The main milestones of Isakovsky's life path. "The main stages of the creative path

Milestones of the life path. Bryullov Karl Petrovich 1799 - 1852 - 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. Ivanov 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. Gorgeous are his portraits and paintings Horsewoman 1832 Yu.P. Samoilova with a governess and a black boy 1832 - 1834. He painted sketches and paintings on mythological and historical themes, genre - on the theme of the life of Italian peasants. The most famous is Italian Noon 1827. Bryullov's main work 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 academism. Nevertheless, the picture, thanks to Bryullov's desire for psychological truth and historical authenticity, attempts to represent the diverse experiences of the masses of people at the time of disaster, made a stunning impression on the public. In the future, a number of large historical compositions conceived by Bryullov, including the painting The Siege of Pskov, 1839-1947, did not receive the final embodiment. The artist continued to be a magnificent master of the portrait genre, as evidenced by the portraits of N.V. Kukolnik 1836, V.A. Zhukovsky 1837-1838, I.A. Krylova 1839 and others.

One of the best in the late work of the artist is the portrait of Yu.P. Samoilova with her adopted daughter until 1842 Bryullov was also engaged in teaching activities. In 1836 he received the title of professor of the second degree in 1846 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 was deteriorating, and in 1849 he went abroad for treatment. Traveled to Germany, England, Spain. He died in Italy of a heart attack and is buried in a Roman cemetery.

End of work -

This topic belongs to:

K.P. Bryullov - portrait painter

His paintings are kept in the Russian Museum of St. Petersburg, in France, Italy, Germany. During his life journey, he knew glory 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.

Ministry of Education of the Russian Federation

municipal educational institution

aesthetic gymnasium

Literature examination essay

Smolensk region

People's Poet

The work of a student of grade 9 "B"

Dzhurinsky Sergey

Supervisor: Selivanova M. P.

Smolensk

Plan:

Introduction.

I The small homeland of the poet

1. “I grew up there, among the meager fields,

Where all the ways were lost in the fog … »

2. The role of the poet's father in his knowledge of the world around him.

3. The origin of the genre of "lyrical writing" in the work of Isakovsky.

4. Years of schooling. First steps in the literary field. First teachers.

5. Ginazit Isakovsky during the revolution.

II Stages of a long journey

1. The formation of Isakovsky as a poet during the Civil War.

2. The influence of various poetic trends on the poet's work.

3. The first literary collections. Isakovsky's poetic style.

III The creative maturity of the poet

1. Chronicle of the war in the lyrics of the poet.

3. Prose, folklore, letters, articles - as a literary gift of Isakovsky.

4. The last years of Isakovsky's life

Conclusion.

Introduction

Why, out of many Smolensk poets, good and different, did I choose Mikhail Vasilyevich Isakovsky? Yes, because in the extraordinary fate of an ordinary peasant guy, who merged with his native country in his heart, all the stages of her path were reflected, and he grew into a beloved poet of millions. From Pushkin to Nekrasov and from them to Yesenin, Tvardovsky, Isakovsky, one of the most fruitful ideological and artistic lines of Russian poetry stretched - the line of organic folk, artistic perfection, clarity and simplicity.

Boundless are the manifestations of human beauty, with extraordinary diversity it manifests itself in life and in art, in particular in poetry. There is beauty quite “simple”, the most ordinary, at first glance even inconspicuous, but upon close contact with it, it touches the soul with its artlessness, naturalness. Such inconspicuous, discreet beauty marked the quiet and gentle lyrics of Mikhail Isakovsky. Here the poet speaks of the departed spring of his youth:

My non-gold passed,

My unvoiced, passed.

And let her be like this -

She is so sweet to me.

These light and sad poems reflected not only a particle of life, but also the aesthetic position of the poet. Outwardly dim, emphatically modest and simple poetry conquers him with inner strength, moral freshness and purity, organic musicality - qualities that are so dear to us in our stormy and disturbing time.

In Russian poetry, Isakovsky remains the keeper and successor of classical and folk song lyrical traditions.

Poems and songs of Isakovsky, imbued with warmth and kindness, stronger, deeper than other loud phrases and stormy rhythms stand up for the great goals of our society, for human perfection and beauty.

Isakovsky's poetry has long been an integral part of the spiritual culture of the Russian people.

In my essay, I will talk about the life and creative work of Isakovsky, about how he was formed, how his skill grew, with what aesthetic values he enriched Russian poetry.

I Small Motherland of the poet

"I grew up there, among the meager fields,

Where all the paths were lost in the fog ... "

When great changes are brewing in everything around us and the voices of a new life seem to be already floating in the very air, the artist of the word has the great right to speak in the language of sharply unusual images, unusual rhythms, to “break” the familiar and directly, frankly turn to the search for novelty, to make new, unprecedented with its password.

But there is another right - to talk about the new in the language of the fathers. Do not break anything on purpose, do not come out with manifestos about the liquidation of the language of the classics, do not make statements about the obsolescence, voicelessness or burriness of iambs and trochees. With the same word that spoke of the grief of the people, with the same verse that conveyed so many cries and painful groans, which was the echo of so many ruined lives, so many sad, dreary hopeless tunes - in the same language, with the same verse, speak of a new one, extraordinary.

One of the remarkable Soviet poets who, from the very first steps in literature, quite consciously continued the traditions of Russian poetic classics, was Mikhail Vasilyevich Isakovsky. He showed that speaking the "same language" in the art of poetry is not only a difficult task, but also a truly innovative one.

Mikhail Vasilyevich Isakovsky - the creator of modern folk songs. Born and raised in a poor Smolensk village. Native land of M. V. Isakovsky - Smolensk region, the former Elninsk district, the village of Glotovka. The poet was born there on January 7, 1900; Forever, the poet clung to his native land with his heart and more than once sang them in poems and songs: “There is such a village in the Vskhodsky district where I left my childhood, and wherever I went, her warm, affectionate voice sounded to me without ceasing” .

Is it not in this love for one's native places that the origins of the sincere poetry that permeates all the patriotic lyrics of Mikhail Isakovsky. The poet himself spoke about this: “Yes, I was born and raised in the Smolensk region. And although I lived there in total less than in other places, the Smolensk land still remains for me the closest, the most dear. And this is not because I love that big, great land less, which we all call our mother - Motherland - Motherland with a capital letter ... The point here, apparently, is something else. The places where I was born and raised seem to me the most dear and unforgettable, because there, as it were, a part of my life, a part of myself remained there. There - in these Smolensk places, that which later became the goal of my life was born and arose - my poetry arose. It is she, the Smolensk land, who gave me her thoughts, her melodies, her words, her colors.

This love was not easily born. Through sorrows and darkness the poet carried it in his heart.

The pre-revolutionary Smolensk region was a deaf and poor region. Even in the name of Isakovsky's native village there was something gloomy and unpleasant. There was a legend that in ancient times the rich, greedy peasant Glot, who oppressed the poor peasants, was the first to settle in these parts. It was a hopeless provincial wilderness, which Isakovsky himself later recalled:

"I grew up there, among the meager fields,

Where all the paths were lost in the fog,

Where are the mothers, cradling children,

They sang about their bitter fate in advance.

Isakovsky's parents were poor among the poor. Of their thirteen children, only five survived. Michael was the penultimate child. The family did not make ends meet. There was not enough bread grown on a piece of land until the new harvest, there was nothing to feed the family in the winter.

For the rest of his life, the memories of a bleak, hungry childhood crashed into Isakovsky’s sensitive soul: “A bitter, bitter childhood in a land where“ the land is stingy for the harvest, and there is no such land itself ”, in an area where even a splinter was saved and“ in the evenings no fires are lit anywhere.” And then there's that incurable, damned eye disease.

