Tvardov's analysis of mothers. In memory of mother. Alexander Tvardovsky, Nikolai Rubts. Parting with father's house
From childhood, Alexander Tvardovsky’s parents instilled a love of literature. Although his father worked as a blacksmith in the village, he was a well-read and educated man. Tryfon organized literary evenings for children, where the whole family read the works of famous Russian classics. But the poet’s mother loved him more folk art, whom Alexandra also introduced.
Parting with father's house
An analysis of Tvardovsky’s “In Memory of a Mother” shows how hard the poet experienced the loss of a loved one. For Alexander Trifonovich, the death of his parents was a great shock, so he reproached himself for a long time for not paying them due attention. The poem was written with the goal of rethinking their relationship with their mother, because people realize how dear a person was to them only when they lose him forever. Analysis of the verse “In Memory of Mother” by Tvardovsky allows us to divide it into four parts, corresponding to the writer’s biography.
At the very beginning, the poet talks about how he tried to leave his father’s house, not suspecting that he was saying goodbye to his mother forever. Children grow up and strive to become free, independent, and achieve something in life. The mother understands that when she leaves, the child will not return back to his father’s house, so she mentally says goodbye to him and blesses him. An analysis of Tvardovsky’s “In Memory of a Mother” shows that the author regrets the rare meetings with his parents, because he only talked about his life in letters and sent photographs of his future wife.
Parting with family
The second part of the poem is dedicated to the exile of the mother and father to Siberia. The Tvardovsky family was dispossessed, and they had to live in a foreign land for about 10 years. Mother was most afraid of dying in a strange and inhospitable place, where the cemetery was located right behind the barracks, where there were no curly birches, where the birds did not sing. The parents did not want to find their last refuge in this harsh region, and fate took pity on them - the Tvardovskys returned to their homeland. Of course, devastation awaited them; the house was destroyed and burned.
An analysis of the poem “In Memory of Mother” by Tvardovsky tells how difficult it was for the poet to survive the death of his dearest person. The writer describes his mother’s funeral in the third part of his work. Alexander reflects on how quickly the gravediggers bury the hole, only the coffin was visible, and then a tubercle has already grown. A gardener plants a tree with more love and care, but it is a person who is buried forever. An analysis of Tvardovsky’s “In Memory of a Mother” shows that the poet does not at all reproach the gravediggers for their haste; he himself would be happy to help them so that everything would end as quickly as possible.
Mother's Favorite Song
In the fourth part of the poem, Tvardovsky quotes almost verbatim a song that his mother sang during his childhood. Its meaning boils down to the fact that a child who leaves his father’s house is considered a cut-off piece, his life paths from that moment diverge from the paths of his parents. An analysis of Tvardovsky’s “In Memory of a Mother” says only one thing - the poet very much regretted that during his life he paid little attention to his dearest and closest person, but the understanding of this came only after his death.
UDC 821.161.1
TA. Ponomareva
POETICS OF THE CYCLE A.T. TVARDOVSKY “IN MEMORY OF MOTHER”
The article examines the motives of memory, home, road, crossing, “last deadline”, chronotope, intertextual connections in A. Tvardovsky’s cycle “In Memory of the Mother”. Lyrical emotions are associated with epic themes: the fate of a woman, tragic story people in the thirties of the twentieth century, the death of the traditional way of life under the pressure of civilization.
Cycle, home, separation, road, transportation.
The motives of memory, home, road, ferry,"deadline", chronotope, intertextual connections in A. Tvardovskiy's cycle "In mother's memory" are considered in the article. Lyrical emotions are associated with the epic themes: the fate of the woman, the tragic story of the people in the 30s of the XXth century, the loss of the traditional way under the influence of civilization.
Cycle, home, parting, road, ferry.
The main theme of A.T.’s poetry Tvardovsky is the fate of the people, which is revealed primarily in his poems associated with the most important milestones of Russian history of the twentieth century. His work embodied public consciousness time, its heroes concentrate the main features of national character and national worldview. The thirties are the poem “Ant Country” as a reflection of the era of collectivization; the forties - “Vasily Terkin” and “House by the Road”, reflecting the heroism and tragedy of the war; fifties - sixties - “Beyond the distance - the distance” with its pathos of the post-war “great construction projects”; “Terkin in the Next World” is a satire on the significant flaws in our reality that emerged in the second half of the twentieth century; “By Right of Memory” is a monument to the great pain of the thirties.
