Alexander Trifonovich Tvardovsky (1910 - 1971). Tvardovsky was born in 1910 in the village of Zagorye, Pochinkovsky district, Smolensk region, in the family of a peasant, a rural blacksmith. The poet's father, Trifon Gordeevich, for all his virtues, was strict to the point of severity, ambitious to the point of sickness, possessive manners were highly developed in him, and children - and Alexander, who was impressionable and sensitive to any injustice in particular - sometimes had a very hard time with him. And yet, the conditions in which the childhood of the future poet proceeded were such that he could comprehend the essence of peasant work and the charm of his native nature, absorb the verses of the classics and learn to overcome difficulties, appreciate the fruits of human labor and develop curiosity in himself, imbued with intolerance to greed. , cruelty, cowardice, meanness and hypocrisy and give scope to their unbridled dreams, persistently pursue goals and develop in themselves, even on the threshold of youth, a certain moral code - the high moral code of a Soviet citizen and a Russian poet. A great influence in childhood on the formation of the future poet was his introduction to work, and above all "study" in his father's forge, which for the whole district was "a club, a newspaper, and an academy of sciences." By this time, Sasha Tvardovsky had already read quite a few books, but then, while still a toddler, he opened his first book and began to read it on his own. It was Pushkin's The Captain's Daughter. Much later, he wrote: “I remember the format of the book, its smell, I remember how happy I was that I myself discovered this story unknown to me from hearing. I was seized by it and sat up at the window of the hut until dark ... ”Tvardovsky calls his most expensive, most cherished book a volume of Nekrasov’s poems, which his father bought in the hungry 1920 at the Bazaar in Smolensk, exchanging for potatoes. From childhood, the poet absorbed the boundlessness of native spaces, from childhood he deeply thought about the value of human life and the inevitability of death (poem “I remember how my grandfather died.” From childhood, he developed high moral principles in his mind. Therefore, without understanding and not recognizing Tvardovsky as a teenager is impossible to understand and know him as a mature poet.At the eighteenth year of his life, Alexander Tvardovsky left his native Zagorye.By this time, he had already been to Smolensk more than once, once visited Moscow, personally met M.V. Isakovsky, became the author of several dozens of published poems.In 1924, Tvardovsky joins the Komsomol. Since 1925, his literary (more precisely, Selkor's) activity begins. His notes are published in Smolensk newspapers, mainly criticizing local authorities for their irresponsibility, abuses, and so on. People from Zagorye and the surrounding villages come to him, asking him to write about local problems, to expose someone in the newspaper ... The young man understands that such an attitude of people obliges him to a lot, and begins to prepare himself for a wider field. For the first time the name of Tvardovsky saw the light on February 15, 1925. The newspaper "Smolenskaya village" published his note "How the re-elections of cooperatives take place." On July 19, the floor of the newspaper published his first poem "The New Hut". In the following months, several more notes, correspondence, and poems by Tvardovsky appeared in various newspapers in Smolensk; and at the beginning of 1926 he again publishes his poems in the newspaper "Working Way". In April 1927, the Smolensk newspaper "Young Comrade" publishes an article about Alexander Tvardovsky, along with a selection of his poems and photographs - all of this is united by the general heading "Alexander Tvardovsky's creative path." And Alexander was 17 years old. In the summer of 1929, the poet dared to send his poems to Moscow, to the editorial office of the October magazine. And - about happiness! Mikhail Svetlov published the poems of the 19-year-old Tvardovsky. After this event, the Smolensk horizons began to seem too narrow to him, and he rushed to the capital. “But it turned out about the same as with Smolensk. I was occasionally published, someone approved of my experiments, supporting childish hopes, but I did not earn much more than in Smolensk, and I lived in corners, beds, loitered around the editorial offices, and I was more and more noticeably carried somewhere away from direct and difficult path of real study and real life. In the winter of 1930, I returned to Smolensk ... ”It is difficult to say how TV’s literary fate would have developed if he had remained in Moscow, which was not at all excluded if he had permanent and reliable housing. Tvardovsky's demands on himself as a poet increased, and he himself began to feel more and more dissatisfied with his poems. In 1932, Tv., already having a family, became a student at the Smolensk Pedagogical Institute. I decided to study after I read the first book of N. Ostrovsky's novel "How the Steel Was Tempered". The novel, by his own admission, "swallowed it in one gulp." Let's try to take a closer look at the work of TV. 1925-1935 If we compare his prose, verses and poems of the initial period, then we can come to the following conclusions: in prose he is almost as strong as in poetry; his poems are somewhat weaker than lyrical verses. The essentiality of the content, the clarity and transparency of the form, the beauty of the apt and clever Russian word - in these constant properties of Tvardovsky's lyrics it is easy to see the continuation of those traditions that have been established in our poetry since the time of Pushkin and Nekrasov. Tvardovsky's lyrics are primarily an expression of the simplest, accessible to any worker, but at the same time the most profound and general human feelings. It reveals to the soul such foundations of human life as work, homeland, love, land... The early verses of Tv., of course, are marked by the stamp of giftedness, although sometimes (this is especially true for the verses of 1926-29) one can notice in them an involuntary imitation poets of older generations - Bunin, Yesenin, Isakovsky. But the same vigilance, the same observation as in prose, are characteristic of the early lyrics of the poet, which N.V. Isakovsky rightly noted in his memoirs. Many of the poems (“In the Wilderness”, “Native”, “Night Watchman”, “Carrier”, “Spring Lines”, “To the Sailor”) convey the mood of a resident of a rural outback, yearning for a different, more interesting, albeit more difficult life. Pictures of native nature are imbued with sadness: Expensive wounded backs, The viscous smell of hemp ... Before the frost, you can’t get into the city Through the lifeless swampy semicircle. The daily work of the inhabitants of this wilderness seems dreary to the poet, although he perfectly understands its necessity. "Irreplaceable as a castle," the night watchman I met the evening quite ready, I got dressed, examined the gun ... All night there was nothing else to do - Chubuk chews with annoyance. Steshka is getting dark at the building, Forward, backward - and none! Trezor - and he calmed down for a long time, And you go, but you want to stand here. Since 1929 Tv. began to write in a new way, achieving the ultimate prosaic verse. He, as he later said, wanted to write "naturally, simply", and he expelled "any lyricism, a manifestation of feeling." Poetry immediately took revenge on him for this. In some poems (“Apples”, “Poems about universal education”), along with truly poetic lines, such lines began to appear, for example: And here, Children large and small, The school team will gather. Or: This is a representative of the city, He waves his hand confidently. Subsequently TV. realized that this was an erroneous path, because what he put above all - plot, narrative verse, concreteness - was expressed in practice, as he admitted in 1933, "in saturation of poetry with prosaisms," colloquial intonations "to the point that they ceased to sound like poetry and everything in general merged into dullness, ugliness ... In the future, these excesses sometimes reached absolute anti-artism. Tvardovsky has an unrelentingly sharp and constant sense of his homeland. Back in the 1930s, he wrote several beautiful poems full of feelings of love for his native land (“To Friends”, “For Thousands of Miles ...”, “Trip to Zagorye”). The war, the capture of the Smolensk region by the enemy caused in his heart, overflowing with insult, anger and pain, a new surge of this filial love. In "Autobiography" TV. wrote that he left the third year of the institute "due to circumstances." “In those years,” confirms A. Kondratovich, “work began on the Land of the Ant, which required such strength that I had to leave my studies.” The date of publication of this poem (1936), the smallest gap in time, was the beginning of an ever-wider awareness of the fact, important for our literature, that a poet appeared in it, promising to become a truly popular one. Her hero, Nikita Morgunok, who dreamed of happiness and free labor on his land, understood and realized that happiness can only be found in collective farm life. Reading these poems today, when the truth about collectivization, the destruction of entire families, the extermination of the best, most intelligent and hardworking owners, is scary. “From the Land of the Ant, which met with an approving reception from readers and critics, I begin counting my writings, which can characterize me as a writer,” the author himself defined the meaning of this poem in Autobiography. The next stage of creativity Tv. rightly called his work on the famous poem "Lenin and the stove-maker." This stage separates from the "Country of Ants" five years of work - from 1936 to 1941, which meant a lot in the formation of the poet's personality. Soon, from the autumn of 1936, Tv. becomes a third-year student at MIFLI and settles in the capital. Everyone who knew him as a student emphasized his composure and purposefulness, accuracy and concentration, the habit of getting up early and immediately getting down to business. Any manifestations of bohemianism were always disgusting to him. A. Kondratovich, who studied in the same years at MIFLI two courses before TV, testifies: “Study, which was not the main content of TV’s life, was very important for him, not a passing one, and certainly not a means to get a diploma. Whatever Tv. did, he did it only seriously and thoroughly, giving this business at the moment all his strength. During the years of study, he published three collections of poems: "Poems", "Road", "Rural Chronicle". In 1938 TV. became a candidate member of the CPSU (b), and in January 1939, along with some other writers, was awarded the Order of Lenin. In the same list with him were such veterans of Soviet literature as N. Aseev, N. Tikhonov, V. Kataev, E. Petrov, Ya. Kupala, Ya. Kolas, M. Sholokhov. Later TV. admitted: “Of course, I did not expect such an award, I did not expect any award at all. And when they told me that I was awarded the Order of Lenin, I did not believe at first ... And there was a feeling of both joy and embarrassment - so many old people received lesser awards or did not receive them at all. Barely having time to graduate from the institute, Tv. was drafted into the Red Aria and took part in the liberation of Western Belarus (1939). Then he was demobilized, and with the beginning of the Soviet-Finnish armed conflict he was called up again - just as before, in the position of a special correspondent for a military newspaper, but already in an officer's rank ("a writer with two sleepers," he says about himself, - i.e. e. battalion commissar), With the exception of a few days spent in Leningrad, Tv. throughout the war was on the Karelian Isthmus. He experienced rifle and cannon fire, froze in the icy wind, saw many dead and wounded, learned the life of front-line dugouts and dugouts. Almost daily in the newspaper of the Leningrad Military District "On Guard of the Motherland" his essays, correspondence, poems, as well as couplets about Vasya Terkin, which were written together with A. Shcherbakov, S. Vashentsev, Ts. Solodar and others, appear as poetic captions for drawings Fomichev and Briskin. Shortly after the end of the war, in the spring of 1940, Tv. was awarded the Order of the Red Star and demobilized. The first morning of the Great Patriotic War caught TV. in the suburbs, in the village of Gryazi, Zvenigorod district, at the very beginning of the vacation. On the evening of the same day, he was in Moscow, and a day later he was sent to the headquarters of the South-Western Front, where he was to work in the front-line newspaper Red Army. Some light on the poet's life during the war is shed by his prose essays "Motherland and Foreign Land", as well as the memoirs of E. Domatovsky, V. Muradyan, E. Vorobyov, O. Vereisky, who knew TV. in those years. So, he told E. Vorobyov that "in 1941 near Kyiv ... he barely got out of the encirclement." In the spring of 1942, he was encircled for the second time - this time near Kanev, from which, according to I. S. Marshak, he emerged again by a “miracle”. In the middle of 1942 TV. was moved from the South-Western to the Western, and now, until the very end of the war, the editorial office of the front-line newspaper Krasnoarmeyskaya Pravda became his home. It became the home of the legendary Terkin. According to the memoirs of the artist O. Vereisky, who painted portraits of TV. and illustrating his works, “he was surprisingly good-looking. Tall, broad-shouldered, with a thin waist and narrow hips. He held himself straight, walked with his shoulders straight, stepping softly, moving his elbows as he walked, as wrestlers often do. The military uniform suits him very well. His head sat proudly on a slender neck, soft blond hair, combed back, parted to the sides, framing a high forehead. His very bright eyes looked attentively and sternly. The movable eyebrows sometimes raised in surprise, sometimes frowned, converging to the bridge of the nose and giving severity to the facial expression. But in the outlines of the lips and the rounded lines of the cheeks there was some kind of feminine softness. During the war, another characteristic feature of TV came to light: not only did he never flaunt his courage, but, on the contrary, he often emphasized those moments when he experienced a feeling of fear. But according to A. Aborsky, he was a man of remarkable personal courage. Along with courage, Alexander Trifonovich also possessed a fair amount of physical strength (it is evident that it was not in vain that time in his father's forge in childhood), the firmness of his hand and the fidelity of his gaze. No wonder