One of the significant and at the same time controversial figures in Soviet literature was A. T. Tvardovsky, whose poems and poems are distinguished by their closeness to popular speech and folklore, special individuality and originality. and the Great Patriotic War, the memory of the soldiers who died in battles for their homeland - this is perhaps the most important aspects creativity of the poet. He witnessed the dispossession, approval and debunking of Stalin's totalitarian system, and took part in the Finnish and Great Patriotic Wars. Rich life experience and reliance on reality make the works of Alexander Trifonovich extremely popular among readers.
Features of the lyrics
When working on his works, Tvardovsky relied on the best folklore traditions and took into account the peculiarities of the Russian character. That is why his poems are simple and understandable to every reader. And the lyrical hero, as a rule, is a native of the people, who initially evokes respect and love from the author. The poet himself believed that the main theme in his work was the topic of memory, which is relevant at all times. In Tvardovsky’s lyrics, it is reflected in reflections on his own family, dispossessed and exiled when the future poet was still very young. For example, in the poem “Brothers” we hear notes of suffering and longing for loved ones with whom he was forced to live in separation. But the theme of memory is especially vividly embodied in Tvardovsky’s lyrics about the war.
Frontline chronicle
Everyone knows that the poet participated in the Finnish campaign of the late 30s. And after the start of the Great Patriotic War, he went to the front as a correspondent, but was always on the front line. The poet fully understood all the difficulties of soldier's life in the field and told his readers about it.
Tvardovsky's military lyrics are diverse. These are also journalistic poems, which are calls to fight against the hated enemy (“To the Soldier of the Southern Front”, “To the Partisans of the Smolensk Region”). And small plot poems, reminiscent of “short stories” about heroic deeds (“The Tankman’s Tale”) or soldier’s life (“The Army Shoemaker”). Finally, poems-reflections, imbued with pain for the fate of the people and the entire country (“Two Lines”). But the main thing that unites them is the author’s awareness of personal responsibility for preserving the memory of those who gave their lives for the liberation of the Motherland. This thought never left Alexander Trifonovich as a person, and became the main motto of the poet Tvardovsky.
“I was killed near Rzhev”: lyrical hero and main idea
The poem, written a few months after the end of the war, was initially titled “Testament of a Warrior.” This is not accidental, since it is narrated from the perspective of a soldier who died in the battles for Rzhev. The lyrical hero is a generalized image of a warrior-liberator, who, addressing all survivors, notes: “You, brothers, should have resisted...” Thus, even after the death of the Russian soldier, he is worried about the fate of his comrades and the country. And not a single line contains a reproach for the fact that he died while others remained alive. After all, this sacrifice is not in vain.
Such is Tvardovsky’s war lyrics. In the face of enormous adversity, the specific blurs and becomes general. And such opposing values as death and eternal immortality, loss and unforgettable feat, are so intertwined that they turn out to be inseparable from each other.
"Book about a fighter"
The most famous work of A. T. Tvardovsky was the poem “Vasily Terkin,” created during the war. It presents the image of a gallant soldier who walked with the author the entire military path from 1942 to 1945 and embodied in himself best qualities Russian person. Terkin always finds himself in the center of events, gets into various troubles, but never loses heart, does not lose hope and faith, finds a way out of the most difficult situation. At the same time, the hero more than once experiences pain and bitterness, and may even cry, Tvardovsky emphasizes.
The verses of the poem also sound either cheerful and lively, or filled with bitterness and an inexpressible sense of loss, as in the chapter “Crossing”: “People are warm, alive / They went to the bottom...” And a red thread running through the entire poem is the theme of memory of those who remained forever lie on the battlefields. Therefore, it is the duty of every person to never forget the great price that the Soviet people paid for a peaceful future.
Poems by A. T. Tvardovsky
Collectivization and dispossession (“Country Ant”), the Great Patriotic War and the heroism of the people (“Vasily Terkin”), the “thaw” under Khrushchev (“Beyond the Distance is the Distance”), debunking the cult of personality and totalitarianism (“By the Right of Memory”) - the main stages of the country's historical development in the 20-60s of the 20th century became part of the fate of Tvardovsky himself and were reflected in his poems. The author recreates the past on the pages of his works to once again remind his contemporaries: each of us is responsible for what happens to the people and the country. This idea was embodied most clearly in his last poem.
"By right of memory"
Work for a long time was banned. Its composition, consisting of 3 parts, introduces the reader to the life of the poet himself, his youthful dreams and hopes. And most importantly, Alexander Trifonovich openly talks about the tragedy that befell the village in the 30s. It was then that his worker father was dispossessed and exiled. Thus, the theme of memory in Tvardovsky’s lyrics partly turns into filial repentance not only before his family, but also before the entire Russian peasantry. Like a sentence, the words sound in the poem addressed to the “leader of the peoples” and the so-called “silent people”: “... they are silently ordered to forget... But it was obvious pain / For those whose life was cut short.” The author recalls people whom he knew personally, which makes the work reliable.
The poem is primarily dedicated to youth and sounds like an eternal reminder that history cannot be divided into segments. That everything in it is interconnected, and the past can repeat itself in the present or future. That is why already in the title of the poem it is stated as the main theme of memory.
In Tvardovsky’s lyrics, therefore, great importance a problem that is relevant at all times acquires: you need to know and love your family and your homeland and you definitely need to remember what you have experienced. This is the only way to move forward, avoiding repetition. terrible mistakes of the past.
