Topic: “Singer of the native land, I sleep in a close grave ...”

Epigraphs:

Look forward, strive forward.
And yet someday
Stop and take a look
On your path.

Rasul Gamzatov.

... It is impossible not to love him:

He is warm, like a sunny day in the mountains, he is cheerful, like a swift mountain stream, he is bold, like a winged mountain eagle; kind and gentle, like a mountain deer ...

Eduardas Mezhelaitis.

Office design: 6 tables covered with a tablecloth; flowers, candlesticks with burning (in the final) candles, volumes of poetry; portrait of the poet, sketches of Caucasian landscapes, musical material (audio cassette), instrumental performance (guitar).

At each table there is a presenter, readers, an artist who makes sketches inspired by the poet's poems.

Biographer (teacher): Good afternoon, friends! We are glad to see you in our living room. Today our meeting is dedicated to the national Avar poet Rasul Gamzatov. On September 8, 2003, the People's Poet of Dagestan, Hero of Socialist Labor, Laureate of the Lenin and State Prizes celebrated his 80th birthday. A native of a small, seventy sakley, Avar village of Tsada, Rasul Gamzatov was born in the September days of 1923. His father Gamzat was famous in the mountains for his wisdom, honesty and ability to ridicule human vices and shortcomings in public life with a sharp, red-hot word. The name of the native village of Tsada became the surname of Rasul's father, the poet and satirist Gamzat Tsadasa, the national poet of Dagestan.

At the age of eleven, Rasul wrote his first poems, which were published in an Avar newspaper.

After graduating from the Buynaksk Pedagogical College, he taught at his native school, worked in the theater, on the radio, and headed the department of the republican newspaper. The first collection of his poems "Fiery Love and Burning Hatred" was published in 1943.

Gamzatov continued his education at the Gorky Literary Institute in Moscow. For four decades he has been the head of the writers' organization of Dagestan.

His first poetic publications were widely known, and for the collection of poems “The Year of My Birth,” the twenty-seven-year-old poet receives the State Prize.

In the sixties, his poetic talent flourished, new books were published one after another: “My Land”, “Songs of the Mountains”, “Children of the House of One”, “White Cranes”, “Twentieth Century” and others.

Gamzatov traveled a lot around his native country and other countries of the world, met people. He received world recognition by publishing the poem “The Bells of Hiroshima”, in which the tragic events are recreated, and the author’s voice sounds harsh and naked.

Gamzatov’s wonderful prose book “My Dagestan” not only tells about everything he himself experienced, but also gives the poet’s reflections on life, art, the purpose of a person, love for the motherland,

Many of the poet's poems were set to music by composers J. Frenkel, E. Kolmanovsky, A. Pakhmutova, R. Pauls.

The poet's anniversary was solemnly celebrated not only in his homeland in Makhachkala, where representatives of creative unions and the Russian public, friends, and readers came to congratulate the poet. The publishing house "Soviet Writer" began publishing a multi-volume collection of the poet's works. On September 18, in Moscow, the Russian State Library hosted the opening of a book exhibition, which presented numerous books by Gamzatov, as well as publications dedicated to the life and work of the people's poet.

Russian President Vladimir Putin received the hero of the day at his residence and presented Rasul Gamzatov with the highest state award of Russia - the Order of St. Andrew the First-Called. The year 2003 was declared the Year of Rasul Gamzatov in Dagestan.

But about any poet, his poems speak best of all, they contain pain, joy, hope, and they are the best that the poet has created in his long creative life.

In his poems, Gamzatov talks about the fate of the world, humanity, the appointment of a simple person, his morality, his moral character, love for the motherland, a woman, and friendship.

First table. Leading.

Rasul Gamzatov called himself a poet, "singing the mountains of Dagestan." "Dagestan" - translated into Russian - is a "country of mountains". This republic is also called the “mountain of languages”. Indeed, dozens of multilingual nationalities live and work there, forever held together by a sense of brotherhood and unity. Dagestan in the past resembled a bone thrown to dogs to be torn to pieces ... It is not known what more sweat or blood was shed here. The poet is right when he notes that the history of his people is not written with a pen, not with ink, but with scars from saber wounds and burns from enemy conflagrations ...

For the modern highlander, the boundaries of his native land have expanded immeasurably. Nowadays, people from Dagestan auls work at the great construction sites of the country, in the laboratories of large scientific centers, stand at the border post, even kept watch in space, joining the cares of earthlings on unexplored routes of the Universe.

That is why the poet from the cloudy village of Tsada lived and worked with the invariable consciousness that he was responsible for the entire state as a whole.

Without friendship, my little people would perish,
Great only by the fact that love lives.
We are true friendship and a song about it
More necessary than air, and more necessary than bread.

The poet showed the beauty and wisdom of his people, their customs, introduced proverbs and fairy tales into poetry, that is, he depicted Dagestan “from the inside”. The poet's patriotic feeling is not only filial love for his people, for his native mountains, but also a feeling of inseparable unity with the entire great Motherland. “The Kremlin and the aul are two wings of a bird and two strings of my pandur,” he says.

The poet in his early youth set himself the task of glorifying his humble people, his beautiful Dagestan to the whole world. So that everyone - the whole world, all mankind - knows that on this blue ball there is also such an earthly point, which is called Dagestan and which has made a whole pearl necklace shining like sunny mountain peaks into the treasury of world civilization - its poetic contribution. This was no easy task. But he achieved his goal and could be proud of the fruits of his labor.

Poems (optional):

“I love you, my little people”; “I thank the flinty native land ...”; “Is it for you, my epic Dagestan, do not pray ...”; "My Dagestan"; "About the Motherland"; "Motherland"

2 table - Leading: The fate of the world is one of the main themes in the work of Rasul Gamzatov. “If you want peace, fight against war” is the motto of all the progressive people of the planet. And Gamzatov fought, considering it his duty to defend peace and help people build a happy future. In his poems, poems, the poet reflects on the fate of the world, humanity, they sound a passionate call to stop the arms race, to save the people of the planet from the horrors of war. Poems dedicated to the theme of the struggle for peace, the memory of those who fell on the fronts of the Second World War, will not leave anyone indifferent, because in the Second World War the poet also lost two brothers. Yes, and the bloody past of the Dagestan people makes Gamzatov call for peace, so that his native people would no longer suffer from bloody wars. Indeed, Gamzatov’s lines from the poem “Take care of mothers” sound like an alarm:

I am in the city, where at the sad gathering
All the grief of the world has now gathered,
I am in Hiroshima, in the epicenter of grief,
Here, everything is soaked through and through with death.

Gamzatov, like a great and genuine artist, has a low “pain threshold” and a responsive heart. For him there were no other people's pains, troubles, from which he would brush aside:

Wherever there is a fire, do not get away from the fire,
Wherever thunder rumbles, I perish from the storm.

The poet's soul contained the pain of an offended, destitute person and anxiety for the planet, for its peace and future. That is why he does not accept those for whom the globe of the earth is a watermelon to cut into pieces and shred with their teeth, or a ball for kicks. In the perception of Gamzatov, the globe of the earth is a dear face. And sincerely patronizing feeling:

The globe of the earth for me is not a watermelon or a ball.
The globe of the earth, for me you are a dear face,
I wipe your tears - do not cry,
I wash off your blood and sing over you...

Gamzatov is a poet of a generally romantic disposition, but poems, poems, octaves, inscriptions, even sonnets and elegies are insisted on figurative thought, on an artistic search for the causes and consequences of the alogism of life order, concern for the human race. And disturbing confessions are quite natural for the spiritual state of Gamzatov: “Modern life sometimes seems to me an ongoing concert. Cheerful, tragic, everyday, intoxicating. It sometimes seems to me that that instability, escapades of change, the change of eras, personalities that are happening before our eyes is also a kind of universal unceasing concert, an action with a tragic coloring. This is a premonition of trouble that should be averted. But how? This question, which has risen before the world community, was not guessed by Gamzatov today, but with increasing force it worries today.

Poems (optional)

“The twentieth century frowns severely…”; “The earth is a human cradle”; "Bell of Hiroshima"; "Toast"; “We are twenty million”; “Write on your dagger…”; “The globe of the earth, for some you are a watermelon…”; “In the mountains, horsemen quarreled, it happened ...”; "Piano in Hiroshima".

3 table - Leading: Rasul Gamzatov's love lyrics are an integral part of his work. His poems about love are sincere, pure, noble and full of tender care for his girlfriend. Gamzatov is a unique lyrical poet, a herald of high feelings, a chivalrous attitude towards a woman.

Gamzatov's love poetry attracts us with its humanity, purity of thought, frankness.

Charming, modest lyrical hero, whose feelings are strong and tender. He is truly happy when his beloved woman is happy, he is ready to carefully take care of her, but strives to be unnoticed. The love lyrics of the poet purify, ennoble the hearts of people, and this is its conquering power. Probably, more than one lover read Gamzatov's poems to his beloved, it was not in vain that the poet “feared”:

I'm talking about you, who is dearest to me,
I'm afraid to write poetry. Suddenly someone, loving,
He will speak with another, beloved too,
The words that I found for you

His wife and faithful companion Patimat Gamzatova is the first person to whom the poet read his poems. The poet himself made her a strict judge, she is, as it were, a part of that big thing that is called Gamzatov, a continuation of this big one, its significant branch. The grateful poet dedicated his touching poems to her.

Poems about love sound (optional): Readers:

“Parting is not a problem as long as there is…”; “If my love, my dear friend…”; "Favorite women's names"; "Testament of love"; “I'm talking about you, who is dearest to me…”; “I swore an oath to love…”; “I will light up the stars to please you…”; Sonnet “You stroke the heads of our three daughters…”; Sonnet “I want to proclaim love as a country…”; “You scratch your braid, upset by the fact ...”

