History of creating the work of the Tverdow "Vasily Torkin"

Since the autumn of 1939, Tvardovsky as a military correspondent participated in the Finnish campaign. "It seems to me - he wrote M.V. Isakovsky, - that the army will be the second my theme for life. " And the poet was not mistaken. In the editors of the Leningrad Military District "guarding the Motherland", the poets group had an idea to create a series of entertaining drawings about the exploits of a funny soldier-hero. "Someone," recalls the Tvardovsky, "suggested calling our hero to Terkin, namely Vasya, and not Vasily." In the creation of a collective work about the unscrewly lucky fighter, the Tvardovsky was charged with writing an entry: "... I had to give at least the most common" portrait "of Terkina and determine, so to speak, tone, Maneru of our further conversation with the reader."
This appeared in the newspaper the poem "Vasya Terkin" (1940. - January 5). The success of the Faken Hero came across the idea of \u200b\u200bcontinuing the story about the adventures of the invalid Vasi Terkina. In the end, the book "Vasya Terkin on the front" (1940) was released. In the Great Patriotic War, this image becomes the main thing in the work of the Tward. "Vasily Terkin" walked along with the Tward Roads of War. The first publication "Vasily Terkina" took place in the newspaper of the Western Front "Krasnoarmeyskaya Pravda", where on September 4, 1942, the introductory head "from the author" and "on the privala" were printed. Since then, until the end of the war, the heads of the poems were published in this newspaper, in the magazines "Red Armenian" and "Banner", as well as in other printed bodies.
"... my work ends in coincidence with the end of the war. You need one more effort of the refreshing souls and body - and you can put the point, "wrote the poet on May 4, 1945. So the completed poem "Vasily Terkin appeared. Book about the fighter "(1941-1945). Tvardovsky wrote that the work on her gave him a "feeling" of the legality of the place of the artist in the great struggle of the people ... a sense of complete freedom of treatment with verse and the word.
In 1946, three complete editions of the book about the Fighter came almost one after another.

Rod, genre, creative method of analyzed work

In the spring of 1941, the poet hardly worked on the heads of the future poem, but the beginning of the war changed these plans. The revival of the idea and the resumption of work on "Terkin" refers to mid-1942. From this time, a new stage of working on the work begins: "The whole character of the poem has changed, all its content, her philosophy, her hero, its form - composition, genre, plot. The character of the poetic narration about the war - the homeland and the people, the people in the war were the main themes. " Although, starting to work on it, the poet was not too worried about this on this expense, as evidenced by his own words: "I would not be long ago by doubts and fears regarding the uncertainty of the genre, the lack of the initial plan, hugging all the work in advance, the weak storylice of the chases among themselves. Not a poem - Well, let yourself not a poem, I decided; There is no single plot - let yourself no, do not; There is no very beginning of things - I once invent it; The climax and the completion of the whole story is not planned - let it be necessary to write about what is burning, does not wait, and there will be visible, we will see. "
In connection with the question of the genre of the work of Tvardovsky, the following judgments of the author are important: "The genre designation" Book about the fighter ", on which I stopped, was not the result of the desire to simply avoid the designation of the" poem ", the story, etc. This coincided with the decision to write is not a poem, not a story or a novel in verses, that is, not what has its own legalized and to a certain extent obligatory plot, composite and other signs. I did not have these signs, and something still went out, and this something I designated the book about the fighter. "
This, as her poet himself called, "the book about the fighter" recreates a reliable picture of front-line reality, reveals the thoughts, feelings, the experiences of a person in war. It stands out among other then the poems of the special completeness and depth of the realistic image of the people's liberation struggle, disasters and suffering, feats and military life.
The poem of Tvardovsky is a heroic epic, with an objectivity that responds with an epic genre, but permeated by a lively copyrighted feeling, is peculiar in all respects, a unique book, at the same time developing the traditions of realistic literature and genetic creativity. And at the same time, this is a free story - a chronicle ("The book about the fighter, without beginning, without end ..."), which covers the entire history of the war.

Topic

The topic of the Great Patriotic War forever entered the creativity of A.T. Tvardovsky. And the poem "Vasily Terkin" became one of the brightest pages. The poem is dedicated to the life of the people in war, it is rightfully the encyclopedia of front-line life. In the center of the poem, the image of Terkina, an ordinary infantry from Smolensk peasants, which unites the composition of the work into a single whole. Vasily Terkin actually personifies the whole people. It found the artistic embodiment of Russian national character. An ordinary man, ordinary soldiers, became a symbol of the winning people in the poem.
In the "book about the fighter" the war is depicted as it is - on weekdays and heroic, interlacing ordinary, sometimes even comic (chapter "on the privala", "in the bath") with an elevated and tragedy. The poem is strong primarily for the truth about the war as harsh and tragic - at the limit of opportunities - testing the vitality of the people, the country, every person.

