What is the genre of the work of Vasily Terkin. A.T

The genre of Tvardovsky's work violated traditional canons: not a "poem", which would have been more familiar, but a "book": "A book about a soldier." The subtitle "poem" appeared only in the first publications of individual chapters in the newspaper Krasnoarmeyskaya Pravda. Some critics were confused by the vagueness and vagueness of the genre. However, the poet himself did not consider the genre uncertainty of the book to be a drawback, he wrote: "A chronicle is not a chronicle, a chronicle is not a chronicle, but a" book ", a living, mobile book, free in form, inseparable from the real case." The genre definition of "book" is more complex, broader, more universal than the traditional definition of "poem". Still, the "poem" is associated primarily (the memory of the genre and the laws of reader's perception are triggered) with the classics, with literature - with the classical, but literature, for example, with "Mtsyri" by M.Yu. Lermontov, with "Poltava" A.S. Pushkin ... Tvardovsky intuitively sought to get away from the literary genre tradition - "literary", "universalize" the genre of his work, to be closer to life, and not to literature, in other words, to enhance the effect of the authenticity of literary fiction. Explanations on this score of Tvardovsky himself, which reduces everything to simple efficiency, seem rather crafty (as is often the case with Tvardovsky), and we have no right to elevate them to the rank of literary absolute, as is often the case in some works about Tvardovsky: tormented by doubts and fears about the uncertainty of the genre, the lack of an initial plan that embraces all the work in advance, the weak plot coherence of the chapters among themselves.Not a poem - well, let not a poem for myself, I decided; there is no single plot - let it be no, no need; no the beginning of the thing - there is no time to invent it; the culmination and completion of the whole story is not planned - even if it is necessary to write about what is burning, does not wait, and then it will be seen, we will figure it out. "

It was this genre form - "The Book about the Fighter" - that gave creative freedom to the poet, partially removed the shade of literary convention in a work that was outwardly artless ("light"), increased the degree of the reader's confidence in the work, on the one hand, literary with its conventional reality, and on the other hand, absolutely vital, reliable, in which conventional reality and reality were so united and seemed natural that this artistic convention was not noticed, the reader did not think about it.

The genre memory of the "book" is different, and it is primarily determined by the books of the Old and New Testaments. See, for example, the New Testament (Exodus 32: 32–33), where the prophet Moses asks God for a people who have sinned, who made a golden calf for themselves: “Forgive them their sin. which You wrote in. The Lord said to Moses: the one who has sinned against Me, I will blot out from My book. " The book of life is also repeatedly mentioned in the Revelation of John the Theologian.

Tvardovsky's poem is a book of the life of the people in its diverse, free manifestations in a new time and in new circumstances. By analogy with Pushkin's novel Eugene Onegin, Tvardovsky's poem can be called an encyclopedia - an encyclopedia not only of frontline life, but also of the best features of the Russian person.

The author also brought his poem closer to chronicle and chronicle- genres that have long traditions in Russia. Tvardovsky wrote about "Vasily Terkin": "... a certain chronicle is not a chronicle, a chronicle is not a chronicle," thereby emphasizing the conscientiousness and accuracy, civic pathos and responsibility inherent in Russian chroniclers and compilers of chronicles.

Plot and composition... The poem (we will use this traditional genre definition of a work, not forgetting about its genre uniqueness) "Vasily Terkin" consists of 29 (including the chapter "About Me" and four chapters "From the Author") independent, internally finished chapters, not connected by a strict sequence of events ... That is, there is no rigid plot preference, and this gives the author the opportunity to say a lot, about things that are not directly related to the development of the plot, but contributes to the creation of the completeness of the picture, the completeness of the people's life in the war. There is really no plot in the work. There are only private plots within each chapter, and between the chapters there are only some plot connections. However, the event, plot in this work is not so important: "The Book about the Fighter" is valuable to others. The plot of the book takes shape in the course of the war, and its core was the fate of the entire people, the fate of the Motherland in a bitter time.

The unusual plot (in fact, its absence) and the composition of the book, started "from the middle" and cut short without a denouement, forced the author to introduce humorous reservations into the text (in the chapter "From the Author"):

... a book about a fighter. Without a beginning, without an end, Without a special plot, However, the truth is not harmful. There is no plot in the war. - How so no? - Well, no. There is a law - to serve until the term, Service is labor, a soldier is not a guest. There is a retreat - I fell asleep deeply, There is a rise - I jumped up like a nail.

The chapter is called "From the Author" and asks the reader questions, the author conducts a confidential conversation with the reader in it (however, the author's voice is sometimes difficult to separate from the hero's voice, they are so close). The dialogue about the plot is indicative in this fragment: who is he - a hypothetical interlocutor of the author, confident that a work simply cannot exist without a plot? Most likely, this is a dogmatic critic, who has firmly mastered the literary canons and terms, usually expresses himself in the correct literary language, but here he is so taken aback by the heretical statement about the absence of a plot that in confusion he repeats after the author the vernacular ironic "no": "How so no ? " 1

This assertion of the author - and disregard for literary dogmas, and an explanation of another reason for the lack of a plot: the book was created during the war, and in the war "it is impossible to guess ahead" ("From the author"). Any scheme, preset, caused by the alignment of the plot, would threaten to lose confidence in the naturalness of the story.

