"Vasily Terkin"
Poem by A.T. Tvardovsky's "Vasily Terkin" opens with the image of water. This is peculiar artistic technique, helping the author to immediately introduce the reader to the values and realities of the harsh era of the early forties. The author begins his narrative not with heroism, not with pathetic lines, but with a description of the meager details of military life. And the reader understands that heroism is already the ability to adapt to a difficult life on the road. And here, according to Tvardovsky, in addition to water and food (colorful hot cabbage soup, which seems to the lyrical hero at the front to be the best and healthiest food), something else is needed, without which one cannot survive the harsh trials of war. And this cure for fear and despondency, for the bitterness of loss and defeat, is a joke, a joke, a saying - humor, which Russian folklore is so rich in.
This is how the image of a simple soldier Vasily Terkin appears in the poem, a sincere, easy-going, cheerful man and a good storyteller who knows how to brighten up the hardships of military trials with his optimistic attitude towards life.
After a short introduction “From the author”, the poem is followed by the chapter “At a halt”. It is also devoid of battle scenes, and this feature once again emphasizes that A.T. Tvardovsky is primarily interested not in the course of military operations, but in the description of a person’s life in war, his problems and experiences, his ability to remain human in borderline, seemingly hopeless situations.
War in the poem becomes a measure of decency, nobility, responsibility for the future of other people (relatives, friends, compatriots). In the era of consolidation of popular forces, these qualities become necessary for every fighter.
The chapter “At a Rest” opens and is interspersed with conversations of soldiers. Such dialogue gives the plot a relaxed character and shows trust in the relationship between the fighters. However, from individual details in the conversation a generalized image of the military generation emerges. “I’m fighting a second war, brother, forever,” says one of the soldiers, asking for more porridge. And thanks to this phrase, the reader literally imagines this fighter, a man no longer young, who has gone through a harsh school of life. One war knocked on his door in his youth, and now he had to take up arms a second time.
Artistic style of A.T. Tvardovsky is distinguished by its aphorism, capacity, and laconicism. The image of the “second war of the century” has philosophical depth: already short life of man, which in comparison with eternity, with our history, is insignificantly small, tragically irreversible, turns out to be overshadowed by a series of tragic events and, in fact, consists of practically nothing but difficulties and deprivations. And in such a difficult atmosphere of general fatigue and anxiety, the merry fellow and joker Vasily Terkin begins a story about “Sabantuy”. This is a kind of holiday of the soul, when a soldier rejoices that he did not die under bombing, and a spiritual uplift that helps the hero not to flee from the battlefield after seeing fascist tanks. A.T. Tvardovsky emphasizes that the hero of his poem
The most ordinary person with an unremarkable appearance. He does not seek fame, but is distinguished by an enviable love of life: “He smokes, eats and drinks with gusto in any position.”
In the chapter “Before the battle” A.T. Tvardovsky paints a picture of the retreat to the east, when our troops were leaving the encirclement, “leaving the captive region.” On the way, the commander of a detachment that was surrounded decides to look into his native village. Thanks to this plot device, the theme of the retreat is concretized and perceived not in general, but through the prism of the experiences of an individual person. The commander, together with the detachment, is forced to secretly make his way to his home in enemy-occupied territory. With a bitter feeling, he sits down at the table, chops firewood for his family at night, and at dawn leaves the house, realizing that the Nazis may soon enter it.
One of the most striking and memorable in the poem is the chapter “Crossing”. A.T. Tvardovsky depicts one of the episodes of the war in it, emphasizing the rich traditions of the glorious exploits of Russian soldiers - defenders of their native land: “They walk the same harsh path that two hundred years ago the Russian toiling soldier walked with a flintlock gun.”
The crossing is a difficult test of strength and endurance. Courage. The symbols of this test are the roar of water and the rotting ice. And an alien night, and an inaccessible forest, “the right bank is like a wall.” All these images of the natural world turn out to be hostile towards humans. A.T. Tvardovsky in the poem does not embellish reality, does not hide victims and failures, but depicts military actions and losses in all the terrifying and tragic truth: “Warm, living people went to the bottom, to the bottom, to the bottom...”. The repetition enhances the depth of the tragedy experienced by the author and shows the scale of the “blood trail.” The bitterness of the losses is enhanced by the picture depicting dead faces on which the snow does not melt. This fragment of the poem is not devoid of naturalism. Further, the author mentions that rations are still issued to the dead, and old letters written by them are sent home by mail. These details also emphasize the irreplaceability of the loss. The scale of the tragedy is enlarged with the help of toponymy: “From Ryazan, from Kazan, From Siberia, from Moscow - The soldiers are sleeping. They said theirs and are forever right.”
In the chapter “Crossing” Vasily Terkin miraculously remains alive and also brings the good news that the first platoon that managed to cross to the right bank is alive.
The chapter ends with a succinct and laconic summary: “The battle is holy and just. Mortal combat is not for the sake of glory, for the sake of life on earth.”
The theme of responsibility for the fate of Russia is also developed in the next chapter, “On War.” A.T. Tvardovsky emphasizes that sacrifices during war are inevitable, but they are made for the sake of common victory, so the soldier must forget about himself for a while: the main thing is to solve the combat mission, to fulfill his duty to his homeland, to his children.
The anti-humanistic nature of the war is emphasized by the writer in the chapter “Terkin is wounded,” which opens with a picture of a “mutilated land” that smells not of human smoke from housing, but of gun smoke. But the merciless cold of military winters is perceived by the author as help: the Russian peasant is accustomed to snow and cold, because he is fighting on his native land, but for the invaders the frost becomes ordeal. If the plot of this chapter, in which the hero is wounded, is dynamic, full of artistic details and constantly keeps the reader in suspense, then the chapter “On the Reward” opens with an optimistic monologue contrasting in mood: Vasily Terkin dreams of a vacation, wants to find himself in his native village, but the Smolensk region occupied by the enemy. At the end of the chapter, the repetition of “Mortal combat not for the sake of glory, but for the sake of life on earth” returns the hero from a dream to harsh reality.
The chapter “Two Soldiers” reinterprets the famous fairy tale plot about how a soldier made soup from an ax. Vasily Terkin spends the night in peasant hut, sharpens the old owner's saw, repairs his watch, and then persuades the owner to make scrambled eggs with lard.
Calm, humorous chapters alternate in the poem with recreations of the most difficult, tragic pages of the military chronicle.
The chapter "Duel" describes hand-to-hand combat. First, the reader sees that the German is physically stronger than Terkin. However, resourceful Vasily does not lose heart. And now “the German is decorated with a red yushka, like an egg.” This comparison in the poem conveys the spirit of Russian folk Easter traditions. The author thereby shows that Terkin has holy truth on his side and therefore he will win. A.T. Tvardovsky again turns to the distant but unforgettable pages of history (“Like on an ancient battlefield, Chest against chest, like a shield against a shield, - Instead of thousands, two fight, As if the fight will decide everything”). The contrast between the plural and the singular in this chapter shows that the fate of victory in times of military trials depends on the actions of each soldier.