The idea of \u200b\u200bthe work

The artistic literature of the period of the Great Patriotic War has a number of characteristic features. Its main features - patriotic pathos and installation for universal availability. The intended example of such a artistic work is considered to be the poem Alexander Trifonovich Tvardovsky "Vasily Terkin". The feat of the soldier in the war is shown by Tvardovsky as everyday and grave work and battle, and the transition to new positions, and overnight in the tag or right on Earth, "shielding from death black only his own back ...". And the hero, which makes this feat - ordinary, simple soldier.
It is in the protection of the Motherland, life on Earth is the justice of the People's Patriotic War: "The fight is holy and right, the death fight is not for the sake of glory - for the sake of life on earth." Poem A.T. Tvardovsky "Vasily Terkin" became truly folk.

Basic heroes

The analysis of the work shows that the poem is based on the image of the main character - ordinary Vasily Terkina. It does not have a real prototype. This is a collective image that connects typical features of the spiritual appearance and the nature of an ordinary Russian soldier. Dozens of people wrote about the typical of Terkina, making the "guy in this way in every company in every company always, and in each platoon" the conclusion is that it is a collective image, generalized that it should not look for any individual qualities, so everything Typically for the Soviet soldier. And since "he was scattered, he was partially and partially exquisies," it means that it is not a person at all, but a certain symbol of the entire Soviet army.
Terkin - Who is he? Let's say frankly: just the guy itself is ordinary.
However, the guy at least where, the guy in this way
Each company is always, and in each platoon.
The image of Terkina has folk roots, it is "Bogatyr, a sage in the shoulders", "Veschak", "Man's" man. " Behind the illusion of rusting, balarage, mischiefs are hiding moral sensitivity and a sense of sown debt in front of the homeland, ability without phrase and posture to make a feat at any time.
The image of Vasily Terkina really absorbs what is typical for many: "The guy in this way / in each company is always, / and in each platoon." However, in it inherent in many people features and properties were embodied brighter, sharper, distinctive. Folk wisdom and optimism, durability, endurance, patience and dedication, the everyday savings and skill of the Russian man - the worker and the warrior, finally, inexhaustible humor, followed by something more in-depth and serious, - all this is melted in a living and holistic human character. The main feature of his character is love for their native country. The hero constantly remembers the native places, which are so miles and the road to His heart. It cannot but attract in Terkina also with mercy, the greatness of the soul, in war, it turns out not because of the military instinct, but for the sake of life on earth, the enemy causes only a sense of pity in it. He is modest, although he can sometimes take asleep, saying to the friends that he does not need an order, he agrees to the medal. But most of all attracts his life in this man, everyday savings, mockery over the enemy and over any difficulties.
Being an embodiment of the Russian national nature, Vasily Terkin inseparable from the people - the soldier's mass and a number of episodic characters (grandfathers and grandmother, tankers in battle and march, a nurse girl in the hospital, a soldier mother, returning from enemy captivity, etc.) , It is inseparable from Mother Motherland. And the whole "book about the fighter" is a poetic statement of national unity.
Along with the images of Terkina and the people, an important place in the general structure of the work occupies the image of the author-narrator, or, more precisely, the lyrical hero, especially tangible in the chapters "Ohself", "On War", "On Love", in the fourkers "from the author " So, in the chapter "About myself", the poet directly declares, turning to the reader: "And I will tell you: I will not hide, / - in this book, whether there, Sym, / what would be to be a hero, I personally say."
The author in the poem is an intermediary between the hero and the reader. A confidential conversation is constantly underway with the reader, the author respects the reader's friend, and therefore seeks to convey to him the truth about the war. The author feels his responsibility to readers, he understands how important it was not only to tell about the war, but also to instill faith in the readers in the disadvantage of the spirit of the Russian soldier, optimism. Sometimes the author as it would invite readers to check the truth of its judgments and observations. Such direct contact with the reader quite contributes to the fact that the poem becomes a clear large circle of people.
The poem constantly serves a subtle author humor. The poem's text is filled with additives, promscripts, sayings, and determine who is their author - the author of the poem, the hero of the Poem Terkin or the people, is generally impossible. At the very beginning of the poem, the author calls the joke as the most necessary in the soldier's life "thing":
You can live without food, you can more, it is possible, but sometimes in the war one minute can not live without booms, the jokes of the Noomudo itself.

