In his “Autobiography,” Tvardovsky calls this poem (Za Dalya-Dal) a “book,” pointing to its genre originality and freedom, and considers it the main work of the 50s.
The poem is dated 1950-1960. The source of the poem were impressions from the poet’s trip to Siberia and the Far East, which is associated with the form of a “travel diary”. The circulation of editions of the poem ranks second after "Vasily Terkin".
The entire first chapter is filled with the memory of the war, the “torment” of the people on their historical road, and then in the poem there arises
memory of other torments experienced by the people. Thoughts about the Korean War bring to mind pictures of the Great Patriotic War. The scene of a meeting with a childhood friend (he, rehabilitated, returns home) allows us to see the hero’s experiences. The friend is depicted as kinder, smarter and more talented than the hero himself. The Volga becomes in the eyes of the lyrical hero a symbol of the history of the Russian people, causing pride. The lyrical hero of the poem is connected with the people. In Tvardovsky’s poetry, the simplicity and beauty of the sound of the verse is striking. It is no coincidence that Tvardovsky was awarded the Lenin Prize for this poem in 1961. The plot of the poem develops as if spontaneously, spontaneously (travel impressions, observations, reflections, chance meetings, memories, associations). But this external freedom from compositional and plot norms is subordinated to the deeply thought-out logic of the author’s main task: to capture the real appearance of today, to understand its deep content, its historical pattern and connections.
These are the two “levels” of the artistic structure of the poem. Both of them are connected by a lyrical hero (who is also the author-narrator), on whose behalf the journey story is told. His image organizes a plot unfolding on two levels: in space and in time.
Both of these plans also appear in the plot on two levels. They are specific (the journey from Moscow to Vladivostok, completed within ten days). They are also historical, because the reflections of the lyrical hero, due to emerging associations and memories, capture many spatio-temporal horizons that go beyond specific road situations. Moreover, each geographical boundary of the path gives a certain direction to these reflections, which are revealed in the plot in three main aspects of artistic time: present - past - future. The memory of the recent war historically “consolidates” the diversity of travel impressions. Memories of distant childhood also arise.
Checking homework: 1. Genre characteristics of the poem. Features of the genre. The poet himself initially called the poem “from a travel diary”, then he used the term “book”, but with more certainty the expression “my travel diary”. 2. Features of the composition and plot of the poem. The function of the plot, the compositional element, is taken over by the road; it leads and unites the lyrical narrative.
3. In what size is the poem written: On a farmstead / remote / farmstead / / / / / In the shade / of smoky / birches / / / / There stood / a forge / in Zagorye, / / / / / And I / grew up with it from birth. / / / / 1. Two-syllable foot, stress falls on the second syllable. 2. There are pyrrhichias - weakening of stress. Conclusion: Iambic, tetrameter.
4. How does the chapter “Two Forges” resonate with the poet’s autobiography? What does Tvardovsky compare the village forge with and why does he speak with gratitude about the “main sledgehammer” of the Ural priest? The Volga, the great river, has absorbed all the rivers - from Valdai to the Urals - as a symbol of the Motherland-Russia. In the reflections of the lyrical hero (the author), the image of a “forge in Zagorye” appears, in which “from birth he grew up to the sound of a sledgehammer”, compares it with the “universal roar” of the Urals, in it he “heard the ringing” and thanks that “I felt like I was at home in that forge.” The Urals are the sovereign image of the Motherland, “Its breadwinner and blacksmith, // The same age as our ancient glory // And the creator of present glory.”
Vocabulary work: Artel is an association of people of certain professions (related to physical labor) to work together. Pathos (Greek feeling, passion) – passionate inspiration. The pathos of a work is an idea that captivates the author, a great feeling that permeates the entire work. A parable is a short story that contains a moral or religious message in an allegorical form. To please is the same as to please. A hummock is an ice block formed by the compression of ice in the seas, lakes, and rivers. Troshki – “a little”.
