home-Hats-The image of defenders of the homeland in various forms of art. Literary readings for Defender of the Fatherland Day “...Yes, here they are, Russian characters! Still from the feature film “The Ballad of a Soldier”

The image of defenders of the homeland in various forms of art. Literary readings for Defender of the Fatherland Day “...Yes, here they are, Russian characters! Still from the feature film “The Ballad of a Soldier”

test

Conclusion

In harsh times, during the war years, the song became a powerful weapon, an integral part of life at the front and in the rear, calling for battle for the Motherland and receiving a response in the hearts of every person. There are so many wonderful, unforgettable songs! They reflected both the tragic and happy pages of the heroic years, and preserved for future generations the legendary courage and spiritual courage, optimism and great humanity of the soldiers.

Classical music of the 19th and 20th centuries is inseparable from the life of the people, their history. Large-scale vocal works: the operas “Ivan Susanin”, “Prince Igor”, “War and Peace” reflect heroic deeds. The emotional impact of the works of Russian composers, who have always been characterized by love for the Motherland, for the people, when depicting themes of state building, political unification or the heroic struggle against foreign enslavers, is great.

The instrumental works embodied sorrowful experiences, thoughts, and faith in the boundlessness of the spiritual powers of the people, intransigence, and rejection of evil. Thanks to this, our ancestors become closer and more understandable to us, who, in a cruel, tragic struggle, preserved that very sacred thing that we now call the Motherland.

In conclusion of my work, I would like to emphasize that heroic-patriotic education finds a solid foundation in everything that is connected in art with the theme of the Motherland, with love for our native land, for everything that is dear to us, what we preach, what we stand on, what and how we defend and support the ideas of freedom, justice and the triumph of peace. This approach can serve as a true compass for the teacher in his educational and educational work with children on the noble and grateful material of heroic-patriotic music.

All this is beautifully stated in poetic and musical form in V. Basner’s song to the verses of M. Matusovsky “Where does the Motherland begin?”

Where does the Motherland begin? From the picture in your primer, From good and faithful comrades who live in the neighboring yard.

Or maybe it begins with the song that our mother sang to us.

Since no one can take it away from us in any trials...

The world of feelings and thoughts is diverse, the historical events depicted in this music are diverse, and the means of musical expression are varied. The main thing has always remained one thing: love for the native land, for the native Russian people.

Information sources

1. Vaidman P.E. Chaikovsky. Life and work of the Russian composer [Electronic resource]. - http://www.tchaikov.ru/1812.html

2. Heroics in Russian and Soviet music [Text]. - L.S. Tretyakov. - M.: Knowledge, 1985.

3. Heroics in the works of Russian composers [Electronic resource]. - http://festival.1september.ru/articles/514453/

4. Mikheeva L. Borodin. Second Symphony ("Bogatyrskaya") [Electronic resource]. - http://www.belcanto.ru/s_borodin_2.html

5. Music of the Great Patriotic War [Electronic resource]. - http://www.otvoyna.ru/pesni. htm

6. Prokhorova I., Skudina G. Musical culture of the Soviet period. For VII grade of children's music school [Text]. - M.: Music, 2003.

7. Stories about songs. For middle and older schoolchildren. Compiled by O. Ochakovskaya [Text]. - M.: Music, 1985.

8. Rozanova Yu.A. History of Russian music. T.2, kN.3. Second half of the 19th century. P.I. Tchaikovsky [Text]. - M.: Music, 1981.

9. Holy War [Electronic resource]. - wikipedia.org/wiki/

10. Soviet musical literature. Issue 1: Textbook for music schools [Text]. - M.: Music, 1981.

11. Tretyakova L.S. Young musical Russia [Text]. - M.: Sov. Russia, 1985.

Application

"Three Tankers"

Music by Dm. And Dan. Pokrassov words by B. Laskin

On the border the clouds move gloomily,

The harsh land is enveloped in silence.

On the high banks of the Amur

The sentries of the Motherland are standing.

There a strong barrier has been put up for the enemy,

Standing there, brave and strong -

At the borders of the Far Eastern land

Armored Shock Battalion.

They live there - and the song is a guarantee -

An unbreakable strong family

The crew of the combat vehicle.

The dew lay thick on the grass,

The fogs are widespread,

That night the enemy flocks decided

Cross the border by the river.

But intelligence reported accurately -

And he went, carried away by the team,

In the native land of the Far East

Armored Shock Battalion.

Tanks rushed, raising the wind,

A formidable armor was advancing.

And the enemy flocks flew to the ground

Under the pressure of steel and fire.

And they finished off - the song is a guarantee -

All enemies in fire attack

Three tankmen - three merry friends -

The crew of the vehicle is fighting!

Music by M. Blanter Poems by M. Isakovsky

Apple and pear trees bloomed,

Fogs floated over the river.

Katyusha came ashore

On a high bank, on a steep one.

She went out and started a song

About the steppe gray eagle,

About the one I loved

About the one whose letters I was saving.

Oh, you song, a girl's song,

You fly after the clear sun

And to the fighter on the far border

Say hello from Katyusha.

Let him remember a simple girl,

Let him hear her sing

Let him take care of his native land,

And Katyusha will save love.

Apple and pear trees bloomed,

Fogs floated over the river.

Katyusha came ashore,

On a high bank, on a steep one.

The history of the Russian people is rich in interesting, significant events that become significant milestones in the development of society. If the pages of this history are reflected in art - in music, then their impact on the minds and souls of the younger generation is stronger, and the connection with the present is stronger. In this historical past are the origins of the social and cultural life of each nation. It is impossible to fully comprehend

least modernity without reference to the historical experience of the people.

Goal: to reveal the theme of defense of the Fatherland in Russian music of the 19th and 20th centuries.

Research objectives:

Identify examples of the theme of defending the Fatherland in songs. (in music lessons)

Consider examples of the theme of defense of the Fatherland in vocal music.

Explore examples of displaying the theme of defense of the Fatherland in instrumental works.

Practical significance.

This work can be used in lessons of world artistic culture, art, music lessons at school, as well as for the preparation of extra-curricular activities.

The theme of the entire quarter in the subject “Music at School” can be “Eroics in Music”. (2 lessons - heroic images in songs; 2 lessons - in large-form vocal works; 2 lessons - in instrumental music).

As a result, to summarize the material studied, you can organize a final event in the form of an extracurricular hour, a mini-concert dedicated to February 23, May 9.

Displaying the theme of defense of the Fatherland in songs of the Great Patriotic War

Lesson 1 (intro) AAAAAAAAAAAAAAAAAAAAAAAA

presentation

Pictures

audio recording "three tankmen"

During the war, the song was loved and appreciated. “In the night, a song is light, in the heat - shadow, in frost - a padded jacket,” says a popular proverb composed during these years. At that time, many songs were heard at the front and in the rear to help fight against fascism. Among them were many ancient folk songs that found new life in this terrible time. During these years, songs created before the war also continued to be sung with old or updated lyrics. But no matter how good they were, no matter how they were remade in a new way, the terrible wartime still demanded its songs, and they began to appear. Thus began the creation of the “song chronicle” of the Great Patriotic War.

