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22 Июня, ровно в 4 часа-בעשרים ושנים ביוני בשעה ארבע בדיוק

שיר רוסי-מילים: בוריס קונסטאנטינוביץ' קובינייב[?]-עברית: צבי גלעד [גרימי]-לחן: א. פטרסבורגסקי [יורי יאקובלביץ' פטרסבורג]-[יז'י פטרסבורגסקי][?]-שירה: איזי הוד-עיבוד, נגינה, עריכה והקלטה: מאיר רז

עֶשְׂרִים וּשְׁנַיִם בְּיוּנִי, אַרְבַּע שֶׁל טֶרֶם חַמָה, קִיֶיב הוּפְצָצָה, כְּרִיזָה

 הוּפָצָה, אָנוּ בְּתוֹךְ מִלְחָמָה. רְאִי, חָזִי, הֲלֹא אֵין זוֹ רוּחַ תְּזָזִית, קָט

 עוֹד נֵשֵׁבָה, עַד הַרַכֶּבֶת, אָנוּ יוֹצְאִים לְחָזִיַּת. תַּמוּ הַתוֹם וְהַשֶׁקֶט

 שְׂאִי לָךְ שָׁלוֹם, לָךְ אַגִיד, אָמְנָם הָלַכְתִי, אֲבָל הִבְטַחְתִי, אַת בְּלִבִּי

 לְתָמִיד. רְאִי, חָזִי, הֲלֹא אֵין זוֹ רוּחַ תְּזָזִית,  קָט עוֹד נֵשֵׁבָה, עַד

 הַרַכֶּבֶת, אָנוּ יוֹצְאִים לֶחָזִית. רַעַד תְּזוּזָה בַּרַכֶּבֶת, הַקַטָרִים

 מִתְנָשְׁפִים, אָנוּ בַּדֶרֶךְ, אַת שָׁם נִשְׁאֶרֶת, עֶצֶב יָדֵךְ נוֹפְפִי. תַחֲלוֹף 

שָׁנָה, אָשׁוּב וְאֶפְגוֹשׁ בָּךְ, קְטַנָה, שׁוּב תְּחַיְיכִי לִי, שׁוּב תִמְתְקִי לִי, כְּמוֹ

 נְשִׁיקָה רִאשׁוֹנָה

22 июня, ровно в 4 часа-Музыка: Ю́рий Я́ковлеви Петерсбурский [Е́жи Петерсбу́рский]-Слова: Бори́с Константи́нович Ко́вынев [?]. Двадцать второго июня, Ровно в четыре часа, Киев бомбили, нам объявили, Что началася война. Кончилось мирное время, Нам распрощаться пора, Я уезжаю, быть обещаю, Верным тебе навсегда. И ты смотри, Чувством моим не шути, Выйди, подруга, к поезду друга, Друга на фронт проводи. Дрогнет состав эшелона, Поезд помчится стрелой, Я из вагона-ты мне с перрона Грустно помашешь рукой. Пройдут года, И снова я встречу тебя, Ты улыбнешься, К сердцу прижмешься, Я расцелую тебя.

הערות שכתב איזי הוד: השיר, בעשרים ושתיים ביוני בשעה ארבע בדיוק, נכתב מיד עם פרוץ מלחמת העולם השנייה ברוסיה [1941-1945], בתאריך 22 ביוני בשנת 1941 על ידי המשורר, בוריס קובינייב. השיר הושמע לראשונה בתאריך 29 ביוני באותה השנה, על ידי חייל מהצבא האדום בשם, נ. י. נומצ'ינוב, מהלהקה הצבאית לשירה ומחול של הצבא האדום, ועל רציף הרכבת בקייב, מלווה את ראשוני הלוחמים האוקראינים של הצבא האדום בצאתם לחזית. המשורר, קובינייב, פרסם את השיר עם חתימת שם משפחתו [ב. קובינייב] בעיתון מלחמה מקומי בחזית. נומצ'ינוב מצא את מילות השיר של המשורר, קובינייב, מפורסמים בעיתון הזה, או ששמע את השיר מוקרא, נומצ'ינוב העתיק את השיר לפנקסו האישי, צירף למילים את הקטע המוזיקאלי שכתב המלחין הפולני, יז'י פטרסבורגסקי, שהפך לרוסי תחת כיבוש פולניה על ידי רוסיה בהתאם להסכם אי ההתקפה של מולוטוב וריבנטרופ והופיע עם השיר בשם, פרידה, על רציף הרכבת ממנו יצאו החיילים האוקראינים למלחמה. כך היו הדברים כשהמלחמה פרצה, שירי עידוד מלחמתיים נכתבו בהמוניהם מיד ולחנים קודמים, של שירים ידועים, החלו משמשים פלטפורמה, לטקסטים המלחמתיים. ביניהם, הלחן שכתב המלחין הפולני, יז'י פטרסבורגסקי [שברוסיה שונה שמו לגיאורג פטרסבורגסקי] למוזיקת וואלס בשם, תכול המטפחת [1939] וששנה לפני פרוץ מלחמת העולם השנייה ברוסיה [1940], המשורר הרוסי, יאקוב גליצקי, כתב ללחן את הטקסט המקורי של השיר, תכול המטפחת. טקסטים רבים אחרים, הנוגעים לשלבים שונים של ההתגייסות, הגיוס, והיציאה לחזית, נכתבו בהמשך ללחן של, המלחין הפולני, יז'י פטרסבורגסקי והמשוררים ברובם אינם ידועים בוודאות. מלחמת העולם השנייה ברוסיה, החלה בהפצצת, קייב, האוקראינית והשיר הזה, התפשט במהירות עצומה, בחזית האוקראינית. אלה שראו את מילות השיר של קובינייב בפנקס של, נמצ'ינוב, יחסו בטעות לנמצ'ינוב את מילות השיר. לבוריס קובינייב, הייתה הוכחה טובה יותר, לדרוש, שהטקסט של השיר ירשם כשלו. הוא שמר על העיתון, בו פורסם השיר ועליו חתימת ידו. סרגי פאבלוביץ' קארסיקוב, שבמהלך מלחמת העולם השניה, ערך את העיתון, שירה והיה בעצמו משורר, סיפר את סיפור השיר, המשורר, בוריס קונסטאנטינוביץ' קובינייב, הביא למערכת, שירה, שנים רבות לאחר המלחמה, כשהיה מאד מבוגר, שירים להפצה בעיתון וביניהם, שיר המתייחס לתאריך העשרים ושניים ביוני, יום פרוץ מלחמת העולם השנייה, ברוסיה, בשנת 1941. קובינייב, אף הראה באותו זמן, פרסום של השיר הזה, בזמן המלחמה, באחד מהעיתונים, שנכתבו והופצו ממש בחזית ושם משפחתו בלבד [ב. קובינייב] רשום בסוף השיר. חברי המערכת של העיתון היוקרתי, חשבו, שהשיר אינו בשל מספיק לדפוס ולא קבלו אותו להפצה. קובינייב לא התעקש, נטל את שירו ועזב את המערכת. העיתון המלחמתי המקומי, שנוצר עבור החזית, נשכח מזמן. לעומת זאת, השיר של, קובינייב חי ובועט. הצעד הראשון, אם כן, בכתיבת השיר של, קובינייב, ב-22 ביוני בשעה ארבע בדיוק, היה של המלחין, יז'י [ג'רזי, ג'רי, גיאורג] פטרסבורגסקי, שכתב בשנת 1939 את הוואלס [לחן בלבד] בשם, תכול המטפחת. הצעד השני היה של המשורר, יאקוב גליצקי, שכתב בשנת 1940 והציע למלחין, פטרסבורגסקי,  את מילות השיר, בגירסה הראשונה המקורית, בשם, תכול המטפחת. הצעד השלישי היה בתחילת מלחמת העולם ברוסיה בשנת 1941, כאשר המשורר, בוריס קובינייב, כתב הגרסה המלחמתית הראשונה של מילות השיר בשם, בעשרים ושניים ביוני בשעה ארבע בדיוק ופרסם אותם בעיתון חזית מקומי. הצעד הרביעי היה של החייל, נמצ'ינוב, שחיבר בין המילים של, קובינייב, והלחן של, פטרסבורגסקי. הצעד החמישי היה של קצין ההדרכה הפוליטי בחזית מלחמת העולם השנייה, סגן מיכאיל מקסימוב, שכתב בשנת 1942 לשיר מילים משלו ובאחד הקונצרטים בחזית באותה שנה, מסר את השיר לזמרת, קלאודיה שולז'נקו, שאהבה את הגרסה השנייה הזו של השיר, תכול המטפחת והופיעה איתה החל מלמחרת היום. כך היה גם שמילות השיר המלחמתי נחשבו תחילה כשיר עם, אחר כך נחשבו מילות השיר ככאלה שנכתבו על ידי, נמצ'ינוב ורק  אחר כך הושבו המילים לבעליהם, בוריס קובינייב. גריגורי דמיטרייביץ' פלוטניקוב, היה האדם האחרון שליווה את בוריס קובינייב במחלתו ועד מותו. קובינייב, ששירו ליווה את כל ברית המועצות, מיום תחילת מלחמת העולם השנייה ותקופה ארוכה לאחר שהסתיימה, היה בסוף ימיו משותק במחצית גופו, גר עם אשתו בדירת חדר אחד, חסר כל, נלחם על זכותו לקבל הכרה ממשלתית כמחבר השיר, בעשרים ושתיים ביוני בשעה ארבע בדיוק. חוקר היוצרים ושיריהם מתקופת מלחמת העולם השניה, יורי ביריוקוב, כתב, כי בקושי הצליח למצוא את קברו של, קובינייב, שהיה מוזנח ומכוסה עשביה פראית ענפה, ביריוקוב דאג לשיפוץ המצבה. המלחין,  יז'י פטרסבורגסקי, נולד וחי בארץ מולדתו, פולין, עד אשר אזור מגוריו בפולין, הפך לרוסיה [אזור, ביאליסטוק], בתחילת מלחמת העולם השנייה, כאשר, גרמניה הנאצית ורוסיה, הסכימו על, אי לוחמה, בהסכם, מולוטוב ריבנטרוף ורוסיה זכתה בחלק מפולין. פטרסבורגסקי, היה מיועד להכלא במחנה הסגר, אך הזמר ושחקן הקולנוע הרוסי המפורסם והמקושר, לאוניד אוטיוסוב, עמד על כך, שפטרסבורסקי יוכר כאזרח רוסיה. פטרסבורגסקי, הצליח להימלט מרוסיה במהלך מלחמת העולם השנייה, חי תקופה ארוכה באירן, מצריים, ישראל וארגנטינה וחזר לפולין בה נפטר בשנת 1979, 3 שנים לפני שטוהר מאשמת נטישת ברית המועצות ויחד עם זאת, הושבה לו זכות היוצרים של השיר, בעשרים ושתיים ביוני בשעה ארבע בדיוק

