The inner world of the individual and its relationship with various aspects of reality according to Yu. Trifonov “Exchange”. What in Trifonov’s story “Exchange” comes to the fore when reading it today? Reasons for the emergence of “urban prose”

1. Trifonov’s life and creative path.

The complexity of the fate of the writer and his generation, the talent for embodying spiritual quests, the originality of manner - all this predetermines attention to Trifonov’s life path.

The writer's parents were professional revolutionaries. Father, Valentin Andreevich, joined the party in 1904, was sent into administrative exile in Siberia, and went through hard labor. Later he became a member of the Military Revolutionary Committee in October 1917. In 1923–1925. headed the Military Collegium of the Supreme Court of the USSR.

In the 30s, father and mother were repressed. In 1965, Yu. Trifonov’s documentary book “Reflection of the Fire” appeared, in which he used his father’s archive. From the pages of the work emerges the image of a man who “kindled a fire and himself died in this flame.” In the novel, Trifonov first used the principle of time montage as a unique artistic device.

History will constantly disturb Trifonov (“The Old Man”, “House on the Embankment”). The writer realized his philosophical principle: “We must remember - the only possibility of competition with time is hidden here. Man is doomed, time triumphs."

During the war, Yuri Trifonov was evacuated in Central Asia and worked at an aircraft factory in Moscow. In 1944 he entered the Literary Institute. Gorky.

The memories of his contemporaries help to visually imagine the writer: “He was over forty. An awkward, slightly baggy figure, short-cropped black hair, with barely visible lambskin curls here and there, with sparse threads of gray, an open, wrinkled forehead. From a wide, slightly swollen pale face, through heavy horn-rimmed glasses, intelligent gray eyes looked at me shyly and unprotected.”

The first story, “Students,” is the graduate work of a novice prose writer. The story was published by the magazine “New World” by A. Tvardovsky in 1950, and in 1951 the author received the Stalin Prize for it.

It is generally accepted that the main theme of the writer is everyday life, the procrastination of everyday life. One of the famous researchers of Trifonov’s work, N.B. Ivanova, writes: “When reading Trifonov for the first time, there is a deceptive ease of perception of his prose, immersion in familiar situations close to us, collisions with people and phenomena known in life...” This is true, but only when reading superficially.

Trifonov himself asserted: “It’s not everyday life that I write, but being.”

Critic Yu. M. Oklyansky rightly asserts: “The test of everyday life, the power of everyday circumstances and the hero, one way or another romantically opposing them... is the cross-cutting and main theme of the late Trifonov...”

2. Problems of the story “Exchange” by Yu. Trifonov.

1) – Remember the plot of the work.

The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha, a teenager, is behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon in the death of Ksenia Feodorovna, form the content of the short story.

– So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?

2) The main character of the story is a representative of the third generation of Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.

– What can you say about the hero’s mother?

Find the characteristic in the text:

“Ksenia Fedorovna is loved by friends, respected by colleagues, appreciated by her neighbors in the apartment and at Pavlinov’s dacha, because she is friendly, compliant, ready to help and take part...”

But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, the author’s position, as it follows from the artistic logic of the story, are revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha...” Ksenia Fedorovna paused. “But now - no” - “Why?” - “You have already exchanged, Vitya. The exchange took place."

– What is the meaning of these words?

3) What makes up the image of the main character?

Characteristics of an image based on text.

– How does the emerging conflict with your wife over the exchange end? (“...He lay down in his place against the wall and turned his face to the wallpaper.”)

– What does this pose of Dmitriev express? (This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)

– And here’s another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable heaviness.”

The hero understands that his wife’s hand is inviting him to turn around. He resists (this is how the author depicts the internal struggle in detail). But... “Dmitriev, without saying a word, turned on his left side.”

– What other details indicate the hero’s subordination to his wife, when we understand that he is a driven person? (In the morning, my wife reminded me of the need to talk to my mother.

“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)

This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.

– Whose rating does the hero receive? (We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)

4) Dmitriev was denied the right to be called an individual by his relatives. Lena was denied by the author: “...she bit into her desires like a bulldog. Such a pretty bulldog woman... She didn’t let go until her desires - right in her teeth - turned into flesh..."

Oxymoron* pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.

Yes, Trifonov has clearly defined his position. This is contradicted by N. Ivanova’s statement: “Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand.” This is partly true...

