Like A.T. Tvardovsky develops the idea of the continuity of generations of warriors in the chapter "Two Soldiers" (the poem "Vasily Terkin")? II. Reporting the topic and objectives of the lesson
Ticket number 23
1. Define the concept of "composition". What are the features of the composition of L.N. Tolstoy "After the Ball".
2. Like A.T. Tvardovsky develops the idea of the continuity of generations of warriors in the chapter "Two Soldiers" (the poem "Vasily Terkin")?
3. Quote the epigraph to the story of A.S. Pushkin "The Captain's Daughter" Reveal its meaning.
Define the term "composition". What are the features of the composition of L.N. Tolstoy "After the Ball"
Composition- this is the construction of the work, the correlation of the components of the artistic form, connected into a whole. Important elements of the composition are lyrical digressions and inserted episodes, the purpose of which is the author's expression of his thoughts, feelings and expansion of the space of the work, respectively.
Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel ...), but also a literary cycle, that is, a group of poetic or prose works united by a common hero, common ideas, problems, etc., even a common scene (for example , a cycle of stories by N. Gogol "Evenings on a Farm near Dikanka", "Tales of Belkin" by A. Pushkin; M. Lermontov's novel "A Hero of Our Time" is also a cycle of separate short stories united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their relationship are called composition.
COMPOSITION(from lat. Сompositio, composition, composition) - construction, structure of a work of art: selection and sequence of elements and visual techniques of a work that create an artistic whole in accordance with the author's intention.
The elements of the composition of a literary work include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (non-plot images created by the author's imagination), dialogues, monologues, episodes, insert stories and episodes, letters , songs (for example, Oblomov's Dream in Goncharov's novel "Oblomov", Tatyana's letter to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets ..." in Gorky's drama "At the Bottom"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.
The action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; such a composition is called inverse (this technique was used by N. Chernyshevsky in the novel What Is To Be Done?);
The author uses a framing or ring composition, in which the author uses, for example, the repetition of stanzas (the last repeats the first), artistic descriptions (the work begins and ends with a landscape or interior), the events of the beginning and end occur in the same place, in them the same heroes participate, etc.; such a technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in "Poems about the Beautiful Lady"), and in prose ("Dark Alleys" by I. Bunin; "Song of the Falcon", "Old Woman Izergil" M. Gorky);
The author uses the technique of retrospection, that is, the return of the action to the past, when the reasons for the current narrative were laid down (for example, the author's story about Pavel Petrovich Kirsanov in Turgenev's novel "Fathers and Sons"); often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called "a story in a story" (Marmeladov's confession and Pulcheria Alexandrovna's letter in "Crime and Punishment"; chapter 13 "The Appearance of the Hero" in "The Master and Margarita"; "After the Ball" Tolstoy, "Asya" Turgenev, "Gooseberry" Chekhov);
Often the organizer of the composition is an artistic image, for example, the road in Gogol's poem "Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival at Korobochka - the road - the tavern, meeting with Nozdrev - the road - arrival at Nozdrev - the road - etc .; it is important that the first volume ends with the dear one; so the image becomes the leading structure-forming element of the work;
The author can preface the main action with an exposition, which, for example, will be the entire first chapter in the novel "Eugene Onegin", or he can start the action immediately, abruptly, "without acceleration", as Dostoevsky does in the novel "Crime and Punishment" or Bulgakov in "Master and Margarita";
The composition of a work can be based on the symmetry of words, images, episodes (or scenes, chapters, phenomena, etc.) and will be mirrored, as, for example, in A. Blok's poem "The Twelve"; mirror composition is often combined with framing (this principle of composition is typical for many poems by M. Tsvetaeva, V. Mayakovsky and others; read, for example, Mayakovsky's poem "From Street to Street");
Often the author uses the method of compositional "break" of events: he breaks the narrative at the most interesting place at the end of the chapter, and a new chapter begins with a story about another event; for example, Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita use it. This technique is very fond of the authors of adventurous and detective works or works where the role of intrigue is very large.
The composition of the work can be thematic, in which the main thing is to identify the relationship between the central images of the work. This type of composition is more characteristic of lyrics. There are three types of such a composition:
Consistent, representing a logical reasoning, the transition from one thought to another and the subsequent conclusion in the finale of the work ("Cicero", "Silentium", "Nature is a sphinx, and so it is more true ..." Tyutchev);
Development and transformation of the central image: the central image is considered by the author from different angles, its bright features and characteristics are revealed; such a composition involves a gradual increase in emotional tension and a culmination of experiences, which often falls on the finale of the work ("The Sea" by Zhukovsky, "I came to you with greetings ..." Fet);
· comparison of 2 images that entered into artistic interaction ("Stranger" Blok); such a composition is based on the reception of antithesis, or opposition.
