A look at the civil war from the 20s. Civil War in artwork

The theme of revolution and civil war became one of the main themes of Russian literature of the 20th century for a long time. These events not only dramatically changed the life of Russia, redrawn the entire map of Europe, but also changed the life of every person, every family. Civil wars are usually called fratricidal. This is essentially the nature of any war, but in a civil war this essence of it comes to light especially sharply. Hatred often brings together people who are related by blood in it, and the tragedy here is extremely naked. Awareness of the civil war as a national tragedy has become decisive in many works of Russian writers, brought up in the traditions of the humanistic values ​​of classical literature.

This realization sounded, perhaps not even fully understood by the author himself, already in A. Fadeev's novel "The Rout". And no matter how much critics and researchers look for an optimistic beginning in it, the book is primarily tragic - according to the events and destinies of people described in it, B. Pasternak philosophically comprehended the essence of events in Russia at the beginning of the 20th century years later in the novel "Doctor Zhivago". The hero here turned out to be a hostage of 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.

In many ways close to B. Pasternak is another writer, playwright, for whom the experience of the civil war became his personal experience. This is M. Bulgakov. His play Days of the Turbins became a living legend of the 20th century. The play was born unusually. In 1922, having found himself in Moscow (after Kyiv and Vladikavkaz, after the experience of working as a doctor), M. Bulgakov learns that his mother died in Kiev. This death was the impetus for the start of work on the novel " white guard”, and only then a play is born from the novel.

Both the novel and the play reflect M. Bulgakov's personal impressions. In the terrible winter of 1918-1919, the writer lived in Kyiv, his hometown passing from hand to hand. The fate of man was decided by the course of history. In the center of the play is the house of the Turbins. His prototype was largely the Bulgakovs' house on Andreevsky Spusk, which has survived to this day, and the prototypes of the heroes were people close to the writer. So, the prototype of Elena Vasilievna was the sister of M. Bulgakov. This gave Bulgakov's work a special warmth, helped to convey the unique atmosphere that distinguishes the Turbins' house.

Their house is the center, the center of life, and unlike the writer's predecessors, for example, romantic poets, symbolists of the early 20th century, for whom comfort and peace were a symbol of philistinism and vulgarity, M. Bulgakov's house is the center of spiritual life, it is fanned poetry, its inhabitants value the traditions of the house and even in difficult times try to preserve them.

In the play "Days of the Turbins" a conflict arises between human destiny and the course of history. Civil War breaks into the Turbins' house, destroys it. The "cream curtains" mentioned more than once by Lariosik become a capacious symbol of peaceful life - it is this line that separates the house from the world engulfed in cruelty and enmity. Compositionally, the play is built according to the circular principle: the action begins and ends in the Turbins' house, and between these scenes, the place of action becomes the office of the Ukrainian hetman, from which the hetman himself flees, leaving people to their fate; the headquarters of the Petlyura division, which enters the city; the lobby of the Alexander Gymnasium, where the junkers gather to repulse Petlyura and defend the city.

It is these events of history that drastically change life in the Turbins' house: Alexei is killed, Nikolka is crippled, and all the inhabitants of the Turbine house face a choice. Sounds bitter irony last scene plays. Christmas tree in the house, Christmas Eve 18. Red troops enter the city. It is known that in real history these two events did not coincide in time - the Red troops entered the city later, in February, but M. Bulgakov needed a Christmas tree on the stage, a symbol of the most domestic, most traditional family holiday, which only makes you feel the near collapse of this house and all the beauty that has been created over the centuries and the doomed world. Myshlaevsky’s remark also sounds bitter irony: after Lariosik pronounces the words from Chekhov’s play “Uncle Vanya”: “We will rest, we will rest ...” distant cannon strikes are heard, in response to them follows the ironic words said by Myshlaevsky: “So! Rest!..” This scene clearly shows how history breaks into people’s lives, how the 19th century, with its traditions, way of life, complaints of boredom and non-event, replaces the 20th century, filled with stormy and tragic events. Behind their thunderous tread, the voice of an individual is not heard, his life is devalued. So, through the fate of the Turbins and people of their circle, M. Bulgakov reveals the drama of the era of revolution and civil war.

Special attention should be paid to the problem of moral choice in the play. Before such a choice is the protagonist of the work - Colonel Alexei Turbin. His leading role is preserved in the play to the end, although he is brought to the murdered at the end of the third act, and the entire last fourth act takes place after his death. In it, the colonel is invisibly present, in it, as in his lifetime, he acts as the main moral guide, the personification of the concept of honor, a guide for others.

The choice that Alexei Turbin faced at the moment when the cadets subordinate to him were ready to fight was cruel - either to remain faithful to the oath and officer honor, or to save the lives of people. And Colonel Turbin gives the order: "Tear off your shoulder straps, throw your rifles and immediately go home." Such a choice, made by him, is given to a career officer, "who endured the war with the Germans", as he himself says, is infinitely difficult. He utters words that sound like a sentence to himself and the people of his circle: “The people are not with us. He is against us." It is hard to admit this, to back down from the military oath and betray the honor of an officer is even harder, but Bulgakov's hero decides to do this in the name of the highest value - human life. It is this value that turns out to be the highest in the minds of Alexei Turbin and the author of the play himself. Having made this choice, the commander feels complete hopelessness. In his decision to stay in the gymnasium, there is not only a desire to warn the outpost, but also a deep motive, unraveled by Nikolka: “You, commander, are waiting for death from shame, that’s what!” But this expectation of death is not only from shame, but also from complete hopelessness, the inevitable death of that Russia, without which such people as Bulgakov's heroes cannot imagine life.