In war, the most ordinary scenes of peaceful life seem fabulous and overgrown with dreams. The lines of the chapter “About Myself” are permeated with nostalgia for our small homeland. The hero sacredly keeps in his soul the world of his lost childhood: the forest where he went with friends to buy nuts, the globe at school, conversations with fellow countrymen and, of course, the image of his mother.
The poem ends with the chapter “From the Author,” in which the poet says that he dedicates the book to the memory of fallen soldiers and all his friends during the war. A.T. Tvardovsky admits that “Vasily Terkin” in times of difficult trials helped not only readers, but also the author himself, giving his life meaning and joy.
The history of the creation of Tvardovsky’s work “Vasily Terkin”
Since the autumn of 1939, Tvardovsky participated in the Finnish campaign as a war correspondent. “It seems to me,” he wrote to M.V. Isakovsky, “that the army will be my second theme for the rest of my life.” And the poet was not mistaken. In the edition of the Leningrad Military District “On Guard of the Motherland,” a group of poets had an idea to create a series of entertaining drawings about the exploits of a cheerful soldier-hero. “Someone,” recalls Tvardovsky, “suggested calling our hero Vasya Terkin, namely Vasya, and not Vasily.” In creating a collective work about a resilient, successful fighter, Tvardovsky was instructed to write an introduction: “... I had to give at least the most general “portrait” of Terkin and determine, so to speak, the tone, the manner of our further conversation with the reader.”
This is how the poem “Vasya Terkin” appeared in the newspaper (1940 - January 5). The success of the feuilleton hero prompted the idea to continue the story about the adventures of the resilient Vasya Terkin. As a result, the book “Vasya Terkin at the Front” (1940) was published. During the Great Patriotic War, this image became the main one in Tvardovsky’s work. “Vasily Terkin” walked along with Tvardovsky along the roads of war. The first publication of “Vasily Terkin” took place in the newspaper of the Western Front “Krasnoarmeyskaya Pravda”, where on September 4, 1942 the introductory chapter “From the author” and “At a halt” were published. From then until the end of the war, chapters of the poem were published in this newspaper, in the magazines “Red Army Man” and “Znamya”, as well as in other print media.
“...My work ends coincidentally with the end of the war. One more effort of a refreshed soul and body is needed - and it will be possible to put an end to it,” the poet wrote on May 4, 1945. This is how the completed poem “Vasily Terkin. A book about a fighter" (1941-1945). Tvardovsky wrote that working on it gave him a “feeling” of the legitimacy of the artist’s place in the great struggle of the people... a feeling of complete freedom to handle poetry and words.
In 1946, almost one after another, three complete editions of “The Book about a Fighter” were published.
Kind, genre, creative method of the analyzed work
In the spring of 1941, the poet worked hard on the chapters of the future poem, but the outbreak of war changed these plans. The revival of the idea and the resumption of work on "Terkin" dates back to the middle of 1942. From this time it began new stage work on the work: “The entire character of the poem, its entire content, its philosophy, its hero, its form - composition, genre, plot - have changed. The nature of the poetic narrative about the war has changed - the homeland and the people, the people in the war, have become the main themes.” Although, when starting to work on it, the poet was not too worried about this, as evidenced by his own words: “I did not long languish with doubts and fears regarding the uncertainty of the genre, the lack of an initial plan that would embrace the entire work in advance, and the weak plot connection of the chapters with each other. Not a poem - well, let it not be a poem, I decided; there is no single plot - let it be, don’t; there is no very beginning of a thing - there is no time to invent it; the climax and completion of the entire narrative is not planned - let it be, we must write about what is burning, not waiting, and then we’ll see, we’ll figure it out.”
In connection with the question of the genre of Tvardovsky’s work, the following judgments of the author seem important: “The genre designation of “The Book about a Fighter”, which I focused on, was not the result of a desire to simply avoid the designation “poem”, “story”, etc. This coincided with the decision to write not a poem, not a story or a novel in verse, that is, not something that has its own legalized and to a certain extent obligatory plot, composition and other features. These signs didn’t come out for me, but something did come out, and I designated this something as “The Book about a Fighter.”
This, as the poet himself called it, “The Book about a Soldier,” recreates a reliable picture of front-line reality, reveals the thoughts, feelings, and experiences of a person in war. It stands out among other poems of that time for its special completeness and depth of realistic depiction of the people's liberation struggle, disasters and suffering, exploits and military life.
Tvardovsky’s poem is a heroic epic, with objectivity corresponding to the epic genre, but permeated with a living author’s feeling, original in all respects, a unique book, at the same time developing the traditions of realistic literature and folk poetry. And at the same time, this is a free narrative - a chronicle (“A book about a fighter, without beginning, without end ...”), which covers the entire history of the war.
Subjects
The theme of the Great Patriotic War forever entered into the work of A.T. Tvardovsky. And the poem “Vasily Terkin” became one of his most striking pages. The poem is dedicated to the life of the people during the war; it is rightfully an encyclopedia of front-line life. In the center of the poem is the image of Terkin, an ordinary infantryman from the Smolensk peasants, uniting the composition of the work into a single whole. Vasily Terkin actually personifies the entire people. The Russian national character found artistic embodiment in him. In Tvardovsky’s poem, the symbol of the victorious people became an ordinary person, an ordinary soldier.
In “The Book about a Fighter” the war is depicted as it is - in everyday life and heroism, intertwining the ordinary, sometimes even comic (chapters “At a Rest”, “In the Bath”) with the sublime and tragic. The poem is strong, first of all, in the truth about war as a harsh and tragic - at the limit of possibilities - test of the vital forces of a people, a country, every person.
Idea of the work
Fiction of the Great Patriotic War period has a number of characteristic features. Its main features are patriotic pathos and a focus on universal accessibility. The most successful example of this work of art The poem “Vasily Terkin” by Alexander Trifonovich Tvardovsky is rightfully considered. The feat of a soldier in war is shown by Tvardovsky as everyday and hard military labor and battle, and moving to new positions, and spending the night in a trench or right on the ground, “shading himself from black death only with his own back...”. And the hero who accomplishes this feat is an ordinary, simple soldier.
It is in the defense of the Motherland, life on earth that the justice of the people's Patriotic War lies: “The battle is holy and just, mortal combat is not for the sake of glory - for the sake of life on earth.” Poem by A.T. Tvardovsky’s “Vasily Terkin” has become truly popular.