Tvardovsky is a great Russian poet and Soviet classic, Soviet in poetics, worldview, he is called “ Soviet man Ideally" . T.A. Snigireva rightly notes that in assessing his work, not only political and ideological preferences collide, but also various artistic and aesthetic tastes. With a noticeable evolution of his worldview, Tvardovsky is distinguished by the stability of his stylistic manner, far from external experimentation, which is due to his focus on the mass, inexperienced reader. But this external simplicity, “unpoeticism” is apparent. “Simple style” (T.A. Snigireva) of Tvardovsky, which was born as a result of a struggle with oneself, with external description, lengthiness, is distinguished by the harmony of verse, the richness of tropes and stylistic figures, associative thinking, accuracy and symbolization of images, poetic convention.
In the minds of readers, Tvardovsky's epic often overshadows his lyrics. In his work of the 1920s -1930s. lyricism is almost invisible, it appears only in some poems dedicated to women's fate, and in landscape details. The lyrical beginning powerfully declared itself during the Great Patriotic War, it is connected with the image of “I” - the narrator in the “Book about a fighter”, with the openness of the author’s statement “Houses by the Road”, is found in poems dedicated to moral and philosophical
surviving the war. Tvardovsky's post-war poetry is filled with philosophical reflections and the intonations of a confessional conversation. The theme of the fate of the people and homeland is revealed not only epically, but also through the fate of the lyrical hero. New themes appear - art, “cruel memory”, “guilt without guilt”, “deadline”.
The small book “From the Lyrics of These Years” (1959 -1967) received the State Prize in 1967. The poems of 1959 - 1967, included in the collection, showed the reader a new image of the author, not an epic narrator, but a subtle lyricist.
The desire to combine epic with lyrical words about man and the world explains Tvardovsky’s interest in the cycle. IN modern science cycle is understood as " special type integral organization”, “unification of groups of independent works into new multi-component artistic unities”. The main compositional technique in the cycle is the repetition and correlation of substantive and formal elements with each other, which ensures “greater integrity” and reveals additional semantic meanings of the text.
Systemic unity is ensured at the text level by “programmed” (I. Fomenko) intra-cycle connections by the author - a common title, composition (sequence of text-parts), unity of narrative forms) - and “unprogrammed” (a special meta-plot formed on the basis of intertextual interactions, spatio-temporal relations, key words and images, stylistic, lexical, linguistic, rhythmic repetitions). At the level of the artistic world, cyclical integrity is determined by the problem-thematic unity and conceptuality in understanding reality, which, in turn, gives rise to the unity of the author’s point of view.
Cyclic forms were characteristic of everything creative path A.T. Tvardovsky: the poetic cycles “Rural Chronicle”, including the mini-cycle “About Grandfather Danila” in the thirties, “Front Chronicle” during the war, which in turn included the cycles “In the Snows of Finland” (about Finnish war 1939
1940), “Southwestern Front”, “Smolensk Region”, “Retribution”, epic in their generic nature, a cycle of essays “Motherland and Foreign Land” (1947).
The lyrical cycle “In Memory of the Mother” was created by Tvardovsky in 1965 after the death of the poet’s mother and was published in the collection “From the Lyrics of These Years.” And yet, the epic nature of Tvardovsky’s talent emerges through lyrical emotions: the cycle, which is based on the author’s experience, reveals epic themes: the fate of a woman, the tragic history of the people in the thirties of the twentieth century, the death of the traditional village way of life under the pressure of civilization.
“In Memory of Mother” is the author’s “primary” cycle with a common title. It was initially “programmed” as a cyclic formation. And individual poems that do not have their own titles were never published outside the cycle. The title correlates with the main theme of the work - life and death and the associated motives of memory and grief.
The Tvardovsky cycle is characterized by a review, in the terminology of M.M. Gina, the principle of composition, i.e. such “construction of a work in which the organizing center is not a single plot core, but the unity of the ideological and thematic task, the problematic, the angle of view from which and in accordance with which the material is selected.” The internal plot of the cycle is determined by the development of the memory motif, which connects everything components of the work and ensures the integrity of the text. This motive develops according to the laws of associations, which determine the movement of the author’s thought. Milestones of a person’s life, an understanding of the transience of life’s path, ending with the death of the mother in the first poem, are replaced by a story about exile, the most tragic event in the life of the poet’s mother, given through her memories. Then the author’s thought again turns to the present, to the reality of death, to the picture of a funeral, so that again in the fourth poem, through the fate of a woman-mother, she realizes the approach of her own final term.
