Essay: Civil War in the works of Russian writers of the twentieth century. Civil War in works of art
In general, the topic is civil. war is the leading theme of prose, drama and poetry of the 20s. A huge number of different types are being created. works, novels, stories, stories, essays, all from different points of view, because There is no strict censorship yet, because authors need to capture this very recent moment in history. These are attempts to understand war as a phenomenon, presenting. characteristics of people who got into trouble. into the wheel of history. In the 20s in Russia, novels, novellas, and stories about the war are written by: Serafimovich (“Iron Stream”), Furmanov (“Chapaev”), Babel (“Cavalry”), Fedin (“Cities and Years”), Leonov (“Badgers”), Sholokhov (“Don Stories”, “Azure Steppe”, beginning “ Quiet Don", graduated in the 30s), Fadeev ("Destruction" 1927), Malyshkin ("The Fall of Dair"), Bulgakov (" White Guard"1924), Lavrenev (stories), Platonov ("The Hidden Man", "Chevengur").
The first 2 novels about gr. appeared in the war 1921 - It's novel Zazubrin "Two Worlds" and novel Pilnyak "The Naked Year". Zazubrin was mobilized. first to Kolchakovsk. army, but fled from there to the Reds, seeing the abuse of the Reds by the Kolchakites. (He described the Red Army later in story "Sliver").
In exile Citizen. war and revolution are also reflected. in prose, the war is perceived more unambiguously: Bunin’s “Cursed Days”, Remizov’s “Swirled Rus'”, Shmelev’s “Sun of the Dead”, Gazdanov’s stories and “Evening at Claire’s”, etc.
Serafimovich. "Iron Stream" Novel. Here is the max. brightly expressed this idea: man in the stream of history.. Grinding the iron stream of history. everyone who stands in his way, even if the person did not choose this place for himself:
Fadeev. "Destruction." Novel (1927). Among the characters, represented. in the novel, stood out as unique. triangle: Levinson on top, Mechik and Morozka. Levinson is the ideal leader of a partisan detachment. He is calm, self-possessed, hardy, Levinson, like a unique character. the core of the squad remains alive. Only at the end of the novel did he manifest himself. weakness: crying about the death of his young assistant. Morozka, the son of a miner, a miner himself, distinguished. from Levinson, all in sight, he is open, impulsive, there is something recklessly rebellious about him:. Mechik is an intellectual. boy, “clean”, “yellow-faced”, just after high school. After being wounded, he got hit. to Levinson's detachment. He has long been cursing himself for going to the partisans, in contrast. from Levinson and Morozka does not see the point in what he is doing, but sees only that he is being offended. Mechik, concerned only with his own existence, when he is sent as a sentinel ahead of the detachment, stumbles upon the Cossacks and saves his own. life, instead of warning. squad and die. When he realizes that he has done something mean, he feels sorry for not dying. because of him, people, and himself as before, “so good and honest, who did not wish harm to anyone.”
Bulgakov. "White Guard". Novel (1923-1924). Conceived in 1921, a trilogy was conceived, and “The White Guard” was the original. called the "Midnight Cross" (or "White Cross"). a number of images are displayed, this is the Turbin family, family friends - Myshlaevsky, Karas, Shervinsky, Colonel Nai-Tours, for whom honor is most important.
Babel. "Cavalry". The dominant feature was the depiction of the cavalrymen's characters from the inside, with the help of their own. voices..The short stories “Salt”, “Betrayal”, “Biography of Pavlichenka, Matvey Rodionovich”, “Letter”, etc. were written in such a fantastic style. Many short stories were written on behalf of intellectuals. narrator Lyutov. His loneliness, his alienation, his heart shuddering at the sight of cruelty, his desire to merge with the masses, which are rougher than him, but also more victorious, his curiosity, his appearance - all this is biographical. resembled B.
Lavrenev's stories of the 20s. (“41”, “7th satellite”).
"Forty-first"(1924). In battle in Turkestan. In the desert, 25 Red Army soldiers remain alive: “Crimson Commissar Evsyukov, twenty-three and Maryutka.” They attack the caravan, and there is an officer and 5 more people who shoot back. Maryutka wants to shoot the officer, his 41st, but misses due to the cold. They take him prisoner. The captured officer turns out to be a handsome blue-eyed man named Govorukha-Otrok. On the Aral Sea they get caught in a storm, the two who were with the lieutenant and Maryutka are washed overboard. Maryutka and the officer get to Barsy Island.
