests itself in an extraordinary situation, facing the threat of death. Sotnikov does not make any concessions to the enemy. His moral principles do not allow him to retreat even one step before the fascists. And he goes to execution without fear, experiencing torment only for the fact that he could not complete the task, that he became the cause of the death of other people. Even on the threshold of death, conscience and responsibility to others do not leave Sotnikov. V. Bykov creates an image heroic personality, not performing an obvious feat. He shows that moral maximalism, unwillingness to compromise one’s principles even under the threat of death are tantamount to heroism.

The Fisherman behaves differently. Not an enemy by conviction, not a coward in battle, he turns out to be cowardly when faced with the enemy. The lack of conscience as the highest standard of action forces him to take the first step towards betrayal. The fisherman himself does not yet realize that the path he has taken is irreversible. He convinces himself that, having saved himself, having escaped from the Nazis, he will still be able to fight them, take revenge on them, that his death is inappropriate. But Bykov shows that this is an illusion. Having taken one step on the path of betrayal, Rybak is forced to go further. When Sotnikov is executed, Rybak essentially becomes his executioner. There is no forgiveness for the fish. Even death, which he was so afraid of before and which he now longs for in order to atone for his sin, retreats from him.

The physically weak Sotnikov turned out to be spiritually superior to the strong Rybak. At the last moment before death, the hero’s eyes meet the gaze of a boy in a Budenovka in a crowd of peasants rounded up for execution. And this boy is a continuation of the life principles, Sotnikov’s uncompromising position, the guarantee of victory.

In the 1960-1970s, military prose developed in several directions. The tendency towards a large-scale depiction of war was expressed in K. Simonov’s trilogy “The Living and the Dead”. It covers the time from the first hours of hostilities until the summer of 1944 - the period of the Belarusian operation. The main characters - political instructor Sintsov, regiment commander Serpilin, Tanya Ovsyannikova - go through the entire story. In the trilogy, K. Simonov traces how a completely civilian man, Sintsov, becomes a soldier, how he matures, hardens in war, how his personality changes. spiritual world. Serpilin is shown as a morally mature, mature person. This is a smart, thinking commander who went through the civil war, well, the academy. He takes care of people, does not want to throw them into a meaningless battle just for the sake of reporting to the command about the timely capture of the point, that is, according to the Staff Plan. His fate reflected tragic fate the whole country.

The “trench” point of view on the war and its events is expanded and supplemented by the view of the military leader, objectified by the author’s analysis. The war in the trilogy appears as an epic event, historical in significance and nationwide in the scope of resistance.

IN military prose In the 1970s, the psychological analysis of characters placed in extreme conditions deepened, and interest in moral problems. The strengthening of realistic tendencies is complemented by the revival of romantic pathos. Realism and romance are closely intertwined in the story “And the dawns here are quiet...” by B. Vasilyeva, “The Shepherd and the Shepherdess” by V. As-tafiev. High heroic pathos permeates the work of B. Vasiliev, terrible in its naked truth, “Not on the lists.” Material from the site

Nikolai Pluzhnikov arrived at the Brest garrison on the evening before the war. He had not yet been included in the lists of personnel, and when the war began, he could have left along with the refugees. But Pluzhnikov fights even when all the defenders of the fortress die. For several months this courageous young man did not allow the Nazis to live in peace: he blew up, shot, appeared in the most unexpected places and killed enemies. And when, deprived of food, water, ammunition, he emerged from the underground casemates into the light, a gray-haired, blind old man appeared before the enemies. And on this day Kolya turned 20 years old. Even the Nazis bowed to courage Soviet soldier, giving him military honor.

Nikolai Pluzhnikov died unconquered, death is a rightful death. B. Vasiliev does not ask the question why Nikolai Pluzhnikov, a very young man who has not had time to live, fights so stubbornly, knowing that one in the field is not a warrior. He depicts the very fact of heroic behavior, without seeing an alternative to it. All defenders Brest Fortress fight heroically. In the 1970s, B. Vasiliev continued the heroic-romantic line that arose in military prose in the first years of the war (“Rainbow” by V. Vasilevskaya, “The Unconquered” by B. Gorbatov).

