“The fire is beating in a cramped stove...” A. Surkov. "In the dugout." History of the song

"Beating in cramped stove fire..." Alexey Surkov

Sofye Krevo

The fire is beating in the small stove,
There is resin on the logs, like a tear,
And the accordion sings to me in the dugout
About your smile and eyes.

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

You are far, far away now.
Between us there is snow and snow.
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness.
I feel warm in a cold dugout
From my unquenchable love.

Analysis of Surkov’s poem “Fire is beating in a cramped stove...”

Alexey Surkov’s poem “The fire is beating in a cramped stove...” was written at the beginning of the Great Patriotic War - November 27, 1941 in the Soviet village of Kashino. The poem was set to music and became an incredibly popular wartime song called “In the Dugout.” According to the author, the song was born after one of the difficult days near the Istra River. Impressed by everything he had experienced, Alexey Alexandrovich wrote a letter to his family, who were evacuated in the city of Chistopol, located on the territory of modern Tatarstan.

Under the pen of the pen, a touching sixteen lines of a poem were born, very personal and tender. The poet did not intend to publish them and, moreover, did not see them as a future song. But fate decreed otherwise: three months later, already in the Moscow editorial office, composer Konstantin Listov and poet Alexei Surkov met. Listov urgently asked to give him some material for a song. Surkov, being sure that these lines would not make a front-line song, gave him a piece of paper with a written poem. A week later, Konstantin returned and, taking a guitar, performed a song called “Dugout.” The sudden silence in the room made it clear that the song was successful.

Since then, the song has rapidly spread across the fronts: Sevastopol, Polyarny, Leningrad... The Soviet “guardians of morality” did not like it - critics considered it unpatriotic, decadent. But the people fell in love with these simple lines that everyone could understand.

The main theme of the works of any lyrical author is love. Surikov was no exception. The war, with its unimaginable cruelty, injustice and senselessness, seemed to leave no room for such a fragile feeling as love. But it was she who revived these lines, filled them with meaning, the warmth of close souls and became dear to millions of Soviet soldiers.

Lines written in the heat of the moment brutal war, reek of quiet sadness from separation from your beloved family. No matter how patriotic the fighters are before the fight, after it, when silence sets in and everyone is left alone with their personal pain, the only thing that saves is family. Or rather, memories of her. About parents, sisters, brothers, wives and children. No matter how harsh the conditions the Russian soldier was in, he always hoped that his family was alive, even if they were far away, but they were safe. And each of them understood that tomorrow’s battle could be the last.

At the beginning of the poem there is ascetic image front dugout. Here, surrounded by his comrades in arms, the author thinks about what is most important to him - about his beloved. Fire is a symbol of warmth, home, life. But even it warms the soldier very poorly. A rare vacation is sprinkled with sadness: “There is resin on the logs, like a tear.”

Wherever the hero of the poem is, his thoughts are always about his beloved, his heart is in the past, peaceful life, where there is no place for cold, hunger and death.

The image of the wife is transferred to the personification of all life, joy, spring and warmth, everything that a simple Soviet soldier so greedily needs. As a contrast, the other side of life is clearly depicted - evil, war and grief.

The metaphorical device “And there are four steps to death” has become the identifying mark of this work. The phrase rushed through the battlefields, and it was painfully familiar and close to every fighter... In these few words, the author was able to lay down the entire enormous fear of death, when there would never again be either a peaceful sky above one’s head or blossoming apple trees, no children's laughter.

The last quatrain expresses confidence in victory and the determination to fight to the end. The blizzard personifies lost happiness, hope for a calm life. But when there is the most important thing - the love of loved ones, no troubles are scary, they are all temporary. Only love can “lead” a soldier out of battle unharmed, save him from cold and hunger, and give him strength to face his fears.

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SONG "IN THE DUGOUT". TEXT

About your smile and eyes.

The bushes whispered to me about you

I want you to hear

You're far, far away now
There is snow and snow between us...
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness!
I feel warm in a cold dugout
From my unquenchable love.

