REFLECTION OF THE EPOCH. Among the poets of the 20th century, the work of Alexander Tvardovsky occupies a special place. It is an integral part of the spiritual life of the Russian nation. His wise, heartfelt poetry comprehends the public and aesthetic self-consciousness of the people at the most difficult, critical stages of its history. Tvardovsky was one of those courageous people who, during the years known as stagnation, prepared the consciousness of Soviet society for the need for change.

All major works of Tvardovsky are dedicated to some significant stage in the life of the Soviet people. In the poem "Country Ant" the poet reflected the years of collectivization, in "Vasily Terkin" and "House by the Road" - the terrible years of the Great Patriotic War. In the poem "Beyond the distance - the distance" he described the difficult period of post-war construction.

In Terkin in the Other World, he warns a society in which the bureaucracy seeks to seize key positions. “By the Right of Memory” is a warning poem addressed to the conscience and memory of a person responsible for the fate of his country and his people.

Alexander Tvardovsky belongs to those poets for whom childhood and adolescence, lived in the countryside, forever determined the nature of creativity, became a poetic source of inspiration. And therefore, a large place in his lyrics, especially early ones, is occupied by his small homeland - his native Smolensk land. With Zagorye, “all the best that is in me is connected,” the poet admitted. “Moreover, it’s me as a person. This connection is always dear to me and even painful.

In the works of Tvardovsky, memories of childhood and youth often arise: the forest side of Smolensk, the farmstead and the village of Zagorye, the conversations of peasants at the father's forge. The early poems "Harvest", "Haymaking", "Spring lines" and the first collections of poems - "The Road" (1938), "Rural Chronicle" (1939), "Zagorye" (1941) describe the life of the village. They are rich in signs of the time, generously filled with specific sketches of the life and way of life of the peasants. From here, from his native places, came Tvardovsky's poetic ideas about Russia. Here he was "captivated" by "songs and fairy tales that he heard from his grandfather."

The originality of a brightly revealed talent, so close to the poetics of folklore, the generous and masterful use of folk speech - all this is found in the Land of the Ant, written in the mid-30s.

"Country Ant" (1934-1936) - a poem about the fate of a peasant individual farmer, about his difficult and difficult path to the collective farm. The protagonist of the poem, Nikita Morgunok, is in no hurry to join the collective farm, he is afraid of this decisive step. And although his life is bitter, “but still sweet,” because Nikita cherishes his inescapable dream: he would like to live as his own master, live to see the hour when he will speak and sit at the table on an equal footing with the village fist Bugrov. For this, as it seems to the hero of the poem, you need to have your own allotment, where

All yours is in front of you

Go to yourself, spit.

Your well, and your spruce forest,

And the cones are all spruce.

The plot of the work is a half-fantastic-half-real journey of the hero through native land, the story of Nikita's search for the magical and attractive country of Ant, where

... It stands on a steep hill,

Like a bush, a farm,

The earth is long and wide

All around yours.

You will sow a bubbly one -

And that one is yours.

Morgunok dreams of happy labor on his land. He treats work with poetic inspiration, because work for him is not a means of enrichment, but the meaning of all life. But happy work in Nikita's view is work in the conditions of a private, individual economy. Meanwhile, the country is living a collective life, moving forward at an unprecedented pace:

A tractor detachment went out into the field,

A fast train rumbles along the tracks,

Planes fly across the sky

Icebreakers go around the Pole...

Nikita saw a lot on his way. He talked for a long time with people about painful things, delved into their troubles and anxieties. The hero's awareness of the futility of sole proprietorship, the facts of his new life that struck him (work at the threshing machine, a conversation with the chairman of the collective farm, a wedding) - all this is a harbinger of significant shifts in Nikita's worldview.

The decision to become a collective farmer does not ripen in Nikita immediately, but there is no turning back. Thus, in the half-fairy story-journey of his hero, Alexander Tvardovsky managed to reveal those deep processes that were characteristic of the socialist reorganization of the countryside in the late 1920s and early 1930s.

The main idea of ​​the poem is the superiority of collective farming, conveyed not in the form of dry declarations of the author, but revealed from within, experienced, felt and realized by the hero. It seems convincing, because Tvardovsky himself, in the early period of his work, firmly believed that the life of the village was being rebuilt "in a new way."

Whatever Tvardovsky wrote about, the image of a simple working man always turned out to be in the center of the poet's attention. The heroes of the poet live a big, eventful life. Inspired work gives them, according to Tvardovsky, a sense of dignity, an awareness of their place on earth. Outwardly, the stories told by the poet are very simple, but they are the background for revealing the rich human content, for revealing the features of the Russian national character.

In the stormy years of the Great Patriotic War, instead of the major, joyful, light tones of the poems of past years, the red reflections of fires burst into the works of Tvardovsky, the black earth reared up from bombs and shells, ashes in the place of cities and villages. They are riddled with unbearable pain for their native land, for the grief of hundreds of thousands of people.

In the works of the war years (the cycle of poems "Frontline Chronicle" (1941-1945), "The Ballad of a Comrade", "Two Lines" (1943), "War - there is no more cruel word ..." (1944), "In the field, in streams pitted * (1945), etc.) reflected both the bitter time of the retreat, and the difficult military life, where the war itself is equated with hard work, and friendship, proven by blood, and the soldiers' high understanding of honor and duty:

And about courage, duty and honor

You will not repeat in vain,

They are in you

What are you

Whatever you can be.

During the war years, Tvardovsky did everything that was required for the front. He often appeared in the army and front-line press: he wrote essays, poems, feuilletons, slogans, leaflets, songs, articles, and notes. But his main work during the war years was the creation of the outstanding lyric-epic poem "Vasily Terkin" (1941-1945).

The Soviet soldier Vasily Terkin is a surprisingly capacious collective image of the Warrior. In Vasily Terkin, Tvardovsky displayed the best features inherent in the Russian national character, which were especially pronounced during the years of difficult trials. This is courage, heroism, ingenuity, resourcefulness, modesty. The commonality of the fate of a simple soldier with the fate of millions of such warriors was repeatedly emphasized by the author:

And more than once in the usual way,

By the roads, in the dust of the columns.

I was partially scattered

And partially destroyed ...

Terkin is daring, cheerful and at the same time thoughtfully sad, restrainedly severe. The openness of the hero's soul and at the same time some kind of restraint, unexpressed feelings are striking. With complete dissolution in the mass of soldiers - the uniqueness, originality of the nature of this man. He attracts with charm, with that hidden power, which is the lot of noble, strong and kind people.

The feeling of love for the motherland, manifested with such force in the Soviet people, the responsibility for its fate are heard in many lines of the poem. Terkin is one of the ordinary participants in the war, just a soldier, but he thinks broadly and succinctly. The key lines of the poem - on his behalf:

Today we are responsible

For Russia, for the people

And for everything in the world.

During the war years, Tvardovsky wrote another epochal work - "The House by the Road" (1942-1946). This is the excited word of the poet, addressed to all people with an appeal not to forget about the past, to cherish the world. On the example of the family of Anna and Andrei Sivtsov, the fate of many thousands of people who returned from the war or who no longer saw their father's home is shown. This is a poem about the strength, stamina and endurance of a Russian person, about love that has undergone the most difficult trials, about the strength of the spirit, holiness and purity of a soldier's military duty. The title of the poem "Road House" has a capacious, deep meaning. This is the home of any Russian family along the road of war, this is the world of the soul of a Russian person. The war destroyed and took away a lot, the poet tells us, but it could not destroy the soul of a Russian person!

In the post-war years, a number of themes appeared in Tvardovsky's work, which are usually called "philosophical": reflections on the meaning of human existence, old age and youth, life and death, the change of human generations and the joy of living, loving and working in their native land. The largest post-war work of Tvardovsky is the poem "For the distance - distance" (1963-1960). This is a large-scale lyrical epic about modernity and history, about a turning point in the lives of millions of people. This is a detailed lyrical monologue of a contemporary, a poetic narrative about the difficult fate of the motherland and people, about their difficult historical path, about changes in the spiritual world of a person of the 20th century.

Before the poet's gaze floats the song-mother Volga, which has absorbed the waters of seven thousand rivers, the "smoky Ural" with its "main sledgehammer" of the country, the Siberian taiga, the blue reach of Lake Baikal. And behind it - Transbaikalia - thousands of miles of expanse up to the Pacific Ocean. Tvardovsky emphasizes the capacity of the chosen “plot-journey”, the epic and philosophical-historical scale of the seemingly uncomplicated story about a trip to the Far East:

And how many cases, events, destinies,

Human sorrows and victories

Fitted in these ten days.

What turned in ten years!

The past and present are intertwined into a tight knot under the clatter of wagon wheels. The organic connection between the “past and thoughts” helps to understand and reveal the present in a deeper way. The content of the thoughts of the lyrical hero, his spiritual world is the movement of time-history, the fate of the people and the individual, the desire to penetrate into the deep meaning of the era.

The hero of the poem has all the living human feelings that the author himself is endowed with: kindness and severity, tenderness, irony and bitterness ... And at the same time, this is a generalized image that has absorbed the features of many of his contemporaries.

