Slide 1

Abakarova Muminat Magomedovna teacher of Russian language and literature MCOU “Khamamatyurt Secondary School No. 2 named after. Z.H. Khizrieva"
Life and work of A.T. Tvardovsky

Slide 2

Lesson topic:
The whole point is in one single covenant...

Slide 3

Slide 4

Lesson objectives:
1. introduce students to the life and work of the poet, awaken interest in his personality, show by the example of his fate the importance of developing civic and patriotic qualities 2. develop the ability to creatively comprehend the poems read, improve expressive reading skills; 3. cultivate a love of literature and the creative process. 4. Show the civic courage of Tvardovsky, the editor of Novy Mir. 5. Develop the ability to use acquired knowledge in non-standard situations: express your own judgments, draw conclusions. 6. Develop skills and abilities of independent research work. (elements) 6. Nurturing moral qualities and aesthetic taste of students.

Slide 5

Lesson objectives:
Developmental: 1. Development of creative thinking; 2. creativity; 3. monologue speech; 4. intellectual skills of students; 5. communicative culture; 6. reflective abilities

Slide 6

Educational:
1. Study of the life path and creativity of A.T. Tvardovsky 2. Development of problem competence - the ability to determine the goals of cognitive activity, find ways to solve a problem.

Slide 7

Educational:
1. Education of patriotism; 2.Creating favorable conditions for the aesthetic perception of poetry; 3.Formation of independent thinking

Slide 8

Epigraph for the lesson:
And I still don’t hide the confession: I need it, dear to the point of tears. In the end - a firm consciousness, That I honestly pulled my cart. And from trouble and from victory Any human - I need a part, To see everything and experience everything, Learning everything from afar A.T. Tvardovsky

Slide 9

Card 1
Here are poems by Tvardovsky from different years. Determine how they reflected the poet’s thoughts and feelings about his life path. To what extent can V. Dementyev’s statement be attributed to these poems? Write down his main idea in your notebook.

Slide 10

Tvardovsky, as a person and an artist, never forgot about his fellow citizens... he was never a poet only “for himself” and “to himself”, he always felt his debt to them; he took up the pen only if he believed that he could say the most important thing about life, what he knew better, more thoroughly and more reliably than anyone else. V. Dementyev. Alexander Tvardovsky. 1976

Slide 11

"Harvest"
Under the oatmeal chatter of the fields, I will pour myself with hot sweat. Then I’m doubly happy if I work hard enough. There is space and joy in the soul, a land of happiness untouched... The bread is falling like a golden blizzard. Hello, New Harvest.

Slide 12

"In Memory of Mother" (1969)
We say goodbye to our mothers Long before the deadline - Even in our early youth, Still at our native threshold, When we have handkerchiefs and socks to lay them down kind hands, And we, fearing a delay, are eager for the appointed separation. Separation is even more unconditional For them comes later, When we hasten to notify them of our filial will by mail.
And sending them cards to some unknown girls, from a generous soul we allow them to love their daughters-in-law in absentia. And there, behind the daughters-in-law, are the grandchildren... And suddenly a telegram will call that old grandmother mother for the very last separation.

Slide 13

“The whole essence is in one - the only covenant”
The whole essence is in one single covenant: What I will say, before the time melts, I know it better than anyone in the world - Living and dead - only I know. To say that word to anyone else, I could never trust. Not even Leo Tolstoy. He won’t say, let him be his god. And I'm only mortal. I am responsible for my own, I worry about one thing during my life: I want to say what I know better than anyone else in the world. And the way I want.

Slide 14

“To the bitter grievances of one’s own person...” (1968)
To bitter grievances of one’s own person Do not invite the participation of good souls. To live as you live, through your sleepless suffering, If you pick up the tug, don’t say: it’s not strong. Without stepping off your path in anything, without retreating - to be yourself. So cope with your fate, So that any fate can find itself in it And let someone’s soul go from pain.

Slide 15

Two lines from a shabby notebook Two lines about a boy fighter, Who was killed in Finland on ice in the forties. A small, childish body lay there somehow ineptly. The frost pressed the overcoat to the ice, the hat flew far away. It seemed that the boy was not lying down, but was still running and holding the ice on the floor... In the middle of a big, cruel war, I can’t imagine why, I feel sorry for that distant fate, As if I were dead, alone, As if I was lying, Frozen , small, killed in that unfamous war, forgotten, small, I lie. 1943

Slide 16

Task 2. Years and facts
What event in the poet’s life struck (surprised, remembered) the most? What pattern did you notice in Tvardovsky’s fate?

Slide 17

Task 3.
What does the review say? What genres were used by Tvardovsky? What do the names of cycles, poems, poems say?

Slide 18

1930 - 1933 - “The Path to Socialism”, “Introduction”, the first book of prose - “Diary of the Chairman of a Collective Farm”. 1936 - Poem “Country of Ants” 1941-45 - Poem “Vasily Terkin” 1943 - Poem “Two Lines” 1944 - Poem “War - there is no crueler word...” 1945 - Poem “In a field dug with streams... .” 1946 - Poem “House by the Road”, prose, critical articles 1053-1960 - In the poem “Beyond the Distance - Distance” (1953-60; Lenin Prize, 1961) 1958 - “The whole essence is in one single covenant »

Slide 19

1957-1958 - “About Existence”. 1963 - poem “Terkin in the Other World” 1964 - “That sleepy noise was sweet to me...” 1967 - “From the lyrics of these years. 1959-1967" 1969-1970 - cycle "In Memory of the Mother" 1987 - confessional poem "By the right of memory"

Slide 20

Task 4.
Write down what seems most important. - What kind of person is being created? 1.Kaisyn Kuliev: “A. T. Tvardovsky - “an artist with a wise heart and a clear conscience, devoted to poetry until his last breath, a man of great civic courage and honesty...” - occupies a special place among writers who have long advocated honest coverage of the historical development of our society.

Slide 21

2. A. Makedonov: “...from his personality there was a feeling of a combination of very healthy, normal, strong, vital, radical and at the same time very spiritual. Large and at the same time restrained, non-intrusive force. A tall, slender rural youth, a “Zagoryevsky guy,” handsome with the beauty of some village accordionists and at the same time with something else great and unusual. Clear-blue-eyed, with an open face, a trusting, even simple-minded and at the same time spiritual smile. Yes, it was the natural spirituality, the people’s intelligence that shone in the smile, in the whole appearance, and in the conversation.”

Alexander Trifanovich Tvardovsky

(1910-1971)

Life and art

The purpose of the lesson:

- Get acquainted with the life and work of A.T. Tvardovsky

Your tasks:

-make a chronological table “The life and work of A.T. Tvardovsky”

-take notes on the section of the textbook about the poem “Beyond the Distance”,

A.T. Tvardovsky was born June 8 (21st) 1910 years in the village of Zagorye, Smolensk province, in the large family of the rural blacksmith Trifon Tvardovsky.

Tvardovsky House-Museum in the village of Zagorye

Tvadovsky (far right)

with parents, brothers and sisters

WITH 1925 known as a rural correspondent.

1928 - leaves his native Zagorje, lives and works in Smolensk

1934 - enrolled as a student in a pedagogical institute, although he did not have completed secondary education

1936- Having successfully completed the second year of the Smolensk Pedagogical Institute, he transferred to the third year of the Moscow Institute of Philosophy and Literature, which he successfully completed in 1939 .

The prototype of Nikita Morgunk, the main character of the poem, was the poet’s father, Trifon Tvardovsky, who even before the revolution bought the Zagorye farmstead in installments and was very proud of his independence. He valued the happiness of working on his land very highly.

IN 1939 - together with a group of other writers, A.T. Tvardovsky was drafted into the army, participated in the Finnish campaign, and in the Great Patriotic War as a war correspondent.

