Read the fragment of the text-based review. This fragment examines the language features of the text. Some terms used in the review are missing. Fill in the blanks with the necessary terms from the list. Gaps are indicated by letters, terms by numbers.
Fragment of the review:
“Konstantin Mikhailovich Simonov shows the reader the true value of one of the seemingly ordinary episodes of the war. To recreate the battle scene, the author uses a variety of means of expression. Thus, the text uses various syntactic means, including (AND)__________ (in sentences 14, 20), and trails (B)__________ (“bloody meters” in sentence 22, “despite the deafening fire” in sentence 29), as well as techniques, including (AT)__________ (suggestions 12-13). Another trick - (D)__________ (sentences 38-40; sentence 50) - helps to understand the author's thought. "
List of terms:
1) citation
2) epithet
3) synonyms
4) phraseological unit
5) a series of homogeneous members of a sentence
6) parceling
7) question-answer form of presentation
8) litotes
9) metaphor
Text:
Show text
(1) Having made several heavy fire raids early in the morning, the Germans now conducted systematic mortar and cannon fire. (2) Here and there, high snow pillars rose up among the trunks.
(3) Ahead, in the grove, as the reconnaissance found out, there were two lines of deep longitudinal snow trenches with three to four dozen fortified dugouts. (4) The approaches to them were mined.
(5) It was exactly twelve. (6) The midday sun shone through the trunks, and if it were not for the deaf explosions of mines flying over the head, the forest would look like a peaceful winter day.
(7) The assault groups slid forward first. (8) They walked through the snow led by sappers, clearing a path for tanks.
(9) Fifty, sixty, eighty steps - the Germans were still silent. (10) But someone could not stand it. (11) A machine-gun burst was heard from behind the high snow block.
(12) The assault group lay down, it did its job. (13) Summoned fire on herself. (14) The tank following her turned its gun on the move, made a short stop and hit the machine-gun embrasure seen once, twice, three times. (15) Snow and broken logs flew into the air.
(16) The Germans fell silent. (17) The assault team rose and dashed forward another thirty paces.
(18) The same thing again. (19) Machine-gun bursts from the next dugout, a short dash of the tank, a few shells - and snow and logs flying upwards.
(20) In the grove, the air itself seemed to whistle, bullets hit the trunks, ricocheted and fell helplessly into the snow. (21) It was difficult to raise your head under this fire.
(22) By seven in the evening, units of the regiment, having passed eight hundred snowy and bloody meters in battle, reached the opposite edge. (23) The Oak Grove was taken.
(24) The day was hard, there were many wounded. (25) Now the grove is entirely ours, and the Germans opened a hurricane of mortar fire on it.
(26) It was already getting dark. (27) Between the trunks, not only snow pillars were visible, but also burst flashes. (28) Tired people, breathing heavily, lay in the broken trenches. (29) Many of them closed their eyes from fatigue, despite the deafening fire.
(30) And along the hollow to the edge of the grove, bending down and running in between the gaps, the thermos carriers were going with lunch. (31) It was eight o'clock, the day of the battle ended. (32) The division headquarters wrote an operational report, in which, among other events of the day, the capture of the Oak Grove was noted.
(33) It has become warmer, thawed craters are again visible on the roads; from under the snow the gray towers of broken German tanks begin to appear again. (34) Spring according to the calendar. (35) But as soon as you step back five steps from the road, the snow is up to your chest again, and you can move only by digging trenches, and you have to drag the guns on yourself.
(36) On the slope, from which the white hills and blue copses are widely visible, stands a monument. (37) Tin Star; the caring, but hasty hand of a man who is again going into battle, brought out stingy solemn words.
« (38) Selfless commanders - Senior Lieutenant Bondarenko and Junior Lieutenant Gavrish - died a heroic death on March 27 in battles near the Kvadratnaya grove. (39) Goodbye, our fighting friends. (40) Forward to the west! "
(41) The monument stands high. (42) The winter Russian nature is clearly visible from here. (43) Perhaps the comrades of the perished wanted them to follow their regiment far away after death, now heading west across the wide snowy Russian land without them.
(44) Groves are spreading ahead: Kvadratnaya, in the battle under which Gavrish and Bondarenko died, and others - Beryozovaya, Dubovaya, Krivaya, Turtle, Noga.
(45) They were not called that before and will not be called later. (46) These are small, unnamed copses and groves. (47) Their godfathers were the commanders of the regiments that were fighting here for every edge, for every clearing in the forest.
(48) These groves are the site of daily bloody battles. (49) Their new names appear every night in divisional reports, sometimes they are mentioned in the army. (50) But in the summary of the Information Bureau of all this, only a short phrase remains: "During the day, nothing significant happened."
(According to K.M.Simonov)
Konstantin (Kirill) Mikhailovich Simonov (1915-1979) - Russian Soviet novelist, poet, screenwriter, journalist and public figure.