he became the garrison champion in the game of towns. O. Vereisky recalls: “he was very fond of showing his remarkable physical strength, i.e. don't show it, just let it out. Either he chopped firewood for the kitchen, or he dug a new dugout, he never missed an opportunity to push, pull a stuck car out of the mud, or he fought with a few hunters to measure his strength with him, he readily took part in feast gatherings, at which he sang with willingness and diligence old folk songs. The poems of A. Tvardovsky during the war years are a chronicle of front-line life, which consisted not only of heroic deeds, but also of army, military life and lyrical excited memories of his native Smolensk region, robbed and insulted by enemies of the land, and poems close to a folk song written in motive "Stitches-paths have grown over ...". In the poet's poems of the war years, there is also a philosophical understanding of human fate in the days of a nationwide tragedy. During the war years, A. Tvardovsky created his most famous poem, Vasily Terkin. His hero has become a symbol of the Russian soldier, his image is an extremely generalized, collective, folk character in its best manifestations. And at the same time, Terkin is not an abstract ideal, but a living person, a cheerful and crafty interlocutor. His image combines the richest literary and folklore traditions, modernity, and autobiographical features that make him related to the author (it’s not for nothing that he is from Smolensk, and in the monument to Terkin, which is now decided to be erected on Smolensk land, it was not by chance that it was decided to designate the portrait resemblance of the hero and its creator). Terkin is both a fighter, a hero who performs fantastic feats, described with the hyperbolic nature inherent in the folklore type of narration (for example, in the chapter "Who shot?" He shoots down an enemy plane with a rifle), and a man of extraordinary stamina - in the chapter "Crossing" it is told about the feat - Terkin swims across the icy river to report that the platoon is on the right bank - and a craftsman, a jack of all trades. The poem was written with that amazing classical simplicity, which the author himself designated as a creative task: "Let the probable reader Say with a book in his hand: - Here are the verses, but everything is clear, Everything is in Russian." In 1944, the entire editorial board of Krasnoarmeyskaya Pravda became part of the Third Belorussian Front. Together with the soldiers and officers of this front TV. celebrated Victory Day. In September 1945, Lieutenant Colonel TV. demobilized the first of his writers' group, leaves Bobruisk, where the editorial office was located after the war. Ahead - Moscow, a meeting with the family and new pages of life and creativity. At 35, he is famous and holds a number of responsible posts: he was elected to the board of the Writers' Union; is a member of the USSR State Prizes Committee; appointed chairman of the Commission for work with young authors; named in all textbooks of Soviet literature. Nevertheless, TV himself, “a lover of peaceful life,” as he put it about himself in The Book of a Fighter, it was very difficult and difficult in the post-war years to turn back to peaceful topics: what was experienced during the four years of a bloody war , tenaciously held his muse. It is no coincidence that in these years, when the war became an event of the recent past and it became possible to comprehend it from the positions of the post-war, he creates such a masterpiece as “I was killed near Rzhev”. The battles near Rzhev were the bloodiest in the history of the war, became its most tragic page. The whole poem is a passionate monologue of the dead, his appeal to the living. An appeal from the other world, an appeal to which only the dead have the right - so to judge the living, so strictly demand an answer from them. The poem fascinates with the rhythm of its anapaests, it is quite large in volume, but is read in one breath. It is significant that several times it contains an appeal that goes back to deep layers of traditions: the traditions of the ancient Russian army, the traditions of the Christian. This is the word "brothers". In the same years, he writes poems of such power as "Moscow", "To the Son of a Lost Warrior", "on the day the war ended." All of them are about the war. What is not a war is usually much weaker. In 1950 TV. was appointed editor-in-chief of Novy Mir. At the same time, despite the significantly reduced amount of time, he began his new major work - the poem "For the distance - the distance." The poem "Beyond the distance - distance" consists of 15 chapters. It was written for ten years (1950-1960). It can hardly be called an epic work. There are very few descriptions here (views flickering outside the window, wagon neighbors, Aleksandrovsky Central). There are only two events (overlapping of the Angara and a meeting with a childhood friend). Everything else is the author's memoirs or reflections, or, as Tv himself put it, "digressions, exclamations, but the darkness of these reservations." The main event described in the poem is majestic and grandiose. This is work on the construction of the Irkutsk hydroelectric power station. Fans of works of exceptionally action-packed reading “Beyond the distance - distance” will seem boring, and the author did not try to “weave art for them”. The poem is designed for a thinking reader, a reader-citizen who is concerned about social, state, and world problems. It is not easy to write for such a reader, but perhaps that is why the poem has reached such a level that the author did not hide anything from the reader: brought. In the last ten to fifteen years of his life, TV. for many of his fellow writers, he was a kind of spiritual father thanks to his exceptional talent, and mainly due to the well-known sense of high personal responsibility for the fate of literature, and not only it. “He was our poetic conscience” - this is how the moral meaning of Tv. Kaisyn Kuliev. Fifteen years before the death of TV. wrote that life "did not deprive him ... and placed so much in his heart that a diva for the time being - what chills and heat are tough for him." For the time being… But now the time has come. On December 18, 1971, he died. Another great poet has died. Orphaned poetry. The desire to say the most essential and objective about our life is perhaps the main feature of A. Tvardovsky's poetic work. The fate of the people, its path to common happiness, the spiritual beauty and strength of the Soviet people, their unparalleled labor feat in the last decades of our history, the state and the individual, the public purpose of art and the artist - these are the circle of questions that the poet's epic and lyrics thoughtfully and deeply cover. A. Tvardovsky is distinguished by an excellent knowledge of people's life, people's character and the truthfulness of a true realist, a staunch supporter of "the truth that exists, the truth that strikes right into the soul." His flexible, well-aimed, accessible to everyone and as if cutting into the essence of the subject, organically gravitates towards folk sayings, to jokes, he absorbed the most living traditions of oral poetry and the lessons of Russian classical poets, primarily Nekrasov. A. Tvardovsky is an outstanding representative of socialist realism in our literature.

