Abstract. Features of the poetry of the war years

MBOU "Evening (shift) comprehensive school No. 1"

Methodological development of the lesson

related literature:

"Poetry of the war years"

Class 12 A

Teacher of Russian language and literature

highest qualification category

Kildyusheva E.Yu.

Almetyevsk 2014

Literature lesson in 12 A class

Poetry of the war years

Lesson Objectives:

Give an overview of the poetry of the Great Patriotic War;

Show that poetry, as the most operational genre, combined high patriotic feelings with deeply personal experiences of the lyrical hero;

To educate students in the ability to empathize with the lyrical hero;

Develop a sense of duty and respect for the memory of those who died during the Second World War

Lesson equipment: recordings of songs of the war years and the author's performance of the poem by K. Simonov "Wait for me", poetry collections, presentation.

Lesson type: a lesson in the formation and improvement of knowledge

Type of lesson: lesson review

During the classes

Epigraph to the lesson: /slide number 3/

I've only seen melee once.

Once - in reality. And a thousand- in a dream.

Who says that war is not scary,

He knows nothing about the war.

Y. Drunina

Class organization.

Teacher's word.

Today at the lesson we begin to study the literature of the period of the Second World War. /slide number 4/

A flower, all covered in dewdrops, clung to the flower,

And the border guard held out his hands to them.

And the Germans, having finished drinking coffee, at that moment

They got into tanks, closed the hatches.

Everything breathed such silence,

That the whole earth was still asleep, it seemed.

Who knew that between peace and war,

There are only five minutes left.

This day began not with a quiet dewy dawn, but with the roar of bombs, the whistle of bullets, the rattle of steel. Everything before that was chopped off by gunfire, mixed with smoke and blood-red fire. Many mothers will mark this day with a black number. The first mounds of graves will appear in many clearings.

It was June 22nd. Forty-one years… War… And when along our entire western border the rumble of motors filled the spacious sunny world from heaven to earth, when every blade of grass trembled from the roar, on June 22 the writers of Moscow gathered, as if on alert, for a rally.

Short speeches were made by A. Fadeev, A. Zharov, Lebedev-Kumach.

“Writers know their place,” said A. Fadeev, “in this decisive battle. Many of us will fight with weapons in our hands, many will fight with a pen.” The pen was equated with a bayonet. Literature put on a front-line overcoat and stepped into battle.

“Don't try to shout down the war. The voice will be heard if the speaker and writer stands close to the heart of a warring person,” said A. Surkov.

940 writers went to the front, 417 did not return.

The literature of the period of the Second World War - "a brilliant and tragic era", as the poet N. Tikhonov called it, is the most important stage in the development of Russian art.

True thoughts, true feelings, became the most important criterion for the literature of the war years.

Poetry was the most operational, the most popular genre of the war years. The poems of many famous poets, such as M.Isakovsky, A.Surkov, K.Simonov, Lebedev-Kumach and others, were set to music and became popular songs that we all know well: “Katyusha”, “In the dugout”, "Holy War" and many others.

(listening to a fragment of the song "Holy War" against the background of slides illustrating the events of the Second World War) /slide number 5/

It was poetry that expressed people's need for truth, without which a sense of responsibility for their country is impossible.

Therefore, the purpose of our lesson is not only to give an overview of the poetry of the Second World War, but also to show that poetry, as the most operational genre, combined high patriotic feelings with deeply personal experiences of the lyrical hero.

Review of poetry during the Second World War.

1. Announcement of the topic of the lesson with an entry in a notebook.

2.- The poetess Yu. Drunina has a poem consisting of one quatrain (the epigraph to the lesson is read out)

Today in the lesson, reading the poems of the war years, we will learn more about the war and confirm or refute the words of Yu. Drunina.

3. Organization of the work of students in pairs

Before you on the tables are the texts of poems by various poets from the time of the Second World War.

Task: prepare an expressive reading of the poem and give a brief analysis of it. Before reading poetry, one student from a pair gives a brief biographical note about the poet, prepared at home.

Group 1 - A. Surkov's poem "Erasing with a sleeve ..." / slide No. 6 /

Surkov Alexey

Soldier

Washing with your sleeve

Thick blood from the forehead

In front of the loophole of the enemy pillbox,

Covered in a deep ditch

He aims again

Slashes with a smashing line of a machine gun.

A projectile explodes.

The earth is flying

Fragments tear mounds of frozen bumps,

And the bullets keep flying

As if rooted to the ground

Fierce machine gunner.

Sweat mixed with blood

Soldier labor.

Tanks are rushing through the clearing with a clang.

The blizzard is sweeping.

And a red star

Flickers on a snow-covered earflap.

And dynamite, and tol,

And howling metal

And the evil fever of the automaton:

He entered this hell

He knew in the flame

Your difficult duty as an infantry soldier.

Leading the year after year

brutal fight,

He, in the thunder of gigantic offensives,

Hundreds of years ahead

Arranged fate

born and future generations.

