Electronic library of detectives days and nights of simons. Stylistic features of military prose K

Simonov Konstantin Mikhailovich

Days and nights

In memory of those killed for Stalingrad

So heavy mlat,

crushing glass, forges damask steel.

A. Pushkin

The exhausted woman was sitting, leaning against the earthen wall of the shed, and in a voice calm with fatigue spoke of how Stalingrad had burned down.

It was dry and dusty. A faint breeze rolled yellow clouds of dust underfoot. The woman's legs were burned and barefoot, and when she spoke, she shook warm dust to her sore feet with her hand, as if trying to soothe the pain.

Captain Saburov glanced at his heavy boots and involuntarily moved back half a step.

He stood silently and listened to the woman, looking over her head to where the train was unloading near the outer houses, right in the steppe.

Beyond the steppe glittered in the sun a white strip of a salt lake, and all this, taken together, seemed to be the end of the world. Now, in September, this was the last and closest railway station to Stalingrad. Further to the bank of the Volga it was necessary to go on foot. The town was called Elton, after the name of the salt lake. Saburov involuntarily recalled the words "Elton" and "Baskunchak", which he had learned from school. Once it was only school geography. And here he is, this Elton: low houses, dust, a provincial railway line.

And the woman kept talking and talking about her misfortunes, and although her words were habitual, Saburov's heart ached. Before they left town for town, from Kharkov to Valuyki, from Valuyki to Rossosh, from Rossosh to Boguchar, and women cried in the same way, and he listened to them in the same way with a mixed feeling of shame and fatigue. But here there was a bare Trans-Volga steppe, the end of the world, and in the woman's words there was no longer a reproach, but despair, and there was nowhere to go further along this steppe, where for many miles there were no cities or rivers.

Where have they driven, huh? - he whispered, and all the unaccountable melancholy of the last day, when he looked at the steppe from the heat, was embarrassed in these two words.

It was very difficult for him at that moment, but remembering the terrible distance separating him now from the border, he thought not about how he walked here, but about how he would have to go back. And there was in his gloomy thoughts that special stubbornness characteristic of a Russian person, which did not allow him or his comrades, even once during the whole war, to admit the possibility that there would be no "back".

He looked at the soldiers hurriedly unloading from the carriages, and he wanted to get to the Volga as soon as possible through this dust and, having crossed it, to feel that there would be no return crossing and that his personal fate would be decided on the other side, along with the fate of the city. And if the Germans take the city, he will certainly die, and if he does not allow them to do this, then maybe he will survive.

And the woman sitting at his feet was still talking about Stalingrad, one after another naming the broken and burnt streets. Their names, unknown to Saburov, were full of special meaning for her. She knew where and when the now burned houses were built, where and when the trees cut down on barricades were planted, she regretted it all, as if it was not about big city, and about her house, where familiar things that belonged to her personally disappeared and died to tears.

But she did not say anything about her home, and Saburov, listening to her, thought how, in fact, during the whole war he rarely came across people who regretted their missing property. And the further the war went, the less often people remembered their abandoned houses and the more often and stubbornly they remembered only the abandoned cities.

Wiping away her tears with the end of her handkerchief, the woman looked around with a long questioning glance at everyone listening to her and said thoughtfully and convincingly:

How much money, how much work!

Why work? someone asked, not understanding the meaning of her words.

Build everything back, ”the woman said simply.

Saburov asked the woman about herself. She said that her two sons had been at the front for a long time and one of them had already been killed, while her husband and daughter probably remained in Stalingrad. When the bombing and fire began, she was alone and since then has not known anything about them.

Are you in Stalingrad? she asked.

Yes, - answered Saburov, not seeing in this military secrets, for what else, if not to go to Stalingrad, could a military echelon now be unloading in this godforsaken Elton.

Our surname is Klimenko. The husband is Ivan Vasilievich, and the daughter is Anya. Maybe you will find somewhere alive, ”said the woman with faint hope.

Maybe I'll meet you, ”Saburov answered habitually.

The battalion was finishing unloading. Saburov said goodbye to the woman and, having drunk a bucket of water from a bucket put on the street, went to the railway track.

In memory of those killed for Stalingrad

... so heavy mlat,
crushing glass, forges damask steel.

A. Pushkin

I

The exhausted woman was sitting, leaning against the earthen wall of the shed, and in a voice calm with fatigue spoke of how Stalingrad had burned down.

It was dry and dusty. A faint breeze rolled yellow clouds of dust underfoot. The woman's feet were burned and barefoot, and when she spoke, she shook warm dust to her sore feet with her hand, as if trying to soothe the pain.

Captain Saburov glanced at his heavy boots and involuntarily moved back half a step.

He stood silently and listened to the woman, looking over her head to where the train was unloading near the outer houses, right in the steppe.

Beyond the steppe glittered in the sun a white strip of a salt lake, and all this, taken together, seemed to be the end of the world. Now, in September, this was the last and closest railway station to Stalingrad. Further from the bank of the Volga it was necessary to go on foot. The town was called Elton, after the name of the salt lake. Saburov involuntarily recalled the words "Elton" and "Baskunchak", which he had learned from school. Once it was only school geography. And here he is, this Elton: low houses, dust, a provincial railway line.

And the woman kept talking and talking about her misfortunes, and although her words were habitual, Saburov's heart ached. Before they left town for town, from Kharkov to Valuyki, from Valuyki to Rossosh, from Rossosh to Boguchar, and women cried in the same way, and he listened to them in the same way with a mixed feeling of shame and fatigue. But here was the bare Trans-Volga steppe, the end of the world, and in the woman's words there was no longer a reproach, but despair, and there was nowhere to go further along this steppe, where for many miles there were no cities or rivers - nothing.

- Where did they drive it, huh? - he whispered, and all the unaccountable melancholy of the last day, when he looked at the steppe from the heat, was embarrassed in these two words.

It was very difficult for him at that moment, but remembering the terrible distance separating him now from the border, he thought not about how he walked here, but about how he would have to go back. And there was in his gloomy thoughts that special stubbornness characteristic of a Russian man, which did not allow him or his comrades, even once during the whole war, to admit the possibility that there would be no "back".

And if the Germans take the city, he will certainly die, and if he does not allow them to do this, then maybe he will survive.

And the woman sitting at his feet was still talking about Stalingrad, one after another naming the broken and burnt streets. Their names, unknown to Saburov, were full of special meaning for her. She knew where and when the now burned houses were built, where and when the trees that were now cut down on barricades were planted, she regretted it all, as if it was not about a big city, but about her house, where acquaintances who belonged to her disappeared and died to tears. things to her personally.

Wiping away her tears with the end of her handkerchief, the woman looked around with a long questioning glance at everyone listening to her and said thoughtfully and convincingly:

- How much money, how much work!

- Why work? Someone asked, not understanding the meaning of her words.

“Build everything back,” the woman said simply.

- Are you going to Stalingrad? She asked.

- Yes, - answered Saburov, not seeing a military secret in this, for why else, if not to go to Stalingrad, could a military train unload now in this godforsaken Elton.