Russian writers of the twentieth century from Bunin to Shukshin: textbook Bykova Olga Petrovna

The creative path of A. Tvardovsky

Tvardovsky was born in 1910 in the village of Zagorye, Pochinkovsky district, Smolensk region, in the family of a peasant, a rural blacksmith. Until the age of 18, he lived in the countryside: he studied at school, worked in the field and in the forge, was the secretary of the rural Komsomol cell, and in 1928 he moved to Smolensk, where he studied at the Pedagogical Institute for two years. Later, in 1939, Tvardovsky graduated from the Moscow Institute of Philosophy, Literature and History.

Tvardovsky began to write poetry very early. In childhood, he got acquainted with folk art, with the works of Nekrasov and other Russian classics, which made a deep impression on him. Even from the village, Tvardovsky sends his poems to the Smolensk newspapers. The first literary experiments of Tvardovsky were warmly supported by his countryman M. Isakovsky, who lived in Smolensk, in those years already a well-known poet.

In 1931, Tvardovsky's poem "The Path to Socialism" was published as a separate book, and in 1935 - the first collection of poems. In 1936, Tvardovsky's poem "Country of the Ant" was published, which brought him wide fame and literary recognition.

"Country Ant". From the very first steps in literature, Tvardovsky takes on difficult and responsible topics of great social importance. In the years when the question of the fate of the peasant way of life was being decided in the country, the young poet (he was then 25 years old) wrote the poem "Country Ant". Her hero, the peasant Nikita Morgunok, does not dare to join the collective farm, as he is afraid of losing his independence. Individual peasant life and work are full in his eyes of a special attraction and a kind of poetry. He once heard an old legend about the country of Ants - the country of peasant happiness, where they live richly and independently. Morgunok goes in search of this fabulous country:

And in the far side of that -

Morgunok knew for sure -

It stands on a steep hill,

Like a bush, a farm.

The earth is long and wide

All around yours.

Sow a single bud

And that one is yours.

And don't ask anyone

Just respect yourself.

Mow went - mow,

I went - go.

And all yours is in front of you

Go spit on yourself.

Your well, and your spruce forest,

And the cones are all spruce.

It is easy to see the connection of the poem "Country Ant" with Russian classical literature. Once upon a time, Nekrasov in his poem “Who Lives Well in Russia” depicted peasants who are looking for a happy person all over Russia and encountering grief and suffering of the people on their way. In Tvardovsky's poem, Morgunok is also looking for happy people and finds them in the collective farm fields. The plot of the "Country of the Ant" is also connected with the motifs of folk tales, in which we are talking about the search for treasure, wealth, a happy country, etc. Tvardovsky also devoted his subsequent poems to important historical stages in the life of our people and state.

"Vasily Terkin". Even during the war with the White Finns (1939 - 1940), Tvardovsky, together with other poets, wrote poetic feuilletons about an experienced soldier Vasya Terkin, who worked miracles of courage at the front. During the Great Patriotic War, Tvardovsky made Vasily Terkin the hero of the “book about a fighter” he had conceived. At the same time, the image of Terkin acquired an immeasurably more serious content and deep meaning. This is how the poem "Vasily Terkin" arose. It was written by the poet throughout the war - from 1941 to 1945.

The poem reflects the main stages of the Great Patriotic War, from its first days to the complete victory over the enemy. This is how the poem develops, this is how it is built.

These lines and pages

Days and miles a special account,

Like from the western border

To your home capital

And from that native capital

Back to the western border

And from the western border

Down to the enemy capital

We made our trip.

The depiction of the war presented considerable difficulties for writers. Here one could stray into embellished reports in the spirit of superficial jingoistic optimism, or fall into despair and present the war as a continuous, hopeless horror. In the introduction to Vasily Terkin, Tvardovsky defined his approach to the theme of war as follows:

And more than anything else

Don't live for sure

Without which? without the truth,

Truth, straight into the soul beating,

Yes, she would be thicker,

No matter how bitter.

It is clear that the war is drawn by the poet without any embellishment. The anguish of retreat, painful anxiety for the fate of the Motherland, the pain of separation from loved ones, hard military labors and sacrifices, the ruin of the country, severe cold - all this is shown in Terkin, as the truth requires.

But the poem does not leave a depressing impression at all, does not plunge into despondency. The poem is dominated by the power of life-affirmation, faith in the victory of good over evil, light over darkness. And in the war, as Tvardovsky shows it, in respite between battles, people rejoice and laugh, sing and dream, take a steam bath with pleasure and dance in the cold.