Work in groups: 1) Volga, Ural, Siberia - Tvardovsky’s artistic discovery. Assignment: Analyze the chapters “Two Distances”, “Front and Rear”, “Until a New Distance”. How does the author show the story and what unites these chapters? Select quotes to answer the question. 2) Landscapes, given by the poet. Assignment: Analyze the chapters “Lights of Siberia”, “On the Angara”. What images does the author paint? What artistic means does A.T. use? Tvardovsky in his description of the landscape? Find examples of the use of artistic means and explain their role? 3) “People in faces.” Assignment: Analyze the chapters “Moscow on the Road”, “Two Forges”, “Lights of Siberia”, “On the Angara”. How are the people portrayed in the poem? What features of the Russian people does the author highlight? Is the concept of “nationality in literature” applicable to the poem “Beyond the Distance is the Distance”?
Brief summary: 1. In the chapters “Front and Rear”, “Two Distances”, “Until a New Distance” there is more autobiographical, personal secret. In them, history is refracted in some particulars that are born in the poet’s memories. 2. In Tvardovsky’s landscapes there are enlarged images: “Mother Volga”, “Father Ural”, “Lights of Siberia”. Metaphors, hyperboles: “half of Russia looked into the Volga,” “under the sledgehammer of the main Urals, the earth clearly trembled,” “Like the Milky Way, the lights of the earth.”
3. The scale of the deeds of the Russian people, “ascetic and hero”, the feeling of Siberia, its vastness, its greatness: semantic and emotional contrasts, sound design, romantic elation, and nearby “gloomy zones”, “a desolate land of ill fame”. 4. Life established new landscapes - with dams, overpasses, bridges. Joy from the transformation of Siberia and a feeling of bitterness from the losses that nature suffered. In its place another beauty will appear, but different.
5. The people, a collective, many-sided image, are personified in the poem “Beyond the Distance - Distance”. Many characters are only mentioned, some with sympathy, some with irony: “an old scientific man, see-through, like a young morel”, a sailor “into a traveler”, “a hunter”, “a doctor of respectable years”, “a bald creative worker who in the morning mastered buffet”, “a priest with a medal for the Eight Centenary of Moscow”... - “all brought together by the distance of the road.” Some characters are singled out from among the “passenger companions” and shown in close-up: “my major, gray-haired and corpulent”, “newlyweds-Muscovites”. crispy tunic”, “curly-haired old man with medals”, “stern lady in pajamas”, which “will block the entire passage”, “dandy with a mustache”, “miner”,
If we're going to write about our journey,
then write as in your time
Radishchev wrote “Journey”.
Material for lessons based on A. Tvardovsky’s poem “Beyond the Distance, the Distance.”
First lesson.
- The creative history of the poem “Beyond the Distance is the Distance.” The idea and its implementation. The originality of the genre of the poem.
- About Me. Autobiographical motives in the poem. Confessional nature of the story.
Chapters “On the Road”, “Two Distances”, “Literary Conversation”, “With Myself”, “Until a New Distance”.
Lesson two.
- Volga, Ural, Siberia - Tvardovsky’s artistic discovery.
- Landscapes of Tvardovsky.
- "The people in their faces." Chapters “Beyond the Distance - the Distance”, “Front and Rear”, “Two Distances”, “Lights of Siberia”, “Moscow on the Way”, “On the Angara”.
Lesson three.
1. Tragic pages of the history of the Fatherland, their reflection in the poem “Beyond the Distance - Distance.”
2. I lived, I was - for everything in the world I answer with my head.
3. “So the song was sung” Generalization on the topic. Chapters “Childhood Friend”, “So It Was”, “Until a New Distance”.
First lesson.