For the joy of work

We keep courage

He brings victory to the homeland a wonderful gift.

My soul is proud

that I lived next to him,

That helped him with his soldier's song.

1942

Group 2 - Yu. Drunina's poem "Zinka" / slide No. 8 / Zinka.

1. We lay down at the broken spruce,

Waiting for the light to start.

Warmer under the overcoat

On cold, damp ground.

You know, Julia, I'm against sadness,

But today it doesn't count.

At home, in the apple outback,

Mom, my mom lives.

You have friends, love.

I only have one.

Spring is brewing outside.

It seems old: every bush

A restless daughter is waiting

You know, Julia, I'm against sadness,

But today it doesn't count.

We barely warmed up

Suddenly the order: "Come forward!"

Again next to me in a damp overcoat

The light-haired soldier is coming.

2. Every day it got worse.

We went without rallies and substitutions.

Surrounded by Orsha

Our battered battalion.

Zinka led us on the attack.

We made our way through the black rye,

Through funnels and gullies,

Through the frontiers of death.

We did not expect posthumous glory,

We wanted to live with glory.

Why in bloody bandages

The light-haired soldier lies

Her body with her overcoat

I hid, clenching my teeth.

Belarusian huts sang

About Ryazan deaf gardens.

3. You know, Zinka, I am against sadness,

But today it doesn't count.

At home, in the apple outback

Mom, your mom lives.

I have friends, love

She had you alone.

It smells of kneading and smoke in the hut,

Spring is brewing outside.

And an old woman in a flowery dress

I lit a candle at the icon

I don't know how to write to her

So that she does not wait for you.

An analysis of the poems is given and conclusions are drawn on the topic of the lesson.

(The main idea expressed in the listened poems is that war fills the life of every person with grief, brings with it pain, suffering, death).

4. - Connection with home, confidence that you are protecting your family, that they are waiting for you, gave strength to fight and believe in victory. K.Simonov's poem "Wait for me" was popular. /slide number 10/

Poetry analysis session:

Why did the soldiers in the trenches copy and know the text of this poem by heart?

What is the power of this lyrical work?

Conclusion: the poem sounds like a spell, like a prayer. This feeling is created by repeating the words "wait for me."

Group 3 - O. Bergholz's poem "Army" / slide number 7 /

Army

They will tell me - the Army ... I will remember the day - in winter,

January day of the forty-second year.

My friend was walking home with the children -

they carried bottled water from the river.

Their path was terrible, though not far.

And a man in an overcoat approached them,

looked - and took out his bread ration,

three hundred grams, all icy,

and broke, and gave to children of strangers,

and stood while they ate.

And the mother with a gray hand, like smoke,

touched the sleeve of the overcoat.

I touched it, without brightening my face ...

I have not seen the world of movement more grateful!

We knew everything about the life of our armies,

standing with us in the city, in the ring.

They separated. Mother went to the right

fighter forward - on snow and on ice.

He went to the front, beyond the Narva outpost,

swinging from hunger on the go.

He went to the front, painfully burning

the shame of a father, a man and a soldier:

a huge city was dying behind him

in the gray rays of the January sunset.

He went to the front, overcoming delirium,

remembering all the time - no, not remembering - knowing

that a woman looks after him,

thanks to him without reproach.

He swallowed snow, he felt with annoyance,

that the machine is too heavy,

made it to the front and was ambushed

to exterminate enemy soldiers...

Now you understand why

there is no army on the whole earth beloved,

there is no one more devoted to her people,

generous and invincible!

January 1942

Poetry strengthened the human soul, and poems were created not only at the front. The poetess Olga Berggolts became the voice of the besieged Leningrad.

She later recalled:

“I think that people will never again listen to poetry the way they listened to the poems of Leningrad poets that winter, hungry, swollen, eating living Leningraders. Truly, the greatness of the Russian spirit is the ability of people experiencing such physical and moral torment to respond to poetry and art.

It is Olga Bergholz who owns the words that have become known to the whole world, carved on the granite of the memorial Piskarevsky cemetery in St. Petersburg:

Nobody is forgotten and nothing is forgotten!

I know it's not my fault

The fact that others did not come from the war,

The fact that they - who is older, who is younger -

Stayed there, and it's not about the same thing,

That I could, but could not save, -

It's not about that.

But still, still, still...

Please write how each of you understands the last line of the poem, and can we turn it to ourselves? /slide number 11/

/independent work of students against the background of the melody of the song "Cranes"/

6. Checking the task. Reading miniature essays by students.

Conclusion based on the works read: the poem expresses a feeling of heightened conscience, which makes people more humane. “But still, nevertheless, nevertheless” is the pain of the soul. “And the soul in which there is pain, especially not for one’s own hardships and insults, but pain for one’s neighbor is the most just, merciful and righteous pain.” (B. Okudzhava)

Summary of the lesson.

