The events of the revolution and the civil war were reflected in the new literature of the 1990s. The revolution brought enthusiasm, faith in a new world order, but it also brought misfortune, the tragedy of the whole country. The coverage of the war was simplistic, one-dimensional, monumentally heroic. It is now known that in addition to the "revolution - the holiday of the working people and the oppressed" there was another image: "cursed days" (Bunin), "deaf years" (Mandelstam), "vomit of war - October fun" (Gippius). But this point of view had no right to exist!
Starting the countdown of the new time and intending to create an earthly paradise, they began to destroy right and left. They sang: "He who was nothing will become everything," but the people have already been persecuted, fooled, hungry and poor! They sang: “Let's renounce the old world, but we renounced Gumilyov and Chaliapin, Bunin and Akhmatova. And from 1.6 million of the most talented scientists and writers who emigrated abroad. Demolished the most ancient temples and monasteries, killed the clergy!
Maxim Gorky: “Our revolution gave scope to all the bad and bestial instincts that have accumulated under the lead roof of the monarchy. The people's commissars treat Russia as material for experiment; the Russian people are for them the same horse that bacteriologists inoculate with typhus in order for the horse to develop anti-typhoid serum in its blood. It is precisely such a cruel and doomed to failure experiment that the commissars conduct on the Russian people, not thinking that the exhausted, half-starved horse can die.
There is a red terror in the country. But those who pinned their hopes on the white movement are also wrong. In an atmosphere of bloody confusion, the Whites could not give anything significant to the people, who in their mass, naturally, were neither angels nor noble knights. Neither the Reds nor the Whites could give anything to the people, but behind the Reds, as behind a new force, there was a serious psychological advantage.
In the outbreak of the civil war, Russia lost from 1918 to 1922 - millions of people! (according to other sources 16 million): military losses - 800 thousand emigration - 1.5 - 2 million people sickness - 5.1 million people. The remaining 5-7 million were illegally shot (Krondshtatsky, Tambov and other rebellions). The war began from the moment the new government was born.
Literary Positions of the 1920s “The Winners” “The Defeated” “Neither With Them, Nor With The Others” Dmitry Furmanov “Chapaev” Alexander Serafimovich “Iron Stream” Alexander Fadeev “The Rout” and others Mikhail Bulgakov “The White Guard” Ivan Shmelev “The Sun of the Dead”, “The Tale of an Old Woman” Marina Tsvetaeva “The Swan Camp” Boris Lavrenyov “Forty-First” Boris Pilnyak “The Hungry Year”, “The Tale of the Unextinguished Moon” Vitaly Veresaev “At a Dead End” Isaac Babel “Konarmiya” Artyom Vesely “Russia, with Blood washed"
"Winners" Revolution and civil war - a heroic time In the crucible of the civil war, the formation of personality takes place The Bolsheviks play a leading role in overcoming the spontaneity of the masses The Bolsheviks are positive heroes, people from the people Works are always optimistic, even if the ending is tragic
Maxim Gorky: “Our commissars treat Russia as a material for experiment, the Russian people for them are the same horse that bacteriologists inoculate with typhus so that the horse develops anti-typhoid serum in its blood. It is precisely such a cruel and doomed to failure experiment that the commissars conduct on the Russian people, not thinking that the exhausted, half-starved horse can die.
Works (list) on this topic: I. Babel "Cavalry", M. Bulgakov "White Guard", "Days of the Turbins", "Running" A. Vesely "Russia washed with blood", B. Lavrenev "Forty-first", B .Pasternak "Doctor Zhivago", Serafimovich "Iron Stream", A. Fadeev "Rout", I. Shmelev "The Sun of the Dead", M. Sholokhov "Don Stories"
At the end of the twentieth century, after the events that took place in our country, we can relatively impartially look at how our compatriots portrayed the events that were called the civil war. Of course, those who wrote about the war had their own clearly expressed position.