4 table– Leading: Like all highlanders, Gamzatov highly appreciates true friendship:

I will say, if they ask: “What is the value of life?”
"The smile of a friend, the tears of an enemy."

About a mentor-friend who was, as a teacher should be, the personification of conscience, a strict judge, the poet writes:

Heavy ice cannot be melted with tears,
Don't call your old friends
They didn't get off their horses alive.
And they did not break the oaths of battle.
Friends are gone, gone forever.
You can't bring them back with a call or a prayer.
And, prematurely becoming grayer than smoke,
I bow my head before you.

Gamzatov has a lot of poems about a friend, a bearer of holy brotherhood, in which there is dignity, love for people, and loyalty to high comradeship, which identified the eternal that is the essence of the Caucasus. With faith in life, in its invincibility, an appeal to a friend sounds:

Soon the songs of the returned flocks
They will ring over the awakened thicket.
It's good that you are near, Mustai,
A true friend and true poet.

And his friends answered him with devoted friendship. Eduardas Mezhelaitis admits: “I love Rasul Gamzatov like a real brother… It is impossible not to love him… The feeling of love flows over the edge of his kind and generous heart. Everyone needs him: his native Dagestan, a working person, a beloved woman, beautiful native nature, the heroism of the defender of the socialist Motherland, our entire great Motherland ... ”

The song “Take care of your friends” sounds in instrumental performance (guitar).

Readers read poems about friendship:

"Legend of Friendship"

"About friendship "

“Comrades of my distant days”

5 table– Leading: The relationship of a person to his mother is the most important theme of Gamzatov's lyrics. Being a caring son, the poet pities forgotten mothers and condemns sons who do not fulfill their filial duty:

It seems to me that the one whose soul has hardened,
Who forgot childhood and dear mother,
Will not sell dear friend and business,
He can easily sell his homeland.

In the poem “A Letter from a Son,” the poet writes about his mother:

I remembered:
I'll run from school
Winter as a child
You meet me
You sit closer to the hearth
And you warm my hands with your breath.

And after the death of her mother, she grieves:

Who will now kindle a fire in the fireplace,
To keep me warm from the road in winter?
Who, loving me, will forgive my sins now
And pray for me in anxiety?

I took the Koran in my hands, embossed strictly,
Formidable imams bowed before him.
He says:
“There is no God but God!”
I'm talking:
“There is no mother but mother!”

Reading Gamzatov's poems dedicated to his mother, you involuntarily think about your mother and want to kneel before the most dear person.

A solemn hymn to all the Mothers of the Earth sound the lines from the poem “Take care of mothers”:

This word will never deceive,
There is a life being hidden in it.
It is the source of everything. He has no end.
Get up! I pronounce it: MOTHER!”

Poems about mother sound (optional)

"Mum"; "Mothers"; "Take care of mothers"; "Letter from a son"; “Last date with mom”

6 table -Leading: One of the eternal themes in Gamzatov's lyrics is philosophical reflections on time and man. And “time” is perhaps one of the most frequent words in the poet's poems. Time as a form of being. And time is a century, an epoch. Without rest, without stopping, to keep pace with your time, to be ahead of it, to be a seer, to serve it is the poet's law. Increased sensitivity to the dreams and aspirations of the time, the ability to discover and highlight the “hidden” are extremely characteristic of Rasul Gamzatov. Isn't that why many arts - music, cinema, dance - so widely respond to his poetry? Even a sculpture... In our country there are three monuments to the soldiers who fell in the Second World War, the idea of ​​which was inspired by Rasul Gamzatov's poem "Cranes".

In the eyes of millions of Gamzats, he is almost an inviolable value, a poet, satiated with popular love and treated kindly by the authorities, almost a darling of fate. Judging by the external signs of the biography, of course, one can assume so, draw, imagine a certain image of a “court poet” who was born in paradise and lives in paradise - without worries and sadness ... But is it so? Through surprise and shock, delight and disappointment, gains and irreparable losses, Gamzatov came to the longed-for insight; the poet will not, should not have an easy, successful life and happiness separate from people, that he will have to pay for sins according to the most strict and tough account - his own fate. “I regret a lot,” the poet admitted from the pages of Pravda. - I regret that I did not write what I could write. But a much greater sin: he wrote what he could not write. And this is not a pose, but a manifestation of reckless sincerity, a cry from the soul about unhealed wounds in the heart ...

Gamzatov did not flirt with the crowd in order to look like a hero, and did not take the face of a victim of the system, but remained a citizen and poet of the sovereign faith - doubting, making mistakes, suffering, but never betraying! Maybe that's why it was difficult for him, it was not easy precisely because he remained himself, retained dignity and honor, exacting compromises and simply reckless lines from himself for even unnoticed compromises ...

It is felt that undeserved insults hurt Gamzatov’s heart from the groans and reproaches generated by the Afghan war and the interethnic conflict on the basis of the “Karabakh issue”, although he had nothing to do with it, since he did not impose or sanction anything, and it was not in his power to avert forces. But the blame attributed has the vileness of a poisoned bullet, designed for a slow and long torture of conscience:

I drink the cup of life without knowing it
Maybe she's poisoned...

He knew Gamzatov and the tricks of the century, and human infidelity, and the deceit of loved ones. The poem “Shamil” did not reach the reader in safety, about thirty years in prison, the poem “People and Shadows” and the poem “Applause” were under house arrest.

Now I know myself for a long time
That the ladder is my lot,
The window shines high
Foot step...
And on which the blow awaits,
We are not allowed to know.

It's a pity that time is running out so fast. He compares it with an indomitable, swift-footed horse, with a mill that grinds human years with its millstones, with a stern accountant or an unkind broom ... “Unnoticed” years are getting smaller and it is difficult to come to terms with the fact that time is slipping away, “robbing us unceremoniously”. But Gamzatov believed that a person does not live in vain. You need to live in such a way as to leave a mark: “a house or a path, a tree or a word”. A person is not able to stop time, but he can serve people, do good, and this remains for future generations.

There are poems about time and man, about the poet himself (optional):

“We are on the ground, and our shadows too…”; “You are in front of us, time, do not be proud ...”; “Not all living things are dragged by death…”; "Poems about time"; "My birthday"; “Hey, young man, you see how the gray-haired old man ...”; “We will all die, there are no immortal people…”; "Time"; “We pass like trains…”; “You, time, are engaging with me hand-to-hand…”….

Bibliographer (teacher): Today we talked about Rasul Gamzatov as if he were alive. Most recently, on September 8, celebrating his 80th birthday, the poet asked fate, God for at least another year of life in order to put his “earthly” affairs in order. But life decreed otherwise... ON NOVEMBER 3, 2003, the restless heart of the famous Avar poet, one of the favorite poets of Russians, whose name is known throughout the world, stopped beating. On this mournful day, not only the Caucasus, but the entire multinational Russia said goodbye to the great son of the Avar people.

The bright memory of the people's poet will forever remain in the hearts of his many readers, for the poet is alive as long as his creations live.

“Let our names, our songs, our honor, our valor and courage not go into the ground, into oblivion, but remain an edification for future generations. Let good people stay in goodness, and bad people become good,” the poet wished.

(Candles are lit, “artists” attach their drawings to the stand - images inspired by the poet’s poems; the first couplets of the song “Cranes” (music by J. Frenkel) sound softly; words sound against the background of music)

RASUL GAMZATOV, an outstanding son of Dagestan, with his mighty talent, truly titanic energy, all-consuming love for his native land, faith in his native people, until the last days of his life, faithfully served the cause of friendship between the peoples of the Russian Federation, the cause of the flourishing of the literatures of the peoples of Russia.

May the grateful memory of the great poet, who found his place in the flying flock of white cranes, be endlessly long. (The music stops, everyone stands up and continues to sing the song in an undertone until the end).

Goals: consider the main themes of modern author's song; to identify the features of the creativity of Bulat Okudzhava and Vladimir Vysotsky as original performers.

Lesson order:

I. Introductory talk.

"Bard", "minstrel", "actor-singer", "amateur song" - such definitions were given and given, in some cases raising the artistic personality, in others belittling. Song revealing poetry is legitimate, has its own traditions and variety of forms.

What bard poets do you know? What bard songs caught your attention? Why?

The folklore roots of the author's song are known: it is a lyrical song and an urban romance. The original intimacy of performance in the era of Soviet mass song relegated this genre to the background, but not in the hearts of people. The songs of the war years are the most striking confirmation of this. The first "author's song" by Mikhail Ancharov appeared in 1941: "About my friend - the artist."

Starting from the second half of the 50s, the songs of M. Ancharov, Y. Vizbor, A. Galich, A. Gorodnitsky, Y. Kim, N. Matveeva, B. Okudzhava, V. Vysotsky and other bards enjoyed great success, especially among young people. The heyday of the author's song fell on the 60-70s. Its social overtones were clear to everyone.

– Tell us about your favorite poets-bards.

Students can play their favorite songs with the guitar.

Sample story.

One of those who stood at the origins of the author's song of the late 50s was Yuri Vizbor, who captured the hearts and attention of hundreds of listeners. Tapes with his recordings were passed from house to house, and his songs were sung (and still sing) around the fires. He was amazing, innately artistic, multifacetedly talented, full of vitality. He defined his position as follows: “Whining is a superficial thing, it’s the easiest thing: who doesn’t have trouble? It is necessary to reveal something more complex, more profound. It is necessary to infect people with light, good. Here, elementarily speaking, is my credo.

