Life milestones. Bryullov Karl Petrovich 1799 - 1852 - a famous painter, master of the portrait genre. The artist's first teacher was his father, an ornamental sculptor.
From 1809 he studied at the St. Petersburg Academy of Arts under A.I. Ivanova and A.E. Egorov, graduated from the Academy in 1822 with a gold medal. In 1823 - 1835. worked in Italy, gained fame as a portrait painter. His portraits and paintings of the Horsewoman of 1832, Yu.P. Samoilov with a pupil and a little arapchon 1832 - 1834. He painted sketches and pictures on mythological and historical themes, genre - on the life of Italian peasants. The most famous is the Italian noon of 1827. The main work of Bryullov is The Last Day of Pompeii.
The artist worked on a huge canvas measuring 456x651 cm for three years. In it he managed to preserve the traditions of academicism. Nevertheless, the picture, thanks to Bryullov's striving for psychological truth and historical accuracy, an attempt to present the diverse experiences of a mass of people at the time of a disaster, made a stunning impression on the public. In the future, a number of large historical compositions conceived by Bryullov, including the painting of the Siege of Pskov, 1839-1947, did not receive final embodiment. The artist continued to be an excellent master of the portrait genre, as evidenced by the portraits of N.V. Puppeteer 1836, V.A. Zhukovsky 1837-1838, I.A. Krylov 1839 and others.
One of the best in the artist's later work is the portrait of Yu.P. Samoilova with his adopted daughter until 1842 Bryullov was also engaged in teaching. In 1836 he received the title of professor of the second degree in 1846 the professor of the first degree. He taught at the Academy of Arts.
It was considered an honor to study with Bryullov, since he was a wonderful teacher, he was interested in the success of each student. Bryullov's health deteriorated and in 1849 he went abroad for treatment. Visited Germany, England, Spain. He died in Italy of a heart attack and was buried in a Roman cemetery.
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This topic belongs to the section:
K.P. Bryullov - portrait painter
His paintings are kept in the Russian Museum of St. Petersburg, in France, Italy, Germany. During his life's journey, he experienced fame and triumph. He was .. Due to his wayward character, he was able to refuse an order for a portrait .. The main objectives of this essay 1. To study the creative and life path of the great artist K.P. Bryullov.
Writing
At the end of his career, Mikhail Vasilyevich Isakovsky wrote an autobiographical book "On the Elna land" (1969). It tells about the main stages of his career. The future poet was born into a poor peasant family in the Smolensk region. The circumstances of his life were such that if it were not for the revolution, he would not have been able to get an education and the dream, which originated in childhood, of becoming a writer, poet would have remained unfulfilled. Isakovsky's literary activity began in the newspaper of the small town of Yelnya near Smolensk. He himself considers the beginning of poetry in 1924, although he began to write poetry very early.
The first collection of Isakovsky's "Wires in Straw" was published in 1927 and was noticed by M. Gorky: "His poems are simple, good, they are very exciting for their sincerity." In Russian poetry, Isakovsky is one of the direct and consistent successors of the traditions of N.A.Nekrasov. And the point here is not only that both wrote a lot about the village. Like Nekrasov, Isakovsky is not a peasant poet, but a folk poet. As you know, the creative heritage of the Russian classic is very rich in genre: he wrote poems, songs, elegies, satire, etc. Isakovsky also worked in many genres, but achieved particular success in the song. The glory of his "Katyusha" is truly worldwide, legendary! Who does not know his songs "Farewell", "Ogonyok", "Migratory birds are flying", "There is no better color for that" and many others!
* An important remark about Isakovsky's songs was made by his fellow countryman A.T. Tvardovsky: “The words of Isakovsky's songs are, with a few exceptions, poems that have an independent content and sound, a living poetic organism, which by itself, as it were, presupposes the melody with which it is destined to merge and exist together. Isakovsky is not a “lyricist” or a “songwriter”, but a poet whose verses are organically inherent in the beginning of song, which, by the way, has always been one of the important features of Russian lyricism ”.
