The theme of the Great Patriotic War in Russian literature. Writers and poets - participants in the Great Patriotic War Works written in 1941-1945

Municipal educational institution

basic secondary school in the village of Baksheevo

Shatursky municipal district

Moscow region

Round table of teachers of Russian language and literature on the topic:

“The Great Patriotic War in the works

poets and writers of the late 20th – early 21st centuries.”

Report:

“...If there is nothing human in the world, if there is no mercy and gratitude in it, the only worthy path remains the path of solitary achievement that does not need a reward...”

(N. Mandelstam).

(Speech at the RMO by teachers of Russian language and literature)

Skorenko Natalya Nikolaevna-

teacher of Russian language and literature

2014

The depiction of a man’s feat in war has been traditional since the times of “The Tale of Igor’s Campaign” and “Zadonshchina”. The personal heroism of a soldier and an officer in L. Tolstoy’s novel “War and Peace” gives rise to a “hidden warmth of patriotism” that broke “the back of the enemy.”

But in Russian literature of the 20th century - the beginning of the 21st century, the feat of a person in war is depicted not only through the fight against the enemy and victory over him, but also through the struggle of each person in the war with himself in a situation of moral choice and victory over himself, in a period when, at times, the price of victory depended on the actions of each person.The outbreak of the Great Patriotic War for the Soviet people also became a “people's war.” Throughout the history of Russia, any encroachment on Russian independence and integrity has caused nationwide protest and persistent resistance. And in this war, the entire Soviet people, with rare exceptions, rose up to fight the enemy, personified by German fascism.Among those who went through the war there were many future poets and writers: Yu. Bondarev, V. Bykov, K. Vorobyov, B. Vasiliev, V. Astafiev, D. Samoilov, S. Orlov, S. Gudzenko, B. Okudzhava. Most of their works were published after Stalin’s death, and many of their works received sharp criticism for the fact that they showed not so much the power of the state and weapons, but rather the suffering and greatness of a person thrown into the heat of war.

The theme of the Great Patriotic War, having appeared from the very beginning of the war in Russian (Soviet) literature, still worries both writers and readers. Unfortunately, authors who knew about the war first-hand are gradually passing away, but they left for us in their talented works their insightful vision of events, managing to convey the atmosphere of bitter, terrible and at the same time solemn and heroic years.Front-line writers are a whole generation of courageous, conscientious, experienced, gifted individuals who endured war and post-war hardships. Front-line writers are those authors who in their works express the point of view that the outcome of the war is decided by a hero who recognizes himself as a part of the warring people, bearing his cross and a common burden.

This is how our contemporary responded to the events of those memorable times:Tatyana Kobakhidze (Kharkov. 2011)
We inherited memory from our grandfathers,
How time passes the baton.
Once upon a time in the fog that fire,
The sunset glows scarlet in the skies.
A wedge of cranes flying into the clouds
Remained a frame from a lived-in film.
Our whole land is breathing with excitement,
They are saluted by the Motherland
For every life not lived,
We will remain in debt forever.
Let this true story echo
And all the poppies on the planet will bloom!
The blue sky breathes coolness
And tears fall with pride.
Low bow to you, low from me
May eternity not extinguish your lives!

What is destruction to us? We are even higher than death.
In the graves we lined up in a squad
And we are waiting for a new order. And let it be
They don't think that the dead don't hear,
When descendants talk about them.Nikolay Mayorov

Novels by Boris Polevoy "Deep Rear" and the story "Doctor Vera" are dedicated to the events of the Great Patriotic War, the heroic actions of the Soviet people in the rear and in enemy-occupied territory.

The prototype of the heroine of the story “Doctor Vera” by B. Polevoy was Lidia Petrovna Tikhomirova, a resident at the first city hospital in Kalinin.

Boris Polevoy's story "Doctor Vera" may perhaps seem like a work of adventure. But it once again confirms the fact, long established by Soviet literature, that life sometimes creates such situations, and a person, in his service to the cause of communism, rises to such heights of feat that even a bright creative fantasy cannot give birth to. As in “The Tale of a Real Man,” the writer talks in the new book about a specific, living hero, about real events that occurred during the days of the Great Patriotic War. This time the heroine of the book is a young surgeon, a woman of difficult fate, who was left with the wounded in an occupied city, in a hospital that they did not have time to evacuate.

This story in unwritten letters begins with a terrible plot. It’s as if people are running in slow motion, dragging their belongings and grabbing children, running across the river, where there is still a retreat, and this running is like a powerful stream of blood escaping from the torn artery of a large organism... She alone - Vera Treshnikova - stands and sees them off everyone's gaze, and the icy winter wind lifts the hem of her coat, from under which a white robe is visible. She is a Soviet doctor, for whom dozens of wounded are waiting in the ruins of a hospital, deployed in the haste of civil evacuation right in the basements of the former hospital, her two assistants are waiting - a nanny and a sister-hostess, and her two children. She is waiting for the moment when cars come from the other side of the River of Darkness to evacuate her charges, but the bridge is blown up and the last escape routes are cut off. Now they are in German-occupied territory. Now they are on their own.
The fascist command appoints her as head of a civilian hospital.During the long months of occupation, while rescuing the wounded, she wages a dangerous duel with the Gestapo and the occupation authorities, lives a double life, without sacrificing the honor and dignity of a Soviet person. The seriously wounded division commander Sukhokhlebov, a communist who in many ways resembles Commissar Vorobyov from The Tale of a Real Man, is brought to the hospital. Vera performs a complex operation, saving him from death. Sukhokhlebov creates an underground group in the hospital. Saving people, risking every minute her life and the lives of her children who stayed with her, Vera repeatedly operates on wounded soldiers in order to keep them longer within the walls of the hospital. The Nazis begin to suspect her and order a check on all patients. Doctor Vera and her assistants - paramedic Nasedkin, Aunt Fenya and others - obtain documents from civilians to the military.On the eve of Christmas night, a sabotage group led by Sukhokhlebov blows up a building where the most prominent officials of the city had gathered, including former actors Lanskaya and her husband. Lanskaya ends up in the hospital. Mass arrests begin in the city. Nasedkin is arrested. Vera tries to save him, asks Lanskaya to help, but she refuses. Then the doctor goes to the city commandant, but he orders her to appear at the public execution of the patriots. Among the convicts, Vera sees her father-in-law and Nasedkin.But she wins together with her comrades, this victory is moral, based on virtue, mercy towards those who need help. And this victory is brought to her by her faith in the great and inevitable victory of the forces of peace and socialism over the forces of fascism and war. We read the story and are convinced that the theme of the past war has by no means exhausted itself in literature, that even now, 70 years later, it sounds modern to us and excites us no less than in works created in the fresh wake of the war.

The Great Patriotic War is reflected in Russian literature of the 20th – early 21st centuries deeply and comprehensively, in all its manifestations: the army and the rear, the partisan movement and the underground, the tragic beginning of the war, individual battles, heroism and betrayal, the greatness and drama of Victory. Authors of military prose, as a rule, are front-line soldiers; their works are based on real events, on their own front-line experience. In the books about the war by front-line writers, the main line is soldier's friendship, front-line camaraderie, the hardship of life on the march, desertion and heroism. Dramatic human destinies unfold in war; life or death sometimes depends on a person’s actions.

« Obelisk" - heroic Belarusian writer , created in . IN for the stories “Obelisk” and “ » Bykov was awarded . In 1976 the story was . Can teacher Moroz be considered a hero if he did nothing heroic, did not kill a single fascist, but only shared the fate of the dead students?

How to measure heroism? How to determine who can be considered a hero and who cannot?

The hero of the story comes to the funeral of the village teacher Pavel Miklashevich, with whom he was casually acquainted. The children loved Miklashevich very much, and all the residents remember him with great respect:“He was a good communist, an advanced teacher” , “Let his life serve as an example for us” . However, former teacher Tkachuk speaks at the wake, demanding to remember about a certain Moroz and does not find approval. On the way home, the main character asks Tkachuk about Moroz, trying to understand how he relates to Miklashevich. Tkachuk says that Ales Ivanovich Moroz was an ordinary teacher, among whose many students was Miklashevich. Moroz took care of the children as if they were his own children: he accompanied them home late at night, stood up for the authorities, tried to fill up the school library as best he could, was involved in amateur activities, bought boots for two girls so that they could go to school in winter, and was afraid of Miklashevich father, settled him at home. Moroz said that he was trying to make the guys real people.

During World War II, the territory of Belarus , and Tkachuk joined the partisan detachment. Moroz stayed with the children, secretly helping the partisans, until one of the villagers, who became a policeman, began to suspect something and conducted a search and interrogation at the school. The search did not yield any results, but the guys loyal to Frost decided to take revenge. A small group, including Miklashevich himself, who was then 15 years old, sawed down the supports at the bridge where the car carrying the police chief, nicknamed Cain, was supposed to pass. The surviving policemen, getting out of the water, noticed the fleeing boys, who were soon captured by the Germans. Only Moroz managed to go to the partisans. The Germans announced that if Moroz surrendered to them, they would release the guys. He voluntarily surrendered to the Germans in order to support his students in prison. When they were being led to execution, Moroz helped Miklashevich escape, diverting the attention of the guards. However, the guard shot Miklashevich, his father left him, but he was then sick all his life. The boys and Moroz were hanged. An obelisk was erected in honor of the children, but Moroz’s actions are not considered a feat - he did not kill a single German, on the contrary, he was recorded as having surrendered. At the same time, Moroz’s students are young boys,like all pure and serious boys of all times, they do not know how to calculate in their actions and do not hear the warnings of their reason at all, they first of all act - recklessly, and therefore tragically. The story is structured according to the “story within a story” scheme and belongs to the heroic direction - one of the main characters of the story, Ales Moroz, acts truly heroically, without trying to save himself, because for him in the current situation there was simply no other worthy way out, since this act did not correlate with some abstract rules of behavior, but, on the contrary, with his understanding of human and teacher’s duty. The story reflects the worthy life of worthy noble people who, in their essence, cannot change themselves and their principles; reflects those unknown feats and heroism that were not included in the award lists and marked by obelisks:“This is a small piece of truly popular resistance to the enemy during the war years, this is an artistic image of human refusal to live like a wolf, according to the laws of the fascist “new order.”

Civil and personal, fun and joy from victory and bitterness from irreparable losses, pathetic and lyrical intonations are combined inseparably inwar drama based on the storyViktor Smirnova "There is no turning back."

Major Toporkov, who escaped from a concentration camp, joins the partisan detachment. Together with the detachment commander, Toporkov is going to support the uprising of prisoners in that very concentration camp, for which they need to be given weapons. The detachment begins to assemble a convoy that will go to the aid of those languishing in dungeons. But for a successful operation they need to identify a traitor in their camp. To deceive the enemy they equip a secondconvoy, which is responsible for diverting the attention of spies and the informer.And now a partisan convoy is walking through Polesie, through thickets and swamps, along the German rear, pursued on the heels of German rangers, diverting the forces of the fascists and having no way back. During the operation, the soldiers lose one by onecomrades.

Will Is the plan, the execution of which came at such a great cost, justified?

Rereading the novelPetra Proskurina “Exodus”, you involuntarily feel how the pain and grief unites each person in the fight against a common enemy. Proskurin's heroes are yesterday's teachers, doctors, and workers. Commandant Rzhansk Zolding, in his thirst to get rid of the nightmare, will look for the unknown Trofimov, as a legendary man, as the source of all his troubles. And he remained a modest, ordinary person. Isn’t it possible to call the act of Skvortsov, a former teacher, who voluntarily went to his death, a feat - he came to Commandant Zoldeng to convince him to disperse the forces that had cordoned off the detachment and decide on an operation to destroy the partisans. Through torment and blood, Skvortsov convinced the insidious enemy. He allowed this “punisher aesthete” to experiment on himself. The commandant blindly believed Vladimir Skvortsov, who led the fascist detachment into a trap. Skvortsov walks in a column of enemies into the forest with a feeling of the infinity of people's life. He sees these hundreds of enemy soldiers with their weapons doomed. With their commander. They are already dead here on this earth. Displacing all fears, his consciousness is filled with one thought-reflection: “...And if he had not been so devastated by the consciousness of having completed his last task in life, he would surely have cried from self-pity, and from doom, and because the damp “, the fragrant earth beneath him warmed slightly and he felt a living and deep warmth with his whole body.” The last scene is full of great general meaning: Skvortsov dies in the middle of a minefield, among trees falling on an enemy column, glancing over Solding as if passing an unnecessary thing, and he just needed to see the convulsive fear of death in Skvortsov. Then he would not have been deceived in his, as it seemed to him, deepest knowledge of the soul of the Russian person. But, alas, having amputated Solding’s conscience and soul like a chimera, fascism made his mind an ominous toy. Thus ended the duel of bestial individualism and lonely feat that does not need a reward...

