Tvardovsky stages of life and creativity. Alexander Tvardovsky: biography and creativity (detailed review)

"Alexander Tvardovsky" - Alexander Tvardovsky. He was buried in Moscow at the Novodevichy Cemetery (site No. 7). The first notes began to appear in 1925. Last years of life. The following year, Alexander Trifonovich received the State Prize for Vasily Terkin. Mikhail Vasilievich Isakovsky. Tvardovsky's mother, Maria Mitrofanovna, really came from the same palace.

"Biography of Tvardovsky" - 1939 - graduated from the Moscow Institute of Philosophy, Literature and History. Literature Collector. Ruler of the generation” is a statement by Fyodor Abramov. Contemporaries about A.T. Tvardovsky. Authoritative judge. Analysis of the poem "Brothers". 1950-1954 and 1958-1970 -Chief editor of the magazine "New World". Streets in Voronezh and Moscow are named after him.

"Tvardovsky By the Right of Memory" - 1987 - the first publication of the poem "By the Right of Memory". Understand what was the fault of the repressed peoples. The illegally dispossessed Tvardovsky family was exiled to Siberia. The poet seeks to comprehend the course of history. Editor-in-Chief of the Novy Mir magazine. Alexander Tvardovsky, poem "By the Right of Memory". And what can we say about a young man who firmly believes in official propaganda and ideology.

“The Lesson of Tvardovsky Terkin” - A. T. Tvardovsky. A. T. Tvardovsky Vasily Terkin BOOK ABOUT FIGHTER.

"The life and work of Tvardovsky" - A collection of poems by Alexander Tvardovsky "Vasily Terkin in the next world." Cover of Tvardovsky's "poem". (1910-1971), Russian Soviet poet. The tragic fate of his father is described by Tvardovsky in the poem "By the Right of Memory" (1967-1969, published in 1987). Born on June 8 (21), 1910 in the village of Zagorye, Smolensk province. Collection of poems by Tvardovsky "I went to my attack."

The life of A. T. Tvardovsky in dates and facts

1910, June 8 - the birth of the poet on the farm Zagorye, Smolensk province, in the family of a rural blacksmith.

1918-1924 - years of study at a rural school, early interest in poetry.

1924 - work as a village correspondent of the Smolensk newspapers, where in 1925 his poems were published.

1925-1936 - poems about collectivization: "The Path to Socialism", "Introduction", "Country Ant". The story "The diary of the chairman of the collective farm." The publication of a collection of poems, which included works of 1930-1935.

1939 - graduated from the Moscow Institute of History, Philosophy and Literature (MIFLI). Release of the poetry collection "Rural Chronicle".

1939-1940 - participation in the Soviet-Finnish war as a war correspondent. Cycle of poems "In the snows of Finland". Rewarding with the Order of Lenin, awarding the Stalin Prize of the 2nd degree for the book "Country Ant".

1941-1945 - work in military newspapers, publication of numerous correspondence, essays and poems. Creation of the poem “Vasiliy Terkin. A book about a fighter. (State Prize of the USSR, 1946)

1946 - The poem "The House by the Road" (State Prize of the USSR, 1947). Publication of poems about the war: "I was killed near Rzhev", etc.

1950-1954 - Work as editor-in-chief of the Novy Mir magazine. Publication of the poem "For the distance distance" (Lenin Prize, 1961). The first edition of the poem "Terkin in the next world."

1961 - Publication of the poetry collection "Poems from a Notebook", a book of literary criticism "Articles and Notes on Literature".

1963 - Publication of the final edition of the satirical poem "Terkin in the Other World". material from the site

1963-1968 - Work as vice-president of the European Society of Writers. Lyrics of recent years: "From the lyrics of these years" (1967), the cycle "In Memory of the Mother" (1965), the cycle of poems "From the Notebook". Active state activity.

1971 - the death of Alexander Trifonovich Tvardovsky in a holiday village near Krasnaya Pakhra, Moscow Region.

A. Tvardovsky became a chronicler of the 30-60s of the XX century, a biographer of the time of severe trials, changes, experiments. In difficult conditions, he was not afraid to speak convincingly about everything that worried the Soviet people, to start an in-depth conversation about the “judgment of memory” over the mistakes of the period of collectivization, Stalinism, about the conscience and responsibility of the living to the dead.

Within the framework of socialist realism, communist ideology, the writer was able to create works about the life of Soviet people, full of ordinary and unusual worries, joys and sorrows, reveal their psychology, show the process of restructuring society that began during the thaw, humanity, faith in the future.

The poet's sister A. Matveeva wrote in 1980 that his paternal grandfather Gordey Vasilievich Tvardovsky "was from Belarus, grew up on the banks of the Berezina." In "Autobiography" the poet notes that his father was a literate person. Neighbors called him Pan Tvardovsky, respecting "Western roots." He tried to give his children a decent education. Mother was an impressionable and sensitive nature, she was "touched to tears by the sound of a shepherd's trumpet."

The study of the future poet began with tutoring: for the children, a schoolboy of the 8th grade, N. Arefiev, was brought from Smolensk. In 1918, A. Tvardovsky studied in Smolensk at the 1st Soviet school (former gymnasium), and in the fall of 1920 - at the Lyakhovsky school, but it was soon closed. I had to continue my studies at the Egorievsk school. In 1923, A. Tvardovsky began to study 8 kilometers from home, at the Belokholmskaya school. In 1924, studies for A. Tvardovsky ended.

Love for literature grew on the basis of passion for the works of A. Pushkin, N. Gogol, N. Nekrasov, M. Lermontov. In 1925, among other materials about the new peasant life, the Smolensk Village newspaper published the first poem by the Komsomol correspondent A Tvardovsky, The New Hut, in which the old gods were overthrown and the new gods were glorified, instead of icons, portraits of Marx and Lenin were hung.

In 1928, the Komsomol activist broke up with his father. A. Tvardovsky moved to Smolensk, got to know M. Isakovsky, an employee of the Rabochy Put newspaper, who supported the young author.