- Our name is Klimenko. The husband is Ivan Vasilievich, and the daughter is Anya. Maybe you will find somewhere alive, ”said the woman with faint hope.

“Maybe I’ll meet,” Saburov answered habitually.

The battalion was finishing unloading. Saburov said goodbye to the woman and, having drunk a bucket of water from a bucket put on the street, went to the railway track.

The soldiers, sitting on the sleepers, taking off their boots, tucked their footcloths. Some of them, who had saved the rations given out in the morning, chewed bread and dry sausage. As usual, the soldiers' rumor passed through the battalion that after the unloading a march would immediately follow, and everyone was in a hurry to finish their unfinished business. Some were eating, others were fixing torn tunics, and still others were smoking.

Saburov walked along the station tracks. The echelon in which the commander of the regiment Babchenko was traveling was supposed to come up any minute, and until then the question remained unresolved whether Saburov's battalion would start a march to Stalingrad, without waiting for the rest of the battalions, or, after spending the night, in the morning, the whole regiment.

Saburov walked along the paths and looked at the people with whom he was to fight the day after tomorrow.

He knew many of them well by sight and by name. They were "Voronezh" - so he called himself those who fought with him near Voronezh. Each of them was a jewel, because they could be ordered without explaining unnecessary details.

They knew when black droplets of bombs falling from an airplane were flying directly at them and they had to go to bed, and they knew when the bombs would fall further and they could safely watch their flight. They knew that crawling forward under mortar fire was no more dangerous than remaining in place. They knew that tanks most often crushed those fleeing from them and that a German submachine gunner who fired from two hundred meters always expects to frighten rather than kill. In a word, they knew all those simple but salutary truths of soldiers, the knowledge of which gave them the confidence that they were not so easy to kill.

He had such soldiers a third of the battalion. The rest were to see the war for the first time. At one of the cars, guarding the property that had not yet been loaded onto the carts, stood an elderly Red Army soldier, who from a distance attracted Saburov's attention with his guards bearing and a thick red mustache, like pikes, sticking out to the sides. When Saburov approached him, he famously took "on guard" and continued to look the captain in the face with a direct, unblinking gaze. In the way he stood, how he girded, how he held the rifle, one could feel that soldier's experience, which is given only by years of service. Meanwhile, Saburov, who remembered by sight almost everyone who was with him near Voronezh, before the division was reorganized, did not remember this Red Army soldier.

- What is the last name? - asked Saburov.

“Konyukov,” the Red Army man rapped out and again stared fixedly at the captain's face.

- Did you participate in the battles?

- Yes sir.

- Near Przemysl.

- Here's how. So, they were retreating from Przemysl itself?

- Not at all. They were advancing. In the sixteenth year.

- That's it.

Saburov looked closely at Konyukov. The soldier's face was serious, almost solemn.

- How long have you been in the army in this war? - asked Saburov.

- No, the first month.

Saburov once again glanced with pleasure at Konyukov's strong figure and walked on. At the last car, he met his chief of staff, Lieutenant Maslennikov, who was in charge of unloading.

Maslennikov reported to him that the unloading would be completed in five minutes, and, looking at his square wristwatch, said:

- Allow me, Comrade Captain, to check with yours?

Saburov silently took out his watch, which was fastened to the strap with a safety pin. Maslennikov's clock was five minutes behind. He looked with disbelief at Saburov's old silver watch with cracked glass.

Saburov smiled:

- Nothing, rearrange. Firstly, the watch is still father's, Bure, and secondly, get used to the fact that in a war the bosses always have the right time.

Maslennikov looked again at those and other clocks, carefully summed up his own and, having saluted, asked permission to be free.

The trip in the train, where he was appointed commandant, and this unloading was Maslennikov's first front-line assignment. Here, in Elton, it seemed to him that he already smacked of the proximity of the front. He was worried, anticipating a war in which, as it seemed to him, he had not taken part for a shameful long time. And everything entrusted to him today was carried out by Saburov with special accuracy and thoroughness.

- Yes, yes, go, - said Saburov after a moment's silence.

Looking at this ruddy, lively boyish face, Saburov imagined what it would become in a week, when the dirty, tiresome, merciless trench life with all its weight first fell upon Maslennikov.

A small locomotive, puffing, was dragging the long-awaited second echelon onto the siding.

As usual, in a hurry, the regiment commander, Lieutenant Colonel Babchenko, jumped off the step of the class carriage while still on the move. Twisting his leg while jumping, he swore and hobbled over to Saburov, who was hurrying towards him.

- How about unloading? He asked gloomily, not looking into Saburov's face.

- Finished.

Babchenko looked around. The unloading was indeed finished. But the scowl and stern tone, which Babchenko considered it his duty to maintain in all conversations with his subordinates, demanded from him even now that he make some remark to maintain his prestige.

- What you are doing? He asked abruptly.

“I'm waiting for your orders.

- It would be better to feed people while they wait.

- In the event that we move now, I decided to feed the people at the first halt, and in the event that we spend the night, I decided to organize a hot meal for them here in an hour, - Saburov slowly replied with that calm logic, which is especially not in him loved Babchenko, who was always in a hurry.

The lieutenant colonel said nothing.

- Would you like to feed me now? - asked Saburov.

- No, feed at the halt. Come without waiting for the others. Order to build.

Saburov called Maslennikov and ordered him to build people.

Babchenko was gloomily silent. He was used to doing everything himself, he was always in a hurry and often did not keep up.

As a matter of fact, the battalion commander is not obliged to build a marching column himself. But the fact that Saburov had entrusted this to someone else, and he himself was now calmly, doing nothing, stood next to him, the regiment commander, made Babchenko angry. He liked to have subordinates fuss and run in his presence. But he could never achieve this from the calm Saburov. Turning away, he began to look at the column under construction. Saburov was standing nearby. He knew that the regiment commander did not like him, but he was already used to it and did not pay attention.

They both stood in silence for a minute. Suddenly Babchenko, still not turning to Saburov, said with anger and resentment in his voice:

- No, look what they do to people, bastards!

Stalingrad refugees, tattered, emaciated, tied with dust-gray bandages, walked past them, heavily stepping over the sleepers.

They both looked in the direction where the regiment was to go. There lay the same bald steppe as here, and only the dust in front, curling on the hillocks, looked like distant clouds of powder smoke.

- Meeting place in Rybachye. Walk at an accelerated march and send the messengers to me, ”Babchenko said with the same gloomy expression on his face and, turning, went to his carriage.

Saburov went out onto the road. The companies had already formed. In anticipation of the start of the march, the command was given: "At ease." They talked quietly in the ranks. Walking towards the head of the column past the second company, Saburov again saw the red-haired Konyukov: he was talking animatedly, waving his arms.

- Battalion, listen to my command!

The column started to move. Saburov walked ahead. The distant dust drifting over the steppe again seemed like smoke to him. However, it may be that the steppe was actually burning ahead.

II

Twenty days ago, on a sultry August day, the bombers of the Richtofen air squadron hung over the city in the morning. It is difficult to say how many there actually were and how many times they bombed, flew away and returned, but in just a day the observers counted two thousand aircraft over the city.