(Using the example of the song "Three Tankers")

"Three tankmen." (description - history)

The year was 1938. The Nazis occupied Austria, and in the Far East, Japan, having captured Central China and Manchuria, made a test provocative attack on the border of our Motherland. This attack, as you know, ended sadly for the samurai. Soviet tank crews defeated and completely destroyed several Japanese divisions. One of these tanker heroes, a participant in the famous battle of Lake Khasan, was conceived as the main character of the funny musical comedy film "Tractor Drivers". It was decided to start the film with a song. The director (Ivan Pyryev) invited the poet Boris Laskin to his place and told him that a song was needed that would reflect the theme of the feat of the glorious tank heroes who took part in the battles on Khasan.

(The plus is that at the same time there is an acquaintance with songs, with history, with directors of that time, with composers)

“I never had to be on the border, I did not see the combat operations of our tank crews, although by that time I had already served in the army and therefore I had a certain idea about this formidable branch of the military,” recalled Boris Laskin. And the lines began to take shape:

On the border the clouds move gloomily,

The harsh land is enveloped in silence.

On the high banks of the Amur

The sentries of the Motherland stand..."

With the finished text, Laskin went to the Pokrass brothers (composers and songwriters of that time (portrait picture). “It’s hard to believe,” he later said, “but the song was ready in 30-40 minutes.” It became playful, fiery and very melodic the leitmotif of the picture.During the days of the Great Patriotic War, there were many alterations and variations of this wonderful pre-war song at the front:

Tell me, my friend song, more than one fascist viper

How to fight the black horde, tamed by the power of fire

Three tankmen, three cheerful friends, Three tankmen, three cheerful friends,

The crew of the combat vehicle. The crew of the combat vehicle.

After telling and listening to the song, the teacher invites the children to start learning it. The text of the song is projected on the interactive board, and the text is also presented to the students at each desk.

(It is best to learn the song “Three Tankmen” with a button accordion. Subsequently, you can choose three soloists, this can serve as a source of motivation for students.)

Lesson 2 (using the example of the song "Katyusha")

"Katyusha". The poet Mikhail Isakovsky wrote the song “Katyusha” in Moscow, but conceived it in his native land, in a small village on the banks of the Ugra River, which flows in the Smolensk region. And when the hand wrote the line “Katyusha came ashore,” Mikhail Vasilyevich saw his dear little Ugra. Soon the composer Matvey Blanter wrote the melody.

During the war, every soldier who sang “Katyusha” felt as if a call was addressed to him personally to save his native land. An amazing incident happened with the song during the war on the front line of defense. The Germans who were in the trench started the gramophone, and the song “Katyusha” began to play. Our soldiers were in a daze for some time. As if teasing them, the Germans started the song a second time.

Brothers! - the young soldier suddenly cried out. - But this is our “Katyusha” captured by the Germans!

That won't happen! - exclaimed another, and several soldiers rushed to attack the enemy trench. The Germans did not have time to come to their senses when, in a short battle, our soldiers captured a gramophone with a record and returned safely. Now “Katyusha” sounded from our trench.

(Ask students the question: “Do you know who or what is named “Katyusha” besides the name of the song and, of course, besides the name?”, tell about military weapons).

Soon the Germans met another "Katyusha". Only this time it was “executed” by rocket-propelled mortars mounted on vehicles. This formidable weapon, which instilled fear in enemies, was nicknamed by the artillerymen by its affectionate maiden name.

defender of the fatherland song musical

Many wartime songs are epic narratives or ballads about heroes, stories about their exploits. The best of them are dedicated to sailors and partisans.

Displaying the theme of defense of the Fatherland in large-form vocal works

Lesson 3 (portrait of the composer M.I. Glinka, Ivan Susanin)

Brief biography of the composer

Mikhail Ivanovich Glinka was born on May 20, 1804 in Novospasskoye, Smolensk province. M. Glinka began playing the piano at the age of ten. From 1817 he studied at the Noble boarding school at the Pedagogical Institute in St. Petersburg. After graduating from boarding school, he devoted all his time to music. It was then that the first works were created. He sought to expand the everyday genre of music. After traveling to the Caucasus, he goes to Italy and Germany. Under the influence of the Italian composers Bellini, Donizetti changed his musical style. In Berlin, work was carried out on polyphony, composition, and instrumental music. Returning to Russia, Glinka worked diligently on the national opera “Ivan Susanin”. The next opera is “Ruslan and Lyudmila” in 1842. Many works were written during trips abroad. Since 1851, he taught singing in St. Petersburg, and classical music was formed under his influence. Having left for Berlin in 1856, Glinka died there in February 1857. There are about 20 songs and romances by Glinka, as well as 6 symphonic works, chamber instrumental works, and 2 operas. The Glinka Museum is located in Novospasskoye village. (using the example of the choir "Slavya")

In many works of Russian literature, the theme of patriotism is key. And this topic is connected with the images of defenders of the Fatherland, heroes who gave their lives for their Motherland. “Borodino” by M. Yu. Lermontov was no exception.

The strong and unshakable Russian spirit, which is shown in the poem, helps to protect the Motherland and shield it from the enemy. Not only Lermontov in his work draws images of the defenders of the Motherland, but also A. T. Tvardovsky in “Vasily Terkin” described the heroism, courage and great love for his country of Vasily Terkin, the image

Who became the collective image of a Soviet soldier.

In the second chapter “Crossing”, in order to deliver an important report to the command, Terkin swims across a river, the bridge over which has been destroyed. He puts his life in danger, but the soldier is not afraid of the icy abyss.

The poet shows that all this is accomplished by the simplest Russian person, once again proving the idea of ​​the strength of the Russian character. Another important thought running through the entire poem is the thought of the infinite modesty of the Russian soldier.

After all, none of these simple heroes expect rewards. For them, the liberation of the country from invaders is more important. Images of defenders of the fatherland can also be found in the work of ancient Russian literature - “The Tale of Igor’s Campaign”. The campaign of the Grand Duke and his squad perfectly shows the love for their native land and people, for whose sake the prince’s squad goes to fight against the Polovtsians. Of course, Prince Igor was also motivated by selfish thoughts, in particular to gain the glory of the liberator of the earth, but the author (and after him, we) justifies him.

After all, the main thing in his campaign was still the desire to liberate Rus'. Thus, all three works are imbued with love for their native land, the desire to protect it, even at the cost of their own lives. And in “Borodino”, and in “Vasily Terkin”, and in “The Lay” everyone is ready to give their life for the liberation of the Motherland and the happiness of future generations.

Essays on topics:

  1. Vasily Terkin is the main character of the poem of the same name. The author put into his image the features of the true Russian spirit and heroism. Even the last name...
  2. Having received an invitation from the famous Pushkinist Schweitzer to come to Mikhailovskoye, the Leningrad restoration artist Nikolai Genrikhovich Vermel postponed urgent work on...
  3. The history of literature knows many cases when the works of a writer were very popular during his lifetime, but as time passed, they were forgotten...
  4. The poem “Vasily Terkin” was written by Tvardovsky based on the personal experience of the author - a participant in the Great Patriotic War. In terms of genre, it is free...
  5. Romanticism in Russian literature of the 19th century is a wide-ranging and diverse phenomenon. Previously, there were two types of it: conservative and revolutionary. However...
  6. The central idea of ​​“The Tale of Igor’s Campaign,” an outstanding monument of ancient Russian literature, is a patriotic idea. Love for the Motherland, native land...
  7. The main character of I. S. Turgenev’s novel “Fathers and Sons” is the young nihilist Evgeny Bazarov. On the pages of his work, the author details...

    Think about what topic our lesson will be devoted to? (after the children answer (?)

