Where the action takes place: three girls of the same age. Lesson on Russian literature "M.V. Isakovsky

Vladislav Shoshin

The poetry of Mikhail Isakovsky has won long-standing and lasting recognition. According to A. Tvardovsky, “Mikhail Isakovsky is one of the most beloved poets of our homeland. His poetry has long occupied a large and indisputable place in the spiritual life of the broadest strata of our people.” Not only ours - Isakovsky’s songs, especially his famous “Katyusha”, are sung in many countries around the world. different languages. This is natural, because Isakovsky’s work embodies the best features of Russian poetry - nationality, democracy, social significance, sincerity, simplicity. High rank the people's poet can rightfully belong to him.

Mikhail Vasilyevich Isakovsky was born in 1900 in the village of Glotovka in the Smolensk region into a peasant family. “Our family,” the poet recalled, “was poor, the land was lean. Before the new era, we never had enough of our own bread; we had to buy it. Therefore, in the fall, when agricultural work ended, my father was forced to go to work in order to get money “for bread.” In those years, the Smolensk region was rich in misfortune. But even in these difficult conditions, vibrant art lived among the people.

In the first half of the 20s, the Russian village entered a period of radical change.

The general coloring of his youthful lyrical poems is joyful, even festive. Native nature reveals its beauty to him: the sun sends rays into the cloudy silks, the river flows quietly and timidly through the fingers of the willow tree, the forest shows the way with rowan milestones...

The poems that capture the modern village organically include signs of the new - above the scaly roofs of the village, antennas stretch into a thread, a rook wanders importantly through the fields, like a rural agronomist. But, not limiting himself to displaying only external signs, Isakovsky sought to show psychological changes in the worldview and life of his contemporaries. “The poems of the young poet,” recalls his fellow countryman N. Rylenkov, “immediately captivated us with their vital concreteness, internal integrity and authenticity. M. Isakovsky did not declare, but clearly showed the processes that were taking place in the village before our eyes, finding high poetry in the most everyday affairs of ordinary people.”

In the 20s, M. Isakovsky began to actively participate in literary and social life in the Smolensk region, edited the district newspaper in Yelnya, then collaborated in the Smolensk newspaper “Working Way”. He writes not only lyric poetry, but also feuilletons (“Conversation with the Editor”, “Damned Poet”).

At this time, all kinds of formalistic trends and groups became active in the literary environment.

In provincial Smolensk, loud-mouthed preachers of supposedly “new” trends declared themselves with the “authority” of the capital. Heated debates broke out at poetry evenings and discussions in Smolensk. Isakovsky participated in them both as a speaker and, above all, as a poet.

For all their unpretentiousness, his early poems already had a great ideological and emotional charge. Born from the deep thoughts of a young man determining his path in life, forming his own moral principles, Isakovsky’s poems helped his peers find their right place in life. Learning from life, from the people, Isakovsky could not be at least in some way in solidarity with the adherents of “fashionable” trends, which turned out to be shallow and false. "IN recent years“,” he reported in the preface to one of his early books, “they talked a lot about the need to improve the culture of poetry, about studying with, say, masters of words such as B. Pasternak, I. Selvinsky. In my work, I constantly felt the lack of theoretical knowledge and the weakness of verse technique. And yet I could not follow the example of Pasternak or Selvinsky. It has always seemed to me that the great disadvantage of these undoubtedly great poets is that they essentially write for a small circle of the elite; broad readers don’t understand them and don’t read them...” about the fruitful impact that Yesenin’s poetry had on the young Isakovsky, about the closeness of these two poets, about Isakovsky’s inheritance best qualities Yesenin's creativity.

Isakovsky did not indulge in criticism. His book “Wires in Straw” (1927), which already contained the poet’s significant achievements, caused a negative review by A. Lezhnev. M. Gorky spoke in defense of the young poet. He welcomed the confidently developing talent and described social essence poetry of Isakovsky, “who knows that the city and the village are two forces that cannot exist separately from one another, and knows that the time has come for them to merge into one irresistible creative force - to merge as tightly as these forces have hitherto never merged anywhere.”