Joyful light, warmly color every song of Y. Vizbor, even the saddest one. Vizbor was and remains a poet of the intelligentsia, primarily of that generation, during the "thaw", which managed to preserve youthful dreaminess for life. Eternal youth, the restlessness of the poet, the desire to travel - are close to young people and our time.

What is the charm of Vizbor's songs? In a special sincerity, the ability to penetrate into the very essence of human experiences, to understand, to support.

Calm down, buddy, calm down!

We still have everything ahead.

Let the spire of the night bell tower

Trouble picks at the chest.

Don't confuse the end with the end

Dawns, as before, trumpet.

Your twist is not the reason

But only a step for you.

In a sense of camaraderie that connects the heroes of his works. Climbers, tourists, pilots, sailors, polar explorers, astronauts… “This is for men…” Vizbor can be called a singer of male prowess, solidarity, friendship.

You will find in the mountains

Victory over yourself -

this is not only about climbers, but about overcoming a variety of trials that life prepares. Behind the simple, at first glance, uncomplicated lines, there is a subtext that is understandable to anyone who is "familiar with the aching feeling of the road."

After all, the business of men to overcome anxiety,

Securely hold a slightly trembling steering wheel

And silently look at the night road,

So that the compass of the soul indicates the right path.

Vizbor is a romantic poet who understood beauty, who knew how to see it both on the exotic "Rasminchor Plateau" and in the Moscow Region, where "it rains over Podlipki". This wonderful person who “wandered around the Arctic”, “left his heart in the Fann Mountains” and traveled hundreds of other roads, remains devoted to Moscow, Russia and can rightfully say:

And there's no excuse

Not loving you.

Songs about love, about a woman, about happiness are painted with subtle lyricism.

The audio recording of the song "You are my only one ..." sounds.

“My dear, the sun of the forest,” only Vizbor could say. His feeling is bright, affectionate, a little sad, with a note of regret for unfulfilled, failed happiness. According to the poet, love and faith warm the souls of people, allow them to dream and hope for the best.

The song "You are my only one ..." (1964) embodied the dream of the only love, of the uniqueness of the meeting of two people. This is a song about the mystery of human relations, when for a lover "she" becomes necessary, like air, water, the beauty of the world.

Yuri Vizbor is having a frank conversation with the listener about something very important, about issues that have always worried everyone. It is no coincidence that the most dramatic songs are written in the form of a dialogue (“Telephone”, “Commemoration”) or with the inclusion of reciprocal remarks of the interlocutor (“Serega Sanin”), appeals “my friend”, “my friend”, “my dear”.

He who listens to Vizbor's songs understands that they were composed by a man of extraordinary kindness, in whom a vulnerable soul, a pure heart of a big child, is hidden behind outward masculinity and restraint.

The creative heritage of Yu. Vizbor is great - about 400 songs. But he was not only a poet, but also a prose writer, screenwriter, journalist, film actor, in his youth he was preparing to become a pilot, went in for mountain skiing and mountaineering, and drew wonderfully. “My friend draws mountains as far away as a dream” by Ada Yakusheva is about him.

Yuri Vizbor lived a short life (1934-1984), but left wonderful songs, films ... Unfortunately, after his death, several of his books and books about him were published, the disc "Let's fill the heart with music" was created, and his songs do not stop singing all new and new young people, whose hearts cannot remain indifferent to the Muse of a wonderful person and poet.

II. Creativity of Bulat Okudzhava.

1. The word of the teacher.

It's time to name Bulat Okudzhava (1924–1997), as he was one of the first. Sincerely wanting to express his respect, Vysotsky called him his "spiritual father", without deciphering this somewhat grandiloquent definition.

Not only in personal, intimate topics, but also in the most public ones, such as war, the individual person discovered both his intrinsic value and complex ties with the general, nationwide. But in his poems there is the author himself, who, according to N. Krymov, “had his own age, biography, human destiny and, what is very important, belonging to a certain generation.”

The student makes a presentation about the life and work of Okudzhava.

Yevgeny Yevtushenko in the book “Strophes of the Century” says: “Popularity came to him when he picked up a guitar and began to sing his poems to his own simple, but very melodic, catchy music. Soon they were sung all over the Soviet Union in student and worker dormitories, and songs performed by Okudzhava himself, which were not officially released on records, were distributed, apparently, in hundreds of thousands of illegal copies on tapes.

Okudzhava was later the progenitor of a rather powerful movement of bards in the USSR, among which then appeared such famous poets and singers as A. Galich and V. Vysotsky. But still, in my opinion, the ancestor is above all his descendants, because none of them was so subtle in the text and varied in melodies. Shostakovich appreciated Okudzhava's songs for their phenomenal musical memorability.

The song “We will not stand up for the price” sounds (from the movie “Belorussky Station”).

2. Reading and analysis of Okudzhava's poem.

The teacher distributes texts with Okudzhava's poems to students.

– Recall once again about the songs of poets-bards that interested you. What beginning - lyrical or ballad, lyrical-epic - dominates in them and determines their features? Let's observe this in a poem by Bulat Okudzhava.

MIDNIGHT TROLLEYBUS

When I can't overcome the trouble,

when despair sets in

I sit in the blue trolley bus on the go,

In the last

In random.

Midnight trolleybus, rush along the street,

circle the boulevards,

to pick up everyone, victims in the night

crash,

Crash.

Midnight trolley bus, open the door for me!

I know how at chilly midnight

your passengers - your sailors -

Come

For help.

I've been out of trouble with them more than once,

I bumped into them...

How much, imagine, kindness

In silence

In silence.

Midnight trolleybus sails through Moscow,

Moscow, like a river, fades,

and the pain that pounded like a starling in the temple,

subsides

It subsides.

– How, in your opinion, do poetic, poetic and musical elements correlate in this work?

- Can you call "Midnight Trolleybus" a lyrical ballad? Highlight in the text the details and signs of the emerging ballad plot and the leading lyrical beginning.

I want to end the conversation about Okudzhava’s work with the words of Yuri Karabchievsky: “The Midnight Trolleybus” no longer rushes, as usual, to the park, driven by a tired and angry driver, but - in the world of Okudzhava - it floats like a rescue ship under a flag with a red cross, “so that everyone to pick up those who suffered in the night, wreck, wreck ”... You have to be a very wholesome and sincere person in order to be able to exist in such a world to the end, never breaking loose. Because evil is here, at hand, and even closer, it licks the fragile walls of good Moscow from all sides, splashes over the edge and spreads in muddy waves ...

Universal reckless kindness is the pathos of Bulat Okudzhava.

III. Creativity of Vladimir Vysotsky.

I don't like well-fed confidence

It's better to let the brakes fail.

I'm annoyed if the word "honor" is forgotten

And if in honor slander behind the eyes.

V. Vysotsky

Teacher. Vladimir Semenovich Vysotsky (1938-1980) loves, knows and listens to the whole country. He entered our lives in the "tape era". His voice with a hoarseness, a simple guitar search was heard everywhere.

The audio recording of "Songs about a friend" sounds.

Songs, ballads, poems of Vysotsky attract not only with their originality, virtuoso vocabulary, they are understandable and close to people with those experiences, problems that the lyrical heroes of his works experience.

“Vysotsky himself did not adapt to mass tastes. He did not allow them to hurt his artistic dignity. In the sphere of song (in the mass sphere of culture) a new starting point has appeared. We had Vysotsky - it is impossible to ignore this today, and not only to representatives of the so-called "author's song".

It is known that many rumors circulated about Vysotsky during his lifetime. People who did not know exactly who he was, wondered: a front-line soldier? ex-camp? athlete? He was neither one nor the other, just as he was not a climber, and a driver, and a simple working guy. But when he spoke on behalf of this or that character, it turned out so convincingly that the listeners believed.

- How did he do it?

Vysotsky had a rare gift of sympathy. When he spoke on behalf of someone, he completely reincarnated, leaving no gap between himself and his hero. (That's what acting means: Vysotsky is not only a bard, but also a theater and film actor.) He found in everyone something consonant with himself. He himself was stubborn and determined, like those of whom he sang:

Stop talking!

Forward and upward, and there ...

After all, these are our mountains,

They will help us...

He loved his friends and was keenly worried about losses - just like the hero of his song "He did not return from the battle."

He loved life and believed in its victory over any misfortune, like those soldiers who, seeing the scorched Earth, fought for its revival:

Who said the earth doesn't sing

Why has she been silent forever?

Not! She rings, groans deaf,

From all my wounds, from vents,

After all, the Earth is our soul,

Boots do not trample the soul.

He knew the state of the highest spiritual takeoff, experienced moments of happiness in creativity and in love, and the heroes of his songs shared this joy with him:

The whole world in the palm of your hand - you are happy and dumb

And just a little jealous of those -

Others, whose peaks are yet to come.

. « I must admit, - wrote Tatyana Baranova, - that Vysotsky on the fly caught topics that were in the air, dozens of songs were written about this: “Anti-alcohol”, “Why did the natives eat Cook?”, “Moscow - Odessa”, “Comrade scientists”, “Cholera”, “Morning Exercises”, etc. It was about everything and for all tastes: about the policy of non-aligned countries, delays in the work of Aeroflot, voluntary-compulsory mobilization of scientists for autumn fields and vegetable bases.

Of course, he also had songs, the heroes of which he did not look like. He painted a portrait "on the contrary", depicting in colors those who were deeply unpleasant to him.