The four poems included in the cycle form two compositional rings. The first and last poems complete the cycle. They represent a lyrical summary of human destiny, which is revealed through the triad: mother - son - home.
In the second and third poems included in the “small” ring, there is a narrowing of the plot, a transition from general plan to the specific, from the image of human life to a tragic situation - exile, death of a loved one. But here, too, the private is perceived as a reflection of the typical circumstances of the social reality of the thirties (second poem) or earthly existence itself (third poem).
The rhythmic pattern of the cycle corresponds to the ring composition. The first poem is written in amphibrachium trimeter. N. Gumilyov also noted that “each meter has its own soul, its own characteristics and tasks,” and believed that the amphibrachium “speaks of the peace of the divinely light and wise being.”
tiya" The semantic halo of the trimeter amphibrachium, according to M. Gasparov, is associated with the motive of returning to one’s homeland, the semantics of memory, which is formative in Tvardovsky’s cycle.
The length of the amphibrach echoes the melodiousness of the trochaic tetrameter in the last poem of the cycle.
The two middle poems are written in classic meter - “omnivorous”, semantically “blurred” (M. Gasparov) iambic. For Tvardovsky it is associated with the theme of death.
In the composition of the work, the principle of trinity plays an important role, corresponding to the three main concepts of the cycle: life - death - home, which are connected by the motif of the road, which runs through the poetic world of Tvardovsky. The theme of death - the “deadline” - and the motive of farewell are indicated by the author at the very beginning of the work:
We say goodbye to our mothers Long before the deadline... . 1
The life of the lyrical hero is interpreted as a departure from his mother, the drama of which is not realized in the bustle of everyday life. In the first poem, images of three separations are given, and the word separation itself is repeated three times in the text. The first separation is separation from the parental home “in our early youth.” First person grammatical form plural(“our”, “we”) recreates the typical psychological conflict of saying goodbye to childhood. The hero is focused on the future and “longs for the appointed separation.” Similar feelings of the young hero “before departure” will receive a more detailed description in the first chapter of Tvardovsky’s poem “By the Right of Memory,” which the poet began working on at the same time.
The second separation, “even more unconditional,” is due to the son’s appearance of his own family: “And there, behind the daughters-in-law, are the grandchildren...” Author’s dashes do not so much have a grammatical function (from a formal point of view, they are optional), but rather indicate milestones in the path of life. The graphics of the first poem have their own differences; Tvardovsky uses an indentation: even elements are shifted to the right, so the graphic design highlights each line of the poem. The intermittent rhythm of dashes and ellipses emphasize the inexorable passage of time and serve as signs of the break in the usual course of life. The third, “the very last separation,” nevertheless comes unexpectedly “suddenly,” and the theme of death arises within the stanza.
And there - behind the daughters-in-law - are the grandchildren... And suddenly the telegram will call that old grandmother mother for the very last separation.
Tvardovsky managed to reveal in a few words
an everyday situation familiar to all of us, when not only grandchildren, but also their own children begin to call their mother grandmother, but her death returns them to childhood, which increases the feeling of loss.
Moreover, the word “death” does not appear in the cycle at all. In the first poem, death is replaced by the euphemism “the very last separation.” This is due to popular taboo and the fact that the reality of death has not yet been experienced by the narrator.
In the two central poems, death is marked with the words “to die”, “cemetery”, “graveyard”, “graves”, lexemes associated with the “funeral rite - “pit”, “gravediggers”, “first lump”, “lid”, “bury” forever." The second poem recreates the tragic period in the life of the Tvardovsky family, which in 1931 was dispossessed and exiled to the Ural north. Already in the first verse the motive of an unwanted road, a violent path is stated: “In the land where they were taken in droves.” Although the poet’s parents and brothers returned from exile, in the cycle it is depicted as a space of death, and the private story takes on a generalized meaning, revealing the general tragedy of the people of the thirties. This is facilitated by lexical and grammatical means: “in the land where they were taken in droves.”
The poem recreates the mother’s memories “of what has passed.” They are presented as lyrical author's experiences. They speak sparingly about the hardships: “There was everything there - cold and hunger.” The unbearability of life is revealed through the image of a dream. The mother dreams not of survival, but of her final resting place in a rural cemetery.
The poem is based on contrasting comparisons. Two spatial images collide - the foreignness and the native side. The North is characterized as a closed and lifeless space, the edge of the world, “locked in by the taiga,” “wherever there are villages nearby, let alone cities,” with deep, uninhabited forests. Details such as barracks, centuries-old stumps, and snags enhance the impression of an unkempt place.