The secret of the widest popularity of Isakovsky's songs and poems is partly revealed when meeting with his creative laboratory. He believed that one should “be able to speak even about the most difficult things in the most ordinary words and phrases - ordinary, but at the same time, capacious, accurate, colorful, poetically convincing”. But the main reason for the universal love for his work is the complete fusion of the thoughts and feelings of the poet and the people. In this respect, the verses of Isakov's period of the Great Patriotic War are especially characteristic:
* And I, like a banner, raised this word,
* The living word of my heart.
* And I call, so that in the days of the harsh struggle
* None of us forgot him.
And indeed, at that time, literally every word of the poet found a response in the hearts of people - let us recall "In the forest at the front", "Russian woman", "Oh, my fogs ..." and much more. In the post-war years, the activity of Isakovsky as a translator became more active. More often than others he translated Belarusian and Ukrainian poets - Y. Kolas, Y. Kupala, T. Shevchenko, L. Ukrainka. Isakovsky is the author of the book "On Poetic Mastery" (1969), where he, addressing the young, spoke about the experience of his creative work.
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 country. His poetry has long occupied a large and indisputable place in the spiritual life of the widest layers of our people. " Not only ours - Isakovsky's songs, especially his famous "Katyusha", are sung in many countries of the world in different languages. This is natural, because the best features of Russian poetry are embodied in Isakovsky's work - nationality, democracy, social significance, sincerity, simplicity. The high title of the people's poet can rightfully belong to him.
Mikhail Vasilievich 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 poor. We never had enough bread of our own, we had to buy it. Therefore, in the autumn, when agricultural work ended, my father had 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, bright art lived among the people.
In the first half of the 1920s, the Russian countryside entered a period of fundamental changes.
The general coloring of his youthful lyric 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 fearfully through the fingers of the willow, the forest shows the way with mountain ash milestones ...
The poems depicting a modern village organically include signs of a new one - over the scaly roofs of the village, antennas stretch out into a thread, a rook wanders through the fields as important as a rural agronomist. But, not limiting himself to displaying only external signs, Isakovsky strove to show psychological changes in the worldview and life of his contemporaries. “The poems of the young poet,” recalls his compatriot N. Rylenkov, “conquered us with their vital concreteness, inner 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 1920s, M. Isakovsky begins to actively participate in literary and social life in the Smolensk region, edits the district newspaper in Yelnya, then collaborates in the Smolensk newspaper Rabochy Put. He writes not only lyric poems, but also feuilletons ("A Conversation with the Editor", "Dressed Poet").
At this time, all kinds of formalistic trends and groups became active in the literary environment.
In provincial Smolensk, loud preachers of supposedly "new" trends declared themselves in the capital "authoritatively". At poetry evenings and discussions in Smolensk, heated debates flared up. Isakovsky took part in them both as an orator and, above all, as a poet.
For all its unpretentiousness, his early poems had a great ideological and emotional charge. Born by the deep thoughts of a young man who determines his path in life, forms his own moral principles, Isakovsky's poems helped his peers find their place in life correctly. 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 said in the preface to one of his early books, “there has been a lot of talk about the need to improve the culture of poetry, about learning from, say, masters of words like B. Pasternak and I. Selvinsky. In my work, I constantly felt the lack of theoretical knowledge and the weakness of the technique of verse. And yet I could not follow the example of Pasternak or Selvinsky. It always seemed to me that the big drawback of these undoubtedly great poets is that they essentially write for a small, select few; wide readers do not understand them and do not read them ... "about the fruitful influence that Yesenin's poetry had on the young Isakovsky, about the closeness of these two poets, about Isakovsky's inheritance of the best qualities of Yesenin's work.
Isakovsky's criticism did not spoil. His book "Wires in Straw" (1927), which already contained significant achievements of the poet, caused a negative review by A. Lezhnev. M. Gorky spoke in defense of the young poet. He welcomed the confidently developing talent and described the social essence of Isakovsky's poetry, “who knows that the city and the countryside 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 so tightly as until now these forces have never merged anywhere. "
Isakovsky appeared in poetry at a time when the main question "who - whom" had already been resolved.