Name Alexandra Trifonovich Tvardovsky, the greatest Soviet poet, laureate of the Lenin and State Prizes, is widely known in our country.
Freedom, humor, truthfulness, daring, naturalness of immersion in the elements folk life and folk speech conquered and are conquering 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.
Alexander Trifonovich Tvardovsky was born in 1910 in one of the farms in the Smolensk region, into a peasant family. For the formation of the personality of the future poet, the relative erudition of his father and the love of books that he brought up in his children were also important. “Whole winter evenings,” writes Tvardovsky in his autobiography, “we often devoted ourselves to reading a book out loud. My first acquaintance with “Poltava” and “Dubrovsky” by Pushkin, “Taras Bulba” by Gogol, the most popular poems by Lermontov, Nekrasov, A.K. Tolstoy, Nikitin happened in exactly this way.”
In 1938, an important event occurred in Tvardovsky’s life - he joined the ranks of the Communist Party. In the fall of 1939, immediately after graduating from the Moscow Institute of History, Philosophy and Literature (IFLI), the poet participated in the liberation campaign Soviet army to Western Belarus (as a special correspondent for a military newspaper). The first meeting with the heroic people in a military situation was of great importance for the poet. According to Tvardovsky, the impressions he received then preceded those deeper and stronger ones that washed over him during the Second World War. Artists drew interesting pictures depicting the unusual front-line adventures of the experienced soldier Vasya Terkin, and poets composed text for these pictures. Vasya Terkin is a popular character who performed supernatural, dizzying feats: he mined a tongue, pretending to be a snowball, covered his enemies with empty barrels and lit a cigarette while sitting on one of them, “he takes the enemy with a bayonet, like sheaves with a pitchfork.” This Terkin and his namesake - the hero of Tvardovsky's poem of the same name, who gained nationwide fame - are incomparable.
For some slow-witted readers, Tvardovsky will subsequently specifically hint at the deep difference that exists between the real hero and his namesake:
Is it now possible to conclude
What, they say, grief is not a problem,
What guys got up and took
A village without difficulty?
What about constant luck?
Terkin accomplished the feat:
Russian wooden spoon
Killed eight Krauts!
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.
During the war years, A. Tvardovsky created his most famous poem “Vasily Terkin”. His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, and modernity, and autobiographical features that make him similar to the author (it is not for nothing that he is from Smolensk, and in the monument to Terkin, which has now been decided to be erected on Smolensk soil, it is not at all by chance decided to indicate the portrait resemblance of the hero and its creator).
They say that they were going to erect or have already erected a monument to the fighter Vasily Terkin. A monument to a literary hero is a rare thing in general, and especially in our country. But it seems to me that Tvardovsky’s hero rightfully deserved this honor. After all, along with him, the monument is also received by millions of those who in one way or another resembled Vasily, who loved their country and did not spare their blood, who found a way out of a difficult situation and knew how to brighten up front-line difficulties with a joke, who loved to play the accordion and listen to music on the halt. Many of them did not even find their grave. Let the monument to Vasily Terkin be a monument to them too.
If you asked me why Vasily Terkin became one of my favorite literary heroes, I would say: “I like his love of life.” Look, he’s at the front, where there’s death every day, where no one is “bewitched from a stupid fragment, from any stupid bullet.” Sometimes he is cold or hungry, and has no news from his relatives. But he does not lose heart. Lives and enjoys life:
"After all, he is in the kitchen - from his place,
From place to battle,
Smokes, eats and drinks with gusto
Any position."
Terkin is the soul of the soldier's company. No wonder his comrades love to listen to his sometimes humorous and sometimes serious stories. Here they lie in the swamps, where the wet infantry even dreams of “at least death, but on dry land.” It's raining. And you can’t even smoke: the matches are wet. The soldiers curse everything, and it seems to them that “there is no worse trouble.” And Terkin grins and begins a long argument. He says that as long as a soldier feels the elbow of a comrade, he is strong. Behind him is a battalion, a regiment, a division. Or even the front. What is it: all of Russia! Last year, when a German rushed to Moscow and sang “Moscow is mine,” then it was necessary to freak out. But today the German is not at all the same, “the German is not a singer of this song from last year.” And we think to ourselves that even last year, when I was completely sick, Vasily found words that helped his comrades. He has such talent. Such a talent that, lying in a wet swamp, my comrades laughed: my soul felt lighter. But most of all I like the chapter “Death and the Warrior,” in which the wounded hero freezes and imagines that death has come to him. And it became difficult for him to argue with her, because he was bleeding and wanted peace. And why, it seemed, was there any need to hold on to this life, where all the joy is in either freezing, or digging trenches, or being afraid that they will kill you... But Vasily is not the type to easily surrender to Kosoy.
"I will scream, howl in pain,
Die in the field without a trace,
But of your own free will
I will never give up"
He whispers. And the warrior conquers death.
“The Book about a Soldier” was very necessary at the front; it raised the spirit of soldiers and encouraged them to fight for their homeland to the last drop of blood.
Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter “Who Shot?” he shoots down an enemy plane with a rifle), and a man of extraordinary fortitude - in the chapter “Crossing” the feat is told - Terkin swims across the icy river to report that the platoon is on the right bank - and he is a craftsman, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task:
"Let the probable reader
He will say with a book in his hand:
- Here are the poems, and everything is clear,
Everything is in Russian."
