Lyrics. The enormous grief of war. Review of poetry during the Great Patriotic War. Musa Jalil. Yulia Drunina. Joseph Utkin. Bityugov Vasily Ivanovich. Bogachev Nikolai Osipovich. Konstantin Simonov. Alexey Surkov. Shaposhnikov Viktor Sergeevich. Poetry scorched by war. I returned without a leg. The country is huge. For the sake of life on Earth.

“Poetry of the War Years” - Premonition of Spring. Letter. Quiet voice. Was born. She works as a nurse in an eye hospital. Poets. By your waiting you saved me. Poetry. Millions of hearts. Wait for me and I will come back. David Samuilovich Samoilov. Starshinov was drafted into the army. Front-line everyday life. Front-line poets. Spirit of patriotism. In the dugout. First day. Poetic self-awareness. Green lights rocket. Don't wish well. Friend of Konstantin Simonov.

“Poems of the war years” - Rest after the battle. Barbarism. Defense of Sevostopal. Outskirts of Moscow. Arkady Alexandrovich Plastov. Alexander Alexandrovich Deineka. Zinka. As long as hearts are knocking. Musa Mustafovich Jalil. Fire. Roads of the Smolensk region. Yuri Georgievich Razumovsky. Haymaking. Globe. Burnt village. Excerpt from the poem. Olga Fedorovna Berggolts. The fascist flew by. Enemies burned down my home. It's a tough fight. Sergei Sergeevich Orlov.

“War Poetry” - Joseph Utkin. Poets of the Yukhotsky region about the war. Musa Jalil. Poetry Review. Alexey Surkov. Poets wrote about the war itself. Front-line pages of Russian poetry. The Great Patriotic War. Poetry scorched by war. The country is huge. Our literature. Yulia Drunina. Word to the poets - front-line soldiers. The enormous grief of war. Let's remember everyone by name. I returned without a leg. Konstantin Simonov. The fire is beating in the cramped stove. Gruzdev Vladimir Nikolaevich.

“Simonov about the war” - Military lyrics by K. Simonov. K. Simonov. “The Living and the Dead” by K. Simonov is an epic of war. "Days and Nights." Military prose by K. Simonov. The story "Infantrymen". K. Simonov diversifies and enriches the ways of depicting it. The war was a tragedy until its last day. The theme of personality development and military feat. Poem "Letter to a Friend". Features of the depiction of the Great Patriotic War in works. Theme of love.

“The Theme of War in Poetry” - Poems. Consultation. Student. Great song of the Great War. Educational results of the program. Poetry that has become a feat. Grade. Level of development of literary skills. Guns. Creative biography of Margarita Aliger. Forms of organization of training sessions. Types of activities of teachers and students. Development of research and creative abilities of the individual. Recording the main provisions in a notebook.

Poetry becomes the voice of the Motherland, who called out to her sons from the posters. The most musical poems were turned into songs and flew to the front with teams of artists, where they were indispensable, like medicine or weapons. The literature of the period of the Great Patriotic War (1941-1945) for the majority of Soviet people is poetry, because in the form of songs they flew around even the most remote corners of the front, proclaiming the fortitude and intransigence of soldiers. In addition, it was easier to declare them on the radio, diluting front-line reports. They were also published in the central and front-line press during the Great Patriotic War.

To this day, the people love the song lyrics of M. Isakovsky, V. Lebedev-Kumach, A. Surkov, K. Simonov, O. Berggolts, N. Tikhonov, M. Aliger, P. Kogan, Vs. Bagritsky, N. Tikhonov, A. Tvardovsky. A profound national feeling is heard in their poems. The poets' instincts became sharper, their view of their native latitudes became filial, respectful, and tender. The image of the Motherland is a concrete, understandable symbol that no longer needs colorful descriptions. Heroic pathos also penetrated into intimate lyrics.

Melodic poetry with its inherent emotionality and declarative oratorical speech very soon spreads at the fronts and in the rear. The flourishing of the genre was logically determined: it was necessary to epically reflect pictures of heroic struggle. Military literature outgrew poems and developed into a national epic. As an example, you can read A. Tvardovsky “Vasily Terkin”, M. Aliger “Zoya”, P. Antokolsky “Son”. The poem “Vasily Terkin,” familiar to us from school times, expresses the severity of military life and the indomitably cheerful disposition of the Soviet soldier. Thus, poetry during the Second World War acquired enormous importance in the cultural life of the people.

Main genre groups of war poems: Lyrical (ode, elegy, song), Satirical, Lyrical-epic (ballads, poems). The most famous wartime poets: Nikolay Tikhonov, Alexander Tvardovsky, Alexey Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.

Poetry from the Second World War. The theme of the lyrics changed dramatically from the very first days of the war. Responsibility for the fate of the Motherland, the bitterness of defeat, hatred of the enemy, perseverance, loyalty to the Fatherland, faith in victory - this is what, under the pen of various artists, was molded into unique poems, ballads, poems, songs.

The shocks of the war gave birth to a whole generation of young poets, who were later called frontline, their names are now widely known: Mikhail Lvov, Alexander Mezhirov, Yulia Drunina, Boris Slutsky, Konstantin Vashenkin, Grigory Pozhenyan, B. Okudzhava, Nikolai Panchenko, Anna Akhmatova, and many others. Poems created during the war are marked a sign of the harsh truth of life, the truth of human feelings and experiences. The leitmotif of the poetry of those years were lines from Alexander Tvardovsky’s poem “To the Partisans of the Smolensk Region”: “Rise up, my entire land is desecrated, against the enemy!”

The poets turned to the heroic past of their homeland and drew historical parallels: “The Tale of Russia” by Mikhail Isakovsky, “Rus” by Demyan Bedny, “The Thought of Russia” by Dmitry Kedrin, “Field of Russian Glory” by Sergei Vasiliev.

A number of poems convey the soldier’s feeling of love for his “small homeland”, for the house in which he was born. To those “three birches” where he left part of his soul, his pain and joy (“Motherland” by K. Simonov).

The poets dedicated heartfelt lines to the woman-mother, a simple Russian woman who experienced the bitterness of an irreparable loss, who bore on her shoulders inhuman hardships and hardships, but did not lose faith:
I remembered every porch,
Where did you have to go?
I remembered all the women's faces,
Like your own mother.
They shared bread with us -
Is it wheat, rye, -
They took us out to the steppe
A secret path.
Our pain hurt them, -
Your own trouble doesn't count.
(A. Tvardovsky “The Ballad of a Comrade”)
M. Isakovsky’s poems “To a Russian Woman” and lines from K. Simonov’s poem “Do you remember, Alyosha, the roads of the Smolensk region...” sound in the same key.

The harsh truth of the times, faith in the victory of the Soviet people permeate the poems of A. Prokofiev (“Comrade, have you seen…”), A. Tvardovsky (“The Ballad of a Comrade”) and many other poets.

The work of a number of major poets is undergoing a serious evolution. Thus, Anna Akhmatova’s muse acquires a tone of high citizenship and patriotic sound. In the poem “Courage,” the poetess finds words and images that embody the resilience of the fighting people:
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our watch.
And courage will not leave us.

“Vasily Terkin” by A. Tvardovsky is the largest, most significant poetic work of the Great Patriotic War era. If A. Prokofiev in the lyric-epic poem “Russia” has in the foreground the image of the Motherland, its most poetic landscapes, and the characters (mortar brothers Shumov) are depicted in a symbolically generalized manner, then Tvardovsky achieved a synthesis of the particular and the general: the individual image of Vasily Terkin and the image of the homeland are of different sizes in the artistic concept of the poem. This is a multifaceted poetic work, covering not only all aspects of front-line life, but also the main stages of the Great Patriotic War.
The immortal image of Vasily Terkin embodied with particular force the features of the Russian national character of that era. Democracy and moral purity, greatness and simplicity of the hero are revealed by means of folk poetry; the structure of thoughts and feelings of the hero is akin to the world of images of Russian folklore.