As a young poet, he took up the baton of national poetic traditions, internally opposing them to "fashionable" theories. “And if I still didn’t succumb to such theories,” he writes, “this is to a very large extent explained by the fact that great Russian poets — Pushkin and Nekrasov — lived in my mind. They, as it were, protected me from that murky and harmful wave of formalism, which then poured into poetry. "
But at the same time, the young poet could not fail to experience some influence from the most talented contemporaries who were close to him in spirit. Critics of the 30s noted Yesenin intonations in Isakovsky's work. Sometimes he was viewed only as an imitator of Yesenin. Naturally, Isakovsky protested against this. Moreover, the social content of the creativity of both poets was far from the same. Yesenin hates the "iron guest" - Isakovsky happily paints an industrial landscape against the backdrop of the Smolensk backwoods.
In this polemic, one can hear the polemic of historical eras. And yet it can be said that he had no need for a choice. From the very beginning, he felt like a representative of the new world. He became the singer of the village.
Attachment to the native soil determined not only the theme of Isakovsky's poems - "everything is mine and everything 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 the most sincere friend, and not as a "priest", uttering "truths" in some language invented by him. " This aesthetic credo of Isakovsky was not passive, since it implied a struggle with another direction in poetry. He directly stated that "pretentious speech can only be in a poet who does not have an organic connection with the people, a blood, spiritual connection." With all his work, Isakovsky confirms the importance of the idea of "writing for the people" and does not deviate from it throughout the years. The poet's lyrics testify to the author's integrity and sincerity. It recognizes the features of a person - responsive and at the same time courageous, serious, but with a sense of humor. But these are not just the individual traits of the author - these are typical features of a Russian, deeply national character. This is also in the tradition of our classical literature. “The more I pondered my composition,” Gogol testifies, “the more I saw that it is not by chance that I should take characters, not which I will come across, but choose only those on which our truly Russian, fundamental properties are more noticeable and deeply imprinted”.
The ideological and artistic significance of Isakovsky's early poetry was reinforced 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", "breathes moral health." In the post-revolutionary years, when representatives of the victorious classes - workers and peasants - came to literature, the 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 sayings and sayings that are common in the speech of the people. Isakovsky took from folk art not only "proverbs and sayings", but all of its intellectual and moral pathos.
After all, the truly "Russian style" is not in external signs. Traditional images and situations are spiritualized in Isakovsky's work by the beating of modernity. The traditional theme of the separation of lovers is used in the poem "Katyusha", which has become one of our favorite songs. But the guy who left is serving "on the far borderlands" - this immediately gives the modest poem a social content and almost journalistic topicality.
Isakovsky introduces folklore images into the fabric of his works very sparingly, due to which they do not give the impression of stylization. He has no archaisms either. But there are turns of colloquial speech, which not only "democratize" poetry, but in themselves shine with sparks of genuine poetry. All this is especially characteristic of short lyric poems, many of which became popular songs in the pre-war years ("Lyubushka", "Farewell", "Seeing off").
Avoiding external, not supported by a deep emotional experience of slogans, unfounded declarativeness, Isakovsky's work in the pre-war years was one of the most serious achievements of poetry. The poet's order sounded like a civil "conclusion":
Whatever you do in life, remember - the goal is one:
Burn, dare, so that the Great Country is forever 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 formidable weapon was named after the song. Popular alterations of the text were also widely sung. In them, Katyusha sometimes acts as a fighter, then fights in a partisan detachment, then bandages wounds on the battlefield. "Katyusha" sounded like a hymn, like a roll call song of like-minded friends, like their password. This role became especially evident when the hostilities were transferred to Eastern Europe. It was sung in the West as well - by members of the Resistance movement in France and Italy.
The readers' sincere confessions truly record wide popular recognition. It is characteristic that in the letters sent to the poet by the front-line soldiers, it was not only about the reciprocal spiritual 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 driving to the village of Kasplya, freed from the German scoundrels, a dead young Red Army soldier was lying near the road. Wednesday of his documents scattered I came across "Farewell". I am saving this tenderloin. I read "Farewell" to my soldiers. It makes a very strong impression. "
“His poems are simple, good, they are very disturbing for their sincerity,” Gorky wrote about Isakovsky back in 1927. Its simplicity is not an adaptation to the reader. This is a desire for the most accurate expression of the truth that he wants to tell the world. Gorky's words are known - "he writes pretentiously, it means that he writes insincerely." About Isakovsky we can say that he writes simply because he is sincere. This sincerity of the poet in relation to the reader determined his nationwide popularity. "Singer of the people's soul - so I would call you," wrote Gorky, "and by this I express my feelings of admiration and admiration, gratitude and gratitude for your songs, dear and dear to the Russian heart."
