The art of the war years in poetry. Poetry of the period of the Great Patriotic War

It is said that when the cannons rumble, the Muses are silent. But from the first to the last day of the war, the voice of poets did not stop. And cannon cannonade could not drown it out. Readers have never listened so sensitively to the voice of poets. The famous English journalist Alexander Werth, who spent almost the entire war in the Soviet Union, in the book "Russia in the War of 1941-1945." testified: “Russia is also, perhaps, the only country where millions of people read poetry, and literally everyone read such poets as Simonov and Surkov during the war.”

They say that the first casualty in war is the truth. When, for one of the anniversaries of the Victory, they decided to publish a solid volume of the Sovinformburo reports, then, after re-reading them, this tempting idea was abandoned - very much required significant clarifications, corrections, and refutations. But everything is not so simple. Indeed, the authorities were afraid of the truth, tried to powder, brown, and shut up the unsightly truth (the Sovinformburo did not report at all about the surrender of some large cities, for example Kyiv, to the enemy), but the warring people craved the truth, they needed it like air, as a moral support, as a spiritual source of resistance. In order to survive, it was necessary, first of all, to realize the true scale of the danger hanging over the country. With such unexpected heavy defeats, the war began, on such an edge, a stone's throw from the abyss, the country turned out that it was possible to get out only by directly looking the cruel truth in the eye, fully realizing the full measure of responsibility of each for the outcome of the war.

Lyric poetry, the most sensitive "seismograph" of the spiritual state of society, immediately revealed this burning need for truth, without which a sense of responsibility is impossible, inconceivable. Let us think about the meaning of the lines of Vasily Terkin by Tvardovsky, which have not been erased even from repeated quoting: they are directed against the comforting and reassuring lie that disarms people, inspiring them with false hopes. Then this internal controversy was perceived especially sharply, it was defiantly topical:

And more than anything else
He live for sure -
Without which? without the truth,
Truth, straight into the soul beating,
Yes, she would be thicker,
No matter how bitter.

Poetry (of course, the best things) has done a lot to awaken people's sense of responsibility in terrible, catastrophic circumstances, the understanding that the fate of the people and country.

The Patriotic War was not a single combat of bloody dictators - Hitler and Stalin, as some writers and historians do. Whatever goals Stalin pursued, the Soviet people defended their land, their freedom, their lives. And people then yearned for the truth, because it strengthened their faith in the absolute justice of the war they had to wage. Under the conditions of the superiority of the fascist army, it was impossible to survive without such faith. This faith nourished and permeated poetry.

Do you still remember that dryness in your throat,
When, rattling with the naked force of evil,
They bawled and pearled towards us
And autumn was a test step?

Ho rightness was such a fence,
Which was inferior to any armor, -

Boris Pasternak wrote at that time in the poem "The Winner".

And Mikhail Svetlov, in a poem about “a young native of Naples”, a participant in the Nazi conquest in Russia, also affirms the unconditional correctness of our armed resistance to the invaders:

I shoot - and there is no justice,
Fairer than my bullet!
("Italian")

And even those who did not feel the slightest sympathy for the Bolsheviks and the Soviet government - the majority of them - took an unconditionally patriotic, "defensive" position after the Nazi invasion.

We know what's on the scales now
And what is happening now.
The hour of courage has struck on our clocks,
And courage will not leave us.
("Courage")

These are the poems of Anna Akhmatova, who had a very large and well-founded account with the Soviet government, which brought her a lot of grief and resentment.

Cruel, at the limit of physical and spiritual strength, the war was unthinkable without spiritual emancipation and was accompanied by a spontaneous liberation from official dogmas that stifled living life, from fear and suspicion. This is also evidenced by lyric poetry, irradiated with the life-giving light of freedom. In the hungry, dying besieged Leningrad in the terrible winter of 1942, Olga Berggolts, who became the soul of the heroic resistance of this long-suffering city, wrote:

In the dirt, in the darkness, in hunger, in sadness,
where death, like a shadow, dragged on the heels,
we were so happy
they breathed such stormy freedom,
that grandchildren would envy us.
("February Diary")

Bergholz felt this happiness of inner liberation with such acuteness, probably also because before the war she had a chance to fully experience not only the humiliating “studies” and “exclusions”, but also the “gendarmes of courtesy”, the delights of prison. But this feeling of being acquired freedom arose in very many people. Like the feeling that old standards and ideas no longer fit, the war gave rise to a different account.

Something very big and scary, -
On bayonets brought by time,
He lets us see yesterday
Our angry vision today.
(“It’s like looking through binoculars upside down ...”)

In this poem, written by Simonov at the beginning of the war, this changed attitude already reveals itself. And probably, here lies the secret of the extraordinary popularity of Simonov's lyrics: she caught the spiritual, moral shifts in the mass consciousness, she helped readers to feel and realize them. Now, “in the face of great misfortune”, everything is seen differently: both the rules of life (“That night, preparing to die, We forgot forever how to lie, How to change, how to be mean, How to tremble over our good”), and death, lurking at every turn (“Yes, we live without forgetting That the turn just didn’t come, That death, like a circular bowl, Our table bypasses all year round”), and friendship (“The burden of inheritance is getting heavier, Everything is already a circle of your friends. Take that burden on your shoulders ...”), and love (“Ho these days you can’t change your body or soul”). So all this was expressed in Simonov's verses.

And poetry itself gets rid (or should get rid) - such is the requirement of the harsh reality of a cruel war, a changed worldview - from artificial optimism and bureaucratic complacency that had eaten into poetry in the pre-war period. And Aleksey Surkov, who himself paid tribute to them in the mid-30s: “We calmly look into the formidable tomorrow: Both time is for us, and victory is ours” (“So it will be”), “In our platoons, all the jigits are for selection - Voroshilov marksmen. Our bullets and hardened blades will meet the enemy cavalry at point-blank range” (“Terskaya marching”), having experienced the pain and shame of defeats of the forty-first year on the Western Front, “pickier and sharper” judges not only “deeds, people, things”, but also poetry itself :

When scarlet with scarlet blood,
From the soul of a soldier - what to hide sin -
Like a dead leaf in autumn, opal
Beautiful words are dry husks.
("Keys to the Heart")

The image of the Motherland undergoes profound changes in poetry, which became the semantic and emotional center of the artistic world of that time for various poets. In one of the articles of 1943, Ilya Ehrenburg wrote: “Of course, there was love for the Motherland even before the war, but this feeling has also changed. Previously, they tried to convey it in scale, saying "from the Pacific Ocean to the Carpathians." Russia did not seem to fit on the huge map. Ho Russia became even bigger when it fit in the heart of everyone.” It is quite clear that Ehrenburg, when writing these lines, recalled the "Song of the Motherland" composed in 1935 by Vasily Lebedev-Kumach - solemn, as they said then, majestic. Great self-respect and delight should be caused by the fact that “my native country is wide, there are many forests, fields and rivers in it”, that it stretches “from Moscow to the very outskirts, from the southern mountains to the northern seas”. This Motherland endows you - along with everyone - with the rays of its greatness and glory, you are behind it, huge and powerful, like behind a stone wall. And it should cause you only a feeling of respectful admiration and pride. “We didn’t like Lebedev-Kumach, stilted“ O ”about a great country - we were and remained right,” Semyon Gudzenko, then a young front-line poet, wrote in his military diary, not without reason putting not “I”, but “we” .

A fundamentally different image than that of Lebedev-Kumach appears in Simonov's poem "Motherland" - the controversy is striking:

Ho at the hour when the last grenade
Already in your hand
And in a short moment it is necessary to remember at once
All that we have left in the distance,

You remember not a big country,
What did you travel and find out.
Do you remember your homeland - such,
How did you see her as a child?

A piece of land, crouched against three birches,
A long road behind the woods
A river with a creaky ferry,
Sandy shore with low willows.

Here, not endless fields, but a “patch of land”, “three birches” become an inexhaustible source of patriotic feeling. What do you mean, human grain of sand, for a huge country that lies, "touching the three great oceans"; and when it comes to a “piece of land” with which you are inextricably, vitally connected, you are completely responsible for it, if enemies encroach on it, you must shield it, protect it to the last drop of blood. Here everything changes places: it is not you who are under the benevolent patronage of the Motherland, enthusiastically contemplating her mighty greatness, but she needs you, in your selfless protection.

"Three birches" become the most popular, most understandable and close to contemporaries image of the Motherland. This image (more precisely, the thought and feeling that gave rise to it) plays an unusually important - fundamental - role in Simonov's wartime poetry (and not only poetry, such is the leitmotif of his play "Russian People"):

You know, probably, after all, the motherland -
He is the city house where I lived festively,
And these country roads that grandfathers passed,
With simple crosses of their Russian graves.

I don't know how you are, but me with the village
Road melancholy from village to village,
With a widow's tear and a woman's song
For the first time the war on country roads brought.
(“Do you remember, Alyosha, the roads of the Smolensk region ...”)

And not only in Simonov did the war awaken such a sharp, such a personal perception of the Motherland. In this, the most diverse poets converged - both in age, and in life experience, and in aesthetic preferences.

Dmitry Kedrin:
This whole region, dear forever,
In the trunks of white-winged birches,
And these cold rivers
By the reach of which you grew up.
("Motherland")

Pavel Shubin:
And he saw the house
The road under the canvas sky
And - wings to the sunset -
Birch with a stork's nest.
("Birch")

Mikhail Lvov:
Birch thin chain
Far away it melted and faded away.
The steppe rolls up to the throat -
Try to get it off your throat.

The car flies into the sea, into the bread.
The fighter opened the door in the cockpit.
And the steppe approaches the heart -
Try to take it out of your heart.
("Steppe")

In the best verses of the wartime, love for the motherland is a deep, hard-won feeling that eschews ostentatious official grandeur. The verses written at the very end of the war testify to what serious changes in the patriotic feeling of people took place during the four years of the war. Here is how Ilya Ehrenburg saw the Motherland and victory then:

She was in a faded tunic,
And my feet were covered in blood.
She came and knocked on the door.
Mother opened. The table was set for dinner.
“Your son served with me in one regiment,
And I came. My name is Victory."
There was black bread whiter than white days,

And the tears were salt salts.
All a hundred capitals screamed in the distance,
They clapped their hands and danced.
And only in a quiet Russian town
The two women, as if dead, were silent.
("May 9, 1945")

The ideas about the content of such concepts as civil and intimate in poetry changed very significantly. Poetry got rid of the prejudice to the private, “domestic” that had been brought up in previous years; according to “pre-war norms”, these qualities - public and private, civic and intimate - were far divorced from each other, and even opposed. Experienced in the war pushed the poets to the utmost sincerity of self-expression, Mayakovsky's famous formula was called into question: "... I humbled myself, standing on the throat of my own song." One of his most faithful and diligent students Semyon Kirsanov wrote in 1942:

War does not fit into an ode,
and much of it is not for books.
I believe that the people need
soul candid diary.

Ho this is not given immediately -
Is the soul not yet strict? -
and often in a newspaper phrase
leaving the live line.
("Duty")

Everything here is correct. And the fact that the best poetic works of those years were "a frank diary of the soul." And the fact that this frankness, spiritual openness was not given immediately. Not only intimidated editors, but the poets themselves did not easily part with dogmatic ideas, with narrow "standards", often preferring the path that was "more trodden and easier", rhyming political reports or combat episodes from the reports of the Soviet Information Bureau - this was considered in the order of things.

In modern literary reviews, when it comes to the best works of poetry of the war years, next to "Terkin", an epic work, without hesitation, without a shadow of a doubt, they put Surkov's most intimate "Dugout" and "Wait for me" Simonov. Tvardovsky, a very strict and even captious connoisseur of poetry, in one of his wartime letters, it was those Simonov’s poems that were “a frank diary of the soul”, considered “the best that is in our wartime poetry”, these are “poems about the most important thing, and in them he (Simonov. - L. L.) acts as the poetic soul of the current war.