Main characters
An analysis of the work shows that the poem is based on the image of the main character - private Vasily Terkin. It doesn't have a real prototype. This collective image, combining the typical features of the spiritual appearance and character of an ordinary Russian soldier. Dozens of people wrote about Terkin’s typicality, drawing the conclusion from the lines “there is always a guy like this in every company, and in every platoon” that this is a collective, generalized image, that one should not look for any individual qualities in him, so everything typical for a Soviet soldier. And since “he was partially scattered and partially destroyed,” this means that this is not a person at all, but a certain symbol of the whole Soviet army.
Terkin - who is he? Let's be honest: He's just a guy himself. He's ordinary.
However, the guy is no matter what, a guy like that
There is always one in every company, and in every platoon.
The image of Terkin has folklore roots, it is “a hero, a fathom in the shoulders”, “a merry fellow”, “an experienced man”. Behind the illusion of simplicity, buffoonery, and mischief lie moral sensitivity and a sense of filial duty to the Motherland, the ability to accomplish a feat at any moment without phrases or poses.
The image of Vasily Terkin really captures what is typical for many: “A guy like this / There is always a guy in every company, / And in every platoon.” However, in him the traits and properties inherent in many people were embodied brighter, sharper, more original. Folk wisdom and optimism, perseverance, endurance, patience and dedication, everyday ingenuity and skill of the Russian person - a worker and a warrior, and finally, inexhaustible humor, behind which something deeper and more serious always appears - all this is fused into a living and integral human character. The main feature of his character is his love for home country. The hero constantly remembers his native places, which are so sweet and dear to his heart. Terkin cannot help but be attracted by mercy and greatness of soul; he finds himself in war not because of the military instinct, but for the sake of life on earth; the defeated enemy evokes in him only a feeling of pity. He is modest, although he can sometimes boast, telling his friends that he does not need an order, he agrees to a medal. But what attracts most about this person is his love of life, worldly ingenuity, mockery of the enemy and of any difficulties.
Being the embodiment of Russian national character, Vasily Terkin is inseparable from the people - the mass of soldiers and a number of episodic characters (a soldier grandfather and grandmother, tank crews in battle and on the march, a girl nurse in a hospital, a soldier’s mother returning from enemy captivity, etc.), he is inseparable from Motherland. And the entire “Book about a Fighter” is a poetic statement of national unity.
Along with the images of Terkin and the people important place In the overall structure of the work, the image of the author-narrator, or, more precisely, the lyrical hero, is occupied, especially noticeable in the chapters “About myself,” “About war,” “About love,” and in the four chapters “From the author.” Thus, in the chapter “About Myself,” the poet directly states, addressing the reader: “And I will tell you: I will not hide, / - In this book, here or there, / What the hero should say, / I say personally myself.”
The author in the poem is an intermediary between the hero and the reader. A confidential conversation is constantly conducted with the reader; the author respects his friend-reader, and therefore strives to convey to him the truth about the war. The author feels his responsibility to the readers; he understands how important it was not only to talk about the war, but also to instill in the readers faith in the indestructible spirit of the Russian soldier, optimism. Sometimes the author seems to invite the reader to check the truth of his judgments and observations. Such direct contact with the reader greatly contributes to the fact that the poem becomes understandable to a large circle of people.
The poem constantly permeates the author's subtle humor. The text of the poem is filled with jokes, sayings, sayings, and it is generally impossible to determine who their author is - the author of the poem, the hero of the poem Terkin or the people. At the very beginning of the poem, the author calls a joke the most necessary “thing” in a soldier’s life:
You can live without food for a day, You can do more, but sometimes In a war you can’t live for one minute without a joke, The jokes of the most unwise ones.
The plot and composition of the analyzed work
The originality of the book's plot and composition is determined by military reality itself. “There is no plot in war,” the author noted in one of the chapters. And in the poem as a whole there really are no such traditional components as plot, climax, denouement. But within chapters with a narrative basis, as a rule, there is a plot of its own, and separate plot connections arise between these chapters. Finally, general development events, the revelation of the character of the hero, with all the independence of individual chapters, is clearly determined by the very course of the war, the natural change of its stages: from the bitter days of retreat and the hardest defensive battles - to the hard-fought and won victory. This is how Tvardovsky himself wrote about compositional construction of his poem:
“And the first thing I accepted as the principle of composition and style was the desire for a certain completeness of each individual part, chapter, and within the chapter - of each period and even stanza. I had to keep in mind the reader who, even if he was unfamiliar with the previous chapters, would find in this chapter, published today in the newspaper, something whole, rounded. Besides, this reader might not have waited for my next chapter: he was where the hero is—at war. It was this approximate completion of each chapter that I was most concerned with. I didn’t keep anything to myself until another time, trying to speak out at every opportunity—the next chapter—to the end, to fully express my mood, to convey a fresh impression, a thought, a motive, an image that arose. True, this principle was not determined immediately - after the first chapters of Terkin were published one after another, and new ones then appeared as they were written.”
The poem consists of thirty independent and at the same time closely interconnected chapters. The poem is structured as a chain of episodes from the military life of the main character, which do not always have a direct event connection with each other. Terkin humorously tells young soldiers about the everyday life of war; He says that he has been fighting since the very beginning of the war, he was surrounded three times, and was wounded. The fate of an ordinary soldier, one of those who bore the brunt of the war on their shoulders, becomes the personification of the national fortitude and will to live.
The plot outline of the poem is difficult to follow; each chapter tells about a separate event from the life of a soldier, for example: Terkin swims twice across the icy river to restore 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 enters into hand-to-hand combat with the German and, having difficulty defeating him, takes him prisoner. Or, unexpectedly for himself, Terkin shoots down a German attack aircraft with a rifle. Terkin takes command of the platoon when the commander is killed, and is the first to break into the village; however, the hero is again seriously wounded. Lying wounded in a field, Terkin talks with Death, who persuades him not to cling to life; in the end he is discovered by the soldiers, and he tells them: “Take away this woman, / I am a soldier still alive.”
It is no coincidence that Tvardovsky’s work begins and ends lyrical digressions. An open conversation with the reader brings him closer to the inner world of the work and creates an atmosphere of shared involvement in events. The poem ends with a dedication to the fallen.
The poem “Vasily Terkin” is distinguished by its peculiar historicism. Conventionally, it can be divided into three parts, coinciding with the beginning, middle and end of the war. Poetic understanding of the stages of the war creates a lyrical chronicle of events from the chronicle. A feeling of bitterness and sorrow fills the first part, faith in victory fills the second, the joy of the liberation of the Fatherland becomes the leitmotif of the third part of the poem. This is explained by the fact that A.T. Tvardovsky created the poem gradually throughout the Great Patriotic War of 1941-1945.
