The deep democratism of Tvardovsky, so clearly manifested in Vasily Terkin, also distinguishes the idea of his poem The House by the Road (1942-1946). It is dedicated to the fate of a simple peasant family who experienced all the hardships of war. The subtitle of the poem - "lyrical chronicle" - exactly corresponds to its content and character. The genre of the chronicle in its traditional sense is a presentation historical events in their time sequence. For the poet, the fate of the Sivtsov family, with its tragedy and typicality for those years, not only meets these genre requirements, but also causes complicity, deep empathy, reaching a huge emotional intensity and prompting the author to constantly intervene in the narrative.
A fate similar to that of Andrei Sivtsov was already outlined in Vasily Terkin, in the chapters Before the Battle and About the Orphan Soldier. Now it is depicted in more detail and even more dramatized.
The picture of the last peaceful Sunday that opens the poem is filled with that “traditional beauty” of rural labor (mowing “on a festive occasion”), which Tvardovsky has been poeticizing since the time of the “Country of the Ant”. This dear and bitter memory of the familiar and beloved peasant life, of "housing, comfort, order", interrupted (and for many - forever interrupted) by the war, will subsequently constantly resurrect in the poem along with the age-old proverb:
Mow, scythe,
While the dew
Down with dew -
And we are home.
In a difficult time of retreat, Sivtsov secretly comes home for a short time - “thin, overgrown, as if all sprinkled with ashes” (the “fringe of the sleeve” of a frayed overcoat is briefly mentioned), but stubbornly paving the “unwritten route” behind the front.
His wife's story is even more dramatic. Always bowed before the image of a woman-mother, capturing it in many poems different years(“Song”, “Mothers”, “Mother and Son”, etc.) Tvardovsky this time created a particularly multifaceted character. Anna Sivtsova is not just charming (“Sharp in speeches, quick in deeds, Walked like a snake”), but full of the greatest selflessness, spiritual strength that allows her to endure the most terrible trials, for example, being sent to a foreign land, to Germany:
And even though she is barefoot in the snow,
Have time to dress three.
Catch with a trembling hand
Hooks, ties, mother.
Strive with a simple lie
Childish fear to appease.
And put all your luggage on the road,
Like fire, grab it.
The mother's tragedy and, at the same time, Anna's heroism reach their peak when her son is born in a hard labor barracks, seemingly doomed to death. Wonderfully using the poetics of folk lamentations, crying (“Why did a twig turn green at such an unkind time? Why did you happen, son, my dear child?”), Tvardovsky conveys an imaginary, fantastic conversation between a mother and a child, the transition from despair to hope:
I am small, I am weak, I am the freshness of the day
I can feel it on your skin.
Let the wind blow on me
And I will untie my hands
Ho you won't let him blow
Do not give, my dear,
While your chest sighs
As long as she's alive.
The heroes of "House by the Road" also find themselves face to face with death, hopelessness, despair, as was the case with Terkin in the chapter "Death and the Warrior", and also emerge victorious from this confrontation. In the essay “In native places”, talking about his fellow villager, who, like Andrey Sivtsov, built a house on the ashes, Tvardovsky expressed his attitude to this with journalistic frankness: “It seemed to me more and more natural to define the construction of this unpretentious log house as a kind of feat . The feat of a simple worker, a grain grower and a family man who shed blood in the war for native land and now on it, ruined and discouraged during the years of his absence, starting to start life over again ... ”In the poem, the author provided the opportunity to draw a similar conclusion to the readers themselves, limiting themselves to the most concise description this silent feat of Andrey Sivtsov:
...pulled with a sore leg
To the old seliba.
Smoked, overcoat down,
Marked out the plan with a shovel.
Kohl to wait for a wife with children home,
This is how you build a house.
She pulled somehow
Along the highway track -
With the smaller, asleep in his arms,
And the whole crowd of the family.