Inspired, the poet travels to Moscow, where M. Svetlov publishes his poems in the October magazine, and in the winter of 1930 returns to Smolensk. In 1931 A. Tvardovsky married Maria Gorelova. In the same year, the writer's father was dispossessed and sent with his family to the Trans-Urals, to the North, they were forced to build barracks in the middle of the taiga. Father and 13-year-old brother Pavel fled from exile, asked to intercede for them, to which the poet devoted to Soviet power replied: “I can only help you by taking you to where you were for free” (from the memoirs of Ivan’s younger brother). He will atone for his guilt, both in his early (poem "Brothers", 1933) and late (poem "By the Right of Memory", a triptych about his mother) creativity. In April 1936, A. Tvardovsky visited his relatives in exile, and in June of the same year he helped them move to the Smolensk region.

The 1930s were the time of the formation of the poet. He writes epic, narrative poems - pictures from life, sketches, landscape and everyday sketches and poems "The Path to Socialism" (1931) and "Introduction" (1933). However, A. Tvardovsky's poems, couplings from nature, and landscape sketches were more successful. Among them, a melodious poem called “White birches were spinning ...” (1936) stands out. The author combines two narration plans: a specific, special case - a round dance is done on the river bank, "teenage girls" sing, plays with an accordion, and a general one - it is a question of a holiday that was celebrated "across the river, throughout the country."

The picture of the holiday is recreated bright, carnival: “shawls, accordion and lights” flash, “teenage girls sing”, “round dance” goes around. The most successful and bright points in this carnival picture are two - the metaphor "White birch trees were spinning" and the comparison "And along the river in lights, like a city, / A handsome steamboat ran." The writer's skill is also manifested in the successful selection of original, innovative rhymes: "birches - teenagers", "not at home - otherwise", "brute force - the city", "various - holiday".

The poet's poems about childhood, about native places turned out to be true. "On the Farm Zagorye" can be called a small lyric-epic poem about childhood, about life. The author raises the well-known to the level of the poetic:

On the white hill the sun
Got up in the morning.

Following the path of rejecting rhetoric, reporting, in 1935 the poet wrote the poem "Morning" - light transparent, full of whiteness of snow, from which "it is light in the room." Snow, snowflakes, "flying fluff" are the central images of the work. They move, move in space, like living beings.
Let us pay attention to the personification, complicated by epithets: the snowflake is not just spinning, but spinning “easily and clumsily”, the first snowflake, still a timid creature. Snow is characterized by two epithets - thick and white. The weather, apparently, is quite frosty, windless, and therefore the snow does not lose its density and whiteness.

In 1932, on the recommendation of the Smolensk Union of Writers, A. Tvardovsky enters the Smolensk Pedagogical Institute without exams (as an active author, member of the Komsomol), and in the fall of 1936 he is transferred to the 3rd year of the IFLI - the Moscow Institute of History, Philosophy and Literature. At that time he published the books “The Road” (1938), “About Grandfather Danila” (1939), the poem “Country Ant” (1936), for which he received the Order of Lenin.

During the war years

A. Tvardovsky participated in the war with Finland in 1939-1940 as a war correspondent. By the summer of 1939, he graduated from IFLI, and in the autumn he took part in the campaign of the Red Army in Western Belarus. He will forever remember the terrible pictures of the winter of 1940 in Finland. During the Great Patriotic War, the poet was a correspondent for the newspaper "Red Army", went from Moscow to Koenigsberg. The poem "Vasily Terkin" became an encyclopedia about the war. Also, a cycle of poems "Front Chronicle", a book of essays and memoirs "Motherland and Foreign Land", the poem "House by the Road" were written.

Battle battles in the poem "Vasily Terkin" are local in nature, as in the chapter "Duel", where Vasily Terkin defeats a strong opponent. The syllable of the poem is colloquial: there is a frank, friendly conversation about what happened in the war.

The poem "House by the Road" (1942-1946) is called by the author "a lyrical chronicle". This is the poet's confession about an abandoned, unmowed meadow near the house near the road, about a family left by a soldier, a kind of "cry for the Motherland", "song / Her harsh fate." The poem does not have a detailed plot, it is built on lyrical experiences of events: Sivtsov's departure for the war; the grief of Anyuta's wife, who meets the prisoners and tries to see her Andrey among them; farewell to her husband, making his way from the environment to his own, and then captured with his children in Germany.

The humanistic position of A. Tvardovsky was especially expressively revealed in his elegies - reflections of 1941-1945 on life and death, the senseless cruelty of war, which never spares. The poem "Two Lines" refers to the inglorious Finnish War of 1939-1940, when thousands of young soldiers and officers were left lying on the snow. The poems “War - there is no crueler word”, “Before the war”, “As if in a sign of trouble ...” are just as tragic in content.

In the postwar years

After the war, literature developed under conditions of ideological dictate. The “unprincipled” work of A. Akhmatova and M. Zoshchenko was criticized. The magazines "Zvezda" and "Leningrad" came under a special decree on the "ideological mistakes" made. The range of phenomena permitted for artistic depiction narrowed, and the "theory of non-conflict" dominated. A. Tvardovsky tried to avoid a simplified depiction of reality.

From 1958 until the end of his days, the writer was the editor-in-chief of the country's leading magazine, Novy Mir, which upholds the principles of truthful art, revealing to readers the names of new authors: F. Abramov, A. Solzhenitsyn, V. Bykov, G. Baklanova, E. Vinokurov and others.

At this time, the writer is working on works about what he experienced in the pre-war period, about the personality cult of Stalin, about bureaucracy, creates poems “Far beyond the distance”, “Terkin in the next world”, “By the right of memory”. The poet's lyrics of the late 1950s and 1960s become monologue, confessional, elements of descriptiveness disappear from it.