Artistic originality
An analysis of the work shows that the poem “Vasily Terkin” is distinguished by its extraordinary breadth and freedom of use of means of oral, literary and folk poetic speech. This is for real vernacular. It naturally uses proverbs and sayings (“out of boredom, I’m a jack of all trades”; “making time for business is an hour of fun”; “the river you float along is the one you create a glory..."), folk songs(about the overcoat, about the river). Tvardovsky perfectly masters the art of speaking simply but poetically. He himself creates sayings that have come into life as sayings (“don’t look at what’s on your chest, but look at what’s ahead”; “at war shortcut, in love - distant"; “guns go backwards for battle”, etc.).
Freedom - the main moral and artistic principle of the work - is also realized in the very construction of the verse. And this is a find - a relaxed ten-line, eight-, and five-, and six-, and quatrain - in a word, there will be as many rhyming lines as Tvardovsky needs at this moment in order to speak out in full. The main size of “Vasily Terkin” is trochaic tetrameter.
S.Ya. wrote about the originality of Tvardovsky’s verse. Marshak: “Look at how one of the best chapters of Vasily Terkin, “The Crossing,” is constructed. In this truthful and seemingly artless story about genuine events observed by the author, you will nevertheless find a strict form and a clear structure. You will find here a repeating leitmotif, which sounds in the most crucial places of the narrative, and each time in a new way - sometimes sad and alarming, sometimes solemn and even menacing:
Crossing, crossing! Left bank, right bank. The snow is rough. The edge of the ice... To whom is memory, to whom is glory, To whom is dark water.
You will find here a lively, laconic, impeccably accurate dialogue constructed according to all the laws of a ballad. This is where real poetic culture comes into play, which gives us the means to depict events from the most vibrant modern life.”
Meaning of the work
Poem "Vasily Terkin" - central work in the works of A.T. Tvardovsky, “the best of everything written about war in war” (K. Simonov), one of the peaks of Russian epic poetry in general. She can be considered one of the true folk works. Many lines from this work migrated into oral folk speech or became popular poetic aphorisms: “mortal combat is not for the sake of glory - for the sake of life on earth”, “forty souls are one soul”, “crossing, crossing, left bank, right bank” and many other.
The recognition of “The Book about a Soldier” was not only popular, but also national: “...This is a truly rare book: what freedom, what wonderful prowess, what accuracy, precision in everything and what an extraordinary folk soldier’s language - not a hitch, not a hitch, not a single hitch.” a single false, ready-made, that is, literary-vulgar word!” — wrote I.A. Bunin.
The poem "Vasily Terkin" was repeatedly illustrated. The very first were illustrations by O.G. Vereisky, which were created directly after the text of the poem. The works of artists B. Dekhterev, I. Bruni, Yu. Neprintsev are also known. In 1961 at the Moscow Theater named after. Mossovet K. Voronkov staged “Vasily Terkin”. Known literary compositions chapters of the poem performed by D.N. Zhuravlev and D.N. Orlova. Excerpts from the poem are set to music by V.G. Zakharov. Composer N.V. Bogoslovsky wrote the symphonic story “Vasily Terkin”.
In 1995, a monument to Terkin was unveiled in Smolensk (author - People's Artist of the Russian Federation, sculptor A.G. Sergeev). The monument is a two-figure composition depicting a conversation between Vasily Terkin and A.T. Tvardovsky. The monument was erected using publicly collected money.
This is interesting
The painting by Yu.M. became the most famous. Neprintsev “Rest after the battle” (1951).
In the winter of 1942, in a front-line dugout, barely illuminated by a homemade lamp, the artist Yuri Mikhailovich Neprintsev first became acquainted with the poem by A.T. Tvardovsky "Vasily Terkin". One of the soldiers read the poem aloud, and Neprintsev saw how the soldiers’ concentrated faces brightened, how, forgetting about fatigue, they laughed while listening to this wonderful work. What is it enormous strength impact of the poem? Why is the image of Vasily Terkin so close and dear to the heart of every warrior? The artist was already thinking about this. Neprintsev rereads the poem several times and becomes convinced that its hero is not some kind of exceptional person, but ordinary guy, in the image of which the author expressed all the best, pure and bright that is inherent in Soviet people.
A merry fellow and joker who knows how to lift the spirits of his comrades in difficult times, to cheer them up with a joke and a sharp word, Terkin also shows resourcefulness and courage in battle. Such living Terkins could be found everywhere on the roads of war.
The great vitality of the image created by the poet was the secret of his charm. That is why Vasily Terkin immediately became one of my favorites folk heroes. Captivated by this wonderful, deeply truthful image, Neprintsev could not part with it for many years. “He lived in my mind,” the artist later wrote, “accumulating new features, enriching himself with new details, in order to become the main character of the picture.” But the idea for the painting was not born right away. The artist traveled a long path, full of work and thought, before he began painting the painting “Rest after the Battle.” “I wanted,” the artist wrote, “to depict the soldiers of the Soviet Army not at the moment of accomplishing any heroic deeds“When all a person’s mental strength is strained to the limit, show them not in the smoke of battle, but in a simple everyday environment, in a moment of short rest.”
This is how the idea of a painting is born. Memories of the war years help define its plot: a group of soldiers, during a short break between battles, settled down in a snowy clearing and listened to a cheerful narrator. In the first sketches the general nature of the future picture was already outlined. The group was located semi-circle, facing the viewer, and consisted of only 12-13 people. The figure of Terkin was placed in the center of the composition and highlighted in color. The figures located on each side of him formally balanced the composition. There was a lot of far-fetched and conditional in this decision. The small number of the group gave the whole scene a random character and did not create the impression of a strong, friendly group of people. Therefore, in subsequent sketches, Neprintsev increases the number of people and arranges them most naturally. The main character Terkin is moved by the artist from the center to the right, the group is built diagonally from left to right. Thanks to this, the space increases and its depth is outlined. The viewer ceases to be only a witness to this scene, he becomes, as it were, a participant in it, drawn into the circle of fighters listening to Terkin. To give even more authenticity and vitality to the whole picture,
Neprintsev abandoned solar lighting, since spectacular contrasts of light and shadow could introduce elements of theatrical convention into the picture, which the artist so avoided. The soft, diffused light of a winter day made it possible to more fully and brightly reveal the diversity of faces and their expressions. The artist worked a lot and for a long time on the figures of the fighters, on their poses, changing the latter several times. Thus, the figure of a mustachioed foreman in a sheepskin coat only after a long search turned into a sitting fighter, and an elderly soldier with a bowler hat in his hands only in the last sketches replaced the girl nurse bandaging the soldier. But the most important thing for the artist was working on the image inner world heroes. “I wanted,” Neprintsev wrote, “for the viewer to fall in love with my heroes, to feel them as living and close people, so that he would find and recognize his own front-line friends in the film.” The artist understood that only then would he be able to create convincing and truthful images of the heroes when they were extremely clear to him. Neprintsev began to carefully study the characters of the fighters, their manner of speaking, laughing, individual gestures, habits, in other words, he began to “get used to” the images of his heroes. In this he was helped by the impressions of the war years, combat encounters, and the memories of his front-line comrades. His front-line sketches and portraits of his fighting friends provided him with an invaluable service.