The city was on fire. It burned at night, all the next day and all the next night. And although on the first day of the fire, battles were still going on sixty kilometers from the city, near the Don crossings, it was from this fire that the great Stalingrad battle began, because both the Germans and we - one in front of us, others behind us - from that moment saw the glow Stalingrad, and all the thoughts of both fighting sides were from now on, like a magnet, attracted to the burning city.

On the third day, when the fire began to subside, that special painful smell of ashes was established in Stalingrad, which then did not leave it all the months of the siege. The smells of burnt iron, charred wood and burnt brick mixed into one, stupefying, heavy and pungent. Soot and ash quickly settled to the ground, but as soon as the lightest wind blew from the Volga, this black dust began to swirl along the burnt streets, and then it seemed that the city was smoky again.

The Germans continued bombing, and in Stalingrad, here and there, new fires broke out, no longer hitting anyone. They ended relatively quickly, because, having burned down several new houses, the fire soon reached the previously burnt streets and, not finding food for itself, went out. But the city was so huge that something was always on fire somewhere, and everyone was already accustomed to this constant glow, as to a necessary part of the night landscape.

On the tenth day after the start of the fire, the Germans came so close that their shells and mines began to explode more and more often in the city center.

On the twenty-first day, the moment came when a person who believed only in military theory might think that it was useless and even impossible to defend the city further. To the north of the city, the Germans reached the Volga, to the south they approached it. The city, stretching sixty-five kilometers in length, was nowhere wider than five, and almost along its entire length the Germans had already occupied the western outskirts.

The cannonade, which began at seven in the morning, did not stop until sunset. To the uninitiated who got into the army headquarters, it would seem that everything is all right and that, in any case, the defenders still have a lot of strength. Looking at the headquarters map of the city, where the disposition of the troops was plotted, he would see that this relatively small area was all thickly covered with numbers of divisions and brigades standing in defense. He could have heard the orders given by telephone to the commanders of these divisions and brigades, and it might have seemed to him that it was worthwhile just to carry out all these orders exactly, and success would undoubtedly be assured. In order to really understand what was happening, this uninitiated observer would have to get to the divisions themselves, which were marked on the map in the form of such neat red semicircles.

Most of the divisions retreating from behind the Don, exhausted in two months of battles, were now incomplete battalions in terms of the number of bayonets. There were still quite a few people in the headquarters and in the artillery regiments, but in the rifle companies every soldier was counted. AT the last days in the rear units they took everyone who was not absolutely necessary there. Telephone operators, cooks, chemists were transferred to the command of regimental commanders and, by necessity, became infantry. But although the chief of staff of the army, looking at the map, knew perfectly well that his divisions were no longer divisions, however, the size of the sectors that they occupied still required that exactly the task that should fall on the shoulders of the division should fall on their shoulders. And, knowing that this burden was unbearable, all the bosses, from the largest to the smallest, nevertheless put this unbearable burden on the shoulders of their subordinates, for there was no other way out, and it was still necessary to fight.

Before the war, the army commander would probably laugh if he were told that the day would come when the entire mobile reserve, which he would have at his disposal, would amount to several hundred men. And yet today it was just that ... Several hundred submachine gunners put on trucks - that was all that he could quickly transfer from one end of the city to the other at the critical moment of the breakthrough.

On the large and flat hill of Mamayev Kurgan, some kilometer from the front line, the army command post was located in dugouts and trenches. The Germans stopped their attacks, either postponing them until dark, or deciding to rest until morning. The situation in general and this silence in particular made one assume that in the morning there would be an indispensable and decisive assault.

"We would have had lunch," said the adjutant, squeezing with difficulty into the small dugout, where the chief of staff and a member of the Military Council were sitting over a map. They both looked at each other, then at the map, then at each other again. If the adjutant had not reminded them to dine, they might have sat over her for a long time. They alone knew how dangerous the situation really was, and although everything that could be done was already foreseen and the commander himself went to the division to check the fulfillment of his orders, but it was still difficult to get away from the map - they wanted to miraculously find out on this a piece of paper still some new, unprecedented opportunities.

“Dine like that,” said a member of the Military Council, Matveyev, a cheerful person by nature and who liked to eat in those cases when there was time for this in the midst of the headquarters bustle.

They went out into the air. It was beginning to get dark. Below, to the right of the mound, against the background of the leaden sky, like a herd of fiery animals, the Katyusha shells flashed. The Germans prepared for the night by firing the first white rockets into the air to mark their leading edge.

The so-called green ring passed through Mamayev Kurgan. It was started in 1930 by the Stalingrad Komsomol members and for ten years they surrounded their dusty and stuffy city with a belt of young parks and boulevards. The top of the Mamaev Kurgan was also lined with thin ten-year-old sticks.

Matveyev looked around. This warm autumn evening was so good, it was so unexpectedly quiet all around, so smelled of the last summer freshness from the sticky that was beginning to turn yellow that it seemed absurd to him to sit in a dilapidated hut where the dining room was located.

“Tell them to bring the table here,” he turned to the adjutant, “we’ll have dinner under stickies.

From the kitchen they brought out a rickety table, covered it with a tablecloth, and set up two benches.

“Well, general, we sat down,” Matveyev said to the chief of staff. “It’s a long time you and I haven’t dined under the sticks, and we’ll hardly have to.

And he looked back at the burnt city.

The adjutant brought vodka in glasses.

- Do you remember, General, - continued Matveyev, - once in Sokolniki, near the labyrinth, there were such small cells with a living fence of trimmed lilacs, and in every table and benches. And the samovar was served ... More and more families came there.

- Well, there were mosquitoes there, - the chief of staff, who was not in favor of the lyrics, interjected, - not like here.

“But there’s no samovar here,” said Matveyev.

- But there are no mosquitoes. And the maze there really was such that it was difficult to get out.

Matveyev looked over his shoulder at the city spread out below and grinned:

- Labyrinth ...

Below, streets converged, diverged and confused, on which, among the decisions of many human destinies, one great destiny was to be decided - the fate of the army.

The adjutant grew up in the semi-darkness.

- We arrived from the left bank from Bobrov. “It was clear from his voice that he was running here and out of breath.

- Where are they? - getting up, Matveyev asked abruptly.

- With me! Comrade Major! - called the adjutant.

A tall figure, poorly visible in the darkness, appeared beside him.

- Have you met? - asked Matveev.

- We met. Colonel Bobrov ordered to report that he will now begin the crossing.

“Okay,” said Matveyev, and sighed deeply and with relief.

What last hours worried him, and the chief of staff, and everyone around him, it was decided.

- Has the commander returned yet? He asked the adjutant.

- Look in the divisions where he is, and report that Bobrov met.

III

Colonel Bobrov was sent in the morning to meet and rush the same division in which Saburov commanded the battalion. Bobrov met her at noon, before reaching Srednyaya Akhtuba, thirty kilometers from the Volga. And the first one with whom he spoke was just Saburov, walking in the head of the battalion. After asking Saburov for the number of the division and learning from him that the commander was following behind, the colonel quickly got into a car ready to move.