The further the war is from us, the more we realize the greatness of the people's feat. And even more so - the price of victory. I remember the first message about the results of the war: seven million dead. Then another figure will come into circulation for a long time: twenty million dead. More recently, twenty-seven million have already been named. And how many crippled, broken lives! How many failed happinesses, how many unborn children, how many maternal, paternal, widow’s, and children’s tears were shed! Special mention should be made of life in war. Life, which, naturally, includes battles, but is not limited to battles.

Children of war. They met the war at different ages. Some are very young, some are teenagers. Someone was on the threshold of adolescence. The war found them in cities and small villages, at home and visiting their grandmother, in a pioneer camp, on the front line and in the rear. Before the war, these were the most ordinary boys and girls. We studied, helped elders, played, ran and jumped, broke our noses and knees. Only their relatives, classmates and friends knew their names. The hour has come - they showed how huge a small child’s heart can become when a sacred love for the Motherland and hatred for enemies flares up in it.

Among the most notable front-line writers of the second half of the 20th century we can name the writerVyacheslav Leonidovich Kondratiev (1920-1993). His simple and beautiful story “Sashka,” published back in 1979 in the magazine “Friendship of Peoples” and dedicated to “All those who fought near Rzhev - living and dead,” shocked readers. The story “Sashka” promoted Vyacheslav Kondratiev to the ranks of the leading writers of the front-line generation; for each of them the war was different. In it, a front-line writer talks about the life of an ordinary person during the war, several days of front-line life. The battles themselves were not the main part of a person’s life during the war, but the main thing was life, incredibly difficult, with enormous physical exertion, a difficult life.1943 Battles near Rzhev. Bread is bad. No smoking. No ammunition., Dirt. The main motif runs through the entire story: a beaten and killed company. There are almost no fellow Far Eastern soldiers left. Of the one hundred and fifty people in the company, sixteen remained."All fields are ours" - Sashka will say. All around is rusty earth, swollen with red blood. But the inhumanity of the war could not dehumanize the hero. So he reached out to take it offfelt boots of a killed German.“I would never climb for myself, these felt boots will be lost! But I feel sorry for Rozhkov. His pymas are soaked through with water - and you won’t dry them out over the summer.” I would like to highlight the most important episode of the story - the story of the captured German, whom Sashka, following orders, cannot release. After all, it was written in the leaflet: “Life and return after the war are guaranteed.” And Sashka promised the German life: “Sashka would shoot those who burned the village, these arsonists mercilessly. If only we got caught." What about unarmed? Sashka saw a lot of deaths during this time. But the price of human life did not decrease from this in his mind. Lieutenant Volodko will say when he hears the story about the captured German: “Well, Sashok, you are a man!” And Sashka will answer simply: “We are people, not fascists.” In an inhuman, bloody war, a person remains a person, and people remain people. This is what the story was written about: about a terrible war and preserved humanity. Decades have not weakened public interest in this historical event. The time of democracy and openness, which illuminated many pages of our past with the light of truth, poses new and new questions for historians and writers. Not accepting lies, the slightest inaccuracy in the historical science’s depiction of the past war, its participant, the writer V. Astafiev, sternly assesses what has been done: “As a soldier, I have nothing to do with what is written about the war; I was in a completely different war. Half-truths have tormented us.”

The story of Sashka became the story of all front-line soldiers, tormented by the war, but who retained their human face even in an impossible situation. And then follow the novels and short stories, united by a cross-cutting theme and characters: “The Road to Borodukhino”, “Life-Being”, “Leave for Wounds”, “Meetings on Sretenka”, “A Significant Date”. Kondratiev’s works are not just truthful prose about the war, they are true testimonies about time, about duty, about honor and loyalty, they are the painful thoughts of the heroes afterward. His works are characterized by the accuracy of the dating of events, their geographical and topographic reference. The author was where and when his heroes were. His prose is an eyewitness account; it can be considered an important, albeit unique, historical source; at the same time, it is written according to all the canons of a work of art.

Children play war.

It’s too late to shout: “Don’t shoot!”

Here you are in an ambush, but here you are in captivity...

Started playing - so play!

Everything seems to be serious here,

But no one will die

Let the frost get stronger little by little,

The enemy is coming! Forward!

Whatever happens, hold on.

By evening the battle will end.

Children go into adulthood...

Their mothers call them home.

This poem was written by a young Moscowpoet Anton Perelomov in 2012

We still don’t know much about the war, about the true cost of victory. Work

K. Vorobyova depicts events of the war that are not fully known to the adult reader and are almost unfamiliar to the schoolchild. The heroes of Konstantin Vorobyov's story “This is us, Lord!” and the stories “Sashka” by Kondratiev are very close in worldview, age, character, the events of both stories take place in the same places, return us, in Kondratiev’s words, “to the crumbles of the war,” to its most nightmarish and inhuman pages. However, Konstantin Vorobyov has a different face of war compared to Kondratiev’s story - captivity. Not much has been written about this: “The Fate of Man” by M. Sholokhov, “Alpine Ballad” by V. Bykov, “Life and Fate” by V. Grossman. And in all works the attitude towards prisoners is not the same.

There is nothing more valuable than those works about war whose authors themselves went through it. It was they who wrote the whole truth about the war, and, thank God, there are many of them in Russian Soviet literature.Writer Konstantin Vorobiev he himself was captured in 1943, and therefore the story “This is us, Lord!...” is somewhat autobiographical. It tells about thousands of people who were captured during the Great Patriotic War. K. Vorobyov describes the life, or rather the existence, (because what we are used to calling life is difficult to attribute to prisoners) of captive people. These were days that dragged on like centuries, slowly and equally, and only the lives of the prisoners, like leaves from an autumn tree, fell with amazing speed. That, indeed, was only existence when the soul was separated from the body, and nothing could be done, but it was also existence because the prisoners were deprived of basic human conditions for life. They were losing their human appearance. Now these were old men exhausted by hunger, and not soldiers bursting with youth, strength and courage. They lost their comrades, who were walking along the stage with them, only because they stopped from the wild pain in their wounded leg. The Nazis killed and killed them for staggering with hunger, killed them for picking up a cigarette butt on the road, killed them “for sport.” K. Vorobyov tells a terrifying incident when prisoners were allowed to stay in a village: two hundred voices of begging, pleading, hungry people rushed at the basket of cabbage leaves that the generous old woman’s mother had brought, “they pounced on her, not wanting to die of hunger.” But a machine gun burst was heard - the guards opened fire on the prisoners huddled together.... That was war, then there was captivity, and so the existence of many doomed prisoners ended. K. Vorobyov chooses the young lieutenant Sergei as the main character. The reader knows practically nothing about him, perhaps only that he is twenty-three years old, that he has a loving mother and a little sister. Sergei is a man who managed to remain human, even with the loss of his human appearance, who survived when it seemed impossible to survive, who fought for life and held on to every tiny opportunity to escape... He survived typhus, his head and clothes were full of lice, three or four prisoners huddled with him on the same bunks. And he, once finding himself under the bunks on the floor where his colleagues threw the hopeless, declared himself for the first time, declared that he would live, that he would fight for life at all costs. Dividing one stale loaf into a hundred small pieces so that everything would be even and fair, eating one empty gruel, Sergei harbored hope and dreamed of freedom. Sergei did not give up even when there was not even a gram of food in his stomach, when severe dysentery tormented him. A poignant episode was when Sergei’s comrade, Captain Nikolaev, wanting to help his friend, cleared his stomach and said: “There is nothing else in you.” . But Sergei, “sensing the irony in Nikolaev’s words,” protested because “there really is too little left in him, but what is there, in the very depths of his soul, Sergei did not jump out with vomit.” The author explains why Sergei remained a man in war: “This very “it” can be snatched out, but only with the tenacious paws of death. Only “that” helps to move one’s feet through the camp mud, to overcome the frenzied feeling of anger... It forces the body to endure until the last blood is spent, it demands to take care of it, without soiling it or sullying it with anything!” One day, on the sixth day of his stay in the next camp, now in Kaunas, Sergei tried to escape, but was detained and beaten. He became a penalty box, which meant that the conditions were even more inhumane, but Sergei did not lose faith in the “last opportunity” and fled again, straight from the train, which was rushing him and hundreds of other penalty prisoners to bullying, beatings, torture and, finally, death. He jumped out of the train with his new comrade Vanyushka. They hid in the forests of Lithuania, walked through villages, asked civilians for food and slowly gained strength. There are no limits to Sergei’s courage and bravery, he risked his life at every step - he could meet the police at any moment. And then he was left alone: ​​Vanyushka fell into the hands of the police, and Sergei burned down the house where his comrade could have been. “I will save him from torment and torture! “I’ll kill him myself,” he decided. Perhaps he did this because he understood that he had lost a friend, wanted to ease his suffering and did not want a fascist to take the life of a young guy. Sergei was a proud man, and self-esteem helped him. Still, the SS men caught the fugitive, and the worst thing began: the Gestapo, death row... Oh, how shocking it is that Sergei continued to think about life when there were only a few hours left to exist. Maybe that’s why death retreated from him for the hundredth time. She retreated from him because Sergei was above death, because this “that” was a spiritual force that did not allow her to give up, but ordered her to live. Sergei and I part ways in the city of Siauliai, in a new camp. K. Vorobyov writes lines that are difficult to believe: “...And again, in painful thought, Sergei began to look for ways to freedom. Sergei was in captivity for more than a year, and it is unknown how much longer the words: “run, run, run!” - almost annoyingly, in time with his steps, were minted in Sergei’s mind.” K. Vorobyov did not write whether Sergei survived or not, but, in my opinion, the reader does not need to know this. You just need to understand that Sergei remained a man during the war and will remain so until his last minute, that thanks to such people we won. It is clear that there were traitors and cowards in the war, but they were overshadowed by the strong spirit of a real person who fought for his life and for the lives of other people, remembering lines similar to those that Sergei read on the wall of the Panevezys prison:

Gendarme! You are as stupid as a thousand donkeys!

You won’t understand me, reason and power are in vain:

How am I of all the words in the world

I don’t know what’s better than Russia?..

« This is us, Lord! - a work of such artistic significance that, according to V. Astafiev, “even in unfinished form... can and should stand on the same shelf with Russian classics.”What gave exhausted, sick, hungry people the strength to fight? Hatred towards enemies is certainly strong, but it is not the main factor. Still, the main thing is faith in truth, goodness and justice. And also - love for life.