    (slide 2) Think about what hero the next work is dedicated to? What musical genre will tell about this hero? (?) (hearing of Bylina about Ilya Muromets- 3 min). - What genre of music was played? Name the musical features of this genre (the music is close to the sound of folk songs, accompanied by gusli, ancient pronunciation of words). - Who is I. Muromets? What qualities of this hero does the epic reveal? (the nature of the music emphasizes the hero’s daring, strength, and courage).

    (slide 3)Ilya Muromets is not only an epic hero. This is a real Russian person who defended Rus' from the Tatars. This is a Russian saint too. (?) Saint Elijah of Murom dedicated all his unprecedented strength and heroism not only to the defense of the Russian land, but also to the glory of God. (?) - What type of temple art reflects the image of a saint? (icon of St. I. Muromets). And this is not the only example when an Orthodox warrior becomes a fighter of the spiritual army, and you will see this. Do you think the memory of this hero has been forgotten in our time? (Without a past, a person has neither a present nor a future. Moreover, if this past is heroic).

    (slide 4) The next page in the history of our Fatherland and the next legendary hero (painting by Yu. Pantyukhin “A. Nevsky”). - Which hero is depicted in the picture? (after the answer (?) What historical events is this person’s life connected with? (The Battle of the Neva with the Swedes, the Battle of the Ice with the German Crusaders). What character traits of this hero did the artist reflect? One would like to remember the words of A. Nevsky: “Who is with the sword will come to us, and will die by the sword!" Many works of various genres have been written about the exploits of this hero. I suggest watching a fragment of the film directed by S. Eisenstein "A. Nevsky", filmed back in 1938. Your task: - What historical moment will it be featured in the film? What familiar music will you hear and who is its author? ( Film screening - 3.00). (slide 5) (History of the war with the Germans, fragment of S. Prokofiev’s cantata “A. Nevsky”) - How did music help convey the content? - What qualities of the Russian character and people’s feelings are reflected in this fragment? (decisiveness, masculinity, courage, love for the Motherland).

    (slide 6) In 1941, composer S. Prokofiev created the cantata “A. Nevsky” using materials from the music for the film. And we have just heard one of the most frequently heard fragments of this work during the WWII years. Think about why the composer devotes his work not to the events of a real war, but to the war of the 13th century? Why was this fragment of the cantata so beloved during the Second World War? (During the WWII, such examples were needed to maintain the morale of the Soviet army. The similarity of the historical event is the war with the Germans). To feel the power of the impact of this music on ourselves, let's perform a fragment of the choir “Rise up, Russian people” (execution of a fragment).

    (slide 7) (slide 8)

    (slide 9) Now look at this architectural monument (Cathedral of Christ the Savior). Who knows what kind of building this is and where it is located? (after answer (?) The Cathedral of Christ the Savior is another page of the heroic past of our people. How many of you know what historical battle the construction of this temple was dedicated to? (The Cathedral of Christ the Savior was built in gratitude for the intercession of the Almighty during a difficult period in Russian history as a monument the courage of the Russian people in the fight against the Napoleonic invasion of 1812).

    (?) The main idea of ​​​​the construction of this temple-monument was very clearly stated in the words of the Tsar’s Manifesto: “In order to preserve the eternal memory of that unparalleled zeal, loyalty and love for the Faith and the Fatherland, with which the Russian people exalted themselves in these difficult times, and in commemoration of our gratitude to the Providence of God, which saved Russia from the destruction that threatened it...” X Alexander Pavlovich Levshin, Petr Fedorovich Shaposhnikov). The era of the Patriotic War showed an unprecedented spiritual uplift and patriotic qualities of the Russian people. The construction of monument churches reflected one of the main rules of spiritual life - gratitude to God and the soldiers who suffered for their people and for their Motherland, since, in the words of the Gospel, .

    (slide 10) In 1882, for the consecration of the Temple of Christ the Savior, composer P. Tchaikovsky wrote music. Work - Overture. What is an "overture"? - What events do you think the composer based his music on? (Events of the war of 1812, the feat of the people.) - after the answer (?) the work was called “Solemn Overture 1812”. The first performance of this composition took place on August 8, 1882, the year of the 70th anniversary of the victory over the French. Let's listen to the coda of the work, and you try to see what picture the composer conveyed in his music. What familiar musical intonations will you hear in this fragment? (?) (listening to fragment - 4.08

    Exercise:

    (slide 11) Who remembers where we performed? (Children's answers.) And I would like to finish our lesson by singing the song “All Russia and the Fatherland Together.” (?)

    Homework:

View document contents
"Summary of the music lesson "The image of the defender of the Fatherland in art. Dialogue of generations""

“The image of the defender of the Fatherland in art. Dialogue of Generations". 5th grade.

Epigraph: Tell me: what trace will you leave? A trace to wipe the parquet and look askance after, Or an invisible lasting trace in someone else's soul for many years? Leonid Martynov

Target: Introduce students to the image of the defender of the Fatherland in different types of art.

Lesson objectives:

    Educational:

Introduction to the concept of “overture”;

Consolidation of the concepts of “epic”, “cantata”;

To deepen knowledge about the work of the great Russian composers S. Prokofiev, P. Tchaikovsky in the embodiment of the holistic image of the Russian people as defenders of the Motherland;

Conduct an analysis of musical form using the expressive means of music: tempo, register, timbre, melody, mode, intonation, dynamics.

    Developmental:

Instill a caring attitude towards the history of your people;

Show the multidimensionality and harmony of various types of art to create the image of a defender of the Fatherland.

    Educational:

To foster patriotic feelings in children: love for Russia, its history, people, culture, pride in the heroes of the Fatherland;

Arouse a sense of involvement in all events taking place in the country;

Lesson type: integrated lesson.

Means of education:

    Music Center.

    Computer, presentation, video, CD.

    Reproductions of paintings by Russian artists, icons of Russian saints.

During the classes.

(slide 1 ) The troparion to the Cross and prayer for the Fatherland sound.

What piece of music was played? (prayer)

Why do you think so? What features characteristic of prayer can you name? (choral performance in church language, without a musical instrument). (♪)Look at the Russian translation of this prayer. ( Save, Lord, Your people and bless those who belong to You, helping Orthodox Christians defeat their enemies and preserving Your holy Church by the power of Your Cross.). What do Orthodox people ask God for in this prayer? ( They ask the Lord to deliver Orthodox Christians from troubles and misfortunes, grant them prosperity in life, give them the strength to defeat the enemies of the state, and protect them with His Cross. Prayer for the granting of victories to the Orthodox army, for the preservation of Russia - “God’s heritage”).

(♪)You have heard a prayer called the troparion to the Cross and a prayer for the Fatherland. It was often performed by soldiers before important battles. The Russian Orthodox Church blessed soldiers for military service, both in wartime and in peacetime. The church blessing encouraged the soldiers. This is how the Russian people were raised. This is how a Russian soldier is raised even now. This prayer is performed every day in Orthodox churches, and regimental priests bless Russian soldiers for service.

Think about what topic our lesson will be devoted to? (after the children answer (♪)

The image of the defender of the Fatherland is one of the main images of art. Today we will conduct our lesson in the form of a music magazine, look through the heroic pages of the history of our country, get acquainted with works of various types of art in which these events are reflected, remember the heroes and find out what qualities a defender of the Fatherland should have.