The play by M. Bulgakov became one of the most profound artistic comprehension of the tragic essence of man in the era of revolution and civil war.

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Two Russian literatures or one.docx

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I. Sukhikh Two Russian Literature or One? 1920s

Face of the RealDtwentieth century in Russia was finally determined in 1917. Two revolutions that took place at the beginning and end of one year not only changed the name of the country, but also determined new rules for its life for many decades.

October Revolution was a great, huge, epoch-making event - this was objectively realized by people of opposing beliefs. This position was natural for its supporters. Mayakovsky blesses her in "Ode to the Revolution" (1918) and begins to collaborate in the "Windows of ROSTA", writing propaganda poems and posters designed for the Red Army. Blok calls for listening to the "music of the revolution" and claims that the intelligentsia "can and must" cooperate with the new government.

But Mikhail Bulgakov, perceived by others and himself feeling himself an internal emigrant, will say in a letter to the Government of the USSR: “It is IMPOSSIBLE to write a libel on the revolution, due to its extreme grandiosity” (March 28, 1930). And Marina Tsvetaeva, who, following her husband, a white officer, went into exile, will notice: “There is not a single major Russian poet of our time whose voice did not tremble and grow after the Revolution” (“Poet and Time”, 1932). The attitudes of writers towards the revolution turned out to be part of the general problem that Tsvetaeva outlined in the title of her article:poet and time .

In building a new socialist society, the Bolsheviks assigned a huge role to culture. Struggle for new culture in the era of "dictatorship" (in fact, not the proletariat, but the victorious Bolshevik party) began with all sorts of infringement, and often simply the destruction of the former culture. Already in the first months after the October Revolution, practically all the old magazines and newspapers in which Saltykov-Shchedrin and Chekhov, Blok and Gorky were published ceased to exist. In 1922, the Main Directorate for Literature and Publishing was organized (Glavlit) - a powerful censorship institution that for almost seventy years determined the fate of magazines, books, and individual writers. Since that time, preliminary censorship has been established in the USSR: the obligatory review of all printed publications before their publication. In conditions of freedom, therefore, Russian literature lived for less than two decades: censorship was abolished during the revolution of 1905.

New Soviet magazines, most of which will last the entire twentieth century,wereideologicalsincetitles: "Red New", "Star", " New world”, “October”, “Banner”. Their editors were appointed by people who had to be guided not only by literary tastes, but also by political interests: for any real or imaginary omission, they could be dismissed from their posts or even be persecuted. After the revolution, Russian culture and Russian literature experienced a great split: its consequences would have to be overcome throughout the 20th century.

The position of writers, their public reputation in the 1920s, therefore, depended not so much on their work, but on the camp in which criticism brought them. Proletarian writers were cherished and supported, fellow travelers were constantly reprimanded and educated.

Nevertheless, early Soviet literature was artistically diverse and spiritually original. Many writers and poets, whose work began in the pre-revolutionary years, took their place in it: A. Akhmatova, M. Tsvetaeva, M. Gorky, V. Veresaev, V. Mayakovsky, B. Pasternak, O. Mandelstam, S. Yesenin.

The post-revolutionary decade was marked by the emergence of new writers' names: M. Sholokhov, A. Platonov, L. Leonov, A. Fadeev, I. Babel, M. Zoshchenko, M. Bulgakov, I. Ilf and E. Petrov.

The works about the revolution and the Civil War, published in 1926-1927, were, to a certain extent, final in nature. In 1927, two novels were published: “The Defeat” by Fadeev and “The White Guard” by M. Bulgakov. These works raised sharp questions about the humanistic meaning of the revolution, arguing with each other. The authors of these novels belonged to different directions in Russian literature of the twenties.

Bulgakov continued the traditions of classical Russian culture, while Fadeev was a writer who tried to create images of the literature of the new time, a new hero of the revolution, who defended the positions of revolutionary humanism. It illuminates spiritual values ​​in a different way, such as the heroic, struggle, pity, love, loyalty, duty. If Bulgakov's heroes the level of their culture, assimilated from several generations of the intelligentsia, does not allow them to sink, become a beast, then Fadeev's heroes are cruel, merciless, dishonest. However, the living conditions of both are still incomparable.

For the heroes of Fadeev, what is moral is what is for the benefit of the workers and peasants, what serves the victory of the revolution and its defense. All means are permissible and crimes are justified supreme idea. The heroes of Fadeev are guided by such moral principles.

Bulgakov is horrified by the civil war. He is especially afraid of the desire dark personalities, offering themselves as idols and leaders of the mob, use "the wrath of the peasants" to achieve their own power.