Means and techniques compositions deepen the meaning of the image. Elements or parts compositions: description, narration, system of images, dialogues, monologues of characters, author's digressions, insert stories, author's characteristics, landscape, portrait, storyline and narrative plot. Depending on the genre of the work, it is dominated by specific ways of depicting it. Each piece has its own unique composition. Some traditional genres have compositional canons. For example, triple repetitions and a happy denouement in a fairy tale, a five-act structure of classical tragedy and drama
exposition- information about the life of the characters before the start of the movement of events. This is a depiction of the circumstances that make up the background of the action. Exposure can be direct, i.e. follow to the tie, or delayed, i.e. go after the junction.
tie- an event from which contradictions escalate or arise, leading to conflict. In comedy N.V. Gogol's "The Government Inspector", the plot is several events: the mayor received a letter about the arrival of the auditor, the dream of the mayor and the story of the city gossips Bobchinsky and Dobchinsky about "incognito from the capital".
Development of action- this is the identification of connections and contradictions between the characters, the disclosure of their characters.
The moment of the highest tension of action is called climax. In the climax, the goals and characters of the characters are especially clearly manifested. In The Inspector General, the highest point of tension is Khlestakov's matchmaking and the celebration of his engagement to Marya Antonovna.
The climax immediately precedes the denouement. denouement- this is the moment of conflict resolution, the completion of the events associated with it. In comedy N.V. Gogol's The Inspector General, the denouement is the news of the arrival of the real auditor and the exposure of Khlestakov.
In some works, the plot may have a prologue and an epilogue. Prologue the work usually opens. The prologue is an introduction to the main development of the plot, which reveals the root causes of the events depicted in the work.
Epilogue- an image of what happened some time after the end of the events, i.e. consequence of these events.
It is not necessary that all the elements of the plot be in the work. in modern literature. As a rule, there is no prologue and epilogue, the climax may be somewhat obscured and even there may be no denouement.
The composition of a work is understood as the arrangement and interconnection of its parts, the order in which events are presented. It is the composition that helps the reader to better understand the intention and idea of the author, the thoughts and feelings that inspired him.
The story of L. N. Tolstoy “After the Ball” is compositionally divided into two parts completely different moods. The first is devoted to the description of the ball - bright, cheerful, unforgettable. The protagonist of the story is young and handsome, in love and enjoys the favor of the lovely girl Varenka. Bright and joyful feelings overwhelm the young man, making the first part of the story festive and wonderful. The second part of the story, both in events and in mood, is an absolute contrast to the first. The scene of the terrible punishment of the soldier extremely shocked the young man, in whose soul there was no place for evil and violence, cruelty. Reality, harsh reality burst into the young man's dreams, sweeping away joy and happiness. It turned out that next to the holiday and fun there is tragedy, misfortune, injustice. The deep shock from what he saw caused disgust in the young man, but not a feeling of protest. Perplexed, he thought that he did not know or did not understand something that gave the right to one person, even if endowed with power, to mock, beat and insult other people occupying a lower position.
Story Composition gives the reader the opportunity to feel all the horror, all the injustice of what is happening, precisely because it is shown after a delightful ball full of love and joy. By arranging the events in this order, L. N. Tolstoy helped us better and deeper understand the idea and meaning of the story.
"After the Ball" is constructed as a "story within a story": begins with the fact that the venerable, who has seen a lot in life and, as the author adds, a sincere and truthful person - Ivan Vasilyevich, in a conversation with friends, claims that a person’s life is formed one way or another not at all from the influence of the environment, but because of chance, and in proof of this is provided by a case, as he himself admits, that changed his life. This is actually a story, the heroes of which are Varenka B., her father and Ivan Vasilyevich himself. Thus, from the dialogue of the narrator and his friends at the very beginning of the story, we learn that the episode that will be discussed was of great importance in a person’s life. The form of the oral story gives the events a special realism. The mention of the sincerity of the narrator serves the same purpose. He talks about what happened to him in his youth; this narrative is given a certain “flavor of antiquity”, as well as the mention that Varenka is already old, that “her daughter is married”.
Analysis
In the work you can separate two parts. First- "At the ball", second- “After the ball” or you can call it more specifically - “On the parade ground”.
The scene of the ball - the plot of the action, its development and climax. Ivan Vasilyevich, young, "a cheerful and lively fellow", and even "handsome" and "rich", is in love with the beautiful girl Varenka. Ivan Vasilievich's feelings developed in ascending order. The hero saw the girl as an angel. The white color of her dress, as it were, emphasizes the bright image of Varenka and the bright feelings of Ivan Vasilyevich.
It seemed to Ivan Vasilyevich that love was raising him to some unprecedented height. The hero is at the pinnacle of happiness and it seems that his feeling cannot develop further. But no, this is not the end. Varenka's dance with his father raises in his soul a previously unknown wave of tenderness and happiness. This dance is the culmination of the hero's feelings and the culmination of the plot.
Ivan Vasilievich imperceptibly and easily transferred his love to Varenka's father. Father and daughter are one for him. A little later, the realization of their inseparability will cause feelings opposite to tenderness. Having reached its culmination, Ivan Vasilyevich's love remains the same after the ball. “My happiness grew and grew,” he will say, spreading his love to the whole world. On the highest note of the hero's feelings, the first part of the action ends.
"I saw ... something big, black"
The second part of the story is in many ways the opposite of the first. White dominated the ball, and black dominated the parade ground. At the ball, a mazurka sounded, which supported the feeling of happiness, and on the parade ground "drums beat and flutes whistled." These sounds set the alarm. The figures on which the hero's attention is focused are also contrasting. At the ball - lovely Varenka, and on the parade ground - a soldier beaten with gauntlets. He could only sob: "Brothers, have mercy."