The Great Patriotic War is the most difficult of all the trials that have ever befallen our people. Responsibility for the fate of the Motherland, the bitterness of the first defeats, hatred of the enemy, perseverance, loyalty to the fatherland, faith in victory - all this, under the pen of various artists, was molded into unique prose works.
The book is dedicated to the theme of the war of our people against the fascist invadersVitaly Zakrutkina “Mother of Man,” written almost immediately after the end of the Great Patriotic War. In his book, the author recreated the image of a simple Russian woman who overcame terrible blows of fate.
In September 1941, Hitler's troops advanced far into Soviet territory. Many regions of Ukraine and Belarus were occupied. What remained on the territory occupied by the Germans was a farm lost in the steppes, where a young woman Maria, her husband Ivan and their son Vasyatka lived happily. But the war spares no one. Having captured previously peaceful and abundant land, the Nazis destroyed everything, burned the farm, drove people to Germany, and hanged Ivan and Vasyatka. Only Maria managed to escape. Alone, she had to fight for her life and for the life of her unborn child.
Terrible trials did not break this woman. Further events of the story reveal the greatness of the soul of Mary, who truly became the Mother of man. Hungry, exhausted, she does not think about herself at all, saving the girl Sanya, mortally wounded by the Nazis. Sanya replaced the deceased Vasyatka and became a part of Maria’s life, which was trampled by the fascist invaders. When the girl dies, Maria almost goes crazy, not seeing the meaning of her further existence. And yet she finds the strength to live. Overcoming grief with great difficulty.
Experiencing a burning hatred for the Nazis, Maria, having met a wounded young German, frantically rushes at him with a pitchfork, wanting to avenge her son and husband. But the German, defenseless boy shouted: “Mom! Mother!" And the Russian woman’s heart trembled. The great humanism of the simple Russian soul is extremely simply and clearly shown by the author in this scene.
Maria felt her duty to the people deported to Germany, so she began to harvest from the collective farm fields not only for herself, but also for those who might return home. The sense of fulfilled duty supported her in difficult and lonely days. Soon she had a large farm, because all living things flocked to Mary’s plundered and burned farmstead. Maria became, as it were, the mother of the entire land surrounding her, the mother who buried her husband, Vasyatka, Sanya, Werner Bracht and a complete stranger to her, political instructor Slava, who was killed on the front line. And although she suffered the death of dear and beloved people, her heart did not harden, and Maria was able to take under her roof seven Leningrad orphans, who, by the will of fate, were brought to her farm.
This is how this courageous woman met the Soviet troops with their children. And when the first Soviet soldiers entered the burnt farm, it seemed to Maria that she had given birth not only to her son, but to all the war-dispossessed children of the world...
V. Zakrutkin’s book sounds like a hymn to the Russian woman, a wonderful symbol of humanism, life and immortality of the human race.
Civil and private, the joy of victory and the bitterness of irreparable losses, social-pathetic and intimate-lyrical intonations are inseparably intertwined in these works. And all of them are a confession about the trials of the soul in war with blood and death, losses and the need to kill; all of them are literary monuments to the unknown soldier.V. Zakrutkin’s book sounds like a hymn to the Russian woman, an excellent symbol of humanism, life and immortality of the human race.

Anatoly Georgievich Aleksin is a famous Russian writer whose books are loved by young and adult readers. Born in Moscow. He began publishing early, while still a schoolboy, in the magazine “Pioneer” and in the newspaper “Pionerskaya Pravda.”

In Russia, the work of A. G. Aleksin was awarded state awards. The International Council for Children's and Youth Literature1 awarded him the H. C. Andersen Diploma. Aleksin's books have been translated into many languages ​​of peoples near and far abroad.

The war did not give people the opportunity and simply time to demonstrate all their “different-sized” qualities. Main caliber guns were rolled out to the forefront of life. They were everyday, everyday courage and a willingness to sacrifice and endure. People became somewhat similar to each other. But it was not monotony and facelessness, but greatness.

“...Years... They are long, when they are still ahead, when they are ahead. But if most of the journey has already been completed, they seem so fast that you think with anxiety and sadness: “Is there really so little left?” I haven't been to this city for a very long time. I used to come often, but then... everything was going on, everything was going on. On the station square I saw the same autumn flowers in tin buckets and the same light-colored cars, belted with black checkers. Like last time, like always... As if I never left. “Where are you going?” - the taxi driver asked tightly, turning on the meter with tension.
“To the city,” I answered.
And I went to see my mother, whom (it just so happened!) I had not been with for about ten years.”

This is how A.G.’s story begins. Aleksin "In the rear as in the rear." This is not just a story, but a dedication story to “Dear, unforgettable mother.” The resilience, courage, and fortitude of a Russian woman are amazing.The action takes place during the harsh times of the Great Patriotic War. The main character, Dima Tikhomirov, shares his memories of his mother. She was a beautiful woman, but loyal to her husband and son. Even at the institute, Nikolai Evdokimovich, an intelligent, sickly man, fell in love with her. He carried his love for her throughout his life, and was never married. Dima's mother, Ekaterina Andreevna, was tormented by remorse and felt responsible for this man. She had an incredibly kind heart. Not everyone is capable of caring for a stranger on an equal basis with their loved ones.I admire Ekaterina Andreevna’s attitude towards people around her and life situations, her actions. Having gone to the rear with her son, she tried with all her might to protect her child from the horrors of war. (« In October '41, we walked with her along this station square in

darkness, falling into holes and puddles. Mom forbade me to touch the old-fashioned, heavy chest: “This is not for you. You will break yourself!”

It’s as if even during the war an eleven-year-old could be considered a child”).

She worked around the clock, sparing no effort, tirelessly. The selfless work of a woman who fights on the home front for the freedom of the country, for the happy future of her and millions of other children, is no less amazing. than the exploits of Soviet soldiers at the front.I remember Ekaterina Andreevna’s words about a poster with the inscription: “In the rear as at the front!” She tells her son: “I don’t like this slogan: after all, the front is the front, and the rear is the rear... We, unlike my father, arrived in the security zone. So that you can learn…. Understood? I am busy will remind ….» She does not think about herself at all; she is most concerned about the fate of her son, husband and Fatherland. She is trying with all her might to return her son’s life to the usual cycle with school, lessons, comrades..... Her heart hurts for her husband, and although she cannot help, she is waiting with hope for letters from the front.... This amazing woman serves her homeland selflessly and courageously. Ekaterina Andreevna unloads trains with military equipment around the clock and devotes herself entirely to difficult work.The only thing she was afraid of was losses, especially after the death of Nikolai Evdokimovich...After some time, Ekaterina Andreevna fell ill from exhaustion and died.Dima, the main character of the story, recalls: “I peered into my mother’s face, and she smiled.” Even during a serious illness, she finds the strength not to frighten her son, to calm him down with a warm and soft smile.It is precisely such an amazing, courageous, persistent woman who, for her attitude to surrounding life situations, deserves to be called a heroine.

“Ekaterina Andreevna Tikhomirov,” I read on the granite slab, “1904-1943.”

I came to visit my mother, whom I had not visited for about ten years. It just happened. At first he came often, and then... all the work, all the work. I was holding a bouquet in my hands, bought at the station market. “The body is exhausted. It resists weakly...” Forgive me, mom.

This is how Anatoly Aleksin’s story ends.

In the most terrible war of the 20th century, a woman had to become a soldier. She not only saved and bandaged the wounded, but also shot with a sniper, bombed, blew up bridges, went on reconnaissance, and took the “tongue.” The woman killed. Army discipline, a soldier's uniform many sizes too large, a male environment, heavy physical activity - all this was a difficult test.

A nurse at war... When miraculously saved people left hospitals, for some reason they remembered for the rest of their lives the name of the doctor who operated on him and returned him “to this world.” What about your sister's name? As a special detail of their work, they remember the praise from the mouth of a painfully suffering “ward”: “You have gentle hands, girl.” And these hands rolled up thousands of meters of bandages, washed tens of thousands of pillowcases, sets of linen...

Olga Kozhukhova says this: “...this work requires not only great knowledge, but also a lot of warmth. In essence, it all consists of the expenditure of mental calories.” In the novel “Early Snow” and in Kozhukhova’s stories, the image of a nurse who performed a human, merciful feat during the Great Patriotic War appears. Here is the unnamed nurse from the novel Early Snow. She is crying bitterly and inconsolably - and she herself is still a girl - she is in a hurry to explain to everyone how bitterly everything turned out, how she was transporting the wounded from near Vladimir-Volynsky in a lorry, under fire, and how she saw 25 wounded soldiers on the side of the road. And she felt so sorry them: “Just wait for me, I’ll quickly take these guys away and come back for you!” She took it there, but didn’t come back: an hour later there were German tanks under that tree...”

Another “nurse” is Lida Bukanova from the story “You Can’t Make Two Deaths.” Just a few moments from the life of this girl who survived the horror of the occupation. Here comes another explosion, a jolt. Outside the window there is a chain of loud explosions... “Oh, mommy!...” A moment - and the nurse is on the street. And the ward already has its own troubles.

Sister, oh, I’m dying soon.”

And so she brings in, scratching against the walls, a wounded man from the street, trying to stop the bleeding, not sparing her scarf: “Be patient a little.” You can't get used to death...

The whole nature of the people's war sharply increases the richness of moral relationships between people and people, revealing everyday episodes of the work of girls in white coats. Kozhukhova’s nurses, being where the fighting people went into battle, in which “the living replaced the dead on the move” (A. Tvardovsky), realized themselves as part of this moving flow. The people are immortal. but a significant part of his physical immortality is the work of their gentle, stern hands, their will and courage.

Yu. Drunina
BANDAGES

The fighter's eyes are filled with tears,
He lies, tense and white,
And I need fused bandages
Rip it off with one bold movement.
One movement - that's what we were taught.
In one movement - only this is a pity...
But having met the gaze of terrible eyes,
I didn’t dare to make this move.
I generously poured peroxide onto the bandage,
Trying to soak it without pain.
And the paramedic became angry
And she repeated: “Woe is me with you!
To stand on ceremony with everyone like that is a disaster.
And you’re only adding to his torment.”
But the wounded always aimed
Fall into my slow hands.
No need to tear the attached bandages,
When they can be removed almost without pain.
I understood it, you will understand it too...
What a pity that the science of kindness
You can't learn from books at school!

Yu. Drunina
A quarter of the company has already been mowed down...
Stretched out in the snow,
The girl is crying from powerlessness,
Gasps: “I can’t! »
The guy got caught heavy,
There is no more strength to drag him...
That tired nurse
Eighteen turned into years.
Lie down and the wind will blow.
It will become a little easier to breathe.
Centimeter by centimeter
You will continue your way of the cross.

There is a line between life and death -
How fragile are they...
So come to your senses, soldier,
Take a look at your sister at least once!
If the shells don't find you,
A knife will not finish off a saboteur,
You will receive, sister, a reward -
You will save a person again.
He will return from the infirmary,
Once again you have cheated death.
And this consciousness alone
It will warm you all your life.

They act as a special genre formation in song poetry Oleg Mityaev historical sketches addressing turning points in the national past, tragic turns of the 20th century, and in some places having a sharply journalistic sound. The ballad war plot is developed in much more detail in the song “In the Autumn Park” (1982). Combining the “role-playing” narration of a sergeant about a fatal battle with fascist tanks and an “objective” story about the fate of the hero, the poet succeeds through intensely dynamic intonation and a contrasting transition from an elegiac-sounding descriptive part (“In the autumn city park // birch foliage waltzes”) to in a military picture - to reproduce the “drama” of the battle. By reducing the “passing” plot links, in the battle episode the author conveyed the culmination of the tragedy of human fate in its weakness before the fatal elements of violence and death and at the same time the potential for overcoming tragedy in life-generating natural existence. It is no coincidence that even in Mityaev’s most bitter works, criticism noted the obvious or hidden presence of light tones:

In the autumn city park
Birch foliage waltzes,
And we lie before the throw,
The leaf fall has almost carried us away.

He brought in benches and tables,
The pond was swept away by the silent reach,
Bringing cold trunks
And logs of machine gun nests.

And dew fell on the shutter,
And cheerful May is dreaming,
And I want to close my eyes,
But don't close your eyes.

“Don’t close it!” the rooks shout,
There through the birch convoy
An avalanche of locusts crawls
To the city behind you! "

And the grove gasps, tilting,
Birds will fly into black smoke,
The sergeant will bury his face in the dirt,
And he was so young!

And the trunk burns your hands -
Well, how long can you pour lead? !
The platoon did not move an inch,
And here it is, now the end!

They transport guns on cables,
Everyone says: "Get up, get up"...
And I want to close my eyes,
But don't close your eyes.

“Don’t close it!” the rooks shout,
Do you hear, be patient, dear. "
And the doctors are standing over you,
And someone says: "Alive."

BookV.T. Aniskova “The peasantry against fascism. 1941-1945. History and psychology of the feat." Peasantry against fascism. 1941-1945. History and psychology of the feat. During the course of the Great Patriotic WarDuring the war, numerous battles were fought on the territory of the Soviet Union. Not only the soldiers of the Red Army were subjected to a real test, but also civilians and peasants who involuntarily found themselves in the territories captured by Nazi Germany and witnessed real repressions carried out by representatives of the Wehrmacht. describes a huge number of events that took place in the territory of one village during the occupation. The author managed to bring to the surface the most important aspects of the life of peasants during this difficult period. A huge number of interesting facts that influenced the life of ordinary village residents, as well as the development and formation of the peasantry as a whole, are given in this book.

At the center of the writer’s artistic world is a man in the space and time of war. The circumstances associated with this time and space encourage and force a person to truly exist. There is something in it that causes admiration, and something that disgusts and frightens. But both are genuine. In this space, that fleeting hour is chosen when a person has nothing and no one to hide behind, and he acts. This is a time of movement and action. Time of defeat and victory. A time of resisting circumstances in the name of freedom, humanity and dignity.