Another book, written in 1926, draws our attention. These are "Don stories"M. Sholokhov. The author was only 21 years old, and there was already a lot behind him: the upheavals of the civil war, which instantly crossed out the childhood that passed on the Don, in the village of Veshenskaya.“I had to be in different bindings,” Mikhail Sholokhov later wrote in his autobiography. He will remember himself, at the age of sixteen, at the interrogation conducted by Nestor Makhno himself, and how, releasing the teenager, the “father” threatened him with cruel reprisals for the future. He will remember how he, the commander of the food detachment, was sentenced to death for abuse of power. The events of that time were the factual material that formed the basis of his first stories.In Don Stories, Sholokhov sought to depict the civil war, its consequences both for the fate of the Don and for the fate of Russia as a whole. In them, the author shows the horror of the fratricidal war, which destroys the way of life of the Cossacks.

Civic lyrics sounded with unprecedented force, the most effective genres addressed directly to the masses were developed: march, song, poetic appeal, message: “Ode to the Revolution” by V. Mayakovsky, “May Day Hymn” by V. Kirillov, “Cantata” by S. Yesenin. Traditions lyrics of love, nature, philosophical reflections receded into the background.

M. Voloshin did not remain aloof from social upheavals. The October Revolution and the Civil War find him in Koktebel. Accepting the revolution as a historical inevitability, Voloshin saw his duty in helping the persecuted, regardless of the "color" - "both the red leader and the white officer" found "refuge, protection and advice" in his house.

V. Bryusov publishes the collection "In such days". In the poems of this collection, the main motives of creation, "meeting of times", "friendship of peoples" become. He uses heroic associations, leading back into the depths of centuries, archaic.

Tragic motives sounded in the lyrics of M. Tsvetaeva (collection of "Milestones" and "Swan Camp"). The main themes of her work are the theme of the Poet and Russia, the theme of separation, loss. This is connected with the appearance of folk, song motifs in her poems.

Heroic romance colors the poems of E. Bagritsky in the 1920s. Bagritsky's poems were distinguished by figurative brightness, fresh intonation, rhythm, and quickly brought him to the forefront of poets of revolutionary romanticism. The poet truthfully showed the whole tragedy of the Civil War, he emphasized that it was almost impossible to get away from it, to take a neutral position.

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Educational tasks:

form

the ability to select the main thing;

,

Educational tasks: .

Development tasks ability to

computer, projectop, screen

Methods

Lesson stage

Presentation slides

Teacher activity

Student activities

Suggested answers:

Partial search method

songs.

association method

2. Organization of perception and comprehension new information

Suggested answers:

association method

3. Recording the topic of the lesson

You can follow hyperlinks to slides No. 6 - No. 10 in order not only to hear, but also to see the information

Analytical Reading Method

Summarize, conclude

Expressive reading, conversation

1. Run complicated plan articles by I. Sukhikh.

Questions to choose from:

1. What do you see in common and what differences in the depiction of the revolution and the civil war in the works of M. Sholokhov and M. Bulgakov? (read the stories of M. Sholokhov "The Mole", "The Foal")

2. How did B. Lavrenev depict the events of the Civil War in the story "41"?

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Literature lesson in 11th grade. Topic: "Image of the Civil War in the literature of the 1920s"

Educational tasks:

form

the ability to attract knowledge from various fields to solve the problem;

the ability to select the main thing;

systematize phenomena united by one theme;

apply previously acquired knowledge in an unfamiliar situation;

develop monologue speech skills;

improve your analysis skillsepisode of a literary work,

Educational tasks: cultivate aesthetic taste, a sense of humanism.

Development tasks : develop associative thinking; develop teamwork skills; contribute to the formation ofability toself-assessment of the work.

Materials and equipment for the lesson:

article by I. Sukhikh “Two Russian Literature or One? 1920,

excerpt from A. Fadeev's novel "The Rout",

poems by M. Tsvetaeva “To Pasternak”, “Oh, you are my mushroom, mushroom, white mushroom", a song on verses

M. Svetlova "Young drummer", poems by V. Nabokov, R. Rozhdestvensky,

computer, projectop, screen

Lesson type: group study.

Forms: frontal work, group work.

Methods : expressive reading, conversation; practical work associated with the analysis of the episode.

Lesson stage

Teacher activity

Student activities

Forms and methods used at the lesson stage

1. Stage of motivation, setting goals together with students

Presents to 11th grade students the results of a survey on the topic "Civil War in History and Literature". Identifies problems with students:

(What problem did the survey reveal?)

Suggested answers:

works about the Civil War are little known to us;

about historical era can be learned not only from historical sources but also from works of art;

it is interesting to learn about the views of writers and poets who lived in such a difficult time.

Partial search method

2. Organization of perception and understanding of new information

Listen to the song "Young drummer" on the verses of the poet

M. Svetlova (1903 - 1964). Write down the associations you have while listening

songs.

Suggests the question: “Describe the era in which the song could have been written?”

Listen to a song, write down association words;

animation on the slide allows the teacher to show what associations he had while listening;

1-2 sentences answer the question

association method

2. Organization of perception and understanding of new information

Listen to the poem "Pasternak" by the poet

M. Tsvetaeva (1892 - 1941), which was written in 1925. Write down the associations that you have while listening to the poem.

