About the book: 1934 / (From the introductory article by A. Olshevsky) Summing up, we have the right to say that the singers of the revolution fulfilled the social order to the best of their ability, which this stormy and colorful era put before them. They left a wealth of material as a legacy to future generations - documents of the era - material that has not been completely used to this day. From the songs of the revolution, we can now almost day after day feel the beating of the revolutionary pulse of the era, identify the most striking moments of the revolutionary struggle, recognize the joys and sorrows, hopes and hopes of not only individuals, but also parties and classes. We, who are experiencing the greatest revolution in the world, can more correctly evaluate and understand all these “sans-culottes for life and death” than anyone else, who poured out their feelings of admiration for “holy freedom”, threatened the “bloody tyrants”, and went into battle singing against the “minions of kings” or danced around the “tree of freedom”. We will not laugh at their red caps, at their excessive love for the names of Roman and Greek heroes, at their often naive enthusiasm. We understand their feelings, we know how to understand what motives forced the hungry, ragged and barefoot sans-culottes to fight the troops of almost the entire monarchical Europe and put them to flight to the sounds of the Marseillaise. It was a heroic time, and the songs of this era best characterize its pathos, its unshakable faith in victory, its sacrificial enthusiasm and its class contradictions.