It seems that another remark of the same literary critic is more fair: “...behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, there is Trifonov’s poetics. And – an attempt at social aesthetic education.”

– What is your attitude towards the Dmitriev family?

– Would you like life to be like this in your families? (Trifonov was able to paint a typical picture of family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)

III. Lesson summary.

– What questions did the author of the story “Exchange” make you think about?

– Do you agree that B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and parables?

Homework.

“The exchange was published in 1969. At this time, the author was criticized for reproducing the “terrible sludge of little things”, for the fact that in his work “there is no enlightening truth”, for the fact that in Trifonov’s stories spiritual dead people roam, pretending to be alive. There are no ideals, man is crushed and humiliated, crushed by life and his own insignificance.”

– Express your attitude to these assessments by answering the questions:

џ What comes to the fore in the story when we perceive it now?

џ Does Trifonov really have no ideals?

џ In your opinion, will this story remain in literature and how will it be perceived in another 40 years?

Lessons 81-82
Life and work of Alexander Trifonovich
Tvardovsky. The originality of the lyrics

Goals: consider the features of the lyrics of the greatest epic poet of the twentieth century, noting the sincerity of the poet’s confessional intonation; study traditions and innovation in Tvardovsky’s poetry; develop skills in analyzing poetic text.

Progress of lessons

It is impossible to understand and appreciate Tvardovsky’s poetry without feeling the extent to which all of it, to its very depths, is lyrical. And at the same time, she is widely, wide open to the world around her and to everything that this world is rich in - feelings, thoughts, nature, everyday life, politics.

S. Ya. Marshak. For the sake of life on earth. 1961

Tvardovsky, as a person and an artist, never forgot about his fellow citizens... he was never a poet only “for himself” and “to himself”, he always felt his debt to them; he took up the pen only if he believed that he could say the most important thing about life, what he knew better, more thoroughly and more reliably than anyone else.

V. Dementyev. Alexander Tvardovsky. 1976

And I'm only mortal. I am responsible for my own,

During my lifetime I worry about one thing:

About what I know better than anyone in the world,

I want to say. And the way I want.

A. T. Tvardovsky

After reading Trifonov’s works, the reader may get the impression that the author has no ideals. And indeed in the work “Exchange” the writer does not single out anyone, making him only a positive or only a negative character. All heroes are on equal terms. Thus, Trifonov shows that he is not “white and black”. After all, everything in life is relative.

The mother of the protagonist of the work, Viktor Dmitriev, is terminally ill. She may have only months, or maybe even days, left to live. All her life she showed in the eyes of the public that she had no malicious intent or self-interest at all. Meanwhile, the woman condemns her own son because of his choice of “passion”.

The same thing happens with her daughter Laura. A woman with a good “proletarian” education, and from an intelligent family, is herself unhappy in her marriage. For her, one consolation is work. After all, it is there that she can realize herself as an individual.

The work also mentions father and grandfather. Men, seeing how their relatives were “fighting,” often said that one cannot live with hatred. However, first Victor's father and then his beloved grandfather die. stays with his mother, but they have no common themes, plans or even interests. But there is Victor’s wife, Lena, whom both his mother and sister Laura hate, because the woman is completely different both in character and in beliefs.

Nothing is impossible for Lena. What she plans, she will definitely implement. It would seem like a very positive quality! But there is also another side to the coin. She does not always achieve her goals honestly. If a woman is faced with the choice of compromising with her conscience or stepping aside, then she will choose the first option. Her desires are always very real, and her arguments are very weighty. Lena always hides behind the fact that she does everything for the sake of her family. She repeats the same thing to Victor.

Victor is also not a “positive” character in the work. He completely depends on Lena's decisions and her arguments. His lack of character is evident already at the beginning of the work, when the author clarifies that the man gave up his dream because he was unable to enter the desired university. Later, he met his future wife, and she said that it was too late to dream about anything. You need to live here and now. And there is, of course, some truth in this, which is why Victor “obeyed.”

But does love exist between a married couple? Most likely no. Both characters are comfortable with each other. “made” what she needed from Dmitriev, and the man, with his own wife, covers up his own low moral imperfections. She is a kind of shield for him, from other people’s comments and condemnations.

