Lesson topic: “War has no woman's face…”
Goals:
1. Educational: training in analyzing the ideological content of a work of art through the use of ICT; expanding knowledge about the biography and work of B. Vasiliev; formation of conscious skills and abilities to work with text.
2. Developmental: development of critical and creative thinking of students; improving skills in analyzing a work; development of literary skills.
3. Educational: the formation of positive, moral orientations, a feeling of love for the Motherland, the desire to protect it.
Preparation for the lesson: the class is divided in advance into 6 groups, each of which works with the text and selects material related to the biography of the characters.
Visibility:
1. Portrait of B. Vasiliev
2. Books by B. Vasiliev about war
3. Slides
4. Stills from Rostotsky’s film “And the dawns here are quiet...”. 1972
Lesson progress:
I. Epigraph to the lesson.
Christmas “Requiem” “Remember...” (recited by student)
II. Topic announcement:
65 years separate us from Victory Day, during this time more than one generation was born and entered into force, fewer and fewer soldiers of the Great Patriotic War remain. But the memory should not fade. It is passed on, like the blood formula, from fathers to children, to grandchildren and great-grandchildren. And everyone who is born on this earth will remember this war. Can't be overstated educational value literature about the Great Patriotic War. The romance of the feat, the drama of testing a person’s perseverance and strength in battle - all this is reflected in B. Vasiliev’s story “And the dawns here are quiet...”
III. Biography of B. Vasiliev (student's story)
IV. B. Vasiliev called his story “And the dawns here are quiet...”. Quiet dawns became an hour of immortality for 5 girls. Each of them has its own fate, its own harsh score against the Nazis. The task was given to groups to collect all the information available in the book about the heroes of this story. Let's remember them by name. The following is a story about:
Lisa Brichkina
Sonya Gurvich
Galke Chetvertak
To wife Komelkova
Rita Osyanina
V. Conversation on the following issues:
1. Why does the author choose these types of heroines to reveal his plan?
Is it possible to consider that in the story there is collective image women at war? What do all these girls have in common?
Zhenya Komelkova – bright beauty;
Rita Osyanina – a pronounced sense of duty;
Sonya Gurvich – poetry, fragility, insecurity;
Lisa Brichkina – closeness to nature, warmth;
Galya Chetvertak – irrepressible fantasy;
2. Can the death of each of the girls be called heroic? (View stills from the film.) Compare the deaths of Rita Osyanina and Zhenya Komelkova with the deaths of the other girls.
3. The images of all the girls are united by the image of old Vaskov. What can you say about him? How does the author feel about him? (the story must be accompanied by quoting the text)
4. What is the tragic meaning of the death of the heroines of the story? The author's philosophical thoughts coincide with the thoughts of the main character of the story, old Vaskov, about the incompatibility of women with war. (Vaskov’s thoughts about the death of the girls are read out)
5. How do you understand the title of the story? How does a landscape help the author reveal the meaning of the title of a work?
6. To whom is B. Vasiliev’s story addressed? (responding to this question, analyze the epilogue)
7. You also came into direct contact with the defenders of our Motherland, visited veterans of the Great Patriotic War at home Patriotic War, and I would like this to be heard in the lesson too. (follows the students’ story about veterans)
VI. Conclusion: The feat of each of the heroines is especially significant and significant, because they are women destined by nature itself to give and continue life on earth. They die, defending the freedom and future of their country at the cost of their barely begun lives.
Answer from Bu[newbie]
In Boris Vasiliev’s story “And the dawns here are quiet...” tragic actions take place at the little-known 171st junction, in the forest, to the side of which the Germans are bombing the Murmansk road around the clock. The title of the story is the complete opposite of the events of the story itself. The feat of Sergeant Major Vaskov and five female anti-aircraft gunners rises to the level of a symbol, both heroic and tragic at the same time.
The strong emotional impression that this story makes upon first reading increases even more when you begin to read it analytically. It turns out that it is extremely short: a little more than thirty magazine pages! This means (since its content seems enormous) that in in this case the lapidary nature of the work corresponds to the deep specificity of art: the author focused our attention only on those moments of reality that are of general interest and capable of exciting everyone personally, and reduced the impersonal informational element to a minimum.
The maximum disclosure of a person’s capabilities in his business, which at the same time is at the same time a people’s business - this is the meaning of the generalization that we extract from the history of a terrible and unequal struggle in which the Basques, wounded in the arm, and every one of his girls, who were still only I had to learn the joy of love and motherhood.
“The Basques knew one thing in this battle: do not retreat. Don’t give the Germans a single piece of land on this shore. No matter how hard it is, no matter how hopeless it is to keep...
And he had such a feeling, as if all of Russia had come together behind his back, as if it was he, Fedot Evgrafych Vaskov, who was now her last son and protector. And there was no one else in the whole world: only him, the enemy and Russia.” Thus, B. Vasiliev’s short story, short in number of pages, provides great grounds for a multifaceted and serious analysis of the ideological and artistic merits of modern Soviet literature.
But here it was mentioned only in connection with the fact that books about the war convincingly reveal such a secret of our victory in the Great Patriotic War as the mass initiative of the Soviet people wherever they happened to fight - whether forging victory in the rear, resisting the invaders in captivity and occupation or fighting at the front.
The world must not forget the horrors of war, the separation, suffering and death of millions. This would be a crime against the fallen, a crime against the future. Remembering the war, the heroism and courage of those who passed through it, and fighting for peace is the duty of everyone living on Earth.
“And the dawns here are quiet...” This story by Boris Vasiliev made a strong impression on me. It struck me with its depth and importance of the problems raised.
The writer’s manner is interesting: nowhere does he unleash a stream of words against the characters, does not give their direct characteristics, as if he wants us to understand them ourselves.
The story makes you think about a lot. The most important thing about it is that it does not leave us indifferent.
(II option)
Vasiliev Boris Lvovich was born on May 21, 1924 in the family of a Red Army commander in the city of Smolensk on Pokrovskaya Mountain. Member of the CPSU since 1952. He volunteered to go to the front. His father was a career commander. In 1969, B. Vasiliev wrote the story “And the Dawns Here Are Quiet...”, in 1974 - the novel “Not on the Lists,” which are dedicated to the theme of the Great Patriotic War.
Modern prose about war is notable for its variety of themes and genres. But with all this diversity of author’s approaches and styles special attention deserves the unity of modern Soviet literature about the war in that part that reveals the secrets of our victory, explains the reasons and sources of the people’s feat.
It is interesting to note that for lately Many books have appeared about the war, the heroes of which are forced to act in especially difficult conditions: either in conditions of sudden encirclement, or holding back the desperate onslaught of the enemy. That is, writers create images of people who, in the face of terrible danger, as if “in the light of day,” reveal the spiritual qualities nurtured in them by the new system - precisely those that determined the victorious outcome of the war.
First of all, this is the maximum return of strength caused by a clear and strict understanding of one’s personal duty, wherever the fighter finds himself.
In Boris Vasiliev’s story “And the dawns here are quiet...” tragic actions take place at the little-known 171st crossing, in the forest, to the side of which the Germans are bombing the Murmansk road around the clock. The title of the story is the complete opposite of the events of the story itself. The feat of Sergeant Major Vaskov and five female anti-aircraft gunners rises to the level of a symbol, both heroic and tragic at the same time.