The plot and composition of the analyzed work

The originality of the plot-composite construction of the book is determined by the most military reality. "There is no plot at war," the author noted in one of the chapters. And in the poem, in general, there are no such traditional components as the tie, culmination, an omission. But inside the chapters with a narrative basis, as a rule, there is a story, between these chapters there are separate plot ligaments. Finally, the general development of events, the disclosure of the character of the hero, with all the independence of individual chapters, is clearly determined by the course of the war itself, a natural change of its stages: from the bitter days of retreat and the hardest defensive fights - to the stunned and conquered victory. Here's how Tvardovsky wrote about the compositional construction of his poem:
"And the first thing that I accepted for the principle of composition and style is the desire for the well-known completeness of each individual part, chapter, and inside the chapter - each period and even stanza. I had to keep in mind the reader, who, at least and unfamiliar, was with the previous chapters, would find something integer in this chapter today, rounded. In addition, this reader could not wait for my next chapter: he was where the hero, - in the war. This approximate completion of each chapter I was most concerned. I did not keep anything to myself as another time, seeking to speak out in each case - the next chapter - to the end, to fully express my mood, pass the freshly impression, the thought, the motive, image. True, this principle was not determined immediately - after the first chapters of "Terkina" were printed in a row one after another, and the new ones were already appeared as they wrote. "
The poem consists of thirty independent and at the same time closely related chapters. The poem is built as a chain of episodes from the military life of the chief hero, which do not always have a direct event between themselves. Terkin with humor tells young fighters of the war; He said that he was fighting from the very beginning of the war, he was surrounded three times, was wounded. The fate of the ordinary soldier, one of those who carried the whole severity of the war on their shoulders, becomes the personification of the National Power of Spirit, will to life.
Poam's story can be difficult to trace, each chapter tells about a separate event from the life of the fighter, for example: Terkin twice tweats the ice river to restore communication with the upcoming units; Terkin alone occupies a German blonde, but falls under the shelling of his own artillery; On the way to Front, Terkin turns out to be in the house of old peasants, helps them by housework; Terkin comes into hand-to-hand combat with German and, with difficulty defeating, takes him captive. Or unexpectedly for himself terkin from the rifle knocks down a German attack aircraft. Terkin takes command of a platoon to himself when they kill the commander, and the first breaks into the village; However, the hero is quickly wounded. Lying wounded in the field, Terkin talks with death, persuading him not to cling to life; In the end, the fighters are found, and he tells them: "Remove this woman, I still have a live soldier."
It is not by chance that the work of the Tvardovsky begins and ends with lyrical deviations. An open conversation with the reader brings to the inner world of the work, creates an atmosphere of general involvement in the events. The poem ends the dedication to the fallen.
The poem "Vasily Terkin" is distinguished by peculiar historicism. It can be divided into three parts, coinciding with the beginning, middle and end of war. The poetic understanding of the steps of the war creates the lyrical chronicle of events from the chronicle. The feeling of bitterness and grief fills the first part, faith in victory - the second, the joy of 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, 1941-1945.

Artistic peculiarity

Analysis of the work shows that the poem "Vasily Terkin" is distinguished by the extraordinary latitude and freedom of use of the means of oral-spoken, literary and peopetic speech. This is a truly popular language. In it, proverbs and sayings are naturally used ("I'm boredom for all hands"; "The case is time - an hour of fun"; "On which the river is saved, - that alone is to create ..."), folk songs (about Sineli, O River ). The Tvardovsky perfectly owns the art of saying simply, but poetic. He himself creates considerations that included in the rights of sayings ("Do not look at the chest, and look, what ahead"; "The war has a short way, in love - distant"; "guns to battle are ride" and others) .
Freedom - the main moral and artistic principle of the work is also implemented in the very construction of a verse. And this is a find - the relatively decade, eight, and five-, and six-, and the quatrain - in a word, the rhymers will be as much as the Tvardovsky needed in this minute in order to speak in full. The main size of "Vasily Terkina" is four-stranded kernels.
On the originality of the verse of Twardovsky wrote S.Ya. Marshak: "See how one of the best chapters" Vasily Terkina "is built -" Crossing ". In this truth, and as if a rampant story about the authentic, who observed by the author of the events, you will nevertheless find a rigorous form, a clear construction. You will find a recurring leitmotif here, which sounds in the most responsible places of narration, and every time in a new way, is sad and anxious, it is solemnly and even terrible:
Cross, crossing! Coast left, shore right. Snow rough. The edge of ice ... to whom the memory, whom Glory, whom the dark water.
You will find here and lively, concise, flawlessly acknowledged and built on all laws of ballads dialogue. This also affects the real poetic culture, which gives us funds for the image of events from the most modern cycling life. "