And I invite you to plunge into the distant past. (slide 2) Think about what hero the next work is dedicated to? What musical genre will tell about this hero? (♪) (listening to Bylina about Ilya Muromets- 3 min). – What genre of music was played? Name the musical features of this genre (the music is close to the sound of folk songs, accompanied by gusli, ancient pronunciation of words). – Who is I. Muromets? What qualities of this hero does the epic reveal? (the nature of the music emphasizes the hero’s daring, strength, and courage).

(slide 3)Ilya Muromets is not only an epic hero. This is a real Russian person who defended Rus' from the Tatars. This is a Russian saint too. (♪) St. Elijah of Murom dedicated all his unprecedented strength and heroism not only to the defense of the Russian land, but also to the glory of God. (♪) – What type of temple art reflects the image of a saint? (icon of St. I. Muromets). And this is not the only example when an Orthodox warrior becomes a fighter of the spiritual army, and you will see this. Do you think the memory of this hero has been forgotten in our time? (Without a past, a person has neither a present nor a future. Moreover, if this past is heroic).

(slide 4) The next page in the history of our Fatherland and the next legendary hero (painting by Yu. Pantyukhin “A. Nevsky”). – Which hero is depicted in the picture? (after the answer (♪) What historical events is this person’s life connected with? (The Battle of the Neva with the Swedes, the Battle of the Ice with the German Crusaders). What character traits of this hero did the artist reflect? One would like to remember the words of A. Nevsky: “Who is with the sword will come to us, and will die by the sword!" Many works of various genres have been written about the exploits of this hero. I suggest watching a fragment of the film directed by S. Eisenstein "A. Nevsky", filmed back in 1938. Your task: - What historical moment will it be featured in the film? What familiar music will you hear and who is its author? ( Film screening - 3.00). (slide 5) (History of the war with the Germans, fragment of S. Prokofiev’s cantata “A. Nevsky”) - How did music help convey the content? - What qualities of the Russian character and people’s feelings are reflected in this fragment? (decisiveness, masculinity, courage, love for the Motherland).

(slide 6) In 1941, composer S. Prokofiev created the cantata “A. Nevsky” using materials from the music for the film. And we have just heard one of the most frequently heard fragments of this work during the WWII years. Think about why the composer devotes his work not to the events of a real war, but to the war of the 13th century? Why was this fragment of the cantata so beloved during the Second World War? (During the WWII, such examples were needed to maintain the morale of the Soviet army. The similarity of the historical event is the war with the Germans). To feel the power of the impact of this music on ourselves, let's perform a fragment of the choir “Rise up, Russian people” (execution of a fragment).

(slide 7) The Russian people carefully preserve the memory of this hero and the holy Blessed Prince A. Nevsky, the patron saint of the Russian army. Peter the Great established the Order of A. Nevsky; during the Second World War, this order again became a military award. (slide 8) Temples are also named after St. A. Nevsky. In particular, in the city of Tula there is a temple where future soldiers receive a blessing to serve in the army. Thus, the covenants of the Russian army are passed on from generation to generation.

(slide 9) Now look at this architectural monument (Cathedral of Christ the Savior). Who knows what kind of building this is and where it is located? (after answer (♪) The Cathedral of Christ the Savior is another page of the heroic past of our people. How many of you know what historical battle the construction of this temple was dedicated to? (The Cathedral of Christ the Savior was built in gratitude for the intercession of the Almighty during a difficult period in Russian history as a monument the courage of the Russian people in the fight against the Napoleonic invasion of 1812).

(♪) The main idea of ​​​​the construction of this temple-monument was very clearly stated in the words of the Tsar’s Manifesto: “In order to preserve the eternal memory of that unparalleled zeal, loyalty and love for the Faith and the Fatherland, with which the Russian people exalted themselves in these difficult times, and in commemoration of our gratitude to the Providence of God, which saved Russia from the destruction that threatened it...” X frame became a kind of museum of the war of 1812, which was called the Patriotic War. The names of heroes and events of this war were immortalized on the walls of the temple (Bagration Petr Ivanovich, Tuchkov Alexander Alekseevich, Alexander Pavlovich Levshin,Petr Fedorovich Shaposhnikov). The era of the Patriotic War showed an unprecedented spiritual uplift and patriotic qualities of the Russian people. The construction of monument churches reflected one of the main rules of spiritual life - gratitude to God and the soldiers who suffered for their people and for their Motherland, since, in the words of the Gospel, “There is no greater love than when someone lays down his life for his neighbors.”.

(slide 10) In 1882, for the consecration of the Temple of Christ the Savior, composer P. Tchaikovsky wrote music. Work – Overture. What is an "overture"? - What events do you think the composer based his music on? (Events of the war of 1812, the feat of the people.) - after the answer (♪) The work was called “Solemn Overture 1812”. The first performance of this composition took place on August 8, 1882, the year of the 70th anniversary of the victory over the French. Let's listen to the coda of the work, and you try to see what picture the composer conveyed in his music. What familiar musical intonations will you hear in this fragment? (♪)(listening to fragment – 4.08 ) (a picture of the victory of the Russian army, using the effect of bells and cannon salutes, a prayer sounds as gratitude to God for victory in the war. Cannon salutes, music, the ringing of bells throughout Moscow, merged into one powerful, prayerful hymn). There is such a tradition for an Orthodox person: after the successful completion of a task, to thank God for the help provided. The Bogatyr Temple of Christ the Savior is now not only a historical monument for a new generation, but also the spiritual center of all of Russia.

Today we talked a lot about the qualities of the defender of the Fatherland in the past. What qualities should a modern defender of the Motherland have? Choose the correct answer for yourself from those given to you on the pieces of paper. ( Exercise: LOVE FOR THE MOTHERLAND, REVERENCE AND PROTECTION OF RUSSIAN SACRED SITES, DEVOTION TO THE COUNTRY, FORGETING OF RUSSIAN SACRED SITES, MEMORY OF THE HEROIC PAST OF THE COUNTRY, EMIGRATION TO ANOTHER COUNTRY. COURAGE AND BRAVENESS, WILLINGNESS TO DEFEND THE HOMELAND FROM ENEMIES, LAZINESS AND COWARDNESS, DECISION AND COURAGE, DESIRE TO SLEEP AND EAT, WILLINGNESS TO SACRIFICE IN THE NAME OF THE HOLY CASE).

How do you think we, today’s generation, should treat the participants in the Second World War, participants in the “hot spots” in Afghanistan and Chechnya? How can our attention to them be manifested? Let's see photos of our class. (slide 11) Who remembers where we performed? (Children's answers.) And I would like to finish our lesson by singing the song “All Russia and the Fatherland Together.” (♪)

Homework: At home, together with your parents, remember once again familiar works of art: poems, stories, films, songs, sculptures, architectural monuments that were created to honor the victories of the defenders of the Fatherland in wars and various battles.

Literature about the Great Patriotic War went through several stages in its development. In 1941-1945. it was created by writers who went to war in order to support the patriotic spirit of the people with their works, to unite them in the fight against a common enemy, and to reveal the feat of a soldier. The motto of the time is “Kill him!” (enemy) permeated this literature - a response to the tragic events in the life of a country that had not yet raised questions about the causes of the war and could not connect 1937 and 1941 into one plot, could not know the terrible price that the people paid for victory in this war. The most successful, included in the treasury of Russian literature, was “The Book about a Fighter” - A. Tvardovsky’s poem “Vasily Terkin”. “The Young Guard” by A. Fadeev about the feat and death of young Krasnodon residents touches the soul with the moral purity of the heroes, but causes bewilderment with its popular description of the life of young people before the war and the methods of creating images of fascists. The literature of the first stage was descriptive and non-analytical in spirit.