Terkin embodies the best features of the Russian soldier and the people as a whole. A hero named Vasily Terkin first appears in the poetic feuilletons of the Tvardov period of the Soviet-Finnish war (1939-1940). The words of the hero of the poem:
“I am the second, brother, war
I'll fight forever"
The poem is structured as a chain of episodes from the military life of the protagonist, which do not always have a direct event connection with each other. Terkin humorously tells young soldiers about the everyday life of war; He says that he has been fighting since the very beginning of the war, he was surrounded three times, and was wounded. The fate of an ordinary soldier, one of those who bore the brunt of the war on their shoulders, becomes the personification of national fortitude and the will to live. Terkin swims twice across the icy river to restore contact with the advancing units; Terkin alone occupies a German dugout, but comes under fire from his own artillery; on the way to the front, Terkin finds himself in the house of old peasants, helping them with the housework; Terkin enters hand-to-hand combat with the German and, with difficulty, defeating him, takes him prisoner. Unexpectedly, Terkin shoots down a German attack aircraft with a rifle; Sergeant Terkin reassures the jealous sergeant:
“Don’t worry, the German has this
Not the last plane"
Terkin takes command of the platoon when the commander is killed, and is the first to break into the village; however, the hero is again seriously wounded. Lying wounded in a field, Terkin talks with Death, who persuades him not to cling to life; Eventually he is discovered by the fighters and he tells them:
"Take this woman away
I am a soldier still alive"
The image of Vasily Terkin combines the best moral qualities of the Russian people: patriotism, readiness for heroism, love of work.
The character traits of the hero are interpreted by the poet as traits of a collective image: Terkin is inseparable and integral from the militant people. It is interesting that all fighters - regardless of their age, tastes, military experience - feel good with Vasily; Wherever he appears - in battle, on vacation, on the road - contact, friendliness, and mutual disposition are instantly established between him and the fighters. Literally every scene speaks to this. The soldiers listen to Terkin’s playful bickering with the cook at the hero’s first appearance:
And sitting down under a pine tree,
He eats porridge, hunched over.
"Mine?" - fighters among themselves, -
"Mine!" – we looked at each other.
I don’t need, brothers, orders,
I don't need fame.
In the poem “Vasily Terkin”, A.T. Tvardovsky’s field of vision includes not only the front, but also those who work in the rear for the sake of victory: women and old people. The characters in the poem not only fight, they laugh, love, talk to each other, and most importantly, they dream of a peaceful life. The reality of war unites what is usually incompatible: tragedy and humor, courage and fear, life and death.
The poem “Vasily Terkin” is distinguished by its peculiar historicism. Conventionally, it can be divided into three parts, coinciding with the beginning, middle and end of the war. Poetic understanding of the stages of the war creates a lyrical chronicle of events from the chronicle. A feeling of bitterness and sorrow fills the first part, faith in victory fills the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part of the poem. This is explained by the fact that A.T. Tvardovsky created the poem gradually, throughout the Great Patriotic War of 1941-1945.
The theme of war is deeply and fully explored in the works of the great 20th century writer Mikhail Sholokhov.
Mikhail Sholokhov, everyone opens it in their own way. Everyone likes their own hero from Sholokhov's stories. This is understandable. After all, the fate of the heroes, the problems raised by Sholokhov, are consonant with our time.
But my Sholokhov is not only the author of works. He is, first of all, a man of an interesting, bright destiny. Judge for yourself: at the age of sixteen, young Sholokhov miraculously survived, falling into the hands of the power-hungry Nestor Makhno; in thirty-seven he more than once rescued his friends from persecution and repression. They accused him of plagiarism, sympathizing with the white movement, they tried to poison him and kill him. Yes, many trials befell this writer. But he did not become like the grass that “grows, obediently bending under the disastrous breath of everyday storms.” Despite everything, Sholokhov remained a straightforward, honest, truthful person. In his work, Sholokhov expressed his attitude to the war, which was a tragedy for the people. It is destructive for both sides, brings irreparable losses, cripples souls. The writer is right: it is unacceptable when people, rational beings, come to barbarism and self-destruction.
At the very height of the Great Patriotic War, Sholokhov began work on the novel “They Fought for the Motherland.” In 1943, the first chapters began to be published in newspapers, and then came out as a separate publication. The published chapters tell about the dramatic period of the retreat of Russian troops under the pressure of superior forces The Russian soldiers retreated after heavy fighting, and then fought to the death at Stalingrad.
The novel simply and truthfully reproduces the heroism of Soviet soldiers, front-line life, friendly conversations, and unbreakable friendship sealed with blood. The reader came to know and love miner worker Pyotr Lopakhin, combine operator Ivan Zvyagintsev, agronomist Nikolai Streltsov, Siberian armor-piercing specialist Akim Borzykh, and corporal Kochetygov.
Very different in character, they are connected at the front by male friendship and boundless devotion to the Motherland.
Nikolai Streltsov is depressed by the retreat of his regiment and by personal grief: his wife left before the war, he left his children with his old mother. This does not stop him from fighting heroically. In battle, he was shell-shocked and deaf, but he escapes from the hospital to the regiment, in which only twenty-seven people remained after the fighting: “The bleeding from my ears stopped flowing, the nausea almost stopped. Why would I lie there... And then, I simply couldn’t stay there. The regiment was in a very difficult situation, there were only a few of you left... How could I not come? Even a deaf person can fight alongside his comrades, right Petya?”