In creating the final version of the book, Tvardovsky left outside of it many fragments and plot twists published during the war. The author's plans provided for plot distractions (Terkin's youth, crossing the front line to communicate with the partisans, Terkin in captivity by the Germans, etc.), which did not materialize. “I saw,” wrote Tvardovsky in the article “How Vasily Terkin was written”, “that this reduces the book to some kind of private history, shrinks it, deprives it of that front-line“ universality ”that had already emerged and was already making the name of Terkin I decisively turned from this path, threw away what related to the enemy's rear, reworked the chapter "General" and again began to build the fate of the hero in the previously established plan "(V, 129).

In a word, a book from the middle And let's start. And there it will go.

The book is structured so that each chapter can be read as an independent work. The poet took into account that the completeness of individual chapters, externally not related to each other, is necessary so that they can be read by those who did not know the previous chapters. "I should have had in mind a reader who, even if he was unfamiliar with the previous chapters, would find in this chapter, published today in the newspaper, something whole, rounded" (V, 124). However, this does not mean that the book itself is not something whole. The compositional unity of the book is given by the image of the protagonist, who is always in the center of all events and to whom the threads of human destinies stretch; the author-narrator with his lyrical deviations from the author, who sometimes leads a direct dialogue with his hero and with the reader, talks about himself, etc .; style - gleaned from the people and returned to the people living "Russian speech, the great Russian word" (see A. Akhmatova's poem "Courage"); a unique fusion of solemn pathos and sly irony, thanks to which the author manages to avoid declarativeness and reproach for insincerity.

Terkin is an ordinary war worker, his front-line world is a concrete world, visible to the eye, directly perceived by feelings, the world of particulars, quiet events, and this determines the composition, the selection of episodes to reveal the image of the hero. Hence - a narrow coverage of events, a quick change of personnel, unknown or insignificant for the course of the war villages, settlements ...

All this is the periphery of the war and at the same time its true center of gravity.

The theme of the poem "Vasily Turkin" was formulated by the author himself in the subtitle: "A book about a soldier", that is, the work tells about war and a man in war. The hero of the poem is an ordinary soldier-infantryman, which is extremely important, since, according to Tvardovsky, it is a simple soldier who is the main hero and winner in the Patriotic War. This idea will be continued ten years later by MA Sholokhov, who in "The Fate of a Man" will portray an ordinary soldier Andrei Sokolov, and then ordinary soldiers and junior officers will become heroes of the military stories of Yu.V. Bondarev, V.L. Kondratyev, V.P. . Astafieva. By the way, it should be noted that the legendary Marshal of the Soviet Union G.K. Zhukov also dedicated his book "Memories and Reflections" to a Russian soldier.

The idea of ​​the poem is expressed in the image of the title character: the author is interested not so much in the events of the war as in the character of the Russian people (he is not opposed to the Soviet one), which was revealed in difficult military trials. Vasily Tyorkin is a generalized image of the people, he is a "Russian miracle man" ("From the author"). Thanks to his courage, steadfastness, resourcefulness, and sense of duty, the Soviet Union (with an approximate technical parity) won a victory over Nazi Germany. Tvardovsky expresses this main idea of ​​the Patriotic War and his work at the end of the poem:

Strength to strength proved:
Strength is no match for strength.
There is a metal stronger than metal
There is a fire more terrible than fire. ("In the bath")

"Vasily Tyorkin" is a poem, its genre originality is expressed in the combination of epic scenes depicting various military episodes, with lyrical digressions-reflections, in which the author, without hiding his feelings, talks about the war, about his hero. In other words, Tvardovsky created a lyric-epic poem.

The author draws various pictures of battles in the chapters: "Crossing", "Fight in the swamp", "Who shot?", "Tyorkin is wounded" and others. A distinctive feature of these chapters is showing the everyday life of the war. Tvardovsky is next to his hero and describes the soldier's exploits without elevated pathos, but without missing out on numerous details. For example, in the chapter "Who Shot?" depicts a German bombing of trenches in which Soviet soldiers were hiding. The author conveys the feeling of a person who can not change anything in a mortally dangerous situation, but, standing still, must only wait for a bomb to fly past or fall right into him:

And how humble you are suddenly
You lie earthly on your chest,
Shielding from black death
Only my own back.
You're lying on your face, boy
Twenty incomplete years.
Now you have a cover,
Now you are already gone.

The poem also describes a short rest in the war, the life of a soldier in the intervals between battles. These chapters seem to be no less than chapters on military episodes. These include: "Harmony", "Two Soldiers", "At Rest", "In the Bath" and others. The chapter "About the Orphan Soldier" depicts an episode when a soldier found himself very close to his native village, which he had not been to since the beginning of the war. He asks the commander for two hours to visit relatives. The soldier runs through familiar places from childhood, recognizes the road, the river, but in the place of the village he sees only tall weeds, and not a single living soul:

Here is the hill, here is the river,
Wilderness, weeds to a soldier in height,
Yes, there is a plaque on the post:
Like, the village of Red Bridge ...
At the plank at the fork
Taking off his cap, our soldier
He stood as if on a grave,
And it's time for him to go back.