Many sketches were made from life, but they were not transferred directly to the painting, without preliminary modification. The artist searched for, highlighted the most striking features of this or that person and, on the contrary, removed everything secondary, random, interfering with the identification of the main one. He tried to make each image purely individual and typical. “In my painting I wanted to give a collective portrait of the Soviet people, the soldiers of the great liberating army. The true hero of my picture is the Russian people.” Each hero in the artist’s imagination has his own interesting biography. He can talk about them fascinatingly for hours, conveying the smallest details of their lives and fates.
So, for example, Neprintsev says that he imagined the fighter sitting to the right of Terkin as a guy who had recently joined the army from a collective farm, was still inexperienced, perhaps it was his first time participating in battle, and he was naturally scared. But now, lovingly listening to the stories of the experienced soldier, he forgot about his fear. Behind Terkin is a young man handsome guy in a jauntily tilted hat. “He,” the artist wrote, “listens to Terkin somewhat condescendingly. He himself could have told it no worse. Before the war, he was a skilled worker at a large factory, an accordion player, a participant in amateur performances, and a favorite of girls>>. The artist could tell a lot about the mustachioed foreman who laughs at the top of his lungs, and about the elderly soldier with a bowler hat, and about the cheerful soldier sitting to the left of the narrator, and about all the other characters... The most difficult task was the search appearance Vasily Terkin. The artist wanted to convey the image that had developed among the people; he wanted Terkin to be recognized immediately. Terkin should be a generalized image, it should combine the features of many people. His image is, as it were, a synthesis of all the best, bright, pure that is inherent in Soviet man. The artist worked for a long time on Terkin’s appearance, on his facial expression and hand gestures. In the first drawings, Terkin was depicted as a young soldier with a good-natured, sly face. There was no sense of dexterity or sharp ingenuity in him. In another sketch, Terkin was too serious and balanced, in the third - he lacked everyday experience, life school. From drawing to drawing there was a search, gestures were refined, and the pose was determined. According to the artist, the gesture of Terkin’s right hand was supposed to emphasize some kind of sharp, strong joke addressed to the enemy. Countless drawings have been preserved in which a variety of turns of the figure, tilts of the head, hand movements, individual gestures were tried - until the artist found something that satisfied him. The image of Terkin in the film became a significant, convincing and completely natural center. The artist devoted a lot of time to searching for a landscape for the painting. He imagined that the action was taking place in a sparse forest with clearings and copses. Early spring, the snow is not melting yet, but only loosening a little. He wanted to convey the national Russian landscape.
The painting “Rest after the battle” is the result of the artist’s intense, serious work, excited love for his heroes, and great respect for them. Each image in the picture is a whole biography. And before the gaze of an inquisitive viewer passes a whole series of bright, individually unique images. The deep vitality of the idea determined the clarity and integrity of the composition, the simplicity and naturalness of the pictorial solution. Neprintsev’s painting resurrects the difficult days of the Great Patriotic War, full of heroism and severity, hardships and adversity, and at the same time the joy of victory. That is why she will always be dear to the heart of the Soviet people, loved by the broad masses Soviet people.
(Based on the book by V.I. Gapeev, E.V. Kuznetsov. “Conversations about Soviet artists" - M.-L.: Enlightenment, 1964)
Gapeeva V.I. Kuznetsova V.E. “Conversations about Soviet artists. - M.-L.: Enlightenment, 1964.
Grishung AL. “Vasily Terkin” by Alexander Tvardovsky. - M., 1987.
Kondratovich A. Alexander Tvardovsky: Poetry and personality. - M., 1978.
Romanova R.M. Alexander Tvardovsky: Pages of life and creativity: A book for high school students high school. - M.: Education, 1989-
Tvardovsky A. Vasily Terkin. A book about a fighter. Terkin in the next world. Moscow: Raritet, 2000.
Analysis of the poem by A.T. Tvardovsky "Vasily Terkin"
The poem “Vasily Terkin” by A. Tvardovsky took an outstanding place in the history of Soviet poetry. The poet for the first time felt the necessity and effectiveness of the poetic word in fulfilling national tasks. “A book about a fighter,” writes Tvardovsky, “whatever its actual nature.” literary significance, during the war years was true happiness for me: it gave me a feeling of the obvious usefulness of my work...”
The originality of the life material and creative concept, the conditions of writing and existence of the poem “Vasily Terkin” determined its genre features, composition and plot. The leading principle in the “Book about a Fighter” is the fate of the homeland and its people. The poet not only reproduces the picture of the historical struggle of our people for the freedom of their homeland, but reveals in specific events and characters - this is the main advantage of the poem.
Terkin is only one of the specific bearers of the poetic idea of the work. The idea of the poem, the idea embodied in it, is much broader than the content of the image of Tyorkin. In Tyorkin, Tvardovsky reveals those basic positive traits of the Russian people, who ensured victory over the enemy. To reveal the main idea, a broad reflection of major historical events was necessary. In accordance with this task, the image of Tyorkin itself changed in the process of work, acquiring an increasingly broader meaning.
In the process of working on the poem, Tvardovsky was afraid to crush the big idea, so as not to reduce “the book to some kind of private story”, not to deprive it of the “universality” of the content. The author says that it is impossible to live in war “without the real truth, the truth that hits straight into the soul.” Showing “the real truth” meant revealing the truth, “no matter how bitter” it may be, about one of the most difficult and crucial stages of our people’s struggle for the freedom and independence of their homeland; it meant conveying, on the one hand, the great historical truth about the victory of socialism over fascism, and on the other hand, to show the main mover of this historical victory - the Soviet man. In order to accomplish this big difficult task, Tvardovsky found an original solution to the question of the plot and composition of the poem, prompted by life itself.
Tvardovsky set himself the task of truthfully revealing the meaning and features of the war and at the same time embodying in images a specific property of our people, clearly manifested in this battle. The integrity of the work is achieved through the organic unity and interdependence of the depiction of the course of the war and the development of the main character. The poetic image of the homeland, running through the entire poem, is revealed in different ways, in accordance with the characteristics of a particular period of the war, which makes it possible to experience the living history of the development of events.
The poem “Vasily Terkin” shows the development of the Patriotic War - from the period of the retreat of our troops to the east and to the victorious march of the Soviet Army across Europe.