Tvardovsky's book, retaining the signs of a "travel diary", becomes a kind of "chronicle", "chronicle", or rather, a poetic history of modernity. It honestly reflects the era, the life of the country and the people over the past large historical period, including cruel injustices, repressions of Stalin's times (chapters * Childhood friend, "So it was"), and Stalin's personality cult. At the same time, the author, who believed in the triumph of socialist ideas, rejoices at the transformative successes of socialism. Particularly indicative in this regard is the chapter on the blocking of the Angara during the construction of the dam, which carries an echo of the euphoria of the grandiose post-war plans - the "great construction projects of communism."

In parallel with the poem "For the distance - the distance" Tvardovsky worked on the satirical fairy tale poem "Terkin in the Other World" (1954-1963), in which he depicted the "inertness, bureaucracy, formalism" of Soviet life. The hero of Tvardovsky's poem of the war years, alive and not discouraged under any circumstances, Vasily Terkin finds himself in a ghostly world of shadows. The author ridicules everything hostile to man, incompatible with living life. The situation of fantastic institutions in the "other world" emphasizes the soullessness, inhumanity, hypocrisy and falsehood that grow under the conditions of a totalitarian regime. Through the realm of the dead and soulless, Terkin is led by his inexhaustible "power of life." In this hero of Tvardovsky, symbolizing the vitality of the people, who found himself in such an unusual situation and underwent difficult trials, his inherent human qualities won out, and he returns to this world to fight for the truth.

In the combination of a fantastic plot and realistic details in the image of the afterlife, Tvardovsky realized his creative principle:

With a good idea nearby

The truth is alive...

In the last years of his life, Tvardovsky wrote a lyrical poem-the cycle "By the Right of Memory" (1966-1969) - a philosophical reflection on the difficult paths of history, the fate of an individual, the dramatic fate of his family: father, mother, brothers. Being deeply personal, confessional, this poem expresses the people's point of view on the complex, tragic phenomena of the past. In this work, the poet, comprehending the experience of his entire life, which reflected the heavy contradictions of time, deepens and develops the motives that sounded in the poem "Beyond the distance - distance". The motive of the search for truth, as truth and justice, becomes a running motif in the poem - from addressing yourself in the introductory lines: "In the face of bygone pasts, you have no right to prevaricate" - and to the final words about the healing infusion of "existing truth", obtained at the cost of cruel experience. For more than forty years of literary activity, Alexander Tvardovsky captured in his work three stages of national history: collectivization, the Great Patriotic War and the difficult post-war years. And at every stage, the muse of "alarms and upheavals" with special poetic power and sincerity embodied the most important, the most intimate in the minds and feelings of the Russian people. The poet perceived “life of suffering sweetness”, light, warmth, goodness and “bitter evil” as enduring values ​​of being, filling every hour lived with meaning and meaning.

It was not difficult for Tvardovsky to be close and understandable to everyone and loved by all readers, because he never separated himself from his people. He lived in difficult times, but wrote about him truthfully and with love:

It's simple - everything that people do is dear to me,

Everything that is dear to me, I sing.

So Alexander Tvardovsky remained until the last, “control” hour of his life.

PART SEVEN

In the article “On the Motherland, Large and Small” (1958), Alexander Tvardovsky wrote that “... the feeling of the motherland in the broad sense - the native country, the fatherland - is complemented by the feeling of the small, original homeland in the sense of native places, fatherland , district, city or village. This small homeland, with its own special appearance, with its own, albeit the most modest and unassuming beauty, appears to a person in childhood, at the time of life-long impressions of a childish soul, and with it, this separate and personal homeland, he comes over the years to that a great homeland that embraces all the small ones and - in its great whole - is one for all.

The small homeland, as the native places are called by the poet, "... for every artist, especially the artist of the word, writer ..., is of great importance."

This is about a small homeland in general. And here are the lines of Alexander Tvardovsky from the essay “In native ashes” (1943) about his personal small homeland, narrowed down to his native farm Zagorye, destroyed by evil forces in the early years of collectivization: “I did not find at all a single sign of that piece of land, which, closing my eyes, I can imagine everything to the speck and with which all the best that is in me is connected. Moreover, this is me as a person. This relationship has always been dear to me and even painful.

These words are infinitely dear and dear to me, because I feel the same way and, closing my eyes, I could always imagine “everything to the speck” that surrounded us in childhood. And I am glad that my brother did not forget to say this in his work.

Our native Zagorievsky farm ceased to exist in 1931, when I was sixteen. The family was taken to a disastrous special settlement in the Trans-Urals, to the taiga river Lyalya. The return to their native places did not happen. The difficult circumstances of those years scattered the whole family in all directions. But in our souls, without exaggerating, I can say that we all carefully kept the memory of our small homeland. And wherever it happened to us to live and work, we listened with trepidation and read carefully into each new stanza of Alexander Trifonovich, where native places were mentioned, savored and memorized the poems “On the farm Zagorye”, “Trip to Zagorye”, “For a thousand miles” , "Brothers" - in a word, each line with episodes from the shepherd's time of our childhood, which excited and gently touched our feelings.

Years and decades passed, but still there was no chance to set foot on the fatherland, "... where the sacrament of native speech is attached in its own way." The same reason held me back: since almost my entire life had passed under the sign of “social inferiority,” it was not convenient to go there.

But in the spring of 1977, I received a letter from a senior researcher at the Smolensk Regional Museum-Reserve, Raisa Moiseevna Minkina. She asked me to think about and try to make something for the exhibition dedicated to A. T. Tvardovsky, because she knew that I was a woodcarver by profession and I knew how to work with intarsia. By that time, one of my crafts was in the museum of the Smolensk Pedagogical Institute. “Why not offer a model of our former Zagoryevsk estate?” I thought. And again I remembered the lines of Alexander Trifonovich about his native places: “And over the years, with tender sadness Between any other worries, my father’s corner, my former world, I shore in my soul.” And again: "And the noises of the forest, and the voices of birds, And the simple appearance of poor nature I keep everything in my memory, without losing A thousand miles from my native land."

Having thought over and weighed everything, I sent a letter to the Smolensk Museum, offering for the exposition of A. T. Tvardovsky a model of the Zagoryevsk estate on a scale of one to fifty. The answer from Smolensk came immediately: "We accept the offer, we wish you success."

From June to mid-October I was busy with this work. The layout was made, packed and sent by luggage at passenger speed from Abakan. All this happened in the Ermakovsky district of the Krasnoyarsk Territory, where I lived in the village of Tanzybey. It is 150 kilometers to the nearest railway station Abakan, where I could check in my luggage. How to get there with such a burden? But in memory of Alexander Trifonovich, the author of Vasily Terkin, the soldiers of the local unit stationed in those years on the outskirts of Tanzybey helped me. Unfortunately, I can no longer name the political instructor who treated my request so understandingly. In general, the parcel was sent, and, to my surprise, without payment: luggage was sent to state organizations for free. And in the last days of October, I flew from Abakan to Moscow, from there I got to Smolensk by train and immediately found out that the package was already in the luggage compartment. It was just according to my calculation: I rushed down this road in order to personally be present at the opening of the package and find out what the museum staff would have the first impression of my work. Thank God, everything went well: the package arrived without damage, I was warmly welcomed at the museum. I was very glad that everyone liked the exhibit and a place for its exposition was determined.

Could I have foreseen then that the model would become the basis for the restoration of our Zagorye farm? Such a possibility was not ruled out. “Father’s corner, my former world, I have a shore in my soul” - lines from “Terkin” (chapter “About Me”). These words of the poet could not but arouse the desire of everyone who cherishes the name of Alexander Trifonov-

cha, in order to somehow imagine, and even better to visually survey, what was this world of all its beginnings so dear to the heart of the poet. This was the feeling that made me take up the layout of the estate.

The layout became almost an event for the Smolensk people, and the press did not pass it over in silence. On November 1, 1977, the regional newspaper “Working Way” published information under the heading “Gift to the Museum”, where there were the following words: “The layout of the Zagorye farm - the birthplace of the outstanding Soviet poet Alexander Trifonovich Tvardovsky - was made by his brother Ivan Trifonovich and donated to the Smolensk Regional Museum ". On December 22, 1977, the same newspaper published N. Polyakov's essay "The Hand of a Real Master." It tells about everything that prompted the poet's brother to take up this work, by what means and with what care it was carried out.

Before returning to Siberia, I invited a photojournalist from Rabochy Put to take a picture of the layout already on display. I received the pictures while already in Tanzybey. Great shots. I sent them to A. I. Kondratovich, Yu. G. Burtin, V. V. Dementiev, P. S. Vykhodtsev and some other researchers of my brother’s work, believing that it would be interesting for them. I was not mistaken - they all responded with heartfelt letters, approved of my work, thanked me. Maybe then the pain pierced the heart: after all, there is nothing of this. Instead of a farm, there is a field. And it turns out that I wasn't the only one who experienced this feeling. Soon the photo appeared in print. And on the pages of "Literary Russia" on March 31, 1978, an essay by V. V. Dementyev "A trip to Zagorye" was printed. In it I read: “Ivan Trifonovich did a great job, but I think that while there is time, until the wide Russian field is overgrown with wolf undergrowth, while the poet’s relatives and friends are still alive, we are obliged, we must, we are called to restore the Zagorye farm both for themselves and for future generations who will blaze trails that never grow here.”

