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Pavlova Svetlana Vladimirovna. Lyrical trends in Chuvash prose of the 50-80s of the XX century in the context of Russian literature: dissertation... candidate of philological sciences: 10.01.02 / Pavlova Svetlana Vladimirovna; [Place of protection: Chuvash. state University named after I.N. Ulyanov].- Cheboksary, 2009.- 174 p.: ill. RSL OD, 61 09-10/1000

Introduction

Chapter I. Features of the reflection of the Artist’s lyrical worldview in literature

1.1. Lyricism as a way of expressing intimate experiences in a prose work 13

1.2. Stylistic features of lyrical prose: organization of narrative, lyrical digressions and intonation 22

Chapter 2. The origins of the formation of lyricism in Chuvash literature and Russian lyrical prose

2.1. Folklore trends and lyricism in prose of the 20-40s of the XX century 46

2.2. Some features of the development of Chuvash and Russian lyrical prose of the 50-80s. XX century 60

Chapter 3. Trends in the development of lyrical prose in Chuvash literature of the 50-80s of the XX century

3.1. Lyrical and philosophical prose 77

3.2. Lyrical-psychological prose 104

3.3. Lyrical and journalistic prose 120

Conclusion 153

Bibliography

Introduction to the work

For a long time, lyrical prose in literary criticism did not have a single definition. A variety of opinions have been expressed about the essence of lyrical prose as a stylistic movement. What features define lyrical prose itself? Very often, any emotionally charged prose is declared lyrical. In fact, the “core” of lyricism in prose is feelings. However, a literary phenomenon cannot exist in its “pure form”. So, lyrical prose is a combination of lyrical and epic principles, only lyrical forms of reproducing reality predominate in it.

Lyricism has its roots in oral folk art. Numerous genres of folklore “served” certain goals of society: myths, legends and traditions explained the origin of the people, told about their habitat and type of activity, and recorded the main historical events, expressing a subjective assessment of the changes taking place.

The lyrical principle develops quite intensively in the prose of critical realism, which strives for an objective assessment of reality and affirms new ideals dictated by life itself. Lyrical confession, a favorite device of romantics, is being replaced by a clash of characters. Elevated intonations give way to an objective analysis of reality. Writers of critical realism strive to emphasize the “difference” between the hero and the author. In an independent “form”, lyrical prose in the realistic literature of the past existed in the genre of prose poems.

The innovation of lyrical prose of the Soviet era lies in the fact that it reflects new facets of reality, new relationships between the individual and the collective, the new spiritual world of Soviet man. Lyrical prose reflects those emotional experiences that do not find

expressions in actions. It is this property that becomes the main one in defining this phenomenon.

In Chuvash literature, lyrical tendencies, just like in Russian, originate from oral folk art. However, the intensive development of Chuvash literature can be traced only in the post-October years. Particularly rapid growth is found in poetry. Tendencies towards lyricization of narrative are manifested, first of all, in the works of S. Fomin and V. Rzai.

In general, in the literature they started talking about such a phenomenon as lyrical prose with the beginning of the work of O. Berggolts and V. Soloukhin. National literatures, including Chuvash, adopted this process almost simultaneously. In Chuvash literature, the development of lyrical prose took place during the heyday of so-called socialist realism. Themes and ideas for future works were dictated from above and imposed on the writer. State ideology apparently did not take into account the fact that art is always a relationship. Always a fusion of the objective and the subjective . The objective represents the real world, and the subjective - as an assessment of the depicted reality. In lyrical prose, the expression characteristic features time, the spiritual world of the writer himself appears, where he strives to openly convey to the reader his attitude towards the world.

One of such writers in Chuvash literature, in our opinion, is A.V. Emelyanov. His prose is quite unique. Outwardly, he does not go beyond the rules accepted by ideology; in his works he depicts the everyday life of the working people. However, at the same time, the writer manages to bring lively charm and attractiveness to his work. A. Emelyanov’s narration contains manifestations of real human feelings within the framework of a prose work. Thus, he managed to satisfy both his claims in literature and the demands made by Soviet ideology. But not all writers

could freely engage in literary creativity. From this point of view, the work of such writers as Yu. Skvortsov, V. Ignatiev, A. Artemyev and some others did not meet the exemplary standards of socialist realism and could not suit Soviet critics. While it is in the works of these prose writers that a new literary phenomenon is born - lyrical prose. Moreover, in Chuvash literature it is clearly divided into three main directions: lyrical-philosophical, lyrical-psychological and lyrical-journalistic, the last of which, in our opinion, is dominant.

Relevance research is determined by the following

circumstances:

Firstly, Chuvash literary criticism in recent decades has attached increasing importance to the study artistic form, issues of aesthetic expression. However, the problems of lyrical style in the literature of the 50-80s remain insufficiently studied.

Secondly, studying the writer’s work is impossible without fully taking into account the context of the era. This task becomes more difficult the further this era moves away from the researcher.

Thirdly, issues related to the disclosure of the mysterious human destiny based on the material of a work of art never lose public interest.

To create a holistic picture of the study of lyrical prose, it is necessary to identify the individual style of the writer. Any individual style is based on the experience of previous styles and bears the imprint of both national and global culture. The author's style is "an expression of deep originality" [ 38, p.

The purpose of this work is a study of lyrical prose based on the works of Chuvash prose writers created in the 50-80s

XX century. Identification of the individual and national originality of lyrical prose based on a comparison of the works of prose writers. The main goal determined the range of specific research tasks:

Consider the origins of the formation of lyrical prose and trace
main periods of development of this process;

Identify the genre and style uniqueness of novellas and short stories
Chuvash prose writers who determine the main development trends
lyrical prose;

consider the development of lyrical prose in the 50-80s of the 20th century and identify its main trends (lyrical-philosophical, lyrical-psychological and lyrical-journalistic);

trace the features of the formation of the above-mentioned trends in lyrical prose and identify in them character traits based on the material of Chuvash writers.

Theoretical and methodological basis This study is based on the integrated use of the principles of comparative typological, historical, literary and textual analysis. The main technique is a comparison of texts, which is complemented by a detailed study of the style of both originals and translations.

The methodological basis of the study is

literary works of V.V. Vinogradova, M.M. Bakhtina, Yu.M. Lotman, G.N. Pospelova, A.V. Chicherina, V.G. Belinsky and others. The general approach to the problems of literary style is determined by the points of view of L.Ya. Ginzburg, A.P. Elyashevich, Yu.M. Artemyeva, G. Ya. Khlebnikova, G.I. Fedorova, A.F. Myshkina and others.

Scientific novelty of the research is to try

systematic comprehension and analytical generalization of works that, in our opinion, define lyrical prose in Chuvash literature. This is the first time a comprehensive study of style has been undertaken. The novelty also lies in the identification of new views on lyrical

prose in Chuvash literature, including in determining its main directions within a literary phenomenon. Thus, for the first time, questions are raised about the distinction between lyrical-philosophical, lyrical-psychological and lyrical-philosophical prose, about the interaction of lyricism and journalism, both within the framework of the work of one writer and one particular movement.

The degree of knowledge of the problem. It should be noted that lyrical prose still does not have a clear scientific definition. Initially, many researchers (L. Novichenko) consider lyrical prose as part of the romantic movement. For others, the main feature of lyrical prose is the predominance of the author’s voice in the narrative and free composition (V. Kovalev). According to V. Novikov, S. Petrov and J. Elsberg, who consider lyrical prose as a special type of artistic generalization, its essence is the direct presence in the works of the author’s “I”, revealing his experiences, feelings and thoughts.

A deeper approach to this issue is demonstrated by the works of G. Pospelov and L. Ginzburg. According to G. Pospelov, such a property of a work of art as lyricism is directly related to the pathos of the works, which expresses a certain ideological and emotional assessment of the writer. L. Ginzburg explains the concept of lyrics as a subjective kind of literature; it, like no other, “aims at the general, at depicting mental life as universal.”

Each of the researchers we are considering is right in his own way, each notes the truly important and characteristic features of lyrical prose, and examines the lyrics from different points of view. But all researchers agree on one thing: the sensory world of the individual is the essence of lyrical prose. In Chuvash literature, pronounced features of lyrical prose appear in the late 50s in the works of front-line writers V. Saday, V. Alendey, A. Artemyev. In them, the main task of the authors is to reveal the inner world of the heroes. Some

prose writers tend to use confessional forms of narration (V. Ignatiev, Yu. Skvortsov). For the most part, writers unfold their plots against a single background - against the backdrop of a Chuvash village, with the lyrical landscape playing an important role).

However, the new phenomenon manifested itself most clearly in
prose works by F. Uyar, A. Artemyev,

Yu. Skvortsova, V. Ignatiev, F. Agivera, V. Sadai and some others. It should also be noted that each writer, despite the general tendency towards lyricalization of the narrative, has his own unique characteristics, because, by expressing his attitude to the world, the lyric writer thereby reveals his own world. And in this individual, different from others, representation of the world, it is also important how deeply the writer’s inner world expresses the spiritual wealth of the people. The individuality of the writer’s creativity is also manifested in the choice of a certain angle for depicting various social problems.

The work analyzes the work of such a Chuvash writer as Anatoly Emelyanov, in line with the interpenetration of two principles: lyrical and journalistic. The specificity and originality of his work, the origins of the formation of his artistic worldview and the mechanism for reflecting this worldview in the author's poetics are explored. At the same time, we will pay our main attention to such a quality of A. Emelyanov’s work as the lyricism of the narrative.

A. Emelyanov forms all his work in line with the so-called “village prose”, and explores an area of ​​life that is directly related to his profession. It is known that for a long time the writer worked in the field of agriculture, starting from a simple livestock specialist and “rose” to the position of secretary of the district committee. Apparently, for this reason, A. Emelyanov introduces readers in great detail to the nuances of farming. Despite the creativity of numerous

writers working in the vein of “village prose”, A. Emelyanov managed to preserve his unique face and find his own niche.

In our opinion, the work of A. Emelyanov is a unique phenomenon in Chuvash literature. Despite the journalistic sharpness of his works, they are nevertheless characterized by extraordinary lyricism of the narrative. In our work we will try to find out how Anatoly Emelyanov manages to combine these two, essentially incompatible, features of artistic storytelling in his work.

A. Emelyanov is the author of many famous works, but before
Recently he remained a little-studied writer. For today
day, in addition to a small number of reviews there are also
a few review-critical articles, the authors of which try to
present a picture of the writer’s creative path. To the most serious
studies of the creativity of A. Emelyanov can include the works of G. Fedorov
“The artistic world of Chuvash prose of the 1950-1990s”, A. Myshkina
"Chuvash artistic, philosophical and artistic

journalistic prose of the second half of the 20th century,” dissertation by T. N. Emelyanova “The originality of artistic and journalistic prose of A. Emelyanova.”

In a study by G.I. Fedorov provides a detailed analysis of Chuvash prose of the second half of the 20th century, the main trends of the literary process. The author explores the aesthetic appearance of the creative quests of individual writers, including A. Emelyanov. A more detailed study of the work of A. Emelyanov is undertaken by the author in the chapter “Social types of heroes and the philosophy of being of a guild, social person.”

A. F. Myshkina in her work analyzes the work of A. Emelyanov in line with artistic and journalistic prose, but the author also notices tendencies towards philosophizing the writer in the mature period of his work.

Another of the studies of A. Emelyanov’s creativity of a rather fundamental nature is the dissertation of T. Emelyanova. In this

The work presents a systematization and analysis of some of the works of A. Emelyanov. A typology of heroes in the works of A. Emelyanov is developed, the problem of the chronotope of prose and the originality of genre system artistic journalism of the writer.

Researcher Emelyanova T.N. a remark was made that “Emelyanov’s great merit lies in the fact that he was the first to realize that both a business person and a leader, despite the fact that they dealt with production issues, had friends, family, children, solved everyday issues, etc. . In addition, he was one of the first to realize that party workers and collective farm chairmen do not always goodies, among them there are also bad production organizers who... work only to become advanced by any means, to receive awards, honors, etc. It was the understanding of this that helped Emelyanov comprehend the new tasks of depicting the hero in journalistic prose and significantly clarify the features of the typology of heroes.”