1941-1945 - creates the famous “Book about a fighter”

“What freedom, what wonderful prowess, what accuracy, precision in everything and what an extraordinary folk soldier’s language - not a hitch, not a single false word!” – wrote I. A. Bunin about the poem “Vasily Terkin”

“Vasily Terkin is the best of everything written about war in war.” K. Simonov.

“But since the front, I noted “Vasily Terkin” as an amazing success... Tvardovsky managed to write a thing that is timeless, courageous and uncontaminated...”

A. Solzhenitsyn

A. Tvardovsky wrote for all times and generations. At the center of the poem is the peasant family of Andrei and Anna Sivtsov. The author writes about the price of a world destroyed by war. Tvardovsky shows the heroism of people not through slogans and propaganda, but deep, reliable and indisputable. Reading the poem, you can clearly see the image of three times: past, present, future.

In the past, worries about your own home, garden, children, mowing grass and plowing the land.

The terrible and destructive present time has shackled people with its military shackles.

In the last chapter of the poem, the reader will feel not the joy of the victory of Andrei Sivtsov, who returned from the front, but the sadness of devastated loneliness. However, the hero found the willpower to rebuild the house again, do household chores, mow the grass again - and all this with great hope of returning his beloved family to their native land.

1946- the poem “I was killed near Rzhev” was written. The form of the poem is by A.T. Tvardovsky’s “I was killed near Rzhev” is a dialogue-moral testament of a soldier killed in battles near Rzhev to his compatriots and like-minded people - those who remained to fight fascism. The main idea of ​​this will is heard in the final lines of the work: “I bequeath to you to live - What more can I do?” But to live, the hero conjures, always remembering his country and those who died in its name. .

1954 - The continuation of the poem “Vasily Terkin” has been completed, which the author called “Terkin in the Other World”. The poem was published only in 1963 year. In this work, the poet not only expressed radical for that time Political Views, but also drew funny and sad moral and psychological features of contradictory modernity.

Tvardovsky’s first tenure at the head of the “New World” (1950 – 1954) was short-lived. Occupying a leading position in prose, “ New world" publishes on its pages the novel by Vasily Grossman "For a Just Cause" (1952) and the story by Viktor Nekrasov "In the Trenches of Stalingrad" (1954), which received a wide public response. All this served as the reason for the dismissal of Tvardovsky in the summer of 1954 from the post of editor-in-chief " New World". The second and no less important reason for his departure from the magazine was the sharply satirical poem “Terkin in the Other World”

1958 – 1970- again heads the “New World”, heads the poetry department of the “Literary Gazette”, works in the Union of Writers of the USSR with young authors

Editorial Board of the New World.

Sitting (from left to right) B. G. Zaks,

A. D. Dementyev, A. T. Tvardovsky,

A. I. Kondratovich, A. M. Maryamov. Standing: M. N. Khitrov, V. Ya. Lakshin,

E. Ya. Dorosh, I. I. Vinogradov, A. I. Sats.

1950-1960 - the poem “Beyond the Distance” was created

The poem “Beyond the Distance is Distance”, for which A.T. Tvardovsky in 1961 the year the Lenin Prize was awarded, is one of the central works of A.T.’s mature work. Tvardovsky. It consists of 15 small chapters. The main motive of the poem is the motive of the road. The lyrical hero sets off by train across the expanses of his native country. At the very beginning of the work, we learn that he planned this path through the Urals and Siberia a long time ago. The lyrical hero remembers the war, the devastation and wants to look at the new country that was rebuilt during the years of peace.

Second half 60's years, the poem “By Right of Memory” was created, it was published only in 1987. Tvardovsky's last poem is addressed to modern youth, addressed to their spiritual, moral, ideological searches and aspirations. “To you from another generation,” the poet addressed, you must remember that history is not divided into segments, its events are not distributed according to ranks and titles: everyone is responsible for everything that happened in the past, is happening in the present and will happen in the future:

Children have long since become fathers,

But for everyone's father

We were all responsible

And the trial lasts for decades,

And there is no end in sight.

Monument

A.T. Tvardovsky and Vasily Terkin

in Smolensk

Tombstone on the grave of A.T. Tvardovsky at the Novodevichy cemetery in Moscow.

A.T. Tvardovsky died

Everything is words - for every essence, Everything that leads to the battle And work , But, repeated in vain, They lose weight like flies die.

Yes, there are words that burn like flames That they shine far and deep - to the bottom, But their substitution of words Treason may be equal.

Let's summarize:

A.T. Tvardovsky is one of the poets of the 20th century, who showed life, pain and joy, grief and separation, the problems of the people and the country in various historical periods.

A.T. Tvardovsky is an artist with a wise heart and a clear conscience, devoted to poetry until his last breath, a man of great civic courage and honesty.

Abstract: Creativity of A.T. Tvardovsky

Introduction

Chapter 1 The Making of a Poet

1.1.Childhood of the poet

1.2. First steps in literature

Chapter 2 Life is one, and death is one

2.1 Creation of the poem “Vasily Terkin”

2.2. Forward behind the next day, like behind a barrage of fire

The name of Alexander Trifonovich Tvardovsky, the greatest Soviet poet, laureate of the Lenin and State Prizes, is widely known in our country.

Freedom, humor, truthfulness, daring, the naturalness of immersion in the elements of folk life and folk speech captivated and captivate Tvardovsky’s readers.

His poems enter the consciousness of the reader from childhood: “The Country of Ant”, “Terkin in the Other World”, “House by the Road”, “Beyond the Distance”, lyrics, etc.

Alexander Tvardovsky is one of the most dramatic figures in literature and Soviet reality of the mid-20th century, a great national poet.

Throughout his entire life, Tvardovsky carried with him a grateful memory of those days that he called “the beginning of all beginnings” - his childhood. But it was far from “golden”.

The poet's father, Trifon Gordeevich, for all his merits (which will be discussed below), was strict to the point of severity, ambitious to the point of morbidity, he had highly developed possessive habits, and children - and Alexander in particular, impressionable and sensitive to any injustice - had Sometimes it’s very difficult with him.

And yet, the conditions in which the future poet spent his childhood were such that he could comprehend the essence of peasant work and the beauty of his native nature, absorb the poems of the classics and learn to overcome difficulties, appreciate the fruits of human labor and develop curiosity in himself, become imbued with irreconcilability to greed, cruelty, cowardice, meanness and hypocrisy and give space to one’s unbridled dreams, persistently achieve goals and develop in oneself, even on the threshold of youth, a certain moral code - the high moral code of a Soviet citizen and Russian poet.

Let's give the floor to Tvardovsky himself.

“I was born in the Smolensk region,” he writes, “in 1910, June 21, on the “stolpovo wasteland farm,” as the piece of land acquired by my father Trifon Gordeevich Tvardovsky was called in the papers, through the Land Peasant Bank with payment in installments. This land - a little over ten acres, all in small swamps, “Ruffles”, as we called them, and all overgrown with willow, spruce, and birch trees - was unenviable in every sense. But for the father, who was the only son of a landless soldier and who, through many years of hard work as a blacksmith, earned the amount necessary for the first contribution to the bank, this land was the road to holiness.

And to us, children, from a very young age, he instilled love and respect for this sour, podzolic, stingy and unkind, but our land - our “estate”, as he jokingly and not jokingly called his farm... This area was quite wild, away from the roads, and the father, a wonderful blacksmith, soon closed the forge, deciding to live off the land. But every now and then he had to turn to a hammer: rent someone else’s forge and anvil in waste, working half-handedly.