"The Seventh Satellite"(1926-1927). Kr. content The action took place. in 1918-1919, in St. Petersburg and the surrounding area. Ch. the hero of the story, Evgeny Pavlovich Adamov, is an elderly man, former. general, professor of law academy.. It’s a hungry time, he goes to the market to sell cufflinks and sees a resolution on persecution on the wall. ex in retaliation for the assassination attempt. on Lenin (appeal on the Red Terror). On the same day he is taken to the arrest house.
In these two stories L. is deduced image of a military intellectual. But these are the intellectuals who did it. different choice. Lieutenant Govorukha-Otrok fights on the side of Kolchak, and cannot think of anything else. Another thing is E.P. He realizes, on the one hand, that “everything has become crooked,” but on the other hand, he speaks of the new government, “We don’t judge, lest they judge us either,” it seems to him that some kind of husk is flying from the city, from the streets, but at the same time the city is similar not for the sick, but for the recovering
After 1917, the literary process took three directions:
Literature of the Russian diaspora in a foreign land (emigrants).
“Hidden” (returned to the reader in the 80s) literature.
Soviet (legal) literature.
The emigrants (1) and those who wrote “on the table” (2) professed the ideology of the “white” movement - they advocated the preservation of traditions, for the priority eternal values over the temporary, transitory, subject to momentary politics.
Soviet writers (3) shared the position of the authorities of the young Soviet republic (“Reds”) and defended a common view of the world for everyone, advocated the reorganization of the world and man according to a certain ideological standard.
The authorities tried to lead artists to ideological monolithicity and artistic uniformity, but even absolutely Soviet writers resisted party guidelines with their very creativity, defending the right, with a single ideology, to at least a variety of artistic means and forms. Therefore, various groups of writers were formed within Soviet literature (this process lasted only until the early 30s - until the creation of the Union of Writers of the USSR, which completed the process of monopolization of Soviet art). The most notable writing groups in post-revolutionary literature:
“Serapion brothers” (Vs. Ivanov, M. Zoshchenko, V. Kaverin, K. Fedin, N. Tikhonov, E. Zamyatin, V. Shklovsky) - opposed the narrow class structure in literature, for preserving the best traditions of Russian literature, for attracting new artistic forms.
RAPP (Russian Association of Proletarian Writers) - professed the ideology of proletarian literature: the education of a new man in the name of the communist reconstruction of society.
Soviet literature formed a new literary movement - socialist realism. It is based on the idea of the priority of class over universal human values and the need for the violent “organization” of human nature.
However, contrary to these ideological guidelines, both classics (M. Gorky, L. Leonov, M. Sholokhov, V. Kaverin, V. Kataev, M. Prishvin) and formal innovators, modernists (E. Zamyatin, A. Platonov, Yu .Olesha, I.Babel).
One of the main literary questions of that time was about the relationship of art to reality: art is the knowledge of life and man, or art is a means of remaking people.
A specific divide was observed in the different approaches to depicting new life, revolution, civil war and man at a turning point (the positions of the “whites” and “reds”).
Works to read and study:
M.A. Sholokhov. Early stories. "Quiet Don"
A.A. Fadeev. "Destruction."
I.E.Babel. "Cavalry".
M. Voloshin. " Civil War».
I.A.Bunin. " Damn days».
M. Gorky. "Untimely thoughts."
E. Zamyatin. "We"
A.Platonov. "Pit"
Additionally - for independent reading:
N.A. Ostrovsky. "As the Steel Was Tempered".
M.A. Bulgakov. "White Guard".
A.A. Fadeev. "Destruction." Main problems, key episodes, heroes
1. The problem of character development of heroes in extreme conditions of war. Episodes:
Morozka’s inconsistency at the beginning of the novel (chapter “Morozka”).
Melon Stealing Episode (The Sixth Sense).
A gradual change in Morozka in the court scene (“Men and the Coal Tribe”).
A rough explanation of Morozka with Varya and Mechik (“Enemies”).
Morozka’s moral experiences (“First move”, “Roads and roads”).
Breakdown from longing for a horse and love (“Three Deaths”).
The heroic act of Morozka (“Nineteen”).