Studying the works of the 60-80s, we came to the conclusion that the world of A. Emelyanov’s prose is an inextricable, organic combination of journalistic and lyrical principles. Moreover, the writer's skill is increasingly manifested in enhancing the lyricism of the narrative.

In the process of analytical comprehension of A. Emelyanov’s texts, one often encounters the problem of literary translation of the author’s works. Among its translators are S. Shurtakov, Yu. Galkin, A. Dmitriev and others. Aesthetic tastes, preferences, and peculiarities of the worldview of the performers of this complex work are objectively reflected in the quality of the translation, and the Russian-language text does not always appear adequate. Therefore, when choosing the most successful translation examples, the dissertation author often had to use his own philological translation. However, this problem is beyond the scope of this study and requires special study.

In modern literary criticism, interest in the study of the lyrical aspect in the works of various prose authors still does not wane. For example, issues of lyrical prose were dealt with by S. Lipin, A. Pavlovsky, I. Elsberg and others. But, as we noted above, scientists have not yet come to a consensus on defining clear boundaries of lyrical prose. However, despite the lack of consensus on this issue, it is indisputable that lyrical prose is intended to express, first of all, the internal experiences of the lyrical hero against the backdrop of universal reality.

Theoretical and practical significance The conclusions obtained in the dissertation are determined by the fact that they can significantly deepen the understanding of lyrical prose in Chuvash literature. The work reveals the features of Chuvash lyrical prose. Various trends in its development are identified along three main trends: lyrical-philosophical, lyrical-psychological and lyrical-journalistic. The dissertation work can also serve as some example of an attempt at historical, literary and theoretical research into individual problems of fiction.

The findings may also be of interest to specialists in the field of literary history and literary stylistics. The research material is novels and short stories.

A. Emelyanova, A. Artemyeva, Y. Skvortsova, V. Ignatieva, V. Sadaya,

B. Alendey, L. Tallerova, F. Agivera, F. Uyar, journalistic works
A. Emelyanova, F. Uyara and others. In comparative terms
“exemplary” works of Russian lyrical prose of the 50s are considered
60s (O. Berggolts, V. Soloukhin, V. Likhonosov, etc.).

The theoretical significance of the work lies in the fact that the dissertation has developed a scientific system for considering the features of lyrical prose. The practical significance of the work lies in the fact that the dissertation materials can be used in writing textbooks, teaching aids,

developing the history of Chuvash literature, in preparing various special courses on literature.

Approbation of work. On the topic of the dissertation, the researcher published a number of articles in journals and collections, and the conclusions were tested at annual conferences of various sizes.

Work structure determined by the assigned tasks. It consists of an introduction, three chapters, a conclusion and a bibliography.

Lyricism as a way of expressing intimate experiences in a prose work

Lyrical prose is designed to reflect the diversity of human perception of the world around us. Various contradictions of reality, complex processes of modernity are expressed in it not only through the clash of different characters, but, above all, as the response of the heart to certain phenomena of reality. Lyric writers strive to reveal the uniqueness of the world, passing it through their own “I” and express this world in a purely individual embodiment.

In literary criticism, there are many opinions in discussions about lyrical prose. Many literary scholars consider it in line with the romantic movement, as its integral part. Thus, in L. Povichenko’s article “Style - Method - Life” the concepts of “lyrical prose” and “romantic style” alternate as equivalent. “The increased activity of artistic thinking, the artistic re-creation of reality, generally inherent in romantic styles,” he writes, “acquired special significance as an “antidote” to all kinds of normative, leveling tendencies. “The Life of the Heart,” the emotional experience of events that lyrical prose so directly revealed, turned out to be much more meaningful and humane than the elementary didactics characteristic of works that outwardly seemed “life-like,” but in fact, were very inferior in the realistic sense. Let us add to this a wider range of figurative means (associativity, symbolism, other types of poetic conventions), as well as the noticeable interest of lyrical-romantic prose in national traits national life and national character - and it will become clear that this prose met the real needs literary development and the real needs of the reader."

In the 60s In the 20th century, a slightly different trend is emerging in criticism and literary criticism. Some researchers are beginning to distinguish lyrical prose as an independent movement (S. Asadullaev), while others associate it with the confessional form (L. Terakopyan). But the difference in judgments does not mean that the interpretation is incorrect; on the contrary, they deepened and complemented the main features of lyrical prose.

So, for example, the main feature of lyrical prose for V. Kovalev is “the predominance of the author’s voice and free composition in the narrative.” For A. Pavlovsky, this is not poetry or prose, “something third - lyrical prose, impressionistic, scattered, subjective, barely torn away from the diary and almost not torn away from the verse.” And for S. Kryzhanovsky - “the thought, feeling, mood, pathos of the writer, the desire not only to say the most intimate, but to say it in an original and beautiful way.”

A unique approach distinguishes the works of V. Novikov, S. Petrov and J. Elsberg, who consider lyrical prose as a special type of artistic generalization, the essence of which “is the direct presence in the works of the author’s “I”, revealing his experiences, feelings and thoughts, consonant with the feelings and thoughts of the era." “This lyrical content leaves its mark on the entire style of the work, determines the special emotional structure of the narrative, and brings to life a special artistic structure. The lyrical element in these works is manifested in their poetics and stylistics."

A deep approach to the essence of lyrics is observed in the works of G.N. Pospelov. Thus, in his opinion, “lyricism” is “a property relating... to that aspect of the content that can be called the pathos of works. The pathos of a work is a definite and active ideological and emotional assessment expressed in it by the writer of the social characters he reproduces, generated by their objective, internal inconsistency and resulting from the writer’s worldview, from his ideals.” . At the same time, he clarifies the concept of the subject of the lyrics. “The social consciousness of a writer, as the main subject of artistic reproduction of life in poetry, is always directed towards something - either deep into oneself, at one’s emotional and mental states and aspirations, or at phenomena of the external world, at social and personal relationships of existence, at natural phenomena ". In the same book, the researcher reveals the specific properties of epic and lyric poetry, shows how these properties are connected and intertwined.

G. Pospelov even tries to determine the proportional relationship between the properties of lyricism and epic in a lyric-epic work. “...To find a meaningful balance of the epic and lyrical parts of the text within one work, the writer needs only to fill this text with epic, plot episodes by approximately one third or even one quarter of its total volume - exact definitions here, of course, are impossible and not are needed - and leave everything else to lyrical meditations and meditative descriptions... If the lyrical parts take up more space, filling about half or then less than half of the entire text of the work, the epic in it will clearly prevail over the lyrics, “pushing aside” it in meaning to the background. Then the lyrical parts will be perceived as “digressions” from the main, epic episodes of the work, and the whole thing will be perceived as an epic phenomenon, and not a lyric-epic.

Stylistic features of lyrical prose: organization of narrative, lyrical digressions and intonation

It should be noted that each lyric writer uses the wealth of lyrical means in his own way, but at the same time, each has his own techniques that are characteristic only of him. These techniques constitute a certain style of the writer, which, according to A. Chicherin, “implies the unity of word and image, image and composition, composition and ideas... of the work.” “The study of style,” the researcher continues, “is impossible without a philosophical understanding of the unity of content and form, without connection with other arts, without connection with aesthetics...”. Life material, which became the basis of the entire work, involves various stylistic devices. The different orientations, different intensity of the writer’s feelings, the unique originality of his talent and life experience predetermine the choice of means. artistic expression. In lyrical prose, it is also important how vividly and emotionally the artist is able to convey his thoughts and feelings to the reader, how deeply he can “penetrate into the souls of his contemporaries.”

According to M. Khrapchenko, “by bringing “his own” into literature, a talented writer increases the common wealth, the spiritual values ​​that belong to the people. The role of creative individuality is determined not simply by originality, which is expressed in the creation of universally significant artistic values. “One’s own” acquires importance not only due to its dissimilarity with other manifestations of the individual in literature, but when it enriches the spiritual world of a person, the artistic culture of the people.”

In Chuvash literature, lyrical prose manifested itself more clearly, in our opinion, in the prose works of F. Uyar, A. Artemyev, Yu. Skvortsov, V. Ignatiev, F. Agiver, V. Saday and some others. Each writer, despite the general tendency towards lyricalization of the narrative, has his own unique characteristics, because by expressing his attitude to the world, the lyric writer thereby reveals his own world. And in this individual, different from others, representation of the world, it is also important how deeply the writer’s inner world expresses the spiritual wealth of the people. The individuality of the writer’s creativity is also manifested in the choice of a certain angle for depicting various social problems.

In this section we will try to analyze the main techniques of lyricization of artistic narrative by writers whose work, in our opinion, largely determines Chuvash lyrical prose - these are the works of Yu. Skvortsov, V. Saday, A. Artemyev and V. Ignatiev. Our choice is explained by the fact that literary activity of these prose writers most fully reflects the process of formation of lyrical prose in Chuvash literature of the 50-70s.

Works of lyrical prose are a complex alloy of visual and expressive means. Writers use epic techniques in their own way to express lyrical mood. Thus, Yu. Skvortsov’s lyricism is characterized by the extraordinary unity of his hero with the natural world. The writer sees in its manifestations something akin to man; sometimes the character appears in the landscape as an integral part of it. In the story “Vasya the Singer,” the author, at the very beginning of the story, describes the predawn scene near the village pond: the sun had not yet risen, “the fog did not fit into the ravine, it flowed like blue smoke through the streets of the village,” “the pond, which had cooled down overnight, became silent and with a bright eye looked into the sky”, “the frogs stuck out their heads like floats”, “the crucian carp were splashing, drawing circles”... And right there, along with them, “a broad-shouldered, fair-haired guy sat... and watched his fishing rods.”

Skvortsov introduces his hero into the work without at all disrupting the overall flow of the narrative, and does it so organically, as if this guy is no different from the same frogs and crucian carp and completely naturally complements the morning landscape. Moreover, the writer uses very bright and colorful epithets, metaphors and personifications, which very easily make it possible to imagine the picture he describes.

Nature in the works of Yu. Skvortsov often appears as a silent interlocutor to whom the hero trusts his most intimate secrets. In the story “Birch Ugah” (Ugah huranyo), the heroine very often goes to the forest to talk with the “forest-father.” For her, as well as for the author, the forest is a living creature that sees everything and understands everything. His mood can also change, he can express his dissatisfaction, as in the episode where Ugahvi, sensing imminent death, came to say goodbye to the forest. Suddenly an “angry” wind rises in the forest, “the tops of elms, lindens, oaks began to hum furiously, as if engulfed in fire.” It turns out that the forest father is angry with Ugahvi because she gives in to the disease without a fight. . In the story “Vasya the Singer,” the author emphasizes the importance of the natural world for his hero: “For the young man, who sat, sadly, here, on the banks of his native river, these are not accidentally torn out pictures of nature - the reward of quiet moments of loneliness. This is complete unity with the environment. In it, nature, his whole being dissolves, in it he draws his strength, thanks to it his soul grows, his heart expands, songs are born...”

The landscape can also serve as a reflection of the thoughts and feelings of the characters. While, for example, in the works of V. Saday, pictures of nature act, first of all, as a background for the unfolding of plot events. Thus, nature in Skvortsov’s story “Birch Ugakh”, having learned about the victory of our troops in the Great Patriotic War, “responds to human joy”, “even the birds glorify the Victory together with people.”

Nature in the works of Yu. Skvortsov is also endowed with certain sounds; the writer strives to completely recreate the picture of the surrounding world with all its inherent features. He assigns an important role in this matter to the sound side. The reader can not only imagine a certain landscape, but also hear different sounds. So, for example, when creating the image of a forest, Skvortsov complements it with living sounds: somewhere an owl will suddenly hoot - “Te-v-v-v-ik!”, or a nightingale will sing - “Charn-charn-charn-charn!.. Chap- chep-chap!.. Wonderful, wonderful!..."... Along with “natural” sounds, Skvortsov also reproduces sounds created by a person with the help of any objects: the author accompanies the fall of something with a sound similar to “Tyunt!”, mowing - “hash-tyk, hash-tyk!”, while driving cattle, “has-has!” is heard from everywhere. All these peculiar interjections and onomatopoeia give the works of Yu. Skvortsov emotional richness, tangibility and the “effect of presence” of the reader in the twists and turns of the plot. Thus, it seems that nature in the works of 10. Skvortsova lives its “ life to the fullest» .