The strong emotional impression that this story makes upon first reading increases even more when you begin to read it analytically. It turns out that it is extremely short: a little more than thirty magazine pages! This means (since its content seems enormous) that in this case the lapidary nature of the work corresponds to the deep specificity of art: the author focused our attention only on those moments of reality that are of general interest and capable of exciting everyone personally, and reduced the impersonal informational element to a minimum.
The maximum disclosure of a person's capabilities in his work, which at the same time is at the same time a people's business - this is the meaning of the generalization that we extract from the history of a terrible and unequal struggle, in which the Basques, wounded in the arm, and every one of his girls, who were still only I had to learn the joy of love and motherhood.
“The Basques knew one thing in this battle: do not retreat. Don’t give the Germans a single piece of land on this shore. No matter how hard it is, no matter how hopeless it is to keep...
And he had such a feeling, as if all of Russia had come together behind his back, as if it was he, Fedot Evgrafych Vaskov, who was now her last son and protector. And there was no one else in the whole world: only him, the enemy and Russia.” Thus, B. Vasiliev’s short story, short in number of pages, provides great grounds for a multifaceted and serious analysis of the ideological and artistic merits of modern Soviet literature.
But here it was mentioned only in connection with the fact that books about the war convincingly reveal such a secret of our victory in the Great Patriotic War as the mass initiative of the Soviet people wherever they happened to fight - whether forging victory in the rear, resisting the invaders in captivity and occupation or fighting at the front.
The world must not forget the horrors of war, the separation, suffering and death of millions. This would be a crime against the fallen, a crime against the future. Remembering the war, the heroism and courage of those who passed through it, and fighting for peace is the duty of everyone living on Earth.
“And the dawns here are quiet...” This story by Boris Vasiliev made a strong impression on me. It struck me with its depth and importance of the problems raised.
The writer’s manner is interesting: nowhere does he unleash a stream of words against the characters, does not give their direct characteristics, as if he wants us to understand them ourselves.
The story makes you think about a lot. The most important thing about it is that it does not leave us indifferent.
(III option)
“And the dawns here are quiet...” is a story about war. The action takes place during the Great Patriotic War. At one of the railway sidings, soldiers of a separate anti-aircraft machine-gun battalion are serving. These fighters are girls, and they are commanded by Sergeant Major Fedot Evgrafych Baskov. At first this place was a quiet corner. The girls sometimes shot at planes at night. One day something unexpected happened. The Germans appeared. Chasing them into the forest, the girls, led by Vaskov, enter into an unequal battle with them. They die one after another, but rage and pain, the desire for revenge help Vaskov win.
The whole story is written in an easy, colloquial language. Thanks to this, you better understand the thoughts of the characters and what they do. Against the backdrop of the terrible events of May 1942, this junction looks like a resort. At first it really was like this: the girls sunbathed, danced, and at night “excitedly fired at flying German planes with all eight guns.”
There are six main characters in the story: five female anti-aircraft gunners and foreman Vaskov.
Fedot Vaskov is thirty-two years old. He completed four classes of the regimental school, and in ten years rose to the rank of senior officer. Vaskov experienced a personal drama: after the Finnish war, his wife left him. Vaskov demanded his son through the court and sent him to his mother in the village, but the Germans killed him there. The sergeant major always feels older than his years. He is efficient.
Junior sergeant Rita Osyanina married the “red commander” at less than eighteen years old. She sent her son Alik to his parents. Her husband died heroically on the second day of the war, and Rita found out about this only a month later.
Sonya Gurvich is an orphan. Her parents most likely died in Minsk. At that time she was studying in Moscow, preparing for the session. She was a translator in the detachment.
Galya Chetvertak does not know her parents. She was dropped off at an orphanage. Accustomed to surrounding everything with mystery, she made me worry about this. Galya told everyone that her mother was a medical worker. I believe that this was not a lie, but desires presented as reality.
Lisa Brichkina was the daughter of a forester. One day, their father brought a guest to their house. Lisa really liked him. He promised to place her in a technical school with a dormitory, but the war began. Lisa always believed that tomorrow would come and be better than today.
Zhenya Komelkova, the first beauty of the traveling party, grew up in a good family. She loved to have fun, and one fine day she fell in love with Colonel Luzhin. It was he who picked her up at the front. He had a family, and Zhenya was sent on this patrol for contacting him.
One day the girls were transferred from the front line to a site (crossing). Rita asked that her department be sent there, because from there it was easier to get to the city where her parents and son lived. Returning from the city, it was she who discovered the Germans.
The major ordered Vaskov to catch up with the saboteurs (Rita saw two) and kill them. It is in this campaign that the main action of the story unfolds. Vaskov helps the girls with everything. During the stop at the pass, friendly relations reign between them.
The Germans appear. It turns out that there are sixteen of them. Vaskov sends Lisa back to the patrol. Lisa Brichkina died first. She drowned in a swamp while returning to the crossing: “Liza saw this beautiful blue sky for a long time. Wheezing, spitting out dirt and reaching out, reaching out to him, reaching out and believing.” Until the last moment she believed that tomorrow would come for her too.
Sonya Gurvich was shot when she returned for Vaskov’s forgotten pouch.
Galya Chetvertak's nerves could not stand it when she sat with the foreman on patrol.
Rita Osyanina was wounded by a grenade, and Zhenya died while taking the Germans away from her. Rita, knowing that her wound was fatal, shot herself in the temple.
The story is written very vividly and clearly. Optimistic girls are shown against the backdrop of war. Vaskov's victory symbolizes the victory of the Russians over the Germans. A hard-fought victory full of losses.
At the end of the story, in the epilogue, Boris Vasiliev shows a couple of heroes - Albert Fedotich and his dad. Apparently, Albert is the same Alik, Rita’s son. Fedot Baskov adopted him,” the boy considers him his real father.
This means that, despite all the difficulties and hardships, the Russian people are alive and will live.
The depiction of nature is very interesting. Beautiful views drawn by the author highlight everything that happens. Nature seems to look at people with pity and sympathy, as if saying: “Foolish children, stop.”
“And the dawns here are quiet...” Everything will pass, but the place will remain the same. Quiet, silent, beautiful, and only the marble gravestones will turn white, reminding of what has already passed. This work serves as an excellent illustration of the events of the Great Patriotic War.
This story really amazed me. The first time I read it, sitting with a handkerchief in my hand, because it was impossible to resist. It was precisely because of this strong impression, so memorable to me, that I decided to write about this work. The main idea of this story is the invincibility of people fighting for the freedom of the Motherland, for a just cause.
(IV option)
Recently I read Boris Vasiliev’s story “And the dawns here are quiet...”. Unusual theme. Unusual, because so much has been written about the war that one book would not be enough if you only remembered the titles of books about the war. Unusual because it never ceases to excite people, reviving old wounds and souls. Unusual because memory and history merged into one.
I, like all my peers, do not know war. I don’t know and I don’t want war. But those who died did not want it either, not thinking about death, about the fact that they would no longer see the sun, grass, leaves, or children. Those five girls didn’t want war either!
Boris Vasiliev's story shook me to the core. Rita Osyanina, Zhenya Komelkova, Lisa Brichkina, Galya Chetvertak. In each of them I find a little of myself, they are close to me. Each of them could be my mother, could tell me about beauty, teach me how to live. And I could be in the place of any of them, because I also like to listen to the silence and meet such “quiet, quiet dawns.”