Poem K. Simonova“Do you remember, Alyosha, the roads of the Smolensk region...” (1941) became widely known because it expressed the feelings and experiences of the entire people. The intonation of sorrowful reflection, the intonation of a confidential conversation with a sincere friend. The poet goes through common memories and restores pictures of the retreat of 1941. The poem is devoid of inviting intonations; it embodies the intense work of the mind and heart, leading to a new understanding of the life and destinies of people and the Motherland.

Measured by tears more often than by miles,

There was a highway, hiding from view on the hills

Villages, villages, villages with graveyards.

It’s as if all of Russia has come to see them,

As if behind every Russian outskirts,

Protecting the living with the cross of your hands,

Having gathered with the whole world, our great-grandfathers pray

For their grandchildren who do not believe in God.

You. you know, it’s probably still my homeland

Not the city house where I lived on holiday

And these country roads that our grandfathers passed

With simple crosses from their Russian graves.

The poem “Wait for Me” (1941) is about faithful, devoted love, about its saving power. Time and circumstances have no power over love. Repeated repetitions of the word “wait.” In the first twelve-line stanza it is repeated ten times. The words “Wait when...” begin six of the twelve lines, which describe all the seasons and different life circumstances, indicating that the wait is indefinite.

Wait for me and I will come back,

Just wait a lot.

Wait when they make you sad

Yellow rains,

Wait for the snow to blow

Wait for it to be hot

Wait when others are not waiting.

Forgetting yesterday.

Wait when from distant places

No letters will arrive

Wait until you get bored

To everyone who is waiting together.

Wait for me and I will come back...

Each of the three large stanzas begins with the words “Wait for me, and I will return...”. This is an intense, passionate, intensified repetition (“Wait for me” and as a result - “I will return” - folk spells, conspiracies, prayers.

A. Surkov is famous for his poem“The fire beats in a cramped stove...” (1941) is also about love, its saving power, about fidelity and devotion. In the tragic circumstances of the war (“It’s not easy for me to reach you, / And there are four steps to death”), love serves as a moral support for a person (“I feel warm in a cold dugout / From your unquenchable love”).

The fire is beating in the cramped stove.

There is resin on the logs, like a tear,

And the accordion sings to me in the dugout

About your smile and eyes.

The bushes whispered to me about you

In snow-white fields near Moscow.

I want you to hear.

You are far, far away now.

Between us there is snow and snow.

It's not easy for me to reach you

And there are four steps to death.

Sing, harmonica, in spite of the blizzard,

Call lost happiness.

I feel warm in a cold dugout

From your unquenchable love.

Perhaps the most terrible grief of the twentieth century. How many Soviet soldiers died in its bloody battles, defending their homeland with their breasts, how many remained disabled!.. But although the Nazis had the advantage for most of the war, the Soviet Union still won. Have you ever wondered why? After all, compared to the Germans, the Soviet army did not have many combat vehicles and thorough military training. The desire to defend themselves was caused by works and writers who inspired soldiers to heroic deeds. It’s hard to believe, but even in those troubled times there were many talented people among the Soviet people who knew how to express their feelings on paper. Most of them went to the front, where their fates developed differently. The terrible statistics are impressive: on the eve of the war, there were 2,186 writers and poets in the USSR, of which 944 went to the battlefield, and 417 did not return. Those who were the youngest were not yet twenty, the oldest were around 50 years old. If it were not for the war, perhaps they would now be equated with the great classics - Pushkin, Lermontov, Yesenin, etc. But, as the catchphrase from the work of Olga Berggolts says, “no one is forgotten, nothing is forgotten.” The manuscripts of both dead and surviving writers and poets that survived the war were published in printed publications that were circulated throughout the USSR in the post-war period. So, what kind of people are the poets of the Great Patriotic War? Below is a list of the most famous ones.

Poets of the Great Patriotic War

1. Anna Akhmatova (1889-1966)

At the very beginning I wrote several poster poems. Then she was evacuated from Leningrad until the first winter of the siege. For the next two years she has to live in Tashkent. During the war she wrote many poems.

2. Olga Berggolts (1910-1975)

During the war, she lived in besieged Leningrad, working on the radio and supporting the courage of the residents every day. Her best works were written then.

3. Andrey Malyshko (1912-1970)

Throughout the war he worked as a special correspondent for such front-line newspapers as “For Soviet Ukraine!”, “Red Army” and “For the Honor of the Motherland”. I put my impressions of this time on paper only in the post-war years.

4. Sergei Mikhalkov (1913-2009)

During the war, he worked as a correspondent for such newspapers as "Stalin's Falcon" and "For the Glory of the Motherland." He retreated to Stalingrad along with his troops.

5. Boris Pasternak (1890-1960)

For most of the war he lived in evacuation in Chistopol, financially supporting all those in need.

6. Alexander Tvardovsky (1910-1971)

He spent the war at the front, working in a newspaper and publishing his essays and poems in it.

7. Pavlo Tychyna (1891-1967)

During the war he lived in Ufa, being active. Articles by Tychina, published during this period, inspired Soviet soldiers to fight for their Motherland.

These are all the most famous poets of the Great Patriotic War. Now let's talk about their work.

Poetry of the Great Patriotic War

Most poets devoted time to creativity mainly in Then many works were written, later awarded various prizes in literature. The poetry of the Great Patriotic War has corresponding themes - horror, misfortune and grief of war, grief for the dead Soviet soldiers, tribute to the heroes who sacrifice themselves to save the Motherland.

Conclusion

A huge number of poems were written in those troubled years. And then they created even more. This is despite the fact that some poets of the Great Patriotic War also served at the front. And yet the theme (both poetry and prose) is the same - their authors fervently hope for victory and eternal peace.

The years of the Great Patriotic War were an exceptionally unique and vibrant period in the development of Soviet literature. In the most difficult conditions of a fierce struggle with the enemy, many works were created that remained forever in the people's memory.

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

The historical content of the military four-year period was colossal.

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

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

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

Soviet literature turned out to be internally prepared for the tests that lay before it.

We had a presentiment of the swaying

this tragic day.

He came. This is my life, my breath.

Motherland! Take them from me!

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

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

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

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

Not a single literary work of the Great Patriotic War period gained such instant and nationwide love as this song, which was born, one might say, in the very first minutes of the historical battle. She accompanied the Soviet people throughout their courageous path to victory.

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

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

Throughout the war years, Soviet radio began its broadcasts at 6 a.m. with the first bars of this song, which became the musical call sign of the warring country.

Many documentary works provide moving evidence of the exceptional impact of the “Holy War”, which invariably caused a surge of courage and fearlessness.

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

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

May the rage be noble

Boils like a wave -

There is a people's war going on,

Holy war!

It’s hard to even imagine how unexpected and opportune this was. A powerful radio receiver carried inspired words and sounds... The song broke out in the intervals between grenade explosions and machine-gun fire, and the screams of the enemies could not drown it out.

The song “Holy War” really, as the author of one of the articles writes, “became an era.”

What is the reason for its exceptional popularity and importance?

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

However, the answer to this question is not so simple. In the article “Three Emblems” by Al. Mikhailov even talks about a certain mystery, about the “mystery” of the impact of Vas’ song. Lebedev-Kumach and A.V. Aleksandrov, that it “does not lend itself to traditional philological analysis.”

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

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

Yes, indeed, the song has an oratorical, appealing, propaganda character, partly akin to topical newspaper journalism, usually stingy with visual nuances.

