The theme of revolution in Russian literature of the 20th century. Civil war in the works of Russian writers of the twentieth century

One of the best monuments of any era is the brightest and talented works fiction.

The 1917 revolution in Russia ended the ideological struggle at the beginning of the 20th century. The materialistic worldview with its attitude that man must create his own new life, destroying the old way of life to the ground and pushing aside the expedient laws of evolution.

A. Blok, S. Yesenin, V. Mayakovsky joyfully welcomed the great event: “Listen, listen to the music of the revolution!” (Block)"Glorify yourself four times, blessed one" (Mayakovsky),“Why do we need icon saliva on our gates to the heights?” (Yesenin). Romantics, they did not heed the warnings of Pushkin, Dostoevsky, Tolstoy and did not read the Holy Scriptures, the prophecies of Jesus Christ:

“For nation will rise against nation, and kingdom against kingdom, and there will be famines and pestilences and earthquakes in places... Then they will hand you over to torment and kill you... And then many will be offended; and they will betray each other and hate each other; And many false prophets will arise and deceive many..." (Gospel of Matthew, chapter 24, paragraphs 6-12)

And everything came true: people rebelled against people, brothers against brothers, “famine”, devastation, persecution of the church, increase in lawlessness, the triumph of false prophets from Marxism, seduction by the ideas of “freedom, equality, brotherhood”, which were reflected in the works of the most talented, the most chosen . And the ending of these chosen ones is tragic. The revolution “sputtered around, accumulated and disappeared with a devilish whistle,” and Blok, Gumilyov, Yesenin, Mayakovsky and many others were gone.

M. Gorky in “Untimely Thoughts” and I.A. Bunin in “Cursed Days” testified to the general brutality, mutual hatred, anti-people activities of Lenin and his “commissars”, the death of centuries-old culture and person in the process of revolution.

Russian philosopher Ivan Ilyin in his article “The Russian Revolution was Madness” gave a general view of it and analyzed the position and behavior of all layers of the population, groups, parties, classes in the event. “She was madness,” he wrote, “and, moreover, destructive madness; it is enough to establish what she did to Russian religiosity of all faiths... what she did to Russian education... to the Russian family, to a sense of honor and self-dignity , with Russian kindness and patriotism..."

There are no parties or classes, Ilyin believed, that would fully understand the essence of the revolutionary breakdown and its consequences, including among the Russian intelligentsia.

Its historical guilt is unconditional: “Russian intellectuals thought “abstractly,” formally, egalitarianly; idealized what was alien without understanding it; “dreamed” instead of studying the life and character of their people, observing soberly and holding on to the real; indulged in political and economic “maximalism”, demanding in everything immediately the best and greatest; and everyone wanted to be politically equal to Europe or outright surpass it.”

3. N. Gippius, brought up on the old, Christian morality, left the following lines about the essence of what was happening:

Devils and dogs laugh at the slave dump,

The guns laugh, mouths open.

And soon you will be driven into the old stable with a stick,

People who do not respect sacred things.

These lines deepen the problem of the guilt of the “amateurs” from the revolution before the people and predict a new serfdom under the Soviet regime.

Maximilian Voloshin was not part of the “left front” literature. His poem " Civil war» dictated by the Christian view of events and great love to Russia.

And the roar of battles does not cease

Across all the expanses of the Russian steppe

Among the golden splendors

Horses trampled crops.

And here and there between the rows

The same voice sounds:

“Whoever is not for us is against us.

No one is indifferent: the truth is with us.”

And I stand alone between them

In roaring flames and smoke

And with all our might

I pray for both.

According to Voloshin, both the Reds and the Whites are to blame, who believed your truth the only true one. These lines are also interesting because of the poet’s personal attitude towards the warring parties: both are apostates, they let demons into Russia (“The demons danced and roamed // The length and breadth of Russia”), you need to pray for them, overwhelmed by anger, their need to be sorry.

The events in the country were assessed quite differently by the romantic poets E. Bagritsky, M. Svetlov, M. Golodny, N. Tikhonov, convinced that one could come to the “sunny land without end” through fratricidal bacchanalia and terror.

The cult of the Cheka has become flesh and blood romantic hero 20s The poets' Chekist is unshakable, has steely endurance, an iron will. Let's take a closer look at the portrait of the hero of one of N. Tikhonov's poems.

Over the green tunic

Black buttons cast lions,

Pipe, scorched with shag,

And eyes of steel blue.

He'll tell his fiancee

About a funny, lively game,

How he destroyed the houses of the suburbs

From armored train batteries.

Romantic poets of the 20s. joined the service new government, preaching the cult of power from the standpoint of proletarian internationalism in the name of the “liberation” of humanity. Here are the lines of the same Tikhonov, conveying the ideology of alienation of the individual, of conscience in favor of the idea.

Untruth ate and drank with us.

The bells rang out of habit,

The coins have lost their weight and ringing,

And the children were not afraid of the dead...

That's when we first learned

Words that are beautiful, bitter and cruel.

What is this beautiful words? Lyrical hero poem by E. Bagritsky “TBC” is seriously ill and cannot go to the club for a meeting of the workers’ correspondence circle. In a feverish half-sleep, F. Dzerzhinsky comes to him and inspires him to a feat in the name of the revolution:

The century is waiting on the pavement,

Focused like a sentry

Go - and don't be afraid to stand next to him.