Having written “Dugout” and “Wait for me” (both poems are an outpouring of a soul shocked by the tragic events of the forty-first year), the authors did not even think about publishing these poems that then received unheard of popularity, publications took place by chance. The poets, on the other hand, were sure that they had composed something chamber, devoid of civil content, of no interest to the general public. On this account there are their own confessions.

“A poem arose from which the song was born,” Surkov recalled, “by accident. It wasn't going to be a song. It didn't even pretend to be a printed poem. These were sixteen "home" lines from a letter to his wife. The letter was written at the end of November 1941, after one very difficult front day for me near Istra, when we had to fight our way out of encirclement with one of the regiments after a hard battle.

“I thought that these verses were my own business...,” said Simonov. - But then, a few months later, when I had to be in the far North and when snowstorms and bad weather sometimes forced me to sit for days somewhere in a dugout or in a log house covered with snow, during these hours, in order to pass the time, I had to read to a variety of people poems. And a variety of people dozens of times, by the light of a kerosene oil lamp or a hand torch, copied on a piece of paper the poem “Wait for me”, which, as it seemed to me before, I wrote only for one person. It was this fact that people rewrote this poem, that it reached their hearts, that made me publish it in the newspaper six months later.

The history of these two most famous poems of those years speaks of the burning public need for lyrics that emerged in the very first months of the war, for a sincere, face-to-face conversation between the poet and the reader. Not with readers, namely with the reader - this must be emphasized. “We are retreating again, comrade ...”; "Don't cry! - All the same late heat hangs over the yellow steppes ... "; “When you send a friend on your last journey ...”; “When you enter your city ...” - this is Simonov. "... Oh dear, distant, do you hear? .."; “Do you remember that there is still earthly expanse, roads and fields in the world? ..”; “...Remember these days. Listen a little and you - with your soul - will hear at the same hour ... ”- this is Olga Berggolts. "Put this song on your heart..."; "You can't part with your overcoat..."; “It was not in vain that we composed a song about your blue handkerchief ...” - this is Mikhail Svetlov.

Such a coincidence of reception is significant: the poems are built on a confidential appeal to some person, in whose place many readers can put themselves. This is either a message to a very close person - a wife, a loved one, a friend, or a heart-to-heart conversation with an interlocutor who understands you well, when pathos and posture are inappropriate, impossible, false. Alexei Surkov spoke about this feature of the lyrical poetry of the war years in a report made at the end of the first year of the war: “And this war prompted us:“ Don’t yell, speak more quietly! , or to loss of face. In war, you don’t need to shout. The closer a person stands to death, the more annoying his loud chatter. In war, everyone shouts at a soldier - and guns, and machine guns, and bombs, and commanders, and everyone has it right. But nowhere in the charters of wars is it written that the poet also has the right to stun the soldier with slogan idle talk.

Love lyrics suddenly occupied a large place in poetry at that time, enjoyed extraordinary popularity (we should name the poetic cycles “With You and Without You” by Konstantin Simonov and “Long History” by Alexander Gitovich, the poems “Spark” and “In the Frontline Forest” by Mikhail Isakovsky, “Dark night" by Vladimir Agatov, "My Beloved" and "Random Waltz" by Evgeny Dolmatovsky, "You are writing a letter to me" by Joseph Utkin, "On a sunny meadow" by Alexei Fatyanov, "In the hospital" by Alexander Yashin, "Small hands" by Pavel Shubin, etc. ). For many years, love poetry was in the pen, the dominant propagandist utilitarianism, she was pushed to the far periphery of social and literary existence as "personal and petty." If we take these ideological prescriptions on faith: is it up to love lyrics, when an unprecedentedly cruel, bloody war is going on, does not poetry thus deviate from the main tasks of the time? Ho, these were primitive and false ideas about both poetry and the spiritual needs of a contemporary. Poetry, however, accurately captured the very essence of the unfolding war: “The battle is holy and right, Mortal combat is not for the sake of glory, For the sake of life on earth” (A. Tvardovsky). And love for poets is the highest manifestation of life, it is that “for which men will accept death everywhere, - with the radiance of a woman, a girl, a wife, a bride - everything that we cannot give in, we die, shielding ourselves” (K. Simonov) .

Most of the poems were written in 1942 (“The Son of the Artilleryman” by K. Simonov at the end of 1941): “Zoya” by M. Aliger, “Lisa Chaikina” and “Twenty-eight” by M. Svetlov, “The Tale of 28 Guardsmen” N. Tikhonova, “Moscow is behind us” by S. Vasiliev, “February Diary” by O. Bergholz. In 1943, V. Inber completed "Pulkovo Meridian", begun in 1941, P. Antokolsky - the poem "Son". But there were few real successes among them - perhaps that is why fewer and fewer poems are written in the second half of the war. Most of the poems listed are essentially essays written in verse, a narrative, and often a documentary plot, inevitably pushes the authors towards descriptiveness, towards illustrativeness, which are only an imitation of the epic and are contraindicated in poetry. It is impossible not to notice the artistic superiority of the poems, which were the author’s confession (in this respect, O. Bergholz’s “February Diary” stands out for its integrity, organicity, genuine sincerity), and not a story about what he saw or about some event, a hero. In those works that combine the narrative and lyrical principles, the narrative is clearly inferior to the lyrics in terms of the strength of the emotional impact, it is the lyrical digressions that are distinguished by high emotional tension.

“I try to hold on to the grains of everyday life, so that they would settle in the fluid human memory, like sea sand,” - this is how Vera Inber formulates her artistic task in the “Pulkovo Meridian”. And indeed, there are many such details of life in the poem: frozen buses, and water from the Neva hole, and unnatural silence - "no barking, no meowing, no bird squeaking." But all this cannot be compared in terms of the strength of the impact on the reader with the frank admission of the poetess that the feeling of hunger drove her to hallucinations:

I lie and think. About what? About bread.
About a crust sprinkled with flour.
The whole room is full of them. Even furniture
He pushed out. He is close and
Far away, like the promised land.

In his poem, Pavel Antokolsky tells about the childhood and youth of his son, who died at the front. Love and sadness color this story, in which the tragic fate of the son is connected with the historical cataclysms of the 20th century, with fascism that prepared and then undertook aggressive campaigns; the poet presents an account to his German peer, who raised his son as a cruel, soulless executor of bloody plans for the enslavement of countries and peoples; "My boy is a man, and yours is an executioner." And yet, the most poignant lines of the poem are about the inescapable grief of the father, from whom the war took away his beloved son:

Goodbye. Trains don't come from there.
Goodbye. Planes don't fly there.
Goodbye. No miracle will happen.
And we only dream. They fall and melt.

I dream that you are still a small child,
And happy, and you trample your bare feet
The land where so many are buried.
This ends the story of the son.

The pinnacle of our poetry was "Vasily Terkin" (1941-1945) by Alexander Tvardovsky. Tvardovsky did not invent his hero, but found, found among the people who fought in the Great Patriotic War, a modern, positively beautiful type and truthfully portrayed him. Ho "Terkin" in the textbook is devoted to a separate chapter, so we will not talk about it.

Here we were talking about poems born of the war, but this review should end with a story about the first poet born of the Great Patriotic War.

During the war, a half-educated student from Iphlia, a 20-year-old soldier, who had recently been discharged from the hospital after being seriously wounded during a raid behind enemy lines, came to Ehrenburg and read the poems written in the hospital and on wounded leave. The poems of Semyon Gudzenko made a great impression on Ehrenburg: he organized a creative evening for the young poet, recommended him - together with Grossman and Antokolsky - to the Writers' Union, and contributed to the publication in 1944 of his first thin book of poems. Speaking at the evening, Ehrenburg gave an insightful, visionary description of Gudzenko's poems: “This is poetry - from inside the war. This is the poetry of a war veteran. This poetry is not about the war, but from the front ... His poetry seems to me to be a prophetic poetry.” Here is one of Gudzenko's poems that struck Ehrenburg so:

When they go to death, they sing, and before
this
you can cry.
After all, the worst hour in battle -
hour of attack.
Snow mines dug all around
and turned black from mine dust.
Gap.
And a friend dies
And so death passes by.
Now it's my turn.
Behind me alone
the hunt is on.
Damn you
forty one year
and infantry frozen in the snow.
I feel like I'm a magnet
that I attract mines.
Gap.
And the lieutenant wheezes.
And death passes by again.
Ho we already
unable to wait.
And leads us through the trenches
petrified enmity,
bayonet holed neck.
The fight was short.
And then
jammed ice cold vodka,
and cut with a knife
from under the nails
I am someone else's blood.
("Before the attack")

Everything written by Gudzenko at that time, in essence, is a lyrical diary - this is the confession of the "son of a difficult age", a young soldier of the Great Patriotic War. The poet, like many thousands of young men, almost boys, who “began in June at dawn”, “was an infantry in a clean field, in trench mud and on fire.” Gudzenko writes about what they all saw and what he himself experienced: about the first battle and the death of a friend, about the bitter roads of retreat and how the city was stormed “from house to house and even door-to-door”, about the icy cold and flames of fires, about the “trench patience" and "blind fury" attacks.

Pavel Antokolsky called Gudzenko "the plenipotentiary of an entire poetic generation." Publication of his poems in 1943-1944. as if it cleared the way for a whole galaxy of young front-line poets who joined him in the first post-war years, prepared readers for the perception of their “powder-smelling lines” (S. Orlov). The poetry of the front-line generation has become one of the brightest and most significant literary phenomena. But this was already after the Victory, and it should be considered within the framework of the post-war literary process.

The years of the Great Patriotic War were an exceptionally peculiar and bright 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.

This time was also marked by the outstanding courage of thousands of front-line writers. About four hundred writers died in the battles for the liberation of their homeland.

The historical content of the military four years was colossal.

“During the 20th century, our country twice stood at the origins of major changes in the face of the world.

So it was in 1917, when the victory of October heralded the entry of mankind into a new historical epoch. So it was in 1945, when the defeat of fascism, in which the decisive role was played by Soviet Union, raised a mighty wave of socio-political changes that swept across the planet, led to the strengthening of the forces of peace throughout the world.

The more grandiose, the more majestic the feat of the Soviet people in the Great Patriotic War appears before the world. This feat went down in history and will never be forgotten.

Soviet literature turned out to be internally prepared for the trials that lay ahead of it.

We foresaw the sway

this tragic day.

He came. Here is my life, my breath.

Motherland! Take them from me!

This is what Olga Berggolts wrote in the June days of 1941, but other Soviet writers could have said the same.

On June 24, 1941, the song You was published in the Izvestia newspaper. Lebedev-Kumach "Holy War".

The next day, composer A.V. Alexandrov wrote music for it.

A day later, it was performed by the Song and Dance Ensemble of the Red Army at the Belorussky railway station in Moscow when the fighters were seen off to the front.

None literary work period of the Great Patriotic War did not find such instant and nationwide love as this song, which was born, one might say, in the very first minutes historical battle. She accompanied the Soviet people throughout their courageous path to victory.

A. V. Alexandrov in the article “How the Patriotic War entered my life as a composer” wrote:

“... The “Holy War” entered the life of the army and the whole people as a hymn of revenge on her curse on Hitlerism. When a group of the Red Banner Ensemble performed at railway stations and in other places in front of soldiers going directly to the front, they always listened to this song while standing, with some special impulse, in a holy mood, and not only the soldiers, but we, the performers, often cried ".

During all the years of the war, Soviet radio began its broadcasts at 6 o'clock in the morning with the first bars of this song, which became the musical call signs of the warring country.

In many documentaries, the exciting facts of the exceptional impact of the "Holy War" are given, which invariably caused a surge of courage and fearlessness.