“Comrade captain,” he said to Saburov and looked into his face with tired eyes, “I don’t need to explain to you why your battalion must be at the crossing by eighteen.

And without adding a word, he slammed the door.

At six o'clock in the evening, returning, Bobrov found Saburov on the shore. After a tiring march, the battalion came to the Volga discordantly, stretching out, but within half an hour after the first soldiers saw the Volga, Saburov managed, while awaiting further orders, to place everyone along the ravines and slopes of the hilly coast.

When Saburov, in anticipation of the crossing, sat down to rest on the logs lying near the water, Colonel Bobrov sat down with him and offered to smoke.

They lit a cigarette.

- Well, how is it? - asked Saburov and nodded towards the right bank.

“Difficult,” the colonel replied. “Difficult…” And for the third time he repeated in a whisper: “Difficult,” as if there was nothing to add to this exhaustive word.

Simonov Konstantin

Days and nights

Simonov Konstantin Mikhailovich

Days and nights

In memory of those killed for Stalingrad

So heavy mlat,

crushing glass, forges damask steel.

A. Pushkin

The exhausted woman was sitting, leaning against the earthen wall of the shed, and in a voice calm with fatigue spoke of how Stalingrad had burned down.

Captain Saburov glanced at his heavy boots and involuntarily moved back half a step.

He stood silently and listened to the woman, looking over her head to where the train was unloading near the outer houses, right in the steppe.

Where have they driven, huh? - he whispered, and all the unaccountable melancholy of the last day, when he looked at the steppe from the heat, was embarrassed in these two words.

And the woman sitting at his feet was still talking about Stalingrad, one after another naming the broken and burnt streets. Their names, unknown to Saburov, were full of special meaning for her. She knew where and when the now burned houses were built, where and when the trees that were now cut down on barricades were planted, she regretted it all, as if it was not about a big city, but about her house, where acquaintances who belonged to her disappeared and died to tears. things to her personally.

Wiping away her tears with the end of her handkerchief, the woman looked around with a long questioning glance at everyone listening to her and said thoughtfully and convincingly:

How much money, how much work!

Why work? someone asked, not understanding the meaning of her words.

Build everything back, ”the woman said simply.

Are you in Stalingrad? she asked.

Yes, - answered Saburov, not seeing a military secret in this, for what else, if not to go to Stalingrad, could now unload a military echelon in this god-forsaken Elton.

Our surname is Klimenko. The husband is Ivan Vasilievich, and the daughter is Anya. Maybe you will find somewhere alive, ”said the woman with faint hope.

Maybe I'll meet you, ”Saburov answered habitually.

The battalion was finishing unloading. Saburov said goodbye to the woman and, having drunk a bucket of water from a bucket put on the street, went to the railway track.

Saburov walked along the paths and looked at the people with whom he was to fight the day after tomorrow.

He knew many by sight and by name. They were "Voronezh" so he called those who had fought with him near Voronezh. Each of them was a jewel, because they could be ordered without explaining unnecessary details.

He had a third of the battalion of such soldiers. The rest were to see the war for the first time. At one of the cars, guarding the property that had not yet been loaded onto the carts, stood an elderly Red Army soldier, who from a distance attracted Saburov's attention with his guards bearing and a thick red mustache, like pikes, sticking out to the sides. When Saburov approached him, he famously took "on guard" and with a direct, unblinking gaze continued to look the captain in the face. In the way he stood, how he was girded, how he held the rifle, one felt that soldier's experience, which is given only by years of service. Meanwhile, Saburov, who remembered by sight almost everyone who was with him near Voronezh, before the division was reorganized, did not remember this Red Army soldier.

KM Simonov is one of the greatest writers of Russian Soviet literature. Art world Simonov has absorbed a very complex life experience of his generations.

People born on the eve of or during the First World War did not manage to take part in the Great October Revolution and the Civil War, although it was these events that determined their future fate. Childhood was difficult, they gave their youth to the accomplishments of the first or second five-year plans, and maturity came to them in those very years that D. Samoilov would later call "forties, fatal." The break between the two world wars lasted only 20 years, and this determined the fate of the generation to which K. Simonov, born in 1915, belongs. These people came into the world before the seventeenth in order to win in the forty-fifth or die for the sake of future victory. This was their duty, their calling, their role in history.

In 1942 N. Tikhonov called Simonov “the voice of his generation”. K. Simonov was a tribune and an agitator, he expressed and inspired his generation. Then he became his chronicler. Already decades after the war, Simonov tirelessly continued to create more and more new works, remaining faithful to his main theme, to their favorite heroes. In the work and fate of Simonov, history is reflected with such completeness and evidence, as happens very rarely.

Terrible trials fell to the lot of Soviet soldiers, and the more we move away from the four war years, the clearer and more magnificent their tragic meaning becomes. Loyal to his theme for four decades, Konstantin Simonov did not repeat at all, because his books became more and more multifaceted, more and more tragic, more and more emotional, more and more rich in philosophical and moral meaning.

But no matter how rich our literature is, military theme, the trilogy "The Living and the Dead" (and more broadly, the entire work of K. Simonov) is today the most profound artistic study of the Great Patriotic War, the most convincing evidence of the innovative nature of our literature about the war.

K. Simonov did a lot to tell about the worldview and character, moral character and heroic life soviet warriorwho defeated fascism. His artistic achievements, above all, testify to the extraordinary creative energy of the writer and the diversity of his talent.

Indeed, one has only to list what he created, for example, in the 70s. The book of poems "Vietnam, winter seventieth". The novel "The Last Summer". Novels "Twenty Days Without War" and "We Will Not See You." Movies "Twenty days without war", "There is no other people's grief", "A soldier was walking." And at the same time, numerous essays, critical and publicistic articles were written, television programs were prepared, and, finally, various social activities were carried out on a daily basis.

For the generation to which K. Simonov belongs, the central event that determined his fate, worldview, moral character, character and intensity of emotions was the Great Patriotic War... It was this generation that grew up in the consciousness of its inevitability and largely determined the inevitability of its victorious end. Simonov's lyrics were the voice of this generation, Simonov's epic was his self-awareness, a reflection of his historical role.

The variety of Simonov's work, probably, is primarily due to the fact that his versatile knowledge of his hero did not fit only within the framework of poetry, or drama, or prose. Lukonin and Saburov, Safonov, Sintsov, Ovsyannikova - all of them together bring us the truth about how the war tested the strength of their spirit, their ideological conviction and moral purity, their ability for heroic deeds. The historical paradox of their existence lies in the fact that the war has become a school of socialist humanism for them. It was this circumstance that dictated to Simonov the need not to confine himself to portraying his peers, but to make General Serpilin the central figure of the "Living and Dead" trilogy, who had gone through the school of communism already during the Civil War. This is how the unity of Serpilin's political, moral-philosophical, and military-professional convictions is created - a unity that has both a clear social conditioning and obvious aesthetic consequences.

In Simonov's trilogy, the connections between personality and society, human destiny and people's destiny are considered deeply and multifaceted. The writer tried, first of all, to tell about how, by virtue of the needs of society and under its not permanent powerful influence, soldiers are born, that is, the spiritual formation of a person - a warrior, a participant in a just war takes place.