I don't even know which of them is closer to me. They are all so different, but so similar. Rita Osyanina, strong-willed and gentle, rich in spiritual beauty. She is the center of their courage, she is the cement of achievement, she is the Mother! Zhenya... Zhenya, Zhenya, cheerful, funny, beautiful, mischievous to the point of adventure, desperate and tired of war, of pain, of love, long and painful, for a distant and married man. Sonya Gurvich is the embodiment of an excellent student and a poetic nature - a “beautiful stranger”, who came out of a volume of poems by Alexander Blok. Lisa Brichkina... “Oh, Lisa-Lizaveta, you should study!” I would like to study, see a big city with its theaters and concert halls, its libraries and art galleries. And you, Lisa... The war got in the way! You won’t find your happiness, won’t give you lectures: I didn’t have time to see everything I dreamed of! Galya Chetvertak, who never grew up, is a funny and clumsily childish girl. Notes, escape from orphanage and also dreams... to become new love Orlova.
None of them had time to fulfill their dreams, they simply did not have time to live their own lives. Death was different for everyone, just as their fates were different: for Rita - an effort of will and a shot in the temple; Zhenya’s is desperate and a little reckless, she could have hidden and stayed alive, but she didn’t hide; Sonya's is a dagger strike at poetry; Galya's is as painful and merciless as herself; from Lisa - “Ah, Lisa-Lizaveta, I didn’t have time, I couldn’t overcome the quagmire of war...”.
And the Basque foreman, whom I have not yet mentioned, remains alone. Alone in the midst of pain, torment; one with death, one with three prisoners. Is it alone? He now has five times more strength. And what was best in him, humane, but hidden in his soul, was suddenly revealed, and what he experienced, he felt for himself and for them, for his girls, his “sisters.”
As the foreman laments: “How can we live now? Why is this so? After all, they don’t need to die, but give birth to children, because they are mothers!” Involuntarily, tears well up when you read these lines.
But we must not only cry, we must also remember, because the dead do not leave the lives of those who loved them. They just don’t grow old, remaining forever young in people’s hearts.
Why is this particular work memorable to me? Probably because this writer is one of the best writers of our time. Probably because Boris Vasiliev managed to turn the topic of war on that unusual side, which is perceived especially painfully. After all, we, including myself, are accustomed to combining the words “war” and “men,” but here are women, girls and war. Vasiliev managed to construct the plot in such a way, to tie everything together in such a way that it is difficult to single out individual episodes, this story is a single whole, fused. A beautiful and indivisible monument: five girls and a foreman, standing in the middle of the Russian land: forests, swamps, lakes, against an enemy, strong, hardy, mechanically killing, who significantly exceeds them in number. But they did not let anyone through, they stood and stand, poured out of hundreds and thousands of similar destinies, exploits, from all the pain and strength of the Russian people.
Women, Russian women, who defeated war and death! And each of them lives in me and other girls, we just don’t notice it. We walk the streets, talk, think, dream like them, but a moment comes and we feel confidence, their confidence: “There is no death! There is life and struggle for Happiness and for Love!”
Russian writers
Kolodinskaya secondary school
Poshekhonsky municipal district of Yaroslavl region
READERS’ CONFERENCE “WAR DOESN’T HAVE A FEMALE FACE”EXPLANATORY NOTE
Extracurricular activity: reading conference “War does not have a woman’s face” (based on the story by B.L. Vasilyev “And the dawns here are quiet ...”)
Subject area: literature.
Target: to promote the formation of patriotism among students using the examples of heroes works of art about the Great Patriotic War and examples of the lives of fellow countrymen.
Tasks:
A) educational:
– cultivate high patriotic qualities;
– form historical memory;
– cultivate a sense of respect for the defenders of the Fatherland;
– learn to defend your point of view with logical arguments;
– teach to be tolerant of other people’s opinions;
– develop the aesthetic and moral potential of students;
b) developing:
– develop reading powers of observation;
– develop emotional responsiveness and sensitivity, cognitive activity and initiative;
c) educational:
– expand the range of cognitive interests;
– help students evaluate the actions of the heroes of the story by B.L. Vasiliev “And the dawns here are quiet...” and express your attitude towards them;
Conditions for the effectiveness of the event:
Preliminary mood of students for a serious conversation, careful reading of the story by B.L. Vasiliev “And the dawns here are quiet...”, watching the feature film “The dawns here are quiet...” (director Stanislav Rostotsky), acquaintance with the biography of B.L. Vasilyeva (individual task), expressive reading of a poem by Yu.V. Drunina “Zinka” as a well-prepared student, an invitation to the event by a veteran of the Great Patriotic War, Penina A.S., preparation of individual assignments and messages.
Forms and methods of implementation: conversation, conversation, exchange of opinions, interview, analysis, story.
Age of conference participants: 11th grade (16-17 years old)
Duration: 1.5 hours (2 lessons)
PROGRESS OF THE EVENT
I. Opening remarks teachers about the theme of the Great Patriotic War in Russian literature.
II. Biography of B.L. Vasilyeva (report from a trained student).
III. The teacher's word about the story by B.L. Vasilyeva “And the dawns here are quiet...”
IV. Teacher's message about the problems of the story by B.L. Vasilyeva “And the dawns here are quiet...”
V. Conversation based on the story by B.L. Vasiliev “And the dawns here are quiet...”.
1) When and where does the story “And the dawns here are quiet…” take place?
2) Who are the main characters of the story?
5) Can we consider that the story contains a collective image of a woman at war?
6) Can the death of each of the girls be called heroic?
11) Who is the story addressed to?
12) What contrast did the creators of the film “And the Dawns Here Are Quiet...” reveal through the means of cinema?
13) Did you like the work of B.L. Vasiliev “And the dawns here are quiet...”? What about the movie? Explain why?
VI. Other works telling about a woman at war.
1) The teacher's word.
2) Reading a poem by Yu.V. Drunina “Zinka” was a well-prepared student.
VII. Women front-line soldiers of the Kolodinsky region.
Teacher's word.
IX. A minute of silence.
XI. Final word teachers.
EQUIPMENT AND DESIGN
Exhibition of books about the Great Patriotic War, portraits of the writer B.L. Vasiliev, exhibition of his books, feature film“And the dawns here are quiet” (director S.I. Rostotsky), portraits of S. Alexievich, Yu. Drunina, illustrations on the theme of war, book of essays “War in the history of my family” (Kolodinsky region), pressure gauge, phonogram “Ave, Maria ", computer, projector, screen.
There is an epigraph on the board: I left my childhood for a dirty car,
The 41st year is used to everything. (Yu. Drunina)
SCENARIO
I. The teacher’s opening speech on the theme of the Great Patriotic War in Russian literature (see Appendix 1).
II. Biography of B.L. Vasilyeva (report from a trained student) (see Appendix 2).
III. The teacher's word about the story by B.L. Vasilyeva “And the dawns here are quiet...”
True success came to B.L. Vasiliev after the publication of the story “And the dawns here are quiet...”. This is one of the best and readable works writer. The book was published in 1969, dramatized in 1971, and filmed in 1972 (directed by S.I. Rostotsky). For the story “The Dawns Are Quiet Here...” B. Vasiliev was awarded the USSR State Prize, and for the script “The Dawns Are Quiet...” - the Lenin Komsomol Prize. In 1997, the writer was awarded the A.D. Prize. Sakharov "For civil courage".