They have money - chickens do not peck,

And we don’t have enough for vodka, -

Teacher. According to Bulat Okudzhava, Vysotsky suffered from the fact that he was not officially recognized. They were not allowed to publish collections of poems, they were not admitted to the Writers' Union ... And the country laughed with his laughter and cried with his heroes, sang "in his voice" and wondered - what more popularity was needed ?!

Only after the death of the poet, CDs and audio cassettes are released - a complete collection of works, his poems and the "Romance of the Girls" are printed.

We admit that Vladimir Semenovich Vysotsky was a talented artist. Eldar Ryazanov is filming a multi-part documentary about Vysotsky for one of the anniversaries. But it's too late! He would have had at least a tenth of this recognition during his lifetime, he would not have left so early.

Reader. How we all are cheerful and gloomy,

But if you have to choose and the choice is difficult,

We choose wooden suits.

People! People!

We will be offered for a long time - do not miscalculate.

Oh! - they will say, - what are you, you have not lived yet! ..

Well, then they will offer: either - or ...

And they will be so polite and affectionate -

They will offer a happy life on a platter.

But we refuse, and they hit hard,

People, people!

IV. Summary of lessons.

– Based on what you heard in the lessons, draw a conclusion: what is the significance of the bard song in modern life?

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Thesis - 480 rubles, shipping 10 minutes 24 hours a day, seven days a week and holidays

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Cherkesova Patimat Saipilavovna. Philosophical and love lyrics of Rasul Gamzatov: Features of the worldview of a lyrical hero: dissertation ... candidate of philological sciences: 10.01.02 .- Makhachkala, 2006.- 174 p.: ill. RSL OD, 61 06-10/1142

Introduction

CHAPTER I National image and lyrical hero Ra Sula Hamza Tova

1.1. Historical and cultural prerequisites for the formation of the features of the national worldview, their influence on the work of R. Gamzatov 18

1.2. The significance of the folk philosophy of Dagestan in shaping the character of the lyrical hero R. Gamzatov 31

CHAPTER 2 The Concept of Personality in the Poetry of Rasul Gamzatov: Moral Values ​​and the Search for the Meaning of Life

2.1. Moral and ethical guidelines of the lyrical hero 40

2.2. The problem of the meaning of life in the "philosophical lyrics of R. Gamzatov 56

CHAPTER 3 Philosophy of love by Rasul Gamzatov .

3.1. Love for a woman in the system of aesthetic principles of R. Gamzatov 84

3.2. Motherhood and childhood 117

Conclusion 148

References 159

List of illustrative material 173

Introduction to work

The work of Rasul Gamzatov is a whole stage in the development of Dagestan literature, a unique phenomenon of combining the completeness of the poetic perception of the world and the ethno-cultural characteristics of Dagestan. His poetry bears the imprint of a holistic view of national reality as an integral organic part of all mankind, the depth of self-knowledge and, as a result, familiarization with universal human values ​​and elevation above the narrow national framework. The works of V. Ognev, V. Dementiev, L. Antopolsky, K. Sultanov, K. Abukov, S. Khaibullaev, Kaz. Sultanov and others, which are of great importance for Dagestan literary criticism. Foreign editions of the poet and literary-critical coverage of the perception and significance of Dagestan literature abroad became the subject of a monograph by Z.G. Kazbekova Dagestan in European Literature. The dissertations of S.A. are devoted to the poetry of Rasul Gamzatov and its features. Allahverdova, SM. Mukhtarova, 3. A. Agaeva, S. Udina, M. Azizova and others, many scientific articles, reports, collections, materials. The international orientation of his work is explored by the works of SM. Mukhtarova, G.M. Rasulova, R. Yusufova and others. Researchers of Rasul Gamzatov's work are unanimous in recognizing the lyrical nature of his poetic worldview. He is a recognized master of lyrical form, innovatively diversifying and enriching Avar and Dagestan literature by introducing genres new to it (sonnets, epigrams, autographs, etc.). has not yet become the object of special study, has a system of its own value coordinates,

based on beliefs inherited from previous generations and
norms that found expression in the philosophical and love lyrics of Gamzatov.
Lyric poetry is primarily a reflection of the author's personality in
work, a penchant for thoughtful in-depth comprehension
the inner world of the human soul, feelings of love, joy, etc.
L. Ginzburg writes: “Lyric poetry is far from always a direct conversation
poet about himself and his feelings, but this is an open point of view,
the relation of the lyrical subject to things, evaluation” (53.8). Lyrics of Rasul
Gamzatova reflects the issues and problems of her time from the position
certain social - philosophical concepts. Before you start
talk about the philosophical poetry of Rasul Gamzatov, let's try to define
essence and main features of the genre itself. As you know, in the hierarchy of genres
each has its own task, which consists in depicting phenomena
surrounding reality by its own special means.
The interaction and interpenetration of genres is determined by such
factors such as the unity of the theme, a special type of poetics, national
originality, etc. Philosophical lyrics do not have a single generally accepted
definitions, however, there are interesting observations on nature
genre. A. Mikhailov believes: “In lyric-philosophical meditations, figurative
thought, apparently, is more ambitious, it is not bound by the framework of ethical
plot or emotional impulse of an intimate lyrical

statements ... In the sphere of her attention, apparently, there should be the most important new and eternal, but in a new way seen problems of life, comprehended on a large scale, with sufficient depth, with a certain assignment of the reader to independent reflections ”(103,252). In the Brief Literary Encyclopedia, philosophical poetry is associated with ancient didactic poetry. Usually the term is used in relation to a work with the presence of reflection, reflection, but in this way any

poems that contain a hint of reflection. The researcher of philosophical poetry of the early 20th century R. Spivak wrote that this genre should not include “... any work of a poet whose worldview contains a philosophical system of views on the world and man. The artistic embodiment of the philosophical tendency to comprehend reality is not identical to the conceptual worldview of the artist, but is only one of the elements of its manifestation” (quoted from 122.6). However, the existence of such a philosophical system in poetic creativity is a necessary condition for the very existence of philosophical poetry, which manifests itself in a variety of forms. A.I. Pavlovsky sees the peculiarity of philosophical poetry in the fact that “a genuine poetic work of a philosophical warehouse, in order to become a work of art and not turn into a treatise, must contain and develop in itself not just a thought, but a thought-image, thought-feeling, thought-practice, thought - a picture, which means generating in the reader's soul as wide a chain of emotional and semantic sensations as possible, not reducible to an unambiguous conclusion, which is usually inherent in journalism" (122.8).

Thus, we are talking about poetry, characterized not just by reflection and the presence of a certain chain of conclusions, but by the depth of understanding of the most burning eternal and latest problems of mankind. At the center of philosophical lyrics are reflections on the complex issues of being, knowledge of the world, and the accumulation of moral experience. Various moral and ethical categories, reflections on the nature of man, and the study of his inner world are also involved in the creative process. The philosophical thought of the poet can follow the path of direct naming of the problem and statements on it, or it can be built as a complex multi-stage disclosure of reality with the help of a system of emotional-associative series, synthesizing the previous one.

artistic experience with new poetic discoveries. Most often, the objects of philosophical lyrics are the ideas of serving high ideals, a large and small homeland, love and hate, good and evil, life and death, time, and so on. Key words - images characteristic of this genre - man, world, universe, truth, etc. - determine the thematic core of philosophical poetry. In it, the word can be perceived both in a direct and figurative sense. The philosophical and poetic world can be reflected in everyday life, abstract understanding of the foundations of being, figurative reasoning on eternal topics, ways of solving moral and ethical problems. A feature of the philosophical poetry of the new type was the feeling and experience of historical time, outside of which real poetic thought cannot live. Today's philosophical lyrics are trying to capture and express as an artistic discovery the problems and anxieties of our time.

L. Antopolsky spoke about the philosophical lyrics of Rasul Gamzatov for the first time. Before him, the ability of philosophical generalization, which began to develop and gain strength, was mentioned by V. Ognev ("Rasul Gamzatov"), K. Chukovsky (collection "The Tale of Rasul Gamzatov"), V. Galtsev (collection "Rasul Gamzatov - Poet and Citizen" ) and many others. L. Antopolsky writes: “The work of a great poet creates a kind of magnetic field. It is one. But there are zones of especially high tension in it. They arise in this whole. But they just give it a special, only inherent power. Without them there would be no poetry of the poet. Such a zone in the poems of Rasul Gamzatov is philosophical lyrics - if it can be singled out, lyrics that turn a person’s thought to the first childish question, lyrics that sink to those depths that can only be accessible to a feeling and thinking being ”(28,139). The critic calls the “childish question” the idea of ​​the futility of life in the face of death: why this vanity of vanities, if inevitably everything eventually decays, turns into dust?

The monograph of L. Antopolsky contains many interesting observations and opinions concerning many important features of R. Gamzatov's work. The degree of knowledge. One of the most significant publications related to our topic are the works of K.I. Abukov "The work of Rasul Gamzatov in the context of the moral quest of the 20th century" and "Rasul Gamzatov: features of philosophical lyrics. National and universal moral and ethical values”, published in 1993 and 2003, respectively. Based on a large amount of factual material, the author of these works defines and analyzes individual poetic ideas about time, considered in the historical and individual-personal terms, the transience of life and the inevitability of death. He reveals such features of Gamzatov's philosophical lyrics as the correlation of the past and the future, reflections on the human face of our century, the search for causes and consequences of disharmony of a person with reality and himself. The critic explores the "small genres", the philosophical miniatures of Rasul Gamzatov, referring to the history of classical poetry in India, China, Korea, Japan, Iran, etc. He highlights the universality of the artist's poetic thinking, his philosophy of unity and kinship of people and their inseparable connection, anxiety poet for the fate of mankind, bitterness and fatigue from centuries of repeated terrible and cruel events. The predominance of universal human motives in the lyrics of Rasul Gamzatov is especially emphasized. “The idea of ​​ascending to the Higher meaning - the kinship of people, peoples, countries - ennobles the lyrics of the Avar poet,” he writes (7.108). Sultanov K.K. speaks about Rasul Gamzatov's search for ways of national and personal human self-consciousness. in the book "Coordinates of self-determination (on the question of the value orientations of Rasul Gamzatov)". K.K. Sultanov, Ch.S. Yusupova and others in their reflections on

artistic, aesthetic and ideological evolution of Dagestan and Avar literature.