קישור לשיר בשפת המקור

Link to the song in the original language

22 Июня, ровно в 4 часа

22 июня, ровно в 4 часа

22 июня, ровно в 4 часа

22 июня, ровно в 4 часа

22 июня, ровно в 4 часа

כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE

To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website

References

22 Июня, ровно в 4 часа

22 Июня, ровно в 4 часа

22 Июня, ровно в 4 часа

22 Июня, ровно в 4 часа

22 Июня, ровно в 4 часа

התוכן והעיבוד הלשוני אינם סופיים

התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת

The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.

On June 22 at exactly four o'clock-Russian song-lyrics: Boris Konstantinovich Koviniev [?]-Hebrew: Tzvi Gilad-Music: A. Peterburgski [Yury Yakobovich Petersburgski]-[Jerzy Petersburgski] [?]-Singing: Izzy Hod-Arranging, playing, editing and recording: Meir Raz.

Note written by Izzy Hod: The poem, on the twenty-second of June at exactly four o'clock, was written immediately upon the outbreak of the Second World War in Russia [1941-1945], on June 22 in 1941 by the poet, Boris Koviniev. The song was played for the first time on June 29 of the same year, by a Red Army soldier named N. J. Nomchynov, from the military song and dance band of the Red Army, and on the railway platform in Kyiv, accompanies the first Ukrainian fighters of the Red Army as they leave for the front. The poet, Koviniev, published the poem with the signature of his surname [B. Koviniev] in a local war newspaper at the front. Nomchynov found the words of the poet, Koviniev, published in this newspaper, or heard the poem read, Nomchynov copied the poem into his personal notebook, attached to the words the musical piece written by the Polish composer, Jerzy Petrosburgski, who became Russian under the occupation of Poland by Russia in accordance with the Molotov and Ribbentrop non-aggression pact and performed with the song called, Farewell, on the train platform from which the Ukrainian soldiers left for war. This is how things were when the war broke out, war songs of encouragement were written en masse immediately and previous tunes, of well-known songs, began to serve as a platform for the war texts. Among them, the composition written by the Polish composer, Jerzy Petrsburgski [in Russia his name was changed to Georg Petrsburgski] for the waltz music entitled, Blue Handkerchief [1939] and a year before the outbreak of the Second World War in Russia [1940], the Russian poet, Yakov Glitsky, wrote the original text of the song, the Blue handkerchief. Many other texts, relating to various stages of the mobilization, enlistment, and going to the front, were written later to the tune of the Polish composer, Jerzy Petersburgski, and the poets are mostly unknown for sure. The Second World War in Russia, began with the bombing of Kyiv, the Ukrainian and this song, spread with enormous speed, on the Ukrainian front. Those who saw Koviniev's lyrics in Nemchynov's notebook mistakenly attributed the lyrics to Nemchynov. Boris Koviniev, had better proof, to demand that the lyrics of the song be recorded as his own. He kept the newspaper in which the poem was published with his signature on it. Sergey Pavlovich Karsikov, who during World War II, edited the newspaper named, Lyrics and was himself a poet, told the story of the poem, of the poet, Boris Konstantinovich Koviniev, brought to the editorial of the journal, lyrics, many years after the war, when he was very old, poems for distribution in the newspaper and among them, a poem referring to the twenty-second day of June, the day the Second world war broke out, in Russia, in 1941. Koviniev even showed at that time, the publication of this poem, during the war, in one of the newspapers, which were published and distributed right at the front and his last name only [B. Koviniev] is written at the end of the poem. The members of the editorial board of the prestigious newspaper thought that the poem was not riped enough for print and did not accept it for distribution. Koviniev did not insist, took his song and left the editorial. The local war newspaper, created for the front, was long forgotten. On the other hand, Koviniev's song is alive and kicking. The first step, then, in writing the song of Koviniev, on June 22 at exactly four o'clock, was that of the composer, Jerzy [Jerry, Georg] Petersburgski, who wrote in 1939 the waltz [only melody] called, Blue Handkerchief. The second step was that of the poet, Yakov Glitsky, who wrote the original lyrics to the song in 1940 for, Petersburgski, the words of the song, in the original first version, called, Blue handkerchief. The third step was at the beginning of the World War in Russia in 1941, when the poet, Boris Koviniev, wrote the first wartime version of the lyrics of the song entitled, On the twenty-second of June at exactly four o'clock, and published them in a local front-line newspaper. The fourth step was that of the soldier, Nemchynov, who connected the words of Koviniev with the melody of Petersburgsky to a poem. The fifth step was that of the political instructor officer at the front of the Second World War, Lieutenant Mikhail Maximov, who in 1942 wrote his own words to the song and at one of the concerts at the front that year, he gave the song to the singer, Claudia Shulzhenko, who liked this second version of the war song, the Blue handkerchief, and performed with it starting the next day. It was also the case that the words of the war song were first considered a folk song, then the lyrics were considered to have been written by Nemchynov, and only then were the words returned to their owner, Boris Koviniev. Grigory Dmitrievich Plotnikov, was the last person who accompanied Boris Koviniev in his illness and until his death. Koviniev, whose poem accompanied the entire Soviet Union, from the day the Second World War began and for a long time after it ended, was at the end of his days paralyzed in half of his body, living with his wife in a one-room apartment, destitute, fighting for his rights to receive government recognition as the author of the poem, on June twenty-second at four o'clock exactly. The researcher of the authors and their poems from the Second World War period, Yuri Biryukov, wrote that he was barely able to find the grave of Koviniev, which was neglected and covered with wild grass, Biryukov took care of renovating the tombstone. The composer, Jerzy Petrosburgski, was born and lived in his native country, Poland, until his area of residence in Poland, became Russia [region, Bialystok], at the beginning of World War II, when Nazi Germany and Russia agreed on, non-war, in the Molotov–Ribbentrop Pact and Russia Won a part of Poland. Petersburgski, was destined to be imprisoned in the detention camp, but the famous and well-connected Russian singer and film actor, Leonid Utyusov, insisted that Petersburgski be recognized as a Russian citizen. Petersburgski, managed to escape from Russia during the Second World War, lived for a long time in Iran, Egypt, Israel and Argentina and returned to Poland where he died in 1979, 3 years before he was cleared of the charge of abandoning the Soviet Union and at the same time, the copyright of the song, On the twenty-second of June at four o'clock exactly was restored to him. The literal description of the words of the song is as follows, On June twenty-two, at exactly four o'clock, before the sun rose, Kiev was bombed and the war began. Look girl, it's not just a ghost, it's a war, so we'll sit for a moment until the train arrives to take me to war. The silence and innocence have ceased for the time being. I say hello and I'll go to war but I promise you, you will always stay in my heart. So, look girl, it's not just a ghost, it's a war, so we'll sit for a moment until the train arrives to take me to war. The train shakes at the beginning of the movement and the locomotives make their exhalation. We're on our way to war and you're staying on the train platform waving your hands. When this year of war passes we will meet again. You will smile at me, you will be sweet to me, like in our first kiss.