“At the Ball” and “At the Parade Ground” are different scenes, and the contrast between them is quite natural, if not for one “but” ... The same person participates in them. The execution on the parade ground was led by Varenka's father, Colonel B. Blinded by love, Ivan Vasilievich used to see him as perfect, so the shock from what was happening on the parade ground was the strongest. “There was an almost physical melancholy in my heart, reaching nausea, melancholy ...” And I was also very “embarrassed”.
The scene on the parade ground - the denouement of the action. Ivan Vasilyevich for a short period of time (from evening to morning) went from blindness to insight. Having regained his sight, he realized that in the world of people there is visibility and essence, and far from always they are in harmony. That was the case with the Colonel. At the ball it is "pink and white". It turned out that this was an appearance, and his essence appeared on the parade ground.
"If i knew..."
Even Ivan Vasilyevich realized that morning that there was some other truth that he did not know. This truth allows the guilty soldier to be beaten to death.
The inability to understand that other truth, and, therefore, to accept it, turned Ivan Vasilyevich's whole life upside down. He, a carefree young man, suddenly discovered in himself previously unknown feelings: “I was so ashamed ... as if I had been convicted of the most shameful act ...” He was ashamed of the actions of another.
Dreaming of military service, Ivan Vasilyevich refuses it. From what? Probably, again, from the inability to understand what it is - this service.
Yes, and "love from that day began to wane." But what about Varenka? Nothing. But if in a moment of happiness she was for Ivan Vasilyevich a single whole with her father, then even in a moment of his horror and shame he could not separate them in his mind. The evil coming from the colonel, against his will, struck the love of his beloved daughter. This is the only punishment for him.
The narrative that Ivan Vasilyevich leads shows the events in reverse chronology, which allows you to see its devastating consequences in his fate.
The main features of the story "After the Ball":
- genre - story;
- based on real events;
- plot: one incident from the life of the hero;
- narration: on behalf of the protagonist;
- contrast as a compositional technique;
- detail as a way of revealing events and heroes;
- attention to the inner world of the hero;
- the story of the spiritual insight of the hero.
Like A.T. Tvardovsky develops the idea of the continuity of generations of warriors in the chapter "Two Soldiers" (the poem "Vasily Terkin")?
- How is Terkin depicted in the chapter "Two Soldiers"? Why is she so named?
- Is it possible to consider, as the author claims, Ter-kin and the old man as soldiers-brothers?
- What attitude do the old man and Terkin show towards each other? How is this expressed in their words, deeds, gestures, manner of address?
- What fabulous, ritual and folk-song traditions do you find in this chapter? What are they expressed in?
- What changes in Terkin's behavior and speech are found in the chapter "Grandfather and Woman"? What do you think is gained and what is lost by the soldier?
- Compare the farewell scenes in the chapters "Two Soldiers" and "Grandfather and Woman". What do they have in common and what different? What does Terkin's recollection of the repaired clock say?
- What changes are taking place in the appearance of the old man and the old woman, in their behavior over (past years? What are they caused by?
- What role do you think it plays in the poem?about the fighter Terkin, the chapter "About myself"?
- What is the attitude of the poet to the motherland, native land? How is it presented in the chapter?
- What are the author's thoughts about his relationship with the character? What is the meaning of these arguments? Is it possible to say that in this chapter the unity of the lyrical and epic principles in the poem is achieved, a tragic harmony?
Terkin is depicted in this chapter even before the occupation of the village, where he met an old soldier and his wife in a rather prosperous peasant hut for those times. He was already an experienced fighter, a brave Russian guy, witty, not at a loss under any circumstances, a craftsman who knew both peasant life and the laws of soldier life. He quickly adjusted his grandfather's saw, repaired the clock, which a professional watchmaker would not undertake. Knowing well the life of the village, Terkin is sure that the old woman has fat in store: “There was no German - that means there is!” The poet’s observations of how Terkin eats are very interesting: “He ate a lot, but not greedily, He saluted the appetizer ...” This is the trait of a working Russian person who knows how to work and appreciate bread. He is confident in victory over the enemy, although he understands that the path to it is long and difficult.
He sighed at the very door And said: - Let's beat, father ...
The chapter is called "Two Soldiers" not by chance. The dialogue between grandfather and Terkin testifies to the continuity of generations of Russian soldiers, participants in the First World War and the Great Patriotic War.
Can. Both endured many severe trials in the war. What the grandfather can no longer do due to age and weakness, the soldier of the new generation does with ease. Terkin treats the old soldier with great respect, answers his questions seriously, shows knowledge of military traditions, which pleases his grandfather, even when arguing with him:
And they sit like brothers at the table, shoulder to shoulder. Soldiers are talking, They are arguing amicably, hotly.
The reasoning of the young soldier pleases the old man, and he recognizes his right to equality:
Worth discussing with me. You are a soldier, although you are young, And a soldier is a brother to a soldier.