It is worth noting that the landscape in general is of great importance when constructing a lyrical narrative. In the works of V. Saday, A. Artemyev, V. Ignatiev descriptions environment, in contrast to the prose of Yu. Skvortsov, are designed to reflect the inner world of the hero to a greater extent, or pictures of nature lead the characters to thoughts and memories. As, for example, in V. Sadai’s story “The Smell of Fog,” when the hero, upon meeting his native land, begins to remember his past youth.

Folklore trends and lyricism in prose of the 20-40s of the XX century

There is a living continuity between modern reality and the past. The current state of literature can be more deeply and fully comprehended and understood only when the conditions and reasons for its emergence and origins are explained. Thus, lyrical prose is not formed in one day, but has prerequisites that have developed over centuries. The new is always based on: the desire to deeply and fully express the state of reality, to determine those social transformations that are characteristic of a specific stage of development of society. Artistic techniques- neither those that have already been identified in the art of the past, nor those that arise in the process of creativity - are not yet on their own the main ones in determining this or that literary phenomenon. .

A special group of genres of oral folk art consists of plots and motifs of pagan faith, texts of spells and prayers, rituals associated with the cult of ancestors. Lyric-epic songs, such as songs of youth, songs of orphans, etc., are imbued with the greatest lyricism. During the period of Christianization of peoples, oral folk art is replenished with religious genres, such as spiritual poems, confession, and repentance. The genres of confession and repentance, in our opinion, are the direct source of the origin of lyrical prose. During confession, a person is completely immersed in his inner world, he remains alone with God, trusts him. His soul is exposed and revealed as much as possible, as if appearing in its “primordial” form. Through confession, a believer comes to repentance. His soul is cleansed, filled with new feelings and thoughts. At this moment, a person re-experiences all the events that have happened in life from his birth to the present moment. According to divine commandments, the person confessing must remember all his sins. The most important thing in this is not just to remember, but to realize, admit your mistakes and sincerely repent of them. Only after repentance in the Christian religion does divine grace descend upon the believer. A person is internally reborn, he is given the opportunity to start his life from new moral positions. Thus, the genres of confession and repentance contributed to the development of the sensual sides of a person’s character and the revelation of his inner world.

In general, the genres of oral folk art are saturated with poetic parallelisms of human feelings and natural phenomena, elements of a loving and, at the same time, deifying attitude of the people to the realities around them. A peculiar fusion of lyricism and documentary is “The Tale of Igor’s Campaign.” According to researcher V. Fedorov, this is both a poem and a story. “This is where all the best that is in lyrical prose comes from: citizenship, patriotic pathos, poetry and documentary in the best sense of the word.” “The Tale of Igor’s Campaign” can be considered one of the first works of oral folk art, in which the basis for the development of lyrical prose is laid. Thus, folklore worldview and its poetics in the first stages of the development of literature play an active role in the work of many writers.

This is especially noticeable in the works of writers at the turn of the 19th-20th centuries. Thus, N. Shelebi enthusiastically collected the best examples of Chuvash oral poetry. In the collection of lyrical and philosophical texts he compiled, entitled “My Favorite Songs,” an outline portrait of the hero is already drawn, which will subsequently enrich Chuvash poetry. This refers to the image of Tilly created by P. Khuzangay. The oldest and talented prose writer I. Yurkin found inspiration in the best examples of Chuvash song lyrics. One of the first among the Chuvash writers to begin translating Russian classics was Yakov Turkhan, who was especially close to the poetry of V. Zhukovsky, A. Pushkin, I. Kozlov, M. Lermontov, A. Koltsov, N. Nekrasov. His brother F. Turkhan preferred the lyrics of M. Lermontov. Lermontov's works inspired K. Ivanov, F. Pavlov, G. Korenkov and others. At the same time, the work of these poets is characterized by deep lyrical and philosophical meditations. The lyrical and philosophical quests of the author of “Narspi” marked the peak of the Chuvash literary and artistic consciousness.

In Chuvash literature during the heyday of the Simbirsk literary school, due to traditions and objective historical and cultural circumstances, there is still a clear dominance of lyrics over other genres. This trend will continue even into the 20s. XX century. It is noteworthy that there is a deep dialectical connection with the values ​​accumulated by the lyrics of previous periods in the development of Chuvash literature.

Lyricism as a form of direct expression of the artist’s attitude to reality can be a sign of a variety of literary trends. It is for this reason that the predominance of lyrical intonations in the work of any writer is not yet a reason to consider him the founder of lyrical prose. Of course, everything romantic is deeply lyrical art XIX century. Romanticism as a movement arose on the basis of contradictions between the individual and society, as a result of the discrepancy between his internal ideas and reality. Romantics contrasted the cruel and unfair world around us with the spiritual world of man. As a result, the internal content of the personality gradually becomes the main object of attention. “Increased attention to the recesses of the human soul, the uninhibited human spirit as the most amazing and beautiful phenomenon in the world of despotism, a kind of autobiography, expressed in the unity of the world of the artist and the hero, but a world deeply opposed to the foundations of society, required romantic writers to improve, first of all, lyrical techniques narratives, artistic means direct, immediate expression of one’s attitude to reality and one’s ideals.”

Lyrical and philosophical prose

In the 60s - 80s, there was a tendency in Chuvash literature to turn to artistic and philosophical motifs in prose. According to researcher G.I. Fedorov, “prose increases the power of intellectualized awareness of the world, the conventions of the reflected reality, noticeably increases the pull from the empirical approach to the embodiment of ideas in the forms of life itself.” The lyrical outpourings of the characters are intertwined with philosophical reasoning, which, in turn, is often associated with existential questions. In our opinion, the current situation is a natural process, because every person sooner or later comes to the realization of the need to know himself, to determine the degree of his “self.”

Each lyric writer uses a variety of lyrical means in his own way (special intonation, frequent use of lyrical digressions, compositional features, etc.). Each one can be identified by the techniques characteristic only to him. For example, the prose of Yu. Skvortsov stands out significantly in comparison with the work of the Chuvash writers F. Uyar, V. Ignatiev, A. Emelyanov, F. Agiver and some others by the presence in it of bright, unusual characters, endowed with an unusually subtle soul and a unique view of life. world - all this allows us to attribute his work to the mainstream of lyrical and philosophical prose. At the same time, Yu. Skvortsov does not take as the basis of the plot the then widespread issues of global public opinion, but chooses ordinary, at first glance, unremarkable or even “meaningless” events from life common man. For this reason, in the 50-60s, critics did not take this writer’s work seriously and criticized it in every possible way.

Considering the prose of Yu. Skvortsov today, we understand that Soviet critics, accustomed to analyzing literary works from the standpoint of socialist realism, really found it difficult to find anything “useful” in them, so they labeled the writer’s prose “flawed” and “inferior.” This is an erroneous opinion - the works of Yu. Skvortsov require careful and thoughtful reading. The idea of ​​a particular work does not lie on the surface; it must be reached through deep reflection. Behind the seemingly simple plot are hidden bright types and characters rooted in the depths of national thinking.

One of these images is the hero of the story “Slavik”. It is necessary to immediately make a reservation that to analyze the creativity of writers we take only works created in the 50s - early 60s in order to trace the formation of lyrical prose in Chuvash literature on its early stage. The story by Yu. Skvortsov “Slavik” presents the image of a teenager endowed with the talent of a musician. Such a hero is in itself unusual for the Chuvash literature of the period we are considering. In the story, a fourteen-year-old boy with a subtle soul learns for the first time the world around him in all its diversity. Slavik “firmly believed that childhood, fortunately, had left him, and he could perceive the world as an adult.” The writer “introduces” him to the first serious feeling- a feeling of love. At the very beginning, the author depicts his hero composing music, which helps to express the subtlest emotional experiences of the boy, caused by sensations previously unknown to him. “A new feeling of excitement flashed like a bird in the chest of the teenager sitting at the piano. And he, forgetting about everything in the world, tried to transfer this feeling into the language of music. But, having played his composition several times, the boy became gloomy, his sun-scorched eyebrows came together on the bridge of his nose - this music was very far from what he was looking for... This feeling was as bright as Sunbeam. It loudly burst into his soul from an unknown world, reminding him of a carefree, joyful childhood, which had recently remained somewhere in the world of dreams and fairy tales.” Throughout the entire story, we see how this feeling develops in Slava’s soul, how it makes him suffer and really grow up. Moreover, the boy's love becomes a source for his musical creativity. But not only this feeling serves as his muse; like all gifted people, Slava knows how to hear music in many manifestations of the world around him. The most fertile field in this regard is, of course, nature. The boy, like many of Yu. Skvortsov’s heroes, feels like a part of nature and only by merging with it can he fully experience the fullness of being. “...On the willows, orioles sing all day long. Often, sitting in the shadow of these giants, Slava listened with bated breath to the whisper of leaves, the chirping of the wings of dragonflies flying nearby. Behind all this, the boy heard music of extraordinary beauty... And it seemed to the young musician that he had been living here for a thousand years and understood, felt the language of nature, which gave birth to music in him that had not yet been written by anyone. Here joy, inspiration and sadness crept into his soul...”

The lyrical hero in Yu. Skvortsov’s story acutely feels the beauty of the world, its joys and subtly reacts to them. Only the beautiful in people, nature, and surrounding phenomena resonates in his heart first of all. And the main aspirations of the lyrical hero are not only the desire to merge with this beauty, with the beauty of the world, but also a passionate desire to increase this beauty.

It cannot be said that Slavik is completely immersed in the world of beauty and beauty. At the same time, he begins to realize the complexities of the world, its negative, far from harmonious sides. The teenager understands the doom of his love for Elvira, and this understanding sobers up the boy and returns him from the world of dreams to the real world. These two worlds in the hero’s soul are very closely intertwined and alternately replace each other. Moreover, if the world of beauty practically does not change, but is only enriched with new images, then Slavik sees reality in forms and phenomena that are completely new to him. “Some new door opened for him into a world of new, unknown feelings. In this world, the most ordinary things looked unusually bright, beautiful, and excited the soul. Peace and excitement, sadness and joy, grief and happiness coexisted here... The whole world turned upside down for him today. It turns out that he can be smooth and thorny, kind and merciless...”

When the inevitable happened - Elvira’s wedding took place - Slavik realized “that she had left for someone else forever and was convinced that now he would never love anyone.” The author successfully conveys the feelings of his hero, which are familiar to almost all readers, because everyone, one way or another, experienced the feeling of first love. At the end of the story, the writer consoles the boy with the words of Sarra Arkhipovna, imbued with touching optimism: “You will still love, Slavik, and they will love you. It is good that you have already felt the pain of your soul. This means you will grow up to be a kind person and become a sensitive musician. I'm happy for you, son. Sleep. You still have everything ahead...”

Artistic research of Soviet poetry of the 50s - 80s.

In the history of Russian literature, starting with “The Tale of Igor’s Campaign,” ancient epics, folk tales and songs, the works of outstanding poets constitute a huge and unique spiritual wealth.

The variety of poetic genres is truly amazing, artistic styles, creative individuals: Lomonosov and Derzhavin, Pushkin and Lermontov, Tyutchev and Nekrasov, Baratynsky and Fet, Blok and Bryusov, Mayakovsky and Yesenin, Akhmatova and Pasternak, Aseev and Zabolotsky, Tikhonov and Tvardovsky.

How can we explain the undying value of genuine works of poetic art? The fact is that true poets never separated their feelings and experiences, thoughts and thoughts from everything that lived in their Motherland, from the anxieties, sorrows and hopes of their fatherland and people, from spiritual aspirations the best people of its time, from eternal questions that have long troubled humanity.

The impact of poetry on the spiritual sphere of the human personality is multifaceted: through the poems of great poets there is an artistic comprehension of the world and time, national life and self-awareness, and the discovery of the depths of the human spirit.