 Texts from the references 

The first documentary evidence of the existence of the song-its entry in a notebook on June 29, 1941 by fighter N.I. Nemchinov in Ukraine. During the war, the song was re-written in new details.

about the defeat of the Germans near Moscow, etc. editing the literary and artistic almanac "Poetry" that poems about "Twenty-second June" brought once (judging by the context, many years after the war) for publication in the almanac poet Boris Kovynev (1903-1970), presenting a clipping from the front newspaper, where the poem was signed by his surname. The poems of the editorial board were rejected. But there is no documentary evidence in favor of Kovynev's authorship in the article.

Yuri Biryukov (Rodina Magazine, 2003, No.4) Every year, when the sad day of the beginning of the Great Patriotic War comes, for some reason I come to remember the simple lines of one of the very first songs of that war. Rather than a song, but a song alteration of the pre-war "Blue Handkerchief." She was born literally in the first days of the enemy invasion and, I think, remembers many who sang it in that harsh time.

This song on the eve of the war became a hit. It was sung by famous singers and singers. And two of them- katerina Yurovskaya and Isabella Yurieva-even managed to record the pre-war "Blue Handkerchief" on a gramophone. With great success she performed this song in her concerts Lydia Ruslanova, including at the front. But, of course, the most popular during the war was that version of the "Blue Handkerchief" composed by the employee of the newspaper "In the decisive battle" of the Volkhov Front, Lieutenant Mikhail Maksimov, ending with the words: "The machine gunner is turning for a blue handkerchief that was on the shoulders of expensive..." It was sung and recorded in the film "Concert-Front" and on the album by Claudia Shulzhenko, and, thanks to her, the song about the "blue handkerchief" became a kind of symbol, forever merged with the name of this famous singer. Still, I would like to go back to that version of "Blue Handkerchief," the lines of which are in the title and the beginning of my story. A few years ago, the poet-songwriter Sergei Krasikov, who had long edited the literary and artistic almanac "Poetry", told me that poems about "Twenty-second June" among others, brought to him once by the poet Boris Kovynev and offered to publish in a section composed of works born during the war. He showed a clipping with their publication in one of the front-line newspapers, signed by his last name. However, the members of the editorial board considered these verses primitive and undeserving of publication in the almanac. Maybe they were right. But these lines were composed promptly, on the hot trail of events. And most importantly - were picked up and sung by millions. Kovynev himself probably did not know about it and did not know it. In any case, he did not insist on fulfilling his request. He took the poems and left. By then, he was already quite an old man. But in the 1920s the name of Boris Konstantinovich Kovynev (1903-1970) was heard by many. His first book of poems was published in Novaya Moscow in 1925. The second-"The Last of the Mohicans" in 1926, the book "The Sun of Adults" recommended to print A. M. Gorky. From Sorrento, he wrote a letter to the author in which he spoke warmly of his poems. This inspired the poet for a long time. Again the song buzzes the head, again youth splashes the surf. Thus ended his poem dedicated to Gorky. In the funds of the Russian State Library I found several poetry collections and numerous newspaper editions with his poems. In many of them clearly visible their song nature. It is not accidental, probably, the lines that have splashed out on him once: It is necessary to carry the song in front (in the song there is an indelible force!), that the youth in each breast is more fun than the harmonium, voiced...And such songs on his poems were folded. Perhaps the main one left to live in the people's memory, but lost, as it often happens, the name of the author, the one that began with the words: Where the clouds fly, the shells are torn with wild howt, look closely, the pilot, on the ground, shaken by the battle. In 1927, this poem by Boris Kovynev entitled "Aviamarsh" was published almost simultaneously by the newspapers "Gudok" (July 13) and "Red Star" (July 24). And in the people on these verses was composed a song with a memorable, I think, many catchy chorus: Propeller, ring the song sing, Wearing spread wings! For the eternal world In the last battle of Flyi, steel squadron! I myself once sang "Steel Squadron" in Suvorovsk and cadet corps, and therefore met with her on yellowed from the old newspaper pages as a good old friend. Even earlier-in February 1924, Kovynev was folded and published piercing lines "Poems about Lenin", also became a song: The blizzard flew hot, Under the village howled at the outskirts. Poems and a song about "June 20," I think, are also from this series. Therefore, the name of their author deserves to be not forgotten and remembered. Many years ago I had a chance to hear from the poet Yakov Shvedov, the author of the famous "Orlenka" wise words of poetic parable: And in the hour pre-rolled again and again in the soul the aphorism moves: In the customs of the world-first to crucify, then-to the crucifixion to pray...It turned out that these visionary poetic lines also belong to Boris Kovynev's pen...I hardly found his ungroomed, grass-covered grave in the Vagankov cemetery. I haven't been able to find at least his picture yet to put it in this story and in his future book " Crucified Authors of Famous Songs". It refers to the tragic fates of the authors of "On the Valleys and the Highlands," "Aviamarsh," "Songs of the Counter," "Call Me Ugly" and other songs, the stories of which I have already told or are going to tell in the rubric "Memory of the Heart." There will be a story about the songs of Boris Kovynev, sung in the people, but which remain as yet nameless. I persevere in my search and very much hope for the help of those who read these lines.

The information about the Russian original song is summarized by Eli Sat, based mainly on the article by the Russian singer-songwriter Yuri Biryokov. Thanks to Uri Jakubowicz and Zvi (Grimi) Gilad for their part: The song is a Hebrew translation of Синий платочек ("Blue Handkerchief"), which is the first Russian version written by Koba Galitsky in 1940 of the Polish song Mała błękitna chusteczka ("Little Blue Handkerchief"). The Polish song was written in 1939 by Polish duo Jerzy Petersborski, composer and pianist, and poet Arthur Tor. In 1940, Petersburski moved from Nazi-occupied Poland to the Soviet Union, where he performed with his orchestra "Blue Jazz". Blue handkerchief. "It is likely, as Zvi (Grimi) Gilad pointed out, that Galitsky knew that the name of the song we sent was" Little Blue Handkerchief, "and around it he embroidered his version in Russian. Galitsky presented the house he had written to Petersbursky, it gave his approval and Galitsky completed his version. The first to perform this version was the singer Stanislav Landau (1912-1992). Soon more singers included the song in their repertoire including Isabella Yureeva (see above) and Vadim Cousin. After the USSR joined the war, war versions of the song appeared, including humorous ones, unrelated to the original text. The most famous of which is a version whose author is unknown and begins with the words: The singers who performed war versions at the time stood out Lydia Ruslanova. The song reached its peak of popularity only after the spring of 1942. In April of that year, singer Claudia Schulzhenko appeared on the front of Volkov (near Leningrad), and her performance was covered by a reporter for the military newspaper "In a Cruel Campaign", Lt. Mikhail Maximov. After the performance, Maximov met Shulzhenko and suggested that she add "Blue Handkerchief" to her repertoire of performances, which was already popular among the soldiers. Schulzhenko said the lyrics were not appropriate for wartime and when she realized that Maximov was writing songs she suggested he rewrite the song. Maximov who wrote the song that night. According to some sources Shulzhenko made her own corrections and since then has not missed an opportunity to sing it. In November 1942 Shulzhenko was photographed performing the song for the film "Front Concert (1942)" and since then her name has become associated with the song. A blue handkerchief is engraved on her grave in Moscow.  Amos Rodner adds: According to historian Anthony Beaver, the song was so popular in the Red Army that soldiers stormed in exclaiming, "Za Rodino! Za Stalina! Za Sinai-Platochek! Hora!" (For the homeland! For Stalin! For the blue handkerchief! Cheers!).