Read a fragment of the review. This fragment examines the language features of the text. Some terms used in the review are missing. Insert the numbers corresponding to the number of the term from the list in the places of the gaps (A, B, C, D). The sequence of numbers in the order in which you wrote them down in the text of the review at the place of the gaps, write it down without spaces, commas and other additional characters.
Show text (K.M.Simonov)
“Konstantin Simonov tells about the life of a soldier in the war in such a way that the reader becomes involved in the fate of the hero. The reader sees a picture of military events, understands the state of people. All this is shown to the writer by lexical means - (A) __________ ("thrown" in sentence 11) and tropes - (B) __________ (" bitterexpression ”in sentence 41). The syntactic tool - (B) __________ (in sentences 4, 11, 20) and the method - (D) __________ ("instantly" in sentence 26, "around" in sentence 44) help to understand the author's thoughts. "
(1) It was in the morning.(2) The battalion commander Koshelev called Semyon Shkolenko to his place and explained, as always, without long words: - You need to get the "Language".
- (3) I'll get it, - said Shkolenko.
(4) He returned to his trench, checked the machine gun, hung three disks on his belt, prepared five grenades, two simple and three anti-tank grenades, put them in a bag, then looked around and, having thought, took the copper wire stored in a soldier's bag and hid it in pocket.(5) It was necessary to go along the coast.(6) After the morning rain, the ground had not yet dried out, and the footprints leading into the forest were clearly visible on the path.
(7) There were thickets ahead.(8) Shkolenko crawled through them to the left; there was a pit with weeds growing all around it.(9) From the hole, in the gap between the bushes of weeds, a mortar was visible standing very close and a light machine gun a few steps further away: one German stood at the mortar, and six sat, gathered in a circle, and ate from the kettles.
(10) There was no need to rush: the goal was in sight.(11) He firmly rested his left hand on the bottom of the pit, grabbed the ground so that his hand did not slip, and, lifting himself up, threw a grenade.(12) When he saw that six were lying motionless, and one, the one who was standing at the mortar, continued to stand near him, looking in surprise at the barrel mutilated by a grenade fragment, Shkolenko jumped up and, coming close to the German, not taking his eyes off him, with signs he indicated that he should unfasten the parabellum and threw it on the ground, so that he could load the machine gun on his shoulders.(13) The German obediently bent down
And raised the machine gun. (14) Now both hands were occupied.
(15) So they went back - in front of a German with a machine gun on his shoulders, behind Shkolenko.
(16) Shkolenko reached the battalion command post only in the afternoon.
- (17) Okay, - said the regiment commander, - one task, - he nodded at Captain Koshelev, - you have completed, now do mine: you must find out where their other mortars are.
- (18) I find out, - Shkolenko said shortly, - will I go alone?
- (19) One, - said Koshelev.
(20) Shkolenko sat for about half an hour, threw up the machine gun and, no longer adding grenades, again went in the same direction as in the morning.
(21) Now he took to the right of the village and closer to the river, hiding in the bushes growing along the sides of the road.(22) We had to walk along a long ravine, making our way through the thick hazel that scratched the hands and face, through the small forest.(23) Near a large bush, three mortars were clearly visible, standing in the beam.
(24) Shkolenko lay down flat and pulled out the paper, on which he had decided in advance to draw for accuracy exactly where the mortars were.(25) But at the moment when he made this decision, seven Germans standing at the mortars approached each other and sat down at the mortar closest to Shkolenko, just eight meters from him.(26) The decision was born instantly, maybe so instantly because only today, in exactly the same situation, he was lucky once.(27) The explosion was very strong, and the Germans lay dead.(28) Suddenly, two dozen steps away from him, there was a strong rustling in the bushes.(29) Pressing his machine gun to his stomach, Shkolenko fired a long burst in a fan, but his good friend Satarov, a fighter of the 2nd battalion, who had been taken prisoner a few days ago, jumped out of the bushes instead of the Germans.(30) Sixteen more people followed him out of the bushes.(31) Three were bloody, one of them was supported in his arms.
- (32) Did you shoot? - asked Satarov. -(33) Here, he hurt them, - Satarov pointed with his hand at the bloody people. -(34) Where is everyone?
- (35) And I'm alone, - answered Shkolenko. -(36) What are you doing here?
- (37) We were digging our own grave, - said Satarov, - two submachine gunners were guarding us, they ran away when they heard the explosion.(38) So you are alone?
- (39) One, - repeated Shkolenko and looked at the mortars. -(40) Rather take mortars, now let's go to our own.
(41) He walked behind those he had rescued from captivity and saw the bloody bodies of the wounded, and a bitter expression appeared on his face.
(42) An hour and a half later, they reached the battalion.(43) Shkolenko reported and, after listening to the captain's gratitude, walked five steps away and lay down on the ground.(44) Fatigue immediately fell on him: with open eyes he looked at the blades of grass that grew around, and it seemed strange that he was living here, and grass was growing all around, and everything around was the same as it was.