The birth side is revealed as a peasant natural world beauty and grace: “the house and the yard with everything on the right,” a hillock with curly birches, a highway, road dust. Tvardovsky uses traditional signs of the Russian national landscape: birches, road.
The two spaces correspond to the images of two cemeteries. One is taiga, unlovable, “this way and that, the earth is not dug in a row,” where “there is not a tree, / Not even a single twig for you,” behind the wall, “right behind the barracks,” constantly reminding of the proximity of death. Diminutive form graves creates a feeling of abandonment, lonely loneliness.
If at the beginning of the cycle the image of the mother is sketched sparingly, emphasizing only her kindness and caring (“kind hands”), then in the second poem the holistic character of the Russian woman is created with her humility before trials, patience, resistance to hardships, love for her native places, ability feel the beauty of your native nature.
The second poem also reveals the principle of trinity. An image of another is created
cemeteries, and through it the third image of the world - the modern urban way of life. Modern place repose is revealed with the help of euphemism-metaphor based on everyday realities, which enhances the tragedy of death:
I had to register in a cramped space for an eternal communal apartment.
The negative connotation creates the impression of neglect of sacred space, which is reinforced by the mention of the “wrong” birch trees over the mother’s grave.
Towards the end of the poem, the scale of the narrative becomes larger. The destruction of the mother’s dream of being buried in her native cemetery is explained not by personal circumstances, but by the disappearance of the traditional natural world-home, which in the context of the poem is perceived as a consequence of deportation:
And those curly birches - they have not been in the world for a long time. There is nothing more to dream about.
The meter of the poem carries a tangible semantic load. Odd lines are iambic pentameter with masculine rhymes, even lines are iambic pentameter with line-lengthening increments, dactylic rhymes, and pyrrhic in the second or fourth foot.
Now there are birches above her, at least not the same ones
and± and± and±and and and±
What did you dream about beyond the alien taiga?
and± and ii ± and ±and ± and and
I had to live in cramped conditions
and± and± and±and and and±
For an eternal communal apartment.
and± and ii± and and and± and and
Disordered pyrrhichs “dilute” the metric strictness of the meter, creating an intonation of reflection.
In the third poem, “How Gardeners Work Slowly,” the same iambic meter is revealed, but the rhythmic pattern becomes more complex, which is due to the ideological and emotional content of the poem. The author specifies the theme of death and addresses the most difficult moment of the funeral rite, when the grave is filled up. The meager description of the city cemetery (“sand, rotten debris, broken stone”) continues the motif of desacralization begun in the previous text.
The mother is not named in this poem, nor is the son. "I" acts as a witness. His grief is conveyed indirectly through a detailed comparison of the leisurely work of gardeners - for life - and the “fireman’s skill” of the work of gravediggers, “with a jerk”, “without respite”.
The iambic pentameter of the initial stanza with pyrrhic in each final foot corresponds to the rhythm of unhurried work.
How gardeners slowly work
ii Ul uIU and and l U U
Above the hole prepared for the tree:
Ul U UUlU U U l U U
Do not dump soil on the roots in a heap,
Ul U lulu U U l U U
Measure out by the handful.
But like gravediggers - with a jerk -
Come on, come on without a break, -
As soon as the first lump fell,
And now you can no longer hear the lid.
The meter conveys the duality of the lyrical hero’s feelings: the painful experience of the last farewell and the rapid disappearance of a loved one in the abyss of the earth and the unbearable grief that can no longer be endured. This determines the seemingly paradoxical conclusion from the comparison of two types of activities - gardeners and gravediggers: “After all, you yourself are ready to help them, / So that everything is even shorter.”
The last poem is based on the text of a folk song, the words of which are included in the epigraph and are repeated three times in the poem itself:
Water carrier,
Young guy
Take me to the other side
Side - home.
The trochaic tetrameter gives the poem protractedness. “The specificity of the tetrameter trochee is its connection with the song,” writes M. Gasparov, “first of all, folk, and not only lyrical, but also epic. “In the entire Eastern European syllabic-tonic trochee is noticeably opposed to the iambic as a national meter, folk - to a borrowed and book meter.
Central to the poem are the key images for Tvardovsky’s poetry of transportation to the other side of life, and houses, which first appeared in the poem “The Country of Ant” (1936) and passed through all of his work.
The poem begins as a memory-dialogue between a son and his still living mother:
Where did you get this song from, Mother, for your old age?
Not from where - everything is from where my mother grew up.