Bolshevik writers
These are Serafimovich, Sholokhov, Furmanov, Fadeev, for them:
- war is just
- waged against the enemies of the Soviet regime,
- the characters in their works are clearly divided into their own and others. Their enmity is irreconcilable.
Writers-intellectuals
For non-party writers (I. Shmelev, M. Bulgakov, B. Pasternak):
- fratricidal war,
- the power of the Bolsheviks brings destruction, destroys people,
- but White's actions are no less terrible.
All Russian writers agree on one thing: war is cruel, a person hardens in war, he has to transgress universal moral laws.
The concept of war and the image of man in the works
How fratricidal war appears in all works, regardless of socio-political assessments. Mikhail Sholokhov in the story "The Mole" shows how the father kills his son and only by the mole does he find out that he has become a son-killer. In Babel's Cavalry, a Red Army boy dictates a letter to the author, in which he tells how his older brother tortured his father because he was an enemy, how he himself was later killed. The fratricidal nature of the civil war is felt by Yuri Zhivago, the hero of Boris Pasternak's novel, a doctor whose mission is to save people's lives. The hero of M. Bulgakov's play "Running", the White Guard General Khludov, carries with him a heavy burden the memory of the people who were hanged on his orders.
In almost all works in the center there is a person who takes responsibility for other people - the commander.
In the center of A. Fadeev's novel "Rout" is the image of the commander of the partisan detachment Levinson. The life of this man is subordinated to the service of the revolution, it is in the name of revolutionary expediency that the commander acts. He educates his fighters (Morozka), in any case he takes responsibility for himself. But revolutionary expediency requires cruelty not only to those who are and are considered enemies, but also to those who simply hinder the revolution. At the same time, Levinson's activity becomes absurd: he and his detachment are fighting for the working people, but in order to save the detachment, Levinson is forced to take away the pig from the Korean (a simple peasant, for whom the war is being waged), the Korean's family is likely to die of starvation in winter, Levinson gives the order to poison mortally wounded Frolov, as the wounded impede the advance of the detachment.
Thus, revolutionary expediency replaces the concept of humanism and humanity.
It is the officers who are the heroes of the novel and plays by M. Bulgakov. Alexei Turbin is a Russian officer who went through the German war, a real combat officer whose goal is to defend his homeland, and not to fight with his own people. Bulgakov shows that Petlyura's power in Kyiv is no better than the power of the Bolsheviks: robberies, careerism in power, violence against the civilian population. Alexei Turbin cannot fight his own people. And the people, according to the hero, support the Bolsheviks.
The result of the war is death, desolation.
It is the pathos of desolation, dead land, people without a future that sounds in Ivan Shmelev's "Sun of the Dead". The action takes place in the Crimea, which before the revolution was a blooming paradise, and now, after the civil war, has turned into a desert. The souls of people also turn into a desert.
Love and Moral Choice in Civil War Novels
The misunderstood idea of social justice upsets the social balance and turns the proletarians into robbers, however, without making them richer for this.
Revolution and civil war are not the time for love.
But writers cannot but speak of the eternal. The heroes of B. Lavrenev's story "Forty-First" are the White Guard officer Govorukha-Otrok and the Red Army soldier Maryutka. By the will of fate and the author, they find themselves on an island far from the civil war, a feeling flares up between them. But Maryutka kills her beloved when she faces a social choice - the revolution is above all, above human happiness and eternal love.
The abstract idea of universal human love obscures love for a specific person before the heroes of the revolution and civil war.
So, the hero of "Chevengur" by A. Platonov, Kopenkin, devotedly loves Rosa Luxemburg, whom he has never seen.
Any war confronts a person with the problem of moral choice.
As already mentioned, for revolutionaries such a moral choice is unequivocal: everything that serves the revolution is expedient.
For the Russian intelligentsia, this choice is extremely difficult.
- On the one hand, it was the intelligentsia that took part in the revolution or sympathized with it.
- On the other hand, the horror of the civil war, the Bolshevik terror turned the intelligentsia away from what was happening or forced them to serve their ideas, despite internal contradictions.