When he returned to his unit, his comrades guessed everything from his appearance, did not ask about anything, but left him supper:

But, homeless and homeless,
Returning to the battalion,
The soldier ate his soup cold
After all, and he cried.

In several chapters "From the Author" the lyrical content of the poem is directly expressed (the poet expresses his views on poetry, explains his attitude towards Vasily Turkin), and in the epic chapters the author accompanies the story of military events with his excited, emotional commentary. For example, in the chapter "The Crossing", the poet painfully depicts soldiers who die in the cold waters of the river:

And I saw for the first time
It will not be forgotten:
People are warm, alive
We went to the bottom, to the bottom, to the bottom ...

Or in the chapter "Harmony" the author describes how, during an accidental stop, the soldiers started dancing on the road to keep warm. The poet looks with sadness and affection at the soldiers who, forgetting for a few minutes about death, about the sorrows of war, are dancing merrily in the bitter frost:

And the accordion is calling somewhere.
Far, easily leads.
No, what are you guys,
Amazing people.

Who owns this remark - the author or Turkin, who plays the harmony and watches the dancing couples? It is impossible to say for sure: the author sometimes deliberately merges with the hero, because he endowed the hero with his own thoughts and feelings. The poet declares this in the chapter "About himself":

And I will tell you, I will not hide, -
Whether in this book here or there,
What would a hero say
I speak personally myself.
I am responsible for everything
And mind you, if you didn't notice
That Turkin, my hero,

Sometimes it speaks for me. The next plot-compositional feature of the poem is that the book does not have a starting point and a denouement: In a word, a book about a fighter Without beginning, without end. Why is it so - without a beginning? Because the time is not enough To start it all over again. Why endlessly? I just feel sorry for the fellow. ("From the Author") The poem "Vasily Turkin" was created by Tvardovsky during the Great Patriotic War and consists of separate chapters, separate sketches, which are united by the image of the main character. After the war, the author did not begin to supplement the poem with new episodes, that is, to come up with an exposition (to unfold the pre-war history of Tyorkin) and a plot (for example, to depict the first battle of the hero with the Nazis). Tvardovsky simply completed in 1945-1946 the introduction "From the Author" and the conclusion "From the Author". Thus, the poem turned out to be very original in composition: there are no usual expositions, set-ups, culminations, denouements in the general storyline. Because of this, Tvardovsky himself found it difficult to define the genre of "Vasily Tyorkin": after all, the poem presupposes a plot narration.

With the free construction of a common storyline, each chapter has its own complete plot and composition. For example, the chapter "Two Soldiers" describes an episode when Turkin, returning from the hospital to the front, went to take a break from the road to the hut where two old men live. The exposition of the chapter is a description of the hut, the old man and the old woman who listen to the mortar fire: after all, the front line is very close. The plot is the author's mention of Turkin. He sits here on the bench, talks respectfully with the old man about various everyday problems and at the same time opens the saw, repairs the clock. Then the old woman prepares supper. The climax of the chapter is a conversation over dinner, when the old man asks his main question:

Answer: we will beat the German
Or maybe we won't beat you?

The denouement comes when Tyorkin, having supper and politely thanking the owners, puts on an overcoat and, already standing on the threshold, answers the old man: "Let's beat him, father ...".

This chapter contains a kind of epilogue that translates a particular everyday episode into a general historical plan. This is the last quatrain:

In the depths of native Russia,
Against the wind, chest forward
Vasily is walking in the snow
Turkin. He's going to beat the German.

The chapter is built on a circular composition, since the first and penultimate quatrains practically coincide:

In the field a blizzard-zaveruha,
War is raging three miles away.
There is an old woman on the stove in the hut.
Grandfather is the owner at the window.

Thus, the chapter "Two Soldiers" is a complete piece with a full plot and a circular composition that emphasizes the completeness of the entire episode.

So, the poem "Vasily Turkin" has a number of artistic features, which are explained, on the one hand, by the history of the creation of the work, and on the other, by the author's intention. As you know, Tvardovsky wrote chapters of the poem in the period from 1942 to 1945 and designed them as separate finished works, because

There is no plot in the war.
- How so no?
- Well, no. ("From the author")

In other words, a soldier's life lasts from episode to episode, while he is alive. This feature of frontline life, when every single moment of life is valued, since the next may not be, was reflected by Tvardovsky in The Book about the Soldier.

First, the image of the main character, which in one way or another is present in almost every chapter, and then the main idea associated with the image of Tyorkin, could combine individual small works. Combining individual chapters into a finished poem, Tvardovsky did not change the plot-compositional structure that had developed by itself during the war years:

The same book about the fighter
Without beginning, without end
Without a special plot,
However, the truth is not harmful. ("From the author")

"Vasily Turkin" is distinguished by striking features of construction. First, the poem lacks a general plot and almost all of its elements. Secondly, the poem is characterized by extreme compositional freedom, that is, the sequence of chapters is poorly motivated - the composition only approximately follows the course of the Patriotic War. It is because of such a composition that Tvardovsky himself defined the genre of his work with the following phrase: not a poem, but simply a “book”, “a living, mobile, free-form book” (“How Vasily Tyorkin was written”). Thirdly, each chapter is a complete fragment with its own plot and composition. Fourth, the epic depiction of the war episodes is intertwined with lyrical digressions, which complicates the composition. However, such an unusual construction allowed the author to achieve the main thing - to create a vivid and memorable image of Vasily Tyorkin, who embodies the best features of a Russian soldier and a Russian person in general.