“I know the power of words, I know the alarm of words,” wrote Vladimir Mayakovsky about the effectiveness of the verse word, about its “mighty music”, about the great working poetry.

This secret of the power of verse, which gives birth to the poet’s soul, is captured in its own way in the lines of Alexander Blok: “The sound is approaching.
And, submissive to the aching sound, the soul becomes younger.”

Poems about love and nature, about life and death, about the eternal renewal of the world around us, written hundreds of years ago, continue to excite us today.

Eternal themes and motifs of art were never born outside of time and space; they invariably bore the imprint of specific historical conditions of life. This is what gives them uniqueness and the power of emotional impact on subsequent generations. The eternal in poetry does not exist outside of time. The famous lines of Boris Pasternak speak about this:

Don't sleep, don't sleep artist,

Don't give in to sleep.

You are a hostage to eternity

Trapped by time.

Relying on his creative search Inspired by the great traditions of Russian and modern classics, Soviet poetry of the 50s - 80s is marked by inspired innovation, conditioned by the time itself, the era of the construction of a society unprecedented in history, living participation in socialist creation, in the formation of the man of the new time.

We are faced with the task of not only tracing the entire poetic process in the history of poetry from the 50s to the 80s, but also comprehending that complex, dramatic time. Artistic research in the poetry of this time, the most promising lines of development of its genres and styles, were based on the entire socio-political, moral and aesthetic experience of the era, on the traditions of world and domestic, especially Soviet poetic classics.

Multinational Soviet poetry of the 50s - 80s is the result of the historical experience of the entire Soviet culture, creative interaction and mutual enrichment of many literatures of the peoples of the country.

Direct appeal to the current and eternal themes of poetry of that time, to the most significant problems of citizenship and historicism of artistic thinking, to the issues of the movement of poetic genres, traditions and innovation, artistic searches and discoveries will make it possible to draw generalizations and conclusions about the main paths of development and patterns of poetry at the stage “developed socialism” and its impact on humans.

Already at the beginning, and especially in the second half of the 50s, new trends emerged in poetry. Responding to the demands of the time, poets sought to reflect the state of spiritual renewal and uplift that society was experiencing.

It was at this time that interest in the work of A. Tvardovsky, V. Lugovoy, N. Zabolotsky, N. Aseev, A. Prokofiev, Y. Smelyakov, N. Ushakov, K. Vanshenkin, S. Orlov, E. Vinokurov, E. Yevtushenko, A. Voznesensky, R. Rozhdestvensky, V. Tsybin, R. Kazakova, B. Akhmadulina, N. Matveeva, and the circle of her lovers and admirers expanded. Poems and poems attracted readers and critics.

“The variety of topics and topical issues drawn from life itself, an appeal to the essential aspects of the spiritual world of modern man, the search for new artistic and visual means of verse - all this was characteristic of poets who spoke at the turn of the 50s and 60s,” writes V. .A. Zaitsev.

Poetic word was actively heard at evenings, on radio and television. Poetry Days have become a tradition.

However, the main thing in this interest in poetry was determined not by the whim of fashion, but by a high and demanding love for everything truly significant in art. This also determined the main lines of development of poetry.

The tasks posed by life, the people, and the decisions of the party to art, in particular to poetry, required turning to what constituted the vital basis of creativity - to modernity. It is no coincidence that this word itself literally did not leave the pages of newspapers and magazines in those years.

The poetic discovery of modernity has been the task of poets of all generations. Speaking about the present day, poets looked for its origins in the heroic past. Modernity is inseparable from history.

Among the poems about the heroic past, a special place was occupied by works whose authors themselves were contemporaries, witnesses and participants in great events.

“Let's remember our younger years!” - N. Aseev called. Reliving the fiery days of the revolution. In his poems, “The Time of Lenin”, so dear to his heart, came to life, “our October is an amazing holiday, a triumph of the people’s soul...”.

Through the decades, M. Svetlov saw “over the troubled Neva” a “chilled sentry” standing at a Red Guard post - a great and simple man from legend.

A. Prokofiev addressed his peers, the sailors of the first revolutionary years: “Get up, great time!..”, “All remain in the winged memory!” His heroes come to life in "young, immortal beauty."

The ability to deeply reveal the connection between modernity and the past, to express the enduring meaning of today's events is not given to every poet.

Poetry, expressed in the form of lyrical memories of revolutionary youth and at the same time all addressed to to the younger generation 50s, called to continue the work of their fathers.

The poetic lines of the 50s are filled with close attention to modernity, to the present day with its acute problems, contradictions and conflicts, with its everyday life and heroism.

“And keep up, straining yourself to the point of passion, with pain, with anxiety for the present day,” A. Tvardovsky urged.

Poems were born in direct connection with life, rising new. The poets went to grandiose construction sites, visited virgin lands, and traveled a lot around the country. In the poems of the 50s, in the words of M. Gorky, the “heroic poetry of labor” is revealed, pictures of the creative transformative activity of people arise, a reflection of their spiritual movements, thoughts, and experiences.

Robert Rozhdestvensky lived and worked at the North Pole-6 station for several months.

The Far East became the place of R. Kazakova’s “poetic birth”.

From his trips around the country, A. Voznesensky brought back his “Report from the opening of a hydroelectric power station” and “Poems from a Siberian notebook.”

B. Akhmadulina – sketch poems “From a Siberian notebook”.

A. Tvardovsky - “Poems about Siberia”

Y. Pankratov - “Kazakhstan notebook”.

Traveling around the country provided material for works not only about the creative work of the Soviet people, but most importantly - about the spiritual wealth of the new man, the complexity and diversity of his inner world.

The book of poems by Yaroslav Smelyakov “Conversation about the main thing” is a direct appeal to modern times, to young people entering life. The running theme of the poems is the idea of ​​the kinship of generations. The poet peers into the faces of Komsomol members traveling to a distant Angarsk construction site and in their appearance and spiritual qualities he sees the features of his peers of the 30s:

It’s not that there is no difference, but in the biggest way we are akin, and our main characteristics are the same for two generations.

Lively characters of youth: “a strong Siberian boy”, young Galya, with touching excitement getting ready for her first ball at the Komsomol club. All of them are brought together by the warmth of the author's view and attitude.

The artistic exploration of pressing life problems facing the art of that time had its own difficulties and costs. A. Tvardovsky accurately spoke about this, focusing on the problem of the quality of works:

“Our literature is going through a most beneficial period, when demands for ideological and artistic quality, high skill, and perfection of form are especially acutely placed on it.”

However, despite all the difficulties on the way to mastering the new, in the poems of the best poets of the 50s, one can find an affirmation of moving modernity, the beauty of human feats, historical connections and continuity of generations. During these years, the most important social, moral, and aesthetic problems were posed in a deeply original and creative way. They revealed the complex, rich and diverse spiritual world of man.

Since the beginning of the 60s, the scientific and technological revolution has been rapidly developing, invading all spheres of life and giving rise to many new problems. Disputes arise about the scientific revolution and literature.

The discussions about “physicists” and “lyricists” that took place at the turn of the 50s and 60s convincingly showed that there is no reason to oppose science and poetry. The question of the place and purpose of literature, art, and their role in the formation of a person’s spiritual world became clearer during this discussion. “... Every day we become more and more convinced that the almost fantastic development of technology does not cause a weakening, but just the opposite - an increase in interest in art, including poetry,” wrote N. Rylenkov in the article “Live Flowers poetry."

The depiction of the creative labor of the working class occupies a prominent place in the works of primarily those authors whose life experience was acquired in a working environment. Who from youth, like me, Smelyakov, B. Ruchev, you. Fedorov and L. Tatyanicheva, went through a school of labor hardening. Thus, one of Boris Ruchev’s later poems, “Eternal Monument,” sounds like a heartfelt appeal to the Industry itself - the eternal city of the poet’s youth. These verses, with all their spirit and passion, affirm the blood relationship of a person and his deeds, the inseparability of “spiritual right” and “iron duty” in him. The author's monologue-address reveals the idea of ​​the immortality of a simple worker-master in his creation, in the world he creates:

We both became history

Although our century is not equal:

You are a world of concrete and steel,

I am your master, but a man.

In poems about the labor of the working class, poets emphasized the moral and aesthetic meaning of the topic, highlighting the beauty of creative action and high skill.

Tvardovsky’s idea of ​​man, his concept of the heroic, is based on the experience of history, comprehended in the light of the events of the 60s. For the poet, the measure of human courage, the criterion of heroism, is the accomplished feat “in the name of our and future days.” This is reflected in his poems about the feat of the “scout of the universe”, “To the Cosmonaut”, “In Memory of Gagarin”.

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Discussions about the citizenship of fiction played an important role in understanding the main problems and ways of development of poetry in the 60s. Rejecting narrow and simplified interpretations of citizenship, supposedly associated only with certain topics and genres (for example, with lyrical journalism), poets and critics noted that it means “determination of class positions, social activity, elevation of the human personality in various spheres of spiritual and moral life.” – emphasized A. Mikhailov.

In 1969, many poets joined the conversation about citizenship, drawing on the traditions of Russian and Soviet poetry. So Y. Smelyakov wrote about this: “Civicism is for us the main measure of poetry... Time demands more and more new poems, songs, poems social nature, on a national scale... Let poems about love be written and widely published (only without the slightest taste of vulgarity!), let landscape lyrics inspired by thought live and prosper. I would only like for these poems to beat the pulse of our time and to see its signs, its features.”

In the poetry of the 60s, the breadth and richness of themes and motifs, the depth and variety of themes are noted; in the best poems and poems of those years, the actual and eternal are deeply and originally refracted, the cosmic exploits and earthly deeds of man, his work and creativity find a unique embodiment. The themes of nature and love, life and death, war and peace sound in a new way. Poetic works reflect and carry in themselves the anxieties, sorrows and joys of a person of that time, of all the rapid and complex existence.

Reflections on the course of life, based on each author’s unique philosophical and poetic concept, are uniquely individually revealed:

In the later poems of N. Aseev - “Lad”, A. Tvardovsky - “From the lyrics of these years”, Ya Smelyakov - “Russian Day”.

In “Selected Lyrics” by S. Marshak.

In the books of A. Akhmatova - “The Running of Time”, N. Tikhonov - “Times and Roads”, M. Dudin - “Time”, S. Orlov - “Days”.

In the poetry of the 50s - 80s, patriotic and international pathos found diverse artistic embodiment. The theme of the Motherland and its history is heartfeltly revealed in the poems of the poets of that time. The image of the Motherland, scattered “between two oceans”, its historical past, appeared in a dialectical connection, in a complex, internally contradictory movement towards the future.

In the soulful poetic thoughts and experiences of a contemporary of the 60s, the complex, dramatic paths of history are revealed, and the harsh memory of the Great Patriotic War resounds.

The theme of memory and duty to those who died in the fight against fascism is widely discussed in the poems of A. Tvardovsky: “I know, it’s not my fault...”, “They lie there, deaf and dumb...”. And over everything rises a life-affirming note of the victory of humanity, the triumph of human will and reason, conscience and truth. Therefore, his feelings are embodied in a simple and serious word, coming from the heart, capacious and aphoristic.

The theme of nature has become the most important subject of philosophical and poetic reflection and research for many authors. The late lyrics of A. Akhmatova and S. Marshak, B. Pasternak and many other poets are imbued with it.

In the work of Nikolai Zabolotsky, the problem of interaction between man and nature is one of the most important. Nature attracts him not as an object of admiration, a landscape background, but as a complex, contradictory object of poetic research. The recognition of its secrets becomes philosophical theme and the sphere of drama of his work. Highly proficient in the art of poetic analysis and synthesis, he was able to subtly convey the spirituality of nature and show the harmony of man with it:

And the clearer the details become

Objects located around

The more vast the distances become

River meadows, backwaters and bends.