I must add that V. V. Dementiev, having received a photograph of the layout from me, left all his affairs in Moscow and went to the Smolensk region in order to touch the “Poet's Field” with his soul again and again, as he called one of the chapters of his book on Russian poetry "Confessions of the Earth". Together with the Smolensk poet Yuri Pashkov, they reached the Zagorye fields, then met with the living contemporaries of Alexander Trifonovich in his small homeland.

The essay by V. V. Dementiev “A trip to Zagorye” became the starting point in the issue of recreating the farm Zagorye as a memorial to A. T. Tvardovsky. For a whole decade, this question in one form or another surfaced again and again on the pages of central and peripheral newspapers, almanacs and magazines. Dementiev's appeal was supported by the "Red Star" publications of V. Lukashevich, and "Rural Life" by V. Smirnov's essays, and "Izvestia" by Albert Plutnik's essays "On the Old Smolensk Road".

On September 1, 1986, the Smolensk Regional Executive Committee finally decided "On the revival of the Tvardovsky estate on the Zagorye farm."

Director of the Smolensk Regional Museum Alexander Pavlovich Yakushev wrote to me:

“Dear Ivan Trifonovich! The Directorate of the Smolensk Regional Museum-Reserve invites you to come to the city of Smolensk to carry out work on the manufacture of the furnishings that were in the house of Trifon Gordeevich Tvardovsky. We are ready to place you in one of the full-time positions of a museum worker, provide you with a place to work and relevant materials. Please, upon receipt of this letter, respond to us, informing us of your consent and the time of arrival.”

I immediately replied that I was ready to come and make everything that was from the situation in our house when our brother Alexander left Zagorye.

“Dear Ivan Trifonovich! Your letter dated 250586 has been received - many thanks for agreeing to come to Smolensk in the second half of July. I understand the difficulties, as well as the fact that, in theory, no one is needed to agitate for the creation of a museum dedicated to A. T. Tvardovsky in his homeland, that is, he should have long been work».

“I would ask you to estimate what we should prepare for the arrival from the tool (You can’t bring everything with you), what specific material, etc., down to the smallest detail. Will there be any difficulties with housing in Smolensk?

I arrived in Smolensk from Tanzybey on Sunday, spent the night with my sister in Zapolny. The meeting with Yakushev took place on July 20, and the impression from this meeting was good.

It seems that in all instances they agree and are ready to help in organizing the museum, - Alexander Pavlovich informed me, - but the decision remains hanging in the air. As if someone is afraid of something: “No matter what happens!”

Alexander Pavlovich, at his own risk and fear, decided to take up the preparation of the museum, to make everything that should represent the interior in the hut, as was the case with the young Alexander Trifonovich.

So I invited you, Ivan Trifonovich, - Alexander Pavlovich continued, - remembering your opinion on this matter, I agree that we won’t be able to find somewhere exactly the appropriate analogues of the situation: there was a war here, there were Germans ... Yes, and what is "analogues"? It's not always true exactly. So, judging by the layout of the estate you made, I am convinced that you will be able to perform this task in the best way.

In correspondence with the employees of the Smolensk Museum, I also did not support the proposal to look for pieces of furniture in the villages of the Smolensk region, similar to those that were in my father's family at the end of the twenties. I was completely convinced that the best solution would be if I were allowed to make the furniture myself, based on what I remember very well what it was like. In addition, such a task is up to me by virtue of my very profession. And after all, no one else can do this, primarily because he does not know what she was like. I was glad that the museum management approached me with such a proposal, and arrived in Smolensk with my own instrument.

It was not an easy question to find the most suitable place.

for work. I did not agree to huddle in the cramped quarters of any city basement, and they could not offer me anything else. It also turned out that there was still no necessary material: it was not possible to start work. The way out of this situation, in my opinion, could be to, without wasting time, go to the Pochinkovsky state farm, that is, directly to the homeland of Alexander Trifonovich, where, by the way, they warmly honor the memory of their countryman-poet and annually solemnly celebrate the day his birth, and there to solve the questions that have arisen: place of work, housing.

I arrived in Pochinok. Unrecognizable, unfamiliar was my native city. AT last time I was in this trading place closest to Zagorye with our father Trifon Gordeevich more than half a century ago. Every Sunday at that time numerous peasants would come to Pochinok in their carts to the bazaar to sell or buy something, but perhaps sell more. My God, how many of those simple peasant carts used to gather here, how much was on sale, what was not here! Any, all living creatures: cows, piglets, calves, poultry, a variety of products of natural peasant production - butter, a variety of meat, honey, apples, eggs. How many different handicrafts happened: kegs, different tubs, gangs, troughs, spinning wheels, pottery, sieves, butter churns - well, in a word, all sorts of good things: “Buy - I don’t want to!”. It smelled of tar and honey, horses and manure, and gingerbread too. And one could see and hear how the purchases and sales took place with loud exchanges of opinions among the traders. For example, near some kind of living creature, each of the parties convinces, almost crossing himself and swearing on the name of the Lord, that he speaks only the truth, when the other still remains in doubt. There comes a moment when the parties make a gesture, the so-called "deal" - the deal has been completed, and the feelings calmly turn into a state of goodwill towards each other.

A picture of long-standing childish impressions flashed as if by itself, when I, in fact, first saw the Pochinok of these days, so to speak - updated, very changed in all respects, ennobled with asphalt, with multi-storey buildings, with cars scurrying through the streets and with a complete absence of peasant carts, old bazaars and those simple private trade shops that were here at every turn. It seems to be both good and beautiful. Only, to be honest, I didn’t want to see the cold stone emptiness of the current shops that have risen instead of the abundance of peasant bazaars. But this is already from other concepts and judgments about our today.

Somehow, the idea arose of itself to visit the district committee of the party before continuing on to the Pochinkovsky state farm. Here we reasoned with Alexander Pavlovich: to tell the first secretary about everything that has to be started, in which there are difficulties. There was a hope that he could easily call the director of the state farm, and his word will play more than our request on behalf of the director of the regional museum. It did, and we were lucky. The first one was

and received us very kindly. He introduced himself: - Nikolai Vasilyevich. When I found out that I came from Siberia and that my task was to make everything that was from the objects in the family of the poet's father Alexander Tvardovsky for the period when he left his father's family forever, the secretary got up from the table, shook my hand firmly:

So this is a gift to all of us who can imagine the importance of the matter we are thinking about here. Thank you, Ivan Trifonovich, that you have come, that you are still able to do the main thing, that is dear and sweet. This is, just think - a brother came to his homeland to perpetuate the memory of our outstanding fellow countryman Alexander Trifonovich!

He immediately contacted the director of the Pochinkovsky state farm, Pyotr Vladimirovich Shatyrkin, by phone, and it was easy to understand that on the other end of the wire they expressed gratitude and were ready to do everything so that work could begin without delay.

From Pochinok, our path lay in Seltso - the estate of the state farm, from which, just seven hundred meters away, is the place where the father's estate was, which was taken from us in 1931.

In parting, Nikolai Vasilyevich handed me a portrait of Alexander Trifonovich on a tree and souvenir towels made of Smolensk linen produced by the Smolensk Linen Mill with unique embossing.

From Pochinok to Selets eighteen kilometers. My first trip there took place in 1980 on the occasion of Alexander Trifonovich's 70th birthday. I was kindly invited to these celebrations from Siberia to Moscow, from there, already as part of a group of Moscow writers, I arrived in Smolensk on the evening of June 19th.

On June 20, they were received by the first secretary of the Smolensk regional party committee, then they attended a solemn meeting of the Smolensk public, visited the historical museum, where an exposition dedicated to Alexander Tvardovsky was deployed, visited the Smolensk Pedagogical Institute and got acquainted with the exposition dedicated to the student years of the poet.

On June 21, we were taken from Smolensk directly to the poet's homeland, where many Smolensk residents and guests had already gathered, forever honoring the memory of Alexander Trifonovich. That day I did not succeed in seclusion, or looking around, or escaping from the arms of solemnly excited countrymen. I was deeply touched by their cordiality and attention. I met with those with whom I went to school in Lyakhovo. Now they saw a whitewashed old pensioner, and there was nowhere to go - the fellow countrymen could not hold back a tear, and it was to me, I don’t know how to say it, perhaps, aching to tears.

I tried to find out the place where our house was, but even with the help of fellow countrymen it was hard to imagine that they showed me exactly that place. I confess that I was quite upset. By someone's indifferent will and indifference, the road from Pochinok to the Pochinkovsky state farm was laid exactly at the place of our former estate - no sign of everything that was. And, really, it is strange: there is

photograph of 1943, which captures the stay of Alexander Trifonovich with our father at the site of the former estate, where Trifon Gordeevich, kneeling down, peers into his native land next to our lake. Alexander Trifonovich is right there in thought. So, in 1943 there was still a sign, a trace of life in Zagorye. Then, with a bulldozer, all this was buried under the roadbed. The dumping was carried out by moving the soil from the sides, and there was no trace left of the former hillock where the estate was.