The works of A. Tvardovsky correspond to the principles of communist party spirit and nationality, and are ideologically sustained. They glorify Lenin's ideals, the builders of communism, but in the spirit of the "sixties" upholds "socialism with a human face." The poet also turns to eternal problems (“Cruel Memory”, “Moscow Morning”, “About Existence”, “The Way Is Not Traveled”, etc.).

Poem " cruel memory”(1951), written during the years of the prevalence of publicistic poetry, and today touches our hearts with the sincerity of feelings, the author’s frankness, and the deep drama of his experiences. The philosophical idea of ​​the poem is expressed in the final lines:

And the memory of that, probably
My soul will be sick.
For now, an irrevocable misfortune
There will be no war for the world.

This conclusion does not arise in the poem immediately, but after the author's talented, detailed description of nature, which he remembers from childhood, its colors and sounds. The heat of a pine forest, a sleepy stream, summer and the sun “baking in the back”, “gadfly ringing”, a dewy meadow - these are the realities of a peaceful life that filled the poet’s childhood. The picture is designed in light colors. Nature is sonorous, pure... The second picture is tragic: instead of the former pure colors and smells, others appear - gloomy, military: the grass smells of "trench disguise", the smell of air is subtle, but mixed "with the smoke of hot funnels". Colliding pictures of peaceful and military life, the poet informs readers that now nature for him is not a source of joy, as in childhood, but a cruel memory of the war.

« Moscow morning" (1957-1958) - an epic plot poem about how the lyrical hero got up early to buy a newspaper in which, according to the editor-in-chief, his poem would be published. But when the newspaper was viewed, the poem was not there - it was removed by censorship because of the unacceptable ending. The last lines of the poem are the conclusion that the editor-in-chief in art is a “great time”, which the poet calls to teach “a wise lesson - reproach”. Thanks to such an editor, the lyrical hero becomes “on the shoulder”, he can “turn mountains”.

A. Tvardovsky leads a deeper conversation on the topic of the poet and poetry, the poet and time, the poet and truth, conscience in poems of the late 1950s and 1960s. “A word about words” (1962), “The whole essence is in one - the only testament ...” (1958), “On the Existing” (1958), “The path is untrodden ...” (1959), “I myself will find out, I will find ... "(1966)," At the bottom of my life ... "(1967)," Let's say you already thawed yours ... "(1968) and others.

« The whole point is in one single covenant..."(1958) - a philosophical reflection on the individual, independent of circumstances, the unique nature of artistic creativity. In the spirit of the time, the reappraisal of values ​​(Khrushchev's "thaw") is a bold conclusion. And the author presents it concisely, demonstratively, stringing the thesis upon the thesis, developing, repeating the original idea, gives the nature of evidence to the statement with the help of poetic syntax: repetitions - “in one - the only testament”; “I want to say. / And the way I want, ”but first of all - hyphens: the second stanza consists of them completely. A parallel is drawn in the poem: Leo Tolstoy is the author. The poet cannot entrust his word even to a genius - Leo Tolstoy.

Poem " About existence”(1957-1958) is written in a different stylistic vein than the previous one: it has more emotional images - bricks that make up one whole - life. Renouncing glory and power in the first lines (“For me glory is decay - without interest / And power is a petty passion ...”), in the following, the poet asserts his involvement in the full life of nature, society, proves the essentially realistic, truthful mission of artistic creativity. He wants to have a part of the morning forest, "stitches that go back to childhood", "birch earrings", "the sea washing with foam / Stones of warm shores", songs of youth, misfortune and human victory. He needs all this in order to "see everything, and experience everything, / Not learning everything from afar." In this part of the poem, the emotional impact is achieved both by tropes (epithets - fragrant hemp, warm shores), and by repetitions - monophony (four sentences begin with the preposition "from"). The energy of the utterance is achieved by the reception of an allied combination of phrases. To the desires of a true artist of the word named at the beginning of the work, the author adds one more thing at the end of the work - the desire to be honest.

In the poem " Not good way..."(1959) continues the conversation about the poet, his mission. The author considers the first duty of an artist to be words - to keep up with the times, to be ahead, even if the path has not been explored. This idea is expressed already in the first stanza of the dynamic, written in the form of an appeal, appeal to "great or small", any creator. The effect of the action is created by using verbs and verb forms, breaking long lines into shorter parts, repetitions (“behind him, behind him”), appeals, questions, exclamations (“Are you scared yet?”; “Still not!”), additional pauses not provided for by the rules ("Yes - sweet!"). There is a feeling of excitement and high emotional mood of the author.

Elements of drama as a kind of literature are introduced into the poem: the monologue-address in the first two lines develops into a dialogue taking place between the author and his imaginary interlocutor. The poem uses colloquialisms (“srobel”, “without a trace”, “lid”). The last word expresses the active content, and therefore acts as a separate line. The image of a “barrage of fire”, a “barrage of fire” carries a great ideological load - this is an echo of military memory, a symbol of the front line of defense, the front. With its help, the idea is "fixed": the poet must be ahead, in the line of fire.

In the system of works about the essence of creativity, the role of the poet and poetry, the poem " Word about words» (1962). The philosophical thought contained in it is multifaceted, branched. The word is the primary element of literature, its building material. Without an exact, significant, successful word, without its pictorial, figurative meaning, there would be no "belle literacy", as literature was called back in Pushkin's time. The poet defends the importance of such creativity, in which the word is of great importance, actively opposes "extraordinary" (idle talk). His position is that of a thinker, a master. The poem is a meditation on true and false values, citizenship, honesty and opportunism. The poet divides words into two categories: word and words. Words are always precise, fiery, "sparingly applied" by the authors.

In the poem " At the bottom of my life..."(1967) sounds the motive of the autumn farewell-parting with life. The poet comprehends his life, reflecting on the question of whether his path in this world was mortal, and answers it in the negative.