The poem consists of 30 chapters, each of which is quite autonomous and at the same time they are all closely related. The author himself wrote about the peculiarities of such a composition: “The first thing that I took for the principle of composition and plot is the striving for a certain completeness of each separate part, and within a chapter - each period, even a stanza. I should have had in mind a reader who, even if he was unfamiliar with the previous chapters, would have found something whole, rounded in the chapter published today in the newspaper ... ”As a result, the poem was constructed as a chain of episodes from the military life of the protagonist. So Terkin swims across the icy river twice to reestablish contact with the advancing unit; occupies a German dugout alone, but comes under fire from his own artillery; enters into hand-to-hand combat with the German and, with difficulty overcoming, takes him prisoner.
Along with the chapters about Terkin and his exploits in the poem there are five chapters - a kind of lyrical digressions, which are called: "From the author" (four) and one - "About myself." They show the author's lyrical origin, which gives originality to the genre of the work. In terms of the coverage of time, events, heroes, the nature of the central character, this is an epic work. The main thing in it is the image of a national-historical event that decides the fate of the nation, and of a truly national heroic character. In addition to Vasily Terkin, there are many other heroes - participants in the war ("haircut" guys from the chapter "Crossing", an old man and an old woman in the chapter "Two Soldiers", a tired driver who started dancing to the sounds of an accordion, from the chapter "Harmony", etc. The special hero of the poem is the author. “Terkin exists independently, independently of its author. But the author became so close to him and his comrades, so he entered their military fate, into all their relations - both here, at the front, and where these people came to the front - that he can express them with absolute authenticity and perfect inner freedom. thoughts and feelings ”(V. Alexandrov). In the chapter "About Me" the author writes:
And I will tell you, I will not hide, -
Is it in this book here or there
What would a hero say
I speak personally myself.
The fusion of the author and the hero is one of the most important features of the poem, which is a lyrical epic work in its genre. Its unity is ensured not only by the cross-cutting hero passing through the entire poem, by a common national-patriotic idea, but also by the special closeness of the author and the hero. The poet directly addresses the reader in the introductory and concluding chapters, expresses his attitude to the “holy and right fight”, to the people, admires Terkin's spiritual generosity and courage, and at times intervenes, as it were, by becoming next to the fighter.

Essay on literature on the topic: Genre and composition of the poem "Vasily Terkin"

Other compositions:

1. “Terkin” was for me ... my lyrics, my journalism, song and teaching, anecdote And a saying, a heart-to-heart talk and a remark to the occasion. A. Tvardovsky During the Great Patriotic War, A. T. Tvardovsky was a war correspondent, so the military topic was fine for him Read More ......
2. In "Vasily Terkin" there are few oppositions, but there is a lot of movement, development - primarily in the images of the protagonist and the author, their contacts with each other and with other characters. Initially, they are distanced: in the introduction, Terkin unites only with a good saying or saying - Read More ......
3. In addition to the main character and minor characters, the image of the author plays an important role in Vasily Terkin. The book contains many lyrical chapters "From the Author". In the first of these chapters, the author introduces his hero to the reader, in the second, he shares with the reader his thoughts on the specifics of Read More ......
4. - No, guys, I'm not proud. Without looking into the distance, So I will say: why do I need an order? I agree to a medal. AT Tvardovsky Poetry of Alexander Tvardovsky is distinguished by simplicity and shrill truth, taking lyricism to the soul. The author is not dissembling, but comes to us Read More ......
5. The first chapters were published in 1942, although the name of the hero of the book - Vasya Terkin - was known much earlier, from the period of the Finnish War. On the pages of the front-line newspaper "On Guard of the Motherland", poetic feuilletons about a successful, dexterous fighter, created by the commonwealth, began to appear Read More ......
6. A man of simple leaven, That fear is no stranger to battle ... Either serious, now amusing, ... He walks - saint and sinful ... The poem "Vasily Terkin" was written by Tvardovsky based on the personal experience of the author - a participant in the Great Patriotic War. In terms of genre, this is a free narrative-chronicle Read More ......
7. Fiction during the Great Patriotic War has a number of characteristic features. Its main features are patriotic pathos and an attitude towards universal accessibility. The poem by Alexander Trifonovich Tvardovsky "Vasily Terkin" is rightfully considered the most successful example of such a work. Its first chapters were published in Read More ......
8. The poet Tvardovsky managed to say his weighty word about the Great Patriotic War in connection with a strong sense of belonging, which is organically inherent in his talent and personality. This is fully confirmed by his poem "Vasily Terkin". The Book of the Fighter begins with Read More ......