And yet, deep down, Victor sees himself with Tatyana. He knows that she is not capable of betrayal, base acts, hypocrisy and deception. Dmitriev appreciates this in her and thinks that he himself is the same. Victor will only later understand how different their levels of spiritual and moral state are. He will understand, but it will be too late to fix anything.

Lesson objectives:

educational – to reveal the philosophical meaning of the work; identify the position of the characters in the story in relation to the issue of exchange; having created a problematic situation, encourage students to express their own point of view about the life principles of the Dmitriev and Lukyanov families, as well as the main characters - Victor and Lena Dmitriev;

educational – to promote the formation of students’ own point of view on the identified problem; create situations in which students understand that there is a way out of any difficult situation;

developmental – to promote the formation of skills in group work, public speaking, and the ability to defend one’s point of view; activation of students' creative abilities.

Equipment: slide material, computer, screen, images of the characters in the play.

Methodical techniques: educational dialogue, elements of role-playing game, creation of a problem situation.

Methods: verbal, visual, partially search and research.

Lesson form: reflection lesson.

During the classes

“Ice on the ground, ice...”.
Vladimir Vysotsky

From good to bad one chateau "k.
Proverb

“There are two abysses in a person,” Dostoevsky taught, and he does not choose between them, but rushes about like a pendulum.”
Joseph Brodsky

1. Introductory speech by the teacher.

Today, in a series of events, we have our last joint open lesson. Very soon we will part with you, and you will enter adult life with its ups and downs, joys and disappointments, wonderful acquaintances and the desire to separate yourself from someone... Say, didn’t all this happen in our lives today? It happened, of course, but it was not always conscious, it happened when the shoulder of loved ones and relatives was always nearby, and their opinion was almost undeniable and very authoritative. However, in adult life you will find many pitfalls, stones in your bosom, the opinions of former authorities do not work. And I would really like our excursion into adulthood to be remembered one day and at least make difficult moments a little easier.

2. Questions for discussion.

A) Working with the lesson epigraph:

Look at the epigraphs that I offered you to start our conversation?

How do they fit into the topic of our lesson? And which one would be preferable for you? Give reasons for your point of view. (Teacher’s slide No. 1)

B) Working with the title of the story.

You already know that title is an important component of the text, it is important for revealing the ideological and philosophical meaning of the work.

The title is always a message about the content of what we have to read. “When starting to read a book,” noted A.M. Peshkovsky, “the reader is interested in its content and in the title he sees a hint of this content or even a condensed expression of it... This means that the title of a book is always something more than a title.”

Look at the title of our story and determine the future direction of the conversation, the semantic core.. (Presentation)

Why does an ordinary everyday, family situation suddenly develop into a conflict? Give us a brief summary of this story.

So, in order to understand the conflict, let’s take a closer look at the main character of the story, Viktor Georgievich Dmitriev.

Before giving the floor to the first creative group, I remind you of the basic requirements that we impose on speakers (clarity of thought, conciseness, consistency, evidence, clarity, schematization when working with presentations. Students have sheets in front of them that contain an assessment of the materials of the speakers’ presentations )

1) Group “Viktor Georgievich Dmitriev” relying on textual material - general acquaintance with the character without going into depth:

A native Muscovite from a family of pre-revolutionary intellectuals;

In the story - a junior researcher, a specialist at a research institute for pumping units - 37 years old;

Married, has a wife Elena and a daughter Natasha, a student at a special school for studying English;

Lives in Moscow in a small communal apartment;

Organizes an exchange of apartments precisely at the moment when it is discovered that the mother is terminally ill.

Teacher's word:

What kind of person could do this: an unprincipled grabber? Spineless spineless? Who is he? Or maybe just a selfish person? To answer these questions, let's take a closer look at his origins, his family (already in the composition in which we find it). And let’s try to answer the main question: in what world was Victor’s worldview formed? What influenced the development of Victor's character?

In the article “Choose, Decide, Sacrifice,” the writer rightly said that “everyday life is ordinary life, a test of life, where a new, modern morality is manifested and tested.” And further he added that “everyday life is a war that knows no truce.” According to Yu. Trifonov, in “The Exchange” he strove for density of writing, to “depict as fully as possible the complexity of the circumstances in which a person lives,” the complexity of relationships. That is why the story is full of subtexts, and that is why it rests on allegories. Every action here is a move in a positional struggle, every remark is a fencing attack. Let's try to understand the essence of the story.

