In any era, a person can not live without poetry and songs, so poetry played a huge role during the great trials during the Great Patriotic War. The poetic word called first for battle, appealed to the feeling of righteous revenge. On the other hand, poetry awaited solace in the tribulation for the dead.
The military poetry of the so-called civic sounding asserted itself in the pre-war period in the USSR under the motto: “If tomorrow is war, if tomorrow is a hike – we are ready for the campaign today!” Readiness to “march” was an indispensable precept of fathers and grandfathers, fighters of the revolution and the Civil War, as in the poem of Mikhail Isakovsky “Farewell”: Order is given: to him – to the west, To her – in the other direction. Leaving the Komsomol During the civil war. An indissoluble connection with the people, hurray-patriotism and declarative humanism were inherent in Soviet poetry and earlier, long before
the Great Patriotic War.
Declarative-invocatory poetry excited the people in the memory of the recent heroic victories of the Reds in the fight against the internal and external enemy, like Eduard Bagritsky: We were driven by youth. In the saber campaign, We threw youth On the Kronstadt ice. Characteristic features of the poetry of that era are unquenchable optimism, blind faith in the future, despite all the sorrows that have fallen to the lot of the Soviet people. The patriotic lyrics appealed to the romance of the revolution and the Civil War rarely, as in Mikhail Svetlov, where the heroics of the war era are still inextricably merged with the romance of distant wanderings in the name of an early and all-conquering “world revolution”: We rode in a step, We raced in battles And the “Yablochko” song Hold in the mouth. But a different song About a distant land I drove my friend With me in the saddle. He sang, looking around Native land: “Grenada, Grenada, Grenada is mine!”
The Ukrainian cotton is obsessed with the mania of “liberating all the oppressed on Earth”:
I left the house, Went to war, To give the land in Grenada to the Peasants. Farewell, dear! Farewell, family! “Grenada, Grenada, Grenada is mine!” The Soviet people gradually accustomed to thinking about the inevitable world war, the natural result of which will be the “world communist revolution”: Under the hot sun, at night blind Nemalo had to pass us. We are peaceful people, but our armored train stands on the siding! And even earlier, Vladimir Mayakovsky declared: “I want to equate the pen to the bayonet!” That is, the great master of the artistic word thereby determined the poet’s civic position – “the place of the poet in the working order”. This structure originally assumed the aggressive position of Soviet people to the West and the rest of the world in view of the inevitable world revolution. Therefore, it is quite natural in the spirit of Soviet ideology that poets, along with soldiers, rose to defend the Motherland.
After the attack of fascist Germany on the USSR, in reality “the poets began to work,” most of them became political instructors, military journalists dressed in military uniforms. Their work can not be called custom, I think, because it merged into a single creative impulse of the people in the name of the coming victory. And it’s not surprising. In war in any country, any printed publication, any poster – everything was permeated with propaganda poetry. After the heavy defeats of the Red Army, these features of military poetry acquired an even more militant character. This was a qualitatively new stage of Soviet poetry – the more painful the country is, the louder it is to hear about the inevitable retribution and indispensable victory.
Perhaps the first poetic response was the poem “The Sacred War” of the poet V. I. Lebedev-Kumach: Get up, the country is huge, Get up to the death battle With the fascist force of the dark, With the damned horde. Let the noble rage Voskipet, like a wave, – There is a people’s war, a holy war! The strength of this great work is born of time, the heroic impulse of a great country that has risen “to a mortal battle” with a sworn enemy, from whom one can not wait for mercy. There are no ornaments, no complex rhetorical figures, everything is stern, severe, but so full of feeling, even the most common words – “a huge country”, “fiery ideas”, “noble rage.”
After this appeared “The Song of the Bold” by Alexei Surkov, she anxiously “called” the fighters on the campaign, picking up the age-old traditions of the Russian soldiers: Song – winged bird – Bold calls a campaign. A daring bullet is afraid, A courageous bayonet does not take. The hearty and Russian simple but heartfelt poem “Good-bye, Cities and Huts” by Mikhail Isakovsky, as often happened with the works of this poet, became a folk song: The hour of reckoning has come. The people handed us the weapon. Good-bye, towns and huts! At dawn we go on a campaign. The perfect new sound during the war was purchased by Mikhail Isakovsky’s pre-war song “Katyusha”: Oh, you song, song of a girl, You follow the clear sun after And the soldier on the far frontier. From Katyusha, say hello. Let him remember a simple girl, Let him hear how she sings, Let him protect the native land, But Katyusha will save his love. It has become so popular with us and with the Germans that this song is considered to be a kind of lyrically optimistic symbol of the Great Patriotic War. In the same way, as the personification of the inexhaustible sadness for the deceased and scattered throughout the country (and even all over the world) the front-line comrades was the heartfelt poem of the front-line poet Alexei Fatyanov: The May short nights, Ogremev, ended the battles. Where are you now, my fellow soldiers, My combat companions? as the embodiment of an unending melancholy for those who perished and scattered throughout the country (and even all over the world) to front-line comrades was the heartfelt poem of front-line poet Alexei Fatyanov: The May short nights, Ogremev, ended the fighting. Where are you now, my fellow soldiers, My combat companions? as the embodiment of an unending melancholy for those who perished and scattered throughout the country (and even all over the world) to front-line comrades was the heartfelt poem of front-line poet Alexei Fatyanov: The May short nights, Ogremev, ended the fighting. Where are you now, my fellow soldiers, My combat companions?
In the 21st century, front-line lyrics and front-line songs have long become an epic so close to everyone that almost the entire history and culture of the entire pre-war layer of Russia’s development goes deep into the times, and the Great Patriotic War becomes the starting point of modern times – this began our history, the rest no longer remember.