The unity of man and the world - living, sounding, bright, tangibly integral in its movement - is revealed in the late lyrical work of Boris Pasternak. In his poems, the plastic, pictorial and musical principle is clearly manifested; they develop philosophical motives of the lyrics, going back to the traditions of Russian poetic classics. The poet presents eternal themes in their inspired novelty and uniqueness. Nature, love, art, man are inextricably fused in the fabric of the verse - the “Living Miracle” of the endless world and the “secretly luminous layer of the heart” make up one whole.

An expressive example of the feeling of one’s native land, conveyed through a capacious figurative detail, raised by the poet to the degree of great generalization, is contained in the poem “Birch” by A. Tvardovsky. Tvardovsky managed to see in a new way and embody in his poetic reflections this image, traditional for Russian landscape and folk poetry:

On the way out of the Kremlin courtyard,

Behind the projection of the Spasskaya gate tower,

Magpie black and white coloring

The deflection of its trunk suddenly ripples.

This unsightly birch tree, which accidentally grew in the capital, evokes some kind of aching sadness and deep thoughts. In the changing of the seasons, she had the opportunity to “turn green again, and again lose her leaf, and show off in frosty silver,” listen not only to the peaceful noise of the capital, but also the alarming roar in the sky of front-line Moscow, “and in the rings of years, keep a silent countdown to everything that passes by.” , will leak..." And here is a generalization: the poet, who made this birch a motionless and silent witness of human triumphs and disasters, turns his gaze into the soul of every person:

No, our days are not without a trace in the world,

Concealing hope or threat.

If you happen to be in the Kremlin, come and take a look

To this inconspicuous birch tree.

As it is, everything will appear to you,

Your stock of wonders will not be replenished enough,

But something will remind you again,

What we must never forget.

In these verses, human fate directly merges with historical life homeland and nature, the memory of the father's land: they reflect and refract the problems and conflicts of the era in their own way.

History is captured in A. Prokofiev’s poems about Russia native land and its nature, the spiritual wealth of people and the colorfulness of Russian speech. From the pages of his books, the ancient and eternally young Motherland-Rus rises “in the sparkle of new days,” in intense movement towards the future.

Nature has never left poets indifferent. Close attention to the life of nature and inexhaustible love for it were characteristic of A. Prokofiev. Like other poets, N. Aseev, V. Lugovoy, we will also find “The Four Seasons” in his works.

Alexander Tvardovsky vigilantly and reverently noticed the phenomena of nature: “as after the March snowstorms, fresh, transparent and light, in April the birch forests suddenly turned pink like a palm tree.” The poet hears “indistinct talk or hubbub in the tops of the centuries-old pines,” the lark that heralded spring reminds him of the distant time of childhood.

Alexander Yashin, in his poems about the Motherland, reflects that it is not enough to glorify “birch trees, rivers, the expanse of its fields.” The homeland is, first of all, people, near and far, who are sometimes in dire need of “warmth, participation, fraternal kind words.” He sees this as the primary task of poetry.

In the poems of A. Yashin one can see Special attention to the prosaic details of life, to the “earthly” details of human existence, character, psychology, everyday life. This is also indicative of other poets associated with the “village theme”. The work of N. Rylenkov and V. Bokov, N. Tryapin and N. Rubtsov is connected in its very foundations with the labor, moral, and folk-poetic sphere of rural life.

The acutely complex, sometimes unresolved problems of the village have become not just a “theme” and “material”, but the innermost concern, the inner nerve, the mental pain of many serious, truly civil and deeply lyrical works. Each author looked closely, first of all, at the life of the region with which he was associated early years. V. Thus, Soloukhin’s “childhood country” was Vladimir region, Tsybina’s was Semirechye. The work of A. Yashin and S. Vikulov is associated with the Vologda land. In Vikulov’s poems there is a palpable passion for describing rural life, emphasizing power and the call of the earth. In his collection “Bread and Salt” the characteristic headings of the passages are “Izba”, “Earth”, “Windows on the Dawn”.

Nikolai Rubtsov’s “village theme” sounds in a different tonality, full of inner drama. In conditions of rapid and irreversible changes, the advance of the city into the countryside, he showed keen attention to what is passing away, and - more broadly - to the moral origins and foundations of national life, to poetry and beauty village life, it was a kind of nostalgia for the passing, lost, past:

Trees, huts, a horse on the bridge,

Flowering meadow - I miss them everywhere.

The acute sense of the collision of old and new, characteristic of the poet, is clearly expressed in the poem “Fringes”:

Ah, the city

The village is ramming!!

Ah, something

It will be scrapped!

I'm still tormented by everything

Between city and village...

The desire to carefully preserve and protect moral and aesthetic values ​​associated with natural and historical existence is clearly visible in the works of many poets:
A. Tvardovsky and Y. Smelyakov, B. Ruchev, V. Fedorov, S. Orlov and V. Soloukhin. The authors of the poems focus on man and earth, with a deeply felt idea that our spiritual life is inseparable from nature.

In the 60s, poets of different generations and different artistic and stylistic orientations reflected on the growing menacing danger to all living things around us.

These motifs are revealed in a grotesque, paradoxical, tragically expressive key in A. Voznesensky’s poems “The Grove”, “The Beaver’s Cry”, “Evensong”, “Don’t touch the man, little tree!.. Don’t hit the man, bird!” – in forced repetitions, the idea that by destroying the nature around them, people destroy and kill the best in themselves, putting the future on Earth in mortal danger.

In the poems of the late 60s and early 70s, anti-war, humanistic pathos is natural. They recognized M. Lukonin’s poem “The Charred Border,” which was included in the book “Necessity.”

These same motives sound excitedly and passionately in the cycles
K. Simonov - “Vietnam, winter of the seventieth”, R. Rozhdestvensky -
“In the Farthest West”, E. Yevtushenko - “Road Number One”.

In the late 60s and early 70s, the significant problems of modern life were far from fully reflected in poetry, which led to a weakening of its popularity among readers.

An analysis of the state of affairs in poetry in these years, an assessment and characterization of its most significant phenomena and processes, given at writers' congresses and by critics, were the result of discussions and reflections of the poets themselves. Reflections on the tasks of poetry and the mission of the poet are heard in the poems of many poets.

The poets of the 70s strive to take into account all the complex “invisible coordinates” of the feelings and mind of their contemporary, enriched by the experience of history, science, and art.

In their poems they reveal a person’s attitude to the Motherland, nature, Earth, people, and humanity. The feeling of completeness of vital connections with the world, comprehended in tireless creative work, is the main thing in their self-awareness.

Speaking about the features of multinational Soviet poetry, about the interaction in it of the poetry of large and small nations, the poetry of the native people, the famous Avar poet R. Gamzatov noted:

“We began to think more broadly, we began to feel more deeply.”

In many poetic works, the author's thoughts, experiences or plot-narrative motifs are respectively expressed in the forms of, on the one hand, a lyrical monologue, and on the other, a ballad, a poetic story or a portrait. Often there is a renewal of creative genres and strophic forms that have a centuries-old history: ode, sonnet, elegy.

A. Akhmatova’s elegiac poems are filled with deep psychologism. The pictorial principle, subject detailing, texture, landscape paintings are subordinated in them to the development of experience, the expression of sad and enlightened elegiac feeling.

One of the last poems by A. Tvardovsky can serve as a unique example of elegy:

But, my God, it’s still not true,

That life goes downhill over the years,

What is today, yes, conditionally, tomorrow,

Yes, definitely one sigh at the end

No, he would be unbearably scary,

Earthly destiny, don’t always be with us

Neither our childhood days, nor our youth,

Not the whole life in its last hour.

The sadness of Akhmatova and Tvardovsky is not melancholy or despondency. It illuminates the soul, turning grief into strength, making pain cleansing and healing. And death itself, thoughts about it become wise and restrained, but even more so an effective hymn to the glory of existence, a statement of its infinite diversity, beauty and uniqueness. And here the elegy comes into contact with an ode glorifying life and man.

Sober-realistic and by no means serene thoughts about man and time turn into an affirmation of the undying
“the whole life” that a person carries within himself until the last moment.

Appeal to significant topical issues poetic process of the 50s - 80s, to the work of poets of different generations allows us to draw a conclusion about the artistic and aesthetic discoveries of Soviet multinational poetry related to the comprehension of the world, time, and man.

In Soviet poetry of these years, the historicism of poetic thinking makes it possible to comprehend and reveal the inextricable connection of times, problems, conflicts, and contradictions.

The variety of ways to embody the truth of life, the depth of penetration into the spiritual world of man, loyalty to the principles of humanism and nationality allows poetry to serve as a reflection of that time with the greatest completeness and accuracy.

The lines of one of the last poems by Alexander Tvardovsky sound like a wise testament to new poetic generations:

Everything in this world - just be on guard -

Full of our own, not imported,

No one's and even unclaimed,

The novelty the poet has been waiting for.

Literature:

A. Tvardovsky / Preaching dullness and spontaneity // Lit. Newspaper. – 1959. – September 10.

V. Lugovskoy / Thoughts on poetry // M., 1960.

N. Tikhonov /Conversation with an aspiring writer //

A. Tvardovsky / Preaching dullness and mediocrity//

V.A. Zaitsev / Poetic discovery of modernity // Enlightenment 1988.

The urban theme in Russian literature has a long tradition and is associated with the names of F.M. Dostoevsky, A.P. Chekhov, M. Gorky, M. Bulgakov and many other famous writers. Urban prose is literature in which the city, as a conventional background, a specific historical and literary flavor, and existing living conditions, occupies the most important place and determines the plot, theme and problems of the work. The tragic transition from family ties to the laws of ancient city-polises, urban medieval literature, the St. Petersburg-Moscow tradition in Russian literature, the Western European urban novel - these are just some of the milestones that marked the stages of the “urban text” in world literature. Researchers could not ignore this fact: a whole scientific direction has emerged that analyzes the features of the image of the city in the works of masters of words.

Only in the 1970-1980s of the 20th century. Works on this topic began to be united under the heading “urban prose.” It is worth recalling that in modern literature definitions such as “village”, “urban”, “military” are not scientific terms and are conditional.

They are used in criticism and allow us to establish the most general classification of the literary process. Philological analysis, which aims to study the characteristics of styles and genres, the uniqueness of psychologism, types of narration, distinctive features in the use of artistic time and space and, of course, the language of prose, provides for a different, more precise terminology.

Reasons for the emergence of “urban prose”

What caused the emergence of urban prose in its new quality? In the 1960-1970s, migration processes intensified in Russia: urban population began to increase rapidly. The composition and interests of the readership changed accordingly. It should be remembered that in those years the role of literature in the public consciousness was more important than it is now. Naturally, the habits, behavior, way of thinking and, in general, the psychology of urban aborigines attracted increased attention. On the other hand, the life of new urban settlers, in particular the so-called “limiters,” provided writers with new opportunities for artistic exploration of areas of human existence.

“Urban prose”: examples, representatives

The discoverer of urban prose was Yu. Trifonov. His stories “Exchange” (1969), “Preliminary Results” (1970), “The Long Farewell” (1971), “Another Life” (1975) depict the everyday life of the Moscow intelligentsia. The reader gets the impression that the writer is focused exclusively on the everyday side of life, but this is deceptive. In his stories, there really are no major social events, shocks, or heartbreaking tragedies. However, human morality passes through copper pipes precisely here, at the everyday family level. It turns out that withstanding such a test is no easier than extreme situations. On the path to the ideal, which is what all Trifonov’s heroes dream of, all sorts of little things in life arise, cluttering the road and leading the traveler astray. They are the ones who install true value characters. The titles of the stories are expressive in this regard.

Psychological realism by Yu. Trifonov makes you remember the stories and stories of A. Chekhov. The connection between these artists is undeniable. In all its richness and versatility, the urban theme is revealed in the works of S. Dovlatov, S. Kaledin, M. Kuraev, V. Makanin, L. Petrushevskaya, Yu. Polyakov, Vyach. Pietsukha et al.