Boris Vasiliev made girls the heroes of his story “And the Dawns Here Are Quiet...” to show how cruel war is, because the beginning of all life is in women.
So, to women, fighters of harsh times, we dedicate our reader's conference“War does not have a woman’s face.” Today we will talk about representatives of the fair sex, who were inhumanly, cruelly “equalized” by the war, viciously trampling on their charm, tenderness, and love.
IV. Teacher's message about the problems of the story by B.L. Vasilyeva “And the dawns here are quiet...”
The theme of war, heroism, and human suffering could not leave our contemporaries indifferent. The story of B.L. Vasilyeva’s “And the dawns here are quiet...” immediately won readers’ hearts. Vasiliev came to literature as an experienced, mature person, those who know life, the spiritual state of his contemporary, the measure of his sufferings and joys. Hence the true humanity of his heroes, their high level of responsibility for themselves, their people and their Motherland.
The main principle of the artistic construction of the story is contrast: a comparison of joyful and sad, the transition from irony and jokes to tragic and heroic chords. The writer organically combines the ordinary, everyday with the sublime, heroic and thereby creates the internal dynamism of the narrative and makes reading the work exciting. The main characters of the story are women. The feminine principle will give the story a special lyricism, sincerity and tragedy. Colliding two principles: the fragile world of female maiden beauty with the world of evil, cruelty, murder, B. Vasiliev, with all the pathos of his work, speaks of the incompatibility, incompatibility of two concepts - woman and war. After all, a woman is a mother, “in whom hatred of murder is not inherent in nature itself.” By the end of the story, all the main characters die, and with the death of each, a small thread is broken from the “endless yarn of humanity.” From chapter to chapter, the bitterness of the irreversibility of losses increases.
V. Conversation based on the story by B.L. Vasilyeva “And the dawns here are quiet...”
1) When and where does the story “And the dawns here are quiet…” take place?
The story “The Dawns Here Are Quiet...” is set in May 1942. The place is the unknown 171st crossing.
2) Who are the main characters of the story?
Soldiers of an anti-aircraft machine-gun battalion are serving on a quiet patrol. These are girl fighters. There are five of them in total: Margarita Osyanina, Evgenia Komelkova, Elizaveta Brichkina, Galina Chetvertak, Sonya Gurvich. Pursuing enemy saboteurs in the forest, they, led by Sergeant Major Fyodor Evgrafych Vaskov, enter into an unequal battle with the Nazis: six against sixteen.
3) What is unique about the character of each of the five female anti-aircraft gunners?
All the girls, the heroes of the story, are endowed with uniqueness. Each has a unique character. Zhenya Komelkova has a bright beauty that is admired by both men and women, friends and even enemies. The originality of Rita Osyanina’s appearance is bright expressed feeling debt. Sonya Gurvich is characterized by poetry combined with fragility and insecurity, which evoke a desire to protect and protect. The main thing about Liza Brichkina is her closeness to nature, her open cordiality, and the special thing about Galka Chetvertak is her ability to transform reality, her irrepressible fantasy.
4) Why does the author choose exactly these types of heroines to reveal his plan?
Each of the girls has their own harsh account of the Nazis. Rita Osyanina’s husband died “on the second day of the war in a morning counterattack.” Zhenya Komelkova’s mother, sister, brother were killed with a machine gun... The families of the command staff were captured and put under machine gun fire.” U Sonya Gurvich- “a friendly and very large family” in occupied Minsk. Liza Brichkina has a failed “premonition of dazzling happiness.” Galka Chetvertak has unfulfilled fantasies.
5) Can we consider that the story contains a collective image of a woman at war?
From the unique characters of the five anti-aircraft gunner girls in the story, a capacious collective image of a Soviet woman, a patriotic woman, a defender of her Motherland, imperceptibly grows. In fact, each of the five heroines becomes the bearer of one of the essential qualities of this collective image.
On the pages of the story “And the Dawns Here Are Quiet...” the femininity and charm of young heroines is poeticized. The everyday life of an anti-aircraft battery, the life of a girls' unit, even how the girls, in a purely feminine way, establish relationships with each other, sometimes breaking the chain of command, unanimously try to “sabotage” the orders of the “cracker” Vaskov, are depicted with humor. B. Vasiliev writes with bitterness about how the harsh reality of war comes into irreconcilable contradictions with the love of life, tenderness, and kindness inherent in a woman. We find confirmation of this in the scene when Rita Osyanina kills her first German. The shock of the murder, although it is just retribution, is so great that when congratulating the girls, “she smiled with a pasted-on smile. She was shaking all night.” Zhenya Komelkova experiences the same feelings in hand-to-hand combat, when for the first time she has to kill an enemy with a butt “on a living head” (as Vaskov says). And this despite the fact that both Rita and Zhenya have their own, and considerable, score to settle with the fascists.
What unites all the heroines of the story is their readiness to engage in battle with enemies without hesitation. Five girls stood in an embrace with three-line soldiers against an entire sabotage group of specially trained killers, trained and armed to the teeth. But now, without demanding any discounts for themselves and without even thinking about them, they are doing everything to stop the enemy. And for this they do not spare their lives.
Woman and war are incompatible. A woman's very nature has a hatred of murder.
6) Can the death of each of the girls be called heroic?
Scene of death Lisa Brichkina:
Scene of death Sonya Gurvich:
– watching a fragment of the film “The Dawns Here Are Quiet.”
Scene of death Gali Chetvertak:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 11);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Scene of death Zhenya Komelkova:
– watching a fragment of the film “The Dawns Here Are Quiet.”
Scene of death Rita Osyanina:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 14);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Conclusion: The death of each of the girls can be called heroic. The feat of each of the heroines of the work becomes especially weighty and significant because they, women, filled with love for people, destined by nature itself to give and continue life on Earth, tender and fragile, shoulder the burden of military concerns, enter into a merciless battle with cruel invaders and die, defending at the cost of their barely begun lives the freedom and future of their Motherland. It would seem that the unremarkable foreman Vaskov, the female anti-aircraft gunners Rita Osyanina, Zhenya Komelkova, Lisa Brichkina, Sonya Gurvich, Galya Chetvertak do not participate in any major military operations. But they defended that piece of land that they were entrusted with protecting. The girls showed unshakable firmness, courage, and deep humanity.
7) With what feeling does Fedot Evgrafych Vaskov say goodbye to each of the five girls?
Sergeant Major Vaskov’s soul hurts: the girls have to fight, kill the enemy and die themselves. It seems to him that he commands them poorly and is guilty of them all around. “Enough of those who died. Enough for the rest of my life,” he reflects bitterly after the first losses, dreaming of saving the rest. When the foreman sums up the sad results, he inextricably unites all the girls with his grief, the desire to take revenge, to perpetuate the memory of them.
8) How does the character of Sergeant Major Vaskov and the attitude of the author-narrator towards him change throughout the story?