The role of the poet's father in his knowledge of the world around him.

But the growing boy Misha also had bright moments in his life, which did not allow the flaming light of poetic talent to die out. Father Vasily Nazarovich played a big role here - a zealous worker and a plowman, and a stove-maker, and a carpenter, an enterprising, economic man.

In order to feed a large family, in the fall, after the end of agricultural work, he went “on a hike”, i.e. in search of earnings. He did not spare his feet and, according to the poet's stories, he traveled almost the entire country - the Smolensk region, Belarus, even reached St. Petersburg. He possessed the makings of a letter and eventually got a job as a postman in the neighboring village of Oselye, where the volost government was located.

Vasily Nazarovich thought a lot about the future of his son, sought to give him an education, to reveal the world around him for him. His work at the post office contributed to this. Every week he went with the mail to the Pavlinovo station, often taking his son with him on a trip. These trips for a peasant boy from a remote village were an acquaintance with a large, previously unknown world. For the teenager Isakovsky, it was a joyful event to see a train and a telegraph at the Pavlinovo station.

The origin of the genre of “lyric writing” in the work of Isakovsky

There was another important consequence of trips to the station. Thanks to the newspapers and magazines that his father brought from the post office, Misha became self-taught to read and write, learned to read and write on his own. Again, my father helped me learn to read and write. Mikhail Isakovsky became, in his words, almost the only literate person in the entire district. From the surrounding villages, illiterate peasants came to him with a request to write letters for them to their relatives and friends. These were the first literary works» a ten-year-old boy. He wrote, according to the opinions of the villagers, “well, well-organized and, most importantly, “pitifully.” Especially, as Isakovsky later recalled, he was trusted to compose letters to their husbands and relatives by illiterate soldiers and other women offended by fate.

Grade 8 Date __________________ Russian literature

Goals:

Get acquainted with the work of the wonderful songwriter, Mikhail Vasilyevich Isakovsky, with his songs, which have become popular, loved by the people;

Help to see that the poet's work is connected with the 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, sing his songs;

To promote the upbringing of love for the Fatherland, for the native land,

to folk song.

To develop the creative abilities of students, the ability to work with text;

Cultivate 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.

Checking homework.

Motivation of educational activity of students.

Teacher's word.

In the history of Russian Soviet literature, Mikhail Vasilyevich 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 -unique 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 penetrating and light lyricism, in the sincerity, lightness and expressiveness of his outwardly modest creations.

In the 30s XXcentury Isakovsky became one of the founders of the mass lyrical 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 looking through thick glasses, Mikhail Isakovsky was born on January 20, 1900 in the Smolensk village. Forever, the poet stuck his heart to his native lands and more than once sang them in poems and songs:

There is such a village in the Vskhodsky district,

Where did I leave my childhood?

And wherever I went, it sounded to me without ceasing,

My Smolensk region

My native land!

Here is my youth

Once wandered...

Through the copses

Made fires.

Live high

Weaved wreaths.

Meetings unexpected

Waiting here

Into the far distance

Aspired from here.

Student messages.

1st student: Isakovsky's parents were poor among the 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 worries 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 person. He owned the rudiments of the letter 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 to read and write, independently learned to read, and then write.

From the surrounding villages, illiterate peasants came to him with a request to write letters for them to their relatives and friends. Thus, Misha learned to express feelings on paper, to open his soul. It is no coincidence that the peculiar genre of "lyrical writing" will later occupy a large place in Isakovsky's poetry.

2nd student: In the autumn of 1910, Mikhail goes to school, which was located in a neighboring village. He goes straight to the 2nd grade, as he can both read and write. However, the school soon had to leave. “I had nothing to go to school, especially in winter,” he later recalls. - Bast shoes, it’s true, I knew how to weave, so things were going well with shoes, but I didn’t have anything to wear. And 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 inflammation of the retina and hemorrhages in the fundus. A 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 "A Soldier's Request", published in the Moscow newspaper "Nov". Yes, as a teenager future poet Bought the first post.

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-1930s, Isakovsky was gaining wide popularity, his poems and songs were heard all over the country.

Song, 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, for him it was a complete surprise.

From the second half of the 30s, Isakovsky became one of the most popular and beloved songwriters among the people.

Immensely tragic and heroic for our country was the period of the Great Patriotic War. Mikhail Isakovsky, a serious eye disease, did not allow him to put on a soldier's overcoat.

In Glotovka, in his village, his father's house was burned down by enemies. The Smolensk region was under the heel 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,

In fire, in smoke, my Smolensk region.

Around the war, and, taking up arms,

Both brothers and friends hurry to the front.

And it is bitter for me that I am sick and sick,

That without me they go to battle.

To fight for the Motherland, whose fate

Forever became our destiny.

Viewing a presentation.

Teacher's word.

Isakovsky's lyrics of those terrible years are a real poetic chronicle of the war.

The song had an unusual fate and worldwide fame, which has not faded to this day."Katyusha" . Created in 1938-39, 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 blossomed

Mists floated over the river.

Katyusha went ashore

On a high bank on a steep one.

Came out, started a song

About the steppe gray eagle.

About the one you loved

About the one whose letters she kept.

Oh, you're a song, a girl's song,

You fly after the clear sun

And a 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 blossomed

Mists floated over the river.

Katyusha left the shore,

Carried away the song.

discussion of the poem.

Teacher's word.

In the post-war years, the fate of the song lay through decades, through countries and continents. She was known and sung in many parts of our Earth.

"Katyusha" was a warrior song, a heroine song. Not without reason, when a new formidable weapon appeared in the Red Army - guards jet mortars, the soldiers gave him the affectionate nickname "Katyusha". By order of the commander of this branch of the troops, General A.I. Nesterenko, Isakovsky wrote a new poem -"Song about Katyusha" . It contained the words:

Both at sea and on land

On the roads of the front

The Russian "Katyusha" is walking,

Walks at a fighting pace.

Cleaning up the Germans

I clean up the bastards,

And he won't ask for his last name

And does not cry.

In the homeland of Isakovsky, where the “steep coast” rises above the Ugra, today there is an original monument to the song “Katyusha”: words from this song are carved on a copper plate attached to a large boulder stone, and next to it is a gazebo from log benches under a canopy. This is not just a grateful tribute to the memory of a glorious countryman. The monument plays a life-creating role. By tradition, the guys from the surrounding villages, drafted into the army, gather here to say goodbye to the brides, walk, say the cherished words.

But the most powerful, most remarkable was the poem written by the end of the war"Enemies burned their own house" which later became a famous song.

Listening to the song "Enemies burned their own hut."

discussion of the poem.

Before us is the story of a hero-soldier who, having passed the long path of war with glory, returns to his native land and finds nothing but ashes in the place 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 a great mobilizing power. This is also evidenced by the numerous letters of 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…”, poem “Song of the Motherland”, “Glory to Russia!”, “Glory to the people”, “Field greenery 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 music by B. Mokrousov"Lonely Accordion" .

10. Teacher reading the poem "Three peers"

11. Viewing the presentation "Analysis of the poem "Three peers"

Consolidation of the studied material.

Work on the cards in pairs.

Students receive questions for discussion and prepare answers.

Final word 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 autumn of 1967, Isakovsky wrote such penetratingly clean and very sad lines, which he dedicated to his wife, a faithful friend and assistant, Antonina Ivanovna.

In the days of autumn.

Not hot, not summer

Rising from the river

Autumn, last

The rest of the days.

And the sun pleases

And the blue air is clean.

But it falls and falls

Dead leaf from the trees.