Isakovsky's works are also dear to us because, even touching on the most intimate topics, he remains himself, a citizen who cannot turn his back on the world. Isakovsky's intimate is organically connected with the range of concepts that connect the individual with the collective. His song "Ogonyok" was widely spread, which was reprinted by front-line newspapers, copied by hand both at the front and in the rear, and sang at amateur concerts and with friends. Why? Because Ogonyok contains a huge patriotic idea, 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, being defined at the beginning of the path, basically remain unchanged. But this does not mean at all that it is static. Sensitively responding to the demands of the times, the poet is in constant development.
During the war, the versatility of Isakovsky's artistic "palette" proved to be extremely convincing. He writes narrative poems in which lyrics are intertwined with pathos.
Odic enthusiasm did not prevent Isakovsky, as happened with some poets, to see the complexity and contradictions of people's life, the tragedy of war. This was especially clearly manifested in the poem "Enemies burned down their native hut ..." Who knew how to convey the joy of participation in a new life and its accomplishments, the poet, without embellishing or softening the seriousness of his 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, a testimony to the poet Isakovsky's loyalty to the voice of the people in both joy and sorrow.
Enemies burned down their home.
Ruined his entire family.
Where does the soldier go now?
To whom can I bear my sorrow? ..
How briefly everything is said! The footsteps of monotonous verbs seem blasphemously informational, but these are steps to the grave of his wife, whom the soldier has not seen for four years ... The author is restrained, he seems to be afraid to burst into tears himself, to give free rein to memories and words, because tragic details in memories are the most terrible thing. .. Isn't that why his hero is trying to restrain himself:
“Don't judge me, Praskovya,
That I came to you like this:
I wanted to drink to health
And I must drink to the peace.
Friends, girlfriends will converge again,
But we will never converge ... "
And the soldier drank from a copper mug
Wine with sadness in half.
This restrained simplicity is in the traditions of Russian classical poetry, poetry of great feelings, which did not need external tricks.
However, the poem is not over yet. The author's skill also 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 - soldier, servant of the people,
And with a pain in his heart he said:
“I went to you for four years,
I conquered three powers ... "
You can hear a soldier's, male pride in this. But on the long-awaited holiday of victory, the more acutely you feel your loneliness. The three conquered powers will not return the deceased 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 unbearable dramatic load of the poem:
The soldier grew drunk, a tear rolled down,
A tear of unfulfilled hopes
And on his chest it shone
Medal for the city of Budapest.
Simplicity on the verge of a cliche ("a tear was rolling") to reveal the meaning and set off the final stressed lines ... A courageous view of the world, subtly varying from grin to irony, is the strength of more than this poem.
It is extremely indicative and characteristic that the poet is deeply Russian, Isakovsky does not confine himself to nationally limited frameworks. In his original work, he uses the motives of folklore not only Russian - 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 the national characteristics of the original, not to rearrange it with literalistic accuracy, but to strive to recreate it in Russian the language of an adequate "double". "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 poetry to the Spanish republicans. "Song of the Motherland" is the title of his great post-war poem, in which one can hear the Russian poet's concern and anxiety for events throughout the world.
Poetry and all the creative and social activities of Mikhail Isakovsky will always be in the history of Russian literature one of the noble examples of the fusion of personal fate with the fate of the entire people, an example of understanding the people and serving them. "Masters of the Earth" - this is how the young Isakovsky called one of his books. The closeness to the earth, to the working people who live on it and to it like sons to it, the understanding of the feeling of the Motherland as the basis of the foundations - all this gives the eternal youth of Isakovsky's lyrically sincere and civic principled poetry.
Acting as a publicist, the poet constantly promotes his principles of understanding creativity. His example attracts more and more poets to the path of serving the people, among whom many can be considered, to one degree or another, Isakovsky's disciples or followers.