The most important place in the song is occupied by imperative, in the tone of an order or an oath, appeals to the listener - to the people, to the country: “Get up, huge country...”, “Let’s fight back the stranglers...”, “Let’s drive a bullet into the forehead...” .”, etc. All these appeals, designed for immediate understanding and response, consist of two or three words - they are, therefore, posters. And if we talk about the propaganda, posterity of many works of the war years, and, in particular, the initial period, then this rubbish, in fact, was expressed for the first time with such consistency in the song “Holy War”.

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

There must be all kinds of songs. But songs with a broad popular sound, carrying great slogans, great appeals, expressing the aspirations of the people, anticipating them - this is the greatest thing that we can imagine in song creativity and what we have to do along the lines of songs of victory.

We must approach the creation of a song with trembling hearts, with a warm soul. This is the only way to create songs, because a song is, first of all, an excited speech..."

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

In my song you. Lebedev-Kumach used what was characteristic of him before - the feeling of the inner strength of the Soviet people, their historical optimism, the breadth and open spaces of their native country, terrible and dangerous for the enemy by their very mighty immensity. In this regard, “The Holy War” is a direct continuation of the pre-war “Song of the Motherland” (“Wide is my native country”), and “Song of the Volga”, and some others. Noteworthy, for example, is the broad epic nature of the entire work, achieved by the majestic and solemn opening “Get up, huge country, get up for mortal combat...” and no less solemn, but at the same time filled with lyrical passion (“excited speech”) refrain:

May the rage be noble

Boils like a wave -

There is a people's war going on,

Holy war!

Addressing the people with such an unconditional, unquestioning faith in a response is also a common feature of Soviet poetry, which was reflected throughout the war - both in lyric poetry and in large poems, not to mention genres where such an appeal can be considered and obligatory I am traditional. It is also easy to notice that in the song you. Lebedev-Kumach, in its intonation basis, deeply felt by A. V. Alexandrov, the echoes of revolutionary marches and anthems are constantly heard, almost coming out, which, one must think, is facilitated by the noticeable, hardly accidental, orientation of the vocabulary itself towards the familiar to the reader (listener) word turns and phraseological units taken from the arsenal of revolutionary poetry. And this side was also repeatedly reflected in a variety of wartime poetic works: it is enough to recall at least the reminiscences of revolutionary marches and anthems in Nikolai Tikhonov’s poem “Kirov is with us,” which was further emphasized in the oratorio of the same name by S. Myaskovsky, and was also repeatedly expressed in the work of many other poets - O. Berggolts, A. Prokofiev, A. Surkov, K. Simonov, M. Dudin, S. Orlov... However, it is difficult to name a poet who would not, in one way or another, turn to the revolutionary traditions of the Soviet poetry of the period of revolution and civil war. In this regard, the song “Holy War” truly prophetically and accurately anticipated, if not the entire “problematics of war,” then the basic colors, tonality and imagery of military artistic expression, and most importantly, the spirit of genuine nationality, the monumental image of the masses, the laconicism of excited speech, open the energy of a journalistically sharp word, inspired by an unshakable faith in victory.

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

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

In a war under a shaky roof,

On the roads where I had to

Without leaving the wheels,

In the rain, covered with a raincoat,

Or taking off a glove with your teeth,

In the wind, in the bitter frost,

I wrote it down in my notebook

Lines that lived scattered...

Everyday poetic work, including utilitarian rough work in newspapers during the first period of the war, despite the fact that much of it did not survive its time and remained in old newspaper files, cannot be underestimated. It was, firstly, enormous in scope, it was done daily and hourly by thousands of writers on all fronts of the Great Patriotic War, they did it selflessly and selflessly in the most difficult conditions of a grueling struggle, they permeated the entire heated atmosphere of wartime with their propaganda, agitation party word; secondly, these collective efforts of poets, each of whom performed his own task, together formed for today’s reader a kind of chronicle of their heroic era; The very haste, incompleteness, and unfinished nature of that line of poetry acquires an additional documentary effect these days - the rough, charred texture of the verse sometimes testifies to us about the severity of the war more than works that have been finished in every detail and written at leisure could tell us.

Isn’t this what Sergei Orlov spoke about in 1945, looking back at his war poems:

With hands roughened by steel,

Write poetry while gripping a pencil.

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

The smoky dugout snores.

The smokehouse freezes under the ceiling,

Wet wood crackles in the stove...

Someday a descendant will read it

Clumsy but hot words,

And suffocate from the thick smoke,

From the air that I breathed

From the fury of the unique winds,

Which knock you down on the spot.

And, having not seen grief and sadness,

Not hardened by fire, like a blacksmith,

He will hardly envy his ancestors,

Hearing the lead sing in poetry,

The whole poem smells like smoke,

How I want to live before the attack...

And he will forgive me my sin in rhyme...

He cannot help but forgive this.*

Moreover, it is impossible not to take into account that this huge, everyday and, of course, often far from artistic perfection poetic work, although it was sometimes intended only for a short period of a newspaper page or for semi-oblivion in a notebook, brought great benefit to the writers themselves, since it taught the artist to constantly live with the actual needs of a warring people and to utter words that are as necessary in war as a bullet, shell or rifle. Everything that was a decorative phrase, grandiloquence and other literary beauties immediately revealed its groundlessness - the war required action, and only action. The people to whom the poems were addressed constantly encountered death - they needed a heartfelt and truthful word. “The war taught us,” noted M. Sholokhov, “to speak very directly.”

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

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

These were indeed poem-soldiers, ordinary workers of war, who did not shy away from any kind of menial work, selflessly rushed into the thick of battle and died in thousands, forever remaining unknown to the distant descendants of their military readers.

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

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

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

Young native of Naples!

What did you leave on the field in Russia?

Our land - Russia, I will scatter -

Have you plowed and sowed?

No! They brought you in a train

To capture distant colonies,

To cross from a family casket

Grew to the size of a grave...

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

I shoot and there is no justice

Fairer than my bullet!

S. Narovchatov said well about this poem: “...militant humanity writes these lines with Svetlov’s hand.”

As we see, poems of a journalistic and conscription nature, which at first had a somewhat general character of a purely agitational and propaganda nature, gradually began, as the war progressed and the accumulation of live observations, to increasingly more intensively absorb specific facts, dwell longer and in more detail on the heroic events of the war, on individual characters and etc. Such a focus on the concrete event and psychological side of life, on actions, on faces, on episodes required a certain narration. Along with the ordering, imperative intonation accompanying the phraseology of the call (“Not a step back!”, “Let’s defend the Motherland!”, “Forward against the enemy!”, etc.), the intonation of a story, a narration appeared, which indicated maturation in the field of journalism various genres and genre varieties characteristic of it, for example, poetic correspondence, essay, story, plot poem, and then ballads.

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

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

Among such poetic essays-portraits, almost lyrical in their intonation and visual means, one can include the poem-portrait of L. Prokofiev, widely known at one time and since then invariably republished, “Olga”.

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

I see you, golden one,

In the unclear distance of the field,

Not under a handkerchief under cambric,

And under the cap is a combat one.

You and your girlfriend rifle

I see - I won’t take my eyes off,

All with cheerful freckles,

Walking in the military ranks...

He then sketches his heroine's short pre-war life:

How long has it been along the perch?

You ran to the stream

How long have you been wearing shorts?

I am not myself with happiness...

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

In accordance with his artistic principles, which, as we know, have always gravitated towards lyrical generality, A. Prokofiev, in this poem, noticeably abstracts from the local biographical features of a person well known to him in order to sketch, albeit in somewhat general outlines, the image of a generation of pre-war youth - - that youth, which Yulia Drunina later spoke about “in the first person”:

Uncompressed rye swings,

The soldiers are walking along it.