As Akulina Ivanovna Bogomazova, a contemporary of Alexander Trifonovich at the Lyakhovsky school, told me, in those years when the road to the Pochinkovsky state farm was being built, the poet himself was here, donated part of the money from the State Prize for the poem “For the Far and Far” to the construction of the House of Culture in the village. He, of course, could not fail to notice that the very site of the Zagoryevsk estate had already been buried under the road. Apparently, out of modesty, he did not consider it tactful to say anything against it, kept silent - the deed had already been done and, it seems, considered it unworthy to express displeasure with what had happened - he waved his hand. But the state farm tried to provide compatriotic assistance with at least something. At his personal expense, a dug lake with an island was built, which is connected with the memory of childhood: on the estate in Zagorye, there was also a lake with an island, as our father wanted. In addition, the brother donated several hundred volumes of books to the state farm library. Unfortunately, little of them has survived to this day - there was complete irresponsibility, and the books were stolen. Yes, you can regret it, but you can’t blame everyone in a row - in society there is always a certain number of people for whom nothing is sacred.

The memory of Alexander Trifonovich is very carefully preserved in the Seltsov eight-year school. Sergey Stepanovich Selifonov, a native of these places, worked as a director in it for many years. After graduating from the Pedagogical Institute, he settled here, in his native places. Back in the mid-sixties, he organized a school museum on the work of Alexander Tvardovsky. Now a large amount of documentary material has been accumulated in the form of letters from the poet in the originals, many magazine and newspaper articles about him, books with autographs and inscriptions of authors exploring the work of the poet: A. V. Makedonov, A. I. Kondratovich, P. S. Vykhodtsev, V. Ya. Lakshin and many others. There are many memoirs of contemporaries about Alexander Trifonovich, there are rare pictures of his meetings with fellow countrymen, as well as the work of the famous wartime photojournalist Vasily Ivanovich Arkashev. All this cannot but arouse the deepest respect for S. S. Selifonov.

And let the reader forgive me, the old man, that my story turns out to be somewhat chaotic. Let's go back to the moment of my arrival in Seltso together with the director of the regional museum. The director of the state farm, P. V. Shatyrkin, showed impeccable attentiveness to us.

To organize a workshop, - he said, - I am putting at your disposal an apartment in a two-story house, I allow you to

discretion to select any of the available material, I am attaching a person to help you, who will help you where to look, how to get, give a ride, and so on.

"Blimey!" - flashed through my mind. What more could you want. It only remained to find out if there was any hostel where I could get a place to sleep, but the director already got ahead of me here, stating:

Do not worry about housing, my apartment allows you to arrange up to standard, be calm.

Of course, I understood that benevolence does not come from nothing: here, in the poet's homeland, his spirit hovers, gratitude and love for him live.

Alexander Pavlovich Yakushev, who accompanied me that day from Smolensk to the state farm, witnessed my meeting with people in my native land. He was pleased that everything in their power had been done here for a long time to revive the farm where their famous countryman was born and spent his childhood and youth, that there is, as it were, the very historical pride of the Smolensk land, sung with a sense of filial duty by Alexander Tvardovsky.

I left home once

Called the road into the distance

It was not a small loss

But sadness was bright

And for years with gentle sadness -

Among other any anxieties -

Father's corner, my old world

I am in my soul the shore

In these lines it is clearly recognized that "... the feeling of the motherland in the broadest sense - the native country, the fatherland - is supplemented by the feeling of the small motherland ..." This is what obliged to recreate the Zagorye farm. And I don’t know another person in the Smolensk region who would put in so much effort and effort as the former director of the Smolensk Regional Museum Yakushev, petitioning the regional authorities and seeking a solution to the issue of reviving the poet’s native farm.

Without waiting for the official permission of the Smolensk Regional Executive Committee, under the personal responsibility of the director of the regional museum, I had to revive the Zagorye farm with a specific deed - to make objects of old life in my father's family. On that day, July 20, 1986, I stayed at the Pochinkovsky state farm, settling in the director's apartment, where everything was provided for my services at the level of hotel conditions.

I started work the very next day. And immediately there were problems. It is not so easy to start doing something on the carpentry part where there is neither a workbench nor the necessary materials. In this livestock farm, no purely carpentry work was carried out, so there was no carpentry workshop. Only the sawmill worked, and there was a single planer, brought to complete disarray. There was no dryer, and there was no dry material suitable for making furniture on the farm.

found. No craftsman can do anything from a board that has just left the sawmill, and waiting for this board to dry under a canopy or in the sun, as I was told, was ridiculous to hear.

I needed to find some way out and, of course, talk to the director of the state farm, maybe he would contact neighboring farms and borrow or otherwise borrow a couple of cubic meters of dry material. Necessary efforts were made in this direction, but all in vain.

And then I went to Smolensk, together with the director of the museum, to visit furniture enterprises, where there must certainly be a supply of dry lumber. And it cannot but happen that we will not meet understanding there - there was hope that they would not refuse our request.

A.P. Yakushev dialed the telephone number of some enterprise. Calling by patronymic, as one could understand, a person he knew, he told him about our difficulties.

So, today you can get it? - Asked Alexander Pavlovich. - Well, that's great! Thank you!

However, we did not manage to get the material on the same day: it was still in the drying chamber, and we had to wait another two days.

I will never forget the guilty face of the director of the state farm:

Well, thanks, Ivan Trifonovich, for finding a way out. I was worried in myself that it was not possible to solve everything that was my duty on the spot, but here ... - he blamed, - do not judge ...

No, Pyotr Vladimirovich helped as much as he could. Well, firstly, he immediately attached to me his most experienced worker, Pavel Filippovich Romanov, who is skilled in carpentry, and accustomed to work, and besides, he also admires the work of Alexander Trifonovich. All this was very precious to me. And we went with him to work harmoniously, as well as possible.

For the first time, the director of the local school Sergei Stepanovich allowed the use of workbenches from the school workshop, the chairman of the village council Alexander Kharitonovich, who was well known to Alexander Trifonovich as a satirical poet, helped to prepare alder wood for some special work. The worker, Pavel Filippovich, agreed to bring his own circular saw and planer, on which it is possible to prepare a measured material of the required section. State farm electricians connected our equipment to the mains. And a workshop was organized in a free state farm apartment, which made it possible to carry out all the upcoming work.

I had to make seemingly simple joinery, which would be a copy of those that were in our family in the late twenties. These products were intended for the future memorial museum "Khutor Zagorye". Was it difficult for me to perform? Yes, it was far from an easy task, although I am a furniture maker by profession.

Of course, I remember everything well to the line, to the smallest

constructive will take home furnishings: tables, wardrobe, hard sofa, chest of drawers, chairs, hangers, shelves. It is clear that the furniture in our house was not from a factory flow in accordance with GOST, but was made God knows when by order by the hands of rural handicraftsmen, and therefore it was unique in its own way. And, before starting to manufacture, I prepared drawings from memory, calculated the dimensions of the elements of each product. Factory materials, such as plywood, board, plastic, were not used in those years - everything was made from solid wood, that is, from natural pure wood, processed mainly by manual carpentry: sawn, planed, glued, finished. But after all, I myself am from those places and years, and from the same family, and therefore I was convinced that I could cope with the task. In addition to everything, that was my duty and my obligation to the memory of my brother: if not me, then who can do this?

Pavel Filippovich and I have not yet managed to do anything, and the regional newspaper Selskaya Nov has already given information about the revival of the Zagorye farm with my participation, fellow countrymen began to appear alone and in groups to see for themselves that this is really the case, that I am in Selce . Such visits were exclusively of a welcoming nature: people wanted to get to know me, congratulate me on my arrival, wish me success in my work, express their approval about the very beginning. Photojournalists came, which sometimes embarrassed me very much - there was no need for an old man to put himself under the lens - "old age is not joy." In addition, it distracted from the case, created interference. Rumors continued to expand, and notes soon appeared, and then essays about the beginning of the revival of the Zagorye farm, not only in the regional newspaper Rabochy Put, but also in the central newspapers: Trude, Rural Life, Krasnaya Zvezda, " Izvestia".

Long before my arrival in my native places in the Smolensk region, a letter came to me in the Krasnoyarsk Territory (I think in 1982 or 1983) from an engineer at the Smolensk Research and Production Restoration Workshop. It was reported that the named workshop was preparing technical documentation for the restoration of the estate in Zagorye, in connection with which it asked to answer a number of questions. If possible, I answered all those questions that went beyond the data shown by me on the layout of the estate, which was already in the Smolensk Museum, and recommended that the layout be taken as a basis. In the end, the workshop did just that. I mention this letter only in connection with the fact that the public has been nurturing the dream of reviving Zagorye for years, how it could promote this issue, believing that the executive committee of the regional council will make a positive decision and Zagorye will be revived. For this, technical documentation was prepared in advance.

By the end of August 1986, a wardrobe, a sofa, and tables were already in the workshop. True, they were still in white, not yet subjected to imitation and coating, but there was already something to see. It was in those days that the special correspondent of Izvestia, Albert Plutnik, showed up to us. He looked with surprise at what had been done and what else was in the blanks, he ardently

us hands. Finally, the long-awaited "good" from the executive committee of the regional council of September 1, 1986 came to Seltso. This is where we really cheered up.