The memoirs of the former battalion commander of the partisan regiment N. Moskvin tell, for example, how in May 1943 this regiment, operating on the territory of Belarus, captured the station, in one of the premises of which there was a powerful radio receiver. “Set up for Moscow,” the battalion commander threw to one of the partisans on the move. At this time, the Nazis launched a crazy counterattack, trying to recapture the station premises.

The intensity of the battle increased. And suddenly, in the middle of the night, lit by fire, powerful, soul-shaking words burst into the turmoil of battle:

May noble rage

Rip like a wave

There is a people's war

Holy war!

It's hard to imagine how unexpected and opportune it was. A powerful radio receiver carried inspired words and sounds... The song broke through between grenade explosions and machine-gun bursts, it was unable to drown out the screams of the enemies.

The song "Holy War" really, as the author of one of the articles writes, "has become an era."

What is the reason for its exceptional popularity and significance?

The answer to this question may partly explain some of the important and characteristic features of all poetry during the Great Patriotic War. According to a fair remark, this song contained in a generalized form "the main problematic of the poetry of the war period."

Meanwhile, the answer to this question is not so simple. In the article "Three Emblems" Al. Mikhailov even speaks of the well-known mystery, the "secret" of the effect of the song You. Lebedev-Kumach and A. V. Alexandrov, that it "does not lend itself to traditional philological analysis."

“Pay attention to the vocabulary,” the researcher writes, “... it is almost entirely borrowed from wartime newspaper journalism (“mortal combat”, “fascist horde”, “noble fury”, “people's”, “sacred” war). Judging by the usual aesthetic laws, all this cannot in any way contribute to the creation of a work of art, to the popularity of a song. Meanwhile, the unusually emotional reaction that "Holy War" evokes speaks precisely of the artistic impression.

The whole point, obviously, is that - the researcher comes to the conclusion - that the basis of the song is not the usual, another aesthetics; and it is precisely according to the laws of this other aesthetics that one must judge the “Holy War” ... The whole point, apparently, is in the direct impact of these words on feelings in circumstances when feelings are most naked ... These words fell on such prepared emotional soil that they reached its purpose without additional aesthetic nuances ... "

Yes, indeed, the song has an oratorical, invocative, agitational character, partly and indeed akin to topical newspaper journalism, usually stingy with pictorial nuances.

The most important place in the song is occupied by imperious, in the tone of an order or an oath, appeals to the listener - to the people, to the country: “Get up, the country is huge ...”, “We will repulse the stranglers ...”, “We will drive a bullet in the forehead .. . ", etc. All these appeals, designed for instantaneous understanding and response, consist of two or three words - they are, therefore, placards. And if we talk about the agitation, posterity of many works of the war years, and, in particular, the initial period, then this rubbed, in fact, was expressed for the first time with such consistency in the song "Holy War".

It is interesting in this respect judgment you. Lebedev-Kumach regarding the mass political song. “I think,” he said at a meeting in the Writers’ Union in 1944, “that if a song carried to the masses some kind of political slogan that we, the people, the country, the state need, this is a colossal thing. It is necessary to take into account the strength of this influence and impact.

There must be all sorts of songs. But songs of a broad national sound, carrying great slogans, great appeals, expressing the aspirations of the people, anticipating them, this is the greatest thing that we can see in songwriting and what we have to do along the line of songs of victory.

It is necessary to approach the creation of a song with heartfelt trepidation, with a warm soul. This is the only way to create songs, because a song is, first of all, an excited speech ... "

These words contain, as it were, an indirect description of the song. "Holy war". Appeals and appeals, slogans and orders, of which the poetic phraseology of this work almost exclusively consists, are addressed to each individually and to all together. Together they represent a truly “excited speech”, filled with “awe of the heart” and expressing “the aspirations of the people”.

In your song you. Lebedev-Kumach used what was characteristic of him before - a sense of the inner strength of the Soviet people, their historical optimism, the breadth and expanses of their native country, terrible and dangerous for the enemy by their own mighty infinity. In this respect, the "Holy War" is a direct continuation of the pre-war "Songs about the Motherland" ("Broad is my native country"), and "Songs about the Volga", and some others. For example, attention is drawn to the broad epic nature of the whole work, achieved by the majestically solemn beginning "Get up, huge country, get up for a mortal battle ..." and no less solemn, but at the same time full of lyrical passion ("excited speech") refrain:

May noble rage

Rip like a wave,

There is a people's war

Holy war!

Appeal to the people with such an unconditional, undoubted faith in a response is, after all, also a common feature of Soviet poetry, which manifested itself throughout the war - both in lyrical poems and in large poems, not to mention genres where such an appeal can be considered and binding i traditional. It is also easy to notice that you are in the song. Lebedev-Kumach, in its intonational basis, deeply felt by A. V. Aleksandrov, echoes of revolutionary marches and hymns constantly sound, almost coming out, which, one must think, is also facilitated by a noticeable, hardly accidental, orientation of the vocabulary itself to familiar to the reader (listener) word turns and phraseological units taken from the arsenal of revolutionary poetry. And this side was also repeatedly expressed in the most diverse poetic works of wartime: it is enough to recall at least the reminiscences of revolutionary marches and hymns in Nikolai Tikhonov's poem "Kirov with us", which was additionally emphasized in the oratorio of the same name by S. Myaskovsky, and was also repeatedly expressed in the work of many other poets - O. Bergholz, A. Prokofiev, A. Surkov, K. Simonov, M. Dudin, S. Orlov ... However, it is difficult to name a poet who in one way or another would not turn to the revolutionary traditions of the Soviet poetry of the period of revolution and civil war. In this regard, the song "Holy War" really prophetically and accurately anticipated if not all the "problems of war", then the main colors, tonality and imagery of the military artistic word, and most importantly - the spirit of a true nationality, the monumental image of the masses, the laconism of excited speech, open the energy of a publicistically sharp word inspired by an unshakable faith in victory.

The military reality of the initial period demanded from literature, especially in the first months, mainly agitation-poster words - shock, open, journalistic-purposeful. Truly poetry, according to the testament of Vl. Mayakovsky, were equated "to the bayonet." A leaflet, said Nikolai Tikhonov, was sometimes more important for a poet than a poem, and a poem often aspired to become a leaflet without feeling aesthetically infringed. “There has never been such a variety in the writer's arsenal! - he recalled in the article "In the days of trials." -- Brief vivid correspondence, sketches immediately after the battle, impressions, observations, portraits of individual heroes, leaflets, battle sheets, appeals to enemy soldiers, numerous radio speeches, articles, and poems, and appeals addressed to the lands occupied by the Nazis, materials for the partisan press, essays, stories, conversations, feuilletons, reviews, reviews ... ”Poets, according to N. Tikhonov, did not represent any exception in this diverse newspaper, mostly purely journalistic business. On the contrary, “verse received a special advantage”, since “it was written quickly, did not take up much space in the newspaper, and immediately entered service ...”

Poetic journalism is the most developed, most widespread variety of literary work during the Great Patriotic War. Many poets dedicated their talent entirely to her. Evg. Dolmatovsky, in his memoirs about Jack Altauzen, writes that the poet was published in every issue of his newspaper and proudly called himself a private of the newspaper regiment. The front-line life of military poets did not differ much from the life of soldiers and military officers, they completely shared with them all the hardships of the situation. Not only correspondence, but also poems were born literally "on the ground". As Alexander Tvardovsky wrote, concluding his "Vasily Terkin", -

In a war under a shaky roof,

On the roads where it was necessary

Without leaving the wheels,

In the rain, covered with a raincoat,

Or taking off the glove with his teeth,

In the wind, in the bitter cold,

I entered it in my notebook

Lines that lived randomly ...

Everyday poetic work, including utilitarian-rough work in the newspapers of the first period of the war, despite the fact that much of it did not survive its time, and remained in old newspaper files, cannot be underestimated. It was, firstly, huge in scope, it was done daily and hourly by thousands of writers on all fronts of the Great Patriotic War, they did it selflessly and selflessly in the most difficult conditions of an exhausting struggle, they permeated the whole heated atmosphere of wartime with their propagandistic, agitational word of the party; secondly, these collective efforts of poets, each of whom performed his own task, together formed for today's reader a kind of chronicle of their heroic era; the very haste, the incompleteness, the unfinishedness of that line of poetry, like me, acquires today an additional documentary effect - the rough, charred texture of the verse sometimes testifies to us about the gravity of the war more than the works finished in all particulars, written at leisure, could say.

Wasn't this what Sergey Orlov was talking about in 1945, looking back at his military poems:

With hands hardened by steel

Write poetry by squeezing a pencil.

The soldiers are sleeping - they are tired during the day,

Snoring smoke-filled dugout.

Under the ceiling, the smokehouse freezes,

Wet firewood crackles in the stove...

Someday a descendant will read

Clumsy but hot words

And suffocate from thick smoke

From the air that I breathed

From the fury of the unique winds,

Which knock down on the spot.

And, who has not seen grief and sorrow,

Not calcined by fire, like a blacksmith,

He hardly envy his ancestors,

Hearing how lead sings in verse,

How the whole poem smells of smoke,

How you want to live before the attack ...

And he will forgive my sin in rhyme ...

He will not be able to forgive this. *

In addition, one cannot ignore the fact that this huge, everyday and, of course, often poetic work, far from artistic perfection, although it was sometimes designed only for a short term newspaper page or half-forgetfulness in a notebook, was of great benefit to the writers themselves, because it taught the artist to constantly live by the real needs of the people at war and to pronounce words that are just as necessary in war as a bullet, shell or rifle. Everything that was an embellishing phrase, grandiloquence and other literary beauties, immediately revealed its groundlessness - the war demanded deeds, and only deeds. The people to whom the poems were addressed constantly met with death - they needed a heartfelt and truthful word. "The war taught us," remarked M. Sholokhov, "to speak very frankly."

Literature, including poetry, for a very long time worked almost exclusively, so to speak, on two colors: white and black, without halftones, because only two feelings then owned the poet - love and hatred. In accordance with this spiritual (and aesthetic) mood, expressed for the first time with great force in the song of you. Lebedev-Kumach and A.V. Aleksandrov "The Holy War", that marked by a noticeable originality, the invocative and propaganda coloring of the poetic journalistic speech was quickly formed, which was later even called the "style of 1941". Many poetic works of the first months of the war were indeed characterized by the widespread use of newspaper phraseological units, and those stylistic clichés that are usually characteristic of hasty and energetic oratory, laconism, improvisation, poster clarity, etc. Most poets, of course, did not count on longevity of his poems. “Die, my verse, die like a private, like our nameless ones died in the assaults,” they could say with full right and not without understandable pride, following Vl. Mayakovsky.

One of the Frontline Pravda employees, S.A. Savelyev, recalls: “... already in the first months of the war, front-line poetry became the “queen of newspaper fields”. In our newspaper, as in others, she showed excellent fighting qualities: high efficiency, accuracy, great explosive power, the ability to “interact” with all other types of newspaper weapons, “attach” both an official document, and correspondence from the front line, and avaricious informational message the energy of a poetic word ... "

They really were poetry-soldiers, ordinary war workers who did not shy away from any rough work, selflessly rushing into the thick of battles and dying in the thousands, forever remaining unknown to the distant descendants of their military readers.

But, of course, in the field of poetic journalism, along with poems that did not live a long life, there were many works that can be safely attributed to the masterpieces of Soviet journalistic lyrics, which retain their aesthetic significance to this day. It must be assumed that every poet - and then, as it was said, everyone worked in the genre of journalism, there were no exceptions to this rule - every poet will find a work that has stepped over the framework of that immediate moment by which it was once called to life on the newspaper page.