In the center of the poem is the image of Terkin, uniting the composition of the work into a single whole. Terkin Vasily Ivanovich - the main character of the poem, an ordinary infantryman from the Smolensk peasants. Terkin embodies the best features of the Russian soldier and the people in general... The poem is constructed as a chain of episodes from the military life of the protagonist, which do not always have a direct eventual connection with each other. Terkin humorously tells young soldiers about the everyday life of the war; says that he has been fighting since the beginning of the war, was surrounded three times, was wounded. The fate of an ordinary soldier, one of those who bore the brunt of the war on his shoulders, becomes the personification of national strength of mind, will to live... Terkin crosses the icy river twice to reestablish contact with the advancing units; Terkin alone occupies a German dugout, but comes under fire from his own artillery; on the way to the front, Terkin finds himself in the house of old peasants, helping them with the housework; Terkin steps into hand-to-hand combat with the German and, with difficulty, overpowering him, takes him prisoner. Unexpectedly for himself, Terkin knocks down a German attack aircraft from a rifle; Sergeant Terkin, who envies him, reassures him: not the last. Terkin takes command of the platoon when the commander is killed, and rushes into the village first; however, the hero is again seriously wounded. Lying wounded in the field, Terkin talks to Death, persuading him not to cling to life; in the end, the soldiers find him, and he tells them: "Take this woman away, I am a soldier still alive" In the image of Vasily Terkin the best moral qualities of the Russian people are united: patriotism, readiness for heroic deeds, love of work... The character traits of the hero are interpreted by the poet as traits of the collective image: Terkin is inseparable and inseparable from the militant people. The author also emphasizes the patriotism and collectivism of the hero negatively: he emphasizes lack of traits of individualism, selfishness, preoccupation with oneself in Terkin... Terkin is peculiar respect and careful attitude of the master to the thing as to the fruit of labor... No wonder he takes the saw from his grandfather, which he manages, not knowing how to sharpen it. Returning the owner's finished saw, Vasily says: Now, grandfather, take it, look. It will cut better than a new one, In vain do not measles tool. Terkin loves work and is not afraid of it. The simplicity of the hero is usually a synonym for his mass character, the absence in him of features of exclusivity... But this simplicity has another meaning in the poem: the transparent symbolism of the hero's surname, Terkinskoe “We’ll endure, we will overwhelm” emphasizes his ability to overcome difficulties simply, easily. Such is his behavior also when he crosses an icy river or sleeps under a pine tree, completely content with an uncomfortable bed, etc. In this simplicity of the hero, his calmness, sobriety of outlook on life, important features of the national character are expressed. In the field of view of A. T. Tvardovsky in the poem "Vasily Terkin" is not only the front, but also those who work in the rear for the sake of victory: women and old people... The characters of the poem not only fight - they laugh, love, talk with each other, and most importantly - dream of a peaceful life... The reality of war brings together what is usually incompatible: tragedy and humor, courage and fear, life and death. In the chapter "From the Author" depicts the process of "mythologizing" the main character of the poem... Terkin is called by the author “a holy and sinful Russian miracle man”. The name of Vasily Terkin has become legendary and household name.

The poem "Vasily Terkin" is distinguished by a kind of historicism. It can be conditionally divided into three parts, coinciding with the beginning, middle and end of the war. Poetic comprehension of the stages of the war creates from the chronicle lyrical chronicle of events... Feeling bitterness and sorrow fills the first part, belief in victory - the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part poems. This is due to the fact that A. T. Tvardovsky created the poem gradually, throughout the Great Patriotic War of 1941-1945.

The composition of the poem is also original. Not only individual chapters, but also periods, stanzas within chapters are distinguished by their completeness. This is because the poem was printed in parts. And it should be accessible to the reader from “any place” .

The poet emphasized the veracity, authenticity of the broad pictures of life by calling “Vasily Terkin” not a poem, but “ a book about a fighter”. The word "book" in this people's sense sounds somehow in a special way, like an object " serious, reliable, unconditional”, - says Tvardovsky. Like all the heroes of the world epic, Turkin granted immortality(it is no coincidence that in the 1954 poem Terkin in the next world he finds himself in the afterlife, reminiscent of the Soviet reality by his carrion) and at the same time - lively optimism, making him the personification of the national spirit. The poem was a huge success with readers. Vasily Terkin became a folklore character, about which Tvardovsky remarked: "Where he came from, he goes there." The book received both official recognition (State Prize, 1946), and high appraisal of contemporaries.

TO REMEMBER Contents

The infantry company has a new guy, Vasily Turkin. He is fighting for the second time in his lifetime (the first war is Finnish). Vasily does not go into his pocket for a word, he is a good eater. In general, "a guy wherever."

Tyorkin recalls how he, in a detachment of ten, during the retreat made his way from the western, "German" side to the east, to the front. On the way, the commander's native village was, and the detachment went to his home. The wife fed the soldiers, put them to bed. The next morning the soldiers left, leaving the village in German captivity. On the way back, Turkin would like to go into this hut to bow to "a kind, simple woman."