The last two lines are repeated twice

SONG "IN THE DUGOUT". AUTHORS

Soviet composer Konstantin Yakovlevich Listov (1900-1983)

KONSTANTIN LISTOV

Konstantin Yakovlevich Listov was born on October 2 (September 19, old style) 1900 in Odessa into a family of circus performers. In the circus, the future composer acquired his first musical skills, learning to play the mandolin and performing in the circus arena. In 1917, Listov graduated from Tsaritsino School of Music in piano class with A. Raniec, and in 1922 - the Saratov Conservatory in composition classes with L. Rudolf and piano with I. Rosenberg. From 1919 to 1923, the composer worked as a pianist, and later as a conductor of the Saratov Theater of Miniatures. In 1923, Listov moved to Moscow and began working in the theater at the All-Russian Proletkult. From 1934 to 1938, the composer held the position of conductor of the Review Theater, and from 1938 to 1940 - of the Theater of Classical Buffoonery under the direction of V. Bebutov. During the war years (1941-1945), Konstantin Yakovlevich worked as a music consultant for the Political Directorate of the Navy. Konstantin Listov has written two operas, eleven operettas, music for performances, orchestral and instrumental works, but the main sphere of his work is song. Among the composer’s most popular songs are “Song of the Cart” (lyrics by M. Ruderman, 1937), “In Chair Park” (lyrics by P. Arsky, 1939), “If you love, find” (lyrics by L. Oshanin, 1940), “In the dugout” (words by A. Surkov, 1942), “Sevastopol Waltz” (words by G. Rublev, 1955). During the war, Listov was awarded the Order of the Red Star and medals, and in 1973 he was awarded the title People's Artist RSFSR. Konstantin Yakovlevich Listov died on September 6, 1983. He was buried in Moscow at the Kuntsevo cemetery.

Soviet poet Alexey Alexandrovich Surkov (1899-1983)

ALEXEY SURKOV

Alexey Alexandrovich Surkov was born on October 13 (October 1, old style) 1899 in the village of Serednevo, Rybinsk district, Yaroslavl province, into a peasant family. After studying for some time at the Serednevskaya school, he went to work in St. Petersburg. From the age of 12 he worked as a student in furniture store, in carpentry workshops, in the printing house, in the office and as a weigher in the Petrograd commercial port. In 1918 he volunteered for the Red Army. In the same year, his first poems were published in the Petrograd Krasnaya Gazeta. After Civil War returned to native village and began working as an employee of a reading hut in the neighboring village of Volkovo (1922-1924). From 1924 to 1926, Surkov worked as first secretary of the Rybinsk Komsomol organization, from 1926 to 1928 - editor-in-chief of the provincial newspaper "Northern Komsomolets". After I All-Union Congress proletarian writers, of which the poet was elected as a delegate, Surkov remained in Moscow, studied at the Faculty of Literature at the Institute of Red Professors (1931-1934), taught at the Editorial and Publishing Institute and the Literary Institute of the Union of Writers of the USSR (1934-1939), and was deputy editor of the magazine " Literary studies" During the Great Patriotic War Surkov worked as a war correspondent for the front-line newspapers “Krasnoarmeyskaya Pravda”, “Red Star” and “Battle Onslaught”. In the post-war period, the poet worked as the executive editor of the magazine "Ogonyok" (1945-1953), the rector of the Literary Institute. A. M. Gorky (1950s), editor-in-chief of the Brief literary encyclopedia"(since 1962). Over the years creative activity Alexey Surkov has published a dozen and a half collections of poetry, but he gained greatest fame as a songwriter. Among the songs based on his poems one can name such songs as “Chapaevskaya”, “Those are not clouds, thunderclouds”, “Early, early”, “In the vastness of the wonderful Motherland”, “The fire is beating in a cramped stove...” (“In the dugout”) , “Cavalry”, “Song of the Brave”, “March of the Defenders of Moscow”, etc. The poet has the title of Hero of Socialist Labor (1969) and laureate of two Stalin Prizes (1946 and 1951). Alexey Alexandrovich Surkov died on June 14, 1983. He was buried in Moscow at the Novodevichy cemetery.

SONG "IN THE DUGOUT". HISTORY OF CREATION

Alexey Surkov and his letter, which will become the song “In the Dugout”

This song was immediately, unconditionally accepted - both by the heart of the soldier and the hearts of those who were waiting for him. But the poem from which it was born appeared, in general, by accident, and was not even intended for publication. It’s just that the poet Alexei Surkov wrote sixteen “homely” lines to his wife from the front. I wrote it in '41, at the end of November, near Istra, after a very difficult day when I had to fight my way out of encirclement with the headquarters of one of the guards regiments.

So these verses would have remained part of the letter if in February 1942 the composer Konstantin Listov had not come to the front-line editorial office and asked for “something on which to write a song.” “Something” was missing. And then Surkov, fortunately, remembered the poems he had sent home, found them in a notebook and, having copied them completely, gave them to Listov, being quite confident that, although he had cleared his comradely conscience, the songs from this absolutely lyrical poem were not will come out. Listov ran his eyes over the lines, mumbled something vague under his breath and left.