In the essay “So it was on earth” (Izvestia, October 26, 1986), Albert Plutnik told about his visit to that temporary workshop where furniture for the museum in Zagorye was made:

“The Smolensk road leads us to a small settlement, which, as if afraid of exaggeration, was ashamed to call itself a village, called Selets, to a house where two elderly people in unhurried conversations make museum rarities. The fruits of their labor are right there, in a little room littered with sawdust and shavings: ordinary simple tables, a wardrobe, a sofa, chairs. But what kind of rarity is this, if they are ordinary? You can’t buy these anywhere, they are made “to order” - for one hut, in exact accordance with its size, the number of eaters, and so on. By the way, the furniture is not original. Miraculously - from memory - managed to restore a copy. This, in fact, as well as the purpose of the situation, is the uniqueness of the work that the state farm carpenter Pavel Filippovich Romanov and the cabinet maker Ivan Trifonovich Tvardovsky are engaged in. He is older, in his seventies. It was he, Ivan Tvardovsky, who remembered the furniture of his father's house, which stood on the farm Zagorye, which was next to Selets, where he grew up, where his sisters and brothers grew up, including his brother Alexander, who left him in his youth ... Things are moving quickly, although no one rushes the masters, except for years. The end of the work is already visible, and the excitement is growing stronger: furniture should not wander around strange corners. And his - no. There is no farm, no house - not restored, although fifteen years have passed since the poet died.

After a trip to Seltso, A. Plutnik had a meeting with the Deputy Chairman of the Smolensk Regional Executive Committee A. I. Makarenkov, after which the following lines appeared in the essay: “Today we can already say:

Zagorye will be reborn. On September 1, the Executive Committee of the Smolensk Regional Council of People's Deputies adopted a special decision on this matter.

In Selce this news was greeted enthusiastically by everyone. In the near future, the arrival of the regional authorities was expected, a meeting was expected to be held at which specific tasks would be discussed on the inclusion of contractors for the production of construction work on the Zagorye land.

It was planned to complete all construction work to recreate the farm in ten months, but this turned out to be unrealistic. Many works were not taken into account in the project itself. So, before laying the foundations, it was necessary to recreate the former relief of the place of the estate. The relief, as I have already said, was severely disturbed during the construction of the road to the state farm. Before the onset of cold weather, the restoration office barely managed to make a breakdown for the foundations. The blocks, however, were delivered, but they did not have time to lay them and level them - they can be completed only in the spring, on warm days, already in 1987.

I came to my small homeland with the thought that I would stay here for a short time, maybe two months or a little more -

I will make furniture for the museum, and that’s the point - I’m returning to Siberia, where my family and my home are. It was still impossible to say whether he would live to see the day when the reconstruction of his native penates would begin. But fate decreed abruptly. I haven’t had time to finish with the furniture, but here you are: not only the decision has been made, but the dates for the opening of the museum have been set. The return to Siberia was postponed. And then such an idea appeared - should I move to my homeland?

It became clear that my presence here was necessary, since it was impossible to restore the disturbed relief without knowing what it was before, and I had to take responsibility for the implementation of this work and constantly monitor the construction site. Yes, it is impossible otherwise if we want to recreate the farm the way it was during the life of the young poet. This means: from beginning to end, I should have been here, since it all started from the moment I handed over the layout to the Smolensk Museum, on the basis of which the technical documentation was prepared. But the layout gives only an external idea of ​​the farm. The internal structure of any structure is not shown on the layout, which means that the presence of a person who must know everything to the smallest detail is mandatory. This applies to the hut, and the barnyard, and the bath, and the forge. Their interior must be shown in kind.

Both the circumstances and the heightened feeling for my native places prompted me to explain to the administration that the idea of ​​\u200b\u200bmoving to Seltso had matured. My arguments were taken with attention and supported. The state farm gave me an apartment, and the directorate of the regional museum issued a travel certificate to Siberia.

Not even a day had passed since I was in Abakan, waiting at the bus station for a bus that would take the familiar route along the Tuva highway to the village of Tanzybey, where I had lived for twenty years, a lot of work had been expended. And some poignant feeling stirred my soul: I had to say goodbye to this place, which, in its own way, had already become close, lived with love, and therefore, everything that was coming, for the sake of which I made this trip, could not but cause sad thoughts.

I doubted whether my wife Maria Vasilievna would support my decision to move to the Smolensk region, since she is a native Siberian. But she was ready to go with me, as always, "even to the ends of the world."

Our fees and chores for selling the house, ordering shipping containers, loading property, purchasing plane tickets, and everything else related to relocation (deregistration, transfer of pension documents, savings deposits, subscription publications) were completed in ten days.

On October 22, 1986, we were met by relatives in Smolensk. The next day we reached Seltz.

Log cabins for all Zagorye buildings were made by the Velizh timber industry enterprise Smolensk region at its production yard with the expectation that in the spring they will be transported disassembled to Zagorye and assembled by the timber industry itself on the spot with the installation of window

and door blocks, rafters, sheathing and hinges on doors and gates. All these works were completed by May 20, 1987.

Following the carpenters, the restorers hastened to temporarily cover the roofs of all buildings with roofing material along the boardwalk in order, without fear of possible rains, to lead interior work- flooring, ceiling molding into matrices, installation of partitions, decks, Russian stove masonry. The forge was covered, as agreed, with a fillet - planed wood in two layers. They, the restorers, hemmed the cornices, decorated the openings of windows and doors with platbands, screwed handles, latches, latches, and also laid the stove in the bath and arranged it. Their own contract included erecting perimeter fences and partitions in the barnyard.

What is our farm? It stands on a hillock near the road. An ordinary farm, that is, a separate piece of land, acquired by the father in the nineties of the last century with payment in installments for fifty years. Ten and a few tithes. On the estate there was just something: a hut nine by nine arshins with a barnyard adjoining it, a hay shed, a bathhouse, a smithy. The work on the revival of this estate seemed to be progressing successfully, but there were also delays - one or the other is missing: you can’t buy or get a furnace view or a bath boiler, time is spent searching. That stop because of the straw for the roof - the rye on the state farm fields has not yet matured, and when it's time to reap, you will not suddenly find reapers in the village. Then there were no roofers nearby, who can, as was customary before, cover with straw “under the comb”. This is where things dragged on. No, it didn't happen as soon as it was supposed to. Yes, to be honest, I was not a supporter of a hasty recreation. Hastily, certainly on time - this means not very good, and this is useless. And yet, by the fall of 1987, the estate was largely restored. More than a hundred birches were planted in the spring, and all of them took root, had a good growth. Behind the forge, to the west, in the same place, a small piece of spruce forest of sixty-five fir-trees two meters high was green. Eight broadleaf lindens were planted; both oak and tree-like forest rowan grow in the same place, and to the south, behind the barn, an orchard of nine now fruit-bearing apple trees has been restored. Unfortunately, it was not possible to find the former varieties: box, sugar arcade, Moscow pear. There is a well on the estate and a reservoir in the form of a lake with an island in the center. The area of ​​the memorial plot is 2.6 hectares. Along the perimeter, like a living fence, they planted two thousand Christmas trees strictly along a line in three rows - they all took root.

All this was done, of course, with the help of the community of the district. Much attention was paid to the first secretary of the district committee of the party, Nikolai Vasilyevich Zhvats. Both military units and single enthusiasts from other areas helped. A resident of Podolsk, Viktor Vasilyevich Shiryaev, came four times to take part in the restoration of the memorial. For the same purpose, our fellow countryman and my school friend Mikhail Methodievich visited from Leningrad

Karpov - participated in planting trees, Ivan Sidorovich Bondarevsky from the city of Krasny Luch, Petr Trofimovich Solnyshkin from Skopin, Ryazan Region, Nikolai Fedorovich Dyakov from Moscow, Taras Ivanovich Kononenko from Lipetsk. Yes, you can’t list everyone, you won’t remember.

The opening of the museum was timed to coincide with the seventy-eighth birthday of Alexander Trifonovich. It was solemn, festive, crowded in those June days of 1988 at the estate of the revived farm. Hundreds of cars, thousands of festively dressed guests filled both the Zagorye estate and the village of Seltso. The rally was opened by the first secretary of the Smolensk Regional Committee of the CPSU Anatoly Aleksandrovich Vlasenko. Then our guest of honor from Moscow, writer Valery Vasilyevich Dementiev, spoke. They were instructed to cut the ribbon in front of the entrance to the Alexander Tvardovsky memorial.

In a birch grove near the House of Culture of Selets, a big concert of amateur groups of writers and artists of Smolensk was given. This celebration was broadcast on television and radio.

Many years have passed since then. Thousands of visitors visited Zagorye: excursions, delegations, teams of enterprises and educational institutions, individual visitors from different parts of the country. The path in Zagorye, to the father's place of the national poet, will never be overgrown.

Classes: 7 , 8

Presentation for the lesson

Back forward

Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested in this work, please download the full version.

Smolensk land. Smolensk region is a land so generous for glorious names. To the south of Smolensk is the small town of Pochinok (I visit it several times a year), and 12 km from it, the Zagorye farm is the place where A.T. was born more than 100 years ago. Tvardovsky.

Lesson Objectives:

1. Tell about the homeland of A.T. Tvardovsky. Based on the facts of the biography, determine the theme of the poet's poems.
2. Develop the concept of a lyrical hero.
3. Fix skills:
   - compare poems of different authors;
   - work with the textbook;
   - expressively read, conveying the ideas and feelings of the author.
4. Activate the cognitive activity of students, stimulate and develop mental activity.
5. Cultivate a sense of patriotism, pride in their small homeland.