Isakovsky appeared in poetry at a time when the main question of “who will win whom” had already been resolved.

Already as a young poet, he took up the baton of national poetic traditions, internally contrasting them with “fashionable” theories. “And if I still did not succumb to such theories,” he writes, “then this is to a very large extent explained by the fact that great Russian poets lived in my mind - Pushkin and Nekrasov. They seemed to protect me from that muddy and harmful wave of formalism that then poured into poetry.”

But at the same time, the young poet could not help but experience some influence from the most talented contemporaries who were close to him in spirit. Criticism of the 1930s noted Yesenin's intonations in Isakovsky's work. Sometimes he was seen only as an imitator of Yesenin. Naturally, Isakovsky protested against this. Moreover, the social content of the work of both poets was far from the same. Yesenin hates the “iron guest” - Isakovsky happily paints the industrial landscape against the backdrop of the Smolensk outback.

In this controversy one can hear the controversy historical eras. And yet we can say that he had no need to choose. From the very beginning he felt like a representative of the new world. He became the village singer.

Attachment to the native soil determined not only the theme of Isakovsky’s poems - “everything is mine and everything is native, how I lived and where I grew up.” She determined the focus of his work. “...A poet, first of all,” Isakovsky declared a little later, “must write for his people. This means that his poems should be simple in form and deep in content. The poet is obliged to talk to his reader as a most sincere friend, and not as a “priest” uttering “truths” in some language invented by himself.” This aesthetic credo of Isakovsky was not passive, as it implied a struggle with a different direction in poetry. He directly stated that “pretentious speech can only be had by a poet who does not have an organic connection with the people, a blood or spiritual connection.” With all his work, Isakovsky confirms the importance of the idea of ​​“writing for the people” and has not deviated from it throughout the years. The poet's lyrics testify to the author's integrity and sincerity. The traits of a person are recognizable in her - responsive and at the same time courageous, serious, but with a sense of humor. But these are not just individual traits of the author - these are typical traits of a Russian, deeply national character. This is also in our tradition classical literature. “The more I thought about my essay,” Gogol testifies, “the more I saw that it was not by chance that I should take characters not just any that came along, but choose only those on whom our truly Russian, fundamental properties were more noticeably and deeply imprinted.”

The ideological and artistic significance of Isakovsky’s early poetry was enhanced by its folklore basis. In search of a moral ideal, he could not pass by the treasury of folk poetry, which, according to Chernyshevsky, “is always sublime, chaste,” “imbued with all the principles of beauty,” and “breathes with moral health.” In the post-revolutionary years, when representatives of the victorious classes - workers and peasants - came to literature, interest in folklore was quite wide. “Who did we learn from? Who did I study with, in particular? - recalls N. Aseev. “First of all, in proverbs and sayings, in proverbs and sayings that are found in popular speech.” Isakovsky took from folk art not only “proverbs and sayings,” but all its intellectual and moral pathos.

After all, the truly “Russian style” is not in external signs. Traditional images and situations are inspired in Isakovsky’s work by the beat of modernity. Traditional theme separation of lovers is used in the poem “Katyusha”, which has become one of our favorite songs. But the guy who left serves “on the distant border” - this immediately gives the modest poem social content and almost journalistic topicality.

Isakovsky introduces folklore images into the fabric of his works very sparingly, thanks to which they do not give the impression of stylization. He also has no archaisms. But there is momentum colloquial speech, which not only “democratize” poetry, but also themselves sparkle with sparks of true poetry. All this is especially characteristic of short lyric poems, many of which are pre-war years became popular songs (“Lyubushka”, “Farewell”, “Farewell”).