A week later he appeared at the editorial office again, asked photographer Misha Savin for a guitar and sang:

The fire is beating in the small stove,
There is resin on the logs, like a tear.
And the accordion sings to me in the dugout
About your smile and eyes.

Everyone who was free from work on releasing the issue listened with bated breath. And when Listov left, Savin asked Surkov for the text and, accompanying himself on the guitar, sang new song. And it immediately became obvious that the song would “go” - after all, the “ordinary consumer of music” remembered the melody from the very first performance.

The song really went. On all fronts - from Sevastopol to Leningrad and Polyarny. True, some guardians of front-line morality thought that the lines: “It’s not easy for me to get to you, but there are four steps to death” - decadent, “disarming.” They asked and even demanded that death be crossed out or moved further away from the trench. But it was too late to spoil the song, it “went”... They found out at the front that they were “playing tricks” with it, and one day Surkov received a letter from six tank guardsmen. The tankers wrote: “We heard that someone doesn’t like the line “four steps to death.” Write for these people that death is four thousand English miles, and leave us as it is, we know how many steps it is to death.”

And there was another incident that Olga Berggolts recalls. One day she came to the cruiser Kirov. In the wardroom, the officers were listening to a radio broadcast, and suddenly “Dugout” sounded with an “improved” version of the text. There were shouts of protest, and, turning off the loudspeaker, people demonstratively sang the song three times as they had sung it before.

Of course, it was not by chance that Surkov’s purely personal lines became the most popular war song, one of the highest lyrical successes of all front-line poetry. Already from the first days of the Great Patriotic War, the poet felt: a soldier’s heart is looking for not only a slogan and a call, but also a gentle, quiet word in order to relieve itself from the overload of all the terrible things that cruel reality has brought down on it. It is no coincidence that next to the forged lines: “There is a people’s war, a holy war” - in the soldier’s heart there lived, in general, a not very skillful song about a blue handkerchief. And the poet responded to this call of the heart. But there is another secret of the exceptional spiritual affection of millions of fighters for such poems as Simonov’s “Wait for Me” and for such songs as Surkov’s “Dugout”. This secret is in the absolute trust of the lyrical confession, which attracted millions of hearts, who completely accepted the lines of the song as an expression of their own feelings - the most hidden and the most sacred:

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

People perceived not only the meaning of the poem, but also all the heat of the heart, the pulsation of blood, excitement, hope, love put into it...

That is why if former front-line soldiers sing about the dugout, then even today they do not spare their hearts for this song and are not ashamed of tears.

Material from Wikipedia - the free encyclopedia

“In Zemlyanka” (“Zemlyanka”, “Fire is beating in a cramped stove...”) is a Russian Soviet song from the times of the Great Patriotic War. Music by Konstantin Listov, poetry by Alexey Surkov.

Creation

Since the beginning of the Great Patriotic War, journalist and poet Alexei Surkov was a war correspondent for the Krasnoarmeyskaya Pravda newspaper. At the end of the autumn of 1941, the 78th Rifle Division of the 16th Army defending Istra received the name 9th Guards, in connection with which the Political Directorate of the Western Front invited correspondents from Krasnoarmeyskaya Pravda to cover this event; Surkov, among others, went. On November 27, journalists first visited the division headquarters, after which they went to the command post of the 258th (22nd Guards) Rifle Regiment, located in the village of Kashino.

Upon arrival, it turned out that the command post was cut off from the battalions by the advancing 10th German Panzer Division, and enemy infantry was approaching the village itself. The start of mortar fire forced officers and journalists to sit in the dugout. The Germans occupied neighboring houses. Then the chief of staff of the regiment, Captain I.K. Velichkin, crawled towards the buildings, throwing grenades at the enemy, which caused a weakening of enemy fire and made it possible to make a breakthrough. Having safely passed the minefield, everyone went to the river and crossed it along another thin ice- under renewed mortar fire - to the village of Ulyashino, in which the battalion was stationed.

Staff officers and correspondents were housed in the dugout. Everyone was very tired - so much so that, according to Surkov’s recollections, Chief of Staff Velichkin, sitting down to eat soup, fell asleep after the second spoon, having not slept for four days. The rest settled down near the stove, someone began to play the accordion to relieve tension. Surkov began to make sketches for the report, but it turned out to be poetry.