My father was a literate man and even well-read in the countryside. The book was not a rarity in our household. We often devoted whole winter evenings to reading aloud some book. My first acquaintance with “Poltava” and “Dubrovsky” by Pushkin, with “Taras Bulba” by Gogol, the most popular poems of Lermontov, Nekrasov, A.V. Tolstoy, Nikitin happened in exactly this way.

My father knew a lot of poems from memory.” “Borodino”, “Prince Kurbsky”, almost all of Ershov’s “The Little Humpbacked Horse” (“Autobiography”).

It was then that hostility and disgust for the crowned executioner Ivan the Terrible, for the traitor Mazepa, for the tyrant Kirila Petrovich Troekurov must have sunk into the heart of the boy, who was still barely able to read the words. Here are probably the origins of Tvardovsky’s well-known thirst for justice, the beginning of his “childhood vengeful dream.” And perhaps there is nothing surprising or accidental in the fact that his very first poem, composed at an age when the author did not yet know all the letters of the alphabet, denounced the boys of his own age who were destroyers of birds’ nests.

In childhood, his introduction to work, and, above all, “studying” in his father’s forge, which for the entire district was “a club, a newspaper, and an academy of sciences,” had a great influence on the formation of the future poet. “The aesthetics of labor,” which Tvardovsky subsequently spoke about at the teachers’ congress, he did not need to comprehend on purpose - it entered into his life itself, when he “as a small child” saw how under his father’s blacksmith’s hammer “everything was born with which they plow the field, forest and build a house.” And the hours of waiting for the customer were filled with furious stupor of people eager to talk to a competent person.

At the eighteenth year of his life, Alexander Trifonovich Tvardovsky left his native Zagorje. By this time, he had already been to Smolensk more than once, once visited Moscow, personally met M.V. Isakovsky, and became the author of several dozen published poems.

For the first time the name of Tvardovsky saw the light of day on February 15, 1925. His article “How re-elections of cooperatives take place” was published in the newspaper “Smolenskaya Derevnya”. On July 19, the same newspaper published his first poem, “New Hut.”

In the following months, several more notes, correspondence, and poems by Tvardovsky appeared in various newspapers in Smolensk; and at the beginning of 1926, when the poet specially came to this city to meet M.V. Isakovsky, he again published his poems in the newspaper “Working Way”. The artist I. Fomichev draws a pencil portrait of “village correspondent Alexander Tvardovsky,” which is printed on the same newspaper page with his poems. In April 1927, the Smolensk newspaper “Young Comrade” published a note about Alexander Tvardovsky along with a selection of his poems and a photograph - all of this is united under the general heading “The Creative Path of Alexander Tvardovsky.” And Alexander was 17 years old.

According to Isakovsky, “he was a slender young man with very blue eyes and light brown hair. Sasha was wearing a jacket made of sheepskin. He held the hat in his hands.”

The young man moved to Smolensk. But in the editorial office of “Working Way” there is no full-time position there was none for Tvardovsky. They offered to write notes for the chronicle, which, naturally, did not guarantee constant income. But he agreed, although he perfectly understood that he was dooming himself to a half-starved existence.

In the summer of 1929, when many Rabochiy Put employees went on vacation, Tvardovsky was loaded with work, sending him to the regions on correspondent assignments. Earnings increased, the circle of acquaintances, including literary ones, expanded. The poet dared to send his poems to Moscow, to the editorial office of the magazine “October”. And - oh happiness! Mikhail Svetlov published poems by nineteen-year-old Tvardovsky. After this event, the Smolensk horizons began to seem too narrow to him, and he rushed to the capital. But it turned out about the same as with Smolensk. I was occasionally published, someone approved of my experiments, supporting childish hopes, but I did not earn much more than in Smolensk, and I lived in corners, bunks, wandered around editorial offices, and I was increasingly noticeably carried somewhere away from the direct and difficult the path of real study, real life. In the winter of the thirtieth year, I returned to Smolensk...” - this is how the poet spoke with utmost laconicism about his stay in Moscow many years later.

It is difficult to say how Tvardovsky’s literary fate would have developed if he had remained in Moscow, which was not at all impossible if he had had permanent and reliable housing. But, one must think, the main reason for his return to Smolensk is still different. Tvardovsky's demands on himself as a poet increased, and he himself began to increasingly experience dissatisfaction with his poems. He probably understood that so far the native element that fed his poetry was only the life of the village: its way of life, nature, collectivization and everything connected with it. But all this is left behind. Later he wrote: “There was a period when, having left the village, at one time I was essentially cut off from life, moving in a narrow literary environment.”

During his first year at the institute, he undertook to pass exams for high school in all subjects and coped with it successfully. “These years of study and work in Smolensk,” Tvardovsky later wrote, “are forever marked for me by high spiritual elation... Taking a break from books and studies, I went to collective farms as a correspondent for regional newspapers, delving into everything that was new with passion.” , for the first time the system of rural life was taking shape, wrote articles, correspondence and kept all sorts of notes, with each trip noting for myself the new things that were revealed to me in the complex process of the formation of collective farm life” (“Autobiography”).

Beginning in 1929, Tvardovsky began to write in a new way, achieving the utmost prosaicness of the verse. He, as he later said, wanted to write “naturally, simply,” and he expelled “all lyricism, manifestation of feeling.” Poetry immediately took revenge on him for this. In some poems (“Apples”, “Poems about universal education”), along with truly poetic ones, lines such as these began to appear:

And here

Guys big and small

The school team will gather.

Subsequently, Tvardovsky realized that this was a wrong path, because what he put above all else - plot, narrative verse, concreteness - was expressed in practice, as he admitted in 1933, “in saturating poems with prosaisms, “colloquial intonations” to the fact that they stopped sounding like poetry and everything in general merged into dullness, ugliness... later on, these excesses sometimes reached the point of absolute anti-artism”

The poet had to go through a long and difficult path of search before he finally lost faith in the vitality of semi-prosaic verse. For a whole decade he struggled, as Nekrasov once did, to solve the painful task of “finding himself within himself.” Like Nekrasov, Tvardovsky in his youth went through a thorny path of apprenticeship, imitation, temporary successes and bitter disappointments, right up to disgust for his own writings, a joyless and humiliating journey through editorial offices. Subsequently, he himself spoke about this: “Nekrasov was somehow personally close to me, I knew his biography, knew about his hungry youth, etc. I dreamed that I would also starve, make my way when I left with my poems from the village; these dreams, by the way, were subsequently sufficiently realized, since I was starving, and had no lodgings, and generally suffered a fair amount of trouble. But that's by the way. But I want to say that this poet was also dear to me as a person, he was my favorite hero.”

The first morning of the Great Patriotic War found Tvardovsky in the Moscow region, in the village of Gryazi, Zvenigorod district, at the very beginning of his vacation. In the evening of the same day he was in Moscow, and a day later he was sent to the headquarters of the Southwestern Front, where he was to work in the front-line newspaper “Red Army”.

Some light on the poet’s life during the war is shed by his prose essays “Motherland and Foreign Land,” as well as the memoirs of E. Dolmatovsky, V. Muradyan, E. Vorobyov, 0. Vereisky, who knew Tvardovsky in those years, V. Lakshin and V. Dementiev , to whom Alexander Trifonovich later told a lot about his life. Thus, he told V. Lakshin that “in 1941, near Kiev... he barely escaped the encirclement. The editorial office of the Southwestern Front newspaper, where he worked, was located in Kyiv. It was ordered not to leave the city until the last hour... The army units had already retreated beyond the Dnieper, and the editorial office was still working... Tvardovsky was saved by a miracle: the regimental commissar took him into his car, and they barely jumped out of the closing ring of German encirclement.” In the spring of 1942, he was surrounded for the second time - this time near Kanev, from which, according to I. S. Marshak, he emerged again “by a miracle.” In mid-1942, Tvardovsky was moved from the Southwestern Front to the Western Front, and now, until the very end of the war, the editorial office of the front-line newspaper “Krasnoarmeyskaya Pravda” became his home. It became the home of the legendary Tyorkin.