For example, the journalistic poems of K. Simonov, who fruitfully worked throughout the war years in all literary genres, were of great agitational significance. The most famous among them was the poem “Kill him!”, which appeared in 1942. It closely echoes many works of other poets devoted to the theme of retribution, but its exceptional popularity is explained by the fact that the poet saturated his poetic poster with emotional civic passion, giving it a truly poster-like, impactful, aphoristic clarity and graphic clarity. It is important to note that this poem by K. Simonov, exceptionally purposeful in its theme, and poems by other authors (M. Isakovsky, L. Surkov, A. Sofronov, I. Selvinsky and many others), with all their flaming hatred, appealing for retribution , were essentially far from a call for revenge as such, for revenge dictated by blind rage.

The most striking example of such inner humanism is M. Svetlov's poem "Italian" (1943). The character of M. Svetlov, "a young native of Naples", is a tragic figure in his own way. The poet especially focuses on his guilt, but at the same time he shows that his hero is a victim of the criminal forces standing over him.

A young native of Naples!

What did you leave on the field in Russia?

Our land - Russia, Russia -

Did you plow and sow?

Not! You were brought in a train

To seize distant colonies,

To cross from the casket from the family

It grew to the size of a grave ...

This stanza is essentially a poster grotesque and tragic: the great calamity of the peoples, sometimes against their will involved in the criminal slaughter unleashed by the Nazi invaders, clearly comes through here in the concretely questioning, lamenting intonation of the author. However, this feeling does not prevent M. Svetlov from passing a death sentence to the Italian:

I shoot and there is no justice

Fairer than my bullet!

S. Narovchatov said well about this poem: "... militant humanity writes these lines with Svetlov's hand."

As you can see, poems of a journalistic-draft character, which at first had a somewhat general character of a purely agitational and propagandistic nature, gradually began to absorb concrete facts more and more intensively in the course of the war and the accumulation of living observations, to dwell longer and in more detail on the heroic events of the war, on individual characters and etc. Such a concentration of attention on the event-specific and psychological side of life, on actions, on faces, on episodes, required a certain narrative. Along with the commanding, imperative intonation that accompanies the phraseology of the call (“Not a step back!”, “Defend the Motherland!”, “Forward against the enemy!”, Etc.), the intonation of the story, narration appeared, which testified to the maturation in the field of journalism various genres and genre varieties peculiar to it, for example, poetic correspondence, essay, story, plot poem, and then ballad.

Among this kind of works, a significant part of which also did not survive their time, there were works that told about lofty examples courage. It is important to note that, while remaining journalistic in their inner nature, in the author's task and in style, such reporting poems, essay poems carried a strong personal beginning - they were, as it were, potentially characterized by a lyrical element, due to the position of the poet-agitator. Neither the poetic story nor the poetic reportage was dispassionate, that is, objectively informative; their journalistic nature energetically demanded the author's voice, an open author's view, the direct presence of the author not only in the story, but also in the event itself - as its participant.

Subsequently, A. Tvardovsky well formulated this general feature of military poetry, saying in Vasily Terkin:

Among such poetic essays-portraits, almost lyrical in their intonation and pictorial means, one can include L. Prokofiev’s poem-portrait “Olga”, which was widely known in its time and since then has been invariably republished.

The poet begins his poem, filled with enthusiastic admiration for the heroic girl, with the words:

I see you golden

In the obscure distance of the field,

Not under a scarf under a cambric,

And under the combat cap.

You with a rifle-girlfriend

I see - I won't take my eyes off

All with cheerful freckles,

Walking in the military ranks ...

He then sketches the short pre-war life of his heroine:

For a long time or on a perch-kolodinka

You ran to the stream

How long have you been walking in a short,

She herself is not happy with herself ...

Then, after this poem, many other works will appear, where the “biography of the hero” will be recreated with great perseverance, including his short, war-torn pre-war youth: Margarita Aliger’s poem “Zoya”, Pavel Antokolsky’s poem “Son” and others, but, as always, the beginning, the first reconnaissance, is important - Prokofiev carried out such poetic reconnaissance in a poem about Olga Makkaveskaya.

In accordance with his artistic principles, which, as you know, always gravitate towards lyrical generalization, A. Prokofiev noticeably digresses from local biographical features in this poem as well. famous person to sketch, let a few common features, the image of a generation, pre-war youth - that youth, about which Yulia Drunina later, “in the first person”, said:

The uncompressed rye sways,

Soldiers are walking along it.

And we are walking - girls,

Similar to guys.

No, it's not the huts that are burning:

That my youth is on fire,

Girls go to war

Similar to guys.

Soviet literature military poetic journalism

A. Prokofiev is attracted to Olga Makkaveskaya by her, so to speak, national features, signs of a nationwide character:

How long have lullabies been singing

Every single one of them sang mother!

Now for the ship pines

You came to fight!

For a simple and joyful life,

For the golden fire of the soul,

For this lake is cool,

For the willows, for the reeds.

So that on a perch-well,

Of all the roads, choosing her,

Ran in blue, short

All your childhood is clear!

Run with cute pigtails

Easy and fun home

Spring path, familiar,

Path white - in winter.

Now with a rifle-girlfriend

You are in the battle line,

All with cheerful freckles,

I see - I will not take my eyes off!

This poem, in which word turns, metaphors characteristic of A. Prokofiev, lyrical mood and imagery, gravitating towards the style of folk choruses, vividly shine through, can already be called not so much purely journalistic as lyrical, but with elements of a documentary essay. This, in a word, is a work of a transitional type from journalism to lyrics.

The predominant focus of writers' attention in the initial period of the war on journalistic forms of work gradually, from month to month, gave way to more diverse means of artistic comprehension and depiction of military reality.

The war, as it unfolded, ceased to be an indivisible phenomenon for the writer. A concrete acquaintance with the “everyday life of the war”, with its real experience, which was made up of numerous life details, situations, actions, a closer acquaintance with the hero of the war himself, its ordinary participant, the defender of the Soviet Motherland - all this, diverse and many-sided, ceased to fit into the usual framework of the newspaper style and required, in parallel with it, more subtle, branched, complex artistic means. In addition, it was necessary to take into account the needs of the military reader himself, who at first could still be satisfied with a calling or pointing word, but who was already beginning to demand from literature a more thoughtful and concentrated attitude to events and to himself. That is why many had a desire to talk about the war in more detail, more thoroughly, with “psychology”, details, nuances, i.e., but in essence, almost in the same way as prose writers, especially essayists, began to do it, but by means of poetry, including and lyrical.

The lyrical poetry of the period of the Great Patriotic War is a bright, diverse phenomenon, wide in the spectrum of human feelings expressed in it. She was distinguished by the passion of the civil language and the height of her thoughts, striving for the struggle for the freedom of her Motherland. Truly, the poets of war knew "only one thought is power, one - but a fiery passion" - the will to win. Walking together with the people at war along the roads of war, they carefully peered into his face, listened to his speech, and in this constant closeness they found strength for their verse.

In the autumn of 1941, A. Surkov wrote a poem, which, among many others that compiled his first military books, attracts attention with the persistence of a poetic gaze focused on a man with a weapon, on the signs of his “stone” indestructibility, personifying strength folk spirit, depth and strength of national roots.

The war approached the Moscow region.

Night at the beginning of the glow of debt.

Like Russian sacrificial blood

Snow was wet to the ground.

Carts rumble along the roads,

Squadrons pass at a gallop,

Tanks ready for battle

Near the walls of suburban dachas.

The sound of horseshoes in the cold is clearer.

A dugout hole is wrapped in steam.

At the outskirts of the machine gunner

He does not take his eyes off the dark grove.

As if the hands were petrified.

As if dug into the ground, in a ditch.

This guy in the gray overcoat

Will not let the enemy into Moscow.

The first lyrical works of the war were born mainly in such forms, as we see in A. Surkov: poster publicism, so characteristic of the first war period, goes deep into the poem, closed and tense in the concentration of spiritual feeling and thought; a few details, as if taken from the notebook of an attentive essayist, are enlarged almost to the level of a symbol.

The lyrics were born not without difficulties. The point is not only in the hardships of military reality, but also in a purely subjective feeling, characteristic of many at one time, that lyric poetry (especially landscape, love) in the war, as it were, is not entirely appropriate. A conviction arose that captured some of the poets that in the war, in the midst of grief, suffering and conflagrations, on the earth smelling of gunpowder, TNT and corpse stench, in front of the suffering people - what kind of lyrics can be, and even more so the lyrics of the heart. The world for the majority, if not for all, was originally painted only in two colors: hatred and love, and these two colors, two feelings, for some time really knew no shades. All other spectrums of the human soul hastily retreated under the pressure of these two great feelings, which were possessed by the tragedy of war. Dm. Kedrin wrote in one of his poems:

War with Beethoven's pen

He writes amazing notes.

Her octave iron thunder

A dead man in a coffin - and he will hear! *

Iron thunder, born of hatred, was for a long time more audible than the music of love; At least a short time had to pass for each artist to be able to hear and convey in words the most diverse world of the sounds of war, to reveal various aspects of the human soul, most subject to his poetic individual nature.

D. Kedrin admitted:

But what kind of ears are given to me? --

Deaf in the thunder of these fights,

Of all the symphony of war

I hear only the crying of soldiers.**

In a poem with the "lyrical" title "Nightingales" Anton the Visitor said:

No, it's not for us to sing like nightingales,

Our song to ring

Like copper

Rattle gunfire...

Others have written about the same.

While from blood, as from rust,

Reddish snow or grass,

I don't want and I don't have the right

Whisper words of love.

A feeling of revenge entered my heart,

Everything else is covered.

Understand and wait for me - like in a song! -

And I'll walk through the fire...

said Pavel Zheleznov.

Together with Gleb Pagirev, many could say:

War, war - holy prose

And forgotten verses -

And therefore-

Live, poetry, like the sword of the fatherland!

The image of poetry as a sword without a lyre has repeatedly appeared in poetry. It was not far-fetched, since it was caused, of course, by time itself - bloody and harsh, requiring a direct bayonet strike from art. A. Surkov later recalled that "writing lyrics at one time was considered almost indecent" - there was a poster in the eyes: "What did you do for the front?" And the front demanded material labor, ammunition and propaganda words. Journalism, satire, essay, even a ballad (with its characteristic graphic clarity) seemed to be more adapted to their rumbling and burning time than, say, lyrical meditation or landscape sketching.

It was especially difficult and painful for the younger generation to rebuild. Book romance, characteristic of many young poets, came into sharp conflict with the cruel everyday life of the war, and a realistic word was born with difficulty. “We understood the war in a slightly different way,” K. Vanshenkin recalled of his generation, “we did not know that war is, first of all, hard work, that it is thousands of kilometers traveled by you sixty or seventy a day, yes still with a twenty-kilogram load on his shoulders, and even in bad shoes, rubbing his feet, that these are hands swollen with blood, that these are hundreds of cubes of earth thrown out by a small sapper or a large bayonet shovel. Then we got to know all this…”

Book romance of war! Where are you? --

exclaimed A. Nedogonov.

War is not fireworks at all,

just hard work

when, black with sweat,

infantry is sliding up the plowing ...

(M. Kulchitsky)

Apparently, from the inconsistency between the previous (mostly bookish) experience and the cruel reality of the war, catchy, rude, naturalistic details appeared in the poems of poets: in their eyes they overturned bookishness, cheap romance and affirmed reality.

The fight was short.

jammed ice cold vodka,

and cut with a knife

from under the nails

I am someone else's blood.

But on the other hand, along with the rough nature of the war, along with its “cruel notes”, that psychological truth, that realism in the depiction of feelings and situations, without which the lyrics are unthinkable, also entered the poems.

The lyrics of the war were born out of the need for truth, out of disgust for prettiness, blasphemous in the eyes of the poet-soldier, walking "the paths of fierce misfortune." Such were the poems of S. Gudzenko, which captured his initial military experience: “Bonfires”, “Before the attack”, “Memory”, “The Way” and many others.