The reader wants to see Anna in her, but the artist's tact warned Tvardovsky against a happy ending. In one of his articles, the poet remarked that many the best works Russian prose, “having arisen from living life ... in their endings, they tend to merge with the same reality from which they came out, and dissolve in it, leaving the reader a wide scope for mental continuation of them, for thinking out,“ further researching ”those mentioned in them human destinies, ideas and questions. And in his own poem, Tvardovsky allowed readers to vividly imagine and tragic end who had similar stories in the lives of many people.
The work "Road House" describes the terrible life situations that people face every day. There is a story about the life and fate of a family that lives in a cozy and good home. In addition to husband and wife, the family had three children. The meadow is also very important for the poem, where, in one person, the husband and father of the family mows the grass. Because at this place the man learns about the outbreak of the war, and leaves to serve in the army without having mowed the meadow. The wife had to leave work for later, and in addition to take on her back all the hardships of rural labor.
All losses and sorrows are very openly shown by the author. The author also conveys the love of a woman for her man, which even war cannot break. Between battles, the wife meets her husband in her own home, but the next day, her beloved and loving people should say goodbye. The husband again went to war, and the wife left home to save herself and the children. Due to the fact that the soldiers who came prepare protective structures and put a cannon next to the house. They asked the woman to leave the house, as danger awaits her in it. Soon she gave birth to a fourth child, and named Andrei in honor of her beloved husband.
But in the future, a woman, along with her children, was captured, from which she was not destined to get out.
And the man after the end of the war returned to his homeland and saw a house that was razed to the ground. He hoped for a meeting with his beloved wife and a future joyful, happy life, which is why he gathered all his courage, dignity, strength into a fist. And he began to live with firm faith in his heart, mowed the meadow and began to build a house, in the same place where his wife and children must return. But time is running, and it is merciless, the work is over, and the man realized that everything for which he lived, fought - disappeared. The new house has already been completed, but there are no loved ones and relatives nearby. Also, there is no happy life, in which he so believed and hoped, there is no joy of children and a beloved woman nearby. Nobody here.
The whole poem is about the tragically broken fates of people. This work teaches people to live, love life, remember every moment of it, love and be loved, because this life may not be at any moment due to all sorts of hardships and losses.
A picture or drawing of a road house
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The poetry of the post-war and war periods sounds completely different than the works of peacetime. Her voice is piercing, it penetrates the very heart. This is how Tvardovsky wrote "House by the Road". Summary this work presented below. The poet created his poem not only to express the pain of the destinies of his contemporaries destroyed by the war, but also to warn his successors against terrible tragedy- wars.
About the poet
Vasily Trifonovich Tvardovsky was born in 1910 in Russian Empire. His parents were educated people, father with early childhood read to children the classics of Russian and world literature.
When Vasily was twenty years old, the period of repression was in full swing. His father and mother fell into the millstones of the revolution and were exiled to the north of the country. These events did not break the poet, but put him at a crossroads and made him think about whether the raging revolution is really necessary and just. Sixteen years later, his original utopia comes out, after which the poet's works began to be published. Alexander Trifonovich survived the war, about this - his "Vasily Terkin". About the war and "Road House" summary Tvardovsky liked to retell even before the poem was published.
The history of the creation of the poem
The idea and the main strokes of the poem were born in 1942. It is not known exactly why Tvardovsky did not immediately finish his "House by the Road". The history of the creation of the poem is most likely similar to the history of other post-war and military works. There is no time for poetry on the battlefield, but if its idea and creator survive, then the lines carried through a hail of bullets and explosions will certainly be born in peaceful days. The poet will return to the work in four years and complete it in 1946. Later, in his conversations with his wife, he will often recall how he thought about the dilapidated house by the road, which he once saw; how he imagined who lived in it, and where the war of its owners scattered. These thoughts seemed to take shape in the lines of a poem, but there was not only no time to write it, but nothing to write it on. I had to keep in my thoughts, as in a draft, the most successful quatrains of the future poem, and cross out not entirely successful words. This is how Tvardovsky created his "House by the Road". See the analysis of the poem below. But it should be said right away that she leaves no one indifferent.