The second stage in the development of the military theme in literature occurred in 1945-1950. These are novels, stories, poems about victory and meetings, about fireworks and kisses - overly jubilant and triumphant (for example, S. Babaevsky’s novel “Cavalier of the Golden Star”). They did not tell the terrible truth about the war. In general, M. Sholokhov’s wonderful story “The Fate of a Man” (1957) hid the truth about where former prisoners of war ended up after returning home.

The real truth about the war was written in the 60s-80s, when those who fought themselves, sat in the trenches, commanded a battery, fought for “an inch of land”, and were in captivity came into literature. The literature of this period was called “the literature of lieutenants” (Yu. Bondarev, G. Baklanov, V. Bykov, K. Vorobyov, B. Vasiliev, V. Bogomolov). Lieutenant writers wrote not about victories on the fronts, but about defeats, encirclement, the retreat of the army, about stupid command and confusion at the top. The analytical spirit of “Sevastopol Stories” entered Russian literature about the war of the 20th century.



In 1965, the magazine “New World” published V. Bykov’s story “The Kruglyansky Bridge”, which made a hole in popular literature about the war. ...The operational group of the partisan detachment receives the task of setting fire to the Kruglyansky bridge, which connects two banks: on one - the Germans, on the other - the bloodless partisans. The bridge is guarded day and night by German sentries. Major Britvin noticed that every morning a cart with cans of milk for the Germans, driven by a boy, drove across the bridge. A brilliant idea struck the major: pour out the milk secretly from the boy, fill the can with explosives and, when the cart is in the middle of the bridge, set fire to the fuse... Explosion. No bridge, no horse, no boy... The task was completed, but at what cost? “War is an opportunity to talk about a good and a bad person” - these words of Vasil Bykov express the essence of new tasks solved by literature about war - to give a ruthless, sober analysis of time and human material. “The war forced many to open their eyes in amazement... involuntarily and unexpectedly, very often we found ourselves witnessing the fact that the war was tearing off the magnificent covers... A lover of loud and correct phrases sometimes turned out to be a coward. An undisciplined fighter accomplished a feat” (V. Bykov). The writer is convinced that historians should deal with war in the narrow sense, and the writer’s interest should be focused exclusively on moral problems: “who is a citizen in military and peaceful life, and who is a selfish person?”, “the dead have no shame, but the living before the dead? and others.

“Lieutenant Literature” made the picture of the war all-encompassing: the front line, captivity, the partisan region, the victorious days of 1945, the rear - this is what K. Vorobyov, V. Bykov, E. Nosov, A. Tvardovsky resurrected in high and low manifestations.

The story of K. D. Vorobyov (1919-1975) “Killed near Moscow.” It was published in Russia only in the 80s. - they were afraid of the truth. The title of the story, like a hammer blow, is precise, brief, and immediately raises the question: by whom? Military leader and historian A. Gulyga wrote: “In this war we lacked everything: cars, fuel, shells, rifles... The only thing we did not spare was people.” The first and second chapters are expositional. The Germans are pushing the army towards Moscow, and Kremlin cadets are being sent to the front line, reacting “boyishly loudly and almost joyfully” to the flying Junkers, in love with Captain Ryumin - with his “arrogantly ironic” smile, tight and slender figure, with a stack of hair. a twig in his hand, with his cap slightly shifted to his right temple. Alyosha Yastrebov, like everyone else, “carried within himself an irrepressible, hidden happiness,” “the joy of a flexible young body.” The landscape also corresponds to the description of youth and freshness in the children: “... The snow is light, dry, blue. It gave off the smell of Antonov apples... something cheerful and cheerful was conveyed to the legs, as if listening to music.” They ate biscuits, laughed, dug trenches and were eager to fight. And they had no idea about the approaching trouble. “Some kind of soul-searching smile” on the lips of the NKVD major, the lieutenant colonel’s warning that 240 cadets would not receive a single machine gun, alerted Alexei, who knew by heart Stalin’s speech that “we will beat the enemy on his territory.” He guessed the deception. “There was no place in his soul where the incredible reality of war could settle down,” but the reader guessed that the boy cadets would become hostages of the war. The plot begins with the appearance of reconnaissance aircraft. Sashka’s white nose, an inexorable feeling of fear, not because they are cowards, but because the Nazis do not expect mercy.

Ryumin already knew that “the front has been broken in our direction,” a wounded soldier told about the true situation there: “Even though darkness killed us there, there were still more alive!” So now we’re wandering.” “Like a blow, Alexey suddenly felt a painful feeling of kinship, pity and closeness to everything that was around and nearby, ashamed of the painful tears that welled up” - this is how Vorobyov describes the psychological state of the protagonist.

The appearance of political instructor Anisimov raised hopes. He “called on the Kremlin people to be steadfast and said that communications are reaching here from the rear and neighbors are approaching.” But this was another deception. The mortar shelling began, shown by Vorobyov in naturalistic detail, in the suffering of Anisimov, wounded in the stomach: “Cut... Well, please, cut...” he begged Alexei. “An unnecessary tearful cry” accumulated in Alexei’s soul. A man of “swift action,” Captain Ryumin understood: no one needs them, they are cannon fodder to distract the enemy’s attention. "Only forward!" - Ryumin decides to himself, leading the cadets into the night battle. They didn’t shout “Hurray! For Stalin!" (as in the films), something “wordless and hard” burst from their chests. Alexei “no longer screamed, but howled.” The patriotism of the cadets was expressed not in a slogan, not in a phrase, but in an action. And after the victory, the first in their lives, the young, ringing joy of these Russian boys: “...They blew it to pieces! Understand? Blast!”

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

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

The denouement comes unexpectedly. Alexey crawled out from under cover and soon found himself on a field with stacks and saw his own people led by Ryumin. Before their eyes, a Soviet hawk was shot in the air. “Scoundrel! After all, all this was shown to us long ago in Spain! - Ryumin whispered. “...We can never be forgiven for this!” Here is a portrait of Ryumin, who realized the great crime of the main command in front of the hawk, the boys, their gullibility and love for him, the captain: “He cried... unseeing eyes, a sideways mouth, raised wings of his nostrils, but he now sat secretly quiet, as if listening to something and trying to comprehend the thought that eludes him...”

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

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

The story “This is us, Lord.” In this story, the autobiographical hero of K. Vorobyov appears before the reader under the name of Sergei, captured in the Klin area - there, to the west, after the defeat of the company, Alexey Yastrebov moved. The story of fascist captivity tells not only about the horrors and atrocities of the fascists. She is the answer to those who considered those captured to be traitors.

The two years Sergei spent in captivity became the basis of the plot of the story about suffering and the will to live.

Here the prisoners are being driven along the highway from Solnechnogorsk to Volokolamsk.

Each line begins with a paragraph and each one screams: “killed.”

The Kaunas camp was a transit point. The prisoners were met by SS men armed with shovels, and with “an inhuman whoop they crashed into the midst of the prisoners and began to kill. Blood splashed, skin, cut off by an oblique blow of a shovel, flew in pieces.” Captain Nikolaev died in Sergei’s arms, whose skull was crushed by a shovel. Naturalism in the description of atrocities forces the reader not to “hear”, but to “see” what was done. There is no hyperbole in the story. This is ordinary everyday fascism, and the atrocities and cruelty of non-humans are the norm for those who have forgotten the universal human law of treating prisoners. ...Sergei walked the road of captivity, marked with terrible signs. Here are the prisoners begging: “Auntie, at least bring out the raw potatoes... the crust...” The old woman who threw raw cabbage leaves to the prisoners was killed. Here Kolya, with legs purple from gangrene, yearning for his mother, dies. Here Sergei himself was thrown under the bunks by the Germans, stripped naked. Here the prisoners are transported for four days without water, bread or air in boarded-up carriages. Here one persuades another hanged man: “Get up, you fool! Are these people? Anchichrists! Get up, come on!”