Respectful, fraternal, friendly, and at the same time, to some extent, competitive - these words can describe the attitude of two soldiers, older and younger generations, of the past and present wars towards each other. They are united by a calm attitude towards exploding mines. An important detail for understanding their relationship to each other is the bow of Terkin and the old woman (for hospitality, refreshments), and "the soldier himself." "Brother" and "soldier" are the old man's most frequent appeals to Terkin. In turn, the young fighter calls the old man "grandfather", "master", "father", respectful words among the people.
Folk song traditions are manifested in the rhythm of the verse, intonations, and the choreic meter characteristic of the song. The situation itself, adopted in fairy tales, “Once upon a time there were a grandfather and a woman” and a “good fellow” who helps them, is used in the chapter. The fairy-tale situation, when the guest points out to the old hostess the treat she has and she does not want to serve, and guesses where it is, was also used by Tvardovsky in re-registration in relation to the war. Folk poetic expressions “something is fine, then it’s foldable”, “blew, spat - what do you think, let’s go” and a host of others make the speech of the poem close to folklore.
Three years have passed since the farewell of the "two soldiers" in the front-line village. During this time, both Terkin and the old people endured many trials: retreat, occupation, battles ... And finally, a new meeting - during the retreat of the Germans. And Terkin - at the head of the reconnaissance detachment. This is already matured, wiser Terkin, who is entrusted with leading the reconnaissance operation before the liberation of the village. In the original version, Tvardovsky wanted to portray him as an officer, but later decided to leave him as an ordinary soldier (the poem was called “The Book about a Soldier”), and that is why in the chapter “Grandfather and Woman” he is called “senior ”,“ well done”, “like even an officer”. His humor is now distinguished by gravity, like all behavior. To the offer of the hostess to taste the fat, he now behaves not like the fairy-tale soldier in the chapter “Two Soldiers”, but with dignity and a good joke-half-question answers:
I would consider it an honor to have a bite, But there is no fat, grandmother?
The most important thing is the confidence in the coming victory, that there will be no more retreats. Terkin himself is aware of his acquisitions. Now he is not just “a master lunatic, with whom they sat at the table” and not only “whole where”, “and now look who I will be, it seems even an officer.” There is also such an innovation in his communication with civilians who are tired of military hardships: “It's me, Vasily Terkin, I'm talking. And you do believe." He acquired the right to these words by his experience as a soldier.
There is something in common in the plots of the chapters "Two Soldiers" and "Grandfather and Baba". This is, first of all, a treat with bacon, the question of whether our army will beat the enemy (in the second chapter - will there be retreats). But there are also differences. Now the woman herself is treating, who did not want to do this at the last meeting, and Terkin forced her to put up a treat, like a fairy-tale hero. Now the suffering peasant woman, from the joy of liberation and meeting with a dear man, a Russian soldier, herself insists that he refresh himself. Now he, accepting a treat, shows respect to the peasant house:
And he was in a hurry, but he still tasted it, He treated himself like a native. Tobacco poured grandfather And said goodbye.
The clock is a very important detail, linking both chapters both in plot and in ideological terms. During the retreat, the Russian soldier repaired the clock, which for the family more symbolized a good past than was of practical value, and the fascist destroyer stole it. And we see the author's position, which affirms the moral superiority of the Russian warrior. Terkin does not forget about the clock and reassures the old woman with the promise to bring two clocks from Berlin, once again expressing his victorious optimism and natural humor.
Changes occur as a result of the suffering suffered in the occupation, the unrelenting fear of being killed. The aged grandfather seeks to predict the course of military operations and respond to the aspirations of the inhabitants when the long-awaited victory comes.
And already it seemed to my grandfather, - He himself wanted it or not, - Before everyone for the victory, he personally held the answer.
And he no longer speaks with a feeling of some superiority, like an old soldier with a soldier of the younger generation, on the contrary, his attitude towards the current Terkin is full of admiration, as to the defender of the motherland. The author himself, paying tribute to his grandfather's courage and patience, continues to call him a soldier.
The attitude towards one's spouse is also changing on the part of the grandmother. If in the chapter "Two Soldiers" we read:
With whom she lived - she did not respect, With whom she scolded on the stove, From whom she kept away All the keys to the housework,
now she sees a protector in her husband, worries about him, feels like a weak being next to him.
A soldier went through two wars Whole, unharmed. Spare him, projectile, In hemp darling!
And the old man behaves like a protector. Taking a detachment of our troops from a distance for the Germans, he
For an ax - and in advance Shielded the old woman. His faithful death, No matter how bitter the moment, Decided to meet in battle, Holds his hatchet.
Thus, the general trials of military hardships unite people and transfer their relations from the ordinary level to the level, one might say, romantically heroized. And it is no coincidence that Tvardovsky continues to call his grandfather a soldier.
The chapter "About Me" gives an idea of the author's personality, his life path, reflections on the complexities of everyday life, on the formation of his worldview, on enrichment with life observations and conclusions. The author directly addresses the reader with the secret. The poetic reflection of the writer goes to the very heart of the reader, who is invited to check the author's reasoning. The desire to establish spiritual contact with him, direct appeal to him give a special lyricism, warmth, bring him closer to the hero, the author of the work, the events depicted.