The savagery of the whites and reds competed in cruelty, alternately increasing in response to one another, as if multiplying. The blood made me sick, it came up to my throat, rushed to my head, my eyes swam with it, ”
- so writes Boris Pasternak. His hero does not want to be on anyone's side, as a truly Russian intellectual, he is attracted by universal truth. But no one manages to stay away from the war. A completely different fate is the fate that brings the heroine to the camp of the Bolsheviks, with Lyubov Yarovaya. The position of the author of the play, K. Trenev, is unequivocal - the life of Lyubov Yarovaya acquires meaning only in serving the people, the revolution, i.e. the Bolsheviks. True, the heroine must sacrifice her husband, Lieutenant Yarovoy.
“Russia, washed with blood” is the name of the novel by Artem Vesely, a writer who died in Stalin's dungeons. Many-voiced Russia, fighting, confused in the choice, passionate, strong, this is how the country appears in the novel. Its name is symbolic. This is how one can determine the attitude of all Russian writers to the topic of the civil war, regardless of their political and social orientation.
Reading works about the civil war, at the end of the 20th century we cannot but recall the words of Pushkin:
Did you like it? Do not hide your joy from the world - share"God forbid to see a Russian rebellion, senseless and merciless."
Materials are published with the personal permission of the author - Ph.D. Maznevoy O.A.
“From childhood, I imagined the civil war as a fight between “good” reds and “bad” whites, - this is how an 11th grade graduate began her essay. - In that fairy tale, the truth was always on the side of the Reds, and ours certainly won. Somehow I didn’t even think about the people on the other side of the barricades. But they also fought for their truth. Having lost everything, many of them, even in exile, kept Russia in their hearts. Recently, I have been reading with particular interest the books of those who, for some reason, did not accept the revolution, but remained a patriot of their country. I want to understand what these people were like, how they lived, what ideas they stood for. But I think that those works whose authors accepted the new world as their own have not lost their significance either. It is rightly said that without comparing different points of view, it is impossible to understand such a complex event as revolution and civil war.
Indeed, the publication of “Untimely Thoughts” by M. Gorky, letters by V.G. Korolenko to Lunacharsky, diaries of I.A. Bunin (“Cursed Days”), the works of V. Veresaev and M. Bulgakov, B. Pilnyak and A. Platonov, V. Zazubrin and E. Zamyatin, books of emigrants I. Shmelev, B. Zaitsev, V. Ropshin returned to the literary process , R. Gulya helped to overcome the one-sided idea of the revolutionary era and the history of literature of the 20th century.
Standing next to the classic works of Soviet literature (“The Quiet Don” by M. Sholokhov, “Iron Stream” by A. Serafimovich, “Chapaev” by D. Furmanov, “The Rout” by A. Fadeev), these books showed that in the 1920s literature captured a complex, highly contradictory image of time. It reflected the diversity of ideas about the historical events that took place before the eyes of the writers (Pilnyak called them "the harness of history"). 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 "The Naked Year" by B. Pilnyak, "The Fall of the Daire" by A. Malyshkin, "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.
Searched here:
- the theme of revolution and civil war in the prose of the 1920s
Ovchinnikov Fedor
The images of heroes, key episodes, the author's attitude to what is depicted in the works are compared;
Compiled a glossary of literary terms and examples of vocabulary reflecting the period of the Civil War
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Presentation on the topic: “Image of the Civil War in Russian literature of the 20s of the XX century” Compiled by: Ovchinnikov F. A., student of class 10 “A” Head: Zhukovskaya E. V., teacher of Russian language and literature Municipal budgetary educational institution secondary secondary school №43 Khabarovsk - 2018
Works under consideration A. A. Fadeev, “The Defeat”, first publication: 1927. M. A. Bulgakov, "White Guard", first publication: 1925 I. E. Babel "Cavalry", first publication: 1926
Purpose and objectives Purpose: comparison of the image of the civil war in the works of Russian authors of the 20s Tasks: Read the works: A. A. Fadeev, " Defeat", M. A. Bulgakov, " The White Guard", I. E. Babel " Cavalry » ; Compare the images of heroes and key episodes in these works and the author's attitude to the depicted; Compile a dictionary of literary terms and examples of vocabulary reflecting the period of the Civil War.
