Instead of a conclusion It cannot be said that few works are published in Russia that touch on Serbian history and especially Serbian modernity. Of course, this is mainly journalism, but also serious scientific works enough. Interest in Russia in Serbia and the Serbs is consistently high. And this

Plan

Introduction

Chapter IIdeological and thematic orientation and artistic

Chapter II

Conclusion

List of used literature

Introduction

The years of the Great Patriotic War were an exceptionally unique and vibrant period in the development of Soviet literature. In the most difficult conditions of a fierce struggle with the enemy, many works were created that remained forever in the people's memory.

Russian poetry during the Great Patriotic War became poetry of one theme - the theme of war, the theme of the Motherland. From the very beginning of the war, writers felt mobilized and called upon, “trench poets.”About two thousand writers went to the front, more than four hundred of them did not return.

Historical and literary content The military four-year period was colossal.

The relevance of studying this topic lies in the fact that thanks to the study of poetry of the war years, we can form an idea of ​​the life and peculiarities of thinking of people of that time, because poetry is the most sensitive seismograph of the mental state of society.

The purpose of this work is to study genre, thematic and artistic features poetry of the war years.

Based on the stated goal of the work, the following tasks can be formulated:

• identify the genre and aesthetic nature of military lyrics;
• explore the ideological and thematic orientation and artistic originality military poetry;
• objectively assess the importance of this cultural heritage for modern society.

The work uses cultural, historical and typological research methods, as well as contextual analysis.

The material for the study was the poetic works of such Russian writers as K. M. Simonov, A. T. Tvardovsky, A. A. Surkov, N. S. Tikhonov, M. V. Isakovsky, O. F. Berggolts and others.

I. Ideological and thematic orientation and artistic

coriginality of wartime poetry.

The historical events of the 1940s form a huge thematic cycle of works in Russian literature. The Great Patriotic War scorched poetry and tempered it with the firmness of truth. The categories of a certain decorative and justificatory aesthetics had to give way to an analytical, militant muse. And poets appeared in Russian literature, as if called upon to focus historical events most sharply and categorically: B. Slutsky, K. Simonov, M. Lukonin, S. Gudzenko, and others. Their poetry is marked by the cruel stamp of the Great Patriotic War. In the spirit of the stern muse of those years, many guessed their pain, suffering, their fortitude, for the theme of war is not the theme of battles, but the theme of life and death, duty and suffering, love and fidelity, courage and hope, loss and victory - then there are eternal themes of world poetry.

The war sharpened the sense of homeland and country for many. The soldiers went to die for the Fatherland, and it was very important for them to visually imagine what it was? And a new discovery of the Motherland takes place, about which K. Simonov wonderfully wrote in the poem “Do you remember, Alyosha...”:

You know, probably, after all, the homeland -

Not the city house where I lived on holiday,

And these country roads that our grandfathers passed through,

With simple crosses from their Russian graves.

The theme of the Motherland in Russian literature has always been the most relevant. K. M. Simonov, continuing the tradition of Russian classical literature, connected the image of the Motherland with the native landscape. The theme of the Motherland during the Great Patriotic War finds an artistic solution in poetry, it becomes infinitely diverse and rich, and it is in it that the creative individuality of poets is manifested.

Also, poetry of the 1940s period refers to the history of Russia, to its heroic deeds. Moral and generally spiritual traditions acquire particular importance: in A. Tvardovsky’s poem “Vasily Terkin” the past and its heroic traditions live on:

But the guys are already coming,

Fighters live in war,

Like sometime in the twenties

Their fellow fathers

They go the harsh way,

Same as two hundred years ago

Walked with a flintlock gun

Russian worker-soldier.

Often historical figures of the past and folk heroes are turned by poets into participants in the Great Patriotic War, a people's battle with the enemy. This is, for example, N. Tikhonov’s poem “Kirov is with us!” written in besieged Leningrad:

Under the roar of midnight shells,

On a midnight air raid

In the iron legs of Leningrad

Kirov is walking through the city.

The poetry of the Great Patriotic War is the poetry of activity. And if activity could kill the enemy, then the intensity of hatred represented in the poetry of the war years destroyed him. But poetry is a sphere of spiritual life; it had to “reach out” to the reader, take possession of his mind and heart and inspire him to fight. In the poetry of the 1940s, a new artistic quality emerged - effectiveness, which should also have been accessible and understandable. Many wordsmiths, whose poetic form was usually complex, wrote simply and accessiblely during this period. In the work of B. Pasternak, a tendency towards simplicity emerged in the last pre-war years. But his collection of poems “On Early Trains” is fundamentally different from all previous work. B. Pasternak, retaining his poetic technique, comes to a clear form. His poems are dedicated to the people of the front and rear; they glorify the courage, patriotism, dignity and nobility of the people who bore all the hardships of the war.

Poetry of the war years becomes operational, accessible, understandable and close to the mass reader. The desire for effective poetry brought many famous poets to periodicals during the Great Patriotic War. Some researchers note the imperfection and certain superficiality, artistic weakness of “newspaper” poems, but at the same time emphasize their relevance and ideological orientation. We can agree with this to some extent. Indeed, there are poems devoid of bright poetic thought. But, “newspaper” poems are one thing, and poems written for a newspaper, for a soldier’s leaflet, are another. These poetic works have their own specificity, their own reader, they combine topicality and accessibility with high artistry. And it is this type of poetry that becomes widespread during the Great Patriotic War.

The best poets come to journalism. Central, local and front-line newspapers publish works in which relevance is expressed in the formulation of the most important problems of life and the people’s struggle for their independence, and artistry is organically combined with accessibility. It should be emphasized that most of the most significant poetic works of this period were published in newspapers. As an example, let us cite A. Akhmatova’s poem “Courage,” created with great skill and inspiration, but specifically for a newspaper:

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our watch.

And courage will not leave us.

It's not scary to lie dead under bullets,

It's not bitter to be homeless, -

And we will save you, Russian speech.

Great Russian word.

We will carry you free and clean,

We will give it to our grandchildren and save us from captivity

Forever!

The genre uniqueness of military poetry should also be emphasized: the poets’ desire for the effectiveness of the word gives birth to new, transformed folklore forms such as a spell, a curse, a cry, a song, an oath and others. The most famous example is the work of A. Surkov “Song of the Brave”, which, being one of the most popular songs of the Great Patriotic War, glorifying courage in the fight against the enemy, was built on the repeated proverbs characteristic of conspiracies, seeking to “bewitch” the listener, convince him, instill courage and contempt for death:

The bullet is afraid of the brave,

The bayonet does not take the brave.

The vocabulary, the form, the very imagery and structure of the verse also includes a sense of history. Modernity is felt as a continuation of the past, as a direct continuation of the centuries-old liberation struggle of the Slavic peoples against foreign invaders:

Raising a forged sword against Hitler's hordes,

We covered the expanses of the Slavic land with our breasts. (A. Surkov. “In the mortal heat, the aspen trembles under the wind”).

The folk character of the war also corresponds to the poets’ appeal to folklore traditions. And if for some folk images, motifs and techniques are stylization, then for others they are a way of thinking. The folklore tradition, entering as a powerful stream into the literature of the 1940s, helped writers speak with the people in a language close to their aesthetic tastes, traditions and national characteristics of thinking.

A special place in the lyrics of the 40s is occupied by the theme of a woman who bore on her shoulders all the hardships of military troubles and labors. In M. Isakovsky’s poem “To a Russian Woman,” the Patriotic War is perceived through the image of a woman, through comprehension of her fate:

You walked, hiding your grief,

The harsh way of labor.