The action of the poem begins approximately in the second year of the war, when the enemy was defeated near Moscow and was basically stopped along the entire front. The main task that Tvardovsky set for himself while working on the poem was not only to capture historical events in a large epic work, but also to help the Soviet people in the war, to somehow make it easier to overcome difficulties. Therefore he great importance gave it a joke, a front-line fable, a saying. The appearance of the hero was supposed to be “joyful” and set the reader up to perceive the poem as a deeply optimistic work. The severity and difficulty of front-line life, according to the author’s plan, should immediately be softened in the poem by “the most unwise joke.”
In the chapter “Before the Battle,” the poet shows how the Soviet people understood the depth of the danger that threatens our country, what character traits the Soviet people showed, and what was the main incentive in the people’s brutal struggle against the enemy. The soldiers overcame difficulties and hardships, made their way to the front, believing in the strength and power of the Soviet homeland. Hence the deepest confidence that:
The time will come, we'll come back,
What we gave, we will return everything.
With realistic force, Tvardovsky paints a picture of the devastation of his native land, the disorderly retreat of our troops, the difficult thoughts and experiences of the Soviet people remaining in captivity. The poet talks with pain about the thin, hungry, lost communications and some of the soldiers making their way to the east. Summarizing this period of the war, the poet, with all directness and courage, makes a deeply truthful conclusion:
It was a great sadness
How we wandered east.
This truthfulness, as a defining feature of the poetic narrative throughout the entire poem, makes Tvardovsky’s works exceptionally valuable from a historical and educational point of view.
The second chapter has the task of revealing the spiritual and moral character of the main character of the poem, Vasily Tyorkin, which will clearly manifest itself in the next chapter - “The Crossing”. The main motive of the first and partially the second part of the poem is the bitter feeling of danger looming over the homeland and the awareness of the need to mobilize all spiritual and physical strength Soviet people to fight.
And to the fighter beyond that threshold
There was a road ahead
To the native side
Straight through the war.
The first part of the poem, written before December 1942, that is, before our troops stopped the enemy troops along the entire front, truthfully reflects the intensity of the battle of the first stage of the war, the process of strengthening the unity of the people, awareness of the responsibility that fell on their shoulders. The chapters “About Myself” and “Battle in the Swamp” convey the highest intensity of the struggle. The time period is 1942-1943, that is, the period of the world-historical battles near Stalingrad. In the chapter “About Myself,” a kind of lyrical monologue addressed to the homeland, on behalf of the Soviet people, the belief is expressed that the hour of final victory is “just around the corner,” and the determination is expressed to “return” the homeland. If in the previous chapters victory over the enemy was, as it were, potential -
We will live - we will not die.
The time will come, we'll come back,
What we gave, we will return everything.
Here victory already appears as a real and close matter.
Making the symbol of a great feat not the battle of Stalingrad, but the deadly difficult battles for some unknown village, Tvardovsky again and again conveys the idea that heroic deeds, and heaviness and adversity manifest themselves everywhere in the same way - both in the “small” and in the “big” . The principle of typification in the depiction of a person corresponds to the principle of typification in the depiction of circumstances. Just as the image of a simple, unassuming soldier becomes the embodiment of national qualities in the poem, so this “insignificant” episode gradually develops into a symbolic picture of the great historical battle, which marked the beginning of a new stage of the war.
The third part of the poem is already entirely dedicated to the victorious offensive of the Soviet Army. The time has passed when the Red Army fought off enemy troops near Moscow and Leningrad, near Grozny and Stalingrad. Now our troops were crushing the enemy in the center of Germany.
In the poetic introduction in the last part of the poem, Tvardovsky characterizes this new stage of the war as follows and thereby determines the pathos of all the final chapters of the work:
All of it is from the Moscow region
And from the Volga upper reaches
To the Dnieper and Trans-Dnieper -
In the distance to the west side, -
Before, given with blood,
Returned again with blood.
The holiday is near, Mother Russia,
Turn your gaze to the West:
Vasily has gone far,
Vasya Terkin, your soldier.
The leitmotif of the poem becomes the idea of the great historical mission of the Soviet people in liberating not only their homeland, but also the peoples of other countries from fascism. In the third part of the poem, the most significant historical events of the last stage of the war, starting with the Battle of the Dnieper and ending with the victorious movement of the Soviet Army to the enemy capital (chapters “On the Dnieper” and “On the Road to Berlin”) found a deep poetic reflection. In the structure of the poem, these chapters play the role of a kind of culminating denouement of all events.
The main idea of the poem is reinforced by a refrain running through the entire work and defining its pathos:
The battle is holy and just,
Mortal combat is not for glory,
For the sake of life on earth.
The image of Tyorkin is a truly realistic image that embodies the best quality of the Soviet people. But many features bring him, of course, closer to the heroes of folklore. The image of a soldier in Russian folk art has a number of certain stable features: endurance, patience, all-conquering humor, resourcefulness; a soldier must be a jack of all trades - a craftsman. Deep knowledge folk art helped the poet better understand the qualities of a Soviet warrior, which he embodied in the image of Tyorkin.
Tvardovsky portrays Tyorkin not just as a warrior. This is a master “cun”, a craftsman. This is how he appears, for example, in the chapter “Two Soldiers”, when Tyorkin repairs watches for old people and sharpens a saw
Having examined the watch in detail, -
It’s still hours, but I haven’t been drinking, -
Master quietly and sadly
Whistled:
Things are bad... -
But he stuck it somewhere with an awl,
I spotted something in the dust,
He blew somewhere inside, spat, -
What do you think - let's go!
And such features bring the hero closer to numerous images of Russian craftsmen - wizards of labor, created in legends and fairy tales. At the same time, it is always not difficult to notice the features of a Soviet contemporary in him. There is clearly a fairy-tale tone in the description of the entire episode - and suddenly: the word “tool”, and even in everyday use; “miraculous” in many fairy tales “thought, spat.” With these seemingly completely insignificant touches, the poet seems to “take” the image out of that semi-fairy-tale atmosphere.
Creating the image of Vasily Terkin, generously endowing him with features close to folklore, Tvardovsky at the same time made him so vital that many readers of the poem had no doubt at all about the existence of his real prototype, so the poet even had to dissuade his readers of this: “Vasily Terkin, wrote Tvardovsky, as he appears in the book, is a fictitious person from beginning to end, a figment of the imagination, a creation of fantasy. And although the traits expressed in him were observed in many living people, not one of these people can be called a prototype of Tyorkin.”