The lyrical animation of the poem is strengthened by the fact that in the chapter "About Me" Tvardovsky makes Terkin his countryman, a native of the Smolensk region. The war for the hero and the author becomes a battle for the home and the road to it. material from the site
I tremble from acute pain, Anger bitter and holy. Mother, father, sisters I am beyond that line. I have the right to moan in pain And scream with anguish. That which I praised with all my heart And loved is beyond that line.
One of the important themes of the poem "Vasily Terkin" is the theme of the native land, native land. In the chapter "About myself" a large place is occupied by memories of the motherland, its nature and childhood, passed on this fertile land. "My dear mother earth" - twice the poet addresses his small homeland.
And one more appeal - "father's land." Of course, this is about the origins of life, the origins of Russian spirituality received in one's own family, both in a concrete and symbolic sense. For him, the homeland and childhood are one. This is a “nice forest”, which Tvardovsky colorfully describes, and “a stitch to the well”, and a courtyard, “where the sand is golden”, and ice on the river, and a native school, and a teacher. And of course, a feeling of great grief is expressed here that during the war this is "a land suffering in captivity."
This question about the fusion of lyrical and epic principles can only be answered positively. The author and his hero are closely merged with their reasoning and feelings about their homeland, which, by the will of the author, they have one - the Smolensk region.
Responding to reproaches addressed to him that in the "Book for a Fighter" the author writes a lot about himself and from himself, Tvardovsky answers:
But let's be honest: I'm a human too. What the hero would say, I say personally myself. I'm responsible for everything around, And notice, if you haven't noticed, That Terkin, my hero, sometimes speaks for me. He is my fellow countryman, and, perhaps, Though not in the least a poet, Yet he somehow seemed to think. And no, well, no. Terkin - further. The author follows.
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How A. T. Tvardovsky develops the idea of the continuity of generations of warriors in the chapter "Two Soldiers" (the poem "Vasily Terkin") and received the best answer
Answer from?Galina Kupina?[guru]
You are a soldier, although you are young,
A soldier is a brother to a soldier.
Look, grandfather, wiring,
We will divorce her.
Ah, scrambled eggs! Snacks
There is nothing more useful and stronger.
This is the doctor on the track
Gave it to me for my health.
Source: internet
Answer from Maxim Krasnov[newbie]
How A. T. Tvardovsky develops the idea of the succession of generations of warriors in the chapter "Two Soldiers" (the poem "Vasily Terkin").
Let us recall everyday Russian fairy tales about a dexterous, savvy soldier. A. T. Tvardovsky tells us the idea of the continuity of generations: the old man who fought in the First World War is changing! He is not afraid of breaks, continues his work, calming the old woman. The soldier of the Second World War - Vasily Terkin - deserves to be his successor: he is a jack of all trades, a man of a broad soul, he loves a good, heartfelt joke.
Grandfather proudly repeats: “That’s what we soldiers mean!” - and in a half-joking-half-serious conversation-test (folklore tradition) is affirmed in the main thought:
You are a soldier, although you are young,
A soldier is a brother to a soldier.
Some lines of this chapter sound like sayings, proverbs:
Look, grandfather, wiring,
We will divorce her.
Ah, scrambled eggs! Snacks
There is nothing more useful and stronger.
This is the doctor on the track
Gave it to me for my health.
Answer from Katya Koshuba[newbie]
Terkin is depicted in this chapter even before the occupation of the village, where he met an old soldier and his wife in a rather prosperous peasant hut for those times. He was already an experienced fighter, a brave Russian guy, witty, not at a loss under any circumstances, a craftsman who knew both peasant life and the laws of soldier life. He quickly adjusted his grandfather's saw, repaired the clock, which a professional watchmaker would not undertake. Knowing well the life of the village, Terkin is sure that the old woman has fat in store: “There was no German - it means there is!” The poet’s observations of how Terkin eats are very interesting: “He ate a lot, but not greedily, He saluted the appetizer ...” This is a feature of a working Russian person who knows how to work and appreciate bread. He is confident in victory over the enemy, although he understands that the path to it is long and difficult.
He sighed at the door
And said:
Let's go, father...
The chapter is titled "Two Soldiers" for a reason. The dialogue between grandfather and Terkin testifies to the continuity of generations of Russian soldiers, participants in the First World War and the Great Patriotic War.
Lesson 60 A. T. TVARDOVSKY. CHAPTERS FROM THE POEM "VASILY TERKIN"
Lesson Objectives: analyze the chapters proposed in the textbook, give them small comments of an ideological and aesthetic nature; learn to read expressively, dramatize what is read.
During the classes
I. Organizational moment.
II. Presentation of the topic and objectives of the lesson.
III. Work on the topic.
1. Dramatization of individual fragments from the chapters read(homework).
2. The word of the teacher (according to the chapter "On the reward").
In the circle of comrades-front-line soldiers, half-jokingly, half-seriously, Terkin dreams of how after the war, after the victory, he will return to his native places. An experienced warrior, he understands that he deserves a reward, but, a modest man, he does not even try to talk about his merits: he needs a medal in order to make an irresistible impression on the girls. With subtle humor, he presents his return home. With dignity and even pride, he will keep with his fellow villagers. And who will condemn him for a small and innocent boast?