Alexander Alexandrovich Fadeev Isaac Emmanuilovich Babel Mikhail Afanasyevich Bulgakov Authors
The key characters in A. A. Fadeev's novel "The Rout" Levinson is a detachment commander, the son of a used furniture dealer. Pavel Mechik is an intelligent young man who graduated from high school. Morozka (Ivan Morozov) is Levinson's orderly, a 27-year-old miner.
The key characters in I. E. Babel's book "Konarmiya" Lyutov is the main character-narrator of the cycle, appearing in most of the stories; Jewish Odessa, abandoned by his wife; Candidate of Laws of St. Petersburg University.
The key characters in M. F. Bulgakov's novel "The White Guard" Aleksey Turbin is the eldest in the family, a military doctor, 28 years old. Nikolai Turbin is the youngest in the Turbin family, 17 years old, cadet.
Fragments from A. A. Fadeev's novel "The Defeat" Confiscation of a pig from a Korean "- Shoot, anyway," Levinson waved and grimaced, as if they were supposed to shoot at him "Frolov's murder" Levinson wanted to name in one word the only thing that remained for them , but, apparently, the word was so difficult that he could not pronounce it. Stashinsky looked at him with apprehension and surprise and ... understood. Curving his whitened lips, shivering and blinking terribly with one eye, Stashinsky raised a beaker. Frolov supported her with both hands and drank.
Fragments from the book by I. E. Babel “Konarmiya” Crossing the Zbruch “- Pane,” she tells me, “you scream from sleep and you rush. I'll make a bed for you in the other corner, because you're pushing my dad... She picks up her thin legs and round belly from the floor and removes the blanket from the sleeping man. The dead old man lies there, thrown back. His throat is torn out, his face is cut in half, blue blood lies in his beard, like a piece of lead. Dolgushov's death “He was sitting leaning against a tree. His boots were sticking out. Without taking his eyes off me, he carefully unfolded his shirt. His stomach was torn out, the intestines crawled onto his knees, and heartbeats were visible.
Fragments from M. F. Bulgakov's novel The White Guard Murder of Feldman “It's also good that Feldman died an easy death. There was once a centurion Galanba. Therefore, he simply waved the saber at Feldman's head. Retreat of the junkers “Nay-Tours jumped close to Nikolka, waved his left free hand and cut off Nikolka, first the left and then the right shoulder strap. Waxed best threads burst with a bang, and the right shoulder strap flew off with overcoat meat.
Artistic means in A. A. Fadeev’s novel “The Defeat” “The forest opened up before them quite unexpectedly - an expanse of high blue sky and a bright red field, drenched in the sun and sloping, spreading on two sides, where the eye could see. On the other side, by the willow tree, through which the full-flowing speech shone blue, - showing off the golden caps of fat haystacks and stacks, one could see a current. There was its own - cheerful, sonorous and troublesome - life.
Artistic means in the book by I. E. Babel “Konarmiya” “Fields of purple poppy bloom around us, the midday wind plays in the yellowing rye, virgin buckwheat rises on the horizon, like the wall of a distant monastery. Quiet Volyn bends, Volyn leaves us in the pearly fog of birch groves, it creeps into the flowery hillocks and with weakened hands gets tangled in the thickets of hops. The orange sun rolls across the sky like a severed head, a gentle light lights up in the gorges of the clouds, the standards of sunset blow over our heads. The smell of yesterday's blood and dead horses drips into the evening coolness. The blackened Zbruch makes noise and twists the foamy knots of its rapids.