According to the memoirs of the artist 0. Vereisky, who painted portraits of Tvardovsky and illustrated his works, “he was amazingly handsome. Tall, broad-shouldered, with a thin waist and narrow hips. He stood straight, walked with his shoulders back, stepping softly, moving his elbows as he walked, as wrestlers often do. The military uniform suited him very well. His head sat proudly on his slender neck, soft Brown hair, "combed back, fell to the sides, framing a high forehead, His very light eyes looked attentively and sternly. Movable eyebrows sometimes raised in surprise, sometimes frowned, converging towards the nose and giving a sternness to his facial expression. But in the outlines of his lips and rounded lines of his cheeks there was some something feminine softness.

In 1940, at the end of the armed conflict with Finland, the name of Erkin was hardly known to many outside Leningrad and the Karelian Isthmus, and the authors of the feuilleton couplets about him looked at their brainchild somewhat downwardly, condescendingly, as something frivolous. “We rightfully did not consider this literature,” Tvardovsky later remarked. But if his co-authors on the “Finnish” “Terkin”, as soon as the fighting on the isthmus ended, were already obsessed with other plans, then Tvardovsky constantly thought that now, in peacetime, he should write something major and serious. His imagination was already picturing individual episodes that would form the path of his hero, but the hero himself remained unclear. And suddenly on April 20, 1940 (the day he was accepted as a member of the CPSU(b)) he writes down.

“Last night or this morning a hero was found, and now I see that he’s the only one I need, it’s him, Vasya Terkin! It is similar to a folklore image. He is a proven case. It is only necessary to raise it, raise it imperceptibly, in essence, and in form almost the same as it was on the pages of “Guarding the Motherland.” No, and the form will probably be different.

And how necessary is his gaiety, his luck, energy and resilient soul to overcome the harsh material of this war! And how much he can absorb from what needs to be touched! It will be a funny army joke, but at the same time there will be lyricism in it. When Vasya crawls, wounded, to the point and his affairs are bad, but he does not give in - all this should be truly touching...

Vasya Terkin is from the village, but already worked somewhere in the city or in a new building. A merry fellow, a wit and a jokester, like the driver who drove me and M. Golodny from Feodosia to Koktebel.

Terkin is a participant in the liberation campaign in Western Belarus, which he remembers aptly and talks about well. A very skillful and resourceful person... He combines the most simple-minded statutory didactics with freedom and brashness. In peacetime, he may not have gotten by without punishment, although even here he is dexterous and captivatingly resourceful. It contains the pathos of the infantry, the army closest to the earth, to the cold, to fire and death.

He can lie, but not only does he not exaggerate his exploits, but, on the contrary, invariably presents them in a funny, random, real form.

Tvardovsky noted: “I have been thinking and working on this book for a long time, while still under the direct impression of the Finnish war. It was started for these immediate reasons, no matter how strange and primitive they may seem to their comrades. It is known what success the so-called feuilleton heroes have in the frontline, army and in the press in general: Vasya Terkin, Ivan Gvozdev, Grisha Tankin. I understood that it was and is being written rather poorly. This is a feuilleton with a continuous hero, going from issue to issue, and its main essence is in such statutory, very mandatory didactics: about behavior in intelligence, handling weapons, etc., but, as you can see, the need to love someone is so great then your own, the people's army hero, who would be the personification of luck, and gaiety, and cheerfulness, so great is this need for creating an army that these heroes enjoy very great success.

“Next to the epic hero of the poem - Terkin stands her lyrical hero... The unity of the images of the poet and his hero is especially clearly manifested in their language, i.e. in the language and style of the poem."

“Terkin is not a “lyrical hero” in the special sense in which this term is often used, not the author’s shadow, not the writer Tvardovsky dressed in the overcoat of an ordinary soldier (there would be no special merit in such a disguise)... But the author became so close to him and his comrades, so entered into their military destiny ... that he can express their thoughts and feelings with absolute authenticity and perfect inner freedom.”

“In the “Book about a Fighter”, in addition to the hero-protagonist - Terkin, there is also a second hero. This hero is the author-poet himself... This is not necessarily Tvardovsky himself in everything; it is more correct, as in all similar cases... to talk about a specially created according to the laws of art, an artistically generalized image of the author-narrator, the personality, whose character emerges in a certain way from the work, even some external biographical information is provided that coincides with the real biography of A. Tvardovsky. .. Terkin, as already mentioned, is enchantingly talented. Tvardovsky’s talent is of the same type.”

Speaking about Alexander Trifonovich Tvardovsky as a real person, it should be recognized that in some features Terkin and his creator are “similar to each other.” Like Tvardovsky, Terkin did not like arrogant people,” he was, like the author, reasonable and fair, did not allow himself to be offended, but was not at all cocky; just like his creator, Terkin is “endowed with a generous heart,” i.e. increased conscientiousness (after spending only a day on vacation, he returns ahead of schedule to the front line), which ultimately is nothing more than a high sense of civic duty. The author does not hide the fact that Terkin is his like-minded person

The author, despite his constant love of life, often, especially in the first year and a half of the war, was gloomy, withdrawn, isolated and gloomy. Terkin is a joker, a merry fellow and a lover of life who “smokes, eats and drinks with gusto in any position.”

Terkin, depending on the circumstances, can be evil and kind, cheerful and sad, ambitious and simple-minded, mocking and serious, arrogant and modest, crafty and direct, thoughtful and playful; maybe at some moments he can be simply humanly weak - “in a word, he’s an ordinary guy himself.” But those qualities that a warrior needs - perseverance, fearlessness, endurance, agility, courage, speed of reaction, as well as a deeply conscious and felt love for his native country and an ever-growing hatred of the enemy - are developed in him noticeably more strongly than in some, if it is permissible to put it this way, an “average” fighter - this is what gives the author the right to say about him: “a hero is a hero.” A participant in three wars, the famous military leader General of the Army A.V. Gorbatov said about Terkin: “In his discipline there is freedom, initiative, he boldly makes his decisions.”

Yes, in 1940 the author thought of Terkin as a person who “combines the most simple-minded statutory didactics with freedom and brashness.” But in “The Book about a Fighter,” if there is didactics, it certainly cannot be called statutory - rather, these are peculiar “political conversations,” as, for example, in the chapters “On Loss” and “Fight in the Swamp.” Both of them were pure impromptu, both times the reason was the same: one of the fighters began to lose heart. “Without a pouch, it’s like without hands,” lamented the poor fellow who had lost his pouch. “Agree, Vasily Terkin, is there no worse trouble?” - the newcomer said plaintively, lying hungry in a damp peat trench for the third day. Terkin, who from the first days of the war repeated one “political conversation”: “Don’t be discouraged!”, in both cases, considered it necessary to immediately encourage his despondent comrades.

Terkin is always decisive in any situation, and is not inclined to miss out on what he deserves, although he is an extremely unassuming person.

“The disposition and harmony of soul and body, mind and heart, work and fun, feat and Everyday life create a special charm, spiritual attractiveness, make him an example of the simple and at the same time the highest normality of a person,” writes A. Makedonov about Terkin.

Let’s take a closer look at Terkin’s behavior in the “Duel” chapter.

At first, Terkin is quite cold-blooded, busily thinking about how to protect his teeth from a blow, how it would be more convenient to strike himself - he is in approximately the same state as if he was fighting with a guy from a neighboring village. But, coming nose to nose with the German, Terkin caught the smell of garlic coming thickly from his mouth.