We too, girls, are walking,

Look like guys.

No, these are not houses burning:

Then my youth is on fire,

Girls go to war

Look like guys.

Soviet literature military poetic journalism

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

How long have lullabies started singing?

Every single one of them was sung by the mother!

Now for the ship pines

You came running to fight!

For a simple and joyful life,

For the golden fire of the soul,

For this cool lake,

For the willows, for the reeds.

So that along the pole-block,

Of all the roads I chose her,

Ran in a blue, short one

All your childhood is clear!

Ran with cute pigtails

Easy and fun home

Along the spring path, familiar,

A white path - in winter.

Now with a friend rifle

You are marching in the battle line,

All with cheerful freckles,

If I see it, I won’t take my eyes off it!

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

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

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

Lyrical poetry of the period of the Great Patriotic War is a bright, diverse phenomenon, wide in the range of human feelings expressed in it. She was distinguished by the passion of her civic language and the height of her thoughts aimed at fighting for the freedom of her Motherland. Truly, the war poets knew “only the power of thought, but one fiery passion” - the will to win. Walking along the roads of war with the warring people, they carefully looked at his face, listened to his speech, and in this constant proximity they found strength for their verse.

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

The war has approached the Moscow region.

Night at the beginning of the glow of duty.

Like Russian sacrificial blood

The snow was soaked to the ground.

Carts rattle along the roads,

The squadrons pass at a gallop,

Tanks prepared for battle

Near the walls of dachas near Moscow.

The sound of horseshoes is clearer in the cold.

The dugout hole is wrapped in steam.

There is a machine gunner at the outskirts

He doesn’t take his eyes off the dark grove.

As if my hands had turned to stone.

It’s as if it’s buried in the ground, in a ditch.

This guy in a gray overcoat

Will not allow the enemy to enter Moscow.

The first lyrical works of the war were born primarily in such forms as we see in A. Surkov: poster journalism, so characteristic of the first war period, goes deep inside the poem, closed and intense in the concentration of spiritual feeling and thought; the few details, as if taken from the notebook of an attentive essayist, are enlarged almost to the point of symbolism.

The lyrics were not born without difficulties. The point is not only in the hardships of military reality, but also in the purely subjective feeling, characteristic at one time for many, that lyrical poetry (especially landscape, love) in war is not entirely appropriate. A conviction arose, which captured some of the poets, that in war, in the midst of grief, suffering and conflagrations, on land that smelled of gunpowder, TNT and the stench of corpses, in full view of the suffering people - what kind of lyricism could there be, and especially the lyricism of the heart. The world for most, if not for all, was initially painted in only two colors: hatred and love, and these two colors, two feelings, for some time, really did not know shades. All other spectrums of the human soul hastily retreated under the pressure of these two great feelings that were possessed by the tragedy of the war. Dm. Kedrin wrote in one of his poems:

War with Beethoven's pen

He writes monstrous notes.

Its octave is iron thunder

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

The iron thunder, born of hatred, for a long time was heard more than the music of love, it defined itself, voiced the alarm language of agitation-passionate poster poetry. At least a short time had to pass for each artist to be able to hear and convey in words the most diverse world of sounds of war, to reveal the various sides of the human soul that are most subject to his poetic individual nature.

D. Kedrin admitted:

But what kind of ears have I been given? --

Deafened by the thunder of these fights,

From the whole symphony of war

All I hear is the crying of the soldiers.**

In a poem with the “lyrical” title “Nightingales,” Anton Prishelets said:

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

Our song will ring,

Like copper

Gunfire thunders...

Others have written about the same thing.

So far from blood, like from rust,

The snow or grass turns red,

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

Whisper love words.

A feeling of revenge took root in my heart,

Overshadowing everything else.

Understand and wait for me - as in the song! -

And I will walk among the fire...,

asserted Pavel Zheleznov.

Many people could say with Gleb Pagirev:

War, war - holy prose

And forgotten poems, -

And therefore -

Live, poetry, like the sword of the fatherland!

The image of poetry as a sword without a lyre has arisen in poetry more than once. It was not far-fetched, since it was, of course, caused by the time itself - bloody and harsh, requiring a direct bayonet strike from the art. A. Surkov later recalled that “at one time it was considered almost indecent to write lyrics” - a poster stood in his eyes: “What have you done for the front?” And the front required material labor, ammunition and propaganda words. Journalism, satire, essay, even a ballad (with its characteristic graphic clarity) seemed to be more adapted to their thundering and burning times than, say, lyrical meditation or a landscape sketch.

The transition was especially difficult and painful for the younger generation. Book romance, characteristic of many young poets, came into sharp conflict with the cruel everyday life of war, and it was difficult for the realistic word to be born. “We understood the war somewhat differently,” K. Vanshenkin recalled about his generation, “we did not know that war is, first of all, hard work, that it is thousands of kilometers covered by you, sixty to seventy a day, yes still with a twenty-kilogram load on his shoulders, and even in bad shoes that chafe his feet, that these are hands stained with blood, that these are hundreds of cubic meters of earth thrown out by a small sapper or a large bayonet shovel. Then we learned all this..."

Book romance of war! Where are you? --

exclaimed A. Nedogonov.

War is not fireworks at all,

but just hard work,

when, black with sweat,

infantry slides upward along the plowing...

(M. Kulchitsky)

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

The fight was short.

drank ice-cold vodka,

and picked it out with a knife

from under the nails

I am someone else's blood.

But along with the rough nature of the war, at the same time with its “cruel notes”, that psychological truth, that realism in depicting feelings and situations, without which lyricism is unthinkable, also entered into the poems.

The lyrics of war were born out of the need for truth, out of disgust for beauty, blasphemous in the eyes of the poet-soldier walking “the roads of fierce misfortune.” These were the poems of S. Gudzenko, which captured his initial military experience: “Bonfires”, “Before the Attack”, “Memory”, “The Path” and many others.

Two hundred steps to the German trenches,

to hand-to-hand combat -

at hand.

And between us -

nobody's snowdrifts,

and the dead,

and no one's peace.

on the front,

men love

talk about the warmth by the fire.

A handful of moss

and a dozen splinters -

this is an overnight stay

and the story until the morning.

In a case like this

no need for axes,

The splinters were chopped with a Finnish knife.

our fires.

With songs the soul does not feel cold.

We had a chance to walk through Russia

all the roads of fierce misfortune.

Ashes of the fires

and ashes of hair -

These are soldiers' nomadic traces.

This is S. Gudzenko’s poem “Bonfires,” one of the most remarkable in his military lyrics. The imagery of its first stanza echoed the then recently written “Dugout” by A. Surkov. The line about songs in a low voice, warming the soul like soldiers’ fires, is also typical. The need for lyrics, for song (in the broad sense of the word) grew: poetry could not be just a naked sword seeking the death of the enemy - it sought, in the words of D. Kedrin, “to put on notes the most varied melodies of the soul.”

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

Maintained in Nekrasov's intonations, filled with guilt and pride, and also imbued with a sense of vast historical space, this work was one of the very first most expressive lyrical poems dedicated to the warring Fatherland. With his word and heart, the poet touched in him the source of the nation's existence - the boundless sea of ​​peasants, distant great-grandfathers, breadwinners and defenders of Rus'.

The bullets still have mercy on you and me.

But, having believed three times that life is all over,

I was still proud of the sweetest one,

For the bitter land where I was born.

Because I was bequeathed to die on it,

That a Russian mother gave birth to us.

That a Russian woman is accompanying us into battle

She hugged me three times in Russian.