There is a crossing of the river. Platoons are loaded onto pontoons. Enemy fire disrupts the crossing, but the first platoon managed to get over to the right bank. Those who stayed on the left, are waiting for dawn, do not know what to do next. From the right bank the Turkin sails (winter water, ice). He reports that the first platoon is able to secure the crossing if supported by fire.

Tyorkin is making a connection. A shell explodes nearby. Seeing the German "cellar", Tyorkin takes it. There, in ambush, awaits the enemy. He kills a German officer, but he manages to wound him. Ours begin to beat on the "cellar". And Turkin is found by tankmen and taken to the medical battalion ...

Tyorkin jokingly discusses that it would be nice to get a medal and come with it after the war to a party in the village council.

Leaving the hospital, Tyorkin is catching up with his company. They pick him up in a truck. Ahead - a stopped convoy of transport. Freezing. And there is only one accordion - for tankers. It belonged to their deceased commander. Tankers give an accordion to Turkin. He plays first a sad melody, then a funny one, and the dance begins. The tankers recall that it was they who brought the wounded Tyorkin to the medical battalion, and give him an accordion.

In the hut there is a grandfather (an old soldier) and a grandmother. Turkin comes to them. He fixes the saw, the watch for the old people. Guesses that the grandmother has hidden bacon ... Grandma treats Tyorkin. And the grandfather asks: "Will we beat the German?" Tyorkin replies, already leaving, from the doorway: "We'll beat you, father."

The bearded fighter lost his pouch. Turkin recalls that when he was wounded, he lost his hat, and the girl nurse gave him hers. He still keeps this hat. Turkin gives the bearded man his pouch, explains: in a war you can lose anything (even your life and family), but not Russia.

Turkin hand-to-hand fighting the German. Wins. Returns from reconnaissance, carries a "tongue" with him.

Spring is at the front. The buzzing of the May beetle is replaced by the hum of a bomber. The soldiers lie prone. Only Turkin gets up, fires a rifle at the plane and shoots him down. Terkin is given the order.

Turkin recalls how he met a boy in the hospital who had already become a hero. He proudly emphasized that he came from near Tambov. And native Smolensk region seemed to Turkin "an orphan". That's why he wanted to be a hero.

The general lets Tyorkin go home for a week. But the Germans still have his village ... And the general advises to wait with leave: "We are on the way with you."

Fight in the swamp for the small village of Borki, from which nothing remains. Turkin cheers up his comrades.

Tyorkin is sent to rest for a week. This is "paradise" - a hut where you can eat four times a day and sleep as much as you like, on the bed, in bed. At the end of the first day, Turkin thinks ... catches a passing truck and goes to his native company.

Under fire, a platoon is going to take the village. the "dapper" lieutenant is leading all. They kill him. Then Turkin understands that "it is his turn". The village was taken. And Turkin himself was seriously wounded. Turkin lies in the snow. Death persuades him to submit to her. But Vasily disagrees. People from the funeral team find him, carry him to the hospital.

After the hospital, Turkin returns to his company, and there everything is already different, the people are different. There ... a new Turkin appeared. Only not Vasily, but Ivan. They argue who is the real Turkin? We are already ready to concede this honor to each other. But the foreman announces that each company "will be given its own Turkin."

The village where Tyorkin repaired the saw and the clock was under the Germans. The German took the watch away from his grandfather and grandmother. The front line ran through the village. The old men had to move to the cellar. Our scouts come to them, among them - Tyorkin. He is already an officer. Turkin promises to bring a new watch from Berlin.

With the onset of Turkin, he passes by his native Smolensk village. Others take it. There is a crossing over the Dnieper. Turkin says goodbye to his native side, which remains no longer in captivity, but in the rear.

Vasily tells about an orphan soldier who came on vacation to his native village, and there was nothing left there, the whole family died. The soldier needs to keep fighting. And we need to remember about him, about his grief. Don't forget about it when victory comes.

Road to Berlin. Grandma returns home from captivity. The soldiers give her a horse, a cart, things ... "Say, they say, that Vasily Tyorkin supplied."

Bathhouse in the depths of Germany, in some German house. The soldiers are soaring. Among them there is one - there are many scars from wounds on him, he knows how to steam well, he does not climb into his pocket for a word, he dresses - on the shirt of the order, medals. The soldiers say about him: "It's like Turkin."

34. Autobiographical motives in the lyric and publicistic poem by A. Tvardovsky "By the Right of Memory».

Poem "By the Right of Memory" was created in the 60s, but was published many years later - in 1987, for many years it was banned. The new work was conceived as an "Additional Chapter" to the poem "Beyond the Distance - Distance". The work on the new chapter was dictated by a feeling of some understatement about "time and myself." In genre and thematic terms, this is a lyrical and philosophical meditation, a “travel diary”, with a weakened plot. The characters of the poem are the immense Soviet country, its people, the rapid turn of their deeds and accomplishments. The text of the poem contains a joking confession of the author - a passenger of the Moscow-Vladivostok train. Three distances the artist begins to see clearly: the immensity of the geographical expanses of Russia; historical distance as the continuity of generations and the realization of the inextricable link between times and destinies, and finally, the bottomlessness of the moral storehouse of the lyrical hero's soul.