Introducing the reader to Vaskov, Boris Vasiliev resorts to direct authorial characterization, improperly direct speech, and excursions into the hero’s past. The past of antiquity explains a lot about it today. First of all, he considered it “a big hindrance that he is a person with almost no education,” although it was not his fault: “right at the end of ... the fourth (grade), a bear broke his father.” And from the age of fourteen he became “the breadwinner, the water provider, and the breadwinner” in the family. “Vaskov felt older than he was.” And this, in turn, explains why in the army he was a foreman not only by rank, but by his “senior essence,” which became a peculiar feature of his worldview. The author sees Vaskov’s seniority as a kind of symbol. A symbol of the supporting, fundamental role of people like Vaskov, conscientious workers, hard workers throughout life - and in the military too. As a “senior”, he takes care of the fighters, takes care of order, and ensures strict fulfillment of the task. “I saw the whole meaning of my existence in the punctual execution of someone else’s will.” But pedantic adherence to every letter of the regulations reveals the limited horizons of the foreman and often puts him in a ridiculous position.
The relationship between the foreman and the anti-aircraft gunners is difficult at first precisely because, from Vaskov’s point of view, the girls constantly violate the regulations, and from the girls’ point of view, because Vaskov blindly follows the regulations, unable to take into account living life, which does not fit into the rules. statutory paragraphs. At this stage of the relationship, the girls for the foreman are “eh, warriors!”, and for the girls he is “a mossy stump: he has twenty words in stock, and those are from the regulations.” (The very word “charter” and other military terms never leave Vaskov’s tongue. Trying, for example, to express his impression of the piercing beauty of Zhenya Komelkova, he says: “The incredible power of the eyes, like a one hundred and fifty-two-millimeter howitzer gun.”)
The mortal battle with saboteurs became the test in which Vaskov’s character was revealed more deeply and matured.
The need to maintain good spirits in his small detachment forces the foreman, who is stingy with the expression of feelings, to “attach a smile with all his might to his lips.” Recognizing the girl fighters, he is imbued with warm sympathy for the grief of each of them. Having become close to these girls through a common misfortune, common losses, a common desire to win, to defend their land, he says: “What kind of elder am I to you, sisters? I’m kind of like a brother now.” So in battle it is filled with living, beneficial humanity, the soul of the stern Vaskov is straightened out, and the girls are imbued with respect for him, trusting him life experience- military, labor.
But another change in the character of the hero is even more significant. By way of thinking, by habits, Vaskov is a performer, worthy of the highest praise for his conscientiousness and funny in his pedantry. And the situation in which he found himself required from him the ability to make decisions independently, guess about the enemy’s plans, and prevent them. And, overcoming the initial confusion and apprehension, Vaskov acquires determination and initiative. And he does everything that could really be the only correct, necessary and possible thing in his situation. The sergeant-major’s very attitude towards the charter did not change at that moment, but now it does not cause a smile, since Fedot Evgrafych seeks support for his thoughts in it. Vaskov reasons: “War is not just about who shoots whom. War is about who will change someone's mind. The charter was created for this purpose, to free your head, so that you can think into the distance, on the other side, for the enemy.”
Boris Vasiliev sees the basis for such a spiritual transformation of the foreman in his primordial moral qualities, first of all, in an ineradicable sense of responsibility “for everything in the world”: for order at the patrol and for the safety of government property, for the mood of subordinates and for their compliance with statutory requirements. Thus, in the story “And the Dawns Here Are Quiet...” the connection between the conscientiousness, diligence of the Soviet worker and his ability for high civic activity is revealed.
At the end of the story, the author raises his hero to the heights of conscious heroism and patriotism. The author’s intonation, merging with Vaskov’s voice, reaches pathos: “Vaskov knew one thing in this battle: not to retreat. Don’t give up a single piece of land on this coast to the Germans. No matter how hard it is, no matter how hopeless it is, to hold on. ...And he had such a feeling, as if all of Russia had come together behind his back, as if it was he, Fedot Evgrafych Vaskov, who was now her last son and protector. And there was no one else in the whole world: only him, the enemy and Russia.”
A single feat - the defense of the Motherland - equates Sergeant Major Vaskov and the five girls who “hold their front, their Russia” on the Sinyukhin Ridge. This is how another motive of the story arises: everyone on his own sector of the front must do the possible and the impossible for victory, so that the dawns are quiet. This is the measure of the heroic, according to Boris Vasiliev.
9) For what purpose does Boris Vasiliev use the retreats into the past of Sergeant Major Vaskov and each of the five girls?
Past foreman Vaskov:
– retelling an episode of the story “And the dawns here are quiet...” (chapters 5, 6);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Past Rita Osyanina:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 2);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Past Lisa Brichkina:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 7);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Past Sonya Gurvich:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 8);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Past Gali Chetvertak:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 10);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Past Zhenya Komelkova:
– retelling an episode of the story “And the dawns here are quiet...” (Chapter 13);
– watching a fragment of the film “The Dawns Here Are Quiet.”
Conclusion: Boris Vasiliev uses retreats into the past of Sergeant Major Vaskov and each of the five girls in order to show the beauty, charm of peaceful life and the monstrosity of war. All of them could have lived, raised children, brought joy to people... But there was a war... None of them had time to fulfill their dreams.
10) How do you understand the title of the story - “And the dawns here are quiet...”? How does a landscape help the author reveal the meaning of the title of a work?
War does not have a woman's face. She ruined everything: the beauty of Zhenya Komelkova, and the motherhood of Rita Osyanina, and the dream of Liza Brichkina, and the talent of Sonya Gurvich, and the childhood of Galya Chetvertak. The worst thing is that she broke the thread in the “endless yarn of humanity.” Humanity lost not only five girls, but also their unborn children and their children's children. This is the whole tragedy. Quiet Dawns is a monument to all those who did not return from the war.
Touching the girls' feat contributed to the awakening of the civic conscience of a carefree young tourist who was composing a cheerful letter to his friend. The second part of his letter is written in a completely different tone: “Here, it turns out, they also fought... They fought when you and I were not yet in the world. Albert Fedotich and his father brought a marble slab. We found the grave - it is across the river, in the forest. The captain's father found her using some of his signs. I wanted to help them carry the stove, but I didn’t dare.” He didn’t dare, feeling the incompatibility of his carefree, “heavenly” life with the tragedy that happened here many years ago. The final phrase of the letter, which gives the title to the whole story, shows the young man’s surprise at the unexpected changes taking place in him: “And the dawns here are quiet, quiet, I only saw them today.” This phrase illuminates with light lyrical feeling heroic story harsh days of war.
11) Who is the story addressed to? (epilogue)
The story is addressed to the younger generation. The girls died. They were only two or three years older than you. “I wanted to talk about the experiences of today's nineteen-year-olds. Tell them in such a way that they themselves seem to have walked the roads of war, so that the dead girls seem close and understandable to them - their contemporaries. And at the same time, girls of the thirties,” this is how the writer addresses his young readers.
This short story cannot leave either adults or teenagers indifferent. For everyone tragic fate young girls who gave their lives for their Motherland, for victory in a brutal battle against fascism, personify the cost at which our people achieved victory.
12) What contrast did the creators of the film “And the Dawns Here Are Quiet...” reveal through the means of cinema?