Sergei didn’t want to die, he didn’t let his leg be taken away: “I’ll still fight!” The solution comes in the death camp, which was not guarded because the prisoners had sticks in their hands, without which they could not move. The wax candles of the fingers reached out to the rare grass to chew. He still escaped, wandered through the swamps without bread, fell into the hands of the police and gave his name: Russinovsky (from the word “Rus”). I was eager to go home. The source of Sergei’s courage is his love for Russia and hatred of fascism. He did not have the chance to experience Stalin’s captivity because he joined a partisan detachment.

The title of the story - “This is us, Lord” - is a groan, a prayer that helped the prisoners.

The story “Sotnikov” by V. Bykov. Vasily Vladimirovich Bykov (born 1924) has a special style and his own theme. The artistic space of his works is narrowed to the size of a forest, a farm. There are few characters. The situation “two people in the steppe” suggests a special artistic conflict not between the “Germans” and the “Soviet soldier,” but between their own people. And both heroes face a moral choice that leads either to the rise or fall of the individual. For Bykov, it is important that the hero makes his choice without witnesses, alone with himself. The choice does not depend on shame in front of others.

The story “Sotnikov” at one time (70s) caused great debate. Let us recall the plot: Sotnikov and Rybak - two partisans who agreed voluntarily, under conditions of encirclement, to go to the nearest villages and get food for the detachment, were captured by the Germans, interrogated and received an offer to serve as policemen. Sotnikov rejected the possibility of salvation and was hanged, and Rybak put on a policeman’s uniform and, having personally executed his comrade (“the trap” was prepared for him by the Germans), wanted to hang himself, but was prevented.

The meaning of the controversy surrounding the story boiled down to the fact that what kind of Sotnikov is a hero if he did not manage to fire a single shot, and what kind of a traitor Rybak is, if he honestly carried his comrade on himself and found a way to save his life, so that he could then go over to his own people and take revenge on the Germans. It turned out to be difficult to understand the conflict of the story, because in life we ​​try to find a way out of a critical situation, clinging to the common logic: “There are no hopeless situations.” To understand the behavior of the characters and give a final assessment, you need to carefully read the text and the psychological picture of both characters. The fisherman sincerely and fiercely hates the fascists - no one argues with this. But here are the “details” that compromise him: he was surprised that the sick Sotnikov volunteered to go on reconnaissance (aren’t there others?), he was surprised that his friend was wearing a cap in winter (you can take a hat from any peasant, after all, we are protecting him!). He was carrying the wounded Sotnikov, but there was a moment of weakness; he wanted to leave his friend, but the thought prevented him: “What will they say in the forest?” The hero’s internal monologue clarifies the type of person with the surname Rybak: “During his long service in the army, he developed a somewhat disdainful feeling towards the weak, sickly, various kinds of losers who, for one reason or another, could not do something, could not do something. ..” For a fisherman in the war, everything was simple. “The goal of the struggle was obvious, but he didn’t think much about other circumstances,” writes V. Bykov about the hero. “Other circumstances”—captivity—were beyond his control.

Pathological pity for his young body, complete indifference to those who suffered nearby, moral deafness - all this led to the downfall of Rybak. Sotnikov, in his thoughts about Rybak, accurately diagnosed: “as a person and a citizen, he certainly lacked something.” Firstly, he did not understand the logic of fascism, “which, having grabbed its victim by the little finger, will not stop until it swallows it whole,” and secondly, he did not think that he, already a spiritually dead person, would have to witness execute your own.

In the logic of Rybak’s self-justification, all the burden falls on the circumstances, and not on the individual, who has no right to compromise with evil. There are circumstances in life, says the author, who himself went through a war, when there can be only one simple, clear and honest way out - death. And the “master” of such a decision is the person himself and his conscience.

Sotnikov is a more traditional character for military literature, but the hero’s internal monologues can be considered an undoubted success of the writer, which, in contrast to the fisherman’s state, help to understand the beauty of the last hours of the hero’s life. “Lord, if only I could stand it,” because he’s not superman. But Sotnikov is a man of ideas, he also does not want to die like a beast being led to the slaughter. “Every death in the struggle must affirm something, deny something, and, if possible, complete what life did not manage to complete.” He entered the realm of spirituality when he saw a dream about himself, a child, and his father, who said: “There was fire, and there was the highest justice in the world.” Not on earth - in heaven. And Sotnikov realized: he had the power to leave the world according to his conscience. This was the last mercy, the last luxury that life gave him as a reward.

Vasil Bykov, with his story, once again reminds us that it’s not a matter of labels: a traitor or a hero, but whether a person has retained the humanity within himself.

Story by E.I. Nosov "Red Wine of Victory". In a short story, Evgeny Ivanovich Nosov (born 1925) depicts a hospital near Moscow, where the wounded lie, brought from the fields of the war, which was already going on outside Russia. The main character, on behalf of whom the story is told, at first cannot get used to the whiteness of the bedside tables and sheets, to the whiteness of the casts and faces without blood. White, white, white... There, in the war, he fought, but here he made a discovery: how vulnerable, ordinary, “serial” everyone is. But meeting the wounded and medical staff gradually destroys this idea. And Kopeshkin, and Sasha Samokhodka, and Bugaev, and Aunt Zina, and sister Tanya - they are all beautiful and individual. Kopeshkin keeps looking out the window, trying to make out a forest and a field, perhaps the same as in his village. Sweet Tanya feels sorry for Mihai, whose arm was amputated. Aunt Zina helps him recover in the toilet, she doesn’t hesitate. Self-propelled gun, cripple, still dreams of a “girl”. “I suddenly felt that the hospital clock was striking some other, new time... Something suddenly burned me inside with echoing jolts, a tense vein on my temple swelled into the pillow,” says the main character on the eve of May 9.

On this day, when all the nurses and doctors will be thinking about how to make it festive in the ward of the seriously wounded, when the whole country is preparing for fireworks and marches, an old photographer will come to the hospital... So what? It’s natural that a day like this needs to be captured! But how to capture it is the whole point.

The photographer had real wealth in his chest: brand new tunics with shiny buttons, kubans, orders to choose from, a tank painted on canvas, shirtfronts, whole arms and legs. Why does the author accompany the actions of the clever old man with remarks: “shaked his tunic like a magician,” “pulled it deftly,” “joked... wincing in a smile,” “looked at Kopeshkin with a tenacious gaze”? What did the author want to say with this climactic scene in the story? Much. During the holiday, you can do anything: take a painkiller, dress up... But if a masquerade begins on a state scale: we dress up cripples and freaks so that they do not spoil our appearance and do not remind us of what we have experienced, if we shift the center of gravity of the war to heroism, to the damaged tanks and planes - what happens? A colorful setting for film versions about the happy ending of the war. The temptation is great - to hide everyone who is in wheelchairs, on crutches, without arms, without legs. Take pictures of them as such fine fellows and send the photographs to all magazines and newspapers, and then send them all en masse to the island of Valaam, away from the healthy, well-fed, prosperous... E. Nosov guessed in this photo show the emerging trend of varnishing life: the facade of the Stalinist empire should be impeccable - only white-toothed smiles on the posters, only full-length images of the victorious heroes who liberated Europe. The old photographer did not look far, he honestly earned his fee, but the falsification of the war had already begun. The photographers will be followed by the authors of “White Birch” and “Cavalier of the Golden Star”, artists, and film scriptwriters. Borodukhin, a soldier, understood everything: “Corpse eater,” and spat.