2) Dmitriev family:

Origin, social status (mother, father, grandfather, sister Laura);

Everyone’s range of interests, hobbies, and activities;

Family priorities;

The cult of family is sacrifice, fear of being a burden to someone.

Bottom line: so what does the Dmitriev family appear before us, at least at first glance?

origin, social status;

Family priorities;

Cult of family.

Bottom line: so what does the Lukyanov family appear before us, at least at first glance?

Origin, social status;

Range of interests, hobbies, activities;

Priorities;

Lena's trouble is not in her desires and aspirations, but in the means of realizing them.

5) So who is he more, the main character: Dmitriev or Lukyanov?

The steps of gradual “peeling” are an irreversible process that boils down to getting bogged down in details

“You have already exchanged, Vitya. The exchange took place... It was a very long time ago. And it always happens. Every day, so don’t be surprised, Vitya. And don't be angry. It’s just so unnoticed..”:

The first very inconspicuous step was to rush somewhere after failing to get into an art school. The first loss of oneself is an unloved job;

Marrying another girl is not a dream come true - loss of family happiness and eternal concessions on small things;

Dreams about.. and “.. you’re late, Vitenka.” Page 50;

Dmitriev - candidate of sciences, gave up - did not finish his dissertation - page 51.

The story with the portrait of the father;

Trip to Golden Sands in Bulgaria – father’s illness (stroke);

The story with my grandfather (talk about contempt);

Grandfather's funeral and wake - death and canned saury - shortage (pp. 47-49);

The transition to the Institute of Gas and Oil - and the reasons for this transition (the story of Levka Bubrik) (according to the grandfather, everyone expected that Victor would turn out something different. “Nothing terrible, of course, happened. You are not a bad person. But not amazing” - betrayal of a friend;

The story with Tatyana is a game – deception – a break in Tanya’s family;

Exchange of apartment due to mother's illness;

Mother's funeral and exchange.

Compare with another character – Ionych + Solzhenitsyn’s “Young Ones”.

Find in these “micro-concessions” those where there is an equalization of concepts that are incomparable in their significance.

So why is the death of his grandfather and the death of Viktor Georgievich’s mother mentioned in passing? Why did these, perhaps, the most tragic moments of life, especially the loss of the mother, not become a tragedy? What role did the Dmitriev family play in this? (The same sacrifice that was cultivated in the Dmitriev family was the fundamental basis for the son’s rejection from the family; it was the sacrifice of the parents (not to be a burden to their children) that gave birth to Viktor Georgievich’s complete conviction that parents and grandfathers are not the most sacred. It is not for nothing that they say that evil does not seek harmony, his strength lies in routine. And this routine was able to regenerate moral values in the inner world of the main character).

Another detail is alarming and keeps us from feeling sorry for him: Lena calls a spade a spade, but Victor does not. He needs cover, some noble legend. Like the one he gives to his sister Laura: “I don’t need a damn thing, absolutely not a damn thing. Besides, to make our mother feel good. She always wanted to live with me, you know that, and if now this can help her...”

6) Please share the observations and reasoning of our parent experts who also took part in the discussion of this story. Tell me the ways out of this zugzwang. (Children’s statements, parents’ statements about the main character and his actions are read out). Presentation

I would like to conclude our lesson with the words of Joseph Brodsky, which he spoke to students at the University of Michigan back in 1988.

"Consider what you are about to hear as simply the advice of the tip of a few icebergs, so to speak, and not Mount Sinai. I am not Moses, you are not the Old Testament Jews either; these slightly disordered sketches, (...) are not tablets. Ignore them, question them if you like, if necessary, forget them, if you cannot do otherwise: there is nothing obligatory in them. If some of them are useful to you now or in the future, I will be glad. If not, my anger will not overtake you. ”

Lesson note: create a syncwine (each group has its own character).

Reflection:

Mark your emotional state during the lesson with colored cards lying on your table and put them in an envelope.

We ask the guests of the lesson - parents - to express their observations and thoughts on the topic of the lesson.

Homework: written work “Reflecting on what you read.”