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

Our country won victory over Germany only thanks to the courage of the people, their patience and suffering. The war crippled the lives of everyone who had anything to do with it. It was not only the Great Patriotic War that brought so much suffering. Today, the same suffering is caused by the war in Chechnya and Iraq. Young people, our peers, who have not yet done anything for their country or for their family, are dying there. Even if a person comes back from war alive, he still cannot live an ordinary life. Anyone who has ever killed, even against their own will, will never be able to live like an ordinary person; it is not for nothing that they are called the “lost generation.”

Ephraim Sevela

Efim Evelievich Drabkin

March 8, 1928, Bobruisk, Mogilev region, BSSR - August 19, 2010, Moscow, Russian Federation.

Writer, journalist, screenwriter, director.

At the beginning of the Great Patriotic War, the family managed to evacuate, but during the bombing, Efim was thrown from the train platform by a blast wave and fought off his relatives. He wandered around, in 1943 he became the “son of the regiment” of the anti-tank artillery reserve of the Headquarters of the High Command; with the regiment reached Germany.
After the war, he graduated from school and entered the Belarusian State University, after which he wrote scripts for films.
Before emigrating, he wrote scripts for the films “Our Neighbors” (1957), “Annushka” (1959), “The Devil’s Dozen” (1961), “No Unknown Soldiers” (1965), “Die Hard” (1967) and “Fit for Non-Combatant "(1968). The plots of all these paintings are dedicated to the Great Patriotic War or the harsh romance of military service.
Efraim Sevela was married to Leonid Utesov's stepdaughter Yulia Gendelshtein. In 1971, the successful and trustworthy screenwriter Sevela participated in the seizure of the reception room of the Chairman of the Supreme Council, organized by activists of the Zionist movement, who demanded that Soviet Jews be allowed to repatriate to Israel. After the trial of the group, he was deported to Israel.
Diplomatic relations were interrupted between the USSR and Israel in those years. We flew to Tel Aviv with a transfer in Paris. It was there, in the capital of France, that Sevela wrote his first book, “Legends of Invalid Street.” The writer wrote it in two weeks, telling stories about the city of his childhood - Bobruisk - and its inhabitants.
In the preface to the German edition of “Legends...” the following is written: “Efraim Sevela, a writer of a small nation, talks to his reader with the exactingness, severity and love that only a writer of a very large nation can afford.”
In Israel and the USA, Efraim Sevela wrote the books “Viking”, “Stop the plane - I’ll get off”, “Monya Tsatskes - Standard Bearer”, “Mother”, “Parrot Speaking Yiddish”.
In 1991, at the invitation of the Union of Cinematographers of the USSR, Efraim Sevela flew to Moscow for the first time in eighteen years of emigration. “I plunged into a busy life. “She no longer walked past me, as in the countries where she lived during the years of emigration,” the writer said. “I watched with delight as a new life was born and the old one was broken miserably.” My Russian citizenship was restored."
Ephraim Sevela got the opportunity to direct films based on his own scripts. In a short time (1991-1994) “A Parrot Speaking Yiddish”, “Chopin’s Nocturne”, “Charity Ball”, “Noah’s Ark”, “Lord, Who Am I?” were filmed.
The writer married the architect Zoya Borisovna Osipova, and two children were born in the marriage.

prizes and awards
Awarded the medal "For Courage".

The third story from the film "Lullaby"

excerpt

… In the narrow slot of the sight, as in a tight frame, not people, but ghosts appear and disappear. And the ribbed trunk keeps moving, satiatedly choosing, choosing, on whom to stop, at whom to throw a deadly piece of lead from the first cartridge of a long ribbon hanging to the ground.
And he froze when he found it. The black hole of the muzzle froze on the silhouette of a woman with a baby in her arms. A painfully familiar silhouette.
SHE stood in the sight slot. Our Lady. Madonna. Born by the brush of Raphael.
And we no longer see a silhouette, but we see her whole, illuminated by the light from within. And this young, charming face, and this unique smile addressed to the baby in her arms.
The Sistine Madonna stands in front of a machine gun. But, unlike the biblical one, she is the mother of not one, but two children. The eldest child, a boy, about ten years old, curly and black-haired, with eyes like cherries and protruding ears, grabbed his mother’s skirt and looked in bewilderment at the machine gun.
There is such an oppressive, ominous silence that you want to scream and howl. It was as if the whole world froze, the heart of the universe stopped. And suddenly, in this eerie silence, the quiet cry of a child was suddenly heard.
A child began to cry in the arms of the Madonna. Earthly, ordinary crying. And so out of place here, at the edge of the grave, in front of the black hole of a machine gun muzzle.
Madonna bowed her face to him, rocked the child in her arms and quietly sang a lullaby to him.
Ancient as the world, a Jewish lullaby, more like a prayer than a song, and addressed not to a child, but to God.
About a little white goat that stands under a boy’s cradle.
About a little white goat who will go to the fair and bring gifts from there to the boy: raisins and almonds.
And the child calmed down in the arms of the Madonna.
But the lullaby did not stop. It rushes to the sky, like a prayer, like a cry. Not just Madonna, but dozens, hundreds of women’s voices took up the song. Male voices entered.
The whole chain of people, large and small, placed at the edge of the grave, threw a prayer into the sky, and their dying cry began to rush and beat under the moon, choking on the dry, inexorable knock of a machine gun.
The machine gun rattled. He fell silent, having had his fill. There is not a single person at the edge of the ditch. There is no moat itself. He hastily fell asleep. And across the entire clearing, from end to end along the virgin turf, a yellow sand strip stretches like a scar.
The covered trucks left, humming their engines in shame.
There is no longer a machine gun at the foot of the oak tree. Only piles of empty spent cartridges cast brass in the moonlight.
Only the echo of a lullaby echoes in the forest, rushing among the pines numb with horror...

Musa Jalil

BARBARISM

1943 They drove the mothers with their childrenAnd they forced me to dig a hole, but they themselvesThey stood there, a bunch of savages,And they laughed in hoarse voices.Lined up at the edge of the abyssPowerless women, skinny guys.A drunken major came with copper eyesHe looked around the doomed... Muddy rainHummed through the foliage of neighboring grovesAnd on the fields, clothed in darkness,And the clouds descended over the earth,Chasing each other furiously...No, I won't forget this day,I will never forget, forever!I saw rivers crying like children,And Mother Earth wept in rage.I saw with my own eyes,Like the mournful sun, washed with tears,Through the cloud it came out into the fields,The children were kissed for the last time,Last time...The autumn forest rustled. It seemed that nowHe went crazy. raged angrilyIts foliage. The darkness was thickening all around.I heard: a powerful oak suddenly fell,He fell, letting out a heavy sigh.The children were suddenly seized with fear...They huddled close to their mothers, clinging to their hems.And there was a sharp sound of a shot,Breaking the curseWhat came out of the woman alone.Child, sick little boy,He hid his head in the folds of his dressNot an old woman yet. SheI looked, full of horror.How can she not lose her mind?I understood everything, little one understood everything.- Hide me, mommy! Do not die! --He cries and, like a leaf, cannot stop trembling.The child that is dearest to her,Bending down, she lifted her mother with both hands,She pressed it to her heart, directly against the muzzle...- I, mother, want to live. No need, mom!Let me go, let me go! What are you waiting for? --And the child wants to escape from his arms,And the crying is terrible, and the voice is thin,And it pierces your heart like a knife.- Don't be afraid, my boy. Now you will sighat ease.Close your eyes, but don't hide your head,So that the executioner doesn't bury you alive.Be patient, son, be patient. It won't hurt now.--And he closed his eyes. And the blood ran red,A red ribbon snakes around the neck.Two lives fall to the ground, merging,Two lives and one love!Thunder struck. The wind whistled through the clouds.The earth began to cry in deaf anguish,Oh, how many tears, hot and flammable!My land, tell me, what's wrong with you?You have often seen human grief,You have bloomed for us for millions of years,But have you experienced it at least once?Such a shame and such barbarity?My country, your enemies threaten you,But raise the banner of great truth higher,Wash its lands with bloody tears,And let its rays pierceLet them destroy mercilesslyThose barbarians, those savages,That the blood of children is swallowed greedily,the blood of our mothers...

Municipal budgetary educational institution

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

The Great Patriotic War

in works of the 20th century

Abstract on literature

2012
Content

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

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

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

1.2. Second stage – gg......................................................... ................... 5

1.3. The third stage – gg......................................................... .................... 5-6

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

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

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

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

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

Moscow")......................................................... ................................................... 14-17

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

Introduction

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War - there is no crueler word.

War - there is no sadder word.

War – there is no holier word.

In the melancholy and glory of these years...

And on our lips there is something else

It can't be yet and no.

A. Tvardovsky

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

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

The Great Patriotic War was a difficult test that befell the Russian people. This war revealed the best features of the Russian national character: his courage, fortitude, mass heroism and patriotism. Our people broke the back of the fascist beast, under whose feet Europe obediently lay down. Yes, we won, but this victory came at too high a cost. The war became not only a triumph for the people, but its greatest tragedy. She left destroyed cities, extinct villages. It brought death to an entire generation of young, healthy, talented people. The flower of the nation was destroyed. How many of them, the great defenders of the homeland, died in air battles, burned in tanks, killed in the infantry?! There was everything in this war: heroism and tragedy, so the literature of that time could not stay away from these events.

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

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

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

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

Stages of development of literature about the Great Patriotic War

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

So on the first day of the war, at a rally of Soviet writers, the following words were spoken: “Every Soviet writer is ready to give all 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.” Every third of the writers who went to the front - about four hundred people - did not return from the war. These are big losses. Maybe they would have been smaller, but very often writers, most of whom became front-line journalists, had to deal not only with their direct duties, and many simply ended up in the ranks - to fight in infantry units, in the militia, in the partisans. Never before has a writer heard the heart of the people so clearly - for this he had to listen to his own heart. The sense of community that united the people fighting against the invaders led them into battle. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We lived our good life as people, and for people.”

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.

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

1.1. In 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 poem, included in the treasury of Russian literature, was the poem “Vasily Terkin”. “The Young Guard” about the feat and death of young Red Guards touches the soul with the moral purity of the heroes, but 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.

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

Tvardovsky will say about this later:

And having lived to the end

That way of the cross half-dead -

From captivity to captivity - to the thunder of victory

1.3. The real truth about the war was written in the 60-80s; when those who themselves fought, sat in the trenches, commanded a battery and fought for “an inch of land” came into literature, and were captured. The literature of this period was called “Lieutenant's prose” (Yu. Bondarev, G. Baklanov, V. Bykov, K. Vorobyov, B. Vasiliev, V. Bogomolov). She made the picture of the war all-encompassing: the front line, captivity, the partisan region, the victorious days of 1945, the rear - this is what these writers resurrected in high and low manifestations. They were beaten hard. They beat them because they “narrowed” the scale of the depiction of the war to the size of an “inch of land,” a battery, a trench, a fishing line... They were not published for a long time for “de-heroizing” events. And they, knowing the value of everyday feat, saw it in the everyday work of a soldier. Lieutenant writers wrote not about victories at the fronts, but about defeats, encirclement, the retreat of the army, about stupid command and confusion at the top. Writers of this generation took as a model Tolstoy’s principle of depicting war - “Not in a correct, beautiful and brilliant order, with music... with waving banners and prancing generals, but... in blood, in suffering, in death.” The analytical spirit of “Sevastopol Stories” entered Russian literature about the war of the 20th century.

Monument to the Russian soldier in the poem “Vasily Terkin”.

During the Great Patriotic War and in the first post-war decade, works were created in which the main attention was paid to the fate of man in war. Human life, personal dignity and war - this is how one can formulate the basic principle of works about war.

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 he created the poem gradually throughout the Great Patriotic War.

This 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 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.