- Work on the poem continued intermittently for 10 years (1950-1960). “It’s scary to think,” Tvardovsky wrote, “that it actually took 10 years. True, there was something else in these 10 years, but still, this is the main thing.” 1950-1960. What are these years in the poet’s life? The first post-war decade was difficult for him. The weariness acquired during the war was taking its toll; he had to endure a massive blow from critics for the book of prose “Motherland and Foreign Land” (1948), and in 1953, he was removed from his post as editor-in-chief of “New World” for “the wrong line in the field of literature”, “for the ideologically vicious” poem “Terkin on the next world" - it was characterized as "a libel on Soviet reality." Until 1956, Tvardovsky was labeled “son of the kulak.” “My year is difficult,” the poet writes on September 20, 1954. – Summing up the sad results, it can be noted that I suffered defeat “on all three” lines: the magazine, the poem, and a personal file in the district committee. An entire stage of life has decisively ended and we need to start another, but we have little mental strength.” The poet is acutely experiencing his creative crisis. Thoughts came that he was finished as a poet, that he had written himself out. The feeling of dissatisfaction with what was written grew: “Everything is going without love: a kind of monotony of the verse, the optionality of words already lined up in well-known rows, the absolute unconditionality and obligation of poetic speech.” He understands that the rhythm of verse “can only be animated by fresh poetic thought.” He writes about the bitter moments of his creative life in the chapter “On the Road,” comparing himself to “that soldier who accidentally fell behind the regiment on the march.”
- “You need to do something, you need to travel, you need to hear, you need to breathe, you need to see, you need to live.” “By my nature, I need fresh impressions, half-thought-out pictures, situations, meeting new people, some air of time. Otherwise I start to slip.” He perceives trips and the road as a life-saving medicine.
Having experienced bitter anxiety.
Fully confident in trouble,
I rushed down this road.
I knew she would help me.
She shakes and hits
A - heals.
And ages us
A - looks young.
In April 1948, Tvardovsky made his first trip to the Urals, and in 1949 to Siberia. Summer 1956 - second trip to Siberia - to Irkutsk, Bratsk. Summer 1959 – trip to the Far East, to the Pacific Ocean. The impressions from these various trips around the country formed the plot basis of the “travel diary”.
- The idea of the poem, which had not yet received its name “Beyond the Distance, the Distance,” came to Tvardovsky in 1949. The poet recalled: “Once, when moving across the Amur near Komsomolsk-on-Amur, I first thought that I could write a poem with a free, unconstrained and unrestricted plot, into which I would trample all my current, previous and perhaps future travel experiences. This thought flashed through my mind just on the bridge over the Amur, and I even grabbed some lines that later became part of the poem “Bridge.” A. Kondratovich comments on this confession of the poet in the following way: such “a moment is not a mere trifle, but an event that, as it were, crowns great internal work before the start, the beginning of the work itself on the work. A huge work, hidden until time, invisible and not even always recognized by the poet himself.” It took Tvardovsky another two years until the implementation of the plan for a new major work began, until the poet became confident: “There is a theme that was not invented from the desire to write poetry, but one from which there is nowhere to go unless you overcome it; there is a heart that is not fenced off by petty selfishness from other hearts, but is openly turned towards them; finally, the desire to think and think out for oneself to the end, to complete confidence, what seems already sufficiently thought out by others, ready (there is nothing ready in the field of thought) - to check everything from the very beginning.”
- Please note that in his collected works Tvardovsky did not call the poem “Beyond the Distance - the Distance” a book, as was the case with “Vasily Terkin,” or a “lyrical chronicle,” as happened with “The House by the Road.” The subtitle “From a travel diary” appeared only in the first publications of the poem, and then was removed by the author, although in its text itself there are definitions: “travel notebook”, “travel diary”, “my diary”, on the pages of which the general outline of the plot was reflected : And how many deeds, events, destinies, human sorrows and victories fit into these ten days, which turned into ten years! Tvardovsky himself considers his poem “a lyrical chronicle of these years.” What was bitter for me, what was hard and what gave me strength, what life was rushing me to cope with - I brought everything here. The poet decisively rejects the generally accepted literary and narrative canons and in his notes defines the principle of the new form, found during the work on “Vasily Terkin”: “A story is not a story, a diary is not a diary, but something in which three or four layers appear various impressions. There’s something you can’t remember, don’t cross, and don’t get caught up in with such a plan! The only thing is that, speaking as if to oneself, one should not speak “to oneself”, but about the most important thing.” While working on a new poem, the poet writes on January 15, 1955: “We need to move Dali.” It would be crazy to abandon such a free form, already found and already accepted by the reader.” On April 6 of the same year, another entry was made: “I became confident and convinced that I have a “yoke” - a big and only job for now - my “Dali”, which requires all my strength now. And it would be madness to abandon this form, which gives such scope and optionality of speech.”