The fight is holy and right

Mortal combat is not for glory,

For life on earth.

The holy and right fight is sung in his poem by Tvardovsky. This fight is able to raise the spirit, cause readiness for self-sacrifice, inspire both work and feats. And this is the battle, in fact, for which the old revolutionary songs were called: “To the bloody battle, holy and right!”

"Vasily Terkin" is a "book about a fighter." Her hero is an ordinary Soviet soldier Vasily Terkin. There are many funny jokes, sayings, and jokes in Terkin's stories. But he is not just a merry fellow and a joker. This is a man of a deep soul, with serious thoughts, feelings, experiences. This is the “holy and sinful Russian miracle man” who survived and won in the greatest of wars.

The image of Terkin reveals the deep national traditions of the Russian people.

“Reading “Vasily Terkin” from beginning to end, I saw, first of all, myself, my close comrades-in-arms, our entire family in all its truly truthful appearance,” one of the ordinary soldiers wrote to Tvardovsky.

On all fronts, the hero of Tvardovsky's poem, Vasily Terkin, was known.

I dreamed of a real miracle

So that from my invention

At war to living people

It might have been warmer... -

Tvardovsky wrote, and his hopes were justified.

"Road House". Shortly after the victory over Nazi Germany, Tvardovsky wrote a new poem about the war - "The House by the Road" (1946).

But if in "Vasily Terkin" the action takes place mainly at the front, then in the new poem - mainly in the rear. "Road House" is a poem about the disasters of one family, which the war has destitute, divided and carries along different roads, this is a poem about people's grief.

The poem opens with a deeply poetic description of haymaking. Collective farmer Andrei Sivtsov mows the grass in a flowering garden early in the morning, he is happy, his work is joyful:

Mowing high as a bed

He lay down, fluffed up magnificently,

And a wet sleepy bumblebee

In the mowing, he sang almost audibly.

And with a soft swing it's hard

The scythe creaked in his hands.

And the sun burned, and things went on,

And everything seemed to sing:

Mow, scythe, while dew,

Down with dew - and we are home.

But the peaceful life of the Soviet people was disrupted by the fascist attack. Andrey Sivtsov, on the very first day of the war, goes to the front (“The owner did not mow the meadow, he girded himself on the campaign ...”).

The Nazis bring devastation to Andrey's native village. They steal his wife Anyuta and children into fascist captivity, dooming them to a terrible, hungry existence. Andrei's wife works in East Prussia as a laborer, but she does not lose heart and instills faith in the children: "Here our father will come here and take us from here."

The war is over. Andrei Sivtsov returns to his native village. He knows nothing about his family, he has "neither a yard nor a house":

And where they sunk into the fire

Crowns, pillars, rafters, -

Dark, oily on the virgin soil,

Like hemp, nettle...

Deaf, joyless peace

Meet the owner.

Crippled apple trees with longing

Shaking the branches...

Sat down on a pebble soldier

At the former threshold.

Sick with a stick in a row

He fixed his leg.

But life takes its toll. Andrei knows: to despair, you can’t fold your hands, and people have support in work. He hopes for the return of the family and builds a new house:

Smoked, overcoat down,

Marked out the plan with a shovel -

Kohl to wait for his wife and children home.

This is how you build a house.

The poem does not tell how Andrei's family returned home, but this is foreseen by itself. The poem ends where it began, with haymaking:

So that grief takes care of business,

The soldier got up at dawn

And wider, wider drove the swath -

For all four years.

Beautiful is life triumphing over death, beautiful is work that heals the wounds of war, beautiful is love that has not died out either in war or in captivity - such is the meaning of this heartfelt, most lyrical poem by Tvardovsky.

"By Right of Memory". This is Tvardovsky's last poem. It was written in 1969, but was published 18 years later, only in 1987. In this work, the poet comprehends the vision of the past, shows the true difficult history of the country during the years of the Stalin cult. “By the Right of Memory” is a lyrical confession. What the poet writes about is very personal, it vitally concerns his own fate, is connected with his biography.

(According to A.V. Kulinich)

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Brief biography of the poet, the main facts of life and work:

ALEXANDER TRIFONOVITCH TVARDOVSKY (1910-1971)

The father of the future poet Trifon Gordeevich Tvardovsky was the seventh son in a large peasant family, he worked as a blacksmith. Mother, Maria Mitrofanovna, nee Pleskachevskaya, was from the ruined nobles. Having married a simple man, the girl found herself in a world completely alien to her. Trifon Gordeevich turned out to be a harsh man, he often beat his wife and children.

On June 8 (21 according to the new style), 1910, a son was born to the Tvardovskys, who was baptized Alexander. It happened in the village of Zagorye, Smolensk province. The boy turned out to be the eldest child, there were also brothers Vasily, Konstantin, Pavel, Ivan and sisters Anna and Maria.

The Tvardovskys had relatively many books, so Sasha first got to know the works of A. S. Pushkin, N. V. Gogol, M. Yu. Lermontov, N. A. Nekrasov at home - they were read aloud on winter evenings. Under the influence of the great Russian classics, the boy began to compose poetry early. The father did not approve of this hobby of his son, regarded it as pampering.

Tvardovsky was sent to study at a rural school. At the age of fourteen, the future poet began to send small notes to the Smolensk newspapers, some of them were printed. Then he ventured to send poetry as well.

Tvardovsky's poetic debut took place in 1925 - his poems "The New Hut" were published in the newspaper "Smolensk Village".

After graduating from a rural school, Tvardovsky moved to live in Smolensk. At first he lived in complete poverty. The poet was sheltered by the Smolensk writer Efrem Marienkov. They lived in a tiny walk-through room without furniture, slept on the floor, and covered themselves with newspapers. I had to exist "on a penny literary earnings and beat the thresholds of editorial offices."