On Blue Handkerchiefs in Russian Songs / Eli Sat: "Blue handkerchief" is a recurring motif in Russian singing, it expresses a promise of a faithful wait at parting. The most prominent Hebrew poem in which this motif appears is Shlonsky's translation of "The Blue of the Handkerchief." According to "Oneg shabat", Prof. David Assaf's blog: "Shlonsky himself returned to the motif of the blue handkerchief in another of his songs sung in the same program, 'Shalom Iri Nohama' In which both "the blue of the handkerchief" and "Shalom Iri Nohama"-SS] were sung. Indeed, the chant of "Shalom Iri Nochama" in Shlonsky's translation ends with the words: "A blue handkerchief in the distance." Shlonsky used to be precise in his translation; In this case, did he deviate from his custom? The answer is no: the blue handkerchief appears at the end of the chorus of Вечер на рейде ("An Evening at the Anchor"), a poem by Alexander Churkin, which is the Russian source of "Shalom Iri Nechama". In fact, the original line Знакомый платок голубой is literally "the familiar blue handkerchief". Presumably, when Churkin wrote these words in 1941, he alluded to Sinai платочек ("Blue Handkerchief"), a poem by Koba Glitsky and the original "Blue Handkerchief", composed about a year earlier (1940) and already popular. But even Glitsky's poem is not the "ancestor" of poems in which parting is associated with a blue handkerchief. The Polish song Mała niebieska chusteczka ("Little Blue Handkerchief") by Arthur Tor was composed by Jerzy Peterborski in 1939. But even this song is not the ancestor. To the best of our knowledge the ancestor is the Russian folk song Ехали цыгане ("The Gypsies Come Out") The original song tells of a tragic parting that has no hope: "When the gypsies came out / they stopped under an apple tree / and there was a young man / with a red shirt / and so beautiful / joined them / and lost the The street / his childhood home / and a woman with a blue handkerchief "etc. By the way, according to the melody of" The Gypsies came out ", Aryeh Uri wrote his poem" Hi maidens ", whose lyrics have nothing to do with the text of the original song. In 1970, the poet Margarita Ogshina wrote the poem Подари мне платок ("Give me my handkerchief") composed by Grigory Ponomarenko, which also tells the story of a blue handkerchief. Watch the performance of Lyudmila Zikina.

Who wrote the Polish original song? / Eli Sat. Most sources attribute the song to Arthur Tor. Prominent among them are the Russian site a-pesni and the Polish song site tekstowo, which presents the version that appears in our original song as the original version of the song. The latter notes that the song was written in 1939 and that in the same year the singer Vyacheslav Fog performed the song. Stanley Lauden's book The White Baton ("The White Wand") was published in the United States in 1957. Stanley Lauden is Stanislaw Landau, who was a singer in Jerzy Petersborsky's The Blue Jazz Orchestra. This orchestra performed in the late 1940s at the Hermitage Theater. "In Moscow, where he heard the song by Jakub Galitsky who composed the first version of the song in Russian. Several sources (including Yuri Biryakov) note that the person who sang the song that evening was Stanislav Landau, but it is not known if he sang in Polish or Russian. Although Galitsky is considered to have written the first Russian version, Lauden (according to his book, ibid., Pp. 110-111) has a completely different story, according to which Arthur Tor did not write the first Polish version of the words either. According to this story, in the early 1940s in the city of Bialystok he met at the house of the chairman of the Bialystok Musicians Association with Jerzy Petersburski and two musicians (their names were Quartz and Henrik). Petersborsky retired from the card game, played the piano and composed the melody. Later he (Lauden) He wrote the Polish lyrics and with the help of Petersborsky adapted it to the melody, and a lyrics version was also written in Russian that evening, according to Lauden, the first performance (implied that there were others) was in Vilnius, where the song was performed partly in Polish and partly in Russian. Lauden's story raises doubts if not questions: Why was the story not told until 1957? Why did others not know about it? Why do most sources not refer to it? Not only is Auden suspected in advance of self-interest (for it is clear that if his story turns out to be true, he will gain fame); Despite this and although he has performed the song many times, he does not know how to quote the Polish song in its entirety, but only recreates excerpts from it. This is strange, because Landau knows how to tell in great detail what happened that evening in Bialystok, including exact quotes from Petersborsky  remarks when Landau told him he was not enthusiastic about the tune.

Forgotten Names-Boris Kovynev, Danila Klyuev-Tverskaya. Recently I had a very interesting study of historian and journalist Sergei Smolyannikov in the weekly "2000". In search of the authors of the memorable song "June 22nd..." for all World War II veterans. The journalist revealed the name of the author of the song, which has long been considered popular. It is nice that they turned out to be our countryman and famous Soviet poet Boris Kovynev. But let's pass the word to the original source, however, with our abbreviations. "For a week there were battles on both the new and the old, until September 1939, the border-the so-called "Stalin line." It was not only the country's top leadership that it became clear that the war would be protracted and bloody...Already "Sacred War" as an anthem of resilience and courage filled the airwaves, when suddenly on June 29 from the reproducers heard the now known words on an equally well-known motif: 22nd June, exactly at four o'clock, Kiev bombed, we were told that the war began! So, the date of the first performance is known-June 29. As a historian who set himself the task of unraveling the mystery of this popular song, I received the first answer. Although I will not hide, a certain, I would say even, professional interest in this and other researchers from Russia and Poland. But the main trace of the song, especially the song about Kiev, was found just in the Mother of russian cities-in the capital of Ukraine. Working in the archives, he noticed the folder "Songs of war years-remade from peaceful." It interested me so much that I reviewed a huge number of notes and scores. And here's luck! One of the political reports of the South-Western Front reported: "...On June 29, 2017, the Red Army man from the ensemble of the song and dance of the Kiev Special Military District in front of the soldiers, departing to the front at the Kiev railway station, on June 29, 2017, performed a new song by E. Petersburg (Petersburg) "Farewell", which commanders and fighters greeted with enthusiasm, asked to rewrite the words, and they will perform it on their own positions. In the same folder lay a sheet of music with the melody of the song. To the best of my musical abilities, I sang "Twenty-Second June..." And got... "Blue handkerchief." There was also a score of "Blue Handkerchief" in the folder...Most of the songs have two authors-composer and poet. We know the composer. Who is the poet? The Encyclopedia of soviet Song states: "The song "Twenty-second June in exactly four hours", length of 1 min. 47 sec. written to the music of E. Petersburg, the words folk, in 1941 description: "...Kiev was bombed, we were told that the war had begun..." And that's it. Only after painstaking searches it was possible to find out that the song with the real name "Farewell" which did not take root, because it evoked the saddest thoughts (war after all), but with the "people's name" approved in Moscow-"Twenty-second June, exactly at 4 o'clock"-was composed by the famous (!) Soviet poet Boris Kovynev on the music of the popular waltz Zhzhi Petersbursky "Blue Dress". It was first performed in Ukraine by fighter N.I. Nemchynov on June 29, 1941, and then instantly spread throughout the country. Thanks to many years of research by music historians Yuri Biryukov and Marina Smorodinskaya, it was possible to learn that on the first day of the war the poet Kovynev wrote the poem "June 22" and published it in the newspaper of the South-Western Front. Eventually he forgot about it, and when in 1943 he came to the editor of the literary and artistic almanac "Poetry" Sergei Krasikov and showed a clipping with his poem signed by his surname, and asked to compare with the famous song, he was denied copyright, because it was already considered folk. So they announced: the song "June 22, music and folk words...But the name of Boris Konstantinovich Kovynev was very well known before the war. His collections of poems recommended for the printing of Bitter. To my shame, I myself recently learned that the famous "Aviamarsh"-the anthem of boys who dreamed of becoming "Stalin falcons" written exactly Kovynev: Where the infantry will not pass and the armored train will not rush, the sullen tank will not crawl, There will fly a steel bird. He is also the author of poems to songs that have become legends: "By the valleys and in the highlands," "Call me ugly" and others, and it is also noteworthy that Boris Konstantinovich is our countryman, because he was born in Poltavshchina, in Gogol places, in the village of Maryivka. Unfortunately, in his modesty Kovynev (real name Kovan) never claimed to be the author of the song and the secret took it to the grave in 1970.