Pyotr Lopakhin “... wanted to hug and kiss Streltsov, but his throat was suddenly seized by a hot spasm...”.
Ivan Zvyagintsev, before the war, a combine operator, a hero, a simple-minded man, seeks to console Streltsov, complaining to him about his supposedly unsuccessful family life. Sholokhov describes this story with humor.
The words of division commander Marchenko - “let the enemy temporarily triumph, but victory will be ours” - reflected the optimistic idea of the novel and its chapters, published in 1949.
Sholokhov's meeting with General Lukin led to the appearance of a new hero in the novel - General Streltsov, brother of Nikolai Streltsov. In 1936, Lukin was repressed, in 1941 he was released, reinstated and sent to the army. Lukin's 19th Army took on the attack from Hoth's 3rd Panzer Group and part of the divisions of Strauss's 9th Army west of Vyazma. For a week, Lukin's army held back the German advance. General Lukin was seriously wounded and captured during the battle. He bravely endured all the hardships of captivity.
In the novel, General Streltsov, having returned from “places not so distant” to his brother’s house, is resting. Unexpectedly, he was summoned to Moscow: “Georgy Konstantinovich Zhukov remembered me! Well, let’s serve the Motherland and our Communist Party!”
All battle episodes have a strong emotional impact. Here we see how “one hundred and seventeen soldiers and commanders - the remnants of a regiment brutally battered in the last battles - walked in a closed column,” how the soldiers preserved the regimental banner.
Lopakhin is grieving the death of the heroically fighting lieutenant Goloshchekov. Sergeant Major Poprishchenko said at Goloshchekov’s grave: “Maybe you, Comrade Lieutenant, will still hear our walk...” Lopakhin speaks with admiration about Kochetygov: “How did he set fire to the tank? The tank had already crushed him, half asleep, and crushed his entire chest. Blood was pouring out of his mouth, I saw it myself, and he stood up in the trench, dead, stood up, taking his last breath! And he threw the bottle... And lit it!”
Warm feelings are evoked by chef Lisichenko, who uses every opportunity to be at the forefront. Lopakhin asks him: “... where is the kitchen and what will we eat today by your grace?” Lisichenko explains that he filled the cauldron with cabbage soup and left two wounded men to look after the cabbage soup. “I’ll fight a little, I’ll support you, and when it’s time for lunch, I’ll crawl into the forest, and hot food will be delivered if possible!”
During the battle, Lopakhin knocked out a tank and shot down a heavy bomber.
During the retreat, Streltsov worries: “... with what eyes the residents see us off...” Lopakhin also experiences this, but replies: “Are they beating us? So, they serve it right. Better fight, sons of bitches!”
Combine operator Zvyagintsev sees burning ripe bread for the first time in the expanse of the steppe. His soul was “sick.” He says to the ear of corn: “My dear, how smoked have you become! You stink of smoke, like a gypsy... That’s what the damned German, his ossified soul, did to you.”
Descriptions of nature in the novel are linked to the military situation. For example, before Streltsov’s eyes stands a killed young machine gunner who fell between blooming sunflowers: “Maybe it was beautiful, but in war external beauty looks blasphemous...”
It is appropriate to recall one meeting between Sholokhov and Stalin, which took place on May 21, 1942, when Sholokhov came from the front to celebrate his birthday. Stalin invited Sholokhov to his place and advised him to create a novel in which “truthfully and vividly... both heroic soldiers and brilliant commanders, participants in the current terrible war were depicted...”. In 1951, Sholokhov admitted that “the image of a great commander does not work out.”
Based on the novel “They Fought for the Motherland,” S. Bondarchuk directed a film approved by Sholokhov himself.
The novel “They Fought for the Motherland” deeply reveals the Russian national character, which clearly manifested itself in the days of difficult trials. The heroism of the Russian people in the novel is devoid of outwardly brilliant manifestations and appears before us in the modest attire of ordinary, everyday life, battles, and transitions. Such a depiction of the war leads the reader to the conclusion that the heroic is not in individual exploits, although very bright, calling for oneself, but the whole front-line life is a feat.
Mikhail Aleksandrovich Sholokhov is a wonderful master of words, who managed to create monumental canvases of folk life, penetrate into peace of mind man, he conducts a serious conversation with the reader “without the slightest concealment, without the slightest falsehood.”
During the Great Patriotic War, the writer was faced with the task: to strike the enemy with his word full of burning hatred, to strengthen the love of the Motherland among Soviet people. In early spring 1946, i.e. In the first post-war spring, Sholokhov accidentally met an unknown man on the road and heard his confession story. For ten years the writer nurtured the idea of the work, events became a thing of the past, and the need to speak out increased. And so in 1956, the epic story “The Fate of Man” was completed in a few days. This is a story about the great suffering and great resilience of the ordinary Soviet man. The main character Andrei Sokolov lovingly embodies the traits of the Russian character, enriched by the Soviet way of life: perseverance, patience, modesty, a sense of human dignity, merged with a feeling of Soviet patriotism, with great responsiveness to the misfortune of others, with a sense of collective cohesion.