The poem " About the motherland". It is built on the principle of negation (the first five stanzas) and affirmation (the remaining ten). In the first part of the poem, the poet, as it were, suggests what would happen if he were born “by the warm sea in the Crimea”, on the coast of the Caucasus, on the Volga “in the heart of the Urals”, in Siberia, in the Far East. And then this assumption is consistently, with the help of a number of arguments, rejected, because in this case the author "could not have been born in his native ... side." All further description boils down to characterizing the Motherland as the dearest, most beloved. The poet selects "affectionate" epithets ("not so famous", "quiet" side; there is no majestic fullness of rivers, mountain ranges in it; it is unenviable). But this side is a hard worker, inhabited by fathers and grandfathers, with whom the poet is engaged with the “mystery of his native speech”, with the happiness of truth. Therefore, this unfamous land is dear to the lyrical hero, because he is its integral part. The last three stanzas lead to a philosophical conclusion-generalization: it is from the horizons of the small homeland that the scales of the great homeland are visible.

cycle of poems about mother

For almost every poet, the theme of the Motherland is inseparable from the theme of the mother, the woman. The poet dedicated the poems “I remember the aspen farm ...” (1927), “Song” (1936), “Your beauty does not age ...” (1937) and others to the mother of Maria Mitrofanovna. But the most striking was a cycle of four poems under common name " Mother's memory(1965), written after her death. This cycle is autobiographical. The first poem is about the author, the poet, who remembers his departure from home to another life, about how this separation ends with a call to his mother for the last meeting-separation. This is a sad elegy about the inability (and even unwillingness) to love one's mothers, repentance before oneself and one's mother.

The second poem in the cycle is In the land where they were taken in a herd ...”- a description of the tragic page in the life of the Tvardovsky family in exile, in the Trans-Urals. The image of the mother appears already in an internal, spiritual state: she loves her land, cannot imagine herself without it. For her, even her own cemetery is a symbol of the Motherland. Mother could not look indifferently at someone else's taiga cemetery. Its image is the opposite of the centuries-old image of the Belarusian cemetery, which has always been distinguished by its “airy” features.

The third poem in the cycle How slowly the gardeners are working ..." translates the story into a philosophical plane: comparing the unhurried work of gardeners, filling up the rhizomes of apple trees in a pit with soil in such a way, “It’s as if food is out of hand for birds, / They crumble it for an apple tree,” they measure it in a handful, and the work of gravediggers is hasty, “in jerks, without a break ”, for he is justified by the guilt of the living before the dead, the severity and magic of such a ritual. So the scene of the mother's burial develops into the author's monologue about life and death, their interdependence, about the nobility of any work, about eternity and the moment. This is a philosophical elegy, a meditation on eternal truths.

The cycle about the mother ends with the poem " Where are you from this song...", in which a melody sounds with a repeating epigraph (at the same time a refrain, somewhat modified at the end) from a folk song:

water carrier,
young guy,
Take me to the other side
Side home...

Once upon a time, the mother of A. Tvardovsky sang it in her youth. She remembered her when she moved to the Siberian region, where "the forests are darker", "winters are longer and fierce."

The sad melody then turns into a tragic one. The song of the mother, who expressed the pain of separation from her relatives in her youth, and from her parents in adulthood, and from life, ends two stanzas before the end of the poem with an epigraph refrain. In the last two stanzas, the song continues to be performed by the author. It is the poet who writes his requiem, prayerfully repeating his mother's song.

A requiem poem by A. Tvardovsky can be called a response to the death of the first cosmonaut of the Earth - “ In memory of Gagarin» (1968). Prior to this, the poet wrote the poem "Cosmonaut" (1961), in which he admired the feat of his countryman, accomplished "in the name of our and future days." But it was a solemn ode, a hymn. The second poem complements the content of the first. The poet writes about the feat, thanks to which the world "became kinder", shocked by this victory. The moral and ethical significance of Gagarin's feat is brought to a global scale, and the son of the Smolensk region is shown as the son of the entire planet, the cosmos. Another idea is affirmed in the poem: the first cosmonaut is a messenger of peace, because after his flight the Earth seems so small, helpless, that the question arises: "... small Earth - why wars, / Why everything that the human race endures?" . The third idea of ​​the poem - the author claims that a great feat was accomplished by an ordinary young man, a "baker", then - the breadwinner himself, not like the ancient princely family. And the last thought of the work is a statement of the immortality of a feat, glory, grief that not only a hero has passed away, but also a person, “a friendly guy, mischievous and sweet, / Dashing and efficient, with a heart not stingy.”

Poetic epic by A. Tvardovsky. Poem "By Right of Memory"

At the beginning of his career, A. Tvardovsky stated that he was attracted by epic narration. His poetic epic of the late 1950s-1960s becomes more lyrical, journalistic, philosophically profound, with elements of fantasy ("Terkin in the Other World").

Thematically, the poems of A. Tvardovsky are diverse: the heroism of labor, the enthusiasm of the creators of the “buildings of communism”, memories of the past and dreams of the future (“Far beyond the distance”), criticism of the vices of the socialist system - bureaucracy, sycophancy, ignorance of officials (“Terkin in the next world ”), the court of memory, conscience, responsibility for the past, anti-totalitarianism (“By the right of memory”).

poem " Beyond the distance - beyond” was written from 1950 to 1960 based on observations from post-war trips around the country - to Siberia, Yakutia, the Urals, the Far East. It is written in the form of a travel diary created on a train from Moscow to Vladivostok. In the chapter “So it was,” the poet passes judgment on Stalinism, the dictator, protected from the people by the Kremlin wall during his lifetime.