The value of the work

Poem "Vasily Terkin" - a central work in the works of A.T. Tvardovsky, "The best of all written about war in war" (K. Simonov), one of the tops of Russian epic poetry at all. It can be considered one of the truly folk works. Many lines from this work moved to orally popular speech or became popular poetic aphorisms: "The death fight is not for the sake of glory - for the sake of life on earth," "Forty shower one soul", "Cross, crossing, shore left, right" and many Others.
The recognition of the "book about the fighter" was not only nationwide, but also nationwide: "... this is a truly rare book: what freedom, what a wonderful delete, what is the accuracy, accuracy in everything and what extraordinary People's Soldier's Language is neither a bitch no zadorinka nor Single fake, ready, that is, literary-vulgar words! " - wrote I.A. Bunin.
The poem "Vasily Terkin" was repeatedly illustrated. The first were the illustrations of O.G. Veresky, who were created directly following the text of the poem. The works of artists B. Dehteherheva, I. Bruni, Yu Nakutsev, are also known. In 1961 in the Moscow Theater. Mosovet K. Voronkov staged "Vasily Terkina". Known literary compositions of the chapters of the poem performed by D.N. Zhuravleva and D.N. Orlova. Excerpts from the poem are put on the music of V.G. Zakharov. Composer N.V. The Godlovsky was written by a symphonic story "Vasily Terkin".
In 1995, a monument to Terkin was opened in Smolensk (the author is the national artist of the Russian Federation Sculptor A.G. Sergeev). The monument is a two-profic composition depicting the conversation of Vasily Terkina with A.T. Tvardovsky. Monument is installed on the money of the money.