Later, "Chapter Additional" resulted in a completely new work. She reflected the sharp the author's reaction to the change in the social situation in the second half of the 60s. The poem "By the Right of Memory" is a three-part composition. For Twardowski word "Memory" and "truth" are synonyms... The thought, in the power of which the poet was, sounded more than once in his poems, such as "On existence", "The whole point is in a single covenant", "Word about words", "I wish I could live like a nightingale alone ..." and others.

In the introduction, Tvardovsky declares that these are frank lines, a confession of the soul.

The first and second chapters are contrasting in their intonation.. In the first the poet with a warm feeling, a little ironically recalls his youthful dreams and plans. These dreams are pure and lofty: to live and work for the good of the Motherland. And if need be, then give your life for her. Beautiful youthful dreams.

Chapter two“The son does not answer for his father” is the most tragic in the poem, and in all of his work. The illegally dispossessed Tvardovsky family was exiled to Siberia. Only Alexander Trifonovich remained in Russia due to the fact that he lived separately from his family in Smolensk. He could not alleviate the fate of the exiled. In fact, he abandoned the family. This tormented the poet all his life. This unhealed wound of Tvardovsky resulted in the poem "By the Right of Memory".

The poet seeks to comprehend the course of history. Understand what was the fault of the repressed peoples. Who allowed this state of affairs when one decided the fate of peoples. And all were guilty before him for being alive.

A difficult time, which philosophers cannot figure out fifty years later. And what can we say about a young man who piously believes in official propaganda and ideology. The duality of the situation is reflected in the poem.

“The son does not answer for his father” - repeating these words receive new and new semantic and emotional content. It is the repetition that allows us to trace the development of the theme of the "five words." The second chapter occupies a special place in the poem "By the Right of Memory". Being the key one, it “holds” the entire poem. Tvardovsky knew that it could not be printed. In the poem "By the Right of Memory" Tvardovsky is not an impassive chronicler, but prosecution witness... He is worried about the fate of specific people whom he knew well: childhood friend, aunt Daria - in the poem "Beyond the Distance," the father - in the last poem. "On memory" is a special chapter. She synthesizes thoughts, motives, stated in her name. The chapter is polemical. Tvardovsky argues with those whom he calls the "silent".

In the third chapter of the poem, Tvardovsky asserts the human right to memory. We have no right to forget anything. As long as we remember, our ancestors, their deeds and deeds are “alive”. Memory is a person's privilege, and he cannot voluntarily refuse God's gift for the sake of anyone else. The chapter is comparable to some of the chapters of the poem "Beyond the Distance - Distance": "With Himself", "Childhood Friend", "Literary Conversation", "So It Was". Similar motives (true, memory, responsibility), noticeable textual overlaps, the pathos of these works, expressed by the words: "There is neither subtract nor add, - / So it was on earth" - and the other allows us to consider Tvardovsky's last two poems as a kind poetic dilogy.

This poem is a kind of repentance of Tvardovsky for his youthful deeds and mistakes. We all make mistakes in our youth, sometimes fatal, but this does not give rise to poems in us. In a great poet, even grief and tears are poured into genius poems.

The great events that took place in our country were reflected in the work of Alexander Trifonovich Tvardovsky both in the form of their direct depiction, and in the form of separate experiences-reflections associated with him. In this sense, his work is highly topical.

Although “By the Right of Memory” does not have a genre designation in the subtitle, and the poet himself, faithful to the concepts of literary modesty, sometimes called this work a poetic “cycle”, it is quite obvious that this is a lyric poem.

Genre of works by Tvardovsky violated traditional canons: not a "poem", which would be more familiar, but a "book": "A book about a fighter." The subtitle "poem" appeared only in the first publications of individual chapters in the newspaper Krasnoarmeyskaya Pravda. Some critics were confused by the vagueness and vagueness of the genre. However, the poet himself did not consider the genre uncertainty of the book to be a drawback, he wrote: "A chronicle is not a chronicle, a chronicle is not a chronicle, but a" book ", a living, mobile book, free in form, inseparable from the real case." The genre definition of "book" is more complex, broader, more universal than the traditional definition of "poem". Still, the "poem" is associated first of all (the memory of the genre and the laws of reader's perception are triggered) with the classics, with literature - with the classical, but literature, for example, with "Mtsyri" by M.Yu. Lermontov, with "Poltava" A.S. Pushkin ... Tvardovsky intuitively sought to get away from the literary genre tradition - "literary", "universalize" the genre of his work, to be closer to life, and not to literature, in other words, to enhance the effect of the authenticity of literary fiction. Explanations on this score of Tvardovsky himself, which reduces everything to simple efficiency, seem rather crafty (as is often the case with Tvardovsky), and we have no right to elevate them to the rank of literary absolute, as is often the case in some works about Tvardovsky: tormented by doubts and fears about the uncertainty of the genre, the lack of an initial plan that embraces all the work in advance, the weak plot coherence of the chapters among themselves.Not a poem - well, let not a poem for myself, I decided; there is no single plot - let it be no, no need; no the beginning of the thing - there is no time to invent it; the culmination and completion of the whole story is not planned - even if it is necessary to write about what is burning, does not wait, and then it will be seen, we will figure it out. "

It was this genre form - "The Book about the Fighter" - that gave creative freedom to the poet, partially removed the shade of literary convention in a work that was outwardly artless ("light"), increased the degree of the reader's confidence in the work, on the one hand, literary with its conventional reality, and on the other hand, absolutely vital, reliable, in which conventional reality and reality were so united and seemed natural that this artistic convention was not noticed, the reader did not think about it.