The ideological pathos of the poem " Terkin in the other world"The author himself defined it as follows:" The pathos of this work ... is in a victorious, life-affirming ridicule of all kinds of carrion, the ugliness of bureaucracy, formalism, bureaucracy and routine ... ". The vices of the Soviet bureaucratic system, which subordinated officials of all ranks to its will, and the people as a whole, which led to the separation of leaders from the masses and the prosperity of servility, blat, bribery, nepotism, the poet could not show in an open, journalistic form for censorship reasons. Therefore, he wrote a fairy tale poem, a fantasy poem, he had to resort to a fictional plot: the hero of the previous poem comes to life, enters the next world, where he is mistaken for a dead man. "That World" is projected onto the Soviet state system. All features (that (enlarged, caricatured) repeat the features of the bureaucratic state of the Stalinist type.

poem " By right of memory”was prepared for publication in Novy Mir in 1970, however, due to the uncompromising truth contained in it, it was published only in 1987. The poet evaluates the tragic events that happened to his friend, with his family evicted to the taiga, passes judgment on Stalinism, totalitarianism, which turns people into powerless creatures, crippling them spiritually and physically. At the same time, it also passes judgment on itself - partially to blame for the tragic fate of his loved ones. With pain, "by the right of memory", the poet tells the terrible truth about the tyrant, nicknamed the father of nations:

He said follow me
Leave your father and mother
Everything fleeting, earthly
Leave - and you will be in paradise.

These lines of a tormented, suffering heart are taken from the second, central chapter of the poem. They push into the background the figure of the iron leader - the father of all peoples, decipher the phrase he threw in the title of the chapter - "The son is not responsible for the father." Answers! And how! That is why the poet suffers, who in his youth experienced the tragedy of renunciation of his father, and then received rehabilitation from the lips of the leader "The son is not responsible for the father." Why not answer? How to forget the father's hands "in knots of veins and tendons", which could not immediately grasp the small handle of a spoon, because they had a solid callus ("one callused fist")? How to forget him, hunched over "for years above the ground" and called a fist? The poet, rejecting the Stalinist slogan, recreates the image of his hard-working father Trifon Gordeevich, penetrates into the psychology of a man who, already in the carriage, leaving for Siberia, "belonged proudly, aloof / From those whose share he shared."

The third chapter - "On Memory" calls on humanity to remember the tragedy of the people. Gulags, prisons, repressions - this needs to be written about, since the younger generation must remember the "marks" and "scars" of tragic history. Poets have to say "all the past omissions" because everyone was responsible for the "universal father".

A. Tvardovsky declares that hiding the truth will lead to tragedy - society will be out of tune with the future, "untruth will be at a loss to us." The reason for the former silence, the poet considers fear, which forced people to "keep silence / Before rampant unkindness."

The chapter “Before Departure”, which opens the poem, is a lyrical recollection of youth, bright dreams, new distances, metropolitan life, the world of science and knowledge.

“By Right of Memory” is the final work of a writer who saw the light and called for the insight of others, who believed in socialist ideals, in communism and fought for their “purity”. Serving utopian ideals, the poet served the people at the same time, hoping for a better fate for the Fatherland.

A. Tvardovsky is a classic of Russian literature of the Soviet period. His merit as a chronicler of his difficult times is great. It was he who managed to show not only the heroic, but also the tragic events that took place in the country, to reveal the truth of the Stalin era, to challenge the oblivion of the humanistic principles of life construction that came in the late 1960s - 1970s. The poet revealed the additional possibilities of socialist realism, achieved greater truthfulness in the figurative reflection of reality, and expanded the thematic horizons of verbal art.

I. Introduction
None of the writer's names are heard now as often as the name of Tvardovsky. This is natural: history has proven him right, and there is no other person in our literary past whose experience would be more modern, more consonant with the direction of our current transformations. This is the relevance of the topic I have chosen for the essay. After all, Alexander Tvardovsky is our countryman, and I have leafed through the volumes of his poems, which are kept in our family, since childhood.
A truly national poet, he believed that a real writer is inseparable from the life of the people, the life of the Motherland. His heart was open to all the pains and joys of the world, and therefore Tvardovsky's work became a kind of encyclopedia of folk life. About each event, he could say: “... I was there. I lived then." And not only was and lived, but also acted and experienced.
Tvardovsky appeared before me as a versatile and gifted person. He lived a difficult and difficult life, while retaining the best moral traits - spiritual purity, honesty, love and attention to people.
The purpose of my essay is to tell about the Smolensk period of the life and work of Alexander Trifonovich Tvardovsky.
When writing the abstract, extensive literature was used. One of the most important monographs on the poetry and personality of Tvardovsky is the book by A. Kondratovich "Alexander Tvardovsky". The book, which consists of essays on the formation of the poet, as a whole creates a creative portrait of the poet, drawn by the hand of an author who knew him closely.
The collection “By the Right of Living Memory…” contains the speeches of the participants in the First Tvardov Readings, which took place in Smolensk. The book contains new materials of the biography and creativity of A. Tvardovsky.
V. Ilyin's book "Not Hiding Your Eyes" covers a wide range of problems related to the creative activity of the great poet of the twentieth century. The material is based on archival, memoir and other sources. Smolensk period A.T. Tvardovsky is covered in detail in the book of the same author “A. Tvardovsky. Literary environment, creative connections.