More mountain ash scarlet

Everyone is waiting for the girls

But the geese are belated

"Sorry, goodbye!" scream.

* * *

And the groves are deserted

They whisper softly to me,

That soon the flies are white

Close the white light...

No, I'm not upset

I don't really grieve

I'm just going to say goodbye

With everything I love!

I walk, as in the early years, -

I walk, I wander, I look.

But only "goodbye!"

I don't say anymore.

On June 22, 1973, Mikhail Vasilyevich Isakovsky died. Among all the random, insignificant things that often litter 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 lyrical traditions. Isakovsky's poetry has long been an integral part of the spiritual culture of our people. The quiet and penetrating work of this poet does not “fly around the color”, which expressed the soul of the people, simple and wise, like life, beautiful like a song, and the people’s love for their wonderful poet “does not pass, no!”.

Summing up the lesson.

Grading.

Homework: memorize the poem "Enemies burned their own hut"

Composition

In the end creative way Mikhail Vasilyevich Isakovsky wrote an autobiographical book “On the Elninskaya Land” (1969). It tells about the main stages of his creative path. 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 that arose in childhood to become a writer, a poet, would have remained unfulfilled. Literary activity of Isakovsky began in the newspaper of the small town of Yelnya near Smolensk. He himself considers 1924 to be the beginning of poetic creativity, although he began to write poetry very early.

The first collection of Isakovsky's "Wires in the Straw" was published in 1927 and was noticed by M. Gorky: "His poems are simple, good, very exciting with 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 one. As you know, the creative heritage of the Russian classic is very rich in terms of genre: he wrote poems, songs, elegies, satires, etc. Isakovsky also worked in many genres, but achieved particular success in the song. Truly universal, legendary is the glory of his “Katyusha”! Who does not know his songs “Farewell”, “Spark”, “Migratory birds are flying”, “There is no better color” and many others!

* An important remark about Isakovsky's songs was made by his countryman A.T. Tvardovsky: “The words of Isakovsky’s songs are, with few exceptions, poems that have an independent content and sound, a living poetic organism, as if suggesting the melody with which it is destined to merge and exist together. Isakovsky is not an “author of texts” and not a “songwriter”, but a poet whose poems are organically inherent in the beginning of song, which, by the way, has always been one of the important features of Russian lyrics.

The secret of the widest popularity of Isakovsky's songs and poems is partly revealed when you get acquainted with his creative laboratory. He believed that you need to “be able to even about the most difficult things speak in the most ordinary words and phrases - ordinary, but at the same time capacious, precise, 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 regard, the verses of the Isakov 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 that in the days of the severe struggle
* None of us forgot him.

And indeed, at that time, literally every word of the poet resonated in the hearts of people - let's remember "In the frontline forest", "Russian woman", "Oh, my fogs ..." and much more. In the postwar years, the activities of Isakovsky as a translator intensified. 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 young people, spoke about the experience of his creative work.

Ministry of Education of the Russian Federation municipal educational institution aesthetic gymnasium

Literature examination essay
Smolensk region

People's Poet

The work of a student of grade 9 "B"

Dzhurinsky Sergey

Head: Selivanova M.P.

Smolensk

Introduction.

I Small homeland of the poet

2. The role of the poet's father in his knowledge of the world around him.
3. The origin of the genre of "lyrical writing" in the work of Isakovsky.
4. Years of schooling. First steps in the literary field. First teachers.
5. Ginazit Isakovsky during the revolution.

II Stages of a long journey

1. The formation of Isakovsky as a poet during the Civil War.
2. The influence of various poetic trends on the poet's work.
3. The first literary collections. Isakovsky's poetic style.

III Creative maturity of the poet

1. Chronicle of the war in the lyrics of the poet.
2. The most popular of all Soviet songs.
3. Prose, folklore, letters, articles - as a literary gift
Isakovsky.
4. The last years of Isakovsky's life

Conclusion.

Introduction

Why, out of many Smolensk poets, good and different, I chose
Mikhail Vasilyevich Isakovsky Yes, because in the extraordinary fate of an ordinary peasant guy, who merged with his native country in his heart, all the stages of her path were reflected, and he grew into a beloved poet of millions. From
Pushkin to Nekrasov and from them to Yesenin, Tvardovsky, Isakovsky stretched one of the most fruitful ideological and artistic lines of Russian poetry - the line of organic nationality, artistic perfection, clarity and simplicity.

My non-gold passed,

My unvoiced, passed.

And let her be like this -

She is so sweet to me.

In Russian poetry, Isakovsky remains the keeper and successor of classical and folk song lyrical traditions.

Isakovsky's poetry has long been an integral part of the spiritual culture of the Russian people.

In my essay, I will talk about the life and creative work of Isakovsky, about how he was formed, how his skill grew, with what aesthetic values he enriched Russian poetry.

I Small Motherland of the poet

"I grew up there, among the meager fields,

Where all the paths were lost in the fog ... "

One of the remarkable Soviet poets who, from the very first steps in literature, quite consciously continued the traditions of Russian poetic classics, was Mikhail Vasilyevich Isakovsky. He showed me what to say
"the same language" in the art of poetry is not only a difficult task, but also a truly innovative one.

Mikhail Vasilyevich Isakovsky - the creator of modern folk songs.
Born and raised in a poor Smolensk village. Native lands of M. V. Isakovsky
- Smolensk region, former Elninsky district, the village of Glotovka. There on the seventh of January
The poet was born in 1900, where he spent his childhood and youth, where he began to write poetry while at school. Forever, the poet clung to his native land with his heart and more than once sang them in poems and songs: “There is such a village in the Vskhodsky district where I left my childhood, and wherever I went, her warm, affectionate voice sounded to me without ceasing” .

This love was not easily born. Through sorrows and darkness the poet carried it in his heart.

The pre-revolutionary Smolensk region was a deaf and poor region. Even in the name of Isakovsky's native village there was something gloomy and unpleasant.
There was a legend that in ancient times the rich, greedy peasant Glot, who oppressed the poor peasants, was the first to settle in these parts. It was a hopeless provincial wilderness, which Isakovsky himself later recalled:

"I grew up there, among the meager fields,

Where all the paths were lost in the fog,

Where are the mothers, cradling children,

They sang about their bitter fate in advance.

The role of the poet's father in his knowledge of the world around him.

The origin of the genre of “lyric writing” in the work of Isakovsky

There was another important consequence of trips to the station. Thanks to the newspapers and magazines that his father brought from the post office, Misha became self-taught to read and write, learned to read and write on his own. Again, my father helped me learn to read and write. Mikhail Isakovsky became, in his words, almost the only literate person in the entire district. From the surrounding villages, illiterate peasants came to him with a request to write letters for them to their relatives and friends. These were the first "literary works" of a ten-year-old boy. He wrote, according to the reviews of the villagers, “well, smoothly and, most importantly,
"pityfully." Especially, as Isakovsky later recalled, he was trusted to compose letters to their husbands and relatives by illiterate soldiers and other women offended by fate.

“These letters,” he said, “usually wrote in secret from my father-in-law or mother-in-law, and I never told anyone about them. And I had complete confidence.

You used to sit somewhere in a semi-dark cell and write, perched on a chest. And next to her is a sad and silent woman. And with such hope she looks at the pen running over the paper, as if indeed my weak childish hand could lift from her shoulders the whole burden of resentment and grief. You start reading what is written, she is in tears.

Well, what else to add?

And she cries and cries, and can’t utter a word. Responses to such letters were also given and read "in confidence." I usually read them too.