The entire front, from sea to sea,

You fed me with your bread.

In cold winters, in snowstorms,

That one has far features

The soldiers were warmed by their greatcoats,

What you sewed with care...

Wartime poetry was a kind of artistic chronicle of human destinies, people's destinies. This is not so much a chronicle of events as a chronicle of feelings - from the first angry reaction to the treacherous attack of Nazi Germany:

Get up, huge country,

Stand up for mortal combat

With fascist dark power,

With the damned horde!

The peculiarities of poetry as a type of literature contributed to the fact that in wartime it took a dominant position: “Verse received a special advantage,” N. Tikhonov testified, “it was written quickly, did not take up much space in the newspaper, and immediately went into service.”

The poetry of the war years is poetry of extraordinary intensity. During the war years, many genres of poetry became more active - both those propaganda ones, which originated from the time of the revolution and civil war, and lyrical ones, behind which stood a centuries-old tradition.

The war separated loved ones, severely tested human affections, and emphasized the high value of love, tenderness, the importance and necessity of friendly feelings. Wartime lyric poetry fully reflected this thirst for humanity. Severe trials did not harden people.

Description of work

The purpose of this work is to study the genre, thematic and artistic features of the poetry of the war years.
Based on the stated goal of the work, the following tasks can be formulated:
identify the genre and aesthetic nature of military lyrics;
explore the ideological and thematic orientation and artistic originality of military poetry;

THE THEME OF THE GREAT PATRIOTIC WAR IN RUSSIAN LITERATURE OF THE XX CENTURY

After all, from our time

It was only four years old

Where is the desired freedom

It was as sweet as death to us...

David Samoilov

Kill the war

curse the war

people of the earth!

R. Rozhdestvensky. Requiem

The homeland is one of the eternal moral values ​​of all humanity. Words about it in a major key sound even louder in the 30s, glorifying the only Soviet country in the world.

Remember the song “My native country is wide” by V. I. Lebedev-Kumach.
What is this song about?

It is about people who know how to “laugh and love”, there is a “spring wind” in it, a person “breathes freely”, and “every day life becomes more joyful.” The country appears “From Moscow to the very outskirts, / With southern mountains to the northern seas", "immense".

For a long time now, researchers have drawn attention to the fact that this is precisely how the Motherland was depicted in Soviet poetry of the pre-war years - panoramic, decorative, monumental.

It sounds differently in works written in the “forties, fatal”. These are the words with which Konstantin Paustovsky’s “Meshchora Side,” written in 1939, ends: “And if I have to defend my country, then somewhere in the depths of my heart I will know that I am also defending that piece of land that taught me to see and understand the beautiful. .." Paustovsky felt that such a view would intensify when he had to defend his homeland. And so it happened.

In the famous cruel order of the People's Commissar of Defense Stalin No. 227 of July 28, 1942, it will also be said specifically about a piece of land: “We must stubbornly, to the last drop of blood, defend every position, every meter of Soviet territory, cling to every piece of Soviet land and defend it to the last.” possibilities".

In 1942, a collection of articles by Alexei Tolstoy, “Motherland,” was published. It opens with an article of the same title, published on November 7, 1941. Here, the homeland is the land of “ottich and dedic,” as our ancestors said: “And now a mortal enemy is blocking our homeland’s path to the future. It’s as if the shadows of past generations, those who died in countless battles for the honor and glory of their homeland, and those who put their labors into building it, surrounded Moscow and told us: “Do it!”

By the way, it was on this day, November 7, 1941, at the parade that Stalin turned to the images of the heroic past: “Let the courageous images of the great ancestors - Alexander Nevsky, Dmitry Donskoy, Kuzma Minin, Dmitry Pozharsky, Alexander Suvorov, Mikhail Kutuzov - inspire you in this war!” Immediately after these words comes: “May the victorious banner of the great Lenin overshadow you!” Today it is difficult to imagine that until recently such a combination of the names of Lenin and Prince Alexander Nevsky was impossible. But it was precisely during the days of the war that the essentially class approach gave a noticeable crack in the public consciousness, which had not yet fully realized this. It is characteristic that it was during the war that the previously semi-disgraced Sergei Yesenin as a Russian poet officially returned to Soviet culture.

During the war days, home became on a par with such concepts as homeland, fatherland, and country. “I often remember, dad,” writes Lieutenant Nikolai Potapov from the front, the hero of Paustovsky’s story “Snow,” “both our house and our town... I knew that I was defending not only my country, but also this small and most a sweet corner for me."

The song also conveyed innermost feelings:

The soldier does not sleep, remembering the house

And the green garden above the pond,

Where the nightingales sing all night,

And in that house they are waiting for a soldier.

The death of the house turns into a tragedy. And this house itself is not the antithesis of the world, wide open to the fury of the winds, but a part of this world, one of its foundations and supports.

It would seem, what does one person mean and what can one person do in a war where there are millions of soldiers on the battlefields and tens of thousands of aircraft in the sky? But it was this war, the war of millions, that, more than ever, showed the importance of each person, the individual.

During the hard times of war, literature strengthened the steadfastness and courage of the liberating soldiers and affirmed faith in victory over the enemy. Like a soldier's bayonet, the mobilizing word of the writer faithfully served the fatherland - this was the purpose and civil feat of wartime literature.

More than a thousand writers were in the active army, they defended their homeland as soldiers or worked as war correspondents in the front-line press. Ten of them were awarded the title of Hero Soviet Union. More than three hundred died on the battlefields.

Despite the suddenness of Hitler's invasion of the USSR, the war did not take literature by surprise. The works of the 30s and early 40s were imbued with a premonition of impending disaster and contained a passionate appeal to defend the fatherland. Warnings about the approaching brutal battle with fascism were heard in the works of N.S. Tikhonova, M.A. Svetlova, V.I. Lebedeva-Kumacha, M.V. Isakovsky, A.N. Tolstoy, M.E. Koltsova, K.M. Simonova, I.G. Erenburg, V.V. Vishnevsky.

M.A. Svetlov, turning to the theme of the Civil War, ends his poem “Song of Kakhovka” with a warning that. the homeland is ready to repel new armed aggression from outside:

Kakhovka, Kakhovka - native rifle,

Hot bullet, fly!

Irkutsk and Warsaw, Orel and Kakhovka -

Stages of a long journey.

Under the hot sun, under the blind night

We had to go through a lot.

We are peaceful people, but our armored train

It's on a siding!

The order to the border guard soldier to protect the borders of his homeland sounds in the song of M.V. Isakovsky “Katyusha”, which enjoyed enormous popularity during the Great Patriotic War:

Oh, you, song, girlish song, You fly after the clear sun And say hello to the fighter on the far border From Katyusha.

Let him remember a simple girl, Let him hear her sing, Let him take care of his native land, And let Katyusha save his love.

In the pre-war lyrics of the late 30s, the theme of the impending war sounds increasingly alarming and persistent. In the poem by V.A. Lugovsky's "Hungarian Cadet" the night train carries the young cadets, alerted, to the front straight from the hall in which they danced the Hungarian with the girls.

In the poem by V.A. Lugovsky “Lozovaya” to replace the armored train standing “on the siding” from the poem by M.A. Svetlov’s armored train of the army commander rushes along the platforms of Lozovaya station, and the poem ends not with a warning, but with a call to repel armed foreign intervention:

The army is coming

fixing bridges

Filled with rage and death. At the midnight hour

out of the darkness Commander's Train

flies out.