The story ends with the sad death of soldier Kopeshkin, who so dreamed of returning to his village, to his family, to a small house with a birch tree under the window. “I looked numbly at the fluffed pillow, at its indifferent, idle whiteness, and suddenly, with piercing clarity, I realized that its owner was nothing... He was not just taken out of the room - he was not there at all. No!..” So E. Nosov, with his story, confirmed a very important idea: the truth of life and the truth of art must be in harmony, and we must never forget that festive wine, the wine of victory, is always red - in the past, and in the present, and in the future: it contains the blood of our soldiers.

Poem by A.T. Tvardovsky’s “Vasily Terkin” is the most amazing, most life-affirming work, from which, in fact, the military theme in our art began. It will help us understand why, despite Stalinism and the slave state of the people, the great victory over the brown plague took place.

“Vasily Terkin” is a poem-monument to a Russian soldier, which was erected long before the end of the war. You read it and seem to be immersed in the Pushkin element of a living, natural, precise word, flavored with humor, trickery (“What time of year is it better to die in war?”), and colloquialisms that add tartness to the language (“and at least spit in her face.” ), phraseological units (“now you’re screwed”). Through the language of the poem, a cheerful, honest people's consciousness is conveyed.

The content of the poem is truly encyclopedic; it is enough to write down the titles of the chapters: “At a halt”, “Before the battle”, “Crossing”, “Terkin is wounded”, “About the reward”, “Accordion”, “Death and the warrior”, “On the road to Berlin” , "In the bath". Vasily Terkin will be led from battle to respite, from crossing to trench, from life to death, from death to resurrection, from Smolensk land to Berlin. And the movement along the roads of war will end in the bathhouse. Why in the bathhouse, and not with the victorious red banner at the Reichstag? How does plowing, haymaking, or any sweaty work end in the village? Banya. With a brilliant guess, the peasant's son Tvardovsky came to such a truly popular ending to the poem. The bathhouse is because the sweatiest work for the people - war - has ended. In the bathhouse because you can see all the scars and scars on the body of a soldier who won the war.

With all the epic premise of the plot, the lyrical beginning triumphs in the poem, imparting to the narrative a piercing note of love and kindness, benevolence towards a person, be he Terkin, be an old veteran, be a friend’s wife, be a nurse, be a general. Love is dissolved in every line of the poem.

Tvardovsky showed his hero in full growth. He is distinguished by kindness, humor, sensitivity, benevolence, and inner strength. He accepts everything as it is, is not busy only with himself, does not lose heart and does not panic (“Before the Battle”). He is not alien to the feeling of gratitude, the consciousness of unity with his people, not the statutory “understanding of duty,” but from the heart. He is savvy, brave and merciful to the enemy (“Duel”). All these features can be generalized into the concept of Russian national character. Tvardovsky emphasized all the time: “he is an ordinary guy.” Ordinary in his moral purity, inner strength and poetry. It is these heroes, not supermen, who are able to charge the reader with cheerfulness, optimism and “good feelings” towards people, country, nature, and everything that is called life.

The name of Alexander Trifonovich Tvardovsky, the greatest Soviet poet, laureate of the Lenin and State Prizes, is widely known in our country.

Freedom, humor, truthfulness, daring, the naturalness of immersion in the elements of folk life and folk speech captivated and captivate Tvardovsky’s readers.

His poems enter the consciousness of the reader from childhood: “The Country of Ant”, “Terkin in the Other World”, “House by the Road”, “Beyond the Distance”, lyrics, etc.

Alexander Tvardovsky is one of the most dramatic figures in literature and Soviet reality of the mid-20th century, a great national poet.

During the war years, A. Tvardovsky created his most famous poem “Vasily Terkin”. His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, and modernity, and autobiographical features that make him similar to the author (it is not for nothing that he is from Smolensk, and in the monument to Terkin, which has now been decided to be erected on Smolensk soil, it is not at all by chance decided to indicate the portrait resemblance of the hero and its creator).

If you asked me why Vasily Terkin became one of my favorite literary heroes, I would say: “I like his love of life.” Look, he’s at the front, where there’s death every day, where no one is “bewitched from a stupid fragment, from any stupid bullet.” Sometimes he is cold or hungry, and has no news from his relatives. But he does not lose heart. Lives and enjoys life:

Terkin is the soul of the soldier's company. No wonder his comrades love to listen to his sometimes humorous and sometimes serious stories. Here they lie in the swamps, where the wet infantry even dreams of “at least death, but on dry land.” It's raining. And you can’t even smoke: the matches are wet. The soldiers curse everything, and it seems to them that “there is no worse trouble.” And Terkin grins and begins a long argument. He says that as long as a soldier feels the elbow of a comrade, he is strong. Behind him is a battalion, a regiment, a division. Or even the front. What is it: all of Russia! Last year, when a German rushed to Moscow and sang “Moscow is mine,” then it was necessary to freak out. But today the German is not at all the same, “the German is not a singer of this song from last year.” And we think to ourselves that even last year, when I was completely sick, Vasily found words that helped his comrades. He has such talent. Such a talent that, lying in a wet swamp, my comrades laughed: my soul felt lighter. But most of all I like the chapter “Death and the Warrior,” in which the wounded hero freezes and imagines that death has come to him. And it became difficult for him to argue with her, because he was bleeding and wanted peace. And why, it seemed, was there any need to hold on to this life, where all the joy is in either freezing, or digging trenches, or being afraid that they will kill you... But Vasily is not the type to easily surrender to Kosoy.

“The Book about a Soldier” was very necessary at the front; it raised the spirit of soldiers and encouraged them to fight for their homeland to the last drop of blood.

Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter “Who Shot?” he shoots down an enemy plane with a rifle), and a man of extraordinary fortitude - in the chapter “Crossing” the feat is told - Terkin swims across the icy river to report that the platoon is on the right bank - and he is a craftsman, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task:

Terkin embodies the best features of the Russian soldier and the people as a whole. A hero named Vasily Terkin first appears in the poetic feuilletons of the Tvardov period of the Soviet-Finnish war (1939-1940). The words of the hero of the poem:

The poem is structured as a chain of episodes from the military life of the protagonist, which do not always have a direct event connection with each other. Terkin humorously tells young soldiers about the everyday life of war; He says that he has been fighting since the very beginning of the war, he was surrounded three times, and was wounded. The fate of an ordinary soldier, one of those who bore the brunt of the war on their shoulders, becomes the personification of national fortitude and the will to live. Terkin swims twice across the icy river to restore contact with the advancing units; Terkin alone occupies a German dugout, but comes under fire from his own artillery; on the way to the front, Terkin finds himself in the house of old peasants, helping them with the housework; Terkin enters hand-to-hand combat with the German and, with difficulty, defeating him, takes him prisoner. Unexpectedly, Terkin shoots down a German attack aircraft with a rifle; Sergeant Terkin reassures the jealous sergeant:

Terkin takes command of the platoon when the commander is killed, and is the first to break into the village; however, the hero is again seriously wounded. Lying wounded in a field, Terkin talks with Death, who persuades him not to cling to life; Eventually he is discovered by the fighters and he tells them:

The image of Vasily Terkin combines the best moral qualities of the Russian people: patriotism, readiness for heroism, love of work.