These letters were of no small importance for the moral and aesthetic development of the future poet. Thanks to the letters, the impressionable and inquisitive teenager gained access to the innermost feelings and thoughts of the peasants; I found out who has what fate, who has what life circumstances. On the other hand, he learned to sincerely express human feelings on paper, to open his soul. It's no coincidence that a peculiar genre
"lyrical writing" will later take a large place in poetry
Isakovsky. The poet will not only speak in his works from another person, but will also directly give the form of a letter to a number of his poems: “Letter from the Village”, “Letter”, “Letter to the Village Council”, “First Letter”, “Letter to Countrymen”, etc. P.

Years of schooling. First steps in the literary field. First teachers.

In the autumn of 1910, in the volost village of Autumn, which is half a kilometer from
Glotovki, an elementary zemstvo school was opened. Mikhail Isakovsky, who had missed years, but already knew how to read and write, was accepted immediately into the second grade.

“I had nothing to go to school, especially in winter,” he later recalled. Bast shoes, it’s true, I knew how to weave myself, so things were going well with shoes, but I didn’t have anything to wear. And so I spent the whole winter, as they say, not in the stove.

In addition, there was another reason: the boy, who had suffered from an eye disease since childhood, could not see well even from the first desk, was afraid of offensive nicknames. A teacher, Ekaterina Sergeevna Goranskaya, came to the rescue. She sent the boy full set textbooks for the second grade, and he began to do his best at home. From the autumn of 1911 he was able to go to school and graduated from it in the spring of 1913, having received "5" in all subjects.

Already at school, Mikhail began to show literary talent.
In the summer of 1912, he began to write poetry, and two of them - "Saint" and "M.V.
Lomonosov”, were read to them at the request of teachers at the final exam.
Mikhail was very worried before the performance: he had to read in the presence of unfamiliar teachers, as well as the priest and the zemstvo authorities, who were part of the examination committee. The success was complete. The barefoot, poorly dressed boy, whom no one had noticed before, became the subject of attention.

In 1914, when Isakovsky, with the help of teachers - E.S. Goranskaya and
V.V. Svistunov, stubbornly prepared for entrance exams in the fourth grade of the gymnasium (it was necessary to master a three-year course in a few months), one of his student poems was published.

It was called "A Soldier's Request". The poem was published in the Moscow newspaper Nov, where it was sent without the knowledge of the author by one of Isakovsky's teachers. So already as a teenager, the future poet acquired the first publication.

In the fall of 1915, Isakovsky entered the fourth grade of Voronin's private gymnasium in Smolensk.

The doors of a secondary educational institution were opened for a poor peasant son by a lucky chance. To the zemstvo four-class school in the village
In the fall, during the final exams of 1913, a member of the Elninsk Zemstvo Council, who was in charge of public education in the district, Mikhail Ivanovich, arrived
Pogodin, grandson of the famous historian. He drew attention to a tall, thin boy with glasses, who brilliantly answered the exam and read his poems. Pogodin took an ardent part in the fate of the gifted teenager. At his own expense, he took him to eye doctors in
Smolensk, and then got him into a gymnasium, procuring a scholarship from the Elninka Zemstvo Council - 20 rubles a month. In addition, the boy was financially helped by teachers A.M. Vasilyeva, A.V., Tarbaeva, V.V. Svistunov. The poet forever preserved the grateful memory of these sensitive, sympathetic people who played such an important role in his life. In fact, they sealed his fate. E.S. did a lot for him. Goranskaya. All the guys loved Ekaterina Sergeevna very much for her deep knowledge, kindness, exactingness and justice. Young Isakovsky was in awe of her, of the one who taught him to appreciate and understand literature, true kindness and beauty: “We all loved her so sincerely,” the poet later said, “that we were very ashamed if we failed to fulfill her requirements.”

It was Goranskaya who first felt something was wrong with the eyes of her student and hired a cab herself to take him to the doctors in Yelnya. She carefully selected books for him and taught him individually when he was unable to go to school. She instilled in him a love of poetry and literature; she was the first to notice his talent and directed him in every possible way.

Alexandra Vasilievna Tarbaeva taught the first grade in a rural school when Misha Isakovsky was accepted as an external student in the second. She shared with E.S.
Goransky all the troubles and worries about his fate.

A huge role in the fate of the future outstanding poet was played by M.I. Pogodin
- a charming Russian intellectual. When Isakovsky was threatened with the expulsion of their gymnasium for non-payment of the tuition fee, Pogodin quickly came to the rescue. Without the help of these wonderful people, Isakovsky, perhaps, would not have become what he became in culture and poetry.

Despite all the cares of kind people, Isakovsky lived very poorly. In his own words, he "occupied a small room, ate anyhow and with anything." Loneliness and lack of friends added to the material difficulties. With all classmates, he "converged tight." Still: after all, he studied with the children of wealthy parents - well-groomed noble and merchant sons. In their circle, a boy from a poor working-class family, a "muzhik", felt alienated. Their tastes, interests, desires, opportunities were completely different. Under such conditions, a sense of dignity and independence was formed in the character of a peasant teenager.

In the gymnasium, Isakovsky continued his poetic experiments, but the current teachers no longer supported him. The poet bitterly recalled how “once he tried to hint at his “involvement in literature”: the gymnasium students were given an essay on the topic: “Description of the Caucasus based on the works of A.S. Pushkin.
Not indifferent to Pushkin at school, the boy decided to express his thoughts in poetic form:

“So this is what you are, my sacred Caucasus,

I tried with all my heart

To see you as a child at least once,

To you I was carried away by a dream.

He anxiously handed over the notebook, secretly expecting praise and a good mark. But the opposite happened. The teacher of literature did not put any mark and wrote in red ink under the essay: “I ask you to accurately complete the assigned work, not allowing inappropriate liberties.”

And yet, Isakovsky did not stop composing. Of those written in the gymnasium, the best is the poem "The Wayfarer" (1916), which was included in one of the early youth collections "On the Steps of Time". The poem reflected the mood of the novice poet in a gymnasium environment alien to him. It opens with a gloomy, sad picture. An exhausted traveler (the poet himself is guessed in him), straining all his strength, makes his way to a distant lodging for the night.
The “darkness of the autumn night” is thickening, “the storm is wailing”, “the road is covered with cold-darkness”, but “the night is far away”.

Thus, the cold and darkness of life nourished the dream of light and happiness, prompted them to struggle. Of course, these are still very weak, naive verses, and the dream is abstract, unclear. Nevertheless, these verses characterize the direction of the novice poet's search. If in adolescence the life of a "poor little corner" gave rise to a rush to the light, knowledge, called for "campaigns" for the sciences, then rotation in an alien social environment, expanding knowledge of the world contributed to the formation of the young poet's class self-awareness, led to the understanding that "life is in the fight." With this feeling, young Isakovsky enters the historic year 1917.

Ginazit Isakovsky during the Revolution.

During the February bourgeois-democratic revolution, Isakovsky studied in the sixth grade of the Smolensk gymnasium. The revolutionary events touched a significant part of the students, drew them into their orbit.

On March 5, 1917, on the day of the overthrow of the autocracy, general meeting high school students educational institutions
Smolensk, which elected the Executive Committee of its youth organization. The Committee established contact with organizations of workers and soldiers, began to assist the provisional city authorities in maintaining order in the city; organized a fundraiser to help revolutionaries released from prisons.
A youth club and its own magazine, Our Dawn, were created.

The revolutionary-minded schoolboy Isakovsky took an active part in all this work. In the second half of March, the first issue of the magazine was published with the epigraph of I. Nikitin's poem:

"Our young tribe is maturing,

Your path is wide ahead.