Your loneliness matches the age.

You look around and there are enemies around,

You stretch out your hands - and there are no friends,

But if he says: “Lie!” - lie.

But if he says: “Kill!” - kill.

“Kill!”, “lie!” - is there a more terrible word in the dictionary?

This is how the irreparable happened: life fed the poet with “cruel ideas,” and the poet carried them to his readers.

The revolution divided poets and prose writers not according to the degree of talent, but according to their ideological orientation.

“We entered literature wave after wave, there were many of us. We brought our personal experience of life, our individuality. We were united by the feeling of the new world as our own and the love for it,” this is how A. Fadeev characterized the “left” wing of Russian literature. Its most prominent representatives are A. Serafimovich, K. Trenev, V. Vishnevsky, E. Bagritsky, M. Svetlov and others.

Among the writers who captured the image of October 1917, “ten days that shook the world” (John Reed), were A. Serafimovich “Iron Stream” (1924), A. Fadeev “Destruction” (1926). In their works they captured the heroic greatness of the October era.

Alexander Serafimovich Serafimovich (Popov) is an entirely Soviet, “red” writer. He was considered a real teacher of young people growing up in literature. The writer was convinced that freedom is gained through blood and suffering, and called for preserving the gains of the revolution. With his creativity and actions he created for himself the image of a real writer of the Land of the Soviets. Serafimovich in the novel “Iron Stream” showed how during the struggle for Soviet power The spontaneous peasant mass is being revolutionized and tempered. At the center of the story is the offensive of the Taman Army, which made a breakthrough through the anti-Bolshevik Kuban. The army consisted of fragments of different social groups, united in the face of the impending danger from the counter-revolutionary Cossacks. And during the campaign, this anarchic mass is transformed into a terrible force, capable of demolishing everything in its path and reaching the end.

The name of Alexander Alexandrovich Fadeev has always been in the first row of classics of official Soviet literature. The writer himself actively participated in the events of the Civil War, fighting in the red partisan detachments. His novel “Destruction” was considered one of the books that “gives a broad, truthful and talented picture of the civil war.” Main character in the novel, the communist Levinson, the leader of a partisan detachment, has an unprepossessing appearance, but a huge inner strength. His detachment is experiencing defeat, but the ending of the work is optimistic: Levinson with the surviving partisans sees a valley not occupied by whites, and working people whom Levinson had to “make close to himself.” Fadeev conveyed the main idea in the novel: “...In a civil war, a selection of human material occurs, everything hostile is swept away by the revolution, everything incapable of a real revolutionary struggle is eliminated, and everything that has risen from the true roots of the revolution, from the millions of masses of the people, is tempered, grows, develops in this struggle . A huge transformation of people is taking place..."

And those who did not dress in red, who were horrified by the new ideology, paid with exile, non-printing of books, and even life. Among them were I.E. Babel, I.A. Bunin, I. Shmelev, M.M. Zoshchenko, A.A. Akhmatova, M.A. Bulgakov and others.

Ivan Shmelev in 1924, in the article “Feat of the Cross,” most likely addressed to the future, was one of the first to speak about the tragic idealism of tens of thousands of young officers who loved Russia, betrayed by liberal talkers, insulted by “obscene” Treaty of Brest-Litovsk, the big picture collapse of the country.

For I.A. Bunin, the revolution is not a “holiday of the working people and the oppressed,” but “cursed days,” which he will talk about in his diary (1918 - 1920). " Damned days“is a confession in which notes of deepest suffering, pain, and yearning love for Russia sound. “If I hadn’t loved this “icon”, this Rus', hadn’t seen it, why would I have gone so crazy all these years, why have I suffered so continuously, so fiercely? But they said that I only hate” (“Cursed Days”).

The points of view of M.A. Sholokhov and M.A. Bulgakov on the depiction of revolution and civil war are unique.

“Don Stories” by Mikhail Aleksandrovich Sholokhov reflects a view of the war as a national tragedy of the Russian people. In the story “The Birthmark,” the father takes the side of the whites, while the son fights for the reds. After another clash, the father unexpectedly recognizes his son in the red commander he hacked to death. He hugs him, speaks kind words, trying in vain to bring him back to life. And having made sure that his son was dead, “... the ataman kissed his son’s freezing hands and, clenching the Mauser steel with his teeth, shot himself in the mouth...” Sholokhov showed that in the civil war there are no right and wrong, people die stupidly and senselessly.

Novel " White Guard“, perhaps the only “depoliticized” novel about revolution and civil war in Soviet literature. Let us consider the features of the depiction of these events in the author’s favorite work.

The events of the Civil War were a serious blow to the entire population of Russia. The specificity of such a conflict is that it pits citizens of one state against each other. The war left thousands of people dead and the economy completely destroyed, but the conflict left a significant mark on culture and works of art.

Writers who worked in the 20s of the 20th century distinguished themselves by the vivid realism of their works, in which they showed the fate of people and the events of military operations in a surprisingly vivid way. At the center of such works were the destinies and personalities of people who were changed by the war.

Writers and poets of the post-war period touched on the theme of the revolution and its consequences to a greater or lesser extent. Main creative forces the post-war period were representatives of the intelligentsia.

The most impressive creator of the period was M. Bulgakov. The writer in his works “Running”, “White Guard”, “Days of the Turbins” conveyed human feelings and experiences against the backdrop of war, the lives of people whose personal relationships were separated by the Civil War. Separate themes of the works were the development of the White movement and Petliurism. Many aspects of the works were autobiographical.

The work of I. Babel deserves special attention. The writer was a correspondent for the newspaper “Red Cavalryman” and became the author of a series of stories “Cavalry”. Babel's works caused mixed reactions; the writer himself was persecuted. Even after his death, the stories did not receive an unambiguous assessment.

One of the most striking works about the period of the Civil War is the novel “Quiet Don” by M. Sholokhov. The novel received wide recognition at the time of its publication, and today it is one of the most remarkable works about the fate of man during the Civil War. The works of S. Mamontov, A. Tolstov, A. Fadeev, B. Lavrenev are devoted to the theme of the conflict.

The main thing in these works is realism and the personal experience of the writers, conveyed in a literary work. Here the characters and values ​​of the authors were most clearly and fully revealed.

What is the special value of the works? The image of a person against the backdrop of historical events is the most hot topic in literary criticism. For this reason, the study of works about the Civil War is chosen as a topic of scientific research by many literary scholars.

In the middle of the 20th century, a number of literary works, which have become iconic phenomena in literature. One of them is the novel “Doctor Zhivago” by B. Pasternak.

Expanding themes in cinema

The theme of the Civil War was first explored in the film “Little Red Devils,” filmed in 1923. At the center of events is the struggle of the “Reds” with the Makhnovists. The film was a huge success, as was the story on which the film was based, written by Pavel Blyakhin.

The first film adaptation Quiet Don" was still silent in 1930 and was voiced only in 1933. This story has become one of the most heartfelt and dramatic accounts of the events of the Civil War. In 1954, another film adaptation of Sholokhov’s work was released, this time directed by Sergei Gerasimov.

In 1934, one of the most striking films, Chapaev, was released. Directed by the Vasiliev brothers, the film was highly praised. The basis for the filming was the script by Anna Furmanova and the memories of eyewitnesses of the events.

Three years later, “Duma about the Cossack Golota” was published - a story about the last stage of the Civil War. The action takes place in 1920. I. Savchenko’s film, like all films about the war period of the Soviet era, demonstrates the heroism of the “Reds” against the background of the moral decay and dishonor of the “Whites”.

From the film “The Elusive Avengers,” many have been familiar with the theme of the Civil War since childhood. This film, like the first film, “The Little Red Devils,” is an adaptation of P. Blyakhin’s story.

In 1969, I.Bulgarin’s novel “His Excellency’s Adjutant” was filmed.

One of the most famous films about the period of the Civil War - “White Sun of the Desert.” The film was released in 1970. Chronologically, the events in the film take place in 1920 on the territory Central Asia, when large-scale military operations in this region ended, but the Basmachi continued to operate.

In the same year, the film “Running”, a film by A. Alov, was released. The film is based on M. Bulgakov’s novels “The White Guard”, “Black Sea”, “Running”. The film adaptation was not successful for ideological reasons - “Running” was removed from screening due to the “overly positive” images of “white” officers shown in the film.

During the 50-80s, more than a dozen films were shot telling about the events of the Civil War. Since the beginning of the 90s, the theme has been developed in the films “Admiral”, “Doctor Zhivago”, “The White Guard”, “The Passion of Chapai”, “The Nine Lives of Nestor Makhno”. The themes of films about the Civil War have become more diverse, devoid of ideological influence.

Theme of war in painting

Works, dedicated to events 1917-1922 in Russia, appeared throughout the 20-30s of the XX century. The topic is covered in the works of K. Petrov-Vodkin, I. Brodsky, A. Deineka, F. Bogorodsky, creative association Kukryniksy. The works use the realistic genre.

The events of the Civil War influenced cultural development Russia - topics on for many years remained central to filmmakers and writers.

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Two Russian literatures or one.docx

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I. Sukhikh Two Russian literatures or one? 1920s

Face of the RealDThe twentieth century in Russia was finally determined in 1917. Two revolutions that occurred 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.

The October Revolution was a great, enormous, epochal 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 “Windows of ROSTA,” writing propaganda poems and posters aimed at the Red Army soldiers. Blok calls for listening to the “music of the revolution” and argues that the intelligentsia “can and must” cooperate with the new government.

But Mikhail Bulgakov, who was perceived by others and who himself felt like an internal emigrant, will say in a letter to the USSR Government: “It is IMPOSSIBLE to write a libel on the revolution, due to its extreme grandeur” (March 28, 1930). And Marina Tsvetaeva, who followed her white officer husband into exile, will note: “There is not a single major Russian poet of our time whose voice did not tremble or grow after the Revolution” (“Poet and Time”, 1932). Writers' attitudes towards the revolution turned out to be part of common problem, which Tsvetaeva indicated in the title of her article:poet and time .

In building a new socialist society, the Bolsheviks assigned a huge role to culture. Fight for new culture in the era of “dictatorship” (in fact, not the proletariat, but the victorious Bolshevik party) began with all kinds of infringement, and often simply the destruction of the previous culture. Already in the first months after October Revolution Almost 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. From that time on, preliminary censorship was established in the USSR: mandatory review of all printed publications before their publication. Thus, Russian literature lived in conditions of freedom for less than two decades: censorship was abolished during the 1905 revolution.

New Soviet magazines, most of which would exist throughout the twentieth century,wereideologicalalready starting fromtitles: “Red news”, “Star”, “ New world", "October", "Banner". Their editors were appointed 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 office or even persecuted. After the revolution, Russian culture and Russian literature experienced a great split: its consequences will have to be lived through throughout the 20th century.

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

However, 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 literary names: M. Sholokhov, A. Platonov, L. Leonov, A. Fadeev, I. Babel, M. Zoshchenko, M. Bulgakov, I. Ilf and E. Petrov.

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: “Destruction” by Fadeev and “The White Guard” by M. Bulgakov. These works posed thorny questions about the humanistic meaning of the revolution, polemicizing with each other. The authors of these novels belonged to different movements 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 literature of a 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 heroism, struggle, pity, love, loyalty, duty. If Bulgakov’s heroes are not allowed to sink to the level of their culture, acquired from several generations of the intelligentsia, to become a beast, then Fadeev’s heroes can be cruel, merciless, and dishonest. However, the living conditions of both are still incomparable.

For Fadeev’s heroes, what is moral is what benefits the workers and peasants, what serves the victory of the revolution and its defense. All means are permissible and crimes are justified by a higher idea. Fadeev's heroes are guided by such moral principles.

Bulgakov is horrified by the civil war. He is especially frightened by the desire of dark personalities, offering themselves as idols and leaders of the crowd, to use the “peasant anger” to achieve their own power.

Another book, written in 1926, attracts our attention. These are “Don Stories”M. Sholokhova. The author was only 21 years old, but he already had a lot behind him: the shocks of the civil war, which instantly erased his childhood spent on the Don, in the village of Veshenskaya.“I had to be in different bindings,” Mikhail Sholokhov would later write in his autobiography. He will remember himself, sixteen years old, during the interrogation conducted by Nestor Makhno himself, and how, when releasing the teenager, the “father” threatened him with cruel reprisals in the future. He will remember how he, the commander of a food detachment, was sentenced to death for abuse of power. The events of that time provided 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.

Civil lyrics sounded with unprecedented force, the most effective genres were developed, addressed directly to the masses: march, song, poetic appeal, message: “Ode to the Revolution” by V. Mayakovsky, “May Day Hymn” by V. Kirillov, “Cantata” by S. Yesenin. Traditions the lyrics of love, nature, and 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 “color” - “both the red leader and the white officer” found “shelter, protection and advice” in his house.

V. Bryusov publishes the collection “On Days Like These.” In the poems of this collection, the main motives are creation, “meeting of times,” “friendship of peoples.” He uses heroic associations that go back to the depths of centuries, the archaic.

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

Heroic romance colors the poems of E. Bagritsky in the 20s. Bagritsky's poems were distinguished by their figurative brightness, fresh intonation, and 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 is almost impossible to get away from it and take a neutral position.

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Educational objectives:

form

the ability to select the main thing;

,

Educational tasks: .

Developmental tasks students' ability to

computer, projectop, screen

Methods

Lesson stage

Presentation slides

Teacher activities

Student activities

Suggested answers:

Partial search method

songs.

Association method

2. Organization of perception and comprehension new information

Suggested answers:

Association method

3. Record the topic of the lesson

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

Analytical reading method

Summarize, draw a conclusion

Expressive reading, conversation

1. Carry out a complex plan for I. Sukhikh’s article.

Questions to choose from:

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

2. How did B. Lavrenev portray the events of the Civil War in the story “41”?

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Literature lesson in 11th grade. Topic: “Depiction of the Civil War in the literature of the 20s”

Educational objectives:

form

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

the ability to select the main thing;

systematize phenomena united by one topic;

apply previously acquired knowledge in an unfamiliar situation;

develop monologue speech skills;

improve analysis skillsepisode of a literary work,

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

Developmental tasks : develop associative thinking; develop group work skills; contribute to the formation ofstudents' ability toindependent assessment of the work.

Materials and equipment for the lesson:

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

excerpt from A. Fadeev’s novel “Destruction”,

poems by M. Tsvetaeva “To Pasternak”, “Oh, my fungus, little mushroom, white milk mushroom”, song based 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 episode analysis.

Lesson stage

Teacher activities

Student activities

Forms and methods used during the lesson phase

1. Motivation stage, 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 together 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’s interesting to learn about the views of writers and poets who lived in such difficult times.

Partial search method

2. Organization of perception and comprehension of new information

Listen to the song “Young Drummer” based on the poet’s verses

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 the song, write down association words;

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

Answer the question posed in 1-2 sentences

Association method

2. Organization of perception and comprehension of new information

Listen to the poet's poem "To Pasternak"

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

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

They listen to the poem performed by an actor and perform the same tasks.

Suggested answers:

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

Association method

Method of comparing works by character, theme, artistic idea

3. Record the topic of the lesson

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

Making notes in notebooks

4. Organization of studying new material

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

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

Method of searching and highlighting the necessary information in the text

5. Discussion of group results

Checks the completion of the task, determines the level of development of the ability to work with the text of an information article

They answer the questions posed in the group and present the results of the group work to the whole class.

Planning methods and forms of work that ensure students’ activity and independent thinking (system of questions)

6. Analysis of an episode from the novel “Destruction” according to questions different levels

Offers to analyze the episode in groups according to problematic issues (last question involves establishing a connection between works of art written in different times– in the Unified State Examination 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 acquired in groups.

Summarize, draw a conclusion

7. Acquaintance with the position of writers who stood “above the battle” of whites and reds

On the slide is an excerpt from Bulgakov’s novel “The White Guard” and a poem by Tsvetaeva. Invites you to think about the question: “What idea unites the excerpt from Bulgakov’s novel and Tsvetaeva’s poem?”

The expected conclusion on the question: “Bulgakov and Tsvetaeva depict the events of the civil war from a universal human perspective.”

Expressive reading, conversation

8. Generalization of what was learned in the lesson and its introduction into the system of previously acquired knowledge

Time could judge the whites and reds. The split that occurred in the country as a result of the war brought tragedy into the lives of people who had to live at a turning point

Reading poems by Nabokov and Rozhdestvensky by heart.

Expressive recitation by heart

10. Summing up the lesson, homework

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Document selected for viewing Excerpt from the novel by A Fadeev.docx

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An excerpt from A. Fadeev’s novel “Destruction”. Chapter 11 "Strada"

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

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

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

Levinson. He carefully parted the branches and looked out.

All the same,” Levinson said gloomily, “it’s unthinkable to stay in this area any longer.” The only way is to the north... - He unzipped his bag and took out a map. - Here... Here we can go along the ridges, and we’ll go down the Haunihedze. It’s far away, but what can you do... Stashinsky looked not at the map, but somewhere deep into the taiga, as if he were weighing every mile drenched in human sweat. Suddenly he quickly blinked his eye and looked at Levinson.

And Frolov?.. you’re forgetting again...

Yes - Frolov... -Levinson sank heavily onto the grass . Mechik saw his pale profile right in front of him.

Of course, I can stay with him...” Stashinsky said dully after a pause. - In essence, this is my responsibility...

Nonsense! - Levinson waved his hand. - No later than tomorrow at lunchtime the Japanese will come here following fresh tracks... Or is it your duty to be killed?

What should we do then?

Don't know...

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

It seems the only thing left is... I’ve already thought about it... –Levinson faltered and fell silent, clenching his jaw sternly.

Yes?..” Stashinsky asked expectantly.

The sword, sensing something unkind, leaned forward more strongly, almost giving away his presence.

Levinson wanted to name in one word the only thing that remained for 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 stuttering and tormented by this, they started talking about something that was already clear to both, but which they did not dare to name in one word, although it could immediately express everything and end their torment.“They want to kill him...” Mechik realized and turned pale. His heart beat inside him with such force that it seemed that behind the bush they, too, were about to hear it.

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

No hope... but is that really the point?

It’s somehow easier,” Levinson admitted. He immediately felt ashamed that he was deceiving himself, but he really felt better. After a short silence, he said quietly: “We’ll have to do it today... just make sure that no one guesses, and most importantly, he himself... is it possible?”

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

Why wait... anyway... - Levinson hid the card and stood up. “It’s necessary, after all, there’s nothing you can do... After all, it’s necessary?..” He involuntarily sought support from the person whom he himself wanted to support.

“Yes, we must...” thought Stashinsky, but did not say.

Listen,” Levinson began slowly, “tell me straight, are you ready?” It's better to say it straight...

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

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

“Will they really do this?..” The sword fell face down to the ground and buried his face in his hands. He lay there for an unknown amount of time. Then he got up and, clinging to the bushes, staggering like a wounded man, wandered after Stashinsky and Levinson.

The cooled, unsaddled horses turned their tired heads towards him; the partisans were snoring in the clearing, some were cooking dinner. Mechik 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 to the light

trembling hands, pouring something into a beaker.

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

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

“Get out!” he said in an ominous, strangled whisper. - I’ll kill you!..

The sword squealed and, unconscious, jumped out of the barracks. Stashinsky immediately caught himself and turned to Frolov.

What... what is this?.. - he asked, glancing cautiously at the beaker.

This is bromine, drink it... - Stashinsky said insistently, sternly.

Their glances met and, understanding each other, they froze, chained by a single thought...

“The end...” thought Frolov and for some reason was not surprised, did not feel any fear, nor excitement, nor 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 relieved him of it. He moved his eyes around hesitantly, as if

was looking for something and stopped at the untouched lunch, next to it, on a stool. It was milk jelly, it had already cooled down, and the flies were circling over it. For the first time during his illness, a human expression appeared in Frolov’s eyes—pity for himself, and perhaps for Stashinsky. He lowered his eyelids, and when he opened them again, his face was calm and meek.

“If it happens, you’ll be on Suchan,” he said slowly, “tell me that it won’t hurt there... they’ll kill themselves... Everyone will come to this place... yes... Everyone will come,” he repeated with such an expression , as if the thought about the inevitability of people’s death was not yet completely clear and proven to him, but it was precisely the thought that deprived personal -him, Frolov, - the death of her special, separate

terrible meaning and made it - this death - something ordinary, characteristic of all people. After thinking a little, he said: “I have a little son there at the mine... His name is Fedya... So that they will remember about him when everything turns out, - to help there with something or how... Come on, or something!..” - he suddenly interrupted in a damp and trembling voice.

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

Questions for episode analysis

How the novel resolves the issue of value human life in an era of change?

Fadeev introduced the concept of “revolutionary humanism” into literature. How do you understand its meaning? Can the word “humanism” have a definition?

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

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

Which of the Russian writers of the 19th century also confronted their hero with a choice and how did they solve the problem of humanism on the pages of their work?

Document selected for viewing Poems by Nabokov and Rozhdestvensky.docx

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Small church. The candles have melted.

The stone is worn white by the rains.

The former are buried here. Former.

Cemetery of Sainte-Genevieve-des-Bois.

Dreams and prayers are buried here.

Tears and valor.

"Goodbye!" and "Hurray!"

Staff captains and midshipmen.

Grips of colonels and cadets.

White guard, white flock.

White army, white bone...

Wet slabs are overgrown with grass.

Russian letters. French churchyard...

There was no glory. The Motherland was no more.

There was no heart. And the memory was...

Your Lordships, their Honors -

Together at Sainte-Genevieve-des-Bois.

They lie tightly, having known enough

Your torments and your roads.

After all, they are Russians. It seems to be ours.

Just not ours, rather, no one else’s...

How they are after - forgotten, former

Cursing everything now and in the future,

Eager to look at her -

The winner, albeit incomprehensible,

Let the unforgiving

Motherland, and die...

Noon.

Birch glow of peace.

Russian domes in the sky.

And the clouds seem white horses,

Rushing over Sainte-Genevieve-des-Bois.

Robert Rozhdestvensky

Execution of V. Nabokov

There are nights when I just go to bed,
The bed will float to Russia;
And so they lead me to the ravine,
They lead to the ravine to kill.

I wake up, and in the dark, from my chair,
Where are the matches and the clocks?
In the eyes, like a steady gun,
The dial looks like it's burning.

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

Numb consciousness
Touches the ticking of the clock,
Have a safe exile
I feel the cover again.

But, my heart, how would you like
So that it really is like this:
Russia, stars, night of execution
And the ravine is all covered in bird cherry!

Document selected for viewing The theme of the Civil War in the literature of the 20s - 30s.ppt

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in the 20s, literature captured a complex, extremely contradictory image of the time. It reflected the diversity of ideas about the historical events that took place before the eyes of writers (Pilnyak called them “the re-harness of history”). At the same time, despite the irreconcilability of political convictions that was natural for that period, the writers in their best works rose above purely political passions to problems of universal humanity and humanitarian issues.

The artists did not just create a chronicle of events, they posed truly painful questions that Russian thought has long struggled with: about revolution and evolution, about humanism and cruelty, about goals and means, about the price of progress, about the right to violence in the name of a high goal, about uniqueness and the significance of a specific human life. The revolution aggravated all these problems, transferred them from the realm of theoretical and philosophical reflection to a practical plan, and made the life and death of a person, the fate of Russia, and the entire world civilization, dependent on their solution. The revolution led to a reassessment of moral standards, everything that people lived by, what they believed in, and it was a difficult, sometimes painful process, which literature also told about. Since literature by its nature is addressed primarily to the fate of a particular person, history was represented in the works of different authors in individuals, in intense searches for thought and spirit, in the diversity of conflicts, human characters and aspirations. In the country of the victorious revolution, the creation of a heroic epic became a natural and sincere response to the grandiose transformation of the world. The masses of people set in motion by the revolution - detachments, armies, “sets”, steadily moving towards their goal, overcoming unprecedented difficulties along the way - such is the collective hero of “The Naked Year” by B. Pilnyak, “The Fall of Dire” by A. Malyshkin, “Iron Stream” by A. Serafimovich, “Cavalry” by I. Babel. The image of the people is at the center of works of various literary genres: the poems by A. Blok “The Twelve” and V. Mayakovsky “150,000,000”, the play by V. Vishnevsky “The First Horse”. The authors of these books captured not only the heroism, but also the agony of the birth of a new world, reflected all the cruelty and irreconcilability of class confrontation, the complex relationship between organization and anarchic freedom, destruction and the desire to create, the birth of a sense of unity and community.

The Civil War of 1918-1920 is one of the most tragic periods in the history of Russia; it claimed the lives of millions, forced the masses to face each other in a cruel and terrible struggle different classes and political views, but one faith, one culture and history. War in general, and civil war in particular, is an initially unnatural action, but at the origins of any event stands Man, his will and desire: even L. N. Tolstoy argued that an objective result in history is achieved by adding the wills of individual people into a single whole, into one resultant.

Man is a tiny, sometimes invisible, but at the same time irreplaceable detail in the huge and complex mechanism of war. Domestic writers, who reflected the events of 1918-1920 in their works, created a number of vital, realistic and vivid images, placing the fate of Man at the center of the story and showing the influence of war on his life, inner world, a scale of norms and values.

Many writers used various techniques to embody and convey all their thoughts about the revolution in full and in the form that they themselves experienced while in the very centers of the civil war.

For example, A.A. himself Fadeev was the same revolutionary man as his heroes. His whole life and its circumstances were such that A.A. Fadeev was born into a family of rural, progressive-minded intellectuals. And immediately after school he rushed into battle. About such times and the same young guys drawn into the revolution, he wrote: “So we all went away for the summer, and when we came together again in the fall of 18, a white coup had already taken place, a bloody battle was already underway, into which the whole people, the world, were drawn split... Young people whom life itself had directly led to the revolution - such were we - did not look for each other, but immediately recognized each other by voice; The same thing happened with young people who joined the counter-revolution.

Bulgakov M.A. “a man of amazing talent, internally honest and principled and very smart” makes a great impression. It should be said that he did not immediately accept and understand the revolution. He, like A.A. Fadeev, during the revolution, saw a lot, he had the opportunity to survive a difficult period of the civil wave, later described in the novel “The White Guard”, the plays “Days of the Turbins”, “Running” and numerous stories, including the hetman and Petliurism in Kyiv, the disintegration of Denikin’s army. There is a lot of autobiography in the novel “The White Guard,” but it is not only a description of one’s life experience during the years of the revolution and civil war, but also an insight into the problem of “Man and the Age”; this is also a study of an artist who sees an inextricable connection between Russian history and philosophy. This is a book about the fate of classical culture in a formidable era of the breakdown of centuries-old traditions.

I.E. Babel is very complex in human and literary understanding, which is why he was persecuted during his lifetime. After his death, the question of the works created by him has still not been resolved, so the attitude towards them is not clear. We agree with the opinion of K. Fedin: “If the artist’s biography serves as a concrete channel for his idea of ​​the world, then Sholokhov’s everyday lot befell one of the most turbulent, deepest currents that the social revolution in Russia knows.”

B. Lavrenev’s path: in the fall I went to the front with an armored train, stormed Petlyura’s Kyiv, went to the Crimea.” Gaidar’s words are also known: “When they ask me how it could happen that I was such a young commander, I answer: this is not an ordinary biography, but the time was extraordinary.” Thus, it is clear that many writers could not stay away from the events of their homeland, amid many social, political, spiritual disagreements and the reigning confusion, but always honestly fulfilled their literary and civic duty.

Genre searches of B. Pilnyak 1910-1920s reflect the complex spiritual processes taking place in the writer’s mind and his worldview. In this search, he goes from one genre to another, tries his hand, striving through the genre for a deeper knowledge of reality and himself, getting closer and closer to understanding true values human life. The development of various literary genres in the writer’s work occurred simultaneously. Already in 1915, B. Pilnyak tried himself in the poetic genre, journalism, and the short story genre. Poetry and prose, developing in parallel in the writer’s work, did not compete and compete, but complemented and enriched each other. With poetry, B. Pilnyak sought to convey what cannot be expressed in prose, and often synthesized poetry and prose within one work of art. The choice of genre and the definition of its boundaries occurred in the process of creativity itself. The genre did not emerge immediately in its final form; it developed and was transformed in the process of working on the work. Thus, poetry, journalism, memoirs, short stories and stories, continuing their development in the 1920s, became a kind of basis for mature works writer, embodied in a novel

8. Theme of revolution and civil war. CONTINUED (CHOOSE FROM TWO OR 8 or 8)

The theme of revolution and civil war for a long time became one of the main themes of Russian literature of the 20th century. These events not only radically changed the life of the Russian Empire, redrawing the entire map of Europe, but also changed the life of every person, every family. Civil wars are usually called fratricidal.

Any war is fratricidal in its essence, but in civil war this essence is revealed especially acutely. Hatred often pits people who are close to each other in it, and the tragedy here is extremely naked. The awareness of the civil war as a national tragedy became 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, already in the novel

A. Fadeev's The Defeat, and no matter how much one looks for an optimistic beginning, the book is, first of all, tragic - in the events and destinies of the people described in it. B. Pasternak philosophically comprehended the essence of events in Russia at the beginning of the century in the novel Doctor Zhivago. The hero of the novel finds himself hostage to history, which mercilessly interferes with his life and destroys it. In the fate of Zhivago - the fate of the Russian intelligentsia in

XX century. Another writer, playwright, for whom the experience of the civil war became his personal experience M. Bulgakov. I would like to dwell in more detail on his play Days of the Turbins. This work has become a living legend of the 20th century. The play was born in an unusual way. In 1922, finding himself in Moscow after Kyiv and Vladikavkaz, after experience as a doctor, M.

Bulgakov learns that his mother died in Kyiv. This death served as the impetus for the beginning of work on the novel The White Guard, and only then a play was born from the novel. The novel and the play reflect M. Bulgakov’s impressions of life in Kyiv, his hometown, in the terrible winter of 1918-19, when the city was changing hands, shots were fired, the fate of a person was decided by the course of history. In the center of the play is the Turbins' house. Its prototype was in many ways the Bulgakovs' house on Andreevsky Spusk, which has survived to this day, and the prototypes of the heroes are people close to the writer. Thus, the prototype of Elena Vasilievna was M. Bulgakov's sister, Varvara Afanasyevna Karum. All this gave Bulgakov's work that special warmth that helped convey

that unique atmosphere that distinguishes the Turbins’ house. Their house is the center, the focus of life, and unlike the writer’s predecessors, for example, the romantic poets, symbolists of the early 20th century, for whom comfort and peace were a symbol of philistinism and vulgarity, for M. Bulgakov the House is the center of spiritual life, it is covered in 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. The civil war breaks into the Turbins' house and destroys it. The cream curtains, never forgotten by Lariosik, become a capacious symbol - it is this line that separates the house from the world engulfed in cruelty and hostility. Compositionally, the play is built on a circular principle: the action begins and ends in the Turbins’ house, between these scenes the place of action becomes a worker

the office of the Ukrainian hetman, from which the hetman himself flees, leaving people to the mercy of fate of the headquarters of Petliura’s division, which enters the city in the lobby of the Alexander Gymnasium, where the cadets gather to repel Petliura and defend the city. It is these events in history that radically change life in the Turbin house. Alexey is killed, Nikolka is crippled, and all the inhabitants of the Turbin house are faced with a choice. The last scene of the play sounds bitterly ironic. Christmas Eve in the house, Epiphany Christmas Eve of the 18th year.

Red troops enter the city. It is known that in real story these two events did not coincide in time - the Red troops entered the city later, in February, but M. Bulgakov needed a feast on the stage, the most homely, most traditional family holiday, which only more acutely makes one feel the imminent collapse of this house and everything beautiful that was being created centuries and a doomed world. Myshlaevsky’s remark after

Lariosik pronounces 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 So! Rested In this scene, you can see with particular clarity how history bursts into people’s lives, how the 19th century, with its traditions, way of life, complaints about boredom and non-eventfulness, is replaced by the 20th century, filled with turbulent and tragic events.

Behind their thunderous steps, the voice of an individual is not heard, his life is devalued. Thus, through the fate of the Turbins and the people in their circle, M. Bulgakov reveals the drama of the era of revolution and civil war. It is worth focusing especially on the problem of moral choice in the play. The main character of the work, Colonel Alexey Turbin, faces such a moral choice. His main role remains in the play until the end, although he is brought killed at the end of the third

act, and the entire last fourth act occurs after his death. In it, the colonel is present invisibly; in it, as in life, he acts as the main moral guideline, the personification of the concept of honor, a guideline 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 maintain loyalty to the oath and officer’s honor, or to save the lives of people.

And Colonel Turbin gives the order: Take off your shoulder straps, throw away your rifles and immediately go home. The choice he made is given to a career officer who endured the war with the Germans, as he himself says, infinitely difficult. He utters words that sound like a verdict on himself and the people of his circle. The people are not in our dreams. He is against us. It’s hard to admit this, to renounce the military oath and to 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, the commander, are expecting death from shame, that’s what. But this is the expectation of death not only from shame, but also from complete hopelessness, the inevitable death of that Russia, without which such people , Bulgakov's heroes, do not imagine

life. M. Bulgakov's play became one of the most profound artistic comprehensions of the tragic essence of man in the era of revolution and civil war.

“Literature of the 20th century” - The problem of teaching literature. A. Blok “Retribution”. The problem of periodization of literature. Twentieth century... The problem of the existence of the Writers' Union. Historical events. Periodization of literature of the twentieth century. Current issues literature of the twentieth century and modern literature. Literature of Russian Abroad. Returned literature.

“Literature of the October Revolution” - Attitude to the people. M. Gorky in “Untimely Thoughts”. Post-October journalism. V. Korolenko. Part of the Russian intelligentsia. Writer's journalism. Letters and diaries. Day and night. General. Attitude to the revolution.

“Acmeism in literature” - Acmeism. Key categories of Acmeism. Vladimir Narbut. Poetics of Acmeism. M. Zenkevich. Distinctive Features Acmeism. M. Zenkevich and V. Narbut. Reaction to symbolism. Modernist movement. Poems by V. Narbut. Acmeist poets.

“Futurism in the literature of the 20th century” - Futurism. Vladimir Vladimirovich Mayakovsky. Velimir. Dynamism of a cyclist. Nikolai Dulgeroff. Igor Severyanin. Pablo Picasso. Kazimir Malevich. Futurism in literature and art. The term "futurism". Alexey Kruchenykh. Futurist architecture. Fortunato Depero. Airplane over the train. Umberto Boccioni.

“Literature of the 20-30s” - Anna Andreevna Akhmatova. Everything is suffocating and dying out”... Let evil be stronger in all ages, But kindness is indestructible... Not by soldiers - by numbers We died, we died! What day should I choose for Remembrance? Yes, you can kill a person. Return to people the right to memory... But you cannot kill or silence the ever-living Word...

“Literature of the 50-80s” - Novels about youth. Bronze Age. Urban prose. Prose. Zhdanovshchina. Reflective essay prose. Alexander Valentinovich Vampilov. Dramaturgy. Camp prose. All-Union Congress writers. Youth Festival. Mikhail Mikhailovich Roshchin. Author's song. Great Patriotic War. The "trench" truth about war.

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