In the last poem, Tvardovsky again resorts to the principle of trinity and creates images of three houses and three separations, determined by the theme of women's fate, which is marked by the song. The first house is the parental house, the “native side”. The phrase from the second poem is repeated, in
in which the contrast between “alien” and “us” had a spatial character. In the last poem, the distance of space is replaced by the distance of time, the song sounds “from a distant, distant / Village antiquity” that has disappeared in history.
The poem repeats the motif of leaving the parental home, where the cycle began. But its meaning changes. For a woman, the first separation is associated with marriage:
There it was believed that she was saying goodbye forever to her own mother, If a girl got married on another shore.
The second separation and “other transportation” are associated with the deportation of the family to the North. The image of the house expands to the native land. The motive of a forced, difficult road is revealed again:
As if time had gone far away from the land of its native land.
Even the snow squealed more painfully Under the runners of the sleigh.
Expressive verb "squeal" and comparative adverbs, at first glance, detail the landscape picture, but at the same time they create an image of violence, pain, which characterizes not only the life of the mother, but is also projected onto the state of an entire people.
Memories help us survive, a song about a carrier, a young guy:
But there was, even if not sung, the song is alive in memory. There were these words brought to the ends of the world.
At the end of the poem, the third image of the “last transport” appears, which correlates not only with the death of the mother, but also with the motive of the son’s “last term”. The carrier - a young guy turns into a “gray-haired old man,” the mythological Charon. The house at the end of the poem is an eternal home, “another world”, “that side”:
Water raker carrier, Gray old man, Take me to the other side, Side - home...
The motif of the last “hard” term can be traced throughout Tvardovsky’s poetry in the second half of the sixties. At the same time, the cycle does not leave a pessimistic impression. This is largely due to the fact that the cycle embodied the Christian understanding of fate and created a peasant character.
Not being a Christian and considering himself an atheist, Tvardovsky reflected many Christian values and ideas of peasant Rus'.
Literature
1. Gasparov, ML. Semantic halo of Pushkin’s tetrameter chorus/ya / M.L. Gasparov // Meter and meaning. About one mechanism of cultural memory. - M., 1999. -URL: ruthenia. ru>document/526619.html
2. Gasparov, ML. Semantic halo of amphibrachic trimeter / M.L. Gasparov // Problems of structural linguistics. - M., 1980. - P. 174 - 191.
3. Gin, MM. On the originality of Russian realism by Nekrasov / M.M. Gin. - Petrozavodsk, 1966.
4. Gumilev, N.S. Poetic translations / N.S. Gumilev. - PG., 1919. - URL: dugward.ru>library/gumilev/ gumilev_perevody
5. Lyapina, L.E. Literary cyclization (towards the history of study) / L.E. Lyapina // Russian literature. - 1998. - No. 1. - P. 170.
6. Lyapina, L.E. Russian literary cycles / L.E. Lyapina. - St. Petersburg, 1993.
7. Smirnova, L.G. Creativity of A.T. Tvardovsky and Christianity / L.G. Smirnova // Ideas of Christian culture in history Slavic writing: Materials of the scientific conference 05/04/2000 - Smolensk, 2001.
8. Snigireva, TA. “Simple style” by A.T. Tvardovsky and the problems of his perception / T.A. Snigireva // XX century. Literature. Style. - Ekaterinburg, 1994. - Issue. 1. -S. 192 - 199.
9. Tvardovsky, A.T. In memory of the mother / A.T. Tvardovsky // A.T. Tvardovsky. From the lyrics of these years. - M., 1967.
G.V. Sudakov
RUSSIAN SPEECH OF THE END OF THE 18TH CENTURY AS ASSESSED BY CONTEMPORARIES
The article examines the features of the Russian language of the late 18th century, reflected in the memoirs of E.P. Yankova: speech etiquette and secular jargon, new lexical and phraseological phenomena, ethnographisms and vernacular, specific grammatical forms and variants of words. Fragments illustrating the “grandmother’s” assessments of past and new linguistic phenomena allow us to record the time of innovations, their semantic and stylistic shades, and scope of use.
Russian language of the late XVIII - early XIX centuries, speech etiquette, secular jargon, lexical and phraseological innovations, vernacular, linguistic reflection.
The article deals with the peculiarities of the Russian language at the end of the 18th century reflected in the memoirs of E. P. Yankova: speech etiquette and high-society jargon, lexical and phraseological innovations, ethnographisms and colloquialisms, specific grammar forms and variants of words. Fragments illustrating “grandmother"s” estimation of past and new linguistic phenomena allow recording the time of innovations, their semantic and stylistic nuances, and the scope of their usage.