- In the poem “Beyond the Distance, the Distance,” although there is no chapter “About Myself” (as in “Vasily Terkin”), the author, with captivating sincerity, confides to the reader the whole complexity of his writer’s destiny, the responsibility of his artistic duty. According to S.Ya. Marshak, “this poem is a kind of notes from a contemporary.” A. Turkov calls Tvardovsky’s poem a “lyrical diary,” which is of interest as “the confession of the son of the century.” In his confession, Tvardovsky talks about the origins, his fate and the fate of his generation. I am happy that I am from there, From that winter, from that hut. And I am happy that I am not a miracle of a special, chosen fate. All of us - almost all of us - are people from there, from the earth. In the chapters “On the Road”, “Two Distances”, “Front and Rear”, “Until a New Distance” there is more autobiographical, personal, and intimate. In them, history is refracted in some particulars that are born in the author’s memories:
The memory of the poor life is not silent,
Offensive, bitter and deaf.
I see my father’s land of Smolensk...
Excitement for the old boy
The soul is completely accessible,
How can I remember the smell of the first book?
And the best taste of a pencil...
And what is it that over the years
I had not become deaf by then
And the memory becomes more and more demanding
To the beginning of all my beginnings!
Second lesson.
“Beyond the Distance, the Distance” is a broad epic canvas. Here the author's memories and reflections are combined with travel impressions, with pictures flashing outside the carriage window. Moscow - Far East - this is the route of the journey on which the poet sets off. Trans-Volga region, Trans-Ural region, Transbaikalia - the traveler seems to rediscover the distances, these edges of his homeland. In the epic chapters: “Beyond the Distance, the Distance,” “Seven Thousand Rivers,” “Two Forges,” “Lights of Siberia,” “On the Angara,” “To the End of the Road,” the “sovereign image of the Motherland” is recreated. The image of distances, their spatial and temporal character, varying and enriching, receives more and more new sound in the poem “Behind the Distance - Distance”. “The surrounding world of the vast land” lives here in numerous poetic sketches that convey a sense of the immensity of the country, its boundless distances.
Landscapes of Tvardovsky. They impress with the richness and diversity of their artistic range. Despite all the laconicism, their picture plan is plastic and expressive. An example is the Volga landscape, which occupies only two lines in the text:
We see its wide reach
In a gap in the field on the way.
The word “reach” itself means “wide expanse of water.” This is exactly how it is interpreted in Ozhegov’s dictionary, where as an example it is given: “Upper reach of the Volga.” For a great poet, a word, when placed in a poetic context, is activated and suddenly acquires a meaning not included in any dictionary. The definition of “wide” is not only a significant detail that distinguishes the Volga reach from a number of others. Its emotional content is significant. It is the “wide reach” that strikes the imagination of people who see the Volga for the first time, although they have heard about it. The reader is prepared to perceive the picture drawn by the poet by the exciting moment of passengers waiting to meet the Volga. The chapter “Seven Thousand Rivers” begins with it. Note: the scene “First meeting with the Volga” is emphatically intimate. In the carriage early in the morning, “someone spoke the first word about the Volga in a low voice.”
She was already close.
And the ardor of excitement is unusual
He immediately brought everyone closer together.
And we stand together with the major,
Leaning against the glass, shoulder to shoulder.
Noteworthy is the thrice repeated exclamation: “She!” repetition here is emotionally and aesthetically justified. Placed each time in a separate line, this pronoun helps to feel the excitement of people who saw the Volga for the first time, helps to reveal the ambiguity of the picture, consonant with the high image of the Motherland. Tvardovsky’s view is large-scale, “all-encompassing.” The poet thinks in images one greater than the other.