This same poetic idea was developed in many of his works by Pavel Shubin. In the poem “The Hut by the Road,” he paints a touchingly poignant picture of Russian autumn nature, amazing in its poetic beauty and insight—the time of harvest and traditional peasant holidays. The poet stops near the hut - he wants to see it full of autumn richness and revival, he wants to hear how

The cellars smell of dill and malt,

Lingonberries and honey - oak tubs.

As if a holiday will open to us in the morning

Let's have a solemn feast, like communion.

And he will lay a ruddy loaf on the table

Village happiness as big as the world...

It’s as if frozen here since that pain, since that night

The damned malice of the alien enemy,

The grin of the breaches cackles above them,

A blunt hoof steps on the heart...

Enough! Katyushas are playing behind the forest,

We can no longer sleep under our dear roof,

On January nights don't listen, don't listen

Silences of woven white frost.

The last crumbs of peace have smoldered,

And we will have enough grief and anger for a long time:

Behind us is Russia - a hut by the road

Like an oath of allegiance to a soldier's duty

The image of a hut near the Road as a symbol of Russia arose repeatedly in the poetry of the war years, ending with the poem-song by A. Tvardovsky “House by the Road” written

Like a cry for the homeland, like a song

Her fate is harsh

Thus, despite the fear of lyricism characteristic of some poets, lyricism successfully made its way and occupied more and more place in poetry - in the works of M. Isakovsky, A. Tvardovsky, K. Simonov, A. Surkov, S. Shchipachev, A. Fatyanova, O. Berggolts, S. Marshak, N. Rylenkova, D. Kedrin, S. Narovchatova, M. Lvova... From now on, not only oratorical civil eloquence, but also much more that lived in the soul of a soldier, turned out to be important and necessary. for the poet of the Great Patriotic War. In the first period of the war, the literary concept of the Motherland existed predominantly in its universal form. The very word Motherland instantly evoked in the minds of the reader or listener a very specific set of patriotic associations, analogies and experiences. In the famous song of you. Lebedev-Kumach (“There is a holy war going on...”), as we have seen, the word Motherland lives precisely in this capacity. In the artistic system of you. Lebedev-Kumach, who continued the traditions of revolutionary hymns, such a symbol was also not without a certain multidimensionality, due to the individual associations that inevitably permeated it. Poetry during the war period repeatedly and with great success used this amazing ability of the word to be saturated with emotional and artistic power with seemingly minimal help from art. Hence the enormous propaganda (and artistic) success of works that now may seem artless, or even nakedly rhetorical.

However, like many other key images of military lyrics, the image of the Motherland in the poets’ poems becomes more specific, autobiographical, and therefore more lyrical. For example, K. Simonov’s lines about a “patch of land” that fell “to three birches” became popular. The artist’s gaze looks longer and more intently at numerous details, from which a sense of patriotism is naturally gradually formed. Poetic vision, in a word, has become more attentive to the details of the native land, to the “small homeland,” which, as we know, for the first time gives life to civic consciousness and feeling.

The song occupied a large place in the lyrical and journalistic poetry of the Great Patriotic War - in its most varied varieties: along with lyrical songs about love, about separation, about the anticipation of a meeting, marching songs, hymn songs, works of high civil sound, as well as comic ones, widely developed. born in moments of calm and brief rest. Often songs were created for a single division or regiment; written in most cases by amateur authors, they became a permanent fixture of one or another military unit, and they were treasured.

The need for songs of various types was very great at the front (and in the rear during the war years). Composers and poets could not help but see with what persistence the human soul sought expression in the soulful melodious word.

As already mentioned, the tone of the song was set by the beloved “Holy War” by Vas. Lebedev-Kumach and A. Alexandrov.

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

The powerful life-affirming principle, surprising in its strength and continuity, characteristic of Soviet military poetry even in its most tragic works, came to it primarily from Pushkin.

Pushkin's theme of state, history and personality ran like a loud leitmotif through all of our war poetry. She organized both the lyrics and some large things of an epic appearance. What becomes characteristic of lyricism is not simply an appeal to the history of the people as a means of illustrating civic feelings, but its organic introduction into the poem, stemming from a living feeling of unity with the life of the people, with their modern difficult day.

Look at the forests and pastures,

Moving forward into battle with a rifle;

Everything that we have acquired through our hard labor,

Behind your back, behind you!

So that this good thing does not be stolen,

I command you to stand to death!

The general trend of poetic development emerges in the desire of lyrics to broadly embrace life. In this endeavor, the great traditions of Russian classical literature met and began to interact with those achievements of artistic knowledge and reflection of reality, which are associated primarily with the ideological and aesthetic nature of Soviet literature, with its pre-war experience, as well as even earlier - mainly with the experience of Vl . Mayakovsky.

In this regard, it is important to emphasize that the poets sought to understand the history of the people as an integral part of their personal biography. The lyrical principle that dominates all our war poetry left its own imprint on many works of those years.

For example, fragmentarily emerging in the lyrical flow of verses and poems by Olga Berggolts, pictures of revolutionary St. Petersburg, coming from childhood memory, dashes of the civil war, signs of Komsomol life of the twenties and thirties, various kinds of historical and revolutionary relics appearing in the architectural appearance of Leningrad, usually shone through in her poems with such intense, personal feeling that they became a part of an autobiographical confession. Siege Leningrad appears in her poems not only in the precise details of life, everyday behavior and struggle of the citizens of the besieged city, but also in the numerous, as a rule, extremely carefully and carefully taken by her relics and memorial signs for commemorative “recording”. Therefore, she usually presented Leningrad life, unique and unique, in her lyrics in such a way as to reveal, even in small details and details, a large and universally significant historical life (“being”). It is no coincidence that even small and seemingly purely lyrical poems of her time acquired a kind of symbolic character: they correlated with large social (historical, national) coordinates.

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

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

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

To this we can add that the message was essentially the original form in which military lyrics arose, freely and naturally feeling themselves in it. A letter, message, address gave great freedom to lyrical expression - even with a generalized addressee, it allowed one to speak on a first-name basis - intimately and confidentially. It is enough to recall at least the oral radio addresses of O. Berggolts to her “Muscovite sister,” to the townspeople of the besieged city, to the people.

Comrade, we have had bitter days,

unprecedented troubles threaten

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

and this is already a victory...

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

And the entire native state,

And our entire rear, and any front

Bring praise and honor rightfully

To you, comrade combatant...

In his message to “Countryman,” A. Tvardovsky, with his characteristic desire to remind the reader of what is most dear to him, lists the signs of a home, an abandoned family, and ends with a conclusion-appeal:

Everyone has their own side,

Everyone has their own home, their own garden, their own beloved brother, -

And we all have one homeland,

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

Oh, dear, fatherly,

That there is only one in the world,

Dnieper side,

Smolensk side,

Hello.

Words cannot be squeezed out

The edge of the night without fire.

You seem to be far away

Lands from me.

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

For Pochinki, Glinka

And wherever there is,

Secret paths

Vigilant revenge is on the move.

Walks, closes in chains,

Covered the entire edge

Where they are not expected, it is announced

And punishes...

And this poem ends, after several stanzas developing the theme of retribution, with words full of faith and light:

Hey, dear, Smolensk.

Countryside side

Hey, funny people,

Hit! Ours takes!

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

This is not surprising: the messages written by the poets of the Great Patriotic War contained national feelings and thoughts, events of national significance and meaning.

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

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

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

One of the first lyrical books of 1941 was A. Surkov’s collection “Frontline Poems”. It includes works written in July - August of this year. From this book, which contained many of the problems of that time, interesting for the originality of its artistic solutions, one can judge the main focus of the poetic work of that time.

The poems were written on the roads of retreat, in the fire of protracted battles. The intermittent breathing of a difficult battle is well conveyed in this book, which, as a rule, consists of short works, similar to entries in a front-line notebook.