Equipment: multimedia projector, screen, Microsoft PowerPoint presentation

During the classes

1. Organizational moment.

Announcement of the topic and objectives of the lesson.

2. Actualization of knowledge.

Comparison as a technique of analysis to identify common topics.

Name the poets, singers of your native nature and land that you know. (S. Yesenin, I. Bunin, A. Tolstoy)

What unites these poets and their works? (Love for the native land. Feeling the connection between man and nature, the expression of spiritual moods, human states through a description of nature.)

3. Explanation of new material.(Slide #1)

• Introduction by the teacher. The personality of the writer is known through his work, and the fundamental beginning of the personality is the attitude of a person to the places where he was born and raised. A.T. Tvardovsky carried his love for his native land, to his origins throughout his life, not forgetting about him either in the years of joy, or in the time of troubles and separations. The image of a small homeland is visibly present in many of his works. (Slide #2)
• Work with the textbook. Students reading excerpts from the "Autobiography" of the poet.

(up to the words “Since that time I have been writing ...” Literature. 7th grade. Textbook reader for general educational institutions. At 2 hours / author-compiler V.Ya. Korovin)

So, the poet was born on the farm Zagorye of the Pochinkovsky district of the Smolensk region on June 21 (8), 1910 in the family of a rural blacksmith, as you know, blacksmiths were always the most needed and respected people in the village. On the father's side, Tvardovsky's ancestors were farmers, blacksmiths, on the mother's side - military people, owned estates, went bankrupt, became single-palace dwellers. Zagorye and Pochinok, the Luchesa River, Borki - these names are the components of Tvardovsky's small homeland. The house in which the poet was born has not survived to this day. Years of repression and war wiped out Zagorye. (Slide No. 3) In the fall of 1943, Tvardovsky, along with units of the 32nd Cavalry Division, ended up near his native farm and was shocked by what he saw: “I didn’t even recognize the ashes of my father’s house. Not a tree, not a garden, not a brick or a post from a building—everything is covered with bad grass, tall as hemp, which usually grows on the ashes. I did not find at all a single sign of that piece of land, which, closing my eyes, I can imagine to the speck, with which all the best that is in me is connected. (But not everyone knows that the farm did not die during the war, but much earlier, when the Tvardovsky family was evicted from there.) [ 1 ]

Museum "Khutor Zagorie" was opened on June 21, 1988. But first, a lot of work was done to restore it. The memorial stone was the first to appear on the Zagorye farm. The brothers of Tvardovsky - Ivan Trifonovich and Konstantin Trifonovich, his sister Anna Trifonovna, (Slide No. 4) rendered great assistance in the creation of the museum. And then he moved to his homeland, he made all the furniture for the exposition himself, Ivan Trifonovich was the director and caretaker of the museum until the end of his days. (Ivan Trifonovich Tvardovsky passed away on June 19, 2003. He was buried in the village of Seltso, which is located a kilometer from the farm)

• The beginning of a correspondence tour of Zagorye. (Slide number 5)

On the territory of the museum complex there is a house with an attached barnyard. There are no authentic things in the museum, since the poet's family - parents, brothers, sisters - were repressed and exiled to the Trans-Urals. Before you unpretentious life of the family. On the wall there is a clock with a pendulum, a mirror in a carved frame. A stove and a wooden partition separate the bedroom, where there is an iron parent's bed, for the children there is a bed. Opposite the door is a large closet that divides the upper room into two parts. On a table covered with a lace tablecloth is a huge samovar. Next to it is a wooden hard sofa and several Viennese chairs. There is a chest of drawers in the corner. He is wearing a foreign-made sewing machine. The floors are lined with homespun rugs. In another "red" corner of the room, under the "images of saints", there is a corner table with a stack of books.

To the left is a hanger with painted towels. Items characterizing the period of the 1920s-1930s were collected by researchers from the Smolensk Museum-Reserve during expeditions to the villages of the Pochinkovsky District surrounding Zagorye. (Slide number 7)

(Slide number 8) In the barnyard - a stall for a cow, for a horse, as in an ordinary peasant farm. It was possible to enter here through the cold passage from the house, so as not to walk in the cold and snow in winter.
(Slide No. 9) In front of the house you can see a hay shed and a bathhouse in which the young village correspondent A.T. worked. - this is how Tvardovsky signed his first notes in the Smolenskaya Village newspaper.

(Slide number 10) Behind the house, a little further away, there is a forge. It has a forge with bellows, an anvil, and blacksmith's tools can be seen on the walls.

(Slide number 11) A well, a young spruce forest, an apple orchard are also details of a former life:

• A prepared student reads expressively from the textbook "Brothers" (1933).

(the footnote at the end of the poem is explained) The poet wrote about the bitter fate of the Tvardovsky family in his works, for example, in the poem "Brothers" (1933):

How are you brother?
Where are you, brother?
What are you, brother?
Which White Sea Canal?

This is about the elder brother Konstantin, and about all the brothers who, as enemies of the people, were driven to the construction of the White Sea Canal. All the hardships of life in the harsh taiga region fell on the fragile shoulders of Maria Mitrofanovna, because. father was constantly separated from the family, earning his daily bread.

4. Primary application of acquired knowledge.

Questions for the class:

1) So, with what events in the Tvardovsky family is the ending of the poem connected?

2) What do you know about the concept lyrical hero?

Reference: A lyrical hero is an image of that hero in a lyrical work whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social life, and people. Any personal experience of a poet becomes a fact of art only when it is an artistic expression of feelings and thoughts that are typical for many people. The lyrics are characterized by both generalization and fiction. [ 2 ]

It is known that the basis of a lyrical work is an artistic thought, given in the form of direct experience. But we must not forget that lyrical experiences are closely connected with real life who creates this experience. [ 3 ]

3) What feelings does the lyrical hero experience when remembering his childhood?

5. Checking homework.

Students read the poet’s poems by heart: “The snows darkened blue ...”, “July is the top of summer ...”, “We played through smoky ravines ...”, “At the bottom of my life ...”, “On the day the war ended ...”, “I I know no fault of mine…” and d.r.

• Activating the thinking of students .

Questions for the class:

1. What did the poet write about? What life values ​​did he affirm with his work?
2. Do you agree with the words of A.I. Solzhenitsyn, who noted "the Russianness of the warehouse, the peasantry, the earthiness, the inaudible nobility of Tvardovsky's best poems"?
3. What are the main themes of his poems?
4. What questions torment the front-line poet?

Conclusion: Tvardovsky's landscape lyrics are philosophical and expressive (“July is the crown of summer”). The world of childhood and youth on the farm Zagorye sounds in many works of the poet: from the first to the last - in the poem "By the Right of Memory". The theme of the "Small Motherland", the line of "memory" becomes the main one in the poet's work. Turning to the past, to memory allows you to comprehend the highest moments of being. Memory nourishes the poet's lyricism, restores what was true happiness and joy.

• Continuation of the excursion.

As you know, all children grow up and sooner or later leave their home. So it happened with Tvardovsky: the beloved land was a deaf place, not giving the opportunity to reveal the talent, in which the poet himself was very sure. But the attitude of Trifon Gordeevich to his son's passion for literature was complex and contradictory: either he was proud of him, or he doubted the well-being of his future fate if he took up the literary business. The father preferred a reliable peasant job to writing "fun", a hobby that, as he believed, his son should pass. Let us turn to the "Autobiography" of the poet.

• Work with the textbook. Students read an excerpt from the Autobiography. (Since 1924 ... the cause of significant changes in my life ") (Slide number 12)

In the eighteenth year of his life, Alexander Trifonovich 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, and became the author of several dozen published poems. He beckoned Big world. But separation was not easy. After moving to Moscow, A. T. Tvardovsky most acutely felt the connection with his small homeland. (Slide number 13) And the classic unforgettable lines were born:

I'm happy.
I am glad
With the thought of living beloved,
What's in my native country
There is my native land.
And I'm still happy
Let the reason be funny -
What in the world is mine
Pochinok station.

Pochinok station (1936).

(Slide number 15) There is another one in the city of Pochinok memorial place. On the central square of the city, next to the House of Culture, on June 21, 2010, on the day of the 100th anniversary of the birth of the poet, a bust of A. T. Tvardovsky, the author of which is the sculptor Andrey Kovalchuk, was solemnly opened.

The inhabitants of the Smolensk region are proud of their famous countryman and sacredly cherish everything connected with his name. After all, the most precious thing that every person has is the place where he was born, a small homeland, and it is always in his heart.

In the poem Vasily Terkin (chapter "About Me"), Tvardovsky wrote:

I left home once
Called the road into the distance.
It was not a small loss
But sadness was light.

And for years with gentle sadness -
Between any other worries -
Father's corner, my old world
I am a shore in my soul.

7. Reflection and summing up the lesson

Questions to the class: What did we learn today? Could you now distinguish Tvardovsky's poems from those of other poets? Has your perception of previously learned poems changed? What tasks did you like best?

Conclusion:

Without a doubt, the Smolensk region was a moral and aesthetic support in the work of A.T. Tvardovsky. She nourished with her life-giving juices the enormous talent of the great Russian poet, who deeply reflected in her best poems and poems.