In the Smolensk House of Press, Alexander Trifonovich met his future wife, Maria Illarionovna. She acted as a critic and reviewer. But at some point, for the sake of love, she decided to abandon her literary career and devoted her life to her husband. Tvardovsky's parents were against the young daughter-in-law, as she finally took her son away from the family. Soon, the young had two daughters - Valentina and Olga - and a son, Alexander.

During the years of collectivization, the poet's family was dispossessed, although even the middle peasants were pulled with difficulty. During the period of democratization of Soviet society, the poet was accused of betraying a family sent into exile. Much later, documents were discovered, from which it follows that, as soon as it became known about their arrest, Alexander Trifonovich began to go to the authorities and fuss. However, the secretary of the regional committee, Ivan Rumyantsev, later also repressed and shot, said to the poet:

Choose: either dad and mom, or revolution.

Tvardovsky understood the hint and was forced to stop the chores. He tried in every possible way to help the exiles. The brothers from the settlement kept running away. Once they all appeared at once in front of Tvardovsky in the center of Smolensk near the House of Soviets. Alexander Trifonovich then already knew that a case had been opened against him in the NKVD, he was even expelled from the Writers' Union, he was hounded in the newspapers. If he had hidden the brothers, he himself would have gone along the stage. And the poet drove the brothers away. For some reason, this Tvardovsky could not be forgiven not by the brothers, but by zealous Russian journalists.

As soon as Tvardovsky had reliable connections in Moscow, the first thing he did was go to the Northern Urals and take the whole family out.

Tvardovsky's works were published in 1931-1933, but Alexander Trifonovich himself believed that he began as a writer only with the poem about collectivization "Country Ant", which was published in 1936. The poem was a success with readers and critics.

In early 1937, an arrest warrant for Tvardovsky was issued in Smolensk. First they took a friend of the poet Makedonov. Half an hour later they came for Alexander Trifonovich, but he was already rushing away in the Moscow train.

In the capital, Tvardovsky was supported by the head of the Union of Writers, Alexander Alexandrovich Fadeev, who noted the talent of the young poet in a conversation with Stalin. With his help, Tvardovsky's relatives were also released.

On the personal instructions of Joseph Vissarionovich, the persecution of the poet was stopped. In 1939 he was awarded the Order of Lenin. It is curious that on the days of the awards, Tvardovsky was a student at IFLI, and the exam papers included questions on his poem "The Land of the Ant."

Immediately after graduating from the institute, Tvardovsky was drafted into the Red Army. Alexander Trifonovich participated in the liberation of Western Belarus from the Polish occupation. From the beginning of the war with Finland, already in the rank of officer, he was in the position of a special correspondent for a military newspaper.

During the Great Patriotic War, the great poem “Vasily Terkin. A book about a fighter ”is a vivid embodiment of the Russian character and the nationwide patriotic feeling. “This is truly a rare book: what freedom, what wonderful prowess, what accuracy, accuracy in everything and what an extraordinary folk soldier's language - not a hitch, not a single false, ready-made, that is, literary-vulgar word!” - so appreciated the masterpiece of Tvardovsky independent reader - Ivan Alekseevich Bunin.

Almost simultaneously with “Terkin” and the poems of the “Frontline Chronicle”, the poet created the great poem “I was killed near Rzhev” and began the poem “House by the Road”, completed after the war.

But then Alexander Trifonovich began a creative crisis. He didn't have poetry. Tvardovsky began to think about suicide, and then took to drink in company with Fadeev.

In 1950, Tvardovsky was appointed editor-in-chief of the Novy Mir magazine, which he headed for twenty years (1950-1954 and 1958-1970) with a break. The poet attracted such significant masters of the Russian word as Viktor Astafiev, Vasily Belov, Fedor Abramov, Sergei Zalygin, Vasily Shukshin, Yuri Bondarev to the pages of Novy Mir. Aleksandr Solzhenitsyn also originally published in the journal.

Despite strong pressure from the editors, Tvardovsky, who firmly defended the position of high national poetry, categorically refused to publish the poems of Joseph Brodsky in the New World. Alexander Trifonovich admitted that all poetry is needed, but not on the pages of his magazine. However, when Brodsky was arrested and tried, Tvardovsky was outraged and tried to prevent the process, arguing that poets should not be imprisoned.

In 1970, Alexander Trifonovich was removed from the post of editor-in-chief of Novy Mir. The poet fell into depression, then he had a stroke and lost his arm. Then he was diagnosed with cancer.

Alexander Trifonovich Tvardovsky died in Krasnaya Pakhra near Moscow on December 18, 1971. He was buried at the Novodevichy cemetery in the capital.

Alexander Trifonovich Tvardovsky (1910-1971)

We all remember from school years: “Crossing, crossing! The left bank, the right bank ... "And then, more often in adulthood, we discover the deep wisdom of Tvardovsky's famous six-line:

I know. None of my fault

The fact that others did not come from the war.

The fact that they - who is older, who is younger -

Stayed there, and it's not about the same thing,

That I could, but could not save, -

It's not about that, but still, still, still ...

And “I was killed near Rzhev” is a ballad for all time.

The poems "Vasily Terkin" and "Beyond the Distance" became phenomena not only of the country's literary life, but in the literal sense of the country's life, in the state sense. They evoked such a response among the people that people lived by them, as they live by the most significant events of real historical life - such as, for example, the first manned flight into space or victory in the most difficult war.

Alexander Trifonovich Tvardovsky realized what his work meant in the fate of the country. And although he was a rather reserved and modest person, his comparisons, at least in this poem, speak volumes:

The whole point is in one single covenant:

What I will say is melting until the time

I know this better than anyone in the world -

The living and the dead, only I know.