Without you, Vasily Terkin,

Even death, but on dry land." It’s raining. And you can’t even smoke: the matches are wet. The soldiers keep cursing, and it seems to them, “there’s no worse trouble.” And Terkin grins and begins a long argument. He says that for now the soldier feels the elbow of his comrade, he is strong. Behind him is a battalion, a regiment, a division. And what is there: all of Russia! Last year, when the German was rushing to Moscow and sang “Moscow is mine”, then it was necessary. But now the German is not the same, “the German is not a singer with this song from last year.” And we think to ourselves that even last year, when it was completely nauseous, Vasily found words that helped his comrades. . Such a talent that, lying in a wet swamp, his comrades laughed: his soul became easier. He accepts everything as it is, He is not preoccupied only with himself, does not become discouraged and does not give in to panic (chapter “Before the battle”). , consciousness of unity with his people, not a statutory “understanding of duty,” but with his heart. He is savvy, brave and merciful to the enemy. 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 precisely such heroes, not supermen, who are able to charge the reader with cheerfulness, optimism and “good feelings” towards everything that is called LIFE.

The fate of man is the fate of the people (based on Sholokhov’s story “The Fate of Man”).

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

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

The story raises the problem of the psychology of the Russian soldier - a man who embodied the typical traits of national character. The reader is presented with the life story of an ordinary person. A modest worker, the father of the family lived and was happy in his own way. He personifies the moral values ​​that are inherent to working people. With what tender soulfulness he remembers his wife Irina (“Looking from the outside, she wasn’t that distinguished, but I didn’t look at her from the outside, but point-blank. And for me there was no one more beautiful and desirable than her, never was in the world and never will be!”) How much paternal pride he puts into words about children, especially about his son (“And the children were happy: all three studied with excellent marks,” and the eldest Anatoly turned out to be so capable of mathematics that he they even wrote about him in the central newspaper...").

And suddenly there was war... Andrei Sokolov went to the front to defend his homeland. Like thousands of others just like him. The war tore him away from his home, from his family, from peaceful work. And his whole life seemed to go downhill. All the troubles of the wartime befell the soldier; life suddenly began to beat him and whip him with all its might. The feat of man appears in Sholokhov’s story mainly not on the battlefield or on the labor front, but in conditions of fascist captivity, behind the barbed wire of a concentration camp (“... Before the war I weighed eighty-six kilograms, and by the fall I was no longer pulling more than fifty. One skin remained on the bones, and I couldn’t even carry my own bones. But give me work, and don’t say a word, but such work that a draft horse is not fit for that.” In the spiritual combat with fascism, the character of Andrei Sokolov and his courage are revealed. A person always faces a moral choice: hide, sit out, betray, or forget about the impending danger, about his “I”, help, save, rescue, sacrifice himself. Andrei Sokolov also had to make this choice. Without thinking for a minute, he rushes to the rescue of his comrades (“My comrades may be dying there, but am I going to suffer here?”). At this moment he forgets about himself.

Far from the front, the soldier survived all the hardships of the war and the inhuman bullying of the Nazis. Andrei had to endure many terrible torments during his two years of captivity. After the Germans hounded him with dogs, so much so that his skin and meat flew in shreds, and then they kept him in a punishment cell for a month for escaping, beat him with fists, rubber sticks and all kinds of iron, trampled under their feet, while giving him almost no food and forcing him to work a lot. And more than once death looked him in the eye, each time he found courage in himself and, in spite of everything, remained human. On Muller's orders, he refused to drink to the victory of German arms, although he knew that he could be shot for this. But not only in a clash with the enemy does Sholokhov see a manifestation of the heroic nature of a person. His losses become no less serious trials. The terrible grief of a soldier, deprived of loved ones and shelter, his loneliness. , who came out of the war victorious, returning peace and tranquility to people, he himself lost everything he had in life, love, happiness.

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

War is a reason to talk

about a good and a bad person.

These words of V. Bykov express the essence of the tasks solved by literature about the war of the third stage - 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 she tore off the lush bedspreads... The 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?”

Vorobyov’s “Killed near Moscow” 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 German General Gollwitzer was amazed: “You do not spare your soldiers, one would think that you are commanding a foreign legion, and not your compatriots.” Two statements raise the important problem of killing one's own. But what K. Vorobyov managed to show in the story is much deeper and more tragic, because the whole horror of the betrayal of his boys can only be depicted in a work of art.

The first and second chapters are expositional. The Germans are pushing the army towards Moscow, and Kremlin cadets are being sent to the front line, “boyishly loud and almost joyfully” reacting to flying Junkers, in love with Captain Ryumin - with his “arrogantly ironic” smile, tight and slender figure, with a twig stack 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: “...Snow - 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 had 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, Alexei 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. 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 bastard 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!”

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

Conclusion

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

In the works I have read and described, I am struck by the meticulous knowledge and accurate description of the realities of war, the truth of life. But the most basic truth about war is not how bullets whistle, how people writhe in suffering and die. The truth is that they, people at war, think, feel, fighting, suffering, dying, killing the enemy.
To know this means to know the whole truth about a person, the truth - that a positive hero is never alone. Heroes always feel their involvement in all life on earth. Living is eternal. Everything that arose with the goal of killing and enslaving will certainly fail. The characters feel this with their hearts, with some special instinct that they are endowed with by the authors who know how to show how that strongest, most invincible feeling called an idea is born in a person. A person obsessed with an idea knows his worth - this is his human essence. And no matter how different the best books about the war were from each other, one thing united them without exception: the firm conviction that the people won this bloody, terrible war, they bore its incredible weight on their shoulders.
Now those who saw the war not on TV, who endured and experienced it themselves, are becoming fewer and fewer every day. The years, old wounds and experiences that now befall the elderly make themselves felt. The further we go, the more vivid and majestic they will unfold in our memory, and more than once our heart will want to relive the sacred, difficult and heroic epic of the days when the country was at war, from small to large. And nothing other than books can convey to us this great and tragic event - the Great Patriotic War, the trials of which were a test of civic maturity, the strength of the connection between literary work and life, with the people, and the viability of its artistic method.
Today, when you read the bitter and profound works of Soviet literature, you think about the price of the victory that our people paid with the lives of their best sons and daughters, about the price of the peace that the earth breathes.

Bibliography

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

2. Korf about writers of the twentieth century. – M.: Strelets Publishing House 2006.

3. Lazarenko schoolchildren's reference book. – M.: Bustard 2006.

4. Ants. – M.: Enlightenment 1981.

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

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

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

8. website: http://new. *****.

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Introduction.

The theme of the Great Patriotic War in our literature is the most multifaceted and significant, because it is associated with a majestic historical event in the tragic fate of the peoples not only of our country, but of the whole world.

However, in recent decades, due to historical changes in the world, different points of view have emerged on the problems associated with the war of 1941-1945. including the world-historical significance of our victory in it, therefore the purpose of my work is to analyze the development of literature about the Great Patriotic War in certain periods of it and to study the processes that are currently underway in understanding the historical past of our country, including and with the past war.

However, in order to understand the nature of a historical event, you need to go from its origins, barely noticeable streams to the birth of a formidable flood, forcing human hearts to fill with trembling and experience shocks. The “springs” of novels, stories, poems and poems about the war flow from the most important thing - from the thought of why our people suffered such losses, so I was faced with the following tasks:

To prove that any revision of the history of the Great Patriotic War and the world-historical significance of our Victory in it is meaningless and impossible.

To trace the dynamics of the development in literature of the theme of war and its reflection in different periods of historical time.

Determine the connection between works about modern wars and literature of past years.

The author of this project, Bibik Daria, has done a great job, studying many sources that reveal the topic of her research article. She has an excellent command of the material, which she shared with students in grades 8-11. Daria showed the children a presentation with her research.

Our lyceum is located in a military town, many of whose houses have memorial plaques reminiscent of the heroes who gave their lives during the war. Traditionally, the lyceum holds meetings with veterans of the Great Patriotic War, with combat veterans, which allow our students to better understand the topic of the Great Patriotic War.

The Lyceum has a museum “Chkalovtsy”, where a wealth of material is collected about the participants in the war, so it is no coincidence that Dasha became interested in exploring how the Great Patriotic War was reflected in literature during different periods of the historical development of our country.

Daria Bibik did the work herself.

II. Main part.

The Great Patriotic War became liberation and sacred for us, because it was not about defending territory, but about preserving the very life of the people, their language, culture, and future.

The war brutally affected not only those who directly took part in it in any form. She aimed at many future generations who came into the world after 1945, she aimed, testing the strength, resilience and moral height of each person, his love for the Motherland.

Art sought to analyze those invisible “threads” of spiritual life, thanks to which a person remained human in the most unbearable conditions. There are roots that keep everyone on earth: here is duty, and love of life, and overcoming the fear of death, and a sense of responsibility to future generations, to one’s country.

Thousands of books have been written about the war, but this topic is inexhaustible and still worries readers, because it is in them that a person realizes the strength of spirit and the fortitude of his character - these are the most life-affirming works in the world of literature.

The first poetic lines born of the war were heard a few hours after it began. They were brought to life by the holy feeling of the offended people.

The beginning of the war on June 22, 1941, instantly changed the worldview of the masses, stirred up strong emotional experiences, in which there was not only anxiety, a feeling of enormous danger, but also a passionate desire to defend the Motherland, to defeat the enemy at any cost.

This was how the sacred feeling of a great people who had been subjected to a treacherous attack by the Nazis was manifested.

In the first days of the war, a song was born that became unforgettable for all Soviet people: on the platform of the Belorussky station, from where the trains left for the war, the great solemn music of A. Alexandrov sounded, and the sublime, soul-grabbing words of the poet V.I. Lebedeva - Kumach:

Get up, huge country,

Rise to the death!

With fascist dark power,

With the damned horde.

May holiness be noble

Boils like a wave

...There is a people's war going on. Holy war.

At the beginning of the war, writers and poets sought to achieve the birth of a word that would inspire the people to fight the enemy. An important task was to convey this word to every person as quickly as possible, so poetry and works of small prose form came to the fore: a story, an essay, an article that could be printed in a “combat leaflet” and given the opportunity to read them in the trenches on the front line.

Since the beginning of the war, our troops have been retreating. The whole country became aware of the Nazi atrocities in the occupied territory, so the theme of retribution was reflected in poetry. In the poem by K. Simonov “If your home is dear to you...” the idea of ​​everyone’s responsibility for the fate of the Motherland is clearly expressed:

Know: no one will save her,

If you don't save her.

Know that no one will kill him,

If you don't kill him.

And there was no call for cruelty: the lines of the work reflected the highest humanity - to protect your country, your home, your children from the enemy. Any reckoning with the enemy is retribution. M. Aliger’s poem “Zoya” was written on this topic, telling about the heroic death of the partisan girl Zoya Kosmodemyanskaya. The works of M. Isakovsky “Order to the Son”, “The Avengers” and others were widely known.

However, in the first months of the war, the lyrical current in poetry also intensified: next to essays about heroes and front-line correspondence, newspapers published poems about love and friendship, and images of Russian nature made them especially heartfelt.

The birth and wide dissemination of the song should be noted, because the soul of our people has always been drawn to it, revealing all its breadth in song motifs.

The song sounded in the front-line dugout, and in the forest camp of the partisans, and in the hospital ward, and at a rest stop after a difficult and long march. There were many popular songs then, most of them have survived to this day and are the decoration of many concerts.

The name of M.V. Isakovsky is widely known in our country. After all, millions of people sang “In the forest near the front”, “Enemies burned their home.” A special place belongs to “Katyusha”. This song became a real fighter during the Great Patriotic War. A. Prokofiev, a front-line poet, wrote: “To make hatred stronger, let’s talk about love.” It must be said that there were a lot of versions of “Katyusha”: fighters, partisans, nurses created their own versions of the poems, the song became truly folk.

The fate of Aleksey Surkov’s “Zemlyanka” is unusual: the poet wrote several lines of poetry in a letter from the front in November 1941 after a heavy battle near Istra, when he was making his way to his own people from encirclement and death was indeed “four steps away.” Maybe unquenchable love took death away from the soldier-poet and gave him life? “Dugout” was dearly loved at the front, and is still loved today.

Despite the great desire to take revenge on the enemy, the theme of retribution was only clearly reflected in literature at the beginning of the war.

Soon the idea of ​​the indissolubility of the fate of an individual person with the fate of the people comes to the forefront, and the theme of patriotism and heroism expands. Works are created about love and fidelity, about soldier’s friendship, about a Russian woman who shouldered hard, back-breaking work in the rear.

Everything despite the war undoubtedly reflected the idea of ​​peace, the all-conquering desire for life. A. Tvardovsky spoke about this vividly and succinctly in his poem “Vasily Terkin”:

The battle is holy and right,

Mortal combat is not for glory,

For the sake of life on earth.