(According to K.M.Simonov *)
* Konstantin Mikhailovich Simonov (1915–1979) –
Russian Soviet journalist and prose writer, screenwriter.
List of terms:
1) anaphora
2) dialectism
3) lexical repetition
4) impersonation
5) the spoken word
6) epithet
7) individual author's word
8) introductory words
9) rows of homogeneous members of the sentence
Correct answer: 5693
Explanation
“Konstantin Simonov tells about the life of a soldier in the war in such a way that the reader becomes involved in the fate of the hero. The reader sees a picture of military events, understands the state of people. All this to show the writer is helped by a lexical means - (A) colloquial word("Thrown" in sentence 11) and trope - (B) epithet("Bitter expression" in sentence 41 (figurative definition that gives the subject an additional characteristic)). Syntactic facility - (B) rows of homogeneous members of a sentence(in sentences 4, 11, 20) and reception - (D) lexical repetition(“Instantly” in sentence 26, “around” in sentence 44) help to understand the author's thoughts. "
Konstantin Mikhailovich Simonov
(1915 - 1979)
In the historical movement of 20th century literature, there are writers who were able to convey the content and spirit of their time to the highest degree, including K.M.Simonov, whose centenary was celebrated on November 28, 2015. It is no coincidence that his elder contemporary, the poet N. Tikhonov, called Simonov “the voice of his generation,” meaning the era of military trials that touched Russia already in the second half of the 1930s - in Spain, Mongolia, on the Finnish front. Simonov reflected a premonition of great confrontations, the attitude of a person who is preparing to “live and think” in wartime conditions. His heroes - in essays, novellas, short stories, military lyrics, large epic form, drama - live their best moments precisely at the junction of life and death, distinguishing between death that overtakes before the goal is achieved, and death for a great cause, which in human memory is guaranteed glory and immortality. It is about this, expressing the author's soulful thought, speaks in the drama "Russian people" (1942) battalion commander Safonov: "... I am ready to die, but I am interested in dying with meaning, but without meaning I am not interested in dying."
In these words is a life position that has passed the hardest test of war, which teaches civic activity, tireless movement, "flight" aimed at accomplishing deeds that help save the world from wars, and create happiness for mankind:
We just can't make peace with the oneThat people don't die in bed
That they die suddenly, without finishing the poems,
Without completing the treatment, without reaching the goal.
("All his life he loved to paint the war ..." ,1939).
In this series, true love is also a "flight" that does not think of itself outside of severe trials, moreover, possible insofar as these trials fell to the lot of love.
The first stage of K.M. Simonov is colored by the foresight of military conflicts, wars, tremendous human sacrifices, which gives Simonov not only a readiness for heroic deeds, not only a call to him addressed to others, but also pain about unlived lives, about "unfinished poems." "And the war is just beginning," says the hero of the drama "The guy from our city" (1940 - 1941) Sergei Lukonin, passed the Khalkhin-Gol. Many years later, with these words, he will complete the first book of the novel "The Living and the Dead" ) its main character, Sintsov: "... looking at this distant smoke ahead, he tried to force himself to get used to the difficult thought that no matter how much they had left behind them, there was still a whole war ahead."
At the second stage, the war is no longer realized, but in the present - the heroes of his front-line essays and plays, military lyrics, and a story "Days and nights" (1943 - 1944) with a dedication "In memory of those killed for Stalingrad."
Finally, the third major period in Simonov's work is the post-war period, when the writer recognizes himself as a "chronicler" of the war. It's time to take stock, work on an epic panoramic piece - a trilogy "The Living and the Dead" (1960 - 1971), the creation of journalistic essays on new, topical topics.
And in all these "epochs" of life, Simonov felt his indissolubility with the fate of a generation - even about such a deeply personal poem as "Wait for me" (1941), he said in one of his conversations: "" If I hadn't written, someone else would have written. " Describing one of his friends, he spoke about him like this: “... in his life there was a lot in common with the life of many of us, his peers: a seven-year-old, then work in production, then a university, then again work, then a war, on which from the first until the last day ... "
Simonov's biography was formed on the basis of the same goals and principles. He was born in Petrograd, in the family of a professional military man, which from childhood predetermined his movements in the officer's hostels and the harsh way of life, subject to a strict routine. After graduating from a seven-year school, Simonov, in his words, captured by the "general atmosphere of the romance of construction," after moving to Moscow, entered a FZU to study the profession of a turner. He began to write poetry during these years, at the age of nineteen he published his first poems. Soon they were published by the capital's magazines - "Young Guard" and "October". As in the eyes of many of his peers, modernity for Simonov was a continuation of the great national history, the embodiment of the spirit of continuity. Starting with poems about Nikolai Ostrovsky ( "Winner", 1937) and the White Sea-Baltic Canal ( "Pavel Cherny" , 1938), he wrote several poems on historical themes: "Battle on the Ice" (1938), "Suvorov" (1939); published a book of poetry "Real people" (1938), performed as a playwright with plays "The story of one love" (1940) and "The guy from our city" (1940 - 1941). From 1934 to 1938 Simonov studied at the Literary Institute. Gorky, then entered graduate school, but the "wind of history" disrupted this consistent formation of his own personality, natural in peacetime.