Keywords: Mikhail Isakovsky, criticism of the work of Mikhail Isakovsky, criticism of the works of Mikhail Isakovsky, analysis of poems by Mikhail Isakovsky, download criticism, free download, Russian literature of the 20th century.
Grade 8 Date __________________ Russian literature
Goals:
Get acquainted with the work of the wonderful songwriter, Mikhail Vasilyevich Isakovsky, with his songs, which have become folk, beloved by the people;
Help to see that the poet's work is connected with his homeland, events in the country, that his works reflect the life of the people and their aspirations, feelings;
Learn to express the feelings of the poet: expressively read poems, perform his songs;
To contribute to the education of love for the Fatherland, for the native land,
to a folk song.
To develop the creative abilities of students, the ability to work with text;
To cultivate a cognitive interest in the subject, a sense of pride and patriotism.
Equipment : thematic presentation, illustrations for creativity
M. Isakovsky, portrait of the poet.
During the classes
Organizing time. Greetings, checking the readiness of students for the lesson.
Updating the basic knowledge of students.
Homework check.
Motivation of students' learning activities.
Teacher's word.
In the history of Russian Soviet literature, Mikhail Vasilievich Isakovsky is on a par with such poets as V. Mayakovsky, S. Yesenin, N. Tikhonov, A. Aseev, M. Svetlov, A. Prokofiev, A. Tvardovsky ... Each of them individually - inimitable images and forms expressed the life of the people and the country. The originality of Isakovsky, the poet of a soft and gentle voice, is in the warm, soulful and light lyricism, in the soulful sincerity, lightness and expressiveness of his outwardly modest creations.
In the 30s XXcentury Isakovsky became one of the founders of the mass lyric song, and in the war and post-war years he reached new, unprecedented heights in this genre.
Announcement of the topic and purpose of the lesson.
Learning new material.
Teacher's word.
Tall, broad-shouldered, with large features and penetrating eyes that looked through thick glasses, Mikhail Isakovsky was born on January 20, 1900 in a Smolensk village. Forever, the poet clung to his native land with his heart and sang them more than once in poetry and songs:
There is a village in Vskhodsky district,
Where I left my childhood;
And, wherever I went, it sounded to me without stopping,
My land is Smolensk,
My dear land!
Here is my youth
Once I wandered ...
Along the copses
She made bonfires.
Live high
Braided wreaths.
Meeting unexpected
I expected here
Into the distant distance
From here I strove.
Student messages.
1st student: Isakovsky's parents were poor from poor. Of their 13 children, only five survived. Mikhail was the penultimate, 12th child.
Mikhail's mother, Daria Grigorievna, patiently endured the endless hardships and concerns of a large family. She could neither read nor write.
The poet's father - Vasily Nazarovich - is a hard worker, plowman, stove-maker, carpenter, enterprising, economic man. He possessed the rudiments of literacy and eventually got a job as a postman in a neighboring village. Thanks to the newspapers and magazines that his father brought from the post office, Misha quickly became self-taught, learned to read on his own, and then to write.
Illiterate peasants came to him from the surrounding villages with a request to write letters for them to their relatives and friends. Thus, Misha learned to express feelings on paper, to reveal his soul. It is no coincidence that the peculiar genre of "lyric writing" will subsequently occupy a large place in Isakovsky's poetry.
2nd student: In the fall of 1910, Mikhail goes to school, which was located in a neighboring village. Goes straight to the 2nd grade, as she can read and write. However, soon the school had to be abandoned. “I had nothing to go to school, especially in winter,” he later recalls. - Bast shoes, it is true, I knew how to weave, so the shoes were fine, but I had nothing to dress in. So I spent the whole winter, as they say, on the stove. " In addition, there was another serious reason: from the age of 7, he developed acute chronic myopia with retinal inflammation and hemorrhages in the fundus. The teacher, Ekaterina Sergeevna Goranskaya, came to the rescue. She sent the boy a set of textbooks for the 2nd grade, and Mikhail began to study at home.
3rd student: After some time, he again went to school, and even then Mikhail Isakovsky began to show literary talent. And in 1914 one of his student poems was published. It was "The Request of a Soldier" published in the Moscow newspaper "Nov". So, already a teenager, the future poet acquired the first publication.