Konstantin Simonov has been in the forefront of Soviet military writers for more than sixty years, and he, indefatigable, working without pauses, obsessed with new and new ideas, inspired by a clear understanding of how much more he can tell people about four years of war in order to give “To feel what it was” and to make “think that there should not be a third world war.

KM Simonov is a person very close to me in spirit, and in my soul there is a place that is reserved for this great writer. I have great respect for him and I am proud that he studied at our school in 1925-1927. In our gymnasium there is a memorial plaque dedicated to Konstantin Simonov. And in 2005 this great man turned 90 years old, and in connection with this event, the delegation from the gymnasium visited his son Alexei Kirillovich Simonov.

All this, as well as the advice of my teacher Varnavskaya Tatyana Yakovlevna influenced the choice of the topic of this research work... It also seems to me that this topic is relevant, since our country celebrated 60 years of Victory, and K. Simonov can be safely called the chronicler of the Great Patriotic War, because he conveyed all the pain and suffering as well as possible, but at the same time faith in victory of the Russian people. Unfortunately, in our time, the works of K. M. Simonov are not popular with the modern reader, but in vain, because he and his characters have a lot to learn. Our ancestors gave us a clear and peaceful sky overhead, a world without fascism. Sometimes we don't appreciate it. And Simonov's works seem to transport us to those terrible and fatal years for Russia, and after reading them, you can feel what our grandfathers and great-grandfathers felt. Stories, novels, poems by Simonov are a great, truly Russian and patriotic reflection of those terrible and heroic days of 1941-1945.

In my work, I would like to consider in more detail the work of K. M. Simonov, to trace the features of his style and narrative tendencies. I would like to understand how Simonov's language differs from the styles of other writers. Many researchers of Konstantin Mikhailovich's work noted that, creating his great works, he relied on Tolstoy's style of narration. In my work, I tried to see these similarities myself and highlight those stylistic features that are inherent only in Simonov and determine his unique, personal style.

"Days and nights" - topics, problems, system of images

"Days and Nights" is a work that raises the question of how Soviet people became skillful soldiers, masters of victory. The artistic structure of the story and its internal dynamics are determined by the author's desire to reveal the spiritual image of those who stood to death in Stalingrad, to show how this character was tempered, becoming invincible. To many, the resilience of the defenders of Stalingrad seemed like an inexplicable miracle, an insoluble mystery. But in reality there was no miracle. In Stalingrad, "the characters of the peoples, their will, spirit and thought" fought.

But if the secret of victory lies in the people who defended the city under siege, patriotic enthusiasm, selfless courage, the meaning of the story is determined by how truthfully and fully Simonov managed to tell about his heroes - General Protsenko, Colonel Remizov, Lieutenant Maslennikov, the experienced soldier Konyukov and, first of all, about Captain Saburov, who was constantly at the center of events. The attitude of the heroes to everything that happens is determined not only by the determination to die, but not to retreat. The main thing in their inner state is unshakable faith in victory.

The main character of the story "Days and Nights" is Captain Saburov. Saburov's integrity and moral purity, his persistence and absolute rejection of compromises with conscience, were undoubtedly the qualities that largely determined his behavior at the front. When you read about how Saburov wanted to become a teacher, in order to instill in people truthfulness, self-esteem, the ability to make friends, the ability not to give up your words and face the truth of life, then the character of the battalion commander Saburov becomes both clearer and more attractive, moreover, all these features completely determine his own actions.

The features of the heroic character of Saburov largely help to understand his conflict with the commander of the regiment Babenko, whose personal courage is also beyond doubt. But Babenko, demanding fearlessness from himself, considers himself entitled not to fear in any way the death of others. It seems to him that the idea of \u200b\u200bthe inevitability of losses frees one from the need to think about the scale, even about their expediency. Therefore, Babenko once said to Saburov: “I don’t think and I don’t advise you. Is there an order? There is".

So, perhaps for the first time in his work and, undoubtedly, one of the first among our military writers, Simonov spoke about the unity of the military leadership principles and humanism of the Soviet Army. But this was said not in the language of journalism, but in a concrete and convincing image of Captain Saburov. He suffered with all his life experience that, striving for victory, one must think about its price. This is a strategy, a deep thought, a concern for tomorrow. Saburov's love for people is not an abstract philosophical principle, but the very essence of his life and military work, the main feature of his worldview, the most powerful of all his feelings. Therefore, the attitude towards the nurse Ana Klimenko becomes the pivot of the story, helping to understand the character of Saburov, to highlight his true depth and strength.

In the story, the traitor Vasiliev was an alien figure, not psychologically clear, composed according to the canons of fiction, and therefore unnecessary. And without Ani Klimenko, we would not have learned a lot about Saburov.

The main thing in Ana is her straightforwardness, spiritual openness, complete sincerity in everything. She is inexperienced both in life and in love until she is childish, and in the conditions of war, such a tender, almost childish soul requires responsive frugality. When a girl directly, without any coquetry, says that she is “brave today” because she has met an unfamiliar, but already close person, her attitude reliably tests the moral qualities of a man.

The deepening of the image of Saburov was also created by a new turn of the theme of military friendship, traditional for Simonov. We often see Saburov through the eyes of Maslennikov's closest assistant, who is in love with him. In the character of a chief of staff, much is very typical of a young officer who turned twenty in the war. In his youth, he envied those who fought back in the civilian, and especially furiously - people older than him for several years. He was ambitious and vain with that vanity for which it is difficult to condemn people in war. He certainly wanted to become a hero and for this he was ready to do anything, the most difficult, whatever he was offered.

One of the most successful heroes of Days and Nights, General Protsenko, came to the story from the story "Maturity". Its content is one day of the offensive. This ordinary day convinces of the growth of the military skill of the army: “everything before the war is school, and the university is war, only war,” Protsenko rightly says. It is not only the commander who matures in battles, but also his entire division. And the fact that during the decisive hours of the fighting Protsenko is seriously ill does not affect the implementation of the military operation.

But not only characters and situations passed from Simonov's essays and stories to his story. The main thing that unites them is a single interpretation of the war as a terribly difficult, but necessary matter, which the Soviet man does soberly and with conviction.

The feat of Stalingrad shook the world. In it, as in a drop of water, the character of the Soviet man in the war, his courage and sense of historical responsibility, humanity and unprecedented stamina were reflected. Truth, told by Simonov in Stalingrad, responded in these conditions to the most acute social need. This truth permeates every line of the story of the seventy days and nights, during which Saburov's battalion defended three Stalingrad houses.

The polemical spirit that colors all of Simonov's military prose was most clearly revealed in Days and Nights.