In 1939, as a war correspondent, Simonov was sent to Mongolia, to Khalkhin-Gol, where he wrote for the newspaper "Heroic Red Army" (in 1940 he published the first book of war poems dedicated to these events: "Poems of 1939" ). Due to illness, he did not participate, as he intended, in the Finnish campaign, was not, a few years earlier, in the war in Spain. However, in the eyes of readers, Simonov was so firmly connected with the fate of the entire generation that both naturally fit into his biography. “During the Civil War, in Spain,” Simonov later recalled, “I so unbearably wanted to go there and I returned so many times later - in poetry and prose - to this youthful theme of my soul that in the end many began to believe that that I was in Spain. Sometimes it cost me an effort of will to answer someone's question, where and when I was in Spain, to answer: no, I was not there. But mentally I was there».
During the Great Patriotic War, having completed special training, the writer worked as a correspondent for the newspapers Krasnaya Zvezda, Pravda, Komsomolskaya Pravda, Battle Banner, etc., being constantly in the army (near Odessa and Stalingrad, in the West, On the Caucasian and Southern fronts, on the Kursk Bulge, in Belarus, Poland, Czechoslovakia, Germany). Subsequently, he confessed in his Autobiography: "Almost all the material - for books written during the war, and most of the postwar ones - was given to me by a job as a correspondent at the front." In 1942, Simonov was awarded the rank of senior battalion commissar, a year later - the rank of lieutenant colonel, and after the war - colonel.
After the war, essay books appeared "Letters from Czechoslovakia" , "Slavic friendship" , "Yugoslavian Notebook" , “From the Black to the Barents Sea. War Correspondent's Notes " ; poems were published "Ivan da Marya" and "Father". Simonov continued his activities as an internationalist writer, journalist and public figure, striving to visit the "hot spots" of the planet (based on the results of foreign trips, books of poetry were published "Friends and enemies" , "Vietnam, winter seventieth ..." , story "Smoke of the Fatherland" , play "Russian question", the book "Vietnam, winter of the seventieth ..." and etc.). The post-war works of Simonov, which reflected the "large-scale truth" about the war in the novels that made up the famous trilogy, became classics of Russian literature. "The Living and the Dead" .
In different years, Simonov was the editor of the magazine "New World" and "Literaturnaya Gazeta", was engaged in translations, in the last years of his life he wrote books of documentary significance "Diaries of the war years" and “Through the eyes of a man of my generation. Reflections on Stalin " .
Based on the scripts of Simonov, a laureate of many state awards, the following films were produced: “A guy from our city” (1942), “Wait for me” (1943), “Days and nights” (1943 - 1944), “Immortal garrison” (1956), "Normandie-Niemen" (1960, together with S. Spaak and E. Triolet), "The Living and the Dead" (1964), "Twenty Days Without War" (1976).
According to the writer's will, after his death, his ashes were scattered over the Buinicheskoye field near Mogilev. “I was not a soldier,” wrote Simonov, “I was only a correspondent, but I have a piece of land that I will never forget, near Mogilev, where I saw for the first time in July 1941 how ours were knocked out and burned 39 German tanks ... ".
Speaking about the poems created during the war years, Simonov gave them an unusual, at first glance, characteristic: he ranked them among the genres of journalism, considering journalism to be the highest expression of emotional experiences within the framework of a military theme. In the lyrics, he saw a chronicle of events that happened with the generation, a kind of diary that has value of a human document, if we use the expression of M. Gorky. "These poems, in essence," he wrote, "... were military journalism and served the same purposes as my essays and correspondence, sometimes even with great success." From this point of view, the spiritual biography of the military generation is captured already in the verses of the late 30s:
As if we're already on a hike
With a military step, like me,
Many streets pass
My closest friends;
Not the ones you crammed with
At the desk, the first basics,
Not the ones we shaved with
Barely noticeable mustache.
We didn't drink tea with them,
The bread was not divided in half
They, not noticing me,
They go about their own business.
But there will be a day - and according to the allocation
We will find ourselves in a trench nearby,
Divide the bread and the wrapping
We'll tear off the corners from the letters ...
... Holy rage of the offensive,
Fighting cruel suffering
Will tie our generation
Into an iron knot, forever.