Avoiding external sloganeering and unsubstantiated declarativeness, not supported by a deep emotional experience, Isakovsky’s work in the pre-war years was one of the most serious achievements of poetry. The poet’s order sounded like a civic “conclusion”:

Whatever you do in life, remember - the goal is one:
Shine, dare, so that the Great Country may forever grow younger.

The war confirmed the fruitfulness of the aesthetic principles of Mikhail Isakovsky. The whole country sang his songs. “Katyusha” became especially popular. As you know, a new one was named after the song formidable weapon. Folk adaptations of the text were also widely sung. In them, Katyusha either acts as a fighter, or fights in a partisan detachment, or bandages wounds on the battlefield. “Katyusha” sounded like an anthem, like a roll call song for like-minded friends, like their password. This role became especially obvious when hostilities were transferred to Eastern Europe. It was also sung in the West by members of the Resistance movement in France and Italy.

Sincere confessions from readers truthfully record wide popular recognition. It is characteristic that in the letters sent to the poet by front-line soldiers, they talked not only about the emotional response to his word, but also about the social effectiveness of this word. “Many people like your poems,” a front-line officer wrote to him in 1943. - Quite recently, when I was traveling to the village of Kasplyu, liberated from the German scoundrels, a young Red Army soldier was lying dead near the road. Among his scattered documents I came across “Farewell”. I'm saving this cutting. I read “Farewell” to my soldiers. It makes a very strong impression."

“His poems are simple, good, very moving in their sincerity,” Gorky wrote about Isakovsky back in 1927. Its simplicity does not suit the reader. This is the desire for an extremely accurate expression of the truth that he wants to tell the world. Gorky’s words are well known: “he writes pretentiously, which means he writes insincerely.” One can say about Isakovsky that he writes simply because he is sincere. This sincerity of the poet towards the reader determined his nationwide popularity. “Singer of the people’s soul - that’s what I would call you,” Gorky wrote, “and with this I express my feelings of admiration and admiration, appreciation and gratitude for your sweet and dear songs to the Russian heart.”

Isakovsky’s works are also dear to us because, even touching on the most intimate topics, he remains himself, a human citizen who cannot turn his back on the world. For Isakovsky, the intimate is organically connected with the range of concepts that connect the individual with the collective. His song “Spark” was very popular, which was reprinted by front-line newspapers, copied by hand both at the front and in the rear, and sung at amateur concerts and among friends. Why? Because in “Ogonyok” there is a huge patriotic idea, and not an experience in a narrow “world of two,” and at the same time, the poet’s thoughts and feelings are conveyed lyrically and intelligibly.

Mikhail Isakovsky belongs to those poets whose ideological and aesthetic principles, having been determined at the beginning of their career, fundamentally remain unchanged. But this does not mean that it is somehow static. Sensitively responding to the demands of the time, the poet is in constant development.

During the war years, the comprehensiveness of Isakovsky’s artistic “palette” proved to be extremely convincing. He writes narrative poems in which lyricism is intertwined with pathos.

Odic enthusiasm did not prevent Isakovsky, as happened with some poets, from seeing the complexity and inconsistency folk life, the tragedy of war. This was especially clearly manifested in the poem “The enemies burned down the native hut...” Knowing how to convey the joy of involvement in a new life and its achievements, the poet, without embellishing or softening the seriousness of the tone, gives in this poem an outlet for a deeply civic feeling of grief in his native ashes. This poem will always remain one of the best in our poetry, evidence of the poet Isakovsky’s loyalty to the voice of the people in both joy and sorrow.

Enemies burned down my home.
They killed his entire family.
Where should the soldier go now?
To whom should I bear my sorrow?..