Two hundred steps to the German trenches,

to hand-to-hand

hand over.

And between us

no snowdrifts,

and the dead

and nobody's peace.

on the front

men love

talk about the warmth of the fire.

handful of moss

yes, a dozen splinters -

this is an overnight stay

and a story until the morning.

In a case like this

useless axes,

The splinter is pierced with a Finnish knife.

our fires.

With songs, the soul does not reduce from the cold.

We had a chance to pass through Russia

all the roads of fierce misfortune.

Campfire Ashes

and ashes of hair -

these are soldier's nomadic traces.

This is S. Gudzenko's poem "Bonfires", one of the most remarkable in his military lyrics. The figurativeness of its first stanza echoed the then recently written "Dugout" by A. Surkov. The line about songs in an undertone, warming the soul like soldiers' fires, is also characteristic. The need for lyrics, for a song (in the broad sense of the word) was growing: poetry could not be just a naked sword, seeking the death of an enemy, it sought, in the words of D. Kedrin, "to put the most diverse melodies of the soul on notes."

The first thing that opened to the eyes of the poets of the war was the Motherland, the native country, its age-old expanses, lands and skies, rivers and copses, leaving in the terrible forty-first year ago, to the west, to the full, to flour and ruin. The lyrics were born from a feeling of bitter filial guilt, love and pride. Along with poster poems, already in the first weeks and months of the war, numerous landscape poems appeared, appealing to the most secret national feelings, filled in their best examples with a wide geographical and temporal space. Among: this kind of works, the poem by K. Simonov "Do you remember, Alyosha, the roads of the Smolensk region ..." became widely known.

Sustained in Nekrasov's intonations, full of guilt and pride, and also imbued with a sense of boundless historical space, this work was one of the very first most expressive lyric poems dedicated to the warring Fatherland. With word and heart, the poet touched in him the source of the existence of the nation - the boundless peasant sea, distant great-grandfathers, breadwinners and defenders of Russia.

Bullets with you still have mercy on us.

But, believing three times that life is all,

I was still proud of the sweetest,

For the bitter land where I was born.

For the fact that I was bequeathed to die on it,

That a Russian mother gave birth to us.

That escorting us to battle, a Russian woman

In Russian, she hugged me three times.

The same poetic idea was developed in many of his works by Pavel Shubin. In the poem "Hut by the Road" he draws a touchingly poignant picture of autumn Russian nature, amazing in its poetic brilliance and penetration - the time of harvest and traditional peasant holidays. The poet stops near the hut - he wants to see her full of autumn wealth and revival, he wants to hear how

Cellars smell of dill and malt,

Lingonberries and honey - oak tubs.

As if a holiday will open in the morning for us

Let's have a solemn feast, like a communion.

And lies on the table in a ruddy loaf

Great, like the world, village happiness ...

Here, as if frozen from that pain, from that night

The cursed malice of an infidel enemy,

A grin of breaches above them cackles,

A blunt hoof steps on the heart ...

Enough! Play behind the forest "Katyusha",

We no longer sleep under our dear roof,

In January nights do not listen, do not listen

From the frost of woven white calms.

The last crumbs have died down,

And grief and anger will be enough for us for a long time:

Russia is behind us - a hut by the road

Like an oath of allegiance to soldier's duty

The image of the hut by the Road as a symbol of Russia appeared in the poetry of the war years repeatedly, culminating in the poem-song of A. Tvardovsky "House by the Road" written,

Like crying for the motherland, like a song

Her fate is harsh

So, despite the fear of lyrics inherent in some poets, lyrics successfully made their way and occupied an increasing place in poetry - in the works of M. Isakovsky, A. Tvardovsky, K. Simonov, A. Surkov, S. Shchipachev, A. Fatyanova, O. Bergholz, S. Marshak, N, Rylenkov, D. Kedrina, S. Narovchatov, M. Lvov ... From now on, not only civil oratorical eloquence, but also many other things that lived in the soul of a soldier, turned out to be important and necessary for the poet of the Great Patriotic War. In the first period of the war, the concept of the Motherland existed in literature mainly in its general form. The very word Motherland instantly evoked in the mind of the reader or listener a very definite set of patriotic associations, analogies and experiences. In the famous song you. Lebedev-Kumach (“A holy war is going on ...”), as we have seen, the word Motherland lives precisely in this capacity. In the art system you. Lebedev-Kumach, who continued the traditions of revolutionary hymns, such a symbol was also, due to the individual associations that inevitably permeated it, even known multidimensionality. The poetry of the war period repeatedly and with great success used this amazing ability of the word to be saturated with emotional and artistic power with seemingly minimal help from art. Hence the enormous agitational (and artistic) success of works that may now seem artless, or even nakedly rhetorical.

However, like many other key images of military lyrics, the image of the Motherland in the poems of poets becomes more concrete, autobiographical, and therefore more lyrical. For example, K. Simonov's lines about "a piece of land" crouched "to three birches" became popular. The artist's gaze longer and more closely peers into numerous details, from which a sense of patriotism is formed with natural gradualness. Poetic vision, in a word, has become more attentive to the details of the native land, to the "small motherland", which, as is known, for the first time gives life to civic consciousness and feeling.

A large place was occupied in the lyrical and journalistic poetry of the Great Patriotic War by the song - in its most diverse varieties: along with lyrical songs about love, about separation, about waiting for a meeting, marching songs, hymn songs, works of high civic sound, as well as comic, born in moments of calm and a short rest. Often songs were created for any one division or regiment; written in most cases by amateur authors, they became a permanent fixture of one or another military unit, and they were valued.

The need for songs of a different nature was very great at the front (and in the rear of the war years). Composers and poets could not fail to see with what perseverance the human soul sought expression for itself in a sincere melodious word.

As already mentioned, the tone of the song was set by the beloved by all the people "Holy War" you. Lebedev-Kumach and A. Alexandrov.

However, in the first year of the war, the old lyrical songs of pre-war children were also widely heard, right up to the sentimental "Blue Handkerchief", which, however, was soon remade in a military way for the singer K. Shulzhenko. Such songs were willingly sung in dugouts to the accordion or guitar. True, their text did not always fit the new, front-line situation, but they nevertheless expressed some part of the feelings and experiences, and most importantly, they reminded of the peaceful, pre-war past, where home, happiness, love, family remained. By the magical power of memories and personal associations, these melodies that have resounded and, it would seem, have already burned out on a warrior.

Surprising in its strength and continuity, the mighty life-affirming beginning, characteristic of Soviet military poetry, even in its most tragic works, came to it, first of all, from Pushkin.

Pushkin's theme of the state, history and personality has passed like a loud-sounding leitmotif through all our military poetry. She organized by herself both the lyrics and some large things of an epic appearance. For the lyrics, it becomes characteristic not just to refer to the history of the people as a means of illustrating civic feelings, but to organically introduce it into the poem, stemming from a vivid sense of fusion with the life of the people, with its modern difficult day.

Look back at the woods and pastures,

Moving forward with a rifle into battle;

All that is acquired by our blood labor,

Behind your back, behind you!

So that goodness will not be taken away,

I command you to die!

The general trend of poetic development emerges in the lyric's striving for a broad coverage of life. In this striving, the great traditions of Russian classical literature met and began to interact with those achievements in artistic knowledge and reflection of reality that are associated primarily with the ideological and aesthetic nature of Soviet literature, with its pre-war experience, as well as even earlier - mainly with the experience of Vl. . Mayakovsky.

In this regard, it is important to emphasize that the poets sought to realize the history of the people as an integral part of their personal biography. The lyrical element that dominates all our military poetry left a peculiar imprint on many works of those years.

For example, pictures of revolutionary St. Petersburg, coming from children's memory, fragmentarily emerging in the lyrical stream of poems and poems by Olga Bergholz, features of the civil war, signs of Komsomol life in the twenties and thirties, various historical and revolutionary relics that appeared in the architectural appearance of Leningrad, usually shone through in her poems with such a tense, personal feeling that they became a particle of an autobiographical confession. Besieged Leningrad appears in her poems not only in the exact details of life, everyday behavior and the struggle of the citizens of the besieged city, but also in numerous relics and memorial signs, as a rule, extremely carefully and carefully taken into account by her. Therefore, the life of Leningrad, peculiar and inimitable, she usually presented in her lyrics in such a way as to reveal even in trifles and details a large and universally significant historical life (“being”). It is no coincidence that even small and seemingly purely lyrical poems of that time acquired a kind of symbolic character: they correlated with major social (historical, national) coordinates.

In a word, despite the fear of lyrics that spread at one time, lyrics, and in many excellent examples, existed. It is important to note that it appeared already in 1941, i.e., during the period that is usually considered the time of the dominance of agitational poster poetry. After all, it was in 1941 that “Zemlyanka” (“Fire beats in a cramped stove ...”) A. Surkov, “Wait for me”, “Do you remember, Alyosha, the roads of Smolenshchipy ...” K. Simonov were written - masterpieces our military lyrics. At the same time, the poems “From the Kazan Notebook” by M. Aliger, the first blockade lyric works by O. Bergholz (“From the notebook of the forty-first year”, “And again in the radiance of power ...”, “Sister”, “Autumn of the forty-first” , “I will talk to you today ...”, etc.), A. Nedogonov (“Dew was still dozing on the carriage ...”), A. Tvardovsky (“Let last hour retribution ... "and others), E. Dolmatovsky ("Leleka"), V. Inber ("A tram goes to the front ..."), A. Akhmatova ("Oath"), N. Rylenkov ("Day of your birth"). It was necessary to strengthen this fruitful line, to give it the rights of citizenship, to attract army poets to it, among which there were many talented and capable people who had left lyrical creativity for some time.

The instant and universal success of some lyrical poems (especially "Dugout", set to music by the composer K. Listov, and "Wait for me" by K. Simonov) showed how great the need for a sincere lyrical word was among the people. Both poems were rewritten, cut out of newspapers, they were sent instead of letters. The success of both works was explained by the universality of the feeling imprinted in them. A. Surkov in his poetic message to Sofya Krevs and K. Simonov in a letter - a spell addressed to Valentina Serova, addressed not only their loved ones, but, as it were, all loved ones in general.

The genre of the message (letter) was extremely widespread during the war years. The reasons for this phenomenon are obvious. I. Spivak, who specifically examined the existence of this genre in his book “Soviet Poetry of the Great Patriotic War”, finds several of its varieties, noting that not only the feeling of love, but also civil, political, literary, philosophical motives occupied a certain place in poetic messages - He correctly writes that "the form of writing gives the poems the character of an intimate, sincere conversation."

To this we can add that the message, in essence, was the original form in which military lyrics were born, freely and naturally feeling themselves in it. A letter, a message, an appeal gave great freedom to lyrical expression - even with a generalized addressee, it allowed you to speak "you" - intimately and confidentially. Suffice it to recall, for example, O. Bergholz's oral radio messages to his "sister-Muscovite", to the townspeople of the besieged city, to the people.

Comrade, bitter days fell on us,

unforeseen disasters threaten

but we are not forgotten with you, not alone, -

And that's already a win...

The poems written by A. Tvardovsky were diverse, which can be attributed to this genre: “To the Fighter of the Southern Front”, “New Year's Word”, “Countryman”, “Road to the West”, “To the Partisans of the Smolensk Region”. In the poem “To the Soldier of the Southern Front”, the poet reveals to the soldier the meaning of his feat:

And the whole native state,

And our entire rear, and any front

Bring praise and honor by right

To you, comrade soldier ...

In the message to "Countryman" A. Tvardovsky, with his inherent desire to remind the reader of the most expensive, lists the signs home, left family n ends with the conclusion-reversal:

Everyone has their own side

Everyone has his own house, his own garden, his beloved brother, -

And we all have one homeland,

In the poem “To the Partisans of the Smolensk Region”, the poet resorts to the form of a folk song, which combines lamentation for the native side, which was captured by the enemy, with an energetic call for struggle, for revenge.