Say that word to no one else

I never could ever

Reassign. Even Leo Tolstoy

It is forbidden. He will not say, let him be a god.

And I'm just a mortal. For your own in the answer,

I'm worried about one thing in life:

About what I know best in the world,

I want to say. And the way I want.

Tvardovsky said his word about collectivization (the poem "Country of the Ant"), about the Great Patriotic War (his poem "Vasily Terkin" was appreciated even by such an irreconcilable person to Soviet power and Soviet literature as I. A. Bunin), about the post-war decades ( poem “For the Far Far”)… He was called the poet of the people’s life, because in his work he captured the whole difficult, painful, intense spiritual process that went on among the people throughout the 20th century.

Alexander Trifonovich was born on June 8 (21), 1910 in the village of Zagorye, Smolensk province, in the family of a peasant blacksmith. Until 1928, he lived in the countryside, went to school, worked in a forge, and was the secretary of a rural Komsomol cell. Since 1924, he began to print notes and poems in Smolensk newspapers. Since 1928 he lived in Smolensk, studied at the Pedagogical Institute. Collaborating in Smolensk newspapers and magazines, he traveled a lot around the Smolensk region, as he himself wrote, "he delved into everything that was a new, emerging system of rural life for the first time."

No matter how much today the collective farms and all sorts of excesses with collectivization may blame, you can’t get away with the true joy with which then everything new was met by many, many villagers, including poets.

Along the village, from hut to hut,

Hasty pillars marched…

They buzzed, the wires played, -

We have never seen this.

It was written by Mikhail Isakovsky in 1925.

In the late 1930s, a critic wrote about the poems of the young Tvardovsky: “Tvardovsky’s poems breathe a young, cheerful, full of benevolence faith that the new will overcome everywhere. But it will overcome without mocking the feelings, ideas of those people who entered this new from the past world ... "That's why Tvardovsky became great because he was not a straightforward, flat chanter - he saw the situation in the country in all its complexity, and so imprinted. He never dropped anything "from the ship of modernity."

In 1936, the poet came to study in Moscow - at the Faculty of Philology of the Moscow Institute of History, Philosophy and Literature, from which he graduated in 1939. They say that at one of the exams Tvardovsky got a ticket with a question about A. Tvardovsky's poem "Country of the Ant", which by that time had become popular and was included in the curriculum.

During the Great Patriotic War, the poet worked in the front-line press. It was on the fronts that his famous "book about a fighter" poem "Vasily Terkin" was born, which received national recognition. Tvardovsky wrote in his autobiography: "This book was my lyrics, my journalism, a song and a lesson, an anecdote and a saying, a heart-to-heart talk and a remark to the occasion." Thomas Mann once wrote: “What is a writer? The one whose life is a symbol. Undoubtedly, Tvardovsky's life is a symbol, because his life and work concerns many, many Russian people of the 20th century. And not only Russians. "Vasily Terkin" is now inextricably linked with the feat of our people in the Great Patriotic War for centuries. The language of this poem is so lively, folk, organic that many, many lines of it have become folk proverbs, the fabric of folk speech.

The front-line poet Yevgeny Vinokurov himself writes about Tvardovsky: “Patriotic, conscientious, kind-hearted poetry teaches him, educates, instructs, the significance of Tvardovsky's poetry is great. And then, in his words, “neither reduce nor add” ... In Nekrasov's way, he takes care of the country, and this anxiety for the country is felt in every word he says. Great historical cataclysms, the fate of millions of people - this is what the poet has always been interested in, this is what his pen has always been subordinated to. The theme of the people became his inner lyrical theme ... "

That's right - the theme of the people became an internal lyrical theme of Tvardovsky. He, perhaps, is the only one in Russian poetry of the 20th century who does not have poems about love - about love for his beloved. There are poems about mother and poems about Motherland. Such is his talent that all his heroic love was directed to his country, to his people. And this is not a defect of talent, but its deep originality.

Tvardovsky publishes book after book after the war. The poem "House by the road" - 1946. The poem "Beyond the distance - distance" - 1960. The poem "Terkin in the next world" - 1962. And between these epic things, collections of lyrics, a two-volume, a four-volume collection of selected works are published. Tvardovsky is awarded state prizes. The head of state, N. S. Khrushchev, called him none other than "our Nekrasov."

Tvardovsky directed the Novy Mir magazine - published Solzhenitsyn's One Day in the Life of Ivan Denisovich, the first works of the then young Vasily Belov, Fyodor Abramov, Vasily Shukshin, Yuri Kazakov, Boris Mozhaev, Yuri Trifonov ...

Editing in Novy Mir is a whole era with many events, collisions and even tragedies. Apparently, dissertations on this topic have already been written or will be written. Tvardovsky did a lot of good and wise things in the field of editing. There was a lot of struggle, sometimes Tvardovsky argued with the “party line”, sometimes he conceded to it, sometimes he himself conceded to his personal weaknesses ... In a word, it’s not for us to judge. But if a meticulous reader wants to know the history of the Novy Mir magazine under Tvardovsky, he will discover many interesting things. In the end, the poet was removed from the leadership of the "New World". On December 18, 1971, he died.

* * *
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Alexander was born on June 8 (21), 1910 in the Smolensk province of the Russian Empire. It is surprising that in the biography of Tvardovsky the first poem was written so early that the boy could not even write it down, because he was not literate. The love for literature appeared in childhood: Alexander's father liked to read aloud at home the works of famous writers Alexander Pushkin, Nikolai Gogol, Mikhail Lermontov, Nikolai Nekrasov, Leo Tolstoy and Ivan Nikitin.