The magazine was edited by V. Svistunov, a teacher and friend of Isakovsky, who led him to active cooperation in the magazine. On the fifth page
Isakovsky published his poem "To Comrades". Imperfect in artistic terms, it was permeated with revolutionary pathos, expressed the mood of the young poet in this turbulent time.

Isakovsky studied at the Voronin Gymnasium in Smolensk for two years, and in the fall
In 1917, he transferred to the Yelninskaya gymnasium - closer to home. However, there was no need to study further: the family was in great need and it was necessary to take up work. He leaves the gymnasium, leaving the sixth grade. This was the end of his education. Subsequently, he was engaged in self-education all his life, as he could not continue systematic studies due to eye disease.

Seventeen-year-old Mikhail Isakovsky accepted the Great October Revolution joyfully, with all his heart. It is no coincidence that subsequently, in a sincere
“Song of the Revolution,” he addressed her as a living, beloved creature:

You are alone - for the first time in a thousand years

She extended her hand to the man.

And in his autobiography, like Mayakovsky, who exclaimed "My revolution!", He wrote: "I cannot imagine my existence apart from the life of the people, from the October Revolution."

In the year of the Great October Revolution, Isakovsky began his career: he becomes a teacher elementary school, enjoys great confidence among the workers - the villagers. He is elected to the village volost Council as an assistant secretary.

II Stages of a long journey

Formation of Isakovsky as a poet during the Civil War.

In the spring of 1918, a dramatic episode occurred in the biography of Isakovsky, which almost cost him his life. The impoverished peasantry of the Smolensk region more than once sent messengers for bread to the fertile southern regions of Russia. Wanting to help the starving villagers, Isakovsky in March 1918, together with a friend
Filimon Titov goes on a similar trip to bring a carload of bread for the village. They visited Kursk, and then reached Rostov by
Don, where they were told that a barge with wheat was moving along the Don and that all this bread was supposed to be sent by special train to the Smolensk province. But there was a civil war, the white-Cossack troops were advancing on Rostov. The barge never arrived, the train did not run. Isakovsky and his friend went home on foot, but near Novocherkassk they were detained by a White Cossack patrol, imprisoned and, as it turned out later from the documents, they were sentenced to death. Only the entry into the city of the Red Army saved them from death.

The horror of the experience did not weaken the will of the young Isakovsky, did not shake his revolutionary convictions.

In the autumn of 1918 he joined the CPSU(b). A long period of Isakovsky's journalistic newspaper work begins, at the same time his formation as a poet takes place. The revolution needed literate people from the worker-peasant strata.

At the beginning of 1919, the party sent Isakovsky to Yelnya as the editor of the county newspaper, which was then in a state of disrepair. As Mikhail Vasilyevich recalled, in fact, there was no newspaper yet - it had to be created anew. He worked here for two years, and he worked literally alone. All the material, from the first to the last line, had to be rewritten by hand: there was neither a typewriter nor a typist. He wrote articles and feuilletons, corrected, participated in the layout. The newspaper was printed by hand.
Fatigue at work influenced the fact that Isakovsky's eye disease progressed.

In 1921, Isakovsky was transferred to work in the Smolensk provincial newspaper Rabochy Put. In various positions (producer, secretary, head of department, etc.), he worked here for ten years (not counting several long breaks associated with eye disease).

In the same year, 1921, the first collections of poems were published in Smolensk.
Isakovsky: "Along the steps of time", "Takes" - a campaign poem
"Four hundred million" and a book of slogans "Fight against hunger", "Fighting slogans of the day", created on the instructions of the provincial party committee.

These little books are curious - living evidence of the difficult birth of new poetry at the beginning of the October era. Thin, one and a half to two dozen pages, printed in small numbers on mediocre paper, collections of poems cost
200 rubles, and some did not have a marked price at all, because they were distributed among the people for free, as a means of revolutionary agitation and propaganda.

These were not yet fully mature, but to some extent already socially significant fruits of the initial, student period of Isakovsky's work, which lasted until the mid-twenties.

Although Isakovsky's creative upswings have not yet taken place, there are already books, they are being read, and they seriously reflect the tormenting search for the beginning poet of his place, his path. In the bud they contain a lot of what will later be raised by him to a truly poetic height.

In the preface to the collection "On the Steps of Time", which includes poems 1914-
1921, the author states: "The sixteen poems placed here are the first stone of that creative publication that I will build throughout my life."

Of course, the touchstone was not yet strong, but the builder's enthusiasm was great, and construction began.

Having not yet developed his own style of writing, the young poet, sometimes without noticing it himself, borrows and imitates. Echoes of various poetic traditions, styles, manners, intricately intertwined, are heard here and there in his early collections. Traditional, bookish often displaces personal impressions from real life. Thus, in the poem about the world war "From the chain of alarms", written in the historical year 19, we still do not feel the signs of that bourgeois-revolutionary time when the poem was written. But we will meet in it such and similar lines:

“From tears and sobs I weave chords,

Full of mysterious tenderness.

We read this, and the “sobbing chord” of the early
Mayakovsky. Some of the intonations of the pre-October Mayakovsky, his examples of the contrasting structure of the image, are also recognizable in the poem "Two Worlds" (1920):

"Streets, caressed by the sun,

In the blossoms of spring drowned,

But the faces of the workers seemed like black masks,

Their damp cellars seemed like a prison.

The influence of various poetic trends on the work of the poet.

No matter how Isakovsky later denied this, proletarian poetry still had a strong influence on him at that time. And how not to influence if
Proletkult in 1917-1920 was the main and most massive literary organization, merging proletarian and poor peasant writers to build a new, proletarian literature and culture. Isakovsky had a direct relationship with the Smolensk provincial Proletkult, communicated with prominent representatives of it. Together with S. Stradny, he participated in proletarian publications. His own works were published by the publishing house of the provincial Proletkult.

The pretentious manner of writing typical of all proletcultists, extreme hyperbolization, when figurative means and associations were scooped from the cosmic dictionary, abstract chanting of machines and electricity make themselves felt in Isakovsky's poems - in the form of "electro-solar rays",
"electric suns", etc.

And yet, even the inept, "clumsy", in his own words, the poems of the young Isakovsky from the point of view of aesthetics cannot be identified with the planetary-cosmic poetry of the Proletcultists.

The main thing that distinguishes him from the proletarians is already in the early collections,
- this is closeness to the classics, especially to Nekrasov. Gravity, although not yet sufficiently conscious, towards the truly folk, national, towards poetic accuracy and naturalness.

The quest of the beginning Isakovsky reflected the common features of our young literature of that time, not excluding weaknesses and contradictions.

Soviet literature of the period 1917-1920 can be called the literature of excited lyrical responses to the October Revolution. It was dominated by poetry, lyrics, which have the ability to quickly and directly respond to what is happening, to instantly express the author's personal, emotional attitude to the most important events.

Already in the verses of 1920, the poet makes a fruitless attempt to realistically realize the outlandish and wonderful, to penetrate into the being real facts to reveal their general meaning. The Proletcultists, with their abstract cosmic "electro-poems", shied away from such real facts, hovering in the clouds. Isakovsky's ever-increasing attention to reality, to the new that appeared in life, helped him to form creatively, to find his own voice sooner.

The fundamental divergence between the beginning Isakovsky and the proletarians was also evidenced by his attitude to the classical heritage.

We have already seen examples of the closeness of the young Isakovsky to the classics in his school poems, and in poetry collections of 1921. It is only necessary to well imagine the significance of such a consanguinity with the classics, stable, which began from a young age, for the entire subsequent development of the poet.