"House by the road": a summary. Tvardovsky about the war. First and third chapters of the poem
The poem begins with the poet's address to the soldier. It's about him, oh simple soldier wrote Alexander Tvardovsky "House by the road". He compares the protracted return of the warrior to his wife with his completion of the poem, which was waiting for him "in that notebook." The poet tells about what he saw the deserted dilapidated house of a soldier. His wife and children were forced to leave, and after the end of the fighting she returned home with the children. Their poor procession is called by the author "the soldier's house".
The next chapter tells about the last peaceful day of a soldier, when he mowed the grass in the garden, enjoying the warmth and summer, looking forward to Tasty dinner in close circle family table, and so with a scythe and caught him talking about the war. The words "the owner of the meadow did not mow down" sound like a bitter reproach to the war that interrupted the master's affairs. The orphaned meadow was mowed by the wife, furtively crying for her beloved husband.
The third chapter of the poem "House by the Road" is ambiguous, Tvardovsky himself was difficult to convey the summary. She describes the hardships of war - soldiers in battle and women in non-female labor, hungry children and abandoned hearths. The distant paths that a mother-soldier with three children is forced to go. He describes the fidelity and love of his wife, which in peacetime was manifested by cleanliness, order in the house, and in wartime - by faith and hope that the beloved would return.
The fourth chapter begins with a story about how four soldiers came to a house by the road and said that they would put a cannon in the garden. And a woman with children should leave here, as it is reckless and dangerous to stay. Before leaving, the soldier asks the guys if they have heard of Andrey Sivtsov, her husband, and feeds them a hearty hot dinner.
Chapter five describes creepy picture marching captured soldiers. Women look into their faces, afraid to see their relatives.
Sixth-ninth chapters of the poem
At the end of the war, The House by the Road was published. Summary Tvardovsky repeatedly retold his relatives, describing his experiences in the war.
Chapter six shows Anyuta and Andrei. The roads of war brought him home, just for one night. The wife sends him on the road again, and leaves him with the children native home and walks through the dusty roads to save the little ones.
Chapter seven talks about birth fourth child- a son whom, in honor of his father, his mother calls Andrey. Mother and children in captivity, on a farm besieged by the Germans.
A soldier returns from the war and sees only ruins home by the road. Having grieved, he does not give up, but begins to build new house and wait for your wife. When the work is finished, grief overcomes him. And he goes to mow the grass, the one that he did not have time to mow before he left.
Analysis of the work
Tvardovsky's poem "House by the Road" tells about broken families scattered across the earth. The pain of war sounds in every line. Wives without husbands, children without fathers, yards and houses without a master - these images run like a red thread through the lines of the poem. Indeed, in the very heat of the war, Tvardovsky created his “House by the Road”. Many critics did an analysis of the work, but they are all sure that the work is about the destinies of people tragically broken by the war.
But not only the theme of separation in its not quite familiar recreation (not the wife at home waiting for the soldier, but he, grieving and rebuilding the house, as if restoring his former, peaceful life) sounds in the poem. a serious role plays the appeal of the mother to the newborn child - the son of Andrei. The mother in tears asks why he was born in such a turbulent, difficult time, how he will survive in the cold and hunger. And she herself, looking at the carefree dream of the baby, gives the answer: the child is born to live, he does not know that his ruined house is far from here. This is the optimism of the poem, bright look to the future. Children must be born, burned houses must be restored, broken families must be reunited.
Everyone should return to his house by the road - so wrote Tvardovsky. An analysis, a summary of the poem will not convey its fullness and feelings. To understand the work, you must read it yourself. Feelings after that will be remembered for a long time and will make us appreciate peacetime and loved ones nearby.
A.T. Tvardovsky began writing the poem “House by the Road” in 1942, returned to it again and finished in 1946.
This is a poem about the fate of a peasant family, a small, modest part of the people, on which all the misfortunes and sorrows of the war fell.