Already at the age of 14 he wrote several poems and poems on topical topics. When collectivization and dispossession took place in the country, the poet supported the process (he expressed utopian ideas in the poems "Country of the Ant" (1934-36), "The Path to Socialism" (1931)). In 1939, when the war with Finland began, A.T. Tvardovsky, as a member of the Communist Party, participated in the unification of the USSR and Belarus. Then he settled in Voronezh, continued to compose, worked in the newspaper "Red Army".

Creativity of the writer

The most famous work of Alexander Trifonovich Tvardovsky was the poem "Vasily Terkin". The poem brought great success to the author, because it was very relevant in wartime. The subsequent creative period in Tvardovsky's life was filled with philosophical thoughts, which can be traced in the lyrics of the 1960s. Tvardovsky began working in the Novy Mir magazine, completely revised his views on Stalin's policy.

In 1961, under the impression of Alexander Tvardovsky's speech at the XXII Congress of the CPSU, Alexander Solzhenitsyn gave him his story "Sch-854" (later called "One Day in the Life of Ivan Denisovich"). Tvardovsky, being at that time the editor of the magazine, rated the story extremely highly, invited the author to Moscow and began to seek Khrushchev's permission to publish this work.

At the end of the 60s, a significant event took place in the biography of Alexander Tvardovsky - the campaign of Glavlit against the Novy Mir magazine began. When the author was forced to leave the editorial office in 1970, part of the team left with him. The magazine was, in short, destroyed.

Death and legacy

Alexander Trifonovich Tvardovsky died of lung cancer on December 18, 1971, and was buried in Moscow at the Novodevichy Cemetery.

Streets in Moscow, Voronezh, Novosibirsk, Smolensk are named after the famous writer. A school was named in his honor and a monument was erected in Moscow.

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After reading a brief biography of Tvardovsky, be sure to try to answer the questions.

He lacked heresy
to become a genius.
F. Abramov
Alexander Trifonovich Tvardovsky was born in the Smolensk region in 1910. On long winter evenings, the family liked to read aloud Pushkin, Lermontov, Nekrasov, Tolstoy. Interest in literature, acquaintance with the classics gave rise in the boy to the desire to write himself. In 1925
the first poems of the beginning poet appear. Since 1928, Tvardovsky has been working as a correspondent in Smolensk, he is becoming a poet. It has become characteristic of the poet's style to speak simply, accessible, emotionally and figuratively. Already in 1931 in Moscow, the publishing house "Young Guard" published the poem "The Path to Socialism", the first major work of Tvardovsky.
1929-1933 were the most difficult years for the poet. The internal problems of the artist's own development collided with external circumstances. The fate of his family, dispossessed during one of the typical "excesses", was hard. The emotional experiences of this period will result much later in the poem "By the Right of Memory" (1966-1969). In the meantime, the young poet defends the "covenant of the original days", his response to life's trials was the poem "Country Ant". It tells about the era of collectivization in the countryside, about the “great turning point”, when, overcoming painful doubts, the middle peasant went to the collective farms.
Whatever Tvardovsky writes about, the poet's focus is on the image of a simple working man.
In the harsh years of the Great Patriotic War, Tvardovsky's lyrics were in tune with the poetry of most authors: the feat of arms of soldiers and the heroism of the home front, when even children did not stay away from these events. The pinnacle of creativity of this period is the poem "Vasily Terkin" - a kind of monument to the spirit of the Russian people in the war:
Platoon on the right bank
Alive and well to spite the enemy!
The lieutenant is only asking
Throw a fire in there.
And after the fire
Let's get up and stretch our legs.
What's there, we'll cripple
We provide transfer...
Shortly after the war, Tvardovsky wrote a poem-remembrance "The House by the Road". This is an excited story of the poet, addressed to all living people, not to forget the past, its lessons. This poem is about the strength, stamina and endurance of a Russian person, about love that has undergone severe trials, about the holiness and purity of a soldier's military duty. In the next poem, "For the distance - the distance", the poet travels not only in space from Moscow to Vladivostok, but also in time, comprehending the path traveled by the country and its people, recalls an anxious youth. The organic connection of the past and the present helps to better understand the present. The poet will say: "He who hides the past jealously is unlikely to be in harmony with the future." The poet notes three stages in the recent history of Russia: collectivization, war, post-war construction. And at each of these stages, the muse of "anxiety and upheaval" with special poetic power and sincerity embodied the most important, hidden in the minds and feelings of millions of the masses.
Poems Tvardovsky with their apparent "simplicity and lightness" require intense attention. The lyrical hero often merges with the image of the author, their voices sound like a harmonious duet:
On new buildings during these years
The main suffering was in full swing:
The factories rose in the glow,
Grew under the sky of the city.
And in the distance sad
Behind that great suffering, the village
No matter how you talk about yourself,
Couldn't keep up anymore.
Tvardovsky's poetry is a kind of poetic encyclopedia of time, his lyrical, epic, sometimes dramatic history. Great events were reflected in his work in the form of their direct depiction and as separate experiences, reflections.
Motherland, what happened
What a strange fate
Not only youth, but also old age -
There, in the city, for bread,
Went there to rest
Far from grandfather's graves...
For a long time, let's say it was,
But when were you there?
The originality of Tvardovsky's path reflected the life of the country and its people in the most dramatic periods of its history.
In the face of the past
You have no right to prevaricate, -
After all, these were paid
We pay the biggest ...
Already striking in the early poems of Tvardovsky is their complete originality, lack of imitation and literary quality. The poetry of the rise and difficulties of the formation of the state, the spiritual quest and experiences of the individual, the cultural and spiritual growth of a simple worker - all this was reflected in the many-sided poetry of Tvardovsky.
Forget, forget is ordered silently.
They want to drown in oblivion
Living pain. And so that the waves
Closed over her. Reality - forget!