Oh, dear, paternal,

What in the world is one

Side of the Dnieper,

Smolensk side,

Hi.

Do not squeeze out words

End of the night without fire.

You seem to be far away

Land from me.

However, the message of A. Tvardovsky is not limited to this motive - it turns out to be polyphonic and includes various feelings. The poet goes on to say:

For Repairs, Glinka

And wherever there is

secret paths

Vigilant revenge is on the way.

Walks, closes in chains,

Covered the whole edge

Where they do not wait, it is announced

And punish...

And this poem ends, after a few stanzas that develop the theme of retribution, with words full of faith and light:

Hey, dear, Smolensk.

country side,

Hey funny people

Bay! Our beret!

As we can see, the messages, which are very different in their content, character and even genre, contain many themes of lyric poetry, including, it should be immediately noted, epic poetry.

There is nothing surprising in this: the messages written by the poets of the Great Patriotic War contained the feelings and thoughts of the whole people, events of national significance and meaning.

In the development of lyrics from the very beginning, more or less clearly, if we talk about genre and structural features, all the main trends were determined, which manifested themselves in many works of those years, devoted to a variety of topics. These two tendencies did not oppose each other, but gave different artistic results. One of them originated from the journalistic-essay element, which, as already mentioned, set the tone in the poetry of the initial period of the war. This lyrics usually adhered to a specific, most often genuine, name, a specific fact, a situation that actually happened, etc. In a word, it was close to an essay, but, unlike the documentary genres proper, it was characterized, firstly, by tense, affecting the nature of imagery, emotionality, and secondly, the voice and image of the author played a very noticeable role in it - functionally, as a rule, somewhat different than in journalism or in an essay. Poets who worked in this field of poetry (usually in their position - newspapermen), wrote about the heroes of one or another front and tried not so much to reveal the character in its lyrical-realistic multidimensionality, but to express their attitude towards him, and sometimes simply fix the person's name and his act in the memory of his comrades, to make him imitate, to save him from oblivion. And this feature (to save from oblivion) ​​sometimes brought the poem out of the essay element into the sphere of lyrical expression, but kinship always felt with an outline. This second tendency laid claim to its rights and, finally, organized the whole tone of lyrical poetry precisely in this way—precisely "memorial"—lyricism. Good luck, however, was not frequent here, but still we can talk about a certain trend that is found in the work of many, many poets, including major ones. And now, knowing the subsequent literary development, one can see in this lyric poetry something that during the war years was difficult to evaluate and theoretically comprehend, namely, the multi-layered theme of memory, which combined the concrete with the universal in contemporary poetry.

A lot of poems dedicated to real heroes, with their names, even with field mail numbers, were written. Poets acted in them as propagandists of heroism. They created a kind of "honor boards" dedicated to both the famous heroes of the front and unknown fighters. In such lyrical poetry, of course, the voice of the author occupied a huge place.

In this regard, the poetry of A. Surkov played a significant role. Along with A. Tvardovsky, K. Simonov, M. Isakovsky, he introduced into the lyrics the epic - in its meaning - the theme of the people.

One of the first lyrical books of 1941 was A. Surkov's collection "Front Poems". It includes works written in July - August of this year. According to this book, which included many of the problems of that time, interesting for the originality of artistic solutions, one can judge the main direction of the poetic work of that time.

Poems were written on the roads of retreat, in the fire of protracted battles. The faltering breath of a heavy battle is well conveyed in this book, which usually consists of short works, similar to notes in a front-line notebook.

Poems by A. Surkov in 1941 were subject to one all-pervading feeling - a feeling of sacred hatred.

For blood on the pavement, for women in tears,

For the horror in sleepless childish eyes,

For the children's comfort blown up by bombs,

For every brick they break

For every block wrapped in smoke

We will repay the enemy with a terrible retribution!*

“I sing hate” was the title of one of his books at the time.

In the poems of A. Surkov, often fragmentary, laconic, capturing the war, in his words, in direct and terrible words, military reality appeared in a multitude of accurately grasped details, “stopped” gestures and movement, fluently but firmly outlined figures and poses - all this graphic diversity, reminiscent of a front-line notebook, is held together by the piercing power of a poetic feeling that combines sacred hatred for the enemy and boundless - suffering - love for the Fatherland.

Man leaning over water

And suddenly I saw that he was gray-haired.

The man was twenty years old.

Over the forest stream he made a vow:

Ruthlessly, violently execute

Those people who are torn to the east

Who dares to accuse him

If he is fierce in battle?

He told me as he went to sleep:

Black shadows in the eyes ripple.

Just forget - I see my wife,

Just forget - I see the guys.

Dead children haunt me.

A shiver runs from hair to toes.

That's why in the silence of the night

Strong, his teeth creak.

Outwardly, these are sketches, i.e., as if “newspaper” poetry, related to both a notepad entry and an essay, but in fact the newspaper theme here has already switched to the language of a lyrical statement.

A. Surkov did not shy away from rough naturalistic details, rightly believing that the war is rude, terrible and naturalistic, but in his “direct and terrible” words there was not that shade of painful and partly still “literary” opposition of today's rough reality to yesterday's romantic “visions” , as was often characteristic of some young people: the poet introduced naturalistic details in force and to the extent of a realistic need and need for truth. Considering himself a soldier's, "trench" poet, he believed that he was obliged to reach the heart of his neighbor in the trench through the most ordinary words, speaking only the truth, fixing what the eyes of both see - the poet and the nearby soldier. Only under this condition (in any case, rather than with other tricks of art) - his voice will be heard, perhaps, by all the other fellow front-line soldiers. In one of his then rather rare manifesto poems, revealing his aesthetic position, he wrote:

Do not use the usual measure to no avail

Everything that is shaken by the storm of war.

To the one who walks close to death,

There is much to see in the world.

We have become more picky and sharper,

Having experienced the anxieties of war.

For us now actions, people, things

Illuminated by the trembling light of battles.

In a time of upheaval and devastation.

Jealously catches the rattling of falseness

In cast words, our heightened hearing.

When the snows turned scarlet with scarlet blood,

From the soul of a soldier, what to hide sin,

Like a dead leaf in autumn, opal

Beautiful words are dry husks.

The soul of a fighter is exacting, severe.

It is not for her to listen to magnificent ornateness.

We have become silent. At a glance

We are used to understanding each other.

Standing in the draft of big events,

Believing in your star to the end,

Only a word of truth, honest, simple,

We are ready to accept in our hearts.

And if you stand under our banner,

Sit next to us by the fire in the night.

The one who shares sorrow and joy with us,

He will pick up the keys to the soul of a soldier.

Of course, it would be, of course, wrong to think that A. Surkov's lyrics were limited, as can be suspected from his polemically pointed statements, to the so-called trench life or, moreover, closed in his horizons in some limited space. Already the very symbolism of his images, the inner pathos of his voice, the historical breadth of view that shines through in the verses and gives them the necessary scale - all this testified that the lyrics of the "trench" poet A. Surkov was the poetry of great feelings and thoughts.

The need for a deep lyrical understanding of the era, the feat of arms of the people was revealed, of course, in different ways, but some similarities can be noted in its concrete-figurative implementation.

Figurative symbolism and tragedy, "concentrated" realism of the image, the desire to go from heart to heart with the help of simple, sincere and, if necessary, "direct" and "terrible" words - these are some of the identities, echoes and significant coincidences that can be found in various artists of the Great Patriotic War.

Characteristic in this regard is the military lyrics of M. Isakovsky. The light color of his pre-war songs and poems disappears for a long time with the outbreak of war, replaced by tragic, gloomy colors, melodies of sharp incantations, angry appeals, lamentations, etc. And only in the second half of the war, a bright beginning returns to his poetry, along with the approaching victory , however, in 1945 it also gave way to the most, perhaps, tragic work of the poet - the poem "Enemies burned their own hut ...". Simultaneously with A. Tvardovsky, who captured the image of an “orphaned soldier” on the last pages of Vasily Terkin, M. Isakovsky in his lyrical masterpiece, which later became a folk song, carried out the same means of lyrics as his fellow epic. Both at the very end of the war felt, like everyone else then, the great, immeasurable, truly tragic cost of the Victory.

In a word, M. Isakovsky during the years of the Great Patriotic War acts primarily as a lyricist of a tragic warehouse, which, of course, does not mean any weakening of the inner, truly folk vitality of his worldview, but now the poetic word of the artist called for victory and foresaw it through the great folk pain. Like A. Surkov, and differing in this respect from the more narrative and restrained A. Tvardovsky, M. Isakovsky creates some of his poems of the wartime, especially in its initial period, using the words “straight” and “terrible”. Such, for example, is the poem "The Avengers" with its terrible list of fascist atrocities:

How to forget when the huts were on fire,

When the dead were swinging in a noose,

When the little guys were lying around,

Bayonets nailed to the ground?

How to forget when a blind grandfather

In his bestial frenzy,

Cannibals tied to two tanks

And torn in two alive? ...

Like A. Surkov, these sufferings and deaths end in M. Isakovsky with a passionate call for revenge, for retribution, for terrible punishment. His curses and incantations, almost sobbing in their intonation, are instrumented in the spirit and style of folk lamentations, however, without any hint of special stylization "folklore", but quite naturally - in the language of the modern peasant, with the help of everyday, familiar and common vocabulary. .

Let the leaves and herbs dry

Where the foot of the executioners will set foot,

And let not water - poison

Every stream will fill up.

Let the raven - an ominous bird -

Pecks the eyes of cannibals

Let it turn into a fiery rain

Our burning tear!

Let the wind of iron revenge

The rapist will be swept into the abyss,

Let the rapist seek salvation

And don't let him find it.

And he is executed with a terrible execution,

Gnawing stones locked up ...

Especially sad were the songs of M. Isakovsky about captivity, about the torment of Soviet people in the occupied territory and in the "non-Metchina". He was the first to develop this theme following the oral folklore and at the same time as poets unknown to him, prisoners of concentration camps. In the song “Is it not with us, girlfriends ...”, the girls driven away to fascist hard labor, crying, tell how

Harmonists hanged,

And the girls were disgraced.

Days and nights without rest

Everyone was forced to work

Behind the thorny fence

They sent him to hell.

They beat us to death with rifle butts,

Tear with drunk hands

Watering our heads

All rains of iron ...

In his lyrical songs (“In the forest near the front”, “Spark”), which were very popular during the war years, the poet concentrated with his heart and word on those minutes, albeit illusory; but still rest and peace of mind, such as happen to a war worker. These works return the lyrical hero to his abandoned home, beloved, children, mother, but their inner “super task” for M. Isakovsky is to, recalling peaceful happiness and love, family hearth and native arable land, strengthen the will, prepare to the upcoming battle - to the battle for arable land, for the hearth, for love.

So, friends, if it's our turn, -

May the steel be strong!

Let our hearts not freeze

Don't shake your hand...

As for the “weepings” of M. Isakovsky, his songs about captivity, there is a striking similarity between these works and the songs of the prisoners themselves, songs (poems, ballads, laments), which in fact were almost unknown to him at that time. As a truly folk poet, he came to this similarity, not caring about it on purpose, but obeying the feeling of the deepest compassion, which gave him the opportunity to feel the distant pain as his own.