http://a-pesni.org/ww2/folk/22junyrovno.htm ///THE TWENTY-SECOND OF JUNE...On the twenty-second of June, Exactly at four o'clock, Kiev was bombed, we were told that the war had begun. Peacetime is over, It's time us to say goodbye, I'm leaving, I promise to be faithful to you forever. And you look, Do not joke with my feeling out, friend, to the train of a friend, friend to the front. The composition of the echelon will tremble, The train will rush like an arrow, I'm out of the car - you will wave your hand to me sadly. Years will pass, And again I will meet you, You will smile, Press close to my heart, I will kiss you.///Manuscript Department of the Institute of Russian Literature, R. V, coll. 201, p. 1, no. 1, p. 57. Zap. I. V. Efremov in 1946 from A. P. Malakhova, a former teacher, in the city of Kobrin (BSSR). A similar variant is in the same collection, p. 56, ref. I. V. Efremov in 1942 from M. A. Vorobieva on the train on the way to Kalinin. Published version: Kaluga Territory, No. 169. In the text of Ya. I. Gudoshnikov (Manuscript Department of the Institute of Russian Literature, R. V, coll. 237, p. 1, No. 2, pp. 18-19), recorded in September 1941 .from pre-conscription students of the Voronezh Agricultural Institute, the penultimate verse is missing, and the last one was sung like this: Dashing time will end - I will come with good news. Again the road To the sweet threshold I can find it without error.///The same is in I. Ya. Rokachev's 1944 entry made in Germany (Manuscript Department of the Institute of Russian Literature, P. V, coll. 239, no. 3, p. 24). Ya. I. Gudoshnikov accompanies the recording of the song with the following words: “I heard this song and later hundreds of times from soldiers, officers and civilians. It was sung to the tune of "The Blue Handkerchief".///Russian Soviet folklore. Anthology / Compiled and commented by L. V. Domanovsky, N. V. Novikov, G. G. Shapovalova. Edited by N. V. Novikov and B. N Putilova, L., 1967, No. 97.///The most popular song composed in Ukraine in the first week of the war to the motive of "The Blue Handkerchief"(music by E. Petersburg, lyrics by Y. Galitsky, 1940). The first documentary evidence of the existence of the song is its entry in a notebook on June 29, 1941 by the fighter N. I. Nemchinov in Ukraine (see V. Bakhtin. People and War // Neva, 1995, No. 5). During the war, the song acquired new details - about the defeat of the Germans near Moscow, etc.///Art critic Yuri Biryukov in Rodina magazine No. 4, 2003 writes from the words of the songwriter Sergei Krasikov, who edited the literary and artistic almanac "Poetry", that poems about "June 22" were brought once (judging by the context, many years after the war) for publication in the almanac by the poet Boris Kovynev (1903-1970 ), presenting a clipping from a front-line newspaper, where the poem was signed by his last name. The editorial board rejected the poems. But there is no documentary evidence in favor of Kovynev's authorship in the article.///On June 22, exactly at four o'clock, Kiev was bombed, we were told that the war had begun. Peacetime is over, it's time for us to part. I'm leaving, you promise Faithful to be forever. Remember me, dear, Take care of your feelings, Come out, friend, sing for a friend, Take a friend to the front. The composition of the locomotive will tremble, The train will rush like an arrow. You to me from the platform, I'm from the echelon Together we wave our hand. Years will pass, I will return again, and then You will smile, press against your heart, I will kiss you.///We cannot forget these roads. Songwriter. Comp. A. P. Pavlinov, T. P. Orlova. SPb., "Composer - St. Petersburg", 2005.///2. June 22 June 22 Exactly at four o'clock Kiev was bombed, we were told that the war had begun. The time of peace is over. It's time for us to part. I'm leaving and I promise you to be faithful forever. And you look, Do not joke with my feeling. Come out, friend, to the train of a friend, see a friend to the front. The wheels of the wagon will tremble, The train will rush like an arrow. You tell me - from the platform, I - from the echelon We wave sadly. Years will pass. I will see you again. You smile, press against your heart, Kiss me again.///From the archive of the Permian writer Ivan Lepin Ships entered our harbor. Perm, "Book", 1996///3. June 22 June 22 Exactly at four o'clock Kiev was bombed, we were told that the war had begun. The war began at dawn To kill more people. Parents were sleeping, their children were sleeping, When they began to bomb Kiev. There were big avalanches of enemies, They had no strength to hold back, As they entered the lands of their native Ukraine, They began to kill people. The Ukrainian people have risen for the land of their native Batkivshchyna . All the men went to fight, Burning their house and factory. hells and mines burst, Tanks rattled their armor, Red hawks circled in the sky, Rushed to the west like an arrow. The winter cold began, There were enemies near Moscow, Cannons fired, mines exploded, tearing the Germans to pieces. The battle for the capital ended, the Germans rushed to flee. Abandoned tanks, abandoned mines, Several thousand soldiers. Remember the Hans and the Fritz, That hour will soon come: We will scratch your lousy neck, You will remember us.///1942? (dated according to the content) From the phonogram of Vladimir Menshov, CD "Ships came into our harbor" No. 4, "Vostok", 2001///ON THE TWENTY-SECOND OF JUNE, EXACTLY AT 4 P.M.…///Yuri Biryukov///(Rodina magazine, 2003, No. 4)///Every year, when the turn of the sad day of the beginning of the Great Patriotic War comes, for some reason, the uncomplicated lines of one of the very first songs of that war come to mind for me . Rather, not even a song, but a song remake of the pre-war Blue Handkerchief. She was born literally in the very first days of the enemy invasion and, I think, is remembered by many who sang it in that harsh time.///On the twenty-second of June, at exactly four o'clock Kiev was bombed, We were told that the war had begun. Peacetime is over, it's time for us to part. I'm leaving, I promise Faithful to you to the end. And you look, Do not joke with my feeling! Come out, friend, To the train of a friend, See a friend to the front. The wheels of the wagon will tremble, The train will rush like an arrow. You to me from the platform, I - from the echelon We sadly wave our hand. Years will pass, I will meet you again. You will smile, press close to your heart and kiss, loving.///Many years later, while working on the programs of the television cycle “The Song is Far and Close” and song headings in various publications, I collected several dozen text versions and alterations of The Blue Handkerchief, the beginning of which was laid by the one that the poet and playwright Yakov Markovich composed on the eve of the war Galitsky: A modest little blue handkerchief Fell from lowered shoulders. You said that you had not forgotten Affectionate, joyful meetings ...///This song became a hit on the eve of the war. It was sung by famous singers and singers. And two of them - Ekaterina Yurovskaya and Isabella Yuryeva - even managed to record the pre-war "Blue Handkerchief" on a gramophone record. Lidia Ruslanova performed this song with great success in her concerts, including at the front. But, of course, the most popular during the war years was the version of the “Blue Handkerchief”, which was composed by Lieutenant Mikhail Maksimov, an employee of the newspaper “In the Decisive Battle” of the Volkhov Front, ending with the words: “The machine gunner is scribbling behind the blue handkerchief that was on the shoulders of dear ones ...” She sang it and recorded it in the film “Concert to the Front” and on the record of Klavdy Shulzhenko, and thanks to her, the song about the “blue handkerchief” became a kind of symbol that forever merged with the name of this famous singer. And yet I would like to return to that version of the Blue Handkerchief, the lines of which are placed in the title and the beginning of my story. A few years ago, the songwriter Sergei Pavlovich Krasikov, who had edited the literary and artistic almanac "Poetry" for a long time, told me that poems about "June 22", among others, were once brought to him by the poet Boris Kovynev and offered to be published in the section composed of works born during the war years. At the same time, he showed a clipping with their publication in one of the front-line newspapers, signed with his last name. However, members of the editorial board considered these poems primitive and not worthy of publication in the almanac. Perhaps they were right. But these lines were composed promptly, hot on the heels of events. And most importantly, they were picked up and sung by millions. Kovynev himself probably did not know about this and did not guess. In any case, he did not insist on fulfilling his request. He took the lyrics and left. By that time he was already quite an elderly man. But in the 1920s, the name of Boris Konstantinovich Kovynev (1903-1970) was widely known. His first book of poems was published by the New Moscow publishing house in 1925. The second - "The Last of the Mohicans" - in 1926. The book "The Sun of Adults" was recommended for publication by A. M. Gorky. From Sorrento, he wrote a letter to the author, in which he spoke very warmly about his poems. This inspired the poet for a long time. ///Again the song is buzzing head Again youth splashes with surf. Come on, life, roll up your sleeves, We will still fight with you! ///Thus ended his poem dedicated to Gorky. In the funds of the Russian State Library, I found several poetry collections and numerous newspaper publications with his poems. In many of them, their song nature is clearly visible. Probably, the lines that spilled out from him once are not accidental: We must carry the song ahead (There is an inescapable power in the song!), So that youth in each chest is Merry than an accordion, wailing ...///And such songs were composed on his poems. Perhaps the main of them, which remained to live in people's memory, but lost, as often happens, the name of the author, the one that began with the words: Where the clouds make their flight, Shells burst with a wild howl, Look carefully, pilot, At the ground loosened by battle Where the infantry will not pass And the armored train will not rush, A gloomy tank will not crawl, A steel bird will fly there ...///In 1927, this poem by Boris Kovynev called "Aviamarch" was almost simultaneously published by the newspapers "Gudok" (July 13) and "Red Star" ( July 24). And among the people, a song was composed to these verses with a catchy refrain that, I think, was remembered by many: Propeller, sing the song louder, Carrying spread wings! For eternal peace Into the last battle Fly, steel squadron!///I myself once sang "Steel Squadron" in the Suvorov and cadet formations, and therefore I met her on the newspaper pages yellowed from old age as with a good old acquaintance. Even earlier, in February 1924, Kovynev composed and published the poignant lines of the Poem about Lenin, which also became a song: A blizzard swooped in in a rush, Howled near the outskirts of the village. And in the hut about the death of Ilyich, a visiting  Komsomol member spoke ...///Poems and a song about "June 22", I think, are also from this series. And therefore the name of their author deserves not to be forgotten and remembered. Many years ago, I had a chance to hear from the poet Yakov Zakharovich Shvedov, the author of the famous "Eaglet", the wise words of a poetic parable: And at the hour before sunset, again and again, the aphorism stirs in my soul: In the customs of the world - first crucify, Then - pray on the crucifix ...///It turned out that and these visionary poetic lines also belong to the pen of Boris Kovynev...With difficulty I found his unkempt, overgrown grave at the Vagankovsky cemetery. So far, I have not been able to find at least his photograph to place it in this story and in his future book, The Crucified Authors of Famous Songs. It deals with the tragic fates of the authors of “Through the valleys and the hills”, “Aviamarch”, “Songs about the stranger”, “They call me ugly” and other songs, the stories of which I have already told or are going to tell in the “Memory of the Heart” section. It will also contain a story about the songs of Boris Kovynev, sung by the people, but still unnamed. Persistently continue my search and really hope for the help of those who read these lines.