It is interesting

The greatest fame acquired the picture Yu.M. Nontsev "rest after fight" (1951).
In the winter of 1942 in the frontal dugout, barely illuminated by a homemade lamp, the artist Yuri Mikhailovich Neumbens first met with the poem A.T. Tvardovsky "Vasily Terkin". One of the fighters read the poem out loud, and the unansitsa saw the light focused faces of the soldiers, as, forgetting about fatigue, they laughed, listening to this wonderful work. What is the enormous force of the poem? Why is it so close and the road to the heart of each warrior the image of Vasily Terkina? An artist thought about it. Nonununners reread the poem several times and is convinced that her hero is not at all some exceptional nature, but an ordinary guy, in the form of which the author expressed all the best, clean and bright, which is inherent in Soviet people.
Messenchak and Bougureur, who knows how to raise the mood of comrades in a difficult moment, to cheer themselves with a joke, a sharp word, terkin and in battle shows resources and courage. Such live terkins on the roads of war could be found everywhere.
In the great vitality of the image created by the poet, and the secret of his charm. That is why Vasily Terkin immediately became one of his favorite folk heroes. Captured by this wonderful, deeply truthful way, unanswered for many years could not part with him. "He lived in my mind," the artist later wrote, "accumulating new features enriched with new details in order to become the main character of the picture." But the idea of \u200b\u200bthe picture was not immediately born. A long, full of work and a thoughtful way was the artist before starting writing a painting "Rest after the fight." "I wanted," the artist wrote, "to portray the warriors of the Soviet Army at the time of the overthrow of any heroic actions, when all the spiritual forces of a person are tense to the limit, show them not in the battle smoke, but in a simple everyday situation, per minute of a short rest." .
So the thought is born about the picture. Memories of the military years help determine its plot: a group of fighters in a short break between the battles is located on a snow-covered glade and listens to a cheerful story. In the first sketches, the overall nature of the future picture was already scheduled. The group was located in a semicircuit deployed to the viewer, and consisted of only 12-13 people. The figure of terkina was placed in the center of the composition and is highlighted in color. The figures located on the sides formally bated the composition. In this decision it was a lot of contrived, conditional. The small number of the group attached the whole stage the nature of the accident and did not create the impression of a strong, friendly team of people. Therefore, in subsequent sketches, the nearsy increases the number of people and most naturally has them. The main hero of Terkin moves by the artist from the center to the right, the group is based on the diagonal from left to right. Due to this, the space increases, its depth is scheduled. The viewer ceases to be only a witness to this scene, he becomes like its member, is involved in the steep of fighters, listening to Terkina. To give even more accuracy and vitality of the whole picture,
The unanswered abandoned solar lighting, since the spectacular contrasts of light and shadow could enter the elements of the theater convention, which the artist avoided. The soft scattered light of the winter day gave the opportunity to fully and brighter to identify the variety of people and their expressions. A lot of and long worked as an artist over the figures of fighters, over their poses, changing the last few times. So, the figure of the pretty foreman in the serve only after long searches turned into a sitting fighter, and an elderly soldier with a bowler in his hands only in the last sketches came to replace the girl-a nurse, bandaging the fighter. But the most important thing for the artist was to work on the image of the inner world of heroes. "I wanted," the nonununters wrote, "so that the viewer would love my heroes, he felt their alive and close people so that he would find and recognize in the picture of his own front-day friends." The artist understood that only then he would be able to create convincing and truthful images of heroes when they were extremely clear for him. The unanswered began to carefully study the characters of the fighters, their manner to speak, laugh, separate gestures, habits, in other words, began to "fit" in the images of his heroes. In this, he helped the impressions of military years, combat meetings, memories of his front-line comrades. The invaluable service was given to him his front sketches, portrait images of combat friends.
A lot was done by etudes from nature, but they were not transferred to the picture directly, without preliminary refinement. The artist was looking for, allocated the brightest features of a person or another and, on the contrary, removed the entire secondary, accidental, preventing the identification of the main one. Every image he sought to make a purely individual and typical. "In my picture, I wanted to give a collective portrait of Soviet people, a soldier of the Great Liberator. The authentic hero of my painting is the Russian people. " Each hero in the representation of the artist has its interesting biography. He can be fascinating about them for hours, transmitting the smallest details of their life and fate.
So, for example, the unanswered tells that a fighter sitting on the right of Terkina, he imagined Taya guy recently came to the army from the collective farm, is still inexperienced, maybe for the first time he participated in battle, and it is natural, scary. But now, listening to the stories of the experienced soldier, he forgot about his fear. For terkins standing a young handsome guy in a whharian shifted crop hat. "He," the artist wrote, "shears Terkina somewhat condescendingly. He himself could tell no worse. Before the war, he was a qualified working large plant, a harmonist, a participant in amateur activities, a favorite of girls \u003e\u003e. A lot could tell the artist about the Usat Starshine, who laughs in all the throat, and about the elderly soldier with a kotelet, and about a hallery soldier, sitting on the left of the narrator, and about all other characters ... The most difficult task was the search for the appearance of Vasily Terkina. The artist wanted to convey the image that had developed in the people, I wanted terkina to find out right away. Terkin must be generalized, it must be combined by the features of many people. His image is like the synthesis of all the best, light, clean, which is inherent to the Soviet man. Long worked the artist over the appearance of Terkina, above the expression of his face, hand gesture. In the first drawings, Terkin was depicted by a young soldier with a good-natured sly face. It did not feel dexterity, acute smelting. In another sketch, terkin was too serious, balanced, in the third - he lass everyday experience, life school. From the drawing to the drawing, the seals were seen, the gestures were specified, the posture was determined. According to the artist's thoughts, the gesture of the right hand terkina had to emphasize some sharp strong joke at the address of the enemy. Countless drawings have been preserved, in which the most different turns of the shape, head slopes, hands movement, individual gestures - while the artist found what was satisfied. The image of Terkina in the picture has become a significant, convincing and quite natural center. A lot of time was given a search artist for the painting. He represented that the action takes place in a roofing forest with the glades and armor. Early spring, snow does not melt, but only slightly frills. He wanted to transfer the National Russian Landscape.
The painting "Holiday after the fight" is the result of the tense, serious work of the artist, excited love for his heroes, great respect for them. Each image in the picture is a whole biography. And in front of the look of the curious viewer passes a number of bright individually unique images. Deep vitality of the idea led to clarity and integrity of the composition, simplicity and naturalness of a picturesque solution. The painting of Nakutsev resurrects difficult, complete heroes and severity, deprivation and adversity and, together with the joy of victory, the Days of the Great Patriotic War. That is why it will always be the road to the heart of the Soviet man, loved by the wide masses of the Soviet people.

(According to the book V.I. Gapeeva, E.V. Kuznetsova. "Conversations about Soviet artists." - M.-L.: Education, 1964)

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Grishunzh al. "Vasily Terkin" Alexander Tvardovsky. - M., 1987.
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Romanov R.M. Alexander Tvardovsky: Pages of Life and Creativity: Book for high school students. - M.: Enlightenment, 1989-
Tvardovsky A. Vasily Terkin. Book about the fighter. Terkin on the light. Moscow: Rariet, 2000.