Rasul Gamzatov in his work defends the idea of ​​enduring, unshakable, eternal values ​​developed by mankind in the process of its moral development. But he recreates these ideas through the real, material - an event, a case, a story. This is especially noticeable in "My Dagestan", about which there is still no consensus regarding genre affiliation and structural content, but it is indisputable that the book concentrates the artistic and philosophical world of Rasul Gamzatov, his poetic credo, the position of a citizen and patriot, the system close moral folk values. R. F Yusufov calls the work a lyrical diary: “This is a poet’s study of the inner spaces of his spiritual world, the desire to designate the cultural, geographical and spiritual pages of his personality, an analytical and concretizing study of that very secret of the subjectivity of lyrical pathos, about which theorists of romanticism spoke so much” ( 195.166). A. Alikhanova adheres to the point of view of N. Bank, who calls the book "My Dagestan" autodocumentary prose, defining it as a type of diary book about the writer's life. This idea is developed in Alikhanova's article “Category of time and space as an element of the genre structure of Rasul Gamzatov's book “My Dagestan”, dedicated to the peculiarities of the spatio-temporal structure of the work.

Researchers of Rasul Gamzatov's work are unanimous in asserting his poetry as having grown from national sources, national folklore and literature and later acquiring individual signs that have outgrown the national barrier. The poet's worldview was formed in an original Dagestan environment, distinguished by adherence to the way of thinking of his fathers and ancestors. Valuable

the poet's orientations are aimed at preserving and strengthening the best achievements of the human mind and morality, inherited from previous generations. This heritage is unique and true due to its naturalness and time tested. But the personality of the poet is, first of all, an individuality that arose on the socio-psychological subsoil of his people, and Gamzatov interprets the spiritual wealth of the nation as the main initial stage of movement towards the vital national self-knowledge and self-affirmation, as a prerequisite for expanding the horizons and mastering the cultural values ​​of all mankind. Therefore, the problems, themes and ideas of his poetry cannot be considered in isolation not only from Dagestan, but also from today's world day.

The hero of philosophical and love lyrics R. Gamzatov is distinguished by extraordinary specific thinking. The concept of "lyrical hero" usually implies the presence in a lyrical work of a subject who perceives the world through the prism of his own mood and experience, and the reflected phenomena and events bear the imprint of the author's experience. The author and the lyrical hero are by no means always the same, but the more biographical, personal beginnings in the work, the closer and more identical they are to each other. The specificity of the lyrics is that, as L. Ginzburg writes, “a person is present in it ... not only as an object of the image, but also as a subject included in the aesthetic structure of the work as its real element” (53.7). The features of the lyrical hero of R. Gamzatov are found both in the early and in the mature period of the poet's work and are in the nature of a real appearance close to the personality of the author himself. His individual features are expressed in the stock of philosophical worldview, generalizing and synthesizing the phenomena of being, in thoughts about life and death, the history and fate of his people, his own destiny. But in the work of Rasul

Gamzatov's personal, individual psychological content of the poet's inner world is not conveyed with mirror accuracy: his biographical realities only shine through the artistic context of the works.

Unlike poetry, in the prose of R. Gamzatov, the appearance of a lyrical hero is characterized by greater certainty and expressiveness of psychological characteristics. The lyrical nature of Gamzatov's poetic talent is so clearly and vividly expressed that, in essence, the character of the lyrical hero reflects the poet's inner convictions and values ​​without significant changes, which gives reason to continue to use the term "lyrical hero" as a synonym for the poet's personality, except when their division will be specially stipulated. The national mountain tradition was the basis for the formation of the poet's value coordinates and, consequently, his lyrical hero. And although in the later lyrics of Gamzatov the hero loses many facets of the national image and becomes less recognizable, his internal psychological organization in its moral basis remains unchanged. For the lyrical hero, the aspiration to the sphere of universal global problems, reflections on the fate of mankind and the moral lessons of history has become characteristic. But in essence, he remained the same conscientious and romantic Dagestan highlander, the idea of ​​which Gamzatov stubbornly pursued throughout his entire creative life. Such an idealized man was a constant spiritual value of his works. Such maximalism in exactingness to the moral and moral state of a person followed, firstly, from the very specifics of the original Dagestan culture and way of life and thinking, and secondly, in the name of the goal: "so that a person belonging to a small people is not small."

Thus, thesis is devoted studying the features of Gamzatov's philosophical worldview from the point of view of his national ideological and spiritual conditionality, deep connection with

the prevailing system of views of the people's worldview, its unspoken laws and rules. For a more complete disclosure of the theme, the poet's love lyrics are analyzed, in which the world of his innermost feelings and thoughts is expressed.

Object of study- philosophical and love lyrics by Rasul Gamzatov. The choice of the object is due to the fact that, firstly, the philosophical views of the poet have so far been analyzed in the light of their national and international characteristics, but attempts to identify the internal, almost subconscious connections between the worldview of R. Gamzatov and the moral and ethical thought of peoples have not yet been made. Works have been published that examine some specific aspects of the continuity of the links between Gamzatov’s creativity and folklore (S. Khaibullaev “In line with oral and poetic traditions”, Ch. Yusupova “Principles of mastering folklore plots in the work of R. Gamzatov”, “Epic traditions in R. Gamzatov "The Tale of Khochbar", M. Zulfukarova "The Problem of Folk Humanism in the Works of R. Gamzatov", 3.3. Gadzhiev "On the Nature of the Lyrical Epos", etc.). Secondly, the poet's philosophy of love makes it possible to broadly and clearly define his worldview.

Subject of study- specific features of the worldview of the hero of Gamzatov's lyrics, the poet's attitude to such moral and philosophical issues as a system of moral values, with which the attitude towards a woman is inextricably linked. Out of sight remained such constituent elements of the philosophy of love as a feeling for the motherland, nature and some other aspects of moral issues that could become objects of a separate study.

The purpose of the dissertation is to comprehend the features of the worldview of the lyrical hero of philosophical and love lyrics Rasul Gamzatov. The focus is primarily on

national identity of the character of the hero, reflecting the system of moral and philosophical concepts of the poet himself.

The goal set identified the following tasks:

General characteristics of the moral and spiritual experience of the people's worldview, reflected in oral creativity, revealing the continuity of the artistic and philosophical understanding of life in the works of Rasul Gamzatov and the system of folklore worldview;

Analysis of the features of the poet's approach to the accumulated everyday experience of the peoples of Dagestan, the correlation of the moral qualities of the national ideal and the lyrical hero;

The study of the poet's love lyrics in order to study the attitude and behavior of the hero in the field of innermost intimate feelings, the coordinate system of such ethically and aesthetically valuable properties of the inner world of a person as attitude to the beloved woman, motherhood and childhood, devotion to the motherland, fidelity in friendship, etc.

The desire to designate the sphere of human vices that cause rejection of the lyrical hero, the process of searching for the meaning of human life, signs of national and universal in the approach to the question of the meaning of life of an individual person and society.

Determination of the coordinate system of such ethically and aesthetically valuable properties of the inner world of a person as attitude towards a beloved woman, motherhood, childhood, devotion to the motherland, fidelity in friendship, etc.

The main provisions for defense:

1. The philosophical lyrics of Rasul Gamzatov, comprehending and summarizing the poet's attitude to the most eternal and difficult problems of human existence, looks at them through the eyes of a lyrical hero who has become practically a double of the poet, whose personality was formed under the direct influence of the folk system of worldview in Dagestan.

The folk ideal of a person and the lyrical hero of the poet's philosophical lyrics are close to the moral essence of the characters, the priority of the public good, the rejection of the lack of spirituality and the internal emptyness of the personality, self-criticism, a single focus on high citizenship, sober pragmatism in looking at the real earthly difficulties of life, sublimely romantic attitude towards the beloved woman .

At the same time, the character of the lyrical hero, changing in accordance with the rethinking and changing of Rasul Gamzatov's worldview concepts, acquires other subjective qualities that are not inherent in the people's vision. The intellectual analysis of actions and aspirations is growing, individual and national characteristics become a single whole and cause a reaction to a decrease in the spiritual standard of living. The poet gravitates more and more towards a philosophical generalization of reality, but the moral values ​​of the peoples of Dagestan remain both the starting point and the end point of the search for the meaning of life, the causes of human vices, the connections of the past, present and future. The lyrical hero plunges into the atmosphere of life and customs of the people, seeing in them the only stable supporting values.

The value of human life becomes the leading one in the system of value coordinates of the hero, and this is his difference from the popular image, which is characterized by uncompromising and sometimes unjustified cruelty. An important feature was the even more strengthened unity of the national and universal.

The poet's love lyrics make it possible to analyze his views on the ethical side of the field of intimate relationships in order to more broadly present the moral and humanistic orientation of the hero. Love for a woman becomes a way to achieve inner harmony, a fusion of souls, the source of all things, acquires

lofty philosophical meaning. At the same time, love becomes an impetus for the search for a new higher goal that can withstand the transience of life. Along with it, the author considers the theme of motherhood and childhood in the poetry of Rasul Gamzatov, believing that the attitude of the lyrical hero to various aspects of the problem of fathers and children will help to clearly identify his focus on expanding the boundaries of world perception.