Terkin looks simple, humane, cheerful in this scene. But the poet is not limited to a cursory sketch of the jokes of front-line friends. Lines full of humor are abruptly replaced by sad verses:
Terkin, Terkin, kind fellow,
What is laughter and what is sadness?
You guessed a lot, friend,
I guessed far into the distance ...
Where are the girls, where are the parties?
Where is the native village council?
You know yourself, Vasily Terkin,
That there is no road...
The words are a terrible reminder:
No road, no right
Stay in your native village.
The terrible battle is bloody,
Mortal combat - not for glory -
For life on earth.1 (See note.)
3. An expressive reading of the chapter "Accordion».
- What details characteristic of Tvardovsky's poem can we note, highlight in this chapter?
The difficulties of military life, the motif of front-line brotherhood, the deep psychologism of the dialogues, optimism, the flexibility of the verse, capable of expressing both bitter sadness, and quiet joy, and the dashing melody of dance.
Outcome of the chapter: “the memory of the dead does not need frozen relics, it is in the deeds and struggle of the living” (G. I. Belenky).
4. Staged conversation chapter "Two Soldiers".
What fairy tales does the chapter remind you of? (Everyday tales about a dexterous, savvy soldier.)
Tvardovsky tells us the idea of the continuity of generations: an old man who fought in the First World War is being transformed. He is not afraid of breaks, continues his work, calming the old woman. The soldier of the Second World War - Vasily Terkin - is a worthy successor: he is a jack of all trades, a man of a wide soul who loves a good, heartfelt joke.
Grandfather proudly repeats: “That’s what we soldiers mean!” - and in a half-joking-half-serious conversation-test (folklore tradition) it is stated in the main idea:
You are a soldier, although you are young,
A soldier is a brother to a soldier.
- What lines of this chapter sound like sayings, proverbs?
Look, grandfather, wiring,
We will divorce her.
Ah, scrambled eggs! Snacks
There is nothing more useful and stronger.
This is the doctor on the track
Gave it to me for my health.
- What character does the image of a hero acquire with the help of the rhyme of Russia - Vasily?
In the depths of native Russia,
Against the wind, chest forward
Vasily walks through the snow
Terkin. The German is going to be beaten.
5. Reading the chapter "Who fired?".
- Pay attention to the special mood that creates a contrast between the lyrical description of a wonderful evening that disturbed dreams of a peaceful life, and the appearance of a bomber that sows death. The line breaks:
Mother was waiting...
and suddenly -
In the distance, an indistinct
New, aching, double,
In a moment it's clear
And a soul-searing sound.
- Remember what extra-plot elements are. Highlight the lines that can be called indentation.
Death is death. her parish
We are all waiting for the old days.
And what time of year
Is it easier to die in a war?
With the help of homogeneous syntactic constructions and three repetitions of key words, the author conveys to readers a feeling of oppressive, terrible fear when consciousness refuses to perceive reality:
You pressed your palms to your temples,
You forgot, you forgot, you forgot
How the horses nibbled the grass
What did you drive at night.
Death rumbles in the eardrums
And far, far, far
That evening and that girl,
What you loved and shore.
And friends and loved ones,
Home home, a knot in the wall...
No, fighter, pray face down
Not good for war.
No, comrade, evil and proud,
As the law tells a fighter
Meet death face to face
And at least spit in her face,
If it's all over...
The intonation changes. The story continues. The author conveys to us the feeling of a person who, as if by chance, accomplished a feat, and the impression of the plane crash, and the joyfully-joking intonations of the fighters, and the irony caused by the consequences of such an unexpected event:
Adjutants are digging the ground,
The general breathes into the phone.
In response to the ingenuous remark of the sergeant, Terkin replies with dignity and humor:
Without delay in answering
The guy gives change:
- Do not worry, the German has this -
Not the last plane...
In these words - and firmness, and modesty, and the belief that other soldiers are also capable of a feat. And in the next chapter - "About the Hero" - the author emphasizes the same idea: there are no better and worse. Residents of all regions of Russia show the same heroism in battles and in the rear, both Tambov and Smolensk - all are capable of a feat.
6. Examining the illustration students to episodes from the poem with commentary (citation) of the authors.
7. Work on literary theory: the concept of "lyric epic poem", the image of the author, plot, composition, language of the poem.
a) The word of the teacher.
“So, most of you have read the entire poem. Could you retell its plot? (This is a story about the combat path of a Soviet soldier. Each chapter is a relatively independent unit with its own plot. But the author follows the course of the war: his Terkin went from the Soviet border - through the retreat - to Berlin. It was the difficult path of the Soviet army to victory.)
What type of literature do narrative works belong to? (To epic.)
– But is it only the epic beginning that is the main thing in this work? (We often hear not only the objectively detached voice of the narrator, but also the disturbing, agitated, sincere voice of the author himself - both in the chapters “From the Author” (4 chapters) and “About Me”, which, as it were, “hold” the poem, playing an important compositional role, both in lyrical and philosophical authorial digressions (for example, in the chapter "Who fired?").) The personal feelings of the author are the lyrical beginning of the work, which is inextricably combined with its narrative beginning. That is why we call "Vasily Terkin" a lyrical epic poem.
b) Student's presentation with the message "The image of the author in the chapter "From the author" and "About myself"" (individual homework).