The Russian language at the end of the 18th century, speech etiquette, jargon of high society, lexical and phraseological innovations, colloquialisms, language reflection.
The study was carried out on the basis of a text entitled “Grandma’s Stories: From the Memories of Five Generations, Recorded and Collected by Her Grandson D. Blagovo.” Grandmother - Elizaveta Petrovna Yankova, - granddaughter of the historian V.N. Tatishcheva, born on March 29, 1768. She lived her whole life in Moscow, where she died in 1861 at the age of 93, “... she told with amazing detail, ... she was a living chronicle of the entire 18th century and half of the 19th century.” . Her grandson Dimitri Dimitrievich Blagovo recorded her stories since 1847.
Thus, we are dealing with memories within memories:
1. Here, the memories of two subjects at different times are reproduced: the grandmother - about the time of her grandmother, her mother and about her time (mainly the last quarter of the 18th century and the first quarter of the 19th century); grandson - about the grandmother’s stories heard after 1846; thus, each piece of memory will have two dates: the time it is narrated and the time it is recorded;
2. Both subjects of the memoirs: grandmother and grandson are non-standard individuals, have many acquaintances and are well informed; they are well-mannered and educated, they understand the value of information about the past, including everyday life.
The text contains formal signals that allow you to fix the reader’s attention on something new, unusual, or becoming commonplace: graphic highlighting (italics, parentheses), inserted or explanatory expressions such as “a deadly disease called cholera.”
When analyzing, we take into account comments characterizing speech tastes in Russian noble society at the end of the 18th century: “(About Karamzin - G.S.) Many criticized him for what he writes spoken language, and others praised him for this very reason.”
Let us move on to the assessment of lexical and phraseological means associated with the sphere of noble life.
“On simple days, when they had lunch for themselves, this was always what grandma always had: two hot dishes - cabbage soup and soup or
The four poems of the cycle “In Memory of the Mother,” which we will analyze, are internally interconnected by the theme of filial grief and the awareness of filial guilt before the mother for the fact that during her life the mother’s place in the life of her adult son was very small, the son was almost alienated from the mother: “And suddenly the telegram for the very last separation calls that old grandmother mother,” the lyrical hero says about the mother as if about a stranger, this detail shows that the son living far from his mother perceives her indeed as “an old grandmother ", almost a stranger, and only death makes him remember who his mother was for him in life, remember her difficult life, lived with dignity and become a past that cannot be forgotten.
The image of the “native” cemetery, “that hillock in the native side With crosses under the curly birches,” becomes central in the second poem. It contrasts with the image of the “unlovable cemetery” in that distant side, where the poet’s family was forcibly taken. There is a deep meaning hidden in this contrast: with its help, the lyrical hero affirms the importance of the homeland in a person’s life, shows the injustice of what was done to his mother - after all, a person has the right to live and die in his homeland. At the same time, it also shows the greatness of the spirit of the person dear to him, who suffered through his right to return home, although all the same, “those curly birches - they have not been in the world for a long time. There is nothing more to dream about.”
The third poem of the cycle “In Memory of Mother” by Tvardovsky is also built on the device of contrast, only here the work of a gardener (a generalized way of life) and the work of a gravedigger (respectively, the image of death) are contrasted. If gardeners “work” slowly, carefully, “do not dump the soil in a heap,” they create new life, then the gravediggers are the opposite: “Come on, come on - without a break... It’s as if they’re in a hurry to dig up, But they’re not burying forever.” Such haste might seem like disdain for what is happening, but the lyrical hero understands the reasons for their command: “But that dexterity is not to be discredited, - This worker’s haste is justified: After all, you yourself are ready to help them, So that everything is even shorter.” The mournful moments of farewell are unbearable, so the haste of the gravediggers helps to shorten them, it coincides with the desire of the lyrical hero to stop this painful farewell when the mother has already left your life, but this departure is not yet real, because in the grave there is a coffin with her not yet hidden by the earth. body.