His homeland is getting closer and closer... Terkin himself did not have the chance to knock out the Germans from his native village, another formation was advancing there, under the command of another general, but Terkin, together with his fellow soldiers, crossed the Dnieper - and now he is already on the right bank, There is a cheerful hubbub all around , jokes, laughter...

This is how the chapter “On the Dnieper” ends, and immediately after it the head is coming“About an orphan soldier.” It does not mention Terkin’s surname even once, and it is not immediately clear whether we are talking about him or not.

Terkin went through a difficult path - not only along the roads of war, but also on the internal path of development. A seemingly carefree, merry fellow, a joker and a wit in the first chapters, by the end of the war he was already wise with enormous everyday and military experience, from which he did not at all lose his natural optimism, but learned the true value of many things.

Dozens of people wrote about Terkin’s typicality, drawing the conclusion from the lines “there is always a guy like this in every company, and in every platoon” that this is a collective, generalized image, that one should not look for any individual qualities in him, so everything typical for a Soviet soldier. And since “he was partially scattered and partially exterminated,” this means that he is not a person at all, but a kind of symbol of the entire Soviet Army.

But a dexterous, savvy, fearless, quirky, sharp-tongued guy is not yet Vasily Terkin. Terkin himself, like any truly artistic image, is unique precisely because he is brightly individual. Let us remember the chapter “Terkin - Terkin”. Ivan Terkin, like Vasily, has military awards, famously plays the accordion, does not mince words, but by character he is a completely different person. He does not have that spiritual subtlety, delicacy, that “intelligent heart” with which Vasily is so generously endowed. He loves to be in sight, to catch the admiring glances of fighters. Hearing someone’s semi-rhetorical question: “Where is our Vasily Terkin?”, Ivan was not slow to respond: “Who is that about me?”

Terkin is an extremely multifaceted personality, containing “many different and varied people in one person - from an unassuming village soldier joker to a world-historical hero - and at the same time one person, surprisingly whole, an undisputed hero and friend.” He doesn’t try at all to be the center of attention, but it just so happens that they “look into his mouth, as if they are greedily catching him.” Sometimes they listen to him for a long time without interrupting (“Before the battle,” “About an orphan soldier”), more often they interrupt with questioning or other remarks, and then the reader so clearly hears this casual soldier’s conversation, this polyphony, as if he were seeing each individual soldier in real life, as if in the famous painting by Yu. Neprintsev. This polyphony is felt with particular force when Terkin himself is not participating in the conversation, but they are talking about him or in front of him.

“My feat”... these words may not seem entirely modest. But Tvardovsky is not deceived, because the creation of “The Book about a Fighter” is truly a feat. Its creator did not live in an ivory tower, he was surrounded by people who enthusiastically read his book chapter by chapter, received a countless number of letters from a variety of people, which, as a rule, contained a high assessment of his brainchild.

Many years later, soon after the publication of “Terkin in the Next World,” they tried to reproach Tvardovsky for arrogance and looked for its origins in the final chapter of “The Book about a Fighter,” in the words: “What is her future glory? What is a critic to her, a wise guy who reads without a smile, looks for errors somewhere, woe if he doesn’t “find it?” But such an attitude towards a certain category of critics did not at all mean that the poet was “arrogant”, “beguiled, boasting of talent,” and certainly did not give reason to think that he “does not value people’s love.”

Being by nature alien to any vanity, Tvardovsky was indeed quite indifferent to how many articles, studies, dissertations, or even reader conferences would be devoted to his book in the future. But it was very important for him that his book, which had already brought so much joy to “people living in the war,” would continue to live in the popular consciousness after the war, so that not only scientists would talk about it from high stands in crowded halls.

And somewhere in 1944, the feeling firmly matured in me that “Vasily Terkin” was the best of everything written about war in war. And none of us can write the way this is written.”

Tvardovsky himself understood the social importance of his work on “Terkin”. After all, for him, “The Book about a Fighter” was the most serious personal contribution to the common cause - to the Victory over the mortal danger of fascism: “Whatever its actual literary significance, for me it was true happiness. She gave me a feeling of the legitimacy of the artist’s place in the great struggle of the people, a feeling of the obvious usefulness of my work, a feeling of complete freedom to handle poetry and words in a naturally occurring, relaxed form of presentation. “Terkin” was for me in the relationship between the writer and his reader, my lyrics, my journalism, song and teaching, anecdote and saying, heart-to-heart conversation and a remark to the occasion...

The author himself, fortunately, did not see the war “from the other side” with his own eyes - this cup passed him by. However, purely personal circumstances also played a significant role in everything that pushed Tvardovsky to write “House by the Road”: his native Smolensk region suffered in captivity for more than two years, his parents and sisters lived there - and why didn’t he change his mind about them during this time ! True, he could be said to be lucky: the Smolensk region in 1943 was liberated by the troops of the Western Front, with which his army destiny had long been connected, and in the very first days after liberation from the occupiers he was able to see his native places. “Native Zagorje. Only a few residents here managed to escape being shot or burned. The area was so wild and looked so unusual that I didn’t even recognize the ashes of my father’s house.”

All his life A. T. Tvardovsky, as if at a combat post, was in the thick of events, literary and other passions. Without sparing his life, he defends the “truth of the party,” to which he is faithful “always in everything.” Re-reading the poems, articles and letters of at least the last decade of his life, one is amazed at how this elderly man managed to write so much, travel around the country and abroad and devote a lot of time to editing the “New World”. Truly, “life did not deprive him” of either talent or energy. Until almost 60 years old, he retained not only his mental youth, but also the carelessness characteristic of youth in relation to his health. I always tried to see, read, understand, and defend everything myself.

This gave reason to Army General A.V. Gorbatov, who knew well the true value of people, to write in his memoirs about Tvardovsky that he considered him “... a real hero... As a communist, as a person, as a poet, he took everything for himself and fearlessly answered for his honest party views

True relaxation and pleasure for Tvardovsky was to get into some wilderness for a week or two, to stay in villages where ancient customs were still largely preserved. He was constantly drawn to the forest, to the deepest wilderness, and, as O. Vereisky testifies, “he walked through the forest like a master, guessing mushroom places by his secret signs, and cursed when he saw traces of barbaric felling. The wrappers, pieces of newspapers, and all sorts of picnic garbage thrown in the forest outraged him, and he never moved on until he pulled out matches, lit a fire and burned all the garbage he collected.”

Defending Soviet literature from the penetration of mediocre and pretentious authors into it, Tvardovsky, even with the most harsh and merciless refusals, tried to do this in such a way as not to offend or humiliate a person. “But,” he noted in one of his letters, “no matter how hard I try to choose words that would be less offensive to you, the essence remains the same.”

The whole personality of the poet, wise and civically mature, merciless to himself, angry and indomitable, tender and tired, stands behind every small masterpiece of his later lyrics. For those who like to “verify harmony with algebra,” it will present considerable difficulties: he has written so many poems in recent years that do not fit on any of the usual shelves. Where is the line between philosophical and civil lyrics, landscape and political? Almost, and sometimes not at all. But all the poems of the last decade are evidence that Tvardovsky the lyricist has risen to the very heights of poetry.

At Tvardovsky's last decade there were other things and concerns in his life. He had a lot to accomplish: to complete “Terkin in the Other World,” and to write a new poem, and to express with utmost clarity his thoughts about what had become the work of his whole life—about poetry. Perhaps the most important of all the poems dealing with this topic is “A Word about Words” (1962). It is dictated by acute anxiety for the fate of Russian literature, a call to fight for the value and effectiveness of every word; How many manuscripts did Tvardovsky the editor reject because of vanity and idle talk, and how many others like them still saw the light of day, having passed through the hands of less demanding editors! Tvardovsky had every right to say this when addressing his native land.