Another trend in depicting the Great Patriotic War is associated with artistic and documentary prose, which is based on tape recordings and eyewitness accounts. This kind of “tape-recorder” prose originated in Belarus. Her first work was the book “I am from the fiery village” by A. Adamovich, I. Bryl, V. Kolesnikov, recreating the tragedy of Khatyn. Terrible years the Leningrad blockade in all its undisguised cruelty and naturalism, allowing us to understand how it was, what a hungry man felt, when he could still feel, appeared on the pages of the “Siege Book” by A. Adamovich and D. Granin. The war that passed through the fate of the country spared neither men nor women. ABOUT women's destinies- book by S. Aleksievich “War does not have a woman’s face.”

Prose about the Great Patriotic War- the most powerful and largest thematic branch of Russian and Soviet literature. From the external image of war, she came to comprehend the deep internal processes that took place in the consciousness and psychology of a person placed in extreme military circumstances.

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Literature during the Great Patriotic War (gg.) The Great Patriotic War is a difficult test that befell the Russian people. The literature of that time could not remain aloof from this event.

On the first day of the war, at a rally of Soviet writers, the following words were spoken: “Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of the holy people’s war against the enemies of our Motherland.” About two thousand writers went to the front, more than four hundred of them did not return (A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young). Front-line writers fully shared with their people both the pain of retreat and the joy of victory. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “My good age we lived as people, and for people.”

Russian literature of the Second World War period became literature of one theme - war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstov, was “the voice of the heroic soul of the people.” The slogan “All forces to defeat the enemy!” directly related to writers. Homeland, war, death and immortality, hatred of the enemy, military brotherhood and camaraderie, love and loyalty, the dream of victory, thinking about the fate of the people - these are the main motives of military poetry. The theme of war, the theme of the homeland...

Writers lived the same life with the fighting people: they froze in the trenches, went on the attack, performed feats and... wrote. Oh book! Treasured friend! You're in a fighter's duffel bag. You've walked the entire victorious path to the very end. Your great truth led us along. Your reader and author went into battle together.

The character of the so-called lyrical hero: first of all, he became more earthly, closer than in the lyrics of the previous period. Poetry, as it were, entered into the war, and the war, with all its battle and everyday details, into poetry. Heroes often endure severe, sometimes inhuman, hardships and suffering: It is time for ten generations to lift the heaviness that we have lifted. (A. Surkov).

Representatives of literature during the war years 1. A.A. Surkov; 2. K.M. Simonov; 3. A.T. Tvardovsky; 4. A.N. Tolstoy; 5. M.I. Sholokhov; 6. A.A. Fadeev; 7. B.L. Gorbatov; 8. V.A. Sokolov; 9. V.S. Vysotsky; 10. V.A. Smolensky; 11. V.V. Mayakovsky; 12. V.L. Britishish; 13. O. Berggolts.

In the poetry of the war years, three main genre groups of poems can be distinguished: 1) lyrical (ode, elegy, song), 2) satirical; 3) lyrical-epic (ballads, poems). During the Great Patriotic War, not only poetic genres developed, but also prose. It is represented by: - journalistic and essay genres, - war stories and heroic stories. Journalistic genres are very diverse: - articles, - essays, - feuilletons, - appeals, letters, - leaflets. Articles written by: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov.

Alexey Alexandrovich Surkov () Russian Soviet poet, public figure, lieutenant colonel (1943). Hero of Socialist Labor (1969). Winner of two Stalin Prizes (1946, 1951). Member of the CPSU(b) since 1925. The Great Patriotic War During A.A. Surkov, as a war correspondent, he participated in the liberation campaigns in Western Belarus, the war with the White Finns, and then in the Great Patriotic War. His “December Diary” (1940), realistically capturing the difficulties of the harsh winter campaign and “the faces of traveling friends,” served as an approach to the poems written during the Great Patriotic War in the collections: December near Moscow: June - December. “Roads Lead to the West”: January-May 1942. I Sing Victory: 1943 – 1945. His songs “The fire beats in a quiet stove...”, Song of the Brave (1941) and a number of poems noted in 1946 became especially popular. State Prize THE USSR.

Beats in cramped stove fire, There is resin on the logs, like a tear. And the accordion sings to me in the dugout about your smile and eyes. The bushes whispered to me about you in the snow-white fields near Moscow. I want you to hear how my living voice yearns. Poems by Alexey Aleksandrovich Surkov Here is a road swept away by bombs, A black wall of destroyed tanks. From this road the German iron wave rolled back. Here steel helmets and flat bayonets are trampled into the snowdrifts and virgin soil. From here, for the first time in the entire war, regiments poured forward to the west. We will preserve in songs for posterity the names of those burnt villages, Where, beyond the last bitter frontier, the night ended and the day began. Near Moscow, 1941