Artistic means in M. F. Bulgakov’s novel “The White Guard” “The floors are shiny, and in December, now, on the table, in a matte, column, vase, blue hydrangeas and two gloomy and sultry roses, affirming the beauty and strength of life, despite the fact that on the outskirts of the City is an insidious enemy who, perhaps, can smash the snowy, beautiful City and trample on fragments of peace with his heels. “Like a multi-tiered honeycomb, the City smoked and made noise, and the City lived. Beautiful in frost and fog on the mountains, above the Dnieper"
Screen versions of "The Rout": 1931 - "The Rout". Director Nikolai Beresnev; 1958 - "The Youth of Our Fathers" ("The Defeat"). Directors: Mikhail Kalik, Boris Rytsarev; "White Guard" and "Days of the Turbins": 2012 - "White Guard". Director Sergei Snezhkin; 1979 - "Days of the Turbins". Directed by Vladimir Basov; 1970 - "Running". Directors: Alexander Alov and Vladimir Naumov.
Glossary of Literary Terms A novel is a literary genre, often prosaic, depicting a person's life with its exciting passions, struggles, social contradictions and aspirations for the ideal. Episode - with the rest of the plot of a literary work, which has an independent narrative value. A story is a small prose work of a mostly narrative nature, compositionally grouped around a single episode, character. A tale is a kind of literary and artistic orientation towards an oral monologue of a narrative type, it is an artistic imitation of monologue speech, which, embodying a narrative plot, seems to be built in the order of its direct speaking. The plot is the actual side of the narrative, those events, cases, actions, states in their causal-chronological sequence, which are arranged and formed by the author in the plot on the basis of the patterns seen by the author in the development of the phenomena depicted.
Glossary of terms Petliurist - a member of the Petliura White Guard movement; Nachdiv - head of the division; An orderly is a military officer or private who was assigned to the military headquarters, to the commander or to an honorary person to carry out their instructions, mainly for communication and transmission of orders. The gentry is a Polish petty nobility.
Cavalry Sources: Stories. - St. Petersburg. : Publishing group "Lenizdat", "Team A", 2014. - 192p. The White Guard: a novel / Bulgakov Mikhail Afanasyevich. - Moscow: AST Publishing House, 2015. - 352 p. - (Exclusive: Russian classics). Young guard. Novel. Defeat. Novel. Foreword M Alekseev. Comment. S. Preobrazhensky. Format. Series B. Dekhterev. Il. And formal. volumes of O. Vereisky. M., Det. Lit", 1977. 703 p. From ill. + fr. And nak. (Library of World Literature for Children, Volume 21). Literature. Grade 11: Textbook for educational institutions: At 2 hours - 7th ed., Rev. And extra. - M .: LLC "TID "Russian Word - RS", 2008. - 464 p. Russian literature of the XX century. 11th grade: Textbook. For general education textbook Institutions. - at 2 pm, Part 1 / V. V. Agenosov et al.; Ed. V. In Agenosov. - 4th ed. - M .: Bustard, 1999. - 528 p.: ill. Russian literature of the XX century. 11 cells Proc. For general education institutions. At 2 pm, Part 2. V A. Chalmaev, O.M. Mikhailov, A. I. Pavlovsky and others; Comp. E. P. Pronina; Ed. V. P. Zhuravleva. - 7th ed. - M.: Enlightenment, 2002. - 384 p.: ill. – ISBN 5-09-011076-X. http:// www.bulgakov.ru http:// www.hrono.ru http://lib.ru
Conclusions Works read; The images of heroes, key episodes, the author's attitude to what is depicted in the works are compared; A dictionary of literary terms and examples of vocabulary reflecting the period of the Civil War has been compiled.
The events of the Civil War were a serious blow to the entire population of Russia. The specificity of such a conflict lies in the fact that it confronts citizens of one state in opposition. As a result of the war, thousands of people died, the economy was completely destroyed, but the conflict left a significant mark on culture and art.
The writers who worked in the 20s of the XX century distinguished themselves by the vivid realism of their works, in which they showed the fate of people, the events of military operations are surprisingly vital. In the center of such works were the fates and personalities of people who were changed by the war.
Writers and poets of the post-war period touched on the subject of the revolution and its consequences to a greater or lesser extent. The main creative forces of the post-war period were representatives of the intelligentsia.