The works you listened to were written at the same time. Why do they sound so different?

They listen to a poem in acting performance, perform the same tasks.

Suggested answers:

The authors had different attitudes to the events taking place in the country, they different perception time: for M. Svetlov this is an era of heroism and sacrifice in the name of the victory of the revolution, for Tsvetaeva this is a tragedy that will lead to a split and separation of people.

association method

The method of comparing works by character, subject, artistic idea

3. Recording the topic of the lesson

On the slide are portraits of writers, which will be discussed in the lesson, students will learn about them from the article by I. Sukhikh.

Making notes in notebooks

4. Organization of the study of new material

Offers to get acquainted with the text of the article by I. Sukhikh “Two literatures or one?”, distributes tasks in groups, instructs, indicates the time for working with the article - 7 minutes.

Acquaintance with tasks in groups, carefully listening to the instructions for completing tasks.

The method of searching and highlighting the necessary information in the text

5. Discussion of the results of the groups' activities

Checks the performance of the task, determines the level of formation of the ability to work with the text of the information article

They answer the questions in the group, acquaint the whole class with the results of the work in the group.

Planning methods and forms of work that ensure the activity and independence of thinking of students (a system of questions)

6. Analysis of the episode from the novel "The Rout" on the issues different levels

Offers to analyze the episode in groups according to problematic issues (last question intends to establish a connection between works of art written in different time- in the exam in literature task C2)

Read and analyze the episode on the question proposed for the group.

Analytical Reading Method

After discussing the work performed, it is proposed to contact general conclusion, which will allow students to summarize all the material accumulated in groups.

Summarize, conclude

7. Acquaintance with the position of writers who have risen "above the fight" of whites and reds

On the slide is an excerpt from Bulgakov's novel "The White Guard" and a poem by Tsvetaeva. He suggests thinking about the question: “What idea unites an excerpt from Bulgakov’s novel and Tsvetaeva’s poem?”

The expected conclusion on the issue: "Bulgakov and Tsvetaeva depict the events of the civil war gives from a universal position."

Expressive reading, conversation

8. Summarizing what was learned in the lesson and introducing it into the system of previously acquired knowledge

Time could judge the Whites and the Reds. The split that occurred in the country as a result of the war brought tragedy to the lives of people who had to live in a critical era

Reading by heart the poems of Nabokov and Rozhdestvensky.

Expressive reading by heart

10. Summing up the lesson, homework

Selected document to view Criteria for evaluating the activities of a student in a group.docx

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Selected document to view An excerpt from the novel by A. Fadeev.docx

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An excerpt from A. Fadeev's novel "The Rout". Chapter 11 "Suffering"

The sword went deeper into the thicket, lay down under the bushes and forgot himself in an anxious slumber...

I woke up suddenly, as if from a shock. Heart beat unevenly, sweaty shirt

stuck to the body. Two men were talking behind the bush: Mechik recognized Stashinsky and

Levinson. He carefully parted the branches and peered out.

All the same," Levinson said gloomily, "it is unthinkable to stay longer in this region. The only way is north…” He unzipped his bag and pulled out a map. - Here ... Here you can go through the ridges, and go down the Khaunihedze. Far away, but what can you do ... Stashinsky looked not at the map, but somewhere in the depths of the taiga, as if he were weighing every verst drenched in human sweat. Suddenly he blinked rapidly and looked at Levinson.

And Frolov?.. you forget again...

Yes - Frolov ... -Levinson sat down heavily on the grass . The sword saw his pale profile in front of him.

Of course, I can stay with him ... - Stashinsky said dully after a pause. “Actually, it’s my duty…

Nonsense! Levinson waved his hand. “No later than tomorrow afternoon, the Japanese will come here on fresh tracks ... Or is it your duty to be killed?”

What then to do?

Don't know...

Sword had never seen such a helpless expression on Levinson's face.

There seems to be only one thing left... I've already thought about it... –Levinson faltered and fell silent, clenching his jaw severely.

Yes? .. - Stashinsky asked expectantly.

The sword, feeling unkind, leaned forward more strongly, almost betraying his presence.

Levinson wanted to name in one word the only thing that remained to him, but, apparently, this word was so difficult that he could not pronounce it.. Stashinsky looked at him with apprehension and surprise and ... understood.

Without looking at each other, trembling and stammering and tormented by this, they started talking about something that was already clear to both, but which they did not dare to call in one word, although it could immediately express everything and end their torment."They want to kill him..." Sword realized and turned pale. His heart beat in him with such force that it seemed that behind the bush they would also hear him.

How is he bad? Very much?” Levinson asked several times. "If it weren't for that... Well... if it weren't for us... in a word, does he have any hope of recovery?"

No hopes ... but is that the point?

It's easier somehow, Levinson confessed. He immediately felt ashamed that he was deceiving himself, but he really felt better. After a short pause, he said quietly: "We'll have to do it today... just make sure no one guesses, and most importantly, he himself... can you do that?"

He won’t guess ... soon he’ll be given bromine, instead of bromine ... Or maybe we’ll put it off until tomorrow? ..