Having fought off his own, Andrey Sivtsov ended up in the enemy rear, near own house, feeling tired from the hardships suffered.
The more expensive is his decision to continue on his way to the front, "to recognize the route that no one has written on the stars." Making this decision, Sivtsov feels "indebted" to a comrade who died on the way:
And since he walked, but did not reach,
So I have to get there....
It would be nice if he was alive
And he is a fallen warrior.
Sivtsov's misadventures were not uncommon at that time. The fate of his relatives turned out to be the same common for many, many families: Anna and her children were driven away to Germany, to a foreign land.
And there is another “trouble in addition to troubles” ahead: in captivity, in a hard labor camp, a son was born to the Sivtsovs, who seemed doomed to inevitable death.
Anna's mental conversation with her son belongs to the most penetrating pages ever written by Tvardovsky. With deep sensitivity, the mother's need to talk with someone who is still "mute and stupid", and doubt about the possibility of saving the child, and a passionate thirst to survive for the sake of her son are conveyed here.
And although this new human life is so destitute, its light is still weak, there is so little hope of meeting with the father, life emerges victorious from an unequal duel with death threatening it.
Returning home Andrey Sivtsov knows nothing about the fate of his family. The war finally presented one more bitter paradox - it is not the wife and children who are waiting for the soldier to go home, but he is waiting for them.
Tvardovsky is stingy with direct praise of the hero, once describing him as a type of "ascetic fighter who, year after year, carried out the war to the end." He does not embellish him at all, even in the most dramatic situations, for example, when leaving the environment: “thin, overgrown, as if all sprinkled with ashes”, wiping his mustache with the “fringe of the sleeve” of his overcoat frayed in wanderings.
In the essay “In Native Places” (1946), telling how his fellow villager, like Andrey Sivtsov, built a house on the ashes, Tvardovsky wrote: “It seemed to me more and more natural to define the construction of this unpretentious hut log house as a kind of feat. The feat of a simple worker, a grain grower and a family man who shed blood in the war for his native land and now on it, devastated and depressed over the years of his absence, starting to start life over again ... "
Stayed for a day or two. -
Well, thanks for that.-
And pulled with a sore leg
To the old seliba.
Smoked, overcoat down,
Marked out the plan with a shovel.
Kohl to wait for a wife with children home,
This is how you build a house.
Whether the house built by the hero will wait for its mistress, whether it will be filled with children's voices - is unknown. The fate of the Sivtsovs is the fate of millions, and the ending of these dramatic stories is not the same.
In one of his articles, Tvardovsky noted that many of the best works of Russian prose, “having arisen from living life ... in their endings, tend to merge with the same reality, leaving the reader wide scope for mental continuation of them, for thinking through, “additional research” human destinies, ideas and issues touched upon in them.
As S. Marshak wrote, "a poem could only be born in the years of a great national disaster that laid bare life to its very foundation." Protection, approval of this foundation, the most “original” (Yu. Burtin) in human life constitutes the pathos of the poem. WITH main theme the second is combined - memory, continuity of personality and community of people; here it is both the memory of the grief of war, and the memory of the power of love and home, illuminating, overcoming the power of grief in any grief, in the most terrible road, crossing - the power of the primordial human, folk. And the theme of the road here also appears from two sides - both the original, one's own road, near one's home, and the road imposed by the war and non-humans - from one's own to another's and back to one's own. "Memory of grief", "deaf memory of pain", will echo the last chapters of "Vasily Terkin" and with the lyrics of Tvardovsky recent years war. But the “deaf touch of pain” sharpens the clear memory of the family anew, as happiness, as love, as a sincere and root principle, and of any individual home and all life on earth.