How briefly everything is said! The tread of monotonous verbs seems blasphemously informative, but these are steps to the grave of his wife, whom the soldier has not seen for four years... The author is restrained, as if he is afraid to burst into tears himself, to give free rein to his memories and words, because the tragic details in the memories are the worst thing. .. Isn’t that why his hero tries to restrain himself:

“Don’t judge me, Praskovya,
That I came to you like this:
I wanted to drink to your health,
And he must drink to his peace.
Friends and girlfriends will come together again,
But we will never meet forever...”
And the soldier drank from a copper mug
Half the wine with sadness.

This restrained simplicity is in the traditions of Russian classical poetry, the poetry of great feelings, which did not need external tricks.

However, the poem is not finished yet. The author's skill lies in the fact that he adds two final stanzas, in which the tragedy of the soldier's experiences is revealed with utmost depth.

He drank - a soldier, a servant of the people,
And with pain in his heart he said:
“I have been coming to you for four years,
I conquered three powers..."

You can hear soldierly, masculine pride in this. But on the long-awaited victory holiday you feel your loneliness all the more acutely. Three conquered powers will not return dead wife, and with a bitter smile the soldier recalls his four-year journey to hope, suddenly - and in a joyful hour for everyone, but not for him - lost. And finally - a figurative resolution of the entire overwhelming dramatic load of the poem:

The soldier got drunk, a tear rolled down,
A tear of unfulfilled hopes,
And there was a glow on his chest
Medal for the city of Budapest.

Simplicity verges on the cliche (“a tear rolled down”) to reveal the meaning and set off the final striking lines... A courageous view of the world, subtly varying from grinning to irony, is the strength of more than just this poem.

It is extremely significant and characteristic that the poet is deeply Russian, Isakovsky does not isolate himself within a nationally limited framework. In his original work, he uses motifs from not only Russian folklore - the impetus for writing the poem “And who knows...” was a Ukrainian folk song. Isakovsky translates a lot. As always, conscientious and strict with himself, he translates mainly from languages ​​known to him, taking for translation works that are close in spirit and form, which allows him, while preserving national characteristics the original, not to translate it with literal accuracy, but to strive to recreate an adequate “double” in Russian. “Not a slave, but a rival” in the art of translation, Isakovsky gave the Russian reader excellent examples of the work of T. Shevchenko, Lesya Ukrainka, Yanka Kupala, Yakub Kolas and other poets.

Isakovsky’s internationalism is clearly visible in his original work. Back in the 30s, he dedicated poems to the Spanish Republicans. “Song of the Motherland” is the name of his large post-war poem, in which one can hear the Russian poet’s care and concern for events throughout the world.

Poetry and all creative and social activities Mikhail Isakovsky will always be in the history of Russian literature one of the noble examples of the unity of personal fate with the fate of the entire people, an example of understanding the people and serving them. “Masters of the Earth” - that’s what young Isakovsky called one of his books. Proximity to the land, to the working people living on it and filially attached to it, understanding the feeling of the Motherland as the basis of foundations - all this gives eternal youth to Isakovsky’s lyrically sincere and civically principled poetry.

Acting as a publicist, the poet constantly promotes his principles of understanding creativity. His example attracts more and more new poets to the path of serving the people, many of whom can be considered, to one degree or another, students or followers of Isakovsky.

Key words: Mikhail Isakovsky, criticism of the works of Mikhail Isakovsky, criticism of the works of Mikhail Isakovsky, analysis of the poems of Mikhail Isakovsky, download criticism, download for free, Russian literature of the 20th century.

Analysis
poems
"Three girls the same age"
Author: Dolotovskaya Irina
Petrovna,
Russian language teacher and
literature
MCOU Yushinskaya secondary school
Sychevsky district
Smolensk region

Let's read the poem carefully
and answer the questions:

Behind the dam, behind
mill,
Where are the shaky bridges?
At sunset three girls the same age
They are walking by the river.
Then they will walk along the shore,
They will stand above the water,
Then they will pick a branch
Young from a birch tree.
They'll try it, touch it,
Is the water in the river warm,
As if just for this
They came here.
And in the distance the fog just spreads,
It smokes over the river.
And in the distance you can only hear the noise of a mill.
And there is not a month in the sky,
No month, no stars.
And the girls went back
Offended to the point of tears.
Behind the dam, behind the mill,
Where are the shaky bridges?
At sunset three girls the same age
We walked by the river.
Three high clear voices
And already dusk is falling,
We sailed over the river. Isn’t it time to go home?
Well, you boys are deceivers,
And more and more often three girls the same age
Forgot, didn't come!
They look into the distance.
1953

Lyrics M.V. Isakovsky is connected with oral
folk poetry with deep connections. Folk
ideas, signs, warehouse and way of thinking live
in Isakovsky’s poetic worldview. That's why,
reading his poems is important for a deeper
penetration into the secrets of the plan to see from the inside
or another image, represent not only the direct
the meaning of the word, but also the form of its existence in the folk poetic consciousness. When comprehending the content
poetic text the principle of slow is necessary,
and, more often than not, back and forth reading.

1. What does the location of the action mean for the heroines?
2. Why do you think “behind the dam, behind
mill" girls walking along shaky bridges?
2. What background lies behind the words?
indicating the time and place of action?
3. Make a micro-inference: where and when it happens
action?
4. For what purpose did the “Three Women of the Same Age” come?

5. The girls walk along the shore above the water.
Return to the description of the symbolism of the shore, fog,
water discussed above. This will help
describe the new text. Think: by chance
whether that in the poem “Three Women of the Same Age” specifically
Is the steepness of the coast not emphasized? But in this same
stanza there is another “transparent” image. He
“hidden” in the lines “Then they will pick a twig / C
young birch trees..." Remember other works
Russian poetry. What associations should it evoke?
image associated with a sprig of young curly
birch trees?

6. The girls “will try, touch / the warmth in the river
water..."; elsewhere in the poem it says that
“The fog just spreads in the distance...” These are the harbingers
different phenomena: cold water and creeping fog
foretell trouble; warm water and rising
fog-joy. So, perhaps, in fact “...
Only for this / And they came here”? Why
Did M. Isakovsky need the word “as if”? And one more thing:
what did the girl want to find out when she tried the warmth in
river water"?

7. Read the stanza again:
And there is not a month in the sky,
No month, no stars...
And the girls went back
Offended to the point of tears.
What does it mean “there is neither a month in the sky, / nor a month, nor stars”?
8. Make another micro-conclusion: why didn’t the “cheating boys” come? Where are they? What again with bitterness and pain
did you feel the “three peers”?
9. Formulate the theme of M.V.’s poem. Isakovsky "Three
peers." Following approximately the same path, characterize
poem by M.V. Isakovsky “Enemies burned their home.”

A.I. Isakovskaya “Isakovsky M.V.” Poems. M.: Publishing house
Moscow worker, 1980.
---A.I. Isakovskaya “Memories of M. Isakovsky.” Collection.Moscow,
Soviet writer, 1986.
---V. Dvoretsky “Names dear to the heart...”, ed. "Moscow Worker", M.
1987.
---M. Isakovsky “Lyrics”, ed. "Children's Literature", M. 1974.
---M. Isakovsky “On Poetic Mastery”, ed. "Express", 1970.
---A. Polikanov "M. Isakovsky"; ed. "Enlightenment", M. 1989.
---N. Rylenkov "People's Poet", ed. "Enlightenment", M. 1992.
---E. Yevtushenko. "Stanzas of the Century". Anthology of Russian poetry. Minsk, Moscow:
Polifact, 1995.
---Compiled by Nikolai Bannikov. "Three centuries of Russian poetry." Moscow:
Enlightenment, 1968

Analysis of the poem

"Three girls the same age"

teacher of Russian language and literature MCOU Yushinskaya secondary school Sychevsky district Smolensk region

Let's read the poem carefully

and answer the questions:

Behind the dam, behind the mill, Where are the shaky bridges? At sunset three girls the same age They are walking by the river. Then they will walk along the shore, They will stand above the water, Then they will pick a branch Young from a birch tree. They'll try it, touch it, Is the water in the river warm, As if just for this They came here. And already dusk is falling, Isn't it time to go home? And more and more often three girls the same age They look into the distance.