Indeed, if the poet, without waiting for “serious reasons for speech to ripen in his chest,” rushes at all costs to “respond” to the latest event, then his words, “repeated in vain, lose weight like flies and die.” , turn into “words”, and from the veche towers, instead of a calling alarm, only a “bad ringing” is heard. It’s even worse when an author, especially one already recognized and celebrated, is taken over by a “vicious calculation”: he is unable to overcome the “passions of petty success”, he strives to “reinforce his fame”,

So as not to stand on her guard,

As for your wife, be calm.

These lines were written in 1967, when Tvardovsky, from the height of his less than 60 years, could take a critical look at everything he had created earlier and bitterly admit that he himself sometimes succumbed to a similar temptation.

Yes, with all his courage, energy and will, Tvardovsky was still not without some human weaknesses and knew that “in weakness, in despondency” he might sometimes not be able to resist the temptation that is harmful to poetry. But his great dignity was that he was not afraid to admit his weaknesses and mercilessly condemn himself for them. That is why he felt he had the moral right to point out to others their sins. In 1959, he published a rather large poem “Moscow Morning”. The poet, calling the editor-in-chief of all literature “the great time,” exclaims:

Oh, dear time,

great time,

I'll lie out of convenience -

hit me in the head!

And if sometimes

I’ll give up inadvertently -

Teach me wise

a lesson-reproach.

As critics have repeatedly noted, Tvardovsky was the first of the poets to touch upon the topic of the responsibility of the living to the fallen, that high responsibility without which life generally loses its meaning, for what is it like for a person to endure all the hardships of life if he knows that his descendants will not in any way appreciate what he and his generation have done and not only will they be consigned to oblivion, but they may even trample all their conquests, as, alas, has happened more than once in the centuries-old history of mankind... No, the dying must at least a moment before death see, even if mentally, those “who from the hands He picked up our banner on the run,” as the poet put it back in 1946 (“I was killed near Rzhev”). “What else is it like even for a dead person?”

Years passed, the war moved further into the past, but the pain from the feeling of loss did not go away. The more beautiful life became, the more acutely the poet felt the need to remind of those who paid for it with their blood. Significant dates and events often served Tvardovsky as an occasion to once again force the reader to remember those who died defending the future of their people. In 1957, the country celebrated the fortieth anniversary of the Great October Revolution. Among the many works that appeared for the anniversary, Tvardovsky’s poem “That blood that was not shed in vain” stands apart. The blood of millions, shed in “this forty-year period,” rises before his gaze as a fiery dawn,

Knocks on our hearts, controls us,

Without letting go for an hour,

May our victims be in holy memory

She did not leave us along the way.

So that we, listening to the praise,

And on the holiday of current victories

Do not forget that with this blood

Our yesterday's trail is smoking.

The “holy” memory of the dead constantly knocks on the poet’s heart. And even Gagarin’s flight into space evoked special and rather unexpected associations for Tvardovsky. In the February 1962 book of the New World, his poem “To the Cosmonaut” was published, the essence of which is this: no matter how heroic of heroes you are, Gagarin, do not forget about those guys who died in their “plywood jalopies” in 1941 year “near Yelnya, Vyazma and Moscow itself” and know:

They are proud, they are involved

Special glory gained in battle,

And that one, harsh and voiceless,

Wouldn't trade it for yours.

Of course, the poet had no intention of somehow belittling with these words the feat of the “scout of the universe” - on the contrary, placing him next to those who, at the cost of their lives, saved their native country from fascism, the author gives him the greatest honor:

...one blood, and you are siblings,

And the younger brother is not in debt to the elders.

There were a great many of those front-line soldiers, both those who died and those who survived; the names of most of them are known only to a narrow circle of fellow soldiers and relatives.

Celebrating Victory Day, we must not forget “what that suffering cost us,” forget “which and how many sons we missed, crying under the thunder of the victorious batteries.” That very evening Tvardovsky thought and wrote about the dead:

There are so many of them in the world,

What did they read about you, poet...

In the years since the end of the war, many people have disappeared into oblivion. Among them are those who were in one way or another close to the poet and took with them a piece of his life, and among all these losses, isn’t the most bitter one - the death of one’s own mother?

“My mother, Maria Mitrofanovna, was always very impressionable and sensitive, not even without sentimentality, to many things that were outside the practical, everyday interests of a peasant household, the troubles and concerns of a housewife in a large large family. She was moved to tears by the sound of a shepherd's trumpet somewhere in the distance behind our farm bushes and swamps, or the echo of a song from distant village fields, or, for example, the smell of the first young hay, the sight of some lonely tree, etc.

So, even during his mother’s life, Alexander Trifonovich wrote about her in “Autobiography”.

In 1965, he saw her off on her last journey. The cycle “In Memory of the Mother” was also created in this same place. It consists of four poems, different in volume and rhythm. The first and third could be dedicated to the great many mothers: eternal maternal care and young filial aspiration forward into an unclear, promising future; the young man longs to taste independence as soon as possible, and no matter how attached he is to his mother, his reciprocal feeling will never compare in strength to his mother’s. Farewell begins

When do we need handkerchiefs, socks

Kind hands will lay them down,

And we, fearing delay,

We are eager for the appointed separation.

These are lines from the first poem.

The third contains a description of the funeral. The first eight lines are about the leisurely work of gardeners planting young apple trees, then there is an immediate sharp contrast:

But like gravediggers - with a jerk -

Come on, come on without a break, -

As soon as the first lump fell,

And now you can no longer hear the lid.

The same shovels; Gardeners and gravediggers have the same calloused hands and rough tarpaulin boots; but at the fresh grave of the dearest person, the orphaned son inappropriately remembered the caring gardeners, with all their habits so similar to his beloved mother, who gave birth to and nurtured seven children, that it became simply unbearable to wait for the end of the burial:

After all, you yourself are ready to help them,

So that everything is even shorter.

This impatient feeling is well known to anyone who has had to bury loved ones, even without any associations with gardeners.

It is difficult to say which parent influenced the poet more or less, but, obviously, he loved his mother more. The poems dedicated to her memory were written, apparently, in a very depressed state of mind. It was hard for him to write this requiem, but it was even harder for him to keep the pain inside. Having poured into words, this pain took the form of not just poetic lines - high poetry. These poems have become literary fact.

Before last days he hated “all kinds of dead things,” which he exposed to public disgrace with murderous sarcasm back in “Tyorkin in the Other World” (1963).

In Moscow, on Mira Avenue, not far from VDNKh, there is school No. 279 named after A. T. Tvardovsky. The magazine “Youth” told readers about it at one time. On the stand dedicated to the poet, among other quotes from his works, there is the following:

Responsible for your words

It’s not for nothing that I’m on duty -

Dead spirit in this world

I can tell them from a mile away.

These words are taken from the fairy tale “Terkin in the Other World.” And K. Simonov was absolutely right when he asserted that “Terkin’s return to life in “Terkin in the Next World” meant the invariability of Tvardovsky’s view and the invincibility of the people, their ability to cope not only with such a great test as war, but also with such an intractable trouble, like bureaucracy.” Readers caught this unmistakably. For them, Tyorkin, who ended up in the “other world,” was not at all the antithesis of the front-line Tyorkin, and the author soon felt this from numerous letters from readers. Concluding this poem, he said:

I went on my attack,

One thought dominated me:

I get along with this one, and with everyone else

I tell a different fairy tale.

This means that it was this “fairy tale” that required the utmost effort from him - nine years of his life were given to it (1954 - 1963). It was here that he tested himself as a satirist, and it became clear that he was the strongest satirist, merciless and completely original, able to even combine satire with lyrics (lines about the military and special departments, about the award and about Moscow, about the death of a friend, about Tyorkin’s return journey).