Imitation of Pushkin and Nekrasov, and then conscious study from them contributed to the development of poetic concreteness, realistic clarity, simplicity and elegance of the artistic form. The classics taught the poet to be closer to the pressing problems of people's life, to delve into the inner world of a person, to speak clearly and clearly about the important, the essential. On this path, the poet will eventually become firmly entrenched and become one of the most active keepers and successors of the best traditions of Russian classics in Soviet poetry. In this sense, the student experiences of the early collections are very instructive.

Isakovsky combined active literary and journalistic activity with social work. In 1920, he was a member of the board of the Smolensk branch of the All-Union Proletarian Organization of Writers "Forge".

In 1926-1927, when the Smolensk branch of
Russian Association of Proletarian Writers (RAPP), Isakovsky was elected secretary of the board of this organization. Increasingly, his poems were published in Smolensk newspapers.

By the mid-twenties, his poetic voice began to noticeably grow stronger and more and more acquire features of originality.

Isakovsky later reported (in a letter dated October 24, 1950):
“Already around the year 1924-1925, I came to understand that poetry must be sought in the everyday day, that words must be spent sparingly, that the beauty of poetry lies not in the fact that the poet uses some kind of “beautiful” words, but in the fact that that these words should be the most accurate, the only ones in this or that case, irreplaceable. And although in practice I was not always able to implement this provision, I repeat: I understood it and tried to implement it to the best of my ability.

The time of literary apprenticeship was ending, - Isakovsky went out on an independent poetic road.

The first poetry collections. Isakovsky's poetic style.

In 1927, in Moscow, in the state publishing house, a book by M.
Isakovsky "Wires in the Straw". Composed of his most significant poems of the first half of the twenties, noticed and highly appreciated by M. Gorky, it marked the beginning of an independent poetic path, the acquisition of an independent poetic voice.

The courage of Isakovsky, the poet, coincided with the time of the active formation of Soviet literature, when a style corresponding to the era and a form understandable to millions were forged.

The Soviet country celebrated the 10th anniversary of the Great October Revolution, the wounds inflicted by the civil war were healing. The country took a course towards industrialization and collectivization of the national economy. From excited general lyrical-pathetic performances in honor of the revolution, our literature moved on to a realistic generalization of the experience of the revolutionary struggle, to showing the everyday life of peaceful construction and a living person - the hero of these everyday life.

Artistic prose comes to the fore (Serafimovich,
Furmanov, Sholokhov, Gladkov, Fadeev, V.S. Ivanov and others). The attraction to a realistic display of everyday life is becoming characteristic of young poetry as well. Mayakovsky glorifies "today's knights" - the workers of Kursk, who mined the first ore, the builders of Kuznetskstroy, laying the city in the steppe. In the general ranks of the founders of Soviet poetry, the young Isakovsky also goes. Poetically feeling the "dawn of the future" and the people who are vitally close to him who light it, he seeks to reflect it in the everyday realities of a new village under construction.

In the very title of the collection - "Wires in the Straw" - its main ideological and artistic idea appears. This is not just a beautiful metaphor, but a generalized realistic image that conveys the characteristic patterns of life. The book tells about the wires of a new life going into the thatched wilderness of the village. Isakovsky depicts concrete, visible signs of electrification and radiofication of a provincial village, when “palisades of lights” lit up here, bringing people such beauty that “heavens envy the village”, “lights float on copper wires"and Ilyich's light bulb flashes under the ceiling of a dilapidated peasant hut, when wonderful radio bridges connect the village with everything big world and in the evenings, the peasants gather in the red corner to listen to political news and magical music from the capital on the radio.
But the merit of the poet would be small if he only recorded these amazing facts in themselves. Isakovsky poetically excitedly reveals the moral and psychological change that they give rise to in the soul of a rural worker, eagerly reaching for the new truth and embarking on the path of active struggle for it.

In the collection Wires in the Straw, the main features of Isakovsky's artistic individuality are clearly beginning to emerge. The most important of them are poetic modesty, restraint and simplicity with great lyricism and depth of content. “His poems,” M. Gorky wrote in a review, “are simple, good, very exciting with their sincerity ... I suffer from an addiction to poetry, simple form filled with valuable content.

The specificity of lyrics in general lies in the fact that in it the semantic and emotional orientation of the entire poem and its individual components - phrases, words, private pictorial devices - acquire special weight.
The entire linguistic and rhythmic structure of the work, each phrase and each word in it, must contain a great and important feeling, a deep meaning. What is described in a novel or story on many pages, in a poem should fit into a separate phrase or line. And in the way the poet selects, comprehends and arranges words, what epithets and metaphors he uses, lies the originality of his individual artistic style.

Isakovsky, in his work on the phrase, on the word and on the line, strives for the greatest artlessness and clarity of the image, its strict accuracy and clarity, trying to tell about important and significant things with few, small means. He deliberately avoids declarativeness, does not look for any unusual words. He speaks quietly and secretly, and then, in his most ordinary words, genuine sincerity and sincerity are revealed, because these are words about something very close and dear to his heart.

The collection "Wires in the Straw" testified to the onset of Isakovsky's creative maturity. Excitement, sincerity, revealing the heroism of everyday life - these are the undoubted achievements of Isakovsky, with which the young poet entered the wide road of creativity.

After "Seeing in the Straw" new books by Isakovsky are published: "Province"
(1930), "Masters of the Earth" (1930), "The Chosen Ones of the Earth" (1931), incorporating works of the late 20s. The poet continues and improves the already defined line of his work, the lyrical disclosure of the deeds and feelings of the people of the new Soviet village.

In collections covering poems of the late 20s, Isakovsky's creative range becomes wider, a new quality of his poetry is born - lyrical humor. His book is satirical and humorous in nature.
"Province", in which there are slyly good-natured poems, ridiculing the remnants of the past in everyday life, in the psychology of people, exposing vicious phenomena in culture and literature. This book is intermediate in Isakovsky's work, it, as the author's preface says, "was formed as a result of all sorts of side works, the search for new genres, new examples, etc."

Lovers are comical, expressing deeply personal feelings through clichés of bureaucratic language:

"In the forgotten side,

In the diseased parish,

Oh, I liked you

Completely".

Sometimes the poet's humor becomes caustic, angry, develops into satire.
However, the satirical line in Isakovsky's poetry did not develop, and good-natured humor became an integral feature of a number of his lyrical works.

In 1931, Isakovsky arrived in Moscow and was appointed editor of the Kolkhoznik magazine, published by Krestyanskaya Gazeta, but he worked in it for about a year, because. the magazine was soon closed. A few years later, a new "thick" magazine was created with the same name, headed by
Maksim Gorky. Isakovsky took an active part in it as a poet correspondent.

An invaluable school for Isakovsky was work in the Gorky
"Kolkhoznik".

In the mid-30s, Isakovsky became widely known, his poems and songs are heard throughout the country. The creative maturity of the poet coincided with the general growth and rise of Soviet society. The productive and spiritual forces of the people have grown immeasurably. The geographical map of the once peasant country itself was being redrawn.

Poetry in the 1930s was at the forefront of socialist creation, in the midst of people's labor and struggle. It also dominated the creative pathos of the era. ended the path of the poetic luminaries of the 20s - Mayakovsky,
Yesenin. A galaxy of new original poetic talents took their place: N. Tikhonov, N. Zabolotsky, V. Lugovskoy, V. Lebedev-Kumach, M.
Isakovsky, A. Tvardovsky and others.

All of them zealously served the common cause, in everyday life they displayed the typical, universally significant. The poets of the 1930s sang of the greatness of the deeds and prospects of the people building socialism, the country in full swing of work, the common man at a large construction site.

III Creative maturity of the poet

Chronicle of the war in the poet's lyrics.