Rise up, sleeping shooters in yellow boots,

in different forms! Raise your old bayonets, Form on the spit-stained platforms!

The outbreak of the war in Republican Spain and the Second World War caused a wide resonance and excited response among Soviet writers. Deep sympathy for the peoples subjected to fascist aggression was reflected in the “Spanish Diary” of M.E. Koltsov, in poems and in the novel by I.G. Ehrenburg "The Fall of Paris". Writers A.N. Tolstoy, A.A. Fadeev, V.V. Vishnevsky, I.G. Ehrenburg, M.E. Koltsov stood at the head of the international movement in defense of peace and culture from fascism. At the extraordinary conference of the International Association of Writers, held in Paris in 1938, A.N. Tolstoy stated: “We saw the beginning of a world war.” The idea of ​​the need to resist fascist aggression is expressed in the plays of K.M., which turned out to be very timely. Simonov “The Story of a Love” and “A Guy from Our Town”.

In battles on Far East and in the Finnish campaign K.M. worked as army correspondents. Simonov, V.V. Vishnevsky, N.S. Tikhonov, A.T. Tvardovsky, A.A. Surkov, B.A. Lavrenev, V.I. Lebedev-Kumach et al.

Later, during the Great Patriotic War, from the memories of the Finnish campaign, about “that unfamous war,” one of the first lyrical masterpieces of A.T. was born. Tvardovsky - the poem “Two Lines”, imbued with feelings of deepest pain and compassion for the fate of the deceased “boy soldier”:

From a shabby notebook Two lines about a boy fighter, Who was killed in Finland on ice in the forties.

A childishly small body lay somehow ineptly, the frost pressed the overcoat to the ice, the hat flew far away.

It seemed that the boy was not lying down, but was still running, and was holding the ice on the floor...

Among great war cruel, Why, I can’t imagine, - I feel sorry for that distant fate, As if it were me lying, Frozen, small, killed in that unfamous war, Forgotten, small, lying.

During the Finnish War, the semi-luk character Vasily Terkin arose, initially the fruit of collective authorship. During the Great Patriotic War it was converted by A.T. Tvardovsky into a truly folk hero who gained enormous popularity. Poem by A.T. Tvardovsky marked the shift in the depiction of national character that occurred during the war in our literature. Indeed, the “Russian” theme, which sounded muted in the 20s and 30s, was revived on a new basis only in the works of writers and poets closely associated with the traditions of folklore during the Patriotic War.

A bright representative literature of that period is Dmitry Borisovich Kedrin(1907-1945). In 1943, he was able to achieve assignment to the army newspaper "Falcon of the Motherland", although due to health reasons he was unfit for service. His wartime poems - “Deafness”, “Alyonushka”, “Bell”, “Thought about Russia”, “Winter Station”, “Testament”, “Mother”, “Knot” and others - compiled a military-patriotic cycle.

The heroic pages of the history of ancient Novgorod are remembered by the lyrical hero of the poem "Bell":

That bell that the people were calling at the meeting, hanging on the tower by the crooked railings, was hit by a shell flying from afar, and the bell, angry, began to speak.

He knew that in the days when the herds grew fat and the bins were bursting with goodness, the bell's voice rang with crimson notes of silver.

When the neighbors burst into Novgorod And the whole city was engulfed in flames, Then the deep ringing of red copper Sounded as it does now... It was an alarm bell!

Forests, streams, huts and meadows were visible from the stone tower in the distance. Crusaders scurried along the highways, stole cattle and burned barns...

And the slanting pillars of the railings collapsed, And the bell hummed overhead As if the very soul of Russia was calling Its children to mortal combat!

The Great Patriotic War gave rise to new forms of literary life. The main positions in it were occupied not by “thick” literary magazines, as was the case before, but by newspapers, radio reports, leaflets, and posters. The mobilizing speech of writers, imbued with deep patriotic pathos, was broadcast on the air from the first days of the war and was replicated in front-line circulations. In those harsh years, fiction solved primarily topical practical propaganda tasks: it called for a fight against the fascist enemy, strengthened faith in victory.

Researchers of Russian literature of the Soviet period note that a specific feature of poetry and prose of the wartime was the interweaving of heterogeneous, at first glance, seemingly incompatible artistic stylistic forms - after all, the military reality itself brought together the great and the insignificant, the sublime and the everyday, the national and the personal. In the literature of 1941 - 1945, appeals and appeals, slogan and song intonations, epic scale and lyrical sincerity coexist.

During the war years, a poem was heard throughout the country Anna Andreevna Akhmatova(1889 - 1966) "Courage":

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our watch,

And courage will not leave us.

It's not scary to lie dead under bullets,

It's not bitter to be homeless, -

And we will save you, Russian speech,

Great Russian word...

The Great Patriotic War found the poetess in Leningrad. She courageously faced the nation's grief and, as in 1914, experienced a feeling of deep patriotism. An epically generalized view of events is combined in her poetry of those years with a deeply personal feeling of pain:

And you, my friends of the last call! In order to mourn you, my life has been spared. Do not freeze over your memory like a weeping willow, But shout all your names to the whole world!

(“And you, my friends of the last call!..”)

Poems on military themes, on which the poetess worked from 1941 to 1945, were subsequently combined by her into a poetic cycle "Wind of War" It includes such outstanding examples of civil poetry as “Courage”, “The birds of death stand at their zenith...”, “In memory of Valya”, “To the Winners” etc. The lyrical heroine of these poems feels her blood connection with the people, with the fate of the country.

During the war, the poetess, like other poets, often spoke in hospitals and read poems to wounded soldiers.

The lyrical heroine of A.A.’s poem filled with solemnity. Akhmatova "Oath" together with all the people shared the fate of the fatherland. She swears to past and future generations that no enemy will be able to enslave Russia:

And the one who today says goodbye to her beloved, Let her melt her pain into strength. We swear to the children, we swear to the graves, That no one will force us to submit!

Many poets, even those who in their pre-war work were not inclined to intimate communication with the reader, responded to the need for a lyrical beginning, subjective pathos, that arose already in the first years of the war. The front-line lyrics contain motifs of maternal and filial love, longing for family and friends. Authors of lyrical works resort to the genre of confession, letters, appeals to to a loved one.

This aesthetic principle has consistently maintained Konstantin Mikhailovich Simonov(1915-1979). During the Great Patriotic War, a poem by K.M. Simonova "Wait for me", written in a lively and clear language, with natural and warm intonations, enjoyed extraordinary popularity: it was copied by hand and sent home instead of a letter. “I believed that these poems were my personal business,” said the poet. - But then, a few months later, when I had to be in the wild north and when blizzards and bad weather sometimes forced me to sit for days somewhere in a dugout or in a snow-covered log house, during these hours, in order to pass the time, I had to read to a variety of people poetry. And the most different people dozens of times, by the light of a kerosene smokehouse or a hand-held flashlight, they copied on a piece of paper the poem “Wait for Me,” which, as it seemed to me before, I wrote only for one person.” K.M. Simonov went to war, and the woman he loved, actress V.V. Serova, remained in the rear, in the Urals. The letter in verse was intended for her; it was written in July 1942, then it was published by the Pravda newspaper. In 1943, the film “Wait for Me” was produced, in which V.V. played the main role. Serova, who became the writer’s wife.