The fate of Sokolov, the main character of this story, is full of such difficult trials, such terrible losses that it seems impossible for a person to endure all this and not break down, not lose heart. It is no coincidence that this man is taken and shown in extreme tension of mental strength. The hero's whole life passes before us. He is the same age as the century. From childhood I learned how much a pound is worth, and during the civil war he fought against the enemies of Soviet power. Then he leaves his native Voronezh village for Kuban. Returns home, worked as a carpenter, mechanic, driver, and created a beloved family. The war destroyed all hopes and dreams. He goes to the front. From the beginning of the war, from its first months, he was wounded twice, shell-shocked, and finally, the worst thing, he was captured. The hero had to experience inhuman physical and mental torment, hardship, and torment. For two years Sokolov experienced the horrors of fascist captivity. At the same time, he managed to maintain the activity of the position. He tries to escape, but is unsuccessful, he deals with a coward, a traitor who is ready, to save his own skin, to betray the commander. Self-esteem, enormous fortitude and self-control were revealed with great clarity in the moral duel between Sokolov and Muller. An exhausted, exhausted, exhausted prisoner is ready to face death with such courage and endurance that it amazes even the concentration camp commandant who has lost his human appearance. Andrei still manages to escape and becomes a soldier again. But troubles do not leave him: destroyed native home, his wife and daughter were killed by a fascist bomb. Sokolov now lives in one word - with the hope of meeting his son. And this meeting took place. IN last time a hero stands at the grave of his son who died in last days war. It would seem that everything is over, but life “distorted” a person, but could not break and kill the living soul in him. Sokolov's post-war fate is not easy, but he steadfastly and courageously overcomes his grief and loneliness, despite the fact that his soul is filled with a constant feeling of grief. This internal tragedy requires great effort and will of the hero. Sokolov wages a continuous struggle with himself and emerges victorious; he gives joy to a little man by adopting an orphan like him, Vanyusha, a boy with “eyes as bright as the sky.” The meaning of life is found, grief is overcome, life triumphs. “And I would like to think,” writes Sholokhov, “that this Russian man, a man of unbending will, will endure, and near his father’s shoulder will grow one who, having matured, will be able to withstand everything, overcome everything on his way, if his Motherland calls him to this.” .
Sholokhov's story is imbued with a deep, bright faith in man. At the same time, its title is symbolic, because this is not just the fate of the soldier Andrei Sokolov, but it is a story about the fate of a person, about the fate of the people. The writer recognizes himself as obligated to tell the world the harsh truth about the enormous price the Soviet people paid for humanity’s right to the future. All this determines the outstanding role of this a short story. “If you really want to understand why Soviet Russia won a great victory in the Second World War, watch this film,” one English newspaper wrote about the film “The Fate of Man,” and therefore about the story itself.
Let us remember the time in which the works of Tvardovsky and Sholokhov were created. Stalin's inhumane policies were already triumphant in the country, general fear and suspicion penetrated all layers of society, collectivization and its consequences destroyed centuries-old agriculture and undermined the best forces of the people. All this left its mark on literature. Therefore, most works of pre-war literature portrayed the Russian people as dark and downtrodden. Any manifestations of living feelings were considered sedition.
But the Great Patriotic War broke out, which required the country to exert all its physical and spiritual strength. The country's leadership understood that the war could not be won without a popular upsurge. And the people themselves, feeling a mortal threat not only to their freedom, but also to the very existence of the Russian land, from the first days of the war showed miracles of fortitude and heroism.
This manifestation of the people's character was noticed in military literature. Works by I. Ehrenburg, A. Tolstoy, K. Simonov, A. Tvardovsky, A. Surkov, M. Sholokhov appear in front-line newspapers, in which the ordinary Russian person is portrayed with warmth and sympathy, the authors treat the courage of their heroes with respect and love . In this row are the heroes of the works of Tvardovsky and Sholokhov - Vasily Terkin and Andrei Sokolov. At first glance, they seem to be completely opposite figures. Indeed, Terkin is a cheerful fellow, they say about such people “that he won’t go into his pocket for a good word.” Sokolov, on the other hand, is a tragic figure, his every word is suffered and carries the burden of everyday suffering. But, despite the apparent differences, there is something that unites these heroes. Both of them are representatives of the people, bright bearers of their original individuality, those traits that are inherent in the character of the entire people. These traits are common in Terkin and Sokolov.
The main one of these traits is love and affection for one’s native country. The heroes of both writers constantly remember their native places, the Motherland. What attracts people in these heroes is mercy and greatness of soul. They went to war not because of a warlike instinct, but “for the sake of life on earth.” The defeated enemy only evokes in them a feeling of pity (Terkin’s appeal to the German).
Another important trait of heroes is modesty. Terkin, although he can sometimes boast, tells his friends that he does not need an order, he “agrees to a medal.” In Sokolov, this same trait is evidenced by the obvious reluctance with which he began a bitter story about his life. After all, he has nothing to be ashamed of! In his youth, he made mistakes, but the dedication that he showed during the testing years should have atoneed for his sins a hundredfold.
The heroes of Sholokhov and Tvardovsky have such charming traits as worldly savvy, a mocking attitude towards enemies and any difficulties. Terkin is the most characteristic exponent of these qualities. Let us remember his playful appeal to Death. The next trait is heroism. Let us remember the behavior of Andrei Sokolov in captivity, the heroism of Terkin at the front, when he had to swim across the Dnieper twice in November to save his own and ask for reinforcements.