She is familiar, majestic
She made her ancient journey
It looked like half of Russia.
That the Volga is the middle
Native land.
S.Ya. Marshak cites in his book “For the Sake of Life on Earth” a short fragment from the chapter on the Volga and notes: “From this passage alone one can see how obediently the iambics serve the author throughout the entire poem. Sometimes they sound calm and narrative, sometimes full of lyrical excitement, sometimes filled with energy.”
The poet’s keen gaze captured another picture:
A stack of harvested hay,
Well, travel booth.
This etude is in a different key, elegiac. What he saw from the carriage window filled the author’s soul “to the brim” with “the warmth of delight and sadness.” The word “stack” will appear again a few lines later: this image revived another distance in the poet’s memory, “the fatherland of Smolensk.”
Next to this watercolor is a harsh Ural landscape, also executed laconically, in one or two details: “layers of rock were piled up from the ground like hummocks.” Here comparison plays a major role in creating an image.
Tvardovsky’s landscapes are dominated by enlarged images: “Mother Volga”, “Father Ural”, “starry Siberia”. The author resorts to metaphor, hyperbole: the Volga “looked like half of Russia,” “the lights of Siberia.” These images are not important in themselves. They allowed the poet to speak about the scale of the deeds of the Russian people, “an ascetic and a hero.”
The feeling of Siberia, its vastness, its greatness is perfectly conveyed.
Siberia! And he lay down and stood up - and again
Along the route is Siberia.
Students are convinced that these lines, consisting of short words, cannot be read quickly, in a tongue twister. The tone here is offended by the word “Siberia”. Placed in a syntactic context with an expressive dash, which determines its slow sound. The narrative about Siberia is built on semantic and emotional contrasts.
Like the whistle of a blizzard - Siberia -
This word still rings true today.
Sound recording, phonetic orchestration of verse, and comparison romanticize this image in their own way. Romantic elation is also felt in the words “lights of Siberia”, which “flow”, “run”, “radiate” “with untold beauty”. And next to this there are other images, other words: “gloomy zones”, “a desolate land of ill fame.”
Peering into the distance of the road, at the lights flashing outside the window, Tvardovsky thinks about the people of “hard work” who settled in these harsh lands.
And what is there - in every settlement
And who founded it
They led here from afar
Whose order
Whose credit is it?
Whose dream
What a capacity this thought has! The last four short lines contain almost the entire history of Siberia, its past and present.
The poet’s reflections on the fate of Siberia itself are colored with a feeling of deep bitterness.
It is necessary to note one more feature of Tvardovsky’s landscapes. For him, nature is the embodiment of the Beautiful in life. This motive is most clearly revealed in the chapter “On the Angara”. In a preliminary commentary to it, it must be emphasized that Tvardovsky was an eyewitness to the main event reflected in the poem - the covering of the Angara and wrote about it based on a living impression. The poet considered this circumstance important. The impression of what he saw was so strong that Tvardovsky dedicated a prose description of “The Padun Threshold” and a poem “Conversation with Padun” to this event, written almost simultaneously with the chapter “On the Angara”. From the style of these works we can judge what feelings the poet was in, speaking about the mighty power of Padun.
Tvardovsky was captivated by the nature of Transbaikalia, the decoration of which was the mountain river Angara. The poet admires the natural strength of the Angara, its rapid movement, and the transparency of its waters.
The river, gradually constrained,
Destroyed the embankment bank,
All the profits of the powerful waters of Lake Baikal
In reserve, sensing behind you.
This is how Tvardovsky saw Angara. His verse amazes with its energetic rhythm, imitating the free running of a mountain river. The dynamism of the description and the expressiveness of the image are achieved by pumping up verbs, the energy of which makes one feel her wild nature and deceit. One feels that these poems were written with pleasure and joy. And so it was. The chapter “On the Hangar” includes a series of micro-episodes that are not only and not so much descriptive in nature. The main figures of these episodes are people of art: a “cameraman from a cinema tower”, a member of the Union of Artists, a poet himself. Behind the seemingly ironic intonation with which each of these characters is spoken about, one can discern a serious thought about the possibilities and role of art in comprehending fast-paced life. So, in one of the scenes we are talking about an artist who wanted
At Angara with his brush
Capture her beauty.