Varya's character development.
The complexity of Mechik's character, the pattern of his betrayal.
2. The problem of the relationship between the leader and the masses:
Village meeting - the trial of Morozka (“Men and the Coal Tribe”).
Levinson's adjustment of the Metelitsa plan ("Levinson").
Internal struggle in Levinson (“Sword in the Squad”).
Transformation into a force above people - the episode of killing the fish ("Strada").
Episode of the swamp ("Squag").
Levinson's return to life (“Nineteen”).
The problem of humanism:
Episodes with killing fish, with a Korean pig and with the dying Frolov (“Strada”).
“MEDAL” GRADUATE ESSAY
The theme of the civil war in Russian literature of the twentieth century. (For one or more works.)
And I stand alone between them
In roaring flames and smoke
And with all our might
I pray for both.
M. Voloshin
“We are all ours, we are all people, we are all baptized, we are all Russian. And why are we fighting, God knows. They invented some reds and whites and are fighting,” expresses a hidden thought from the hero of one of the first novels about the civil war, written by a former political worker of the Red Army V. Zazubrin, the novel “Two Worlds” (1921).
Civil war... Russian kills Russian, and it doesn’t matter for what idea, and many without any idea at all. V. Zazubrin painted terrible pictures of the atrocities of the Kolchakites in the novel “Two Worlds”, and in the story “Sliver”, written in 1923, but published in 1989, he will show a terrible death machine - the gubchek cell.
Civil War. We already know a lot: the collapse of the state, speculation, famine, epidemics, chaos... Brutalized people, the collapse of the army. A boor and a criminal, an anarchist and a sailor are rampant on the streets. Debauchery, murder, robbery, permissiveness... The intelligentsia is fleeing Russia. A terrible picture. The leaders promised the people a bright future. And a fierce struggle began... People are drowning in blood.
“Will anyone pay for blood? No. Nobody... Nobody,” emphasizes one of the most important moral problems of the era of M. Bulgakov in the novel “The White Guard”. But the writer himself, like other authors, shows that retribution inevitably comes, first of all, as pangs of conscience, internal breakdown, as a thirst for atonement for a person who has transgressed the Christian commandment - do not kill! - and could not “lift” this heaviest burden.
The pages of works about the civil war are full of scenes of battles, massacres, violence, manifestations of cruelty and mercilessness on both sides. I think from a life perspective specific person It is not so important whether the white or red terror preceded each other - terror was the reality of the civil war. It was literature that shaped the idea of the civil war not just as one of the stages of our history, but as a tragedy, a common misfortune of the nation. We draw this conclusion modern readers. as a consequence, the devaluation of human life speaks for itself.
White Guard. What do I know about her? Unfortunately, very little. There were also real heroes in its ranks - Kolchak, Denikin, Kutepov - the most talented and highly educated commanders, brave warriors of enormous moral strength and will, noble people who retained in themselves the understanding of duty and honor that for centuries was the basis of noble culture. People of words, deeds, generous and tough in a military way, capable of shooting a coward for desertion. They are intellectuals who, by the will of fate, are faced with the need to choose: with whom to go? With the people? But the people hate the nobles. Against the people? But this is meaningless, because the Bolsheviks threw slogans at the agitated Russia, whose strength is explained by the centuries-old dream of the peasantry about the land.
There were also monsters: executioners and sadists. They made desperate attempts to stop the “red disease” by any means. “To achieve the goal, any means are good” - this was their commandment, the meaning of life. Emigrant R. Gul in his autobiographical notes “Ice March” (with Kornilov), being a participant in these events, described the scene of the reprisal of the “knights of the white idea” over unarmed prisoners: “People fell on each other, and from ten steps, tightly pressed into rifles and legs spread, they shot at them, hastily clicking the bolts. Everyone fell. The moans stopped. The shots stopped. Some of the shooters retreated. Some finished off those still alive with bayonets and rifle butts.” The style of dispassionate objective narration is interrupted by the author’s comment: “Here it is, the civil war; the fact that we walked in a chain across the field, cheerful and joyful about something, is not “war”... This is the real civil war.”
Like every Russian artist of the twentieth century, M. Bulgakov had to answer the main question of the time: what did the civil war mean for Russia? For a long time the answer to this question was not given with the clarity with which it was formulated by the writer back in 1919 in a short article “Future Prospects.” Even today it amazes us, modern readers, with the maturity of its judgments, the accuracy of its formulations, the originality and laconicism of its conclusions.