II. Main part
1. Smolensk period in the work of A. Tvardovsky
2.1. Zagorievsky period of life and creativity
Alexander Trifonovich Tvardovsky (1910 - 1971) was born on the Smolensk land, in the village of Zagorye. The childhood of the writer, the son of a blacksmith, passed on the Smolensk land. The world of village life with its expanse, the beauty of forests, morning and evening dews, with a difficult peasant share, had a great influence on the attitude of the future poet. Tvardovsky kept for life in noble memory the image of his Zagorye in the Smolensk region:
On the farm Zagorye
We grew up with our father.
Green courtyard
At the very porch.
Alexander Tvardovsky began to study from the age of eight. In the autumn of 1918, his father took him with his brother Konstantin to Smolensk - to the private gymnasium of F.V. Voronin. The brothers lived in the house of their uncle M. A. Arefiev. But they did not wear uniform caps for long: the gymnasium was soon closed, and they had to return to Zagorye. They studied at the Lyakhovsky elementary school, which Alexander graduated from in 1922. In 1923, Tvardovsky entered the 6th grade of the Belokholmsk secondary school, which was located eight kilometers from Zagorye. It was located in the former estate of the famous Decembrist Prince Kakhovsky.
The Belokholmskaya school has a strong teaching staff. Particular attention was paid to the development of artistic creativity in the school. An important role in the life of the school was played by the so-called "Saturday evenings" of amateur performances, which were led by the physics teacher N.G. Chetyrkin, who graduated from the higher courses for women before the revolution.
The school environment helps to understand the features of the formation of A. Tvardovsky's worldview. The school and teachers not only ignited the torch of knowledge in the soul of a talented rural boy, but also encouraged him to active creative activity. Here Alexander takes an active part in the publication of wall newspapers, in which his school poems were published.
The secondary school in White Hill, which began so brilliantly, did not last long: in August 1924 it was closed due to a shortage of teaching staff.
From 1924 to 1928, Alexander did not study anywhere, he spent these four years at home. During this period of his life, A. Tvardovsky joins the Komsomol in order to actively engage in social and political activities. The Komsomol helped the poet in his spiritual development, in overcoming the "farm narrowness", in the development of Tvardovsky as a rural correspondent. The first note of the rural correspondent Tvardovsky, published in the "Smolenskaya village" on January 21, 1925, told about the organization of 12 agricultural circles in the Peresnyanskaya volost of the Smolensk district. The peasants "willingly" attended the circles, since the agronomist Malgin introduced the grain growers to the most effective methods for increasing the yield of the fields.
The young selkor also wrote about the cultural centers that arose in the countryside. He was pleased that in the same Peresnyanskaya volost there were 5 reading huts and 7 corners.
The young propagandist of new forms of village life is elated by the growth of rural cooperatives, whose leaders are the most worthy people of the village.
- Finally! - they built a school, - he exclaims, finishing his next correspondence.
The optimistic mood of the author is beautifully expressed in the first printed poem "The New Hut". In terms of content, it differs little from its concise, clear, precise information. And in the newspaper column "Smolenskaya village" dated July 19, 1925, these poems did not stand out among other materials of the newspaper. But at the same time, unlike them, these were poems in which the future Tvardovsky was guessed - with his theme, intonation 1 .
But this early period did not bring great creative achievements to Tvardovsky.
As for the "Zagoryev" period in his literary activity, on the contrary, it turned out to be much more fruitful. Tvardovsky grew noticeably during these years both as a poet, and as a village correspondent, and as a member of the Komsomol. Zagorie was the poetic cradle of A. Tvardovsky. It was the four-year Zagorievsky period that turned out to be exceptionally “fruitful”: during this time, the poet published more than sixty materials, including 48 poems 2 .
Analyzing the poems and correspondence of the early Tvardovsky, one involuntarily pays attention to their main feature. It will then become a characteristic feature of his work and will be based on the author's sharpest sense of modernity.
The early Tvardovsky's poems will essentially fulfill the same Selkor function as his notes: either to affirm new shoots of life in their concrete refraction, or decisively clear the space from weeds for the laying of new shoots.
Along with poems affirming a new consciousness, early Tvardovsky has sharply critical poems addressed to those who wanted to undermine the socialist foundations of the new life. So, in the satirical poem "Moonshiner" he will bring to light all lovers of the "green serpent", show their worthlessness, inner emptiness. The young author will deal seriously with the most acute topic of rural life - the topic of growing poverty in conditions of equality before the law. Here he is the village "poor":
Dirt in the hut, the barn is not covered,
Hunger, poverty...
He himself is gloomy, unwashed, -
Dead man.
Why? You know very well -
Everything is not good for you!
Because above the barn
Smoke is rising.
Because every evening
You have a riot:
Under the hop on everything carelessly
You waved...
The approach to this problem was revealed in its performances not in the form of a farce, but in terms of a tragic vision.
Honesty, courage, openness, from now on and forever, will become the relentless companions of the Zagorye village poet, despite the fact that he knew what his courage could turn into for him: both the obvious enemies of the Soviet government and the angry "poor people" who saw their own in the moonshiner " savage face,” and local leaders.
The Selkorov theme will take pride of place in the poetic repertoire of the early Tvardovsky, because he himself will be constantly involved in it. Despite the dangers lurking at every step, he will be with an open visor, boldly and decisively, both as a selcor and as a poet, to oppose the ineradicable evil - grabbers, moonshiners, swindlers, bribe-takers, bureaucrats, sycophants. In his correspondence from the Peresnyansky volost, he denounces the inactive leaders who warm their hands on public property, arrange holidays for themselves at a common expense.
Some poems created in the Zagorievsky period turned out to be so significant in artistic terms that Tvardovsky later included them in his collected works, for example: “Harvest”, “Native”, “Spring Lines”, “Native Picture”, “Mothers”, “ Night watchman" and some others. They were once noticed by literary criticism. Dm. Osin, noting in the newspaper "Young Comrade" (April 27, 1927) the relevance of the themes and problems of Tvardovsky's works, at the same time emphasized the poet's ability to say in his own way about the life of the new village; Vl. Smolin in the newspaper "Smolensk Village" (May 24, 1927) essentially confirmed these same provisions, taking Tvardovsky's poems as an epigraph to the article:
Our days have other speeches, // Another, joyful life.
In these verses, the critic noticed new approaches to the poetic theme associated with the development of new social relations in the village 3 .
Early Tvardovsky showed not only the external signs of rural life, but also revealed the village from the inside, in the dynamics of its development and in all its complexity:
And bustles everywhere young
Life smelling of early color.
The old sheds collapsed
New buildings have risen
The Zagorievsky poet everywhere feels the passage of time:
The old life died long ago
She was born young...
Among other things, the Zagorievsky period turned out to be an important link in the work of Tvardovsky, also because the leading genres of his work were laid during this period. Later, he will remember these years and in the poem “A trip to Zagorye” he will write:
For a short time
Here passed-lay
All major roads
that lay far away.
1.2. "I left home once..." In Smolensk
A. Tvardovsky left Zagorye in the winter of 1928, when he was 18 years old, to plunge headlong into the whirlwind of life. Smolensk, with which he pinned his wildest hopes, met him harshly: he did not keep up with his studies, there was no permanent job. With the help of poet friends, he managed to find housing and get a job at the Rabochy Put newspaper, and soon entered the Smolensk Pedagogical Institute.
Actually the Smolensk period of Tvardovsky's poetic activity covers only nine incomplete years. However, during this, in his words, "short life period", as a "experienced man", he managed to go a lot of ways - both in his "country" native, and in the Smolensk region, and in his personal life, and in poetry: from 1928 to In 1936, he published 201 works. If we consider them "according to the geographical meridian", then we will have to deal not only with the periodicals of Smolensk, where he was printed, but also with Moscow, Minsk, Bryansk, Bezhitsa, Orel, Kursk, Kharkov, Sevastopol; and if we make their “vertical cut” according to genre, then we will see an amazing panorama, represented by all kinds and types of artistic creativity - essays, stories, notes, dramatic scenes, lyrical poems, poems about the poet’s contemporaries and their deeds, satirical works of various genres, parodies and epigrams. This motley, mobile, "multicolor" picture is set off by four poems: "The Path to Socialism", "Vasily Petrov's Path" (or "Introduction" according to other publications), "The Hunchbacked Peasant" and, like a "golden hoop", the famous "Country of the Ant ".
In the process of persistent and persistent searches, the poet finally found the main link in all pre-war creativity - the theme of the Russian village, scattered at that time over farms and torn apart during the years of the so-called "great turning point" by the sharpest internal contradictions - both on the eve and in the course of "complete collectivization" of agriculture.
The central thought, penetrating like a ray through the entire thickness of this powerful poetic layer, is the thought-anxiety about the future fate of the Russian peasant, the breadwinner of the whole country, the “cultural master”, the thought of his truthful and sincere artistic expression by means of poetry.
According to A. Turkov, the poetics of Tvardovsky of these years is characterized by a clearly expressed individual orientation of the image, its focus on revealing life in all its complexity, inconsistency and incompleteness. In this regard, Tvardovsky at that time, as in all subsequent years, was the most original, bold poet and at the same time complex, difficult, and sometimes directly inaccessible for an objective comprehension of literary criticism, which turned out to be much lower in Smolensk in its level than his works of art. The complexity and incompleteness in the plot of many of Tvardovsky's works was caused by the peculiarities of life itself: in a vast country that remained predominantly a peasant country, everything suddenly began to move in a short time; the age-old foundations of rural life were shaken; each peasant was faced with the choice of a path-road (all the heroes of Tvardovsky's epic works are on the way, in motion, and the poet himself and his lyrical hero "did a lot in the country of their roads") 4 .
Not always this choice turned out to be correct, successful; on the contrary, breakdowns and falls often occurred - both in the poet himself and in the fates of the heroes of his works. Often they swim against the current, like his “carrier”, who “ruled across all his life ...”. "Cross" and other lyrical heroes of Tvardovsky. Sometimes the poet's own fate seemed to him extremely unstable, twisted, distorted, broken, tragic. And in his work, the unified theme of the Russian peasantry splits into two, rushes to two poles: on the one hand, the aspiration to the heights of communism (“Poems about a prosperous life”), to new collective forms of consciousness and community life; on the other hand, the awareness of the great victims of this huge social breakdown 5 .
The first line originates already in the poem of the 15-year-old Zagoriye poet “The New Hut”, then continues in a number of works of the Smolensk period; in one of them Tvardovsky wrote:
I go to unforgotten places
I see new settlements.
Do you know what you've become
My Smolensk Motherland
Of course, poems about working people, about the “beautiful bread” they grew on collective farm fields, were born from new impressions received during trips around the region; all this extremely pleased the poet (“The mood is very good”, “Wonderful”):
Distance I have become shorter
Distant places have become closer.
Truck from Ribszew rumbles
On the deck of the new bridge.
The final work of the Smolensk period was the poem "Pochinok Station". Written in 1936, it was published only a year after Tvardovsky's departure for Moscow in the Rabochy Put newspaper as a kind of filial greeting to his native places, as an "air kiss" sent from the capital. In the poem, two stylistic streams are combined, intertwined, mutually complemented - epic, social and lyrical, personal. On the one hand, the author talks about his native country, on the other hand, about his beloved land:
I'm happy
I am glad
With the thought of living beloved,
What's in my native country
There is my native land.
And I'm still happy -
Let the reason be funny -
What in the world is mine
Pochinok station.
The poem "Station of Repairs", one of the best pre-war works of Tvardovsky, allows you to see and appreciate the huge leap that took place in the artistic development of the poet, who realized the importance and necessity of his work ("And I want to work like this, / Live such a life, / So that my distant fellow countryman / Could be proud of me”), who managed to present his native land in the context of the overall development of the country, as an important part of a huge whole.
After the "Country of Ants", in the pre-war 30s, collections of Tvardovsky's poems appeared in print: "The Road" (1938) and "Rural Chronicle" (1939). The next collection - "Zagorie", named after his native farm, was published in 1941. But neither readers nor critics almost noticed him: the war pushed into the background everything that was not directly related to it.