Life established new landscapes - with dams, overpasses, bridges, tunnels. “And there is something to see, there is something to sing,” said the poet in the chapter “With Myself.” And his poems are no strangers to pathos: at the end of the chapter “On the Angara,” the poet painted an impressive picture “Dawn on the Angara.” But the pathetic beginning did not exhaust the palette of Tvardovsky’s depiction of life. There is an explanation for this: it is especially his worldview.
The joys caused by the transformation of Siberia were mixed with a feeling of bitterness from the losses that Siberian nature suffered. The poet wrote about them with pain. Tvardovsky’s thought about disappearing beauties depressed the poet. In 1959, on the eve of the completion of the Bratsk hydroelectric power station, he again visited the Angara.
The people, a collective, multifaceted image, are personified in the poem “Beyond the Distance - Distance”. By the way each character is presented, you can feel the author’s attitude towards him. Many are only mentioned: some with sympathy, some with irony. Heroes in individual and personal scenes.
Expressive, for example, is the episode “First Meeting with the Volga,” with which the chapter “Seven Thousand Rivers” begins. She presents the heroes from the best side, reveals their generosity and spiritual subtlety. The imprint of the significance of what has been said about the great Russian river will also fall on the assessment of a specific human fate: “He, my neighbor, fought for this Volga at Stalingrad.” In the chapter “Front and Rear,” Tvardovsky will show the major in a new situation, in a “steep debate” on the topic: front and rear. He was given not just one line, but a whole monologue, which they “listened to with passion.” Having traveled the path “from soldier to battalion commander” during the war, the major was convincing in conversations on sensitive topics.
Chapter about newlyweds. This expresses the purely psychological aspect of the theme of “newlyweds” who keep themselves apart in the carriage. An outside perspective is so natural in this situation. He determined the unusual mise-en-scène in which the young heroes appeared. It is romantic in its sound.
And they just stay special
Quite busy with each other,
Graduates, probably both -
The newlyweds stand aside.
The poems are warmed with warmth, cordiality, they are truly inspired. “Young spouses” are the main characters and chapters of “Moscow on the Road.” Its tone determines a lyrical digression about youth, its duty and responsibility “for everything that makes life so special in the world.” The monologue of the young husband echoes the author’s words. The ending of the chapter “Moscow on the Road” is poetically significant, where the theme of “fathers and sons” sounds unobtrusively. Here, elegiac motives coexist with pathos, bright memories of past youth - with the thought in which the companions were confirmed after meeting the young couple:
The native land is full and red
People of reliable souls and hands.
This conviction determines the pathos not only of the chapter “Moscow on the Road,” but also of such chapters as “Two Forges” and “Lights of Siberia.” The times demanded heroic characters. And Tvardovsky found them on new buildings. He showed his heroes in full height in a major event - the closing of the Angara.
Third lesson.
“In my mind,” wrote K. Simonov, ““Beyond the Distance is the Distance” is many years of life, lived and considered, given by the poet to the reader for judgment.” These words echo those confessions of Tvardovsky that we will find on the pages of his poem:
I've seen maybe half the world
And after the century he hurried to live
I lived equally with everyone.
The psychological portrait of Tvardovsky is completed by another of his confessions:
It will still be difficult for me in the future,
But to be scared -
The chapter “So it was” occupies a special place in the poem. It was difficult to write, with long breaks. From the poet's diary entries one can judge what kind of work was behind each of her words. The start of work was associated with the shock caused by the death of Stalin in March 1953. Judging by the title, the main episode of the planned “Stalinist chapter” should be the meeting of Death with Stalin. The new edition of the chapter was prepared by the beginning of 1960. It had a title: “Letter from the Road.” On January 27, 1960, the poet writes: “I roughed out “Letter from the Road” today.”