Let's start with the fact that M. Bulgakov considered the Russian revolution to be the result of the tragedy that began with the First World War. Russia entered it together with European countries, which were quickly sobered by blood, human losses, and destruction. Russia, from a world war, was drawn into a civil war, into even more terrible and profound destruction. The “Great Social Revolution” (this formulation is enclosed by Bulgakov in quotation marks as something foreign to his text) plunged Russia to the very bottom of the pit of “shame and disaster.” As M. Chudakova, a researcher of M. Bulgakov’s work, noted, the article is dominated by two concepts - “madness” and “payment.” The state of Russia today and in the recent past is determined first; the “payment” will be made by the future generation.
Madness marked the years that led Russia to civil war. From the point of view of M. Bulgakov, both Denikin’s volunteers, tearing “Russian land from Trotsky’s hands inch by inch,” and the new masters of Russia, “the madmen fooled by him (Trotsky),” and even those “who are now huddled along the rear roads of the south, in the bitter delusion of believing that the matter of saving the country will be accomplished without them.”
This article was written in Grozny (a dilapidated city, as it is now!), under the rule of the Volunteer Army, and as can be seen from it, then M. Bulgakov allowed its victory: “The British, remembering how we covered the fields with bloody dew, beat Germany, dragging it away from Paris, they will lend us more overcoats and boots so that we can get to Moscow as quickly as possible. And we will get there. Scoundrels and madmen will be expelled, scattered, destroyed.” However, it is easy to notice that the article is dominated not by the traditional pathos of the triumph of an idea for speeches of this kind, but by enormous fatigue, disappointment, and an absolutely sober assessment of events. It was already clear to the writer that there would be no easy victory, that even the long-awaited end of the civil war would not bring not only a feeling of victory, but also much-needed rest and peace.
“It will be necessary to pay for the past with incredible labor, the harsh poverty of life. Pay both figuratively and literally. To pay for the madness of the March days, for the madness of the October days, for independent traitors, for the corruption of the workers, for Brest, for the insane use of money printing machines...” (“Future Prospects”).
M. Bulgakov’s prediction came true with only one minor amendment: it was not the whites who had to pay, but the whole country, the generation that allowed the national madness called the “social revolution.” The writer’s attitude towards the civil war does not have the confrontational, political character that is familiar to us - “for the whites or for the reds?” To this question, M. Bulgakov, I think, could answer: “For Russia.” Of course, whites are closer to him by birth, culture and way of life, but they are also to blame for what happened. This idea runs like a red thread through the image of the hero of the novel “The White Guard” by Thalberg. Political games people like him, according to the writer, led not only to another “operetta”, but also to direct betrayal.
“The White Guard” by M. Bulgakov. The beginning of the civil war. Moscow is described as terrible and mysterious, throwing crowds of refugees into the City. Once here, refugees lose their former appearance and dignity: “Grey-haired bankers fled with their wives, talented businessmen fled (...) Journalists, from Moscow and St. Petersburg, fled, corrupt, greedy, cowardly. Cocottes. Honest ladies from aristocratic families. Their tender daughters, pale St. Petersburg libertines with carmine-painted lips. Secretaries of department directors, young passive pederasts, fled. Princes and altynniks, poets and moneylenders, gendarmes and actresses of the imperial theaters fled.” The overall picture is complemented by the collapse of the army. Officers appear in the City “with etched eyes, lousy and unshaven, without shoulder straps.” Deprived of the opportunity to carry out their direct task - to defend their homeland, they begin to “adapt in order to eat and live.”