In 1921, the first collections of Isakovsky's poems were published, and in 1927 - a book by M. Isakovsky. Here they are…
4th student: By the mid-30s, Isakovsky was gaining wide popularity, his poems and songs were heard throughout the country.
Song-like, melodiousness was organically inherent in Isakovsky's poems already in the 20s, and one of them - "Along the Village" - became a kind of spring, the source of the song river in the 30s. And how it began, he himself did not know it, for him it was a complete surprise.
Since the second half of the 30s, Isakovsky has become one of the most popular and beloved songwriters among the people.
The period of the Great Patriotic War was immensely tragic and heroic for our country. A serious eye disease did not allow Mikhail Isakovsky to wear a soldier's greatcoat.
In Glotovka, in his village, his father's house was burned down by the enemies. The Smolensk region found itself under the thumb of the fascist invaders. The poet lived throughout the war in the small town of Chistopol, Tatar Autonomous Soviet Socialist Republic.
Father's house is destroyed and destroyed
On fire, in smoke, my Smolensk region.
All around the war, and, taking up arms,
Both brothers and friends are rushing to the front.
And it's bitter for me that I am sick and sick,
That without me they go to battle.
To the battle for the Motherland, the fate of which
Has become our destiny forever.
View presentation.
Teacher's word.
Isakovsky's lyrics of those terrible years are a real poetic chronicle of the war.
The song"Katyusha" ... Created in 1938-1939, on the very eve of World War II, when the Nazis had already occupied Poland and were preparing to attack our country, the song called for sensitivity, care and purity in the most beautiful of feelings - love for a loved one. Even then, in those peaceful, but already smelling of gunpowder times, "Katyusha" was the most popular of all songs.
Listening to the song "Katyusha".
Apple and pear trees were blooming,
Mists floated over the river.
Came ashore Katyusha
On a high bank on a steep one.
I went out, started the song
About the gray-gray steppe eagle.
About the one she loved
About the one whose letters I took care of.
Oh you are a song, a girl's song,
You follow the clear sun,
And to the fighter on the far frontier
Say hello from Katyusha.
Let him remember a simple girl
Let him hear her sing.
May he protect his native land,
And Katyusha will save love.
Apple and pear trees were blooming,
Mists floated over the river.
Katyusha left the bank,
Carried away the song with her.
Discussion of the poem.
Teacher's word.
In the post-war years, the fate of the song passed through decades, across countries and continents. She was known and sung in many parts of our Earth.
"Katyusha" was a warrior song, a heroine song. No wonder, when a new formidable weapon appeared in the Red Army - guards rocket launchers, the soldiers gave him the affectionate nickname "Katyusha". By order of the commander of this branch of the army, General A.I. Nesterenko, Isakovsky wrote a new poem -"Song about" Katyusha " ... It contained the words:
Both at sea and on land -
On the front-line roads
There is a Russian "Katyusha"
He walks with a fighting step.
He mows down the Germans,
He beats the reptiles clean,
And he won’t ask the surname,
And does not allow to cry.
In Isakovsky's homeland, where the “steep coast” rises above the Ugra, there is today an original monument to the song “Katyusha”: the words from this song are carved on a copper plate attached to a large boulder-stone, and next to it there is a gazebo made of log benches under a canopy. This is not just a grateful tribute to the memory of a glorious fellow countryman. The monument fulfills a life-creating role. By tradition, guys from the surrounding villages, drafted into the army, gather here to say goodbye to the brides, walk, say the cherished words.
But the strongest, most remarkable was the poem written by the end of the war"Enemies burned their native hut" , which later became the most famous song.
Listening to the song "Enemies burned down their home."
Discussion of the poem.
Before us is the story of a soldier-hero, who, having traveled with glory a long path of war, returns to his native land and finds nothing but the ashes on the site of his hut and a grave mound that sheltered his beloved wife.
Pupil: As you can see, the poetry of Isakovsky during the war years had great mobilizing power. This is evidenced by the numerous letters of the front-line soldiers stored in the personal archive of the poet.