A. Surkov's poems of 1941 were subordinated to one all-pervading feeling - the feeling of sacred hatred.

For the blood on the asphalt, for the women in tears,

For the horror in the sleepless children's eyes,

For the children's comfort blown up by bombs,

For every brick they break

For every block shrouded in smoke,

We will pay terrible retribution to the enemy!*

“I Sing Hate” was the title of one of his books at that time.

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

A man leaned over the water

And suddenly I saw that he was gray-haired.

The man was twenty years old.

Over a forest stream he made a vow:

Mercilessly, violently execute

Those people who are rushing to the east

Who dares to blame him?

What if he is cruel in battle?

He told me as he went to bed:

Black shadows ripple in the eyes.

As soon as I forget myself, I see my wife,

As soon as I forget myself, I see the guys.

Dead children seem to me.

Trembling runs from hair to toes.

That's why in the silence of the night

Strong, his teeth creak.

Outwardly, these are sketches, i.e., like “newspaper” poetry, akin to both a notebook entry and an essay, but in fact, the newspaper theme here has already switched to the language of lyrical utterance.

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

Don’t use your usual yardstick to no avail

Everything that is shaken by the threat of war.

To those who walk close to death,

There is a lot to see in the world.

We have become more and more picky and harsher,

Having experienced the thrills of war.

For us now actions, people, things

The trembling light of battles is illuminated.

In a time of turmoil and devastation.

Jealously catches the rattling of falsehood

In cast words is our heightened hearing.

When the snow was red with scarlet blood,

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

Like a dead leaf in autumn, it has fallen

Beautiful words are dry husks.

The soul of a fighter is demanding and stern.

It is not for her to listen to the magnificent ornateness.

We became more silent. At a glance

We are used to understanding each other.

Standing in the draft of big events,

Believing in your star to the end,

Only a word of truth, honest, simple,

We are ready to accept into our hearts.

And if you stand under our banner,

Sit next to us by the fire in the night.

The one who shares sorrow and joy with us,

He will pick up the keys to the soldier's soul.

Of course, it would be, of course, wrong to think that A. Surkov’s lyrics were limited, as one might suspect from his polemically pointed statements, by the so-called trench life or, moreover, that they were confined in their horizons to some limited space. The very symbolism of his images, the inner pathos of his voice, the historical breadth of view that shines through in the poems and gives them the necessary scale - all this testified that the lyrics of the “trench” poet A. Surkov were poetry of great feelings and thoughts.

The need for a deep lyrical understanding of the era, the military feat of the people, was naturally revealed in different ways, but in its concrete figurative implementation some similar features can be noted.

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

The military lyrics of M. Isakovsky are characteristic in this regard. The light coloring of his pre-war songs and poems disappears for a long time with the beginning of the war, replaced by tragic, gloomy colors, melodies of sharp spells, angry calls, lament songs, etc. And only in the second half of the war, the bright beginning returns to his poetry along with the approaching victory , however, in 1945 it too gave way to what is perhaps the most tragic work of the poet - the poem “Enemies burned their native hut...”. Simultaneously with A. Tvardovsky, who captured the image of an “orphan soldier” on the last pages of “Vasily Terkin,” M. Isakovsky, in his lyrical masterpiece, which later became a folk song, accomplished through the means of lyrics the same thing as his fellow epic. Both at the very end of the war felt, like everyone else then, the great, immeasurable, truly tragic price of Victory.

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

How to forget when the huts were burning,

When the dead were swinging in a noose,

When the little guys were lying around,

Nailed to the ground with bayonets?

How to forget when your blind grandfather

In his bestial frenzy,

Cannibals tied to two tanks

And they tore him in two alive?...

Like A. Surkov, these sufferings and deaths in M. Isakovsky end with a passionate call for revenge, for retribution, for terrible punishment. His curses and spells, almost sobbing in their intonation, are instrumented in the spirit and style of folk laments, however, without any shade of special stylization “like folklore,” but quite naturally - in the language of a modern peasant, using everyday, familiar and widespread vocabulary .

Let the leaves and grass dry,

Where will the executioners step?

And let it not be water - poison

Every stream will be filled.

Let the raven - an ominous bird -

Pecking the eyes of cannibals,

Let it turn into fire rain

Our burning tear!

Let the wind of iron vengeance

The rapist will be swept into the abyss,

Let the rapist seek salvation,

And let him not find it.

And he is executed with a terrible execution,

Gnawing stones locked up...

Particularly sad were M. Isakovsky’s songs about captivity, about the torment of Soviet people in the occupied territory and in the “non-French”. He was the first, following oral folk works and simultaneously with unknown poets who were prisoners of concentration camps, to begin to develop this topic. In the song “Aren’t we, my friends...” girls who were taken to fascist penal servitude, crying, tell how

The accordion players were hanged

And the girls were disgraced.

Days and nights without rest

Everyone was forced to work

Behind the barbed fence

They sent me to torture.

They beat us to death with rifle butts,

They tear with drunken hands,

They water our heads

All with iron rains...

In his lyrical songs (“In the forest near the front”, “Ogonyok”), which enjoyed enormous popularity during the war years, the poet focused his heart and word on those minutes, albeit illusory; but still rest and peace of mind, which also happens to a war worker. These works return the lyrical hero to his abandoned home, beloved, children, mother, but their internal “super task” is for M. Isakovsky to, recalling peaceful happiness and love, family hearth and native arable land, strengthen the will, prepare for the upcoming battle - for the battle for arable land, for the hearth, for love.

So, friends, since it’s our turn,

Let the steel be strong!

Let our hearts not freeze

Your hand won't tremble...

As for the “laments” of M. Isakovsky, his songs about captivity, there is a striking similarity between these works and the songs of the prisoners themselves, songs (poems, ballads, laments) that were in fact almost unknown to him at that time. As a truly folk poet, he came to this similarity, without special concern for it, but submitting to a feeling of deepest compassion, which gave him the opportunity to feel distant pain as his own.

The works of concentration camp prisoners became mostly known (of course, only some of them) only after the end of the war. The poems of Musa Jalil were transferred to the Soviet Union by his anti-fascist friend, other works were found in the dismantled walls of casemates, under the ruins of concentration camps, others turned out to be written down by someone at one time and were accidentally preserved. They, these works, represent an integral and proud page in the history of poetry of the Great Patriotic War. The poetic lines, miraculously saved from the fire, from oblivion and oblivion, captured the greatness of the human spirit. Their authors, for the most part, died, and others - with rare exceptions - remained unknown, but the poet-prisoners amaze the imagination by the fact that they found in themselves the strength to strike a spark of poetry next to the hellish flame of gas furnaces and carefully store it in the vague hope of future. One of these poets, A. S. Krivoruchko, who survived and had the good fortune to once again be in the ranks of the Soviet Army, wrote: “I would like to present to your attention several of my poems, written in the terrible days of fascist captivity. It’s not for me to judge their merits and demerits. I will say one thing - I couldn’t help but write. They did not write at a desk, they wrote when their vision was blurred, their legs were giving way from weakness, and hunger was pulling their stomach like a rope, when every minute a bullet, a bayonet, a club could end their life...”

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

I have nowhere to print the line

About the bitter life of captivity:

All around from floor to ceiling

Painted walls.

Someone started from the corner,

Freedom of the guard,

Through his narrow eye of glass

A bullet entered the back of the head.

And he signed in blood,

Looking around at my friends.

And I am among such names

I placed mine next to it.

The poems of concentration camp prisoners are not varied in their themes, which is understandable, but they are surprisingly purposeful: “the power of the thought alone” possessed their authors - love for the Motherland.

Through the front, through a thousand deaths,

Through Dante's hell of concentration camps,

Through a sea of ​​blood, grief, tears

I carried the image of the Motherland.