Analysis of Trifonov's creativity

In the story “Exchange,” engineer Dmitriev decided to exchange living space in order to move in with his sick mother. But upon closer examination, it turned out that he had betrayed his mother. The exchange took place primarily in spiritual terms - G Hero “traded” decency for meanness. “Preliminary Results” explores a common psychological situation when a person, dissatisfied with his life, is going to draw a line under the past and start all over again tomorrow. But for translator Gennady Sergeevich, preliminary results, as often happens, become final. He is broken, his will is paralyzed, he can no longer fight for himself, for his ideals.

Olga Vasilievna, the heroine of the story of the same name, who buried her husband, also fails to start a “different life.” In these works by Trifonov, the technique of indirect speech is especially successfully used, helping to create an internal monologue of the character and show his spiritual quest. Only through overcoming the petty vanity of life, “naive” egoism in the name of some high goal can the dream of a different life be realized.

Closely related to this cycle of stories and novel “Time and Place” (1981). Here, the two main characters - the writer Antipov and the narrator - manage to live their lives with dignity, despite the fact that the dark, difficult time rather contributed to the degradation of the individual.

The emergence of women's prose: representatives, examples

The emergence of “urban prose” provided the best opportunities for the implementation of the creative principles of “other” prose. Within the framework of the urban theme I found myself phenomenon of women's prose. Never before have so many talented writers appeared to the reader at once. In 1990, the next collection “Not Remembering Evil” was published, presenting the work of T. Tolstoy, L. Vaneeva, V. Narbikova, V. Tokareva, N. Sadur and others. Over time, more and more new names are added to them, and women’s the prose goes far beyond the urban theme. Since the mid-1990s, Vagrius Publishing House has been publishing a series of books under the general title “Women’s Handwriting.”

Urban prose, like rural prose, belongs mainly to the 1970s and 1980s.

The strengthening of totalitarianism, the isolation of yesterday’s prisoners of war, the deportation to the eastern regions of a number of peoples accused of “collective betrayal,” the arrest and deportation of war invalids to remote areas “The terrible eight years were long. Twice as long as the war. Long, because in fear the fictions and false faith peeled away from the soul; enlightenment came slowly. Yes, and it was difficult to guess that you were gaining your sight, for the eyes that received their sight saw the same darkness as the blind ones” (D. Samoilov)

“Zhdanovshchina” August 14, 1946 Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks on issues of literature and art “On the magazines “Zvezda” and “Leningrad”. “The Vulgars and Scum of Literature” by Zoshchenko and Akhmatov. September 4, 1946. “On lack of ideas in cinema.” February 1948. “On decadent trends in Soviet music” year. The fight against cosmopolitanism. January 13, 1953 “Disclosure” of the “conspiracy of murderous doctors.” MM. Zoshchenko

Presentation for the lesson of N.Yu. Shurygina 7 “The Theory of Conflictlessness” “In Soviet society there are no grounds for the birth of antagonistic conflicts, there is only a conflict between the good and the best.” “These viscous books are depressingly identical! They have stereotypical characters, themes, beginnings, and endings. Not books, but twins - it’s enough to read one or two of them to know the appearance of the third” (V. Pomerantsev “On the sincerity of literature, 1953)

Reflective essay prose 1952. V. Ovechkin “District everyday life.” A series of 5 essays. Facts of the real life of people from the outback, the situation of collective farm peasants (workdays, lack of passports). The image of the Soviet bureaucrat-functionary Borzov is contrasted with the image of the “spiritual” Martynov. The former strong-willed manager and the new independent business executive. V. Tendryakov “The Fall of Ivan Chuprov.” The collective farm chairman is deceiving the state for the benefit of his collective farm. Moral degeneration of a person who selfishly uses his position in society. G. Troepolsky “Notes of an Agronomist.” A series of satirical stories about the village. Based on the story by V. Tendryakov “Not at home” “Everyday life of a post-war village”

Novels about young people 1953. V. Panova “Seasons”. The theme of “fathers” and “sons”. The image of Gennady Kupriyanov is a type of modern young man, indifferent, skeptical, ironic, generated by social conditions. The theme of the degeneration of the corrupt Soviet nomenklatura (the fate of Stepan Bortashevich) year. I. Ehrenburg “Thaw”. A thaw of the public (the return of convicts, the opportunity to speak openly about the West, not agreeing with the majority opinion), and the personal (to be honest both in public and before one’s own conscience). The problem of choosing between truth and lies. The artist’s right to freedom of creativity and his independence from the demands of ideology and immediate state benefit. The history of the “average” person, the unique depth of his experiences, the exclusivity of the spiritual world, the significance of the “single” existence

1954 Second All-Union Congress of Writers Discussions on the pages of the Literary Gazette: -Question about the character of the hero of literature -Question about the lyrics of the year. The publication of thick magazines: “Friendship of Peoples”, “Foreign Literature”, “Neva” years - “Young Guard”, “Questions of Literature”, etc. “The Soviet people want to see passionate fighters in their writers, actively intervening in life, helping the people build a new society. Our literature is called upon not only to reflect the new, but also to help in every possible way to its victory.”

Cinematography In the center is human destiny. 1964 1957 1956 1961.

Theater life 1956. The Sovremennik Theater was founded by a group of young actors. (The first performance based on Rozov’s play “Forever Alive” (directed by O. Efremov). A free creative association of a group of like-minded people and able to defend itself as an integral artistic group. The Taganka Theater was founded (The first performance was B. Brecht’s play “The Good Man from Szechwan "(dir. Yu. Lyubimov). The free element of acting, the courage of square performances, the revived traditions of Vakhtangov and Meyerhold, the actors’ mastery of the entire palette of arts

"People's Opinion" 1957. The persecution of B. Pasternak for a year. “Near-literary drone” I. Brodsky was arrested for a year. A. Sinyavsyakiy and Y. Daniel were arrested for “anti-Soviet agitation and propaganda” (publication of satirical works abroad) 1970. Nobel Prize to Solzhenitsyn a year. Deprivation of Soviet citizenship for a year. The defeat of the “New World” “Letters from the working people” - angry messages on behalf of the workers, etc. “The opinion of the people” was impossible to dispute. Extrajudicial forms of reprisals: people were forcibly placed in special psychiatric hospitals

Prose 1956. V. Dudintsev. Novel “Not by Bread Alone” P. Nilin “Cruelty” 1957. S. Antonov. “It happened in Penkov” 2005. S. Govorukhin 1957. Stanislav Rostotsky

1964 S. Zalygin “On the Irtysh”. Collectivization of the 30s in a Siberian village is the tragedy of the death of a centuries-old peasant way of life with deep, cultural traditions. V. Belov “Business as usual.” The monstrously unfair life of a Vologda collective farmer and his wife. “Peasant Space” is filled with poetry, love, and wisdom. Village prose of the 1952s. V. Ovechkin “District everyday life” year. A. Yashin. The story "Levers". Collective farm leaders before, during and after the party meeting. Normal people turn into levers of power. "The Villagers" 1970. V. Rasputin. "Deadline". The death of the village old woman Anna is a calm and conscious transition from earthly existence to another life. Problems of life and death.

1946 V. Nekrasov “In the trenches of Stalingrad.” The war is shown through everyday life ordinary soldiers. Victory in the war was won not by generals and marshals, but by the people. “trench” truth about the war “Lieutenant’s Prose” 1959. G. Baklanov “An inch of land” and others. Y. Bondarev “The battalions ask for fire” and others. To Vorobiev. The story “Killed near Moscow” and others. B. Vasiliev. “And the dawns here are quiet”, etc. The fate of a person in inhuman conditions. The true face of war, the essence of a soldier’s “hard work,” the cost of losses and the very habit of losses – this is what became the subject of thought for the heroes and their authors.

“Youth prose” “I look there, I look, and my head begins to spin, and everything, everything, everything that has happened in life and what will happen again, everything begins to spin, and I no longer understand whether it’s me lying on the windowsill or not me.” And the real stars, full of the highest meaning, are circling and circling above me." A. Gladilin “Chronicle of the times of Viktor Podgursky” 1957. A. Kuznetsov “Continuation of the legend.” Finding your way on the “construction sites of the century” and in your personal life. V. Aksyonov “Star Ticket”. Carefree graduates of a Moscow school, dressing in Western fashion, loving jazz, not wanting to sit in one place. A generation of romantics whose motto is “To the stars!” 1962 Film by A. Zarkhi “My younger brother” Short-term phenomenon. Stylistically enriched the literature of the 1990s. Confessional monologues, youth slang, telegraphic style.

Genre of the story by Yu.P. Kazakov V.M. Shukshin ()

Vasily Makarovich Shukshin Genres of stories: story-fate (“The Hunt to Live”) story-character (“Cut off”, “Resentment”, “Crank”) story-confession (“Raskas”) story-anecdote “Shukshinsky Hero” - weirdo: melodiousness , unluckiness, shyness, unselfishness, sincerity

« Camp prose» years. V.T. Shalamov writes “Kolyma Stories” (published in London, 1988). Yu.O. Dombrovsyakiy writes “The Faculty of Unnecessary Things” (published in France), 1962. A.I. Solzhenitsyn “One Day in the Life of Ivan Denisovich” (published 1962) Varlam Tikhonovich Shalamov (year) Yuri Osipovich Dombrovsyakiy () “Every citizen of all two hundred million citizens of the Soviet Union must read and memorize this story Union" (A.A Akhmatova)

“The Bronze Age” Yevtushenko, Voznesensky, Rozhdestvensky Akhmadulina Okudzhava Sokolov V. Kunyaev S. Gorbovsyakiy G. Rubtsov N. Zhigulin A. Narovchatov S. Slutsky B. Drunina Yu. Samoilov D. Levitansky Pop lyrics Quiet lyrics Front-line lyrics Thaw period the flourishing of poetry in literature

Dramaturgy, lyricism, increased subjectivity, characteristic of Thaw literature, the genre of melodrama Afinogenov A. “Mashenka” Arbuzov A. “Tanya” Leonov L. “Ordinary Man” Rozov V. Zorin L. Volodin A. Aleshin S. Radzinsky E. Roshchin M. everyday people's lives (subtle, delicate poetry), their everyday worries (sharp drama)

1954 “Good morning!” 1957 "In Search of Joy" 1957. “Forever Alive” “Rozov Boys” make a choice between accepted standards and their own individuality, actively resist the standard, and search for their own coordinate system. The lyrical pathos of the plays is a fusion of compassion, humor, tears and smiles, irony and pathos. Rozov Viktor Sergeevich ()

"Five Evenings" 1966. “Elder Sister” “Don’t part with your loved ones” Alexander Volodin The heroes of Volodin’s plays are intellectuals: defenseless, vulnerable, they prefer to suffer themselves rather than cause pain to loved ones, so they especially need sympathy and understanding. () 1963. "Tanya" 1964. “My poor Marat” The author’s voice as the voice of a generation. A young hero, self-confident, entering life and hoping to rebuild it. Alexey Arbuzov lives in search of happiness ()

Alexander Valentinovich Vampilov () 1967. "Eldest Son" 1967. “Duck Hunt” revolutionized both Russian drama and Russian theater.

Vampilov Theater Sources: Melodrama of the 1960s Theater of Existentialism rethinking the role of his generation: “star boys” are presented as a “lost generation” treated as a paradoxical experiment aimed at testing the main question of his work WHAT IS FREEDOM? “threshold situation” (it is on the “threshold” that the true price and meaning of freedom is revealed) Modern urban folklore anecdotal stories - an atmosphere of comically absurd acting

Mikhail Mikhailovich Roshchin () 1967. "Old New Year» 1970. "Valentine and Valentina" and others.

Goals:

Lesson type:

Lesson type: lecture with elements of analysis.

Methodical techniques:

Predicted result:

Equipment

During the classes

I. Organizational stage.

II. Motivation for learning activities. Goal setting.

1. The teacher's word.

• What do you know about the “thaw” period in Russian history?

Literature has always been a reflection of life. Let's observe what changes are taking place in the literature of the second half of the twentieth century.

In 1956, the first almanac “Poetry Day” was published. In its title is the name of the poetic holiday, which has become an annual event; on this day, poems were read throughout the country, poets appeared on improvised stages in squares and stadiums. The country lived with poetry. And poetry hastened to prove that prosaic, gray everyday life does not exist, that the everyday world is beautiful if you look into it with trust and love.