The works of concentration camp prisoners became known for the most part (of course, only some of them) only after the end of the war. Musa Jalil's poems were handed over to the Soviet Union by his anti-fascist friend, other works were found in the dismantled walls of casemates, under the ruins of concentration camps, others turned out to be written down by someone at one time and accidentally preserved. They, these works, are an integral and proud page in the history of the poetry of the Great Patriotic War. In poetic lines, miraculously saved from fire, from oblivion and non-existence, the greatness of the human spirit is imprinted. Most of their authors died, and others - with rare exceptions - remained unknown, but the poets-prisoners amaze the imagination already by the fact that they found the strength in themselves to strike a spark of poetry next to the hellish flame. gas ovens and cherish it in a vague hope for the future. One of these poets, A. S. Krivoruchko, who survived and had the good fortune to be in the ranks of the Soviet Army again, wrote: “I would like to bring to your attention several of my poems written in the terrible days of fascist captivity. It is not for me to judge their merits and demerits. I will say one thing - I could not help but write. They were not writing at a desk, they were writing when their eyes were dimmed, their legs gave way from weakness, and hunger pulled the stomach with a rope, when every minute a bullet, a bayonet, a club could end their life ... "

Former poet-prisoner Gr. Lyushnin, now a member of the Writers' Union and a well-known children's poet, wrote while in prison:

I have nowhere to put the line

About the bitter life of captivity:

Around from the floor to the ceiling

Scribbled walls.

Here someone started from the corner,

Freedom of the guard

Him through the narrow eye of the glass

A bullet entered the back of the head.

And he signed with blood

Eyes on friends.

And I am among such names

I put mine next to it.

The poems of prisoners of concentration camps are not diverse in their subject matter, which is understandable, but they are surprisingly purposeful: "power alone" was owned by their authors - love for the Motherland.

Through the front, through a thousand deaths

Through Dante's hell of concentration camps,

Through the sea of ​​blood, grief, tears

I carried the image of the Motherland.

Like a guiding star

He always shone before me.

Widely known among the prisoners was a beautiful poem written in Sachsenhausen:

I will come back to you, Russia,

To see the rivers blue

To follow the path of my fathers.

I, like a son, love you, Russia,

I love you even more

Lovely expanses are blue

And the vastness of all your seas!

I will come back to you, Russia,

To hear the sound of your forests,

To see the rivers blue

To follow the path of my fathers.

A. Abramov rightly wrote about this poem in his book “Lyrics and Epos of the Great Patriotic War”: “Some traditional form and simply not sharpness of the poem can today hide from us the sharpness of thought of the poet-prisoner. Meanwhile, he shrewdly speaks about the continuity of the cause of the heroes of October in the affairs of the heroes of the war against fascism, expresses an idea close to that which other poets lived ... "

The ideas of patriotism, hatred of the invaders, faith in victory, the spirit of international anti-fascist brotherhood and humanism - that's what united "verses behind barbed wire" with all Soviet poetry.

With the course of the war, another characteristic feature of the lyrics of those years began to emerge more and more clearly: it more and more willingly began to absorb a large and intense world of philosophical reflection, more and more often began to resort to such methods of lyrical typification that approached a symbol or allegory. There are less and less, in comparison with the initial period of the war, factual, informational poems, and philosophical intonation and symbol as a result of an in-depth understanding of life are becoming more and more prominent. The features and details of front-line, trench life, the strokes of human behavior in war are increasingly used by poets not only as means of expression poetic painting or graphics, but also as independent images-concepts filled with philosophical content. Characteristic in this regard is the modification of A. Nedogonov's lyrics. His "trench" poems, previously somewhat closed within the limits of a soldier's life, from now on boldly include both the distant, but more and more clearly visible to the poet, the contour of the Victory and the even more distant post-war sunny peaceful day. In one of the poems he again describes the trench, but how?

The soldier looked around the trench:

earth in the grass, grass in the smoke.

Before the crest of the parapet - Europe,

beyond the traverse - Moscow.

In the same poem, the killed sapper lies with him

dead head -

to Moscow

thundered heart -

for descendants.

Even the loving, intimate lyrics begin to surprisingly naturally combine the details of a rough, bloody soldier's life with high solemn pathos, which allows the reader to see not only the “near”, but also the “far”: country, history, victory.

More insistently, wider, louder and higher, the voice of life and love sounds in poetry.

silver throat of love

I see you stretched out your hands to me,

And you call... Don't, don't call.

Let me forget for a single moment

Do not disturb my cherished dreams.

Can't you feel the smoke

I smelled at the fatal line?

What about such a harsh, unsociable

Will you do, affectionate, you?

"You've become twice as dear to me,

I call you like that"

This is Nikolai Rylenkov, 1944. But many have written the same. Love lyrics not only gained their position in military poetry, but at the same time, as it were, grew larger, as they constantly correlated, could not help but correlate with the war, which constantly reminded a person of the game of life and death, of the price of victory and human happiness, of victory - common victory - inseparable.

My weather has no wives, no poetry, no peace, -

only strength and youth. And when we return from the war,

we will love everything in full and write, peer, such

that sons will be proud of their fathers-soldiers, ... -

wrote S. Gudzenko.

That is why the present - today's military present (like M. Dudin's famous "three hundred and fifty day of the war" in the poem "Nightingales") seemed especially meaningful, as if doubly authentic: after all, being completely dependent on him, he lived and impatiently announced tomorrow's future. As never before, the current, motley, burning, deadly war day seemed like a piece of the epic being created.

End of February.

Like curtains

the sky turns blue in the holes in the walls.

Germans shooters at crossroads

The road is indicated in captivity.

This is history.

This is a memory...

The increased attention of poetry to the big concept of time - to the future and to the past - testified to the desire to understand one's present in the general chain of historical changes. What is today's war? Is it an episode in a motley string of endless historical events, or is it really a great war, that “last and decisive battle” about which the hymn was sung? The very first year showed that the enemy with which the Soviet people had to fight was not only the enemy of one nation or several peoples, it was the tragedy of all mankind. From the feeling of the greatness of the unfolding battle, the lyrics of enlarged vision, rapid historical breathing, broad symbols and pathos were born. Even personal fate and possible death began to be felt by many in the light of the great historical mission that fell to the lot of the people. Hence the tragic-pathetic, but internally optimistic intonation of the so-called personal lyrics in the poetry of the second half of the Great Patriotic War. Perhaps never since Vl. Mayakovsky, our poetry did not speak with such majestic openness and directness to Eternity, History, the People. Civil and military duty, life, death and immortality, the purpose and role of a person in the fate of the Fatherland - this is what is now coming to the fore and taking on a very peculiar sound.

A widespread poetic idea, which can be traced in many variants by almost all poets of this time, is the idea of ​​the indestructibility and extraordinary length of a single human life, if taken together with the people and national history. Individual fate, interrupted by the war and disappearing forever, at the same time is in the life of its people that luminous connecting link that brings together both banks of history. Not everyone is destined to swim across this tragic river of blood, but the lost lives, in the end, will connect both earthly firmaments for a future happy arable land.

Naturally, the feeling of an almost visible connection of times, suddenly stretching through the human souls of the descendants of the soldiers Kulikov and Borodin, gave birth to a wide wave of historical memories and associations in the lyrics of the war years. Soldier of the Great Patriotic War, fighting on the ancient Nepryadva, lying in a camouflage suit on the ice Lake Peipsi, directing pontoons across the Don and dying near Petrovsky Nut, could not help but feel his blood connection with the great biography of the Fatherland. Literature responded to this need with A. Tolstoy's magnificent historical excursions in prose and numerous lyrical poetic meditations on historical themes, always closely linked in the stream of lyrical utterance with modernity. It can be said that the feeling of the distant past, aggravated during the Great Patriotic War, gradually acquired a certain fullness and breadth in the lyrics of these years - especially in the excellent historical poems of D. Kedrin, the poems of V. Lugovskoy, in the lyrics and poems of L. Martynov.

The feeling of one's time as a link in stories, the craving for large-scale, the enlargement of poetic vision, the saturation of the lyrics with philosophical and historical images-concepts - all this was related to the gradually emerging and taking shape poetry of the lyre-epic and epic appearance and warehouse.

BIBLIOGRAPHY

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40. Tvardovsky A. Sobr. op. in 6 volumes, v. 2

41. Op. from the book: When the guns thundered. 1941--1945.

42. Op. according to the book: Shilova A. V. Alexandrov: Essay on life and work. M., 1955.

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44. Sholokhov Mikhail. Sobr. cit.: In 8 vols. M., 1960, v. 8

45. Shubin Pavel. Hut by the road: From literary heritage. -- New World, 1975, No. 6

46. ​​Yashin Alexander. Poems. M., 1958

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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 peculiar and bright period in the development of Soviet literature. In the most difficult conditions of a fierce struggle against the enemy, many works were created that remained forever in the people's memory.

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

The historical and literary content of the military four years was colossal.

The relevance of studying this topic lies in the fact that, thanks to the study of the 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 state of mind of society.

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

From the goal of the work, the following tasks can be formulated:

• reveal 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

originality of wartime poetry.

The historical events of the 1940s form a huge thematic cycle of works in Russian literature. The Great Patriotic War seared poetry and hardened it with the hardness of truth. The categories of some decorative and justifying aesthetics had to give way to an analytical, militant muse. And in Russian literature, poets appeared, as if called 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 seal of the Great Patriotic War. In the spirit of the harsh muse of those years, many guessed their pains, sufferings, their fortitude, because the theme of war is not the theme of battle 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 many people's sense of the Motherland, the country. The soldiers went to die for the Fatherland, and it was very important for them to visualize - what is it? And a new discovery of the Motherland takes place, about which K. Simonov wrote magnificently in the poem "Do you remember, Alyosha ...":

You know, probably, after all, the motherland -

Not a city house, where I lived festively,

And these country roads that grandfathers passed,

With simple crosses of 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 his native landscape. The theme of the Motherland during the Great Patriotic War finds an artistic solution in poetry, it becomes infinitely diverse and rich, it is in it that the creative individuality of poets is manifested.

In the same way, the poetry of the period of the 1940s refers to the history of Russia, to its heroic deeds. Of particular importance are moral and, in general, spiritual traditions: the past and its heroic traditions live in A. Tvardovsky's poem "Vasily Terkin":

But the boys are coming

Soldiers live in war

Like sometime in the twentieth

Their fellow fathers

That way they go harsh

As two hundred years ago

Passed with a flintlock gun

Russian worker-soldier.

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

Under the roar of midnight shells,

In 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, presented 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 struggle. In the poetry of the period of the 1940s, a new artistic quality arises - effectiveness, which should also have been accessible and understandable. Many artists of the word, whose poetic form was usually distinguished by complexity, write in this period in a simple and accessible way. In the work of B. Pasternak, a tendency towards simplicity was outlined in the last pre-war years. But his collection of poems "On Early Trains" is fundamentally different from all previous work. B. Pasternak, having retained 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 endured all the hardships of the war.

The poetry of the war years becomes operational, accessible, understandable and close to the mass reader. During the years of the Great Patriotic War, the desire for effective poetry led many famous poets to the periodical press. Some researchers note the imperfection and a certain superficiality, the artistic weakness of "newspaper" poems, but at the same time emphasize their relevance and ideological orientation. To some extent, we can agree with this. Indeed, there are verses devoid of vivid poetic thought. But, it is one thing - "newspaper" poems, and another - poems written for a newspaper, for a soldier's leaflet. These poetic works have their own specifics, 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 struggle of the people 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 are published in newspapers. As an example, let's cite A. Akhmatova's poem "Courage", created with great skill and inspiration, but specifically for the newspaper:

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our clocks.

And courage will not leave us.

It's not scary to lie dead under the bullets,

It is not bitter to be homeless, -

And we will keep you, Russian speech.

Great Russian word.

We will carry you free and clean,

And we will give to our grandchildren, and we will save from captivity

Forever!

The genre originality of military poetry should also be emphasized: the desire of poets for the effectiveness of the word gives rise to new, transformed folklore forms such as spells, curses, laments, songs, oaths, 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, inspire courage and contempt for death:

A bold bullet is afraid

Does not take a bold bayonet.

The sense of history also enters into the vocabulary, into the form, into the very imagery and structure of the verse. Modernity is felt as a continuation of the past, as a direct continuation of the age-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. “Aspen trembles under the wind in the heat of death”).