In the poem, the poet writes about love and loyalty as indispensable conditions for the courage and fortitude of a soldier, and therefore an indispensable guarantee of victory. The message “wait for me” runs through the entire poem, but this repetition does not look monotonous. By alternating unequally complex lines - long and short - K.M. Simonov managed to convey the intermittent speech of a man choking with excitement. Analyzing the lyrics of K.M. Simonova, researcher T.A. Beck notes that the poet interweaves intonations of prayer and oath in this poem: The “flickering” anaphora throughout the entire poem - wait... wait... wait - gives the author’s voice frantic persuasiveness: the feeling does not wander or rush about, but with unbending constancy strikes a high note."

In many poems by K.M. Simonov's wartime voice sounds confidential intonation; an appeal to a specific person, in whose place each reader could put himself. The poet himself later recalled: “From the poems greatest benefit, in my opinion, they brought “Wait for me.” They probably could not have been written. If I hadn’t written it, someone else would have written it.”

Artistic techniques appeals and anaphora by K.M. Simonov also uses in a poem dedicated to a front-line friend, poet A.A. Surkov - “Do you remember, Alyosha, the roads of the Smolensk region...”

Alexey Alexandrovich Surkov(1899 - 1983) considered himself one of the “trench” poets. This epithet belongs to him and conveys military heroism without a romantic aura, in all its everyday life, devoid of any embellishment. Subsequently, the definitions of “trench poetry” and “trench prose” began to designate a whole trend in literature about the war, polemicizing with “the rattling of falsehood... beautiful words like dry husks.” (A.A. Surkov). Along with poetic journalism, it was during the war years that A. Surkov first appeared love lyrics, which previously, as one of the leaders of RAPP, he treated with distrust. In the first months of the Great Patriotic War, he wrote a poem “The fire is beating in a cramped stove...” -, expressing the soldier’s hope for true “unquenchable” love. Entitled « Dugout» it became the most popular song.

During his long literary life, the poet wrote many songs and poems. But “Dugout” still excites the soul of both the performer and the listener. The secret of her extraordinary song success may be precisely that she was not written for singing. And it was not intended for publication at all. This is a letter, a private, personal, intimate letter to the woman I love.

The poet himself recalled it this way: “It was not going to be a song. And it didn’t even pretend to become a published poem. These were sixteen “homey” lines from a letter to his wife. The letter was written at the end of November 1941, after one very difficult day at the front for me near Istra, when at night, after a difficult battle, we had to fight our way out of encirclement with the headquarters of one of the guards regiments.”

As you can see, this is not just a letter. It was written right after death was certainly closer than four steps away. Perhaps because death has receded, the poet is so grateful to life. For the fact that she exists, for this crackling fire in the dugout, for the tear of tar, for friends playing the accordion, and for the brightest feeling that fills the heart with tenderness and sadness, anxiety and warmth. And he hurries to tell his beloved

“about your unquenchable love” and thereby thank her and life itself, fate itself.

Finding himself in a situation in which hundreds of thousands of soldiers faced almost every day, Surkov said what both of them would like to say. That’s why “Zemlyanka” was immediately recognized by the front-line soldiers.

Even before the now well-known music was written by composer Konstantin Listov, the soldiers themselves began to select a melody to their favorite words. The text of “Dugout” was copied into notebooks. And soon the soldiers began to send home poetic letters, in which the intonation, individual words, I sometimes entire stanzas of “Dugout”. And then these songs, composed by the soldiers to the tune of “Dugout,” began to be sung.

During the war, folklorists recorded many such songs. The geographical coordinates of the person writing the letter often changed:

The bushes whispered to me about you

In the Belarusian fields near Imga...

But otherwise, the letters from the front-line soldiers were very reminiscent of the text of Alexei Surkov’s poem.

Those for whom they were composed - the wives and brides of soldiers - did not remain indifferent to the poetic messages from dugouts and trenches. Hundreds of responses to “Dugout” were published in post-war folklore collections. In these answers that women sent to the front, there are words of support, tender love, a desire to encourage a loved one, to strengthen his strength:

I hear the song of your two-row.

Don't be sad, my beloved, dear,

Play something more fun.

And again I remember the eternal image of Yaroslavna, who was ready to become a bitter cuckoo and fly over long miles to her beloved husband. Many centuries later, an unknown Russian woman would also like to turn into a bird and fly any distance to be next to her beloved:

Wind, blizzard, snow and blizzard, The frosty night looks out the window. I would like to fly to you, I haven’t seen you for a long time.

Often in such letters a woman tries to imagine in her thoughts the image of her beloved, the environment that surrounds him:

I see how tired you are sitting above your open map, and the fire is still burning in the stove, but the cold night is getting darker.

But such letter-songs usually end with the conviction that love will help overcome, conquer both the winter cold and separation, defeat the enemy, and bring victory closer:

Don’t be sad, don’t be sad, dear, Let the fire not go out in your chest - I’m in a cold dugout with you, And victory awaits us ahead

With amazing accuracy, with merciless truthfulness, the “trench” truth about the war is expressed in poems Semyon Petrovich Gudzenko(1922-1953), whose poetic work became famous even before the war. Among the general stream of poetry of the war years, his poems stood out for their frankness of confessions and harsh naturalism. An example of this is the poem written in 1942 "Before the attack":

When they go to death, they sing, and before that

You can cry, - After all, the most terrible hour in battle is the hour of waiting for an attack. The snow all around is pitted with mines and turned black with mine dust. Breakup - and a friend dies! And that means death passes by. Now it's my turn. I'm the only one being hunted. Damn the forty-first year, And the infantry frozen in the snow! It seems to me that I am a magnet, that I attract mines. The explosion - and the lieutenant wheezes. And death passes by again. But we can no longer wait.

And we are led through the trenches by numb enmity, piercing our necks with a bayonet. The fight was short.

drank the ice-cold vodka and picked it out from under the nails with a knife

I am someone else's blood.

The poem received an enthusiastic review from I.G. Ehrenburg, who determined the features and meaning of S.P.’s front-line poems. Gudzenko: “This is poetry from inside the war. This is the poetry of a war participant. This is poetry not about the war, but from the war, from the front...”

At the same time, the poem “Before the Attack,” which stood out against the general background of wartime poetry with its harsh naturalism, aroused sharp discontent among official Soviet criticism. Censorship demanded that the following be replaced: “Cursed be the year 1941 // and the infantry frozen in the snow” with “The sky is asking for a rocket // and the infantry frozen in the snow”; The text was restored only in 1961. In his memoirs about SP. Gudzenko P.G. Antokolsky wrote: “All sorts of snobs and bigots could shrug their shoulders and curl their lips as much as they wanted about the fact that the Soviet soldier “picks out someone else’s blood from under his nails with a knife.” Indeed, this was the first time such a soldier had wandered into a poetic line, but he very firmly and bluntly testified to the severity of his experience.”

Life and creativity became part of the history of the country, the “poetic legend” of besieged Leningrad Olga Fedorovna Berggolts (1910-1975). During the Great Patriotic War, her talent was revealed with particular force. Already in June 1941 she wrote:

We had a presentiment of the blaze of this tragic day. It has come. This is my life, my breath. Motherland, take them from me!

(“We had a presentiment of the blaze...”)

In September 1941, Leningrad found itself under siege; in October, the poetess had the opportunity to leave the besieged city, but she resolutely refused it. “I had to face the challenge head on. I understood: my time had come when I could give everything to the Motherland - my work, my poetry. After all, we lived for something all the previous years,” wrote O.F. Bergholz in his autobiography. In the quiet, melodious voice of O.F. Berggolts spoke to the besieged but not surrendered Leningrad: the poetess worked at Leningrad Radio for all 900 days of the siege. She read correspondence, essays, poems that later formed a book "Leningrad speaks"(1946), she had a conversation with her listeners about the most important thing that worried her compatriots: about the terrible life under siege, about courage, about the peace that will definitely come, about love for the homeland. The poetess performed in factories and factories, in military units and on ships of the Baltic Fleet.