Summing up the lesson, we again turn to the words of the poetess Yu. Drunina. Is the poetess right who wrote the lines “Whoever says that it’s not scary in war knows nothing about war”? /student answers/.

Why did the poets of the wartime try to show the whole truth about the war and, above all, the blood, pain, human suffering? (To show the cost of our victory.)

V. Homework: prepare for a seminar on the works of Soviet writers about the Great Patriotic War. /slide number 12/

VI Reflection (self-assessment)

VI I. Announcement of grades for the lesson.

Wartime poetry was a kind of artistic chronicle of human destinies, the destinies of the people. 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, great country,

Get up for the death fight

With dark fascist power,

With the damned horde! -

to the final parting word to those who survived the war to preserve the Fatherland

And keep it holy

Brothers, your happiness -

In memory of a warrior brother,

who died for her.

The verses of the war years will help to relive the richest range of feelings born of this time, and their unprecedented strength and sharpness, will help to avoid the erroneous, one-sided idea of a war-victory, with banners, orchestras, orders, universal jubilation, or a war-defeat, with failures, deaths, blood, tears standing in the throat. In 1941, seventeen-year-old Yulia Drunina volunteered for the front and fought until victory:

I've only seen melee once.

Once - in reality and hundreds of times in a dream.

Who says that war is not scary.

He knows nothing about the war.

Her desire to paint an objective picture, to tell future generations the truth about unforgettable days is understandable: “The war of liberation is not only death, blood and suffering. These are also gigantic upswings of the human spirit - selflessness, selflessness, heroism.

In the hour of great trials, human souls burst open, the moral forces of the people were revealed, and. poetry reflected this. Wartime poets did not observe events from the outside - they lived by them. Different, of course, was the measure of their personal participation in the war. Some went through it as privates and officers of the Soviet army, others as war correspondents, and still others turned out to be participants in some individual events. A dispassionate story put a lot in its place, overestimated a lot, explained something. But only art can express and preserve the state of mind of a contemporary of those years.

In the days of uniting the people in the face of mortal danger, in the days of heavy and bitter loss, suffering and deprivation, poetry was an agitator and tribune, a cordial interlocutor and close friend. She spoke passionately about heroism and immortality, about hatred and love, about devotion and betrayal, about jubilation and sorrow. “Never in the history of poetry has such a direct, close, cordial contact been established between writers and readers, as in the days of the Patriotic War,” testifies its participant, poet A. Surkov. From a front-line letter, he learned that in the pocket of a dead soldier they found a piece of paper with his lines covered in blood:

Aspen is chilly, but the river is narrow,

Yes blue forest, yes yellow fields.

You are sweeter than everyone, dearer than everyone, Russian,

Loamy, hard ground.

The poet M. Isakovsky also received a letter from the front. It was written by an ordinary slaughterhouse: "Believe that no other word can so raise an attack on the enemy as your words, comrade Isakovsky."

“... During the siege and famine, Leningrad lived an intense spiritual life,” N. Chukovsky recalled. - In besieged Leningrad, people read surprisingly a lot. Read the classics, read the poets; they read in dugouts and pillboxes, they read on batteries and on ships frozen in ice; armfuls of books were taken from the dying librarians and in countless frozen apartments, lying by the light of oil lamps, they read and read. And they wrote a lot of poetry. Here was repeated what had already happened once in the nineteenth and twentieth years - poems suddenly acquired extraordinary importance, and they were written even by those who in ordinary times never thought of indulging in such an occupation. Apparently, this is the property of a Russian person: he has a special need for poetry during disasters - in devastation, in a siege, in a concentration camp.

The signs of poetry as a kind of literature contributed to the fact that in wartime it occupied 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 entered service.”

The poetry of the war years is poetry of extraordinary intensity. During the war years, many of its genres became more active - both those propaganda ones that originated from the time of the revolution and the 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, emphasized the high value of love, tenderness, the importance and necessity of friendly feelings. The lyrical poetry of war time fully reflected this thirst for humanity. Severe trials did not harden people.

There was not a person in the country who did not know the poem K.Simonova "Wait for me and I'll be back..." (1941). It was printed in front-line newspapers, sent to each other in letters from the front and to the front. So, after a long break, the half-forgotten genre of the poetic message, so common in the poetry of Pushkin's time, came to life in those years and received wide recognition.

Convincing proof of the flourishing of wartime lyric poetry is its success in the song genre. “Song of the Brave” and “Spark”, “Oh, my fogs” and “Fire beats in a cramped stove”, “Oh, roads” and “In the forest near the front”, etc. became truly popular. They were sung in the trenches and in the halls, in dugouts and in cities. Having expressed their time, these songs have become its symbol, its call signs.

During the civil war, "Windows of ROST" were widely known, propaganda posters that V. Mayakovsky and his comrades drew and signed. His experience was used during the Great Patriotic War in TASS Windows.