Why wait... it doesn't matter... Levinson hid the map and stood up. - It's necessary - there's nothing to be done ... Is it necessary? .. - He involuntarily sought support from a person whom he himself wanted to support.

"Yes, I must..." thought Stashinsky, but did not say.

Listen,” Levinson began slowly, “tell me straight out, are you ready? Better say it straight...

Am I ready? Stashinsky said. -- Yes, I'm ready.

Let's go..." Levinson touched his sleeve, and both of them slowly walked towards the barracks.

"Will they really do it?.." The sword fell prone to the ground and buried his face in his hands. He lay there for who knows how long. Then he got up and, clinging to the bushes, staggering like a wounded man, wandered after Stashinsky and Levinson.

The cold, unsaddled horses turned their weary heads towards him; the partisans were snoring in the clearing, some were cooking dinner. The swordsman looked for Stashinsky and, not finding him, almost ran to the barracks. He arrived on time. Stashinsky, standing with his back to Frolov, holding out

trembling hands, poured something into a beaker.

Wait! .. What are you doing? .. - Sword shouted, rushing towards him with eyes wide with horror. -- Wait! I heard everything!

Stashinsky, shuddering, turned his head, his hands trembled even more violently. Suddenly he stepped towards Mechik, and a terrible crimson vein bulged on his forehead.

Get out! .. - he said in an ominous, stifled whisper. - I'll kill you!

The sword squealed and ran out of the barracks without remembering himself. Stashinsky immediately caught himself and turned to Frolov.

What... what is this?... - he asked, squinting warily at the beaker.

It's bromine, drink it ... - Stashinsky insisted, sternly.

Their eyes met and, understanding each other, froze, bound by a single thought ...

"The end..." thought Frolov, and for some reason was not surprised, did not feel any fear, or excitement, or bitterness. Everything turned out to be simple and easy, and it was even strange why he suffered so much, clung so stubbornly to life and was afraid of death, if life promised him new suffering, and death only delivered from them. He looked around indecisively, as if

was looking for something, and stopped at an untouched dinner, near, on a stool. It was milk jelly, it had already cooled down, and the flies circled over it. For the first time during his illness, a human expression appeared in Frolov's eyes - pity for himself, and maybe for Stashinsky. He lowered his eyelids, and when he opened them again, his face was calm and meek.

It will happen that you will be on Suchan, - he said slowly, - tell me that it won’t hurt there ... they are killed ... Everyone will come to this place ... yes ... Everyone will come, - he repeated with such an expression , as if the thought of the inevitability of the death of people was not yet completely clear and proven to him, but it was precisely the thought that deprived him of personal -him, Frolova, the death of her special, separate

terrible meaning and made it - this death - something ordinary, characteristic of all people. After thinking for a while, he said: “I have a son there at the mine ... His name is Fedya ... So that they remember him when everything turns around, to help there in any way or how ... Yes, come on, or something! .. he interrupted in a suddenly damp and trembling voice.

Curving his whitened lips, shivering and blinking terribly with one eye, Stashinsky raised the beaker. Frolov supported her with both hands and drank.

Questions to analyze the episode

How does the novel deal with the issue of value? human life in an age of change?

Fadeev introduced the concept of "revolutionary humanism" into literature. How do you understand its meaning? Can the word "humanism" have definitions?

Who is right - Levinson, the commander of the detachment, and the doctor Stashinsky or Mechik, who learned about the impending murder of partisan Frolov?

What gives Levinson the strength to make a terrible decision to kill the hopelessly ill Frolov?

Which of the Russian writers of the 19th century also put his hero before a choice and how did he solve the problem of humanism on the pages of his work?

Selected document to view Poems by Nabokov and Rozhdestvensky.docx

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Small church. Candles swollen.

The stone is pitted white by rain.

The former are buried here. Former.

Cemetery of Saint-Genevieve-des-Bois.

Dreams and prayers are buried here.

Tears and courage.

"Goodbye!" and "Hurrah!".

Staff captains and midshipmen.

Grips of colonels and cadets.

White guard, white flock.

White army, white bone...

Wet slabs will overgrow with grass.

Russian letters. French churchyard…

There was no glory. The Motherland was no more.

The heart was gone. And the memory was...

Your excellencies, their nobility -

Together at Sainte-Genevieve-des-Bois.

They lie densely, knowing enough

Their torments and their roads.

Still, Russians. It seems to be ours.

Only not ours, rather, draws ...

How are they after - forgotten, former

Cursing everything now and henceforth,

Rushed to look at her -

The winner, albeit incomprehensible,

Let the unforgiving

Motherland, and die ...

Noon.

Birch reflection of peace.

Russian domes in the sky.

And clouds like white horses

Rushing over St. Genevieve-des-Bois.

Robert Rozhdestvensky

Execution of V. Nabokov

There are nights: I just lie down,
A bed will float to Russia;
And now they lead me to the ravine,
They lead to the ravine to kill.

I wake up, and in the dark, from a chair,
Where matches and clocks lie,
Into the eyes, like an intent muzzle,
Looks burning dial.

Covering his chest and neck with his hands,
It's about to fire at me! -
I dare not look away
From the circle of dim fire.

numb consciousness
Touched by the ticking of the clock,
Happy Exile
I feel covered again.