Putting marks.

Homework: read the memoirs about Tvardovsky in the textbook, use them when preparing a story about the poet.

Bibliography:

1. Farm "Zagorye" - museum-estate of A.T. Tvardovsky http://kultura.admin-smolensk.ru/476/museums/sagorie/ ;
2. Literature: Ref. Materials: Book. for students / L64 S.V. Turaev, L.I. Timofeev, K.D. Vishnevsky and others - M .: Education, 1989. P. 80 - 81 .;
3. Skvoznikov V.D. Lyrics // Theory of Literature: Fundamentals. prob. in ist. lighting. - M., 1964. - Book 2: Types and genres of literature. - P.175 .;
4. Romanova R.M. Alexander Tvardovsky: Pages of life and work: Book. for students Art. classes cf. school - M.: Enlightenment, 1989. - 60s.;
5. Tvardovsky A.T. Poems. Poems. – M.: Artist. lit., 1984. - 559p. (Classics and contemporaries. Poetic library);
6. "Small motherland" in the poetry of A. T. Tvardovsky: reading lyrical lines ... http://www.rodichenkov.ru/biblioteka/;
7. In the homeland of Tvardovsky http://lit.1september.ru/article.php?ID=200401210 ;
8. Museum-estate of A.T. Tvardovsky - 15 years http://www.museum.ru/N13689 .

HOUSE AND ROAD AS SYMBOLS OF LIFE IN A.T. TVARDOVSKY

S.R. Tumanova

Department of the Russian language of the Faculty of Medicine Peoples' Friendship University of Russia Miklukho-Maklaya, 6, Moscow, Russia, 117198

The article is devoted to the analysis of the motives of the house and the road in the work of A.T. Tvardovsky, their role in revealing one of the most important philosophical concepts - life.

The images of the house and the road are central to many artistic worlds. But they are deciphered in different ways, depending on the filling with ideas and moods of the artists of the word.

The house and the road are the key motifs in Tvardovsky's work. Concrete, earthly concepts, absorbing all the meanings behind them, acquire a philosophical coloring from Tvardovsky, become symbols of life. The conjugation of the house and the road was a creative discovery of Tvardovsky, gave him the opportunity to expand their meaning.

Tvardovsky's house is both his father's house on the Zagorye farm, and the whole "mother earth". The road is both a forest path, without which the poet cannot live and sing, and the road “three thousand miles wide” is a symbol of the construction of a new life. The road led the poet from home to big life and back home, to his roots.

For the poet, the house meant that foundation of the foundations of being, without which life is impossible. It is no coincidence that the first published poem "The New Hut" was about the house. Through the concreteness, the visibility of details, a generalized philosophical meaning emerges: a house is the source of life, a new house is a new life. Many years later, he will write: “I am happy that I am from there, // From that land, from that hut, // And I am happy that I am not a miracle // Of a special, chosen fate”, where the hut-house is an image of the homeland .

The loss of the house causes the poet to mournfully reflect on the meaning of life, it becomes a symbol of an unfulfilled fate: “Neither grandchildren, nor your own hut, / Sit in the dugout, as in a well. // And old age...» . For Tvardovsky, such a phenomenon as vagrancy becomes repugnant and even terrible. And not only in its direct meaning. For the first time this word in quotation marks appears in the entry on January 31, 1955 after reading the novel by D. Aldridge "The Hunter": "The Hunter" by D. Aldridge is good, sincere and new (debunking "vagrancy") ". It is difficult for Tvardovsky to go through the first removal from the editorial post, when work is not going on, when “it carries and carries you somewhere into the abomination of inactive thought and verbiage, into“ vagrancy ”, after which there is only the end - and the end is shameful, painful, destroying you yet in advance by its inevitability, its horror.

In the early work of Tvardovsky, almost every poem has both a house and a road. The heroes of his poems are always on the move: they walk, ride, fly. The house is stability, and the road is a search, as in the "Country of Ants", search a better life. Continuing the traditions of Russian literature from the fabulous journeys of epic heroes to the wanderings of Nekrasov's characters from the poem "Who Lives Well in Russia", Tvardovsky introduces his own vision of the topic. “Morgunok's journey to an imaginary country of happiness,” A.V. Makedo-nov is both his journey to the true criteria and paths of happiness, and at the same time a journey to truth, to the choice between illusion and reality, to the justification and evaluation of a dream. Perhaps such a dream about a journey to the truth was also his, seemingly strange for Tvardovsky, dream of a trip around the world. Twice in the Workbooks he mentions this. For the first time in 1966, during the December days, when he, as usual, was planning work for the next year, he writes down using Tolstoy's "e.b.zh." and inventing his own f.b.h.: “And then“ f.b.zh. and e.b.h. (if everything goes well) I will travel around the world on water and write everything down in Mann with all sorts of distractions, etc.” . “Mannian” means with philosophical digressions, reflections on life. For the second time in 1968, in October, also in reflections on work and plans, the words appear: “Then, after all, a round-the-world trip?” .

“I go and rejoice,” exclaims the hero of Tvardovsky's early lyrics. During this period, the motif of the road is combined with the motif of memory. And memory is an extension past life in the present and beyond in the future. “Tvardovsky has a road and memory,” writes V.M. Akatkin - they do not oppose, they always complement and continue each other and in this unity they restore the balance of being, the harmony of the past, present and future. Indicative in this sense is the poem “A Trip to Zagorye”, in which a small movement in space is conjugated with recollection and the image of time is philosophically comprehended: “Time, time, like the wind, // The hat is torn from the head.”

The motives of the house and the road during the war acquire new semantic shades. War with all its cruelty falls on the house, the loss of which is terrible especially for the owner, it is equal to the loss of life. Related to this is the antinomy of "one's own - someone else's" - another constant motif in Tvardovsky's work. For a fighter, a defender of his land, a house is a reliable support: “He is at home, he, a Russian, is at home, // And at home it is better than at a party. The image of the enemy - the "guest" in the house, where he was not invited, repeats, varies, develops in Tvardovsky's military poems. He is a "short-lived guest", "a vagabond of half the world", "a thief who robbed a house". A house that has been captured, a house that serves the enemy because the enemy “forced” it, is still a house, it is part of the homeland.

The house is both the native Smolensk region and the whole Russian land. The images of the house and the road during this period merge, replace each other. The house turns out to be by the road and on the road, and the road becomes a house. The house destroyed by the war is

a symbol of struggle, helping the fighter in his battle with the enemy: “Stop and look! And you will go // Even faster forward. // Forward, for each native home. The road of retreat is difficult, because "it is bitter to go through the native land, hiding in the night." The road to the offensive is "fun work", Therefore, it is "three thousand miles wide." And it is no coincidence that the original Russian word "verst" is used here. This asserts that the Russian is at home. The poet calls to resist the enemy at home: “Beat, village family, a thief in an honest home,” and on the road: “So that the road is a quagmire / Bubbles under it.” For our troops, driving out the enemy, the road can be both “straight”, and “circular”, and “difficult”, but this is an “honest” road, because the poet is sure: “We will reach the place.” Prospect, country road, path, stitch - all these definitions of the road given by Tvardovsky in only one poem "In Smolensk" are not just names, all of them, except for the first one, are primordially Russian. They serve the poet to strengthen the feeling of deep contempt for the Nazis and an equally deep tender love for the Motherland, for his home: “I feel sorry for each path and stitch, / Where he passed on the ground.”

Sometimes the house is in conflict with the road. The road leads away from home, disrupts the usual course of life, becomes a homemaker: “When you go this way // Not a day, not two, soldier, // You will still understand, // How dear the house is, // How holy is the father’s corner.” The poet contrasts the house and the road, using the expression "to go through the world" in a direct and figurative sense. In his field life, a soldier really goes around the world, moving farther and farther from his native home, the memory of which only hurts, and it would seem that it would be better not to remember him, but the liberator soldier, having lost a lot on the roads of war, must believe: “We live , we are not going around the world, // There is something to keep, to love, // There is somewhere, there is or was our home, // But no - it should be so! . Keeping the house in the heart, the soldier guards life itself.

During the war, the memory of the house helps to survive. And even suffering, the loss of loved ones does not detract from a person's desire to have his own home. A new meaning appears in the motif of the house: a house is a community of people united by a common misfortune and a common cause: “I’ll take it, I’ll take it, my boy, // You will go with me // To the front where I fight, // To our regiment, to our home." In the dialogue between a mother, who is nestled on the side of a front road, and a soldier with a face similar to "a man - a soldier of all wars and all times", the essence of Tvardovsky's worldview is revealed: in a person, in any circumstances, the memory of the house causes a sense of responsibility for another and thereby helps to survive . Here the word "home" becomes synonymous with the word family. The word “house” appears in the same meaning in the poem “House by the Road”: “Among such mainland native, cherished corner. The house in the poem takes on so many meanings, turns into so many facets that it becomes a symbol of life itself.

The motif of the house by the road is also revealed in the poem "House on the Front Road". The half-ironic, half-joking first part of it contrasts with the tragic situation of the poem "House by the Road" and with dramatic tension.

I eat the second part of the poem. It seems that the poet in the words “house by the road. The turn from the quiet highway" interrupts the grin, recalls the tragedy of losses in the war and thus brings the poem to the level of generalizations: everyone should remember that they are waiting for him at home, and in any case, his memory will live on.