But the movement of philosophical lyrics did not stop during the war years. The poets are still concerned about the eternal questions of being, the meaning of life, the essence of art, death and immortality.

In those days disappeared, life receded,

Being came into its own, -

wrote O. Bergholz, who was in besieged Leningrad.

During the Great Patriotic War, the voice of A. Akhmatova rose to high civil pathos:

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our clocks,

And courage will not leave us ...

Works of major genres were also created - ballads and poems.

The pages of poems sound like a mournful, but also life-affirming hymn to the glory of Leningrad, which withstood an unprecedented blockade. O. Bergholz "February Diary" (1942), "Leningrad Poem" (1942).

At that time, work on many poetic works began in this way - with deep life upheavals. Poetic fantasy, fiction only helped to comprehend, deepen, expand, depict facts, events, people's destinies.

Junior Lieutenant V. Antokolsky died a heroic death on the battlefields on July 6, 1942. In the deeply tragic epitaph poem “Son” (1943), his death was mourned by his father, the famous poet P. Antokolsky. He built his work in the form of a monologue - a confession. As a requiem not only for the son, but for all those who died in the war, the final lines of the poem sound:

Farewell my sun. Farewell, my conscience.

Farewell, my youth, dear son.

Goodbye. Trains don't come from there.

Goodbye. Planes don't fly there.

Goodbye. No miracle will happen.

And we only dream. They fall and melt.

A very special place in the poetry of the war years is occupied by "Vasily Terkin" (1941 - 1945) A.T. Tvardovsky. "A book about a fighter", as the author called his poem, tells about the fate of an ordinary soldier of the Great Patriotic War.

Terkin - who is he?

Let's be frank:

Just a guy himself

He is ordinary.

The talent of the poet performed a miracle. In an ordinary guy, Vasya Terkin, the characteristic features of a warrior people were revealed: ardent love for the Motherland, will, courage, stamina, optimism - a people who realized their high mission of saving civilization from the "brown plague":

Crossing, crossing!

The guns are firing in pitch darkness.

The fight is on, holy and right,

Mortal combat is not for glory,

For life on earth!

Vasily Terkin characterizes the feeling of high personal responsibility for the fate of the Motherland:

The year has come and gone.

Today we are responsible

For Russia, for the people

And for everything in the world.

In the most difficult situations, Tvardovsky's hero retains his composure. With honor to get out of difficult situations, he also has a great sense of humor:

They look into the mouth of the joker.

The word is eagerly caught.

It's good when someone is lying

Fun and challenging.

The poet loves his hero, talks about him with warmth and sympathy. This love was shared with him by millions of readers, for whom Terkin became a friend, a faithful companion in the harsh everyday life of the war.

“Why was our Vasily Terkin wounded? - Tvardovsky was asked in one of the collective letters from the front. - How did he get to the hospital? After all, he so successfully shot down a fascist plane and was not injured. Did he catch a cold and end up in the hospital with a runny nose? So our Terkin is not such a guy. So bad, don't write like that about Terkin. Terkin should always be with us at the forefront, a cheerful, resourceful, courageous and determined fellow ... Greetings! We are waiting soon from the Terkin hospital.”

Another group of front-line soldiers turned to the author of the poem with the following letter: “Every soldier, commander, political worker, wherever he is: in the hospital, on vacation, in battle, with great pleasure and elation reads the poem “Vasily Terkin ...”. It is read in any conditions: in a trench, in a trench, on the march, on the offensive ... "

One of the reasons for the amazing success was indicated by readers when the war was still going on: “You need to stay at the front for a long time, on the front line together with the soldiers, to be under bullets, bombing, artillery fire, in order to fully perceive and convey in verse the life of a soldier, the turn of a soldier’s speech as in battle, and in campaigns, and on vacation. Front-line readers confirmed the words of the poet: “A guy like this | In each company there is always, | | Yes, and in every platoon.

With Terkin there was a rare case in world literature. The war is over - the poem is over. But readers did not want to part with their beloved hero. In letters to Tvardovsky, they offered various plots. Here Terkin returned from the front to his native collective farm and became chairman. Here Terkin remained in the army - he teaches young fighters. Here he is working on the construction of the Volga-Don Canal - and so on. When the poet refused the proposed options, readers began to write about Terkin themselves! In the article "How Vasily Terkin was written" (1957-1962), A.T. Tvardovsky quoted several such "reader's continuations".

Vasily Terkin rightfully became a national hero who embodied the best qualities of a Russian person, and the “book about a fighter” remains among the top works of poetry. She was noticed and highly appreciated by I. Bunin.

Poets of the older generation met the war armed with life and literary experience. Naturally, their attitude to what was happening was more mature than that of the young people who got to the front straight from school.

It is no coincidence, of course, that it was the “old men” (Tvardovsky was thirty years old in 1941) who created major lyrical epic works in which the war was comprehended as a link in the historical process. The experience allowed them to penetrate into the very essence of what was happening, to more accurately establish value orientations and understand the motives of human behavior in war.