But, heart, how would you like,
For it to be like this:
Russia, stars, night of execution
And all in the bird cherry ravine!

Selected document to view The theme of the Civil War in the literature of the 20s - 30s.ppt

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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. Members white movement created their books about Russia already in exile. In the 1920s, the series "Revolution and Civil War in the 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 on the fate of Russia.

Bunin wrote about Russia and the revolution (“Cursed Days”), Gippius “Petersburg Diaries”, Remizov “The Word about the Destruction of the Russian Land”. Sarcastic irony interspersed with a sense of shame and bitterness. Thoughts of repentance, faith in higher justice helped to overcome apocalyptic moods.

In 1923, V. Zazubrin wrote the story "Sliver". Her hero Srubov is a man with strong convictions, who considers himself a "vacuum cleaner of history." The subtitle of "Sliver" is "The Tale of Her and Her." "She" is the heroine of the soul. Revolution. She is a powerful stream carrying people-chips. “Let the taiga be burned, let the steppes be trampled... After all, only on cement and iron will an 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 of his warnings did not hear: "Bolshevism is a temporary, painful phenomenon, a fit of rage into which the majority of the Russian people fell." The finals of "Two Worlds" and "Sliver" echo. The first ended with a fire in the church, arranged by fanatics of the revolutionary idea. The events of the second take place on the days of Easter. “It seems to Srubov that he is floating on a bloody river. Just not on a raft. It broke away and sways on the waves like a lone sliver.

Y. Libedinsky (“Week”, 1923), and A. Tarasov-Rodionov (“Chocolate”, 1922) included the motif of doubt, delirium in the story of the uncompromising firmness of the adherents of the revolutionary idea.

In a number of works of the early 1920s, the hero was the new army itself - the revolutionary crowd, "multitudes", heroically inclined, striving for victory. The fact that this path was bloody, involving the death of thousands of people, was relegated to the background.

A. Malyshkin was not an ordinary participant in the fighting in the Crimean 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 Daira (1921) is not about that. This is a romantic book, stylized as ancient historical stories. “And in the black night, in front, they saw - not eyes, but something else - a fierce and prickly massif, dark from the century, raised, and behind it the wonderful Dair - blue fogs of valleys, flowering cities, a starry sea.”

In Cavalry by I. Babel (1923-1925) they faced the reality of a revolutionary dream. Main character books (K. Lyutov) took a seemingly contemplative position, but was endowed with the right to judge. Lyutov's insurmountable loneliness does not interfere with his sincere desire to understand, if not justify, then try to explain the unpredictable actions of the horsemen. The murder is perceived as a punishment coming from all over Russia.

For many writers, both those who accepted the revolution and its opponents, the main motive was the unjustification of the spilled rivers of blood.

B. Pilnyak portrayed a man connected with the revolution by ideas and deeds, by his own and other people's blood. In 1926, Novy Mir published and immediately banned The Tale of the Unextinguished Moon. Personifying totalitarian power, a non-hunched man sent the commander to his death. Gavrilov, dying on operating table, also carried the blame for the shed blood of people. The icy light of the moon illuminated the city.

And the moon will rise at night. She was not devoured by dogs: She was only not visible Because of the human bloody fight.

These poems by S. Yesenin were written in 1924. The moon appeared in many works of techlet, not a single science fiction book could do without it. The unextinguished moon of B. Pilnyak, as it were, gave additional light real world- the light is disturbing, alarming.

The historian and observer of the revolution, B. Pilnyak, did not admire the scope of destruction, but made him feel the threat to all living things, especially to the individual, from the new state machine

genre diversity and style originality. Memoirs and diaries, chronicles and confessions, novels and stories. Some authors tried to be as objective as possible. Others are characterized by increased subjectivity, emphasized figurativeness, expressiveness.*

Philosophically comprehended the essence of events in Russia at the beginning of the century years later B. Pasternak in the novel "Doctor Zhivago". The hero of the novel turned out to be a hostage of history, which mercilessly intervenes in 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 Defeat provides an in-depth analysis of the changes brought about by the civil war in spiritual world ordinary person. The image of Frost speaks clearly about 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, cursed, drank vodka. He did not look for new ways, he followed the old ones: he bought a satin shirt, chrome boots, played the harmonica, fought, walked, stole vegetables for the sake of mischief. He was in prison during the strike, but did not betray 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, does everything thoughtlessly, and life seems to him simple and uncomplicated. Frost did not like clean people, they seemed fake to him. He believed that they could not be trusted. He himself strove for easy, monotonous work, and therefore did not remain Levinson's orderly. His comrades sometimes call him a "balda", "fool", "damn sweaty", but he is not offended, the matter is most important to him. Frost knows how to think: he thinks that life is becoming “tricky” and that you have to choose your own path. Nashkodiv on melons, he cowardly fled, but after that he repents and is very worried. Goncharenko defended Morozka at the meeting, called him a “fighting guy” and vouched for him. Frost swore that he would give his blood 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 he was pleased with it. In the detachment of miners, Morozka was a serviceable soldier and was considered a good one, the right person. He even tries to fight a terrible desire to drink, he understands that there is external beauty, but there is genuine, spiritual beauty. And thinking about it, I realized that he was deceived in his former life. Revelry and work, blood and sweat, but nothing good could be seen ahead, and it seemed to him that all his life he had been trying to get on the straight, clear and correct road, but did not notice the enemy that was sitting in himself. People like Morozka are reliable, they can make their own decisions and are capable of remorse. And although they have 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 the heroic death of Morozka did he realize that the Sword was a bastard, a cowardly bastard, a traitor who thought only of himself, and the memory of loved ones, dear people who rode behind him, forced him to go to self-sacrifice. In works about the civil war, the idea is important that often the one who wins is not the one who is more conscientious, gentler, more responsive, but the one who is more fanatical, who is more insensitive to suffering, who is more subject 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 the poor Korean, using weapons, forced the red-haired guy to flatter into the water for fish, gave the green light to 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, crossed the line of what was permitted. The "selection of human material" is waged by the war itself. More often, the best die in battles - Metelitsa, Baklanov, Morozka, who managed to realize the significance of the team and suppress his selfish aspirations, but such as Chizh, Pika and the traitor Mechik remain.