All of the above brings us to an important conclusion about the great vitality heroes, the strength of the people's character. Here Sholokhov and Tvardovsky continue the tradition begun in Russian literature by the works of Pushkin, Gogol, Tolstoy, Leskov and other writers, in which the simple Russian person is the focus of the strength and vitality of the people. The actions of Terkin and Sokolov lead the reader to realize the greatness of the Russian people and refute the dogmas of the stilted literature of the “class approach”.
Culture in the years Great Patriotic wars
Abstract >> Culture and art... Great Domestic war was a time of powerful growth in all areas of art creativity... central those V creativity artist. Them no less... poets: K.M. Simonov, A.N. Tolstoy, M.I. Sholokhov, A.T Tvardovsky, A.A. Fadeev, B.L. Gorbatov and many...
Subject wars in modern literature
Abstract >> Literature and Russian languageStill, still..." (A.T. Tvardovsky) Introduction. In one of... the time of this terrible Great Patriotic war!.. Subject wars still... conscience. What is the depth creativity writer Bykov? In that... M. Sholokhov wrote: “I am interested in the fate ordinary people in the past war…» ...
Domestic history from the beginning to the end of the twentieth century
Cheat sheet >> HistoryWere scared those patriotic... connected with it creation Turgenev, Nekrasov, ... Tolstoy, Goethe, Shakespeare, Sholokhov, Gorky, Pasternak, A. ... May 1945) Great Patriotic wars. Military operations in... led by A.T. Tvardovsky. Published some. production...
The turning years for the poet A. Tvardovsky were the years of the Great Patriotic War, which he went through as a front-line correspondent. During the war years, his poetic voice acquires that strength, that authenticity of experience, without which real creativity is impossible. The poems of A. Tvardovsky during the war years are a chronicle of front-line life, which consisted not only of heroic deeds, but also from army, military life (for example, the poem “Army Shoemaker”), and lyrical excited “memories of the native Smolensk region, the land robbed and insulted by enemies, and poems close to the folk song, written to the tune “The stitches and paths are overgrown ... "
In the poems of the poet of the war years there is also a philosophical understanding of human fate in the days of the national tragedy. So, in 1943, the poem “Two Lines” was written. It was inspired by the fact of Tvardovsky’s correspondent biography: two lines from a notebook reminded him of a boy fighter whom he saw killed, lying on the ice back in that unknown war with Finland, which preceded the Great Patriotic War. And he did not accomplish a feat, and the war was not famous, but he was given the only life - through it the artist comprehends the true tragedy of any war, a feeling of the irreversibility of loss arises, piercing in the power of lyricism:
I feel sorry for that distant fate
Like dead, alone,
It's like I'm lying...
After the war, in 1945–1946, Tvardovsky created perhaps his most powerful work about the war - “I was killed near Rzhev.” The battles near Rzhev were the bloodiest in the history of the war and became its most tragic page. The entire poem is a passionate monologue of the dead, his appeal to the living. Treatment from the other world, treatment to which only the dead have the right - to judge the living in such a way, to demand an answer from them so strictly.
The poem fascinates with the rhythm of its anapests; it is quite large in volume, but can be read in one breath. It is significant that several times it contains an appeal that goes back to deep layers of traditions: the tradition of the ancient Russian army, the Christian tradition. This is the address "brothers".
During the war years, A. Tvardovsky created his most famous poem “Vasily Terkin”. His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, and modernity, and autobiographical features that make him similar to the author (it is not for nothing that he is from Smolensk, and in the monument to Terkin, which they are now planning to erect on Smolensk soil, it is not by chance that it was decided to indicate the portrait resemblance of the hero and his creator).
Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter “Who Shot?” he shoots down an enemy plane with a rifle), and a man of extraordinary fortitude - in the chapter “Crossing” the feat is told - Terkin swims across the icy river to report that the platoon is on the right bank, and he is a skilled man, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task:
Let the reader be likely
He will say with a book in his hand:
- Here are the poems, and everything is clear,
Everything is in Russian.
The fate of an ordinary soldier, one of those who bore the brunt of the war on their shoulders, becomes the personification of the national fortitude and will to live.
It is impossible not to say at least briefly that in these years the poet became the central figure of everything progressive that was rich in literary life. Magazine " New world”, which was edited by A. Tvardovsky, and entered the history of literature as Tvardovsky’s “New World”.
The lyrical hero of his later poetry is, first of all, a wise man who reflects on life, on time, for example, in the poem “I have no time to mock myself...”, where the main salvation of a person from trouble is work and creativity. The lyrical hero of A. Tvardovsky of later years reflects on the traditional theme of the poet and poetry in many poems, for example, in the 1959 work “I wish I could live as a solitary nightingale...”. And yet the main, most painful theme for the poet is the theme of historical memory, which permeates his lyrics of the 50s and 60s. This is also the memory of those killed in the war. A poem is dedicated to them, which can safely be called one of the pinnacles of Russian lyric poetry of the 20th century:
I know it's not my fault
The fact is that others did not come back from the war.
The fact is that they, some older, some younger -
We stayed there and it’s not about the same thing,
That I could, but failed to save them -
This is not about that, but still, still, still...