The folk character of the war also corresponds to the appeal of poets to folklore traditions. And if for some folklore images, motives and techniques are a stylization, then for others it is a way of thinking. The folklore tradition, entering the literature of the 1940s with a powerful stream, helped the writers to speak with the people in a language close to their aesthetic tastes, traditions and national peculiarities 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 understanding her fate:

You walked, hiding your grief,

Severe through labor.

The whole front, from sea to sea,

You fed with your bread.

In cold winters, in a blizzard,

That one is far away

The soldiers warmed their greatcoats,

What did you carefully sew ...

Wartime poetry was a kind of artistic chronicle of human destinies, the destinies of the people. 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, great country,

Get up for the death fight

With dark fascist power,

With the damned horde!

Features of poetry as a kind of literature contributed to the fact that in wartime it occupied 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 entered 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 that originated from the time of the revolution and the civil war, and lyric ones, behind which stood a centuries-old tradition.

The war separated loved ones, subjected human affections to a severe test, emphasized the high value of love, tenderness, the importance and necessity of friendly feelings. The lyrical poetry of war time 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.
From the goal of the work, the following tasks can be formulated:
reveal the genre and aesthetic nature of military lyrics;
explore the ideological and thematic orientation and artistic originality of military poetry;

Wartime poetry was a kind of artistic chronicle of human destinies, the destinies of the people. 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, great country,

Get up for the death fight

With dark fascist power,

With the damned horde! -

to the final parting word to those who survived the war to preserve the Fatherland

And keep it holy

Brothers, your happiness -

In memory of a warrior brother,

who died for her.

The verses of the war years will help to relive the richest range of feelings born of this time, and their unprecedented strength and sharpness, will help to avoid the erroneous, one-sided idea of ​​a war-victory with banners, orchestras, orders, universal jubilation or a war-defeat with failures, death, blood, tears standing in the throat. In 1941, seventeen-year-old Yulia Drunina volunteered for the front and fought until victory:

I've only seen melee 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, to tell future generations the truth about unforgettable days is understandable: "The liberation war is not only death, blood and suffering. It is also a gigantic upsurge of the human spirit - selflessness, selflessness, heroism."

In the hour of great trials, human souls burst open, the moral forces of the people were revealed, and poetry reflected this. Wartime poets did not observe events from the outside - they lived by them. Different, of course, was the measure of their personal participation in the war. Some went through it as privates and officers of the Soviet army, others as war correspondents, and still others turned out to be participants in some individual events.

A dispassionate story put a lot in its place, overestimated a lot, explained something. But only art can express and preserve the state of mind of a contemporary of those years.

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

Aspen is chilly, but the river is narrow,

Yes blue forest, yes yellow fields.

You are sweeter than everyone, dearer than everyone, Russian,

Loamy, hard ground.

The poet M. Isakovsky also received a letter from the front. It was written by an ordinary soldier: "Believe me that no other word can so raise an attack on the enemy as your words, comrade Isakovsky."

"... During the siege and famine, Leningrad lived an intense spiritual life," N.K. Chukovsky recalled. in ice ships, armfuls of books were borrowed from dying librarians and in countless frozen apartments, lying by the light of oil lamps, they read and read, and they wrote a lot of poetry. importance, and they were written even by those who in ordinary times never thought of indulging in such an occupation. Apparently, this is the property of a Russian person: he has a special need for poetry during disasters - in devastation, in a siege, in a concentration camp " .

The peculiarities of poetry as a kind of literature contributed to the fact that in wartime it occupied 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 entered 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 that originated from the time of the revolution and the civil war, and lyric 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. The lyrical poetry of war time fully reflected this thirst for humanity. Severe trials did not harden people.

There was no person in the country who did not know K. Simonov's poem "Wait for me, and I will return ..." (1941). It was printed in front-line newspapers, sent to each other in letters from the front and to the front. So, after a long break, the half-forgotten genre of the poetic message, so common in the poetry of Pushkin's time, came to life in those years and received wide recognition.

Convincing proof of the flourishing of wartime lyric poetry is its success in the song genre. "Song of the Brave" and "Spark", "Oh, my fogs" and "Fire beats in a cramped stove", "Oh, roads" and "In the forest near the front" and others became truly popular. They were sung in the trenches and in the halls, in dugouts and in the capitals. Having expressed their time, these songs have become its symbol, its call signs. During the civil war, "Windows of ROST" were widely known, propaganda posters that V. Mayakovsky and his comrades drew and signed. His experience was used during the Great Patriotic War in TASS Windows.

But the movement of philosophical lyrics did not stop during the war years. The poets are still concerned about the eternal questions of being, the meaning of life, the essence of art, death and immortality.

In those days disappeared, life receded,

Being came into its own, -

wrote O. Bergholz, who was in besieged Leningrad.

During the Great Patriotic War, the voice of A. Akhmatova 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 clocks,

And courage will not leave us ...

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

A mournful, but also life-affirming hymn to the glory of Leningrad, which withstood an unprecedented blockade, are the pages of O. Bergholz's poems "February Diary" (1942), "Leningrad Poem" (1942).

While working on many poetry It began just like that - with deep life upheavals. Poetic fantasy, fiction only helped to comprehend, deepen, expand, depict facts, events, 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 monologue-confession. As a requiem not only for the son, but for all those who died in the war, the final lines of the poem sound:

Farewell my sun. Farewell, my conscience.

Farewell, my youth, dear son.

Goodbye. Trains don't come from there.

Goodbye. Planes don't fly there.

Goodbye. No miracle will happen.

And we only dream. They fall and melt.

Part 1
Lesson application.
Abstract.

“Perhaps, never during the existence of Soviet poetry were so many lyrical poems written as during the war years,” Alexei Surkov noted in one of his public speeches during the war, and he was absolutely right. Poems were published in the central and front-line press, broadcast on the radio along with information about the most important military and political events, sounded from numerous impromptu stages at the front and in the rear.

Intimacy with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945. The thunder that struck on June 22 shifted the axis of lyrical poetry, changed the poetic angle of view on the war. “Yes, the war is not the way we wrote it, it’s a bitter thing,” admits Konstantin Simonov. Homeland, war, death and immortality, hatred of the enemy, military brotherhood and comradeship, love and loyalty, the dream of victory, reflections on the fate of the people - these are main motives around which poetic thought now beats.
Poetry 1941 - 1945 unusually quickly found its place in the ranks and broadly and fully reflected the complex and multifaceted attitude of the people to the war. In the poems of Nikolai Tikhonov, Alexei Surkov, Mikhail Isakovsky, Alexander Tvardovsky, Nikolai Aseev, Alexander Prokofiev, Dmitry Kedrin, Sergei Shchipachev, Ilya Selvinsky and other poets, one can hear both anxiety for the Fatherland, and merciless hatred of the aggressors, and the bitterness of irretrievable losses, and a distinct awareness of the brutality of war...
A peculiar and in-depth development receives theme of the motherland, native land, nation, people. In pre-war lyrics, the Motherland was interpreted in a revolutionary way. During the war, the feeling of homeland intensified. Torn off from their favorite occupations and native places, millions of people, as it were, took a fresh look at their familiar native lands, at the house where they were born, at themselves, at their people. This is reflected in poetry. The number of abstract and rhetorical poems on patriotic themes waned. Heartfelt poems appeared about Moscow (A. Surkov, V. Gusev), about Leningrad (N. Tikhonov, O. Berggolts, A. Prokofiev, V. Inber), about the Smolensk region (M. Isakovsky), etc. Poets stare - they face their native land, they write about village country roads, about a chilly aspen forest, about unpretentious crosses of Russian graves, about three birch trees that stand on their native, painfully familiar from childhood piece of land where you were born and grew up (verses by A. Surkov, A. Prokofiev, A. Tvardovsky, K. Simonov and others).
Changed in the lyrics of the war years and character of the lyrical hero. First of all, he became more earthly, intimately close than in the lyrics of the previous period. In the verses of A. Tvardovsky (“For Vyazma”, “Two lines”), A. Prokofiev (“Comrade, have you seen”, “Mother”), K. Simonov (“Do you remember, Alyosha, the roads of the Smolensk region”, “House in Vyazma”), S. Shchipachev (“Spring over the Russian fields again”, “Partisan”) and other poets, specific, personal feelings and experiences were of national importance.

In the lyrics of the war years, one can distinguish three main groups of poems: actually lyrical (ode, elegy, song), satirical (inscriptions under the caricature, fable), lyrical-epic (ballads, poems).

• 
  Oh yeah: M. Isakovsky "Mandate to the son", P. Antokolsky "Vengeance", D. Poor "1942".
• 
  Elegy: A. Tvardovsky “I was killed by Polo Rzhev”, K. Simonov “Wait for me”.
• 
  Song: V. Lebedev-Kumach "Holy War", A. Surkov "Song of the Brave", A. Fatyanov "Nightingales" A. Surkov "In the dugout", M. Isakovsky "Spark".

Along with the proper lyrical and satirical genres, various genres developed in wartime poetry. poetic epic: epic miniatures, poems, ballads. Of particular importance was the poem - the most universal lyrical epic genre. The history of Soviet poetry knows no other such period when so many significant plot poems were created in 4 incomplete years: V. Inber "Pulkovo Meridian", M. Aliger "Zoya", O. Bergholz "February Diary", A. Tvardovsky "Vasily Terkin" and others.
In this way, Russian poetry of the war years has a multi-genre character. Poetry, like all literature, sought to convey the moods and experiences of contemporaries. Poetry is the most operational, the most popular genre of the war years.

Appendix to the lesson

Alexey Surkov "Dugout»

The fire is beating in the cramped stove.

Resin on logs, like a tear,

And the accordion sings to me in the dugout

About your smile and eyes.
The bushes whispered to me about you

In snow-white fields near Moscow,

I want you to hear

You are far away now.

Between us snow and snow.

It's hard for me to get to you

And there are four steps to death.

Sing, harmonica, blizzard out of spite.

Call the entangled happiness.

I'm warm in a cold dugout

From my undying love. 1941

Practical work based on A. Surkov's poem "Dugout»

The task: fill in the table, naming the means of language expressiveness or giving examples of these means.

Output:

Appendix to the lesson

We know that now

lies on the scales

And what is happening now.

The hour of courage has struck

on our watch

And courage will not leave us.

Not scary

lie dead under the bullets,

It's not bitter to stay

without shelter

And we will keep you

Russian speech,

Great Russian word.
A. Akhmatova.

Poetry Great Patriotic War

• 
  Efficiency

• 
  Emotionality

• 
  Clarity

• 
  Patriotic feelings

• 
  Lyricism

Patriotic War".

1 page. From the history of the WWII.

2 page. Features of the poetry of the war years.

3 page. Military song.

4 page. Linguistic features of military poetry.

5 page. Poets who did not return from the front.

6 page. War has no feminine face.

Appendix to the lesson

I know it's not my fault

The fact that others did not come from the war,

The fact that they - who is older, who is younger -

Stayed there...

A.Tvardovsky
I'm a patriot. I am Russian air

I love the Russian land

I believe that nowhere in the world

You won't find another one like it!

P. Kogan
War is not fireworks at all,

It's just hard work

When -

Black from sweat

Up

The infantry glides through the plowing.

M. Kulchitsky
Let those whom we do not know remember:

Fear and meanness did not suit us.

We drank life to the dregs

And they were dying

For this life.

Not bowing to lead.

N. Mayorov
Heart with the last breath of life

Fulfill your firm oath:

I always dedicated songs to the Fatherland,

Now I give my life to the Fatherland.

M. Jalil

It's midnight outside. The candle burns out.

High stars are visible.

You are writing a letter to me my dear

To the blazing address of war.

I. Utkin

Operational -capable of quickly, in time to correct or direct the course of affairs.

part 1