– Note that the author is not a detached narrator, not an impassive observer, but the lyrical hero of the poem, who, together with all the people, is rooting for the fate of the country. He asserts his spiritual kinship with every Soviet person:
I'm robbed and humiliated
Like you, one enemy.
I tremble with sharp pain,
Malice bitter and holy.
Mother Earth is my own,
My forest side
The edge of recent childhood years,
Father's land, do you exist or not?
And wistfully realizing that his native land is in captivity, the poet swears, repeating:
Mother Earth is my own,
My forest side
A land suffering in captivity!
I'll come - I just don't know the day
And I'll tell you, I won't hide,
In this book, here and there,
What to say to the hero,
I speak personally.
I am responsible for everything around
And notice, if you haven't noticed,
Like Terkin, my hero,
c) The language of the poem.
(Writing in notebooks statements by G. I. Belenky: "The poem "Vasily Terkin" is a wonderful fusion of lyrics and epic, pathos and humor, heroic paintings and sketches of front-line life, high tragedy and easy jokes, oratory and the richest folk language with its unique vocabulary and phraseology.")
– What elements could you mark as oratorical?
Crossing, crossing!
The guns are firing in pitch darkness.
The fight is holy and right.
Mortal combat is not for glory,
For life on earth.
Ch. "Crossing"
- These lines are a kind of refrain for the whole poem:
Front left, front right
And in the February blizzard haze
The terrible battle is bloody,
Mortal combat is not for glory,
For life on earth.
- The connection of the poem with folklore (paraphrased proverbs, sayings):
Soldiers surrender cities
The generals take them.
- Find in the poem diminutive words characteristic of oral folk poetry, constant epithets. (“Sonny”, “dove”, “piece” in the chapter “Grandfather and woman”; constant epithets: “bitter year”, “damp earth.”)
- The poem is full of idiomatic expressions (“tell me honestly”, “a guy anywhere”, “a joke with you”, “will give life”), soldier's professionalism - turnovers born in the conditions of front-line life (“this point”, “torn pit”, “plant from a mortar”).
- The heroes of the poem do not speak in correct literary phrases, but in lively speech. A lot of dialogues - which creates the effect of the reader's presence in a group of fellow soldiers.
- The work brings syntactic parallelism closer to oral folk poetry, phrases - leitmotifs in each chapter, repetitions of individual phrases or entire stanzas both within one chapter and throughout the entire poem.
Syntax parallelism
Fight in the forest, in the bushes, in the swamp,
Where war paved the way
Where the water was the infantry
Knee-deep, mud-up to the chest;
Where the fighters wandered dejectedly,
And, slipping from a log in the night,
The artillery was sinking
Tractors tied up.
Accurate, impressive epithets
And blackens there jagged,
Behind cold trait.
impenetrable, untouched
forest over black water.
Metaphors are most often expressed by the most common words-concepts of predominantly peasant, common people's use: war - "plowed", "bombs trample cities"; "warm the earth with their belly."
- The verse of the "Book about a fighter" is a 4-foot trochee.
8. Perception of the poem front-line readers.
The soldiers believed that Vasily Terkin was a living, real person, that he might even be their brother-soldier.
“Perhaps there is no soldier named Vasily Terkin in the Red Army. But many thousands of Russian soldiers like him, bearing other names, live and fight. Their characteristic features were collected in the image of their hero by the author of the poem "Vasily Terkin", laureate of the Stalin Prize Alexander Tvardovsky.
Vasily Terkin is a literary hero. It was created by a poet. But such is the power of the true art of the word that he has become for us, for all readers, a living and genuine person, from whom one learns, whose words are repeated, whom one wants to imitate. The hero of the poem entered our military life as a constant companion, as a skilled friend and adviser. (see note), - wrote A. L. Grishunin, a researcher of Tvardovsky's work.
IV. Summing up the lesson.
1. Final word of the teacher.
The "book about a soldier" was addressed to a soldier in the same "salted tunic" as the hero's. It was written and reached the reader in separate chapters "from a sheet of a small army newspaper." Finishing it after the Victory, the poet admitted:
I dreamed of a real miracle:
So that from my invention
At war to living people
It might have been warm...
And a miracle happened: Tvardovsky's book entered the life of the war, and the words said in it were not at all boastful, that "Terkin" was read at leisure. Her character was liked by millions. He lived the same life, the same worries as all the trench people, from the most ordinary everyday ones (“The fighter lost his pouch ...”) to deeply personal, intimate ones, such as relentless thoughts about the house, loved ones, dead comrades and own fate:
The evil wind blows towards
Life sways like a twig
Every day and hour threatening.
Who will tell, who will hear -
You can't predict ahead.
Using the text of "Vasily Terkin", answer, why is his "small homeland" dear to the poet?
Homework: home essay on one of the topics: “Terkin - who is he? "," The poem "Vasily Terkin" - an encyclopedia of the Great Patriotic War.