The hero of the poem is a simple Smolensk boy, a soldier, who became the bearer of the unbending national spirit, a favorite literary character.

Probably, the literary process of the first decades following 1945 was natural and logical: writers showed the war “close up.” Novels, stories, poems and verses were a kind of reaction to the experience.

The following years were characterized by an expansion of the themes of the works: these were books in which the artist’s thoughts penetrated into the depths of phenomena associated with the past war

There is a unique phenomenon in our military prose - it is called “lieutenant’s prose.”

The heroes of these unusually truthful works are not famous commanders or intelligence officers who penetrate enemy headquarters. No, these are soldiers, sergeants and very young officers, just former tenth graders yesterday.

There were many nineteen-year-old officers in wartime: they were the ones who commanded artillery batteries and infantry platoons, held the defense with their soldiers, raised a platoon or company to attack and were the first to face bullets.

The works of front-line writers became an important link in the literature about the Great Patriotic War, but it was necessary to comprehend the events on a broader “global” scale; it was necessary to critically evaluate, compare, and analyze the objective picture, the causes and consequences of what happened. This direction in literature can be said in the words of Sergei Yesenin:

Face to face

You can't see the face.

Big things can be seen from a distance.

In the 70-80s, many bright and talented books about the war were created. Each writer followed his own path, because the topic was inexhaustible.

Everything that had already been studied in detail and trifles unexpectedly turned into a moral and aesthetic discovery.

Among the representatives of “lieutenant prose”, the name of Boris Vasiliev attracts many readers. At the age of 17, Boris Vasiliev volunteered for the front.

The boys born in the year of Lenin’s death were almost all destined to lay down their lives in the Great Patriotic War. Only 3 percent of them remained alive, and Boris Vasiliev miraculously found himself among them. He recalled that he got a lucky ticket. He did not die of typhus in 1934, he did not die surrounded in 1941, the parachute opened on all seven landing jumps, and in the last combat jump, near Vyazma, in March 1943, he ran into a mine tripwire, but on his body There wasn't even a scratch.

The creative destiny of the writer was not easy, and only the story “The Dawns Here Are Quiet...” brought him fame and recognition. This work was published in the magazine “Youth” (1969, No. 8). It was from this book, which received a huge response from readers, that Boris Vasiliev began to steadily gain heights in his work.

The idea for the story arose from Vasiliev as a result of internal disagreement with the way certain military events and problems are covered in literature. Over the years, his serious fascination with “lieutenant’s prose” was replaced by the conviction that he saw the war with completely different eyes.

B. Vasiliev is attracted by the fates of those who found themselves cut off from their own people during the war, deprived of communication, support, medical care, who, defending their Motherland to the last drop of blood, to the last breath, had to rely only on their own strength. The writer’s military experience could not help but have an impact here. The motive of patriotism sounds lofty and tragic in the story, and at the same time this prose is directed towards an eternally ongoing life.

Quiet dawns at the 171st crossing, on a tiny piece of land with only 12 yards, surrounded on all sides by war, become silent witnesses to the amazing confrontation between anti-aircraft gunner girls and seasoned enemy paratroopers. But in reality - women's opposition to war, violence, murder, everything that the very essence of a woman is incompatible with. One after another, 5 destinies are cut short, and with each one, the dawns above the earth almost palpably become quieter and quieter. And they, the quiet dawns, will also amaze those who come here years after the end of the war and read its pages again.

We are accustomed to the fact that in war there is no place for sentimentality and tenderness, and the word “hero” in our understanding is necessarily a fighter, a soldier, in a word, a man. Everyone knows the names: Zhukov, Rokossovsky, Panfilov and many others, but few people know the names of those girls who went straight from the prom to the war, without whom, perhaps, there would have been no victory.

It’s hard to imagine how nurses, my peers, dragged wounded soldiers from the battlefield to the whistling of bullets. If for a man the defense of the Fatherland is a duty, a sacred duty, then women went to the front voluntarily. They were not accepted because of their young age, but they still went and mastered professions that were previously considered only for men: pilot, tanker, anti-aircraft gunner... They went and killed enemies no worse than men.

The story “And the Dawns Here Are Quiet...” tells about the distant war years. The action takes place in May 1942. The main character, Fedot Evgrafich Vaskov, at his “own request,” receives a women’s anti-aircraft machine-gun battalion at his disposal. The girls have a low opinion of their foreman and constantly make fun of him, calling him “a mossy stump.” And indeed, at thirty-two years old, Sergeant Major Vaskov was “older than himself,” he was a man of few words, but he knew and could do a lot.

All girls are not alike. The assistant sergeant, Sergeant Rita Osyanina, is a strict girl who rarely laughs. Of the pre-war events, she most clearly remembers the school evening when she met her future husband, Senior Lieutenant Osyanin. Rita got married, gave birth to a son, and “there simply couldn’t have been a happier girl.” But then the war began, and this happy fate was not destined to continue. Senior Lieutenant Osyanin died on the second day of the war, in a morning counterattack. Rita learned to hate quietly and mercilessly and, deciding to avenge her husband, went to the front.

The complete opposite of Osyanina is Zhenya Komelkova. The author himself never ceases to admire her: “Tall, red-haired, white-skinned. And the children’s eyes: green, round, like saucers.” Zhenya’s family: mother, grandmother, brother - the Germans killed everyone, but she managed to hide. Very artistic, emotional, she always attracted male attention. Her friends say about her: “Zhenya, you should go to the theater...”. Despite the personal tragedy, Komelkova remained cheerful, mischievous, sociable and sacrificed her life to save her wounded friend.

Vaskov immediately liked the fighter Lisa Brichkina. Fate did not spare her either: from childhood she had to manage the household herself, since her mother was very ill. She fed the cattle, cleaned the house, and cooked food. She became increasingly alienated from her peers. Lisa began to shy away, keep silent, and avoid noisy companies. One day her father brought a hunter from the city to the house, and she, seeing nothing but her sick mother and the house, fell in love with him, but he did not reciprocate her feelings. When leaving, he left Lisa a note with a promise to place her in a technical school with a dormitory in August... But the war did not allow these dreams to come true! Lisa also dies; she drowns in the swamp, rushing for help to her friends.

There are so many destinies for a girl: everyone is different. But in one thing they are still similar: all destinies were broken and disfigured by the war. All five girls who went on the mission died, but they died heroically, for their Motherland.

At the end of the story we see their commander: “Tears flowed down his dirty, unshaven face, he was shaking with chills and, laughing through these tears, shouted: “What, they took it?.. They took it, right?.. Five girls, five girls in total , only five! But you didn’t go through, you didn’t go anywhere and you’ll die here, you’ll all die!..”

Boris Vasiliev does not spare the reader: the endings of his works are mostly tragic, because he is convinced that art should not act as a comforter, its functions are to expose people to the dangers of life in any of their manifestations, awaken conscience and teach empathy and kindness.

B. Vasiliev continued the theme of war and the fate of the generation for which war became the main event in life in the novels “Not on the Lists”, “Tomorrow There Was War”, in the stories “Veteran”, “The Magnificent Six”, “Whose Are You, Old Man ? , “The Burning Bush” and others.

Based on documentary material, the novel “Not on the Lists” can be classified as a romantic parable. The difficult front-line path of the main character, Lieutenant Pluzhnikov, to whom the author gave the name of his deceased school friend, the path of overcoming hardships, fear of death, hunger and fatigue leads to a strengthening of the young man’s sense of dignity, turns him to the values ​​that were embedded in him by family traditions, love for national history and culture: duty, honor, and finally, patriotism - a feeling, according to Vasiliev, intimate and hidden.

Boris Vasiliev’s novel “Not on the Lists” is a book about a person’s moral responsibility to himself, to the past and the future. It makes you think not only about military duty, but also about moral duty, about the purity of the soul, about human and soldier’s commandments, for which one must “stand to the death.” These are the “heights” that cannot be given away, because otherwise you will not be able to honestly look people in the eyes, honestly talk about love for the Motherland.

The first salvos of the terrible war caught Kolya Pluzhnikov suddenly. He had just graduated from college, received an officer rank and an appointment to the Western Military District. He was not going to war, but simply to his place of service, but it overtook him at four hours and fifteen minutes in the morning on June 22, 1941, when he had not yet registered for military service and was not on the lists.

The Brest Fortress was subjected to severe bombing and massive artillery shelling. The author paints a terrible picture of the first day of the war, when houses, warehouses, cars were burning, and in them people were alive in the roar of the flames, in the roar of explosions and in the rattle of burning iron.

Pluzhnikov did not know the fortress, did not know anyone from its garrison, but he was a soldier, its defender, no matter what.

Soon those who survived found themselves in ruins, deep casemates and continued to fight. Days and months passed, but the fortress did not surrender, the Nazis were unable to conquer it. It was already winter, and the lieutenant had long ago lost track of the days, but continued to make sorties and kill Germans. The author depicts his hero at the limit of human capabilities, but the strength of his spirit, his will are unbending. Kolya Pluzhnikov defended the fortress for ten months and did not surrender it. She didn't fall, she bled to death.

The last pages of the novel describe an April morning in 1942. A blind man, barely moving, came out of the basement. “He was without a hat, his long gray hair touched his shoulders... monstrously swollen black frostbitten fingers protruded from his broken boots. He stood straight up, his head thrown high, and without looking up, he looked at the sun with blinded eyes.” And everyone fell silent when they saw a Russian soldier in front of them, the last hero who never surrendered the fortress to the enemy.

These lines are also striking: “And suddenly the German lieutenant loudly and tensely, as if at a parade, shouted a command, and the soldiers, clicking their heels, clearly raised their weapons “on guard.” And the German general, after hesitating a little, raised his hand to his cap. And he, swaying, slowly walked through the ranks of enemies, who now gave him the highest military honors... He was above all conceivable honors, above glory, above life and above death.”

This is how one of the books of “lieutenant prose” ends, stunning with the harsh truth about the war and the greatness of the feat of the Russian soldier.

The book gives an important and important understanding for all of us of the need to give all of ourselves without reserve when it comes to Russia, about the fate of the people.

The spiritual peculiarity of the talent of the author who created it lies in the fact that bitterness, pain, pride, thoughts cease to be a literary phenomenon, but become universal, affirming the highest idea of ​​the spiritual capabilities of each hero.

Whatever Boris Vasiliev writes about, the scale of the writer’s personality, the level of his thinking and talent give each line a broad sound, evoking in readers a noble response and a feeling of pride for the opportunity to count themselves among his contemporaries.

Based on scripts and books by B.L. Vasiliev shot 15 films.

There is no literature about war without the memoirs of commanders, military leaders, implementing the general strategy and tactics of military operations, leading huge masses of people into battle.

Readers will find the deepest analysis of all the years of the Great Patriotic War, an assessment of the greatness of our Victory in the books of G.K. Zhukov “Memories and Reflections”, in the memoirs of Marshals of the Soviet Union Malinovsky, Meretskov, Konev, Govorov, Bagramyan and other famous military leaders, talented creators of such military power that helped us defeat the enemy.

Literature moved forward to analyze the very “brain” of war, the subtle interrelations of processes occurring directly on the front line with the general military doctrine of the state. The load of “material” here was very large, and the writers created epic canvases: “Blockade” by A. Tchaikovsky, “Soldiers” by M. Alekseev, “Teltow Canal” by A. Ananyev - these works reflected the scale of the artist’s vision of wartime events. A qualitatively new step was taken in the exploration of the truth about the war through art.

Times have changed, our country has changed. New books about the feat of arms of fathers and grandfathers are born in search, in polemics. The movement of literature consists precisely in the study of such processes. But no matter how much time passes over the planet, the close and reverent attention of our writers will always be focused on the topic of the Great Patriotic War.

Now there is a lot of talk about its philosophical understanding as something new, but only a philosophical approach can bring a novel or story on an already historical topic closer to the present day, to our reality and explain a lot in it.

A seemingly paradoxical process is taking place: the more the years of war move away from us, the more acute the reader’s interest in it becomes. The nature of this phenomenon was explained more than 150 years ago, speaking about the War of 1812, by the wonderful Russian critic V.G. Belinsky. He wrote that a nationwide war, which awakened and strained all the internal forces of the people, which constituted an era in its history and had an impact on its entire subsequent life - such a war is an epic event in its superiority and provides rich material for the epic. “Premonition of an epic” - this is how the reader’s expectation on the path of development of literature about war can be formulated, because war is the same life of society, only in special, extraordinary circumstances, but even more so revealing both the national character and the nature of social systems opposing each other . The destinies and characters of individuals and events cannot be deeply revealed outside of such moral and philosophical connections.