The epigraph to the last poem of the cycle “In Memory of the Mother” is taken from a folk song, and this creates a special emotional mood for memories of the mother. Turning to the motif of “transportation across the river,” the lyrical hero shows that almost all of a person’s life is about losses and partings, but these losses can be colored by the expectation of joy, happiness (in youth) or be tragic in their essence: “As from the earth Time passed away from our native land. Another river flowed there - Wider than our Dnieper." The lyrical hero again recalls a terrible “time” for his family, when his mother found herself in a foreign land: “In that land of the forest it is darker, The winters are longer and more fierce, Even the snow squealed more painfully Under the runners of the sleigh.” The comparison “more painful” reveals everything that was associated with being in a “foreign land”; it shows the true tragedy of the experience, and the appeal to folklore gives the described an epic character, personal fate becomes the embodiment of the people’s. In the last stanzas of the poem, the lyrical hero reflects on his own life , he understands that his own path in life has also been passed in many ways, which is why the slightly changed (instead of “young guy”) lines of the folk song sound so poignant: “Water carrier, Gray-haired old man, Take me to the other side, Side - home... "
The cycle “In Memory of the Mother,” which we analyzed, refers to the best works Tvardovsky.
The work is an autobiographical poetic cycle, which includes four poems united by a single holistic picture with a common title and theme, dedicated to the life fate of the poet’s mother.
The central theme of the poetic cycle is the sons' grief over the passing of their mother, the dearest person, as well as the awareness of their own guilt before their parents, who during their lifetime are not given due attention from their children.
The compositional structure of the cycle “In Memory of the Mother” consists of four separate poems, representing a certain period of the mother’s life. The first poem depicts the scene of the farewell of the lyrical hero, who decided to start an independent life, with his home and loved ones. The second part of the cycle tells the story of the life of a mother exiled to the Siberian taiga as a member of a dispossessed family. The third poem is dedicated to the funeral of the mother of the lyrical hero, and the content of the last poem returns the poet to his childhood, in which the young mother surrounds her children with love and care.
The structural system is a form of quatrains combined with cross rhyme, while poetic size the poet uses amphibrachium, which allows him to convey a bright emotional coloring to the poems in the form of sadness, melancholy and emotional experiences.
The poems of the cycle are characterized by unique features, represented by a variety of means. artistic expression, used in the work. Among artistic techniques detailed metaphors, precise comparisons, juicy epithets are highlighted, and hyperbole and periphrases are also used, enhancing the poetic sensibility of a sincere filial declaration of love for his mother. In addition, in the third poem, the author uses the technique of contrasting image, contrasting in the image of a working gardener, personifying a generalized image of life, the work of a gravedigger, symbolizing the image of death.
A distinctive feature of the work “In Memory of a Mother” is its stylistic structure, which combines a polyphony of expressive styles in the form of a drawn-out, melodious dialect, characteristic of the inhabitants of the Central Russian zone, as well as a conventional, but fast, narrative. Thanks to this technique, the work is perceived as an epic work in which the personal fate of the hero is embodied in the people's fate.
The final part of the poetic cycle is emphasized by an epigraph taken by the author from the text of folk songs, expressing the piercing atmosphere of the mental state of the lyrical hero.
Analysis of the poem In Memory of Mother according to plan
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Alexander Trifonovich Tvardovsky
***
We say goodbye to our mothers
Long before the deadline -
Even in our early youth,
Still at my native threshold,
When do we need handkerchiefs, socks
Kind hands will lay them down,
And we, fearing delay,
We are eager for the appointed separation.
The separation is even more unconditional
For them it comes later,
When we talk about filial will
We hasten to notify them by mail.
And sending them cards
Some unknown girls
From a generous soul we allow
Love their daughters-in-law in absentia.
And there - behind the daughters-in-law - are the grandchildren...
And suddenly a telegram calls
For the very last parting
That old grandmother's mother.
***
In the land where they were taken in droves,
Wherever there is a village nearby, let alone a city,
In the north, locked by the taiga,
All there was was cold and hunger.
But I certainly remembered my mother,
Let's talk a little about everything that has passed,
How she didn’t want to die there, -
The cemetery was very unpleasant.
There are forests all around without edge and end -
What the eye sees - deaf, unsociable.
And in that churchyard there is not a tree,
Not even a single twig for you.
So-and-so, the dug earth is not in a row
Between centuries-old stumps and snags,
And at least somewhere far from housing,
And then there are graves right behind the barracks.
And she used to see in her dreams
Not so much the house and yard with everyone on the right,
And that hillock is in the native side
With crosses under curly birches.
Such beauty and grace
In the distance is the highway, the pollen of the road smokes,
“I’ll wake up, I’ll wake up,” the mother said, “
And behind the wall is a taiga cemetery...
Now there are birches above her, at least not the same ones
What did you dream about beyond the alien taiga?