Having chosen the genre of the story for the story about the defense of Stalingrad, the writer also within this genre finds a form that is most free from convention, absorbing a diary and close to a diary. Publishing some pages of his war diaries, Simonov himself notes this feature of the story "Days and Nights" in the comments to them: "In the spring of 1943, taking advantage of the lull at the front, I began to restore the Stalingrad diary from memory, but instead wrote" Days and Nights "- a story about the defense of Stalingrad. To some extent, this story is my Stalingrad diary. But facts and fiction are so closely intertwined in him that now, many years later, it would be difficult for me to separate one from the other. "

We can consider the story "Days and Nights" not only as a story dedicated to people who valiantly defended Stalingrad, but also as a pure description of everyday life, the pathos of which is in the scrupulous recreation of front-line life. No doubt, Simonov pays a lot of attention here, a lot of unique details characterizing life of heroes in besieged Stalingrad, contains the book. And the fact that at the command post of Saburov was a gramophone and records, and the fact that in the house by the defended platoon of Konyukov, the soldiers slept on leather seats that were brought from wrecked cars, and the fact that the division commander Protsenko adapted to wash in his dugout, in the nursery galvanized bath. Simonov also describes the homemade lamps that were used in the dugouts: “The lamp was a sleeve from a 76-millimeter projectile, at the top it was flattened, a wick was inserted inside, and a hole was cut a little above the middle, plugged in, - kerosene was poured through it or, in the absence of it, gasoline and salt ”- and American canned food, which was ironically called the“ second front ”:“ Saburov reached for a beautiful rectangular jar with American canned food: on all four sides of it were depicted multi-colored dishes that can be prepared from them. A neat opener was soldered to the side. "

But no matter how much space the descriptions of everyday life occupy in the story, they do not acquire independent meaning, but are subordinated to a more general and significant task. In a conversation with students of the Gorky Literary Institute, recalling Stalingrad, where people had to overcome "a feeling of enduring danger and enduring tension," Simonov said that they were supported, in particular, by focus on the task assigned to them and everyday concerns: "I am especially clear there I felt that everyday life, human employment, which remains in any conditions of battles, play a huge role in human resilience. A person eats, a person sleeps, settles himself somehow to sleep In the fact that people tried to make this life normal, and the resilience of people was manifested "Resilience Stalingrad resilience

That radical change in the course of the war, which marked Stalingrad battle, in the mind of Simonov is associated primarily with the invincible strength of mind, with a powerful and inexhaustible spiritual energy, which then made the very word "Stalingrad" an excellent degree to the concepts of "fortitude" and "courage". In the penultimate chapter of the story, the writer seems to be summing up what he says in the book, "deciphering" the meaning of the word "Stalingrad": What they were doing now, and what they had to do next, was no longer only heroism. The people who defended Stalingrad formed a kind of constant resistance force, which was formed as a result of a variety of reasons - both the fact that the further, the more impossible it was to retreat anywhere, and the fact that retreating meant immediately to die aimlessly during this retreat. and the fact that the proximity of the enemy and the almost equal danger for all created, if not a habit of it, then a feeling of its inevitability, and the fact that all of them, cramped on a small piece of land, knew each other here with all the advantages and disadvantages much closer than anywhere else. All these circumstances taken together gradually created that stubborn force, whose name was "Stalingraders", and the whole heroic meaning of this word was understood by others before they themselves. "

If you carefully read the beginning of the story, it will be striking that the author in the first two chapters violates the sequence of the narrative. It would be natural to start the book with a story about what is going on in Stalingrad, where the division, in which Saburov serves, is ordered to go. But the reader learns about this only in the second chapter. And the first depicts the unloading of Saburov's battalion from the echelon that arrived at the Elton station. Simonov sacrifices here not only chronology - this sacrifice, perhaps, is compensated by the fact that the reader immediately gets to know the main character, but also great drama. In the second chapter, the writer shows with what excitement and anxiety Protsenko's division awaits at the army headquarters. She must somehow rectify the difficult situation that has arisen in the city center. But the reader from the first chapter already knows that the division has unloaded from the echelons, is moving towards the crossing and will be in Stalingrad on time. And this is not a mistake by the author, but a deliberate sacrifice. Simonov rejects the opportunity to dramatize the narrative, because it would interfere with the solution of a much more important artistic task for him, it would be a deviation from that inner "law" that determines the structure of the book.

Simonov first of all needed to reveal the initial state of mind with which people entered the battle for Stalingrad. He tried to convey how the feeling arose that there was nowhere to retreat, that here, in Stalingrad, one had to stand up to the end. That is why he began the story describing the unloading of Saburov's battalion at the Elton station. Steppe, dust, a white strip of a dead salt lake, a provincial railway line - "all this, taken together, seemed to be the end of the world." This feeling of a terrible limit, the end of the world was one of the components that was incorporated into the famous slogan of the defenders of Stalingrad: "There is no land for us beyond the Volga."

Characteristics of the features of the style of the story "Days and Nights"

The title of KM Simonov's work "Days and Nights" is based on a comparison of antonyms. They give the headline an emphasis and are used as a means of creating contrast. In his work, K.M.Simonov uses military terminology to create a special effect, so that readers better understand the essence and meaning of the story. For example, artillery explosions, machine-gun chatter, companies, messenger, division, headquarters, commander, colonel, general, attack, battalion, army, counterattacks, battles, echelon, arrows, front line, grenade, mortars, captured, regiment, machine gun and many others. other.

But the excessive use of professional and technical vocabulary leads to a decrease in the artistic value of the work, makes it difficult to understand the text and damages its aesthetic side.

In the story "Days and Nights" you can find expressive shades of some words. For example, erysipelas, damn dizziness, tore off, bloody stump. This gives the work an additional depiction, helps to reveal the author's assessment, the expression of thoughts is accompanied by the expression of feelings. The use of expressive vocabulary is associated with the general stylistic orientation of the text.

KM Simonov often uses such a stylistic device as persistent repetition of one word. He creates a kind of ring, reveals the pathos of the story, reflecting the mood of the defenders of the city, and more broadly - of the entire Soviet people.

"The exhausted woman was sitting, leaning against the earthen wall of the shed, and in a voice calm with fatigue, she spoke about how Stalingrad had burned down." This first phrase of the story is a kind of key to its style. Simonov tells about the most tragic heroic events calmly and accurately. Unlike writers who gravitate toward broad generalizations and painterly, emotionally colored descriptions, Simonov is stingy in the use of pictorial means. While V. Gorbatov in “The Unsubdued” creates the image of a crucified, dead city, from which they torn out and trampled their soul, “crushed a song” and “shot laughter,” Simonov shows how two thousand German planes, hanging over the city, set on fire it shows the components of the smell of the ashes: burnt iron, charred trees, burnt brick - precisely determines the location of our and the fascist units.