The creators of the film “The Dawns Here Are Quiet” (directed by Stanislav Rostotsky) managed to deepen the contrast between peaceful, happy life and war, death, which lies at the heart of the story. By showing the war in black and white, and the peaceful life of the girls in color, the director wanted to emphasize that happiness is real, normal life. The lack of color in the depiction of war seems to remind us that the beauty of nature does not touch or offend anyone. All the strength of the soul is given to the fight.
13) Did you like the work of B.L. Vasiliev “And the dawns here are quiet...”? What about the movie? Explain why?
Students express their opinions.
VI. Other works telling about a woman at war.
1) The teacher's word.
We know a lot about the Great Patriotic War. We read books, watched films, and heard stories from veterans more than once. But the war described in the story “The Dawns Here Are Quiet...” by B. Vasilyev is amazing. If a soldier stands to the end and dies, then he fulfills his duty to his homeland. What if this soldier is a woman whose main duty is to prolong life on Earth?
For a just cause, for Soviet people was free and happy, millions of Soviet people gave their lives. They all wanted to live, but they died so that people could say: “And the dawns here are quiet...” Quiet dawns cannot be in tune with war, with death. The girls died, but they won and didn’t let a single fascist through. They won because they selflessly loved their Motherland.
The Belarusian writer Svetlana Alexievich wrote a story about young girls who, in 1941, left with retreating units, besieged military registration and enlistment offices, by hook or by half-childish crook, added a year or two to themselves, and rushed to the front. Her work “War Doesn’t Have a Woman’s Face” contains the memories of many women front-line soldiers, in which they talk about their fate, how their lives turned out in those terrible years, and about everything they saw there at the front. But this work is not about famous snipers, pilots, tank crews, but about “ordinary military girls,” as they call themselves. Taken together, the stories of these women paint a picture of a war that does not have a feminine face at all. The most famous book Svetlana Alexievich and one of the most famous books about the Great Patriotic War, where the war is shown through the eyes of a woman, “War Has Not a Woman’s Face” has been translated into 20 languages.
The poet Yulia Vladimirovna Drunina belongs to a generation whose youth was tested for maturity on the fronts of the Great Patriotic War. As a 17-year-old graduate of a Moscow school, she, like many of her peers, voluntarily went to the front in 1941 as a soldier in a medical platoon. In 1942, she would say about herself (let’s look at the epigraph of the reader’s conference):
I left my childhood for a dirty car,
To an infantry echelon, to a medical platoon.
I listened to distant breaks and did not listen
The 41st year is used to everything.
And later in Drunina’s poems this motif of leaving childhood into the fire of war will be heard, from which she did not return even after years and decades.
Now please listen to Yulia Vladimirovna Drunina’s poem “Zinka,” which the poetess dedicated to the memory of her fellow soldier, Hero Soviet Union Zinaida Samsonova.
2) Reading a poem by Yu.V. Drunina “Zinka” is a well-prepared student (see Appendix 3).
VII. Women front-line soldiers of the Kolodinsky region.
Teacher's word.
Four women from the village of Kolodina and nearby villages went to the front. These are Vorobyova Taisiya Ivanovna, Faticheva Anna Semyonovna, Bokareva Nina Dmitrievna, Penina Anna Stakheevna. Fortunately, they returned from the front alive and well. Vorobyova T.I. fought on the Belorussian front. Awarded the medal "For Victory over Germany". She died in 1987. Faticheva A.S. fought on the Western, 3rd Baltic, and 1st Ukrainian fronts. She was awarded the medal “For Victory over Germany” and the badge “Excellence in Sanitary Service”. She died in 1988. Bokareva N.D. fought on the Western and Leningrad fronts. She was awarded the medals “For the Defense of Leningrad”, “For Military Merit”, “For Victory over Germany”. She died in 1994. All women were medical workers during the war and saved the lives of hundreds of soldiers.
Today our guest is Anna Stakheevna Penina, a participant in the Great Patriotic War. She will share her memories with us: she will talk about her roads at the front.
The story of Anna Stakheevna Penina, a veteran of the Great Patriotic War.
The children thank Anna Stakheevna for interesting story and give her flowers.
VIII. The teacher's word about home front workers, widows of war participants.
During the war, women not only fought. After taking their husband, son, and brother to the front, they worked ten to twelve hours at a machine or plowed, sowed, harvested huge fields, and raised children. I would like to tell you about one of these women, my grandmother, the widow of a participant in the Great Patriotic War, Maria Mikhailovna Kozlova, who was faithful to her husband until last days of her life and died last year at the age of 91. At the end of her life, she often said: “She lived both her life and the century of Nikolai (husband Nikolai Dmitrievich Kozlov).” (see Appendix 4).
IX. A minute of silence.
Almost 65 years have passed since the Great Patriotic War ended, but its echo still does not subside in human souls. Yes, and time has its own memory. We have no right to forget the horrors of this war so that it does not happen again. We have no right to forget those soldiers who died so that we could live now. We must remember everything! Let's honor the memory of those who fell during the Great Patriotic War with a minute of silence. (Pressure gauge included.)
X. Slide presentation “War does not have a woman’s face.”
Now please look at the slide presentation “War Doesn’t Have a Woman’s Face.” We dedicate it to the memory of women who participated in the Great Patriotic War and the widows of World War II participants.
The phonogram “Ave, Maria” plays. On the slides, photographs of women participants in the Great Patriotic War and widows of war participants who are no longer alive smoothly go into the clouds as a symbol of that life, a symbol of eternity.
XI. Final words from the teacher.
It just so happens that our memory of the war and all ideas about it are male. This is understandable: it was mostly men who fought. But over the years, people more and more begin to comprehend the immortal feat of a woman in war, her greatest sacrifice, sacrificed on the altar of Victory. After all, war does not have a woman’s face.
LIST OF REFERENCES USED
Egorova N.V., Zolotareva Lesson developments in Russian literature. XX century – M.: VAKO, 2003.
Vasiliev B. And the dawns here are quiet... - M.: Children's literature, 1984.
Drunina Yu. Poems. – M.: EKSMO, 2004.
Book of essays “War in the history of my family” (Kolodinsky region).
APPLICATIONS
APPENDIX 1
Teacher's opening speech on the theme of the Great Patriotic War in Russian literature
Victory Day 1945 is moving further into the past. Every year there are fewer and fewer living witnesses - veterans of the Great Patriotic War. And so that people do not forget about the horrors that war brings with it, writers, artists, and filmmakers talk in their works about those distant bitter days.
The theme of the Great Patriotic War has not disappeared from Russian Soviet literature over the years. New understanding military theme falls during the “thaw” period. This is connected with the literary generation, whose youth fell on the war years. Out of every hundred boys born in 1923-24, only three remained alive after the war. But those who were lucky enough to return from the war had a colossal emotional experience; it was as if they had lived for a whole generation, speaking on behalf of the generation. Twenty years after the war, Yuri Bondarev wrote: “During the long four years of war, every hour feeling the iron breath of death near our shoulder, silently passing by fresh lumps with inscriptions in chemical pencil on tablets, we have not lost the old world of youth, but we have matured for twenty years and, it seemed, they lived them in such detail, so intensely that these years would be enough to live on for two generations.” This spiritual experience, the creative energy of the front generation very significantly influenced the post-war national culture. Outstanding film directors and artists, composers and musicians, sculptors and painters emerged from the ranks of this generation. Especially many among creative people this generation of writers - poets and prose writers.