Konstantin Mikhailovich Simonov (), Soviet writer, public figure. Hero of Socialist Labor (1974). Winner of the Lenin Prize (1974) and six Stalin Prizes (1942, 1943, 1946, 1947, 1949, 1950). Deputy Secretary General SP USSR. Member of the CPSU(b) since 1942. At the beginning of the war he was drafted into the army and worked for the newspaper “Battle Banner”. In 1942 he was awarded the rank of senior battalion commissar, in 1943 the rank of lieutenant colonel, and after the war, colonel. Most of his military correspondence was published in Red Star. During the war years he wrote the plays “Russian People”, “Wait for Me”, “So It Will Be”, the story “Days and Nights”, two books of poems “With You and Without You” and “War”. As a war correspondent, he visited all fronts, walked through the lands of Romania, Bulgaria, Yugoslavia, Poland and Germany, and witnessed the last battles for Berlin. After the war, his collections of essays “Letters from Czechoslovakia”, “ Slavic friendship", "Yugoslav notebook", "From the Black to the Barents Sea. Notes of a war correspondent."

1. Stalin Prize first degree (1942) for the play “A Guy from Our City” 2. Stalin Prize of the second degree (1943) for the play “Russian People” 3. Stalin Prize of the second degree (1946) for the novel “Days and Nights” 4. Stalin Prize of the first degree (1947) for the play “The Russian Question” 5. Stalin Prize of the first degree (1949) for the collection of poems “Friends and Enemies” 6. Stalin Prize of the second degree (1950) for the play “Alien Shadow” In the days of the farewell of the Soviet people to Stalin were published the following lines by K. M. Simonov: There are no words that can describe all the intolerance of grief and sadness. There are no words to tell how we mourn for you, Comrade Stalin... For special services in the field of literary creativity, K. Simonov was awarded:

Wait for me and I will come back. Just wait a lot. Wait when the yellow rains bring sadness, Wait when the snow is blowing, Wait when it’s hot, Wait when others are not welcome, Forgetting yesterday. Wait until no letters come from distant places, Wait until everyone who is waiting together gets tired of it. Wait for me, and I will return, Don’t wish well to everyone who knows by heart, That it’s time to forget. Let the son and mother believe that I am not there, Let the friends get tired of waiting, Sit by the fire, Drink bitter wine In remembrance of the soul... Wait. And don’t rush to drink with them at the same time.

Poems of the war years - they will help - to relive the rich range of feelings born of this time, and their unprecedented strength and acuteness - will help to avoid the erroneous, one-sided idea of a war-victory with unfurled banners, orchestras, orders, general rejoicing or about war- defeat with failures, deaths, blood, tears standing in the throat; - paint an objective picture, tell subsequent generations the truth about unforgettable days. The liberation war is not only death, blood and suffering. These are also gigantic upsurges of the human spirit - selflessness, selflessness, heroism.

The Great Patriotic War was a difficult test that befell the Russian people. The literature of that time could not remain aloof from this event.

So on the first day of the war, at a rally of Soviet writers, the following words were spoken: “Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of the holy people’s war against the enemies of our Motherland.” These words were justified. From the very beginning of the war, writers felt “mobilized and called upon.” About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Y. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.

Writers lived the same life with the fighting people: they froze in the trenches, went on the attack, performed feats and... wrote.

Oh book! Treasured friend!

You're in a fighter's duffel bag

I went all the way to victory

Until the end.

Your big truth

She led us along.

We went into battle together.

The character of the so-called lyrical hero also changed in the lyrics of the war years: first of all, he became more earthly, closer than in the lyrics of the previous period. Poetry, as it were, entered into the war, and the war, with all its battle and everyday details, into poetry. The “landing” of the lyrics did not prevent the poets from conveying the grandeur of events and the beauty of the feat of our people. Heroes often endure severe, sometimes inhuman, hardships and suffering:

Time to raise ten generations

The weight we lifted.

(A. Surkov wrote in his poems)

Love for the fatherland and hatred for the enemy is the inexhaustible and only source from which our lyrics drew their inspiration during the Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexey Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.

In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyrical-epic (ballads, poems).

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

By mood, by tone military journalism was either satirical or lyrical. In satirical articles, fascists were mercilessly ridiculed. The pamphlet became a favorite genre of satirical journalism. Articles addressed to the homeland and people were very diverse in genre: articles - appeals, appeals, appeals, letters, diaries. This is, for example, Leonid Leonov’s letter to an “Unknown American Friend.”