Isakovsky's poems and songs of the post-war period convey the triumph of life, which sounds in the very titles of these works:Migratory birds are flying ... ", the poem" Song of the Motherland "," Glory, Russia! "," Glory to the people "," The green field has broken through ... ".Other songs of Mikhail Isakovsky of the post-war years are also remarkable:"What were you", "Hear me, good" and especially a wonderful song to the music of B. Mokrousov"Lonely accordion" .
10. Reading by the teacher of the poem "Three peers"
11. Viewing the presentation "Analysis of the poem" Three peers "
Consolidation of the studied material.
Work on cards in pairs.
Students receive discussion questions and prepare answers.
Closing remarks from the teacher.
Mikhail Isakovsky lived for 73 years. For the past five years, due to a serious illness, he wrote very little.
In the fall of 1967, Isakovsky wrote such heartfelt and very sad lines, which he dedicated to his wife, faithful friend and helper, Antonina Ivanovna.
In the days of autumn.
Not hot, not summer
They get up from behind the river -
Autumn, last
The rest of the days.
The sun also pleases
And the blue air is clear.
But falls and falls
There is a dead leaf from the trees.
More scarlet rowan
Everyone is waiting for girls
But the geese are belated
"Sorry, goodbye!" screaming.
* * *
And the groves are desolate
They whisper dully after me
That soon the flies are white
Will close the white light ...
No, I'm not upset
I do not grieve in vain
I just walk and say goodbye
With everything that I love so much!
I walk like in the early years -
I walk, I wander, I look.
But only "goodbye!"
I don’t say it anymore.
On June 22, 1973, Mikhail Vasilyevich Isakovsky died. Among all the incidental, insignificant that often litters our literature, stage, Isakovsky's creations are perceived as a sip of spring water with its purity and freshness.
In Russian poetry, Isakovsky remains the keeper and successor of classical and folk song lyric traditions. Isakovsky's poetry has long been an integral part of the spiritual culture of our people. The color does not “fly around” from the quiet and soulful creativity of this poet, who expressed the people's soul, simple and wise, like life, beautiful like a song, and the people's love for their beautiful poet “does not pass, no!”.
Summing up the lesson.
Grading.
Homework: memorize the poem "Enemies burned down their home"
Brief autobiography
I was born in January 1900 in the Smolensk region - in the village of Glotovka, Oselskaya volost, Yelninsky district - into a poor peasant family.
He overcame the literacy self-taught - there was no school in our area. When it finally opened, I graduated from it in two winters and in the spring of 1913 I passed my final exams, having received an A in all subjects.
At these exams, which were attended by teachers and graduates of several schools and where the zemstvo chief and some very important priest were sitting at the examiners' table, I read two of my poems, including a poem called “M.V. Lomonosov". I remember its beginning:
Lived with us in the old days
Lomonosov Mikhail.
I read his outcomes, -
How to study he went.
He secretly went out of the house,
And no one knew about that.
How to Moscow with a train of fish
He ran after science ...
The fate of Lomonosov, about whom I learned at school, the fate of a man who came out of "men" and became a great scientist and poet, worried me very much. She even kind of suggested to me that I could do something similar to what Lomonosov did, who left with a train of fish from his native village of Kholmogory to Moscow "for science." In my childish naivety, I attached importance even to the fact that my name and patronymic were exactly the same as those of Lomonosov: Mikhail Vasilyevich. It was both flattering and kind of encouraging me ...
One way or another, but the "Lomonosov Poem" made a real revolution in my life. After I read it, all those present - including those who had simply not noticed me before - unanimously said that I definitely need to study further, that I definitely have literary abilities ... In general, I immediately became the "hero of the day".
And I was really lucky to "learn further", although, unfortunately, not for long.
In the summer of 1915, the teacher V.V. Svistunov prepared me for admission to the fourth grade of the gymnasium (by age I could only be admitted to this grade, not lower). And in the fall, after the entrance exams, I was admitted to the gymnasium of F.V. Voronin in Smolensk. For that time, this was an exceptionally rare case: gymnasiums did not exist then for peasant children.
My luck was also in the fact that the owner of the gymnasium F.V. Voronin did not charge me any tuition fees, and M.I. Pogodin, a member of the Elninsky Zemstvo Council, in charge of public education in the district, procured a small scholarship from the council, at the expense of which I lived.