At the turn of the 50-60s, a whole artistic movement was formed, which began to be called “lieutenant’s prose.” One after another, stories by Y. Bondarev (“Battalions Ask for Fire” and “Last Salvos”), G. Baklanov (“South of the Main Strike” and “An Inch of Earth”), B. Balter (“Goodbye, Boys”), V. Bykova (“Crane Scream”, “The Third Rocket”, “Front Page”), V. Astafieva (“Starfall”), K. Vorobyov (“Scream” and “Killed near Moscow”). These works caused great resonance, controversy - both sharp rejection and enthusiastic approval. “Lieutenant's Prose” continued the traditions of V. Nekrasov’s story “In the Trenches of Stalingrad.” The authors are front-line soldiers, as A.T. said. Tvardovsky, “they saw the sweat and blood of war on their tunic,” “they did not rise higher than lieutenants and did not go further than the regiment commander.” They opposed ideological stereotypes. They wrote the bloody truth about the war, what they themselves suffered. The favorite genre of these authors is the lyrical story.
In the “post-thaw” period, the tradition of the front-line lyrical story was continued by Boris Vasiliev (“And the dawns here are quiet…”), Vyacheslav Kondratyev (“Sashka”, “Leave due to injury”).
It is impossible to overestimate the educational value of literature about war. Best works Soviet writers make us comprehend the greatness and beauty of patriotism, think about the bloody price that was given for every inch native land, to comprehend at what price happiness was won and peace was found.
APPENDIX 2
Biography of B.L. Vasilyeva (report from a trained student)
Boris Vasiliev is one of the authors of works about the Great Patriotic War. He was born on May 21, 1924 in the city of Smolensk in the family of a career Red Army commander. After finishing 9th grade in July 1941, he volunteered for the front. Participated in the Smolensk defensive battle. In 1943, after a shell shock, he was sent to the Military Academy of Armored and Mechanized Forces. After graduating in 1948, he worked in the Urals.
Published since 1954. Since childhood, Vasiliev was fascinated by the stage, and therefore his first works were plays. Boris Lvovich is the author of such novels as “Don’t Shoot White Swans”, “Not on the Lists”, stories “Tomorrow There Was War”, “Drop by Drop”, etc. He is the author of collections of stories and film scripts.
APPENDIX 3
Yu.V. Drunina
Zinka
In memory of a fellow soldier,
Hero of the Soviet Union
Zinaida Samsonova
We lay down by the broken fir tree, Waiting for it to start getting brighter. Under an overcoat, it’s warmer for the two of us On the chilled, rotten ground.
- You know, Yulka, I am against sadness, But today it doesn’t count. Somewhere, in the apple outback, Mom, my mother lives.
You have friends, beloved, I have only one. The house smells of sauerkraut and smoke, Spring is bubbling beyond the threshold.
It seems old: every bush is waiting for a restless daughter... You know, Yulka, I am against sadness, But today it doesn’t count.
We barely warmed up. Suddenly an unexpected order: “Forward!” Again the blonde soldier walks nearby in a damp overcoat.
Every day it became worse. They walked without mines and banners. Our battered battalion was surrounded near Orsha.
Zinka led us on the attack, We made our way through the black rye, through funnels and gullies, through mortal boundaries.
We did not expect posthumous glory, We wanted to live with glory. ... Why is the Blonde soldier lying in bloody bandages?
I covered her body with my overcoat, clenching my teeth. The Belarusian winds sang about the remote gardens of Ryazan.
You know, Zinka, I am against sadness, But today it doesn’t count. Somewhere in the apple outback, Mom, your mother lives.
I have friends, my love. She had you alone. The house smells of sourdough and smoke, Spring is just around the corner.
And the old woman in a colorful dress lit a candle at the icon - I don’t know how to write to her, So that she doesn’t wait for you.
APPENDIX 4
A teacher's story about the widow of a participant in the Great Patriotic War, Maria Mikhailovna Kozlova
On June 22, 1941, the Great Patriotic War began. Maria Mikhailovna remembers this day very well: “In the evening, women arrived from Ovchinnikov, where they had gone to buy potatoes, and reported that the war had begun. All the village men gathered in the foreman's house. We were very upset and did not sleep all night. They boiled eggs and sliced bread: they thought that Nikolai was about to be taken to war, one of the village men had already been taken.”
On July 11, 1941, Nikolai Dmitrievich worked on a collective farm: he was building a farm. The foreman came and said: “Kolya, throw the log and go home. They're taking you to war." Maria Mikhailovna learned that her husband had received a summons from her sisters-in-law when she was in the field haymaking.
On the morning of July 12, 1941, the entire village came to see Nikolai Dmitrievich off to the front. He said goodbye to everyone, then went up to his son, who was sitting on his grandmother’s lap, stroked his head and said: “Forgive me, dear son, grow up big and don’t give in to anyone.”
Maria Mikhailovna and other village women went to see off their husbands. Maria Mikhailovna recalls: “Nikolai carried Valentina (daughter) in his arms before Nikitin. Then my mother and daughter returned home. And I went further, to Savinsky. In Savinsky they began to say goodbye to each other. Both understood that they would never see each other again in this world. Nikolai said: “Masha, don’t get married again, raise our children the way your mother raised you. When you get home, read the letter from me. It’s in the closet, in a book.” We women said goodbye to our husbands with tears in our eyes. They told us that they would pass a rye field, stand in a vegetable garden and wave to us. Maybe they waved to us, but we didn’t see it anymore, since the rye was very high.
I came home. In the closet I found a letter that had the following content: “I am sitting in my home at my home table for the last time. I won't be here again. Masha, please don’t get married, raise children.” I looked at my husband’s clothes and for a long, long time I could not calm down, come to my senses, I even rolled on the floor, because in my arms I still had a daughter, who was 2 years 4 months old, and an eight-month-old son. The next day, a woman I knew brought us two white rolls, which Nikolai had sent from Poshekhonye. This was the last gift from my husband. I didn’t eat it myself, I was thinking about us.” Maria Mikhailovna was only 23 years old at that time.
No matter how hard it was for Maria Mikhailovna to realize that her husband could die at any moment, but, no matter what, she had to live and feed her children. Maria Mikhailovna worked on a collective farm during the Great Patriotic War. She got up early and went to bed late. All healthy men were taken to the front. Only women, old people and children remained in the village. All the hard work lay on the fragile women's shoulders, and they were performed mainly manually.
In early spring, they carried manure to the field on old nags, piled it up and covered it with snow. In late spring, this manure was already scattered across the field. Since all the good horses were taken to war, they began to train bulls and cows to work in the plow. Women also plowed themselves. It was very hard and difficult, but they did not leave a single piece of unplowed land.
In the summer, at the end of June and throughout July, they cut the grass with a scythe, dried the hay, transported it on horses to the barns or made large stacks. They especially tried to grow flax. During the summer they weeded it more than once. In August, they manually pulled, beat, and then spread them across the meadows and waited about a month for the flax to settle. Then he was put into “grandma”, knitted and sent to factories. Flax provided good income for the collective farm.
In September, they reaped the rye with sickles, put it into worts, and then threshed it. Wheat and oats were mowed by hand, collected and placed in heaps. In the fall, they dug potatoes until the frosts.