("Fellow soldiers" ,1938)
The poet himself believed that his real recognition of the war, the war in its everyday heroics, began near Khalkhin Gol, and was expressed for the first time in the cycle "For neighbors in a yurt" ... Here, in the poetic style of Simonov, that chaste restraint is manifested, which, in his opinion, is the main property of the national character, the peculiarity of the Russian person. Going to the front, the future defenders of the fatherland carry away in their memory "... this face without blood, but without tears, / This most difficult mask of calm separation."
Simonov's poems conveyed the spiritual experience gradually accumulated by people, acquired at a high price amid the hardships of war. According to the researcher, the poet is interested not so much in "battle scenes" as in their reflection in this contradictory human experience - referring to the experiences hidden from the eyes, he seeks to find "some side mirrors." This is how the poet perceives the meaning of life and death, humanity and the will to win, the sanctity of love and friendship, which do not imply a departure from civil ideals, not a softening of spirit, but a new charge of stubborn resistance.
The lyrics of Simonov during the war years are focused on one topic, losing the character of contemplation and gaining the power of motivation for action. Basically, this is either a continuation of one's own reflections - as an expression of what at this moment excites everyone, or a natural, as if in continuation of a conversation, appeal to "comrades in arms", fellow soldiers, friends, beloved woman. In the first months of the Great Patriotic War, Simonov's poems are a direct appeal, a mobilizing word addressed to soldiers, designed to educate and strengthen the strength of the spirit: Death Contempt , "The Secret of Victory" , "Song of the Commissioners" , "Defenders of the Fatherland" .
But already at the very beginning of the war, poems appear that have enduring significance, forever taking a worthy place in the history of Russian poetry, becoming a national treasure, coinciding with the way of thinking and feeling of people of subsequent times. These poems were born in moments of respite, in the summer of 1941, when Simonov was preparing for a new trip to the front. “During these seven days,” the poet recalled, “besides front-line ballads for the newspaper, I suddenly wrote in one sitting "Wait for me" , "The major brought the boy on the gun carriage" and "Do not be angry - for the better ..." ... I spent the night at Lev Kassil's dacha in Peredelkino and stayed there in the morning, did not go anywhere. He sat alone in the country and wrote poetry. All around were tall pines, a lot of strawberries, green grass. It was a hot summer day. And silence… . For several hours I managed to forget that there is a war in the world ... Probably more that day. than in others, I thought not so much about the war as about my own fate on it ... "
Poem "Wait for me" , dedicated, like other masterpieces of Simonov's love lyrics, to the actress V. Serova, was not originally intended for publication. However, Simonov often read it in a circle of people who, as he felt, it brought consolation and hope, instilled an inner confidence in victory. His first listeners, besides his literary friends, were the gunners on the Rybachy Peninsula, cut off from the rest of the front; scouts who faced a deadly mission; sailors on a submarine. Line: "You saved me with your expectation" was perceived not only as an oath of fidelity in love, but also as an assertion of an inviolable spiritual bond that exists despite the general chaos and oppressive uncertainty. The thread stretched from heart to heart was supposed to become a more solid and reliable foundation in the striving to survive and win than any official slogans or vows of love, than defensive means and quantitative superiority, from which, as L. Tolstoy noted in War and peace ”, the outcome of the war does not depend. That is why the poem sounds like an "incantation" (criticism noted "incantatory repetitions"), "prayer", as a merger of many voices in one all-conquering feeling of faith in the triumph of justice, love, in the long-awaited meeting "waiting" for each other after the victorious end of the war.
This feeling united the aspirations of all, the common fate of the generation was reflected. Therefore, the poem was dispersed in copies, memorized. The soldiers put it in letters to their loved ones, believing that a poetic word would be stronger than death:
Wait for me and I will come back,
To spite all deaths.
Who did not wait for me, let him
He will say: - Lucky.
Do not understand, who did not wait for them,
Like among fire
By their expectation
You saved me.
How I survived we will know
Only you and me, -
You just knew how to wait
Like no one else.
On December 9, 1941, the poem was performed by the author on the radio, and in January 1942 it was published by the Pravda newspaper.
The poem also became a kind of "spell" "If your house is dear to you ..." (1942), where the beginnings of hatred and love collide in irreconcilable confrontation - love for the native home and hatred for the enemy who has trampled it. The feeling of intolerance of the presence of the Nazis under their stepfather's shelter, the destruction of everything cherished and dear that is given to a person in life, is supported by the techniques of sound writing:
If you don't want floor
There is a fascist in your house trampled…
Love for the homeland must be proved by action, by the personal participation of each in the cause of driving out the enemy:
Know: no one will save her,
If you don't save her ...
Simonov's poem sounded like an "open letter" to all his compatriots, as a reminder that "you were nourished by the Russians." In fact, he always wrote about the same in his poetic "letters", occasionally naming a specific addressee. So, a poem dating back to the Nekrasov tradition "A letter to a friend (" Do you remember, Alyosha, the roads of the Smolensk region ... ")" (1941) is directly addressed to the poet A. Surkov, although it expresses feelings common to all of the deepest love for the motherland, pride in our people and bitterness from the defeat experienced at this hour:
Well what can I say to them, how could we comfort them?