The genre memory of the "book" is different, and it is primarily determined by the books of the Old and New Testaments. See, for example, the New Testament (Exodus 32: 32-33), where the prophet Moses asks God for a people who have sinned, who made a golden calf for themselves: “Forgive them their sin. which you wrote in. The Lord said to Moses: the one who has sinned against Me, I will blot out of My book. " The book of life is also repeatedly mentioned in the Revelation of John the Theologian.

Tvardovsky's poem is a book of the life of the people in its diverse, free manifestations in a new time and in new circumstances. By analogy with Pushkin's novel Eugene Onegin, Tvardovsky's poem can be called an encyclopedia - an encyclopedia not only of frontline life, but also of the best features of the Russian person.

The author also brought his poem closer to chronicle and chronicle- genres with long traditions in Russia. Tvardovsky wrote about "Vasily Terkin": "... a certain chronicle is not a chronicle, a chronicle is not a chronicle," thereby emphasizing the conscientiousness and accuracy, civic pathos and responsibility inherent in Russian chroniclers and compilers of chronicles.

Plot and composition... The poem (we will use this traditional genre definition of a work, not forgetting about its genre uniqueness) "Vasily Terkin" consists of 29 (including the chapter "About Me" and four chapters "From the Author") independent, internally finished chapters, not connected by a strict sequence of events ... That is, there is no rigid plot preference, and this gives the author the opportunity to say a lot, about things that are not directly related to the development of the plot, but contributes to the creation of the completeness of the picture, the completeness of the people's life in the war. There is really no plot in the work. There are only private plots within each chapter, and between the chapters there are only some plot connections. However, the event, plot in this work is not so important: "The Book about the Fighter" is valuable to others. The plot of the book takes shape in the course of the war, and its core was the fate of the entire people, the fate of the Motherland in a bitter time.

The unusual plot (in fact, its absence) and the composition of the book, started "from the middle" and cut short without a denouement, forced the author to introduce humorous reservations into the text (in the chapter "From the Author"):

The chapter is called "From the Author" and asks the reader questions, the author conducts a confidential conversation with the reader in it (however, the author's voice is sometimes difficult to separate from the hero's voice, they are so close). The dialogue about the plot is indicative in this fragment: who is he - the author's hypothetical interlocutor, who is sure that a work simply cannot exist without a plot? Most likely, this is a dogmatic critic, who has firmly mastered the literary canons and terms, usually expresses himself in the correct literary language, but here he is so taken aback by the heretical statement about the absence of a plot that in confusion he repeats after the author the vernacular ironic "no": "How so no ? " 1

This assertion of the author - and disregard for literary dogmas, and an explanation of another reason for the lack of a plot: the book was created during the war, and in the war "it is impossible to guess ahead" ("From the author"). Any scheme, preset, caused by the alignment of the plot, would threaten to lose confidence in the naturalness of the story.

In creating the final version of the book, Tvardovsky left outside of it many fragments and plot twists published during the war. The author's plans provided for plot distractions (Terkin's youth, crossing the front line to communicate with the partisans, Terkin in captivity by the Germans, etc.), which did not materialize. “I saw,” wrote Tvardovsky in the article “How Vasily Terkin was written”, “that this reduces the book to some kind of private history, shrinks it, deprives it of that front-line“ universality ”that had already emerged and was already making the name of Terkin I decisively turned from this path, threw away what related to the enemy's rear, reworked the chapter "General" and again began to build the fate of the hero in the previously established plan "(V, 129).

The book is structured so that each chapter can be read as an independent work. The poet took into account that the completeness of individual chapters, externally not related to each other, is necessary so that they can be read by those who did not know the previous chapters. "I should have had in mind a reader who, even if he was unfamiliar with the previous chapters, would find in this chapter, published today in the newspaper, something whole, rounded" (V, 124). However, this does not mean that the book itself is not something whole. The compositional unity of the book is given by the image of the protagonist, who is always in the center of all events and to whom the threads of human destinies stretch; the author-narrator with his lyrical deviations from the author, who sometimes leads a direct dialogue with his hero and with the reader, talks about himself, etc .; style - gleaned from the people and returned to the people living "Russian speech, the great Russian word" (see A. Akhmatova's poem "Courage"); a unique fusion of solemn pathos and sly irony, thanks to which the author manages to avoid declarativeness and reproach for insincerity.

Terkin is an ordinary war worker, his front-line world is a concrete world, visible to the eye, directly perceived by feelings, the world of particulars, quiet events, and this determines the composition, the selection of episodes for revealing the image of the hero. Hence - a narrow coverage of events, a quick change of personnel, unknown or insignificant for the course of the war villages, settlements ...

All this is the periphery of the war and at the same time its true center of gravity.