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Composition
The plot "short story", so typical of the poet's poems of the 30s and 40s, disappears in his later work. It is replaced by either sketches, sketches (truly “from a notebook”), or a purely lyrical development of the theme, for example, “In the land where they were taken out in a herd ...” and “Where are you from this song ...” from the cycle “In Memory of Mother” ( 1965), an accurate fixation and a thorough study of various movements and states of the human soul, its most complex interfaces with the "big world", or philosophical reflections, not without even frank didactics - "To the Son of a Lost Warrior" (1949-1951), "On Youth" (1951), Mountain Paths (1960). At the same time, it must be noted that all the distinctions just outlined are very arbitrary and cannot in any way claim to be some kind of exhaustive and "rigid" classification.
The poet's works sometimes easily "combine" a picturesque sketch, precise psychological details and philosophical conclusions - "Confession" (1951), "I remember how my grandfather died ..." (1951) and others. The idea of the continuity of human affairs, of the precious inheritance we received from previous generations and not to be forgotten, which began to break through even in the pre-war poems of the poet (“Ivushka”, 1938), becomes one of the main “nerve centers” of his later work.
It is extremely characteristic of his attitude to the world - at the hour of a loud cosmic triumph, to remind the "scout of the universe" about the "newcomers from the replenishment" who rose into the sky towards the enemy in the formidable autumn of 1941 ("Cosmonaut", 1961). During the war years, Tvardovsky wrote: From Ivan to Thomas, Dead or alive, All of us together - this is us, That people, Russia. In the post-war work of the poet, a sincere and passionate declaration was clearly translated into the artistic reality of his poems, into the recognition and upholding of the unique value, significance, historical meaning of any honestly lived human life. Before us is a kind of lyrical chronicle that captures the most diverse ups and downs of modern life - from recognized large-scale (for example, Siberian construction projects or space exploration) to relatively small, or rather, "refracted" in events and episodes of a relatively private nature.
However, perhaps, for the late Tvardovsky, those poems are especially important, where significant social processes and phenomena are verified according to the “modest” scale of the specific human destinies they affected - “Housewarming” (1955-1959), “In Memory of the Mother”. The “cruel memory” of the war, of the dead, of the price of the victory achieved - all that Tvardovsky spoke so insistently about in his post-war poems, turned out to be not only unusually civic, humanistically, ethically significant for the author himself and for his readers, but also gave his perception of life has a special penetration, excitement and sensitivity, that aesthetic novelty, about which he himself said in the poem “There is nothing that once and for all…” (1969) as a discovery desired by any artist.
"The experience of a great life" prompted Tvardovsky to a number of prosaic ideas. With a very sober look at his first essays and stories, he later appreciated in them “vigilance and accuracy in relation to particulars, details, faces, language”, the reliability of the evidence “about people who are mostly no longer in the world, these early workers of the collective farm system ... in the Smolensk region. And yet he sadly noted in these “writings of ... youth” (which he once compassionately called: “my poor prose of the 30s”) “partisanship from the bottom of my heart” - “the sincere anguish of stretches and omissions in the main thing”, generated by “enthusiastic and boundless faith in the collective farms, the desire to see in the barely noticeable or chosen from all the complexity of the case something that would testify to the close, immediate victory of this cause. In later years, Tvardovsky cherished the idea of a book that would include these “old notes”, but already resolutely “plowed up” as a result of many years of “uncooling ... thoughts” about the fate of the Russian village.
Numerous essays by Tvardovsky during the war years, which, according to the poet's own testimony, brought him more satisfaction than his poems before the beginning of his work on Vasily Terkin, became the basis of the book Motherland and Abroad. Despite the author's unpretentiously modest designation of her genre - "Notebook Pages", the outward mosaic and fragmentation, all these heterogeneous plots and notes are united by the "general thought" that constantly possesses the writer - a thought about the enormity of the trials that have befallen the people, about the richness of the spiritual forces revealed in it, about the innumerability of human characters and properties.
Carefully executed psychological portraits, detailed stories of human destinies coexist in the book with tragic landscapes of the war, pictures of human labor trampled down by it, with "lyrical digressions" akin to the chapters "From the Author" in the "Book about a fighter". Other fragments of the "Motherland and Foreign Land" reveal the very "origins" of the poet's personality, dedicate" us to his thoughts about literature, to the background of some poems and poems.
It should be specially noted that the role of the Novy Mir magazine headed by A.T. notes." “The expansion of the arena of realism” (an expression of Saltykov-Shchedrin), which Tvardovsky aspired to in the magazine, enriched our literature with a number of outstanding, sometimes simply turning points - from Ovechkin’s “District Weekdays” to Solzhenitsyn’s “One Day in the Life of Ivan Denisovich”.
In the collection of poems and poems prepared by Tvardovsky for publication shortly before his death (1971), the lyric section ends with a confession poem, a commandment poem, addressed, as the poet almost always did, primarily to himself:
* From his path without stepping in anything,
* Don't give up - be yourself.
* So manage your fate,
* So that any fate finds itself in it
* And someone's soul let go of the pain.
* And the old lines from Vasily Terkin again respond to this:
* How many souls needed me
* Without which there is no me.