 Vladimir Bakhtin///PEOPLE AND WAR///("Neva", 1995, No. 5, pp. 186-193)///Vladimir Solomonovich BAKHTIN. Born in 1923. Member of the Great Patriotic War, member of the joint venture of St. Petersburg. Literary critic, bibliographer, folklorist, author of 15 books, mainly about Russian folklore, in particular, the folklore of the Leningrad region. Collector and publisher of songs, fairy tales, ditties, compiler of the anthologies "Russian Chastushka", "Russian Household Tale", the album "Russian Lubok".///Quite recently, at the words "Soviet folklore," all citizens who read books and newspapers frankly laughed. You look at any pre-perestroika publication - and indeed, you are amazed: how everyday life and what the so-called works of Soviet folklore said about it do not fit together. Chastushki composed by bad or immoral professionals or naive amateur authors; they sing of the serene and prosperous collective farm life ("I'm blooming on the collective farm, Like a rose in the field ..."; "I have accumulated hard days - I even have nowhere to go ..."), the songs echo: "Where did Semyon Budyonny ride ..." - ///By villages and villages Joy, like lilacs, blooms, This is about the dispossessed, decossackized and shot Don land - the book "Songs of the Don Cossacks", 1937. And the Soviet epic novinas, composed by order-bearers-narrators (many of them were accepted into the Writers' Union), set out in detail, according to printed sources, a working biography and revolutionary exploits favorite leaders and heroes - from people's commissars Yezhov and Voroshilov to knee-deep Beard (that is, Otto Yulievich Schmidt). Well, Stalin, of course, was not forgotten. As we have in Moscow, yes in stone, But in that Kremlin and in a strong one, In those towering towers, Our red sun lives there - Joseph and the light of Vissarionovich ...///Without going into theoretical subtleties, let's just say: folklore is something that, at least, is perceived by the collective, lives in the oral everyday life of a city or village. As for ditties, songs and novelties that filled the pages of special, educational and any other publications, it is impossible to imagine that someone would want to repeat these false words for themselves or sing at a home feast. Long-term studies of folk art of the Soviet era convinced me: the bulk of the works of socio-political themes that really were born and lived in the thickness of the people were imbued with opposition sentiments, condemned certain manifestations of the socialist system (dispossession, collectivization, the cult of leaders and parties), and sometimes the whole system as a whole (“Trotsky is sitting on the fence, Lenin is higher on the spruce. What have you, comrades, brought Russia to!” or: “For what leshak, comrades, have you brought the Commune?”). Exceptions are insignificant and each time explainable. It is hardly necessary to continue to quote village ditties, to cite political anecdotes that instantly responded to every intricate bend of the General Party line and flew around the country, to remind intelligent, student poems, parodies, songs - in recent years they have been printed everywhere, including the Neva (I will refer to his publications of free ditties and collections of political anecdotes). It is important to note that all this uncensored oral literature, in spite of mass terror, was created from the very first days of October, and not only in the era of safe glasnost. When you understand this, you begin to understand something else. The authorities could revile Akhmatova, Zoshchenko, Pasternak, anyone as much as they wanted - this, they say, is a delusion of one person. Furious articles on this topic were easily written, open (closed, of course!) Resolutions were adopted. What about folklore? Would any Suslov dare to say, meaning a ditty like "Dear Comrade Stalin, you left us without pants (or without a cow)" that this people thinks so wrong? After all, the main propaganda idea of ​​the Communists: the people and the party are one (though the people themselves added: only the shops are different). That is why jokers were so cruelly persecuted - they were accused of anti-Soviet propaganda and imprisoned. They also imprisoned for ditties ... A lot of facts are known.///////After these remarks, we can start talking about the folklore of the Great Patriotic War. First of all, it must be emphasized that for the first time in Soviet history he is not in opposition to the government, to the state. This is the most true and convincing proof of the nationwide nature of the war. No matter what they write today about the origins, causes and perpetrators of the war, millions of Soviet people perceived the attack of the Nazis precisely as aggression, and therefore there was no doubt about the righteousness of the war on our part. The song "I met him near Odessa, my dear ...", performed to the motive of the old song "The sea spreads wide ...", was recorded at the front, later - in the Urals, in Leningrad, Kaluga and other regions. In a word, it was very widespread. And it is all the more indicative that it contains the entire set of images of official propaganda: "For the Motherland!" the brave sailor shouted, " There is no mercy for the Nazi bastards!" And crashed into a group of fascist soldiers, Deftly working with a butt.///The partisan song "The grove has spread wide...", overcoming the cold Soviet patriotism, nevertheless, also uses common official political phrases: Let the German bones smolder, And the rabble will scatter to dust, Let the uninvited guests know And remember the Soviet people. The commander came with the commissar, Comrade - the father of the partisans. We lived today not without reason, Thank you, friends, - he said. - Lie down to rest, it's time to rest, Heroes, fighting eagles, And at dusk we will set off again. Closer to victory, relatives, "///Stalin, who was a constant object of ridicule and reproaches, especially in village ditties and urban jokes, becomes the recognized leader of the country Almost like a report to the Supreme Commander-in-Chief, ditty lines sound: Dear Comrade Stalin, Soon Hitler will be kaput, Soon our cars will run across Berlin! ///And even among the skeptical intelligentsia, anecdotes appeared that were quite loyal to the state. Criticism, of course, was - they could not help but be stunned by reports of a widespread retreat, I wanted to understand the reasons for this. Here we understand with the help of anecdotes. In Germany. The train comes every minute. The foreigner is surprised. They say to him: - And what do you want - after all, the war! In our country. The train was a day late. The passengers are arguing. And the duty officer says: - What do you want - after all, the war! I remember from what I heard in the army. Churchill, who was clearly delaying the opening of a second front, was not liked. Hitler and Churchill came to a fortune teller to find out how to win the war. The fortune-teller led them to the pond, pointed to a fish that swam in the middle of the pond, and said: - The one who catches this fish will win the war. Hitler immediately threw himself into the water, swam, but choked and drowned. And Churchill sat down on the bank, pulled out a spoon from his pocket and began to scoop out the pond. And Stalin looks in the joke just like in a newspaper panegyric - kind, smiling, wise. At the Yalta conference, for some reason, a bee circled around Churchill all the time. Nobody can figure out what's wrong. And Stalin says: - He smells that linden smells!///At the same time, of course, the folklore of the wartime is much broader in meaning, scope of reality and the inner world of a person than the party propaganda wanted. It is closer to the individual and farther from the state. However, it has always been so. In the distant tsarist times, soldiers marched and fought under such terrible, in general, words: For a Russian soldier Bullets, bombs - nothing: With them he is familiar, All trifles for him. He is ready for the king, for faith He is willing to die.///The difference is small: The brave fights with enemies, Sparing his life, The brave carries, like a banner, The bright name of the leader.///Here are the real voices: Oh, and give, God, give reconciliation, So that our kings reconcile, So that we can stand in the square And look at the white world. And newer: You will quickly bandage the wound - He remained alive, - you say quietly. And an amateur poet-soldier unknown to anyone, Nikolai Zusik, wrote truly poignant lines: ... Do not loop, dear, cool, Do not crowd over the gorge - There is an extra minute in life - This, too, you know, is life ... On earth, utterly close And alarmed , like a mother, For the sake of life, not risk Only worth the risk.///////The song "June 22, Exactly at four o'clock", which can rightfully be called the first in the huge corpus of folklore of the Great Patriotic War, was heard by the fighter N. I. Nemchinov (and wrote down in his notebook, which documents this fact) on June 29, 1941 years in Ukraine. And a month later, on July 28, 1941, it was recorded from the Red Army soldier A.I. Smirnov in the village of Segozh, Puchezhsky district, Ivanovo region. Such is the speed of the spread of folklore and its ability to immediately respond to events. Then this song, the author of which remained unknown, was met by folklorists all over the country. I will cite the first and final two stanzas from the album of an 18-year-old village girl Nina Lebedeva (Chukhloma district of the Kostroma region, 1959): June 22, Exactly at four o'clock, Kiev was bombed, they announced to us that the war had begun! The peaceful cause is over, It's time for us to part. I'm leaving, I promise to be faithful to you until the end.