The harvests on the collective farm were not bad and they harvested everything that grew, did not let anything go to waste, but almost all the grain was handed over to the state.
In winter, flax was crushed and torn by hand on the collective farm. It was very hard work.
During the war, girls and women were “driven” to various jobs: they dug trenches, built roads, cut and transported timber, and floated it down the river in the spring. There was no payment for these public works at all; the collective farm simply had to fulfill the plan that the state had established.
There was no time to rest in the evening either. Women spun yarn, ruffled flax in order to hand it over to the state, wove canvas and sewed clothes for themselves and their children, knitted mittens and chuni (slippers) from flax.
There weren't enough products. Maria Mikhailovna is still surprised how she and her children survived, because often everyone went to bed hungry.
Life in the rear was no better than at the front, but no blood was shed. But in spite of everything, people believed in victory, believed that sooner or later the enemy would be defeated, and therefore they courageously endured both hardship and hunger, while showing true heroism.
Time passed... Every day Maria Mikhailovna waited for news from her husband. And then, at the beginning of 1943, the long-awaited letter arrived. Unfortunately, it did not survive, but Maria Mikhailovna remembered its contents well: “I was in the hospital. Was wounded in right hand– two fingers do not bend. Now I’m going into battle at Stalingrad. I gave my address to many of my colleagues. If something happens to me, they will definitely let you know.” That's all. This was the first and last news from the front. What's wrong with him? Where is he? Nobody knows anything. It was as if the person had never existed. Perhaps Nikolai Dmitrievich died in Battle of Stalingrad. But these are just guesses.
In the “Book of Memory” there is an entry: “Kozlov Nikolai Dmitrievich. Born 1912 village Plishkino. Kr-ts. Missing on May 00, 1943.”
Maria Mikhailovna was 25 years old in 1943. She continued to believe that her husband would return and they would raise children together. But this did not happen.
May 9, 1945. Maria Mikhailovna, together with other village women, dumped firewood into the Sokhot River for rafting. She recalls: “When we were walking home from work, my brother-in-law came across us and told us that the war had ended. I cried both from joy and grief. It was joyful that the long-awaited victory had arrived, but it was sad that her husband would never return, although... there was still a drop of hope in my soul. What if he’s alive, suddenly he’ll take it and come. Everyone went to the collective farm office, where they gave white rolls in honor of the victory.”
This great day, Victory Day, is also remembered by Maria Mikhailovna’s daughter, Valentina, who was six years old at that time. She says: “A large plane was flying low and low. We children ran out into the street and shouted: “The war is over! The war is over! and jumped for joy, although they hardly understood what it meant - “the war is over.”
Valentina and her younger brother Victor never had the opportunity to say such an affectionate and gentle word “dad”.
An analysis of Vasiliev’s work “The Dawns Here Are Quiet” will be useful in preparing for literature lessons for 8th grade students. This is a surprisingly heartfelt tragic story about the role of women in war. The author touches on problems historical memory, courage and boldness, heroism and cowardice, inhuman cruelty. The fate of five young girls, for whom the first battle was the last, was truthfully and touchingly portrayed by the writer who went through the entire war - Boris Vasiliev.
Brief Analysis
Year of writing– 1969.
History of creation– the text was originally conceived as a story about seven heroes who were able to defend their combat objective at the cost of their own lives. However, having rethought the plot, adding novelty to it, the author changed the idea - 5 anti-aircraft gunners appeared who came under the command of Sergeant Vaskov.
Subject- feat of women in war.
Composition– narration from the sergeant’s point of view, through his eyes the author shows the events at the crossing. Memories, retrospectives, pictures from the past are a fairly common technique that harmoniously weaves into the narrative the stories of the destinies of the girls and the sergeant himself.
Genre- story.
Direction- realistic military prose.
History of creation
The first publication took place in the magazine “Youth” in 1969. Boris Vasiliev wanted to write a story about a feat that actually took place in 1942 in one small outpost. Seven soldiers who participated in the operation stopped the enemy at the cost of their lives. But after writing a few pages, the author realized that his plot was one of thousands; there are a lot of such stories in literature.
And he decided that the sergeant would have girls under his command, not men. The narrative began to sparkle with new colors. This story brought great fame to the author, because no one wrote about women in the war, this topic was left without attention. The writer approached the creation of images of anti-aircraft gunners very responsibly: they are completely unique and absolutely believable.
Subject
Subject completely new for military prose: war through the eyes of a woman. By artistically transforming reality, endowing the heroines with completely different individual traits, the author achieved amazing verisimilitude. People believed in real girls, especially after the film adaptation of the story in 1972.
Meaning of the name is revealed at the very end of the story, when the surviving foreman and the son of one of the dead anti-aircraft gunners come to the site of the girls’ deaths after the war to erect a monument. And the phrase that became the title of the story sounds like the thought that life goes on. The mournful calm of these words contrasts with the terrible tragedy that happened here. Main idea, embedded in the title of the story - only nature lives correctly, everything in it is quiet and calm, and in human world– storms, confusion, hatred, pain.
Feat in war is a common thing, but a woman fighter is something touchingly sacred, naive and helpless. Not all heroines understand what war is, not all have seen death: they are young, diligent and full of hatred for the enemy. But the girls are not ready to face a real war: the reality turns out to be worse and more merciless than the young “fighters in skirts” could have expected.
Anyone who reads Vasilyev’s story inevitably comes to the conclusion that the tragedy could have been avoided if the foreman and his “combat units” had been more experienced, if only... But war does not wait for readiness, death in war is not always a feat, there is an accident, there is stupidity , there is inexperience. The truthfulness of the work is the secret of its success and recognition of the author’s talent, and problems– a guarantee of the demand for the work. What this work teaches should remain in the hearts of future generations: war is scary, it does not distinguish between gender and age, we must remember those who gave their lives for our future. Idea of all the works of Boris Vasiliev about the war: we must remember those terrible years in the life of the country, preserve and pass on this knowledge from generation to generation so that the war does not happen again.
Composition
The narration is told from the perspective of Sergeant Vaskov, his memories form the main plot. The narrative is interspersed lyrical digressions, excerpts from childhood from memories of various years that emerge in the memory of the foreman. Through his male perception, the author presents images of gentle, touching anti-aircraft gunner girls, revealing the motives for which they end up at the front.
To introduce readers to the next heroine, the author simply transfers the action to her past, replaying the brightest moments from the character’s life. The pictures of peaceful life are so inconsistent with the horrors of war that, returning to the events at the crossing, the reader involuntarily wants to return to peacetime. Compositionally, the story contains all the classic components: exposition, plot, climax, denouement and epilogue.
Main characters
Genre
The work is written in the middle genre of military prose - a story. The term “lieutenant's prose” appeared in literature thanks to those who, having gone through the years at the front as junior officers, became writers, covering the events experienced during the Patriotic War. Vasiliev's story also refers to lieutenant's prose, the author has his own unique view of military reality.
In terms of content, the work is quite worthy of the novel form, and the ideological component, perhaps, has no equal in Russian literature of that period. War through women's eyes is even more terrible because next to death there are heels and beautiful lingerie, which beauties persistently hide in duffel bags. Vasiliev's story is completely unique in its piercing tragedy, vitality and deep psychologism.
Work test
Rating analysis
Average rating: 4.2. Total ratings received: 421.