A poetic echo echoed across the country. Sincerity became the motto and call of that poetic moment. After the dark Stalinist decades, poetry reflected the renewal of historical order as a return to the laws of nature, transparent and clear.

2. Discussion of the topic and objectives of the lesson.

Literary associations and trends in poetry of the 1950-1980s.

In the 1950s, the development of Russian poetry was marked by creative revival. The work of the older generation of poets was devoted to understanding the “moral experience of the era” (O. Berggolts). In their poems N. Aseev, A. Akhmatova, B. Pasternak,

A. Tvardovsky, N. Zabolotsky, V. Lugovskoy, M. Svetlov and others in a philosophical vein reflected on the problems of both the recent past and the present. During these years, actively genres of civil, philosophical, meditative and love lyrics, various lyric-epic forms developed.

Frontline lyrics

TO Poets of the front-line generation turned to “eternal” themes in their work, who sought to express their own vision of war and man at war. One of the cross-cutting motifs of the poetry of front-line soldiers was theme of memory. For S. Gudzenko, B. Slutsky, S. Narovchatov, A. Mezhirov, Yu. Drunina and others. The Great Patriotic War forever remained the main measure of honor and conscience.

I'm still sad about the overcoat,

I see smoky dreams, -

No, they failed me

Return from the War.

<...>

And where should I go?

A friend was killed in the war.

And the silent heart

It began to beat inside me.

(Yu. Drunina, “I’m still sad about the overcoat...”)

• Message. Works of Yulia Drunina (1924-1991)

Yulia Vladimirovna Drunina was born in 1924, and in 1989 a two-volume book of Yu. Drunina’s works was published, in which her autobiography was published. Sixty-one pages - and almost the whole life is a fate scorched by war. This war lasted for Yu. Drunina throughout her life and became the measure of all human values.

Yulia Drunina belongs to a generation whose youth was tested for maturity on the front roads of the Great Patriotic War. As a 17-year-old graduate of a Moscow school, she, like many of her peers, voluntarily went to the front in 1941 as a soldier in a medical platoon.

In the poems of Yulia Drunina, nostalgia for the romance of the civil war begins to sound louder and louder:

Eh, the hot days have flown away,

Don't come back again.

I remember how red it was in the former dust

Young blood.

In these words there is a childish thirst for achievement, which lived both in the young poetess and in many of her peers. The fate of Yulia Drunina can be called both happy and tragic. Tragic - because early years the war crossed out as a black stripe, happy - because she managed to survive and even become a famous poetess, whose poems truly “explode time” and show us, a generation completely far from the events of the Great Patriotic War, the hardships of the hard times of war. Yulia Drunina witnessed the war from its first days.

As a tenth-grader, she began her journey along the roads of the Great Patriotic War. The first step towards the front was taken in the hospital, where she worked, on the advice of her father, as a nurse; then she studied at the Khabarovsk School of Junior Aviation Specialists, where she received first prize for literary composition. And finally, with the rank of third sanitary inspector in 1943, she was sent to the Belarusian Front. On the way to the station, the lines were repeated: “No, it’s not merit, but luck - for a girl to become a soldier in the war...”, which after some time resulted in a poem:

No, this is not merit, but luck -

Become a girl a soldier in the war,

If only my life had turned out differently,

How ashamed I would be on Victory Day!...

Drunina saw how young guys who were not yet twenty years old died. In one of her poems, she cites statistical data: “According to statistics, among front-line soldiers born in 1922, 1923 and 1924, three percent remained alive by the end of the war.”

Fate protected the poet. She suffered from a lung disease in the battle trenches. As a result of physical exhaustion, Drunina ended up in a rear evacuation hospital in the Gorky region. There, for the first time during the war, she again wanted to write poetry...

But difficulties did not stop her. Together with the people's militia division, which was immediately digging trenches, Yulia went to the front. Later, the poetess would write: “I have been writing about everything that can be called the romance of war all my life - in poetry. But prosaic details do not fit into poetry. And I didn’t want to remember them before. Now I can remember everything almost calmly and even with some humor.”

The motive of leaving childhood for the horror of war will be heard in the later poems of the poetess, as if even decades later she had not returned from the “bloody fields.” Drunina was a nurse not somewhere in a rear hospital, but on the front line, in the thick of it. Many wounded soldiers were carried out from under fire on fragile girls’ shoulders. She was in mortal danger, and dragging a wounded man on her was hard work:

A quarter of the company has already been mowed down...

Stretched out in the snow,

The girl is crying from powerlessness,

Gasps: “I can’t!”

The guy got caught heavy,

There is no more strength to drag him...

(To that tired nurse

Eighteen equals years).

The naturalness, “uninventedness” of the poetess’s poems is manifested in the clear connection of Drunina’s works with real events and faces. This is the poem “Zinka” - perhaps the best in the work of Yulia Drunina, dedicated to Zinaida Samsonova, a front-line friend of the poetess, later a Hero of the Soviet Union, a girl about whom there were legends.

“The fate of the poets of my generation can be called both tragic and happy. Tragic because war broke into our adolescence, into our homes and into our still unprotected, so vulnerable souls, bringing death, suffering, and destruction. Happy because, having thrown us into the midst of a national tragedy, the war made even our most intimate poems civil. Blessed is he who visited this world in its fatal moments.”

Drunina never went to the editorial office, did not demand anything, but her poems were always among the most read and loved. In 1947, the first collection entitled “In a Soldier’s Overcoat” was published. It includes poems written during the years of front-line and post-war life.

The end of Yulia Vladimirovna’s life is full of tragedy. She could have died a thousand times in the war, but she died of her own free will, on September 21, 1991 in Moscow. Wounded by the war, she could not survive another tragedy of the country - the tragedy of the era of change. The collection “The Hour of Judgment” was published posthumously.

Yulia Drunina did not change her poetry, so perhaps this is the tragedy of the poetess’s fate. Yu. Drunina’s poems are precise and laconic, lyrical and specific, they captivate me with their truth, uniqueness, their sincerity and artistic beauty - they contain all the Yulia Drunina she was in life.

• Reading and analysis of poems.

Yulia Drunina. In memory of fellow soldier - Hero of the Soviet Union Zina Samsonova.

We lay down by the broken fir tree,

We are waiting for it to start getting brighter.

It's warmer for two under an overcoat

On chilled, rotten ground.

You know, Yulka,

I don't mind sadness

But today she doesn’t count.

At home, in the apple outback,

Mom, my mother lives.

You have friends, darling,

I only have one.

Spring is bubbling beyond the threshold.

It seems old: every bush

A restless daughter is waiting...

You know, Yulka, I am against sadness,

But today she doesn’t count.

We barely warmed up,

Suddenly - an order:

“Come forward!”

Again next to me in a damp overcoat

The blonde soldier is coming.

Every day it became worse.

They walked without rallies or banners.

Surrounded near Orsha

Our battered battalion.

Zinka led us on the attack,

We made our way through the black rye,

Along funnels and gullies,

Through mortal boundaries.

We didn't expect posthumous fame.

We wanted to live with glory.

...Why in bloody bandages

The blonde soldier is lying down?

Her body with her overcoat

I covered it, clenching my teeth,

The Belarusian winds sang

About the Ryazan wilderness gardens.

...You know, Zinka, I -

against sadness

But today she doesn’t count.

Somewhere, in the apple outback,

Mom, your mother lives.

I have friends, my love,

She had you alone.

The house smells of sourdough and smoke,

Spring is bubbling beyond the threshold.

And an old lady in a flowery dress

She lit a candle at the icon.

...I don't know how to write to her,

So that she doesn't wait for you.

· Text analysis:

What feelings does the poem evoke? (A storm of feelings: compassion, regret, and indignation. It’s quite difficult to describe them).

How does the author show fighters in moments of calm? (Girl friends who are interested in chatting about everything in the world. These are not heroes at all, but ordinary people, yesterday’s schoolgirls. It is no coincidence that the author chooses a form that is completely uncharacteristic for poems - a dialogue, during which the girls pour out their souls to each other, talk about themselves intimate. Probably, one could even say that there is a certain confessional motive).

What are the girls talking about? What details make up the image of your small homeland? With what feelings do you think the heroine speaks about home? (A small homeland lives in the soul of every soldier:

close people: mother, mother, friends, loved one;

native spaces: apple outback, spring on the doorstep, house, bushes;

smells of home, warmth and comfort: kvashnya, i.e. freshly baked bread, smoke, i.e. Russian stove. The feeling of something dear, infinitely close, all-encompassing love and tenderness, on the one hand. And on the other - sadness, homesickness).

Part I of the poem can be further divided. How? (Calm - conversation between friends - military everyday life. During the first part, even the rhythm changes several times: from melodious to hammered)

From your point of view, what does the selection of epithets in part I depend on? (From the rhythm set by the author:

calm - broken spruce; rotten, chilled earth;

conversation between friends - apple outback, restless daughter;

military everyday life - a damp overcoat, a blonde-haired soldier - what a terrible combination!)

The last stanza is the link between parts I and II.

What events were reflected in Part II? What feelings do they evoke? Support your answer with supporting words.

(Encirclement - attack - battle - death of Zinka. The environment - became more bitter every day - a feeling of the proximity of death, something inevitable, terrible, “a battered battalion” - a feeling of hopelessness; “they walked without rallies and banners” - without enthusiasm, with drooping head; attack: “we wanted to live” - the desire to survive; Zinka’s death: “bloody bandages”, “her body”, “she covered her, clenching her teeth” - the pain of losing a loved one. War is always a tragedy).

What epithets help us understand the bitterness of what is happening? (A battered battalion, black rye, mortal milestones, bloody bandages, posthumous glory. What terrible words!)

Find the most frequently occurring sound in stanza II. What does this technique give?

([p] – imitation of the roar of battle – the horror of what is happening)

Why does the “apple outback” change to “Ryazan remote orchards”? (Transition to Part III; as if even nature yearns for the death of a young, beautiful, talented girl).

How, from your point of view, does the mood change compared to Part I, although almost the same words are used? (If in Part I the sadness is even light, then in III it is akin to hopeless melancholy. There is a feeling of treachery and tragedy of life in wartime. The form also changes compared to Part I - a monologue addressed to the deceased friend and to herself).

What is the image of a mother? (A typical image of a mother praying for her child, asking for the intercession of higher powers. Perhaps the image of the homeland leading to victory. The mention of a lit candle is symbolic - a spark of hope).

Prove with a test that war takes away the most valuable things from people. (The heroine’s mental pain is emphasized by understatement - the use of ellipsis; an exclamatory-interrogative sentence. It’s scary when parents have to bury their children).

If you had the opportunity to ask the author questions, what would you ask her?

How might the fates of the friends have turned out if there had been no war?

Pop lyrics

In the 1950s, a generation of poets whose youth occurred in the post-war period also entered literature. Poems popular during the “thaw” by E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky were focused on the oratorical tradition. Their work was often journalistic character, in general, in their works young poets, on the one hand, expressed own attitude to the pressing issues of the time, and on the other hand, they spoke with a contemporary about the innermost.

breaking time screamed,

and time was me,

and I was him

and what is the importance,

who was who at first.

<.„>

What a Northerner I am, you fools!

Of course my bones were weak,

but on my face through the nodules

Mayakovsky erupted menacingly.

And, all golden from daring,

breathing the wide wheat field,

Yesenina's crazy head

rose above my head.

(E. Yevtushenko, “Estrada”, 1966)

It was these poets that contemporaries called "variety performers". The years of the “thaw” were marked by a real poetic boom: poems were read, written down, and memorized. Poets gathered sports, concert, and theater halls in Moscow,

Leningrad and other cities of the country. "Variety" later

were called "sixties".

· Message. Poetry of Robert Rozhdestvensky (1932-1994)

The voice of Robert Rozhdestvensky was heard immediately, as soon as the magazine
"October" published his youthful poem "My Love" in 1955. The young poet spoke clearly and simply about things that are close to many. I was captivated by the trusting, open intonation of this voice, the natural democracy and civic fullness of the lyrical statement, when the personal invariably sought to merge with the destinies of the time, country, and people.