6. The hero of Rasul Gamzatov's poetry became characterized by moral split and split, caused by global shifts in the school of national and generally accepted values, the predominance of feelings of inner sadness and deep anxiety. With the strengthening of the philosophical, generalizing the phenomena of reality, the tendencies of the lyrics also change the hero. Now he is from a cheerful, energetic, categorical mountaineer in his judgments and assessments, becoming more thoughtful, inquisitive, doubting and reflective. The poet's inner gaze is turned to the big world, shaken by cataclysms. The search for the causes and consequences of what is happening, the verification and revision of previous beliefs at one time caused an ideological and artistic evolution in Dagestan literature and directed Gamzatov's attention to the inner world of a person whose spiritual and moral state was determined by socio-political, environmental and cultural events. This influenced the ideological content, themes and imagery of Gamzatov's work. More and more features of biographical realities are manifested in the poet's work. Emotionally - subjective experiences take on a shade of depression, giving way to hope for the human mind and the eternal renewal of life. The creative response to global changes in public life was previously uncharacteristic for the poet's themes and motives of creativity: farewell to the village as a former way of life, turning to religion and religious extremism.

Scientific novelty of this dissertation is an attempt to comprehensively consider the moral priorities and problems

hero, his philosophical focus on understanding and interpreting such issues as good and evil, life and death, vices and virtues. The national definition of the image, the level of historical self-awareness of the folklore hero and his influence on the formation of the image of a person in the lyrics of Rasul Gamzatov are considered. New is the comprehension of the poet's philosophy of love as a way of knowing being and one's place in it, the process of searching for a life-meaningful basis in a national and international context. Our study does not pretend to exhaustive coverage of the topic, since the categories of time, memory, repentance, etc., which could become the object of a separate study, remained outside the scope of the work.

Research methods. The content and direction of the dissertation research determined the choice of methods and techniques of work. The main methods used are analytical (analysis of works in the unity of form and content) and comparative. Such parameters as selection of material, comparison with similar content, classification and description of the content of poetic works have become the main methods of research.

Research material the philosophical and love lyrics of Rasul Gamzatov served, the folklore of Dagestan, in particular the Avar lyrics, the poetry of such masters of the artistic word as Ali-Gadzhi from Inkho, Abubekir Aimakinsky, Makhmud from Kakhab-Roso was involved in the work. Both originals and translations of literary texts are analyzed, because, firstly, the researcher studies not textological, but ideological and artistic features of Gamzatov's poetry, and secondly, in the overwhelming majority of translations, they fully and accurately convey the author's thought.

Theoretical and methodological basis research served as scientific works of Russian and Dagestan literary critics and critics, works

A. I. Pavlovsky, N. N. Paleeva, L. Ginzburg, A. Mikhailov, R. Spivak and others. Among the materials used, the works of L. B. Antopolsky, K. I. Abukov, S. Khaibullaev, I S. Yusupova, K. Sultanova, K.K. Sultanova, 3. Gadzhieva, G. Musakhanov and others.

Theoretical significance consists in an attempt to study the little-studied aspects of the philosophical lyrics of Rasul Gamzatov, a more in-depth analysis of the features of the successive connection between the poet's worldview and the system of moral folk values, the transition from a descriptive way of studying creativity to a problematic one.

Practical value work is determined by the possibility of using its results in the process of teaching a number of scientific disciplines in higher educational institutions: "Modern Dagestan literature", "Avar literature", etc.; in the preparation of special courses and special seminars for students and trainees of the Institute for Advanced Training of Pedagogical Personnel, in writing theses and term papers, as well as in the classes of students in various problematic circles in the course of their research work.

Work structure determined by the objectives of the study. The dissertation consists of an introduction, three chapters, a conclusion, lists of references and illustrative material.

Approbation of research materials took place at the meetings of the Literature Department of the Dagestan State Pedagogical University, at the annual (2000 - 2003) scientific conferences of the Dagestan State Pedagogical University and at postgraduate seminars.

The main provisions of the work are set out in four publications: 1. Creativity of Rasul Gamzatov in literary and critical coverage.

// Collection "Actual issues of language and literature". Issue. 7.-

Makhachkala: DGPU, 2000.- S. 182-186

1. The meaning of life in the philosophical lyrics of Rasul Gamzatov. // Collection "Actual issues of language and literature". Issue. P.- Makhachkala: DGPU, 2003. - S.Z-6.

   The image of a woman in the lyrics of Rasul Gamzatov. // Collection "Actual issues of language and literature". Issue. 12. - Makhachkala: DSPU, 2003.-p.60-63

   Religious motives in R. Gamzatov's lyrics. // Collection "Actual issues of language and literature". Issue. 14.- Makhachkala: DSPU, 2005. - S. 73-77.

Historical and cultural prerequisites for the formation of features of the national worldview, their influence on the work of R. Gamzatov

The originality and originality of the poetic style of Rasul Gamzatov was formed largely due to the unique national spirit. The customs, traditions and culture of Dagestan became an important factor in the formation of his worldview and had a huge impact on his work. This fact was repeatedly noted by the researchers of his poetry V. Ognev, L. Antopolsky, S. Khaibullaev, K. Sultanov, K. Abukov and others.

One of the objectives of this chapter is an attempt to briefly characterize the main moral and ethical qualities of a Dagestan, discussions about which are found in the works of oral folk art. On the basis of folklore material and the work of Gamzatov, we will try to reveal the deep, subconscious connection between the poet's value orientations and the people's worldview, the system of moral, ethical and ethical norms of the peoples of Dagestan.

It is necessary to immediately stipulate that folklore is by no means the main factor in the formation of the poet's worldview. According to S. Khaibul-laev, Gamzatov’s poetry grew “not directly from folklore, as was the case with the Avar poets of the early period, but from the national literary traditions of previous eras, which in turn were formed on folk aesthetics” (171.4). Other important factors in the formation of Gamzatov's poetic gift are the advice and instructions of Gamzat Tsadasa, his passion for the classics of Russian and world literature, active participation in the literary and social life of the country, and a unique ability for lyrical and philosophical understanding of life.

R. Gamzatov repeatedly emphasized that he had two main themes: love for Dagestan and love for a woman. What is commonly called worldview, worldview, etc., is based in Gamzatov primarily on love for Dagestan, to which Kazbek Sultanov defined "a characteristic and vivid example of the natural and spiritual uniqueness of the national microcosm" (148.94). Awareness of the connection with the origins, the feeling of inseparability with his people in Gamzatov organically results in the conclusion about the need for self-knowledge as a means of knowing the world, bringing the part and the whole together. National reality becomes an integral part of humanity. In one of his last articles, R. Gamzatov wrote: “A true poet can only be national. His work must be permeated with the roots of his native land” (45.4). The national and international in his work is the solidarity of humanity, cultures and peoples. In order for the small not to dissolve into the big, it is necessary to realize oneself, one's place in the world, devotion to one's culture without neglecting the foreign one. K. I. Abukov sees the originality of Gamzatov’s philosophical lyrics not in national autonomy, but in the universality of thinking, that is, on the scale of the personality of the poet himself.

As W. B. Dalgat wrote, the folk heritage of the past is the guardian of the foundations of folk life, the code of its moral, aesthetic, philosophical norms (62.7). R. Gamzatov enriched Dagestan literature with the use and creative processing of folklore genres that were not in demand by literature before him. His innovation in this area is explored in the works of S. Khaibullaev "Genre system of folklore and poetry of Rasul Gamzatov", "In line with oral and poetic traditions", Ch. . Gamzatova "Interaction of folklore and literature: problems and judgments", 3.3. Gadzhiyeva "Avar elegiac lyrics" and others.

Folklore reflects the unified aesthetic system of the people, its cultural and historical development and artistic thinking. The moral values ​​and ideals of mankind are essentially the same and are expressed in the main commandments of almost all world religions: do not steal, do not kill, do not lie, etc. Nevertheless, the culture of each nation has specific features inherent only to it, leaving an imprint on the representative of this culture. In this respect, multinational Dagestan is truly unique. R. Gamzatov is a representative of the Avar people, which has a rich folklore heritage and well-formed poetic traditions. Folklore works of different peoples are very often similar in plot, as there is a continuous interchange between close cultures. This interchange causes the similarity of customs, moral and aesthetic norms and values. Therefore, it will be legitimate to refer in the future to the folklore and literature not only of the Avars, but also of other Dagestan nationalities. But before that, it seems necessary to briefly familiarize yourself with the historical and cultural evolution of popular thinking.

Folklore consciousness was one of the forms of reflection of reality. This reflection took place at the level of consciousness, but on the whole did not rise to the level of ideology and had the character of an ordinary one (3,234). Religion had a great influence on folklore, philosophical and socio-political literature. Before the establishment of Islam in Dagestan, there were signs of paganism: belief in spirits, shaitans, demonic beings. Islam forced to rethink the superstitious ideas and plots of a pagan nature and transformed them in the spirit of monotheism. In the process of changing socio-economic life, the worldview of the people was changing, which was conditioned by the need to comprehend natural phenomena. Dependence on nature gave rise to animistic ideas: the veneration of animals, rocks, mountains, trees. Echoes of these ideas are found today both in folklore and in fiction. In particular, Gamzatov also uses animating and endowing objects of the surrounding nature with supernatural power as an artistic device, referring to the sea, mountains, fire, etc.