I had to live in cramped conditions
For an eternal communal apartment.
And no offense. And who cares?
With what kind of mark is eternity marked from above.
And those curly birches - they have been around for a long time
Not in the world. There is nothing more to dream about.
***
How gardeners slowly work
Above the hole prepared for the tree:
Do not dump soil on the roots in a heap,
Measure out by the handful.
It's like feeding birds from your hands,
They crumble it for the apple tree.
And they will go around the tree trunk circle
Following the shovel with a rake...
But like gravediggers - with a jerk -
Come on, come on without a break, -
As soon as the first lump fell,
And now you can no longer hear the lid.
They treasure every minute
They have a different fire skill:
It’s as if they’re in a hurry to dig it up,
And they don’t bury them forever.
They are in a hurry, there is a time between two puffs,
Sand, rotten debris, broken stone
Somehow move it into the tubercle,
To cover it with wreaths...
But don’t discredit that skill, -
This worker haste is justified:
After all, you yourself are ready to help them,
So that everything is even shorter.
***
-Where are you from for this song?
Mother, have you saved up for old age?
- Not from where - everything is from there,
Where did my mother grow up?
Everything from that homeland
Dnieper side,
From far, far away
Village antiquity.
There it was believed that they were saying goodbye
Forever with my dear mother,
If you got married
The girl is on the other shore.
Water carrier,
Young guy
Side - home...
Tears of long ago youth,
No time for those girlish tears,
Like other transportations
I happened to see it in my life.
Like from the land of your native land
It's time to go into the distance.
Another river flowed there -
Wider than our Dnieper.
It's darker in that part of the forest,
Winters are longer and fiercer,
Even the snow squealed more painfully
Under the runners of the sleigh.
But she was, even if she wasn’t singing,
The song is still alive in my memory.
There were these to the ends of the world
Imported words.
Water carrier,
Young guy
Take me to the other side
Side - home...
What has been lived is lived through,
And from whom what is the demand?
Yes, it’s already nearby
And the last transfer.
Water carrier,
Gray old man
Take me to the other side
Side - home...
Maria Mitrofanovna Tvardovskaya
Alexander Tvardovsky grew up in the family of a rural blacksmith, who, nevertheless, was a fairly educated and well-read man. It was Trifon Tvardovsky who instilled in his children a love of literature, since readings of works by Russian classics were constantly held in the house in the evenings.
The poet's father Trifon Gordeevich
The poet’s mother also took part in them, but she taught her children to love not so much literature as folk art, which she knew well from childhood.
The poet's mother Maria Mitrofanovna
After her death, Alexander Tvardovsky wrote the poem “In Memory of Mother,” in which he tried to rethink his relationship with his closest and dear person, realizing that he was very often unfair to her. This work consists of four various parts, each of which tells about a certain period of the poet’s life. In the first of them, Tvardovsky recalls how he first left his father’s house in order, as they used to say then, to “get out among the people.” He was so eager for freedom that he did not even notice how sad and upset his mother was at the upcoming separation. Then he did not yet realize that his mother was saying goodbye to him forever, mentally letting him go and blessing him. After all, in the hustle and bustle of adult life, her son will no longer have time for her. And only meager telegrams and letters with photographs of the one who would later become his life partner would be a consolation for her. “From a generous heart, we allow their daughters-in-law to love in absentia,” Tvardovsky wrote bitterly, noting that only the news of his mother’s death makes many people change their attitude towards her.
In the second part of the poem, the poet talked about the Siberian exile of his parents, who were dispossessed and lived in a foreign land for more than 10 years. The author recalls that it was not this that worried his mother, but the fact that she might have to find her last refuge in this inhospitable and harsh region, where there are no curly birches, but “the graves right behind the barracks.” But this fate passed the poet’s parents; they were able to return home to the ruined and burned estate.
With father Trifon Gordeevich at his native farm Zagorye near Smolensk, 1943. This is all that remains from my native farm
And they were buried in the Smolensk region, although their death was a real shock for Tvardovsky. In the third part of the poem, he describes his mother’s funeral, noting that at that moment he dreamed that everything would end as soon as possible.
In the fourth part of the work, Tvardovsky turns to his childhood and quotes in full an old song that he heard from his mother. It contains a deep philosophical meaning, which remains unchanged even today: a child who leaves his father’s house is a cut-off piece, and from now on his life has nothing to do with the fate of his parents. But even after the death of his mother, it is not easy for the author to come to terms with this thought, and he regrets that he was never able to get to know the one who gave him life better.
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