Behind the open ending of the poem is a whole world of human experiences, a whole philosophy that could have been formed by people whose generation endured so many terrible and cruel trials that every survivor felt it as a miracle or a reward, perhaps undeserved. But the poet is especially sensitive to those stages of history that crossed out the life of his family, his parents. This is the later repentance, the awareness of personal guilt, and the high courage of the artist. Such works by A. Tvardovsky as the poem “By the Right of Memory” and the cycle of poems “In Memory of the Mother” are devoted to this topic. In this cycle, through the fate of the mother, a person passes on the fate of an entire generation. The age-old way of life is destroyed. Instead of the usual village cemetery there is an uncomfortable graveyard in distant lands, instead of crossing the river, a symbol of a wedding, there are “other transportations” when people from “the land of their native land were sent away by time.”
In the poem, written in 1966–1969 and published for the first time in our country in 1987, the poet reflects on the fate of his father, on the tragedy of those who, from birth, were marked as “a baby of enemy blood,” “a son of the kulak.” These reflections take on a philosophical sound, and the entire poem sounds like a warning:
Who hides the past jealously
He is unlikely to be in harmony with the future...
The poetry of A. Tvardovsky is art in the highest sense of the word. It still awaits genuine reading and understanding.
The turning years for the poet A. Tvardovsky were the years of the Great Patriotic War, which he went through as a front-line correspondent. During the war years, his poetic voice acquires that strength, that authenticity of experience, without which real creativity is impossible. The poems of A. Tvardovsky during the war years are a chronicle of front-line life, which consisted not only of heroic deeds, but also of army, military life (for example, the poem “Army Shoemaker”), and lyrical excited “memories of his native Smolensk region, a land robbed and insulted by enemies , and poems close to a folk song, written to the tune “The stitches and paths have become overgrown...”.
In the poems of the poet of the war years there is also a philosophical understanding of human fate in the days of the national tragedy. So, in 1943, the poem “Two Lines” was written. It is inspired by the fact of Tvardovsky’s correspondent biography: two lines from the notebook reminded him of a boy fighter whom he saw killed, lying on the ice, back in that unfamous war with Finland that preceded the Great Patriotic War. And he did not accomplish a feat, and the war was not famous, but he was given the only life - through it the artist comprehends the true tragedy of any war, a feeling of the irreversibility of loss arises, piercing in the power of lyricism:
I feel sorry for that distant fate
Like dead, alone,
It's like I'm lying...
After the war, in 1945–1946, Tvardovsky created perhaps his most powerful work about the war - “I was killed near Rzhev.” The battles near Rzhev were the bloodiest in the history of the war and became its most tragic page. The entire poem is a passionate monologue of the dead, his appeal to the living. Treatment from the other world, treatment to which only the dead have the right - to judge the living in such a way, to demand an answer from them so strictly.
The poem fascinates with the rhythm of its anapests; it is quite large in volume, but can be read in one breath. It is significant that several times it contains an appeal that goes back to deep layers of traditions: the tradition of the ancient Russian army, the Christian tradition. This is the address "brothers".
During the war years, A. Tvardovsky created his most famous poem “Vasily Terkin”. His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, and modernity, and autobiographical features that make him similar to the author (it is not for nothing that he is from Smolensk, and in the monument to Terkin, which they are now planning to erect on Smolensk soil, it is not by chance that it was decided to indicate the portrait resemblance of the hero and its creator).
Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter “Who Shot?” he shoots down an enemy plane with a rifle), and a man of extraordinary fortitude - in the chapter “Crossing” the feat is told - Terkin swims across the icy river to report that the platoon is on the right bank, and he is a skilled man, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task:
Let the reader be likely
He will say with a book in his hand:
- Here are the poems, and everything is clear,
Everything is in Russian.
The fate of an ordinary soldier, one of those who bore the brunt of the war on their shoulders, becomes the personification of the national fortitude and will to live.
It is impossible not to say at least briefly that during these years the poet became the central figure of everything progressive that literary life was rich in. The magazine "New World", which was edited by A. Tvardovsky, went down in the history of literature as Tvardovsky's "New World".
The lyrical hero of his later poetry is, first of all, a wise man who reflects on life, on time, for example, in the poem “I have no time to mock myself...”, where the main salvation of a person from trouble is work and creativity. The lyrical hero of A. Tvardovsky of later years reflects on the traditional theme of the poet and poetry in many poems, for example, in the 1959 work “I wish I could live as a solitary nightingale...”. And yet the main, most painful theme for the poet is the theme of historical memory, which permeates his lyrics of the 50s and 60s. This is also the memory of those killed in the war. A poem is dedicated to them, which can safely be called one of the pinnacles of Russian lyric poetry of the 20th century:
I know it's not my fault
The fact is that others did not come back from the war.
The fact is that they, some older, some younger -
We stayed there and it’s not about the same thing,
That I could, but failed to save them -
This is not about that, but still, still, still...
Behind the open ending of the poem is a whole world of human experiences, a whole philosophy that could have been formed by people whose generation endured so many terrible and cruel trials that every survivor felt it as a miracle or a reward, perhaps undeserved. But the poet is especially sensitive to those stages of history that crossed out the life of his family, his parents. This is the later repentance, the awareness of personal guilt, and the high courage of the artist. Such works by A. Tvardovsky as the poem “By the Right of Memory” and the cycle of poems “In Memory of the Mother” are devoted to this topic. In this cycle, through the fate of the mother, a person passes on the fate of an entire generation. The age-old way of life is destroyed. Instead of the usual village cemetery there is an uncomfortable graveyard in distant lands, instead of crossing the river, a symbol of a wedding, there are “other transportations” when people from “the land of their native land were sent away by time.”