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Lesson 79
"Urban prose in modern literature."
Yu. V. Trifonov. "Eternal themes and moral
problems in the story "Exchange"

Goals : give an idea of “urban” prose of the twentieth century; consider the eternal problems raised by the author against the backdrop of urban life; determine the features of Trifonov’s work (the semantic ambiguity of the title, subtle psychologism).

During the classes

Take care of the intimate, the intimate: the intimacy of your soul is more valuable than all the treasures of the world!

V. V. Rozanov

I. “Urban” prose in the literature of the 20th century.

1. Working with the textbook.

– Read the article (textbook edited by Zhuravlev, pp. 418–422).

– What do you think the concept of “urban” prose means? What are its features?

– Present your conclusions in the form of a plan.

Rough plan

1) Features of “urban” prose:

a) this is a cry of pain for a person “being turned into a grain of sand”;

b) literature explores the world “through the prism of culture, philosophy, religion.”

3) “City” prose by Yu. Trifonov:

a) in the story “Preliminary Results” he reasons with “empty” philosophers;

b) in the story “The Long Farewell” he reveals the theme of the collapse of the bright principle in a person in his concessions to philistinism.

2. Appeal to the epigraph of the lesson.

II. “Urban” prose by Yuri Trifonov.

1. Trifonov's life and creative path.

The complexity of the fate of the writer and his generation, the talent for embodying spiritual quests, the originality of manner - all this predetermines attention to Trifonov’s life path.

During the war, Yuri Trifonov was evacuated in Central Asia and worked at an aircraft factory in Moscow. In 1944 he entered the Literary Institute. Gorky.

Trifonov himself asserted: “It’s not everyday life that I write, but being.”

2. P issue of the story Y. Trifonova “Exchange”.

1) – Remember the plot of the work.

– So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?

2) The main character of the story is a representative of the third generation of Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.

– What can you say about the hero’s mother?

Find the characteristic in the text:

– What is the meaning of these words?

3) What makes up the image of the main character?

Characteristics of an image based on text.

– How does the emerging conflict with your wife over the exchange end? (“...He lay down in his place against the wall and turned his face to the wallpaper.”)

– What does this pose of Dmitriev express? (This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)

– What other details indicate the hero’s subordination to his wife, when we understand that he is a driven person? (In the morning, my wife reminded me of the need to talk to my mother.

“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)

This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.

– Whose rating does the hero receive? (We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)

Oxymoron* pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.

– What is your attitude towards the Dmitriev family?

III. Lesson summary.

– What questions did the author of the story “Exchange” make you think about?

– Do you agree that B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and parables?

Homework.

– Express your attitude to these assessments by answering the questions:

џ What comes to the fore in the story when we perceive it now?

џ Does Trifonov really have no ideals?

џ In your opinion, will this story remain in literature and how will it be perceived in another 40 years?

IV. Lesson summary.

– What are your impressions of poetry from the 50s to the 90s? Are there any of your favorite poets of this era?

Lesson 79
"Urban prose in modern literature."
Yu. V. Trifonov. "Eternal themes and moral
problems in the story "Exchange"

Goals: give an idea of “urban” prose of the twentieth century; consider the eternal problems raised by the author against the backdrop of urban life; determine the features of Trifonov’s work (the semantic ambiguity of the title, subtle psychologism).

During the classes

Take care of the intimate, the intimate: the intimacy of your soul is more valuable than all the treasures of the world!

V. V. Rozanov

I. “Urban” prose in the literature of the 20th century.

1. Working with the textbook.

– Read the article (textbook edited by Zhuravlev, pp. 418–422).

– What do you think the concept of “urban” prose means? What are its features?

– Present your conclusions in the form of a plan.

Rough plan

1) Features of “urban” prose:

a) this is a cry of pain for a person “being turned into a grain of sand”;

b) literature explores the world “through the prism of culture, philosophy, religion.”

3) “City” prose by Yu. Trifonov:

a) in the story “Preliminary Results” he reasons with “empty” philosophers;

b) in the story “The Long Farewell” he reveals the theme of the collapse of the bright principle in a person in his concessions to philistinism.

2. Appeal to the epigraph of the lesson.

II. “Urban” prose by Yuri Trifonov.

1. Trifonov’s life and creative path.

The complexity of the fate of the writer and his generation, the talent for embodying spiritual quests, the originality of manner - all this predetermines attention to Trifonov’s life path.