The publication and completion of “Terkin in the Next World” gave Tvardovsky new strength. Evidence of this is all his subsequent lyrics, about which K. Simonov, who led together with M. Ulyanov documentary about Tvardovsky, he said: “It seemed that in his poem “Beyond the Distance is the Distance” Tvardovsky rose to such a pinnacle of poetry that it was no longer possible to rise higher. And he did it. And this last, highest peak of his is his lyrics of recent years.”

Tvardovsky’s very last poem published during his lifetime, “To the bitter grievances of one’s own person,” is dated 1968. This does not mean that he never wrote another line at all, although, according to A. Kondratovich, “he wrote more and more painfully every year.” In one of the very last, written already in the sixtieth year of his life and published posthumously, Tvardovsky calmly said goodbye to life:

What does it take to live wisely?

Understand your plan:

Find yourself within yourself

And don't lose sight of it.

And loving your work closely, -

He is the basis of all foundations, -

It's hard to ask yourself,

For others it is not so harsh.

At least now, at least in reserve,

But doing the work like this

To live and live,

But every hour

Get ready to take off.

And don’t worry - oh yes oh -

What, close or distant, -

He still takes you by surprise

If it catches you, the hour is lethal.

Amen! Calmly put a stamp,

Toy, contrary to hindsight:

If there is only sadness in her, -

So, that means everything is in order.

Probably, not only poets, but everyone who strives to be real people will be right in making this testament of the great Soviet poet their life motto.

Tvardovsky had about two more years to live. He had not yet left his office at the Novy Mir editorial office and did not yet know that his body was being eaten away by a malignant tumor. He felt not only “of sound mind and sound memory,” but also in the performance of his official duties.”

In the last ten to fifteen years of his life, Tvardovsky was a kind of spiritual father for many of his fellow writers thanks to his exceptional talent, and mainly due to his well-known sense of high personal responsibility for the fate of literature, and not only it. “He was our poetic conscience” - this is how Kaisyn Kuliev will most accurately define the moral significance of Tvardovsky.

Fifteen years before his death, Tvardovsky wrote that life “did not deprive him... and placed so much in his heart that for the time being he was amazed at how severe the chills and heat he could handle.”

For the time being... But now the time has come. The poet himself behaved courageously and believed that he would recover.

Meanwhile, the people closest to him knew even a year before his death that there was nothing to hope for.

Now, when a lot of time has passed, and when many people who knew him closely have published their memoirs about him, amounting to a total of more than five hundred pages, we can, by comparing them, try to draw some generalizations and conclusions: who was he?

Let's read again the most characteristic lines of the memories - what emerges from them?

Having grown up in peasant “barefoot and nakedness,” he gradually strengthened his character over the years.

A stern realist who learned, as Lenin bequeathed, not to take anything for granted, he could not tolerate people of excessive practicality: yesterday’s university graduates, smugly boasting of their “hot” specialty, which provided in any big city a solid “piece of bread”, caused him a feeling of bewilderment: for him these were people who had aged prematurely spiritually. At the same time, the early independence, efficiency and efficiency of some boy delighted him.

And it is not surprising, for he himself was extremely characterized by independence, independence, firmness and willpower. Fame could not turn his head, he knew how to easily push it aside - and isn’t this a sign of willpower?

Even those who often argued with him noted his deeply thought-out justice. Everyone was struck by Tvardovsky’s unfailing spiritual kindness and desire to effectively help his neighbor.

Possessing an extremely integral nature, he always remained himself - both in his work and in everyday life.

It is difficult to fully appreciate everything created by Tvardovsky as a poet, prose writer, literary critic, publicist, and editor. He created too much in 46 years creative activity. And yet, assessing what was included in his lifetime five-volume publication, in the posthumously published collections and in the published six-volume books, one can generally summarize his activities.

Tvardovsky contained “three gifts that make up true poetic talent: the gift of sympathy, the gift of understanding, the gift of expression” - this is how V. Alexandrov aptly defined his talent. P. Vykhodtsev gave an even more definite assessment of his artistic individuality: “Tvardovsky, without annoyingly rattling declarations, and through the logic of the development of artistic images, reproduces the main signs of our time, the political, historical and philosophical content of the affairs and achievements of the people.” And in fact, the social in the poet’s work is inseparable from the aesthetic.

Tvardovsky was constantly at the very forefront, constantly turning in his work to the most pressing problems of our time, posing them with all acuteness and integrity, i.e. he was always a faithful and reliable assistant to the party. That is why the interest and gratitude of a wide readership accompanied him invariably.

Not all facets of Tvardovsky’s talent have been equally studied.

Tvardovsky the prose writer is still far from being fully appreciated - mainly because he is overshadowed by Tvardovsky the poet. But the same “naturalness without primitiveness and seriousness without deliberate profundity” is also characteristic of Tvardovsky’s prose, starting with “Diary of a Collective Farm Chairman” and ending with “Notes from the Angara”

Tvardovsky the critic is still waiting for his researcher. But anyone, even with a cursory acquaintance with his notes and articles on literature, cannot help but be struck by how broad his literary horizons are, how easily he brings together, say, Marshak and Goethe in one article, how deeply and subtly he judges the work of such, it seemed would be poets alien to him, like Akhmatova or Mandelstam. Three major articles - about Bunin, Isakovsky and Marshak - testify to that property of the author, which musicians call absolute pitch. But with all his passion for this or that writer, Tvardovsky judges each one on principle, not turning a blind eye to individual weaknesses, and sometimes - as, for example, in the article about Bunin - to very significant flaws.

Alexander Trifonovich Tvardovsky combined the talent of a poet, the temperament of a fighter, the duty and conscience of a citizen. He was a communist and an internationalist by his very nature, remaining throughout the Russian national poet. And any young man who “decides to make a life for himself,” even if he has no inclination towards poetry, can boldly and unmistakably point to the life of the wonderful Soviet poet.

Slide 1

Slide 2

Tvardovsky's creativity The poet's talent awoke in Alexander Tvardovsky in early childhood. While still studying at a rural school in the Smolensk region, at the age of 14 he became a rural correspondent for Smolensk newspapers, and in 1925 his poems were published there. Soon his poems “The Path to Socialism” (1931), “Introduction” (1932), “Ant Country” (1934-36), collections of poems “The Road” (1938), “Rural Chronicle” (1939), “Zagorye” were published. (1941), poem "Vasily Terkin. A book about a fighter"

Slide 3

“The Country of Ant” 1936 The hero of the poem, Nikita Morgunok, who dreamed of happiness and free work on his land, realized that happiness can only be in collective farm life. Read these poems today, when so many cruel truths have been revealed about collectivization, dispossession of families, extermination the best people I sat down, a little scared. After all, Tvardovsky himself was born in a village, his family was dispossessed and exiled to the North. But in the poems of the son of a kulak, these tragic notes do not sound. He wrote as the menacing 20s and 30s demanded, sincerely believing that on the path of collectivization the people would find their happiness. The turning years for the poet were the years of the Great Patriotic War, which he went through as a front-line correspondent. During the war years, Tvardovsky's poetic voice acquires that strength, that genuine power, without which real creativity is impossible.