Rozhdestvensky chose the most difficult path for a poet - lyrical journalism. In his poems, time openly declared itself as part of history. The blood ties of the present with the past and future are not just felt here, dissolving in the very atmosphere of the work, they are named, emphasized, and emphasis is placed on them. The lyrical hero completely merges with the personality of the author and at the same time constantly perceives himself as part of a common whole, consciously striving to express the main spiritual needs, experience, impulse into the future of his peers, comrades in fate. Sober knowledge, a sense of personal responsibility for everything good and bad that happens on native land, directs the poet. A mature faith fills him, faith in ordinary hard-working people living nearby, the true creators of history, which the poet often addresses on their behalf.

A characteristic property of Rozhdestvensky’s poetry is its constantly pulsating modernity, the living relevance of the questions that he poses to himself and to us. These questions tend to concern so many people that they instantly resonate in a wide variety of circles.

Great place Robert Rozhdestvensky's work is dominated by love lyrics. His hero is intact here, as in other manifestations of his character. All of Rozhdestvensky’s poems about love are filled with anxious heart movement. The path to his beloved is always a difficult path for a poet; this is, in essence, the search for the meaning of life, the one and only happiness, the path to oneself.

He doesn’t hide anything from his readers, he’s “one of his own.” The simple truths affirmed by his poetry - goodness, conscience, love, patriotism, loyalty to civic duty - come to readers in the shell of a direct word, an open sermon, which really refers our consciousness to the period of our own childhood, when we were all, in a certain sense, more free , simple-minded and noble.

Rozhdestvensky sees the world in a large, generalized way: psychological shades, precise objective details of everyday life, landscape, although they are found in his work, but decisive role don't play. The concrete is barely outlined here; it is constantly ready to dissolve into the concept.

· Study. Analysis of Rozhdestvensky’s poem “On Earth is Ruthlessly Small.”

On Earth mercilessly small

Once upon a time there was a small man.

His service was small.

And a very small briefcase.

He received a small salary...

And one day - a beautiful morning -

knocked on his window

It seemed like a small war...

They gave him a small machine gun.

They gave him small boots.

They gave me a small helmet

and a small - in size - overcoat.

...And when he fell, it was ugly, wrong,

turning his mouth out in an attacking cry,

then there was not enough marble in the whole earth,

to knock a guy out in full force!

The poem “On Earth is Ruthlessly Small” by Robert Rozhdestvensky tells about the fate of a seemingly small man. Once upon a time there was a small, nondescript, gray man. Everything about him was small: a small position in a small office, a small salary, a small briefcase and a small apartment, probably not even an apartment, but a room in a workers’ dormitory or in a communal apartment. And this man would have been very small and unnoticeable for the rest of his life if war had not knocked on the door of his house...

The little man in the army was given everything that he was used to having in pre-war life: everything familiar, familiar, small... He had a small machine gun, and his overcoat was small, and a flask of water was small, small tarpaulin boots... And the task before him was it seemed to be a small one: to defend a section of the front measuring two meters by two... But when he fulfilled his sacred duty to the Motherland and the people... when he was killed and he fell into the mud, twisting his mouth in a terrible grimace of pain and death... then there was no there is enough marble in the whole world to erect a monument to his grave of the size he deserves...

Glorifying the military feat of a simple Russian soldier is the main and only theme of this courageous poem. This poem does not have a classical form. It does not contain exquisite, beautiful metaphors in the spirit of Blok or Gumilyov. But behind its formal simplicity hides the rough and cruel truth of life. The author showed us life as it is.

Quiet lyrics

The counterbalance to the “loud” poetry of the “sixties” in the second half of the 1960s was lyrics, named "quiet". Poets of this direction united by a community of moral and aesthetic values. If the poetry of the “sixties” was guided primarily by the traditions of Mayakovsky, then the “quiet lyrics” inherited the traditions of philosophical and landscape poetry F. Tyutcheva, A. Feta, S. Yesenina.

The “quiet lyricism” includes the work of poets N. Tryapkin, A. Peredreev, N. Rubtsov, V. Sokolov, S. Kunyaev and others.

In the darkening rays of the horizon

I looked at the surroundings

Where the soul of Ferapont saw

There is something divine in earthly beauty.

And one day it emerged from a dream,

From this praying soul,

Like grass, like water, like birch trees,

A marvelous wonder in the Russian wilderness!

And the heavenly and earthly Dionysius,

Having appeared from neighboring lands,

This wondrous wonder has been exalted

To a point never seen before...

The trees stood motionless

And the daisies turned white in the darkness,

And this village seemed to me

Something most sacred on earth.

(N. Rubtsov, “Ferapontovo”, 1970)

Yu. Kuznetsov, who entered literature in the 1960s, is also close to these poets. By its pathos the work of the “quiet lyricists” is close to the realistic direction of village prose. The civic pathos of the “sixties” poets and the subtle lyricism of the “quiet lyricists” were combined in the work of the Dagestan poet R. Gamzatov.

Since the 1950s, the literary process has been replenished with a genre original song, which has become extremely popular over time. Song creativity of B. Okudzhava, A. Galich, N. Matveeva, V. Vysotsky, Yu. Vizbor and others has become one of the forms of overcoming formal-substantive dogmatism, officialdom

official-patriotic poetry. The true peak in the development of the art song genre came in the 1960s and 1970s. The attention of songwriters was is focused on the life of an ordinary, “small”, “private” person, and in this life there is a place for both high tragedy and happiness.

Ah, I am a victim of trust,

Trouble to your parent!

I hear from behind the door:

“Bitten, come in!”

Entered: “My respect.”

I undressed slowly.

“Where is the bite site?”

I say: "Soul."

There are exes in the office

They tug at my soul:

"Tell me, bitten

Which one are you?”

I say: "Ordinary,

And he's not tall enough.

So pretty

I didn’t think it was a snake.”

(Yu. Vizbor, “Bitten”, 1982)

· Message. The work of Bulat Okudzhava. (1924-1997)

Bulat Okudzhava's songs appeared in the late 50s of the 20th century. If we talk about the roots of his work, then they undoubtedly lie in the traditions of urban romance, in the songs of Alexander Vertinsky, in the culture of the Russian intelligentsia. But the song lyrics of Bulat Okudzhava are a completely original phenomenon, in tune with the mental state of his contemporaries.

Okudzhava's poetry is inextricably linked with music. His poems seem to have been born with a melody: it lives inside the poem, belongs to it from the very beginning. Official criticism did not recognize Okudzhava; he did not fit into the framework of pompous Soviet culture.

But, probably, the fact that Okudzhava’s songs and his poems were known in almost every family speaks of the true value of his work. What is the reason for such phenomenal popularity?

Okudzhava creates his own original artistic world in his poems, asserts a certain moral position, and not only skillfully conveys everyday situations, interesting and funny human traits. Throughout its entire creative activity Okudzhava repeatedly addresses the topic of war.

All these poems by Okudzhava are not so much about the war as against it; they contain the pain of the poet himself, who has lost many friends and loved ones.

Bulat Okudzhava dedicated a very large part of his work to his beloved city of Moscow. It is interesting that the cycle of poems about Moscow developed as if in contrast to such a significant poetic and musical phenomenon of the times of “developed socialism” as the ceremonial and bravura glorification of Soviet Moscow. His poems about his city are deeply personal, quiet, homely. They are organically intertwined with music and perfectly convey the spirit of cozy Moscow streets and alleys. Okudzhava feels inextricably linked with Moscow. This is the city of his childhood, youth, and he devotes his warmest, most tender words to him.

Okudzhava was one of the first, after many years of Puritan hypocrisy, to sing love again, sing of a woman as a shrine, and fell on his knees before her. Okudzhava opened people’s eyes to themselves, his songs and poems made them think about eternal values, about the essence of existence.

The world of Bulat Okudzhava’s songs is unusually diverse, it is colorful and semi-fairy-tale-like. The poet has not lost his childish view of the world around him, and at the same time he is a man, wise by experience, who has gone through the war. In his work, both are surprisingly combined and intertwined.

The poet often refers to our history in his poems. In it, he is primarily attracted to people, and not historical facts. Most of his poems are devoted to the first half of the nineteenth century.

It can be assumed that Okudzhava feels a connection between his time (the thaw of the 50-60s) and the radical reign of Alexander I. He is attracted to the people of the nineteenth century, their high moral quests, the painful quests of social thought. It seems that Okudzhava writes about himself, about his friends, putting them in the place of historical heroes.

Okudzhava’s poetry carries a huge charge of kindness; it reminds us of mercy, love for our neighbor, for the Motherland, for our history, and helps us believe in a better and brighter beginning. His poems will always ring for us “a small orchestra of hope...

· Reading and analysis of the poem.

MIDNIGHT TROLLEYBUS

When I can’t overcome adversity,

when despair sets in,

I get on the blue trolleybus on the go,

in the last one,

in random.

Midnight trolleybus speeding down the street,

circle along the boulevards,

to pick up everyone who suffered in the night

crash,

crash.

Midnight trolleybus, open the door for me!

I know how in the chilly midnight

your passengers - your sailors -

come

for help.

I got away from trouble with them more than once,

I touched them with my shoulders.

How much kindness, imagine?

in silence

in silence.

A midnight trolleybus floats through Moscow,

Moscow, like a river, is dying out,

and the pain that pounded like a bird in my temple,

• How, in your opinion, do the poetic, poetic and musical principles correlate in this work?
• Can “Midnight Trolley” be called a lyrical ballad? Highlight in the text the details and signs of the emerging ballad plot and the leading lyrical beginning.

Conclusion.

I want to end the conversation about Okudzhava’s work with the words of Yuri Karabchievsky: “The Midnight Trolleybus” no longer rushes, as usual, into the park, driven by a tired and angry driver, but - in Okudzhava’s world - Sails like a rescue ship flying a flag with a red cross, “so that everyone pick up those who have been wrecked in the night, wrecked”... You have to be a very integral and sincere person in order to be able to exist in such a world to the end, without ever breaking down. Because evil is here, right next door, and even closer, it licks the fragile walls of good Moscow from all sides, splashes over the edge and spreads out in muddy waves...

Universal reckless kindness - this is the pathos of Bulat Okudzhava.”

Lianozovskaya group

Since the 1960s, avant-garde experiments have resumed in Russian poetry. Experiments in the field of poetry united various poetic groups, most notably such as Lianozovskaya group- one of the first informal creative associations of the second half of the 20th century, at the origins of which were artists E. L. and L. E. Kropivnitsky, poets G. Sapgir, I. Kholin and others. At the origins Lianozovskaya group stood the poet and artist E. L. Kropivnitsky, whose creative career began in the 1910s. The group included poets V. Nekrasov, G. Sapgir, Y. Satunovsky, I. Kholin and artists N. Vechtomov, L. E. Kropivnitsky (son of E. L. Kropivnitsky), L. Masterkova, V. Nemukhin, O. Rabin . Poets and artists who were part of Lianozovskaya group, united the desire for the most complete self-expression and the creation of new poetics.

And boring.

Write short poems.

They contain less nonsense

And you can read them soon.

(E. L. Kropivnitsky, “Advice to Poets”, 1965)

Features of the development of poetry of the 50-80s. Literary associations and trends in poetry of the 1950-1980s.

Goals:

1) educational: formation of the moral foundations of students’ worldview; creation of conditions for involving students in active practical activities;

2) educational: acquaintance with literary associations and trends in poetry of the 1950-1980s; formation of an idea about the features of the development of poetry of the 50-80s;

3) developing: development of skills in analyzing a poetic work; development of mental and speech activity, the ability to analyze, compare, and logically correctly express thoughts.

Lesson type: lesson to improve knowledge, skills and abilities.

Lesson type: lecture with elements of analysis.

Methodical techniques: analysis of literary text, discussion on issues.

Predicted result: know the social and historical situation of the “Thaw” period, the main literary associations and trends in poetry of the 1950-1980s; be able to analyze poetic text.

Equipment: notebooks, collection of poems, computer, multimedia, presentation.

During the classes

I. Organizational stage.