At night he returned to Moscow and in a letter to his wife and mother of his daughter and son, Sofya Antonovna, under the heading “You are my sunshine!” subsequently wrote the famous lines. The next day, the letter was sent to the city of Chistopol, where Surkov’s family was evacuated.

In February 1942, composer Konstantin Listov came to the editorial office of the newspaper Frontovaya Pravda, where Surkov also began working, looking for lyrics for songs. Surkov remembered the poems he had written, drew them up and gave them to the musician, in his own words, confident that nothing would work out. However, a week later Listov returned to the editorial office and, taking a guitar from photojournalist Mikhail Savin, performed a new song, calling it “In the Dugout.” Those present approved the composition, and in the evening Savin, having asked for the lyrics, performed the song himself - the melody was remembered from the first performance.

Full lyrics

words by A. Surkov, music by K. Listov

The fire is beating in the small stove,
There is resin on the logs, like a tear.
And the accordion sings to me in the dugout
About your smile and eyes.

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

You're far, far away now
Between us there is snow and snow -
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness!
I feel warm in a cold dugout
From your unquenchable love.

Other articles in the literary diary:

• 31.01.2013. Written in the dugout by A. Surkov
• 01/28/2013. Yu. Drunina
• 01/21/2013. A. S. Pushkin
• 01/20/2013. Stichirsky bad manners
• 01/17/2013. Igor Kolyma
• 01/16/2013. Konstantin Simonov
• 01/10/2013. Yulinka
• 01/02/2013. Lev Smirnov

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“In the Dugout” is a Soviet song from the Great Patriotic War. Music by Konstantin Listov, poetry by Alexey Surkov.

A memorial sign was erected in 1998 on the site of a dugout in which in November 1941, front-line correspondent and poet Alexei Surkov wrote poems that later became the words of the song “In the Dugout” in the village of Kashino, Istrinsky district, Moscow region.

“The poem from which this song was born arose by accident,” Surkov recalled. - It wasn't going to be a song. And it didn’t even pretend to become a published poem. These were sixteen “homely” lines from a letter to his wife, Sofya Antonovna. The letter was written at the end of November, after one very difficult day at the front for me near Istra, when we had to fight our way out of encirclement at night after a heavy battle with the headquarters of one of the guards regiments...”

Meticulous researchers of the poet's work accurately name the day when that memorable battle took place on the outskirts of Moscow - November 27, 1941, and the part in which the correspondent of the newspaper "Krasnoarmeyskaya Pravda" of the Western Front, battalion commissar Alexei Surkov, found himself and took the battle - 258 1st Regiment of the 9th Guards Rifle Division.

Boris Nemensky. About distant and close ones. (1950).

After all the troubles, frozen, tired, in an overcoat cut by shrapnel, Surkov sat for the rest of the night over his notebook in the dugout, next to the soldier’s iron stove. Maybe it was then that his famous “Dugout” was born - a song that was included in folk memory as an integral companion of the Great Patriotic War..."

“These verses would have remained part of the letter,” he continues his memoirs, “if somewhere in February 1942 the composer Konstantin Listov, appointed senior musical consultant of the Main Political Directorate, had not arrived from evacuation Navy. He came to our front-line editorial office and began asking for “something to write a song on.” There was no “anything”.

Vasil Irina. Dugout.

And then, fortunately, I remembered the poems I had written home, found them in a notebook and, having copied them completely, gave them to Lisztov, being absolutely sure that although I had cleared my comrade’s conscience, a song would not come out of this absolutely lyrical poem. Listov ran his eyes along the lines, mumbled something vague and left. He left and everything was forgotten.

But a week later, the composer appeared again at our editorial office, asked the photographer Savin for a guitar and sang his new song “In the Dugout” with the guitar. Everyone free from work “in the room” listened to the song with bated breath. Everyone thought that the song “came out.” Listov left. And in the evening, after dinner, Misha Savin asked me for the text and, accompanying himself on the guitar, sang a new song. And it immediately became clear that the song would “go” if an ordinary music consumer remembered the melody from the first performance...”

The “premiere” of the song at the editorial office of Frontovaya Pravda was also attended by the writer Evgeny Vorobyov, who then worked at the newspaper. Immediately after “Dugout” was performed, he asked Listov to record its melody. There was no music paper at hand. And then Lisztov, as he had to do more than once in those conditions, lined an ordinary sheet of paper and wrote down the melody on it.