But, having understood grief with my woman's instinct,
Do you remember the old woman said: - Darling,
As long as you go, we will wait for you.
Friendship in Simonov's lyrics passes the test of life and death, which is reflected in the titles of poems that have far crossed the boundaries of wartime ( "Fellow soldiers" , "Hour of Friendship" , "Comrade" , "Death of a Friend" , "I had a good friend ..." , "House of Friends" , "Real friendship does not age ..." ).
Simonov's prose grows out of his journalism ("I loved and love the work of a journalist ..."), from the continuous work of a writer-chronicler throughout his life. ABOUT cherk -your favorite genre - Simonov sometimes takes it straight from the page of the notebook, filled in between battles, concentrating the tension of the present minute. His position: "... I have always tried to ensure that the war depicted in my essays, correspondences and wartime stories does not conflict with the personal experience of the soldiers" - determines the style of the narrative: without any decorations, with close attention to the details, insignificant for a person in peacetime, but sometimes deciding the fate of a soldier in wartime conditions. Simonov describes what is happening on the front line, in the trenches, reports from a tank, a torpedo boat, an aircraft, a submarine (essays "Soldier's Glory" , "Commander's Honor" , "Battle on the outskirts" and etc.). The merciless frankness of the depicted ("In war, willy-nilly, one has to get used to death") is also a component of the harsh soldier's experience, the everyday truth of war. At the same time, it is here that the Russian national character manifests itself in all its inner wealth and breadth ( "Russian heart" , "Russian soul" ). After the war, he published his front-line diaries under the title "Different days of the war" , where he summarized what was written (but not always in print) during the war years.
Simonov wrote that he did not consider it necessary to distinguish between essays and stories, since both genres of prose have a documentary basis. At the same time, Simonov's fictional prose, in the spirit of the classical tradition, had distinct features that connected it with the works of Pushkin and Lermontov. L. Tolstoy. Starting with the debut story "Third Adjutant" in his writings one can see the features of social research, psychological analysis, testifying to the desire not only to fix a fact, but also to understand its causes and possible consequences.
The new qualities of Simonov's talent fully revealed themselves in the story "Days and nights" (1943 - 1944). Despite the fact that the narration of the most difficult and bitter days related to the initial period of the Battle of Stalingrad seems to be chronicle, literally recording the course of events (“If Saburov were ever later asked to describe everything that happened to him on that day, he could I would tell it in a few words: the Germans fired, we hid in the trenches, then they stopped firing, we went up, fired at them, then they retreated, started firing again, we hid in the trenches again, and when they stopped firing and went on the attack , we fired at them again ”), before us, undoubtedly, is a psychological image of human destinies, correlated with ethical norms, history and ideology of their time. The goal of the writer is to show how a person's character manifests itself in conditions of war that contradict his nature, how not only the life and death of an individual, but also the fate of a common cause, directly dependent on his participation, depends on this.
The heroes pass before the reader, whom he seems to see with his own eyes, thanks to separate expressive features: the main character, Captain Saburov, unbendingly firm in matters of honor and duty and at the same time with all his heart sympathizes with those who are "scared" in war, who are not yet “I was patient”, “I didn’t learn everything that I wanted to learn” and “I didn’t love the way he wanted to love”. With a feeling of sympathy and regret, he looks at Lieutenant Maslennikov's "lively boyish face", "imagining what it will be like in a week, when the dirty, tiresome, merciless entrenchment life with all its weight falls upon him for the first time." The personalities of the division commander Protsenko, who calls everyone with whom he served, by name and patronymic, and the regiment commander Babchenko, who deliberately takes a commanding tone in a conversation with subordinates, who sent people to death and himself, out of vanity, substituted bombs, are written by the author from a high degree of psychological accuracy, like the courageously dying "little" Parfyonov, senior political instructor Vanin, senior lieutenant Zhuk, nurse Anya, who gave Saburov the happiness of his first true love.
The most “Tolstoyan” personages in the story are the soldier Konyukov, who resembles the hero of the Shengraben battle in “Vaughn and the World”, Captain Tushin. Konyukov was a sergeant major in 1916, now he is a "middle-aged mustachioed man", Saburov thinks that he, "probably, was once a dashing hunter and must work dexterously in a night battle." In Stalingrad, Konyukov has his "home" - a home that he protects from the Germans for many days and nights and which, literally, he considers his home.