---Let's finish military affairs, Again I will meet you. You smile, press against your heart, I will kiss you!///Although the position of the author-singer is passive in relation to the event (“we were announced”), he unconditionally accepts the need for separation from loved ones, from his beloved, without even realizing what war is, what sorrows and losses it brings with it. The song skips the event of world significance through the life and fate of a private person ("I'm leaving ..."). If we recall the no less famous song "Sacred to Wars", then, on the contrary, the state thought dominates in it and there is no personal element (the collective "we" is used in the text only once: "we are fighting", but is implied by the whole work): Let's fight back to the stranglers of all fiery ideas...Let's go break with all our might, With all our heart, with all our soul For our dear land, For our great Union! It would be a simplification to separate these works by an impenetrable wall, not to take into account the specifics of the genre (however, the choice of the genre - march, call - is also not accidental). But the discrepancy between official ideology, government propaganda, between official literature and unofficial, as it were, a second art, folk art, despite the common main goal - resistance to the enemy, victory - existed constantly, and the closer to the end of the war, the sharper, more noticeable they were. separated. Let's be fair. The most sensitive writers strove to reflect the people's truth, to approach it. The best songs of M. Isakovsky, A. Surkov, poems by K. Simonov, A. Tvardovsky gained unprecedented popularity, without losing their authorship, they became almost folklore. One of the features of the folklore of the Patriotic War is a huge number of "answers", continuations, alterations of not only old and therefore largely outdated, but also new ones, those very favorite songs and poems that we just talked about. Alterations could be elementary - front-line poets turned the infantry hero into a pilot, sapper or artilleryman. This is natural and does not require comment. Literature is unable, as is often asked, to write separately about cooks, accountants, firefighters and other good professions. But the largest and most important in the ideological and substantive sense of the alterations and "answers" arose only because professional art did not say something, was silent about something. And this concerns the fate of not some small groups of people, but millions (we always, although approximately, count millions of victims!) - millions of prisoners of war, primarily, to a large extent those who were driven to work in Germany, and also those who, having remained in his own house, by no means of his own will and malicious intent, found himself under the power of the enemy. It is known where the soldiers who returned from the fascist camps ended up - in the Soviet camps. Spinning, spinning our captive brother, Wherever he turns, everywhere is a soldier. There behind the barbed wall in the camps Spinning, spinning all the same it is in vain. Where is this street, where is this house, Where is this girl who was in love? In a sweet distant native side Cries and thinks only of me. A little washed, a little washed, Half-starved and half-satiated, You work for the Germans for food From early morning until late dawn. I would like not to eat or drink - Just get out of here as soon as possible. But you will escape from some camps, Many doors are open to others. Finally, I escaped from the camps - A lot of captive people stagger, Spins, spins for seven - If only to get home alive. Spinning, spinning one thought: Will this war end soon? Many, perhaps, will not wait for the end, Many mothers will not see sons. I recorded this song in 957 from Elena Mikhaleva, who visited the German camps. It was published only after 21 years. Of the 19 similar songs of my collection, by the beginning of perestroika, 8 were published. And this terrible song was released only in 1994.///The camp is spread wide, And there is no end in sight to the nets. Comrade, we are going far - To the German-foreign lands. I'm sitting in a pit, in great depths, I'm sitting, cursing fate I am a prisoner-Soviet in a German country, Prison life begins. Whips and bullets were in use here, They fed us and warmed us On rainy nights, soaked through, Sitting without boots and overcoats. Once there was a <word is unclear> foundation pit, The horse fell into our hands. A horse fell from a great height And instantly disappeared piece by piece. Like beasts of prey, they tormented the horse, Trampled each other with their feet. And what happened to us in the dark! The rockets flashed above us. Farewell family, farewell friends! We call you to victory, We wish happiness to all of you, old people, And now we are dying with this. You cannot compose such a human tragedy while sitting at home, it is impossible to come up with these details. It would seem that here could not suit the guardians of our ideological purity? Belief in victory, the desire for victory is expressed clearly and directly. But pay attention to the ending. Death, waiting for death - in captivity? Don't get captured! Our Soviet optimism is not enough! I cannot be 100% sure (there is enough evil in the world!), but still I believe that only we have thought of detachments. In 1942, when the Germans approached Stalingrad, Comrade Stalin issued an order (I myself, having broken my voice, read it before the ranks) not a step back, and whoever retreats without an order should shoot at those from behind. That's what a defensive squad is. And also all sorts of special officers who often commanded commanders, SMERSH (Death to Spies!). Based on such life impressions, apparently, by the end of the war, a dashing and such a bitter song appeared. It is cited by N. Starshinov ("New World", 1990, No. 5; N. Zusik's verse is also printed there). I wrote down a more complete version just these days from a classmate and front-line soldier Sergei Vonsky: The first blank hit the tank in the forehead, the driver-mechanic drove straight into the coffin. Love, brothers, love, love, brothers, to live, You don't have to grieve in a tank brigade! The armor burst from the second blank, It hurt me with small fragments. (Chorus after each couplet) The third disc hit the gas tank, I broke out of the tank, and I don't know how. The next morning they call me to the special department: - Why didn't you, bastard, burn down with the tank!? - Comrade chiefs, - I tell them, - In the next attack, I will definitely burn out!. I remember how Sergey Orlov sang this song in our feasts, he himself was on fire in a tank. It was composed on the basis of a song performed in the film "Alexander Parkhomenko" (1942). Along with high, sometimes tragic art at the front, as well as everywhere where people gathered, every trifle of folklore was in use - numerous witticisms, tales, sentences, nicknames. Forest story - tobacco made almost from tree leaves; educational sugar - salt. They asked me to smoke: give me papers - wrap your tobacco, only I don’t have matches. The soldier's belt is warm. The guard, God, the guard is going to sleep. War will write everything off! And the jokes about the corporal? The soldier is knocking on the hut: - Grandmother, let us spend the night! - And how many of you? - I'm a corporal! - Well, okay, tie the corporal to the fence, and go into the hut yourself. I myself was a corporal, more than once this was presented to me as a fresh joke. A blonde is a millet porridge, or even a louse. VPZh - temporary field wife, PZh - field field wife. OZHZ agency - one woman said (the same as word of mouth). Songs, poems that the girls composed themselves, re-texts of the old ones, were sung in the camps and sent home in letters from Germany (one letter could be sent once a month). They are saturated with the details of everyday life, full of longing for loved ones, for a past life that now seems so happy, quite sincerely idealized (“In the East she lived and flourished ...”). ...///I live near the Baltic Sea, Where is the road to the south. I live in need and grief, I build a new comfort for the Germans. We are given flour gruel, Three grains come in succession. We eat a spoon after a spoon And we leave - the stomach is empty. German tea is given unsweetened, Bread is given two hundred grams. We drink with a mug of a mug And we hurry to work by the clock ...///There were overseers, animal owners, but it happened to hear about good, kind Germans who helped and fed. However, not a single song about good Germans (as well as about good landowners, although such people are known) has not been composed. Folklore always speaks of a phenomenon. All the hatred of the captives is directed not at individual fascists, but at the system: "West, West, steel bars, West, West - a concentration camp, a prison..." camps: I live near the Sea of ​​Okhotsk. I am building a new town for the country...