In the scientific and critical literature about “Vasily Terkin”, the question of its genre definition still remains open. Many researchers of Tvardovsky’s work do not consider this significant. So, according to A.M. Abramov, this is not so important for the idea of the work, it is important that it comprehends “... the world, man, nature in their connections and relationships in the most multifaceted way...”, he is also supported by the authors of the second chapter of the monograph “Vasily Terkin as a People’s Character.” “It doesn’t matter,” they note, “that it is in form, but what is important is that the warring people need it...”. P. Vykhodtsev enters into controversy with these statements, considering them unfounded. In his opinion, the question of the principles of typification in “Vasily Terkin” is directly and directly related to the question of the genre of the work.” Therefore, he asserts with full confidence that “The Book about a Fighter” by A.T. Tvardovsky is a folk heroic epic, with which we completely agree. And although this work is most often called a poem, this designation, in our opinion, is purely conventional, as a work of large poetic form. At the same time, it does not contain much of what usually characterizes epic genre- a poem. There is no plot, climax, or denouement in the action; there is no developed plot (according to the author, “there are no plots in war”). The number of chapters is not determined by any framework; there could be more. As for the point of view of the author himself, he did not have a clearly defined plan for the entire work in advance. Here's how he wrote about it: “The genre designation, “Book about a fighter,” which I settled on, was not the result of a desire to simply avoid the designation “poem” or “story.” This coincided with the decision to write not a poem...” Tvardovsky wanted to create a kind of poetic encyclopedia about a warring people, a liberating warrior, or a folk book, so that the word “book” in this in the popular sense sounded in a special way - significantly, so that, in the words of the poet, “... it could be read from any open page.” According to his recollections, literary laws and genre definitions only hindered him in his search for the desired form of presentation. Only when the poet gave up on them did everything begin to go easily and freely. Overcoming and escaping from literary conventions, he happily used folklore conventions. Reading these confessions of the poet, we more clearly feel the undoubted connection of “Vasily Terkin” with the traditions of folk artistic culture.
In her article, Ermolaeva notes: “the truth of the poem is the truth about the soul of a soldier, about what and how he experiences in war. For Tvardovsky, the most important document of the era is the soul of the Russian soldier. The mood, thought, feeling, word contained in each individual chapter “confirmed and consolidated” the state of the people’s spirit at one or another stage of the war. Over the years, these chapters formed a kind of chronicle of the spiritual life of the people, reflecting the movement of national self-awareness throughout the war period. “The book about a fighter” appeared in this sense historical work about modernity."
A. Tvardovsky affirmed in his work the greatest value of the life of the nation and people, as well as the inviolability of eternal national, folk, universal - ideological and ethical values. The originality of Tvardovsky’s work is that the historical existence of the nation and people is inseparable from the historical existence of the individual.
Literature
List of sources
Tvardovsky, A.T. Collected works in 6 volumes. / A. T. Tvardovsky. – M.: Fiction, 1978.
T.1: Poems (1926-1940). Ant country. Poem. Translations.
T. 2: Poems (1940-1945). Poems. Vasily Terkin. House by the road.
T. 3: Poems (1946-1970). Poems. Beyond the distance is the distance. Terkin in the next world.
T. 4: Stories and essays (1932-1959).
T. 5: Articles and notes on literature. Speeches and performances (1933-1970)
2. Tvardovsky, A.T. Selected works. In 3 volumes. / Comp. M. Tvardovsky. - M.: Fiction, 1990.
T. 2: Poems.
List of scientific, critical, memoir literature and dictionaries
Abramov, A. M. “Vasily Terkin” by A. Tvardovsky - a folk epic / A. M. Abramov. – Voronezh, 1981.
Bessonova, L.P. Folklore traditions in the poems of A. Tvardovsky / L.P. Bessonova, T.M. Stepanova // Textbook for gumma students. fak. – Maykop, 2008.
“Vasily Terkin” by A. Tvardovsky - a folk epic / ed. A.M. Abramova, V.M. Akatkina. – Voronezh, 1981.
Vykhodtsev, P.S. Alexander Tvardovsky / P.S. Vykhodtsev. – M., 1958.
Grishunin, A.L. “Vasily Terkin” by Alexander Tvardovsky / A.L. Grishunin // ed. G.V. Stepanova. – M.: Nauka, 1987.
Grishunin, A. L. Tvardovsky’s creativity / A. L. Grushinin, S. I. Kormilov, I. Yu. Iskrzhitskaya: Moscow State University, 1998.
Dal, V.I. Explanatory dictionary of the living Great Russian language: V four volumes. Volume 3. - RIPOL CLASSIC, 2002.
Ermolova, N. L. About the truth of war in the “Book about a fighter” by A. T. Tvardovsky / N. L. Ermolova // Literature at school, 2005. - No. 5, pp. 2-6.
The poem "Vasily Terkin" is dated 1941-1945 - the difficult, terrible and heroic years of the struggle of the Soviet people with German fascist invaders. In this work, Alexander Tvardovsky created the immortal image of a simple Soviet soldier, defender of the Fatherland, who became a kind of personification of deep patriotism and love for his Motherland.
History of creation
The poem began to be written in 1941. Selected excerpts were published in newspaper versions between 1942 and 1945. Also in 1942, the still unfinished work was published separately.
Oddly enough, work on the poem was started by Tvardovsky back in 1939. It was then that he already worked as a war correspondent and covered the progress of the Finnish military campaign in the newspaper “On Guard of the Motherland.” The name was coined in collaboration with members of the newspaper's editorial board. In 1940, a small brochure “Vasya Terkin at the Front” was published, which was considered a great reward among the soldiers.
The newspaper's readers liked the image of the Red Army soldier from the very beginning. Realizing this, Tvardovsky decided that this topic was promising and began to develop it.
From the very beginning of the Great Patriotic War, being at the front as a war correspondent, he found himself in the hottest battles. He gets surrounded with soldiers, gets out of it, retreats and goes on the attack, experiencing first-hand everything that he would like to write about.
In the spring of 1942, Tvardovsky arrived in Moscow, where he wrote the first chapters “From the Author” and “At a Rest”, and they were immediately published in the newspaper “Krasnoarmeyskaya Pravda”.
Tvardovsky could not have imagined such an explosion of popularity even in his wildest dreams. The central publications “Pravda”, “Izvestia”, “Znamya” reprint excerpts from the poem. On the radio, texts are read by Orlov and Levitan. The artist Orest Vereisky creates illustrations that finally formulate the image of a fighter. Tvardovsky holds creative evenings in hospitals, and also meets with labor collectives in the rear, raising morale.
As always, what I liked to the common people, did not receive party support. Tvardovsky was criticized for pessimism, for not mentioning that the party is in charge of all accomplishments and achievements. In this regard, the author wanted to finish the poem in 1943, but grateful readers did not allow him to do this. Tvardovsky had to agree to censorship edits, in return he was awarded Stalin Prize for what you have become immortal work. The poem was completed in March 1945 - it was then that the author wrote the chapter “In the Bath”.