In a collapsed state, not only public relations collapse, private human life collapses. Many of the officers were unable to adapt. And the title of the novel against such a background sounds more bitterly ironic than proud. Death, hatred, and violence begin to dominate the City. All the deaths depicted in the novel - from the heroic Nai-Tours to accidental death Jews from Petliura's saber - happen on the streets of the City, the very center of which - “the enormous Vladimir on Vladimirskaya Gorka” - becomes a refuge for robbers. The electric white cross in Vladimir’s hands, which used to be a guiding sign, turns into a “punishing sword.” The city begins to live according to the laws of death and destruction, and the Apocalypse reigns in it. The book of Revelations of John the Theologian, quoted at the beginning of the novel, becomes the semantic key of the novel, the characters of which are at the beginning of the path of retribution for “madness”: “The third angel poured out his cup into the rivers and springs of water; and there was blood." And as John the Theologian testifies, the seven bowls of God’s wrath must be poured out on the earth. It is no coincidence that the writer at the end of the novel, as I think, forces us, the readers, to return again to the figures of Nai-Turs and Zhilin, who are seen by the guard of the armored train “Proletary” almost freezing on guard. The hot coals in the womb of the locomotive evoke the underworld, from which “a wide muzzle in a blind muzzle was aimed twelve miles into the heights, black and blue, and straight at the midnight cross.”
M. Bulgakov returns us to the idea of a single, common guilt of people who allowed the earth to turn into hell. On this “brutalized” earth, only destructive values remain: the firmament, “all red, sparkling and all dressed with Mars in their living sparkle.” The “shepherd star Venus”, which together with Mars opened the novel, has been forgotten. Hopes for privacy, on her at least relative well-being, the writer believes at the end of the novel, turn out to be untenable.
And yet it cannot be said that the novel “The White Guard” is only evidence of the author’s complete disappointment. Its finale represents not only the Turbins and their friends, separated by night and snow, their own doubts, not only the sentry at the armored train “Proletary,” but also Petka Shcheglov, whose boyhood life goes past all wars and revolutions. Therefore, Petka’s dream is childishly happy, harmonious, and brings him joy from communicating with the world.
Returning to the article “Future Prospects,” one cannot help but notice that the appearance of a hero living in harmony with the world is not accidental in the novel “The White Guard.” It is precisely those like Petka, who have nothing to do with the general madness either by birth or socially, who, perhaps, will be granted a normal human life. Let us remember the ending of the article: “And we, representatives of the unsuccessful generation, dying in the rank of miserable bankrupts, will be forced to tell our children:
Pay, pay honestly and always remember the social revolution!”
Of course, the solution proposed by M. Bulgakov is devoid of the usual scope and heroism. Higher human value he declares family, and not discord, peace in the house, and not war and ruin, measured, settled, human life, undisturbed life. These are the values that were ridiculed in Russian Soviet literature of the 20-30s, with which the writer could not agree. He defended his hero’s right to a private life, devoid of external noise and bustle; he knew that the wisdom of decisions comes only in the peace of an established way of life. And finally, with his novel “The White Guard,” M. Bulgakov defended the value of every human person, its right to forgiveness and understanding. And this is one of the wonderful traditions of Russian literature, its “golden” 19th century...
What do I think about civil wars? This is a senseless slaughter, a massacre “contrary to human nature.” In the name of what does a son kill his father, and a father kill his son, and a brother kill his brother? Who needs it? For what? For what? For the interests of the Motherland or someone’s corporate ambitions? Why do children of one mother - Russia - kill each other? Why? Why? Why?! It's difficult to answer these questions.
Chechnya is an unhealed wound of modern Russia, a distant echo of the civil war. Market included in daily life delays in payment of salaries, pensions, benefits. We are living with you again in unstable times now, but we do not have the right to allow this terrible tragedy - civil war - to happen again. I just want to exclaim: “Russians, compatriots, come to your senses, come to your senses, before it’s too late, before it’s too late!!!” And I believe in this, because reason and reason must triumph!
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“Literature of the October Revolution” - Attitude to the people. M. Gorky in “Untimely Thoughts”. Post-October journalism. V. Korolenko. Part of the Russian intelligentsia. Writer's journalism. Letters and diaries. Day and night. General. Attitude to the revolution.
“Acmeism in literature” - Acmeism. Key categories of Acmeism. Vladimir Narbut. Poetics of Acmeism. M. Zenkevich. Distinctive features Acmeism. M. Zenkevich and V. Narbut. Reaction to symbolism. Modernist movement. Poems by V. Narbut. Acmeist poets.
“Futurism in the literature of the 20th century” - Futurism. Vladimir Vladimirovich Mayakovsky. Velimir. Dynamism of a cyclist. Nikolai Dulgeroff. Igor Severyanin. Pablo Picasso. Kazimir Malevich. Futurism in literature and art. The term "futurism". Alexey Kruchenykh. Futurist architecture. Fortunato Depero. Airplane over the train. Umberto Boccioni.