Subsequently, work on the radio influenced the artistic originality of O.F.’s poetry. Bergholtz. Poems “Letters to the Kama”, “Conversation with a neighbor”, “February diary”, written during the war years are devoid of metaphor; they contain different intonations: soothing, oath-like, pathetic, persuasive.

Events and facts of military reality are reproduced in the cycle with documentary accuracy and utmost brevity "Poems about War"Boris Leonidovich Pasternak(1890-1960). At the beginning of World War II, the poet took part in duty during night raids on Moscow. In 1943, as part of a writing team, he went to the front in the Orel region. Published in the newspapers “Red Star” and “Red Fleet”, in the collection “In the Battles for the Eagle”. The poet's papers contain reports from the front headquarters, which he used when writing poems. “Outpost”, “Courage”, “Death of a Sapper”, “Scouts”, “Pursuit”, “Hurry Lines”. These verses convey with descriptive authenticity what they saw and experienced at the front:

I remember the hassle on the trains, the crowding of the carts, the fall took me to the east in the forty-first year.

One could feel the proximity of the front. Conversation of "Katyusha" skidded from the horizon into the rear wilderness.

And when the ridge of positions moved to Orel, everything moved in the capital and its rear.

I loved the art of bombing, the hoarse howl of sirens, the bristling hedgehog of the streets, roofs and walls...

("Hurry Lines").

Moral and philosophical issues are also deepening. More and more often in poetry there are reflections on universal human issues of life and death, love and hatred, loyalty and betrayal. The theme of death was integral and natural in those years, and above all it was important to show how a person withstood the test of strength in the face of death. Yes, in the poem "Death of a Sapper" the difficult work of the sappers, and then the injury and death of one of them, is shown with descriptive accuracy:

Suddenly a sapper ahead was wounded. He crawled away from the enemy lines, stood up, and his spirit was filled with pain, and he fell in a deaf wormwood.

He came to his senses in fits and starts, looked around on the hill and felt the place under the stripes on the blackened tunic.

And he thought: stupidity, they scratched him, and he will leave Kazan, to his wife and children, up to Sarapul, - And again and again he lost consciousness.

Everything in life can be contained, All situations have been explored, - Traces of selfless love cannot be destroyed.

Even though he was gnawing the ground in pain, he did not betray his brothers with his groans, nor did he lose the innate fortitude of a peasant and fainted...

The death of the sapper was atoned for by victory: his duty to his homeland, honestly fulfilled to the end, immortalized the deceased soldier:

This is why we are now at Gomel, Because in the clearing on the full moon we did not save our souls in the Plastun affair the day before.

It is customary for everyone to live and burn, But then you will only immortalize life, When you outline the path to light and greatness with Your sacrifice.

The death of a comrade in arms is casually shown in the poem Mikhail Alexandrovich Dudin(1916-1993) "Nightingales":

The dawn had not yet trembled on the leaves, And machine guns were firing for warning... This is the place. Here he died, my comrade from the machine gun company.

It was useless to call doctors here; he would not have survived until dawn. He didn't need anyone's help. He was dying. And realizing this,

He looked at us and silently waited for the end, And somehow he smiled ineptly. The tan first faded from the face, then it darkened and turned to stone...

Death is absurd. She's stupid. All the more so when he, throwing his hands out, said: “Guys, write to the Field: The nightingales sang today.”

But the soldier died in the name of victory, in the name of life, and the lyrical hero glorifies such death. The entire poem sounds like a hymn to a triumphant life, when the forest and the entire universe are filled with nightingale singing.

In the first poem Sergei Sergeevich Orlov(1921 - 1977) "Karbusel" about the funeral of soldiers killed in battle it is said sternly and simply:

We buried the boys in the evening. The stars lit up in the March sky... We lifted the white crust with shovels, Revealed the black chest of the earth.

The ending of the poem sounds like a battle report:

They did not reach it three hundred meters... Tomorrow we will take Karbusel.

This means that the soldier's death will be redeemed by victory.

The ideological and artistic orientation of the poetic word during the war years was expressed in an agitational, mobilizing form. Poetry turned to the genres of parting words, appeal, oratorical monologue, designed to express the two main feelings that possessed people - love for the homeland and hatred of the invader.

The oratorical monologue of the lyrical hero of the poem is permeated with slogan intonations. Pavel Grigorievich Antokolsky(1896-1978) "Anti-fascist youth rally."

It calls on the young generation of the whole world to unite in the fight against fascism:

Youth of the world! The beauty of human generations!

Everyone who spoke here is your peer and friend,

Stretch out a thousand hands to us!

Respond, respond if you want to help, Through the dead of the fascist night. Through the hurricane night fire of the batteries, respond - for the sake of all mothers,

For the sake of the homeland, for the sake of its triumph,

For the sake of life that will be alive,

And he will rise up and look into the open heights, -

Respond, respond, respond!

During the war, the poet, as a military correspondent, was in the Oryol region, in Ukraine, in Poland, and performed poetry and journalism. A life cut short, the impossibility of restoring pre-war ties between people, the irreversibility of time - all this constitutes the pathos of the works of P.G. Antokolsky, written during the war.

One of the best poems written in the appeal form Mikhail Arkadyevich Svetlov(1903-1964) " Italian." In his passionate monologue, the lyrical hero addresses the enemy - a soldier from the army of an ally of Nazi Germany:

Young native of Naples! What did you leave on the field in Russia? Why couldn't you be happy Above your famous native bay?

I, who killed you near Mozdok, dreamed so much about a distant volcano! How I dreamed of riding in a gondola at least once in the Volga region!

But I didn’t come with a pistol to take away the Italian summer, But my bullets didn’t whistle above the sacred land of Raphael!

Here I shot! Here, where I was born, Where I was proud of myself and my friends, Where epics about our peoples are never heard in translations.

Has the middle Don bend been studied by foreign scientists? Our land - Russia, I will scatter - Have you plowed and sowed? ...

The lyrical hero had to kill a man, but this is an enemy who came to conquer someone else’s land, its national treasure. This is how the motive of just revenge against the invader arises in the poem:

I will not allow my homeland to be taken beyond the expanse of foreign seas! I shoot - and there is no justice Fairer than my bullet!

You have never lived or been here!.. But the Italian blue sky is scattered in the snowy fields, Glazed in dead eyes...

One of the leading genres of the war years was the lyrical song. The song became a poetic symbol of resistance to fascism "Holy war"Vasily Ivanovich Lebedev-Kumach(1898-1949). The author expands the poetic text through repeated words and homogeneous constructions, turning it into a poetically meaningful official political slogan: to mobilize all forces to fight the fascist invader who has encroached on the homeland. The solemn verses of the “Holy War”, first heard in 1941, six decades after the victory in the Great Patriotic War, continue to evoke in listeners a feeling of deep determination to defend the fatherland:

Get up, huge country, Get up for mortal combat With the dark fascist force, With the damned horde!

Let noble rage boil like a wave, - There is a people's war, a Holy War!..

Name Mikhail Vasilievich Isakovsky(1900-1973) is widely known in our country. Songs and poems that were sung by millions of people were extremely popular: “An order was given to him to the west...”, “Goodbye, cities and huts.”, “Oh, my fogs...”, “Spark,” “Don’t disturb me, don’t disturb...”, “It’s better not that flower...", "Where are you, where are you, brown eyes?" "In the forest near the front...", "Katyusha".