Description of the work
The poem has 30 chapters, which can be roughly divided into 3 parts. In four chapters, Tvardovsky does not talk about the hero, but simply talks about the war, about how much ordinary Soviet men who stood up to defend their Motherland had to endure, and hints at the progress of work on the book. The role of these digressions cannot be downplayed - this is a dialogue between the author and the readers, which he conducts directly, even bypassing his hero.
There is no clear chronological sequence in the course of the story. Moreover, the author does not name specific battles and battles, however, individual battles and operations highlighted in the history of the Great Patriotic War are discernible in the poem: the retreat of Soviet troops, so common in 1941 and 1942, the battle of the Volga, and, of course, the capture Berlin.
There is no strict plot in the poem - and the author did not have the task of conveying the course of the war. The central chapter is “Crossing”. The main idea of the work is clearly visible there - military road. It is along this path that Terkin and his comrades are striding towards achieving their goal - complete victory over the Nazi invaders, and therefore to a new, better and free life.
Hero of the work
The main character is Vasily Terkin. Fictional character, cheerful, cheerful, straightforward, despite the difficult circumstances in which he lives during the war.
We observe Vasily in different situations - and everywhere we can note his positive qualities. Among his brothers-in-arms, he is the life of the party, a jokester who always finds an opportunity to joke and make others laugh. When he goes on the attack, he is an example for other fighters, showing his qualities such as resourcefulness, courage, and endurance. When he rests after a fight, he can sing, he plays the accordion, but at the same time he can answer quite harshly and with humor. When soldiers meet civilians, Vasily is all charm and modesty.
Courage and dignity, shown in all, even the most hopeless situations, are the main features that distinguish the main character of the work and form his image.
All the other characters in the poem are abstract - they don’t even have names. The brothers-in-arms, the general, the old man and the old woman - they all just play along, helping to reveal the image of the main character - Vasily Terkin.
Analysis of the work
Since Vasily Terkin does not have a real prototype, we can safely say that this is a kind of collective image that was created by the author, based on his real observations of soldiers.
The work has one distinctive feature, which distinguishes it from similar works of that time, is the absence of an ideological principle. The poem contains no praise for the party or Comrade Stalin personally. This, according to the author, “would destroy the idea and figurative structure of the poem.”
The work uses two poetic meters: tetrameter and trimeter trochee. The first dimension occurs much more often, the second - only in certain chapters. The language of the poem became a kind of Tvardovsky card. Some moments that look like sayings and lines from funny songs, as they say, “went among the people” and began to be used in everyday speech. For example, the phrase “No, guys, I’m not proud, I agree to a medal” or “Soldiers surrender cities, generals take them from them” are used by many today.
Precisely on people like main character this poem in verse, all the hardships of the war fell. And only their human qualities - fortitude, optimism, humor, the ability to laugh at others and at themselves, in time to defuse a tense situation to the limit - helped them not only win, but also survive in this terrible and merciless war.
The poem is still alive and loved by the people. In 2015, the Russian Reporter magazine conducted sociological research into hundreds of the most popular poems in Russia. Lines from “Vasily Terkin” took 28th place, which suggests that the memory of the events of 70 years ago and the feat of those heroes is still alive in our memory.
Please help me answer questions about the poem by A. Tvardovsky Vasily Terkin crossing:Crossing, crossing
Left bank, right bank
Rough snow, edge of ice
Memory to Kama, glory to Kama,
Kamu dark water
No sign, no trace
At night! The first of the column
Breaking off the ice at the edge
Threatened half a ton
First platoon!
Plunged in, pushed off
And went! The second one is behind him!
Ready, duck down!
The third follows the second!
How the rafts went half a ton,
One thundered, then another!
Bass, heavy tone,
It's like a roof under your feet.
And the soldiers are sailing somewhere,
Hiding my bayonets in the shadows,
And completely their own guys.
It’s as if they don’t belong at once.
It's like they don't look alike
On our own, on those guys
Somehow everything is becoming more friendly and stricter
Somehow everything is dearer and dearer to you than an hour ago...
Look - and really - guys,
What's the truth?
Is he single or married?
These shorn people.
But the guys are already coming,
Fighters live in war,
Like back in the twenties
Their fellow fathers!
They go the harsh way,
Same as two hundred years ago
Walked with a flintlock gun
Russian hard worker soldier.
Sooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooeveryone
3) Figuratively means of expression(Epithets of comparison, metaphors, etc.) and what they are used for.
4)Syntax and punctuation of sentences
5) Sound recording
6) Rhyme, rhythm, meter
Analysis of the poem:
1) V. Lebedeva-Kumacha:
Get up, huge country,
Stand up for mortal combat
With fascist dark power,
With the damned horde!
May the rage be noble
Boils like a wave -
There is a people's war going on,
Holy war!
Like two different poles
We are hostile in everything:
We fight for light and peace,
They are for the kingdom of darkness.
Let's fight back the stranglers
All fiery ideas,
Rapists, robbers,
Tormentors of people!
2) Views, beliefs
3) The state of the author who wrote this verse or the hero of this verse
PLEASE DO IT URGENTLY!!!
URGENTLY PLEASE HELP ANALYZE THE POEM "ANCHAR" ACCORDING TO THE PLAN, THE PLAN IS IN THE ATTACHMENTS!!! PLEASE HELP I NEED IT URGENTLY, BUT I AM NOT PHYSICALLY UNABLE
I HAVE TIME!!! PLEASE HELP AND SO THAT LINES FROM THE POEM WILL BE BROUGHT TO EACH SECTION!!! HELP ME PLEASE!!!
In the desert, stunted and stingy,
On the ground, hot in the heat,
Anchar, like a formidable sentry,
Standing - alone in the whole universe.
Nature of thirsty steppes
She gave birth to him on the day of wrath,
And green dead branches
And she gave the roots poison.
Poison drips through its bark,
By noon, melting from the heat,
And freezes in the evening
Thick transparent resin.
Not even a bird flies to him,
And the tiger does not come: only a black whirlwind
He will run to the tree of death -
And rushes away, already pernicious.
And if the cloud waters,
Wandering, its dense leaf,
From its branches, already poisonous,
Rain flows into flammable sand.
But man is man
Sent to the anchor with an imperious glance,
And he obediently went on his way
And in the morning he returned with poison.
He brought mortal resin
Yes, a branch with withered leaves,
And sweat on the pale brow
Flowed in cold streams;
He brought it - and weakened and lay down
Under the arch of the hut on the bast,
And the poor slave died at his feet
The invincible ruler.
And the king fed that poison
Your obedient arrows
And with them he sent death
To neighbors in alien borders.