In 1956, the 20th Congress of the CPSU was held, which debunked Stalin’s personality cult, but the whole truth about this historical phenomenon was not fully told. This forced Tvardovsky to write a letter to N.S. Khrushchev (February 4, 1960). The poet asked the party leader to get acquainted with the chapter “So it was,” the “key, decisive” chapter of the completed book. The letter, in particular, said: “If everything that the human soul needed could be said in reports and decisions, there would be no need for art or poetry.”
Next to these words you can put lines from the poem “Vasily Terkin”:
Not to live for sure -
Without which? Without real truth,
Truth that hits right into the soul,
If only it were thicker
No matter how bitter it may be.
The poet not only puts these words “So it was” in the title, but also repeats them again. This is the refrain. The chapter “So It Was” was written not by a dispassionate chronicler, but by a poet-citizen who feels his involvement in the time. The poetic text sounds excited, with increased emotionality. Tvardovsky also shows his vision of time in his understanding of a specific human personality, recalling his Smolensk region. He talks about the fate of a simple Russian peasant woman - Daria's aunt (this is a real figure; Daria Ivanovna is the Tvardovskys' neighbor in Zagorye, the poet knew her well). She is the only character named by name. The poet compares his thoughts and deeds with Aunt Daria. For him, she is the embodiment of conscience, truth and justice. Aunt Daria is Tvardovsky’s artistic discovery.
The last chapter of the poem is a frank conversation between the poet and the reader. A question of rhetoric...
And therefore in this book -
Frankly, the truth is not the same, -
The one or the other - there is no title,
Total heroes -
Yes, we are with you.
So the song was sung.
But maybe they responded to it
At least somehow our work and thought,
Both our youth and maturity,
And this distance
And this close?
Through anaphora the capacity of the thought contained in this question is conveyed.
|
The later lyrics of A. Tvardovsky are mainly lyrics of memory... The theme of memory is most intensely, constantly and diversely associated with the war. A. Tvardovsky never “reconstructs” the military past; he does not have poems-memoirs about the war years. The memory of the war simply lives in his poems, even if it is not directly stated, but sometimes it comes out with a huge, piercing force of pain, suffering, and even some kind of personal guilt before those who remained forever on the shores of death. We can say that the memory of the war lives in one way or another in each of A. Tvardovsky’s post-war works. She became part of his worldview. (From the essay “Philosophical Lyrics” by A. I. Pavlovsky.) |
Test yourself. Artistic technique
Indicate what artistic device (figure of speech) A. Tvardovsky uses in these lines.
So, confused by their fate,
We said goodbye to friends at the holiday.
And with those on the last day of the war
They were still in the ranks with us;
And with those that her great path
We could barely get halfway through;
And with those whose graves are somewhere
Even near the Volga they were surrounded by clay;
And with those that are near Moscow itself
They occupied beds in the deep snow...
gradation
anaphora
epiphora
parallelism
Open-ended question
We are preparing for the Unified State Exam. Let's compare
How are the works of Russian poets who addressed the topic of historical memory close to the poem by A. T. Tvardovsky “On the day when the war ended...”? Justify your choice and make a comparison.
Give a direct, coherent answer to the question (approximate length - 5-10 sentences). When completing the task, select two works by different authors to compare (in one of the examples, it is acceptable to refer to the work of the author who owns the source text). Indicate the titles of the works and the names of the authors. Justify your choice and compare the works with the proposed text in the given direction of analysis. Write down your answers clearly and legibly, following the rules of speech.
The theme of memory appears in Tvardovsky’s work in two aspects. Firstly, the poet highlights the importance of the memory of those killed in the war, and secondly, he talks about the importance of the chains of ancestral, family memory, which were mercilessly destroyed during the years of Stalinist repression, when many publicly renounced kinship with those who were declared enemies of the people. In contrast to the official ideology that dominated the country, Alexander Trifonovich argued that the need to remember one’s roots, one’s relatives and loved ones is not just a right, but also a person’s responsibility. The poems of A. T. Tvardovsky from the cycle “In Memory of the Mother” are dedicated to this, representing a direct response to the death of the poet’s mother in 1965.