Young people were more at the mercy of individual strong momentary impressions, their work was of a different nature. K. Vanshenkin recalls: “... At the age of seventeen, I took the place prepared for me by the war ... The character of my generation was shaped by the army of wartime. We were at an age when a man is especially fit for finalization, if he falls into reliable and capable hands. We were prepared for this by all our childhood, all our upbringing, all the wonderful traditions of the revolution and the civil war, passed on to us from the elders.

For the young, the war coincided with the time when the beginning of a conscious life, work, love usually falls ... Their fate turned out differently:

Semaphore on the way departure looms.

(Later we will understand - surrounded directly!)

Mom thought...

What are you, mom?

You're leaving for the second war, boy!

Naturally, the young perceived the war more sharply, sharply. To see war at the age of seventeen is a shock forever.

We do not need to feel sorry, because we would not feel sorry for anyone.

We are clean before our battalion commander, as before the Lord God.

Overcoats turned red from the blood and clay on the living.

Blue flowers bloomed on the graves of the dead.

(S. Gudzenko)

Conflicts in the poems of the young are particularly acute:

In this windy glow

The choice was small

But it's better to come with an empty sleeve.

Than with an empty soul.

(M. Lukonin)

The strength, immediacy of feeling for a long time left in the ranks of the verses of young poets who did not come from the war - P. Kogan, M. Kulchitsky, N. Mayorov and others. Time has no power over genuine art.

M.V. Isakovsky (1900-1973). At the end of his career, Mikhail Vasilyevich Isakovsky wrote an autobiographical book "On Elninskaya land" (1969). It tells about the main stages of his creative path.

The future poet was born into a poor peasant family in the Smolensk region. The circumstances of his life were such that if it were not for the revolution, he would not have been able to get an education and the dream that arose in childhood to become a writer, a poet, would have remained unfulfilled.

Literary activity of Isakovsky began in the newspaper of the small town of Yelnya near Smolensk. He himself considers 1924 to be the beginning of poetic creativity, although he began to write poetry very early. Isakovsky's first collection "Wires in the Straw" was published in 1927 and was noticed by M. Gorky: “His poems are simple, good, very exciting with their sincerity.”

In Russian poetry, Isakovsky is one of the direct and consistent successors of the traditions of N. Nekrasov. And the point here is not only that both wrote a lot about the village. Like Nekrasov, Isakovsky is not a peasant poet, but a folk one.

As you know, the creative heritage of the Russian classic is very rich in terms of genre: he wrote poems, songs, elegies, satires, etc. Isakovsky also worked in many genres, but achieved particular success in the song. Truly universal, legendary is his glory "Katyusha" ! Who does not know his songs “Farewell”, “Spark”, “Migratory birds are flying”, “There is no better color” and many others!

An important remark about Isakovsky’s songs was made by his fellow countryman A. Tvardovsky: “The words of Isakovsky’s songs are, with a few exceptions, poems that have independent content and sound, a living poetic organism, by itself, as it were, suggesting the melody with which it is destined to merge and exist together. Isakovsky is not an "author of texts" and not a "songwriter", but a poet whose poems are organically inherent in the beginning of song, which, by the way, has always been one of the important features of Russian lyrics.

The secret of the widest popularity of Isakovsky's songs and poems is partly revealed when getting acquainted with his creative laboratory. He believed that one should "be able to speak even about the most complex things in the most ordinary elephants and phrases - ordinary, but at the same time capacious, precise, colorful, poetically convincing." But the main reason for the universal love for his work is the complete fusion of the thoughts and feelings of the poet and the people. In this regard, the verses of the Isakov period of the Great Patriotic War are especially characteristic:

And I, like a banner, raised this word.

The living words of my heart,

And I call that in the days of the severe struggle

None of us have forgotten him.

And indeed, at that time, literally every word of the poet resonated in the hearts of people - remember “In the frontline forest”, “Russian woman”, “Oh, my fogs ...” and much more.

In the postwar years, the activities of Isakovsky as a translator intensified. More often than others, he translated Belarusian and Ukrainian poets - Y. Kolas, Y. Kuttalu, T. Shevchenko, L. Ukrainka.

K.M.Simonov (1915 - 1979). The literary activity of Konstantin Mikhailovich Simonov was varied. He wrote stories and novels, journalism and plays, screenplays and literary studies. However, Simonov began with poetry, and for a long time in the reader's mind he was primarily a poet. What happened to his poems during the Great Patriotic War is a rare case in poetry. Everyone knew them - feces at the front and in the rear. They were printed in newspapers, especially willingly in front-line newspapers, they were read on the radio and from the stage. There was no person in those years who would not know “Wait for me, and I will return ...”, “If your house is dear to you”, “The major brought the boy on a gun carriage ...”, “Do you remember, Alyosha, the roads of the Smolensk region ...".