“Literature of the 20-30s” - Anna Andreevna Akhmatova. Everything is suffocating and dying out”... Let evil be stronger in all ages, But kindness is indestructible... Not by soldiers - by numbers We died, we died! What day should I choose for Remembrance? Yes, you can kill a person. Return to people the right to memory... But you cannot kill or silence the ever-living Word...
“Literature of the 50-80s” - Novels about youth. Bronze Age. Urban prose. Prose. Zhdanovshchina. Reflective essay prose. Alexander Valentinovich Vampilov. Dramaturgy. Camp prose. All-Union Congress writers. Youth Festival. Mikhail Mikhailovich Roshchin. Author's song. Great Patriotic War. The "trench" truth about war.
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*Now there is an opportunity to look at those events from different perspectives. Books about the civil war: stories by M. Sholokhov, stories by A. Malyshkin, A. Serafimovich, novel by Fadeev. Belonging to one camp or another determined the author’s approach to events. Participants white movement They created their books about Russia while in exile. In the 20s, the series “Revolution and Civil War in Descriptions of the White Guards” was published. Among them are “Essays on Russian Troubles” by Denikin, “From the Double-Headed Eagle to the Red Banner” by Krasnov. Thoughts about the fate of Russia.
Bunin (“Cursed Days”), Gippius “Petersburg Diaries”, Remizov “The Tale of the Destruction of the Russian Land” wrote about Russia and the revolution. Sarcastic irony was interspersed with a feeling of shame and bitterness. Thoughts of repentance and faith in higher justice helped to overcome apocalyptic moods.
In 1923, V. Zazubrin wrote the story “Sliver”. Its hero Srubov is a man with strong convictions, who considers himself a “scavenger of history.” The subtitle of “Slivers” is “The Tale of Her and Her.” “She” is the heroine of the soul. Revolution. She is a powerful stream carrying splinter people. “Let the taiga be scorched, let the steppes be trampled... After all, only on cement and on iron will the iron brotherhood be built - the union of all people.”
Srubov's willingness to do anything for the sake of an idea turns him into an executioner. This readiness is emphasized by the attitude towards the father. The son did not hear his warnings: “Bolshevism is a temporary, painful phenomenon, a fit of rage into which the majority of the Russian people have fallen.” The endings of “Two Worlds” and “Slivers” have something in common. The first ended with a fire in the church, started by fanatics of the revolutionary idea. The events of the second take place during Easter. “It seems to Srubov that he is floating along a bloody river. Just not on the raft. He has broken away and is swinging on the waves like a lonely sliver.”
Y. Libedinsky (“Week”, 1923), and A. Tarasov-Rodionov (“Chocolate”, 1922) included the motive of doubt and delirium in the story about the uncompromising firmness of adherents of the revolutionary idea.
In a number of works of the early 20s, the hero was the new army itself - the revolutionary crowd, the “multitudes,” heroically minded, striving for victory. The fact that this path was bloody and involved the death of thousands of people was relegated to the background
A. Malyshkin was not an ordinary participant in the fighting in the Crimea region, but a member of the Headquarters. Accordingly, he knew about the losses on both sides, he knew about the mass execution of white officers who were promised life if they surrendered their weapons. But “The Fall of Dire” (1921) is “not about that.” This is a romantic book, stylized as ancient historical stories. “And in the black night, ahead, they saw - not their eyes, but something else - a raised massif, dark from centuries, fierce and prickly, and behind it the wonderful Dair - the blue mists of the valleys, flowering cities, the starry sea.”
In “Cavalry” by I. Babel (1923-1925) they were faced with the reality of the revolutionary dream. Main character books (K. Lyutov) took a seemingly contemplative position, but was endowed with the right to judge. Lyutov's overwhelming loneliness does not interfere with his sincere desire to understand, if not justify, then try to explain the unpredictable actions of the cavalrymen. Murder is perceived as a punishment coming from all of Russia.
For many writers, both those who accepted the revolution and its opponents, the main motive was the unjustification of the shed rivers of blood.
B. Pilnyak portrayed a man connected with the revolution with ideas and actions, his own and others’ blood. In 1926, The Tale of the Unextinguished Moon was published in Novy Mir and immediately banned. The non-hunching man personifying totalitarian power sent the army commander to his death. Gavrilov, dying on operating table, also bore the guilt for the shed blood of people. The icy light of the moon illuminated the city.