The center of the family, as always with Tvardovsky, is the mother. "House by the road" is not only a lyrical chronicle, but also a lyrical hymn, first of all maternal love, in its entirety, concrete strength. And a peasant woman, as, above all, a woman mother. But at the same time, a woman mistress of the house, hard worker. And a woman-wife, a friend of a worker-owner, and then a warrior who protects the home and family of the whole people. The love of a wife and mother is the same businesslike, active love, signs of which we saw in the lyrics of Tvardovsky of the 30s, but here it is no longer only a lyrical, but also a lyrical-epic world. This world is home, work. "Koy, braid, while dew." House and in the narrowest, cramped, personal, manor sense. “And the front garden under the window. // And the garden, and the onions in the beds - // All this together was a house, // Housing, comfort, order. Three main signs, three qualities, along with that labor, that mowing in the meadow near his house. But this personal beginning, even, I would say (as it is now seen in retrospect), the beginning of that kind of personal property with which the village roots of the young Tvardovsky were connected, this personal beginning of the house is opposed to a closed, proprietary house, where, "believing no one , // They serve water to get drunk, // Holding on to the strap of the door. No it's man's house included in new type a wider human community, although at the same time traditional hospitality, an artel. This is “that order and comfort, // With love for everyone, // As if a cup is served // For good health.” Two behavioral details characteristic of Tvardovsky, playing the role and direct image of this unique house by the road and even metaphorical, metonymic concreteness, even the symbol of the House by the Road in a new, expansive and common sense for all of Twardow's poetry! Additional specific features of the house and its mistress are also characteristic - a well-washed floor, a special businesslike and, as Tvardovsky put it, "disturbing tidiness" - a purely peasant trait. “And she kept the whole house // In anxious tidiness, // Considering, perhaps, that on that one // Love is more reliable forever.” The reliability of love is associated with housekeeping, labor efficiency and special care.
The center of the poem is precisely this peasant woman, hospitable, devoted, businesslike and cordial. But V. Alexandrov also noted that not one voice sounds in the poem, but an alternation of voices - the author, the soldier's wife, the soldier's child, the soldier himself, and in each voice the character of a living character is revealed. Another point of view was also expressed (Yu. Burtina), that “unlike Vasily Terkin, there are not characters here, but “fates”. Yes, here each person, as a separate character, has a more complete (although also not completely finished), separate fate, but the fate of the character, just as in that poem, the characters have fates, although with somewhat wider and more mobile boundaries.
In general, in Tvardovsky's poetry, characters and destinies are always inseparable. And in essence, their ratios in both poems are similar: only in "House by the Road" the domestic lyrical beginning of the characters is more accentuated, and they are focused on two or three main motives, voices. The most developed is the central image of Anna Sivtsova, in her three main guises, faces-faces: mother, wife, housewife-peasant. And this main pathos of hers is not just named and marked by fate, but also outlined by a few brief additional strokes of character, behavior, and expression. She is "sharp in speech" and "quick in deeds." And mobile, like a "snake". And in trouble - calmly courageous, hardy, patient, with her husband and children she is extremely sympathetic, understanding, caring. This is a special, although at the same time ideally generalized type Russian peasant woman, continuing the gallery of peasant women of lyrics and prose of the 30s, but more detailed and intensely emotional, in a much more tense historical situation and in his personal and public life. And the voice of the author himself is more active. And in the conditionally symbolic voice of the child in the poem, the voice of the very beginning of life, the right of life to live, is emphasized, and this conditional "speech" contrasts in a new way with the specific features of the surrounding events, people's behavior. The lyrical beginning acquires an epic and tragic content, for the family and family work, the family community embodies world-historical trends, traditions, ideals. folk life and specific Russians Soviet peasants under specific time conditions. Both at home and in captivity of the enemy. And the lyrical voice of the family naturally merges with the lyrical voice of the fighting soldier, the author himself, their unity - "Do not spare // the enemy in battle, // liberate // your family." This is the voice of confession and, at the same time, an oratorical call to all the people. A lyrical dialogue between mother and child in the same chapter VIII , which describes the birth of a son in captivity of the enemy, in a strange house, as an anti-home, turns into a generalized symbolic dialogue of the two main forces of life in their common struggle with death, like a kind of song of life, a song of the house.