But after the war, Simonova began to deal more with other types of literature - poetry stepped aside. And already at the end of his creative path, he even doubted: “I, frankly, do not have the feeling that there is Simonov's poetry. There are some more or less popular verses. And there are poems that I myself love. And there are several poems that combine both ... "

Born of the war, carrying its specific signs, Simonov's poems are addressed to universal values and problems. The poet rightly believes that those terrible years gave reliable and ageless moral criteria:

Not to discredit anyone

And to explore to the bottom,

Winter forty-one

We are given the right measure.

Probably useful today

Without releasing the memory from the hands,

That measure, straight and iron

Check someone all of a sudden!

Simonov argued that the essence of poetry is the power of feeling. In his own poems, this power, combined with confessional sincerity and addressed to the pain points of the time, creates a unique poetic style.

Today, the name of Simonov the prose writer rightfully competes with the name of Simonov the poet. His books "The Living and the Dead", "Soldiers Are Not Born" not lost among other works about the war. In the last years of his life, K. Simonov worked on memoirs "Through the Eyes of a Man of My Generation" . For many years the writer was in the midst of the most important events, and his story "about the time and about himself" is of particular interest and is of great value.

Lyrics. The great grief of war. Review of the poetry of the period of the Great Patriotic War. Musa Jalil. Yulia Drunina. Joseph Utkin. Bityugov Vasily Ivanovich Bogachev Nikolay Osipovich. Konstantin Simonov. Alexey Surkov. Shaposhnikov Victor Sergeevich. Poetry scorched by war. I returned without a leg. The country is huge. For 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 waiting, you saved me. Poems. Millions of hearts. Wait for me and I will come back. David Samuilovich Samoilov. Starshinov was drafted into the army. Front days. Poets-front-line soldiers. Spirit of patriotism. In a dugout. First day. Poetic feeling. Rocket green lights. Don't wish well. Friend of Konstantin Simonov.

"Poems of the war years" - Rest after the battle. Barbarism. Defense of Sevostopol. Outskirts of Moscow. Arkady Alexandrovich Plastov. Alexander Alexandrovich Deineka. Zinka. As long as hearts are beating. Musa Mustafovich Jalil. Fire. Roads of the Smolensk region. Yuri Georgievich Razumovsky. Haymaking. The globe of the earth. Burnt village. An excerpt from a poem. Olga Fyodorovna Berggolts. The fascist has flown. Enemies burned down their home. Tough fight. Sergei Sergeevich Orlov.

"Military poetry" - Joseph Utkin. Poets of the Yukhotsk region about the war. Musa Jalil. Poetry Review. Alexey Surkov. Poets wrote about the war itself. Front pages of Russian poetry. The Great Patriotic War. Poetry scorched by war. The country is huge. Our literature. Yulia Drunina. A word to the poets - front-line soldiers. The great grief of war. Let's remember everyone by name. I returned without a leg. Konstantin Simonov. 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 the epic of war. "Days and Nights". Military prose by K. Simonov. The Story of the Infantrymen. K. Simonov diversifies and enriches the ways of its depiction. The war was a tragedy until its last day. The theme of the formation of personality and military feat. Poem "Letter to a Friend" Features of the image of the Great Patriotic War in the 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. The level of development of literary skills. Guns. Creative biography of Margarita Aliger. Forms of organization of training sessions. Types of activities of the teacher and students. Development of research and creative abilities of the individual. Recording the main provisions in a notebook.

The years of the Great Patriotic War caused an unprecedented surge of civil, patriotic poetry. The feeling of the Motherland has intensified. Heartfelt poems appear in which the image of the Motherland, Russia is filled with historical depth ("The Thought of Russia" by D. Kedrin, "The Field of Russian Glory" by S. Vasiliev, "The Word about Russia" by M. Isakovsky). Of particular importance is the feeling of national identity (K. Simonov "Do you remember, Alyosha ...").

For many poets, the war years were a new page in creativity, a turning point that rebuilt their style (Pasternak, Akhmatova).

At the beginning of the war, poetry developed within the framework of journalistic and odic genres, which were of an invocative, agitational nature. Of particular importance in the poetry of the war period was the song. On the very first day of the war, the song "Holy War" by V. Lebedev-Kumach appeared, which became the poetic emblem of the Great Patriotic War. In the "Holy War" anger against the invaders, hatred towards them were expressed with such force, which later became the core of military poetry.

The "Song of the Brave" by A. Surkov had an invocative character. It was very important to reach the soul, the heart of the defender of the Motherland. The songs combined an intimate lyrical feeling and civic pathos. The most intimate movements of the soul took on the character of typical, general, love for a distant girl, longing for her merged with love for her native land. Written during the war years "In the frontline forest", "Spark", "Better there is no such flower ..." by M. Isakovsky, "In the dugout", "Lyrical song" by A. Surkov, "Dark Night" by V. Agatov, "Nightingales" A Fatyanova, "The Treasured Stone" by A. Zharov revealed the soul of the people. Love and hate, love of freedom, "noble rage" found a place in the songs.