March 25, 1942 av " Komsomolskaya Pravda“The song “In the Dugout” was published for the first time - words and melodic line. It just so happened that this publication turned out to be almost the only one in the first years of the war. The fact is that some “guardians of front-line morality” considered the lines “It’s not easy for me to get to you, but there are four steps to death” as decadent and disarming. They demanded to cross them out, replace them with others, and “move” death “further from the trench.” But to change anything, i.e. to spoil the song, it was too late, it, as they say, “went.” But it is known: “you can’t erase words from a song.”

From Surkov’s memoirs it follows that it was not he who made changes to the lyrics of the song (there is a statement that this was done by Konstantin Simonov). Olga Berggolts told Surkov about the indignation that this replacement caused among front-line soldiers. The poet himself received a letter from the front-line soldiers with the following request: “Write for these people that there are four thousand English miles to death, but leave us as it is, because we know how many steps there are to death.”

Nikolai Booth. Letter to mom. 1970

The tireless propagandists of “Dugout” during the war years were the wonderful Soviet song masters Leonid Utesov and Lidiya Ruslanova. Lidia Andreevna recorded it in August 1942 on a gramophone record along with “The Blue Handkerchief”. She was adored by Yuri Nikulin, who once performed the song with his fellow soldiers.

After the war, in 1946, Alexey Surkov received the Stalin Prize of the first degree, including for his poems “The fire beats in a cramped stove...”. And in May 1999, in the village of Kashino, Moscow region, the guys from the ISTOK club in the city of Istra erected a memorial sign, the opening of which was attended by veterans of the 9th Guards Division and the poet’s daughter, Natalya Alekseevna Surkova. Military song festivals are held in the Istra district, and in the city of Dedovsk a song and poetry festival named after Alexei Surkov “And an accordion sings to me in the dugout” was held.

Marat Samsonov. In a moment of calm. 1958

The fire is beating in the small stove,
There is resin on the logs, like a tear,
And the accordion sings to me in the dugout
About your smile and eyes.

The bushes whispered to me about you
In snow-white fields near Moscow.
I want you to hear
How my living voice yearns.

You are far, far away now.
Between us there is snow and snow.
It's not easy for me to reach you,
And there are four steps to death.

Sing, harmonica, in spite of the blizzard,
Call lost happiness.
I feel warm in a cold dugout
From my unquenchable love.

Often the last line of the song is sung as “From your undying love.”

I. Evstigneev. In the dugout. Harmonic. 1945

During the war, in some performances, the lyrics of the song looked completely different: after the first two verses (without changes), not two, but four followed:

You are now far, far away.
There is snow and snow between us.
It’s not easy for me to reach you -
And there are four steps to death.

Sing, harmonica, to spite the wind,
Call lost happiness.
It became warm in our dugout
From my unquenchable love.

I am the love that is in the soul, like a lighthouse
I will carry you through melancholy and battles,
To see my dear,
Your tears are happy to me.

And the harmonica, as if in response
Sings a song of joyful meeting,
It's like you're sending hello
It's like you're whispering my name.

A.A. Surkov "In the dugout"

The poem was written by A. Surkov in November 1941 on Western Front. It is dedicated to the poet’s beloved woman, Sofya Krevo. In February 1942, Surkov gave these poems to the composer Listov, who set them to music. The result was a song that became very popular during the war.

In terms of its genre, this is a message to a beloved; we can classify it as intimate lyrics, but we will take into account the presence of a military and patriotic theme in the poem. In its form, the poem is a monologue of the lyrical hero addressed to his beloved woman.

The work is built on the principle of antithesis. A cold dugout, a blizzard, snow-white snow, death - all these images are contrasted with the fire beating in the stove, the living song of an accordion, the smile of a beloved woman. All this saves the lyrical hero in terrible moments, gives him faith and hope.

The poem has a ring composition. It opens with the image of fire, symbolizing love and life. Ends with recognition lyrical hero:

I feel warm in the cold dugout from your unquenchable love.

Love is the flame that warms a fighter’s soul, strengthens his will, and gives strength in battle.

The poem is written in three-foot anapest, quatrains, and the rhyme pattern is cross. The poet uses various means artistic expression: epithet (“in a cramped stove”, “in snow-white fields”, “a living voice”), comparison (“On the logs there is resin like a tear”), personification (“And an accordion sings to me in the dugout”, “The bushes whispered to me about you” "), metaphor ("I feel warm in a cold dugout from your unquenchable love"),