Journalism had a huge influence on all genres of wartime literature, and above all on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Liza Chaikina, Alexander Matrosov, and about the feat of the Young Guards who preceded the novel “The Young Guard.” Very common in 1943-1945 was an essay about the feat of a large group of people. Thus, essays appear about the U-2 night aviation (Simonov), about the heroic Komsomol (Vishnevsky), and many others. The essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, and Kolosov wrote about people on the home front.

The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which represent an artistic chronicle of military operations. This is evidenced by the essays: “Moscow. November 1941” by Lidin, “July - December” by Simonov.

In 1942, V. Nekrasov’s war story “In the Trenches of Stalingrad” appeared. This was the first work of a then unknown front-line writer, who rose to the rank of captain, who fought at Stalingrad all the long days and nights, participating in its defense, in the terrible and overwhelming battles waged by our army. In the work we see the author’s desire not only to embody personal memories of the war, but also to try to psychologically motivate a person’s actions, to explore the moral and philosophical origins of the soldier’s feat. The reader saw in the story a great test, which was written honestly and reliably, and was faced with all the inhumanity and cruelty of war. This was one of the first attempts to psychologically comprehend the feat of the people.

The war became a great misfortune and misfortune for everyone. But it is precisely at this time that people show their moral essence, “it (war) is like a litmus test, like some kind of special manifestation.” For example, Valega is an illiterate person, “...reads syllables, and ask him what his homeland is, he, by God, won’t really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, teeth...” The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their duty. They are contrasted in the novel with the image of Kaluzhsky, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be completed, despite any losses, throwing people under the destructive fire of machine guns.

Reading the story, you feel the author’s faith in the Russian soldier, who, despite all the suffering, troubles, and failures, has no doubts about the justice of the liberation war. The heroes of the story by V. P. Nekrasov live in faith in a future victory and are ready to give their lives for it without hesitation.

In the same harsh forty-second, the events of V. Kondratiev’s story “Sashka” take place. The author of the work is also a front-line soldier, and he fought near Rzhev just like his hero. And his story is dedicated to the exploits of ordinary Russian soldiers. V. Kondratiev, like V. Nekrasov, did not deviate from the truth, he spoke honestly and talentedly about that cruel and difficult time. The hero of V. Kondratyev’s story, Sashka, is very young, but he has already been on the front line for two months, where “just getting dry and warm is already a considerable success” and “... the bread is bad, there is no gain. Half a pot... millet for two - and be healthy.”

The neutral zone, which is only a thousand steps, is shot right through. And Sashka will crawl there at night to get his company commander some felt boots from a dead German, because the lieutenant’s boots are such that they cannot be dried over the summer, although Sashka’s shoes are even worse. The image of the main character embodies the best human qualities of a Russian soldier; Sashka is smart, quick-witted, dexterous - this is evidenced by the episode of his capture of the “language”. One of the main moments of the story is Sashka’s refusal to shoot the captured German. When asked why he did not carry out the order and did not shoot the prisoner, Sashka answered simply: “We are people, not fascists.”

The main character embodied the best traits folk character: courage, patriotism, desire for achievement, hard work, endurance, humanism and deep faith in victory. But the most valuable thing about him is the ability to think, the ability to comprehend what is happening. Sashka understood that “both commanders and privates have not yet learned how to fight properly. And that learning is on the go, in battles are going on according to Sashka’s life itself. “He understood and grumbled, like the others, but he did not lose faith and did his soldier’s job as best he could, although he did not perform any special heroics.”

“Sashka’s story is the story of a man who found himself in the most hard time in the most difficult place in the most difficult position - a soldier,” K. M. Simonov wrote about Kondratiev’s hero.

The theme of human feats in war was developed in the literature of the post-war period.

References:

Ø History of Russian Soviet literature. Edited by prof. P.S. Vykhodtseva. Publishing house " graduate School", Moscow - 1970 Ø For the sake of life on earth. P. Toper. Literature and war. Traditions. Decisions. Heroes. Third edition. Moscow, " Soviet writer", 1985

Ø Russian literature of the twentieth century. Ed. "Astrel", 2000

Essays on the history of Soviet book publishing. M., 1952, p. 233. 16. Vasiliev V.I. Publishing and printing complex and publishing repertoire of the Academy of Sciences during the war. - Science and scientists of Russia during the Great Patriotic War of 1941-1945. M., 1996, p. 221-235; him. On the periodization of the history of domestic academic book publishing: the publishing repertoire of the period of the Great Patriotic War

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