At the beginning of the war, there were two contrasting colors in poetry - black and white, two feelings - hatred and love. Gradually, "poster" poetry was enriched with nuances of feelings and acquired a more complex character. Its realism and at the same time individual, personal intonation intensified. The war appeared not only in its general, undifferentiated essence, but also in the specific details of military life.

One of the most profoundly lyrical wartime books was A. Surkov's "Front Notebook". Poems written during the retreats convey the faltering, heavy breathing of the battles, the withdrawal of Soviet troops along with the inhabitants of the abandoned areas:

Crowds of people without end and number Went to meet them in the early morning. I remember: the old woman led the goat, The girl in thin arms carried A small bush of stunted geranium. The horror of the night drove them out of the city, The flame roared behind them.

The main idea of the collection is hatred for the invaders and a sense of revenge. Arranging poems in cycles, Surkov invariably opens them with the rubric: "I sing hate." The originality of Surkov's lyrics lies in the combination of chamber voice with high pathos of content, in the depiction of great events through the tragic details of the war.

Surkov considered himself a soldier's, "trench" poet, the meaning of whose work is to reach the heart of a soldier, to support him with a simple sincere word. Therefore, he denied "beautiful" poetry, abstracted from the terrible everyday life of the war:

Do not use your usual measure to no avail. Everything that is shaken by the storm of war. To those who walk close to death, Much is given in the world to see. ... When the snows were crimson with scarlet blood, From the soul of a soldier, what to hide a sin, Like a dead leaf in autumn, the dry husk of beautiful words fell down.

Close in perception of the war to Surkov was K. Simonov. One of his first military poems is dedicated to A. Surkov - "Do you remember, Alyosha, the roads of the Smolensk region ..." This is a lyrical poem, in the center of which is the image of the Motherland. The poet understands that the Motherland is first of all the people, that "gray-haired old woman in a plush straw, all in white, like an old man dressed for death." The homeland is comprehended mentally, emotionally. Simonov is proud that he is Russian,

That a Russian mother gave birth to us, That a Russian woman, seeing us off to battle, hugged me three times in Russian.

The poem is built on two streams - the army leaving to the east, the retreating army and the native land remaining out of sight, remaining to the enemy.

In the poem "Motherland" Simonov again refers to the theme of land, nation, people. The "big" homeland, the whole country is reflected in a specific "small" homeland, in that piece of land,

... where we were lucky enough to be born, Where for the rest of our lives, until death, we found That handful of earth that is suitable, To see in it the signs of the whole earth.

A tender lyrical feeling of love develops into a pathetic oratorical conclusion:

Yes, you can survive in the heat, in a thunderstorm, in frosts, Yes, you can get cold and starve, Go to death ... But these three birches cannot be given to anyone during life.

Simonov's favorite lyrical poem among the soldiers was "Wait for me", written as a spell of a fighter to his beloved.

During the war, a very common genre was the ballad, which made it possible to depict a heroic deed in expanded form. At the heart of Simonov's ballad "The Son of an Artilleryman" is one episode - the heroic deed of Lenka, who caused the fire of the battery. The drama of the event was deepened by the fact that Lenka's father corrects the fire.

Ballads, as a rule, were dedicated to specific episodes or specific people: "The Ballad of the Three Communists" by N. Tikhonov, "The Ballad of the Battle Banner" by I. Selvinsky, "The Ballad of the Red Army Demin" by A. Prokofiev.

M. Isakovsky's poems are permeated with love for a compatriot, pain for tragic fates, broken lives. The poet wrote not only song poems, but also deep psychological reflections on the fate of a soldier whose "enemies burned down his native hut, ruined his entire family." An ode to a Russian woman sounds the lines of the poem of the same name. The poet admires the strength, endurance, courage of a woman who "was left alone with her fate." The poem creates the image of a faithful, pure friend, wife, sister, whose labors and prayers supported the military spirit:

Can you tell me about it, In what years you lived, Such an immeasurable burden On women's shoulders lay

A great development during the war years was the poem, which could accommodate both the epic, epochal, and personal, lyrical. The most famous were "Son" by P. Antokolsky, "Zoya" by M. Aliger, "February Diary" by O. Bergholz, "Vasily Terkin" by A. Tvardovsky.

During the Great Patriotic War, all poetry was united by a single feeling - love for the Motherland. A characteristic feature of poetry was a combination of drama and lyricism, simplicity and folk language.

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Additional essays on the topic

The years of the Great Patriotic War caused an unprecedented surge of poetry of a civil, patriotic nature. The feeling of the Motherland has intensified. Penetrating poems appear in which the image of the Motherland, Russia is filled with historical depth (“The Thought of Russia” by D. Kedrin, “The Field of Russian Glory” by S. Vasiliev, “The Word about Russia” by M. Isakovsky). Of particular importance is the feeling of national identity (K. Simonov "Do you remember, Alyosha ...").