The poet composed his songs from surprisingly simple words, with which he was able to convey both the joy and grief of his people, and these words became truly folk songs. Among them, Katyusha holds a special place. Her country has been singing for more than 60 years. And not only ours. Moreover, when they sang “Katyusha” at one of the international festivals in Zagreb, the Yugoslavs began to seriously claim that this was their song and that it was supposedly sung in Serbia and Croatia during the last war. This is how popular the girl gained when she sent her greetings to the “fighter on the far border.”

The poem "Katyusha" was written in 1938. And it became a song in the next year - 39th. Her appearance at that time was not accidental. The poetry of those years was experiencing the state of an approaching military thunderstorm. Nikolai Tikhonov writes his famous lines:

I want that in this summer, a summer full of threats, the blue of a military beret does not touch your braids.

Clouds are also gathering over our western borders. It becomes clear that, in defending native land, the warrior in the green cap is about to take the first blow. They look at him with love and hope, poems and songs are dedicated to him.

During these years, M. B. Isakovsky also wrote several poems about the defenders of the front lines: “A border guard was coming from service,” “At the very border.” But “Katyusha”, set to music by composer Matvey Blanter, became especially popular. Why? Yes, probably, because it fused the best song qualities: the musicality of the verse and the simplicity of the plot, which is close and understandable to many: a girl’s appeal to her lover, full of concern for him. It would seem like an old, old plot situation, brilliantly reproduced in “The Tale of Igor’s Campaign.” Remember, Yaroslavna on the wall of ancient Putivl turns to the Sun and Wind with a request to help Igor? But this theme and this plot are for all time.

Isakovsky repeated it, but made the poems become “our own,” hidden for millions of people. And this perception of “Katyusha” by the people as something of their own, personal, sincere became the reason amazing phenomenon- the birth of many new songs-arrangements.

The girl’s greeting message to the border guard was followed by song responses from the border outposts. In them, the warriors addressed their girlfriends, real or imaginary, calling them by one affectionate name:

Apple trees and pears do not bloom here, Beautiful forests grow here. Every bush here is obedient to the fighter, And the enemies will not cross the border. I haven’t forgotten you, dear, I remember, I hear your song. And in the distance of a cloudless land I take care of my native land.

Don’t forget about me, Katyusha, About the one who often sends letters, About the one who knows how to listen to the forest, About the one who takes care of happiness.

But this was only the beginning of the military biography of Katyusha. She became a real fighter during the Great Patriotic War. Front-line soldiers composed a large number of songs about your favorite heroine. In one of them, a girl finds herself in enemy-occupied territory and is taken into slavery in Germany:

Katyusha's song rang here.

And now no one sings: All the apple trees and pears are burned, And no one will come to the shore...

“To make hatred stronger, let’s talk about love,” wrote front-line poet Alexander Prokofiev. So the warriors, composing new versions of the song, talked about love. After all, in the image of a Polonian slave, they imagined brides and wives, daughters and sisters who remained on the land captured by the Nazis.

Usually high pitches are avoided in love letters, loud words. But in the special conditions of the front, when the very concepts of Life, Death, Motherland, Love become not abstract, but sharply, tragically concrete, the warrior says in letters to his girlfriend the most secret, intimate, which sounds sublimely generalized:

Dear Katyusha, I will hit my enemies accurately. We will not give our fields, apple trees and pears to the Nazis for shame.

In her response “letters-songs,” the girl assures her beloved that she, too, will help the front with her work: “Katyusha promised her dear: “We will honestly help the front, we will make more mines and guns in order to win a quicker victory.”

“Dear Katyusha” fought not only on the labor front. The lines born among the people claim that she fought with weapons in her hands:

You, the apple and pear trees, have bloomed, only smoke billows over the river. The beautiful Katyusha went into the forest along a secret partisan path. A hot battle broke out early at dawn, where the apple trees were blooming. Katyusha fought with her ardent enemy for a piece of her native land.

But here she is in a different role:

Katya will say a word to the wounded, so that a song will sing in the heart, Katya will tightly bandage the wounds, and carry him away from the battle in her arms. Oh, Katya, dear girl, you saved a hundred soldiers from the fire, Maybe tomorrow, saving the wounded, you will carry me out of the fire.

If you collect all the songs about “Katyusha” created during the Great Patriotic War, you will get an extensive poetic encyclopedia, where you will find a figurative, artistic reflection and work of women in the rear, their feelings and experiences, thoughts and hopes, and their participation in the partisan movement and fighting at the front, and the bitter fate of those who found themselves on occupied land or were driven into fascist captivity. Set of these

songs in terms of breadth and depth of showing a person in war can only be compared with “Vasily Terkin” by Alexander Tvardovsky. Moreover, the important thing is that the main thing in this poetic encyclopedia is to show the war “from the inside.” Through intimate experiences, often entrusted to a letter addressed to a loved one. Hence the piercing lyricism that still touches the human heart today.

Among the masterpieces of song lyrics M.V. Isakovsky - song "In the front-line forest" conveying the atmosphere of a short lull, the soldiers’ bright memories of peaceful life and readiness for any outcome of the upcoming battle:

Let the light and joy of previous meetings shine upon us in difficult times, And if we have to lie down in the ground, then this is only once...

For a long time there was an opinion that in the first days of the war there were only calls and marches throughout the country. Severe and strict, courageous and heroic. There seemed to be no place left for lyrics. In reality, everything was not quite like that. After all, one of the first songs of the Great Patriotic War was the one whose first stanza is known to many today:

June twenty-second, exactly four o'clock

Kyiv was bombed, they announced to us that the war had begun.

Surprisingly, this song is not a march, and it was sung to the melody of... a waltz. Yes, the first lyrical military song was composed to the melody of the sentimental waltz that became popular literally on the eve of "Blue scarf"(music by G. Peterbuzhsky, lyrics Ya. Galitsky). And the simple plot of the love song is continued, developed in this now military, front-line song:

The time of peace is over, it's time for us to part. I'm leaving, I promise to be faithful to you to the end.

The song “Twenty-second of June...” quickly spread throughout the country. In the book “Russian Folklore of the Great Patriotic War” (M.; Leningrad, 1964), based on archival materials, it is noted that the song “Twenty-second June...” was entered in the notebook of front-line soldier N. I. Nemchinov already on June 29, 1941 in Ukraine, and a month later, on July 28, 1941, it was recorded in the village of Segozh, Ivanovo region, from soldier A.I. Smirnov.

It seems to us that such a rapid spread and popularity of the song is easy to explain. War exacerbates all human feelings, including love, tenderness, and anxiety for those closest to them.

The war continued, and more and more new songs appeared to the tune of the famous waltz. Perhaps most often the heroine of such songs is a girl who has exchanged her blue scarf for the buttonholes of a soldier of a medical battalion:

And in battle,

Under the explosions of mines and grenades

You flash like a bird

In blue buttonholes - Girls are wearing a modest outfit.

The lyrical hero of such songs does not so much admire the girl in blue buttonholes, but rather tries to express his gratitude to the young heroine who saved his life with the words of the song:

The battle on the hill is over, the enemy is retreating into the distance. You are on your knees, in a deep crater You will bind my wounds...

Countless front-line versions of the “Blue Handkerchief” are stored in various folklore archives, most of them anonymous. But there are also original texts. One of the authors, Alexey Mikhailovich Novikov, fought on the Leningrad Front at that time. In the first winter, Klavdia Ivanovna Shulzhenko came to their unit.