Like a guiding star

He always shone before me.

A beautiful poem written in Sachsenhausen was also widely known among prisoners:

I will come back to you, Russia,

To see blue rivers,

To follow the path of my fathers.

I, like a son, love you, Russia,

I love you even more

Lovely blue expanses

And the vastness of all your seas!

I will come back to you, Russia,

To hear the noise of your forests,

To see blue rivers,

To follow the path of my fathers.

A. Abramov rightly wrote about this poem in his book “Lyrics and Epic of the Great Patriotic War”: “Some of the traditionality of the form and the simply lack of precision of the poem can today hide from us the sharpness of the thoughts of the poet-prisoner. Meanwhile, he insightfully speaks about the continuity of the cause of the heroes of October in the deeds of the heroes of the war against fascism, expresses an idea close to that which other poets lived...”

The ideas of patriotism, hatred of invaders, faith in victory, the spirit of international anti-fascist brotherhood and humanism - this is what united “poems behind barbed wire” with all Soviet poetry.

As the war progressed, another characteristic feature of the lyricism of those years began to emerge more and more clearly: it increasingly and more willingly began to absorb the large and intense world of philosophical thoughts, and increasingly began to resort to such techniques of lyrical typification that approached symbol or allegory. Compared to the initial period of the war, factual and informational poems are becoming less and less; philosophical intonation and symbols are becoming more and more prominent as a result of an in-depth understanding of life. Dashes and details of front-line, trench life, touches of human behavior in war are increasingly used by poets not only as expressive means of poetic painting or graphics, but also as independent image-concepts filled with philosophical content. Characteristic in this regard is the modification of A. Nedogonov’s lyrics. His “trench” poems, previously somewhat confined to the confines of a soldier’s life, now boldly include both the distant, but increasingly clearly visible to the poet, outline of Victory and the even more distant post-war sunny peaceful day. In one of the poems he again describes a trench, but how?

The soldier looked around the trench:

there is earth in the grass, grass in the smoke.

Before the crest of the parapet - Europe,

beyond the beam - Moscow.

In the same poem, the killed sapper lies with him

death's head -

to Moscow,

with a dying heart -

for descendants.

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

The voice of life and love sounds more and more insistently, wider, louder and higher in poetry.

love's silver throat,

I see you stretched out your hands to me,

And you call... Don’t, don’t call.

Let me forget at least for a single moment,

Don't disturb my cherished dreams.

Can't you feel the smoke

Am I smelling the doom?

What's with such a harsh, unsociable

Will you do it, my dear?

“You’ve become twice as dear to me like this,

This is what I call you"

This is Nikolai Rylenkov, 1944. But many people wrote similar things. Love lyrics not only gained their position in military poetry, but at the same time they seemed to be enlarged, since they were constantly correlated, could not help but relate to the war, which constantly reminded a person of the game of life and death, of the price of victory and human happiness, from victory - common victory - inseparable.

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

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

Let's love everything to the fullest and write, my peer, something like this,

that their sons will be proud of their soldier fathers... -

wrote S. Gudzenko.

That is why the present - today’s military present (like M. Dudin’s famous “three hundred and fiftieth day of war” in the poem “Nightingales”) seemed especially significant, as if doubly authentic: after all, in it, being completely dependent on it, there lived and impatiently Tomorrow's future announced itself. More than ever, the current, motley, burning, deadly war day seemed like a piece of the epic being created.

End of February.

Like curtains

The sky turns blue through the holes in the walls.

The Germans have arrows at intersections

The road is shown to captivity.

This is history.

This is a memory...

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

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

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

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

BIBLIOGRAPHY

1. Abramov A. Decree. cit., p. 111.

2. Azarov Vo. Leningrad. L., 1942.

3. Berggolts Olga. Collection cit.: In 3 vols. L., 1973, vol. 2.

4. Brezhnev L.I. Great feat of the Soviet people. M., 1975.

5. Brovka Petrus. To native shores. M., 1943.

6. Vetrov D. The Road to Moldova. 1941--1943. Chisinau, 1946.

7. In the book: Poems behind barbed wire: Notebook found in Sachsenhausen. M., 1959

8. Gudzenko S. Decree. Op.

9. Drunina Yulia. Unharvested rye sways... - In the book: Poetry in battle: Poems about the Great Patriotic War. M., 1959.

10. Dudin Mikhail. Poetry. M., 196.

11. Zheleznov Pavel. Expect victory! -- Krasnoarmeyskaya Pravda: Gaz-Zap. front. 1942, December 10, No. 341 (6562).

12. Isakovsky M. Works: In 2 volumes, 1941-1950. M., 1951, vol. 2.

13. History of Russian Soviet literature. M., 1963, vol. 2

14. Kedrin Dmitry. Favorite works. L., 1974

15. Kochnev M. Embrace of the Earth. Ivanovo, 1943

16. Lebedev-Kumach Vas. Songs and poems. M., 1960

17. Lyushnin Gr. Not shot song: Poems. M., 1974

19. Mikhailov Al. Three emblems: From notes on the poetry of the war years.-- Our Contemporary, 1977, No. 5.

20. Moskvin N. Partisan paths. Quote to the article: Sitkovetskaya Maya. Sounds like a hymn.--In the book: When the guns thundered, 1941--1945. M., 1973.

21. Narovchatov S. Poetry in motion: Articles. M., 1966

22. Nedogonov Alexey. Lyrics (1938--1948). M., 1949

23. Orlov Sergey. Poems. L., 1968

24. Alien Anton. Hike: Poems. M., 1945

25. Prokofiev A. Olga. -- Red Star, 1942

26. Rylenkov Nikolay. Poems, M., 1964

27. Svetlov M. Poems and poems. L., 1966

28. Simonov Konstantin, Poems and poems. L., 1982

29. Sitkovetskaya Maya. Decree. cit., p. 92.

30. See the book: Friends Remember. L., 1977, p. 117.

31. Soviet writers on the fronts of the Great Patriotic War. - In the book: Literary heritage; M., 1966, vol. 78, book. 1

32. S p i v a k I. Decree. op.

33. Surkov Alexey. Big war. M., 1942, p. 6.

34. Surkov Alexey. The war has approached the Moscow region...-- In the book; We swear by Victory: Poems about the Great Patriotic War. M., 1975

35. Surkov Alexei. Poems about hatred. M., 1943

36. Surkov Alexey. Front notebook, M., 1941

37. Tikhonov N. In the days of testing. -- In the book: With a pen and a machine gun: Writers, journalists of Leningrad during the years of the siege. L., 1964

38. Tvardovsky A. Vasily Terkin: A book about a fighter. M., 1973

39. Tvardovsky A. Smolensk region: Poems. M., 1943

40. Tvardovsky A. Collection. Op. in 6 volumes, volume 2

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

42. Quote. based on the book: Shilova A. V. Alexandrov: Essay on life and activities. M., 1955.

43. Chepurov A. Dawn, - In the book: Victory: Poets about the feat of Leningrad in the Great Patriotic War. L., 1970

44. Sholokhov Mikhail. Collection cit.: In 8 vols. M., 1960, vol. 8

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

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

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Plan

Introduction

Chapter IIdeological and thematic orientation and artistic

Chapter II

Conclusion

List of used literature

Introduction

The years of the Great Patriotic War were an exceptionally unique and vibrant period in the development of Soviet literature. In the most difficult conditions of a fierce struggle with the enemy, many works were created that remained forever in the people's memory.

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

The historical and literary content of the military four-year period was colossal.

The relevance of studying this topic lies in the fact that thanks to the study of poetry of the war years, we can form an idea of ​​the life and peculiarities of thinking of people of that time, because poetry is the most sensitive seismograph of the mental state of society.

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

Based on the stated goal of the work, the following tasks can be formulated:

• identify the genre and aesthetic nature of military lyrics;
• explore the ideological and thematic orientation and artistic originality of military poetry;
• objectively assess the importance of this cultural heritage for modern society.

The work uses cultural, historical and typological research methods, as well as contextual analysis.

The material for the study was the poetic works of such Russian writers as K. M. Simonov, A. T. Tvardovsky, A. A. Surkov, N. S. Tikhonov, M. V. Isakovsky, O. F. Berggolts and others.

I. Ideological and thematic orientation and artistic

coriginality of wartime poetry.

The historical events of the 1940s form a huge thematic cycle of works in Russian literature. The Great Patriotic War scorched poetry and tempered it with the firmness of truth. The categories of a certain decorative and justificatory aesthetics had to give way to an analytical, militant muse. And poets appeared in Russian literature, as if called upon to focus historical events most sharply and categorically: B. Slutsky, K. Simonov, M. Lukonin, S. Gudzenko, and others. Their poetry is marked by the cruel stamp of the Great Patriotic War. In the spirit of the stern muse of those years, many guessed their pain, suffering, their fortitude, for the theme of war is not the theme of battles, but the theme of life and death, duty and suffering, love and fidelity, courage and hope, loss and victory - then there are eternal themes of world poetry.

The war sharpened the sense of homeland and country for many. The soldiers went to die for the Fatherland, and it was very important for them to visually imagine what it was? And a new discovery of the Motherland takes place, about which K. Simonov wonderfully wrote in the poem “Do you remember, Alyosha...”:

You know, probably, after all, the homeland -

Not the city house where I lived on holiday,

And these country roads that our grandfathers passed through,

With simple crosses from their Russian graves.

The theme of the Motherland in Russian literature has always been the most relevant. K. M. Simonov, continuing the tradition of Russian classical literature, connected the image of the Motherland with the native landscape. The theme of the Motherland during the Great Patriotic War finds an artistic solution in poetry, it becomes infinitely diverse and rich, and it is in it that the creative individuality of poets is manifested.

Also, poetry of the 1940s period refers to the history of Russia, to its heroic deeds. Moral and generally spiritual traditions acquire particular importance: in A. Tvardovsky’s poem “Vasily Terkin” the past and its heroic traditions live on:

But the guys are already coming,

Fighters live in war,

Like sometime in the twenties

Their fellow fathers

They go the harsh way,

Same as two hundred years ago

Walked with a flintlock gun

Russian worker-soldier.

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

Under the roar of midnight shells,

On a midnight air raid

In the iron legs of Leningrad

Kirov is walking through the city.

The poetry of the Great Patriotic War is the poetry of activity. And if activity could kill the enemy, then the intensity of hatred represented in the poetry of the war years destroyed him. But poetry is a sphere of spiritual life; it had to “reach out” to the reader, take possession of his mind and heart and inspire him to fight. In the poetry of the 1940s, a new artistic quality emerged - effectiveness, which should also have been accessible and understandable. Many wordsmiths, whose poetic form was usually complex, wrote in a simple and accessible way during this period. In the work of B. Pasternak, a tendency towards simplicity emerged in the last pre-war years. But his collection of poems “On Early Trains” is fundamentally different from all previous work. B. Pasternak, retaining his poetic technique, comes to a clear form. His poems are dedicated to the people of the front and rear; they glorify the courage, patriotism, dignity and nobility of the people who bore all the hardships of the war.

Poetry of the war years becomes operational, accessible, understandable and close to the mass reader. The desire for effective poetry brought many famous poets to periodicals during the Great Patriotic War. Some researchers note the imperfection and certain superficiality, artistic weakness of “newspaper” poems, but at the same time emphasize their relevance and ideological orientation. We can agree with this to some extent. Indeed, there are poems devoid of bright poetic thought. But, “newspaper” poems are one thing, and poems written for a newspaper, for a soldier’s leaflet, are another. These poetic works have their own specificity, their own reader, they combine topicality and accessibility with high artistry. And it is this type of poetry that becomes widespread during the Great Patriotic War.

The best poets come to journalism. Central, local and front-line newspapers publish works in which relevance is expressed in the formulation of the most important problems of life and the people’s struggle for their independence, and artistry is organically combined with accessibility. It should be emphasized that most of the most significant poetic works of this period were published in newspapers. As an example, let us cite A. Akhmatova’s poem “Courage,” created with great skill and inspiration, but specifically for a newspaper:

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our watch.

And courage will not leave us.

It's not scary to lie dead under bullets,

It's not bitter to be homeless, -

And we will save you, Russian speech.

Great Russian word.

We will carry you free and clean,

We will give it to our grandchildren and save us from captivity

Forever!

The genre uniqueness of military poetry should also be emphasized: the poets’ desire for the effectiveness of the word gives birth to new, transformed folklore forms such as a spell, a curse, a cry, a song, an oath and others. The most famous example is the work of A. Surkov “Song of the Brave”, which, being one of the most popular songs of the Great Patriotic War, glorifying courage in the fight against the enemy, was built on the repeated proverbs characteristic of conspiracies, seeking to “bewitch” the listener, convince him, instill courage and contempt for death:

The bullet is afraid of the brave,

The bayonet does not take the brave.

The vocabulary, the form, the very imagery and structure of the verse also includes a sense of history. Modernity is felt as a continuation of the past, as a direct continuation of the centuries-old liberation struggle of the Slavic peoples against foreign invaders:

Raising a forged sword against Hitler's hordes,

We covered the expanses of the Slavic land with our breasts. (A. Surkov. “In the mortal heat, the aspen trembles under the wind”).

The folk character of the war also corresponds to the poets’ appeal to folklore traditions. And if for some folk images, motifs and techniques are stylization, then for others they are a way of thinking. The folklore tradition, entering as a powerful stream into the literature of the 1940s, helped writers speak with the people in a language close to their aesthetic tastes, traditions and national characteristics of thinking.

A special place in the lyrics of the 40s is occupied by the theme of a woman who bore on her shoulders all the hardships of military troubles and labors. In M. Isakovsky’s poem “To a Russian Woman,” the Patriotic War is perceived through the image of a woman, through comprehension of her fate:

You walked, hiding your grief,

The harsh way of labor.

The entire front, from sea to sea,

You fed me with your bread.

In cold winters, in snowstorms,

That one has far features

The soldiers were warmed by their greatcoats,

What you sewed with care...

Wartime poetry was a kind of artistic chronicle of human destinies, people's destinies. This is not so much a chronicle of events as a chronicle of feelings - from the first angry reaction to the treacherous attack of Nazi Germany:

Get up, huge country,

Stand up for mortal combat

With fascist dark power,

With the damned horde!

The peculiarities of poetry as a type of literature contributed to the fact that in wartime it took a dominant position: “Verse received a special advantage,” N. Tikhonov testified, “it was written quickly, did not take up much space in the newspaper, and immediately went into service.”

The poetry of the war years is poetry of extraordinary intensity. During the war years, many genres of poetry became more active - both those propaganda ones, which originated from the time of the revolution and civil war, and lyrical ones, behind which there was a centuries-old tradition.

The war separated loved ones, subjected human affections to a severe test, and emphasized the high value of love, tenderness, the importance and necessity of friendly feelings. Wartime lyric poetry fully reflected this thirst for humanity. Severe trials did not harden people.

Description of work

The purpose of this work is to study the genre, thematic and artistic features of the poetry of the war years.
Based on the stated goal of the work, the following tasks can be formulated:
identify the genre and aesthetic nature of military lyrics;
explore the ideological and thematic orientation and artistic originality of military poetry;