For many poets, the war years were a new page of creativity, a turning point that rebuilt their style (Pasternak, Akhmatova).

At the beginning of the war, poetry developed within the journalistic and odic genres, which were of an invocative, agitational nature. Of particular importance in the poetry of the war period was the song. On the very first day of the war, V. Lebedev-Kumach's song "Holy War" appeared, which became the poetic emblem of the Great Patriotic War. In The Holy War, anger against the invaders, hatred towards them were expressed with such force that later became the core of military poetry.

The “Song of the Brave” by A. Surkov had an invocative character. It was very important to reach the soul, the heart of the defender of the Motherland. The songs combined an intimate lyrical feeling and civic pathos. The most intimate movements of the soul took on the character of typical, general, love for a distant girl, longing for her merged with love for her native land. Written during the war years “In the front-line forest”, “Spark”, “Better there is no that flower ...” by M. Isakovsky, “In the dugout”, “Lyrical song” by A. Surkov, “Dark night” by V. Agatov, "Nightingales" by A. Fatyanov, "The Treasured Stone" by A. Zharov revealed the soul of the people. Love and hate, love of freedom, "noble rage" found a place in the songs.

At the beginning of the war, there were two contrasting colors in poetry - black and white, two feelings - hatred and love. Gradually, "poster" poetry was enriched with shades of feelings, acquired a more complex character. Its realism and at the same time individual, personal intonation intensified. The war appeared not only in its general, undifferentiated essence, but also in the specific details of military life.

One of the most deeply lyrical books of the wartime was A. Surkov's "Front Notebook". Poems written during the retreats convey the intermittent, heavy breathing of the battles, the withdrawal of Soviet troops along with the inhabitants of the abandoned areas:

Crowds of people without end and number Went to meet them in the morning run. I remember: the old woman led the goat, The girl in thin arms carried a small bush of stunted geraniums. The horror of the night drove them out of the city, The flame roared behind them.

Do not use the usual measure to no avail Everything that is shaken by the storm of war. To the one who walks close to death, Much is given in the world to see. ... When the snows were crimson with scarlet blood, From the soul of a soldier, what to hide a sin, Like a dead leaf in autumn, the dry husk of beautiful words fell down.

Close in perception of the war to Surkov was K. Simonov. One of his first military poems is dedicated to A. Surkov - “Do you remember, Alyosha, the roads of the Smolensk region ...” This is a lyrical poem, in the center of which is the image of the Motherland. The poet understands that the Motherland is, first of all, the people, that “gray-haired old woman in a plush straw, all in white, like an old man dressed for death.” The homeland is comprehended mentally, emotionally. Simonov is proud that he is Russian,

That a Russian mother gave birth to us, That a Russian woman, seeing us off to battle, hugged me three times in Russian.

The poem is built on two streams - the army leaving to the east, the retreating army and the native land remaining out of sight, remaining to the enemy.

In the poem "Motherland" Simonov again refers to the theme of land, nation, people. The “big” homeland, the whole country is reflected in a specific “small” homeland, in that piece of land,

... where we were lucky enough to be born, Where for life, until death, we found That handful of earth that is suitable, To see in it the signs of the whole earth.

A tender lyrical feeling of love develops into a pathetic oratorical conclusion:

Yes, you can survive in the heat, in a thunderstorm, in frost, Yes, you can get cold and starve, Go to death ... But these three birches During life, you can’t give it to anyone.

Simonov's favorite lyrical poem among the soldiers was "Wait for me", written as a spell of a fighter to his beloved.

During the war, a very common genre was the ballad, which made it possible to depict a heroic deed in expanded form. At the heart of Simonov's ballad "The Son of the Artilleryman" is one episode - the heroic deed of Len-ka, who caused the fire of the battery. The drama of the event was deepened by the fact that Lenka's father corrects the fire.

Ballads, as a rule, were dedicated to specific episodes or specific people: “The Ballad of Three Communists” by N. Tikhonov, “The Ballad of the Battle Banner” by I. Selvinsky, “The Ballad of the Red Army Soldier Demin” by A. Prokofiev. material from the site

M. Isakovsky's poems are permeated with love for a compatriot, pain for tragic fates, broken lives. The poet wrote not only song verses, but also deep psychological reflections on the fate of a soldier whose "enemies burned down his native hut, ruined his entire family." An ode to a Russian woman sounds the lines of the poem of the same name. The poet admires the strength, endurance, courage of a woman who "was left alone with her fate." The poem creates the image of a faithful, pure friend, wife, sister, whose labors and prayers supported the military spirit:

Can you tell me about it, In what years you lived, Such an immeasurable burden lay on women's shoulders.

During the war years, the poem received great development, which could contain both the epic, epochal, and personal, lyrical. The most famous were "Son" by P. Antokolsky, "Zoya" by M. Aliger, "February Diary" by O. Bergholz, "Vasily Terkin" by A. Tvardovsky.

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