Immensely tragic and heroic for our country was the period of the Great
Patriotic War. At the cost of incredible sacrifices and hardships, a great victory was achieved over an insidious enemy. More than 20 million Soviet people died. The poems and songs of Isakovsky in those days conveyed the feelings of sizzling hatred of people for the enemy, aroused feelings of courage, multiplied love for the Motherland. Michael
Isakovsky, a serious eye disease, did not allow him to put on a soldier's overcoat, but even in the rear, sorrows and misfortunes, common to all Soviet people, fell upon him.

Under the heel of the fascist invaders was his small Motherland -
Smolensk region. In Glotovka, his father's house was burned down by enemies.

The poet lived throughout the war in the small town of Chistopol, enduring, along with all the hardships and hardships of forced evacuation. He told about this in the poems "Earth in Chistopol", "From Chistopol Records". In Chistopol, the post office and radio did not work for a long time, but not for a minute was Isakovsky emotionally separated from the common fate of the people, not excluding himself from the atmosphere of the nationwide struggle. It was hard, bitterly experienced by Isakovsky the impossibility of fighting at the front with weapons in his hands. But the heart of the poet was at the front, in the ranks of soldiers.

“And the days are running. And the power won't come back

And old age wanders in my footsteps.

So be it. But still the heart beats

And this heart - without a trace - is there.

Isakovsky's lyrics of those terrible years are a real poetic chronicle of the war. The poet penetratingly draws the harsh everyday life of the front and rear, the heroic deeds and feelings of soldiers and partisans, workers and collective farmers, reveals the nationwide character and historical meaning of the struggle against fascism.

Not only the feelings and thoughts of front-line soldiers are poetically displayed
(“Before the battle”), but also the courage of a mother blessing her son-warrior (“Instruction to the son”), refugees leaving their native lands (“We were walking ...”), a girl escorting a fighter to a position (“Spark”), Soviet girls hijacked into fascist captivity
(“Isn’t it with us, girlfriends ...”).

The most powerful, the most remarkable was the poem “Enemies burned their native hut ...” written by the end of the war, which later became the most famous song. What lyrical depths, what psychological intensity the concentrated feeling of pain, suffering and the burning hatred for the fascists, the enemies of all living things, grows from here!

Before us, written with the blood of the heart, a soul-shattering story of a soldier-hero who, having passed the long path of war with glory, returned to his native land and found nothing there except ashes in the place of his hut and a grave mound that sheltered his beloved wife. His gestures and words are stingy, and behind them - burning flour and pain, which many experienced in those years and which is generally difficult to forget. That is why even today the sad lines, burning the heart with their naked truth, are deeply disturbing:

Enemies burned their own hut,

Killed his whole family

Where should the soldier go now?

To whom to bear their sorrow?

Lyrics, epic and drama merged into one in this work. The author, as it were, stands aloof, epicly impartially tells about a human tragedy, the terrible fate of a soldier who, saving the world and life for all people, survived himself, but lost his closest person, lost his home, found only ashes in his small homeland.

In 1943, when his native Smolensk region, just liberated from enemies, was smoking, and people coming out of hiding took up axes to build new dwellings. Isakovsky sensitively captures and skillfully conveys the rhythm of labor creation, the dynamics of life itself.

"In the native ashes - from morning to sunset -

The axes keep banging,

And, rising above the ashes, pine huts,

Like a copper bell, they sound.

Isakovsky’s favorite image, which is repeated more than once, is “song big - big” does not carry anything rhetorical, on the contrary, it sounds fresh and out of place.

In 1944, Isakovsky created the poem "The Tale of Russia", summing up the main ideological and artistic motives of his military lyrics.
In the center of it is a poetically majestic and humanly concrete image of the Soviet Motherland, which is endowed with all the features of a living fighting person.

"Soviet Russia! Our own mother!

What a lofty word

Should I name your feat?

In the time of trials

In battles with a horde of thugs

You saved, shielded

From the death of the whole world.

The most popular of all Soviet songs.

Special mention should be made of "Katyusha" by M. Isakovsky and M. Blanter - a song of great and amazing destiny. Created in 1938-39, on the very eve of World War II, when the Nazis had already occupied Poland and were preparing to attack our country, the song about a modest girl from the banks of the Ugra, loyal to the "fighter on the far border", called for sensitivity, care and purity in the most beautiful of feelings - love for a loved one, inseparable love for the Motherland. Even then, in those peaceful times, "Katyusha" was the most popular of all Soviet songs, generously performed in the farthest corners of our vast country.

During the Great Patriotic War "Katyusha" became a warrior song, a heroine song. No wonder. When a new formidable weapon appeared in the Red Army - guards jet mortars, the soldiers gave him an affectionate nickname
"Katyusha". By order of the commander of this type of troops, General A.I. Nesterenko,
Isakovsky wrote a new poem - “Song about Katyusha”. It contained the following words: “Both on the sea and on land - along the front lines - the Russian
"Katyusha", walks with a fighting step.

Great personal happiness for Isakovsky was that the formidable "Katyushas" fired a devastating volley at the enemy near Yelnya - the hometown of the poet's youth; there these mortars received the title of guards.

The song itself fought both at the front and in the rear, numerous folkloric versions of “Katyusha” began to appear, in which the modest bride of the border guard was not only a nurse, but a sniper, and a submachine gunner, and a pilot, and a tanker ... Subsequently, folklorists were collected more than a hundred such options.

The Italian partisans, paraphrasing the text of "Katyusha", made it their anthem and liberated Rome from the Nazis with it. Subsequently, having made a trip to Italy, Isakovsky was convinced that more than 2/3 of the population of Italy, one way or another, already know their Katyusha.

In the post-war years, the fate of the song "Katyusha" lay through decades, through countries, continents.

In the homeland of Isakovsky, where the “steep coast” rises under the Ugra, today the original monument to the song “Katyusha” stands: on a copper plate attached to a large stone - a boulder, the words from the song are carved, and next to it is a gazebo with log benches under a canopy.

Isakovsky's charming "Katyusha" lives and does not grow old - a song-worker, a song-creator, a song-love.

Prose, folklore, letters, articles, as a literary gift
Isakovsky.

All Isakovsky's poetry in the period of creative maturity appears as one inspired "big-big song" - about the Soviet Motherland, about its people.
Patriotism is an inner property of the poet's soul. Isakovsky's work of the post-war years clearly testifies to this. To many of his wonderful poems for the glory of the building and creating Motherland, for the glory of peace and labor, which at that time added masterpieces of patriotic lyrics: the song "Migratory birds are flying" and the poem "Song of the Motherland", which, among other works of the post-war collection "Poems and songs" were awarded the state prize for 1943.

In 1945-1946, Isakovsky's poem "The Tale of Truth" was published by Tvardovsky in the Novy Mir magazine. This is a work that denounces posturing, hypocrisy, falsehood.

Tvardovsky wrote more about Isakovsky than about anyone else. The first article about the collection of M. Isakovsky "Poems" was published in the "Literary Gazette" back in 1938, the second - "Wonderful Poet" - in "Spark" in 1941. And after the war: "The Poet of Life" - in the "Literary Gazette" (1949), Mikhail
Isakovsky" - a preface to the collection of poems and songs of the poet (1949). In the same year - "The Poetry of M. Isakovsky" in the book "New Successes of Soviet Literature". It was from this article that separate, small pieces were taken for the preface to the collected works of Isakovsky, on which Tvardovsky worked in 1967.

Mikhail Vasilyevich writes not only poetry, but also prose. Exactly
Tvardovsky, as you know, pushed Isakovsky to work on autobiographical notes. Alexander Trifonovich read the very first version of these notes, saying that he "bought this, certainly valuable material for the journal, in the bud."