In the poem, written in 1966–1969 and published for the first time in our country in 1987, the poet reflects on the fate of his father, on the tragedy of those who, from birth, were marked as “a baby of enemy blood,” “a son of the kulak.” These reflections take on a philosophical sound, and the entire poem sounds like a warning:
Who hides the past jealously
He is unlikely to be in harmony with the future...
The poetry of A. Tvardovsky is art in the highest sense of the word. It still awaits genuine reading and understanding.
The turning years for the poet A. Tvardovsky were the years of the Great Patriotic War, which he went through as a front-line correspondent. During the war years, his poetic voice acquires that strength, that authenticity of experience, without which real creativity is impossible. id=”more-2007″> The poems of A. Tvardovsky during the war years are a chronicle of front-line life, which consisted not only of heroic deeds, but also of army, military life (for example, the poem “Army Shoemaker”), and lyrical excited “memories of native Smolensk region, a land robbed and insulted by enemies, and poems close to a folk song, written to the tune “The stitches and paths have become overgrown...”.
In the poems of the poet of the war years there is also a philosophical understanding of human fate in the days of the national tragedy. So, in 1943, the poem “Two Lines” was written. It is inspired by the fact of Tvardovsky’s correspondent biography: two lines from the notebook reminded him of a boy fighter whom he saw killed, lying on the ice, back in that unfamous war with Finland that preceded the Great Patriotic War. And he did not accomplish a feat, and the war was not famous, but he was given the only life - through it the artist comprehends the true tragedy of any war, a feeling of the irreversibility of loss arises, piercing in the power of lyricism:
I feel sorry for that distant fate
Like dead, alone,
It's like I'm lying...
After the war, in 1945–1946, Tvardovsky created perhaps his most powerful work about the war - “I was killed near Rzhev.” The battles near Rzhev were the bloodiest in the history of the war and became its most tragic page. The entire poem is a passionate monologue of the dead, his appeal to the living. Treatment from the other world, treatment to which only the dead have the right - to judge the living in such a way, to demand an answer from them so strictly.
The poem fascinates with the rhythm of its anapests; it is quite large in volume, but can be read in one breath. It is significant that several times it contains an appeal that goes back to deep layers of traditions: the tradition of the ancient Russian army, the Christian tradition. This is the address "brothers".
During the war years, A. Tvardovsky created his most famous poem “Vasily Terkin”. His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, and modernity, and autobiographical features that make him similar to the author (it is not for nothing that he is from Smolensk, and in the monument to Terkin, which they are now planning to erect on Smolensk soil, it is not by chance that it was decided to indicate the portrait resemblance of the hero and its creator).
Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter “Who Shot?” he shoots down an enemy plane with a rifle), and a man of extraordinary fortitude - in the chapter “Crossing” the feat is told - Terkin swims across the icy river to report that the platoon is on the right bank, and he is a skilled man, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task:
Let the reader be likely
He will say with a book in his hand:
- Here are the poems, and everything is clear,
Everything is in Russian.
The fate of an ordinary soldier, one of those who bore the brunt of the war on their shoulders, becomes the personification of the national fortitude and will to live.
It is impossible not to say at least briefly that during these years the poet became the central figure of everything progressive that literary life was rich in. The magazine "New World", which was edited by A. Tvardovsky, went down in the history of literature as Tvardovsky's "New World".
The lyrical hero of his later poetry is, first of all, a wise man who reflects on life, on time, for example, in the poem “I have no time to mock myself...”, where the main salvation of a person from trouble is work and creativity. The lyrical hero of A. Tvardovsky of later years reflects on the traditional theme of the poet and poetry in many poems, for example, in the 1959 work “I wish I could live as a solitary nightingale...”. And yet the main, most painful theme for the poet is the theme of historical memory, which permeates his lyrics of the 50s and 60s. This is also the memory of those killed in the war. A poem is dedicated to them, which can safely be called one of the pinnacles of Russian lyric poetry of the 20th century:
I know it's not my fault
The fact is that others did not come back from the war.
The fact is that they, some older, some younger -
We stayed there and it’s not about the same thing,
That I could, but failed to save them -
This is not about that, but still, still, still...
Behind the open ending of the poem is a whole world of human experiences, a whole philosophy that could have been formed by people whose generation endured so many terrible and cruel trials that every survivor felt it as a miracle or a reward, perhaps undeserved. But the poet is especially sensitive to those stages of history that crossed out the life of his family, his parents. This is the later repentance, the awareness of personal guilt, and the high courage of the artist. Such works by A. Tvardovsky as the poem “By the Right of Memory” and the cycle of poems “In Memory of the Mother” are devoted to this topic. In this cycle, through the fate of the mother, a person passes on the fate of an entire generation. The age-old way of life is destroyed. Instead of the usual village cemetery there is an uncomfortable graveyard in distant lands, instead of crossing the river, a symbol of a wedding, there are “other transportations” when people from “the land of their native land were sent away by time.”
In the poem, written in 1966–1969 and published for the first time in our country in 1987, the poet reflects on the fate of his father, on the tragedy of those who, from birth, were marked as “a baby of enemy blood,” “a son of the kulak.” These reflections take on a philosophical sound, and the entire poem sounds like a warning:
Who hides the past jealously
He is unlikely to be in harmony with the future...
The poetry of A. Tvardovsky is art in the highest sense of the word. It still awaits genuine reading and understanding.