And in the distance the fog just spreads, It smokes over the river. And in the distance only one thing can be heard - How the mill makes noise. And there is not a month in the sky, No month, no stars. And the girls went back Offended to the point of tears. Behind the dam, behind the mill, Where are the shaky bridges? At sunset three girls the same age We walked by the river. Three high clear voices We sailed over the river - Well, you boys are deceivers, Forgot, didn't come!

Lyrics M.V. Isakovsky is connected with oral folk poetry by deep connections. Folk ideas, signs, attitudes and ways of thinking live in Isakovsky’s poetic worldview. Therefore, when reading his poems, it is important for a deeper penetration into the secrets of the plan to see this or that image from the inside, to imagine not only direct meaning words, but also the forms of its existence in the folk poetic consciousness. When comprehending the content of a poetic text, the principle of slow, and most often back and forth, repeated reading is necessary.

• What does the location of the action mean for the heroines?
• Why do you think girls are walking “behind the dam, behind the mill” by the shaky bridges?

2. What background lies behind the words indicating the time and place of action?

3. Make a micro-inference: where and when does the action take place?

4. For what purpose did the “Three Women of the Same Age” come?

5. The girls walk along the shore above the water.

Return to the characteristics of the symbolism of the shore, fog, water discussed above. This will help characterize the new text. Think: is it a coincidence that in the poem “Three Women of the Same Age” the steepness of the coast is not specifically emphasized? But in the same stanza there is another “transparent” image. It is “hidden” in the lines “Then they will pick a twig / From a young birch tree...”. Remember other works of Russian poetry. What associations should the image associated with a branch of a young curly birch tree evoke?

6. The girls “will try, touch / the warmth of the water in the river...”; elsewhere in the poem it is said that “In the distance the fog just spreads...”. These are harbingers of various phenomena: cold water and creeping fog portend trouble; Warm water and rising fog are a joy. So, maybe, in fact, “... Only for this / And they came here”? Why did M. Isakovsky need the word “as if”? And one more thing: what did the girl want to find out, testing “the warmth or the water in the river”?

7. Read the stanza again:

And there is neither a month in the sky, nor a month, nor stars... And the girls went back, Offended to the point of tears.

What does it mean “there is neither a month in the sky, / nor a month, nor stars”?

8. Make another micro-conclusion: why didn’t the “cheating boys” come? Where are they? What did the “three peers” feel once again with bitterness and pain?

9. Formulate the theme of M.V.’s poem. Isakovsky “Three girls of the same age.” Following approximately the same path, characterize the poem by M.V. Isakovsky “Enemies burned their home.”

• ---A.I.Isakovskaya “Isakovsky M.V.” Poems. M.: Moscow Worker Publishing House, 1980.
• ---A.I. Isakovskaya “Memories of M. Isakovsky.” Collection. Moscow, Soviet writer, 1986.
• ---V. Dvoretsky “Names dear to the heart...”, ed. “Moscow Worker”, M. 1987.
• ---M. Isakovsky “Lyrics”, ed. "Children's Literature", M. 1974.
• ---M. Isakovsky “On Poetic Mastery”, ed. "Express", 1970.
• ---A. Polikanov "M. Isakovsky"; ed. "Enlightenment", M. 1989.
• ---N. Rylenkov "People's Poet", ed. "Enlightenment", M. 1992.
• ---E. Yevtushenko. "Stanzas of the Century". Anthology of Russian poetry. Minsk, Moscow: Polifact, 1995.
• ---Compiled by Nikolai Bannikov. "Three centuries of Russian poetry." Moscow: Enlightenment, 1968