The combination of epic, tragic and lyrical beginnings, as always with Tvardovsky, appears both in its immediate everyday and psychological concreteness, but here the melodic, song beginning is emphasized in it. Not only in tone different voices characters, but also by the dominant tone of the author's lyrical appeal to his characters and to himself. The voices sound somewhat more uniform than in military lyrics and in Vasily Terkin. The author's voice remains a companion and commentator, the whole poem combines both the sequence of the story-description, lyrical chronicle, and the continuous moving present, the author's diary-monologue appeal. In a single musical organization of these voices, the leitmotif that has become famous takes on a special role: “Mow, scythe, // Bye dew. // Down with the dew, // And we're home." The leitmotif first appears as a detail of a direct concrete depiction of the peaceful labor and life of the owner of the house by the road. And then it is repeated as a memory, a reminder, a multi-turn metonymy and a metaphor - the memory of this work, of this peaceful life, and as a signal detail that resurrects lost time, a chain of memory time, and as a new affirmation of the power of human constancy, the irresistible beginning of a peaceful life , hopes for the future, and as a broader symbol of work and the morning of life, everything domestic and labor in it. Her braids, her dews, her houses. Thus, the lyrical chronicle becomes not only new form lyric poem with epic elements, but also a new form of the moving present, the diary beginning in Tvardovsky's poetry. Reflections in it of the fundamental, internal, intimate, deep values of human life, in the words of one of the chapters of "Vasily Terkin", - the "emergency reserve" of each individual person, a separate family and the whole lyrical beginning of human life. And accordingly, the poetics of the entire poem differs from Vasily Terkin in the greater concentration of the depiction of these values and in simpler, more economical means, which, however, also combine both direct and indirect metaphorical reproduction. Such a detail and at the same time a metaphor, like "smells of longing" - case in point and typological features poetic language, the skill of this poem, and what this skill has in common with the rest of Tvardovsky's work.
chronicle construction of the poem, underlined by the subtitle and echoing the name of the collection of poems of that time (“front-line chronicle”), is complicated, as in other poems by Tvardovsky, with inserted episodes, with its time, partly parallel to the general course of time of the poem (the story of a soldier, father and husband, in the chapter VI ). In addition, dialogues are inserted that create, as in "Terkin", direct transitions of the past to the present. Final chapter IX separated from the previous ones by a sharp jump in time, completes the whole movement of the poem with a return from war to peace, from the roads of war and someone else's house to the original house and road. But this is again a dissymmetric construction, because that house no longer exists, and a soldier “sat down on a stone at the former threshold” of his house, a soldier with a sore leg, who went through the war and still does not know what happened to his wife, family. And he starts building the house from the beginning. In this incompleteness of the completion of the poem - a special artistic tact, force. The author and the reader still know that the family survived, even the son of a soldier appeared, whom he, apparently, will now also find. Life won, the house won, although it was destroyed. And the memory of grief merges, and the memory of the family, home, and the memory of labor itself, of the entire working people's community, indestructible, like life itself on earth. I will note in passing the echo of the motives of this chapter with the “Orphaned Soldier” by “Vasily Terkin” and with the almost simultaneous poem by Isakovsky “The Enemies Burned Their Home”. Roll call - and addition.
With all its extreme simplicity and the absence of external innovations, the poem is also a deeply innovative work. And with its combination of lyrical and epic principles, motives of peace and war, family during the war. And very bold in its ultimate “naturalness” combination of concrete everyday and conditionally symbolic speech. AND further development intonation of Tvardovsky, combining melodiousness, colloquialism, oratorical and dramatic speech, personal and collective experience under the dominance of a special, first found polyphonic lyrical melody. The poem is closely intertwined with both the lyrics and the epic of Tvardovsky of these years, partly preparing new features of his lyricism already in the 60s, in particular, some sections of the cycle “In Memory of the Mother”.