During the war, Yuri Trifonov was evacuated in Central Asia and worked at an aircraft factory in Moscow. In 1944 he entered the Literary Institute. Gorky.

Trifonov himself asserted: “It’s not everyday life that I write, but being.”

2. Problems of the story “Exchange” by Yu. Trifonov.

1) – Remember the plot of the work.

– So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?

2) The main character of the story is a representative of the third generation of Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.

– What can you say about the hero’s mother?

Find the characteristic in the text:

– What is the meaning of these words?

3) What makes up the image of the main character?

Characteristics of an image based on text.

– How does the emerging conflict with your wife over the exchange end? (“...He lay down in his place against the wall and turned his face to the wallpaper.”)

– What does this pose of Dmitriev express? (This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)

– What other details indicate the hero’s subordination to his wife, when we understand that he is a driven person? (In the morning, my wife reminded me of the need to talk to my mother.

“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)

This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.

– Whose rating does the hero receive? (We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)

Oxymoron* pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.

– What is your attitude towards the Dmitriev family?

III. Lesson summary.

– What questions did the author of the story “Exchange” make you think about?

– Do you agree that B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and parables?

Homework.

– Express your attitude to these assessments by answering the questions:

џ What comes to the fore in the story when we perceive it now?

џ Does Trifonov really have no ideals?

џ In your opinion, will this story remain in literature and how will it be perceived in another 40 years?

Lessons 81-82
Life and work of Alexander Trifonovich
Tvardovsky. The originality of the lyrics

Goals: consider the features of the lyrics of the greatest epic poet of the twentieth century, noting the sincerity of the poet’s confessional intonation; study traditions and innovation in Tvardovsky’s poetry; develop skills in analyzing poetic text.

Progress of lessons

S. Ya. Marshak. For the sake of life on earth. 1961

V. Dementyev. Alexander Tvardovsky. 1976

And I'm only mortal. I am responsible for my own,

During my lifetime I worry about one thing:

A. T. Tvardovsky

I. Biographical origins of Tvardovsky’s creativity.

Being a reader of poetry is a rather subtle and aesthetically delicate matter: the direct meaning of a poetic statement does not lie on the surface, it most often consists of the totality of its constituent artistic elements: words, figurative associations, musical sound.

Tvardovsky’s poems reflect what determined the content of his spiritual life, “the measure of personality,” as the poet himself said. His lyrics require concentration, thought, and an emotional response to the poetic feelings expressed in the poem.

– What do you know about the life and work of Alexander Tvardovsky?

It is possible for a prepared student to report on the topic “The main stages of the life and work of A. T. Tvardovsky.”

II. The main themes and ideas of Tvardovsky's lyrics.

1. After listening to the lecture, write it down in outline form, listing the main themes and ideas of the poet’s lyrics.

Among the poets of the twentieth century, A. T. Tvardovsky occupies a special place. His lyrics attract not only figurative precision and mastery of words, but also the breadth of topics, the importance and enduring relevance of the issues raised.

A large place in the lyrics, especially in the early ones, is occupied by the “small homeland,” the native Smolensk land. According to Tvardovsky, the presence of “a small, separate and personal homeland is of great importance.” “All the best that is in me is connected with my native Zagorye. Moreover, this is me as a person. This connection is always dear to me and even painful.”

In the poet’s works, memories of childhood and youth often arise: the forest side of Smolensk, the farmstead and village of Zagorye, conversations of peasants at their father’s forge. This is where poetic ideas about Russia came from; here, from my father’s reading, the lines of Pushkin, Lermontov, and Tolstoy were memorized. I started composing myself. He was captivated by “the songs and fairy tales that he heard from his grandfather.” At the beginning of the poetic path, M. Isakovsky, who worked in the regional newspaper “Rabochy Put”, provided assistance - he published and advised.

The early poems “Harvest”, “Haymaking”, “Spring Lines” and the first collections - “Road” (1938), “Rural Chronicle” (1939), “Zagorye” (1941) are associated with the life of the village. The poems are rich in signs of the times, generously filled with specific sketches of the life and everyday life of peasants. This is a kind of painting with words. Poems are most often narrative, plot-based, with conversational intonation. Whose poetic traditions does this remind us of (remember the features of Nekrasov’s poetry)?