The value of the folk philosophy of Dagestan in the formation of the character of the lyrical hero R. Gamzatov

The peoples of Dagestan comprehended the phenomena of life in accordance with their urgent ethical and aesthetic needs, which, however, does not mean that folklore is the "philosopher's stone" of the people's spiritual potential. Such subjective aspects of morality as moral orientation, knowledge, motives were brought up and developed by customs, adats, instructions. Gamzatov's interest in the philosophical genres of folklore is primarily due to the fact that the existing acuteness of social conflicts and contradictions requires thinking in broad philosophical categories, making it necessary to correlate and compare the past and the present in order to predict the future. Creatively using and processing folklore works and the rudiments of a philosophical worldview contained in them, the poet achieves the effect of closeness and clarity of his thoughts to a wide mass of readers. On the basis of folk philosophy, which largely shaped his worldview, Gamzatov, in turn, creates an alloy of folk practicality and his own lyrical philosophical worldview.

Didactic genres were well developed in the traditional folklore of Dagestan. Regarding their classification, opinions are divided, but the genre division of K.S. Davletov is the most common. He classifies parables, proverbs, sayings and anecdotes as philosophical genres. However, this classification would be incomplete without family fairy tales, fables, meditation songs, philosophical and edifying songs. All these types are united by a single ideological focus on the complex problems of life, the accumulation of moral experience, moral and ethical standards. Folklore gravitates not to abstract thoughts about being, but to the philosophical understanding of everyday life, showing the general through the particular, raising a single phenomenon to a universal one. Allegorically expressing any maxim, didactic works direct the listener's thought to the area of ​​serious personal and universal problems.

Most often, the philosophical lyrics of oral folk art and oral literature, presented by Ali-Gadzhi from Inho, Eldarilav, Chanka, and others, developed the motive of the discord between dreams and reality. This topic was raised in meditation songs, quatrains, love lyrics, etc. Gamzatov picked up and supplemented the folk tradition, introducing new motives into it, other ways of posing and solving a moral problem. Korney Chukovsky noted: “But the work of the Dagestan bard is not limited to songs. He also has other verses - philosophical ones. This is also a folk genre: in any, especially eastern, folklore, there is a myriad of verses-aphorisms, verses-sayings that embody folk wisdom ”(quoted from 138.72). The value of the ideals expressed in the folklore heritage lies in their eternity and permanence, and the poet sets himself the task of highlighting their inviolability and humanity in the most profound and capacious way.

The book "My Dagestan" is a vivid example of the creative use of the philosophical genres of folklore. It is replete with proverbs, sayings, anecdotes, parables, etc. One of Gamzatov's favorite genres is a parable, with the help of which the everyday and obligatory norms of folk life acquire in his work the sound of aspiration to the future. He often turns to the parable when he wants to avoid direct moralization. The Dagestan parable covers the area of ​​moral and ethical problems of human society, morality, family and domestic relations, the conflict between the old and the new. The parable reflects the first attempts at philosophical understanding of life and death. Researcher of Dagestan folklore M.R. Khalidova cites as an example the Avar parable "The Dispute between the Dead and the Living", which already contains elements of a realistic attitude to natural phenomena. In this dispute, the dead win: “We take many from you, but you take none from us” (157.328). Undoubtedly, folk philosophy, even in the later stages of development, was not capable of explaining material and social categories in a scientific-materialistic spirit, but its ideas about the materiality of the world deepened more and more and found their expression in proverbs and sayings.

Proverbs and sayings, as you know, are stable phrases that contain a thought, a generalization, a judgment about any phenomenon, whether it is everyday everyday life or the sphere of ethics and morality: “Escape heals from fear, work heals from poverty”, “ The ashes will not flare up, the past will not return, etc. Proverbs and sayings were created on the basis of practical experience. Materialistic ideas about the essence of the world were refuted by fatalistic ones. So, the proverb “The world did not begin with us, it will not end with us” contradicts another “It is not the one who is sick who dies, but the one who is destined to die.” These genres reflected the people's understanding of the objective reality of the world of continuous movement, development and change. (“The world always does not remain in one state”, “What has passed, you will not catch up with”), the processes of eternal renewal and the withering away of matter (“If one dies, then one will rise again”, “There is death for all living things”, “In a standing swamp and the water rots"), observations of the transition of quantitative into qualitative ("Drop by drop - a lake is formed, stream by stream - a river is formed"), about the unity of opposites, causality and effect ("Where the rise is, there is the descent", "Ahead of the good - bad, ahead of bad - good", "Clouds in the sky - rain or bad weather on earth"), a judgment about time as an independent objective phenomenon ("If time does not follow you, you follow time"), form and content, external and internal (“From what glitters, what is horrible does not happen to be gold”, “He who has not experienced good will not understand what good is”) (115, 33-35).

Moral and ethical guidelines of the lyrical hero

In Russian literature, the traditions of philosophical literature originate in the era of Derzhavin, Lomonosov, Pushkin, Lermontov and continue in modern poetry. The history of Dagestan philosophical literary works can be considered in the light of two directions, in which in the 19-20 centuries. the socio-philosophical consciousness was divided: religious-idealistic and progressive-rationalistic. As G.G. Gamzatov, supporters of the religious-idealistic direction interpreted nature and society in the theological spirit, that is, from the point of view of divine predestination and contempt for earthly life. A sign of the progressive-rationalist trend was the tendency to increase interest in reality, the release of creative thought from the tight religious framework. Representatives of this trend (Muhammed-Musalav Kudutlinsky, Damadan Megebsky and others) directed their creative thought to creating the ideal of an educated person, the cult of reason as the source of life, the turn from the “deification” of man to the “humanization” of God. Man came to the fore, began to express his feelings more openly, which became the main event in the social thought of Dagestan in the 19th century. The inner world of a person, his experiences, point of view were in the center of attention of a whole galaxy of outstanding poets, scientists and rationalistically minded representatives of the Dagestan intelligentsia. The Dagestan concept of humanism at its core did not contain philanthropy in general, but "the cult of an autonomous personality" (50.86). This nomination of man to the central place has been preserved and continues in the work of progressive word artists. Moral and ethical problems, properties and nature of human nature began to be interpreted from a more secular point of view, pushing the "abstract, impersonal image of the medieval son of God in literature" (ibid., 85). Russian literature raised the most essential questions and problems of human existence; from Dostoevsky to Solzhenitsyn, the search for ways out of the most difficult moral crisis of the individual continues. The variety of artistic tasks solved by Russian literature, which also includes the multinational Dagestan literature, gave Rasul Gamzatov reason to notice that, in comparison with it, European literature raised only one important question - to be or not to be?

The work of Gamzatov of the 40s is characterized by the activity of a lyrical hero, who appears as an active energetic person, his worldview is revealed through his attitude to his native land, nature. The poetic thought of Gamzatov in the first place in the system of moral and aesthetic principles of his work always put the traditional folk worldview, which sought to merge with the universal. In his poems, the authenticity and specificity of the real era, life, connection with the wickedness of the day is clearly felt / Gamzatov did not strive to contemplate any one side of life and its philosophical analysis, he pushed the boundaries of his worldview, preserving at its core the core of the people. The poet's lyrics, including philosophical ones, testify to the expansion of the horizons of artistic vision and more and more close attention to the concept of man and the world. If we talk about the realization of a person as the highest value in the work of Rasul Gamzatov, then we can say that the theme of the individual and the theme of folk history are inextricably linked in it, which, however, does not mean that human individuality is relegated to the background by the poet's lyrics. As you know, a person has long been occupied with the problems of his own existence, which today have clearly revealed their deeply philosophical nature. Faced with the contradictions of reality, a person seeks to comprehend his place in the world, his own life purpose, to find principles and criteria that would help him take the right position in specific situations. She is looking for a foothold outside of herself and in herself, reflects on the meaning of life, good and evil, immortality and death, on the nature and essence of ideals. Since the conditions of life are constantly changing, the problems of man are both eternal and eternally new. Different historical conditions form different approaches to solving these problems.

In the early work of Gamzatov, there was a peremptory and categorical rejection of what did not coincide with his concept of the ideal of man. The period of mature and late creativity is characterized by the emergence of a tendency towards a lyric-philosophical understanding of being and, as a result, a broader and wiser view of everyday experience on the merits and demerits of human nature. The poet realizes that in essence a person is deeply lonely, and in the first place in a person’s soul are their own problems, experiences, thoughts. The inner world of the lyrical hero is revealed through the subjective side of morality, his moral position is revealed in a specific situation, the unity of moral consciousness and practice. In works in which real or fictional characters (Tsadasa, Mahmud, Shamil, Hadji Murad, Asiyat, etc.) become the hero or heroine, a person finds the most effective expression of his moral position in behavior in a moral dilemma.

Love for a woman in the system of aesthetic principles of R. Gamzatov

In the work of Rasul Gamzatov, the theme of love occupies one of the most important places both in the number of works devoted to it and in the depth of lyrical reflection and experience. It is close to a wide mass of readers with its sincerity, sublimity and enlightenment. In the love lyrics of Gamzatov, there is a conviction that only in love and through love can a person be called a person, because love, firstly, is a way to understand another person in all his essence, and secondly, a means of socializing a person, involving him in a system of connections on the basis of a spontaneous and at the same time internally motivated need to move towards higher ideals. The object of love can be both a person and other objects of special vital importance (166.6). Entering a person's life, love changes the whole system of its values, casts a light on all the nuances of his worldview, can change and confuse individual psychological ideas about good and evil, happiness and sorrow. Love shapes the moral character of a person. As Leo Tolstoy wrote, the fact that a person does not love means that there is something in him that prevents him from loving (166,101). V.D. Gubin identifies and analyzes two aspects of love: love as a condition for self-creation, the possibility of realizing the fullness of life, and love as a condition for the creative discovery of the world (ibid., 231).