What unites the defenders of Stalingrad, what creates compositional unity, lies in the author's extremely clear position, which he expresses on behalf of Saburov: “And there was in his gloomy thoughts that special stubbornness characteristic of a Russian man, which did not allow him or his comrades once in the entire war to admit the possibility that there will be no "back". "
AT "Days and nights" the brother of Maslennikov is mentioned, who was first in Spain, then in Mongolia. For Simonov, these places of military operations, where he himself, his friends aspired, where his literary heroes performed their military duty, have always remained sacred. Your first novel "Comrades in Arms" (1952) he dedicated to the events at Khalkhin Gol. However, the movement of the novel's design changed the intended outline of the early stage of the war. Simonov wrote epica work about the heroic battle near Moscow: from the first days of the retreat to the defeat of the German army - "The Living and the Dead" (1960), then turned to the great feat of Stalingrad, where the heroes of the first part comprehend the "science of winning", - "Soldiers are not born" (1965). Simonov was going to bring his heroes to Berlin (as once L. Tolstoy intended to "lead" Pierre Bezukhov through the wars of 1805 - 1812, the Decembrist uprising - to return from exile in 1856). But, having said the most important thing, Tolstoy "stopped" the novel action, as Simonov later did: the final book of the trilogy - "Last Summer" ( 1971) shows the heroes in Belarus, in 1944, as participants in the Bagration offensive operation.
The genre of the trilogy, entitled after the first novel - "Alive and Dead" , in general, is defined as heroic epic - the scale of the events depicted, the historicism of the author's thinking (all heroes objectively depend on the course of history and its inherent laws), the constant involvement of documentary sources, memoir evidence, and finally, the role that war plays for all novel heroes (there are about 200 of them). The war, as Saburov already felt in "Days and Nights", gives rise to "the feeling of a general tremendous course of things that cannot be stopped." Only such an endless immersion in the content of life created by the war, its all-round recognition while forgetting other human interests, provides, in the opinion of the majority of the characters in the trilogy, the indisputable advantage of the Russians over the external enemy, which does not possess this long-suffering quality.
But some of his “own” do not possess it either, about which one cannot say: “He himself was a war, and while the war continued, except for the war and its direct interests ... nothing and no one remained in his soul”. They are bureaucrats, opportunists, deserters, fanatics of instructions and an authoritarian style of command. They are confronted by the main characters of the trilogy - the military journalist Sintsov and General Serpilin, patriots who do not admit falsehood in words and deeds, selflessly believing in victory over fascism, ready to go, achieving it, to the very end.
It is noteworthy that in a work written already in the post-war years, Simonov shows his heroes, at the same time, from the inside of their vision and experience of what is happening and from the standpoint of the author's “outstripping” knowledge. His presentiment is already in Sintsov and convicted of slanderous denunciation in 1937, who spent several years in Serpilin prison. Based his time, Sintsov must admit that "the faith of his soul was stronger than all the evidence." But, “enriching” with the understanding acquired by later generations, Serpilin thinks about how “what happened to the army in the thirty-seventh and thirty-eighth years could have happened. Who needed it? "
Who became "heroes of the time" Sergei Lukonin ( "The guy from our city" , 1940), Ivan Safonov ( "Russian people" , 1942), Dmitry Saveliev ( "So it will be" , 1944) - belong to the same category of strong and convinced people who are central to Simonov's prose and poetry. Drama in his diverse work expresses another facet of the author's talent: the ability to combine acute eventfulness with cross-cutting lyrical themes, to express high moral truths from the stage (as from a tribune), to embrace wide layers of history, "chronicles" of the war, through which the fate of his heroes "pass" ...
These properties distinguish Simonov's drama from the works of his contemporaries, playwrights, such as L. Leonov. We can say that Simonov does not seek to create works that have artistic significance independent of the author. All his plays are a peculiar way of the author's self-expression, which has now manifested itself in special forms corresponding to the laws of the stage. So, the irrepressibility of Simonov's heroes, their rejection of peace, all forms of philistinism and, in general, settledness, manifested itself in compositions plays - in the constant movement of heroes in space: from a room in an "old doctor's apartment" to a place of maneuvers "in a tank school", from a "military town somewhere in Central Asia" to a corner of theatrical wings ( "The guy from our city" ). As the years pass before the eyes of the viewer, circumstances change, heroes grow up, whom, as the author knows, great tragic trials await.
The qualities of the Russian national character are recognized as decisive in overcoming physical and moral pain, not allowing oneself to be humiliated before the enemy, when the time comes to resist him with actions, words, developed by mankind by morality. The qualities of the Russian character are shown not only by the central characters of the play "Russian people" - Safonov and Valya, not only a military paramedic, Globa's scout, who tells Valya before execution: “We will sing with you now, Nightingale, Nightingale-Birdie”, but also timid at the beginning of the play Maria Nikolaevna, who poisoned the moral torturer Rosenberg. “There is almost no strength to endure all this,” Safonov says, and then reads a mournful list of military and civilians killed by the Germans in the occupied city. This, however, does not prevent him, as a commander, from sending his beloved girl, Valya, on the most dangerous missions, and she would consider it an insult to herself if he did otherwise.