On the example of one chapter, we see that K. M. Simonov uses complex sentences more than simple ones. But even if the sentences are simple, then they are necessarily common, most often complicated by adverbial or participial phrases. He employs a definite personal construction simple sentences... For example, "she collected", "he woke up", "I sew", "I asked", "you woke up". These personal constructions contain an element of activity, manifestation of the will of the actor, confidence in the performance of an action. In sentences, Simonov uses the reverse order of words, the so-called inversion with permutation of words, additional semantic and expressive shades are created, the expressive function of one or another member of the sentence changes. Comparing the proposals: 1. Build everything back and BUILD everything BACK; 2. Comrade Captain, let me check the clock with yours and PLEASE, Comrade Captain, check the clock with yours. 3. We will have lunch under sticky ones and we will have lunch under sticky ones, we find a semantic selection, an increase in the semantic load of the rearranged words while maintaining their syntactic function. In the first pair, this circumstance is "back", in the second - the predicate "allow", in the third, the circumstance of the place - "under sticky." The change in the semantic load, stylistic expressiveness of the rearranged words is caused by the fact that, despite the significant freedom of the word order in the Russian sentence, each member of the sentence has its usual, characteristic place, determined by the structure and type of the sentence, the way of syntactic expression of this member of the sentence, place among other words that are directly related to it, as well as the style of speech and the role of context. On this basis, direct and reverse word order is distinguished.

Let's take a text like this. The train was unloading at the outermost houses, right in the steppe. Now, in September, this was the last and closest railway station to Stalingrad. If the first sentence contains the direct order of words (the subject, then the composition of the predicate), then when constructing the second sentence, its close semantic connection with the previous sentence is taken into account: in the first place is the circumstance of time in September, then follows the circumstance of the place here, then the predicate was and, finally, the composition of the subject. If we take the second sentence without connection with the previous text, then one could say: The last and closest railway station to Stalingrad was here, right in the steppe, where the train was unloaded, or: There, in the steppe, where the train was unloaded, was the last and closest to Stalingrad railway station. Here we see that a sentence is only a minimal unit of speech and, as a rule, it is connected by close semantic relations with the context. Therefore, the order of words in a sentence is determined by its communicative role in this segment statements, first of all, by its semantic connection with the previous sentence. Here we are faced with the so-called actual division of the sentence: in the first place we put what is known from the previous context (given, topic), in the second place - another component of the sentence, for what it is created ("new", rhema).

In Simonov's narrative sentences, the subject usually precedes the predicate: On the third day, when the fire began to subside; They ended relatively quickly, because, having burnt down several new houses, the fire soon reached the previously burnt streets, finding no food for itself, and extinguished.

The mutual arrangement of the main members of a sentence may depend on whether the subject denotes a definite, known object or, conversely, an indefinite, unknown object, in the first case the subject precedes the predicate, in the second it follows it. Compare: The city was on fire (specific); The city was burning (undefined, of some kind).

As for the place of the definition in the sentence, Simonov mainly uses agreed definitions and uses a prepositive setting, that is, when the noun being defined is placed after the definition: a painful smell, a night landscape, exhausted divisions, burnt-out streets, a sultry August day.

In "Days and Nights" you can find the use of a predicate with a subject, expressed as a numeral. For example: The first ate, the second mended torn tunics, the third smoked. This is such a case when the idea of \u200b\u200ba specific figure is associated with the numeral.

Stylistic considerations, such as greater expressiveness, caused the semantic agreement in the sentence: Protsenko quite clearly imagined that the majority would obviously die here.

In his work, Konstantin Mikhailovich Simonov uses a lot geographical names... First of all, this is due to the fact that this story about the war is the diary of the writer, who during these terrible days visited many cities, and many memories are associated with each of them. He uses city names that are expressed by inflected nouns consistent with generic words. In all cases: from the city of Kharkov to the city of Valuyki, from Valuyki to Rossosh, from Rossosh to Boguchar. The names of the rivers, which are used by Simonov, also, as a rule, agree with the generic names: to the Volga River, in the bend of the Don, between the Volga and Don. Concerning homogeneous members sentences, then if in terms of semantic, logical, homogeneous members of a sentence are used mainly to enumerate specific concepts related to the same generic concept, then in terms of stylistic, if the role of an effective pictorial means is assigned. With the help of homogeneous members, details of the general picture of a single whole are drawn, the dynamics of the action is shown, rows of epithets are formed that have great expressiveness and picturesqueness. For example, homogeneous members - predicates create the impression of dynamism and tension of speech: "Rushing to Saburov, Maslennikov grabbed him, lifted him from his place, hugged him, kissed him, grabbed his hands, pushed him away, looked, pulled him back to him, kissed him and put him back" - all in one minute. Unions with homogeneous members of the sentence Simonov actively uses with their help, a closed series is formed. For example, he knew well in person and by name; stood on the banks of the Volga and drank water from it.

KM Simonov also uses addresses, but they are all related to military topics: Comrade Captain, Comrade Major, General, Colonel.

As for the variants of the case forms of the complement for transitive verbs with negation, Simonov uses both the accusative and the genitive. For example, 1. But she just did not say anything about her business; 2. I hope you don’t think that the lull in you will last long; 3. The army did not recognize itself as defeated. The form of the genitive case emphasizes the negation, the accusative case, on the contrary, glorifies the meaning of the negation, since it retains the form of the object in the transitive verb, which is present without the negation.

Now let's move on to the stylistics of complex sentences. As for the work as a whole, when you read it, it immediately strikes the eye that K. M. Simonov uses more complex sentences than simple ones.

Great possibilities of choice associated with a variety of structural types of simple and complex sentences, are realized in context and are determined by the semantic and stylistic side. Stylistic features are associated with the nature of the text and the language style in the general meaning of this concept (differentiation of book and colloquial styles), and in the private (styles of fiction, scientific, socio-political, official-business, vocational-technical, etc.)

All kinds of sentences are presented in fictional speech, and the predominance of some of them characterizes to a certain extent the style of the writer.

In Simonov's sentences, he uses a lot of allied words, for example, which and which one, therefore, their interchangeability is possible: I do not know what they were before the war and what they will be after it. This man who died with him on the very first day of the fighting and whom he knew very little before. At the same time, there is a difference in the shades of meaning between the words under consideration. Union word which introduces a general determinative meaning into the subordinate part of a complex sentence, and what word is an additional shade of use, comparison, qualitative or quantitative underlining.

Simonov in his work "Days and Nights" makes extensive use of isolated turns. This is due to their semantic capacity, artistic expression, stylistic expressiveness.

So involved and adverbial turns are primarily a part of book speech.

The stylistic features of participial phrases have been noted for a long time, and their bookish character was emphasized. MV Lomonosov wrote in Russian Grammar: "It is not necessary to produce participles from those verbs that are used only in simple conversations, because participles have a certain highness in themselves, and for this it is very appropriate to use them in the highest genus of verses." The richer the language in expressions and phrases, the better for a skilled writer.

The participle turnover can be isolated and non-isolated. Simonov uses isolated turns, since they have a greater semantic load, additional shades of meaning, expressiveness. For example: German bombers were lining up in a goose wedge. This adverbial turnover expresses semi-predicative relations, since the turnover in meaning is associated with both the subject and the predicate.

According to the existing rules, the adverbial turnover can be located either after the defined word (and he himself began to wait, pressing himself against the wall), or in front of it (and he himself, pressing himself against the wall, began to wait).

The participle itself can take a different place in the composition of a separate structure. The variant with the participle in the last place in a separate circulation was characteristic of the writers of the XVIII century. Simonov, in the overwhelming majority of cases, puts the participle in the first place in the circulation. This is typical of modern speech.