///But life is everywhere. Not immediately, however, you eventually understand the legitimacy of young love - even in captivity - and a romance about this love. With a gentle and kind smile You met me, On the white coast, in a blue jacket, "Ost" on your chest.---I remember when, smiling, You said jokingly: "Ost" will come off, the memory will be erased, You will forget me.---Maybe we'll meet again, Our years ahead, You'll meet, as before, in the same clothes, But without the "ost" on the chest. At the end of the war, our happy fellow citizens, expecting release from minute to minute, were gathered in huge international camps. So why not be embarrassed?///P and Nenka, comm shlyafen, Morgen will give you a watch! Vshistko ebottom - in oh yna, Throw off your panties! And what was to be done by those who fell into the occupation? Again I testify to the humanism of our native authorities: in 1950, after graduating from university, I worked for the Pskovskaya Pravda newspaper; so, we had no right to write in the newspaper - neither good nor bad - about those who were in the occupation. This is in an area where tens of thousands of people experienced that horror! But even next to the enemies, people were not silent, they communicated with each other. The plane is flying, the wheels are rubbing, We did not call you, but you have pinned.///They used to sing like that to guys from other villages. Now the Nazis were teased. The Germans cursed, or even beat me, they told me in the Gatchina region. They also wrote about themselves: Oh, Semyonovna, how cunning - She loved Stalin, and now Hitler. (Heard in 1944.)///Also a bitter joke. Whom she loved there, this Semyonovna, they were all good for her. Like it or not, the Germans walk around, healthy men, on your land, breaking into the hut. There were all sorts of girls, all sorts of Germans and all sorts of ditties. I have recordings of 1946-1947, made on fresh footsteps in the Pskov and Novgorod regions, and home-made girlish notebooks and albums have been preserved, wherever they visited with their mistresses. The world, in some ways similar, in some ways completely different from what it has developed in our minds. Germany, Germany, Rich town. The Germans came to us Without shirts and without trousers. A ragamuffin German, You're not doing business: A wife at home, two children, You're running after a Russian. German soldiers, Not here and not gut: They will make a girl for a woman And they will not give thanks.///It was said by the leader: to beat the enemy in his lair. A pregnant woman comes and beats herself in the stomach. - What are you doing? - And I beat the enemy in his lair!///Yes, loyalty is a wonderful property of the soul. There are many different works about this. Literature provides wonderful positive images. And folklore, accepting them, continuing, creating similar works, but in a different, more familiar style of cruel romance, nevertheless supplements them with songs and poems with negative characters. It can be satire, and melodrama, and an edifying story with a happy ending, and an ordinary ditty: One cannot hope for a military man : He, like a Tatar, has seven. "Katyusha". A song with an unparalleled destiny is apparently the most famous song in the history of mankind. About a hundred of its folk variants are known. Among this hundred there is also this one: Apple-trees and pears blossomed, Fog floated over the river. And in the green garden Katyusha was kissed by a young sergeant major. "Blue handkerchief": A modest blue handkerchief A German in Smolensk stole. For this handkerchief - a blue flower The German loved the girl. "Spark": No sooner had a light flickered behind the fogs , On the lap of the girl Already another boy./// It seems that only once in Simonov's poem "Letter" professional poetry touched on this delicate topic. In prose, as far as I remember, B. Gorbatov cited one such song.///Young girls smile at the Germans, Girls forgot about their boyfriends...///Is it really true? Girls all over the country sang and copied their answer into albums: Nothing of the kind, Nothing happened - Women have not forgotten About their husbands. We often remember you, Mentally kiss you, Often bitter tears roll from your eyes. Very few girls Curl fashionably, Very few girls sold themselves to the Germans, Very few girls smile at the Germans, They hate them hard, Just like you. The girls have not forgotten that in a gray overcoat Protects the Motherland Honestly, he's in a fight. And when he returns, He will meet with a smile His honest, beloved Girl ...By the end of the war, both among the soldiers and in the Soviet rear, more and more jokes appeared, anecdotes related to the slowness of the allies, who were in no hurry with the second front (English and American songs were constantly broadcast on the radio), but everyone already heard the breath of Victory. Talk began about an international trial of fascism, and the first trials of captured war criminals were held. On this basis, jokes arose about how to punish Hitler: to force him to learn the "Short Course in Party History" in Hebrew. Or this one: heat a crowbar and stick it in the belly with a cold end. Why cold? And so that the allies do not pull out! The folklore of the Patriotic War is as many-sided as the war itself was many-sided. Front-line, trench folklore, folklore of the Soviet rear, occupied territories, partisan creativity, creativity of prisoners of war, prisoners of fascist camps and millions of men and women deported to Germany ... In a magazine article, one could only mention, name some genres of oral art of the word. The main thing that I wanted to emphasize is that during the years of the war, the people created a huge number of works that were very different in terms of themes, in terms of life, in terms of thought, which not only reflected the everyday life of the war, its black days and rare holidays. They helped to collectively comprehend what was happening, to evaluate it. Let's agree: we had professional literature, in its best manifestations, readily accepted by the people. But this literature, even if it wanted to, did not have the opportunity to publicly cross the threshold of what is permitted. Let us recall the example of Mikhail Isakovsky, who was immediately criticized for his heartfelt, honest poem "Enemies burned their own hut ..." How, critics said, the country rejoices - victory is coming, and then a soldier who gave everything, lost everything, and even - tears . After all, you know what Olga Bergholz was called shortly after the war? A mourner! So the huge gaps in the depiction of people's destinies were filled mainly with folklore. She called me five years ago, I don’t know how she found it, the old woman said in a low voice: - Son, I know a lot of ditties, I compose them myself, I have a whole notebook. Come take a look. Maybe that will fit...I went to Vasilyevsky Island, and sat and talked for a long, long time with two touching, sweet and old, old grandmothers. And brought home a notebook. And I have read it over and over again. Folk ditties - I myself have heard such ditties more than once. And there are some, as it were, corrected, corrected by this very writer, Anna Matveevna Makarova, born in 1910, a native of the village of Polshemo, Kirillovsky district, Vologda region, who lived in Leningrad since 1928, but spent the war years at home. And I wrote out these ditties - they are all folk, and uncorrected, and corrected by Anna Matveevna. Chastushka is actually a cheerful dance song. And on paper I had a cry for a soldier, for a boy soldier who fell in a terrible war, a cry for an orphaned, unhappy girl, a cry for a widowed wife. Them,///Received a letter, I look - black paper, Triangular seal - Funeral from Milka. Yagodinochka is killed, Lying down, he won't turn around...On a date with me Now he won't hurry. I don't know where I'm buried, I don't know where I was killed. I only know: my pretty one is buried without a coffin. Dear buried, Not put a cross. These mass graves are four hundred people. Yagodinochka is killed, Lies under the verisinochka. Call a young girl an orphan. Yagodinochka was killed with an Explosive Mine. In vain I waited Three years and a half. Girls, war, war It's going to the Urals. Although the war will end, Youth is gone. I'll ask the commander How to get to the cemetery. I'll see the mass graves – You can't leave alive. I'm not a girl, I'm not a woman - I'm an unfortunate widow. Ruined my youth Cursed war. (1) It is now reliably known that the words and music of this song were composed during the First World War by a teacher from Rybinsk Alexander Adolfovich Bade (Lebedev-Kumach only slightly corrected the words). We report this here only to restore justice. (Cm.:N. Derevianko. Who wrote the "Holy War" ... - "Arguments and Facts", 1991, No. 13). For our conversation, this fact does not matter: what matters is the text, the content of which was accepted and approved by the whole country.

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