Tvardovsky did not bypass the motives of the house and the road in military prose, in the notes “Motherland and Abroad”. Discovering the genre of a travel diary, the idea of ​​which would later be developed in the poem "Beyond the distance - the distance", the poet speaks of the need to express the multi-layered impressions.

The poem "Vasily Terkin", which absorbed all the motives of the poetry of the Tvard period of the war, includes the motives of the house and the road. And although the main character himself does not have a family, gradually, throughout the entire poem, there is also homesickness, the need for home as the basis of life: “I left the house once, // The road called into the distance. // The loss was not small, // But sadness was bright. V.M. Akatkin in his new book “Alexander Tvardovsky and time. Service and Confrontation” states: “Everything that happens in the poem is a battle of the people for the right to life, to a home and personal independence, for the high honor of being called a great people, for their place under the sun, for freedom in the circumstances of disastrous lack of freedom.”

In the post-war work of Tvardovsky, the motifs of the house and the road continue to develop. The emphasis shifts again from the house to the road. Now the poet's road is life, the house is the motherland, which includes both the Smolensk region, and Moscow, and the road itself. “Throughout the Soviet Union, // If only that task could be done, // I want my accommodating Muse // I want to register for residence.” The poet himself is always on the road, and Moscow, his new home - "foster mother" - is on the way with him. "Where we are, there is Moscow," say the newlyweds from the poem "Beyond the distance - the distance."

The image of the road is increasingly acquiring a symbolic meaning of the life path. The poet's road is not a beaten path, but "an untrodden path", it is always on the rise, "behind the running day, like behind a barrage of fire." The poet cannot be “away from crowded roads”, but the path where he leaves “today's trace” is also important for him. It is no coincidence that in his “Workbooks” in 1955, among others, a quote from A. Blok appears: “The first and main sign that a given writer is not a random and temporary value is a sense of the path.” The road in the poem “Beyond the distance - the distance” is both a concrete Trans-Siberian highway and a symbolic road in time: “I am going. A small house with me, // What everyone takes with them on the road. The house in the poem turns from “small” into that common house that “people build for centuries”.

The motives of the house and the road are inseparable in the work of Tvardovsky, they, in the understanding of the poet, personify life itself. And he only dreams that the word could be compared with the road: “Where is my word, what would be genuine, // By the very one that time asks? ..”, with the road building

evidence of a new life: “But if only the distance in it was heroic, // How Russian is this Siberian expanse; // Like this mine, overshadowed by cranes, // Road of roads between two oceans. The motives of the house and the road, thus, pass through all the work of Tvardovsky, enriched with a multitude of meanings. Their development determines the formation of Tvardovsky's poetic system in line with the development of the lyrical beginning from poetic sketches to philosophical reflections.

LITERATURE

Tvardovsky A.T. Sobr. cit.: in 6 vols. - M.: Artist. lit., 1976-1983.

Tvardovsky A.T. Workbooks // Banner. - 1989. - No. 7.

Makedonov A.V. creative way Tvardovsky. houses and roads. - M.: Artist. lit., 1981.

Tvardovsky A.T. Workbooks // Banner. - 2002. - No. 5.

Tvardovsky A.T. Workbooks // Banner. - 2003. - No. 10.

Akatkin V.M. Road and memory. About Tvardovsky. - Voronezh: Central Black Earth Book Publishing House, 1989.

Akatkin V.M. Alexander Tvardovsky and time. Service and opposition: Articles. - Voronezh: VSU Publishing House, 2006.

HOME AND ROAD AS SYMBOLS OF LIFE IN A.T. TVARDOVSKY'S INTERPRETATION OF THE WORLD

Russian Language Department of Medical Faculty Peoples’ Friendship University of Russia

6, Miklukho-Maklaya str., Moscow, Russia, 117198

This research is devoted to the analysis of such motives as home and road in the Tvardovsky’s works and to the role they play in understanding of life - one of the most important philosophical concepts.

Tvardovsky's first poems appeared in print in 1925. But everything written by the poet before 1929, he himself considered helpless and later did not include it in his collected works.

In the first collections "Road", "Zagorye", "Rural Chronicle" Tvardovsky writes about the new village, about the people of the village. He addresses the theme of peasant labor, conveys his poetry. In the poems of the 1930s, Tvardovsky creates a generalized image of a person from the people, embodying spiritual beauty, high morality (a cycle of poems about Danila, “Ivushka”, “Your beauty does not age ...”).

Already in the collections of the 1930s, Tvardovsky's peculiar poetic manner is manifested. The basis of his poetry is the traditions of folk poetic creativity: an orientation to a colloquial language, not complicated by metaphors and poetic figures; the use of a well-aimed folk word, proverbs, sayings, the introduction of stable poetic turns of folklore into the verse. From folk poetry, some constant motifs entered the work of Tvardovsky, for example, the motif of the road, the House, the test of the hero on the path to happiness or to the goal. We can also talk about the deeper influence of folk poetry on Tvardovsky's poetry. This is reflected in those ideological principles that underlie the image of the hero and determine his character: traditional peasant values, folk morality, people's attitude to work. Such qualities determined the true nationality of Tvardovsky's poetry.

In the poetry of the 1930s, such features as narrative, eventfulness develop, which later lead Tvardovsky to the ballad genre (“Father and Son”, “The Ballad of a Comrade”, “The Ballad of the Renunciation”). During the years of the Great Patriotic War, Tvardovsky's poetry merges journalistic incandescence, lyrical emotionality, and an epic view of events. The poems of the wartime are combined into the collections "Retribution" and "Frontline Chronicle". The military poetry of Tvardovsky did not differ thematically from the work of other poets. The main themes are the unconquered Motherland (“To the Partisans of the Smolensk Region”), the high courage and patriotism of the Soviet soldier (“When you pass through the columns ...”, “Border”, “New Year's Word”), sacred revenge (“Retribution”).

The theme of the war, the memory of those who died for the freedom of the Motherland, remains one of the main ones in Tvardovsky's work in the post-war period ("I was killed near Rzhev ...").

And the dead, the voiceless, There is one consolation: We fell for the motherland, But she is saved ...

Post-war poems by Tvardovsky are filled with a philosophical understanding of time. The poet speaks about the meaning of life and creativity (“No, life did not deprive me ...”, “Recognition”), about the honor of a person, about the connection of a person with nature (“Conversation with Padun”, “The snows will darken blue ...”).

By the end of the 1960s, Tvardovsky understood and rethought a lot:

... voluntarily or involuntarily It happened, it turned out not right, not like that.

He perceives the history of the Soviet country as a harsh experience that future generations should take into account. He judges himself and his peers from high moral positions, he understands that it is the poet's duty to tell the truth, "no matter how bitter it may be." Tvardovsky considers it necessary that each person does everything to correct mistakes in life. In the poem "My morning hour, the control hour ..." the poet is sure that you can still turn the story:

But the murmur of your distressed soul is not yet inactive. Introducing experience to experience, My hour, do your work.

The introduction of Soviet tanks into Czechoslovakia in 1968 resonated with pain in Tvardovsky's lyrics. He perceived this act as an attack on freedom, as a collapse of all hopes (“Blame humanity for what you want ...”, “Marx, Engels, Lenin, you should know ...”).

Tvardovsky feels his tragic guilt for what is happening in our country. He lyrically analyzes his own biography, and through it - the biography of the entire generation, rises to a philosophical understanding of the "cruel fate":

I know it's not my fault That the others didn't come from the war, That they - who are older, who are younger - Remained there, and it's not about the same thing, That I could, but failed to save them, - Speech not about that, but still, nevertheless, nevertheless ...

The feeling of belonging to a common destiny was an integral part of the poet's thinking in his later lyrics. His poems are a conversation with oneself, alone. material from the site

The generalizing themes of later works are me and the world, me and the way of life, me and death, me and the people. It is the experience of knowing through self-knowledge. In the lyrical cycle “In Memory of a Mother”, the poet travels with his mother along the roads of her life and the whole people in his memoirs. The motif of the connection of times organizes the whole cycle and merges with the motif of the House, the origins. Memory is inherent not only to man, but also to nature. In the poems “How uncomfortable it is for these pine trees in the park…”, “Lawn in the morning from under the car…”, “Birch”, the memory of nature is a metaphor for the connection of everything in the universe, an expression of unity. The poet acutely feels the end of the personal existence of an individual person, the measured life span. But the commonality of everything in the world, the fluidity of time make it possible to overcome this finiteness, to find continuation in descendants, in the rustle of trees, in a blizzard whirlwind. The tragedy of the inevitable end is enlightened by the awareness of the not in vain of life ("We say goodbye to mothers ...", "Time is fast for reprisal").

From ascertaining the facts of socialist construction through the comprehension of the soul of the people in the war, Tvardovsky came to a philosophical understanding of the life and fate of a person and a country.

Didn't find what you were looking for? Use the search

On this page, material on the topics:

• tvardovsky's lyrics about time and about himself essay
• essay theme of nature in the work of Tvardovsky
• nationality of Tvardovsky's poetry
• poetic metaphors in Tvardovsky's poetry
• analysis of a poem by Twardowski snow will darken the blue