Mikhail Nikolaevich Alekseev, a famous front-line writer, answering a journalist’s question about how he sees literature about war in the present and future, said that the theme of war in art is an eternal theme. It is about a man who was tested to the end in the most cruel way for his strength and loyalty to the Motherland, people, and time.

But literature about war cannot stand still, be confined to the same problems and plots. Real art is always in motion, and this allows us to draw the following conclusion: a qualitatively different view of the events of those years continues to take shape.

But no matter how life changes, no matter what tests the historical memory of generations is subjected to, no changes can change the main thing in the consciousness of our people: love for their country, respect for its history, for the great feat of their ancestors.

It seems that it is precisely this feeling that is expressed in the poems of the modern prose writer and poet Yu. Polyakov:

Not burned by the forties

With hearts rooted in silence,

Of course, we look with different eyes

For your big war.

We know from confusing difficult stories

About the bitter victorious path,

Therefore, at least our mind should

Go through the road of suffering.

And you have to figure it out yourself

In the pain that the world has suffered,

Of course, we look with different eyes,

The same... full of tears.

Does the question arise in our time about the modernity of the theme of war in art and in life? Without a doubt. It is reflected in two positions: in society’s interest in this topic and in the desire to find new, modern forms of its disclosure.

The process of development of the military theme in literature is now associated with many social and moral problems of society. Literature cannot exist without its reader, just as theater cannot exist without its spectator. However, the high cost of books, the lack of widespread notification and necessary information for the reader, the huge, literally overwhelming amount of literature on currently “fashionable” topics (mainly, unfortunately, criminal), the practical disappearance of meetings with writers and readers’ conferences from the life of society - all this is not benefits the patriotic and moral education of youth. Almost the only opportunity to get acquainted with new works on a military theme is provided to the reader by the work of writers - screenwriters, television, which is trying to combine public interest in the topic and a modern form that reveals significant pages of works about the war to millions of television viewers.

Unfortunately, there are still wars in our time.

The war in Afghanistan, which cost the lives of thousands of our soldiers, still resonates with pain in the consciousness of modern society and evokes conflicting feelings. Books have been written, poems have been composed, many songs have been sung about this war, but still such a work as “The Zinc Boys” by S. Alexievich evokes bitterness, an awareness of guilt before these guys, the heroes of the book, all the “Afghans”, as we now call them .

However, the author Yuri Korotkov, who wrote the book and later created the script for the now widely known film “9th Company,” saw the main thing in this war: loyalty to duty, soldier’s friendship, self-sacrifice, courage and fearlessness - what has always distinguished our war, our national character.

There are other wars going on at the moment, they are directed against terrorism. Vladimir Makanin’s book “Prisoner of the Caucasus” touches on very painful topics: the collapse of the army, the lack of training and unpreparedness of young soldiers, the betrayal of some army officials who sold weapons to enemies - all this is reflected in the fate of two fighters - first-year soldiers and a captured Chechen youth.

The story “Alive” by Igor Porublev is dedicated to the same war, on which a feature film was made.

The work again resonates with Prince Andrei Bolkonsky: “War is the most disgusting thing in life...”. The crippled souls of young children, time that abandoned them to the mercy of fate, the irreversibility of losses, a deep spiritual breakdown that never allowed the young hero to return to ordinary human life, to remain Alive, because there, in the war, his soul died. This is exactly what the book is about, one of the tragic pages of history about new wars.

Why will they always write about war? What is the secret of the impact of such books on the reader? Humanity will be looking for answers to these questions for a very long time, because the earth is still covered with mourning ribbons: excavations are underway at the battle sites, young guys are finding death medallions, establishing the names of heroes, returning the debt of generations to the dead.

V.V. Putin, speaking to young writers, expressed the conviction that literature undoubtedly plays a key role in the education of a moral civil society, in the birth of the national idea that our people are now striving to achieve. Of course, books about war will take a worthy place in this process.

III. Conclusion.

In conclusion we can conclude:

1. The topic of the Great Patriotic War in literature is inexhaustible, since it reflects the greatness of the spirit of the people who accomplished an unprecedented feat in the name of life on earth. Books on this topic are a hymn to courage, fearlessness, love for the Fatherland, now imprinted throughout the centuries.

2. The heterogeneity and difference of views on this topic are a consequence of further philosophical and social understanding of history, evidence of deepening public interest in the problem.

3. The desire of artists to reflect in their work the nature of modern wars is an attempt at a new approach to understanding history and the role of man in the real world, where there are still many social and moral conflicts.

Bibliography.

B. Vasiliev. Biographical sketch. "Ring A". Review of creativity. Library series “Schoolchildren’s Military Library 2000.

B. Vasiliev “Not on the lists.” Novel. Publishing house "Children's Literature". Moscow. 1986

B. Vasiliev “And the dawns here are quiet...”. Tale. Vagrius Publishing House. Moscow. 2004

Lebedeva M.A. Russian Soviet literature of the period of the Great Patriotic War. Publishing house "Moscow". 1974

History of Russian Soviet literature. Section IV. Publishing house "Prosveshcheniye". 1982

V. Chalmaev “A Word Born in Fire.” Magazine “Literature and Life” No. 2. 1995

A. Tolstoy. Journalism. Publishing house "Moscow". 1965

I. Dedkov “Comprehension of the spiritual nature of man. Magazine "Literary Review" No. 10. 1997

Interview of writer M. Alekseev with a journalist from Literaturnaya Gazeta. May 1079.

Y. Bondarev “The Trend in the Development of the Military Novel.” Military Publishing House, 1980.

Panfilov E.M. song creativity of front-line poets. Magazine "Literary Review". 1985 Rubric “To Victory Day”.

P. Gromov. Notes on the literature of the war years. Military publishing house 1974.

It was widely covered in literature, especially in Soviet times, as many authors shared personal experiences and themselves experienced all the horrors described along with ordinary soldiers. Therefore, it is not surprising that first the war and then the post-war years were marked by the writing of a number of works dedicated to the feat of the Soviet people in the brutal struggle against Nazi Germany. It is impossible to pass by such books and forget about them, because they make us think about life and death, war and peace, past and present. We bring to your attention a list of the best books dedicated to the Great Patriotic War that are worth reading and re-reading.

Vasil Bykov

Vasil Bykov (books are presented below) is an outstanding Soviet writer, public figure and WWII participant. Probably one of the most famous authors of war novels. Bykov wrote mainly about a person during the most severe trials that befell him, and about the heroism of ordinary soldiers. Vasil Vladimirovich sang in his works the feat of the Soviet people in the Great Patriotic War. Below we will look at the most famous novels of this author: “Sotnikov”, “Obelisk” and “Until Dawn”.

"Sotnikov"

The story was written in 1968. This is another example of how it was described in fiction. Initially, the arbitrariness was called “Liquidation”, and the basis of the plot was the author’s meeting with a former fellow soldier, whom he considered dead. In 1976, the film “The Ascension” was made based on this book.

The story tells about a partisan detachment that is in dire need of provisions and medicine. Rybak and the intellectual Sotnikov, who is sick, but volunteers to go because no more volunteers were found, are sent for supplies. Long wanderings and searches lead the partisans to the village of Lyasiny, here they rest a little and receive a sheep carcass. Now you can go back. But on the way back they come across a detachment of policemen. Sotnikov is seriously wounded. Now the Fisherman must save the life of his comrade and bring the promised provisions to the camp. However, he fails, and together they fall into the hands of the Germans.

"Obelisk"

Vasil Bykov wrote a lot. The writer's books have often been filmed. One of these books was the story “Obelisk”. The work is constructed according to the “story within a story” type and has a pronounced heroic character.

The hero of the story, whose name remains unknown, comes to the funeral of Pavel Miklashevich, a village teacher. At the wake, everyone remembers the deceased with a kind word, but then the conversation comes up about Frost, and everyone falls silent. On the way home, the hero asks his fellow traveler what kind of relationship a certain Moroz has with Miklashevich. Then they tell him that Moroz was the teacher of the deceased. He treated the children as family, took care of them, and took Miklashevich, who was oppressed by his father, to live with him. When the war began, Moroz helped the partisans. The village was occupied by police. One day, his students, including Miklashevich, sawed off the bridge supports, and the police chief and his assistants ended up in the water. The boys were caught. Moroz, who by that time had fled to the partisans, surrendered to free the students. But the Nazis decided to hang both the children and their teacher. Before his execution, Moroz helped Miklashevich escape. The rest were hanged.

"Until Dawn"

A story from 1972. As you can see, the Great Patriotic War in literature continues to be relevant even after decades. This is also confirmed by the fact that Bykov was awarded the USSR State Prize for this story. The work tells about the daily life of military intelligence officers and saboteurs. Initially, the story was written in Belarusian, and only then translated into Russian.

November 1941, the beginning of the Great Patriotic War. Soviet army lieutenant Igor Ivanovsky, the main character of the story, commands a sabotage group. He will have to lead his comrades beyond the front line - to the lands of Belarus occupied by the German invaders. Their task is to blow up a German ammunition depot. Bykov talks about the feat of ordinary soldiers. It was they, and not the staff officers, who became the force that helped win the war.

In 1975, the book was filmed. The script for the film was written by Bykov himself.

“And the dawns here are quiet...”

A work by the Soviet and Russian writer Boris Lvovich Vasiliev. One of the most famous front-line stories, largely thanks to the 1972 film adaptation of the same name. “And the dawns here are quiet...” Boris Vasiliev wrote in 1969. The work is based on real events: during the war, soldiers serving on the Kirov Railway prevented German saboteurs from blowing up the railway track. After the fierce battle, only the commander of the Soviet group survived, who was awarded the medal “For Military Merit.”

“And the dawns here are quiet...” (Boris Vasiliev) - a book describing the 171st patrol in the Karelian wilderness. Here is the calculation of anti-aircraft installations. The soldiers, not knowing what to do, begin to drink and idle. Then Fyodor Vaskov, the commandant of the patrol, asks to “send non-drinkers.” The command sends two squads of female anti-aircraft gunners to him. And somehow one of the new arrivals notices German saboteurs in the forest.

Vaskov realizes that the Germans want to get to strategic targets and understands that they need to be intercepted here. To do this, he assembles a detachment of 5 anti-aircraft gunners and leads them to the Sinyukhin ridge through the swamps along a path known to him alone. During the campaign, it turns out that there are 16 Germans, so he sends one of the girls for reinforcements, while he himself pursues the enemy. However, the girl does not reach her own people and dies in the swamps. Vaskov has to engage in an unequal battle with the Germans, and as a result, the four girls remaining with him die. But still, the commandant manages to capture the enemies, and he takes them to the location of the Soviet troops.

The story describes the feat of a man who himself decides to confront the enemy and not allow him to walk around his native land with impunity. Without an order from his superiors, the main character goes into battle himself and takes 5 volunteers with him - the girls volunteered themselves.

"Tomorrow there was a war"

The book is a kind of biography of the author of this work, Boris Lvovich Vasiliev. The story begins with the writer telling about his childhood, that he was born in Smolensk, his father was the commander of the Red Army. And before becoming anyone in this life, choosing his profession and deciding on his place in society, Vasiliev became a soldier, like many of his peers.

“Tomorrow there was war” is a work about the pre-war period. Its main characters are still very young students of the 9th grade, the book tells about their growing up, love and friendship, idealistic youth, which turned out to be too short due to the outbreak of the war. The work tells about the first serious confrontation and choice, about the collapse of hopes, about the inevitable growing up. And all this against the backdrop of an looming, grave threat that cannot be stopped or avoided. And within a year, these boys and girls will find themselves in the heat of a fierce battle, in which many of them are destined to burn. However, in their short lives they learn what honor, duty, friendship and truth are.

"Hot Snow"

A novel by front-line writer Yuri Vasilyevich Bondarev. The Great Patriotic War is particularly widely represented in the literature of this writer and became the main motive of all his work. But Bondarev’s most famous work is the novel “Hot Snow,” written in 1970. The action of the work takes place in December 1942 near Stalingrad. The novel is based on real events - the attempt of the German army to relieve Paulus's sixth army, surrounded at Stalingrad. This battle was decisive in the battle for Stalingrad. The book was filmed by G. Yegiazarov.