Over the years, Isakovsky increasingly uses folklore motifs. He paid much attention to the arrangement and processing of old songs and fairy tales.
(Russian, Ukrainian and Belarusian). An example of such work is a fairy tale
"Tsar, priest and miller". The tale does not carry any special load - in it the author admires the courage and wit of a simple person in contrasting these qualities with the boastfulness and cowardice of the "clergyman" and the arrogant claim to the profundity of the earthly ruler himself.

Limited in his creative activity by a long-standing and severe eye disease and generally not distinguished by good health, the poet rarely appears with new poems in recent years, but he continues to serve the cause of poetry with great benefit with his articles and letters on questions of poetic skill. A book was published in which the master's many years of experience are realized in good advice and criticism of young poets. He acts as a thoughtful and demanding mentor by right not only of age, but also of creative authority. Then, in 1956, Isakovsky did not approve of everything in the stream of contemporary poetry, but he treated with interest and even sympathy for some young poets, whom most of the then critics assessed very disapprovingly. In this regard, he spoke about Yevtushenko in a letter (1958): “I have Yevtushenko’s poem
"Russia" makes some kind of ambivalent impression. On the one hand, it really seems to be good, meaningful, on the other hand, it seems to me that there are other people's intonations in it, that it was written to a large extent from someone else's voice.

Reflecting on the works of Russian classics and modern Soviet poetry, Isakovsky comes to the conclusion that the poet must be an advanced person of his time, the bearer and creator of the spiritual culture of the people.
True poetic talent, in his opinion, lies in the fact that, while remaining original in creativity, expressing in poetry one's personality, one's character, one's thoughts, at the same time telling about the most important and significant for the whole people, passing it through the prism of one's own perception, reveal phenomena from a new, hitherto unknown side. The poet, according to Isakovsky, always artistically discovers the phenomenon, finds and for the first time pronounces the most necessary words about him, therefore he must constantly grow as a person, as a person, tirelessly move forward, “find more and more new ways of reflecting reality, enrich poetry with everything new and new poetic finds. This, according to Isakovsky, is the "secret" of poetry, the essence of true poetic talent.

Throughout his career, Isakovsky tirelessly defended these cardinal principles of artistic creativity.

The last years of Isakovsky's life

In recent years, Mikhail Vasilievich was engaged in parliamentary activities
- He was a deputy of the Supreme Soviet of the RSFSR of four convocations. The motherland highly appreciated the writing work of Isakovsky. For literary work, he was awarded 4 Orders of Lenin and the Gold Medal "Hammer and Sickle" of the Hero of Socialist Labor, 2 Orders of the Red Banner of Labor, the Order
"Badge of Honor", was the laureate of 2 State Prizes of the first degree.

In the late 1950s and early 1960s, he repeatedly traveled abroad.
Twice I was in Italy, many times in Czechoslovakia, once in France. Saw
Vienna and Warsaw. Traveled a lot Soviet Union(Latvia, Ukraine,
Belarus). In a word, he led a businesslike, active lifestyle.

In 1964, an exacerbation of Isakovsky's disease began (a heart attack, severe pneumonia). As the poet himself wrote: “I have been ill for a long time. Moreover, my illnesses (there are several of them) are in such a form that it is impossible for me to work and it is even difficult to think about anything.

"Something made me sad, -

A really sad day.

The nanny was right when she said:

I am a sick, restless ”

But the poet does not lose heart:

"Let me now on the bed

Spread out hospital, -

Unstoppable - so what? -

I'll be up soon."

("In the hospital" 1968)

His health condition was quite critical more than once. More in a letter
On May 25, 1966, he reported to M. I. Pogodin: “I am in Vnukovo. Everything would be fine, but the heart is incredibly weakened. I can lie down, sit at the table and do something quietly for a while, but it’s already difficult for me to walk 25-30 steps: a terrible heartbeat starts, my legs give way, it gets dark in my eyes. Even such a load as walking (very quiet), the heart can not stand. I never thought this could happen to me. What else, but my heart has always been good. And this is how it ended…”

Then there were periods of improvement, but by the beginning of the 70s there was no longer any hope for a full recovery. The poet foresaw the end of his life and summed up what he had lived and done, recalled his childhood, his own life and the life of the country, highlighting the main thing in them.

New 1970 Isakovsky meets in the sanatorium. Herzen under
Moscow. In January, Central Television prepared a program for the 70th anniversary of
Isakovsky. Mikhail Vasilievich took part in the filming of this program.

In the summer of 1971, at the same time in the hospital, close to each other are
Isakovsky and Tvardovsky. Both of them are in serious condition and cannot meet. In December 1971, Tvardovsky dies, which is hard for him.
Mikhail Vasilievich.

At this time, Isakovsky continued to write the book "On the Elninskaya Land", on which he began working in 1967.

His personal interests were wide and varied. IN last days his life was disturbed by the most important thing of his life - creativity. He knew that the end was near. I had to finish the book. And 3 days before his death, at the request of the editors of the Molodaya Gvardiya publishing house, where the book On Elninskaya Land was being prepared for publication, he wrote 3 pages of a sidebar under the heading “After the February Revolution”. He read the galleys of this book and corrected it himself. He held the last proof in his hands. But he couldn't wait for the book to be published...

According to A. Dementiev: “Isakovsky was extremely sincere in his poems. He endlessly believed in what he wrote about. He wrote how he lived. And he lived - as he wrote: widely, openly, with talent.

Conclusion

The value of any artist of the word is measured by the scale of his display of objective historical reality, the urgent aspirations and expectations of the people, ideological and artistic skill. In the history of Russian Soviet literature, M. Isakovsky is on a par with such poets as V.
Mayakovsky, S. Yesenin, N. Tikhonov, N. Aseev, M. Svetlov, D. Prokofiev, A.
Tvardovsky... Each of them, in individually unique images and forms, expressed the soul of the people and the country, captured our Russian life at the decisive, turning points in its history. The originality of Isakovsky, the poet of a soft and gentle voice, is in the warm, penetrating and bright lyricism, in the sincerity, lightness and expressiveness of his outwardly modest creations.

The enduring significance of Isakovsky's work in our life and in our literature is measured by the depth of the reflection of Soviet reality in transparently clear and bright verses, the tireless struggle for artistic perfection in the spirit of the most effective and fruitful classical and folk song traditions for our poetry, friendly mentoring and disinterested help to many young and middle-aged brothers in pen.

All the best that is written by Isakovsky is close and dear to everyone Soviet people. The poet speaks with his heart to his people, he approaches each person and the whole Motherland as if he were a native being:

Earth, mother earth!

Talk to your beloved son...

It cannot be otherwise, if he himself is a faithful son of the people, a truly national poet.

The endless river of time flows. For more than 90 years, the multicolored garden of poetry in our country has grown immeasurably. Dozens of talented poets today are the color and pride of diverse Russian literature.
New talents are growing up, numerous new good songs are being born. But it does not “fly around the color” from the quiet and soulful work of Mikhail
Isakovsky, who deeply, in his own way, expressed the soul of the people, simple and wise as life, beautiful as a song. And the people's love for their beautiful poet
"does not pass, no!".

Literature:

1. D. Dvoretsky "Names dear to the heart ...", ed. "Moscow worker", M.

2. M. Isakovsky "Lyric", ed. "Children's Literature", M. 1974.

3. M. Isakovsky "On Poetic Mastery", ed. "Express", 1970.

4. A. Polikanov “M. Isakovsky"; ed. "Enlightenment", M. 1989.

5. N. Rylenkov "People's Poet", ed. "Enlightenment", M. 1992.

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