Alexey Novikov and other fellow soldiers built improvised stages for artists to perform in a room unsuitable for holding concerts, which was temporarily turned into a barracks.

When the concert began, the soldiers already knew that Shulzhenko would sing and were waiting for “The Blue Handkerchief.” And yet a surprise occurred - a gentle, slightly mannered song sounded like a military invitation:

For them, relatives, desired, loved ones, the machine gunner scribbles for the blue handkerchief that was on the shoulders of the dear ones!

This concert was remembered by the soldiers for a long time. He also made a strong impression on Alexey Novikov.

“And after a while, when parcels with “ Mainland“(It was on the Leningrad front) with socks and mittens, crackers and tobacco,” recalled Alexey Mikhailovich, “and they handed me a package, or rather a bundle of blue scarf. The bundle contained a fragrant samosad.

The parcel included a note with the following content: “I haven’t received letters from my husband from the front for a long time; I don’t know what’s wrong with him. Have you met him? Maybe they heard about him... (the soldier's last and first name were mentioned in the note). If you know anything about my husband, please let me know at the address...” The address, of course, is now forgotten, but I remember well that it was the Urals.

Both the parcel and the note in it,” continued Alexey Mikhailovich, “touched me greatly. Under their impression and under the influence of Shulzhenko’s performance with her front-line “Blue Scarf” (the samosad was wrapped in a blue scarf), I then wrote my own version of the song:

A modest blue handkerchief, In it is a self-sweetened tobacco... From our native Urals They sent this treasure parcel today.

Sometimes night

I'll smoke under the pine tree

Samosad smoke

In a stuffy blockade

Dear, distant, dear.

The winter cold will end, With force we will clear the distance. Let's smoke the bastard

We will defend honor from Leningrad and the Motherland.

And again in the spring

Under the familiar shady pine tree

Samosad smoke

Reminds me of the blockade

And with her a native handkerchief.

In this verbal arrangement, my comrades and I sang “The Blue Handkerchief” to the accompaniment of a harmonica or button accordion,” finished Alexey Mikhailovich.

This is how another small episode from the fate of “The Blue Handkerchief,” the first lyrical song of the war years, became known.

The song intonation, popular during the war, was also used by poets who wrote poems not intended to be sung. The complex era of the Great Patriotic War in all its diversity could not fit into the framework of lyrical genres alone: ​​the poetry of those years combined deep lyricism with an epic coverage of events. The connection and interpenetration of the lyrical and epic principles is a specific feature of the poetry of 1941-1945. During these four years, the following poems were created: “Vasily Terkin” by A.T. Tvardovsky; “Kirov is with us” and “The Tale of 28 Guardsmen” by N.S. Tikhonov; “Zoya” M.I. Aliger; "Son" P.G. Antokolsky; “Twenty Eight” and “Liza Chaikina” by M.A. Svetlova; “Pulkovo Meridian” by V.M. Inber; “February Diary”, “Leningrad Poem”, “Your Path” by O.F. Bergholtz; "Russia" A.A. Prokofiev; “Son of an Artilleryman” K.M. Simonova; “Missing” E.A. Dolmatovsky; “Invisible” by B. Ruchev and others.

In the poems of the war years, the dominant role belongs to the epic, objective depiction of events - the heroic everyday life of war, but the decisive role was given to the lyrical voice of the author, constantly accompanying the heroes and events. The poem is imbued with the personal presence of the author P.G. Antokolsky "Son"

telling about a deeply personal tragedy - the death of his only son at the front. The poem is preceded by a dedication: “In memory of junior lieutenant Vladimir Pavlovich Antokolsky, who died a brave death on June 6, 1942.” Describing the fate of his son, the poet created a generalized image of an entire generation that heroically fulfilled its duty to its homeland. Personal grief here is melted into national grief brought by the war. The work poses universal human problems of life and death:

I don’t know whether there will be a date, I only know that the battle is not over. We are both grains of sand in the universe. We won't meet you again...

The stanzas of the final part of the poem sound like a requiem:

Farewell my sun. Farewell, my conscience, Farewell, my youth, dear son. Let this farewell end the story of the most deaf of the deaf loners.

You stay in it. One. Detached from light and air. In the last torment, not told to anyone. Not resurrected. Forever and ever, an eighteen-year-old...

The Great Patriotic War aggravated Soviet people a sense of connection with the past of one’s homeland. Historical values, traditions of the Russian people, and the wealth of national culture now appear in a new way, in all their magnitude. “In this war,” wrote A.N. Tolstoy, - our gaze often turns to the history of our people, - events, as if forgotten due to the passage of years, emerge from the fog of centuries, and the reflection of the heroic struggle of our days falls on them, and much of what seemed unclear or insignificant becomes clear and significant, and we are still beginning to see more clearly the direct, courageous path of the Russian people to freedom, to national happiness on their sovereign land.”

The great deeds of their ancestors were revived in the people's memory as a high example of morality and a call to heroism. “During the war it was revealed to us new story. The heroes of the past moved from textbooks to dugouts,” said I.G. Ehrenburg about the rise of historical self-awareness during the Great Patriotic War.

Never before has the historical and patriotic theme been so relevant and occupied such an honorable place in our literature - from poetry to journalism. The echo of the heroics of the past was accompanied by the use of the poetic riches of folklore. The heroes of the Patriotic War were given the features of folk heroes-heroes. The desire to immediately intervene in the spiritual life of compatriots prompted them to seek support in the forms developed by the centuries-old experience of the people.

The authors of works written during the war years widely use archaic vocabulary; spells, lamentations, oaths, blessings; an appeal to the ancestors, a symbolic animation of mother earth and native nature. Almost all of D.B.’s lyric poems are imbued with rhythmic and expressive means of folk oral poetry. Kedrin about the war, for example:

Not a child over the unsteady mother rocks to sleep - A river flows like a river Human blood over the pebbles.

The hearts of the enemies will not be touched by the great Kruchina, Let the owl from the high belfry call trouble upon them.

So that narrow paths and roads become dusty for them, So that Russian birches become gravestone crosses...

("Not a child above the unsteady...")

Wartime poetry was a kind of artistic chronicle of human destinies, people's destinies. This is not so much a chronicle of events as a chronicle of feelings - from the first angry reaction to the treacherous attack of Nazi Germany:

Get up, huge country,

Stand up for mortal combat

With fascist dark power,

With the damned horde! -

until the final parting words to those who survived the war to preserve the Fatherland

And cherish it sacredly,

Brothers, your happiness -

In memory of the warrior-brother,

That he died for her.

Poems from the war years will help you relive the rich range of feelings born of this time, and their unprecedented strength and poignancy, and will help you avoid the erroneous, one-sided idea of ​​a war-victory with unfurled banners, orchestras, orders, general rejoicing, or a war-defeat with failures, death, blood, tears standing in the throat. In 1941, seventeen-year-old Yulia Drunina volunteered to go to the front and fought until victory:

I've only seen hand-to-hand combat once.

Once in reality and hundreds of times in a dream.

Who says that war is not scary?

He knows nothing about the war.

Her desire to paint an objective picture is understandable, to tell subsequent generations the truth about unforgettable days: “The liberation war is not only death, blood and suffering. It is also gigantic upswings of the human spirit - selflessness, selflessness, heroism.”

In the hour of great trials, human souls opened up, the moral strength of the people was revealed, and poetry reflected this. Wartime poets did not observe events from the outside - they lived by them. Naturally, the extent of their personal participation in the war varied. Some passed it as privates and officers Soviet army, others were war correspondents, and still others turned out to be participants in some individual events.