The author succeeds in creating colorful peasant types (“the hunchbacked peasant,” “Willow”), genre scenes, and humorous situations. The most famous is “Lenin and the Stove Maker” - a story in verse. The early poems are full of youthful enthusiasm and joy of life.

Pillars, villages, crossroads,

Bread, alder bushes,

Planting the current birch tree,

Cool new bridges.

The fields run in a wide circle,

The wires sing lingeringly,

And the wind rushes against the glass with effort,

Thick and strong, like water.

In the war and post-war collections “Poems from a Notebook” (1946), “Post-War Poems” (1952), the main place is occupied by the patriotic theme - in the most important and highest meaning of the word: military everyday life, long-awaited victory, love for the motherland, memory of the experience , memory of the dead, the theme of immortality, anti-militaristic appeal - this is a modestly outlined range of problems. The poems are varied in form: they include sketches from life, confessional monologues, and solemn hymns:

Stop, show off in the lightning

And the lights of celebration,

Dear mother, capital,

Fortress of Peace, Moscow!

The theme of war is one of the central ones in Tvardovsky’s work. Those who died in the war did everything to liberate their homeland (“Having given everything, they left / Nothing with them”), therefore they were given the “bitter”, “formidable right” to bequeath to those who remained to cherish the past in memory, to complete the long journey in Berlin and never forget , at what cost the long-awaited victory was won, how many lives were given, how many destinies were destroyed.

A. T. Tvardovsky writes about the great brotherhood of soldiers, born during the years of trials. The magnificent image of Vasily Terkin accompanied the soldiers on the front roads. The thought of the need to “be happy” for all those brother-warriors who survived this war sounds life-affirming.

We can say that the memory of the war lives in one way or another in every post-war poem. She became part of his worldview.

The student reads by heart.

I know it's not my fault

The fact that others did not come from the war,

The fact that they - some older, some younger -

We stayed there, and it’s not about the same thing,

That I could, but failed to save them, -

This is not about that, but still, still, still...

– What gave the literary critic the right to say that the memory of the war in the poem “I know, it’s not my fault...” “comes out with a huge, piercing force of pain, suffering and even some kind of own guilt before those who remained forever on the distant shore of death "? Please note that in the poem itself there is no high vocabulary, and there is no “distant shore of death” that the researcher writes about.

In his works about the war, A. T. Tvardovsky pays tribute to the lot of widows and mothers of dead soldiers:

Here is the mother of one who fell in battle with the enemy

For life, for us. Take off your hats, people.

In the late work of A. T. Tvardovsky one can see a whole range of themes that are usually called “philosophical”: reflections on the meaning of human existence, old age and youth, life and death, the change of human generations and the joy of living, loving, working. Much in a person’s heart, in his soul, is implanted in childhood, in his native land. One of the poems dedicated to the homeland begins with a word of gratitude:

Thank you, my dear

Earth, my father's home,

For everything I know about life,

What I carry in my heart.

Tvardovsky is a subtle lyrical landscape painter. Nature in his poems appears at the time of awakening of life, in movement, in bright, memorable images.

The student recites by heart:

And, sleepy, melting, And with the wind, tender green

The earth will barely wither, Alder pollen,

Threading through old foliage, brought from childhood,

He'll go cut the grass. Like a shadow, it touches your face.

And the heart will feel again,

That the freshness of any pore

Not only was it, but it disappeared,

And it is and will be with you.

“The snow will darken blue”, 1955

– “The sweetness of a hard-won life,” light and warmth, goodness and “bitter unkindness” are perceived by the poet as enduring values of existence, filling every hour lived with meaning and significance. Inspired work gives a person, according to Tvardovsky, a sense of dignity and awareness of his place on earth. Many lines are devoted to the work of writers: friends and enemies, human virtues and vices, revealed in a difficult time of historical timelessness. As a truly Russian poet, Tvardovsky dreams of free creativity, independent of politicians, cowardly editors, and double-minded critics.

...I am responsible for my own,

During my lifetime I worry about one thing;

About what I know better than anyone in the world,

I want to say. And the way I want.

The poet emphasized his unity with all people:

It’s just that everything that is dear to me is the same to people,

I sing everything that is dear to me.

This is how A. T. Tvardovsky remained until the last, “control” hour of his life.

2. Read the article “Lyrics” in the textbook (pp. 258–260), supplement your plan with material.

3. Checking and discussing the resulting lecture plans.