The participle, like other forms of verbs of strong control, require explanatory words with them, this is necessary for the completeness of the statement: Maslennikov, sitting opposite.

Like participatory phrases, adverbs are the property of book speech. Their undoubted advantage over synonymous or subordinate adverbial parts of a complex sentence is their brevity and dynamism. Compare: When Saburov lay for several minutes, he lowered his bare feet to the floor; After lying down for several minutes, Saburov dropped his bare feet to the floor.

Considering that the verb is often built as a secondary predicate, we can talk about the parallelism of the following constructions: the verb is a conjugated form of the verb: Saburov asked, entering the dugout \u003d Saburov asked and entered the dugout.

The paragraph also plays an important compositional and stylistic role in the text of the work. The breakdown of the text into paragraphs performs not only compositional tasks (clear structure of the text, highlighting the beginning, middle part and ending in each of the parts) and logical-semantic (combining thoughts into micro themes), but also expressive-stylistic (the unity of the modal plan of expressing, expressing the attitude the author to the subject of speech). The paragraph is closely related to the types of speech, and since the type of speech of the work "Days and Nights" is a narrative, then there are mainly dynamic paragraphs, that is, of a narrative type.

In "Days and Nights" you can find direct speech. Direct speech, performing the function of verbatim transmission of someone else's utterance, can, at the same time, not only by its content, but also by the way of expressing thoughts and feelings, serve as a means of characterizing the speaker, a means of creating an artistic image.

Vanin, it starts again. Call the regiment! - shouted Saburov, bending down the entrance to the dugout.

Calling! Communication has been interrupted, - Vanin's voice reached him.

It must be said that Tolstoy's traditions - this is more clearly seen in the story than in stories and essays - sometimes serve Simonov not only as an aesthetic guideline, but also as a source of ready-made stylistic structures, he not only relies on Tolstoy's experience, but also borrows his techniques. Of course, this "made it easier" for the author, less effort had to be spent to overcome the resistance of the material of life, but the impressive power of the story did not grow, but fell. When in “Days and Nights” you read: “Saburov did not belong to the number of people who were silent because of gloom or out of principle: he simply spoke little: and therefore he was almost always busy with the service, and because he loved, thinking, to be alone with his thoughts , and also because, having got into the digging, he preferred to listen to others, in the depths of his soul he believed that the story of his life was not of particular interest to other people, ”or:“ And when they summed up the day and talked about the fact that two machine guns on the left flank must be dragged from the ruins of the transformer box to the basement of the garage, that if you appoint Sergeant Major Buslaev instead of the killed Lieutenant Fedin, then it will be, perhaps, good, that due to the losses according to the old testimony of the foremen on the battalion they let out twice as much vodka as they should, and it doesn't matter - let them drink it because it's cold - about the fact that yesterday they broke the hand of the watchmaker Mazin and now if the last surviving Saburov watch stops in the battalion, there will be no one to fix it, that we’re tired of all the porridge and porridge - it’s good if we could transfer even frozen potatoes across the Volga, that we need to present such and such for a medal, while they are still alive, healthy and fighting, and not later when it might be too late - in a word, when they said every day about the same thing that was always said - all the same, Saburov's presentiment of upcoming great events did not diminish and did not disappear ", - when you read these and similar phrases before of all, you perceive their Tolstoyan "nature", the Tolstoyan way of conjugating heterogeneous causes and phenomena, the uniqueness of what Simonov talks about is less clearly visible because of this. Simonov uses extensive periods of parallel turns and generalizations at the end, which carry a great philosophical thought in Tolstoy, for private, little significant observations.

The story "Days and Nights" - "the work of an artist"

I believe that I have achieved the goal that I set for myself. I examined in detail and in detail the work of K. M. Simonov "Days and Nights", highlighted the stylistic features on the example of this story, followed the manner of the writer's narration and characterized all military prose in general.

So, let's highlight the stylistic features again:

The title of the work is a comparison of antonyms;

Use of military terminology;

Expressiveness of vocabulary;

Repeat one word;

Calm and accurate storytelling;

The use of a definite personal construction of simple sentences;

The role of the definition in the sentence;

The use of numbers;

The use of geographical names;

The role of homogeneous members in the proposal;

The use of appeals;

Variants of case forms of addition;

The stylistics of complex sentences;

The use of union words;

Participles and adverbs;

The role of the paragraph in the work;

The use of direct speech;

Tolstoy's traditions are not only an aesthetic guideline, but also a source of ready-made stylistic designs.

All this serves as a business-like, without pathos, with an interest in the details of military life, to questions of the military profession, the manner of narration "From the outside, it seems to be a dry chronic record, but in essence it is the work of an artist, unforgettable for a long time," said one of his performances M. I. Kalinin

In all the works of K.M.Simonov, the war turned out to be a continuation of one period of peaceful life and the beginning of another, it tested many values \u200b\u200band qualities of a person, revealed the failure of some and the greatness of others. The experience of war, comprehended in the work of Simonov, is necessary for us in the formation of a harmonious person, in upholding his values, dignity, in the struggle for moral purity, for spiritual and emotional wealth. Mass heroism during the war years demonstrated with incontrovertible evidence that in real life we \u200b\u200bhave achieved tremendous success in the most difficult and most important of all social transformations - in the radical change in the outlook and character of millions of people. And isn't this the main sources of our military victory!

In his works, Simonov reveals the process of becoming a soldier as a transformation that occurs under the influence of an awareness of civic duty, love for the Motherland, responsibility for the happiness and freedom of other people.

The name of Konstantin Mikhailovich Simonov, far beyond the borders of our Motherland, is rightfully perceived as a symbol of the struggle against militarism, as a symbol of the humanistic truth about the war.

1942 year. In the army of the defenders of Stalingrad, new units are poured into the army, transferred to the right bank of the Volga. Among them is the battalion of Captain Saburov. The Saburovites with a fierce attack knock out the fascists from three buildings that have wedged into our defenses. The days and nights of heroic defense of the houses, which have become impregnable to the enemy, begin.

“... On the night of the fourth day, having received an order for Konyukov and several medals for his garrison at the regiment headquarters, Saburov once again made his way into Konyukov’s house and presented the awards. Everyone to whom they were intended was alive, although this rarely happened in Stalingrad. Konyukov asked Saburov to screw the order - his left hand was cut by a grenade splinter. When Saburov, like a soldier, with a folding knife, cut a hole in Konyukov's tunic and began to screw on the order, Konyukov, standing at attention, said:

- I think, Comrade Captain, that if you make an attack on them, then right through my house is the best way to go. They're keeping me under siege here, and we're right there on them. How do you like my plan, Comrade Captain?

- Wait. There will be time - we will do it, - said Saburov.

- Is the plan correct, Comrade Captain? - insisted Konyukov. - What do you think?

- Correct, correct ... - Saburov thought to himself that in case of an attack, Konyukov's simple plan is really the most correct one.

“Straight through my house — and onto them,” repeated Konyukov. - With a complete surprise.

He repeated the words "my home" often and with pleasure; he had already heard a rumor through the soldier's mail that this house was called “Konyukov's house” in the bulletins, and he was proud of it. ... "