2.3. Analysis of the poem "Country Ant"
Country Ant "(1935) - the first major significant, original work of Tvardovsky, which brought him into great literature. The poem, like all early work, is dedicated to the collectivization of the village that took place in the country. But there is nothing newspaper-poster in it, as can be seen in not a statement-poem, but rather a question-poem in the traditions of classical Russian literature (the clearest example is Nekrasov's poem "Who Lives Well in Russia"). collectivization as the only correct path of the working peasantry; the painful experiences of the peasant, who faced a completely new (for many centuries) life problem for him, are revealed; the contradictions of the collision of the new and the original on this path and the genuine drama of the whole situation are reflected.
The reason for writing the poem was an episode from "Bruskov" by F. Panferov, where the middle peasant Nikita Guryanov goes in search of a place where there is no industrialization and collectivization. This plot move was put by Tvardovsky at the basis of a new poem.
Work on it began on October 8, 1934.
Peasant Nikita Morgunok travels across the country in search of a place where there are no collective farms. A worker and an owner, he cannot accept the socialization of property. His ideal:
The earth is long and wide
All around yours.
You will sow a bubbly one -
And that one is yours 6 .
The whole country, as it were, broke off the anchor and swirled in a whirlpool:
The ferry goes like a carousel
Spinning with speed.
Harmonica carpenter's artel
Lucky to the edge of the country ...
The wires are humming over the field,
The pillars run forward
Trains rumble on the rails
And the waters are flowing.
(1,229)
Sometimes in the poem it comes to Stalin. But these references are devoid of the usual subservience and placard exaltation of that time. Rather, on the contrary: Morgunok would like to turn to Stalin simply, humanly, with a non-standard question:
Comrade Stalin?
Give an answer,
So that people do not argue in vain:
The end is foreseen ah no
All this fuss?
The question is put boldly and boldly: behind it is the peasant's obvious dissatisfaction with the upturned life as a result of collectivization, although Morgunok is forced to make a reservation:
What good are we going for?
So I don't protest.
(1.253)
An image is also associated with Stalin at the end of one of the chapters:
The native country is great.
Spring! Great year!
And over the whole country - a hand,
Calling forward.
(1.255)
According to A. Kondratovich, the poet here resorts to a rather daring and unsafe parallel - "The Bronze Horseman", an idol that reared up the life of the people and the state without any, of course, concern for the rights of an individual 7 .
The author's understanding of events still coincides with the official doctrine: Tvardovsky chuckles at his hero. Hence the humor of the poem. The hero, traveling around the world, finds himself in many tragicomic situations. He meets loafers (pop) and outright class enemies (kulak Ilya Bugrov) or the same eccentric "seekers" like himself (prayer).
The plot of the "Country of Ant", notes S.L. Strashnov, is the concentration of those doubts that the people experienced, leaving the age-old way of life and painfully growing into a new one. The plot of the poem is a visual expression of internal contradictions, in one form or another and to a degree familiar to many at that time.
This general confusion is thus noted in the poem:
Rumor grows that night, that day,
Rolling into the distance and wilderness,
And a hundred thousand villages are waiting
One hundred million souls.
No, never like this year
In anxiety and struggle
Didn't expect, didn't think so people
About life, about the village...
(1,252)
Here is evidence of the deep nationality of Tvardovsky's work, its historical truthfulness. For, according to Strashnov's correct observation, "the peasant consciousness prefers clarity, but only that which it has arrived at by its own path and experience." Similar hesitations were experienced by their father, Trifon Gordeevich, who was looking for places for resettlement in the Samara province; I signed up for a collective farm and took my beloved stallion there, but, having lost sleep and peace, I changed my mind and took the stallion back 10 ".
The decisive condition for overcoming all conflicts in Tvardovsky's works is labor. Diligence for the poet is the defining value measure of any person. The question of the results of labor - about the "bubochka", material prosperity - is also essential.
The poem "Guest" (1933) is characteristic, from which, perhaps, the whole poem poured out: a guest came to the collective farmer, and at that moment it began to rain, and it was necessary to urgently cover the collective farm hay. The guest actively helps the common cause.
etc.................

The chronological table of Tvardovsky will briefly tell about the life and work of the poet and writer of Russian literature.

The material will briefly outline the main events of the life path of Alexander Trifonovich, introduce him to the unfinished school years, studies at the Pedagogical University, the Institute of Philosophy, History and Literature in Moscow. The table shows the dates of publication of the first poems of the author, the magazines in which the poet was published are named. Here you can also learn about Tvardovsky's work as a war correspondent during the war years and the writing of the author's famous poems ("Vasily Terkin", "House by the Road"). In the description of life by date, other places of work are indicated, as well as printed collections of works.

Tvardovsky's biography in the table will help to consolidate the topic covered, to prepare additional information for the lesson.

1910, June 8 (21)– Born on a farm in the wasteland of Stolpovo (the village of Zagorye) in the Smolensk province in the family of a blacksmith.

1919-1924 - Studying at the Lyakhovskaya rural school and at the nine-year school in White Hill; did not finish school.

1925 - First publication: the poem "New Hut" in the newspaper "Smolensk Village".

1928 - Moves to Smolensk.

1931 - Marries M. I. Gorelova;
The first poem "The Path to Socialism" was published.

1932 - Enters the Smolensk Pedagogical Institute.

1935 - Publication of the Collection of Poems. 1930-1935".

1936-1938 - Moves to Moscow;
enters the Moscow Institute of Philosophy, Literature and History (MIFLI), graduating in 1939;
the poem "Country Ant" was written.

1939 – Publication of the poetry collection “Rural Chronicle”;
obtaining a diploma from the Moscow Institute of Philosophy, Literature and History;
drafted into the army: as a war correspondent takes part in the Finnish campaign.

1941 - The collection "Zagorye" is released;
state award.

1941-1945 - Work in front-line newspapers; creation of the poem "Vasily Terkin".

1946 - State Prize;
Poem "Road House"

1947 – Publication of the book of essays and stories “Motherland and foreign land”;
awarding the Stalin Prize for the poem "Road House".

1950-1960 - editor-in-chief of the magazine "New World";
work on the poem "Beyond the distance - distance".

1961 - Collection "Poems from a notebook".

1963 - Publication of the poem "Terkin in the next world."

1963-1968 - Vice-President of the European Writers' Society.

1967 – Collection “From the lyrics of these years. 1959-1967".

1969 - The poem "By the right of memory."

1971, December 18- A. T. Tvardovsky died; buried in Moscow at the Novodevichy cemetery.

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