The novel begins with the fact that two artillery platoons under the command of Davlatyan and Kuznetsov have to gain a foothold on the Myshkova River, and then hold back the advance of German tanks rushing to the rescue of Paulus’s army.

After the first wave of the offensive, Lieutenant Kuznetsov’s platoon is left with one gun and three soldiers. Nevertheless, the soldiers continue to repel the onslaught of enemies for another day.

"The Fate of Man"

“The Fate of Man” is a school work that is studied within the framework of the topic “The Great Patriotic War in Literature.” The story was written by the famous Soviet writer Mikhail Sholokhov in 1957.

The work describes the life of a simple driver Andrei Sokolov, who had to leave his family and home with the beginning of the Great Patriotic War. However, before the hero gets to the front, he is immediately wounded and ends up in Nazi captivity, and then in a concentration camp. Thanks to his courage, Sokolov manages to survive captivity, and at the end of the war he manages to escape. Having reached his family, he receives leave and goes to his small homeland, where he learns that his family died, only his son survived, who went to war. Andrei returns to the front and learns that his son was shot by a sniper on the last day of the war. However, this is not the end of the hero’s story; Sholokhov shows that even after losing everything, you can find new hope and gain strength in order to live on.

"Brest Fortress"

The book by the famous journalist was written in 1954. For this work the author was awarded the Lenin Prize in 1964. And this is not surprising, because the book is the result of Smirnov’s ten-year work on the history of the defense of the Brest Fortress.

The work “Brest Fortress” (Sergei Smirnov) is itself a part of history. Writing literally bit by bit he collected information about the defenders, wanting their good names and honor not to be forgotten. Many of the heroes were captured, for which they were convicted after the end of the war. And Smirnov wanted to protect them. The book contains many memories and testimonies of participants in the battles, which fills the book with true tragedy, full of courageous and decisive actions.

"The Living and the Dead"

The Great Patriotic War in the literature of the 20th century describes the life of ordinary people who, by the will of fate, turned out to be heroes and traitors. This cruel time ground many, and only a few managed to slip between the millstones of history.

“The Living and the Dead” is the first book in the famous trilogy of the same name by Konstantin Mikhailovich Simonov. The second two parts of the epic are called “Soldiers Are Not Born” and “The Last Summer.” The first part of the trilogy was published in 1959.

Many critics consider the work one of the brightest and most talented examples of describing the Great Patriotic War in the literature of the 20th century. At the same time, the epic novel is not a historiographical work or a chronicle of the war. The characters in the book are fictional people, although they have certain prototypes.

“War does not have a woman’s face”

Literature dedicated to the Great Patriotic War usually describes the exploits of men, sometimes forgetting that women also contributed to the overall victory. But the book of the Belarusian writer Svetlana Alexievich, one might say, restores historical justice. The writer collected in her work the stories of those women who took part in the Great Patriotic War. The title of the book was the first lines of the novel “War Under the Roofs” by A. Adamovich.

“Not on the lists”

Another story whose theme was the Great Patriotic War. In Soviet literature, Boris Vasiliev, whom we already mentioned above, was quite famous. But he gained this fame precisely thanks to his military work, one of which is the story “Not on the Lists.”

The book was written in 1974. The action takes place in the Brest Fortress itself, besieged by fascist invaders. Lieutenant Nikolai Pluzhnikov, the main character of the work, ends up in this fortress before the start of the war - he arrived on the night of June 21-22. And at dawn the battle begins. Nikolai has the opportunity to leave here, since his name is not on any military list, but he decides to stay and defend his homeland to the end.

"Babi Yar"

Anatoly Kuznetsov published the documentary novel “Babi Yar” in 1965. The work is based on the childhood memories of the author, who during the war found himself in German-occupied territory.

The novel begins with a short introduction by the author, a short introductory chapter and several chapters, which are combined into three parts. The first part tells about the withdrawal of retreating Soviet troops from Kyiv, the collapse of the Southwestern Front and the beginning of the occupation. Also included were scenes of the execution of Jews, the explosions of the Kiev Pechersk Lavra and Khreshchatyk.

The second part is completely devoted to the occupation life of 1941-1943, the deportation of Russians and Ukrainians as workers to Germany, the famine, clandestine production, and Ukrainian nationalists. The final part of the novel tells about the liberation of the Ukrainian land from the German occupiers, the flight of the police, the battle for the city, and the uprising in the Babi Yar concentration camp.

"The Tale of a Real Man"

Literature about the Great Patriotic War also includes the work of another Russian writer who went through the war as a military journalist, Boris Polevoy. The story was written in 1946, that is, almost immediately after the end of hostilities.

The plot is based on an event from the life of USSR military pilot Alexei Meresyev. Its prototype was a real character, the hero of the Soviet Union Alexei Maresyev, who, like his hero, was a pilot. The story tells how he was shot down in battle with the Germans and seriously wounded. As a result of the accident, he lost both legs. However, his willpower was so great that he managed to return to the ranks of Soviet pilots.

The work was awarded the Stalin Prize. The story is imbued with humanistic and patriotic ideas.

"Madonna of Ration Bread"

Maria Glushko is a Crimean Soviet writer who went to the front at the beginning of the Second World War. Her book “Madonna with Ration Bread” is about the feat of all mothers who had to survive the Great Patriotic War. The heroine of the work is a very young girl, Nina, whose husband is going to war, and she, at the insistence of her father, goes to be evacuated to Tashkent, where her stepmother and brother are waiting for her. The heroine is in the last stages of pregnancy, but this will not protect her from the flow of human troubles. And in a short time, Nina will have to learn what was previously hidden from her behind the prosperity and tranquility of her pre-war existence: people live so differently in the country, what life principles, values, attitudes they have, how they differ from her, who grew up in ignorance and prosperity. But the main thing that the heroine has to do is to give birth to a child and save him from all the scourges of war.

"Vasily Terkin"

Literature portrayed such characters as the heroes of the Great Patriotic War to the reader in different ways, but the most memorable, cheerful and charismatic, undoubtedly, was Vasily Terkin.

This poem by Alexander Tvardovsky, which began publication in 1942, immediately received popular love and recognition. The work was written and published throughout the Second World War, the last part was published in 1945. The main task of the poem was to maintain the morale of the soldiers, and Tvardovsky successfully accomplished this task, largely thanks to the image of the main character. The daring and cheerful Terkin, who is always ready for battle, won the hearts of many ordinary soldiers. He is the soul of the unit, a cheerful fellow and a jokester, and in battle he is a role model, a resourceful warrior who always achieves his goal. Even being on the verge of death, he continues to fight and is already entering into battle with Death itself.

The work includes a prologue, 30 chapters of main content, divided into three parts, and an epilogue. Each chapter is a short front-line story from the life of the main character.

Thus, we see that the literature of the Soviet period widely covered the exploits of the Great Patriotic War. We can say that this is one of the main themes of the mid and second half of the 20th century for Russian and Soviet writers. This is due to the fact that the entire country was involved in the battle with the German invaders. Even those who were not at the front worked tirelessly in the rear, providing the soldiers with ammunition and provisions.

“The Great Patriotic War in the works of our writers”

The Great Patriotic War... years of severe torment and experiences, both physical and moral, four years of waiting for death, while hundreds of others fall, mowed down by its scythe. There was a man - and now he is no longer forever... It is not easy to find words to describe the savagery and cruelty of a terrible war, the most terrible of all those that have befallen the bitter lot of our people over the centuries-old history of the Russian land, the country in which we we live.

One of those people who captured on paper and preserved for future generations the unity of the people and our wars was Boris Vasiliev. “Not on the Lists” tells the story of the heroic feat of the defenders of the Brest Fortress during the difficult times of Hitler’s invasion.

The main character of Kolya's story is Nikolai Pluzhnikov, a young nineteen-year-old lieutenant who has not yet graduated from military school in Moscow and is sent to the western borders of the country to undergo military practice. Kolya Pluzhnikov is simple-minded in character; he firmly believes in the ideals raised by the Soviet government among the masses. He is convinced that specific individuals should think for him and for the entire people, that if the newspapers talk about the impossibility of any attack on the USSR from the outside and about the invincibility of the Red Army, then this means that it really is.

He met the terrible morning of June twenty-second already in the barracks of the fortress. At that moment he felt the same thing as many other inexperienced soldiers, and commanders too - confusion, lack of understanding of what was happening. The myth of the constant combat readiness of the Red Army sat too firmly in the minds of our soldiers. And after a week of fighting, they continued to hope for quick help, for the imminent defeat of the fascist troops.

The death of dozens and hundreds of comrades, the death of civilians - everything had a depressing effect on the behavior of the defenders of the Brest Fortress. Some sacrificed themselves for the lives of others, in the name of victory over the enemy who was trampling their native land. And some shamefully abandoned their combat post, escaped behind the backs of others, hiding in deep bureaus, and among the comrades who died for them, they kept their worthless skin (until better times). Pluzhnikov owed his life to others: and not only to those who protected him from fascist bullets with their bodies, but also to those who still continued to fight, destroying the Germans, not only fighting next to him. Kolya understood this well, he fought not for himself, but for the entire people, let this not seem like just a loud phrase.

B. Vasiliev not only wrote about the war, but he was concerned about the state of the souls of the current generation. He came to literature as an experienced, mature person, knowing the life and spiritual state of the generation of his day, sharing with them its sufferings and joys. Having gone through the fire of the Great Patriotic War, the writer had the right to write about its heroes, conveying the plot with the colors of his own memories. No, this story is not as simple as one might think at first - this is a whole generation that raised us. Some turned out to be heroes, others did not leave any good memories about themselves. Kolya Pluzhnikov is what happened to our youth, how they faced difficult, even cruel trials of war. In tragic circumstances, spiritual strength and moral superiority over inertia, evil and ignorance are revealed.

Every hero is put to the test, he is placed in one situation or another, where his moral qualities are required to be tested, where he is faced with a difficult choice. For example, what to do with water as precious as life: give it to swelling children, the wounded exhausted from agony, or use it to cool machine gun barrels? How he acts depends on what kind of person he is.

The writer Vasil Bykov subjects his heroes to moral choices in war. Bykov is especially interested in situations in which a person, left alone, must be guided not by a direct order, but only by his moral “compass.” This is how his stories are structured: “Obelisk”, “Wolf Pack”, “Sotnikov”. In the story “Sotnikov” we encounter two types of life behavior.

The partisan detachment, burdened with women, children, and wounded, is surrounded. Ammunition is running out, there is nothing to feed people. Two people are sent on reconnaissance - Sotnikov and Rybak. They fall into the hands of the fascists. Unable to bear the torture, Sotnikov dies, and Rybak saves his life at the cost of betrayal. A fisherman is a brave fighter, but only when his own people stand behind him. Finding himself face to face with the enemy, he first hesitates, then commits betrayal and murder of his comrade. Analyzing this character, Bykov comes to the conclusion that the origins of Rybak’s betrayal must be sought in childhood, when he resorted to seemingly petty tricks in life. Sotnikov is a former teacher, a modest, inconspicuous person, without any outward signs of a hero or an extraordinary personality. Why, being sick and weak, did he go on an important task? After all, one of the reasons that they ended up in the hands of enemies was his illness - he could not control the cough that was choking him and this exposed himself and Rybak. Some of our contemporaries accuse Sotnikov and believe that he had no right to go on reconnaissance in such a state. No, I did. Conscience and honor did not allow Sotnikov to shift the life-threatening task onto the shoulders of others: “Why should they, and not I, go, what right do I have to refuse?” Exhausted by torture, blackmailed by the enemy, he remains unbroken. Sotnikov dies physically, but not spiritually; before his execution, he sees a boy in a crowd of people, meets his gaze and is convinced that he has honestly fulfilled his human duty on Earth. The price of the feat and the shameful ending of moral compromise, the origins of heroism and betrayal - these are the questions that concern Bykov.

Re-reading books about the war, I often ask myself the question: have we earned the right to exist, will I and my peers be able to give our lives defending our Motherland, like Nikolai Pluzhnikov and Sotnikov?

Do we always remember those who gave us the opportunity to live on earth?

Questions..., Questions...

Our compatriots still lie unburied in the ground, their bones laid in the path of the invaders.

We need books about the war to know about our elders, about those who are with us, and about those who cannot be returned. Thank you, grandfathers, for your courage, for your heroic feat, which gave us the opportunity to live now!