The dispassionate story put a lot in its place, re-evaluated a lot, and explained a lot. But only art can express and preserve the state of mind of a contemporary of those years.

In the days of unity of the people in the face of mortal danger, in the days of heavy and bitter losses, suffering and deprivation, poetry was an agitator and tribune, a cordial interlocutor and a close friend. She spoke passionately about heroism and immortality, about hatred and love, about devotion and betrayal, about rejoicing and sorrow. “Never in the entire history of poetry has such direct, close, cordial contact been established between writers and readers as during the days of the Patriotic War,” testifies its participant, poet A. Surkov. From a letter from the front, he learned that in the pocket of the killed soldier they found a piece of paper with his lines covered in blood:

The aspen forest is chilly and the river is narrow,

Yes, blue forest, and yellow fields.

You are the cutest of all, the most precious of all, Russian,

Loamy, hard soil.

The poet M. Isakovsky also received a letter from the front. It was written by an ordinary soldier: “Believe me, no other word can inspire an attack on the enemy like your words, Comrade Isakovsky.”

“...During the siege and famine, Leningrad lived an intense spiritual life,” recalled N.K. Chukovsky. “In besieged Leningrad, they read surprisingly a lot. They read the classics, they read poets; they read in dugouts and pillboxes, they read on batteries and on frozen in ice ships; they took armfuls of books from dying librarians and in countless frozen apartments, lying in the light of smokehouses, they read, read. And they wrote a lot of poetry. Here, what had already happened once in the nineteenth and twentieth years was repeated - poetry suddenly acquired an extraordinary importance, and they were written even by those who in ordinary times would never have thought of indulging in such an activity. Apparently, this is the property of the Russian person: he experiences special need in verse during disasters - in devastation, in a siege, in a concentration camp."

The peculiarities of poetry as a type of literature contributed to the fact that in wartime it took a dominant position: “Verse received a special advantage,” N. Tikhonov testified, “it was written quickly, did not take up much space in the newspaper, and immediately went into service.”

The poetry of the war years is poetry of extraordinary intensity. During the war years, many genres of poetry became more active - both those propaganda ones, which originated from the time of the revolution and civil war, and lyrical ones, behind which stood a centuries-old tradition.

She separated loved ones, subjected human affections to a severe test, emphasized the high value of love, tenderness, the importance and necessity of friendly feelings. Wartime lyric poetry fully reflected this thirst for humanity. Severe trials did not harden people.

There was not a person in the country who did not know K. Simonov’s poem “Wait for me, and I will return...” (1941). It was published in front-line newspapers and sent to each other in letters from and to the front. Thus, after a long break, the half-forgotten genre of the poetic message, so widespread in the poetry of Pushkin’s time, came to life in those years and received wide recognition.

Convincing proof of flourishing lyric poetry wartime are her successes in the song genre. “Song of the Brave” and “Ogonyok”, “Oh, My Mists” and “Fire is Beating in a Close Stove”, “Oh, Roads” and “In the Forest at the Front” and others became truly popular. They were sung in the trenches and in the halls, in dugouts and in capitals. Expressing their time, these songs became its symbol, its call signs. IN civil war The "Windows of GROWTH", propaganda posters that V. Mayakovsky and his comrades drew and signed, were widely known. His experience was used during the Great Patriotic War in TASS Windows.

But the movement of philosophical lyrics did not stop during the war. Poets are still concerned with the eternal questions of existence, the meaning of life, the essence of art, death and immortality.

In those days, life disappeared, life disappeared,

Existence has come into its own, -

wrote O. Berggolts, who was in besieged Leningrad.

During the Great Patriotic War, A. Akhmatova’s voice rose to high civil pathos:

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our watch,

And courage will not leave us...

Works of major genres were also created - ballads and poems.

The pages of O. Berggoltz's poems "February Diary" (1942), "Leningrad Poem" (1942) sound as a mournful, but also life-affirming hymn to the glory of Leningrad, which withstood the unprecedented blockade.

At that time, work on many poetic works began this way - with deep life upheavals. Poetic fantasy and fiction only helped to comprehend, deepen, expand, and depict facts, events, and people’s destinies.

Junior Lieutenant V.P. Antokolsky died a heroic death on the battlefields on July 6, 1942. In the deeply tragic epitaph poem “Son” (1943), his death was mourned by his father, the famous poet P.G. Antokolsky. He built his work in the form of a confessional monologue. The final lines of the poem sound like a requiem not only for his son, but for all those who died in the war:

Farewell my sun. Goodbye my conscience.

Farewell to my youth, dear son.

Goodbye. Trains don't come from there.

Goodbye. Planes don't fly there.

Goodbye. No miracle will come true.

But we only dream dreams. They dream and melt.

Lyrics. The enormous grief of war. Review of poetry during the Great Patriotic War. Musa Jalil. Yulia Drunina. Joseph Utkin. Bityugov Vasily Ivanovich. Bogachev Nikolai Osipovich. Konstantin Simonov. Alexey Surkov. Shaposhnikov Viktor Sergeevich. Poetry scorched by war. I returned without a leg. The country is huge. For the sake of life on Earth.

“Poetry of the War Years” - Premonition of Spring. Letter. Quiet voice. Was born. She works as a nurse in an eye hospital. Poets. By your waiting you saved me. Poetry. Millions of hearts. Wait for me and I will come back. David Samuilovich Samoilov. Starshinov was drafted into the army. Front-line everyday life. Front-line poets. Spirit of patriotism. In the dugout. First day. Poetic self-awareness. Green lights rocket. Don't wish well. Friend of Konstantin Simonov.

“Poems of the war years” - Rest after the battle. Barbarism. Defense of Sevostopal. Outskirts of Moscow. Arkady Alexandrovich Plastov. Alexander Alexandrovich Deineka. Zinka. As long as hearts are knocking. Musa Mustafovich Jalil. Fire. Roads of the Smolensk region. Yuri Georgievich Razumovsky. Haymaking. Globe. Burnt village. Excerpt from the poem. Olga Fedorovna Berggolts. The fascist flew by. Enemies burned down my home. It's a tough fight. Sergei Sergeevich Orlov.

“War Poetry” - Joseph Utkin. Poets of the Yukhotsky region about the war. Musa Jalil. Poetry Review. Alexey Surkov. Poets wrote about the war itself. Front-line pages of Russian poetry. The Great Patriotic War. Poetry scorched by war. The country is huge. Our literature. Yulia Drunina. Word to the poets - front-line soldiers. The enormous grief of war. Let's remember everyone by name. I returned without a leg. Konstantin Simonov. The fire is beating in the cramped stove. Gruzdev Vladimir Nikolaevich.

“Simonov about the war” - Military lyrics by K. Simonov. K. Simonov. “The Living and the Dead” by K. Simonov is an epic of war. "Days and Nights." Military prose by K. Simonov. The story "Infantrymen". K. Simonov diversifies and enriches the ways of depicting it. The war was a tragedy until its last day. The theme of personality formation and military feat. Poem "Letter to a Friend." Features of the depiction of the Great Patriotic War in works. Theme of love.

“The Theme of War in Poetry” - Poems. Consultation. Student. Great song Great War. Educational results of the program. Poetry that has become a feat. Grade. Level of development of literary skills. Guns. Creative biography of Margarita Aliger. Forms of organization training sessions. Types of activities of teachers and students. Development of research and creative abilities of the individual. Recording the main provisions in a notebook.