And at night the moon will emerge. She was not devoured by dogs: She was only not visible because of the bloody fight of people.
These poems by S. Yesenin were written in 1924. The moon appeared in many works of the Techlet; not a single science fiction book could do without it. B. Pilnyak’s unextinguished moon seemed to provide additional light real world- the light is disturbing, alarming.
A historian and observer of the revolution, B. Pilnyak was not delighted with the scale of destruction, but made one feel the threat to all living things, especially to the individual, from the new state machine
Genre diversity and stylistic originality. Memoirs and diaries, chronicles and confessions, novels and stories. Some authors strived for maximum objectivity. Others are characterized by increased subjectivity, emphasized imagery, and expressiveness.*
B. Pasternak philosophically comprehended the essence of events in Russia at the beginning of the century in the novel “Doctor Zhivago.” The hero of the novel finds himself hostage to history, which mercilessly interferes with his life and destroys it. The fate of Zhivago is the fate of the Russian intelligentsia in the 20th century.
Fadeev’s heroes are “ordinary”. Most strong impression in “Destruction” makes an in-depth analysis of the changes caused by the civil war in spiritual world ordinary person. The image of Morozka clearly demonstrates this. Ivan Morozka was a second generation miner. His grandfather plowed the land, and his father mined coal. From the age of twenty, Ivan rolled trolleys, swore, and drank vodka. He did not look for new paths, he followed the old ones: he bought a satin shirt, chrome boots, played the accordion, fought, walked, stole vegetables for mischief. He was in prison during the strike, but did not extradite any of the instigators. He was at the front in the cavalry, received six wounds and two shell shocks. He is married, but a bad family man, he does everything thoughtlessly, and life seems simple and uncomplicated to him. Morozka did not like clean people; they seemed unreal to him. He believed that they could not be trusted. He himself strove for easy, monotonous work, which is why he did not remain an orderly with Levinson. His comrades sometimes call him “stupid”, “fool”, “sweating devil”, but he is not offended, the matter is most important to him. Morozka knows how to think: she thinks that life is becoming “cunning” and that she must choose the path herself. Having done some mischief in the melon fields, he cowardly ran away, but later he repents and is very worried. Goncharenko defended Morozka at the meeting, called him a “fighting guy” and vouched for him. Morozka swore that he would give his blood, one vein at a time, for each of the miners, that he was ready for any punishment. He was forgiven. When Morozka manages to calm people down at the crossing, he felt like a responsible person. He was able to organize the men, and this pleased him. In the miner's detachment, Morozka was a serviceable soldier and was considered good, the right person. He even tries to fight the terrible desire to drink, he understands that there is external beauty, and there is genuine, spiritual beauty. And when I thought about it, I realized that he had been deceived in his previous life. Party and work, blood and sweat, and nothing good was visible ahead, and it seemed to him that all his life he had been trying to get out on a straight, clear and correct road, but he did not notice the enemy who sat within himself. People like Morozka are reliable, they can make their own decisions and are capable of repentance. And although they weak will, they will never commit meanness. They will be able to find a way out of any, even the most hopeless situation. Only before Morozka’s heroic death did he realize that Mechik was a bastard, a cowardly bastard, a traitor who thought only of himself, and a memory of his loved ones, dear people who were driving behind him, forced him to make self-sacrifice. In works about the civil war, the important idea is that the winner is often not the one who is more conscientious, softer, more sympathetic, but the one who is more fanatical, who is more insensitive to suffering, who is more susceptible to his own doctrine. These works raise the theme of humanism, which is inextricably linked with a sense of civic duty. Commander Levinson took the only pig from a poor Korean man, using weapons, forced the red-haired guy to go into the water for fish, and gave the go-ahead for Frolov’s forced death. All this for the sake of saving the common cause. People suppressed personal interests, subordinating them to duty. This debt crippled many, making them tools in the hands of the party. As a result, people became callous and crossed the line of what was permitted. The “selection of human material” is carried out by the war itself. More often the best die in battle - Metelitsa, Baklanov, Morozka, who managed to realize the importance of the team and suppress his selfish aspirations, and those who remain are Chizh, Pika and the traitor Mechik.