It is natural that Simonov's dramas usually have an open ending: they reflect only a separate phase of the war, and the whole war is ahead and around, it is always about separation and return, expectation of meetings and new camp gatherings. Only the mindset of the heroes close to the author remains unchanged. “… It's always hard to see from the side. You have to look directly at things. Straight and brave! ", - Saveliev says, expressing the author's point of view ( "So it will be" ).
Immediately after the release of Simonov's plays "in hot pursuit" were staged by theaters throughout the country. Their premieres went down in the history of the Theater. Lenin Komsomol: "The Story of One Love", 1940; "A guy from our city", 1941; "So it will be", 1944; Russian Question, 1944; "Under the chestnuts of Prague", 1946. At the end of 1942, the play "Russian people" was a success in New York. Theater "Sovremennik" in 1972 staged the play "The Fourth", TV viewers saw the television performances "Levashov" (1963) and "We will not see you" (1981).
Epigraph chosen by K.M. Simonov to the story "Days and Nights" can be attributed to his entire life, his fate as a courageous, deeply worried about his people, truly national poet and a wonderful person. These are lines from the first song of the poem by A.S. Pushkin "Poltava:
So heavy mlat,
Breaking glass, forges damask steel.
Doctor of Philosophy, prof. N. L. Vershinina
In what way is courage manifested during the war years? It is to this problem that Konstantin Mikhailovich Simonov addresses in his text.
Reasoning on the question posed, the author tells about a group of five artillerymen who heroically withstood the first clash with the Germans on the border, and claims that brave people are distinguished by a special kind of personality. The use of dialogue allows you to show the characters of the fighters who endured the hardships of the terrible war years: short, abrupt phrases speak of the confidence and determination of the soldiers.
As K. Simonov notes, warriors have amazing stamina and endurance: despite physical torment, fatigue and hunger, which are emphasized by expressive details ("five pairs of tired, weary hands, five worn out, dirty gymnasts whipped with branches, five German, taken in battle machine guns and a cannon "), they continue to fight and drag" on themselves "the only surviving weapon inland. These people are ready to fearlessly overcome any obstacles in order to protect the Motherland; their whole life is service to the Fatherland and a bold "challenge to fate." However, the most important quality of a courageous person for a writer is inner strength, which commands respect for the strength of the spirit: this property can be seen both in the deceased commander, after whom "the soldiers go into fire and into the water", and in the foreman with his "thick and strong" voice.
The author's position can be formulated as follows: a truly courageous person is characterized by firmness, courage and unbending strength of mind. I can agree with the opinion of K. Simonov, because brave soldiers really show amazing endurance and selflessly cope with difficulties. In addition, in my opinion, the courage of a fighter is inextricably linked with the awareness of responsibility for the fate of the Motherland and his people.
The theme of the brave struggle for the freedom of the Fatherland sounds in the poem by A. Tvardovsky "I was killed near Rzhev ...". In a kind of "testament", the killed soldier calls on his compatriots and heirs to always remember their country. The lyrical hero of the poem speaks of the responsibility of each warrior for the future of the Motherland and asks to bravely fight for the last inch of the earth, so that "if you leave, then you have nowhere to put your backward foot."
Another example is B. Vasiliev's story "The Dawns Here Are Quiet". After the death of several girls from a small detachment, the commandant Vaskov begins to doubt the correctness of the decision to fight the Germans on his own. However, Rita Osyanina convinces him that the Motherland does not begin with canals, where the Germans could be dealt with more easily and without losses, but with each of the soldiers: all citizens of the country are responsible for its freedom and must fight the enemy.
Thus, we can conclude that courage is the most important quality of the defender of the native land, which implies endurance, fearlessness, selflessness, understanding of responsibility for the fate of his people.
Updated: 2018-08-07
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In the text given for analysis, the problem of manifestation of heroism in war is raised.
To draw the reader's attention to it, Konstantin Mikhailovich Simonov shows the dedication of Russian soldiers who bravely fought for every inch of their native land.
I completely agree with K. M. Simonov that brave people are ready to sacrifice themselves for the sake of saving others.
To prove the validity of my point of view, I will give the following literary example.
Let us recall the story of B. Vasiliev "The Dawns Here Are Quiet". Actions take place during the Great Patriotic War. The female anti-aircraft gunners died, destroying a detachment of Germans, significantly outnumbering them.
In Vasily Bykov's story "Sotnikov" Rybak and Sotnikov go to get food for the partisans. In the village they were taken prisoner by the Germans. To save a comrade, a woman who helps to hide, and her children, Sotnikov decided to take all the blame on himself. He also did not reveal the location of the Russian troops, despite the torture.
In conclusion, I want to say again: a person's heroism is manifested in his willingness to sacrifice himself for the sake of others.
Updated: 2017-05-08
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