Slide 4

Poem “Vasily Terkin” 1941 “Vasily Terkin is a truly rare book: what freedom, what wonderful daring... and what an extraordinary folk soldier’s language” (I.A. Bunin) The poem consists of 28 chapters, a prologue and an epilogue, conventionally divided into three parts. Each chapter is a short story about an episode from Tyorkin’s front-line life, not connected to the others by any common plot. Alexander Tvardovsky. 1945

Slide 5

Yu. Neprintsev. Rest after the battle Vasily Terkin is a joker and a merry fellow, the soul of his unit. In battle - an example for everyone, a resourceful warrior who will not get confused in the most difficult situation. At a rest stop, a company always gathers around him - Tyorkin will sing and play the accordion, and will never reach into his pocket for a sharp word. Terkin - who is he? Let's be honest: He's just a guy himself. He's ordinary. However, the guy is good. There is always a guy like that in every company, and in every platoon. And so that they know what is strong, Let's say frankly: He was endowed with beauty. He was not excellent, Not tall, not that small, But a hero - a hero. He fought in Karelian beyond the Sestra River. And we don’t know why, - They didn’t ask, - Why then they didn’t give him a medal. Let's turn from this topic, Let's say for the sake of order: Maybe there was a typo in the award list.

Slide 6

“Death and the Warrior” Being wounded, on the brink of death, he finds the strength to gather himself and enter into a battle with Death, from which he emerges victorious. The heat of battle was leaving behind the distant hills. Vasily Terkin Unpicked lay in the snow. The snow beneath him, stained with blood, formed an icy pile. Death leaned towards the head of the bed: “Well, soldier, come with me.” I’m now your friend, I’ll follow you nearby, I’ll cover your trail with a white blizzard, a white blizzard. Terkin trembled, freezing on the snow bed. - I didn’t call you, Kosaya, I’m a soldier still alive. ……………………… I will cry, howl in pain, Die in the field without a trace, But I will never surrender to you of my own free will.

Slide 7

“Crossing” Crossing, crossing! Left bank, right bank, Rough snow, ice edge, To whom is memory, to whom is glory, To whom dark water, No sign, no trace. At night, the first of the column, having broken off the ice at the edge, was loaded onto the pontoons by the First Platoon. I plunged in, pushed off and went. The second one is behind him. The third one got ready and bent down, following the second one. The pontoons went like rafts, one and another thundered in a bass, iron tone, like a roof under your feet. And the soldiers are floating somewhere, hiding their bayonets in the shadows. And the guys are completely your own. At once it’s as if they’re not them, At once it’s as if they don’t look like one of our own, like those guys: Somehow everything is becoming more friendly and stricter, Somehow everything is dearer to you and closer to you than an hour ago. Some stories tell of victories, and some of hard defeats. In the author's four digression chapters there are discussions about the war, the difficult lot of soldiers and hints about how the work on the book went.

Slide 8

The poem “House by the Road” Along with the perky popular ditty work “Vasily Terkin,” Tvardovsky creates others in which war appears in its terrible guise. From 1942 to 1946, he wrote the poem “House by the Road,” in the center of which is the fate of the “ascetic fighter” Andrei Sivtsov and his wife, Anna, who was taken to Germany with her children. The center of the family, as always with Tvardovsky, is the mother. “House by the Road” is not only a lyrical chronicle, but also a lyrical hymn, first of all, to maternal love, in all its fullness and concrete strength. And a peasant woman, a mother woman. But at the same time, a woman is a housewife and a hard worker. And to a woman-wife, a friend of the worker-owner, and then a warrior who protects the home and family of the entire people.

Slide 9

The poem “House by the Road” The image of Anna, the pictures of her bitter motherhood in a foreign land achieve great generalization, symbolizing the invincibility of life in its struggle with violence and death. The love of a wife and mother is the same businesslike, active love, signs of which we saw in Tvardovsky’s lyrics of the 30s, but here it is no longer only a lyrical, but also a lyrical-epic world. This world is home, work.

Slide 10

Poem “Beyond the Distance” I lived, I was - for everything in the world I answer with my head... But which of us is fit to be a judge - To decide who is right and who is wrong? We are talking about people, but don’t people create Gods themselves? I don’t believe in the boredom of distant places, And the land where I am not now, I feel like a loss From the life of a lost day. I am ready to scatter my heart around the world. I want to be on time everywhere. I need South and North, East and West, Forest and steppe at once... Tvardovsky’s main book of the 50s The poem is dated 1950-1960. The source of the poem were impressions from the poet’s trip to Siberia and the Far East, which is associated with the form of a “travel diary”. The circulation of editions of the poem ranks second after "Vasily Terkin". There are two heroes in the poem: the author himself and “you”. "You" is the reader. The combination “you and I” is reinforced by the combination “you and I.” The reader and the author represent a continuous entity. The entire first chapter is filled with the memory of the war, the “torment” of the people on their historical road, and later in the poem the memory of other torments experienced by the people arises. The poet was deeply affected by the criticism of the negative aspects of our reality, voiced at the 20th Congress of the CPSU.

Slide 11

Poem “Beyond the Distance” I don’t believe in the boredom of distant places, Tvardovsky’s main book of the 50s The poem is dated 1950-1960. The source of the poem were impressions from the poet’s trip to Siberia and the Far East, which is associated with the form of a “travel diary”. There are two heroes in the poem: the author himself and “you”. "You" is the reader. The combination “you and I” is reinforced by the combination “you and I.” The reader and the author represent a continuous entity. The entire first chapter is filled with the memory of the war, the “torment” of the people on their historical path, and later in the poem the memory of other torments experienced by the people arises. The poet was deeply affected by the criticism of the negative aspects of our reality, voiced at the 20th Congress of the CPSU.

Slide 12

The poem “By the right of memory” 1967-1969 In genre and thematic terms, this is a lyrical and philosophical reflection, a “travel diary”, with a weakened plot. The characters in the poem are the vast Soviet country, its people, the rapid turn of their affairs and achievements. The text of the poem contains a humorous confession from the author, a passenger on the Moscow-Vladivostok train. The artist sees three distances: the vastness of the geographical expanses of Russia; historical distance as continuity of generations and awareness of the inextricable connection of times and destinies; the bottomlessness of the moral reserves of the soul of the lyrical hero.

Slide 13

Poem “By the right of memory” We were ready for the campaign. What could be simpler: To love our native mother land, So that for it we will go through fire and water. And if - Then give up your life... Let’s just add from ourselves now. Which is easier - yes. But what is more difficult?

Slide 14

Poem “By the right of memory” Closing the lessons of age, the thought comes by itself - To treat everyone with whom I was on the road, Living and fallen. This is not the first time she has come. So that the word has double control: Where, perhaps, the living will remain silent, So they will interrupt me: - Allow me! In the face of bygone eras, you have no right to bend your heart, - After all, we paid for these with the greatest payment... And for me, let that outpost, That strict guard sign, be a pledge of unkind speech, By right of living memory.

Slide 15

“By right of memory” The second chapter, “The son is not responsible for his father,” is the most tragic in the poem, and in all of his work. The illegally dispossessed Tvardovsky family was exiled to Siberia. Only Alexander Trifonovich remained due to the fact that he lived separately from his family in Smolensk. He could not alleviate the fate of those exiled. In fact, he abandoned his family. This tormented the poet all his life. This unhealed wound of Tvardovsky resulted in a poem. A difficult time that philosophers cannot understand fifty years later. But what can we say about a young man who firmly believes in official propaganda and ideology? The duality of the situation is reflected in the poem. The end of your dashing adversity, stay cheerful, don’t hide your face. Thank the father of nations, that he forgave your father. Slide 17 “By the right of memory” In the third chapter of the poem, Tvardovsky asserts the human right to memory. We have no right to forget anything. As long as we remember, our ancestors, their deeds and exploits are “alive.” Memory is a person’s privilege, and he cannot voluntarily give up God’s gift to please anyone. The poet states: Whoever hides the past jealously is unlikely to be in harmony with the future... This poem is a kind of repentance of Tvardovsky for his youthful actions and mistakes. We all make mistakes in our youth, sometimes fatal ones, but this does not give rise to poems in us. A great poet even pours out his grief and tears into brilliant poetry. And you, who are now striving to return the former grace, So you call Stalin - He was God - He can rise.

Slide 18