However, I did not succeed in graduating from the gymnasium: in the fall of 1917 I had to leave it. The reason is material insecurity: money by that time had greatly depreciated as a result of the war and economic disruption, and it was no longer possible to exist on my scholarship.
After leaving the gymnasium, I worked as a teacher for some time in the same Glotovsky school, in which I once studied myself. He worked in his Osielskiy volispolkom - either in the land department, or as an assistant secretary of the volisiolkom.
In August 1918, I joined the Communist Party.
By that time I had published in the newspapers several correspondence from the village and two or three poems. And this is probably why, when the Yelninsky Party Committee decided to publish his own newspaper, I - this was in February 1919 - was appointed its editor - "as a person who is quite literate and familiar with the newspaper."
So I became a newspaperman, although of course I did not know newspaper work and I had to comprehend it from the very beginning.
After Yelnya, I worked for ten years (1921 - 1930) in Smolensk for the Rabochy Put newspaper. And iotom moved to Moscow, where he edited the illustrated magazine "Kolkhoznik", published by the publishing house "Krestyanskaya Gazeta". However, a year later I had to leave the "Krestyanskaya Gazeta": my eyes were seriously ill.
I must say that my eye disease began in childhood, and - every year - my vision was getting worse and worse. It was some kind of curse that haunted me all my life. Eye disease prevented me from studying, working, and just living. She mercilessly thwarted my affairs and plans, and often completely incapacitated me for a long time.
At the "Krestyanskaya Gazeta" my "track record" is over. All because of the same eye disease, I could no longer bind myself to any kind of permanent official position. He worked only at home, focusing mainly on literature.
As it was said before, in my childhood I wrote poetry. However, I consider 1924 to be the real beginning of my poetic work. It was from this year that I began to write not blindly, not at random, not how it will come out, but with a certain understanding of the matter, with a sense of responsibility, with thought about what and how I should do and for what purpose.
In my mind, I even made up a "program" for myself. I saw, felt, came to the conclusion that the material of poetry should not be some kind of fiction cut off from life, not some kind of "free flight of fantasy", but that real reality that surrounds me, that real, genuine life where people, people, country live. Moreover, it seemed to me that from this reality the poet should take its most important, most characteristic features. They should form the basis of each work.
As for the form of poetry, I thought that it should be simple and clear, accessible to as many readers as possible. This, of course, did not mean at all that the poet should write primitively, oversimplified. No, this meant that he should be able to speak even about the most complex caves in the most ordinary words and phrases - ordinary, but at the same time capacious, precise, colorful, poetically convincing. Any so-called "complex poetry", or rather formalistic poetry, was organically alien to me, just as it is to this day.
Even now I agree with my "program", although now I would probably formulate it somewhat differently. The first collection of my poems "Wires in the Straw" was published in 1927. The criticism of the time did not meet him very friendly. And this discouraged me to a certain extent. But soon the "Review" of M. Gorky appeared in print (this was the title of his article, published simultaneously in the newspaper Izvestia and in the journal "Siberian Lights"), in which he spoke very positively about "Wires in Straw". The “review” made me happy, strengthened my confidence that I was on the right track.
I have published quite a few collections: after "Wires in Straw" there was a collection "Province", then "Masters of the Earth", then others. But it would be more accurate to say that all my life I have been writing, as it were, the same book, expanding and supplementing it with more and more new works.
Beginning in the mid-thirties, songs based on my poems began to appear. Many of these songs have become quite widespread both in our country and abroad.
In my literary work, a fairly large place was occupied by translations. I translated mainly from Ukrainian and Belarusian (poems by T.G. Shevchenko, Lesia Ukrainka, Yanka Kupala, Yakub Kolas, as well as contemporary Ukrainian and Belarusian poets). But I translated - though not so much - from other languages as well: from Hungarian, Serbian, Italian ...
Both my individual poems and entire collections were printed many times in the languages of the peoples of the Soviet Union, as well as abroad: in Bulgaria, Czechoslovakia, Romania, Hungary, China, Italy and other countries.
Questions and tasks
- What are the main milestones in the life of M.V. Isakovsky.
- What did you find unusual in the fate of a poet?
- What works of M.V. Do you know Isakovsky? How do they attract you?