The first and third poems of Tvardovsky’s cycle could be dedicated to the great many mothers. In the first, children say goodbye to their mother. The third contains a description of the funeral. The second poem seems to tell the story of only one woman, her misfortune, memories, dreams. Of the eight stanzas of the work, seven are based on factual material. But through the trials his mother went through, the poet shows the tragedy of the entire people.
Deportation of a peasant family to Siberia. Artist I. N. Gorbachev Cycle “In Memory of Mother”. “In the land where they were taken in droves...”
Read from A. T. Tvardovsky’s series “In Memory of the Mother.” Analyze it based on the questions.
- What verb is used in the first line of the poem? What can we say about it, does it point to a specific person? Why?
- The hardships endured in the first stanza are spoken of in just one line. But very capacious. Which?
- What does the second stanza say about how difficult it was there?
- And most of all, “she didn’t want to die there.” Why? What answer does the author give?
- In stanzas 3–4, memories begin to take on an increasingly visible form. Which?
- Find the mother’s speech among the author’s intonations. What words does it express? How are “ours” and “alien” contrasted in the text?
- What does the mother see in her dream?
- Maria Mitrofanovna’s dream never came true: already in the spring of 1931, the Zagorye farm ceased to exist. More precisely, it was stolen in the absence of the dispossessed owners. At the end of the work, the author's voice is clearly heard. Pay attention to the syntax of the last stanza. It's intermittent. What does this mean?
- How is the fate of the people reflected in this poem?
The composition of the cycle is thought out by the poet: he is not indifferent to where to start and how to end, in what sequence to arrange the poems. In this composition, the last poem occupies a special place. Emotions do not decline, but rise. The last parting has already taken place, the funeral has taken place. But the image of the mother comes to life again; her voice, her memories, her favorite song are heard.
Left a reply Guest
In his “Autobiography,” Tvardovsky calls this poem (Za Dalya-Dal) a “book,” pointing to its genre originality and freedom, and considers it the main work of the 50s.
The poem is dated 1950-1960. The source of the poem were impressions from the poet’s trip to Siberia and the Far East, which is associated with the form of a “travel diary”. The circulation of editions of the poem ranks second after "Vasily Terkin".
The entire first chapter is filled with the memory of the war, the “torment” of the people on their historical road, and then in the poem there arises
memory of other torments experienced by the people. Thoughts about the Korean War bring to mind pictures of the Great Patriotic War. The scene of a meeting with a childhood friend (he, rehabilitated, returns home) allows us to see the hero’s experiences. The friend is depicted as kinder, smarter and more talented than the hero himself. The Volga becomes in the eyes of the lyrical hero a symbol of the history of the Russian people, causing pride. The lyrical hero of the poem is connected with the people. What is striking about Tvardovsky’s poetry is the simplicity and beauty of the sound of the verse. It is no coincidence that Tvardovsky was awarded the Lenin Prize for this poem in 1961. The plot of the poem develops as if spontaneously, spontaneously (travel impressions, observations, reflections, chance meetings, memories, associations). But this external freedom from compositional and plot norms is subordinated to the deeply thought-out logic of the author’s main task: to capture the real appearance of today, to understand its deep content, its historical pattern and connections.
These are the two “levels” of the artistic structure of the poem. Both of them are connected by a lyrical hero (who is also the author-narrator), on whose behalf the journey story is told. His image organizes a plot unfolding on two levels: in space and in time.
Both of these plans also appear in the plot on two levels. They are specific (the journey from Moscow to Vladivostok, completed within ten days). They are also historical, because the reflections of the lyrical hero, due to emerging associations and memories, capture many spatio-temporal horizons that go beyond specific road situations. Moreover, each geographical boundary of the path gives a certain direction to these reflections, which are revealed in the plot in three main aspects of artistic time: present - past - future. The memory of the recent war historically “consolidates” the diversity of travel impressions. Memories of distant childhood also arise.