* 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 of the white movement created their books about Russia already in exile. In the 1920s, the series "Revolution and Civil War in the 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 on the fate of Russia.

Bunin wrote about Russia and the revolution (“Cursed Days”), Gippius “Petersburg Diaries”, Remizov “The Word about the Destruction of the Russian Land”. Sarcastic irony interspersed with a sense of shame and bitterness. Thoughts of repentance, faith in higher justice helped to overcome apocalyptic moods.

In 1923, V. Zazubrin wrote the story "Sliver". Her hero Srubov is a man with strong convictions, who considers himself a "vacuum cleaner of history." The subtitle of "Sliver" is "The Tale of Her and Her." "She" is the heroine of the soul. Revolution. She is a powerful stream carrying people-chips. "Let the taiga be burned, let the steppes be trampled... After all, only on cement and iron will an 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 of his warnings did not hear: "Bolshevism is a temporary, painful phenomenon, a fit of rage into which the majority of the Russian people fell." The finals of "Two Worlds" and "Sliver" echo. The first ended with a fire in the church, arranged by fanatics of the revolutionary idea. The events of the second take place on the days of Easter. “It seems to Srubov that he is floating on a bloody river. Just not on a raft. It broke away and sways on the waves like a lone sliver.

Y. Libedinsky (“Week”, 1923), and A. Tarasov-Rodionov (“Chocolate”, 1922) included the motif of doubt, delirium in the story of the uncompromising firmness of the adherents of the revolutionary idea.

In a number of works of the early 1920s, the hero was the new army itself - the revolutionary crowd, "multitudes", heroically inclined, striving for victory. The fact that this path was bloody, involving the death of thousands of people, was relegated to the background.

A. Malyshkin was not an ordinary participant in the fighting in the Crimean 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 Daira (1921) is not about that. This is a romantic book, stylized as ancient historical stories. “And in the black night, in front, they saw - not eyes, but something else - a fierce and prickly massif, dark from the century, raised, and behind it the wonderful Dair - blue fogs of valleys, flowering cities, a starry sea.”

In Cavalry by I. Babel (1923-1925) they faced the reality of a revolutionary dream. The protagonist of the book (K. Lyutov) occupied a seemingly contemplative position, but was endowed with the right to judge. Lyutov's insurmountable loneliness does not interfere with his sincere desire to understand, if not justify, then try to explain the unpredictable actions of the horsemen. The murder is perceived as a punishment coming from all over Russia.

For many writers, both those who accepted the revolution and its opponents, the main motive was the unjustification of the spilled rivers of blood.

B. Pilnyak portrayed a man connected with the revolution by ideas and deeds, by his own and other people's blood. In 1926, Novy Mir published and immediately banned The Tale of the Unextinguished Moon. Personifying totalitarian power, a non-hunched man sent the commander to his death. Gavrilov, dying on the operating table, also bore the blame for the spilled blood of people. The icy light of the moon illuminated the city.

And the moon will rise at night. She was not devoured by dogs: She was only not visible Because of the human bloody fight.

These poems by S. Yesenin were written in 1924. The moon appeared in many works of techlet, not a single science fiction book could do without it. The unextinguished moon of B. Pilnyak, as it were, gave additional light to the real world - a disturbing, alarming light.

The historian and observer of the revolution, B. Pilnyak, did not admire the scope of destruction, but made him 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 tried to be as objective as possible. Others are characterized by increased subjectivity, emphasized figurativeness, expressiveness.*