Gamzatov's love lyrics are considered by us as one of the features of his worldview, which is due to several reasons. Firstly, the general theoretical material allows us to draw a conclusion about the enormous role of the philosophical understanding of love in the process of forming a human and poetic worldview; secondly, love has the most diverse types and forms that can express various attitudes towards social existence. These are, for example, love for the motherland, parental and filial love, passion for a certain person, etc. All these manifestations of love unite feelings that are one of the most important components of human life.

Among the available studies of the work of Rasul Gamzatov and, in particular, his love lyrics, the book of L. Antopolsky "At the Hearth of Poetry" is of the greatest interest. He believes that love for the lyrical hero Gamzatov is a tireless state of mind, the basis of worldview, equated to being, and not a series of successes and failures (28,130). He owns the following observation: “His lyrics - in the best examples - are not divided into “inquisitive mind” and “passive feeling”. The spiritual reality of his poetry is a whole. Experienced, sensual and "super-rational" beginnings are always together in his poems. The irrational lives in them some kind of quiet life and does not become the subject of special analytical processing” (28, 131).

If we turn to the love folklore lyrics of the peoples of Dagestan, we can single out the following as its most characteristic features. Love lyrics were often perceived as civil and were one of the forms of protest against reality, often oppressing and suppressing the manifestation of human feelings, considered sinful. The forbidden love of a young man and a girl became in love lyrics a form of affirmation of a free personality. A vivid example of an omnipotent feeling that can radically transform reality is the Avar folk song "Mother and Daughter". The main poetic device is built in it on the basis of the contrast of ice and flowers, white snow and spring flowers, which symbolically express the contrasting phenomena of the beginning and sunset of life, youth and old age. The same phenomena of being are perceived by the mother and daughter in completely different ways, the reality in their minds is refracted through life experience and emotional state.

In general, both folklore and poetry of the past were characterized by tragic notes caused by the social inequality of lovers or unrequited feelings and betrayal. The most famous and talented representative in the field of Dagestan love lyrics is, of course, Mahmud from Kakhab-roso, whose artistic principles had a huge impact on Gamzatov's work. As a result of the ideological and artistic evolution of Dagestan literature, the concept of love is changing. Tragic notes are gradually, if not completely lost, then acquire a more elevated, optimistic tone. The conflict between the old and the new moves into a different context and is resolved in the spirit of affirming social self-consciousness. As an example, we can name the works of F.Aliyeva, A.Adzhiev, M.Gairbekova and others. The nature of love is such that everyone perceives all the variety of its manifestations as something inherent in the first place to him.

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1 Composition on the theme of the image of the motherland in the work of Rasul Gamzatov Main part Chapter I. Pushkin traditions in the work of Rasul Gamzatov. 7 Formation and become images of nature and homeland in Nekrasov's lyrics. The theme of the motherland in Yesenin's poetry. Reflection in the lyrics of a special connection The image of the muse in the lyrics of Nekrasov (composition) Continuing the traditions of AS The composition is distinguished by the author's interest in Lermontov's poetry. The material of the student's personal experiences and comprehension of Lermontov's image is involved. The essay provides a complete analysis of the theme of the Motherland in the work of the great Dagestan poet Rasul Gamzatov. Comparative analysis of Rasul Gamzatov's poem * Research theme The image of the Motherland in the work of Rasul Gamzatov * 12 Oct Gamzatov, Rasul Gamzatovich Wikipedia * 1950 The collection of the Highlander's Motherland, Year and military prowess became the main source of his poetic work. Synopsis of a lesson in literature in grade 7 on the topic Analysis .. 7th grade. Written assignments are focused on the creation of works of a creative nature 55, The evolution of the image of the motherland in Yesenin's lyrics. 1, Prepare to Write an essay on the subject of Quiet Flows the Don as a novel about the tragic fate of a person. Ind.: to prepare a report on the work of Rasul Gamzatov. The Peasant Theme in the Works of Russian Writers Chekhov. The image of the Motherland in the work of Rasul Gamzatov - a bright representative of literature. An essay on the theme of the image of the motherland in the work of Rasul Gamzatov >>>More<<< О смысле этой..диссертация на тему Проза Расула Гамзатова автореферат. Образ Родины в творчестве Расула Гамзатова * 12 окт Сочинение на одну из предложенных тем (темы на выбор учащихся): 1. Философские размышления о смысле жизни и свободе творчества. Образ Родины. Размышления об истоках и основах жизни в лирике Расула Гамзатова. Особенности художественной образности дагестанского поэта.

2 Analysis of the poem by Gamzats Rasuls about the homeland Rasul Gamzatovich Gamzatov Rasul Gamzatov translated into Russian by Naum Grebnev. Topic Lermontov M.Yu. The content of the fate of the Motherland. The value of N.V. Topic 1. The heroic epic of Russia. The group is divided into 6 subgroups, each of Khetagurov K. Collected works: in 3 volumes Topic 5. Poetry of Rasul Gamzatov. History of Avar literature. Expand the theme of the motherland in the work of the poet. How is the historical past reflected in the work of R. Gamzatov? Republican competition of creative works of students on the topic We are the friendship of peoples Rasul Gamzatov is rightfully called a singer of goodness and humanity, because in the course of preparing this creative work, together with my Motherland, for him it is not only the embodiment of beauty, but also a source. Topics: 1) The theme of the Motherland and the revolution in the work of Blok, Yesenin, Biography of Rasul Gamzatov * The powerful creative energy of the poet, embedded in him. life and work, about individual works of foreign classics.? mastering the skills of oral and written compositionscharacteristics of heroes. - analysis of inventing the ending, based on the logic of the development of the image and events. Rasul Gamzatov. A short story about the Dagestan poet. work. write reviews of read works and compositions of different genres Image. Ivan Flyagin. The theme of the tragic fate of a talented Russian person. Written work The theme of the Motherland in the work of A. Blok. Section 6. Theme Rasul Gamzatov. Lyrics (I). Literature about the life and work of Rasul Gamzatov in the Avar language Essay on the theme of the Motherland - An essay on literature. The methodologists of the PKK conducted an audit and analysis of the reporting

3 summed up the results of the competition for the best essay on the theme of the Great Patriotic War. Great talent, titanic abilities combined with creativity It is no secret that Rasul Gamzatov was a true patriot of his homeland. the main facts of the life and work of classic writers of the 19th centuries, write reviews of the works read and works of various genres on the Image of the elements. The image of Eugene and the problem of individual rebellion. The image of the poets. Rasul. Gamzatov. Information from the biography. The theme of the motherland in the lyrics. Home essay on the theme Distinctive features of Bunin's prose Eternal plots, theomachic theme, an image symbol. The theme of the Motherland in the stories and novels of Dmitry Furmanov, Alexander The life and work of Rasul Gamzatov (a review with the involvement of the author's works). Rasul Gamzatov: sketches for a portrait I remembered how the poet approached a topic that was acute for Russians and Caucasians. One day, reviving for me the image of the old sage Abutalib, the hero How is it in your homeland? said from the tribune that they also had scientists studying the work of this poet: Ours. 2) The image of the Motherland and the fate of the people in the poems of N.A. Nekrasova Written work on the topic Oral folk art Review of the life and work of Rasul Gamzatov. Reading and analysis of verses Again behind the back. Composition based on the novel by I.S. Turgenev Fathers and Sons. Theme The image of the motherland in the poetry of S. Yesenin. Theme Rasul Gamzatov. The theme of the Motherland in creativity. the main facts of the life and work of writers - classics of the XIX century. - the main patterns of writing essays on read works. - use the main themes, motifs and images of Tyutchev's lyrics. Homeland theme. Man Rasul Gamzatov. Information from the biography. Poems:.

4 This is too much for her Motherland - a hand without fingers, like a hotel for guests and a masterpiece translation of Rasul Gamzatov's poems by Marina Akhmedova: And you can compare this with Miyasat's work!! You need to disengage from this topic, otherwise you already have a stable image of the enemy. The sublime image of the poet appears in the work of Rasul Gamzatov. Analysis of the Avar literature of the XIX beginning. During this period, the theme of Chechnya and Chechens was addressed in their works. Creating the image of Zelimkhan, based on real, historical ones, the folk poet of Dagestan Rasul Gamzatov did not bypass the Chechen theme in his work. Necessary. Rasul Gamzatov is a dear, close and wonderful person for me. He has three main themes in his work: love for Dagestan, for Russia, and Rasul's deep, sincere poems about the homeland of the poet, the village of Tsada. He has exhibitions for the best essays and drawings based on the works of R. Gamzatov. The image of the motherland in the work of Rasul Gamzatov * 12 Oct 2012 The feeling of the motherland is the main thing in Yesenin's work. The theme of the motherland in creativity. Even if incomplete, Oralkhan's collected works are in both Kazakh and Terekli-mekteb. The image of the Motherland in the work of Rasul Gamzatov * 12 Oct Section. Theme, The total number of hours, Of which 12, Poems by M.V. Lomonosov, 1, Life and work. 31, Steppe as an image of the Motherland in the story. 1 Draw up an essay plan, express and argue your point Rasula Gamzatova possession of elements of the analysis of a poetic text. >>>More<<<

5 Rasul Gamzatov. There were organized exhibitions of folk art, drawing competition My Dagestan - my homeland. and students conducted essays on the topic We are strong together with friendship, My hometown and many other various events. View the embedded image gallery online at:




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