The most impressive creator of the period was M. Bulgakov. The writer in the works "Running", "The White Guard", "Days of the Turbins" conveyed human feelings and experiences against the background of the war, the lives of people whose personal relationships were severed by the Civil War. Separate themes of the works were the development of the White movement, Petliurism. Many moments of the works were autobiographical.
The work of I. Babel deserves special attention. The writer was a correspondent for the newspaper "Red Cavalryman" and became the author of a series of stories "Cavalry". Babel's works caused a mixed reaction, the writer himself was persecuted. Even after his death, the stories were not unequivocally assessed.
One of the most striking works about the period of the Civil War is the novel "Quiet Flows the Don" by M. Sholokhov. The novel received wide recognition at the time of its release, and today is one of the most remarkable works about the fate of a person during the Civil War. The works of S. Mamontov, A. Tolstov, A. Fadeev, B. Lavrenev are devoted to the subject of the conflict.
The main thing in these works is realism and the personal experience of writers, conveyed in a literary work. Here the characters and values of the authors are most clearly and fully manifested.
What is the special value of the works? The image of a person against the background of historical events is the most relevant topic in literary criticism. For this reason, the study of works about the Civil War is chosen by many literary critics as the topic of scientific research.
In the middle of the 20th century, a number of literary works appeared that became iconic phenomena in literature. One of them is the novel "Doctor Zhivago" by Boris Pasternak.
Disclosure of the theme in cinema
The subject of the Civil War was first revealed in the film "Red Devils", filmed in 1923. In the center of events is the struggle of the "Reds" with the Makhnovists. The film was a huge success, as was the story on which the film was made - by Pavel Blyakhin.
The first film adaptation of The Quiet Flows the Don in 1930 was still silent and was voiced only in 1933. This story has become one of the most heartfelt and dramatic narratives about the events of the Civil War. In 1954, another screen adaptation of Sholokhov's work was released - this time directed by Sergei Gerasimov.
In 1934, one of the most striking films, Chapaev, was released. Directed by the Vasiliev brothers - the film was highly appreciated. The basis for the filming was the script by Anna Furmanova and the memories of eyewitnesses of the events.
After 3 years, the “Duma about the Cossack Golota” comes out - a story about the last stage of the Civil War. Actions take place in 1920. The film by I. Savchenko, like all films about the period of the Soviet war, demonstrates the heroism of the “Reds” against the background of the moral decay and dishonor of the “Whites”.
According to the film "The Elusive Avengers", many have been familiar with the theme of the Civil War since childhood. This film, like the first film - "The Red Devils", is an adaptation of P. Blyakhin's story.
In 1969, I. Bolgarin's novel "His Excellency's Adjutant" was filmed.
One of the most famous films about the period of the Civil War is "White Sun of the Desert". The film was released in 1970. Chronologically, the events in the film take place in 1920 on the territory of Central Asia, when large-scale hostilities in this region ended, but the Basmachi continued to operate.
In the same year, the film "Running" was released - A. Alov's tape. The film is based on M. Bulgakov's novels "White Guard", "Black Sea", "Running". The film adaptation was not successful for ideological reasons - "Running" was removed from the screening due to the "overly positive" images of "white" officers that are shown in the film.
During the 50-80s, more than a dozen tapes were filmed telling about the events of the Civil War. Since the beginning of the 90s, the theme has been developed in the films Admiral, Doctor Zhivago, White Guard, Passion for Chapay, Nine Lives of Nestor Makhno. The themes of films about the Civil War became more diverse, devoid of ideological influence.
The theme of war in painting
Works devoted to the events of 1917-1922 in Russia appeared throughout the 20-30s of the XX century. The topic is covered in the works of K. Petrov-Vodkin, I. Brodsky, A. Deineka, F. Bogorodsky, the creative association Kukryniksy. The realistic genre is used in the works.
The events of the Civil War influenced the cultural development of Russia - the subject matter remained central for filmmakers and writers for many years.