Philosophically comprehended the essence of events in Russia at the beginning of the century years later B. Pasternak in the novel "Doctor Zhivago". The hero of the novel turned out to be a hostage of history, which mercilessly intervenes in 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". The strongest impression in "Rout" is made by a deep analysis of the changes caused by the civil war in the spiritual world of an ordinary person. The image of Frost speaks clearly about 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, cursed, drank vodka. He did not look for new ways, he followed the old ones: he bought a satin shirt, chrome boots, played the harmonica, fought, walked, stole vegetables for the sake of mischief. He was in prison during the strike, but did not betray 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, does everything thoughtlessly, and life seems to him simple and uncomplicated. Frost did not like clean people, they seemed fake to him. He believed that they could not be trusted. He himself strove for easy, monotonous work, and therefore did not remain Levinson's orderly. His comrades sometimes call him a "balda", "fool", "damn sweaty", but he is not offended, the matter is most important to him. Frost knows how to think: he thinks that life is becoming “tricky” and that you have to choose your own path. Nashkodiv on melons, he cowardly fled, but after that he repents and is very worried. Goncharenko defended Morozka at the meeting, called him a “fighting guy” and vouched for him. Frost swore that he would give his blood 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 he was pleased with it. In the detachment of miners, Morozka was a serviceable soldier and was considered a good, necessary person. He even tries to fight a terrible desire to drink, he understands that there is external beauty, but there is genuine, spiritual beauty. And thinking about it, I realized that he was deceived in his former life. Revelry and work, blood and sweat, but nothing good could be seen ahead, and it seemed to him that all his life he had been trying to get on the straight, clear and correct road, but did not notice the enemy that was sitting in himself. People like Morozka are reliable, they can make their own decisions and are capable of remorse. And although they have Weak Will, they will never commit meanness. They will be able to find a way out of any, even the most hopeless situation. Just before his heroic death, Frost realized that Mechik was a bastard, a cowardly bastard, a traitor who thought only of himself, and the recollection of close, dear people who rode behind him made him commit self-sacrifice. In works about the civil war, the idea is important that often the one who wins is not the one who is more conscientious, gentler, more responsive, but the one who is more fanatical, who is more insensitive to suffering, who is more subject 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 the poor Korean, using weapons, forced the red-haired guy to flatter into the water for fish, gave the green light to 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, crossed the line of what was permitted. The "selection of human material" is waged by the war itself. More often, the best die in battles - Metelitsa, Baklanov, Morozka, who managed to realize the significance of the team and suppress his selfish aspirations, but such as Chizh, Pika and the traitor Mechik remain.

The events of the revolution and civil war were reflected in new literature x years. The revolution brought enthusiasm, faith in a new world order, but it also brought misfortune, the tragedy of the whole country. The coverage of the war was simplistic, one-dimensional, monumentally heroic. Now it is known that in addition to the “revolution - the holiday of the working people and the oppressed”, there was another image: “ cursed days"(Bunin), "deaf years" (Mandelstam), "vomit of war - October fun" (Gippius). But this point of view had no right to exist!

Starting the countdown of a new time and intending to create earthly paradise, began to smash right and left. They sang: "He who was nothing will become everything," but the people have already been persecuted, fooled, hungry and poor! They sang: “Let's renounce the old world, but we renounced Gumilyov and Chaliapin, Bunin and Akhmatova. And from 1.6 million of the most talented scientists and writers who emigrated abroad. demolished ancient temples and monasteries, they killed the clergy!

Maxim Gorky: “Our revolution gave scope to all the bad and bestial instincts that have accumulated under the lead roof of the monarchy. The people's commissars treat Russia as material for experiment; the Russian people are for them the same horse that bacteriologists inoculate with typhus in order for the horse to develop anti-typhoid serum in its blood. It is precisely such a cruel and doomed to failure experiment that the commissars conduct on the Russian people, not thinking that the exhausted, half-starved horse can die.

There is a red terror in the country. But those who pinned their hopes on the white movement are also wrong. In an atmosphere of bloody confusion, the Whites could not give anything significant to the people, who in their mass, naturally, were neither angels nor noble knights. Neither the Reds nor the Whites could give anything to the people, but behind the Reds, as behind a new force, there was a serious psychological advantage.

In the outbreak of the civil war, Russia lost from 1918 to 1922 - millions of people! (according to other sources 16 million): military losses - 800 thousand emigration - 1.5 - 2 million people sickness - 5.1 million people. The remaining 5-7 million were illegally shot (Krondshtatsky, Tambov and other rebellions). The war began from the moment the new government was born.

Literary positions 20s "Winners" "Defeated" "Neither with the one nor the other" Dmitry Furmanov "Chapaev" Alexander Serafimovich "Iron Stream" Alexander Fadeev "The Rout" and others Mikhail Bulgakov "The White Guard" Ivan Shmelev "The Sun of the Dead" , “The Story of an Old Woman” Marina Tsvetaeva “The Swan Camp” Boris Lavrenyov “The Forty-First” Boris Pilnyak “The Hungry Year”, “The Tale of the Unextinguished Moon” Vitaly Veresaev “At a Dead End” Isaac Babel “Cavalry” Artyom Vesely “Russia, Washed with Blood”

"Winners" Revolution and civil war - heroic time In the crucible of the civil war, the formation of personality takes place The Bolsheviks play a leading role in overcoming the spontaneity of the masses The Bolsheviks goodies, people from the people Works are always optimistic, even if the ending is tragic

Maxim Gorky: “Our commissars treat Russia as a material for experiment, the Russian people for them are the same horse that bacteriologists inoculate with typhus so that the horse develops anti-typhoid serum in its blood. It is precisely such a cruel and doomed to failure experiment that the commissars conduct on the Russian people, not thinking that the exhausted, half-starved horse can die.