The character traits of the hero are interpreted by the poet as traits of a collective image: Terkin is inseparable and integral from the militant people. It is interesting that all fighters - regardless of their age, tastes, military experience - feel good with Vasily; Wherever he appears - in battle, on vacation, on the road - contact, friendliness, and mutual disposition are instantly established between him and the fighters. Literally every scene speaks to this. The soldiers listen to Terkin’s playful bickering with the cook at the hero’s first appearance:

In the poem “Vasily Terkin”, A.T. Tvardovsky’s field of vision includes not only the front, but also those who work in the rear for the sake of victory: women and old people. The characters in the poem not only fight - they laugh, love, talk with each other, and most importantly, they dream of a peaceful life. The reality of war unites what is usually incompatible: tragedy and humor, courage and fear, life and death.

The poem “Vasily Terkin” is distinguished by its peculiar historicism. Conventionally, it can be divided into three parts, coinciding with the beginning, middle and end of the war. Poetic understanding of the stages of the war creates a lyrical chronicle of events from the chronicle. A feeling of bitterness and sorrow fills the first part, faith in victory fills the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part of the poem. This is explained by the fact that A.T. Tvardovsky created the poem gradually, throughout the Great Patriotic War of 1941-1945.

The theme of war is deeply and fully explored in the works of the great 20th century writer Mikhail Sholokhov.

Mikhail Sholokhov, everyone opens it in their own way. Everyone likes their own hero from Sholokhov's stories. This is understandable. After all, the fate of the heroes, the problems raised by Sholokhov, are consonant with our time.

At the very height of the Great Patriotic War, Sholokhov began work on the novel “They Fought for the Motherland.” In 1943, the first chapters began to be published in newspapers, and then came out as a separate publication. The published chapters tell about the dramatic period of the retreat of Russian troops under the pressure of superior forces The Russian soldiers retreated after heavy fighting, and then stood to the death near Stalingrad.

The novel simply and truthfully reproduces the heroism of Soviet soldiers, front-line life, friendly conversations, and unbreakable friendship sealed with blood. The reader got to know and fell in love with the miner worker Pyotr Lopakhin, the combine operator Ivan Zvyagintsev, the agronomist Nikolai Streltsov, the Siberian bro-sky worker Akim Borzykh, the corporal Kochetygov... Very different in character, they are connected at the front by male friendship and boundless devotion to the Motherland .

Nikolai Streltsov is depressed by the retreat of his regiment and by personal grief: his wife left before the war, he left his children with his old mother. This does not stop him from fighting heroically. In the battle he was shell-shocked and deaf, but he escapes from the hospital to the regiment, in which only twenty-seven people remained after the fighting: “The bleeding from my ears stopped flowing, the nausea almost stopped. Why would I lie there... And then, I simply could not stay there. The regiment was in a very difficult situation, there were only a few of you left... How could I not come? Even a deaf person can fight alongside his comrades, right Petya?”

Pyotr Lopakhin “... wanted to hug and kiss Streltsov, but his throat was suddenly seized by a hot spasm...”

Ivan Zvyagintsev, a combine operator before the war, a hero, a simple-minded man, strives to console Streltsov, complaining to him about his supposedly unsuccessful family life. Sholokhov describes this story with humor.

The words of division commander Marchenko - “let the enemy triumph temporarily, but victory will be ours” - reflected the optimistic idea of ​​the novel and its chapters, published in 1949.

Sholokhov's meeting with General Lukin led to the appearance of a new hero in the novel - General Streltsov, brother of Nikolai Streltsov. In 1936, Lukin was repressed, in 1941 he was released, reinstated and sent to the army. Lukin's 19th Army took on the attack from Hoth's 3rd Panzer Group and part of the divisions of Strauss's 9th Army west of Vyazma. For a week, Lukin’s army held back the German advance. General Lukin was seriously wounded and captured during the battle. He bravely endured all the hardships of captivity.

In the novel, General Streltsov, having returned from “places not so distant” to his brother’s house, is resting. Unexpectedly, he was summoned to Moscow: “Georgy Konstantinovich Zhukov remembered me! Well, let’s serve the Motherland and our Communist Party!”

All battle episodes have a strong emotional impact. Here we see how “one hundred and seventeen soldiers and commanders - the remnants of a regiment brutally battered in the last battles - walked in a closed column,” how the soldiers preserved the regimental banner.

Lopakhin is grieving the death of Lieutenant Goloshchekov, who fought heroically. Sergeant Major Poprishchenko said at Goloshchekov’s grave: “Maybe you, Comrade Lieutenant, will still hear our walk...” Lopakhin speaks with admiration about Kochetygov: “How did he set fire to the tank? The tank had already crushed him, half asleep, and crushed his entire chest. Blood was pouring out of his mouth, I saw it myself, and he stood up in the trench, dead, stood up, taking his last breath! And he threw the bottle... And lit it!”

Warm feelings are evoked by chef Lisichenko, who takes advantage of every opportunity to be at the forefront. Lopakhin asks him: “... where is the kitchen and what will we eat today by your grace?” Lisichenko explains that he filled the cauldron with cabbage soup and left two wounded men to look after the cabbage soup. “I’ll fight a little, I’ll support you, and when it’s time for lunch, I’ll crawl into the forest, and hot food will be delivered if possible!”

During the battle, Lopakhin knocked out a tank and shot down a heavy bomber.

During the retreat, Streltsov worries: “... with what eyes the residents see us off...” Lopakhin also experiences this, but answers: “Are they beating us? So, they serve it right. Better fight, sons of bitches!”

Combine operator Zvyagintsev sees burning ripe bread for the first time in the expanse of the steppe. His soul was “sick.” He says to the ear of corn: “My dear, how smoked have you become! You stink of smoke, like a gypsy... That’s what the damned German, his ossified soul, did to you.”

Descriptions of nature in the novel are linked to the military situation. For example, before Streltsov’s eyes stands a murdered young machine gunner who fell between blooming sunflowers: “Maybe it was beautiful, but in war external beauty looks blasphemous...”

It is appropriate to recall one meeting between Sholokhov and Stalin, which took place on May 21, 1942, when Sholokhov came from the front to celebrate his birthday. Stalin invited Sholokhov to his place and advised him to create a novel in which “truthfully and vividly... both heroic soldiers and brilliant commanders, participants in the current terrible war would be depicted...”. In 1951, Sholokhov admitted that “the image of a great commander does not work out.”

Based on the novel “They Fought for the Motherland,” S. Bondarchuk directed a film approved by Sholokhov himself.

The novel “They Fought for the Motherland” deeply reveals the Russian national character, which clearly manifested itself in the days of difficult trials. The heroism of the Russian people in the novel is devoid of outwardly brilliant manifestations and appears before us in the modest attire of ordinary, everyday life, battles, and transitions. This depiction of the war leads the reader to the conclusion that the heroic is not in individual exploits, although very bright, calling for oneself, but the whole front-line life is a feat.

Mikhail Aleksandrovich Sholokhov is a wonderful master of words, who managed to create monumental canvases of people's life, penetrate into the spiritual world of a person, he conducts a serious conversation with the reader “without the slightest concealment, without the slightest falsehood.”



Related publications: