Civil war in Russian literature of the 20th century. The Theme of the Civil War in Russian Literature of the 20th Century Based on One or More Works - Abstract

The revolution is too large an event not to be reflected in literature, and a rare writer who survived it did not touch it in any way in his work.

There are different approaches to this topic. Let's say Babel's "Konarmiya" or Sholokhov's "Don Stories" - this is a series of episodes that are not very interconnected, lining up in huge mosaic canvases, but " white guard» Mikhail Afanasyevich Bulgakov - a classic novel. At different writers events are presented from different points of view: in Serafimovich's "Iron Stream" - from the point of view of the people, in Bulgakov and most émigré writers - from the point of view of the nobility. In general, Sholokhov does not investigate the struggle between the oppressors and the oppressed, but the contradictions that arise within the people themselves in the course of a fratricidal war. There is another approach to the topic - historical. Mark Aldanov in the novel "The Ninth Thermidor" describes not our revolution, but the French one. Revolution for this author is not just a change of power or even a social formation, but an explosion of animal instincts, the return of humanity to a brutal state. He writes: "The revolution is terrible not against the monarchy, but against the handkerchief," that is, against culture.

And yet, among the many opinions, two main approaches to this topic can be distinguished. It will be most convenient to analyze this process on the example of two novels - "The Defeat" by Fadeev and "The White Guard" by Bulgakov.

Bulgakov's characters are the Russian intelligentsia, the nobility, officers, and the events are presented from their point of view. The heroes of Fadeev, on the other hand, are people from the people (the only one who, at the very least, can be called an "intellectual" - Mechik, is presented as a representative of the "petty bourgeoisie"). These two writers are in different camps and, accordingly, Bulgakov's representatives of the common people, "peasants - God-bearers Dostoevsky" are presented negatively. These people do not care where the whites are, where the reds are, they only care about themselves, and the intelligentsia appears before us as the guardian people's memory, great culture and hard moral principles. With Fadeev, the opposite is true. A cultured and educated Mechik turns out to be a traitor, he does not have the inner strength to follow and serve the people. Frost, as the personification of the common people, although somewhat impulsive, but intuitively feels the truth.

Fadeev also has another idea: "The end justifies the means." The image of Levinson, who does not stop at any cruelty in order to save the squad, is indicative. He can be compared with Khludov from Bulgakov's "Run", but at the end of the drama Khludov realizes his mistake, realizes the perniciousness of this idea. Levinson, on the other hand, is convinced that he is right, and Fadeev justifies him.

Naturally, from all of the above it is clear that Fadeev and Bulgakov have diametrically opposed views on the revolution itself. If Fadeev presented this event as necessary and natural, which liberated the people (and in general, despite the tragic fate of the heroes, the novel “The Rout” is an optimistic thing), then for Bulgakov the revolution is a prototype of the apocalypse, death old Russia, the destruction of culture and everything that is dear to man.

We see that such a grandiose event could not leave anyone indifferent. May exist different opinions on this occasion, but the way the revolution was reflected in various works different writers, can help us, descendants, to understand everything, to understand and comprehend our history ...

in the 1920s, literature captured a complex, extremely contradictory image of time. It reflected the diversity of ideas about what happened before the eyes of writers. historical events(Pilnyak called them "historical rewiring"). At the same time, despite the intransigence of political convictions, natural for that period, the writers in their best works rose above purely political passions for universal, humanitarian problems.

Artists did not just create a chronicle of events, they posed truly sore questions that Russian thought has been struggling with for a long time: about revolution and evolution, about humanism and cruelty, about goals and means, about the price of progress, about the right to use violence in the name of a lofty goal, about originality. and the significance of a particular human life. The revolution exacerbated all these problems, transferred them from the field of theoretical, philosophical reflections to a practical plane, made the life and death of a person, the fate of Russia, the entire world civilization dependent on their solution. The revolution led to a reassessment of moral norms, everything that people lived, what they believed in, and this was a difficult, sometimes painful process, which literature also told about. Since literature, by its nature, is primarily addressed to the fate of a particular person, history appeared in the works of various authors in faces, in intense searches for thought and spirit, in a variety of conflicts, human characters and aspirations. In the country of the victorious revolution, the creation of a heroic epic became a natural and sincere response to the grandiose transformation of the world. The masses of people set in motion by the revolution - detachments, armies, "sets", steadily moving towards their goal, overcoming unprecedented difficulties along the way - such is the collective hero of B. Pilnyak's "The Naked Year", A. Malyshkin's "Fall of the Daire", "Iron Stream" by A. Serafimovich, "Cavalry" by I. Babel. The image of the people is at the center of the works of various literary genres: the poems by A. Blok "The Twelve" and V. Mayakovsky "150000000", the play by V. Vishnevsky "The First Horse". The authors of these books captured not only heroics, but also the pangs of the birth of a new world, reflected all the cruelty and intransigence of class confrontation, the complex relationship between organization and anarchist freemen, destruction and craving for creation, the birth of a sense of unity, community.

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

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

Many writers have used various methods of embodying and conveying all their thoughts about the revolution in full and in the form that they themselves experienced while being in the very centers of the civil war.

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

Bulgakov M.A. "a man of amazing talent, internally honest and principled and very intelligent" makes a big impression. It should be said that he did not immediately accept and understand the revolution. He, like A.A. Fadeev, saw a lot during the revolution, he happened to go through a difficult period of the civil wave, which was later described in the novel "The White Guard", the plays "Days of the Turbins", "Running" and numerous stories, including the Hetmanate and Petliurism in Kiev, the decomposition of Denikin's army. There is a lot of autobiography in the novel The White Guard, but it is not only a description of one's life experience during the years of the revolution and civil war, but also an insight into the problem of Man and the Epoch; it is also the study of an artist who sees the inextricable link between Russian history and philosophy. This is a book about the fate of classical culture in the formidable era of the scrap of age-old traditions.

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

Path of B. Lavrenev: in the fall I went to the front with an armored train, stormed Petliura's Kyiv, went to the Crimea. Gaidar's words are also known: "When they ask me how it could happen that I was such a young commander, I answer: this is not an ordinary biography for me, but the time was extraordinary." Thus, it is clear that many writers could not stand aside from the events of their homeland, among the many social, political, spiritual differences and the reigning confusion, but always honestly fulfilled their literary and civic duty.

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

8. The theme of the revolution and civil war. CONTINUED (CHOOSE FROM TWO OR 8 or 8)

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

Any war is fratricidal in its essence, but in the civil war this essence of it is revealed especially sharply. Awareness of the civil war as a national tragedy has become decisive in many works of Russian writers, brought up in the traditions of the humanistic values ​​of classical literature. This realization sounded, perhaps not even fully understood by the author, already in the novel.

A. Fadeev Defeat, and no matter how much they look for an optimistic beginning in it, the book is primarily tragic - according to the events and destinies of people described in it. Philosophically comprehended the essence of events in Russia at the beginning of the century years later B. Pasternak in the novel Doctor Zhivago. The hero of the novel turned out to be a hostage of history, which mercilessly interferes with his life and destroys it. In the fate of Zhivago - the fate of the Russian intelligentsia in

XX century. Much close to the poetry of B. Pasternak is another writer, playwright, for whom the experience of the Civil War became his personal experience M. Bulgakov. I would like to elaborate on his play Days of the Turbins. This work became a living legend of the 20th century. The play was born unusually. In 1922, having found himself in Moscow after Kyiv and Vladikavkaz, after the experience of working as a doctor, M.

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

that unique atmosphere that distinguishes the house of the Turbins. Their house is the center, the center of life, and unlike the writer's predecessors, for example, romantic poets, symbolists of the early 20th century, for whom comfort and peace were a symbol of philistinism and vulgarity, M. Bulgakov's House is the center of spiritual life, it is fanned with poetry, its inhabitants value the traditions of the House and even hard time trying to keep them.

In the play Days of the Turbins, a conflict arises between human destiny and the course of history. Civil war breaks into the Turbins' house and destroys it. The creamy curtains that Lariosik does not mention become a capacious symbol - it is this line that separates the house from the world engulfed in cruelty and enmity. Compositionally, the play is built according to the ring principle, the action begins and ends in the Turbins' house, between these scenes the worker becomes the scene of action.

the office of the Ukrainian hetman, from which the hetman himself flees, leaving people to the mercy of fate of the Staff Petliura division, which enters the city; It is these events of history that drastically change life in the Turbins' house. Alexei is killed, Nikolka is crippled, and all the inhabitants of the Turbine house face a choice. The last scene of the play sounds bitter irony. Lka in the house, Epiphany Christmas Eve of the 18th year.

Red troops enter the city. It is known that in real history these two events did not coincide in time - the red troops entered the city later, in February, but M. Bulgakov needed to have a lka on stage, the most homely, most traditional family holiday, which only makes you feel the near collapse of this home and all the beauty that has been created over the centuries and the doomed world. Myshlaevsky's remark sounds like bitter irony after

Lariosik pronounces the words from Chekhov's play Uncle Vanya - We will rest, we will rest - distant cannon strikes are heard, in response to them follows the ironic Myshlaevsky said So! Rested In this scene, with particular clarity, you can see how history breaks into people's lives, how the 19th century, with its traditions, way of life, complaints of boredom and non-event, replaces the 20th century, filled with stormy and tragic events.

Behind their thunderous tread, the voice of an individual person is not heard, his life is devalued. So through the fate of the Turbins and the people of their circle, M. Bulgakov reveals the drama of the era of revolution and civil war. Special attention should be paid to the problem of moral choice in the play. Before such a moral choice is main character works - Colonel Alexei Turbin. His main role is preserved in the play until the end, although he is brought to the dead at the end of the third

act, and the entire last fourth act takes place after his death. In it, the colonel is invisibly present, in it, as in life, he acts as the main moral guide, the personification of the concept of honor, a guide for others. The choice that Alexei Turbin faced at the moment when the cadets subordinate to him were ready to fight was cruel - either to remain loyal to the oath and officer honor, or to save the lives of people.

And Colonel Turbin gives the order to tear off your shoulder straps, throw away your rifles and immediately go home. The choice made by him is given to a regular officer who endured the war with the Germans, as he himself says, it is infinitely difficult. He utters words that sound like a sentence to himself and the people of his circle. The people are not dreams. He is against us. It's hard to admit it, to deviate from the military oath to betray the honor of an officer is even harder, but Bulgakov's hero decides to do this in the name of the highest value - human life.

It is this value that turns out to be the highest in the minds of Alexei Turbin and the author of the play himself. Having made this choice, the commander feels complete hopelessness. In his decision to stay in the gymnasium, there is not only a desire to prevent the outpost, but also a deep motive, unraveled by Nikolka. You, the commander, are waiting for death from shame, that's what. But this is the expectation of death not only from shame, but also from complete hopelessness, the inevitable death of that Russia, without which such people , Bulgakov's heroes, do not imagine

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

Select a document from the archive to view:

350.76 KB freundlich_cvetaeva_06_rastoyaniya.mp3

2.01 MB Pioneer_songs_-_Young_drummer___We_went_under_the_roar_of_cannonade.._ 00_00_00-00_02_11.mp3

Two Russian literatures or one.docx

Library
materials

I. Sukhikh Two Russian Literature or One? 1920s

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Selected document to view Lesson summary - copy.docx

Library
materials

Educational tasks:

form

the ability to select the main thing;

,

Educational tasks: .

Development tasks ability to

computer, projectop, screen

Methods

Lesson stage

Presentation slides

Teacher activity

Student activities

Suggested answers:

Partial search method

songs.

association method

2. Organization of perception and comprehension new information

Suggested answers:

association method

3. Recording the topic of the lesson

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

Method analytical reading

Summarize, conclude

Expressive reading, conversation

1. Run complicated plan articles by I. Sukhikh.

Questions to choose from:

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

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

Selected document to view Lesson summary.docx

Library
materials

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

Educational tasks:

form

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

the ability to select the main thing;

systematize phenomena united by one theme;

apply previously acquired knowledge in an unfamiliar situation;

develop monologue speech skills;

improve your analysis skillsepisode of a literary work,

Educational tasks: bring up aesthetic taste, sense of humanism.

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

Materials and equipment for the lesson:

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

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

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

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

computer, projectop, screen

Lesson type: group study.

Forms: frontal work, group work.

Methods : expressive reading, conversation; practical work related to the analysis of the episode.

Lesson stage

Teacher activity

Student activities

Forms and methods used at the lesson stage

1. Stage of motivation, setting goals together with students

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

(What problem did the survey reveal?)

Suggested answers:

works about the Civil War are little known to us;

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

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

Partial search method

2. Organization of perception and understanding of new information

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

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

songs.

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

Listen to a song, write down association words;

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

1-2 sentences answer the question

association method

2. Organization of perception and understanding of new information

Listen to the poem "Pasternak" by the poet

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

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

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

Suggested answers:

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

association method

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

3. Recording the topic of the lesson

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

Making notes in notebooks

4. Organization of the study of new material

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

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

Search and selection method necessary information in the text

5. Discussion of the results of the groups' activities

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

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

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

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

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

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

Analytical Reading Method

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

Summarize, conclude

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

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

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

Expressive reading, conversation

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

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

Reading by heart the poems of Nabokov and Rozhdestvensky.

Expressive reading by heart

10. Summing up the lesson, homework

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

Library
materials

Criteria for evaluating the activities of a student in a group	1 student	2 student	3 student	student	student
Generation of ideas, expressing one's point of view in a group
Oral response in the lesson containing the conclusions made by the group
Searches for ways to solve a problem
Asks questions, advises other group members
Demonstrates the ability to work with information, analyze text artwork
Score

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

Library
materials

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

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

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

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

Levinson. He carefully parted the branches and peered out.

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

And Frolov?.. you forget again...

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

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

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

What then to do?

Don't know...

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

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

Yes? .. - Stashinsky asked expectantly.

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

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

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

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

No hopes ... but is that the point?

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

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

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

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

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

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

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

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

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

trembling hands, poured something into a beaker.

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

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

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

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

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

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

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

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

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

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

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

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

Questions to analyze the episode

How does the novel solve the question of the value of human life in an era of turning point?

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

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

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

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

Selected document to view Poems by Nabokov and Rozhdestvensky.docx

Library
materials

Small church. Candles swollen.

The stone is pitted white by rain.

The former are buried here. Former.

Cemetery of Saint-Genevieve-des-Bois.

Dreams and prayers are buried here.

Tears and courage.

"Goodbye!" and "Hurrah!".

Staff captains and midshipmen.

Grips of colonels and cadets.

White guard, white flock.

White army, white bone...

Wet slabs will overgrow with grass.

Russian letters. French churchyard…

There was no glory. The Motherland was no more.

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

Your excellencies, their nobility -

Together at Sainte-Genevieve-des-Bois.

They lie densely, knowing enough

Their torments and their roads.

Still, Russians. It seems to be ours.

Only not ours, rather, draws ...

How are they after - forgotten, former

Cursing everything now and henceforth,

Rushed to look at her -

The winner, albeit incomprehensible,

Let the unforgiving

Motherland, and die ...

Noon.

Birch reflection of peace.

Russian domes in the sky.

And clouds like white horses

Rushing over St. Genevieve-des-Bois.

Robert Rozhdestvensky

Execution of V. Nabokov

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

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

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

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

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

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

Library
materials

100 r first order bonus

Choose the type of work Graduate work Course work Abstract Master's thesis Report on practice Article Report Review Test Monograph Problem solving Business plan Answering questions Creative work Essay Drawing Compositions Translation Presentations Typing Other Increasing the uniqueness of the text Candidate's thesis Laboratory work Help online

Ask for a price

* Now there is an opportunity to look at those events from different perspectives. Books about the civil war: stories by M. Sholokhov, stories by A. Malyshkin, A. Serafimovich, novel by Fadeev. Belonging to one camp or another determined the author's approach to events. Participants of the white movement created their books about Russia already in exile. In the 1920s, the series "Revolution and Civil War in the Descriptions of the White Guards" was published. Among them are "Essays on Russian Troubles" by Denikin, "From the Double-Headed Eagle to the Red Banner" by Krasnov. Thoughts on the fate of Russia.

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

In 1923, V. Zazubrin wrote the story "Sliver". Her hero Srubov is a man with firm convictions, who considers himself "the sewer of history." The subtitle of "Sliver" is "The Tale of Her and Her." "She" is the heroine of the soul. Revolution. She is a powerful stream carrying people-chips. "Let the taiga be burned, let the steppes be trampled... After all, only on cement and iron will an iron brotherhood be built - the union of all people."

Srubov's willingness to do anything for the sake of an idea turns him into an executioner. This readiness is emphasized by the attitude towards the father. The son of his warnings did not hear: "Bolshevism is a temporary, painful phenomenon, a fit of rage into which the majority of the Russian people fell." The finals of "Two Worlds" and "Sliver" echo. The first ended with a fire in the church, arranged by fanatics of the revolutionary idea. The events of the second take place in days Happy Easter. “It seems to Srubov that he is floating on a bloody river. Just not on a raft. It broke away and sways on the waves like a lone sliver.

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

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

A. Malyshkin was not an ordinary participant in the fighting in the Crimean region, but a member of the Headquarters. Accordingly, he knew about the losses on both sides, he knew about the mass execution of white officers, who were promised life if they surrendered their weapons. But The Fall of Daira (1921) is not about that. This is a romantic book, stylized as ancient historical stories. “And in the black night, in front, they saw - not eyes, but something else - a fierce and prickly array dark from the century, and behind it the wonderful Dair - blue fogs valleys, flourishing cities, a sea of ​​stars.

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

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

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

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

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

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

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

Philosophically comprehended the essence of events in Russia at the beginning of the century years later B. Pasternak in the novel "Doctor Zhivago". The hero of the novel turned out to be a hostage of history, which mercilessly intervenes in his life and destroys it. The fate of Zhivago is the fate of the Russian intelligentsia in the 20th century.

Fadeev's heroes are "ordinary". Most strong impression in Defeat provides an in-depth analysis of the changes brought about by the civil war in spiritual world ordinary person. The image of Frost speaks clearly about this. Ivan Morozka was a second generation miner. His grandfather plowed the land, and his father mined coal. From the age of twenty, Ivan rolled trolleys, cursed, drank vodka. He did not look for new ways, he followed the old ones: he bought a satin shirt, chrome boots, played the harmonica, fought, walked, stole vegetables for the sake of mischief. He was in prison during the strike, but did not betray any of the instigators. He was at the front in the cavalry, received six wounds and two shell shocks. He is married, but a bad family man, does everything thoughtlessly, and life seems to him simple and uncomplicated. Frost did not like clean people, they seemed fake to him. He believed that they could not be trusted. He himself strove for easy, monotonous work, and therefore did not remain Levinson's orderly. His comrades sometimes call him a "balda", "fool", "damn sweaty", but he is not offended, the matter is most important to him. Frost knows how to think: he thinks that life is becoming “tricky” and that you have to choose your own path. Nashkodiv on melons, he cowardly fled, but after that he repents and is very worried. Goncharenko defended Morozka at the meeting, called him a “fighting guy” and vouched for him. Frost swore that he would give his blood for each of the miners, that he was ready for any punishment. He was forgiven. When Frost manages to calm the people at the crossing, he felt responsible person. He was able to organize the men, and he was pleased with it. In the detachment of miners, Morozka was a serviceable soldier and was considered a good one, the right person. He even tries to fight a terrible desire to drink, he understands that there is external beauty, but there is genuine, spiritual beauty. And thinking about it, I realized that he was deceived in his former life. Revelry and work, blood and sweat, but nothing good could be seen ahead, and it seemed to him that all his life he had been trying to get on the straight, clear and correct road, but did not notice the enemy that was sitting in himself. People like Morozka are reliable, they can make their own decisions and are capable of remorse. And although they have weak will, they will never commit meanness. They will be able to find a way out of any, even the most hopeless situation. Only before the heroic death of Morozka did he realize that the Sword was a bastard, a cowardly bastard, a traitor who thought only of himself, and the memory of loved ones, dear people who rode behind him, forced him to go to self-sacrifice. In works about the civil war, the idea is important that often the one who wins is not the one who is more conscientious, gentler, more responsive, but the one who is more fanatical, who is more insensitive to suffering, who is more subject to his own doctrine. These works raise the theme of humanism, which is inextricably linked with a sense of civic duty. Commander Levinson took the only pig from the poor Korean, using weapons, forced the red-haired guy to flatter into the water for fish, gave the green light to Frolov's forced death. All this for the sake of saving the common cause. People suppressed personal interests, subordinating them to duty. This debt crippled many, making them tools in the hands of the party. As a result, people became callous, crossed the line of what was permitted. The "selection of human material" is waged by the war itself. More often, the best die in battles - Metelitsa, Baklanov, Morozka, who managed to realize the significance of the team and suppress his selfish aspirations, but such as Chizh, Pika and the traitor Mechik remain.

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

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

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

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

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

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

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

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

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

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

• The 19th century is distinguished by an amazing depth of understanding of the human soul in Russian literature. One can answer this question on the example of three great Russian writers: Tolstoy, Gogol and Dostoyevsky. Tolstoy in "War and Peace" also revealed the world of the soul of his heroes, doing it "in a businesslike" and easy way. He was a high moralist, but his search for truth unfortunately ended in a departure from the truth of the Orthodox faith, which subsequently negatively affected his work (for example, the novel "Sunday"). Gogol with his satire [...]
• One of the important features of Russian literature of the 19th century is the close attention to human soul. It can be rightly asserted that the main character of this century was the personality of a person in all the diversity of its facets. A person with his actions and thoughts, feelings and desires was constantly in the center of attention of the masters of the word. Writers of different times tried to look into the most secret corners of the human soul, to find the true reasons for many of his actions. In picture inner world person's personality […]
• The writer Isaac Babel became famous in Russian literature in the 20s of the XX century and still remains a unique phenomenon in it. His diary novel Cavalry is a collection short stories about the civil war, united by the image of the author-narrator. Babel in the 1920s was a war correspondent for the newspaper "Red Cavalryman" and took part in Polish campaign First cavalry army. He kept a diary, wrote down the stories of the fighters, noticed and recorded everything. At that time, there was already a myth about the invincibility of the army […]
• Osip Emilievich Mandelstam belonged to a galaxy of brilliant poets of the Silver Age. His original high lyrics became a significant contribution to Russian poetry of the 20th century, and the tragic fate still does not leave admirers of his work indifferent. Mandelstam began writing poetry at the age of 14, although his parents did not approve of this activity. He received an excellent education foreign languages was fond of music and philosophy. The future poet considered art the most important thing in life, he formed his own ideas about […]
• The best part Yesenin's creativity is connected with the village. The birthplace of Sergei Yesenin was the village of Konstantinovo, Ryazan province. The middle, the heart of Russia, gave the world a wonderful poet. The ever-changing nature, the colorful local dialect of the peasants, old traditions, songs and fairy tales from the cradle entered the consciousness of the future poet. Yesenin claimed: “My lyrics are alive alone big love, love for the motherland. The feeling of the motherland is the main thing in my work.” It was Yesenin who managed to create the image of a village in Russian lyrics late XIX– early XX […]
• The mystery of love is eternal. Many writers and poets unsuccessfully tried to solve it. Russian word artists dedicated the best pages of their works to the great feeling of love. Love awakens and incredibly strengthens best qualities in the soul of a person, makes him capable of creativity. The happiness of love cannot be compared with anything: the human soul flies, it is free and full of delight. The lover is ready to embrace the whole world, move mountains, forces are revealed in him that he did not even suspect. Kuprin owns wonderful […]
• Throughout its creative activity Bunin created poetic works. The original, unique in artistic style, Bunin's lyrics cannot be confused with the poems of other authors. In individual art style The writer reflects his worldview. Bunin in his poems responded to difficult questions being. His lyrics are multifaceted and deep in philosophical questions of understanding the meaning of life. The poet expressed moods of confusion, disappointment, and at the same time knew how to fill his […]
• After Pushkin, there was another "joyful" poet in Russia - this is Afanasy Afanasyevich Fet. In his poetry there are no motives of civil, freedom-loving lyrics, he did not raise social issues. His work is a world of beauty and happiness. Fet's poems are permeated with powerful flows of energy of happiness and delight, filled with admiration for the beauty of the world and nature. The main motive of his lyrics was beauty. It was her that he sang in everything. Unlike most Russian poets of the second half of XIX century with their protests and denunciations […]
• Ivan Alekseevich Bunin - greatest writer turn XIX-XX centuries He entered literature as a poet, created wonderful poetic works. 1895 ... The first story "To the End of the World" is published. Encouraged by the praise of critics, Bunin begins to study literary creativity. Ivan Alekseevich Bunin is a laureate of various awards, including the laureate Nobel Prize in Literature in 1933. In 1944, the writer creates one of the most wonderful stories about love, about the most beautiful, significant and […]
• Alexander Blok lived and worked at the turn of the century. His work reflected all the tragedy of the time, the time of preparation and implementation of the revolution. main theme of his pre-revolutionary poems was a sublime, unearthly love for the Beautiful Lady. But there was a turning point in the history of the country. The old, familiar world collapsed. And the soul of the poet could not but respond to this collapse. First of all, reality demanded it. It seemed to many then that pure lyrics would never be in demand in art. Many poets and […]
• The beginning of the 20th century in Russian literature was marked by the emergence of a whole galaxy of diverse trends, trends, and poetic schools. Symbolism (V. Bryusov, K. Balmont, A. Bely), acmeism (A. Akhmatova, N. Gumilev, O. Mandelstam), futurism (I. Severyanin, V. Mayakovsky) became the most outstanding movements that left a significant mark on the history of literature. , D. Burliuk), imagism (Kusikov, Shershenevich, Mariengof). The work of these poets is rightly called lyrics. silver age, that is, the second most important period […]
• The image of life Don Cossacks in the most turbulent historical time of the 10-20s of the XX century, the novel by M. Sholokhov “ Quiet Don". The main life values ​​of this class have always been family, morality, land. But the political changes taking place at that time in Russia are trying to break the life foundations of the Cossacks, when a brother kills a brother, when many moral commandments are violated. From the first pages of the work, the reader gets acquainted with the way of life of the Cossacks, family traditions. At the center of the novel is […]
• Ivan Alekseevich Bunin is a famous Russian writer and poet of the late 19th - early 20th century. Description occupies a special place in his work. native nature, the beauty of the Russian region, its catchiness, brightness, on the one hand, and modesty, sadness, on the other. Bunin conveyed this wonderful storm of emotions in his story “Antonov apples”. This work is one of the most lyrical and poetry Bunin, which has an indefinite genre. If we evaluate the work by volume, then this is a story, but with […]
• I want to talk about the painting by I.E. Grabar "February Blue". I.E. Grabar is a Russian artist, landscape painter of the 20th century. The canvas depicts a sunny winter day in a birch grove. The sun is not depicted here, but we see its presence. Purple shadows fall from the birches. The sky is clear, blue, without clouds. The entire meadow is covered with snow. It is on a canvas of different shades: blue, white, blue. In the foreground of the canvas stands a large, beautiful birch. She is old. This is indicated by a thick trunk and large branches. Near […]
• “The word is the commander of human strength…” V.V. Mayakovsky. Russian language - what is it? Based on history, relatively young. It became independent in the 17th century, and finally formed only by the 20th. But we already see its richness, beauty, and melody from the works of the 18th and 19th centuries. Firstly, the Russian language absorbed the traditions of its predecessors - the Old Slavonic and Old Russian languages. Writers and poets have contributed a lot to written and oral speech. Lomonosov and his doctrine of […]
• Russia, 17th century. worldview, customs and mores, as well as religious beliefs in the state are conservative and unchanged. They seem to be frozen like a fly in amber. And they could have remained this fly for another five thousand years, if ... If an active and active, inquisitive and restless, interested in everything in the world and not afraid of work young man had not come to the helm. Whom we, descendants, call "Peter I". And abroad they call our sovereign none other than "Great". About "or". It seems to me that in […]
• The combination of music and poetry gave rise in the Middle Ages to such a genre as the ballad. Russian romanticism, which arose in the first half of the 19th century, turned to this genre and introduced a lot of new things into it. Batiushkov and Zhukovsky became major romantic poets in Russian literature. In their work, they turned to the experience of European poets, whose romanticism was in its heyday. An outstanding man of his era, V. A. Zhukovsky gave his romantic poems a deeply personal character. He believed that “life and poetry are […]
• The question of the relationship between fathers and children is as old as the world. In another of the ancient Egyptian papyri, an entry was found in which the author complains that children have ceased to respect their fathers, their religion and customs, and the world is collapsing. The problem of relationships between generations will never become obsolete, because the culture that brings up one generation will be incomprehensible to another. This problem was reflected in the work of many Russian writers of the 19th and 20th centuries. It also worries us, the generation of the 21st century. And, of course, relevant […]
• At the sight of a rich house, a hospitable host, elegant guests, one involuntarily admires them. I would like to know what these people are like, what they talk about, what they are fond of, what is close to them, what is alien. Then you feel how the first impression is replaced by bewilderment, then - contempt both for the owner of the house, one of the Moscow "aces" Famusov, and for his entourage. There are others noble families, the heroes of the war of 1812, the Decembrists, the great masters of culture came out of them (and if great people came out of such houses, as we see in comedy, then […]
• N. A. Nekrasov can rightfully be considered folk poet, it is no coincidence that so diverse, complex in their artistic structure the motifs of his lyrics are united by the theme of the people. The poems tell about the life of the peasants and the urban poor, about the hard female lobe, about nature and love, about high citizenship and the appointment of the poet. Nekrasov's skill consisted primarily in realism, in truthful image reality and in the involvement of the poet himself in the life of the people, affection and love for the Russian […]